Toshiko Mori is a New York based architect and Professor in the Practice of Architecture at the Harvard University Graduate School of Design for many years. As a long-time member of the World Economic Forum?s Global Agenda Council on the Future of Cities, Mori led research and inquiry into sustainable architecture, enhancing cities? livability, and creating efficient urban services. Mori is also on the board of Dassault Systems, a company connecting technology to environment and life science. And she has founded the platform VisionArc, a think tank dedicated to exploring the role of design within complex social and environmental issues.0This book will focus on TMA?s projects based on research, and the impact of socially valuable projects to society. The book will illustrate how the observation of the architect operates as opposed to how the imagination of the architect manifest itself. Different chapters in the book are describing various ways of approaching the task of observation. Seven chapters are divided into specific projects and provide a look at the hidden thought processes that can take place behind the ideas, solutions, and physical manifestations or architecture.

The essential walking companion to more than two hundred cutting-edge buildings constructed since the new millennium. The first decade of the 21st century has been a time of lively architectural production in New York City. A veritable building boom gripped the city, giving rise to a host of new—and architecturally cutting-edge—residential, corporate, institutional, academic, and commercial structures. With the boom now waning, this guidebook is perfectly timed to take stock of the city’s new skyline and map them all out, literally. This essential walking companion and guide features 200 of the most notable buildings and spaces constructed in New York’s five boroughs since the new millennium—The High Line, by James Corner Field Operations/Diller Scofidio + Renfro; 100 Eleventh Avenue, by Ateliers Jean Nouvel; Brooklyn Children’s Museum, by Rafael Vinoly Architects; 41 Cooper Square, by Morphosis; Poe Park Visitors Center, by Toshiko Mori Architect; and One Bryant Park, by Cook + Fox, to name just a few. Projects are grouped by neighborhood, allowing for easy, self-guided tours, with photos, maps, directions, and descriptions that highlight the most important aspects of each entry.

One of Japan's leading architects examines notions of Japan-ness as exemplified by key events in Japanese architectural history from the seventh to the twentieth century; essays on buildings and their cultural context. Japanese architect Arata Isozaki sees buildings not as dead objects but as events that encompass the social and historical context—not to be defined forever by their "everlasting materiality" but as texts to be interpreted and reread continually. In Japan-ness in Architecture, he identifies what is essentially Japanese in architecture from the seventh to the twentieth century. In the opening essay, Isozaki analyzes the struggles of modern Japanese architects, including himself, to create something uniquely Japanese out of modernity. He then circles back in history to find what he calls Japan-ness in the seventh-century Ise shrine, reconstruction of the twelfth-century Todai-ji Temple, and the seventeenth-century Katsura Imperial Villa. He finds the periodic ritual relocation of Ise's precincts a counter to the West's concept of architectural permanence, and the repetition of the ritual an alternative to modernity's anxious quest for origins. He traces the "constructive power" of the Todai-ji Temple to the vision of the director of its reconstruction, the monk Chogen, whose imaginative power he sees as corresponding to the revolutionary turmoil of the times. The Katsura Imperial Villa, with its chimerical spaces, achieved its own Japan-ness as it reinvented the traditional shoin style. And yet, writes Isozaki, what others consider to be the Japanese aesthetic is often the opposite of that essential Japan-ness born in moments of historic self-definition; the purified stylization—what Isozaki calls "Japanesquization"—lacks the energy of cultural transformation and reflects an island retrenchment in response to the pressure of other cultures. Combining historical survey, critical analysis, theoretical reflection, and autobiographical account, these essays, written over a period of twenty years, demonstrate Isozaki's standing as one of the world's leading architects and preeminent architectural thinkers.

Open Studio offers a window into the methods and unique culture of an architecture firm that has achieved international success. Curated illustrations of hand sketches, study models, design sessions, and site visits pull back the curtain on the creative collaboration behind the scenes at Robert A.M. Stern Architects. Nearly 100 pages of photographs of finished work, including academic buildings, museums, houses, apartment houses, and office towers, demonstrate the firm's ability to realize modern buildings in a wide variety of stylistic vocabularies through a commitment to fundamental principles of architecture and a respect for context and history. Founded in 1969, the 250-person New York-based Robert A.M. Stern Architects has received numerous awards for design excellence from the American Institute of Architects, the Congress for the New Urbanism, the Urban Land Institute, the Society for College and University Planning, and the Institute of Classical Architecture and Art.

The approach of Material Design opens the way to an innovative use of materials in the design professions. Taking material qualities and properties such as texture, elasticity and transparency as a point of departure, the book describes a multitude of material operations, like folding and bending, carving and cutting, weaving and knitting, mirroring and screening.

Who are the world's most exciting up-and-coming architects? 10 x 10_2 has 100 definitive answers, provided by 10 influential curators, educators and architects--including Zaha Hadid, Toshiko Mori, and Kurt Foster. Each featured architect is allotted four generously sized, photo-rich pages, with concise yet informative texts. The projects are distinguished by a rare combination of inventiveness, thoughtful use of materials and sheer beauty. In Zurich, Christian Kerez stacked and cantilevered solid concrete shear walls between large expanses of glass to create a multifamily residence of pristine structural integrity. In Minneapolis, Vincent James Associates Architects endowed a boathouse with the rhythm of repeated trussed beams, inspired by the activity of rowing. SPBR Arquitetos' glass-and-wood dental clinic in S+úo Paulo features a transparent facade, designed to win the trust of neighborhood residents. In Tokyo, Tezuka Architects designed the space-saving Wall-less House, a steel-frame structure supported only by the central utility core and two columns. Among the more futuristicapproaches are ONL's glass-and-metal highway sound barrier housing an industrial building in The Netherlands; New York-based Evan Douglas' fluid architectural elements, created by digital morphing; and Beijing-based Fake Design's dramatically scaled geometric stone formations for a riverside development in China. As a stimulating bonus, each member of the curatorial team offers an annotated list of 10 personal cultural influences, which range from John Berger's classic, Ways of Seeing, to films by Wim Wenders and the architecture-rich city of Chicago. Biographies of the 100 architects are also included. The only drawback of this splendid book, the second in a series, is its eccentric typeface. Stretched across overly long lines of body text and captions, it makes for eye-straining reading. --Cathy CurtisImages from 10 X 10 _ 2

In 2003, Bernard Tschumi convened forty of the world's leading architectural designers and theorists for a conference at Columbia University. The State of Architecture brings together manifestos, musings, and meditations to capture the key polemics raised by this extraordinary convocation of thinkers.

Cloudline is a unique building designed by architect Toshiko Mori in collaboration with gallerists Sean and Mary Kelly and situated on the slopes of the Hudson River in Upstate New York. One is immediately greeted by art as soon as one enters the structure: Joseph Beuys, Jannis Kounellis, Juan Munoz, and Ian Hamilton Finlay escort you inside the space, which, with its aluminum-framed panoramic windows facing the Hudson Valley and its plain concrete floors, serves as a minimalist canvas for the art within. Cloudline's collection includes works of art by a considerable number of artists, some of which were created specifically for this site. Nearly a dozen of these same artists created new works especially for this book. These works of art will be reproduced as facsimiles, inserted into a numbered, limited edition version of the present publication, and accompanied by an essay by the novelist Colm Tóibín in which he describes the magic of Cloudline.

The core idea for this book is the use of operative verbs as tools for designing space. These operative verbs abstract the idea of spatial formation to its most basic terms, allowing for an objective approach to create the foundation for subjective spatial design. Examples of these verbs are expand, inflate, nest, wist, lift, embed, merge and many more. Together they form a visual dictionary decoding the syntax of spatial verbs. The verbs are illustrated with three-dimensional diagrams and pictures of designs which show the verbs 'in action'. This approach was devised, tested, and applied to architectural studio instruction by Anthony Di Mari and Nora Yoo while teaching at Harvard University's Career Discovery Program in Architecture in 2010. As instructors and as recent graduates, they saw a need for this kind of catalogue from both sides - as a reference manual applicable to design students in all stages of their studies, as well as a teaching tool for instructors to help students understand the strong spatial potential of abstract operations.

Building from Tradition examines the recent resurgence of interest in the handmade building and the use of local and renewable materials in contemporary construction. In the past, raw materials were shaped to provide shelter and to accommodate the cultural, social, and economic needs of individuals and communities. This is still true today as architects, engineers, and builders turn once again to local resources and methods, not simply for constructing buildings, but also as a strategy for supporting social engagement, sustainable development, and cultural continuity. Building from Tradition features global case studies that allow readers to understand how building practices—developed and refined by previous generations—continue to be adapted to suit a broad range of cultural and environmental contexts. The book provides: • a survey of historical and technical information about geologic and plant-based materials such as: stone, earth, reed and grass, wood, and bamboo; • 24 detailed case studies examining the disadvantages and benefits to using traditional materials and methods and how they are currently being integrated with contemporary construction practices.