Midcentury modernism meets Japanese design in three revolutionary American buildings--the products of a unique, sustained, cross-cultural collaboration In 1953, Japanese architect Junzo Yoshimura designed a now-classic Japanese house and garden that he called Shofuso. It was built in Nagoya, Japan, and shipped to New York in 1954, where it was exhibited at the Museum of Modern Art and then relocated to Philadelphia's Fairmount Park. The curators of MoMA's House in the Garden exhibition highlighted its synthesis of historic Japanese architecture with modern architecture: the clarity of the house's post and beam structure, its flexibility of use and the close relationship of indoor and outdoor spaces. This extensively illustrated volume centers on Yoshimura's design for Shofuso and two allied sites located in New Hope, Bucks County, Pennsylvania: Raymond Farm (1939-41), a live-work residence built by Antonin and Noémi Raymond within the fabric of an existing 18th-century Quaker farmhouse; and Nakashima Studios, a complex of structures designed by George Nakashima over three decades (1947-77) to serve his furniture-making business and as his family's home. Each site, in its own way, is the embodiment of the personal relationships and cross-cultural collaborations among this group of architects and designers. The Raymonds, along with Yoshimura, Nakashima and others, came to understand Japan's changing environment through the act of building, through collaboration and travel. Together, they extended these lessons into the furniture and furnishings of modern living in both Japan and the United States. This volume documents an exhibition of objects and ephemera mounted at Shofuso. New York-based architectural photographer Elizabeth Felicella captures each site in a portfolio of newly commissioned images. Essays by Ken Tadashi Oshima and William Whitaker, illustrated with historical photographs, family snapshots and architectural drawings, further elucidate this important chapter in the history of modern architecture and design.

In this rapidly globalizing world, any investigation of architecture inevitably leads to considerations of regionalism. But despite its omnipresence in contemporary practice and theory, architectural regionalism remains a fluid concept, its historical development and current influence largely undocumented. This comprehensive reader brings together over 40 key essays illustrating the full range of ideas embodied by the term. Authored by important critics, historians, and architects such as Kenneth Frampton, Lewis Mumford, Sigfried Giedion, and Alan Colquhoun, Architectural Regionalism represents the history of regionalist thinking in architecture from the early twentieth century to today.

A study of polar bears, hunted as trophies, then stuffed and exhibited in museums and private homes. This book is an illustrated account, including archival photographs of hunting in the Arctic at the turn of the century, stories of the bears' journeys through the museum and beyond, along with photographs of the bears in their locations.

This book showcases the astonishing beauty of Taizo Kuroda s white porcelain. For centuries, Japanese potters have created remarkable ceramic vessels, usually intended for use in tea ceremonies or as tableware. In contrast, the work of Taizo Kuroda is revered not for its functionality, but for its formal purity and artistic quality. Each of Kuroda s unglazed works hints at the artist's fascination with crossing the barriers of time and space to achieve what he calls, creating for infinity. Imperfect by design, his works have found admirers among such significant figures as the fashion designer Issey Miyake and the architect Tadao Ando, who respectively wrote the preface and introduction for this book. Featuring photographs that emphasize the transcendental beauty of Taizo Kuroda's white porcelain, this book is a must for anyone interested in contemporary ceramics.

In the summer of 2008, exactly forty years after French student activists took to the streets with their rallying cry of "Under the pavement, the beach!" a new vision of liberation took shape in the courtyard of MoMA's P.S.1. Designed and built by WORK Architecture Company in 2008 for the museum's Young Architects Program, the installation Public Farm 1 (PF1) consisted of a large cluster of cardboard tubes topped with more than four dozen species of plants and vegetables. Conceived as a medium for educating citizens about sustainable urban farming techniques, the fully functioning, produce-growing design emphasized local intervention over mass production and pointed the way toward a more holistic, integrated approach to urban life. Leaving behind the urban beach, the updated slogan "Abovethe Pavement, the Farm!" embodies the current generation of young architects preoccupations and hopes for the city of the future. Using the PF1 installation as an ideal model for a new breed of architectural experimentation, Above the Pavementthe Farm! is an urban manifesto designed to reinvent our cities as much-needed laboratories of experimentation and learning. Keeping in mind our society's gradual shift from being industrial to postindustrial, Above the Pavementthe Farm! proposes an agriculture-based approach to city planning, envisioning fully functioning farms located atop roofs and situated within city blocks as a means for providing new sources of locally grown food to urbanites. Through visually dynamic narratives documenting the development of the project from conceptualization to on-site building, Above the Pavementthe Farm! provides ahow-to guide, including do-it-yourself plans and diagrams, for implementing urban farms on lots and rooftops in metropolitan regions across the country. Inspired by the highly visual mass-market paperback "idea books" popularized by Marshall McLuhan in the 1960s, Above the Pavementthe Farm! is a critical yet playful look forward into the future of our cities.

The house that Robert Venturi designed for his mother in Chestnut Hill, Phila., & had built in 1964, is arguably the most architecturally influential building of the second half of the 20th century. Here, Robert Venturi reflects on this seminal building from a distance of over 25 years. He discusses why its style & form, once so revolutionary, are accepted now. Presents for the first time all of the developmental drawings that were executed to accompany the 6 stages of the design. Also included are original construction drawings, yellow tracing-paper drawings, photos of the house, & the series of models that were made.