Colin Rowe has achieved legendary status as one of a handful of outstanding studio teachers of architecture and urban design to emerge within the last two generations. His writings reveal the powerful insight and dispassionate, authoritative intelligence that mark him as one of the preeminent architectural thinkers of this perplexing half century. Divided into three volumes, in more or less chronological order, As I Was Saying includes articles, essays, eulogies, lectures, reviews, and memoranda. Some appeared only in obscure journals, and many are published here for the first time.

Colin Rowe has achieved legendary status as one of a handful of outstanding studio teachers of architecture and urban design to emerge within the last two generations. His writings reveal the powerful insight and dispassionate, authoritative intelligence that mark him as one of the preeminent architectural thinkers of this perplexing half century. Divided into three volumes, in more or less chronological order, As I Was Saying includes articles, essays, eulogies, lectures, reviews, and memoranda. Some appeared only in obscure journals, and many are published here for the first time.

Colin Rowe has achieved legendary status as one of a handful ofoutstanding studio teachers of architecture and urban design to emergewithin the last two generations. Colin Rowe has achieved legendary status as one of a handful of outstanding studio teachers of architecture and urban design to emerge within the last two generations. His writings reveal the powerful insight and dispassionate, authoritative intelligence that mark him as one of the preeminent architectural thinkers of this perplexing half century. Divided into three volumes, in more or less chronological order, As I Was Saying includes articles, essays, eulogies, lectures, reviews, and memoranda. Some appeared only in obscure journals, and many are published here for the first time.

Colin Rowe has achieved legendary status as one of a handful of outstanding studio teachers of architecture and urban design to emerge within the last two generations. Since the publication of his first essay, "The Mathematics of the Ideal Villa" (1947), he has commanded the attention of legions of students and colleagues who came to question, as did he, the eternal verities of modern architecture as propounded by the giants of the early twentieth century. Rowe's writings reveal a powerful insight and a dispassionate, authoritative intelligence that mark him as one of the preeminent architectural thinkers of this perplexing half-century. Divided into three books, in more or less chronological order, As I Was Saying includes articles, essays, eulogies, lectures, reviews, and memoranda; some have appeared only in obscure periodicals, and many have never been published at all. Also included is a retrospective view of selected work of the Urban Design Studio at Cornell and other projects by Rowe and his students and colleagues.

What is the place of architecture in the history of art? Why has it been at times central to the discipline, and at other times seemingly so marginal? What is its place now? Many disciplines have a stake in the history of architecture – sociology, anthropology, human geography, to name a few. This book deals with perhaps the most influential tradition of all – art history – examining how the relation between the disciplines of art history and architectural history has waxed and waned over the last one hundred and fifty years. In this highly original study, Mark Crinson and Richard J. Williams point to a decline in the importance attributed to the role of architecture in art history over the last century – which has happened without crisis or self-reflection. The book explores the problem in relation to key art historical approaches, from formalism, to feminism, to the social history of art, and in key institutions from the Museum of Modern Art, to the journal October. Among the key thinkers explored are Banham, Baxandall, Giedion, Panofsky, Pevsner, Pollock, Riegl, Rowe, Steinberg, Wittkower and Wölfflin. The book will provoke debate on the historiography and present state of the discipline of art history, and it makes a powerful case for the reconsideration of architecture.

In The Verge Practice, Kathy Kolla and David Brock, Scotland Yard’s superlative detective duo, take on a puzzling case in the posh world of big-name international architecture, and it has them chasing red herrings and hopping fences from London to Barcelona. Charles Verge, a powerful, cutting-edge architect, has disappeared into the blue, leaving behind his firm; his beloved—and pregnant—daughter; and his young and very dead wife. The case is stalled, and, after months of fruitless searching leaves the authorities desperate to save face, Detective Chief Inspector Brock and Detective Sergeant Kolla are called in. All of London is abuzz with questions about the high-profile case, which will send Kolla and Brock to some less-than-scenic locales in Barcelona, and back to their own stomping ground—where suspicion of internal corruption comes much closer to home than they would like. As the investigation uncovers a dizzying web of possible suspects—including an ex-con gardener, a sinister doctor, and the missing Verge himself—it will reveal more than one crack in the shiny windows of the Verge practice’s sleek façade.

In this Urban Corporis volume, ?The city and the skin?, we asked the authors to read, define and interpret the role of the skin as a facade, as a protection, as a compositional image of urban revelation. Without formal restrictions, without ethical preconceptions: the skin as part of the building designed to mediate the relationship. The architectural skin, understood as the technological system of delimitation between architectural space and unbuilt environment, can be analyzed as a boundary system between interior and exterior, the most evident expression of the identity of an artifact. In this dual role of border and interface, receptive as active, the skin of an architecture (seen also through art) is charged with a double value: an element of covering and protection and, at the same time, a tool of relationship and interface, in fact, towards the external world.