Ezra Stoller

A long-awaited survey of the full range of Stoller's stunning photography

"Architectural photographer Ezra Stoller provides a unique record of the building both during its construction and after its completion. His photographs of workmen casually moving about the nascent structure recall Lewis Hine's classic portraits of the Empire State Building and provide a stark contrast to his images of the finished project, with its luxurious apartments and commercial spaces." "An introduction by Yasmin Sabina Khan, the daughter of the building's celebrated engineer, provides a behind-the-scenes account of the design, construction, and reception of this landmark of modern architecture and engineering."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

This nuanced portrait of Gordon Bunshaft and his work for the architecture firm SOM explores his role in defining the built aesthetic of corporate America.

Julius Shulman, one of the great master of architectural photography, is the preeminent recoreder of early California modernism. By 1927, when he was sixteen, Shulman was already using the family Brownie box camera to document his Southern Californis surroundings and experiences; in 1936, his professional career was launched when he sent Richard Neutra some uncommissioned photographs of the architect's Kun House. Shulman went on to document the famous Case Study House Program (architects included Charles and Ray Eames, Pierre Koenig, and Eero Saarinen) and also the architecure of the 1930s through the 1980s, especially that of Southern California, but also country and worldwide. His subjects included the buildings of R.M. Schindler, John Lautner, Raphael Soriano, Frank Lloyd Wright, Mies van der Rohe, Oscar Niemeyer, among many others. Through his work, Shulman defined the image of Los Angeles and framed the architecture of the time for a global audience. In addition to an overview of Shulman's career and photographic oevre, this book emphasizes Shulman's method of "constructing" photographic views. These contructions, which complemented his innate ability to compose striking photographs, often transcends reality to capture the spirit, time and place of a work of architecture. An analysis of architecture's visual presentation examines not only the media of the era--John Entenza's "Arts & Architecture," for instance--but also the work of Shulman's photographic contemporaries. Joseph Rosa is chief curator of the National Building Museum in Washington, D.C., and the author of numerous essays and books, including Rizzoli's "Albert Frey, Architect." He received his architecturedegree from Columbia University and is currently a doctoral candidate in the university's Graduate School of Architecture, Planning and Preservation. Ester McCoy was the formost architectural historian of Southern California. Her books include "Modern California Houses, Five California Architects, "and "Vienna to Los Angeles: Two Journeys."

"When Jonas Salk founded his eponymous research center for biological studies in 1960, he envisioned a humanist, nearly monastic community of scientists devoted to the prevention and cure of disease. In architect Louis I. Kahn, Salk found a kindred spirit, and together the two created one of the great masterpieces of modern architecture - in Salk's words, "a work of art to serve the work of science."" "Charged by Salk to "invite Picasso to the laboratory," Kahn responded with a series of austere, spiritual spaces for the complex, which was set on a coastal site in the San Diego, California suburb of La Jolla. Kahn's design integrated commodious laboratory and study spaces while offering lush gardens for reflection and the now-famous courtyard with its transcendent perspective of the Pacific Ocean. Interlocking volumes unfold time and space throughout Kahn's bravura orchestration of concrete construction." "In this volume, acclaimed architectural photographer Ezra Stoller, whose images of the Salk Institute have become iconic themselves, captures the timeless grandeur of this unique monument to scientific understanding and artistic achievement."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Balthazar Korab's recent passing at the age of eighty-six was met by a deep appreciation for his work and a tremendous outpouring of affection for his gentle spirit. As one of the most prolific and celebrated architectural photographers, Korab captured images as graceful and elegant as his subjects. His iconic photographs for master architects immortalized their finest works, while leaving his own indelible impact on twentieth-century visual culture. Now available in paperback, John Comazzi's riveting illustrated biography traces Korab's circuitous path from a forced exodus from his native Hungary to an architectural education at the famed École des Beaux-Arts in Paris and emigration to the United States, where he launched his career as Eero Saarinen's on-staff photographer. Balthazar Korab includes a portfolio of more than one hundred images from Korab's commissioned architectural photography as well as close examinations of Eero Saarinen's TWA Terminal and the Miller House in Columbus, Indiana.

Paul Rudolph, one of the twentieth century’s most iconoclastic architects, is best known – and most maligned – for his large “brutalist” buildings, like Yale’s Art and Architecture Building. So it will surprise many to learn that early in his career he developed a series of houses that represent the unrivaled possibilities of a modest American modernism. With their distinctive natural landscapes, local architectural precedents, and exploitation of innovative construction materials, the Florida houses, some eighty projects built between 1946 and 1961, brought modern architectural form into a gracious subtropical world of natural abundance developed to a high pitch of stylistic refinement. Paul Rudolph: The Florida Houses reveals all of Rudolph’s early residential work. With Rudolph’s personal essays and renderings, duotone photographs by Ezra Stoller and Joseph Molitor, and insightful text by Joseph King and Christopher Domin, this compelling new book conveys the lightness, timelessness, strength, materiality, and transcendency of Rudolph’s work.

America’s suburbs are not the homogenous places we sometimes take them for. Today’s suburbs are racially, ethnically, and economically diverse, with as many Democratic as Republican voters, a growing population of renters, and rising poverty. The cliche of white picket fences is well past its expiration date. The history of suburbia is equally surprising: American suburbs were once fertile ground for utopian planning, communal living, socially-conscious design, and integrated housing. We have forgotten that we built suburbs like these, such as the co-housing commune of Old Economy, Pennsylvania; a tiny-house anarchist community in Piscataway, New Jersey; a government-planned garden city in Greenbelt, Maryland; a racially integrated subdivision (before the Fair Housing Act) in Trevose, Pennsylvania; experimental Modernist enclaves in Lexington, Massachusetts; and the mixed-use, architecturally daring Reston, Virginia. Inside Radical Suburbs you will find blueprints for affordable, walkable, and integrated communities, filled with a range of environmentally sound residential options. Radical Suburbs is a history that will help us remake the future and rethink our assumptions of suburbia.

In a 1963 novel, Edna Ferber compared the city of Galveston to Miss Havisham, the gray, mournful abandoned bride of Dickens' Great Expectations. A thriving port city in the nineteenth century, Galveston suffered catastrophe in the twentieth as a deadly hurricane and shifting economics dropped a pall over its waterfront and Victorian mansions. Originally conceived as a requiem for the faded city, The Galveston That Was (developed by the Museum of Fine Arts, Houston, and funded by Jean and Dominique de Menil) instead helped resurrect the city. Architect-author Howard Barnstone, renowned portrait photographer Henri Cartier-Bresson, and architect-photographer Ezra Stoller captured the soul of the city in The Galveston That Was and as a result, inspired a major and successful effort to restore Galveston's historic architectural treasures. Many of the buildings pictured in the book have since been restored, and the pace of demolition slowed dramatically after the book's initial publication. In 1994, Rice University Press, in collaboration with the Museum of Fine Arts, Houston, and George and Cynthia Mitchell, published an updated edition of the book. This new printing of the book, now under the Texas A&M University Press imprint, contains the text annotations and updates, plus Peter H. Brink's afterword, that were added to the 1994 edition.

A masterpiece is honored in this volume tracing Dan Kiley's ongoing development of landscape for the famous Miller House in Indiana. Extensive drawings and plans, never published before, are included. 50 color illustrations.