2 comments about Universe of Stone: A Biography of Chartres Cathedral.

1. The Crusade of European Christians to overtake Jerusalem and Constantinople is famous. There was another crusade at the time, though, a "cathedral crusade" between the mid eleventh and fourteenth centuries. In France alone over eighty cathedrals were built, not to mention large and small churches. Arguably the greatest of all the cathedrals is the one at Chartres, beneath the vaults of which, according to Napoleon, even the atheist would feel uneasy. To examine just how Chartres works and how it can impress anyone with a sense of reverential awe is the purpose of _Universe of Stone: A Biography of Chartres Cathedral_ (Harper) by Philip Ball. Ball, who has written about diverse subjects like Renaissance medicine, water, and the history of pigment making, says that understanding Chartres is made difficult by all the centuries that have laid on since its construction and all the different academic and philosophical views that have often made confusing issues even less clear. Ball writes, "It is only by embedding the church in the culture of the twelfth century - its philosophies, its schools and its politics, its trades and technologies, its religious debates - that we can begin to make sense of what we see (and what we feel) when we pass through the Royal Portal of the west front." His book accomplishes this goal, clearly laying out spiritual, social, and technological trends of the era in a thoughtful and entertainingly discursive book of architectural history.
   
   There is much we do not know about how the cathedral was built. We do know that it was built quickly, in the first 26 years of the thirteenth century. We don't know the architect who planned it all out, or if an architect actually did so, nor how educated the planners and builders were. There are no plans or models. We do know that it represented a change from Romanesque to Gothic architecture. Romanesque builders piled stones for the chief purpose of having them not fall down, and their resulting vast walls and narrow windows were a reflection of darkness and monastic seclusion. Chartres was in the vanguard of Gothic construction, changing the way the church regarded itself. It is not likely that the builders had in mind a celebration of the light of reason, but it is not far-fetched to imagine that the increase of light and banishment of the old gloom both reflected and inspired a process from fearing God to investigating with wonder God's works. Most of the hundreds of stone carvings in Chartres were done by masons who knew the stones would then be hoisted to a high nook where human eyes could never again see them. Only upon the invention of powerful spyglasses, tools the masons could never have imagined, were these sculptures seen again. The erection of the cathedral was not always so idealistic, however. Ball makes clear that those who worked on it expected to get paid, and that the those who got paid did not like the idea of volunteers doing the work for free in religious ecstasy. There is a legend of the "cult of the carts", whereby spontaneous fervor caused laymen to harness themselves to bring stones from far away, but much more likely is that any such show was organized by the clerics. Certainly, surviving accounts show that all unskilled manual work went for a fee, despite any bouts of fervent free labor.
   
   Ball writes that Chartres is "nearly a pristine document, miraculously preserved from a distant world, bearing a message that is barely diluted." There has been a bit of remodeling and a huge baroque sculpture of the Assumption in the choir, and it is alarming that what Ball calls "the arrogance of eighteenth-century artistic chauvinism" permitted the interior to be completely whitewashed. The building never did get finished according to original intentions, because it got only two spires rather than the nine that were proposed, but it still has a unity and a clarity that few structures of the time can claim. It was also a showpiece for the era's understanding of flying buttresses, pointed arches, and ribbed vaulting, all of which are pictured and diagrammed here, along with illustrations of what might go wrong if stresses on the structures were not in balance. If you can't get there to see the cathedral itself, Ball's book is the perfect vehicle for informed armchair traveling.



2. For anyone who has stood in awe of the splendid architecture of Notre Dame de Paris, Saint Denis, or Chartres itself, this is a delightful book. In his engaging and smooth prose, Philip Ball guides the reader through the religious, social, and philosophical milieu that produced the quintessentially Gothic cathedral at Chartres.
   
   The essence of Gothic architecture is hotly disputed (Ball navigates neatly through the variety of scholarly opinion), but it certainly incorporated into a unified whole a number of different elements that had previously existed--all for the purpose, it seems, of achieving a soaring height and lightness inside, heaven on earth. Contrary to what the name suggests, Gothic was really a French style, and Ball discusses Chartres in the context of the nearby and near-contemporary cathedrals, especially St Denis, Sens, Soissons, and Strasbourg. (He occasionally brings up the adaptations of the Gothic style further afield.)
   
   Like many other important churches, Notre Dame de Chartres was erected on an even more ancient sacred site: a sacred well (not a druidic temple, which is a Renaissance misinterpretation of Caesar's writing). The earliest churches that stood over Chartres's sacred well (which can still be seen in the crypt beneath the cathedral) were wooden and burnt down repeatedly: rebuilding was undertaken in 743, 858, 1020 (at which point the bishop Fulbert decided to make it an impressive Romanesque cathedral), 1134, and finally in 1194. At this point, it was decided to rebuild in the new Gothic style--a style introduced in the west front and choir of St Denis that had been completed a half-century before.
   
   In a long middle section reminiscent of Ross King's Brunelleschi's Dome, Ball keeps the reader waiting to find out the answers to some key questions: Who built it? How long did it take? He explains thoroughly the intellectual context of the Gothic cathedral and its material features in alternating sections not in chronological order.
   
   The monastic trends of the era are pointed out, together with the structure of the cathedral's ministry (and the tension between Chartres's and the local bishop); and the cathedral's original interior colors, ochre and white, are revealed. The Aristotelian, Platonic, and Augustinian foundations of medieval philosophy and theology are laid; and important figures such as Bernard of Clairvaux and Peter Abelard are profiled. The state of the art in medieval science is discussed, and its incarnation at the cathedral school in Chartres; and Geoffrey of Leves and Bernard and Thierry of Chartres are profiled. The roles of architects, masters, and builders are discussed, together with their building materials (chiefly limestone in the Isle-de-France); Villard de Honnecourt and his drawings are discussed, as are the uses of military technology in building projects. The engineering challenges of a Gothic cathedral are presented, including forces and stability, cracking and buttressing. (It seems that the argument over whether to buttress or to vault first was never really settled.) And in a chapter reminiscent of Ross King's on pigments in Michelangelo and the Pope's Ceiling, the making of colored glass is discussed and it is revealed why blue and red were the dominant colors in medieval stained-glass windows.
   
   In the second-to-last chapter, Ball describes the actual building of the cathedral at Chartres, and he debunks the legend of the townspeople putting their shoulders to carts of stones in a frenzy of enthusiasm. As for the cost of the project, Ball estimates that perhaps 5% of the total cost (around 4000 livres) came from the town; maybe another 5% from the French king; a little could be expected from pilgrims who came to see the town's prized relic, the Blessed Virgin's Sancta Camisa; but most of the funds probably came from the bishop's own salary and the rents on church lands. Ball addresses the age-old question of the order of construction--east to west? west to east?--amusingly, observing as evidence against the west-to-east theory that "the nave doesn't so much join up with the west end as crash into it." The question hasn't been settled, but in any case it seems that the architects had thought they would be able to replace Bishop Fulbert's two western towers. (Just one remains--the southwest, less elaborate one.) But funds ran out, and it was in retrospect a happy accident, because it forced the architects to simplify the design (nine spires were originally planned), thereby unifying it and providing a template for the great cathedrals that followed. One wonders how things might have turned out otherwise--would the great Gothic cathedrals all be like the colossal Duomo in Milan?
   
   This was a very enjoyable book, filled with great pictures and diagrams (unfortunately not indexed, though) and eventually answering those key questions: No one knows who the masters or architects were, but there were probably a number of them. And it took just 26 years to build, much less than the century or so needed for Amiens or Reims. This is a great book for the traveler--armchair or otherwise--who is interested in Chartres or medieval architecture.

5 comments about Atomic Ranch: Design Ideas for Stylish Ranch Homes.

1. Good book with lots of interior and exterior pictures of houses. Only improvement would be more mod accessories shown, but overall I would recommend.



2. God Bless the folks at Atomic Ranch! I have been a subscriber to the Magazine for over 2 years now and have been dying to get the book. Finally, after a couple of strong hints, my wife got it for me for my birthday.
   This book is chock full of beautiful photographs of incredible mid-century masterpieces. Some are preserved, some restored, and some modernized.
   If this is your thing, (and I doubt you'd be reading these reviews if it wasn't)then this is the book you want. I've gambled on a few other books covering ranch homes, and none of them come close to this book. BUY IT!



3. Very nice book with lots of great photos they are mostly a collection from the magazine but worth having if you are into MCM.



4. I love this book! The author's magazine (of the same name) is awesome and this book covers homes from the early issues which are no longer available (issues, not homes). I love seeing the beautiful interiors and exteriors of modest size homes which most people consider beneath their notice because they aren't historically "old enough" or architecturally significant.
   
   I have learned a lot about mid-century modern homes from reading this book. The photos are great and the book is very informative.
   
   If you live in a plain ranch home, and enjoy a streamlined style of living, then I highly suggest you get this book. It is full of practical tips and resources.



5. I love this book!! I live in an "Atomic Ranch" and this book covers the subject very well. Not only are the pictures great, the text is informative. I also subscribe to Atomic Ranch Magazine published by the same authors. If you are a fan of this genre, both are highly recommended!

5 comments about A Field Guide to American Houses.

1. I bought this book as reference material on the advice of an architect friend. He told me "If you need help figuring out the style of a house then buy this book" and he showed me his copy. He was right. The book is well organized which helps compare styles quickly and the many black and white pictures of houses that the author uses as examples are great because the b&w contrast helps your eye focus on details. This a great book to have in any architectural office. Its great for novices and experienced alike.



2. As a writer, you need lots of details to keep the reader interested, and this book has details on houses most people wouldn't know. Of course, if you give no details the story is not interesting, and if you give wrong details, some reader will know it and be disapointed. A book like this can be invaluable.



3. After some introductory chapters on the history and theory of homebuilding, the McAlesters commence with descriptions of the different styles. Each major style is described with a large stylized diagram with its identifying features labeled, a description of the major subtypes, descriptions of the style's unique elements, a paragraph on the frequency and locations of its occurrence, some historical comments, and then dozens of black and white photographs. The styles are ordered roughly chronologically, from native dwellings and colonial houses in 1600 to the neoeclectric houses of the 1970s and 1980s. (Even my 2006 printing ended with the 1980s.)
   
   I read the field guide cover to cover - something I never before done with a field guide. By the end, it seemed repetitive, but overall I was impressed with almost everything about this book from the introductions to the last diagrams. Every time I travel though a historical neighborhood, I am glad that I read this book.



4. Great book!!! I'm using for my company to get a true representation of many styles for many of the house I'm designing. A great resource for any firm!!!



5. great at housing history
   great describe for the house component
   good picture to show handy book to show at real estate

No comments about Italian Villas and Their Gardens: The Original 1904 Edition.

5 comments about Delirious New York: A Retroactive Manifesto for Manhattan.

1. While "Delirious" has its fair share of archispeak, Mr. Koolhaas pulls off an intelligent, fun and thought-provoking take on the early 20th century building culture of New York.
   
   One of the quirkier aspects of "Delirious" is Mr. Koolhaas's analysis of Coney Island: an "incubator for Manhattan's incipient themes." As a reader, one initially questions the inclusion of such a trashy place in such a lofty manifesto. However, as the chapter progresses, you start to see Mr. Koolhaas's iconoclastic brilliance. He pays an amazing homage to "the laboratory" that was Coney Island, illuminating the vital role it played in the building philosophies that would emerge later in Manhattan.
   
   Scattered throughout "Delirious," also, are compelling supporting images that Mr. Koolhaas clearly spent a lot of time digging up. In fact, flipping through the book for the images alone makes for a near-equivalent, and fun, learning experience.
   
   However, unlike his tasteful use of images, Mr. Koolhaaas's flamboyant use of scholarly English makes his writing difficult to digest at times:
   
   "It is probably inevitable that a doctrine based on the continual simulation of pragmatism, on a self-imposed amnesia that allows the continuous reenactment of the same subconscious themes in ever new reincarnations and on inarticulateness systematically cultivated in order to operate more effectively..."
   
   Given Mr. Koolhaas's journalism background (and assumed mastery of writing), I suspect he made the conscious decision to remain somewhat inaccessible to preserve his "lofty" image. While such a decision may be understandable, his brilliance as a writer often gets overshadowed by the sheer irritation of trying to understand him.
   
   Ultimately, "Delirious" proves itself to be a very intelligent synopsis---just as delirious and congested the themes Mr. Koolhaas puts forth. For the most part, it's a pleasure to read, and it also reflects the exhaustive research on Mr. Koolhaas's end. Much like Mr. Koolhaas's buildings, "Delirious" is on the cusp of being as grand as it intends to be.



2. through the exhaustive historiography of the phases of congestion coney island brought to manhattan, koolhaas provides a rather cynical view of the Grid as being an ulimatley neutral zoning system of constraining ideas that represent the continual decline of a phantastically realistic civilization, represented as mutated symbols of architecture in the "void" of repeated "pregnancies."
   
   it's really well written. funny. uses, like above, a somewhat inefficient vocabulary but remains in the same vein throughout. it is also a graphic design hubris consuming every page, even the left-justified text, showing off koolhaas's interpretation of the importance to combine scholarship and marketing.
   
   buy it. it's a very good book.



3. A very inventive concept of New York's "culture of congestion" and how people are affected by the architecture they create. It is heavily researched and exhaustive, and after pretty much the third page I agreed with his concept of NY being "totally fabricated by man". What could of been a fascinating article becomes a spastic, heavy-handed read with a sledgehammer effect to your brain. (However,for those of us reading it for school, there are plenty of pictures that fill up the almost devastatingly vast 300+pages quickly.) It will scramble your brain with its thousands of nearly bumper-stickerish statements ("It hides life." "The Mountain MUST become architecture.") written with pretentious glee. However, I believe an independent scientific study has concluded that when pretending to read this book on the train people around you will assume your IQ is 40% higher than truth.



4. koolhaas is a bit over-the-top for me, but this I think is is best work. it's worth checking out if only for the story of coney island. once you get past blisteringly pretentious phrases like "coney island is a fetal manhattan", you'll find it gloriously entertaining as both a narrative and theoretical work.



5. This is by far Koolhaas's most accessible work, as it is rooted so clearly in detail from the city's past. Further, the book is simply brilliant. His take on urban history is to Jane Jacobs what Socrates is to common sense. New York is a special case of modernism that sprang from a special constellation of poltiical and technological forces that collectively create a cultural "big-bang" at the turn of the century. Read it. Blow your mind.

5 comments about Inspirations from France & Italy.

1. This book gave me great ideas for decorating my home. I look through it periodically just to see if I've missed something, and I always pick up something. I recommend it if your into decorating French or Italian style.



2. Betty Lou Phillips has done it again. This a a lovely book, rich with photographs of the most stunning homes. What I took away was the feeling of light. The windows in most of the rooms were huge, and they gave every room a sense of the outdoors, of light and air and space. Very charming. What added to the impression of relaxation, light and air, was that the colors in the room were so often pale. There were no pieces of furniture that screamed, only soothing colors and comfortable spaces.
   
   I have no idea who invented small, stubby windows, but every tract home in American has plenty of them--and it's too bad.



3. I love Betty Lou Phillips' books...I have every one...but this one is just okay. Normally she has some of the most clever "out of the box" styling ideas I have ever seen, but that is not what I saw in this book. However, if you want some great design books collect all her others...you won't be disappointed.



4. As an interior designer I have collected, and review often, all of Ms.Phillips' previous books.
   For me, INSPIRATIONS FROM FRANCE AND ITALY is the most spectacular of them all.
   It is an irresistable voyage through beautiful gardens and interiors.
   A feast for the eyes.
   The dazzling photographs bring to life interiors and exteriors that are both inspiring and transporting.
   I am anxiously awaiting Betty Lou's next fabulous complilation of beauty, style and inspiration.
   Taylor Lee
   San Francisco CA



5. This is the best book yet in a very interesting series. The illustrations, easy to understand and helpful captions and the historically interesting and practical text combine to make this a welcome guide and reference. Best of all, it describes the kind of home and furnishings most men should love. It is not foo-foo French. It is fun French, with a little Italian flavor thrown in for excitement. Every man should buy this book for his wife or equivalent in the hopes that some day he might enjoy living in such an enjoyable setting.

5 comments about Houses of the Founding Fathers.

1. I found this book to be very interesting and one which told me more about people with whom I am acquainted and, importantly, people important to me about whom I knew little. The photography is stunning.



2. This book has not only stunning photos and info about the houses, but also tons of history. It's like "If Walls Could Talk" for all of our founding fathers' homes. Family life, politics, business, & more went on in these homes, and this book delves into all of it. However, it does ignore the slavery issue, since it isn't PC to be reminded that most wealthy landowners, North & South, had slaves; including the founders.



3. This book is a gem of photos and text about all sorts of Americans and how they lived. Most impressed that it did not just cover the usual presidents



4. The photographs were great and the short info pertaining to the individuals and their properties were interesting and informative. Well written, well photographed and a pleasure to have in our living room for others to see.



5. Houses of the Founding Fathers
   
   This book is long overdue, and well worth the wait. The photographs and text, along with the history tidbits interwoven throughout give a real sense of the life and times of those men and women who created our country. The authors have gone beyond presenting the basic architecture styles to bring us into the everyday aspects of life of our Founding Fathers and their families. The perspectives and lighting of the photographs make us believe that 'we are there'. The authors have obviously done their research and made this book easy to follow with timelines, facts, features, and explanations of how the houses came into being in the first place - and how they have fared over the past two centuries. For anyone interested in American History - this book is for you!

1 comments about Forgotten Modern California Houses 1940-1970.

1. Modern is not new. It has a history and this book remind us about it.
   The language of Modern Architecture change in time but au fond remains the same. The book is nice, good photos and has many examples of old modern.

5 comments about California Romantica: Spanish Colonial and Mission-Style Houses.

1. I love looking at Spanish colonial architecture. I have a viceral reaction to it, as does/did Diane Keaton, who is also a Californian. I would love to look at each and every photo in this book but it's very very difficult because it is so huge and heavy. You can't hold it in your lap to enjoy the pictures, so you must lay it on a table and look at each page using both hands. The black and white photos show details in the various grand houses mentioned but I was able to look them up online so I could see each house featured in the book inside and out, and in color, e.g. Leo Carillo's house, Los Quiotes. All in all, very very beautiful photography rather than inspirational. What I thought I was getting was something like a wonderful book called Red Tile Style. I can look at and read that book for hours and get the intense feeling that is somewhere in my early psyche and is brought out by seeing the Spanish Colonial and Mission Style houses, some gone, some that still exit, like those in Long Beach and Ventura, CA. I did not get that feeling from this book, but I liked what little writing there was. How I would have liked more to read. But for me, this book is not a keeper. Too much of a physical commitment to pull out and enjoy. I wonder if this book would have been published if the photos were taken by a non-celebrity. Oh well. I have always loved California architecture and Diane Keaton can do no wrong as far as I'm concerned. I hope she can get into Falcon's Lair, the last home that Rudolph Valentino owned. It still exists and I'd love to see photos of the inside of the house he loved so much at the time of his death at age 31.



2. I was disappointed with California Romantica. The use of a black seems to dominate. The photos are framed with a black border and pages with text are black with white lettering. For me,some photos were difficult to appreciate due to the darkness. One,in particular, the photo of huge old tree, using two pages,the foreground on the right side was black with just an outline of what one knew was a cactus. The left page had a dirt road lite by the sun giving a cooperish glow. The tree is underexposed making it very dark, therefore the focus is the cooperish dirt road. I love trees and I wish this one did not look dead since it seems to be a
   beautiful place to sit and stay awhile, to read a book or meditate. The architectural features of the villas,the walls, floors, ceilings, stairs, balconies, tile work, doorways,wooden doors, pools, windows, wrought iron work, the furnishings, were creatively portrayed. I did enjoy photos showing what one would see out of specific windows, such as the window on the all black page with just a patch of blue which we know is the ocean!
   
   I will keep the book since I love old houses and I have a great respect for Diane Keaton's efforts to renovate and restore these wonderful homes preserving California's past. Thank you Miss Keaton. Keep up the good work.



3. Just a bunch of art photos. Sure, some of them are beautiful. But this book is classified in the home section. If you are looking for ideas or inspiration for your house, this is definitely not the book. Casa California is far better for that purpose. Many of the photos in this book are of a tiny tiny detail. The book itself is gigantic and very heavy. It's a very self-indulgent work by the author and publishing house.



4. The photography in the book is "Breathtaking" ! Learned so much about my new home , California , early architecture ! A great help for restoring homes here in Southern California !



5. This is an excellent ART book. The photos are exquisite but the whole of the book leaves a little too much left unsaid. The beauty of these period houses are the huge quantity of fine detail and how those details interact. To really get a feel for this type of style it's important to see those details in total and not just specific details in a vacuum. While the shots were all beautiful it would have been much better if the overall feel of the book was more encompassing instead of a macro view with the focus on fine art photography. I absolutely loved the photography, I just was left wanting a little more.

3 comments about Julius Shulman: Palm Springs.

1. This is just a gorgeous book. We saw the exhibit at the Palm Springs Art Museum on which it is based, and the book lives up to the exhibit. It's a beautifully photographed (of course -- Shulman does amazing things with light and contrast) retrospective of Desert Mid-Century Modern, and Alan Hess provides his usual informative commentary. A must-have for Desert Modern enthusiasts!



2. this beautiful book is a wonderful tribute to the world's most famous architectural photographer, the photographs speak for themselves and the book is lovingly assembled and very well executed



3. Excellent new book on Palm Springs architecture. The final statement on John Lautner's contribution to Palm Springs architecture finally does just to this exeptional architect. For a book of this quality the price is obscenely low.