In the exclusionary world of high modern architecture, it is curious to discover that two icons of the movement both admired the work of Sir Edwin Lutyens - an architect who had little or no interest in modernism. Le Corbusier and Frank Lloyd Wright created buildings that are very different, and the two men did not even like each other, but they shared a fascination for Lutyens' distinctively non-international style architecture. This polemical text is an account of why this occured. By exposing common aesthetic and structural themes in the architecture of these three giants, including the cities of New Delhi and Chandigahr, in India, the author explains why Wright and Le Corbusier may have had more in common with Lutyens than with many of their modern peers. The primary text in the book was written in 1967 and was published in a student journal in the U.S. with a small circulation. It has remained an underground classic since then - perhaps because its contents are so disruptive of our current views of 20th century modernism.

"Sir Edwin Lutyens is widely regarded as one of Britain's greatest architects. In a career of more than 50 years, spanning both the Victorian and Modern eras, Lutyens was prolific. His work ranged from great country houses, city commercial office buildings, his famous First World War memorials across Europe and Britain, and his magnum opus designs for New Delhi, built during the 1920s and 1930s. Lutyens' most celebrated works remain his magnificent country houses that so frequently adorned the pages of Country Life magazine, and in particular his houses of the period from the 1890s and 1900s. Sir Edwin Lutyens: The Arts & Crafts Houses brings together for the first time in new, wide-format all-colour photography, the definitive collection of over 40 of Lutyens' great houses, in which Lutyens ingeniously blended the style of the Arts and Crafts movement with his own inventive interpretation of the Classical language of architecture. The book features over 500 stunning current photographs, together with floor plans of the houses, and a fresh reinterpretation of Lutyens' enduring architectural genius."--

Guy Oddie's autobiography traces his life, loves and career as an architect. A man of strong opinions - from architecture to political correctness - and strong affections, these come across clearly, and never more so than when Guy writes candidly of the two great loves in his life.

"Elizabeth Wilhide traces the development of Lutyens's style and identifies the basic principles that informed his work, such as his finely tuned manipulation of space and light - an outsize staircase steals space but evokes spaciousness; a circular cook's table is flooded with natural light from an enormous lantern window in the roof.

A revealing new look at modernist architecture, emphasizing its diversity, complexity, and broad inventiveness Usually associated with Mies and Le Corbusier, the Modern Movement was instrumental in advancing new technologies of construction in architecture, including the use of glass, steel, and reinforced concrete. Renowned historian Kenneth Frampton offers a bold look at this crucial period, focusing on architects less commonly associated with the movement in order to reveal the breadth and complexity of architectural modernism. The Other Modern Movement profiles nineteen architects, each of whom consciously contributed to the evolution of a new architectural typology through a key work realized between 1922 and 1962. Frampton's account offers new insights into iconic buildings like Eileen Gray's E-1027 House in France and Richard Neutra's Kaufmann House in Palm Springs, California, as well as lesser-known works such as Antonin Raymond's Tokyo Golf Club and Alejandro de la Sota's Maravillas School Gymnasium in Madrid. Foregrounding the ways that these diverse projects employed progressive models, advanced new methods in construction techniques, and displayed a new sociocultural awareness, Frampton shines a light on the rich legacy of the Modern Movement and the enduring potential of the unfinished modernist project.

Foreword by Arthur Drexler. Introduction by Vincent Scully.

Edwin Lutyens, one of the most famous architectural names of the twentieth century, died in 1944. As a memorial three large volumes of his drawings were commissioned from the thousands found in his office, and were published by Country Life . This first volume contains his own plans, elevations and copious details of the finest examples of his domestic buildings, on which his huge reputation principally rests; the other two volumes covered his work on corporate and public buildings. But it is the wonderfully inspirational development of his love for the old houses of Surrey - that he shared with his friend and client Gertrude Jekyll - that strikes such a warm response and results in a constant demand for this particular volume. It was not always so. The work of selecting the drawings took so long that by the time the print run had to be decided the Modern Movement had become popular and Lutyens' work looked distinctly old-fashioned. The result was that barely more copies were printed than would