Investigating the rich architecture of post-Mao China and its broad cultural impact In the years following China's Cultural Revolution, architecture played an active role in the country's reintegration into the global economy and capitalist world. Looking at the ways in which political and social reform transformed Chinese architecture and how, in turn, architecture gave structure to the reforms, Cole Roskam underlines architecture's unique ability to shape space as well as behavior. Roskam traces how foreign influences like postmodernism began to permeate Chinese architectural discourse in the 1970s and 1980s and how figures such as Kevin Lynch, I. M. Pei, and John Portman became key forces in the introduction of Western educational ideologies and new modes of production. Offering important insights into architecture's relationship to the politics, economics, and diplomacy of post-Mao China, this unprecedented interdisciplinary study examines architecture's multivalent status as an art, science, and physical manifestation of cultural identity.

Revolt and Reform in Architecture’s Academy uniquely addresses the complicated relationship between architectural education and urban renewal in the 1960s, which paved the way for what is today known as public interest design. Through an examination of curricular reforms at Columbia University’s and Yale University’s schools of architecture in the 1960s, this book translates the "urban crisis" through the experiences of two influential groups of architecture students, as well as their contributions to design’s lexicon. The book argues that urban renewal and campus expansion half a century ago recast architectural education at two schools whose host cities, New York and New Haven, were critical sites for political, social, and urban upheaval in America. The urban challenges of that time are the same challenges rapidly growing cities face today—access, equity, housing, and services. As architects, architects in training, and architecture students continue to wrestle with questions surrounding how design may serve a broadly defined public interest, this book is a timely assessment of the forces that have shaped the debate.

Amidst the sea of squalid brick tenements and working-class two-up, two-down houses of late nineteenth-century London, new building types arose, large in scale and bold in their message: the triple-storied Queen Anne board schools, the mock Elizabethan settlement houses, an Arts and Crafts free public art gallery replete with mystic symbolism, and as first conceived, a neo-Byzantine pleasure palace for the working-classes.

Hines places his work within an international context: as Gill's identification with the modern movement developed, his work evolved from the influence of the East Coast Shingle Style and Wright's Midwest Prairie Style to become closer in spirit to the work of the Austrian Adolf Loos. Gill and Loos were both admired by the second-generation modernists Rudolph Schindler and Richard Neutra, who studied under Loos in Vienna and learned from Gill in Los Angeles. Hines also explores the social dimensions of Gill's work.

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