This book presents a selection of GUND Partnership's recent work, reflecting the firm's continuing commitment to the social and narrative power of architecture. Beginning with a respect for the principles of site and context as form drivers, the project

This book presents a selection of GUND Partnership's recent work, reflecting the firm's continuing commitment to the social and narrative power of architecture. Beginning with a respect for the principles of site and context as form drivers, the projects seek to knit together mission and materials in new ways. Whether an urban or campus intervention or a pristine landscape, the most successful solutions are those that tie into their organizing context. At the same time, these projects acknowledge their surroundings without imitation through a commitment to human scale, as clear conception of space and its progression, and a desire to provide delight through the unexpected. Led by founding partner Graham Gund, FAIA, the office is located in a restored courthouse in Cambridge, Massachusetts, originally designed by Charles Bulfinch. The firm is the recipient of more that 100 regional and national design awards for excellence.

Doctor Haydock, the resident GP of St. Mary Mead, hopes to cheer up Miss Marple as she recovers from the flu with a little story. The tale revolves around the return of the prodigal son of Major Laxton, the devilishly handsome Harry Laxton. Harry, after leading a life of childish indiscretions and falling head over heels for the village tobacconist’s daughter, has made good and returned to lay claim to his tumbling childhood home and introduce the village to his beautiful new wife. But, the villagers are prone to gossip about young Harry’s past, and one person in particular cannot forgive him for tearing down the old house. Will Miss Marple’s acumen be up to the task of solving the story?

Michael Crosbie's theme for his latest book for IMAGES is the architect's own office. As with most professions, first impressions are paramount, but architects who design their own offices have their own reputations on the line, an in acutely public manner.

Eye-Popping Show-Stopping Libraries starts out by recounting the beginning of the relationship between the American Institute of Architects (AIA) and the American Library Association (ALA) to establish the Library Building awards and traces the development of the program over the following five decades. In the next seven chapters the authors have grouped selected award-winning libraries by big themes, to explore the evolution of service innovations and design trends; most of the selected case studies include exterior and interior photographs, as well as floor plans. The final chapter offers some thoughts on what a half-century of award-winning architecture can tell us about the future of library service and library design. In the afterword the authors review the initial round of seventeen award-winning libraries from 1963, to assess how the designs have held up over time, and to describe the current disposition of the building. Three appendixes offer a chronological list of award recipients, an alphabetical list of awardees by library, and an alphabetical list by architect. The fourth and final appendix is a chronological list of jury members. This full-color, beautifully illustrated with 141 images book presents these exemplary libraries as an exploration of the evolution of library service and design. It examines the award-winning libraries by big themes to explore how service trends and design trends have evolved. Documentation of featured library buildings (including photographs and plans) is an important element.

In this lavishly illustrated hands-on account of the creation of new theatre spaces spanning a century, Iain Mackintosh offers a compelling history that is part memoir, part impassioned call to rethink the design of our theatre spaces and the future of live theatre. As the originator of theatre designs as diverse as the Cottesloe in 1977, Glyndebourne in 1994, the Orange Tree Theatre in 1991, the Martha Cohen Theatre in 1985 and the Tina Packer Playhouse in 2001, he discovered why the same show worked in some theatres but not in others. It is this unique blend of experience that informs this account of many of the best-known theatre spaces in Britain, besides many international examples including the Guthrie Theater, Minneapolis and the Oslo Opera House. Running throughout is a consideration of factors which have shaped design thinking during this time and which demand attention today. After the long theatre closures driven by the Covid-19 pandemic, Mackintosh argues that now is the time to discover the routes travelled over the last century. Published in partnership with the Society of Theatre Research, the book features a foreword by Sir Richard Eyre, Director of the National Theatre, 1987–1997.