If you're looking for something new under the midcentury sun, Victor Lundy (born 1923) is a real find, an important yet underappreciated figure in the history of American architecture. Trained in both the Beaux Arts and Bauhaus traditions, he built an impressive practice ranging from small-scale residential and commercial buildings to expressive religious buildings and two preeminent institutional works: the US Tax Court Building in Washington, DC (now on the National Register of Historic Places), and the US Embassy in Sri Lanka. This first book on Lundy's life and career documents his early work in the Sarasota School of Architecture, his churches, and his government buildings. In addition to essays on his use of light and material, many of the architect's original drawings, paintings, and sketches—including those from his travels throughout Europe, the Middle East, India, and Mexico, now held at the Library of Congress—are reproduced here for the first time.

Sergeant Victor Lundy created 158 superb sketches which capture his experiences with the 26th Infantry Division in World War II. His days in training are well documented, as are the scenes of his embarkation and journey by convoy to Cherbourg on the coast of France. His unit was transported to the front via Red Ball Express and joined General Patton's 3rd Army as it fought for every hill and village, trying to drive the Germans from France. The exciting conclusion is a harrowing first-person narrative of the desperate battle for a tiny French village. There are few moments more consequential in combat than staring down the barrel of a Tiger Tank. Fortunately, Victor Lundy survived to tell his story.

The years: 1941 to 1966. The place: Sarasota, Florida. The story: a sudden burst of fresh, innovative houses by a group of Americans who caught the imagination of the international architectural community. Inflected by local climate, construction practices, regional culture, and Florida life-style, the work of the Sarasota school of architecture—founded by Ralph Twitchell and counting Paul Rudolph, Mark Hampton, Victor Lundy, and Gene Leedy among its practitioners—marks a high point in the development of regional modernism in American architecture. Although the Sarasota school wasn't a consciously organized movement, it was an important chapter in American modernism that, unlike the earlier Bay Area school and Chicago school, has received little study or published scholarly treatment. John Howey, who practices architecture in the region, provides the first solid documentation of the Sarasota group's designs and theories. He has interviewed all of the surviving architects and original clients and has included a rich archive of photographs by Ezra Stoller, Alexandra Georges, and others whose views, particularly of the houses built between 1950 and 1960, gained world-wide exposure when they were first published forty years ago. Howey first investigates the early influences on the Sarasota group, particularly of Frank Lloyd Wright in Florida. He then discusses such pivotal events as the opening of Ralph Twitchell's office in 1936 and the arrival of Paul Rudolph in 1941. Later chapters illustrate the effect of World War II on the Sarasota architects; early postwar successes of Twitchell and Rudolph; the influences of the Bauhaus and International Style; the tendency of various Sarasota architects to create their own design directions the arrival of Victor Lundy in 1954; the effect of changing economic, social, and political agendas on Sarasota's culture; and the philosophy and results of the Sarasota school.

Air can be used in a variety of ways to make lightweight, flexible structures. It can be used to make inflatable structures, mobile structures, and temporary buildings, it can also activate movable elements and act as a means of constructing buildings that would be impossible with conventional construction methods. This book looks at every facet of the subject, examining the different types of air structure: super pressure buildings, air beam structures, buoyant structures, inflatable structures, and many more. It also looks at the construction methods that use air, such as air-inflated steel, aerated concrete and blow moulding. Filled with photographs, models, drawings, and diagrams, this is the ideal book for curious students, designers and architects.

What are the challenges architects face when designing dwelling spaces of a limited size? And what can these projects tell us about architecture – and architectural principles – in general? In BIG little house, award-winning architect Donna Kacmar introduces twenty real-life examples of small houses. Each project is under 1,000 square feet (100 square meters) in size and, brought together, the designs reveal an attitude towards materiality, light, enclosure and accommodation which is unique to minimal dwellings. While part of a trend to address growing concerns about minimising consumption and lack of affordable housing, the book demonstrates that small dwellings are not always simply the result of budget constraints but constitute a deliberate design strategy in their own right. Highly illustrated and in full-colour throughout, each example is based on interviews with the original architect and accompanied by detailed floor plans. This ground-breaking, beautifully designed text offers practical guidance to any professional architect or homeowner interested in small scale projects.

The story behind a little-known episode in the annals of modern architecture and psychology—a 1950s creativity study of the top architects of the day, including Eero Saarinen, I.M. Pei, Philip Johnson, Louis Kahn, Richard Neutra, George Nelson, and dozens more—is now published for the first time. The story of midcentury architecture in America is dominated by outsized figures who were universally acknowledged as creative geniuses. Yet virtually unheard of is this intensive 1958–59 study, conducted at the Institute of Personality Assessment and Research at the University of California, Berkeley, that scrutinized these famous architects in an effort to map their minds. Deploying an array of tests reflecting current psychological theories, the investigation sought to answer questions that still apply to creative practice today: What makes a person creative? What are the biographical conditions and personality traits necessary to actualize that potential? The study’s findings have been gathered through numerous original sources, including questionnaires, aptitude tests, and interview transcripts, revealing how these great architects evaluated their own creativity and that of their peers. In The Creative Architect, Pierluigi Serraino charts the development, implementation, and findings of this historic study, producing the first look at a fascinating and forgotten moment in architecture, psychology, and American history.

Constructing Building Enclosures investigates and interrogates tensions that arose between the disciplines of architecture and engineering as they wrestled with technology and building cultures that evolved to deliver structures in the modern era. At the center of this history are inventive architects, engineers and projects that did not settle for conventional solutions, technologies and methods. Comprised of thirteen original essays by interdisciplinary scholars, this collection offers a critical look at the development and the purpose of building technology within a design framework. Through two distinct sections, the contributions first challenge notions of the boundaries between architecture, engineering and construction. The authors then investigate twentieth-century building projects, exploring technological and aesthetic boundaries of postwar modernism and uncovering lessons relevant to enclosure design that are typically overlooked. Projects include Louis Kahn’s Weiss House, Minoru Yamasaki’s Science Center, Sigurd Lewerentz’s Chapel of Hope and more. An important read for students, educators and researchers within architectural history, construction history, building technology and design, this volume sets out to disrupt common assumptions of how we understand this history.