Every work of architecture is a manifesto. With each work, we architects reassess the meaning of what we have proposed. Every project is a rare opportunity to voice our ideas and concepts. In ways small and large, in the private sector or the public realm, and eventually through the body of our works, both the grandiose and the humble become physical reality. Unlike art, music, or literature,architecture is tied to a location and a program; it i.s never separate from its context. It is simultaneously protagonist and antagonist. When a building is inhabited, ideas are transmitted on a daily basis, slowly seeping into the lives of its occupants.' In its omnipresence, architecture is probably the most subversive form of art.
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Foreword K. Michael Hays
Introduction Toshiko Mori
HISTORY/PRECEDENT
House on the Gulf of Mexico I
Frank Lloyd Wright's Darwin D. Martin House Complex Visitor Center
House in Connecticut II
“Josef and Anni Albers: Designs for Living”
Josef and Anni Albers Foundation Pavilion
Jingxiangqingke Housing Project
Loft in New York City
Smithsonian Patent Office Building Courtyard Competition
Poe Park Visitor Center
MATERIAL
House on the Gulf of Mexico II
Kyoto Arts and Fashions
“Immat erialAJlt ramat erial”
Issey Miyake Pleats Please
Issey Miyake
Marimekko
Onward Kashiyama
“Structure and Surface: Contemporary Japanese Textiles”
“Woven Inhabitation”
“Extreme Textiles: Designing for High Performance”
Addition to House on the Gulf of Mexico I
The Newspaper Cate
SITE/CLIMATE
Glass House Project
House in Maine I
House in Maine II
House in Taghkanic
Salzburg Sternbrauerei Housing Competition
Link Hall Addition and Renovation
Syracuse Center of Excellence in Environmental and Energy Systems
House in Garrison
House in Chatham
About Toshiko Mori Architect
Credits
Acknowledgments