Fans pick 100 books like Truth and Lies in Architecture

This book is an incredibly impressive feat—20 years in the making, 876 pages—and is necessary to understand the architecture that defines our era. One of America’s most respected architecture critics, Giovannini has spent decades writing about the work of such seminal architects as Frank Gehry, Zaha Hadid, Peter Eisenman, Wolf D. Prix of Coop Himmelb(l)au, Thom Mayne of Morphosis—and so many others that he came to know personally. Giovannini is the perfect person to craft this history. His erudite prose breaks down complex concepts into themes and timelines, putting architecture that resists context into comprehension. I also always love a book that takes its “objectness” into consideration. Weighing in at around 8 pounds, the object’s trapezoidal shape bucks orthogonal conventions—a perfect reflection of the work discussed in its pages. 

Today, so many large, established architecture firms’ names have been replaced by initials—SOM, HMC, ZGF, HOK, KPF, etc. Too many architecture professionals and students don’t realize or know the people behind the initials. To me, something is lost there. Putting a human face to global firm HOK, MacLeamy tells the stories of its founders—George Hellmuth, Gyo Obata, and George Kassabaum—along with those of many other firm leaders. What really makes this book necessary for anyone who needs to understand the business of architecture (that is, every architect) is that the author weaves pertinent how-to-design-a-business lessons into the history of the firm. It also contains MacLeamy’s personal story of his 50-year career at HOK, the final 13 of which were as CEO of a firm that had grown from 150 employees to nearly 2,000 and from a single office to 27 on three continents during his tenure. Both triumphs and failures… show more.

This is a personal peek at the work of a major firm by the “P” of KPF, one of the world’s leading skyscraper designers. Pedersen’s unpretentiousness and generosity of spirit are evident in the prose that accompanies the work. To my delight, the first building is 333 Wacker in Chicago, which, as a young art student living there, I saw being built. It became one of my favorites in a town legendary for its architecture. Buildings are personal to those who design them, and Pedersen tells intimate stories behind each of his 25 favorite designs. The surprise is that these are not precious little projects, but mostly very large, complex buildings for major clients, such as Samsung, World Bank, and Gannett. That said, the last of the projects featured is a jewel box of a house—the one he built for himself and his late wife of 60 years, to whom… show more.

An award-winning architect and poet, Marx explores creative ideas through poetry and watercolors, giving a very different way to view the art and craft of architecture. The paintings have a mysterious calm to them—evoking the work of Giorgio de Chirico—and are poetic in themselves. And then, you get actual poetry alongside the paintings! Graphic artist Jeremy Mende’s layout of the poems adds yet another layer of artistry. The tactility of the book as an object is delightful. Printed on thick watercolor paper, the book appears as a precious portfolio of secret thoughts and dreams. 

Two of the biggest names in twentieth-century architecture. Thoroughly researched, Neumeyer’s book explores the thought processes of the first, the generally taciturn German architect Mies van der Rohe. It includes a discussion of his fascination with traditional African architecture and its clear relationship between form and the constructional potential of specific materials (timber, grass, stone, rope, mud…) which of course translates into Mies’s own work with modern materials (welded steel and plate glass). But there is a lot more to this book than that; too much to cover here.

I remember Geoffrey Baker’s lectures about space, movement, and light in Le Corbusier's buildings from my own student days.

His infectious enthusiasm is captured in his book, with his own clear sketches and diagrams.

Baker’s analysis has been a lasting influence on my own work, encouraging me to experience moving around and through architecture, and where this is not possible to imagine that experience from drawings and photographs.

Check out Baker’s Design Strategies in Architecture: An Approach to the Analysis of Form, too.

A serious departure from my list from a guy who is dedicated to surface design and pattern, but it is a beautifully designed book with wonderful photographs of architectural sculptural structures. Not much color but there are patterns of course, in the surface textures, created by repetition in the design details, and by the light finding its way through these often grand forms.

Alas, now out of print, this book is part biography, part architectural history, and part social history. The mason-architect Robert Smythson comes to life, as do the houses he designed and the eccentric patrons who employed him. The book's (mainly black-and-white) illustrations inevitably look a bit dated now. But the text is, to my mind, hard to beat: utterly engrossing, particularly when dealing with Hardwick Hall, a house Girouard knows intimately, having lived there as a small child. I remember stumbling across this book many years ago, as a student, while looking for something else at the library. I ended up spending the better part of the day reading Robert Smythson from cover to cover: it was a revelation that a work of scholarship could be so beautifully written.

Set in Czechoslovakia in the 1930s, this story of a newly-married couple overseeing the construction of their dream home is as clean-cut, luminous and full of hints of fragility as the building itself – a modernist cube of glass. The husband is rich, the wife excited by her new role as patron.  Their architect -  a sharply observed portrayal of a tetchy artist who will insist on sticking to his vision regardless of his clients’ doubts – wants to make them a masterpiece, and he does.  But the husband is Jewish.  We are in the 1930s.  Glass walls are not going to keep them safe. 

In lucid, elegant prose Mawer conjures up central European culture in those edgy, febrile years when artistic and intellectual energy were so vital, and politics were so deadly.

I think I’m on my third or fourth copy of this book, because I keep giving it away! This is an absolutely stunning, gorgeously illustrated book about the spacesuits worn by Buzz Aldrin and Neil Armstrong during the moon landing. The bid to design the suits was won by the Playtex Corporation—the lingerie company!—over a bunch of industrial materials suppliers, because Playtex knew how to design for the body in ways the other firms didn’t. The book is organized into twenty-one chapters, in homage to the twenty-one layers of the spacesuit, and it’s a thing of beauty. It weaves together the history of aeronautics, the politics of the Space Race, technology design, and mid-century fashion so seamlessly, and makes you think about each of these topics differently.