critical.The other members of the editorial,art,and produc- into the Analysis section using the techniques and format tion staff at Wiley were also helpful.Peter Q.Bohlin,James L. that were developed previously.The analytic diagrams are Nagle,and Victor Reignier encouraged us through sugges- our interpretations and are thus abstractions that purposely tions and recommendations.We also thank the College of eliminate some information found in the plans,elevations. Design,its administration and staff,for their willing assis- and sections of the buildings.The desire through these tance. abstractions is to highlight the particular issue being As with previous editions all of the pages in this edition examined.By presenting the factual information on a page are from original drawings.While we are responsible for the adjacent to the analytic diagrams our intention is to aid the content of the drawings,Jason Miller has with diligence, reader in connecting the factual information with our inter- patience,and great skill interpreted our sketches to create pretation.Placing all of the analytic diagrams on one page these thirty-two new pages.We owe him a special thank you. affords the reader the opportunity to accumulate informa- Finally,as we have done previously,we wish to thank tion about the building.One can also read from page to page our students,who reinforce,challenge,and question con- to compare any one analytic diagram to see how different stantly while demonstrating that analytical processes are architects addressed that particular issue.Alternatively.one valuable as a tool for design.They make each day an inter- can refer to the Formative Idea section of the book to see esting pleasure. collections of diagrams of buildings by various architects about one archetypal idea. We are aware that the built form from any architect is PREFACE TO THE FOURTH EDITION the result of multiple considerations-social,technical,eco- nomic,cultural,legal,and political-not the least of which Our commentary in the original,second,and third editions are the programmatic peculiarities and the client's interests remains relevant and we commend the reader to them.The and concerns.Of the architects we have added to this methodology of analysis and the formative ideas presented edition we know,for instance.of the importance that the continue to be a useful means for providing a vocabulary for region has had on Brian Mackay-Lyons.His architecture understanding the architectural work of others and for cre- takes advantage of local building skills while responding to ating architecture.It provides a tool for connecting archi- the particular geography and climate of the site where he tectural works regardless of time or origin.Thus,it affords builds.Others have even referred to him as "the poet of the opportunity to transcend style,culture,and type.It place."However,the importance of place does not change reminds us that there is more to architecture than a picture his apparent interest and abilities in other issues of form like or a well composed photograph. geometry,proportion,spatial manipulation,and the relation- As with the previous editions we have added to the ship between the plan and section that consistently appear Analysis section of the book with the desire to present fac- in his buildings. tual drawings and information about the buildings,along Tom Kundig has indicated on many occasions that his with our analysis of these buildings.The new information source of inspiration has always been "the large landscape" presents the work of seven architects with two buildings by and clearly he makes gestures in his work to that landscape. each of them.This new work has been seamlessly inserted He has also written about the seminal influence of a sculptorcritical. The other members of the editorial, art, and produc￾tion staff at Wiley were also helpful. Peter Q. Bohlin, James L. Nagle, and Victor Reignier encouraged us through sugges￾tions and recommendations. We also thank the College of Design, its administration and staff, for their willing assis￾tance. As with previous editions all of the pages in this edition are from original drawings. While we are responsible for the content of the drawings, Jason Miller has with diligence, patience, and great skill interpreted our sketches to create these thirty-two new pages. We owe him a special thank you. Finally, as we have done previously, we wish to thank our students, who reinforce, challenge, and question con￾stantly while demonstrating that analytical processes are valuable as a tool for design. They make each day an inter￾esting pleasure. PREFACE TO THE FOURTH EDITION Our commentary in the original, second, and third editions remains relevant and we commend the reader to them. The methodology of analysis and the formative ideas presented continue to be a useful means for providing a vocabulary for understanding the architectural work of others and for cre￾ating architecture. It provides a tool for connecting archi￾tectural works regardless of time or origin. Thus, it affords the opportunity to transcend style, culture, and type. It reminds us that there is more to architecture than a picture or a well composed photograph. As with the previous editions we have added to the Analysis section of the book with the desire to present fac￾tual drawings and information about the buildings, along with our analysis of these buildings. The new information presents the work of seven architects with two buildings by each of them. This new work has been seamlessly inserted into the Analysis section using the techniques and format that were developed previously. The analytic diagrams are our interpretations and are thus abstractions that purposely eliminate some information found in the plans, elevations, and sections of the buildings. The desire through these abstractions is to highlight the particular issue being examined. By presenting the factual information on a page adjacent to the analytic diagrams our intention is to aid the reader in connecting the factual information with our inter￾pretation. Placing all of the analytic diagrams on one page affords the reader the opportunity to accumulate informa￾tion about the building. One can also read from page to page to compare any one analytic diagram to see how different architects addressed that particular issue. Alternatively, one can refer to the Formative Idea section of the book to see collections of diagrams of buildings by various architects about one archetypal idea. We are aware that the built form from any architect is the result of multiple considerations – social, technical, eco￾nomic, cultural, legal, and political – not the least of which are the programmatic peculiarities and the client’s interests and concerns. Of the architects we have added to this edition we know, for instance, of the importance that the region has had on Brian MacKay-Lyons. His architecture takes advantage of local building skills while responding to the particular geography and climate of the site where he builds. Others have even referred to him as “the poet of place.” However, the importance of place does not change his apparent interest and abilities in other issues of form like geometry, proportion, spatial manipulation, and the relation￾ship between the plan and section that consistently appear in his buildings. Tom Kundig has indicated on many occasions that his source of inspiration has always been “the large landscape” and clearly he makes gestures in his work to that landscape. He has also written about the seminal influence of a sculptor ix