efforts deserve recognition.We are indebted to Wendy own interpretations and some are more interpretive than Lochner for persuading us to attempt a second edition.Her others.Obviously these diagrams are then abstractions that support and encouragement were critical.The editorial staff focus on an issue that we have identified.For a particular at Van Nostrand Reinhold provided us with willing and valu- architect or building a single diagram may be clearer or more able assistance.James L.Nagle,Victor Reigner,and Mark revealing,which might suggest the identification of an issue Simon supported our efforts through encouragement,sug- of interest to the architect involved.By examining the build- gestions,and recommendations.Peter Bohlin and Carole ings through the same issues it is possible to see relation- Rusche generously contributed valuable information on the ships and nuances of development between architects and works of some of the architects.Collectively,we thank the their buildings.We also understand that architecture has staff of the School of Design for their willing assistance. many manifestations-social,technical,economical,cultur- Special recognition goes to Mara Murdoch who single- al,legal,and political.Any or all of these areas can impact handedly,with great skill,dedication,and patience,drew all the final form of the building,as can an individual architect's of the new pages. or client's personal predilection or whim. Finally.we wish to acknowledge all of our students,who Of those architects.for instance,that have been added have shown us that the study of precedents is a valuable tool for this edition,we know of Sigurd Lewerentz's interest in for learning to design,and who continue to challenge us. not doing things the conventional way.He is perhaps not as well known as some of the other architects in this volume, probably because he did not write about his work and did PREFACE TO THE THIRD EDITION not teach.Fortunately,some publications have appeared in recent years that have chronicled his life and his work.We We commend to the reader the Prefaces to the first and sec- found it interesting that while he began with a refined,yet ond editions of this volume.Much of what is included in original,Classical language (at the Chapel of the those Prefaces remains pertinent to us and our feelings Resurrection,for instance).his later work,represented here about this work.The approach to understanding architec- by the St.John's Church in Klippan,rejected that language. ture presented herein continues to be useful and this edition Yet there are similarities between the earlier and later work, again gave us the opportunity to enrich the Analysis section as revealed by the analytical diagrams.His work demon- by adding factual and analytic information on two buildings strates a subdued and restrained imagination that resulted in by each of eight architects. uncompromising and mysterious buildings. As with the previous editions.we have chosen to contin- Steven Holl seems to borrow from concepts of biology ue to present the buildings as a series of analytical diagrams and geology in making sculpturally fluid spaces.While his that examine archetypal ideas.Our intention is to continue buildings gesture toward their context,he has an obvious to explore the commonality of design ideas for comparison. interest in the introduction and manipulation of natural light We,of course,are aware that the architects examined here- for the interior spaces of his buildings.Much has been written in may not have embraced the subjects of the diagrams nor. about the importance of his sketches and watercolors in cap- if they did consider the issues,approached them in the same turing the feelings he desires for a building,yet his early inter- way we have interpreted them.Thus,the diagrams are our est in geometries is still demonstrated in his recent buildings. viiefforts deserve recognition. We are indebted to Wendy Lochner for persuading us to attempt a second edition. Her support and encouragement were critical. The editorial staff at Van Nostrand Reinhold provided us with willing and valu￾able assistance. James L. Nagle, Victor Reigner, and Mark Simon supported our efforts through encouragement, sug￾gestions, and recommendations. Peter Bohlin and Carole Rusche generously contributed valuable information on the works of some of the architects. Collectively, we thank the staff of the School of Design for their willing assistance. Special recognition goes to Mara Murdoch who single￾handedly, with great skill, dedication, and patience, drew all of the new pages. Finally, we wish to acknowledge all of our students, who have shown us that the study of precedents is a valuable tool for learning to design, and who continue to challenge us. PREFACE TO THE THIRD EDITION We commend to the reader the Prefaces to the first and sec￾ond editions of this volume. Much of what is included in those Prefaces remains pertinent to us and our feelings about this work. The approach to understanding architec￾ture presented herein continues to be useful and this edition again gave us the opportunity to enrich the Analysis section by adding factual and analytic information on two buildings by each of eight architects. As with the previous editions, we have chosen to contin￾ue to present the buildings as a series of analytical diagrams that examine archetypal ideas. Our intention is to continue to explore the commonality of design ideas for comparison. We, of course, are aware that the architects examined here￾in may not have embraced the subjects of the diagrams nor, if they did consider the issues, approached them in the same way we have interpreted them. Thus, the diagrams are our own interpretations and some are more interpretive than others. Obviously these diagrams are then abstractions that focus on an issue that we have identified. For a particular architect or building a single diagram may be clearer or more revealing, which might suggest the identification of an issue of interest to the architect involved. By examining the build￾ings through the same issues it is possible to see relation￾ships and nuances of development between architects and their buildings. We also understand that architecture has many manifestations—social, technical, economical, cultur￾al, legal, and political. Any or all of these areas can impact the final form of the building, as can an individual architect’s or client’s personal predilection or whim. Of those architects, for instance, that have been added for this edition, we know of Sigurd Lewerentz’s interest in not doing things the conventional way. He is perhaps not as well known as some of the other architects in this volume, probably because he did not write about his work and did not teach. Fortunately, some publications have appeared in recent years that have chronicled his life and his work. We found it interesting that while he began with a refined, yet original, Classical language (at the Chapel of the Resurrection, for instance), his later work, represented here by the St. John’s Church in Klippan, rejected that language. Yet there are similarities between the earlier and later work, as revealed by the analytical diagrams. His work demon￾strates a subdued and restrained imagination that resulted in uncompromising and mysterious buildings. Steven Holl seems to borrow from concepts of biology and geology in making sculpturally fluid spaces. While his buildings gesture toward their context, he has an obvious interest in the introduction and manipulation of natural light for the interior spaces of his buildings. Much has been written about the importance of his sketches and watercolors in cap￾turing the feelings he desires for a building, yet his early inter￾est in geometries is still demonstrated in his recent buildings. vii