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