In one book, you can see through Kahn's famous works, like Salk Institute of Biography Reaserch and Yale Center for British Art. Nice photos and descriptions. This book can be the beginning step for approaching Kahn's philosophy of architecture. He say, "Existence will determines the every nature of things". He used the simple forms to establish a fine-art-class architecture style. Kahn's works could be said as "Simple in FORM, but not simple in MIND."

A beautiful book...It's filled with so much information about Kahn's major projects. Interesting, well-written text and dozens of sketches and model photos accompany each major project. I'd never heard of Grant Mudford, but his big, color photos are beautiful. There's a list of all of Kahn's projects and buildings from the 1920s until his death in 1974, and a section of Kahn's travel sketches and artwork. The pages are large, the print quality is impressive, and the impeccable graphic design, by Massimo Vignelli with Abigail Sturges, suits Kahn's style perfectly. And it's a good buy, too.

Gee for this good of an indepth book it's missing some of Mr. Wrights art glass work. It appears to the author SLOAN of the book that Mr. Wright's executed art glass ended in 1924. HOW UNTRUE. What about the artglass in the Southern Florida University chapel? Or what about the Greek church in Madison Wisconsin? or what about the 1954 Beth Sholom Synagogue in Elkins Park, PA....the artglass above the pulpit?????? GEE GOOD research on the rest of it though.....lots of detail but she didn't do a good job on the rest of it.....by the way a sketch in Wright's drawings was done for the Greek Church in Madison, Wisc. originally to be christian "figurines"...the only sketch by Wright in artglass that was realistic other than his unexecuted "waterlilies" artglass that is known of and printed in color form today on rugs and prints. And gee I didn't even spend time to research this data, it was all known to me as an architect, & enthusiast. I'm also a member of the FLLW conservancy, FLLW Home & studio, Taliesin Fellows, and Taliesin Associates member. For non-architects who do books....CLUE: next time do thorough research since it makes your efforts and detailed work look shabby for so lengthy of detailed data excerted in your book. Good luck next time and PLEASE add a GOOD redone 2nd edition.

This is a very well researched, well presented analysis of FLW's windows. It speaks for itself. The pictures are well chosen and do a very good job of illustrating the books themes and analysis.

The "cover" image shown with this book is flipped 180 degrees from its actual orientation. To see the book in its actual design, go to www.lightscreens.com ... both the hardcover catalog to the exhibition and what I call the "Big Book" (the slipcased 400-pager) are there. (The paperback catalog is available only in the museums where the exhibition is mounted.)

Others have referred to the photographs as "bland." Well, I'd have to agree where the museums that own Wright windows are concerned; Wright intended to "bring the outside in," but museums for some reason insist on photographing his windows against a white background. Since I took most of the photographs in these books, let me tell you that I always photographed them with their backgrounds - the landscapes in the middle and long distance - integral to the windows themselves, as Wright intended.

The drawings are smaller than Wright made them because any 9x12 book is smaller than Wright's drawings. And as for "came" vs. "leaded," the latter term is a commonly used generalization to describe any glass held in a metal matrix ... Wright usually used copper or brass came, but not exclusively.

Since the book is in print after 20 years of research, the fact that its designer didn't meet the first reviewer's expectations or desires is beside the point. Until now there's been no definitive overview of Wright's stained glass. We should rejoice that this books exists ... and I do. Why do I rejoice? Beause I took most of the photos in the book (I'm the ALL of ALL/JLS in the credits) and I know how difficult it was to gain access to the [lived-in] homes of Wright homeowners, so I celebrate the fact that the author's been able to share this work with the world. It would otherwise be inaccessible.