forms. Published by Rizzoli, impeccably arranged, it
is a compendium necessary for devotees of classical
architecture new and old, and for those readers who
wish to be enlightened about the processes which turn
architecture to art, no matter what the style may be.
Imber, a native of Texas, draws inspiration for his houses
from the traditional architecture of the desert southwest
and Mexico, but more distant influences are visible also.
Imber cannot be relegated to the purely regional. Such
is the quality of his work,
his houses and buildings
would
substantially
enhance
New
York,
Riyadh, Dubai, Beijing or
Zurich.
Of all the practitioners of new classicism, Imber is among
a select group whose buildings simply appear right, in
design, execution and in situ, not just modern renderings
of old building types. They comfortably occupy their sites
and they would and do harmonize with their historic
antecedents, looking as good, if not better, than many
of them. The point is, his work is not mere reenactment,
but is wholly original.
Whereas most classical architects are implementing
Georgian, Palladian and Federal design schemes, many
inspiring, Imber is one of very few practitioners to lend
HYLAND
Corcoran
