This colorful little book—published in connection with last year's exhibition at the Royal Academy, Richard Rogers: Inside Out—explains how the architect, known for some sensational urban buildings, exemplifies the ideals with which Modern architecture was founded.

London's high-rise architecture has a culinary bent of late. First there was the “Gherkin” by architect Norman Foster; now there is the “Cheese Grater” by Rogers Stirk Harbour and Partners, London. The city's next major high-rise, mothballed for three years during the foundation stage but about to spring to life, got its nickname thanks to its silvery leaning south facade. 

It’s unlikely that Prince Charles heads the Richard Rogers fan club, but Lord Rogers recently received validation from another luminary when the Royal Institute of British Architects named the Rogers Stirk Harbour–designed Maggie’s Centre the winner of its RIBA Stirling Prize 2009. 

The British architect Richard Rogers recently made headlines when he lambasted Prince Charles for interfering with the democratic planning process. Specifically, Lord Rogers was displeased with the prince's involvement in scuttling one of the 75-year-old architect's major commissions, Chelsea Barracks, which called for the construction of a dozen-plus glass-and-steel buildings in west London.

Frank Gehry has one, so do Jean Nouvel and Norman Foster. Renzo Piano has two. But last month, when New York’s governor scrapped a convention center expansion project, Richard Rogers—who joined Piano in electrifying Paris with the Pompidou Center during the early 1970s—remained a Pritzker Prize winner who has worked in New York City without a finished project to show for it.