Die Konstruktion im Dienst der Architektur - diesem Thema widmet sich das mehrbandige Werk des Architekten Jose Luis Moro. Der 3. Band stellt die Ausfuhrung des Gebaudeentwurfs in den Mittelpunkt der Betrachtung. Die Thematik Verbindungen wird grundlegend behandelt und entsprechende Techniken im Detail eroertert. Innere wie aussere Gebaudehullen erlautert der Autor ausfuhrlich und untersucht verschiedene prinzipielle Aufbauvarianten wie Schalen- oder Rippensysteme aus einer auf den konstruktiven Aufbau der Hulle bezogenen Perspektive.

The Palais de Tokyo, built for the 1937 International Exhibition of Arts and Technology, is an icon of French Art Deco architecture. Located prominently on the northern bank of the Seine near the Eiffel Tower, the vast complex today is a hotspot of modern and contemporary art in the French capital. Opened as part of the 1937 International Exhibition, the Musee d'Art moderne de la Ville de Paris (MAM) has always had its home in the eastern wing of Palais de Tokyo. After a major refurbishment directed by Paris-based h2o architectes, it was re-inaugurated in October 2019. This book documents the creation of the new MAM. Alongside brief essays and a conversation with h2o architectes founding partners Jean-Jacques Hubert and Antoine Santiard, it features plans and visualisations as well as historic photographs. The construction process is illustrated through a photo essay by artist Laetitia Badaut Haussmann and reportages by photographer Myr Muratet and architect-photographer Stephane Chalmeau. Text in English and French.

Santa Fes Scottish Rite Temple, built in 1912, is a historic landmark and the home of the Ancient and Accepted Scottish Rite of Freemasonry in New Mexico. The buildingincluding its jewel box theater with original scenery collectionand its artifacts, represent a time capsule of Masonic culture and theatrical history. Essays examine the emergence of Freemasonry, key Masonic figures during New Mexicos territorial period through statehood, and the architectural significance of the iconic pink building and Freemasons use of it to the present. Illustrated with contemporary and historical images, the book reveals the theatrical production of Masonic degrees and the production of the magnificent scenic backdrops. Today, many of the countrys Masonic buildings are being repurposed and their collections are being liquidated. Through the heroic efforts of its members, the Santa Fe Scottish Rite Temple has been preserved, remaining under the continued stewardship of the Freemasons, who share their building with the community.

The question of composition and spatial qualities arises in every urban design concept or intervention in the spatial structure of urban public squares. How are the essential elements involved: dimension, proportion, alignment, cohesion, accesses, shaping of focus point and of edges like surfaces and materials? How do they contribute to a character of urban space with which residents can identify? Comparing historical examples with current designs aids one in visualizing spatial effect. Similar to a floor planmanualfor buildings,Platzatlas allows the user to evaluate spatial conditions for movement and rest based on comparable existing urban squares. The book offers the planner a comparative example for most conditions (shape, size, location, topography, and so on). Seventy European urban squares are presented and explained with the most important characteristics in a consistent manner in as-built plan, ground plan, section, and axonometric projection.

This text is in English & Portuguese. The Luz Integrated Health Complex, comprising the Hospital da Luz and the Casas da Cidade (Senior Residences), is situated in the Luz neighbourhood, to the north of Lisbon. Designed by the Lisbon-based architectural firm RISCO, it is seen as a benchmark for state-of-the-art developments in hospital architecture. In her text Catherine Slessor describes it as follows: 'This project is striking on many levels, but most notably in the way that it rationalises, dignifies and humanises a large and complex healthcare programme. Perhaps the best and most paradoxical epithet that any critic can offer is that the Hospital da Luz doesn't particularly look or feel like a hospital. Rather, the architecture reconceptualises the notion what that might be, and then skilfully socialises this notion so that it becomes a built and experiential reality. And in doing so, another subtle shift is applied to the evolving continuum of the hospital as one of the modern era's most fundamental yet elusive building types'. There are further contributions by Luis Santiago Baptista and Axel Hinrich Murken who provides a comprehensive overview of the history of hospital architecture. In addition to the large selection of plans and images there are various texts by architects and engineers who were involved in the construction.

Das Buch bietet eine architektonische Entdeckungstour durch Berlin und gibt einen eindrucksvollen Einblick in die jungste Architektur der deutschen Hauptstadt. Es dokumentiert den Stadtumbau seit der Eroeffnung des Neuen Museums 2009 am Beispiel von rund 30 ausgewahlten architektonischen und landschaftsarchitektonischen Projekten. Das Augenmerk liegt auf grossen architektonischen und stadtplanerischen Meilensteinen wie dem grossen Neubau des Axel Springer-Gebaudes von OMA oder der Museumsinsel. Doch auch versteckte Schatze wie das Wohnregal von FAR Frohn & Rojas sind berucksichtigt. Interviews mit Protagonistinnen und Protagonisten der Berliner Architekturszene ermoeglichen einen Blick hinter die Kulissen.

This title includes text in English & Portuguese. In the second half of 2007, the baton of the EU Council Presidency was passed to Portugal. The country decided to hold the majority of the planned meetings, conferences and summits at a central location in Lisbon. The chosen venue was the Sala Tejo des Pavilhao Atlantico, which was converted to host the meetings on the future of Europe, culminating in the Treaty of Lisbon. The architects commissioned for this project, Baixa, Atelier de Arquitectura, successfully gave the venue - as well as the event - an impressive identity, marked by Portuguese culture and contemporary architecture. This book pays tribute to this ephemeral piece of architecture with a comprehensive collection of sketches, drawings and photos. In the accompanying and introductory texts, the project is viewed through the eyes of two well-known architecture critics as well as the Head of Mission of the Portuguese Presidency.

Cheerful, playful, light-the architectural leitmotifs of the 1972 Summer Olympics in Munich spatially embodied the hope of a new era for the young German Republic. The vision of a cosmopolitan society found expression in a swinging roof construction over gently undulating landscape forms and fresh, clean colors. For the first time, this book examines the design and technical achievements behind the iconic Olympia architecture-as told from the perspective of the congenial collaboration between its planners. Detailed insights into the creation process between visionary artistic aspirations, technical possibilities, motivation of those involved and the power of decision-makers how the potential of interdisciplinary thinking. Olympia Munchen '72-Architektur + Landschaft als gebaute Utopie is a unique historical testimony of the time, based on extensive interviews by the author with Gunter Behnisch, Frei Otto, Hans-Jochen Vogel, Klaus Linkwitz, and Joerg Schlaich, among others. Including previously unpublished visual material.

The Open Call in Flanders (the Dutch-speaking, northern part of Belgium) is more than just another architecture competition: any governmental agency or public institution can choose to work with an Open Call for any given construction project. Since its invention by the first Flemish Government Architect bOb Van Reeth in 2000, more than 700 assignments have been published in this procedure, resulting in almost 350 completed public architectural and infrastructural projects so far. This volume compiles 70 of these, from all over Flanders-from its west coast to the Dutch border in the east-to illustrate the astounding quality of these projects. They prove that public architecture can be daring, thought-provoking, cooperative, and well-done at the same time. The book takes an extensive look at how this procedure works, how it is received by architects, politicians, and clients-and ultimately, at the outstanding public architecture in Flanders as an example for other countries to study closely. Including buildings by 51N4E, Bovenbouw Architectuur, Compagnie O, Dierendonckblancke, KAAN, Ney & Partners, noAarchitecten, NU architectuuratelier, OFFICE Kersten Geers David Van Severen, RCR Arquitectes, Robbrecht en Daem, Sergison Bates, Eduardo Souto de Moura, Xaveer de Geyter, Zaha Hadid, among others

Bilingual edition (English/German) / Zweisprachige Ausgabe (deutsch/englisch) In recent years, few German buildings have received as much public attention as the capital's new airport, designed by von Gerkan, Marg and Partners Architects. Since opening in October 2020, BER can now be experienced by everyone. This volume of the gmp FOCUS series offers insight into the design and planning of the airport, which is characterized by short distances, a high degree of modularity, and flexibility of use. Based on a universal planning and design manual, all elements of the airport are integrated into an axial system and form an architectural-functional unit. An essay by architecture critic Falk Jaeger and an interview with the designing architects provide background information on the project.

As the signature event of Hong Kong Interior Design Association (HKIDA), APIDA aims to promote professional standards among interior design practices, recognise outstanding interior design projects and invites interior design on a broader social level. Many outstanding submissions have not only grown in number this year, but also completed on a whole new level. Many projects pursue minimalism, adhering to the user-oriented view, reinforcing the intimate relationship among design, nature and man, transcending good interior design to sculpt space, emphasising the balance between architecture and nature with tranquil atmosphere, and pushing the boundaries of design.

Showing a presence and highlighting the significance of female architects for contemporary building culture is the guiding principle of the show Architektinnen BDA, the Association of German Architects Berlin's contribution to the festival Women in Architecture 2021. The curators bring to light the accrued female capacity in the BDA-as a community of individual minds, united by their commitment to the profession of architecture and building culture. Around 50 female BDA architects and affiliated members responded to the curatorial team's open call for presenting a selection of their works. The publication accompanies the exhibition at the BDA Galerie Berlin, alongside a poster campaign in public space. 50 short interviews give insight into the position and works of the architects, and complement the selected architectural contributions.

Die "Neue Heimat" war der groesste und bedeutendste nicht-staatliche Wohnungsbaukonzern im Europa der Nachkriegszeit. In einem Zeitraum von uber dreissig Jahren hat das Gewerkschaftsunternehmen mehr als 400.000 Wohnungen und seit den sechziger Jahren auch zahlreiche Kommunal- und Gewerbebauten in Deutschland geplant und ausgefuhrt. Die "Neue Heimat" war ein Hoffnungstrager fur die Teilhabe am Wirtschaftswunder - und der skandaltrachtige Zusammenbruch des Unternehmens Anfang der achtziger Jahre wirkte wie ein Schock auf die westdeutsche Bevoelkerung. Der zeitliche Abstand von uber einer Generation bietet die Chance fur eine kritische Untersuchung: Was waren die Ansatze der sozialdemokratischen Visionen und was ist aus dem bis heute angestrebten "Wohnen fur Alle" geworden? Anhand zahlreicher historischer Foto- und Planmaterialien und Kurzbeitragen werden u.a. Grosssiedlungen wie die Neue Vahr Bremen oder die Entlastungsstadt Neuperlach sowie gigantische Grossprojekte der "Neuen Heimat Stadtebau" wie das ICC Berlin dokumentiert.

Henry Flagler's opulent Hotel Ponce de Leon drew worldwide praise from the day its elaborately carved doors opened in 1888. Built in the Spanish Renaissance Revival style, the architectural and engineering marvel featured the talents of a team of renowned artisans, including the designs of architects John Carrere, Thomas Hastings, and Bernard Maybeck, electricity by Thomas Edison, and interior decoration and stained glass windows by Louis Tiffany. Hotel Ponce de Leon is the first work to present the building's complete history and detail its transformation into the heart of Flagler College. Leslee Keys, who assisted in the restoration, recounts the complicated construction of the hotel-the first major structure to be built entirely of poured concrete-and the efforts to preserve it and restore it to its former glory. The methods used at Flagler College have been recognized as best practices in historic preservation and decorative arts conservation, and today the campus is one of Florida's most visited heritage tourism destinations.

As our lives accelerate to keep pace with today's frantic world, the possibility of truly arriving at a destination grows in importance. Interior designers are faced with the challenge of creating rooms that allow an authentic stillness in the most inherently transient of interior spaces. The title showcases a wide variety of takes on the recurring theme of the hotel room. Featured are 101 different design concepts by two spe - cialists in the field of hospitality design. The selection of projects covers the broadest possible spectrum: redesign - ing the interior of historic grand hotels, creative solutions for budget hotels as well as prize wining design hotels. What makes this title a valuable reference is the direct insight into the planning process of two professional and highly successful interior designers.

Lyons, one of Australia's most significant architectural practices, has produced a striking body of work over the 15 years since its inception. "More: The Architecture of Lyons, 1996-2011" presents this substantial oeuvre in monograph form for the first time. The practice is known for its major commercial, institutional, educational and healthcare projects, including BHP Billiton Global Headquarters, Melbourne; John Curtin School of Medical Science, ANU; Central Institute of TAFE, Perth; the Queensland Childrens Hospital, Brisbane; School of Medicine and Menzies Research Institute, Hobart; School of Medicine and Research, Western Sydney; the Melbourne Brain Centre and the Lyon Housemuseum. The buildings are all public projects. Together, they reveal the practices commitment to engaging with contemporary experiences of local and global cultures ideas, new media, technologies and rapidly changing urbanism are all at play here. "More" demonstrates Lyons firm commitment to the history and culture of ideas and to how ideas might be used to create meaningful contemporary architecture.

Pharmacies constitute a special form of commercial architecture. The market for medicines, which is heavily regulated in most countries, has led to a veritable competition of the "atmosphere of space": since where product and price can no longer provide a competitive advantage, customer loyalty must be created with other means. In addition to professional competence and familiarity with the customers, that becomes above all the ambiance. That in turn translates to the modern and hygienic pharmacy, together with a friendly and assuring spatial experience. The selected examples show the design sophistication with which pharmacies today, from a functional as well as atmospheric standpoint, set themselves apart from the historical chemists' shelves - and the competitors.

"The Delirious Museum" gives a new interpretation of the relationship between the museum and the city in the twenty-first century. It presents an original view of the idea of the museum, proposing that it is, or should be, both a repository of the artefacts of the past and a continuation of the city street in the present. Storrie re-views our experience of the city and of the museum taking a journey that begins in the Louvre and continues through Paris, London, Los Angeles and Las Vegas, re-imagining the possibilities for museums and their displays and re-examining the blurred boundaries between museums and the cities around them. On his quest for The Delirious Museum he visits the museum architecture of Soane and Libeskind, the exhibitions of Lissitsky and Kiesler and the work of such artists as Duchamp and Warhol, taking readers on a stimulating journey through cities and museums worldwide. Serious general readers interested in urban culture, design and architecture, as well as professional architects, cultural studies and museology academics will enjoy the book, which is well illustrated in black and white.

A historical and theoretical analysis of corporate architecture in the United States after the Second World War. The Organizational Complex is a historical and theoretical analysis of corporate architecture in the United States after the Second World War. Its title refers to the aesthetic and technological extension of the military-industrial complex, in which architecture, computers, and corporations formed a network of objects, images, and discourses that realigned social relations and transformed the postwar landscape. In-depth case studies of architect Eero Saarinen's work for General Motors, IBM, and Bell Laboratories and analyses of office buildings designed by Skidmore, Owings & Merrill trace the emergence of a systems-based model of organization in architecture, in which the modular curtain wall acts as both an organizational device and a carrier of the corporate image. Such an image-of the corporation as a flexible, integrated system-is seen to correspond with a "humanization" of corporate life, as corporations decentralize both spatially and administratively. Parallel analyses follow the assimilation of cybernetics into aesthetics in the writings of artist and visual theorist Gyorgy Kepes, as art merges with techno-science in the service of a dynamic new "pattern-seeing." Image and system thus converge in the organizational complex, while top-down power dissolves into networked, pattern-based control. Architecture, as one among many media technologies, supplies the patterns-images of organic integration designed to regulate new and unstable human-machine assemblages.

Text in English and Spanish. In 2000 the Autostadt, a show park for the Volkswagen group and its subsidiaries from Seat via Audi to Bentley and Lamborghini, opened in Wolfsburg. Alfredo Arribas designed the Seat Pavilion, and has brought off the brilliant trick of making an essentially reticent building into the focal point of the Autostadt. The structure is like a snail shell, forbidding and closed with the exception of a band of windows that seems to rise directly out of the surface of the lake on the Autostadt site. The irregular curve of the ground plan is reminiscent of a leaf or other forms borrowed from nature. Access is via two elegant ramps floating over the water and the site and thrusting straight into the centre of the pavilion: a homage to the old master, Le Corbusier. And then inside we are confronted with a surprise-packed exhibition landscape: a dazzling synthesis of acoustic and visual impressions that cast their spell over visitors as they walk round. Alfredo Arribas was a provocative newcomer on the architectural scene in Barcelona in the late eighties and is now an international success. He was probably predestined for this job like no other architect. He showed a highly personal flair for presenting spaces and goods from the outset, attracting early attention with his designs for discotheques and bars like the enormous Louie Vega (1988) discotheque, or the Torres de Avila (1990). The expressive tower for the Marugame Hirai Museum (1993) is also part of this creative phase, where forms did not necessarily have to be justified by functional logic. But Arribas' architecture changed into its business suit for the very next commissions. For example, even bankers in their pin-stripe suits feel perfectly at home in the cafeteria he designed for Norman Foster's Commerzbank headquarters in Frankfurt. Arribas is working on two large projects at present: a family entertainment centre in Bari and the Cite des Musiques Vivantes in Montlucon.

Test in German and English. The Embassies of the Nordic Countries in Berlin are political architecture of a particular kind, political architecture that does not assert a claim to power, but that is a self-portrait in the best sense of the word. The vision, which is already a reality on the level of architecture and design, aims to combine individual interests within a greater whole: the ancient democratic ideal that has perhaps never been expressed in a more beautiful and convincing gesture than in this combination of five countries, six buildings and six teams of architects, chosen in a European competition for the central design concept and in five national competitions for the individual buildings. It is certainly no coincidence that such convincing symbolism of joint responsibility and action is not a success due to one of the European mammoth institutions but to the comparatively small Nordic countries Denmark, Sweden, Norway, Finland and Iceland. Perhaps it is not even a coincidence that the concept of the individual sections that form an individual whole and while doing so preserve their individual quality as well as the unity comes from a young Viennese architectural practice whose principal protagonists, the Austrian Alfred Berger and the Finn Tiina Parkkinen, think and work across boundaries. A crucial factor was the location in Berlin, because it was only here that the new buildings for all five embassies could be commissioned at once. Berger+ Parkkinen's architecture risks striking breaches of boundaries, not just between the countries involved but also between urban development and architecture, and technology and art. Urban space is an integral part of the embassy complex, to the same extent as nature. Materials and furniture indicate different cultures. And yet the composition, for all its openness and transparency, works to exact spatial sequences and precise external lines for the building, within the 226 metres long and 15 metres high band of meandering copper. The idea that the work of Alvar Aalto is being unexpectedly continued here comes involuntarily to mind.

"Gibt es denn ein schoeneres Bild fur den Frieden unter den Menschen als den Lesesaal einer grossen Bibliothek?", fragt Peter von Matt in seinem Beitrag fur dieses Buch. Mit dem Bau der Bibliothek der Humboldt-Universitat zu Berlin hat Max Dudler einen ebenso modernen wie zeitlosen Ort fur die Bucher und das Lesen geschaffen. Seine Architektur hat weit uber Berlins Grenzen hinaus aufmerken lassen und erlebt eine bis heute anhaltende Begeisterung vonseiten der Nutzer*innen. Bibliothek dokumentiert die Ideen, die diesen Bau pragen, widmet sich aber auch allgemein der Rolle von Bibliotheken und insbesondere der Architektur, die den Buchern und ihren Leser*innen einen adaquaten Raum schafft. Die Schwarzweissfotografien von Barbara Klemm verdeutlichen dies auf geradezu magische Weise. Sie fangen die intensive und zugleich lebendige Arbeitsatmosphare in den Raumen der Bibliothek ein. Einen spannungsvollen Kontrast schaffen die ruhigen, strengen Farbfotografien von Stefan Muller, indem sie sich ganz auf die Architektur des Gebaudes konzentrieren. Mit Texten von Joerg Baberowski, Hartmut Boehme, Milan Bulaty, Max Dudler, Martin Mosebach, Peter von Matt sowie Fotografien von Barbara Klemm und Stefan Muller "'Bibliothek' ist ein zauberhafter Bildband und klug gemacht dazu, setzt er doch Dudlers Anspruch auf eine 'allgegenwartige Dialektik von Innen und Aussen' auch fur das Bild um, das wir uns jetzt von der Bibliothek machen koennen." Andreas Platthaus in der Frankfurter Allgemeinen Zeitung zur 2010 im Berlin Verlag erschienenen Erstauflage des Buchs

Das Berliner Zimmer ist seit jeher Zumutung und Angebot zugleich: dunkel, schwer zu beheizen, ohne klar definierte Funktion. Ein Raum, der zur kreativen Aneignung einladt, der geliebt und gehasst wird - aber bisher kaum erforscht wurde. Jan Herres leistet in diesem Buch Pionierarbeit. Er zeigt auf, wie das Berliner Zimmer ab dem 18. Jahrhundert entstand und warum es bis heute Eingang in den Berliner Wohnungsbau findet. Die architekturgeschichtliche Beschreibung wird durch Fallstudien und Bildstrecken zu heutigen Formen der Nutzung und Moeblierung erganzt. Durch die Erfassung von Grundrissen, Groessen und Wohnpraktiken liegt mit Das Berliner Zimmer. Geschichte, Typologie, Nutzungsaneignung die erste Anthologie des Berliner Zimmers vor, die zugleich ein Pladoyer dafur ist, Wohnarchitektur nutzungsoffen und wandelbar fur kunftige Anforderungen zu planen.

Landscapes are forged by many forces and are dynamic, not static. Yet most landscape designs are designed as static; that is, they are designed not to change substantially for 20-50 years. As cities become the dominant living space for humans, allowing non-human forces to contribute to our designs as landscape architects will make for more resilient landscapes and a healthier planet. Making these dynamic landscapes with our non-human partners will require a new landscape aesthetic, changing the public perception of "landscape," and changing maintenance practices. Dynamic Geographies seeks to address these perceptions with a series of our projects as examples. The book is divided into three segments of overlapping geographies: Invisible geographies, Layered geographies, and Unleashing geographies.