A comprehensive history of one of Charleston's most significant landmarks On a hot summer day in 1929, the citizens of Charleston, South Carolina, participated in one of the largest celebrations in the city's history--the opening of the Cooper River Bridge. After years of quarrels, financial obstructions, and political dogfights, the great bridge was completed, and for the first time, Charleston had a direct link to the north. From the doldrums of the Depression to the growth of the 1990s, the Cooper River Bridge played a vital role in Charleston's transformation from an impoverished, isolated city to a vibrant and prosperous metropolis. Now obsolete and no longer adequately serving the needs of the Charleston area, the "old" Cooper River Bridge, and the "new" Silas N. Pearman Bridge--the Cooper River Bridge's larger sister structure, erected in 1966--will be replaced. Funding, design, and construction are presently underway to replace the old structure with a single, modern bridge. The two original bridges have become true emblems of Charleston, much like the Eiffel Tower of Paris or the Golden Gate Bridge of San Francisco. With their removal, Charleston will lose two of its most significant landmarks. This vast change in the city's skyline is sure to evoke memories from Charlestonians and visitors who have developed a special relationship with the old bridge. In addition to these reminiscences, the Cooper River Bridge has its own story--one of ambitious men and their dreams of profit, and of a city's dreams of prosperity. Upon its completion, the Cooper River Bridge was a grand symbol of Charleston's vision for the future, and the bridge recalls many significant themes in the modern history of the city. The Great Cooper River Bridge provides the complete history of this architectural icon, exploring how early twentieth-century Charleston helped shape the bridge, and how the bridge subsequently shaped the city. With more than eighty photographs, this illustrated volume documents a remarkable engineering feat and a distinctive structure before it becomes a memory.

Climate change and increasing resource scarcity together with rising traffic volumes force us to develop new environmentally friendly and people-oriented mobility options. In order to provide a positive mobility experience, the transition from one mobility mode to another must be managed smoothly and safely, and individual, shared or public means of transportation must become convenient and easy. Conceptual as well as existing infrastructure projects provide models for future sustainable and connected mobility. This volume focuses on the importance of design, introducing through photos, plans, and brief texts over 60 groundbreaking projects from the disciplines of product design, architecture, and urban planning. With this international overview Mobility Design portrays the current situation of sustainable mobility systems, while identifying mobility as one of the most important design tasks of the future. With project texts by Markus Hieke, Christian Holl, and Martina Metzner

The Bauhaus Building in Dessau, designed by Walter Gropius in 1926, represents a "built manifesto of Bauhaus ideas" and is one of modernism's most important buildings. Together with the associated Masters' Houses (Meisterhauser), the Houses with Balcony Access (Laubenganghauser) in Dessau, and Bauhaus buildings in Weimar and Bernau, it is included in UNESCO's World Heritage List. The book focuses on strategies for preserving the Bauhaus Building. It presents the building-and its eventful history-from its construction to its destruction, rebuilding, and restoration. Using texts, photographs, and numerous blueprints, the book provides a detailed exploration of specific aspects of the architecture-such as the building's outer shell, materials, construction, color scheme, and surfaces-and the long-term preservation concept for the site. In doing so, it proposes structural measures aimed at adapting the building to today's challenges and at conserving the building with its historic and artistic characteristics. Archaeology of Modernism. Preservation Bauhaus Dessau is the revised and expanded edition of Archaeology of Modernism. Renovation Bauhaus Dessau, which was published by JOVIS as Volume 23 of the EDITION BAUHAUS series in 2006. This new edition is presented as Volume 58.

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.

State universities are more than just places of higher learning, more indeed than just campuses or buildings, and more than just students scurrying from class to class. They are a symbol of the future of the nation and a statement about the commitment the sponsoring state has made to its people. In turn each city or town that hosts, develops, and nurtures these institutions recognizes that it holds within the community one of the more precious jewels in a state's crown. So it is with the city of Columbia and the University of South Carolina. Richard F. Galehouse has been involved in the university's master planning work for more than twenty-five years, making him more than qualified to take a lapidary look not only at the present and unfolding plans for the university, but also at the historic path that has brought it to its current luster. Encompassing its earliest days as Columbia College in 1801 (almost two decades before Thomas Jefferson's University of Virginia); the devastating effects of the Civil War; the ""crisis years"" between 1861 and 1915, when the institution was closed twice and reorganized five times; and some bungled urban planning in the 1950s and 60s, Galehouse's candid examination details the growth of the university and speaks hopefully about its present and its future. The city of Columbia and the University of South Carolina are unique in how they were designed to grow together, yet cosmopolitan in how they grapple collectively with the challenges and difficulties of combining the city's needs with the university's to create a symbiotic but nevertheless holistic community. The plan for this meeting of minds and needs is the meat of this narrative. The original and iconic ""Horseshoe grid"" of the city is echoed in the ""Innovista"" master plan outlined here, which will create in the city a shining setting for the university, one of its own most highly prized treasures. A foreword is provided by Patrick L. Phillips, global chief executive officer of the Urban Land Institute (2009-2018) and an instructor at the Harvard Graduate School of Design Executive Education Program and at the Carey Business School at Johns Hopkins University.

The stately mansion known as the Argyle has a past as storied and fascinating as the Lone Star State itself. From its origins as a home and headquarters of a horse ranch to its transformation into an inn and elegant dining club, and ultimately part of a pathfinding medical research endeavor, the Argyle has been at the center of San Antonio and Texas history since the middle of the nineteenth century. Originally built as a residence in 1860 by Charles Anderson, the Argyle temporarily served as an arsenal for the Confederacy during the Civil War. By the late nineteenth century, siblings Robert and Alice O'Grady operated what became a familiar inn and fine dining establishment for weary travelers and many notable figures, including Gen. John J. ""Black Jack"" Pershing. During the Great Depression and World War II, the Argyle fell into disrepair. Betty Moorman, whose brother Tom Slick had founded the nonprofit Southwest Foundation for Biomedical Research, rescued the Argyle from the brink of demolition and converted it into a fine dining club whose members would provide financial support for the research institute. Today the Argyle continues to serve and support the mission of the Texas Biomedical Research Institute, making important contributions to understanding and developing treatments for infectious diseases and cardiovascular disease, cancer, diabetes, and other common diseases. This book not only contributes to the story of San Antonio's history but is also a treasured and informative keepsake for those who support and continue to benefit from the Argyle and its larger mission.

In the eighteenth century the Alps became the subject of a new view of nature, which crystallized in the sublime. Oscillating between fear and fascination, this sensual experience triggered a thrilling borderline experience: travelers ventured to the mountain world full of longing and projected a variety of different dreams onto the "wild nature" that had yet to be explored. To what extent has the sublime influenced architecture in the Alps, from the early days of tourism to the present? Prompted by this question, the author analyzes Alpine architecture in its historical context and offers a critical assessment of contemporary tourism. This is a book that inspires us to reflect on the future of building in the Alps and on our relationship with nature.

Since the end of the 20th century, an unprecedented number of remarkable museums have been built. None have had bigger worldwide implications than Frank Gehry's Guggenheim Museum in Bilbao (199197). Until, that is, the new Musee des Confluences in Lyon was opened to the public, in late 2014. It was created by Wolf D. Prix of the Coop Himmelb(l)au team, which was founded in the 1970s. Many avant-garde groups from those wild years such as Archigram, Superstudio, Archizoom, Haus-Rucker-Co, and the Japanese Metabolists are now consigned to the past, but the Coop Himmelb(l)au architecture firm, whose special aspiration was always to bring into the world buildings that overcome the pull of the earth buildings 'to float on the horizon like clouds' is more in demand than ever. The finest demonstration of this endeavour to date can now be admired in Lyon. Functioning as a museum of human history, this impressive concrete, metal and glass colossus truly does appear to float above the peninsula at the confluence of the Rhone and the Saone. Like the Guggenheim Museum in Bilbao, this new building, so impossible to overlook, is an inspiration for the revita-lisation of disrupted urban areas and the valorisation of derelict industrial areas within the city precincts, but also far beyond Lyon. This Opus volume deals with the origins, construction, function and formal appearance of the Musee des Confluences, and also offers a preliminary theoretically based evaluation of the architecture of the building. Frank R. Werner was professor of history and architecture theory at the Staatliche Akademie der Bildenden Kunste Stuttgart from 1990 until 1994 and director of the Institut fur Architekturgeschichte und Architekturtheorie at the Bergische Universitat in Wuppertal from 1993 until his retirement in 2012. He studied painting, architecture and history of architecture in Mainz, Hanover and Stuttgart. Christian Richters studied communication design at the Folkwang-schule in Essen. He is one of the most sought-after architecture photographers in Europe. To date he has been represented in the Opus series by 14 volumes, including ones about the embassies of the Nordic countries and the Bode Museum in Berlin, the Nieuwe Luxor Theater in Rotterdam and the BMW Welt in Munich. See also: Opus 66. Coop Himmelb(l)au, BMW Welt, Munchen, Edition Axel Menges 2009.

For the first time in this series, Quart presents architects from Belgium, where a consistently high standard of building culture was produced in the 1990s. Henk De Smet and Paul Vermeulen are important representatives of that movement. To this day, they have produced an impressive, high-quality oeuvre. Their works include townhouses, residential and office buildings and a wide range of public buildings. Text in Dutch and French.

For romantic dinners, family meetings or business lunches, restaurants have always functioned as venues of social interaction. Their interior designs are as varied as the types of food served and the culinary delights are aided and abetted by the choice of furniture, materials, floor plans and colors. While some designers strive to produce eccentric and outlandish effects, others distinguish themselves by a minimalist reduction to the essential or a reinterpretation of traditional contexts and classical decor. Eat! presents a sumptuous menu of designs. It is a celebration of the most inspirational new restaurant spaces from all over the world where all the interior design elements add to the exquisite experience of eating out. This illustrated volume is a fascinating kaleidoscope of trendsetting international restaurants which were designed in recent years.

Text in English and German. In autumn 1997 the Zentrum fur Kunst und Medientechnologie (ZKM) moved into the production hall of a former munitions factory in Karlsruhe, built by Stuttgart architect Philipp Jakob Manz in 1914-18. Hamburg architects Schweger plus Partner were commissioned to convert this industrial structure, over 300 m long and with 10 atria, after Rem Koolhaas' project of a new building for the ZKM immediately adjacent to the main station in Karlsruhe had been rejected in favour of refurbishing and converting the imposing old building. There is no doubt that the thinking that led to the decision to retain an industrial monument dating from the turn of the century and to bring it back to life for different purposes, rather than putting up a new building, was essentially practical in nature. And yet the result is unique, as a dialogue of a quality that could scarcely be matched anywhere in the world was initiated between the four-storey hall with it's extensive atria and its new users, the ZKM institutes, the Staatliche Hochschule fur Gestaltung and several museums -- Medienmuseum, Museum fur Neue Kunst and Stadtische Galerie.The architects were experienced in handling large industrial and office buildings, but also ambitious museum projects -- among others they designed the Wolfsburg Kunstmuseum -, and they succeeded not only in showing the historical building substance and it's spatial potential to the best advantage, and in complementing this brilliantly inside and out; but they also combined the real architectural space and the imaginative space of modern pictorial worlds in an exciting way.

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.

'Laboratory Design Guide' takes the reader through the complex stages of laboratory design and construction, offering practical advice and detailed examples.
Brian Griffin's working manual covers the latest designs for new and evolving laboratory practices and equipment and includes current and future requirements for laboratories such as automation. Case studies illustrate the points made and represent the international view of the principles of laboratory design.
'Laboratory Design Guide' will prove invaluable to all those responsible for the design of laboratory buildings: the client; architect; engineer; building project manager and scientist.
Brian Griffin is a full-time laboratory design consultant. His 15 years' experience in this field have resulted in many published articles on the subject and numerous lectures to laboratory managers and scientists. This close contact with the industry has increased Brian Griffin's awareness of the trends in laboratory practice and the need for effective design of new facilities.
Working design manual for all members of the lab design team
Shows the design process from start to finish
Incorporates the very latest designs for new and evolving laboratory practices and equipment

Middelfart Savings Bank is far from just a bank and thus its new head office is not just a traditional office building. It is, in fact, a realization of the bank's ambition to be amongst the best workplaces in Denmark and-- at the same time --to act as a social agent in the local community. 3XN interpreted these ambitions into a tactile design, understanding architecture as a comprehensive framework for social life. Six months after its inauguration, the building has been nominated for several international architecture awards and has been referred to as Denmark's best office building by a leading Danish architecture critic.

A report on the Arch of Hadrian in Ephesus, with detailed investigation of all aspects of the monument, including reconstructions, inscriptions, analysis of architectural style and technique, some comparison with similar structures elsewhere, restoration and changes in late antiquity, and an illustrated catalogue.

This book, commissioned as an action of the Dublin City Heritage Plan, opens with an historical introduction to eighteenth and nineteenth century banking, beginning with private banking concerns, the emergence of the Bank of Ireland and the arrival of large joint-stock companies. Michael O'Neill is an architectural historian living in Dublin.

Since reunification in 1990, Germany's federal government has erected scores of architecturally groundbreaking buildings. This volume presents more than 80 projects.

The Union Workhouse: A Study Guide for Teachers and Local Historians

Enter and explore the powerful, ancestral world of the whare whakairo, or decorated Maori meeting house, with this engaging guide. Richly illustrated with more than 100 historical and contemporary photographs and original watercolour illustrations, The Maori Meeting House celebrates every aspect of these magnificent taonga (treasures) - their history and art forms, symbolism and cultural significance. In a clear, informative and personal narrative, Damian Skinner brings together existing scholarship on whare whakairo and his own reflections as a Pakeha art historian and curator, with reference to meeting houses from all over Aotearoa New Zealand and the world. The voices of carvers, artists, architects, writers, experts and iwi are woven into the text, to give every reader new ways of seeing these taonga - whether it is your first view or your hundredth. Equal parts history, personal essay and illustrated guidebook, The Maori Meeting House is an important contribution to contemporary discussions about Maori art and art history.