In this essential TASCHEN introduction to Tadao Ando we explore the hybrid of tradition, modernism, and function that allows his buildings to enchant architects, designers, fashion designers, and beyond. Through key projects including private homes, churches, museums, apartment complexes, and cultural spaces, we explore a uniquely monumental yet comforting aesthetic that draws as much on the calm restraint of Japanese tradition as the compelling modernist vocabularies of Bauhaus and Le Corbusier. With featured projects in Japan, France, Italy, Spain, and the United States, we see not only Ando's global reach but also his refined sensitivity for the environs: the play of light through windows, and, in particular, the interaction of buildings with water. From the mesmerizing Church of the Light in Osaka to the luminous Punta della Dogana Contemporary Art Center in Venice, this is a radiant tour through a distinctly contemporary form as much as a timeless appeal of light, elements, and equilibrium. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Architecture series features: an introduction to the life and work of the architect the major works in chronological order information about the clients, architectural preconditions as well as construction problems and resolutions a list of all the selected works and a map indicating the locations of the best and most famous buildings approximately 120 illustrations (photographs, sketches, drafts, and plans)

Text in English and German. Spanish museum architecture has experienced a marked upturn since the 1990s, helping even small towns off the tourist beaten track to acquire extraordinary museum buildings. This is expressed most visibly without a shadow of a doubt in Frank O Gehry's Guggenheim Museum in Bilbao. But there are not just the international stars who have contributed to this success. Spanish architects in particular have designed unique museums that have changed the look of whole towns. One example is the Museo de Arte Contemporaneo de Castilla y Leon in Leon in Castille, built by the Madrid architects Mansilla + Tunon. Rafael Moneo, who recently completed the annexe for the Museo del Prado in Madrid is still the undisputed leading figure in Spanish architecture, but in the meantime architects like Mansilla + Tunon, who trained under Moneo, are attracting attention internationally as well as in Spain, and so are young talents who have just left architecture school and are successfully designing museums. Spanish architects use a wide variety of formal languages. And yet there are some characteristics that apply to them all: they have never been interested in the games Postmodernism plays; many of them value reinterpreting regional building traditions in a modern way; they are also sensitive to special features of the existing topography. Kenneth Frampton said in this context that Spanish architecture essentially runs counter to the globalisation tendencies that are increasingly reducing architectural form to a comfortable aesthetic product. The present book, which is also suitable as a museum guide, shows that this tendency is particularly conspicuous in the new museums. It confirms the world-class nature of Spanish architecture, recorded from Rafael Moneo's early Museo de Arte Romano in Merida to Herzog and de Meuron's new Calixa Forum art gallery in Madrid.

Intent on realising her late husband's vision, Dorothy de Rothschild first offered to provide funding for a new building housing the Supreme Court of Israel in the 1960s. In 1983 the offer was seriously considered and accepted. Renowned architects from Israel and from all over the world entered into a two-stage competition in 1986. Ada Karmi-Melamede and Ram Karmi, siblings their own architecture practices, were asked to compete as a team. Their contribution stood out clearly against the other entries. Instead of proposing a formal and monumental scheme, the Karmis came up with a coherent site-specific building which roots itself into the land, continues the stone language of Jerusalem, and relates to its unique vibrant light. Pure geometrical volumes are arranged to form a balanced composition and complex whole. A careful equilibrium is created between the gravity of local stone-masonry walls and the immaterial play of light and shadow in the voids and volumes of the structure. The Supreme Court acts as part of a larger civic urban ensemble and forms a gateway to Government Hill offering a pedestrian walkway to the Knesset. While referred to as a single building, in reality the Supreme Court building is an ensemble applying urban principles to the interior, thus producing public spaces throughout. Half architecture, half landscape architecture, the building is deeply anchored in its site and reaches out further than its own walls. Four main functions are manifested in four distinct geometric volumes organised by two cardinal axes. These axes separate the four main program elements: the library, the judges' chambers, the courtrooms and the parking area. The allocation of the various volumes within the building allows for a sequence of in-between spaces which are used for circulation, for the penetration of natural light and for the transition between the public and private domains. Paul Goldberger stated in The New York Times in 1995 that "the sharpness of the Mediterranean architectural tradition and the dignity of law are here married with remarkable grace.

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.

Dieses Buch gibt einen UEberblick zum aktuellen Wohnraumimmobilienmarkt in Russland. Untersucht werden die wichtigsten Marktteilnehmer und es erfolgt eine vergleichende Betrachtungen mit Deutschland zu Baukosten, Bauplanung, Bauqualitat, Wohnraumfinanzierung und Wohnimmobilienpreise. Diese Untersuchung dient als Grundlage fur das Verstandnis des russischen Wohnraumimmobilienmarktes und liefert somit ein Basiswissen fur ein allgemeines Marktverstandnis und etwaige Investitionsvorhaben.

The built heritage of postwar modernism has been under threat from climate change and the high expectations of society for years. The tremendous volume of building stock was erected with high hopes for the future within just a short period of time—and frequently using construction techniques that were as yet unproven. Despite the many research efforts focusing on spatial concepts and societal utopias between the 1950s and 1970s, the practice-oriented field of construction research lacks binding recording and evaluation strategies for buildings, materials, and construction methods for the majority of buildings of all types. This affects projects from solitary churches, residential settlements, and green spaces right through to large cultural, sporting, and education constructions, as well as the engineering structures of the urban and peripheral infrastructure. In order to preserve this existing stock as a resource for the future, new recording and evaluation tools that take into account technical, construction, ecological, and economic factors are necessary. This book presents possibilities for the management of our recent constructed heritage on the basis of ongoing projects by the DFG-Netzwerk Bauforschung Jungere Baubestande 1945+ buildings preservation network.

When the brilliant classical architect Charles Barry won the competition to build a new, Gothic, Houses of Parliament in London he thought it was the chance of a lifetime. It swiftly turned into the most nightmarish building programme of the century. From the beginning, its design, construction and decoration were a battlefield. The practical and political forces ranged against him were immense. The new Palace of Westminster had to be built on acres of unstable quicksand, while the Lords and Commons carried on their work as usual. Its river frontage, a quarter of a mile long, needed to be constructed in the treacherous currents of the Thames. Its towers were so gigantic they required feats of civil engineering and building technology never used before. And the interior demanded spectacular new Gothic features not seen since the middle ages. Rallying the genius of his collaborator Pugin; flanking the mad schemes of a host of crackpot inventors, ignorant busybodies, and hostile politicians; attacking strikes, sewag,e and cholera; charging forward three times over budget and massively behind schedule, it took twenty-five years for Barry to achieve victory with his 'Great Work' in the face of overwhelming odds, and at great personal cost. Mr Barry's War takes up where its prize-winning prequel The Day Parliament Burned Down left off, telling the story of how the greatest building programme in Britain for centuries produced the world's most famous secular cathedral to democracy.

Therme Vals, the spa complex built in the Swiss Alps by celebrated architect Peter Zumthor, became an icon of contemporary architecture soon after its opening in 1996. Inspired by the spa s majestic surroundings, Zumthor built the structure on the sharp grade of an Alpine mountain slope with grass-topped roofs to mimic Swiss meadows, captured here in a series of sumptuous images. "Peter Zumthor Therme Vals," the only book-length study of this singular building, features the architect s own original sketches and plans for its design as well as Helene Binet s striking photographs of the structure. Architectural scholar Sigrid Hauser contributes an essay on such topics as Artemis/Diana, Baptism, Mikvah, and Spring drawing out the connections between the elemental nature of the spa and mythology, bathing, and purity. Annotations by Peter Zumthor on his design concept and the building process elucidate the structure s symbiotic relationship to its natural surroundings, revealing, for example, why he insisted on using locally quarried stone. Therme Vals s scenic design elements, and Zumthor s contributions to this book, reflect the architect s commitment to the essential and his disdain for needless architectural flourishes. This lavishly illustrated volume about the spa that catapulted a remote Swiss village onto the international architecture scene will entrance all enthusiasts of contemporary design."

Multifaith spaces reflect the diversity of the modern world and enable a connection between individuals from different religious backgrounds. These spaces also highlight the complex and sensitive areas of political and social debates regarding the emergence of densely urbanised populations. They hold the potential to encourage connection and dialogue between members of different communities, promoting empathy, community and shared activity for the betterment of society. This book explores the history, development, design and practicalities of multifaith spaces from the early shared religious buildings that had to cater for two or more faiths, to the shared multifaith spaces of modern secular locations such as universities, airports and hospitals. Terry Biddington looks at the architectural, theological, social, legal and practical complexities that arise from the development and use of such spaces. The book also draws together research to enable further development of multifaith spaces.

Every pier, from the grandest to the most modest, has its own story. In this collection of one hundred beautiful paintings, Paul Tracey combines his skill as a draughtsman with his creative flair as an artist to capture the very essence of these structures and to provide snapshots of their individual stories. Many piers were originally built as wharfs for ships to load and unload goods. Then, as the railways expanded and people were able to travel further afield for trips and holidays, they became destinations in their own right: places to promenade, to meet and to be entertained. Innovative Victorian engineering created piers that could better withstand the vigours of the sea yet still provided elegant spaces to be enjoyed. This historical development was mirrored around the world. Researched and executed over five years, 100 Piers includes historic postcards, concert programmes and newspaper articles about the piers. Many piers are no longer in their prime, some have gone completely, lost to the tides of time. But through the paintings, with their dynamic lines, varying perspectives and bold colour combinations, Tracey successfully captures the vibrancy and vitality of these structures. His work ensures their place in history is not forgotten and that the many piers which remain may continue to be cherished as much as ever.

After lengthy planning, the new public library in Oslo was completed and opened in summer 2020. Located opposite the Opera House and the Munch Museum, the imposing building fits into the ensemble in the new cultural quarter of the Norwegian capital. The project by Lund Hagem Architects and Studio Oslo emerged from an international architectural competition and is characterized by a radical interpretation of the library as a vivid place to meet and spend time with an impressive multimedia offering in an unobtrusive inviting environment. The publication documents in detail the planning and building process from the first draft to the opening. Essays by the novelist Elif Shafak and the library's long-time director Liv Saeteren explain the significance of the institution as an integrative social force. Nikolaus Hirsch pays tribute to the building from the perspective of architectural criticism. Iwan Baan and Helene Binet capture the architecture and atmosphere of the shining crystal in their photographs.

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.

Text in English and German. Otto Steidle acquired international recognition for his extraordinary early residential buildings in Munich and for exemplary solutions for school and office buildings. His office and residential complex for Wacker-Chemie in Munich is a lively accent on a particularly conspicuous site in architecturally conservative Munich. Individually balanced buildings are arranged along the block perimeter in Prinzregentenstrasse, the most important east-west axis in the inner city, diagonally opposite the Haus der Kunst, and in Bruderstrasse, which leads to Lehel, a traditional residential area. Steidle has not packed the different functions in layers one above the other, as is usual in commercial projects of this kind, but has separated them clearly from each other. The office building on the noisy carriageway of Prinzregentenstrasse takes the curve to the narrow side street in an elegant sweep, with the glass skin suspended in front of the corner giving the building an almost Mendelsohn-like verve. The series of residential buildings in Bruderstrasse is given a different quality by Berlin painter Erich Wiesner's strong colours and the projecting and recessed facades. And as here too the normal Munich scale is considerably exceeded -- the three residential towers placed diagonally to the courtyard rise eight storeys high -- there is a surprising amount of room for publicly accessible gardens inside the block, designed by landscape architects Latz + Partner, and also scope for revealing the torrential Stadtmuhlbach in a spectacular fashion, which used to be covered, but now shoots directly past one of the windows of the sunken cafeteria and then under the entrance hall of the office building, before playing at waterfalls as it gushes into the Englischer Garten at the other side of the road. Thus Prinzregentenstrasse, as a mile of museum and government buildings, and the Lehel residential area have acquired an architectural attraction of elemental impact in the shape of the Wacker building.

The book is not a typical guidebook, nor a generic history tale and not even a disguised autobiography. It is a listing of select pairs of buildings that each articulates a formal and abstract concept that is part of the culture of architecture, spelled with a capital a. The main idea of the book is to hide the bitter pill of academic formal analysis in a dollop of sugary personal anecdotes and humour. Hopefully, this will be creating unexpected juxtapositions that might elicit shock and new perceptions, cancelling the sleepy accepted dogma we all live under. The essays will be paring the famous and the infamous, the profound and the absurd, the beloved and the forgotten, the monstrous and the miniscule.

The completion of David Chipperfield's distinctive new building for Kunsthaus Zurich in December 2020 has nearly doubled the museum's overall space. In combination with the preceding refurbishments of the earlier buildings, this has made it fit to meet the demands of an art museum in the 21st century. A sequel to The Architectural History of the Kunsthaus Zurich 1910-2020, this book comprehensively introduces the new Kunsthaus Zurich, demonstrating how the task of building an art museum in the 21st century can be fulfilled. Concise texts, statements by protagonists and by future users and visitors as well as numerous illustrations trace the project's evolution and the construction process and look at the completed building from various perspectives. The book also highlights what features contemporary museum infrastructure has to offer and the architectural and urban design qualities it requires, and what financial and organisational challenges the entire undertaking implied. A conversation between experts exploring the expanded museum's impact on its immediate neighbourhood and Zurich's urban fabric as a whole rounds out the volume. Text in French.

Allegheny City, known today as Pittsburgh's North Side, was the third-largest city in Pennsylvania when it was controversially annexed by the City of Pittsburgh in 1907. Founded in 1787 as a reserve land tract for Revolutionary War veterans in compensation for their service, it quickly evolved into a thriving urban center with its own character, industry, and accomplished residents. Among those to inhabit the area, which came to be known affectionately as "The Ward," were Andrew Carnegie, Mary Cassatt, Gertrude Stein, Stephen Foster, and Martha Graham. Once a station along the underground railroad, home to the first wire suspension bridge, and host to the first World Series, the North Side is now the site of Heinz Field, PNC Park, the Andy Warhol Museum, the National Aviary, and world headquarters for corporations such as Alcoa and the H. J. Heinz Company.

Dan Rooney, longtime North Side resident, joins local historian Carol Peterson in creating this highly engaging history of the cultural, industrial, and architectural achievements of Allegheny City from its humble beginnings until the present day. The authors cover the history of the city from its origins as a simple colonial outpost and agricultural center to its rapid emergence alongside Pittsburgh as one of the most important industrial cities in the world and an engine of the American economy. They explore the life of its people in this journey as they experienced war and peace, economic boom and bust, great poverty and wealth--the challenges and opportunities that fused them into a strong and durable community, ready for whatever the future holds. Supplemented by historic and contemporary photos, the authors take the reader on a fascinating and often surprising street-level tour of this colorful, vibrant, and proud place.

"The marvelous story of one of New York City's most unique buildings
"Critics hated it. The public feared it would fall over. Passersby were knocked down by the winds. But even before it was completed, the Flatiron Building had become an unforgettable part of New York City.

Alice Sparberg Alexiou chronicles not just the story of the building, but the heady times in which it was built. It was the dawn of the twentieth century, a time when Madison Square Park shifted from a promenade for rich women to one for gay prostitutes; when photography became an art; motion pictures came into existence; the booming economy suffered increasing depressions; jazz came to the forefront of popular music--and all within steps of one of the city's best-known and best-loved buildings.

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.

Although airports are now best known for interminable waits at check-in counters, liquid restrictions for carry-on luggage, and humiliating shoe-removal rituals at security, they were once the backdrops for jet-setters who strutted, martinis in hand, through curvilinear terminals designed by Eero Saarinen. In the critically acclaimed Naked Airport, Alastair Gordon traces the cultural history of this defining institution from its origins in muddy fields to its frontline position in the struggle against international terrorism.From global politics to action movies to the daily commute, Gordon shows how the airport has changed our sense of time, distance, and style, and ultimately the way cities are built and business is done. He introduces the people who shaped and were shaped by this place of sudden transition: pilots like Charles Lindbergh, architects like Le Corbusier, and political figures like Fiorello LaGuardia and Adolf Hitler. "Naked Airport" is a profoundly original history of a long-neglected yet central component of modern life.

Elaborately conceived, grandly constructed insane asylumsOCoranging in appearance from classical temples to Gothic castlesOCowere once a common sight looming on the outskirts of American towns and cities. Many of these buildings were razed long ago, and those that remain stand as grim reminders of an often cruel system. For much of the nineteenth century, however, these asylums epitomized the widely held belief among doctors and social reformers that insanity was a curable disease and that environmentOCoarchitecture in particularOCowas the most effective means of treatment.

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In "The Architecture of Madness, " Carla Yanni tells a compelling story of therapeutic design, from AmericaOCOs earliest purposeOCobuilt institutions for the insane to the asylum construction frenzy in the second half of the century. At the center of YanniOCOs inquiry is Dr. Thomas Kirkbride, a Pennsylvania-born Quaker, who in the 1840s devised a novel way to house the mentally diseased that emphasized segregation by severity of illness, ease of treatment and surveillance, and ventilation. After the Civil War, American architects designed Kirkbride-plan hospitals across the country.

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Before the end of the century, interest in the Kirkbride plan had begun to decline. Many of the asylums had deteriorated into human warehouses, strengthening arguments against the monolithic structures advocated by Kirkbride. At the same time, the medical profession began embracing a more neurological approach to mental disease that considered architecture as largely irrelevant to its treatment.

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Generously illustrated, "The Architecture of Madness" is a fresh and original look at the American medical establishmentOCOs century-long preoccupation with therapeutic architecture as a way to cure social ills.

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Carla Yanni is associate professor of art history at Rutgers University and the author of "NatureOCOs Museums: Victorian Science and the Architecture of Display.""

Jonis Hartmann unternimmt in vorliegender Untersuchung den Versuch, Entwurfswerkzeuge jenseits von Stift und Papier begrifflich einzufuhren. Sie setzen a priori an und begleiten den Entwurf geistig. Im Gegensatz zum "genialischen Moment" des Entwerfens sind sie ubertragbar, regelhaft und verbalisierbar. Der Autor erlautert ihre Existenz und Konstituierung phanomenologisch anhand gebauter Beispiele und weist auf ihren aktiven Einsatz in Bereichen wie bspw. dem klimabewussten Bauen hin. Wiederkehr und Mehrdeutigkeit als Entwurfswerkzeuge wirken steuerbar auf das Entwerfen ein und steigern die insgesamte Entwurfskompetenz. Sie sind erlernbar, anwendbar und essentiell bei der UEbersetzung einer zunachst dunklen, kreativen, noch unarchitektonischen Idee in komplexe, lesbare, oeffentliche Architektur. Sie basieren auf systematisierten Erfahrungswerten beim Entwerfen und ermoeglichen den Aufbau architektonischer Grammatik.