Since 1842, when Governor Tilghman M. Tucker and his family occupied the mansion shortly after his inauguration on January 10, the Mississippi Governor's Mansion has served as the state's official executive residence. Designed by William Nichols in the popular classical style, the mansion soon became a Jackson landmark, and a legendary hospitality surrounded its early years. Mississippi's first families "threw open the doors" of the mansion and shared its hospitality with plain citizens as graciously and generously as they did with celebrities. This tradition was interrupted only during the Civil War when the state capital was moved to eastern Mississippi to escape the advance of Union troops. Although much of Jackson was burned during the Vicksburg campaign in the summer of 1863, the mansion was spared. General William T. Sherman used it briefly as a command post, and his troops bivouacked on its spacious grounds.

At the beginning of the twentieth century, advancing real estate prices in Jackson caused the legislature to consider the disposal of the mansion to make its downtown location available for commercial development. This proposal promoted various civic and patriotic organizations throughout the state to wage a "Save the Mansion" campaign. The legislature was implored not to destroy "what Sherman would not burn." Sentiment prevailed over commerce, and the mansion was saved.

However, structural deterioration over the next seventy years was left uncorrected, and by 1971 was so advanced that the first family was advised to vacate the building. During the following election campaign, Carroll Waller, wife of gubernatorial candidate Bill Waller, called upon the women of Mississippi to join her in an effort to preserve the "home of our heritage" and to restore it to its past splendor. Following his election, Governor Waller and the First Lady initiated a three-year project that restored the mansion to the historical period of its construction and guaranteed its continued use for many years to come. The mansion was designated a National Historic Landmark in 1975.

A new perspective on a beloved cultural icon, its place in our history, and its meaning in the American imagination This elegantly written appreciation of the Empire State Building opens up the building's richness and importance as an icon of America. The book leads us through the facts surrounding the skyscraper's conception and construction, then enters into a provocative theoretical discussion of its function as an icon, its representation in pictures, literature, and film, and the implications of its iconic status as New York's most important architectural monument to ambition and optimism. The Empire State Building literally cannot be seen in its totality, from any perspective. And paradoxically, this building of unmistakable solidity has been made invisible by familiarity and reproduction through imagery. Mark Kingwell encourages us to look beneath the strong physical presence of the building, to become aware of its evolving layers of meaning, and to see how the building lives within a unique imaginative space in the landscape of the American consciousness. He offers new ways of understanding the Empire State Building in all its complexity and surprising insights into its special role as an American icon.

How did a Roman waterworks work? How were the aqueducts planned and built? What happened to the water before it arrived in the aqueduct and after it left, in catchment, urban distribution and drainage? What were the hydraulics and drainage involved?In a comprehensive, generously illustrated study ranging through the Roman aqueducts of France, Germany, Spain, North Africa, Turkey and Israel as well as the Roman heartland of Italy, A. Trevor Hodge introduces us to these often neglected aspects of what the Romans themselves regarded as one of the greatest glories of their civilisation. "Roman Aqueducts" is now available for the first time in paperback, brought completely up-to-date with a new Preface and additional Bibliography.

Provides detailed formulas to help calculate the square footage required for every conceivable element of a library building. New to this edition are up-to-date specifications for computer workstations, and visual representations of complex configurations. Designed to be consulted after the decision to build has been made, it answers the critical question, 'How much space do we need?'

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.

The future of public space is uncertain. Although public spaces have become increasingly shabby and crowded, novel alternatives have appeared in the form of fantastic, semi-public pleasure grounds, developed by well-heeled, crowd-pleasing entrepreneurs and devoted to profit, consumption, and self-indulgence. Philosophers and geographers have converged on the topic of public space, fascinated and in many ways alarmed by fundamental changes in the way post-industrial societies produce space for public use, and in the way citizens of these same societies perceive and constitute themselves as a public. The contributors to this volume advance this inquiry, making extensive use of political and social theory. Philosophy and Geography II: The Production of Public Space gives readers an enhanced appreciation of the intimate connections between political principles, social processes, and the commonplaces of our everyday environments.

"From the Ground Up describes Rincon in detail, from the day the brainstorm to bid on the land took shape in the mind of a Perini Co. executive until its champagne-soaked opening party...The book emerges as a helpful primer on what it takes to build a tiny, self-contained city. Engineering problems are cleanly explained, architectural cant is kept to a minimum and a bookshelf of financial detail is boiled down to essentials." (Marshall Kilduff, San Francisco Chronicle Book Review). "This engrossing study, flavored with the appeal of San Francisco and written by Los Angeles Times national correspondent Frantz, examines the combination of dreaming and entrepreneurship required to succeed in the cyclical realty business." (Publishers Weekly). "Frantz...is a business reporter of real skill and sophistication...The genius of [his] book is in the details." (Johnathan Kirsch, Los Angeles Times).

Longwood in Natchez, Mississippi, is a celebration of American eccentricity. Dr. Haller Nutt, who made a fortune in cotton during the pre-Civil War boom, wanted a home that would be different, one with "character." His dream was romantic--to evoke past cultures by using the best from any era.

A Philadelphia architect, Samuel Sloan, published a work in 1851 called "The Model Architect" which featured an "Oriental Villa" in octagonal form with a Byzantine-Moorish dome on top. Using this design, Sloan set about to create a magnificent mansion for Nutt. In April 1861, Nutt's dreams were smashed by the Civil War. Construction on the mansion came to a halt as the northern workers abruptly dropped their tools and returned to their homes. Many of the tools are still in the unfinished interior exactly as they were left. Local laborers completed the basement portion of Longwood. It was here the Nutt family lived while the Civil War swirled across the South. Dr. Nutt died in 1864.

Seemingly lost from reality, today Longwood is the picturesque shell of one of America's most bizarre houses--a wonderful example of architectural folly and 19th century mentality.

Text in English and German. The building has been totally restored for the 125th anniversary of the Museum's opening in 1876. Merz's basic idea was to reveal the various historic layers of this building.

Scott Lukas, famed industry expert on designing themed spaces, brings you a book that focuses on the imaginative world of themed, immersive and consumer spaces. Whether or not you are involved in designing a theme park, cultural museum, shop, or other entertainment space, you will benefit from the insider tips, experiences, and techniques highlighted in this practical guide. Make your themed spaces come to life and become true, immersive worlds. The book features informative sidebars addressing possible design issues and current trends; case studies and interviews with real-world designers, and further reading suggestions. The book also includes a companion website, as well as exercises that accompany each chapter, lavish photos, illustrations, and tables.

Text in English and German. The new Leipzig/Halle airport has not just one, but two predecessors. One was Leipzig-Mockau airport, opened in 1923 and often still used after the Second World War in the GDR days to serve the Leipziger Messe. The other was Leipzig/Halle airport which opened in 1927 and by 1937 was already the second-largest airport in Germany. Passenger numbers had increased fourfold by 1994. A master plan was worked out for a second runway, intended for 3.5 million passengers per year. An open architectural competition followed and was won by Brunnert und Partner from Stuttgart. They won with a risky concept that ran counter to the master plan. Instead of filling the site between the two runways the architects designed a huge bridge structure spanning the railway track and integrating the car-park, the mall, the check-in hall, the access road and the transfer to the railway station. This concludes the first building phase, which begins at the existing terminal and ends beyond the railway lines. The concept of the bridge will not be complete until the second building phase, although it can already be made out quite clearly.

Text in English and German. Linking art and architecture is one of the great Utopias of our century. Art has been released from its traditional bonds and sees itself faced with a world that has made systems independent to the extent that a link between art and building based on the idea of unity is no longer admissible. The collapse of our 'world into pieces' also typifies that situation of the arts looking for new orders. Now artist-architect Johannes Peter Holzinger, in co-operation with artists Eberhard Fiebig, Ottmar Horl/Formalhaut, Leonardo Mosso, Norbert Muller-Everling, Ansgar Nierhoff and Andreas Sobeck, working on the government buildings on the Hardthohe in Bonn, has succeeded in creating 'an avant-garde landmark that shows in the interplay of the arts that the avant-garde can also work positively in a team', as Dieter Ronte, director of the Stadtisches Kunstmuseum Bonn, put it in a contribution to this book. Holzinger links heterogeneous artistic positions in attempting an order of the different. The art in the outer areas of the complex mediates between the surroundings and the buildings. The visual signing system leads further into the centres, which are the same shape, of the existing administrative buildings, and creates some thing that is unmistakable there. The special structures designed by Holzinger, an intermediate form of architecture and landscape developed from the relief, include the earth itself, and in the casino architecture and art combine to form an indissoluble unit.

The new building for the Alfred-Wegener-Institut fur Polar und Meeresforschung, named after Alfred Wegener, the famous geo-scientific pioneer, is near the city centre by the commercial harbor, not far from warehouses and other industrial buildings. What is striking is the unusual facade: a pattern is made with glazed tiles in white, grey and black, seeming more regular than it actually is. The architects--pictorially speaking--have set up poles at the corners of the plot and stretched fabric between them.

Text in English and German. Despite their usually very large volumes, works by Eckhard Gerber's Dortmund practice are structurally light and transparent, precise in their detail, and make an unmistakable impact on the urban space. Presenting the new exhibition centre in Karlsruhe, this Opus volume is devoted to a building complex with all the self-confidence of a city-within-a-city. Admittedly visitors are not aware of that until they have passed a breath-taking exhibition loggia whose daring roof, protruding powerfully along the whole length of the building, attracts attention even from a distance. The basic concept, tailored to the urban landscape, the functional ground-plan arrangement, the unusually subtle use of structures and materials for a large building of this kind, and not least the high design quality of all structural parts will certainly mean a high level of acceptance and a long future for the Neue Messe in Karlsruhe.

Adrian Smith + Gordon Gill Architecture's, 2006-2021 monograph showcases the spectacular work of the firm from the first 15 years of its practice through drawings, renderings, model photography, photography of built work, competition entries, exhibition materials, master plans, interiors, and special research projects and publications. The projects featured in the monograph cover a wide variety of AS+GG's high-performance, energy-efficient, aesthetically striking architecture on an international scale in a wide range of typologies and scales, from low- and mid-rise residential, commercial, and cultural buildings to mixed-use supertall towers. Projects explored include supertall towers, large-scale mixed-use complexes, corporate offices, exhibition facilities, cultural facilities and museums, civic and public spaces, hotels and residential complexes, institutional projects, and high-tech laboratory facilities.

The Neue Nationalgalerie on the Berlin Kulturforum is an architectural icon as well as the crowning conclusion of architect Ludwig Mies van der Rohe's life work. An outstandingly successful and sensitive refurbishment and modernization project was carried out for the building's most significant overhaul since its opening in 1968. It complies with the requirements of a contemporary museum exhibition facility, as well as monument-preservation guidelines. David Chipperfield Architects developed the renovation concept under the motto of "As much Mies as possible." This publication provides deep insight into the planning, execution, monument preservation, and restoration from the perspective of those involved. The exemplary handling of the historical fabric is presented in design documents and numerous large-format photographs that impressively illustrate the design stage, the construction site, and the refurbishment results. With articles by David Chipperfield, Bernhard Furrer, Gunny Harboe, Joachim Jager, Dirk Lohan, Fritz Neumeyer, Alexander Schwarz, Gerrit Wegener, and some 30 project managers

Daringly innovative when it opened in 1848, the Palm House in Kew Gardens remains one of the most beautiful glass buildings in the world today.

Seemingly weightless, vast and yet light, the Palm House floats free from architectural convention, at once monumental and ethereal. From a distance, the crowns of the palms within are silhouetted in the central dome; close to, banana leaves thrust themselves against the glass. To enter it is to enter a tropical fantasy. The body is assaulted by heat, light and the smell of damp vegetation.

In Palace of Palms, Kate Teltscher tells the extraordinary story of its creation and of the Victorians’ obsession with the palms that filled it. It is a story of breathtaking ambition, of scientific discovery and, crucially, of the remarkable men whose vision it was. The Palm House was commissioned by the charismatic first Director of Kew, Sir William Hooker, designed by the audacious Irish engineer, Richard Turner, and managed by Kew’s forthright curator, John Smith, who battled with boilers and floods to ensure the survival of the rare and wondrous plants it housed.

Kew's Grade 1 listed Temperate House is the world's largest surviving Victorian glasshouse and the reopening in May 2018 will mark its 155th anniversary. The Temperate House has been closed for the past five years for a major restoration project, which has involved repairs to the entire framework and ventilation system, brickwork and statuary, as well as an overhaul of the planting and the inclusion of some of the world's rarest plants. It is home to Kew's temperate zone plants, containing specimens from South Africa, Central and South America, Asia, Australia, New Zealand and oceanic islands. Many of its best known species, such as its tree ferns, have been in Kew's collection since the glasshouse first opened, or even longer. This book is a souvenir of the history of the Temperate House, and details the changes that have occurred in its 155 years, all accompanied with fascinating archival photographs and botanical illustrations. Central to the book is a pull out double page section detailing the new planting and layout of the House.

From the 1950s to the end of the twentieth century, Boston transformed from a city in freefall into a thriving metropolis, as modern glass skyscrapers sprouted up in the midst of iconic brick rowhouses. After decades of corruption and graft, a new generation of politicians swept into office, seeking to revitalize Boston through large-scale urban renewal projects. The most important of these was a new city hall, which they hoped would project a bold vision of civic participation. The massive Brutalist building that was unveiled in 1962 stands apart - emblematic of the city's rebirth through avant-garde design. And yet Boston City Hall frequently ranks among the country's ugliest buildings. Concrete Changes seeks to answer a common question for contemporary viewers: How did this happen? In a lively narrative filled with big personalities and newspaper accounts, Brian M. Sirman argues that this structure is more than a symbol of Boston's modernization; it acted as a catalyst for political, social, and economic change.

As the location for reception and waiting, the hotel lobby is the most important and prestigious area of a hotel. This is where the first contact is made with the guests, anything that happens here has a strong influence on whether their stay will be enjoyable. As with hotel restaurants and bars, the lobby is a place to both relax and communicate. This volume presents 101 different concepts by Corinna Kretschmar-Joehnk and Peter Joehnk, two renowned specialists in the field of hospitality design. According to the credo "Design follows Atmosphere" they find individual design solutions for the most diverse hotels in the world to create the atmosphere the user desire. The lobbies, bars and restaurants depicted include new designs in historic Grand Hotels, creative solutions for budget hotels as well as hospitality spaces for award-winning design hotels.

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.