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.

Powerful, memorable architecture in response to diverse conditions and briefs, conceived and developed by the Geneva architectural couple Kristina Sylla Widmann and Marc Widmann: this volume presents five school buildings and facilities with a high architectural quality, as well as several outstanding residential and administrative buildings. Text in English and German.

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.

"The Shanghai Oriental Sports Center (SOSC) has emerged as a model project of German architecture and engineering skill" is the verdict of the renowned architecture journalist Dirk Meyhoefer in his architectural critique of the Shanghai Oriental Sports Center. Inaugurated in 2011 on the occasion of the FINA World Swimming Championships, the site brings together the SOSC swimming facilities, a multipurpose venue, and a press centre, whose forms and materials harmonise as an ensemble. From an urban development perspective, its park grounds merge with their surroundings. In this volume, the SOSC is presented by the responsible architects and illuminated by means of images and plans. Dirk Meyhoefer comments on the ensemble in an extensive accompanying critique. Text in English and German.

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.

This book compiles contemporary designs worldwide that break through the stereotype of doctor's practices as cold and often stressful environments. All projects aim at balancing medical technology and functionality with the need to create a welcoming and comfortable environment for the patients, visitors and staff. Apart from general practitioner's offices, those of dentists and a wide variety of specialists are also presented. The solutions range from practice design in an existing building to entirely new buildings for one or more offices. Doctor's Practices demonstrates today's architectural responses to the complex demands of healthcare ? a very fast-developing field.

A critical survey of contemporary museums, as well as a reference in the field of architecture. The book analyzes the design and production of museum complexes all over the world in the last decade, and gives a critical interpretation of one of the most challenging subjects in the recent architectural panorama. The author organizes 89 designed and mostly built museums through a series of critical categories each introduced by a short introduction: "Essential," "Monolith," "Archeology," "Insert," "Overlapping," "Theatre," "Context" . The work of the most important contemporary masters such as Alvaro Siza, Zaha Hadid, Tadao Ando, Massimiliano Fuksas, Renzo Piano, Steven Holl, Jean Nouvel, Frank Gehry, Daniel Libeskind crosses the most recent research and and experiences in the world of museum's. The works of emerging architects such as Tezuka Architects, Mansilla & Tunon, Asymptote, Diller + Scofidio, Delugan Meissle, UN studio, Michael Maltzan, and many others shows clearly how museum design became a fundamental field of research on the changing nature of the public spaces as well as on the relevant relationship between landscape and architecture.

This second volume in the series "Collection of Architecture" that started very successfully with "1000x European Architecture" presents the diversity of European hotels today. The wide range of hotel types is shown with opulent illustrations, plans and drawings as well as a short description. "1000x European Hotels" reveals what unites and divides European hotels by exploring its variety with regard to style, architecture and design: famous Grand Hotels, stylish business accommodations, innovative youth hostels, superb country houses, romantic bed & breakfasts, extravagant luxury hotels as well as quite unusual places such as a timbered tree house, a former jail, a cave or a repurposed drain pipe.

"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.

Based on a lifelong professional and personal interest, "Traditional Buildings" presents a unique survey of vernacular architecture across the globe. The reader is taken on a fascinating tour of traditional building around the world, which includes the loess cave homes of central China, the stilt houses on the shores of Dahomey, the housebarns of Europe and North America, the wind towers of Iran, the Bohio houses of the Arawak Indians of the Caribbean, and much more. Professor's Noble's extensive travels have allowed him to examine many of the building at close quarters and the richly illustrated text includes photographs from his personal collection. With its comprehensive and detailed bibliography, the work will be welcomed by experts and non-specialists alike.

"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 reviews 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 reexamining 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. Calum Storrie's premise is that the museum and the city street are continuous with one another: the city is a delirious museum, overlaid with levels of history and multiple objects open to many interpretations just as museums and their contents are. In support of his theme, he draws on multiple sources, from Walter Benjamin, Daniel Libeskind & Greil Marcus through Paul Auster and Peter Ackroyd, to Stephen Bayley, Norman Bryson & Sadie Plant and takes 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 beautifully 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.

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.

Hans Dieter Schaal is already something of a cultural institution in Germany. Trained as an architect, he always operates outside the "main stream", designing and realizing stage sets, sculptures, cemeteries, parks, squares, spatial installations or book projects, which are often trendsetting in their own field. In the last ten years Schaal has established a focal point that seems to be the sum of all his themes: exhibition architecture. He has provided expansive installations for the broadest possible range of exhibition subjects in such high-volume buildings as the Martin-Gropius-Bau or the Zeughaus in Berlin, the Haus der Geschichte in Bonn, the Kunstvereinsgebaude in Stuttgart, the Deutsches Postmuseum or the Palazzo delle Esposizioni in Rome. His work was never mere exhibition design in these cases. Instead of this he was always concerned to tell spatial stories about the exhibits or their historical background. Of course he was able to draw on his experience in stage-set design here. Admittedly Schaal would not be Schaal, if he were not to use the whole stock of ideas from his decades of lateral thinking or his insatiable search for archetypes and images. On occasions this has meant that Schaal's exhibitions were ad-mired simply of their spatial sensations. It was only the very few people who were prepared to analyse the extraordinarily extensive and complex work more profoundly who found a carefully established subliminal relationship network of selected motifs running through all his exhibition installations like a central theme. Sometimes they come from his own early work, sometimes from literary or cinematic finds, then again from psychological-philosophical footnotes or even private obsessions. Such image particles constitute a thought-edifice perhaps comparable only with Aby Warburg's legendary picture archive which breaks right through the bounds of traditional exhibition architecture. Frank R. Werner has been director of the Institut fur Architektur-geschichte und Architekturtheorie at the Bergische Universitat in Wuppertal since 1993. He studied painting, architecture and architectural history at the Kunstakademie in Mainz, the Technische Hochschule in Hanover and Stuttgart University.

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.

The Jules Bordet Institute is one of the largest integrated cancer centers in Europe. Located at the heart of the Erasme campus in Anderlecht, Belgium, the university hospital's structure evolved from the objective to establish smooth connections with its environment. The building's luminous patios and extensive timber cladding rhythmize the collaborative design by Brunet Saunier Architecture, Archi 2000, and TPF Engineering, emanating in an interplay of natural shades and lights and a welcoming atmosphere. Through texts, photographs, and plans, Institut Jules Bordet Instituut retraces the different stages of the project. From the initial medical vision to the arrival of the first patients, the publication outlines the architectural approach to intensifying the relationship between medical practice and research, integrating technological changes, and improving the comfort of its patients.

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.

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.

Distilling hard fought wisdom gleaned from hundreds of successful library construction projects they've supervised or coordinated, the authors present this definitive resource on library architecture. With a special emphasis on avoiding common problems in library design, in a down-to-earth manner they address a range of issues applicable to any undertaking. From planning completely new library buildings to small remodeling projects, they offer specific how-to and how-not-to guidance. Packed with lists and headings to allow for easy scanning, this handbook provides nuts-and-bolts guidance on the entire process of planning, design, and construction, including "snappy rules" summarizing each chapter; covers new construction, remodeling and expanding of existing buildings, and conversion of non-library spaces to libraries; explains how library buildings actually function as objects, and how that applies to library design; reviews typical design problems of existing libraries, and advises libraries on how to avoid creating dysfunctional buildings and spaces; shows how to collaborate productively with planners, architects, and contractors; discusses the technical needs of basic library spaces, including collection storage, user seating, meeting and conference rooms, craft rooms, study areas, service desks, restrooms, and staff workspaces; and includes careful consideration of technical requirements relating to lighting, electrical systems, security systems, elevators, staircases, and other areas. Library directors, staff, and planning professionals will want this handbook close at hand before, during, and after any library construction project.

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.