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.

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.

"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.

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 Museum of Fine Arts, Houston, is a unique collection of architectural works -- the Caroline Wiess Law Building, comprising the original William Ward Watkin Building of 1924 and the 1958 and 1974 additions designed by Ludwig Mies van der Rohe; the Lillie and Hugh Roy Culien Sculpture Garden created by Isamu Noguchi in 1986; the Central Administration and Glassell Junior School Building designed by Carlos Jimenez in 1994; and now the Audrey Jones Beck Building by Rafael Moneo. Moneo, winner of the 1996 Pritzker Architecture Prize, has proposed a four-storey facility directly facing the Law Building and connected to it via an underground walkway. The limestone building occupies the whole site, thereby reinforcing its urban character. On the inside, visitors can assemble in the dramatic atrium before proceeding to the upper level galleries to begin their itinerary. The Beck Building is a natural progression of some of the ideas put forth by the architect in previous museum projects, especially the Museo Thyssen-Bornemisza in Madrid and the complex of the Moderna Museet and the Arkitekturmuseet in Stockholm. A collection of rooms is the underlying concept for the gallery spaces. The galleries may seem conventional, but their organisation within the building is guided by the desire for freedom. The exhaustive studies undertaken to help design the skylights allow for optimum lighting conditions combining natural and artificial light. Climate, light, circulation through the space, dialogue between building and art, and simplicity and elegance of materials are once again concerns that Moneo has addressed thoughtfully and successfully in the new Beck Building.

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.

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.

In 1986, the New York Times called William Zeckendorf Jr. "Manhattan's most active real-estate developer," a judgment borne out by Zeckendorf's fascinating memoir. The second generation of a legendary family of developers, "Bill" Zeckendorf was a developer with a social conscience, not only putting up buildings but opening neglected parts of the city and transforming whole communities. Among the projects Zeckendorf chronicles in detail-and with rich documentary illustrations-are the Columbia, which set off a building boom on the Upper West Side; the four-acre Worldwide Plaza, a landmark in West Midtown; Queens West, the first residential project on the waterfront in Queens; the enormous Ronald Reagan Office Building and International Trade Center in Washington, D.C.; and numerous projects in Santa Fe, his beloved second home.

Brucken pragen Landschaften und Stadte, es sind Bauwerke mit hohem Wert fur die Gesellschaft. Sie dienen der UEberwindung von Trennungen, sind Meisterwerke der Technik und AEsthetik und koennen in ihrer individuellen Ausgestaltung Kunstwerke, Wahrzeichen, Denkmaler oder gar Symbole darstellen. Meist handelt es sich um hohe Ingenieurbaukunst, die Meilensteine des technisch Machbaren dokumentiert und nicht zuletzt als Zeugnis der Geschichte dient. Das Buch gibt Einblicke in die Faszination des Bruckenbaus mit Beitragen zur Entwicklung des Bruckenbaus, zu Besonderheiten der Materialwahl, Konstruktionsarten, Instandsetzung und Ausblicken in die Zukunft. Einige beeindruckende Projektbeispiele zeigen, wie es gelingt, den Bogen zu spannen zwischen Technik, AEsthetik und mutigen innovativen Loesungen.

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.

Text in German & English. Dahlem has developed in two different ways since the early years of the 20th century. An important scientific centre emerged on the site of this former royal territory south-west of Berlin, alongside a suburban villa colony. Elite research institutes were established in Dahlem, with the intention of creating a "German Oxford", including the first institutes for the Kaiser-Wilhelm-Gesellschaft, founded in 1911. Then Dahlem was chosen as the location for the Freie Universitat Berlin after the Second World War. The Max-Planck-Gesellschaft commissioned a new building in these surroundings in order to provide the Institute for the History of Science, dating from 1994, with accommodation appropriate to its needs. The building was erected in 2004/5 to a competition design by the Stuttgart architects Marion Dietrich-Schake, Hans-Jurgen Dietrich and Thomas Tafel (who left the team after drawing up the planning application). The buildings adjacent to the plot, which is bordered by streets on three sides, date mainly from the 1930s. Alongside the institutional buildings detached homes determine the local character. The Max-Planck-Institut reflects the dimensions and structure of its surroundings. Its height relates to the two-storey homes; the building masses were structured as eight connected, pavilion-like sections, which means that, despite its size, the institute is reticent in its impact on the urban space. The symmetrical complex is built around a spacious courtyard with old chestnut trees. The library is the key element of the building, and so was arranged around all four sides of the inner courtyard. Extensively glazed internal and external walls afford a wide range of views into the library rooms. This ensures a constant presence for the institute's most important set of working tools, and at the same time makes it accessible over very short distances from various parts of the building.

The past decade of both economic crises in Europe and North America as well as an extraordinary museum boom in many Asian countries has led to new questions and concepts for future museum buildings. New Museums: Intentions, Expectations, Challenges investi gates this paradigm change by presenting 20 recent and future museum projects on all continents. Among the projects discussed are the Smithsonian's National Museum of African American History and Culture in Washington D.C. by Adjaye Associates, the Guggenh eim Helsinki by Moreau Kusonoki Architects , China's Comic and Animation Museum in Hangzhou by MVRDV, the Munchmuseet in Oslo by estudio Herreros, the Zeitz Museum of Contemporary Art Africa in Cape Town by Heatherwick Studio, the Long Museum West Bund in Shanghai by Atelier Deshaus and the extension of the Art Gallery of New South Wales in Sydney by SANAA. Critical texts by leading museum and architecture writers Suzanne MacLeod, Chris Dercon, Karen van den Berg, Wolfgang Ullrich, Kali Tzortzi and Anke Groener shed light on the relation of new museum trends and state of the art architecture

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

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.

Long recognized as a Chicago landmark, the Carson Pirie Scott Building also represents a milestone in the development of architecture. The last large commercial structure designed by Louis Sullivan, the Carson building reflected the culmination of the famed architect's career as a creator of tall steel buildings. In this study, Joseph M. Siry traces the origins of the building's design and analyzes its role in commercial, urban, and architectural history. Originally constructed to house the Schlesinger and Mayer Store, Sullivan's building was one of a number of large department stores built at the turn of the century along State Street in Chicago's burgeoning retail district. Replacing a generation of commercial architecture that had grown out of the Great Fire of 1871, these new buildings were tall and steel-framed, a construction that posed new aesthetic problems for designers. Handsomely illustrated with more than one hundred photographs and drawings, Carson Pirie Scott provides an illuminating history of a pivotal architectural work and offers an original, revealing assessment of how Sullivan, responding to the commercial culture of his time, created a fresh, distinctive American building.

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.

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.

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.

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

The newest title in the Princeton Architectural Press Campus Guide series takes readers on a tour of Illinois Institute of Technology, one of the landmarks of modern American architecture. With a master plan and twenty renowned buildings by Mies van der Rohe, IIT has long been a pilgrimage site for architects and students of design. Thousands of visitors arrive each year to see International Style masterpieces such as S. R. Crown Hall, home of IIT's College of Architecture and one of Mies's greatest works.
Today, IIT is in the midst of an exciting new chapter in its design history. A new student center designed by Rem Koolhaas and his Office for Metropolitan Architecture has once again put IIT at the forefront of the design world. Meanwhile, a new master plan for the campus, new landscaping, and a residence-hall complex by Helmut Jahn have reinvigorated student life and revitalized the surrounding community of Chicago's South Side.
Featuring archival images of the Mies buildings as well as newly commissioned photographs of IIT's latest additions, this beautifully produced guide presents a comprehensive architectural walk through America's most distinguished modern campus.

This innovative book interprets architectural spaces in the light of the underlying tensions between 18th-century Dublin as a fashionable resort and the attempts by the authorities to deal with some of the results of its apparent profligacy. These include the creation of new institutions as well as other measures designed to remove ugly realities from the street and purify urban space. Based mainly on 18th- and 19th-century archival material from the Rotunda Hospital, the Lock (venereal) Hospital and the Hospital for Incurables, this book challenges the vision of 18th-century Dublin as an ideal Protestant city by investigating the hidden world behind its wide streets and magnificent Georgian facades. The decision to establish the British Isles first maternity hospital on the northern edge of Sackville Street (today s O Connell Street) was grounded in a series of imperatives where obstetrics and medicine were only part of the overall story. The adjacent Pleasure Gardens, created ostensibly to provide funds for the hospital, introduced new types of social engagement and an increase of commodified forms of entertainment to the city. The Gardens, characterised by acts of spectacle and display, soon acquired an additional reputation as a site of sexual adventure and louche behaviour, one which ultimately would be extended to the city.