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.

Cass Gilbert's pioneering buildings injected vitality into skyscraper design, and his "Gothic skyscraper," epitomized by the Woolworth Building, profoundly influenced architects during the first decades of the twentieth century. Now, as the New-York Historical Society mounts a major exhibit documenting his architectural career, the full breadth of Gilbert's achievements is visible in one lavishly illustrated volume.

Architect of the Broadway Chambers Building, the US Custom House, the Minnesota State Capitol, the St. Louis Art Museum, and large-scale projects like the city plan for New Haven, Connecticut, Gilbert is most famous for his skyscrapers -- "symbols of our national genius and unrestraint" -- monuments of the Beaux Arts "City Beautiful" aesthetic he embraced throughout his career.

Containing essays by major Gilbert scholars, "Inventing the Skyline" documents fascinating details about the buildings: the color scheme of the main entrance of the Minnesota State Capitol, made to resemble the Byzantine tomb of Galla Placidia in Ravenna; the controversy that erupted over the use of female nudes on the relief of the Essex County Courthouse; and the ill-fated plans for the George Washington Bridge as a Beaux Arts monument with elaborate plazas, fountains, and sculptures.

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.

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.

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

Text in 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.

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.

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

The exuberant personalities of 22 landmark buildings in downtown Fresno are captured in watercolor portraits and brief explanations of each structure's significance in this architectural survey. Covering well-known properties in all stages of repair, this collection includes images of the Hotel Californian, the Liberty Theater, the Meux Home, the Pacific Southwest Building, the Southern Pacific Railroad Depot, and Warnors Theater. Including a glossary of architectural terms and a bibliography, this nostalgic look at the historic past and current rebirth of central Fresno pays stirring homage to the area's unique architectural heritage.

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

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.