Air pollution resulting from high energy consumption is a major factor threatening our environment. Heating buildings accounts for about 40 per cent of Germany's total energy consumption.Current heat-insulation regulations for buildings aimed at reducing energy consumption have become considerably more stringent. However, greater heat insulation and energy saving necessarily restrict the exchange of air between outside and inside the building. This means that air quality in the building deteriorates and CO(2) and other pollutant contents increase.

For this reason, when planning the district headquarters for the Berufsgenossenschaft Gesundheitsdienst und Wohlfahrtspflege (Professional Association for Health and Welfare) in Dresden the aim was to produce an economical, environment-friendly building with a high proportion of solar heating and workplaces designed ergonomically and with an eye to health requirements.

The main architectural features of the building are a glass wall running the full length of the south side, large glazed areas on the east and west sides and solid walls enclosing the building on the east, west and north sides. The curved roof opens to the south, thus establishing the building's relation to the sun. The building is conceived in such a way that the solar energy is used first and foremost passively via the building's outer sheath. Special glass converts light into warmth even when light radiation is diffuse. In this way solar energy meets 50 per cent of the building's total energy needs.

The atmosphere inside the building is determined mainly by the subtropical plants used to improve and condition the air. This creates interesting, pleasant workplaces that make a different impression as the seasons change. The offices are divided up by shelf units, which makes it possible to adapt flexibly to changing needs.

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. 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.

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.

Santa Fes Scottish Rite Temple, built in 1912, is a historic landmark and the home of the Ancient and Accepted Scottish Rite of Freemasonry in New Mexico. The buildingincluding its jewel box theater with original scenery collectionand its artifacts, represent a time capsule of Masonic culture and theatrical history. Essays examine the emergence of Freemasonry, key Masonic figures during New Mexicos territorial period through statehood, and the architectural significance of the iconic pink building and Freemasons use of it to the present. Illustrated with contemporary and historical images, the book reveals the theatrical production of Masonic degrees and the production of the magnificent scenic backdrops. Today, many of the countrys Masonic buildings are being repurposed and their collections are being liquidated. Through the heroic efforts of its members, the Santa Fe Scottish Rite Temple has been preserved, remaining under the continued stewardship of the Freemasons, who share their building with the community.

Since the end of the 20th century, an unprecedented number of remarkable museums have been built. None have had bigger worldwide implications than Frank Gehry's Guggenheim Museum in Bilbao (199197). Until, that is, the new Musee des Confluences in Lyon was opened to the public, in late 2014. It was created by Wolf D. Prix of the Coop Himmelb(l)au team, which was founded in the 1970s. Many avant-garde groups from those wild years such as Archigram, Superstudio, Archizoom, Haus-Rucker-Co, and the Japanese Metabolists are now consigned to the past, but the Coop Himmelb(l)au architecture firm, whose special aspiration was always to bring into the world buildings that overcome the pull of the earth buildings 'to float on the horizon like clouds' is more in demand than ever. The finest demonstration of this endeavour to date can now be admired in Lyon. Functioning as a museum of human history, this impressive concrete, metal and glass colossus truly does appear to float above the peninsula at the confluence of the Rhone and the Saone. Like the Guggenheim Museum in Bilbao, this new building, so impossible to overlook, is an inspiration for the revita-lisation of disrupted urban areas and the valorisation of derelict industrial areas within the city precincts, but also far beyond Lyon. This Opus volume deals with the origins, construction, function and formal appearance of the Musee des Confluences, and also offers a preliminary theoretically based evaluation of the architecture of the building. Frank R. Werner was professor of history and architecture theory at the Staatliche Akademie der Bildenden Kunste Stuttgart from 1990 until 1994 and director of the Institut fur Architekturgeschichte und Architekturtheorie at the Bergische Universitat in Wuppertal from 1993 until his retirement in 2012. He studied painting, architecture and history of architecture in Mainz, Hanover and Stuttgart. Christian Richters studied communication design at the Folkwang-schule in Essen. He is one of the most sought-after architecture photographers in Europe. To date he has been represented in the Opus series by 14 volumes, including ones about the embassies of the Nordic countries and the Bode Museum in Berlin, the Nieuwe Luxor Theater in Rotterdam and the BMW Welt in Munich. See also: Opus 66. Coop Himmelb(l)au, BMW Welt, Munchen, Edition Axel Menges 2009.

Dementia-friendly architecture encompasses a host of possibilities that are particularly relevant in hospital design. Implemented in an aesthetically pleasing and non-stigmatising manner, such architecture can benefit anyone during a hospital stay: it produces an environment that is easy to read, generates a sense of security, and promotes well-being and recovery. This manual begins by summarising the current state of research on architecture for individuals with dementia in acute care hospitals. Based on their years of experience in the field, authors Kathrin Buter and Gesine Marquardt then present approaches to creating tailored solutions. They outline general design principles while considering practical examples, and cover key topics such as safety, atmosphere, and orientation systems in detail. Every hospital building requires a concept that dovetails the spatial, social, personal, cultural, organisational, and financial frameworks. This guide is therefore a concise and straightforward introduction for all stakeholders in modern hospitals: from managers and developers to architects and designers. It provides inspiration for creative and interdisciplinary planning processes in an increasingly crucial area of the health sector.

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. 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.

Air-Conditioning in Modern American Architecture, 1890–1970, documents how architects made environmental technologies into resources that helped shape their spatial and formal aesthetic. In doing so, it sheds important new light on the ways in which mechanical engineering has been assimilated into the culture of architecture as one facet of its broader modernist project. Tracing the development and architectural integration of air-conditioning from its origins in the late nineteenth century to the advent of the environmental movement in the early 1970s, Joseph M. Siry shows how the incorporation of mechanical systems into modernism’s discourse of functionality profoundly shaped the work of some of the movement’s leading architects, such as Dankmar Adler, Louis Sullivan, Frank Lloyd Wright, Ludwig Mies van der Rohe, Gordon Bunshaft, and Louis Kahn. For them, the modernist ideal of functionality was incompletely realized if it did not wholly assimilate heating, cooling, ventilating, and artificial lighting. Bridging the history of technology and the history of architecture, Siry discusses air-conditioning’s technical and social history and provides case studies of buildings by the master architects who brought this technology into the conceptual and formal project of modernism. A monumental work by a renowned expert in American modernist architecture, this book asks us to see canonical modernist buildings through a mechanical engineering–oriented lens. It will be especially valuable to scholars and students of architecture, modernism, the history of technology, and American history.

As the signature event of Hong Kong Interior Design Association (HKIDA), APIDA aims to promote professional standards among interior design practices, recognise outstanding interior design projects and invites interior design on a broader social level. Many outstanding submissions have not only grown in number this year, but also completed on a whole new level. Many projects pursue minimalism, adhering to the user-oriented view, reinforcing the intimate relationship among design, nature and man, transcending good interior design to sculpt space, emphasising the balance between architecture and nature with tranquil atmosphere, and pushing the boundaries of design.

As our lives accelerate to keep pace with today's frantic world, the possibility of truly arriving at a destination grows in importance. Interior designers are faced with the challenge of creating rooms that allow an authentic stillness in the most inherently transient of interior spaces. The title showcases a wide variety of takes on the recurring theme of the hotel room. Featured are 101 different design concepts by two spe - cialists in the field of hospitality design. The selection of projects covers the broadest possible spectrum: redesign - ing the interior of historic grand hotels, creative solutions for budget hotels as well as prize wining design hotels. What makes this title a valuable reference is the direct insight into the planning process of two professional and highly successful interior designers.

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.

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.

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.

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.

Cheerful, playful, light-the architectural leitmotifs of the 1972 Summer Olympics in Munich spatially embodied the hope of a new era for the young German Republic. The vision of a cosmopolitan society found expression in a swinging roof construction over gently undulating landscape forms and fresh, clean colors. For the first time, this book examines the design and technical achievements behind the iconic Olympia architecture-as told from the perspective of the congenial collaboration between its planners. Detailed insights into the creation process between visionary artistic aspirations, technical possibilities, motivation of those involved and the power of decision-makers how the potential of interdisciplinary thinking. Olympia Munchen '72-Architektur + Landschaft als gebaute Utopie is a unique historical testimony of the time, based on extensive interviews by the author with Gunter Behnisch, Frei Otto, Hans-Jochen Vogel, Klaus Linkwitz, and Joerg Schlaich, among others. Including previously unpublished visual material.