Text in English & German. The central Mosque of the Turkish-Islamic Union in Koeln-Ehrenfeld has given us one of the most vigorously discussed German building projects of the past 10 years. With this spectacular domed structure, Paul Boehm, the youngest son of Pritzker Prize-winner Gottfried Boehm and grandchild of Dominikus Boehm, has successfully introduced the Osman mosque typus into the modern age. The dome and minaret provide the Turkish / Islamic community with visual identification points. At the same time, this shell-construction structure is broken up into individual segments in a manner that opens it up to both the neighbourhood and the world. Containing conference halls, rooms for community use, a bazaar, a library and a museum, the complex is intended to convey to the surrounding area a message of retained ties to the historical country of origin coupled with acceptance and integration into the new homeland, and a willingness to engage in dialogue. Up to now the mosque represents the high point of the architectural career of Paul Boehm, who was born in 1959 and who is teaching at the Fachhochschule Koeln. His work encompasses a multitude of exciting projects and realised buildings, including cultural buildings, university buildings, administration buildings and residential buildings. It is, perhaps, unsurprising that an architect who comes from a family of church builders should have added an impressive religious structure to uvre. St. Theodor in Koeln-Vingst is a central-plan building that possesses a coherent atmosphere suited to contemplation whilst, at the same time, opening itself to a part of the city that suffers from social problems. Figures who have played a significant role in Paul Boehm's professional development include Tadao Ando, the master of velvet-smooth concrete, Oswald Mathias Ungers, the great lover of geometry, and Peter Zumthor, the essentialist of his generation. Like these three figures, the architects who Boehm worked with prior to founding his own firm in 2001, all espoused very different philosophies of architecture: Otto Steidle, Anton Schweighofer, Richard Meier . Paul Boehm does, of course, also owe a debt to the traditions of the family of architects that he comes from -- a tradition that he continues in his own individual way.

As synthetic materials, mutant and hybrid concoctions attain prominence in our daily lives - in our handheld devices, cooking utensils, vehicles, even things as simple as our shopping bags - the design and construction industries have instead reembraced the familiar, the conventional - wood, which has regained prominence through innovations in engineering and construction methodologies. Technology is now commonly used and often (though not always) affordably used - to cut, perforate, assemble, erect, and even fabricate materials in a manner not previously possible. Wood is one such material, and Timber in the City documents both the imaginings of those in the nascence of their education and practice and the executed work of design professionals at the leading edge of architecture. These designers, regardless of the duration of their immersion in the field, have imaginatively rethought the means by which we build and the methods by which we define space merely through differing deployments of a familiar building material.

In 2016, Dario Franchini and Diego Calderon founded two offices, one in Lugano and one in London. Since then, they have completed a number of small conversions and buildings with an experimental character. For the Palazzo del Cinema in Locarno, they carried out a relatively large conversion project including heightening measures. Their interventions are both precise and clinical. Text in English and German.

Laurent Lin, Alain Robbe and Rolf Seiler are the protagonists of the Geneva office founded in 1999. Since then, a dozen competition successes have resulted in several residential developments, a school building, an old people's home, commercial and administrative buildings, and individual homes. The designs are always pointedly critical and creative engagements with the building programme, the location and building regulations. Text in English and German.

Waro Kishi first caught the attention of the architectural world with his house in Nipponbashi, en elegant townhouse in an Osaka district full of stores marketing electric and electronic goods. Like a slender volume of poetry in a shelf otherwise crowded with how-to books, it is a work of remarkable lightness and transparency, four storeys high, 13 m deep, but only 2.5 m wide. The award-winning house, which has a steel-frame structure, is economically constructed of readily available materials such as cement boards, yet it is put together with enormous care. The austerity makes the high-ceilinged dining room, a dramatic eerie on the top floor, seem that much more luxurious. Kishi was educated at Kyoto University and opened his own office in Kyoto in 1981. Many of his buildings are located in the Kansai region, which, besides Kyoto, includes Osaka, Kobe and Nara. Kansai offers a working environment for architects that is very different from the one in Tokyo, where almost anything is permitted. It has an older history and, arguably, a more complex urban fabric that requires the observation of certain rules. A narrow frontage such as the one in Nipponbashi is commonplace in heavily built-up districts. The discipline that is demanded of someone working under such difficult conditions has helped to nurture Kishi's work. Born in 1950, Kishi belongs to the generation of Japanese architects that emerged after Tadao Ando. Although he has acknowledged the influence of the Oska architect, Kishi has a very different sensibility. His buildings are more delicate and subtle, and his designs are less driven by form. A self-described contrarian, who preferred the works of architects such as Marcel Breuer and Richard Neutra when many others were embracing Post-Modernism, he refuses in today's changed climate to be labelled a Modernist or Miesian.

After eight years, the new volume on the complete works of Herzog & de Meuron is published covering the years 2005 to 2007. The book presents 60 projects, which show the architects at the height of their powers. Their designs encompass the full range of architectural devices and respond to contemporary developments with a wide range of solutions - the designs refine the interaction with the respective site, with projects ranging from a small private conversion project to a studio ensemble, through to residential towers and urban design projects. For their designs, Herzog & de Meuron again develop new processes and create references to classic modernism just as to their own oeuvre. Architecture becomes a means of providing physical presence and stability in an increasingly virtual world.

Projects by Stefano Tibiletti and Catherine Glaeser-Tibiletti are clear architectural responses to the location and its urban morphology, translated into forms of typology and construction. A number of remarkable residential and public buildings have been erected in this way since 2006. Text in English and German.

When the A&M College of Texas opened its doors in 1876, its early buildings followed a Victorian architectural style. Classical architecture came to the campus with the Academic Building, after the 1912 fire that destroyed Old Main. Subsequent buildings generally followed this neoclassical path, but the growth of the campus in the Depression era saw the addition of an extraordinary group of buildings, sited in accordance with a master plan developed by college architect F. E. Giesecke and designed by S. C. P. Vosper, each of whom also held faculty positions in the first architecture program at a state college in Texas. The buildings designed by Vosper are arguably the finest buildings on the campus, uniquely expressive of the agricultural and mechanical origins of the university; they delight the senses with color, sculpture, and wit. Nancy T. McCoy and David G. Woodcock, distinguished preservation architects and scholars, review the history of Texas A&M campus architecture and provide in-depth coverage of Vosper and his legacy. Illustrated by the sumptuous photography of Carolyn Brown, Architecture That Speaks concludes with observations on recent approaches toward the reuse and rehabilitation of campus heritage architecture and a view to the future, as plans evolve for further development of the campus that maintains a respect for both strategic vision and historical heritage.

Combining the talents of an architect, artist, and developer, John Portman was able to embark on a series of large-scale building projects-megastructures-that radically redefined the relationship of architecture to the city and its citizens.Portman's own voice and ideas complement the contributions of others, including new photographs by Iwan Baan, to present a more complex and nuanced reading of both the architect and his architecture.Finally, the repertoire of Portman's buildings is analyzed in meticulous detail and used by a group of students from the Harvard Graduate School of Design as a catalyst for a host of divergent and new architectural speculations.

For around two decades, the architectural duo of Niklaus Graber & Christoph Steiger from Lucerne have been continuously working on the design and construction of high quality buildings that can without doubt be regarded as an enrichment to Swiss building culture. Although the architects attempt to make their works generally understandable and give them a timeless legibility, when designing them they take the risk of fundamentally questioning the relevant task. That often leads to surprising interpretations and tailored solutions that reveal the specific characteristics of each project. By now, their work includes private family homes and apartment buildings, as well as a considerable number of public buildings for educational, cultural, industrial and tourist purposes, which have attracted a great deal of attention on the specialist scene both in Switzerland and abroad. For instance the extension to a window factory in Hagendorn, the therapy centre for the Heilpadagogische Zentrum Uri and the panorama gallery on the peak of Mt. Pilatus have been awarded national and international architecture prizes. Text in German, with English translation booklet enclosed.

Text in German. Specialist literature on Schinkel has grown enormously since the 200th anniversary of his birth in 1981. But so far questions about the basis of his education and training remain unanswered. No one seems to have seen that Schinkel -- who is often called a classical or a Romantic architect -- was actually a son of the late Enlightenment. This is supported by his teachers' lesson notes (presented here for the first time), the educational periodicals of his period, private letters, exhibition catalogues and also treatises by avant-garde architectural theorists, who also have their say. It was a time of great elation, Kant's cry of 'sapere aude', have the courage to use your own reason, was the motto of this crucial epoch in the history of ideas. Schinkel's father, an unorthodox cleric, fought for the principles of the Enlightenment, and so did the teachers at the two progressive 'model schools' that Schinkel attended. For the first time, these schools brought children from all walks of life together under the same roof -- unheard of in those days. Friedrich Gedike, a leading Enlightenment teacher and the headmaster of Schinkel's grammar school Zum Grauen Kloster, not only tried to impart universal modern knowledge to his pupils, but also to educate them as citizens and servants of the state, with strong characters, and who could cope with life. The state was not just increasingly concerned with schooling, which had been dominated by the Church until that time, but also with education as a whole. The art academy, exhibitions and art as practised were to promote general enlightenment. To a certain extent this also applied to architecture. Friedrich Gilly, Schinkel's fervently revered master, even spoke of an architectural renaissance. The brightest minds of this period -- Schinkel met several of them -- were utterly convinced that the influence of science, culture and the fine arts was powerful enough to refine human nature and to sow peace and concord among nations. And so it is not surprising that the young Schinkel came to Fichte's philosophy at an early stage. Fichte defined the concept of virtue as the good will, which prevailed without exception, to "promote the purposes of humankind to the utmost of one's strength, and to promote them especially in the state, as it instructs". This became Schinkel's life's work.

In this essential TASCHEN introduction to Tadao Ando we explore the hybrid of tradition, modernism, and function that allows his buildings to enchant architects, designers, fashion designers, and beyond. Through key projects including private homes, churches, museums, apartment complexes, and cultural spaces, we explore a uniquely monumental yet comforting aesthetic that draws as much on the calm restraint of Japanese tradition as the compelling modernist vocabularies of Bauhaus and Le Corbusier. With featured projects in Japan, France, Italy, Spain, and the United States, we see not only Ando's global reach but also his refined sensitivity for the environs: the play of light through windows, and, in particular, the interaction of buildings with water. From the mesmerizing Church of the Light in Osaka to the luminous Punta della Dogana Contemporary Art Center in Venice, this is a radiant tour through a distinctly contemporary form as much as a timeless appeal of light, elements, and equilibrium. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Architecture series features: an introduction to the life and work of the architect the major works in chronological order information about the clients, architectural preconditions as well as construction problems and resolutions a list of all the selected works and a map indicating the locations of the best and most famous buildings approximately 120 illustrations (photographs, sketches, drafts, and plans)

Le Corbusier (1887-1965) is one the most influential architects of the 20th century. In the Scandinavian countries, his influence is arguably most pronounced in the writings and art of the Danish experimentalist Asger Jorn (1914-1973). Their collaboration on Le Corbusier's pavilion for the 1937 Paris World Exhibition sparked Jorn's lifelong fascination with the great architect and with architecture more broadly as an inherently public form of art. At the same time, Le Corbusier began revealing his work in visual art and started to move from a rational, technological approach to architecture, towards a more poetic, materialist one. Published in collaboration with the Museum Jorn, Silkeborg, What Moves Us? focuses specifically on the reception of Le Corbusier in Scandinavia, with the relationship between Jorn and Le Corbusier as a thematic thread. The book first highlights the architect's change of direction and subsequently takes readers through his influence on the young artist. The book's distinguished contributors explore the relationships that emerged among their artistic theories and practices, including Jorn's later critique of Le Corbusier.Essays also explore the wider influence of Le Corbusier on Scandinavian architecture and urbanisation and consider Le Corbusier alongside the Danish architect Jorn Oberg Utzon and the Aarhus Brutalism movement.

Nada es mas preciado que la familia, y mantener los recuerdos de aquellos momentos especiales da conversaciones fantasticas. No hay mejor forma de mantener un registro de esos recuerdos preciados que tener un album fotografico de familia. Con un album como este podras mantener esos recuerdos con facilidad, y lo mejor es que podras hacer las anotaciones necesarias en cada imagen e incluso anadir la fecha y lugar en los que fueron tomadas las imagenes

Frauen in der Architektur sicht- und hoerbar zu machen, ihnen eine Buhne zu geben, ihre Leistungen zu zeigen - das war das Anliegen des Women in Architecture Berlin Festivals 2021. Institutionen, Verbande und Initiativen im Bereich der Baukultur waren aufgefordert teilzunehmen. 70 Jahre nach dem Tod von Emilie Winkelmann, der ersten erfolgreichen deutschen Architektin, sollte Bilanz gezogen werden: Wer sind die starken Frauen von heute? Werden sie wahrgenommen? Wie steht es um die Gleichstellung in der Baukultur und den Umbau des Berufsbildes? Die Publikation zeigt auf, was Institutionen aus Politik, Lehre und Wirtschaft, was Chef*innen und Mitarbeiter*innen, Hochschulleiter*innen und Professor*innen tun koennen oder schon getan haben, damit es vorangeht auf der Baustelle Gleichstellung.

Over the past thirty years, Swiss architect Peter Zumthor has expressed himself on numerous occasions and in a range of contexts about his work and his self-conception as an architect. Many of these statements have been recorded on film. Christoph Schaub, Swiss film director and internationally renowned author of documentaries on architects and architecture, has composed a biographic film collage from this rich legacy of interviews and conversations, lectures, and public talks. It spans Zumthor's entire career from early days in the 1980s until today, including conversations with Schaub recorded for this compilation. This portrait also introduces us to Zumthor as a persona that has changed over three decades, yet still remained much the same man. Authentic, abiding, and passionately he responds to questions about his positions. His statements reveal sensitivity and consistency; they demonstrate a person following his inner compass and ideals. Christoph Schaub has conceived this biographic collage in collaboration with Atelier Peter Zumthor to coincide with the exhibition Dear to Me, curated by Zumthor, at Kunsthaus Bregenz in autumn 2017. DVD has English subtitles.

Nach gut acht Jahren erscheint der lange erwartete sechste Band des Gesamtwerks von Herzog & de Meuron zu den Jahren 2005 bis 2007. Die rund 60 Projekte zeigen die Schweizer Architekten auf der Hoehe ihres Koennens. Darunter finden sich so ikonische Bauten wie Das Perez Art Museum in Miami und das VitraHaus in Weil am Rhein. Die Entwurfe dieses Bandes breiten das ganze Vokabular architektonischer Mittel aus und reagieren ausserst vielfaltig auf aktuelle Entwicklungen der Epoche. Vom kleinen Umbauprojekt eines Privathauses uber ein Atelier-Ensemble bis zu Wohnturmen und stadtebaulichen Projekten im grossen Massstab wird die Auseinandersetzung mit dem Ort verfeinert. Dabei entwickeln Herzog & de Meuron immer wieder neue Verfahren und schlagen Bezuge zum Vokabular der klassischen Moderne und zur eigenen Werkgeschichte. Architektur wird zum Mittel, einer zunehmend virtuell gepragten Welt Koerperhaftigkeit und Halt zu geben.

Augustus Welby Northmore Pugin (1812-1852) was one of Britain's greatest architects, and his short career one of the most dramatic in architectural history. Born in 1812, the son of a French draftsman, at 15 Pugin was working for King George IV at Windsor Castle. By the time he was 21 he had been shipwrecked, bankrupted, and widowed. Nineteen years later he died, insane and disillusioned, having changed the face and the mind of British architecture in works as revered as the House of Lords and the clock tower at Westminster, known as Big Ben. "God's Architect" is the first modern biography of this extraordinary figure. Rosemary Hill draws upon thousands of unpublished letters and drawings to re-create Pugin's life and work as architect, propagandist, and Gothic designer, as well as the turbulent story of his three marriages, the bitterness of his last years, and his sudden death at 40. It is the work of an exceptional historian and biographer.

Famous color woodcut printmaker Gustave Baumann was a superb wood-carver who was captivated by puppet theater. In the 1930s Baumann carved a collection of marionettes for plays he wrote about New Mexico's cultural heritage. Featuring twenty-five marionettes photographed from the permanent collection of the New Mexico Museum of Art, this entertaining book tells the story of Baumann's theater, describing in detail the plays, sets, and costuming, and highlights the extraordinary wood-carving artistry of this master.

The German-American architect, art critic, and urban planner Ludwig Hilberseimer was central to avant-garde art and architecture in the Weimar Republic, an important Bauhaus teacher, and long-standing collaborator of leading modern architect Ludwig Mies van der Rohe. Despite being internationally-known for his work on Lafayette Park in Detroit, Hilberseimer’s legacy as a whole has been obscured in the history of modern architecture. Whether this is due to the intense shadow cast by Mies, or by his oeuvre being split between the differing languages and contexts of interwar Germany and postwar North America, this book argues that the time is now right for a critical reassessment of Hilberseimer’s work and writings. Published as part of the Bloomsbury Studies in Modern Architecture series, which brings to light the work of significant yet overlooked modernist architects, this study clarifies and situates Hilberseimer’s ideas both as an architect and writer, and examines their influence on modern and contemporary architecture and urbanism. The first synthetic account of Hilberseimer in English, it provides a contextual account of Hilberseimer’s works which have until now been subject to fragmentary or highly specialized interpretations. By demonstrating the influence of Hilberseimer’s ideas on the architecture of Mies van der Rohe, the book also lends Mies’s work a newfound urban significance.

Essays on Thermodynamics, Architecture and Beauty, is a book that unfolds arguments and designs around the concept of "thermodynamic beauty." This new aesthetic category opens up new and unexpected directions to the architect's work, connecting architecture and thermodynamics without giving up the tectonic tradition. The compendium will be developed through the concepts of Somatisms, Monsters Assemblage, Verticalism and Thermodynamic Materialism, summarizing design strategies, and opening new territories at the scales of building, public space and landscape.