William Lumpkin's residential designs speak volumes about the fusion of styles -- Spanish colonial, Pueblo, Art Deco -- in the Southwest. This book shows his distillation of the pure architectural elements of Pueblo style -- the heart of 'Santa Fe' style -- in 47 modern adobe projects. A skilled manipulation of this truly American architectural form. Also demonstrated is Lumpkin's adept talent for incorporating modern living standards into historic architecture with pleasing functional results.

The Neue Nationalgalerie on the Berlin Kulturforum is an architectural icon as well as the crowning conclusion of architect Ludwig Mies van der Rohe's life work. An outstandingly successful and sensitive refurbishment and modernization project was carried out for the building's most significant overhaul since its opening in 1968. It complies with the requirements of a contemporary museum exhibition facility, as well as monument-preservation guidelines. David Chipperfield Architects developed the renovation concept under the motto of "As much Mies as possible." This publication provides deep insight into the planning, execution, monument preservation, and restoration from the perspective of those involved. The exemplary handling of the historical fabric is presented in design documents and numerous large-format photographs that impressively illustrate the design stage, the construction site, and the refurbishment results. With articles by David Chipperfield, Bernhard Furrer, Gunny Harboe, Joachim Jager, Dirk Lohan, Fritz Neumeyer, Alexander Schwarz, Gerrit Wegener, and some 30 project managers

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.

In 2000, a group of architects founded their office in Geneva. Since then - partly with changing personnel - they have continuously produced buildings in the Geneva-Lausanne region, often with experimental qualities. They include the 2018 GA building for the EPF Lausanne, and the CI residential tower in Meyrin, with an integrated private clinic. Text in English and German.

Text in English and German. Otto Steidle acquired international recognition for his extraordinary early residential buildings in Munich and for exemplary solutions for school and office buildings. His office and residential complex for Wacker-Chemie in Munich is a lively accent on a particularly conspicuous site in architecturally conservative Munich. Individually balanced buildings are arranged along the block perimeter in Prinzregentenstrasse, the most important east-west axis in the inner city, diagonally opposite the Haus der Kunst, and in Bruderstrasse, which leads to Lehel, a traditional residential area. Steidle has not packed the different functions in layers one above the other, as is usual in commercial projects of this kind, but has separated them clearly from each other. The office building on the noisy carriageway of Prinzregentenstrasse takes the curve to the narrow side street in an elegant sweep, with the glass skin suspended in front of the corner giving the building an almost Mendelsohn-like verve. The series of residential buildings in Bruderstrasse is given a different quality by Berlin painter Erich Wiesner's strong colours and the projecting and recessed facades. And as here too the normal Munich scale is considerably exceeded -- the three residential towers placed diagonally to the courtyard rise eight storeys high -- there is a surprising amount of room for publicly accessible gardens inside the block, designed by landscape architects Latz + Partner, and also scope for revealing the torrential Stadtmuhlbach in a spectacular fashion, which used to be covered, but now shoots directly past one of the windows of the sunken cafeteria and then under the entrance hall of the office building, before playing at waterfalls as it gushes into the Englischer Garten at the other side of the road. Thus Prinzregentenstrasse, as a mile of museum and government buildings, and the Lehel residential area have acquired an architectural attraction of elemental impact in the shape of the Wacker building.

Stan Allen is an architect and educator who has won global acclaim, primarily for his work in town planning and his influential 1996 essay Field Conditions. His new book Situated Objects shows a unique facet of his creative process: a selection of small buildings and projects on rural sites, most of them situated within the landscape of the Hudson Valley, New York. They demonstrate an approach to architecture that engages in a dialogue with this partly wild and wholly non-urban environment that lies just outside the gates of New York City. The projects are presented in drawings and a rich array of images by celebrated photographer Scott Benedict. They are arranged in three thematic categories: Outbuildings, Material Histories, and New Natures, supplemented by the architect's writings and essays contributed by Helen Thomas and Jesus Vassallo. The first book on Stan Allen's buildings, Situated Objects highlights Allen's personal engagement with American material traditions, the conventions of architectural drawing, and the challenge of building with nature.

The Sri Lankan architect Geoffrey Bawa (1919-2003) fused sensitivity for local context with the technological discoveries and design principles of modernism in his work. Accordingly, Bawa often incorporated materials (local stone and timber) and layouts (high roofs, cross-ventilation, vast overhangs) specific to Sri Lanka's monsoon climate and storied architectural history - from the cave monasteries of the Anuradhapura period to the feudal Walauwa style of manor houses - into his modernist designs. Gathering essays by scholars and writers across a multitude of disciplines - including architecture, photography, geography, urban design and art history - this volume spotlights Bawa's exceptionally beautiful architectural drawings, delving into the central, multipronged role of the medium in his practice, from ideation to instruction to post-construction review. The anthology also explores the identity of post-independence Sri Lanka, which Bawa helped to shape - aesthetically and, less overtly, ideologically. Featuring over 200 lush drawings and photographs, many of which have never been published before, the book promises to engage both general and scholarly audiences with interests in architecture, drawing and archives.

A deluxe sleeved set that includes a facsimile republication of a classic work on Louis Kahn and an accompanying volume of new writings by colleagues, architects, and the Kahn family The Notebooks and Drawings of Louis I. Kahn, originally published in 1962 and long out of print, was the first book on the architect to feature Kahn's own images and words-and it was Kahn's favorite book on his work. It includes his early sketches, reproduced at full size, from his European travels in the 1950s as well as renderings of the designs for several of his notable buildings, along with unpublished speeches and excerpts from lectures, radio broadcasts, and other sources. In this magnificent sleeve-encased two-book set, a facsimile of the original publication is accompanied by an illustrated Reader's Guide that features essays and commentary by writers such as scholar William Whitaker and Pulitzer Prize-winning critic Paul Goldberger, family members, and fellow architects such as Frank Gehry, Tadao Ando, and Denise Scott Brown that contextualize the enormous impact and continuing legacy of one of the twentieth century's most influential architects. Distributed for the Yale Center for British Art and Designers & Books

The ongoing paradigm change in regard to the use of energy, its efficient usage and the consumption of resources is giving rise to new light systems and lighting appliances. This development might also lead to the use of light as a building material in its own right, comparable to traditional building materials, making it possible to create light space productions something that did not seem feasible up to now due to the high cost of energy and of light systems. The goal of this book is to develop temporary light spaces that re-interpret the existing urban environment on a seasonal basis or over a cycle of several years. As a result, the city will literally appear in a new light. Strollers in the city streets will experience their familiar environment in a new way. Illuminated planes interlacing with planes made by linear fields of light beams will create immaterial material space experiences: still lifes of light within which one can move about and light choreographies that move barely noticeably, creating still lifes in motion. Current research aims at exploring, imagining and inventing stand-alone spatial structures of light, adding on to and transforming existing spaces, creating a new spatial awareness that may enable people to experience urban space in a different way. Similar to the process of architectural design, where haptic built volumes create interspaces, the light spaces that are presently being designed make these interspaces visible and allow urban dwellers to experience unexpected spatial constellations. The discourse in this book starts with essays introducing aspects of light spaces, including the following: Christian Bartenbach on the perception of light as something that creates space; Niels Gutschow on the ritual dimension of light, an element in the history of creation; Samuel Widmer on light in near-death experiences; Aldous Huxley on light as the messenger from a world we perceive on an unconscious level; Jun'ichiro Tanizaki on the world of the shadow and Tadashi Endo on movement as a relation between time and space in Butoh, the Japanese dance of darkness. The discourse concludes with documents on light spaces by Wolfgang Rang collected over a period of 30 years showing how these light spaces were regarded in the writings of con-temporaries, including Max Bacher on the dawn of a new era; Hans-Peter Schwarz on the deconstruction of space by light; Jurgen Hasse on light as a discourse fragment of public space; Manuel Cuadra on red luminescence; and Antonio de Campos on shadow as an expression of light.

Architectural research by the two Geneva architects in their office Bassicarella focuses on a few fundamental themes: Materiality, presence, construction, pre-fabrication and the internal figure. In a sequence of volumes in the Bibliotheca series, the architects reflect on those themes using illustrative details, short texts and technical data on the materiality of their remarkable buildings in the Geneva region. Text in English, French, and German.

Robert Adam is perhaps the best known of all British architects, the only one whose name denotes both a style and an era. The new decorative language he introduced at Kedleston and Syon around 1760 put him at the forefront of dynamic changes taking place in 18th-century British architecture. His later claim that his practice with his brother James had effected 'a kind of revolution' in design was no idle boast. Their style dominated the later Georgian period and their influence was widespread, not only in Western Europe but in Russia and North America. But for such a well-known figure, much of Robert Adam's art still remains poorly understood. This new study, based on papers given at a Georgian Group symposium in 2015, looks afresh at many aspects of the Adam brothers' oeuvre, such as interior planning, their use of colour, the influence of classical sources, their involvement in the art market, town planning and building speculation, and Robert Adam's late picturesque drawings and castle designs - all within the context of the Adam family background and their personal and working relationships. The Scottish architecture of Robert and James's older brother, John, is also assessed. There are essays by established Adam experts as well as contributions from a younger generation of historians and postdoctoral scholars, one of the book's aims being to stimulate further research on the Adams' contribution to British architecture, art and design.

This poetic and minimalist anthology presents 10 years of heritage of AIRES MATEUS design studios at the Accademia di Archittettura di Mendrisio in Switzerland.100 images of largescale models built by students of AIRES MATEUS are brought together to create a family portrait. Each expertly staged model is pictured with the essential schemes necessary to understand the volumes portrayed. Francisco and Manuel Aires Mateus’ many years of experience in pedagogy and the use of models in practice are brought together in a manifesto which precedes the anthology of images. The importance of the model in the formation of architectural ideas and throughout the design process, as well as its potency as a standalone statement are highlighted. The evocative photographs in this book reveal abstract spaces produced by artistic interpretations of light, volume and materiality.

This book provides an overview of residential buildings and housing developments in Germany from this time that have been recognized as historical monuments.Numerous impressive buildings in various areas, including single-family houses, residential developments, high-rise buildings, and experimental structures are thus brought into the current research discussion anew based on a broad range of materials. In light of the current wave of reconstruction, the book focuses on an architectural era whose historical monument quality has not yet been accepted as a matter of course. The well-documented buildings vividly relate the history of construction and housing in the young Federal Republic of Germany and German Democratic Republic. The book is richly illustrated and addressed to both experts as well as a broader audience.

The long-awaited fifth volume on The Complete Works of Herzog & de Meuron presents the sixty projects completed between 2002 and 2004 with characteristic attention to detail. These include buildings that have already become contemporary architectural icons, such as the National Stadium in Beijing and the Elbphilharmonie in Hamburg, but also projects which, though never realized, have influenced the architectural discourse. These include the residential tower for the Schatzalp Hotel, which overlooks Davos and inspired a new generation of Alpine architecture. In the period covered by this volume, urban planing was a major focus of Herzog & de Meuron's work. International acclaim fueled by booming construction led to numerous commissions in China (the Jindong New Development Area), and in Europe: master plans for Jerez de la Frontera and the Olympic Games in London opened up entire urban regions to future development.

'A charming account of a daughter, a house and a fastidious dad' Sunday Times Shelley Klein grew up in the Scottish Borders, in a house designed on a modernist open-plan grid. With colourful glass panels set against a forest of trees, it was like living in a work of art. Her father, Bernat Klein, was a textile designer whose pioneering colours and textures were a major contribution to 1960s and 70s style. Thirty years on, Shelley moves back home to care for her father, now in his eighties: the house has not changed and neither has his uncompromising vision - or his distinctive way of looking at the world. Told with great tenderness and humour, this is Shelley's account of looking after an adored yet maddening parent and a piercing portrait of the grief that followed his death. 'A sad, funny, utterly fascinating book about families, home and how to say goodbye' Mark Haddon 'Original, moving and bracingly honest... often hilarious' Blake Morrison, Guardian 'It is strange that grief should produce such a life-affirming book, but it has. Read it for the solace it contains, or for its captivating descriptions. Either way, it's a delight' Telegraph

The Werkgruppe Graz played a major role in post-war Austrian architecture. All four of its members were educated at the Technical University in Graz and began their collaboration in the late 1959, with the first building completed in 1963. The group was an important precursor of what became known as the Graz School in Austrian architecture. Socially progressive, with a participatory as well as scientific approach they created projects that remain significant milestones until the present day. Werkgruppe Graz 1959-1989 is the first comprehensive documentation of the group's work; putting it in historical and international context. With comprehensive details of 30 building projects, it is a complete catalogue of their work.

Digital Fabrications is a collection of essays and half-true stories about design software and hardware. Written from the perspective of architectural design, each piece expands on emerging trends, devices, foibles, and phenomena engendered by an increased reliance on interactions with interfaces in the discipline. The essays ask: how do we characterise our post-digital design labour? What are the politics of design software? How is architecture adapting to a world largely dependent on platforms and scripts? What are the spatial mechanisms of the internet and VR? Using storytelling techniques, this book accepts that software is everywhere, and narrows in on a few ways it has taken command of our cultural products. From the perspective of architectural design, a field traditionally associated with sketching and its own myths of creativity, computers are an essential workplace tool. Projects rely on a wide assortment of software packages and standalone applications, but rarely do architects reflect on the structure of those programs or how they have infiltrated our disciplinary conventions. PDFs and JPGs are as much a part of our vocabulary as plans, sections, and elevations. A drawing today might refer to a rendering, a CAD document, a proprietary BIM file, or anything that describes a project visually. While one way of examining this disciplinary shift might be to re-imagine what digital drawing can be, this collection of essays puts forth another way: to look at the behaviours, phenomena, collective trends, and oddities emerging as a result of global software proliferation. In other words, this book accepts that software is everywhere, and narrows in on a few ways it has taken command of our cultural products.

With his residential buildings, office blocks, schools and factories, Boris Velikovsky (1878-1937) made a definitive contribution to Russian avant-garde architecture. His early constructions, such as Gribov House in Moscow, are still very much bound to Russian Neoclassicism, yet since the Revolution of 1917, he increasingly designed Constructivist architecture. One example is his Gostorg Management Building, distinguished by glass facades, the functional division of space and use of state-of-the-art materials. Furthermore in the garden city of Druzhba for instance, Velikovsky intensively engaged with new ideas in town planning. With mostly hitherto unpublished technical plans as well as numerous historical and new colour photographs of his most famous projects, Boris Velikowsky's contribution to Russian avant-garde architecture is appreciated for the first time in book form.

The worldwide use of building envelopes in steel and glass is one of the characteristic features of modern architecture. Many of these pre- and post-war buildings are now suffering severe defects in the building fabric, which necessitate measures to preserve the buildings. In this endeavor, aspects of architectural design, building physics, and the preservation of historic buildings play a key role. Using a selection of 20 iconic buildings in Europe and the USA, the book documents the current technological status of the three most common strategies used today: restoration, rehabilitation, and replacement. The buildings include Fallingwater House by Frank Lloyd Wright, Farnsworth House by Ludwig Mies van der Rohe, Fagus Factory and Bauhaus Building by Walter Gropius.

Known internationally for designing buildings that take their inspiration from the land, Antoine Predock explores many of his ideas about architecture through the fluent medium of drawing. This collection of 172 sketches, many published here for the first time, surveys nearly fifty years of his work. Presented in a format that evokes Predock's sketchbooks, the drawings are arranged according to the logic of their internal topologies. Like a Moebius strip, they fold back on themselves, equating objects in space to drawn connections on a surface through a continuous process of transformation. Whether sketching sites around the world or designing buildings, Predock has learned through years of experience to condense multiple sensations and ideas into line and color. Christopher Curtis Mead traces Predock's aesthetic impulse back to the primal sense that through drawing we reach out to touch the world.

Sandra Giraudi and Felix Wettstein, another architect couple from Lugano, became renowned with the construction of a residential building in Cadro (1997), the laboratory building on the university campus in Lugano (2002) and the new concourse in Basel station (2003, with Cruz-Ortis, Sevilla). Sharply defined, finely shaped structures respectfully and yet pointedly combine with the evolved surrounding environment. Text in English and German.

Adèle Naudé: A Form of Practice celebrates the architect’s 40 years of practice and teaching. In notable academic leadership positions, Naudé taught across many locations globally, and her practice followed to new locations around the world. A Form of Practice is the first comprehensive monograph presenting the work and academic contributions by Naudé - from South Africa and Chile to Japan and the United States. “…my teaching career at important institutions led to offers for increasingly important leadership positions including Architecture Chair at the University of Pennsylvania, the deanships at the University of California San Diego (UCSD) and later at MIT.�

Jean Prouve's Ferembal House was built in Nancy, France, in 1948, as the office for a can factory. Composed of five axial frames clad with wooden panels, set on a tall masonry base and occupying less than 600 square feet in a single raised story, this prefabricated structure was a classic example of Prouve's advocacy of mobile architecture. Thirty years later, however, the company went out of business and the factory was demolished. Fortunately a Nancy resident had the wherewithal to dismantle and preserve Prouve's innovative building, putting it into storage. In 1991, the well-known Parisian design gallerist Patrick Seguin traveled to Nancy to locate the Ferembal House. Seguin spent the next ten years raising the funds to renovate it, working in tandem with Prouve experts, and in 2007 invited his longstanding friend, the architect Jean Nouvel, to undertake a creative adaptation of the House. Drawing on contemporary technical resources, Nouvel brilliantly extended and systematized its fundamental modularity with stackable Ductal blocks and a floor of removable slabs. The results were exhibited in the Tuileries Gardens in Paris, in 2010. This comprehensive account of Prouve's posthumous collaboration with Nouvel recounts the tale of the Ferembal House with archival photographs and plans of the original structure and a detailed account of Nouvel's inspired interventions.

Text in English and German. The Neues Haus, the new building for the Munchner Kammerspiele, is not a big building in any sense. The plot of land not far from Maximilian-strasse, whose greatest advantage is its proximity to Richard Riemerschmied's Schauspielhaus, is only about 1000 m2 in area. The most important quality of the design is in fact that it accepts the modesty of its role. The new building subordinates itself to the main Kammerspiele building, and manages without lavish foyers and extensive prestigious areas. The Neues Haus is a servant building, a place where work is done. A hasty passer-by would see the building simply as a white cube, reticent and introverted. Given the serene mastery of the brief and the architectural resources, one is almost inclined to call it a work of Peichl's old age, combining his love of clear volumes with a sovereign grasp of technical requirements. Like the silvery-sparkling ORF studios, the ground radio station in Styria and the liner-like phosphate elimination plant in Berlin before it, the Neues Haus is also crammed full of technology. It contains three stages, and two of them can be used at the same time. The largest playing area is elaborately equipped with gallery and under-stage; it is therefore intended as the main rehearsal area in future. The two large auditoriums are stacked one above the other like shoe-boxes and form a massive hollow core surrounded by all the service functions. The interior is dominated by a plainness that oscillates between poverty and asceticism. The corridors and foyers are narrow, the stairs simple, the interval areas positively sparse. The only opulent feature is the splendid technical equipment. Peichl's handwriting can be seen in the treatment of the details and his ingenious practice of self-quotation. Many of the motifs are reminiscent of earlier projects, and of course the typical portholes, spiral staircases and railings made of steel hawsers crop up again, all Peichl's usual maritime metaphors. In this way he has produced a building whose cool elegance reveals scarcely anything of its inner values.