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.

Text in French & English. Even though his viaducts for the TGV Atlantic line and several innovative projects rapidly brought him national recognition, Jean-Yves Barrier, who set up his own practice in Tours in 1990, managed to avoid involvement in fashions and trends. Whether he is dealing with homes, public facilities, offices, industrial buildings or shop design, Barrier approaches each project with a fresh eye, and tries to come up with a powerful idea that is then expressed spontaneously in his sketches. His initial insight is developed in very precise studies, bringing an architectural approach to the technical details. The originality of his buildings is inevitably associated with the renewal of form, a great variety of subjects and blending materials in a way that exploits the value of each to optimise the construction as a whole. Even though he was one of the first to realise a solar building (1978), an automated house (1990) and a low-energy apartment block (2001), these technical innovations are not his chief concern. The essential feature for Barrier is the correctness of the response applied to the programme and to the context, with consistent respect for the users. He combines generosity in his human contacts with rigour in conception and realisation. In all his exchanges with contractors, engineers, workmen and users, his taste for dialogue promotes a climate of confidence that enables every project to find its own distinctive quality.

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

"This gorgeous doorstop of a book ... Seductive and serious - for the most discerning coffee tables." - Edwin Heathcote, Financial Times. Sigurd Lewerentz (1885-1975) is one of the most highly revered - and also one of the most heavily mythologised - protagonists of modern European architecture. Arguably Sweden's most distinguished modernist, he is more influential to other architects internationally today than he has been during his lifetime. Countless architecture lovers from around the world visit his still existent buildings. Stockholm's woodland cemetery Skogskyrkogarden, his most significant contribution to landscape design, is a UNESCO World Heritage site. This authoritative new monograph on Sigurd Lewerentz is based on extensive research undertaken at ArkDes, Sweden's national centre for architecture and design, where his archive and personal library are being kept. It features a wealth of drawings and sketches, designs for furniture and interiors, model photographs etc. from his estate, most of which published here for the first time, as well as with newly taken photographs of his realised buildings. Essays by leading experts explore Lewerentz's life and work, his legacy and lasting significance from today's perspective. This vast, beautifully designed book offers the most comprehensive survey to date of Lewerentz's entire achievements in all fields of his manifold work.

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.

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.

Thirty-six architects from Europe and the USA present their very latest projects for luxury villas - from a villa in the city to a lakeside location and those on the coast or in the mountains. The book features over 100 unique and stunning houses.

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.

Arguably the most influential document in the history of urban planning, Daniel Burnham's "1909 Plan of Chicago", co-authored by Edward Bennett and produced in collaboration with the Commercial Club of Chicago, proposed many of the city's most distinctive features. Carl Smith's fascinating history reveals the Plan's central role in shaping the ways people envision the cityscape and urban life itself. His concise and accessible narrative begins with a survey of Chicago's stunning rise from a tiny frontier settlement to the nation's second-largest city. He then offers an illuminating exploration of the Plan's creation and reveals how it embodies the renowned architect's belief that cities can and must be remade for the better. Smith points out the ways the Plan continues to influence debates, even a century after its publication, about how to create a vibrant and habitable urban environment. Richly illustrated and incisively written, this insightful book will be indispensable to our understanding of Chicago, Burnham, and the emergence of the modern city.

From the award-winning author of Wrestling with Moses comes a fascinating, accessible biography of the most important architect of the twentieth century. Modern Man is a riveting biography of Le Corbusier-a man who invented new ways of building and thinking. Modern Man is a penetrating psychological portrait of a true genius and constant self-inventor, as well as a sweeping tale filled with exotic locales, sex and celebrity (he was a lover of Josephine Baker), and high-stakes projects. In Flint's telling, Corbusier isn't just the grandfather of modern architecture but a man who sought to remake the world according to his vision, dispelling the Victorian style and replacing it with something never seen before. His legacy remains controversial today, as the world grapples with how to house its skyrocketing urban population and the cult of the "starchitect" continues to grow. Modern Man is for readers fascinated by the complex personal lives and outsized visions of both groundbreaking artists and dazzling, charismatic innovators like Steve Jobs.

Text in English & German. Francesco di Giorgio Martini's fortress complexes, created at the end of the Quattrocento, continue to look experimental and highly speculative half a millennium later by their semiotic character. They represent an extreme of European architectural history, occupying a position where architecture and sculpture cannot be sharply distinguished any longer. The alien-looking creations represented in this book have their origins in a particular historic situation: the emergence of firearms in the 14th century and their spread in the 15th century had shifted the balance of warfare in favour of the attacking side, against which the defensive structure had not yet found a remedy. Enter Francesco di Giorgio Martini (1439 to 1502) at this point, a native of Siena and one of the Quattrocento's highly versatile artists. He worked mainly in Federico da Montefeltro's Urbino, and left behind a body of work that included painting -- the three famous prospects of ideal cities in Berlin, Baltimore and Urbino are attributed to him -- sculpture -- primarily his imposing reliefs -- and architecture -- here he was definitely the outstanding figure between Alberti and Bramante. His achievements as an engineer are equally impressive, and his elaborate designs for machines strongly influenced those of Leonardo da Vinci. He was a true Renaissance uomo universale, though, despite of his voluminous and influential theoretical work, less in the sense of a humanist homme de lettres than as an all-round artist. Francesco's sacred and secular structures are classicist and austere in nature, yet his fortress structures look as if, moving beyond all functional concerns, he is exploiting the newness of the task, the lack of any tried and tested technical solutions and the removal of all typological boundaries to give his architectonic fantasies free rein, resulting in an apotheosis of the new, the unfamiliar and the alien. This book is an attempt to understand the strangely grandiose semiotic character of these structures. In doing so, it poses the question of what strategies can be used when seeking a shape for buildings for which there is no precedent.

'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

Text in English & German. Heroic 20th-century Modernism saw the private home as a place to first test out utopian theories -- a place for free play and experimentation where new approaches could be put into action, on a small scale but no less radical. Here, where architecture and life are most closely interwoven, Frank Lloyd Wright, Gerrit Rietveld, Le Corbusier and even Konstantin Melnikov found the suitable space to give their visionary concepts a plastic reality. The house built by the architect Fritz Barth for his own use in his home town of Fellbach places itself in an ironic, possibly melancholic distance from this kind of heroic pathos, but still has this tradition as its background. So it is considered by his builder as an experiment to determine the state of architecture at the start of the 21st century -- not to apply whatever offers itself to expand the architectonic repertoire (an approach that Barth considers to be a questionable, increasingly rhetoricised form of a somewhat naive belief in the future), but to find out what possibilities are still open to architecture and how far architecture still permits a concept of 'dwelling' in the sense the word was used by Heidegger. The result is not a backward-looking homeliness, but a structure that, as a commitment to architecture in and of itself, stands his ground like few others in its time and place. This is not least because its complexity its multi-layered, opulent fabric of allusions, references and quotations, only reveals itself gradually and with close observation behind a simple appearance targeted on the immediacy of experience and architecture. Despite the somewhat polemical intentions of its builder and inhabitant, the house is not experienced as an ideological manifesto in bricks and mortar. It is and here lies its radicality, devoted to the immediate experience of 'dwelling' in so far as it does not allow, as Thomas Hettche writes in his essay, any distinction between surface and function, life and experience.

Monograph.it is a unique contemporary magazine that combines monography and review. Each volume follows an original structure, although all devote several pages to the study of architecture. Accompanying these case studies are galleries flush with places, buildings, and landscapes; when combined with detailed studies focussing on cities in evolution, Monograph.it encourages its readers to conceive of urbanisation and landscape as mutually complementary. The aim of this is to provide a comprehensive overview that acknowledges differing development speeds of architectural productions, across a variety of scales. An ongoing project, this survey will be summarised in 'Researches' (a chapter to be published in the next issue). This will stress the importance of encouraging innovation in students of architecture. Monograph.it acts as a platform for theoretical debate, conducting interviews and hosting essays from big-name figures in the architecture world for example, the firm featured in this issue: Corvino and Multari. A remarkable pair of architects, Corvino and Multari have been shortlisted for a number of international awards, and won the 2006 Italian Architecture Award for their restoration of the Pirelli Skyscraper. Their projects have been exhibited worldwide, and works-in-progress range from music halls, to shopping centres, to the post-earthquake repair of residential property. A versatile team with a seemingly infinite repertoire, Corvino and Multari have a reputation for problem-solving: their creations are as daring as they are functional, and never fail to impress.

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.

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.

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 church rises to the challenge of providing a spiritual centre for Donau City, the new residential and commercial centre on the opposite bank of the Danube -- not as an act of coronation for the city in the sense of Taut's urban crown, as a temple or cathedral, but as miniature, as a demonstration of the power of the quiet as opposed to the loud, as an 'oasis in the diaspora', to use Karl Rahner's formulation about the parishes of the future. The building gives an impression of starkness: a hard cube, cut off at the corners, clad with sheets of black chromium steel. But it is only stark at first glance. A second glance shows that the hardness is a friendly hardness: because of the reflections that the material admits; because of the grid of the large-format sheets, to which the brightly gleaming drill-holes that cover the walls like fine gossamer respond; because of circular apertures that allow light to shine outwards after dark; because of large, rectangular windows in the receding corners that create a contrast with the closed quality of the building. Inside the starkness gives way altogether: a light space, which one comes into through an art-fully designed entrance. Originally a sparse covering for the space, which thrives mainly because of the light material -- birch wood -, because of the arrangement of the pews, which is as lively as it is peaceful -- segments of circles of different sizes, surrounding the dark syenite altar block in the form of an open circle -- and especially because of the wide range of circular light sources that render the introverted interior transparent, the large windows that create islands of light, the free-form aperture in the ceiling, which sends light gliding down on to the altar. Heinz Tesar's church continues a tradition of forward-looking modern church building, from Rudolf Schwarz's Fronleichnamskirche in Aachen via Egon Eiermann's Kaiser-Wilhelm-Gedachtniskirche in Berlin, Franz Fueg's Piuskirche in Meggen on Lake Lucerne to the new Herz-Jesu-Kirche in Munich by Allmann, Sattler and Wappner; and alongside all this there is also the tradition of a genuinely Viennese development of this theme, from Otto Wagner's Kirche am Steinhof to Ottokar Uhl's parish church Katharina von Siena.

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.