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 Rosemary Hill draws upon thousands of unpublished letters and drawings to re-create Pugin's life and work as architect, propagandist, and Gothic designer, as well as the turbulent story of his three marriages,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.

The city is the point of departure and arrival for the "architectural experience." It is, therefore, a palpable, external fact as well as a product of the mind, an abstraction. This book attempts to recreate this trajectory and to describe this exchange between the mind and the world through the traces it has produced. Two separate moments lie at the heart of this book's very structure and shape: one when the city is the site of an experience and of reflection and the other, when architects modify this site through a new project. The white notebooks contain writings, reflections, and observations collected over a ten-year period about our urban experiences. In fact, they hold the names of the cities that gave rise to them. These notes were often written during our travels, on the occasion of conferences or projects. Very importantly, though, they do not aspire to certainty; rather, they are a collection of questions and hypotheses. The black notebooks instead seek to delineate the scope of our research and to describe architecture as we practice it, namely as a collaborative effort, where each person's ideas and experiences form part of our shared vision and designs.

Michael Wilford: Buildings and Projects 1992-2012 is written by Robert Maxwell, Emeritus Professor of Architecture at Princeton University, and author and academic Professor Anthony Vidler, Dean of Cooper Union School of Architecture. Original writing by Michael Wilford is also included, presenting the architect's work, together with his partners Laurence Bain, Russell Bevington, and Manuel Schupp, in detail from both a historical and theoretical perspective. Michael Wilford: Buildings and Projects 1992-2012 features well-known projects including The Lowry and British Embassy in Berlin alongside hitherto largely unpublished projects such as The Singapore National Arts Center and Abando Transport Interchange in Bilbao.
In 1960 Michael Wilford joined the practice created by James Stirling and James Gowan in 1956. The Stirling/Wilford partnership was established in 1971 and continued until James Stirling's death in 1992, after which Michael Wilford continued the trajectory of the earlier work, whilst creating a clear identity post-Stirling.
Michael Wilford's work has gained international renown and includes significant public buildings such as performing art centres, art galleries, business headquarters, museums and libraries located around the world. Continuing in the tradition of the 'Black' and 'White' books (James Stirling Buildings and Projects 1950-1974, and James Stirling Michael Wilford Buildings and Projects 1975-1992), produced by James Stirling and Michael Wilford in 1975 and 1994, Michael Wilford: Buildings and Projects 1992-2012 brings up to date Wilford's legacy with respect to contemporary British and international architecture.

Focusing on six recent projects, including House 2B, that recently won the prestigious Aga Khan Award for Architecture, this publication presents the architecture of renowned Turkish architect Han Tumertekin to the English-speaking world. The book examines in detail his ability to engage in some of the more difficult issues confronting architects throughout the world today, such as suburban tract development, landscape and environment, and the challenges of practicing in different countries throughout the world.

The book includes an introductory essay by Hashim Sarkis, an article by Tumertekin on his design approach, and written and graphic explanations of Tumertekin's projects. It is the first of a new series of occasional monographs on contemporary designers in the Middle East and Muslim world.

A collection of writings showcasing Stanley Tigerman's indispensable contributions to architectural thought and culture Chicago architect and iconoclast Stanley Tigerman has been called a "design maven who can spit venom like a snake." Though he is at times sharply critical, his ability to cut to the core of architectural discourse has opened this insular world to a broader audience. His words and theories are appealing for their candor and are backed by his long-standing architectural practice. Since 1964 Tigerman has made an indelible mark on his hometown and on cities across the globe, with projects ranging from the Five Polytechnic Institutes in Bangladesh to the Holocaust Memorial Foundation Museum in Skokie, Illinois. This collection of essays, most previously unpublished, spans the course of Tigerman's career. Included are writings on the history of Chicago architecture, architectural theory, and commentary on contemporaries. Tigerman's engaging words, at times humorous and humble, at times biting and cantankerous, will captivate students and scholars as well as the general reader. Published in association with the Yale School of Architecture

This book shapes a thick network of experiences and crossed interests opened throughout last twenty-five years in the office NO.MAD and its founder Eduardo Arroyo. In its pages there are mixed reflections, anecdotes and creations that shape an exciting cocktail between living, thinking and creating. In some time of our physiological life something inside each one gets lost and the mind fills with doubts. In spite of the inertia of the long crossed distance, to stop and to look behind with exploratory smell can help us to enter with courage in the unknown days. This book shapes a thick network of crossed interests opened throughout last twenty-five years of the office NO.MAD and its founder Eduardo Arroyo. Topics like the origin and the memory, the soul and the precision, the random and the instability, the empathy, the instants and the choice, the hybridization and the blurry systems, the cloning, the invisible orders and the essential complexity or the combination of matter and energy turn out to be here interlaced. They shape a kaleidoscopic optics that though has guided always by an invincible illusion has never been exempt from the risk of diving in the unknown thing. The trip across these invisible paths demonstrates a critical vision of the world and the voluntary obligation to try to transform it from the creative independence, the determination and the valor that they are the transparent message of this book.

A house is a representation of the idea of the world, of life, of existence. For the Cologne architect Oswald Mathias Ungers (19262007), owner of a famous collection of books on architecture, who also repeatedly addressed the theoretical aspects of building, the construction of his own house, in 1958/59, was more than a private adventure. For him it meant a chance to gain spatial experience and explore what was possible. It was a laboratory, a little universe, a piece of world. In the course of his life, Ungers built himself and his family no less than three houses, two in the Cologne suburb of Mungersdorf, one in the Eifel highlands. Even the first house, to which this richly illustrated volume is dedicated, caused an international sensation; it was considered to be an important example of so-called Brutalism. It showed "everything I knew how to do at the time", Ungers wrote regarding the building. He wanted a house that enveloped and sheltered, he wanted metamorphosis and transformation; architecture that was autonomous but at the same time respected the genius loci. At the time, architects preferred to build their private homes as freestanding bungalows in the countryside. Ungers, on the other hand, settled in a place where there were traces of the Roman past and purchased a plot of land adjacent to an already existing row of terraced houses. Three decades later, Ungers expanded the cataract of forms of his first home by adding a geometrically strict cube, intended to house his library. The shock aesthetics of the early work had evolved into the rigorous abstractness of his late work. This building too one of a kind, and in interplay with its predecessor became a manifesto. It corresponded to the idea of a house as a small town and the town as a large house, an idea that has run through European architectural history since Alberti. In spite of all their differences, the two contrasting formats make common cause. They show a world full of contradictions, illusions and realities that reflects the entire spectrum of the image of architecture, from the fiction to the reality of the function. Today the house and the library are the seat of the UAA, the Ungers Archiv fur Architekturwissenschaft, and open to the public. The architectural historian Wolfgang Pehnt often visited Ungers. The author of an authoritative book about the architecture of Expressionism, he profited by Ungers' collection of material back in the years when Ungers was still interested in Expressionism. Thus he is familiar with the house in its details and has witnessed its modifications. As portrayed by him, the history of the origins of the house gives access to the impressive uvre of a great German architect.

In his second book, Jürgen Geiselhart presents private residences in several newly constructed villas that are oriented stylistically toward extremely diverse models in the history of architecture and art. His individual architectures and interior architectures from the years 2017 to 2022 are based firstly on the wishes of the clients and search for a contemporary implementation with respect to the execution of details and materials on this basis. In a very personal conversation, Jürgen Geiselhart describes the creation history and design ideas of the private residences, which are presented over 280 pages of expressive digital photography. Text in English and German.

In 2015, a volume in the Anthologie series was published on the buildings by this Lucerne architect, who is originally from the Upper Valais region. Since then, many further projects and an impressive number of new buildings have followed. They all demonstrate a respectful, gentle further development of the settlements and locations. The Kronengasse building in Sempach is exemplary: in it, the architect seeks a connection between traditional anonymous construction and a sophisticated finesse in designing the building. Text in English and German.

Building Toys: An Architect's Collection documents over 100 architectural building toys from the author's collection, from the mid-1800s to the present, from the U.S. and abroad. Each toy has an immersive two-page spread celebrating its unique features with photos of packaging graphics, component parts, assembly diagrams, and a built example designed and constructed by the author. Well-researched background information on designers and company histories provides intriguing facts which complete each toy's description. When taken together, these stories reveal a microcosm of western commercial and industrial history, illustrating trends in design, advertising, and material production techniques. The book is organised by toy material (natural wood, metal, plastic, etc.), creating six "chapters." It includes a two-page introduction which reflects the author's role as architect, photographer, and collector. There are approximately 250 pages giving a dynamic visual portrayal of a seldom seen world.

The architecture by Arne Jacobsen and Otto Weitling is of outstanding importance for post-war modernism in Germany. The calibre of their projects, however, has been forgotten. Gesamtkunstkwerke closes this gap in the appreciation of their work with a comprehensive presentation of seven out of eight German projects by the Danish master architects. Jacobsen and Weitling's Scandinavian functionalism is a reflection of the visions of the former FRG - designs and commissions grounded in democracy, prestige and efficiency. The publication also takes stock of how the legacy of late modernism is being handled. The journey through the architects' locales leads us to the sea, to model towns and to the intricacies of modernism, prompting a debate in accordance with Otto Weitling: 'Pros and cons would be a positive sign because a building that isn't talked about is usually not worth talking about.'

Text in German & English. Schinkel's Look towards India discusses a subject to which little attention has been paid to date: Schinkel's interest in Indian architecture and culture. This interest was first aroused by the English traveller to India William Hodges, who proposed the thesis that Greek and Indian architecture were of equal value. Later, the English landscape painters Thomas and William Daniell were to become even more important for Schinkel. Oriental Scenery, the book that described their travels, left its mark on Europe's image of India for decades and inspired longing for that country, which was considered almost magical. The cultural elite of Prussia were also caught up in this fascination. At the royal court of Prussia, Lalla Rookh, based on Thomas Moore's romance, was celebrated in 1821 as an oriental festival. In 1822 the Indian-themed pageant Nurmahalwas performed at the opera. For both productions Schinkel created enchantingly beautiful stage sets. His interest in exotic architecture was lifelong. The sketches he based on the work of the Daniells were preliminary studies for a huge round panorama that was to show the buildings of various periods and nations in their particular setting. His unrealised project for the summer palace Orianda on the Crimea, at the geographical interface of eastern and western culture, was Schinkel's convincing and timeless memorial to his dream of the unity of world cultures. The style of the exterior is classical, while that of the interior is Indian and Islamic. The work is character-ized by the hall of caryatids that lies in front of the building, with a view of the Black Sea, and the museum of Caucasian antiquities, its counterpart in the interior of the palace. Schinkel found the idea for the museum in Oriental Scenery, in the drawings of the legendary 1000-Pillar Hall in Madurai, in southern India, which the Daniells had toured full of admiration and included in their book.

Therme Vals, the spa complex built in the Swiss Alps by celebrated architect Peter Zumthor, became an icon of contemporary architecture soon after its opening in 1996. Inspired by the spa s majestic surroundings, Zumthor built the structure on the sharp grade of an Alpine mountain slope with grass-topped roofs to mimic Swiss meadows, captured here in a series of sumptuous images. "Peter Zumthor Therme Vals," the only book-length study of this singular building, features the architect s own original sketches and plans for its design as well as Helene Binet s striking photographs of the structure. Architectural scholar Sigrid Hauser contributes an essay on such topics as Artemis/Diana, Baptism, Mikvah, and Spring drawing out the connections between the elemental nature of the spa and mythology, bathing, and purity. Annotations by Peter Zumthor on his design concept and the building process elucidate the structure s symbiotic relationship to its natural surroundings, revealing, for example, why he insisted on using locally quarried stone. Therme Vals s scenic design elements, and Zumthor s contributions to this book, reflect the architect s commitment to the essential and his disdain for needless architectural flourishes. This lavishly illustrated volume about the spa that catapulted a remote Swiss village onto the international architecture scene will entrance all enthusiasts of contemporary design."

Built and designed by Ludwig Mies van der Rohe 1928-1930, the Tugendhat House in Brno / Czech Republic is one of the most significant buildings of European modernism. In 2001, UNESCO added the house to the List of World Cultural Heritage Sites. In this third, updated edition, the authors give personal and historic insights relating to the house; also documenting aspects pertaining to art history and conservation-science studies. The comprehensive description and in-depth discussion of the materials used is a special feature in this field of research. The appeal of this monograph lies in the publication of photographs from the family archive which, for the first time, show the house in its lived-in condition. The experimental artistic color photographs by Fritz Tugendhat are among the pioneering achievements of amateur photography.

Bilingual edition (English/German) / Zweisprachige Ausgabe (deutsch/englisch) The concept of landscape-ness is gaining increasing importance in architecture not least due to the rising threat of climate change. Based on international examples, Margitta Buchert analyzes the potential of architecture for dealing with contemporary challenges, including socio-cultural transformations and questions of lifeworld orientations within the tensions of global networking and local exposure—between natural space and urban space. Which architectural understandings and characteristics flow into architecture and urban projects by introducing the concept of landscape-ness? Which spatial articulating qualities are emphasized? And what sensibilities and capacities are enriched? Dimensions of landscape as nature—however, shaped and reshaped by humans—are in focus, as well as the connection between aesthetics, architecture, ecology, and the city.

Die Villa le Lac, die seit 2016 zum Weltkulturerbe zahlt, hat Le Corbusier 1925 am Genfer See fur seine Eltern projektiert und gebaut. Aufgrund seiner sparsamen Raumdisposition bezeichnete er es selbst als "Wohnmaschine". Bis heute ist es der moderne Prototyp des "kleinen Hauses" geblieben, das mit einem Minimum an Grundflache und ineinander ubergehenden Raumen alle Funktionen des Wohnens erfullt. Das Buch erscheint erstmals in drei getrennten Sprachausgaben und folgt der Originalausgabe, in der Le Corbusier die Geschichte des Gebaudes dokumentiert hat: mit Fotos, Skizzen und einem poetischen Text. Sie greift dabei aber auch auf die Originalfotografien zuruck und bietet so eine massgeblich verbesserte Abbildungsqualitat; zudem enthalt sie ein Nachwort der Architekturhistorikerin Guillemette Morel-Journel.

Cullinan Studio is a highly distinctive architectural practice and a force for good. This book places the work of Cullinan Studio in the context of the early 21st century. Being a progressive co-operative practice that continues to innovate, Cullinan Studio has a considerable catalogue of buildings and places achieved since the Millennium, including cultural centres, industrial, academic and research buildings, housing and regeneration, health and well-being buildings. In a world where there is constant pressure to specialise, how do they manage it - and how will they continue to do so? The author has worked with the practice directors and practice members, visiting the key buildings and places with them and discussing them in detail to build up a picture of how this idealistic and inventive practice negotiates the architectural challenges of today, finding new ways to serve society and maintain and strongly ethical focus while continuing to be commercially effective.

Key Modern Architects provides an accessible and thought-provoking introduction to the work of the most significant architects of the modern era. Fifty short chapters introduce fifty key architects, from Le Corbusier to Aldo Van Eyck to Zaha Hadid, exploring their most influential buildings and developing a critique of each architect’s work within a broader cultural and historical context. The selection represents the most influential architects working from 1890 to the present, those most likely to be taught on survey courses in modern architectural history, along with some lesser-known names with an equal claim to influence. Emphasis is placed on a critical and interpretative approach, allowing the student to position each architect in a cultural and intellectual context quickly and easily. Artistic, technical, social, and intellectual developments are brought to the fore – built and unbuilt projects, writings and influences. This approach brings to light the ideology behind architectural work, offering insights into each architect’s working practice. - Helps students to develop a critical approach to understanding modern architectural history. - One chapter per architect – meaning chapters may be read individually as a concise resource for the study of an architect, or together as a coherent book-length history of the whole period of modern architecture. - Chapters are supported by boxed lists of each architect’s most significant projects, along with suggestions for further reading as a springboard to further study and research. Combining the clarity and accessibility of a textbook with in-depth reading and a critical approach, Key Modern Architects provides an invaluable resource for both the classroom and for independent study in architectural and art history.