The diverse works of architect Nicholas Hawksmoor (?1661-1736) ranged from small architectural details to ambitious urban plans, from new parish churches to work on the monument of his age, St. Paul's Cathedral. As a young man Hawksmoor assisted Christopher Wren and John Vanbrugh, emerging from these formidable apprenticeships to design some of the most vigorous and dramatic buildings in England. In this engaging book, architectural historian Vaughan Hart presents a fresh view of Hawksmoor's built and planned work. In addition, Hart offers the first coherent explanation of Hawksmoor's theory of architecture.
The book explains why Hawksmoor's buildings look the way they do, what contemporary events influenced his work, and how such ancient buildings as Solomon's temple and Mausolus's tomb inspired him. Underscoring the unique qualities of the architect's accomplishments and aspirations, Hart establishes with new clarity Hawksmoor's vital role in the development of English architecture.

The Studio for Immediate Spaces (SIS) is a two-year MA programme at Amsterdam's renowned Sandberg Instituut. It aims to explore and shape spatial practices on the genesis and production of contemporary spatial configurations. Through extensive field investigations, SIS works as a laboratory, testing ideas relevant to how we live today and how we could live tomorrow. Rural flatlands, suburbia and gritty city settings; Mediterranean shorelines and Alpine mountainscapes; open-pit mines and industrial legacies; abandoned buildings and unfinished infrastructures; harbours, airports and refugee camps: Such places were the sites of SIS's research and production between 2016 and 2019. Directed by Swiss architect Leopold Banchini, it embraced a truly global approach that crossed, and deliberately ignored, borders. This book offers a glimpse into this unique journey around the world. Illustrated with some 790 colour and black-and-white photographs, it features work produced collectively by participants in simultaneous roles of geographer, researcher, architect, urban planner and designer. Brief texts on each project and essays by Leopold Banchini and other SIS faculty, studio participants as well as by curator and writer Lukas Feireiss round out this exceptional documentation of forward-thinking higher education in spatial design.

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.

Since 2003, the Lausanne architectural couple Alfonso Esposito and Anne-Catherine has been working persistently on a respectable oeuvre of public buildings and housing. With great respect for the relevant location and the functional requirements of the building task, they find fitting figures and inspired materials that ultimately lead to an appropriate, poetic expression.

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.

In the three decades following World War II, a group of architects centered in the Puget Sound region were designing buildings of extraordinary quality, whose most evident commonality was the use of wood in profusion, as exposed, meticulously detailed structure and as interior and exterior surface. Gene Zema, a 1950 graduate of the University of Washington and a student of the legendary Lionel Pries, was one of this group. In a career that spanned twenty years, Zema designed forty-six houses, seven clinics, two architectural offices, a nursery, and a golf clubhouse, and he participated in the design of two University buildings. He built several buildings with his own hands, developing a consummate sense of appropriate design in wood. The luxuriantly crafted details and uniquely dramatic spatial compositions of his work place it at the forefront of that remarkable movement.

Zema was also a distinguished collector and retailer of Native American and Japanese antiquities. In 1983, relying on the sale of antiquities for income and limiting his architectural practice, he and his wife, Janet, bought a 70-acre meadow on Whidbey Island. On their property Zema built a workshop, a windmill and pump house, a chicken house, a home, a peacock house, and a kiln, all of which are as remarkable as his earlier masterpieces.

Gene Zema is an iconic figure among those who know his work, but the region to which his work is intimately bound is far from the centers of architectural journalism and his story is little known. It is the story of a unique figure in an extraordinary American architectural movement and an exceptional figure in the history of the Pacific Northwest.

Grant Hildebrand is professor emeritus of architecture and art history at the University of Washington, and author of eight books on architecture, including "Suyama: A Complex Serenity, The Wright Space: Pattern and Meaning in Frank Lloyd Wright's Houses," and "Frank Lloyd Wright's Palmer House." He is a recipient of the Washington Governor's Writers Award for work of literary merit and lasting value.

Ask Americans to think of a famous architect and the person they are most likely to name is Frank Lloyd Wright. Wright's work, his reputation, and his long and colorful career have made him an icon of modern American architecture. But despite his status as America's most celebrated architect, his influence throughout an active practice spanning the years 1896 to 1959 is so wide and complex that it has been difficult to grasp fully.
The essays in this book look not at the United States, the context usually associated with Wright, but at countries around the globe. Anthony Alofsin has assembled a superb collection of scholars to examine Wright's importance from Japan to Great Britain, France to Chile, Mexico to Russia, and the Middle East. Interwoven in the essays are stories of champions and critics, rivals and acolytes, books and exhibitions, attitudes toward America and individualism, and the many ways Wright's ideas were brought to the world. Together the essays represent a first look at Wright's impact abroad, some from the perspective of natives of the countries discussed and others from that of informed outsiders. Of special note is Bruno Zevi's firsthand account of traveling with Wright in Italy. Zevi was instrumental in bringing Wright's ideas to Italy and in helping launch the movement for organic architecture. Of unusual interest in light of today's events in Iraq is Mina Marefat's essay on Wright's elaborate designs for a cultural center for the city of Baghdad. The Baghdad projects, which were never realized after the assassination of King Faisal II, were Wright's principal focus in his last decade.
In searching out the little known rather than reexamining the well-established aspects of Frank Lloyd Wright's work, this collection is a rewarding exploration of his vision and influence.

Peter Eisenman's architecture carries many layers and meanings; one question leads to the next and one conversation provokes another. Vladimir Belogolovsky's new book highlights three separate conversations he had with the architect at his New York City studio. These conversations are part of the author's ongoing interview project he initiated in 2002, discussing architecture with over 100 leading international architects. Peter Eisenman is in the bloodline of Palladio, Le Corbusier, and Robert Venturi, and in this book of brutally honest conversations between him and critic Vladimir Belogolovsky pithy assertions emerge, sometimes in contradiction, as Belogolovosky sympathetically questions this authority, one whose deep commitment to his art, over fifty years, has helped change contemporary architecture. (...) Eisenman bemoans the fact that celebrity architects have supplanted such authorities, that is, authors of a critical architecture that reflects on its own language. All art languages must do this, an important insight of semiotics in the 1960s when Eisenman first started critical practice.. (Charles Jencks).

This Building Likes Me offers an engaging account of the recent work of one of Australia's most significant architectural practices, John Wardle Architects (JWA). The practice is fascinated by those who experience their buildings and spaces - by those who live or work in them, or simply walk past. These are the people the buildings like! This monograph captures the practice's commitment to people, cities and places; the collaborations with makers, builders and artists and the continual; and their continual inventive exploration of scale, site, landscape and narratives of memory.

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.'

The terms 'analogue architecture' and 'oldnew architecture' are key aspects of the teaching of Miroslav Sik at the ETH Zurich. During his first period there (1983-1991), Sik worked as Senior Assistant at the Chair of Fabio Reinhart and was in effect the spokesman of an architectural movement that became renowned far beyond the borders of Switzerland and is still influential today. In 1986/1991, the compact movement presented itself to the public with a touring exhibition and an accompanying large-scale 'Swiss Box', including chalk perspective drawings of its projects. Miroslav Sik worked as a Full Professor at the ETH Zurich between 1999 and 2018 during his second period there. Since the 1990s, Sik's theory and teaching have formed an important pillar of Swiss and international architectural history. This extensive volume contains the best 90/120 works respectively by students from both periods of Miroslav Sik's teaching, including plans, project descriptions and perspective diagrams. Some of the presented students went on to become renowned contemporary Swiss architects. This volume also includes the most important manifesto-like texts by Miroslav Sik and enlightening essays on the movement of analogue and oldnew architecture.

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 first in-depth analysis of the stunning designs of one of the world's most captivating and prominent architects Born in Tanzania, David Adjaye (b. 1966) is rapidly emerging as a major international figure in architecture and design-and this stunning catalogue serves only to cement his role as one of the most important architects of our time. His expanding portfolio of important civic architecture, public buildings, and urban planning commissions spans Europe, the United States, Africa, Asia, and the Middle East. He transforms complex ideas and concepts into approachable and innovative structures that respond to the geographical, ecological, technological, engineering, economic, and cultural systems that shape the practice of global architecture. The publication of this compendium of work and essays coincides with the scheduled opening of Adjaye's National Museum of African American History and Culture on the National Mall in Washington, D.C. Adjaye's completed work in the United States includes the Museum of Contemporary Art in Denver, a pair of public libraries in D.C., and several private residences. He is also known for his collaborations with artists, most recently with the British painter Chris Ofili (b. 1968). Following an introduction by Zoe Ryan, Adjaye writes on his current and future work, with subsequent essays by an extraordinary cadre of architectural scholars on Adjaye's master plans and urban planning, transnational architecture, monuments and memorials, and, finally, the forthcoming museum in D.C. Portfolios of Adjaye's work thread throughout this comprehensive volume. Distributed for the Art Institute of Chicago and Haus der Kunst Exhibition Schedule: Haus der Kunst, Munich (01/30/15-06/28/15) The Art Institute of Chicago (09/19/15-01/03/16)

Diese grundlegende und umfassende Mies-Monografie betrachtet sein Werk von einem entwurfsbezogenen Standpunkt der Architektur aus: Sie rekonstruiert die Bauten in ihrem realisierten Zustand und sieht sie gleichsam auf Augenhoehe des heutigen Betrachters: als qualitatvolle und nach wie vor inspirierende Architektur eines grossen Meisters der Moderne. Das Buch prasentiert80 realisierte Bauten Mies' in chronologischer Reihenfolge. Dabei werden etwa 30 dieser Werke in drei Schritten ausfuhrlich analysiert: Im ersten Schritt wird der Bau in seinem ausgefuhrten Zustand dokumentiert: samtliche Grundrisse wurden dafur durch den Autor neu gezeichnet; im zweiten werden die baulichen Veranderungen dargelegt, und der dritte Schritt arbeitet die Ergebnisse dieser Untersuchung hinsichtlich ihrer Relevanz fur den heutigen Blick auf Mies' Schaffen heraus.

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.

The farmhouse gained a contemporary freshness while respecting existing elements and using only a few external measures. Inside, a surprisingly multifaceted world has been created that impresses with its high-quality finishing, humour and consistency. The conversion thrives on surprising moments: the tension created by differently proportioned rooms, the varied interior furbishing and the direct nature of specific solutions that pick up on original uses. Text in English and German.

David Chipperfield's new building for the Kunsthaus Zurich now stands in all its splendour on Zurich's Heimplatz, opposite the old museum building of 1910 designed by Karl Moser. Its opening to the public in October 2021 will make the Kunsthaus Zurich Switzerland's largest art museum. Following the two previous volumes on Kunsthaus Zurich's architectural history and the design for turning it into an art museum for the twenty-first century, this book documents the genesis of David Chipperfield's extension from proposal through political debates about the entire project to completed structure. It features a foreword by David Chipperfield and an essay by Christoph Felger, executive architect for the project at David Chipperfield Architects Berlin, that discusses the design concept, the promise made with it, and its fulfilment. A conversation between Christoph Felger, the director of the City of Zurich's Building Surveyor's Office Wiebke Roesler, and Kunsthaus Zurich's director Christoph Becker, and architecture critic Sabine von Fischer, as well as numerous illustrations and plans sound out this new volume. Text in French.

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.

The built heritage of postwar modernism has been under threat from climate change and the high expectations of society for years. The tremendous volume of building stock was erected with high hopes for the future within just a short period of time—and frequently using construction techniques that were as yet unproven. Despite the many research efforts focusing on spatial concepts and societal utopias between the 1950s and 1970s, the practice-oriented field of construction research lacks binding recording and evaluation strategies for buildings, materials, and construction methods for the majority of buildings of all types. This affects projects from solitary churches, residential settlements, and green spaces right through to large cultural, sporting, and education constructions, as well as the engineering structures of the urban and peripheral infrastructure. In order to preserve this existing stock as a resource for the future, new recording and evaluation tools that take into account technical, construction, ecological, and economic factors are necessary. This book presents possibilities for the management of our recent constructed heritage on the basis of ongoing projects by the DFG-Netzwerk Bauforschung Jungere Baubestande 1945+ buildings preservation network.

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

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.