This comprehensively illustrated book records and assembles material on over 150 buildings by Karl Schinkel, Germany's most important 19th century architect.

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.

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.

Material Theories takes a radically new approach to well-established thinking on nineteenth-century architecture and design by investigating Gottfried Semper's classic ideas about dressing, metamorphosis of material, and cultural development, culminating in his two-volume publication Style. This book demonstrates how Semper's theories crystallised among his encounters with material things of the late 1840s and early 1850s. It examines several discursive frameworks and phenomena which shaped the attitude to artefacts in Europe in the mid-nineteenth century, and which were specifically pertinent to Semper's evolution: archaeology and antiquarianism, the domestic interior, print media, collections, and the embodied relationship between the designer and their work. For the first time, this book examines the construction of a design theory not only as an intellectual endeavour but also as a process of confrontation with material things. It employs recent approaches to material culture, in particular Thing Theory, in order to show that Semper's artefact references constituted his ideas, rather than simply giving impetus to them. It will be an important investigation for academics and researchers interested in interior design history, as well as scholars of material culture and history of design theory.

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.

Bilingual edition (English/Arabic) / Zweisprachige Ausgabe (englisch/arabisch) Designing Modernity: Architecture in the Arab World 1945–1973 is the result of a fascinating investigation by international experts into the influences of modernist architecture in the Arab world. Ten case studies provide the foundation for a thorough exploration of the relevant cultural-historical, sociopolitical, climatic and demographic aspects. Questions concerning the region’s reciprocal relationship with modernist architecture in the period from 1945 to 1973 are investigated through the biographies of selected buildings and building complexes from Iraq, Lebanon, Kuwait, Syria, Palestine, Jordan, Egypt and Morocco. Texts, contemporary images, architectural drawings and archival material are used to document the process from commissioning and design through to completion and building use.

Observation and representation is a foundational subject in Landscape Architecture. Landscape design is a process shaped by the connections and interactions among designers, users, and the real world. This issue aims to explore the ways that help landscape architects: 1) see the scientism of design disciplines and explore the methodological principles of design generation; 2) translate and convey design ideas and emotional inspiration to the users with rich design vocabulary (in size, shape, material, proportion, composition, etc.) through multiple perceptual approaches; 3) read sites from economic, ecological, cultural, and other perspectives to present more convincing and appealing landscape narratives with the aid of emerging technological means; 4) understand various needs of all parties and stakeholders, coordinating interests and benefits and improving the utilisation of public resources through landscape design; and 5) create educational places for improving the public's rational and aesthetic norms.

An architect without being one, an anomalous designer, a gifted draftsman and collector of objects, Luca Meda (1936-1998) wrote one of the most important chapters in the history of 20th-century Italian design. The world of domestic interiors was his privileged field of action, and the very close, one-of-a-kind relationship with Molteni&C has provided, since the seventies, an example of perfect symbiosis between creativity and business, art and industry. Among the pieces of furniture that have become iconic are the Piroscafo bookcase designed together with Aldo Rossi, the Zim and Ho chairs, the Vivette armchair, the Primafila sofa and the modular systems 505 and Pass. This publication offers an exhaustive portrait of Luca Meda, at long last highlighting the importance and extent of his production - which includes furniture, installations, architectural projects and design objects of all sorts - in the context of a still pioneering season of Italian design, but to whom we nevertheless owe the subsequent success on the world stage. The historical-critical essays dedicated to his work are accompanied by a series of interviews with collaborators and friends who shared knowledge and practice in the realisation of his projects, as well as the re-edition of an interview with Meda himself, published on "Gap casa" in 1983. Bio-bibliographical appendix and a list of works complete the fascinating journey of the volume. Critical essays: Serena Maffioletti, Alberto Ferlenga, Sofia Meda, Nicola Braghieri, Beatrice Lampariello, Rosa Chiesa, Giampiero Bosoni e Chiara Lecce, Dario Scodeller, Mario Piazza. Interviews: Luca Meda, Romano Barchi, Mario Carrieri, Nicola Gallizia, Eliana Gerotto, Peter Hefti, Felix Humm, Laura Maifreni, Bruno Longoni, Carlo Molteni, Diego Peverelli, Richard Sapper, Filippo Zagni. Text in English and Italian.

Schinkel 'in Athens': Meta-Narratives of 19th-Century City Planning proposes a fresh appraisal of Karl Friedrich Schinkel's urban design legacy and his involvement in the design of modern Athens in the 1830s. From the 1830s onwards, the incompatibility between Schinkel's position as a civil servant and his vocation as a scholar inspired by Fichte led him along a transcendental path of life. Transcendentalism set its own terms and conditions under which Schinkel's project of a palace atop the Acropolis of Athens (1834) might be understood. The 'contextual analysis' of Schinkel's work in this book challenges the view of this proposal as a utopian scheme, detached from the realities of nineteenth-century Greece. On the other hand, the first plan of Athens, supposedly the work of two of his former Bauakademie students, ratified a year earlier, in 1833, proposed the location of the royal residence in the new town at a few hundred metres north of the Acropolis. But, though the two options for Otto's palace were topographically dissimilar they did retain a common strong, topological significance - which, along with other factors analysed in this book, provides ample evidence for re-thinking the authorship of the new plan of the capital city of Greece. Schinkel 'in Athens', by all means!

The Green Energy Laboratory (GEL) is a research centre for low environmental impact building technologies on the the Minhang Campus of Jiao Tong University in Shanghai. Created in collaboration between the university and the Italian Ministry for Environment, Land and Sea Protection, it was designed and built by the Florentine architectural firm Archea Associati in 2012. This book features critical essays, technical drawings, photos of the construction site and the completed project, and illustrates the harmony of this structure through its perfect blend of tradition, architectural ingenuity, and sustainability. The GEL building is based around a central courtyard with a retractable roof. The top, or third floor, is recessed in relation to the main block, with a steeply sloped roof to house solar panels. The outer shell of the building's double skin is composed of terracotta elements designed to form pictograms common in the Chinese language. This landmark project represents a symbol of intercultural cooperation between Italy and China. Text in English and Italian.

A beautifully designed and lavishly illustrated biography of one of Chicago's greatest lost buildings For six months in 1961, Richard Nickel, John Vinci, and David Norris salvaged the interior and exterior ornamentation of the Garrick Theater, Adler & Sullivan's magnificent architectural masterpiece in Chicago's theater district. The building was replaced by a parking garage, and its demolition ignited the historic preservation movement in Chicago. The Garrick (originally the Schiller Building) was built in 1892 and featured elaborate embellishments, especially in its theater and exterior, including the ornamentation and colorful decorative stenciling that would become hallmarks of Louis Sullivan's career. Reconstructing the Garrick documents the enormous salvaging job undertaken to preserve elements of the building's design, but also presents the full life story of the Garrick, featuring historic and architectural photographs, essays by prominent architectural and art historians, interviews, drawings, ephemera from throughout its lively history and details of its remarkable ornamentation-a significant resource and compelling tribute to one of Chicago's finest lost buildings. A seventy-two-page facsimile of Richard Nickel's salvage workbook is tipped into the binding.

A visual compendium revealing the philosophy and life of America's renowned architect The story of Louis H. Sullivan is considered one of the great American tragedies. While Sullivan reshaped architectural thought and practice and contributed significantly to the foundations of modern architecture, he suffered a sad and lonely death. Many have since missed his aim: that of bringing buildings to life. What mattered most to Sullivan were not the buildings but the philosophy behind their creation. Once, he unconcernedly stated that if he lived long enough, he would get to see all of his works destroyed. He added: "Only the idea is the important thing." In Louis Sullivan's Idea, Chicago architectural historian Tim Samuelson and artist/writer Chris Ware present Sullivan's commitment to his discipline of thought as the guiding force behind his work, and this collection of photographs, original documentation, and drawings all date from the period of Sullivan's life, 1856-1924, that many rarely or have never seen before. The book includes a full-size foldout facsimile reproduction of Louis Sullivan's last architectural commission and the only surviving working drawing done in his own hand.

A monograph on architect Mario Bellini (born 1935), examining his buildings, museums, fairground complexes, international competitions and major exhibition designs. Through photographs, plans, sketches, text and quotations, this volume looks back at the 50-year career of Italian architect and designer Mario Bellini (born 1935), examining his buildings, museums, fairground complexes, international competitions and major exhibition designs. Text in English and Italian.

As an architect, urban planner and sculptor, Rob Krier has created a multifaceted oeuvre which is presented here in a comprehensive manner for the first time. After graduating, Krier first worked with O. M. Ungers and Frei Otto before setting up his own studios in Vienna and Berlin. He later taught at the Vienna University of Technology from 1976 to 1998 and as a visiting professor at Yale University in 1986. Drawing on a wealth of historical models and archetypal patterns, he developed new typologies of streets and public squares as an architect and urban planner, and was responsible for numerous urban development projects throughout Europe. These included the perimeter block development on Ritterstrasse for the IBA in Berlin, the residential complex on Breitenfurter Strasse in Vienna, the Kirchsteigfeld district in Potsdam, and numerous projects in the Netherlands.

Faces of Power and Piety is the second in the Medieval Imagination series of small, affordable books that draw on manuscript illuminations in the collections of the J. Paul Getty Museum and the British Library. Each volume focuses on a particular theme to provide an accessible and delightful introduction to the imagination of the medieval world. The vivid and charming faces featured in this volume include portraits of both illustrious historical figures and celebrated contemporaries. They reveal that medieval artists often disregarded physical appearance in favor of emphasizing qualities such as power and piety, capturing how their subjects wished to be remembered for the ages. Faces of Power and Piety also looks at the development of portraiture in the modern sense during the Renaissance, when likeness became an important component of portrait painting. An exhibition of the same name will be on view at the J. Paul Getty Museum from August 12 through October 26, 2008.

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.

Cosmopolitan Habitat promotes a research agenda for urban resilience, understanding cities as global avant-garde dealing with the planetary challenges of climate change, migration, and social fragmentation. Within the framework of the Green Deal, Europe is advancing ideas and innovations aimed at manifesting change and long-term strategies for our cities in order to achieve the aims of resilience and sustainability. At the same time, we are facing the impact of the Covid-19 pandemic on our cities and on our ways of imagining and constructing urban futures. How can cities become new, concrete places to invent, explore, experiment, and live in open communities that are able to face global challenges while also enhancing liveability, inclusivity, and urban economies? Cosmopolitan Habitat presents conceptual models, urban strategies, and spatial practices for the Open City, combining urbanism, architecture, humanities, culture, economy, and politics.

"Each day of my life has been dedicated in part to drawing. I have never stopped drawing and painting, seeking, where I could find them, the secrets of form."-Le Corbusier Charles-Edouard Jeanneret, known as Le Corbusier (1887-1965), is famous for transforming 20th-century architecture and urbanism. Less attention has been paid to his artistic production, although he began his career as a painter. Le Corbusier indeed studied under Charles L'Eplattenier and, together with the artist Amedee Ozenfant, founded the Purist movement in the manifesto After Cubism. Even after Le Corbusier turned to architecture, he continued to paint and draw. His thousands of drawings, rarely exhibited but meticulously stored in two watch cabinets from his family home, were particularly significant; he considered his work as a draftsman to be fundamental to his creative process. Beautifully illustrated with more than 300 drawings that have never before been published for an English readership, this revealing book charts the evolution of Le Corbusier's process from his youthful travels abroad to his arrival and maturation in Paris. Daniele Pauly shows how his drawings functioned within an intimate zone of private reflection and situates his work within the broader artistic and intellectual currents of Cubism, Purism, Primitivism, and Surrealism. In addition to providing a crucial new background against which to comprehend Le Corbusier's architecture and urbanism, this important volume advocates for understanding him alongside leading modern artists including Pablo Picasso and Fernand Leger.

"I think bamboo is the right material for creating a new architectural language unique to Vietnam." Vo Trong Nghia. With the climate crisis raging and awareness of humanity's detrimental impact on the environment now patently apparent, the need for architects to come up with sustainable new solutions has never been more pressing. A key part of any green approach to architecture is the use of local natural materials with a low environmental impact. Bamboo, which has been widely used in Asian architecture for centuries as scaffolding and for bridges, pavilions, houses and other structures, is an ideal material in this context: lightweight, strong and readily available. In an effort to meet the challenges of the 21st century, VTN Architects has developed new ways of working with two species of bamboo in particular: the flexible "Tam Vong" (Thyrsostachys oliveri Gamble) and sturdier "Luong" (Dendrocalamus barbatus), creating a manufacturing workflow that allows for the production of standardized modules, a knitting technique that enables the material to span large distances and environmentally friendly traditional treatments such as mud-soaking and smoking. In Bamboo Architecture we see how these methods have been applied in award-winning, groundbreaking projects such as the Wind and Water Cafe, Diamond Island Community Center, and the majestic Vedana Restaurant, alongside an illuminating introduction by Masaaki Iwamoto and an interview with the studio principal Vo Trong Nghia who offers an inspiring vision for the future of natural, green architecture.

The Masters of Concrete Shells Concrete shell construction started to become popular in the mid-20th century. Technically advanced designs with conspicuous expressiveness began to appear all over the world. With three typical protagonists - Felix Candela (1910-1997), Heinz Isler (1926-2009), and Ulrich Muther (1934-2007) - the book examines this construction method. Their work - primarily in Mexico, Switzerland, and the former GDR - was carried out under very different political, economic, social, and cultural conditions. The authors analyze the buildings and projects against the background of developments in architecture and engineering at that time. The focus is on mutual influence, shared aspects and differences in the design processes, the structural design, and the execution. In addition, the book examines how the work was received and today's application of the building method. Learning from Felix Candela, Heinz Isler, and Ulrich Muther and their historic shell construction buildings Unknown material from the drawing archives In English with summaries in German and Spanish

The two Bern architects Bernhard Aebi and Pascal Vincent have designed an impressive portfolio of works since 1996, including renovations of historical buildings such as the Bundeshaus in Bern, but also many residential and administrative buildings, mostly following competition successes and always achieving great architectural qualities. Text in English and German.

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.