Text in English and German. Otto Ernst Schweizer (1890-1965), architect, philosopher and teacher, had a crucial effect on the path of Modern architecture. When the central dairy in Nuremberg was finished in 1931 it was the largest complex of its kind in Europe and was seen by critics as a work that deserved the rank of prototype.

Text in English and German. The building has been totally restored for the 125th anniversary of the Museum's opening in 1876. Merz's basic idea was to reveal the various historic layers of this building.

Familienfotoalben sind eine grossartige Weise, Erinnerungen mit anderen zu teilen. Einer der grossten Vorteile bei der Verwendung von Fotoalben ist, dass sie zur Nutzung keine Batterien oder Strom notig haben. Fotoalben konnen leicht transportiert werden, damit andere Menschen sie ansehen konnen. Sie sind nicht mehr so beliebt wie sie in der Vergangenheit waren, aber Familienfotoalben bringen einen bestimmten geschichtlichen Anreiz und Charakter in die Umgebung, in der sie sich befinden."

Dedicated entirely to the legendary Casa de Retiro Espiritual, this book accompanies the MoMA exhibition of Ambasz's award-winning project. Considered a minimalist idea for some and a deconstructionist fable for others, Emilio Ambasz's Casa de Retiro Espiritual in Spain is instead an unclassifiable statement about architectural essentials. Situated close to Seville, this vacation home reinterprets in a non-vernacular manner the prototype of the Andalusian house, with a central patio which all the rooms look out on, where the earth is also used as an insulation system against the heat of the sun. Seen from afar, the house disappears like an optical mirage, leaving a view on the horizon of only the two empty backdrops arranged at right angles resembling an open book. Designed in 1975, the house has won innumerable architectural awards including the Progressive Architecture First Award and an AIA award. It foretold of Ambasz's pioneering work seeking to reconcile architecture with nature. Faithful to his conviction that "a building should return to the community in the form of garden, accessible to the community, all the land the building has covered," Ambasz's "green buildings," integrating garden and building into one inseparable entity, have been the precursors of a whole movement towards an energy efficient architecture. The fully illustrated volume includes an essay by Peter Buchanan, over 60 stunning full-color photographs of the house and an interactive CD Rom including aerial views, exterior and interior shots taken in daylight and at night.

Text in English and German. Heinz Tesar's buildings occupy a very particular place on the Austrian architectural scene, which is anyway populated by a lot of individualists. There is a great deal of creative imagination at work here, which always operates outside the scope of modern routine. The town of Klosterneuburg, north of Vienna, has become something like an artistic home for Tesar. The Schomerhaus, an office building whose huge oval central hall leaves convention far behind, and the Protestant church, which has a rounded floor plan like a tear-drop, were now followed by the impressive museum he has built here to house 4000 objects from the private Essl collection, which includes the most important collection of Austrian art after 1945. The floor plan is based on a triangle. Above a storage floor that runs the whole length of the building three individually shaped architectural entities are grouped around a green courtyard. The elaborately orchestrated section of the building on the short leg of the triangle accommodates the entrance foyer, staircase, library, offices and a flat.The long side of the triangle contains the hall for temporary exhibitions extending over two storeys; on the lower floor it is glazed on the courtyard side, and in the upper storey it is lit partly from the side and partly from the skylights in the slightly undulating roof. The hypotenuse is made up of a sequence of parallel galleries; they are topped by lanterns, which admit a great deal of daylight. Finally, Tesar gives the cubic building an organic touch with a curved flourish at the tip of the triangle. Following Gehry and Zumthor, who have recently made important contributions to the theme of art museums, Tesar is now offering a variant that responds very physically to its surroundings, creating individual spaces with a variety of light.

Since a compilation of their work was published in the series Anthologie 2012 ISBN 9783037610565, Detlef Horisberger and Mario Wagen have achieved further competition successes and expanded their exciting oeuvre. The designs always critically and creatively engage with the building programme, the location and the legal construction regulations. Text in English and German.

This comprehensive monograph presents the flagship projects--both completed and in progress--designed by the innovative architects Jakob + MacFarlane.

International architectural firm Jakob + MacFarlane-- an experimental laboratory focused on environmental transition and digital culture--accords particular attention to programmatic and urban social innovations.

The agency seeks links between the technicality and materiality of each project to anchor it in its temporal relationship and site. Signature works include the restaurant Georges at the Centre Pompidou (2000) and the Docks--City of Fashion and Design (2008), both in Paris, and Cardinal's Cube Orange headquarters (2010) and Euronews world headquarters (2014), both in Lyon. In addition to six ongoing projects in France and Belgium, the agency was awarded projects in Saint-Denis Pleyel and Reykjavik as part of the international "C40-Reinventing Cities" competition. The agency's work has been featured in museums such as the Victoria & Albert, San Francisco MoMA, Museum of Architecture in Moscow, Artist Space in New York, the Mori Art Museum in Tokyo, and the Bartlett School Gallery in London.

This bilingual English and French monograph, published to coincide with the Venice Biennale in May 2020, highlights the architects' insight on their profession, achievements, and perspectives. Text by respected critic Philip Jodidio is accompanied by more than 350 sketches, drawings, plans, sections, and photographs.

Until now, Emil Jauch (1911-1962) has been a little-known protagonist of Swiss post-war architecture. Shaped by the Scandinavian Modernity of the 1930s, his buildings are characterised by a remarkable sensitivity. This book demonstrates the Lucerne architect's empathetic design method by presenting his constructed school buildings. The publication describes the architect's life and work in three chapters, recognising his achievements in school building and classifying them within the European context of a humanising functionalism. Text in German.

Transformative Partizipation explores participation projects for various large housing estates in Germany and Austria. Protagonists from the fields of architecture, urban planning, sociology, history, and art use specific case studies to reflect on current and historical forms of participation. They examine the ideas and goals that shaped those formats and what kind of instituitions resulted from them. A special focus is on artistic forms of participation and their potential to initiate processes of reflection on the identity and image of the housing schemes, thus contributing to their long-term transformation. The aim of this publication is to further develop participatory concepts, promote their dissemination, and firmly embed them in practice.

Claude-Nicolas Ledoux (1736-1806) is today regarded as chief representative of French revolutionary architecture. With his extraordinary inventiveness he projected the architectural ideals of his era. Ledoux's influential buildings and projects are presented and interpreted both aesthetically and historically in this book. His best-known projects - the Royal Saltwords of Arc-et-Senans, the tollgates of Paris, the ideal city of Chaux - reveal the architect's allegiance to the principles of antiquity and Renaissance but also illustrate the evolution of his own utopian language. With the French Revolution, Ledoux ceased building as his contemporaries perceived him as a royal architect. He focused on the development of his architectural theory and redefined the vision of the modern architect.

Text in English and Italian. Ivano Gianola is one of the most important exponents of the so-called Ticino School. This developed in the early 1970s as a loose association of architects who thought in related ways. At the time, their ambition was to set radical alternatives of a powerfully symbolic nature against the increasing destruction of the environment by new building in Ticino. What made Gianola's buildings different from others of the Ticino School from the outset was the subtle way they were bound into their context, and their precise craftsmanship. The latter meant that building after building, especially in terms of interior finish and the coherence of all the details, became real total works of art. So it is hardly surprising that Gianola created the most beautiful living spaces in Ticino, in the best Artsand-Crafts tradition. This craft precision, combined with high formal and aesthetic values, was probably also crucial to the fact that in the 1990s Gianola was commissioned to design a series of public and private buildings abroad. Thus his conversions and new buildings for the Bayerische Vereinsbank in Schafflerhof in Munich made a major contribution to the new concept for the well-known Funf Hoefe site. But Gianola's greatest success so far was winning an international competition for redesigning the extensive site around the ruins of the former 'Palace' luxury hotel in Lugano. Here a theatre seating over 1 200 people, a modern art museum, housing and offices, a municipal park and a new section of the lakeside promenade will be created over the next five years. This is the biggest project that the Canton of Ticino has ever awarded, and it will have found an appropriate architect. This first publication of the complete works of Gianola gives the latest of the leading protagonists of the Ticino School a monograph of his own.

Text in English and Spanish. In 2000 the Autostadt, a show park for the Volkswagen group and its subsidiaries from Seat via Audi to Bentley and Lamborghini, opened in Wolfsburg. Alfredo Arribas designed the Seat Pavilion, and has brought off the brilliant trick of making an essentially reticent building into the focal point of the Autostadt. The structure is like a snail shell, forbidding and closed with the exception of a band of windows that seems to rise directly out of the surface of the lake on the Autostadt site. The irregular curve of the ground plan is reminiscent of a leaf or other forms borrowed from nature. Access is via two elegant ramps floating over the water and the site and thrusting straight into the centre of the pavilion: a homage to the old master, Le Corbusier. And then inside we are confronted with a surprise-packed exhibition landscape: a dazzling synthesis of acoustic and visual impressions that cast their spell over visitors as they walk round. Alfredo Arribas was a provocative newcomer on the architectural scene in Barcelona in the late eighties and is now an international success. He was probably predestined for this job like no other architect. He showed a highly personal flair for presenting spaces and goods from the outset, attracting early attention with his designs for discotheques and bars like the enormous Louie Vega (1988) discotheque, or the Torres de Avila (1990). The expressive tower for the Marugame Hirai Museum (1993) is also part of this creative phase, where forms did not necessarily have to be justified by functional logic. But Arribas' architecture changed into its business suit for the very next commissions. For example, even bankers in their pin-stripe suits feel perfectly at home in the cafeteria he designed for Norman Foster's Commerzbank headquarters in Frankfurt. Arribas is working on two large projects at present: a family entertainment centre in Bari and the Cite des Musiques Vivantes in Montlucon.

Text in English and German. In autumn 1997 the Zentrum fur Kunst und Medientechnologie (ZKM) moved into the production hall of a former munitions factory in Karlsruhe, built by Stuttgart architect Philipp Jakob Manz in 1914-18. Hamburg architects Schweger plus Partner were commissioned to convert this industrial structure, over 300 m long and with 10 atria, after Rem Koolhaas' project of a new building for the ZKM immediately adjacent to the main station in Karlsruhe had been rejected in favour of refurbishing and converting the imposing old building. There is no doubt that the thinking that led to the decision to retain an industrial monument dating from the turn of the century and to bring it back to life for different purposes, rather than putting up a new building, was essentially practical in nature. And yet the result is unique, as a dialogue of a quality that could scarcely be matched anywhere in the world was initiated between the four-storey hall with it's extensive atria and its new users, the ZKM institutes, the Staatliche Hochschule fur Gestaltung and several museums -- Medienmuseum, Museum fur Neue Kunst and Stadtische Galerie.The architects were experienced in handling large industrial and office buildings, but also ambitious museum projects -- among others they designed the Wolfsburg Kunstmuseum -, and they succeeded not only in showing the historical building substance and it's spatial potential to the best advantage, and in complementing this brilliantly inside and out; but they also combined the real architectural space and the imaginative space of modern pictorial worlds in an exciting way.

Text in English and German. 2 Books in slipcase. Karl Friedrich Schinkel called his designs for a palace on the Acropolis in Athens and for Orianda Castle in the Crimea a 'beautiful dream'. They date from 1834 and 1838 and were Schinkel's last major projects, in which he presented his ideal of architecture in brilliant drawings and watercolours, as if in a last will and testament. Both the formal language of neo-Classical architecture and the quality of presentation are brought to a level here that can scarcely be surpassed. It is clear how highly Schinkel himself esteemed these two unrealized designs from the fact that he had them printed as coloured lithographs in his publication 'Werke der hoheren Baukunst fur die Ausfuhrung erfunden' (Potsdam 1840 to 1942). These lithographs are reprinted in a large format for the first time here, complemented by the no less spectacular lithographs of the two Pliny villas, Tusculum and Laurentinum. These works, which represent a high point in the long story of the reconstruction of the two villas that have come down to us only in literature, also show Schinkel's impressive ability to demonstrate and convey his architectural ideas. He is profoundly concerned, both in the reconstructions of the Pliny villas and in the designs for the royal palace on the Acropolis and Orianda Castle to be archaeologically precise and to fulfil prescribed building programmes, but also to plumb the possibilities of architecture beyond mere utility. For the Acropolis palace project he had his eye mainly on the way in which the new building would interact with the surviving remains of the Propylaea and the Parthenon. In the Orianda project it is a glazed observation pavilion in the form of a temple that expresses architecture's perception of itself more clearly than perhaps ever before.

In 1950, a young Vancouver architectural apprentice was handed a small house project that his boss was too busy to take on. The apprentice, Ron Thom, took the simple plan and rectangular foundation that had been roughed in, and transformed it into a ground-breaking work of architecture that gained national fame. Inspired by Frank Lloyd Wright and Richard Neutra, but using local wood and paying careful attention to its verdant ocean-side setting, Thom created a landmark for the new architectural movement known as West Coast Modernism. The client, Dr Harold Copp, was himself a trailblazer, the first head of the physiology department in the University of British Columbia's new Faculty of Medicine and a research pioneer. Generously illustrated with both vintage and contemporary architectural photography, line drawings, and photographs of the architect and residents, Copp House is the story of a cultural landmark on the shores of Vancouver.

It's been our distinct pleasure over the past few years to publish monographs on a select group of young architects and firms whose work represents the best of contemporary design thinking while retaining a distinctive regional sensibility. The Nova-Scotian architect Brian MacKay-Lyons fits neatly into this distinguished list, which includes Marlon Blackwell in the Ozarks, Rick Joy in the Southwest, and Miller/Hull in the Northwest.

Those familiar with Nova Scotia understand the austere beauty of this Canadian landscape, with its wide open skies and rugged terrain pushing up against the Atlantic. MacKay-Lyons's work responds to this unique topography and to the vernacular building traditions that define its communities. His houses, commercial buildings, and public projects combine regional forms with local materials, technologies, and building practices to create works that are linked to their environments right down to their DNA. Peaked gables, shed roofs, and sliding doors are inspired by local barn types; corrugated metal cladding comes from the buildings used by the area s fishing industry; structural wooden frames are based on local ship-building traditions. These elements communicate a sense of place that is sophisticated, accessible, and free of sentimentality.

Novelist and historian Malcolm Quantrill weaves together an intimate portrait of MacKay-Lyons and his work, elucidating the "peculiar regionality" of his subject's architecture.

A New Voices monograph published with The Graham Foundation.

When Isaiah Rogers died in 1869, the Cincinnati Daily Times noted that ""in his profession he was, perhaps, better known than any other person in the country."" Yet until now there has been no study that fully examines his remarkable, influential, and instructive career. Based largely on Rogers's own diary, this book tells his story and adds much to our understanding of architectural practice in the United States before the Civil War. In 1944 the distinguished historian Talbot Hamlin wrote of New York's Merchant Exchange (1836--42) that the building had ""been so grandly conceived, so simply and directly planned, and so beautifully detailed... [that] the whole was welded inextricably into one powerful organic conception that shows Rogers as a great architect in the fullest sense of the word."" Rogers's Tremont House in Boston has been called the world's first modern hotel; it spawned many progeny, from his first Astor House in New York to his Burnet House in Cincinnati and beyond. Rogers designed buildings from Maine to Georgia and from Boston to Chicago to New Orleans, supervising their construction while traveling widely to procure materials and workmen for the job. He finished his career as Architect of the Treasury Department during the Civil War. In this richly illustrated volume, James F. O'Gorman offers a deft portrait of an energetic practitioner at a key time in architectural history, the period before the founding of the American Institute of Architects in 1857.

The pilgrimage church Notre-Dame-du-Haut in Ronchamp (1950-54), an icon of modern architecture, represents one of the central buildings of Le Corbusier's late period. Like all the guides in this series, this book is indispensable both for a specialist audience and for tourists interested in architecture and modern art.