Bruno Reichlin ranks among the world's most distinguished architectural theorists. His occupation with protagonists of 20th-century architecture - such as Eileen Gray, Ludwig Mies van der Rohe, Philip Johnson and, above all, Le Corbusier - and their work is guided by a method that looks at the characteristics of a building as well as at its theoretical foundations. Reichlin's writings and his own built work as a practicing architect is marked by a deep understanding for how buildings materialise signs and symbols and by a referential framework that includes also literature, film and visual art. This book collects Reichlin's 13 essays on Le Corbusier, written over the period of four decades. Taking as examples the villas La Roche, Mandrot, and Savoye; Harvard University's Carpenter Center for Visual Arts; the Petite Maison on Lake Geneva; and the project for a hospital in Venice, he explores aspects of Le Corbusier's creativity to reveal underlying principles and their manifestation in the realised buildings. Rich archival materials as well as analytical plans and diagrams round out the volume. Text in French.

Julia Morgan, America's first truly independent female architect, left a legacy of more than 700 buildings, many of which are now designated landmarks, in cities throughout California, as well as in Hawaii, Utah, and Illinois. Her work spanned five decades, and the total of her commissions was greater than any other major American architect, including Frank Lloyd Wright. Julia Morgan tells the remarkable story of this architectural pioneer, and features text, drawings, and photographs of the many buildings that still exist.

Mark Wilson has been writing and teaching about Julia Morgan's work for more than thirty years. He is an architectural historian who has written two previous books about Bay Area architecture and was a lecturer for the National Trust's Historic Real Estate Program. He holds a B.A. in history and an M.A. in history and media. His articles have appeared in the New York Times, Los Angeles Times, San Francisco Chronicle, Christian Science Monitor, USA Today, and more. He lives in Berkeley, California.

Coincides with California's Julia Morgan 2012 celebration

In 1932 nineteen-year-old John H. Howe arrived at Taliesin as a charter member of Frank Lloyd Wright's Taliesin Fellowship. There he would remain for the next thirty-two years, earning a reputation as "the pencil in Wright's hand" before establishing his own architectural practice in Minnesota. This is the first book to tell Howe's story and also the first full account of his place in the history of modern architecture-as chief draftsman and valued interpreter of Wright's designs and as a prolific architect in his own right. Illustrated throughout with Howe's sublime drawings, this biography is a testament to the underappreciated architect's extraordinary design and rendering skills. Influenced by Wright's principles of organic architecture, Howe operated under the conviction that "the land is the beginning of architecture." Architectural historians Jane King Hession and Tim Quigley show how this belief worked especially well for Howe in Minnesota, where his buildings appear to have grown naturally and organically from the landscape. Also remarkable are the visionary architectural schemes Howe created while serving time in prison during World War II as a conscientious objector-futuristic visions that anticipated Eero Saarinen's later designs for airports and Victor Gruen's for America's first indoor shopping mall. An enlightening look at an exemplary life in architecture, this book finally brings the accomplishment-and significance-of John H. Howe to the fore and at the same time illuminates a fascinating chapter in American architectural history.

"Monograph.it" is at the same time monography and review, it follows an original criterium of pictures' itinerary. In fact "monograph.it" devotes to architecture's study of several pages with complete contents. Moreover there will be a gallery of pictures of places, buildings, landscapes together with a monographic section for one or more cities in evolution; therefore conceiving present urban places and landscapes as necessary and permanent elements of the project. The choice of such contents is aimed at surveying the different developments of the project production in the range of the different scales. The genovese architetcure office 5+1AA is the protagonist of the first issue of the "monograph.it" with the exhaustive atlas of drawings and architectural stills, and furthermore the European 16 creative city', and finally the photo gallery dedicated to the stills of the Nunzio Battaglia italian photographer.

In this groundbreaking volume, conventional assumptions about one of England's greatest and most influential classical architects are turned on their head. Traditionally, Inigo Jones has been looked upon as an isolated, even old-fashioned, figure in European architecture, still espousing the Palladian ideals of the 16th century when European contemporaries were turning to the Baroque. Yet an investigation of contemporary European architecture and of Jones's buildings belies this impression, demonstrating that Jones must be viewed in the context of a European-wide, early-17th-century classicist movement. Giles Worsley examines the full range of Jones's architecture, from humble stable to royal palace. Worsley shows that key motifs that have been seen as proof of Jones's Palladian loyalties-particularly the Serliana, the portico, and the centrally planned villa-have a much older and deeper meaning as symbols of sovereignty. The book transforms our understanding not only of Inigo Jones but also of the architecture of his time. Published for the Paul Mellon Centre for Studies in British Art. Published for the Paul Mellon Centre for Studies in British Art

In post-Depression America, Greyhound put adventure within the reach of all. Convinced that their terminals should project the glamour and excitement of travel, the company turned to an architect who could translate the sleek, streamlined Greyhound design into buildings that would both serve and delight the public. This volume explores the life of William Strudwick Arrasmith, a defining artist of the short-lived era of streamline design, and especially his work for Greyhound--at least fifty terminals and other facilities. The final third of the book is a detailed examination of 28 of these terminals. A full chronology of Arrasmith's firms and commissions is also included.

New edition of Buckminster Fuller's first work published in 1938, which was promoted by Albert Einstein. In 43 chapters the constructor, visionary, inventor, designer, creator of language, and spectacular performer rolls out the art of independent thought. Fuller lays out an enormous horizon and Nine Chains to the Moon is equivalent to a navigation across the world we live in: "What Is a House?", "Death and Life", "Longing Crosses the Sea", "Dollarability", "We Call it Earth", "Stomach Rhythms", "Ephemeralization"-from the microscopic to the automobile, to the house, to urbanity, to the image of the cosmos in constant movement. The title, said Fuller, is meant to stimulate open thinking: the 1938 world population, one person on the shoulders of another, will reach from the earth to the moon nine times!

Text in English & German. With the Kollegiengebaude II (college building II) of the University of Freiburg dedicated in 1961 the architect Otto Ernst Schweizer had achieved a masterpiece. Being built in the modern design idiom, it nevertheless took Freiburg's tradition into account and gave a new quality of life to the university and the urban development of the inner city quarters. On the whole it was a significant stimulus to university construction. Thanks to the neutral expression of the building, its compact overall for m and its "elastic structural system" (there is maximum flexibility in room layout without touching the bearing skeleton), and together with the laconically simple floor plan it became a prototype solution for smooth functioning. It is an open architecture, free of any suffocating pathos, with wide open spaces, human scale in size and proportions and in ideal accordance with academic freedom for research, instruction and learning. Schweizer, born in 1890 and deceased in 1965, professor of urban construction at the Technical University of Karlsruhe is one of the ground-breaking architects of the 20th century. In the late 1920s he gained international renognition and relevance with his buildings in Nuremburg, among them the stadium grounds and the Milchhof, as well as the Prater-Stadion in Vienna. During the 1930s, when he was not allowed to build, he studied fundamental questions of architecture and urbanism. After the Second World War he used his insights to make recommendations for the reconstruction of destroyed cities like Giessen, Karlsruhe, Mannheim or Stuttgart. In his last project, the Kollegiengebaude II we find the quintessence of a rich creative life, convincingly demonstrating Schweizer's high demands on architectural form and function. Immo Boyken is professor emeritus of building history and theory of architecture in Konstanz. His special interest is the architecture of the late 19th and the 20th century. He was a principal contributor to the monograph on Egon Eiermann, author ed the monograph on Otto Ernst Schweizer and lately wrote about Heinz Tesar's church in the Donau City in Vienna (Opus 42), the chancellery of the German embassy in Washington by Egon Eiermann (Opus 54), the Milchhof in Nuremburg by Otto Ernst Schweizer (Opus 59), the Prater-Stadion in Vienna (Opus 75) also by Schweizer, and the German Pavilions at the World Exhibition 1958 in Brussels by Sep Ruf and Egon Eiermann (Opus 62).

This sociological analysis of Wright's architecture examines the interaction between people and the spaces they create. Satler shows how Wright explored a new architectural dimension, the space in which we live. Focusing on the Larkin Building (1904) and Unity Temple (1907), works that Wright considered important but that have received little attention, Satler delineates the social nature of space. She provides an analytic framework through which to understand Wright's buildings and his writings, revealing how the history of such works and cultural landscapes offer a basis for making social, political, and spatial choices about the future. Wright's specific architectural works provide a framework for constructing social histories of places and people because his designs represent a natural way to build and to live within a larger social landscape. This original study will appeal to sociologists, architects, urban and architectural historians, urban planners and anthropologists, and those interested in the work of Frank Lloyd Wright.

The projects featured in Close to Home are within a 15-mile radius of where Louisville architect Michael Koch was born, raised, and has practiced for almost forty years. Educated at the University of Kentucky School of Architecture during the Dean Anthony Eardley era, where he was taught by Guillermo Julian de la Fuente, Peter Carl, Stephen Deger, Judith DeMaio, Clyde Carpenter, and Herb Greene, Koch has created a body of work in the Ohio River Valley that is site-specific and expressive, translating Kentucky's regional idioms into a vibrant modernism. From airy houses that take advantage of Louisville's Olmstead-designed parks and local materials, to structures that are strikingly adapted to the Ohio River floodplain, to church-inspired metropolitan projects, Koch's buildings are a memorable part of the city's landscape. Close to Home presents the award-winning achievements of his firm Michael Koch and Associates Architects, and introduces readers to the simple elegance of his designs and meaningful contributions he has made to the architecture of Kentucky.

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.

Egyptian Places: An Illustrated Travelogue, presents an architect's account of visits to 12 of Ancient Egypt's most spectacular sites, a journey that transports the reader from the urban metropolis of Cairo and the Great Pyramid of Giza to the remote desert setting of the rock-cut temple at Abu Simbel; with visits to other monumental temples and towering pyramids which line the Nile River. The book recreates that journey, describing important architectural features of these sacred monuments, their mystic foundations, and religious significance. Over 200 colour hand drawings and graphic studies capture and interpret the character of each site from the architect's unique perspective.

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

Published by the TUNS Press, Faculty of Architecture, Technical University of Nova Scotia, Box 1000, Halifax, Nova Scotia, Canada B3J 2X4. Showcases the work of Patkau Architects of Vancouver, British Columbia, using photos, drawings, and text to document ten of Patkau's most significant projects. A

The paintings in this book depict 'object-type' - general yet specific, generic yet designed, familiar yet estranged. They are 'Purist' forms depicted in a still life landscape. The compositions employ overlap, convergence and diminution to imply depth resulting in the creation of the illusion of perspectival space. However, through the use of juxtaposition, superimposition and ambiguity of scale the perspectival effect is impaired. The result is a blurring of distinction between foreground and background that encourages a reading of pattern that reinforces the presence of the surface plane. A conflict is encouraged between the deep space and the shallow space - between the creation of implied space through perspective and the reinforcement of the surface plane through pattern. A multiple reading is fostered that rewards the careful observer.

Text in English and German. The Neues Haus, the new building for the Munchner Kammerspiele, is not a big building in any sense. The plot of land not far from Maximilian-strasse, whose greatest advantage is its proximity to Richard Riemerschmied's Schauspielhaus, is only about 1000 m2 in area. The most important quality of the design is in fact that it accepts the modesty of its role. The new building subordinates itself to the main Kammerspiele building, and manages without lavish foyers and extensive prestigious areas. The Neues Haus is a servant building, a place where work is done. A hasty passer-by would see the building simply as a white cube, reticent and introverted. Given the serene mastery of the brief and the architectural resources, one is almost inclined to call it a work of Peichl's old age, combining his love of clear volumes with a sovereign grasp of technical requirements. Like the silvery-sparkling ORF studios, the ground radio station in Styria and the liner-like phosphate elimination plant in Berlin before it, the Neues Haus is also crammed full of technology. It contains three stages, and two of them can be used at the same time. The largest playing area is elaborately equipped with gallery and under-stage; it is therefore intended as the main rehearsal area in future. The two large auditoriums are stacked one above the other like shoe-boxes and form a massive hollow core surrounded by all the service functions. The interior is dominated by a plainness that oscillates between poverty and asceticism. The corridors and foyers are narrow, the stairs simple, the interval areas positively sparse. The only opulent feature is the splendid technical equipment. Peichl's handwriting can be seen in the treatment of the details and his ingenious practice of self-quotation. Many of the motifs are reminiscent of earlier projects, and of course the typical portholes, spiral staircases and railings made of steel hawsers crop up again, all Peichl's usual maritime metaphors. In this way he has produced a building whose cool elegance reveals scarcely anything of its inner values.

The Werkgruppe Graz designed the terraced housing estate in Graz-St. Peter in 1965, during a period of societal upheaval. The complex was eventually built between 1972 and 1978. The planning group—members of the avant-garde artists’ association Forum Stadtpark—took a stand against the established system of residential construction, which was characterized by monotone design and the urban sprawl of single-family homes. Instead, they championed the utopian approach of involving residents in the planning process, which was reflected in the development’s basic structuralist framework with adaptable living units. Comprised of four terraced housing blocks in exposed concrete at the edge of Graz, the estate’s sculptural, brutalist appearance received international acclaim. Gelebte Utopie is the first book to provide a collection of texts of architectural commentary and context on the settlement. It additionally offers insights into the inhabitants’ living spaces and is enriched with artistic projects.

In 2006, Laurent de Wurstemberger founded the Atelier ar-ter in Carouge with two partners, and in 2011, along with the material scientist Rodrigo Fernandez, the company Terrabloc, which turns excavated material from construction sites into compacted clay blocks. In 2018, he opened his architectural practice in Geneva and has since completed a number of smaller, more sophisticated projects, including the renovation of a farm in Choully (GE). Text in English and German.

The HOK Design Annual 2019 highlights this leading global design firm's most exceptional recent work in architecture, interior design, planning, and urban design. The projects featured demonstrate the intersection between HOK's thought leadership in specialty areas - including aviation + transportation, healthcare, science + technology, sports, sustainable design and workplace - and its firm-wide commitment to research and design excellence. Geographically diverse, these projects represent a variety of scales and are technically advanced examples of how design can bring significant benefits to clients and the people who experience these spaces. The HOK Design Annual 2019 is a valuable global trends reference source for design professionals, students, and architecture enthusiasts. It provides insight into the creative process of the design teams creating society's next generation of buildings.

Florian Nagler's work is a veritable "recherche patiente", as his buildings have an experimental character. For instance the "research buildings" in Bad Aibling are exercises on what building with wood, plastered brick and concrete can each mean. The Wohnen am Dantebad housing development reinterprets the traditional pergola. Text in English and German.

Since 2002, Christian Dupraz has managed his own office in Geneva. Over the years, he has produced a dozen buildings, including abstract, sculptural residential architecture such as the "House for an Art Collector" in Geneva (2010) and the seemingly minimalist holiday home in Les Posses-sur-Bex (2015). Text in English, German and French.

A celebration of the wonderful creative intersection between the architecture of Peter Marino and the aesthetic of fashion-house Chanel - a behind-the-scenes look at the buildings designed by Marino for Chanel in Chicago, Hong Kong, Istanbul, Los Angeles, Nanjing, New York, Miami, Osaka, Seoul, Singapore, and Tokyo This stunning celebration of the 25-year collaboration between two remarkable legends - the fashion house Chanel and Peter Marino - through a stunning collection of buildings that Marino designed to elevate Chanel's luxury retail spaces to the realm of fine art. With more than 300 stunning images, including architectural plans and original sketches by Marino together with an introduction by New York Times and Architectural Digest contributor Pilar Viladas, an interview by creator of Pin-Up magazine Felix Burrichter, and project descriptions by local writers, each perfectly placed to discuss Marino's work in its geographical context, this book features all 16 Chanel buildings worldwide for which Marino designed both the buildings and interiors - from the USA to Asia. Through his dedication to his craft and expert devotion to Coco Chanel's vision and resolutely modern spirit, Marino has ushered Chanel into a new age, all while perfecting the always elusive art of the timeless in architecture and design.