Herzog & de Meuron gehoren zu den international bedeutendsten Architekten unserer Zeit. Der jungste Auftrag fur die neue Tate Gallery in London hat das einem breiteren Publikum ebenso signalisiert wie groe Ausstellungen in Tokio, New York und Paris. Die Gesamtausgabe im Birkhauser-Verlag fur Architektur tragt diesem herausragenden Stellenwert Rechnung und stellt das Werk in seinem. Band 2 umfat die Jahre 1989-91. Unter den 32 Entwurfen sind so bekannte Bauten wie das kupferummantelte Stellwerk und das Lokomotivdepot in Basel, das Museum fur die Kunstsammlung Goetz in Munchen, die Studentenwohnheime auf dem Universitatscampus in Dijon und die Sportanlage Pfaffenholz in St. Louis. Die gro angelegte Studie 'Basel, eine Stadt im Werden', aber auch die Masterplane fur den Universitatscampus in Dijon oder den neuen Ortsteil Sils Cuncas im Oberengadin gehoren zu den stadtebaulichen Analysen, die einen Schwerpunkt des Bandes ausmachen.

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.

Das Handbuch der Stadtbaukunst vermittelt grundlegendes Wissen fur den stadtebaulichen Entwurf. Stadtraume, Hofraume, Platzraume und Strassenraume werden anhand von 150 Beispielen aus uber 70 deutschen Stadten massstablich dargestellt, analysiert und verglichen. Das vierbandige Werk dokumentiert eindrucksvoll die in der Leipzig-Charta beschriebenen Qualitaten der europaischen Stadt: Schoenheit und Dauerhaftigkeit, Nutzungsmischung, soziale Vielfalt, Dichte und die Trennung in oeffentliche und private Raume. Herausgeber Christoph Mackler knupft an die Lehrbucher von Cornelius Gurlitt, Raymond Unwin und Josef Stubben aus dem fruhen 20. Jahrhundert an und liefert eine fundierte Anleitung zum Bauwerk Stadt. Mit Beitragen von Vittorio Magnago Lampugnani, Christoph Mackler, Werner Oechslin, Alexander Pellnitz, Jan Pieper, Birgit Roth, Mirjam Schmidt, Wolfgang Sonne, Jurg Sulzer und Anne Pfeil sowie Thomas Will

Zweisprachige Ausgabe (deutsch/englisch) / Bilingual edition (English/German) "Das Baudenkmal fuhrt uns vor Augen, dass wir von der Vergangenheit getrennt sind. Zugleich erinnert es uns daran, dass es unsere Aufgabe ist, eine Beziehung mit der Geschichte aufzunehmen. Darum fuhrt mich gerade das Bauen im Bestand auf die Suche nach einer Architektur, die die Geschichte fortsetzt. Diese Suche nach dem Neuen, das ohne das Alte nicht moeglich und denkbar ware, nenne ich Weiterbauen." Max Dudler Max Dudler: Geschichte weiterbauen erscheint anlasslich der gleichnamigen Ausstellung in der Kunsthalle Bielefeld. In Fotografien und Planen schlagt der Band eine Brucke zwischen Max Dudlers Erweiterungen bedeutender Baudenkmaler, wie den Bauten fur das Hambacher Schloss, und neueren Projekten, wie dem Eisenbahnmuseum in Bochum. Aus der architektonischen Transformation der Historie entstehen abstrakte, skulpturale Bauten, die in Form und Material unseren Kontakt zur Geschichte wahren.

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.

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.

Founded in 1953 as Ryder and Yates and now known simply as Ryder, this multi-award winning studio has grown to become one of the largest in the United Kingdom. A varied output of buildings for education, healthcare, interior design, research and manufacturing, residential, and retail and leisure over a period of 50 years has ensured Ryder's position as the North East's leading architectural practice. This new monograph provides a comprehensive critique of Ryder's work. Rutter Carroll explains how the company continues to develop whilst being strongly rooted and influenced by the tradition of its founding partners. Much of the practice's early success was due to the collocation of all the principle design disciplines under one roof, and this tradition of an integrated approach has continued with the practice's adoption of BIM over the last decade. Richly illustrated with photographs and drawings and featuring text by Ryder partners, this book will explore all aspects of the practice's achievements.

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.