Stephan Jaklitsch's Habits, Patterns, Algorithms presents a diverse selection of the studio's most noteworthy projects and built work. Organized in a rough chronological sequence, the projects range in scale from small interior-oriented retail constructions and free-standing residential work, which engages the surrounding landscape, to larger urban transformations both built and speculative. The primary focus is the process of the design and construction of each work and the strict limitations presented by program, site, code or client conditions. Each project is presented with detailed drawings, sketches, models and photographs.

This book gives, for the first time, a comprehensive account of the works of architect, town planner and landscape architect, Sir Frederick Gibberd. At the beginning of his diverse and far-reaching career, Gibberd was a pioneer of modern architecture in Britain - he designed Pullman Court in 1933, one of the first International Style buildings in the country. His association with the Modern Architectural Research (MARS) Group and his influential publications put him at the forefront of the establishment of modern architecture in Britain. During the 1940s, however, Gibberd's interest shifted to the aesthetics of English market towns and Georgian streets; his diaries reveal a belief that the Modern Movement had 'done its job', allowing architects to consider the visual, rather than functional qualities of materials, colour and texture. After the Second World War, his master plan for Harlow New Town and his influential book Town Design conveyed his growing interest in 'visual planning'; he had become an international authority on the subject. His later projects, Liverpool Metropolitan Cathedral (1967) and Regent's Park Mosque (1977) for example, also reflected his aesthetic approach, prompting many to question his role as a key figure in the history of modern British architecture. This reassessment of Gibberd's work demonstrates, that with his visual approach to the design of buildings, spaces, townscapes and landscapes, Gibberd was at the forefront of the development of a softer, distinctly English form of modern architecture and town planning, thus, reaffirming his role as a significant architect of the 20th century.

Combining the talents of an architect, artist, and developer, John Portman was able to embark on a series of large-scale building projects-megastructures-that radically redefined the relationship of architecture to the city and its citizens.Portman's own voice and ideas complement the contributions of others, including new photographs by Iwan Baan, to present a more complex and nuanced reading of both the architect and his architecture.Finally, the repertoire of Portman's buildings is analyzed in meticulous detail and used by a group of students from the Harvard Graduate School of Design as a catalyst for a host of divergent and new architectural speculations.

On the evening of May 16, 1958, architecture alumni of the University of Washington converged on Seattle from all over the country. The event was a banquet to celebrate the founding of their alma mater's new College of Architecture and Urban Planning. One by one, the dean introduced the college's faculty members. At the name of Lionel “Spike” Pries, one alumnus recalled, “there was a special charge in the air. . . . Everyone rose and cheered and clapped; it appeared to go on forever.” But within six months, Lionel Pries was abruptly and mysteriously gone from the university. After thirty years of service, he lost his job, his major source of income, and, just four years short of retirement, his pension. The official explanation was illness; friends “sensed a large injustice,” in what they believed was a dismissal based on Pries's sexual orientation. With Lionel H. Pries, Architect, Artist, Educator: From Arts and Crafts to Modern Architecture, Jeffrey Karl Ochsner redresses that injustice. Pries (1897-1968) was one of the most influential teachers of architecture and design at the University of Washington. Minoru Yamasaki, A. Q. Jones, Fred Bassetti, Wendell Lovett, Victor Steinbrueck, and many other prominent twentieth-century architects were trained by Pries, whose highly artistic style of design helped shape the development of American Modernism in architecture. Ochsner offers an erudite celebration of Pries's professional legacy, tracing his evolution as a designer, architect, teacher, and artist. He shows how Pries absorbed and synthesized disparate influences and movements in design--the California Arts and Crafts and Mission Revival movements, the Ecole des Beaux-Arts tradition, Art Nouveau and Art Deco, Mexican and Japanese motifs, and the International Style and other permutations of the Modern movement. Ochsner paints a vivid portrait of Pries as a teacher and mentor: an unapologetic elitist, one who challenged weak students by openly fostering stronger ones; a classroom autocrat who would fling one student's radio out a second-story window but offer rent-free lodging to another in need. This is a nuanced character study that offers a clear but sympathetic view of a major talent who sometimes clashed with his colleagues and was often in conflict with himself. For some readers, it will be an introduction to Lionel Pries. For others, it will be an occasion to remember him with warmth and gratitude. This comprehensive, lavishly illustrated work will appeal not only to architects and architectural historians, but also to those interested in American studies, the decorative arts, and Northwest history and culture. Its depth of research broadens our understanding of twentieth-century Modernism and of the history of architectural education.

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).

Stefan Koepfli is one of the most important landscape architects in Switzerland, with projects including the multi-award winning Eulachpark in Winterthur and the factory extension for Baumgartner AG in Cham-Hagendorn. Often, the inspiration for and starting point of his designs are referential experiences and impressions of existing natural environments and landscapes, which are transformed on new ground, thereby becoming poetic expressions. The book impressively reflects in images, plans and texts on 25 of the most important works, from the smallest garden to the large-scale park.

Showcasing the work of Tezuka Architects, with specific reference to a selection of realised projects. The Japanese architect Takaharu Tezuka caused a stir in 2015 with his TEDtalk 'The best kindergarten you've ever seen'. As the first text-focused publication, Tezuka Architects: The Yellow Book now provides an insight into the design philosophy of the internationally renowned architecture firm. Based on a lecture by Tezuka at Harvard University Graduate School of Design (GSD), this 'pocket guide' in scale and feel introduces the architects' way of thinking, using examples of seminal projects from recent years. Buildings such as the Roof House (2001), the Child Chemo House (2013), or the Fuji Kindergarten (2007) illustrate the powerful impact of Takaharu and Yui Tezuka's design and show how architecture can contribute actively to building a better society.

Fascinating profiles of the leading architects of the 1930s during a crucial period in the evolution of modernism Architect, designer, and architectural critic, George Nelson (1908-1986) was a young and impressionable architect when he wrote a series of articles in 1935 and 1936 that eloquently introduced astonishing buildings and fascinating personalities from across the Atlantic to wider American audiences. Building a New Europe presents this important collection of writings together for the first time. The subjects of Nelson's essays include figures both major (Mies van Der Rohe and Le Corbusier) and minor (Helweg-Moeller and Ivar Tengbom). All of these architects would soon be affected by World War II-they would be put out of work or seek new careers abroad. Nelson's essays spark fascinating questions about the canon of modernism: how would circumstances in the pre-war years cause some architects to rise and others to fall? Accompanied by a comprehensive introduction and a wide selection of archival photographs, many never before published, this unique study is a significant contribution to the history of modern architecture. Published in association with the Yale University School of Architecture

Rien n'est plus precieux que la famille et le souvenir de ces moments privilegies fait le sujet de grandes conversations. La meilleure facon de tenir un journal de ces souvenirs precieux est de posseder un 'Album Photo Familial'. Avec un tel album, vous pourrez garder facilement une trace de ces precieux souvenirs et de plus vous pourrez faire des annotations a chaque photo ainsi que la date et le lieu ou elle a ete prise.

Los albumes de fotos familiares son una forma fantastica de compartir recuerdos con otros. Una de las mayores ventajas de utilizar albumes de fotos es que no requieren pilas ni electricidad. Los albumes de fotos se pueden llevar facilmente a cualquier sitio para que la gente los vea. No son tan populares como eran en el pasado, pero los albumes de fotos familiares proporcionan un cierto caracter y atraccion historica al entorno en el que se encuentran."

From a house without walls to exhibition spaces in shipping containers, Shigeru Ban has constantly challenged architectural rule and expectation. In the age of the "starchitect," he has also demonstrated a commitment to humanitarian practice: Over the course of his esteemed career, his inventive, elegant designs have been applied as much to private commissions as to emergency relief work at the sites of natural and man-made disasters around the world, from Kobe to New Orleans. For the Pritzker Prize jury, which chose Ban as its 2014 winner, the architect manifests "total curiosity and commitment; endless innovation; an infallible eye; an acute sensibility." This updated monograph, compiled with the architect's collaboration, brings together every one of Ban's built works, including such recent projects as the Tamedia headquarters in Zurich, the Aspen Art Museum, and the Cardboard Cathedral in Christchurch.

With his houses flooded with light, Austria-American architect Richard J. Neutra (1892-1970) shaped the scene of Californian Modernism. From there he rose to be one of the most influential names in the history of modern architecture. However, in contrast to his peers - such as Aalto, Breuer, Jacobsen and Prouve - Neutra's furniture designs have long been undiscovered. Author Barbara Lamprecht fills this gap by studying the extensive but little known furniture range that had faded into obscurity until Dion Neutra, Neutra's son and architectural partner, started work on the designs with German manufacturer VS, whose ties to Modernism date back to the Deutscher Werkbund. Referring to the original sketches and patent drawings, the author focused on the details of the designs to show the furniture's role in creating the balanced environments that Neutra intended for his clients. Each element: furniture, lighting, building, Nature, and landscape all worked together as a "Gesamtwerk" (a complete expression) to create a "sensorium," or a "soul anchorage," as Neutra called those environments best suited to human well-being.

An iconic figure in American culture, Frank Lloyd Wright is famous throughout the world. Although his achievements in architecture are stunning, it is his importance in cultural history, Jerome Klinkowitz contends, that makes Wright the object of such avid and continuing interest. Designing more than just buildings, Wright offered a concept for living that still influences how people conduct their lives today. Wright's innovations in architecture have been widely studied, but this is the most comprehensive and sustained treatment of his thought. Klinkowitz presents a critical biography driven by the architect's own work and intellectual growth, focusing on the evolution of Wright's thinking and writings from his first public addresses in 1894 to his last essay in 1959. Did Wright reject all of Victorian thinking about the home, or do his attentions to a minister's sermon on ""the house beautiful"" deserve closer attention? Was Wright echoing the Transcendentalism of Ralph Waldo Emerson, or was he more in step with the philosophy of William James? Did he reject the Arts and Crafts movement, or repurpose its beliefs and practices for new times? And, what can be said of his deep dissatisfaction with architectural concepts of his own era, the dominant modernism that became the International Style? Even the strongest advocates of Frank Lloyd Wright have been puzzled by his objections to so much that characterized the twentieth century, from ideas for building to styles of living. In Frank Lloyd Wright and His Manner of Thought, Klinkowitz, a widely published authority on twentieth-century literature, thought, and culture, examines the full extent of Wright's books, essays, and lectures to show how he emerged from the nineteenth century to anticipate the twenty-first.

Nada es mas preciado que la familia, y mantener los recuerdos de aquellos momentos especiales da conversaciones fantasticas. No hay mejor forma de mantener un registro de esos recuerdos preciados que tener un album fotografico de familia. Con un album como este podras mantener esos recuerdos con facilidad, y lo mejor es que podras hacer las anotaciones necesarias en cada imagen e incluso anadir la fecha y lugar en los que fueron tomadas las imagenes