As a formative exemplar of early architectural modernism, Bruno Taut's seminal exhibition pavilion the Glashaus (literally translated Glasshouse) is logically part of the important debate of rethinking the origins of modernism. However, the historical record of Bruno Taut's Glashaus has been primarily established by one art historian and critic. As a result the historical record of the Glashaus is significantly skewed toward a singlular notion of Expressionism and surprisingly excludes Taut's diverse motives for the design of the building. In an effort to clarify the problematic historical record of the Glashaus, this book exposes Bruno Taut's motives and inspirations for its design. The result is that Taut's motives can be found in yet unacknowledged precedents like the botanical inspiration of the Victoria regia lily; the commercial interests of Frederick Keppler as the Director of the Deutche Luxfer Prismen Syndikat; and imitation that derived openly from the Gothic. The outcome is a substantial contribution to the re-evaluation of the generally accepted histories of the modern movement in architecture.

This is the first monograph on one of the most distinguished architectural practices in Britain. Sir Richard MacCormac is recognised internationally as one of the most thoughtful and original architects of today. His practice, MacCormac Jamieson Prichard, has been responsible for some of the most celebrated UK projects of recent years, ranging from new buildings for Worcester College Oxford to the Cable & Wireless headquarters in Warwickshire and from the Ruskin library in Lancaster to the new BBC headquarters in central London. These projects are presented thematically in the book and documented with drawings and photos. Essays by critics Peter Davey, Robert Harbison and Richard Sennett and commentaries by Richard MacCormac set the work in its wider intellectual context. This book is the fourth in "Right Angle's" series on leading British architects of today, initiated by Dixon Jones. This was described by the Architect's Journal as "a beautifully crafted example of how to present architecture in print; its presentation is exemplary."

Latvian-born architect Gunnar Birkerts belongs to the second wave of modernists who arrived in the United States from abroad, a group that includes Kevin Roche and Cesar Pelli among others. Educated at the Technische Hochschule in Stuttgart, Birkerts worked first with Eero Saarinen in his now-legendary office in Bloomfield Hills, Michigan, and later was chief designer for Minoru Yamasaki. At that time both Saarinen and Yamasaki were developing their distinctive architectural signatures and building their international renown. Subsequently Birkerts established his own practice, evolving a design process and a philosophy with its own original profile. His approach does not seek a "right style for the job" in the manner of Saarinen. From the first, Birkerts' work was tied to a program as well as a particular context -- a place -- to the extent that it became expressive of the surrounding landscape and accommodating to the existing vernacular. Birkerts' designs, from the Federal Reserve Bank in Minneapolis to the Corning Museum of Glass to the Houston Arts Museum and recently the Latvian National Library, shows him exploring with ever greater resource and inventiveness the expressive possibilities of symbol and metaphor. Form, he believes, expresses function, and does so with its own rich, meaningful vocabulary. Birkerts uses visual metaphors to link program, client, and landscape in a resonant solution. His methodology of using metaphor -- meaning -- as a first principle, as a generator of design concept, is unusual in the profession, but it is vitally connected to his Latvian heritage and his family background as the son of a folklorist and writer. This heritage is given a new turn here, for the biographical text of the book has been written by his son, Sven Birkerts, who is a noted literary critic and author of the influential book The Gutenberg Elegies: The Fate of Reading in an Electronic Age. He has also written a memoir, My Sky Blue Trades which describes at some length his coming of age struggles with his architect father. Now, years later, Sven brings his cultural perspectives as well as his family insights to bear, offering a unique portrait of a life and career. History and description are enlivened throughout by observations and reflections on the career -- the destiny -- of this master of the expressive concept. The book is richly illustrated and complemented by descriptive assessments of the projects by Martin Schwartz, who is an architect and writer and who teaches at Lawrence Technical University in Southfield, Michigan.

The pioneering Egyptian architect and teacher Ramses Wissa Wassef (1911-74) is best known for his founding in 1951 of the Ramses Wissa Wassef Art Centre in Harraniya, a small village near the Giza Pyramids in Greater Cairo. The center, internationally acclaimed for its tapestries and sculptures, began partly as an art school for young villagers, reflecting Wissa Wassef's aim of reviving traditional Egyptian architecture and crafts, and his belief in the innate creative power and potential of children. Less well known are Wissa Wassef's prolific architectural output and his efforts and influence beyond the confines of the Harraniya center to promote artistic expression among Egyptian youth. This generously illustrated volume is the first comprehensive survey of Wissa Wassef's architectural works, both extant and non-extant, shedding light on his legacy and significant engagement with vernacular and contemporary Egyptian architecture. Wissa Wassef renounced self-promotion and monetary reward in his work, placing human physical and psychological well-being at the center of his architectural philosophy. An astute observer and modest personality, he saw himself as part of the people and began experimenting with participatory design and people-centered architecture before they became popular. The Architecture of Ramses Wissa Wassef reveals Wissa Wassef's profuse architectural oeuvre, which spanned private villas and rural houses, as well as public buildings, such as churches, schools, and museums, highlighting his rich contribution to Egypt's architectural heritage at a moment when that heritage is at risk of being lost.

Bucky Inc. offers a deep exploration of Richard Buckminster Fuller's work and thought to shed new light on the questions raised by our increasingly electronic world. It shows that Fuller's entire career was a multi-dimensional reflection on the architecture of radio. He always insisted that the real site of architecture is the electromagnetic spectrum. His buildings were delicate mobile instruments for accessing the invisible universe of overlapping signals. Every detail was understood as a way of tuning into hidden waves. Architecture was built in, with, for and as radio. Bucky Inc. rethinks the legacy of one of the key protagonists of the twentieth-century. It draws extensively on Fuller's archive to follow his radical thinking from toilets to telepathy, plastic to prosthetics, and data to deep-space. It shows how the critical arguments and material techniques of arguably the single most exposed designer of the last century were overlooked at the time but have become urgently relevant today.

Sensitively balancing historic preservation with contemporary innovation, Ahearn's timeless houses feel deeply connected to the stylistic character of their locales, even as their programs and plans celebrate how we live now. In these pages, Ahearn takes us on a journey through the award-winning private residences and public environments that he has created over his 45-year career. He entertainingly explains how his uniquely urbanistic point of view and novel, narrative-driven process help clients live out their dreams, in homes that recall the past, engage with the present, and look to the future.

While completing the Almannajuvet Zinc Mine Museum in southern Norway in 2016, celebrated Swiss architect Peter Zumthor asked Norwegian scholar Mari Lending to engage in a dialogue about the project. Departing from the ways in which Zumthor's pavilions frame the barely visible traces of the industrial exploitation of zinc in the 1890s, the conversation took unexpected turns. In meandering, impressionistic style and drawing on Zumthor's favourite writers, such as Johann Peter Hebel, Stendhal, Vladimir Nabokov, and T.S. Eliot, their exchanges explore how history, time and temporalities reverberate across the famous architect's oeuvre. Looking back, Zumthor ponders on how a feeling of history has informed his continuous attempts of emotional reconstruction by means of building, from architectural interventions in dramatic landscapes to his design for the redevelopment of Los Angeles' LACMA on a grand urban scale. This small, beautifully designed new book records the conversation between Zumthor and Lending, illustrated with photographs by the renowned Swiss architectural photographer Helene Binet.

From office planning and museum concepts to medical practices: this handbook shows 50 examples from the creative oeuvre of architect Carsten Wiewiorra. The project collection from his many years of practice also provides the basis for his teaching as a professor at the Detmold School of Architecture and Interior Design. The practical part is supplemented by a richly illustrated introduction with seven theses on interior design, which deal equally with the emotional spatial effect, technical implementation and financial aspects. In addition, the didactic design aid contains execution plans true to scale, as they have proven themselves in planning and construction site practice.

The Invention of Melbourne defines the relationship between an architect of genius, William Wardell, and the first Catholic Archbishop of Melbourne, James Goold, an Irishman educated in Risorgimento, Italy. Their partnership produced St Patrick's, the largest cathedral of the 19th century anywhere in the world, and some thirteen churches, decorated with hundreds of Baroque paintings. These ambitious policies coincided with the Gold Rush, which contributed financially to their success. The contribution made by Wardell and Goold to the built environment of Melbourne remains significant, and the essays in this volume radically reassess Goold, who until now has been either dismissed as a stern, aloof Irish cleric, or viewed more favourably for his achievements as a champion of Catholic education. Similarly, Wardell's legacy to Melbourne has been forgotten despite the conspicuous presence of Government House and the Gothic Bank, for many Melburnians their most favourite building. Together, they actively and creatively shaped the city that became a major international metropolis.

A lively intellectual biography of one of the 20th century's most iconic buildings The Centre Georges Pompidou, also called Beaubourg, is today considered an icon of contemporary Paris, the quintessence of a modern building, and a model for what a museum can be. In 1971, Renzo Piano and Richard Rogers, together with the engineering firm Ove Arup & Partners, won an international architecture competition with their innovative and irreverent design. Completed in 1977, the building was at first received skeptically by critics, yet it was quickly embraced by the public as a beloved monument of the modern city of Paris. This lively intellectual biography of the building explores its history and the reasons for its success, from its genesis as a politically calculated response to Paris's turbulent 1968 student protests to the role played by architects in its construction, as well as the historical influences and the engineering solutions that inform its design. A key reason for the Centre Pompidou's success indeed lies in its ability to channel architectural memory, connecting it powerfully to Paris's historic urban fabric. This essential text on one of the twentieth century's most significant buildings is accompanied by a portfolio of rare drawings and photographs.

The cultural diversity of its design team and its multi-disciplinary approach to projects have built Design Group's international reputation as an innovative architecture, planning and design firm. Design Group's portfolio includes award-winning entertainment spaces, world class resorts and hotels, unique office and residential designs and destinctive mixed-use destinations. Prestigious international clients seek Design Group's creative concept generation for regional planning, waterfront developments and speciality centres of every size and scope. Design Group commands diverse resources to create places that are harmoniously integrated with their surroundings and culturally attuned to their clients' lifestyles.

Almost everything that landscape architects design is ultimately for a community. Community can be the boon or bane of a project, and oftentimes both. LA+ COMMUNITY aims to explore how, over time, each of us moves in and out of multiple communities, shaping them as they shape us, and in turn shaping our landscapes and cities. We ask how different disciplines construct different ideas of community and how those communities are anchored in space and time, whose interests they serve, and what traces they leave. And we examine how - in this pluralistic, fragmented, and fluid world - designers can meaningfully engage with communities. Contributions from: Anne Whiston Spirn reflects upon her personal and professional journey through her long-term engagement with the Mill Creek community in the West Philadelphia Landscape Project. Architect and cofounder of the DisOrdinary Architecture Project Jocelyn Boys discusses how designers and policy-makers make assumptions about the "ordinary user" of public space and explores ways of understanding and improving how people with disabilities engage with such spaces. Historical geographer Garrett Dash Nelson contemplates the conceptual and practical slippages between understanding community in both its geographical and sociological forms, and what this means for designers seeking to give spatial form to the concept of community. A multi-perspective Q+A with BIPOC designers, educators, and artists Kofi Boone, Julian Agyeman, Hanna Kim, Alma du Solier, Jeffrey Hou, Melissa Guerrero, and Kat Engleman confronts the enduring practices of spatial injustice and the need for new processes, engagement, and outcomes for a racially and culturally inclusive future. Philosopher and author Mark Kingwell considers the literal ins and outs of the question "What is community?" in the midst of a global pandemic. Landscape architect Kate Orff speaks about the ways in which she uses community activism and different practices of engagement to drive better design outcomes. Criminologists James Petty + Alison Young open our eyes to the rise of hostile architecture and criminalisation of homelessness in public space. Designer Chrili Car reflects on lessons learned from working with a self-organised community in a remote village in northern Ghana to masterplan long-term local sustainability and greenbelt projects. Ecologist Jodi Hilty, President and Chief Scientist of the Yellowstone to Yukon Initiative, speaks about the realisation of this visionary wildlife-corridor project spanning 3,200 km, two countries, and hundreds of different communities and interests. Historic preservationist and planner Francesca Russello Ammon teases out the contradictions in the canonical urban renewal success story of Philadelphia's Society Hill. Landscape architect Jessica Henson gives us the inside story on the intractably complex socio-political and ecological task of master planning a 51-mile swath of the Los Angeles River with a diverse range of user communities. Michael Schwarze-Rodrian recounts the extraordinary achievements of the Emscher Landscape Park in Germany's Ruhrgebiet, where over the last 30 years a working-class community facing the trauma of transition to a post-industrial economy has been sustained by the medium of landscape, without the forms of displacement or gentrification typically associated with high-end greening. Urban planner and author of Just Sustainabilities Julian Agyeman elucidates what the culturally inclusive design of public space entails. Architect Mario Matamoros delivers a stinging critique of the way in which developers and designers in the Honduran city of Tegucigalpa dupe the public with cynical community consultation so as to anesthetise the possibility of dissent, and Sara Padgett Kjaersgaard interviews the CEO of the Federation of Traditional Owner Corporations, Paul Paton and landscape architect Anne-Marie Pisani about working with Indigenous communities in Australia to help facilitate self-determination and connection to their lands.

The first monograph on French architect Guillaume Terver and his team. This beautiful book presents high-end houses and apartments in Paris and Brussels. Text in English and French.

This new book is the 10th title in the successful series of monographs on the works of the world famous architect Renzo Piano, and covers the creative thinking and of Piano as he developed his ideas for the Centro Botin, a new art gallery and cultural centre in the city of Santander in Spain. The Centre was inaugurated in June 2017 and is composed of two buildings of different sizes, supported on columns and connected by a walkway. All are partly suspended over the sea. It is built on the site of an old ferry port terminal, and Piano`s brief covered the most important aspects of the creation of an art gallery, the use of the light in a south facing seaport, both inside and outside the building, and the necessity to create a visual link between the city and the sea.. The project is supported by the Foundation Marcelino Botin, chaired until his death in 2014 by Emilio Botin, the Chairman of Santander Bank. Within this beautifully illustrated book, Renzo Piano narrates the story of the creation and construction of this extraordinary building through sketches, drawings and photographs from his own archives, most of which are published here for the first time, thus completing an extraordinary vision of this amazing building, that will appeal to fellow architects and visitors to Santander

Iñaki Ábalos and Juan Herreros established the renowned architec­tural firm Ábalos & Herreros in Madrid in 1984. At the time, fol­lowing the end of the Franco regime, architects were valued more for their technical ability than for their contributions to theoretical research. In this context, Ábalos and Herreros's melding of design with a range of publications and curatorial projects presented a remarkable challenge to assumptions about the role of an architect. In 2012, the Canadian Centre for Architecture obtained the Ábalos & Herreros archive, which contains documents related to more than 160 projects. The material comprises sketches, slides, models, col­lages, and drawings. The archive presents a compelling opportunity to reconstruct Ábalos and Herreros's planning and design process. Each of the book's three contributors--two of whom worked with Ábalos and Herreros--approaches the archive with specific questions, and their essays explore topics including the architects' fascination with industrial architecture, their capacity to construct a hybrid materiality without recourse to building technology as language, and their innova­tive visions for landscape architecture. While many have written about the work of Ábalos and Herreros, previous books have been based mainly on their built projects and on­going research. Ábalos & Herreros Selected by Office Kersten Geers David Van Severen, Juan José Castellón and SO-IL is the first book to draw on the firm's archive to offer a new take on this important architectural practice.

This book investigates the architectural, product design, and urban typology of the capsule which, beginning in the 1960s, broadened the concept of the basic building blocks of architecture to include a minimal living unit, called the "capsule." Here it is presented with regard to the continuity of the development of the Modern Movement, its revisionist criticism, pioneering examples, as well as contemporary examples and uses. The typology of the capsule allows us to consider this theme in terms of the architecture of resistance, with the potential to search for an "other" architecture that is embedded in our contemporaneity (manifested in small dwellings, composite structures, and container units; shelters and mobile homes in nature and the urban environment; technology transfer in high-tech designs; devices, additions, and extensions etc.). The concept of the capsule as a building element of architecture, as well as a spatial element, can therefore be regarded as having a generative potential for an architecture of personal space for the individual, forcing us to reflect on our existing living and dwelling conditions.

We are all improvising. We are all making decisions. And we are all watching each other improvise. Together, we are improvising. Decisions become shared ones. We will have built this city together. Convivial Ground invites the reader to discover the work of the transdisciplinary European design-build network Constructlab piece by piece. Taking Ivan Illich's understanding of conviviality as departure point, the essays, conversations, stories, and images in the book reflect on the specificities of collaborative practices as situated experiments, as well as on their possible roles in the creation of convivial societies. Exploring contemporary conditions of togetherness, learning, and working, the book is not a "how-to" guide, but an invitation to cooperatively write new convivial narratives.

In this book, Tsiambaos redefines the ground-breaking theory of Greek architect and town planner Constantinos A. Doxiadis (The Form of Space in Ancient Greece) and moves his thesis away from antiquity and ancient architecture, instead arguing that it can only be understood as a theory founded in modernity. In light of this, the author explores Doxiadis' theory in relation to the work of the controversial Greek architect Dimitris Pikionis. This parallel investigation of the philosophical content of Doxiadis' theory and the design principles of Pikionis' work establishes a new frame of reference and creates a valuable and original interpretation of their work. Using innovative cross-disciplinary tools and methods which expand the historical boundaries of interwar modernism, the book restructures the ground of an alternative modernity that looks towards the future through a mirror that reflects the ancient past. From Doxiadis' Theory to Pikionis' Work: Reflections of Antiquity in Modern Architecture is fascinating reading for all scholars and students with an interest in modernism and antiquity, the history and theory of architecture, the history of ideas and aesthetics or town planning theory and design.

Born in Warsaw in 1926, Joseph Rykwert is one of the best-known critics and historians of architecture. One of very few writers to be awarded the RIBA's highest honour, the Royal Gold Medal, in 2014, and author of countless books and essays, his influence over the past 60 years cannot be underestimated. In this memoir he tells for the first time of how his life's experiences shaped his working life. He addresses the dualities between which he had to navigate: Jewish/Polish, Polish/British and later, Practice/Scholarship. He spent most of his working life between the US and UK and worked both as a designer and a writer; as such his ground-breaking ideas and work have had a major impact on the thinking of architects and designers since the 1960s and continue to do so to this day.

Architecture shapes our lives to a greater extent than almost any other art form. This also applies to the buildings planned by the firm gmp * Architekten von Gerkan, Marg und Partner. With tremendous openness to building on any scale and typology under a wide variety of cultural as well as contextual conditions, the long-established firm has realized airports, soccer stadiums, and cultural buildings all over the world. Since its founding in 1965, the firm has undertaken more than 500 projects in twenty-three countries and has been honored with numerous awards for its buildings. Its extensive oeuvre is reflected in numerous publications, including this profusely illustrated 13th volume of the well-known series of monographs. The fifty buildings and projects from 2011 to 2015 discussed here range from the seat of the Vietnamese National Assembly to the Tianjin Cultural Center, Bund SOHO in Shanghai, Baku Crystal Hall, the stadiums built or converted for the 2014 World Cup in Brazil, the New Hans Sachs House in Gelsenkirchen, Germany, and Pier A-West at Frankfurt Airport.

Hand Hewn is a fascinating and inspiring tribute to traditional timber framing by one of today's foremost expert architects and practitioners of the craft. In this highly visual book, internationally renowned builder Jack A. Sobon weaves his personal history of learning about the craft with its 2,000-year-long history. Sobon begins with the story of how he fell in love with what was then a little-known building technique and how he eventually became the "Sherlock Holmes" of timber framing. Through evocative text, stunning photography, and hand drawings, Sobon highlights the intimacy of timber framing: its connection to place and to the trees and forest, as well as the honesty and artfulness of the craft, the satisfaction of working with hand tools, and the thoughtful - even spiritual - nature of design. Ultimately, the book reveals how contemporary timber framing offers links to the past, to the natural world, and to the homes and structures that shape our lives.