Richard Haag is best known for his rehabilitation of Gas Works Park in Seattle and for a series of remarkable gardens at the Bloedel Reserve on Bainbridge Island. He reshaped the field of landscape architecture as a designer, teacher, and activist. In 1964, Haag founded the landscape architecture department at the University of Washington, and his innovative work contributed to the increasingly significant design approach known as urban ecological design, which encourages thinking beyond the boundaries of gardens and parks to consider the broader roles that landscapes play within urban ecosystems, such as storm water drainage and wildlife habitat. Gas Works Park is studied in every survey of twentieth-century landscape architecture as a modern work that challenged the tenets of modernism by engaging a toxic site and celebrating an industrial past. Haag's work with ecologists and soil scientists in his landscape remediation and reclamation projects opened new areas of inquiry into the adaptive reuse of post-industrial sites. Thaisa Way places Haag's work within the context of changes in the practice of landscape architecture over the past five decades in the Pacific Northwest and nationally. The book should be of interest to specialists as well as to readers who are interested in the changes in urban landscapes inspired by Haag's work. Watch the book trailer: https://www.youtube.com/watch?v=fUBeOCA8-kQ

Stan Allen is an architect and educator who has won global acclaim, primarily for his work in town planning and his influential 1996 essay Field Conditions. His new book Situated Objects shows a unique facet of his creative process: a selection of small buildings and projects on rural sites, most of them situated within the landscape of the Hudson Valley, New York. They demonstrate an approach to architecture that engages in a dialogue with this partly wild and wholly non-urban environment that lies just outside the gates of New York City. The projects are presented in drawings and a rich array of images by celebrated photographer Scott Benedict. They are arranged in three thematic categories: Outbuildings, Material Histories, and New Natures, supplemented by the architect's writings and essays contributed by Helen Thomas and Jesus Vassallo. The first book on Stan Allen's buildings, Situated Objects highlights Allen's personal engagement with American material traditions, the conventions of architectural drawing, and the challenge of building with nature.

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.

The modern workplace has evolved from a dehumanized cubicle landscape to space designed for intelligent human life. While utility and amenity are vastly improved, wh at advances have been made in building truly creative communities that spark creativity, knowledge sharing and collaboration? Is the 21st century office performing at peak? Clive Wilkinson - The Theatre of Work proposes an intensified relationship between office users and the space they occupy. The new workspace should amplify and celebrate the activity of work and of human community, and in the process, becoming vital and compelling Theatre.

In defining this new landscape, the author examines global devel opments in workplace thinking, historical antecedents, the performance touch-points for the new office, and proposes seven humanistic principles that will inform a holistic design process that can bring this concept of Theatre to fruition. Each of these principles is demonstrated through case studies of the work of his renowned design studio, Clive Wilkinson Architects (CWA), with rich iconography, diagrammatic strategy and contextual ingenuity. The outcome of this process, with its multiple performative la yers, effectively promotes elevating a corporate brief of basic needs and goals to a profoundly human-centred presentation of ‘work as theatre’ .

This book is the first comprehensive document to the complete works of Josef Hoffmann. As a student of Otto Wagner, a founding member of the Vienna Secession art movement (1897), a professor at the Vienna School of Arts and Crafts (Kunstgewerbeschule) (1899-1936), and co-founder of the Wiener Werkstatte cooperative (1903), the Deutscher Werkbund association (1907) and the OEsterreichischer Werkbund (1912), Hoffmann helped to cultivate a new model of architectural and product design characterized by advanced craftsmanship and artistic ambition. The book, which features more than 40 illustrated essays by well-known experts on Hoffmann's most significant buildings, interiors, exhibitions, and craft and product design, covers all facets of his extensive oeuvre. Richly illustrated, it includes a detailed biography and a comprehensive documentation section, making this a new standard reference work.

How does one view the cumulative work of one's life? For Gautam Bhatia, this publication is not merely a record of his personal or professional legacy, but rather it is a profound examination of his life in architecture. According to the author, architecture is, by its very nature, a practice of contradictions. It operates under influences from sociology, design, engineering, landscape, anthropology, urbanism and civic practice in order to impose its will on the nature of space. This publication brings together several of the author's built works, from commercial and residential buildings to large public spaces, from places of leisure to places of worship. Together with detailed essays, drawings and photographs, the author lays out his philosophy of design to illustrate how architecture became not just a conquest of the imagination, but also of reality. To physically will a building onto a site is an act of design, but to set it free onto a course of transformation is an act of architecture - into a realm beyond the present, where the space is not just made, but lives and dies. The author demonstrates how his practice became not just a tool for solving problems, but also a mode of personal expression, making this volume an invaluable resource for students and practitioners of architecture alike.

An insider's glimpse into how the natural environment, energy, the economics of construction, and the processes of collaboration inform KieranTimberlake's celebrated practice. "KieranTimberlake: A Manual of Work" comprehensively documents the beauty and relevance of KieranTimberlake's unique and celebrated vision. By undertaking a path of research into potential technologies that alter fabrication and delivery methods, and that influence the way we live in our environments, KieranTimberlake endeavors to reshape our expectations of architecture. Nineteen residential, commercial, academic, and civic projects are featured here, including the firm's own dynamic studio; buildings for such prestigious institutions as Yale University, Cornell University, and the University of Pennsylvania; and the new U.S. Embassy in London.

The Elusive Modernist revisits the history of the Modern movement through the legacy of one of its protagonists, Gabriel Guevrekian (c. 1900-1970). Born in Istanbul, Guevrekian grew up in Tehran and then moved to Vienna to study architecture at the Kunstgewerbeschule; he later worked with Oskar Strnad, Josef Hoffmann, Adolf Loos, Henri Sauvage, and Robert Mallet-Stevens and among his famous designs are the Cubist garden for Villa Noailles in France and two houses for the Vienna Werkbund exhibition. Not yet 30, Guevrekian was recognized as one of the protagonists of the European Avant-garde in Paris. During the 1930s, he spent a few years in Iran to design public buildings and later, after the Second World War, he took teaching responsibilities in Europe and America. All his various pursuits, and the homes and nationalities he held in Asia, Europe and then America, led to a serial adoption of personae. He made every discipline meaningful, every city central, every period epochal simply by his own very tangible engagement with it.

Completed in 2019, the Swatch and Omega Campus in Biel (Bienne), Switzerland, is a magnificent example of technology, design, and environmental sustainability working in concert to create a space that promotes the health of users and the planet. This book illustrates every aspect of the project, including drawings, plans, and numerous interior and exterior photographs. Pritzker Prize-winning architect Shigeru Ban has experienced firsthand the trauma of natural disasters, which he has addressed in numerous emergency-relief projects. With the Swatch and Omega campus, Ban demonstrates how sustainable architecture can benefit industry as well, and why he promotes timber as the planet's only truly renewable resource. Philip Jodidio introduces readers to the buildings' ingenious and cutting-edge features-a serpentine, cocoon-like facade that echoes the playful elements of the Swatch brand; a gridshell roof structure consisting of thousands of precisely interlocking timber pieces. The Omega buildings with their clean straight lines are equally innovative and express the contrast between the two related brands. A feat of forward-thinking architecture, this corporate headquarters represents a benchmark for future building projects around the world.

This second monograph represents circumstances and projects which have occurred beyond the span of David Hansen's original monograph. Through sketches, diagrams, rendering, photographs and narratives, this book portrays the criteria and conceptual thinking that was primary in finding an inclusive architectural solution for a diverse selection of projects. Though, Hansen has always attempted to create a comprehensive matrix of interrelated design criteria on his client's vision, site, context, sustainability, climate, culture and tradition, some issues must be weighted above others. And sometimes, a story must be told that is inexorably tied to the essence of the land or building. These commentaries can even provide deeper meaning than the determinants of the building themselves.

Frederick Law Olmsted relocated from New York to the Boston area in the early 1880s. With the help of his stepson and partner, John Charles Olmsted, his professional office grew to become the first of its kind: a modern landscape architecture practice with park, subdivision, campus, residential, and other landscape design projects throughout the country. During the period covered in this volume, Olmsted and his partners, apprentices, and staff designed the exceptional park system of Boston and Brookline-including the Back Bay Fens, Franklin Park, and the Muddy River Improvement. Olmsted also designed parks for New York City, Rochester, Buffalo, and Detroit and created his most significant campus plans for Stanford University and the Lawrenceville School. The grounds of the U.S. Capitol were completed with the addition of the grand marble terraces that he designed as the transition to his surrounding landscape. Many of Olmsted's most important private commissions belong to these years. He began his work at Biltmore, the vast estate of George Washington Vanderbilt, and designed Rough Point at Newport, Rhode Island, and several other estates for members of the Vanderbilt family. Olmsted wrote more frequently on the subject of landscape design during these years than in any comparable period. He would never provide a definitive treatise or textbook on landscape architecture, but the articles presented in this volume contain some of his most mature and powerful statements on the practice of landscape architecture.

This highly original and personal exploration of Tadao Ando's work, one of Japan's leading architects, traverses both the physical and spiritual world. In 2012, Philippe Se clier visited Tadao Ando's iconic Church of the Light, and was immediately compelled to journey around the world to further study the architect's buildings. This unique presentation of Ando's work is the result of what turned into a nine-year project to photograph 130 buildings. Walking around each structure, trying to find the proper framing, helped Se clier understand Ando's genius for siting and composition. Loosely organized by chronology, each building is represented in numerous black and white images, arranged like a mosaic on the page. These fragmented views correspond to Ando's own philosophy of the logic of structure and geometry. This "atlas" embraces not only the geographic but also thematic range of Ando's oeuvre-from transit stations in Tokyo and Kobe to art museums in Fort Worth, Texas and Provence, France; from an artists' retreat on the Mexican coast to the now-demolished Piccadilly Gardens in Manchester, England; from a theater in Milan, Italy, to an upscale restaurant in New York City. Se clier's photographs of Ando's numerous religious structures brilliantly illustrate his use of light and shadow to evoke spiritual depth and timelessness while his short texts offer concise observations of each building. A helpful appendix pinpoints the geographic diversity and range of Ando's oeuvre.

The studio of an architect is perhaps the most singular project in one's oeuvre comple te. After their own house, it is the second most inward-looking space an architect designs. They are no longer just crafting ideas to meet the requirements proposed by others, but now face their own desires, both as architect and as client. What are the spatial qualities that one needs? How does the space conform to one's working method? How does the space best stimulate ideas and inspirations? Considering it is the place where those ideas and inspiration are born, how could it be shaped by and speak for them? With essays, projects, and interviews, Architects' Studios, the 2019 summer volume of Architecture China, offers a look into the studios of 14 outstanding Chinese architects: Atelier FCJZ, ZAO/standardarchitecture, MAD Architects, OPEN Architecture, Atelier Deshaus, Vector Architects, Neri&Hu Design and Research Office, AZL Architects, Archi-Union Architects, Atelier AZ+, People's Architecture Office, Atelier ArchMixing, Original Design Studio, and Naturalbuild. Additionally, Pritzker Prize winner Wang Shu reveals his desk in the cover imagery.

Lara Schrijver examines the work of Oswald Mathias Ungers and Rem Koolhaas as intellectual legacy of the 1970s for architecture today. Particularly in the United States, this period focused on the autonomy of architecture as a correction to the social orientation of the 1960s. Yet, these two architects pioneered a more situated autonomy, initiating an intellectual discourse on architecture that was inherently design-based. Their work provides room for interpreting social conditions and disciplinary formal developments, thus constructing a `plausible' relationship between the two that allows the life within to flourish and adapt. In doing so, they provide a foundation for recalibrating architecture today.

Finished works by Catalan architects during the first period of the 21st century. This book presents, through the finished works of a considerable number of Catalan architects (among them; Bonell i Gil, Enric Miralles, Carme Pins, Carlos Ferrater...), the vision of a phase between 2004 and 2009. This publication aims to spread the work of these architects, while defining the informative and cohesive task of the Collegi d'Arquitectes de Catalunya (COAC, Architects' Institute of Catalonia). Portrait of a Time, forms part of this trajectory, as well as constituting a point of inflection in various respects. It actually forms part of an even longer trajectory that began in 1874 with the constitution of the Associaci d'Arquitectes de Catalunya [Architects' Association of Catalonia], which handed down to us an architectural documentation centre of which we are justly proud. Our Historic Archive houses the professional holdings of some 120 architects whose work is vital to an understanding of the history of Catalan architecture.

In their 20 years of architectural practice, Proctor and Matthews Architects have developed a reputation for being at the centre of Britain's urban regeneration debate. Pattern Place Purpose: Proctor and Matthews Architects takes a close look at the company's body of work, examining its working practices in detail. Established in London, the practice has worked with regeneration agencies across the UK, as well as in Europe, the US, New Zealand, and the Caribbean, providing practical and innovative strategies forenhancing urban design. Proctor and Matthews' work has won numerous awards, and the practice have been involved in teaching at some of the UK's leading architectural schools. Proctor and Matthews' work has been consistently committed to imaginative, relevant and forward-thinking solutions in each of its urban projects. This book explores, through commissioned essays, how the practice's concern for cultural identity, historical context and sustainability has earned it international recognition, receiving awards from organisations as diverse as the RIBA, the Evening Standard London Life Style, the World Wildlife Fund and the Civic Trust. Pattern Place Purpose profiles an outstanding, prolific and diverse practice.

An exploration of published and unpublished writings of Alison and Peter Smithson, considering them in the context of the debates and discourses of postwar architecture. The English architects Alison Smithson (1928-1993) and Peter Smithson (1923-2003) were ringleaders of the New Brutalism, active in CIAM and Team 10, and influential in English Pop Art. The Smithsons, who met as architecture students, built only a few buildings but wrote prolifically throughout their career, leaving a body of writings that consider issues in architecture and urbanism and also take up subjects that are "not quite architecture" (the name of a series of articles written by Alison Smithson for the Architects' Journal)-including fashion design, graphic communication, and children's tales. In this book, M. Christine Boyer explores the Smithsons' writings-books, articles, lectures, unpublished manuscripts, and private papers. She focuses on unpublished material, reading the letter, the scribbled note, the undelivered lecture, the scrapbook, the "magic box," as words in the language of modern architectural history-especially that of postwar England, where the Smithsons and other architects were at the center of the richest possible range of cultural encounters. Boyer is "writing around" the Smithsons' work by considering the cultural contexts in which they formed and wrote about their ideas. Boyer explains that the Smithsons were intensely concerned with the responsibility of the architect to ensure the quality of place, to build with lyrical appropriateness. They reached back to the country landscapes of their childhood and, Boyer argues, mixed their brand of New Brutalism with the English Picturesque. The Smithsons saw architects as both inheritors and passers-on. Their writings offer juxtapositions and connections, resembling an association of interactive loops, ideas waiting to be transmuted into built form.

As he magnificently combines meticulous scholarship with irresistible narrative appeal, Richardson draws on his close friendship with Picasso, his own diaries, the collaboration of Picasso's widow Jacqueline, and unprecedented access to Picasso's studio and papers to arrive at a profound understanding of the artist and his work. 800 photos.

The book covers the entirety of Gowan's work, from his early employment with Powell and Moya and Lyons Israel Ellis through a selection of key projects from his partnership with James Stirling, such as the Leicester Engineering Faculty, 1963. Since then, Gowan has realised 40 years of work under his own name, including the Schreiber House, 1964, one of the most significant houses to be built in Britain in the past century. Following his designs for social housing in the 1960s and 70s the book profiles Gowan's work through to the present day, where at 83 he is completing the Humanitas Hospital in Milan.

A deserted Paris house holds the mystery of a brilliant Viennese modernist who worked alongside Le Corbusier and Adolf Loos before vanishing. A leading painter still highly regarded in South Africa, Jean Welz's prior architectural career has been virtually unknown until a string of discoveries unfolded for author and filmmaker Peter Wyeth, allowing him to narrate this amazing true tale of genius. Trained in ultra-sophisticated, but conservative Vienna, Welz was sent to Paris for the 1925 Art Deco exhibition by his influential employer, renowned architect Josef Hoffmann. There he met preeminent modern architects Le Corbusier and Adolf Loos. The latter employed him to assist in building a house for the founder of Dada, Tristan Tzara. They all mixed in avant-garde circles at the Dome Cafe in Montparnasse along with Welz's classmate from Vienna, later Chicago-based architect Gabriel Guevrekian; Welz's future employer Raymond Fischer, whose archive was mostly destroyed by Nazis; and photographer Andre Kertesz. Through Welz's South African family archive, author Wyeth retrieves stories, letters, portfolios, and photographs generations after Welz's death that unravel his heroic designs, his stunning built critique of Corbusier's "Five Points of Architecture," a gravestone for Marx's daughter, and the many ways that Welz disappeared amongst his collaborators, intentionally and not. This account of why Jean Welz did not become a famous name in architecture takes us through his brother's Nazi-art-dealings, illness, betrayal, emigration, and an uncompromising artist's vision at the same time sifting through significant, literally-concrete evidence of Welz's built projects and visionary designs.

RB Kitaj started painting The Architects in August of 1979 to celebrate the remodelling of his home by MJ Long. Painted largely without the models themselves present, this portrait of his friends against the backdrop of the stepped bookcase designed for him by MJ marks a transition in Kitaj's development as an artist.