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Books > Arts & Architecture > Architecture > Public buildings: civic, commercial, industrial, etc
Bathhouses (hamams) play a prominent role in Turkish culture,
because of their architectural value and social function as places
of hygiene, relaxation and interaction. Continuously shaped by
social and historical change, the life story of Mimar Sinan's
emberlitas Hamami in Istanbul provides an important example:
established in 1583/4, it was modernized during the Turkish
Republic (since 1923) and is now a tourist attraction. As a social
space shared by tourists and Turks, it is a critical site through
which to investigate how global tourism affects local traditions
and how places provide a nucleus of cultural belonging in a
globalized world. This original study, taking a biographical
approach to tell the story of a Turkish bathhouse, contributes to
the fields of Islamic, Ottoman and modern Turkish cultural,
architectural, social and economic history.
In celebration of the 50th anniversary of the first man on the
moon, this book for the first time ever looks at the artefacts left
behind on the moon from the perspective of architecture. The book
looks at every single mission - manned and unmanned - that has
actually landed on the moon. It covers the time of the beginning of
the Soviet and American space race with the landing of Luna 2 in
1959, to the present with China's Chang'e 3 moon rover. This
architectural guide differentiates itself from other scientific and
edu cational books through its abstract approach to the topic of
architecture on the moon. The content does not feature science
fiction, but rather the question of what exists and what
implications these bizarre structures hold for the future of
architecture on other planets - as these topics are quite pertinent
in today's world of the commercialization of spaceflight, with
SpaceX and NASA planning to take humans to Mars in the next 15
years. The guide brings together authors both from the East and the
West. Contributors on the Russian side include Galina Balashova,
the famous archi tect of the Soviet space program, and the expert
Alexander Glushko, son of the deceased chief engineer of the Soviet
space program, Valentin Glushko. Further contributions by Evangelos
Kotsioris (MoMA), Brian Harvey (China), Gurbir Singh (India), and
Olga Bannova (University of Houston).
In this his newest book, Peter MacCallum has assembled collections
of his documentary photographs of the last decade that examine the
particularities of the vernacular spaces of human labour, commerce,
and habitation. Conceived as series, these documentary photographs
juxtapose the miscellany of the commercial architecture of
Toronto's Yonge Street with the uniform elegance of rue du Faubourg
Saint-Denis in Paris; an aging zinc foundry in Montreal with a
venerable independent garage in Toronto; the functional Theatre
Passe Muraille in Toronto with the tiny, lushly decorated Theatre
du Tambour Royal in Paris. Shifting from the industrial to the
moumental to the domestic, MacCallum's roving eye lands upon the
gritty morphology of the coal-fired Lakeview Generating Station,
the restoration of Walter Alward's great limestone monument at Vimy
Ridge, and the classical Greek spirit expressed in the front
porches of ordinary Toronto houses dating from the early decades of
the 20th century. The result is an engrossing collection of
photographs that reveal a disarming beauty in sites that both
embody and encompass a rich history of industry, commerce, and
human habitation.
From ancient stadium construction to a design object of the
twenty-first century, sports arenas have long been turned into
places hosting a global media spectacle. For a few hours or days,
colossuses made of steel and concrete transform into colourful
festival locations. Since the first ancient stadium in Greek
Olympia, the typology of stadium construction has undergone a
profound transformation: due to changes in requirements and demand,
an urban entertainment centre has emerged from the simple running
track in the countryside. Through selected examples of projects,
this volume from the Construction and Design Manual series
illustrates the development of stadiums in relation to building
typologies. It provides a basic manual of stadium design using
basic planning parameters. Examined are, amongst others, Olympic
stadiums, football stadiums, velodromes and ice arenas. Drawings,
detailed plans and large- format photos facilitate an understanding
of the carefully selected examples and are used to analyse stadium
construction in terms of its history, planning and architecture.
The past is weaponised in culture wars and cynically edited by
those who wish to impose their ideology upon the physical spaces
around us. Holocaust deniers use details of the ruins of the gas
chambers Auschwitz to promote their lies: 'No Holes; No Holocaust'.
Yet long-standing concepts such as 'authenticity' in heritage are
undermined and trivialised by gatekeepers such as UNESCO. At the
same, time, opposition to this manipulation is being undermined by
cultural ideas that prioritise memory and impressions over history
and facts. In Monumental Lies, Robert Bevan argues that monuments,
architecture and cities are material evidence of history. They are
the physical trace of past events, of previous ways of thinking and
of politics, economics and values that percolate through to today.
When our cities are reshaped as fantasies about the past, when
monuments tell lies about who deserves honour or are destroyed and
the struggle for justice forgotten, the historical record is being
manipulated. When decisions are based on misinformed assumptions
about how the built environment influences our behaviour or we are
told, falsely, that certain architectural styles are alien to our
cities, or when space pretends to be public but is private, or that
physical separation is natural, we are being manipulated. There is
a growing threat to the material evidence of the truth about
history. We are in serious trouble if we can no longer trust the
tangible world around us to tell us the truth. Monumental Lies
explores the threats to our understanding of the built environment
and how it impacts on our lives, as well as offers solutions to how
to combat the ideological manipulations. Chosen as one of the best
Architecture and Design books of 2022 by The Financial Times
The new MEETT Toulouse exhibition and convention centre in the
French city of Toulouse once again demonstrates how a seemingly
dull, functional task results in striking and refined architecture
if the Rotterdam-based Office for Metropolitan Architecture OMA and
its mastermind Rem Koolhaas take care of it. The vast structure,
covering ca 618 by 246 yards of ground, makes for a spectacular
spatial experience in its main exhibition hall that offers 484,376
square feet of column-free floor space. OMA also took an unusual
path with regard to the configuration and transport connection of
the entire complex. Rather than sealing even more ground with
tarmac for endless car parks, it concentrated them into a compact
multi-storey parking garage at the heart of the complex that also
serves as a general traffic hub for MEETT Toulouse. The book offers
impressions of MEETT Toulouse's enormous dimensions and the vast
spaces it provides through images taken by French photographer
Marco Cappelletti. The volume is rounded out with selected plans
and concise texts on the particulars of the project.
Collaborating with leading architects like Zaha Hadid, Foreign
Office Architects, Norman Foster, and Will Alsop, Adams Kara Taylor
have become the engineers of choice for projects that redefine the
conventional boundaries between structural engineering and
architecture. Their holistic approach expands structural thinking
to include technical solutions, aesthetics, and advanced research
to adapt both diverse architectures and design methodologies.
Organized into a series of synthetic themes - complexity,
trans-scalarity, modelling, process - this book presents a
cross-section of diverse projects and methods as a manual for new
relations between radical engineering and design. Contributors
include Alejandro Zaera-Polo, Simon Allford, Patrik Schumacher, Tim
Anstey, Mohsen Mostafavi, and Michael Speaks.
The combination of portrait statue, monumental support, and public
lettering was considered emblematic of Roman public space even in
antiquity. This book examines ancient Roman statues and their
bases, tombs, dedicatory altars, and panels commemorating gifts of
civic beneficence made by the Augustales, civic groups composed
primarily of wealthy ex-slaves. Margaret L. Laird examines how
these monuments functioned as protagonists in their built and
social environments by focusing on archaeologically attested
commissions made by the Augustales in Roman Italian towns.
Integrating methodologies from art history, architectural history,
social history, and epigraphy with archaeological and sociological
theories of community, she considers how dedications and their
accompanying inscriptions created webs of association and
transformed places of display into sites of local history.
Understanding how these objects functioned in ancient cities, the
book argues, illuminates how ordinary Romans combined public
lettering, honorific portraits, emperor worship, and civic
philanthropy to express their communal identities.
How should Germany commemorate the mass murder of Jews once
committed in its name? In 1997, James E. Young was invited to join
a German commission appointed to find an appropriate design for a
national memorial in Berlin to the European Jews killed in World
War II. As the only foreigner and only Jew on the panel, Young
gained a unique perspective on Germany's fraught efforts to
memorialize the Holocaust. In this book, he tells for the first
time the inside story of Germany's national Holocaust memorial and
his own role in it. In exploring Germany's memorial crisis, Young
also asks the more general question of how a generation of
contemporary artists can remember an event like the Holocaust,
which it never knew directly. Young examines the works of a number
of vanguard artists in America and Europe-including Art Spiegelman,
Shimon Attie, David Levinthal, and Rachel Whiteread-all born after
the Holocaust but indelibly shaped by its memory as passed down
through memoirs, film, photographs, and museums. In the context of
the moral and aesthetic questions raised by these avant-garde
projects, Young offers fascinating insights into the controversy
surrounding Berlin's newly opened Jewish museum, designed by Daniel
Libeskind, as well as Germany's soon-to-be-built national Holocaust
memorial, designed by Peter Eisenman. Illustrated with striking
images in color and black-and-white, At Memory's Edge is the first
book in any language to chronicle these projects and to show how we
remember the Holocaust in the after-images of its history.
A new approach to late Ottoman visual culture and its place in the
world With its idiosyncratic yet unmistakable adaptation of
European Baroque models, the eighteenth-century architecture of
Istanbul has frequently been dismissed by modern observers as
inauthentic and derivative, a view reflecting broader unease with
notions of Western influence on Islamic cultures. In Ottoman
Baroque-the first English-language book on the topic-UEnver Rustem
provides a compelling reassessment of this building style and shows
how between 1740 and 1800 the Ottomans consciously coopted European
forms to craft a new, politically charged, and globally resonant
image for their empire's capital. Rustem reclaims the label
"Ottoman Baroque" as a productive framework for exploring the
connectedness of Istanbul's eighteenth-century buildings to other
traditions of the period. Using a wealth of primary sources, he
demonstrates that this architecture was in its own day lauded by
Ottomans and foreigners alike for its fresh, cosmopolitan effect.
Purposefully and creatively assimilated, the style's cross-cultural
borrowings were combined with Byzantine references that asserted
the Ottomans' entitlement to the Classical artistic heritage of
Europe. Such aesthetic rebranding was part of a larger endeavor to
reaffirm the empire's power at a time of intensified East-West
contact, taking its boldest shape in a series of imperial mosques
built across the city as landmarks of a state-sponsored idiom.
Copiously illustrated and drawing on previously unpublished
documents, Ottoman Baroque breaks new ground in our understanding
of Islamic visual culture in the modern era and offers a persuasive
counterpoint to Eurocentric accounts of global art history.
During the Industrial Revolution, Britain was at the forefront of
bridge innovation. Pioneering designers such as George and Robert
Stephenson, Thomas Telford and Isambard Kingdom Brunel created
Britain's rich bridge heritage that features many world firsts and
we can learn much from their ground-breaking designs. Written by an
experienced bridge architect, this book includes an introduction to
bridge aesthetics; it gives an outline of British bridge
development and advice on parapet treatment and bridge lighting.
This book offers a comprehensive overview of how the best of
British bridges marry aesthetic considerations with engineering
ingenuity.
First published in 1974, Architecture of Middle Tennessee quickly
became a record of some of the region's most important and most
endangered buildings. Based primarily upon photographs, measured
drawings, and historical and architectural information assembled by
the Historic American Buildings Survey of the National Park Service
in 1970 and 1971, the book was conceived of as a record of
buildings preservationists assumed would soon be lost. Remarkably,
though, nearly half a century later, most of the buildings featured
in the book are still standing. Vanderbilt staffers discovered a
treasure trove of photos and diagrams from the HABS survey that did
not make the original edition in the Press archives. This new,
expanded edition contains all the original text and images from the
first volume, plus many of the forgotten archived materials
collected by HABS in the 1970s. In her new introduction to this
reissue, Aja Bain discusses why these buildings were saved and
wonders about what lessons preservationists can learn now about how
to preserve a wider swath of our shared history.
From a watch to a pavilion, from urban furniture to infrastructure,
from landscape design to apartment buildings: since the founding of
Atelier Bonnet in the year 2000, the work of Pierre and Mireille
Bonnet, covering a wide range of themes and scales, is conceived in
a spirit of interaction and complicity. In the face of such a
diversity of works, the monograph concentrates on a series of
exemplary residential buildings, which document the skillful
handling of this fundamental building task. In their most recent
works, the architects have also occupied themselves intensively
with the use of exposed concrete and with questions of tectonics.
The resulting sculptural design and the abstract language of these
objects provide further examples of a highly sensitive
architecture, with an undeniable artistic dimension.
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Courthouses of Georgia
(Hardcover)
Association County Commissioners of Georgia; Photographs by Greg Newington; Text written by George Justice; Foreword by Ross King; Introduction by Larry Walker
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R1,163
Discovery Miles 11 630
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Ships in 12 - 17 working days
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The courthouses of Georgia's 159 counties hold the keys to the
history of individual families and entire communities alike. From
their primary role as the temples of justice for our court system
to their better-known function as the official repository of public
records for significant life events, these buildings anchor many of
Georgia's town squares.
In "Courthouses of Georgia," internationally recognized
photographer Greg Newington captures the prominence and character
of these great structures. His images pay tribute to the
community's investment in preserving historic courthouses for
future generations and celebrate new facilities designed to
accommodate expanded county programs and services, keeping pace
with the state's tremendous growth.
"Courthouses of Georgia" commemorates the centennial anniversary of
Association County Commissioners of Georgia (ACCG), Georgia's
county government association. In his introduction to this lavishly
illustrated book, former Georgia House of Representatives majority
leader Larry Walker shares memories of county courthouses by
legislators, authors, judges, and other notable state figures, and
historian George Justice highlights the proud civic and
architectural heritage of each structure to provide additional
context. Organized by the nine travel regions of Georgia, the book
offers the perfect starting point for touring any of Georgia's
counties and instills an appreciation for historic
preservation.
In 1999 the Xunta de Galicia called an International Architecture
Competition to build the City of Culture of Galicia on Mount Gaias
in Santiago de Compostela. Twelve proposals by renowned national
and international architects' studios were initially submitted to
this competition for ideas. The architects who submitted their
ideas for defining the architectural complex and its uses were
Ricardo Bofill, Peter Eisenman, Manuel Gallego Jorreto, Annette
Gigon and Mike Guyer, Steve Holl, Rem Koolhaas, Daniel Libeskind,
Juan Navarro Baldeweg, Jean Nouvel, Dominique Perrault, Cesar
Portela, and Santiago Calatrava (who later withdrew his project).
Out of all these ideas, the final project to be selected for
development was the design by Eisenman Architects, as - to quote
the Jury - it was, "unique both in concept and plasticity, and
exceptionally in tune with the site's location." Located in
Santiago de Compostela, a historic city that is an emblem of the
European cultural tradition and was declared a World Heritage Site
by UNESCO in 1985, the City of Culture of Galicia stands on top of
Mount Gaias, a formidable architectural landmark for the new
century. Conceived as a large-scale cultural hub devoted to hosting
the best of cultural expressions of Galicia, Spain, Europe, Latin
America and the World, this new "city" will contribute with its
inclusive and pluralistic approach to meeting the challenges of the
information and knowledge society. Its unique buildings, connected
up by streets and plazas equipped with state-of-the-art technology,
create a space of excellence for reflection, debate and actions
oriented towards the preservation of heritage and memory, towards
study, research, experimentation, production and dissemination in
the field of literature and thinking, music, drama, dance, film,
the visual arts, audiovisual creation and communication. This book
invites readers to stroll around a new city where past, present,
and future cultures coexist: "A new cultural Babylon will open its
doors to readers."
Until the year 2000, Toni was a dairy factory, and its signature
yoghurt packed in small brown glass jars, was one of Switzerland's
best-known food staples. After production had been relocated to
another part of Switzerland the vast plant, situated in Zurich's
up-and-coming former industrial neighbourhood, was soon occupied by
clubs and trendy restaurants as well as by many artists setting-up
their studios here. Between 2011 and 2014 it was converted into the
new home of Zurich University of the Arts ZHdK. The design by Swiss
architects EM2N kept the building's basic structure and offers
up-to-date educational facilities. The entire complex, comprising
also a museum, restaurants, a music club as well as 100 apartments,
is open to the urban environment. This new book documents the
history and metamorphosis of the Toni plant. Richly illustrated
with photographs, plans, and graphic art, it shows the premises
industrial past, the complex reconstruction process, and its new
function as a place where all the different mentalities and ways to
study, to teach, and to work in the field of art coexist.
The Isles of Scilly are renowned for their natural beauty, wild
flowers and temperate climate, but there is another reason to visit
these paradise islands. Since the 16th century they have been in
the frontline of this country's military defences and successive
generations of fortifications have survived in Scilly, unmatched in
any other location around Britain. This unrivalled survival was due
to the lack of pressure to develop the islands and happily because
the feared enemy rarely attacked. However, there is another threat
to this precious heritage, the power of the sea. William Borlase in
the mid-18th century recorded how much of the islands' history had
succumbed to rising sea level, and today increasingly turbulent
weather patterns may be accelerating the process of coastal
erosion. This book celebrates the unique survival of military
fortifications on the islands, but it also serves to illustrate the
value and vulnerability of the whole country's coastal heritage.
Like King Canute, we cannot turn back the sea, but we can celebrate
these precious survivals from the colourful history of our island
nation.
On the promontory of Kinnaird Head, on the north-east coast of
Scotland, sits a peculiarly designed lighthouse. It is an exception
in history - the only lighthouse in the world to be built into a
castle. Originally constructed in 1571 by Sir Alexander Fraser, the
castle towered over his new town of Fraserburgh with Scotland's
forgotten university built in its shadow. For 200 years this small
tower played host to lairds, lords and Jacobites before abandonment
in 1750. The castle was saved from ruin in 1787 when the newly
formed Northern Lighthouse Board transformed it into their first
Scottish lighthouse. Every Stevenson engineer visited and left
their mark on the site, while a never-ending watch of keepers kept
the light flashing for 200 years. With automation in 1991 there was
a second abandonment of the old tower, until it made its latest
transition from lighthouse to museum. Since 1995 it has been
Scotland's most visited lighthouse, frozen in time as a monument to
the manned lighthouses of old.
According to a recent American study, sexism and racism are so
widespread in architecture that there is a distaste for these
topics within the branch itself. What are the reasons for this
exclusionary working culture? Even in Germany, most architecture
graduates since the turn of the millennium have been female—but a
large number of conventions and assumptions within the discipline
make it difficult for women to remain in the profession. As a
result, a great deal of highly trained talent is lost. Black
Turtleneck, Round Glasses uses an intersectional feminist
perspective to examine the structural causes that push women—and
anyone else who isn’t a white cis man—out of the field. How can
architectural teaching and discourse, as well as the industry’s
self-image, become more diverse? Where are the experiences of a
pluralistic society missing from the built environment? How can we
bring about cultural change in planning and architecture? Featuring
an interview with the Dutch architect Afaina de Jong
Elements of Architecture focuses on the fragments of the rich and
complex architectural collage. Window, facade, balcony, corridor,
fireplace, stair, escalator, elevator: the book seeks to excavate
the micro-narratives of building detail. The result is no single
history, but rather the web of origins, contaminations,
similarities, and differences in architectural evolution, including
the influence of technological advances, climatic adaptation,
political calculation, economic contexts, regulatory requirements,
and new digital opportunities. It's a guide that is long overdue-in
Koolhaas's own words, "Never was a book more relevant-at a moment
where architecture as we know it is changing beyond recognition."
Derived, updated, and expanded from Koolhaas's exhaustive and
much-lauded exhibition at the 2014 Venice Architecture Biennale,
this is an essential toolkit to understanding the fundamentals that
comprise structure around the globe. Designed by Irma Boom and
based on research from the Harvard Graduate School of Design, the
2,600-page monograph contains essays from Rem Koolhaas, Stephan
Trueby, Manfredo di Robilant, and Jeffrey Inaba; interviews with
Werner Sobek and Tony Fadell (of Nest); and an exclusive photo
essay by Wolfgang Tillmans. In addition to comprehensively updated
texts and new images, this edition is designed and produced to
visually (and physically) embody the immense scope of its subject
matter: Custom split-spine binding: our printer modified their
industrial binding machine to allow for the flexible,
eight-centimeter thick spine Contains a new introductory chapter
with forewords, table of contents, and an index, located in the
middle of the book (where it naturally opens due to its unique
spine) Printed on 50g Opakal paper, allowing for the ideal level of
opacity needed to realize Boom's palimpsest-like design Translucent
overlays and personal annotations by Koolhaas and Boom are woven in
each chapter to create an alternative, faster route through the
book Printed at the originally intended 100% size for full
readability
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