The Bauhaus Building in Dessau, designed by Walter Gropius in 1926, represents a "built manifesto of Bauhaus ideas" and is one of modernism's most important buildings. Together with the associated Masters' Houses (Meisterhauser), the Houses with Balcony Access (Laubenganghauser) in Dessau, and Bauhaus buildings in Weimar and Bernau, it is included in UNESCO's World Heritage List. The book focuses on strategies for preserving the Bauhaus Building. It presents the building-and its eventful history-from its construction to its destruction, rebuilding, and restoration. Using texts, photographs, and numerous blueprints, the book provides a detailed exploration of specific aspects of the architecture-such as the building's outer shell, materials, construction, color scheme, and surfaces-and the long-term preservation concept for the site. In doing so, it proposes structural measures aimed at adapting the building to today's challenges and at conserving the building with its historic and artistic characteristics. Archaeology of Modernism. Preservation Bauhaus Dessau is the revised and expanded edition of Archaeology of Modernism. Renovation Bauhaus Dessau, which was published by JOVIS as Volume 23 of the EDITION BAUHAUS series in 2006. This new edition is presented as Volume 58.

Stadium and Arena Design highlights the multidisciplinary approach needed to create and run stadia, showing how each of the specialists involved have essential roles to play. International case studies are used to demonstrate how all these skills are brought together in stadium design best practice, to ultimately benefit the client, the performers, and the spectators. Stadium and Arena Design is an important reference for all construction professionals and practitioners involved in the design, construction and evaluation of stadiums internationally.

This book highlights human behaviour and architectural considerations for prescriptive code requirements for emergency exits in heritage cultural centers. Closed circuit television camera (CCTV) footage from a Canadian heritage cultural centre was analyzed from three separate unannounced evacuations, where recommendations based on the first two evacuations were implemented for the third. This study aims to (1) develop a baseline for the behaviour and actions of people during the pre-movement and movement stages of emergency egress and evacuation situations and (2) collect behavioural and movement data to aid the fire safety community with the decision process for egress and evacuation strategies and (3) interrogate and highlight architectural barriers in heritage structures with respect to emergency evacuation. The discussion of findings includes occupant behaviour, architectural implications and evacuation modelling and considers the often-conflicting intersection between architectural conservation and fire safety.

Hamburg's new landmark, the Elbphilharmonie, with its unique architecture and acoustics, is not only a magnet for locals and tourists, but also for artists of all genres and from all over the world. Peter Hundert was allowed to accompany and portray the "heroes" of the Elbphilharmonie for over a year - artists, technicians, visitors. His pictures and original sounds from well over a hundred shows, rehearsals and sound checks are authentic testimonies to unadulterated emotions, intimate moments of highest concentration, deep contemplation, pure joy - and at the same time an exclusive look behind the scenes. They are inspiring glimpses of the people who fill this extraordinary concert hall with life and at the same time enter into a very personal dialogue with this special place.

An analysis of the pedestrian malls built during the urban renewal period of the 60's and 70's, and of new urban open space designs. Explores the trend towards, and away from, full pedestrian malls, and analyzes newer project types, such as festival marketplaces and mixed-use urban spaces. Describes mall development processes such as feasibility analysis, planning and design. Also covers street furnishings ranging from paving, fountains and sculpture to lighting, canopies and seating. Offers updated coverage of new projects in New York, Tampa, Memphis, Louisville and Minneapolis. Also features over 250 photographs as well as detailed site plans of the projects covered.

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."

This book advocates an approach to lighting design that focuses on how people experience illumination. Lighting Design in Shared Public Spaces contextualises light, dark and lighting design within the settings, sensations, ideas and imaginaries that form our understandings of ourselves and the world around us. The chapters in this collection bring a new perspective to lighting design, arguing for an approach that addresses how lighting is experienced, understood and valued by people. Across a range of new case studies from Australia, Germany, Denmark, and the United Kingdom, the authors account for lighting design's crucial role in shaping our dynamic and messy experiential worlds. With many turning to innovative ethnographic methodologies, they powerfully demonstrate how feelings of comfort, safety, security, vulnerability, care and well-being can configure in and through how people experience and manipulate light and dark. By focusing on how lighting is improvised, arranged, avoided and composed in relation to the people and things it acts upon, the book advances understandings of lighting design by showing how improved experiences of the built environment can result from more sensitive and context-specific illumination. The book is intended for social scientists who are interested in the lit or sensory world, as well as designers, architects, urban planners and others concerned with how the experience of light, dark and lighting might be both better understood and implemented in our shared public spaces.

Essential information for architects, designers, engineers, equipment suppliers, and other professionals who are working in or entering the biopharmaceutical manufacturing field Biomanufacturing facilities that are designed and built today are radically different than in the past. The vital information and knowledge needed to design and construct these increasingly sophisticated biopharmaceutical manufacturing facilities is difficult to find in published literature--and it's rarely taught in architecture or design schools. This is the first book for architects and designers that fills this void. Process Architecture in Biomanufacturing Facility Design provides information on design principles of biopharmaceutical manufacturing facilities that support emerging innovative processes and technologies, use state-of-the-art equipment, are energy efficient and sustainable, and meet regulatory requirements. Relying on their many years of hands-on design and operations experience, the authors emphasize concepts and practical approaches toward design, construction, and operation of biomanufacturing facilities, including product-process-facility relationships, closed systems and single use equipment, aseptic manufacturing considerations, design of biocontainment facility and process based laboratory, and sustainability considerations, as well as an outlook on the facility of the future. Provides guidelines for meeting licensing and regulatory requirements for biomanufacturing facilities in the U.S.A and WHO--especially in emerging global markets in India, China, Latin America, and the Asia/Pacific regions Focuses on innovative design and equipment, to speed construction and time to market, increase energy efficiency, and reduce footprint, construction and operational costs, as well as the financial risks associated with construction of a new facility prior to the approval of the manufactured products by regulatory agencies Includes many diagrams that clarify the design approach Process Architecture in Biomanufacturing Facility Design is an ideal text for professionals involved in the design of facilities for manufacturing of biopharmaceuticals and vaccines, biotechnology, and life-science industry, including architects and designers of industrial facilities, construction, equipment vendors, and mechanical engineers. It is also recommended for university instructors, advanced undergraduates, and graduate students in architecture, industrial engineering, mechanical engineering, industrial design, and industrial interior design.

This book introduces the reader to the statues, busts, and memorial plaques of scientists, explorers, medicine men and women, and inventors found in the bustling capital of the United Kingdom, London. The former capital of the British Empire, London remains a world center of trade, navigation, finance and many more. It is also a hub of science, the seat of the Royal Society, Royal Institution, Science Museum, British Museum, Natural History Museum, and of great institutions of higher education. The historical figures depicted in these memorials are responsible for creating great institutions, milestone discoveries, contributions to the scientific and technological revolutions, fighting against epidemics, advancing medicine, and contributing to the progress seen during the past four hundred years. This is a guidebook for the visitor and the Londoner alike. It presents memorials that everybody is familiar with and others that the authors discovered during their years of painstaking research. The 750 images and the text, interlarded with anecdotes, is both informative and entertaining.

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

A decade after the Swiss National Bank had opened its neo-baroque building in Berne, the bank's Zurich-based Governing Board moved into its own grand office building in 1922. This major work of the local firm of Otto and Werner Pfister is a prime example of neo-classicism in Switzerland and provided Zurich with an architectural landmark at the top end of its famous Bahnhofstrasse. Marking its centenary, this book celebrates the Zurich home of the Swiss Franc. It describes in detail and lavishly illustrated the architecture and building history from planning stage until today. This is supplemented by essays on bank architecture since the Middle Ages, the urban formation of Zurich and the city's development into a financial centre in the late 19th century. In his contribution, the renowned Canadian-British architect Adam Caruso compares it from today's perspective with other central bank buildings and places it in context of the Pfister brothers' other public commissions, many of which are occupying prominent locations in Zurich's cityscape. Richly illustrated with historical and new photographs, original plans and other historical documents, the volume pays tribute to a piece of public architecture that combines monumentality with pragmatism and republican modesty.

The importance of A. W. N. Pugin (1812-52) in the history of the Gothic Revival, in the development of ecclesiology, in the origins of the Arts and Crafts movement, and in architectural theory is incontestable. A leading British architect who was also a designer of furniture, silver, textiles, stained glass, and jewellery, he is one of the most significant figures of the mid-nineteenth century and one of the greatest designers. His correspondence is important because it provides more insight into the man and more information about his work than any other source. It is vigorous, direct, often witty, and provides an invaluable source for architectural and religio-historical research. By the end of this volume (the first of five) Pugin is established in his career.

From the kinetoscope, used by one viewer at a time, to the lavish movie palaces of Hollywood's golden era, the experience of watching films has varied enormously across film. Exhibition, The Film Reader traces the emergence of a culture of moviegoing, exploring the range of venues in which films have been shown and following the fluctuating status of film and the continuning struggle over audiences.
Contributors explore the meanings conveyed to spectators through exhibition sites and practices, and raise key issues of distribution, access and consumption.
Essays by: Dudley Andrew, Anthony Downs, Gary Edgerton, Anne Friedberg, Kathryn Helgesen Fuller, Douglas Gomery, Thomas Guback, Ben M. Hall, Ina Rae Hark, Charlotte Herzog, Russell Meritt, William Paul, Suzanne I. Schiller, Gregory Waller, Barbara Wilinsky.

This is a book for people who are interested in statues . . . and for people who aren't. It explores those immortalised in marble and bronze - and what the rest of us think about them. As Roger Lytollis travels Britain he encounters a man at Liverpool's Beatles statue convinced that Rod Stewart was in the Fab Four. In Edinburgh he walks into a row over Greyfriars Bobby's nose and in Glasgow learns why the Duke of Wellington wears a traffic cone on his head. London brings a controversial nude statue and some hard truths about racism. Elsewhere, Roger sees people dancing with Eric Morecambe, finds a statue being the backdrop to a marriage proposal and, everywhere he goes, pigeons. Always pigeons . . . On a Pedestal is the first book to examine public statues around the nation. It looks at their emergence into our culture wars; the trend for portraying musicians, sports stars and comedians rather than monarchs, politicians and generals; the amazing tales of many of those commemorated on our streets. It also features interviews with sculptors, including Sir Antony Gormley, telling the stories behind some of our most popular modern statues. Part history book, part travelogue, On a Pedestal brings statues to life. Informative and entertaining, it's a book that - ultimately - is more about blood than bronze.

A beautiful, illustrated exploration of European burial sites and memorials from the First and Second World Wars The wealth of splendid photography in this singular publication features military cemeteries and memorials, conveying their grace, solemn beauty, and deep emotional resonance. Hundreds of cemeteries and memorials from the First and Second World Wars are featured-locations throughout Europe with particular emphasis on sites in England, France, Belgium, and Germany. The book's essays delve into the landscape and architectural history of these hallowed spaces, which were designed by architects such as Charles Henry Holden, Edwin Luytens, John Russell Pope, and Robert Tischler, among others. These landscapes, each a campaign for remembrance and peace, take on new significance alongside comparative images of more recent memorials, including the Vietnam Veterans Memorial in Washington, DC, and the National September 11 Memorial in New York. Distributed for Mercatorfonds

`I can think of no other edifice constructed by man as altruistic as a lighthouse. They were built only to serve.' George Bernard Shaw Since ancient times, long before GPS, radio transmission or radar, lighthouses have served as beacons helping ships to navigate Ireland's sometimes treacherous waters. The earliest lights were simply bonfires built on hillsides; in the fifth century, St Dubhan established a brazier of burning wood or turf on the headland of Hy Kinsellagh (now known as Hook Head). Today, despite technological advances, these coastal icons continue to serve as crucial navigational aids for the maritime traffic of our island nation, from the smallest leisure crafts to cargo ships and trawlers. By day, they mark the way with their instantly recognisable appearances; at night, by the character of their signals. One flash every two seconds tells a sailor that they are near Valentia Island off the coast of Kerry. Four flashes every twenty seconds means that they are further north, approaching Loop Head in County Clare. As well as representing a unique part of our maritime history and built heritage, lighthouses are a powerful symbol of strength and resilience in times of darkness. This evokes an irresistible fascination with them in many people. Artist Roger O'Reilly grew up near the Boyne Estuary lighthouse in County Meath and ever since has associated a sense of peace and reassurance with the warm glow of lighthouse beacons. He has spent two years criss-crossing the country to draw dramatic portraits of these sentinels of our shores. Gathered in this extraordinary collection, each beloved landmark is accompanied by a wealth of practical and insightful information: history, location, elevation, signal and range. This spectacularly illustrated celebration of these architectural gems will be treasured by anyone who finds comfort, intrigue or excitement in the glimmer of a lighthouse through the darkness.

Every year, more than ten million visitors from around the world visit the Louvre s 68,000 square meters of gallery space containing more than 35,000 works of art. The Louvre is widely considered the most innovative of the world s preeminent museums. This gorgeous tome is a celebration of an enduring institution and the magnificent works of art that it houses. Rather than showing only isolated images of the artworks themselves, this book shows many of the pieces in the context of the beautiful galleries and spaces where they live, to give the reader an experience similar to being at the Louvre. The Louvre explores the eight centuries of fascinating history surrounding the museum, which began in the Middle Ages as a fortress, then became a royal residence which continued to enlarge, expand, and develop over the centuries with the most brilliant architects and painters being called to work on this architectural masterpiece. In 1793, the Louvre confirmed its role as a temple of the arts when it was made the first national museum open to the public. From then on, its collections continued to grow from its roots in the old royal collection, benefiting from acquisitions, archaeological discoveries, donations, and bequests. Centuries of growth, evolution, and transformation culminated in the 1980s with the Grand Louvre project symbolized by I.M. Pei s world-famous and critically acclaimed modernist pyramid.

Grand Central Terminal, one of New York City's preeminent buildings, stands as a magnificent Beaux-Arts monument to America's Railway Age, and it remains a vital part of city life today. Completed in 1913 after ten years of construction, the terminal became the city's most important transportation hub, linking long-distance and commuter trains to New York's network of subways, elevated trains, and streetcars. Its soaring Grand Concourse still offers passengers a majestic gateway to the wonders beyond 42nd Street. In Grand Central Terminal, Kurt C. Schlichting traces the history of this spectacular building, detailing the colorful personalities, bitter conflicts, and Herculean feats of engineering that lie behind its construction. Schlichting begins with Cornelius Vanderbilt - "The Commodore" - whose railroad empire demanded an appropriately palatial passenger terminal in the heart of New York City. Completed in 1871, the first Grand Central was the largest rail facility in the world and yet-cramped and overburdened - soon proved thoroughly inadequate for the needs of this rapidly expanding city. William Wilgus, chief engineer of the New York Central Railroad, conceived of a new Grand Central Terminal, one that would fully meet the needs of the New York Central line. Grand Central became a monument to the creativity and daring of a remarkable age. The terminal's construction proved to be a massive undertaking. Before construction could begin, more than 3 million cubic yards of rock and earth had to be removed and some 200 buildings demolished. Manhattan's exorbitant real estate prices necessitated a vast, two-story underground train yard, which in turn required a new, smoke-free electrified rail system. The project consumed nearly 30,000 tons of steel, three times more than that in the Eiffel Tower, and two power plants were built. The terminal building alone cost number 43 million in 1913, the equivalent of nearly number 750 million today. Some of these costs were offset by an ambitious redevelopment project on property above the New York Central's underground tracks. Schlichting writes about the economic and cultural impact of the terminal on midtown Manhattan, from building of the Biltmore and Waldorf-Astoria Hotels to the transformation of Park Avenue. Schlichting concludes with an account of the New York Central's decline; the public outcry that prevented Grand Central's new owner, Penn Central, from following through with its 1969 plan to demolish or drastically alter the terminal; the rise of Metro-North Railroad; and the meticulous 1990s restoration project that returned Grand Central Terminal to its original splendor. More than a history of a train station, this book is the story of a city and an age as reflected in a building aptly described as a secular cathedral.

Although airports are now best known for interminable waits at check-in counters, liquid restrictions for carry-on luggage, and humiliating shoe-removal rituals at security, they were once the backdrops for jet-setters who strutted, martinis in hand, through curvilinear terminals designed by Eero Saarinen. In the critically acclaimed Naked Airport, Alastair Gordon traces the cultural history of this defining institution from its origins in muddy fields to its frontline position in the struggle against international terrorism.From global politics to action movies to the daily commute, Gordon shows how the airport has changed our sense of time, distance, and style, and ultimately the way cities are built and business is done. He introduces the people who shaped and were shaped by this place of sudden transition: pilots like Charles Lindbergh, architects like Le Corbusier, and political figures like Fiorello LaGuardia and Adolf Hitler. "Naked Airport" is a profoundly original history of a long-neglected yet central component of modern life.

This book is the first major study of the themes which were used in the decoration of sarcophagi made for children in Rome and Ostia from the late first to early fourth century AD. It provides a selective catalogue of examples of each type, followed by discussion of how these fit into the general pattern. This allows certain themes to be identified which are virtually exclusive to children's sarcophagi. The second part of the book discusses the choice of subjects and how these reflect the standing of children in Roman society: to what extent, for instance, was childhood shown as a differentiated stage in life, or was it dominated by aspirations of the adult world? How is the death of a child treated in art? There are separate sections on the role of workshops and customers in the development of child specific imagery, and on material from the early Christian era, providing some interesting distinctions resulting from differing attitudes towards children and beliefs about life and death.

This is the first book to analyze the evolution of the Roman amphitheatre as an architectural form. Katherine Welch addresses the critical period in the history of this building type: its origins and dissemination under the Republic, from the third to first centuries BC; its monumentalization as an architectural form under Augustus; and its canonization as a building type with the Colosseum (AD 80). She explores the social and political contexts of each of these phases in detail. The study then shifts focus to the reception of the amphitheatre and the games in the Greek East, a part of the Empire that was, initially, deeply fractured about the new realities of Roman rule.

Anthony Poon's passion for music inspires a vibrant architecture that engages its users and the environment. Affordability and sustainability are hallmarks of Poon's designs, which fuse quality and innovation. His success explodes the myth that architect-designed houses are more expensive and challenging than generic solutions and raises the bar for developers and architects alike. This monograph explores three fields in which Poon Design have excelled: housing, schools, and restaurants. It explains how they enrich the experience of living, learning, and eating, and promote social interaction. Readers can track the creative process from concept sketch to model, plan to completion.

This innovative study of memorial architecture investigates how design can translate memories of human loss into tangible structures, creating spaces for remembering. Using approaches from history, psychology, anthropology and sociology, Sabina Tanovic explores purposes behind creating contemporary memorials in a given location, their translation into architectural concepts, their materialisation in the face of social and political challenges, and their influence on the transmission of memory. Covering the period from the First World War to the present, she looks at memorials such as the Holocaust museums in Mechelen and Drancy, as well as memorials for the victims of terrorist attacks, to unravel the private and public role of memorial architecture and the possibilities of architecture as a form of agency in remembering and dealing with a difficult past. The result is a distinctive contribution to the literature on history and memory, and on architecture as a link to the past.

The gigantic barns built by the major landowners of medieval England are among our most important historic monuments. Impressive structurally and architecturally, they have much to tell us about the technology of the time and its development, and are buildings of great and simple beauty. But, unlike houses, castles and churches, barns were centres of production, where grain crops were stored and threshed, and allow us to glimpse a very different side of medieval life - the ceaseless round of the farming year on which the lives of rich and poor depended. The Great Barn at Harmondsworth, built in 1425-7 for Winchester College, rescued and restored by English Heritage and Historic England in the last decade, is one of the most impressive and interesting of them all. Prefaced by an exploration of the ancient estate to which it belonged and of its precursor buildings, this book explores why, how and when the barn was built, the ingenuity and oddities of its construction, and the trades, materials and people involved. Aided by an exceptionally full series of medieval accounts, it then examines the way the barn was actually used, and the equipment, personnel, processes and accounting procedures involved - specifically relating to Harmondsworth, but largely common to all great barns. Finally, it covers its later history, uses and ownership, and the development of scholarly and antiquarian interest in this remarkable building.