Milan-based architecture firm Onsitestudio have designed a new training campus for Italian Serie A soccer club U.S. Sassuolo Calcio. Located in the town of Sassuolo, in the Emilia-Romagna region, and inaugurated in 2019, it is a functional-modernist yet highly atmospheric structure that provides the professionals of U.S. Sassuolo Calcio with state-of-the-art training facilities and offices. As part of a pioneering social engagement of the club, its playing fields and other amenities are also available to local amateur teams and for recreational sports. This book features the Mapei Football centre through newly taken colour and black-and-white photographs by Stefano Graziani and Filippo Romano, as well as floorplans, sections, and construction detail drawings. Complementary essays are contributed by Onsitestudio's founding partners Giancarlo Floridi and Angelo Lunati, British historian and football expert John Foot; and Italian architect and intellectual Pier Paolo Tamburelli.

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 Richly illustrated with historical and new photographs, original plans and other historical documents, the volume pays tribute to a piece of public architecture that combines monumentality with pragmatism and republican modesty.

Taking public space as her starting point, Amy Russell offers a fresh analysis of the ever-fluid public/private divide in Republican Rome. Built on the 'spatial turn' in Roman studies and incorporating textual and archaeological evidence, this book uncovers a rich variety of urban spaces. No space in Rome was solely or fully public. Some spaces were public but also political, sacred, or foreign; many apparently public spaces were saturated by the private, leaving grey areas and room for manipulation. Women, slaves, and non-citizens were broadly excluded from politics: how did they experience and help to shape its spaces? How did the building projects of Republican dynasts relate to the communal realm? From the Forum to the victory temples of the Campus Martius, culminating in Pompey's great theatre-portico-temple-garden-house complex, The Politics of Public Space in Republican Rome explores how space was marked, experienced, and defined by multiple actors and audiences.

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

Monograph questioning What if research, science and architecture were merged? LAVA is an architecture studio founded by Tobias Wallisser, Chris Bosse, and Alexander Rieck with offices in Germany, Vietnam, and Australia. The German Pavilion for Expo 20 is an example of the eloquence with which LAVA responds to issues of the day. The three core themes of the book - Cities of the Future, Biodiversity, as well as Energy and Sustainability - are complemented by the subjects "Connecting Minds," meaning social and political architecture, "Digital Processes and Technologies," and "New Work" and explored together throughout the six chapters of this book. In addition to projects and their derivation, architectural and sociological thinkers elaborate on their ideas on these topics - creatively, speculatively, and thoughtfully. Themes: City - Energy - Biodiversity - Connecting - Work - Digital Processes Selected projects as case studies With contributions by Amy Frearson, Georg Vrachliotis, Giovanna Carnevali, Maria Aiolova, Gilles Retsin, Andre Wilkens, Marjan Colletti, and Raoul Bunschoten

The Open Call in Flanders (the Dutch-speaking, northern part of Belgium) is more than just another architecture competition: any governmental agency or public institution can choose to work with an Open Call for any given construction project. Since its invention by the first Flemish Government Architect bOb Van Reeth in 2000, more than 700 assignments have been published in this procedure, resulting in almost 350 completed public architectural and infrastructural projects so far. This volume compiles 70 of these, from all over Flanders-from its west coast to the Dutch border in the east-to illustrate the astounding quality of these projects. They prove that public architecture can be daring, thought-provoking, cooperative, and well-done at the same time. The book takes an extensive look at how this procedure works, how it is received by architects, politicians, and clients-and ultimately, at the outstanding public architecture in Flanders as an example for other countries to study closely. Including buildings by 51N4E, Bovenbouw Architectuur, Compagnie O, Dierendonckblancke, KAAN, Ney & Partners, noAarchitecten, NU architectuuratelier, OFFICE Kersten Geers David Van Severen, RCR Arquitectes, Robbrecht en Daem, Sergison Bates, Eduardo Souto de Moura, Xaveer de Geyter, Zaha Hadid, among others

The pub has been at the heart of English life for generations. But how has this unique institution developed over the centuries? Paul Jennings traces the history of the English pub, looking at how it evolved from the coaching inn and the humble alehouse, through back-street beerhouses and 'fine, flaring' gin palaces to the drinking establishments of the twenty-first centuries. Covering all aspects of pub life, this fascinating history examines pubs in town and country. It identifies key trends and discusses architecture and interior design. It looks at customers and their varied activities in pubs and at the men and women who ran them. The story of the pub is set throughout the wider context of social change. The Local is a must-read for the pub-goer and anyone interested in the history of the English people.

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.

In this book, Brenda Longfellow examines one of the features of Roman Imperial cities, the monumental civic fountain. Built in cities throughout the Roman Empire during the first through third centuries AD, these fountains were imposing in size, frequently adorned with grand sculptures, and often placed in highly trafficked areas. Over twenty-five of these urban complexes can be associated with emperors. Dr. Longfellow situates each of these examples within its urban environment and investigates the edifice as a product of an individual patron and a particular historical and geographical context. She also considers the role of civic patronage in fostering a dialogue between imperial and provincial elites with the local urban environment. Tracing the development of the genre across the empire, she illuminates the motives and ideologies of imperial and local benefactors in Rome and the provinces and explores the complex interplay of imperial power, patronage, and the local urban environment.

From New England to the Deep South, photographers Susan Daley and Steve Gross have captured more than 100 forgotten buildings along America's old auto routes. Isolated in full-color and black-and-white portraits, the roadside cafes, feed stores, grange halls, juke joints, and general stores are a poignant reminder of the ingenuity of local building practices and working-class culture during the years between the Civil War and the Great Depression. With their humble beauty and distinctive character, these once-useful structures infuse the American landscape with a strong sense of place. This collection of buildings preserves a sampling of our country's architecture heritage and encourages travelers to slow down and notice the details.

Some of the most stunning architectural structures in India are to be found below ground: these are its stepwells, ancient water stores. Stepwells are unique to India and from around the 3rd century CE were built throughout the country, particularly in the arid western regions. Excavated several stories underground in order to reach the water table, these cavernous spaces not only provided water all year long but also fulfilled other functions; they offered pilgrims and other travelers a respite from the heat, and became places in which villagers could socialize. Stepwell construction evolved so that, by the 11th century, the wells were amazingly complex feats of architecture and engineering.The journalist Victoria Lautman first encountered stepwells three decades ago and now, a seasoned traveller to India, she has devoted several years to documenting these fascinating but largely unknown edifices before they disappear. Of the thousands of stepwells that proliferated across India, most were abandoned as a result of modernization and the depletion of water tables. Often commissioned by royal or wealthy patrons, the wells vary greatly in scale, layout, materials and shape. Those in what is now Gujarat state also served as subterranean Hindu temples that featured columned pavilions and elaborate stone carvings of deities. Islamic wells were generally less flamboyant, but incorporated arched side niches. Today, few stepwells are in use. The majority have been left to silt up, fill with rubbish and crumble into disrepair. Gradually, however, the Indian government and heritage organizations have come to recognize the need to preserve these architectural wonders. In 2014 India's best-known stepwell, the Rani ki Vav in Patan, northern Gujarat, became a UNESCO World Heritage site.In her introduction, Lautman discusses why and where the stepwells were built. She reflects on the reasons they became derelict and considers how the appreciation of stepwells is changing with the work of organizations and individuals who aim to protect and restore them. The main part of the book is arranged in a broadly chronological order, with up to six pages devoted to each of c. 80 stepwells, every one unique in design and engineering. The name, location (including GPS coordinates) and approximate date of each well accompany color photographs and a concise commentary by Lautman on the history and architecture of the well and her experience of visiting it. While many of the stepwells are rather decrepit, their magnificent engineering and great beauty cannot fail to impress.

Experimental Zone documents a remarkable experiment in spatial research at the interdisciplinary laboratory Image Knowledge Gestaltung at the Humboldt University of Berlin. Every two months, for four years, researchers reconfigured a 350-square meter workspace for forty scientists. The design-based collaborative experiment's focus was on the interrelation of space and knowledge production: What spatial qualities are required by interdisciplinary teams for their research work? With some 300 striking and straightforward graphics, Experimental Zone presents the findings of the experiment. It highlights the spatial conditions under which individual and collaborative research unfold, overlap, or merge and reveals the characteristics of an architecture that fosters interdisciplinary. The experiment's innovative interdisciplinary approach is also reflected in the book's design, with each of the five chapters and the comprehensive visual material reflecting publishing traditions in design, architecture, and the humanities.

One of the most visited sites in Italy, the Roman Forum is also one of the best-known wonders of the Roman world. Though a highpoint on the tourist route around Rome, for many visitors the site can be a baffling disappointment. Several of the monuments turn out to be nineteenth- or twentieth-century reconstructions, while the rubble and the holes made by archaeologists have an unclear relationship to the standing remains, and, to all but the most skilled Romanists, the Forum is an unfortunate mess.

David Watkin sheds completely new light on the Forum, examining the roles of the ancient remains while revealing what exactly the standing structures embody--including the rarely studied medieval, Renaissance, and Baroque churches, as well as the nearby monuments that have important histories of their own. Watkin asks the reader to look through the veneer of archaeology to rediscover the site as it was famous for centuries. This involves offering a remarkable and engaging new vision of a well-visited, if often misunderstood, wonder. It will be enjoyed by readers at home and serve as a guide in the Forum.

When Charles Henry Cooper (1808 66) undertook to revise the text of the 1841 Memorials of Cambridge, illustrated by the engraver John Le Keux (1783 1846), he was under the impression that 'only a slight amount of labour' would be imposed on him. However, this three-volume work was altered and modified so extensively that it may be considered as entirely re-written. Containing over 250 photographs, engravings and etchings, Volumes 1 and 2 of the work are a comprehensive guide to the Cambridge colleges, while Volume 3 is almost entirely concerned with the history of other landmarks throughout the city, such as the Fitzwilliam Museum, the Guildhall and the Botanic Garden. It was published in 1860, just six years before Cooper's death, and stands as a detailed and fully illustrated guide to Cambridge at that time. Volume 2, dealing with the colleges in order of their foundation, covers Christ's to Emmanuel.

Go behind the scenes of generations of the British royal family, exploring both the glamour and domestic life inside the spectacular 300-year-old Kensington Palace Kensington Palace is renowned for its architecture, splendid interiors, internationally important collections, and, of course, its royal residents. This lavish book thoroughly explores Kensington's physical beauty and its history, presenting new material drawn from archives, newspapers, personal letters, images, and careful analysis of the building itself. Originally a fashionable Jacobean villa, Kensington was dramatically rebuilt in 1689 by Christopher Wren for the newly crowned monarchs, William III and Mary II. The palace became the favored London home of five sovereigns, yet also survived fires, partial collapse, bombings, and periods of neglect. Queen Victoria recognized the national significance of her birthplace and childhood home, turning the palace into her own memorial as well as a home for members of her extended family and their descendants. With over 450 illustrations, including specially commissioned reconstructions and historic plans, this volume explores the personal tastes and fashions of the British monarchy over the course of 300 years and provides insight into the 20th- and 21st-century royal family's domestic life. Published in association with the Paul Mellon Centre for Studies in British Art

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.

When Charles Henry Cooper (1808 66) undertook to revise the text of the 1841 Memorials of Cambridge, illustrated by the engraver John Le Keux (1783 1846), he was under the impression that 'only a slight amount of labour' would be imposed on him. However, this three-volume work was altered and modified so extensively that it may be considered as entirely re-written. Containing over 250 photographs, engravings and etchings, Volumes 1 and 2 of the work are a comprehensive guide to the Cambridge colleges, while Volume 3 is almost entirely concerned with the history of other landmarks throughout the city, such as the Fitzwilliam Museum, the Guildhall and the Botanic Garden. It was published in 1860, just six years before Cooper's death, and stands as a detailed and fully illustrated guide to Cambridge at that time. Volume 3 covers Sidney Sussex and Downing, the university offices, churches and other important buildings.

When Charles Henry Cooper (1808 66) undertook to revise the text of the 1841 Memorials of Cambridge, illustrated by the engraver John Le Keux (1783 1846), he was under the impression that 'only a slight amount of labour' would be imposed on him. However, this three-volume work was altered and modified so extensively that it may be considered as entirely re-written. Containing over 250 photographs, engravings and etchings, Volumes 1 and 2 of the work are a comprehensive guide to the Cambridge colleges, while Volume 3 is almost entirely concerned with the history of other landmarks throughout the city, such as the Fitzwilliam Museum, the Guildhall and the Botanic Garden. It was published in 1860, just six years before Cooper's death, and stands as a detailed and fully illustrated guide to Cambridge at that time. Volume 1, dealing with the colleges in order of their foundation, covers Peterhouse to Jesus.

The story of the lighthouse is as fascinating and diverse as the design of the buildings themselves. Roman and medieval attempts to help seafarers navigate, using beacons and other seamarks, preceded elegant Georgian lights, followed in the nineteenth century by huge rock-based lighthouses such as Eddystone, which were great feats of Victorian civil engineering. This book relates the story of their construction, often undertaken in desparately dangerous and stormy conditions, looks at the lives of their keepers, and considers how automation has changed the modern lighthouse. A gazetteer gives brief details of over 160 lights around the coasts of Great Britain and Ireland.

First published in 1940, this was the first comprehensive book about British alabaster tombs. Originating from an article by the same writer in the Archaeological Journal for 1923, it provides a detailed account of the surviving alabaster monuments, from the earliest examples of around 1330 through to those created at the time of the Reformation. The text contains 305 photographic images of alabaster tombs taken from around the country, together with a list of effigies explaining their relative origins and significance. This is a highly rigorous study that will be of value to anyone with an interest in religious art and British history.

The publication The Architecture of Deception / Confinement / Transformation accompanies the eponymously titled exhibition trilogy at BNKR - current reflections on art and architecture in Munich and showcases 18 diverse artistic standpoints at the intersection of art and architecture. Each chapter directly corresponds to the evolving history of the exhibition space, which was originally constructed as a camouflaged air-raid bunker during the Second World War, then used as a postwar internment camp, and finally transformed into its current state as a mixed-use residential and office building. The Architecture of Deception explores notions of illusion and deception, the creation of new realities, truth versus fiction; Confinement explores notions of shelters and safety, captivity and freedom, 'outside' versus 'inside'; Transformation explores notions of gentrification, decay and definition of living spaces. With contributions by the editors, David Adjaye and Nikolaus Hirsch, Isabelle Doucet, and Madeleine Freund. Artists: The Architecture of Deception: Hans Op de Beeck, Emmanuelle Laine, Bettina Pousttchi, Gregor Sailer, Cortis & Sonderegger, The Swan Collective; The Architecture of Confinement: Ramzi Ben Sliman, Mona Hatoum, Nadia Kaabi-Linke, Annika Kahrs, OEzgur Kar, Joanna Piotrovska; The Architecture of Transformation: Dana Awartani, Olivier Goethals, Eva Nielsen, Jeremy Shaw, Hannah Weinberger, Andrea Zittel.

The Greek military victories at Marathon, Salamis, and Plataia during the Persian Wars profoundly shaped fifth-century politics and culture. By long tradition, the victors commemorated their deliverance by dedicating thank-offerings in the sanctuaries of their gods, and the Athenians erected no fewer than ten new temples and other buildings. Because these buildings were all at some stage of construction during the political ascendency of Perikles, in the third quarter of the fifth century, modern writers refer to them collectively as the Periklean building program. In Trophies of Victory, T. Leslie Shear, Jr., who directed archaeological excavations at the Athenian Agora for more than twenty-five years, provides the first comprehensive account of the Periklean buildings as a group. This richly illustrated book examines each building in detail, including its archaeological reconstruction, architectural design, sculptural decoration, chronology, and construction history. Shear emphasizes the Parthenon's revolutionary features and how they influenced smaller contemporary temples. He examines inscriptions that show how every aspect of public works was strictly controlled by the Athenian Assembly. In the case of the buildings on the Acropolis and the Telesterion at Eleusis, he looks at accounts of their overseers, which illuminate the administration, financing, and organization of public works. Throughout, the book provides new details about how the Periklean buildings proclaimed Athenian military prowess, aggrandized the city's cults and festivals, and laid claim to its religious and cultural primacy in the Greek world.