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.

The latest revised volume in the Pevsner Architectural Guides, covering Birmingham and the towns and settlements of the Black Country This fully revised account of the buildings of the City of Birmingham, its suburbs and outskirts, and the adjacent Black Country explores an area rich in Victorian and Edwardian architecture. Even the small towns of the Black Country supported local architects with their own distinctive styles, such as C. W. D. Joynson in Darlaston and A. T. Butler in Cradley Heath. Much West Midlands industry was organized in small to medium-sized firms, resulting in a rich and diverse streetscape and canalscape. The Arts and Crafts tradition also established deep roots in the area, resulting in masterpieces such as Lethaby's Eagle Insurance in Birmingham and Wolverhampton's Wightwick Manor, as well as a host of fine villas and churches. Older buildings of national significance include the grand Jacobean mansion of Aston Hall, Thomas Archer's Birmingham Cathedral, and such unexpected delights as the neoclassical barn in Solihull by Sir John Soane. Featuring new color photography and numerous maps and text illustrations, this volume will transform understanding and enjoyment of the architecture of this key English region.

2017 Choice Outstanding Academic Title The High Line, an innovative promenade created on a disused elevated railway in Manhattan, is one of the world’s most iconic new urban landmarks. Since the opening of its first section in 2009, this unique greenway has exceeded all expectations in terms of attracting visitors, investment, and property development to Manhattan’s West Side. Frequently celebrated as a monument to community-led activism, adaptive re-use of urban infrastructure, and innovative ecological design, the High Line is being used as a model for numerous urban redevelopment plans proliferating worldwide. Deconstructing the High Line is the first book to analyze the High Line from multiple perspectives, critically assessing its aesthetic, economic, ecological, symbolic, and social impacts. Including several essays by planners and architects directly involved in the High Line’s design, this volume also brings together a diverse range of scholars from the fields of urban studies, geography, anthropology, sociology, and cultural studies. Together, they offer insights into the project’s remarkable success, while also giving serious consideration to the critical charge that the High Line is “Disney World on the Hudson,� a project that has merely greened, sanitized, and gentrified an urban neighborhood while displacing longstanding residents and businesses. Deconstructing the High Line is not just for New Yorkers, but for anyone interested in larger issues of public space, neoliberal redevelopment, creative design practice, and urban renewal.    

Modern skyscrapers function as small cities, with infrastructure not unlike that hidden beneath the streets. Exploring the interconnected systems that make life liveable in the sky, Ascher examines skyscrapers from around the world to learn how these structures operate.

When the brilliant classical architect Charles Barry won the competition to build a new, Gothic, Houses of Parliament in London he thought it was the chance of a lifetime. It swiftly turned into the most nightmarish building programme of the century. From the beginning, its design, construction and decoration were a battlefield. The practical and political forces ranged against him were immense. The new Palace of Westminster had to be built on acres of unstable quicksand, while the Lords and Commons carried on their work as usual. Its river frontage, a quarter of a mile long, needed to be constructed in the treacherous currents of the Thames. Its towers were so gigantic they required feats of civil engineering and building technology never used before. And the interior demanded spectacular new Gothic features not seen since the middle ages. Rallying the genius of his collaborator Pugin; flanking the mad schemes of a host of crackpot inventors, ignorant busybodies, and hostile politicians; attacking strikes, sewag,e and cholera; charging forward three times over budget and massively behind schedule, it took twenty-five years for Barry to achieve victory with his 'Great Work' in the face of overwhelming odds, and at great personal cost. Mr Barry's War takes up where its prize-winning prequel The Day Parliament Burned Down left off, telling the story of how the greatest building programme in Britain for centuries produced the world's most famous secular cathedral to democracy.

This book demonstrates how aesthetics, design elements, and visual literacy can be implemented in the library to enhance spaces, programs, services, instruction, and outreach so that your library will appeal to all users. Libraries have come to accept that they must rethink how they appeal to users, and harnessing the power of design can be a powerful means for addressing the changing needs of the community. Decker and Porter introduce "engaging design"-an umbrella term that incorporates multiple design frameworks with a focus on a three-prong approach: aesthetics, design thinking, and service design. These frameworks can be used to guide design choices that will aid in teaching and engaging current and potential library users. In the course of a lively and interesting narrative, Engaging Design introduces basic concepts of aesthetics and good design and explores examples of its successful uses in the academic, public, and special library. It provides simple steps for implementing subtle, but powerful, techniques to improve instruction, human-computer interaction, e-learning, public services spaces, wayfinding signage, and all manner of library programs, events, and services. In addition, the authors recommend easy-to-implement best practices that will help librarians to enhance library-goers' experience. Library administrators will also look to this book for assistance in best addressing the needs of the modern library user. Clearly explains how to recognize, understand, and interpret basic design techniques Teaches librarians how to attract and target their efforts towards specific groups of library users Outlines principles of good design in instruction programs, space planning and design tasks, outreach initiatives, and other library programs and activities Offers easy-to-follow steps to good design for wayfinding, instruction, and library usage

Monuments for Posterity challenges the common assumption that Stalinist monuments were constructed with an immediate, propagandistic function, arguing instead that they were designed to memorialize the present for an imagined posterity. In this respect, even while pursuing its monument-building program with a singular ruthlessness and on an unprecedented scale, the Stalinist regime was broadly in step with transnational monument-building trends of the era and their undergirding cultural dynamics. By integrating approaches from cultural history, art criticism, and memory studies, along with previously unexplored archival material, Antony Kalashnikov examines the origin and implementation of the Stalinist monument-building program from the perspective of its goal to "immortalize the memory" of the era. He analyzes how this objective affected the design and composition of Stalinist monuments, what cultural factors prompted the sudden and powerful yearning to be remembered, and most importantly, what the culture of self-commemoration revealed about changing outlooks on the future—both in the Soviet Union and beyond its borders. Monuments for Posterity shifts the perspective from monuments' political-ideological content to the desire to be remembered and prompts a much-needed reconsideration of the supposed uniqueness of both Stalinist aesthetics and the temporal culture that they expressed. Many Stalinist monuments still stand prominently in postsocialist cityscapes and remain the subject of continual heated political controversy. Kalashnikov makes manifest monuments' intentional attempts to seduce us—the "posterity" for whom they were built.

A celebration of Europe's coolest harbourside, clifftop and beach hotels, curated by an internationally renowned architecture and travel photographer. The featured hotels are right on the coast with uninterrupted views of the wide open ocean, and also include small, secret and stylish beachfront hideaways, all a barefoot stroll to the water, from Mallorca via England and Denmark to France, Italy and beyond.

Somewhere between 1910 and 1970, architecture changed. Now that modern architecture has become familiar (sometimes celebrated, sometimes vilified), it's hard to imagine how novel it once seemed. Expensive buildings were transformed from ornamental fancies which referred to the classical and medieval pasts into strikingly plain reflections of novel materials, functions, and technologies. Modern architecture promised the transformation of cities from overcrowded conurbations characterised by packed slums and dirty industries to spacious realms of generous housing and clean mechanised production set in parkland. At certain times and in certain cultures, it stood for the liberation of the future from the past. This Very Short Introduction explores the technical innovations that opened-up the cultural and intellectual opportunities for modern architecture to happen. Adam Sharr shows how the invention of steel and reinforced concrete radically altered possibilities for shaping buildings, transforming what architects were able to imagine, as did new systems for air conditioning and lighting. While architects weren't responsible for these innovations, they were among the first to appreciate how they could make the world look and feel different, in connection with imagery from other spheres like modern art and industrial design. Focusing on a selection of modern buildings that also symbolize bigger cultural ideas, Sharr discusses what modern architecture was like, why it was like that, and how it was imagined. Considering the work of some of the historians and critics who helped to shape modern architecture, he demonstrates how the field owes as much to its storytellers as to its buildings. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

Flow chronicles the Omega Center for Sustainable Living at the Omega Institute for Holistic Studies in Rhinebeck, New York. Designed by BNIM Architects, the OCSL embraces the concept of sustainable design and construction to the fullest, certifying it as a Living Building striving to have a net zero impact. Built in 2009, the center is an anchor for the groups' environmental efforts, and brings together state-of-the-art energy and waste systems, efforts to work with area farms and organic growers, and a teaching facility that demonstrates local solutions to global problems. It's unique location on one of the most important watersheds in the world--the 13,400-sq mile Hudson River watershed basin--informs its dedication to water quality and responsible stewardship.

The new agricultural school in Salez, in the St. Gallen Rhine valley region, has a slender, airy and light appearance. It is an extremely intelligently conceived low-tech construction made of timber. The design is by Andy Senn, who has led his architectural office in St. Gallen since 1998 and has produced an extraordinary, homogeneous oeuvre in the last 20 years. Text in English and German.

This book adopts an integrative approach to investigate the role of monumental architecture in shaping social dynamics and power relations on the island of Cyprus during the Late Bronze Age (LBA; c.1700-1050 BCE). Using such an approach, archaeologists studying ancient societies elsewhere can analyze the relationship between the built environment and human behaviour. Monumental buildings on Late Bronze Age Cyprus provided contexts for social interactions, such as ceremonial feasting and cultic rituals, that created social bonds and forged wider community identities, while also materializing social boundaries and inequalities. More than just spaces, these contexts were socially-constructed places, imbued with identity and memory, that played an integral role in social organization during this transformative period. This integrative approach emphasizes the role of buildings in configuring movement and encounter and in serving as the contexts for interactions through which sociopolitical relations are developed, maintained, transformed and reproduced. It investigates this using an interdisciplinary methodology that integrates access analysis with the study of the materiality of built environments and how they encode and communicate meanings and shape the experiences of those who interact with them.

Not just a winner, but a major winner. And Fellbach won it by letting Zurich architect Ernst Gisel build its new town hall. And it is just the same as winning the lottery: it takes time for it to sink in and to be really pleased. Winning also means stress, especially if the player never really believed in his luck.

But why be pleased about a town hall, about a collection of official rooms, intended only to make administering the individual citizen even smoother? Can a town hall be anything at all more than a home for all the official panoply of tit-for-tat responses? It can indeed, if you make it into a piece of the town, a good piece of the town ....

Ernst Gisel's town hall for Fellbach is one of the very few buildings that make one enthuse about the town. Like Stirling's Neue Staatsgalerie it invites you to linger -- even without a reason: in the Stuttgart museum you are attracted by terraces, ramps and an open rotunda, whereas in the Feltbach building there is a sense of a strong suction that will draw the public into the inner courtyard of the complex. "A bit Italian" -- this is what Gisel himself says about the atmosphere there, and he is right.

The urban quality of the new town hall corresponds with the quality of the detailed architectural solutions and the care with which Gisel devoted himself to the architectural design in the interior.

Art in the building? There is that too. Gisel himself designed the fountain for the market-place facade: architecture on a small scale, a game with volumes through which the water slowly runs. In the inner courtyard, in the town hall square, is a Survival Head by Zurich sculptor Otto Mailer -- a sober monument that corresponds precisely with the confident but modest character of the building.

The new town hall is a fairly perfect piece of architecture and urban art: reticent as a whole, monumental in detail, like for example the solitaire structure in the inner courtyard.

1.1 Problemstellung Der groBe Bedarf an Mineralstoffen im StraBenbau veranlaBte schon vor Jahrzehnten die Stahlindustrie, ihre prozeBbedingt in groBen Mengen anfallenden Nebenprodukte, wie die Hochofen- stuckschlacken im StraBenbau unterzubringen. Es kann kein Zweifel daran bestehen, daB die Verwendung solcher Stoffe im StraBenbau einen erheblichen Beitrag zur Losung von Entsor- gungsproblemen, zur Entlastung der Umwelt und zur Sicherheit der Rohstoffbasis zu leisten vermag. Da das Rohmaterial fur Brechanlagen im Vergleich zu Felsgestein erheblich geringere Korndurchmesser aufweist und die Transportwege d s Materials zur Verwendungsstelle infolge der Lage der Huttenwerke im Ballungsgebiet an Rhein und Ruhr kurz sind, kann auch mit einer Energieersparnis gerechnet werden. Bei der Stahlherstellung aus phosphorarmem Roheisen im Sauer- stoffaufblaskonverter nach dem Linz-Donawitz-Verfahren fallen Stahlwerksschlacken an, die entsprechend dem Stahlherstellungs- verfahren LD-Schlacken benannt werden. Einen Schwerpunkt fur die Anwendung des LD-Verfahrens bilden hier die Huttenwerke an Rhein und Ruhr, so daB auf das Land Nordrhein-Westfalen der wesentliche Teil der in der Bundesrepublik Deutschland an- fallenden LD-Schlacken entfallt. Von betriebs- und volkswirt- schaftlichem Interesse ist es darum bei der derzeitigen Lage der Stahlindustrie im Ruhrgebiet, die hier anfallenden LD- Schlacken einer moglichst wirtschaftlichen Wiederverwendung zufuhren zu konnen /1/. Umfangreiche Laboruntersuchungen zeigten bisher, daB die LD- schlacken weitgehend gleichrangig den Natursteinen sind. Ent- scheidend fur die Eignung eines Mineralstoffs ist jedoch in jedem Fall die Bewahrung unter praktischen Bedingungen. In dieser Richtung wurden auch seit einigen Jahren erhebliche Forschungsanstrengungen unternommen /2, 3/.