Every pier, from the grandest to the most modest, has its own story. In this collection of one hundred beautiful paintings, Paul Tracey combines his skill as a draughtsman with his creative flair as an artist to capture the very essence of these structures and to provide snapshots of their individual stories. Many piers were originally built as wharfs for ships to load and unload goods. Then, as the railways expanded and people were able to travel further afield for trips and holidays, they became destinations in their own right: places to promenade, to meet and to be entertained. Innovative Victorian engineering created piers that could better withstand the vigours of the sea yet still provided elegant spaces to be enjoyed. This historical development was mirrored around the world. Researched and executed over five years, 100 Piers includes historic postcards, concert programmes and newspaper articles about the piers. Many piers are no longer in their prime, some have gone completely, lost to the tides of time. But through the paintings, with their dynamic lines, varying perspectives and bold colour combinations, Tracey successfully captures the vibrancy and vitality of these structures. His work ensures their place in history is not forgotten and that the many piers which remain may continue to be cherished as much as ever.

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.    

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

Aga Khan Award for Architecture 2022 - Inclusive Architecture The release of the Aga Khan Award for Architecture every three years is an enormously important moment for the architecture world. The projects recognized by this Award represent the vanguard of thinking and practice in architecture that goes beyond the regular scope of building, planning and preservation through its strong impact on the needs and aspirations of societies. This publication presents the twenty shortlisted projects, including the six recipients of the 2020-22 cycle of the Award. The Aga Khan Award for Architecture's mandate is different from that of many other architecture prizes: it not only rewards architects but also identifies municipalities, builders, clients, artisans and engineers who have played essential roles in the realization of a project. This publication thus presents the projects from various viewpoints alongside detailed and up-to-date images and descriptions. The acclaimed, interdisciplinary master jury and steering committee of this cycle of the Aga Khan Award for Architecture that determines the projects presented include David Chipperfield, Francis Kere, Anna Lacaton, Marina Tabassum, and Sarah M. Whiting, to name but a few. Scholarly essays across various disciplines from members of the master jury and steering committee round out the publication. Contributions include a text on the optimism of humanity by Souleymane Bachir Diagne, director of the Institute of African Studies, Columbia University, and a contextualization of Modern Architecture in the Muslim World by Sibel Bozdogan of Boston University. Kazi Khaleed Ashraf, director-general of the Bengal Institute for Architecture, Landscapes and Settlements, in Dhaka, Bangladesh, writes on the perspective of the dialogical, while Nasser Rabbat, the Aga Khan Professor at MIT, shares notes on architecture as a humanist empire. The texts also include a Salon des Refuses by Nader Teherani, founding principal of Boston-based architecture firm NADAAA. The texts, which come from a wide range of geographies, are informative and descriptive, often striking an emotional note. Together with the project presentations, the publication thereby guides the reader through a contemplation of an architectural question of increasing urgency in our current times of crisis: how to build ethically for our shared global future. With contributions by Kazi Khaleed Ashraf, Sibel Bozdogan, Souleymane Bachir Diagne, Farrokh Derakhshani, Nasser Rabbat, Nader Teherani, and Sarah M. Whiting.

The latest in public space designs from around the globe by some of the most experimental international designers and architects working today. "The topic of this book, un-volumetic architecture is the search for creative alternatives to the overly volumetric shape making obsessions of international architecture today and a promising goal for the 21st Century." - James Wines This book examines an important selection of the most important and experimental contemporary designs for public spaces throughout the world and offers a critical reflection of the theme of "unvolumetric architecture" proposed by the designers and theoreticians featured in the book. The series of the selected projects moves from earthworks and environmental interventions to surface design, land marks, events, barriers, canopies and shelters, technical equipment, micro-architecture and the most traditional urban design and involves some of the most prominent international designers including Acconci studio, Shigeru Ban, Eduard Bru, Manuel de Sola Morales, Odille Decq, Diler and Scofidio, Nougichi Isamo, Toyo Ito, Wes Jones, Kengo Kuma, Torres& La Pena, Mary Miss, N!Studio, NL architects, Oma, Site, Italo Rota, Sauerbruch & Hutton, Venturi Scott Brown. The book includes an introductory essay by Denise Scott Brown as well as essays by Wes Jones, Pippo Ciorra, Kengo Kuma, Arie Graafland, Enrico Morteo, James Wines, Bernardo Secchi and Ilhyun Kim.

From skyline-defining icons to wonders of the world, the second period of the Chicago skyscraper transformed the way Chicagoans lived and worked. Thomas Leslie’s comprehensive look at the modern skyscraper era views the skyscraper idea, and the buildings themselves, within the broad expanse of city history. As construction emerged from the Great Depression, structural, mechanical, and cladding innovations evolved while continuing to influence designs. But the truly radical changes concerned the motivations that drove construction. While profit remained key in the Loop, developers elsewhere in Chicago worked with a Daley political regime that saw tall buildings as tools for a wholesale recasting of the city’s appearance, demography, and economy. Focusing on both the wider cityscape and specific buildings, Leslie reveals skyscrapers to be the physical results of negotiations between motivating and mechanical causes. Illustrated with more than 140 photographs, Chicago Skyscrapers, 1934–1986 tells the fascinating stories of the people, ideas, negotiations, decision-making, compromises, and strategies that changed the history of architecture and one of its showcase cities.

With customers demanding an increasingly personalised experience, stores must project a distinctive visual style to stand out among the many uniform products and services out there. Stylish Retail Store Interiors analyses a variety of case studies to outline the latest trends in retail design, from organising store layout to designing enticing product displays, providing both a useful reference for professionals and a source of inspiration for students.

From the sculptured peaks of Mount Rushmore to the Coloradan prairie lands at Sand Creek to the idyllic islands of the Pacific, the West's signature environments add a new dimension to the study of memorials. In such diverse and often dramatic landscapes, how do the natural and built environments shape our emotions? In Memorials Matter, author Jennifer Ladino investigates the natural and physical environments of seven diverse National Park Service (NPS) sites in the American West and how they influence emotions about historical conflict and national identity. Chapters center around the region's diverse inhabitants (Mexican, Chinese, Japanese, African, and Native Americans) and the variously traumatic histories these groups endured-histories of oppression, exploitation, incarceration, slavery, and genocide. Drawing on material ecocritical theory, Ladino emphasizes the ideological and political importance of memorials and how they evoke visceral responses that are not always explicitly 'storied,' but nevertheless matter in powerful ways. In this unique blend of narrative scholarship and critical theory, Ladino demonstrates how these memorial sites and their surrounding landscapes, combined with written texts, generate emotion and shape our collective memory of traumatic events. She urges us to consider our everyday environments and to become attuned to features and feelings we might have otherwise overlooked.

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.

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.

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/.

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.

Sicheres Haus im wahrsten Sinne des Wortes bedeutet die Verwirkli- Wie die Statistiken zeigen, hat sich die Zahl der Einbruchdiebstiihle im chung einer groBen Anzahl von einzelnen MaBnahmen, die entweder ge- Wohnbereich seit 1965 etwa verdreifacht; davon konnte aber nur jeder setzlich vorgeschrieben sind oder zur person lichen Sicherheit fiir not- vierte Einbruch aufgeklart werden. Hohere Aufklarungsquoten sind wendig gehalten werden. Sie beginnen beim Kauf des Baugrundstiickes kaum zu erwarten. und werden bei der Planung und Bauausfiihrung immer zahlreicher. 1st Es bleibt also vorzugsweise die Moglichkeit, Einbriiche durch die An- dann das Haus bewohnt, kommen neue SicherungsmaBnahmen hinzu. wendung praxisorientierter Sicherungstechniken zu verhindern. Eine absolute Sicherheit wird es nie geben konnen. So konnen z.B. weder Brand- noch Einbruchmeldeanlagen einen Brand oder Einbruch verhindern. Sie konnen aber einen Brandausbruch oder Einbruchver- such friihzeitig melden, wodurch ein Schaden abgewendet, zumindest Verkehrssicherheit aber klein gehalten werden kann. Das Buch gliedert sich in vier Hauptkapitel. Verkehrssicherheit wird in den Landesbauordnungen grundsiitzlic- und in einigen Rechtsverordnungen hierzu insbesondere - gefordert. Hohe Anforderungen an die Verkehrssicherheit werden yom Gesetzge- ber aber auch auBerhalb der Bauvorschriften gesteII t. Aber genausowe- Brandschutz nig, wie es einen vollkommenen Brand-oder Einbruchschutz gibt, wird es auch eine vollkommene Verkehrssicherheit geben, die jeden Unfall An den Brandschutz werden in relativ kurzen Zeitabstanden immer ausschlieBt. Die geforderte Verkehrssicherheit soli vielmehr den Schutz neue Forderungen gestellt. Neben der Einfiihrung neuer Baustoffe sind gegen typische Gefahren bezwecken.

Dem Wunsch meiner Horer entsprechend lege ich meine gesammelten Vorlesungen an der Technischen Universitat Wien gedruckt vor. Es sind Vorlesungen eines Architekten, der seine Hauptaufgabe in der baulichen Realisierung erkennt. Die voraufge- gangenen Reflexionen wie die gewonnenen Erfahrungen nach der Vollendung des Gebaudes sind Hauptbestandteile meiner den Horern mitgeteilten Erkenntnisse. Also: Architektur als Basis. Einen ebenso wesentlichen Bestandteil bilden die Erkenntnisse von Zeit-und Berufsgenossen, die ich meinen Horern - wenn auch kritisch - ubermittelt habe. Es war nicht meine Absicht, eine Gieselmann-Schule zu schaffen, sondern meinen Horern zu ihrer eigenen Vorstellungswelt, zu ihrer Selbstidentifikation zu verhelfen. Foigerichtig haben daher meine leninistischen Horer vor Jahren ein Anti-Wohnbauscriptum verfaBt, und ebenso folgerichtig habe ich die daraus gewonnenen Anregungen verdrbeitet. Mein Dank gilt daher zunachst den Architekturschriftstellern, deren Ouellen ich zitiert habe. Danach Dank und Bitte um Verzeihung an die, deren Ouellen ich zu zitieren vergaB. SchlieBlich danke ich meinen Mitarbeitern: vor allem meiner Frau, die unermudlich und immer wieder anregend Korrekturen gelesen hat, meinen Assistenten Dipl.-Ing. Gunter Lautner, Dipl.-Ing. Peter Scheiffinger, Dipl.-Ing. Rudolf Szedenik und Dipl.-Ing. Jan Turnowsky fur die Suche nach den Bei- spielen.