Architecture: public and commercial Books

Book SynopsisAn exploration into the work of the Omega Center for Sustainable Living, as it tests what is possible with regenerative design and the outcome when sustainability is moved to the top of the list of criteria.

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Book SynopsisThe book studies the social production of motion in a capitalist urban context. In the city of capital, motion refers to a fetish. The bourgeois order posits motion as a metaphor for energy, positivity, and progress a norm and obstruction (motion''s dialectical opposite) as delinquency. The book uncovers the social tectonics of spatial mobilization and thus demystifies motion. Who and what set spaces on the move? How did various classes of city dwellers activate, experience, and negotiate it? Streets in Motion develops an approach to urban history by theorizing and historicizing the ''street'' as an apparatus of city-making and subject formation. It works at two registers a local history of Calcutta in colonial and post-colonial periods, and a theorizing of the logistical and political-cultural centrality of the street within this rubric. It is argued that the street is politics in as much as politics is the production of space.Table of ContentsList of Maps, Tables, Appendices, Images; List of Abbreviations; Acknowledgements; Introduction; Chapter 1. The Making of the Modern Street: Engineers, Commoners, Agitators; Chapter 2. The Regime of the Streets: Renewal and Riots, 1910-1926; Chapter 3. City as Territory: Institutionalizing Majoritarianism; Chapter 4. Frontier Urbanization; Chapter 5. Durable Obstructions, Spatializing Motion: The History of Footpath-hawking; Epilogue; Glossary; Bibliography.

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Book SynopsisGovernment House Halifax is the home of the Sovereign’s representative in the Province of Nova Scotia and the ceremonial home of all Nova Scotians. It has also served as a home away from home for members of the Royal Family over its two-century history.Government House Halifax: A Place of History and Gathering tells the story of this historic building. Beginning with its construction in 1800 and continuing through its extensive renovations in 2009, this sumptuous book tells the story of the building’s royal residents, the household staff, and the momentous — and occasionally amusing — events which have transpired within its walls. Christopher McCreery expertly guides readers through the building, including the state rooms and its hidden secrets, and introduces readers to important works of art held at Government House as part of the Crown Collection. McCreery’s text is amply illustrated by an extraordinary collection of images, including historic drawings and paintings along with modern photographs.Trade Review"Christopher McCreery has brought alive the history of the House and the institution it proclaims as few could do in an absorbing read which has been sumptuously produced to do justice to its important text." -- Senem Sapientem * Canadian Monarchist News *

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Book SynopsisThis practical handbook published in conjunction with the Centre for Accessible Environments (CAE) sets out the design and specification principles of steps, stairs, ramps, escalators and moving walks for inclusive environments. These critically important building elements are connected to a large number of accidents and can present significant barriers to access. Designed to be ‘dipped into’, the handbook outlines the background legislation, regulations and associated best practice guidance.

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Book SynopsisBuilt by the Boulton family between 1817 and 1820, the Grange is Toronto''s oldest remaining brick house. During the nineteenth century, the Grange was at the centre of the city''s social and political activity. Today, with its collection of furniture, artifacts, and art, it is an historic house museum and part of the Art Gallery of Ontario. In her fascinating essay, award-winning Canadian historian Charlotte Gray brings to life the saga of the Grange, the home of the Boultons and of Goldwin Smith in the 19th century. Devoting as much attention to the formidable women who ran the household as to the men who were key figures in the development of the city, she offers a fascinating portrait of a place and a time. Complementing Gray''s essay are shorter essays and reproductions of works commissioned from artists Rebecca Belmore, Luis Jacob, Elizabeth LeMoine, Josiah McElheny, Elaine Reichek, and Christy Thompson that offer inventive responses to a complicated past.

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Book SynopsisIn 2022, HomeGround, the Auckland City Mission's unique and visionary wrap-around social services complex, opened after being a dream for over 20 years.Photographed by Mark Smith and with text by renowned writer Simon Wilson, and Professor Deidre Brown and Dr Karamia Muller of the University of Auckland's School of Architecture, this book represents an enduring record of a remarkable building built for a remarkable organisation, created through the aroha and vision of many.It documents and records a key moment in Aotearoa New Zealand, when a visionary social services agency, a committed architecture practice, courageous funders, and skilled construction specialists combined forces to create a facility that will transform the delivery of services to and create hope for a better future for Aucklanders in the greatest need.

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Book SynopsisText in English & Portuguese. In the second half of 2007, the baton of the EU Council Presidency was passed to Portugal. The country decided to hold the majority of the planned meetings, conferences and summits at a central location in Lisbon. The chosen venue was the Sala Tejo des Pavilhão Atlântico, which was converted to host the meetings on the future of Europe, culminating in the Treaty of Lisbon. The architects commissioned for this project, Baixa, Atelier de Arquitectura, successfully gave the venue -- as well as the event -- an impressive identity, marked by Portuguese culture and contemporary architecture. This book pays tribute to this ephemeral piece of architecture with a comprehensive collection of sketches, drawings and photos. In the accompanying and introductory texts, the project is viewed through the eyes of two well-known architecture critics as well as the Head of Mission of the Portuguese Presidency.

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Book SynopsisAn exhibition centre is a central focus of a city's economic life, and in many cases a unique expression of its image. For this reason, as well as offering adequate space and infrastructure, it must make a strong, clearly recognizable architectural statement. Over the past couple of decades, new technology and globalization have transformed trade fairs: today they are not so much markets as forums for the exchange of information and contacts. This new volume in the Construction and Design Manual series spotlights twenty-two exemplary European buildings that have overcome the resulting architectural challenges. It also includes an overview of the cultural history of European trade fairs, and an interview on successful exhibitioncentre design with Volkwin Marg of gmp Architekten, one of the world's leading specialists in this area of architecture.

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Book SynopsisExploring nursery schools and childcare facilities from an architectural perspective, this publication provides a cultural-historical account of their development, defines design tasks, and formulates quality standards for playing-learning architecture and environments. This publication explores nursery schools and childcare facilities from an architectural perspective. The aim is to provide a cultural-historical account of the development of educational buildings for children, to define design tasks, and to formulate quality standards for play-learning architecture and environments.

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Book SynopsisText in English and German. Otto Steidle acquired international recognition for his extraordinary early residential buildings in Munich and for exemplary solutions for school and office buildings. His office and residential complex for Wacker-Chemie in Munich is a lively accent on a particularly conspicuous site in architecturally conservative Munich. Individually balanced buildings are arranged along the block perimeter in Prinzregentenstrasse, the most important east-west axis in the inner city, diagonally opposite the Haus der Kunst, and in Bruderstrasse, which leads to Lehel, a traditional residential area. Steidle has not packed the different functions in layers one above the other, as is usual in commercial projects of this kind, but has separated them clearly from each other. The office building on the noisy carriageway of Prinzregentenstrasse takes the curve to the narrow side street in an elegant sweep, with the glass skin suspended in front of the corner giving the building an almost Mendelsohn-like verve. The series of residential buildings in Bruderstrasse is given a different quality by Berlin painter Erich Wiesner's strong colours and the projecting and recessed facades. And as here too the normal Munich scale is considerably exceeded -- the three residential towers placed diagonally to the courtyard rise eight storeys high -- there is a surprising amount of room for publicly accessible gardens inside the block, designed by landscape architects Latz + Partner, and also scope for revealing the torrential Stadtmuhlbach in a spectacular fashion, which used to be covered, but now shoots directly past one of the windows of the sunken cafeteria and then under the entrance hall of the office building, before playing at waterfalls as it gushes into the Englischer Garten at the other side of the road. Thus Prinzregentenstrasse, as a mile of museum and government buildings, and the Lehel residential area have acquired an architectural attraction of elemental impact in the shape of the Wacker building.

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Book SynopsisText in English and German. In autumn 1997 the Zentrum fur Kunst und Medientechnologie (ZKM) moved into the production hall of a former munitions factory in Karlsruhe, built by Stuttgart architect Philipp Jakob Manz in 1914-18. Hamburg architects Schweger plus Partner were commissioned to convert this industrial structure, over 300 m long and with 10 atria, after Rem Koolhaas' project of a new building for the ZKM immediately adjacent to the main station in Karlsruhe had been rejected in favour of refurbishing and converting the imposing old building. There is no doubt that the thinking that led to the decision to retain an industrial monument dating from the turn of the century and to bring it back to life for different purposes, rather than putting up a new building, was essentially practical in nature. And yet the result is unique, as a dialogue of a quality that could scarcely be matched anywhere in the world was initiated between the four-storey hall with it's extensive atria and its new users, the ZKM institutes, the Staatliche Hochschule fur Gestaltung and several museums -- Medienmuseum, Museum fur Neue Kunst and Stadtische Galerie.The architects were experienced in handling large industrial and office buildings, but also ambitious museum projects -- among others they designed the Wolfsburg Kunstmuseum -, and they succeeded not only in showing the historical building substance and it's spatial potential to the best advantage, and in complementing this brilliantly inside and out; but they also combined the real architectural space and the imaginative space of modern pictorial worlds in an exciting way.

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Book SynopsisTest in German and English. The Embassies of the Nordic Countries in Berlin are political architecture of a particular kind, political architecture that does not assert a claim to power, but that is a self-portrait in the best sense of the word. The vision, which is already a reality on the level of architecture and design, aims to combine individual interests within a greater whole: the ancient democratic ideal that has perhaps never been expressed in a more beautiful and convincing gesture than in this combination of five countries, six buildings and six teams of architects, chosen in a European competition for the central design concept and in five national competitions for the individual buildings. It is certainly no coincidence that such convincing symbolism of joint responsibility and action is not a success due to one of the European mammoth institutions but to the comparatively small Nordic countries Denmark, Sweden, Norway, Finland and Iceland. Perhaps it is not even a coincidence that the concept of the individual sections that form an individual whole and while doing so preserve their individual quality as well as the unity comes from a young Viennese architectural practice whose principal protagonists, the Austrian Alfred Berger and the Finn Tiina Parkkinen, think and work across boundaries. A crucial factor was the location in Berlin, because it was only here that the new buildings for all five embassies could be commissioned at once. Berger+ Parkkinen's architecture risks striking breaches of boundaries, not just between the countries involved but also between urban development and architecture, and technology and art. Urban space is an integral part of the embassy complex, to the same extent as nature. Materials and furniture indicate different cultures. And yet the composition, for all its openness and transparency, works to exact spatial sequences and precise external lines for the building, within the 226 metres long and 15 metres high band of meandering copper. The idea that the work of Alvar Aalto is being unexpectedly continued here comes involuntarily to mind.

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Book SynopsisText in English and German. The Neues Haus, the new building for the Munchner Kammerspiele, is not a big building in any sense. The plot of land not far from Maximilian-strasse, whose greatest advantage is its proximity to Richard Riemerschmied's Schauspielhaus, is only about 1000 m2 in area. The most important quality of the design is in fact that it accepts the modesty of its role. The new building subordinates itself to the main Kammerspiele building, and manages without lavish foyers and extensive prestigious areas. The Neues Haus is a servant building, a place where work is done. A hasty passer-by would see the building simply as a white cube, reticent and introverted. Given the serene mastery of the brief and the architectural resources, one is almost inclined to call it a work of Peichl's old age, combining his love of clear volumes with a sovereign grasp of technical requirements. Like the silvery-sparkling ORF studios, the ground radio station in Styria and the liner-like phosphate elimination plant in Berlin before it, the Neues Haus is also crammed full of technology. It contains three stages, and two of them can be used at the same time. The largest playing area is elaborately equipped with gallery and under-stage; it is therefore intended as the main rehearsal area in future. The two large auditoriums are stacked one above the other like shoe-boxes and form a massive hollow core surrounded by all the service functions. The interior is dominated by a plainness that oscillates between poverty and asceticism. The corridors and foyers are narrow, the stairs simple, the interval areas positively sparse. The only opulent feature is the splendid technical equipment. Peichl's handwriting can be seen in the treatment of the details and his ingenious practice of self-quotation. Many of the motifs are reminiscent of earlier projects, and of course the typical portholes, spiral staircases and railings made of steel hawsers crop up again, all Peichl's usual maritime metaphors. In this way he has produced a building whose cool elegance reveals scarcely anything of its inner values.

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Book SynopsisText in English and Spanish. In 2000 the Autostadt, a show park for the Volkswagen group and its subsidiaries from Seat via Audi to Bentley and Lamborghini, opened in Wolfsburg. Alfredo Arribas designed the Seat Pavilion, and has brought off the brilliant trick of making an essentially reticent building into the focal point of the Autostadt. The structure is like a snail shell, forbidding and closed with the exception of a band of windows that seems to rise directly out of the surface of the lake on the Autostadt site. The irregular curve of the ground plan is reminiscent of a leaf or other forms borrowed from nature. Access is via two elegant ramps floating over the water and the site and thrusting straight into the centre of the pavilion: a homage to the old master, Le Corbusier. And then inside we are confronted with a surprise-packed exhibition landscape: a dazzling synthesis of acoustic and visual impressions that cast their spell over visitors as they walk round. Alfredo Arribas was a provocative newcomer on the architectural scene in Barcelona in the late eighties and is now an international success. He was probably predestined for this job like no other architect. He showed a highly personal flair for presenting spaces and goods from the outset, attracting early attention with his designs for discotheques and bars like the enormous Louie Vega (1988) discotheque, or the Torres de Avila (1990). The expressive tower for the Marugame Hirai Museum (1993) is also part of this creative phase, where forms did not necessarily have to be justified by functional logic. But Arribas' architecture changed into its business suit for the very next commissions. For example, even bankers in their pin-stripe suits feel perfectly at home in the cafeteria he designed for Norman Foster's Commerzbank headquarters in Frankfurt. Arribas is working on two large projects at present: a family entertainment centre in Bari and the Cite des Musiques Vivantes in Montlucon.

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Book SynopsisText in English and German. The building has been totally restored for the 125th anniversary of the Museum's opening in 1876. Merz's basic idea was to reveal the various historic layers of this building.

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Book SynopsisText in English and German. Linking art and architecture is one of the great Utopias of our century. Art has been released from its traditional bonds and sees itself faced with a world that has made systems independent to the extent that a link between art and building based on the idea of unity is no longer admissible. The collapse of our 'world into pieces' also typifies that situation of the arts looking for new orders. Now artist-architect Johannes Peter Holzinger, in co-operation with artists Eberhard Fiebig, Ottmar Horl/Formalhaut, Leonardo Mosso, Norbert Muller-Everling, Ansgar Nierhoff and Andreas Sobeck, working on the government buildings on the Hardthohe in Bonn, has succeeded in creating 'an avant-garde landmark that shows in the interplay of the arts that the avant-garde can also work positively in a team', as Dieter Ronte, director of the Stadtisches Kunstmuseum Bonn, put it in a contribution to this book. Holzinger links heterogeneous artistic positions in attempting an order of the different. The art in the outer areas of the complex mediates between the surroundings and the buildings. The visual signing system leads further into the centres, which are the same shape, of the existing administrative buildings, and creates some thing that is unmistakable there. The special structures designed by Holzinger, an intermediate form of architecture and landscape developed from the relief, include the earth itself, and in the casino architecture and art combine to form an indissoluble unit.

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Book SynopsisA yawning gap between two 1960s buildings is not at all unusual in Cologne. A gap scarcely wide enough to park a few bicycles has been used as an office by the Rendel and Spitz Advertising Agency since 1999.

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Book SynopsisText in French and English. Mouans-Sartoux, a small community near Cannes, has become a Mecca for concrete art. Since 1990 two collectors from Switzerland, Sybil Albers and the artist Gottfried Honegger, have been working to establish the Espace de l'Art Concret (EAC). Neither a museum nor a municipal gallery, this institution is located in the Château de Mouans and in two new buildings in its large park. The first of the two new buildings was a studio designed by Marc Barani from Nice for children who come here to paint and to develop their aesthetic senses. Barani began work in 1990 with the extension to the cemetery of Saint Pancrace in Roquebrune-Cap-Martin. The way he located the cemetery in the local landscape and his use of original vegetable and mineral materials immediately brought him to international notice. In 2000 Albers and Honegger decided to donate their collections to the French state, on the understanding that it would finance a building to house the nearly 500 works of art. A competition was launched and was won by the Zurich architects Annette Gigon and Mike Guyer. The building, which opened its doors in 2004, stands on a steeply sloping wooded terrain. As one enters the park, one sees its yellowish-green hues through the branches of the trees. The monochrome colour unifies the five levels of the building that give no clue as to what it contains. While the outside of the building looks artificial, independent, sculptural, its interior is set up in accordance with Honegger's special instructions. He wanted the building that was to house his collection to be distinct from the official and sterile museums that are often laid out on the gallery model, passageways for contemplation, internal streets with overhead lighting. Honegger prefers an interior that is like a private home rather than a public institution. The domestic framework of the rooms must reflect a principle dear to the heart of the donors: that the works are to be lived with. Honegger takes an overall view of our material environment and emphasises that for him the distinction between fine arts and applied arts has no meaning, because "an unapplied art would have no purpose and would be bound to be insignificant and disappear".Table of ContentsAxel Sowa: The Espace de l'Art Concret in Mouans-Sartoux; The Site; The Château of Mouans; The Aelieres pédagogiques; The Préau des enfants; The Donation Albers-Honegger.

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Book SynopsisIn 1940, manufacturer Robert Bosch (1861-1942) opened the first hospital to bear his name. He was interested in promoting public welfare as well as his highly successful business activities. Since 1964, 92 per cent of Robert Bosch GmbH has belonged to the Robert Bosch Foundation, whose dividends benefit education, science, understanding among nations and health care. So in 1973 it became possible to open a new hospital complex in Stuttgart. There has been continual extension and improvement of the existing stock by Arcass Frei Architekten, and in recent years the geriatric rehabilitation clinic and the very stimulating chapel have been added, both by Günter Leonhardt, and also the entrance building by Joachim Schürmann & Partner.

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Book SynopsisTest in English & German. The town hall in Bremen with its associated Roland statue in the market square in front of the building make up a UNESCO World Heritage site and thus count as outstanding examples of architectural and cultural history. The Bremen town hall is an ideal image of this building type that is so important for European and Western history. It is almost a textbook example of the medieval and early modern town hall. The building dates from 1405 to 1410 and has not been fundamentally altered since. The only exception is that it was carefully continued between 1595 and 1614, when it acquired an extended figurative façade decoration based on the forms of the Weser Renaissance that were current at the time. This underlined the Hanseatic city's claims to immediacy as a free imperial city. The figurative decoration is almost encyclopaedic in its scope, showing the period's striving for humanistic education in the form of iconography with a wide-ranging political and religious spectrum of allegorical themes. The old town hall has remained almost untouched to the present day. In the late 19th century, when the city administration had acquired greater responsibilities, and thus needed more space, an extension was finally added at the back of the building, which Munich architect Gabriel von Seidl sensitively subordinated to the existing structure. The particular importance of the town hall in Bremen is based on the fact that it is extremely ambitious in architectural terms, and at the same time symbolises the republican and municipal structures of European cities. The Free Hanseatic City of Bremen is the oldest European city republic, and has retained its independence until today as a Land in its own right in the German Federal Republic. This self-confidence is expressed through the resources of architecture and the pictorial programme. As the best-preserved example for this particular building type in Germany the town hall in Bremen has also a unique significance as a historical monument.

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Book SynopsisIntent on realising her late husband's vision, Dorothy de Rothschild first offered to provide funding for a new building housing the Supreme Court of Israel in the 1960s. In 1983 the offer was seriously considered and accepted. Renowned architects from Israel and from all over the world entered into a two-stage competition in 1986. Ada Karmi-Melamede and Ram Karmi, siblings their own architecture practices, were asked to compete as a team. Their contribution stood out clearly against the other entries. Instead of proposing a formal and monumental scheme, the Karmis came up with a coherent site-specific building which roots itself into the land, continues the stone language of Jerusalem, and relates to its unique vibrant light. Pure geometrical volumes are arranged to form a balanced composition and complex whole. A careful equilibrium is created between the gravity of local stone-masonry walls and the immaterial play of light and shadow in the voids and volumes of the structure. The Supreme Court acts as part of a larger civic urban ensemble and forms a gateway to Government Hill offering a pedestrian walkway to the Knesset. While referred to as a single building, in reality the Supreme Court building is an ensemble applying urban principles to the interior, thus producing public spaces throughout. Half architecture, half landscape architecture, the building is deeply anchored in its site and reaches out further than its own walls. Four main functions are manifested in four distinct geometric volumes organised by two cardinal axes. These axes separate the four main program elements: the library, the judges' chambers, the courtrooms and the parking area. The allocation of the various volumes within the building allows for a sequence of in-between spaces which are used for circulation, for the penetration of natural light and for the transition between the public and private domains. Paul Goldberger stated in The New York Times in 1995 that "the sharpness of the Mediterranean architectural tradition and the dignity of law are here married with remarkable grace.

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Book SynopsisText in German & English. Dahlem has developed in two different ways since the early years of the 20th century. An important scientific centre emerged on the site of this former royal territory south-west of Berlin, alongside a suburban villa colony. Elite research institutes were established in Dahlem, with the intention of creating a "German Oxford", including the first institutes for the Kaiser-Wilhelm-Gesellschaft, founded in 1911. Then Dahlem was chosen as the location for the Freie Universität Berlin after the Second World War. The Max-Planck-Gesellschaft commissioned a new building in these surroundings in order to provide the Institute for the History of Science, dating from 1994, with accommodation appropriate to its needs. The building was erected in 2004/5 to a competition design by the Stuttgart architects Marion Dietrich-Schake, Hans-Jürgen Dietrich and Thomas Tafel (who left the team after drawing up the planning application). The buildings adjacent to the plot, which is bordered by streets on three sides, date mainly from the 1930s. Alongside the institutional buildings detached homes determine the local character. The Max-Planck-Institut reflects the dimensions and structure of its surroundings. Its height relates to the two-storey homes; the building masses were structured as eight connected, pavilion-like sections, which means that, despite its size, the institute is reticent in its impact on the urban space. The symmetrical complex is built around a spacious courtyard with old chestnut trees. The library is the key element of the building, and so was arranged around all four sides of the inner courtyard. Extensively glazed internal and external walls afford a wide range of views into the library rooms. This ensures a constant presence for the institute's most important set of working tools, and at the same time makes it accessible over very short distances from various parts of the building.

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Book SynopsisText in English and German. The narrowest building in Cologne is the office of the advertising agency rendel & spitz. Once a year, during the 'Passagen', the offsite- programme of the international furniture fair in Cologne, the office is turned into an exhibition space: It serves as a stage for an installation of a chosen designer. In 2005 there was no exhibition. The accompanying book to the exhibition that never took place contained only empty pages. Just as in previous years, the book was sent out to designers, architects, artists, journalists and friends. One of the recipients then asked rendel & spitz whether he was supposed to fill the empty pages and sent the book back. An idea was born: each recipient was asked to lend his (used) book for the 2006 exhibition 'Dear Diary / Liebes Tagebuch'. The result is a collection of private notes, sketches, photographs, collages, and objects. The accompanying book shows a synopsis of the contributions, which in some cases are very personal. In addition to the book, there is a CD-ROM with the complete contents of each book that was contributed.

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Book SynopsisText in English and German. Spanish museum architecture has experienced a marked upturn since the 1990s, helping even small towns off the tourist beaten track to acquire extraordinary museum buildings. This is expressed most visibly without a shadow of a doubt in Frank O Gehry's Guggenheim Museum in Bilbao. But there are not just the international stars who have contributed to this success. Spanish architects in particular have designed unique museums that have changed the look of whole towns. One example is the Museo de Arte Contemporáneo de Castilla y León in León in Castille, built by the Madrid architects Mansilla + Tuñon. Rafael Moneo, who recently completed the annexe for the Museo del Prado in Madrid is still the undisputed leading figure in Spanish architecture, but in the meantime architects like Mansilla + Tuñon, who trained under Moneo, are attracting attention internationally as well as in Spain, and so are young talents who have just left architecture school and are successfully designing museums. Spanish architects use a wide variety of formal languages. And yet there are some characteristics that apply to them all: they have never been interested in the games Postmodernism plays; many of them value reinterpreting regional building traditions in a modern way; they are also sensitive to special features of the existing topography. Kenneth Frampton said in this context that Spanish architecture essentially runs counter to the globalisation tendencies that are increasingly reducing architectural form to a comfortable aesthetic product. The present book, which is also suitable as a museum guide, shows that this tendency is particularly conspicuous in the new museums. It confirms the world-class nature of Spanish architecture, recorded from Rafael Moneo's early Museo de Arte Romano in Mérida to Herzog and de Meuron's new Calixa Forum art gallery in Madrid.

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Book SynopsisThe book "Monuments of Bharatpur State" delves into the history and architecture of Jats, exploring forts, palaces, and religious buildings in Bharatpur State. It provides a comprehensive overview of Jat architecture from past to present, essential for students and specialists of Indian history and architectural studies.

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Book SynopsisVisiting a museum is an experience that normally sets our concentration on the artworks or on its architecture. That is correct, however there is an invisible factor called "narrative structure" that deals with the construction of different routes to walk an exhibition and to unveil the space of museum. This specific discipline is the argument of the first book in a series dedicated to theoretical research.

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Book Synopsis"...bombings, German sappers, restorers and rebuilders have totally wiped my modern works. Only the buildings which represent the bureaucratic side of my job as public officer forced to obey, have survived." (from a letter to B.Zevi 9/1974). The Heating plant of the railway station of Florence is a piece of a jigsaw puzzle which miraculously survived to restorers and rebuilders who could have erased any trace of it. This survived fragment, tells either the story of architecture between monumentalism, rationalism and futurism or the complex personality of its architect.

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Book SynopsisThe pavilion that Zavanella, an architect from Mantua, Lombardy based in Milan builds on behalf of the Officine Meccaniche of Milan is a railway shelter where the so-called “Belvedere”, the OM railcar designed by him, end its maiden voyage during the Milan Fair, in 1948. The OM shelter is composed by a refined balance of constructive elements in tension, in which the dynamism of forms is revealed in one of his most audacious proofs of exhibition architecture.

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