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First published in 1989 by Rizzoli International Publications, Inc. The fundamental significance of the Weissenhofsiedlung in Stuttgart for the history of early modern architecture should not be underestimated. Almost all the influential architects of the 20th century built their proposed solutions in response to the theme "a home for modern city dwellers" on the beautifully located slope on the north side of Stuttgart. The choice of architects and the fact that a project of this type could be implemented at all so few years after World War I and the inflation, is one of the outstanding characteristics of this building exhibition". The German Werkbund is aware, and points out most emphatically that so important a task can only be successful and have a major impact if it is not only carried out in a technically flawless manner but also creates trend-setting architectonic solutions. The Werkbund therefore recommends to the city of Stuttgart that leading architects be commissioned with planning the exhibition and thus assuming a leading role in the construction of modern housing both in Germany and abroad. This memorandum, dated January 1926, concludes with the following appeal: It is now up to the municipal council whether this event, so crucial for the promotion of our housing, will be able to take place in Stuttgart in 1927. An interesting situation thus arose: members of the municipal council had to decide on the merits of this pioneering project. The majority voted for it. The result: 25 yes votes, 11 no votes and 6 abstentions. How did this project ever come to Stuttgart, anyway? What made it possible was a favourable constellation of both personnel and chronological circumstances. Gustaf Stotz must be regarded as the project's initiator. It was he who managed to fire up the enthusiasm of the leadership of the German Werkbund and of the city about the project. It is also thanks to him that Mies van der Rohe undertook to be its artistic director. Mies and many of the architects of the Weissenhofsiedlung were relatively young and not established. They had a fine reputation in avantgarde circles, but hardly outside them. Moreover, in the German Werkbund the entire project was regarded as not really important -- a sort of practice piece for a "world building exhibition" that would take place in Berlin in 1930.

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Text in English & German. Photographs of a huge building site, taken by night, show a bewildering world of machines, boards, cables and scaffolding, seemingly in total chaos and with mud and puddles everywhere. The viewer's gaze enters dim underworlds that look like a modern equivalent of Piranesi's Carceri. Behind clearly structured, transparent façades we can see office workers, politicians, hotel guests and laboratory staff. We can see what they are doing and how they interact with one another. Both everyday work and private business are on public display. The figures' various social roles are revealed by their body language, clothing and attributes. In contrast to the kind of voyeuristic view through a window we see in Alfred Hitchcock's famous film Rear Window (1954), the glass façade freely reveals what the classic perforated façade hides. Like the propaganda images turned out by totalitarian systems, the vastness of advertising spaces turns our usual sense of proportions on its head. Monumentally large, usually female human figures dwarf houses and people. They look down on the city's inhabitants from above. No passerby can evade their gaze or their attractions. Taken together, the photographs in this book represent a visual commentary on our present day lifestyle. All the pictures were taken in the centre of Berlin -- but the same scenes can be seen all over the world. The buildings are just as interchangeable as the monumental images of sex and consumerism. Stefan Koppelkamm's photographs are accompanied by selected monologues from Roland Schimmelpfennig's drama Push Up 1--3, which give the "ideal inhabitants" of this world a voice. These are people who fully subscribe to the images of success and beauty taken from adverts and from the media.

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Text in German & English. The architect is at all times also an artist. How otherwise would he be able to tame the three-dimensionality of space and subdue the urges of physics and structural mechanics with the creations of his fantasy? This creativity is however mostly restricted purely to its own field. In this respect, Rob Krier, born in 1938 in Grevenmacher, Luxembourg, is indeed the proverbial exception that proves the rule. Besides his actual profession, which demands his daily attention, Krier has for years also made a vocation of his love of art, one which he nurtures parallel to his work. Fine art could stand in dialogue with architecture and it is Krier's ambition to have iconographic themes brought into the latter, so that they might speak equally to both the occupants of a building and to bystanders and move them to thoughtful reflection. In the works of Mies van der Rohe it is not rare that one finds naturalistic figures from, for example, Aristide Maillol or Wilhelm Lehmbruck -- as an anthropomorphic contrast to the strict geometry of the architecture, notes Rob Krier in the comments on his journal. If one is already aware of the realisation of his masterful architectural accomplishments through projects such as Potsdam-Kirchsteigfeld (1991 to 1997), De Resident in The Hague (1993-2001), Noorderhof in Amsterdam (1994-99), Veste Brandevoort near Helmond (since 1995), Citadel Broekpolder near Beverwijk (2000-04), or the Cité Judiciaire in Luxembourg (1992-2008) -- be assured, Krier's artistic skills are in no way inferior to his architectural work. Quite the contrary: as a sculptor and illustrator, too, Rob Krier brings together extraordinarily musical qualities and incorporates them into his work: his bronze The Jumper was erected in Montpellier in 2004, the Cowering Woman ten years earlier on Berlin's Friedrichstraße, the four metre-high duo Bosch i Alsina and Papasseit on Moll de la Fusta in Barcelona in 1992.

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2019 Edition. Although Berlins history encompasses more than eight hundred years and its beginnings reach back as far as the twelfth century, its present-day urban image is essentially characterized by structures and building measures from the nineteenth and twentieth centuries. Four "modern" development phases, whose respective qualities were vastly unalike, played a determining role in this image: during the second half of the nineteenth century, against the backdrop of industrialization, Berlins rise from a comprehensible Prussian capital and residence to an expanding metropolis of the German Empire; the 1920 consolidation of the city with the surrounding ninety-three townships, rural communities and properties to form "Greater Berlin"; following the destruction of World War II, working "back to back" politically, territorially, and regarding the look of Berlins divided, urban structure until 1990; and from the reunification to the present-day, the ongoing structural and spatial connections as well as architectural refinements required for Berlins role as capital of the new Federal Republic. The contents of this architectural guide vividly stand out against the backdrop of Berlins recent history a course of events as multifaceted as it was, in part, excessive, up until today. This publication deliberately focuses on the citys last one hundred years when, generation by generation, Berlin daringly and almost obsessively rediscovered itself architecturally. The selected examples not only convey a visually impressive and representative longitudinal progression, but also in which form the most provocative of social movements, changes and breaks presented themselves in the architecture of the city. With texts and images, the book presents 466 architectural works built from 1907 to the present day. The authors choices support the greater intention to present what can now be deemed contemporary, typical, and exemplary about every period of Berlins diverse, irregular, and amazingly rich architectural history. That the examples offered here blatantly declare themselves products of the "modern age" and "Neues Bauen" permits them to be understood as a "manifesto in images" which consolidates to a twentieth-century architectural collage, whose quality and wide range grant it an unquestionable uniqueness. Rolf Rave is an architect practising in Berlin together with his wife Roosje. He comes from a family of architects and art historians; his father, Paul Ortwin Rave, director of the Berlin Nationalgalerie until 1950 and director of the Berlin Kunstbibliothek from 1950 to 1961, was the editor of Karl Friedrich Schinkel. Lebenswerk from 1939 until his death in 1962.

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Text in German. What runs through our minds when somebody says the names of the following cities: Rome, Venice, Warsaw, Singapore, Tel Aviv, Jerusalem, Lisbon, San Francisco, Los Angeles, Las Vegas, Vienna, Paris, Tartu, Tallinn, New York, Moscow, Saint Petersburg, Barcelona, Geneva, Brussels, London? Each name's aura of associations is so powerful that no-one will be able to give an answer that applies for everybody. When asked this question, almost everyone's answer will be triggered by their own biography, by any personal experience of the city in question they might have. One person might remember a dishonest taxi driver who drove them from the airport into the city. Another might remember a successful or unsuccessful business deal, while yet another might remember a terrible or excellent hotel, a project that he or she completed in that city or people met there. Some people will have met the love of their lives there -- or quarrelled with them for the final time. Some will have spent their honeymoons there, while other will have been divorced there. Some of those asked will certainly have had a bad accident in one city or the other, or been robbed there. They might say any of the following things: "It's a beautiful city!", "It's one of the ugliest and most dangerous cities I've ever been to!", "You see nothing but rubbish and chaos in that city!", "You can forget the passage of time in that city -- it's so wonderfully old-fashioned that it makes me cry!", "This city is so lively and colourful and loud that it was where I finally found out what life can be like!", "That city is so sensible, neat and well-controlled that it made me even more introverted and depressed than I am usually!", "You should only judge a city by its dogs!", "A good city for shopping!" Although the houses, alleys, streets and city squares really do exist, every city is created mostly from stories, beliefs, prejudices, clichés, scraps of knowledge, observations, personal experiences, first-hand or second-hand impressions, dreams, hopes and fears. The architect Hans Dieter Schaal, who has designed scenery for almost every major theatre and opera house in the world, often spent many days in the same city. He began to research the cities, to get the feel of them and to travel them on foot like a wanderer. Alongside these subjective impressions, the author presents plenty of facts, making this book an accurate picture of an age dominated by cities.

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Text in English & German. Fritz Leonhardt would have been 100 years old in 2009. The Südwestdeutsches Archiv für Architektur und Ingenieurbau (saai) at the University of Karlsruhe is presenting the first full retrospective of this famous structural engineer's work, which holds his exten-sive estate. Leonhardt studied at the Technische Hochschule in Stuttgart and then travelled in the USA. He made his professional début with the German autobahn, for which he designed the Rodenkirchen suspension bridge in 1938-41. Leonhardt supported Herrmann Giesler's plans for the "capital of the movement" with a domed structure for the new main station in Munich, a project that was never realised. In the post-war period he worked mainly on reinforced and pre-stressed concrete structures. He combined pioneering structural innovations with a high standard of creative design. The television tower in Stuttgart, which he designed in 1953/54, is a good example of this. It has had countless successors all over the world. Leonhardt made important technical innovations in bridge-building in particular. He and his colleagues worked on the Düsseldorf family of bridges from the 1950s to the 1970s, diagonal cable bridges with an aesthetic shaping the urban landscape, and the Leonhardt, Andrä und Partner practice founded by him created wide-span bridges all over the world based on these models. Leonhardt was involved as a structural engineer on the first post-war high-rise buildings in Germany. He worked with the architects concerned on the cable-net structures for the German Pavilion at the 1967 Montreal World's Fair, and for the roofs of the 1972 Munich Olympics buildings. The interplay between science and practice was crucial to Leonhardt. With texts by Hans-Peter Andrä, Wolfgang Eilzer, Holger Svens-son and Thomas Wickbold, Ursula Baus, Norbert Becker, Dirk Bühler, Hans-Wolf Reinhardt and Christoph Gehlen, Theresia Gürtler Berger, Gerhard Kabierske, Joachim Kleinmanns, Karl-Eugen Kurrer, Alfred Pauser, Eberhard Pelke, Jörg Peter, Klaus Jan Philipp, Jörg Schlaich, Dietrich W. Schmidt, Werner Sobek, Elisabeth Spieker, Christiane Weber and Friedmar Voormann, Fritz Weller, and Fritz Wenzel.

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Heinz Tesar's architecture is associated with holistic ideas, and is 'value-conservative' in this sense. But at the same time, this architecture relates to its time, is modern, frank and open to consensus in a subjective dialectic between connection and isolation. However, this holistic concept is not concerned with hierarchical orders, but with relative weighting in a denomination process. Tesar is someone who names things, a 'baptist' who makes his objects that have acquired form individual and thus unmistakable.

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Text in English & German. A whole issue of the architectural magazine Bauwelt, being published in Berlin, was dedicated to the completed building. The Institutes of Pharmacology and Food Chemistry of the Goethe-Universität in Frankfurt am Main by Ferdinand Kramer, who had also built most of the other new buildings on the campus, soon advanced to a highly appreciated master work of modern post-war architecture but later it was nearly forgotten. Many years of intensive use and neglected maintenance rendered the rehabilitation of the buildings indispensable. After a comprehensive renovation by the architects SSP Schürmann-Spannel of Bochum, the concrete structure with its striking brise-soleil elements on the south side and the lecture-hall cube detached from the main building, is not only again a convincing built monument, but also an exemplary example of a successful conversion. Where for many years students of pharmacology and food chemistry studied and experimented, 160 scientists of the Biodiversity and Climate Research Centre (BiK-F) are researching the interaction of climate and biosphere. The book provides a detailed description of the building, which dates from 1957 and which was completely reconditioned by the office of SchürmannSpannel in the years 2009 to 2013. The pictorial section contains plans of the original and present condition as well as photographs especially made for this publication by Jörg Hempel. It is preceded by Fabian Wurm's essay, which not only discusses the building in detail, but also addresses the pressing question of converting buildings from the time after World War II.

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Text in English and German. Shortly after the navy had given up its Flensburg Fjord base a group of developers acquired the site which comprises 7 hectares of land and 5.5 hectares of water. The group developed an urban quarter here and called it 'Sonwik', from the north Frisian words 'Son' (sun) and 'Wik' (bay). Its principal attraction is a housing estate, unique in Germany, which consists of 20 water-houses painted in vibrant colour. They are placed in loose series on a right angle by a jetty, at the same time forming the outer framework for a large marina for 400 sailing boats and yachts. Most of the former navy buildings on the wide green promenade have now been converted for civilian use -- under the eyes of the monument-protection authorities and with great skill and sensitivity. The red brick buildings date from the first third of the 20th century, and now accommodate apartments, offices, shops, cafés and businesses related to water sports. The row of buildings is about 500m long, and is complemented, in urban development terms, by two taller buildings that at the same time mark the unmistakable entrance to this attractive site. They were designed by the Hamburg architects APB, who won the competition for them. However, the special feature are the 20 houses standing in the water, designed by the Flensburg practice of Asmussen & Partner. Each of them was built on a reinforced concrete platform placed about 2m above water level, using a two-storey timber-post structure. The owners were able to structure their own floor plans and equally -- following a canon established as a matter of principle -- the size and position of some windows. In addition to the roof terrace and private mooring 'cellar', the striking characteristic of these buildings are their colours -- red, blue, orange and yellow -- which are visible from a great distance.

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Text in English and German. Otto Ernst Schweizer (1890-1965), architect, philosopher and teacher, had a crucial effect on the path of Modern architecture. When the central dairy in Nuremberg was finished in 1931 it was the largest complex of its kind in Europe and was seen by critics as a work that deserved the rank of prototype.

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Text in English and German. Peter Kulka is a major German architect. His buildings in recent years have been characteristically succinct and minimalist. This started with the Sächsischer Landtag in Dresden. Since then Kulka has produced numerous works of high creative ambition. His projects regularly feature in architecture magazines, and also on the arts pages in the daily press. Following a 1996 publication, this is the second monograph on his work. The book accompanies the show of his work in the Deutsches Architektur Museum in Frankfurt am Main from late 2005 to early 2006. The exhibition is based on Kulka's archives, which contain an extensive range of first-class architectural photographs as well as project designs and visual presentations. 22 projects are presented, centred around his work over the past 15 years and leading up to the most recent projects like the rebuilding of the Schloß in his home town of Dresden. Kulka studied under Selman Selmanagic' in Weißensee, Berlin. He then worked with Hermann Henselmann in East Berlin, later moving to Hans Scharoun in West Berlin. He had his first major success in the Herzog, Köpke, Kulka, Töpper and Siepmann partnership with the design for the University of Bielefeld. In 1979 he started his own practice in Cologne, followed by a Dresden branch in 1991. Alongside the Sächsischer Landtag in Dresden, Kulka's best-known designs include the "Haus der Stille" in the Abtei Königsmünster in Meschede, the Bosch Haus Heidehof in Stuttgart, and also the new chamber music hall and the new foyer in the Konzerthaus Berlin, Karl Friedrich Schinkel's former Deutsches Schauspielhaus.

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Text in English and German. Ludwig Persius (1803-1845) was a pupil of Karl Friedrich Schinkel and his closest assistant. Very little has been published about him to date. With the aim of providing an exhaustive documentation of all his work that is still in existence, the present volume now shows Persius' architectural work in its current condition in 180 photographs, with numerous as yet unpublished exterior and interior photographs including also many detailed views. Persius' architecture was moulded by the work of Schinkel. He was his site supervisor at the Hofgärtnerhaus in Charlottenhof, adopting its style inspired by Italian domestic architecture for his numerous villas with towers, which are still characteristic features of the Potsdam cityscape. He was a master of the disposition of building volumes and of tying buildings into the landscape. About 50 buildings have survived, including early industrial structures. Persius' work is to be found almost exclusively in Potsdam. King Friedrich Wilhelm IV appointed him to the post of an "Architect to the King", a title he shared only with Friedrich August Stüler. His best-known buildings are the Friedenskirche in Potsdam, the Heilandskirche in Sacrow and the so-called Mosque by the Havel bay in Potsdam, a steam-driven pump-house in the Moorish style for the fountains in the gardens of Sanssouci and an eminent example of the romantic and exotic transfiguration of a simple functional building.

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Text in English and German. This book presents a selection from all Tesar's creative periods and an essay introduces the background to this art and its current positioning, which not least raises theoretical questions about the relationship between pictorial art and architecture. Tesar's drawings are presented as a project that turns a vision of Modernism into reality within a manageable personal sphere. The vision conjures up, as modern creative work is condemned to becoming increasingly specialised, an alternative 'art as a life practice', but -- and this is the present level of perception -- one that can ultimately be realised only in individual art projects.

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Text in German. This monograph was first published in 1980, and appears now in a third, improved edition. It is the first and to date the only book to place Schinkel's life and work in the artistic context of his day. It is devoted to his family and circle of friends, and to his universal artistic, technical and administrative activities. Arranged according to his various spheres of work, it brings together a variety of material from contemporary sources, letters, newspapers, diaries and other writing and presents Schinkel as his contemporaries saw him and in his own words. Authors featured include Bettina and Achim von Arnim, Clemens von Brentano, Johann Wolfgang von Goethe. Wilhelm von Humboldt, Johann Gottfried Schadow, Christian Daniel Rauch, Friedrich Tieck, Carl Friedrich Zelter and many others of his friends, who followed his artistic development sympathetically and also critically. As well as his architectural designs and buildings, a fitting place is found for his publicly exhibited dioramas and the magazine critics' response to them, his oil paintings, which were much loved by the Romantics, his stage sets, which are still admired and not least his arts-and-crafts work. The chosen illustrations underline the diversity of his output. Dankwart Guratzsch wrote about the first edition in the daily paper Die Welt: "...certainly the most moving book of the Schinkel year -- as it shows the setbacks and disappointments, and the physical suffering this tough, tireless, imaginative man had to go through to keep faith in his task as an ennobler of all human circumstances. Heinz Ohff, for many years arts editor for the Berlin Tagespiegel, wrote recently that he still considered the book 'unsurpassed' in terms of its wealth of facts. And Walter Jens referred to it in a lecture as an important cultural-historical analysis".

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Text in German. Despite the wide variety of publications about urban development, there has long been a lack of a full and coherent presentation of the way town planning has developed in our time. The present publication closes this gap in urban-development literature. It starts at the point at which the upheaval of the French Revolution and industrialisation set the course for today's urban constellations. The survey follows the narrative approach taken by Anglo-Saxon historians, and the individual sections deal with the main urban-development themes that shifted into the foreground in the 19th century: municipal revolution and urban regulations; industrial revolution and urban growth, above all in relation to the special part played by Great Britain; and the continuation of the classical urban-design ideal in France, England and Germany. Also the social-Utopian estate and urban-development models devised by Robert Owen and Charles Fourier in the early days of industrialisation; the great city re-developments (Paris, Lyon etc.), urban beautification (the Ringstrasse in Vienna) and urban expansion (London's suburban growth, the Berlin general building plan of 1862 and tenement building); paternalistic workers' housing programmes in England, France and Germany; attempts at aesthetic renewal by Camillo Sitte, Raymond Unwin and the 'City-Beautiful Movement' in the USA in the late 19th century; attempts at reform through the garden-city idea and subsequent movement. The treatment of these themes illustrates the extent to which contemporary urban situations are determined by 19th century ideas and enterprises. Thus the book provides all readers interested in urban development with an extensive set of facts and strategies. It has turned out as a compendium that aims to present and cast light on the essential features of the city as a Gesamtkunstwerk and to identify important criteria for future urban-development decisions.

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Text in German. The title of Paul Wegener's film Hans Trutz im Schlaraffenland, dating from 1917, alludes to Pieter Bruegel's well-known picture Cockaigne (Das Schlaraffenland). For Wegener art history, which he counted as one of his 'favourite occupations' throughout his life, was an inexhaustible treasury of images. Although he did not always allude so openly to the relationship between film and other arts as he does here, it is always a tangible presence. Wegener was one of the most striking actors in the German theatre, from the time he joined Max Reinhardt's Deutsches Theater (1906) until his death in 1948. And at a very early stage he mastered the new pictorial language of the cinema, as a leading performer, director and author of many fairy-tale-like, imaginative films. He started in 1913 with his Student of Prague, which immediately brought him world fame. The high point was the 1920 film The Golem (with sets by Hans Poelzig), which played in New York, for example, for eleven months. Films like these placed Wegener at the beginning of a brilliant epoch in German film art. Wegener's pictorial world is seen both in the context of the art of his period and in a retrospective view of the history of the motif. Pictorial comparisons and analyses from the point of view of interdisciplinary iconography are revealing about Wegener's position in artistic development. Unknown aspects emerge, which show Wegener's personality and work in a new light. Comparative observation shows that this work is the film variant on the great Neo-Romantic renewal movement, which affected all fields of life and art at the beginning of our century. It has increasingly attracted academic attention in recent years, adding an interesting early phase to the excessively one-sided image of Modernism.

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Text in German. The Villa Lante in Bagnaia near Viterbo is outstanding among 16th-century Italian gardens. It is not particularly large, but it is the undisputed highlight of this epoch, the heyday of Italian horticulture, not just because it is outstandingly well maintained, but also because of its unique formal qualities and its extremely complex iconographic programme. The present monograph attempts to establish what triggers the intense sense of beauty with which visitors to the gardens are confronted. It is immediately clear that it is essential to analyse the form of the garden -- here the extremely precise treatment of central perspective as a device is of considerable interest -- but close attention has also to be paid to the significance of the individual elements and the connections between them. This examination brings an elaborate accumulation of various sign systems to light, which seem to have the astonishing characteristic of not being entirely reconcilable, indeed they appear to build in contradictions as a basic constant. From this develops a panorama of the late 16th century, presenting the tangled pathways of perception of the gardens in all their complex relations, from the various late Renaissance garden types, via philosophy, the response to antiquity, perception of nature, perspective, harmony, literature, theatre and religion, and on to models of time and the forms it takes. Against this background the garden of the Villa Lante, which belonged to the scholarly cardinal and inquisitor Francesco Gambara, proves to be a difficult -- and perhaps not entirely successful -- balancing act between Renaissance traditions and the thrust of the Counter-Reformation, but showing at the same time, as a kind of 'apotheosis of the artwork', a surprising affinity with the present day.

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Text in English and German. The surprising success of Bonnie and Clyde, The Graduate and Easy Rider in the late 60s marks a turning-point in the history of the American cinema, as these are films that differ fundamentally from the traditional Hollywood style. They revised the traditional genre formulae and overturned the rules of classical narrative structure, but they were also aimed at a young audience influenced by alternative culture, a group that the big studios had ignored until then. The American film industry, which was in financial crisis and a phase of artistic stagnation in the sixties because it had tried to meet increasing competition from television by producing blockbusters, started to think again, and became more receptive to new ideas. This created a degree of artistic scope that young directors and filmmakers with artistic ambitions were not slow to exploit in order to realise their creative ideas in the context of mainstream cinema. A period of artistic renewal began, of a kind that had never been possible before in America on such a radical scale. The first wave of New Hollywood was starting to die down in 1971, as the films were often too experimental, too self-referential and too alien for a mass audience, and the market for the limited target group of a young audience interested in culture was quickly saturated. But important stimuli emerged, and made it possible for a series of film-makers like Robert Altman, Arthur Penn, Mike Nichols, Alan Pakula, Sydney Pollack, Stanley Kubrick, Sam Peckinpah, Paul Mazursky, Hal Ashby and ultimately an exceptional figure like Woody Allen establish themselves permanently. They were joined in the seventies by the younger generation of so-called 'whiz kids' like Francis Ford Coppola, Peter Bogdanovich, William Friedkin, Martin Scorcese, Steven Spielberg, Brian De Palma, Paul Schrader or George Lucas. They all represented the liberation of the director from the dictates of the studio, the acquisition of a right to have individual artistic handwriting and the era of the director as superstar.

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When not directly shaping the fabric of Paris themselves, its rulers have always kept tight control over the activities of others, with the result that Paris has developed under some of the strictest building regulations of any major city. Despite Paris's much vaunted reputation as the cultural salon of Europe, a certain suspicion towards foreign architectural imports has characterised its development, and outside influences have always been adapted to local needs and indigenous modes of expression, a tradition which carried on until the post-war era and arguably continues today. The last decades of the 20th century have witnessed a rush to modernise and adapt a crumbling fabric to the exigencies of the electronic age.

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Outlines this prominent Danish architect and designer's works.

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The book presents four of the most important contemporary museums of the world: Museo Canoviano, Possagno; Guggenheim Bilbao Museoa; The Audrey Jones Beck Building, MFAH; Sammlung Essl, Klosterneuburg. Each essay details the unique design concepts of each museum, illustrated with interior and exterior details

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Text in English and German. Julia Bolles-Wilson and Peter L Wilson have built a large number of striking, thoroughly detailed cultural and commercial buildings in recent years, all sharing the characteristic that they stubbornly resist superficial stylistic categorisation. Their buildings are articulated and positioned in an unmistakable way in their respective urban spaces, thanks to pointed breaks with rational space configurations, sculptural shapes for architectural silhouettes and the use of polychrome surfaces.

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Text in English and German. The church rises to the challenge of providing a spiritual centre for Donau City, the new residential and commercial centre on the opposite bank of the Danube -- not as an act of coronation for the city in the sense of Taut's urban crown, as a temple or cathedral, but as miniature, as a demonstration of the power of the quiet as opposed to the loud, as an 'oasis in the diaspora', to use Karl Rahner's formulation about the parishes of the future. The building gives an impression of starkness: a hard cube, cut off at the corners, clad with sheets of black chromium steel. But it is only stark at first glance. A second glance shows that the hardness is a friendly hardness: because of the reflections that the material admits; because of the grid of the large-format sheets, to which the brightly gleaming drill-holes that cover the walls like fine gossamer respond; because of circular apertures that allow light to shine outwards after dark; because of large, rectangular windows in the receding corners that create a contrast with the closed quality of the building. Inside the starkness gives way altogether: a light space, which one comes into through an art-fully designed entrance. Originally a sparse covering for the space, which thrives mainly because of the light material -- birch wood -, because of the arrangement of the pews, which is as lively as it is peaceful -- segments of circles of different sizes, surrounding the dark syenite altar block in the form of an open circle -- and especially because of the wide range of circular light sources that render the introverted interior transparent, the large windows that create islands of light, the free-form aperture in the ceiling, which sends light gliding down on to the altar. Heinz Tesar's church continues a tradition of forward-looking modern church building, from Rudolf Schwarz's Fronleichnamskirche in Aachen via Egon Eiermann's Kaiser-Wilhelm-Gedachtniskirche in Berlin, Franz Fueg's Piuskirche in Meggen on Lake Lucerne to the new Herz-Jesu-Kirche in Munich by Allmann, Sattler and Wappner; and alongside all this there is also the tradition of a genuinely Viennese development of this theme, from Otto Wagner's Kirche am Steinhof to Ottokar Uhl's parish church Katharina von Siena.

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The Museum of Fine Arts, Houston, is a unique collection of architectural works -- the Caroline Wiess Law Building, comprising the original William Ward Watkin Building of 1924 and the 1958 and 1974 additions designed by Ludwig Mies van der Rohe; the Lillie and Hugh Roy Culien Sculpture Garden created by Isamu Noguchi in 1986; the Central Administration and Glassell Junior School Building designed by Carlos Jimenez in 1994; and now the Audrey Jones Beck Building by Rafael Moneo. Moneo, winner of the 1996 Pritzker Architecture Prize, has proposed a four-storey facility directly facing the Law Building and connected to it via an underground walkway. The limestone building occupies the whole site, thereby reinforcing its urban character. On the inside, visitors can assemble in the dramatic atrium before proceeding to the upper level galleries to begin their itinerary. The Beck Building is a natural progression of some of the ideas put forth by the architect in previous museum projects, especially the Museo Thyssen-Bornemisza in Madrid and the complex of the Moderna Museet and the Arkitekturmuseet in Stockholm. A collection of rooms is the underlying concept for the gallery spaces. The galleries may seem conventional, but their organisation within the building is guided by the desire for freedom. The exhaustive studies undertaken to help design the skylights allow for optimum lighting conditions combining natural and artificial light. Climate, light, circulation through the space, dialogue between building and art, and simplicity and elegance of materials are once again concerns that Moneo has addressed thoughtfully and successfully in the new Beck Building.

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In 1975, the European Year of Protection of Ancient Monuments, Alsfeld in Upper Hesse acquired model-town status, along with Berlin, Rothenburg ob der Tauber, Xanten and Trier in Germany. In this way the Council of Europe was acknowledging the long tradition of monument protection in a place where an astonishingly large number of historic buildings have survived. There are numerous tightly-packed timber-frame buildings in the medieval ground plan of the town, some built as long ago as the 14th century. The market place, forming the centre of the town with town hall, Weinhaus (wine house) and Hochzeitshaus (wedding house), is one of the most important complexes of its kind in Germany. The town hall, built in a way that inspired many of its German successors, was to have been pulled down in 1878 by order of the town council. It was not until residents protested that preservation and restoration of what is now the symbol of the town were assured, providing the first example of Alsfeld's tradition in this field. Even today ensembles of unique unity are to be found in its main streets. There is almost nowhere else where one can form such a good impression of a small German medieval town than here.

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Norman Foster, one of the most consistent advocates of architec- ture based on modern technology, achieved a world-wide reputa- tion with the headquarters for the Hongkong & Shanghai Banking Corporation in Hong Kong, Stansted Airport in London, Century Tower in Tokyo and his telecommunications tower in Barcelona. His most important projects in Germany are the conversion of the Reichstag building in Berlin and the new Commerzbank headquar- ters in Frankfurt am Main.

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It was in his home in Oak Park that Frank Lloyd Wright made his first contributions to the Modern movement. In 1889 he designed the first part of the house, in 1895 he added to it for his wife, Catherine, and their family, and in 1898 for his architectural practice. The entire building was a learning laboratory of modern architecture. While not a Prairie School house, it led to the development of the Prairie School. Wrights constant changes to this complex paralleled the evolution of his early architectural work and career. There, with his young assistants, he rethought the plan, spaces, materials, proportions, and lines of American residential architecture, creating a revolution on the Prairie. His home and studio provided the architectural environment in which to experiment with his ideas in three dimensions. The house featured contemporary art work, oriental tribal rugs, and Japanese decorative arts chosen by Wright and his wife. The studio was decorated with classical plaster sculpture, Teco ceramics and selections from Wrights large collection of Japanese prints. Wright completed the interiors, toned in natures hues, with furniture and built-in furnishings of his own design, harmonious to the whole. The colour photographs of Jon Miller of Hedrich-Blessing show a glimpse into Wrights first haven, where he challenged prevailing notions about the countrys architecture, and which he then left, to continue as one of Americas most significant architects. Included in the book is a portfolio of historic black and white photographs of the building, a number of them taken by Wright himself.

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Text in English and German. 2 Books in slipcase. Karl Friedrich Schinkel called his designs for a palace on the Acropolis in Athens and for Orianda Castle in the Crimea a 'beautiful dream'. They date from 1834 and 1838 and were Schinkel's last major projects, in which he presented his ideal of architecture in brilliant drawings and watercolours, as if in a last will and testament. Both the formal language of neo-Classical architecture and the quality of presentation are brought to a level here that can scarcely be surpassed. It is clear how highly Schinkel himself esteemed these two unrealized designs from the fact that he had them printed as coloured lithographs in his publication 'Werke der hoheren Baukunst fur die Ausfuhrung erfunden' (Potsdam 1840 to 1942). These lithographs are reprinted in a large format for the first time here, complemented by the no less spectacular lithographs of the two Pliny villas, Tusculum and Laurentinum. These works, which represent a high point in the long story of the reconstruction of the two villas that have come down to us only in literature, also show Schinkel's impressive ability to demonstrate and convey his architectural ideas. He is profoundly concerned, both in the reconstructions of the Pliny villas and in the designs for the royal palace on the Acropolis and Orianda Castle to be archaeologically precise and to fulfil prescribed building programmes, but also to plumb the possibilities of architecture beyond mere utility. For the Acropolis palace project he had his eye mainly on the way in which the new building would interact with the surviving remains of the Propylaea and the Parthenon. In the Orianda project it is a glazed observation pavilion in the form of a temple that expresses architecture's perception of itself more clearly than perhaps ever before.

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Book & CD. When visitors to the National Air and Space Museum in Washington, D.C., walk through the Skylab of 1967-73 they experience the vehicles interior space but learn nothing about the industrial design of the spacecraft nor the designers who created it.

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Richard Meier's architecture in dialogue with the Ulm Munster, the most famous German Gothic cathedral.

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The dream of owning your own home in the countryside has led to that Cities are expanding more and more, growing together and the destroy untouched nature. In addition, however, the demand is increasing affordable housing and small residential units in the cities. The proximity to the workplace and the good infrastructure are clear advantages of city life. The concept Penthouses for everyone represents the individual living wishes of people at the center. It shows that sophisticated architecture can be affordable for everyone can and is also possible in cities in the course of densification. The Development of the new living space for everyone takes place via the development of flat roofs, which exist in large numbers in urban areas are. Unfortunately, the possibilities of targeted development remained roofs especially in the new development areas in the past largely unrecognized. So far, flat roofs are mostly only here planted or used for energy production. Here and there will be although they are also subsequently built on, they usually remain unused for residential purposes. How different it is in many people southern countries. It goes without saying there that flat roofs are used To use housing and to include it in the planning right from the start. The book gives an insight into the inexhaustible possibilities that arise when living on roofs. Based on numerous Examples are shown that the dream of home ownership in the countryside can also be realized in the city. It's not just small inexpensive roof houses possible. With special construction kits larger units can also be assembled; also alternatives Forms of living can be thought of and implemented, nothing remains utopia. Ultimately, it's about living in the cities to make it more attractive again, to avoid urban sprawl and the destruction of nature to prevent and people well in the city home and return identity. However, this requires new building laws and development plans create the conditions. So far, a subsequent development of roofs is often prevented or excluded by building laws rejected for aesthetic reasons. A further construction on roof surfaces is paralyzed with the demand for adaptation to the existing situation. Only roof structures are created that are hardly recognizable as such or the given monotonous design elements record to adapt to the inventory.

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Since 1970, based in an isolated building situated on the peninsula of Posillipo, Pica Ciamarra Associati (www.pcaint.eu) has acted as a laboratory of architectural and urban design which has gradually incorporated new members and new energies over the time: using a multidisciplinary approach, the roots of the architectural practice lie in the intensive theoretical and practical work begun in the early 1960s by Massimo Pica Ciamarra. Since then the practice has been marked by a continuous relationship with Le Carré Bleu Feuille internationale darchitecture and leading members of the cultural milieu of Team 10: this has led to constant attention to everything that lies beyond form, to the relation ship with contexts that also include non-spatial contexts, and to high levels of integration and dialectical discussion. According to Pica Ciamarra Associati, a design transcends the approaches of a single sector, providing simultaneous solutions to contradictory requirements, combining utopia and practicality. The poetics of the fragment: it mediates between architecture and the urban dimension; some designs also have the aim of becoming absorbed within a context as 'informed fragments'. This monograph is the result of an intensive period of work and consists of two interacting parts. It stems from research into the archive of the studio Pica Ciamarra and conversation with the members of the architectural practice. Organised diachronically, the book tells the long story, unfolding over a period of over fifty years of a team of Neapolitan architects and designers, who have maintained the lively spirit of the practice which is still geared towards the future. The textual and iconographic account tells a story and offers an interpretation that highlight the vibrant atmosphere of the studio, based on a consistency of thought and action, and fuelled by an interest in many different forms of knowledge. The contextualisation of the events related to the studio, as they unfolded over time, is wide-ranging, coherent and connotative. Antonietta Iolanda Lima, professor of history of architecture at the University of Palermo, has always tried, through theory, teaching and design, to disseminate the importance of history which can embracing innovation and tradition to an equal degree, forming a new architectural language. According to her view of architecture, history and design are closely connected, a 'single entity' as is reflected by her career. Since the 1980s, her academic work has gained increasing importance, a way of avoiding narrow sectoral approaches in the training of future architects, offering a holistic stance of the history of architecture and an architecture that contributes to shaping critical thought and a thriving cultural life.

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Text in English & German. If laziness is the mother of all inventions, then the car is its masterpiece. The earliest means of locomotion was walking, followed by riding on horses or camels; finally, with the invention of the wheel, came the ability to use carriages, which not only made locomotion far more comfortable but also brought the transportation of goods to a whole new level. However, it then took millennia for carriages to go from being propelled by horses or oxen to engines, initially steam-driven, then propelled by internal combustion engines and early experiments with electric propulsion. Cars were initially the result of pure craftsmanship, and as passenger cars were based on the concept of the carriage. The assembly line had not entirely abandoned the carriage look, but already showed a typical automobile profile: equal-sized wheels, engine bonnet, passenger compartment. The predominant body colour of cars manufactured between 1910 and 1930 was black, while all makes of car had an almost uniform appearance. As manufacturers moved away from metal-panelled wooden frames to an all-steel design, they hesitantly ventured to adopt new forms. Improved undercarriages and higher engine performance were initially limited by air resistance, which above a speed of 60 kilometres per hour is the strongest of all driving resistances. This led to the development of new body shapes that offer less resistance to the airstream. Engineers still determined the form of the car, sometimes even achieving formal elegance. It was only rarely that members of other professions, such as the architects Le Corbusier or Walter Gropius, were commissioned to design a car. Between the two World Wars North America had the worlds largest fleet of cars; this also meant that their design became an increasingly important sales factor. Professsional automobile design was established. As they continued to develop technically, cars in the 1950s moved further and further away from the physically logical form of a moving body. One of the last and most outstanding examples of a form with optimum resistance to the airstream is the Citroën ID/DS of 1955. Others, indeed almost all, opted for the pure symbolism of speed and power, whose most important ingredients were tail fins and chrome. Today, with a global annual production of close to 100 million passenger cars, automotive style has come to be represented by a wide range of almost every imaginable form. Architect Hans-Ulrich von Mende has worked with partners in an independent practice since 1990. For 50 years his writings and drawings on automotive design have appeared in books, trade journals (mot, autobild) and the daily press (Frankfurter Allgemeine Zeitung, Süddeutsche Zeitung).

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If there is a plateau that continuously unites Hans Dieter Schaals numerous artistic fields of activity, a kind of fundamental level, then it is surely that of landscape architecture. Landscape motifs are as convincingly present in his stage sets as they are in his installations, his exhibition architectures, his texts, and, naturally, also his park and garden designs. Schaal has been on the track of the fascination of landscapes since the 1960s. For him, encountering the parterre or 'carpet patterns' of the baroque Herrenhäuser Gärten in Hannover was a key experience. This was followed by an intensive study of the early landscape gardens of Great Britain, the park complexes of the Romantics and the Enlightenment in Weimar, Wörlitz, and Muskau, and by studies of the garden-art ideas and philosophical implications that underpinned each of them. As a twice-over 'artist-in-residence' at the Villa Massimo in Rome, Schaal was also able to absorb the whole cosmos of Italian garden and park planning, from the Renaissance to the present day. In 1978 Schaal published his first book, Wege und Wegräume (Paths and Passages), today considered a classic. Wege und Wegräume has become required reading and an artistic leitmotif for generations of landscape designers and architects. In 1994, a further key work appeared, entitled Neue Landschaftsarchitektur/New Landscape Architecture. It proved to be among the late-20th centurys most comprehensive studies of the topic of 'landscape' in the wider sense. Above all, it prompts an existential subjective excursus into all those spheres that are inscribed into landscape beyond the professional mainstream. Schaal was subsequently able to build a large number of spectacular 'follies' and installations in gardens and parks. From 1998 to 2014 he was finally able to actually realise a whole city park, complete with artistic installations: the Wielandpark in Biberach. The complex architectonic and artistic layout of this park embodies, as it were, the distilled essence of decades of working with the bridle paths at the boundaries of landscape. Frank R. Werner studied painting, architecture and architectural history in Mainz, Hanover and Stuttgart. From 1990 to 1994 he was professor of history and theory of architecture at the Staatliche Akademie der Bildenden Künste Stuttgart, from 1994 until his retirement in 2011 he was director of the Institut für Architekturgeschichte und Architekturtheorie at the Bergische Universität in Wuppertal. Peter C. Horn studied architecture in Munich. After working for several years in his original profession in South America, he runs a studio for architectural photography in Stuttgart since 1985.

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In 1980 the book Judith Turner Photographs Five Architects was internationally recognized by architects who admired and valued Turner's unique way of seeing and photographing architecture. This new book contains photographs taken between 1974 and 2009 of buildings designed by 17 well-known architects including: Peter Eisenman, Louis Kahn, Fumihiko Maki, Norman Foster, Frank Lloyd Wright, Le Corbusier, Frank Gehry, Zaha Hadid, Alvar Aalto, Shigeru Ban and Renzo Piano. From the beginning of her career, Turner has used architecture as subject matter. Ambiguity has always been a hallmark of her work where solids become voids, causing positive and negative to reverse. The photos are small fragments of architecture taken out of context. Through her eyes, the subject is decomposed and recreated, assuming a new meaning. The photographs are quiet, yet dynamic, beautifully framed compositions. Architects have commented that she exposes elements of their work they never imagined existed. Thus, while using architecture as subject matter to invent her own worlds, Turner is also revealing some of its inherent complexities.

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Text in German. When the synod of the Westphalian Evangelical Church made the decision to build the school in about 20 years ago, this was accompanied by a large number of hopes and desires that - formulated as a commission - were expressed in the foundation stone document that was walled up when building started in 1997. It runs like this: "The Evangelical Church of Westphalia, by establishing the comprehensive school in a district with particular need for renewal would like to set a sign of hope and help to prepare young people to deal with the urgent problems of our day. For this reason the school's educational work will focus on the following three points: the school should be a meeting-place, making it possible for young people coming from various nations and practicing different religions to live together peacefully; the school is to be an ecological place of learning, and enable young people to look after the creation that has been entrusted to mankind; and the school should open up to the district in which it is sited, and become a cultural centre. "The architects conceived the school as a little town, with the key aims of achieving diversity, sophistication and responsibility taken on by the users themselves. Hence the individual sections were all planned independently by colleagues of Peter Hubner and his plus+ bauplanung practice, with active participation by all the pupils involved. As the building was for a new foundation, it was possible to involve a whole year consisting of 130 pupils in planning and designing their own teaching area throughout the six-year building phase. Each year has a housing group, and each of the five classes has its own house inside it. Each house has its own entrance, its own cloakroom with toilets attached, a large gallery, a terrace and a garden. The book shows the entire process from developing the educational programme via the competition, planning and realisation including the participation processes to the everyday running of the school. It is a must for anyone interested in new educational concepts.

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Sanjay Patils tryst with architecture began in his early childhood as he soaked up the environs that surrounded him in his birthplace, Nashik. Moving on to formal education in architecture at the Sir JJ College of Architecture in Mumbai, Sanjay returned to his hometown in 1981 to immerse himself into a meaningful and sensitive architectural practice. Over the years, Sanjay Patil has received many honours from the industry and his projects have been widely published in architectural journals. His greatest reward however continues to be the appreciation and support of his numerous clients who have played a vital role in his approach to architecture. His Workspace 'Environ Planners' has also evolved into a centre for learning; inspiring, training and providing roots and wings to budding architects from various parts of the country. 'Knowledge sharing is integral to me and has always given me great pleasure and satisfaction. I have always made a conscious effort to share with others the little bit that I have learnt through my work, travel and other hobbies. This book is just an extension of this love for sharing; a humble effort to document some of my works across the last three decades and present it to a wider audience. It is an honest endeavour to make the reader a part of the design process and my passion for my work that is so much a part of my being.' The book is an attempt to chronicle the architects journey and delve deeper into his philosophy towards architecture and life, his love for nature and his commitment to architecture. Our journey thus encompasses influences from vernacular architecture, his leaning towards sustainable design, response to nature and his diverse use of courtyards in varying building typologies. It showcases 19 noteworthy projects, which include private residences, restoration projects, educational institutions, resorts and retreats, office spaces including his own workspace and farmhouse. It also includes essays by Christopher Benninger, Anand Mahindra (chairman and managing director, Mahindra Group) and Anu-rag Kashyap (principal, BNCA College of Architecture, Pune) providing valuable insights and perceptions about Sanjay Patils work.

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Text in English and German. If there is one building by Le Corbusier that represents a synthesis of his basic concepts it is certainly the Unité dhabitation built in Marseille in 194652. This built manifesto does not simply put forward a social model as a utopia, but also the unity of architecture and town planning. It is one of the most significant buildings there has ever been, but it also triggered a great deal of controversy. The story of the response to it has been recorded in order to investigate why this extremely ambitious project in particular should have caused such a conflict between intention and effect. The Unité dhabitation in Marseille is now very popular with the people who live in it as a building. Despite all the criticism, it obviously still offers functional advantages that make it easier for individuals and the community to live together. The enormous sculptural force and the characteristic interplay of light and colour shown in the photographs make the building into a personality that can be identified with. As well as this, the building also offers something special in terms of concrete spatial experience. In the age of a superficial "adventure society" it claims the intensity of an everyday experience that is both casual and at the same time complex, embracing all the senses. This extends from the reception in the imposing foyer to the theatre of figures on the roof terrace in the light of the landscape, from the inverted urban scenery of the promenade publique to twilight seclusion in the silent residential streets. And it includes the flats themselves, which open up expansively to draw in the sea and mountain mood. Le Corbusier used his architectural resources atmospherically and scenically to give the Unité dhabitation a succinct coherence that also forms the basis for individual lives within its rooms and spaces. Precise observation and description reveal the mechanisms of these effects.

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The fairy tales established Andersen's fame after he had initially become known for his novels. This volume contains a few selected fairy tales, including "The Little Mermaid" and "The Ugly Duckling", said to be Andersen's original inventions, while others go back to older Danish and foreign fairy-tale motifs that were improved upon by Andersen.

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The building of the National Library of Latvia is a landmark of the city of Riga, a spatial symbol and architectural icon, created by one of the 20th-century-renowned modernists the Latvian-born American architect Gunnar Birkerts. His metaphorically saturated and expressionist architecture has established its permanent place in the history of contemporary architecture. The unique creative style of Birkerts stems from his deep cultural roots in Latvia, his architectural studies in Germany after World War II and the first years of architectural practice in the USA learning from Eero Saarinen and Minoru Yamasaki. Birkerts was invited to Latvia to design the National Library as early as in 1988. Three years later, Latvia restored its independence and the formation of a new state delayed accomplishment of Birkerts' ambitious idea for 25 years. The idea, the design and technology changed as changed the times becoming a symbol of a new and free state. Thanks to its content and concurrent processes for reestablishment of the national state the building acquired a symbolic and meaningful name: the "Castle of Light". In 1999, the idea for construction of the library received the official UNESCO patronage and support, the design and construction of the building have been evaluated by a panel of prominent UNESCO experts. The pyramidal structure, which rises 68 m high, is a place of cognition equipped with state-of-the-art technology where up to 8 million units of national printed materials can be stored. It has been the most significant investment in cultural infrastructure since the establishment of the Latvian state and is one of the largest cultural buildings in Northern Europe in the 21st century. The library can serve simultaneously 1,000 visitors. A 400-seat concert hall/auditorium and transformable meeting rooms of various sizes are suitable venues for conferences, congresses and concerts. Taking advantage of modern technology, the National Library of Latvia and nearly 900 other libraries in Latvia are interlinked within the Network of Light a single network of digital resources available on the internet throughout the country which was set up with the support from the Bill and Melinda Gates Foundation.

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A point of artistic intersection between Historicism and Modernism.

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During the 1960s Italy's museum sector witnessed a fertile period of renewal. A generation of architects, working in partnership with the directors of museums, set about transforming into exhibition spaces a number of ancient monumental complexes located in the historic centres of some of the most important Italian cities. Among these was the brilliant and solitary Venetian architect Carlo Scarpa (19061978) who revitalised the discipline of museography by sagaciously combining it with restoration. His lucid intervention at Verona's Museo di Castelvecchio is emblematic of this approach: the medieval castle, the museum of ancient art, and modern architecture all harmoniously coexisting in a monument located at the heart of a city designated a UNESCO World Heritage Site. The far-sighted choice of Scarpa was owed to the then director of the museum, Licisco Magagnato, who tenaciously argued the case for the appointment of an architect specialising in this field to work on the city's principal museum of ancient art. The renovation work, which continued for more than a decade, took place in various phases (19581964, 1967 and 19681974) but in accordance with a remarkably consistent and coherent plan. In his work on Castelvecchio, carried out at a significant point in his career, Scarpa attained a remarkable balance between different aesthetic elements that is particularly evident in the sculpture gallery, where the renovations harmonise with the power of the 14th-century Veronese sculptures exhibited in this section of the museum. One of the most striking details is the location of the equestrian statue of Cangrande I della Scala. For the presentation of this work the architect conceived a backdrop of great poetry, drawing the visitor's attention to its historical stratifications and simultaneously creating an exemplary essay in modern architecture. This museum is the most perfectly resolved of Scarpa's works in terms of the complexity and coherence of its design, and today remains "outrageously" well preserved. It is therefore unsurprising that a photographer-artist such as Richard Bryant should have been attracted by the extraordinary compositional, spatial and luminous harmony of Castelvecchio. The book is introduced by an essay by Alba Di Lieto, the architect appointed to Verona City Council's Direzione Musei d'Arte e Monumenti, a scholar of Scarpa's drawings, and the author of monographs on his work. She describes the architect's renovation and locates it in the context of Italy's architectural panorama. She also offers insights into the cataloguing of Scarpa's graphic output in the context of the overall conservation of his work. The essay is followed by a brief history of the castle by Paola Marini, who was the director of Verona's civic museum network for 22 years. The essay is followed by a brief history of the castle by Paola Marini, who was the director of Verona's civic museum network for 22 years. In December 2015 she has taken on a new role as director of the Gallerie dell'Accademia in Venice the first of Scarpa's museum projects in 1949. Valeria Carullo writes in her postscript about her experience by assisting Richard Bryant in photographing the castle. She is curator of The Robert Elwall Photographs Collection in the RIBA British Architectural Library. Richard Bryant is one of the best-known architectural photographers, working all over the world. He and Hélène Binet are the only photographers with an honorary fellowship of the Royal Institute of British Architects.

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Text in English & German. The topic of this book is memory. What do we remember? We like to recall joyful events and wish we could relive them again and again. On the other hand wars, genocides, flight, destruction and epidemics are events remembered with horror, and sometimes their memory is even repressed. Eventually times change, and we begin to forget everything that happened. Our vision of the world is in danger of vanishing. Monuments counteract forgetting. Up to the beginning of the 20th century these were marble busts, figures of horsemen, bronze sculptures, columns, gateways and tombs that were erected in public urban spaces and in parks. This was a way to honour heroes and their military, political and cultural feats and to keep their memory alive. Their goal was to educate and admonish people. Their function was thus to provide models, but also to make viewers feel submissive. Today, in our democratic, pluralistic society, when modern means of communication accelerate all developments, the definition of the monument as a solemn, massive sign of remembrance that brings to mind historic moments has become obsolete. Daily the mass media inundate us with a plethora of images of the past and the present. Thus millions of people can participate in past and present events. There is an almost infinite number of collective experiences and just as many signs of remembrance. This being so, is there anything that can still be called a monument? It is this and similar questions regarding monuments that preoccupy the author in this book; he presents his profound insights into all aspects of the history of architecture and art, of philosophy and the new media. The book is a godsend for readers who are looking for ideas and information that go beyond the mainstream.

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Text in English & German. Manfred Sack, in an essay about bridges: The Latin word relegere' means to connect. The assumption is that this is the basis of the word religion. The chief priest in Rome was the pontifex maximus, the highest builder of bridges between man and god, between this world and the other world'. The Germanic tribes saw the bridge in the rainbow physically before them, it was their road of light to Valhalla. For those who are disheartened, drugs are the bridge of escape into other, very illusory, worlds of experience. Tradition builds bridges from yesterday to tomorrow. There are so many bridges: music, a letter, the sounds of a radio, phone conversations, light signals, Morse signals, calls. The building of bridges is thus not only a physical process, but a spiritual and emotional event, a longing felt by the soul. No wonder that those who design and calculate bridges, who build them and therefore take risks, at least subconsciously sense some of the extrasensory significance of their sensory activity. And this is all the more true when we are talking about the bridges across the Rhine, the most important European river, which is wreathed in myths and legends and has inspired poetry and music like no other. Until the 19th century it was crossed almost exclusively by means of ferries. With the onset of industrialisation, more and more goods had to be transported increasingly rapidly. Today, over 250 bridges cross the river. They too now shape the unsurpassed diversity of the Rhine landscape. Since 1987, Riehle has photographed some 150 Rhine bridges from the river's headwaters in Switzerland to the Rhine's delta in the Netherlands. The most interesting 100 bridges are published in this book.

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The Prussian gardens in Berlin, Potsdam and elsewhere in Brandenburg: for the first time, texts and photographs present an overall view of all the gardens and parks created under the Hohenzollerns over a period of more than three centuries. Only the cross-genre collaborative effort of garden designers, gardeners, architects, scenographers, sculptors, painters, and creative rulers, the most prominent of whom were Frederick II and Frederick William IV, made it possible "to turn the environs of Berlin and Potsdam step by step into a garden", as Frederick William IV put it in 1840. Figures such as David Garmatter, Friedrich Christian Glume, Siméon Godeau, Georg Wenzeslaus von Knobelsdorff, Peter Joseph Lenné, Antoine Pesne, Prince Hermann von Pückler-Muskau, Georg Potente, Karl Friedrich Schinkel, the Sello brothers, and Antoine Watteau -- picked from a whole cornucopia of names -- indicate the spectrum of artistic forces that created the Prussian garden realm. Impatient with his royal client, who had once again cut his funding, Lenné alluded to the high standard of princely landscape art: "Your Majesty still does not understand how ingenious my idea is". The present volume is an attempt to examine the "ingeniousness of the idea" specifically inherent in the gardens of the Hohenzollerns in Prussia.

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The architect is at all times also an artist. How otherwise would he be able to tame the three-dimensionality of space and subdue the urges of physics and structural mechanics with the creations of his fantasy? This creativity is however mostly restricted purely to its own field. Rob Krier is an exception. For years, he has seen his love of art as a vocation -- one which he nurtures parallel to his work in construction. Fine art should stand in dialogue with architecture and it is Krier's ambition to have iconographic themes brought into the latter, so that they might speak equally to both the occupants of a building and to bystanders, moving them to thoughtful reflection. In his contribution to the European Embankment project in St Petersburg, Krier recently demonstrated the power of architecture and fine art to cross-fertilise. The architects in charge of the urban development of this district are Sergei Tchoban and Evgeny Gerasimov. Krier designed the façade for a 132-metres long building on the Newa riverbank one that looks across the water onto the rear façade of the Hermitage. The vibrancy of the architecture is enhanced by its sculptural ornamentation based on the Balzac theme, 'The Human Comedy'. In this regard, Krier modelled over 50 figures in white clay, as well as around 65 linear metres of reliefs. The short poems that comment on the sculptures also centre on the theme of mankind and its interrelationships in society.

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Text in English & German. Since the 1950s Stefan Polónyi has realised a large number of buildings of all kinds from his Cologne office, working with famous architects all over the world. In his view, load-bearing structure, form and function have to form an indissoluble entity, and thus create an aesthetic appearance: beauty feeds on structural consistency. Very few civil engineers have made claims of this kind. Architects who have worked with Polónyi see this ambitious claim as something that has enriched their own design process. First of all Polónyi, working with Josef Lehmbrock and Fritz Schaller, developed bold folded structures and shells for church buildings, and this at a time before statical calculations were not done by computer, but a lot of things still had to be tried out in model form. Polónyi co-operated closely with Oswald Mathias Ungers on the Galleria for the Frankfurter Messe, among other projects. He made the flying roof for Axel Schultes' Kunstmuseum Bonn possible, supported by a row of irregularly placed columns, and also the undulating metal ceiling in the auditorium of Rem Koolhaas' Nederlands Dans Theater and the umbrella-like roofing for the approach tracks in Cologne's main station. Polónyi's bridges, built from the 1990s in the Ruhr District, have become landmarks in the meantime with their red curved tubes as a structural and aesthetic element. Today he creates his bridges as buildings over the river, so-called Living Bridges. Polónyi's wide range of professional experience had a considerable bearing on his teaching at Berlin and Dortmund Technical Universities. Working with architects Harald Deilmann and Josef Paul Kleihues, Polónyi established the "Dortmund Model for the Building Sciences". It provides joint training for architects and civil engineers in a single faculty. The present book is appearing to accompany the exhibition of the same name in the "Dortmunder U". The essays address specific aspects of Polónyi's work. So Karl-Eugen Kurrer and Ulrich Pfammatter look at the development of structural analysis and the resultant distinction drawn between the professional territories of the civil engineer and the architect. Patrik Schumacher, partner in Zaha Hadid's practice, represents a current position in terms of co-operation between the two disciplines. Katrin Lichtenstein's account of the Dortmund Model and Atilla Ötes' view of the current study situation consider the effect on training and teaching. Sonja Hnilica analyses the folding systems and shells in the church projects, and Polónyi presents his bridges, including the designs for the Living Bridges.

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Text in English & German. Like literary texts, films often tell stories on multiple levels. Ridley Scott made an ironic reference to this when he called his legendary science-fiction film Blade Runner a "700-layer cake". These buried structures are created in two ways: by elements that resonate throughout the film itself and by references to other films, texts, myths, paintings, historical events etc. that are adapted in a specific way by the director, the scriptwriter and the production team. The heroine in Hitchcock's film The Birds, for instance, is a modern Aphrodite / Venus. Just as Venus, born from the sea foam, was carried to land on a seashell, Melanie is carried across Bodega Bay in a boat that is not much bigger than Venus' vessel in Botticelli's painting. Melanie's name is another reference to Aphrodite, who was also known as Melaina, "the black one". In the fist scene of the film, in which she enters the pet shop where she later gets to know Mitch and buys the love birds, Melanie is also dressed in black. The Venus-like Melanie is felt to be a threat by others within their world, and especially by more conventional women. One of them screams at her hysterically: "I think you're evil! Evil!". This creates a particular connection between love and horror in the film. The classical Aphrodite also had a dark side -- her union with Ares produced not only Harmonia, but also Deimos and Phobos: "dread" and "fear". Detecting hidden references is only the first step in creating an analysis; the next step is to elucidate the function of the reference within the film. For instance, what does it mean that Hitchcock's heroine is attacked by birds, whereas Venus was depicted accompanied by a dove? And why does Melanie, our "Venus", wear furs? Kirsch's investigations of this and other questions open up new perspectives on a number of films, with extensive illustrations allowing the reader to follow these in detail. The book invites us to take a second look at The Birds, Blake Edwards' The Party, Ridley Scott's Blade Runner and Gladiator and Stefan Ruzowitzky's Anatomy. Konrad Kirsch is a PhD in literature and an enthusiastic viewer of films. He has published texts on Georg Büchner, Elias Canetti, Robert Walser, Franz Kafka and William Shakespeare. Most recently, his article on Heinrich von Kleist was published in the Zeitschrift für deutsche Philologie.

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