Search results for ""author axel"

This book honors the work of the influential economist Axel Leijonhufvud. His work in macroeconomics, monetary theory and European economic history has spurred great discussion over many years, and the authors of this book comprise some of the very best economists active today. The broad influence of his work is evident in the variety of subjects his readers address.The topics range from Keynesian economics and the economics of high inflation to the micro-foundations of macroeconomics and economic history. The reader will find an intriguing compilation of ideas ranging from bankruptcy and collateral debt, the macroeconomics of broken promises, interest rate setting, growth patterns of macro models, innovation history to macroeconomics with intelligent autonomous agents.Scholars and students of economic history, Keynesian economics and alternative monetary theory will be delighted with the work inspired by this influential thinker.

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The fact that the entire history of culture and technology could represent a single, continuous expulsion of mankind from the original, paradiese state of nature was already described visionarilyin the Bible and predicted with all its positive and negative consequences. Everyone knows the story of Adam and Eve, of their 'Fall' and their 'Expulsion from Paradise'. Even as a non-Christian it is worth taking a look at the fairytale-like-mythic text of the Old Testament, although the picture and the process completely contradict our current scientific findings. One would almost be inclined to assume that the idea of a primeval paradise is innate in all human beings and that every human being with his becoming, his birth, his childhood and his adulthood experiences something like a Genesis. He is born innocent and helpless, wakes up, looks around, believes to be free, gets to know his time, his surroundings, his life. The final expulsion of every human being from life is his death. He is a sentenced to death. Despite all religious promises, man has always been aware of this fact, also of the fact that he has only this one life and that he ultimately cannot count on the hope that beyond this life there is something that could be called 'salvation', a happy return to the Garden of Eden. As the book shows with numerous, primarily European examples, the history of man is therefore full of efforts to regain here and now the lost paradise, no matter how precarious the result may be. In search of the lost paradises: a somewhat unusual history of man in his relationship to nature, followed by a description of the current state of landscape planning and garden design. In the third, concluding part of the book, the author develops new, strangely surreal and poetic concepts of the treatment of nature, inspired by literature, film, theatre and tourism.Hans Dieter Schaal, born in Ulm in 1943, is an architect, landscape architect, stage designer and exhibition designer. His works, the majority of which have been published by the Axel MengesEdition, have meanwhile reached an audience far beyond his in my homeland. The author lives and works in a village near Biberach an der Riss.

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Play-acting but above all the opera have only seemingly little to do with our everyday life. In fact opera is a very artificial work of art in which reality is nevertheless present, but condensed in such a way that it touches us throughout the ages. In experiencing opera performances, we thus become companions of the bard Orpheus in Monteverdis opera L'Orfeo, who mourns the death of his beloved nymph Eurydice with his laments. We transform ourselves into sympathetic and compassionate brothers and sisters of Orpheus, Wozzeck, Tosca, Tristan, Isolde or Jenufa and are thus directly referred to the perils and also pleasures in our own lives. In order to make the visual and sound dimensions of an opera tangible for the audience, a close interaction of dramaturges, actors, singers, dancers, directors, stage designers and technicians is necessary. What role do stage designers play in this? Dont some performances owe their success primarily to the work of the set designer? The stage settings created by Hans Dieter Schaal, who has worked on almost all German stages, but also in many important international theatre venues, including Vienna, Salzburg, Zurich, Brussels, Paris, Moscow and San Francisco, have, over and over again, such a lasting effect due to their visual power that they remain in the memory of the audience for a long time. The first volume on Hans Dieter Schaals stage settings covered the years 1982 to 2000, and this book now brings out a further volume dedicated to the works from 2001 to 2021. The book is captivating not only because of its abundance of mostly large-format photographs and many design drawings, but also because of the detailed texts written by Schaal himself, which reveal how intensively the artist deals with the respective work. As a result he invents images that often trigger a completely new perspective on the works. Hans Dieter Schaal, born in Ulm in 1943, is an architect, landscape designer, stage designer, exhibition designer and artist. His works, the majority of which have been published by Edition Axel Menges, have found an audience far beyond his home country. The author lives and works near Biberach an der Riß.

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Text in German. The theme of this book is nutrition: the manufacture and availability of foodstuffs, and their preparation and presentation in the context of a societys social and cultural development. Nutrition and physical wellbeing are closely linked. Human beings and animals alike need to eat in order to survive. In our rich industrial nations, where the availability of food is taken for granted, attitudes towards food tend toward extremes: asceticism on the one hand, and overindulgence and excess on the other. Over the centuries, methods of food consumption and food preparation have become refined in tandem with the ever more differentiated organisation of human coexistence between these two poles. Regional and social differences in taste-related culture have arisen, each representative of the lifestyle of their time. Today, cooking and the arranging of food may have an almost artistic form, with high expectations for the quality of the product and its preparation. The fact is, however, that we live in a society in which almost all products are industrially produced. We have no power to influence the production process, and the lists of ingredients on the packaging that provide information on the composition of individual foods are puzzling, and make us doubt whether the product is really what it pretends to be. In a wide-ranging tour dhorizon, this book investigates the complex contemporary semantic fields of foods, their production and preparation, their presentation in a commercial context, and their marketing in the media. The author also takes a critical look at the new enthusiasm for DIY food production, baking, and even livestock slaughter, and examines the star system way cooking is presented in the media. The resulting book is a cultural history of food and of eating from a cultural history, sociology, psychology, economy, and media perspective, as they exist within the contemporary discourse on nutrition with its extremes of hype and hubris. Volker Fischer was deputy director of the Deutsches Architekturmuseum in Frankfurt am Main for over ten years. From 1994 to 2012 he has built up a new design department at the Museum for Applied Arts in Frankfurt. At the same time, he taught on the history of architecture and design at the Hochschule für Gestaltung in Offenbach. Fischer is already represented in Edition Axel Menges by books on Stefan Heiliger, Richard Meier, Stefan Wewerka, the Commerzbank in Frankfurt am Main by Norman Foster, Hall 3 of Messe Frankfurt by Nicholas Grimshaw, on "beauty design" as well as on the design activities of Lufthansa and Apple.

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The Königstein Fortress, located not far from Dresden on a rocky plateau high above the Elbe River, is considered one of the most interesting and best preserved fortifications in Europe. It has a long eventful history dating back to the Bronze Age. Königstein was first mentioned in documents in 1241. It was not until the end of the 16th century that the former castle began to be expanded into a fortress, which was then constantly adapted to new conditions. However, it was spared from warlike destruction over all the centuries. Instead, it was sometimes used as a prison camp in times of war, for example during the Franco-Prussian War of 1870/71 and for the last time during the Second World War. In 1949, the then GDR set up a youth workshop in the fortress based on the teachings of Soviet pedagogue Anton Semyonovich Makarenko. In 1955, the GDRs Ministry of Culture finally converted Königstein into a museum and since 1991, now owned by the Free State of Saxony, it has undergone extensive structural renovation. The managing director of Festung Königstein gGmbH, Angelika Taube, became aware of Hans Dieter Schaal as early as 1997, and in the following years established an intensive collaboration with him, which has now resulted in six permanent and twelve temporary exhibitions. They illustrate the multifaceted history of the fortress in a way that clearly stands out from pure documentation and always creates something new and original from the factually given. This book presents these exhibitions in large-format colour illustrations. In addition, it contains descriptions and comments by Schaal that clarify the history of the exhibitions and also give the reader insights into the creative processes. Hans Dieter Schaal, born in Ulm in 1943, architect, stage designer, exhibition and landscape planner, makes the complexity of reality visible through his analytically differentiated stagings and brings its background into the field of vision of the attentive viewer. His works, the majority of which have been published by Edition Axel Menges, have since found an audience far beyond the borders of his native country. The author lives and works in a village near Biberach an der Riss.

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Text in French. Depuis plus de 350 ans les Parisiens ont conçu mais aussi préservé de phénoménaux espaces en plein air, ouverts au public. Dans son livre Jacqueline Widmar Stewart suit le tissage de la tapisserie des parcs de Paris et ses environs. LIdentification de lépoque á laquelle il a été construit peut donner á chaque parc des qualités multidimensionnelles et permet aux lecteurs de découvrir ces grands espaces verts tout comme les Parisiens. De nombreuses couches déléments et de thèmes tissent les parcs français. Aussi loin que lon remonte dans lhéritage ancien, les vestiges de lhistoire de Paris apparaissent dans tous les parcs, quelque soit leur taille. La répartition équilibrée des espaces verts dans la ville reflète une époque majeure du 19ème siècle; les parcs contemporains maintiennent ces traditions. Un certain nombre de parcs et jardins français du 17ème siècle ont appartenu initialement aux domaines royaux, mais maintenant accueillent le public. En aparté il convient de noter que le premier parc de Paris, le Jardin des Tuileries, a ouvert ses portes au public en 1667. Soigneusement conçus et méticuleusement adaptés aux besoins de lépoque, certains parcs ont camouflé le délabrement urbain inesthétique avec splendeur; dautres ont converti des sites industriels á un usage récréatif, tout en maintenant des liens culturels avec le passé. Beaucoup de merveilles invitent tous ceux qui pénètrent dans les sphères magiques de Paris: une promenade paysagère de plusieurs kilomètres au-dessus de rues animées; un jardin moderne suspendu au-dessus dune gare de train; un parc sur la rive dun canal avec ses grandes curiosités architecturales rouges; une allée au milieu dune île de la Seine; un marais récemment construit qui abrite déjá des canetons colverts; des nuages de parfum émanant des roses de la collection originale de Joséphine Bonaparte; au moins deux jardins ayant appartenu au célèbre sculpteur Auguste Rodin. Depuis ses études secondaires dans lIndiana, la langue et la littérature françaises ont fasciné Jacqueline Widmar Stewart, qui a étudié aux Universités du Colorado et du Michigan et qui a obtenu son doctorat en droit á lUniversité de Stanford á Palo Alto. Son premier livre, The Glaciers Treasure Trove: A Field Guide to the Lake Michigan Riviera, se penche sur les histoires géologiques et philanthropiques de cinq parcs au sud du lac, près de Chicago. Son deuxième livre, Finding Slovenia: A Guide to Old Europes New Country, met en valeur les merveilles de la terre natale de ses grands-parents. En 2011 Edition Axel Menges a publié Parks and Gardens in Greater Paris, maintenant aussi disponible en français. Champagne Regained, publié par Edition Axel Menges en 2013, raconte lhistoire de la boisson et du commerce du Champagne, depuis la période médiévale.

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Text in English & German. This book is a synopsis, a summary of the books also published by Edition Axel Menges about the Prussian architects Karl Friedrich Schinkel (1781-1841), Ludwig Persius (1803-1845) and Friedrich August Stüler (1800-1865), but it covers only the works of these architects in Berlin and Potsdam. The three books mentioned above are subtitled 'The architectural work today'; in other words, they are exclusively about buildings that still exist. This is also true of the present selection. The question whether this selection and limitation to Berlin and Potsdam is representative of the work of the three architects can clearly be answered in the affirmative. For Persius this question does not even arise, because during his short life he worked almost exclusively in Potsdam and its immediate vicinity -- he was the 'King's architect'. Stüler's work is found in a region extending from Cologne on the Rhine to Masuria, with some important buildings in Stockholm and Budapest as well. About a quarter of his works can be found in Potsdam and Berlin, where Stüler, too, was the 'King's architect'. The truly gigantic lifework of Schinkel extends from Aachen to St Petersburg. Berlin and Potsdam have about a third of his works. It can be confidently said, however, that those who know the works of Schinkel, Persius and Stüler in Berlin and Potsdam also know the architect's work as a whole in each case. Since the pictures assembled here were taken between 1998 and 2005, they themselves have already become somewhat historical.

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This is the first monograph on the life and work of the Czech born British architect Kaplicky (1937-2009). It is a fully comprehensive work based on a decade of research and is a distinctive portrait of one of the most distinguished architects and designers of the 20th and 21st centuries. At the same time it is an exploration into historical events, which influenced a number of talented artists, writers and designers, some of whom were forced, like Kaplicky, to emigrate from Czechoslovakia in order to expand their skills and search for beauty through living in freedom in democratic countries. After immigrating to the United Kingdom in 1968, Kaplicky applied his imagination and diligence and enhanced his skills and aptitude, gaining admiration and respect following the cofounding of the innovative Future Systems studio in 1979. With his wide-ranging architectural and design oeuvre Kaplicky affirmed greatness of his immense talent and ability. The author was a friend, through their shared émigré life experience, giving him broad insight into the inception and realisation of this book. He searched family archives and referenced Kaplickys private diaries. The author drew on everybody who had something important to say and gathered written memories and interviews from Kaplickys friends, colleagues, partners and clients, which form the cornerstone of the monograph. His aim was to write a book that would mirror Kaplickys life and work, a representation made up not only from the authors own point of view, but also according to others with whom Kaplicky had been in contact during his life. The book has many voices and has a kaleidoscopic format, which truly explores Kaplickys complex personality and his creativity. It does not overwhelm with excessive information, but builds a picture of the man behind his designs and tells his story. The author presents Kaplickys personal side with sensitivity and explains his dramatic decision-making.

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Text in English & German. The inhabitants of our cities have undoubtedly come down with a gardening virus. Gardening is being propagated as the new sex. Wherever one looks, a gardening euphoria is in bloom. We only have to think of the riverbanks restored to their natural state, the urban gardening and urban farming projects springing up all over the world, the green skyscrapers (prospective and actually built) such as, for instance, the utopian farmscrapers of Vincent Callebout, the conversion of former high rail lines into green recreation spaces, the meditation gardens of Piet Oudolf, and the vertical gardens of Patrick Blanc. We dwell on the growing and sprouting, on the sowing and harvesting, with a kind of covert pleasure and sublimated erotic desire. These days, we feel close to greenery, just as we feel close to our pets. We tend and nurture the seeds and stalks, the leaves and flowers, the shrubs and grasses, the bushes and trees, with a matchless solicitude. These culturally coded natural phenomena also have therapeutic qualities, because they offer us self-determination and the possibility to share in social development. This is nothing less than the reintegration of the first, primal nature into the context of the conditions that have become ubiquitous today into the context of what has, today, become 'second nature'. For some people, such as the campaigners of 'Guerilla Gardening', these plants, wild and domestic, provide a way of criticizing the system; others, such as vertical planners of wall gardens like Ken Yeang, utopia-infatuated and bitten by the green bug, presumably see themselves as an avant-garde working in harmony with the system. All of those coming down the garden virus, however, have in common that they see themselves as reformers, as campaigners and as voices arguing for a reconciliation the first and the second, ubiquitous urban, nature, but also between the ecology and the economy. Volker Fischer was deputy director of the Deutsches Architekturmuseum in Frankfurt am Main for over ten years. From 1994 to 2012 he has built up a new design department at the Museum for Applied Arts in Frankfurt. At the same time, he taught on the history of architecture and design at the Hochschule für Gestaltung in Offenbach. Fischer is already represented in Edition Axel Menges by books on Stefan Heiliger, Richard Meier, Stefan Wewerka, the Commerzbank in Frankfurt am Main by Norman Foster, Hall 3 of Messe Frankfurt by Nicholas Grimshaw, on 'beauty design' as well as on the design activities of Lufthansa and Apple.

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Since the end of the 20th century, an unprecedented number of remarkable museums have been built. None have had bigger worldwide implications than Frank Gehry's Guggenheim Museum in Bilbao (199197). Until, that is, the new Musée des Confluences in Lyon was opened to the public, in late 2014. It was created by Wolf D. Prix of the Coop Himmelb(l)au team, which was founded in the 1970s. Many avant-garde groups from those wild years such as Archigram, Superstudio, Archizoom, Haus-Rucker-Co, and the Japanese Metabolists are now consigned to the past, but the Coop Himmelb(l)au architecture firm, whose special aspiration was always to bring into the world buildings that overcome the pull of the earth buildings 'to float on the horizon like clouds' is more in demand than ever. The finest demonstration of this endeavour to date can now be admired in Lyon. Functioning as a museum of human history, this impressive concrete, metal and glass colossus truly does appear to float above the peninsula at the confluence of the Rhône and the Saône. Like the Guggenheim Museum in Bilbao, this new building, so impossible to overlook, is an inspiration for the revita-lisation of disrupted urban areas and the valorisation of derelict industrial areas within the city precincts, but also far beyond Lyon. This Opus volume deals with the origins, construction, function and formal appearance of the Musée des Confluences, and also offers a preliminary theoretically based evaluation of the architecture of the building. Frank R. Werner was professor of history and architecture theory at the Staatliche Akademie der Bildenden Künste Stuttgart from 1990 until 1994 and director of the Institut für Architekturgeschichte und Architekturtheorie at the Bergische Universität in Wuppertal from 1993 until his retirement in 2012. He studied painting, architecture and history of architecture in Mainz, Hanover and Stuttgart. Christian Richters studied communication design at the Folkwang-schule in Essen. He is one of the most sought-after architecture photographers in Europe. To date he has been represented in the Opus series by 14 volumes, including ones about the embassies of the Nordic countries and the Bode Museum in Berlin, the Nieuwe Luxor Theater in Rotterdam and the BMW Welt in Munich. See also: Opus 66. Coop Himmelb(l)au, BMW Welt, München, Edition Axel Menges 2009.

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Text in English & German. Cosmetically-enhanced beauty is something that has existed for decades. Over the course of the last century, however, a cosmetics industry has arisen that is worth millions. Its products claim to optimise visual appearance, to bestow inner and outer health and to delay aging, under a veneer of medical credibility and reliable results. Cosmetics deals in alleged 'deep-acting' substances, which are supposed to detoxify and to purify the body from within. However, the whole arsenal of cosmetic ingredients is founded more on persuasion than conviction. Cosmetics is always a matter of mimicking an ideal. To this extent, cosmetic discourse deals in what might be described as an iconography of hunger -- it requires and is predicated upon a feeling of lack. At the same time, it promises to remedy that lack. The referential frame for cosmetics is constituted by cultural history and iconology, by semiotics and sociology, by psychology and rhetoric. Like fashion, it has called into being a linguistic system of considerable depth and complexity; one that draws its subtexts from futurology and history, from medicine and alchemy, from nostalgia and from heritage preservation. Cosmetics are supposed to make one more attractive and more seductive -- to make one positively irresistible, in fact. Cosmetics hold out the prospect of sexiness to women and men alike. All that one has to do is to acquire the right creams and lotions, the right palette of powders and rouges, of lipsticks and mascara, and one has a form of beauty that can be bought! The persuasive power of cosmetics is as dominant as it is irresistible. All of us could resist it if we wished to. And yet we don't wish to. This book exposes the rhetorical system behind the promises of cosmetics in terms of the histories of cultures and of mentalities, analysing the verbal/visual messages of selected examples. The internationally known architecture and design historian Volker Fischer was deputy director of the Deutsches Architekturmuseum in Frankfurt am Main for over ten years. Since 1995 he has built up a new design department in the Museum for Applied Arts in Frankfurt; in addition to his museum work he teaches history of architecture and design at the Hochschule für Gestaltung in Offenbach. Volker Fischer is already represented in Edition Axel Menges by books on Stefan Wewerka, Richard Meier, the Commerzbank in Frankfurt by Norman Foster, Hall 3 of Messe Frankfurt am Main by Nicholas Grimshaw, and the design activities of Lufthansa.

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Text in English and German. Perhaps the fascination of American landscapes, particularly the deserts is their featurelessness. In Germany, Brandenburg for example, the much plainer landscape lives on in its history. This where the Great Elector won his victory and Napoleon lost a battle. Actual nature unaffected by human beings is hidden under the woodland and heath. The American desert landscape is dominated by grandiose nature with out human intervention. Here the history of the earth is to the fore exercising a particular fascination and anyone who reads it enjoys a double gift. The author travelled around the country photographing the mountains and valleys, the coastline and nature reserves. He also encountered people and writes about American friendliness.

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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. Chaos and anarchy represent the opposite pole to an ordered life. Nothing works any more, everything is devastated, everything is falling apart. City walls, buildings that once afforded protection, have fallen victim to the excesses of armed conflict. Infernal threats, ambushes, fiery rain and other catastrophes were described even in the Bible. Pillaging and plunder were part of everyday life in the Middle Ages. Cruel deeds familiar from the Bible, or those described by other people or experienced personally, inspired painters in the transitional period from the Middle Ages to the Renaissance, and were picked out as a central theme in their pictures. In the 18th century it became fashionable to build artificial ruins in parks and landscape gardens. Ruins became an image of human inadequacy in the attempt to come to terms with nature. 18th century landscape painters used ruin motifs in order to suggest the mysterious magic of pain, the sadness of beauty, to viewers. In the first half of the last century the world had to endure two wars that costs millions of people their lives and reduced many cities to rubble. Countless ruins remained. Few of them have survived. Overgrown with grass, ivy and Virginia creeper they now tower up out of the landscape like many others from various epochs bearing witness to those who see them of the vanity of human endeavour, of transience, of death; filling them with horror, but at the same time exuding a feeling of gloom and sadness, of melancholy. In this book, the author delivers a detailed assessment of ruins as a phenomenon in architecture, landscape design, fine art, film and the media. The result is an extraordinarily intense contribution to the theme of transience.

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Dissatisfied with the world we live in, we have been longing since time immemorial for two opposing topoi: the peaceful garden -- a carefree paradise -- the New City -- a harmonious community. Utopia has long been sought after by urban architects since the time of Thomas More. Other fictional cities followed, some of which were brought to fruition such as Brasilia and Palmanova. Yet these cities too have turned out to be imperfect, deeply rooted in their own period. For the author, all these places, though only fictitious, have long since been built and he strolls through them in company with the architects, planners, writers and philosophers, just as Thomas More and many others once led us through their cities.

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In 1840 Sir Thomas Mitchell, Surveyor General of the British Crown, chose a rocky promontory on Sydney harbour for his home. He built a cottage in the style of Gothic Revival, popularised in England by Augustus Welby Northmore Pugin and documented in popular copy books shipped with his baggage from his home country. The house perfectly expresses the imaginative dislocation of European culture into the romantic wilderness. Whether they came out of duty, like Mitchell, or in the hope of opportunity, the European immigrants viewed Australia as a "terra nullius", as an empty land, a vacant space waiting to receive a model of Christian civilisation. It took a century to realise that the dream did not comfortably fit the continent. The story of Australian architecture might be said to parallel the endeavours of Australians to adapt and reconcile themselves with their home and neighbours. It is the story of 200 years of coming to terms with the land: of adaptation, insight and making do. Early settlers were poorly provisioned, profoundly ignorant of the land and richly prejudiced towards its peoples. They pursued many paths over many terrains. From the moist temperate region of Tasmania with heavy Palladian villas to the monsoonal north with open, lightweight stilt houses, the continent has induced most different regional building styles. The buildings included within this guide extend from the first examples of Australian architecture by convict architect Francis Greenway to the works by today's rising generation. It covers not only buildings by such famous architects as Walter Burley Griffin, Harry Seidler, Jørn Utzon, John Andrews, Philip Cox and Glenn Murcutt, but also many high-quality works by less known exponents of the profession. Photographs by the renowned Max Dupain and the present proprietor of his firm, Eric Sierins, including many especially commissioned for this book, support the text. Contributing authors have supplied material where vital local knowledge is essential.

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Early nomadic shelters, including caves, animal skin tents, and igloos, were used for protection against wind, rain, snow, sunlight, and other forces of nature. These basic homes also provided defence against predators and were used to store a few important possessions. They were temporary, and proximity to a water source was of prime importance. For hunters and gatherers, shelter was an important aspect of survival. Health and comfort were not yet under consideration. As civilisation evolved, housing became more permanent, with increasing attention to well-being. The housing and utilities available in rich countries are vastly different from those in poorer settings. Unlike in industrialised countries where piped-in water, indoor toilets, and sewage systems are the norm, in the developing world these facilities are often not available. Waterborne enteric diseases, preventable by the supply of safe water, hand washing, and appropriate sanitation, continue to be a major disease burden in poor countries. Vector-borne diseases that can be controlled by screening and other barrier methods also remain an important health problem. Safe, comfortable, and healthy homes are an essential requisite for healthy living around the world, irrespective of culture or socio-economic status. Throughout the tropics there is a huge diversity in house design and use of building supplies based on centuries of indigenous experience, customs, and availability of local resources for construction. These differences in building style and materials affect the indoor conditions and comfort of occupants, which in turn influence the occupants' exposure to certain infectious diseases. In this book the authors describe the architectural designs and materials of rural houses in two countries in Asia (Thailand, Philippines) and two in Africa (The Gambia, Tanzania). They analyse the effect of design on the indoor climate and relate these factors to health, notably the risk of mosquito-borne infectious diseases such as malaria. Based on their findings and a detailed understanding of local building styles and preferences, they describe a series of house modifications that could enhance comfort whilst reducing health risks.

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A house is a representation of the idea of the world, of life, of existence. For the Cologne architect Oswald Mathias Ungers (19262007), owner of a famous collection of books on architecture, who also repeatedly addressed the theoretical aspects of building, the construction of his own house, in 1958/59, was more than a private adventure. For him it meant a chance to gain spatial experience and explore what was possible. It was a laboratory, a little universe, a piece of world. In the course of his life, Ungers built himself and his family no less than three houses, two in the Cologne suburb of Müngersdorf, one in the Eifel highlands. Even the first house, to which this richly illustrated volume is dedicated, caused an international sensation; it was considered to be an important example of so-called Brutalism. It showed "everything I knew how to do at the time", Ungers wrote regarding the building. He wanted a house that enveloped and sheltered, he wanted metamorphosis and transformation; architecture that was autonomous but at the same time respected the genius loci. At the time, architects preferred to build their private homes as freestanding bungalows in the countryside. Ungers, on the other hand, settled in a place where there were traces of the Roman past and purchased a plot of land adjacent to an already existing row of terraced houses. Three decades later, Ungers expanded the cataract of forms of his first home by adding a geometrically strict cube, intended to house his library. The shock aesthetics of the early work had evolved into the rigorous abstractness of his late work. This building too one of a kind, and in interplay with its predecessor became a manifesto. It corresponded to the idea of a house as a small town and the town as a large house, an idea that has run through European architectural history since Alberti. In spite of all their differences, the two contrasting formats make common cause. They show a world full of contradictions, illusions and realities that reflects the entire spectrum of the image of architecture, from the fiction to the reality of the function. Today the house and the library are the seat of the UAA, the Ungers Archiv für Architekturwissenschaft, and open to the public. The architectural historian Wolfgang Pehnt often visited Ungers. The author of an authoritative book about the architecture of Expressionism, he profited by Ungers' collection of material back in the years when Ungers was still interested in Expressionism. Thus he is familiar with the house in its details and has witnessed its modifications. As portrayed by him, the history of the origins of the house gives access to the impressive uvre of a great German architect.

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The third volume of Erdmut Bramkes catalogue raisonné is devoted to "art in architecture" and temporary works in public spaces. It complements the two volumes already published with the presentations of paintings and works on paper. This makes the artists work accessible to the public in its entirety. The richly illustrated catalogue presents the artists competition entries from 1974 to 2002 in chronological order. The reconstruction of more than 20 realised and unrealised projects on the basis of unpublished material and personal notes from the artists estate provide an insight into her working methods and allow a detailed view of the process of creating the works. Both the sketches and designs and the executed works show an incredible joy for experimenting and variability in the use of materials, ranging from painted metal sheets, holes drilled in wood and stone to tiles, fabrics, canvas, graffiti, glass and paving stones. Embedded in the discourse on "art in architecture" and its genesis in the 20th century, Bramkes works are presented in the context of the design process. Characteristic of her interventions in public space is her sensitiveness to the surrounding space which does not see her work as an addition to the existing architecture, but rather uses the architectural space to evoke quiet, contemplative moments through intense colour experiences or to make the space experienceable. The "Bramke system" manifests itself even with the early, expansive work for the University of Constance. The form-giving element is a variable order structure. The arrangement of the same elements with slight changes and nuances, but following the same laws in rows, condense into a structure and become a vibrating lineament. Even 50 years after its completion, the work is considered as a successful example of how "art in archi- tecture" can have integrative and functional qualities without losing its artistic value. Between this first major work for the University of Constance from 1974 to 1976 and the expansive work for the central library of the University of Tubingen at the end of her life constants in the "Bramke system" become apparent. At the same time, the overall view clearly shows the development of an artist who helped to shape her ambience in a grand gesture. Susanne Grötz, born 1961 in Koblenz, studied art history and German and Italian literature in Marburg and Pisa. She has been working on the estate of Erdmut Bramke for many years. The author lives and works in Stuttgart and Italy as a freelance exhibition curator and tour guide.

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As a civil engineer with leading German construction companies, Horst Barow has built highways and bridges in many parts of the world. He was aware of the importance infrastructure has for the development of a region, and he knew how important efficient administration is to achieve public works. During vacations he and his wife liked to visit the Mediterranean countries, and they were amazed by the vestiges of the Roman Empire, not the least of them being roads and bridges. In many cases they still carry modern traffic after 2000 years. Thus Barow decided to make the study of Roman roads and bridges his special interest, and through many years he systematically collected material and surveyed bridges on the spot. Having retired, he studied history, with emphasis on the Roman period. His untimely death in 2010 left his wife with a great work in progress, and it is thanks to the publisher that this book has been realised. Friedrich Ragette, an architect who taught history of architecture and engineering for many years, was entrusted with editing the material and translating it from German into English. The book covers all aspects of road and bridge construction in the Roman Empire, from commissioning, planning and design to contracting and execution. Technical details include surveying, materials, tools, and implements. The Roman road network is shown with Latin place names; principles and types of construction are explained. The core of the work deals with bridge construction: design criteria, structural systems, foundations and abutments are dealt with in detail. Particularly attractive are five dozens of case studies, presenting individual bridges, which were reviewed by the author on site. Countless illustrations, mostly in colour, enliven the book. Bibliography and glossary complete the work.

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Book & DVD. Text in English & German. Friedrich Christoph Wagner spent the years between 1965 and 2002 with few interruptions lecturing students of architecture on the basics of design. In this book he spreads out a summation of his teachings. Thereby he presents an insight into his working methods, a definition of the position of the basics of design, a practical didactic system for creativity, perception and aesthetics as well as a large number of examples of his students' work. A first block about creative training is followed by a broad selection of sculptural themes by means of study pieces based upon "body space" and "the logic of the form". Then the author is moving along with studies of the phenomenon of space with its basic topological and geometrical patterns as well as the primal images and primal acts in architecture. This is followed by a discussion of the surface and of surface structures as well as of the line, with the concomitant topics of sequences and proportions. Under 'Elements of architecture' the author presents students' projects and findings, with an emphasis on proxemics, locations, situations, the ways in which people behave and the corresponding forms in architecture. In connection with this, a number of excursions were undertaken to the island of Sifnos in the Cyclades, where students assisted in making measurements and conducting research at the Kato Petali site. The book contains a DVD with sound samples and films concerned with 'space and light'.

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Oscar Wilde was born in 1854 in Dublin, the son of a physician and writer; his mother wrote poems and was an authority on Celtic folklore. He studied at Trinity College, Dublin, and later at Magdalen College, Oxford. As a student, already an enthusiastic follower of Walter Pater, he began to lead a life completely shaped by aesthetic premises. Typical of this attitude is Pater's statement: 'To burn always with this hard, gem-like flame, to maintain this ecstasy, is success in life.' In 1884, after a lecture tour in Canada and the United States, where he caused a sensation as a dandy who had 'nothing to declare but his genius ', Wilde married the daughter of a prominent Irish barrister. At the same time, the marriage marked the beginning of a peak creative period for him. During this time, in addition to his fairytale collections The Happy Prince and Other Tales (1888) and A House of Pomegranates (1892) and numerous poems and plays, he also wrote his novel The Picture of Dorian Gray (1891), whose hero's life rises above all morality and ends in the morass of a sinful existence, anticipating the author's own fate. Wilde's most successful works, in his lifetime, were his plays. Among them, Salome (1891) occupies a special place because of the congenial illustrations of Aubrey Beardsley. Wilde's homoerotic relationship with Lord Alfred Douglas caused him to be sued by the young man's father, resulting in a two-year prison sentence. A social pariah, he tried with little success to begin a new career as a writer in France after he had served his sentence. On 30 November 1900, he died, completely impoverished, in Paris. The two collections of fairy tales do not go back to folktales that have come down to us anonymously, but belong to the genre of 'literary fairy tales', which, as the creation of a particular writer, represent a separate literary genre with a long tradition that goes back to antiquity.

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The term Europe has not always been understood in the same way. Depending on the period and influenced by the dominant interpreting elites at the time, it was always different features that were emphasised, "new" traditions that were discovered and created, and different values -- specific to the period -- that were claimed as European. Europe is a construct. That is as true today as in the period before 1945. This monograph focuses on 'Sachbücher' (non-fiction books), travelogues and literary-political writings by eight authors who played a key role in the discourse on Europe in the Third Reich and also partly in the early German Federal Republic. One of them is Walter Kiaulehn. In World War II, in the periodical Signal, Kiaulehn draws up a European family tree of a somewhat different, totalitarian kind -- naturally excluding semi-Asiatic Russia as well as England, a refugee from Europe. England has "swum off" in the direction of the USA. For Ernst Wilhelm Eschmann, Great Britain and France belong to the "margins of Europe" anyway, while the central powers, Germany and Italy, constitute the actual core of the continent. Europe evolves from the centre, and it is characteristically medial, balanced, mediating between tradition and progress. It is the others who are radical and have no appreciation for the middle course: the Americans with their skyscraper fantasies and the Bolsheviks with their anti-cultural tabula-rasa mentality. The New Europe", on the other hand, is the continent where in accordance with a golden mean that has developed historically, a moderate Modernism takes shape. An instance of this is the New Bari, the "favourite city of Fascism" that Gustav R. Hocke visits in 1937 and in which, instead of giant high-rises, he encounters much smaller, six-storey buildings along the new waterfront promenade. The term The New Europe became generally accepted in Germany during the 1930s, and by the beginning of World War II it was an integral part of the German discourse on Europe. Last but not least, this book would like to encourage the reader to critically question the provisionally last 'great narrative' of the Occident -- the narrative according to which Europe evolved from liberal humanist traditions and, based on democratic values, gradually came to have its present form in several intermediate stages beginning in classical antiquity.

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Text in English & German. The "other Italy", that is the rural Italy, far from the bustle of the cities. It is the Italy of the Apennines, its natural scenery, its remote villages, churches and religious communities, its farmers, charcoal burners, shepherds and fishermen -- even if these old professions are now dwindling away. The author has travelled hundreds of kilometres through this rural Italy on foot, and travelled thousands of kilometres through it by car. Although he was acting in a professional capacity as a geologist, his interests went beyond this wonderful country's geology to embrace everything it had to offer. In the year 1959, he embarked on ten years working in Liguria (north of Genoa) and twenty years in Calabria, on the toe of the Italian "boot", on the flank of the Aspromonte facing the Ionic Sea. Further visits to both areas up to the present day have contributed to his fifty-year relationship with Italy, and a body of Italian experiences which was simply begging to be set down with accompanying pictures. Eight stories tell of the land and the people, of the wild landscape of Calabria and its Mafia, of rural festivals, Christmas customs, Italian food, abandoned farms -- and of "Nonno", a grand-father. A wealth of photographs, mainly in colour, join with the stories in encouraging the reader to forsake bathing holidays and art tourism and take a trip to a near and yet distant land.

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Museum architecture has blossomed over the past few decades. Art museums lead the way in terms of new buildings by superstar architects such as Frank Gehry, Herzog and de Meuron, Jean Nouvel, and Renzo Piano, among many more. Those facilities have received public and professional recognition through media attention and design awards. But other museum typologies exist, one such being for buildings that showcase military history and artifacts. All too often, one thinks of these as unsophisticated in their design and amateurish or antiquated in their exhibitions. Nowadays, nothingcan be further from the truth. This volume examines more than thirty of them internationally that were constructed over the past two decades and more. The museums are featured in individual entries and lavish color photography. Some were designed by internationally renowned architects such as Norman Foster, Daniel Libeskind, Skidmore Owings & Merrill, and Robert A.M. Stern, but many more are the products of creative, accomplished designers. Beyond the architecture of these museums, exhibition and installation designs by noted specialist firms such as Ralph Appelbaum Associates, Koosmann.dejong, and Gallagher & Associates, among others, have raised the bar in terms of immersive experiences for their visitors. New military museums presented within the book are examined within the context of the history of war memorials and military museums, the latter being a less well researched subject. In the end, military museums relate back to antique sculptural commemorationsof victorious campaigns and martial leaders, collections and displays of war trophies, and the search to find useful architectural memorials, the latter especially so after the World Wars of the twentieth century. Architectural historian John Zukowsky has an earned doctorate from Binghamton University. While curator of architecture for The Art Institute of Chicago (19782004), he organized a number of award-winning exhibitions accompanied by major books. After that, he held executive positions within military-related museums such as the Intrepid Sea, Air & Space Museum and the Pritzker Military Museum and Library. Since 2012 he has authored several books about architecture and design, including Why on Earth Would Anyone Build That (2015), Building Chicago: The Architectural Masterworks (2016), and Architecture Inside Out: Understanding How Buildings Work (2018).

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Text in English & German. From the 1970s to the present day there is scarcely an architect who has produced such pioneering work as a creative explorer of limits, lateral thinker and stimulating inspirational figure than Hans Dieter Schaal. With a high level of professionalism Schaal has regularly provided us with essential food for thought and hypotheses as an architect, painter, sculptor, draughtsman, designer, garden and stage designer, Utopian, philosopher and author. His work has always been driven not by superficial effects, but by existential statement on what surrounds us in terms of facts and things that are concealed or suppressed. Schaal's artistic statements have elicited responses at home and abroad and have influenced whole generations of younger designers to a considerable extent. Thus Schaal embodies an ideal artistic type that one rarely comes across, known in the Renaissance as uomo universale. As anticipated for some time now, the current volume explores all facets of this complex and fruitful oeuvre, revealing above all its synergetic interrelationships. In addition to this Schaal's thought and action patterns as relevant in terms of art and architectural history are emphasised in this comparative survey of his work, and their efficacy demonstrated. An extensive catalogue of Schaal's work rounds the volume off. Thus the present volume offers an indispensable encyclopaedia of the life's work of one of the truly creative design artists of our day.

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Text in English & German. With the Kollegiengebäude II (college building II) of the University of Freiburg dedicated in 1961 the architect Otto Ernst Schweizer had achieved a masterpiece. Being built in the modern design idiom, it nevertheless took Freiburg's tradition into account and gave a new quality of life to the university and the urban development of the inner city quarters. On the whole it was a significant stimulus to university construction. Thanks to the neutral expression of the building, its compact overall for m and its "elastic structural system" (there is maximum flexibility in room layout without touching the bearing skeleton), and together with the laconically simple floor plan it became a prototype solution for smooth functioning. It is an open architecture, free of any suffocating pathos, with wide open spaces, human scale in size and proportions and in ideal accordance with academic freedom for research, instruction and learning. Schweizer, born in 1890 and deceased in 1965, professor of urban construction at the Technical University of Karlsruhe is one of the ground-breaking architects of the 20th century. In the late 1920s he gained international renognition and relevance with his buildings in Nuremburg, among them the stadium grounds and the Milchhof, as well as the Prater-Stadion in Vienna. During the 1930s, when he was not allowed to build, he studied fundamental questions of architecture and urbanism. After the Second World War he used his insights to make recommendations for the reconstruction of destroyed cities like Gießen, Karlsruhe, Mannheim or Stuttgart. In his last project, the Kollegiengebäude II we find the quintessence of a rich creative life, convincingly demonstrating Schweizer's high demands on architectural form and function. Immo Boyken is professor emeritus of building history and theory of architecture in Konstanz. His special interest is the architecture of the late 19th and the 20th century. He was a principal contributor to the monograph on Egon Eiermann, author ed the monograph on Otto Ernst Schweizer and lately wrote about Heinz Tesar's church in the Donau City in Vienna (Opus 42), the chancellery of the German embassy in Washington by Egon Eiermann (Opus 54), the Milchhof in Nuremburg by Otto Ernst Schweizer (Opus 59), the Prater-Stadion in Vienna (Opus 75) also by Schweizer, and the German Pavilions at the World Exhibition 1958 in Brussels by Sep Ruf and Egon Eiermann (Opus 62).

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Text in English & German. Three places mark the chequered history of the provost church of St Trinitatis Leipzig. Not far from the site of the present new building was the historic church built in 1847 that was largely destroyed in World War Two. It took almost three decades for this church finally to be replaced in 1982. At the insistence of the East-German authorities, however, this building had to be erected in a suburb. Because of its inconvenient location and also because the building had structural damage from the very beginning, the congregation decided in 2008 to take a chance on a new start in the city centre. The third church of St Trinitatis, consecrated in 2015, is the largest Catholic church to be built in East Germany since the political turnover of 1989/90. The new church is located not only in the centre of town, but at a place that could not be more prominent: facing the large complex of the Neues Rathaus. In 2009 a competition held for the new church building with the adjacent parish centre was won by the Leipzig architects Ansgar and Benedikt Schulz. Their clever use of the triangular site particularly impressed the selection committee; at the same time, with the compact body of the church on the east and the tower on the west, they created two striking urban landmarks. Between the tower and the church is the spacious courtyard, which is open on two sides towards the surrounding area, emphasising the congregations programmatic 'openness'. The complex owes its homogenous appearance to the fact that all parts of the buildings are clad with local porphyry, an igneous rock that shimmers in delicate shades of red. While outwardly the church looks quite hermetic, the interior, with an inside height of 14.5 m, surprises the visitor by its vibrant luminosity. The decisive factor here is the skylight on the east side at a height of 22 m. From a source that is invisible to the worshippers, zenith light falls on the entire back wall behind the altar. In its disposition the church interior follows the decisions of the Second Vatican Council: separation between the priests space and the congregations space is abolished, the high altar is replaced by a peoples altar, and the faithful gather of the believers in communio around the liturgical centre. In addition to his main activity as an architecture publicist Wolf-gang Jean Stock was head of the Deutsche Gesellschaft für christ-liche Kunst and its gallery in Munich for nine years. Considering his rigorous artistic attitude, instinctively reminiscent of the work of Hilla and Bernd Becher, there is a certain consistency about the fact that the photographer Stefan Müller congenially creates images of the buildings of Owald Mathias Ungers, Max Dudler, Kleihues + Kleihues or Schulz und Schulz.

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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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Originally developed in linguistics, the structuralist approach has been introduced as a scientific method in anthropology and other human sciences since the 1950s. In the 1960s and 1970s the double category of primary and secondary structure (langue and parole), essential to structuralism, in which the primary structure's system of rules determines how the secondary elements are placed in relation to one another, also advanced to a leading Ideology in the field of architecture and urban planning. From its development in the Netherlands and within the Team 10 circle of architects, structuralism in architecture quickly spread world-wide. Since the 1990s we have been witnessing a revival of structuralist tendencies in architecture. Whereas the structuralism of the 1970s encountered limits in complexity that were insurmountable at the time, today there is much to suggest that the return to structural thinking is causally connected to information technology, which has opened up new possibilities for dealing with complexity. In the field of digital architecture there is talk of neo-Structuralism. The question arises as to whether primary and secondary structures of the 1960s should be understood today as being in a state of complex interactions with one another that could be described through algorithms. The current interest in design methods based on rules makes the structuralist approach one of the most productive and comprehensive methods for the organisation, design, and production of the built environment. At the same time, it provides the systemic and meta-theoretical background for all disciplines involved in the production of space. This book is a collection of 47 articles by renowned authors including, among others, Roland Barthes, Koos Bosma, Jörg Gleiter, Herman Hertzberger, Arnulf Lüchinger, Winy Maas, Sylvain Malfroy, Hasim Sarkis, Fabian Scheurer, and Georges Teyssot. Through well-founded theoretical contributions, the book provides the first comprehensive representation of historical and contemporary digital structural thinking in architecture and urban planning.

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Text in English & German. When architects design a house for themselves, the often tense relationship between clients and builders is usually absent. That is why in many such buildings the architect-designers artistic stance and political position, preferences and antipathies, temperament and character are more pronounced than usual. Moreover the architectural theories, debates and trends of an epoch also leave their traces in them in a particular way. We encounter both attachment to tradition and commitment to the avant-garde, willingness to experiment and pragmatism, distinctive artistry and views shaped by the fact that a building is also a product of engineering. And last but not least, expressed in their houses are the personal life circumstances of the people concerned, or the messages the houses are meant to convey above and beyond their actual purpose: as a 'manifesto', as the 'self-portrait' of the architect, but also as an advertising tool or as a sign of connection to specific milieux or positions. Building for oneself has a special connotation under the conditionsof migration and exile. Among the most prominent examples are the private homes of Rudolph Schindler in West Hollywood (1921/22), Richard Neutra in Los Angeles (1932), Walter Gropius in Lincoln, Massachusetts (1937/1938), Ernst May near Nairobi (1937/1938), Bruno Taut in Istanbul (1937/1938), Ernö Goldfinger in London (19371939), Marcel Breuer in New Canaan, Connecticut (1938/1939 and 1947/1948), Josep Lluís Sert in Lattingtown, New York (19471950) and Max Cetto in Mexiko-Stadt (1948/1949). What expression could voluntary migration or forced change of location find in these buildings? To what extent do the architects other buildings differ from such 'homes of ones own' in a foreign country, to use an expression borrowed and modified from Virginia Woolf? The book is a collection of contributions by internationally renowned authors and examines not only the buildings themselves but also other aspects of the topic that have hitherto received little attention.

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Text in English and German. This monograph describes the construction of reality through the cognitive subject, and, associated with this, potential ways for producing space. The book studies methods for exposing, through indeterminacy, the definition of space to a larger field of possibility within personal interpretation, and thus virtually de-bordering space. Against a historical background of past attempts to de-border space visually, new possible ways of indeterminately defining space through the modulation of light are shown. The analysis of various modulation phenomena is illustrated with references to works of art, and the phenomena are studied with a view to integrating them in the actual production of space. The modulation of light has the potential of creating diffuse and ambivalent characteristics on space-defining surfaces. This fuzziness offers an opportunity for a freer interpretation of spatial definition and thus also for de-bordering space due to the process of perception. New materials and technologies can be used to create spatial worlds that open up genuine, hitherto unknown realms of cognition and experience. Based on multilayered, ambiguous spatial situations, according to the author, new open spaces of perception are possible and thus an expansion of human consciousness as well with respect to the world around us.

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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 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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