Search results for ""Axel Menges""

Text in English and German. The prize-winning design, of which all can be seen from the outside is a glass cube making an impact over a distance and defining the urban situation, solved the enormous space problem of a collection of contemporary art including 15000 works.

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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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From the 1960s to the 1980s, new university buildings were regarded as real showcase projects in Germany. With their help, it was hoped to catch up with the international building scene again after the severe destruction of the Second World War. However, deficiencies in the technical execution and also in the subsequent building maintenance often led to the fact that in the course of the years serious structural problems appeared more and more frequently in the former showcase projects, which in some cases even led to the demolition of former demonstrative projects. This opus volume presents such an aging university ensemble on the old campus of the RWTH Aachen, which could not only be saved, but also embodies a renaissance of high-quality urban development and sustainable architecture. This balancing act is thanks to the architects and engineers of the renowned SSP AG from Bochum. First of all, they used the building task to significantly reorganise the old campus area in terms of urban development and to uncover lost urban references. In a next step, they demolished a dilapidated multi-storey car park and built the new technical centre, the Technikum on its foundations. In doing so, they followed the highest construction standards and sustainability strategies down to the smallest detail. However, the architects were able to retain the neighbouring, defective high-rise building of the so-called Sammelbau of the Faculty of Mechanical Engineering. They stripped the high-rise down to its bare supporting structure and then refurbished it to the highest technical and ecological standards, just like the Technikum. In times when terms such as sustainability or building ecology are being used in an almost inflationary manner, the project presented here is a real model, because it not only speaks of high standards, but has in fact implemented the highest standards and because it has given the concept of re-use (ie: the recycling of old, dilapidated building substance, a sensuously appealing structural form and a long-term new utility).

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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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Autumn 1958 marked the launching of the Bodensee-Wasserversorgung (Lake Constance water supply), an infrastructure project whose largest part is underground, hidden from view. Even in the first phase of the project, 2160 litres of water per second were taken from Lake Constance at a depth of roughly 60 m, treated on Sipplinger Berg and transported over hundreds of kilometres of pipeline through the Swabian Alb to the greater Stuttgart area. What is remarkable about this project, however, is not only the technological challenge of a combination of the lake-water treatment and the overland water pipeline, but particularly the special quality of the design of the visible parts of the waterworks, a result of the collaboration of engineers, architects, landscape designers and artists. Hermann Blomeier, who had settled in Constance in 1932 after graduating from the Bauhaus Dessau under Ludwig Mies van der Rohe, was commissioned with implementing the Sipplingen pumping station following a competition and, with functionally and transparently designed buildings, created a counterpoint to the expressive landscape of Lake Constance that was as restrained as it was confident. The treatment plants on Sipplinger Berg, built by a team comprising Blomeier and the architect and academic Günter Wilhelm, from the 'Quelltopf' (source pot) and the filter basins to the clean-water reservoir, exactly meet functional requirements and at the same time impressively illustrate the technical processes. The long distance travelled by the water is accompanied by seemingly subordinate buildings designed by architect Wolf Irion, subtly integrated in the landscape as a kind of wayside chapels, housing the pipe-rupture safety devices and line valves. The high quality of the design is evident not only in the buildings, but also in the work of landscape architect Walter Rossow and of visual artists Hans-Dieter Bohnet, Martin Matschinsky and Brigitte Matschinksy-Denninghof. Andreas Schwarting is professor of architectural history and architecture theory at the Hochschule Konstanz. His research has focussed particularly on 20th-century architecture, its reception and historiography, and on specific issues of conservation and maintenance. His publications include the monograph on Walter Gropius Dessau-Törten estate, and he was instrumental in the publication of the Stiftung Wüstenrot on the preservation of contemporary buildings. He was appointed by the International Council on Monuments and Sites (ICOMOS) to monitor the UNESCO world-heritage sites of the Bauhaus in Weimar and Dessau.

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Text in English & German. Heroic 20th-century Modernism saw the private home as a place to first test out utopian theories -- a place for free play and experimentation where new approaches could be put into action, on a small scale but no less radical. Here, where architecture and life are most closely interwoven, Frank Lloyd Wright, Gerrit Rietveld, Le Corbusier and even Konstantin Melnikov found the suitable space to give their visionary concepts a plastic reality. The house built by the architect Fritz Barth for his own use in his home town of Fellbach places itself in an ironic, possibly melancholic distance from this kind of heroic pathos, but still has this tradition as its background. So it is considered by his builder as an experiment to determine the state of architecture at the start of the 21st century -- not to apply whatever offers itself to expand the architectonic repertoire (an approach that Barth considers to be a questionable, increasingly rhetoricised form of a somewhat naïve belief in the future), but to find out what possibilities are still open to architecture and how far architecture still permits a concept of 'dwelling' in the sense the word was used by Heidegger. The result is not a backward-looking homeliness, but a structure that, as a commitment to architecture in and of itself, stands his ground like few others in its time and place. This is not least because its complexity its multi-layered, opulent fabric of allusions, references and quotations, only reveals itself gradually and with close observation behind a simple appearance targeted on the immediacy of experience and architecture. Despite the somewhat polemical intentions of its builder and inhabitant, the house is not experienced as an ideological manifesto in bricks and mortar. It is and here lies its radicality, devoted to the immediate experience of 'dwelling' in so far as it does not allow, as Thomas Hettche writes in his essay, any distinction between surface and function, life and experience.

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At the time San Francisco International Airport opened as Mills Field Municipal Airport of San Francisco in 1927, most of the San Francisco Peninsula was pastureland. Over the years, new terminals and hangars were built to satisfy the demand of increased air traffic. Beginning with a small administration building of residential character including horizontal wood siding and red cedar shingles, the airport advanced to the larger San Francisco Airport Administration Building. After continuous growth, in 2000 the airport was reorganised and expanded into the vast, structurally iconic new International Terminal. The new building acts as a gateway between land and air, offering a recognisable image to arriving and leaving passengers. It is organised over five levels, making it America's first mid-rise terminal. It receives multiple modes of transportation -- linking cars, busses, the Bay Area Rapid Transit (BART) system and the internal light-rail system. According to Craig Hartman, design architect with SOM, the terminal is "founded upon the qualities of light and lightness". He says of the new roof: "We conceived of it as a floating, sheltering plane and as a symbol." The building's position above several lanes of traffic required a 380-foot long span between the central columns -- essentially the building is a bridge. Thus the building itself is in a state of lift-off, offering the first step into the air for departure or a transition space for arrival before the traveller really gets back to the ground. The terminal is built on friction-pendulum base insulators that allow it to swing in the event of an earthquake. The roof trusses' shape evokes many possible associations, the rolling Bay Area hills, the wings of airplanes, a bird in flight -- all images not unusual inspirations for airport designs, though in this case especially elegantly achieved.

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Text in English and German. Despite their usually very large volumes, works by Eckhard Gerber's Dortmund practice are structurally light and transparent, precise in their detail, and make an unmistakable impact on the urban space. Presenting the new exhibition centre in Karlsruhe, this Opus volume is devoted to a building complex with all the self-confidence of a city-within-a-city. Admittedly visitors are not aware of that until they have passed a breath-taking exhibition loggia whose daring roof, protruding powerfully along the whole length of the building, attracts attention even from a distance. The basic concept, tailored to the urban landscape, the functional ground-plan arrangement, the unusually subtle use of structures and materials for a large building of this kind, and not least the high design quality of all structural parts will certainly mean a high level of acceptance and a long future for the Neue Messe in Karlsruhe.

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In many years of collaboration a research group with scholars from Germany, Austria, Switzerland and the United States has looked into the most recent developments of Hollywood and its movie productions of the 1990s and the first years of the new century. Technical and distributional questions of the film market played as important a part as those of transnationalisation and new digital technologies. Interdependences between computer games and movies are scrutinised and then, of course, focal points of thematic developments. They reach from remakes and blockbusters to Steven Soderbergh and the works of other independent filmmakers, from science fiction via old and new myths to questions of gender research. Hollywood's treatment of the most important political event and trauma of the new century, the terrorist attack of 11 September 2001 on the twin towers of New York's World Trade Center in war, action, science fiction and disaster movies is dealt with and also the new wave of documentary films (Michael Moore and others). The Pentagon's influence on the film industry has also to be seen in this context. A major focus of this book is dedicated to the interdisciplinary co-operation between film research, art history and architecture. The present study closes with articles about Hollywood and Las Vegas, American cinema architecture and the role of architecture in recent Hollywood movies.

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Text in German. There is a copious and wide-ranging body of literature on Karl Friedrich Schinkel, Germany's most important 19th-century architect. But there is not a single work that records and assembles material on buildings by Schinkel that are still standing today, one hundred and sixty years after his death, after two world wars and major political upheavals. This volume is intended to fill the gap by providing the fullest possible compilation. It is surprising how many buildings by Schinkel still exist. There are over 170 of them in 112 different places, 62 in Germany and 49 in Poland and Russia, with Berlin and Potsdam each counting as a single location. The picture is very varied as far as the individual buildings are concerned. The churches make up the greatest number: about 86 of them are still standing. Then come 34 museums, theatres, guardhouses, schools and similar buildings, 18 palaces, castles and manor houses, 12 memorials, 12 tombs, 6 interiors and 4 fonts. A glance at a map of the former state of Prussia shows clearly that the buildings are not distributed evenly. In the west, the Rhineland and Westphalia, there were and are relatively few buildings by Schinkel. There is a decided cluster, the first regional concentration, in the present Saxony-Anhalt, between Magdeburg and Weimar. Further to the east come major accumulations in Berlin and Potsdam, and then the Oderbruch in the east of Brandenburg as another cluster. There are also concentrations of buildings by Schinkel in the Posen area as well as in West and East Prussia. Pomerania and Silesia have far fewer. Heinz Schonemann provides an introductory essay about Schinkel in his day, Helmut Borsch-Supan has contributed accounts of the way in which Schinkel's legacy is being handled today. The catalogue texts are by Martina Abri, Elke Blauert, Eva Borsch-Supan, Bernd Evers, Hillert Ibbeken and Heinz Schonemann.

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

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Text in English and Italian. Ivano Gianola is one of the most important exponents of the so-called Ticino School. This developed in the early 1970s as a loose association of architects who thought in related ways. At the time, their ambition was to set radical alternatives of a powerfully symbolic nature against the increasing destruction of the environment by new building in Ticino. What made Gianola's buildings different from others of the Ticino School from the outset was the subtle way they were bound into their context, and their precise craftsmanship. The latter meant that building after building, especially in terms of interior finish and the coherence of all the details, became real total works of art. So it is hardly surprising that Gianola created the most beautiful living spaces in Ticino, in the best Artsand-Crafts tradition. This craft precision, combined with high formal and aesthetic values, was probably also crucial to the fact that in the 1990s Gianola was commissioned to design a series of public and private buildings abroad. Thus his conversions and new buildings for the Bayerische Vereinsbank in Schäfflerhof in Munich made a major contribution to the new concept for the well-known Fünf Höfe site. But Gianola's greatest success so far was winning an international competition for redesigning the extensive site around the ruins of the former 'Palace' luxury hotel in Lugano. Here a theatre seating over 1 200 people, a modern art museum, housing and offices, a municipal park and a new section of the lakeside promenade will be created over the next five years. This is the biggest project that the Canton of Ticino has ever awarded, and it will have found an appropriate architect. This first publication of the complete works of Gianola gives the latest of the leading protagonists of the Ticino School a monograph of his own.

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Text in English and German. Mankind needs to relate to inanimate matter as well. Manking 'animates' stones, mountains, rivers, yes even the world and the cosmos so that it can communicate with them. There is quite clearly a need to initiate individual contact also with architecture, with our surroundings. This is easier if we can also recognise certain characteristics of our own bodies in the constructed bodies of the built environment. We can go well beyond the common phenomenon of corporeality to find countless analogies between buildings and human beings, thus demonstrating a first step towards an anthropomorphy of architecture. These statements become clearer if a column is interpreted as an anthropomorphic element. If certain features in facades are reminiscent of a pair of eyes, then architectural physiognomy helps us to a dialogue: the building is looking at us, in the direct sense of the word. In the world of Christian symbolism the church -- spatially and theologically -- is constantly compared with the body of Christ, and thus becomes an image of a man-god. The church is the 'mysterious body of Christ', and all parts of the building become metaphors of Christ and his congregation.The 'organic' architecture of the 20th century in its three-dimensional and sculptural manifestations constantly addresses the corporeality of biological creatures. In very recent times we are surprised how often the metaphor of man and architecture occurs: in the work of Ricardo Porro, Imre Makovecz, Santiago Calatrava, Reima Pietila and others. Zoomorphic architecture is a variant of anthropomorphic architecture. Elephants, birds, fishes, insects do not just appear in many current works of modern architecture like those of Frank O Gehry and Coop Himmelblau, they are also absurd manifestations of trivial architecture that has also to be considered in its everyday quality. If we are talking about 'expanded' architecture, then cities, the world and even the cosmos have to be included. Mankind is still moved by the transfer from man as microcosm to the universe as macrocosm.

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Text in English, German and Japanese. The architecture of Japan, both historic and contemporary, has attracted architects from all over the world since the early 60s. In search of the 'Japaneseness' of place (ma), space and architecture several dissertations have been written, especially about the Japanese house and rituals, Conservation, however, was largely neglected. Only recently, with the listing of Japanese sites as Unesco World Heritage in 1994 and the Nara conference on authenticity in 1995, has the Japanese approach to conservation emerged as an intriguing issue. The practice of dismantling and reconstructing complex timber structures represents an essentially Japanese approach. Moreover, the refined documentation and structural research prior to any intervention are much admired by the international conservation community. The articles for this publication were prepared in the context of a Japanese-German co-operative programme in architectural and urban conservation in 1996-98. For the first time ever a Western publication attempts to portray the Japanese practice of repair -- hozon -- of historic structures. Detailed photographic documentations demonstrate the beauty of timber structures that are otherwise concealed by roofs and walls. It also becomes evident that an architectural object is not an entity that is defined once and for all, but an object that allows for change. Documentations of ongoing projects, with emphasis on the Fudo-do on the sacred mountain of Koyasan, explain and justify various kinds of interventions that are aimed at structural reinforcement and disaster prevention.

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Text in English and German. The new Leipzig/Halle airport has not just one, but two predecessors. One was Leipzig-Mockau airport, opened in 1923 and often still used after the Second World War in the GDR days to serve the Leipziger Messe. The other was Leipzig/Halle airport which opened in 1927 and by 1937 was already the second-largest airport in Germany. Passenger numbers had increased fourfold by 1994. A master plan was worked out for a second runway, intended for 3.5 million passengers per year. An open architectural competition followed and was won by Brunnert und Partner from Stuttgart. They won with a risky concept that ran counter to the master plan. Instead of filling the site between the two runways the architects designed a huge bridge structure spanning the railway track and integrating the car-park, the mall, the check-in hall, the access road and the transfer to the railway station. This concludes the first building phase, which begins at the existing terminal and ends beyond the railway lines. The concept of the bridge will not be complete until the second building phase, although it can already be made out quite clearly.

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Text in German. Munich is lucky. A city that is at the top of the popularity scale needs nothing more than attractive building land. There has been a great deal more of this in recent years since industry and commerce have moved off to the periphery, barracks have been closed, the goods station and the airport have been relocated and the exhibition centre has gone to the empty site in Riem that was freed up. This meant that the Theresienhohe became an urban development area as well. Trade-exhibition halls were still being built around the historic parkland, established as an exhibition park around the turn of the century, in the 1980s. In 1997, an architectural competition was looking for ideas for an "inner-city, dense mixture of use for culture, as a central, for housing and commerce". The prize-winning suggestion by Steidle + Partner became the basis for further planning. The convincing feature was the instinctive sureness with which the practice imposed scale and urban character of the surrounded quarters on to the former exhibition-centre site. The development proposal, which could be interpreted in many ways but proposed an easily remembered line, is continued in the architecture, with its sets of buildings staggered against each other. The first buildings to be completed included the KPMG head office, which emerged from a workshop procedure: the ground plan for the complex uses a meander pattern, completed at one corner by a high-rise residential building -- which means that the quarter principle of reversible residential and office use is demonstrated within a single block. A central entrance courtyard provides access to the office block, but there is access from the outside elsewhere as well, should the function ever be changed. The building rises to seven storeys, and is pleasingly disturbing because of the lively colours on its facade of glazed ceramic panels. The even staccato of the narrow windows forms a contrast with this. Both together give the architecture the appeal of a mysterious musical instrument -- certainly intended for very young, rhythmic music.

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Otto Steidle has devoted himself continuously to the subject of housing for over 30 years, more perhaps than almost any other architect in Germany. At first the Munich office experimented with building with prefabricated elements. This was not in the first place a response to the building industry's production requirements, but intended to give occupants maximum flexibility when equipping or modifying their homes, for example in the residential estate in Genter Strasse in Munich (1969 -- 72) or at documenta urbana in Kassel (1979 -- 82). It was from 1986 -- 92, in the Kreuzgassenviertel in the old town in Nuremberg, that Steidle first addressed the high-density inner-city housing construction that he has increasingly made his own in recent years. For the Wacker-Haus in Munich (1992 -- 96, Opus 31) and the Michaelis quarter in Hamburg (1994 -- 2001) he experimented with tower-like residential buildings developed from the traditional urban block, right down to the inner courtyard, protected from the noise.For the Freischutzstrasse residential quarter in Munich Steidle first combined the 'classical' linear block with a sequence of tower-like slender buildings -- finding an up-to-date response in this way to the challenge of combining living in green surroundings with urban structures and appropriate density. The interplay of different building types made it possible to create exciting 'urban' spaces in green surroundings; an existing biotope with a fine stand of trees thrusts deep into the estate on the open south flank. Although the estate was built in five phases, it seems to be all of a piece. This is not least due to the sensitive colour scheme devised by the Berlin artist Erich Wiesner, who has been working with Steidle + Partner for many years. The dwellings are characterized by generous living areas lit on two sides. The sizes of the dwellings can be varied by removing or adding individual spaces.

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Text in English & German. Not just a winner, but a major winner. And Fellbach won it by letting Zurich architect Ernst Gisel build its new town hall. And it is just the same as winning the lottery: it takes time for it to sink in and to be really pleased. Winning also means stress, especially if the player never really believed in his luck. But why be pleased about a town hall, about a collection of official rooms, intended only to make administering the individual citizen even smoother? Can a town hall be anything at all more than a home for all the official panoply of tit-for-tat responses? It can indeed, if you make it into a piece of the town, a good piece of the town . . . Ernst Gisel's town hall for Fellbach is one of the very few buildings that make one enthuse about the town. Like Stirling's Neue Staatsgalerie it invites you to linger -- even without a reason: in the Stuttgart museum you are attracted by terraces, ramps and an open rotunda, whereas in the Fellbach building there is a sense of a strong suction that will draw the public into the inner courtyard of the complex. "A bit Italian" -- that is what Gisel himself says about the atmosphere there, and he is right. The urban quality of the new town hall corresponds with the quality of the detailed architectural solutions and the care with which Gisel devoted himself to the architectural design in the interior. Art in the building? There is that too. Gisel himself designed the fountain for the market-place façade: architecture on a small scale, a game with volumes through which the water slowly runs. In the inner courtyard, in the town-hall square, is the sculpture Überlebenskopf (survival head) by Zurich artist Otto Müller -- a sober monument that corresponds precisely with the confident but modest character of the building. The new town hall is a fairly perfect piece of architecture and urban art: reticent as a whole, monumental in detail.

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Text in English, German and Spanish. Over the last decade the island of Lanzarote has become one of the favourite tourism destinations in the Canary Islands. However, our interest is more one of artistic than of touristic discovery, and this would be virtually unthinkable without the work of an artist who fell in love with this wonderful paradise. We refer to César Manrique (1919-1992), who was able to see and reveal to us the unique beauties arising out of the happy marriage of the four elements believed by the Greeks to form the whole of creation: air, earth, fire and water. In fact, after returning to his island in 1968 after a period spent in New York, Manrique dedicated himself passionately to realising his utopia, to renew Lanzarote out of his own sources. Among Manrique's best known works on Lanzarote are the Casa Museo del Campesino, the Jameos del Agua, the Mirador del Río, the Cactus Garden and his own house in the Taro de Tahíche. Manrique's house in Taro de Tahíche, which nowadays houses the César Manrique Foundation, can be considered as a 'work in progress' as it was built over a period of almost 25 years and was still not completed upon the artist's death. Arising out of the five interconnected volcanic bubbles of the underground storey, it has become a metaphor for the amorous meeting of man with Mother Earth, the latter being understood, to use Bruno Taut's expression, as 'a fine home for living'. The spaces on the upper floor can be virtually mistaken for the white cubic buildings dispersed throughout the island. But when we cross their thresholds, we have the unique feeling that here something was created which is really new. In fact, Manrique -- enemy in equal measure of the 'pastiche' of regionalism and the off-key International Style blind to differentiation -- sifted the vernacular with certain modern filters such as Frank Lloyd Wright, Mies van der Rohe or Le Corbusier, and at the same time he gave it such a specific stamp that the final result became indigenous and unmistakable. Simón Marchán Fiz is professor of aesthetics in Madrid. Like Marchán Fiz, Pedro Martínez de Albornoz lives in Madrid. The photographs shown in this book are the best photographic interpretation of one of Manrique's work up to now.

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Together with his colleagues and students at the University of Cyprus, Phocas challenges traditional definitions of utopia by presenting us with analytical research and clearly delineated visions of some architectural futures, which defy easy description. Some may view the architecture-diploma projects in this book skeptically as fantastical or even as frightening visions of some technologically driven future, but they are anything but fantasy. They should be appreciated as a continuing creative search for the defining of what is the meaning in our 21st-century world of "utopia" and the role of architectural technology in expressing it. This search takes us beyond the traditional notions of utopia, which have historically been illustrated as overtly romantic, whimsical images along with a plethora of mechanistic formal architectural or architectonic proposals for utopian cities or communities. Some of these utopian visions, which were realized as isolated acts during the first half of the 20th century, in as socio-economically and culturally diverse places such as the United Kingdom, suburban North America or the Indian sub-continent proved to be, once inhabited, less than utopian. In studying the student proposals, one could argue that these architectural visions are derived from an evolution of human technology and an understanding of growth and adaptability in nature. For instance, some of the projects propose new "building blocks" which can be likened to the ancient technology of making bricks and the quarrying and shaping of stone which led to the development of masonry construction and an entire new architecture. Other proposals can be likened to the self-generating growth and renewal process of plant life. Like in nature, we see in the students work proposals for structural systems that grow vertically out of constructed or natural landscapes in a symbiotic relationship with the forces of gravity, wind and sun, while mining these primal forces to enable human habitation. Others appear as in natural growth, as expandable adaptable infrastructure systems intertwined with and serving existing conditions. And yet other proposals are developed as independent systems that are more au-tonomous in their form and function.

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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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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. The ongoing paradigm change in regard to the use of energy, its efficient usage and the consumption of resources is giving rise to new light systems and lighting appliances. This development might also lead to the use of light as a building material in its own right, comparable to traditional building materials, making it possible to create light space productions something that did not seem feasible up to now due to the high cost of energy and of light systems. The goal of this book is to develop temporary light spaces that re-interpret the existing urban environment on a seasonal basis or over a cycle of several years. As a result, the city will literally appear in a new light. Strollers in the city streets will experience their familiar environment in a new way. Illuminated planes interlacing with planes made by linear fields of light beams will create immaterial material space experiences: still lifes of light within which one can move about and light choreographies that move barely noticeably, creating still lifes in motion. Current research aims at exploring, imagining and inventing stand-alone spatial structures of light, adding on to and transforming existing spaces, creating a new spatial awareness that may enable people to experience urban space in a different way. Similar to the process of architectural design, where haptic built volumes create interspaces, the light spaces that are currently being designed make these interspaces visible and allow urban dwellers to experience unexpected spatial constellations. In addition to the presentation of light-planning examples in Paris, Shanghai, Helsinki, Mekka and Frankfurt am Main the book includes a number of essays relating to the subject, among them: "Light architecture" (Werner Oechslin), The Potemkin city (Adolf Loos), Glass architecture and letters about glass houses (Paul Scheerbart), Alpine architecture (Bruno Taut), The unvisible cities (Italo Calvino), Architecture must burn (Coop Himmelb(l)au), In search of light (Wolfgang Rang), City light. About the social power of light (Helmut Bien), Light or the loss of darkness (Manuel Cuadra), Visible and unvisible light (Andreas Danler), Light concepts for Frankfurt am Main (Michael Hootz), Light planning for cities in China (Hao Luoxi), City light. An instrument of urban planning (Roger Narboni), Light for the public space (Susanne Seitinger), Sustainable urban lighting (Mark Burton-Page), Borders, places, light (Niels Gutschow), Earth and spirit (Wolfgang Rang). With texts by Michael Batz, Niels Gutschow, Hao Luoxi, Roger Narboni, Werner Oechslin, Wolfgang Rang and others.

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Text in English and German. The basic features of Deutsche Lufthansa's present corporate image emerged almost 45 years ago. It was created by Otl Aicher, one of the principal figures at the now legendary Hochschule für Gestaltung in Ulm. Another work by Aicher that spoke to the whole of Germany, as it were (and still does, in rudiments), is the 1972 corporate image for the Zweites Deutsches Fernsehen. The corporate image he created for the Olympic Games in Munich, which made an essential contribution to the ambience of the event, has also remained memorable. Since the ideas developed by Aicher and his colleagues were implemented in the early sixties, the airline has been seen world-wide as a perfect example of a consistently developed corporate image. Aicher based himself on ideas from the Deutscher Werkbund and took the company's entire inventory into consideration: "house colours, pictorial and typographic logos, typeface, graphic and typographic rules and standards, photographic style, quality of support materials, packaging, exhibition systems, architectural characteristics, forms (design) of interior furnishings and equipment, style of work and service clothes". As well as Otl Aicher, numerous other product and graphic designers, fashion designers and advertising and marketing agencies have worked for Lufthansa. They include Otto Firle, whose ideas led to the crane logo, Hartmut Esslinger and his company frog design, Priestman & Goode, Müller Romca Industriedesign, Don Wallance, Wilhelm Wagenfeld, Hans Theo Baumann, Nick Roericht, Wolfgang Karnagel, Topel & Pauser and the bhar design practice, fashion designers Uli Richter, Ursula Tautz and Werner Machnick, Jürgen Weiss, Gabriele Strehle and the Jobis company as well as the agencies Zintzmeyer & Lux, the Peter Schmidt Group, Ogilvy & Mather, Young & Rubicam, Spiess/Ermisch/Abel, Springer & Jacoby, McCann & Erickson and Fanghänel & Lohmann. An exhibition of the same name at the Museum for Applied Arts in Frankfurt deals with the same subject as the book.

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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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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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Text in English & German. The architects in the Viennese Coop Himmelb(l)au team have felt committed to the credo of constructing cities and buildings that float like clouds ever since the practice was founded in 1968, though it did take a while before gently curving, "floating" buildings became a reality. It was not until new, computer-aided design and building methods and the use of innovative building materials came along recently that it became possible to realise even unthinkable architectural hybrids so light that they actually do seem to float. So the new Musée des Confluences is currently under construction in Lyon, a cloud that has been in the planning phase for some years. And a cloud building like this also does exist in reality in Munich in the form of the new BMW World, conceived by Coop Himmelb(l)au and recently opened. This new building completes the spectacular trio of museum buildings, the Mercedes-Benz and the Porsche Museum in Stuttgart, by UNStudio and Delugan Meissl Associated Architects respectively. A series of excellent interior and exterior photographs provide a record of this demonstration project by BMW. The urban-sculptural and internal spatial qualities of the new BMW World are also analysed thoroughly, and dealt with in detail in the contexts of Coop Himmelb(l)au's older and more recent work. The question is also addressed of the extent to which the structural and material shape of the building actually corresponds with an image of something light enough to float. The presentation is rounded off by a digression into the world of "branding", which has learned how to use spectacular architecture more and more directly as a publicity factor, and to convey an image, or as an artefact.

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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 work of Klaus Kinold, born 1939 in Essen, is part of a tradition of photography, and particularly of architectural photography. Architecture was one of the most important themes even of early photography -- not least because it stood still. Initially this was an important characteristic, since exposure times were long. Thus began the affinity of photography with the documentary. Reality and representation were supposed to correspond. Quoting a statement by Roland Barthes, Kinold has referred to the still "mysterious bonus of confidence given to the documentary". At a time when digital photographic and processing techniques make all sorts of manipulation possible, the now rare quality of reliability is assigned to this attitude. It was self-evident for Kinold to explore the period whose very name included the term objectivity -- the New Objectivity (in German: Neue Sachlichkeit). The work of colleagues such as Werner Mantz, Hugo Schmölz, Arthur Köster and above all Albert Renger-Patzsch combined useful information and contemporary artistic expression. Walter Peterhans, photographer at the Bauhaus, called it the "magic of precision". At the same time, Kinold did not let himself be confused by the special effects indulged in by some modernist artists. His photographs indicate the structure of the surfaces of a building, the spatial depth and the details concealed in its shadowed sections, the proportions in which they present themselves to the user. The accuracy of observation, the precision in detail, the translation of three-dimensional objects into a convincingly construed image are among the virtues of the architectural photographer Klaus Kinold. What takes precedence in his work is not the moment at which a thing suddenly reveals its essence, a lucky coincidence, but rather the condition that is considered to be essential, set also by the right photographic standpoint. For Kinold, who owed a great deal to his teacher Egon Eiermann at the Technische Hochschule in Karlsruhe, including in his capacity as a photographer, logic, purity and clarity went without saying. Accordingly, predominant in his work, we find photographs of buildings by architects whom he could expect to have such qualities: classic Modernists like Walter Gropius, Ludwig Mies van der Rohe, Le Corbusier and contemporaries like Alvar Aalto, Hans Döllgast, Herman Hertzberger, Louis Kahn, Karljosef Schattner, Rudolf Schwarz, Alvaro Siza. Architectural historian Wolfgang Pehnt, born 1931, has often reaped the benefits of insights gained from Kinolds photographic art. Pehnt has published monographs about German architecture since 1900 and about Expressionist architecture, but he has also written about numerous individual uvres. He formerly taught at the Ruhruniversität Bochum.

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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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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. Klaus R Uhlig, born in 1932 in Altenburg near Leipzig, is at first and foremost a painter of people. His upright figures, with a strong vertical emphasis and often depicted in groups, represent the emerging XXL generation. With his "Structurels", Uhlig created a painting style that combines classical realistic with modern abstract painting. Linking and overlapping numerous individual pictures to form a composite creates configurations that can be interpreted in many ways. Gil E Stein shows other aspects of his output in this publication. This includes works such as Das letzte Blatt der Welt or 9-11, which was actual-ly painted in 2001, and the group of pictures called "Arborel". The most striking feature of Uhlig's pictures is the positive impact they make. One contributing factor here is that a clear working philosophy lies behind their creation. Uhlig's work is intended to show "that our life and our social associations are wonderful because the things that connect us are wonderful and mysterious". He uses very many graphic and painting techniques to achieve this, including decalomania. The colour range of his work is defined by the Bauhaus colour theory. Uhlig's colourism and structurelism emerged on the basis of a classical training in art and architecture, moving through the stages of stonemason, Dipl.-Ing., Master of Arts, government building officer and Dr.-Ing. His professors in Weimar included Otto Herbig, who was close to Die Brücke, in Berlin the architect Hans Scharoun and the sculptor Erich F Reuter, and at Harvard University Le Corbusier when present at seminars. Here Uhlig also met Walter Gropius and Ludwig Mies van der Rohe. After teaching at the Hochschule für Bildende Künste in Hamburg, Uhlig worked as a town planner in various German cities. He devised zoning maps for Göttingen, Heidelberg and finally for Cologne, where he worked as Stadtbaudirektor for many years. Uhlig lives in Cologne as a free-lance artist. Solo exhibitions have been devoted to his work in Europe and China, in cities including Berlin, Bologna, Brussels, Dresden, Hangshou, Leipzig, Cologne, Paris and Weimar. His work is to be found in state museum, public buildings and in institutional and private collections.

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Braun products have been shown more frequently at exhibitions than those of any other comparable company. Some people find that they reflect basic human values such as authenticity and integrity. For others, they are the very incarnation of German perfectionism. Braun is not merely a trademark; it stands for an all-encompassing concept. For the last five decades, this concept has spawned innovative products with an unprecedented regularity that begs to be explained -- especially as the era spanned by the history of Braun design is not exactly one characterised by continuity. Instead, the second half of the 20th century witnessed a dramatic change in living conditions. Prosperity and greater ease entered our daily lives, but also widespread disorientation and alienation. It is to the credit of those who set the Braun design project in motion that they were able to counteract this feeling of alienation -- which manifested itself to them not least in poorly designed objects of daily use -- with a vision of design reform. There had already been attempts made along these lines. What was new was that a commercial enterprise spearheaded the movement. Also new was the systematic approach, the application of design principles to modern products and the innovative dynamic thus triggered. Finally, the considerable commercial success this design project enjoyed was likewise a revelation. All of this led the company to establish a design department that was not merely an appendage, but rather an active decision-maker in the development of products from the initial idea to realisation. This is how Braun and design became synonymous.

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Text in English & German. "Poverty is the greatest plague, wealth is the highest good", Goethe wrote in his ballad "The Treasure Seeker". Over the course of the poem, however, it becomes apparent that this is a mistaken conclusion. The search for riches, fame and power often brings with it greed, inhumanity and violence, as Wilhelm Hauff shows us in this book of fairytales. The best known of these is The Cold Heart, in which the wish for a better life leads Peter Munk the charcoal-burner to seek the help of the spirits of the Black Forest. The first spirit he encounters is the kindly glass manikin, who makes him the owner of a glassworks, but, as he never wished for the necessary understanding, he cannot give the running of his glassworks the attention it deserves. He becomes idle, fails miserably and falls victim to Hollander Michael, the evil spirit, who demands Peter's heart in return for helping him and gives him a stone in return. With a heart of stone, Peter loses all his social competence, and is filled with avarice, which, however, does not prevent him from pursuing his new profession as a businessman and money-lender. Rather, it helps him to succeed. But when he kills his wife for showing kindness to a destitute man, he finally comes to his senses, with the assistance of the glass manikin, who helps him to recover his original heart. And so everything turns out for the best. Peter Munk becomes a charcoal-burner again, and lives humbly but happily with his mother and his wife, restored to life by the glass manikin, for the rest of his days. The Cave of Steenfoll has a less happy outcome. In this story, greed becomes an obsession and even a madness that finally leads to the death of William Falcon. Having found the long-sought treasure -- a little chest full of gold pieces -- he is still not satisfied, and he dives into the sea a second time, never to emerge again. The fairytale of Said's Adventures is the opposite of the other two. The hero, a man under the protection of a good fairy, embarks on a dangerous journey. The hero encounters greed and avarice everywhere during his adventures, but they have no place in his own character. He is a skilful fighter, but always guided by compassion. Finally, he is rewarded with wealth, good fortune and contentment.

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Latvian-born architect Gunnar Birkerts belongs to the second wave of modernists who arrived in the United States from abroad, a group that includes Kevin Roche and Cesar Pelli among others. Educated at the Technische Hochschule in Stuttgart, Birkerts worked first with Eero Saarinen in his now-legendary office in Bloomfield Hills, Michigan, and later was chief designer for Minoru Yamasaki. At that time both Saarinen and Yamasaki were developing their distinctive architectural signatures and building their international renown. Subsequently Birkerts established his own practice, evolving a design process and a philosophy with its own original profile. His approach does not seek a "right style for the job" in the manner of Saarinen. From the first, Birkerts' work was tied to a program as well as a particular context -- a place -- to the extent that it became expressive of the surrounding landscape and accommodating to the existing vernacular. Birkerts' designs, from the Federal Reserve Bank in Minneapolis to the Corning Museum of Glass to the Houston Arts Museum and recently the Latvian National Library, shows him exploring with ever greater resource and inventiveness the expressive possibilities of symbol and metaphor. Form, he believes, expresses function, and does so with its own rich, meaningful vocabulary. Birkerts uses visual metaphors to link program, client, and landscape in a resonant solution. His methodology of using metaphor -- meaning -- as a first principle, as a generator of design concept, is unusual in the profession, but it is vitally connected to his Latvian heritage and his family background as the son of a folklorist and writer. This heritage is given a new turn here, for the biographical text of the book has been written by his son, Sven Birkerts, who is a noted literary critic and author of the influential book The Gutenberg Elegies: The Fate of Reading in an Electronic Age. He has also written a memoir, My Sky Blue Trades which describes at some length his coming of age struggles with his architect father. Now, years later, Sven brings his cultural perspectives as well as his family insights to bear, offering a unique portrait of a life and career. History and description are enlivened throughout by observations and reflections on the career -- the destiny -- of this master of the expressive concept. The book is richly illustrated and complemented by descriptive assessments of the projects by Martin Schwartz, who is an architect and writer and who teaches at Lawrence Technical University in Southfield, Michigan.

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Text in English & German. In the area along the Weser, there was a great deal of building activity between the Reformation and the Thirty Years War which was helped along by economic prosperity. Little affected later by war or modernisation, high quality Renaissance castles, aristocratic estates, town halls and civic architecture have survived here in exceptional density. This facet of Central European Renaissance architecture started to be appreciated in the early 20th century. This led to the concept of the Weser Renaissance, oriented above all towards formal and regional history, and still popular today, like a kind of brand. The present volume offers a representative selection of the region's castles and palaces for the first time, dealing with both princely residences and seats of the nobility. Architecture and court culture are placed in a European context that goes beyond older approaches based on the stylistic history and shows that forms demonstrating princely prestige have qualities in common well outside the region. Michael Bischoff's introductory text provides an overview of Renaissance architecture in the Weser area. Uwe Albrecht and Julian Jachmann explain the terminology and function of princely architecture. Heiner Borggrefe analyses early Renaissance architectural ornamentation, G Ulrich Großmann covers the topic after the mid-16th century. Thomas Fusenig writes on the arts and sciences at the courts. Rolf Schönlau discusses aspects of building materials in terms of economic history. Hillert Ibbeken deals with the sandstone that is most frequently used from a geological point of view. The descriptive catalogue is by Katja Schoene and Michael Bischoff.

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The fact that there is Gypsy architecture may surprise quite a few people, for Gypsies are regarded as nomads who roam through the world and settle now here, now there, never stay long in one place, and consider everything that normal citizens find important to be an unreasonable restriction of their freedom. Nevertheless, in southeastern Europe, there exists a remarkable architecture created by Gypsies. It seems to have been created from a dream: Unreal, abstruse, and colourful, it is a composition of all the architectural styles of this world. Uninfluenced by any deeper knowledge of architectural culture, each family head chose the style, size and finishings on the basis of his own personal tastes or memories of travels, houses and things seen in other countries. The result has been the creation of bizarre and fantastic jumbles of buildings that it is hard to classify in terms of western stylistic features. Very often the houses are the result of enormous jigsaw puzzles created from an assembly of images or photographs of various different buildings, and their execution precisely follows these crazy guidelines, perhaps because they are incomprehensible to those carrying out the project. Otherwise, how could one possibly explain Indian-style roofs crowning neoclassical buildings, mansard roofs on structures of improbable style, Frenchified Chinese pagodas, heterogeneous assemblies of diverse and contrasting elements. The structures, the villas gradually soften their bizarre and fantastic imagery the closer they are built to European countries. Undoubtedly, the cultural influence of neighbouring countries already immersed in the culture and lifestyle of Europe has helped to 'contaminate' the owners and bring their dwellings, the expression of their wishes, more into line with the ruling culture. What, however, remains staggering is the quality of the execution of the complex decorations, of the architectural elements and buildings that are very often contrasting, of widely differing façades surmounted by steepling roofs of no practical use whose only function is to represent, through their lack of proportion and absolute needlessness, the financial and social power of the family. Besides pieces of sculpture that are undoubtedly ritual and symbolic and originating from Indian culture, suns with spiny rays, various forms of pinnacle, geometrical moons, zoomorphic decorations, the tops of the roofs bear metalwork inscriptions giving the date of building and the name of the family or that of the wife, symbolising a desire for display and the proclamation of ownership.

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Text in English & German. The challenges facing the 21st century are staggering: rapidly increasing population, mounting social instability due to global imbalances of wealth and welfare, resource scarcity and resulting conflicts related to their exploitation and distribution, and certainly the ongoing distress of the environment as a whole. Such severe conditions, including climate change, continue to become greater in number, complexity, and clarity, even though most of them had already been introduced as areas of concern in the 1970s and 1980s. Part I of the book describes potential strategies that will play an essential role in curbing carbon emissions, reducing -- or replacing -- fossil fuel usage. To better understand the current global energy industry, the book is unique in showing energy consumption data across the globe in comparable units, and it explains how fossil fuels could be replaced by renewable energy resources. Part II explains how the necessary significant reductions in energy consumption can be achieved by alternative means at reasonable cost for power generation to be maintained. A great number of projects are described in the book as case studies that fulfil the variety of international energy codes. Part III addresses the technological possibilities for energy savings and resource-sensitive solutions related to buildings. Here, the potential of building-integrated solar systems, wind-power generation, rain-water harvesting, and the use of geothermal energy, as well as their implementation in the architecture are presented in detail. On the one hand, the book presents the background for a broader understanding of the medium-range and long-range changes in our energy landscape, and on the other it provides the basis for avenues required to enable us to design strategies based on local conditions and individual geographical locations. Over the past 20 years, Klaus Daniels and the engineers of his engineering consultancy HL Technik have published four volumes of seminal work related to this subject, and their work is continuously being updated. In this series, the new book is an attempt to illustrate how modern architecture needs to be adaptive to energy conditions and how design and technology can be blended successfully.

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

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

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

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