edition axel menges fellbach (165 risultati)

Hardcover. Condizione: Fine. 60 pp. Tightly bound. Corners not bumped. Text is free of markings. No ownership markings. Book still in original publisher shrink wrap.

Hardcover. Condizione: new. Hardcover. Text in English and German. A yawning gap between two 1960s buildings. Not at all unusual in Cologne. A gap between two buildings, 2,56 m wide and 33 m long. Scarcely wide enough to park a few bicycles. This gap has been used as an office by the rendel & spitz advertising agency since early 1999. The architects b&k+ hooked a few concrete floors into the walls of the adjacent buildings, made sure there were stairs and a bit of infrastructure, suspended a glass facade at the front and back -- finished. To give any curious or interested parties an impression of the building, it was cleared out for a week and used by three selected European designers for a comprehensive development on the theme of 'braving the gap'. The traditional disciplines of product, furniture and lighting design were complemented with contributions addressing the other senses: music and perfume. Johanna Grawunder (Milan) devised a light installation leading from a cold area by the entrance to a warm and comfortable rest area at the end of the space. Konstantin Grcic (Munich) filled the whole volume of the space with a pink ball that fitted into it exactly.Visitors had to show that they were prepared to brave the gap by squeezing between this 'puff ball' and the wall to get to the other side of the room.They were rewarded at the end by reaching the stainless steel fireplace by Timo Salli (Helsinki). The Dusseldorf firm aerome enhanced the installation with a variety of fragrances. Finally, the Hamburg photographer Uli Mattes recorded the whole project and provided his own interpretation of the work. A gap yawns between two buildings constructed in the 1960s.Nothing unusual.A gap 2.56m wide and around 33m long . Hardly wide enough to park a couple of bicycles. In many buildings this corresponds to the space required for thermal insulation. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condizione: new. Hardcover. A yawning gap between two 1960s buildings is not at all unusual in Cologne. A gap scarcely wide enough to park a few bicycles has been used as an office by the Rendel and Spitz Advertising Agency since 1999. A yawning gap between two 1960s buildings is not at all unusual in Cologne. A gap scarcely wide enough to park a few bicycles has been used as an office by the Rendel and Spitz Advertising Agency since 1999. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condizione: new. Hardcover. For the first time, texts and photographs present an overall view of all the Prussian gardens and parks in Berlin, Potsdam and elsewhere in Brandenburg 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, 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, Simeon Godeau, Georg Wenzeslaus von Knobelsdorff, Peter Joseph Lenne, Antoine Pesne, Prince Hermann von Pueckler-Muskau, Georg Potente, Karl Friedrich Schinkel, the Sello brothers, and Antoine Watteau picked artistic forces that created the Prussian garden realm. The present volume is an attempt to approach the ideas forming the basis of the high standard of princely landscape art. The Prussian gardens in Berlin, Potsdam and elsewhere in Bran- denburg: for the first time, texts and photographs present an over- all view of all the gardens and parks created under the Hohenzol- lerns over a period of more than three centuries. Only the cross-genre collaborative effort of garden designers, gardeners, architects, scenographers, sculptors, painters, and cre- ative rulers, the most prominent of whom were Frederick II and Frederick William IV, made it possible to turn the environs of Ber- lin and Potsdam [.] step by step into a garden, as Frederick Wil- liam IV put it in 1840. Figures such as David Garmatter, Friedrich Christian Glume, Simeon Godeau, Georg Wenzeslaus von Knobels- dorff, Peter Joseph Lenne, Antoine Pesne, Prince Hermann von Puckler-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 fund- ing, Lenne 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 Hohenzol- lerns in Prussia. Until his retirement, Hillert Ibbeken was professor of geology at the Freie Universitat Berlin. He has been involved in architecture and landscape photography throughout his life. His book Karl Friedrich Schinkel. Das architektonische Werk heute /The architectural work today, edited in co-operation with Elke Blauert, was published by Edition Axel Menges in 2001. Later there followed, in the same for- mat, this time with him as sole editor, his monographson Ludwig Persius (2005) and Friedrich August Stuler (2006), and, among oth- ers, Schlosser der Weserrenaissance/Castles of the Weser Renais- sance(2008), edited in co-operation with Michael Bischoff, as well as Das andere Italien/The other Italy. Geschichten und Bilder aus Ligurien und Kalabrien/Stories and pictures from Liguria and Cala- bria(2011). Katja Schoene is an art historian and museologist. She was for- merly on the staff of the National Trust in the landscape gardens at Stowe, Buckinghamshire, and of the Stiftung Preussische Schlos- ser und Garten Berlin-Brandenburg. As a freelance author she has written about Schloss Sanssouci, Friedrich August Stuler and the Pomeranian curiosity cabinet. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condizione: new. Hardcover. There is no doubt at all that Gehry's Guggenheim Museum in Bilbao is one of the most spectacular buildings of recent years. As the central element in Bilbao's comprehensive urban renewal programme the building raised high expectations from the outset. Its site between river, railway, bridge and new town makes it a symbol of the Basque metropolis that can be seen from a considerable distance. It is both the heart of the city and a test bed for the arts, representing both public presence and artistic change. The process by which it was created demonstrates the most recent advances in computer aided design and in material manufacture. For a long time design and building were broken down into a large number of individual components, Gehry's museum unifies this process and is thus able to create fluent links between architectural detail and urban impact. But the innovations do not stop at technology, they also extend to the way in which the interior spaces are shaped. These are extremely varied in form, as the museum is not so much designed to house a permanent exhibition of the collection, but to enable artists to create installations.In contrast with the usual neutral gallery spaces, Gehry offers a whole variety of stages for artistic presentation. His artist friends have risen to the challenge of his architecture and are experimenting very successfully with this new way of showing their work to the public. There is no doubt that Gehry's Guggenheim Museum in Bilbao is one of the most spectacular buildings of recent years. It is both the heart of the city and a tested for the arts, representing both public presence and artistic change. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condizione: new. Hardcover. The author has travelled hundreds of kilometres through this rural Italy on foot, and travelled thousands of kilometres through it by car. Although he was acting in a professional capacity as a geologist, his interests went beyond this wonderful country's geology to embrace everything it had to offer. In the year 1959, he embarked on ten years working in Liguria (north of Genoa) and twenty years in Calabria, on the toe of the Italian>boot<, on the flank of the Aspromonte facing the Ionian Sea. Further visits to both areas up to the present day have contributed to his fifty-year relationship with Italy, and a body of Italian experiences which was simply begging to be set down with accompanying pictures. Deals with the 'other Italy', that is the rural Italy, far from the bustle of the cities. This book features eight stories that tell of the land and the people, of the wild landscape of Calabria and its Mafia, of rural festivals, Christmas customs, Italian food, abandoned farms - and of 'Nonno', a grand-father. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condizione: new. Hardcover. Die Stadt Adorf kaempft mit den typischen Problemen laendlicher Regionen: UEberalterung und Rueckgang der Bevoelkerung, Attrakti- vitaetsverlust als Wohn- und Arbeitsort und eine daraus resultierende schwierige wirtschaftliche Lage. Die Stadt stemmt sich diesem Wandel mit Verbesserungen von Infrastruktur und Bildungsangeboten entgegen. Das neue Perlmutter Museum stellt ein Leuchtturmprojekt fuer Ort und Region dar, das Identifikationsobjekt und Motor einer positiven Entwicklung sein soll. An keinem anderen Ort der Welt existiert ein derartiges Museum zu Flussperlmuscheln, Perlenfischerei und Perlmutterwarenherstellung, was Adorf als attraktives und anziehendes Alleinstellungsmerkmal fuer die aktive Gestaltung des Strukturwandels nutzen moechte.Das Grundstueck des Neubaus war eine Brache ohne Qualitaet im Erscheinungsbild und fuer den Aufenthalt der Menschen. Die ein- bezogenen Altbauten waren teilweise ungenutzt und drohten zu verfallen. Durch deren Erhalt und Weiternutzung wurde die oertliche Situation stabilisiert und gestaerkt. Mit der Intervention entstand ein lebendiger Ort, der sowohl die unmittelbare Umgebung als auch durch die Naehe zu Marktplatz und Rathaus die gesamte Innenstadt aufwertet. Die Integration der historischen Stadtmauer in den Patio des Museums macht die Geschichte der Stadt erlebbar. Der rueckwaertige begruente Hof steigert in Verbindung mit einem geplanten Cafe die Aufenthaltsqualitaet im Freien. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condizione: new. Hardcover. Text in English and German. Heinz Tesar's buildings occupy a very particular place on the Austrian architectural scene, which is anyway populated by a lot of individualists. There is a great deal of creative imagination at work here, which always operates outside the scope of modern routine. The town of Klosterneuburg, north of Vienna, has become something like an artistic home for Tesar. The Schomerhaus, an office building whose huge oval central hall leaves convention far behind, and the Protestant church, which has a rounded floor plan like a tear-drop, were now followed by the impressive museum he has built here to house 4000 objects from the private Essl collection, which includes the most important collection of Austrian art after 1945. The floor plan is based on a triangle. Above a storage floor that runs the whole length of the building three individually shaped architectural entities are grouped around a green courtyard. The elaborately orchestrated section of the building on the short leg of the triangle accommodates the entrance foyer, staircase, library, offices and a flat.The long side of the triangle contains the hall for temporary exhibitions extending over two storeys; on the lower floor it is glazed on the courtyard side, and in the upper storey it is lit partly from the side and partly from the skylights in the slightly undulating roof.The hypotenuse is made up of a sequence of parallel galleries; they are topped by lanterns, which admit a great deal of daylight. Finally, Tesar gives the cubic building an organic touch with a curved flourish at the tip of the triangle. Following Gehry and Zumthor, who have recently made important contributions to the theme of art museums, Tesar is now offering a variant that responds very physically to its surroundings, creating individual spaces with a variety of light. impressive museum to house 4000 objects fromt he private Essl collection, which includes the most important works of Austrian art since 1945. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. Text in English & German. An ode to light sings the way of the wandering light, which comes from the universe and is born from the union of night and light. Wandering, it lingers for a short time in each place it visits, wandering around it, going from door to door and leaving its gift of light behind. It overcomes boundaries, falls in love, is angry, shows the future and laughs. It visits places of humiliation, powerlessness and hopelessness, and gives them a home, courage and protection. The wandering light tries to understand each place it visits and shows itself to them in different guises: as a shimmering cube, a folded labyrinth of light, as a pulsating vibration in rainbow colours, as a diamond light floating above the horizon, gently humming the music of the night. It dissolves boundaries, unites continents in the air, transforms what is fear, is here and there at the same time, lifts up the reality of time. At the end of its wanderings around the earth, it moves on into space, but not before leaving behind its scent, like the scent of time and its omnipresence. Beijing, Agra, Barcelona, New York, Gerona, Ankara and Zaatari are the places it encounters on its journey. The movements, frozen for a moment, allow us to sense its vibrations and its pulse on its way around the earth. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condizione: new. Hardcover. 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. This new exhibition centre is designed as a city-within-a city. All four of the 160 m long and 80 m wide halls are freely spanned by airy, arched timber structures with hourglass daylight apertures. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condizione: new. Hardcover. 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 this is what Gisel himself says about the atmosphere there, and he is right. The urban quality of the new town hall corresponds with thequality of the detailed architectural solutions and the care with which Gisel devoted himself to the architectural design in the interior. Zurich architect Ernst Gisel's town hall for Rathaus Fellbach is one of the very few buildings that make one enthuse about the town. The new town hall is a fairly perfect piece of architecture and urban art: reticent as a whole, monumental in detail. This title deals with this topic. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condizione: new. Hardcover. Dissatisfied with the world we live in, we have been longing since time immemorial for two opposing environments: the peaceful gardena carefree paradiseand the New Citya harmonious community. For Gunther Feuerstein, all these cities and towns, though only fictitious, have long since been built, and he strolls through them together with the architects, planners, writers, and philosophers, just as Thomas More, Antonio Filarete, William Morris, and many others once led us through their cities.m Utopia has long been sought after by urban architects since the time of Thomas More. Other fictional cities followed, some of which were brought to fruition such as Brasilia and Palmanova. Yet, these cities too have turned out to be imperfect, deeply rooted in their own period. This book takes readers through these cities. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

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

Hardcover. Condizione: new. Bruno Krupp (illustratore). Hardcover. Even though he had made a name for himself in the 1930s with his Berlin single-family homes, Eiermann later on found it difficult to accept commissions for this building type when, during the period of the 'economic miracle', he was approached by numerous people interested to get a design by him. Only the Hardenberg House in Baden-Baden satisfied him, but above all his own house, which he also built in Baden-Baden in 195962. This house in particular, built after his success with the German Pavilion at the 1958 Brussels Worlds Fair and at the same time as the Berlin Gedaechtniskirche and the German Embassy in Washington, was to become one of the main works of his post-war creative output. As a builder in his own right, he was able here to uncompromisingly realise his ideal image of living for himself and his family in architecture. Eiermann himself tried to explain the house, which only crystallised in a longer planning genesis, primarily from the functional side: main house and annexe, the latter for garage, studio and guest apartment, the elongated main house in bulkhead construction under a flat sloping roof. In fact, the house is convincing in its sophisticated functionality. But it does not stop there. The complex group of buildings on a steep hillside site with its stagelike terraces, the staged interplay of views from the inside to the outside and, at night, also from the outside to the inside, is an extremely artificial structure even from its basic disposition. The Eiermanntypical facade, with its exterior walkway and white linkage as well as the corrugated Eternit roof provide a ponderous contrast. Together with echoes of traditional Japanese houses and gardens, but above all with the adoption of motifs from sailing- ship building give this house an unmistakable character. Since 2020, the house has new owners, on whose behalf the Stuttgart architects 'no where' (Henning Volpp and Karl Amann) have undertaken an extremely careful renovation. Eiermann's estate, which is kept at saai, the Archive for Architecture and Engineering at the Karlsruhe Institute of Technology (KIT), provided the historical drawings and photographs for this volume. The photographs were primarily taken by Horstheinz Neuendorff, an architectural photographer who was on friendly terms with the architect. Since the early sixties, Neuendorff had been commissioned by Eiermann to capture his new buildings in black-and-white photographs of a high artistic standard. Color photographs of the current condition were newly made by Olaf Becker from Munich. Gerhard Kabierske is an art historian specialising in architectural history and monument preservation. 19932020 he worked at the saai in Karlsruhe where he was responsible, among other things, for the Eiermann archive. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condizione: new. Hardcover. Text in English and German. In the summer 1978, the cover of the magazine Bauwelt showed a photograph of an unusual building. It was tersely introduced to readers as a 'private house with office in Bad Nauheim', but it was immediately obvious that this was a built manifesto. What appeared was a strictly symmetrically articulated, steeply rising facade, emanating dignity and composure. It also seemed able to manage without windows, which further enhanced its austere elegance. And then there were the strikingly slender, sharp-angled wall elements, which seemed captivatingly graceful, or even delicate and fragile -- as though folded from paper. The fact is that, long before Gilles Deleuze had cast his spell on a new generation of aesthetically ambitious architects, Johannes Peter Holzinger was putting his folding skills into practice as a matter of course. This private house with office is abviously a built manifesto demonstrating precise agreement between internal and external geometry and eliminating the antihesis between elevation and ground plan. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condizione: new. Gieselmann, Reinhard (illustratore). Hardcover. 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. This bi-lingual edition (German/English) contains three of his famous fairy tales (The Cold Heart, SaidOs Adventures, The Cave of Steenfoll) telling from the search for riches, fame and power which often brings with it greed, inhumanity and violence. The fairy tales are accompanied by sensitive and colorful illustrations by Reinhard Gieselmann. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condizione: new. Hardcover. The juxtapositions of Zaha Hadids architectural models and drawings and Judith Turners photographs of the architects buildings in this volume reveal that Hadid and Turner are complicit. There is a clear agreement of sensibilities. Each understands the other. Hadid does not design with complete geometries in stable con-figurations, but designs instead with incomplete or distorted geometries that are dynamic and visually unstable. Turner does the same in her photographs, cropping before a form completes itself in a frame that leaves the rest of the form suggested outside the frame. Hadids work is abstract a permutation of Modernisms trifecta of point, line and plane. Turners photography, too, is abstract so that Turners photographs of Hadids buildings compound the abstraction, arguably intensifying the three-dimension-al abstraction by compressing it into two. Hadids neutral palette of materials, especially concrete, takes on value in Turners graphic compositions of black, white and gray, counterintuitively giving neutrality subtle intensity.Hadid structures her designs dynamically with diagonal lines and oblique planes playing with and against each other in three-dimensional fields. Likewise Turner works on the diagonal, always positioning herself obliquely to buildings, shooting glancingly rather than frontally: her diagonal position further dynamizes Hadids already energized diagonals. Often Turner doubles down on the diagonality by cranking the cameras lens off its up-down axis to heighten the architectural dynamism. Turning her photographic angle lofts Hadids already anti-gravitational architectural system off the ground. Judith Turner resides in New York where she began taking photographs in 1972. She has had solo exhibitions in various cities in the United States, Europe, South America, Israel, and Japan. Turner has been awarded several grants and fellowships. She received an Honor Award from The American Institute of Architects in 1994 and a Stars of Design Award in Photography from The Design Center of New York in 2007. The juxtapositions of Zaha Hadids architectural models and drawings and Judith Turners photographs of the architects buildings in this volume reveal that Hadid and Turner are complicit. There is a clear agreement of sensibilities. Each understands the other. Hadid does not design with complete geometries in stable con-figurations, but designs inste Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condizione: new. Hardcover. The new Musee des Confluences in Lyon was opened to the public, in late 2014. It was created by Wolf D. Prix of the Coop Himmelb(l)au team, which was founded in the 1970s. Many avant-garde groups from those wild years such as Archigram, Superstudio, Archizoom, Haus-Rucker-Co, and the Japanese Metabolists are now consigned to the past, but the Coop Himmelb(l)au architecture firm, whose special aspiration was always to bring into the world buildings that overcome the pull of the earth buildings "to float on the horizon like clouds" is more in demand than ever. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

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

Hardcover. Condizione: new. Hardcover. 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 Cesar 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 Rio, the Cactus Garden and his own house in the Taro de Tahiche. Manrique's house in Taro de Tahiche, which nowadays houses the Cesar 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. Simon Marchan Fiz is professor of aesthetics in Madrid. Like Marchan Fiz, Pedro Martinez 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. The main architectural work of the famous Spanish artist. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condizione: new. Hardcover. Text in English & German. A whole issue of the architectural magazine Bauwelt, being published in Berlin, was dedicated to the completed building. The Institutes of Pharmacology and Food Chemistry of the Goethe-Universitat in Frankfurt am Main by Ferdinand Kramer, who had also built most of the other new buildings on the campus, soon advanced to a highly appreciated master work of modern post-war architecture but later it was nearly forgotten. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condizione: new. Hardcover. The new building for the Alfred-Wegener-Institut fur Polar und Meeresforschung, named after Alfred Wegener, the famous geo-scientific pioneer, is near the city centre by the commercial harbor, not far from warehouses and other industrial buildings. What is striking is the unusual facade: a pattern is made with glazed tiles in white, grey and black, seeming more regular than it actually is. The architectspictorially speakinghave set up poles at the corners of the plot and stretched fabric between them. The building for the Alfred-Wegener-Institut fur Polar- und Meeresforschung is near the city centre by the commercial harbour. What is striking is the unusual facade: a pattern is made with glazed tiles in white, grey and black, seeming more regular than it actually is. Here, the text is both in English and German. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condizione: new. Hardcover. What all these buildings have in common is that with the available material, wood, and the most modest means, places of worship, centres in the villages, were built with much feeling and love. The constructions in wood were derived in an old tradition from the dwellings and farm buildings of the peasant population. Their architecture, the typological forms probably penetrated into this seclusion as an idea. "The idea of a church as a building", brought with them by clergymen and wandering master craftsmen from the more fertile plains and the rich, large mining and trading towns.The oldest churches were built as early as in the 15th century, most of those still standing were built in the 18th and 19th centuries, and quite a few are still being built today. Many were destroyed in the two world wars, many fell victim to ethnic cleansing after 1945. Many were destroyed in the two world wars, many fell victim to ethnic cleansing after 1945, some fell into disrepair during the Soviet era, others were burnt down by lightning or short circuits, and quite a few simply gave way to the more "representative" stone churches as early as the 19th century. But a large number are still standing, consecrated, and believers gather in them. In fact, almost all of them in the various Carpathian countries are protected monuments, and many have been lovingly restored in recent times.More than the architectural-historical value, the question arises here of the aesthetic assessment of these small buildings. It is not a refined canon of forms of great architecture that can be derived and proven from the history of architecture that inspires us so much. Basically, they are not overly sophisticated constructions in terms of craftsmanship, they are safe and beautiful in their simplicity. Their aesthetic appeal, however, also includes the surface-weathered material, deformed structures, colour improvisations, recently ornamented sheet metal, inside wall paintings, altar and iconostasis furnishings derived from Renaissance and Baroque periods, but above all their location in the village, mostly isolated, often elevated, surrounded by old trees, enclosures and graves without cemetery order. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condizione: new. Hardcover. Text in German & English. In Cologne's narrowest building, which is also one of the best known examples of modern architecture in the city, special installations have been staged during the International Furniture Fair for several years. Well-known designers are invited to implement a design on a particular topic in this unusual environment for the week's duration of the trade fair. In Cologne's narrowest building, which is also one of the best known examples of modern architecture in the city, special installations have been staged during the International Furniture Fair for several years. Well-known designers are invited to implement a design on a particular topic in this unusual environment. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condizione: new. Hardcover. The particular importance of the town hall in Bremen is based on the fact that it is extremely ambitious in architectural terms, and at the same time symbolizes the republican and municipal structures of European cities. The Free Hanseatic City of Bremen is the oldest European city republic, and has retained its independence until today as a Land in its own right in the German Federal Republic. This self-confidence is expressed through the resources of architecture and the pictorial programme. As the best-preserved example for this particular building type in Germany the town hall in Bremen has also a unique significance as a historical monument. The town hall in Bremen with its associated Roland statue in the market square in front of the building make up a UNESCO World Heritage site and thus count as outstanding examples of architectural and cultural history. The Bremen town hall is an ideal image of this building type that is so important for European and Western history. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. Text in English & German. Since beyond time, rainbow lightning has been exploring space, leaping from star to star and forming light beings and crystals of light on our planet, just as they do there. They bubble, flame, flare, flash, weave a web of light, attract, condense, become space that inspires and into which one can enter. Become figurines, cubes, gurgling sky discs, flying labyrinths -- cathedrals of light! Vibrating, stretching time, laughing, refreshing, exploding like dreams in buds of light, timeless and passing away. The rainbow flashes are particularly attracted to cities. There they magically sparkle pink-red, jasmine-yellow-gold, flower-blue and breathe new life into them. Beauty is their goal. If their light were sound, what sweet melody! What overflowing happiness rained down! What sound of light-worlds! The journey of the rainbow lightning travels to Mongolia, Belize, Rome, Kathmandu, Guilin, Norway, Dubai and Japan. Frozen for a moment, the bubbling lightning and light crystals suggest their vibrations as they travel around the earth and into space. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condizione: new. Hardcover. Text in English and Italian. In a letter from London, dated 9 November 1815, Antonio Canova wrote: ".Here I am in London, dear and best friend, a wonderful city.I have seen the marbles arriving from Greece. Of the basreliefs we had some ideas from engravings, but of the full colossal figures, in which an artist can display his whole power and science, we have known nothing.The figures of Phidias are all real and living flesh, that is to say are beautiful nature itself." With his admiring words for the famous Elgin Marbles Canova, one of the last great artists embodying the grandiose heritage of the classical world, gave at the same time an appropriate description of his own artistic aims. It was his half-brother who decided to assemble most of Canova's plaster originals and to place them in a museum he had built in the garden of his brother's home in Possagno, a small village north of Venice, where the artist saw the light of day on 1 November 1757. This basilica-like building erected in 1836 now holds the great majority of Canova's compositions.To commemorate the bicentenary of his birth, the Venetian authorities decided to have an extension added to the overcrowded basilica, and they commissioned the Venetian architect Carlo Scarpa for this delicate task.Scarpa composed a small, but highly articulated building that is in a strong contrast to the Neo-Classical, monumental basilica. The subtly designed sequence of spaces is unique even among Scarpa's so many extraordinary museum interiors as the architect was here in the rare position to compose the spaces as well as the placings of the exhibits. The placing of the sources of natural light which infuses the plaster surfaces with the softness of real life is in itself a rare achievement and it took an equally rare photographer to record such symphonies in white in all their magic. As an extension to the basilica-like museum, built in 1836 for Canova's plaster originals, Carlo Scarpa composed a small, but highly articulated building. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condizione: new. Hardcover. When the Forth Bridge opened on 4 March 1890 it was the longest railway bridge in the world and the first large structure made of steel. Crossing the wide Firth of Forth east of Edinburgh, it represents one of the greatest engineering triumphs of Victorian Britain, man's victory over the intractable topography of land and water. Not surprisingly, such a vigorous rebuff of the natural order was condemned at the time by those late Victorians who resisted the march of technology, and William Morris described the Bridge as the supremest specimen of all ugliness. In response, Benjamin Baker insisted that its beauty lay in its functional elegance. Contrasting his masterpiece with the only comparable structure of the period, the Eiffel Tower, he concluded: The Eiffel Tower is a foolish piece of work, ugly, illproportioned and of no real use to anyone. Talks about the Forth Bridge - the longest railway bridge in the world and the first large structure made of steel. Crossing the wide Firth of Forth west of Edinburgh in Scotland, it represents one of the greatest engineering triumphs of Victorian Britain, man's victory over the intractable topography of land and water. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. Rome is where the history of European architecture was written. The foundations were laid in ancient Roman times when the first attempts were made to design interiors which could be experienced as something physical. Ancient Roman architects also started to develop building types that are still valid today, thus creating the cornerstone of later Western architecture. This guide has been arranged chronologically. Every epoch is preceded by an introduction that identifies its key features. This produces a continuous, lavishly illustrated history of the architecture of Rome, indeed, the whole of the West. The book includes an alphabetical index and detailed maps, whose information does not just immediately illustrate the historical picture, but also makes it possible to choose a personal route through history. In order to clarify the historical development, the key buildings of each period and other major works are emphasised both in the text and on the maps. Rome is where the history of European architecture was written. This book includes an alphabetical index and detailed maps, whose information does not just immediately illustrate the historical picture, but also makes it possible to choose a personal route through history. It also includes key buildings of each period and other major works. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condizione: new. Hardcover. 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). This Opus volume presents an aging university ensemble on the old campus of the RWTHAachen, 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. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.