Прочие
Производитель Park Books

Описание:
Baku, the capital of Azerbaijan and formerly part of the Russian Empire and the Soviet Union, is a city built on and with oil. In fact, oil and urbanism in Baku have been completely intertwined, economically, politically, and physically in the spaces of the city. It's first oil boom in the late 19th century was driven by the Russian branch of the Nobel family modernising the exploitation of oil fields around Baku, and local oil barons pouring their new wealth into building a cosmopolitan city centre. During the Soviet period, Baku became the site of an urban experiment: the shaping an oil city of socialist man. This project included Neft Dashlari, a city built on trestles in the Caspian Sea, housing thousands of workers, schools, shops, gardens, clinics, cinemas and more. This first off-shore rig in the world became the emblem of Baku's second oil boom. Today, Baku is experiencing it's third oil boom. For Baku's city planners and business elites, that future is based on a careful reading of Baku as a project in which urbanism and oil are inextricably linked. This new book investigates how oil stimulated urban development in Baku, and explores in detail the more complex and important question of how the disparate spatial logics, knowledge bases, and practices of oil production and urban production intersected, impacted and transformed one another. Based on a vast research project and drawing on rich and previously unpublished material, Baku - Oil and Urbanism is organised into three broadly conceived historical periods defined by the political, economic, technological conditions in which the interwoven evolution of oil and urban production unfolded. The book also features a new photo essay by celebrated photographer Iwan Baan.

Описание:
Space Packed: The Architecture of Alfred Neumann is the first critical monograph on the work of the Austrian-born modernist architect Alfred Neumann (1900-1968). Based on an exploration of his writings and a close study of his built and unbuilt projects, it unveils and analyses Neumann's approach to architecture in the context of post-war modernism and the establishment of the State of Israel from 1948 onwards. Rafi Segal's book brings to attention again this highly significant, yet largely forgotten figure who contributed vastly to establishing modernism in Israel and who had a lasting impact on the new country's architectural culture. At his time, Neumann was equally renowned and controversial for his original designs that differed from modernist mainstream. Space Packed is divided into four chapters that discuss the development of Neumann's architectural theories, methodologies, and built work during the 1950s and 1960s, against the backdrop of contemporary architectural discourse and the nation-building demands of the new state of Israel. It also features a chronologically-organised and illustrated catalogue of Neumann's buildings and designs, including a vast number of previously unpublished photographs, drawings and sketches.

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SOS Brutalism is a distress signal. Since the 1950s, eminent architects around the world have realised buildings expressing an uncompromising attitude. Predominantly, yet not exclusively, they used exposed concrete, or beton brut (hence the term "brutalism"), for their construction. Today, many of these always-controversial buildings are in danger of demolition or, at least, of reconstruction that often may change their appearance beyond recognition. In recent years, an initiative to protect and preserve this significant global heritage of 20th century architecture has gained momentum, mainly through the internet. Using the hashtag #SOSBritalism, the Deutsches Architekturmuseum (DAM, German Museum of Architecture) in Frankfurt on the Main and the Wustenrot Foundation participate in this campaign, and have developed a vast collaborative research project. The result of this research to date is a global survey of brutalist architecture of the 1950s, 1960s and 1970s, presented in an exhibition at DAM in autumn 2017 and a coinciding and uniquely comprehensive book. Some 100 contributors document around 120 key buildings from this period, including many previously unpublished discoveries that are in acute danger of loss through neglect or intended demolition. Moreover, the book features overviews of brutalism in architecture in twelve regions around the world. Case studies of hotspots such as the Macedonian capital Skopje or New Haven, Connecticut, and essays on the history and theory of brutalism round out this lavishly illustrated book. The supplement collects papers of an international symposium on brutalism in architecture held in Berlin in 2012.

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For more than thirty years, British photographer Simon Phipps has been documenting the rebuilding of Britain after the Second World War through the work of architects. His archive documents Britain's post-war modernism and new brutalism in architecture and recognises the architects enormous contribution to the transformation of the political and social landscape of the country in the aftermath of WWII. Significant building on a mass scale was realised and new building techniques were pioneered alongside innovative layouts, resulting in buildings of outstanding quality, displaying radical new forms. The construction ranged from public and private housing, to schools and universities, churches, museums, galleries, commercial and, ultimately, entire new towns. This new book features some 80 of Simon Phipps's photographs of buildings in all parts of England completed between the 1950s until the 1980s. They create a confrontation of buildings and architectural fragments, evoking a distinct atmosphere of brutalism. An essay contextualises brutalism in architecture from a British perspective and considers Phipps contribution to it's reception. An illustrated catalogue of featured buildings provides full details of each item, making the book also a handy travel guide for architecture lovers and professionals. This book accompanies the exhibition Finding Brutalism, at the Museum im Bellpark, Kriens, Switzerland, 26 August to 5 November 2017.

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Hermann Czech belongs to the small group of architects that are equally prolific in theory and design. Over the course of six decades, he has created a much recognised body of built work and projects and also developed an architectural theory based on profound knowledge of philosophy and architectural history. His writings enable a clearer understanding of the built environment and thereby a sound basis for decisions affecting it's future. Czech grapples with local and universal topics and spars with his colleague and fellow compatriot Hans Hollein. He analyses mannerism and calls attention to underestimated works of architecture. He delves as well into questions addressed by intellectuals and, like them, maintains an ambivalent relationship to modernism, and he makes a strong call to embrace reason over style. Czech also applies his profound knowledge of the works of Hegel, Kant, Wittgenstein, and Adorno to pressing architectural topics. Moreover, he recognises that architects often lack the basic framework necessary for meaningful discourse.

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Ludwig Mies van der Rohe (1886-1969) is undoubtedly one of the most significant and influential architects ever. To the present day, his designs and realised buildings, as well as his thinking and writings, continue to initiate many controversial debates on the achievements and failures of modern architecture. Yet not only architects and urban designers have been inspired or appalled by Mies. This new book demonstrates that his influence reaches far beyond the boundaries of professional architecture. Almost Nothing collects work by 100 painters, sculptors, photographers, film directors, designers, cartoonists, and architects who comment on the buildings, designs, and statements by, or images of, the legendary architect. The works also form a 100 fold re-interpretation of Mies van der Rohe's life and oeuvre. New York based architect and writer Christian Bjone in his accompanying text provides rich background information on the individual artists and the depicted art works. The book's title refers to a statement by Mies himself on one of his celebrated masterpieces, Crown Hall on IIT campus in Chicago, which ingeniously combines simplicity with complexity.

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Following the liberation and subsequent occupation of Austria at the end of World War II in spring 1945 by the victorious powers Britain, France, the United States, and the Soviet Union, Vienna soon became a central stage for the quickly emerging Cold War. The struggle of differing political systems was also carried out in the field of architecture. Cold War and Architecture sheds new light on the building activity in postwar Austria and it's main protagonists. For the first time, this book explores the lines of architectural debates of the time in the context of the global political and cultural conflict of East vs. West. With it's transnational perspective, it changes our view of architectural history and postwar society. During the ten-year occupation period, Austria experienced a transition from authoritarian government to democratic consumer society. Each of the four Allied powers established it's own extensive cultural program. Architectural exhibitions became important instruments of such educational schemes with the objective of a new social order. British, American, French, and Soviet cultural policies served as catalysts for ideological convictions.

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Crafting the Facade presents the results of this productive co-operative study, which cut across disciplines to look at historical developments in the design and building of facades, the theoretical underpinnings that can explain these developments, the common materials and their main characteristics, and the techniques used in assembly. The project also prompted a great deal of innovative design work, including detailed drawings at a scale of 1:10 and the design and construction of life-size prototypes in stone, brick, and wood - all of which are reproduced here among the book's two hundred illustrations. Through their leadership roles with the project, editors Urs Meister, Carmen Rist-Stadelmann, and Machiel Spaan also reflect in Crafting the Facade on the learning processes that emerged from the project and offer guidance and resources for others looking to delve into this topic in depth.

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From hand-made brick to high-tech product: building with blocks of fired clay today draws from a heritage of nine millennia and remains innovative, sustainable, and highly appreciated for it's manifold applications. Since 2004, Wienerberger, the world's largest manufacturer of bricks and other clay building materials, biannually presents the international Brick Award as a scene for outstanding achievements in brick architecture. The 2020 edition of this master class saw 644 submissions from fifty five countries that were reviewed by an international jury of experts. This book features the fifty nominees and the six winning designs, which are located in Africa, Asia, Europe, and Central America. All projects are presented in texts and richly illustrated with atmospheric images, site and floor plans, views, elevations and sections. Five topical essays by international authors, discussing the winning buildings in a wider context, round out this celebration of contemporary brick architecture.

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Berlin Tegel TXL is the airport of short distances and an icon of Modern architecture. With it's striking hexagonal shape and concept of check in counters right at each gate, Tegel has made air travel history. Indeed, Berliners are passionately nostalgic about Tegel, since it served as the window to the wider world for the once-isolated island of West Berlin. At the same time, this airport represents the launch of architects Gerkan, Marg and Partners' success story. Together with Klaus Nickels, the then recently graduated Hamburg architects won the 1965 competition for building the new airport, which opened in 1974. Numerous historical and contemporary photos, together with drawings, have been taken from the gmp Architects archive to illustrate the Tegel Gesamtkunstwerk, it's vibrant colour scheme and overall design, from the structure as a whole right down to the check in counters with their rounded edges. Meinhard von Gerkan and Volkwin Marg provide a detailed account of this early commission, and the book includes an essay by Jurgen Tietz on the specific qualities of this unique air terminal - now a listed building and it's historical significance.

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Archetypes features a recent series by Canadian artist David K. Ross, who works at the interface of photography, film, and installation. His images of architectural mock-ups, staged at night with dramatic lighting that isolates structures from their surroundings, demonstrate how these objects have become a charged form of proto-architecture. They also change how we view the practice of architecture by documenting and framing unseen aspects of it's emergence. Built at full scale, these architectural fragments - to be removed from construction sites as buildings near completion - ensure that a project can be executed exactly to design, and they provide clients with a simulation of a building that leaves little space for speculation. The task of mock-up documentation is usually left to architects and contractors, who take quick snapshots for their reference during site visits. Archetypes is the first-ever photographic compilation of this type, reaching beyond a mere artistic record of building technologies and typologies. Instead, the book offers an effective platform to consider what it means to pre-construct fragments of buildings in all their complexity. Published alongside Ross's images are four essays framing the historical, technological, and civic significance of the mock-up. Archetypes offers an intellectual and aesthetic reference for a wide range of audiences from professionals in architecture to anyone interested in photography and art, or fascinated by arcane aspects of building construction.

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Built in 1969, Metsamor, Armenia (then the Armenian Soviet Socialist Republic), was intended as a settlement for employees of a nearby nuclear power plant to be completed between 1976 and 1980. But the power plant would never realise the ambitions of its creators. In 1988, an earthquake caused the facility to be shut down and in 1991, the collapse of the Soviet Union prompted a complete construction freeze in the city. The symbol of the dream of a technologically advanced nation, Metsamor remained incomplete and fell into decay undiminished by the recommissioning of the power plant in 1995. "Utopia and Collapse" documents the rise and fall of Metsamor. The book brings together an oral history of Metsamor with essays by Sarhat Petrosyan and a team of contributors and photographic research and visual mapping by Katharina Roters, including more than one hundred images. Among the topics discussed are Armenia's cultural and and architectural histories; the typology of Soviet atomograds, or atomic cities; and the phenomenon of modern ruins. Although today the power plant's workers live in a partly built failed utopia, Metsamor stands as an example of the highly idiosyncratic Armenian variety of Soviet Modernism of the 1960s and 70s, making this a fascinating story for anyone with an interest in Soviet-era buildings and architecture.