edition axel menges fellbach (289 results)

Hardcover. Condition: new. Hardcover. Montaner was a Catalonian art nouveau artist and a supporter of Modernism, political freedoms, and cultural renaissance. Montaner was a Catalonian art nouveau artist and a supporter of Modernism, political freedoms, and cultural renaissance. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condition: new. Hardcover. The palace, set on a severe garden axis, was built from 1826 to 1829. It was followed from 1829 to 1840 by the freely developingarea of the Hofgaertnerhaus and its adjacent facilities, all of which has become known as the Roman Baths. The Crown Princeinvolved himself in the planning process, contributing over 100 sketches. He called Charlottenhof my Siam, understood as asynonym for a better world, and he was pursuing with it his intention of presenting his own future style of government, based on romantictheories of the state and striving for a harmonious balance of all classes and interests. Charlottenhof is Schinkel's only work to have survived complete inside and outside, surrounded by Lenne's landscape garden, which has also been carefully looked after and preserved. Features Schinkel's only work to have survived completely inside and outside, surrounded by Joseph Lenne's landscape garden. Charlottenhof, laid on a strict garden axis, was built from 1826 to 1829. It was followed from 1829 to 1840, by the developing area of the Hofgartnerhaus and its adjacent facilities came to be known as the "Roman Baths". Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

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

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present volume now shows Persius architectural work in its current condition in 180 photographs, with numerous as yet unpublished exterior and interior photographs including also many detailed views.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

Hardcover. Condition: new. Hardcover. Text in German and Chinese. Architects usually try to create "finished" buildings, i.e. coherent works of architecture for eternity. But does this claim stand up to reality? Should that be the claim at all? After all, it cannot be ruled out that the building will change after completion. Inspired by references from architectural history, art and anthropology, the young Kaiser Shen studio developed various theses at the beginning of its practice and tested them on the basis of its own projects. Central to this is the question of how buildings change in their lifespan due to external influences and what this change means for permanence in architecture and for the idea of space. In earlier times, it was common practice to build on existing structures. Thus, in most buildings that have survived for several centuries, countless layers of time overlap. This can be seen particularly clearly in the additions and conversions of cathedrals, for example. Due to new framework conditions and requirements for use, buildings were always pragmatically developed further in the currently valid architectural style. Often, only experts are able to distinguish between the different time periods. Only a few buildings are considered so outstanding by society that they are conserved and musealised in a fixed time layer. However, such conservation is rather unnatural and can only be justified in exceptional cases. In this book, therefore, promising strategies are to be pointed out as to how "unfinished" houses, with rooms lacking special qualities, can be further built and adapted to the present framework conditions. For Atelier Kaiser Shen, a good structure means developing a future-proof spatial idea, and this cannot be reduced to the supporting structure. When building further, it should be possible to build on this architectural-spatial idea. Since a conversion can even destroy it in extreme cases, it is important to create a potential that is recognised and taken up by those who continue to build. Ideally, the building should have such a strong spatial idea that it can survive future renovations and still be viable. Stuttgart-based Atelier Kaiser Shen was founded in 2017 by Florian Kaiser and Guobin Shen and works on projects of various scales. Their work has been awarded various prizes, including the Hugo-Haering-Auszeichnung 2020 and a recognition at the BDA-Architekturpreis max 40 for young architects. Parallel to their work in the studio, Florian Kaiser and Guobin Shen taught at the University of Stuttgart from 2014 to 2021. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Sprache: Deutsch Mit zahlreichen Abbildungen. 71 Seiten. 4°. Leinen mit OU. Handschr. Widmung. Guter Zustand!.

Paperback. Condition: new. Paperback. When not directly shaping the fabric of Paris themselves, its rulers have always kept tight control over the activities of others, with the result that Paris has developed under some of the strictest building regulations of any major city. Despite Paris's much vaunted reputation as the cultural salon of Europe, a certain suspicion towards foreign architectural imports has characterised its development, and outside influences have always been adapted to local needs and indigenous modes of expression, a tradition which carried on until the post-war era and arguably continues today. The last decades of the 20th century have witnessed a rush to modernise and adapt a crumbling fabric to the exigencies of the electronic age. Over 300 buildings of the last 2000 years are presented. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: new. Paperback. Spread over a hill that climbs up from the plain, Himeji Castle with its white walls shimmering in the sunlight like the feathers of a fantastic bird seems to be rising into the blue sky like a great heron. This impression has given it the name "Castle of the White Heron". The castle, which has nothing martial about it, on the contrary, it is extraordinarily elegant, is undoubtedly one of Japans most impressive fortresses. It was built between 1601 and 1609, when the period of war was almost over, and was used primarily for administration and residence, with defence as a secondary role. Thus its aesthetic impact was as important when it was built as its actual purpose as a fortification. The main building in the castle is the Tenshu or Tenshu-kaku in the northem part of the complex, a wooden structure about 46 m high. Its complicated intermediate roofs make it look more like a skyscraper than a tower. Himeji Castle represents an architectural type that probably does not occur in other areas of the world. Large parts of the building were classified as "Kokuho State Treasure" as early as 1951, and others as "Important Cultural Property". The building was placed on the World Cultural Heritage list in 1993. Art historian Irmtraud Schaarschmidt-Richter specialized in classical and modern Japanese art and architecture at an early stage, as is shown by numerous publications. Her book on the Japanese garden has long been a standard work. Most recently she was involved in publications on architects Kazuo Shinohara and Toyo Ito. Photographer Mo Nishikawa, a pupil of Ken Domon, one of the most important photographers of our century, sees his work as a spiritual and intellectual contemplation of art. His photographs of the Katsura Palace, the Himeji Castle and the Ise Shrine are among the great masterpieces of contemporary photography. The building was placed on the WorldCultural Heritage list in 1993. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condition: new. Hardcover. During the 1960s Italys 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 who revitalised the discipline of museography by sagaciously combining it with restoration. His lucid intervention at Veronas 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 Castelvecchio in Verona is the most perfectly resolved of Scarpa's works and today remain "outrageously" well pre-served. It is therefore unsurprising that a photographer-artist such as Richard Bryant should have been attracted by teh extraordinary compositional, spatial and luminous harmony of Castelvecchio. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condition: new. 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. Condition: new. Hardcover. In his note to the edition of Neue Landschafts-architektur/New Landscape Architecture published 1994 in England as Landscape as Inspiration, Geoffrey Jellicoe compares my drawing considerations with the works of Paul Klee. What at first sounds a bit highfalutin is correct insofar as I do not move exclusively in the banal everyday and functional space in everything I draw, design and realize, but always reflect second and third surrealities as well. Art does not reproduce the visible, but makes visible", how Paul Klee formulated the process. Every viewer and reader could rightly ask the question: What do such expressions of art have to do with every-day architecture? I think: a great deal. And that is because all architectural problems and their solutions are multi-layered. Just like pure works of art. Every building summarizes and redefines its architectural, urban, village and landscape surroundings. Intentionally or unintentionally, exaggerated or restrained, each building can look like a meteorite or bomb strike, an inconspicuous remark or a beautification attack. I am interested in the past, the present and the future of an urban or landscape site. My view wants to integrate archaeological working methods just as much as functional fulfilments and imaginative-surreal, sometimes utopian efflorescence. I would never go so far as to formulate: Architecture is the necessary, and art is the unnecessary. Of course, every artist-architect who embarks on this complicated-complex path will have difficulties with the banal, seemingly superficial everyday reality in nature, the landscape and the city. It is therefore not surprising that I have only been able to realize a few architectural and visual productions and that, in the course of the last decades, I have been increasingly pushed into the areas of stage design and other design areas. At the moment, thanks to the ecological movement, hardly anyone is interested in the connection between art and architecture. More important are sustainability and zeroenergy houses in which the windows can hardly be opened. Could it be that building culture, indeed the whole of culture, will soon sink into green primeval forests and huge wetland biotopes? Or will foreign, warlike peoples destroy or occupy our cities and landscapes and cultivate them anew? The book offers a selection from the complete work of the artist Hans Dieter Schaal. Shown are landschape architecture, exhibition design, stage architecture, drawings and collages. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condition: new. Hardcover. One and a half million visitors a year can't be wrong! For them, the royal castle at Neuschwanstein in Bavaria is the pinnacle of every dreamer's arhcitectural fairy-tale. Never before have the charms of the natural surroundings been used so effectively to create an overall architectural picture, nor have historical forms been charged with so much meaning. Provides information about the royal castle at Neuschwanstein, which is visited by one and a half million people per year. But for the architecturally educated, for adepts of Modernism, this stylistically crude, anachronistic monument to a prince's whim is simply annoying. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

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

Hardcover. Condition: new. Hardcover. 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. The recently opened BMW World is such a floating building. Excellent photographs provide a record of this demonstration project by BMW. The urban-sculptural and internal spatial qualities of the building are analysed thoroughly, and dealt with in detail in the context of Coop Himmelb(l)au's older and more recent works. 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. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condition: 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. Condition: new. Hardcover. If there is one building by Le Corbusier that represents a synthesis of his basic concepts it is certainly the Unite d'habitation built in Marseille in 1946-52. This building is now very popular with the people who live in it. Le Corbusier used his architectural resources atmospherically and scenically to give the Unite d'habitation a succinct coherence that also forms the basis for individual lives within its rooms and spaces. Precise observation and description reveal the mechanisms of these effects. If there is one building by Le Corbusier that represents a synthesis of his basic concepts it is certainly the Unite d'habitation built in Marseille. The story of the response to it has been recorded in order to investigate why this extremely ambitious project in particular should have caused such a conflict between intention and effect. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condition: new. Hardcover. Text in English and German. The basic features of Deutsche Lufthansas present corporate image emerged almost 45 years ago. It was created by Otl Aicher, one of the principal figures at the now legendary Hochschule fur 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 companys 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, Muller 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, Jurgen 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 Fanghanel & Lohmann. An exhibition of the same name at the Museum for Applied Arts in Frankfurt deals with the same subject as the book. The basic features of Deutsche Lufthansa's present corporate images were created by Otl Aicher almost 45 years ago, including graphic standards, photographic style, packaging, exhibition systems, architectual characteristics, furnishings, equipment and service clothes. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condition: new. Hardcover. It was not by chance nor by a trick of fate that Javier Mariategui dedicated himself to gardening. He grew up among gardens. Both his grandmothers were gardening enthusiasts, one of them, the Marchioness of Casa Valdes, wrote the book Spanish Gardens, which describes the history of Spanish gardening from Roman times to the present day. This book continues to be a reference for all lovers of this particular field of history and art. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condition: new. Hardcover. Current design of apartment buildings is facing challenges of philosophy and form. The need for a new outlook is propelled by fundamental changes that touch upon environmental, economic, cultural and social aspects that led to the writing of this book. Concepts that minimize the buildings carbon footprint, passive solar gain, net-zero structures and water harvesting system are some of the contemporary strategies that architects and builders are integrating into their thought processes and design. The book offers information on contemporary design concepts and illustrates them with plans and photographs of outstanding international examples. This book is primarily addressed to architects as social change requires them to be innovative in their responses. The buildings shown in this book represent a momentary situation and demonstrate at the same time that the design and constructionof apartment buildings will evolve and endure. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condition: new. Hardcover. Text in English and German. Heinz Tesar has carefully preserved the existing Bode Museum building on the Museum Island in Berlin, and provided it with highly unusual additional sections for the anticipated hordes of visitors. His work proved its extraordinary qualities even at the opening. There is scarcely anywhere else in the world where the contrasting styles arising from a museum's various building periods come together to form such an individual whole, at best comparable in its density with the Italian architect Carlo Scarpa's museum designs. The essential basis for this successful symbiosis of heterogeneous stylistic elements is the variable historical architecture that museum director Wilhelm Bode invited architect Ernst Eberhard von Ihne to develop around 1900 for the collections, which were very disparate in both style and genre. When the museum opened in 1904, the magnificent architecture still had a political message to proclaim. It was called the 'Kaiser-Friedrich-Museum' at first, and there was a definite programme behind this: invoking the name of the art-minded earlier emperor and erecting ostentatious equestrian statues of figures from Prussian history was intended as a powerful pictorial display to anchor the Prussian dynasty in German history and European culture. But as Ihne eschewed any sense of regional identification, the museum could have carried his name after the abolition of the monarchy. But it was renamed Bode-Museum after its inventor Wilhelm von Bode in the GDR years, which indicates the significance of the stylistic spaces Bode created for the development of exhibition techniques. The text in the book provides a reminder of museum's first collection, a mixed one consisting of paintings, sculpture and furniture. The pictorial section then records the present content of the restored galleries, shaped by Heinz Tesar and using objects from the sculpture collection, the Byzantine museum and the numismatic collection. Tesar carried out some architectural interventions of considerable sculptural quality in the new basement under the small dome, in other words in the rotunda where the planned underground passage from the Pergamon-Museum will come in, and in the new stairwell added as a slim section in one of the courtyards. Heinz Tesar has carefully preserved the existing Bode Museum building on the Museum Island in Berlin, and provided it with highly unusual additional sections for the anticipated hordes of visitors. This book provides a reminder of the museum's first collection, a mixed one consisting of paintings, sculpture and furniture. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

Hardcover. Condition: new. Hardcover. It can be said that those who know he works of Karl Friedrich Schinkel (17811841), Ludwig Persius (18031845) and Friedrich August Stueler (18001865) in Berlin and Potsdam also know the architects' work as a whole in each case. The truly gigantic lifework of Schinkel extends from Aachen to St. Petersburg; Berlin and Potsdam have about a third of his work. During his short life Persius worked almost exclusively in Potsdam and its intimate vicinity; he was the King's architect. Stueler'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 work can be found in Potsdam and Berlin where Stueler too was the King's architect. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

Hardcover. Condition: new. Hardcover. Richard Meier's architecture in dialogue with the Ulm Munster, the most famous German Gothic cathedral. Richard Meier's architecture in dialogue with the Ulm Munster, the most famous German Gothic cathedral. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

Hardcover. Condition: 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 our UK warehouse or from our Australian or US warehouses, depending on stock availability.

Hardcover. Condition: new. Hardcover. As in 2001, during the 2002 Cologne International Furniture Fair three internationally known designers squeezed themselves into the town's best known building between buildings. There they presented their ideas on the subject of "expanding the gap". From Tokyo came the idea of expanding the exhibition space with an installation to make it snow. Designer Tokujin Yoshioka had 18 kilos of down whirled up by fans at the end of the room to create an everlasting blizzard, and the largest snowball of the year. - In order to burst through the austere geometry of the exhibition building, projections from lava lamps from the London-based designer Ross Lovegrove covered the greater part of the interior. The coloured, gently moving bubbles created in these lamps by heat caused the sharp contours and hard black and white contrasts of the ceilings and walls to melt and flow. - Greg Lynn from Los Angeles installed an overdimensioned, organic sculpture on one of the side walls. It reached out well into the room, and so the visitors were obliged to squeeze past it and search on the other side for space. As in 2001, during the 2002 Cologne International Furniture Fair, three internationally known designers squeezed themselves into the town's best known building between buildings. There they presented their ideas on the subject of 'expanding the gap'. From Tokyo came the idea of expanding the exhibition space with an installation to make it snow. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Hardcover. Condition: 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 our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Hardcover. Condition: new. Hardcover. 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. Since in 2005 there was no furniture fair, the accompanying book to the exhibition had empty pages and was sent out to designers, architects, artists, journalists and friends. Each recipient was asked to lend his book for the 2006 exhibition. The result is a collection of private notes, sketches, photographs, collages, and objects. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Hardcover. Condition: 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 our UK warehouse or from our Australian or US warehouses, depending on stock availability.

Hardcover. Condition: 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 our UK warehouse or from our Australian or US warehouses, depending on stock availability.

Hardcover. Condition: new. Menzel, Dorothee (illustrator). Hardcover. Text in English & German. The beautiful Lau, the heroine of Eduard Morikes story, is only half a water spirit -- her mother was a human woman, and her father was a water nix of royal blood. She has thin webs between her toes, but apart from this she is not externally different to a human being. Because she cannot laugh and can bear only dead children, her husband, the Donaunix, sends her to the Blautopf lake. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

Hardcover. Condition: 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 our UK warehouse or from our Australian or US warehouses, depending on stock availability.