Jacques Herzog and Pierre de Meuron, both born in Basel in 1950, initially distinguished themselves with small, ambitious architectural projects. Their current works in Switzerland and abroad emphasize the physical and material dimensions of architecture, reflecting their interest in contemporary expression and electronic media. This monograph documents their key buildings and projects, featuring critics' texts and selected writings by the architects.
SOM journal 3 is the third issue in a continuing series presenting recent work
by one of the world's largest and most influential design firms, Skidmore,
Owings & Merrill, in the context of a critical discussion among some of the
profession's leading thinkers. Commentaries by artist Candida Höfer, architect
Lisa Hutton, engineer Jane Wernick, and critics Diane Ghirado and Wilfried
Wang give a frank review of the firm's current work. The volume includes
excerpts from the oral history of Gordon Bunshaft, who led the firm from the
1950ies through the 1980ies. List of projects discussed: 7 WTC, Bank of
Kuwait, Cantilevered Green Glass Tube, Delbarton School, European Central Bank
Competition, Lever House Exterior Skin Replacement, Milliken Carpet
Collaboration, Memorial Sloane Kettering, Qatar Science Center, U.S. Census
Bureau
Analyzes the impact of cultural interventions on urban society from the point of view of artists, architects, and scientists. Does culture today still function as a guiding principle, or does it merely serve as a catalyst for spectacular buildings? Are the creative and cultural sectors the industries of the future in postindustrial societies?
Sollte Architekturkritik aufklärerisch sein? Soll sie dazu beitragen, eine bessere gebaute Umwelt zu schaffen? Soll sie ideale Praktiken skizzieren? Hat sie die Macht darüber, wer «in» und wer «out» ist? Die Architekturkritik befindet sich an einem Scheidepunkt zwischen kritischer Praxis und dekorativer Legitimation. Zutreffende Architekturkritik gibt es selten, und die Definition von Kritik selbst ist in Zeiten eines hierarchielosen Internets undurchsichtig geworden. Die von der School of Architecture der University of Texas veranstaltete Internationale Konferenz für Architekturkritik 2021 hat beispielhafte Beiträge zusammengetragen, welche die Ziele und Methoden sowie die ethischen Grundlagen der Architekturkritik diskutieren. Die in diesem Buch versammelten Texte befassen sich entweder mit der Pflicht oder mit der Macht der Architekturkritik. Zu beiden Aspekten präsentieren die Autorinnen und Autoren jeweils ihre Analysen eines bestehenden Gebäudes. Dieser Band versammelt konkrete Fallstudien für künftige Generationen von Architekturkritikerinnen und -kritikern und regt den Berufsstand zum Nachdenken an. Mit Beiträgen von Kenneth Frampton, Philippa Tumubweinee, Ruth Verde Zein, Zheng Shiling, Elias Constantopoulos, Manuel Cuadra, Fernando Diez, Helene Janniere, Li Xiangning, Robert McCarter, Valerio Paolo Mosco, Louise Noelle Gras, Şengul Oymen Gur, Xing Ruan, Paolo Scrivano, Ana Tostoes, Gulistan Berber, Carolina Chaves, Błażej Ciarkowski, Carlos Eduardo Comas und Marcos Almeida, Paolo Conrad Bercah, Claudia Costa Cabral, Ozlem Erdoğdu Erkarslan, Murat Burak Altınışık und Mustafa Batu Kepekcioğlu, Jasna Galjer, Christophe van Gerrewey, Berna Gol, Kristen Harrison, Martin Hartung, Morten Birger Jorgensen, Kevin Low, Konstantinos Petrakos, Jaime Solares, Alexandra Staub, Konstantinos Tsiambaos, Caroline Voet, Wilfried Wang, Lynnette Widder, Seda Zafer.
With this seventh O'Neil Ford Monograph the O'Neil Ford Chair in Architecture at The University of Texas at Austin is finally placing a key example of modern architecture to its rightful position in history. This volume includes essays, reproductions of archival material belonging to the Eileen Gray Archive of the National Museum of Ireland and the Eileen Gray Archive of the Victoria & Albert Museum, some published for the first time, photographs and numerous scale drawings of reconstructed designs of items in E.1027. The compact white elongated vacation residence cryptically called E.1027 is perched on the rocky coast of the Côte d'Azur. To this day, it draws the views of passers-by along the Moyenne Corniche, the narrow and winding coastal road along the Mediterranean Sea. The Anglo-Irish designer Eileen Gray (1878-1976) bought the site, paid for the construction and, as her first foray into architecture, designed it with assistance of her close friend at the time, Jean Badovici, to whom Gray gave the site, building and contents. E.1027 was a manifesto, the kernel of Gray's subsequent social and architectural projects for vacation and cultural centers. For Gray E.1027 was an experiment with entirely new concepts of both compact and expansive spatial relations, and not simply the more well-known aspects of furniture design such as the legendary eponymous circular adjustable occasional table
With this fourth O'Neil Ford Duograph, The Center for American Architecture and Design, together with the O'Neil Ford Chair in Architecture at The University of Texas at Austin, are publishing another set of buildings by two architects from one country. Tatiana Bilbao and Derek Dellekamp are, without doubt, two outstanding figures of contemporary Mexican architecture. Their body of work is not only extensive - it also shows a research approach quite unlike that of any other of their international colleagues. This volume includes sketches, drawings and photographs, as well as two analytical essays by Mexican critics and statements on the two buildings. All provide the discursive context as well as insights into the selected buildings' significance.
This third volume in the O'Neil Ford Duograph Series spotlights a high-rise by Rafael Iglesia and a free-standing house by Marcelo Villafañe, through drawings, sketches and photographs.
Alvaro Siza gilt als einer der wichtigsten portugiesischen Architekten des 20. Jahrhunderts. 1992 erhielt er für sein Lebenswerk den Pritzker-Preis. Die Ausstellung in dem von Alvaro Siza gemeinsam mit Rudolf Finsterwalder errichteten Architekturmuseum auf der Museumsinsel Hombroich zeigt die Denk- und Arbeitsweise Sizas in bisher wenig bekannte Skizzen, Modellen und Fotografien. Der begleitende Katalog ist einfach, aber bibliophil gestaltet und offeriert Kennern neue Einblicke in Sizas Werk.
