Edition axel menges jun 2010 (3 Ergebnisse)

Buch. Zustand: Neu. Neuware - Spanish museum architecture has experienced amarked upturn since the 1990s, helping even smalltowns off the tourist beaten track to acquire extraordinarymuseum buildings. This is expressedmost visibly without a shadow of a doubt in FrankO. Gehry's Guggenheim Museum in Bilbao. Butthere are not just the international stars who havecontributed to this success. Spanish architects inparticular have designed unique museums thathave changed the look of whole towns. One exampleis the Museo de Arte Contemporáneo de Castillay León in León in Castille, built by the Madridarchitects Mansilla + Tuñon. Rafael Moneo, whorecently completed the annexe for the Museo delPrado in Madrid is still the undisputed leading figurein Spanish architecture, but in the meantimearchitects like Mansilla + Tuñon, who trained underMoneo, are attracting attention internationally aswell as in Spain, and so are young talents whohave just left architecture school and are successfullydesigning museums.Spanish architects use a wide variety of formallanguages. And yet there are some characteristicsthat apply to them all: they have never been interestedin the Postmodernism games; many of themvalue reinterpreting regional building traditions in amodern way; they are also sensitive to special featuresof the existing topography. Kenneth Framptonsaid in this context that Spanish architectureessentially runs counter to the globalization tendenciesthat are increasingly reducing architecturalform to a comfortable aesthetic product.The present book, which is also suitable as amuseum guide, shows that this tendency is particularlyconspicuous in the new museums. It confirmsthe world-class nature of Spanish architecture,recorded from Rafael Moneo's early MuseoNacional de Arte Romano in Mérida to Herzog &de Meuron's new CaixaForum art gallery in Madrid.Klaus Englert studied philosophy and German.He was academic adviser to the Zollverein developmentcompany in Essen. He has worked forseveral years as free-lance culture correspondentand architecture critic for the Süddeutsche Zeitung,the Neue Zürcher Zeitung and the Frankfurter AllgemeineZeitung.…

Buch. Zustand: Neu. Neuware - Dahlem has developed in two different wayssince the early years of the 20th century. An importantscientific centre emerged on the site ofthis former royal territory south-west of Berlin,alongside a suburban villa colony. Elite researchinstitutes were established in Dahlem, with the intentionof creating a 'German Oxford', includingthe first institutes for the Kaiser-Wilhelm-Gesellschaft,founded in 1911. Then Dahlem was chosenas the location for the Freie Universität Berlinafter the Second World War.The Max-Planck-Gesellschaft commissioned anew building in these surroundings in order to providethe Institute for the History of Science, datingfrom 1994, with accommodation appropriate toits needs. The building was erected in 2004/05 toa competition design by the Stuttgart architectsMarion Dietrich-Schake, Hans-Jürgen Dietrich andThomas Tafel (who left the team after drawing upthe planning application).The buildings adjacent to the plot, which is borderedby streets on three sides, date mainly fromthe 1930s. Alongside the institutional buildings detachedhomes determine the local character. TheMax-Planck-Institut reflects the dimensions andstructure of its surroundings. Its height relates tothe two-storey homes; the building masses werestructured as eight connected, pavilion-like sections,which means that, despite its size, the instituteis reticent in its impact on the urban space.The symmetrical complex is built around a spaciouscourtyard with old chestnut trees. The libraryis the key element of the building, and so wasarranged around all four sides of the inner courtyard.Extensively glazed internal and externalwalls afford a wide range of views into the libraryrooms. This ensures a constant presence for theinstitute's most important set of working tools,and at the same time makes it accessible oververy short distances from various parts of thebuilding.Andreas Schätzke is an architectural historianliving in Berlin. His research fields include architectureand urban development in post-warEurope and the relationship between architectureand politics in the 20th century. Reinhard Görner,who also lives in Berlin, has worked as an architecturalphotographer for many years; he is heldin high regard by many eminent architects as aninterpreter of their work, including Peter Eisenman,Norman Foster, Jürgen Sawade, Hans DieterSchaal, Otto Steidle and Heinz Tesar.…

Buch. Zustand: Neu. Neuware - The architect is at all times also an artist. How otherwise would he be able to tame the three-dimensionality of space and subdue the urges of physics and structural mechanics with the creations of his fantasy This creativity is however mostly restricted purely to its own field. In this respect, Rob Krier, born in 1938 in Grevenmacher, Luxembourg, is indeed the proverbial exception that proves the rule. Besides his actual profession, which demands his daily attention, Krier has for years also made a vocation of his love of art, one which he nurtures parallel to his work. Fine art could stand in dialogue with architecture and it is Krier's ambition to have iconographic themes brought into the latter, so that they might speak equally to both the occupants of a building and to bystanders and move them to thoughtful reflection. In the works of Mies van der Rohe it is not rare that one finds naturalistic figures from, for example, Aristide Maillol or Wilhelm Lehmbruck - as an anthropomorphic contrast to the strict geometry of the architecture, notes Rob Krier in the comments on his journal. If one is already aware of the realisation of his masterful architectural accomplishments through projects such as Potsdam-Kirchsteigfeld (1991 to 1997), De Resident in The Hague (1993 - 2001), Noorderhof in Amsterdam (1994 - 99), Veste Brandevoort near Helmond (since 1995), Citadel Broekpolder near Beverwijk (2000 - 04), or the Cité Judiciaire in Luxembourg (1992 - 2008) - be assured, Krier's artistic skills are in no way inferior to his architectural work. Quite the contrary: as a sculptor and illustrator, too, Rob Krier brings together extraordinarily musical qualities and incorporates them into his work: his bronze The Jumper was erected in Montpellier in 2004, the Cowering Woman ten years earlier on Berlin's Friedrichstraße, the four metre-high duo Bosch i Alsina and Papasseit on Moll de la Fusta in Barcelona in 1992.…