Архітектура

Whether traditional, Nordic, or futuristic, the kitchen is the new living room — a place to cook, eat, and celebrate. This book showcases the latest interiors and kitchen concepts.

The kitchen is the new living room: a space for social gathering, collaborative cooking, event hosting, and communal dining. Undergoing immense transformation through time and continually adapting to current social and aesthetic trends, the room that used to be a service area relegated to the back of the house is now the multi-functional hub of the home.

Kitchen Kulture is an inspiring visual feast that shines a light on all that the twenty-first century kitchen can be. The kitchens presented in this book are testing grounds for environmentally-friendly innovation as well as lively spaces that inspire a higher quality of life by prompting better eating habits and bringing together family and friends. From a vast, open-plan kitchen in a London townhouse to a kitchenette inside a student studio in Berlin, the professionals behind these designs uncover the full potential of today’s kitchen through their creativity.

At home, the kitchen is where the best parties end, the wildest affairs begin, food trends are set, small culinary businesses are founded, and the perfect strangers of a supper-club are catered to. Whether large or small, modern or rustic, the kitchen has become the center of all the action. What was once a pragmatically designed place for food preparation has now become a stage on which the act of cooking and eating is celebrated as a social event. At the same time, the kitchen is being opened up to become a living space and pivotal meeting point in the home.

Kitchen Kulture is an insightful survey of new, established, and unconventional ideas in contemporary kitchen design. From small-scale multifunctional cupboard kitchens to expansive living and cooking environments, the book features kitchens that are as individual and charismatic as the personalities that use them. It includes high-tech innovations by well-known kitchen manufacturers, surprising approaches for everyday life, pop-up cooking sites for special events, and futuristic design concepts that let the kitchen dissolve entirely and become fully integrated into living spaces.

Details are an essential part of today’s culinary experience — not only when it comes to cooking but also when designing a kitchen interior. For this reason, Kitchen Kulture presents not only functional furnishings, but also an array of kitchen tools and appliances that meld practicality with aesthetics. And because a kitchen comes alive when it is used, the book includes several photo-based stories of people cooking and enjoying in their kitchens that truly capture their atmospheres.

It is precisely these rich details that make Kitchen Kulture such an inspiring reference for all of those facing the exciting yet challenging task of improving, extending, or rebuilding their kitchen. Or, of course, for those who would simply like to kick off their next dinner with friends by planning their dream kitchen!

This is now the seventh title in the series on kitchens from Beta-Plus. A brand new edition with inspiring kitchens from Belgian and Dutch designers; both in a contemporary and a more traditional, country look.

Посмотреть избранные развороты книги  Kitchens  в pdf-формате.

Original and unconventional visual identities from the world of eating, drinking, and hospitality.

 Knife and Fork is a showcase of unconventional visual identities from the world of eating, drinking, and hospitality. The featured examples prove that even small enterprises can create big design concepts — despite limited budgets. Exploring how clever corporate identities can help new or niche businesses succeed, the book is an inspiration for anyone thinking about founding their own company or redefining an existing one and giving it an unforgettable look.

Although based on very different ideas, the businesses presented in Knife and Fork are all defined by their originality and personal character, which are then reflected and communicated in a variety of eye-catching ways. From mobile espresso bars and chocolate manufacturers to cookery schools and bed and breakfasts, the distinctive approaches to branding start with names, logos, fonts, and colors and culminate in product, packaging, and shop design. Whether minimalistic, nostalgic, or playful, the selected visuals represent a new generation of entrepreneurs, who understand how to creatively visualize business ideas and successfully communicate them across all channels.

The hot topics of eating and drinking are spawning a range of small, creative companies with innovative concepts. These enterprises are making their own mustards, distilling their own liquor, selling handmade marmalades, or serving grandma’s cake recipes in new ways. Although based on very different ideas, the businesses are all defined by their originality and personal character, which are then reflected and communicated in eye-catching visual identities. These start with names, logos, fonts, and colors and culminate in product, packaging, and shop design. Knife and Fork is a showcase of these unconventional visual identities and design concepts.

As the featured coffee roasters, fusion food bistros, or chocolate manufacturers prove, the effectiveness of an integrated visual identity for this type of venture is more dependent on creative implementation than a big budget. The book presents labels on jam jars that are inspired by shop furnishings and company stationery designed to match its owners’ aprons. It includes menus that are written by hand on chalkboards and business cards in colors that are used to garnish the dishes served. All of the examples represent a new generation of entrepreneurs, who understand how to creatively visualize business ideas and communicate them successfully across all channels. Whether their looks are minimalistic, nostalgic, or playful, all of the designs are characterized by the individual approach and initiative behind the various business concepts.

Knife and Fork expands on our Introducing series that explores how small enterprises can create big design concepts. This book is an inspiration for anyone thinking about founding their own company and giving it an unforgettable look.

There are few images of 20th-century architecture more iconic than the nighttime view of Case Study House #22 set on its eagle’s-nest site high above the lights of Los Angeles. With his two innovative houses for the famous project of the Arts and Architecture magazine, American architect Pierre Koenig (1925-2004) became one of the leading figures of the Modern movement in America. While still a student of architecture, he designed and built his first exposed steel house in 1950, proving that the use of prefabricated materials could allow for spatial freedom in affordable houses. Koenig’s houses, like the Johnson House (1962) or the Oberman House (1962), are a direct response to Southern California’s extremely warm and dry climate. His work is deeply marked by his commitment to environmentally and socially responsible design. His houses have thus become characteristic of the spirit of a whole generation: they perfectly capture the excitement and optimism of the American postwar society.

About the Series:

Every book in TASCHEN's Basic Architecture Series features:

- approximately 120 images, including photographs, sketches, drawings, and floor plans
- introductory essays exploring the architect's life and work, touching on family and background as well as collaborations with other architects
- the most important works presented in chronological order, with descriptions of client and/or architect wishes as well as construction problems and resolutions
-an appendix including a list of complete or selected works, biography, bibliography, and a map indicating the locations of the architect's most famous buildings

This is the third monograph to feature the highly esteemed architecture of Kohn Pedersen Fox.

Headquartered in New York and London, KPF initially distinguished itself through its dedicated attention to the development of the most characteristic and significant American building type, the skyscraper. KPF has since achieved international stature with their brand of refined modernism. Among the recent projects included in this monograph are the World Bank Headquarters in Washington, D.C., Baruch College in New York City, the Gannett/USA Today Building in McLean, Virginia and the Rodin Museum in Seoul, Korea. These projects–as well as others in Tokyo, Warsaw, Honolulu, Taiwan, Buenos Aires, Singapore, and The Netherlands–are brought together in over 500 stunning full colour photographs and 250 architectural drawings.

The structures themselves — the overwhelming majority of which are shown finished — are renowned for their exploration and continuation of the legacy of modern architecture. The sleek, cutting-edge buildings represent the firm's diverse designs for institutional, academic, and corporate clients around the world. As befits their skyscraper-architect reputation, KPF has designed what will be, upon completion in Shanghai, the world's tallest building.

Koolhaas’s Countryside. An urgent exploration of a long-neglected realm and its sublime beauty

From animals to robotization, climate change to migration, Rem Koolhaas presents a new collaborative project exploring how countryside everywhere is transforming beyond recognition. The official companion to the highly anticipated exhibition at New York’s Guggenheim Museum, this pocketbook gathers in-depth essays spanning from Fukushima to the Netherlands, Siberia to Uganda — an urgent dispatch from this long-neglected realm, revealing its radical potential for changing everything about how we live.

The rural, remote, and wild territories we call “countryside”, or the 98% of the earth’s surface not occupied by cities, make up the front line where today’s most powerful forces — climate and ecological devastation, migration, tech, demographic lurches — are playing out. Increasingly under a ‘Cartesian’ regime — gridded, mechanized, and optimized for maximal production—these sites are changing beyond recognition. In his latest publication, Rem Koolhaas explores the rapid and often hidden transformations underway across the Earth’s vast non-urban areas.

Countryside, A Report gathers travelogue essays exploring territories marked by global forces and experimentation at the edge of our consciousness: a test site near Fukushima, where the robots that will maintain Japan’s infrastructure and agriculture are tested; a greenhouse city in the Netherlands that may be the origin for the cosmology of today’s countryside; the rapidly thawing permafrost of Central Siberia, a region wrestling with the possibility of relocation; refugees populating dying villages in the German countryside and intersecting with climate change activists; habituated mountain gorillas confronting humans on ‘their’ territory in Uganda; the American Midwest, where industrial-scale farming operations are coming to grips with regenerative agriculture; and Chinese villages transformed into all-in-one factory, e-commerce stores, and fulfillment centers.

This book is the official companion to the Guggenheim Museum exhibition Countryside, The Future. The exhibition and bookmark a new area of investigation for architect and urbanist Rem Koolhaas, who launched his career with two city-centric entities: The Office for Metropolitan Architecture (1975) and Delirious New York (1978). It’s designed by Irma Boom, who drew inspiration for the book’s pocket-sized concept, as well as its innovative typography and layout, from her research in the Vatican library.

The book brings together collaborative research by AMO, Koolhaas, and students at the Harvard Graduate School of Design; the Central Academy of Fine Arts, Beijing; Wageningen University in the Netherlands; and the University of Nairobi. Contributors also include Samir Bantal, Janna Bystrykh, Troy Conrad Therrien, Lenora Ditzler, Clemens Driessen, Alexandra Kharitonova, Keigo Kobayashi, Niklas Maak, Etta Madete, Federico Martelli, Ingo Niermann, Dr. Linda Nkatha Gichuyia, Kayoko Ota, Stephan Petermann, and Anne M. Schneider.

The authors:

AMO is the think tank of the Office for Metropolitan Architecture (OMA), co-founded by Rem Koolhaas in 1999. Applying architectural thinking to domains beyond building, AMO has worked with Prada, the European Union, Universal Studios, Amsterdam’s Schiphol airport, Condé Nast, Harvard University, and the Hermitage. It has produced exhibitions, including Expansion and Neglect (2005) and When Attitudes Become Form: Bern 1969/Venice 2013 (2013) at the Venice Biennale; The Gulf (2006), Cronocaos (2010), Public Works (2012), and Elements of Architecture (2014) at the Venice Architecture Biennale; and Serial Classics and Portable Classics (both 2015) at Fondazione Prada, Milan and Venice, respectively.

Rem Koolhaas is a co-founder of the Office for Metropolitan Architecture. Having worked as a journalist and scriptwriter before becoming an architect, in 1978 he published Delirious New York. His 1996 book S,M,L,XL summarized the work of OMA and established connections between contemporary society and architecture. Among many international awards, he has received the Pritzker Prize (2000) and the Praemium Imperiale (2003). He directed the 2014 Venice Architecture Biennale, coinciding with the first publication of Elements of Architecture.

The designer:

Irma Boom is a graphic designer specialized in making books. Since founding Irma Boom Office in 1990, she has worked with the likes of Chanel, the United Nations, OMA/Rem Koolhaas, Fondazione Prada, Pirelli, and Rijksmuseum Amsterdam. She received the Gutenberg Prize and the Johannes Vermeer Prize, the Dutch state prize for the arts, among others. Her work is in a permanent collection of the Design and Architecture Department of the Museum of Modern Art in New York. Since 1992, Boom is a Senior Critic at Yale University in the USA.

Koolhaas’s Countryside. An urgent exploration of a long-neglected realm and its sublime beauty

The rural, remote, and wild territories we call “countryside”, or the 98% of the earth’s surface not occupied by cities, make up the front line where today’s most powerful forces—climate and ecological devastation, migration, tech, demographic lurches — are playing out. Increasingly under a ‘Cartesian’ regime — gridded, mechanized, and optimized for maximal production — these sites are changing beyond recognition. In his latest publication, Rem Koolhaas explores the rapid and often hidden transformations underway across the Earth’s vast non-urban areas.

Countryside, A Report gathers travelogue essays exploring territories marked by global forces and experimentation at the edge of our consciousness: a test site near Fukushima, where the robots that will maintain Japan’s infrastructure and agriculture are tested; a greenhouse city in the Netherlands that may be the origin for the cosmology of today’s countryside; the rapidly thawing permafrost of Central Siberia, a region wrestling with the possibility of relocation; refugees populating dying villages in the German countryside and intersecting with climate change activists; habituated mountain gorillas confronting humans on ‘their’ territory in Uganda; the American Midwest, where industrial-scale farming operations are coming to grips with regenerative agriculture; and Chinese villages transformed into all-in-one factory, e-commerce stores, and fulfillment centers.

This book is the official companion to the Guggenheim Museum exhibition Countryside, The Future. The exhibition and book mark a new area of investigation for architect and urbanist Rem Koolhaas, who launched his career with two city-centric entities: The Office for Metropolitan Architecture (1975) and Delirious New York (1978). It’s designed by Irma Boom, who drew inspiration for the book’s pocket-sized concept, as well as its innovative typography and layout, from her research in the Vatican library.

The book brings together collaborative research by AMO, Koolhaas, and students at the Harvard Graduate School of Design; the Central Academy of Fine Arts, Beijing; Wageningen University in the Netherlands; and the University of Nairobi. Contributors also include Samir Bantal, Janna Bystrykh, Troy Conrad Therrien, Lenora Ditzler, Clemens Driessen, Alexandra Kharitonova, Keigo Kobayashi, Niklas Maak, Etta Madete, Federico Martelli, Ingo Niermann, Dr. Linda Nkatha Gichuyia, Kayoko Ota, Stephan Petermann, and Anne M. Schneider.

The authors:

AMO is the think tank of the Office for Metropolitan Architecture (OMA), co-founded by Rem Koolhaas in 1999. Applying architectural thinking to domains beyond building, AMO has worked with Prada, the European Union, Universal Studios, Amsterdam’s Schiphol airport, Condé Nast, Harvard University, and the Hermitage. It has produced exhibitions, including Expansion and Neglect (2005) and When Attitudes Become Form: Bern 1969/Venice 2013 (2013) at the Venice Biennale; The Gulf (2006), Cronocaos (2010), Public Works (2012), and Elements of Architecture (2014) at the Venice Architecture Biennale; and Serial Classics and Portable Classics (both 2015) at Fondazione Prada, Milan and Venice, respectively.

Rem Koolhaas is a co-founder of the Office for Metropolitan Architecture. Having worked as a journalist and scriptwriter before becoming an architect, in 1978 he published Delirious New York. His 1996 book S,M,L,XL summarized the work of OMA and established connections between contemporary society and architecture. Among many international awards, he has received the Pritzker Prize (2000) and the Praemium Imperiale (2003). He directed the 2014 Venice Architecture Biennale, coinciding with the first publication of Elements of Architecture.

The designer:

Irma Boom is a graphic designer specialized in making books. Since founding Irma Boom Office in 1990, she has worked with the likes of Chanel, the United Nations, OMA/Rem Koolhaas, Fondazione Prada, Pirelli, and Rijksmuseum Amsterdam. She received the Gutenberg Prize and the Johannes Vermeer Prize, the Dutch state prize for the arts, among others. Her work is in a permanent collection of the Design and Architecture Department of the Museum of Modern Art in New York. Since 1992, Boom is a Senior Critic at Yale University in the USA.

The Complete Kengo Kuma. Erasing architecture: a definitive survey of the architect’s oeuvre

Famous First Edition: First printing of 5,000 numbered copies

After Tadao Ando, Toyo Ito, and Fumihiko Maki, Kengo Kuma has breathed renewed vigor and lightness into Japanese architecture. Departing from the modernist skyscraper of the 20th century, Kuma travelled through his native Japan to develop a truly sustainable approach, translating local craftsmanship and resources into site-specific, timely buildings. Informed by tradition, and with both feet firmly planted in the present, this “materialist” heralds a new tactile architecture marked by its engaging surfaces, innovative structures, and fluid forms, reconnecting people with the physicality of a house. Kuma’s objective, above all else, is “just to respect the culture and environment of the place where I am working.”

To this end, Kuma shaped the China Academy of Art’s Folk Art Museum partially from discarded roof tiles; created a Chapel out of birch and moss in Nagano; and worked with local craftsmen to sculpt the V&A Dundee into a twisted, layered reflection of the Scottish coastal cliffs. With an extraordinary sensitivity for space, light, and texture, Kuma reveals unexpected qualities in materials, finding the weightlessness of stone in Chokkura Plaza and the softness of aluminium in the thatched roof of the Yangcheng Lake Tourist Transportation Center.

More recently, the architect brought his philosophy to the Japan National Stadium built for the Olympic Games, originally planned for 2020. Kuma has said the stadium could be “the catalyst that will transform Tokyo back from a concrete city. I want it to set an example that will help alter the direction of Japanese architectural design.”

In this XXL-sized monograph with some 500 illustrations spanning photographs, sketches, and plans, Kuma guides us through his entire career to date, detailing milestone projects as well as ongoing works.

The artist:

Kengo Kuma (born in Yokohama in 1954) attended the University of Tokyo and established Spatial Design Studio in 1979 after further studies at Columbia University, New York. In 1987, he founded Kengo Kuma & Associates. He is based in Tokyo and Paris, while he teaches at the Graduate School of Architecture at the University of Tokyo, where he also runs his own Laboratory, Kuma Lab.

The editor:

Philip Jodidio studied art history and economics at Harvard, and edited Connaissance des Arts for over 20 years. His TASCHEN books include the Architecture Now! series and monographs on Tadao Ando, Santiago Calatrava, Renzo Piano, Jean Nouvel, Shigeru Ban, Richard Meier, Zaha Hadid, and soon Norman Foster.

Pierre Lefumat a marqué toute une génération de peintres en décors par son goût sûr et l’excellence de sa technique. Il nous montre sa vision de l’art du faux-marbre et nous livre en quelque sorte son héritage.

Trois grands classiques de l’imitation du marbre sont étudiés à travers des pas à pas techniques très détaillés, étayés chacun par plus de 20 photographies retraçant les étapes de la réalisation. L’imitation de la brèche grise, du jaune de Sienne et du vert de mer n’auront ainsi plus de secret pour le lecteur.

L’auteur présente ensuite 26 panneaux qui représentent autant de marbres divers, brèches ou brocatelles, des pièces où « la modestie côtoie au plus près l’ambition d’une œuvre d’art. » Pour chaque réalisation, on voit d’abord l’ensemble du panneau, puis des photographies de plusieurs détails avec une brève description technique et le temps qui a été consacré à l’exécution, qui varie de quelques heures à plusieurs jours. Il s’agit de commandes particulières ou d’autres spécialement exécutées pour l’exposition Pierre Lefumat au Musée du trompe l’œil de Périgueux en 2007.

Sommaire:

Préambule de Michel Nadaï
Entretien avec Pierre Lefumat
Trois pas à pas détaillés :
Brèche grise
Jaune de Sienne
Vert de mer
Réalisations :
Salomé
Brèche de Médous jaune
Brèche sanguine d’Algérie
Diaspro giallo venato
Labradorite
Diaspro duro grognolato
Diaspro giallo Agatato turchiniccio
Brèche de Saint-Maximin
Brèche de Bohème
Brèche grise
Brèche du Bénou verte
Cipolin sanguin d’Oran
Fluorite Murrha
Fleur de pêcher
Sarrancolin
Diaspro giallo e rosso verdastro
Diaspro giallo venato agatato
Brèche d’Alep
Brèche du Bénou jaune et Levanto rouge
Levanto, Brocatelle violette d’Espagne et Blanc veiné
Brèche Médicis et pierre de Paris
Vert de Mer, Rouge du Languedoc et Grand Antique
Sarrancolin d’Antin et Campan rubané
Onyx, Lapis lazuli et Malachite
Campan vert et Jaune de Sienne
Jaune de Sienne et Portor

Concernant l’art du trait de charpente, les auteurs de ce livre constatent que « tout ce qui a été publié jusqu’à ce jour n’est pas démontré d’une façon assez simple ». Ils ont tenu à montrer « l’art du trait d’une façon aussi simple que possible, pour que tout ouvrier, serait-il un apprenti, puisse le comprendre et, au besoin, se faire école lui-même, ce qui est facile avec les explications de chacune des planches ». L’art complexe du tracé de charpente et du dessin de toiture est ainsi abordé de manière à la fois précise, simple et progressive.

Ce livre explique dans un premier temps la manière de se mettre en chantier, de piquer le bois, de contre-jauger, de relever les mesures, de choisir et de marquer le bois. Il présente ensuite 100 planches commentées de trait de charpente dont la difficulté progresse de façon logique. Les bases de la géométrie descriptive sont exposées avec clarté, puis les auteurs traitent de problèmes simples de tracé de charpente (assemblages, étaiements, échafaudages, cintres, pilotis, ponts, planchers, pans de bois, fermes, lucarnes) avant d’aborder des exemples plus complexes dans des plans de toitures (beffrois, pavillons divers, raccords de charpente, pénétrations, tourelles, tours, flèches, nolets, lucarnes capucines et guitardes).

Ce livre est la réédition de l’ouvrage publié vers 1900 et constitué à l’origine d’un volume de 195 pages de textes et d’un portefeuille de planches. Il était depuis longtemps devenu introuvable. Dans la présente édition, le texte a été réécrit dans une typographie moderne sans autre altération et mis en regard du fac-similé de chaque planche pour une consultation plus facile.
Les lecteurs intéressés par le trait de charpente pourront consulter le monumental Traité de charpente de L. Mazerolle, plus complexe, avec des planches exceptionnelles, ou des ouvrages plus modernes comme La charpente en bois d’Emery ou Charpente, les tracés, plus particulièrement destinés à l’apprentissage.

Sommaire :
Assemblages, Bâtiments (3 études), Beffrois (2 études), Capucines (3 études), Cinq épis (2 études), Cintres (4 études), Charpente à douze pans sur une tour ronde, Etaiements et étrésillons, Echafaudage moisé, Fermes (7 études), Flèches (3 études), Géométrie, Guitarde, Lucarnes, Lunettes biaises, Nolets (6 études), Pavillons (26 études), Pénétrations, Pilotis et grillages, Planchers (3 études), Ponts (3 études), Quatre épis, Raccords (4 études), Sapine, Tourelles (7 études), Tréteaux (2 études).


Dessiner les plans d’un escalier en bois demande une solide technique de traçage, précise et efficace. L’étude de ce livre devrait permettre de l’acquérir en suivant des règles applicables d'une façon rationnelle. Il s'adresse à des personnes possédant plus ou moins les premiers principes de traçage, mais voudraient être à l’aise pour tracer un escalier, qu’il soit droit ou à courbes.
Le livre commence par un important glossaire spécialisé. Il  aborde ensuite le tracé des escaliers les plus simples, à limon droit, puis des escaliers à limon cintré, creux ou débillardé, balancés ou non. Après un chapitre dédié aux mains-courantes et à leurs raccords, l’auteur explique, sur un plan autant théorique que pratique, la réalisation des escaliers en bois lamellé-collé qui nécessite l’établissement d’un moule. Le livre continue par une étude du pas et de la hauteur des marches, en proposant des abaques et des tables pour calculer facilement leurs variations. Enfin, quelques réalisations de l’auteur sont présentées et analysées grâce à des photographies, des vues d’atelier, des plans et des commentaires techniques.

Sommaire :
Glossaire
Exposé sur le tracé  (21 planches)
Tracé des limons droits, des joints de limon, des limons cintrés, creux et ronds, des contre-limons, des crémaillères et fausses-crémaillères.
L’escalier à l'anglaise. Balancement des marches. 73 modèles d’escaliers balancés. Division des longueurs rampantes.
Les lignes courbes (31 planches)
Lignes courbes dans l'espace. Emploi de la boîte de traçage. Tracé des joints d’assemblage du limon. Modèles de limons courants. Limons à courbes remarquables.
Volutes et départs. Tracé des courbes débillardées et sciage à la scie à ruban. Main-courante : balustres et rampe débillardée.
Escalier à courbe à quatre centres
Exposé sur les raccords de main-courante
Réalisation des escaliers en bois lamellé-collé
Quel bois choisir ? Le moule. Mise en œuvre. Traçage. Analyse de la construction du contre-limon d’un escalier escargot et du limon d’un escalier circulaire.
Exposé sur le pas
Variations du pas et abaque. Tables fonctionnelles pour la détermination des hauteurs des marches.
Reflets de réalisations
Vingt-cinq escaliers construits sous la direction de l’auteur