Монографии и сборники работ известных архитекторов

Artistic Interiors is an extraordinary volume featuring the work of the prestigious architectural interior designer Suzanne Lovell. Hundreds of full-colour photographs feature her unique approach toward designing environments that create an expressive home through collections of art.

Exploring more than a dozen homes all over the country, Lovell takes the reader on a journey through homes with sumptuous interiors, finely crafted details and exceptional art collections, fabrics and furnishings. Art collections range from paintings, drawings and photography by Vic Muniz, Edward Lipski and Dale Chihuly to Native American mask and headdress collections to incredible sculpture and textiles.

Suzanne Lovell is well known as the go-to interior designer for people with serious art collections and in this book, she will feature some of her best curatorial work.

About the Author:

Architect and interior designer, Suzanne Lovell is the owner of Chicago-based Suzanne Lovell Interiors and co-owner with Sam Kasten of Twill Textiles.

As the fourth-largest design firm in the world, Atkins was long recognised for its engineering expertise. In 1999, its remarkable architectural design capabilities were propelled into the international arena by its iconic Burj Al Arab hotel in Dubai.

This book, a first for Atkins, presents in one volume the wide diversity of its acclaimed architectural and urban design projects undertaken in the UK, the Middle East, China, the USA and Europe. Projects include hotels, residential, offices, sports and leisure facilities, healthcare, education, transportation and masterplanning.

Пролистать книгу Atkins: Architecture and Urban Design на Google books

Istanbul bridges Europe and Asia. Based in that city, Autoban creates sought-after work that masterfully melds western design traditions with eastern elegance

Autoban is one of the most sought-after design studios worldwide. Its gorgeous furniture and spectacular spaces meld respect for tradition with modern straightforwardness. Surprisingly, Autoban doesn’t hail from an established design center such as Berlin, London, or New York, but rather from Istanbul.

Since they founded Autoban 10 years ago, Seyhan Özdemir and Sefer Çağlar have been creating design at the nexus between Orient and Occident, Asia and Europe — a fitting reflection of the city in which they live and work. Throughout the ages, Istanbul has brought together East and West, as well as Islam and Christianity, in its cultural realm. This unique history continues to influence both the cityscape of the metropolis on the Bosporus and the self-image of its inhabitants.

Özdemir and Çağlar met at Mimar Sinan Fine Arts University, whose school of architecture is known for teachings that are strongly oriented around classic modernism. The name Autoban is inspired by the Turkish “Otoban” and the German “Autobahn” and stands for its penchant for “really stepping on the gas.”

Autoban’s understanding of design is based in equal measure on local elements and European design theory. Its interiors and furniture designs, which have attracted an international following, move fluidly between modern and traditional, minimalistic and elaborate, luxurious and rustic, and sparse and decorative, without ever appearing superficial or blatant.

This book presents a rich selection of Autoban’s breathtaking projects that are documented in striking photographs and plans. The distinctive and premium-quality concepts for restaurants, hotels, apartments, offices, and retail spaces collected here showcase the studio’s worldview between global cosmopolitanism and its own cultural idiosyncrasies.

The texts in the book were written by Vasif Kortun, director of Istanbul’s SALT, by the curator and cultural historian Deniz Erduman-Calis, and by design journalists Marie Le Fort and Shonquis Moreno. They give further insight into Autoban’s creative process and philosophy as well as the cultural context in which it works.

In only a short time, Autoban’s Seyhan Özdemir and Sefer Çağlar have established themselves as stars on the global design scene. They founded the studio in 2003 and, only one year later, were named “Best Young Designers of the Year 2004” by the magazine Wallpaper*. Autoban’s furniture is successfully distributed worldwide by De La Espada. The design studio epitomizes a new Turkish design sensibility and its designs for hotels and restaurants define the cityscape of modern Istanbul. Meanwhile, Autoban’s work can also be found around the world in places including Madrid, St. Petersburg, and Hong Kong as well as in Baku, Azerbaijan where they designed all of the interiors for the city’s airport. The hotels that they have designed and furnished appear regularly in the best-of lists of publications such as the Sunday Times Magazine, Condé Nast Traveller, and Tatler Travel.

___________

Посмотреть ролик издательства о книге Autoban: Form. Function. Experience

This richly illustrated monograph discusses the post-war modernist architecture in Soviet Lithuania, which, together with other Baltic republics, has been seen as exceptional, appropriating Western cultural models much faster and with greater passion, and was labelled “the Soviet West.” Nevertheless, the matter of identifying the specific architectural traits that distinguished modernism in the Baltic region from that of other Soviet republics is not a simple exercise, and the specifics of analysing Soviet modernism clearly require a socio-political approach. In this book, research of Soviet Lithuanian architecture relies on the relationship between the official planning discourse and local social practice, and the wide range of historical actors in planning practices.

________

Эта прекрасно иллюстрированная книга посвящена модернистской архитектуре в Литве. В советское время все прибалтийские республики в значительной степени стремились сохранить черты, присущие западной культуре. В этой связи особенно интересно исследование архитектуры советской Литвы, модернистские проекты в которой имеют ряд существенных отличий от модернизма в других регионах СССР.

Монография «Балтийский модернизм. Архитектура и жилищное строительство в Советской Литве» исследует разнообразные аспекты архитектурного дискурса, уделяя внимание как «официальным» идеям, так и их воплощению в жизнь.

The Bauhaus movement is one of the most significant and consequential cultural emergence of the 20th century. Walter Gropius founded this institute of design in 1919 in Weimar and it was effective in Weimar, Dessau and Berlin. The various professors, Walter Gropius from 1919 to 1928, Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe from 1930 to 1933, were also renowned architects of their time. The works of the Bauhaus artists, Lyonel Feininger, Wassily Kandinsky, Paul Klee, Gerhard Marcks, Oskar Schlemmer and László Moholy-Nagy as well as those of the students and young faculty members, Josef Albers, Herbert Bayer, Marcel Breuer, Gunta Stölzl and Joost Schmidt, were unanimously admired and aroused the interest of museums across the world.

Their teachings in design are still observed in today’s architecture and design schools but also in general art classes. The products of the Bauhaus, such as Marcel Breuer’s well-known steel pipe furniture, became inexpensive classic design standards. The Bauhaus buildings have made architectural history and now belong to the UNESCO world heritage.

The Bauhaus movement was built on the basis of new aesthetic perspectives and creative teaching programmes for the education of architects, designers and artists for a new, democratic society after WWI.

Its syllabus was a combination of creative training, basic artistic knowledge, productive workshop production, and learning to work as a team. Animated by a social awareness, the Bauhaus would soon combine its creativity with industrialisation and mass production and conceive numerous products which were not only beautiful but durable, useful and affordable.

In 1933, the Nazis closed the Bauhaus, triggering the emigration of many of its members, many choosing America, and thus the ideas of the Bauhaus were spread worldwide.

This book features an overview of the history of the Bauhaus, served by a rich image documentation, and sheds light on its evolution and connection with other movements, and renders the Bauhaus traceable and understandable to the reader.

Beatrix Farrand: Private Gardens, Public Landscapes presents the life and work of one of the foremost landscape designers of the early 1900s.

Born into a prominent New York family (she was the niece of Edith Wharton), Farrand eschewed the traditional social life of the Gilded Age to pursue her passion for landscape and plants. Many of her clients were members of the highest echelon of society with estates in Newport, the Berkshires, and Maine, but Farrand ultimately became a consultant for university campuses, including Yale and Princeton, and for public gardens, including the Santa Barbara Botanic Garden and the Rose Garden at The New York Botanical Garden. Perhaps her best-known work is the extensive garden at Dumbarton Oaks, originally a private residence and now a research institute of Harvard University.

Deeply influenced by the English landscape designer Gertrude Jekyll, Farrand was known for broad expanses of lawn with deep swaths of borders planted in a subtle palette of foliage and flowers. Her gardens have been photographed at their peak especially for this book, and these lush illustrations are complemented by beautiful watercolor wash renderings of her designs, now preserved at the library of the University of California at Berkeley.

The prominent architect Felix Novikov was born in 1927 when the famous Constructivist Konstantin Melnikov was at the peak of his career. Novikov tells the dramatic story of Soviet architecture, portraying the conditions he worked in and how he collaborated with the government and other participants during the creative process. He further explains how Soviet design and planning institutes were organized with reference to the Union of the Architects of the USSR and describes the creative ideals of his generation of architects, who are today identified as Soviet Modernists. As a time witness, his memories cannot be recounted in their whole complexity by historians. Novikov also describes some of the conditions that affected his own creative fate and that of others. This book reflects the characteristics of Soviet life and its connections to architects’ professional activity. Felix Novikov’s confessions are more than that of an architect; they give a testimony to daily life in the Soviet Union from Stalin to glasnost.

___________

Феликс Аронович Новиков — известный советский архитектор, академик Международной академии архитектуры, доктор наук. В книге он делится своими ценными воспоминаниями о непростых и нестандартных условиях, в которых трудился он сам и работали его современники, о взаимоотношениях с коллегами и властью. Читателям будет интересно узнать, как проектные институты раньше взаимодействовали с Союзом архитекторов и какие творческие задачи вдохновляли архитекторов его времени. В этом издании Феликс Новиков дает ответы на вопросы, которые сегодня интересуют многих специалистов и любителей советского модернизма.

Berlin is a city that continues to fascinate. It has a turbulent history and is the capital of two reconciled Germanys; it is an increasingly popular tourist destination and includes affordable living and working spaces for young people, artists, and other creative minds. The metropolis of 3.7 million people is also the scene for large-scale urban and architectural projects, bottom-up schemes, and citizens' initiatives such as communal gardening and cooperative living. Is the miracle of Berlin's success due to its genius of improvisation, that is to say its ability to adapt to a complex past, to invent specific courses of action, to negotiate all manner of different obstacles?

Since 2016, Berlin's policymakers have been developing an urban strategy to combat real-estate price increases and gentrification. Another challenge for the city is to adapt to demographic change and the growing number of visitors. More participatory, more equitable, and less favourable to cars: Berlin is well-placed for diverse methods of organisation – public-private partnerships, citizen awareness initiatives, social and economic actions.

This book aims to explore the German capital's ability to allow the growth of new ideas and thus to remain a leader in innovation. The processes identified here, and the paradoxes deriving from them, will likely even call into question the methods and strategies being employed in other European cities today.

Berlin was shaped by the events of the twentieth century in a process of “automatic urbanism.” More than any other metropolis, the city absorbed the forces of that epoch — modernity, fascism, two world wars, Stalinism, socialism, the Cold War, revolt, capitalism — and gave them form. This book shows how even today, opposed ideological, political, economic, and military forces continue to produce unplanned structures and activities and urban phenomena beyond the categories of urban design and architecture that conceal rich potential. Berlin reveals particularly clearly phenomena that have shaped urban development in the twentieth century in other places as well: conglomeration, collision of borders, ­destruction, void, mass, metabolism, and simulation. The present book, which caused a sensation when first published in German twenty years ago, is now being published in English for the first time. Its surprising and informative analysis of ­Berlin as a prototype of the modern city destroys the ideologies of heroic modernity as well as the new nationalisms and shows how the modern city “as found” can become the point of departure for new forms of context-specific architecture and urban planning.

Taking Berlin as a prototype, Philipp Oswalt’s lucid analysis describes how much the built environment of cities is influenced by the unintended side-effects of political, economic, and technological processes. This “automatic urbanism” reveals modernist master-planning and national building traditions as being a myth. Instead, the book offers a both socially and ecologically more sensitive, more responsible approach to develop cities “as found.”
Saskia Sassen, Columbia University New York

This English edition of Philipp Oswalt’s now-classic study could not be more timely. Every effort to understand the modern city must contend with Berlin, the twentieth century’s anti-capital. Its lessons, presented here with singular insight and authority, remain necessary to anyone thinking about what that word — “city” — might still mean today.
Reinhold Martin, Columbia University New York

Berlin has never only been a theatre in the battle between ideas and ideologies. Rather, it has always been the material means by which these ideas clash against each other. If the struggle for our futures must take place in Berlin, as our historical moment seems to demand, there is no better guide than Philipp Oswalt’s now classic Berlin: City Without Form. His scholarly ingenuity and perceptive architect’s eye are only matched by a commitment to the future of his city.
Eyal Weizman, Goldsmiths/University of London

__________

Архитектурный облик Берлина сформировался под влиянием совокупности факторов, которые Филипп Освальт объединяет термином «automatic urbanism». Город запечатлел в себе стили, идеологии, политические системы и трагедии прошлого века – и облек их в архитектурную форму. В этом исследовании показано, как противостояние идеологий, политических, экономических и военных сил порождает спонтанные строительные и градостроительные явления, выходящие за рамки архитектуры и урбанистики и обладающие значительным потенциалом.

Облик Берлина также определяется влиянием иных глобальных факторов (что характерно и для многих мегаполисов Европы): образованием конгломератов, вопросами спорных границ территорий, масштабными сносами, дисбалансом пустот и плотной застройки и проч. Эта книга произвела фурор еще двадцать лет назад, когда была опубликована на немецком языке. Теперь она впервые переведена на английский. Не теряющий актуальности подробный анализ Берлина как образца современного города разрушает идеи героического модернизма и нового национализма. И сегодня Берлин XX века становится вдохновением для новых форм в архитектуре и градостроительстве.

Sri Lankan architect Geoffrey Bawa's forty-year career has become legendary. Beyond Bawa considers his continuing influence through the work of contemporary architects working in the region.

Bawa achieved the harmonious and pleasurable fusion of local building traditions with modern forms. Throughout south Asia his legacy lives on in contemporary architectural practice and remains an important source of inspiration for generations of architects.

Bawa was the principal force behind what is today known globally as ‘tropical modernism’, and examples of his ideas can be found in Sri Lanka, Singapore and Bali but also in resorts and residences throughout wider Asia.

An overview of Bawa and his contribution to contemporary architecture is followed by presentations of twenty-four contemporary architects, ranging from well-known practitioners such as Australian Kerry Hill to local talents such as Anjalendran. They reveal the long-lasting significance of Bawa’s uniquely sensitive approach to building and the landscape.

Better smart than sorry. An odyssey of architectural adaptation with Bjarke Ingels

After the global success of YES IS MORE, one of the best-selling architecture books of its generation, BIG – Bjarke Ingels Group presents HOT TO COLD, an odyssey of architectural adaptation. The book coincides with the HOT TO COLD show at the National Building Museum in Washington DC and presents 60 case studies in harsh climate conditions in order to examine where and how we live on our planet.

As we travel from one end of the spectrum to its opposite we will see that the more harsh the climate gets, the more intense its impact on the architecture. The central challenge is to mitigate the climatic extremes for hospitable human life, while finding solutions that can be both economically and environmentally profitable.

Architecture is the art and science of accommodating the lives we want to live. Our cities and buildings aren't givens; they are the way they are because that is as far as we have gotten to date. They are the best efforts of our ancestors and fellow planetizens, and if they have shortcomings, it is up to us to continue that effort, pick up where they left off. HOT TO COLD stays true to BIG – Bjarke Ingels Group's grand mission to find a pragmatic utopia, shaping not only a particular structural entity, but the kind of world we wish to inhabit.

The book features:

 - Design from award-winning artists Sagmeister & Walsh
 - Previously unpublished essays by Bjarke Ingels.
 - A convertible dust jacket-poster.

BIG (Bjarke Ingels Group) is an international group of architects, designers, builders, and thinkers, operating within the fields of architecture, urbanism, research, and development. BIG has been actively responding to individual projects with avant-garde concepts and convincing creativity.

Посмотреть избранные развороты книги BIG: Bjarke Ingels Group Projects 2001-2010

The definitive book on the legendary decorator Billy Baldwin, known as the "Dean of American Decorating," famous for his classical taste, streamlined modernism, and brilliant use of colour.

In the tradition of Rizzoli’s Albert Hadley and David Hicks, this is the first fully illustrated account of the career of Billy Baldwin (1903–1983), one of the most important decorators of the twentieth century, whose work has influenced contemporary designers from Bunny Williams to Jeffrey Bilhuber. A native of Baltimore, Baldwin’s work caught the eye of eminent New York decorator Ruby Ross Wood. She invited him to join her firm, saying his work stood out "like a beacon of light in the boredom of the houses around it." Baldwin’s style was a revelation - simultaneously classical and modernist, tailored and clean, yet dramatically colored, and above all American. An enemy of clutter and conspicuous wealth, he favored natural materials and comfortable furniture.

The drama in his rooms often came from color, as seen in the dark brown lacquered walls of Cole Porter’s library or the scarlet cotton print that covered Diana Vreeland’s apartment. Immensely charming, Baldwin was a popular addition to the high society of New York. His clients included Bill and Deeda Blair, Babe and Bill Paley, and Jacqueline Kennedy Onassis.

With a foreword by Baldwin’s former student Albert Hadley, and enriched by never-before-published transcripts of four 1974 lectures that Baldwin gave at the Cooper-Hewitt, this is an important book for anyone interested in interior design.

Building Bound to the Ground. A visual exploration of earth-bound architecture

Building is one of the very few endeavours that are physically connected to the surface of the earth, fixed and enduring. Nevertheless, for centuries, especially in the West, we have considered ourselves separate and above nature, drifting away, defining our own systems and order, and using the ground as nothing more than a passive foundation. Other times we sought connection, drawing on nature for ritual and religion, fortified protection, and ecological balance.

This global compendium of nearly 1,400 pages brings architecture back in harmony with Earth’s surface. For years, Bjarne Mastenbroek and his architectural firm, SeARCH, have delved into the relationship architecture has, had, and will have with its surroundings, seeing buildings as landscapes that fit into their site without dominating or disturbing it. For Dig It!, they have dug deep into the history of building culture and brought to light fascinating examples of this philosophy — some well known, some previously overlooked.

From African churches chiseled from rock and Chinese villages dug into terrains to Parisian housing vibrantly overgrown and a villa built into the cliffs of Capri (famously featured in the film Le Mépris starring Brigitte Bardot), this book dissects structures from the past millennia. Part atlas, part encyclopedia, it highlights traditional vernacular practices, reconsiders all-time favorites, and celebrates contemporary examples across the globe. Designed by Mevis & Van Deursen, the extensive collection features analytical drawings from SeARCH and photo essays by Iwan Baan.

Dig It! acknowledges an effort to reconnect architecture and landscape and merge building with ground. Separated into six chapters (or “strategies”) — Bury, Embed, Absorb, Spiral, Carve, and Mimic — this remarkable survey reveals humanity’s connection to the earth through building culture: clever and utterly relevant for the challenges that we have and will face in both urban and natural environments.

The author:

The work of Bjarne Mastenbroek is characterised by a continuous exploration into the intimate and reciprocal relationship between architecture and site. As a Dutch architect, Mastenbroek is well aware of the scarcity of land and believes strongly in using this resource more intelligently in order to give 'nature' more space to survive. Since founding the pratice SeARCH in 2002, Mastenbroek has witnessed and actively pushed for a more site-specific or connected approach to architecture to overtake a modernist approach to building.

The photographer:

After studying photography at the Royal Academy of Arts in The Hague, Iwan Baan followed his interest in documentary photography, before narrowing his focus to record how humans interact within their built environment, like in his work on informal communities, such as his images of the Torre David in Caracas – a series that won Baan the Golden Lion for Best Installation at the 2012 Venice Architecture Biennale. His work has been exhibited in the Museum of Modern art, the Architectural Association in London, the AIA New York Chapter, and appears frequently on the pages of architecture, design and lifestyle publications all over the world.

The designers:

Founded by Armand Mevis and Linda van Deursen in 1987, Amsterdam-based graphic design studio Mevis & Van Deursen is largely recognized for innovative design work in the cultural sector including the identity of the Stedelijk Museum, collaborations with fashion duo Victor & Rolf, and numerous publications on architecture and design. Imparting a vision of graphic design as an active part of the message their educational engagements include the Gerrit Rietveld Academy, Werkplaats Typografie, and Yale School of Art.

The contributing authors:

Esther Mecredy

SeARCH, Architecture and Urban Planning