Общественные здания и пространства

Star architects from Zaha Hadid to Herzog & de Meuron have shaken up the formerly staid world of museum architecture, bringing bravura to new buildings and extensions. But the trend for new museums to opt for bold contemporary architecture goes well beyond the stunning work of Renzo Piano or Tadao Ando. Many less well-known architects have also designed remarkable places to exhibit art and artifacts.

Some have provoked controversy, like Mexican architect Teodoro González de León's University Museum of Contemporary Art on the sprawling UNAM (National Autonomous University of Mexico) campus. Others have been warmly welcomed, like the sweeping, light-filled Art Gallery of Ontario Extension by Toronto-born Frank O. Gehry, his first commission in his native city. Others point out new horizons for reclaiming brownfield sites and reviving derelict industrial structures: Nicholas Grimshaw's conversion of a disused 1960s blast furnace into Horno 3, a welcoming extra gallery space for the Mexican city of Monterrey's Museum of Steel is a case in point. In Cartagena, Spain, Rafael Moneo's decade-long work on the Museum of the Roman Theater culminated in a structure that engages visitors in an archaeological manner, taking them on a tour of history as well as the site itself.

Here then are more than 50 projects by the major talents pushing the limits of contemporary museum design, from established masters to the latest generation of brilliant architects.

Featured architects and practices include:
Hitoshi Abe, Acebo X Alonso Arquitectos, Aires Mateus, Jun Aoki, ARM, Shigeru Ban, Behnisch Architekten, David Chipperfield, Preston Scott Cohen, Coop Himmelb(l)au, Delugan Meissl Associated Architects, Ellis Williams, Frank O. Gehry, Teodoro González de León, Graft, Nicholas Grimshaw, Zaha Hadid, Herzog & de Meuron, HOK, Arata Isozaki, KSV Krüger Schuberth Vandreike, Bruno Mader, Fumihiko Maki, Francisco Mangado, Richard Meier, Paolo Mendes da Rocha, Rafael Moneo, Toshiko Mori, MVRDV, Nieto Sobejano, Ryue Nishizawa, Valerio Olgiati, I.M. Pei, Renzo Piano, Querkraft, SANAA/Kazuyo Sejima + Ryue Nishizawa, Sauerbruch Hutton, Hartwig N. Schneider, Álvaro Siza Vieira and Rudolf Finsterwalder, Snøhetta, Eduardo Souto de Moura, SSM Architekten, Randall Stout, Bernard Tschumi, UNStudio, Urbanus Architecture & Design, Wang Shu, Atelier Zhang Lei.

Водонапорная башня УЗТМ – один из самых известных в мире образцов промышленной архитектуры советского конструктивизма. Архитектурный образ башни создан уральским архитектором Моисеем Рейшером. Башня запланирована ключевой градостроительной доминантой в проекте рабочего поселка Уральского машиностроительного завода (УМЗ) архитектором Петром Оранским в 1928 году. Высота башни 35 метров. Книга повествует об истории создания башни, ее конструктивно-технологическом решении, истории ее строительства и жизни до сегодняшнего дня. Издание призвано актуализировать значимость проекта и найти возможные пути сохранения и преобразования значимого объекта мирового культурного значения.

Дом физкультуры является одним из лучших образцов спортивного сооружения начала 1930-х годов, возведенного в формах конструктивизма, оригинальная объемно-пространственная композиция которого характеризуется единством функционального и образного решения. Книга повествует об истории создания комплекса, конструктивно-технологическом решении, истории его строительства и жизни до сегодняшнего дня. издание призвано актуализировать значимость проекта и найти возможные пути сохранения и преобразования значимого объекта мирового культурного значения

Книга посвящена ансамблю институтов Физиотерапии и Профзаболеваний, также известному, как «Медгородок».

Этот комплекс является памятником архитектуры эпохи конструктивизма. Сложная система междуэтажных связей и сквозных коридоров, оригинальные решения внутреннего пространства, атрибуты строительных приемов и оформления интерьеров в стилистике конструктивизма обусловили включение ансамбля в «Мировой каталог архитектуры современного движения». Книга повествует об истории создания ансамбля, его уникальности, и градостроительной значимости.

Издание призвано привлечь внимание к жизни памятника сегодняшнего дня и найти возможные пути сохранения объекта мирового культурного значения. 

Издание продолжает книжную серию ARCHIVE в рамках которой, редакция планирует публикацию выдающихся произведений архитектуры советского авангарда. Стратегические партнеры проекта «Уральский центр архитектуры современного движения» и Do.Co.Mo.Mo.Ural.

What makes an effective exhibition space?

How can we give center stage to the works on display whilst also creating a place of architectural merit?

Cultural Exhibit attempts to find answers to these questions, and more, through a wide variety of proposals for exhibition spaces.

Ideas that can transform what would otherwise be an undistinguished series of rooms into a space that facilitates the enjoyment of the subject in question, whether they be works of art or artifacts in a museum.

Architects with a wealth of experience in the field share their ideas and concepts through explanatory texts and full-color photographs of some of their finest projects.

This will surely be an invaluable aid to anyone involved in this highly challenging field of architecture and design.

A surprising trend can be discerned in museum building since the end of the 1990s, one that still seems to be going strong today: an unprecedented number of grand-scale projects have been undertaken in recent years, ont only by private sponsors, but in many cases made possible instead by public funding.

This book not only shows new museums , galleries and exhibition venues for the fine arts, but also features unusual buildings housing special collections, as well as museums exhibting material from other fields of knowledge. One central focus of contemporary architecture can be traced particulary well in the examples illustrated in the book: new surfaces that enable the creation of new forms.

Astoundingly, parallel to this development another architectural approach which can be already be called classical is also experiencing a Renaissance - the clearly defined, austere cube cloaked in a free-floating glass shell. No less than three buildings depicted here demonstrate the immense variety that is possible within these rigid parameters.

The works shown here are no more than five years old and show, what a broad bandwidth can be discerned within a moment's snapshot. There are visionaries like Asymptote and masters such as Günter Behnisch and Tadao Ando, whose buildings span an arc from classical modernism to the architecture of today.

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 market in the neighbourhood of la Barceloneta was one of the first covered markets built in Barcelona, It was 1884, and was constructed with a metal structure. It was partially destroyed by bombs during the Civil War. This recent remodelling is seen as a continuity of the old structure from 1884, and as a continuity of all the changes in this highly dense neighbourhood. The market seeks to form part of its urban fabric and Miàs’ project is a clear example of integration. This book, richly illustrated, gives a comprehensive insight to the remodellation project.

A photographic encyclopaedia of industrial buildings and plants of unsurpassed importance, gradually compiled over more than forty years of artistic endeavour.

Basic Forms of Industrial Buildings brings together a representative selection from the broad range of subjects chosen by the Bechers in what are characteristic ‘portraits’ of the objects in question. Subjects include cooling towers, water towers and winding towers, blast furnaces, lime kilns, gravel plants, grain elevators, gas tanks, and even details of the interiors of these industrial edifices.

Rendered timeless by the camera and isolated from their original, often perplexingly complex surroundings, they appear as monumental symbols of their own history – with all the stylistic diversity of great masterpieces of architecture.

Imagine an airport that welcomes you as visitor or neighbor; that takes you efficiently from terminal to plane; that is sustainably designed and filled with light and air; that you’ll be happy to linger, shop, and eat in. Not only does this airport exist - it was built by Foster + Partners. In copious photographs and architectural plans along with informative text, this book celebrates the architecture and technology of the Beijing Airport’s International Terminal. Readers will learn how the building is designed to cope with the unpredictable nature of the aviation industry and how it incorporates a range of environmental strategies that make it energy efficient and economical to operate. In text and illustrations, this book shows what makes the International Terminal of the Beijing Airport a standard for all others to follow.

Any space that involves descending from our typical aboveground environment is a provocation to our sensory perceptions. Such hidden spaces evoke latent mythical images and confront us with the clash between nature and artifice in our built environment. This book explores the character, use and design of underground space as a space of its own. International examples of commercial premises, restaurants, sports facilities, subway stations, museums, churches, libraries, concert halls, houses and other building types form the core material. Interviews with many renowned designers including Norman Foster, Floris Alkemade (OMA) and Francine Houben (Mecanoo) convey the architects' own views on the subject. Essays reflect on the cultural aspects, planning conditions, design considerations, technical requirements and sustainability aspects of building below ground level. Chapters include: Urban Development, Architecture, Functions, Perception and Cognition, Constructions, Energy and Interior Climate.

When the motor car first came to England in the 1890s, it was a luxury item with little practical purpose - drivers couldn't travel very far or very quickly without paved roads or traffic laws. Thus began a transformation that has affected the architecture, infrastructure, and even the natural environment of the country.

"Carscapes" relates the history of the car's impact on the physical environment of England from its early beginnings to the modern motorway network, focusing especially on its architectural influence. The authors offer a detailed look at the litany of structures designed specifically to accommodate cars: garages, gas stations, car parks, factories, and showrooms.

Presenting a comprehensive study of these buildings, along with highways, bridges, and signage, "Carscapes" reveals the many overlooked ways in which automobiles have shaped the modern English landscape.