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Flanders is no more than a minuscule dot on the map of the world: a region that can easily be crossed in just a few hours, from the North Sea to the eastern border where Limburg meets the Netherlands and Germany.

Even so, Flanders has a rich architectural tradition and, for centuries, the most beautiful houses have been built here: the aristocratic mansions of Bruges and Ghent, the “maisons de maître” in Brussels, the high points of the Art Nouveau movement, the glorious castles and country houses, the beguinages and presbyteries, the smallholdings and residences of gentlemen-farmers...

Many examples of this architectural inheritance have now been knocked down to make way for more modern buildings. However, there is a growing respect for classic architecture and traditional craftsmanship. Recent years have seen the emergence of a new generation of architects and interior designers who are paying tribute to the rich architectural history and the fascinating mix of cultural influences to which the region of Flanders has always been exposed. Their creations reveal a synthesis of “classic” styles and, at the same time, add a new, contemporary spin: they have a great deal of admiration for the design of English, French and Italian country houses, but also draw inspiration from their Flemish inheritance.

So, the concept of Architecture and Interiors in Flanders represents an eclectic vision of design. In this book, the most striking creations of the leading “ambassadors” for classic architecture and interior design in Flanders are gathered together under one banner.

It is a diverse collection, yet there are many common threads running through it: the love of craftsmanship; the insistence on durable materials; the urge towards understated, elegant design, towards peace and serenity; the aim of realizing harmony with the surroundings, of achieving authenticity and purity of style.

This concept sees architecture, garden design and interior styling as inextricably linked; the disciplines influence each other and are incorporated into a balanced whole.

Refusing to follow the latest trend, these inspired architects and interior designers have created living environments for their clients that will have no trouble withstanding the test of time.

L'art de la Russie Ancienne s'épanouit durant plus de 700 ans, du Xème au XVIIème siècle. Profondément marquée par l'empreinte religieuse, son évolution est étroitement liée au christianisme et aux finalités du culte orthodoxe. Très vite, les bâtisseurs russes manifestent un authentique génie créateur, marqué par l'élégance et l'harmonie des proportions. Il ne faut pas attendre longtemps pour voir surgir les principaux chefs-d'œuvre de l'époque kiévienne (Xe-XIIIe siècles), à commencer par les cathédrales Sainte-Sophie de Kiev et de Novgorod, puis la Dormition de Vladimir.
Au XIIIe siècle, l'irruption des Mongols oblige les Russes à se replier sur eux-mêmes. La renaissance artistique s'amorce au XVe siècle, sous l'égide du prince de Moscou qui impose son autorité à l'ensemble du pays et fait de sa ville une métropole aussi bien politique qu'artistique et culturelle. Le XVIIe siècle est marqué par un essor remarquable de l'architecture civile, dont témoignent encore de nombreux palais et demeures princières. Le règne de Pierre le Grand signe la rupture avec l'art traditionnel : le tsar impose les modèles occidentaux et enracine définitivement la Russie dans l'histoire architecturale du reste de l'Europe.
La présente étude se propose de recenser les caractéristiques nationales de l'architecture de la Russie ancienne et de présenter les chefs-d'œuvre de tous ordres produits jusqu'à la fin du XVIIe siècle. L'iconographie, somptueuse et entièrement inédite, témoigne avec éloquence de la maîtrise et des dons artistiques des Russes. Une attention particulière est apportée aux bâtiments de bois, dont il subsiste de nombreux exemples dans les régions du Nord.

Véra Traimond est docteur en Histoire et maître de conférences à l'Institut National des Langues et Civilisations Orientales, où elle enseigne l'Histoire de l'Art Russe.

L'art de la Russie Ancienne s'épanouit durant plus de 700 ans, du Xème au XVIIème siècle. Profondément marquée par l'empreinte religieuse, son évolution est étroitement liée au christianisme et aux finalités du culte orthodoxe. Très vite, les bâtisseurs russes manifestent un authentique génie créateur, marqué par l'élégance et l'harmonie des proportions. Il ne faut pas attendre longtemps pour voir surgir les principaux chefs-d'œuvre de l'époque kiévienne (Xe-XIIIe siècles), à commencer par les cathédrales Sainte-Sophie de Kiev et de Novgorod, puis la Dormition de Vladimir.
Au XIIIe siècle, l'irruption des Mongols oblige les Russes à se replier sur eux-mêmes. La renaissance artistique s'amorce au XVe siècle, sous l'égide du prince de Moscou qui impose son autorité à l'ensemble du pays et fait de sa ville une métropole aussi bien politique qu'artistique et culturelle. Le XVIIe siècle est marqué par un essor remarquable de l'architecture civile, dont témoignent encore de nombreux palais et demeures princières. Le règne de Pierre le Grand signe la rupture avec l'art traditionnel : le tsar impose les modèles occidentaux et enracine définitivement la Russie dans l'histoire architecturale du reste de l'Europe.
La présente étude se propose de recenser les caractéristiques nationales de l'architecture de la Russie ancienne et de présenter les chefs-d'œuvre de tous ordres produits jusqu'à la fin du XVIIe siècle. L'iconographie, somptueuse et entièrement inédite, témoigne avec éloquence de la maîtrise et des dons artistiques des Russes. Une attention particulière est apportée aux bâtiments de bois, dont il subsiste de nombreux exemples dans les régions du Nord.

Véra Traimond est docteur en Histoire et maître de conférences à l'Institut National des Langues et Civilisations Orientales, où elle enseigne l'Histoire de l'Art Russe.

Great Leap Forward: Contemporary Architecture in China

The past five years have seen a revolution in Chinese architecture - the emergence of independent designers, and a number of new stars - and above all new and interesting buildings that are not the product of direct Western influence. These developments have laid the groundwork for indigenous modernity that differentiates itself from outside schools as well as eschewing the temptation to put a "Chinese-style" roof on ordinary office blocks. The fact that Beijing has been chosen to host the 2008 Summer Olympic Games has been more than a catalyst for the development of high-quality contemporary architecture in China. Major foreign firms like OMA/Rem Koolhaas or Herzog & de Meuron are participating in the design of buildings that will have functions during the Games, but Chinese architects, too, have been mobilized in this massive effort to prepare the country for an unprecedented level of worldwide attention.

Architects featured: Atelier Deshaus, FCJZ Atelier Feichang Jianzhu, AZL Atelier Zhanglei, EDGE Design Institute, Fake Design, Herzog & de Meuron, HHF Architects, Arata Isozaki, Jiakun Architects, Kengo Kuma, Li Xiaodong Atelier, MAD, MADA s.p.a.m., Michael Maltzan, Toshiko Mori, NODE – Architecture, OMA/Rem Koolhaas, Pei Zhu, URBANUS Architecture & Design, Wang Hui, Zhu Xiaofeng/Scenic Architecture

TASCHEN's new architecture series brings a unique perspective to world architecture, highlighting architectural trends by country.

Each book features 15 to 20 architects - from the firmly established to the up-and-coming - with the focus on how they have contributed to very recent architecture in the chosen nation. Entries include contact information and short biographies in addition to copiously illustrated descriptions of the architects' or firms' most significant recent projects. Crossing the globe from country to country, this new series celebrates the richly hued architectural personality of each nation featured.

TASCHEN’s new architecture series brings a unique perspective to world architecture, highlighting architectural trends by country. Each book features 15 to 20 architects—from the firmly established to the up-and-coming—with the focus on how they have contributed to very recent architecture in the chosen nation. Entries include contact information and short biographies in addition to copiously illustrated descriptions of the architects’ or firms’ most significant recent projects. Crossing the globe from country to country, this new series celebrates the richly hued architectural personality of each nation featured.

This book is the first of its kind to discuss the history of the Balkan Peninsula from late antiquity to the height of the Ottoman era by focusing on architecture as its principal gauge. In doing so, it transcends various established conventions in scholarship to present the architectural heritage in the Balkans in a manner that is accessible and comprehensible.

Throughout the book architecture is viewed as a function of distinctive needs (social, political, religious), distinctive means (economic, technical know-how, material availability) and distinctive goals (aesthetic, propagandistic, protective). As a result, the book covers the full range of architectural enterprises, from simple residential buildings, to public monumental structures; from fortifications, to utilitarian buildings (cisterns, bridges, etc).

The urban context of architecture is emphasized, while its role in rural settings is used as a gauge of other distinctive phenomena.

Illustrated with several hundreds of photographs and drawings, most of them specially commissioned, the book presents a generally unknown body of material in a distinctive, unprecedented manner.

Architects featured: AEDAS, Tadao Ando, Asymptote, Atkins, Behnisch Architects, Frank O. Gehry, Gensler, Zaha Hadid, HOK Sport, Kazuhiro Kojima+Kazuko Akamatsu/C+A, KPF, Greg Lynn Form, Jean Nouvel, OMA/Rem Kohlhaas, ONL, Carlos Ott, I.M. Pei, RNL, Hadi Simaan, Skidmore Owings & Merrill, Studio Pei Zhu

TASCHEN’s new architecture series brings a unique perspective to world architecture, highlighting architectural trends by country. Each book features 15 to 20 architects—from the firmly established to the up-and-coming—with the focus on how they have contributed to very recent architecture in the chosen nation. Entries include contact information and short biographies in addition to copiously illustrated descriptions of the architects’ or firms’ most significant recent projects. Crossing the globe from country to country, this new series celebrates the richly hued architectural personality of each nation featured.

Published for the celebrations of the fifth centenary of the printing of the first book in Armenian in Venice (1512), this volume offers a rich, fascinating chronological survey, presenting over 200 works from the leading museums and libraries of Armenia and Europe, and including some extremely rare manuscripts and miniatures (loaned exceptionally for the exhibition in Venice). Together, they document the great achievements of the Armenian civilisation in the spiritual, artistic, architectural, economic and intellectual sectors.

The ancient stelae with engraved cross, the miniatures with bright colours, the sacred architecture and precious reliquaries preserved for centuries at the Holy See of the Apostolic Armenian Church at Echmiadzin will lead the visitor in his discovery of the civilisation of this great people from the early days of Christianity to the end of the 19th century.

The book places a great emphasis on the long and fruitful contacts between the Armenians and other cultures in Europe and the Far East. In particular, it illustrates the special and centuries-old relationship with Venice through a series of historic documents, manuscripts and works of art, describing how the presence of the Armenians in the lagoon began and developed, and their political, economic and cultural contacts with the city. In the last section, thanks to a series of rare manuscripts, the book takes a look at Armenian science, theology, philosophy, historiography and literature. A special section is dedicated to Armenian printing, which dates back to 1512.

The finest editions from the presses dotted throughout the Armenian colonies around the world are presented here. In this special chapter, particular emphasis is accorded to the glorious Armenian printing tradition in Venice, which reached its greatest heights thanks to the hard work and enlightened dedication of the Mechitarist Fathers.

 A great part of the history of Morocco relates to tradition, ranging from oral culture to architecture, including various arts illumination, calligraphy, sculpture, tattooing..., - and crafts cabinet-making, ironwork, pottery, weaving, gold work...-; a tradition which handed down from one generation to the next satisfies the aspirations of each period, while embracing the opposition between ancient and modern . It should be said that Moroccan art, by gradually developing its forms and materials, became a model, therefore avoiding the tradition/modernity opposition as well as the era of simulation.

Un grand pan de l’Histoire du Maroc tient à la tradition et va de la culture orale à l’architecture, en passant par divers arts - enluminures, calligraphie, sculpture, tatouage... -, et métiers - menuiserie, ferronnerie, poterie, tissage, orfèvrerie... - ; une tradition qui, en se transmettant d’une génération à une autre, répond aux aspirations de chaque époque, non sans contenir en elle l’opposition entre « ancien » et « moderne ». Il faut préciser que l’art marocain, en fixant progressivement ses formes et ses matériaux, s’est institué en modèle et que, de ce fait, il ne s’inscrit ni dans l’opposition tradition/modernité ni dans l’« ère de la simulation ».

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