Libros de Arquitectos extranjeros, página 10 de 37

"La arquitectura moderna no significa utilizar materiales nuevos; lo más importante es trabajar con materiales hacia una línea más humana". - Alvar Aalto El arquitecto finlandés Alvar Aalto (1898-1976) fue influenciado no sólo por el paisaje de su país natal, sino también por la lucha política por el lugar de Finlandia dentro de la cultura europea. Después de unos primeros edificios neoclásicos, Alvar Aalto se decantó por ideas basadas en el Funcionalismo, encaminándose posteriormente hacia estructuras más orgánicas con ladrillo y madera reemplazando al yeso y al acero. Además del diseño de edificios, muebles, lámparas y objetos de cristal con su esposa Aino, cultivó la pintura y fue un viajero incansable. Convencido plenamente de que los edificios tienen un papel crucial en el desarrollo de la sociedad, Aalto dijo una vez, "El deber del arquitecto es dar vida a una estructura más sensible".

Eero Saarinen (1910-1961) fue uno de los grandes visionarios del siglo XX, tanto en el campo del diseño de muebles (por ejemplo las sillas y mesas ubicuas "Tulip" de la marca Knoll) como en la arquitectura. Entre sus obras más importantes están monumentos que dieron forma a la arquitectura en la posguerra americana y que llegaron a ser iconos en sí mismos: el Aeropuerto Internacional Dulles de Washington D.C., la escultórica y fluida terminal de la TWA en el aeropuerto JFK de Nueva York y el "Arco Gateway" de ciento noventa metros de alto en St. Louis. Combinando curvas y formas dinámicas con una estética moderna, proporcionó una nueva dimensión a la arquitectura.

Uno de los principales dibujantes arquitectónicos de todos los tiempos y, sin duda, el grabador de cobre más famoso del siglo xviii, Giovanni Battista Piranesi (1720-1778) es conocido hoy en día por sus series de originales aguafuertes de prisiones laberínticas y megalómanas, sus Carceri d'Invenzione. En su propia época fue más célebre por sus Vedute, 137 aguafuertes de la Roma antigua y contemporánea. Tal renombre alcanzaron aquellos trabajos en claroscuro, imbuidos de la admiración romántica de Piranesi por las ruinas arqueológicas, que conformaron la imagen de Roma de generaciones posteriores. Incluso podría decirse que Piranesi dio forma a toda una rama de la arquitectura contemporánea, así como a la visualización más amplia de la Antigüedad clásica. En nuestros días ha ejercido una influencia directa en escritores como Borges y Kafka, y en directores como Terry Gilliam y Peter Greenaway. Cualquiera que contemple los aguafuertes de Piranesi se enfrentará a la pesadilla existencial de la realidad humana y sus misterios infinitos.

Este tercer y último volumen del homenaje de TASCHEN a Frank Lloyd Wright presenta las obras de su último periodo, el de la“arquitectura viva”y el uso revolucionario de la energía solar y los espacio

Carlo Scarpa (1906-1978) no conoció en vida la valoración que merecía. Su obra fue tachada de «mero» arte y tan solo después de su muerte se empezó a comprender su calidad. Este libro muestra la evol

Debemos dominar las fuerzas que se han desatado y estructurarlas de acuerdo a un nuevo orden, un orden que permita a la vida disponer de un espacio para desarrollarse en libertad"Ésta es una de las frases que Ludwing Mies van de Rohe entonó en una ponencia en Berlín en el año 1928 y que podría aunar los conceptos que practicó en el ejercicio profesional y académico durante toda su vida.Por su rol como director en la Bauhaus, la aplicación de la tecnología, la construcción del espacio, su mobiliario, sus célebres frases... si tendríamos que encontrar un personaje que reúna en sus obras los principales conceptos de la arquitectura moderna, seguramente, la gran mayoría pensaríamos en Mies.

Architect and educator Dirk Denison reflects on the diverse influences that have shaped his practice over 30 years in a volume featuring 10 remarkable houses designed in a broad range of modernist vocabularies - each finely tuned to its site and occupants.Taking the form of an in-depth conversation between architect and educator Dirk Denison and journalist Fred A. Bernstein, this volume chronicles Denison's childhood in Detroit, travels and early encounters with the arts and architecture, and his education at the Cranbrook Academy of Art, the Illinois Institute of Technology, and the Harvard Graduate School of Design. A perceptive interlocutor, Bernstein deftly draws upon Denison's own insights into how these experiences have influenced his aesthetic sensibilities, design philosophy, and working processes over 30 years of collaborative practice.

The first monograph on Snarkitecture, a New York-based collaborative and innovative design studio with an introduction by Maria Cristina DideroFast becoming one of the world's most sought-after studios, Snarkitecture has designed installations, architecture, products, and furniture for a diverse range of clients including COS, Kith, Calvin Klein, the New Museum, Kartell, and Beats by Dr. Dre. This book presents more than 70 of their projects and investigates how its founders, artist Daniel Arsham and architect Alex Mustonen, work at the interface between their disciplines to come up with some of the most beguiling and fascinating designs seen in recent years.

Catalogo de la exposición “Ventura Rodríguez, arquitecto de la Ilustración”, celebrada del 21 de diciembre de 2017 al 8 de abril de 2018 con motivo del 300 aniversario de su nacimiento, está organiza

An architecture book for all those excited by contemporary, innovative building design and development Richly illustrated with a broad spectrum of architectural photography, drawings, and sketches A look behind the scenes with one of the world's leading architects In many regards, architecture of the 21st century has to fit a square peg into a round hole. It should be energetic and meaningful and yet be as sustainable as possible in all details. It should offer ample and proportioned space for its inhabitants, but also fit harmoniously into its environment. Architect Jean-Francois Koenig has been meeting these requirements for four decades. With the goal of improving the life quality of the inhabitants and users of his buildings, he sets out elaborate aesthetic designs that also include infrastructure and transport connections. The projects in Jean-Francois Koenig's portfolio—including offices, private houses, hotels, public buildings, and schools—reflect his enhancement and integration of the many facets of urban life. When he won the third prize in a RIBA (Royal Institute of British Architects) competition in 1979, with Norman Foster as judge, Koenig was the only architecture student among the winners. Even at that stage, his sketch for a pedestrian link between Trafalgar Square and Leicester Square demonstrated his sense for the city environment, not to mention his outstanding graphic talent. One of Koenig's many esteemed projects is the Commercial Bank on the island of Mauritius, Koenig's native home, where he continues to reside. JEAN-FRANCOIS KOENIG was elected one of the "100 Architects 2012," a competition organized by the Interna­tional Union of Architects (UIA) and the Korean Institute of Architects (KIA). In the 1980s, he worked with the RIBA Gold Medal Award architect, Sir Philip Dowson. At the 2011 UIA World Congress in Tokyo, under the heading "Sustainable by Design 2050," his Mauritius Commercial Bank was amongst the best of the archi­tecture of Africa. Koenig has worked in England, South Africa, India, Madagascar, the Seychelles, La Réunion, and Mauritius for the last 30 years.

Adolf Loos held that a building should have a soberly discreet exterior, reserving all its riches for its interior. Given that, any real appreciation of the spatial complexity of the work of one of the most misunderstood architects of the twentieth century requires engagement with his interiors, which this book does, brilliantly.In marked contrast to his contemporaries in the Vienna Secession, who designed their spaces down to the smallest detail, Loos presented himself as a "professor of interior design," perfectly willing to adapt to the habits and tastes of his clients, inviting them to embrace their own tastelessness rather than defer to the discernment of an "aesthete" architect. Together with the future occupant, he designed welcoming interiors whose warmth came from the effective use of quality materials and the creation of a flowing continuity articulated by the furnishings. What Loos created thereby was not merely architecture, but a new culture of living.

Adolf Loos sostenía que un edificio debe tener un exterior sobriamente discreto y reservar todas sus riquezas para el interior. Por ello, una apreciación real de la complejidad de su trabajo requiere un riguroso análisis de su trabajo de interiorismo.

A new edition of the acclaimed portfolio of work by Japan''s leading architect, now featuring digitally remastered photographs."The magnificent photographs by Richard Pare come as close to putting you there as any publication is likely to achieve." The New York TimesAn exquisite work of art in its own right, this book is the result of ten years'' collaboration between the English photographer Richard Pare and the internationally renowned Japanese architect Tadao Ando. This new edition features all the same extraordinary photographs, completely remastered from the original negatives, bringing this beautiful volume back to life. Pare''s remarkable images shed new light on this important body of work, while Ando''s original line drawings and sketches provide unparalleled insight into his creative process.

This volume addresses for the first time the forgotten contexts of the Barcelona Pavilion's genesis. Habitually thought of as an abstract and isolated building, it is revealed here as a thoroughly European work, perhaps less pristine but more authentic.The expert contributors to this volume, devoted entirely to Mies van der Rohe's Barcelona Pavilion of 1929, address here for the first time the forgotten contexts of the Pavilion's genesis. Habitually thought of as an abstract, unpolluted and splendidly isolated building, a precursor of Mies's American period, the Pavilion is revealed here as a thoroughly European work, perhaps less pristine but more authentic.Crucial to this analysis is an understanding of the immediate context, the Barcelona International Exposition. Planned as a mass spectacle in the city with the most convulsive working class in Spain, the Exposition was a propaganda exercise by the Primo de Rivera dictatorship in which the German Republic was the guest of honor. For the first time since the Great War, Germany was taking part in an international event, and needed to present itself as a thoroughly reconstructed state. Mies and Lilly Reich were commissioned to design not only the Pavilion but also a total of over one hundred thousand square feet of German stands spread throughout the Exposition, whose detailed analysis invites a far-reaching reinterpretation of the whole.More familiar but equally central is the question of the Pavilion's connections with the mass media: the circumstances of its scant presence in the architectural journals and trade press, its a posteriori importance as a manifesto, and Mies's relationship with the avant-garde cinema of the moment.From an approach closer to the history of architecture, the study of the national pavilions and commercial stands sheds light on the Barcelona Pavilion's antecedents. The interpretation of the Miesian grid in the light of the botany books in his library gives fresh insight into Mies's intellectual interests, and together with a brilliant disquisition on the idea of the classical in architecture completes this reappraisal of the Pavilion itself and of the construction culture which made it possible.Finally, thirty years on from the reconstruction of the Barcelona Pavilion, these timely and pertinent philosophical reflections on original and copy provide new tools with which to engage the architectural heritage and the actual building in Barcelona.

Richard Rogers is one of the worlds most distinguished architects, as well as a powerful and effective advocate for the role of architecture and urban design in improving everyday lives. Famous for his inside out architectural style, Rogers' unique approach to architectural design has generated such landmarks as the Pompidou Centre in Paris and the Lloyds building in London. This volume, accompanying the exhibition Richard Rogers RA: Inside Out, at the Royal Academy of Arts, explores the origins of and influences on Rogerss thinking, and explains how his wide-ranging interests inform his design process. Featuring contributions from major figures from the worlds of politics, fine art, social policy, architecture and urban design, as well as an exclusive interview with Richard Rogers by the exhibitions curator Jeremy Melvin, this book shows why his work continues to be fresh, challenging and inventive and how breaking new ground in architecture impacts on wider social and cultural fields.