The Luxor is a significant milestone in the Suvre of Bolles + Wilson. As a major public building it pursues themes first tested in the 1993 new city library in Münster: a characteristic plan form, an intervention that redefines its context, and a synthesis of the abstract with a spatial warmth, an ambience that communicates directly and subliminally to a wide audience base. The architecture of this German/Australian duo does not fit easily into conventional architectural genres. Smallness, intimacy, and precise details characterise their work, just like an increasing number of urban interventions that have made a major impact on cities like Hengelo, The Hague or Magdeburg. The design of the Luxor Theatre, the process of its realisation, Bolles + Wilson's surrounding urban fields and, most importantly, the internal life in the building engendered by the architecture are fully presented in this book.
Text in English and German. After his deconstructive beginnings in the eighties and nineties, Frank Gehry increasingly practised a very plastic form of architecture. His expressively sculptural cultural buildings, the Vitra Design Museum in Weil am Rhein, his project for the Walt Disney Concert Hall in Los Angeles and above all the Guggenheim Museum in Bilbao (see Opus 32), have shaped the architectural awareness of our period and provided exemplary artistic alternatives to the architectural canon of Modernism. Within Gehry's rapidly growing volume of work the comparatively small energy forum for the Minden-Ravensburg Electricity Company (EMR) plays a particularly striking role insofar as the extraordinarily complex brief -- almost contradictory functions had to be blended in a very cramped space, compelled the architect to use highly differentiated forms and materials. In this way something like a primal model of sculptural building emerged, a massively fissured, subtly lit structure that explains itself inside with amazing naturalness, making visitors gasp with its changing spatial situations as an exhibition and events centre, exploding all conventions as an office building and translating the theme of energy into sensual forms by architectural means as the electricity company's technical distribution centre. The old dictum 'form follows function' acquires a new and radical quality in the architecture of the Energieforum. In addition to the presentation of the energy forum in Bad Oeynhausen this book contains an illustrated survey of all other buildings by Frank Gehry in Europe.
The Art of Gerhard Richter: Hermeneutics, Images, Meaning presents the first philosophical investigation of, arguably, one of the most popular and important painters working today, Gerhard Richter. From monochrome painting and photo realism to conceptual art and gesture-expressive painting, Richter has transformed the spectrum of 20th-Century painting. Building upon Gadamer's notion of 'formed images', the book outlines elements of a hermeneutics and a phenomenology of images and paintings. Moreover, the hermeneutic approach to art is combined with the crucial question of how paintings and photographs are related to each other for Richter. The author suggests that paintings “open up” the fixed relation and intentionality of photographs by idealizing and essentializing the content of the photographs. By relying upon a hermeneutical and phenomenological approach, rather than working from abstract theory, The Art of Gerhard Richter provides philosophical insights developed out of Richter's works of art. Uncovering key philosophical aspects of Richter's work, the author's reflections discuss the relation between appearance and essence, the role of faith and hope, the dialectic of distance and nearness, the issues of death and terror, and the role of beauty and landscapes in Richter's paintings.
Text in English and German. After his deconstructive beginnings in the eighties and nineties, Frank Gehry increasingly practised a very plastic form of architecture. His expressively sculptural cultural buildings, the Vitra Design Museum in Weil am Rhein, his project for the Walt Disney Concert Hall in Los Angeles and above all the Guggenheim Museum in Bilbao (see Opus 32), have shaped the architectural awareness of our period and provided exemplary artistic alternatives to the architectural canon of Modernism. Within Gehry's rapidly growing volume of work the comparatively small energy forum for the Minden-Ravensburg Electricity Company (EMR) plays a particularly striking role insofar as the extraordinarily complex brief -- almost contradictory functions had to be blended in a very cramped space, compelled the architect to use highly differentiated forms and materials. In this way something like a primal model of sculptural building emerged, a massively fissured, subtly lit structure that explains itself inside with amazing naturalness, making visitors gasp with its changing spatial situations as an exhibition and events centre, exploding all conventions as an office building and translating the theme of energy into sensual forms by architectural means as the electricity company's technical distribution centre. The old dictum 'form follows function' acquires a new and radical quality in the architecture of the Energieforum. In addition to the presentation of the energy forum in Bad Oeynhausen this book contains an illustrated survey of all other buildings by Frank Gehry in Europe.
This book examines the new Vienna Rules and the Austrian Arbitration Act that both came into effect on 1 July 2006 as the result of a major reform. It is devoted to two principles. First, it recognizes that no two international arbitrations are the same. Arbitration thrives, and is today the predominant method of transnational dispute resolution, because it meets the demands of international business for flexibility and efficacy. Arbitration will continue to succeed if it retains those properties, allowing for the adoption of procedures that are customized to satisfy the commercial prerogatives of the individual case. This book seeks to provide its readers with a general framework, and specific instruments, to negotiate that process.
The wilderness narratives Ex 15:22–17:7 and Num 11:1-20:13 are shaped by striking repetitions as well as breaks in style and content. This study describes the continued interaction between the various text signals and the ‘co-operative reader’ who attempts to achieve a coherent reading. This type of an ideal reader alludes to the concepts of reception theorists W. Iser and U. Eco and is applied here for the benefit of the narratives of the Old Testament. A second main part 4demonstrates systematically the narrative tools of guiding the reader within the wilderness narratives. This approach emphasises the dynamic character of the interpretation of the text. In this way, the author re-evaluates for example text structures, blanks or duplicates by weighing up their significance and relevance for the reading process. Die Wüstenerzählungen Ex. 15:22-17:7 und Num. 11:1-20:13 sind von markanten Wiederholungen wie auch von stilistischen und inhaltlichen Brüchen geprägt. In der vorliegenden Untersuchung wird fortlaufend die Interaktion der unterschiedlichen Textsignale mit einem `kooperierenden Leser ́ beschrieben, der trotz aller Lesestörungen bemüht ist, eine kohärente Lektüre zu erzielen. Dieser Idealtypus eines Lesers lehnt sich an die rezeptionsästhetischen Entwürfe von W. Iser und U. Eco an und soll für narrative Texte des Alten Testamentes fruchtbar gemacht werden. In einem weiteren Hauptteil werden systematisch die textlichen Mittel der Leserlenkung innerhalb der Wüstenerzählungen dargestellt. Mit dieser Herangehensweise wird der dynamische Charakter einer Textinterpretation betont. So werden beispielsweise Textstrukturen, Leerstellen oder Dubletten neu bewertet, indem ihre Signifikanz und Relevanz für einen Leseprozess abgewogen werden.
The Rough Guide to Germany is the ultimate travel guide with clear maps and detailed coverage of all the best attractions Germany has to offer. Discover the dynamic regions of Germany from the lively nightlife in Berlin, magnificent Baroque gardens in Northern Germany, medieval castles and historical towns, to the flavours of German cuisine. Packed with detailed, practical advice on what to see and do in Germany this guide provides reliable, up-to-date descriptions of the best hotels in Germany, German bars, recommended restaurants in Germany, and tips on the best shopping and festivals in Germany for all budgets. Featuring detailed coverage on a full range of attractions; from the spas of Baden-Baden and the galleries of Dresden, to boat trips in Hamburg and the jazz clubs of Munich, you'll find expert tips on exploring Germany's amazing attractions with an authoritative background on Germany's rich culture and history. Explore all corners of Germany with the clearest maps of any guide and practical German language tips. Make the most of your holiday with The Rough Guide to Germany.
Formed by Harvey S. Shipley Miller, trustee of the Judith Rothschild Foundation, and given to MoMA in 2005, The Judith Rothschild Foundation Contemporary Drawings Collection was conceived to be a broad survey of contemporary drawing practice, and it more than fulfils that goal, mixing drawings of the 1960s and 1970s with major works of the past twenty years by such artists as Kai Althoff, Robert Crumb, Peter Doig, Marcel Dzama, Mark Grotjahn, Charline von Heyl, Martin Kippenberger, Sherrie Levine, Agnes Martin, Fred Sandback, Paul Thel and Andrea Zittel, among many others. This definitive catalogue raisonné presents the collection as a whole, with an introduction by Christian Rattemeyer; five essays each focusing on a different geographic area of artistic production; images throughout; and a text on paper conservation.
From trade fair stands to museum concepts, the successful transfer of information to a wide public audience relies on effective staging and appropriate architectural design. While museum exhibitions focus on the art of communicating content, with commercial aspects tending to play a more subordinate role, the goal of trade fair stands and showrooms is to convey a brand image. And at least since large companies like BMW and Mercedes began introducing commercialized museum concepts designed to stage their brands, the phenomenon has come full circle. Not infrequently, planners today must not only accomplish the demanding task of designing an exhibition; they must also meet full service demands, from briefings and CI design to realization. How to do this successfully is the subject of short articles by authors from the relevant fields. With extensively documented project examples organized by presentation or exhibition type, these valuable technical articles offer a detailed roadmap to practical success.
The current trend for constructing experimental structures is now an international phenomenon. It has been taken up worldwide by design professionals, researchers, educators and students alike. There exist, however, distinct and significant tendencies within this development that require further investigation. This issue of AD takes on this task by examining one of the most promising trajectories in this area, the rise of intensely local architectures. In his seminal essay of 1983, Kenneth Frampton redefined Critical Regionalism by calling for an intensely local approach to architectural design. Today, Frampton’s legacy is regaining relevance for a specific body of work in practice and education focused on the construction of experimental structures. Could this ultimately provide the seeds for a compelling and alternative approach to sustainable design? Contributors include: Barbara Ascher, Peter Buchanan, Karl Otto Ellefsen, David Jolly Monge, Lisbet Harboe, David Leatherbarrow, Areti Markopoulou, Philip Nobel, Rodrigo Rubio, Søren S Sørensen, Defne Sunguroðlu Hensel. Featured practices: Renzo Piano Building Workshop, Rintala Eggertsson, SHoP, Studio Mumbai, TYIN tegnestue.
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