Hans Dieter Schaal worked on almost all important opera houses including those in Berlin, Brussels, Paris, Vienna, and Zurich. These projects served as vehicles for his extraordinarily expressive artistic powers, which he used to captivate the public.
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.
Hans Dieter Schaal worked on almost all important opera houses including those in Berlin, Brussels, Paris, Vienna, and Zurich. These projects served as vehicles for his extraordinarily expressive artistic powers, which he used to captivate the public.
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.
An overview of generations of Italians in the Big Apple, weaving together numerous stories from different epochs and different backgrounds. “If you want to learn something about Italian creativity, come to New York. Here, you will find the pride of flying the Italian colors at the Fifth Avenue Columbus Day Parade, the American patriotism of those who perished at Ground Zero, the courage of firefighters and marines on the frontline of the war against terrorism, the babel of dialects at the Arthur Avenue market, portrayals of social change in the writings of Gay Talese, stories of successful business ventures on the TV shows of Maria Bartiromo and Charles Gasparino, political passion in the battles of Mario Cuomo and Rudy Giuliani, creative imagination in the works of Gaetano Pesce, Renzo Piano and Matteo Pericoli, and provocation in the attire of Lady Gaga . . . The Midtown top managers, who arrived in the past twenty years, operate in the XXI century, while on Fresh Pond Road in Ridgewood the panelle are still prepared according to the Sicilian recipes transmitted from one generation to the next.” —From the Introduction
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