Bøger udgivet af Edition Axel Menges

This is the first monograph on the life and work of the Czech born British architect Kaplicky (1937-2009). It is a fully comprehensive work based on a decade of research and is a distinctive portrait of one of the most distinguished architects and designers of the 20th and 21st centuries. At the same time it is an exploration into historical events, which influenced a number of talented artists, writers and designers, some of whom were forced, like Kaplicky, to emigrate from Czechoslovakia in order to expand their skills and search for beauty through living in freedom in democratic countries. After immigrating to the United Kingdom in 1968, Kaplick¿y applied his imagination and diligence and enhanced his skills and aptitude, gaining admiration and respect following the co-founding of the innovative Future Systems studio in 1979. With his wide-ranging architectural and design oeuvre Kaplicky affirmed greatness of his immense talent and ability. The author was a friend, through their shared émigré life experience, giving him broad insight into the inception and realisation of this book. He searched family archives and referenced Kaplicky's private diaries. The author drew on everybody who had something important to say and gathered written memories and interviews from Kaplicky's friends, colleagues, partners and clients, which form the cornerstone of the monograph. His aim was to write a book that would mirror Kaplicky's life and work, a representation made up not only from the author's own point of view, but also according to others with whom Kaplicky had been in contact during his life. The book has many voices and has a kaleidoscopic format, which truly explores Kaplicky's complex personality and his creativity. It does not overwhelm with excessive information, but builds a picture of the man behind his designs and tells his story. The author presents Kaplicky's personal side with sensitivity and explains his dramatic decision-making.

Frank Lloyd Wright began making contributions to the Modern movement in his home in Oak Park.

Even though he had made a name for himself in the 1930s with his Berlin single-family homes, Eiermann later on found it difficult to accept commissions for this building type when, during the period of the »economic miracle«, he was approached by numerous people interested to get a design by him. Only the Hardenberg House in Baden-Baden satisfied him, but above all his own house, which he also built in Baden-Baden in 1959-62. This house in particular, built after his success with the German Pavilion at the 1958 Brussels World's Fair and at the same time as the Berlin Gedächtniskirche and the German Embassy in Washington, was to become one of the main works of his post-war creative output. As a builder in his own right, he was able here to uncompromisingly realize his ideal image of living for himself and his family in architecture. Eiermann himself tried to explain the house, which only crystallized in a longer planning genesis,primarily from the functional side: main house and annexe, the latter for garage, studio and guest apartment, the elongated main house in bulkhead construction under a flat sloping roof. In fact, the house is convincing in its sophisticated functionality. But it does not stop there. The complex group of buildings on a steep hillside site with its stagelike terraces, the staged interplay of views from the inside to the outside and, at night, also from the outside to the inside, is an extremely artificial structure even from its basic disposition. The Eiermann typical façade, with its exterior walkway and whitelinkage as well as the corrugated Eternit roof provide a ponderous contrast. Together with echoes of traditional Japanese houses and gardens, but above all with the adoption of motifs from sailing-ship building give this house an unmistakable character. Since 2020, the house has new owners, on whose behalf the Stuttgart architects »now here« (Henning Volpp and Karl Amann) have undertaken an extremely careful renovation.Eiermann's estate, which is kept at saai, the Archive for Architecture and Engineering at the Karlsruhe Institute of Technology (KIT), provided the historical drawings and photographs for this volume.

Nachdem 2009 der erste Band unter dem Titel Jean-Yves Barrier - Architecte, urbaniste erschienen war, der 25 Jahre seiner Arbeit als Architekt dokumentierte, widmet sich dieser zweite Band den Architektur-und Kunstprojekten seit der Mitte der 2000er Jahre. Während sich der erste Band auf Architektur- und Städtebauprojekte konzentrierte, präsentiert dieser zweite Band nicht nur 25 neue Architekturprojekte Barriers, sondern auch eine ganz andere Facette seines Schaffens : die Beziehung zwischen Architektur und Kunst. In diesem Rahmen avanciert die Form des »Faltens« zu einem fundamentalen Konzept, das vom Designobjekt, über Kunstinstallationen im öffentlichen Raum bis hin zur Architektur anwendbar wird.Dieser neue Band zeigt einmal mehr die erstaunliche Viefalt der Architekturtypologien, mit denen sich Jean-Yves Barrier in seinem gegenwärtigen OEuvre auseinandersetzt. Ganz gleich, ob es sich dabei um Wohnhäuser, kollektiven Wohnungsbau, um öffentliche Einrichtungen, städtebauliche Gestaltungen oder Zweckbauten (wie Supermärkte, ein Arbeitsamt oder ein Ingenieurbauwerk) handelt, Jean-Yves Barrier nimmt niemals eine sich wiederholende oder doktrinäre Haltung ein, sondern entwickelt für jedes Projekt neue Lösungen, die in seinem ideellen »Lexikon der Konstanten« zu finden sind. Dies betrifft insbsondere die permanente Suche nach einer städtebaulichen Kohärenz für die unterschiedlichsten Interventionen : in Stadtzentren, in brachliegenden Industriezonen oder im periurbanen, diffusen Raum. Zeitgenössische Gartenstädte, verdichtete und kompakte Baugruppen, Kollagen oder das Verflechten mit Vorhandenem stellen für Barrier Möglichkeiten dar, mit gegenwärtigen Architekturen, vergessene oder verlassene urbane Situationen neu zu qualifizieren und zu sanieren. Damit einher geht auch die Suche, urbane Zeichen und neue Vernetzungen im städtischen Raum zu schaffen, mit dem Versuch, die vorhandenen Schichten der Stadt fortzuschreiben. Die Analyse eines Gebietes und seiner landschaftlichen, urbanen und architektonischen Zusammenhänge ist dabei immer behutsam und klar. Das erlaubt ihm, (Re)-Interprétation von oftmals komplexen historischen Gegebenheiten, um darauf aufbauend eine neue, zeitgenössische Architektur zu entwickeln.Aber es ist nicht nur die Stadt, die ihm als architektonische Projektionsfläche dient, sondern in besonerem Maße auch insbesondere das vielfältige Zusammenspiel zwischen Kunst, Design und Architektur, das sich in einer spezifischen Methode, einem Gedenkengebäude äussert, welches es ihm erlaubt, eine gestalterische Kohärenz auf diesen diversen Maßstabsebenen zu erreichen und damit gleichzeitig unterschiedliche Disziplinen miteinander verbindet. Besonders sinnbildhaftig ist ihm dies im Rahmen des Projektes zu einer Jugendherberge in der Stadt Tours (2019) gelungen. Es handelte sich hier um eine alle Gestaltungsebenen umfassende Aufgabe, in welcher Kunst und Design in Architektur übergehen : Innenarchitektur, Möbel, Designobjekte und Architektur sind dort untrennbar miteiander verwoben. Andere Projekte, die sich im urbanen und landschaftlichen Raum befinden, lassen sich eher zwischen Land Art und Kunstwerk situieren.

The condition of "fake" and "real" in architecture is rarely publicly discussed nor has it encountered broad journalistic or scholarly attention. This book explores the realm of truth, authenticity and fakery in architecture, providing a timely collection of analytical essays and projects. Photographers, writers and architects share their understanding and speculations about a broad range of spaces and concepts all searching for common ground between real and imagined, function and story. The authors challenge our perception of "authenticity " through the examination of built and simulated environments, architectural fiction, theatric illusions and mannerist trickery. They examine the notion that the principle of Sullivans "form follows function" contains a paradox caused by the ambiguity and complexity of architectural expression. Buildings are perceived through an individuals personal experiences while also being interpreted along broader cultural values. The works shown reveal that under scrutiny, any built environment harbors both, reveals moments of truth, deception and ambiguity all of it partially in the eye of the beholder.The diverse contributions shed light on unexpected identities in architecture inviting criticalthought about our built environment analog and digital. The goal of this publication goes beyond unmasking deception in architecture, it aims at unfolding time-lines and revealing the layerednature of people and places. The images and essays reveal our contemporary condition and let collective and individual narratives unfold, a range of truths in themselves. Expanding from the discussion about truthful materiality and tectonics, this book provides an understanding ofreal, authentic, and fake in urbanism and architecture. Anne-Catrin Schultz studied architecture inStuttgart and Florence. Following post-doctoral research at the Massachusetts Institute of Technoloyin Boston, she worked for several years with Turnbull Griffin Haesloop and Skidmore, Owings & Merrill in San Francisco. While developing her own practice, she has taught at the University of California in Berkeley, the California College of the Arts and the Academy of Arts University in San Francisco. In 2013 she joined the Department of Architecture at Wentworth Institute of Technology in Boston.

Paris in the summer of 1937. A giant funeral processionwends its way from the city center eastwardtoward the Père-Lachaise Cemetery, accompaniedby the sounds of Chopin's funeralmarch. The photojournalist Gerda Taro had beenkilled in the Spanish Civil War a few days earlier.Thousands come to pay their last respects to theémigrée from Hitler's Germany. The poet LouisAragon speaks at the graveside, young girls holdup a large portrait of the deceased. Why did theFrench Communist Party honor a foreigner - onewho was not even a member of the Party - witha »first-class« burial?Ernest Hemingway is said to have found GerdaTaro while searching for »better Germans«,the term he used to describe Germans fightingon the Republican side in the Spanish Civil War.Taro is today considered one of the path-breakingpioneers of photography. She captured someof the most dramatic and widely published imagesof the Spanish Civil War and was the firstfemale photographer to shoot images in themidst of battle. Her willingness to work close tothe fighting set new standards for war photographyand ultimately cost her her life. Taro standsalongside early twentieth century war photographerslike Robert Capa and David »Chim« Seymour.Her death, the first fatality during war coverage,garnered worldwide attention. She hadbroken new ground, as a woman and as a photographer.Despite this, Gerda Taro has largely fallen intooblivion, especially in comparison to her colleagueand partner Robert Capa. Whether genderand religion played a role in this would requirea separate investigation. In any case, in herstudy of women resisting fascism, Ingrid Stroblreaches the conclusion that a combination suchas woman-Communist-Jew represented a threefoldstigma, and would almost guarantee Taro'sexclusion from official history, both in the Eastand the West.It has been almost twenty years since the firstbiography of Gerda Taro, written by Irme Schaber,led to Taro's rediscovery as a photographer.Since that time, the discovery of the »MexicanSuitcase«, containing more than 800 of her photos,has made new research on Taro possible.In this new, fully revised biography, Irme Schaberpresents groundbreaking insights regardingcameras, copyrights and the circumstances surroundingTaro's death.