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Exhibition Halls Construction and Design Manual

Clemens F. Kusch Exhibition Halls Construction and Design Manual

An exhibition centre is a central focus of a city’s economic life, and in many cases a unique expression of its image. For this reason, as well as offering adequate space and infrastructure, it must make a strong, clearly recognizable architectural statement. Over the past couple of decades, new technology and globalization have transformed trade fairs: today they are not so much markets as forums for the exchange of information and contacts. This new volume in the Construction and Design Manual series spotlights twenty-two exemplary European buildings that have overcome the resulting architectural challenges. It also includes an overview of the cultural history of European trade fairs, and an interview on successful exhibition-centre design with one of the world’s leading specialists in this area of architecture.

225 × 280 mm, 304 pages over 400 images Hardcover with elastic strap 978-3-86922-184-7

Messe Frankfurt am Main Messehalle 11 und Portalhaus West

Die Messe von Nischni Nowgorod Eine Sonderstellung in der Geschichte des Messebaus nimmt aufgrund der frühzeitigen, groß angelegten Planung und der avantgardistischen Tragwerksstruktur die Messe von Nischni Nowgorod ein. Die Anlage wurde von dem 1758 auf der Insel Teneriffa geborenen Ingenieur Agustín de Betancourt geplant. Dieser war ab 1810 in Russland tätig, nachdem er sich zuvor in Spanien und Frankreich durch seine vielseitige Planungs­ tätigkeit ausgezeichnet hatte. Betancourt besuchte 1817 das Gelände in Nischni Nowgorod. Hierher sollte die Messe von Makarjew, deren Anfänge bis in das Mittelalter zurückreichen, verlegt werden, nachdem das dortige Messegelände durch einen Brand zerstört worden war. Betancourt schlug eine groß angelegte Planung vor, die als ein Vorläufer der späteren Pla­ nungen für Weltausstellungen und Messen gelten kann. Durch die Umleitung eines Nebenarms der Oka wurde eine künstliche Halbinsel geschaffen. In der streng symmetrischen Anlage sind die verschiedenen Ausstellungshallen parallel zu einer zentra­ len Achse angeordnet. Über eine Brücke über einen Seitenkanal erreichte man zunächst einen größeren Hof, der von dem monu­ mentalen Eingangsgebäude geprägt war. Durch diesen gelangte man seitlich in das Ausstellungsgelände mit seiner Vielzahl von Hallen gleicher Abmessungen, die durch einen regelmäßigen Wegeraster miteinander verbunden waren. Die zentrale Achse endete an der Kathedrale mit einem Zentralbau­Grundriss. Betancourt war für die Gesamtanlage und die Ingenieursbau­ ten zuständig, während der französische Architekt Auguste de Montferrand die einzelnen Bauten plante, darunter auch das noch heute existierende Hauptgebäude. Auf dem Messegelände und den angrenzenden Flächen fand 1896 die Panrussische Industrie- und Kunstausstellung statt, die größte der vorrevolutionären Ausstellungen dieser Art in Russland. Für diese Messe wurden fast 70 Ausstellungsbauten und Pavillons direkt von Zar Nikolaus II. in Auftrag gegeben und finanziert, während wei tere 120 Pavillons durch private Firmen errichtet wurden. Präsentiert wurde neben vielen anderen Innovationen auch der weltweit erste Radioempfänger von Alexander Popow. Unter den verschiedenen Ausstellungsbauten sind besonders die acht Hallen von W ladimir Schuchow hervorzuheben. Bei den mit Seilnetz überdachten Hallen ebenso wie beim Aussichts­ turm kam erstmals eine einschalige Hyperboloid­Konstruktion zur Anwendung. Mit diesem System konnte dem damals schon bestehenden Anspruch, große Flächen mit möglichst weni­ gen Stützen zu überdachen, genügt werden. Bei den Hallen in Nischni Nowgorod trugen lediglich zwei zentrale Stützen die zeltartig abgehängte Konstruktion. Dadurch konnte jede Halle von allen Seiten durch mehrere Eingänge betreten werden. Mit dieser besonderen Architektur, die ausschließlich aus kon struktiven Elementen – ohne jegliche Zier oder Anlehnung an historische Bauten – besteht, wurde die zeit genössische Tendenz zu Zweckbauten aufgegriffen, die damals ihre ersten bedeutenden Realisierungen erfuhren.

EUR 78.00 / USD 99.95 ISBN 978-3-86922-184-7

9

September 2013

Linke Seite: Lageplan der Messe in Nischni Nowgorod (1857).

783869 221847

Architekten H ASCHER J EHLE Architektur, Berlin Tragwerksplaner RSP Remmel + Sattler Ingenieurgesellschaft mbH, Frankfurt am Main Bauherr Messe Frankfurt Venue GmbH & Co. KG Wettbewerb 2006, 1. Preis Auszeichnung pbb Architekturpreis 2010, Anerkennung Deutscher Holzbaupreis 2011, Anerkennung Planungszeitraum 2006 – 2009 Ausführungszeitraum 2007 – 2009 Bruttogeschossfläche 120.100 Quadratmeter Bruttorauminhalt 875.300 Kubikmeter Ausstellungsfläche 24.000 Quadratmeter auf zwei Geschossen Kosten etwa 170 Mio. Euro (2009) Fotos Svenja Bockhop, Matthias Könsgen

Nischni Nowgorod, Blick auf den Hafen an der Oka, Holzstich (1877).

A . von Gogen / G. Trambitskij / K . Treiman: Hauptausstellungsgebäude der Messe in Nischni Nowgorod (1890), Postkarte um 1910.

Die Halle  11 und das Portalhaus bilden den Auftakt der Besucher mittels Stegen, Galerien, Rolltreppen und Pano­ westlichen Erweiterung der Frankfurter Messe. Ausschlag­ ramaaufzügen. Auf unterschiedlichen Ebenen kreuzen sich gebend für die Formfindung war die städtebauliche Situa­ hier die Wege, wobei die Orientierung durch die Offenheit des Raums und die Ablesbarkeit der Wegeführung erleich­ tion am Rand des innerstädtischen Messeareals. Halle  11 befindet sich an der Schnittstelle zwischen der tert wird. Die mit mäandernden Linien bedruckte Glasver­ aus viergeschossigen Wohnhäusern bestehenden klein­ kleidung der Seitenwände ist eine Anspielung auf das The­ maßstäblichen Randbebauung und der großmaßstäblichen ma des Portalhauses – den Besucherempfang. Messearchitektur. Dieser Positionierung trägt das impo­ Aus Zeitgründen wurde Halle  11 im Baukastensystem aus sante und dennoch zurückhaltende Gebäude durch eine vorgefertigten Stahlbetonelementen errichtet, wobei die die Horizontale betonende Gliederung Rechnung: Der mas­ Transport­ und Montagemöglichkeiten die maximale Di­ sive Sockel aus Sichtbeton wird von waagerechten Kannel­ mension bestimmten. Für die ebenerdige Halle, die die aus luren durchzogen, die Verglasung der zurückspringenden dem Obergeschoss abgeleiteten Lasten aufnehmen muss, Fassade des Obergeschosses besteht aus lang gezogenen ergab sich so ein dreischiffiger Raum mit zwei Stützreihen. liegenden Rechtecken und das flache Dach, einer schwe­ Dagegen wird die obere Halle von einer 79  Meter über­ benden leichten Platte gleich, begleitet unaufdringlich spannenden Konstruktion aus Holzfachwerkbindern über­ dacht. Die fast sieben Meter hohen Binder mit den an den den Straßenraum. Das Portalhaus ist mit seinen einladenden schrägen Tor­ Enden spitz zulaufenden Auskragungen geben dem Dach wänden und den verglasten, Durchblick gewährenden Fas­ seine charakteristische Form. Durch einen zurückspringen­ saden klar als neuer Eingang zu erkennen. In dem offenen, den Fries leicht abgesetzt, scheint es über dem Gebäude vier Geschosse hohen Innenraum erfolgt die Verteilung der zu schweben.

Das weltweit erste Membrandach in der Stahlrotunde der Messe in Nischni Nowgorod, Architekt: Wladimir G. Schuchow (1895).

184 185

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Wayfinding and Signage Construction and Design Manual

Philipp Meuser / Daniela Pogade

Second Edition

A complete signage system is composed of individual parts that provide individual orientation. These should be selected with care, respecting user needs and avoiding a confusing flood of information. A number of renowned designers have taken up the challenge to design functional and attractive systems for both the public and the private sector. This book presents signage for cultural, transport, and educational buildings, as well as examples from the world of work and health. Informative essays provide an insight into the theory of signage, while selected projects are described in a detailed and intuitive manner in large-format photographs.

Wayfinding and Signage Construction and Design Manual 225 × 280 mm 304 pages, over 300 images Hardcover with elastic strap 978-3-86922-108-3

six all india institutes Of medical sciences >> guidanCe and WaYfinding sYstem

396 397

med 47

architecture: Heinle, WisCHer und Partner exeCuTiVe PaRTneR: edZard sCHultZ

design: Kognito gestaltung

castles and ruins >> signage sYstem

client: indian ministrY of HealtH and familiY Welfare (moHfW) cOmpletiOn: ComPetition, not realised med 47

lOcatiOn: BHoPal, BHuBanesWar, jodHPur, Patna, raiPur, risHiKesH, india renderings: Heinle, WisCHer und Partner

094 095

mcm 08

signage design: arBeitsgemeinsCHaft adler & sCHmidt KommuniKations-design /meuser arCHiteKten

( 2003 –2007 ) client: landesBetrieB liegensCHafts- und BauBetreuung (lBB), nl KoBlenZ cOmpetitiOn: 2003 ( 1st PriCe) cOmpletiOn: 2005

lOcatiOn: 65 landed ProPertY in rHineland-Palatinate mcm 08

phOtO credits: PHiliPP meuser, Hans-Peter sCHmidt

EUR 78.00 / USD 99.95 ISBN 978-3-86922-108-3

9

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DOM publishers 3


Fall 2013

Construction and Design Manuals

Parking Structures Construction and Design Manual

Ilja Irmscher Parking Structures Construction and Design Manual Preface by Ansgar Oswald, essays written by Ivan Kosarev and Angela Schiefenhövel

Although above and underground car parks only fulfil the must-have incidental purpose of access by individual vehicles, their construction has to be of high quality, and of course without any defects. For many buildings, underground car parks form the foundations for the entire bearing structure, and for public buildings they are often the entrance area. However, car parks are often only taken into account in the planning process too late and with insufficient specialist expertise. This manual presents state-of-the-art structural design for car parks. Its 550 pages are filled with solutions focusing on user-friendly parking from hands-on specialists who have been working in the industry for many years, and aims to be both academically precise and complete. Volume 1: Planning Principles / Volume 2: Buildings and Projects

225 × 280 mm, 556 pages, over 600 images, 2 volumes in slipcase 978-3-938666-95-1

114

Chapter 4. Car parks as holistiC systems

4.6 Multi-Storey Car ParkS

115

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>d

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Image 123: Layout of a parking level with overlapping inbound and outbound traffic of the whole car park

Image 124: Layout of a parking level with primary

and secondary parking lanes

Image 126: A car park optimised for a heterogeneous floor plan with one entry and exit drive spiral ramp each and diagonal parking arrangement as well as principal division into primary and secondary driving lanes (Feasibility study by GIVT mbH for Frankfurt airport)

to ensure traffic flow efficiency. They serve to distribute traffic in search of parking spaces and to collect outbound traffic. This concept is considerably more efficient compared to “disordered solutions” and is based on the fact that the illustrated example has six parking streets with their secondary lanes which can also be used to contain traffic jams. Depending on local conditions, access links to the entry and exit drive ramps can be provided on the same side to favour the parking streets given on the left side of the plan due to their proximity to the ramp facilities (see image 124) or, in certain cases, diagonally opposite with near equal ranking of parking streets (see image 125).

EUR 98.00 / USD 129.95

Apart from providing parallel availability of parking streets, decoupling of parking levels using spiral ramps also ensures their parallel functionality. Stairwells, including elevators, have not been marked in the plans.

ISBN 978-3-938666-95-1

Due to one-way traffic, these layouts are particularly suited for a diagonal arrangement which further improves traffic flow efficiency and user friendliness, which is evident already at the apparently obtuse arrangement angle of 81 degrees.

levels at the site of a major airport. The objective was to design an above-ground car park with the largest possible number of parking spaces while adhering to an eaves height of 22 metres (i.e. the respective limit value as per German high-rise building regulations) and ensuring peak traffic handling efficiency (see image 126). Vertical access is provided by a two-lane spiralling entry and exit drive ramp each. On the ground floor, the spiral ramp link is offset by 180 degrees, while only every second full floor is connected by the respective spiral ramp. Hence, the two-lane system serves to reduce the required number of spirals that need to be passed, shortening the drive on the spiral ramps. As such, an only slightly larger ground area is effectively able to house four ramp driving lanes. The diagonal arrangement at an angle of 52 degrees was optimised according to the available site width, while additionally, a largely new division between primary and secondary lanes, was created. To access the parking levels from the entry drive spiral ramp located virtually right at the inflexion point of the site, a ring lane was built around it which serves both the smaller left-hand and larger right-hand areas. The marked stairwells, including elevators, have been conveniently positioned, adhering to the maximum permissible escape route lengths for open car parks in Germany.

4.6.2.4 Special Cases Image 125: Alternative layout to the one shown in image 124

9

A use example for the classification of primary and secondary lanes is illustrated using a feasibility study for a car park with 885 parking spaces spread over eight

Another possibility for appropriately using spiral ramps is to provide access to only one parking street in particularly narrow structural conditions (see image 127). It is to be noted that access to the illustrated underground car

783938 666951

200

Integrated underground car parks > MyZeil / PalaisQuartier, Frankfurt

201

Hospitals and Health Centres Construction and Design Manual Lavishly illustrated and showcasing detailed descriptions of more than 130 hospital buildings, this handbook focuses on the interrelationship between the functional and technical aspects of the hospital structure and its aesthetically pleasing, hotel-like healthcare facilities. This two-volume publication contains ten specialist contributions on key issues in the current debate on the “hospital of the future”. Architectural history and typological classifications make this 700-page+ textbook an indispensable reference work for everyone with an interest in hospital architecture, whether students, architects or hospital directors.

4 DOM publishers

Laboratoriumsmedizin

Technik

Verwaltung

Verwaltung

rd

pr

la

eN

Endoskopie

op

Zentralsterilisation

Operating room in St. Josefs-Hospital, Bochum-Linden, architects: Rauh • Damm • Stiller • Partner

Operating room with monitoring equipment (Photo: Paul Vinten)

Intensivpflege (3 × 2 B +2 × 1 B = 8 B)

Allgemeinpflege (5 × 3 B + 4 × 2 B + 1 × 1 B = 24 B)

Allgemeinpflege (5 × 3 B + 4 × 2 B + 1 × 1 B = 24 B)

pt

Operating room in the Klinik Holweide, Cologne architects: Rauh • Damm • Stiller • Partner

046

Volume I

Untersuchung ⁄   Behandlung

Pläne im Maßstab 1 : 1.000

Untersuchung ⁄   Behandlung

Notaufnahme und  Unfallchirurgie

Schnitt

Aufnahme

Doctors in operating room (Photo: Miguel Malo)

5

4  Eingangshalle mit Empfang 5  Aufstockung mit Patientenbalkon

Untersuchung ⁄   Behandlung

Untersuchung ⁄ Behandlung

Krampe · Schmidt Architekten GmbH

be

4

Technik

2. Obergeschoss

1. Obergeschoss

Röntgendiagnostik

The Intensive Care Room Hospital architects have tried hard, in collaboration with physicians and hygiene specialists, to think of ways to reduce costs in the building of expensive surgical areas. Alongside reduction in space, these ideas centre round simple ground plan systems and combined room utilisation, in order to attain operationally efficient and hygienically sound work routines. With a reduction in the strong constructional dividing lines between the surgical and other functional areas, and with the application of knowledge of clinical hygiene based on evidence, today’s often isolated surgical department, the so-called jewel in the crown of hospital architecture, can in many cases be integrated into a succession of technological intensive treatment rooms. After all, the spatial and technical requirements of radiology diagnostic and treatment rooms, for IT and PET tomography, nuclear medicine, endoscopes and heart catheter measuring areas are almost identical to those of operating rooms. New standards in quality for continually evolving minimally invasive surgery and micro-therapy will lead to a new definition of the operating room as an intensive treatment room in the future; complex endoscopy treatments will take place there as well, alongside conventional surgery.

er

Operating Ambulatory Patients A goal of health policy is the inclusion of out-patients surgery in the hospital’s spectrum of services. Due to differing organisational structures, divided and also spatially separated surgical departments are sometimes built or planned for stationary and ambulatory processes. Conventional, simple room arrangements for resident surgeons and orthopaedists are often built. In other clinics, differentiated changing, preparation and recovery rooms are installed for out-patients, in front of or next to the central surgical department. Some clinics attempt solutions in which ambulatory patients are admitted to general care wards, similarly to bed-bound patients, where they are cared for before and after the operation.

ISBN 978-3-86922-146-5

783869 221465

 Kliniken Dr. Erler Nürnberg

Ambulantes Operieren

fu

The Operating Theatre

EUR 128.00 / USD 169.95

9

ar aN

225 × 280 mm, 720 pages, over 700 images 2 volumes in slipcase 978-3-86922-146-5

> Coloured function diagrams > Conceptual designs with explanatory notes

Operation

Hospitals and Health Centres Construction and Design Manual

> Structured by function > Large format photos > Scale drawings and plans

so

Philipp Meuser

Cafeteria

Parkhaus ⁄ Archiv

Schnitt

Erdgeschoss

Left page: Operating room of a medical centre with monitoring equipment, design: Meuser Architekten, 2011

Fotos: coaddo PR-Projeke (4), Ulrich Krampe (5)

047

094

095


Books made by Architects

Offices Construction and Design Manual

Ansgar Oswald Offi ces Construction and Design Manual Preface by Hajo Eickhoff 225 × 280 mm, approx. 304 pages, over 350 images Hardcover with elastic strap 978-3-86922-237-0

Modern workspaces need to handle organizational complexity while providing the newest technology and equipment. More than that, office buildings are also the architectural calling-cards of modern businesses. Transparency, openness, and environmental sensitivity are the qualities required of company headquarters and administrative buildings. In terms of interior design, the corporate image starts with the lobby and its furnishings. Some designs break with the traditional organization of workspaces, others aspire to turn offices into spatial objets d’art, and still others rely on the psychology of colour or integrate the landscape or cityscape surrounding the building into the design. Thirty cutting-edge examples are presented in this handbook, which features acclaimed office designs from around the world. P1 12

Loft Forsmannstrasse Hamburg

Ansicht Front

EUR 78.00 / USD 99.95

Ansicht Front

Ansicht Küche/Bad

M 1/50

M 1/50

Ansicht Küche/Bad

M 1/50

M 1/50

Ansicht Front

Ansicht Küche/Bad

M 1/50

M 1/50

Ansicht Küche/WC

M 1/50

2,0

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LOFT KULLMANN - HH

Schnitt und Ansichten des freistehenden SolitärsAnsicht 2,0

1,0

0,5

0,2

1,0

0,5

0,2

Küche/WC

M 1/50

LOFT KULLMANN - HH Ansicht Küche/WC

M 1/50

2,0

LOFT KULLMANN - HH

ISBN 978-3-86922-237-0 Der multifunktionale Block – ein Solitär aus Nussbaumholz – beherbergt Küche, Bad, WC, Ankleide, ein Bücherregal und den Hauptversorgungsschacht der Wohnung mit den Anschlussstationen für Wasser, Heizung, Gas und Elektro.

Grundriss M 1/50

2,0

1,0

0,5

0,2

Grundriss des Lofts

LOFT KULLMANN - HH

9

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Architectural Models Construction and Design Manual Both as an instrument of communication as well as a means of design development there is no substitute for the physical model. It is no coincidence that architecture and model making share a rich history, so intrinsic to the design process it is impossible to imagine successfully understanding the essence of a design without the contribution of physical models. The most important models are those that lead to design conviction, that strengthen the design through their production and evaluation. Pyo Miyoung Architectural Models Construction and Design Manual

»Both as an instrument of communication and as a means of design development, there is no substitute for the physical model. It is no coincidence that architecture and model making share a rich history, so intrinsic to the design process that it is impossible to imagine successfully understanding the essence of a design without the contribution of physical models. The most important are those that lead to design conviction, whose production and evaluation strengthen the design.« Ben van Berkel, UNStudio

225 × 280 mm, 1.100 pages over 3.000 images 2 Softcovers in wooden slipcase 978-3-86922-147-2 EUR 98.00 / USD 129.95 ISBN 978-3-86922-147-2

9

783869 221472

DOM publishers 5


Fall 2013

Construction and Design Manuals

Medical Facilities and Health Care Construction and Design Manual MeuserThis manual showcases the wide range of con-temporary interior design in the areas of medical practices, pharmacies and other medical facilities, extensively documenting the most successful examples. Altogether more than 35 projects are comprehensively shown with the help of large colour photos, true to scale ground plans and diagrams. The volume is completed by specialists’ contributions concerning methods of planning and questions of design. > Construction data, planning parameters and regulations for medical facilities > Scientific comment and analysis to each of the presented projects > Essential for health care design, architecture, and medical administration

225 × 280 mm 304 pages, over 500 images Hardcover with elastic strap 978-3-86922-177-9

b

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1 1.1 1.2 1.2.1 1.2.2 1.2.3 1.2.4 1.3 1.4 1.5 1.5.1 1.5.2 1.6 1.6.1 1.6.2 1.7

Patient rooms Reception room Waiting rooms Waiting room 1 Waiting room 2 Play room Cloakroom Meeting room Hygiene room Patient lavatory [L] Anteroom Lavatory Patient lavatory [g] Anteroom Lavatory Lavatory for handicapped persons

Light exPosure usabLe FLoor

2 2.1

Examination and treatment rooms Laboratory

3 3.1

Specialist medical rooms Examination and treatment room [Consultation room] — Mouth, jaw and facial surgery 1 Examination and treatment room [Consultation room] — Mouth, jaw and facial surgery 2 Examination and treatment room [Consultation room] — Neurology Examination and treatment room [Consultation room] — Ear, nose and throat medicine Examination and treatment room [Consultation room] — Urology Examination and treatment room [Consultation room] — Gynaecology and obstetrics Examination and treatment room [Consultation room] — Paediatrics and youth medicine Examination room — X-ray Examination room — Electrocardiography Examination room — Ultrasound

in sQm  

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N e w CO N s t r U C t i O N M U lT i - D O C TO r P r AC T i C E

d

EUR 78.00 / USD 99.95

3.2

3.3 3.4

3.5 3.6

Client | Operator

e

Planning time Construction time Gross floor area Usable floor space Gross cubic capacity

Dr. Gebhard Wittlinger Dr. Christoph Hahn Dr. Wolfgang Stern 06 2006 04 2007 800 sqm 577 sqm 2,400 cbm

a The waiting area for private patients. b Coat-rack and reception office in the centrally located entrance area. c As a deliberate counterpoint to the calming colours in the waiting area, the U-shaped access hallway is painted bright orange. d View into the examination room CT, where the latest technology takes centre stage. e Patients go past the reception desk straight to the central waiting area. f The waiting area is decorated in light colours with ceiling height upholstered side walls.

ISBN 978-3-86922-177-9

Usable floor spaces Patient rooms Examination | Treatment rooms Specialist rooms Administrative rooms Plant rooms Total

yellow

225 sqm

39 %

red pink green blue

20 sqm 206 sqm 34 sqm 92 sqm 577 sqm

3% 36 % 6% 16 % 100 %

Performance data Outpatients per year Number and type of services per year Clinic opening hours Waiting time [with | without appointment] Number of staff

25,000     Diagnostic radiology 5 days | 50 hours 15 min. | 30 min. 25

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Offices and staff rooms Staff rest room Pantry Staff changing facilities — L Changing facilities Shower Staff changing facilities — g Changing facilities Shower Staff lavatory [L] Anteroom Lavatory Staff lavatory [g] Anteroom Lavatory

6 6.1 6.1.1 6.1.2 6.2 6.3 6.4 6.5

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Usable floor of a large multi-doctor practice

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31 Example of a functional and spatial allocation plan for a large multi-doctor practice 32 Function scheme of a large multi-doctor practice 33 Standard ground plan of a large multidoctor practice, scale 1:200 34 Colour scheme for the ground plan of a large multi-doctor practice, scale 1:400

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L A B R YG A P R I N C I P L E S O F P L A N N I N G

Medical Facilities and Health Care Construction and Design Manual

56 57

Philipp Meuser

> True to scale floor plans for different types of practices, pharmacies and other facilities

Theatres and Concert Halls Construction and Design Manual

Birgit Schmolke

This volume introduces the building typologies Theatres and Concert Halls. Expert contributors provide a brief summary of the history of theatre architecture in Europe, an overview of theatre interiors and of theatre design in general. Featured are 32 projects, each illustrated with full colour photographs, scale plans and sketches and accompanied by explanatory text. Imposing structures by Pritzker Prize winners Zaha Hadid, Herzog & de Meuron, Gottfried Böhm and Christian de Portzamparc as well as signature buildings by internationally acclaimed architects such as UN Studio, Dominique Perrault and Santiago Calatrava are all showcased here.

Theatres and Concert Halls Construction and Design Manual 225 × 280 mm 304 pages, over 350 images Softcover 978-3-86922-178-6

1: The folds are clearly visible on the walls of the auditorium 2: Elevation 3: Foyer 4: Detail of staircase 5: Auditorium

Laangs doorsnede Laangs section doorsnede Longitudinal

2

4

EUR 58.00 / USD 74.95

Ground plan

LEVEL 0.0 Longitudinal section

ISBN 978-3-86922-178-6 Dwars doorsnede Dwars Cross sectiondoorsnede

9

783869 221786

6 DOM publishers

3

5

144

LEVEL +2.600

145

Floor plan dress circle

Floor plan upper circle LEVEL +6.200


Books made by Architects

Accessible Architecture Construction and Design Manual Accessible architecture is about much more than wide doorways and lowplaced light switches. Accessibility means independent and self-determined living and mobility for people of all ages and in any situation in life. Achieving this requires a clear awareness of the related concepts and principles, hich need to be adopted into the planning process at an early stage. > Twenty-five carefully selected projects illustrate how the core considerations of accessibility blend with premium design to produce state-of-the-art living spaces for real people with real needs. Philipp Meuser Accessible Architecture Construction and Design Manual

> Easy-to-understand images illustrate the ten core principles of accessible design. > Second, revised and updated edition of the practical handbook of accessible architecture.

225 × 280 mm 304 pages, over 300 images Hardcover with elastic strap 978-3-86922-170-0 EUR 78.00 / USD 99.95 ISBN 978-3-86922-170-0

9

783869 221700

Pharmacies Construction and Design Manual The pharmacy trade has undergone a profound transformation in the last few years: from dispensing chemists to a provider of health services with a wide assortment. This development is also reflected in the most recent pharmacy buildings, comprehensively introduced in the present publication by 30 projects with large colour photos and complementary true to scale plans. With specialists’ contributions in the areas of interior architecture, building expenses, and the basics of building standards. A detailed documentation of new pharmacies. Dörte Becker / Philipp Meuser Pharmacies Construction and Design Manual

a

225 × 280 mm, 224 pages, over 300 images Hardcover with elastic strap 978-3-938666-55-5

pt

functIOnAl grOup functIOnAl unIt functIOnAl element

1 1.1

Customer rooms Sales area with self-service area, behindthe-counter shelves, cash-desk, and night dispensing area Consultations

1.2 2 2.1 2.2 2.3 2.4 3 3.1 3.2 3.3 3.3.1 3.3.2 3.4 3.4.1 3.4.2 3.5 3.5.1 3.5.2 3.6 3.6.1 3.6.2 4 4.1 4.2 4.3

EUR 68.00 / USD 89.95

IllumInAtIOn

Business rooms Laboratory Prescription area Workstation [and office] Alphabetic storage Service and staff rooms Night shift room Staff lounge and kitchen Staff changing | Women Staff changing Shower Staff changing | Men Staff changing Shower Bathroom — Staff | Women Vestibule Bathroom Bathroom — Staff | Men Vestibule Bathroom Supply and waste disposal Goods inwards Product storage Cleaning equipment storage and disposal room

Usable area of a small pharmacy

It is usually necessary to relocate certain facilities or specialist rooms. In such cases, careful thought should be given to how the business can continue to operate during the individual building phases without too much additional effort. Refurbishments involve unpleasantness for all parties concerned. It is therefore advisable to apologise for any inconvenience in advance.

uSABle AreA In Sqm  

    56

°

50

°

6

° ° °

12 6 12

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16

° °

10 8

£

4 2

STANDARD SPACE ALLOCATION PLANS, FUNCTIONAL DIAGRAMS, AND STANDARD FLOOR PLANS

46

The space allocation plans, functional diagrams, and floor plans shown here for small, mediumsized, and large pharmacies serve to explain the principles of operation and construction in one standard example each. Standard in this instance means a sample or model for the minimum effort required to achieve a functional and cost-effective solution. For the space allocation plans, the explanation provided in “Breakdown into functional groups” above is used. The space allocation plans also contain a comment on lighting [see “Space allocation plans” above]. A differentiation is made between individual rooms [functional elements] and rooms which belong directly together [functional units]. The suffix plan ID numbers designate the functional group and, consecutively in each case, the functional units and functional elements.

32

l l

2 2

l l

1 1

£

l l

1 1

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4 16

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26

The functional diagrams show all rooms and their functional relationships. The different squares used as symbols for the rooms should give a rough indication of the size of the given usable area. The standard floor plans are not intended to be a model for plans. In the deliberately chosen single-story form shown here, they merely represent a visualisation of the space allocation plans and are thus confirmation of the latter’s feasibility and an aid to orientation when commencing planning. Plans are the sole remit of architects, interior designers, and other pharmacy planners who, using their creativity and design skills, work together with pharmacists and their employees to come up with individual solutions. Standards for a small pharmacy For small pharmacies with a usable area of up to 175 square metres, it is particularly important to comply with the provisions of the ApBetrO with regard to minimum size. These state that a pharmacy must consist of a dispensary, a laboratory, a storage, and a night service room. These rooms must have a usable area of at least 110 square metres. These provisions do not make reference to the necessary service and staff rooms. SpAce AllOcAtIOn plAn AnD functIOnAl DIAgrAm fOr A SmAll phArmAcy | The minimum size required by the ApBetrO is met by the following

160

3.3 3.2

4.3 3.4

4.1

space allocation plan [Fig. 17], which has an area of 116 square metres [dispensary with consulting room 56 square metres, laboratory 12 square metres, prescription room 6 square metres, alphabetical storage and stockroom 32 square metres, and night service room 10 square metres]. Together with necessary expansions, this gives a usable area of 160 square metres, a value which should not be undercut. In selecting this size, it should be ensured that expansion is possible through the construction of an annexe, or by using rooms on a lower or upper floor in order to take future developments into account. The functional relationships between the rooms in the space allocation plan are relatively simply and easily implemented [Fig. 18]. Because of the economical layout of the space allocation plan, dedicated rooms are not available for some functions. Thus, for example, there are no dedicated areas for special purposes [children’s play area, washing room, special lab, archive, pharmacist’s service room, special stockroom, and waste disposal room]. Furthermore, the “training” functional area is absent. If spacesaving automatic systems are used, usage of the areas for alphabetical storage and the medical stockroom can be optimised. flOOr plAn fOr A SmAll phArmAcy | The schematic floor plan [Fig. 19, 20] is broken down into three zones with slight overlaps: the customer zone, the business room zone, and the storage and staff

4.2

3.1

3.5 3.6 2.4

19

2.1

1.2

ISBN 978-3-938666-55-5

783938 666555

2.3

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20

17 Sample space allocation plan for a small pharmacy 18 Functional diagram of a small pharmacy 19 Diagrammatic plan of the floor plan To scale 1:400 20 Standard floor plan for a small pharmacy Dark grey: self-service range Light grey: over-the-counter products To scale 1:200 17

48 49

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DOM publishers 7


Fall 2013

Construction and Design Manuals

Architectural Drawings Construction and Design Manual Architecture is inconceivable without drawing, and people who can draw are usually good architects, too. This manual not only provides an introduction to the theory of drawing and representation, but pays tribute to architectural drawing as a practical skill and creative art. Architectural drawings from historic collections and freehand drawings by contemporary architects illustrate the fascinating scope of this expressive form. The book also includes a hands-on guide to the fundamentals of professional architectural drawing from first sketch to detailed plan. Natascha Meuser Architectural Drawings Construction and Design Manual

> Read an introduction to the history of drawing > See international architects at the drawing board > Find inspiration for your own practice > Master perspective and technical drawing

225 × 280 mm approx. 350 pages, over 400 images Hardcover with elastic strap 978-3-86922-188-5 EUR 68.00 / USD 89.95 ISBN 978-3-86922-188-5

9

783869 221885

Architectural Renderings Construction and Design Manual

Fabio Schillaci

Fourteen major international rendering studios present a selection of their work, together with comments on their methodology and use of digital technology, this book traces the history and along the way rehabilitates this occupation as an independent discipline in the broad sphere of architecture. It contains a comprehensive overview of the earliest architectural drawings through to modern, highly technical forms of digital rendering, including tutorials based on the everyday praxis. With additional essays by the renowned professors Augusto Romano Burelli (Udine / Venice) and Fabrizio Avella (Palermo / Agrigento).

Architectural Renderings Construction and Design Manual 225 × 280 mm 466 pages, over 350 images Hardcover with elastic strap 978-3-938666-63-0 EUR 68.00 / USD 89.95 ISBN 978-3-938666-63-0

9

783938 666630

8 DOM publishers

Project: Zorlu, Istanbul (Turkey), 2007 Client: Odile Deck, Paris (France) Software / Technique: Cinema 4D, Photoshop People involved: 3 Time needed: 2 days

Fabrizio Avella, Farnsworth House by Mies van der Rohe, perspective studies, 2007

Fabrizio Avella, Farnsworth House by Mies van der Rohe, perspective studies, 2007

From these considerations an important aspect becomes “orbit” around an object and change the setting from “parclear: the perspective is not simply a mechanical operation allel” to “prospective”. Almost no CAD user worries about aiming at a three-dimensional view on the plan, it is also, how the perspective is created, and begins to flounder beand perhaps above all, an expressive code. It is seen as the tween the various zoom parameters, distance and pan until variation of the concept of space, it changes the settings a view that comes close to that expected is obtained. The of the perspective, the positioning of the main point, or results are often disappointing. Among the most common the rotation of the perspecive’s plane. One wonders what, are the aberration of the perspective and the inclination of today, in digital drawing, has changed in the perspective the framework. Aberration happens when a too extensive representation. Considering that, as shown, the algorithm portion of the visual field is included in the framework. that handles the setting of the perspective with CAD pro- Inclination of the framework often happens because, while grams follows a logic which perfectly coincides with the fixing the camera, one does not see the plane itself (because constructions of Leon Battista Alberti and Brunelleschi, most CAD software does not visualize it). It is actually very it is not possible to attribute responsibility for the loss of simple to obtain a pleasant and controlled perspective. control in perspective representations to these programs. We begin from the perspective’s plane: CAD software, it is If liability is to be sought in the programming, it can be said, does not allow you to visualize it, which is essential in found in the simulation of the photo, which, apart from the manual construction. How do you resolve the problem? having many things in common with the perspective, actu- Noting that the right vector joining the camera (the point ally introduces parameters such as convexity of the lens of view, V) with the target (projection point of view on the outside the flat representation. That means that if we want framework, P) is none other than the main visual axis that, to render the perspective of a three-dimensional model, we by definition, is perpendicular to the plane, we determine do not need to directly settle the position of the projection the camera-target axis, i. e. the vector VP and indirectly but plane, its rotation or its inclination. Often the only oper- unequivocally, the positioning of the plane. We must, howation required is the positioning of the camera (coinciding ever, decide what portion of the model we want to render. with the point of view or centre of projection) and a target According to an empirical rule for manual construction, we (projection of the point of view on the plane), but, this way, should draw the portion of the object that is included in the the plane is not visible. Alternatively, it is even easier to dihedral angle whose apex is the centre of projection. This

angle, about 60 °, is defined as an optical cone: on the inside, the peripheral aberrations do not cause aberration in the perspective view.8 As you move away, the persepective suffers aberrations which become, at times, unbearable to the eye. The succession of figures that render some perspectives of Farnsworth House by Mies van der Rohe allows us to observe how, to increase the visible portion and avoid peripheral aberrations, we just need a simple trick: moving the projection centre (the view point) away from the model, while keeping the camera-target distance unchanged. This will avoid the deleterious effects of the zoom function, which often automatically change the distance of the point of view from the plane, therefore increasing the visible portion, but also including those portions which present peripheral aberrations. The same considerations apply to the plane inclination. If the inclination of the plane can be useful, for example, when rendering a skyscraper seen from below, the same will probably not work when rendering a horizontal building. The perspectives with vertical plane, easier to draw by hand than the ones with tilted plane, are, paradoxically, less immediate in CAD software, because it is not easy to control

38

Essay > Fabrizio Avella

63_Renderings_97.indd 38-39

the positioning. It is true that in reality our visual axis is rarely perfectly horizontal, but the charm of perspectives with vertical plane, is perhaps due to the abstraction of this particular condition. The aforementioned perspectives of Sant’Elia, Chiattone and Chernikhov, whilst the buildings are drawn with vertical development, are not drawn with tilted plane. Moreover, the perspective with vertical plane respects a very strong natural condition: the perpendicularity of the axis of the human body compared to the earth, resulting in visual horizontality. It is, therefore, necessary to choose which effect to obtain and, again, this can be done through the control of the camera-target: locating the two points in space on the same coordinate of the z-axis, the camera-target axis will be horizontal and, consequently, the drawing will be vertical. Tilting the axis tilts the drawing, too. Simple. What has failed in the common digital drawing is the need for “a priori” thinking that involves choices about “what” to see, “how” to see it, and “why” see it in one way rather than another.

8 This rule does not actually have a scientific basis, but is determined by experience and not intended as a rigid prescription. We can simply observe that the perspective which covers a visual field determined in this way has a pleasing visual effect, while those with a huge visual field present unpleasant aberrations.

39

30.01.2011 17:18:52

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Office > LABTOP RENDERING

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235

30.01.2011 17:22:28


Books made by Architects

Architectural and Program Diagrams 2 Construction and Design Manual

Miyoung Pyo / Seonwook Kim

new

Diagrams are playing an increasingly important role in architecture and city planning. They help to make complex ideas, systems and relationships easy to visualize and help to communicate these, crossing linguistic and cultural barriers. Diagrams illustrate bold visions and unexpected approaches and are a key component for developing complex construction projects – and they thus play their part in realizing these projects successfully. What is more, they don’t just serve to provide information – they are also miniature, individually designed items that bear the signature of their creator. They are a new, inspiring art form.

Architectural and Program Diagrams 2 Construction and Design Manual 225 × 280 mm 416 pages, over 1,000 images Hardcover with elastic strap 978-3-86922-234-9

026

027

110

111

EUR 78.00 / USD 99.95 ISBN 978-3-86922-234-9

9

783869 222349

Architectural Photography Construction and Design Manual

Axel Hausberg / Anton Simons

Professional architectural photography confronts architects and photographers with challenges, which this volume deals with in detail. After an introduction to the history and the various areas in which architectural photography is used, the authors, themselves professionals working in the fields of building and documentation, address the technical and design-related aspects. They discuss the best equipment for the job as well as such vital issues as focal length, perspective, white balance, filters, HDR and digital post-processing on the computer. The practical section describes with clarity and precision just how the theory should be applied in practice.

Architectural Photography Construction and Design Manual 225 × 280 mm, 288 pages over 200 images Hardcover with elastic strap 978-3-86922-194-6 EUR 68.00 / USD 89.95 ISBN 978-3-86922-194-6

9

783869 221946

DOM publishers 9


Fall 2013

Construction and Design Manuals

Townhouses Construction and Design Manual For ten years now the building typology townhouse is playing a central role in the actual debate of urban building, not only in Germany. In this volume the author Hans Stimmann, former Director of Urban Development in Berlin, resumes critically about political strategies, theoretical concepts and the origins of townhouse architecture in Berlin. For this purpose he analyses 50 realised examples of townhouses, from a town planning viewpoint. Detailed scale plans and photos, showing the house in an urban-planning context, completing this manual. Hans Stimmann Townhouses Construction and Design Manual 225 × 280 mm 368 pages, over 300 images Softcover 978-3-86922-030-7

21

22

Fourth floor plan

Section C–C

EUR 58.00 / USD 74.95

9

783869 220307

290

Section A–A

291

Section B–B

Third floor plan

© Jan Bitter

© Claus Graupner

ISBN 978-3-86922-030-7

188

In-fill developments > Linienstrasse 40 > Roger Bundschuh

Scale 1: 333

189

Single-Family Houses Construction and Design Manual

Hans Wolfgang Hoffmann / Werner Huthmacher Single-Family Houses Construction and Design Manual

This volume addresses what is in fact one of the very earliest building typologies: single-family houses. Ever since antiquity, architects have been devising new ways to accomplish this task. The result is that, today, people wanting to build their own home have a huge range of styles from which to choose. Architecture critic Hans Wolfgang Hoffmann gives a broad overview of the 3,000-year history behind the villa and the country house with the help of floor plans. Comprehensive information on building materials and their properties together with scale drawings make it easy to move from discussion stage to actual planning. A practical guide for both – clients and architects.

225 × 280 mm 404 pages, over 300 images Hardcover with elastic strap 978-3-86922-107-6

Ward W. Willits House Architect: Frank Lloyd Wright Highland Park, Illinois, USA around 1900

EUR 58.00 / USD 74.95

Fallingwater Architect: Frank Lloyd Wright Bear Run Nature Reserve, Pennsylvania, USA from 1935

Frederick C. Robie House Architect: Frank Lloyd Wright Chicago, Illinois, USA 1910

ISBN 978-3-86922-107-6

9

783869 221076

10 DOM publishers

310

Residences > Timber panelled construction on a masonry plinth

311

22

Freedom to stay. Villas and residences as prototypes of single -family houses > Hans Wolfgang Hoffmann

23


Books made by Architects

Creative Engineering, Architecture, and Technology

Ralph Hammann

This book bridges the gap between technology and design. When it comes to a successful integration of two disciplines that are usually treated as separate, Munich-based building technology expert Klaus Daniels can look back on several decades of experience. His projects illustrate how architecture and engineering can work hand in hand, based as they are on an approach in which building services are seen neither as a catalyst for an “overall idea of the building” nor as mere aids to the architectural design. The projects presented in this volume have set international standards in the architecture and technology debate.

Creative Engineering, Architecture, and Technology 225 × 280 mm, 352 pages over 500 images Hardcover with elastic strap 978-3-86922-181-6 EUR 78.00 / USD 99.95 ISBN 978-3-86922-181-6

9

783869 221816

Digital Design Manual Computer Aided Design (CAD) is the standard for presenting and developing patial concepts in architecture and interior design. The application of digital media has not only significantly changed the architect’s and interior designer’s working methods but also the formative design and resulting appearance and perception of architecture and space. With the Digital Design Manual we want to convey holistic competence for the use of digital media to design and plan processes in architecture and interior design. An easy-to-use handbook ideal for CAD starters and busy professionals. Marco Hemmerling / Anke Tiggemann Digital Design Manual

EUR 38.00 / USD 49.95 ISBN 978-3-86922-138-0

9

— — Virtual building model — — Parametric modelling

— — Virtual reality Virtual reality means the simulation of reality in a computer-generated, interactive, artificial environment that is experienced in real-time. In this context, real-time relates to the perception of time that exists in the real world. The two most significant characteristics of virtual reality are interaction and immersion. Here, interaction describes the reciprocal effect between man and machine and stands for the possibility to directly influence the virtual scene. Thus, the position, geometry or material of objects in a virtual space can be changed. The interaction between man and machine is perceived as intensely in virtual reality as with almost no other visualisation method. The interface for this kind of interaction is created by interface modules that serve as intuitive navigation tools (> CAAD ) for orientation in virtual space. Immersion (derived from the Latin term immergere) describes the sensation of diving into a virtual world, which temporarily blinds out the perception of the real environment. In combination with interaction, this condition is achieved with a realistic stereoscopic representation that is generated either with HMD ’s (Head Mounted Displays) or large projections in a CAVE (Cave Automatic Virtual Environment) or a powerwall. Stereoscopic representations are based on the simulation of the human spatial perception. The human’s capability of spatial perception is largely due to the parallel but offset position of our eyes (offset 2.5 to 3 inches). The visual difference between the two registered images lies at a slightly different angle and is sufficient for our brain to create a three-dimensional image of the overall scene. Amongst others, virtual environments are used for pilot training in flight simulators, in medical engineering to simulate surgical procedures or in the industry to create virtual prototypes. Another major playing field is the film and computer game industry where they are used to create purely digital worlds never intended to be actually built. However, composing virtual environments for architecture or interior design with three-dimensional objects in combination with material and lighting in real-time requires extremely powerful and therefore expensive hard- and software. Architecture and interior design are ideal areas of application for virtual reality since spatial perception is an inherent criterion. Every drawing, every perspective tries to create an illusion that makes the most complete architectural statement with the simplest tools. However, very few laymen are proficient enough in the language of two- and threedimensional abstraction in form of floor plans and cross-section views or even perspectives (> 3D -Modelling > Projection methods) to be able to make an informed design decision. The sense of depth, particularly important to assess the size of certain objects, is difficult to illustrate with two-dimensional representations.

235 Outlook

234 Outlook

229 — — Presentation drawings during the competition phase

Layout – Best practice

228 Layout – Best practice

175 × 220 mm 256 pages, over 200 images Hardcover with elastic strap 978-3-86922-138-0

783869 221380

DOM publishers 11


Fall 2013

Architectural and Cultural Guides

Architectural and Cultural Guides Made by Architects

Taiwan Pyongyang

Hong Kong Helsinki

Book with QR Codes

Japan

Delhi

Tokyo

Riga

Brazil South Africa

= to be published in 2014

Japan Architectural Guide This guide introduces over 700 of the most prominent examples of contemporary Japanese architecture, while outlining its development in a concise essay. All texts and entries are illustrated with colour photos and drawings. Detailed information is enhanced by geo-data in the form of QR codes. Tokyo

Kanto

Takebashi, Imperial Palace North, Kojimachi, Kasumigaseki, Akasaka, Tokyo Midtown, Azabu, Roppongi, Azabu-dai, Shiba, and Mita Areas

LINE

31

Kamiyacho Onarimon

28

33

27

Azabujuban

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12 DOM publishers

190 Wacoal Kojimachi Building 1984 (K. Kurokawa)

Station GHOST TEXT

36 Mita

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191 National Theater 1966 (H. Iwamoto w/ Takenaka Corporation) 6 192 Supreme Court Building 1974 (Shinichi Okada) 5

Kasumigaseki Area 7

8

1 TRAIN LINE

Keio University

38 37

0.5 km 0.31 mi

185 Palaceside Building 1966 (Nikken Sekkei Ltd.) 187 National Museum of Modern Art 1969 (Yoshiro Taniguchi) 188 Imperial Music Hall 1966 (K. Imai)

Hamamatsucho

41

Expressw

0 0

Takebashi and Imperial Palace North Areas

Daimon

Shibakoen

Akabanebashi

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Sakurada-dori

MINATO-KU

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783869 221939

34 Tokyo Tower

25

Kojimachi Area

9

35

32

29

ASA KUSA L INE SE N NO RA IL

Roppongi Hills

75

35 221 Japan Headquarters of Red

193 Shinsei Bank (former Long Term Credit Bank of Japan) 1993 (Nikken Sekkei Ltd.) 194 Old Ministry of Justice 1895 (H. Ende & W. Böckmann – Germany)

-KU

-CHO Road Landmark

Azabu Area

36 222 37 223 38 224 39 225 40 226

21 207 Azabu Edge

1987 (R. Suzuki) 22 208 Scala Building

41 227

1992 (A. Kitagawara) 23 209 Fuji Film Co. Headquarters

1969 (Y. Ashihara) Hiroo Area 24 210 Waketokuyama Japanese

Restaurant 2004 (K. Kuma) 25 211 The Wall and Tower —

Restaurant and Bar 1988 (N. & B. Coates – UK) Roppongi Area 26 212 Mori Tower Roppongi Hills

2003 (KPF with The Jerde Partnership – USA) 27 213 Asahi Television Headquarters

2003 (F. Maki)

42 228

Cross Society 1977 (K. Kurokawa) NEC Super Tower 1990 (Nikken Sekkei Ltd.) Keio University Library 1912 (T. Sone and S. Chujo) Keio University New Library 1981 (F. Maki) Friends Girl High School 1968 (H. Ooe) Kuwait Embassy and Chancery Building 1970 (K. Tange) Mitsui Club Tsunamachi 1913 (J. Conder – England) Shibaura House 2011 (K. Sejima)

Tohoku 5

10

2nd Floor

2nd Floor

7

2nd floor

2nd Floor

7

7

1st Floor

1st Floor

1st Floor

1st floor

Section

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5

10

0

2

5

10

0

2

5

10

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Elevation

Yamanashi Pref.

Yamanashi Pref.

Yamanashi City

Kofu

Aoyama-Gaienmae Area 351 Fuefukigawa Museum 1 17 of Fruit (Fuefukigawa Frutsu Paruku) Itsuko Hasegawa, 1995 1488, Ezohara, Yamanashi City, Yamanashi Pref. 35.701548, 138.666349 From Shinjuku Station in Tokyo: Train — JR Chuo line to Yamanashi-shi and 8 minutes by taxi (up on a hillside)

43 285 Baisoin Temple, Tokyo

2003 (K. Kuma) 44 286 Forum Engineering Aoyama

Building 2009 (Yoshio Taniguchi) 45 287 Aoyama Tower Building 1970 (Y. Taniguchi) 46 284 JASMAC Aoyama (former Ambiente Showroom) 1991 (A. Rossi – Italy) 47 288 Tepia Science Pavilion 1989 (F. Maki)

2

3rd Floor

245

Roppongi Itchome

2007 (K. Kurokawa) 18 204 21_21 Design Sight 2007 (T. Ando) 19 205 Suntory Museum 2007 (K. Kuma) 20 206 Tokyo Midtown Center 2007 (Skidmore Owing and Merrill – USA)

0

3rd Floor

Chubu

te ou r R 30

Shiba and Mita Areas

17 203 The National Art Center MIT A LI NE

la cu

26

1974 (S. Shirai) Temple 1975 (Takenaka Corp.) 34 220 Tokyo Tower 1958 (Nikken Sekkei Ltd.)

3rd floor

3rd Floor

Elevation

32 218 Noa Building

1992 (S. Takamatsu) 15 201 Akasaka Detached Palace 1909 (T. Katayama) 16 202 Sogetsu Art Center 1977 (K. Tange)

Section

Section

Azabudai Area

33 219 Reiyukai Shakaden Buddhist

7

1st Floor

Tucked into a clean-lined but otherwise unassuming three-story structure, the Fujiya Ryokan sits amongst a series of similarly scaled buildings in mountainous rural north Japan. The project’s exterior restrains itself to resemble an updated take on the existing architecture of the neighborhood, taking cues from whitewashed stucco and aged wood elements. This muted treatment presents the project in deference to the grandeur of the locale; lushly vegetated mountains surround the site while a small stream flows along the primary stretch of buildings, organizing them along an embankment in linear but meandering fashion. “Entry” is through a sequence of wood and glass screens. As a result, the lofty entrance hall can be reached without any easily discernible distinction between what is “outside” and “inside.” Sitting areas and a café flank the entry hall, and numerous washing areas and bathing alcoves dot each of the floors. The upper two storys contain the eight guest rooms. Each encompasses a main area of ten tatami mats, and is sparingly outfitted with a long, wooden counter and a washbasin. The understated protagonist in this project is a combination of light and texture. The spaces rely on diffuse and reflected light, usually tempered through one or more layers of screens. Approximately 1.2 million thin, knotted bamboo and vertical wood elements compose these screens’ filigree, allowing light to filter into the various rooms. The sources of the light — even the artificial lighting — are hidden from view casting a soft glow at the edges of each space.

244

KU LINE

Cir

1955 (Maekawa, Sakakura, Yoshimura) 30 216 Villa Fontaine Roppongi Annex (Former Roppongi Prince Hotel) 1984 (K. Kurokawa) 31 217 Izumi Garden 2002 (Nikken Sekkei Ltd.)

14 200 Imanishi Motoakasaka

Tokyo Midtown Area

E

er Inn

Roppongi

2

Uchisaiwaicho

21

22 23

1

7

Toranomon

HIBIY A LIN

Tokyo Midtown

19 20

17

MA RU NO UCHI LINE CH IYO DA Hibiya-koen LIN Park E

9

GINZ A L I NE

MB O

NE A LI YO D CHI

N

ISBN 978-3-86922-193-9

Kasumigaseki

10 Kokkaigijidomae

Tameike-Sanno

46

HIBI

8

12 Akasaka

18

2003 (J. Aoki)

Maps

E NE IN AL GINZ

16

Nogizaka

135 × 240 mm 552 pages, over 750 images Softcover 978-3-86922-193-9

National Diet

Akasakamitsuke

i dor

Aoyama Cemetery

Obanazawa

036 Ginzan Onsen Fujiya 10 05 Ryokan Kengo Kuma, 2006 443 Shinbata, Ginzan, Obanazawa, Yamagata Pref. 38.569504, 140.531148 Train — JR Yamagata Shinkansen to Oishida and 40 minutes by Bus; or 25 minutes by taxi on Road 188 (~¥5,000)

29 215 International House of Japan

1982 (K. Tange) Sakuradamon

NA

aam Aoy

13 199 Akasaka Prince Hotel

6 Nagatacho

11

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45

Akasaka Area

5 13

O OED

44

Imperial Household

15

LI ON ZOM HAN

Aoyama Itchome

47 Gaienmae

Yamagata Pref.

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Akasaka Palace

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Japan Architectural Guide

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2nd Floor

195 Kasumigaseki Building 1968 (Yamashita Architectural Office) 10 196 Ministry of Foreign Affairs 1960 (H. Kosaka) 11 197 Parliament Building 1936 (Ministry of Finance Architecture Department) 12 198 The Capitol Hotel Tokyu 2010 (K. Kuma) 9

Ichigaya Yotsuya Itchome

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The complex, which is called a museum, is in most respects similar to large greenhouses. Comprised of three major structures with various domes, the assemblage of buildings on the sloping site is part of an extensive outdoors area, the Fuefukigawa Fruit Park. Two of Hasegawa’s tubular steelframe structures are covered with transparent glass. The one with a flat, umbrella-like dome is the “Fruit Plaza.” Its green space with plants features a café, and a stage for various performances. In the true “Greenhouse” with a glass shell structure tropical fruit trees are housed, which can be observed from various elevated platforms and approach ramps. These two buildings are connected with an underground corridor. The third structure is the

“Fruit Workshop,” where several shops, a restaurant, a small library, outdoor terraces, and seminar rooms serve the visitors. Adding to the site of these uniquely shaped large but light shelters is the prominent view of Mt. Fuji to the south.

352 Yamanashi Culture Hall 2 17 (former Yamanashi Press and Broadcasting Center) (Yamanashi Bunka Kaikan) Kenzo Tange, 1966 & 1974 6–10, Kitaguchi 2–chome, Kofu, Yamanashi Pref. 35.668348, 138.570976 From Shinjuku Station in Tokyo: Train — JR Chuo line to Kofu: north exit and 2-minute walk. One of the most notable works of Tange, this monumental structure comes closest to actually realizing one of the numerous visionary urban schemes produced by the architects of the Metabolism Group in the early 1960s. The Center brings forcibly to mind Isozaki’s projects with a Joint Core System and City in the Air which he designed while working in Tange’s URTEC studio. So, Tange’s design can be interpreted as both a large

building and a small “city in the air.” The entire complex, which used to house a broadcasting company, a newspaper and a commercial printing office, is supported solely by sixteen cylindrical shafts. These reinforced concrete shafts accommodate stairways, elevators, ducts, and service spaces. The floor structures, like bridges, span between these shafts so as to leave many void spaces within the volume of the building. The Center was

enlarged in 1974 by partially using these voids and also by adding more floors above the existing structure. Even in its enlarged form, the building retains many open cavities in its volume, which volume nevertheless seems to be rather overwhelming in its urban fabric. The building has been selected and registered by DoCoMoMo-Japan as one of the 100 best representatives of modern architecture in Japan.


Books made by Architects

new

Delhi Architectural Guide

September 2013

49

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Red Fort Ustad Ahmad Lahori (1648) Chandni Chowk Netaji Subhash Marg, Old Delhi

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emperor. The columns were painted in gold and there was a gold and silver railing separating the throne from the public. Diwan-i-Khas — the ‘hall of private audience’ — was used by the emperor for giving private audience to courtiers and state guests. The hall, with openings of engrailed arches on its sides, consists of a rectangular central chamber surrounded by aisles of arches rising from piers. The lower parts of the piers are inlaid with floral designs, while the upper portions are gilded and painted. The four corners of its roof are surrounded by pillared chhatris. Over the marble pedestal in its centre stood the famous Peacock. Through the centre of the hall flowed the Nahr-i-Bihisht or the ‘stream of paradise’. Over the corner arches of the northern and southern walls, below the cornice, is inscribed the famous verse of the 13th century Sufi poet Amir Khusrau, exclaiming: if there is to be a paradise on the earth, it is this, it is this, it is this. The two southernmost pavilions of the palace are zenanas, or women’s quarters: the Mumtaz Mahal (now a museum), and the larger, lavish Rang Mahal, which is famous for its gilded, decorated ceiling and marble pool, fed by the Nahr-i-Bihisht.

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135 × 240 mm 400 pages, over 450 images Softcover 978-3-86922-167-0

Delhi Maps

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Delhi Architectural Guide

018 A

The Red Fort was the palace for Mughal Emperor Shah Jahan’s new capital, Shahjahanabad (present day Old Delhi). The layout of the Red Fort was organised to retain and integrate this site with the Salimgarh Fort. The fortress palace was an important focal point of the medieval city of Shahjahanabad. The fort lies along the Yamuna River, which fed the moats that surround most of the wall. The planning and aesthetics of the Red Fort represent the zenith of Mughal creativity, which prevailed during the reign of Emperor Shah Jahan. The artwork in the Fort is a synthesis of Persian, European and Indian art which resulted in the development of unique Shahjahani style which is very rich in form, expression and colour. The walls of the fort are smoothly dressed, articulated by heavy string-courses along the upper section. They open at two major gates, the Delhi and the Lahore gates. The Lahore Gate is the main entrance; it leads to a long covered bazaar street, the chhattar bazaar, whose walls are lined with stalls for shops. The chhattar bazaar leads to a large open space where it crosses the large north-south street that was originally the division between the fort’s military functions, to its west, and the palaces, to its east. The southern end of this street is the Delhi Gate. Among other important structures within the fort there is Diwan-i-Aam and Diwani-Khas. The first is a large pavilion for public imperial audiences with an ornate throne-balcony ( jharokha ) for the

5 km

Historical Architecture

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Thi guide introduces over 200 of known or obscure examples of Delhi’s architecture particularly those built after india’s independence in 1947. All projects presented with photographs, texts and drawings have been contributed by various architectural practitioners in Delhi. Information about each entry is enhanced by geo-data in the form of QR codes.

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new

F a r i d a b a d

Hong Kong Architectural Guide

Post-Liberalisation

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September 2013

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South China Sea - their rents are amongst the highest in the city. The stepped roof line follows the silhouette of the mountains in the background. Three cuts open the facade creating roof terraces for the residents and their guests.

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From the beach of Repulse Bay, the "Repulse Bay Complex" is not to be overlooked. Eight residential towers and a shopping center with restaurants and medical center were built on the grounds of the former Repulse Bay Hotel, which stood here from 1920 to 1982. The residential tower blocks are owned by the Peninsula Hotel Company. The hotel has been reconstructed. The architecture of the residential high-rise building with their facade in white and pastel colors and curved shapes recalls the Art Deco architecture of Miami Beach. All apartments have a view of the beach and the

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135 × 240 mm 176 pages, over 150 images Softcover 978-3-86922-201-1

Repulse Bay Apartments 109 Repulse Bay Road Anthony Ng 1989

Murray House is a colonial building from the Victorian era, which originally used to stand in Central and served the officers of the Murray Barracks. It was named after Sir George Murray, the British Master-General of the Ordinance during its construction. In 2002 it was moved to Stanley and now serves as a maritime museum. Its stone walls have flat arched openings on the ground floor and a circular porch with Doric and Ionic columns on the upper floor. In the subtropical climate the porches facilitate natural ventilation. The building was designed by Aldrich & Collinson of the Royal Engineers. It is one of the oldest public buildings in Hong Kong from the early days of the British mandate. During the Japanese occupation of Hong Kong, Murray House was used as the headquarters of the military police. After the Second World War it was used by the Government of Hong Kong. In 1982 it was demolished to make way for the new Bank of China. More than 3,000 components have been numbered and cataloged and moved to facilitate its reconstruction in Stanley.

Introduction

Hong Kong Architectural Guide

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Hong Kong’s location on the water, the high mountains and the narrow urban strip in between, its forced drive into the sky, have led to the development of the most breathtaking skyline in the world. This new architectural guide presents one hundred of Hong Kong’s most interesting buildings.

Bildunterschrift

Schilderwald in Kowloon Übersetzen!

EUR 28,00 / USD 39.95 ISBN 978-3-86922-201-1

9

783869 222011

than 9 million passengers use the public transport system in Hong Kong, one of the most modern in the world. Hong Kong‘s meteoric rise to become the center of East Asia was challenged only after Deng Xiaoping's economic opening of China. The nearby village of Shenzhen was turned into a “Special Economic Zone”, which quickly became a thriving metropolis on the doorstep of Hong Kong. But Shenzhen never will outdo Hong Kong. On the contrary, today the two cities are complementary. When in the 80’s Britain had to start organizing its withdrawal from Hong Kong, many residents turned their back on the city. Beijing's Tiananmen Square massacre of 1989 made the city's future as a "Special Administrative Region (SAR)" China look less rosy. Because Britain was not willing to allow Hong Kong residents to imigrate to the United Kingdom, a "second, Canadian Hong Kong" was set up in Vancouver/BC, which flourishes to this day. The demolition of the famous "Walled City" in 1992 and the relocation of the airport (and with it its noise and danger) Kowloon has been significantly upgraded. The former airport now is a building site. Meanwhile, the renovation of the early makeshift settlements is a major

urban issue, because the poor quality of the hastily raised tower blocks in some places has become quite obvious and visible. When on July 1st 1997, the People's Republic of China took control of Hong Kong, the world held its breath for a moment. Opinions differ about whether Hong Kong since changed to its advantage or disadvantage. Democratic rights and journalistic freedom must be defended daily in Hong Kong today. In terms of tourism and the economy however there is no doubt that Hong Kong's role as an export machine and engine of growth across the region remains true. The appeal of the city for Chinese youth from the "mainland" seeking work is unbroken: Hong Kong not only promises good wages and better medical care than many places in China, the city also does not follow the infamous "one-child policy ". Babies born in Hong Kong enjoy automatic right of citizenship. However, not only poor migrant workers or pregnant women feel magnetized by Hong Kong, affluent home buyers also are flocking to the city: every third property goes to a buyer from the mainland, and these numbers are rising. Hong Kong’s retail industry also has discovered the high-spending mainlanders and adjusted its range

to suit the taste (or lack thereof) of the Nouveau Riche from China. Hong Kong is a shopping paradise and popular harbinger of the western world: With its own Disneyland, 800 kilometers of coastline, 235 islands and a mega airport whose connections reach into every corner of the world, Hong Kong is the gateway to southern China and the Pearl River Delta region. Ferries and increasingly bridges connect Hong Kong with Macao, Zhuhai, Guangzhou and the countless coastal towns of southern China, which today represent an economic unit. Tens of millions of Chinese in the Pearl River Delta work for outsourced Hong Kong companies. Hong Kong no longer is an ex-colonial island, but the center of a mega-city in the Delta, which has more than 40 million inhabitants. Hong Kong has a reputation of being a commercial stronghold, but a cultural desert. In fact, Hong Kong has maintained more traditional Chinese culture as some places in China, because the city has been spared from the Cultural Revolution and served as a refuge for artists from China. Wong Kar-Wai, whose internationally acclaimed films gave the city a cinematic reputation is just one example of successful global cultural production "made in Hong Kong". In terms of

architectural and urban design, however, the city constantly eats itself: The ongoing economic and housing boom in one of the most liberal market economies of the world killed almost all European style prewar buildings. Only very occasionally a British colonial building still peeks between the skyscrapers. The remaining colonial buildings you can now count on one or two hands. Architecturally four major offices in Hong Kong ride the tiger: Wong / Ouyang, Dennis Lau, Rocco Yim and P & T have shaped the city with their buildings persistently. In the city, they compete with each other as well as with the development of the Chinese market. At the same time, Hong Kong has proven to be fertile ground for foreign architects: Especially European and American architects have contributed to the city and its breathtaking skyline, unrivalled in the world. Famous western architects such as Pei, Rudolph, Foster and Seidler have shaped the skyline of Victoria with their towers. But the foreign influence on Hong Kong's architecture is not always as visible: Nearly half of the approximately one thousand architects in Hong Kong are either foreigners or have studied abroad and bring ideas from different parts of the world back to Hong Kong.

DOM publishers 13


Fall 2013

Architectural and Cultural Guides

Pyongyang Architectural and Cultural Guide

47 It comes as no surprise that the land law of the “Democratic People’s Republic of Korea” is completely at odds with western ideas about property ownership. Passed in 1977, it demonstrates how to turn what in our eyes is essentially an economic asset into an ideological one. According to its wording, the casualties of the Korean War steeped the land in the “blood of the revolutionaries” who sacrificed themselves for the fatherland and for the right of farmers’ collectives to cultivate the land autonomously. The use of land for agriculture, industry, and construction is thus given a militant thrust, the land itself placed completely at the disposal of the state and its agents, such as industrial combines and housing development organizations. At the same time, the land law can be seen as the antithesis of the feudal principle of large-scale land ownership, which Karl Marx, the father of communism, viewed as the root cause for the “exploitation of the working class”. Superordinate administrative committees, town planning authorities, and other state organizations like planning institutes and building combines are required by Section 52 of the law to design towns and villages in such a way that living conditions in urban and rural areas are the same. On the other hand, the state can requisition the use of the properties it makes available, including any buildings on them, at any time.

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There are very few places in the world where architecture is as inextricably linked to state ideology as in North Korea. Plaques giving the date of inauguration can be found on every public building, and the dates are always the same ones: leaders’ birthdays, the foundation dates of the party and the state, and other holidays of the model communist state. In Germany, a public foundation for architecture has fought for years, and with indifferent success, for

Special stamp sheet showing an urban panorama of Pyongyang (view from the Juche Tower towards Changgwang Street) with a nominal value of 1 Won (1993).

something that is commonplace in North Korea: architecture as a fixed element of national identity. Of course, in Korea, this identity is rigorously imposed from the top down. Ideology also informs the motifs on the country’s postage stamps, since stamps function in a very real sense as a country’s ambassadors to the world at large. What is remarkable here is the selection of buildings reproduced in thumbnail size. In addition to Kim Il-sung’s birth house, school, and residence in exile, these include large public buildings such as the Grand People’s Study House, the Arch of Triumph, and sports facilities. However  – and this is what is worthy of special note  – the stamps also repeatedly feature mundane buildings that in other countries would barely rate a mention in the local pages of the daily paper. There are, for example, stamps bearing images of the residential developments in Thongil, Munsu, Moranbong, Chollima, and Kwangbok Streets. The main focus of these motifs,

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Definitive series showing a hotel (1987) and a high-rise residential development (1985).

however, is on the strategically important thoroughfares. The buildings are there largely because they happen to flank the streets. Thus the architecture seems to be serving as the backdrop for a collective social idea. This ultimately reflects North Korea’s perception of everyday architecture  – flats represent the smallest and least significant unit in the overarching unity of city and state. The shapes of the buildings follow the international trends that were current at the time of their construction, but – and this too must be regarded as a national peculiarity – the architectural language in no way corresponds to the Korean traditions that make themselves felt in the design of the non-residential buildings. The soaring towers and undulating blocks, the octagons and cylinders are the products of post-war modernity and are characterized to this day by the Soviet interpretation of Le  Corbusier’s “machine for living”  – although those responsible for North Korea’s architecture are quite probably unaware of this fact. Thus the residential areas of Pyongyang are reminiscent of Russian suburbs on which time has taken its toll, ruthlessly exposing the poor construction quality. Yet the small revolution of a few independent spirits is impossible to conceal. Like millions of

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783869 221878

Monuments

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Kumsusan Memorial Palace 1977

The sacred temple of Juche, a monumental, severely neo-classicist building, is situated to the northeast of Pyongyang city centre. During his lifetime it was Kim Il Sung’s seat of government. After his death, it was converted into a mausoleum for his body and a shrine to the Juche ideology. Once visitors have passed the imposing gate with its lavish gold fittings and crossed the vast open space in front of the mausoleum, they can view the sumptuously marble-clad medal rooms, the Hall of Tears, and the body of Kim Il Sung laid out in a crystal sarcophagus.

Bridge

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EUR 38.00 / USD 49.95

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spacious squares – all these parameters can be found in any urban planning textbook. And yet their rigorous application proves to be a source of irritation for our European gaze.

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The Architectural and Cultural Guide Pyongyang offers unprecedented insights into the capital of what is probably the most isolated country in the world, ruled in the third generation by a “first family” stubbornly upholding its own brand of stone-age communism.

RYOKPO DISTRICT

Helsinki Architectural Guide

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This guide to the architecture of Helsinki introduces more than 120 buildings and projects. The pocket-size companion presents well-researched background on modern architecture and illustrates that there is far more to Finnish architecture than the works of well-known heroes such as Alvar Aalto, Heikki Sirén, Juha Leiviskä or Viljo Revell.

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The 200,000 passengers a day make Helsinki's Central Railway Station the most visited building in all of Finland. With the inauguration of the first railway line in the country between Helsinki and Hämeenlinna in 1860 a first station was built on the current site, designed by the Swedish architect Carl Albert Edelfelt. When it became too small, in the year 1904 an architectural design competition was held for a new building. Eliel Saarinen emerged as the winner with his design in the national Romantic style. In the next five years, Saarinen revised his own design drastically in the Jugendstil, however. The railway station is now considered one of the most beautiful in Europe. The three main facades of the terminus are clad in Finnish granite. Other characteristic features are the clock tower in the east and the two figures on the left and right of the main entrance, who hold lamps in their hands in the south. The main entrance leads into a large hall

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Helsinki Architectural Guide

Main Railway Station Rautatientori Eliel Saarinen 1919

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with a barrel roof. At both sides of the station three-story office buildings with plaster facades flank the main hall. The train station itself has 19 platforms, but only the central intercity platforms extend right up to the hall. To the sides there are the suburban lines to Espoo and Turku. In the Sixties the Asema-tunneli (“tunnel”) was built connecting the station with the city underneath the street in front and the tracks were electrified at the same time. In 1982 a subway station was built underneath the railway station. In 2003 the Kauppakuja shopping center and a hotel were opened just to the west side of the station. A large lounge in the station is for the President of Finland's exclusive use. Its vintage furniture was designed by Eliel Saarinen – the architect, who drafted the whole railway station in the early 20th Century. The lounge was originally planned for the Zsar of Russia. Eliel Saarinen's design for the station had already called for a shelter for all platforms with a glass roof. However, it was only built in the year 2000 and designed by the finnish architect Esa Piironen.

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Finlandia Hall Mannerheimintie 13e Alvar Aalto 1971, 1975

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ment of a “pearl necklace” cultural buildings on the banks of the nearby lake. The hall is considered to be Finland's architectural icon. The concert hall area provides a large hall, a chamber music hall and a restaurant on the first floor while to the south there is a congress wing. The foyer overlooks the nearby lake. From here, two staircases lead up to the stands, one of which is visible through the glass. The horizontality of the facade towards Hesperianpuisto Park is broken only by the slanted stage tower of the great hall, which is covered with white marble and black granite. The facades were covered with thin slabs of Carrara marble, combined with copper roofs and teak window frames. The panels, however, proved too weak

for the harsh northern climate and had to be replaced. The Italian marble is also to be found in the interiors, where it is combined with wood details and cobalt blue ceramic tile surfaces. A flat and wide staircase leads up to the large and smaller halls. The halls are determined by asymmetrical floor plans, balconies and walls made of marble and the acoustic panels. From the outset the acoustics were suboptimal, because the tiers create a pocket in which the sound is trapped. The floor plan is derived from the classical Greek typology. The southern congress wing was completed in 1975 as the second phase of construction in time for the OSCE Conference. Its great hall has 1,700 seats and the small one 340. Besides the convention hall holds 450–900 people. Currently, the car-parking spaces located on the lake side are being removed in favor of the addition of a new café and more conference rooms, and an underground garage is being created. After 2011, when the new concert hall with better acoustics next door was inaugurated, Finlandia Hall has had to reposition itself as a venue.


Books made by Architects

Tokyo Architectural Guide

221 221

Orientation in Tokyo The Japanese capital in 26 maps

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001 Saint Mary’s Cathedral 002 Memorial Park for the Tokyo War Dead 003 Century Tower 004 Tokyo Dome 006 Technica House 007 Tokyo Dome Hotel 011 Athénée Français 014 National Showa Memorial Museum ∕ Showa-kan 018 National Museum for Modern Art 022 Nippon Budokan 023 Nikken Sekkei Tokyo Building

Height: 6 metres above sea level Earthquakes in Tokyo: Genroku earthquake, 1703 (magn. 8,2) Ansei Edo earthquake, 1855 (magn. 7,2) Great Kanto earthquake, 1923 (magn. 7,9)

026 Iidabashi Subway Station 029 Palace Side Building 033 Mitsui Marine & Fire Insurance Bldg. Tokyo Maps

Area: 621,45 km² (23 wards) 13.556,03 km² (metropolitan region)

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Ulf Meyer Tokyo Architectural Guide

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Two hundred of Tokyo’s most interesting buildings from the post-1945 era are introduced in pictures and informative texts. Plans and several indices complete this guide, with maps making the buildings easy to locate. Includes a foreword by the renowned expert, Botond Bognar.

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Taiwan Architectural Guide

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No public address Tianmu, Shilin District Along both long sides of an existing rect angular residential building made of granite in the 1950s, the architects of xrange office added a new layer, a sort of steel skeleton embracing the exist­ ing structure. Together with the original building, this 80­to­180­centimetre­ deep extension creates a seven­metre­ tall living room, turning the residence into an “extreme house with incredible proportions“ (xrange). The added rooms are narrow, vertical spaces that wade through the structure like new paths “in an ant colony”, say the architects. The new office, only 1.5 times three metres in size, is accessed through a seven­metre­ tall door. The bathroom, 80 centimetres wide but five metres deep, features a shower for guests, into which another shower and a bath tub have been built. A bar, a kitchen and a library are also housed in the addition. All exist ing win­ dows and wall openings remained, but were re­inter preted as external or intern­ al windows, doors or display cabinets. The resulting floor area of 500  square metres is complemented by another 330 square metres of ter races. The add­ ition has grey glass façades that seem to blend into the existing residence.

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space between the buildings can also be a venue for performances. Part of the complex is occupied by galleries, a library, shops and restaur ants. The editorial offices of the Performing Arts Review are also situated here. The theatre can be used for kabuki, opera, dance or puppet theatre.

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These two cultural centres at the heart of the Zhongzheng District are the most famous performance venues in Taiwan. They frame the square to the north and south of the Chiang Kai-shek Memorial Hall. When Chiang Kai-shek died in 1975, the ROC government decided to build the culture centre. It was designed by architect Yang Cho-cheng with clear references to the Chinese palace architecture. Both halls can host at least two events simultaneously. Besides the Great Hall, the National Theatre houses a smaller, more experimental theatre and the concert hall features a secondary, more intimate auditorium. The

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National Theatre and National Concert Hall (NTCH) Yang Cho-cheng, 1987 No. 21-1, Zhongshan South Road, Zhongzheng District

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Taiwan Architectural Guide

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In 1908, under Japanese colonial rule of Taiwan, a popular night market was es­ tablished in the Datong District. The cir­ cular hall with its 1,732 square metres of space was situated within a traffic round­ about at the intersection of Nanjing West Road and Chongqing North Road. Espe­ cially in the 1960s and 1970s, the market with its 200 stalls was a magnet for tour­ ists and locals alike. After two terrible fires (in 1993 and 1999), in 2001 the mayor of Taipei City decided to have the market knocked down. It was replaced by a new building, just five metres away. The new, two­storey glass cylinder no

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The island republic proudly calls buildings by internationally renowned architects its own, including I. M. Pei, UN Studio, and Toyo Ito, but local superstars such as C. Y. Lee and Kris Yao have also realized spectacular projects here. The volume presents 125 buildings and projects, mostly from the post-1945 period.

longer stands within a traffic round­ about, which in the meantime has been replaced by a regular intersection. The trees were cut down. The construction of the new hall revealed an old reser­ voir that the Japanese soldiers had put there during World War II. It was listed as a historic site. The new hall only had 20 stalls at the first floor and a theatre upstairs. Only three years after its com­ pletion, the hall closed down.

DOM publishers 15


Fall 2013

Basics Series

Berlin Urban Design A Brief History of a European City

Harald Bodenschatz

Second edition

This book presents a history of Berlin’s urban design from a European perspective. A large number of plans, drawings and photos, illustrate the distinctive features of the Berlin urban development. Berlin has become a model of European urban design, in terms of compact urban bourgeois quarters before World War I, in the development of suburban housing estates during the 1920s, in the rehabilitation and cautious renewal of the compact late 19th century quarters starting in the 1970s, in terms of the critical reconstruction of the urban form since the 1980s. But Berlin was not only a model.

Berlin Urban Design A Brief History of a European City 210 × 230 mm 182 pages, over 100 images Softcover 978-3-86922-105-2 EUR 28.00 / USD 35.95 ISBN 978-3-86922-105-2

above: Redevelopment area Chamissoplatz: demoli­ tion of residential buildings (red: demolition 1976 – 1979, yellow: demolition 1980 – 1986, green: demolition 1987 – 2003). Source: Bremer Alf et. al.: Kreuzberg Chamissoplatz. Ge­ schichte eines Berliner Sanierungsgebietes, Berlin 2007, p. 104.

right: Development around Chamissoplatz in Kreuzberg, 2009. next page: The new Nikolaiviertel. Diagonally behind, the Palace of the Republic, 2006. Photos by Philipp Meuser

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In particular, the basic principles of cautious urban renewal were exported. An exceptionally positive example of West Berlin redevel­ opment politics was implemented in West Kreuzberg, in the 1979 designated redevelopment area Chamissoplatz. The original plans to demolish thirty percent of the buildings, especially inside settle­ ment blocks, were abandoned. Most of the old building stock was modernized and the mixture of use was sustainably reintegrated. A precondition for this type of redevelopment was the engagement and the resistance of the local residents. New experimental urban planning that went beyond mod­ ernism was developed to a large extent within the constricting, outmoded and ossified institutions of modernist urban design: in conjunction with the companies of the public housing econ­ omy whose reputation had been damaged as a result of the turn away from modernist design, in the context of public subsidies that above all allowed only the construction of social housing, and

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Infrastructural Urbanism Addressing the In-between

Thomas Hauck / Regine Keller / Volker Kleinekort Infrastructural Urbanism Addressing the In-between 210 × 230 mm, 336 pages, over 100 images Softcover 978-3-86922-131-1 EUR 28.00 / USD 35.95 ISBN 978-3-86922-131-1

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16 DOM publishers

Architecture and public spaces are well, if not prestigious accepted components of the urban realm – but what about technical infrastructure? Although the interdependence between infrastructure and urban development has been a central topic in urban planning, infrastructure as a design element plays a comparatively subordinate role. This volume in our Basics series discusses spatial design implications of technical and transport infrastructure. The authors introduce projects of various scales – from skate parks to urban motorways – located in many different cities – such as Mexico City, New York, London, Paris, Zurich, Seattle, Barcelona, Stockholm, São Paulo, Antwerp, amongst others.


Books made by Architects

new

June 2013 Yakov Chernikhov Architectural Fantasies in Russian Constructivism

Dmitry S. Khmelnitsky Yakov Chernikhov Architectural Fantasies in Russian Constructivism 210 × 230 mm 144 pages, over 100 images Softcover 978-3-86922-281-3

The fantastical oeuvre of one of the most important artists of Russian constructivism. This volume presents previously unpublished graphic works and personal documents of the famous Russian constructivist Yakov Georgievich Chernikhov (1889–1951) from the archive of his son, Dmitry Yakovlevich Chernikhov, and from the archive of Sergei Tchoban. The typeface tables, drawings and sketches, as well as over one hundred ornaments shown here reveal Yakov Georgievich Chernikhov as an ingenious graphic artist and architect, as a passionate and highly committed teacher and, above all, as an ardent advocate of imagination as the creative force behind every creative process: a visionary universal artist in the tradition of Italian Giovanni Piranesi and a forerunner of famous architects such as Bernard Tschumi or Zaha Hadid. Chernikhov through the Eyes of his Contemporaries Dmitry S. Khmelnitsky

EUR 28.00 / USD 35.95 ISBN 978-3-86922-281-3

Research institute, 1931

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Yakov Georgievich Chernikhov was one of the most outstandingly original artists of a period which produced many great talents. He was born on 17 December 1889 in the Ukrainian provincial town of Pavlograd, and studied first at Odessa College of Art, from which he graduated in1914, and then at Petrograd’s famous Imperial Art Academy, now the Russian Academy of Art. Here, he studied painting and education before switching to the architectural faculty in 1916. One year later, Chernikhov completed his teacher training and his degree thesis on methods of teaching drawing. He was called up for military service in 1916, but managed to continue studying, working and teaching, though he was unable to resume his studies at the architectural faculty of VKHUTEMAS (the Higher Art and Technical Studios, previously the Academy of Art) until 1922. By the time he completed his degree in 1925, he had gained many years’ experience of educational theory and practice. From 1927 to 1936 he worked for various architectural firms, designing and building a large number of projects. Until his death in May 1951, Chernikhov also continued to teach a wide variety of graphic arts subjects, including representational geometry and construction drawing. He became a professor in 1934, and was granted tenure in the following year. By the standards of his time, he was simply a successful and fulfilled architect. His publications earned him a favourable reputation among his colleagues between 1927 and 1933, but after the Stalinist era his name disappeared from the scene. Only now, many decades after his death, are some of his books and examples of his wideranging graphic art being republished, and the magnitude of his

unique creative genius is becoming more widely recognised. Chernikhov’s first book, Iskustvo nachertaniya (The Art of Graphic Representation ), was published in 1927 by the Leningrad Academy of Arts. It was a textbook for the drawing course which he had devised but, despite its title, its purpose was not to teach readers how to draw. Even in Chernikhov’s time, the title had an old-fashioned ring to it, but he wrote the book with much more modern aims in mind. It is about graphic, spatial and abstract compositions, and seeks to encourage students to use lines, planes and solids to express beauty and movement without depicting anything known or recognisable, experimenting with all the boundless possibilities open to them. This thin volume is actually an extract from Chernikhov’s wide-ranging work.1 It was aimed at young secondary school and university students2 with no training in, or experience of drawing or painting, and was ambitious in its aims.Publications like this were very unusual, since for the past fifteen years, modern art had been used to express slogans, manifestoes and statements of principle. Few of the leading figures in modern art were teachers, but as a passionate educationalist, Chernikhov regarded his books primarily as textbooks, and his superb graphics simply as illustrations. He used his exceptional talents in the service of education and, unlike many other gifted and famous artists and architects, did not prescribe specific styles or techniques, instead focusing on such down-to-earth subjects as the use of materials and ways of depicting form and space. The importance of the imagination to Chernikhov is apparent in the title 7

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Composition No 86 from the book Architectural Fantasies: 101 Compositions (gouache on paper), 24.2 cm × 30.3 cm

Felix Novikov Architect of the Soviet Modernism 210 × 230 mm, 176 pages, over 150 images Softcover 978-3-86922-289-9

97

new

Felix Novikov Architect of the Soviet Modernism

Vladimir Belogolovsky

Composition No 85 from the book Architectural Fantasies: 101 Compositions (gouache on paper), 24 cm × 30 cm

September 2013

It was prominent architect and publicist Felix Novikov (b. 1927) who first coined the term Soviet modernism, which refers to the third, concluding period (1955-85) of Soviet architecture. The value of Novikov’s creative path lies in the fact that it spans the years both before and after Soviet modernism. Today, the architect continues to be a prolific writer, critic, and initiator of many inspired ideas that materialize into publications, exhibitions, and conferences. He is the key surviving source for the fullest and most accurate understanding of Soviet architecture after World War II. His principal built works are the Palace of Pioneers in Moscow (1962) and the Science Center of Microelectronics (1969) and Moscow Institute of Electronics (1971) in Zelenograd. His numerous books include Formula of Architecture (1984) and Architects and Architecture (2002).

EUR 28.00 / USD 35.95 ISBN 978-3-86922-289-9

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DOM publishers 17


Fall 2013

Architecture and Design

Contemporary Green Buildings in China

Art and Architecture 2000–2020

Contemporary Green Buildings in China Dubrau / Xiangning 336 p., over 300 images, 225 × 280 mm Hardcover with jacket (English / German / Chinese) 978-3-86922-128-1 EUR 78.00 / USD 99.95

The German-Chinese forum Urban Academy – organised by the GoetheInstitut Shanghai – focuses on sustainable urban development. Chinese best practice examples of ecological building and construction industry are analysed (among others Steven Holl, Atelier Deshaus, standardarchitecture, Amateur Architecture Studio, Urbanus, Mario Cucinella and Liu Jiakun).

ISBN 978-3-86922-128-1

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223

Contemporary Architecture in China

Buildings and Projects 2000–2020

Contemporary Architecture in China Christian Dubrau 350 p., over 400 images, 225 × 280 mm Hardcover with jacket 978-3-86922-120-5 EUR 78.00 / USD 99.95

This book presents selected projects of several young architectural bureaus from the Middle Empire, all of which hold their own very well alongside the large foreign firms and are making their very own contribution to the creation of a modern China . Furthermore the volume contains a selection of projects of German architectural bureaus which have successfully risked taking the step in the direction of the East.

ISBN 978-3-86922-120-5

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Contemporary Design in Scandinavia

new

June 2013

Contemporary Design in Scandinavia David Sokol 320 p., over 250 images, 210 × 265 mm Hardcover with jacket 978-3-86922-160-1 EUR 48.00 / USD 59.95 ISBN 978-3-86922-160-1

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18 DOM publishers

The companion book to Nordic Architects highlights the contemporary talents working in a region that has been famous for product, furniture, and industrial design since the reign of Gustaf. n design as in architecture, recent progress has been defined by a clean aesthetic, craftsmanship, and empathy for the human experience. David Sokol explores the once and future Nordic identity, the exigencies of local manufacturing, and the competitive global marketplace.


Dom