Lars Müller Publishers 2010/2011 Architektur Design Fotografie Kunst

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Die neuen Titel führen vor Augen, wie wertvoll das Buch als speicher und Vermittler von komplexen Inhalten ist und wie vielfältig die Gestalt sein kann, die das Buch als Objekt dabei annimmt. Das spektrum ist gross. Der ungewöhnliche Blick des jungen Fotografen Iwan Baan auf zwei Ikonen der modernen Architektur – Oscar niemeyers Brasilia und Le Corbusiers Chandigarh –, kontrastiert mit Louis Kahns beharrlichem entwurfsprozess der 1960er-Jahre oder Andrea Palladios kühnen Bauplänen für das Venedig der renaissance. neben den neuheiten zu Architektur, Design, Fotografie und Kunst sind wir stolz auf eine beachtliche Zahl von Titeln, die das andauernde Interesse des Publikums geniessen. Die Backlist ist das rückgrat des Verlags. Wir freuen uns über Ihr Interesse. Lars Müller Iwan Baan BrAsILIA – ChAnDIGArh Living with Modernity herausgegeben von Lars Müller Mit Textbeiträgen von Cees Nooteboom und Martino Stierli Design: Integral Lars Müller 24 × 30 cm, 240 Seiten 200 Abbildungen, Softcover 2010, ISBN 978-3-03778-228-6, Englisch EUR 40.– CHF 65.– « Alles ist monumental, menschlich, einfach, grandios, asketisch in der reinheit seiner Formen, die auf das nötigste reduziert wurden.» Lúcio Costa 1960 wurde in Brasilia die Verwirklichung einer städtebaulichen Vision nach Entwürfen von Lúcio Costa und Oscar Niemeyer gefeiert, gleichzeitig wurde nach Plänen von Le Corbusier die indische Sektoren-Stadt Chandigarh gebaut. Der Export der Moderne, die Retorten-Stadt, entsprang einer westlichen Planungseuphorie mit utopischen Zügen. In beiden Städten ist die fremde Architektur mit den einheimischen Kulturen in Einklang ge kommen und eigenständige Identitäten haben sich gebildet. Das Buchprojekt geht der Frage nach, wie in den beiden Städten die Aneignung der Moderne erfolgte und wie die Menschen damit leben und um gehen. Es werden Gemeinsamkeiten und Unterschiede aufgespürt und ein Bild des urbanen Alltags gezeigt. Auf Initiative des Verlegers hat der junge Fotograf Iwan Baan eine aktuelle Bestandesaufnahme des Lebens in den beiden Städten vorgenommen. Mit kommentierenden Essays von Cees Nooteboom zu den Fotografien und Martino Stierli zur Architektur und Planungsgeschichte. 3 Architektur 1 neu 50 Jahre Brasilia
Michael Merrill LOuIs KAhn: DrAWInG TO FInD OuT The Dominican Motherhouse and the Patient search for Architecture Design: Integral Lars Müller 30 × 24 cm, 240 Seiten 233 Abbildungen, Hardcover 2010, ISBN 978-3-03778-221-7, Englisch EUR 59.– CHF 98.– neu «Wenn ich zeichne, warte ich immer darauf, dass etwas passiert. Ich möchte jedoch nicht, dass es zu schnell passiert. » Louis Kahn Wie nur wenige andere kultivierte Louis Kahn das Zeichnen als ein architektonisches Werkzeug. Mehr als zweihundert, zumeist unveröffentlichte Zeichnungen Kahns und seiner Mitarbeiter sind mit einem lebendigen und kenntnisreichen Kommentar zur intimen Biografie einer architektonischen Idee zusammengewoben. Die Zeichnungen entfalten sich um das zur Ikone gewordene Projekt des Mutterhauses der Dominikanerinnen (1965 –1969, nicht realisiert) in Pennsylvania. Sie offenbaren den Reichtum und die ver borgenen Dimensionen dieses unrealisiert gebliebenen Meisterwerks und bieten bezwingende Einblicke in die reife Gestaltungskultur Louis Kahns. Michael Merrill LOuIs KAhn: On The ThOuGhTFuL MAKInG OF sPACes The Dominican Motherhouse and a Modern Culture of space Design: Integral Lars Müller 16,5 × 24 cm, 240 Seiten 215 Abbildungen, Softcover 2010, ISBN 978-3-03778-220-0, Englisch EUR 35.– CHF 55.– Kahns Neukonzeption des Raumparadigmas der modernen Architektur gehört zu seinen bedeutendsten Verdiensten. Spüren wir der Genese des unrealisiert gebliebenen Projekts für das Mutterhaus der Dominikanerinnen (1965 –1969) in Pennsylvania nach, können wir aus nächster Nähe mitverfolgen, wie Kahn sich mit einigen fundamentalen Fragen des architektonischen Raums befasst, wie er nach den Quellen der Bedeutung des architektonischen Raums in seinen gesellschaft lichen, morphologischen, landschaftlichen und kontextuellen Dimensionen sucht. Dies ermöglicht eine zeitgemässe Neubewertung seines Werkes. Michael Merrill, Dr.-Ing., arbeitet als Architekt in den USA und Deutschland und lehrt Bauplanung und Entwerfen am Karlsruher Institut für Technologie. irregular silhouette, its superimposed diagonal and orthogonal orders, and its folded peripheries — being much more complex than either of these two-dimensional readings would suggest. ) The final scheme offers its inhabitants choices between ambulatory and linear patterns of movement. The three great communal rooms, being at once usable space and “ circulation,” are unconventionally skewered together over the entire length of the building by a great diagonal enfilade. The corner-as-connecter is Kahn’s provocative answer to the problem of the otherwise “ dead ” corner of the square in plan: “ I discovered at Bryn Mawr that you can connect a room over its corner.” Partially buffered from the communal spaces by the thickened walls of “ servant ” spaces, the ambulatories provide access to the dormitory rooms. The linear and ambulatory systems, in combination with a series of both extroverted and hidden stairs, give the students the choice of both exposed and hidden routes through the building, the choice between “ remote or direct association ” with cohabitants and with those communal “ availabilities ” the house has to offer. The Dominican Motherhouse represents a special, and especially dense, manifestation of a “ society of rooms ” plan. We have already studied in the narrative the earliest bipolar scheme, with its hermetic cells and its communal “ Forum of Availabilities,” the great ambulatory and courts being the means of both spacing and connecting the individual spaces. By the development of the fourth and final version, the original theme had evolved into something decidedly less conventional; instead of being presented with a choice of access to various rooms from the vantage point of a generous and unprogrammed “ space of appearance ” ( as at Fort Wayne, Ahmedabad, et al. ), we are now, from our position within a single discrete room, presented with the choice of movement in any one of at least three directions. Something like an “ ordered labyrinth ” is the result. An inversion has taken place: the matrix has replaced the counterform and virtually the entire complex has become an “architecture of connection.” While the Kahnian imperative of free choice has remained, that of “ indirect association ” has collapsed. Robin Evans’ description of Raphael’s Villa Madama reverberates: “Once inside it is necessary to pass through one room to the next, then to the next, to traverse the building. Where passages and stairways 2 Architektur 3 neu The Second Scheme: August – September 1966 While the June meeting was largely affirmative, it did not take long for the first harbingers of difficulty to cloud the optimistic beginning. In September, Mother Emmanuel, likely developing a sense for the project’s true dimensions, wrote Kahn to express her concerns and to remind him of the congregation’s limited budget. High interest rates and inflation had added considerably to the burden of financing such a large project during the mid-sixties, and without a reliable cost estimate, she was uncertain of how to go forward. After receiving Mother Mary Emmanuel’s letter, Kahn and Polk soon began to reconsider their design. Attempting to press the first plan’s parti into a more compact package, the architects developed a second scheme over September. The monastery’s position and orientation on the site remain the same, but now responds to the sisters’ suggestion that the combined main and service entrance drive now lead in from Bishop Hollow Road. This lessens the sense of extended threshold when compared with the earlier approach through the orchard. Gone as well is the elegant separation of visitor and service access. On the other hand, the new monastery now has its own address, no longer accessed by driving past the manor house. On this point Kahn and the sisters were in agreement, and the new route of approach would remain for the duration of the design. In response to the new approach, the entry tower — now octago- nal in plan — shifts from the west side of the complex to the east. In an attempt to tighten up the plan, a narrower main gallery skewers through the tower, connecting the communal spaces and terminating in the school and the living quarters. The first version’s generous system of cloisters has been compacted by pressing the building blocks tightly against each other; gone are the figure-ground obscuring “ hollow columns ” and “ water gardens ” of the earlier scheme. The direct relationship between chapel and refectory — favored by both architect and the sisters — remains. An intriguing moment in the plan is the chapel, where a square rotated within a square creates poché for ancillary spaces such as confessionals and sacristy as well as connecting neighboring rooms. Whereas in the previous version the governing geometry may be derived from both program and relationship to the topography, here an “ irrational ” geometry takes over in which both internal parti and external relationships are considerably less lucid than before. While this squeezing has wrung almost 35,000 square feet ( 3,252 m ) out of the plan ( now measuring 131,600 square feet [ 12,226 m ] and landscape: the Texas plain of Fort Worth. Raking, horizontal, and generously shade-giving in the stark Texas sun, the long-vaulted Kimbell sympathizes with the extended lines of these dry flatlands. Like the Salk Institute, the materials — here concrete, travertine, and lead roofing — with their subdued colors and toothy textures, were chosen for their bleached, archaic presence in the strong sun. Details are kept flush to emphasize the simple shapes in sunlight, revealing subtle tectonic relief only at closer range. It has been suggested by Lawrence Speck that the long multiple vaults are references to the bow-topped Texas livestock sheds which are so common around the Fort Worth area, while the museum’s great loggias may be seen as inter pretations of the vernacular domestic Texas porch. Whether Kahn consciously abstracted from these antecedents remains a source of speculation, as he never spoke of the building in this way. ( Although later in Texas, the project for the De Menil Collection seems to wink even more explicitly at local domestic architecture. ) What is certain is that the Kimbell demonstrates a strong sense of its locale — a deep insight into its atmosphere, its colors, its topography, its vernacular — without the vaguest hint of the Southwestern vernacular pastiche which has become so common in this part of America. ( This ur-sense of place would later lead the artist Donald Judd to ponder if the Kimbell was not, perhaps, the first building to be erected in Fort Worth, built by an earlier — more civilized — culture than the one now living there. ) What these four buildings begin to intimate is that while Kahn’s mature architecture is not “about ” contextualism in the style- emulating and motif-seeking postmodernist sense of the word ( nor “ about ” landscape in the contemporary, literalist, “ building-as-landscape ” sense of the word ), it is indeed very much about gathering, focusing, and revealing the conditions of its context. This revealing may take place at the micro-scale of the particular site: the diagonal geometries of Erdman Hall and the Fisher House may be discussed in purely formal or in phenomenal terms. Anyone who has visited these buildings knows the undeniably physical experience of these diagonal foils on their sloping sites, how their prow-like shapes exaggerate and intensify the sense of the immediate topography. ( Richard Serra’s site-specific “ elevations ” come to mind. ) This revealing may — as in Angola — have to do with atmosphere, may be experienced in the way that sun, wind,
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Lars Müller Publishers 2010/2011 Architektur Design Fotografie Kunst

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