Edition Axel Menges Architecture, Art, Design and Film - Fall 2021 New and recently published titles
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Edition Axel Menges
Architecture, Art, Design and Film
Fall 2021
New and recently published titles
Elke Mittmann Ivan Margolius Gardens for the Senses – The Spanish
Jean-Yves Barrier. Architect, Designer, Jan Kaplický – For the Future and For Gardens of Javier Mariátegui
Artist / Architecte, Designer, Artiste Beauty With texts by Javier Mariátegui Valdés and pho-
208 pp. with 220 illus., 242 x 297,5 mm, 352 pp. with 510 illus. including 404 in colour, tographs by Javier Mariátegui Valdés, Casilda
hard-cover, English / French 250 x 280 mm,hard-cover, English Mariátegui and Mark Bentley. 188 pp. with 245
ISBN 978-3-86905-022-5 ISBN 978-3-86905-025-6 illus., 305 x 259 mm, hard-cover, English
Euro 69.00, £ 59.90, US $ 78.00 Euro 78.00, £ 68.00, US $ 89.00 ISBN 978-3-936681-98-7
Euro 58.00, £ 42.90, US $ 64.00
After the first volume was published in 2009 This is the first monograph on the life and work
under the title Jean-Yves Barrier. Architect and of the Czech born British architect Kaplick ý It was not by chance nor by a trick of fate that
Urbanist / Architecte et Urbaniste, which doc- (1937–2009). It is a fully comprehensive work Javier Mariátegui dedicated himself to garden-
umented 25 years of his architectural prac- based on a decade of research and is a distinc- ing. He grew up among gardens.
tice, this second volume is dedicated to ar- tive portrait of one of the most distinguished ar- Both his grandmothers were gardening enthu-
chitectural and artistic projects since the mid- chitects and designers of the 20th and 21st cen- siasts, one of them, the Marchioness of Casa
2000s. While the first volume focused on ar- turies. At the same time it is an exploration into Valdés, wrote the book Spanish Gardens, which
chitectural and urbanistic projects, this sec- historical events, which influenced a number of describes the history of Spanish gardening from
ond volume presents not only 25 new archi- talented artists, writers and designers, some of Roman times to the present day. This book con-
tectural projects of Barrier, but also a com- whom were forced, like Kaplick ý, to emigrate tinues to be a reference for all lovers of this par-
pletely different facet of his work: the relation- from Czechoslovakia in order to expand their ticular field of history and art.
ship between architecture and art. In this skills and search for beauty through living in free- This enthusiasm was passed on to him by his
context, »folding« becomes a fundamental dom in democratic countries. After immigrating parents. From his earliest years he was making
concept that can be applied from design ob- to the United Kingdom in 1968, Kaplick ý applied his own gardens, by reusing those plants dis-
jects to art installations in public spaces and his imagination and diligence and enhanced his carded by his father.
architecture. skills and aptitude, gaining admiration and re- Mariátegui studied landscape gardening and
This new volume also shows once again spect following the cofounding of the innovative design at the Escuela de Paisajismo y Jardinerìa
the astonishing variety of architectural typol- Future Systems studio in 1979. With his wide- Castillo de Batres in Madrid. Subsequently he
ogies that Barrier deals with in his current ranging architectural and design œuvre Kaplick ý worked in England as a gardener. Back in Spain,
œuvre. Whether it concerns residential build- affirmed greatness of his immense talent and he established the Jardines de España nursery,
ings, collective housing, public facilities, ur- ability. which looks after and employs handicapped chil-
ban design or functional buildings (such as The author was a friend, through their shared dren, with whom he first started making gar-
supermarkets, an employment office or an émigré life experience, giving him broad insight dens. For the past thirty years, he has created
engineering structure), Barrier never adopts a into the inception and realisation of this book. numerous gardens across Spain and in several
repetitive or doctrinaire attitude, but develops He searched family archives and referenced other European countries. He has also published
new solutions for each project, which can be Kaplick ý’s private diaries. The author drew on many articles on landscape-gardening topics in
found in his ideal »lexicon of constants«. This everybody who had something important to say specialised magazines and a book on one of his
is particularly true for the permanent search and gathered written memories and interviews gardens: El Jardín de los Tapices /The Tapestry
for urban coherence for the most varied inter- from Kaplick ý’s friends, colleagues, partners and Garden. Among the present garden architects of
ventions: in city centres, in derelict industrial clients, which form the cornerstone of the mono- Spain Mariátegui plays an outstanding role. Even
zones or in diffuse peri-urban spaces. Con- graph. His aim was to write a book that would the Spanish TV has dedicated a monographic
temporary garden cities, condensed and com- mirror Kaplick ý’s life and work, a representation program to him and his gardens.
pact assemblies, collages or the interweav- made up not only from the author’s own point It would be difficult to summarize in a few
ing with what exists represent possibilities for of view, but also according to others with whom words the essence of Mariátegui’s gardens, giv-
Barrier to requalify and redevelop forgotten Kaplick ý had been in contact during his life. en the wide variety of styles, their versatility and
or abandoned urban situations with contem- The book has many voices and has a kalei- numerous differences that perhaps becomes his
porary architecture. This is accompanied by doscopic format, which truly explores Kaplický’s »signature«. His style is not dogmatic, he loves
the search to create urban signs and new complex personality and his creativity. It does order and disorder, straight lines and curved, the
networks in urban space, with the attempt not overwhelm with excessive information, but wild chaos of nature as well as strict geometri-
to perpetuate the existing layers of the city. builds a picture of the man behind his designs cal patterns, varied and single species of plants,
But it is not only the city that serves him and tells his story. The author presents Kaplický’s colour and absence of colour. Moreover he en-
as an architectural projection screen, but al- personal side with sensitivity and explains his joys bringing elements that clash together until
so and in particular the manifold interplay dramatic decision-making. they harmonize.
between art, design and architecture, which Ivan Margolius was born in Prague, studied Perhaps as a result of an intimate knowledge
is expressed in a specific method, an edifice architecture there, which he completed in Lon- of the magic of water in Andalusian Moorish gar-
of thoughts, which allows him to achieve a don after leaving Czechoslovakia in 1966. As an dens, Mariátegui uses water as an essential ele-
creative coherence on these various levels architect he worked with Yorke Rosenberg Mar- ment in many of his gardens. He makes it »work«
of scale and thus simultaneously connects dall, SOM and Foster + Partners. He published in all its forms; in pumps, in cascades, in con-
different disciplines with each other. books and articles on art, architecture, engineer- stant gentle movement, or rocking in waves, in
Elke Mittmann is an art historian. She stud- ing, design and automobile history. He collabo- disperse drops or in silence like a mirror that
ied at the Universities Paris-IV-Sorbonne and rated with Future Systems on several projects adds the magic of its reflection.
Leipzig and holds a doctorate. After working and with Jan Kaplick ý coauthored Czech Inspi-
for many years at the Stiftung Bauhaus Des- ration – Ceská Inspirace (Prague, 2005). European Garden-Book Award
sau, she has been director of the Maison de
l’architecture Centre – Val de Loire in Orléans Spring 2022
since 2011, and is currently teaching at the
École nationale supérieure d’architecture de
Strasbourg.
Spring 2022
2 Work monographs www.AxelMenges.de
Fritz Barth Frei Otto / Bodo Rasch. Finding Form – Anne-Catrin Schultz
Konstantin Melnikow und sein Haus Towards an Architecture of the Mini- Carlo Scarpa – Layers
64 pp. with 106 illus., 210,5 x 281 mm, hard- mal 152 pp. with 344 illus., 233 x 284.5 mm, hard-
cover, German edition 240 pp. with 540 illus. in b & w and colour, cover, English
ISBN 978-3-936681-89-5 215 x 240 mm, hard-cover, English ISBN 978-3-930698-14-1
Euro 36.00, £ 29.00, US $ 46.00 ISBN 978-3-930698-66-0 Euro 59.00, £ 39.90, US $ 69.00
Konstantin Melnikov and his House Euro 49.00, £ 39.90, US $ 59.00
64 pp. with 106 illus., 210,5 x 281 mm, hard- In recent decades, Carlo Scarpa’s relevance has
cover, English edition »Primeval architecture is an architecture of neces- been steadily on the rise. Strategies of adaptive
ISBN 978-3-936681-90-1 sity. Nothing is there to excess, no matter wheth- reuse and adjustments to existing fabric are consis-
Euro 36.00, £ 29.00, US $ 46.00 er stone, clay, reeds or wood, animal skins or tent with a growing agenda of sustainability and re-
hair are used. It is minimal. It can be very beauti- sourcefulness. At a time when architects have to
Konstantin Melnikov (1890–1974) is unquestionab- ful even amidst poverty and is good in the ethical develop aesthetic systems following an integrative
ly one of the outstanding architects of the 20th sense. approach, treating existing urban and built context
century – in spite of the fact that he fell silent ear- Good architecture seems to be more important as a narrative to continue, Scarpa’s œuvre remains
ly, leaving behind only limited work that was insuf- than beautiful architecture. Beautiful architecture a source of inspiration. Scarpa’s use of architectural
ficiently publicized, and restricted almost exclu- is not necessarily good. Only buildings that are layering analysed and explained in this book could
sively to Moscow, the city of his birth in which he at the same time ethically good and aesthetically serve as a contemporary strategy that is nonhierar-
spent nearly his entire life and which did not ap- beautiful are worth preserving. chical and free of stylistic idioms.
preciate him. He was raised in humble circum- We have too many buildings that have become Buildings such as the Castelvecchio in Verona
stances, but enjoyed an excellent education. useless and yet we still need new buildings, from show that architecture is capable of communicat-
Beginning in the mid-1920s, after the turmoil that pole to pole, in the cold and in the heat. ing its own history, that it carries meaning while
followed the war, revolution and civil war, his ca- Man’s present areas of settlement are the new developing a contemporary dynamic of its own.
reer soared at almost meteoric speed as he took ecological system in which technology is indis- Scarpa’s layered architecture makes time-related
the lead in the young Soviet architecture move- pensable, even in hot and cold areas. ... sedimentation of material and content readable. It
ment with completely autonomous, highly artistic Our age requires buildings that are lighter, is especially at points of transition and joints that
buildings that were free from dogmatism of any more energy-saving, more mobile and more layering becomes an element that elucidates the
kind. Even more rapid than his rise to fame was adaptable, in brief more natural, without disre- tectonic and spatial qualities of the building.
his downfall: Treated with general hostility, he was garding the need for safety and security. In this book Anne-Catrin Schultz presents her
unable to defend himself against the accusation This logically leads to the further development research related to the phenomenon of layering in
of formalism when Stalin put an end to architec- of light constructions, to the building of tents, Scarpa’s architecture. Layering describes the phys-
tural ventures and experiments around the mid- shells, awnings and air-supported membranes. ical composition of built layers defining space while
1930s. He was expelled from the architects’ asso- It also leads to a new mobility and changeability. including the presence of cultural references and
ciation and was banned from practicing as an ar- A new understanding of nature is forming under associations.
chitect for the remaining four decades of his life. one aspect of high performance form (also called Scarpa’s work is an embodiment of multidimen-
In the late 1920s, at the peak of his career, he ›classical form‹), which unites aesthetic and ethi- sional layering and a focal point for architectural
had the opportunity to build a house for himself cal viewpoints. movements of this time that share a similar ap-
and his family in Moscow, in which he was then Tomorrow’s architecture will again be minimal proach. In most buildings, the principle of layering
able to live until the end of his life. This house, a architecture, an architecture of the self-education may be regarded as something that is part of the
memorable symbiosis of almost peasantlike sim- and self-optimization processes suggested by nature of construction. Functional conditions call
plicity and extreme radicalness, is one of the most human beings.« for separate planes, elements or »layers«, some of
impressive, surprising and probably most enig- (Frei Otto and Bodo Rasch in their foreword which provide the structure while others take care
matic works produced by 20th-century architec- of this book.) of the protection from weather and climate. How-
ture. Its simplicity is only outward; in reality this is In 1992 the Bavarian branch of the Deutscher ever, architectural layering goes beyond the mere
a highly complex work which links together the Werkbund awarded its first prize to Frei Otto, un- fulfillment of technical requirements – the principle
elements of architecture explicitly and inextricab- doubtedly the most successful and many-sided of layering may be used as formative method that
ly, which takes a clear and completely autono- protagonist of modern light construction, and allows elements of different origins to be combined
mous stand and which, in a way that little else with it a request to nominate a meritorious per- into a nonhierarchical whole. Layering is complex
has done, raises the question as to the nature of son to whom the prize could be passed on, and and creates references to our world at large.
genuinely architectonic thinking. In essayistic form to design a joint exhibition with that person. Frei The first part of the book examines Scarpa’s in-
the book attempts to follow the paths laid out in Otto chose his pupil Bodo Rasch, who had re- tellectual roots and puts them in perspective with
the architect’s work from the perspective of an alised Otto’s theories particularly in other cul- relevant examples of architecture theory, such as
architect. tures. Gottfried Semper’s theory of clothing. The second
Fritz Barth studied architecture in Stuttgart and Otto died on 9 March 2015; he was to be pub- part displays an analysis of three projects, the
Zurich. He runs an architect’s practice in Fellbach licly announced as the winner of the 2015 Pritzker Castelvecchio and the Banca Popolare in Verona
near Stuttgart, teaches at the TU Darmstadt and Prize on 23 March, but his death meant the com- and the Querini Foundation in Venice.
is the author of a series of books, including a stu- mittee announced his award on 10 March. Otto Anne-Catrin Schultz studied architecture in
dy on the iconography of 16th-century Italian gar- himself had been told earlier that he had won Stuttgart and Florence. Following postdoctoral re-
dens (Die Villa Lante in Bagnaia, 2001), a mono- the prize by the executive director of the Pritzker search at the Massachusetts Institute of Technol-
graph about the Bohemian Baroque master build- Prize, Martha Thorne. He was reported to have ogy, she practiced for several years at Turnbull
er Johann Santini-Aichel (Santini, 2004) and a said: »I have never done anything to gain this Griffin Haesloop and Skidmore Owings & Merrill
study of the fortifications of Francesco di Giorgio prize. Prize winning is not the goal of my life. in Francisco. She has taught at the University of
Martini (Martial Signifiers. Fortress Complexes by I try to help poor people, but what shall I say California in Berkeley, the California College of the
Francesco di Giorgio Martini, 2011). here – I am very happy.« Arts and the San Francisco City College in San
San Francisco. In 2013, she joined the faculty at
Available again Went-worth Institute of Technology to teach ar-
chitec-ture history and theory.
Available again
www.AxelMenges.de Work monographs 3
Martha Schwartz Partners – Landscape Hans Dieter Schaal. Festung König- Opus 16
Art and Urbanism stein. Ausstellungsdesign / Exhibition Fundación César Manrique, Lanzarote
With texts by Marc Treib, Martha Schwartz, Design With an introduction by Simón Marchán Fiz and
Markus Jatsch and Edith Katz. 356 pp. with With texts by Hans Dieter Schaal and Angelika photographs by Pedro Martínez de Albornoz.
424 illus., 229 x 304 mm, hard-cover, English Taube and photographs by Peter Mauksch, 60 pp. with 52 illus. in b & w and colour, 280 x
ISBN 978-3-86905-011-9 Bernd Walther, and others, 84 pp. with 100 illus., 300 mm, hard-cover, German / English / Spanish
Euro 69.00, £ 59.00, US $ 76.00 280 x 300 mm, hard-cover, German / English ISBN 978-3-930698-16-5
ISBN 978-3-86905-024-9 Euro 36.00, £ 24.00, US $ 44.50
Martha Schwartz Partners (MSP) is a leading in- Euro 39.00, £ 36.00, US $ 48.00
ternational design practice whose work focuses Over the last decade the island of Lanzarote
on activating and regenerating urban sites and Königstein Fortress, located not far from Dres- has become one of the favourite tourism desti-
city centers. Situated at the intersection of pub- den on a rocky plateau high above the Elbe Riv- nations in the Canary Islands. However, our inter-
lic realm, urban design and site specific art, the er, is considered one of the most interesting and est is more one of artistic than of touristic discov-
practice has over 35 years of experience design- best preserved fortifications in Europe. It has a ery, and this would be virtually unthinkable with-
ing and implementing installations, gardens, civic long eventful history dating back to the Bronze out the work of an artist who fell in love with this
plazas, parks, institutional landscapes, corporate Age. wonderful paradise. We refer to César Manrique
headquarters, master plans, and urban regenera- Königstein was first mentioned in documents (1919–1992), who was able to see and reveal to
tion projects. MSP works with city leaders, plan- in 1241. It was not until the end of the 16th cen- us the unique beauties arising out of the happy
ners and builders at a strategic level so as to ad- tury that the former castle began to be expand- marriage of the four elements believed by the
vocate for the inclusion of the public landscape ed into a fortress, which was then constantly Greeks to form the whole of creation: air, earth,
as a means to achieve environmental, econom- adapted to new conditions. However, it was fire and water.
ic and social sustainability. With offices in Lon- spared from warlike destruction over all the cen- In fact, after returning to his island in 1968
don, New York and Shanghai, the practice is en- turies. Instead, it was sometimes used as a pris- after a period spent in New York, Manrique de-
gaged in projects and consultation around the on camp in times of war, for example during dicated himself passionately to realising his uto-
globe and has to date worked on projects in over the Franco-Prussian War of 1870/71 and for the pia, to renew Lanzarote out of his own sources.
20 countries and five continents. last time during the Second World War. In 1949, Among Manrique’s best known works on Lan-
MSP has continually been recognized for its the then GDR set up a youth workshop in the zarote are the Casa Museo del Campesino, the
contribution to the urban landscapes of the world fortress based on the teachings of Soviet peda- Jameos del Agua, the Mirador del Río, the Cac-
and to the field of landscape architecture. The gogue Anton Semyonovich Makarenko. In 1955, tus Garden and his own house in the Taro de
firm has received many international award reco- the GDR’s Ministry of Culture finally converted Tahíche.
gnitions, including the American Society of Land- Königstein into a museum and since 1991, now Manrique’s house in Taro de Tahíche, which
scape Architects Landmark and Honour Awards, owned by the Free State of Saxony, it has un- nowadays houses the César Manrique Founda-
the British Association of Landscape Industries dergone extensive structural renovation. tion, can be considered as a »work in progress«
Award in the Regeneration Category, the Chicago The managing director of Festung Königstein as it was built over a period of almost 25 years
Athenaeum Award for Best New Global Design, gGmbH, Angelika Taube, became aware of Hans and was still not completed upon the artist’s
the Urban Land Institute Award for Excellence Dieter Schaal as early as 1997, and in the follow- death. Arising out of the five interconnected vol-
and the Cooper-Hewitt National Design Award. ing years established an intensive collaboration canic bubbles of the underground storey, it has
Martha Schwartz: »When we design, our big- with him, which has now resulted in six perma- become a metaphor for the amorous meeting of
gest objective is to create environments that peo- nent and twelve temporary exhibitions. They illus- man with Mother Earth, the latter being under-
ple enjoy and come to love. We try to create en- trate the multifaceted history of the fortress in a stood, to use Bruno Taut’s expression, as »a fine
vironments that people take pride in and are hap- way that clearly stands out from pure documen- home for living«. The spaces on the upper floor
py to adopt these places that they live and work tation and always creates something new and can be virtually mistaken for the white cubic build-
in as part of their identity. If this happens, people original from the factually given. ings dispersed throughout the island. But when
will strive to take care of it, maintain it and pre- This book presents these exhibitions in large- we cross their thresholds, we have the unique
serve it. People’s love of place is fundamental to format colour illustrations. In addition, it contains feeling that here something was created which
sustainability. That is not to say we don’t work in descriptions and comments by Schaal that clari- is really new. In fact, Manrique – enemy in equal
the most ecologically sound way. We work with fy the history of the exhibitions and also give the measure of the »pastiche« of regionalism and
engineers, water specialists, horticulturists, soil reader insights into the creative processes. the off-key International Style blind to differentia-
specialists in order to do our best in capturing Hans Dieter Schaal, born in Ulm in 1943, archi- tion – sifted the vernacular with certain modern
and recycling water, using planting that was indi- tect, stage designer, exhibition and landscape filters such as Frank Lloyd Wright, Mies van der
genous to the area and sourcing our materials lo- planner, makes the complexity of reality visible Rohe or Le Corbusier, and at the same time he
cally. But having people feel pride about where through his analytically differentiated stagings gave it such a specific stamp that the final result
they live and feel they are living in a beautiful envi- and brings its background into the field of vision became indigenous and unmistakeable.
ronment that they wish to protect and preserve is of the attentive viewer. His works, the majority Simón Marchán Fiz is professor of aesthet-
the big win.« of which have been published by Edition Axel ics in Madrid. Like Marchán Fiz, Pedro Martínez
With a foreword by Marc Treib, professor of Menges, have since found an audience far be- de Albornoz lives in Madrid. The photographs
architecture emeritus at the University of Califor- yond the borders of his native country. The au- shown in this book are the best photographic
nia in Berkeley), and an introduction by Martha thor lives and works in a village near Biberach interpretation of one of Manrique’s work up to
Schwartz, this monograph is the first publication an der Riss. now.
to document 55 built projects and a selection of
master plans by this internationally acclaimed New in this catalogue Seventh edition
practice.
4 Work monographs / Opus www.AxelMenges.de
Opus 23 Opus 26 Opus 28
Frank Lloyd Wright Home and Studio, Himeji Castle Alte Völklinger Hütte
Oak Park With an introduction by Irmtraud Schaarschmidt- With texts by Lucius Burckhardt, Johann Peter
With an introduction by Elaine Harrington and Richter and photographs by Mo Nishikawa. 52 Lüth and Georg Skalecki and photographs by
photographs by Jon Miller/Hedrich-Blessing. pp. with 38 ill., 280 x 300 mm, hard-cover, Ger- Hans Meyer-Veden. 72 pp. with 57 illus., 280 x
56 pp. with 69 ill., 280 x 300 mm, hard-cover, man /English 300 mm, hard-cover, German/English
English ISBN 978-3-86905-026-2 ISBN 978-3-930698-28-8
ISBN 978-3-930698-23-3 Euro 36.00, £ 29.90, US $ 39.90 Euro 36.00, £ 29.90, US $ 39.90
Euro 36.00, £ 29.90, US $ 39.90
Spread over a hill that climbs up from the plain, »UNESCO has made the Völklinger Hütte a World
It was in his home in Oak Park that Frank Lloyd Himeji Castle with its white walls shimmering in Cultural Heritage Monument. Thus an industrial
Wright made his first contributions to the Modern the sunlight like the feathers of a fantastic bird plant of the late 19th century is placed alongside
Movement. In 1889 he designed the first part of seems to be rising into the blue sky like a great the Pyramids of Giza, Charlemagne’s cathedral in
the house, in 1895 he added to it for his wife, heron. This impression has given it the name Aachen and the Taj Mahal. Something that seems
Catherine, and their family, and in 1898 for his »Castle of the White Heron«. The castle, which to be a homogeneous series – the World Cultural
architectural practice. The entire building was a has nothing martial about it, on the contrary, it Heritage Monuments – has acquired a new dimen-
learning laboratory of modern architecture. While is extraordinarily elegant, is undoubtedly one of sion with the addition of the Völklingen coal and
not a Prairie School house, it led to the develop- Japan’s most impressive fortresses. It was built steel conglomerate. In the field of monument pro-
ment of the Prairie School. Wright’s constant between 1601 and 1609, when the period of war tection, memory has hitherto been equated with
changes to this complex paralleled the evolution was almost over, and was used primarily for ad- ›preservation‹, but what preservation meant under
of his early architectural work and career. There, ministration and residence, with defence as a the conditions of decay of all human works was
with his young assistants, he rethought the plan, secondary role. Thus its aesthetic impact was scarcely discussed. ... Here the Völklinger Hütte,
spaces, materials, proportions, and lines of Amer- as important when it was built as its actual pur- with its drastically abbreviated half-life period and
ican residential architecture, creating a revolution pose as a fortification. the rapid change of all conditions brings a new
on the Prairie. His home and studio provided the The main building in the castle is the Tenshu dimension. The thing protected is for once not an
architectural environment in which to experiment or Tenshu-kaku in the northem part of the com- object, but a process. It raises the question what
with his ideas in three dimensions. The house plex, a wooden structure about 46 m high. Its events are under conditions of wear, and what is
featured contemporary art work, oriental tribal complicated intermediate roofs make it look being remembered. ... The plant can stand as tech-
rugs, and Japanese decorative arts chosen by more like a skyscraper than a tower. nological evidence of the inventive spirit of the 19th-
Wright and his wife. The studio was decorated Himeji Castle represents an architectural type century period of rapid industrial expansion, for the
with classical plaster sculpture, Teco ceramics that probably does not occur in other areas of division of labour and the jobs of a generation that
and selections from Wright’s large collection of the world. Large parts of the building were still has members living in Völklingen, of a war ma-
Japanese prints. Wright completed the interiors, classified as »Kokuho State Treasure« as early chine, or a landmark in the local Saar bend. ... The
toned in nature’s hues, with furniture and built- as 1951, and others as »Important Cultural Prop- political story that should be considered above all
in furnishings of his own design, harmonious to erty«. The building was placed on the World is invisible. ... The kitschy statement by enthusiastic
the whole. Cultural Heritage list in 1993. school teachers that blast-furnace plants are ›ca-
The colour photographs of Jon Miller of Hed- Art historian Irmtraud Schaarschmidt-Richter thedrals of work‹ makes sense only if cathedrals are
rich-Blessing show a glimpse into Wright’s first specialised in classical and modern Japanese seen also as documents of collective cooperation.
haven, where he challenged prevailing notions art and architecture at an early stage, as is ... The spiritual surroundings of steel production are
about the country’s architecture, and which he shown by numerous publications. Her book on limited to the polytechnic approach: the engineer
then left, to continue as one of America’s most the Japanese garden has long been a standard is responsible for function, the owner wants his
significant architects. Included in the book is a work. Most recently she was involved in publica- return and no-one asks how the steel is used. It
portfolio of historic black and white photographs tions on architects Kazuo Shinohara and Toyo would be naive to think one was critically disposed
of the building, a number of them taken by Ito. Photographer Mo Nishikawa, a pupil of Ken to the belligerent policy that led to two world wars.«
Wright himself. Domon, one of the most important photogra- (Lucius Burckhardt in Daidalos.)
Elaine M. Holzschuh Harrington has been the phers of the 20th century, sees his work as a Lucius Burckhardt, in his early years lecturer
Curator of the Glessner House (Opus 7: Henry spiritual and intellectual contemplation of art. at the HfG Ulm and the ETH Zurich, from 1962
Hobson Richardson, J. J. Glessner House, Chi- His photographs of the Katsura Palace, the to 1972 editor-in-chief of the magazine werk, from
cago) and the Curator of the Frank Lloyd Wright Himeji Castle and the Ise Shrine are among 1972 to 1997 professor at the Gesamthochschule
Home and Studio. She has written and lectured the great masterpieces of contemporary photog- Kassel, from 1976 to 1983 chairman of the Deut-
extensively about both. Hedrich-Blessing, Chi- raphy. scher Werkbund, was one of the most noncon-
cago’s oldest and foremost architectural photog- formist thinkers of our time. After working as an
raphy firm, was founded in 1929. From its begin- First published in 1998 and out of print for architect Johann Peter Lüth headed the Saarland
ning, the firm has been noted for portraying the a while. Now available again in a second, State Office of Conservation from 1985 to 2002.
most dramatic rendition of a building within the improved edition His colleague at the time, Georg Skalecki, then
bounds of high architectural accuracy. The firm responsible inventorying and building research,
created a working atmosphere that encouraged is now head of the Bremen State Office for Monu-
the firm’s photographers to perform at their best, ment Preservation and professor at the University
an atmosphere that continued until 2017 when of Bremen. Hans Meyer-Veden studied photog-
the firm finally closed its doors. raphy at the Hochschule für Bildende Künste in
Hamburg. From 1980 to 1985 he was professor
First published in 1996 and out of print for of visual communication at the Fachhochschule
a while. Now available again in a second, Dortmund; afterwards he moved to the Fachhoch-
improved edition schule Kiel, where he taught photography until
his retirement in 1994.
First published in 1997 and out of print for
a while. In spring 2022 available again in a
second, improved edition
www.AxelMenges.de Opus 5
Opus 32 Opus 65 Opus 81
Frank O. Gehry, Guggenheim Bilbao Mu- Le Corbusier, Unité d’habitation, Marseille Carlo Scarpa, Museo di Castelvecchio,
seoa With texts by Alban Janson and Carsten Krohn Verona
With an introduction by Kurt W. Forster und and photographs by Anja Grunwald. 80 pp. with With texts by Alba Di Lieto, Paola Marini and Va-
photographs by Ralph Richter. 56 pp. with 65 80 illus., 280 x 300 mm, hard-cover, German / leria Carullo, and photographs by Richard Bryant.
illus., 280 x 300 mm, hard-cover, English English 52 pp. with 43 illus., 280 x 300 mm, hard-cover,
ISBN 978-3-930698-32-5 ISBN 978-3-932565-65-6 Italian / English
Euro 36.00, £ 29.90, US $ 39.90 Euro 39.00, £ 36.00, US $ 48.00 ISBN 978-3-932565-81-6
Euro 36.00, £ 29.90, US $ 39.90
There is no doubt at all that Gehry’s Guggenheim If there is one building by Le Corbusier that rep-
Museum in Bilbao is one of the most spectacular resents a synthesis of his basic concepts it is During the 1960s Italy’s museum sector witnessed
buildings of recent years. As the central element certainly the Unité d’habitation built in Marseille a fertile period of renewal. A generation of archi-
in Bilbao’s comprehensive urban renewal pro- in 1946–52. This built manifesto does not simply tects, working in partnership with the directors of
gramme the building raised high expectations put forward a social model as a utopia, but also museums, set about transforming into exhibition
from the outset. Its site between river, railway, the unity of architecture and town planning. It is spaces a number of ancient monumental complex-
bridge and new town makes it a symbol of the one of the most significant buildings there has es located in the historic centres of some of the
Basque metropolis that can be seen from a con- even been, but it also triggered a great deal of most important Italian cities. Among these was the
siderable distance. It is both the heart of the city controversy. The story of the response to it has brilliant and solitary Venetian architect Carlo Scarpa
and a testbed for the arts, representing both pub- been recorded in order to investigate why this who revitalised the discipline of museography by
lic presence and artistic change. extremely ambitious project in particular should sagaciously combining it with restoration. His lucid
The process by which it was created demon- have caused such a conflict between intention intervention at Verona’s Museo di Castelvecchio is
strates the most recent advances in computer- and effect. emblematic of this approach: the medieval castle,
aided design and in material manufacture. For a The Unité d’habitation in Marseille is now very the museum of ancient art, and modern architec-
long time design and building were broken down popular with the people who live in it as a build- ture all harmoniously coexisting in a monument lo-
into a large number of individual components. ing. Despite all the criticism, it obviously still of- cated at the heart of a city designated a UNESCO
Gehry’s museum unifies this process and is thus fers functional advantages that make it easier for World Heritage Site.
able to create fluent links between architectural individuals and the community to live together. The far-sighted choice of Scarpa was owed to
detail and urban impact. The enormous sculptural force and the charac- the then director of the museum, Licisco Maga-
But the innovations do not stop at technology, teristic interplay of light and colour shown in the gnato, who tenaciously argued the case for the ap-
they also extend to the way in which the interior photographs make the building into a »personali- pointment of an architect specialising in this field to
spaces are shaped. These are extremely varied ty« that can be identified with. work on the city’s principal museum of ancient art.
in form, as the museum is not so much designed As well as this, the building also offers some- In his work on the Castelvecchio, carried out at
to house a permanent exhibition of the collection, thing special in terms of concrete spatial experi- a significant point in his career, Scarpa attained a
but to enable artists to create installations. In con- ence. In the age of a superficial »adventure soci- remarkable balance between various aesthetic ele-
trast with the usual neutral gallery spaces Gehry ety« it claims the intensity of an everyday experi- ments that is particularly evident in the sculpture
offers a whole variety of stages for artistic pres- ence that is both casual and at the same time gallery, where the renovations harmonize with the
entation. His artist friends have risen to the chal- complex, embracing all the senses. This extends power of the 14th-century Veronese works exhibit-
lenge of his architecture and are experimenting from the reception in the imposing foyer to the ed in this section of the museum. One of the most
very successfully with this new way of showing »theatre« of figures on the roof terrace in the striking details – extraordinarily rich in historical
their work to the public. light of the landscape, from the inverted urban and symbolic significance – is the location of the
Kurt W. Forster studied art history, literature scenery of the promenade publique to twilight equestrian statue of Cangrande I della Scala, an
and archaeology at the universities in Berlin, seclusion in the silent residential streets. And it exceptional medieval sculpture of the famous Lord
Munich and Zurich, rounding out his studies in includes the flats themselves, which open up of Verona. For the presentation of this work – a
Florence and London. He taught at Yale Univer- expansively to draw in the sea and mountain symbol of the city and its museum – the architect
sity (1960–67), Stanford University (1967–82) mood. Le Corbusier used his architectural re- conceived a backdrop of great poetry, drawing the
and the Massachusetts Institute of Technology sources atmospherically and scenically to give visitor’s attention to its historical stratifications and
(1982–84). He was the first director of the newly the Unité d’habitation a succinct coherence that simultaneously creating an exemplary essay in
established Getty Center for the History of Art also forms the basis for individual lives within modern architecture.
and the Humanities in Santa Monica (1984–92), its rooms and spaces. Precise observation and The book is introduced with a text by Alba Di
where he inaugurated a broadly based pro- description reveal the mechanisms of these ef- Lieto, the architect of Verona’s art museums, a
gramme of research and publications. After that fects. scholar of Scarpa’s drawings, and the author of
he taught at the Eidgenössische Technische All three authors are qualified architects. Until monographs on his work. She describes the ar-
Hochschule in Zurich (1992–99). Before achieving his retirement Alban Janson was professor of the chitect’s renovation and locates it in the context
his most recent position as director of the Acca- fundamentals of architecture at the Karlsruher of Italy’s architectural panorama.
demia di Architettura in Mendrisio he was direc- Institut für Technology, Carsten Krohn lives and The essay is followed by a brief history of the
tor of the Canadian Centre for Architecture in works as an author in Berlin, and Anja Grunwald castle by Paola Marini, who was the director of
Montreal (1999–2001). Ralph Richter studied at is professor of architectural photography and Verona’s art museums and monuments for 22
the Fachhochschule in Dortmund. He rapidly typography at the Hochschule Karlsruhe – Tech- years. In 2015 she has taken on a new role as di-
made a name for himself as an architectural pho- nik und Wirtschaft. rector of the Gallerie dell’Accademia in Venice.
tographer. He has photographed buildings by Valeria Carullo, curator of the The Robert Elwall
Santiago Calatrava, Coop Himmelblau, Norman Third, improved edition Photographs Collection in the RIBA British Archi-
Foster, Volker Gienke, Uwe Kiessler and Alessan- tectural Library, writes about her experience assist-
dro Mendini. He also took the photographs for ing Bryant when he photographed the castle.
Opus 21: Norman Foster, Commerzbank, Frank- Richard Bryant is one of the best-known archi-
furt am Main. tectural photographers, working all over the world.
He and Hélène Binet are the only photographers to
First published in 1998 and out of print for have been awarded a RIBA Honorary Fellowship
a while. Now available again in a fourth, of the Royal Institute of British Architects.
improved edition
6 Opus www.AxelMenges.de
Opus 84 Opus 85 Opus 87
Parc de sculptures Erich Engelbrecht, Friedrich Kullrich / SSP AG, Fritz-Henßler- Egon Eiermann, Haus Eiermann, Baden-
Château des Fougis Berufskolleg, Dortmund Baden
With essays by Gottfried Knapp and João J. With an essay by Alexandra Apfelbaum and pho- With an essay by Gerhard Kabierske and photo-
de Abreu Vares and photographs by Philippe tographs by Jörg Hempel. 52 pp. with 60 illus., graphs by Bruno Krupp, Horstheinz Neuendorff
Hervouet. 60 pp. with 46 illus., 280 x 300 mm, 280 x 300 mm, hard-cover, German / English and Olaf Becker. 60 pp. with xx illus., 280 x 300
hard-cover, French / English ISBN 978-3-932565-85-4 mm, hard-cover, German / English
ISBN 978-3-932565-84-7 Euro 36.00, £ 29.90, US $ 39.90 ISBN 978-3-932565-87-8
Euro 36.00, £ 29.90, US $ 39.90 Euro 36.00, £ 29.90, US $ 39.90
Since its foundation in 1977, the Bochum-based
In their sculptural works, artists have always architectural office SSP AG, with locations in Even though he had made a name for himself in
broken out of the workshop or studio and into Bochum and Karlsruhe, has been realising a the 1930s with his Berlin single-family homes, Ei-
open-air spaces. After all, the place where large number of real-estate and building projects ermann later on found it difficult to accept commis-
sculptures are best able to show their three-di- throughout Germany. With an interdisciplinary plan- sions for this building type when, during the period
mensional quality is in an open space not en- ning team of architects, engineers, and real-estate of the »economic miracle«, he was approached
closed by walls and ceiling, in which all flows economists, and other experts, new and innovative by numerous people interested to get a design by
of power and movement can have free rein. solutions are found for each project in cooperative him. Only the Hardenberg House in Baden-Baden
However, because public spaces offer only very collaboration. The resulting concepts are charac- satisfied him, but above all his own house, which
limited possibilities for sculpture development, terized by successful identification, high efficiency he also built in Baden-Baden in 1959–62.
sculpture parks have been developed almost and good design. This house in particular, built after his success
everywhere in the world where artists can work In 2013, after a Europe-wide tendering proce- with the German Pavilion at the 1958 Brussels
without restrictive conditions. dure, SSP AG was commissioned with the over- World’s Fair and at the same time as the Berlin
During his search for a place in France where all planning of renovation and construction of ex- Gedächtniskirche and the German Embassy in
he could present his large sculptures, Erich En- tensions and new buildings for the Fritz-Henßler- Washington, was to become one of the main
gelbrecht discovered in 2000 the open, mead- Berufskolleg in Dortmund. Built in 1908 by the works of his post-war creative output. As a build-
ow-like land, with the château tucked into a municipal building councillor Friedrich Kullrich, er in his own right, he was able here to uncom-
piece of forest behind it. This open space, pic- the listed building complex of a former arts-and- promisingly realise his ideal image of living for him-
turesquely framed by groups of trees, was pre- crafts and craftsmen school in the Dortmund city self and his family in architecture.
cisely what he had imagined. And the fact that centre was in great need of renovation. The task Eiermann himself tried to explain the house,
a château was waiting for its new owner at the was to satisfy a fixed spatial programme taking which only crystallised in a longer planning genesis,
end of this tract of land made this discovery a into account the building fabric worthy of pre- primarily from the functional side: main house and
stroke of luck rarely experienced by anyone in servation, both in the existing building stock and annexe, the latter for garage, studio and guest
general, and almost never by artists in particular. through extensions and new buildings. The ex- apartment, the elongated main house in bulkhead
His monumental sculptures that dominate the tension by two building blocks in a strict func- construction under a flat sloping roof. In fact, the
landscape have given Erich Engelbrecht a place tional design language and with clearly structured house is convincing in its sophisticated functionali-
in the history of modern sculpture. His method façades allows for an exciting and yet harmo- ty. But it does not stop there. The complex group
of drawing images plastically in the space, and nious combination of old and new. Through a of buildings on a steep hillside site with its stage-
of using these drawings transformed into solid sensitive »carry on building« of the existing build- like terraces, the staged interplay of views from the
bodies to occupy whole landscapes, is unparal- ing stock, a successful new interpretation of the inside to the outside and, at night, also from the
leled. The enigma balanced between represen- existing fabric was created. outside to the inside, is an extremely artificial struc-
tationality and the abstract, the multiplicity of For the »extremely successful handling« of ture even from its basic disposition. The Eiermann-
meaning, which invites freely poetic titles, is es- the historically significant stock and the »high-quali- typical façade, with its exterior walkway and white
sential to the unique charm of Erich Engelbrecht’s ty« restoration in accordance with the regulations linkage as well as the corrugated Eternit roof
visual work. In the park of Château des Fougis, for listed buildings, the architects were awarded provide a ponderous contrast. Together with ech-
29 of these artworks, at once plainly revealing the North Rhine-Westphalia School-Construction oes of traditional Japanese houses and gardens,
and mystifying, communicate with each other in Prize 2018 by the Ministry for Schools and Edu- but above all with the adoption of motifs from sail-
such a relaxed way that visitors are prompted to cation and the Chamber of Architects of North ing-ship building give this house an unmistakable
think and to enjoy. One strolls through a garden Rhine-Westphalia, as well as the German Design character. Since 2020, the house has new own-
of poetic artworks, through a park of beautiful Award 2019, the bestarchitects Award 2020 and ers, on whose behalf the Stuttgart architects »no
riddles and silent secrets. There has been noth- the Otto Borst Prize for Urban Renewal 2020. w here« (Henning Volpp and Karl Amann) have un-
ing comparable to this in Europe since the gar- Alexandra Apfelbaum has worked as a free- dertaken an extremely careful renovation.
dens of Italian Mannerism. lance art and architecture historian since 2009. Eiermann's estate, which is kept at saai, the Ar-
Gottfried Knapp works as an editor in the feuil- Since 2018, she has held the deputy professor- chive for Architecture and Engineering at the Karls-
leton of the Süddeutsche Zeitung in the fields of art, ship for the history and theory of architecture ruhe Institute of Technology (KIT), provided the his-
architecture and film. Of his numerous works on and the city at the Fachhochschule Dortmund – torical drawings and photographs for this volume.
artistic and architectural topics, six have been pub- University of Applied Sciences and Arts. In addi- The photographs were primarily taken by Horst-
lished by Edition Axel Menges. João J. de Abreu tion to research in architectural theory and archi- heinz Neuendorff, an architectural photographer
Vares, a graduated architect, advised Erich Engel- tectural history, her main focus is on the interfaces who was on friendly terms with the architect. Since
brecht on the installation of the sculpture park and, between architecture and art in the 20th century, the early sixties, Neuendorff had been commis-
together with his wife Sarah Engelbrecht, he as- with a focus on North Rhine-Westphalia and the sioned by Eiermann to capture his new buildings
sists the artist’s widow in the care of her husband’s postwar period. Jörg Hempel is a free-lance archi- in black-and-white photographs of a high artistic
inheritance. After studying art history and photog- tectural photographer, living in Aachen. Since 2007 standard. Color photographs of the current con-
raphy Phillipe Hervouet was commissioned to par- he teaches architectural photography at the Bo- dition were newly made by Olaf Becker from Mu-
ticipate in the care of the cultural heritage of the chum University of Applied Sciences, since 2015 nich. Gerhard Kabierske is an art historian special-
Ain department. He also actively contributes to in addition at the FH Aachen University of Applied ising in architectural history and monument pre-
the artistic inventory of the Auvergne-Rhône-Alpes Sciences, and since 2019 at the TH Köln (Univer- servation. 1993–2020 he worked at the saai in
region. He teaches photography at the Université sity of Applied Sciences). Karlsruhe where he was responsible, among oth-
Jean Monnet in Saint-Étienne. er things, for the Eiermann archive.
New in this catalogue
www.AxelMenges.de Opus 7
Fritz Barth Burcu Dogramaci and Andreas Schätzke (eds.) Hans-Ulrich von Mende
Vom segensreichen Wirken der Fehler A Home of One’s Own – Emigrierte Archi- Car Design – Von der Kutsche zur Auto-
und anderem. Vier Essays zur Architektur tekten und ihre Häuser / Émigré Archi- Mobilität / From the Carriage to Auto-
128 pp. with 58 illus., 145 x 210 mm, soft-cover, tects and Their Houses, 1920–1960 Mobility
German 204 pp. with 126 illus., 233 x 284,5 mm, hard- 152 pp. with 440 illus., 233 x 287,5 mm, hard-
ISBN 978-3-86905-023-2 cover, German/English cover, German / English
Euro 29.00, £ 26.00, US $ 36.00 ISBN 978-3-86905-008-9 ISBN 978-3-86905-010-2
Euro 69.00, £ 59.90, US $ 79.00 Euro 49.90, £ 42.90, US $ 58.90
The present volume brings together four smaller
essayistic texts written over a period of two dec- When architects design a house for themselves, If laziness is the mother of all inventions, then the
ades and whose different themes deal with rather the often tense relationship between clients and car is its masterpiece. The earliest means of lo-
remote areas of architecture. Steine zu Wörtern builders is usually absent. That is why in many comotion was walking, followed by riding on hor-
examines the peculiar, singular appearance of such buildings the architect-designer’s artistic ses or camels; finally, with the invention of the
architecture in the literary work of Hans Henny stance and political position, preferences and an- wheel, came the ability to use carriages, which
Jahnn, a major German author of the 20th cen- tipathies, temperament and character are more not only made locomotion far more comfortable
tury. Vom segensreichen Wirken der Fehler, a gro- pronounced than usual. Moreover the architec- but also brought the transportation of goods to a
tesque counter-draft to the widespread view that tural theories, debates and trends of an epoch whole new level. However, it then took millennia
the development of style is due to nothing more also leave their traces in them in a particular way. for carriages to go from being propelled by hor-
than noble striving, attempts to trace the influ- We encounter both attachment to tradition and ses or oxen to engines, initially steam-driven,
ences of mistakes and misunderstandings, calam- commitment to the avant-garde, willingness to then propelled by internal combustion engines
ities whose effects on architecture, although con- experiment and pragmatism, distinctive artistry and early experiments with electric propulsion.
cealed, are hardly to be underestimated. A differ- and views shaped by the fact that a building is Cars were initially the result of pure craftsman-
ent facet of the concealed is treated in the study also a product of engineering. And last but not ship, and as passenger cars were based on the
of a remote field of the Baroque, Die verschwie- least, expressed in their houses are the personal concept of the carriage. The assembly line had
gene venustas, dealing with the Pietist architec- life circumstances of the people concerned, or not entirely abandoned the carriage look, but al-
ture of the Franckesche Stiftungen in Halle which, the messages the houses are meant to convey ready showed a typical automobile profile: equal-
despite its simplicity of appearance, reveals an above and beyond their actual purpose: as a sized wheels, engine bonnet, passenger com-
unexpected manifestation of the most elaborate »manifesto«, as the »self-portrait« of the archi- partment. The predominant body colour of cars
Baroque rhetoric. Finally, Architektur als Zeitreise tect, but also as an advertising tool or as a sign manufactured between 1910 and 1930 was black,
deals with the building of the Chamber of Com- of connection to specific milieus or positions. while all makes of car had an almost uniform ap-
merce in Mantua, erected in 1913 by Aldo Andre- Building for oneself has a special connota- pearance. As manufacturers moved away from
ani, whose somewhat outré combination of histor- tion under the conditions of migration and exile. metal-panelled wooden frames to an all-steel
ical set pieces, when carefully considered, reveals Among the most prominent examples are the design, they hesitantly ventured to adopt new
a surprisingly precise programme and concept, a private homes of Rudolph Schindler in West forms. Improved undercarriages and higher en-
historical-critical eclecticism at the crossroads of Hollywood (1921/1922), Richard Neutra in Los gine performance were initially limited by air re-
the emerging modernism. A lecture attached in Angeles (1932), Walter Gropius in Lincoln, Mas- sistance, which above a speed of 60 kilometres
the appendix takes a closer look at the »architec- sachusetts (1937/1938), Ernst May near Nairobi per hour is the strongest of all driving resistances.
tonic«, whose determination as an inherent prin- (1937/1938), Bruno Taut in Istanbul (1937/1938), This led to the development of new body shapes
ciple of architecture the four texts tentatively oper- Ernö Goldfinger in London (1937–1939), Marcel that offer less resistance to the airstream.
ate from the periphery of the field to grasp. Breuer in New Canaan, Connecticut (1947/1948 Engineers still determined the form of the car,
Fritz Barth, born in 1958, studied architecture and 1951), Josep Lluís Sert in Lattingtown, New sometimes even achieving formal elegance. It
at the University of Stuttgart and the ETH in Zu- York (1947–1950) and Max Cetto in Mexico City was only rarely that members of other profes-
rich. He runs an architectural offices in Fellbach (1948/1949). sions, such as the architects Le Corbusier or
and Berlin, holds the honorary professorship for What expression could voluntary migration or Walter Gropius, were commissioned to design
building design at the Bauhaus University in Wei- forced change of location find in these buildings? a car. Between the two World Wars North Ameri-
mar and is the author of a number of books deal- To what extent do the architects’ other buildings ca had the world’s largest fleet of cars; this also
ing with architecture and its environment, includ- differ from such »homes of one’s own« in a for- meant that their design became an increasingly
ing a study on the iconography of 16th century eign country, to use an expression borrowed and important sales factor. Professsional automobile
Italian gardens (Die Villa Lante in Bagnaia, Edition modified from Virginia Woolf? design was established. As they continued to de-
Axel Menges 2001), a monograph on Johann The book is a collection of contributions by in- velop technically, cars in the 1950s moved further
Blasius Santini-Aichel, an architect associated ternationally renowned authors and examines not and further away from the physically logical form
with Bohemian Radical Baroque (Santini. Ein Bau- only the buildings themselves but also other as- of a moving body. One of the last – and most
meister des Barock in Böhmen, 2004), a study pects of the topic that have hitherto received little outstanding – examples of a form with optimum
of early fortress construction in Italy (Zeichen attention. resistance to the airstream is the Citroën ID/DS
des Wehrhaften. Festungsbauten von Francesco Burcu Dogramaci teaches art history at the of 1955. Others, indeed almost all, opted for
di Giorgio Martini / Martial Signifiers. Fortress Com- Ludwig-Maximilians-Universität in Munich. Her re- the pure symbolism of speed and power, whose
plexes by Francesco di Giorgio Martini, Edition search focuses on exile and migration, and 20th- most important ingredients were tail fins and
Axel Menges 2011) as well as a detailed study century and contemporary art and architecture. chrome. Today, with a global annual production
of the Melnikov House in Moscow, a major work Architectural historian Andreas Schätzke teaches of close to 100 million passenger cars, automo-
of early 20th century architecture (Konstantin Mel- at the Hochschule Wismar. Among his key re- tive style has come to be represented by a wide
nikov und sein Haus / Konstantin Melnikov and his search areas are 20th-century architecture and range of almost every imaginable form.
House, Edition Axel Menges 2015). urban development, and migration and cultural Architect Hans-Ulrich von Mende has worked
transfer in the field of architecture and the visual with partners in an independent practice since
New in this catalogue arts. 1990. For 50 years his writings and drawings
on automotive design have appeared in books,
trade journals (mot, autobild) and the daily press
(Frankfurter Allgemeine Zeitung, Süddeutsche Zei-
tung).
8 History and Theory www.AxelMenges.de
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