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Brazil is in high spirits. The host of the 2014 FIFA World Cup and the 2016 Summer Olympics currently lives up to its golden 1950s when it strengthened its industry and its democratic base, won two football world championships, and gave Bossa Nova to the world. The current upswing involving booming economic growth and cultural development is accompanied by good architecture: a great number of outstanding buildings have emerged, reviving international interest in Brazilian architecture. This publication provides an exciting selection of 220 modern buildings. Considering the vastness of the country and the enormous number of projects, the selection presented here is far from exhaustive but presents a panoramic overview that helps the traveller to see good architecture.

Architecture --- 72.038 --- architectuur 20e eeuw --- architectuur 21e eeuw --- Brazilië --- architectuur --- Guide --- Brésil

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Even though Vitruvius includes mobile war machines, clocks, waterworks and other moving constructions in his treatises as well as buildings, architecture has traditionally been understood as an art of space, not of time, and indeed as the very image of stability. Yet the possibility of incorporating change and motion in architecture has fascinated architects since the beginning of the modern movement, if not earlier, and reflects and age-old longing to find an architectural expression in step with the most advanced developments of the times. This book analyses the ways that contemporary Dutch architects have thematized the issue of movement in their buildings and projects. The examples, drawn from the work of OMA / Rem Koolhaas, NOX Architects, Kas Oosterhuis, UN Studio, NL Architects, Bentham Crouwel, Meyer & Van Schooten, Herman Hertzberger and others, illustrate a range of approaches from metaphorical translations of motion into aerodynamic forms to the dynamization of both the design process and its results through time-based CAAD techniques and new geometries. With a theoretical framework defined by the writings of Bergson, Merleau-Ponty and Deleuze and orignal observations, Kari Jormakka charts the couse for a general theory of motion in architecture and sheds important light on the current state and future prospects of architectural design.

Architecture --- Innovations --- Philosophie --- architectuur 20e eeuw --- architectuur --- Nederland --- architectuurtheorie --- bewegen --- 72.038 --- 72 --- architectuur algemeen, architectuurtheorie, wonen --- Innovations. --- Philosophie.

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Architecture organique --- Steiner, Rudolf, --- Steiner, Rudolf --- antroposofie --- architecten --- architectuur --- Goetheanum --- organische architectuur --- Steiner Rudolf --- twintigste eeuw --- XIX-twintigste eeuw --- Zwitserland --- 717.8 --- architectuur, 20e eeuw, architecten afzonderlijk

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Architecture --- Building --- Bouwkunde. --- Bouwkunst. --- Architecture. --- Building. --- architectuur --- ruimtelijke ordening --- Environmental planning --- architecture [discipline] --- comprehensive plans [reports] --- architectuur 20e eeuw --- Nederland --- I&D --- Periodicals --- Rubriek serials: architectuur, stedenbouw en bouw

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Paul Rudolph is one of the most inventive, versatile and controversial members of the postwar generation of American architects. Born in 1918 in Kentucky, Rudolph trained at the Graduate School of Design at Harvard under Walter Gropius, whose ideas (notably on the importance of teamwork and on the role of planners in architecture) he was in due course to reject as het evolved his basic principle : that urban design in the prerogative of the architect. Het began his career in partnership with Ralph Twitchell, an architect 30 years his senior, in Sarasota, Florida. The partnership concentrated on designing small houses, which already showed Rudolph to be abandoning the purist austority of Gropius. In 1958, with a school building in Sarasota, the Jewett Arts Center at Wellesley College, Massachusetts, and a project for a new American Embassy in Amman to his credit, Rudolph was appointed Chairman of the School of Architecture at Yale University. Among his larger projects during this period, were a number in New Haven itself, including housing and the parking garage for 1,500 cars. At Yale he designed the massive Art and Architecture Building, built in ribbed concrete. On leaving Yale in 1965, Rudolph moved to New York, where he continues to practise. His projects have assumed proportions which his early designs for houses did not presage. The New York Graphic Arts Center project of 1967, for example, embodies a gigantic framework intended to contain mobile prefabricated units - a combination of two concepts within one scheme, and an extraordinary instance of Rudolph's creative virtuosity.

Rudolph, Paul, --- Architecture --- Paul Rudolph --- architectuur 20e eeuw --- architecten --- 72.071 --- buitenlandse architecten --- Rudolph, Paul --- Critique et interprétation --- Critique et interprétation. --- Rudolph, Paul, 1918-1997 --- Critique et interprétation.