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An architectural and cultural history of skating rinks and hockey arenas in North America.
Investigates unusual spaces in Italy, ranging from a honeycombed and mazelike series of rooms and stairs for midgets, to the dining chambers of a Pompeiian estate, to a half-buried sphere that serves as a place for ice storage. Ray reveals these quixotic spaces through constructed drawings, collaged photographs, and insightful text.
The traditional Persian ice houses were built at villages on the perimeter of the large deserts on the Central Plateau. Their cone-shaped domes, up to 20 meters high, consisted of mud and mud bricks from the excavation of the deep ice pits protected by the domes. The ice houses served as reservoirs that stored blocks of ice in the winter for further use in the summer. The ice was either hauled in from nearby mountains or produced in open basins at the ice house site. Such local ice production plants were typically supplied with fresh water from qanats, the ingenious water supply tunnels, that brought water for human settlements and irrigation from the distant mountains. The ice houses, whose origin is believed to go back more than 2000 years, gradually became obsolete with the advent of electricity and the introduction of the refrigerators to the households. Because they were made of perishable materials, most of the ice houses have disappeared and the rest are facing a grim future. In this book, Dr. Jorgensen, has made a remarkable effort in cataloguing still remaining ice houses and in the process has found other ice houses that are shaped differently. He has developed a typology, described and analyzed the layouts, shapes, dimensions, construction methods, materials, reinforcements, and decorations. He has also studied the operations and origins, and analyzed the preservation aspects. This book describes the first ever comprehensive study of the ice houses of Iran.
"The Geographic Region Around the North Pole is a Raw and Exotic Area of Untouched Nature and Inescapable Beauty. Building in this extremely cold climate requires an advanced degree of ingenuity and resolve. Ecological conditions, including high winds, snowdrifts, and permafrost, combined with periods of little sunlight present seemingly impossible logistical hurdles for architects. Vernacular buildings have emerged, but like most indigenous structures they do little more than simply enclose and protect. Recent years have witnessed an explosion of exceptional new architecture and a new definition of a Northern building - one that is both extraordinarily responsive to place and aesthetically provocative." "In Modern North: Architecture on the Frozen Edge, author Julie Decker presents thirty-four of the most compelling and far-ranging possibilities of contemporary architecture in the North. These buildings - located in northern Canada, Scandinavia, and Alaska - are united in the way they embrace extreme conditions and provide visual stimulation in places that sometimes offer little more than a whitescape. The book contains innovative structures by both established and up-and-coming architects, including David Chipperfield Architects, Studio Granda, and Shim-Sutcliffe Architects, as well as essays by Brian Carter, Juhani Pallasmaa, Edwin Crittenden, and Lisa Rochon that place the projects in the context of a new architectural response to the North."--BOOK JACKET.
An examination of the ways in which architecture and architects are treated on screen and how these depictions filter and shape the ways we understand the built environment. There are essays from contributors from a range of disciplines and interviews of those working behind the scenes.
Photography book of Minnesota Hockey Rinks
PAUL GOLDBERGER ON THE AGE OF ARCHITECTURE The Guggenheim Museum Bilbao by Frank Gehry, the CCTV Headquarters by Rem Koolhaas, the Getty Center by Richard Meier, the Times Building by Renzo Piano: Pulitzer Prize–winning critic Paul Goldberger’s tenure atThe New Yorkerhas documented a captivating era in the world of architecture, one in which larger-than-life buildings, urban schemes, historic preservation battles, and personalities have commanded an international stage. Goldberger’s keen observations and sharp wit make him one of the most insightful and passionate architectural voices of our time. In this collection of fifty-seven essays, the critic Tracy Kidder called “America’s foremost interpreter of public architecture” ranges from Havana to Beijing, from Chicago to Las Vegas, dissecting everything from skyscrapers by Norman Foster and museums by Tadao Ando to airports, monuments, suburban shopping malls, and white-brick apartment houses. This is a comprehensive account of the best—and the worst—of the “age of architecture.” On Norman Foster: Norman Foster is the Mozart of modernism. He is nimble and prolific, and his buildings are marked by lightness and grace. He works very hard, but his designs don’t show the effort. He brings an air of unnerving aplomb to everything he creates—from skyscrapers to airports, research laboratories to art galleries, chairs to doorknobs. His ability to produce surprising work that doesn’t feel labored must drive his competitors crazy. On the Westin Hotel: The forty-five-story Westin is the most garish tall building that has gone up in New York in as long as I can remember. It is fascinating, if only because it makes Times Square vulgar in a whole new way, extending up into the sky. It is not easy, these days, to go beyond the bounds of taste. If the architects, the Miami-based firm Arquitectonica, had been trying to allude to bad taste, one could perhaps respect what they came up with. But they simply wanted, like most architects today, to entertain us. On Mies van der Rohe: Mies’s buildings look like the simplest things you could imagine, yet they are among the richest works of architecture ever created. Modern architecture was supposed to remake the world, and Mies was at the center of the revolution, but he was also a counterrevolutionary who designed beautiful things. His spare, minimalist objects are exquisite. He is the only modernist who created a language that ranks with the architectural languages of the past, and while this has sometimes been troubling for his reputation . . . his architectural forms become more astonishing as time goes on.