{"title":"Edition Axel Menges","description":null,"products":[{"product_id":"9783932565533","title":"The Wings of the Crane","description":"Text in English and German. The basic features of Deutsche Lufthansa's present corporate image emerged almost 45 years ago. It was created by Otl Aicher, one of the principal figures at the now legendary Hochschule für Gestaltung in Ulm. Another work by Aicher that spoke to the whole of Germany, as it were (and still does, in rudiments), is the 1972 corporate image for the Zweites Deutsches Fernsehen. The corporate image he created for the Olympic Games in Munich, which made an essential contribution to the ambience of the event, has also remained memorable. Since the ideas developed by Aicher and his colleagues were implemented in the early sixties, the airline has been seen world-wide as a perfect example of a consistently developed corporate image. Aicher based himself on ideas from the Deutscher Werkbund and took the company's entire inventory into consideration: \"house colours, pictorial and typographic logos, typeface, graphic and typographic rules and standards, photographic style, quality of support materials, packaging, exhibition systems, architectural characteristics, forms (design) of interior furnishings and equipment, style of work and service clothes\". As well as Otl Aicher, numerous other product and graphic designers, fashion designers and advertising and marketing agencies have worked for Lufthansa. They include Otto Firle, whose ideas led to the crane logo, Hartmut Esslinger and his company frog design, Priestman \u0026amp; Goode, Müller Romca Industriedesign, Don Wallance, Wilhelm Wagenfeld, Hans Theo Baumann, Nick Roericht, Wolfgang Karnagel, Topel \u0026amp; Pauser and the bhar design practice, fashion designers Uli Richter, Ursula Tautz and Werner Machnick, Jürgen Weiss, Gabriele Strehle and the Jobis company as well as the agencies Zintzmeyer \u0026amp; Lux, the Peter Schmidt Group, Ogilvy \u0026amp; Mather, Young \u0026amp; Rubicam, Spiess\/Ermisch\/Abel, Springer \u0026amp; Jacoby, McCann \u0026amp; Erickson and Fanghänel \u0026amp; Lohmann. An exhibition of the same name at the Museum for Applied Arts in Frankfurt deals with the same subject as the book.","brand":"Gardners","offers":[{"title":"Default Title","offer_id":56311005643125,"sku":"9783932565533","price":29.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0612\/7193\/3106\/files\/9783932565533_f63f9fdc-bf6a-467c-af40-6bc564b7ea03.jpg?v=1786031543"},{"product_id":"9783936681352","title":"Braun","description":"Braun products have been shown more frequently at exhibitions than those of any other comparable company. Some people find that they reflect basic human values such as authenticity and integrity. For others, they are the very incarnation of German perfectionism. Braun is not merely a trademark; it stands for an all-encompassing concept. For the last five decades, this concept has spawned innovative products with an unprecedented regularity that begs to be explained -- especially as the era spanned by the history of Braun design is not exactly one characterised by continuity. Instead, the second half of the 20th century witnessed a dramatic change in living conditions. Prosperity and greater ease entered our daily lives, but also widespread disorientation and alienation. It is to the credit of those who set the Braun design project in motion that they were able to counteract this feeling of alienation -- which manifested itself to them not least in poorly designed objects of daily use -- with a vision of design reform. There had already been attempts made along these lines. What was new was that a commercial enterprise spearheaded the movement. Also new was the systematic approach, the application of design principles to modern products and the innovative dynamic thus triggered. Finally, the considerable commercial success this design project enjoyed was likewise a revelation. All of this led the company to establish a design department that was not merely an appendage, but rather an active decision-maker in the development of products from the initial idea to realisation. This is how Braun and design became synonymous.","brand":"Gardners","offers":[{"title":"Default Title","offer_id":56311066657141,"sku":"9783936681352","price":43.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0612\/7193\/3106\/files\/9783936681352_78788c07-7a19-4ccc-8bff-2e7ddd25189c.jpg?v=1787749646"},{"product_id":"9783930698141","title":"Carlo Scarpa","description":"In recent decades, Carlo Scarpa's relevance has been steadily on the rise. At a time when architects have to use existing city and building structures as a point of departure for their work, his oeuvre remains a source of inspiration. Buildings such as the Castelvecchio in Verona show us that architecture is capable of communicating its own history, has meaning, and develops a contemporary dynamic of its own. Scarpa's layered architecture makes visible the process of becoming and the time-related sedimentation of material and meanings. It is especially at points of transition and interface that layering becomes a narrative element that elucidates the tectonic qualities of the building. Overlaying includes leaving a record of how an object came into being -- either by means of the sediments of its history or through the intervention of the architect. In this book Anne-Catrin Schultz presents her research about the phenomenon of layering in Carlo Scarpa's architecture. Layering describes the physical composition of layers defining space as well as the parallel presence of cultural referrals and formal associations imbedded in the physical layers. Scarpa's work is an embodiment of multidimensional layering and, at the same time, a focal point for architectural movements of his time that have stratification as their theme. In most buildings, the principle of layering may be regarded as something that is part of the nature of building. Functional conditions call for planes, elements, or \"layers\" to provide the supporting structure, and others to protect from rain, cold or the heat of the sun. However, architectonic layering goes beyond merely fulfilling technical requirements -- the principle of layering may be used as a formative method that allows elements of different origins to be combined into a non-hierarchical whole. Layering exists in a realm of complexity and implies a capacity of being interpreted that goes beyond itself and creates references to the world at large. The first part of the book examines Scarpa's fields of influence and intellectual roots and puts them in perspective with former theories and their interpretation of architecture as layered, for example Gottfried Semper's theory of clothing. The second part displays an analysis of three major projects, Castelvecchio and Banca Popolare in Verona and the Querini Foundation in Venice.","brand":"Gardners","offers":[{"title":"Default Title","offer_id":56313302745461,"sku":"9783930698141","price":39.9,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0612\/7193\/3106\/files\/9783930698141_0fe32d38-7cf9-4c5c-a9ea-caef1f9b1dab.jpg?v=1787749640"},{"product_id":"karl-friedrich-schinkel-charlottenhof-potsdam-sanssouci","title":"Karl Friedrich Schinkel, Charlottenhof, Potsdam-Sanssouci","description":"Text in German \u0026amp; English. When the small farmstead in the south-western corner of Sanssouci park came up for sale in 1825, Hofmarschall von Maltzahn wrote to the King of Prussia to say that the grounds of Sanssouci would be much improved by the addition of this plot. It was clear that Peter Joseph Lenné, who produced a first plan for the garden as soon as the land was presented to the Crown Prince, later King Friedrich Wilhelm IV, was behind the letter. Schinkel, the architect of Charlottenhof, and Lenné, the designer of the surrounding park, had met in 1816 when they were working for Chancellor Hardenberg in Glienicke, between Berlin and Potsdam. They established a community of interest that architecture critics have compared with the best years of co-operation between John Nash and Humphry Repton. The palace, set on a severe garden axis, was built from 1826 to 1829. It was followed from 1829 to 1840 by the freely developing area of the Hofgärtnerhaus and its adjacent facilities, all of which has become known as the \"Roman Baths\". The Crown Prince involved himself in the planning process, contributing over 100 sketches. He called Charlottenhof \"my Siam\", understood as a synonym for a better world, and he was pursuing with it his intention of presenting his own future style of government, based on romantic theories of the state and striving for a harmonious balance of all classes and interests. Charlottenhof is Schinkel's only work to have survived complete inside and outside, surrounded by Lenné's landscape garden, which has also been carefully looked after and preserved.","brand":"Gardners","offers":[{"title":"Default Title","offer_id":57492232405365,"sku":"9783930698127","price":8.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0612\/7193\/3106\/files\/9783930698127.jpg?v=1786529061"},{"product_id":"architecture-of-rome-2nd-edition","title":"The Architecture of Rome, 2nd Edition","description":"Rome is where the history of European architecture was written. The foundations were laid in ancient Roman times when the first attempts were made to design interiors which could be experienced as something physical. Ancient Roman architects also started to develop building types that are still valid today, thus creating the cornerstone of later Western architecture. This guide has been arranged chronologically. Every epoch is preceded by an introduction that identifies its key features. This produces a continuous, lavishly illustrated history of the architecture of Rome, indeed, the whole of the West. The book includes an alphabetical index and detailed maps, whose information does not just immediately illustrate the historical picture, but also makes it possible to choose a personal route through history. In order to clarify the historical development, the key buildings of each period and other major works are emphasised both in the text and on the maps.","brand":"Gardners","offers":[{"title":"Default Title","offer_id":57492235551093,"sku":"9783936681161","price":24.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0612\/7193\/3106\/files\/9783936681161.jpg?v=1786529065"},{"product_id":"car-design-2","title":"Car Design 2","description":"The automobile, the self-moved vehicle, existed long before Carl Benz’s patented motor car of 1886. In 1769, Frenchman Nicolas-Joseph Cugnot crashed his steam-powered vehicle into a wall on its maiden voyage. In 1875, Austrian Siegfried Marcus presented a rudimentary motor-driven vehicle. However, even Benz’s three-wheeled vehicle was still a long way from what we understand today as an automobile. Numerous developments followed in terms of wheels, mudguards, axles, springs, bonnets, seats, lamps, windscreens and roofs. By the turn of the century, the construction of the automobile as we know it today had been established: with four wheels of identical size and often already enclosed bodies, although formally and technically still indebted to carriage construction. The advent of closed bodies soon led to their previous materials of wood and fabric being replaced by sheet steel and glass, which allowed for arbitrary spatial deformations. In addition to necessary technical considerations, this inspired numerous formal variations. Initially, these variations mostly concerned the radiator, followed by the mudguards and windows, and later also the closed surfaces. With the design of the chassis to increase the wheelbase, passengers could now sit between the axles and not above them as before – with the result that the height of the car could be reduced. This also brought the car roof into focus and, in addition to new technical requirements, invited various formal variations. Lighting technology transformed carbide pots into real headlights. Glass surfaces cautiously ventured out of two-dimensionality into three-dimensional design. Ironically, it was technology-based aerodynamics that showed early signs of the modern car as we know it today.The book shows many examples of models and their replicas, although there can be large-time differences between the originaland the replica. Digitalised image research led to extensive and insightful results. However, it can also be assumed that an ideawas sometimes conceived completely independently and that the later designer had no knowledge of the earlier idea.","brand":"Gardners","offers":[{"title":"Default Title","offer_id":57510062522741,"sku":"9783869050492","price":42.9,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0612\/7193\/3106\/files\/9783869050492.jpg?v=1787130369"},{"product_id":"javier-mariategui","title":"Javier Mariátegui","description":"\u003cp\u003eIt was not by chance nor by a trick of fate that Javier Mariátegui dedicated himself to gardening. He grew up among gardens. Both his grandmothers were gardening enthusiasts, one of them, the Marchioness of Casa Valdés, wrote the book Spanish Gardens, which describes the history of Spanish gardening from Roman times to the present day.\u003c\/p\u003e\u003cp\u003eThis enthusiasm was passed on to him by his parents. From his earliest years he was making his own gardens, by reusing those plants discarded by his father.\u003c\/p\u003e\u003cp\u003eMariátegui studied landscape gardening and design at the Escuela de Paisajismo y Jardinería Castillo de Batres in Madrid. Subsequently he worked in England as a gardener. Back in Spain, he established the Jardines de España nursery, which looks after and employs handicapped children, with whom he first started making gardens. For the past forty years, he has created numerous gardens across Spain and in several other European countries. He has also published many articles on landscape-gardening topics in specialized magazines and a book on one of his gardens: El Jardín de los Tapices \/The Tapestry Garden. Among the present garden architects of Spain Mariátegui plays an outstanding role. Even the Spanish TV has dedicated a monographic program to him and his gardens.\u003c\/p\u003e\u003cp\u003eIt would be difficult to summarize in a few words the essence of Mariátegui’s gardens, given the wide variety of styles, their versatility and numerous differences that perhaps becomes his »signature «. His style is not dogmatic, he loves order and disorder, straight lines and curved, the wild chaos of nature as well as strict geometrical patterns, varied and single species of plants, colour and absence of colour.\u003c\/p\u003e\u003cp\u003ePerhaps as a result of an intimate knowledge of the magic of water in Andalusian Moorish gardens, Mariátegui uses water as an essential element in many of his gardens. He makes it \"work\" in all its forms; in pumps, in cascades, in constant gentle movement, or rocking in waves, in disperse drops or in silence like a mirror that adds the magic of its reflection.\u003c\/p\u003e\u003cp\u003eIn 2016, Edition Axel Menges published Gardens for the Senses: The Spanish Gardens of Javier Maríategui. The new book, Javier Maríategui: Gardens Looking for Beauty, now provides an even more comprehensive overview of the work he has created until today For the past forty years, Mariátegui has created numerous gardens across Spain and in several other European countries. He has also published many articles on landscape-gardening topics in specialized magazines and a book on one of his gardens: El Jardín de los Tapices \/The Tapestry Garden. Among the present garden architects of Spain Mariátegui plays an outstanding role.\u003c\/p\u003e","brand":"Gardners","offers":[{"title":"Default Title","offer_id":57510063243637,"sku":"9783869050553","price":68.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0612\/7193\/3106\/files\/9783869050553.jpg?v=1787130370"},{"product_id":"architecture-of-tokyo","title":"The Architecture of Tokyo","description":"\u003cp\u003eThe Tôkyô region is the most populous metropolitan area in the world and a place of extraordinary vitality. The political, economic and cultural center of Japan, Tôkyô also exerts an enormous international influence. In fact the region has been pivotal to the nation’s affairs for centuries. Its sheer size, its concentration of resources and institutions and its long history have produced buildings of many different types from many different eras. Over 500 buildings are presented in this guide, from 15th-century Buddhist temples to 21st-century cultural buildings, from venerable folkhouses to works by leading contemporary architects of Japan such as Kenzô Tange, Fumihiko Maki, Arata Isozaki, Hiroshi Hara, Toyô Itô, Riken Yamamoto and Tadao Ando as well as by foreign architects such as Norman Foster, Peter Eisenman and Steven Holl.\u003c\/p\u003e\u003cp\u003eThe buildings are arranged chronologically and grouped into six periods: the medieval period (1185–1600), the Edo period (1600–1868), the Meiji period (1868–1912), the Taishô and early Shôwa period (1912–1945), the post-war reconstruction period (1945–1970) and the contemporary period (1970 until today). This comprehensive coverage permits those interested in Japanese architecture or culture to focus on a particular era or to examine buildings within a larger temporal framework. A concise discussion of the history of the region and the architecture of Japan develops a context within which the individual works may be viewed.\u003c\/p\u003e\u003cp\u003eWhen this guide was first published in 2001, it was the only one to introduce in one volume the architecture of the Tôkyô region, encompassing Tôkyô proper and adjacent prefectures, in all its remarkable variety. Having been out of print for some time, it is now being reissued in a revised and extended edition, this time with Japan expert Ulf Meyer as co-author.\u003c\/p\u003e\u003cp\u003eWhen this guide was first published in 2001, it was the only one to introduce in one volume the architecture of the Tôkyô region, encompassing Tôkyô proper and adjacent prefectures, in all its remarkable variety. Having been out of print for some time, it is now being reissued in a revised and extended edition, this time with Japan expert Ulf Meyer as co-author.\u003c\/p\u003e","brand":"Gardners","offers":[{"title":"Default Title","offer_id":57510064030069,"sku":"9783869050584","price":32.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0612\/7193\/3106\/files\/9783869050584.jpg?v=1787130371"},{"product_id":"schulz-und-schulz-deutsche-botschaft-wien","title":"Schulz und Schulz, Deutsche Botschaft, Wien","description":"\u003cp\u003eThere is scarcely a country where the relationship between architecture and democracy has been debated as intensely and persistently as in Germany. From the first tentative, still rather provisional buildings in Bonn to the countless major federal projects in Berlin following the relocation of the government, the question of the special role and aesthetic mandate of »democracy as a client« has been raised again and again. The aim has always been not merely to create square metres and fulfil functions, but also to convey political messages.\u003c\/p\u003e\u003cp\u003eThe new German Embassy in Vienna by Schulz und Schulz has also been “read” in this way. Yet it eludes any superficial symbolism. The building is devoid of any historicising elements; the architecture dispenses with any classical gesture of authority, developing asymmetrically, with no columns, no axes of symmetry, and no façade.\u003c\/p\u003e\u003cp\u003eThe Leipzig-based architects have designed a sharp-edged, almost abstracted standalone building that creates a stark contrast to the pleasing Gründerzeit buildings in the neighbourhood. It stands at the heart of the Austrian capital’s diplomatic quarter, on a plot, which is arguably the most prominent one in the area: the former gardens of Prince Metternich. Here, the development steps back from the perimeter of the block, making way for an open space, for a green area filled with valuable old trees, in which the embassy building appears almost like a contemporary palace.\u003c\/p\u003e","brand":"Gardners","offers":[{"title":"Default Title","offer_id":57510093586805,"sku":"9783932565892","price":29.9,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0612\/7193\/3106\/files\/9783932565892.jpg?v=1787130417"}],"url":"https:\/\/backstory.london\/collections\/publisher-edition-axel-menges.oembed","provider":"Backstory","version":"1.0","type":"link"}