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Heinz Tesar, the well-known Austrian architect, built this church as a spiritual centre, an oasis in the diaspora, for Donau City, a new residential and commercial centre of Vienna.
In Spiritus Loci Bert Daelemans, who graduated as an architect and a theologian, provides an interdisciplinary method for the theological assessment of church architecture. Rather than a theory, this method is based on case studies of contemporary buildings (1995-2015), which are often criticized for lacking theological depth. In a threefold method, the author brings to light the ways in which architecture can be theology – or theotopy – by focusing on topoi (places) rather than logoi (words). Churches reveal our relationship with God by engaging our body, mind, and community. This method proves relevant not only for the way we perceive these buildings, but also for the way we use them, especially in our prophetic engagement for a better world.
Known as the Big Eye the Oita Stadium is one of the chosen venues for the next World Cup in 2002. It can be used year-round for public events aided by its retractable roof.
When the German Embassy in Washington was completed in 1964, the architectural critic for the Washington Post wrote that the express aim of those commissioning the building had been to make an architectural statement that would embody the spirit of the young German democracy.
The Luxor is a significant milestone in the Suvre of Bolles + Wilson. As a major public building it pursues themes first tested in the 1993 new city library in Münster: a characteristic plan form, an intervention that redefines its context, and a synthesis of the abstract with a spatial warmth, an ambience that communicates directly and subliminally to a wide audience base. The architecture of this German/Australian duo does not fit easily into conventional architectural genres. Smallness, intimacy, and precise details characterise their work, just like an increasing number of urban interventions that have made a major impact on cities like Hengelo, The Hague or Magdeburg. The design of the Luxor Theatre, the process of its realisation, Bolles + Wilson's surrounding urban fields and, most importantly, the internal life in the building engendered by the architecture are fully presented in this book.
The building of religious structures represents a rare opportunity for the architect to concentrate on the creation of volume, space, and form. Sacred architecture is far less determined than other building tasks by functional requirements, norms, and standards. As a rule, it is free to unfold as pure architecture. Thus in design terms this building task offers enormous freedoms to the architect. At the same time, however, the special atmospherics of sacred spaces call, on the part of the architect, for a highly sensitive treatment of religion and the relevant cultural and architectural traditions. In a systematic section, this volume introduces the design, technical, and planning fundamentals of building churches, synagogues, and mosques. In its project section, it also presents about seventy realized structures from the last three decades. Drawing upon his in-depth knowledge of the subject and his many years of publishing experience, the author offers a valuable analysis of the conceptual and formal aspects that combine to create the religious impact of spaces (e.g., the ground plan, the shapes of the spaces, the incidence of light, and materiality).