Does contemporary German architecture have anything to offer to the larger architectural community? Can architects born in the 50s and 60s produce, so soon in their careers, buildings taht deserve international acclaim? Klaus-Dieter Weiss, a leading expert and critic on current architectural practice in Germany, has confronted these questions. This survey of architectural practice in Germany is a aresult of extensive research and critical selection and exemplifies the new and remarkable tendencies re-emerging in German architecture. The following offices are represented with their recent and important work: -Albers, Berlin -Allmann, Sattler, Wappner, Munich -Augustin, Frank, Berlin -Cheret, Bozic, Stuttgart -Goritz, Hanover -Hild, Kaltwasser, Munich -Mensing, Sedler, Darmstadt -Roth, Hamburg -Scheuring, Hannibal -Scheuring, Cologne -Schneider, Stuttgart -Spengler, Wiescholek, Hamburg -Turkali, Frankfurt

For more information including the introduction, a full list of entries and contributors, a generous selection of sample pages and more, visit the Encyclope dia of 20th Century Architecture website. Focusing on architecture from all regions of the world, this three-volume set profiles the twentieth century's vast chronicle of architectural achievements, both within and well beyond the theoretical confines of modernism. Unlike existing works, this encyclopedia examines the complexities of rapidly changing global conditions that have dispersed modern architectural types, movements, styles, and building practices across traditional geographic and cultural boundaries.

This volume contains eighteen articles dealing with the "reception" of Classical art and architecture in the Scandinavian countries, mainly Denmark, from the Renaissance onwards. This volume is the publication of an interdisciplinary seminar held at the University of Copenhagen 1988 with the participation of archaeologists and art historians.

Andr Poitiers' adventure in design has been one of experimentation, an experimentation in which he has pursued difficult objectives and pushed himself to the edge of known territory. The expertise is there, acquired in the studio of Norman Foster, but his dream has invaded the territory of architecture and generated intentionally provocative figures. Poitiers picked his own, original way, driven by futuristic and iconoclastic impetus. Technology and New Pop seem to have been the hardware and software of his path. The most recent goal on Poitiers' journey is Plasma, the liquid, organic and living material, liable to alter in relation to functional and environmental factors. Poitiers' unusual and individual approach to designing is reflected in the graphics and presentation of the book.