This volume is presents a comprehensive survey on an Austrian architect.

Modernity was critically important to the formation and evolution of landscape architecture, yet its histories in the discipline are still being written. This book looks closely at the work and influences of some of the least studied figures of the era: established and less well-known female landscape architects who pursued modernist ideals in their designs. The women discussed in this volume belong to the pioneering first two generations of professional landscape architects and were outstanding in the field. They not only developed notable practices but some also became leaders in landscape architectural education as the first professors in the discipline, or prolific lecturers and authors. As early professionals who navigated the world of a male-dominated intellectual and menial work force they were exponents of modernity. In addition, many personalities discussed in this volume were either figures of transition between tradition and modernism (like Silvia Crowe, Maria Teresa Parpagliolo), or they fully embraced and furthered the modernist agenda (like Rosa Kliass, Cornelia Oberlander). The chapters offer new perspectives and contribute to the development of a more balanced and integrated landscape architectural historiography of the twentieth century. Contributions come from practitioners and academics who discuss women based in USA, Canada, Brazil, New Zealand, South Africa, the former USSR, Sweden, Britain, Germany, Austria, France and Italy. Ideal reading for those studying landscape history, women’s studies and cultural geography.

This book deals with planning issues in landscape architecture, which start at the evaluation of the existing fabric of society, its history and memory, approached and conserved through photography, film and scenographic installations, a way in which the archetypes can be investigated, be it industrial derelict sites or already green spaces and cultural landscapes. It provides approaches to intervention, through rehabilitation and upgrade, eventually in participative manner. To such evaluation and promotion a couple of disciplines can contribute such as history of art, geography and communication science and of course (landscape) architecture. The field of landscape architecture reunites points of view from such different disciplines with a view to an active approach a contemporary intervention or conservation. The book presents case studies from several European countries (Romania, Germany, Austria, Italy, Portugal) mostly for large landscape in the outskirts of the cities and in the parks.

The Design Dialogue anthology is a remarkable exploration of the decisive role of Jewish patrons, professionals, architects, designers and authors in shaping modern Viennese architecture, design, and material culture. Leading cultural historians, museum curators, art historians, and architects present cutting edge research examining how famous and less known protagonists created new cultural languages, identifications and networks, engaged in social debates, and contributed to the cultural renewal of Vienna, a major capital in Central Europe, between 1800 and 1938.

Volume 18 in the series Yearbook of the Research Centre for German and Austrian Exile Studies is entitled Exile and Gender II: Politics, Education and the Arts. It is edited by Charmian Brinson, Jana Barbora Buresova and Andrea Hammel, and is intended as a companion volume to Volume 17, which focused on literature and the press. This new volume considers the life and work of exiled women politicians, academics and artists, among others, examining the ways – both positive and negative - in which their exile affected them. The sixteen contributions, which are in English or German, set out to throw new light on aspects of gendered relations and experiences of women in exile in Great Britain and Ireland. Contributors are: Jana Barbora Buresova, Rachel Dickson, Inge Hansen-Schaberg, Gisela Holfter, Hadwig Kraeutler, Ulrike Krippner, Dieter Krohn, Gertrud Lenz, Bea Lewkowicz, Sarah MacDougall, John March, Iris Meder, Irene Messenger, Merilyn Moos, Felicitas M. Starr-Egger, Jennifer Taylor, Gaby Weiner.

A "Century of Austrian Design” offers a highly accessible overview of Austrian design culture from 1900 to the present against the background of the country’s extremely turbulent industrial history. In the process, the key aspects are explained in essays by celebrated experts. The book attempts to delineate a specifically "Austrian” formal language, citing as examples specific achievements in historical and contemporary design. As it does so, it also sheds light on other defining moments of Austria’s design culture, including the enormous potential of its inventors, the phenomenon of semi-industrial manufacturing, and the innovative design solutions advanced by the Austrian sporting goods industry. A yellow pages section with selected design addresses rounds off the volume.

A bold and passionate re-examination of New Zealand political history by a leading social commentator. The way some histories tell it, Europeans came to New Zealand keen to establish a Little Britain in the South Seas. Not so, says Chris Trotter. Most nineteenth century immigrants wanted something better than the misery and oppression of the world they had left, and Trotter reveals just how close they and their descendants came to building a new one. On each occasion, however, their achievements were resisted, and ultimately overturned, by those who saw New Zealand simply as a source of profits. Trotter pulls no punches in describing the methods these partisans of profit used to ensure there was no Left turn: jamming radio broadcasts, political arson - even murder. From Massey's Cossacks to Muldoon's riot squads; violence and repression have been the Right's weapons - not the Left's. Charting the evolution of New Zealand's unique brand of democratic socialism, Trotter offers insightful and often surprising verdicts on the leading participants, including John A Lee, Peter Fraser, Fintan Patrick Walsh, David Lange and Helen Clark. Passionately argued, infused with poetic imagery and comprehensively researched, No Left Turn is a unique and indispensable contribution to our political and social history - an inspiration for anyone who puts money second and people first, and a deliberate provocation to everyone else.

With contributors drawn from a broad range of disciplines, The Modern Period Room brings together a carefully selected collection of essays to consider the interiors of the modern era and their more recent reconstructions from a variety of different viewpoints. Contributions from leading design historians, architects and curators of the history of the domestic interior in the UK engage with the issues and conventions surrounding the modern period room to expose the conflicting tensions that lie beneath the conceptual and physical strategy of the modern period room's representational technique. Exploring themes and examples by prestigious architects, such as Ernö Goldfinger, Truus Schroeder and Gerrit Rietveld, the authors reveal the specific coding of presented interior spaces. This illustrated new take on the historiography of twentieth century show interiors enables historians and theorists of architecture, design and social history to investigate the contexts in which this representational device has been used.

The title of the book sets the two fields of activity pursued by the architect, architectural historian and theorist August Sarnitz – building and writing – in a reciprocal relation: the context to what has been built emerges in the process of writing, just as the context to what has been written emerges in the process of building. The structure of the book follows precisely this reciprocity: an essay about architectural history and Big Data is followed by three on the topics of urban development, social housing, and the fiction of space. A number of influential Viennese architects appear as well: Frank, Kiesler, Hollein and Prix. The topics of housing, design and furniture are all illustrated with Sarnitz’s own projects; the end of the book is dedicated to architectural photography, which is especially important to Sarnitz in his capacity as publicist. The richly illustrated book is the first to document Sarnitz’s work as author, designer, exhibition designer, architect and photographer.

In 1946 a group of students and idealists got together to realize their visions for a modern city. Over the following half century, the Architectural Centre they founded helped shape the possibilities of modern life in urban New Zealand and profoundly influenced the remaking of the capital city of Wellington. More than just an association of architects, the Centre furthered education, published a magazine—Design Review—hosted modernist exhibitions in its gallery, staged an audacious campaign for political influence called &“the Project,&” and fought for better planning, better design, and better built environments in Wellington. Charting these activists and their projects over the years, Julia Gatley and Paul Walker also offer a history of urban Wellington from the 1940s to the 1990s and beyond. The book reminds us that, in modernist ideology, architecture and urban planning went hand-in-hand with visual and craft arts, graphic and industrial design. In recovering the multidisciplinary history, politics, and planning of the Architectural Centre, Gatley and Walker begin writing the city back into the history of architecture in New Zealand.