Klaus Leuschel Novedades

Those looking for great and inspiring engineering solutions need to have an almost naive belief that anything is possible.

Respected design critic and curator Klaus Leuschel pays a personal tribute to the Baghdad-born architect who, despite her non-establishment profile, would go on to become one of industry’s most influential and paradigm-shifting grandees.

The awards ceremony for this year’s Design Prize Switzerland (Design Preis Schweiz) in Langenthal on 30 October will conclude the scheme’s 13th edition. Thanks to the ‘diversified competition structure’ (as the organisers put it), the current

Ever since Norman Foster's game-changing Stansted Airport was completed almost 25 years ago, it's been full throttle for London's high-tech architects, with their aviation-celebrating terminals around the globe themselves been celebrated for their

Ab dem 25. Oktober wird im Museum Marta Herford die Ausstellung »Die Brüder Rasch und ihre Im­pulse für die moderne Architektur« zu sehen sein, an deren Vorbereitung ich mit einem ungeheuer engagierten Team unter Roland Nachtigäller, dem

‘The people did not like St Paul’s. They were against the Eiffel Tower. They liked neither the Sydney Opera House nor the Centre Pompidou. But today, millions of photos of these buildings are sent around the world via e-mail and by phone.’ (Jan

Among the numerous signs that one's status as a grandee of architecture has been secured is having a big survey exhibition at Paris's Pompidou Centre. Architonic uses the current Bernard Tschumi retrospective as an opportunity to reflect on the Swiss

Journalist Klaus Leuschel provides a crash course in, and a guided tour of, grand hotels, and how even design excellence in the five-star tradition is of no avail when the quality of hospitality does not match it.

The world of Madelon Vriesendorp in the Swiss Architecture Museum

If not entirely forgotten, so far the oeuvre of the Lausanne architect Jean Tschumi has at least been known for the most part only to insiders. This is no accident, in that post-war modernism has suffered from the popularity of classical modernism