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Gunnar Birkerts
The building of the National Library of Latvia is a landmark of the capital city of Riga, a spatial symbol and architectural icon, created by one of the 20th century renowned modernists--the Latvian-born American architect Gunnar Birkerts. It is one of the largest cultural buildings in Northern Europe in the 21st century and acquired a symbolic and meaningful name: The Castle of Light. The pyramidal structure which rises 68 meters high is a place of cognition equipped with state-of-the-art technology where up to 8 million units of national printed materials can be stored.
Metaphoric Modernist
Latvian-born architect Gunnar Birkerts belongs to the second wave of modernists who arrived in the United States from abroad, a group that includes Kevin Roche and Cesar Pelli among others. This work presents his cultural perspectives as well as his family insights to bear, offering a unique portrait of a life and career. Latvian-born architect Gunnar Birkerts belongs to the second wave of modernists who arrived in the United States from abroad, a group that includes Kevin Roche and Cesar Pelli among others. Educated at the Technische Hochschule in Stuttgart, Birkerts worked first with Eero Saarinen in his now-legendary office in Bloomfield Hills, Michigan, and later was chief designer for M...
Gunnar Birkerts
Gunnar Gunivaldis Birkerts was born in Riga, Latvia on January 17, 1925. At the end of World War II, he fled Latvia ahead of the advancing Soviet Army and made his way to Germany. He received diplomas in engineering and architecture from Stuttgart's technical university. He emigrated to the United States in 1949. He worked for the Chicago firm Perkins & Will for two years before joining Eero Saarinen's firm. In 1956, he joined Yamasaki, Leinweber & Associates. In 1959, he and his colleague Frank Straub formed their own firm, Birkerts & Straub. In 1963, he started his own firm, Gunnar Birkerts & Associates. He designed the Contemporary Arts Museum in Houston, the Federal Reserve Bank in Minneapolis, the American embassy in Caracas, and the Latvian National Library in Riga. He taught architecture at the University of Michigan from 1959 to 1990. He wrote several books including Subterranean Urban Systems, Gunnar Birkerts: Buildings, Projects, and Thoughts, 1960-1985, and Process and Expression in Architectural Form. In 1981, he received the Arnold W. Brunner Memorial Prize in Architecture. He died on August 15, 2017 at the age of 92. (Bowker Author Biography).
The Architecture of Gunnar Birkerts
Gunnar Birkerts has designed some of America's most innovative and distinctive architecture. A member of the Modern Movement's postwar generation, he has shown that modernism can accommodate lyrical, emotional, dynamic, and regional influences within its abstract construct. His design concepts, which grow from the individual character of site and client, defy stylistic categorization. Over his career he has won more than fifty major awards. The Architecture of Gunnar Birkerts not only presents the architects work, but also explores the influences of his background, design methodology, and philosophy on his buildings. -- from book flap.
Process and Expression in Architectural Form
Generously illustrated with concept development sketches as well as site plans, section drawings, full schematics, and photographs of finished buildings, this engaging volume focuses on "organic synthesis," the creative process that is architect Gunnar Birkerts's methodology and philosophy. Birkerts likens his organic approach to listening to music: the music must be heard as it unfolds; an attempt to perceive it all at once would reduce it to noise. Organic synthesis occurs as all aspects of a project present themselves: the building site, the building program and budget, available materials and technologies, emotional or intuitive content revealed through architect-client interaction.
Domino's Mansion
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An Architecture of Immanence
Torgerson begins by discussing God's transcendence and immanence and showing how church architecture has traditionally interpreted these key concepts. He then traces the theological roots of immanence's priority from liberal theology and liturgical innovation to modern architecture. Next, Torgerson illustrates this new architecture of immanence through particular practitioners, focusing especially on the work of theologically savvy architect Edward Anders Sövik. Finally, he addresses the future of church architecture as congregations are buffeted by the twin forces of liturgical change and postmodernism.
