Gerhard Steidl

The streetscapes of Istanbul as photographed by Nobel prize-winning novelist Orhan Pamuk in an exquisitely printed clothbound editionThe dominant color in Orhan Pamuk's new book of photographs is orange. When the Nobel-Prize-winning novelist is finished with the day's writing, he takes his camera and wanders through Istanbul's various neighborhoods, visiting the backstreets of his town, areas without tourists, spaces that seem neglected and forgotten, spaces with a particular light. This is the orange light of Istanbul's windows and streetlamps that Pamuk knows so well from his childhood--from the Istanbul of 50 years ago, as he mentions in his introduction. But Pamuk also observes that the homely, cosy orange light is slowly being replaced by a new, bright and icy white light from new lightbulbs. His photographs from the backstreets of Istanbul record and preserve the cosy effect of this old, disappearing orange light, as well as the recognition of this new white vision. Whether reflected in well-trodden snow, concentrated as a glaring ball atop a lamppost or subtly present as a diffuse haze, orange literally and aesthetically gives shape to Pamuk's pictures, which reveal to us the unseen corners of his home city.

On the centenary of Beuys' birth, a new edition of the classic book on his Free International University at Documenta 6Documenta, Kassel, 1977: a pump driven by two strong motors forces two tons of honey over a 55-foot-high pipe into a network of tubes that traverses the rooms of the Fridericianum Museum. This was the core of Joseph Beuys' (1921-86) "Free International University," which he brought to life at Documenta 6. Around his Honeypump in the Workplace Beuys created events that expanded his notion of art and starkly differentiated it from tradition. For Beuys, "workplace" meant talks, speeches, workgroup discussions and citizens' action committees. For 100 days he tirelessly expressed his ideas on how art and society must necessarily change, filling numerous blackboards with texts, diagrams and musical scores. On June 28, 1977, Beuys invited Klaus Staeck and Gerhard Steidl to join him in servicing and maintaining his honeypump, which was carefully documented in the photographs of this book, first published in 1997 and now reconceived by Staeck and Steidl.

German photographer Mat Hennek's unpeopled portraits of some of the world's most populous citiesIn Silent Cities, German photographer Mat Hennek (born 1969) presents portraits of some of the world's great cities--from New York, Los Angeles and London, to Tokyo, Munich and Abu Dhabi--yet all curiously lacking people. Conceived and constructed by man as vessels for human activity, these metropolises are transformed by Hennek into monuments of silence: empty, sometimes eerie sites for rituals of work and recreation that are yet to take place. Whether the shimmering windows of a Dallas office building, a lush Hong Kong garden of palms, blooms and fountains, the famed pastel terraced facades of Monaco or rows of trolleys outside the concrete bulk of Paris' Charles de Gaulle airport, Hennek's pictures demonstrate a consistent formal rigor and recast familiar environments as new sources for focus and reflection.

In Through the Lens of Faith, New York-based photographer Caryl Englander (born 1954) photographed subjects between the ages of 80 and 102, while writer Henri Lustiger Thaler (author of Witnessing Unbound, 2017), who has interviewed hundreds of Holocaust survivors, asked Englander's subjects to share their stories of Auschwitz, centering on the question of faith: how did it express itself in an environment that was its complete antithesis? Lustiger Thaler's careful arrangement of the survivors' voices presents their responses and narrates the brutality of everyday life in the concentration camp. Through the Lens of Faith is also realized as an exhibition designed by Daniel Libeskind, the renowned architect of memorial spaces including Berlin's Jewish Museum. Libeskind's moving design juxtaposes Englander's photos against the visceral entry to Auschwitz, creating confrontation between symbols of imprisonment and freedom.

Joseph Beuys (1921-1986) was photographed extensively during his life--at work, while traveling or at home. But only a few photographers had the privileged access and tenacity of Klaus Staeck and Gerhard Steidl. Graphic artist Staeck and printer/publisher Steidl accompanied Beuys with their cameras from 1970 until his death in 1986. Staeck and Steidl were part of Beuys' entourage, worked closely with him to produce his multiples and objects, and documented intimate aspects of the life of this unmatched artist-performer. These photos reveal Beuys' unique charismatic personality that influenced not only those he met, but society and art in general.

John Gossage, the renowned American photographer and photography book-maker, presents two companion volumes and his first ever books in color. Engaged in a dance, neither book comes first, there is no hierarchy or sequence to the pair of volumes. Gossage is one of the most literary of photographic book authors and in The Thirty-Two Inch Ruler, the narrative, whilst not autobiographical, is about a neighborhood in which he lives; one that is singular in the United States. At the same time provincial and international, it is a neighborhood populated by ambassadorial residences, embassies, and the lavish private homes of those who are in positions of power and influence in Washington. A project he began with the arrival of a new neighbor, the Secretary of Defense Donald Rumsfeld and made over a full year’s cycle of seasons, these are images from the drift of privilege. The streets, cars, homes and yards of this neighborhood are photographed on perfect spring or autumn days, with sparklingly clear blue skies, and flowers or foliage accenting the order. These are photographs about how one might wish the world to be, how beauty might be seen as desire. In the same year Gossage made the Map of Babylon, photographing digitally from Washington, to Germany, to China and places in-between. This look away, to places beyond the immediate and local, is a classic exploration of particulars of the outside world.

Dieses Buch wurde mitder Absicht geschrieben, Eigenschaften, Kennwerte, Formeln und Prinzipien bei Konstruktion und Berechnung von geschwei ten Aluminium- Konstruktionen zusammenzustellen. Es ist bestimmt als Arbeits- und Entschei- dungshilfe fiir den Ingenieur in der Praxis, aber auch als Lehrbuch fiir Studenten des konstruktiven I ngenieurbaus. Obwohl heute Aluminium nach Stahl das am meisten verwendete Metall ist, tragen Ausbildungsplane und -moglichkeiten diesem Zustand nur unzureichend Rechnung. Andererseits erscheint demnachst die Neufassung der DI N 4113 T1 und T2 "Alu- miniumkonstruktionen unter vorwiegend ruhender Belastung - Konstruktion und Berechnung". Der Schwerpunkt dieses Buches liegt dementsprechend in der Be- schreibung des Tragverhaltens geschwei ter Aluminiumbauteile sowie der Erlaute- rung und Erganzung entsprechender Richtlinien zur Bemessung und Gestaltung. Es wird keine enzyklopadische Darstellung samtlicher Daten iiber Aluminium vor- genommen. Hierzu gibt es sehr gute Nachschlagwerke mit einer Fiille von Informa- tionen iiber spezielle Gebiete. Es wird vielmehr versucht, den Erfordernissen der Lehre und der Anwendung in der Praxis in iibersichtlicher Weise zu entsprechen, wobei insbesondere Konstruktionen des Bauwesens betrachtet werden. Die be- schriebenen Eigenschaften, die Ausfiihrung und das Verhalten der geschwei ten Verbindungen, verschiedene Bemessungsregeln konnen jedoch im Prinzip fiir Kon- struktionen des Verkehrswesens sowie des Behalter- und Apparatebaus iibernom- men werden. Kapitel 1 stellt eine kurze Einleitung zum Thema der geschwei ten Aluminium- konstruktionen dar. Eine Beschreibung des Werkstoffes Aluminium, seines Gefiige- aufbaus, seiner Legierungen und des Halbzeugs fiir den konstruktiven I ngenieurbau sowie wichtige physikalische Eigenschaften sind im Kapitel 2 (G. Steidl) behandelt.