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Ein umfassender Überblick zu dem Werk des renommierten Londoner Architekten Tony Fretton (1945 geboren). Nach seinem Abschluss 1982 an der angesehenen Architectural Association hat Fretton sein eigenes Büro eröffnet. Erste Beachtung fand er mit der Lisson Gallery und dem Red House in London. Seine räumliche Gestaltung und die Einbindung in den städtischen Kontext sind von subtiler Meisterschaft. Mit seinem Entwurf für das Camden Arts Centre, dem Fugelsang Museum Dänemark, dem Londoner Stadthaus für den Künstler Ansih Kapoor und der britischen Botschaft in Warschau zählt Fretton zu den bekanntesten zeitgenössischen Architekten. Die vorliegende Monographie ist die erste umfassende Publikation zu seinem Oeuvre. Seit 1999 hat Fretton Gastprofessuren an verschiedenen Universitäten: Technical University Delft, Ecole Polytechnique Fédérale Lausanne, Berlage Institute Amsterdam, Harvard University Graduate School of Design, Eidgenössische Technische Hochschule (ETH) Zürich.

A set of reference prints were kept in the drawing studio, clamped together in a rack, and the original tracings were edge-bound and hung in a closed cabinet during the life of the project, before being archived somewhere else forever. In my own office a decade or so later, in the narrow living room of my apartment, we still produced and disseminated drawings in the same way, but in a very compressed manner and with an office culture consisting mainly of drinking powerful Bloody Marys on Friday evenings. The studio could be smaller, because everything was stored in a server that was the size of a small suitcase, then a briefcase and now a pencil case.

The work of Annette Desouza, London Metropolitan University School of Art, Architecture and Design as an entry on AJ Students Prize is presented. The singularity of Albertopolis stems from its dense amalgamation of residential, cultural and educational buildings, all in dialogue with each other. This informs the approach for an extension to the Royal College of Art in Kensington Gore. The proposal makes use of a demolished northern section of the urban block and is massed to create two courts - one within the existing and another enclosed from all sides to the south. This allows a separation of the studio/workshop and research programs.

Days in Moscow can make you enthusiastic -- for Constructivist buildings that had so much influence on the later modern movement, for Le Corbusier's Centrosoyuz, which was the definitive model for large government office buildings in the 20th century, but also for the pleasure of the classical city itself and its interplay with earlier architecture, Soviet public buildings and urban re-ordering. Between 1918 and 1930 there was an intense search for architecture to realise the public and cultural buildings that the state required. It was a search, or perhaps battle that was not just the privilege of architects, but also of the very highest political forces and personalities. Architectural ideas were strongly contested and new architectural schools thrived.