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Joost Meuwissen, 'The Architect as an Exile. Introduction'. [Translated by Nicole van den Hurk,] Raoul Bunschoten: The Skin of the Earth. Arkitekturtidsskrift B, No. 49. Edited by Gilbert Hansen and Peter Mandal Hansen, translated by Thomas Birket-Smith, Orla Vigsø, Nicole van den Hurk (Aarhus: Arkitekturtidsskrift B, 1992), 4-9.

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The Architect as an Exile

Introduction by Joost Meuwissen

Perhaps because architecture is international or at least in its forms not ...

Joost Meuwissen, 'Houses of desire'. [Translated by John Rudge,] Archis, 8.1993, August (Doetinchem: Misset Bouw, [1993]), 64-80.

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Houses of desire

Joost Meuwissen

A free-standing house can be an attractive assignment for an architect these days because no collectivity, nothing of discipline and punish needs to be expressed. Once thought through to the end, it can be a 'house with no style'[i], i.e. its style is both free and general and coincides with architecture as art. It can be designed as a ...

Joost Meuwissen, ‘Growth of Knowledge in Architecture’, Piso 01 ciudad al ras. Revista de arquitectura y cultura urbana (Guadalajara, Jal.: Taller Piso, [2003]), 78-80

Joost Meuwissen, ‘Growth of Knowledge in Architecture’, Autonomous Architecture and the Project of the City. Oase No. 62 – Architectural Journal ([Rotterdam]: Nai Publishers, 2003), 6-18

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Growth of Knowledge in Architecture

Joost Meuwissen

In ...

Joost Meuwissen, ‘Berlin Voids. Ich bin kein Berliner’. Translated by Peter Mason, Wiederhall 16. Towards a Supple Geometry. Edited by Matthijs Bouw and Joost Meuwissen (Amsterdam: Wiederhall Foundation, 1994), 60-63.

Berlin Voids. Ich bin kein Berliner.

Joost Meuwissen

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Two years ago the Europan-2 competition in Berlin was won by Winy Maas, Jacob van Rijs and Nathalie de Vries. This success - and the flood of commissions which it brought ...

Holz in der Stadt

Joost Meuwissen

Wie Holz in der Stadt auch gestaltet wird, es bleibt ein intimes Material, wie die Kleidung der Leute auf der Strasse. Das Holz ist wie ein Mensch, der gewachsen ist, und den man begegnet, grüsst, oder mit Miβtrauen anguckt. Es hat sowohl mit der natürlichen Nervatur des Materials an sich, seine Haptik, wie auch mit einer persönlichen Bekanntheit dessen der Möbel, des Bodens, der Decken, Fenster, Türen und Dachboden in der eigenen Wohnung zu tun, die man wie die Gardinen öffnet, schliesst, und pflegt. Diese ...