The paintings in this book depict 'object-type' - general yet specific, generic yet designed, familiar yet estranged. They are 'Purist' forms depicted in a still life landscape. The compositions employ overlap, convergence and diminution to imply depth resulting in the creation of the illusion of perspectival space. However, through the use of juxtaposition, superimposition and ambiguity of scale the perspectival effect is impaired. The result is a blurring of distinction between foreground and background that encourages a reading of pattern that reinforces the presence of the surface plane. A conflict is encouraged between the deep space and the shallow space - between the creation of implied space through perspective and the reinforcement of the surface plane through pattern. A multiple reading is fostered that rewards the careful observer.

Text in English and German. The Neues Haus, the new building for the Munchner Kammerspiele, is not a big building in any sense. The plot of land not far from Maximilian-strasse, whose greatest advantage is its proximity to Richard Riemerschmied's Schauspielhaus, is only about 1000 m2 in area. The most important quality of the design is in fact that it accepts the modesty of its role. The new building subordinates itself to the main Kammerspiele building, and manages without lavish foyers and extensive prestigious areas. The Neues Haus is a servant building, a place where work is done. A hasty passer-by would see the building simply as a white cube, reticent and introverted. Given the serene mastery of the brief and the architectural resources, one is almost inclined to call it a work of Peichl's old age, combining his love of clear volumes with a sovereign grasp of technical requirements. Like the silvery-sparkling ORF studios, the ground radio station in Styria and the liner-like phosphate elimination plant in Berlin before it, the Neues Haus is also crammed full of technology. It contains three stages, and two of them can be used at the same time. The largest playing area is elaborately equipped with gallery and under-stage; it is therefore intended as the main rehearsal area in future. The two large auditoriums are stacked one above the other like shoe-boxes and form a massive hollow core surrounded by all the service functions. The interior is dominated by a plainness that oscillates between poverty and asceticism. The corridors and foyers are narrow, the stairs simple, the interval areas positively sparse. The only opulent feature is the splendid technical equipment. Peichl's handwriting can be seen in the treatment of the details and his ingenious practice of self-quotation. Many of the motifs are reminiscent of earlier projects, and of course the typical portholes, spiral staircases and railings made of steel hawsers crop up again, all Peichl's usual maritime metaphors. In this way he has produced a building whose cool elegance reveals scarcely anything of its inner values.

The Werkgruppe Graz designed the terraced housing estate in Graz-St. Peter in 1965, during a period of societal upheaval. The complex was eventually built between 1972 and 1978. The planning group—members of the avant-garde artists’ association Forum Stadtpark—took a stand against the established system of residential construction, which was characterized by monotone design and the urban sprawl of single-family homes. Instead, they championed the utopian approach of involving residents in the planning process, which was reflected in the development’s basic structuralist framework with adaptable living units. Comprised of four terraced housing blocks in exposed concrete at the edge of Graz, the estate’s sculptural, brutalist appearance received international acclaim. Gelebte Utopie is the first book to provide a collection of texts of architectural commentary and context on the settlement. It additionally offers insights into the inhabitants’ living spaces and is enriched with artistic projects.

In 2006, Laurent de Wurstemberger founded the Atelier ar-ter in Carouge with two partners, and in 2011, along with the material scientist Rodrigo Fernandez, the company Terrabloc, which turns excavated material from construction sites into compacted clay blocks. In 2018, he opened his architectural practice in Geneva and has since completed a number of smaller, more sophisticated projects, including the renovation of a farm in Choully (GE). Text in English and German.

The HOK Design Annual 2019 highlights this leading global design firm's most exceptional recent work in architecture, interior design, planning, and urban design. The projects featured demonstrate the intersection between HOK's thought leadership in specialty areas - including aviation + transportation, healthcare, science + technology, sports, sustainable design and workplace - and its firm-wide commitment to research and design excellence. Geographically diverse, these projects represent a variety of scales and are technically advanced examples of how design can bring significant benefits to clients and the people who experience these spaces. The HOK Design Annual 2019 is a valuable global trends reference source for design professionals, students, and architecture enthusiasts. It provides insight into the creative process of the design teams creating society's next generation of buildings.

Florian Nagler's work is a veritable "recherche patiente", as his buildings have an experimental character. For instance the "research buildings" in Bad Aibling are exercises on what building with wood, plastered brick and concrete can each mean. The Wohnen am Dantebad housing development reinterprets the traditional pergola. Text in English and German.

Since 2002, Christian Dupraz has managed his own office in Geneva. Over the years, he has produced a dozen buildings, including abstract, sculptural residential architecture such as the "House for an Art Collector" in Geneva (2010) and the seemingly minimalist holiday home in Les Posses-sur-Bex (2015). Text in English, German and French.

A celebration of the wonderful creative intersection between the architecture of Peter Marino and the aesthetic of fashion-house Chanel - a behind-the-scenes look at the buildings designed by Marino for Chanel in Chicago, Hong Kong, Istanbul, Los Angeles, Nanjing, New York, Miami, Osaka, Seoul, Singapore, and Tokyo This stunning celebration of the 25-year collaboration between two remarkable legends - the fashion house Chanel and Peter Marino - through a stunning collection of buildings that Marino designed to elevate Chanel's luxury retail spaces to the realm of fine art. With more than 300 stunning images, including architectural plans and original sketches by Marino together with an introduction by New York Times and Architectural Digest contributor Pilar Viladas, an interview by creator of Pin-Up magazine Felix Burrichter, and project descriptions by local writers, each perfectly placed to discuss Marino's work in its geographical context, this book features all 16 Chanel buildings worldwide for which Marino designed both the buildings and interiors - from the USA to Asia. Through his dedication to his craft and expert devotion to Coco Chanel's vision and resolutely modern spirit, Marino has ushered Chanel into a new age, all while perfecting the always elusive art of the timeless in architecture and design.

David Chipperfield's new building for the Kunsthaus Zurich now stands in all its splendour on Zurich's Heimplatz, opposite the old museum building of 1910 designed by Karl Moser. Its opening to the public in October 2021 will make the Kunsthaus Zurich Switzerland's largest art museum. Following the two previous volumes on Kunsthaus Zurich's architectural history and the design for turning it into an art museum for the twenty-first century, this book documents the genesis of David Chipperfield's extension from proposal through political debates about the entire project to completed structure. It features a foreword by David Chipperfield and an essay by Christoph Felger, executive architect for the project at David Chipperfield Architects Berlin, that discusses the design concept, the promise made with it, and its fulfilment. A conversation between Christoph Felger, the director of the City of Zurich's Building Surveyor's Office Wiebke Roesler, and Kunsthaus Zurich's director Christoph Becker, and architecture critic Sabine von Fischer, as well as numerous illustrations and plans sound out this new volume. Text in French.

In 2001, Pascal Muller and Peter Sigrist, who died in 2012, founded their architectural office in Zurich. Their dynamism led them to construct two exceptional buildings in 2006 and 2007, which were highly regarded by experts: the municipal administration centre in Affoltern am Albis and the festival cabin in Amriswil, a concentric structure that fittingly reflects the atmosphere of a festive tent. Since then, several residential developments have followed, such as the coherent Frohheim estate in Zurich-Affoltern and the widely regarded Kalkbreite in Zurich, which was developed over a tram garage and was the result of a new cooperative concept. Public buildings such as the Kunstfreilager Dreispitz in Basel and the Volketswil community centre also attracted attention. This volume presents in detail 18 buildings and projects from the past 16 years, including texts, plans and images. A further 21 buildings are described with texts and one or two images in the list of works. The exciting presentation of works is complemented by illuminating essays by Sabine von Fischer (with interview sections), Ariel Huber and Kornel Ringli. Text in English and German.

Claude-Nicolas Ledoux (1736-1806) is today regarded as chief representative of French revolutionary architecture. With his extraordinary inventiveness he projected the architectural ideals of his era. Ledoux's influential buildings and projects are presented and interpreted both aesthetically and historically in this book. His best-known projects - the Royal Saltwords of Arc-et-Senans, the tollgates of Paris, the ideal city of Chaux - reveal the architect's allegiance to the principles of antiquity and Renaissance but also illustrate the evolution of his own utopian language. With the French Revolution, Ledoux ceased building as his contemporaries perceived him as a royal architect. He focused on the development of his architectural theory and redefined the vision of the modern architect.

The political climate of our time is being shaped by a dwindling ability to engage in public dialogue, putting democratic practices under increasing pressure. In order to counter the trend towards retreating into the realm of self-affirmation, we need new spaces in which public debate is not only tolerated but stimulated. With this in mind, students at RheinMain University of Applied Sciences designed centrally located salons in Berlin and Frankfurt/Main that could inspire interest in democratic engagement. In summer 2021, the German Architecture Museum will exhibit these designs. This book complements the exhibit with five essays by well-known authors, as well as a comic strip depicting a day in the life of the Salons of the Republic.

Gundula Zach and Michel Zund attracted initial attention in 2001 with their winning competition design for the prominent Sechseleutenplatz. Since 2000, the Zurich architects have won around 20 competitions, out of which they have developed housing and renovated school facilities with intelligence and an exceptional sense of architectural qualities. Text in English and German.

Powerful, memorable architecture in response to diverse conditions and briefs, conceived and developed by the Geneva architectural couple Kristina Sylla Widmann and Marc Widmann: this volume presents five school buildings and facilities with a high architectural quality, as well as several outstanding residential and administrative buildings. Text in English and German.

Faces of Power and Piety is the second in the Medieval Imagination series of small, affordable books that draw on manuscript illuminations in the collections of the J. Paul Getty Museum and the British Library. Each volume focuses on a particular theme to provide an accessible and delightful introduction to the imagination of the medieval world. The vivid and charming faces featured in this volume include portraits of both illustrious historical figures and celebrated contemporaries. They reveal that medieval artists often disregarded physical appearance in favor of emphasizing qualities such as power and piety, capturing how their subjects wished to be remembered for the ages. Faces of Power and Piety also looks at the development of portraiture in the modern sense during the Renaissance, when likeness became an important component of portrait painting. An exhibition of the same name will be on view at the J. Paul Getty Museum from August 12 through October 26, 2008.

The Studio for Immediate Spaces (SIS) is a two-year MA programme at Amsterdam's renowned Sandberg Instituut. It aims to explore and shape spatial practices on the genesis and production of contemporary spatial configurations. Through extensive field investigations, SIS works as a laboratory, testing ideas relevant to how we live today and how we could live tomorrow. Rural flatlands, suburbia and gritty city settings; Mediterranean shorelines and Alpine mountainscapes; open-pit mines and industrial legacies; abandoned buildings and unfinished infrastructures; harbours, airports and refugee camps: Such places were the sites of SIS's research and production between 2016 and 2019. Directed by Swiss architect Leopold Banchini, it embraced a truly global approach that crossed, and deliberately ignored, borders. This book offers a glimpse into this unique journey around the world. Illustrated with some 790 colour and black-and-white photographs, it features work produced collectively by participants in simultaneous roles of geographer, researcher, architect, urban planner and designer. Brief texts on each project and essays by Leopold Banchini and other SIS faculty, studio participants as well as by curator and writer Lukas Feireiss round out this exceptional documentation of forward-thinking higher education in spatial design.

Pierre-Emile Legrain (1889-1929) was a French bookbinder, framer, landscape designer, furniture designer, and interior architect. This is the first full-length monograph about him, exploring his life and his creations in every genre, and highlighting the formal links between his work as an ensemblier, bookbinder, and draftsman. Pierre Legrain is credited with revolutionising bookbinding in the early 20th century. In 1916 he was commissioned by the French bibliophile, couturier, and collector Jacques Doucet to design bindings for his extensive library. He created nearly 400 unique bindings for him, and numerous frames for Doucet's exceptional modern art collection - including a steel frame for Les Demoiselles d'Avignon - as well as a series of African-inspired furniture. He was a member of the UAM, whose logo he designed, and he associated with Andre Breton, Paul Eluard, Jean Cocteau, the sculptors Gustave Miklos and Henri Laurens, the painter Francis Picabia, and the milliner Jeanne Tachard for whom he designed a garden. His rare body of work - a hundred or so pieces of furniture and a few interiors - is dispersed today in museums and private collections throughout the world. Text in French.

The Architectural League Prize for Young Architects + Designers is an annual competition, series of lectures, exhibition, and publication organised by the Architectural League of New York. For more than 30 years the League Prize has recognised outstanding and provocative work by up-and-coming North American architects and designers. The 2019 competition theme, 'Just', asked entrants to consider the just in how they approach the practice of architecture, whether through experimentation in research and design advocacy or by advancing speculative and applied techniques within the discipline.

The two Bern architects Bernhard Aebi and Pascal Vincent have designed an impressive portfolio of works since 1996, including renovations of historical buildings such as the Bundeshaus in Bern, but also many residential and administrative buildings, mostly following competition successes and always achieving great architectural qualities. Text in English and German.

Text in English and German. Heinz Tesar's buildings occupy a very particular place on the Austrian architectural scene, which is anyway populated by a lot of individualists. There is a great deal of creative imagination at work here, which always operates outside the scope of modern routine. The town of Klosterneuburg, north of Vienna, has become something like an artistic home for Tesar. The Schomerhaus, an office building whose huge oval central hall leaves convention far behind, and the Protestant church, which has a rounded floor plan like a tear-drop, were now followed by the impressive museum he has built here to house 4000 objects from the private Essl collection, which includes the most important collection of Austrian art after 1945. The floor plan is based on a triangle. Above a storage floor that runs the whole length of the building three individually shaped architectural entities are grouped around a green courtyard. The elaborately orchestrated section of the building on the short leg of the triangle accommodates the entrance foyer, staircase, library, offices and a flat.The long side of the triangle contains the hall for temporary exhibitions extending over two storeys; on the lower floor it is glazed on the courtyard side, and in the upper storey it is lit partly from the side and partly from the skylights in the slightly undulating roof. The hypotenuse is made up of a sequence of parallel galleries; they are topped by lanterns, which admit a great deal of daylight. Finally, Tesar gives the cubic building an organic touch with a curved flourish at the tip of the triangle. Following Gehry and Zumthor, who have recently made important contributions to the theme of art museums, Tesar is now offering a variant that responds very physically to its surroundings, creating individual spaces with a variety of light.

Text in English and German. As in 2001, during the 2002 Cologne International Furniture Fair three internationally known designers squeezed themselves into the town's best known building between buildings. There they presented their ideas on the subject of 'expanding the gap'. From Tokyo came the idea of expanding the exhibition space with an installation to make it snow. Designer Tokujin Yoshioka had 18 kilos of down whirled up by fans at the end of the room to create an everlasting blizzard, and the largest snowball of the year. -- In order to burst through the austere geometry of the exhibition building, projections from lava lamps from the London-based designer Ross Lovegrove covered the greater part of the interior. The coloured, gently moving bubbles created in these lamps by heat caused the sharp contours and hard black and white contrasts of the ceilings and walls to melt and flow. -- Greg Lynn from Los Angeles installed an over-dimensioned, organic sculpture on one of the side walls. It reached out well into the room, and so the visitors were obliged to squeeze past it and search on the other side for space.