Our collection contains stored memories. These are items that we have personally collected and include a herbarium, a large number of photographs and a great diversity of materials. They are complemented by other excursions into areas of knowledge that interest us.
Collection
Exhibitions
Museum für Gestaltung, 2019
The Best of 2019 in the category landscaping
In the context of Die Besten [The Best of 2019] awards in the category landscaping, Ganz Landscape Architects have been given the opportunity to display the Gold Rabbit trophy at the Museum für Gestaltung Zürich, the leading Swiss museum for design and visual communication. The 2019 trophy was awarded by the magazine Hochparterre for the Krämeracker school complex project in Uster. In a glass display case, the thematic priorities of the landscaping design of the school grounds will be shown. The display will focus on the variety of and strong contrasts in the different materials. Birds and insects added to the display will point out the ecological aspect of the Krämeracker school complex in Uster.
The Best of 2019 in the category landscaping
In the context of Die Besten [The Best of 2019] awards in the category landscaping, Ganz Landscape Architects have been given the opportunity to display the Gold Rabbit trophy at the Museum für Gestaltung Zürich, the leading Swiss museum for design and visual communication. The 2019 trophy was awarded by the magazine Hochparterre for the Krämeracker school complex project in Uster. In a glass display case, the thematic priorities of the landscaping design of the school grounds will be shown. The display will focus on the variety of and strong contrasts in the different materials. Birds and insects added to the display will point out the ecological aspect of the Krämeracker school complex in Uster.
The Best of 2019 in the category landscaping
In the context of Die Besten [The Best of 2019] awards in the category landscaping, Ganz Landscape Architects have been given the opportunity to display the Gold Rabbit trophy at the Museum für Gestaltung Zürich, the leading Swiss museum for design and visual communication. The 2019 trophy was awarded by the magazine Hochparterre for the Krämeracker school complex project in Uster. In a glass display case, the thematic priorities of the landscaping design of the school grounds will be shown. The display will focus on the variety of and strong contrasts in the different materials. Birds and insects added to the display will point out the ecological aspect of the Krämeracker school complex in Uster.
The Best of 2019 in the category landscaping
In the context of Die Besten [The Best of 2019] awards in the category landscaping, Ganz Landscape Architects have been given the opportunity to display the Gold Rabbit trophy at the Museum für Gestaltung Zürich, the leading Swiss museum for design and visual communication. The 2019 trophy was awarded by the magazine Hochparterre for the Krämeracker school complex project in Uster. In a glass display case, the thematic priorities of the landscaping design of the school grounds will be shown. The display will focus on the variety of and strong contrasts in the different materials. Birds and insects added to the display will point out the ecological aspect of the Krämeracker school complex in Uster.
The Best of 2019 in the category landscaping
In the context of Die Besten [The Best of 2019] awards in the category landscaping, Ganz Landscape Architects have been given the opportunity to display the Gold Rabbit trophy at the Museum für Gestaltung Zürich, the leading Swiss museum for design and visual communication. The 2019 trophy was awarded by the magazine Hochparterre for the Krämeracker school complex project in Uster. In a glass display case, the thematic priorities of the landscaping design of the school grounds will be shown. The display will focus on the variety of and strong contrasts in the different materials. Birds and insects added to the display will point out the ecological aspect of the Krämeracker school complex in Uster.
The Best of 2019 in the category landscaping
In the context of Die Besten [The Best of 2019] awards in the category landscaping, Ganz Landscape Architects have been given the opportunity to display the Gold Rabbit trophy at the Museum für Gestaltung Zürich, the leading Swiss museum for design and visual communication. The 2019 trophy was awarded by the magazine Hochparterre for the Krämeracker school complex project in Uster. In a glass display case, the thematic priorities of the landscaping design of the school grounds will be shown. The display will focus on the variety of and strong contrasts in the different materials. Birds and insects added to the display will point out the ecological aspect of the Krämeracker school complex in Uster.
Architektur Galerie Berlin, 2016
Photo: Jan Bitter
For the Edelaar Mosayebi Inderbitzin – Garten exhibition by Edelaar Mosayebi Inderbitzin Architekten (EMI) at Architektur Galerie Berlin, Daniel Ganz developed the concept behind the exhibition in close collaboration with the architects.
The garden as an exterior space was set up in an interior space. This ambivalence was spelled out in the exhibition as a means to evoke images and ideas that are connected with the experience of architecture. Looking around in the exhibit, you saw lush vegetation like that in a park landscape. You heard the sounds of birds and, as you walked, the crunching of gravel under your feet. All that, along with the scent of the plants helped to create an illusion: The staged garden seemed deceptively real.
The Edelaar Mosayebi Inderbitzin – Garten exhibition ran from 3 November to 17 December 2016.
Photo: Jan Bitter
For the Edelaar Mosayebi Inderbitzin – Garten exhibition by Edelaar Mosayebi Inderbitzin Architekten (EMI) at Architektur Galerie Berlin, Daniel Ganz developed the concept behind the exhibition in close collaboration with the architects.
The garden as an exterior space was set up in an interior space. This ambivalence was spelled out in the exhibition as a means to evoke images and ideas that are connected with the experience of architecture. Looking around in the exhibit, you saw lush vegetation like that in a park landscape. You heard the sounds of birds and, as you walked, the crunching of gravel under your feet. All that, along with the scent of the plants helped to create an illusion: The staged garden seemed deceptively real.
The Edelaar Mosayebi Inderbitzin – Garten exhibition ran from 3 November to 17 December 2016.
Photo: Jan Bitter
For the Edelaar Mosayebi Inderbitzin – Garten exhibition by Edelaar Mosayebi Inderbitzin Architekten (EMI) at Architektur Galerie Berlin, Daniel Ganz developed the concept behind the exhibition in close collaboration with the architects.
The garden as an exterior space was set up in an interior space. This ambivalence was spelled out in the exhibition as a means to evoke images and ideas that are connected with the experience of architecture. Looking around in the exhibit, you saw lush vegetation like that in a park landscape. You heard the sounds of birds and, as you walked, the crunching of gravel under your feet. All that, along with the scent of the plants helped to create an illusion: The staged garden seemed deceptively real.
The Edelaar Mosayebi Inderbitzin – Garten exhibition ran from 3 November to 17 December 2016.
Photo: Jan Bitter
For the Edelaar Mosayebi Inderbitzin – Garten exhibition by Edelaar Mosayebi Inderbitzin Architekten (EMI) at Architektur Galerie Berlin, Daniel Ganz developed the concept behind the exhibition in close collaboration with the architects.
The garden as an exterior space was set up in an interior space. This ambivalence was spelled out in the exhibition as a means to evoke images and ideas that are connected with the experience of architecture. Looking around in the exhibit, you saw lush vegetation like that in a park landscape. You heard the sounds of birds and, as you walked, the crunching of gravel under your feet. All that, along with the scent of the plants helped to create an illusion: The staged garden seemed deceptively real.
The Edelaar Mosayebi Inderbitzin – Garten exhibition ran from 3 November to 17 December 2016.
Photo: Jan Bitter
For the Edelaar Mosayebi Inderbitzin – Garten exhibition by Edelaar Mosayebi Inderbitzin Architekten (EMI) at Architektur Galerie Berlin, Daniel Ganz developed the concept behind the exhibition in close collaboration with the architects.
The garden as an exterior space was set up in an interior space. This ambivalence was spelled out in the exhibition as a means to evoke images and ideas that are connected with the experience of architecture. Looking around in the exhibit, you saw lush vegetation like that in a park landscape. You heard the sounds of birds and, as you walked, the crunching of gravel under your feet. All that, along with the scent of the plants helped to create an illusion: The staged garden seemed deceptively real.
The Edelaar Mosayebi Inderbitzin – Garten exhibition ran from 3 November to 17 December 2016.
Photo: Jan Bitter
For the Edelaar Mosayebi Inderbitzin – Garten exhibition by Edelaar Mosayebi Inderbitzin Architekten (EMI) at Architektur Galerie Berlin, Daniel Ganz developed the concept behind the exhibition in close collaboration with the architects.
The garden as an exterior space was set up in an interior space. This ambivalence was spelled out in the exhibition as a means to evoke images and ideas that are connected with the experience of architecture. Looking around in the exhibit, you saw lush vegetation like that in a park landscape. You heard the sounds of birds and, as you walked, the crunching of gravel under your feet. All that, along with the scent of the plants helped to create an illusion: The staged garden seemed deceptively real.
The Edelaar Mosayebi Inderbitzin – Garten exhibition ran from 3 November to 17 December 2016.
École Polytechnique Fédérale de Lausanne, 2012
Reading Nature
This exhibition of students' planning projects did mark the conclusion of Daniel Ganz's visiting professorship at the EPFL Department of Architecture. Photographs, "stocktakings", models, and plans, complemented by finds collected by the students on walks through the Lac de Sauvabelin area, have been on exhibition at the EPFL Foyer SG from 17 April to 5 May 2012. An exhibition publication entitled, 'Reading Nature', is available.
Reading Nature
This exhibition of students' planning projects did mark the conclusion of Daniel Ganz's visiting professorship at the EPFL Department of Architecture. Photographs, "stocktakings", models, and plans, complemented by finds collected by the students on walks through the Lac de Sauvabelin area, have been on exhibition at the EPFL Foyer SG from 17 April to 5 May 2012. An exhibition publication entitled, 'Reading Nature', is available.
Photo: Cyril Vaillon
Reading Nature
This exhibition of students' planning projects did mark the conclusion of Daniel Ganz's visiting professorship at the EPFL Department of Architecture. Photographs, "stocktakings", models, and plans, complemented by finds collected by the students on walks through the Lac de Sauvabelin area, have been on exhibition at the EPFL Foyer SG from 17 April to 5 May 2012. An exhibition publication entitled, 'Reading Nature', is available.
Reading Nature
This exhibition of students' planning projects did mark the conclusion of Daniel Ganz's visiting professorship at the EPFL Department of Architecture. Photographs, "stocktakings", models, and plans, complemented by finds collected by the students on walks through the Lac de Sauvabelin area, have been on exhibition at the EPFL Foyer SG from 17 April to 5 May 2012. An exhibition publication entitled, 'Reading Nature', is available.
Reading Nature
This exhibition of students' planning projects did mark the conclusion of Daniel Ganz's visiting professorship at the EPFL Department of Architecture. Photographs, "stocktakings", models, and plans, complemented by finds collected by the students on walks through the Lac de Sauvabelin area, have been on exhibition at the EPFL Foyer SG from 17 April to 5 May 2012. An exhibition publication entitled, 'Reading Nature', is available.
Culinarium
Cooking literature
Gargantua and Pantagruel
The Life of Gargantua and of Pantagruel
is a pentalogy of novels written in the 16th century by François Rabelais
Carl Friedrich von Rumohr
Vom Geist der Kochkunst
Brillat-Savarin
The Physiology of Taste
Aphorisms of the professor
1. The universe would be nothing were it not for life and all that lives must be fed.
2. Animals fi ll themselves; man eats. The man of mind alone knows how to eat.
3. The destiny of nations depends on the manner in which they are fed.
4. Tell me what kind of food you eat, and I will tell you what kind of man you are.
5. The Creator, when he obliges man to eat, invites him to do so by appetite, and rewards him by pleasure.
6. Gourmandise is an act of our judgment, in obedience to which, we grant a preference to things which
are agreeable, over those which nave not that quality.
7. The pleasure of the table belongs to all ages, to all conditions, to all countries, and to all aeras; it mingles
with all other pleasures, and remains at last to console us for their departure.
8. The table is the only place where one does not suff er, from ennui during the fi rst hour.
9. The discovery of a new dish confers more happiness on humanity, than the discovery of a new star.
10. Those persons who suff er from indigestion, or who become drunk, are utterly ignorant of the true
principles of eating and drinking.
11. The order of food is from the most substantial to the lightest.
12. The order of drinking is from the mildest to the most foamy and perfumed.
13. To say that we should not change our drinks is a heresy; the tongue becomes saturated, and after
the third glass yields but an obtuse sensation.
14. A dessert without cheese is like a beautiful woman who has lost an eye.
15. A cook may be taught, but a man who can roast, is born with the faculty.
16. The most indispensable quality of a good cook is promptness. It should also be that of the guests.
17. To wait too long for a dilatory guest, shows disrespect to those who are punctual.
18. He who receives friends and pays no attention to the repast prepared for them, is not fi t to have friends.
19. The mistress of the house should always be certain that the coff ee be excellent; the master that his
liquors be of the fi rst quality.
20. To invite a person to your house is to take charge of his happiness as long as he be beneath your roof.
James Gillray
James Gillray
(1756-1815) was the leading caricaturist of his time,
an artist of outstanding inventiveness who continues to influence satirists today.
The King sits in an armchair in profile to the left, bending forward to eat a boiled egg,
holding the egg-cup in his left hand. Opposite him, and partly concealed by the left
margin, sits the Queen, avidly stuffing salad into her mouth. On the small round table
are a bowl of salad and two jugs or oil and vinegar. Everything in the room denotes.
The Art of Eating
“Probably one of the most private things in the world is an egg before it is broken.”
M.F.K. Fisher
“No yoga exercise, no meditation in a chapel filled with music will rid you of your
blues better than the humble task of making your own bread.”
M.F.K. Fisher
“It seems to me that our three basic needs, for food and security and love, are so
mixed and mingled and entwined that we cannot straightly think of one without
the others. So it happens that when I write of hunger, I am really writing about love
and the hunger for it, and warmth and the love of it and the hunger for it… and then
the warmth and richness and fine reality of hunger satisfied… and it is all one.”
M.F.K. Fisher
Gastronoptikum
Daniel Spoerri
Gastronomical Diary
Daniel Spoerri
Cooked
A Natural History of Transformation
`When chopping onions, just chop onions.`
`Cooking is all about connection, I've learned, between us and
other species, other times, other cultures (human and microbial both),
but, most important, other people. Cooking is one of the more beautiful
forms that human generosity takes; that much I sort of knew. But the
very best cooking, I discovered, is also a form of intimacy.`
Michael Pollan
Video
David Lynch
David Lynch on Cooking Quinoa
Puntarelle salad
Recipe `Puntarelle salad`
Recipe `Puntarelle salad`
Recipe `Puntarelle salad`
Recipe `Puntarelle salad`
Recipe `Puntarelle salad`
Lime Mascarpone Cream
Recipe `Lime Mascarpone Cream`
Recipe `Lime Mascarpone Cream`
Recipe `Lime Mascarpone Cream`
Recipe `Lime Mascarpone Cream`
Recipe `Lime Mascarpone Cream`
Recipe `Lime Mascarpone Cream`
Käsesoufflé
Recipe `Cheese Soufflé`
Recipe `Cheese Soufflé`
Recipe `Cheese Soufflé`
Recipe `Cheese Soufflé`
Recipe `Cheese Soufflé`
Recipe `Cheese Soufflé`
Scalloped Potatoes
Recipe `Scalloped Potatoes`
Recipe `Scalloped Potatoes`
Recipe `Scalloped Potatoes`
Recipe `Scalloped Potatoes`
Recipe `Scalloped Potatoes`
Recipe `Scalloped Potatoes`
Wild Garlic Spätzle
Recipe `Wild Garlic Spätzle`
Recipe `Wild Garlic Spätzle`
Recipe `Wild Garlic Spätzle`
Recipe `Wild Garlic Spätzle`
Recipe `Wild Garlic Spätzle`
Recipe `Wild Garlic Spätzle`
Capuns Vegetaria
Recipe `Capuns Vegetaria`
I have no direct relationship with the Canton of Grisons (or Graubünden), where almost every family has a well-kept secret recipe for Capuns. Rather by chance about 20 years ago, I came across a recipe for Capuns that very classically contained dry-cured meat as an important ingredient. Over the years, out of a need for Capuns without meat, I looked for a recipe that I ended up having to invent myself. I slightly adapted the ingredients and ingredient quantities many times and finally dished up the new Capuns for my family to sample. Today, `Capuns Vegetaria’ is a permanent part of our cooking repertory.
Two things about Capuns fascinate me: the preparation of the dish, and the history behind it. The making of Capuns requires quite a bit of handiwork and lots of dexterity. This aspect of handcraft plays a crucial role, for the dish not only has to taste good but also has to meet aesthetic criteria through artistic craftmanship. The size and compactness of the dumplings rolled in Swiss chard leaves are decisive in the final presentation of the dish. When serving Capuns, I always like to tell the story behind it: When in 1799 the Russian General Suvorov was commanded to drive the French forces out of Switzerland, a snowstorm hindered his advance into Bündner Oberland. The snowed-in, famished soldiers sought food from the farmwives, who kept everything hidden. One farmwife successfully hid her male chicken (or capon) in her attic. When the soldiers withdrew, she gathered up the undiscovered foodstuffs and made a dough out of flour and eggs and seasoned it with small pieces of sausage. She then picked some Swiss chard from her snow-covered garden, which otherwise served as pig feed, and used the chard leaves to wrap small dough dumplings, which she then braised in a pan. Tradition says that she then named the dish Capuns in honour of the capon that she had hidden, and Capuns has been a specialty of Grisons ever since.
Recipe `Capuns Vegetaria`
Recipe `Capuns Vegetaria`
Recipe `Capuns Vegetaria`
Recipe `Capuns Vegetaria`
Recipe `Capuns Vegetaria`
Recipe `Capuns Vegetaria`
Recipe `Capuns Vegetaria`
Recipe `Capuns Vegetaria`
Recipe `Capuns Vegetaria`
Recipe `Capuns Vegetaria`
Recipe `Capuns Vegetaria`
Taglierini
Recipe `Taglierini`
Recipe `Taglierini`
Recipe `Taglierini`
Recipe `Taglierini`
Recipe `Taglierini`
Recipe `Taglierini`
Gnudi
Rezept `Gnudi`
Rezept `Gnudi`
Rezept `Gnudi`
Rezept `Gnudi`
Rezept `Gnudi`
Rezept `Gnudi`
Leaf forms
Lobate foliage
Acer cappadocicum
cappadocian maple
Acer japonicum `Aconitifolium`
cutleaf fullmoon maple
Acer pensylvanicum
striped maple
Acer platanoides `Crimson King`
purple leaved norway maple
Acer platanoides
norway maple
Acer pseudoplatanus
sycamore
Catalpa ovata
yellow catalpa
Fagus sylvatica `Asplenifolia`
fern leaf beech
Liquidambar styraciflua
american sweetgum
Liriodendron tulipifera
tulip tree
Platanus x hispanica
london plane
Platanus orientalis
oriental plane
Populus alba
abele
Quercus rubra
northern red oak
Pinnate foliage
Ailanthus altissima
tree of heaven
Carya cordiformis
bitternut hickory
Fraxinus excelsior
european ash
Gleditsia triacanthos
honey locust
Gymnocladus dioicus
kentucky coffeetree
Koelreuteria paniculata
goldenrain tree
Pterocaria fraxinifolia
caucasian wingnut
Rhus glabra
smooth sumac
Robinia pseudoacacia
black locust
Styphnolobium japonicum
japanese pagoda tree
Beech like foliage
Alnus glutinosa
common alder
Betula pendula
silver birch
Carpinus betulus
common hornbeam
Castanea sativa
sweet chestnut
Fagus sylvatica
European beech
Populus nigra
black poplar
Populus tremula
aspen
Tilia cordata
small-leaved lime
Tilia tomentosa
silver linden
Ulmus minor
field elm
Excursions
Waldviertel 21th-25th September 2022
Diözese St. Pölten
Piero Maspoli and Paul Junker walking along the cloister
Ausstellungshaus Spoerri in Hadersdorf am Kamp
Esslokal Hadersdorf
Apéro at sunset
Stone quarry in the forest of the Waldviertel
Eating at Piero
At the studio of Piero
Turino, 8th-12th September 2021
Novecento
Castello di Rivioli by Maurizio Cattelan
Cattedrale di San Giovanni Battista
First day in Turino together with Angelo Garoglio
Villa della Regina
View over the city of Turino focused on `Mole Antonelliana`
Villa della Regina
Small talk
In the vegetable garden
University of Gastronomic Sciences in Pollenzo
Fontana delle Nereidi e dei Tritoni
Visit to `Giardini Reali` in Turino
Basel, 27th-29th August 2020
Studio `Glassworks` in Münchenstein/ BL
Matteo Gonet erläutert uns die Vielfalt an Möglichkeiten bei der Herstellung von Glas.
Studio `Glassworks` in Münchenstein/ BL
Hier wird Glas in eine Form geblasen.
Dreiländereck in Basel
Basel liegt am Dreiländereck Schweiz-Deutschland-Frankreich und hat aus diesem Grund viele Vororte in allen drei Ländern.
Rheinhafen Basel
Besuch Wildbienen-Versuchsreihein in Zusammenarbeit mit André Rey.
Monastery Schönthal/ BL
Ermitage Arlesheim/ BL
Belgrad, 4th-7th October 2018
Zeleni Venac Market
Unsere diesjährige Atelier Reise führte uns nach Belgrad. Der Belgrader Architekt Nemanja Zimonjic, der auch an der ETH Zürich unterrichtet, führte uns während vier Tagen in die Geheimnisse von Belgrad ein.
Nebst architektonischen Highlights wie das Wohnhaus von Mihajlo Mitrovic, die Kirche Sv. Antuna Padovanskog von Jože Plecnik, das Museum für zeitgenössische Kunst von Ivan Antic und Ivanka Raspopovic, die Nationalbibliothek und die sozialistischen Bauten von Neu Belgrad erkundeten wir auch die neue kulinarische Küche Belgrads. Diese überraschte uns alle am meisten.
Zur gleichen Zeit während unseres Aufenthalts fand auch der Oktober Salon statt, eine Kunstaustellung mit zeitgenössischer Kunst, die in einer ehemaligen Militärakademie gezeigt wurde.
Branko`s bridge
Unsere diesjährige Atelier Reise führte uns nach Belgrad. Der Belgrader Architekt Nemanja Zimonjic, der auch an der ETH Zürich unterrichtet, führte uns während vier Tagen in die Geheimnisse von Belgrad ein.
Nebst architektonischen Highlights wie das Wohnhaus von Mihajlo Mitrovic, die Kirche Sv. Antuna Padovanskog von Jože Plecnik, das Museum für zeitgenössische Kunst von Ivan Antic und Ivanka Raspopovic, die Nationalbibliothek und die sozialistischen Bauten von Neu Belgrad erkundeten wir auch die neue kulinarische Küche Belgrads. Diese überraschte uns alle am meisten.
Zur gleichen Zeit während unseres Aufenthalts fand auch der Oktober Salon statt, eine Kunstaustellung mit zeitgenössischer Kunst, die in einer ehemaligen Militärakademie gezeigt wurde.
Salon 5
Unsere diesjährige Atelier Reise führte uns nach Belgrad. Der Belgrader Architekt Nemanja Zimonjic, der auch an der ETH Zürich unterrichtet, führte uns während vier Tagen in die Geheimnisse von Belgrad ein.
Nebst architektonischen Highlights wie das Wohnhaus von Mihajlo Mitrovic, die Kirche Sv. Antuna Padovanskog von Jože Plecnik, das Museum für zeitgenössische Kunst von Ivan Antic und Ivanka Raspopovic, die Nationalbibliothek und die sozialistischen Bauten von Neu Belgrad erkundeten wir auch die neue kulinarische Küche Belgrads. Diese überraschte uns alle am meisten.
Zur gleichen Zeit während unseres Aufenthalts fand auch der Oktober Salon statt, eine Kunstaustellung mit zeitgenössischer Kunst, die in einer ehemaligen Militärakademie gezeigt wurde.
October Salon
Unsere diesjährige Atelier Reise führte uns nach Belgrad. Der Belgrader Architekt Nemanja Zimonjic, der auch an der ETH Zürich unterrichtet, führte uns während vier Tagen in die Geheimnisse von Belgrad ein.
Nebst architektonischen Highlights wie das Wohnhaus von Mihajlo Mitrovic, die Kirche Sv. Antuna Padovanskog von Jože Plecnik, das Museum für zeitgenössische Kunst von Ivan Antic und Ivanka Raspopovic, die Nationalbibliothek und die sozialistischen Bauten von Neu Belgrad erkundeten wir auch die neue kulinarische Küche Belgrads. Diese überraschte uns alle am meisten.
Zur gleichen Zeit während unseres Aufenthalts fand auch der Oktober Salon statt, eine Kunstaustellung mit zeitgenössischer Kunst, die in einer ehemaligen Militärakademie gezeigt wurde.
Ahh Riba
Unsere diesjährige Atelier Reise führte uns nach Belgrad. Der Belgrader Architekt Nemanja Zimonjic, der auch an der ETH Zürich unterrichtet, führte uns während vier Tagen in die Geheimnisse von Belgrad ein.
Nebst architektonischen Highlights wie das Wohnhaus von Mihajlo Mitrovic, die Kirche Sv. Antuna Padovanskog von Jože Plecnik, das Museum für zeitgenössische Kunst von Ivan Antic und Ivanka Raspopovic, die Nationalbibliothek und die sozialistischen Bauten von Neu Belgrad erkundeten wir auch die neue kulinarische Küche Belgrads. Diese überraschte uns alle am meisten.
Zur gleichen Zeit während unseres Aufenthalts fand auch der Oktober Salon statt, eine Kunstaustellung mit zeitgenössischer Kunst, die in einer ehemaligen Militärakademie gezeigt wurde.
Savskikey along Save
Unsere diesjährige Atelier Reise führte uns nach Belgrad. Der Belgrader Architekt Nemanja Zimonjic, der auch an der ETH Zürich unterrichtet, führte uns während vier Tagen in die Geheimnisse von Belgrad ein.
Nebst architektonischen Highlights wie das Wohnhaus von Mihajlo Mitrovic, die Kirche Sv. Antuna Padovanskog von Jože Plecnik, das Museum für zeitgenössische Kunst von Ivan Antic und Ivanka Raspopovic, die Nationalbibliothek und die sozialistischen Bauten von Neu Belgrad erkundeten wir auch die neue kulinarische Küche Belgrads. Diese überraschte uns alle am meisten.
Zur gleichen Zeit während unseres Aufenthalts fand auch der Oktober Salon statt, eine Kunstaustellung mit zeitgenössischer Kunst, die in einer ehemaligen Militärakademie gezeigt wurde.
Germany, 21th-24th September 2017
Parc Muskau
Our excursion took us via Dresden to Bad Muskau, Cottbus, Wörlitz, Dessau, and Weimar to Leipzig. In Bad Muskau we visited Muskauer Park created by Prince Hermann von Pückler-Muskau and the nearby Rakotzbrücke (Devil’s Bridge) in Park Kromlau. In Cottbus we went to see Branitz Park, which Prince Pückler-Muskau created in his old age. We were very impressed by the landscaped parks of the Dessau-Wörlitz Gardens. Another high point of our excursion was our visit to the Bauhaus Building and the Masters Houses in Dessau designed by Walter Gropius. In Weimar we toured the Duchess Anna Amalia Library and visited Schlosspark Belvedere.
Parc Muskau
Our excursion took us via Dresden to Bad Muskau, Cottbus, Wörlitz, Dessau, and Weimar to Leipzig. In Bad Muskau we visited Muskauer Park created by Prince Hermann von Pückler-Muskau and the nearby Rakotzbrücke (Devil’s Bridge) in Park Kromlau. In Cottbus we went to see Branitz Park, which Prince Pückler-Muskau created in his old age. We were very impressed by the landscaped parks of the Dessau-Wörlitz Gardens. Another high point of our excursion was our visit to the Bauhaus Building and the Masters Houses in Dessau designed by Walter Gropius. In Weimar we toured the Duchess Anna Amalia Library and visited Schlosspark Belvedere.
Parc Kromlau
Our excursion took us via Dresden to Bad Muskau, Cottbus, Wörlitz, Dessau, and Weimar to Leipzig. In Bad Muskau we visited Muskauer Park created by Prince Hermann von Pückler-Muskau and the nearby Rakotzbrücke (Devil’s Bridge) in Park Kromlau. In Cottbus we went to see Branitz Park, which Prince Pückler-Muskau created in his old age. We were very impressed by the landscaped parks of the Dessau-Wörlitz Gardens. Another high point of our excursion was our visit to the Bauhaus Building and the Masters Houses in Dessau designed by Walter Gropius. In Weimar we toured the Duchess Anna Amalia Library and visited Schlosspark Belvedere.
Branitzer Parc
Our excursion took us via Dresden to Bad Muskau, Cottbus, Wörlitz, Dessau, and Weimar to Leipzig. In Bad Muskau we visited Muskauer Park created by Prince Hermann von Pückler-Muskau and the nearby Rakotzbrücke (Devil’s Bridge) in Park Kromlau. In Cottbus we went to see Branitz Park, which Prince Pückler-Muskau created in his old age. We were very impressed by the landscaped parks of the Dessau-Wörlitz Gardens. Another high point of our excursion was our visit to the Bauhaus Building and the Masters Houses in Dessau designed by Walter Gropius. In Weimar we toured the Duchess Anna Amalia Library and visited Schlosspark Belvedere.
Schlosspark Belvedere, Weimar
Our excursion took us via Dresden to Bad Muskau, Cottbus, Wörlitz, Dessau, and Weimar to Leipzig. In Bad Muskau we visited Muskauer Park created by Prince Hermann von Pückler-Muskau and the nearby Rakotzbrücke (Devil’s Bridge) in Park Kromlau. In Cottbus we went to see Branitz Park, which Prince Pückler-Muskau created in his old age. We were very impressed by the landscaped parks of the Dessau-Wörlitz Gardens. Another high point of our excursion was our visit to the Bauhaus Building and the Masters Houses in Dessau designed by Walter Gropius. In Weimar we toured the Duchess Anna Amalia Library and visited Schlosspark Belvedere.
Roman ruin (seven columne), Dessau
Our excursion took us via Dresden to Bad Muskau, Cottbus, Wörlitz, Dessau, and Weimar to Leipzig. In Bad Muskau we visited Muskauer Park created by Prince Hermann von Pückler-Muskau and the nearby Rakotzbrücke (Devil’s Bridge) in Park Kromlau. In Cottbus we went to see Branitz Park, which Prince Pückler-Muskau created in his old age. We were very impressed by the landscaped parks of the Dessau-Wörlitz Gardens. Another high point of our excursion was our visit to the Bauhaus Building and the Masters Houses in Dessau designed by Walter Gropius. In Weimar we toured the Duchess Anna Amalia Library and visited Schlosspark Belvedere.
Berlin, 28th-30th April 2016
Berlin Wall Memorial
We went on a field trip to Berlin, where we hiked and sometimes bicycled through the city for three days. On the first day, landscape architect Peter Hausdorf of Büro sinai took us to the Berlin Wall Memorial. From there we walked to the Mauerpark (Berlin Wall Park) and via Helmholzerplatz to Kollwitzplatz. Our tour ultimately led us to Volkspark Friedrichshain and via Karl-Mark-Allee to Boxhagener Platz and across the Oberbaumbrücke along the East Side Gallery to East Side Park. On the second day, we bicycled through the Tiergarten to Potsdamer Platz, Gleisdreieckpark, and Tempelhofer Feld. On the third day we toured the Karl Foerster Garten in Potsdam. As the final part of our excursion, we visited the Sanssouci Palace and Park.
Tempelhofer Feld
We went on a field trip to Berlin, where we hiked and sometimes bicycled through the city for three days. On the first day, landscape architect Peter Hausdorf of Büro sinai took us to the Berlin Wall Memorial. From there we walked to the Mauerpark (Berlin Wall Park) and via Helmholzerplatz to Kollwitzplatz. Our tour ultimately led us to Volkspark Friedrichshain and via Karl-Mark-Allee to Boxhagener Platz and across the Oberbaumbrücke along the East Side Gallery to East Side Park. On the second day, we bicycled through the Tiergarten to Potsdamer Platz, Gleisdreieckpark, and Tempelhofer Feld. On the third day we toured the Karl Foerster Garten in Potsdam. As the final part of our excursion, we visited the Sanssouci Palace and Park.
Gleisdreieckpark
We went on a field trip to Berlin, where we hiked and sometimes bicycled through the city for three days. On the first day, landscape architect Peter Hausdorf of Büro sinai took us to the Berlin Wall Memorial. From there we walked to the Mauerpark (Berlin Wall Park) and via Helmholzerplatz to Kollwitzplatz. Our tour ultimately led us to Volkspark Friedrichshain and via Karl-Mark-Allee to Boxhagener Platz and across the Oberbaumbrücke along the East Side Gallery to East Side Park. On the second day, we bicycled through the Tiergarten to Potsdamer Platz, Gleisdreieckpark, and Tempelhofer Feld. On the third day we toured the Karl Foerster Garten in Potsdam. As the final part of our excursion, we visited the Sanssouci Palace and Park.
BASF courtyard
We went on a field trip to Berlin, where we hiked and sometimes bicycled through the city for three days. On the first day, landscape architect Peter Hausdorf of Büro sinai took us to the Berlin Wall Memorial. From there we walked to the Mauerpark (Berlin Wall Park) and via Helmholzerplatz to Kollwitzplatz. Our tour ultimately led us to Volkspark Friedrichshain and via Karl-Mark-Allee to Boxhagener Platz and across the Oberbaumbrücke along the East Side Gallery to East Side Park. On the second day, we bicycled through the Tiergarten to Potsdamer Platz, Gleisdreieckpark, and Tempelhofer Feld. On the third day we toured the Karl Foerster Garten in Potsdam. As the final part of our excursion, we visited the Sanssouci Palace and Park.
Karl Foerster Garden
We went on a field trip to Berlin, where we hiked and sometimes bicycled through the city for three days. On the first day, landscape architect Peter Hausdorf of Büro sinai took us to the Berlin Wall Memorial. From there we walked to the Mauerpark (Berlin Wall Park) and via Helmholzerplatz to Kollwitzplatz. Our tour ultimately led us to Volkspark Friedrichshain and via Karl-Mark-Allee to Boxhagener Platz and across the Oberbaumbrücke along the East Side Gallery to East Side Park. On the second day, we bicycled through the Tiergarten to Potsdamer Platz, Gleisdreieckpark, and Tempelhofer Feld. On the third day we toured the Karl Foerster Garten in Potsdam. As the final part of our excursion, we visited the Sanssouci Palace and Park.
Sanssouci
We went on a field trip to Berlin, where we hiked and sometimes bicycled through the city for three days. On the first day, landscape architect Peter Hausdorf of Büro sinai took us to the Berlin Wall Memorial. From there we walked to the Mauerpark (Berlin Wall Park) and via Helmholzerplatz to Kollwitzplatz. Our tour ultimately led us to Volkspark Friedrichshain and via Karl-Mark-Allee to Boxhagener Platz and across the Oberbaumbrücke along the East Side Gallery to East Side Park. On the second day, we bicycled through the Tiergarten to Potsdamer Platz, Gleisdreieckpark, and Tempelhofer Feld. On the third day we toured the Karl Foerster Garten in Potsdam. As the final part of our excursion, we visited the Sanssouci Palace and Park.
London, 9th.-11th July 2015
Bedford Square
The excursion took us to London, where our Tom Brantschen studied landscape architecture. Tom’s familiarity with the city was a great help to us when we put together our programme, “Hidden London”.
On the first day we hiked around Primrose Hill, Chinbrook Meadows at Camley Street and Granary Square. Then, Stefan Sanctuary led us through Thames Barrier Park. On the second day, we visited Hampstead Garden Suburb. Starting at Kenwood House, we then hiked along the Fleet River via Hampstead Heath, Kentish Town, Camden Road, Kings Cross, Farrington Road, and Smithfield Market to Blackfriars Bridge by the Thames. Visiting the architecture office 6a architects followed by refreshments at Tom Emerson’s house was the crowning event of the day. On the last day before flying home, we visited Sir John Soane’s Museum at 13 Lincoln’s Inn Fields.
London Citydrive
The excursion took us to London, where our Tom Brantschen studied landscape architecture. Tom’s familiarity with the city was a great help to us when we put together our programme, “Hidden London”.
On the first day we hiked around Primrose Hill, Chinbrook Meadows at Camley Street and Granary Square. Then, Stefan Sanctuary led us through Thames Barrier Park. On the second day, we visited Hampstead Garden Suburb. Starting at Kenwood House, we then hiked along the Fleet River via Hampstead Heath, Kentish Town, Camden Road, Kings Cross, Farrington Road, and Smithfield Market to Blackfriars Bridge by the Thames. Visiting the architecture office 6a architects followed by refreshments at Tom Emerson’s house was the crowning event of the day. On the last day before flying home, we visited Sir John Soane’s Museum at 13 Lincoln’s Inn Fields.
Fenchurch Street
The excursion took us to London, where our Tom Brantschen studied landscape architecture. Tom’s familiarity with the city was a great help to us when we put together our programme, “Hidden London”.
On the first day we hiked around Primrose Hill, Chinbrook Meadows at Camley Street and Granary Square. Then, Stefan Sanctuary led us through Thames Barrier Park. On the second day, we visited Hampstead Garden Suburb. Starting at Kenwood House, we then hiked along the Fleet River via Hampstead Heath, Kentish Town, Camden Road, Kings Cross, Farrington Road, and Smithfield Market to Blackfriars Bridge by the Thames. Visiting the architecture office 6a architects followed by refreshments at Tom Emerson’s house was the crowning event of the day. On the last day before flying home, we visited Sir John Soane’s Museum at 13 Lincoln’s Inn Fields.
Granary Square
The excursion took us to London, where our Tom Brantschen studied landscape architecture. Tom’s familiarity with the city was a great help to us when we put together our programme, “Hidden London”.
On the first day we hiked around Primrose Hill, Chinbrook Meadows at Camley Street and Granary Square. Then, Stefan Sanctuary led us through Thames Barrier Park. On the second day, we visited Hampstead Garden Suburb. Starting at Kenwood House, we then hiked along the Fleet River via Hampstead Heath, Kentish Town, Camden Road, Kings Cross, Farrington Road, and Smithfield Market to Blackfriars Bridge by the Thames. Visiting the architecture office 6a architects followed by refreshments at Tom Emerson’s house was the crowning event of the day. On the last day before flying home, we visited Sir John Soane’s Museum at 13 Lincoln’s Inn Fields.
Kentish Town
The excursion took us to London, where our Tom Brantschen studied landscape architecture. Tom’s familiarity with the city was a great help to us when we put together our programme, “Hidden London”.
On the first day we hiked around Primrose Hill, Chinbrook Meadows at Camley Street and Granary Square. Then, Stefan Sanctuary led us through Thames Barrier Park. On the second day, we visited Hampstead Garden Suburb. Starting at Kenwood House, we then hiked along the Fleet River via Hampstead Heath, Kentish Town, Camden Road, Kings Cross, Farrington Road, and Smithfield Market to Blackfriars Bridge by the Thames. Visiting the architecture office 6a architects followed by refreshments at Tom Emerson’s house was the crowning event of the day. On the last day before flying home, we visited Sir John Soane’s Museum at 13 Lincoln’s Inn Fields.
The Bull & Last, 168 Highgate Road
The excursion took us to London, where our Tom Brantschen studied landscape architecture. Tom’s familiarity with the city was a great help to us when we put together our programme, “Hidden London”.
On the first day we hiked around Primrose Hill, Chinbrook Meadows at Camley Street and Granary Square. Then, Stefan Sanctuary led us through Thames Barrier Park. On the second day, we visited Hampstead Garden Suburb. Starting at Kenwood House, we then hiked along the Fleet River via Hampstead Heath, Kentish Town, Camden Road, Kings Cross, Farrington Road, and Smithfield Market to Blackfriars Bridge by the Thames. Visiting the architecture office 6a architects followed by refreshments at Tom Emerson’s house was the crowning event of the day. On the last day before flying home, we visited Sir John Soane’s Museum at 13 Lincoln’s Inn Fields.
Baselland, 19. Juni 2013
Oak Grove in Bubendorf/ BL
Our Studio day trip took us to Bubendorf, in Canton Basel-Land, where we saw an old grove of oaks. We then visited the growing fields where RICOLA cultivates herbs in Netzlingen/BL. In the afternoon, Martin Rauch, a leading expert in rammed earth building/loam construction techniques, guided us through the manufacturing hall where massive rammed-earth walls are being prefabricated for the new RICOLA Herb Center in Laufen. We also visited the construction site of the new Herb Center designed by architects Herzog & de Meuron.
Herb Production Netzlingen/ BL
Our Studio day trip took us to Bubendorf, in Canton Basel-Land, where we saw an old grove of oaks. We then visited the growing fields where RICOLA cultivates herbs in Netzlingen/BL. In the afternoon, Martin Rauch, a leading expert in rammed earth building/loam construction techniques, guided us through the manufacturing hall where massive rammed-earth walls are being prefabricated for the new RICOLA Herb Center in Laufen. We also visited the construction site of the new Herb Center designed by architects Herzog & de Meuron.
Production hall for ramded earth walls
Our Studio day trip took us to Bubendorf, in Canton Basel-Land, where we saw an old grove of oaks. We then visited the growing fields where RICOLA cultivates herbs in Netzlingen/BL. In the afternoon, Martin Rauch, a leading expert in rammed earth building/loam construction techniques, guided us through the manufacturing hall where massive rammed-earth walls are being prefabricated for the new RICOLA Herb Center in Laufen. We also visited the construction site of the new Herb Center designed by architects Herzog & de Meuron.
Donath Rüegg and Marco Steiner at the production hall
Our Studio day trip took us to Bubendorf, in Canton Basel-Land, where we saw an old grove of oaks. We then visited the growing fields where RICOLA cultivates herbs in Netzlingen/BL. In the afternoon, Martin Rauch, a leading expert in rammed earth building/loam construction techniques, guided us through the manufacturing hall where massive rammed-earth walls are being prefabricated for the new RICOLA Herb Center in Laufen. We also visited the construction site of the new Herb Center designed by architects Herzog & de Meuron.
Martin Rauch
Our Studio day trip took us to Bubendorf, in Canton Basel-Land, where we saw an old grove of oaks. We then visited the growing fields where RICOLA cultivates herbs in Netzlingen/BL. In the afternoon, Martin Rauch, a leading expert in rammed earth building/loam construction techniques, guided us through the manufacturing hall where massive rammed-earth walls are being prefabricated for the new RICOLA Herb Center in Laufen. We also visited the construction site of the new Herb Center designed by architects Herzog & de Meuron.
Production hall for ramded earth walls
Our Studio day trip took us to Bubendorf, in Canton Basel-Land, where we saw an old grove of oaks. We then visited the growing fields where RICOLA cultivates herbs in Netzlingen/BL. In the afternoon, Martin Rauch, a leading expert in rammed earth building/loam construction techniques, guided us through the manufacturing hall where massive rammed-earth walls are being prefabricated for the new RICOLA Herb Center in Laufen. We also visited the construction site of the new Herb Center designed by architects Herzog & de Meuron.
Cotswolds, 12th July - 16th July 2012
Rousham Garden
The excursion took us to England to the Cotswolds. We visited garden and parcs of Rousham Estate, Bourton House, Sezincote House, Miserden House, Painswick House, Hidcote Manor, Kiftsgate Court und Snowshill Manor. Back in London we visited Hyde Park finally the Serpentine gallery with the pavilion of Herzog & De Meron.
Sezincote
The excursion took us to England to the Cotswolds. We visited garden and parcs of Rousham Estate, Bourton House, Sezincote House, Miserden House, Painswick House, Hidcote Manor, Kiftsgate Court und Snowshill Manor. Back in London we visited Hyde Park finally the Serpentine gallery with the pavilion of Herzog & De Meron.
Sezincote House
The excursion took us to England to the Cotswolds. We visited garden and parcs of Rousham Estate, Bourton House, Sezincote House, Miserden House, Painswick House, Hidcote Manor, Kiftsgate Court und Snowshill Manor. Back in London we visited Hyde Park finally the Serpentine gallery with the pavilion of Herzog & De Meron.
East Banqueting House, Chipping Campden
The excursion took us to England to the Cotswolds. We visited garden and parcs of Rousham Estate, Bourton House, Sezincote House, Miserden House, Painswick House, Hidcote Manor, Kiftsgate Court und Snowshill Manor. Back in London we visited Hyde Park finally the Serpentine gallery with the pavilion of Herzog & De Meron.
East Banqueting House, Chipping Campden
The excursion took us to England to the Cotswolds. We visited garden and parcs of Rousham Estate, Bourton House, Sezincote House, Miserden House, Painswick House, Hidcote Manor, Kiftsgate Court und Snowshill Manor. Back in London we visited Hyde Park finally the Serpentine gallery with the pavilion of Herzog & De Meron.
Hidcote Manor
The excursion took us to England to the Cotswolds. We visited garden and parcs of Rousham Estate, Bourton House, Sezincote House, Miserden House, Painswick House, Hidcote Manor, Kiftsgate Court und Snowshill Manor. Back in London we visited Hyde Park finally the Serpentine gallery with the pavilion of Herzog & De Meron.
St. Gallen, 17th June 2011
Alicia Penalba, without title, 1963, University St. Gallen
Our day trip took us to St. Gallen and Herisau. In the early morning we visited the garden at the headquarters of Helvetia Patria planted by Vogt Landscape Architects. The grounds of the University of St. Gallen, located in the immediate vicinity, hosts a collection of top-class “Kunst am Bau” [art in architecture], with works by Hans Arp, Alicia Penalba, Georges Braque, Joan Miró, François Stahly, Gottfried Honegger, Max Oertli, and more.
In the Sitterwerk Foundation, Ueli Vogt gave us a tour us through the workshop of the large foundry for realizing artworks and explained the craftmanship involved in producing bronze sculptures. We were also very impressed by the art library and exhibition at Studio Mumbai. We concluded our excursion with a visit to the exhibition “Appenzeller Gärten”, which our own Roman Häne curated for Museum Herisau.
Sitterwerk St. Gallen
Our day trip took us to St. Gallen and Herisau. In the early morning we visited the garden at the headquarters of Helvetia Patria planted by Vogt Landscape Architects. The grounds of the University of St. Gallen, located in the immediate vicinity, hosts a collection of top-class “Kunst am Bau” [art in architecture], with works by Hans Arp, Alicia Penalba, Georges Braque, Joan Miró, François Stahly, Gottfried Honegger, Max Oertli, and more.
In the Sitterwerk Foundation, Ueli Vogt gave us a tour us through the workshop of the large foundry for realizing artworks and explained the craftmanship involved in producing bronze sculptures. We were also very impressed by the art library and exhibition at Studio Mumbai. We concluded our excursion with a visit to the exhibition “Appenzeller Gärten”, which our own Roman Häne curated for Museum Herisau.
Kunstgiesserei St. Gallen AG
Our day trip took us to St. Gallen and Herisau. In the early morning we visited the garden at the headquarters of Helvetia Patria planted by Vogt Landscape Architects. The grounds of the University of St. Gallen, located in the immediate vicinity, hosts a collection of top-class “Kunst am Bau” [art in architecture], with works by Hans Arp, Alicia Penalba, Georges Braque, Joan Miró, François Stahly, Gottfried Honegger, Max Oertli, and more.
In the Sitterwerk Foundation, Ueli Vogt gave us a tour us through the workshop of the large foundry for realizing artworks and explained the craftmanship involved in producing bronze sculptures. We were also very impressed by the art library and exhibition at Studio Mumbai. We concluded our excursion with a visit to the exhibition “Appenzeller Gärten”, which our own Roman Häne curated for Museum Herisau.
Library Sitterwerk, St. Gallen
Our day trip took us to St. Gallen and Herisau. In the early morning we visited the garden at the headquarters of Helvetia Patria planted by Vogt Landscape Architects. The grounds of the University of St. Gallen, located in the immediate vicinity, hosts a collection of top-class “Kunst am Bau” [art in architecture], with works by Hans Arp, Alicia Penalba, Georges Braque, Joan Miró, François Stahly, Gottfried Honegger, Max Oertli, and more.
In the Sitterwerk Foundation, Ueli Vogt gave us a tour us through the workshop of the large foundry for realizing artworks and explained the craftmanship involved in producing bronze sculptures. We were also very impressed by the art library and exhibition at Studio Mumbai. We concluded our excursion with a visit to the exhibition “Appenzeller Gärten”, which our own Roman Häne curated for Museum Herisau.
Collection Hans Josephson, Sitterwerk St. Gallen
Our day trip took us to St. Gallen and Herisau. In the early morning we visited the garden at the headquarters of Helvetia Patria planted by Vogt Landscape Architects. The grounds of the University of St. Gallen, located in the immediate vicinity, hosts a collection of top-class “Kunst am Bau” [art in architecture], with works by Hans Arp, Alicia Penalba, Georges Braque, Joan Miró, François Stahly, Gottfried Honegger, Max Oertli, and more.
In the Sitterwerk Foundation, Ueli Vogt gave us a tour us through the workshop of the large foundry for realizing artworks and explained the craftmanship involved in producing bronze sculptures. We were also very impressed by the art library and exhibition at Studio Mumbai. We concluded our excursion with a visit to the exhibition “Appenzeller Gärten”, which our own Roman Häne curated for Museum Herisau.
Appenzeller Gardens at the Museum Herisau
Our day trip took us to St. Gallen and Herisau. In the early morning we visited the garden at the headquarters of Helvetia Patria planted by Vogt Landscape Architects. The grounds of the University of St. Gallen, located in the immediate vicinity, hosts a collection of top-class “Kunst am Bau” [art in architecture], with works by Hans Arp, Alicia Penalba, Georges Braque, Joan Miró, François Stahly, Gottfried Honegger, Max Oertli, and more.
In the Sitterwerk Foundation, Ueli Vogt gave us a tour us through the workshop of the large foundry for realizing artworks and explained the craftmanship involved in producing bronze sculptures. We were also very impressed by the art library and exhibition at Studio Mumbai. We concluded our excursion with a visit to the exhibition “Appenzeller Gärten”, which our own Roman Häne curated for Museum Herisau.
Hamburg, 26th-28th June 2009
Hamburg
On the first day of our trip, we visited several current projects in Hamburg. On the second day, landscape architect and acknowledged plant expert Mark Krieger gave us a tour through the German National Garden Show (BUGA) in Schwerin. A visit to the fish market on early Sunday morning followed by harbour tour rounded off our excursion.
`Planten un Blomen, Hamburg
On the first day of our trip, we visited several current projects in Hamburg. On the second day, landscape architect and acknowledged plant expert Mark Krieger gave us a tour through the German National Garden Show (BUGA) in Schwerin. A visit to the fish market on early Sunday morning followed by harbour tour rounded off our excursion.
Botanical Garden Hamburg
On the first day of our trip, we visited several current projects in Hamburg. On the second day, landscape architect and acknowledged plant expert Mark Krieger gave us a tour through the German National Garden Show (BUGA) in Schwerin. A visit to the fish market on early Sunday morning followed by harbour tour rounded off our excursion.
Dinner time
On the first day of our trip, we visited several current projects in Hamburg. On the second day, landscape architect and acknowledged plant expert Mark Krieger gave us a tour through the German National Garden Show (BUGA) in Schwerin. A visit to the fish market on early Sunday morning followed by harbour tour rounded off our excursion.
Harbour Hamburg
On the first day of our trip, we visited several current projects in Hamburg. On the second day, landscape architect and acknowledged plant expert Mark Krieger gave us a tour through the German National Garden Show (BUGA) in Schwerin. A visit to the fish market on early Sunday morning followed by harbour tour rounded off our excursion.
Harbour Hamburg
On the first day of our trip, we visited several current projects in Hamburg. On the second day, landscape architect and acknowledged plant expert Mark Krieger gave us a tour through the German National Garden Show (BUGA) in Schwerin. A visit to the fish market on early Sunday morning followed by harbour tour rounded off our excursion.
Fieldwork
Surface
Chaussierung (macadamization)
The natural appearance of macadamized areas, paths, drives, and roads is a main feature of this type of surfacing, which has an unsealed top layer. For the surfacing and its top layer, for which ground natural stone material (KFN Netstaler® 0-15 mm) is used, no hydraulic or bituminous binder is used. This type of permeable macadamized paths and areas has a run-off coefficient of 0.5.
Ganz Landscape Architects use this type of surfacing due to the changeable character of the surface through the spreading various materials.
To obtain the desired look of the surfacing when macadamizing, the earth-moist material (KFN Netstaler® 0-15 mm) is installed under different conditions. It should be installed when temperatures remain above freezing for at least 24 hours. In addition, during installation direct sunlight, dry winds, and generally high temperatures should be avoided, or prevented using special measures such as shading or slight moistening, in order to avoid too-fast drying. To insure quality, installation should be postponed if bad weather is predicted, as rain/snow can cause untimely wash-out of the macadamized areas. For areas utilized as drives for cars, fire trucks, or ambulances, the robust foundation must be more strongly compressed than for footpaths or bicycle paths. With higher compression, the root areas of existing and newly planted trees must also be taken into consideration.
Generally the cohesive clay surface layer is compacted immediately after installation using a light vibrating plat compactor or small roller. A homogenous appearance should be achieved that is uniform also at the edges. The Planiegenauigkeit [grading precision] should be +/- 10 mm. The installed surface is then spread with 0 - 4 mm finely crushed stone in order to close open pores and is then rolled lightly one more time (without adding water).
After successful installation the surfacing should be allowed to harden slowly for about a week before the final spreading of material. For this reason it should not be walked or driven on.
For design purposes, the choice of the final aggregate will depend on its texture and color. Crushed stone, round gravel, and sand are used, whereby the top layer should not be bigger than about 1 to 1.5 times the grain size of the chosen material.
Gneiss surfacing with polygonal paving stones
For the renovation of Tiefenbrunnen Bad and Park, a garden monument built in 1954, Ganz Landscape Architects got involved with the traditional stonemasonry craft of working the edges of gneiss natural stone pavers. Hand-edged gneiss paving stones from Maggia Valley, Ticino, were very popular in Zurich in the 1950s. In private gardens and parks, countless public squares, patios, pathways, and stepping stones were made from this long-lasting material. As the natural stone paving was often replaced with concrete and composite stone pavers in the decades thereafter, polygonal gneiss paving stones have become an element of 1950s style.
Mastic asphalt
Ganz Landscape Architects used the very old construction material mastic asphalt as a paving surface for a project where the finish was desired to stand out against the existing asphalt surround. A mastic asphalt surface without joins and with an unusually large grain was used.
Together with the Walo Bertschinger company, a special mastic asphalt was developed that, in addition to having the properties of conventional mastic asphalt surface, would satisfy the design demands of gravel and also conform to construction standards. Ganz Landscape Architects decided to add basalt stone of grain size 22/32 mm. For the paving, the pre-coated basalt gravel was spread by hand on the 5 cm thick surface layer of mastic asphalt. The maximum possible amount of gravel was spread. The base layer of the paving was conventional rolled asphalt.
Because of the chosen mechanical working of the surface, the gravel shows up optimally for the desired appearance and also provides for the desired grip and anti-skid properties. Further, this special surfacing shows very high load-bearing capacity, withstands snow plowing, is resistant to saltwater, and hinders hydroplaning. For assuring adequate water drainage, a minimum gradient of 1.5% is required.
If any later work is required on the mastic asphalt paving, for example due to work on pipelines and cables, the surface can be repaired relatively easily. The mechanical working of the surface makes transitions more uniform in appearance. Also, gravel from the spreading material should be kept in reserve for eventual required repair jobs.
Saibro®
Saibro® is used as a cement-bound surfacing for footpaths, sidewalks, and more that are permeable to water and air. Saibro® combines the robustness of concrete surfacing with the porosity of gravel surfacing. Saibro® was developed in 2000 in an interdisciplinary planning and research process by engineers, urban planners, and landscape architects to meet those needs.
For demanding projects, the load-bearing capacity and permeability of Chaussierung [macadamization] as path/road surfacing are not sufficient. To enure long-lasting surfacing quality, Ganz Landscape Architects decided to use Saibro®. For parking areas and squares Saibro® is an alternative to surfacing with mineral or biological binders. Saibro® forms a rigid slab that must be divided by joints, but the result is nevertheless a homogenous surface of firm gravel.
Installation of the material is similar to the installation of concrete. On a permeable foundation multiple layers of the surfacing can be installed. The surfacing is edged by curbs or forms. The appearance of the top layer is determined by the grain grading or by the addition of color to the binder. Pedestrian and vehicle use can lead to occasional erosions. This effect can be achieved deliberately by light washing away of the surface mortar, thus exposing the upper aggregate particle. This increases the similarity in look and feel to Chaussierung (macadamization) with spread stone or sand.
Stabilizer® Natural Soil Binder
Stabilizer® is a commercially available raw material composed mainly of plant material from the plantago family. The exact formula is withheld by the manufacturer for competition reasons, but it known that the plants are dried and ground to a fine powder. Packed in bags or sacks, Stabilizer must be kept dry in order that it can be used as binding agent in a controlled manner. Stabilizer has been used for binding surfaces in Europe since 1994 and in North America since 1982.
Ganz Landscape Architects chose Stabilizer® for a surface in one of their projects. It was chosen because of its colorlessness; only the color of the aggregate selected for use with Stabilizer determines the color of the surface. In addition, the good porosity of the surface allows trees to be a part of the design. The trees planted can be provided with good air and water balance conditions. The tree grate can be covered with the surfacing right up to the trunk, which in terms of design allows for a homogeneous, connected surface area; it also reduces weed growth. Characteristic of this natural product is its changing appearance during installation and its appearance during use. Freshly installed Stabilizer® is at first very soft. During the subsequent hardening time, which varies depending on the weather but takes at least five to 10 days, the surface should not be stepped on. Immediately after installing the surfacing it looks smooth and uniform, and over time a ca. 5 mm thick, loose, sandy layer forms on the surface. The loose material gets carried away by weather and use of the surface, so that strongly frequented areas differ in their looks from areas used less often. This predictable effect accords with our processual understanding, which includes development and aging in the lifetime of a project.
Surface treatment: soft stone, hand-worked surfacing
Rough surface
Surface treatment: split/cut
Work tool: chisels
Photography: Pro Naturstein, 2000
Rough surface
Surface treatment: embossed
Work tool: pitching chisel
Photography: Pro Naturstein, 2000
Rough surface
Surface treatment: pointed
Work tool: pointed punch
Photography: Pro Naturstein, 2000
Fine surface
Surface treatment: pointed
Work tool: double pick
Photography: Pro Naturstein, 2000
Fine surface
Surface treatment: hewn
Work tool: dented stone axe
Photography: Pro Naturstein, 2000
Fine surface
Surface treatment: toothed
Work tool: dented chisel
Photography: Pro Naturstein, 2000
Very fine surface, directed
Surface treatment: riffled
Work tool: riffler
Photography: Pro Naturstein, 2000
Very fine surface, directed
Surface treatment: nidged
Work tool: charring chisel
Photography: Pro Naturstein, 2000
Very fine surface, directed
Surface treatment: planed
Work tool: toothed plane
Photography: Pro Naturstein, 2000
Very fine surface, non-directed
Surface treatment: bush hammered
Work tool: bushhammer
Photography: Pro Naturstein, 2000
Very fine surface, non-directed
Surface treatment: tooled
Work tool: crandall
Photography: Pro Naturstein, 2000
Very fine surface, non-directed
Surface treatment: planed
Work tool: sandstone plane
Photography: Pro Naturstein, 2000
Surface treatment: concrete floor, machine-worked surfacing
Rough surface
Surface treatment: sanded with `Kleweg` machine
Photography: Lothar Moser, Confirm AG, 2017
Rough surface
Surface treatment: rough sand blasted
Photography: Lothar Moser, Confirm AG, 2017
Smooth surface
Surface treatment: medium sand blasted
Photography: Lothar Moser, Confirm AG, 2017
Very smooth surface
Surface treatment: smooth sand blasted
Photography: Lothar Moser, Confirm AG, 2017
Smoothed surface
Surface treatment: machine smoothed and polished
Photography: Lothar Moser, Confirm AG, 2017
Surface treatment: asphalt, machine-worked surfacing
Rough surface
Surface treatment: bush hammered
Aggregate: basalt, black, 7-15mm
Photography: Ganz Landscape Architects, 2011
Fine surface
Surface treatment: polished
Aggregate: basalt, black, 7-15mm
Photography: Ganz Landscape Architects, 2011
Rough surface
Surface treatment: bush hammered
Aggregate: quarry granite, light, 7-15mm
Photography: Ganz Landscape Architects, 2011
Fine surface
Surface treatment: polished
Aggregate: quarry granite, light, 7-15mm
Photography: Ganz Landscape Architects, 2011
Rough surface
Surface treatment: bush hammered
Aggregate: quartz St.L., 7-15mm
Photography: Ganz Landscape Architects, 2011
Fine surface
Surface treatment: polished
Aggregate: quartz St.L., 7-15mm
Photography: Ganz Landscape Architects, 2011
Rough surface
Surface treatment: bush hammered
Aggregate: cBudget Giallo, yellow, 5-8mm
Photography: Ganz Landscape Architects, 2011
Fine surface
Surface treatment: polished
Aggregate: cBudget Giallo, yellow, 5-8mm
Photography: Ganz Landscape Architects, 2011
Rough surface
Surface treatment: bush hammered
Aggregate: siliceous limestone black/white T, 7-15mm
Photography: Ganz Landscape Architects, 2011
Fine surface
Surface treatment: polished
Aggregate: siliceous limestone black/white T, 7-15mm
Photography: Ganz Landscape Architects, 2011
Woodcraft
Barrel making
The craft of barrel making, or coopering, has been in existence since the seventh or eighth century. The cooper’s favorite wood is oak. Oak is hard, robust, and long-lasting. The cooper uses mirror-cut or half mirror-cut wood – that is, wood that is cut vertically or at an angle to the growth rings. After the cutting the boards must be air dried. The rule of thumb is six months’ drying time per centimeter thickness before the boards can be worked.
Ganz Landscape Architects contracted a cooper to make almost square, 20 cm deep oak tubs. The tubs have a very long durability under water so that they make good tubs for water lilies in pools. Oak also releases tannins into the water, which inhibits the growth of algae on the walls of the pool.
Charcoaling
In their search for new forms of expression and uses of materials, Ganz Landscape Architects hit upon the centuries-old tradition of charcoal production. Charcoal burners traditionally built semi-circular charcoal kilns out of beech wood stacked in layers. The meter-long staves were stacked in a circle, covered with a layer of straw, and then packed airtight with earth and ashes. Depending on the size of the charcoal kiln, the production of charcoal after starting the fire and at temperatures from 400 to 500°C, could take from 8 to 14 days.
Charcoaling for our use consists in charring the wood using a flame. This is done by hand, for the flame is applied to create a charred layer only 15 mm deep. The charcoaling process is controlled using steam, but without allowing the boards to go out of shape. The best materials for the process are beech and oak. Pines with a lot of resin would be hardly suitable, as they are so inflammable. To prevent the charred wood from later staining clothing, the wood can be oiled.
The charring mineralized by the fire protects and preserves the wood against further decay. In bygone days, for example, the bottoms of fence posts used to be charred before they were pounded into the ground. In chemistry this process is called pyrolysis, the decomposition of organic matter by heating. This stops the weathering of the wood and makes chemical treatments unnecessary.
concrete samples
concrete sample I
Zusammensetzung:
Beton mit gebrochenem Andeer-Gneis 2-20
Oberfläche:
Sandgestrahlt
weiteres:
Muster für Objekt Rautistrasse
concrete sample II
Zusammensetzung:
Beton mit gebrochenem hellem Gneis 2-16, auf Trägerbeton
Oberfläche:
fein sandgestrahlt
weiteres:
Muster für Objekt Rautistrasse
concrete sample III
Zusammensetzung:
Beton mit gebrochenem hellem Gneis 8-16, auf Trägerbeton 0/3 + 3/7
Oberfläche:
grob sandgestrahlt
weiteres:
Muster für Objekt Rautistrasse
concrete sample IV
Zusammensetzung:
Beton mit Andeer-Gneis 2/8,
auf Trägerbeton
Oberfläche:
grob sandgestrahlt
weiteres:
Muster für Objekt Rautistrasse
concrete sample V
Zusammensetzung:
Beton mit Andeer-Gneis 2/8
Oberfläche:
Sandgestrahlt
weiteres:
Muster für Objekt Rautistrasse
concrete sample VI
Zusammensetzung:
Beton 0/16
Oberfläche:
schwarze, gebrochene und auffällig glänzende Splitter 1/3 eingestreut
concrete sample VII
Zusammensetzung:
Rundkornbeton mit gut gerundetem Kies 4/8
Oberfläche:
geglättet, eine Hälfte nach dem glätten gewaschen
weiteres:
Muster für Objekt Tobelhof, rollstuhlgängiger, sickerfähiger Parkplatzbelag
concrete sample VIII
Zusammensetzung:
Beton aus gebrochenem Split 2/16
Oberfläche:
grob bearbeitet, einige grössere Steine herausgelöst
weiteres:
zahlreiche, schwarz glänzende Spliter im Beton
concrete sample IX
Zusammensetzung:
Beton 0/16, anthrazit eingefärbt
Oberfläche:
Strukturiert
weiteres:
Standardplatte Typ: Alti-Plan
concrete sample X
Zusammensetzung:
Beton 0/16, anthrazit eingefärbt
Oberfläche:
fein sandgestrahlt
weiteres:
Standardplatte Typ: Alti-Plan
concrete sample XI
Zusammensetzung:
Beton 0/16
Oberfläche:
Sandgestrahlt
weiteres:
Standardplatte Typ: Alti-Plan
concrete sample XII
Zusammensetzung:
Beton 0/16
Oberfläche:
fein sandgestrahlt
weiteres:
Standardplatte Typ: Alti-Plan
concrete sample XIII
Zusammensetzung:
Beton 0/16
Oberfläche:
Strukturiert
weiteres:
Standardplatte Typ: Alti-Plan
concrete sample XIV
Zusammensetzung:
Beton 0/16, schwarz eingefärbt
Oberfläche:
Geglättet
concrete sample XV
Zusammensetzung:
Beton 0/4, grau eingefärbt
Oberfläche:
Glatt
weiteres:
Standardplatte Typ: Dalforte Gehwegplatte Fino
concrete sample XVI
Zusammensetzung:
Beton 0/16, leicht grau eingefärbt
Oberfläche:
Schalungsglatt, Rückseite mit aufgeplatzen Luftblasen
concrete sample XVII
Zusammensetzung:
Beton 0/8
Oberfläche:
leicht sandgestrahlt
concrete sample XVIII
Zusammensetzung:
Beton mit Jurasplit 0/32
Oberfläche:
Gestockt
concrete sample IXX
Zusammensetzung:
Beton mit Kalksteinkies 0/16, mit Farbzuschlag weiss
Oberfläche:
grob sandgestrahlt, von Hand ausgeführt
weiteres:
Muster für Objekt Krämeracker
Geology
Soil
Algeria
unknown place of finding
Argentinia
unknown place of finding
Australia
Darwin outback Broome
Australia
in the east
Botswana
unknown place of finding
Brazil
Amazon
Brazil
Brasilia
Brazil
foz do iguacu
Brazil
Rio de Janeiro
China
Port of Macau
Costa Rica
unknown place of finding
Germany
Friesland, Spiekeroog
Germany
Hiddensee
Germany
Hiddensee
Germany
Potsdam
England
Tintagel, Cornwall
England
Holcome Rogus, Devon
England
near the white horse, Cherhill/ GB
England
Painswick
France
Atlantic
France
massif central
Greece
unknown place of finding
Greece
Peloponnese
India
Himalaya
India
West India
Indonesia
Bali, southern beach
Indonesia
Bali, Lake Bratan
Italy
Volcanic-ash, Mount Etna
Italy
island of Elba, Marina di Campo
Italy
Sardinia, Costa Smeralda
Italy
Sardinia, Porto Prailis
Italy
Sicily, Forum Romana
Italy
Sicily, Riserva Lo Zingaro
Jamaica
unknown place of finding
Jamaica
unknown place of finding
Jamaica
unknown place of finding
Canada
Banaff Park
Kenya
Amboseli parc
Kenya
Massai Mara
Kenya
Mombasa
Kenya
Tsavo Park
Unknown country
Sahara
Marocco
Atlas Mountains
Marocco
Erfoud
Marocco
Sahara
Marocco
Taroudant
Mexico
unknown place of finding
Mexico
Yucatan, Tulum
Namibia
Kalahari
Namibia
Wolwedan
Norway
polar circle
Portugal
Madeira
Portugal
Pinhao
Portugal
Sessimbra
Russia
Black Sea
Scotland
Edinburgh
Spain
Competa
Spain
Fuerteventura
Spain
Gran Canaria, Lanzarote
Spain
Lanzarote
Spain
Madrid
Spain
Malaga
Spain
Mallorca, Portocolom
Spain
in the south of Mallorca
Spain
Mallorca
Spain
Tarragona
Tunisia
unknown place of finding
Tunisia
Hammamet
Tunisia
salt desert
Tunisia
south Tunisia, desert
Tunisia
desert
Tunisia
desert
USA
Harlemville, New York
USA
Monte Zuma Castle, Arizona
USA
Monument Valley, Arizona
USA
Walden Pond, Massachusetts
USA
Walden Woods Lincoln, Massachusetts
USA
west
Cyprus
mould
Cyprus
sand beach
Gravel
E1 Andeer granite
Origin: Andeer, GR
Type of rock: Orthogneiss
Andeer granite is fine-grained and has a light, definitely green colour.
E2 Valser quartzite
Origin: Vals, GR
Type of rock: Glimmergneis/slate [glitter gneiss/slate]
The individual grain is elongated, and the rock is light bluish green in colour.
E3 Soglio quartzite
Origin: Casaccia, GR
Type of rock: Hellglimmergneis [light glitter gneiss]
No gravel is produced that contains only Soglio quartzite.
E4 Calanca gneiss
Origin: Arvigo, Calancatal, GR
Type of rock: Zweiglimmergneis [two-glitter gneiss]
This gneiss has a high proportion of glitter and light stones.
E5 Iragna gneiss
Origin: Biasca, TI
Type of rock: Fine-grained gneiss
This rock is heterogeneous in appearance.
E6 Maggia gneiss
Origin: Carentino, TI
Type of rock: Zweiglimmergneis [two-glitter gneiss]
This gravel is dark gneiss that is somewhat shiny due to its high proportion of glitter, and it has a slate-like structure.
E7 Maggia gneiss
Origin: Riveo, TI
Type of rock: Gneiss
This gravel is dark gneiss that is somewhat shiny due to its high proportion of glitter, and it has a slate-like structure.
E8 Bergün porphyry
Origin: Bergün, GR
Type of rock: Quartz porphyry
Quarry: Farrirola Bergün
E9 St. Léonhard quartzite
Origin: St. Léonhard, VS
Type of rock: Carbonate quartzite
A light, slightly yellowish stone
A1 Bex Alpine limestone
Origin: Bex, VD
Type of rock: Sparry limestone, known as Spatkalk
Some of the grains are reddish or bluish in colour.
A2 Zweisimmen Alpine limestone
Origin: Zweisimmen, BE
Type of rock: Chalk/dolomite breccia
Quite light, brownish grey and homogenous Alpine limestone
A3 Mitholz siliceous limestone
Origin: Blausee-Mitholz, BE
Type of rock: Siliceous limestone
A4 Balmholz siliceous limestone
Origin: Sundlauenen, BE
Type of rock: Siliceous limestone
A5 Rotzloch siliceous limestone
Origin: Rotzloch, NW
Type of rock: Siliceous limestone
Dark, rather neutral grey with many white calcite veins
A6 Seewen siliceous limestone
Origin: Seewen, SZ
Type of rock: Siliceous limestone
The stone has a homogenous appearance due to its very fine-grained mineral structure and the very low proportion of calcite veins (< 2%). The dark grey colour gives it a neutral appearance.
A7 Starkenbach Alpine limestone
Origin: Alt St. Johann, SG
Type of rock: Schratten chalk
A rather light, subdued grey Alpine limestone
A8 Schollberg Alpine limestone
Origin: Trübbach, SG
Type of rock: Quintnerkalk
This gravel has a light, bluish grey colour and a high proportion of calcite.
A9 Balzers Alpine limestone
Origin: Balzers, FL
Type of rock: Limestone
This bluish grey stone has many calcite veins, so that there is a lot of white in the gravel.
A10 Hohenems Alpine limestone
Origin: Hohenems Unterklien, Austria
Type of rock: Alpine limestone
This gravel is rather bluish grey.
AJ1.1 Delémont Jura limestone, crushed
Origin: Delémont, JU
Type of rock: Jura limestone
Jura gravel with a rather subdued, greyish yellow colour
AJ2 Mellikon Jura limestone
Origin: Mellikon, AG
Type of rock: Jura limestone
Dense, homogenous chalk limestone with a greyish yellow colour and conchoidal fracture
AJ3 Eigeltingen Jura limestone (“Lägern chalk”)
Origin: Eigeltingen, Germany
Type of rock: Jura limestone
Dense, homogenous and strong yellow limestone
AM1 Massongex sandstone (“grès des carriers”)
Origin: Massongex, VS
Type of rock: Quartz sandstone
U1 Mels verrucano
Origin: Flums-Mels, SG
Type of rock: Verrucano conglomerate
Reddish brown to violet in colour; plate-like grain that gives the extracted verrucano a layered structure
U2 Collonges verrucano
Origin: Collonges, VS
Type of rock: Verrucano conglomerate
This gravel is mixed with other gravels in grey and green. The grain is less plate-like than the grain of Mels verrucano.
U3 Poschiavo serpentinite
Origin: Poschiavo, GR
Type of rock: Serpentinite
Greasy, shiny, dark green grain with a rather plate-like form
U4.1 Peccia marble (“Cristallina”)
Origin: Peccia, TI
Type of rock: Marble
M1 Mixed Riviera gneisses
Origin: Bezirk Riviera, TI
Type of rock: Gneisses, mixed
M2 Mixed Soglio gneisses
Origin: Casaccia, GR
Type of rock: Gneisses, mixed
Boulders
Punteglias granite
Surselva Valley of the Anterior Rhine, CH
Ilanz Verrucano
Surselva Valley of the Anterior Rhine, CH
Bunte Nagelfluh (colorful limestone conglomerate pebble)
Appenzell, CH
Quintnerkalk (Jurassic limestone)
Gonzen (mountain), CH
Gault sandstone
Alvier (mountain), CH
Seewerkalk limestone with karren (lapies)
Alpstein (mountain), CH
Sandstone with fossils
Staad near Rorschach, CH
Bunter Mergelkalk (marly limestone)
Rhine Valley near Chur, CH
Verrucano
Pizol (mountain), CH
Coarse-grained sandstone
Rheintal St. Gallen, CH
Basalt
Adelebsen/ Weserbergland, D
missing...
Mossy Limestone
Lägern/ Aargau, CH
handcraft
Glassblower
Glasworks by Matteo Gonet, Basel
Glasworks by Matteo Gonet, Basel
Glaswork by Matteo Gonet, Basel
Glaswork by Matteo Gonet, Basel
Glasworks by Matteo Gonet, Basel
Glaswork by Matteo Gonet, Basel
Foundry
Foundry H. Rüetschi AG, Aarau
Foundry H. Rüetschi AG, Aarau
Foundry H. Rüetschi AG, Aarau
Foundry H. Rüetschi AG, Aarau
Foundry H. Rüetschi AG, Aarau
Foundry H. Rüetschi AG, Aarau
Stone cutter
Bärlocher Steinbruch und Steinhauerei, Staad/ SG
Bärlocher Steinbruch und Steinhauerei, Staad/ SG
Bärlocher Steinbruch und Steinhauerei, Staad/ SG
Bärlocher Steinbruch und Steinhauerei, Staad/ SG
Bärlocher Steinbruch und Steinhauerei, Staad/ SG
Rock Face `Rorschacher Berg`
Pottery
Bernard Leach Pottery, St. Ives / GB
Bernard Leach Pottery, St. Ives / GB
Bernard Leach Pottery, St. Ives / GB
Bernard Leach Pottery, St. Ives / GB
Bernard Leach Pottery, St. Ives / GB
Bernard Leach Pottery, St. Ives / GB
Tile Factory
Tile Factory/ India, 2018
Tile Factory/ India, 2018
Tile Factory Mangalore/ India, 2018
Tile Factory/ India, 2018
Tile Factory/ India, 2018
Tile Factory/ India, 2018
Herbarium
trees and shrubs
Acer opalus
Italian maple
Acer platanoides
Norway maple
Acer pseudoplatanus
sycamore
Aesculus hippocastanum
horse-chestnut
Alnus incana
grey alder
Alnus viridis
green alder
Betula pendula
silver birch
Calluna vulgaris
common heather
Carpinus betulus
common hornbeam
Castanea sativa
sweet chestnut
Cornus mas
cornelian cherry
Cornus sanguinea
common dogwood
Corylus avellana
common hazel
Crataegus laevigata
midland hawthorn
Euonymus europaeus
spindle
Fagus sylvatica
common beech
Fraxinus excelsior
common ash
Hippophae rhamnoides
common sea buckthorn
Ligustrum vulgare
wild privet
Lonicera xylosteum
fly honeysuckle
Parthenocissus inserta
thicket creeper
Quercus robur
pedunculate oak
Rhamnus catharticus
buckthorn
Robinia pseudoacacia
black locust
Salix gracilistyla
rose-gold pussy willow
Sambucus nigra
elder
Sambucus racemosa
red elderberry
Sorbus aria
whitebeam
Sorbus aucuparia
rowan
Syringa vulgaris
lilac
Viburnum lantana
wayfarer
Viburnum opulus
guelder-rose
meadow herbs
Aira caespitosa
tufted hairgrass
Ajuga reptans
bugle
Anthriscus sylvestris
cow parsley
Carex glauca
blue sedge
Chaerophyllum hirsutum
hairy chervil
Chrysanthemum leucanthemum
ox-eye daisy
Cuscuta trifolii
common dodder
Daucus carota
wild carrot
Euphrasia officinalis
drug eyebright
Heracleum sphondylium
hogweed
Juncus glaucus
blue rush
Knautia arvensis
field scabious
Orobanche minor
hellroot
Plantago media
hoary plantain
Pimpinella minor
salad burnet
Ranunculus acris
meadow buttercup
Rinanthus minor
yellow rattle
Rumex obtusifolius
bitter dock
Salvia pratensis
meadow clary
Symphitum officinale
common comfrey
perennials / grasses
Caltha palustris
marsh-marigold
Chrysanthemum alpinum
alpine moon daisy
Dactylorhiza majalis
western marsh orchid
Dryas octopetala
mountain avens
Epipactis helleborine
broad-leaved helleborine
Gentiana clusii
clusiu’s gentian
Gentiana verna
spring gentian
Globularia cardifolia
heart-leaved globe daisy
Globularia bisnagarica
Common Ball Flower
Hedysarum hedysaroides
alpine sainfoin
Hippocrepis comosa
horseshoe vetch
Homogyne alpina
alpine coltsfoot
Linaria alpina
alpine toadflax
Lotus corniculatus
common bird's-foot trefoil
Nigritella nigra
common black orchid
Poa alpina
alpine meadow-grass
Potentilla crantzii
alpine cinquefoil
Primula auricula
auricula
Primula integrifolia
entire-leaved primrose
Pulsatilla alpina
alpine pasqueflower
Ranunculus alpestris
alpine buttercup
Soldanella alpina
alpine snowbell
Thalictrum aquilegiifolium
sibarian columbine meadow-rue
Trifolium alpinum
siberian columbine meadow-rue
Viola biflora
alpine yellow-violet
Modelmaking
Total view
Parc et Château de Chillon
Housing Construction Steinwies-/Irisstrasse, Zurich
Alter Tobelhof, Zurich
Garten Belsito, Zurich
School, Oberrüti
Kantonsspital, Uri
Freibad Bünzmatt, Wohlen
Museum of 20th century, Berlin
Garden Friedli, Männedorf
Elefantenpark, Zurich
Pfingstweidpark, Zurich
Residential and commercial building on the Speich grounds, Zurich
Russenweg, Zurich
Garden Courtyard, new Annex at Unterlöchli Nursing Home, Lucerne
School Thurgauerstrasse, Zurich
Asylum in Wäldli, Zurich
Winkelriedplatz, Bale
Parkend, Zurich
Nature observation
Woods
Scotland GB
July 2002
Scotland GB
July 2002
Almese I
June 2006
Almese I
June 2006
Almese I
June 2006
Almese I
June 2006
Almese I
June 2006
near Lanark, Scotland GB
March 2006
near Lanark, Scotland GB
March 2006
near Lanark, Scotland GB
March 2006
near Lanark, Scotland GB
March 2006
Portland JA
February 2007
Portland JA
February 2007
Portland JA
February 2007
Portland JA
February 2007
Portland JA
February 2007
Portland JA
February 2007
Portland JA
February 2007
Portland JA
February 2007
Portland JA
February 2007
St. Andrew JA
February 2007
St. Andrew JA
February 2007
Üetliberg ZH
August 2008
Üetliberg ZH
August 2008
Üetliberg ZH
August 2008
Cornwall GB
June 2008
Cornwall GB
June 2008
Water
Zumikon ZH
waterfall
Zumikon ZH
waterfall
Plants
Pictures of Plants
Primula x bullesiana
Hamburg (D), June-July 2009
Elymus magellanicus
Knautia macedonica
Lythrum salicaria ‘Lady Sackville‘
Schwerin (D), June-July 2009
Helenium ‘Waltraut‘
Knautia macedonica
Schwerin (D), June-July 2009
Primula beesiana
Hamburg (D), June-July 2009
Echinacea purpurea ‘Vintage Wine‘
Eryngium yuccifolium
New York (USA), August 2011
Lupinus polyphyllus
Furka (CH), August 2013
Artemisia ludoviciana ‘Silver Queen‘
Pennisetum alopecuroides ‘Hameln‘
Origanum Laevigatum-Hybride ‘Herrenhausen‘
Zurich (CH), September 2009
Bergenia cordifolia
Artemisia ludoviciana ‘Silver Queen‘
Aster sedifolius ‘Nanus‘
Zurich (CH), September 2009
Alchemilla mollis
Euphorbia characias ssp. wulfenii
Zurich (CH), September 2009
Lavandula angustifolia
Nepeta x faassenii
Santolina chamaecyparissus
Zurich (CH), September 2009
Lavandula angustifolia
Nepeta x faassenii
Salvia officinalis
Zurich (CH), September 2009
Gaura lindheimeri
Lavandula angustifolia
London (GB), October 2009
Mosses that inhabit shade
Conocephalum conicum
Scented Liverwort
Lunularia cruciata
Crescent-cup Liverwort
Marchantia polymorpha
Common Liverwort
Plagiomnium affine
Many-fruited Thyme-moss
Scleropodium purum
Neat Feather-moss
Mosses that inhabit halfshade
Dicranum scoparium
Gabelzahnmoos
Das Gabelzahnmoos ist in sauren Wäldern verbreitet. Es ist sehr formenreich. In der typischen Ausprägung sind die Blätter gekrümmt (sichelig) und zeigen alle in eine Richtung. Voraussetzung für die Gartenkultur ist ein halbschattiger Standort mit saurem Boden.
Hypnum cupressiforme
Schlafmoos
Hypnum ist ein Allerweltsmoos. Es kommt auf Felsen, Waldboden, Baumstämmen, morschem Holz und Mauern in einer unheimlichen Vielzahl von verschiedenen Varietäten vor, die sich sehr vom Aussehen unterscheiden. Sehr grosse, goldbraune Sippen wachsen auf Kalkfelsen, mittelgrosse an Baumstämmen und sauren Felsen (Schiefer, Granit). Schlafmoos eignet sich gut für den Bewuchs von Felsblöcken. Es bildet sehr schön dichte teppichartige Flächen aus.
Pleurozium schreberi
Rotstengelmoos
Man findet dieses Moos in sauren Wäldern und Heiden.
Polytrichum formosum
Hairy cap moss
Thuidium tamariscinum
Fern Moss
Mosses that inhabit sun
Ceratodon purpureus
Hornzahnmoos
Dieses Moos ist eines der häufigsten Arten. Es kommt auf Gestein, Borke, Dächern, in Regenrinnen oder in grossen Mengen auf Ödland in Sandgruben oder Industriebrachen vor. Die schmutzig grüne Art ist nicht so attraktiv, bildet aber im Frühjahr reichlich Sporenkapseln aus, die auf roten Stielchen (Seten) stehen und den Moosrasen rot verfärben.
Polytrichum juniperinum
Wachholder-Widertonmoos
Das Moos ist weltweit von den Ebenen bis ins Hochgebirge verbreitet. Es kommt auch in tropischen Gebirgen und in den Hochalpen vor. Es wächst an sonnigen und trockenen Plätzen auf kalkfreien Sand- und Silikatschuttböden außerhalb der Kalkgebiete. Oft ist es auf Bahngelände und ähnlichen exponierten Standorten zu finden.
Polytrichum piliferum
Glashaar-Widertonmoos
Polytrichum piliferum ist kosmopolitisch verbreitet (alle Kontinente einschließlich der Antarktis). In Mitteleuropa ist es vom Flachland bis ins Hochgebirge überall verbreitet und häufig.
Es wächst vor allem an konkurrenzfreien, oft extrem nährstoffarmen Standorten, wie auf Sand oder leicht übererdeten Felsen, gerne auch auf sauren Böden. Es verträgt starke Sonneneinstrahlung sowie Trockenheit. Typische Standorte sind beispielsweise in Heiden, auf Dünen, in Sandgruben oder auf Steinblöcken an Waldrändern, Weinbergen etc..
Racomitrium elongatum
Verlängertes Zackenmützenmoos
Diese Art (auf Silikatuntergrund) oder das ähnliche R. canescens (auf Kalk) kommt auf steinigem Boden an Wegrändern und in Sandgruben vor. Es hat - wie manch andere Trockenheitstolerante Arten - eine Blattrippe, die als weissliche Haarspitze austritt. Dadurch wirken die Pflanzen im trockenen Zustand weisslich.Angefeuchtet sind sie dann blass gelbgrün. Die Art eignet sich wegen ihrer Standortansprüche zur Bepflanzung von offenen, sonnigen Stellen oder Dächern.
Tortula ruralis
Dach-Drehzahnmoos
Diese Art eignet sich zur Bepflanzung von basischem Boden und Felsen. Das in allen Klimazonen außerhalb der Tropen recht häufige Moos wächst zumeist in ausgeprägter Polster- oder Kissenform, bildet aber auch Rasen. Es wächst sowohl im Flachland und dringt bis in die subalpine Stufe der Gebirge vor. Natürlich kommt es in erster Linie auf Felsen und Erde vor, besiedelt aber auch Mauern, Beton und Dächer. Selten ist es sogar auf totem Holz oder auf Borke zu finden.
Talks
2021
Prof. Annette Spiro, Professur für Architektur + Konstruktion, ETH Zürich
Prof. Annette Spiro, Professur für Architektur + Konstruktion, ETH Zürich
2021 (virtuell)
ETH Zurich
`A Journey Through Garden History`
9th March 2021
Studio Tom Emerson, ETH Zürich
`Things we should know about gardening`
or
`How to become a practical architect by knowing something about trees, shrubs and meadows`
13th April 2021
2019
ETH Zurich
ETH Zurich
ETH Zurich
2018
Universität Geisenheim/ D
2017
ETH Zurich
EPF Lausanne
ETH Zurich
ETH Zurich
ETH Zurich
2016
ETH Zurich
ETH Zurich
ETH Zurich
ETH Zurich
ETH Zurich
ETH Zurich
2015
ETH Zurich
ETH Zurich
ETH Zurich
Showcase
Showcase X, autumn 2021
Seed Heads
Seed Heads
Seed Heads
Seed Heads
Seed Heads
Seed Heads
Showcase IX, summer 2021
Cabinet of Curiosities GANZ
Cabinet of Curiosities GANZ
Cabinet of Curiosities GANZ
Cabinet of Curiosities
Cabinet of Curiosities GANZ
Cabinet of Curiosities GANZ
Showcase, sommer 20120
Butterflies and caterpillars
Schreibers kleiner Atlas der Schmetterlinge und Raupen.
Systematische Anordnung nach dem Katalog von Staudinger-Rebel.
Esslingen; München: J.F. Schreiber, o. J. 16, 24 S., mit 25 farbig
lithographierten Tafeln als Leporello, Or.kt. mit montierter farbiger Deckelillustration. 8°.
Butterflies and caterpillars
Schreibers kleiner Atlas der Schmetterlinge und Raupen.
Systematische Anordnung nach dem Katalog von Staudinger-Rebel.
Esslingen; München: J.F. Schreiber, o. J. 16, 24 S., mit 25 farbig
lithographierten Tafeln als Leporello, Or.kt. mit montierter farbiger Deckelillustration. 8°.
Butterflies and caterpillars
Schreibers kleiner Atlas der Schmetterlinge und Raupen.
Systematische Anordnung nach dem Katalog von Staudinger-Rebel.
Esslingen; München: J.F. Schreiber, o. J. 16, 24 S., mit 25 farbig
lithographierten Tafeln als Leporello, Or.kt. mit montierter farbiger Deckelillustration. 8°.
Butterflies and caterpillars
Schreibers kleiner Atlas der Schmetterlinge und Raupen.
Systematische Anordnung nach dem Katalog von Staudinger-Rebel.
Esslingen; München: J.F. Schreiber, o. J. 16, 24 S., mit 25 farbig
lithographierten Tafeln als Leporello, Or.kt. mit montierter farbiger Deckelillustration. 8°.
Butterflies and caterpillars
Schreibers kleiner Atlas der Schmetterlinge und Raupen.
Systematische Anordnung nach dem Katalog von Staudinger-Rebel.
Esslingen; München: J.F. Schreiber, o. J. 16, 24 S., mit 25 farbig
lithographierten Tafeln als Leporello, Or.kt. mit montierter farbiger Deckelillustration. 8°.
Butterflies and caterpillars
Schreibers kleiner Atlas der Schmetterlinge und Raupen.
Systematische Anordnung nach dem Katalog von Staudinger-Rebel.
Esslingen; München: J.F. Schreiber, o. J. 16, 24 S., mit 25 farbig
lithographierten Tafeln als Leporello, Or.kt. mit montierter farbiger Deckelillustration. 8°.
Showcase VII, winter 2020
Jürg Altherr
* 26.10.1944 Zürich, † 1.6.2018 Zürich
Jürg Altherrs Frühwerk von 1962–1974 umfasst Skulpturen in Granit, Muschelkalk und Travertin im Grenzbereich zwischen Abstraktion und Gegenständlichkeit. Seit 1976 kombiniert er Gipsabgüsse von Menschen mit teils noch fleischbehafteten Skeletteilen von Tieren in Rohrgestängen. In diesen beklemmenden Arbeiten setzt sich Altherr mit dem Prozess der Zersetzung organischen Materials auseinander.
Das Aufhängen und Fixieren von Gegenständen stellt das verbindende Element zum folgenden Werkabschnitt dar, in dem sich der Künstler seit 1976 in seinen Kleinplastiken und Metallarbeiten im Freien mit dem Phänomen der Balance auseinandersetzt. Die in den Knochen- und Gipsarbeiten thematisierten Spannungen werden nun durch ein Gefühl der Bedrohung durch die in fragilem Gleichgewicht befindlichen Stahlkonstruktionen oder die aufgehängten, teils wassergefüllten Kunststoffhüllen ersetzt. Raffinierte Belastungsvorgänge und komplexe Gleichgewichtssysteme führen zu einer Kräftebalance, die als instabil wahrgenommen wird, zumal die Seilverspannungen aus der Distanz nicht mehr erkennbar sind (Verhängnis, 1986, Waffenplatz Auenfeld, Frauenfeld). Die Objekte wirken schwerelos und vollziehen schwingende Bewegungen im Wind. Für die mathematischen Berechnungen, die den Aussenplastiken zugrunde liegen, zeiht der Künstler oft Ingenieure bei. Seine Grossplastiken versteht der Künstler als städtebauliche Elemente. Bei der Gestaltung des Terrains geht es Altherr um das Zusammenspiel der plastischen und natürlichen Komponenten von Architektur und Landschaft.
Mitte der 1980er-Jahre erweitert der Künstler sein plastisches Konzept. In Ergänzung zu den mehrteiligen Raumplastiken entstehen Einzelobjekte: einerseits massige, scharfkantige Werke in Eisen und andererseits in sich geschlossene, wenig standfest erscheinende Arbeiten aus Holzlatten (Hiobs Schwester, 1986). Den Plastiken sind paradoxe Titel beigegeben, die Irritationen auslösen und eine weitere Sinndimension eröffnen.
Jürg Altherr
* 26.10.1944 Zürich, † 1.6.2018 Zürich
Jürg Altherr
* 26.10.1944 Zürich, † 1.6.2018 Zürich
Jürg Altherr
* 26.10.1944 Zürich, † 1.6.2018 Zürich
Jürg Altherr
* 26.10.1944 Zürich, † 1.6.2018 Zürich
Jürg Altherr
* 26.10.1944 Zürich, † 1.6.2018 Zürich
Jürg Altherr
* 26.10.1944 Zürich, † 1.6.2018 Zürich
Jürg Altherr
* 26.10.1944 Zürich, † 1.6.2018 Zürich
Jürg Altherr
* 26.10.1944 Zürich, † 1.6.2018 Zürich
Jürg Altherr
* 26.10.1944 Zürich, † 1.6.2018 Zürich
Jürg Altherr
* 26.10.1944 Zürich, † 1.6.2018 Zürich
Jürg Altherr
* 26.10.1944 Zürich, † 1.6.2018 Zürich
Showcase VI, summer 2019
Lactarius deliciosus
Der echte Reizker gehört zur Gattung der Milchlinge, welche dadurch auffällig gekennzeichnet sind, dass sie allesamt bei Bruch oder Verletzung einen weissen oder farbigen Milchsaft aussondern.
Unsere Art ist durch lebhaft orangegelbe Milch ausgezeichnet. Der Hut ist zuerst gewölbt, mit eingerolltem Rand, später schüssel- bis trichterartig zurückgebogen. Er ist meist deutlich dunkel orange gezont, glatt, und auffällig schmierig anzufühlen. Die Lamellen stehen dicht gedrängt und laufen etwas an den Stiel herab. Letzterer ist stets ohne Ring, hohlzylindrisch und oberflächlich oft mit undeutlichen Gruben oder dinklen Flecken. Druckstellen verfärben sich am ganzen Pilz schmutzig grünspanig und machen ihn beim Sammeln unansehnlich. — Bekannter Speisepilz.
Russula lepida
Die Täublinge gleichen in Haltung und innerem Bau den Milchlingen, besitzen jedoch keinen Milchsaft.Ihr Stiel ist stets ringlos und der ganze Pilz, besonders aber die Lamellen, spröde. Die abgebildete Art besitzt einen prächtigen zinnoberroten, glanzlos trocknen und stumpfrandigen Hut, ein auffällig starres Fleisch und weissen Sporenstaub. Geschmack mild, nachträglich oft leicht bitter. — Essbar.
Craterellus cornucopiodes
Durch die Trompetengestalt und die düstere Trauerfarbe auffällig. Der braungraue, häutig-dünnfleischige Trichter erzeugt die weisslichen Sporen auf der jung glatten, später leicht runzligen Aussenseite, was den reifen Pilz wie mehlig bestäubt oder schimmelig erscheinen lässt. — Beliebter Speise- und Würzepilz, zum Dörren geeignet.
Cantharellus cibarius
Der Eierschwamm ist in Form und Farbe vielgestaltig, typischenfalls aber in allen Teilen dottergelb, mit erst gewölbtem, später trichterförmig, randlich wellig-buchtigem Hut, der allmählich in den abwärts verjüngten Stiel übergeht. Der blasse Sporenstaub wird an schmalen leistenförmigen Lamellen erzeugt. Das Fleisch des Pilzes ist etwas derb und faserig.
Der volkstümlichste Speisepilz, der durch seine einladende Eifarbe und sein fruchtiges Aroma auch dem Nichtkenner allen Argwohn nimmt.
Hydnum repandum
Bekannter Vertreter der Stoppelpilze, einer Pilzgruppe, die ihre Sporen auf stachelähnlichen Fortsätzen der hutunterseite entwickeln.
Der Hut unseres Pilzes ist annähernd kreiselförmig, der Rand oft unregelmässig lappig. Farbe blass orangegelb. Die sehr brüchigen Stacheln werden nach dem Stiel zu kleiner und laufen etwas an ihm herab. — Essbar, leicht bitter.
Boletus edulis
Der Steinpilz gehört zur Gattung der Röhrlinge, die allesamt ihre Sporen in einer Schicht feiner, dichtstehender Röhren der Hutunterseite bilden.
Der dickfleischige, gewölbte Hut dieser Art ist halb lederbraun, bisweilen blass, seine Röhrenschicht erst weisslich, später grün-gelblich und fleckt nicht auf Druck. Der starke, meist leicht bauchige Stiel ist blass bräunlich und zeigt oberwärts eine feine weisse Netzzeichnung. Fleisch fest und wohlschmeckend. — Wertvoller Speisepilz.
Showcase V, spring 2019
Ian Hamilton Finlay
The Wanderings of Ulysses
He comes to Little Sparta
Ian Hamilton Finlay/ Diane Tammes
Wild Hawthorn Press
Ian Hamilton Finlay
A Proposal for the Grounds of the Schönthal Monastry, Switzerland
Two stiles are set on a Path in the Monastry grounds.
The somewhat austere fence is interrupted by a section of a more homely
plank fence placed between strainers on
either side of the stiles. An upright post offers a reassuring
support for the elderly as well as a site for appropriate
inscriptions from Roman pastoral poet, Virgil.
Ian Hamilton Finlay
A Proposal for the Grounds of the Schönthal Monastry, Switzerland
HAEC NEMORA INDIGENAE FAUNI NYMPHAEQUE TENEBANT
These woods used to be the home of native fauns and nymphs
MUSCOSI FONTES ET SOMNO MOLLIOR HERBA
Mossy springs and grass softer than sleep
Ian Hamilton Finlay
A MARKER STONE FOR A MEADOW 1
A characteristic Swiss meadow is divided into a mown and
a wild part. This marker stone is designed for the latter,
drawing attention to the variety of wild flowers growing
there. But the result is not unambiguosly idyllic; the
inscription can be understood as a version of the customary
cautionary notice. (Keep Off The Grass), or as an acknowl-
edgement of the flowers as an expression of the powerful,
perhaps dangerous, forces of Nature.
1 Schönthal Monastery, Switzerland
Ian Hamilton Finlay, with Pia Simig and Gary Hincks
Wild Hawthorn Press 1999
Ian Hamilton Finlay
From Ian and Pia
Christmas 2003
Little Sparta
Ian Hamilton Finlay
Showcase IV, Sommer 2018
Grubenstrasse 45
Photo: Wolf-Bender & Bender`s Erben, 1941, BAZ (Baugeschichtliches Archiv Zürich)
Grubenstrasse 45
Photo: Wolf-Bender & Bender`s Erben, 1951, BAZ (Baugeschichtliches Archiv Zürich)
Grubenstrasse 45
Photo: Wolf-Bender & Bender`s Erben, 1950, BAZ (Baugeschichtliches Archiv Zürich)
Grubenstrasse 45
Photographer unknown, 1940th
Grubenstrasse 45
Photo: Wolf-Bender & Bender`s Erben, 1949, BAZ (Baugeschichtliches Archiv Zürich)
Grubenstrasse 45
Photo: Wolf-Bender & Bender`s Erben, 1949, BAZ (Baugeschichtliches Archiv Zürich)
Showcase III, spring 2018
Brett Davidson
15th September 1966 to 17th December 2017
artist, musician, poet, teacher and co-founder of `Horse Law Press`
Brett Davidson
15th September 1966 - 17th December 2017
artist, musician, poet, teacher and co-founder of `Horse Law Press`
Brett Davidson
15th September 1966 - 17th Dezember 2017
artist, musician, poet, teacher and co-founder of `Horse Law Press`
Brett Davidson
15th September 1966 - 17th December 2017
artist, musician, poet, teacher and co-founder of `Horse Law Press`
Brett Davidson
15th September 1966 - 17th December 2017
artist, musician, poet, teacher and co-founder of `Horse Law Press`
Brett Davidson
15th September 1966 - 17th December 2017
artist, musician, poet, teacher and co-founder of `Horse Law Press`
Showcase II, winter 2017
Germany excursion, 21st-24th September 2017
Unsere Exkursion führte uns über Dresden nach Bad Muskau, Cottbus, Wörlitz, Dessau und Weimar nach Leipzig. In Bad Muskau besuchten wir den Muskauer Park von Fürst Pückler sowie in der Nähe die Rakotzbrücke im Park Kromlau. In Cottbus besuchten wir den Branitzer Park den Fürst Pückler noch im hohen Alter anlegte. Beeindruckt hat uns auch die Parkanlage des Dessau-Wörlitzer Gartenreichs. Ein weiterer Höhepunkt unserer Exkursion war der Besuch des Bauhaus und der Meisterhäuser in Dessau. In Weimar besuchten wir die Anna Amalia Bibliothek und den Schlosspark Belvedere.
Germany excursion, 21st-24th September 2017
Parc Muskau
Germany excursion, 21st-24th September 2017
Rakotz bridge, Parc Kromlau
Germany excursion, 21st-24th September 2017
Earth pyramids, Branitzer parc
Germany excursion, 21st-24th September 2017
Jean-Jacques Rousseau island, Parc Wörlitz
Germany excursion, 21st-24th September 2017
Student livinghouse, Bauhaus Dessau
Showcase I, autumn 2017
Ganz Cabinet of curiosity
Proposal for studio Ganz, TEN
Ganz Cabinet of curiosity
Proposal for studio Ganz, TEN
Ganz Cabinet of curiosity
Proposal for studio Ganz, TEN
Ganz Cabinet of curiosity
Josph Cornell, Untitled (Forgotten game), 1949
Ganz Cabinet of curiosity
Marcel Duschamp, Le grand verre, 1915-1923
Ganz Cabinet of curiosity
Bob Dylan; 1975, Photographs by Ken Regan
Textile
Maharam
Abacus 466118
Inlay 466353
Assembled Check 466345
Segmented Stripe
Ottoman Stripe 466142
Checker Splitt
Josef Frank
Celotocaulis
Vegetable Tree
Brazil
Teheran White
Loops
Tools
Stonemasonry tools
Mallet
Stone axe
Dented stone axe
Crandall
Charring chisel
Pitching chisel
Dentel chisel
Hammer
Buschhammer
Hand punch for granite
Hand punch for sandstone
Scriber
Charring chisel for pneumatic hammer
Small pneumatic hammer
Large pneumatic hammer
Honing stone
Stone compass