Angeli Sachs

Museum für Gestaltung Zürich

"Nature has been a source of inspiration in the design of the human environment, and its influence on contemporary design is more than evident. The "model of nature," with its forms, structures, and organizing principles, does not only inspire the widest range of concept and design processes, but also can be expressed in a broad spectrum of forms and functions. Nature Design addresses this phenomenon from the eighteenth century until today, and presents an international selection of objects and projects from the fields of design, architecture, landscape architecture, art, photography, and scientific research that do not simply depict or imitate nature, but use it as a starting point and reservoir of inspiration for eclectic and innovative responses to the relationship between man and his environment." --Book Jacket.

From Inspiration to Innovation

Nature Design

Carmen Mörsch

Thomas Sieber

In the context of critical museology, museums are questioning their social role, defining the museum as a site for knowledge exchange and participation in creating links between past and present. Museum education has evolved as a practice in its own right, questioning, expanding and transforming exhibitions and institutions. How does museum work change if we conceive of curating and education as an integrated practice? This question is addressed by international contributors from different types of museums. For anyone interested in the future of museums, it offers insights into the diversity of positions and experiences of translating the »grand designs« of museology into practice.

Contemporary Curating and Museum Education

Philip Ursprung

Ilka Ruby

Andreas Ruby

What is minimalism? Or, more specifically, what isn't? In this fascinating aesthetic voyage, three experts in the field of architecture and art history trace the development of minimalism as a style and offer perspectives on the directions the movement is taking as it morphs towards the future. In double-page spreads filled with color photographs of the most innovative minimalist projects, this book illustrates three principal movements: the traditional, as practiced by Herzog & de Meuron in early works, Adolf Krischanitz and Tadao Ando; the ambiguous, in which architects not commonly associated with minimalism, such as OMA or Zaha Hadid, use it for specific projects; and the subversive, which appropriates minimalist concepts across a variety of new fields as exemplified in the architecture of Shigeru Ban or Lacaton & Vassal.

Michael Wehunt

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