Annette Gigon and Mike Guyer present eight of their projects in this wellillustrated record of their 2000 Charles & Ray Eames lecture at the University of Michigan - and, in doing so, give a real insight into their practice.
The schemes are classified either as 'Architecture for Art'- museum buildings which deliberately 'downplay' the exhibition spaces for the sake of the contents - or as 'Art for Architecture', where the collaborative input of an artist is integrated but still identifiable. 'While the rooms are designed by an architect, the use of colour is explicitly that of a painter, ' they say of the Sports Centre at Davos.
Something that unites these two strands of Gigon/Guyer's work is a much-deliberated use of materials, finding expressive or allusive potential in industrial components: for instance, the chrome steel cladding on the Liner Museum, Appenzell, whose colour resembles silvery weathered wood on old barns in the region and whose application recalls the overlapping shingles on the town's traditional houses.
Also published recently by the University of Michigan is the text of Michael Benedikt's 2000 Raoul Wallenberg lecture, in which the author of For an Architecture of Reality argues that there can be 'poetry in shelter, not just necessity', unexpectedly citing Foster's Reichstag and Frankfurt Commerzbank in support - 'high-tech/high-touch buildings. . . exemplary.'