Get Off of My Cloud

Wolf D. PrixCOOPHIMMELB(L)AUTexts 1968–2005

Edited by Martina Kandeler-Fritsch and Thomas Kramer

Editors: Martina Kandeler-Fritsch and Thomas KramerCoordination/Editing: Petra Königsegger-DabrowskiPublication Staff: Gudrun Hausegger, Petra Trefalt, Markus Pillhofer, Caroline Ecker, Timo Rieke, Doris Fritz, Edith FritzTranslation: Dream Coordination Office (Lisa Rosenblatt & Charlotte Eckler)

Design and Typesetting: Paulus M. Dreibholz, London/ViennaTypefaces: ITC Charter, Akzidenz GroteskPaper: Munken Lynx 130 g/m2

Binding: Druckverarbeitung IDUPA Schübelin GmbH, Owen/TeckPrinted by: Offizin Chr. Scheufele, Stuttgart© 2005 Hatje Cantz Verlag, Ostfildern-Ruit, and authors

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ISBN 3-7757-1671-8 (English)ISBN 3-7757-1648-3 (German)

Printed in Germany

14 Foreword Jeffrey Kipnis

20 Foreword Christian Reder

Programmatic Texts

24 Coop Himmelblau Is Not a Color, 1968

25 Our Architecture Has no Physical

Ground Plan, 1968

26 In the Beginning Was the City, 1968

27 It Is Not That We Should Change, 1970

28 The Rift in the Mind of the City Dweller,

1977

35 Beautiful Living Makes Frozen Lives, 1978

36 The Future of the Splendid Desolation,

1978

38 City of Nature, 1978

39 The Poetry of Desolation, 1979

40 The Tougher Architecture, 1980

45 And This Is How It Works, 1980

46 Architecture Must Blaze, 1980

47 Sections through Open Architecture, 1980

48 The Drawing Is Important to Us, 1982

49 The Open System, 1982

50 Architecture Is Not Accommodating, 1983

55 Open Architecture, 1983

56 The Dissipation of Our Bodies in the City,

1988

58 On the Edge, 1989

59 For Us, a City Is . . . , 1990

60 Our Architecture Has Four Cities

and Seven Lives, 1990

64 Desert Storm, 1993

69 The End of Space Is the Beginning

of Architecture, 1993

71 Planning Concepts, 1993

72 The Architecture of Clouds, 1995

Selected Project Texts

76 Villa Rosa, 1968

78 Villa Rosa I I, 1968

80 The Cloud, 1968

82 Feedback Vibration City, 1971

84 Reiss Bar, 1977

86 Hot Flat, 1978

88 Roter Engel (Red Angel), 1980

90 The Temperature Wing, 1980

92 Merz School, 1981

94 Architecture Is Now, 1982

96 Open House, 1983

98 Apartment Complex Vienna 2, 1983

100 Youth Center Berlin, 1983

102 Skyline, 1985

104 Form-mutation, 1986

106 The Heart of a City, Melun-Sénart, 1986

108 Like Sugar. White on White, 1994

Lectures

112 Architecture Must Blaze, 1984

150 The City as a Field of Clouds, 1996

166 More and Less, 1998

184 Architecture at the End of the Twentieth

Century, 1998

202 “Let’s Be Realists. Let’s Do the Impossible”,

1999

220 Space for a Change, 2000

Interviews

228 The Desire for Oblique Walls, 1986

232 We Were Young and Very Bored, 1988

250 Body—Space—Time, 1996

262 Understanding Deconstructivism

as a Strategy, 1996

266 Resisting Accommodation, 1996

276 Paradise Cage, 1996

280 The Psyche of Architecture, 2000

290 Against the Visual Devastation of

Our Environment, 2001

300 The Box as a Burial Site for Art:

We Think That’s Boring, 2001

308 Freeing Architecture from Material

Constraints, 2001

314 The City in the Age of Globalization, 2002

326 Baroque Himmelb(l)au, 2002

Table of Contents

330 We Build Spaces That Are as Fast as Cars,

2002

338 The Rigor of Art and the Foolish

Pleasure Principle, 2002

366 An Architect Who Doesn’t Want to

Improve the World Will Always Be

a House Builder, 2002

376 On the Added Value of Form, 2003

380 Vienna Is Happy When We Build Abroad,

2005

On Friends and Foes

386 Art’s Great Wall of China—Christo, 1976

391 The Monastery—Günther Domenig, 1988

392 Wd.Z., Structural Designer—Wolfdietrich

Ziesel, 1989

393 The Prince—Wilhelm Holzbauer, 1990

394 EM = C2—Eric Owen Moss, 1991

395 About the Reiss—Michael Satke, 1991

396 Otto Wagner, a Viennese Architect, 1991

398 On Frank O. Gehry, 1995

399 Rolling the Sky—The Rolling Stones, 1995

405 Promote and Suppress: Architect,

Kingmaker, and Vampire—Philip Johnson,

1996

409 Congratulations to Margarete Schütte-

Lihotzky on Her One Hundredth Birthday,

1997

410 For Gerald Zugmann, 1997

411 Congratulations to Alvar Aalto on

His One Hundredth Birthday, 1998

412 S1-2, BKK-2, and the Poor Boys’

Brain-Surfer, 1998

414 The Proud King of Samarkand—Zvi Hecker,

1999

416 Poise Is Costly; Honor Requires

Patience—Roland Rainer, 2000

418 A Flexible Modernity—Enrique Norten, 2000

420 If That Isn’t Effectiveness!—

Günther Feuerstein, 2000

423 Hitoshi Abe, Wanderer in His Spaces, 2000

425 Rapid Eye Movement Schindler—

R.M. Schindler, 2001

426 The American Friend—Steven Holl, 2002

428 Wolf 4 Zaha—Zaha Hadid, 2003

430 Frog King and Butterfly Prince—Greg Lynn,

2003

433 Visionary in Exile—Raimund Abraham, 2005

438 Call Him Thom Mayne, 2005

. . . And Other Texts

442 A Feeling in Glass, 1972

443 A Museum Is Art, 1990

445 On Urbanized Landscapes, 1993

453 Ideas Always Have Something Dictatorial

About Them,1995

455 Against Rowing in the Architecture Galley,

1995

463 Cultural Buildings Are Mirror Images, 1996

464 Gasometer in Vienna-Simmering, 1996

468 Power to Fantasy, 1997

470 Vienna Is Not Bilbao, 1997

477 The Opposite of Fortresses, 1999

478 The Future of Architecture I, 1999

479 The Future of Architecture I I, 2000

482 Dynamite on Stage, 2000

486 Art Is Research, 2000

488 Acceptance Speech for the Großer

Österreichischer Staatspreis,

Coop Himmelb(l)au, 2000

495 MAK o Muerte, 2001

496 Architecture Is a Dog, 2001

497 The University Space Is a Free Space, 2002

499 Opening Speech of the steirischer herbst,

2002

509 Norms Are Regulative Borders, 2003

510 Architecture as a Comprehensive

Thought Process, 2003

512 96°13W /16° 33N, 2005

520 Editor’s Note / Text Index

524 Picture Index

14

GET OFF OF MY CLOUD

Get Off of My Cloud!” the first collection of lectures, interviews, and projectdiscussions by Coop Himmelblau marks a decisive moment in the evolu-tion of their architecture, a strategic swerve that should not go unnoticed.Get Off of My Cloud!” does not systematically position the practice’s work in the historical/intellectual manner of such writing-architects as Rossi,Venturi, Eisenman, or Koolhaas. Though rife with scalpel-edged apercus onarchitecture and architects, these texts are for the most part polemic decla-rations—brash, brazen, even poetic, if I push the meaning of that word toragged limits. Yet, as one reads, the turn taken by the book soon becomesabundantly obvious, in a sense the very subject of the book itself, though it is never mentioned. Time after time, Coop Himmelb(l)au expresses itsabsolute faith in the built—in building and city—as architecture’s supremeaction instrument. After so many years of reticent struggle, the practicebegins to have an opportunity to realize its architectural ambitions inimportant building commissions. Why, then, does it now decide to write?

• •

“The mayor of Vienna has said he can no longer pursue contemporary architecture projects . . . he would run the risk of losing votes. . . . In fact, nothing terrifies Vienna’s inhabitants more than the sight of modern buildings.”

“A democracy of opinion polls and complacency thrives behindBiedermeier façades.”

In these pages, readers will find not one single word that is not aboutarchitecture’s responsibility to confront the perils of political complacency.But perhaps because Coop Himmelb(l)au has not actively published itsdiscourse, it is still often treated as an “art practice”: born of raw talent,driven by iconoclasm, sustained by bravado, and rescued by daring leaps of building technique, its incongruous architecture requiring no otherintellectual justification beyond its intrinsic interest. Ridiculous, of course,even in the art world itself, at least since Duchamp, the links that joinpractice, politics, and writing have long since hardened fast. The outrages

“

“

Against Two GravitiesJeffrey Kipnis

of Vienna’s most seditious art practice, the Actionists, were in a mere thirtyyears all but forgotten until the publication of their writings in 1999 dis-seminated and opened to discussion their thoughts on the regenerativepotential of an art that assaults taboos and indulges destruction. By 2001,their photographs were hanging in New York’s august MetropolitanMuseum of Art. Architecture and art may each have special powers, but sodoes writing. But even if the Actionists and Coop Himmelb(l)au share thenaiveté that real exploits in and on the world are, or should be, sufficient,the mind-set of the two are as far apart as art and architecture. And in anycase, it was Gandhi who long before said, “You must be the change youwant to see in the world.” Or more exactly, Gandhi, who long before wrote.

Wolf Prix, most often the voice of Coop Himmelb(l)au, insists that twoissues place architecture at the nucleus of that problem of complacency.First, Prix asserts Coop Himmelb(l)au’s critical position. Architecture isdangerous; it possesses a profound power to indoctrinate, because indoc-trination occurs through incessant repetition and nothing else keepspounding conservative rhythms to the brain as insidiously as the familiarcomforts of saccharin buildings. The core premise might be summarizedthusly: It is the defining responsibility of an architect to keep the power of architecture out of the hands of those who would use it to lull us intocomplacency. Anything else is just the building business. To frustrate power and business, then, an architect must pursue power and do busi-ness, a complicated, slippery tight-rope that cannot be avoided.

“Our topic is urban life. That has nothing to do with urban

“In order to survive, a chick has to remember two images. The first is a goose . . . the second is a hawk. . . . Seeing one sign, it stays; seeing the other, it runs. That means, polemically, that if you simplify things too much you might have the point of view of a chick.”

•• •

“. . . because incongruous aesthetics are political aesthetics.”

“. . . authoritarian systems can’t stand contradiction.”

Second, Prix announces the fundamental conjecture that fuels Coop Him-melb(l)au’s mission. It is simple: architecture can stage other politics, otherdemocracies, better futures. At that moment, Coop Himmelb(l)au aligns

15

FOREWORD

development.”

Programmatic Texts

GET OFF OF MY CLOUD

24

Coop Himmelblau

Is Not a ColorCoop Himmelblau is not a color but

an idea, of creating architecture with

fantasy, as buoyant and variable as

clouds.19

68

24

25

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1968

PROGRAMMATIC TEXTS

25

Our

Architecture

Has no

Physical

Ground Plan

Selected Project Texts

GET OFF OF MY CLOUD

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ign

idea

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arc

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76

“

SELECTED PROJECT TEXTS

Lectures

Ha! A coward wind that strikes stark naked men, but will not stand to receive a single blow.…Would nowthe wind but had a body; but all the things that most exasperate and outrage mortal man, all these thingsare bodiless, but only bodiless as objects, not as agents.”

This passage from Herman Melville’s Moby Dick is perhapsthe most poetic formulation of one aspect of Open Archi-tecture, namely, the psychological aspect.

Who or how or what is Open Architecture? Or how can we think, plan, and build in a world that growsmore shattered by the day? Should we be afraid of this tattered state? Repress it and escape into awholesome, ideal world of architecture? Apart from the fact that repression takes up a great deal ofenergy—energy and intelligence that we would much rather put to better use—this wholesome worldof architecture no longer exists, and will never exist again.

We don’t believe in the architectural dogmas of the foolish Krierbrothers, who try to convince us that the true and beautiful canonly be reached by following the old school of architecture. Thereis nothing true or beautiful in architecture. Or shall we believe thecity re-constructors, who escape into the nineteenth century andthen speak only of enclosure (which is, incidentally, no coinci-dence)? Enclosing the block, closing up the street space, enclos-ing the square? We don’t want a closed-in square, closed house,closed mind, and we certainly don’t want a closed world view.

We also don’t believe in the functional functionaries—and their architects—whotell us that everything, above all architecture, is no longer affordable. Nor do webelieve the appeasing politicians—and their architects—who tell us that all prob-lems will be resolved through opinion-poll democracy. We don’t believe the hous-ing speculators—and their architects—who, when they speak of savings, neverseem to forget about their own pockets, and because they never forget about theirown pockets, want to convince us that apartments must be smaller and smaller.Nor do we believe those who preserve the monuments and the conformity ideo-logues—and their architects—who use laws and regulations to block freedom offantasy and imagination.

GET OFF OF MY CLOUD

112

Architecture Must Blaze Lecture by Wolf D. Prix at the Städelschule, Frankfurt1984

“

No. We don’t believe any of these architects. We believe nothingand no one. Because everyone is right but nothing, really nothingis right. All is right and nothing is right: that, too, is an aspect ofOpen Architecture.

Openness—in architecture does that mean that the building has no roof or doors orwindows? Does it mean that the building is not finished? No, it doesn’t mean any ofthat. Openness means: open mind, open eyes, open heart. Awareness.

Open Architecture is not accommodating.Because accommodation and classification are—in archi-tecture as well as in social life—expressions of a rigid, reac-tionary, and entrenched attitude. An attitude that turns lifeto ice.

Just as propriety and remaining in the past petrify everything that lives.

However, architecture lives for seconds at the moment of design. It cannever be past, because at this moment it becomes future.

The moment of design differentiates and decides.If this moment is free from pressure,cliché, ideology, and formalism, thenarchitecture is free.

Then the material constraints crumble. Causality is overturned.

Architecture is now.”

In recent years, two themes have been foremost in our works: oneis the design process, or rather, the design moment. The other isthe confrontation with Open Architecture.

The Ent-wurf (or, in English, de-sign)The German language is marvelous—it says it all. If you separatethe word Entwurf, you get the prefix “ent” and the word “wurf.”

Ent is in words such as ent-äußern (renounce), or ent-flammen (stir up), and ent-täuschen (dissapoint),which is not the same as täuschen (deceive). The prefixthus indicates an unconscious, personal process. Theword wurf comes from werfen (to throw). Together,they result in a very complex, personal process.

113

LECTURES

“

Interviews

GET OFF OF MY CLOUD

PETER NOEVER: You, too, have now reacted to the latest residentialbuilding activities in Vienna…

WOLF D. PRIX: No. Not really. We’ve been dealing with this problem sincethe late seventies, already at the height of postmodernism. Even back thenwe were disgusted by the fact that residences were being built to look likepalaces but the poor living conditions had not changed at all.

PN: Your idea in that regard is similar to that of hobby builders whoattempt to make use of all possibilities and everything they have inmind. You’re thinking of a kind of factory building that everyone candesign according to his or her preferences and desires.

WDP: No, that’s not quite how it is. A house builder dreams the dream ofbuilding a home somewhere out in the countryside. Usually it remains a dream. We are concerned with urban housing forms. We like the factorybuildings in New York or Berlin that have been remodeled into livingspaces. But this took place mainly in desolate, neglected areas. New hous-ing forms of this type are never offered; we think that’s pretty outrageous.It is also hard to understand why, despite the favorable living conditionsoffered in the so-called desolate urban areas, these areas are eliminated infavor of new planning.

PN: Isn’t self-determined living space more likely to be accepted bypeople who think beyond clichés?

WDP: Of course. It was artists who discovered the lofts in New York. Theythen revitalized a non-residential area in this way. That’s over now—theartists live somewhere else and doctors and lawyers have moved into thelofts. That’s not a panacea, but at least it provides a starting point for adifferent way of thinking about and living in a city.

The Desire for Oblique Walls Coop Himmelblau in conversation with Peter Noever about urban living 1986

228

INTERVIEWS

PN: Then, you’re dealing with a confrontation with the actual themeof dwelling and its related social component. Does Vienna’s socialhousing from the thirties present for you, as it does for many, a glow-ing example and a challenge?

WDP: We’re not interested in that at all. All that’s stale.

PN: Then your ideas flow into luxury housing instead…

WDP:… that’s a gross misunderstanding. We want to elevate residentialbuilding to architecture. It’s not about propagating loft apartments.

PN: As always, there is a contradiction to clear up here. On the onehand, you retreat from a design that includes all of the details, yet onthe other, you make such a strong mark with the form of the buildingthat most people would shy away from a confrontation with yourintentions.

WDP: We find that the fascination with details, as wonderful as they are,obscures the real problems. The central problems are that living spaces aretoo small and too expensive.

PN: You don’t necessarily need architects to solve that.

WDP: We’re not just putting up a factory building. That would be boring.But if you tilt the factory a little and break it apart a bit, you get a new,three-dimensional setting, interesting living situations. That is what weunderstand by Open Architecture. Nonetheless, the shell, the space, is not neutral, on the contrary it is incredibly differentiated, without pre-determining anything.

PN: You determine nothing, and yet you determine a certainsituation.

WDP: Don’t you find it dreary that a huge housing complex only has threedifferent apartment types? Look at our model. These are, seen like this,two normal building parts, just turned and tilted, broken up a bit andstacked incongruously. In this way, every single apartment has its ownunmistakable significance and presents its own area and its own land-scape, so to speak. Why are lofts remodeled? Not just to gain living space,

229

On Friends and Foes

Art works of thefuture will acquirethe dimensions ofthe Great Wall ofChina.” Eight yearsago in 1968, forty-one year old ChristoJavacheff, known asthe artist Christo,made this prophecy.

Now in 1976, he is again one step closer to his proph-ecy. In 1968 he wrapped air in a forty-meter-high plas-tic column. He then wrapped a stretch of beach inAustralia that extended for one kilometer (WrappedCoast). In 1972, he hung a curtain between two moun-tains in Colorado (Valley Curtain).

His biggest project until now is six meters high and forty kilometers long: a shim-mering construction made of nylon mesh,stretched between steel supports: Run-ning Fence. For two weeks, Christo’s Running Fence could be viewed approx-imately seventy kilometers north of San Francisco, California.

GET OFF OF MY CLOUD

Art’s Great Wall of China On Christo1976

386

“

The “poetry of a landscape,” as Christo calls his object, began on a hill nearthe Californian city of Petaluma and stretched diagonally for forty kilometers,finally sinking into Bodega Bay.

An artificial wall gleaming in the sun,billowing out into the wind like a sail,meandered over earth-brown hills,stretched through valleys, crossed morethan ten streets and four cities, and pas-sed through forty-eight farmers’ fields.

The realization of this object required a hugeamount of material, countless assistants, three-and-a-half years, and two million dollars. “This artworkconsists of forty-two months of team effort, thecooperation of farmers, seventeen courtproceedings, and one environmental appraisal.”

Attributes that are cited for other artists as “pencil on cardboard, 70 100 cm,”for Christo are “2000 pieces of nylon sheets, each six meters high and twentymeters long. More than 2000 steel poles with bases, and approximately onehundred kilometers of steel cable.” The steel poles were anchored into theground using machines that were created especially for the task and boundby steel cables with the textile sheets hung between like curtains.

The visible object was realized in a relatively short periodof time. From April to September, the poles were driveninto the ground. Four hundred assistants installed thewhite sheets, on site, in four days. On September 10, 1976,it was complete: Running Fence was realized.

Yet the visible part was only the tip of the iceberg of this project. Although the tan-gible reality of his ideas is an essential part of his art work, Christo owes his repu-tation to his perseverance to actually complete the project. Thus, the process ofcreation is equally as important for the artist as the work itself. The financing, tech-nical equipment, the legal aspects—in short, all things that grow with a project ofthis kind as soon as it leaves the paper—are all a part of his work.

ON FRIENDS AND FOES

387

. . . And Other Texts

We had to wait for a table, the musicwas really loud. Swi, as always, wassmoking his cigars he had bought inthe airplane. Bertram was telling sto-ries about architecture.

A very pretty girl was leaning on the bar.The music was quite loud and it slowlybuilt walls around us, straight throughthe bar. Walls that you could see everythingthrough, but you couldn’t hear or touch it.Everything at the Hardrock becamevery white, then slowly clear and trans-parent. Even the girl at the bar.

The words dripped like milk over glasspanes.

Our plane leaves in twenty minutes.” The feeling was gone, as though theglass had cracked.

GET OFF OF MY CLOUD

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72

442

“

I would like to mention three workingtheories that should prove that a good,timely museum makes art in its con-ventional form obsolete and that themoney for the art collection shouldinstead go to the building costs andthe architect’s fee. An emotional stocktaking could run as follows: we, that isCoop Himmelb(l)au, never liked muse-ums. We used to prefer going to rockconcerts, but ever since rock concertsstarted getting louder and louder (orour hearing worse and worse), we nowoccasionally escape to a silent, quiet,obliging museum because it is simplymore comfortable.

Thus, I have arrived at the assumptionthat museums are something for moremature people. I think our eyesight isworse than it was before, too; therefore,it is particularly necessary to deal with the lighting in museums. We go to a museum because of its content and architecture. To be honest, we go to a museum more for the architectureand as far as that goes, we prefer, letme put it this way, disobedient muse-ums or disobedient architecture, asopposed to the anticipatory obediencethat is frequently found in architecture.Artists love obedient museums andhate disobedient ones. Why? Webelieve architecture is and ought to bethe visual expression of this existingsocial world and is perhaps and mustbe an expression of future worlds, too.For this reason, architecture in thefuture will have to deal intensively with

. . . AND OTHER TEXTS

AM

use

um

IsA

rt

199

0

443

524

Flap, left: Portrait Wolf D. Prix / © Aleksandra Pawloff

Flap, inside: Stadtpla(h)nung / © Markus Pillhofer

7 Sketch / © Coop Himmelb(l)au

31 Urban Fictions, 1967 / © Coop Himmelb(l)au

41 Heart Space—Astroballon, 1969 /© Coop Himmelb(l)au

51 The White Suit, 1969 / © Coop Himmelb(l)au

65 The Blazing Wing, Graz, Austria, 1980 / © Gerald Zugmann

77 Villa Rosa, 1968 / © Coop Himmelb(l)au

79 Villa Rosa I I, 1968 / © Coop Himmelb(l)au

81 The Cloud, 1968 / © Coop Himmelb(l)au

83 Feedback Vibration City, 1971 / © Coop Himmelb(l)au

84 Reiss Bar, Vienna, Austria, 1977 / © Gerald Zugmann

85 Reiss Bar, Vienna, Austria, 1977 / © Brian Spence

87 Hot Flat, 1978 / © Gerald Zugmann

89 Roter Engel, (Red Angel), Vienna, Austria, 1980 / © Gerald Zugmann

90 The Temperature Wing, Munich, Germany, 1980 / © Coop Himmelb(l)au

91 The Temperature Wing, Munich, Germany, 1980 / © Gerald Zugmann

93 Merz School, Stuttgart, Germany, 1981 / © Gerald Zugmann

94 Architecture Is Now, Kunstverein Stuttgart, Stuttgart, Germany, 1982 / © Gerald Zugmann

95 Architecture Is Now, Kunstverein Stuttgart, Stuttgart, Germany, 1982 / © Gerald Zugmann

97 Open House, Malibu, California, USA, 1983 / © Gerald Zugmann

99 Apartment Complex Vienna 2, Vienna, Austria, 1983 / © Gerald Zugmann

101 Youth Center Berlin, Berlin, Germany, 1983 / © Gerald Zugmann

103 Skyline. Silhouette for a City Like Hamburg, Hamburg, Germany, 1985 / © Gerald Zugmann

105 Form-mutation, 1986 / © Coop Himmelb(l)au

107 The Heart of a City, Melun-Sénart, France, 1986 / © Gerald Zugmann

108 Like Sugar. White on White, Havana, Cuba, 1994 / © Coop Himmelb(l)au

109 Like Sugar. White on White, Havana, Cuba, 1994 / © Gerald Zugmann

117 Rooftop Remodelling Falkestraße, Vienna, Austria, 1984–1988 / © Gerald Zugmann

129 Funder Factory 3, St.Veit/Glan, Austria, 1988–1989 / © Gerald Zugmann

145 Stadtpla(h)nung / © Markus Pillhofer

161 Ronacher Theater, Vienna, Austria, 1987 / © Gerald Zugmann

179 Der Weltbaumeister, Graz, Austria, 1993 / © Markus Pillhofer

191 Groninger Museum, The East Pavilion, Groningen, Netherlands, 1993–1994 / © Magherita Spiluttini

205 Cloud #9, UN Geneva, Geneva, Switzerland, 1995 / © Markus Pillhofer

215 Paradise Cage, MoCA Los Angeles, California, USA, 1996 / © Paula Goldman

233 UFA Cinema Center, Dresden, Germany, 1993–1998 / © Gerald Zugmann

243 ZAK—Zukunftsakademie, Haslau, Austria, 1999 / © Gerald Zugmann

257 Science Center Wolfsburg, Wolfsburg, Germany, 2000 / © Gerald Zugmann

269 Apartment Building Gasometer B, Vienna, Austria, 1995–2001 / © Gerald Zugmann

281 IMBA Biocenter, Vienna, Austria, 2000 / © Gerald Zugmann

295 Expo.02—Forum Arteplage Biel, Biel, Switzerland, 1999–2002 / © Gerald Zugmann

303 Academy of Fine Arts, Munich, Germany, 1992 / 2002–2005 / © Gerald Zugmann

319 Town Town—Office Tower Erdberg, Vienna, Austria, 2000 / 2005–2008 / © Markus Pillhofer

333 JVC Urban Entertainment Center, Guadalajara, Mexico, 1998 / 2006–2008 / © Gerald Zugmann

347 BMW Welt, Munich, Germany, 2001–2006 / © ISOCHROM, Armin Hess

357 Guangzhou Opera House, Guangzhou, China, 2002–2003 / © Gerald Zugmann

371 Musée des Confluences, Lyon, France, 2001–2008 / © ISOCHROM, Armin Hess

386 Christo / © Coop Himmelb(l)au

391 Günther Domenig / © Christian Jungwirth

392 Wolfdietrich Ziesel / © Hubmann

393 Wilhelm Holzbauer / © Peter Korrak

394 Eric Owen Moss / © Eric Owen Moss Architects

395 Michael Satke / © vyhnalek.com

396 Otto Wagner / © Wien Museum

Picture Index

525

398 Frank O.Gehry / © Thomas Mayer Archive

399 Keith Richards / © www.picturedesk.com

405 Philip Johnson / © Richard Payne FAIA

409 Margarete Schütte-Lihotzky / © Collection of theUniversity of Applied Arts Vienna

410 Gerald Zugmann / © Gerald Zugmann

411 Alvar Aalto / © E. Mäkinen/Alvar Aalto-arkisto/Alvar Aalto Archives

412 The Poor Boys / © The Poor Boys Enterprise

414 Zvi Hecker / © Büro Zvi Hecker

416 Roland Rainer / © IMAGNO/Harry Weber

418 Enrique Norten / © TEN Arquitectos

420 Günther Feuerstein / © Atelier Feuerstein

423 Hitoshi Abe / © Daici Ano

425 R.M.Schindler / © Used with permission from the Architecture and Design Collection, University Art Museum, University of California, Santa Barbara, USA

426 Steven Holl / © Mark Heitoff

428 Zaha Hadid / © Steve Double

430 Greg Lynn / © Greg Lynn FORM

433 Raimund Abraham / © Aleksandra Pawloff

438 Thom Mayne / © Mark Hanauer

449 Akron Art Museum, Akron, Ohio, USA, 2001–2006 / © Gerald Zugmann

459 The Great Egyptian Museum, Cairo, Egypt, 2002–2003 / © Markus Pillhofer

473 Cafesjian Museum of Contemporary Art, Erewan, Armenia, 2003 / © Coop Himmelb(l)au

491 House of Music, Aalborg, Denmark, 2002–2007 / © Markus Pillhofer

496 Diagram / © Coop Himmelb(l)au

505 Central Los Angeles Area High School #9 for the Visual and Performing Arts, Los Angeles, California, USA, 2002–2007 / © Coop Himmelb(l)au

515 ECB—European Central Bank, Frankfurt am Main, Germany, 2003–2010 / © Gerald Zugmann

Most of the model photos by Gerald Zugmann are taken from the book Blue Universe. Modelle zu Bildern machen / Transforming Models into Pictures. Architectural Projects by Coop Himmelb(l)au, Peter Noever (ed.), Hatje Cantz, Ostfildern-Ruit 2002 (ISBN 3-7757-1240-2).