Arthur Rüegg – författare

Le Corbusier designed two color collections for the Salubra wallpaper company: the “Clavier de couleurs” of 1931, with 43 colors, and the 1959 collection, with 20. Not content with the mere color selection, drawn from his experience as an architect and painter, he also organized the tones on 12 sample cards in such a manner that, by using a slider, three or five colors could be varyingly isolated or combined. Each card contained a different color scheme meant, when applied, to create a particular spatial effect. This would become not only a useful tool but also a kind of testament of the purist color theory, an essential groundwork and a valuable instrument for all those who deal with color in theory or practice. In the first volume, Arthur Rüegg, the renowned Le Corbusier expert, explores the significance of the Salubra collections for the history of modern architecture, and in the epilogue to this third edition, presents the specialist research conclusions from the last twenty years. The second volume contains 13 color plates with the 63 colors, printed using the screen printing method and glued by hand as well as 4 separate sliders in pocket. Volume three consists of 63 full page color sample sheets, also printed using the screen printing method.

The Villa Jeanneret-Perret (1912), known as the “Maison Blanche”, is an early masterpiece by Le Corbusier. The architect created this synthesis of the arts of architecture, interior design, and garden design for his parents. At first glance it appears to adhere to the tradition of classicist architecture, but a crossover to Le Corbusier’s own architectonic design language can be seen in the details. The second, revised and corrected edition of this magnificent, long out-of-print monograph documents the restored building, thus visualizing young Le Corbusier’s laboratory of ideas.

The monograph provides a sharply focused insight into how Annette Gigon and Mike Guyer understand architecture. The various concepts as well as the different constructions, materials, forms and colors that they employ in their projects are presented in an exhaustive documentation of their work that uses numerous photographs, plans and short texts. The three essays as well as a discussion between Patrick Gmur, Martin Steinmann and the architects offer in-depth reflection and contextualization.

2010 marked the 50th anniversary of Brazil's capital Brasilia. Architects Lucio Costa and Oscar Niemeyer designed what has become the world's most famous and widely studied urban planning project. Niemeyer's Cathedral, his building for the National Congress and the city's 707-ft television tower are icons of modern architecture. The entire city, marked by its cross-shaped layout and vast open spaces, was named a UNESCO World Heritage site in 1987. Rene Burri, celebrated Magnum photographer, visited Brasilia's vast building sites for the first time in 1958. He returned many times over the years, documenting with his camera growth and further development of this built Utopia. Besides documenting the buildings in various stages of completion, Burri took portraits of Niemeyer and his workers and photographed Brasilia's street scenes and people and aerial views of the city's first slums. His images capture the strong sense of a new era and a vibrant atmosphere of hard work and strain; they reflect the huge dimensions of the landscape and the great scale of this project and its ambition to design and build a new capital. Rene Burri.Brasilia presents a large selection from hundreds of colour and black-and-white photographs, the majority of them published in this book for the first time. It allows the reader for the first time to look at one of the most extraordinary cities with the eyes of an exceptional photographer.

Le Corbusier, one of the world's most important and influential architects and accomplished visual artists, has also created a vast oeuvre of interior and furniture designs. The chaise-longue LC4, the armchair LC2 or the sling chair LC1, created in cooperation with Pierre Jeanneret and Charlotte Perriand, have become icons of 20th-century design. Le Corbusier's contribution to modern interior design, though, reaches far beyond these well-known classics. The vast part of his work as a young architect from 1912-16 was in interior and furniture design. From the early 1920s he developed a particular interest in fitting of residential buildings with indispensable pieces of furniture, eventually leading to the legendary metal-tube types. After the second World War, he turned back to less refined, almost primitive designs more suitable for most peoples elementary everyday requirements. The new book 'Le Corbusier. Furniture and Interiors 1905-1965' is both a comprehensive monograph of his work in interior design and a Catalogue Raisonne.The main essay is richly illustrated and arranged in four chronological parts: I) Charles-Edouard Jeanneret (1905 - 17); II) Le Corbusier & Pierre Jeanneret (1922 - 27); III) le Corbusier, Pierre Jeanneret & Charlotte Perriand (1927 - 37); IV) Le Corbusier (1938 - 65). All items in the Catalogue Raisonne section are documented with images and a wealth of detailed information highly valuable for art historians, dealers and collectors alike.

Situated on the shore of the Lake Zurich, Le Corbusier's exhibition pavilion is his last realised design. Based on his Modulor proportional system and at the scale of a single-family home, it demonstrates the potential of prefabricated elements to form a perfect space for art and design. Commissioned in 1960 by Heidi Weber, Zurich-based gallery owner and patron of Le Corbusier the visual artist, this structure in steel and glass represents pivotal aspects of his architectural philosophy and also points to the future.Architects Silvio Schmed and Arthur Rüegg have carefully restored the Pavillon Le Corbusier to its original state,including the reconstruction of missing pieces of furniture and luminaires. This book documents their research and the restored building, featuring previously unpublished historic photographs and documents alongside newly commissioned images by Georg Aerni.

In 2019, the Vitra Design Museum will publish the Atlas of Furniture Design, the definitive, encyclopedic overview of the history of modern furniture design. Featuring over 1700 objects by more than 500 designers and 121 manufacturers, it includes approximately 2800 images ranging from detailed object photographs to historical images documenting interiors, patents, brochures, and related works of art and architecture. The basis for the Atlas of Furniture Design is the collection held by the Vitra Design Museum, one of the largest of its kind with more than 7000 works. The book presents selected pieces by the most important designers of the last 230 years and documents key periods in design history, including early nineteenth-century industrial furniture in bentwood and metal, Art Nouveau and Secessionist pieces and works by protagonists of classical modernism and postwar design, as well as postmodern and contemporary pieces. The Atlas of Furniture Design employed a team of more than 70 experts and features over 550 detailed texts about key objects. In-depth essays provide sociocultural and design-historical context to four historical epochs of furniture design and the pieces highlighted here, enriched by a detailed annex containing designer biographies, glossaries, and elaborate information graphics. The Atlas of Furniture Design is an indispensable resource for collectors, scholars and experts, as well as a beautifully designed object that speaks to design enthusiasts.