Werner Blaser – författare

After a trip to Japan in 1953, Werner Blaser published his landmark book on classical Japanese architecture. His studies of 17th- and 18th-century wooden buildings document minimalist, grid-based structures using stark black-and-white photographs, some color photographs and numerous line drawings. His book, highly prized in terms of design and content, contributed significantly to introducing Japanese aesthetics to Western architecture, art and graphics. Mies van der Rohe, for example, gave it to many of his friends. The reprint is enriched by a text on the history of the book by Christian Blaser, Werner Blaser's son, a contribution by Inge Andritz on Mies van der Rohe and Japanese architecture, and a personal afterword by Tadao Ando.

After a trip to Japan in 1953, Werner Blaser published his landmark book on classical Japanese architecture. His studies of 17th- and 18th-century wooden buildings document minimalist, grid-based structures using stark black-and-white photographs, some color photographs and numerous line drawings. His book, highly prized in terms of design and content, contributed significantly to introducing Japanese aesthetics to Western architecture, art and graphics. Mies van der Rohe, for example, gave it to many of his friends. The reprint is enriched by a text on the history of the book by Christian Blaser, Werner Blaser's son, a contribution by Inge Andritz on Mies van der Rohe and Japanese architecture, and a personal afterword by Tadao Ando.

Werner Blaser ist einer der renommiertesten Architekturpublizisten der letzten Jahrzehnte mit Kontakten zu nahezu allen wichtigen Architekten wie Mies, Foster, Piano oder Calatrava. In „Synthesis" erzählt er nicht nur von seinen Begegnungen mit diesen und von seinen Erfahrungen mit ihrer Architektur. Er macht in Collagen auch gestalterische Zusammenhänge zwischen Ost und West, zwischen traditioneller und zeitgenössischer Architektur anschaulich.

Isfahan is a heavenly city of gardens, mosques and palaces for an open-minded architect. In addition to the artful dome constructions over the prayer halls of the larger mosques, the highpoint of Persian architecture is the multitude of garden complexes, staged as a mirror image of the cosmos or Paradise. With their aromatic shrubberies and trees the galleries of pillars are typical for these geometrically laid out Islamic gardens in which nature becomes a work of art.