In accordance with the purpose for which it was founded the DBU (Deutsche Bundesstiftung Umwelt/German Federal Environmental Foundation) subsidises innovative, environmentally conscious, model building projects. The concept for the subsidies also includes financing scientific studies of the respective projects and disseminating these in quality book form. Atelier Gassner was commissioned to devise a concept for an edition consisting of several volumes. The first publication documents the new building for Schmuttertal Gymnasium (high-school): here innovative educational ideas and a participative approach to planning produce unusual spatial systems, ambitious ecological goals direct the construction, and functionality and inspiration shape the architecture. Client and subsidy provider, users and planners, experts for building law and technical services document the creation of this building, augmented by plans and photographs. The editions were deliberately published in German, and the search for a name led to the striking and yet self-explanatory term “Bauband” (literally “building volume”). The challenge was how best to describe and depict complex contents so that they are clearly legible and can be quickly understood. At the same time this book was not intended to be a standard illustrated architectural volume nor a dry treatise with a preponderance of text. Using the tools provided by micro and macro typographical design and making considerable demands on editorial photography the narrative requirements could be successfully met. The plans and diagrams, which were produced especially for this book, provide in-depth information. Through the format alone, the easy to open “Swiss brochure” and the stable card binding, the book suggests a report with the character of a working folder. A colour, which differs from volume to volume, contrasts with the restrained grey that is used for the covers of all the volumes. This striking coloured framework for the book block is reflected in completely coloured pages that separate the chapters and visibly articulate the contents and, when one looks at the cut edge of the closed book, appear like inserted “floor levels”.

Architect Roger Boltshauser positioned his design in the “groove” first made by the architecture of the Maison de Verre which is characterised by “bare” materials and transparency of forms. In the new building the way in which the functions are made legible is entirely in accordance with this early modernism. “Troublemakers” that line the internal world, for example elements for the lighting and building services, are intended to be visible. The same applies to the signage. On this account architect Roger Boltshauser involved Atelier Andrea Gassner at an early planning stage. In designing the directional system in this new, nine-storey building the principalfunctional challenges were the diversity of the spatial structure and functions as well as fluctuations in staff and functional demands that were to be expected. In all zones of the central orientation, sub-orientation (storey areas) and detail orientation (room identification) flexibility and changeability in the messages were called for. Already in the first design study Atelier Andrea Gassner placed the emphasis on digital LED display technology and transmission by means of screens. All the screens, including the wall graphics in the outdoor area, can be centrally controlled. Reflecting the nature of the architectural design, the materialisation envisages an archaic technoid idiom – glass, oiled steel, light concrete. The building blocks of the graphic design include a special dot lettering developed for different grain sizes as well as a symbol program that uses the mould material for the sans serif letters “E T H”. This design concept allows pattern sequences and abstract typographical repeats in a horizontal and vertical direction for floors, walls, and single elements. The square provides the basis for the individual symbols and allows seamless use as partial inlays in the architect-specified mood board with glass blocks or tiling. The general concept for uniform signage in all ETH main and ancillary buildings that was introduced in 2019 prevented this individual proposal from being realised.

Behind the somewhat unwieldy acronym “BSBZ” is the name: “Bäuerliches Schul- und Bildungszentrum für Vorarlberg” (Farming School and Training Centre for Vorarlberg). In the five different wings on the campus various lecture courses for a different user groups are held. The wide range ensures a high frequency of various kinds of visitors. What led to the involvement of Atelier Andreas Gassner was the new “E” building wing and the need for self-explanatory signage and orientation in the constantly growing complex of buildings, approaches, storeys, levels, and rooms. The impact hazard regulations for wall-high glass elements in public buildings presented a further design challenge. A system had to be developed that, while meeting the standards required, would, at the same time, provide a playful graphic element that underlines the new architecture rather than detracting from it. However, the design work began with the start of every form of applied communication, i.e., with the name, the brand. In a moderated process the previous name “Landwirtschaftschule” (agriculture or farming school), which had never fallen entirely out of use, was revitalised and, with the addition of BSBZ, was recreated as a brand and logotype. The inspiration for the graphic elements of the privacy screens and the signage was drawn from the appearance of layers of clay, the textures of arable farming, the architecture of foliage, photosynthesis, the effects of sunlight and wind on the fields, the cycle of growth – the metamorphosis. For this theme and the elements that guide users Atelier Andrea Gassner developed patterns of movement, colour, typography, and plan graphics that are differentiated for each storey. Through the light and the movement of passers-by the patterns begin to oscillate and change constantly, they vanish and reappear, seem translucent and grow, as it were, through the building. The grids of lines and hatching are understood as a graphic echo of the vertically structured wood facade. The signage, the impact prevention patterns on the areas of glazing and the architecture all play together constructively. The very simple and clearly designed elements of the central and sub-orientation use the theme of hatching, too.

A tree grows in the forest – wood comes from the tree – and the wood becomes a house. The wooden “woodpassage” sculpture placed outdoors in the centre of Europe exemplifies this process. With simple pictographic symbols over forty stages, it conveys the transformation from fir to house. This conversion is shown by the Atelier Andrea Gassner as cuts out of large blocks of wood, cut by cut. The result is a sensory experience; consisting of four wooden gates, 4.32 m wide, 4.32 m high and 8.65 m long, the “woodpassage” expresses a strong three-dimensional message when viewed from afar. Whilst strolling through the cheerfully illuminated passage, it becomes playful ambassador for the ecological advantages of timber construction. *From tree to house!* Experience the walk-in installation. An initiative of proHolz Austria, proHolz Bavaria, Lignum Switzerland *Forests create a good climate and the resource wood.* Through sustainable management, forestry ensures the forest habitat and the availability of wood. The forest area in Europe grows by 1,500 soccer fields every day. Only 2/3 of the growth are actually used. *Wood is available and offers a chance to change resource use.* The construction sector accounts for around 40% of all resources. The use of building products made from renewable raw materials saves and secures resources for the future. About 13 cubic meters of wood were needed for the construction of these 4 gates. This amount grows back in Europe’s forests in 1/2 a second. *Building with wood protects our climate.* The photosynthesis of the trees binds 1 ton of CO2 in 1 cubic meter of wood. Timber buildings extend carbon storage capacity and thus relieve the climate in a sustainable way. About 13 tons of CO2 are permanently bound in the wood of these 4 gates. This corresponds to the pollutant emissions of a passenger car over 8 years.

Dr. Christoph Binder’s core area of competence lies in assisting small and medium-sized businesses aiming to internationalise their business. He communicates his knowledge and intercultural experience through reflective personal mentoring processes for staff and managers who wish to or must prepare themselves for deployment abroad. We placed the rounded, open “C” as a visual anchor at the centre of image. The dotted form symbolises the multi-national network of the business. When used digitally, the rows of dots in the logo are distinguished from each other by different shades of grey and sizes and can be activated by a cursor reaction. Alongside the symbol’s interactive »usability« the effect is a surprisingly three-dimensional development. In the printed form through the sharp-edged blind embossing the logo appears tactile, spatial and at the same time elegant. In typographic terms the logo is framed by type cuts from the typeface family »Scala« – a reinterpreted serif-stressed Renaissance-Antiqua by Dutch typeface designer Martin Majoor.

The poster LICHT (LIGHT) was made in the context of the scenographic exhibition for the regional craft cooperative in the Werkraumhaus (architect Peter Zumthor), which we also designed. Light is first revealed by shadow. As key visual for the exhibition and as 3D facade lettering, Andrea Gassner’s graphical interpretation of this statement follows this principle consistently. The lettering visible at the top is back-to-front and upside-down. It is the shadows cast that first make LICHT legible.

In accordance with the purpose for which it was founded the DBU (Deutsche Bundesstiftung Umwelt/German Federal Environmental Foundation) subsidises innovative, environmentally conscious, model building projects. The concept for the subsidies also includes financing scientific studies of the respective projects and disseminating these in quality book form. Atelier Gassner was commissioned to devise a concept for an edition consisting of several volumes. The first publication documents the new building for Schmuttertal Gymnasium (high-school): here innovative educational ideas and a participative approach to planning produce unusual spatial systems, ambitious ecological goals direct the construction, and functionality and inspiration shape the architecture. Client and subsidy provider, users and planners, experts for building law and technical services document the creation of this building, augmented by plans and photographs. The editions were deliberately published in German, and the search for a name led to the striking and yet self-explanatory term “Bauband” (literally “building volume”). The challenge was how best to describe and depict complex contents so that they are clearly legible and can be quickly understood. At the same time this book was not intended to be a standard illustrated architectural volume nor a dry treatise with a preponderance of text. Using the tools provided by micro and macro typographical design and making considerable demands on editorial photography the narrative requirements could be successfully met. The plans and diagrams, which were produced especially for this book, provide in-depth information. Through the format alone, the easy to open “Swiss brochure” and the stable card binding, the book suggests a report with the character of a working folder. A colour, which differs from volume to volume, contrasts with the restrained grey that is used for the covers of all the volumes. This striking coloured framework for the book block is reflected in completely coloured pages that separate the chapters and visibly articulate the contents and, when one looks at the cut edge of the closed book, appear like inserted “floor levels”.

In keeping with a quote from the famous architect Le Corbusier stating that light and shade reveal the form, this year’s Werkraumschau is presenting products from various workshops of the Werkraum Bregenzerwald in a scenario of spotlights. The Werkraumhaus, designed by Swiss architect Peter Zumthor as a multi-functional building, becomes the stage and the handicrafts the actors in a continually changing play of daylight and artificial light. Stage floodlights generate an immaterial and atmospheric architecture of light, mount the objects in the space, infuse life into their surfaces and forms, and trace a graphical shadowplay on the floor of the building. For the wall sign Andrea Gassner developed a three-dimensional solution using mirrored capital letters which, through the shadows they cast, mutate into a clearly legible word. The Letters were also used as the keyvisual for advertising. We cannot imagine everyday life without light but devote little attention to its phenomena and qualities. Good lighting design makes an essential contribution to our feeling of well-being and can sculpt spaces and furnishings. Visitors are invited to sharpen their own perception at entertaining interactive stations, to test qualities of light and acquire practical knowledge for themselves: how is light output evaluated? What effects does the light temperature have? How can we make things disappear with coloured light? The Werkraumschau is the annual exhibition platform for Werkraum members. The renowned graphics and communication bureau Atelier Gassner based in Vorarlberg was invited to design a thematic and scenographic presentation of the collectively established “shop window” that extends throughout the Bregenz Forest.

In large public buildings graphic symbols, lettering and signs are often used to help people find their way around. In the case of the orientation system for the newly built Schendlingen School in Bregenz the designers of Atelier Gassner, a studio whose reputation has long spread outside the region, have succeeded in a coup. The signage here is made up two words placed prominently on the glass partition walls to important areas and rooms. However, these words do not simply stand beside each other, they run over each other. In addition they are connected by the cross-hatching called for by the building regulations in full-height glass walls to prevent people from walking into them. Out of these normative constraints Atelier Gassner has succeeded in generating a communicative and artistic added value. As you walk by these typographies, depending on the particular location one word or the other appears clearly legible, as if by magic, but in-between the interferences of the overlaid letters and lines create their own delightful, constantly new game. The signage outside the building varies this connection of cross-hatching and letters and interprets the graphical elements in the interior in a way that is appropriate to the materials used outdoors. The relief-like lettering is cast directly into the specially made exposed concrete parapet walls at the approaches to the building. Here the play of light and shadow creates a texture that changes during the course of the day. The focus is on the phenomenon that perception is always related to space and time. The submission by Atelier Gassner, which was chosen by a sizable margin in an ideas competition, convinced the jury above all through this lively game played with perception for a building in which conveying things worth knowing and seeing to around 600 children and young people is a main focus.

The Eine-Welt-Gruppe (One World Group) Schlins | Röns was set up with the aim of aiding people in the southern highlands of Tanzania and, together with them, taking steps towards the kind of development that makes careful use of resources, is close to nature and sustainable. Their goal is the development of communal organization structures for cooperation, self-determination and responsibility. The aim of the exhibition is to raise consciousness with regard to a theme that affects all of us but which we are all too happy to ignore. The basic concept for the exhibition is based on paperhanger tables, which are laid on the floor, used as tables or erected vertically and can then be folded together again like an oversized folder. The tables are an interesting size, measuring 70 cm wide and 300 cm long. At the back the frame is visible and resembles tangled branches or a fragile improvised construction. The exhibition is light, mobile and adaptable. The organigram of this development collaboration is a graphical leitmotif that provides user guidance for the entire exhibition. Each panel documents a single project in the form of brief, authentic, textual descriptions.