Rieden School is made up of Rieden Primary School and Rieden Middle School, which are housed in two independent but connected building volumes. While the two school areas are essentially spatially separated, they come together in the rooms that are used jointly such as the gym, library, cafeteria, and administration. The aim, therefore, was to create clear signage and, using just a few accents, to provide easily understandable directions and routes within the school – starting with the school name above each of the three main entrances. The principal design elements are the nomenclature based on easily understandable terms, differentiation by means of colour, and spatial pictograms that employ the plans of the different storeys. Mixing the light blue for the primary school with the red of the middle school produces a rich shade of brown, which is the primary decorative colour in Rieden School. The colour concept borrows from the colour moods and the materials inside the building. Placing the lettering and illustrations directly on the walls obviates the need for additional panels and offers the requisite flexibility in choosing suitable positions for signs and names at important junctions.

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”.

As early as 1993 Atelier Gassner designed a guidance system for hiking trails throughout the State of Vorarlberg, working in collaboration with the state regional planning office. A simple system of signs made of natural coloured aluminium was developed, as tests had shown that this material and colour best remained visible in poor weather. In contrast to trails based on specific themes, the focus here was on providing orientation aid. In the intervening period around 20 000 signs have been erected at 6800 different locations. The guidance system on the Schlossberg trail augments the overall route guidance system and provides information on the newly developed “fitness track”. The goal was to provide an unobtrusive guidance system appropriate to a woodland trail – in the form of simple recurring accents in the forest. The design concept of Atelier Andrea Gassner made use of natural colours and materials. Deliberately, only parts of the sanded steel angles and steel tubes were sealed with a clear varnish. The protection against corrosion protection together with the natural oxidation of the untreated areas of steel generated two different colours in a single material. The grey steel takes up the colour of the gravel paths, the rock, and the other shades of grey in nature. The combination of materialisation, formal idiom and the neutral, easily legible lettering provides the information required, while avoiding being a disruptive element in the natural setting. The typography is based on the Corporate typeface used by Atelier Gassner in 2010 for the revitalised public appearance of the City of Bregenz. The graphics at the individual stations that provide orientation and offer illustrations are timeless, designed to appeal playfully to a broad target group (children, families, sports enthusiasts).

The archive of the Abbey of St Gall has long been looking for a contemporary and, from a conservation viewpoint, better way of communicating its unique collection that extends back to the time the monastery was founded. Under Regierungsrat Martin Klöti a project was launched in 2013 that was formally concluded through the ceremonial opening of the new exhibition hall by Bundesrat Alain Berset on 12 April 2019. The title of this semi-permanent exhibition is “Wonders of Tradition. The Plan of St Gall and Europe in the Early Middle Ages”. Alongside the year-round presentation of the Plan of St Gall as a loan from the abbey library, there are also annual exhibitions in which the most valuable objects are changed every four months. The year 2019 is the 1300th anniversary of the founding of the Abbey of St. Gall. On this account the first exhibition is devoted to Abbot Othmar, who founded the monastery. To accompany the respective annual exhibition a series of booklets with the title “Waldo” will be published in print runs of 1000 to 2000. The content is divided into three parts: the theme “Waldo”, the index and contents of the exhibition, and a lecture that reflects the theme of the particular exhibition. Waldo, ** around 740, † 29./30.3.813/814 in the monastery of Saint-Denis near Paris. He most probably came from Mosel-Franconian nobility in the immediate circle of the Carolingians. He worked as Charlemagne’s agent in Alemannia, was abbot in the monasteries of St. Gall, Reichenau and Saint Denis, an educator of princes, Bishop of Pavia and of Basel. We know his handwriting from the 14 St. Gall original documents that date from between 773 and 782. He is regarded as the first archivist of the Abbey of St. Gall who is known by name. On this account this series bears his name.*

The new SWG production hall in Waldenburg is a pioneering industrial building in which timber is used for the load-bearing structure. With its brass-coloured perforated metal skin the new building seems like an UFO that has landed in a grey industrial European landscape. In fact, it is in the interior that the corporate architecture is fully revealed. The brand new wood-based material »BauBuche« was innovatively used for the rods and the joints of the powerful and yet finely articulated structure in veneer layer look combined with solid cross-laminated spruce panels with a quality finish. The whole (including the composite wood and timber ceiling slabs) is held together by the product that is manufactured in this building: the well-known Assy screws. In terms of geometry the screw is a curve that extends as it turns around an axis. When screwed into a building element it locks with the material, ensuring a strong and durable connection. The brochure was published by SWG itself to mark the formal opening of the new SWG production centre in Waldenburg. The inserted tracing paper pages are particularly striking: at the beginning and end of the brochure in the form of panorama pages with depictions of materials they give an X-ray view of a joint along with the inner life of all the screws. Both visually and haptically these pages refer to planning and conceptual work and to innovative decisions and developments.

Since 2006 Cervantes & Co has been attracting literature enthusiasts and wine-lovers to a small but delightful premises in the inner city of Feldkirch. The great Spanish author Miguel de Cervantes provided the name for this book and wine shop. Regina Zink selects the publications in the book department. The focus is on literature, philosophy, history, art and cuisine. Her brother, physicist Norbert Nägele who lives in Spain, selects the wines. The letter C and the et symbol (&), which is derived from the Latin, are blended in the newly designed emblem to form a circular ornament. In connection with the name a new word and image mark is created. The signet can be used in a variety of playful ways, as a sign that extends to the edge of a facade flag or to decorate a postcard. The website visually reflects the optics of the book shelving designed by architect Daniel M. Büchel and employs three font types, allocated to the themes book, wine, and olive oil. In the simple, responsive web design visitors find clearly organised information and the special offers of the month.

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”.

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.