Hans Dieter Schaal, Selected Works / Ausgewählte Arbeiten 1971-2023
List Price:
$42.00
- Availability: Confirm prior to ordering
- Branding: minimum 50 pieces (add’l costs below)
- Check Freight Rates (branded products only)
Branding Options (v), Availability & Lead Times
- 1-Color Imprint: $2.00 ea.
- Promo-Page Insert: $2.50 ea. (full-color printed, single-sided page)
- Belly-Band Wrap: $2.50 ea. (full-color printed)
- Set-Up Charge: $45 per decoration
- Availability: Product availability changes daily, so please confirm your quantity is available prior to placing an order.
- Branded Products: allow 10 business days from proof approval for production. Branding options may be limited or unavailable based on product design or cover artwork.
- Unbranded Products: allow 3-5 business days for shipping. All Unbranded items receive FREE ground shipping in the US. Inquire for international shipping.
- RETURNS/CANCELLATIONS: All orders, branded or unbranded, are NON-CANCELLABLE and NON-RETURNABLE once a purchase order has been received.
Product Details
Author:
Hans Dieter Schaal
Format:
Hardcover
Pages:
120
Publisher:
Edition Axel Menges (August 1, 2023)
Imprint:
Edition Axel Menges
Language:
English
Audience:
College/higher education
ISBN-13:
9783869050331
ISBN-10:
3869050330
Weight:
32oz
Dimensions:
9.88" x 11.84" x 0.5"
File:
Eloquence-SimonSchuster_03032026_P9790483_onix30_Complete-20260303.xml
Folder:
Eloquence
List Price:
$42.00
Pub Discount:
65
Case Pack:
14
As low as:
$32.34
Publisher Identifier:
P-SS
Discount Code:
A
Overview
Hans Dieter Schaal about his work:
»In his preface to my book Inspiration on Landscape, published in 1994, Geoffrey Jellicoe compares my drawing considerations with the works of Paul Klee. What at first sounds a bit highfalutin is correct insofar as I do not move exclusively in the banal everyday and functional space in everything I draw, design and realise, but always reflect second and third surrealities as well. ›Art does not reproduce the visible, but makes visible‹, how Paul Klee formulated the process. Every viewer and reader could rightly ask the question: What do such expressions of art have to do with everyday architecture? I think: a great deal. And that is because all architectural problems and their solutions are multi-layered, just like pure works of art. Every building summarises and redefines its architectural, urban, village and landscape surroundings. Intentionally or unintentionally, exaggerated or restrained, each building can look like a meteor or bomb strike, an inconspicuous remark or a beautification attack ... At the moment, thanks to the ecological movement, hardly anyone is interested in the connection between art and architecture. More important are sustainability and zero-energy houses in which the windows can hardly be opened.
Could it be that building culture, indeed the whole of culture, will soon sink into green primeval forests and huge wetland bio-topes? Or will foreign, warlike peoples destroy or occupy our ci-ties and landscapes and cultivate them anew?«
»In his preface to my book Inspiration on Landscape, published in 1994, Geoffrey Jellicoe compares my drawing considerations with the works of Paul Klee. What at first sounds a bit highfalutin is correct insofar as I do not move exclusively in the banal everyday and functional space in everything I draw, design and realise, but always reflect second and third surrealities as well. ›Art does not reproduce the visible, but makes visible‹, how Paul Klee formulated the process. Every viewer and reader could rightly ask the question: What do such expressions of art have to do with everyday architecture? I think: a great deal. And that is because all architectural problems and their solutions are multi-layered, just like pure works of art. Every building summarises and redefines its architectural, urban, village and landscape surroundings. Intentionally or unintentionally, exaggerated or restrained, each building can look like a meteor or bomb strike, an inconspicuous remark or a beautification attack ... At the moment, thanks to the ecological movement, hardly anyone is interested in the connection between art and architecture. More important are sustainability and zero-energy houses in which the windows can hardly be opened.
Could it be that building culture, indeed the whole of culture, will soon sink into green primeval forests and huge wetland bio-topes? Or will foreign, warlike peoples destroy or occupy our ci-ties and landscapes and cultivate them anew?«
