Crossing borders – this is how Eduard Neuenschwander’s approach to nature is described. But what does this mean and how does this transgression become visible?
On 256 pages, landscape architect Claudia Moll and architect Axel Simon provide an insight into the most important works of the Swiss architect, who described himself as an “environmental designer”. A total of 18 exemplary projects illustrate how Neuenschwander worked on different scales. The book was produced at the ETH in Zurich and received the DAM Architectural Book Award in 2009
Neuenschwander’s means of design
The publication begins with an outline of Neuenschwander’s life. The architect was born in Zurich in 1924 and was strongly influenced by a period spent working in the Finnish studio of Alvar Aalto. The Finnish landscape and building culture influenced the young Swiss architect immensely. His projects therefore ranged from the conversion of a farmhouse in Toggwil to the “Grün 80” garden and landscape exhibition in Basel. These designs stand out from those of his contemporaries. His architecture makes the place in the landscape visible and thus the landscape itself. The authors sensitize their readers to Neuenschwander’s typical design techniques, which, for example, coined the term “historical sensuality”. He superimposed old and new structures and created a new body of work in the process. In 1975, he founded the Institute for Environmental Design. In it, the architect formulated his holistic approach to environmental design. He understood the urban space as part of the “large-scale biotope city and landscape”, as a dynamic and processual system.
Eduard Neuenschwander in context
The authors succeed in illustrating Eduard Neuenschwander’s architectural career as well as making references to current developments. This is achieved through the comprehensible division into a total of six chapters, which are dedicated to his projects and categorize them thematically. Moll and Simon provide a detailed and informative report on the Swiss natural garden movement. They place Neuenschwander in context, as he was considered a key player in this era of European garden design. Sketches and photographs impressively document his works, and quotations are effectively integrated. Moll and Simon skillfully illustrate his holistic approach, in which aesthetics, biology and people as users are united. It becomes clear to the reader that this view was a matter of course for him, even though it was considered transgressive at the time.
The book presents a very successful compilation of Eduard Neuenschwander’s architectural works. His sensitive approach to the landscape seems more relevant and necessary today than ever before. It is therefore highly recommended reading and is aimed at all architects and landscape architects, but is also recommended for the interested layperson.
The text was written in the “scientific writing workshop landscape architecture” at the TUM Chair ofLandscape Architecture and Transformation with Prof. Udo Weilacher. As part of the seminar, students select specialist literature and work together on individual book reviews.
Also interesting is the book “Landschaftlichkeit als Architekturidee” by Margitta Buchert. Read our review here.












