The Poetics Of Architecture
Emilio Ambasz (Emilio Ambasz & Associates, Inc.)


Emilio Ambasz

©Monica Pidgeon

Many people ask me what type of single word would one use to describe all the different things that I've been doing. I do architecture, interior design, gra— phic design, product design. I write fables for children called 'Working fables: collection of design tales for sceptic children', I organise exhibitions and ,lectures and many things of that nature. And I think that the only word that would unite it is 'invention'. I am interested in architecture and not really ~- from the professional and traditional way but 13m interested as a domain for in- vention. My main concern is to try to go to the essence of a program and give an essential answer if possible. The problem talks to me, the site talks to me, the materials, the people involved, talk to me and hopefully the answer is one that comes actually out of the root of the question. Now because I do so many things, it's sometimes easier to distinguish, just to make it easier for other people to understand, between two personas. So I have invented Emilio and I have Ambasz. And Ambasz is the one that makes the products and graphic design, and Emilio is the one who does architecture. The two of them used to collaborate and they did together a few things.


Poster For Geigy

©Emilio Ambasz

For example, many years ago in 1967 when they designed a poster for Geigy, a 3D poster, their concern at the time was, rather, finding a space that exists between two pieces of paper. This is a 3D poster which is die—cut. It was done to cele- brate the achievements of the Geigy Company as a great patron of graphic design. Geigy is a Swiss company — and the "G" of Geigy really stood for the "G" of gra- phics. It was really one of the first 3D packs of posters. It was also a poster that appealed to the notion of the user because the user would turn the "G" around and give different configurations.

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