The book’s binding differs from conventional formats, employing a “butterfly binding” technique—in which single-sided printed sheets are continuously glued together page by page to achieve a seamless, full-page display of content. The text sections are authored by Swiss architectural theorist Laurent Stalder (1970–), Swiss architect Bruno Reichlin (1941–), and Italian architectural historian and critic Mario Carpo (1958–), complemented by Olgiati’s distinctive “Iconographic Autobiography” image collection, alongside photographs and renderings of his architectural works.These three threads interconnect page by page, seemingly independent yet forming a cohesive narrative that weaves together the book’s content to convey the architect’s creative impetus. As a book, Valerio Olgiatiisitself a work of art—an “image” that sparks new ideas in the reader’s mind.
The “Iconographic Autobiography” presents Ogiati’s method for constructing his architectural design philosophy. He selects and juxtaposes significant images that linger in his mind—including the floor mosaics of India’s Taj Mahal, lake views in Switzerland’s Graubünden canton, monochrome paintings by American artist Robert Ryman (1930–2019), the architectural work “House in Ashitaka” (1977) by Japanese architect Kazuo Shinohara (1925–2006), as well as the site plan “San Cataldo Cemetery(1981)” by Italian architect Aldo Rossi (1931–2019)—images that transcend time, architecture, and the natural landscape. Amidst the sublimation of experience, the affirmation of self, and the struggle to break free from tradition, Ogiati attempts to create spaces that transcend conventional architectural definitions, approaching an absolute abstract space.
