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This manuscript is based on the results of a research project (No. 7726), carried out at the Institute for the History of Art (University of Vienna) under the direction of Professor Dr. Peter Haiko, and sponsored by the Jubilee Funds of the Austrian National Bank. The artists Jacques Groag (b. Olomouc, February 5, 1892, d. London, January 26, 1962) and his wife Jacqueline (née Hilde Blumberger, b.Prague, April 6, 1903, d. London, January 13, 1986) belong to those representatives of the Viennese Modernists between the two World Wars who are now forgotten, due to the fact that, being Jews, they were forced to emigrate in 1938. In the early phase of his career Jacques Groag worked as an assistant and executing architect for Adolf Loos (Moller house, 1927) and Ludwig Wittgenstein (Wittgenstein house, 1928) and co-operated with the interior designers Friedl Dicker and Franz Singer (Heller tennis club house, 1928). After that, in independent practice he realized a considerable number of remarkable architectural projects in Vienna and native Moravia (now Czech Republic), among others a pair of semi-detached houses at the Werkbundsiedlung, a house for the actress Paula Wessely, a country house for the industrialist Otto Eisler, several houses for other private clients, but also industrial buildings. At this time he was regarded as one of the most important followers of Adolf Loos. He also enjoyed remarkable success as a designer of interiors, and was befriended to many Viennese artists such as the painters Sergius Pauser and Josef Dobrowsky, the sculptor Georg Ehrlich and the photographer Trude Fleischmann. His wife Jacqueline, a student of Franz Cizek and Josef Hoffmann at the Wiener Kunstgewerbeschule, between the wars was active as a designer of textiles for the Wiener Werkstätte and for fashion houses in Paris. After the couple's emigration to England in 1939 Jacques Groag could only find commissions as a designer of interiors and furniture, but found no opportunity to realize architectural projects. As a team, Jacques and Jacqueline made important contributions to prominent exhibitions on British design in the post-war period. Jacqueline, who outlived her husband for more than twenty years, continued her career as a successful textile designer until her late age.

The book takes up the (post-)operaist concept of immaterial labour (cf. Maurizio Lazzarato: 1998, Toni Negri, Michael Hardt: 2000) and relates it to spatial processes and architectural projects from the 1960s. The book’s title is the hypotheses of its investigation. It allows to be exemplified with the following questions: Do we find, parallel to a dominant cultural practice of immaterial labour new forms and orders of architecture? Which forms does it take on? Or does workplace architecture disappear at all parallel to the blurring of the formerly clearly marked spaces of the factory?

ation such as the registry, the library, and the armoury, but also in the Cabinet of Curiosities, or in the architect’s personal archive. Even with only a small number of known approaches theorizing architectural drawings and design practices during the 16th century, it is possible to reveal a broad influence on drawing theories, especially by perspective treatises and the so-called »Visier- und Messkunst« (measuring). Reconstructing the various places of producing, collecting, displaying, and studying architectural drawings shows that architectural drawings were a crucial part in cultural processes of understanding, organizing, and dealing with the built environment.

„Arranged Love“ deals with cross-cultural differences in understanding romantic love. All over the world we can find ideas of romantic love expressed by arts, poetry or material objects. The present publication attempts to show the varieties of romantic love exemplified by artifacts of Ethnographical collection of the Göttingen University’s Institute for Cultural and Social Anthropology.

Buddhist rock sculpture of Swat/Uddiyana (7th-8th cent. CE): Analytical study of its aesthetic values, technical concept, historical background and cultural influence