The work left behind by Jacques Androuet du Cerceau being essentially graphic – collections of engravings, drawings and prints – the principle that was adopted was to create an «immersive» museography that plunges the visitor into the world of real or imaginary architecture, sculptures and poetic fantasies drawn by Androuet du Cerceau.

In Claude Parent’s case, the solo exhibit could not however be strictly “biographical”, given that this architect is an important figure in the life of the world. His architectural activity counts almost as much through his production of buildings that have become architectural icons.

In his book entitled ‘World without Objects’, Maleics used the term ‘pictureobject’ implicitly for the physical aptitude of paintings considered spiritual entities. What he writes about is not the dead material but something that is the inevitable company of the existence of the picture.

In the face of the high demand for social housing, what can architecture offer? What qualitative and innovative response can meet this quantitative need? What part does experimentation play in this area seen in recent years as an architectural laboratory?

The exhibition ‘Impossible photography’ a historical overview which attempts to peel back the bars and walls and reveal the complexities of a frequently feared and misrepresented system. Collecting 340 photographs from over 150 years, this exhibition is overtly visual.

At the focus of the exhibition is the oeuvre of arbeitsgruppe 4, with their key projects and works on show for the first time. The group, consisting of the strong personalities of Wilhelm Holzbauer, Friedrich Kurrent, Otto Leitner and Johannes Spalt has achieved fame beyond the realm of architecture.