This pu­bli­ca­tion brings to­ge­ther his com­plete ar­chi­tec­tu­ral work for the first time, work ran­ging from his early projects as a Bau­haus stu­dent, ta­king in his first house in Zurich-Hongg and his many de­signs for ex­hi­bi­ti­ons, to such ma­ture works as the Hoch­schule für Ge­stal­tung, Expo 64 in Lau­sanne or his own house in Zu­mi­kon, many of these un­pu­blis­hed for de­ca­des. The in­for­ma­tion is roun­ded off with the pavilion-sculptures Max Bill de­di­ca­ted him­s­elf to for twenty years and which stand mid­way bet­ween sculp­ture and ar­chi­tec­ture. The num­ber is in­tro­du­ced by cri­ti­cal texts from such im­portant con­nois­seurs of his oeu­vre as Sta­nis­laus von Moos, Hans Frei, Karin Gimmi, Ar­thur Ruegg and Jakob Bill, Max Bill's son, along with un­pu­blis­hed ar­chive ma­te­rial, ex­ten­sive photo-reports com­mis­sio­ned for the oc­ca­sion from the Swiss pho­to­gra­pher Georg Aerni, and a selec­tion of the author's most im­portant theo­re­ti­cal wri­tings.