It seems fitting that an exhibition of Martin Boyce’s work—the forms and materials of functional apparatus transferred to an artistic context—should be presented in the complex of galleries and museums at the heart of Zurich’s regenerated industrial quarter. Acclaimed for his appropriation and deconstruction of designer icons from the ’60s and ’70s, Boyce now seems to be shifting his interest to the psychological and emotional spaces of more generic external environments. From the utopian vision of modernism propagated by the Eameses or Arne Jacobsen, he has turned to communal urban spaces—in