architecture design typography www.niggli.ch
MID-SEASON PREVIEW Autumn 2013
ART CULTURE PHOTOGRAPHY www.benteli.ch
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AR C H I TEKTUR niggli
AR C H I T E C T U REN I G G L I
BDE Architekten – Archhöfe Winterthur
A monography on one of the most noteworthy new buildings in Switzerland One building – three uses Building in an urban context
Hubertus Adam (ed.) With texts by Hubertus Adam, BDE Architekten and Fritz Schumacher, and photopraphs by Christian Schwager German approx. 112 pages approx. 160 color illustrations and plans 24 x 28 cm Linen hardcover Euro (D) 46.–, Euro (A) 47.30, CHF 58.– ISBN 978-3-7212-0891-7
November 2013
BDE ArchitEktEn Archhöfe Winterthur hErAusgEgEBEn von huBErtus ADAm
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BDE Architekten Founded in 2002 by Philipp Brunnschweiler, Matthias Denzler and Oliver Erb. Amadeus Dorsch joined BDE Architekten as a partner in 2010. Their projects include the rectory Steinhausen (2005) and the parish hall Wiesendangen (2007) – which received the architecture award for the region Winterthur – among others. At the moment they are working on several projects, among them the bus depot Grüzefeld in Winterthur, the residential and retail development Schlossberg in Baden as well as residential buildings at the lake in Arbon and in Winterthur.
BDE Architekten – Archhöfe Winterthur
Winterthur has undergone a structural change during the last decades from an industrial workingclass town to an attractive urban agglomeration. The architectonic face of the city has meanwhile changed as well. The building of the Archhöfe played an important part in this, closing off the station square at its southern end and thereby taking up an attractive inner-city location. The eye-catching monolithic building combines shopping center, service sector and residential development under one tentshaped roof. This makes the Archhöfe an impressive example of multifunctional architecture as well as a construction successfully planned and incorporated into a grown urban surrounding. The book presents the project in plans and pictures, an essay by architecture critic Hubertus Adam and further documentations. Its beginnings date back to a competition in 2003, when BDE Architekten, who secured the project back then, were still an up-and-coming team. Today, ten years later, they have grown to be a renowned architectural office.
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AR C H I TECTURE
Riken Yamamoto. How to make a city
Pioneering concepts for a dense urban architecture Selected works by Japanese architect Riken Yamamoto
October 2013
Riken Yamamoto How to make acity
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Architekturgalerie Luzern (ed.) With an interview by Hubertus Adam with Kees Christiaanse, Hiromi Hosoya and Riken Yamamoto German / English 32 pages, approx. 30 illustrations and plans 22 × 27.4 cm Softcover with dust jacket and Japanese binding approx. Euro (D) 25.50, (A) 26.20, CHF 32.– ISBN 978-3-7212-0888-7
Riken Yamamoto
Vernissage and grand opening of exhibition at the Architecture Gallery Lucerne on October 16, 2013
Riken Yamamoto (*1945) founded the architectural office Riken Yamamoto & Field Shop in 1973. Projects like the Yokohama Public Housing, the Future University Hakodate or the Yokosuka Museum of Art have gained international attention. One of the recurring themes in Yamamoto’s buildings is the importance of the public space, the possibility of social interaction. From 2002 to 2007 he was a professor at Kogakuin University and from 2007 to 2011 he taught at the State University Yokohama. Since 2011, Yamamoto has been a partner professor there and also holds a special chair for graduate studies in the area of constructional engineering at the University of Nihon.
Riken Yamamoto. How to make a city
Architekturgalerie Luzern
The works of Japanese architect Riken Yamamoto are of outstanding importance in contemporary Japanese architecture. His aim is to always integrate the social aspects of an assignment into his architecture. The publication How to make a city focuses on Yamamoto’s long-standing involvement with the topic of the dense city. The book, published along with the exhibition of the same name at the Architecture Gallery Lucerne, picks up on several selected newer works of the office Riken Yamamoto, among them the project The Circle at Zurich Airport. This project originated from a competition in 2009, which Yamamoto won despite a large number of international submissions. The multifunctional building complex, whose inner organisation adapts medieval city structures in a modern form, is based on Yamamoto’s research project on the Local Community Area, which is also presented in the publication. It explores surprising as well as fascinating possibilities for the aesthetic and sustainable design of dense urban structures.
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D ES I GN
Left: Axonometry project “Im Hard”, Ateliers für Gestalter, 1934 Below: Rock house, Sassalto Centovalli, exterior view
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Alfred Altherr junior – Protagonist of Swiss Living Culture
DESIGN AR C H I TEKTUR
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The first publication on Alfred Altherr junior – a pioneer of furniture design Vernissage and book presentation at the Forum of Architecture in Zurich on November 7, 2013
Design+Design (ed.) With texts by Alfred Altherr, Arthur Rüegg, Michael Hanak, Susanna Koeberle, Peter Lepel, Claude Lichtenstein and Juho Nyberg. German approx. 132 pages approx. 107 illustrations 21 x 27 cm Softcover Euro (D) 29.80 , (A) 30.60, CHF 38.– ISBN 978-3-7212-0893-1
November 2013
Design+Design is a platform for the cultivation of design culture, especially vintage design. They are based in Baden and regularly host the Vintage Furniture Salon, which features international gallery owners. Joan Billing and Samuel Eberli believe that originals from their different time periods exude a certain energy and soul. www.designunddesign.ch
Alfred Altherr junior made his mark in the area of modern Swiss architecture as designer, architect, museum director, lecturer and exhibition designer. Joan Billing and Samuel Eberli from Design+Design reviewed and researched the comprehensive estate of this protagonist of Modernism. They paved the way for a striking publication that puts Altherr and his work back into the spotlight. Already in his early years, Altherr was able to realize his first design for a steel tube lounger at the company Embru in Rüti. He gained relevant experience during his internship with Le Corbusier and Pierre Jeanneret in Paris. Altherr played an important part as an advocate of Swiss living culture He was a co-founder of the award “Die gute Form” and founder of the first “objective furnishing design advice center” in Winterthur. His aim was to promote the new lifestyle not only to the young Swiss but also to the older generation. This publication shows that design culture is able to consolidate past and present. With texts by Alfred Altherr, Arthur Rüegg, Michael Hanak, Susanna Koeberle, Peter Lepel, Claude Lichtenstein and Juho Nyberg.
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Ein Protagonist der Schweizer Wohnkultur Eine Einschätzung zu Alfred Altherr
Text: Joan Billing und Samuel Eberli Bilder: Nachlass Alfred Altherr
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bwohl das Schaffen von Alfred Altherr junior (1911– 1972) unzählige Ausstellungen im In- und Ausland, Publikationen, Bauten und Möbel umfasst, wird sein Werk erst heute wieder allmählich entdeckt und erstmals in einen Kontext gestellt. Sein vielschichtiges Lebenswerk zählt zu den modernen Anstrengungen zur damaligen neuen Wohnkultur und ihrer Verbreitung.
Aufmerksamkeit wird heute vor allem den lautesten Mitmenschen zuteil – und auch ohne Unterbruch eingefordert. Egal, in welcher Sparte: Es werden Stars erkoren und gefeiert. Für den jungen Alfred Altherr, aufgewachsen in einem protestantischen Haushalt, dürften vor hundert Jahren andere Prioritäten prägend gewesen sein als die Selbstdarstellung. Sonst wäre es heute kaum nötig, ihn ins öffentliche Bewusstsein zurückzuholen, und sein Werk wäre schon längst aufgearbeitet. So jedoch ist Alfred Altherr junior kaum mehr bekannt – ganz im Gegensatz zu einigen seiner Arbeiten, die heute noch unsere Umgebung
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Alfred Altherr junior – Protagonist of Swiss Living Culture
mitgestalten, wie zum Beispiel die Gartenbank, die für die «Landi» 1939 entstanden ist. Unaufdringlich und ohne Schmuck, fast puritanisch, aber bequem steht sie noch heute in vielen Parks und an öffentlichen Wegen. Dass Alfred Altherr in seiner frühesten Jugend ausreichend Aufmerksamkeit und auch das nötige Rüstzeug erhielt, ist dank der Stellung seines Vaters als Direktor der Kunstgewerbeschule und des Kunstgewerbemuseums Zürich anzunehmen. Durch einen Bekanntenkreis im Bereich der Protagonisten des Neuen Bauens in Deutschland, des Bauhauses, des Deutschen Werkbundes sowie der Schweizer Design- und Architekturelite jener Zeit kam der noch sehr junge Altherr auch mit der damals modernsten Art der Möbelherstellung in Kontakt: der Produktion von Stahlrohrmöbeln. Es lag nahe, dass Alfred Altherr sich früh für den Weg des Architekten und Designers entschied. Mit nur 20 Jahren konnte er bei der Firma Embru in Rüti seine erste eigene Entwicklung einer Stahlrohrliege ausführen. Embru war zu jener
Zeit der Treff- und Angelpunkt der Protagonisten der europäischen Moderne. Entwürfe von Marcel Breuer, Werner Max Moser, Le Corbusier, Alfred Roth und Alvar Aalto wurden dort ausgeführt. Ebenso positiv dürfte nach seiner Bauzeichnerlehre das Volontariat bei Le Corbusier und Pierre Jeanneret in Paris von den Zürcher Architektenkreisen um Karl Moser vermerkt worden sein. In dieser prägenden Zeit, als die Pioniere der Moderne die Gesellschaft und ihr Umfeld zu verändern begannen, fand Alfred Altherr nicht zuletzt durch die Freundschaft mit dem japanischen Architekten Junzo Sakakura bereits mit 19 Jahren in Paris zu seinen grundlegenden Positionen, die ihn sein Leben lang begleiteten und seine Liebe zur ostasiatischen Kultur und Architektur stärkten. Dies wiederum brachte ihn über 30 Jahre später dazu, eine beachtenswerte Publikation über die japanische Architektur herauszugeben. Vollständig in den Stand des selbsterwerbenden Architekten nach moderner Prä-
01 Alfred Altherr, in der Zeit um Paris
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D ES I GN
Moniteurs 1 : 1
Flughafen Berlin Brandenburg
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Left: Airport Berlin Brandenburg, signage and orientation system for indoor and outdoor areas Below: Site plan for the electricity plant in Berlin’s city center. Laser-engraved in acrylic
1:1
Lasergravur in Acryl
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DESIGN
1 : 1 – Signage, Orientation, Identity
How are you going to find your bearings at the new Berlin airport? Award-winning signage and orientation systems by Berlin-based office Moniteurs
1:1
Moniteurs (Ed.) English/German 224 pages 144 illustrations 23 × 28.5 cm Softcover with flaps Euro (D) 49.80, (A) 51.20, CHF 62.– Englisch edition: ISBN 978-3-7212-0890-0 German edition: ISBN 978-3-7212-0889-4
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Leitsysteme
Orientierung
Identität
1:1
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October 2013
Founded 1994 in Berlin, the office Moniteurs is today headed by three partners – Heike Nehl, Sibylle Schlaich, and Isolde Frey. Moniteurs develops concepts for the visual communication of companies, institutes, organisations, and NGOs. They also design print and digital media as well as graphical spatial elements . Their aim is to illustrate content in an easily comprehensible form, convey dates and facts and include people and their needs when creating designs.
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1 : 1 – Signage, Orientation, Identity is a special book. It not only describes the projects of the last ten years and the way of working of the communications design company Moniteurs, but the projects are also graphically brought into focus: in this way the book shows Moniteurs’ orientation systems on a 1:1 scale. The concepts of individual projects are presented in short, concise texts with many photographs and infographics, while an interview with the three owners of the company, Heike Nehl, Sibylle Schlaich and Isolde Frey, gives an insight into their approach. Moniteurs has existed since 1994. In addition to the design of signage and orientation systems, the focal points of the company include information design and corporate design. This range is reflected in the diversity, depth and precision of the projects. Many of them have received awards, including the red dot award for the design of the orientation system for the “Aufbau Haus”, and the Iconic Design Award 2013 for the “Potsdamer Platz” orientation system. The BMW Plant Orientation System project was included in the touring exhibition of the Goethe Institute The Dimension of Surface – Communications Design in Germany.
1:1
Zwei große Unternehmen haben ihren Sitz im Aufbau Haus: Die „Aufbau Verlagsgruppe“ und „Modulor“ – ein Materialanbieter, der als „Planet Modulor“ weitere Dienstleister aus Kreativindustrie und Handwerk ins Haus holte. Die Themen der beiden Hauptmieter – Schrift und Material – bildeten den Ausgangspunkt für die Gestaltung des Orientierungssystems. An seiner Herstellung – so die Idee von Moniteurs – sollten Handwerker des „Planet Modulor“ beteiligt sein. Das Konzept der „materialisierten Schrift“ präsentiert sich nun in Form von gefrästen Zeilen aus beschichteter Trägerplatte. Die einzelnen Zeilen sind leicht auswechselbar und können bei Mieterwechsel gut verändert werden. Kombiniert werden diese mit dreidimensional anmutenden Kennzeichen auf der Wand. So entsteht bei aller Vielfalt der Mieter ein übergeordnetes Erscheinungsbild, das dem Haus seine eigene Identität verleiht.
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Aufbau Haus
Auftraggeber
Leit- und Orientierungssystem
Moritzplatz 1 Entwicklungs-
Fassade und Innenbereich
gesellschaft mbH
Berlin 2011
Architektur Clarke und Kuhn
Auszeichnungen
freie Architekten BDA
European Design Awards 2012 reddot design award 2012
Nutzfläche
Bundesdesignpreis 2012
17.500 qm
(nominiert)
1 : 1 – Signage, Orientation, Identity
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Flughafen
Digitaldruck auf Folie
Berlin Brandenburg Flughafen
transluzent
Berlin Brandenburg
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TYP O GRAP H Y
niggli
niggli Neue Schriften. New Typefaces. Positions and Perspectives
TY P OGRA PHY
Fascinating insights into the world of type design
Isabel Naegele, Petra Eisele, Annette Ludwig (eds.), a project by the Gutenberg-Museum Mainz German/English 258 pages numerous type specimens 17 x 22.5 cm Swiss brochure Euro (D) 29,80, (A) 30,60, CHF 38.– ISBN 978-3-7212-0892-4
November 2013
Petra Eisele studied Art History and German Studies. Research associate for the History and Theory of Design at the Bauhaus University Weimar. She has been a professor of History and Theory of Design at the FH Mainz since 2006. Isabel Naegele studied Visual Arts at the HfG-Offenbach; in 1983 she started studying Medicine in Frankfurt a. M. Doctorate at the Goethe University. Since 1999, professor of Typography and Basics of Design at the FH Mainz. Annette Ludwig has been director of the Gutenberg-Museum Mainz since 2011.
Neue Schriften. New Typefaces. offers insight into the fascinating world of type design. Positions in contemporary type design are presented in words and pictures: key protagonists offer insights into their thinking and working, take a position on current developments under the new technical, aesthetic and socio-political conditions. While in the 1970s just a few hundred new typefaces were published, today we can choose from tens of thousands of fonts — with an upward tendency. This publication, however, shows that current type design is not subject to randomness or a fashionable hype. Seventy different type designs present an overview of current developments. For the exhibition Call for Type. New Fonts. New Typefaces. at the Gutenberg Museum in Mainz, twenty typefaces were chosen and expanded on in very personal reflections by their designers, which take the form of interviews in the book. From the rich international cosmos of typefaces, the book presents experimental type designs, based either on a spontaneous idea or the concept of an individually chosen design project; there are display fonts with a small range of styles or typefaces for books with large type families, which, often over a number of years, were developed systematically with passion, endurance and an unswerving attention to characteristic detail. Therefore this publication not only documents a high professionalism, but also a great and passionate enthusiasm as the driving force of today’s type designers.
Neue Schriften. New Typefaces. Positions and Perspectives
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BE N TELI
PH O T O GRAP H Y
Left: Plates by Philip Leutert Below: Blitzlicht-Skulpturen Dominique Teufen
by
B E N T E LI
vfg Award for Young Photographers 2013
P H OTOGRA PHY
Innovative pictures by young photographers The winning works on tour in Switzerland: Lausanne, L’Elac, October 10–19, 2013 Winterthur, Jungkunst, October 24–27, 2013 Basel, Galerie Oslo 8, November 28, 2013 until January 5, 2014 Roadshows, photo slams ... more info: facebook.com/verband.vfg.
Christoph Kern, Ferit Kuyas, Roman Weyeneth (eds.) German/French 68 pages 69 color illustrations 20 x 26 cm Softcover Euro (D) 17.50, (A) 18.–, CHF 22.– ISBN 978-3-7165-1785-7
September 2013
The vfg, association of photographic designers, and vfg pool represent creative professional photography. Their main goal is to spark and fuel discussion surrounding the photographic image and promote professional photography in all areas. The high quality of Swiss professional photography is awarded with a prize each year, thereby arousing attention for the photographic image in the public.
The vfg Nachwuchsförderpreis is a competition for young photographers living in Switzerland and
www.vfgonline.ch
at Du Magazin and curator, Stuttgart), Roberto Raineri-Seith (photographer, curator Krinein.org,
has been hosted by the association of photographic designers (vfg) annually since 1995. Anyone up to the age of 39 and/or who has been active as a photographer for a maximum of three years can take part. The award is meant as a stepping stone and forum for talented young photographers. Pictures and concepts of the ten best works of the 17th edition are presented in this publication with accompanying commentary from the jury. They offer a fascinating insight into the work of young Swiss photographic artists of today. The jury of this year’s edition was comprised of: Lukas Frei (Manager Creation, Scholz & Friends Schweiz AG, Zurich), Hannah Frieser (photographer and curator, New York), Ute Noll (Photo Director Locarno), Jules Spinatsch (artist, Zurich/Vienna).
vfg Award for Young Photographers 2013
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niggli Publisher of architecture, design and typography BENTELI PUBLISHER OF ART, PHOTOGRAPHY AND CULTURE
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