architecture design typography
niggli
_ new publications
_ spring
20 14 _ new publications spring 2014
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niggli
architecture design typography
_ Magazines 2013/2014 Order our latest niggli magazine as well as our sister company BENTELI`S magazine for free at our distributors or directly with us.
_ Price info All prices given in this preview are in Swiss Francs and Euro, incl. the respective VAT. The prices in Swiss Francs are recommended retail prices for Switzerland. The prices in Euro are fixed retail prices for Germany, respectively recommended retail prices for Austria. All prices, descriptions and release dates are subject to alterations or errors.
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niggli
architecture design typography
_ Foreword
_ Reduced, straightforward and clear – the new look of niggli clearly aligns itself with the basic concepts that Arthur Niggli laid down with Karl Gerstner, creator of the niggli logo, in 1950. The streamlined design represents the concept of our publishing program as well. niggli publishes books on architecture, design and typography. Our publications address all teachers, students and professionals in these areas. We aim to produce books with high-quality content and good design that support and inspire our readers in their professional life. The high value we place on content is also reflected in the inspired design and careful production methods of our products. niggli has always been and continues to be a name that stands for quality, a quality that we, with your help, would like to bring to your customers, our readers. As before, our new releases are grouped into three areas: Architecture presents a variety of current positions and concepts, featuring monographs on contemporary architects and interior designers, Design meanwhile focuses on the field of furniture design and presents one of the pioneers of Swiss furniture design – Alfred Altherr junior. A useful tool in form of a handbook is the monograph by the Berlin-based office Moniteurs, offering insights into the design of orientation systems. Our new typography titles not only focus on new fonts, the 23rd issue of Slanted takes a look at contemporary design in Switzerland. Switzerland, or more specifically Swiss architecture, is also the focus of the first issue of archithese in 2014, the annually published Swiss Performance. Our spring program is packed with outstanding titles that will surely find an interested audience. We would like to reach out to our colleagues in bookselling with an offer of intensified future cooperation to support you in your efforts in selling our books. Are you interested? Our sales representatives Giovanni Ravasio and Hans Frieden are happy to advise you, or you can directly contact Kirstin Meditz at the publishing house. We hope you will enjoy our new releases and look forward to our future cooperation. Andrea Wiegelmann, Publishing Director niggli, and team
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niggli
architecture design typography
_ new publications spring 2014
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niggli — The first monograph of the Zurich-based interior design office Gessaga Hindermann, who explore the limits and possibilities of the discipline in their projects — The monograph is a practical design compendium for architects, interior architects and students of both disciplines
architecture design typography
_ Boden Wand Decke – Zur Poesie der Innenarchitektur
— A handbook for the future: everything you need to know to quickly and easily make informed design, production and consumer choices
_ Gessaga Hindermann (ed.) Boden Wand Decke – Zur Poesie der Innenarchitektur German, approx. 272 pages, illustrated throughout 20 × 28 cm, hardcover with a text booklet in Swiss binding approx. Euro (D) 49.80, Euro (A) 51.20, CHF 62.– ISBN 978-3-7212-0899-3 ↘ April 2014
The monograph Boden Wand Decke – Zur Poesie der Innenarchitektur by the Zurich-based interior architecture office Gessaga Hindermann serves as a working tool and a source of inspiration for design professionals. It consists of two parts complementing each other – an image volume and a text booklet. The illustrated volume focuses on the latest design discourse and presents Gessaga Hindermann projects in a comprehensive image montage. The picture series also illustrate the working process and thereby emphasize the core competency of the discipline – the draft, the design itself. Six authors discuss the influence and importance of tradition and convention for the interior design process in the included text booklet. The essays pick up on central important questions in design: they discuss the connections between architecture, interior architecture and scenography as well as aspects of user friendliness and the sociology of space. The combination of a documenting image series and discursive text contributions by experts make this publication an insightful and instructive compendium that connects theory to practice, thereby offering a comprehensive depiction of design processes. With texts by Christina Sonderegger, Alois M. Müller, Jörg Boner, Sascha Stahl, Peter Schneider, Simon Libsig, Nader Taghavi, Bernadette Fülscher, Robert und Trix Haussmann and others.
_ In 2000, Jérôme Gessaga und Christof Hindermann, two designers and interior architects, founded the company Gessaga Hindermann GmbH in Zurich. Their aim is to develop and execute projects in the area of interior architecture, product and exhibition design. Their projects are a result of intensive research into the working processes and communication cultures of companies. www.gessaga-hindermann.ch
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architecture design typography
niggli
Ed utem sunte dolu tquame hicia et exc ed utem sunte dolu
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_ new publications spring 2014
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Landesamt f端r Finanzen, Landshut
architecture design typography
niggli — One of the leading offices in the field of hospital con- struction in Germany — Projects a.o. adidas factory outlet, Herzogenarach; fair Stuttgart; State Revenue Office, Landshut; Bavarian State Office for Health and Food Safety, Erlangen
_ wulf architekten. Rhythm and Melody _
wulf architekten Rhythmus und Melodie
German
English Niggli
_ wulf architekten. Rhythmus und Melodie With texts by Hubertus Adam, Hans-Jürgen Breuning, Tobias Wulf, Kai Bierich and Alexander Vohl approx. 256 pages, approx. 200 illustrations and plans 30 × 23 cm, half-cloth binding approx. Euro (D) 62.–, (A) 63.70, CHF 78.– German Edition: ISBN 978-3-7212-0900-6 English Edition: ISBN 978-3-7212-0901-3 ↘ April 2014
Having worked for well-known offices such as Gottfried Böhm, Joachim Schürmann, Auer + Weber and Behnisch & Partner in the past, wulf architekten have long since developed their very own position. Inspired by a deliberate openness towards innovation, however, they constantly challenge this position. Their way of finding solutions, unhindered by preconceived ideas and concepts, is what the architects call “identity through search”; this search also means movement and change. The only, meanwhile important, constant is their humanistic approach – a distinct focus on people as a starting point for all design work. This central conviction shows in the sensuous quality and the variety of the office’s built projects. Their numerous designs for competition do not only serve to acquire new project commissions, they have far greater significance: giving shape to new ideas, approaching new topics, experimenting and testing the boundaries. In texts that establish connections between central statements of the three partners and their built projects, the publication Rhythm and Melody offers a comprehensive insight into the way wulf architekten think and work. Architecture, as already hinted at by the title, is not understood as an isolated discipline here, but as part of a multifaceted cultural context.
Ed utem sunte do tquame hicia et e ed utem sunte do tquame hicia et e
_ The Stuttgart-based office wulf architekten, founded in 1987 by Tobias Wulf (*1956), was joined by Kai Bierich (*1957) and Alexander Vohl (*1961) as partners in 1996. Among their main works are the award-winning adidas factory outlet in Herzogenaurach (2003), the Stuttgart fair grounds (2007) and the State Revenue Office in Landshut (2011). Apart from several school buildings, wulf architekten is currently planning the new building for the IHK Region Stuttgart as well as the German Center for Neurodegenerative Diseases, located on the campus of the university hospital in Bonn. wulfarchitekten.com/
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niggli — A monography on one of the most noteworthy new buildings in Switzerland — One building – three uses: Shoppingcenter, Dienstleistungsgeschoss und Wohnungen
architecture design typography
_ BDE Architekten – Archhöfe Winterthur
— Building in an urban context _
BDE ArchitEktEn Archhöfe Winterthur hErAusgEgEBEn von huBErtus ADAm
niggli
_ Hubertus Adam (ed.) BDE Architekten – Archhöfe Winterthur German, 112 pages, 160 color illustrations and plans 24,2 × 28,5 cm, clothbound hardcover
Winterthur has undergone a structural change during the last decades from an industrial working-class 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 tent-shaped 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.
Euro (D) 46.–, Euro (A) 47.30, CHF 58.– ISBN 978-3-7212-0891-7 ↘ already available
_ 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. www.bde.ch
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niggli — Pioneering concepts for a dense urban architecture — Selected works by Japanese architect Riken Yama- moto: The Circle, the project at Zurich Airport, and the local community areas
architecture design typography
_ Riken Yamamoto. How to make a city _
_ Architekturgalerie Luzern (ed.) Riken Yamamoto. How to make a city German/English, 32 pages 27 illustrations and plans, 22 × 27,4 cm softcover with bound dust jacket
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 longstanding 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.
Euro (D) 19.80, (A) 20.40, CHF 25.– ISBN 978-3-7212-0888-7 ↘ already available
_ 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.co.jp/
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niggli — Focus “Building in the City” — With contributions by: Klaus Theo Brenner, Jörg Hartmann, Vittorio Magnago Lampugnani — The next conference will take place on the 27th to 28th of March 2014 at the Rheinterrassen in Düsseldorf
_ Konferenz zur Schönheit und Lebensfähigkeit der Stadt 4: «Die normale Stadt und ihre Häuser» _
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KONFERENZ ZUR SCHÖNHEIT UND LEBENSFÄHIGKEIT DER STADT CHRISTOPH MÄCKLER WOLFGANG SONNE (HG.)
DEUTSCHES INSTITUT FÜR STADTBAUKUNST
DIE NORMALE STADT UND IHRE HÄUSER DAS NORMALE STADTHAUS DAS NORMALE STADTQUARTIER PLANUNGS- UND ENTWICKLUNGSINSTRUMENTE
NIGGLI
STADTBAUKUNST _ Christoph Mäckler, Wolfgang Sonne [German Institute for Urban Design] (ed.) Konferenz zur Schönheit und Lebensfähigkeit der Stadt 4: «Die normale Stadt und ihre Häuser» (Conference on Urban Aesthetics and Quality of Life 4: The Normal City and its Houses) German, approx. 200 pages, approx. 150 illustrations 21 × 25 cm, softcover with flaps approx. Euro (D) 38.–, Euro (A) 39.10, CHF 48.– ISBN 978-3-7212-0894-8 ↘ March 2014
_ The German Institute for Urban Design at the University of Technology Dortmund, under the direction of Prof. Christoph Mäckler, focuses on the research and teaching of the art of urban construction. This term encompasses two things: a focus on the artistic character of urban planning, the aesthetic design of a city; and the idea that city planning should combine different aspects, such as social, economic, ecological, technical
Apart from the basic questions as to what constitutes a normal city, this year’s conference focused in more detail on the concept of normal urban dwellings. This topic once more brought together the different disciplines concerned with urban development, not to debate and dissociate their ideological principles but to communally work towards improving planning and building culture, using concrete examples, and thus contributing to the discipline of urban design. Architects, urban planners, engineers, sociologists, politicians, artists, citizens – they all are involved in the project of the normal urban dwelling and have answered the following questions, among others: What standards does the modern city dwelling need to fulfill? What impact should private inner-city houses have on the public space? How should they be arranged in the block and towards the street front? How can the ground level interact with the street or square? What type of facade facilitates communication between private and public space? And what type of facade creates cityscapes? Which types and traditions can we build on, which ones are less suited? What are the different client concepts available for urban construction today? Which laws, regulations or norms hinder the construction of normal city houses nowadays? And what, on the other hand, could benefit their construction? And finally, what training is required to plan and build normal urban dwellings?
Authors of this issue (among others): Prof. Klaus Theo Brenner, Klaus Theo Brenner Stadtarchitektur, Berlin Prof. Dr. Andrzej Górak, Pro-rector TU Dortmund Michael Groschek, Minister for building, living, urban develoment and traffic Jörg Hartmann, actor Prof. Dr. Vittorio Magnago Lampugnani, ETH Zürich Prof. Christoph Mäckler, Deutsches Institut für Stadtbaukunst Prof. Dr. Wolfgang Sonne, Deutsches Institut für Stadtbaukunst Prof. Jörn Walter, Hansestadt Hamburg
and cultural requirements, in the design of urban areas. This art of uniting a multidisciplinary conception of the city into one harmonious townscape was mainly lost with the emergence of the reductionist idea of a functionalist, sociological and trafficoriented urban design, but it was still defining the young urbanism of the early 20th century, which used the term “art of urban design” for it. The aim of the Institute of Urban Design is to take up this thread and tie together the disciplines of architecture, urban and regional planning, open space design, traffic management and civil engineering that have been drifting apart over the past decades.
www.stadtbaukunst.tu-dortmund.de
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niggli — Magazine about architecture – from architects for architects
Subscription rates Switzerland: _ 1 year: CHF 148.– 1 year student rate: CHF 115.–
— Thematical issues six times per year — German / English / French, 22,5 × 29,5 cm Euro (D) 22.–, Euro (A) 22.60, CHF 28.–
International subscription rates: 1 year: Euro 128.–, CHF 159.– 1 year student rate: Euro 98.–, CHF 124.– plus postage
_ Issue 1 / February 2014: Swiss Performance The yearbook for Swiss architecture The widely acclaimed Swiss architecture and building quality never runs out of steam in archithese. For the first issue of 2014, after a year of research and observations, the editors once again collate outstanding projects that have been built in Switzerland or by Swiss architects abroad in 2013. Between new finds and the inescapable, archithese retraces the basics of Swiss architecture culture. By putting a special focus on the works of young offices the review becomes an outlook as well. What themes and ideas do they bring into the conversation? The review also includes a selection of book publications, important projects from the field of built heritage conservation and spatial planning as well as the original purpose of archithese: sharp to-the-point architecture criticism. _ ISBN 978-3-7212-0895-5
_
_ Issue 2 / April 2014: Bündnis – Alliance – Association New forms of organization in the architectural profession Every man for himself or all for one? The architect – an individualist grown lonely thanks to his own egomania? The post-individualistic age of sharing and global communication, and the reawakening of a communal spirit in the new millennium as an alternative to the seemingly unavoidable corporate structure pose new questions about the organisational structure of the profession. The evolution of architecture in the first half of the 20th century was defined by alliances, federations and architectural associations. CIAM and many other groups forged alliances on the basis of common ideas on design or politics to promote and propagate their respective approaches. Which models do we have today? And what are we lacking? What is the role of established professional associations and why are conferences as popular as ever despite growing digital networks? archithese takes a look at the structures of the architecture discipline.
ISBN 978-3-7212-0896-2
_ ISBN 978-3-7212-0897-9
_ new publications spring 2014
_ Issue 3 / Juni 2014: Neomanie – Langeweile | Hype – Boredom What is design and what influences it? Endless strive for innovation or continuation of the same old. Creative volcano, expression or restraint and strict order; a maximisation of possibilities or an integration into the cityscape? Autonomous, canonical profession or free exchange of the disciplines, searching for new impulses? The discourse surrounding hype and boredom is not simply a question of style, but has been defining the struggle for architecture and cityscape for centuries. Does mastery also mean virtuosity – or proportionality – or is it simply camouflage for a lack of ideas? Is neomania – the barely controllable creativity and obsession with innovation – the driving force of architecture or do boring constructions prove to be better in the long run? What is media’s role in all of this? The wheel of topics, themes and names seems to be turning faster and faster; one-hit wonders seem to have entered the realm of architecture and ever so often themes and personalities now disappear before any substantial examination is even possible. The “hype”, meaning artificially induced excitement about topics and protagonists, is not only a fast lane to success; it also sparks rejection and backlash. What are the costs of media’s simplification for the production and perception of architecture? Is the “slow” discipline architecture still resilient or do we already start to think in seasons, summer hits and shooting stars?
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niggli — The first publication on Alfred Altherr junior – designer, architect and exhibition designer — Pioneer of modern furniture design — A defining member of the Swiss Werkbund
architecture design typography
_ Alfred Altherr junior – Protagnonist der Schweizer Wohnkultur _
_ Design+Design (ed.) Alfred Altherr junior – Protagonist der Schweizer Wohnkultur German, 136 pages, 129 illustrations and plans 21 × 27 cm, softcover Euro (D) 29.80, (A) 30.60, CHF 38.–
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.
ISBN 978-3-7212-0893-1 ↘ already available
_ 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 (1911–1972) initially trained as an architectural draftsman and attended courses on carpentry and metalworking. He went to Paris in 1931 to work for Le Corbusier and dedicated himself to the study of modern and Japanese building culture. Back in Zurich, he founded his own architectural office at the age of 24 and started designing prototype buildings, houses, interior designs and standardized furniture. He realized multiple pavilions for the Swiss National Exhibition 1939 and the “Landi” bank. Later in his career he taught at the Vocational School of the Arts Zürich, worked as an editor for Bauen + Wohnen and Werk, acted as executive director of the Swiss Werkbund, was one of the founders of “Die gute Form”, director of the Trade and Crafts Museum Winterthur and founder of the objective interior design advice center, as well as director of the Vocational School of the Arts and the Applied Arts Museum Zürich.
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niggli
Der Drucker ist ein Beispiel für das geplante vorzeitige End-Of-Life eines Produktes. Er enthält einige Komponenten, welche manipulierbar sind und von den Herstellern genutzt werden, den regelmäßigen Bedarf neuer Drucker aufrecht zu erhalten und so den Umsatz auf dem Markt konstant zu halten oder zu steigern. Mittels Zahnrädern zählt das Gerät mit, wieviele Seiten gedruckt werden und diese Informationen werden in unscheinbaren Chips dazu genutzt eine Auskunft über den Füllstand der Patrone zu geben. Wie der genaue Füllstand ist, ist nicht bekannt und so melden die meisten Drucker eine leere Patrone, obwohl wir mit dieser noch eine Vielzahl an Seiten drucken könnten. Nach einigen gewechselten Patronen kommt es zu weiteren Meldungen über einen verunreinigten oder defekten Druckkopf. Der dem Gerät eingeschriebene Todeszeitpunkt ist erreicht. Nach Auskunft des Service lohnt eine Reparatur nicht, da bereits für wenige Euros mehr ein neues Gerät erhältlich ist. So landen täglich technisch einwandfreie Geräte auf dem Müll. Auf den Geräten warnen grelle Hinweisschilder vor dem Öffnen des Produktes. Die Garantie erlischt sobald die erste Schraube gelöst ist - vorausgesetzt der passende im Handel schwer erhältliche Spezialschraubenzieher wurde gefunden. Hersteller haben es geschafft in uns ein Gefühl zu erzeugen, als würden wir mittels krimineller Energien ein Verbrechen begehen wenn wir nun wider allen Hinweisen und Empfehlungen versuchen an unserem erworbenen Drucker Lebensverlängernde Maßnahmen zu ergreifen. Doch wer gibt hier wem vor wie wir uns Verhalten sollen? Und ist es verwerflich die Diktate der Industrie aufzubrechen?
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Werkzeuge für die Design-Revolution
_ new publications spring 2014
Werkzeuge für die Design-Revolution
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architecture design typography
niggli — Strategies and concepts for social, ecological and ethically sustainable design — A handbook for the future: everything you need to know to quickly and easily make informed design, production and consumer choices.
Werkzeuge für die DesignRevolution Designwissen für die Zukunft
IDRV – Institute of Design Research Vienna
_ Tools for the Design Revolution. Design Knowledge for the Future _ The publication Tools for the Design Revolution shows the position of current designs at a critical turning point in history and offers practical guidelines and tools for sustainable design processes. The tools come in the form of strategies for sustainable design that clear the way to a social, ecological and ethically sustainable future. Letting go of traditional, established product and design ideas is getting more and more important. In the past, design used to be a service for the industry. In the future, the tools of design should be in the hands of the public. Terms like “cradle to cradle” or “open source design” stand for a changing understanding of design processes. Learning from each other, exploring experimental strategies and mindsets in combination with scientifically proven methods is the key to change. Design is more than just giving an appearance to products – it plays a vital role in changing the appearance of a society fit for the future as well as in the formulation of sustainable lifestyles based on global solidarity. Tools for the Design Revolution invites you to take part in a critical examination of topics like sustainability and your own consumer culture.
German
English
_ Institute of Design Research Vienna (ed.) Texte von Harald Gründl, Christina Nägele, Marco Kellhammer, Ulrike Haele Tools for the Design Revolution. Design Knowledge for the Future approx. 160 pages, illustrated throughout 16,6 × 24 cm, softcover approx. Euro (D) 29.80, Euro (A) 30.60 CHF 38.– German Edition: ISBN 978-3-7212-0902-0 English Edition: ISBN 978-3-7212-0903-7 ↘ May 2014
_
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The Institute of Design Research Vienna (IDRV) was founded 2008 with the goal of making an independent, academically influenced contribution to the establishment of the new field of design studies. As a non-profit scientific organization, the IDRV was created to foster interdisciplinary and disciplinary discussions on concrete issues of the worldwide design community, especially regarding the areas of ecologically and socially sustainable design as well as design history and teaching. www.idrv.org Harald Gründl (*1967) studied Industrial Design at the University of Applied Arts in Vienna and founded the Atelier EOOS in 1995, together with Martin Bergmann and Gernot Bohmann. Gründl completed his postgraduate studies in 2005 with The Death of Fashion, earning the title of Doctor of Philosophy. Christina Nägele (*1976) studied cultural studies
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Werkzeuge für die Design-Revolution
Werkzeuge für die Design-Revolution
and aesthetic practices at the University Hildesheim. She is a cultural scientist with a focus on curatorial, mediating and administrative work on the borderline of the fine arts, architecture, theater and media. Marco Kellhammer (*1988) studied Industrial Design at the University of Osnabrück and has been working at the IDRV since 2012, focussing on sustainable design.
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niggli
Unternehmen haben ihren Sitz im Aufbau Haus: Die
lagsgruppe“ und „Modulor“ – ein Materialanbieter,
net Modulor“ weitere Dienstleister aus Kreativ-
nd Handwerk ins Haus holte. Die Themen der beiden
er – Schrift und Material – bildeten den Ausgangs-
ie Gestaltung des Orientierungssystems. An seiner – so die Idee von Moniteurs – sollten Handwerker Modulor“ beteiligt sein. Das Konzept der „mateSchrift“ präsentiert sich nun in Form von gefrästen
eschichteter Trägerplatte. Die einzelnen Zeilen
auswechselbar und können bei Mieterwechsel gut
werden. Kombiniert werden diese mit dreidimensional
n Kennzeichen auf der Wand. So entsteht bei aller Mieter ein übergeordnetes Erscheinungsbild, das
eine eigene Identität verleiht.
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)
_ new publications spring 2014
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architecture design typography
niggli — Award-winning signage and orientation systems by Berlin-based office Moniteurs — The new orientation system for the airport BER Berlin Brandenburg
_ 1:1 – Signage, Orientation, Identity
— Signage and lettering at a 1:1 scale _ 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.
German
English
_ Moniteurs (ed.) 1:1 – Signage, Orientation, Identity 224 pages, 144 illustrations, 23 × 28,5 cm, softcover with flaps Euro (D) 49.80, (A) 51.20, CHF 62.– German Edition: ISBN 978-3-7212-0889-4 English Edition: ISBN 978-3-7212-0890-0 ↘ already available
_
Alle Straßennamen im Außenbereich sind nach wichtigen Personen der Luftfahrtgeschichte benannt. Ein am Straßenschild angebrachter QR-Code ermöglicht es den Passagieren, mithilfe
Founded 1994 in Berlin, the office Moniteurs is
ihres eigenenen Smartphones Hintergrundinformationen zu diesen Personen abzurufen.
today headed by three partners – Heike Nehl, Sibylle Schlaich, and Isolde Frey. Moniteurs develops concepts for the visual communication 68
of companies, institutes, organisations, and
Schrift des Flughafens gestaltet.
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. Moniteurs 1 : 1
Flughafen Berlin Brandenburg
www.moniteurs.de
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_ new publications spring 2014
Die Digitalanzeigen sind analog zum Leitsystem mit der Corporate-
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niggli — Slanted presents Swiss (graphic) design and typo graphy on 320 pages. — SLANTED is published twice a year and is comple ted via the blog www.slanted.de komplementiert.
_ Slanted #23 – Swiss / Suisse
— Distributor for the Swiss market only!
Typography and Graphic Design
SLANTED 23
_
SUISSE _ Magma Brand Design (ed.) Slanted #23: Swiss / Suisse German/English, 320 pages, illustrated throughout 16 × 24 cm, softcover CHF 25.– ISBN 978-3-7212-0898-6
The Alps, chocolate, democracy and graphic design – Switzerland is known for reliability, quality and perfection, whether in the form of Emmental cheese or a Swatch precision watch. Manifesting in the history books of the western design hemisphere as the epitome of straightforwardness and an objective design vocabulary, the paradigms of “Swiss Style” still govern the creative sector today. For over fifty years, these laid-down rules have been universally accepted. But how is this prestigious heritage applied by designers today? Where and when do they emancipate themselves and what is the face of Swiss Style beyond the legacy of its founding fathers Emil Ruder, Armin Hoffmann and Josef Müller-Brockmann? On 320 pages, SLANTED takes a look at contemporary design between tradition, transgression and progressivity, and presents Swiss (graphic) design and typography by local design professionals. The issue also presents works from neighboring disciplines like illustration, photography and art in the context of contemporary creative work in general; comprehensive studio portraits and interviews offer insights into the work of newcomers and icons of Swiss graphic design.
↘ May 2014 _ Also available: Slanted #18: Signage & Orientation ISBN 978-3-7212-0854-2 _ Slanted #19: Super Families ISBN 978-3-7212-0855-9 _ Slanted #20: Slab Serif ISBN 978-3-7212-0856-6 _ Slanted #21: Cuba ISBN 978-3-7212-0866-5 _ Slanted #22: Art Type ISBN 978-3-7212-0878-8
_ Picture credits: Ill. top: Norm, ME, WE, 2011 Poster/exhibition project Design Biennale Chengdu, China – 396 Poster, designed based on 48 modules. Ill., bottom left: Olivier Lebrun, “Another Companion to Books” from The Simpsons in Alphabetical Order Blind no 34, 352 pages, 11.5 × 16.5 cm, ISBN 978-3-906213-00-2 Ill. bottom right: Emma Souharce, Voyeur Blind no 36, 256 pages, 11 × 16.5 cm, ISBN 978-3-906213-04-0
_ new publications spring 2014
_ 18
niggli — Contemporary type designs in text and image. — With type designs and interviews of André Baldin- ger, Peter Bil’ak, Veronika Burian, Verena Gerlach, André Gröger, Lars Harmsen, Karl Nawrot, Tobias Rechsteiner, Pieter von Rosmalen, Gerard Unger, Andrea Tinnes a.o.
architecture design typography
_ Neue Schriften. New Typefaces. Positions and Perspectives _
Petra Eisele, Isabel Naegele, Annette Ludwig (ed.) Neue Schriften. New Typefaces. Positions and Perspectives German / English, 248 pages, numerous type specimens 17 × 22,5 cm, Swiss brochure Euro (D) 29,80, (A) 30,60, CHF 38.– ISBN 978-3-7212-0892-4 ↘ already available
58
Petra Eisele studied Art History and German
Weimar. She has been a professor of History and
Journalismus im Internet ist nichts anderes als eine Dauerkonversation aller Beteiligten untereinander. Das gedruckte Medium offeriert Geschichten, die aus einem vielschichtigen Diskurs- und Produktionsprozess hervorgehen.
Brandon Text Regular — 7pt
Brandon Grotesque Light — 10pt
Ein Mensch, der gar nichts liest, ist besser informiert als derjenige, der nur Zeitung liest. Brandon Grotesque Black — 22pt
Unsere Mythologie lesen wir täglich dreimal in der Zeitung. Brandon Text Bold — 36pt
Bag Bag Grotesque
Theory of Design at the FH Mainz since 2006. Isabel Naegele studied Visual Arts at the HfG-
Text
Schrift. Typeface. Brandon Gestalter. Designer. Hannes von Döhren Label. Foundry. hvdfonts.com Jahr. Year. 2010—2012 Brandon Groteque ist eine Groteskfamilie mit sechs Gewichten und passender Kursivschrift. Beeinflusst von den geometrischen Grotesk-Schriften, die in den Zwanziger- und Dreißigerjahren des neunzehnten Jahrhunderts beliebt waren, basieren auch hier die Fonts auf geometrischen Formen, die zum Zwecke der besseren Lesbarkeit optisch korrigiert wurden. Brandon Grotesque hat ein funktionelles, aber warmes Schriftbild. Während die feinen und die schwarzen Gewichte sich bestens für Displaygrößen eignen, sind die leichten, normalen und mittle-
Grotesque Thin, Italic Grotesque Light, Italic Grotesque Regular, Italic Grotesque Medium, Italic Grotesque Bold, Italic Grotesque Black, Italic
ren Gewichte für längere Texte geeignet. Die geringe x-Höhe und die zurückhaltenden Formen geben der Schrift eine unaufdringliche Eleganz. Brandon Grotesque ist prädestiniert für anspruchsvolle professionelle Aufgaben. Brandon Text hat eine größere x-Höhe als die Grotesque Version und ist optimiert für lange Texte, kleinen Druck und Bildschirme. Die gesamte Brandon Serie verfügt über alternative Buchstaben, Brüche und einen erweiterten Zeichensatz für ost- und westeuropäische Sprachen. Brandon Grotesque is a sans-serif type family of six weights plus matching italics. Influenced by the geometric-style sans-serif faces that were popular during the 1920s and 30s, the fonts are
Text Thin, Italic Text Light, Italic Text Regular, Italic Text Medium, Italic Text Bold, Italic Text Black, Italic
based on geometric forms that have been optically corrected for better legibility. Brandon Grotesque has a functional look with a warm touch. While the thin and the black weights are great performers in display sizes, the light, regular and medium weights are well suited for longer texts. The small x-height and the restrained forms lend it a distinctive elegance. Brandon Grotesque is well equipped for complex, professional typography. Brandon Text has a higher x-height than the Grotesque version and is optimized for long texts, small sizes and screens. The whole Brandon series is equipped with alternate letters, fractions and an extended character set to support East European as well as West European Languages.
Monatsschrift KOSMOS ZEIT IM BILD »Art Déco« DER STERN 15. Jahrgang Brandon Grotesque Medium Brandon Text Medium Grotesque Medium Brandon Grotesque Black Italic Text Medium
Brandon Text Light Italic Brandon Text Black Black Italic Grotesque Brandon Grotesque Regular Text Light Italic
124
125
240 Glyphen
456789:;<=>?@ABCDEFG
24h 1440 min
1Tag
Brandon Text Black Brandon Grotesque Regular
!"#$%&'()*+,-./0123 HIJKLMNOPQRSTUVWXYZ[ \]^_`abcdefghijklmno pqrstuvwxyz{|}~¡¢£¤¥ ¦§¨©ª«¬®¯°±´µ¶·¸º»¿À
HM TILM
Theory of Design at the Bauhaus University
59
Diese Zeitung ist ein Organ der Niedertracht. Es ist falsch, sie zu lesen. Jemand, der zu dieser Zeitung beiträgt, ist gesellschaftlich absolut inakzeptabel. Es wäre verfehlt, zu einem ihrer Redakteure freundlich oder auch nur höflich zu sein. Man muss so unfreundlich zu ihnen sein, wie es das Gesetz gerade noch zulässt. Es sind schlechte Menschen, die Falsches tun.
BRAND ON
Studies. Research associate for the History and
HANNES VON D ÖHREN
_
TILL WIEDECK & TIMM HÄNEKE
_
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.
ÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÐÑÒÓÔ ÕÖ×ØÙÚÛÜÝÞßàáâãäåæçè éêëìíîïðñòóôõö÷øùúûü ýþÿıŁłŒœŠšŸŽžƒˆˇ˘˙˚˛ ˜˝∆Ωµπ–—‘’‚“”„†‡•…‰‹ › ⁄ € ™ Ω ∂ ∆ ∏ ∑ − √ ∞ ∫ ≈ ≠ ≤ ≥ ◊ fi fl Schrift. Typeface. HM Tilm Gestalter. Designer. Timm Häneke & Till Wiedeck Label. Foundry. tillwiedeck.com Jahr. Year. 2010 Als ein Kurz-Projekt wurde HM Tilm mit der selbstgesetzten zeitlichen Vorgabe von 24 Stunden als komplette Monospace-Schrift entwickelt. Der
Name geht auf die Vornamen Till und Timm zurück. Die Schrift besteht aus 240 Glyphen. Ihr Hauptcharakter basiert auf der Kombination einfacher, funktionaler Formen mit außergewöhnlichen, verspielten Details.
time frame of 24 hours. The name originates from the first names, Till and Timm. The character set features 240 glyphs. Its main character is defined by the combination of simple and functional shapes and unusual playful details.
As a short-term project HM Tilm, an entire monospace typeface, was designed within a selfset
Offenbach; in 1983 she started studying Medicine 30
in Frankfurt a. M. Doctorate at the Goethe Uni-
Gustave Eiffel
versity. Since 1999, professor of Typography and
Baugeschichte und Neuere Deutsche Literaturwissenschaft an der Universität Karlsruhe. Magister Artium und Promotion. Tätig als Kuratorin an
«Le plus haut bâtiment du monde»
1887 à 1889
Museen. Seit 2008 Lehrbeauftragte am Zentrum für Angewandte Kulturwissenschaft des KIT. She
Pilier Est
has been director of the Gutenberg-Museum Mainz since 2011.
Charles Léon Stephen Sauvestre
www.fh-mainz.de/gestaltung www.gutenberg-museum.de
_ new publications spring 2014
324 M AB Eiffel-Bold Eiffel-Bold AB Eiffel-Niveau2 Eiffel-Niveau2 AB Eiffel-Regular
_ 19
AB Eiffel-Bold Eiffel-Regular AB Eiffel-Niveau2 AB Eiffel-Bold
AB Eiffel-Niveau2 AB Eiffel-Bold
Andererseits erfüllte Eiffel mit dem Bau seines Turms einen Menschheitstraum, nachdem rund 100 Jahre zuvor von Montgolfière bereits der Traum vom Fliegen verwirklicht worden war.
AB Eiffel-Bold — 8pt
AB Eiffel-Regular — 14pt
Der Eiffelturm ha e über die architektonische Leistung hinaus eine starke Bedeutung für das französische Nationalbewusstsein. AB Eiffel-Bold — 30pt
MONUMENTALES EINGANGSPORTAL UND AUSSICHTSTURM AB Eiffel-Niveau2 — 50pt
Schrift. Typeface. AB Eiffel Gestalter. Designer. André Baldinger Label. Foundry. abtypefoundry.com Jahr. Year. 2005—2009 Auslöser für die Entwicklung der Schrift war ein Gestaltungswettbewerb für eine neue Signaletik des Eiffelturms in Paris, zu dem Intégral Ruedi Baur Paris eingeladen war. Die Schrift sollte für zwei sehr unterschiedliche Einsatzbereiche konzipiert werden. Eine große Display-Variante für die Beschriftung und eine Text-Variante für die Drucksachen. Während der Re-
cherchen wurde schnell klar, dass es nicht die Form des Turmes, sondern dessen Strukturelemente sind, welche einen interessanten Ausgangspunkt für die Schriftgestaltung bilden. Charakteristisch für die Struktur sind das Quadrat, das Doppelquadrat und eine Reihe von Verstrebungen mit verschiedenen Winkeln. Diese geometrische Formensprache war das Ausgangsmaterial für den Konstruktionsund Entwurfsprozess. The trigger for the development of this font was a design competition for a new Signality of the Eiffel Tower in Paris, to which Intégral Ruedi Baur
was invited. The typeface was required to serve two very different purposes: a large display variant for signs, and a text variant for printed matter. During research it quickly became evident that it is less the shape of the tower as such, but rather its structure elements which offered an interesting starting point for the type design. The characteristics of the structure are the square, the double square and a series of struts at different angles. This geometric form language was the starting point for the construction and design process.
AB EIFFEL
Annette Ludwig studierte Kunstgeschichte,
ANDRÉ BALDINGER
Basics of Design at the FH Mainz .
31 Hohe Türme haben nicht nur aufgrund der biblischen Vorlage des Turmbaus zu Babel einen kulturellen Hintergrund, sondern gelten auch als Sinnbild für die Überwindung der Schwerkra , als Zeichen der Herrscha über den Raum und damit auch o über die Menschen im Umkreis. In diesem Kontext ist der ursprüngliche Widerstand gegen den Eiffelturm als ein besonders herausragendes Beispiel der beherrschenden Macht von technischen Türmen zu sehen.
niggli — How are optical illusions created? — Why do static pictures on paper suddenly start to move?
special editions
_ Visual Perception _ Reversible figures, illusory contours, neon effects, rotation illusions – Jürg Nänni’s book explores these and many other visual phenomena in a playful and fascinating way. An introductory chapter acquaints the reader with the basics of visual perception and lays the foundation for the following texts. Jürg Nänni takes readers on a tour through the mysterious cosmos of visual perception, using image and stereo experiments. The enclosed stereoscopic glasses offer extraordinary visual experiences, which are complemented by the interactive experiments on the CD-ROM. Visual Perception is an indispensable compendium for artists, designers and everyone interested in visual phenomena.
_ Jürg Nänni Visual Perception An interactive discovery of our visual system 2nd edition, German/English, 244 pages, more than 300 illustrations, 30 × 28 cm, hardcover, with CD-ROM and stereoscopic glasses (only compatible with Windows XP/Vista, Max OSX 10.3–10.5) → New price from February 1, 2014 CHF 29.80 instead of CHF 88.–, Euro (D) 24.80 instead of Euro (D) 70.– Euro (A) 25.50.– instead of Euro (A) 72.– ISBN 978-3-7212-0618-0
— What are the basics of good type design? — With texts by von Philippe Apeloig, Johannes Bergerhausen, Hans Rudolf Bosshard, Luc(as) de Groot, Hans-Jürg Hunziker, Paul van der Laan, Georg Salden, Fred Smeijers, Andreas Uebele and others
_ schriftgestalten on type and design _
_ Tino Graß schriftgestalten. on type and design
How are fonts made? And why do we need new fonts at all? Why are some fonts good, others bad? How do you use type? And what are the basic things you need to know about good type design? The book schriftgestalten (designing type) answers these and similar questions by presenting works, drafts and experiments by influential typographers and type designers. The variety of letters and the different approaches to their work become apparent in these examples. Some of them even personally comment on their work methods from drawing the first sketches to applying a font in practice. schriftgestalten offers inspiration and exclusive insights and takes you on a journey through the vast field of typography. With texts by Philippe Apeloig, Johannes Bergerhausen, Hans Rudolf Bosshard, Luc(as) de Groot, Hans-Jürg Hunziker, Paul van der Laan, Uwe Loesch, Georg Salden, Eckehart Schumacher-Gebler, Fred Smeijers, Andreas Uebele and Kurt Weidemann.
German, 260 pages, more than 200 illustrations 20,5 × 24 cm, softcover with flaps → New price from January 1, 2014 CHF 34.80 instead of CHF 78.–, Euro (D) 29.80 instead of Euro (D) 62.– Euro (A) 30.60 instead of Euro (A) 63.70 ISBN 978-3-7212-0653-1
_ new publications spring 2014
_ 20
current titles
niggli _
_
Archtitekturforum Biel u.a. (ed.)
reinhardpartner Architekten und Planer (ed.)
_ Max Schlup. Architekt
_ Hans und Gret Reinhard Bauten und Projekte 1942–1986
_ German/French, 356 pages
_
more than 300 illustrations and plans
German, 392 pages, more than 500 illustra-
22 × 30 cm, clothbound hardcover
tions and plans, 22,5 × 29,5 cm
Euro (D) 70.–, Euro (A) 72.–, CHF 88.–
Hardcover with dust jacket
ISBN 978-3-7212-0786-6
Euro (D) 70.–, Euro (A) 72.–, CHF 88.–
2nd edition
ISBN 978-3-7212-0628-9
_
_
Georg Ebbing, Christoph Mäckler
Jörg Kurt Grütter
_ Architektur und Wahrnehmung
[German Institute for Urban Design] (ed.)
_ Der Eckgrundriss
_
_
German/English, 280 pages
German, 200 pages
approx. 400 illustrations
approx. 200 illustrations and plans, 21 × 25 cm
28 × 28 cm, hardcover
Softcover with flaps
Euro (D) 62.–, Euro (A) 63.70, CHF 78.–
Euro (D) 22.50, Euro (A) 23.10, CHF 28.–
ISBN 978-3-7212-0831-3
ISBN 978-3-7212-0824-5
_
_
Jørg Himmelreich (ed.)
Marc Angélil, Jørg Himmelreich, Departement
_ Gestaltwandel. Schauhaus Botanischer Garten Grüningen
für Architektur der ETH Zürich (ed.)
_ Architecture Dialogues. Positions– Concepts – Visions
_ German, 72 pages, approx. 75 illustrations and
_
plans, 18,7 × 26,3 cm, softcover with flaps
628 pages, more than 180 illustrations
Euro (D) 25.50.–, Euro (A) 26.20, CHF 32.–
14 × 22 cm, softcover
ISBN 978-3-7212-0881-8
Euro (D) 62.–, Euro (A) 63.70, CHF 78.– German Edition: ISBN 978-3-7212-0801-6 English Edition: ISBN 978-3-7212-0802-3
_
_
archithese 1’2013
archithese 5’2013
_ Swiss Performance 13
_ Österreich | Austria
_
_
German/English/French, 104 pages
German/English/French, 112 pages
numerous illustrations and plans
numerous illustrations and plans
22,5 × 29,5 cm, softcover
22,5 × 29,5 cm, softcover
Euro (D) 22.–, Euro (A) 22.60, CHF 28.–
Euro (D) 22.–, Euro (A) 22.60, CHF 28.–
ISBN 978-3-7212-0872-6
ISBN 978-3-7212-0884-9
_ new publications spring 2014
_ 21
current titles
niggli Nominated for the Design Prize Switzer-
_
land 2011 in the Category «Research»
Guido Lengwiler
_ Die Geschichte des Siebdrucks. Zur Entstehung des vierten Druckverfahrens
_ André Vladimir Heiz
_ Grundlagen der Gestaltung _
_
4 volumes in drawer, 1434 pages
German, 486 pages
illustrated throughout, 14 × 22 cm
more than 900 illustrations, 24,5 × 31 cm
softcovers
Half cloth binding
Euro (D) 133.–, Euro (A) 136.70, CHF 168.–
Euro (D) 78.–, Euro (A) 80.20, CHF 98.–
German Edition: ISBN 978-3-7212-805-4
ISBN 978-3-7212-0876-4
French Edition: ISBN 978-37212-0839-9
_
_
K.D. Geissbühler
Ruedi Wyss (Hrsg.), Ulrich Binder (Autor)
_ Oper im Weltformat
_ Gestaltung der Grundlagen
_
_
German, 384 pages
German, 236 pages
300 illustrations, 23,5 × 30,5 cm
approx. 100 illustrations, 11 × 15 cm
Hardcover with dust jacket
Softcover with flaps
Euro (D) 78.–, Euro (A) 80.20, CHF 98.–
Euro (D) 14.–, Euro (A) 14.40, CHF 18.–
ISBN 978-3-7212-0859-7
ISBN 978-3-7212-0877-1
Silver at the German Photo Book
_
Prize 2013
Moritz Zwimpfer
_ Licht und Farbe. Physik Erscheinung Wahrnehmung
_ Peter Olpe
_ Out of Focus. Lochkameras und ihre Bilder
_ German, 160 pages
_
more than 400 illustrations, 30,5 × 25,5 cm
German/English/French, 432 pages
Half cloth binding
approx. 850 illustrations, 19,5 × 22,5 cm
Euro (D) 70.–, Euro (A) 72.–, CHF 88.–
Softcover with attached bookplates
ISBN 978-3-7212-0804-7
Euro (D) 62.–, Euro (A) 63.70, CHF 78.– ISBN 978-3-7212-0851-1
_
_
Andreas Koop
Claire und Damien Gautier
_ Die Macht der Schrift. Eine angewandte Designforschung
_ Gestaltung, Typografie etc. Ein Handbuch _
_
German, 272 pages
German, 304 pages
numerous illustrations, 23,5 × 31,5 cm
numerous illustrations, 19,5 × 25,5 cm
Hardcover
Hardcover
Euro (D) 70.–, Euro (A) 72.–, CHF 88.–
Euro (D) 46.–, Euro (A) 47.30, CHF 58.–
ISBN 978-3-7212-0668-5
ISBN 978-3-7212-0780-4
_ new publications spring 2014
_ 22
current titles
niggli _
_
Christian Fischer, Johannes Eckert, Ilona
Slanted c/o Magma Brand Design (ed.)
_ Yearbook of Type I
Pfeifer, Philipp Schäfer, Andreas Uebele – FH Düsseldorf, Fachbereich Design (ed.)
_ Schrift und Identität. Die Gestaltung von Beschilderungen im öffentlichen Verkehr
_ English, 464 pages numerous type specimens, 17,5 × 24,5 cm Half-linen binding
_
Euro (D) 49.80, Euro (A) 51.20, CHF 62.–
German, 300 pages, illustrated throughout
ISBN 978-3-7212-0861-0
16 × 22,5 cm, hardcover Euro (D) 38.–, Euro (A) 39.10, CHF 48.– ISBN 978-3-7212-0820-7
Finalist Newcomer-Preis beim
_
German Design Award 2014
Indra Kupferschmid
_ Buchstaben kommen selten allein. Ein typografisches Handbuch
_ Jan Filek
_ Read/ability. Typografie und Lesbarkeit
_
_
German, 144 pages
German, 200 pages
numerous illustrations, 15 × 21 cm
approx. 60 illustrations, 18,6 × 24,4 cm
Softcover with spiral binding and flaps
Softcover with bound dust jacket
Euro (D) 34.–, Euro (A) 35.–, CHF 42.–
Euro (D) 38.–, Euro (A) 39.10, CHF 48.–
ISBN 978-3-7212-0501-5
ISBN 978-3-7212-0879-5
2nd, revised edition
_
_
Hans Rudolf Bosshard
Jost Hochuli
_ Der Typografiestreit der Moderne. Max Bill kontra Jan Tschichold
_ Das Detail in der Typografie _ German, 68 pages
_
12,6 × 21 cm, softcover
German, 120 pages
Euro (D) 18.–, Euro (A) 18.50, CHF 22.–
more than 60 illustrations, 15 × 22 cm
ISBN 978-3-7212-0547-3
Clothbound hardcover with dust jacket
2nd, slightly revised edition
Euro (D) 29.80, Euro (A) 30.60, CHF 38.– ISBN 978-3-7212-0833-7
_
_
Emil Ruder
Josef Müller-Brockmann
_ Typographie. Ein Gestaltungslehrbuch
_ Rastersysteme für die visuelle Gestaltung. Ein Handbuch für Grafiker, Typografen und Ausstellungsgestalter
_ German/English/French, 274 pages more than 500 examples, 22,4 × 23,3 cm
_
Clothbound hardcover with flaps
German/English, 176 pages
Euro (D) 78.–, Euro (A) 80.20, CHF 98.–
357 illustrations, 21 × 29,7 cm
ISBN 978-3-7212-0043-0
Hardcover
9th edition, reprint of the original edition from
Euro (D) 62.–, Euro (A) 63.70, CHF 78.–
1967
ISBN 978-3-7212-0145-1 8th, revised edition
_ new publications spring 2014
_ 23
niggli
architecture design typography
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sales representatives
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_ new publications spring 2014
_ 24