Lars Müller Publishers Catalog 2012/2013 by Lars Müller Publishers

Lars Müller Publishers 2012 /2013 Architecture Design Photography Art Society

30 years of Lars Müller Publishers

When I founded this publishing house thirty years ago I embarked upon an adventure—one that continues to be just as intriguing today. Back then it was impossible for me to foresee that its history would prove to be a prototypical reflection of the milestones in the digital paradigm shift and its ramifications for books—for their production and dissemination, and for their significance as the defining medium of humanistic education. Nowadays, books deftly juggle both their old and new roles, as sensual objects or as digital adaptations, reliable repositories of thought and knowledge as well as tools of contemporary discourse. In the context of our interests—architecture, design, photography, art, and society—traditional books with their own special characteristics continue to hold their ground and the painstaking editorial and design work involved in producing such books finds its reward in their satisfying physical presence. Conventional print will keep on evolving as a complementary medium alongside electronic options, and will continue exploring its outstanding potential.

Firm in this conviction, Lars Müller Publishers has succeeded in carving out a strong position as a small independent publishing house. We are proud of the high standards of content and form attained in our books. Our publishing house owes its success to our authors, editors and institutional partners, who continue to demonstrate their confidence in our work and to value the particular flair of our publications. All our efforts would however be in vain without the interest and loyalty of all those who buy and appreciate our publications. I would like to thank them and all those just discovering our books for their enduring curiosity and friendship. Lars Müller

The First Book Peter Erni DIE GUTE FORM, 1983 Design: Lars Müller This publication, based on an idea devised by the publisher and developed in conjunction with journalist and theoretician Peter Erni, documents the Swiss Werkbund program on “Die Gute Form” (Good Design) from the 1950s and 1960s, which was initiated by architect and artist Max Bill (1908–1994). The movement proclaimed the virtues of Swiss design: objects of everyday use should be functional, resilient, and beautiful (see page 54).

Sou Fujimoto, House NA, Tokyo 2011 (Photo: Iwan Baan)

Architecture Ever since its inception, our publishing house has engaged with the built environment. An exploration of the defining characteristics of good architecture formed an early key focus in our program and is reflected in historical documentations and monographs on outstanding architects. Nowadays one of our central areas of interest is the individual design process, the “invention” of a building, rendered comprehensible through its creators’ sketchbooks and drawings. Parallel to this, we concentrate on historical and contemporary urban development and the solutions proposed to tackle the social and ecological problems of the future.

A milestone Peter Zumthor worKS, 1998 Photography: Hélène Binet Design: Lars Müller (out of print, see www.lars-mueller-publishers.com/en/catalogue-rarities) This first overview of works by Peter Zumthor, who is now renowned worldwide, helped to establish the international reputation of both the architect and our publishing house. The publication’s approach to addressing a body of work set new standards and its conceptual structure and graphic design had a radical impact on the monograph format. The architect took on the role of author, with the photographer as co-author.

5.1 The sketches drawn in 2006 were like small segments cut out from the second phase of the Xiangshan Campus project. The size is closer to that of a residential house. But the prototype of the building has not been changed.

5.7 The repeated depiction gradually became more accurate, until specific sizes, structural systems, and key structural details emerged. These often appeared prior to, or at the same time as, the layout of the plan.

5.2 Without changing the type, the building is cut and sectioned into a series of transformations. Compare the possibility of connecting from different directions on the sketches.

5.8 I would re-draw the whole group of buildings because of adjustments in the sections of one or two types. This is like Chinese calligraphy. The abrupt change of one or two characters means the whole text must be changed completely.

5.3 In order to control the scale, a transformation into three stories has been deducted. On this long and narrow site, the scale of the building must be strictly controlled. 5.4 On the formal sketches shown to the client, plans of every story and isometric drawings were included. The delicate way in which the building and the surrounding site are interconnected could be seen on the sketches. 5.5 After four years, the sketches were re-drawn. The cutting out and replication of one type had turned out to be the co-existence of four types, with a conversation among them. The idea of rammed earth construction began to emerge. This method of construction on the elevation was to feature studies in details. 5.6 I often depict the same design again and again, just as when describing something in words. Every time, there are slightly different details. In my vocabulary, the word â&#x20AC;&#x153;differenceâ&#x20AC;? especially refers to the slight changes that lead to diversity. These slight changes are decisive.

5.9 The research of the design was already very mature. One day, after drinking tea and doing a piece of calligraphy writing, I drew these sketches casually, which then overturned the former design. I kept thinking of the question: What kind of building would be required with earth as the material? 5.10 The upper and lower parts of the sketches were done first, and then the middle ones. This showed that the starting point of the research was a comparison between the plans and the sections. 5.11 The design is depicted here using large-scale sketches again. Along the river, the building changed continuously for 150 meters. It was very clear how the three paths penetrated through the building along this length. 5.12 Here, the reverse is depicted using large-scale sketches. I rarely made models. I preferred to measure the size by heart using my hands and then note the imagined sizes.

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wANG ShU ImAGINING ThE hoUSE

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Design: Integral Lars müller 24 × 29.7 cm, 8 ¼ × 9 ½ in, 168 pages 68 drawings, 15 photographs, paperback Japanese binding 2012, ISBN 978-3-03778-314-6, English EUR 50.– GBP 45.– USD / CAD 65.– Buildings by Chinese architect Wang Shu—this year’s winner of the Pritzker Prize—feature clear and simple contemporary designs that make use of traditional methods and materials. The reuse of building materials is characteristic of his buildings. Shu’s design process always begins with an intense study of the location. The architect spends as long as possible on the site, absorbing its atmosphere. He then produces drafts in the form of hand-drawn sketches, creating them in relatively quick succession. Imagining the House follows this process in various buildings. Photographic documentation of the locations elucidate Shu’s on-site research. The reproductions of drawings in this book demonstrate how the designs change and become more concrete over the course of the process. The book provides unique insights into the work of an architect who has hitherto received little attention in Europe, thereby addressing a considerable omission in the publishing world.

– Sanhe House, Nanjing, China, 2003– – Xiangshan Campus, China Academy of Art, Hangzhou, China (second phase), 2004–2007 – Ningbo History Museum, Ningbo, China, 2003–2008 – Expo 2010 Shanghai, Ningbo Tengtou Pavilion, Shanghai, China, 2009–2010 – Tiles Hill: new reception center for the Xiangshan Campus, Hangzhou, China (under construction), 2010– – Tea House at Linyin Buddhist Temple, Hangzhou, China (still in design process), 2009– – Buddhist Institute Library of Hangzhou, Hangzhou, China, 2011–

3.1 I wanted to make the museum like a hill. It was not about the appearance of a hill, but about creating a space people would walk into and feel the structural experience of a hill.

3.8 It was interesting that the design in my dream was so rational. On the second day, I depicted it again with sketches, but it was more sensitive this time. However, this sensitivity was framed within the rationality.

3.2 I drew the sketch again, adding some idea of movement.

3.9 The relationship between building and land was determined especially by the distant horizon line. It was also determined by how the building was situated on the site, using the site, ponds, and roads as anchors, as well as the orientation and way that it took up a conversation with the neighborhood.

3.3 People could experience the diversity of space in a hill, but how to integrate that diversity into a logical structure? I happened to see a 3D template drawing for a series of garments, which made me extremely excited. I re-drew a group of sketches immediately, taking into consideration the accurate scale of the space around a body. 3.4 Once the code was found, the three plans for each level emerged all by themselves. 3.5 The isometric drawing of this view would control all parts of the building, including the interior and exterior. 3.6 To me, the elevations were the last step. They were 2D reflections of a building. 3.7 After the completion of a design, and before I gave it to my assistants, who would turn it into computer drawings, I often doubted the design myself, especially when it was over-complicated. I often wanted to pursue a cleaner and more simplified answer. One night, I almost couldn’t fall asleep. A force compelled my mind to review the design again. At three o’clock in the morning, a completely new design suddenly appeared, and it even included the specific sizes of the details. I got up and drew it immediately so that I wouldn’t forget when I woke up. When I finished it, I felt so relaxed. I went to have some tea.

3.10 At the same time, I would consider the materials and construction. The small sketch at the bottom of the right page was the technical assumption about how the recycled tiles would be laid as high as 24 meters. There were a lot of short, invisible supporting beams. Besides poetics and geometry, the depiction of a building would also contain many accurate numerical deductions. I especially enjoyed this process. 3.11 Before giving the sketches to the assistants, I made sure the sizes on the plan were accurate. 3.12 By executing the final drawing by hand, not only accuracy was maintained, but the freehand feeling was also able to preserve the continuity and integration of the lively rhythms. 3.13 I decided to draw the plan that would decide the quality of the space. When I did it, I drew the section at the same time. The plan for the first floor was drawn later. 3.14 The plans and elevations were drawn and done almost at the same time.

5.12

Architecture

EDUArDo SoUTo DE moUrA SKETChBooK No. 76

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Design: Integral Lars müller 14.8 × 21 cm, 5 ¾ × 8 ¼ in, 200 pages facsimile of the original sketchbook, hardcover 2012, ISBN 978-3-03778-312-2 EUR 32.– GBP 26.– USD / CAD 42.– Sketchbook No. 76 is the reproduction of a sketchbook of the renowned Portuguese architect and last year’s Pritzker Prize laureate, Eduardo Souto de Moura. The sketchbook was in use between September 2011 and January 2012 and records first ideas, fleeting sketches, studies, and spontaneous jottings that offer a starting point for every project but also function as a working resource. One can quite litterally experience the architectural design process and how developing existing ideas are further developed in different variants. Sketchbook No. 76 is a homage to the medium of drawing and manifests that this working method remains an essential element of the creative process.

FLoATING ImAGES EDUArDo SoUTo DE moUrA’S wALL ATLAS

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Edited by André Tavares and Pedro Bandeira Design: Integral Lars müller 14.8 × 21 cm, 5 ¾ × 8 ¼ in, 160 pages 202 illustrations, hardcover 2012, ISBN 978-3-03778-301-6, English EUR 38.– GBP 32.– USD / CAD 50.– Photographs, newspaper cuttings, postcards, drawings, and slides: on entering the studio of Eduardo Souto de Moura one is confronted with a variety of images on the walls that engage in a dialogue. How do these photos, drawings, and illustrations impact his design practice? What is the relationship between the image and the completed building? Floating Images: Eduardo Souto de Moura’s Wall Atlas uses this question as an opportunity to examine the architect’s visual universe. He has added drawings and project sketches to his extensive collection of images and has reorganized them in this atlas. Complex relationships are formed between the individual illustrations and projects. Essays by Pedro Bandeira, Eduardo Souto de Moura, Diogo Seixas Lopes, and Philip Ursprung complete the publication and provide a contextualization in terms of the history of art and images. Contents: – Everything Is Architecture Pedro Bandeira – Eduardo Souto de Moura’s Wall Atlas – Souto de Moura’s “Cabinet de Curiosités” Philip Ursprung – Amarcord: Analogy and Architecture Diogo Seixas Lopes – A Rather Unscientific Autobiography Eduardo Souto de Moura

Tina Z’Rotz & Markus Schwander, 44°, Geschinen, Switzerland, 2008 Eduardo Souto de Moura, house in Douro II, Mesão Frio, 2004

Eduardo Souto de Moura, sketch for screen print

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Souto de Moura’s Curiosités ” “Cabinet “ Cabinet de Curiosités” Philip Ursprung As if Eduardo Souto de Moura partially resides in the realm of art, the atmosphere of his office recalls an artist’s studio. Unlike many of his colleagues whose offices have adopted a business-style ”— desks”— clear desks look with a lot of chrome, computer screens, and ““clear perhaps to make corporate clients and representatives of commu— Souto de Moura prefers to design home—Souto nal authorities feel at home with tangible, haptic media such as drawings and cardboard models and maintains a creative disorder in the place he works. Like Álvaro Siza, his mentor, colleague, friend, and neighbor, who works a floor above him, in the same building in Porto, he is more patron ” than a manager. His office looks like an extension of a ““patron” a one-man studio, a microcosmos, a laboratory overflowing with plans and cardboard models, books, souvenirs, and other marvels. curiosités”” cabinet de curiosités Souto de Moura’s workplace is more a ““cabinet paperless studio.” than a ““paperless The most striking features in the office of Eduardo Souto de Moura are the many images. Postcards, newspaper clippings, torn-out advertisements, family photos, depictions of his most

Atelier Eduardo Souto de Moura, 2012

Atelier Eduardo Souto de Moura, 2010

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The act of sketching for me is like a dialogue with myself. When I put pen to paper, I do not yet know what it is. Nor do I know what will be drawn. What is born out of countless red lines on paper is like a reflection of what is in my mind, yet something which transcends my understanding, almost as if it is a sign, or rather an anticipation. At times they are words, and at other times they become shapes, or something before a shape. Within the transition of some unknown matter into a shape, or into words. Traversing between shapes and words, a sketch is born. The eye beholds what has been drawn, listening closely to what the lines convey, discovering new meanings and hypothesizing on what this may be, adding inspiration and anticipation back into the line being drawn, which leads to new lines on the paper. Through this instantaneous, infinite feedback loop I discover myself interacting with myself, or perhaps with the anticipation within my subconscious self. Thus a sketch is like a bystander closest to myself. Because it is a bystander, there are surprises, dialogues, and discoveries. The lines are never certain, never knowing where the next will lead to. Never knowing, but continuing to draw. And for this very reason, there is always an opportunity for something new. From the infinite dialogues of the brain, eyes, hand, paper, and space, new architecture is born. Sou Fujimoto

2/3 Sketch of SOLO HOUSE to be built in Spain. Grids formed by unprocessed logs provide shade to create a relaxing area. Are the plants on the gable at the right a sketch for Venice Biennale? 4/5 An art gallery to be built in Shanghai for a private collector. An old warehouse is to be renovated. The form of the warehouse is recognizable in the sectional sketch. 6/7 An art gallery in Shanghai. A glass entrance hall is to be constructed in front of the warehouse; both inside and outside are to be covered with a grove of bamboo. After going through the bamboo grove, one will find oneself in a space of contemporary art. 8/9 Sketch of the Taiwan Tower Project on the right-hand page. Taiwan Tower will be a 300-meter-high observation tower. It proposes a new typology of a tower. Not an object but an area. Not a needlelike tower, but a transparent and tender existence. 10/11 On the upper left, a hotel project in Ningbo, China. The idea is that the entire mountain itself is the hotel, having windows. Sketches of the Shanghai Art Museum are also present. 12/13 Competition for elementary and junior high school in Japan. Architectural structures surround the playground like natural terrain. Intrigued by a place where furniture, architecture, and landscape are continuously aligned. 14/15 At lower right, Taiwan Tower is a tower as an area, so it has a vast rooftop space. The entire floor plane of the rooftop is planned to be glass. The sky will 232

be reflected by the glass, making people feel like they are floating in the air. 16/17 Design proposal for a cultural center competition in a Belgian town called Deinze at the upper left. The garden at the center of the ring-shaped building will become new public space within the city. An elevation sketch of the garden. And on the right a disaster reconstruction project for Venice Biennale, perhaps? 18/19 Again the elementary and junior high school competition proposal. To create a small town, or architecture? Is it possible to propose a new type of city, where architecture and town are fused together seamlessly? 20/21 Wondering what the dotted texture on the upper left indicates? Interesting. 22/23 Cultural center in Deinze on the right. The garden is the primary element, and the glass corridor that surrounds it is like a heat haze. 24/25 Proposal for an invited competition for a renovation of heritage buildings in Zurich. A large glass roof covers the inner garden. Inversion of inside and outside is always the focus of my interest. Deinze competition on the lower right of the page appearing again.

SoU FUJImoTo SKETChBooK

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Design: Integral Lars müller 13 × 21 cm, 5 × 8 ¼ in, 240 pages facsimile of the original sketchbook hardcover 2012, ISBN 978-3-03778-327-6, English /Japanese EUR 40.– GBP 35.– USD / CAD 50.– The works of Sou Fujimoto resist any form of conventional categorization. This young Japanese architect stands for unconventional buildings that cannot be described by standard criteria and definitions such as inside/outside or public/private. Clear divisions such as between floor levels and rooms are shattered by his complex ground plans and interlocking structures which—in a reference to the idea of the cave—he describes as “Primitive Future.” With this approach he creates forms that are committed to a playful interaction between user and space. Alongside private residences, such as the well-known N House, his library for Musashino Art University has achieved particular recognition. In addition he was represented at the 2010 Venice Biennale with a design for a house. In his personal sketchbook Sou Fujimoto offers insights into his design process. Through the sketches, drawings, and notes readers can trace how his complex concepts are made manifest and develop on paper.

Architecture

STEVEN hoLL – SCALE

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Edited by Lars müller Design: Integral Lars müller 16.8 × 12.6 cm, 6 ½ × 5 in, 480 pages 420 illustrations, hardcover 2012, ISBN 978-3-03778-251-4, English EUR 40.– GBP 38.– USD / CAD 55.–

rapidly changing technology in the service of architectural design, these watercolors become spectacular examples of a low-tech method. The results are invariably original works of art. The watercolors are juxtaposed with photographs of the built architecture and emphasize the crucial aspect of scale.

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Following Written in Water (2002), this is the second publication devoted to Steven Holl’s legendary watercolors. Four hundred watercolors represent the creative process of this renowned and influential American architect and reveal his highly personal method developed over many years, containing preliminary ideas and sketches of all major projects. Holl is known for his sculptural architecture and his virtuosic use of light, and watercolors are the ideal means to visualize these characteristic aspects of his work. At a time of

STEVEN hoLL – CoLor LIGhT TImE

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Steven Holl

With essays by Jordi Safont-Tria, Sanford Kwinter, and Steven Holl

Color Light Time explores the method and thought underlying the work of Steven Holl, one of the most outstanding representatives of contemporary american architecture. richly illustrated, the three essays in this book show his interest in the poetics of space, color, light, and material, and his fascination with scientific phenomena.

Color Light Time sets out to examine the current work of New York-based architect Steven Holl, one of the most outstanding representatives of contemporary American architecture. For nearly three decades now, Steven Holl has developed his architectural idiom and his reflections on architecture with striking consistency. The success of his work can be attributed to its sculptural shaping, his interest in the poetics of space, color, light, and material, and his fascination with scientific phenomena. Numerous illustrations and three essays closely examine archetypical aspects of visual perception, which play an essential role in Holl’s work.

Steven Holl Color light time

today the ambiguity of time and the persistence of doubt present us with an openness quite

historical periods characterized Design: Integraldifferent Larsfrom müller by a grand narrative. inspiration today must 12.6 × 16.8 cm 5 ×come 6 ½from in,the144 poeticpages possibilities of uncertainty. with inspiration we engage the imagination 72 illustrations, hardcover and dissolve subject and object. this fusion of the subjective and the objective is at the heart English 2012, ISBN 978-3-03778-252-1, of conscious experience. EUR 32.– GBP 25.– USD / CAD 40.–

Color

Jordi Safont-tria

light

Sanford Kwinter

time

Steven Holl

larS Müller PubliSHerS

designed by the architect. Holl, with an intense interest in phenomenology, loves to play with changing and ephemeral building blocks, particularly color, light, and time. Afternoon has come around. I am on my way to enter Reality after observing it from a distance for quite some time. However, what I am walking into is nothing short of another magic lantern — the cinema right in the center of the Dangdai MOMA courtyard — to watch more lights, colors, and time passing and to participate in the realization of an idea or ideal: to have urban life and culture at home in my own neighborhood.

I’m gonna watch the movie now.

Chapel of St. Ignatius, Seattle, Washington, USA light lab study, Museum of the City, Cassino, Italy nelson-Atkins Museum of Art, Kansas City, Missouri, USA Sunset, Cité de l’océan et du Surf, Biarritz, France

Knut Hamsun Center, Hamarøy, norway

If an ideal can be real, the Idealism-Reality duality falls apart. Nothing is more real than a high-density real estate housing project in China and that did not prevent Holl from injecting a healthy dose of Idealism into its design. Here is the day message that Holl sends out: Architecture should be enjoyed by many. Holl’s Beijing Link is indeed a very fine Moment of Mass Architecture.

Cubic Pantheon, light lab studies for Palazzo del Cinema competition, 1990

Architecture

LUIS m. mANSILLA + EmILIo TUÑÓN From rULES To CoNSTrAINTS

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Edited by Giancarlo Valle In cooperation with the Princeton University School of Architecture With contributions by Stan Allen, Enrique Walker, Sarah Whiting, and Augustin Perez Rubio Photographs by Dean Kaufmann, Luis Asín, and Luis Baylón Design: Thumb 16.5 × 24 cm, 6 ½ × 9 ½ in, 248 pages 242 illustrations, paperback 2012, ISBN 978-3-03778-281-1, English EUR 32.– GBP 28.– USD / CAD 45.– From 2008 to 2010, the architects Luis M. Mansilla and Emilio Tuñón held the Jean Labatut Visiting Professorship at the Princeton School of Architecture. Examining both student and also Mansilla + Tuñón’s own design work, From Rules to Constraints presents the design process as an ongoing conversation between the building and the environment, between freedom and limits, and between the decided and undecided. Focusing on three sites at three distinct scales, this book examines the constraints of the architectural project— social, political, historical, and environmental—in order to create new rules for working. The book is one of the last records of the work and ideas of Luis M. Mansilla, who passed away in 2012.

DAVID ADJAYE AUThorING: rE-PLACING ArT AND ArChITECTUrE

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Edited by marc mcQuade In cooperation with the Princeton University School of Architecture With contributions by David Adjaye, Stan Allen, Alex Coles, Teresita Fernández, Dave Hickey, Sanford Kwinter, Jorge Pardo, and Matthew Ritchie Design: Thumb 16.5 × 24 cm, 6 ½ × 9 ½ in, 272 pages 121 illustrations, paperback 2012, ISBN 978-3-03778-282-8, English EUR 32.– GBP 28.– USD / CAD 45.– Authoring: Re-placing Art and Architecture challenges traditional assumptions about the relationship between art and architecture. From 2008 through 2010, David Adjaye, along with Marc McQuade, taught three studios at the Princeton School of Architecture. Each studio focused on a collaboration with a distinguished artist—Matthew Ritchie, Teresita Fernández, and Jorge Pardo—on interventions in three vastly different sites: the state of New Jersey, the Gowanus Canal in Brooklyn, and the city of Mérida in Mexico’s Yucatán Peninsula. Through an exploratory process of questioning, developing, and testing, each architect and artist reexamines the expectations traditionally associated with the conventions of architectural design and representation. Authoring: Re-placing Art and Architecture presents recent projects from David Adjaye, Matthew Ritchie, Teresita Fernández, and Jorge Pardo, along with interviews, essays, and archival material that unpack the shared space of art and architecture.

Architecture

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Eight Theses on the Urbanization Question: Introducing the Urban Theory Lab/GSD Lab / GSD

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Providence Reimagined: Design Students Present Their Vision for a New City Center PROVIDENCE, RI — Four Harvard students today presented their joint thesis work, a redesign of Providence’s city center, to an audience of their professors and representatives of that city’s planning department. William Conklin, Robert Geddes, and Marvin Severly were earning Bachelor of Architecture degrees, and Ian McHarg was completing his Master in Landscape Architecture degree. The presentation consisted of maps, drawings, and an enormous model of downtown Providence, illustrating the city blocks to be rebuilt and including several new public parks, all encompassed by a new vehicular loop for ease of access. Harvard Professor Walter Gropius, sitting on the jury evaluating the design, praised the group’s efforts, saying, ““The The work of a team is greater than the sum of the work of individuals.”

Despite these problematic tendencies, the concept of urbanization remains a central intellectual tool for twenty-first-century urban theory. But it must be radically reinvented to grasp the dynamics of urban development as it cascades across, and perpetually transforms, the worldwide sociospatial landscape. Because of their sensitivity to some of the multiscalar, polymorphic, polycentric, and macroterritorial dimensions of urbanization, several previously marginalized or subterranean traditions of twentieth-century urban theory may offer useful conceptual tools and methodological orientations for a revitalized, expanded theory of urbanization.20

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June 11, 1950

City and Environment as Form

urban population levels in the early 1970s, and it underpins contemporary declarations age”” is now under way because more than half the world’s population that an ““urban urban age purportedly lives within cities.19 While such understandings capture meaningful dimensions of demographic change within an evolving global settlement system, they are limited both empirically (the criteria for urban settlement types vary massively across national contexts) and theoretically (they lack a coherent, reflexive, and historically dynamic conceptualization of urban specificity).

During the evolution of modern capitalism, the scale of concentrated urbanization has expanded considerably— considerably — as this map of London’s long-term spatial evolution illustrates.

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The process of concentrated urbanization encompasses flows of workers within and around large-scale agglomerations.

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Left: Students pinning up for final review of the Providence studio, 1950. Right: Ian McHarg and Robert Geddes’s traffic study of Providence, 1950.

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Ian McHarg and Robert Geddes’s diagram of Providence circulation redesign, 1950.

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INSTIGATIoNS Engaging Architecture, Landscape, and the City GSD075

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Edited by mohsen mostafavi and Peter Christensen In cooperation with Harvard University Graduate School of Design Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 560 pages 559 illustrations, paperback 2012, ISBN 978-3-03778-307-8, English EUR 50.– GBP 45.– USD / CAD 60.– The creative imagination is not solely based on the intuitive capacities of individuals. One of the tasks of design education is to help provide the tools, techniques, and methods that enhance constructed imagination. At the same time, the modes and practices of design need to confront the challenges of our contemporary societies. The commitment to societal engagement through design excellence is at the core of the pedagogy at the Harvard Graduate School of Design. This volume celebrating the first seventy-five years of the GSD presents episodes in a rich history along with selected looks at current and future lines of teaching and research; these views reflect the constant oscillation between the pragmatic realities and the imagined yet never realized ideal that lies at the heart of design. The aspirations of the famous architecture school are demonstrated through a series of ideas, projects, practices, that reflect the mission for the GSD to reimagine and construct better futures.

“Education is more a matter of environment than a question of method.” — Benjamin Thompson, 1965

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May 9, 1970

The Continuous Institution

Harvard Graduate School of Design Celebrates Its Roots with “Grope “ Grope Fest” Fest ”

See also page 31: ECoLoGICAL UrBANISm

With contributions by Arjun Appadurai, Eve Blau, Svetlana Boym, Lindsay Bremner, Jana Cephas, Felipe Correa, Rahul Mehrotra, Mohsen Mostafavi, Antoine Picon, Gyan Prakash, Nasser Rabbat, Rafi Segal, Jorge Silvetti, AbdouMaliq Simone, and Charles Waldheim. Featured cities: Baku Bucharest Buenos Aires Cairo Caracas Chicago Dakar Detroit

Hong Kong Houston Jakarta Johannesburg London Moscow Mumbai Paris

Quito São Paulo St. Petersburg Tel Aviv Tirana Tokyo Toronto

Architecture

TorrE DAVID Informal Vertical Communities

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Edited by Alfredo Brillembourg and hubert Klumpner, Urban-Think Tank Chair of Architecture and Urban Design, ETh Zürich Photographs by Iwan Baan Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 480 pages approx. 300 illustrations, paperback 2012, ISBN 978-3-03778-298-9, English EUR 45.– GBP 38.– USD / CAD 60.– Torre David, a 45-story skyscraper in Caracas, has remained uncompleted since the Venezuelan economy collapsed in 1994. Today, it is the improvised home to more than 750 families living in an extra-legal and tenuous squat, that some have called a “vertical slum.” Urban-Think Tank, the authors of Torre David: Informal Vertical Communities, spent a year studying the physical and social organization of this ruin-become home. Richly illustrated with photographs by Iwan Baan, the book documents the residents’ occupation of the tower and how, in the absence of formal infrastructure, they organize themselves to provide for daily needs, with a hair salon, a gym, grocery shops, and more. The authors of this thought-provoking work investigate informal vertical communities and the architecture that supports them and issue a call for action: to see in informal settlements a potential for innovation and experimentation, with the goal of putting design in service to a more equitable and sustainable future. See also page 31: BrASILIA–ChANDIGArh

Architecture

oswald mathias Ungers, rem Koolhaas, Peter riemann, hans Kollhoff, Arthur ovaska ThE CITY IN ThE CITY – BErLIN: A GrEEN ArChIPELAGo

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Edited by Florian hertweck and Sébastien marot Critical Edition, original 1977 Design: Integral Lars müller 21 × 29.7 cm, 8 ¼ × 11 ¾ in, approx. 160 pages approx. 80 illustrations, paperback 2012, ISBN 978-3-03778-326-9, English 2012, ISBN 978-3-03778-325-2, German 2012, ISBN 978-3-03778-329-0, French EUR 40.– GBP 35.– USD / CAD 50.– In the manifesto The City in the City – Berlin: A Green Archipelago, Oswald Mathias Ungers and a number of his colleagues from Cornell University presented the first concepts and intellectual models for the shrinking city. In contrast to the reconstruction of the European city that was popular at the time, they developed the figure of a polycentric urban landscape. However, the manifesto really began to exert an effect beginning in the 1990s onwards, when the focus of the urban planning discourse turned to the examination of crises, recessions, and the phenomenon of demographic shrinking. This critical edition contains a reproduction of the Ungers-manifesto and a previously unpublished version by Rem Koolhaas, as well as interviews with (co-)authors Rem Koolhaas, Peter Riemann, Hans Kollhoff, and Arthur Ovaska. Introductory texts explain the development of the manifesto between Cornell and Berlin, position the work in the planning history of Berlin, and reveal its influence on current approaches.

Architecture

dessin n°5, 31 juillet 1961

Lorias sitam netur aut vel et laborestest qui dipientiae. Nam quam atiunt ut isquatem qui dem. Num que conecer ferisim eturio excea venda

La deuxième exposition Le Corbusier à la galerie mezzanin,»Peintures, tapisseries dessins, lithos, meubles», février- avril 1959 (50 years, p.170. ) Le Corbusier, Verres et Bouteilles, huile sur toile, 1928

Dès 1959, Heidi Weber projette de faire construire une maison par Le Corbusier, non pas une maison qu’elle habiterait elle-même, mais une maison qui soit un lieu d’exposition consacré à l’œuvre du maître, un lieu destiné à réunir architecture et arts plastiques, textes et réflexions, un lieu pour rendre hommage au projet corbuséen de Synthèse des arts17. Elle lui expose son idée et parvient à le convaincre de travailler de nouveau en Suisse malgré les souvenirs amers qu’il garde des nombreuses occasions manquées dans son pays natal, qu’il s’agisse de son échec lors du concours pour le Palais des Nations en 1927 à Genève – et du traumatisme durable infligé à l’architecte –, ou de ses tentatives infructueuses pour Zurich, où il avait étudié quatre projets au début des années 1930, tous restés sans suite18. Le 25 juin 1960, Heidi Weber peut lui annoncer que le conseil municipal a donné son accord de principe et que « le maire et les conseillers municipaux se sentent honorés de posséder bientôt à Zurich une maison-musée Le Corbusier19. » Et, le 6 juillet, elle apporte les plans cadastraux du site à Paris, impatiente de voir le projet. Le Corbusier répond seulement le 14 septembre, confirmant qu’il accepte de faire les plans de la « maison-musée – “expositions Le Corbusier” », et dont l’exécution sera confiée à Willi Boesiger et demande que tous les documents contractuels soient préparés20. À l’occasion de l’inauguration de la quatrième exposition « Le Corbusier, peinture et esquisses » à la galerie Mezzanin, une rencontre est organisée avec les autorités de la Ville de Zurich en novembre 1960, suivie d’une visite du terrain que la Municipalité de Zurich a accordé à Heidi Weber en droit de superficie. Le Corbusier fait escale à Zurich alors qu’il rentre d’un séjour à Dehli et veille en personne à la présence du photographe René Burri pour documenter ces premières rencontres21. Il laisse une dédicace comme souvenir de la « pose de la “première pierre” (whisky et vin blanc à mezzanin) d’une “maison d’homme” “inventée” par mme Heidi Weber. (monstre de persévérance, de dévouement et d’enthousiasme) – mon amitié à Heidi Weber / Zurich/ 24.11 .1960 / sa victime / Le Corbusier22. » Un dîner officiel sera organisé par le conseil municipal le 3 novembre 1961 pour sceller l’événement, quelques semaines avant le dépôt du permis de construire. Dès septembre1958, une idée similaire d’ériger une « maison-musée » est en discussion avec le collectionneur suédois Theodor Ahrenberg qui

NEw LE CORBUSIERS PAVILLON FÜR ZÜRICH

Catherine Dumont d’Ayot, Tim Benton LE CorBUSIEr’S PAVILIoN For ZUrICh model and Prototype of an Ideal Exhibition Space

French version: LE PAVILLON DE LE CORBUSIER POUR ZURICH Modèle et prototype d'un espace d'exposition idéal

LECORBUSIER’S CORBUSIERS LE PAVILLON PAVILION FOR ZURICH FÜR ZÜRICH Model and Prototype of an Ideal Exhibition Space Vorbilder und Prototyp eines idealen Ausstellungsraums

Edited by the Institute of historic Building research and Conservation, ETh Zürich Design: Integral Lars müller 16.8 × 24 cm, 6 ½ × 9 ½ in, 224 pages approx. 210 illustrations, paperback 2012, ISBN 978-3-03778-305-4, English 2012, ISBN 978-3-03778-293-4, German 2012, ISBN 978-3-03778-328-3, French EUR 40.– GBP 35.– USD / CAD 50.– Le Corbusier’s Pavilion for Zurich uses numerous handwritten documents, drawings, and papers to trace the history of Le Corbusier’s last built work. This dwelling, which is also a museum, was initiated by Zürich gallery owner Heidi Weber. With its abstract forms and colors, it represents an intellectual legacy of the famous architect in which the further development of architecture as envisaged by Le Corbusier is clearly legible. From the first ideas and sketches from 1949–50 to the opening in 1967 and beyond, the genesis of this exceptional building—the completion of which the architect did not live to see—is presented with lavish use of illustrations and documents. This book explains for the first time the significance of the pavilion, which differs strongly from the beton brut of Le Corbusier’s late work, in terms of its position as one of the architect’s central and forward-looking works.

Catherine Dumont d’Ayot Institut of Historic Building Resarch Tim Benton and Conservation, ETH Zurich Catherine Dumont d’Ayot Institut für Denkmalpflege und Bauforschung der ETH Zürich Lars Müller Publishers

Lorias sitam netur aut vel et laborestest qui dipientiae. Nam quam atiunt ut isquatem qui dem. Num que conecer ferisim eturio excea venda

See also page 41: LE CorBUSIEr, ArChITECT oF BooKS VErS UNE ArChITECTUrE DU LIVrE

Architecture

GIGoN/GUYEr ArChITECTS works & Projects 2001– 2011

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With essays by Gerhard Mack, Arthur Rüegg, and Philip Ursprung Design: Gigon/Guyer with Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 608 pages 935 illustrations, hardcover 2012, ISBN 978-3-03778-276-7, English 2012, ISBN 978-3-03778-257-6, German EUR 58.– GBP 55.– USD 85.– Since it was set up in 1989 the office of Gigon/Guyer architects has conceived an impressive series of projects. The most important designs carried out include museums, housing projects, and office buildings. The recently completed Prime Tower and its annex buildings on the Maag site in Zürich have been internationally acclaimed. The monograph provides a sharply focused insight into how Annette Gigon and Mike Guyer understand architecture. The various concepts as well as the different constructions, materials, forms and colors that they employ in their projects are presented in an exhaustive documentation of their work that uses numerous photographs, plans, and short texts. The three essays as well as a discussion between Patrick Gmür, Martin Steinmann, and the architects offer in-depth reflection and contextualization.

Günther Vogt mINIATUrE AND PANorAmA Vogt Landscape Architects Projects 2000–12

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Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 608 pages 1250 illustrations, paperback 2012, ISBN 978-3-03778-233-0, English EUR 58.– GBP 50.– USD / CAD 85.– 2006, ISBN 978-3-03778-068-8, German EUR 50.– GBP 50.– USD / CAD 65.– Using a typological structure (landscape, park, square, garden, promenade, etc.), Günther Vogt describes the theoretical foundation on which the successful projects of Vogt Landscape Architects are based. In recent years the office has realized international projects in Europe and the United States, including a new type of city park for the Tate Modern in London (with Herzog & de Meuron); an “all-weather garden” with great poetic power at the Hyatt Hotel in Zürich (with Meili, Peter Architekten); an indoor tropical garden for the Novartis Campus in Basel (with Diener & Diener); and the exterior spaces of the Allianz Arena in Munich (with Herzog & de Meuron). This new and extended version of one of our best sellers also documents recent works, such as public realm and streetscape designs for the athletes’ village of the Olympic Games in London 2012. See also page 37: DISTANCE & ENGAGEmENT TrEE NUrSErIES

Architecture

Guido Beltramini ThE PrIVATE PALLADIo

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Design: Integral Lars müller 10.8 × 20.4 cm, 4 ¼ × 8 in, approx. 108 pages 50 illustrations, hardcover 2012, ISBN 978-3-03778-299-6, English EUR 28.– GBP 25.– USD / CAD 36.– Andrea Palladio’s Renaissance villa architecture is still admired for its elegance and harmony, but little is known about the person behind the buildings. Experienced Palladio researcher Guido Beltramini has worked meticulously on material from historical documents about Palladio’s person and life, and assembled a full picture of the architect. The Private Palladio follows his career, his rise from being the ordinary miller’s son Pietro della Gondola to become the architect Andrea Palladio. Beltramini does not just explore Palladio’s origins, his training as a stonemason, and his complex relationship with powerful clients and scholars, but also his private life: his jovial character, his life as a married man with five children, and not least his profound conviction that architecture can and must enrich life. The text is complemented by numerous illustrations. See also page 32: ANDrEA PALLADIo – UNBUILT VENICE appeared a few years earlier in 1733 as an illustration for the Discorso of Giovanni Montenari on the Teatro Olimpico. Until 2009, I feared that the portrait of Palladio published by Montenari and Muttoni was the result of a miscommunication. In fact, it had been said to have come from an old painting in the Villa Rotonda, where even today there still exists a portrait of a man very similar to that in the engraving, who is pointing with his hand to a model of the villa. Nevertheless, it depicts one of the owners of the villa (very ( very probably Mario Capra) Capra ) and not its

architect. The chances are that, in the eighteenth century, Capra was mistaken for Palladio. In 2010 a little painting on wood came to light, definitely from the end of the sixteenth century, in which Palladio is portrayed with a face very similar to that of the engraving by Muttoni and Montenari. It is not a great painting, it is a copy on a reduced scale of a more important earlier work, perhaps that of Flacco or Tintoretto. Even so, it is extremely valuable because it is the sole painting to come from Palladio’s time, at least until the next discovery. In the Royal Collection in Copenhagen there is a portrait by El Greco that shows a man dressed in black with a book and a pencil in his hand; the date corresponds to the painter’s stay in Venice. It’s known that El Greco closely studied the edition of Vitruvius by Palladio and Barbaro and moved in the same circles as Andrea. The facial features are similar to those of Montenari and Muttoni’s engraving and of the newly discovered portrait on wood. Like the Vicenzan myth concerning the Cogollo house, the idea that here is a portrait of Palladio by El Greco is seductive. In addition, this face allows a glimpse of his character and the discovery of that affability which Paolo Gualdo has passed down: ““in in conversation Palladio was very pleasing and jocular, such that he afforded great delight to the gentlemen and lords with whom he dealt, as well as the workmen who served him, keeping them always cheerful, and by treating them with great amiability he made them work most gladly. He took great pleas-

5.8 Palladio portrait in in”” The Architecture of Andrea Palladio Palladio”” edited by Giacomo Leoni, London 1716

statues, paintings with chiaroscuro, leading from the castle up to the cathedral. Trissino and Palladio transformed Vicenza into a ““new” new ” ancient Rome, quite ephemeral and yet seeming to prefigure the destiny both of Palladio’s whole career and that of his city for decades to come, with wood and stucco transformed into bricks and plaster.

Nevertheless, responsibility for the work site of the loggias of the Palladian Basilica was the sole ongoing assignment that he could effectively manage to carry out. In 1554 “maestro “ maestro Andrea Paladio, Vicenzan architect ” competed in Venice to be appointed proto architect” at the office of the Sale della Repubblica, a magistracy that financed the works on the Palazzo Ducale, among others. He was defeated by Pietro De Guberni, already the proto at the Acque and a reliable expert on the work site. Not even sixteen years later, when he competed for the position of proto at the Procuratia de Supra, left vacant upon the death, in November 1570, of Jacopo Sansovino, who had held it for forty years, did Palladio—though Palladio — though supported by the brothers — succeed in obtaining powerful Barbaro brothers—succeed the position, which included a lavish salary and the use of a house in the Piazza San Marco. The fact remains, in any case, that for all of the 1570s, Andrea,

even if not officially classed in the ranks of the various magistracies, was the architect responsible for the principal state interventions, from the constructions for the entry of Enrico III into Il Redentore church to the reconstruction projects of the Palazzo Ducale after the conflagration of 1575. For a long time, however, Palladio enjoyed good press in Venice, and not only there. Already in 1554, Anton Francesco Doni, in his Seconda Libreria, expressed regret that Palladio’s book devoted to all

Lambert Sustris, Portrait of Marcantonio Barbaro with Istanbul in the background, 157oc. Wien, Kunsthistorisches Museum

G. de Moustier, temporary architecture for Henri III’s entry to Venice in 1574. The Fire in the Doge’s Palace of 1577. Treviso, Museo Civico

Nevertheless, there is no doubt that for Palladio the tangible turning point in his own life arrived at the age of forty. From May 1, 1549, he was the architect charged with construction of the loggias of the Palazzo della Ragione; as such, he could count on a salary of five gold scudi per month, a fixed wage he collected for the rest of his life. It wasn’t a lot, amounting to sixty scudi per annum. Giulio Romano received fifty scudi in 1542 just for expressing his own views on the loggias. And without turning to the ““prince” prince ” of northern Italian architects, consider that in 1532, Andrea Moroni collected 120 ducats a year ((in in addition to a bushel of wheat, a cartload of wine, house)) as chief architect of the work and the use of a house site of Santa Giustina; and that in 1547, Pietro De Guberni, in exchange for the planning and supervision of work on the Rialto bridge, demanded that workshops be registered in his name with a return of not less than 200 ducats a year. Forty years earlier, in 1506, Fra Giocondo had demanded one ducat per day ((for for a total of 365 a year) year ) to enter the service of La Serenissima as an official architect; of these he received only 200, as much as Jacopo Sansovino came to earn in 1540 as the proto of San Marco ((aa proto was a kind of director of public works for La

Serenissima). Serenissima ). It is very complicated to make precise comparisons of these wages, due to the differences among the monies of the various cities and between actual monies and those used for accounting; in order to come to some understanding of this, in Vicenza around 1550, Palladio’s sixty scudi correspond to almost sixty-six ducats (exactly ( exactly sixty-five and a half lira), lira ), but do not amount to fifty-three ongari (exactly ( exactly fifty-two ongari, seven lira, twelve soldi). soldi ). It can be

3.2 The Basilica, Vicenza

Antonio Foscari TUmULT AND orDEr malcontenta 1924–1939

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Design: Integral Lars müller 15 × 24 cm, 6 × 9 ½ in, 248 pages 211 illustrations, hardcover 2012, ISBN 978-3-03778-297-2, English EUR 40.– GBP 35.– USD / CAD 50.– In the 1920s and 1930s, the Villa Foscari in Venice, better known as La Malcontenta, became a meeting place for intellectuals, artists, and members of the nobility such as Serge Diaghilev, Boris Kochno, Serge Lifar, Winston Churchill, Robert Byron, Diana Cooper, and Le Corbusier. It was an era of inspiring encounters between aristocrats, the avant-garde, snobs, and intellectuals that ended when Italy entered World War II. Antonio Foscari recounts this lively period in the building’s history and talks about its then owner, Bertie Landsberg, and his friends Catherine de Rochegude, Baroness of Erlanger, and Paul Rodocanachi, who not only lovingly renovated the villa, but made it such a lively place for the first time. The text is complemented by numerous photographs dating from this exciting time that convey an impression of what was happening in the villa in those days. See also page 32: ANDrEA PALLADIo – UNBUILT VENICE

La Malcontenta, east façade, 1925 ((photo: photo: Osvaldo Boehm Boehm))

La Malcontenta, north façade, 1926 (photo: ( photo: Osvaldo Boehm) Boehm )

As if Nothing Had Happened

Until the last, Bertie tried desperately to stay on the banks Britain — “ his real fatherland,” of the Brenta. But when Great Britain—“his as Claud always pointed out — declared war against Nazi out—declared Germany, he could not go on deluding himself. He finally made up his mind to leave, as the visitors’ book in the villa records: “ On Sept. 26th 1939 A.C.L. sailed for Rio de Janeiro, Brazil.” “On That Bertie would sooner or later have been forced to take a decision of this kind had been clearly understood, for some time, by a rich American lady from Connecticut. Dorothea Mauran Watts (whose considerable shareholdings in the oil company Shell allowed her to travel the world in style) did not need to follow European political events to understand that everything was changing. All she needed to know Catherine — the female element balancing the trio that was that Catherine—the solidity — had departed, had seemed unassailable in its solidity—had and therefore the way was clear for her to visit La Malcontenta in June 1938, and to return in March 1939. It was then that “ You are fifty, I’m fifty. Our ages total Dorothea said to Bertie, “You one hundred.”95 Dorothea returned to the palazzo the day before Bertie’s departure for Brazil on September 26, 1939. He went to his family home in Petropolis and, before long, Dorothea joined him. On March 20, 1940 they married and settled in Newport, “ war-battered and Rhode Island. They only returned to “war-battered dilapidated ” La Malcontenta in April 1947. dilapidated” On April 23 that year, after a frugal celebration with Antonio Teodato and his wife Pasqua (Adele) Casotto, who had confidently awaited the return of the owner whose lands they continued to farm, Bertie took out the visitors’ book, which he had been given by Catherine more than twenty years before, and — together with Dorothea—started Dorothea — started to collect the signaand—together tures of anyone who came to visit. It was as if nothing had happened between 1939 and 1947.

172

Bertie and Dorothea Landsberg after returning to La Malcontenta from the United States, 1947

Gerald Murphy, Jinny Carpenter, Cole Porter, and Sara Murphy in Venice, 1923

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Architecture

AND Now ThE ENSEmBLE!!!

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Edited by miroslav Šik and the Swiss Arts Council Pro helvetia With contributions by Adam Caruso, Hans Kollhoff, Vittorio Magnago Lampugnani, Quintus Miller, and Miroslav Šik Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in 72 pages, 3 fold-out pages 3 illustrations, hardcover 2012, ISBN 978-3-03778-311-5, English EUR 22.– GBP 18.– USD / CAD 28.– And Now the Ensemble!!! is intended as a challenge to architects, their clients, and commissioning authorities to understand and create urban development as a dynamic and collective work of art and to make dialogue central to design. Design, atmosphere, and usage can make every new building relate to its local surroundings. As a design process, this contextual expansion does not simply imitate the urban pattern, but also interprets what is already there, to some extent modernizes it, makes the familiar alien by employing unusual atmospheric imagery, and ultimately transforms the accumulated chaos of soloists into an orchestrated whole.

Contents: – Why Ensemble? Miroslav Šik –Prerequisites: A Legend Hans Kollhoff – The Individual, Society, and the Architecture of the City Vittorio Magnago Lampugnani –City Thinking and Collective Memory Quintus Miller –Designing an Ensemble Miroslav Šik –The Alchemy of the Everyday Adam Caruso

BAKU oIL AND UrBANISm

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Edited by Eve Blau with Ivan rupnik With a portfolio of contemporary Baku by photographer Iwan Baan Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, approx. 320 pages approx. 700 illustrations, hardcover 2012, ISBN 978-3-03778-306-1, English EUR 50.– GBP 45.– USD / CAD 60.– Baku: Oil and Urbanism is the first architectural study of the relationship between oil and urbanism. Its focus is Baku, the capital of Azerbaijan and formerly part of the Russian Empire and Soviet Union. Since the late 19th century, oil and urbanism have been intertwined in the spaces of the city. Later, Baku was the site of one of the most spectacular experiments in Soviet urban and infrastructural design—“Neft Dashlari,” the first off-shore drilling facility in the world, a city built on trestles in the Caspian Sea. Today, Baku is undergoing its second major oil boom. The book examines how urban design, planning, and architecture have dealt with the issue of oil in varying political conditions. Working with maps and archival photographs, the book analyzes sites, buildings, urban fabric, and plans to understand the evolution of the city.

Extraction of oil

Oil Baron City (1872–1920)

1825

1880

1883

Oil Baron City (1872–1920)

Construction within the Ring Road/Vorstadt Road/ Vorstadt Area during the Oil Baron Period 1890–1912

Construction within the Ring Road/Vorstadt Area during the Oil Baron Period 1890-1912

Leniendae voluptate essequias eum que volore volores simodi ut di omnihil itatem la voleseque pratiis este nullaut qui optatur sus volora ea prorrorit fugia dit qui od quodipisin recatibus rem aut andit estrumque comniminis arum sum aut et acilit, essinve lecearum vendel et, excesti orerfer spidige nectiae exerciis et etur, officia doloriam faccuptam, aspe voloruptur, ad mollique dolor solorem rernationsed maio. Iciet pelenihit es nis resti occus dolum hit fugitinus excepere, nonet ab idem nihicab oressitiam vita eum sitaes ad molupic tem qu

Embassy of the USA 1912

Blue Mosque 1912-13 eng.: Z. Ahmedbekow

Kirkha (Hall of Organ Music) 1895-98 arch.: A. Eyhler

The Landmark Building 1909/1998

Opera and Ballet Theatre 1910-11 eng.: N. Bayev

Song Theatre 1912 arc./eng.: ??

Church of Archangel Michael 1845

Embassy of Turkey 1912

Russian Drama Theatre 1900 arch./eng.: ??

Church of Archangel Michael

Embassy of Iraq Late 19th century

Taza Pir Mosque

Union of Architects

1905-14 Z. Ahmedbekow

1899 arch.: E.Y. Skibinskiy

Building 1896 arch.: I. V. Edel

Embassy of France 1895 arch.: I. V. Edel Embassy of Germany (B-4) 1900

Taghiyev’s Residence - The National Museum of History 1893-1902 eng. I. Goslavskiy

Imam Hussein Mosque 1899-1909 arch.: A. Eykhler

Palace of Happiness 1911-12 eng.: I. Ploshko

Azerbaijan Cinema 1910/1988/1998 arch.: R. Seyfullayev

Ismayilliya

1908-13 eng.: I. Ploshko

The international Bank (old) 1903-05

Building

1898-1902 arch.: I. V. Edel Embassy of Iran 1901

Chained House 1890 Puppet Theatre 1910 eng.: I. Ploshko

Baki Soveti 1900-04 arch.: i. Goslavsky

Isa Bey Hojinski building 1912

Philharmonic Society 1910-12 [Termikelov, accord. to Fattulayev]

Art Museum

1888-95 eng. N.A. fon der Nonne

State Oil Company of Azerbaijan 1891-96 arch.: P. Shtern

Bank of Baku 1907 eng.: I. Ploshko

Architecture

From CAmP To CITY refugee Camps of the western Sahara

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Edited by manuel herz In cooperation with ETH Studio Basel Design: ETh Studio Basel and Integral Lars müller 17.6 × 24 cm, 6 ¾ × 9 ½ in, 512 pages 1172 illustrations, hardcover 2012, ISBN 978-3-03778-291-0, English EUR 50.– GBP 45.– USD / CAD 65.– From Camp to City examines the theme of the refugee camp in the context of urbanism and architecture. Using the examples of the refugee camps in the Algerian desert in which Sahrawis originally from the Western Sahara have been living for 35 years, the book looks at the “urban” aspects of these settlements. In contrast to the standard way of seeing refugee camps as scenes of human misery and despair, the examination concentrates on how people live and dwell in refugee camps, on how they work, move around, and enjoy themselves, and looks at the spaces and structures that are created in the process. With numerous images and texts, individual aspects of urban life are presented and analyzed in the different chapters. As an examination of a “borderline case” of urbanity, the publication does not ignore the problematic aspects of this theme, but on the contrary: its potential explosiveness is further underscored by the focus on a “vocabulary of the urban.” It allows an understanding of the camps as a political project. The publication is based on research studies of the ETH Studio Basel, Institute of Contemporary Urbanism at the ETH Zürich.

ECoLoGICAL UrBANISm Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in 656 pages, 1000 illustrations hardcover 2010, ISBN 978-3-03778-189-0, e EUR 50.– GBP 40.– USD/CAD 60.– e-book New: e-book 2012, ISBN 978-3-03778-330-6, e EUR 14.99 GBP 11.99 USD / CAD 19.99

Edited by mohsen mostafavi with Gareth Doherty harvard University Graduate School of Design With contributions by Homi Bhabha, Stefano Boeri, Chuck Hoberman, Rem Koolhaas, Sanford Kwinter, Bruno Latour, Nina-Marie Lister, Mohsen Mostafavi, Matthias Schuler, Sissel Tolaas, Charles Waldheim, among others While climate change, sustainable architecture, and green technologies have become increasingly topical, issues surrounding the sustainability of the city are much less developed. Ecological Urbanism brings together design practitioners and theorists, economists, engineers, artists, policy makers, environmental scientists, and public health specialists, with the goal of reaching a more robust understanding of ecological urbanism and what it might be in the future.

LANDForm BUILDING Architecture’s New Terrain

Edited by Stan Allen and marc mcQuade In cooperation with the Princeton University School of Architecture

Design: Thumb, New York 16.5 × 24 cm, 6 ½ × 9 ½ in, 480 pages 430 illustrations, hardcover 2011, ISBN 978-3-03778-223-1, e EUR 45.– GBP 45.– USD / CAD 65.–

In contemporary architecture, “landform building” is much more than just a formal strategy. This publication offers a comprehensive overview of the subject and documents current projects with illustrations and maps. Essays by experts complete this work of reference.

Iwan Baan BrASILIA – ChANDIGArh Living with modernity

Edited by Lars müller With texts by Cees Nooteboom and Martino Stierli

Design: Integral Lars müller 24 × 30 cm, 9 ½ × 11 ¾ in, 240 pages 200 illustrations, paperback 2010, ISBN 978-3-03778-228-6, e EUR 40.– GBP 40.– USD/CAD 60.–

In 1960, Brasília was celebrated as the realization of an urban planning vision based on designs by Lúcio Costa and Oscar Niemeyer. At the same time, the sectoral city of Chandigarh was rising according to plans by Le Corbusier. In both cities, foreign architecture entered into a harmonious relationship with indigenous culture. The photographer Iwan Baan has taken stock. Architecture

michael merrill LoUIS KAhN: DrAwING To FIND oUT The Dominican motherhouse and the Patient Search for Architecture Design: Integral Lars müller 30 × 24 cm, 11 ½ × 9 ½ in, 240 pages 233 illustrations, hardcover 2010, ISBN 978-3-03778-221-7, e EUR 59.– GBP 60.– USD/CAD 90.–

michael merrill LoUIS KAhN: oN ThE ThoUGhTFUL mAKING oF SPACES The Dominican motherhouse and a modern Culture of Space Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 240 pages 215 illustrations, paperback 2010, ISBN 978-3-03778-220-0, e EUR 35.– GBP 35.– USD / CAD 55.–

Antonio Foscari ANDrEA PALLADIo – UNBUILT VENICE Design: Integral Lars müller 15 × 24 cm, 6 × 9 ½ in, 288 pages 230 illustrations, hardcover 2010, ISBN 978-3-03778-222-4, e EUR 40.– GBP 40.– USD/CAD 60.–

Aga Khan Award for Architecture 2010 ImPLICATE & EXPLICATE Design: Irma Boom 16.5 × 24 cm, 6 ½ × 9 ½ in, 352 pages 191 illustrations, hardcover 2011, ISBN 978-3-03778-242-2, e EUR 35.– GBP 35.– USD / CAD 50.–

Like few others, Louis Kahn cultivated the craft of drawing as a means to architecture. Over two hundred — mostly unpublished — drawings are woven together with a lively and informed commentary into an intimate biography of an architectural idea. Unfolding around the iconic project for the Dominican Motherhouse (1965 – 69, unbuilt) the drawings form a narrative, which provides compelling insights into Louis Kahn’s mature culture of designing.

In tracing the genesis of the unbuilt project for the Dominican Motherhouse (1965–69, unbuilt), we are given a close-up view of Kahn at work on a few fundamental questions of architectural space: seeking the sources of its meaning in its social, morphological, landscape and contextual dimensions. This project opens the way to a second section in the book, which sheds new light on several major works in a timely reappraisal of Kahn’s work.

Any attempt to sum up Andrea Palladio’s (1508–80) creative achievements is distorted by the fact that some of the greatest projects of his mature years were never built. For the most part, these unfinished works were in Venice. Antonio Foscari has now charted the course of Andrea Palladio’s oeuvre in a way that sheds new light on all his works while also recognizing a number of previously unclassified drawings.

Edited by mohsen mostafavi The Aga Khan Award for Architecture was established by His Highness the Aga Khan in 1977 to identify and encourage excellence in architecture and other forms of intervention in the built environment of societies with Muslim presence. The book presents the shortlist of nineteen projects, including the five award recipients.

INSULAr INSIGhT whErE ArT AND ArChITECTUrE CoNSPIrE wITh NATUrE Edited by Lars müller and Akiko miki With photographs by Iwan Baan Insular Insight offers a comprehensive documentation of the Japanese art islands of Naoshima, Teshima, and Inujima. The photographs by Iwan Baan create a unique portrait of the islands and their fluid transitions between nature, art, and architecture. Numerous texts introduce readers to the individual projects either on permanent display or that have taken place temporarily on the islands.

Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 464 pages 259 illustrations, hardcover 2011, ISBN 978-3-03778-255-2, e EUR 45.– GBP 45.– USD / CAD 70.–

Guy Nordenson PATTErNS AND STrUCTUrE Selected writings Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in 464 pages, 218 illustrations paperback 2010, ISBN 978-3-03778-219-4, e EUR 40.– GBP 40.– USD/CAD 60.–

matthias Sauerbruch, Louisa hutton SAUErBrUCh hUTToN ArChIVE Design: hendrik Schwantes 24 × 30 cm, 9 × 11 ¾ in, 344 pages 650 illustrations, hardcover 2006, ISBN 978-3-03778-083-1 e /g EUR 60.– GBP 55.– USD / CAD 79.–

This rich collection of writings and criticisms by Guy Nordenson brings together previously published essays on structural engineering, architecture, design, and seismic research from 1972 to 2008. Nordenson’s essays provide the unique viewpoint of the structural engineer and design collaborator, adding context that relates not only to the history of architecture and engineering, but locates these fields in a larger network of cultural relevance.

This book is the first comprehensive monograph of sauerbruch hutton: 60 projects, 8 texts, and a complete register of projects document the architects’ rise to one of the leading practices concerned with a sustainable environment in the post-industrial city. The theme of sustainability surfaces throughout the book as an integral part of the architects’ language.

Architecture

Buckminster Fuller reprints Edited by Jaime Snyder

IDEAS AND INTEGrITIES A Spontaneous Autobiographical Disclosure Reprint, original 1963, 12 × 19 cm, 4 ¾ × 7 ½ in, 416 pages 50 illustrations in b/w, paperback 2010, ISBN 978-3-03778-198-2, e EUR 25.– GBP 20.– USD / CAD 30.–

EDUCATIoN AUTomATIoN Comprehensive Learning for Emergent humanity Reprint, originals 1962–1979, 12 × 19 cm, 4 ¾ × 7 ½ in, 224 pages 15 illustrations in b/w, paperback 2010, ISBN 978-3-03778-199-9, e EUR 25.– GBP 20.– USD / CAD 30.–

oPErATING mANUAL For SPACEShIP EArTh Reprint, original 1969, 12 × 19 cm, 4 ¾ × 7 ½ in 152 pages, paperback 2008, ISBN 978-3-03778-126-5, e 2010, ISBN 978-3-03778-188-3, f EUR 15.– GBP 15.– USD / CAD 20.–

UToPIA or oBLIVIoN The Prospects for humanity Reprint, original 1969, 12 × 19 cm, 4 ¾ × 7 ½ in, 448 pages 32 illustrations, paperback 2008, ISBN 978-3-03778-127-2, e EUR 25.– GBP 25.– USD / CAD 30.–

AND IT CAmE To PASS – NoT To STAY Reprint, original 1976, 12 × 19 cm, 4 ¾ × 7 ½ in, 192 pages, paperback 2008, ISBN 978-3-03778-132-6, e EUR 15.– GBP 15.– USD / CAD 20.–

R. Buckminster Fuller (1895 –1983) was an architect, engineer, geometrician, cartographer, philosopher, futurist, inventor of the famous geodesic dome, and one of the most brilliant thinkers of his time. For more than five decades, he set forth his comprehensive perspective on the world’s problems in numerous essays, which offer an illuminating insight into the intellectual universe of this renaissance man. These texts remain surprisingly topical even today, decades after their initial publication. Long out of print, they are now republished, together with commentary by Jaime Snyder, the grandson of Buckminster Fuller. Designed for a new generation of readers, Snyder prepared these editions with supplementary material providing background on the texts, factual updates, and interpretation of Buckminster Fuller’s visionary ideas.

Federico Neder FULLEr hoUSES r. Buckminster Fuller’s Dymaxion Dwellings and other Domestic Adventures Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 240 pages 170 illustrations, paperback 2008, ISBN 978-3-03778-141-8, e EUR 30.– GBP 30.– USD /CAD 40.–

YoUr PrIVATE SKY r. BUCKmINSTEr FULLEr The Art of Design Science Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in 524 pages, 600 illustrations hardcover 1999, ISBN 978-3-907044-88-9, e EUR 25.– GBP 25.– USD / CAD 65.–

Jack masey and Conway Lloyd morgan CoLD wAr CoNFroNTATIoNS US Exhibitions and Their role in the Cultural Cold war Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in 424 pages, 200 illus., hardcover 2008, ISBN 978-3-03778-123-4, e EUR 20.– GBP 20.– USD / CAD 30.–

Alison and Peter Smithson AS IN DS An Eye on the road Reprint, original 1983 11.5 × 29 cm, 4 ¼ × 11 ½ in 164 pages, 70 illustrations paperback 2001, ISBN 978-3-907078-42-6, e EUR 15.– GBP 15.– USD / CAD 25.–

With the publication of the Dymaxion House in 1929, Buckminster Fuller became an overnight sensation in the world of American architecture. The house reflected Fuller’s determination to achieve the greatest possible utility at the smallest possible cost in terms of energy and materials. The author examines and compares Fuller’s Dymaxion House in the context of the international development.

Edited by J. Krausse and C. Lichtenstein As an architect, engineer, entrepreneur, and poet, Buckminster Fuller was a quintessentially American, self-made man. But he was also an outsider: a technologist with a poet’s imagination who already developed theories of environmental control in the thirties (“more with less”) and anticipated the globalization of our planet (“think global—act local”).

World’s Fairs and International Exhibitions have always had a political as well as a commercial and cultural context. This was particularly true during the Cold War. Jack Masey served with the United States Information Agency for many years as Director of Design. He commissioned numerous American architects and designers including R. Buckminster Fuller and Charles and Ray Eames to design the US presence at major world Expos including Expo ’67 in Montréal and Expo ’70 in Osaka. Edited by Christian Sumi An illustrated diary by the architects Alison and Peter Smithson driving from their London office through to their Wiltshire cottage. The contrast of their Citroën DS 19, streamlined and mechanically advanced, with the picturesque landscape links both the urban and the countryside in the most sensitive manner. Reprint of the original publication from 1983, edited by Christian Sumi, architect, Zürich. Architecture

ANDrEAS FUhrImANN GABrIELLE hÄChLEr whAT ANChorS A hoUSE IN ITSELF With contributions by Hubertus Adam, Kurt W. Forster, Gianni Jetzer, Marie Theres Stauffer, and the architects, photographs by Valentin Jeck What Anchors a House in Itself is devoted to private residences built by Zürich architects Fuhrimann Hächler. These homes captivate by virtue of the clarity and simplicity of their constructive materials, their economically effective construction, and their haptic, sensual surfaces and flowing spatial transitions. Design: norm 18.6 × 24.8 cm, 7 ¼ × 9 ¾ in 216 pages, 167 illustrations paperback 2010, ISBN 978-3-03778-240-8, e 2010, ISBN 978-3-03778-224-8, g EUR 40.– GBP 35.– USD/CAD 60.–

herzog & de meuron NATUrAL hISTorY

Edited by Philip Ursprung and the Canadian Centre for Architecture CCA

Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in 472 pages, 800 illustrations paperback 2003, ISBN 978-3-03778-049-7, e 2005, ISBN 978-3-03778-050-3, g EUR 45.– GBP 30.– USD / CAD 48.–

Herzog & de Meuron’s interest in surface and material, opacity and transparency, and the function and variability of images make architecture speak — not just in quotations and typologies, but by continually redefining raw materials. Their buildings seem to exist simply to present those mysterious and beautiful moments when material is transformed into meaning.

ThEo hoTZ ArChITECTUrE 1949–2002

With essays by Hubertus Adam, Ulrike Jehle and Philip Ursprung

Design: Integral Lars müller 18.5 × 28 cm, 7 ¼ × 11 in 320 pages, 600 illustrations hardcover 2003, ISBN 978-3-03778-002-2 e /g EUR 30.– GBP 30.– USD / CAD 45.–

Theo Hotz, born in 1928, is a leading contemporary Swiss architect. His spectacular glass buildings, the EMPA in St. Gallen (1996) for example, or Hall 1 at the Basel Fair (1999), have had an international impact. With detailed plans and numerous illustrations, this publication gives a complete overview over his buildings from 1949 to 2002.

Alice Foxley DISTANCE & ENGAGEmENT walking, Thinking and making Landscape Design: Integral Lars müller 24 × 16.5 cm, 9 ½ × 6 ½ in, 480 pages 1000 illustrations, hardcover 2010, ISBN 978-3-03778-196-8, e EUR 50.– GBP 50.– USD / CAD 80.–

Günther Vogt and his landscape designers bring a lot of passion to their research and to their search for ways to transform undesigned sites or unspecified tracts of land into landscapes. The results of their “field trips,” research projects, and practical implementations are collected in this publication.

TrEE NUrSErIES – CULTIVATING ThE UrBAN JUNGLE

Edited by Dominique Ghiggi, the Chair of Günther Vogt, Department of Architecture, ETh Zürich

Design: Integral Lars müller 24 × 33 cm, 9 ½ × 13 in, 240 pages 600 illustrations, paperback 2010, ISBN 978-3-03778-218-7, e 2010, ISBN 978-3-03778-217-0, g EUR 35.– GBP 35.– USD / CAD 55.–

Tree Nurseries uses the example of plant production throughout the world to demonstrate the manifold relationships that exist between human beings and nature. Numerous essays examine current phenomena like deser tification in the Sahel, greening projects in Shanghai and the genesis of rooftop gardens in London.

Zaha hadid CAr PArK AND TErmINUS STrASBoUrG

To reconcile the car and the dense historic fabric of Strasbourg, Zaha Hadid responed to the site with elegant but deceptive simplicity. The car park and terminus presented in this publication demonstrate her assumption that buses and trams are a permanently impermanent part of the station’s overall organization and composition. Hadid treats the cars parking there almost as natural phenomena with their own diurnal rhythms.

Design: Integral Lars müller 31 × 33 cm, 12 ¼ × 13 in 100 pages, 70 illustrations paperback 2004, ISBN 978-3-03778-028-2 e /f / g EUR 15.– GBP 15.– USD / CAD 35.–

ArChITECTUrE oF ZAhA hADID in Photographs by hélène Binet Design: Integral Lars müller 19 × 31 cm, 7 ½ × 12 ¼ in 176 pages, 90 illustrations hardcover 2000, ISBN 978-3-907078-12-9, e EUR 20.– GBP 18.– USD / CAD 30.–

With a text by Hubertus von Amelunxen This volume brings together photographs of the Vitra-Fire station and Landscape Formation one — both in Weil am Rhein/Germany–, and of the exhibition designs for Addressing the Century, Hayward Gallery, London, 1998; Blueprint/Interbuild Pavilion, Birmingham, 1995.

Architecture

Peter Eisenman ThE FormAL BASIS oF moDErN ArChITECTUrE (1964) Design: Integral Lars müller 29 × 30.5 cm, 11 ½ × 12 in 384 pages, 300 illustrations hardcover 2006, ISBN 978-3-03778-071-8, e EUR 50.– GBP 50.– USD / CAD 70.–

Peter Eisenman hoLoCAUST mEmorIAL BErLIN

Text by Peter Eisenman and Hanno Rauterberg With photographs by Hélène Binet and Lukas Wassmann

Design: Integral Lars müller 24 × 30 cm, 9 × 11 ¾ in 120 pages, 65 illustrations hardcover 2005, ISBN 978-3-03778-056-5, e 2005, ISBN 978-3-03778-059-6, g EUR 23.– GBP 23.– USD / CAD 35.–

2700 concrete blocks flow unassertively over the enormous field and invite visitors to immerse themselves. The monument cannot be interpreted in any one specific way, which is what makes it so spectacular. This publication was created in close co-operation with Peter Eisenman.

ThE SANAA STUDIoS Learning from Japan: Single Story Urbanism

Edited by Florian Idenburg and Princeton University, School of Architecture With photographs by Iwan Baan

Design: Geoff han 21.6 × 28 cm, 8 ½ × 11 in 144 pages, 240 illustrations paperback 2010, ISBN 978-3-03778-190-6, e EUR 30.– GBP 30.– USD / CAD 45.–

Between 2006 and 2008, Kazuyo Sejima and Ryue Nishizawa taught at the School of Architecture at Princeton. The SANAA Studios explored Japan’s contemporary society as a context for architecture and considered its particular perspective on personal and public space. This book registers some of the findings.

ShIFT SANAA AND ThE NEw mUSEUm

Edited by Joseph Grima and Karen wong With photographs by Dean Kaufman

Design: mevis & Van Deursen 24 × 30 cm, 9 × 11 ¾ in 136 pages, 144 illustrations paperback 2008, ISBN 978-3-03778-140-1, e EUR 33.– GBP 35.– USD / CAD 40.–

In 1963 Peter Eisenman wrote a dissertation on the formal basis of modern architecture at the University of Cambridge. The architect confronts historicism with theory and the analysis of form and illustrates his observations with numerous, extremely precise hand drawings. This striking document is fully published here, for the first time, in a faithful reproduction of the original.

The new building for the New Museum of Contemporary Art, which opened in December 2007, was designed by the renowned architectural duo SANAA — Kazuyo Sejima and Ryue Nishizawa. This book presents the design and building of the New Museum in a series of interwoven stories, documents, and dialogues.

Architectural Papers V ETH Zürich Chair Prof. Dr. Josep Lluís Mateo

R S AFTER CRISIS Architectural Papers V Lars Müller Publishers

ted to teaching he narrow dited by Chair

AFTER CRISIS

rchitectural financial bubble ly changed. ve projects, tackle , craftsmanship architecture.

Lars Müller Publishers

Contemporary Architectural Conditions

Josep Lluís mateo Architectural Papers V AFTEr CrISIS Contemporary Architectural Conditions Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 160 pages 175 illustrations, paperback 2010, ISBN 978-3-03778-230-9, e EUR 25.– GBP 25.– USD/CAD 40.–

oThEr SPACE oDYSSEYS: GrEG LYNN, mIChAEL mALTZAN, ALESSANDro PoLI Design: Integral Lars müller 15 × 21 cm, 6 × 8 ¼ in, 160 pages 113 illustrations, paperback 2010, ISBN 978-3-03778-193-7, e 2010, ISBN 978-3-03778-194-4, f EUR 25.– GBP 23.– USD / CAD 35.–

Stephen Taylor, ryue Nishizawa PErSPECTIVES DE VIE A LoNDrES ET A ToKYo Design: Integral Lars müller 15 × 21 cm, 6 × 8 ¼ in, 160 pages 160 illustrations, paperback 2008, ISBN 978-3-03778-152-4, f EUR 20.– GBP 20.– USD / CAD 30.–

SENSE oF ThE CITY An Alternate Approach to Urbanism Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in 352 pages, 280 illustrations hardcover 2005, ISBN 978-3-03778-060-2, e EUR 45.– GBP 40.– USD / CAD 60.–

Edited by the Chair of Josep Lluís mateo, Department of Architecture, ETh Zürich, and Krunoslav Ivanišin After Crisis concentrates around the new conditions for architectural practice and around the new epistemologies that may inform it in the next future. Essays, studies and interviews tackle the actual issues of growth and shrinking, economy and ideology, craftsmanship and social space in the city, materiality and sustainability in architecture. Edited by Giovanna Borasi, mirko Zardini, and the Canadian Centre for Architecture CCA Other Space Odysseys has nothing to do with space architecture or architecture in outer space. It is not a celebration of high-tech architecture and imagery or extreme physical and mental conditions. Instead, this book proposes a letting go of architecture understood as the production of material goods in favor of architecture as the production of ideas. Edited by Giovanna Borasi and the Canadian Centre for Architecture CCA The book reconsiders the theme of living in a city by exploring new approaches that reveal a different way of integrating projects into the existing city. The housing projects of Nishizawa and Taylor show how inhabitants can live in a house, and, at the same time, enlarge the scale of their living to the neighbourhood and the city.

Edited by mirko Zardini and the Canadian Centre for Architecture CCA The everyday discoveries in Sense of the City were collected over a long time and then categorized according to their relationship with each other. The wide range of cities from which the examples were taken is reflected in the use of different languages. This collection represents a pictorial archive documenting two very different kinds of expeditions through large and small cities of the world. Architecture

Petra Kempf YoU ArE ThE CITY observation, organization and Transformation of Urban Settings Design: Integral Lars müller 21 × 29.7 cm, 8 ¼ × 11 ¾ in 22 transparent slides in folder brochure, 16 pages 2009, ISBN 978-3-03778-159-3, e EUR 30.– GBP 30.– USD / CAD 50.–

ThE ImAGE AND ThE rEGIoN making mega-City regions Visible Design: Valerie Kiock 16.5 × 24 cm, 6 ½ × 9 ½ in 288 pages, 203 illustrations paperback 2008, ISBN 978-3-03778-131-9, e EUR 30.– GBP 30.– USD / CAD 45.–

ThE worLD’S FAIrEST CITY YoUrS AND mINE Features of Urban Living and Quality Design: Andrea Gmünder 18 × 12.8 cm, 7 × 5 in, 192 pages 120 illustrations, paperback 2010, ISBN 978-3-03778-186-9, e 2010, ISBN 978-3-03778-185-2, g EUR 20.– GBP 20.– USD / CAD 30.–

CoNSTrUCTIoN SITE metamorphoses in the City Design: haeberli winkelmann 19.5 × 25 cm, 7 ½ × 9 ¾ in, 144 pages 137 illustrations, hardcover 2008, ISBN 978-3-03778-112-8, e 2008, ISBN 978-3-03778-111-1, g EUR 40.– GBP 40.– USD / CAD 55.–

With contributions by Catherine Ingraham and Keller Easterling As complex networks of geographic, economic, political and cultural segments, today’s cities are caught up in a constant process of differentiation. This publication creates a framework for understanding the continually changing configuration of the city. With the aid of themed transparencies, it allows one to superimpose various realities in layers in order to create new urban connections. Edited by Alain Thierstein and Agnes Förster Mega-city regions are currently a frequent topic of discussion. Decision makers in politics and business are calling for new measures for greater urban areas. But Europe seems to lack an awareness for metropolitan regions. Through essays from various disciplines the book approaches the phenomenon and discusses the necessity to visualize mega-city regions.

What makes a city really livable? Design2context studied established city rankings, analyzed scenes from everyday urban life, and developed criteria that make it possible to rationally examine urban quality of life. The result is a collection of fifty criteria and a questionnaire that invites the reader to actively reflect on his or her own personal criteria for urban quality of life.

Edited by marie Antoinette Glaser, ETh wohnforum The building site has been a popular metaphor for the patchwork plans of contemporary life. This book includes essays on specific building sites such as the megaproject Sihlcity in Zürich or La Défense in Paris, interviews with architects and construction managers, and impressive illustrations.

Gramazio & Kohler DIGITAL mATErIALITY IN ArChITECTUrE Design: Integral Lars müller 19.5 × 30 cm, 7 ¾ × 11 ¾ in 112 pages, 157 illustrations hardcover 2008, ISBN 978-3-03778-122-7, e EUR 35.– GBP 35.– USD / CAD 45.–

AS FoUND, ThE DISCoVErY oF ThE orDINArY British Architecture and Art of the 1950s Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in 320 pages, 300 illustrations hardcover 2001, ISBN 978-3-907078-43-3, e 2001, ISBN 978-3-907078-40-2, g EUR 30.– GBP 30.– USD / CAD 45.–

Catherine de Smet LE CorBUSIEr, ArChITECT oF BooKS Design: Integral Lars müller 21 × 28 cm, 8 ¼ × 11 in, 128 pages 100 illustrations, hardcover 2005, ISBN 978-3-03778-034-3, e 2005, ISBN 978-3-03778-052-7, g 2005, ISBN 978-3-03778-033-6, f EUR 35.– GBP 30.– USD / CAD 50.–

Catherine de Smet VErS UNE ArChITECTUrE DU LIVrE Le Corbusier: édition et mise en pages 1912–1965

Robots build! At their program in architecture and digital production at the Swiss Federal Institute of Technology in Zürich, the architects Fabio Gramazio and Matthias Kohler have installed a research facility based on a computercontrolled industrial robot producing construction elements directly from design data. In this way they probe the exciting potential of digital design, construction, and manufacturing techniques.

Edited by Claude Lichtenstein and Thomas Schregenberger British art and architecture of the 1950s are of extraordinary topicality today. This applies particularly to the Independent Group, which included artists such as Richard Hamilton and Magda Cordell, the photographer Nigel Henderson, critics Reyner Banham and Lawrence Alloway as well as architects such as Alison and Peter Smithson, James Stirling and Colin St. John Wilson. Le Corbusier's buildings have long been part of the inalienable canon of twentieth-century architecture. But Le Corbusier's work as a book designer and author is scarcely known. He planned and realized over 40 books in his lifetime. Architect of Books shows that Le Corbusier accorded great importance to books as an essential part of his output.

Catherine de Smet makes it possible to discover Le Corbusier, the great construction architect, as a book artist. New images and in-depth analyses make Vers une Architecture du Livre an indispensable complement to Le Corbusier, Architect of Books.

Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in 304 pages, 410 illustrations paperback 2007, ISBN 978-3-03778-067-1, f EUR 30.– GBP 30.– USD / CAD 45.–

Architecture

Helvetica – Homage to a Typeface, 2004

Design Graphic design and product design determine the aesthetics of our everyday lives. These disciplines are shaped by rapid cultural and technological developments. we focus our attention on the rules governing effective communication, the meaning of symbols and the expressive force of objects. The “sensations of the ordinary” have caught our attention, along with the ways in which design means are deployed to resolve problems, in the spirit of Lucius Burckhardt’s credo “From spoon to city.” we make no concessions to short-lived trends and fashions.

The Yardstick Naoto Fukasawa, Jasper morrison SUPEr NormAL, 2007 Design: Lars Müller 14.8 × 20 cm, 5 ¾ × 7 ¾ in 128 pages, 264 illustrations, paperback 2007, ISBN 978-3-03778-106-7, English EUR 25.– GBP 25.– USD / CAD 35.– In this compilation of objects the authors present a convincing portrait of the way in which “unobtrusive” design slots into our everyday lives and affects our aesthetic sensibility. This type of design is natural and appropriate, the hallmarks of its quality. With their œuvre, both designers have an enduring impact on contemporary design discourse. 43

Takahiro Kurashima PoEmoTIoN

NEw

Design: Takahiro Kurashima, Junji hata 17 × 23 cm, 6 ¾ × 9 in, 64 pages 30 illustrations, paperback 2012, ISBN 978-3-03778-277-4, English EUR 28.– GBP 25.– USD/CAD 40.– Poemotion is an interactive book-object. The abstract graphical patterns in this small volume are set in motion as soon as you move the attached special foil across them: moiré effects allow complex forms to develop, set circles in motion and make graphical patterns vibrate. Inspired by Seesaw, an earlier book from the publisher, in a playful and at the same time minimalist way the Japanese designer Takahiro Kurashima establishes a link to the motif of a “School of Seeing” that has long occupied a special place in the program of Lars Müller Publishers. With this book the viewer can discover how, as if by magic, figures and forms are created out of optical overlays, set in motion and then disappear again. In the era of digitalization this book shows that interactivity is also possible in the format of the analogous, bound book.

Design

FrEITAG out of the Bag

NEw

Edited by the museum of Design Zürich, renate menzi Design: Jacques Borel 11.6 × 17.8 cm, 4 ½ × 7 in, 280 pages 310 illustrations, paperback 2012, ISBN 978-3-03778-278-1, English 2012, ISBN 978-3-03778-289-7, German EUR 25.– GBP 22.– USD / CAD 35.– With its unique bags made of used materials, the Freitag company of Zürich is now an established commercial success, selling 300,000 of its design products around the world every year. How can a bag achieve that kind of cult status? How did a small, creative start-up become a large brand with a strong identity? Freitag – Out of the Bag investigates this story. Extensively illustrated interviews with the brothers Daniel and Markus Freitag and their coworkers and collaborators in the fields of product design, manufacturing, distributing, and marketing offer a look behind the scenes at the company, which manages as a brand to embody—through often humorous and ironic communications strategies—the paradox of an individualistic mass product.

A5/05: LUFThANSA AND GrAPhIC DESIGN Visual history of an Airline

NEw

Edited by Jens müller and Karen weiland, labor visuell at the University of Applied Sciences Düsseldorf, Department of Design Design: Jens müller and Karen weiland 14.8 × 21 cm, 5 ¾ × 8 ¼ in, 128 pages 400 illustrations, paperback 2012, ISBN 978-3-03778-267-5, English /German EUR 28.– GBP 25.– USD / CAD 40.– Deutsche Lufthansa is one of the most important airlines in the world. Just as long and varied as its history is the history of its visual identity. The beginning of the 1960s witnessed one of the most important developments in corporate communication. The company employed the designer Otl Aicher and his Gruppe E5 student group at the Hochschule für Gestaltung Ulm to develop a new visual identity for Lufthansa. Largely implemented beginning in 1963, today it ranks as one of the most groundbreaking corporate design solutions of the twentieth century. With a particular focus on its famous corporate identity, the design and advertising history of Deutsche Lufthansa from the 1920s until today is comprehensively documented here for the first time. Alongside numerous illustrations from the corporate archive and background articles and interviews, this volume contains reproductions from the Ulm study of 1962 and the first corporate design manual for Lufthansa from 1963. See also page 57: A5 SErIES

Lufthansa Corporate Design 1955-1963

Richtlinien und Normen – Das erste Design Manual/ Guidelines and standards – The first design manual

Andae. Em experorro estotasint porepuda ium ne vero quos ullaceped ut esciis es voluptas as aut latat ipsani nis voloribus. Ventor aut lacepel experia non corro est pe voluptis maio tenim atem quas ersperum di acersped mo te endebit eium re qui dolupta quiducipic temquos volorerferes sunt assunt andus estectin proratqui conse vel magnatum quaeped eos verchil iatur, ventiam etur adiscipsamus aped ut earchitiae veleni aut hil et que nonseritisci te volorro vides dereped et odignatus dolore aut volut verfersped que eum excest, endam inume simi, sediscim harum et moluptu rectem idebis consecaes inctaturio. Axim iderum rest anis evellor eprem. Epudit pa atem faciene porumque opti derum eius, solorem faccae ditas num faceped igenim aut aut et pa qui omnis ute solorro tem facepere corem et et modis di odicia qui sinvero maximpe rrovide dolorruntius evelita dit experspero magnis con rest facia et hicias sum aliasitia sedi velibus everitius simus eum fugitae nonsequaerae rem et maximod etur aliqui ut ut omnimag nienimp orenimilit autesed exeriorepre omnis di vendunt urioris ex explaborecte praes volorerum dolo quiatemqui voluptias non earchiti tem voluptaturis sum qui sae. Nem. Nem alis et voleceritate

non et latent et expelitasit, con nos expellu ptasitem fuga. Is nisquiantio. Oribus rere sediasp eriatat liquidus moluptas qui cullore am incium res utem es anis adiatquae. Gent quam utasin nati a qui alitatusaped quam etus perciducit, santi dolorem rehenti aspereium es pa sandae most et eaquis vollabo rporeptatur? Qui inum la sitium sam fugitae plit as volo to tentureriae con expliqui voluptas seque niscipsam, sam, in nonsectur? Ferchil in prate volor sinientia porero quas non nosse verspis tiisquia quam dolese sunt alit vellenet officiis verspel iatendic tem et, ut asin nimolor ecusti dolo qui conecuptat. Ictem. Nam non pe dolorei cidiandebit excerist, cus, sitios ea voluptat dendandendia sed elescienim susae. Rionsento earit occupta in repeditatur sit quaspis repeles expla vellam faceatemqui cullaut laut lacesecuscil ipsam ad ex et haritatesti omnia volectatus, corio essequae pro maiorro blaut optati que naturem fugiaerio temquam am eum, sequam cus ipsant.

Lufthansa-Werbeabteilung [Art Direction: Hans G. Conrad, Klaus Wille; Fotografie/Photography: Hans G. Conrad, Klaus Wille, Hans Hansen, Erwin Fieger, etc.] «Hongkong»/«New York»/ «Rio de Janeiro»/«London»/ «Deutschland»/«Deutschland»/ «Bangkok»/«Afrika»/«Paris»/«Japan» 1964-1965; 59,4x84,1 cm 28

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PEACE fOR CENTRAL AMERICA AND ThE CARIbbEAN CREATOR Edith Spettig SOURCE Plakatsammlung Museum für Gestaltung Zürich COPYRIGhT T (C) Plakatsammlung Museum für Gestaltung Zürich

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SIGNS For PEACE An Impossible Encyclopedia

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Edited by ruedi Baur and Vera Baur Kockot, Design2context

SIGNS FOR PEACE

Design: megan hall 16.5 × 24 cm, 6 ½ × 9 ½ in, approx. 608 pages 1762 illustrations, paperback 2012, ISBN 978-3-03778-243-9, English EUR 40.– GBP 35.– USD / CAD 55.–

Can one visualize peace? Are there signs, symbols, and images that present a positive image of peace as opposed to receiving their meanings in opposition to war? Over several years of research, the Design2context institute has intensively examined the representation and representability of peace and has compiled a comprehensive collection of images. In order to include a number of historical, cultural, and political perspectives, the archival aspect was supplemented by workshops in crisis regions. The encyclopedia—which, as changed sociopolitical situations continue to arise and call for new pictures, must inevitably remain incomplete—provides a broad overview of the iconography of peace, and is also intended to assist in gaining an understanding of the concept. This book represents a significant contribution to future discussions on the need and desire for peace in political and social life.

SIGNS FOR PEACE AN IMPOSSIBLE VISUAL ENCYCLOPEDIA EDITED BY DESIGN2CONTEXT RUEDI Baur AND VERA BAUR LARS MüLLER PUBLISHERS

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Design

DESIGN IN QUESTIoN

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Edited by Elisava, Design2context, ruedi Baur and Vera Baur Kockot Design: Integral ruedi Baur 7.4 × 10.5 cm, 3 × 4 in, 384 pages 15 illustrations, hardcover 2012, ISBN 978-3-03778-280-4, English EUR 20.– GBP 18.– USD / CAD 28.– In 2009, Ruedi Baur, Design2context, and the renowned Elisava School of Design in Barcelona launched a call for “Questions on Design” in order to create a typographical wall in the entrance area of Elisava. About a hundred persons from all over the world, designers as well as students, took part in the exercise. As of today, more than 700 questions have been gathered and put onto the wall. Among them, Vera and Ruedi Baur have selected the wittiest questions for this publication. They scrutinize different facets of design which are currently relevant in diverse fields, such as the natural sciences and society as a whole. A text explains the idea and the realization of the project.

POSTER COLLECTION 24 ThE mAGIC oF ThINGS

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Edited by the museum of Design Zürich With an essay by Gerda Breuer and an insert by Bettina Richter Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 127 illustrations, paperback 2012, ISBN 978-3-03778-258-3, English/German EUR 28.– GBP 25.– USD / CAD 40.– The Magic of Things explores a former advertising strategy of Swiss product posters in which banal, everyday objects—butter, a sewing machine, or shoes—are presented as desirable objects enticing us to buy. Free from any further contextualization, the objects acquire a sensual presence and magical aura. The product poster had its heyday in Switzerland in the 1940s with designers such as Niklaus Stoecklin, Peter Birkhäuser, or Otto Baumberger. As consumer society developed, however, the exclusive focus on the product and the brand name was no longer enough—in advertising, the feelings associated with the object as it related to life grew increasingly important. Today it is in the cultural poster that the magical depiction of things is experiencing a kind of renaissance. See also pages 58–60: PoSTEr CoLLECTIoN 1–23

Design

Lars müller hELVETICA homage to a Typeface “ helvetica is the perfume of the city.” Lars Müller This book sings the praises of this shift-worker and solo entertainer of typefaces, of its forgotten creator and all those who have contributed to its unparalleled international march of triumph over the past forty years.

Design: Integral Lars müller 12 × 16 cm, 4 ¾ × 6 ¼ in, 256 pages 400 illustrations, paperback 2002, ISBN 978-3-03778-046-6, e EUR 19.– GBP 15.– USD /CAD 25.– New: e-book 2012, ISBN 978-3-03778-332-0, e EUR 7.99 GBP 6.49 USD / CAD 9.99

e-book

hELVETICA ForEVEr Story of a Typeface Edited by Lars müller and Victor malsy

Design: Victor malsy and Lars müller with Integral Lars müller 19 × 26 cm, 7 ½ × 10 ¼ in 160 pages, 150 illustrations hardcover 2009, ISBN 978-3-03778-121-0, e 2008, ISBN 978-3-03778-120-3, g EUR 30.– GBP 30.– USD /CAD 49.–

Designed in 1957, the Helvetica font is an icon of Swiss graphic design. This publication retraces Helvetica’s history, compares it to the sans serif fonts of the twentieth century, and examines the phenomenon of its unparalleled spread. Illustrations show a multitude of ways the font has been used from a wide variety of fields — from signal design to party flyers.

Kenya hara DESIGNING DESIGN Representing a new generation of designers in Japan, Kenya Hara shows the reader the importance of “emptiness” in both the visual and philosophical traditions of Japan, and its application to design, made visible by means of numerous examples from his own work such as the opening and closing ceremony programs for the Nagano Winter Olympic Games 1998 or in the identity of the Japanese label MUJI.

Design: Kenya hara 16.5 × 24 cm, 6 ½ × 9 ½ in, 472 pages 389 illustrations, hardcover 2007, ISBN 978-3-03778-105-0, e EUR 55.– GBP 50.– USD /CAD 70.–

Kenya hara whITE White is not a book about color. It is rather Kenya Hara’s attempt to explore the essence of “white,” which he sees as being closely related to the origin of Japanese aesthetics—symbolizing simplicity and subtlety. The central concepts discussed in this publication are emptiness and the absolute void.

Design: Kenya hara 13.5 × 19.5 cm, 5 ¼ × 7 ¾ in 64 pages 4 illustrations, hardcover 2010, ISBN 978-3-03778-183-8, e 2010, ISBN 978-3-03778-182-1, g EUR 25.– GBP 20.– USD / CAD 30.–

Design

Jasper morrison A worLD wIThoUT worDS In Jasper Morrison’s collection of pictures, icons of design history meet up with the unassuming objects of everyday life, and curious findings with the archetypes of modernism. Every picture tells a story and in juxtaposition with its neighbor a new one is also created—without words, in the language of form. Morrison responds to the arbitrariness of form with simplicity and complexity, poetry and humor in a repertoire of compelling designs. The volume A World Without Words is a school of seeing that addresses both designers and consumers.

Design: Anthony Arefin 1998, Reprint 10.8 × 15.4 cm, 4 ¼ × 6 in, 108 pages 104 illustrations, paperback 2012, ISBN 978-3-03778-207-1, e EUR 18.– GBP 16.– USD / CAD 25.–

Jasper morrison EVErYThING BUT ThE wALLS Design: Integral Lars müller 22 × 28 cm, 8 ¾ × 11 in, 256 pages 300 illustrations, paperback 2006, ISBN 978-3-03778-064-0, e EUR 40.– GBP 40.– USD / CAD 59.–

Peter Erni DIE GUTE Form Programm des Schweizerischen werkbundes Design: Lars müller 22 × 30 cm, 8 ½ × 12 in, 160 pages 600 illustrations, hardcover 1983, ISBN 978-3-906700-01-4, g EUR 30.– GBP 28.– USD/CAD 45.–

Jasper Morrison is giving us an insight into his approach and way of working, which he defines as “utilism.” His succinct essays describe the development of individual products from the idea to manufacture. A product list since 1981 completes the lavishly presented selection.

A comprehensive analysis of product design based on the “Die gute Form” (Good Design) campaign by the Swiss Werkbund 1952–1968. Die gute Form is the first book by Lars Müller, published in 1983.

Hannes Wettstein

Seeking Archetypes

hANNES wETTSTEIN SEEKING ArChETYPES

Lars Müller Publishers

Edited by Studio hannes wettstein With essays by Max Küng and Volker Albus and a text collage by Thomas Haemmerli Hannes Wettstein Seeking Archetypes documents the work of Swiss designer Hannes Wettstein, who died in 2008, for the first time in monograph form. The volume features images, quotations from Wettstein, anecdotes from his life, essays, as well as statements by personalities from the worlds of design and architecture, and creates a multifaceted portrait of an extraordinary designer.

Design: Prill & Vieceli 23 × 29 cm, 9 × 11 ½ in, 292 pages 662 illustrations, hardcover 2012, ISBN 978-3-03778-265-1, e/g/i EUR 58.– GBP 55.– USD / CAD 85.–

The most Beautiful Swiss Books 2011

michael maharam mAhArAm AGENDA First known as a supplier of theatrical textiles to Broadway and beyond, Michael Maharam pioneered the concept of engineered textiles for interior applications in the 1960s. Today Maharam is the world’s leading provider of textiles to commercial architects and interior designers. His studio takes a holistic view of design, embracing a range of disciplines that include architecture and interior design, furniture, fashion, and digital means. The publication provides a comprehensive overview of the company’s history, displays cultural markers, and presents different design projects. Design: A4 Studio Cover: Hella Jongerius 19.5 × 26 cm, 7 ¾ × 10 ¼ in 256 pages, 408 illustrations hardcover with stitched fabric cover 2011, ISBN 978-3-03778-187-6, e EUR 55.– GBP 50.– USD / CAD 65.–

European Design Awards 2012: Best Cover Design Design

CorPorATE DIVErSITY Swiss Graphic Design and Advertising by Geigy, 1940–1970 Design: norm 19.4 × 26.8 cm, 7 ¾ × 10 ½ in, 208 pages 385 illustrations, hardcover 2009, ISBN 978-3-03778-160-9, e 2009, ISBN 978-3-03778-161-6, g EUR 40.– GBP 40.– USD / CAD 65.–

Ulrike Felsing DYNAmIC IDENTITIES IN CULTUrAL AND PUBLIC CoNTEXTS Design: Ilka Flora, Ulrike Felsing 16.5 × 24 cm, 6 ½ × 9 ½ in 256 pages, 200 illus., paperback 2010, ISBN 978-3-03778-163-0, e 2010, ISBN 978-3-03778-162-3, g EUR 35.– GBP 35.– USD/CAD 55.–

Jan Conradi UNImArK INTErNATIoNAL The Design of Business and the Business of Design Design: Kevin rau with Jan Conradi 19 × 26 cm, 7 ½ × 10 ¼ in, 244 pages 150 illustrations, hardcover 2010, ISBN 978-3-03778-184-5, e EUR 45.– GBP 40.– USD / CAD 65.–

Edited by the museum of Design Zürich, Andres Janser, Barbara Junod The design studio of J. R. Geigy AG was the launching pad for one of the great periods of Swiss graphic design in the 1950s and 1960s. The design reveals a modernist formal idiom. There was room for visual symbolism as well as the acquisition of nonrepresentational art. This is the first comprehensive presentation of Geigy design. Edited by Ulrike Felsing, Design2context This publication studies methods for creating flexible looks for public and cultural institutions. In the combination of a basic logo and a family of symbols, the look is in a position to represent the fundamentals (the philosophy of the institution, its program) and the specifics (e.g., temporary exhibitions and events). Case studies of famous designers such as Karl Gerstner and Ruedi Baur enhance the analysis. Foreword by Massimo Vignelli Unimark was known for always using the latest technological innovations and computers long before anyone else thought of doing so. A distinctive hallmark of Unimark design was the systematic use of the Helvetica typeface for the corporate identity of its client firms Pirelli, Unilever, IBM, and Ford, among others. Even today, the success of Unimark International (1960 –1970) points the way for designers and the marketing sector.

mETAhAVEN UNCorPorATE IDENTITY

Edited by metahaven (Daniel van der Velden and Vinca Kruk) with marina Vishmidt Co-published by Jan van Eyck Academie

Design: metahaven 17 × 24 cm, 6 ¾ × 9 ½ in, 608 pages 200 illustrations, paperback 2010, ISBN 978-3-03778-169-2, e EUR 45.– GBP 45.– USD / CAD 75.–

Uncorporate Identity is an anthology of Metahaven projects, ideas and models. The book is at once an artistic manifesto for design under globalization and a workbook of essays, narratives and truisms investigating the ambiguous state of identity and branding today.

A5/03: Edited by Jens müller, labor visuell at the CELESTINo PIATTI University of Applied Sciences Düsseldorf AND DTV The Unity of the Program In 1961, the Deutscher Taschenbuch Verlag (dtv) was created to exclusively publish paperbacks. Design: Jens müller The corporate image of the company and all 14.8 × 21 cm, 5 ¾ × 8 ¼ in the book jackets were to be designed by the 128 pages, 196 illustrations same hand. This commission went to the Swiss paperback 2009, ISBN 978-3-03778-178-4, e /g designer Celestino Piatti (1922–2007). Piatti gave EUR 20.– GBP 20.– dtv its unique look for over 30 years, and created USD/CAD 30.– the image of 6300 white paperbacks. A5/02: PhILIPS – TwEN realism Is the Score Design: Jens müller 14.8 × 21 cm, 5 ¾ × 8 ¼ in 96 pages, 103 illustrations paperback 2009, ISBN 978-3-03778-180-7, e /g EUR 20.– GBP 20.– USD/CAD 30.–

A5/01: hANS hILLmANN The Visual works Design: Jens müller 14.8 × 21 cm, 5 ¾ × 8 ¼ in 128 pages, 187 illustrations paperback 2009, ISBN 978-3-03778-179-1, e /g EUR 20.– GBP 20.– USD/CAD 30.–

massimo Vignelli ThE VIGNELLI CANoN Design: massimo Vignelli 14.8 × 21 cm, 5 ¾ × 8 ¼ in, 112 pages 142 illustrations, paperback 2010, ISBN 978-3-03778-225-5, e 2012, ISBN 978-3-03778-268-2, g EUR 28.– GBP 20.– USD/CAD 35.–

Edited by Jens müller, labor visuell at the University of Applied Sciences Düsseldorf Between 1961 and 1968 the magazine Twen published a series of about seventy long-playing records, as a joint venture with the Philips record label. A record appeared monthly with each issue, featuring jazz, classical music, radio plays, world music or pop. This volume illustrates all the sleeves from this unique LP series.

Edited by Jens müller, labor visuell at the University of Applied Sciences Düsseldorf Hans Hillmann (born 1925) started to design film posters while he was still a student, and by 1974 he had produced over 150 of them for the Neue Filmkunst distribution company. He was appointed to a chair in Kassel in 1961, and made a major contribution to shaping the character of the Kassel poster school.

The famous Italian designer Massimo Vignelli allows us a glimpse of his understanding of good design in this book, its rules and criteria. He uses numerous examples to convey applications in practice — from product design via signaletics and graphic design to Corporate Design.

Design

POSTER COLLECTION 23 IN SErIES Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 203 illustrations, paperback 2009, ISBN 978-3-03778-174-6, e /g EUR 25.– GBP 25.– USD / CAD 35.–

POSTER COLLECTION 22 LETTErS oNLY Edited by the museum of Design Zürich With an essay by Emily King Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 114 illustrations, paperback 2010, ISBN 978-3-03778-206-4, e /g EUR 25.– GBP 25.– USD/CAD 35.–

This publication illustrates the creative and effective advertising potential of posters in series. In some instances a formal or content-driven approach of subtle variations produces posters bearing only slight differences from the others in the series; in others, the free interpretation of a basic concept can lead to a wide and highly inspirational spectrum of implementations. POSTER COLLECTION 21 PArADISE SwITZErLAND Edited by the museum of Design Zürich With an essay by David Signer Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 112 illustrations, paperback 2010, ISBN 978-3-03778-205-7, e /g EUR 25.– GBP 25.– USD/CAD 35.–

POSTER COLLECTION 20 hELP! Appeals to Social Conscience

POSTER COLLECTION 19 hEAD To hEAD

Edited by the museum of Design Zürich With an essay by Sønke Gau and Katharina Schlieben

Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 192 pages 120 illustrations, paperback 2009, ISBN 978-3-03778-151-7, e 2009, ISBN 978-3-03778-130-2, g EUR 30.– GBP 30.– USD / CAD 40.–

Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 120 illustrations, paperback 2009, ISBN 978-3-03778-174-6, e /g EUR 25.– GBP 25.– USD / CAD 35.–

Edited by the museum of Design Zürich With an essay by Fabian Wurm

Edited by the museum of Design Zürich With an essay by Thomas Macho

POSTER COLLECTION 18 oTTo BAUmBErGEr

POSTER COLLECTION 17 PhoTo GrAPhICS

Edited by the museum of Design Zürich With an essay by Martin Heller

Edited by the museum of Design Zürich With an essay by Nanni Baltzer

Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 120 illustrations, paperback 2008, ISBN 978-3-03778-129-6, e /g EUR 25.– GBP 25.– USD / CAD 35.–

Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 120 illustrations, paperback 2008, ISBN 978-3-03778-128-9, e /g EUR 25.– GBP 25.– USD / CAD 35.–

POSTER COLLECTION 16 ComIX!

POSTER COLLECTION 15 BrEAKING ThE rULES

Edited by the museum of Design Zürich With an essay by Pascal Lefèvre

Edited by the museum of Design Zürich With an essay by Martin Jaeggi and Peter Schweiger

Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 100 illustrations, paperback 2008, ISBN 978-3-03778-099-2, e /g EUR 25.– GBP 20.– USD / CAD 30.–

Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 104 illustrations, paperback 2007, ISBN 978-3-03778-094-7, e /g EUR 25.– GBP 20.– USD / CAD 30.–

POSTER COLLECTION 14 ZÜrICh-mILANo

POSTER COLLECTION 13 TYPo ChINA

Edited by the museum of Design Zürich With an essay by Hans Höger

Edited by the museum of Design Zürich With an essay by Eva Lüdi Kong

Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 117 illustrations, paperback 2006, ISBN 978-3-03778-079-4, e /g EUR 23.– GBP 20.– USD / CAD 30.–

Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 64 pages 78 illustrations, paperback 2006, ISBN 978-3-03778-078-7, e /g EUR 20.– GBP 20.– USD / CAD 25.–

POSTER COLLECTION 12 CAThErINE ZASK

POSTER COLLECTION 11 hANDmADE

Edited by the museum of Design Zürich With essays by Henri Gaudin and Catherine de Smet

Edited by the museum of Design Zürich With an essay by Claude Lichtenstein

Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 64 pages 54 illustrations, paperback 2005, ISBN 978-3-03778-054-1, e /g / f EUR 20.– GBP 15.– USD / CAD 20.–

Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 140 illustrations, paperback 2005, ISBN 978-3-03778-053-4, e /g EUR 23.– GBP 20.– USD / CAD 30.–

POSTER COLLECTION 10 mIChAEL ENGELmANN

POSTER COLLECTION 09 rALPh SChrAIVoGEL

Edited by the museum of Design Zürich With an essay by Anita Kühnel

Edited by the museum of Design Zürich With an essay by Robert Massin

Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 80 illustrations, paperback 2004, ISBN 978-3-03778-039-8, e /g EUR 23.– GBP 20.– USD / CAD 30.–

Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 64 pages 70 illustrations, paperback 2003, ISBN 978-3-03778-016-9, e /g EUR 20.– GBP 15.– USD / CAD 25.–

Design

POSTER COLLECTION 08 BLACK AND whITE

POSTER COLLECTION 07 ArmIN hoFmANN

Edited by the museum of Design Zürich With an essay by Lars Müller

Edited by the museum of Design Zürich With an essay by Steven Heller

Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 80 pages 107 illustrations, paperback 2003, ISBN 978-3-03778-014-5, e /g EUR 20.– GBP 15.– USD / CAD 22.–

Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 80 pages 80 illustrations, paperback 2003, ISBN 978-3-03778-004-6, e /g EUR 20.– GBP 15.– USD / CAD 22.–

POSTER COLLECTION 06 VISUAL STrATEGIES AGAINST AIDS

POSTER COLLECTION 05 TYPoTEKTUr

Edited by the museum of Design Zürich With an essay by Nigel Barley Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 130 illustrations, paperback 2003, ISBN 978-3-907078-90-7, e /g EUR 23.– GBP 20.– USD / CAD 26.–

POSTER COLLECTION 04 horS-SoL Edited by the museum of Design Zürich Essays by Bettina Richter and André Heiz Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 139 illustrations, paperback 2001, ISBN 978-3-907078-54-9, e /g EUR 23.– GBP 20.– USD / CAD 30.–

Edited by the museum of Design Zürich With an essay by Andres Janser Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 64 pages 85 illustrations, paperback 2003, ISBN 978-3-907078-89-1, e /g EUR 20.– GBP 15.– USD / CAD 20.–

out of Print POSTER COLLECTION 03 PoSTErS For EXhIBITIoNS 1980–2000 Edited by the museum of Design Zürich With an essay by Stuart Bailey Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 150 illustrations, paperback 2001, ISBN 978-3-907078-55-6, e /g EUR 23.– GBP 20.– USD / CAD 30.–

POSTER COLLECTION 02 DoNALD BrUN

POSTER COLLECTION 01 rEVUE 1926

Edited by the museum of Design Zürich With an essay by Jean Charles Giroud

Edited by the museum of Design Zürich With an essay by Hans U. Gumbrecht

Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 64 pages 70 illustrations, paperback 2001, ISBN 978-3-907078-53-2, e /g EUR 20.– GBP 15.– USD / CAD 20.–

Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 64 pages 91 illustrations, paperback 2001, ISBN 978-3-907078-52-5, e /g EUR 22.– GBP 20.– USD / CAD 20.–

GLoBAL DESIGN International Perspectives and Individual Concepts

Edited by the museum of Design Zürich, Angeli Sachs With contributions by Beatriz Colomina, Angeli Sachs, Philip Ursprung, Jeroen van Rooijen, a.o.

Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in 320 pages, 350 illustrations paperback 2010, ISBN 978-3-03778-210-1, e 2010, ISBN 978-3-03778-154-8, g EUR 35.– GBP 35.– USD/CAD 60.–

This volume surveys the ways in which our globalized world has manifested itself in design since 1970, and the ways in which design has evolved to serve a globalized world. The focus is on the formation of global networks in the areas of communication, production, commerce, finance, and mobility.

NATUrE DESIGN From Inspiration to Innovation

Edited by the museum of Design Zürich, Angeli Sachs

Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in 320 pages, 318 illustrations paperback 2007, ISBN 978-3-03778-098-5, e EUR 30.– GBP 30.– USD /CAD 50.–

Claude Lichtenstein PLAYFULLY rIGID Swiss Architecture, Graphic Design, Product Design, 1950 –2006 Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in 300 pages, 370 illustrations hardcover 2007, ISBN 978-3-03778-090-9, e 2007, ISBN 978-3-03778-089-3, g EUR 25.– GBP 25.– USD / CAD 38.–

Peter Erni, martin huwiler, Christophe marchand TrANSFEr Erkennen und Bewirken Design: Authors 19.6 × 27 cm, 7 ¾ × 10 ½ in 416 pages, 1500 illustrations paperback 2008, ISBN 978-3-03778-113-5, g EUR 30.– GBP 27.– USD/CAD 40.–

Nature has always been a source of inspiration for the design of the human environment, but in recent years this relationship has grown even more intense. Nature Design brings together projects and objects from design, architecture, photography, and art. The protagonists include Peter Eisenman, Zaha Hadid, Herzog & de Meuron, and Olaf Nicolai, among others. This selection of Swiss architecture, graphic design, and design from 1950 to 2006 demonstrates that playful humor and clarity are by no means opposites, but a highly unusual duo of qualities that mingle. The question addressed by this publication is: are these examples from three professions bound together by a common denominator?

Design professionals of every discipline – architects, product and graphic designers – are confessing to certain difficulties in common: to transform their knowledge of the ecological, economic, technological and aesthetic parameters of an enduring contemporary design into the practice of their professions. The authors of Transfer have devised a method of making the critical factors of innovative design vividly immediate and usable in practice.

Design

Jean-Benoît Lévy hANDBooK Design: Jean-Benoît Lévy 12 × 16 cm, 4 ¾ × 6 ¼ in 256 pages, 490 illustrations paperback 2006, ISBN 978-3-03778-077-0, e EUR 15.– GBP 15.– USD / CAD 20.–

ToUCh mE! The mystery of the Surface

Edited by Gregor Eichinger and Eberhard Tröger, Chair of Architecture and Design, Department of Architecture, ETh Zürich

Design : Ecke Bonk 16.5 × 24 cm, 6 ½ × 9 ½ in, 184 pages 21 illustrations, hardcover 2011, ISBN 978-3-03778-229-3, e 2011, ISBN 978-3-03778-254-5, g EUR 30.– GBP 28.– USD / CAD 45.–

Gregor Eichinger argues that since the beginning of modernity the concept of surface has been neglected by architecture. In an intensive conversation, he and architect Eberhard Tröger discuss the subject. The text of this conversation is interwoven with a variety of related quotations and complemented by a series of images.

FINDINGS oN ELASTICITY

Edited by Pars Foundation

Design: studio Joost Grootens 20 × 27 cm, 7 ¾ × 10 ¾ in 208 pages, 70 illustrations paperback 2010, ISBN 978-3-03778-148-7, e EUR 35.– GBP 35.– USD/CAD 55.–

Over the years Jean-Benoît Lévy has collected hundreds of examples backing up his notion of a worldwide system of hand signals. The panoply of hands presented in this publication confirms that hand signals constitute a global, intercultural metalanguage. As a handbook — or “manual” — this publication invites us to observe our own surroundings with a new curiosity and sense of awareness.

The second issue in the exciting and experimental cross-disciplinary series Findings on . . . by Astrid van Baalen and Hester Aardse from Pars Foundation is centred on elasticity in the broadest sense of the word. What happens when one gives a simple rubber band to an architect, historian, choreographer, chemist, artist, mathematician, physicist, economist, anthropologist, and geologist and asks each of them for a statement on elasticity?

FINDINGS oN ICE

Edited by Pars Foundation

Design: studio Joost Grootens 20 × 27 cm, 7 ¾ × 10 ¾ in 190 pages, 126 illustrations paperback 2007, ISBN 978-3-03778-125-8, e EUR 30.– GBP 30.– USD / CAD 50.–

The Pars Foundation was founded from the conviction that art and science are both essentially creative processes. Every year Pars invites artists and scienctists to contribute to creative thinking. The book on “ice“ demonstrates a variety of different perspectives and ideas by artists and scientists, and functions as a visual and textual introduction.

Lars müller JoSEF mÜLLEr-BroCKmANN Pioneer of Swiss Graphic Design In his illustrated essay, Lars Müller traces the history of “Swiss Graphic Design” from the 1930s to the 1960s. Müller-Brockmann’s posters have become world famous for their ability to convey information with great visual tension, a sense of drama, and an extreme economy of means.

Design: Integral Lars müller 19 × 27 cm, 7 ½ × 10 ¾ in 264 pages, 415 illustrations paperback 1994, ISBN 978-3-906700-89-2, e 1994, ISBN 978-3-907078-59-4, g EUR 40.– GBP 40.– USD / CAD 60.–

Pierre mendell AT FIrST SIGhT Design: Pierre mendell 24 × 30 cm, 9 ½ × 11 ¾ in, 200 pages 250 illustrations, hardcover 2001, ISBN 978-3-907044-49-0, e 2001, ISBN 978-3-907078-64-8, g EUR 30.– GBP 30.– USD / CAD 45.–

Pierre mendell PoSTErS For ThE oPErA Design: Pierre mendell 15.5 × 22 cm, 6 × 8 ¾ in, 160 pages 97 illustrations, hardcover 2006, ISBN 978-3-03778-082-4 e /g EUR 25.– GBP 25.– USD / CAD 35.–

The design of Pierre Mendell (1929–2008) is characterized by elements missing in large parts of contemporary graphic design: pithy impact, communicative force, poetry and humor. The publication aims to encourage designers to trust in the power of the idea and of simple forms and to see their work as cultural expression of the wider society.

Pierre Mendell designed the posters for the Staatsoper in Munich from 1993 to 2006. With over a hundred motifs to his name, he has not only successfully created an unmistakable identity for the Munich opera, but he has also linked this opera house with a form of visual expression that is unparalleled in its originality and immediacy.

Design

ruedi Baur rUEDI BAUr INTÉGrAL Anticipating, Questioning, Inscribing, Distinguishing, Irritating, orienting, Translating Design: ruedi Baur, heidi Abt, meriem Bouhara, Chantal Grossen 16.5 × 24 cm, 6 ½ × 9 ½ in, 480 pages 200 illustrations, hardcover 2010, ISBN 978-3-03778-134-0, e 2010, ISBN 978-3-03778-202-6, g 2010, ISBN 978-3-03778-203-3, f EUR 50.– GBP 50.– USD/CAD 80.–

mark holt, hamish muir 8vo oN ThE oUTSIDE Design: mark holt, hamish muir 12 × 16 cm, 4 ¾ × 6 ¼ in, 536 pages 395 illustrations, hardcover 2005, ISBN 978-3-03778-019-0, e EUR 25.– GBP 23.– USD / CAD 38.–

Pierre Bernard mY worK IS NoT mY worK Design for the public domain Design: reynoud homan 16.5 × 24 cm, 6 ½ × 9 ½ in, 320 pages 270 illustrations, paperback 2008, ISBN 978-3-03778-087-9, e 2007, ISBN 978-3-03778-086-2, f 2007, ISBN 978-3-03778-104-3, Dutch EUR 40.– GBP 40.– USD / CAD 50.–

wINDFALL LIGhT The Visual Language of ECm Design: Integral Lars müller 18.5 × 26 cm, 7 ¼ × 10 ¼ in 448 pages, 1260 illustrations paperback 2010, ISBN 978-3-03778-157-9, e 2010, ISBN 978-3-03778-197-5, g EUR 55.– GBP 50.– USD/CAD 85.–

Ruedi Baur has chosen seven concepts to describe his conceptual approach: anticipate, question, inscribe, perplex, orient, differentiate, and translate. They serve as the structure of his book and the basis for seven dialogues between him and conversation partners from various disciplines. The practical implementation of these concepts is presented using projects from his Intégral studio in Zürich and Paris.

On the outside surveys 8vo’s work from 1984 to 2001. The emphasis is on process: trying to reveal how 8vo’s design was made rather than simply showing finished jobs. Written and designed by Mark Holt and Hamish Muir, two of the founding principals of 8vo, the story is told how it was — the everyday struggles of working with clients, typesetters, printers, and later on computers.

In his work, French designer Pierre Bernard focuses on the public domain, on communication between governments and citizens, on notification and orientation in the public realm. A striking example is his concept for the Louvre’s corporate identity in Paris. Bernard is omnipresent in France with his design of the distinctive seal of the French National Parks.

Edited by Lars müller Since its founding in 1969, ECM (Edition of Contemporary Music), has been dedicated primarily to jazz and contemporary classical music. This publication about the ECM label is devoted to its sleeve designs from 1996 to the present. ECM’s design aesthetics has always been an integral part of its music productions. Manfred Eicher’s collaboration with artists has produced an aesthetics of the cover that initiates a dialogue between image and music.

Frédéric Dedelley DESIGN DETECTIVE Design: J. Fracheboud 17 × 22 cm, 6 ¾ × 8 ¾ in, 258 pages 210 illustrations, hardcover 2008, ISBN 978-3-03778-137-1 e / g /f EUR 30.– GBP 30.– USD / CAD 40.–

Isabel Naegele and ruedi Baur SCENTS oF ThE CITY Design: Intégral ruedi Baur 14 × 20 cm, 5 ½ × 7 ¾ in 480 pages, 1500 illustrations paperback 2004, ISBN 978-3-03778-012-1 e/ g/f EUR 16.– GBP 15.– USD / CAD 20.–

Karl Gerstner DESIGNING ProGrAmmES Design: Karl Gerstner Revised reprint, original 1964 19.5 × 25 cm, 7 ¾ × 9 ¾ in 120 pages, 200 illustrations hardcover 2007, ISBN 978-3-03778-093-0, e 2007, ISBN 978-3-03778-092-3, g EUR 30.– GBP 30.– USD / CAD 40.–

KITChEN TooLS Design by Kuhn rikon Design: raffinerie, Zürich 21 × 31.5 cm, 8 ¼ × 12 ½ in 96 pages, 70 illustrations, hardcover 2012, ISBN 978-3-03778-283-5, e/g EUR 38.– GBP 35.– USD / CAD 50.–

Edited by Ariana Pradal The designer Frédéric Dedelley illustrates with eight themes and exemplary projects the path from discovering an image in everyday life, archiving it, and reworking it until it is transformed into a new object. The book serves as a source of inspiration and guideline for designers and provides insight into the practices of an experienced designer.

Scents of the City is a pictorial archive of small samples and patterns of public spaces in a city; it is the result of the obsession to collect what visually denotes the flavour of a city, which is so difficult to describe with words but can change its perception completely.

Edited by harald Geisler and Jonas Pabst Karl Gerstner’s work is a milestone in the history of design. Designing Programmes is one of his most important works: in four essays the author provides a basic introduction to his design methodology and suggests a model for design in the early days of the computer era. The book is especially topical and exciting in the context of current developments in computational design.

Edited by Kuhn rikon With photographs by Cortis & Sonderegger, Zürich Kitchen Tools provides a platform for products developed over the past five years at the Swiss kitchen tool manufacturer Kuhn Rikon. The photographs are complemented by texts by Claude Lichtenstein, Christof Gassner, and Philipp Beyeler, and discuss the kitchen as a world en miniature, design for cooking, and the history of this iconic Swiss kitchen tool manufacturer. Design

DISorIENTATIoN/ orIENTATIoN 1 Design: r. Baur, P. Taylor, U. Felsing 16.5 × 24 cm, 6 ½ × 9 ½ in 264 pages, 300 illustrations paperback 2008, ISBN 978-3-03778-133-3 e /g / f EUR 30.– GBP 30.– USD / CAD 45.–

DISorIENTATIoN/ orIENTATIoN 2

Orient-ierung/ation Des-/Dés-/Dis-/orient-ierung/ation

Design2context

Design: ruedi Baur und megan hall 16.5 × 24 cm, 6 ½ × 9 ½ in 384 pages, 50 illustrations paperback 2010, ISBN 978-3-03778-158-6 e /g / f EUR 30.– GBP 30.– USD/CAD 45.–

Edited by Design2context, ruedi Baur Designers, graphic artists, architects, and urban planners are now confronted with the tasks of signage, route management, and orientation systems. This book allows them to benefit from a broad view of phenomena related to disorientation.

Edited by Design2context, ruedi Baur Disorientation /Orientation 2 is an academic investigation into phenomena, representations, and stagings of orientation and disorientation. The thematically organized anthology highlights the areas in which the concepts of orientation and disorientation are applied and sets in motion a critical analysis in various fields.

Institute Design2context Zürich University of the Arts LARS MÜLLER PUBLISHERS

Gerlinde Schuller DESIGNING UNIVErSAL KNowLEDGE The world as Flatland – report 1 Design: Information Design Studio / Gerlinde Schuller 16.5 × 24 cm, 6 ½ × 9 ½ in, 304 pages 650 illustrations, hardcover 2009, ISBN 978-3-03778-149-4, e EUR 35.– GBP 35.– USD / CAD 50.–

Edo Smitshuijzen SIGNAGE DESIGN mANUAL Design: Edo Smitshuijzen 16 × 26 cm, 6 ¼ × 10 ¼ in 456 pages, 800 illustrations hardcover 2007, ISBN 978-3-03778-096-1, e EUR 45.– GBP 40.– USD/CAD 60.– e-book New: e-book 2012, ISBN 978-3-03778-331-0, e EUR 14.99 GBP 11.99 USD / CAD 19.99

The Internet and globalization have changed access and spread of the available knowledge and the speed of collecting. The author examines collections of knowledge: archives, encyclopedias, data collections, and libraries that make knowledge accessible worldwide. Who is collecting the world’s knowledge? How is it structured and designed? Who controls the access to knowledge?

In an entertaining and straightforward way, Edo Smitshuijzen’s Signage Design Manual leads the reader step by step through the individual phases of signal design. More than nine hundred illustrations guide through this demanding process. With this publication the canon of signaletics finally has its own textbook.

hans Arp and El Lissitzky ThE ISmS oF ArT 1914–1924 Reprint, original 1925 20 × 26 cm, 8 × 10 ¼ in 60 pages, 75 illustrations hardcover 1990, ISBN 978-3-906700-28-1 e /g / f EUR 20.– GBP 15.– USD / CAD 30.–

hans richter NEw LIVING Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in 128 pages, 500 illustrations hardcover 2001, ISBN 978-3-907078-22-8, e EUR 44.– GBP 35.– USD / CAD 28.–

GEFESSELTEr BLICK 25 profiles and articles on designers in advertising Reprint, original 1930 21 × 26.5 cm, 6 × 8 ¾ in, 112 pages 140 illustrations, hardcover 1996, ISBN 978-3-907044-02-5, g EUR 45.– GBP 40.– USD/CAD 60.–

Annemarie Bucher SPIrALE Eine Künstlerzeitschrift 1953–1964 Design: Lars müller 22 × 30 cm, 8 ½ × 12 in, 224 pages 450 illustrations, hardcover 2001, ISBN 978-3-906700-21-2, g EUR 58.– GBP 52.– USD/CAD 65.–

This surprising collection of “isms” ranks among the most important publications on avant-garde art in the 1920s. Hans Arp and El Lissitzky took a refreshing, frankly opinionated inventory of artistic attitudes and movements from 1914 to 1924. Lissitzky’s exuberant design of the book epitomizes the style of the times.

Edited by Andres Janser and Arthur rüegg This publication includes detailed sequences from the New Living film, as well as numerous documents that illustrate the new style of architectural modernism.

Edited by heinz and Bodo rasch Gefesselter Blick, the captivated gaze, is one of the most important publications on the state of commercial art in the late 1920s. The Rasch brothers invited 25 designers to write brief “monographs and contributions.” Their publication launches a radical reversal of classic advertising design. The most revolutionary artists of the time are represented.

Spirale was an international artists’ magazine for young art and is now one of the most important records of how art developed in the 1950s. It marks the change of generations in post-war art and documents the development of abstract and constructive/concrete art in Europe. Spirale was edited by Marcel Wyss, Dieter Roth, and Eugen Gomringer and was published from 1953 to 1964.

Design

Olafur Eliasson, Your Engagement has Consequences, 2006

Art The publisherâ&#x20AC;&#x2122;s affinities and friendships have coined our publications on contemporary art. These titles frequently establish links between various sections of our program. Developments in architecture and design are often nourished by inspiration from the fine arts. Entering into a dialog with art is vital to heighten our senses and allow us to engage with phenomena pertaining to perception. our publishing house takes a special interest in experimentation and the ways in which art reflects the world.

Emblematic olafur Eliasson YoUr ENGAGEmENT hAS CoNSEQUENCES, 2006 Design: Michael Heimann (out of print) Olafur Eliassonâ&#x20AC;&#x2122;s expansive installations and sculptures, which explore aspects and phenomena of perception, summon up fascinating yet confusing impressions. The artist sketches out a model in which space, time and motion all influence each other, making it impossible to articulate a definitive description of his works. The art is in the eye of the beholder.

ENCYCLoPEDIA oF FLowErS Flower works by makoto Azuma Photographed by Shunsuke Shiinoki

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Edited by Kyoko wada Design: Kenya hara 16.5 × 24.8 cm, 6 ½ × 9 ½ in, 512 pages 203 color illustrations paperback in transparent slipcase 2012, ISBN 978-3-03778-313-9, English EUR 58.– GBP 50.– USD / CAD 85.– Encyclopedia of Flowers is a visual exploration of the breathtaking floral arrangements by Makoto Azuma—encounters of unusual, sometimes exotic plants that wouldn’t typically occur in nature. With his meticulously composed photographs, Shunsuke Shiinoki exposes the flowers’ tenuous existence, their fragile forms, continuous metamorphoses, and inevitable decay. In a contemporary manner, Encyclopedia of Flowers immerses the reader in a universe of extraordinary beauty while at the same time addressing dichotomies such as durability and vanity, artificiality and nature, hybrid culture and environmental change. This volume by the Japanese “haute-couture” florists includes an introduction by Makoto Azuma and an index identifying all of the more than 2,000 featured species with their binomial names.

Art

DAN GrAhAm NEw VIDEo – ArChITECTUrE – TELEVISIoN writings on Video and Video works 1970–1978 Edited by Benjamin h. D. Buchloh Reprint, original 1979 28 × 21.6 cm, 11 × 8 ¼ in, 96 pages 113 illustrations, paperback 2012, ISBN 978-3-03778-300-9, English EUR 40.– GBP 35.– USD / CAD 50.– This title, published in 1979 and long since out of print, now appears as a reprint from Lars Müller Publishers. The original book was released in the series of publications Source Materials of the Contemporary Arts initiated by Kasper König and produced by the Press of the Nova Scotia College of Art and Design. The publication represents an important document in Dan Graham’s artistic examination of the video medium. Graham’s installations and performances with video from the years 1970–78 are documented with numerous illustrations, photos, and brief descriptions. In addition, the volume contains an essay by the artist in which he examines the various possibilities and forms of representation offered by the video medium, and draws the boundaries between these and representational spaces in television, film, or architecture. The book also offers contributions by Michael Asher and Dara Birnbaum, as well as an annex with a biography and bibliography.

DAN GrAhAm’S NEw JErSEY

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Edited by Craig Buckley and mark wasiuta In cooperation with GSAPP, Columbia University Design: Integral Lars müller 19 × 26 cm, 7 ½ × 10 ¼ in, 192 pages 140 illustrations, hardcover 2012, ISBN 978-3-03778-259-0, English EUR 45.– GBP 42.– USD / CAD 65.– Dan Graham, one of North America’s most important contemporary artists, is best known today for his sculptural works and installations. His photographic works are generally not so well known, despite the fact that he first became famous for his photographic series Homes for America, pictures of typical American suburbia. To this day the theme of architecture and its surfaces in the context of postmodern everyday culture represents an extremely important facet of his work. This publication presents new photographs by Dan Graham together with original photographs from the Homes for America series. The new images exhibit stark similarities to the old pictures, as they were taken in the same locations, the same deserts of suburban streets and housing that Graham photographed in the sixties. Creating a fascinating, multilayered reference system of repetitions and differences, both spatially as well as temporally, it raises questions about architecture and public space and their function in society.

They’re Italian-Americans who you can see are very involved with the flag. They have chainlink fences, which means they’re frightened of the neighbors. I think mostly very old people live there. We found extremely old people, people who couldn’t afford to go down to New Jersey shore.

Untitled, Jersey City, NJ, 2006

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Split Level “Two Home Home”, Jersey City, N.J. 1966

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Ground Level “Two Home Home”, Jersey City, N.J. 1966

Art

Silvia Bächli and Eric hattan BLINDHÆÐIR East Iceland Design: Silvia Bächli and Eric hattan 29 × 16.3, 11 ½ × 7 ½ in, 304 pages 147 photographs, hardcover 2010, ISBN 978-3-03778-216-3 English /German /French /Icelandic EUR 40.– GBP 40.– USD/CAD 65.–

Silvia Bächli LIDSChLAG how It Looks Design: Silvia Bächli and Lars müller 22 × 28 cm, 8 ¾ × 11 in, 304 pages 211 illustrations, hardcover 2004, ISBN 978-3-03778-013-8 e /g EUR 30.– GBP 30.– USD / CAD 45.–

Silvia Bächli – DAS Design: Anne hoffmann Graphic Design 13 × 19.5 cm, 5 × 7 ¾ in, 136 pages 60 illustrations, paperback 2009, ISBN 978-3-03778-155-5 e /g EUR 23.– GBP 23.– USD / CAD 40.–

Until a couple of years ago, my idea was that I had no need for a residence. I spent most of my time in my studio or traveling. My apartment was just to sleep in.

Katharina Grosse Now I’m going to plant a kitchen garden around the house.

KAThArINA GroSSE wISh I hAD A BIG STUDIo IN ThE CENTEr oF ThE CITY

Only one window opens, and it’s violet.

Wish I had a big studio in the center of the city Lars Müller Publishers

Design: heimann und Schwantes, Berlin 17 × 23 cm, 6 ¾ × 9 in, 144 pages 73 illustrations, hardcover 2009, ISBN 978-3-03778-170-8, e 2009, ISBN 978-3-03778-168-5, g EUR 30.– GBP 30.– USD / CAD 45.–

Edited by Editions Attitudes, Geneva Silvia Bächli and Eric Hattan spent four months in Seydisfjördur in eastern Iceland. The landscape they explored is dominated by snow, which shapes the atmosphere in and around the fjord with its changeable forms. The artists create a unique portrait of Iceland’s magnificent landscapes with their photographs, thus chronicling the passage of time.

With an essay by Beate Söntgen Silvia Bächli’s art makes us feel unsure of ourselves. It sends viewers on a tightrope walk between banality and deliberate continuity. Despite the general trend in art towards being ever more provocative, louder, and more strident, Silvia Bächli has stuck to indian ink, gouache, oil paint and thin, smooth white paper.

Edited by the Swiss Federal office of Culture, Bern In 2009, Silvia Bächli designed the official contribution for the Swiss Pavilion at the Venice Biennale. The publication DAS provides a look inside her studio and documents her preparations for this exhibition. The texts are complemented by photographs of her working stay in Iceland.

Edited by Katharina Grosse

The artist Katharina Grosse has fulfilled her dream of a tailor-made studio, a place large enough to accommodate her works and where an industrial atmosphere is combined with soft light and neutral walls. In close cooperation with the artist, the office of Augustin und Frank Architekten planned the studio in Berlin’s Mitte neighborhood and completed it in 2007.

Hamish Fulton’s photographic work focuses on hamish Fulton ThE UNCArVED BLoCK nature and the way people experience nature. He has been hiking all over the world for 30 years, Design: hamish Fulton and translates what he experiences and sees into 30 × 24 cm, 11 ¾ × 9 ½ in, 160 pages art. In 2009, Hamish Fulton and an expedition 120 illustrations, hardcover team climbed Mount Everest, the highest peak in 2010, ISBN 978-3-03778-227-9, e EUR 50.– GBP 50.– the world. The Uncarved Block presents this artist USD / CAD 75.– treatment of the ascent to the summit for the first time in a compendious pictorial volume.

PArADoXES oF APPEArING Essays on Art, Architecture and Philosophy Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in 224 pages, 60 illustrations paperback 2009, ISBN 978-3-03778-192-0, e EUR 30.– GBP 30.– USD / CAD 45.–

olafur Eliasson YoUr moBILE EXPECTATIoNS: Bmw h2r ProJECT Design: heimann und Schwantes, Studio olafur Eliasson 14.7 × 21 cm, 5 ¾ × 8 ¼ in, 336 pages 415 illustrations, hardcover 2008, ISBN 978-3-03778-117-3, e EUR 20.– GBP 20.– USD/CAD 30.–

Christian möller A TImE AND PLACE media Architecture Design: Integral Lars müller 12.5 × 19 cm, 5 × 7 ½ in, 240 pages 288 illustrations, paperback 2004, ISBN 978-3-907078-91-4, e EUR 20.– GBP 18.– USD / CAD 30.–

Edited by michael Asgaard Andersen and henrik oxvig Paradoxes of Appearing contains a collection of essays by scholars and artists from a range of different fields, including art, art history, architectural theory, and philosophy. The essays refer to fundamental considerations with regard to perception: what it is that evades us when works are experienced and created.

In the BMW H2R research project, Eliasson raises questions of formgiving and materiality, mobility, temporality, movement, and renewable energy. Studio Olafur Eliasson created a new skin for a BMW H2R hydrogen-power vehicle, which consists of layers of ice frozen around two intricate nets, mirrored plates and light.

A Time and Place shows the extensive body of work by the German artist Christian Möller. It describes his fascinating tightrope walk between analogue and digital worlds, a monograph consisting of both Internet and book pages.

Art

76 Lukas Felzmann, Swarm, 2011

Photography A conscious, carefully considered focus on the photographic image is the hallmark of all aspects of our publishing program. In addition, we also focus on this medium as an autonomous discipline—from experimental photobook formats to historical documentations. Artistic positions play just as great a part as journalistic reportage. The essential characteristics are artistic independence and the originality of the photographers, along with the relevance of the projects’ content.

Exemplary Andreas Seibert From Somewhere to Nowhere, 2008 Design: Integral Lars Müller (see page 93) In his photographs and texts Andreas Seibert describes a social crisis in booming China. With exemplary persistence and empathy, he tracks down the background to individual biographies of working migrants and wins the protagonists’ trust. Never slipping into voyeurism, he conveys a unique impression of the scope of this massive modern migration.

Andreas Seibert ThE CoLorS oF GrowTh river huai in China

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Design: Integral Lars müller 26 × 19 cm, 10 ¼ × 7 ½ in, approx. 240 pages approx. 240 illustrations, hardcover 2012, ISBN 978-3-03778-295-8, English EUR 40.– GBP 35.– USD / CAD 50.– China’s spectacular growth has brought not just prosperity, but also serious damage to the environment. For photojournalist Andreas Seibert, the present state of the Huai River is a clear example of these problems. Several stretches of the river have been so seriously polluted by toxic waste that people are advised not to even touch the water. Seibert has traveled along the river from source to mouth in order to record how it changes from a stretch of water rising amidst unspoiled nature into a large and poisonous river. Pictures taken on his travels present the poor hinterlands which are generally forgotten in discussions on China, and show the people who live on and near the river—in a habitat on the brink of destruction. See also page 93: From SomEwhErE To NowhErE

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Ut verum, consere, uta nimosa soluptas dolorem porenis earupiduci cus aborRovit etusant iistrum, volores quos vel eaqui dolupta testem incilli atiuntiae voluptat quid et molores di net doluptatem dita consectiorro mi, quate nihiliquias elitio. Ur si cuptatem quatempos elesti que dolores tibus, nusa dolorerrum sam ea ne ipsum eos aut dusam verumqu amusda quo in pedis estem velitatum fugiae voluptio. Lorehende omnimenisim quateculpa numquia commo con reribus, sequod magnam, con corro que nullabo restias itatem. Et veles mo tem commolorest alia apel isciatu repudistis maio minciusant alit queReris recestiant volutem faciisc iderisquam ut litet asit harit, od esecta simus. Ficipicid qui il inctate nos rem harum ipis voluptatur? Elitae nieniste nem eaquos exerum enisit fugit opta dolest, sum inum con porro volenda ecatquate nonsequasse vel enienis dolendi officienecum quo debitae re imint pos ex eatium ilictate volore quae nonsequ idebit alistrum eos doluptatquam eatur min eum ant mil ident fuga. Officia nonserovid que con essent voluptatur? Officil iquati te es rerfere dollorum quibus dolestius accabo. Is qui cullora temporibea que laut lanisit atestem ipiet faccum litatem am corio. Aximenduciat magnimp orepero que di tenes pre et doluptae imaio dolo evellabore etur, cusdae eatur aditae di restibus et voluptatem uta desti berferc hicideb itassequid et ex evellatium esseditiat esequi accaepe dipsam, sunt.

Photography

rESET – BEYoND FUKUShImA will the Nuclear Catastrophe Bring humanity to Its Senses?

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Edited by Adriano A. Biondo and Lars müller Photographs by Kazuma Obara Design: Integral Lars müller 23 × 29.7 cm, 9 × 11 ¾ in, 216 pages 130 illustrations, paperback 2012, ISBN 978-3-03778-292-7, English/Japanese EUR 50.– GBP 42.– USD / CAD 66.– Ever since the first days following the disastrous events that took place in Japan in March 2011, photojournalist Kazuma Obara has been visiting the sites and the people affected. He even visited the Fukushima power plant itself, where he talked to the workers involved. The series of portraits and interviews he produced is published for the first time in this publication. Obara’s photographs offer touching insights about the consequences of the events surrounding Fukushima. Recollected in this book, they offer a long-term perspective and pose the question of responsibility. They bring to mind just how farreaching the consequences of this catastrophe are, for the people on site as well as worldwide. The book offers a view that goes beyond the pure facts on site—Beyond Fukushima.

Christian Lutz IN JESUS’ NAmE

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Design: Integral Lars müller 30 × 24 cm, 11 ¾ in × 9 ½, approx. 96 pages approx. 90 illustrations, hardcover 2012, ISBN 978-3-03778-294-1, English/German EUR 40.– GBP 35.– USD / CAD 50.– After examining political and economic structures of power in Protokoll and Tropical Gift, in the publication In Jesus’ Name photographer Christian Lutz turns his focus on the ritual and social behavior patterns within a religious organization. For over a year he has documented the evangelical group “International Christian Fellowship” in Switzerland. With a coolly distanced view, his photographs show the yearning for belonging and for jointly experienced spirituality that is made manifest in large religious events. They reveal that at such meetings—in stadiums but also in remote camping sites—location and clothing play a less important role than the experience of community and cultic ritual. Lutz critically questions the emotionally charged meetings and reveals parallels to other social mass events such as rock concerts or football matches. See also page 89: TroPICAL GIFT, ProToKoLL page 93: FAITh IS

Photography

Thomas Flechtner NEwS

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Design: Integral Lars müller Portfolio with 108 printed-on newspaper pages in box 32 × 47 cm, 12 ½ x 18 ½ in 2012, ISBN 978-3-03778-318-4, English/German EUR 80.- GBP 65.– USD / CAD 120.– News represents a further development of the much-acclaimed work of artist Thomas Flechtner. Whereas in Snow he looked at snow as a metaphor for timelessness, calm, distance, and loneliness, and in Bloom used atmospherically condensed studies of plants to examine the boundless colorfulness and movement of grown nature, for his new project News Flechtner collected newspaper front pages over a period of one year, scattered plant seeds from very different countries over them, watered them, and, finally, exposed them to the sun. He recorded the way the “news” was gradually bleached and overgrown with plants in more than one hundred color photographs. Flechtner contrasts the anarchy of nature with the agenda of mankind, while also questioning the fleetingness of memory and the demands made on it in shaping today’s world. See also page 88: BLoom

Photography

Klaus merkel TrEES LIKE SToNES

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Trees like Stones

Klaus Merkel

Design: Integral Lars müller 24 × 30 cm, 9 × 11 ¾ in, 120 pages 94 illustrations, hardcover 2012, ISBN 978-3-03778-272-9, English 2012, ISBN 978-3-03778-263-7, German EUR 50.– GBP 45.– USD / CAD 70.– For over thirty years Klaus Merkel has been photographing stones, rocky landscapes, and trees that he combines in pairs of images. He portrays the astounding harmony between the animate and the inanimate, between natural and designed manifestations. His previous publication Album of Stones featured Milan Cathedral’s forest of figures and pinnacles next to the sandstone columns of Utah’s Bryce Canyon. In the same way, Trees like Stones presents fascinating connections between natural forms and artwork, such as the millennia-old bristlecone pines in Nevada’s Great Basin National Park and the decaying stupa temples of Burma. The book thus invites the reader to examine and compare the manifold similarities of diverse structures, whether between a petrified wandering dune

Lars Müller Publishers

and a gaping trunk of an olive tree in Agrigento, Italy, or between a mushroom rock in the Libyan desert and a Namibian quiver tree.

Klaus merkel TrILoGY oF SToNES AND TImE

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All three publications by Klaus Merkel—The Reading of Time in the Text of Nature, Album of Stones and Trees like Stones—are available in the exclusive Trilogy of Stones and Time. Presented in a premium cardboard slipcase, this limited edition is numbered and signed by the artist and will be a great addition to every photo and art book collection.

Design: Integral Lars müller 24 × 30 cm, 9 × 11 ¾ in cardboard slipcase 2012, ISBN 978-3-03778-273-6, e 2012, ISBN 978-3-03778-264-4, d EUR 98.– GBP 85.– USD / CAD 120.–

Klaus merkel ThE rEADING oF TImE IN ThE TEXT oF NATUrE Design: Integral Lars müller 24 × 30 cm, 9 ½ × 11 ¾ in, 96 pages 84 photographs, hardcover 2000, ISBN 978-3-907044-97-1, e EUR 25.– GBP 25.– USD / CAD 38.–

Klaus merkel ALBUm oF SToNES Design: Integral Lars müller 24 × 30 cm, 9 ½ × 11 ¾ in, 160 pages 110 photographs, hardcover 2005, ISBN 978-3-03778-058-9, e 2005, ISBN 978-3-03778-062-6, g EUR 25.– GBP 23.– USD / CAD 38.–

Klaus Merkel’s photographs mirror the physical and spiritual patterns of both natural and architectural structures. They demonstrate fundamental and universal formal laws in their compelling revelation of inseparably intertwined nature and culture. The pictures are grouped according to themes such as Stratification, The Crystalline, The Vegetative, and Outer World and Inner World.

Klaus Merkel searches for — and records in striking black-and-white photographs — structures in nature and architecture that, no matter where they are, exhibit overlapping patterns and configurations, significant deviations and parallels, and resonate in juxtaposition. In an extension of that program, he has turned his attention to stones and rock landscapes and their patterns.

Photography

SwISS PhoToBooKS From 1927 To ThE PrESENT A Different history of Photography Edited by Peter Pfrunder, Fotostiftung Schweiz Swiss Photobooks from 1927 to the Present offers a new overview of the history of Swiss photography. The focus is on seventy selected photobooks, from classics to long-forgotten publications or brilliant works by contemporary photographic artists. The individual books are presented with lavish series of illustrations and texts by highly-esteemed authors, while five longer essays position them in their respective eras. Fabrik Jakob Tuggener

1943

136

137

Martin Gasser

Design: Integral Lars müller 22 × 28 cm, 8 ¾ × 11 in, 704/576 pages 861 illustrations, hardcover 2012, ISBN 978-3-03778-274-3, German with English and French translations 2012, ISBN 978-3-03778-260-6, German EUR 75.– GBP 70.– CAD/USD 120.–

Barbara heé ChAVIoLAS A Landscape, so Intimate and Aloof

Jakob Tuggener ( 1904–1988 ) kannte die Welt der Fabriken buchstäblich von innen. Ausgebildet als Maschinenzeichner bei der Zürcher Maag Zahnräder AG, wurde er im Zuge der Weltwirtschaftskrise Ende der 1920er-Jahre entlassen, worauf er sich seinen seit der Kindheit gehegten Traum, Künstler zu werden, mit einer Ausbildung an der Reimann-Schule in Berlin erfüllte.1 Nach seiner Rückkehr in die Schweiz begann er 1932 als freier Mitarbeiter für die Maschinenfabrik Oerlikon ( MFO ) zu arbeiten, vor allem für deren Hauszeitung mit dem programmatischen Titel Der Gleichrichter.2 Obwohl die Firma bereits einen eigenen Werkfotografen beschäftigte, betraute deren Direktor, Hans Schindler, Tuggener mit der Aufgabe, eine Art fotografische Innensicht des Betriebs zu erarbeiten, die via Der Gleichrichter die Kluft zwischen Arbeitern, Büroangestellten und Direktoren verkleinern sollte. Neben mehrteiligen Serien mit Titeln wie Was Arbeiter über ihre Arbeit sagen oder Köpfe aus Bureau und Werkstatt erschienen von Tuggener jedoch auch einseitige, montageartig angeordnete Bildreihen ohne Text von unbeachteten Szenen aus dem Fabrikalltag.3 Inspiriert waren diese kleinen Geschichten einerseits von Reportagen, wie sie damals in vielen illustrierten Zeitschriften üblich waren.4 Andererseits spielte bei Tuggener auch der Film eine wichtige Rolle. Unzählige Stummfilme, die er während der 1920er- und frühen 1930er-Jahre geradezu verschlungen hatte, beeinflussten seine fotografische Bildsprache, schärften sein Gefühl für Rhythmus und Dramaturgie von Bildfolgen und bestärkten seinen Glauben an die assoziative Kraft – entsprechend Sergej Eisensteins Theorie der Montage im Film –, die der Gegenüberstellung und Reihung von Fotografien innewohnt. Tuggener setzte dieses Prinzip der Montage jedoch nicht nur in seinen Reportagen und Filmen um, sondern vor allem im Medium Buch, das zu seiner hauptsächlichen fotografischen Ausdrucksform wurde. Bis zu seinem Tod 1988 komponierte er über sechzig druckfertige Buchmaquetten, das heisst als Bücher gebundene Bildfolgen von je über hundert, meist ganz- oder doppelseitigen Originalfotografien, für die er jedoch nie einen Verleger fand. Nicht zuletzt deshalb, weil er darauf bestand, dass seine «fotografischen Stummfilme», wie er sie nannte, unverändert und ganz ohne Text publiziert werden sollten.

1 Zu Jakob Tuggeners Biografie und Œuvre vgl. Martin Gasser, Jakob Tuggener. Fotografien, Scalo, Zürich, 2000. Während seiner Berliner Zeit verkürzt Tuggener seinen Vornamen zu «Jak». 2 Die Hauszeitschrift Der Gleichrichter. Nachrichtenblatt der M.F.O.Familie war 1930 gegründet worden unter dem Motto «Ob Stift, ob Chef, ob arm, ob reich, hier drinnen ist ein jeder gleich!». 3 Zum Beispiel «’s Berti isch z’schbaat cho. . .», in: Der Gleichrichter, Nr. 4, 15. August 1936, S. 4f., oder «5 Minute näch zwölfi...», in: Der Gleichrichter, Nr. 4, 5. Juli 1937, S. 4f. 4 Etwa auch in der Familienzeitschrift In freien Stunden (Conzett & Huber), in der Tuggener ab 1932 wiederholt publizierte. 5 Tuggener arbeitete ab ca. 1941 an beiden. Die MFO-Broschüre erschien im Frühling 1943, etwa zum gleichen Zeitpunkt, als Tuggener einen Verlagsvertrag für Fabrik unterschrieb ( 12. April 1943 ). Zum Thema Fabrik existieren zwei spätere originale Buchmaquetten: Schwarzes Eisen ( 1950 ) und Die Maschinenzeit ( 1951, beide Jakob Tuggener-Stiftung, Uster). Zwei Buchmaquetten wurden posthum publiziert: Jakob Tuggener, Ballnächte 1934–1950, Scalo, Zürich, 2005, und Venedig 1954, Edition Buschö, Aarau, 2007.

Als einzige Ausnahme erschien 1943 das Buch Fabrik, zu dem aber keine originale Buchmaquette bekannt ist, nur eine Art Vorläufer, eine 68-seitige Broschüre über die MFO, aus der Tuggener Fabrik entwickelte. Praktisch zeitgleich wie Fabrik produziert, mit zum Teil den gleichen Bildern, ist die MFOBroschüre ein typisches Werkporträt, das ein vielfältiges, grundsätzlich positives Bild eines innovativen Industriebetriebs vermittelt, was schon durch das Titelbild des freundlich in die Kamera lächelnden Arbeiters angekündigt wird.5

Fabrik Fotografien: Jakob Tuggener. Vorwort: Arnold Burgauer. Rotapfel-Verlag, Erlenbach-Zürich, 1943. 31 × 23 cm. 8 S. Text, [96] S. Tiefdruck-Abb., blaues Beiblatt «Tafelverzeichnis».

With an essay by Claudia Jolles

Design: Integral Lars müller 29 × 19 cm, 11 ½ × 7 ½ in, 240 pages 167 photographs, hardcover 2010, ISBN 978-3-03778-165-4, e 2010, ISBN 978-3-03778-171-5, g EUR 50.– GBP 45.– USD/CAD 80.–

Over a period of twenty years, the artist Barbara Heé has photographed Chaviolas Island again and again. The resulting panoramas present a subtle portrait of this mountainous landscape in Switzerland’s Upper Engadine valley. The doubling caused by reflection in the lake and the ever-changing lighting create spaces of magical presence.

Luciano rigolini whAT YoU SEE

Edited by the Fotostiftung Schweiz With an essay by Peter Pfrunder

Design: Integral Lars müller 12 × 16 cm, 4 ¾ × 6 ¼ in 160 pages, 107 photographs hardcover 2008, ISBN 978-3-03778-139-5 English /German /French/Japanese EUR 25.– GBP 25.– USD / CAD 35.–

Luciano Rigolini demonstrates that anonymous snapshots, freed from their context, can convey a visual experience. Rigolini pieces together his findings to create a new work — a grammar of seeing and perception. Consciously or unconsciously, we become primarily aware of form and structure in the snapshots.

Lukas Felzmann SwArm With contributions by Peter Pfrunder, Gordon H. Orians, Deborah M. Gordon, and Wallace Stevens Swarm is a breathtaking photographic series exploring the flock movements of migrating birds. The photographs offer a unique view of the beauty but also the complexity and diversity of shape variations. Swarm looks up into the sky and follows flight through the dynamic landscape of streams of air.

Design: Lukas Felzmann with Lars müller 21 × 27 cm, 8 ¼ × 10 ½ in, 240 pages 115 illustrations, hardcover 2011, ISBN 978-3-03778-241-5, e EUR 50.– GBP 45.– USD / CAD 70.–

PhotoEspaña 2012: Best Photography Book of the Year

Lukas Felzmann wATErS IN BETwEEN

With marginalia by Angelus Silesius and John Berger

Design: Integral Lars müller 19 × 27 cm, 7 ½ × 10 ¾ in, 320 pages 161 photographs, hardcover 2009, ISBN 978-3-03778-138-8, e EUR 50.– GBP 45.– USD /CAD 65.–

With his camera, Felzmann discovers the hidden charms of the Sacramento Valley, that seeming nonplace. The photographs show the diversity of the plane: the original landscape, the large swaths put to agricultural use, the modern provincial towns, and the transitional areas in between. Photographs of water in all its facets run through the book, just as water runs through the valley.

Lukas Felzmann LANDFALL

With an essay by Peter Pfrunder

Design: Lukas Felzmann 13 × 18 cm, 5 × 7 in, 144 pages 70 photographs, hardcover 2004, ISBN 978-3-907078-92-1 e/g EUR 28.– GBP 25.– USD / CAD 35.–

Lukas Felzmann’s Landfall is far more than just a compilation of strong single images. Roads that peter out in the middle of nowhere, buildings that no longer make sense, flotsam and jetsam that defy oblivion: Felzmann’s scenery and objects quietly and unobtrusively open up their profound symbolism in the field of tension between desire and memory, hope and pain, dream and reality.

Photography

Thomas Flechtner BLoom Design: Integral Lars müller 23 × 30 cm, 9 × 11 ¾ in, 128 pages 82 photographs, hardcover 2007, ISBN 978-3-03778-091-6, e EUR 30.– GBP 30.– USD / CAD 45.–

Jean-Pascal Imsand PhoToGrAPhEr Design: Integral Lars müller 24 × 30 cm, 9 ½ × 11 ¾ in, 192 pages 138 photographs in b/w, hardcover 2004, ISBN 978-3-03778-037-4, e 2004, ISBN 978-3-03778-040-4, g 2004, ISBN 978-3-03778-041-1, f EUR 25.– GBP 25.– USD / CAD 38.–

Nadja Athanasiou, michael Bühler, Peter Lüem ThE DoLDEr GrAND Design: Peter Zimmermann 25 × 27 cm, 9 ¾ × 10 ¾ in 640 pages, 400 photographs hardcover 2009, ISBN 978-3-03778-166-1, e EUR 60.– GBP 60.– USD / CAD 90.–

Pete Davis IN wILDwooD Design: Integral Lars müller 30 × 24 cm, 11 ¾ × 9 ½ in 96 pages, 72 photographs hardcover 2008, ISBN 978-3-03778-142-5, e EUR 40.– GBP 40.– USD / CAD 50.–

With Bloom, Thomas Flechtner continues to go his own way as an artist. After exhibitions in London, New York, Bilbao, and Tokyo, Flechtner is now free to pursue a new passion, the unbridled color and movement of organic nature, which he examines with lyrical lightness and tremendous precision in these densely atmospheric studies of plants.

With essays by Dieter Bachmann, Jean-Christophe Blaser, Martin Gasser, Sylvie Henguely, Fabio Pusterla Jean-Pascal Imsand’s work eludes any attempt at classification, and contains an apparent paradox. While his photo-montages are much admired for their aesthetic and narrative qualities, yet are often political in nature, the precision of content demonstrated in his socio-documentary reportages does not exclude mythical interpretation. With contributions by Judith Wyder and Cees Nooteboom In 2009, the Dolder Grand celebrated its first birthday since reopening, following a four-year remodelling carried out according to plans by Foster+Partners. The photographers Nadja Athanasiou, Michael Bühler, and Peter Lüem documented the entire project throughout every stage of the refurbishment, charting in detail the scope of the hotel’s metamorphosis. With a text by Conway Lloyd Morgan Forests, according to folklore, are places of mystery and fear of fierce animals and fiercer men. Yet for our ancestors the forests were sources of food and fuel, managed spaces. In the forests of Wales and Vermont, the photographer Pete Davis has been exploring the dichotomy for over a decade, marking the changes created by time, weather and human intervention.

Christian Lutz TroPICAL GIFT The Business of oil and Gas in Nigeria Design: Integral Lars müller 30 × 24 cm, 11 ¾ × 9 ½ in, 96 pages 52 illustrations, hardcover 2010, ISBN 978-3-03778-226-2, e EUR 35.– GBP 35.– USD/CAD 50.–

Christian Lutz ProToKoLL Design: Integral Lars müller 30 × 24 cm, 11 ¾ × 9 ½ in 90 pages, 54 photographs hardcover 2007, ISBN 978-3-03778-110-4 English / German /French /Spanish EUR 35.– GBP 35.– USD / CAD 45.–

Yann mingard, Alban Kakulya EAST oF A NEw EDEN European External Borders. A Documentary Account Design: Integral Lars müller 25 × 33 cm, 9 × 13 in, 320 pages 150 illustrations, hardcover 2010, ISBN 978-3-03778-176-0, e / f EUR 60.– GBP 60.– USD / CAD 99.–

Jules Spinatsch TEmPorArY DISComForT Design: w. heininger 24 × 30 cm, 9 ½ × 11 ¾ in, 186 pages 115 photographs, hardcover 2005, ISBN 978-3-03778-047-3, e /g EUR 30.– GBP 30.– USD / CAD 45.–

Christian Lutz continues his photographic study of power relationships with Tropical Gift. He portrayed people in Nigeria, whose lives revolve around the oil and gas industries, the dominating ecomonic forces in the country. The photographs observe the protagonists’ everyday lives and professional world from very close up, the rich profiteers in the capital and the indigenous population in the oil region, the Niger delta.

For three years Christian Lutz accopanied a member of the Swiss Federal Council on official occasions throughout the world. In Protokoll he observes the mise-en-scène of authority within the hierarcies to which the political decision makers and their delegations are subjected. His images show a reality that differs from the official photographic reports.

Europe’s new eastern borders stretch from the Baltic Sea to the Black Sea: 1600 heavily guarded kilometers between former “fraternal countries.” Yann Mingard and Alban Kakulya spent a long time on the road in an effort to document the places and landscapes that mark the end of the Western world. They photographed the landscape as well as the border posts and documented a reality defined in faraway Strasbourg, Brussels, and elsewhere. Maps and satellite images are juxtaposed in this book with the striking photographs. Jules Spinatsch attended the World Economic Forum in Davos and New York as well as the G8 summits in Davos and Evian. But rather than street fighting and handshakes, he shows winter nights in Davos, complete with floodlighted barbed wire, containers being used as barricades in Genoa, lonely TV reporters outside broadcast vehicles and sleepy guards in New York. Selected by Martin Parr as “one of the best photobooks of the last decade” (2011).

Photography

90 For Climateâ&#x20AC;&#x2122;s Sake! A Visual Reader of Climate Change, 2012

Society our publishing house addresses the major themes and questions of the world today. The “Visual reader” in particular is a book format well-suited to conveying complex subject-matter and contexts as it foregrounds the reading of images; the questions this evokes are explored in accessible texts. Topics related to societal education and environmental responsibility take pride of place.

Pièce de résistance Edited by walter Kälin, Judith wyttenbach, and Lars müller ThE FACE oF hUmAN rIGhTS, 2004 Design: Integral Lars Müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 720 pages, 500 illustrations 2004, ISBN 978-3-03778-017-6, English (hardcover) EUR 45.– GBP 45.– USD / CAD 60.– 2008, ISBN 978-3-03778-114-2, German (paperback) EUR 30.– GBP 30.– USD / CAD 50.– This book, based on an idea from our publishing house, depicts the concept of universal human rights in over five-hundred photographs and numerous texts. Examples serve to demonstrate both violation of human rights worldwide and how these rights are guaranteed in pluralistic societies. The book is conceived as a tool to support the struggle to attain greater respect for human rights. It paves the way for engaged consideration of specific facets of a responsible global development model in the “Visual Reader” format. 91

For CLImATE’S SAKE! A Visual reader of Climate Change

NEw

Edited by rené Schwarzenbach, Lars müller, Christian rentsch, and Klaus Lanz In collaboration with the Department of Environmental Sciences, ETH Zürich Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 576 pages 307 illustrations, hardcover 2012, ISBN 978-3-03778-245-3, English 2011, ISBN 978-3-03778-244-6, German EUR 45.– GBP 40.– USD / CAD 65.– For Climate’s Sake! sets itself the goal of conveying the knowledge revealed by current climate research in a manner that is both concise and appealing. Extensive series of images with large photographs and informative diagrams accompany well-researched essays on and around the themes of climate history, research and policy and thus offer an in-depth examination. The book provides insights into the history of the earth’s climate and reveals the factors that are responsible for climate change. It poses questions and provides answers: why is the earth becoming warmer? What are the consequences we must reckon with? What can we do against this? Who determines the future? As both a volume of illustrations and a reader For Climate’s Sake! is directed at all those who want to equip themselves with knowledge and understanding to confront what is probably our planet’s most pressing problem.

200

Tropische Wirbelstürme entstehen, wenn die Wassertemperatur des Ozeans auf über 27 Grad steigt. Sie können einen Durchmesser von mehreren hundert Kilometern erreichen. Zyklon über Australien, 2011. NASA / Corbis

201

Mit wachsendem Wohlstand steigen auch die wirtschaftlichen Schäden von Unwettern. Schneise eines Tornados, Dyer County, Tennessee, USA. John L. Focht /Keystone

KLiMasysteM

KOHLENSTOFFKREISLAUF Reservoire in Gigatonnen Kohlenstoff Flüsse in Gigatonnen Kohlenstoff pro Jahr

Atmosphäre 762 Stand 2009

Jährliche Zunahme

821

Contents: Climate history Between Fireball and Ice Desert Climate System Why the World is Getting Warmer Climate Consequences Risks and “Residual Risks” Pathways into the Future Reality and Vision Global Climate Politics Between Power and Powerlessness

2,2

Aufnahme

2,6

Vulkanausstoss

< 0,1

Mikroben, Bodenatmung

Pflanzenatmung

Verbrennung fossiler Brennstoffe

Aufnahme von anthropogenem CO2

Stand 2009

6,4

2,2

1,1

Stand 2009

Rodungen

1,6

8,4

Photosynthese

Aufnahme von Abgabe von natürlichem CO2 natürlichem CO2

120

Laubfall

60 Vulkane

Böden 2000-4000

70,6

Algen Primärproduktion

50 Vegetation 540-610

Landnutzung

Industrie, Energie, Haushalte, Verkehr

Meere 38 000

Veratmung

Absinkendes Oberflächenwasser

1,6 Aufsteigendes Tiefenwasser

101

Abgestorbenes organisches Material

Absinkendes Oberflächenwasser

90 Marine Sedimente und Sedimentgesteine ca. 75 000 000 Ablagerung in die marinen Sedimente

0,2

150150

Die Zahlen sind Mittel für die Dekade 1990-2000 Quelle: IPCC, 2007

151151

who owNS ThE wATEr ?

Edited by Lars müller, Klaus Lanz, Christian rentsch, and rené Schwarzenbach

Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in 536 pages, 256 illustrations hardcover 2006, ISBN 978-3-03778-018-3, e 2006, ISBN 978-3-03778-015-2, g EUR 45.– GBP 45.– USD / CAD 60.–

Industrialization and population growth have brought about a global water crisis. One billion people have no reliable access to clean drinking water; two billion live in precarious hygienic conditions. Social, ecological, political, and economic conflicts obstruct efforts to resolve the global water crisis. Water is an instrument of power.

FAITh IS. The Quest for Spirituality and religion

Edited by Lukas Niederberger and Lars müller

Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in 396 pages, 159 illustrations hardcover 2009, ISBN 978-3-03778-144-9, e 2009, ISBN 978-3-03778-143-2, g EUR 32.– GBP 25.– USD / CAD 44.–

Christina Kleineidam, hans Peter Jost CoTToN worLDwIDE Design: Integral Lars müller with hans Peter Jost 19 × 26 cm, 7 ½ × 10 ¼ in 320 pages, 220 illustrations hardcover 2009, ISBN 978-3-03778-201-9, e 2009, ISBN 978-3-03778-200-2, g EUR 40.– GBP 40.– USD / CAD 60.–

Andreas Seibert From SomEwhErE To NowhErE China’s Internal migrants Design: Integral Lars müller 19 × 26 cm, 7 ½ × 10 ¼ in 320 pages, 228 photographs hardcover 2008, ISBN 978-3-03778-146-3, e EUR 40.– GBP 40.– USD /CAD 55.–

Religious phenomena exist both inside and outside official religious groups. With texts and a clear pictorial language, this volume addresses the phenomenon of religious belief, guiding the reader and viewer into the world of the numinous and mysterious, while also offering them critical orientation and existential questions to take along on their continued quest. Cotton is grown on every continent, in a broad range of environmental conditions, and under widely disparate conditions of production. Hans Peter Jost has created a photographic portrait of cotton on his trips to India, China, Brazil, the US, Uzbekistan, Mali, and Tanzania, documenting the lives and working conditions of cotton farmers and the cultivation, harvesting, processing, and marketing of cotton.

High-population centers of enormous size are springing up in China with dizzying speed. With them comes an increased demand for migrant workers. The photographer Andreas Seibert accompanied the workers in order to document their everyday lives and their work. With its combination of text and images, this volume conveys a unique impression of the scale of this modern migration of peoples.

Society

SALIBA mazza – aus der feinen Küche Syriens Design: Pierre mendell 15.4 × 21.6 cm, 6 × 8 ½ in, 176 pages 49 illustrations, hardcover 1999, ISBN 978-3-907078-98-3 German /Arabic EUR 25.– GBP 25.– USD/CAD 40.–

worLD oF GIVING Design: Daniella Spinat, Daniel Koppich 16.5 × 24 cm, 6 ½ × 9 ½ in 256 pages, 120 illustrations paperback 2010, ISBN 978-3-03778-181-4, e EUR 30.– GBP 25.– USD / CAD 45.–

SCIENCE SUISSE An Initiative of SrG SSr idée suisse Design: Integral Lars müller 16.5 × 24 cm, 6 ½ × 9 ½ in 472 pages, 250 illustrations hardcover, with DVD 2009, ISBN 978-3-03778-145-6 e/ g/ f /i (PAL) EUR 30.– GBP 25.– USD / CAD 45.–

ALL wE NEED Design: Emanuel Tschumi, Fabienne Burri, Cybu richli 16.5 × 24 cm, 6 ½ × 9 ½ in 272 pages, 255 illustrations paperback 2007, ISBN 978-3-03778-119-7 e / g /f EUR 30.– GBP 23.– USD / CAD 40.–

Edited by Elias hanna Saliba Hanna Saliba ranks among the most innovative restaurateurs in Germany. His restaurant Saliba in Hamburg is renowned far beyond the city’s borders. Hans Hansen, Pierre Mendell, and the publisher developed the concept for this book together with Saliba as an expression of their enthusiasm for Arab cuisine. Arabic calligraphy complements the feast for the eyes and makes the book much more than a collection of recipes. Edited by Jeffrey Inaba and C-Lab, Columbia University GSAPP The world of giving has changed significantly. A new culture of giving that favors volunteering and action, coupled with accumulated expertise may enable imminent needs to be met. The World of Giving presents aid's history as an index of past and current relationships, indicating its indispensable global role in the future.

Edited by Christian Eggenberger, Lars müller With texts by the Nobel Prize laureate Rolf Zinkernagel, Bertrand Piccard and photographs by Andri Pol SCIENCEsuisse deals with science in Switzerland, with twenty-five textual portraits of selected researchers, depicting their development, career milestones, and outstanding research projects from the vantage point of distinguished science journalists. Edited by holzer Kobler Architekturen and iart interactive The book’s point of departure is the ten needs of every person: subsistence, protection, affection, participation, recreation, creativity, understanding, identity, freedom, and transcendence. An extensive collage of texts and images illustrates the needs, supplemented by journalistic and art-historical images and philosophical quotations.

8vo 64 A Time and Place 75 A World Without Words 56 Adjaye, David 11 After Crisis 39 Aga Khan Award for Architecture 32 Album of Stones 85 All we need 94 Allen, Stan 31 And it Came to Pass – Not to Stay 34 And Now the Ensemble!!! 28 Andersen, Michael Asgaard 75 Andrea Palladio – Unbuilt Venice 32 Architecture of Zaha Hadid 37 Armin Hofmann 60 Arp, Hans 67 As Found, The Discovery of the Ordinary 41 AS in DS 35 At first Sight 63 Athanasiou, Nadja 88 Authoring: RePlacing Art and Architecture 11 Baan, Iwan 18–19, 29, 31, 33, 38 Bächli, Silvia 74 Baku – Oil and Urbanism 29 Bandeira, Pedro 7 Baur, Ruedi 48–49, 64–66 Beltramini, Guido 26 Benton, Tim 22–23 Bernard, Pierre 64 Binet, Hélène 37 Biondo, Adriano A. 80 Black and White 60 Blau, Eve 29 Blindhædir 74 Bloom 88 Borasi, Giovanna 16, 39 Brasilia – Chandigarh 31 Breaking the Rules 59 Brillembourg, Alfredo 18–19 Bucher, Annemarie 67 Buchloh, Benjamin H. D. 72 Buckley, Craig 73 Buckminster Fuller, R. 34 Bühler, Michael 88 Canadian Centre for Architecture, CCA, Montreal 16, 36, 39 Car Park and Terminus Strasbourg 37 Catherine Zask 59 Celestino Piatti + DTV 57 Chaviolas 86 Christensen, Peter 12–13 Cold War Confrontations 35 Comix! 59 Conradi, Jan 56 Construction Site 40

Corporate Diversity 56 Cotton Worldwide 93 Dan Graham’s New Jersey 73 Davis, Pete 88 de Smet, Catherine 41 Dedelley, Frédéric 65 Design Detective 65 Design in Question 50 Design2context 48–50, 56, 66 Designing Design 53 Designing Programmes 65 Designing Universal Knowledge 66 Die gute Form 54 Digital Materiality in Architecture 41 Disorientation / Orientation 1 66 Disorientation / Orientation 2 66 Distance & Engagement 36 Doherty, Gareth 31 Donald Brun 60 Dumont d’Ayot, Catherine 22–23 Dynamic Identities in Cultural and Public Contexts 56 East of a New Eden 89 Ecological Urbanism 31 Editions Attituted, Geneva 74 Eduardo Souto de Moura – Sketchbook No. 76 4 Education Automation 34 Eggenberger Christian 94 Eichinger, Gregor 62 Eisenman, Peter 38 Eliasson, Olafur 69, 75 Elisava 50 Encyclopedia of Flowers 70–71 Erni, Peter 56, 61 ETH Studio Basel 30 ETH Wohnforum 40 Everything but the Walls 54 Faith is. 93 Felsing, Ulrike 56 Felzmann, Lukas 87 Findings on Elasticity 62 Findings on Ice 62 Five North American Architects 15 Flechtner, Thomas 82–83, 88 Floating Images 5 For Climate’s Sake! 92 Förster, Agnes 40 Foscari, Antonio 27, 32 Fotostiftung Schweiz 86 Foxley, Alice 36 Frampton, Kenneth 15 Freitag 46 From Camp to City 30 From Rules to Constraints 10 From Somewhere to Nowhere 77, 93

Fuhrimann, Andreas 36 Fujimoto, Sou 6–7 Fukasawa, Naoto 43 Fuller Houses 35 Fulton, Hamish 75

Jan van Eyck Academie 56 Janser, Andres 56, 67 Josef Müller-Brockmann 63 Jost, Hans Peter 93 Junod, Barbara 56

Gefesselter Blick 67 Geisler, Harald 65 Gerstner, Karl 65 Ghiggi, Dominique 37 Gigon / Guyer Architects 24 Glaser, Marie Antoinette 40 Global Design 61 Graham, Dan 72–73 Gramazio & Kohler 41 Grima, Joseph 38 Grosse, Katharina 74 GSAPP, Columbia University 15, 93

Kakulya, Alban 89 Kälin, Walter 91 Katharina Grosse. Wish I Had a big Studio in the Center of the City 74 Kempf, Petra 40 Kenzō Tange – Architecture for the World 14 Kitchen Tools 65 Kleineidam, Christina 93 Klumpner, Hubert 18–19 Kockot, Stefanie-Vera 48–49 Kollhoff, Hans 20–21 Koolhaas, Rem 20–21 Krausse, Joachim 35 Kruk, Vinca 56 Kuan, Seng 14 Kuhn Rikon 65 Kurashima, Takahiro 44–45

Hächler, Gabrielle 36 Hadid, Zaha 37 Handbook 62 Handmade 61 Hannes Wettstein Seeking Archetypes 55 Hans Hillmann 57 Hara, Kenya 53 Harvard University Graduate School of Design 12–13, 17, 31 Hattan, Eric 74 Head to Head 58 Heé, Barbara 86 Help! 58 Helvetica 52 Helvetica Forever 52 Hertweck, Florian 20–21 Herz, Manuel 30 Herzog & de Meuron 36 Holl, Steven 8–9 Holocaust Memorial Berlin 38 Holt Mark 64 Holzer Kobler Architekturen 94 Hors-Sol 60 Hotz, Theo 36 Hutton, Louisa 33 Huwiler, Martin 61 Iart interactive 94 Ideas and Integrities 34 Idenburg, Florian 38 Imperfect Health 16 Implicate & Explicate 33 Imsand, Jean-Pascal 88 In Jesus’ Name 81 In Series 58 In the Life of Cities 17 In Wildwood 88 Inaba, Jeffrey 94 Instigations 12–13 Institute of Historic Building Research and Conservation, ETH Zürich 22–23 Insular Insight 33 Ivanišin, Krunoslav 39

Labor visuell, at the University of Applied Sciences Düsseldorf 47, 57 Landfall 87 Landform Building 31 Langdalen, Erik Fenstad 32 Lanz, Klaus 92–93 Le Corbusier, Architect of Books 41 Le Corbusier’s Pavilion for Zurich 22–23 Letters only 58 Lévy, Jean-Benoît 62 Lichtenstein, Claude 35, 41, 61 Lidschlag 74 Lippit, Yukio 14 Lissitzky, El 67 Louis Kahn: Drawing to Find Out 32 Louis Kahn: On the Thoughtful Making of Spaces 32 Lüem, Peter 88 Lufthansa und Graphic Design 46 Lutz, Christian 81, 89 Maharam Agenda 55 Maharam, Michael 55 Malsy, Victor 52 Mansilla, Luis M. 10 Marchand, Christophe 61 Marot, Sébastien 20–21 Masey, Jack 35 Mateo, Josep Lluís 39 McQuade, Marc 11, 31 Mendell, Pierre 63 Menzi, Renate 46 Merkel, Klaus 84–85 Merrill, Michael 32 Metahaven 56

Index 95

Metahaven Uncorporate Identity 56 Michael Engelmann 59 Miki, Akiko 33 Mingard, Yann 89 Miniature and Panorama 25 Möller, Christian 75 Morgan, Conway Lloyd 35 Morrison, Jasper 43, 54 Mostafavi, Mohsen 12–13, 17, 31–32 Muir Hamish 64 Müller, Jens 47, 57 Müller, Lars 31, 33, 52, 63–64, 80, 91–94 Museum of Design Zürich 46, 51, 56, 58–61 My Work is not my Work 64 Naegele, Isabel 65 Natural History 36 Nature Design 61 Neder, Federico 35 New Living 67 News 82–83 Niederberger, Lukas 93 Nishizawa, Ryue 39 Nooteboom, Cees 31 Nordenson, Guy 33 Operating Manual for Spaceship Earth 34 Other Space Odysseys 39 Otto Baumberger 58 Ovaska, Arthur 20–21 Oxvig, Henrik 75 Pabst, Jonas 65 Paradise Switzerland 58 Paradoxes of Appearing 75 Pars Foundation 62 Patterns and Structure 33 Perspectives de vie à Londres et à Tokyo 39 Pfrunder, Peter 86 Philips – Twen 57 Photo Graphics 58 Photographer 88 Playfully Rigid 61 Poemotion 44–45 Poster Collection 51, 58–60 Posters for Exhibitions 60 Posters for the Opera 63 Pradal, Ariana 65 Princeton University School of Architecture 10–11, 31, 38 Pro Helvetia Swiss Arts Council 28 Protokoll 89 Ralph Schraivogel 59 Rasch, Heinz and Bodo 67 Rentsch, Christian 92–93 Reset – Beyond Fukushima 80 Revue 1926 60 Richter, Hans 67

Riemann, Peter 20–21 Rigolini, Luciano 86 Ruedi Baur Intégral 64 Rüegg, Arthur 67 Rupnik, Ivan 29 Sachs, Angeli 61 Saliba 94 Saliba, Elias Hanna 94 Sauerbruch Hutton Archive 33 Sauerbruch, Matthias 33 Scents of the City 65 Schregenberger, Thomas 41 Schuller, Gerlinde 66 Schwarzenbach, René 92–93 Science Suisse 94 Seibert, Andreas 77–79, 93 Sense of the City 39 Shift – Sanaa and the New Museum 38 Shu, Wang 2–3 Signage Design Manual 66 Signs for Peace 48–49 Šik, Miroslav 28 Silvia Bächli – DAS 74 Smithson, Alison and Peter 35 Smitshuijzen, Edo 66 Snyder, Jaime 34 Sou Fujimoto – Sketchbook 8 Souto De Moura, Eduardo 4–5 Spinatsch, Jules 89 Spirale 67 Steven Holl – Color Light Time 9 Steven Holl – Scale 8 Studio Hannes Wettstein 55 Sumi, Christian 35 Super Normal 43 Swarm 87 Swiss Federal Office of Culture, Bern 74 Swiss Photobooks From 1927 to the Present 86 Tange, Kenzō 14 Tavares, André 7 Taylor, Stephen 39 Temporary Discomfort 89 The Chair of Günther Vogt, ETH Zürich 37 The Chair of Josep Lluís Mateo, ETH Zürich 39 The City in the City – Berlin: A Green Archipelago 20–21 The Colors of Growth 78–79 The Dolder Grand 88 The Face of Human Rights 91 The Formal Basis of Modern Architecture 38 The Image and the Region 40 The Isms of Art 67 The Magic of Things 51 The Private Palladio 26 The Reading of Time in the Text of Nature 85 The Sanaa Studios 38

The Uncarved Block 75 The Vignelli Canon 57 The World’s Fairest City Your’s and Mine 40 Theo Hotz Architecture 1949–2002 36 Thierstein, Alain 40 Torre David 18–19 Touch Me! 62 Transfer 61 Tree Nurseries – Cultivating the Urban Jungle 37 Trees like Stones 84 Trilogy of Stones and Time 85 Tröger, Eberhard 62 Tropical Gift 89 Tumult and Order 27 Tuñón, Emilio 10 Typo China 59 Typotektur 62 Ungers, Oswald Mathias 20–21 Unimark International 56 Urban-Think Tank, ETH Zürich 18–19 Ursprung, Philip 36 Utopia or Oblivion 34 Valle, Giancarlo 10 Van der Velden, Daniel 56 Vers une architecture du livre 41 Video – Architecture – Television 72 Vignelli, Massimo 57 Vishmidt, Marina 58 Visual Strategies against Aids 60 Vogt, Günther 25 Wada, Kyoko 70–71 Wang Shu – Imagining the House 2–3 Wasiuta, Mark 73 Waters in Between 87 Weiland, Karen 47 What Anchors a House in Itself 36 What you see 86 White 53 Who owns the water? 93 Windfall Light 64 Wong, Karen 38 Works 1 World of Giving 94 World of Giving 95 Wyttenbach, Judith 91 You Are the City 40 Your Engagement Has Consequences 69 Your Mobile Expectations: BMW H2R Project 75 Your Private Sky – R. Buckminster Fuller 35

Zardini, Mirko 16, 39 Zrang Høyum, Nina 32 Zumthor, Peter 1 Zürich–Milano 59

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