Lars M端ller Publishers 2011/2012 Architecture Design Photography Art Society
When world events seem to chase one another, with political upheavals, natural catastrophes, crises, and conflicts following each other at breakneck speed, the qualities of the book as a lasting medium become particularly clear: as a mirror and a storehouse of memory it is a bulwark against frenetic urgency and rapid oblivion. An earlier credo of the publishing house was: bringing Switzerland to the world. These days our authors and themes are international and our dissemination global. Yet we are particularly happy when we can present Swiss content of global significance, such as, in this program, the architecture of Annette Gigon and Mike Guyer and the masterly design of Hannes Wettstein, or the Swiss photo book and the photographs of Christian Lutz and Lukas Felzmann. Cool Swissness? We are actually more interested in the artists and authors as industrious world citizens with a background and a message — like this publishing house and its books. Lars Müller
Contents: My Vision of the Seto Inland Sea Soichiro Fukutake The Drunken Isle Peter Sloterdijk Which Way Is Paradise? Nayan Chanda The Precursors of Benesse: Art Walking Tours, Follies, and Phalansteries Jean-Hubert Martin Architecture as Instrument Eve Blau The Seto Inland Sea: an Asian Archipelago Shunya Yoshimi Islands Enlivened by Art Mitsuhiro Yoshimoto
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Kan Yasuda, The Secret of the Sky, 1996 Born on Hokkaido, 1945. Yasuda’s interest in making time tangible has led him to work with essentially timeless materials: marble and bronze. He lives in Pietrasanta, Italy, famous for its white marble quarries.
INSULAR INSIGHT Where Art and Architecture Conspire with Nature Naoshima Teshima Inujima
NEW
Edited by Lars Müller and Akiko Miki With contributions by Peter Sloterdijk, Eve Blau, Nayan Chanda, Jean-Hubert Martin, Soichiro Fukutake, Shunya Yoshimi, and Mitsuhiro Yoshimoto With photographs by Iwan Baan 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, English EUR 45.– GBP 45.– USD / CAD 70.– The islands of Naoshima, Teshima, and Inujima in Japan’s Seto Inland Sea are places of pilgrimage for friends of contemporary art and architecture. Alongside works in public spaces and site-specific installations, the islands also feature numerous museums and collections of contemporary art. They are home to buildings by architects such as Kazuyo Sejima and Ruye Nishizawa (SANAA), Tadao Ando, and Hiroshi Sambuichi, as well as works of art by Richard Long, Christian Boltanski, and Mariko Mori, among many others. This publication offers a comprehensive documentation of this unique cultural landscape surrounded by Japan’s inland sea. The photographs by the Dutch photographer Iwan Baan that move between tiny details and grand panoramas create a comprehensive portrait of the islands and their fluid transitions between nature, art, and architecture. Numerous texts introduce readers to the individual areas and projects either on permanent display or that have taken place temporarily on the islands. Essays explore the history and historical predecessors of the islands, the role of architecture and art in the context of this unique landscape, and the island as a cultural concept and phenomenon.
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James Turrell, Open Field, 2000
Hiroshi Sugimoto, Church of The Light, 1997 Gelatin-silver print
Hiroshi Sugimoto, World Trade Center, 1997 Gelatin-silver print
Architecture /Photography/Art
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This is a gas station with a landscaped entrance. The gas stations in America, maybe also in Canada now, are really landscaped, to be ecologically friendly. But it also has a big sign that says, “God Bless America” with a flag and another flag. These are marginal areas, industrial wastelands. And of course the topiary fascinates me. It’s what Ladybird Johnson called “Beautification”.
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Untiitled, Highway close to Newark, NJ, 2006.
At the time Judd did a lot of things with transparent plastic. And [Dan] Flavin was very involved with [Alfred] Bierstadt. I was very interested in the luminescence, which was probably caused by pollution, and partly by the coming sunset. These photographs were shown originally as slides. And of course, with slides you get the same luminescence. Jeff Wall, with his backilluminated Cibachromes, in some ways was later picking up on when I first showed these as slides. The article “Homes For America” was published in “Arts Magazine,” and he and Ian Wallace were very influenced by it because Vancouver is very much like a new suburban city.
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This is the same diner, though I think at a different time. It is on Sunday, and this family group had just come from church. They’re dressed up in Sunday best. When I look at it, I think of classic Hitchcock films. Maybe because Hitchcock was British, he had a certain take on the look of Americans.
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Row of New Tract Houses, Bayonne, NJ, 1966
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Untitled (Family in New Highway Restaurant), Jersey City, NJ, 1967
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Living Room with Chandelier, New Jersey Model House 1967
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Boonton is a classic nineteenth century wood frame houses with shingles. I know Vincent Scully wrote about the shingle style, but there’s another very important style in American architecture in the nineteenth century called Octagonal houses. This is an octagonal house. I guess the families were very big during the Victorian period. Boonton had become Latino, and last time I went there, this was after we took the photographs, I noticed that there were a lot of SUVs, and Wall Street people with big families had bought the houses. They were fixing them up, and I think they would commute to New York City.
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Untitled, Boonton, NJ, 2006
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Bedroom, Model Home, New Jersey 1967
DAN GRAHAM’S NEW JERSEY
NEW
In cooperation with GSAPP, Columbia University With contributions by Mark Wigley and Mark Wasiuta and comments by Dan Graham
Dan Graham’s New Jersey
Design: Integral Lars Müller 19 × 26 cm, 7 ½ × 10 ¼ in, approx. 160 pages approx. 140 illustrations, hardcover 2011, 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.
Lars müLLer PubLishers
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.
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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
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Charlie Koolhaas TRUE CITY
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Design: Charlie Koolhaas with Lars Müller 21× 30 cm, 8 ¼ × 11 ¾ in, approx. 352 pages approx. 250 illustrations, paperback 2011, ISBN 978-3-03778-261-3, English EUR 45.– GBP 42.– USD / CAD 65.–
With True City, a photographic essay on the “global city” of the twenty-first century, photographer and sociologist Charlie Koolhaas weaves a dense photographic patchwork of images of the historic commercial centers of London, Guangzhou, and Houston and the emerging centers of commerce Dubai and Lagos. For her research, the author has visited these cities and taken photographs which reflect contemporary life in a concentrated way. The images illustrate current issues such as the contradiction between cultural homogenization and local diversity at a time of globalization. True City starkly contrasts the various urban landscapes with their inhabitants to reveal the differences and similarities between the cities, their cultures, the architecture, and the people living in them. The book is part street photography, part raw documentary and intense observation. Literary text collages by the author supplement the visual explorations and form an associative network with them.
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Dubai
The Emirate artist The British hip-hop producer The Pakistani taxi driver The slogans from advertising billboards along Sheikh Zayed Road The Iranian art dealer The American gallery owner The Facebook page of His Highness Sheikh Mohammed bin Rashid Al Maktoum The Sri Lankan construction worker The European person who has heard about Dubai, but has never been there The Egyptian interior designer The Kuwaiti banker
in the words of:
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-Headlines taken from lifestyle magazine based in Dubai
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LANDFORM BUILDING Architecture’s New Terrain
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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, English EUR 45.– GBP 45.– USD / CAD 65.–
In contemporary architecture, “landform building” is much more than just a formal strategy. New technologies, new design techniques, and a demand for enhanced environmental performance have provoked a rethinking of architecture’s traditional relationship to the ground. Landform Building sets out to examine the many manifestations of landscape and ecology in contemporary architectural practice—not as a cross-disciplinary phenomenon (architects working in the landscape) but as new design techniques, new formal strategies, and technical problems within architecture. The book offers a comprehensive overview of the subject and documents current projects with illustrations and maps. It presents work by Iñaki Ábalos, Tacita Dean, Steven Holl Architects, Junya Ishigami, Toyo Ito, Tsunehisa Kimura, Atelier Peter Kis, Mansilla+ Tuñón, Michael Maltzan, Adam Maloof+Situ Studio, Giancarlo Mazzanti, Walter Niedermayr, Ryue Nishizawa, Dominique Perrault, Philippe Rahm, and Chris Taylor. Essays by experts complete this work of reference. Contents Form – Artificial Mountains Scale – Megaform Atmosphere – Vast Interiors Process – Fabricating Terrain
Architecture
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Aga Khan Award for Architecture 2010 IMPLICATE & EXPLICATE
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Edited by Mohsen Mostafavi With essays by Omar Abdulaziz Hallaj, Salah M. Hassan, Gökhan Karakus˛ , Yu Kongjian, Hanif Kara, Farshid Moussavi, Souleymane Bachir Diagne, Alice Rawsthorn Design: Irma Boom 16.5 × 24 cm, 6 ½ × 9 ½ in, 352 pages 191 illustrations, hardcover 2011, ISBN 978-3-03778-242-2, English EUR 35.– GBP 35.– USD / CAD 50.– 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 award is given every three years and recognizes all types of building projects that affect today’s built environment. Smaller projects are given equal consideration as large-scale buildings. The book presents the shortlist of nineteen projects, including the five award recipients. In their variety across culturally diverse areas of the globe, what these projects have in common is a commitment to design excellence despite constraints of budget, resources, climate, technology, or politics.
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Kenneth Frampton FIVE NORTH AMERICAN ARCHITECTS An Anthology by Kenneth Frampton
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Five
North American
In cooperation with GSAPP, Columbia University
Architects
Design: Integral Lars Müller 16.5 × 24 cm, 6 ½ × 9 ½ in, approx. 240 pages approx. 100 illustrations, paperback 2011, ISBN 978-3-03778-256-9, English EUR 40.– GBP 38.– USD / CAD 55.–
An Anthology by Kenneth Frampton
Stanley Saitowitz Shim-Sutcliffe Rick Joy Patkau Architects Steven Holl
Five North American Architects brings together five architectural practices that, while all distinct, share a particular sensibility for the impact of craftsmanship and climate on the generation of form, as well as a concern for the expressive tactility of material and the effect of light on the articulation of structure.
Columbia University GSAPP Lars Müller Publishers
Designed with a passion for detail, the book offers an in-depth survey of recent work by Steven Holl (New York), Rick Joy (Tucson), John and Patricia Patkau (Vancouver), Stanley Saitowitz (San Francisco), and Brigitte Shim and Howard Sutcliffe (Toronto). The regional specificity of the work is considered against a larger North American context, allowing one to assess the practice of its architecture today.
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Caption fake text. Pragmatism does not have rigid canons or abstract dogmas. 58
Brigitte Shim
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Patkau Architects
Caption fake text. Pragmatism does not have rigid canons or abstract dogmas. It unstiffens theories, is genial.
Caption fake text. Pragmatism does not have rigid canons or abstract dogmas. 59
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Architecture
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STEVEN HOLL – SCALE An Architect’s Sketch Book
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Edited by Lars Müller Design: Integral Lars Müller 16.8 × 12.6 cm, 6 ½ × 5 in, approx. 480 pages approx. 400 illustrations, hardcover 2011, ISBN 978-3-03778-251-4, English EUR 40.– GBP 38.– USD / CAD 55.–
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.
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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 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.
STEVEN HOLL – COLOR LIGHT TIME
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Design: Integral Lars Müller 12,6 × 16,8 cm 5 × 6 ½ in, approx. 176 pages 21 × 28 cm, 8 ¼ × 11 in, approx. 160 pages approx. 100 illustrations, hardcover 2011, ISBN 978-3-03778-252-1, English EUR 40.– GBP 38.– USD / CAD 55.–
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,
Steven Holl
Lars Müller Publishers
Color Light Time
Ihilibusdande nost hitate nam fugitat ectur, Id quam quae et ipsum dolorerspis dolupti onsequo berum eos aut escipsam invelis imus, susdamu storemp erionsed que omnis dolorae sequate ctiscipicium ipsae. Dita volorrum dentiatur, quam non repudaectiis et maioremRo et omniscipsum nonem facimag nimincte susdamendam iliqui nim et dolupta tiatis sim est venis et, sam raecusam il ipsaectia prate dis rem elignis aut autem. Lorata solese offic tem et laut lab ideriosae Ihilibusdande nost hitate nam fugitat ectur. Ihilibusdande nost hitate nam fugitat ectur, Id quam quae et ipsum dolorerspis dolupti onsequo berum eos aut escipsam invelis imus, susdamu storemp erionsed que omnis dolorae sequate ctiscipicium ipsae. Dita volorrum dentiatur, quam non repudaectiis et maioremRo et omniscipsum nonem facimag nimincte susdamendam iliqui nim et dolupta
Steven Holl
With essays by Jordi Safont-Tria, Sanford Kwinter, and Steven Holl
Color Light Time
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.
Image Credits
Biographies
Image Credits
Architecture
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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.
Works 2001– 2011
Design: Gigon/Guyer with Integral Lars Müller 16,5 × 24 cm, 6 ½ × 9 ½ in, approx. 552 pages approx. 800 illustrations, hardcover 2012, ISBN 978-3-03778-276-7, English 2011, ISBN 978-3-03778-257-6, German EUR 58.– GBP 55.– USD 85.–
Architects
With essays by Gerhard Mack, Arthur Rüegg and Philip Ursprung
GiGon
NEW
Guyer
GIGON/GUYER ARCHITECTS Works 2001– 2011
LArs MüLLer PubLishers
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.
Museen
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Archäologisches Museum und Park in Bramsche-Kalkriese, Deutschland Museum
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Wohnüberbauung / Renovation Pflegi-Areal, Zürich
Die Kerne und Fluchttreppen sind so angeordnet, dass die Bürogeschosse auf zwei, Die Kerne und Fluchttreppen so angeordnet, dass dieUmgekehrt Bürogeschosse drei oder auch vier verschiedene Mietersind aufgeteilt werden können. ist es auf zwei, drei oder auch vier verschiedene aufgeteilt werden können. möglich, Büronutzungen über mehrere GeschosseMieter zusammenzufassen und interne Umgekehrt ist es möglich, Büronutzungen über mehrere Geschosse zusammen Treppen anzubieten. Die Auskragungen des Baukörpers schaffen zusätzliche Bürofläzufassen und interne Treppen anzubieten. Die Auskragungen des Baukörpers
chen an höherer und daher ertragsreicherer Sie und erweitern auch die Palette schaffen zusätzliche Büroflächen anLage. höherer daher aber ertragsreicherer Lage. Sie von Möglichkeiten, Büroflächen zu nutzen. erweitern die aber auch die Palette von Möglichkeiten, die Büroflächen zu nutzen.
Die Tragkonstruktion desistTowers ist eine Skelettbauweise Beton mit aus Die Tragkonstruktion des Towers eine Skelettbauweise in Betoninmit aussteifenden steifenden Kernen.werden Die Auskragungen werden durch der über Fassa Kernen. Die Auskragungen durch Schrägstellung derSchrägstellung Fassadenstützen denstützen über zwei oder drei Geschosse bewerkstelligt. Die Fassaden bestehen zwei oder drei Geschosse bewerkstelligt. Die Fassaden bestehen aus dreifachen Shop Isoaus dreifachen Isoliergläsern. Für den Komfort der Arbeitsplätze, aber auch für C liergläsern. Für den Komfort der Arbeitsplätze, aber auch für die feuerpolizeilich vordie feuerpolizeilich vorgeschriebene Möglichkeit der ‚Entrauchung’ nach einem geschriebene Möglichkeit der ‚Entrauchung’ nach einem Brandfall, kann jedes dritteDie Brandfall, kann jedes dritte Fenster zu Lüftungszwecken ausgestellt werden. Fenster zuals Lüftungszwecken ausgestellt werden. Die als vorfabrizierte Elemente konzivorfabrizierte Elemente konzipierten Fenster sind nach aussen rahmenlos. Sie verleihen dem Gebäude die Erscheinung einesdem grünlichen ,facettenreichen’ pierten Fenster sind nach aussen rahmenlos. Sie verleihen Gebäude die ErscheiEingang Kristalls. nung eines grünlichen ,facettenreichen’ Kristalls.
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Bürogebäude 'Prime Tower', Zürich
ANNETTE GIGON / MIKE GUYER 2
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TOUCH ME! The Mystery of the Surface
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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, English 2011, ISBN 978-3-03778-254-5, German 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. A tendency for simplification, for a reduction to the abstract space and the material are the reason that today the topic is given such short shrift. Based on his research as a professor at the ETH Zürich, Eichinger calls for a serious discussion about the architectural user interface. In an intensive conversation, he and architect Eberhard Tröger discuss what alchemy has to do with architecture, why a good bar has to be a sketch, how one reads ornament, why we no longer look up at the ceiling, why cleanliness gets in the way of everything, how architecture is created from the inside, and much, much more. The text of this conversation is interwoven with a variety of related quotations and complemented by a series of images that deal with the relationship between architectural surfaces and people. Contents: Surface and Depth; Weaving and Time; Parts and Whole; Generalist Aspirations and Mastery; The Craft, Machines, and Personality; Skin, Wounds, and Age; Nerves, Cleanliness, and Atmosphere; Pants, Code, and Ornament; Light, Shadow, and Flânerie; Benutzeroberfläche, Streets, and the City; Ornament and Society; Heaven, Chicken, and Egg; Architect and Client; Brain and Intestines, Bar and Sketch; Architecture and Love; Comfort, Stature, and Inspiration; Interior and Exterior 14
Ornament and Society
ET Does this mean that ornament has an important communicative function even today?
Readable ornament is becoming important again, and the inhabitable urban space needs new codes. As a substitute for the street, media like the home computer and the television were only makeshift alternatives where the codes were developed further and new ornament discovered. Now the Benutzeroberfläche of the city is becoming important again as interior space. It is precisely architects who now have to acquire the basic knowledge necessary to learn how to deal with this new situation and to re-conquer this territory.
GE
ET This kind of ornament has to do with community. But the communicative aspect of ornament has shifted firmly into the media, as it is capable of reaching countless users simultaneously. Do you believe that with the shifting of life back onto the streets that a consensus about public life can also emerge in contemporary architecture? Is there functioning contemporary ornament? GE To some extent it already exists. The question, however, is whether it is readable by everyone, and thus whether it has an integral urban function. Often it is little more than a notion of beautifying that has nothing to do with ornament as a means of communication—which is what, for example, the facial tattoos of Pacific islanders function as.
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A5/05: LUFTHANSA AND GRAPHIC DESIGN Visual History of an Airline
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Edited by Jens Müller and Karen Weiland, labor visuell at the University of Applied Sciences Düsseldorf, Department of Design Design: Jens Müller, Karen Weiland 14.8 × 21 cm, 5 ¾ × 8 ¼ in, 128 pages approx. 300 illustrations, paperback 2011, 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 page 44: A5 SERIES
Lufthansa Corporate Design 1955-1963
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Richtlinien und Normen – Das erste Design Manual/ Guidelines and standards – The first design manual
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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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HANNES WETTSTEIN SEEKING ARCHETYPES
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Design: Prill & Vieceli 23 × 29 cm, 9 × 11 ½ in, 292 pages 662 illustrations, hardcover 2011, ISBN 978-3-03778-265-1 English/German/Italian EUR 58.– GBP 55.– USD / CAD 85.– We sit on them, write with them, ride them, listen to music through them, and live inside them. The furniture, product, and interior designs of Swiss designer Hannes Wettstein, who died in 2008, have left their mark on everyday life and shaped contemporary conceptions of design—in the form of a pen by the brand Lamy, a watch by Nomos, or as interiors for the Hotel Grand Hyatt in Berlin. Hannes Wettstein Seeking Archetypes documents his life’s work for the first time in monograph form. The volume features images from the world of this exceptional designer—works, sketches, and personal objects. Their diversity reveals the essence of his creative achievement. A comprehensive catalogue raisonné provides a complete overview of Wettstein’s works. Supplemented by quotations from Wettstein, anecdotes from his life, essays, as well as statements by personalities from the worlds of design and architecture, this monograph provides a multifaceted portrait of an extraordinary designer.
Hannes Wettstein
With essays by Max Küng and Volker Albus and a text collage by Thomas Haemmerli
Seeking Archetypes
Edited by Studio Hannes Wettstein
Lars Müller Publishers
Design
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In 2004, we invited Hella back to experiment with felt, our homage to the German conceptual artist Joseph Beuys. The original intention was idealized as a massively thick industrial felt, embossed by a customized roller which was to be engineered with multiple modules that could be resequenced through the course of production to create a randomized pattern. Not easy, not cheap and not terribly commercial—on to the next concept. We ultimately came up with Layers, an industrial craft hybrid made from double-layered felt conjoined by one of three different landscape-based embroidered patterns—Layers Garden, Park and Vineyard. In all three, portions of the top layer have been cut away, resulting in irregular edging that yields varying effects when viewed from different perspectives. Layers is also produced in a single-layer version: our bow to commerce. It took two humbling years to perfect the embroidery and to identify a quality of felt, with thanks to the expertise of our partner Kvadrat, that was thin enough to be upholstered gracefully as a two-layered textile, and thick enough to wear well as a single layer. Both Repeat and Layers have claimed their place in posterity as two of the very few textiles to be included in the permanent collection of MoMA in recent years. 133
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COLLABORATIONS
MAHARAM AGENDA
NEW
Edited by Michael Maharam Design: A4 Studio, cover: Hella Jongerius 22 × 28 cm, 8 ½ × 11 in, 256 pages 408 illustrations, hardcover with stitched fabric cover 2011, ISBN 978-3-03778-187-6, English EUR 55.– GBP 50.– USD / CAD 65.–
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, accessories, and graphic and digital means. The Maharam Design Studio oversees the cultivation of an extensive textile collection, ranging from re-editions of enduring designs of the twentieth century’s most noted multidisciplinary visionaries to textile-based collaborations with industry outsiders across varied disciplines that include Konstantin Grcic, Hella Jongerius, Maira Kalman, Bruce Mau, Jasper Morrison, Nike and Paul Smith. The publication provides a comprehensive overview of the company’s history, displays cultural markers, and presents different design projects. Abstracted product applications are illustrated through “useless objects,” a collaboration with Jasper Morrison.
Design
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POSTER COLLECTION 23 IN SERIES
NEW
Edited by Museum für Gestaltung Zürich With an essay by Fabian Wurm and statements by Cyan, Max Küng, Anette Lenz, Vincent Perrottet, Giorgio Pesce, Georg Staehlin, Ruedi Wyss Design: Integral Lars Müller 16,5 × 24 cm, 6 ½ × 9 ½ in, 96 pages approx. 160 illustrations, paperback 2011, ISBN 978-3-03778-266-8, English/German EUR 28.– GBP 25.– USD / CAD 40.– Posters lend themselves perfectly to serial display. The mediation of the message and of the identity of the advertiser are supported by the effects of recognition. In contemporary advertising campaigns, however, this awareness is only rarely used in imaginative and intelligent ways. This publication illustrates the creative and effective advertising potential of posters in series. In each case illustrated in this volume a specific design concept is followed. 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. Fundamental in the selection of campaigns for this book is the success of a single poster both as a solitary piece and for the additional visual value created by its inclusion in the series.
See page 45–47: POSTER COLLECTION 1– 22
12 Gerstner, Gredinger + Kutter, GGK 1490.– / Echt Coop: Die Qualität. Echt Coop: Der Preis. ca. 1970
14 Gerstner, Gredinger + Kutter, GGK 690.– / Echt Coop: Die Qualität. Echt Coop: Der Preis. ca. 1970
16 Reinhart Morscher Photo: Jürg Bernhardt Pressen / Zyliss, 1981
13 Gerstner, Gredinger + Kutter, GGK 119.– / Echt Coop: Die Qualität. Echt Coop: Der Preis. ca. 1970
15 Gerstner, Gredinger + Kutter, GGK 50.– / Echt Coop: Die Qualität. Echt Coop: Der Preis. ca. 1970
17 Reinhart Morscher Photo: Jürg Bernhardt Raffeln / Zyliss, 1981
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GeoRG Staehelin in der Zusammenarbeit mit dem Museum für Gestaltung Basel entstanden von 1990 bis 1998 etwa ein Dutzend typografische Plakate. Vorgaben seitens des auftraggebers bestanden kaum. es ging auch nicht darum, dem Museum ein erscheinungsbild zu verschaffen. als ls Gestalter besass ich also grosse Freiheit. So erhielt ich ausser dem titel kaum informationen zur geplanten ausstellung, auch keine Bilder. Dies lag nicht zuletzt daran, dass die Projekte der ausstellungsmacher lange experiment blieben und sich an der Grenze des Visualisierbaren bewegten. ich entschied mich daher für rein typografische Umsetzungen der ausstellungstitel usstellungstitel und verwendete dafür immer die gleiche Schrift, die akzidenz-Grotesk fett im Bleisatz. Da ich die Dauer der Zusammenarbeit nicht voraussehen konnte, war die Gestaltung in Serie keine bewusste entscheidung von mir, sondern ergab sich aus der Ähnlichkeit der Projekte und meines Zugangs zu ihnen. in n working with the Museum für Gestaltung Basel, around a dozen typographical posters were made between 1990 and 1998. there here were hardly any constraints from the client. the aim was not to create a visual identity for the museum. therefore, as designer i had considerconsider able freedom. apart from the title i was given hardly any information about the planned exhibition, nor any images. this was due in part to the fact that the projects of the exhibition makers remained an experiment for a long time and explored the limits of what can be presented visually. i therefore decided to present the exhibition titles purely typographically, always using the same typeface, akzidenz Grotesk Bold, in hot type. as it was impossible for me to predict how long this collaboration would continue, designing in series was not a conscious decision on my part but resulted from the similarity of the projects and my approach to them.
41 Georg Staehelin Risiko / Museum für Gestaltung Basel 1992
43 Georg Staehelin Gerrrrräusche / Museum für Gestaltung Basel 1993
45 Georg Staehelin rechts oder links / Museum für Gestaltung Basel 1996
119 Cornel Windlin Zürich / Schauspielhaus / Saisonvorschau 2009/10 2009
121 Cornel Windlin Photo: Alessandro Della Bella Zürich / Schauspielhaus / Saisonvorschau 2009/10, 2009
42 Georg Staehelin Der Zuschauer / Museum für Gestaltung Basel 1993
44 Georg Staehelin Xtre-em / Museum für Gestaltung Basel 1997
46 Georg Staehelin links oder rechts / Museum für Gestaltung Basel 1996
120 Cornel Windlin Zürich / Schauspielhaus / Saisonvorschau 2009/10 2009
122 Cornel Windlin Zürich / Schauspielhaus / Saisonvorschau 2009/10 2009
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123 Cornel Windlin Zürich / Schauspielhaus / Saisonvorschau 2009/10 2009
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18 Reinhart Morscher Photo: Jürg Bernhardt Hacken / Zyliss, 1981
Jasper Morrison A WORLD WITHOUT WORDS
available again
Design: Anthony Arefin 1998, Reprint 11 × 15.5 cm, 4 ¼ × 6 in, 112 pages 104 illustrations, paperback 2011, ISBN 978-3-03778-207-1, English EUR 18.– GBP 16.– USD / CAD 25.– What feeds the inspiration of the designer? Observation. 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 who wish to explore the universe of goods.
See page 43: SUPER NORMAL, EVERYTHING BUT THE WALLS
Design
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Takahiro Kurashima POEMOTION
NEW
Design: Takahiro Kurashima, Junji Hata 17.5 × 22.5 cm, 6 ¾ × 9 in, 64 pages 30 illustrations, paperback 2011, 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.
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Klaus Merkel TREES AS WELL AS STONES
NEW
Klaus Merkel
Trees as well as Stones
Design: Integral Lars Müller 24 × 30 cm, 9 × 11 ¾ in, 112 pages 94 illustrations, hardcover 2011, ISBN 978-3-03778-272-9, English 2011, 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 pairs up in double pictures. 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 as well as 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 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.
Lars Müller Publishers
See page 58: THE READING OF TIME IN THE TEXT OF NATURE, ALBUM OF STONES
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Design/Photography
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Lukas Felzmann SWARM
NEW
With contributions by Peter Pfrunder, Gordon H. Orians, Deborah M. Gordon, and Wallace Stevens 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, English EUR 50.– GBP 45.– USD / CAD 70.– “The buzz word is swarm intelligence, which has acquired an unforeseen reality in the era of Facebook and Twitter. The behavior of a collective without a center has become a social phenomenon, which is not only of interest to natural scientists, but also particularly to politicians and economists.” (Peter Pfrunder in his contribution to the book) 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. A swarm sitting on the ground mirrors the surface of the earth like a skin, but as soon as it lifts up it becomes a fluid three-dimensional system in constant flux. This aerial ballet reveals a rhythm of upward explosion and downward, cascading movement. At times the forms seem to explode, blooming like flowers or expanding outward like fireworks. At other times they appear more stable, slowly drifting like a negative image of stellar constellations. Swarm looks up into the sky and follows flight through the dynamic landscape of streams of air.
See page 59: WATERS IN BETWEEN, LANDFALL
Does Nature Play? Peter Pfrunder
Various are the roads of man. He who follows and compares them will see strange figures emerge, figures which seem to belong to that great cipher which we discern written everywhere, in wings, eggshells, clouds and snow, in crystals and in stone formations, on ice-covered waters, on the inside and outside of mountains, of plants, beasts and men, in the lights of heaven, on scored disks of pitch or glass or in iron filings round a magnet, and in strange conjectures of chance. In them we suspect a key to the magic writing, even a grammar, but our surmise takes on no definite forms and seems unwilling to become a higher key. Novalis, The Novices of Sais, 1802
We hear them flapping, we hear them screeching. Sometimes quieter and softer, sometimes more intense and more shrill, then the clamor ebbs away into a distant, background noise — and then rises again suddenly. A senseless tangle of agitated birdsong, a deafening din that one cannot escape. It might sound like a paradox, but viewing the Swarm photographs of Lukas Felzmann is also an acoustic experience. Even if the pictures seem poor in content at first glance — just birds, sky, earth — they acquire a richness through their dense sequencing, the rhythm of near and far, the alternation of profusion and sparseness, the dynamic of small and large changes, and through the variety of that which is always the same. Isn’t Swarm an exceptionally musical book? A score in which the visual experience almost cries out for an acoustic translation? I wouldn’t be surprised if I came across this exceptional photo series again one day in musical form — not an authentic recording of birdsong, but as an instrumental performance based on the photographic original. The Blackbird Symphony. The buzzword is “swarm intelligence,” which has acquired an unforeseen reality in the era of Facebook and Twitter. The behavior of a collective without a center has become a social phenomenon, which is of interest not only to natural scientists, but also in particular to politicians and economists. Why does a mass of individuals turn in one direction or the other? Who or what tips the balance? How much room for maneuver, how much freedom do individuals have over their decisions? What has to happen for a new formation to form out of another? Why do groups form? And why do they disperse again? As always, when we observe great historical and social revolutions, when new phenomena emerge, we want to understand. To find explanations for the unknown. To get to grips with the mysterious, by giving it a name at least.
Photography
25
Paesaggi di donna René Mächler
1965
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Thilo Koenig
Der weibliche Körper ist in der westlichen Kulturgeschichte seit jeher mit dem Attribut der Faszination des Fremdartigen aufgeladen. Man verglich ihn mit der Weite des Meeres, mit einem fernen Kontinent oder einer exotischen Landschaft, es galt ihn zu erkunden und zu erobern. Der weibliche Körper wurde gewissenhaft prospektiert, als Skulptur gesehen oder vom Blick seziert und in Fragmente zerlegt, in «Teilreize» (wie sie Peter Gorsen nennen würde), die zum Fetisch gerieten. Oft wurde der Leib als Erde bezeichnet, auch als «Mutterschoss» der Natur, aus dem das Leben entsteht. 1922 beschrieb etwa Stefan Zweig mit Die Frau und die Landschaft eine schwüle Sommerepisode in den Bergen, in der der begehrte Frauenleib ihm in der Hitze der Naturerfahrung eins mit der Erde und mit seiner Wahrnehmung des Landes wird.1 Auch bei den Surrealisten begegnen wir dem Motiv der Landschaft als Frauenkörper und von dessen erotischer Sezierung für die Schaulust.2
1 Stefan Zweig, «Die Frau und die Landschaft», in: ders., Novellen, Manesse, Zürich, 2009, S. 248. 2 Vgl. Xavière Gauthier, Surrealismus und Sexualität. Inszenierung der Weiblichkeit, Medusa Verlag, Wien, 1980, S. 82ff. Vgl. auch Subversion der Bilder. Surrealismus, Fotografie, Film, Ausst.-Kat. Fotomuseum Winterthur, 2010 (deutsche Übersetzung des Ausst.-Kat. La subversion des images, Centre Pompidou, Paris, 2009 ).
Der «konkrete» Fotograf René Mächler ( 1936–2008 ) begab sich 1965 mit der Publikation seiner in Ausschnitten fast ganz auf Schwarz und Weiss reduzierten
Paesaggi di donna Fotografien: René Mächler. Text: Georges Thonet. Bruno Alfieri, Mailand, 1965. 29,5 × 33,5 cm. [52] S. mit Abb.
As Time Goes By Barbara Davatz
S. 2/3; S. 8/9; S. 10/11
1999
470
The Americans Robert Frank
471
Matthias Christen
As Time Goes By ist aus einer Reihe von Porträtsitzungen hervorgegangen, die sich über die Jahre zur fotografischen Langzeitbeobachtung einer ganzen Generation auswuchsen. Die ersten Aufnahmen datieren von 1982. Aus dem weiteren persönlichen Umfeld hatte die Fotografin Barbara Davatz (*1944 ) damals zwölf Paare für ein Doppelporträt in ihr Zürcher Studio eingeladen. Die ausgewählten Modelle gehören alle der gleichen Altersgruppe an. Sie sind keine Jugendlichen mehr, aber auch noch nicht vollends in der Welt der Erwachsenen angekommen. Davatz’ Serie setzt also in einer Phase des Übergangs ein, in der die Porträtierten schon einiges erlebt, aber noch sehr viel mehr an Zukunft vor sich haben. Neben dem Alter teilen sie ein gut entwickeltes modisches Gespür. Selbst wo sie sich vor der Kamera betont lässig geben (Beni/Andi), ist die Wahl der Kleider ein zentrales Element der Selbstdarstellung; nicht zufällig wurde Davatz’ Serie 1997 zuerst im Rahmen der Ausstellung Modedesign Schweiz 1972–1997 im Landesmuseum Zürich gezeigt, bevor sie 1999 in der Edition Patrick Frey als Buch erschien.
1958/1959
218
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Sarah Greenough
1 Karlheinz Weinberger, Photos 1954– 1995, Andreas Züst, Zürich, 2000. 2 Die ersten Ergebnisse erschienen im selben Jahr in der von Keller herausgegebenen Zeitschrift – vgl. Barbara Davatz, «Bildfolgen der Zürcher Fotografin Barbara Davatz, eine kleine Studie übers Älterwerden», in: Der Alltag, Nr. 2, 1988, mit einem Text von Walter Keller.
Zuerst in Frankreich 1958 und in den USA 1959 veröffentlicht, hat Robert Franks (*1924) Buch The Americans 1 den Lauf der Fotografie des 20. Jahrhunderts verändert. Darüber hinaus half das Buch den USA, sich selbst klarer zu sehen. In 83 Fotografien blickte Frank unter die Oberfläche des amerikanischen Lebens und machte eine Nation sichtbar, in der Rassendiskriminierung an der Tagesordnung war, schlecht regiert von ihren Politikern und erstarrt in einer schnell expandierenden Konsumkultur. Aber er fand auch neue Gebiete der Schönheit in weniger bekannten Ecken des Landes und half, das Bild von Amerika neu zu definieren. Mit seinen Fotografien von Restaurants, Autos und sogar der Strasse selbst wurde er zum Vorreiter einer scheinbar intuitiven, unmittelbaren und fehlerhaften Fotografie, die ebenso innovativ war wie die aufgenommenen Sujets. Bahnbrechend war auch die Art und Weise, wie dicht er seine Fotografien in dem Buch gruppierte, wobei er sie thematisch, konzeptuell, formal und semantisch zu einem unvergesslichen Bild der USA um die Mitte des Jahrhunderts verband. Mehr eine Ode oder ein Gedicht als ein nüchternes Dokument, wirkt The Americans auch heute noch so kraftvoll und provokativ wie vor fünfzig Jahren.
1 Deutsche Erstausgabe: Die Amerikaner, Christian Verlag, München, 1986.
The Americans Fotografien: Robert Frank. Einleitung: Jack Kerouac. Grove Press, New York, 1959. 18,5 × 21 cm. VI, [169] S. mit [83] Tiefdruck-Abb.
Robert Frank, Les Américains, 1958
Jungles Jean Revillard
2009
Was das Alter angeht und die Rolle, die die Mode für das Selbstverständnis der Porträtierten spielt, erinnert Barbara Davatz’ Arbeit an die Langzeitbeobachtung eines anderen Zürcher Fotografen. Ein Vierteljahrhundert früher hatte Karlheinz Weinberger angefangen, die Bewegung der Halbstarken zu dokumentieren, die auf ihren Mopeds in Cowboystiefeln und Jeansmontur der kleinbürgerlichen Enge der Schweizer Nachkriegsgesellschaft zu entkommen versuchten.1 Auch Davatz’ Modelle sind 25 Jahre und eine Generation später, ihrem Auftreten nach zu schliessen, Teil einer Subkultur. Doch deren (modisches) Erscheinungsbild fällt Anfang der 1980er-Jahre diffuser aus als noch in der Hochzeit des Rock’n’Roll. Anleihen beim Punk und Trachtenmoden gehen nahtlos zusammen. Auch hat die sexuelle Befreiung der 1960er- und 1970er-Jahre Spuren hinterlassen; drei der zwölf Paare sind gleichen Geschlechts. Vor allem aber hat sich im fotografischen Vergleich der Jugend- und Subkulturen über die Jahre hinweg etwas Grundlegendes in der sozialen Verortung der Sujets geändert: Weinbergers Halbstarke aus den späten 1950er- und frühen 1960er-Jahren waren proletarische Helden. Dagegen zählt es zu den auffälligsten Eigenheiten von Davatz’ Modellen, dass Fragen der Herkunft und Klassenzugehörigkeit für sie keine Rolle mehr zu spielen scheinen. 1988, sechs Jahre nach Beginn des Projekts, setzte Barbara Davatz auf Betreiben von Walter Keller, dem Herausgeber des Magazins Der Alltag, die Serie fort.2 Für die zweite Sitzung sollten alle Porträtierten den alten oder einen allfälligen neuen Partner mitbringen. Für den Fall, dass die Paare auseinandergegangen waren, verfolgte Davatz die Beziehungsbiografien der einstigen Partnerinnen
As Time Goes By Fotografien: Barbara Davatz. Edition Patrick Frey, Zürich, 1999. 33,5 × 24 cm. [116] S. mit Duotone-Abb.
Aircraft Le Corbusier
1935
70
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Arthur Rüegg
Aircraft ist ein für den Künstlerarchitekten und Publizisten Le Corbusier ( 1887– 1965 ) atypisches Werk. Weder dient es primär der Promotion seiner Theorien (wie die acht Bände der Zeitschrift Collection de L’Esprit nouveau, 1923–1932 ), noch der Dokumentation seiner Projekte und Bauten (wie die acht Bände des Œuvre complète, 1930 –1970 ), und es ist auch kein Kunstprojekt (wie das von Hand geschriebene und gezeichnete Poème de l’angle droit, 1955 ).1 Aircraft ist eine Auftragsarbeit, der erste Band einer vom Londoner Verlagshaus The Studio für ein breites Publikum bestimmten Serie von Fotobüchern. Unter dem Titel The New Vision sollte die Reihe – wie im Klappentext von Aircraft angekündigt – einen frischen Blick «auf Maschinen, auf das Werk des Menschen und auf die Natur» bieten. Rund hundert Illustrationen hatten die jeweiligen Verfasser auszuwählen und «with a view to vivid presentation» zu arrangieren: Le Corbusier zum Thema Flugzeug, ein W. Watson-Baker zur «Welt unter dem Mikroskop» 2 und schliesslich der amerikanische Designer Raymond Loewy zur Ästhetik der Lokomotive.3 Die ersten beiden Bände erschienen 1935, der dritte 1937. Danach wurde die einheitlich aufgemachte Serie 4 eingestellt.
Aircraft Fotografien zusammengestellt von Le Corbusier. The Studio, London/ New York, 1935. 25,2 × 19 cm. 16 S. Text, [80] S. Tafeln mit 124 Tiefdruck-Abb.
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S. 10/11; S. 12/13; S. 16/17
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561
Nathalie Herschdorfer
Eine grosse Zahl an Fotografen berichtet heutzutage von den Tragödien der Welt, ohne die Konfliktherde selbst aufzusuchen. Viele Erzählungen schildern die Erlebnisse der Opfer, doch es ist schwer, die von ihnen erlittenen Qualen in Bilder zu fassen. Der Begriff des Traumas schwingt heute überall dort mit, wo von Überlebenden eines Völkermords, von versklavten Menschen, von Kriegs opfern oder von Asylbewerbern die Rede ist, die Verfolgungen ausgesetzt waren. Unser Bezug zur Geschichte hat sich geändert: An die Stelle von Heroisierung, Sensationsgier und Propaganda ist die Anklage getreten. Wir halten uns heutzutage nicht an die Sichtweise der Sieger, sondern versuchen, die Perspektive der Opfer einzunehmen. Besonders an den Aussengrenzen Europas werden Menschenströme sichtbar, wir stossen auf Frauen und Männer, die ein Leben voller Leid hinter sich gelassen haben. Für viele derjenigen, die versuchen, illegal einzuwandern, ist Europa noch immer das Land der Hoffnung, das ein besseres Leben verspricht. Orte wie Patras, Lampedusa oder auch Calais stehen für die Ängste und Leiden von Menschen, die darauf warten, an irgendeinen Ort in Europa weiterreisen zu können. Einige schaffen es, andere warten monatelang, wieder
1 Vgl. das umfassende Werk von Catherine de Smet, Vers une architecture du livre. Le Corbusier: édition et mise en pages 1912–1965, Lars Müller Publishers, Baden, 2007, sowie: Le Corbusier et le livre, Ausst.-Kat. mit illustrierter Bibliografie, Col•legi oficial d’arquitectes de Catalunya, Barcelona, 2005. 2 W. Watson-Baker, World beneath the microscope (The New Vision series, Vol. 2 ), The Studio Publications, London und New York, 1935. 3 Raymond Loewy, The Locomotive: Its Esthetics (The New Vision series, Vol. 3 ), The Studio Publications, London/New York, 1937. 4 Ob Le Corbusier den Schutzumschlag selbst gestalten konnte, muss offen bleiben; die beiden folgenden Bände der Serie sind jedenfalls mit analogen Umschlägen ausgestattet.
Abb. 8–10; Abb. 21–25
Jungles Fotografien: Jean Revillard. Labor et Fides, Genf, 2009. 19 × 28 cm. [76] S. mit Farbabb.
S. 14/15; S. 16/17; S. 18/19; S. 20/21
SWISS PHOTOBOOKS FROM 1927 TO THE PRESENT A Different History of Photography
NEW
Edited by Peter Pfrunder, Fotostiftung Schweiz, in cooperation with Martin Gasser, Sabine Münzenmaier Design: Integral Lars Müller 22 × 28 cm, 8 ¾ × 11 in, 704/576 pages 861 illustrations, hardcover 2011, ISBN 978-3-03778-274-3, German with French and English translations 2011, ISBN 978-3-03778-260-6, German EUR 75.– GBP 70.– CAD/USD 120.– 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. An extensive bibliography completes this volume. Swiss Photobooks is a chronologically organized reference work that traces photography’s transition from a document to a subjective or artistic means of expression. It also pays homage to the photobook, which has repeatedly shown itself to be an ideal medium for the presentation of photographic work. With this compact presentation published on the occasion of its fortieth anniversary the Fotostiftung Schweiz adds to its earlier standard works on the history of Swiss photography and in the process provides a new key to understanding an important aspect of contemporary visual culture since the 1920s.
Grüezi Andri Pol
2006
536
537
Ulrich Binder
Es gibt unzählige Bücher über die Schweiz, doch keines ist wie dieses. Entsprechend aufmerksam wurde sein Erscheinen wahrgenommen. Die Kommentare sind nicht einhellig, aber teilweise euphorisch, und vor allem sehr zahlreich und breit gestreut. Nur vier Jahre nach der Buchvernissage ist die dritte Auflage im Druck – ein schöner Erfolg für ein Fotobuch, zumal eines über die Schweiz. Er belegt, dass es Letztere noch immer gibt oder zumindest, dass vielen an einem Bild der Schweiz nach wie vor gelegen ist.
1 So der Titel des ersten und längeren Textstückes von David Signer. Die im Buch abgedruckten Texte erschienen zuvor im Magazin und in der Weltwoche.
Dieses Schweizbild nun besteht aus dreihundert Fotografien, die sich Schlag auf Schlag aneinanderreihen. Nur gelegentlich werden sie von Textstücken von David Signer unterbrochen, gesetzt in einer Monotype, als seien sie auf einer Kugelkopfschreibmaschine getippt worden. Es sind amüsante Erfahrungsberichte von «einer Suche nach der wirklichen Schweiz»,1 ohne direkten Bezug zu den Fotografien. Für den Einband aus dünnem, laminiertem Karton stehen sieben unterschiedliche Motive zur Wahl, die alle als Vorschaubilder auf dem Buchrücken gezeigt werden. Die weichen Buchdeckel sind mit dem Buchblock
Grüezi Fotografien: Andri Pol. Text: David Signer. Kontrast Verlag, Zürich, 2007. 29 × 20,5 cm. 352 S. mit Farbabb.
Fabrik Jakob Tuggener
S. 22 / 23; S. 42 / 43
1943
136
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Martin Gasser
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».
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200
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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
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Mit wachsendem Wohlstand steigen auch die wirtschaftlichen Schäden von Unwettern. Schneise eines Tornados, Dyer County, Tennessee, USA. John L. Focht /Keystone
FOR CLIMATE’S SAKE! Who’s in Charge of the Future?
NEW
Edited by René Schwarzenbach, Lars Müller, Christian Rentsch, Klaus Lanz, in collaboration with the Department of Environmental Sciences of the 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. It differs from other books on climate change principally in the way it is conceived as a visual reader that deliberately uses the effectiveness and power of the image to present the theme in a graphic way. 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.
See page 64: THE FACE OF HUMAN RIGHTS WHO OWNS THE WATER?, FAITH IS.
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Schlecht isolierte Gebäude verbrauchen enorme Mengen an Heizenergie. Wintertag in Moskau. Barry Lewis / Corbis
KOHLENSTOFFKREISLAUF Reservoire in Gigatonnen Kohlenstoff Flüsse in Gigatonnen Kohlenstoff pro Jahr
Atmosphäre 762 Stand 2009
Jährliche Zunahme
821
2,2
Aufnahme
2,6
Vulkanausstoss
< 0,1
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
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KLiMasysteM
Mikroben, Bodenatmung
Pflanzenatmung
60
60
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
70
Laubfall
Algen Primärproduktion
60 Vulkane
Böden 2000-4000
70,6
50 Vegetation 540-610
Landnutzung
Industrie, Energie, Haushalte, Verkehr
Meere 38 000
Veratmung
39
Absinkendes Oberflächenwasser
1,6 Aufsteigendes Tiefenwasser
101
Abgestorbenes organisches Material
11
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
Society
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ECOLOGICAL URBANISM
Edited by Mohsen Mostafavi with Gareth Doherty Harvard University Graduate School of Design
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 40.– GBP 40.– USD/CAD 60.–
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.
Iwan Baan BRASILIA – CHANDIGARH Living with Modernity 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.–
WHAT ANCHORS A HOUSE IN ITSELF ANDREAS FUHRIMANN GABRIELLE HÄCHLER 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 35.– GBP 35.– USD/CAD 60.–
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Edited by Lars Müller With texts by Cees Nooteboom and Martino Stierli In 1960, Brasilia 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. 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.
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.–
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.
“ While drawing, I’m always waiting for something to happen. I don’t want it to happen too quickly, though.” Louis Kahn
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.–
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.
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Alice Foxley DISTANCE AND ENGAGEMENT Walking, Thinking and Making Landscape Vogt Landscape Architects
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.
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Novartis Campus Park Switzerland
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1:200 model details from the 1:200 model
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SChematiC deSigN. A 1: 200 model shows an inter pretation of Basel’s ‘hidden landscape’ transformed into a park located on the roof of a subterranean parking garage. Because it is a park and not a scientific model,
‘interpretation’ implies artistic invention. The successive terraces, for example, do not descend a slope but instead are tilted upwards, as shown in the project sections (p. 162). Thus, at the end of this sequence layer after layer
Günther Vogt MINIATURE AND PANORAMA Vogt Landscape Architects Design: Integral Lars Müller 16.5 × 24 cm, 6 ½ × 9 ½ in 576 pages, 950 illustrations 2012, ISBN 978-3-03778-233-0, e paperback EUR 58.– GBP 53.– USD / CAD 85.– 2006, ISBN 978-3-03778-068-8, g hardcover EUR 50.– GBP 50.– USD / CAD 65.–
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of terraces are visible from a groundlevel viewpoint. The dramatic effect of this structure is revealed in photographs of Novartis Campus Park as built (see pages 200 –201).
Miniature and Panorama offers a look at projects of the internationally active firm Vogt Landscape Architects. On the example of thirty of the company’s works and with photographs, plans, and explanatory texts, this volume sets forth the intellectual foundation on which the projects of Vogt Landscape Architects are based.
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.
SNØHETTA WORKS
Edited by Snøhetta
Design: Integral Lars Müller 22 × 28 cm, 8 ¾ × 11 in, 304 pages 570 illustrations, hardcover 2009, ISBN 978-3-03778-147-0, e EUR 50.– GBP 45.– USD / CAD 75.–
Snøhetta is a leading team of architects with offices in Oslo and New York. This publication presents their most important projects, including the Gateway Project in Ras Al-Khaimah, Dubai (2011), and the National September 11 Memorial Museum Pavilion in New York. Each of their projects is discussed according to the fundamental aspects of site, landscape, and context, in order to enable solutions to be discovered and developed.
OTHER SPACE ODYSSEYS: GREG LYNN, MICHAEL MALTZAN, ALESSANDRO POLI
Edited by Giovanna Borasi, Mirko Zardini, and the Canadian Centre for Architecture CCA
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.–
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.–
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.–
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 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. 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.
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Buckminster Fuller Reprints Edited by Jaime Snyder
IDEAS AND INTEGRITIES A Spontaneous Autobiographical Disclosure Reprint, original 1963, 12 × 18 cm, 4 ¾ × 7 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 × 18 cm, 4 ¾ × 7 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 × 18 cm, 4 ¾ × 7 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 × 18 cm, 4 ¾ × 7 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 × 18 cm, 4 ¾ × 7 in, 192 pages, paperback 2008, ISBN 978-3-03778-132-6, e EUR 15.– GBP 15.– USD / CAD 20.–
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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 400 pages, 200 illus., hardcover 2008, ISBN 978-3-03778-123-4, e EUR 20.– GBP 20.– USD / CAD 30.–
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.–
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. 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.
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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 38.– 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.
Matthias Sauerbruch, Louisa Hutton SAUERBRUCH HUTTON ARCHIVE
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.
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.–
Zaha Hadid CAR PARK AND TERMINUS STRASBOURG 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.–
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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.
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.
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.–
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.
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.–
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.
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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 23 × 28 cm, 9 × 11 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.–
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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.
Architectural Papers V ETH Zürich Chair Prof. Dr. Josep Lluís Mateo
R S AFTER CRISIS Architectural Papers V Lars Müller Publishers
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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 × 8 ¾ in, 160 pages approx. 175 illustrations, paperback 2010, ISBN 978-3-03778-230-9, e EUR 25.– GBP 25.– USD/CAD 40.–
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 24 × 30 cm, 9 × 11 ¾ in, 128 pages 100 illustrations, hardcover 2005, ISBN 978-3-03778-034-3, e 2005, ISBN 978-3-03778-033-6, f 2005, ISBN 978-3-03778-052-7, g EUR 35.– GBP 30.– USD / CAD 50.–
Catherine de Smet VERS UNE ARCHITECTURE DU LIVRE Le Corbusier: édition et mise en pages 1912–1965
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 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.–
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Gramazio & Kohler DIGITAL MATERIALITY IN ARCHITECTURE Design: Integral Lars Müller 19.5 × 30 cm, 7 ¾ × 11 ¾ in 112 pages, 150 illustrations hardcover 2008, ISBN 978-3-03778-122-7, e EUR 35.– GBP 35.– USD / CAD 45.–
Alison and Peter Smithson AS IN DS An Eye on the Road Reprint, original 1983 10.5 × 21.7 cm, 4 ¼ × 8 ½ in 164 pages, 70 illustrations paperback 2001, ISBN 978-3-907078-42-6, e EUR 15.– GBP 15.– USD / CAD 25.–
Jacques Schader FREUDENBERG A Masterpiece of European Architecture Design: Integral Lars Müller 14 × 12 cm, 5 ½ × 4 ¾ in 194 pages, 280 illustrations paperback with DVD 2003, ISBN 978-3-907078-61-7 e /g EUR 38.– GBP 35.– USD / CAD 55.–
THEO HOTZ ARCHITECTURE 1949–2002 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.–
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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 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. Edited by Claude Lichtenstein With a film by Marc Schwarz With Freudenberg cantonal school James Schader has created an internationally acclaimed masterpiece of enormous postulate and one of the most important works of 20th century Swiss architecture. A detailed film provides a clear account of the building’s complex quality and includes conversations with the architect and experts. The accompanying brochure contains the planning documents. With essays by Hubertus Adam, Ulrike Jehle and Philip Ursprung 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.
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 15.– GBP 15.– USD /CAD 25.–
HELVETICA FOREVER Story of a Typeface 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.–
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 2011, ISBN 978-3-03778-268-2, g EUR 28.– GBP 20.– USD/CAD 35.–
Edited by Lars Müller and Victor Malsy 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.
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.
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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 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 20.– GBP 20.– USD / CAD 30.–
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.–
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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.
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.
Naoto Fukasawa, Jasper Morrison SUPER NORMAL Sensations of the Ordinary Design: Integral Lars Müller 14.8 × 20 cm, 5 ¾ × 7 ¾ in 128 pages, 264 illustrations paperback 2007, ISBN 978-3-03778-106-7, e EUR 25.– GBP 25.– USD /CAD 35.–
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 15.– GBP 15.– USD/CAD 25.–
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 / f /g EUR 30.– GBP 30.– USD / CAD 40.–
Jasper Morrison and Naoto Fukasawa have compiled 204 everyday objects in search of super normal design: alongside examples of anonymous design, there are design classics by Jacobsen, Rams, Bill or Noguchi. The super normal is lying exposed before us, it is real and available: Fukasawa and Morrison make it visible for us.
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.
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.
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A5 SERIES Edited by Jens Müller and Karen Weiland, labor visuell at the University of Applied Sciences Düsseldorf, Department of Design
KIELER WOCHE History of a Design Contest Design: Jens Müller, Karen Weiland 14.8 × 21 cm, 5 ¾ × 8 ¼ in, 128 pages 150 illustrations, paperback 2010, ISBN 978-3-03778-231-6, e /g EUR 20.– GBP 20.– USD/CAD 30.–
CELESTINO PIATTI AND DTV The Unity of the Program Design: Jens Müller 14.8 × 21 cm, 5 ¾ × 8 ¼ in 128 pages, 196 illustrations paperback 2009, ISBN 978-3-03778-178-4, e /g EUR 20.– GBP 20.– USD/CAD 30.–
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.–
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.–
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The A5 series is intended as a growing archive on graphic design. Each volume introduces outstanding personalities and important themes from the history of international graphic design with numerous illustrations, essays and interviews.
The first poster competition for the Kieler Woche regatta was held in 1950, and over the years this annual event has come to be Europe's most prestigious design competition. While it became a corporate design competition in the 1970s, the Kieler Woche theme remained unchanged, so the designs submitted over the past sixty years offer a unique survey of how European graphic design has developed. In 1961, the Deutscher Taschenbuch Verlag (dtv) was created to exclusively publish paperbacks. The corporate image of the company and all the book jackets were to be designed by the same hand. This commission went to the Swiss designer Celestino Piatti (1922–2007). Piatti gave dtv its unique look for over 30 years, and created the image of 6300 white paperbacks.
First published in 1959, the cult magazine twen designed by Willy Fleckhaus set new standards internationally in the magazine design field. But something that has been forgotten is a series of about seventy long-playing records published between 1961 and 1968, 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. 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.
POSTER COLLECTION 22 LETTERS ONLY Edited by the Museum of Design Zürich 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.–
POSTER COLLECTION 21 PARADISE SWITZERLAND Edited by the Museum of Design Zürich 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.–
This publication casts light on the spectrum of the script poster, using consistent reduction to type and without any illustrative or geometrical elements. The script poster enjoyed its first heyday around 1915, with the discovery of the letter as a design element. Starting with examples influenced by the Bauhaus and its successors, the series continues to the present day.
Exemplary advertisements dating from 1900 to the present form a stimulating visual dialogue about Switzerland, exploring the ways in which the country appears in ads and also how this nation has been transformed into a cohesive image. Coming to light are clichés, images of native life and of foreignness, as well as contradictions and fractures.
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 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.–
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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.–
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.–
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Design: Integral Lars Müller 16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 100 illustrations, paperback 2007, ISBN 978-3-03778-094-7, e /g EUR 25.– GBP 20.– USD / CAD 30.–
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.–
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.–
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.–
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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 2007, ISBN 978-3-03778-100-5, g 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.–
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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.
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Jean-Benoît Lévy HANDBOOK
( FROM ONE HAND TO THE OTHER ) In the same collection: Lars Müller HELVETICA Hommage to a typeface. ISBN 3-03778-046-0
Design: Jean-Benoît Lévy 12 × 16 cm, 4 ¾ × 6 ¼ in 256 pages, 490 illustrations paperback The stylized handsigns which are illustrating 2006, ISBN 978-3-03778-077-0, e this book are available for Mac & Window EUR 15.– GBP 15.– as a sign system named H-AND-S USD / CAD 20.– at www.myfonts.com Isabel Naegele / Ruedi Baur SCENTS OF THE CITY ISBN 3-03778-012-6
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.
LARS MÜLLER PUBLISHERS
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/ f/g EUR 16.– GBP 15.– USD / CAD 20.–
FINDINGS ON ELASTICITY 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.–
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 Pars Foundation 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.
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Lars Müller JOSEF MÜLLERBROCKMANN Pioneer of Swiss Graphic Design Design: Integral Lars Müller 19 × 27 cm, 7 ½ × 10 ¾ in 264 pages, 369 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.–
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 978-3-03778-203-3, f 2010, ISBN 978-3-03778-202-6, g EUR 50.– GBP 50.– USD/CAD 80.–
Pierre Mendell AT FIRST SIGHT Design: Pierre Mendell 24 × 30 cm, 9 × 11 ¾ in, 200 pages 160 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.–
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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. Müller-Brockmann created a body of work in which timeless principles of visual communication are inscribed.
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.
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.
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.–
Wolfgang Weingart TYPOGRAPHY MY WAY TO TYPOGRAPHY Design: Wolfgang Weingart 22.5 × 27.5 cm, 8 ¾ × 10 ¾ in 520 pages, 450 illustrations hardcover 2000, ISBN 978-3-907044-86-5 e /g EUR 55.– GBP 50.– USD / CAD 120.–
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.–
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.
Since the 1970s Wolfgang Weingart has exerted a decisive influence on the international development of typography. In the late 1960s he instilled creativity and a desire for experimentation into the ossified Swiss typographical industry and reflected this renewal in his own work. In Typography Weingart gives an unusual and frank narrative of his early life and development as a designer.
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. Design
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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 CONTEXT 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
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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
Design: Kevin Rau with Jan Conradi 19 × 26 cm, 7 ½ × 10 ¼ in, 242 pages 150 illustrations, hardcover 2010, ISBN 978-3-03778-184-5, e EUR 45.– GBP 40.– USD / CAD 65.–
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.
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 /f / g EUR 30.– GBP 30.– USD / CAD 45.–
DISORIENTATION/ ORIENTATION 2
Orient-ierung/ation Des-/Dés-/Dis-/orient-ierung/ation
2
Design2context
8-3-03778-133-3
DISORIENTATION/ ORIENTATION 1
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 /f / g 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.–
SIGNAGE DESIGN MANUAL Edo Smitshuijzen 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.–
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.
Design
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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 /f / g EUR 15.– 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, paperback 2001, ISBN 978-3-906700-21-2, g EUR 58.– GBP 52.– USD/CAD 65.–
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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.
Hamish Fulton THE UNCARVED BLOCK Hamish Fulton’s photographic work focuses on nature and the way people experience nature. He has been hiking all over the world for 30 years, and translates what he experiences and sees into art. In 2009, Hamish Fulton and an expedition team climbed Mount Everest, the highest peak in the world. The Uncarved Block presents this artist treatment of the ascent to the summit for the first time in a compendious pictorial volume. Design: Hamish Fulton 30 × 24 cm, 11 ¾ × 9 ½ in, 160 pages 120 illustrations, hardcover 2010, ISBN 978-3-03778-227-9, e EUR 50.– GBP 50.– USD / CAD 75.–
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.
KATHARINA GROSSE WISH I HAD A BIG STUDIO IN THE CENTER OF THE CITY
My apartment was just to sleep in.
Katharina Grosse Now I’m going to plant a kitchen garden around the house.
Edited by Katharina Grosse With contributions by Laura Bieger, Andreas Denk, Ulrich Loock, and Philip Ursprung a.o.
Only one window opens, and it’s violet.
Wish I had a big studio in the center of the city Lars Müller Publishers
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.
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.–
Art
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Silvia Bächli and Eric Hattan BLINDHÆÐIR East Iceland Edited by Editions Attitudes, Geneva
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 /French /German /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.–
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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.
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.–
Olafur Eliasson and Kjetil Thorsen SERPENTINE GALLERY PAVILION Design: Heimann und Schwantes 17 × 24 cm, 6 ¾ × 9 ½ in, 128 pages 186 illustrations, hardcover 2007, ISBN 978-3-03778-116-6, e EUR 25.– GBP 25.– USD/CAD 35.–
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.–
Christian Möller A TIME AND PLACE Media Architecture Design: Integral Lars Müller 12.5 × 19 cm, 5 × 4 ½ in, 240 pages 288 illustrations, paperback 2004, ISBN 978-3-907078-91-4, e EUR 20.– GBP 18.– USD / CAD 30.–
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.
The Serpentine Gallery has commissioned Olafur Eliasson and architect Kjetil Thorsen to design its pavilion in 2007. Based on the principle of a winding ramp, the pavilion explores the idea of vertical circulation within a single space.
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.
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
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Klaus Merkel THE READING OF TIME IN THE TEXT OF NATURE Design: Integral Lars Müller 24 × 30 cm, 9 × 11 ¾ in, 96 pages 84 photographs, hardcover 2000, ISBN 978-3-907044-97-1, e 1997, ISBN 978-3-907044-40-7, g EUR 25.– GBP 25.– USD / CAD 38.–
Klaus Merkel ALBUM OF STONES Design: Integral Lars Müller 24 × 30 cm, 9 × 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.–
Barbara Heé CHAVIOLAS A landscape, so intimate and aloof
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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.
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 /French /German/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.
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.–
Thomas Flechtner SNOW Design: Integral Lars Müller 24 × 30 cm, 9 × 11 ¾ in, 120 pages 100 photographs, hardcover 2002, ISBN 978-3-907078-65-5, e EUR 50.– GBP 50.– USD / CAD 80.–
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.
In Thomas Flechtner’s photographs, snow becomes a metaphor for timelessness, stillness, peace, distance, and loneliness. Both civilization and the untouched countryside succumb to the gentle weight of this element. These images make the viewer long for silence and transparency.
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
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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 24.– GBP 25.– USD/CAD 40.–
Jean-Pascal Imsand PHOTOGRAPHER Design: Integral Lars Müller 24 × 30 cm, 9 × 11 ¾ in, 184 pages 138 photographs in b/w, hardcover 2004, ISBN 978-3-03778-037-4, e 2004, ISBN 978-3-03778-041-1, f 2004, ISBN 978-3-03778-040-4, g 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.–
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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. 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 ½ × 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 / French /German /Spanish EUR 35.– GBP 35.– USD / CAD 45.–
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.–
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. German Photobook Prize “Gold” Winner 2011
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.
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.
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Jules Spinatsch TEMPORARY DISCOMFORT 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).
Design: W. Heininger 24 × 30 cm, 9 × 11 ¾ in, 186 pages 115 photographs, hardcover 2005, ISBN 978-3-03778-047-3, e /g EUR 30.– GBP 30.– 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.–
SCIENCE 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/ f/ g /i (PAL) 2009, ISBN 978-3-03778-156-2 e/ f/ g /i (NTSC) EUR 30.– GBP 25.– USD / CAD 45.–
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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. An Initiative of SRG SSR idée suisse, edited by Christian Eggenberger and 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.
Andreas Seibert FROM SOMEWHERE TO NOWHERE China’s Internal Migrants 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.
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.–
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 / f /g EUR 30.– GBP 23.– 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.–
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.
Edited by Jeffrey Inaba and C-Lab, Columbia University GSAPP The world of giving has changed significantly: networks of NGOs now supplement philanthropy and the global operations of official channels. 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. Photography/Society
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THE FACE OF HUMAN RIGHTS Edited by Walter Kälin, Lars Müller, and Judith Wyttenbach The Face of Human Rights attempts to visually present all aspects of human rights and make them tangible. Over 500 photographs show human rights infringements world-wide and the tireless struggle to implement and preserve those rights. The extensive selection of texts explores the background and creates a dense network of links.
Design: Integral Lars Müller 16.5 × 24 cm, 6 ½ × 9 ½ in 720 pages, 500 illustrations 2004, ISBN 978-3-03778-017-6, e (hardcover) EUR 45.– GBP 45.– USD /CAD 60.– 2008, ISBN 978-3-03778-114-2, g (paperback) EUR 30.– GBP 30.– USD /CAD 50.–
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 45.– GBP 45.– USD / CAD 60.–
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Society
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.
Why should we see if we donâ&#x20AC;&#x2122;t think?
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