Lars Müller Publishers Spring Catalog 2014 by Lars Müller Publishers

Lars Müller Publishers Spring 2014

Lars Müller Publishers GmbH Pfingstweidstrasse 6 CH -8005 Zürich Switzerland Phone +41 (0)44 274 37 40 Fax +41 (0)44 274 37 41 sales@lars-muller.ch www.lars-mueller-publishers.com

Architecture Design Photography Art Society Interviews on Los Angeles Architecture 1970s–1990s

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Edited by Stephen Phillips Provides an oral history of Los Angeles architecture from the 1970s to 1990s through personal interviews with leading L.A. architects Contributions examine the institutional, historical, social, political, and cultural life surrounding art, architecture, and design from Postmodernism to Deconstructivism Catapulted to fame by the international media in and around the 1980s, a loosely affiliated cadre of architects — the so-called L.A. Ten — emerged to define the future of Los Angeles architecture. In this book, architects Neil Denari, Frederick Fisher, Ming Fung, Craig Hodgetts, Coy Howard, Wes Jones, Thom Mayne, Eric Owen Moss, Michael Rotondi, and former associates of the late Franklin Israel offer a casual, witty, and approachable retrospective on the characters, environment, and cultural history of L. A. architecture as they remember it. Architect, historian, and educator Stephen Phillips and the students of the Cal Poly L. A. Metro Program in Architecture and Urban Design, alongside Wim de Wit and Christopher Alexander of the Getty Research Institute, conduct the engaging series of oral history interviews.

Now available! 15.2 × 22.9 cm, 6 × 9 in, 256 pages 194 illustrations, hardcover ISBN 978-3-03778-409-9, English E UR 29.– G BP 25.– USD / CAD 35.–

STE PHE N PHILLIPS , an architect, historian and educator, is Associate Professor of Architecture at California Polytechnic State University, San Luis Obispo, and Founding Director of the Cal Poly L.A. Metro Program in Architecture and Urban Design.

L.A. [ TEN]: INTERVIEWS ON LOS ANGELES ARCHITECTURE 1970s–1990s

Morphosis Architects, oral history interview with the Cal Poly L.A. Metro Program and the Getty Research Institute, Culver City, March 3, 2011. Thom Mayne. Photo by James Oh.

connection—we’re always with each other. In fact, that became the collective glue in L.A.—we know each other because we were sitting in front of students at juries over and over again. So ten to fifteen years ago, you were already with a group of people that you’d been with for sometime, carrying on existing conversations that had been going on for a while. So we all know what we represented, and we were just going at it. I can sit down now with Eric, and we’ll be saying, “Okay, here we go again.” With that common dialogue, you can come in and try new stunts. Say, “Let’s kind of come around this in a different way.” There was really a very strong connection between all of us, and anyway, it led into these shows.

What happened with John was incredible. I think it was the first time in L.A. he got interested in it and covered every show. It was the first time in L.A. that something like this happened, and the newspaper gave John the front page of the “Calendar” section, which was unheard of in L.A. because this is not a city that’s been interested in architecture, regardless of the fact that we’ve probably had the strongest group of modern architects in the twentieth century. In terms of a wider public conversation, if you look at New York and L.A., there’s not even a close comparison. There’s the Modern Project at a smaller scale in Los Angeles—a residential scale—but the project was taking place with [Frank Lloyd] Wright, [Rudolf] Schindler, and [Richard] Neutra. Then, after that, the case study guys. When I went to school, it was [Raphael] Soriano, Craig Ellwood, and Ray Kappe—who was the end of that period—and Gregory Ain, who were my teachers, including Pierre Koenig, and our generation ended up rejecting them. Their project was more or less exhausted in our eyes, and it was perhaps finally in the world’s eyes as well. We were moving on; we were not interested in that kind of work, but that’s a whole other story. When you start looking back and saying things were more interesting then than they are now, that’s dangerous. [Laughter] That’s a bad sign, so I’m not going to go there, but there was a time that the discourse in the schools was a bit more contentious. You were allowed to kind of argue in a way. For instance, I had Craig Ellwood in my fifth and final year at USC, I put up five blank boards for my thesis with Craig. Craig was a nice man and a good architect, and he had taken us around to the Rosen House and all of his stuff. He’s a Mies protégé as you know, and I remember him kind of whispering in my ear and saying, “Thom, Thom, come on, just do what I want you to do and you’re gonna get an A,” which of course just stoked the fire. [Laughter] It was just the worst thing you could possibly say to me. So, I put up four or five blank boards, and I had a bet with my classmates that I could pull it off. I made a case for the irrelevance of the problem, and that was acceptable. You could actually do that, and I did okay. They dinged me grade-wise, but that meant nothing, and I later became good friends with Craig. I admire Craig as an architect; I don’t always agree with him, but I admire him. He was a very, very good architect. This kind of heated engagement wouldn’t happen as much today, but at SCI-Arc, back then, we continued it. It was pretty feisty among the group of people I’m talking about—almost to the point of being outrageous. We would get together, whether it was within faculty meetings, within the schools, or within these evening soirées, and it would get pretty testy. At the time, I think my biggest point of reference—I can’t speak for anybody else—was Team 10. I remember reading pieces of Team 10 and the discussions that were taking place with them. They were strong, and then they were done, and everyone went out drinking. It was fun. You could have serious arguments, and I really, really wish we had recorded some of these because they were just outrageous. I have to say some of these characters which were in the show—the Robert Mangurians and the Coy Howards and the Eric Mosses, et cetera—have an intellectual and an emotional component that allows them to express themselves in fairly tough, strong ways. There certainly wasn’t a fear of arguing either because there were often screaming matches and expletives. We got Ray to swear in a way I’ve never heard him swear before, and we’d just go totally off the wall. It was like the political scene in Taiwan; at SCI-Arc they were reaching over the table and effectively slugging at each other. I mean it was really close to that at times, especially because the faculty at SCI-Arc had a fundamental division. We had two different generations at SCI-Arc, and we would really go at it. Ray and I, you would think we were the worst of enemies, and then, always the next morning, we would call each other up and meet at the West Beach Café—one of the great places

L.A. [ TEN]: INTERVIEWS ON LOS ANGELES ARCHITECTURE 1970s–1990s

I think in that project, you see walls becoming surfaces and being recomposed in terms of surface. That gets back to my point that I feel like in some projects there’s a real shift from walls into screens.

Steven Shortridge: Well, that’s like in the Divine Pavilion, you’re talking about here, with the shape of that, and there’s an arc, and he was working with these shapes, often kind of eye shapes. There were several things, where there was a T-shirt that he was doing, that arc and eye shape kept reappearing. In that one, it ended up being in an airport hanger, Barker Hangar, at the Santa Monica Airport. In the middle of it is part of a fundraiser event, and Franklin Israel (1945–1996): Divine Design Pavilion, Santa Monica, it was a fun project because it 1991. Photo by Grant Mudford. happened very quickly. It was generated by the arc feeling of the space. It worked perfectly in the space. Then it was skinned over almost airplane-like. There was a sense of lightness and airiness to it that came into play, but if you see that arc happening there, you see it happening in an early Virgin Records thing. You even see it in an earlier project, the Bright and Associates project—that sort of conical partial section. That one was skinned in plywood and happened at other parts of that. These things were happening at the same time, and with Annie involved, more other things were happening. So back to the thing of how there were different things happening in the same office at the same time, Frank was comfortable working that way with different people and the energy that they would bring to something, and working from that, then ending up in different places.

Coming straight back from my trip to Peru, seeing that situation happening, he was generous enough to allow me to continue the questions I had at Columbia. The sectional early stuff at the Woo House and at the Hague House—which I think is probably the most tight in terms of a statement—and then eventually to Drager house—a little bit less resolved, but other questions were asked on that one too. Barbara Callas: Yeah. It’s interesting because Annie does take an informal typology of an early period—kind of an architect without the architects’ period that also coincided with Frank. His doodles of conch shells and the football shape that came out of it, or was also reinforced by the footballs that hold and cover the knots in plywood. There were repetitious forms that were recurring and that he felt comfortable with. When somebody felt comfortable with that, he was going in that way. Annie’s not somebody to make a curve. [Laughter] Barbara Callas: I don’t know if you ever have. Joe Day: That’s from Scarpa, too. Barbara Callas: Yeah. Then it probably did come from that. Mitchell De Jarnett: I think along with all that, and Joe, you touched on this earlier, the Walker exhibition was an interesting moment where Frank actually had some time to sit down and assess where he was at, at that moment in his development. We can’t discount the importance of what it means to come to Southern California and be committed to building and realizing, except with very, very few exceptions, that you’re going to build stick buildings with cementitious skins over paper because the seismic environment that we work in necessitates us to do that to meet the economic criteria that buildings have out here. I think that might be one consistent thing that would go through all the different kind of strands that made up the production in the office. But it’s really clear in Divine Design with that idea of pulling those apart—pulling that stick skeleton either away or letting it be exposed or skinning it with other materials—so that it could have a visual presence rather than just a structural one. As I said earlier, we all felt like we were burdened with one way to build here in Southern California in those days, and Frank gradually took that and made it a real virtue. Working with all of us, in some ways, to come to new understandings about

Annie Chu: On the issue of the arc, there was always the ubiquitous Eames chair. Barbara Callas: The potato chip chair in every single photo or the early projects. Annie Chu: It’s been called potato chip chairs, and these were all referred to as the potato chips. He was generous enough and secure enough, and that was an amazing thing about him—he would bring people into his office who were coming in with ideas, and you know, certainly Steven offered him ideas. I offered my ideas pretty much fresh out of Columbia, fresh out of Tod Williams and Billie Tsien’s office in New York, and coming back and resisting everything that has to do with the planometric situation going on at the time. I was really interested in the kind of situation at that point we call the blurring between architecture and landscape—the integral relationship between walls and ceilings, walls and floors.

L.A. [ TEN]: INTERVIEWS ON LOS ANGELES ARCHITECTURE 1970s–1990s

introduction 6 “It was a cool, windy day. I first posed the group in a line stretched across the sand, with a lot of distance between each subject. This solution was to accommodate the unease and tension that resulted from the clash of egos . . . Things loosened up and some camaraderie developed. The last shots reveal Fred [Fisher], Coy Howard, and Craig Hodgetts alternately attempting to tackle Frank Gehry or pay homage to him.” —Ave Pildas

While they appeared close when they gathered as a pack of young, up-and-coming, hotshot architects at Venice beach for their Interiors Magazine photo shoot in 1980, in retrospect, the so-called “L.A. Ten” were not a cohesive group. [Figs. 1–3] Aside from significant attempts to position them as a group in the media, their affiliation remained loosely defined. Media portrayal spoke more to the political savvy and ambitions of the so-called L.A. Ten, alongside their ability to accept and take advantage of serendipitous opportunities. In 1979 Thom Mayne of Morphosis Architects held his “Current L.A.: 10 Viewpoints” lecture and exhibition series, in conjunction with the Southern California Institute of Architecture (SCI-Arc), at his Venice Beach studio and home. [Fig. 4] This ten-week series featured exhibits and lectures from a group of architects and firms comprising ten different viewpoints. Inspiration for this activity, Mayne admits, in part came from his interest in Team 10—the international group of architects practicing in the 1950s to 1980s, often referred to as “Team X,” who challenged and effectively broke away from the dominant international modernist group Congrès internationaux d’architecture moderne (CIAM), active from the 1920s to 1950s.1 Similarly, breaking from the modern agendas still prevalent in Los Angeles, Mayne hoped the ten viewpoints presented in his L.A.: 10 lecture and exhibition series would provoke discourse and debate, and garner attention for this younger group of experimental L.A. architects. And it did. John Dreyfuss of the Los Angeles Times (L.A. Times) promoted these lectures and exhibitions through a series of articles in the newspaper’s “Calendar” section. Additionally, writer Olivier Boissière and photographer Donatella Brun from Domus magazine traveled from Europe to Los Angeles to meet the group. Their ensuing Domus article “Ten California Architects” did much to establish international notoriety for the so-called L.A. Ten. [Fig. 5] Boissière did create confusion, however, when he did not feature the same architects as Mayne—as Brun explains, they had a difference of opinion.2 Mayne and Boissière agreed that Frederick Fisher, Frank Gehry, Coy Howard, Craig Hodgetts, Thom Mayne, Robert Mangurian, Eric Owen Moss, and Michael Rotondi all belonged to this formative group of experimental practitioners. Boissière also included Thane Roberts and James Stafford, while Mayne included Eugene Kupper, Roland Coate Jr., Frank Dimster, and Peter de Bretteville. Three of these members did eventually leave Los Angeles; two went to work for larger firms, and one returned to more traditional practice. In effect, there seems to have been a core group of seven or eight architects that comprised the L.A. Ten, alongside the ebb and flow of two or more participants. Other notable experimental architects soon moved onto the L.A. scene contributing to this dynamic group. Hsinming (Ming) Fung partnered with Craig

Franklin Israel (1945–1996): Models, left: Hague House, The Netherlands, circa 1992. Basswood. Right: Woo Fong Pavilion, Silverlake, circa 1992. Basswood and chipboard. Photos by Tom Bonner.

www.lars-mueller-publishers.com

Figure 1. L.A. Architects at Venice Beach, 1980. Left to right: Frederick Fisher, Robert Mangurian, Eric Owen Moss, Coy Howard, Craig Hodgetts, Thom Mayne, and Frank Gehry. Photo by Ave Pildas.

Hodgetts and launched their new firm Hodgetts + Fung in 1984. Hodgetts’s former partner Robert Mangurian of Studio Works partnered with Mary Ann Ray in 1987. Neil Denari, Franklin Israel, and Wes Jones, among others (Julie Eizenberg, Steven Ehrlich, and Michele Saee), also contributed to this L.A. architecture community, arguably matching the accomplishments of the original so-called L.A. Ten. The notion of Los Angeles thereby having a group of ten architects or firms leading a school of thought was never definitive. L.A. [Ten]: Interviews on Los Angeles Architecture 1970s–1990s thus seeks to characterize, discuss, understand, and challenge the historically complex position of group formation and the social organization that surrounded the Los Angeles architecture scene in and around the 1970s to the 1990s. It attempts, through a series of interviews, to recall the stories of ten of the most relevant Los Angeles experimental practitioners, who defined their own architectural language through innovative and creative forms of speculation, experimentation, and production. This book begins to compile an oral history of the local and global events and practices that situate and define architecture in Los Angeles near the end of the twentieth century. In so doing, these oral histories hit upon a wide range of themes and strategies on the institutional, historical, social, cultural, and political life surrounding art, architecture, and design during the postmodern period. Although oral history can appear to be inexact, based on loose memory and hearsay, as an architect and scholar, I’ve come to understand how cultural politics have a way of distorting historical facts anyway. That old cliché that those in power write the history they want others to remember has a certain validity. Journalists, historians, and biographers are all subject to the politics of their time, and it seems to me the history of Los Angeles architecture in many ways is a product of the complex positioning of varied institutions and individuals involved, rather than a recording of a clear timeline of factual events. Oral history provides us with a selective recollection

Architecture

L.A. [Ten]

Design

René Spitz

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A5 /06: HfG Ulm

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Concise History of the Ulm School of Design

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1-3 arbeiten in der Grundlehre/works from the fundamentals; Hans G. conrad, 1953 4-8 arbeiten zur farblehre in der Grundlehre/color theory works from the fundamentals; Hans G. conrad, 1954

Die Aufgabe der Grundlehre bestand bei weitem nicht nur darin, die Kenntnisse der Studierenden mit ihren höchst unterschiedlichen Vorbildungen auf ein einheitliches Niveau zu bringen. Darüber hinaus ging es erstens darum, die Studierenden auf die Arbeit in den Abteilungen ab dem 2. Studienjahr vorzubereiten, insbesondere methodisch. Zweitens sollten die grundlegenden Herausforderungen des technischen Zeitalters vermittelt werden. Der Horizont war gerade nicht nur auf das praktische Tagesgeschäft beschränkt, sondern es wurden die großen Zusammenhänge in Gesellschaft, Politik, Wirtschaft, Kultur thematisiert. Drittens wurde die Zusammenarbeit zwischen den Fächern und im Team trainiert.

Edited by Jens Müller

Fächer in der Grundlehre waren zum Beispiel: – Visuelle Methodologie: Erkenntnisse aus der Forschung in Bezug auf den zwei- und dreidimensionalen Raum – Theorie der Wahrnehmung – Werkstättenarbeit: Holz, Metall, Druckerei, Fotografie – Darstellungsarten: technisches Zeichnen, Schrift, Freihandzeichnen, Sprachen – Mathematik, Physik, Chemie; mathematische Logik – Soziologie – Kulturgeschichte des 20. Jahrhunderts: Architektur, Literatur, Kunst Die Studenten sollten in intellektueller und pragmatischer Hinsicht mit den Gesetzen der Mathematik, Physik, Geometrie und Mechanik vertraut gemacht werden: Von den elementaren festen Körpern wie Kugel, Kegel und Würfel über die Verbindung dieser Körper bis zu komplexen plastischen Strukturen. All diese Themen sind noch fern von formalästhetischen Aufgaben.

Comprehensive documentation on the famous Ulm School of Design

Now available! 14.8 × 21 cm, 5 ¾ × 8 ¼ in 128 pages, 182 illus. paperback ISBN 978-3-03778-413-6 English / German E UR 28.– G BP 25.– USD /CAD 40.–

The Ulm School of Design (HfG Ulm) ranks among the world’s most important institutions of the 20th century in modernist design. Its founders Inge Aicher-Scholl, Otl Aicher and Max Bill wanted to contribute to the shaping of a new and better world after the terrible experiences of the Nazi regime and the Second World War. The meaning of design today cannot be understood without considering the developments at HfG. That applies not only to the design of appliances and communications, but also to the profession of designer, design education, methodology and design theory—ranging from the relationship between design and science up to the question of what relationship design should adopt with art and crafts, or business and society. This massive impact of the HfG is all the more astounding, considering that it existed for only 15 years, from 1953 to 1968. This book provides a contextual and broadly illustrated history of the HfG Ulm.

A5/07: Rolf Müller Stories, Systems, Marks

Abteilung Produktgestaltung/ Product Design Department

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1 tanksäule/Gasoline pump; student: werner zemp, 1964/65; 2. studienjahr/ 2. study-year; Dozenten/teacher: Gui bonsiepe, peter raacke. Veröffentlicht in/published in: ulm 12/13, März 1965/ March 1965 2 Verkehrszeichenanlage/trafficsign equipment; studenten/students: richard schärer, Kinga Gebefügi, Martin Hess, 1965/66; 2. studienjahr/2. study-year; Dozent/teacher: Herbert lindinger. Veröffentlicht in/published in: ulm 19/20, august 1967 3 innenraum und Karosserie eines pKw/ interior and body-work of a car; student: pio Manzoni, 1962/63; 3. studienjahr/3. study-year; Dozent/teacher: rodolfo bonetto. Veröffentlicht in/ published in: ulm 8/9, september 1963 4 Dreirädriges Kleintaxi und Kleintransporter/three wheel taxi and transport vehicle; studenten/students: Manfred Herrmann, Dieter lassmann, eberhard wahl, 1963/64; 2. studienjahr/2. study-year; Dozent/teacher: rodolfo bonetto. Veröffentlicht in/published in: ulm 14/15/16, Dezember 1965/December 1965 5 triebwagen/electric railway for citytraffic; entwurf/Design: Hans Gugelot, Herbert lindinger, Helmut Müller-Kühn; farbberatung/colour-consultants: otl aicher, peter croy; auftraggeber/commissioned by: Hamburger Hochbahn aG. Veröffentlicht in/published in: ulm 7, Januar 1963/January 1963 6 Karosserie für einen Gran-turismowagen/body design for a Gran turismo car; studenten/students: Michael conrad, pio Manzoni, Hans werner. Veröffentlicht in/published in: ulm 6, oktober 1962/october 1962

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“The election campaign brochure for Willy Brandt was an unusual order, in that it came straight from Willy Brandt’s office and not through his party, the SPD. One of Brandt’s personal assistants knew the journalist ClausHeinrich Meyer. He met him, and said, ‘Hey, that Brandt. We’ve got nothing about him. No biography, really nothing at all.’ Every other politician had a CV or a brochure, and only Willy Brandt did not. Claus came to me. ‘I’m supposed to write a little breviary about Willy Brandt.’ That’s no good. Brandt and a breviary. No chance. We then invited the personal assistant to Munich. I had a dummy made up in this size and said, ‘That’s how you have to sell Willy Brandt. In this format.’ He relayed that to Brandt, who said, ‘Yes, go ahead.’ We had six weeks to do it. Claus-Heinrich Meyer wrote the texts, and I collected the pictures. We made one copy and sent it to Bonn. And then Willy Brandt had a look at it, made three corrections to the typesetting—which were needed—and approved it. Otherwise, no complaints. The first print run was 90,000 copies, and in the end there were more than 1 million. That was my favourite project.”

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Edited by Jens Müller First monograph dedicated to the designer Rolf Müller

Now available! 14.8 × 21 cm, 5 ¾ × 8 ¼ in 128 pages, 350 illus. paperback ISBN 978-3-03778-414-3 English / German E UR 28.– G BP 25.– USD /CAD 40.–

This book is the first monograph dedicated to the designer Rolf Müller who is known above all for his design of the visual identity of the Munich Olympic Games in 1972. Shortly after graduating from the famous Ulm School of Design, his former professor Otl Aicher entrusted him with this work, which set new standards in international design. In parallel, he established his design firm Büro Rolf Müller in Munich. On the basis of selected projects, the book attempts to retrace the mentality and methods of his design: For nearly four decades, the firm developed corporate identities, books, magazines and signage systems at the highest level. The firm’s projects include the visual identity of the City of Leverkusen, forged over several decades, and the magazine HQ High Quality for the company Heidelberger Druckmaschinen, of which 39 issues were published. As a storyteller and system designer, Rolf Müller has left a mark on international design history with his work. His stance has had a decisive impact in shaping the way in which today’s communications designers view their profession. POSTER COLLECTION 26

Japan—Nippon

Willy Brandt Wahlkampfbroschüre/ Election campaign brochure 1971, 21 x 39,8 cm 24

«Allen Zeichen liegen bestimmte Ordnungsfaktoren zugrunde, die das System zu einer visuellen Grammatik machen. Das System besteht aus Bildzeichen und aus Subzeichen, die die Bildzeichen modifizieren. Die Bildzeichen leiten sich überwiegend von charakteristischen Bewegungssituationen, von Gegenständen, typischen Bekleidungsformen und ihrer Kombination ab. Subzeichen sind zum Beispiel der Pfeil oder der Querbalken, der die Bedeutung eines Bildzeichens negiert.» (Peter von Kornatzki in «Kunst und DesignKultur Olympia», 1986) “All symbols are based on certain ordering factors which make the system into a visual grammar. The system consists of pictograms and sub-symbols which modify the pictograms. The pictograms are predominantly derived from characteristic movements, from objects, typical forms of clothing and combinations of these. The sub-symbols include for example the arrow or the diagonal line which negates the meaning of a pictogram.” (Peter von Kornatzki in “Kunst und DesignKultur Olympia”, 1986)

«Der Läufer, das allererste Piktogramm stammt von mir – auch das Raster. Wir haben im Team gearbeitet. Das Mittag- und Abendessen war die beste Gelegenheit Gedanken auszutauschen. Am Wochenende haben wir uns gemeinsam auf einen Gasthof auf dem Land zurückgezogen. Dort wurden viele Skizzen auf A4 abgearbeitet.»

Piktogramme zu den Spielen der XX. Olympiade München 1972/ Pictograms for the XXth Olympic Games, Munich 1972 1967 - 1972 64

“The runner, the first pictogram of all, comes from me—including the grid. We worked in a team. Lunch and dinner were the best times to exchange ideas. At the weekends, we retreated to a country inn, where we worked through a lot of sketches in A4 format.”

«Olympischer Sommer» (Olympic Summer) Broschüren/Brochures 1971 - 1972

«Die Hefte zum Kulturprogramm erschienen im Vorfeld der Olympischen Spiele in 16 bis 20 Sprachversionen. Hierzu musste ich ein praktikables System erfinden. Die Lösung war ein Vordruck mit vier Sonderfarben in riesiger Auflage, in den dann die Sprachen nachträglich eingedruckt wurden.»

“The booklets on the cultural programme were published in 16 to 20 language versions in the run-up to the Olympic Games. I had to find a practicable system to get that done. The solution was a pre-printed blank with four special colours in huge quantities, into which the different texts were then subsequently printed.”

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Edited by the Museum of Design Zürich With an Essay by Kiyonori Muroga A complete picture of Japanese poster design since the 1950s Homage to the Japanese pictorial aesthetic

Available in February 2014! 16.5 × 24 cm, 6 ½ × 9 ½ in, 112 pages approx. 120 illustrations, paperback ISBN 978-3-03778-422-8, English / German E UR 28.– G BP 24.– USD /CAD 40.–

Posters circulated in Japan simultaneously with the country’s swift reconstruction and economic revival after the Second World War. If the first generation of poster designers was mostly guided by western modernism, searching for a universal and functional way of communication, the following generations from the 1970s onwards increasingly drew on their own pictorial tradition and maintained marked individual approaches. This was not least a reaction to the west’s fascination with a poster culture with very different parameters and arguments. Until today, the Japanese poster functions most notably as a highly aesthetic image advertisement and indoor medium, presupposing the conception of the designer as an artist.

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Limited edition The collaboration between photographs, writings, space, scale, paper and typography make this an art object in itself for collectors, artists, and photographers.

Now available! 29.5 × 38.1 cm, 11 ½ × 15 in, 112 pages 75 illustrations, paperback ISBN 978-3-03778-410-5, English / Polish E UR 60.– G BP 50.— USD /CAD 80.–

Polish-born photographer Jurek Wajdowicz’s new art book luxuriates the viewer with both saturated and minimalist images that float between abstraction and reality of both the perceived and the imagined. The largeness of this limited-edition publication, reminiscent of a gallery space, envelopes the reader and creates a pause for each image. You realize at once that you are seeing something captured in its purity—in its minimal, intense and separate state. Fred Ritchin in his introduction writes “. . .Seeing and looking are hardly the same. The riches reside as well in the parallel universes, those which conventional photography, quoting from appearance, hardly seem to take into account. In the hints of shape in Wajdowicz’s own images, in his embrace of negative space, appearance manages to conceal itself, implying the gaps of the forever in-between. The engaged viewer can then infer ways to re-imagine, while Jurek’s lens argues for a less traveled space. It is no wonder that his imagery reads like jazz. . .”

Photography

Liminal Spaces Jurek Wajdowicz Fotografie_75

JURE K WAJDOWICZ , born in Poland, is the principal of Emerson Wajdowicz Studios (EWS ) in New York.

He is recognized internationally as a leader in the photojournalistic approach to graphic design. FRE D RITCHIN is professor and associate chair of the Department of Photography and Imaging at New

York University’s Tisch School of the Arts and co-directs the Photography and Human Rights Program at NYU with the Magnum Foundation.

Previously announced, now available! Inside CERN European Organization for Nuclear Research With an essay by Peter Stamm and a text by Rolf Heuer For most people locations that hold a particular importance for the development of our society and for the advancement of science and technology often remain hidden from view. They are separate and protected, such as CE RN , the European Organization for Nuclear Research, close to the city of Geneva. CE RN is best known for its giant particle accelerator. Here researchers from around the world take part in a diverse array of fundamental physical research, in the pursuit of knowledge that will perhaps one day revolutionize our understanding of the universe and life on our planet.

Previously announced, now available! 20 × 27.5 cm, 7 ¾ × 10 ¾ in, 432 pages 297 illustrations, paperback ISBN 978-3-03778-275-0, English E UR 50.– G BP 40.– USD / CAD 65.–

Photography

Andri Pol

The Swiss photographer Andri Pol and author Peter Stamm mixed with this multicultural community of researchers and followed their work over an extended period of time. In doing so they created a unique portrait of this fascinating world. The cutting-edge research is given a human face and even if we don’t fully understand the processes at work, the pictures allow us to perceive how in this world of the tiniest particles the biggest connections are searched for. ANDRI POL , born 1961, is an internationally acclaimed Swiss photographer who, in his work,

seeks out the remarkable in the everyday. He has published several books, including the bestseller Grüezi—Seltsames aus dem Heidiland (2006) and Where is Japan (2009).

Previously announced, now available!

Architecture

Architecture Is Life Aga Khan Award for Architecture Edited by Mohsen Mostafavi The Aga Khan Award for Architecture was established by His Highness the Aga Khan in 1977, to identify and encourage excellence in architecture of societies with a Muslim presence. Richly illustrated and with explanatory texts, the book presents the 2013 shortlist and the award recipients. This year’s topic is centered around the relationship between life and architecture. Numerous essays examine how architecture interacts with the life of people who inhabit it. Previously announced, now available! 16.5 × 24 cm, 6 ½ × 9 ½ in, 352 pages 206 illustrations, hardcover ISBN 978-3-03778-378-8, English EUR 38.– GBP 30.– USD/CAD 50.–

With contributions by David Adjaye, Mohammad al-Asad, Homi K. Bhabha, Farrokh Derakhshani, Michel Desvigne, Omar Abdulaziz Hallaj, Hanif Kara, Mahmood Mamdani, Toshiko Mori, Mohsen Mostafavi, Hashim Sarkis, Wang Shu, Shahzia Sikander, Murat Tabanlioglu, and Han Tümerkin.

Sean Lally

The Air from Other Planets

The inside surfaces of the acrylic vitrines are etched so as to trap condensation, allowing the water to pool in specified areas.

A Brief History of Architecture to Come

Previously announced, now available! 11.7 × 16.5 cm, 4 ½ × 6 ½ in, 248 pages 90 illustrations, hardcover ISBN 978-3-03778-393-1, English EUR 24.– GBP 20.– USD /CAD 32.–

The Air from Other Planets introduces the reader to an architecture produced by designing the energy within our environment (electromagnetic, thermodynamic, acoustic, and chemical). This architecture exchanges the walls and shells we have assumed to be the only type of attainable architecture for a range of material energies that develop their own shapes, aesthetics, organizational systems, and social experiences. The book is a story in which energy emerges as more than what fills the interior of a building or reflects off its outer walls. Instead, energy becomes its own enterprise for design innovation: it becomes the architecture itself.

fluorescent tracers have been added to the water in the basin, and fluorescent lighting is used to track differences in how water, humidity, and air movement and speed are controlled in the different vitrines.

A m P l i f i c AT i o n , 2 0 0 6 – 0 0 7 Sean Lally WEATHERS

shAPing energies

Architecture’s shape ( the physical edges that control a person’s movement, the spatial typologies that organize activities, and the aesthetic qualities conveyed ) is created through a dialogue between the building materials used and the human body’s ability to detect the boundaries those materials produce. Particles and waves of energy produce gradients of intensity, requiring the human body’s sensory perception to be sensitive enough to detect and respond to the properties of those more blurred edge conditions. The shape of this architecture is a result of a precise calibration between the senses of the human body and the material energies that the body can perceive and come into contact with.

m AT e r i A l e n e r g i e s

create gradient boundaries.

Arch iTecTu r e’s shAPe

is a dialogue between the material energies and the body’s sensorial envelope.

SEAN LALLY, born 1974, is the founder of WEATHE RS , an office that approaches design by embracing the potential overlap between the disciplines of architecture, landscape architecture and urban design.

s e n s o r i A l e n V e lo P e s

detect the gradient boundaries.

introduction

Shadi Rahbaran, Manuel Herz

Nairobi, Kenya Migration Shaping the City Edited by ETH Studio Basel

Previously announced, now available! 17.5 × 24 cm, 6 ¾ × 9 ½ in, 176 pages 211 illustrations, hardcover ISBN 978-3-03778-375-7, English EUR 24.– GBP 20.– USD /CAD 32.–

Previously announced, now available! 12.5 × 19.5 cm, 5 × 7 ½ in, 188 pages 107 illustrations, paperback ISBN 978-3-03778-346-7, English EUR 15.– GBP 12.– USD / CAD 20.–

Nairobi, in its short history spanning just over one hundred years, has grown to be one of the most varied and international cities of our contemporary world. Migration has been shown as one of the key forces influencing the city. In the context of Nairobi’s complex political trajectory from colonialism to independence, migration has reinforced ethnic, spatial and economic differences, leading to the formation of multiple power structures. This process is evident in the city’s radically different urban patterns. The book documents specific neighborhoods, showing how different cultures of urban life constitute the city today.

Formless

Double

Storefront for Art and Architecture Manifesto Series 1

Storefront for Art and Architecture Manifesto Series 2

Edited by Garrett Ricciardi and Julian Rose

Edited by Serkan Özkaya

The formless is increasingly in the air today, such as in discussions of the “formless” quality of the city, in talk of atmospheric buildings, randomized structures, and the dematerialization (or increased mediation) of architecture. No doubt part of its appeal lies in the fact that the formless is found at the intersections between architecture and other fields. Nevertheless, it has not yet been theorized rigorously in architecture. This book represents a first step toward this articulation.

Double discusses the effects, desires and implications in the act of doubling and replicating. Society has constantly regulated the act of copying. Almost as an instinctual impulse towards originality, the desire for constant innovation has been protected Previously announced, throughout history with public shame, bureaucratic now available! regulation or even trials. Investigating the issues 12.5 × 19.5 cm, 5 × 7 ½ in, 164 pages of sameness and difference, this compilation 402 illustrations, paperback of manifestos explores the possibilities embedded ISBN 978-3-03778-345-0, English in the act of copying, opening a path for learning EUR 15.– GBP 12.– USD /CAD 20.– by copying, and ultimately copying better.

Previously announced, now available!

Architecture

Urban Hopes Made in China by Steven Holl Edited by Christoph a. Kumpusch

Previously announced, now available! 17 × 17 cm, 6 ¾ × 6 ¾ in, 288 pages 166 illustrations, hardcover ISBN 978-3-03778-376-4, English EUR 40.– GBP 35.– USD / CAD 49.–

Embracing that which could dominate us—the city, infrastructure, overpopulation and social chaos—has been part of the process of Steven Holl Architects as the office has taken on work of increasing complexity and scale in China over the past decade. The projects featured in this book play a serious game with scale and the dynamic between micro and macro. There is no inbetween, no easy hybridity, but a study of contrasting and nested scales that acknowledge the fact that the city-dweller’s perception across a given day necessarily shifts from micro to macro foci and environments. In content and form the book reflects such juxtaposition, featuring large format images and graphic documentation of Steven Holl’s recent works realized in China alongside critiques and analyses offered by a new generation of theorists.

Zaha Hadid Architects Heydar Aliyev Center

abstract, liquid, and incandescent in the sun, the heydar aliyev center in Baku does not look as though it was actually constructed, but seems instead to have appeared, like an emanation, after a magician rubbed a lamp. a landmark in architectural history and engineering, and the new symbol of a new nation, the center, with a roof that flows into walls that pour onto the ground, tents a national museum, gallery, and auditorium. the design marks a convergence of architectural vision, computational intelligence, and extreme engineering that combine to make the virtuosity of the structure look serene and effortless. with compound curves evolving and revolving inside and out into other curves and countercurves, the surfaces of the free-form structure are as continuous as a Möbius strip or Klein bottle. like venerable cathedrals and mosques, the center holds a mystifying aura that conditions visitors for the experiences inside.

Edited by Saffet Kaya Bekiroglu Photographs by Hélène Binet and Iwan Baan

Previously announced, now available! 21 × 33 cm, 8 ¼ × 11 in, 128 pages 134 illustrations, hardcover ISBN 978-3-03778-353-5, English EUR 40.– GBP 33.– USD/CAD 55.–

Zaha Hadid Architects: Heydar Aliyev Center is devoted to the new cultural center designed by Zaha Hadid in the Azerbaijani capital of Baku. The building contains an auditorium that seats over a thousand, a conference center, a museum, and a library. Its open, inviting, and curvilinear design, which picks up and expands on forms from the surrounding environment, strongly differentiates the building from the city’s monumental architecture of the Soviet era. Photographs by Hélène Binet and Iwan Baan display the building in all its facets, making it possible for the reader to experience its formal, haptic, and spatial qualities. Essays bring to light conceptual and technical aspects of this impressive piece of architecture.

TM RSI SGM 1960–90 Edited by the Ecole Cantonale d’Art ( ECAL ), Lausanne, Louise Paradis with Roland Früh and François Rappo

Previously announced, now available! 21.5 × 31.5 cm, 8 ½ × 12 ½ in, 276 pages 472 illustrations, hardcover ISBN 978-3-03778-334-4, English EUR 50.– GBP 45.– USD /CAD 65.–

Design

30 Years of Swiss Typographic Discourse in the Typografische Monatsblätter

Typografische Monatsblätter is one of the most important journals to successfully disseminate the phenomenon of “Swiss typography” to an international audience. With more than 70 years in existence, the journal witnessed significant moments in the history of typography and graphic design. 30 Years of Swiss Typographic Discourse in the Typografische Monatsblätter examines the years 1960–90, which correspond to a period of transition. The book includes a large number of works from well-known and lesser-known designers, such as Emil Ruder, Helmut Schmid, Wolfgang Weingart, HansRudolf Lutz, Jost Hochuli, and many others.

Ken Miki

Apple Learning to Design, Designing to Learn

Previously announced, now available! 16.5 × 24 cm, 6 ½ × 9 ½ in, 164 pages 224 illustrations, paperback ISBN 978-3-03778-386-3, English EUR 32.– GBP 27.– USD / CAD 42.–

With Apple, Ken Miki playfully presents a complete basic course in visual communication—all based on a simple and familiar object: the apple. First, all five senses are activated in a step-by-step analysis of the apple by touching, looking at, smelling, tasting, and listening to the sound of eating it. The apple is then used to illustrate the topics of form, color, size, surface, texture, writing, line, body and text—the fundamental elements a designer works with. Addressing each theme based on this everyday object enables a playful approach that also makes for highly effective learning. A unique textbook that offers inspiration and food for thought for both, experienced graphic artists and those not yet familiar with the world of design. KE N MIKI , born in 1955, founded his own eponymous design studio in 1982 and teaches at the University of Osaka.

Previously announced, now available!

Design

POSTER COLLECTION 25

Josef Müller-Brockmann Edited by the Museum of Design Zürich With an essay by Catherine de Smet and a text by Lars Müller

Previously announced, now available! 16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 140 illustrations, paperback ISBN 978-3-03778-392-4, English / German EUR 28.– GBP 24.– USD /CAD 40.–

Josef Müller-Brockmann’s graphics have left a lasting mark on Swiss visual communication from the 1950s onward. His posters demonstrate the use of a sober, formally reduced language for conveying a universal, timeless message. Poster campaigns for longtime clients such as the Tonhalle concert hall in Zürich or the Automobile Club of Switzerland follow strict functional criteria—and yet exhibit a variety of design solutions and exciting, dynamic compositions. This book presents selected posters by Müller-Brockmann and places them in the context of their own time while also examining the validity of his solutions from today’s point of view.

Don’t Brand My Public Space! Edited by Ruedi Baur and Sébastien Thiéry

Previously announced, now available! 16.5 x 24 cm, 6 ½ × 9 ½ in, 288 pages 1669 illustrations, paperback ISBN 978-3-03778-348-1, English ISBN 978-3-03778-354-2, French EUR 40.– GBP 33.– USD / CAD 55.–

Katrin Trautwein

Black Is there such a thing as “pure black”? In this book, Katrin Trautwein shows us how many shades of gray and different pigments can go into creating this special color, to which countless meanings are attached both in Western culture and other parts of the world. By means of high-grade screen prints, the publication makes the wide range of blacks tangible to the reader, belying the notion that black is the mere absence of light. On the contrary, the different black tones are uniquely suited to emphasizing nuances in lightness and darkness. These are the shades that create moods within architecture.

Previously announced, available in February 2014! 26 × 19 cm, 10 ¼ × 7 ½ in, 256 pages approx. 200 illustrations, hardcover ISBN 978-3-03778-383-2, English EUR 50.– GBP 40.– USD/CAD 65.–

Art

First Cuts—Harald F. Müller Edited by Gerd Blum and Johan Frederik Hartle With a foreword by Mike Guyer First Cuts shows 15 photographic appropriations that artist Harald F. Müller realized in Switzerland’s tallest building: the Prime Tower in Zürich, designed by architects Gigon/Guyer. Evoking nostalgia for human faith in progress, the motifs depict a series of “firsts” from the worlds of technology, sports, and culture, pointing to cutting-edge research and timeless modernity.

Previously announced, now available! 18 × 24 cm, 7 × 9 ½ in, 192 pages 38 illustrations, paperback ISBN 978-3-03778-408-2, English / German EUR 32.– GBP 27.– USD / CAD 42.–

HARALD F. MÜLLE R , born 1950, works with reproductions to develop image and color concepts for interior and exterior spaces. He lives and works at Lake Constance and in Zurich.

French

Don’t Brand My Public Space! is a critical investigation of the visual strategies employed to identify and brand political territories. Isn’t it about time to look at their often banal images as part of a crisis of political representation? In the context of a revival of xenophobic propaganda on the one hand and the degradation of places into pure marketing products on the other, it is possible to recognize an increasingly theatrical, unquestioned production of public signs and symbols. Contributions on the theme by political scientists, designers, and sociologists make reference to the three visual essays that are at the heart of the book. The publication is released in collaboration with Civic City (HEAD Genève) and the research program «Écrire la ville» (EnsadLab, Paris).

English

A project of the research series by Design2context

Previously announced, now available! Frescos within Palladio’s Architecture Malcontenta 1557–1575

Art

Antonio Foscari

In Frescos, Antonio Foscari analyzes La Malcontenta’s superb fresco cycle, one that not only represents an outstanding example of trompe l’oeil based on architectural structures—and which is closely modeled on Palladio’s ideals—but also sheds light on formative events within the family that commissioned Palladio. ANTONIO FOSCARI is an architect and has been a professor of architecture at the University of Venice since 1971. Previously announced, now available! 15 × 24 cm, 6 × 9 ½ in, 298 pages 270 illustrations, paperback ISBN 978-3-03778-370-2, English EUR 40.– GBP 35.– USD / CAD 50.–

French

English

Felice Varini—Place by Place

Previously announced, now available!

Felice Varini—Place by Place is the latest publication by the artist, constituting a re-examination of his complete oeuvre based on his most recent works. His fascinating spatial installations make use of urban landscapes, walls, and rooms as “screens” for abstract graphical projections, which the artist paints, draws, or fabricates from materials such as adhesive tape. Seen from an ideal vantage point, they appear as unexpected two-dimensional patterns against their three-dimensional background. When the viewer then leaves this vantage point and moves through the space, he sees the work as a perpetual metamorphosis of shifting, evolving forms.

30 × 24 cm, 11 ¾ × 9 ½ in, 402 pages 615 illustrations, hardcover ISBN 978-3-03778-405-1, English ISBN 978-3-03778-406-8, French EUR 60.– GBP 50.– USD / CAD 80.–

Edited by NCCR Democracy, Hanspeter Kriesi, Lars Müller

Previously announced, now available!

Democracy demands and democracy challenges—and as a system of government, democracy is itself challenged today by globalization and the development of digital media. Against this background, and in light of political and economic events in Asia or in the Arab world, there is another incessant question: is democracy still up-to-date? But of course! Democracies perform generally better and ensure peace more successfully than other forms of government. Democracy: An Ongoing Challenge illustrates why. This visual reader uses the power of images to complement text, resulting in a compendium of the history and development of democracy, and offering insight into contemporary debates.

Society

Democracy: An Ongoing Challenge

16.5 × 24 cm, 6 ½ × 9 ½ in, 528 pages 340 illustrations, hardcover ISBN 978-3-03778-396-2, English EUR 45.– GBP 38.– USD / CAD 60.–

Global Prayers Contemporary Manifestations of the Religious in the City Edited by Jochen Becker, Katrin Klingan, Stephan Lanz, and Kathrin Wildner Religious communities inscribe themselves into the cityscape not only socially and politically, but also acoustically and architecturally. Global Prayers examines the mutual influence of religion and urbanism, looking at how various forms of faith manifest themselves in the cities of the world. Photo essays, interviews, reports, scientific texts, and artistic photo spreads inquire into the making of urban religion and the production of religious urbanity.

Previously announced, now available!

With contributions by Nezar AlSayyad, Filip de Boeck, Hengameh Golestan, Brian Larkin, Aernout Mik, Werner Schiffauer, AbdouMaliq Simone, Camilo José Vergara, Paola Yacoub.

16.5 × 24 cm, 6 ½ × 9 ½ in, 656 pages 410 illustrations, hardcover ISBN 978-3-03778-373-3, English EUR 35.– GBP 28.– USD /CAD 46.–

21 × 29.7 cm, 8 ¼ × 11 ¾ in, 176 pages 226 illustrations, paperback 2013, ISBN 978-3-03778-326-9, English 2013, ISBN 978-3-03778-329-0, French EUR 40.– GBP 35.– USD / CAD 50.–

Wang Shu Imagining the House 24 × 29.7 cm, 9 ½ × 11 ¾ in, 168 pages 68 drawings, 15 photographs paperback, Japanese binding 2012, ISBN 978-3-03778-314-6, English EUR 50.– GBP 45.– USD/CAD 65.–

Takahiro Kurashima Poemotion 1

Takahiro Kurashima Poemotion 2

17 × 23 cm, 6 ¾ × 9 in, 64 pages 30 illustrations, hardcover with moiré film 2013, ISBN 978-3-03778-407-5, English EUR 20.– GBP 15.– USD/CAD 25.–

17 × 23 cm, 6 ¾ × 9 in, 64 pages 30 illustrations, hardcover with moiré film 2013, ISBN 978-3-03778-351-1, English EUR 20.– GBP 15.– USD/CAD 25.–

Torre David Informal Vertical Communities Alfredo Brillembourg and Hubert Klumpner, Urban-Think Tank Chair of Architecture and Urban Design, ETH Zürich (Eds.) 16.5 × 24 cm, 6 ½ × 9 ½ in, 416 pages 406 illustrations, hardcover 2013, ISBN 978-3-03778-298-9, English EUR 45.– GBP 38.– USD/CAD 60.–

A5/05: Lufthansa and Graphic Design Visual History of an Airline Jens Müller and Karen Weiland, labor visuell at the University of Applied Sciences Düsseldorf, Department of Design (Eds.) 14.8 × 21 cm, 5 ¾ × 8 ¼ in, 128 pages 400 illustrations, paperback 2012, ISBN 978-3-03778-267-5, English/German EUR 28.– GBP 25.– USD / CAD 40.–

Ecological Urbanism Mohsen Mostafavi with Gareth Doherty, Harvard University Graduate School of Design (Eds.)

French

English

French

English

Backlist

The City in the City – Berlin: A Green Archipelago A Manifesto (1977) by O. M. Ungers, R. Koolhaas, P. Riemann, H. Kollhoff, A. Ovaska Florian Hertweck and Sébastien Marot (Eds.)

Buckminster Fuller Operating Manual for Spaceship Earth Jaime Snyder (Ed.)

16.5 × 24 cm, 6 ½ × 9 ½ in, 656 pages 1000 illustrations, hardcover 2010, ISBN 978-3-03778-189-0, English EUR 50.– GBP 40.– USD/CAD 60.–

Reprint, original 1969, 12 × 19 cm, 4 ¾ × 7 ½ in 152 pages, paperback 2008, ISBN 978-3-03778-126-5, English 2010, ISBN 978-3-03778-188-3, French EUR 15.– GBP 15.– USD /CAD 20.–

Lars Müller Helvetica Homage to a Typeface

Helvetica Forever Story of a Typeface Lars Müller and Victor Malsy (Eds.)

12 × 16 cm, 4 ¾ × 6 ¼ in, 256 pages 400 illustrations, paperback 2002, ISBN 978-3-03778-046-6, English EUR 19.– GBP 15.– USD /CAD 25.–

19 × 26 cm, 7 ½ × 10 ¼ in, 160 pages 150 illustrations, hardcover 2009, ISBN 978-3-03778-121-0, English EUR 30.– GBP 30.– USD /CAD 49.–

Dan Graham Video – Architecture – Television Writings on Video and Video Works 1970–1978 Benjamin H. D. Buchloh (Ed.)

The Face of Human Rights Walter Kälin, Lars Müller, and Judith Wyttenbach (Eds.)

mezinárodní časopis pro visuální kulturu internationale zeitschrift für visuelle kultur the international review new vision revue internationale pour la culture visuelle revista internacional para la cultura visual международный журнал визуальной культуры 国际视觉艺术期刊 a vizuális kultúra nemzetközi folyóirata

telehor l. moholy-nagy Kommentarband Commentary & Translations Klemens Gruber Oliver A. I. Botar Hrsg. /eds.

Lars Müller Publishers

Tim Benton LC FOTO Le Corbusier Secret Photographer 24 × 16.5 cm, 9 ½ × 6 ½ in, 416 pages 970 illustrations, hardcover 2013, ISBN 978-3-03778-344-3, English EUR 48.– GBP 39.– USD/CAD 65.–

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Encyclopedia of Flowers Flower Works by Makoto Azuma Photographed by Shunsuke Shiinoki Kyoko Wada (Ed.)

telehor. the international review new vision Facsimile Reprint and Commentary Klemens Gruber and Oliver Botár (Eds.)

16.5 × 24.8 cm, 6 ½ × 9 ¾ in, 512 pages 203 color illustrations, paperback in transparent slipcase 2012, ISBN 978-3-03778-313-9, English EUR 58.– GBP 50.– USD / CAD 85.–

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16.5 × 24 cm, 6 ½ × 9 ½ in 720 pages, 500 illustrations 2004, ISBN 978-3-03778-017-6, English, hardcover EUR 45.– GBP 45.– USD / CAD 60.–

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