Catalogo Spring2012 120

LINKSBOOKSSPRING ‘12

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Architecture for A Green future

Jacobo Krauel

344

THE MOST VISIONARY PROJECTS FROM AROUND THE WORLD

PROJECTS ILLUSTRATED WITH PLANS, RENDERS AND COMMENTARIES

FEATURES WORLD-LEADING ARCHITECTURAL PRACTICES

Today no architect would deny that the greatest single challenge facing

the profession and the most exciting opportunity it has ever faced is to

reconstruct the delicate balance between human life and the health

of the ecosystems we depend on. This volume presents some of the

most imaginative, creative and exuberant solutions for a greener future

from architects from all over the world, from both established and up-

and-coming practices. Architecture for a Green Future, bursting with

inspirational ideas, is an unmissable volume for practising architects,

designers, students and the visionaries of tomorrow.

Jacobo Krauel, renowned architecture critic and expert. He is the author of the seminal book,

Sustainable Architecture: Low-Tech Houses, as well as over a dozen titles focusing on the latest

trends and applications in today’s architecture. He currently resides in Barcelona, where he is

researching the work of Gaudí.

PUB.DATE: MAY 201222 x 22 cm ( 9 x 9”), 300 pages, hard cover w/jacket

510 color images, 295 B/W plans & drawings

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ArchItecture for A

GreeN Future

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THE MOST VISIONARY PROJECTS FROM AROUND THE WORLD

PROJECTS ILLUSTRATED WITH PLANS, RENDERS AND COMMENTARIES

FEATURES WORLD-LEADING ARCHITECTURAL PRACTICES

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neW concePtS in MuSeuMS Architecture Jacobo Krauel

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MUSEUMS AND GALLERIES BY TODAY’S LEADING ARCHITECTS

OVER 400 FULL COLOR PHOTOGRAPHS BRING THE DESIGNS TO LIFE EACH PROJECT DESCRIBED AND EXPLAINED BY THE ARCHITECT

Museums showcases the latest museums by some of the world’s most

prestigious architects. With gallery concepts ranging from the most

radical and avant-garde to the calm understatement, each project

creates an architectural setting that resonates with the artworks it

contains. The outstanding selection of projects, fully documented with

commentaries by the architects themselves and plans, drawings and

photographs, make this book a work of art in itself.





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MuSeuMSNEW CONCEPTS IN

ARCHITECTURE

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MUSEUMS AND GALLERIES BY TODAY’S LEADING ARCHITECTS

OVER 400 FULL COLOR PHOTOGRAPHS BRING THE DESIGNS TO LIFE EACH PROJECT DESCRIBED AND EXPLAINED BY THE ARCHITECT

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LAteSt trenDS in ShoP DeSiGnCarles Broto

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PACkED WITH INSPIRATIONAL IDEAS FROM PRESTIGIOUS DESIGNERS

ENVIRONMENTS THAT WELCOME CUSTOMERS AND SELL PRODUCTS!

FULL-COLOR PHOTOS ACCOMPANIED BY DETAILED EXPLANATIONS

This book is bursting with some of today’s most original and impressive

work in the field of shop design. Leading designers and architects

showcase their finest projects to create a dazzling compendium of ideas

full of imagination, while at the same time intelligently designed for

a specific purpose: to sell the products. Explanatory texts accompany

striking, full-color photographs which highlight all facets of each and

every one of the featured projects. This is truly an essential book in the

collection of all professional designers, students and enthusiasts alike.

carles broto, an architecture scholar and one of the founders of the IAC (institute for

alternative culture). Following a successful period at the Atrium Group (Barcelona), he has now

joined Grupo Links - Structure as the publishing director of various contemporary architecture

collections. He is currently investigating the evolution of new American housing, as part of multi-

country project. He lives in Barcelona.

PUB.DATE: MAY 201224,2 x 28,4 cm ( 9 1/2 x 11”), 300 pages, hard cover w/jacket


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SHOP DeSIGNLATEST TRENDS IN

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SUBZEROproject subjectAMSTERDAMplace PLAN scale1:50

SUBZEROproject subjectAMSTERDAMplace SECTION A scale1:50 RETAILCONCEPTS

To catch the eye of the stream of tourists passing by it’s doors

- amidst the visual cacophony of the surrounding souvenir

shops - Subzero makes a bold statement in the shape of a

dynamic wall consisting of backlit translucent boxes. Just one

look will unmistakable tell you: this is a sneaker store.

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neW urBAn houSeSCarles Broto

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CONTRIBUTIONS FROM LEADING ARCHITECTS AROUND THE WORLD

HOUSES THAT DEFINE THE MODERN URBAN LANDSCAPE

SECRET GARDENS, MOLD-BREAkING FAÇADES, RADICAL DESIGN SOLUTIONS

This book shows how city houses can define the urban landscape. One

of the basic building blocks of the city, the town house also provides a

refuge from city life. The projects featured in New urban houses display

how leading architects from around the world continue to innovate on

this centuries-old model. Secret rooftop gardens, sweeping interiors,

striking décor, façades that make a statement – these are just some of

the elements revealed here, in elegant full-color photos and in-depth

commentaries from the architects themselves.






PUB.DATE: JUNE 201224 x 26 cm ( 9 1/2 x 10 1/2”), 240 pages, hard cover w/jacket


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urBANNeW

houSeS

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Plaza Shrubtub Sputnik

Planters Planters

Plaza is a great planter for trees and arborescent vegetation, consisting of dif-ferent panels of different materials and finishes for spaces in which traditional planting is not feasible. The structure is made of steel angle-irons with a powder coated anti-corrosive protection in a black, wrought-iron-like finish. This struc-ture supports the panels, which are made of impact and damp resistant materi-als, such as stainless steel, polyester resin panels or tropical wood. The bottom is made of hot-dip galvanized steel mesh capable of supporting weights of up to 1.000 kg. The inner container is made of fiberglass. The item merely requires placing on its four adjustable stainless steel legs to achieve a perfectly level and stable installation. It requires zero maintenance.

Design: J.A Martínez Lapeña / Elías Torres • Production: Santa & Cole

The Shrubtub are made of 4mm CorTen steel as standard. They contain a vol-ume of growth medium up to 5 m3 and are suitable for shrubs, multi-stemmed trees and bigger city trees depending on the substrate volume. The Treetec nursing system is optional. The CorTen tub is well detailed, functional and de-liverable with special double powder coating. The Shrubtubs are easy to move and anchoring of the root ball is possible. The single sides are strengthened to prevent bending by soil pressure. The bottom has special holes for water drain-age and oxygen supply. The walls should be equipped with thick-walled geo-textile for good insulation and oxygen distribution.

Design and production: Streetlife

This very robust circular container for plants has a clearly sculptural outline. It is made of grey coloured cast iron according to the quality norms UNE-EN-1561. The joints are sealed with zinc phosphate primer. The legs are available in a range of different finishes and materials. The entire item has received an anti-corrosive treatment and comes with a wrought iron finish. The various component parts are held together with zincified steel screws. The planter has the noteworthy capacity of 332 litres and its weight amounts to approximately 260 Kg. The only installation required is to place it on the ground in the desired location.

Design and production: Colomer

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Heinola Reading Lamps Icon Mini Opal Hom

Lighting Lighting

Heinola is a town some 130 km north of Helsinki, Finland. Late summer 2004 the Heinola authorities contacted the designer to see if they could use the lighting solution he had created for Raisio, an-other small town in Finland. Raisio light net, completed 2002, got good response from international press, which raised the image and status of the town. However, Vesa Honkonen had promised Raisio he wouldn’t use the same solution in Finland for 7 years, so Heinola was told they would have to be content with something created just for them. They wanted it for a small library plaza; a relatively small urban space, which the designer felt, required some movement. Vesa Honkonen started to dream about the reading lamps stepping out of the library to dance in the street, growing bigger, taking over the street. Having landed in new territory, they started to look over their shoulders, look around, bend down. After a while they calmed down. They started to freeze as they slowly accepted their form and positions. The time for movement was over. They were satisfied and at peace. Their frozen movements took shape as three individual forms. The lower part of the pole is similar in each variation. Three different curved parts permit the fixture to bend in different directions. The lamp head is similar for each variation so three unique fixtures resulted and a total of fifteen units were installed. It was clear form the start that the light source would be metal halide in order to project strong dots of light onto the street and avoid even lighting. It was planned to be a good lighting designer’s nightmare, uneven lighting with strong contrasts. Each lamp casts sharp beams onto the street, revealing the shape of the light roaming out of its body. The manufacturer’s first model pro-vided extra information about the shape of light, so it was decided to push the lamp deep inside in the body of the fixture to avoid glare. Thus, light bursts out of a black hole in different directions.

Design: Vesa Honkonen

Hom is photovoltaic lamp of tremendous output. The panels transform solar intake radiation and store electrical power, obtaining a highly efficient illumination system. Each Hom lamp uses 30 led bulbs of the most recent design. The lamp generates no heat, requires no maintenance and provides illumination throughout the entire night, even in the win-tertime. No trenches have to be dug to install them; they can be placed in any out-of-the-way location, far from the electrical mains. The lamp has a useful life of 50 000 hours. The design of the lamp represents a human figure that em-braces the light of the sun and defines its profile. Hom is ideal for spaces of large dimensions and it saves 255.5 kW/h per year. This translates into a reduction of 153.3 kg of emit-ted CO2 with no loss of light power.

Icon Mini Opal effectively provides cut-off street lighting with less than 2.5% light distribution above horizontal level. The clear, simplistic de-sign is intentional, since Icon is designed for use in numbers. It combines two geometric forms: a cylinder and a hemisphere. Because of the faintly lit hemisphere, the shape is uniform both night and day. Numerous light source positions in the reflector can make both symmetrical and asymmetrical light distribution possible. Differ-ent mounting solutions are available to facili-tate optimum positioning and meet individual requirements.

Design: Alessandro Caviasca • Production: SIARq Design: Mads Odgård • Production: Louis Poulsen

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CONTRIBUTIONS FROM LEADING ARCHITECTS AROUND THE WORLD

HOUSES THAT DEFINE THE MODERN URBAN LANDSCAPE

SECRET GARDENS, MOLD-BREAkING FAÇADES, RADICAL DESIGN SOLUTIONS

SHOWCASES THE WORk OF MASTERS OF URBAN AND INDUSTRIAL DESIGN

A MUST-HAVE FOR ALL URBAN DESIGN PROFESSIONALS

300 PAGES OF CUTTING EDGE DESIGNS

“Street Furniture” offers the reader a close-up look at all of the elements

that go into the design of urban space. Every item shown in the full color

photographs that illustrate the projects was custom-designed for a specific

purpose. The creation of each piece is explained right from the initial stages

to its eventual construction and installation through original sketches and

detailed lists of materials. This is surely the most thorough and complete

volume of its kind, and constitutes a streetwise resource that no urban

design professional should do without.






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BdLove Bench Bench Seat I - Curved Big Bux

SeatS SeatS

Design: Ross Lovegrove • Production: Bd

The BD LoveBench is made of polyethylene (MDPE), of medium den-sity, a material that can be mass pigmented in different colors. The part processing system is rotational moulding. The bench contains 5 stainless steel inserts. The item has a seating capacity for ten people. Optionally, non-slip stoppers in EPDM (rubber) can be installed, to make water drainage beneath the bench easier. It is secured using stainless steel bolts. 5 bolts supplied if required. Polyethylene PEGS close the ballasting holes (2u). A Polypropylene TRI-SURE PEG with rubber O-ring seal closes the ballast emptying hole. The bench can be ballasted with water or washed sand (max.120 Kg). The objects general measurements are 2652 × 1293 × 940 mm.The thickness of the material varies from 9 mm near the base un-der 8 mm at the top of the object. The total weight of one bench (without ballast) is approximately 80Kg. The item is available in a range of standard colors: fluorescent red, beige, white, blue, green, sandstone (sand granite structured) and millstone (dark grey gran-ite structured). It can be supplied in custom made special colors according to client requirements.

Design and production: Botton & Gardiner

In this version of the Benchseat 1 there is an appropriate and careful combina-tion of different woods, held by a cast aluminum frame. The original Bench-seat 1, which became known as a result of its installation in the Fox studios in Sydney, Australia, was characterized by its complete simplicity. It consisted of a single well-shaped curve that fulfilled the necessary function and made it a welcome item in any park or natural area.The wooden components of the bench have been varnished with jarrah. The bench has a maximum height of 440mm and a width of 430mm.

Big Bux is a multifunctional object: The design is based on the box tree, care-fully pruned into the shape of a cube. In keeping with its origins, Big Bux could and should be used as a decorative horticultural object (though it need be neither pruned nor watered). Thanks to its materials and structure, it is perfectly performant as a seat, but in conjunction with floor lighting, Big Bux becomes a lamp. Brightly illuminated from within, its leafy pattern casts exciting shadows onto the ground and neighbouring walls.

Design and production: Miramondo

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toDAY’S eDucAtionALfAciLitieSCarles Broto

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THE BEST IN EDUCATION: SCHOOLS, COLLEGES, UNIVERSITIES AND MORE!

RESOURCE AND IDEAS BOOk FOR DESIGNERS AND ARCHITECTS

THE MOST INNOVATIVE DESIGNS IN THIS RAPIDLY EVOLVING FIELD

Education throughout the world is undergoing a process of transformation,

and as it evolves so too must the architecture built to house it. Educational

Facilities is an in-depth exploration of today’s most innovative and

progressive designs for schools, universities and education centers. Projects

carried out by internationally renowned architects are accompanied by

comprehensive explanatory texts and full-color photographs, which give

the reader a valuable insight into this fundamentally important area. This

book is an essential tool for anyone interested in the education sector, from

professional architects to school directors.






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1 2 5m

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THE BEST IN EDUCATION: SCHOOLS, COLLEGES, UNIVERSITIES AND MORE!

RESOURCE AND IDEAS BOOk FOR DESIGNERS AND ARCHITECTS

THE MOST INNOVATIVE DESIGNS IN THIS RAPIDLY EVOLVING FIELD

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120 121

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Architecture for BeAutY & WeLLneSSCarles Broto

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OVER 400 STUNNING FULL COLOR PHOTOGRAPHS

UNCOVER CONTEMPORARY ARCHITECTURE’S MOST HEALING SPACES

ILLUSTRATED WITH THE ARCHITECTS’ OWN COMMENTARIES AND PLANS

This volume uncovers some of contemporary architecture’s most

relaxing and healing spaces. Whether health clubs, spas or beauty

treatment centers, the projects featured all display immaculate

design and detailing by some of today’s greatest architectural talents.

Renowned international architects have contributed their finest works,

documented with full color photographs, plans, sketches and detailed

commentaries so that anyone with a passion for great design, whether

or not they are professionals in the field, can appreciate and explore in

depth this stunning selection of projects.






PUB.DATE: JUNE 201224,2 x 28,4 cm ( 9 1/2 x 11”), 300 pages, hard cover w/jacket


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BeAutY ARCHITECTURE FOR

WeLLNeSS &

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OVER 400 STUNNING FULL COLOR PHOTOGRAPHS

UNCOVER CONTEMPORARY ARCHITECTURE’S MOST HEALING SPACES

ILLUSTRATED WITH THE ARCHITECTS’ OWN COMMENTARIES AND PLANS

ar chitec ture14

innoVAtiVeeXhiBition StAnDSJacobo Krauel

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SOME OF THE FINEST EXAMPLES OF TRADE SHOW DESIGN

EXCELLENT IDEAS, FULL COLOR PHOTOS AND CONSTRUCTION DETAILS

CREATIVE SOLUTIONS FROM TODAY’S MOST PROMINENT ARCHITECTS

The latest addition to the respected Stands series.

This volume contains some of today’s most creative and innovative trade

show designs. Renowned international architects have contributed their

finest work, which pushes the boundaries that define this fascinating and

ever-evolving area. Full color photographs, plans, sketches and detailed

explanatory texts provide insights into each of the featured projects. For

architects and designers in the field, as well as for students, this book will

surely be an invaluable source of inspiration.





PUB.DATE: JUNE 201224,2 x 28,4 cm ( 9 1/2 x 11”), 300 pages, hard cover w/jacket


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10 11

The design concept developed from the image of a tree. The

stable base was represented at floor level by solid materials and

dark, earthy colors, while large transparent cubes suspended

from the ceiling served as the treetop of “innovation and ideas”.

Floor plan

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The AEG Acoustic Laboratory demonstrated the

acoustic performance of various products: press-

ing a button, the visitor was confronted with ev-

eryday urban noisescapes which enabled them

to appreciate first hand the relatively silent opera-

tion of AEG vacuum cleaners and dishwashers.

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eXHIBItIONINNOVATIVE

StANDS

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The main furniture displays are defined by a white

wall, which enhances the sense of intimacy and

evokes a fitting environment for the pieces.

h i s t o r y

In the early decades of the nineteenth century Europe underwent a number of changes that affected the Arts as a whole. This was a historic moment in which the middle classes rose to ascendancy, such that furniture to some extent lost its delicacy so as to meet the standards of func-tionality. However, the most remarkable feature of the early nineteenth century period, which we might call Empire, was the eclecticism that derived from the unfo-cused spirit of the age, such that no genuinely distinctive movement arose. But few European countries resisted the influence of the French Empire style. Many of its features had already been present in the Directory period. These common denominators were the decorative motifs and the materials, while the differences lay in that Empire opted for far more rigid and majestic forms of an imposing size. Volumes became heavier and geometry was emphatic. Bronze fell somewhat out of favour and was used only sporadically, while classical motifs multiplied (sphinxes, gryphons, eagles and winged lions). Of particular note were swan motifs and the initial N engirdled within a crown of laurels. Surfaces were flat and lacked fluting. The corners of secrétaires, commodes and wardrobes were underpinned by Hermes figures, columns and pilasters. The most widely-used wood was still mahogany.

Most existing models were retained by the Empire style, with a few novelties. Seat backs lost the typical en crosse cur-vature of the Directory and became rigid and squared off with simple mouldings and were upholstered or decorated with palms or carved geometric patterns. Tables, which were not unlike those of the preceding period, were still mostly round, and stood on three or four legs or on a single central element. The tabletop, though usually mahogany,

estilo Imperio francés.

Los contornos rectilíneos y secos de sus muebles perfilan unas patas cuadradas o redondas, de superficie planas o acanaladas y con pies en punta o engolados. En los respaldos combina las palas centrales talladas en finas varillas con las aldabas de compli-cados lazos labrados. Recordemos, también, la inclusión de la rejilla.

Debe apuntarse, ciertamente, el intento de Sheraton por adaptar las antiguas formas de producción artesanal a la nueva actividad fabril surgida con la Revolución Industrial, con el fin de conseguir una producción en serie.

Estilo Imperio (Siglo XIX)

Durante las primeras décadas del siglo XIX Europa sufre una serie de cambios que afectarán a todo el territorio artístico. Se trata de un momento histórico en que toda la relevancia esta de lado de la burguesía, con lo que el mueble perderá en cierto modo su delicadeza para cumplir las normas de la practicidad. Sin em-bargo, lo que realmente destaca de estas primeras décadas del si-glo XIX que calificaremos bajo el nombre de Imperio, es el eclecticismo derivado del ambiente de desorientación reinante en el momento, incapaz de originar ningún movimiento verdadera-mente personal. Sin embargo, pocos países. en Europa pueden dejar de rendirse a la fascinación por el Imperio francés. Aunque, de hecho, muchos de los elementos del llamado estilo Imperio estaban ya presentes en el Directorio. Estos elementos comunes son los motivos decorativos y los materiales, mientras que las di-ferencias residen en unas formas ahora mucho más rígidas y majestuosas y en unas proporciones más vastas. Los volúmenes se hacen más macizos y la geometría se acentúa. El bronce es cada vez más escaso y colocado aisladamente mientras que se

h i s t o r i a

could also be glass or porcelain. Other characteristic piec-es were the petit miroir portable: a shield-shape upon a wooden base with a small drawer; the boîte aux lettres, with an oblong body standing on lyre-shaped or X-crossed legs and covered by a foldaway board under which was fixed a mirror; the table à toilette for ladies; and the oval or rectan-gular psyche Oriental mirror.

The Restoration

After the abdication of Napoleon in 1814 and the ensuing restoration of the Bourbon dynasty, the Empire style faded gradually and gave way to more explicit delicacy and com-fort. Although in Louis XVIII’s reign (1814-1824) the Empire style remained in evidence due to the economic stagnation that prevented a renovation of furniture, under Charles X (1824-1830) change was soon forthcoming.

First, mahogany was relinquished in favour of light-hued woods like ash, elm, maple, lemonwood and so forth. Gilt bronze appliqués became ever rarer, superseded by subtle motifs embedded in dark wood. Forms became gentler and more rounded, and ornament, while still based on Classical Antiquity, was now endowed with a new and graceful femininity. Seats often had very comfortable gon-dola backs. Chairs had a moulded handle called a main de prise to make them easier to carry. Commodes adopted the à la anglaise model, with drawers concealed by doors, and the number of small furniture models grew significantly.

Biedermeier

multiplican los motivos de inspiración clásica (esfinges, grifos, águilas, león es alados, etc.). Especialmente conocidos son los motivos de cisnes y la N dentro de una corona de laurel. Las su-perficies de los muebles aparecen lisas y sin acanaladuras. Las esquinas de los secrétaires, cómodas y armarios son subrayadas por Hermes, columnas y pilastras. La madera más utilizada sigue sien-do la caoba.Los muebles del Imperio conservan la mayoría de los modelos ya existentes, introduciendo alguna novedad. Ese es el caso de los respaldos de los asientos, que pierden la típica curvatura en crosse de Directorio y se presentan rígidos y escuadrados con sencillas molduras, recubiertos de tela o decorados con palmas o motivos geométricos tallados. Las mesas, no muy distintas de las del pe-ríodo anterior, siguen siendo mayoritariamente redondas y sus-tentadas sobre tres o cuatro patas o por un único elemento cen-tral. Su tablero, aunque normalmente de caoba, puede ser tam-bién de cristal o porcelana. Otros muebles característicos son el petit miroir portable, pequeño espejo portátil en forma de escudo sobre una base de madera que contiene un pequeño cajón, la boîte aux lettres, con un cuerpo rectangular sustentado por patas en forma de lira o en X y cubierto por un tablero abatible bajo el cual se fija un espejo, la table à toilette para las damas o el espejo oriental de forma oval o rectangular psyche.

La Restauración

Tras la abdicación de Napoleón en el 1814 y el consiguiente re-greso de los Borbones, el estilo Imperio va desapareciendo de forma gradual a favor de una más explícita gracia y comodidad. Aunque durante el período en que Luis XVIII ocupa el trono (1814-1824) sigue dominado por el estilo Imperio a causa de la insuficiencia económica que le impide encargar nuevos muebles (si bien hace desaparecer la característica napoleónica), durante el mandato de Carlos X (1824-1830) el cambio se hará realidad.

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neW toDAY’S cLASSicAL euroPeAn furnitureCarles Broto

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SHOWCASES THE LATEST TRENDS IN CLASSICAL FURNITURE

CURRENT MANUFACTURING WITH CLASSICAL INSPIRATION

GREAT PIECES OF FURNITURE FROM AROUND THE WORLD

The wide array of pieces of furniture presented in this volume offers a

detailed overview of the latest trends in classical furniture. It is a collection

of the finest examples of their kind currently in production around the

world. Each item is thoroughly documented with plans, sketches,text by

the designers and gorgeous, full color photographs. This is an essential

book for those who love great pieces of classical furniture.






PUB.DATE: FEBRUARY 201224,2 x 28,4 cm ( 9 1/2 x 11”), 300 pages, hard cover w/jacket


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Ty p e s o f w o o d

AshThis type of wood is of great elasticity and tough, its colour is creamy white or slightly pinkish. It can be worked with no great difficulty and can be bent easily by steaming; however, it is unsuitable for exterior use because it is prone to decay.

FresnoMadera de gran elasticidad y tenacidad, de color crema ligeramente rosado. Se tra-baja con facilidad y se puede doblar con vapor sin dificultad; sin embargo es inade-cuada para exteriores ya que es propensa a la putrefacción.

BeechThis type of wood is straight-grained, and has a smooth uniform texture; its white colour turns into pink or lightish-red, with some brownish-grey spots in its cross section. It dries very fast but it is also prone to twist. It is specially used in tool handles and in other kitchen utensils.

HayaMadera de grano recto, y textura fina y uniforme; su color pasa del blanquecino al rosado amarronado, con manchitas características de color marrón satinado en sec-ción transversal. Su secado es rápido pero tiende al alabeo. Se emplea especialmente en los mangos para las herramientas y enseres de cocina.

BirchThis tree grows in the northern hemisphere. It has a shiny surfa-ce and smooth texture; This wood has a white colour with a pin-kish ivory or yellow-greyish duramen. It is not a hard-wearing wood in conditions of decay. It is used as more often as plywood than as solid wood. Nowadays it is used in construction work, in parquetry and concealed frameworks.

AbedulÁrbol característico del hemisferio norte, de superficie lustrosa con una textura fina; de color blanco y duramen marfil-rosado, o amarillo. No es una madera duradera en condiciones favorables a la putrefacción; se emplea más como madera contracha-pada que como madera maciza. En la actualidad se utiliza en la construcción de edificios, en entarimados, en armaduras ocultas en ebanistería.

1.

2.

3.

T i p o s d e m a d e r a

CedarThe name is given to different aromatic varieties of wood. Its texture is similar in colour to mahogany, but lighter and easy to work. It dries quickly, and it is stable and hard wearing, it also resists fungus and termites. This wood is much appreciated in veneering high quality furniture.

CedroSu nombre responde a varias maderas de olor aromático agradable. De textura más gruesa, su color es semejante a la caoba pero es más ligera y fácil de trabajar. Su secado es rápido, es muy estable y duradera, pues resiste tanto los ataques fúngicos como las termitas. Se utiliza en revestimientos lujosos.

Cherry TreeIts colour is pinkish brown, although it gets darker with time, taking on a red mahogany shade. It needs to be dried well because it is prone to woodworm and twist. This wood is specia-lly used in making chairs, and also in veneering and high qua-lity furniture.

CerezoSu madera es de color marrón rosado, aunque se oscurece con el tiempo hasta tomar un color rojo caoba. Forma un veteado fino que coincide con el poro, de un color mucho más oscuro. Su secado es muy importante ya que es propensa a la carcoma y al alabeo. Se emplea sobre todo en la fabricación de sillería, en revestimientos y en ebanistería de lujo.

4.

5.

American CedarCedro Americano

Bosse CedarCedro Bosse

Lebanese CedarCedro del Libano

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EUROPEAN FURNITURE

NEW TODAY’S

CLASSICAL

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GraPhic DeSiGN:corPorAte &inStitutionAL GrAPhicSDimitris Kottas

338

This book presents an overview of the most creative work in

contemporary graphic design in the fields of corporate and institutional

graphics. It presents a wide range of projects from complete brand

design to exquisitely designed business cards. With more than 100

projects from up-and-coming design offices such as Studio Brave,

Brogen Averill, Lundgren+Lindqvist, its focus on young designers

whose work will define the field in the coming years makes this book

indispensable for students and professionals alike.

Dimitris Kottas is an architect based in Athens. His experience encompasses more than

eight years as an editorial consultant and publications supervisor. He specializes in the

theory and history of architecture and has authored various architectural works including

A Visual Dictionary of Architecture and Construction and The Architect’s Handbook. For

the last five years he has also run his own graphic design firm, Cuboctaedro.

PUB.DATE: FEBRUARY 201224,2 x 28,4 cm ( 9 1/2 x 11”), 272 pages, hard cover w/jacket

690 color images

I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 6 7 - 5

US $ 54.00 / 39 €

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PRESENTS WORk BY THE BEST YOUNG TALENTS IN GRAPHIC DESIGN

FROM COMPLETE BRAND DESIGN PROJECTS TO ONE-OFF ITEMS

INCLUDES OVER 100 PROJECTS BY 60 DESIGN OFFICES

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GraPhic DeSiGN:Art & creAtiVitY GrAPhicSDimitris Kottas

339

GROUND-BREAkING DESIGNS BY THE BEST YOUNG TALENTS IN THE FIELD


DESIGNERS INCLUDE HEYDAYS, ANTI AND BROGEN AVERILL

Graphic design projects for art institutions and the creative industry

tend to be among the most innovative and daring in the field. This book

presents an overview of some of the best from recent years. It includes

projects of all sizes – from complete brand identities to small one-off

items made for museums, galleries, architects, interior designers and

film-makers, as well as for the designers themselves. This is an unmissable

guide to the most pioneering work in contemporary graphic design.






PUB.DATE: MARCH 201224,2 x 28,4 cm ( 9 1/2 x 11”), 256 pages, hard cover w/jacket

645 color images

I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 6 8 - 2

US $ 54.00 / 39 €

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GROUND-BREAkING DESIGNS BY THE BEST YOUNG TALENTS IN THE FIELD


DESIGNERS INCLUDE HEYDAYS, ANTI AND BROGEN AVERILL

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GraPhic DeSiGN:MuSic & entertAinMent GrAPhicSDimitris Kottas

340

Graphic design projects for the music and entertainment industry are

among the most exposed and familiar types of graphics. This book

presents the most original work in this field of continual innovation,

including a wide range of projects from cd covers and concert posters

to graphic identities for festivals and companies. It includes the work

of highly renowned designers such as Invisible Creature, Method and

IlovarStritar, among others. Presenting the latest trends in typography,

illustration, photography and digital design, this work is an essential

reference for all graphic designers.







670 color images

I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 6 9 - 9

US $ 54.00 / 39 €

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THE LATEST TRENDS IN THIS FAST MOVING FIELD OF GRAPHIC DESIGN

PROJECTS RANGE FROM CD COVERS TO COMPLETE GRAPHIC IDENTITIES

SHOWCASING WORk BY THE HOTTEST DESIGN TALENTS

ar c hitec ture 23

THE LATEST TRENDS IN THIS FAST MOVING FIELD OF GRAPHIC DESIGN

PROJECTS RANGE FROM CD COVERS TO COMPLETE GRAPHIC IDENTITIES

SHOWCASING WORk BY THE HOTTEST DESIGN TALENTS

BACKL IST24 BACKL IST24

LETTERING - BEYOND COMPUTER GRAPHICS

22 x 22 cm ( 9 X 9”)

300 pages, flexicover

I S B N : 9 7 8 - 8 4 - 9 6 9 6 9 - 8 8 - 9

PORTABLE ARCHITECTURE22 x 22 cm ( 9 X 9”)


I S B N : 9 7 8 - 8 4 - 8 9 8 6 1 - 3 8 - 1

INDUSTRIAL DESIGN BY ARCHITECTS22 x 22 cm ( 9 x 9”)


I S B N : 9 7 8 - 8 4 - 9 2 7 9 6 - 5 7 - 1

DESIGN FOR KIDS22 x 22 cm ( 9 x 9”)


I S B N : 9 7 8 - 8 4 - 9 2 7 9 6 - 5 6 - 4

CALLIGRAPHY AND GRAPHIC DESIGN22 x 22 cm ( 9 X 9”)


I S B N : 9 7 8 - 8 4 - 9 6 9 6 9 - 8 7 - 2

INFLATABLE22 x 22 cm ( 9 X 9”)


I S B N : 9 7 8 - 8 4 - 9 2 7 9 6 - 1 6 - 8

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I S B N : 9 7 8 - 8 4 - 9 2 7 9 6 - 8 0 - 9

MICRO-ARCHITECTURE: MINIMUM DWELLING SPACES

22 x 22 cm ( 9 X 9”)


I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 5 8 - 3

UNUSUAL HOTELS22 x 22 cm ( 9 X 9”)


I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 2 0 - 0

EVENT ART22 x 22 cm ( 9 X 9”)


I S B N : 9 7 8 - 8 4 - 9 6 9 6 9 - 4 1 - 4

CREATIVE EVENTS22 x 22 cm ( 9 X 9”)


I S B N : 9 7 8 - 8 4 - 9 6 9 6 9 - 6 2 - 9

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CONTEMPORARY DIGITAL ARCHITECTURE22 x 22 cm ( 9 x 9”)


I S B N : 9 7 8 - 8 4 - 9 2 7 9 6 - 5 9 - 5

CONTAINER ARCHITECTURE22 x 22 cm ( 9 x 9”)


I S B N : 9 7 8 - 8 4 - 9 6 9 6 9 - 2 2 - 3

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CONTEMPORARY WOOD HOUSES24 x 26 cm ( 9 1/2 X 10 1/2”)

254 pages, hard cover w/jacket

I S B N : 9 7 8 - 8 4 - 9 6 9 6 9 - 0 6 - 3

WOOD CABINS24 x 26 cm ( 9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 8 4 - 9 6 4 2 4 - 0 7 - 4

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SUPERB CABINS24 x 26 cm ( 9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 8 4 - 9 6 2 6 3 - 8 4 - 0

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BAC KL IS T 25BAC KL IS T 25BAC KL IS T 25

SMALL INTERIORS24 x 26 cm ( 9 1/2 X 10 1/2”)

240 pages, hard cover w/ jacket

I S B N : 9 7 8 - 8 4 - 9 6 2 6 3 - 8 7 - 1

CUTTING EDGE: WOODEN HOUSES24 x 26 cm ( 9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 3 4 - 7

INTERIOR DESIGN NOW24 x 26 cm ( 9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 8 4 - 9 2 7 9 6 - 8 6 - 1

HOUSES NOW 24 x 26 cm ( 9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 8 4 - 9 2 7 9 6 - 8 5 - 4

WOOD INTERIORS24 x 26 cm ( 9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 3 3 - 0

NEW HOME EXTENSIONS24 x 26 cm ( 9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 8 4 - 9 6 9 6 9 - 4 5 - 2

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COUNTRY IN STYLE24 x 26 cm ( 9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 8 4 - 9 6 9 6 9 - 2 1 - 6

207 INNOVATIVE IDEAS FOR SHOP WINDOWS

24 x 26 cm ( 9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 8 4 - 9 2 7 9 6 - 3 0 - 4

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WOOD HOUSES & CABINS24 x 26 cm ( 9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 8 4 - 9 2 7 9 6 - 4 5 - 8

BEACH HOUSES24 x 26 cm ( 9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 8 4 - 9 2 7 9 6 - 6 0 - 1

257

270 MINIMALIST INTERIORS

24 x 26 cm ( 9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 8 4 - 9 6 2 6 3 - 0 2 - 4

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I S B N : 9 7 8 - 8 4 - 9 6 2 6 3 - 7 2 - 7

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HOUSES NOW: URBAN HOUSES24 x 26 cm ( 9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 8 4 - 9 6 2 6 3 - 0 1 - 7

RENOVATED HOUSES IN STYLE24 x 26 cm ( 9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 8 4 - 9 6 9 6 9 - 0 9 - 4

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218SUSTAINABLE HOMES USA

24 x 26 cm ( 9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 8 4 - 9 6 4 2 4 - 3 0 - 2

204 SHOP WINDOWS

24 x 26 cm ( 9 1/2 X 10 1/2”)

502 pages, hard cover

I S B N : 9 7 8 - 8 4 - 9 6 9 6 9 - 6 3 - 6

177

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BACKL IST26

TODAY´S CITY HOUSES24 x 26 cm ( 9 1/2 X 10 1/2”)

240 pages, soft cover with flaps

I S B N : 9 7 8 - 8 4 - 9 6 2 6 3 - 0 7 - 9

GREAT SPACES: HOME INTERIORS24 x 26 cm ( 9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 2 - 9 1 7 0 3 1 - 3 6 - 0

COMPACT HOUSES24 x 26 cm ( 9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 8 4 - 9 6 9 6 9 - 9 2 - 6

COMPACT INTERIORS24 x 26 cm ( 9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 8 4 - 9 6 9 6 9 - 9 6 - 4

WOOD CABINS24 x 26 cm ( 9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 2 - 9 1 7 0 3 1 - 3 8 - 4

THE NEW HOUSE24 x 26 cm ( 9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 8 4 - 9 6 9 6 9 - 9 7 - 1

SMART INTERIORS24 x 26 cm ( 9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 8 4 - 9 6 9 6 9 - 9 4 - 0

SUPERB CABINS24 x 26 cm ( 9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 2 - 9 1 7 0 3 1 - 3 7 - 7

APARTMENT INTERIORS24 x 26 cm ( 9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 8 4 - 9 6 9 6 9 - 9 1 - 9

THE NEW APARTMENT24 x 26 cm ( 9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 8 4 - 9 6 9 6 9 - 9 9 - 5

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HOUSES NOW: TOWN HOUSES24 x 26 cm ( 9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 8 4 - 9 6 2 6 3 - 7 4 - 1

SMALL WOOD CABINS24 x 26 cm ( 9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 5 9 - 0

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THE ARCHITECT´S HANDBOOK15 x 21 cm ( 6 X 8 1/4”)

200 pages, softcover

I S B N : 9 7 8 - 8 4 - 9 6 4 2 4 - 2 6 - 5

THE ARCHITECT´S HANDBOOK 215 x 21 cm ( 6 X 8 1/4”)

200 pages, softcover

I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 6 4 - 4

VISUAL DICTIONARY20 x 25 cm ( 7 1/2 X 9 1/2”)

285 pages, soft cover w/flaps

I S B N : 9 7 8 - 8 4 - 9 6 4 2 4 - 2 9 - 6

COZY WOOD INTERIORS17,5 x 22 cm ( 7 X 8 3/4”)

300 pages, soft cover w/ flaps

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NEW DOMESTIC INTERIORS24 x 33 cm ( 9 1/2 X 13”)


I S B N : 9 7 8 - 8 4 - 9 6 9 6 9 - 9 5 - 7

NEW CONCEPTS IN HOUSING24 x 30 cm ( 9 1/2 X 12”)


I S B N : 9 7 8 - 8 4 - 9 6 9 6 9 - 9 8 - 8

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PLAN ATLAS: PUBLIC BUILDINGS24 x 30 cm ( 9 1/2 X 12”)


I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 2 3 - 1

PLAN ATLAS: APARTMENT BUILDINGS24 x 30 cm ( 9 1/2 X 12”)


I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 2 1 - 7

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IN STYLE ASIA23 x 30 cm ( 9 X 12”)


I S B N : 9 7 8 - 8 4 - 9 6 2 6 3 - 2 1 - 5

180 SHANGAI INTERIORS

24 x 28 cm ( 9 X 11”)


I S B N : 9 7 8 - 8 4 - 9 6 9 6 9 - 6 7 - 4

210

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HIP DINING JAPAN24 x 26,5 cm (9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 8 4 - 9 6 2 6 3 - 9 3 - 2

HIP LOUNGING JAPAN24 x 26,5 cm (9 1/2 X 10 1/2”)


I S B N : 9 7 8 - 8 4 - 9 6 2 6 3 - 9 2 - 5

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ICONIC STORE FRONTS USA24 x 26 cm ( 10 X 10”)


I S B N : 9 7 8 - 8 4 - 9 6 9 6 9 - 6 6 - 7

221 CONTEMPORARY ARCHITECTURE

28 x 28 cm ( 11 X 11”)


I S B N : 9 7 8 - 8 4 - 9 6 9 6 9 - 2 0 - 9

NEW HEALTH FACILITIES28 x 28 cm ( 11 X 11”)


I S B N : 9 7 8 - 8 4 - 9 6 9 6 9 - 5 9 - 9

NEW EXHIBITION DESIGN28 x 28 cm ( 11 X 11”)


I S B N : 9 7 8 - 8 4 - 9 6 9 6 9 - 7 2 - 8

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STYLISH HOME INTERIORS24,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 5 5 - 2

STANDS INNOVATIONAL DESIGN24,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 6 0 - 6

HOUSES TODAY24,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 5 4 - 5

WORKING SPACES TODAY24,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 5 7 - 6

NEW KINDERGARTEN ARCHITECTURE24,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 5 3 - 8

TODAY’S ICONIC ARCHITECTURE24,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 9 2 7 9 6 - 9 3 - 9

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TODAY´S CULTURE FACILITIES24 x 30 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 9 6 2 6 3 - 5 8 - 1

HOTELS24 x 28 cm ( 9 X 11”)


I S B N : 9 7 8 - 8 4 - 9 6 9 6 9 - 1 0 - 0

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LANDSCAPE DETAILS & IDEAS24,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 2 9 - 3

A&C:CONCRETE24,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 2 5 - 5

THE COMPLETE BOOK OF: PLAYGROUND DESIGN24,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 5 6 - 9

HOTEL SPACES:1000 INSPIRATION IDEAS24,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 3 1 - 6

A&C:WOOD24,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 2 6 - 2

A&C:GLASS24,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 2 8 - 6

A&C:PLASTIC24,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 2 4 - 8

SHOPPING MALLS NOW24,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 4 7 - 7

LINGHT IN: LANDSCAPE&ARCHITECTURE24,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 3 0 - 9

A&C:METAL24,2 x 28,4 cm ( 9 1/2 X 11”)


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MATERIALS INNOVATION & DESIGN24,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 9 2 7 9 6 - 7 7 - 9

ECO-FRIENDLY ARCHITECTURE24,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 9 2 7 9 6 - 1 5 - 1

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OFFICE INTERIORS & BUSINESS BUILDINGS24,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 9 2 7 9 6 - 4 0 - 3

HOSPITALS & HEALTH FACILITIES24,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 9 2 7 9 6 - 0 4 - 5

TRANSPORT FACILITIES24,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 9 2 7 9 6 - 8 7 - 8

NEW EXHIBITION DESIGN 224,2 x 28,4 cm ( 9 1/2 X 11”)


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CLUBS & BARS DESIGN24,2 x 28,4 cm ( 9 1/2 X 11”)


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CULTURE SHOWS24,2 x 28,4 cm ( 9 1/2 X 11”)


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252 CITY EMBELLISHMENT BARCELONA

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I S B N : 9 7 8 - 8 4 - 9 2 7 9 6 - 3 7 - 3

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NEW STAIRCASES24,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 9 2 7 9 6 - 8 1 - 6

NEW FACADES24,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 9 2 7 9 6 - 8 3 - 0

SHOPS NOW24,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 3 2 - 3

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I S B N : 9 7 8 - 8 4 - 9 2 7 9 6 - 8 2 - 3

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TOP SHOPS 224,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 9 6 4 2 4 - 7 0 - 8

FREESTYLE GRAPHICS21 x 28,5 cm ( 8 X 11 1/2”)


I S B N : 9 7 8 - 8 4 - 9 6 9 6 9 - 3 5 - 3

LANDSCAPE DESIGN UK24,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 9 6 4 2 4 - 8 2 - 1

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HOUSES NOW 224,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 9 6 4 2 4 - 7 5 - 3

CREATIVE CALENDARS29 x 21 cm ( 11 X 8”)


I S B N : 9 7 8 - 8 4 - 1 5 1 2 3 - 3 7 - 8

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314SUPERB SHOPS

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I S B N : 9 7 8 - 8 4 - 9 6 2 6 3 - 8 6 - 4

THE NEW OFFICE DESIGN24,2 x 28,4 cm ( 9 1/2 X 11”)

240 pages, hard cover w/ elastic strap

I S B N : 9 7 8 - 8 4 - 9 6 9 6 9 - 0 3 - 2

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I S B N : 9 7 8 - 9 - 8 8 1 - 8 0 7 8 9 - 2

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FACTORIES & OFFICE BUILDINGS24,2 x 28,4 cm ( 9 1/2 X 11”)


I S B N : 9 7 8 - 8 4 - 9 6 4 2 4 - 7 4 - 6

MAGIC BRANDING27 x 21 cm ( 10 1/2 X 8”)


I S B N : 9 7 8 - 9 - 8 8 1 - 8 0 7 8 0 - 9

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WEST COAST REGIONAL OFFICE

FAHERTY & ASSOCIATES

6665 SW Hampton St., Ste 100

Portland, OR 97223

Tel: 503-639-3113

Fax: 503-598-9850

[email protected]

MIDWEST REGIONAL OFFICE

WYBEL MARKETING GROUP, INC.

213 W. Main St.

Barrington, IL 60010

Tel: 847-382-0384

Fax: 847-382-0385

[email protected]

EAST COAST REGIONAL OFFICE

MELMAN-MOSTER ASSOCIATES, INC.

43 Yawpo Ave., Ste 6

Oakland, NJ 07436

Tel: 201-651-9400

Fax: 201-651-9440

[email protected]

SOUTH REGIONAL OFFICE

SOUTHERN TERRITORY ASSOCIATES

4508 64th Street

Lubbock, TX 79414

Tel: 806-799-9997

Fax: 806-799-9777

[email protected]

U.S. FULFILLMENT

ORDER ADDRESS

National Book Network (NBN / CSI Group)

15200 NBN Way

Blue Ridge Summit, PA 17214

Tel: 717-794-3800

Fax: 800-338-4550

[email protected]

JONQUERES #10, 1-5 · BARCELONA 08003 (SPAIN) TEL. +34 93 301 21 99 · FAX: +34 93 301 00 [email protected] · www.linksbooks.net

LINKS BOOKS

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Catalogo Spring2012 120

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