Lars Müller Publishers Catalog 2012/2013

Lars Müller Publishers 2012 /2013

ArchitectureDesignPhotographyArtSociety

Englisch Vorsatz 2

30 years of Lars Müller Publishers

When I founded this publishing house thirty years ago I embarked upon an adventure—one that continues to be just as intriguing today. Back then it was impossible for me to foresee that its history would prove to be a prototypical reflection of the milestones in the digital paradigm shift and its ramifications for books—for their production and dissemination, and for their significance as the defining medium of humanistic education. Nowadays, books deftly juggle both their old and new roles, as sensual objects or as digital adaptations, reliable repositories of thought and knowledge as well as tools of contemporary discourse.

In the context of our interests—architecture, design, photography, art, and society—traditional books with their own special character-istics continue to hold their ground and the painstaking editorial and design work involved in producing such books finds its reward in their satisfying physical presence. Conventional print will keep on evolving as a complementary medium alongside electronic options, and will continue exploring its outstanding potential.

Englisch Vorsatz 3

Firm in this conviction, Lars Müller Publishers has succeeded in carving out a strong position as a small independent publishing house. We are proud of the high standards of content and form attained in our books. Our publishing house owes its success to our authors, editors and institutional partners, who continue to demonstrate their confidence in our work and to value the particular flair of our publications.

All our efforts would however be in vain without the interest and loyalty of all those who buy and appreciate our publications. I would like to thank them and all those just discovering our books for their enduring curiosity and friendship.

Lars Müller

The First Book

Peter Erni DIE GUTE FORM, 1983Design: Lars Müller

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

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

A milestone

Peter Zumthor worKS, 1998Photography: Hélène BinetDesign: Lars Müller(out of print, see www.lars-mueller-publishers.com/en/catalogue-rarities)

This first overview of works by Peter Zumthor, who is now renowned worldwide, helped to establish the international reputation of both the architect and our publishing house. The publication’s approach to addressing a body of work set new standards and its conceptual structure and graphic design had a radical impact on the monograph format. The architect took on the role of author, with the photographer as co-author.

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

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

5.3In order to control the scale, a transformation into three stories has been deducted. On this long and narrow site, the scale of the building must be strictly controlled.

5.4On the formal sketches shown to the client, plans of every story and isometric drawings were included. The delicate way in which the building and the surrounding site are interconnected could be seen on the sketches.

5.5After four years, the sketches were re-drawn. The cutting out and replication of one type had turned out to be the co-existence of four types, with a conversation among them. The idea of rammed earth construction began to emerge. This method of construction on the elevation was to feature studies in details.

5.6I often depict the same design again and again, just as when describing something in words. Every time, there are slightly different details. In my vocabulary, the word “difference” especially refers to the slight changes that lead to diversity. These slight changes are decisive.

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

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

5.9The research of the design was already very mature. One day, after drinking tea and doing a piece of calligraphy writing, I drew these sketches casually, which then over-turned the former design. I kept thinking of the question: What kind of building would be required with earth as the material?

5.10The upper and lower parts of the sketches were done first, and then the middle ones. This showed that the starting point of the research was a comparison between the plans and the sections.

5.11The design is depicted here using large-scale sketches again. Along the river, the building changed continuously for 150 meters. It was very clear how the three paths penetrated through the building along this length.

5.12Here, the reverse is depicted using large-scale sketches. I rarely made models. I preferred to measure the size by heart using my hands and then note the imagined sizes.

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Architecture 3

wANG ShUImAGINING ThE hoUSE

Design: Integral Lars müller24 × 29.7 cm, 8 ¼ × 9 ½ in, 168 pages68 drawings, 15 photographs, paperbackJapanese binding2012, ISBN 978-3-03778-314-6, EnglishEUR 50.– GBP 45.– USD / CAD 65.–

Buildings by Chinese architect Wang Shu—this year’s winner of the Pritzker Prize—feature clear and simple contemporary designs that make use of traditional methods and materials. The reuse of building materials is characteristic of his buildings.

Shu’s design process always begins with an intense study of the location. The architect spends as long as possible on the site, absorbing its atmosphere. He then produces drafts in the form of hand-drawn sketches, creating them in relatively quick succession. Imagining the House follows this process in various buildings. Photographic documentation of the locations elucidate Shu’s on-site research. The reproductions of drawings in this book demonstrate how the designs change and become more concrete over the course of the process. The book provides unique insights into the work of an architect who has hitherto received little attention in Europe, thereby address-ing a considerable omission in the publishing world.

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

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

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

3.3People could experience the diversity of space in a hill, but how to integrate that diversity into a logical structure? I happened to see a 3D template drawing for a series of garments, which made me extremely excited. I re-drew a group of sketches immediately, taking into consideration the accurate scale of the space around a body.

3.4Once the code was found, the three plans for each level emerged all by themselves.

3.5The isometric drawing of this view would control all parts of the building, including the interior and exterior.

3.6To me, the elevations were the last step. They were 2D reflections of a building.

3.7After the completion of a design, and before I gave it to my assistants, who would turn it into computer drawings, I often doubted the design myself, especially when it was over-complicated. I often wanted to pursue a cleaner and more simplified answer. One night, I almost couldn’t fall asleep. A force compelled my mind to review the design again. At three o’clock in the morning, a completely new design suddenly appeared, and it even included the specific sizes of the details. I got up and drew it immediately so that I wouldn’t forget when I woke up. When I finished it, I felt so relaxed. I went to have some tea.

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

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

3.10At the same time, I would consider the materials and construction. The small sketch at the bottom of the right page was the technical assumption about how the recycled tiles would be laid as high as 24 meters. There were a lot of short, invisible supporting beams. Besides poetics and geometry, the depiction of a building would also contain many accurate numerical deductions. I especially enjoyed this process.

3.11Before giving the sketches to the assistants, I made sure the sizes on the plan were accurate.

3.12By executing the final drawing by hand, not only accuracy was maintained, but the freehand feeling was also able to preserve the continuity and integration of the lively rhythms.

3.13I decided to draw the plan that would decide the quality of the space. When I did it, I drew the section at the same time. The plan for the first floor was drawn later.

3.14The plans and elevations were drawn and done almost at the same time.

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EDUArDo SoUTo DE moUrASKETChBooK No. 76

Design: Integral Lars müller14.8 × 21 cm, 5 ¾ × 8 ¼ in, 200 pagesfacsimile of the original sketchbook, hardcover2012, ISBN 978-3-03778-312-2

EUR 32.– GBP 26.– USD / CAD 42.–

Sketchbook No. 76 is the reproduction of a sketchbook of the renowned Portuguese architect and last year’s Pritzker Prize laureate, Eduardo Souto de Moura. The sketchbook was in use between September 2011 and January 2012 and records first ideas, fleeting sketches, studies, and spontaneous jottings that offer a starting point for every project but also function as a working resource. One can quite litterally experience the architectural design process and how developing existing ideas are further developed in different variants. Sketchbook No. 76 is a homage to the medium of drawing and manifests that this working method remains an essential element of the creative process.

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Architecture 5

FLoATING ImAGESEDUArDo SoUTo DE moUrA’SwALL ATLAS

Edited by André Tavares and Pedro Bandeira

Design: Integral Lars müller14.8 × 21 cm, 5 ¾ × 8 ¼ in, 160 pages202 illustrations, hardcover2012, ISBN 978-3-03778-301-6, EnglishEUR 38.– GBP 32.– USD / CAD 50.–

Photographs, newspaper cuttings, postcards, drawings, and slides: on entering the studio of Eduardo Souto de Moura one is confronted with a variety of images on the walls that engage in a dialogue. How do these photos, drawings, and illustrations impact his design practice? What is the relationship between the image and the com-pleted building? Floating Images: Eduardo Souto de Moura’s Wall Atlas uses this question as an opportunity to examine the architect’s visual universe. He has added drawings and project sketches to his extensive collection of images and has reorganized them in this atlas. Complex relationships are formed between the individual illustrations and projects. Essays by Pedro Bandeira, Eduardo Souto de Moura, Diogo Seixas Lopes, and Philip Ursprung complete the publication and provide a contextualization in terms of the history of art and images.

Contents:– Everything Is ArchitecturePedro Bandeira– Eduardo Souto de Moura’sWall Atlas– Souto de Moura’s “Cabinet de Curiosités”Philip Ursprung– Amarcord: Analogy and ArchitectureDiogo Seixas Lopes– A Rather Unscientific AutobiographyEduardo Souto de Moura

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

Eduardo Souto de Moura, sketch for screen print

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

Eduardo Souto de Moura, sketch for screen print

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Atelier Eduardo Souto de Moura, 2012 Atelier Eduardo Souto de Moura, 2010

Souto de Moura’s “ Cabinet de Curiosités ”Philip Ursprung

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

The most striking features in the office of Eduardo Souto de Moura are the many images. Postcards, newspaper clippings, torn-out advertisements, family photos, depictions of his most

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Atelier Eduardo Souto de Moura, 2012 Atelier Eduardo Souto de Moura, 2010

Souto de Moura’s “Cabinet de Curiosités”Philip Ursprung

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

The most striking features in the office of Eduardo Souto de Moura are the many images. Postcards, newspaper clippings, torn-out advertisements, family photos, depictions of his most

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The act of sketching for me is like a dialogue with myself.When I put pen to paper, I do not yet know what it is.Nor do I know what will be drawn.What is born out of countless red lines on paper is like a reflection of what is in my mind, yet something which transcends my understanding, almost as if it is a sign, or rather an anticipation.At times they are words, and at other times they become shapes, or something before a shape. Within the transition of some unknown matter into a shape, or into words. Traversing between shapes and words, a sketch is born.The eye beholds what has been drawn, listening closely to what the lines convey, discovering new meanings and hypothesizing on what this may be, adding inspiration and anticipation back into the line being drawn, which leads to new lines on the paper.Through this instantaneous, infinite feedback loop I discover myself interacting with myself, or perhaps with the anticipation within my subconscious self.

Thus a sketch is like a bystander closest to myself.Because it is a bystander, there are surprises, dialogues, and discoveries.

The lines are never certain, never knowing where the next will lead to.Never knowing, but continuing to draw.And for this very reason, there is always an opportunity for something new.

From the infinite dialogues of the brain, eyes, hand, paper, and space, new architecture is born.

Sou Fujimoto

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

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

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Architecture 7

SoU FUJImoToSKETChBooK

Design: Integral Lars müller13 × 21 cm, 5 × 8 ¼ in, 240 pagesfacsimile of the original sketchbookhardcover2012, ISBN 978-3-03778-327-6, English /JapaneseEUR 40.– GBP 35.– USD / CAD 50.–

The works of Sou Fujimoto resist any form of con-ventional categorization. This young Japanese architect stands for unconventional buildings that cannot be described by standard criteria and definitions such as inside/outside or public/private. Clear divisions such as between floor levels and rooms are shattered by his complex ground plans and interlocking structures which—in a reference to the idea of the cave—he describes as “Primitive Future.” With this approach he creates forms that are committed to a playful interaction between user and space. Alongside private residences, such as the well-known N House, his library for Musashino Art University has achieved particular recognition. In addition he was represented at the 2010 Venice Biennale with a design for a house.

In his personal sketchbook Sou Fujimoto offers insights into his design process. Through the sketches, drawings, and notes readers can trace how his complex concepts are made manifest and develop on paper.

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STEVEN hoLL – SCALE

Edited by Lars müller

Design: Integral Lars müller16.8 × 12.6 cm, 6 ½ × 5 in, 480 pages420 illustrations, hardcover2012, ISBN 978-3-03778-251-4, EnglishEUR 40.– GBP 38.– USD / CAD 55.–

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

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

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designed by the architect. Holl, with an intense interest in phenomenology, loves to play with changing and ephemeral building blocks, particularly color, light, and time.

Afternoon has come around. I am on my way to enter Reality after observing it from a distance for quite some time. How-ever, what I am walking into is nothing short of another magic lantern — the cinema right in the center of the Dangdai MOMA courtyard — to watch more lights, colors, and time passing and to participate in the realization of an idea or ideal: to have urban life and culture at home in my own neighborhood.

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

I’m gonna watch the movie now.

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

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STEVEN hoLL – CoLor LIGhT TImE

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

Design: Integral Lars müller12.6 × 16.8 cm 5 × 6 ½ in, 144 pages72 illustrations, hardcover2012, ISBN 978-3-03778-252-1, EnglishEUR 32.– GBP 25.– USD / CAD 40.–

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

Architecture 9

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today the ambiguity of time and the persistence of doubt present us with an openness quite different from historical periods characterized by a grand narrative. inspiration today must come from the poetic possibilities of uncertainty. with inspiration we engage the imagination and dissolve subject and object. this fusion of the subjective and the objective is at the heart of conscious experience.

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

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LUIS m. mANSILLA + EmILIo TUÑÓNFrom rULES To CoNSTrAINTS

Edited by Giancarlo Valle

In cooperation with the Princeton University School of Architecture

With contributions by Stan Allen, Enrique Walker, Sarah Whiting, and Augustin Perez RubioPhotographs by Dean Kaufmann, Luis Asín, and Luis Baylón

Design: Thumb16.5 × 24 cm, 6 ½ × 9 ½ in, 248 pages242 illustrations, paperback2012, ISBN 978-3-03778-281-1, EnglishEUR 32.– GBP 28.– USD / CAD 45.–

From 2008 to 2010, the architects Luis M. Mansilla and Emilio Tuñón held the Jean Labatut Visiting Professorship at the Princeton School of Architec-ture. Examining both student and also Mansilla + Tuñón’s own design work, From Rules to Con-straints presents the design process as an on going conversation between the building and the environment, between freedom and limits, and between the decided and undecided. Focusing on three sites at three distinct scales, this book exam-ines the constraints of the architectural project—social, political, historical, and environmental—in order to create new rules for working. The book is one of the last records of the work and ideas of Luis M. Mansilla, who passed away in 2012.

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Architecture 11

DAVID ADJAYEAUThorING: rE-PLACING ArT AND ArChITECTUrE

Edited by marc mcQuade

In cooperation with the Princeton University School of Architecture

With contributions by David Adjaye, Stan Allen, Alex Coles, Teresita Fernández, Dave Hickey, Sanford Kwinter, Jorge Pardo, and Matthew Ritchie

Design: Thumb16.5 × 24 cm, 6 ½ × 9 ½ in, 272 pages121 illustrations, paperback2012, ISBN 978-3-03778-282-8, EnglishEUR 32.– GBP 28.– USD / CAD 45.–

Authoring: Re-placing Art and Architecture challenges traditional assumptions about the relationship between art and architecture. From 2008 through 2010, David Adjaye, along with Marc McQuade, taught three studios at the Princeton School of Architecture. Each studio focused on a collaboration with a distinguished artist—Matthew Ritchie, Teresita Fernández, and Jorge Pardo—on interventions in three vastly different sites: the state of New Jersey, the Gowanus Canal in Brooklyn, and the city of Mérida in Mexico’s Yucatán Peninsula. Through an exploratory process of questioning, developing, and testing, each architect and artist reexamines the expectations traditionally associ-ated with the conventions of architectural design and representation.

Authoring: Re-placing Art and Architecture presents recent projects from David Adjaye, Matthew Ritchie, Teresita Fernández, and Jorge Pardo, along with interviews, essays, and archival material that unpack the shared space of art and architecture.

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180 181Ian McHarg and Robert Geddes’s diagram of Providence circulation redesign, 1950.Left: Students pinning up for final review of the Providence studio, 1950.Right: Ian McHarg and Robert Geddes’s traffic study of Providence, 1950.

June 11, 1950

Providence Reimagined: Design Students Present Their Vision for a New City Center

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

180 181Ian McHarg and Robert Geddes’s diagram of Providence circulation redesign, 1950.Left: Students pinning up for final review of the Providence studio, 1950.Right: Ian McHarg and Robert Geddes’s traffic study of Providence, 1950.

June 11, 1950

Providence Reimagined: Design Students Present Their Vision for a New City Center

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

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City and Environment as Form

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

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

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

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

The process of concentrated urbanization encompasses flows of workers within and around large-scale agglomerations. 356 357

City and Environment as Form

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

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

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

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

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

INSTIGATIoNS Engaging Architecture, Landscape, and the CityGSD075

Edited by mohsen mostafavi and Peter Christensen

In cooperation with Harvard University Graduate School of Design

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in, 560 pages559 illustrations, paperback2012, ISBN 978-3-03778-307-8, EnglishEUR 50.– GBP 45.– USD / CAD 60.–

The creative imagination is not solely based on the intuitive capacities of individuals. One of the tasks of design education is to help provide the tools, techniques, and methods that enhance constructed imagination. At the same time, the modes and practices of design need to confront the challenges of our contemporary societies. The commitment to societal engagement through design excellence is at the core of the pedagogy at the Harvard Graduate School of Design.

This volume celebrating the first seventy-five years of the GSD presents episodes in a rich history along with selected looks at current and future lines of teaching and research; these views reflect the constant oscillation between the pragmatic realities and the imagined yet never realized ideal that lies at the heart of design. The aspirations of the famous architecture school are demon-strated through a series of ideas, projects, practices, that reflect the mission for the GSD to reimagine and construct better futures.

See also page 31:ECoLoGICAL UrBANISm

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414 415Students celebrating at “ Grope Fest,” 1970.

May 9, 1970Harvard Graduate School of Design Celebrates Its Roots with “ Grope Fest ”

The Continuous Institution

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

414 415Students celebrating at “Grope Fest,” 1970.

May 9, 1970Harvard Graduate School of Design Celebrates Its Roots with “Grope Fest”

The Continuous Institution

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KENZŌ TANGE ArChITECTUrE For ThE worLD

Edited by Seng Kuan and Yukio Lippit


Design: Integral Lars müller25 × 20.7 cm, 9 ¾ × 7 ¾ in, 192 pages186 illustrations, hardcover2012, ISBN 978-3-03778-310-8, EnglishEUR 50.– GBP 45.– USD / CAD 60.–

Kenzō Tange (1913–2005) is a peerless figure among twentieth-century Japanese architects, unmatched in his talent, influence, and versatility. A leading force of the Metabolist movement, he was the first non-Western architect whose works would be embraced as universal in value. This unique assemblage of new scholarship by an international team of experts reframes Tange according to the contingencies of Japanese mod-ernism as well as contemporary discourses of cultural identity, technology, urbanization, and the synthesis of the arts. Case studies on celebrated

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minimum destruction of existing structures. isozaki’s “ city in the air ” was dramatically juxtaposed to Mitsubishi’s city on the ground, expressing a striking contrast between the architect’s visions for the future and the vulgar capitalist reality of the time.

in the same issue, Tange’s second scheme for dentsū, taller than the fi rst, was also published, along with his own argument regarding the possibilities presented by changes to building codes, which Mitsubishi deliberately ignored to avoid the fore-seeable troublesome procedures. an initial dentsū plan within the height limit regulation had been a temporary solution; Tange’s team, staying aware of the situation, waited for imple-mentation of new regulations, which were still under review. after it became clear that the height limit was indeed to be changed, the dentsū project was again revised to a height of 21 stories, fully 100 meters high.8 To realize this additional height, Tange proposed that Yoshida appeal to landowners in the neigh-borhood; his proposal was accepted enthusiastically.

This was a battle as well among leading japanese corporations, related to the new possibilities presented by increased building height. while Mitsubishi lacked any ambition — isozaki’s project was simply intended as provocation — Tange’s ambition was to build the city’s fi rst skyscraper. he was competing against the Kasumigaseki building, which was in fact built as Tokyo’s fi rst skyscraper in 1967. The structural engineer in charge of the Kasumigaseki building was Mutō Kiyoshi, a former professor at Tokyo university who was a mentor to Tsuboi Yoshikatsu, a struc-tural designer and another of Tange’s longtime partners, here in charge of the dentsū project. The Kasumigaseki building was a project developed by Mitsui real estate, Mitsubishi-jisho’s rival. The dentsū project had ambitions for society, providing a new architectural typology, but was not ambitious in architec-tural design. Tange’s ambitions for the dentsū project, however, were to integrate these two.

To achieve fl exible workspaces, Tange decided to concentrate horizontal structural components in the façade, with orthogonal structural elements made up of whole exterior walls that also acted as huge girders — what Tsuboi called an eccentric truss system. The eccentric pattern was derived from uneven stress distribution, allowing variety in the façade — symbolizing the inde-terminacy of contemporary urban environments. This structural idea was directly derived from the design for the offi ce quarter

at the same time as the release of his “ Tokyo Plan, 1960,” Tange was commissioned by Yoshida hideo, the president of dentsū, japan’s largest advertising agency ( and later the world’s larg-est ), to build their headquarters. Tange had already built their osaka branch in 1960 and designed the Totsuka country club for Yoshida. Yoshida shared the architect’s ambitions for a rising nation and must have been greatly impressed by an hour-long television program by the national broadcasting company on the “ Tokyo Plan, 1960.” Yoshida insisted that dentsū should build a monumental building that would symbolize the company. The result, completed in 1967, was rather mediocre, however, when considered beside Tange’s other buildings from the 1960s, and it has failed to draw much attention. The initial intention was far more ambitious, in response to the client’s own ambitions.

This awkward outcome is related to a dispute over revision of the building codes, which prohibited building anything above 31 meters. The revision, studied by the architectural institute of japan, yielded a 1955 report by a committee led by asada Takashi, who had been Tange’s senior partner and would orga-nize the Metabolist group. in 1963, the building codes were revised in a limited way, permitting building an extra 30 percent fl oor area ratio, although only in exceptional cases, such as redevelopments larger than one urban block. Tange’s fi rst pro-posal for the dentsū headquarters building adhered to the height limit and featured an offi ce block, divided into upper and lower levels, spanning two vertical cores. due to the height limit, however, the proposal failed to convey the impression of a city in the air composed of bridge-like clusters.

in february of the same year, Weekly Asahi published an article Weekly Asahi published an article Weekly Asahion the development of the Marunouchi area, Tokyo’s most pres-tigious business center.7 The article featured itō Teiji, a promi-nent historian who criticized the strategy of the Mitsubishi-jisho ( Mitsubishi estate ), japan’s largest developer and a major land-owner in the Marunouchi district. itō criticized Mitsubishi for not trying to take on the challenge of new possibilities following height limit revisions. for the purposes of comparison, itō intro-duced another “ city in the air ” project by his close friend isozaki arata, one that had never been published before its inclusion in this article. itō later stated that in those days, isozaki repeat-edly said that he was not interested in building anything below 31 meters; his new project for Marunouchi was designed only for provocation. isozaki argued that this project could be built with

isozaki arata, city in the air in Marunouchi, Tokyo, 1961.

Tange, second scheme for dentsū headquarters, ca. 1961.

Tange, later scheme for dentsū headquarters, 1962.

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gymnasium ii, roof detail, 1962.

gymnasium ii, view of ceiling detail.

works—Hiroshima, Tokyo Bay Plan, and Yoyogi Stadiums—clarify Tange’s wide-ranging interests and design methodology. Abundantly illustrated with archival drawings and period photographs, this volume provides fresh and compelling per-spectives on the practices, discourses, and pro-duction contexts of Tange’s work as well as the architecture and urbanism of postwar Japan. Kenzō Tange—Architecture for the World repre-sents the most serious and comprehensive reassessment of Tange in the English language in decades.

Architecture 15

FIVE NorTh AmErICAN ArChITECTSAn Anthology by Kenneth Frampton

In cooperation with GSAPP, Columbia University

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in, 136 pages136 illustrations, paperback2012, ISBN 978-3-03778-256-9, EnglishEUR 38.– GBP 32.– USD / CAD 50.–

Five North American Architects brings together five architectural practices that, while all distinct, share a particular sensibility for the impact of craftsmanship and climate on the generation of form, as well as a concern for the expressive tactility of material and the effect of light on the articulation of structure.

Designed with a passion for detail, the book offers an in-depth survey of recent work by Steven Holl (New York), Rick Joy (Tucson), John and Patricia Patkau (Vancouver), Stanley Saitowitz (San Fran-cisco), and Brigitte Shim and Howard Sutcliffe (Toronto).

The regional specificity of the work is considered against a larger North American context, allowing one to assess the practice of its architecture today.

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ImPErFECT hEALThThe medicalization of Architecture

Co-published by CCA, montreal

Edited by Giovanna Borasi and mirko Zardini

With essays by Giovanna Borasi, Mirko Zardini, Carla C. Keirns, David Gissen, Margaret Campbell, Hilary Sample, Nan Ellin, Linda Pollak, Deane Simpson and Sarah Schrank

Design: Integral Lars müller16.8 × 24 cm, 6 ½ × 9 ½ in, 400 pages366 illustrations, hardcover2012, ISBN 978-3-03778-279-8, English2012, ISBN 978-3-03778-284-2, FrenchEUR 50.– GBP 45.– USD / CAD 70.–

2012, ISBN 978-3-03778-287-3, English2012, ISBN 978-3-03778-288-0, FrenchEUR 14.99 GBP 11.99 USD / CAD 19.99

As health becomes a central focus of political debate, are architects, urban designers, and land-scape architects seeking a new moral and political agenda to address these concerns? Imperfect Health looks at the complexity of today’s health problems juxtaposed with a variety of proposed architectural and urban solutions. Essays by Margaret Campbell, David Gissen, Carla C. Keirns, and Sarah Schrank deal with different aspects of the topic of health in the context of architecture such as: “An Architectural Theory of Pollution” and “Strange Bedfellows: Tuberculosis and Modern Architecture—How ‘The Cure’ Influenced Modernist Architecture and Design.”

Selected as one of “The most Beautiful German Books 2012”.

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e-book

IN ThE LIFE oF CITIESParallel Narratives of the Urban

Edited by mohsen mostafavi


Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in, 376 pages286 illustrations, hardcover2012, ISBN 978-3-03778-302-3, EnglishEUR 50.– GBP 45.– USD / CAD 60.–

What is it that gives places their individual qualities and defines the life of a city? Architects and urban-ists are accustomed to describing and creating the organizational structures, the layouts and physical attributes of our cities. But what are the relations between the design of a city—its form—and the life engendered by that form? Responding to this question is the inspiration for In the Life of Cities. Contributors from a wide range of fields address the inseparability of urban life and urban form. Portfolios of contemporary photography assert the layered realities of urban life today.

With contributions by Arjun Appadurai, Eve Blau, Svetlana Boym, Lindsay Bremner, Jana Cephas, Felipe Correa, Rahul Mehrotra, Mohsen Mostafavi, Antoine Picon, Gyan Prakash, Nasser Rabbat, Rafi Segal, Jorge Silvetti, AbdouMaliq Simone, and Charles Waldheim.

Featured cities:

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See also page 31:ECoLoGICAL UrBANISm

BakuBucharestBuenos AiresCairoCaracasChicagoDakarDetroit

Hong KongHoustonJakartaJohannesburgLondonMoscowMumbaiParis

QuitoSão PauloSt. PetersburgTel AvivTiranaTokyoToronto

TorrE DAVIDInformal Vertical Communities

Edited by Alfredo Brillembourg and hubert Klumpner, Urban-Think Tank Chair of Architecture and Urban Design, ETh Zürich

Photographs by Iwan Baan

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in, 480 pagesapprox. 300 illustrations, paperback2012, ISBN 978-3-03778-298-9, EnglishEUR 45.– GBP 38.– USD / CAD 60.–

Torre David, a 45-story skyscraper in Caracas, has remained uncompleted since the Venezuelan economy collapsed in 1994. Today, it is the improvised home to more than 750 families living in an extra-legal and tenuous squat, that some have called a “vertical slum.”

Urban-Think Tank, the authors of Torre David: Informal Vertical Communities, spent a year study-ing the physical and social organization of this ruin-become home. Richly illustrated with photo-graphs by Iwan Baan, the book documents the residents’ occupation of the tower and how, in the absence of formal infrastructure, they organize themselves to provide for daily needs, with a hair salon, a gym, grocery shops, and more. The authors of this thought-provoking work investigate informal vertical communities and the architecture that supports them and issue a call for action: to see in informal settlements a potential for innovation and experimentation, with the goal of putting design in service to a more equitable and sustainable future.

See also page 31:BrASILIA–ChANDIGArh

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

Edited by Florian hertweck andSébastien marot

Critical Edition, original 1977

Design: Integral Lars müller21 × 29.7 cm, 8 ¼ × 11 ¾ in, approx. 160 pagesapprox. 80 illustrations, paperback2012, ISBN 978-3-03778-326-9, English2012, ISBN 978-3-03778-325-2, German2012, ISBN 978-3-03778-329-0, FrenchEUR 40.– GBP 35.– USD / CAD 50.–

In the manifesto The City in the City – Berlin: A Green Archipelago, Oswald Mathias Ungers and a number of his colleagues from Cornell University presented the first concepts and intellectual models for the shrinking city. In contrast to the reconstruc-tion of the European city that was popular at the time, they developed the figure of a polycentric urban landscape. However, the manifesto really began to exert an effect beginning in the 1990s onwards, when the focus of the urban planning discourse turned to the examination of crises, recessions, and the phenomenon of demographic shrinking. This critical edition contains a reproduction of the Ungers-manifesto and a previously unpub-lished version by Rem Koolhaas, as well as interviews with (co-)authors Rem Koolhaas, Peter Riemann, Hans Kollhoff, and Arthur Ovaska. Introductory texts explain the development of the manifesto between Cornell and Berlin, position the work in the planning history of Berlin, and reveal its influence on current approaches.

Architecture 21

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Dès 1959, Heidi Weber projette de faire construire une maison par Le Corbusier, non pas une maison qu’elle habiterait elle-même, mais une maison qui soit un lieu d’exposition consacré à l’œuvre du maître, un lieu destiné à réunir architecture et arts plastiques, textes et réflexions, un lieu pour rendre hommage au projet corbuséen de Synthèse des arts17. Elle lui expose son idée et parvient à le convaincre de travailler de nouveau en Suisse malgré les souvenirs amers qu’il garde des nombreuses occasions manquées dans son pays natal, qu’il s’agisse de son échec lors du concours pour le Palais des Nations en 1927 à Genève – et du traumatisme durable infligé à l’architecte –, ou de ses tentatives infructueuses pour Zurich, où il avait étudié quatre projets au début des années 1930, tous restés sans suite18. Le 25 juin 1960, Heidi Weber peut lui annoncer que le conseil municipal a donné son accord de principe et que « le maire et les conseillers municipaux se sentent honorés de posséder bientôt à Zurich une maison-musée Le Corbusier19. » Et, le 6 juillet, elle apporte les plans cadastraux du site à Paris, impatiente de voir le projet. Le Corbusier répond seulement le 14 septembre, confirmant qu’il accepte de faire les plans de la « maison-musée – “expositions Le Corbusier” », et dont l’exécu-tion sera confiée à Willi Boesiger et demande que tous les documents contractuels soient préparés20. À l’occasion de l’inauguration de la quatrième exposition « Le Corbusier, peinture et esquisses » à la galerie Mezzanin, une rencontre est organisée avec les autorités de la Ville de Zurich en novembre 1960, suivie d’une visite du terrain que la Municipalité de Zurich a accordé à Heidi Weber en droit de superficie. Le Corbusier fait escale à Zurich alors qu’il rentre d’un séjour à Dehli et veille en personne à la présence du photographe René Burri pour documenter ces premières rencontres21. Il laisse une dédicace comme souvenir de la « pose de la “première pierre” (whisky et vin blanc à mezzanin) d’une “maison d’homme” “inventée” par mme Heidi Weber. (monstre de persévérance, de dévouement et d’enthousiasme) – mon amitié à Heidi Weber / Zurich/ 24.11.1960 / sa victime / Le Corbusier22. » Un dîner officiel sera organisé par le conseil municipal le 3 novembre 1961 pour sceller l’événement, quelques semaines avant le dépôt du permis de construire.

Dès septembre1958, une idée similaire d’ériger une « maison-musée » est en discussion avec le collectionneur suédois Theodor Ahrenberg qui

La deuxième exposition Le Corbusier à la galerie mezzanin,»Peintures, tapisse-ries dessins, lithos, meubles», février- avril 1959 (50 years, p.170. )

Le Corbusier, Verres et Bouteilles, huile sur toile, 1928

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Dès 1959, Heidi Weber projette de faire construire une maison par Le Corbusier, non pas une maison qu’elle habiterait elle-même, mais une maison qui soit un lieu d’exposition consacré à l’œuvre du maître, un lieu destiné à réunir architecture et arts plastiques, textes et réflexions, un lieu pour rendre hommage au projet corbuséen de Synthèse des arts17. Elle lui expose son idée et parvient à le convaincre de travailler de nouveau en Suisse malgré les souvenirs amers qu’il garde des nombreuses occasions manquées dans son pays natal, qu’il s’agisse de son échec lors du concours pour le Palais des Nations en 1927 à Genève – et du traumatisme durable infligé à l’architecte –, ou de ses tentatives infructueuses pour Zurich, où il avait étudié quatre projets au début des années 1930, tous restés sans suite18. Le 25 juin 1960, Heidi Weber peut lui annoncer que le conseil municipal a donné son accord de principe et que « le maire et les conseillers municipaux se sentent honorés de posséder bientôt à Zurich une maison-musée Le Corbusier19. » Et, le 6 juillet, elle apporte les plans cadastraux du site à Paris, impatiente de voir le projet. Le Corbusier répond seulement le 14 septembre, confirmant qu’il accepte de faire les plans de la « maison-musée – “expositions Le Corbusier” », et dont l’exécu-tion sera confiée à Willi Boesiger et demande que tous les documents contractuels soient préparés20. À l’occasion de l’inauguration de la quatrième exposition « Le Corbusier, peinture et esquisses » à la galerie Mezzanin, une rencontre est organisée avec les autorités de la Ville de Zurich en novembre 1960, suivie d’une visite du terrain que la Municipalité de Zurich a accordé à Heidi Weber en droit de superficie. Le Corbusier fait escale à Zurich alors qu’il rentre d’un séjour à Dehli et veille en personne à la présence du photographe René Burri pour documenter ces premières rencontres21. Il laisse une dédicace comme souvenir de la « pose de la “première pierre” (whisky et vin blanc à mezzanin) d’une “maison d’homme” “inventée” par mme Heidi Weber. (monstre de persévérance, de dévouement et d’enthousiasme) – mon amitié à Heidi Weber / Zurich/ 24.11.1960 / sa victime / Le Corbusier22. » Un dîner officiel sera organisé par le conseil municipal le 3 novembre 1961 pour sceller l’événement, quelques semaines avant le dépôt du permis de construire.

Dès septembre1958, une idée similaire d’ériger une « maison-musée » est en discussion avec le collectionneur suédois Theodor Ahrenberg qui

La deuxième exposition Le Corbusier à la galerie mezzanin,»Peintures, tapisse-ries dessins, lithos, meubles», février- avril 1959 (50 years, p.170. )

Le Corbusier, Verres et Bouteilles, huile sur toile, 1928

5958

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

dessin n°5, 31 juillet 1961

5958


dessin n°5, 31 juillet 1961

Catherine Dumont d’Ayot, Tim BentonLE CorBUSIEr’S PAVILIoNFor ZUrIChmodel and Prototype of an Ideal Exhibition Space

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

Edited by the Institute of historic Building research and Conservation, ETh Zürich

Design: Integral Lars müller16.8 × 24 cm, 6 ½ × 9 ½ in, 224 pagesapprox. 210 illustrations, paperback2012, ISBN 978-3-03778-305-4, English2012, ISBN 978-3-03778-293-4, German2012, ISBN 978-3-03778-328-3, FrenchEUR 40.– GBP 35.– USD / CAD 50.–

Le Corbusier’s Pavilion for Zurich uses numerous handwritten documents, drawings, and papers to trace the history of Le Corbusier’s last built work. This dwelling, which is also a museum, was initi-ated by Zürich gallery owner Heidi Weber. With its abstract forms and colors, it represents an intellec-tual legacy of the famous architect in which the further development of architecture as envisaged by Le Corbusier is clearly legible. From the first ideas and sketches from 1949–50 to the opening in 1967 and beyond, the genesis of this excep-tional building—the completion of which the architect did not live to see—is presented with lavish use of illustrations and documents. This book explains for the first time the significance of the pavilion, which differs strongly from the beton brut of Le Corbusier’s late work, in terms of its position as one of the architect’s central and forward-looking works.

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

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Architecture 23

Catherine Dumont d’Ayot Tim Benton

Institut für Denkmalpfl ege und Bauforschung der ETH Zürich

Lars Müller Publishers

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LE CORBUSIERS PAVILLON FÜR ZÜRICHVorbilder und Prototyp eines idealen Ausstellungsraums

Institut of Historic Building Resarch and Conservation, ETH Zurich

Catherine Dumont d’Ayot


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LE CORBUSIER’S PAVILION FOR ZURICHModel and Prototype of an Ideal Exhibition Space

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NEwGIGoN/GUYEr ArChITECTSworks & Projects 2001– 2011

With essays by Gerhard Mack, Arthur Rüegg, and Philip Ursprung

Design: Gigon/Guyer with Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in, 608 pages935 illustrations, hardcover2012, ISBN 978-3-03778-276-7, English2012, ISBN 978-3-03778-257-6, GermanEUR 58.– GBP 55.– USD 85.–

Since it was set up in 1989 the office of Gigon/Guyer architects has conceived an impres-sive series of projects. The most important designs carried out include museums, housing projects, and office buildings. The recently completed Prime Tower and its annex buildings on the Maag site in Zürich have been internationally acclaimed.

The monograph provides a sharply focused insight into how Annette Gigon and Mike Guyer understand architecture. The various concepts as well as the different constructions, materials, forms and colors that they employ in their projects are presented in an exhaustive documentation of their work that uses numerous photographs, plans, and short texts. The three essays as well as a discussion between Patrick Gmür, Martin Stein-mann, and the architects offer in-depth reflection and contextualization.

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Architecture 25

Günther VogtmINIATUrE AND PANorAmAVogt Landscape ArchitectsProjects 2000–12

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in, 608 pages1250 illustrations, paperback2012, ISBN 978-3-03778-233-0, EnglishEUR 58.– GBP 50.– USD / CAD 85.–2006, ISBN 978-3-03778-068-8, GermanEUR 50.– GBP 50.– USD / CAD 65.–

Using a typological structure (landscape, park, square, garden, promenade, etc.), Günther Vogt describes the theoretical foundation on which the successful projects of Vogt Landscape Architects are based. In recent years the office has realized international projects in Europe and the United States, including a new type of city park for the Tate Modern in London (with Herzog & de Meu-ron); an “all-weather garden” with great poetic power at the Hyatt Hotel in Zürich (with Meili, Peter Architekten); an indoor tropical garden for the Novartis Campus in Basel (with Diener & Diener); and the exterior spaces of the Allianz Arena in Munich (with Herzog & de Meuron). This new and extended version of one of our best sellers also documents recent works, such as public realm and streetscape designs for the athletes’ village of the Olympic Games in London 2012.

See also page 37:DISTANCE & ENGAGEmENTTrEE NUrSErIES

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Guido BeltraminiThE PrIVATE PALLADIo

Design: Integral Lars müller10.8 × 20.4 cm, 4 ¼ × 8 in, approx. 108 pages50 illustrations, hardcover2012, ISBN 978-3-03778-299-6, EnglishEUR 28.– GBP 25.– USD / CAD 36.–

Andrea Palladio’s Renaissance villa architecture is still admired for its elegance and harmony, but little is known about the person behind the buildings. Experienced Palladio researcher Guido Beltramini has worked meticulously on material from historical documents about Palladio’s person and life, and assembled a full picture of the archi-tect. The Private Palladio follows his career, his rise from being the ordinary miller’s son Pietro della Gondola to become the architect Andrea Palladio. Beltramini does not just explore Palladio’s origins, his training as a stonemason, and his com-plex relationship with powerful clients and schol-ars, but also his private life: his jovial character, his life as a married man with five children, and not least his profound conviction that architecture can and must enrich life. The text is complemented by numerous illustrations.

See also page 32:ANDrEA PALLADIo – UNBUILT VENICE

72 73

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

even if not officially classed in the ranks of the vari-ous magistracies, was the architect responsible for the principal state interventions, from the construc-tions for the entry of Enrico III into Il Redentore church to the reconstruction projects of the Palazzo Ducale after the conflagration of 1575.

For a long time, however, Palladio enjoyed good press in Venice, and not only there. Already in 1554, Anton Francesco Doni, in his Seconda Libreria, expressed regret that Palladio’s book devoted to all

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

G. de Moustier, temporary architecture for Henri III’s entry to Venice in 1574.

The Fire in the Doge’s Palace of 1577. Treviso, Museo Civico

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

appeared a few years earlier in 1733 as an illustra-tion for the Discorso of Giovanni Montenari on the Teatro Olimpico. Until 2009, I feared that the por-trait of Palladio published by Montenari and Mut-toni was the result of a miscommunication. In fact, it had been said to have come from an old painting in the Villa Rotonda, where even today there still exists a portrait of a man very similar to that in the engrav-ing, who is pointing with his hand to a model of the villa. Nevertheless, it depicts one of the owners of the villa ( very probably Mario Capra ) and not its

architect. The chances are that, in the eighteenth century, Capra was mistaken for Palladio. In 2010 a little painting on wood came to light, definitely from the end of the sixteenth century, in which Palladio is portrayed with a face very similar to that of the engraving by Muttoni and Montenari. It is not a great painting, it is a copy on a reduced scale of a more important earlier work, perhaps that of Flacco or Tintoretto. Even so, it is extremely valuable because it is the sole painting to come from Pallad-io’s time, at least until the next discovery.

In the Royal Collection in Copenhagen there is a portrait by El Greco that shows a man dressed in black with a book and a pencil in his hand; the date corresponds to the painter’s stay in Venice. It’s known that El Greco closely studied the edition of Vitruvius by Palladio and Barbaro and moved in the same circles as Andrea. The facial features are simi-lar to those of Montenari and Muttoni’s engraving and of the newly discovered portrait on wood. Like the Vicenzan myth concerning the Cogollo house, the idea that here is a portrait of Palladio by El Greco is seductive.

In addition, this face allows a glimpse of his char-acter and the discovery of that affability which Paolo Gualdo has passed down:

“ in conversation Palladio was very pleasing and jocu-lar, such that he afforded great delight to the gentle-men and lords with whom he dealt, as well as the workmen who served him, keeping them always cheerful, and by treating them with great amiability he made them work most gladly. He took great pleas-

92 93

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

appeared a few years earlier in 1733 as an illustra-tion for the Discorso of Giovanni Montenari on the Teatro Olimpico. Until 2009, I feared that the por-trait of Palladio published by Montenari and Mut-toni was the result of a miscommunication. In fact, it had been said to have come from an old painting in the Villa Rotonda, where even today there still exists a portrait of a man very similar to that in the engrav-ing, who is pointing with his hand to a model of the villa. Nevertheless, it depicts one of the owners of the villa (very probably Mario Capra) and not its

architect. The chances are that, in the eighteenth century, Capra was mistaken for Palladio. In 2010 a little painting on wood came to light, definitely from the end of the sixteenth century, in which Palladio is portrayed with a face very similar to that of the engraving by Muttoni and Montenari. It is not a great painting, it is a copy on a reduced scale of a more important earlier work, perhaps that of Flacco or Tintoretto. Even so, it is extremely valuable because it is the sole painting to come from Pallad-io’s time, at least until the next discovery.

In the Royal Collection in Copenhagen there is a portrait by El Greco that shows a man dressed in black with a book and a pencil in his hand; the date corresponds to the painter’s stay in Venice. It’s known that El Greco closely studied the edition of Vitruvius by Palladio and Barbaro and moved in the same circles as Andrea. The facial features are simi-lar to those of Montenari and Muttoni’s engraving and of the newly discovered portrait on wood. Like the Vicenzan myth concerning the Cogollo house, the idea that here is a portrait of Palladio by El Greco is seductive.

In addition, this face allows a glimpse of his char-acter and the discovery of that affability which Paolo Gualdo has passed down:

“in conversation Palladio was very pleasing and jocu-lar, such that he afforded great delight to the gentle-men and lords with whom he dealt, as well as the workmen who served him, keeping them always cheerful, and by treating them with great amiability he made them work most gladly. He took great pleas-

72 73

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

even if not officially classed in the ranks of the vari-ous magistracies, was the architect responsible for the principal state interventions, from the construc-tions for the entry of Enrico III into Il Redentore church to the reconstruction projects of the Palazzo Ducale after the conflagration of 1575.

For a long time, however, Palladio enjoyed good press in Venice, and not only there. Already in 1554, Anton Francesco Doni, in his Seconda Libreria, expressed regret that Palladio’s book devoted to all

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

G. de Moustier, temporary architecture for Henri III’s entry to Venice in 1574.

The Fire in the Doge’s Palace of 1577. Treviso, Museo Civico

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62 63

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

Nevertheless, there is no doubt that for Palladio the tangible turning point in his own life arrived at the age of forty. From May 1, 1549, he was the archi-tect charged with construction of the loggias of the Palazzo della Ragione; as such, he could count on a salary of five gold scudi per month, a fixed wage he collected for the rest of his life. It wasn’t a lot, amounting to sixty scudi per annum. Giulio Romano received fifty scudi in 1542 just for expressing his own views on the loggias. And without turning to the

“ prince ” of northern Italian architects, consider that in 1532, Andrea Moroni collected 120 ducats a year ( in addition to a bushel of wheat, a cartload of wine, and the use of a house ) as chief architect of the work site of Santa Giustina; and that in 1547, Pietro De Guberni, in exchange for the planning and supervi-sion of work on the Rialto bridge, demanded that workshops be registered in his name with a return of not less than 200 ducats a year. Forty years earlier, in 1506, Fra Giocondo had demanded one ducat per day ( for a total of 365 a year ) to enter the service of La Serenissima as an official architect; of these he received only 200, as much as Jacopo Sansovino came to earn in 1540 as the proto of San Marco ( a proto was a kind of director of public works for La

Serenissima ).It is very complicated to make precise compari-

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

3.2 The Basilica, Vicenza

62 63

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

Nevertheless, there is no doubt that for Palladio the tangible turning point in his own life arrived at the age of forty. From May 1, 1549, he was the archi-tect charged with construction of the loggias of the Palazzo della Ragione; as such, he could count on a salary of five gold scudi per month, a fixed wage he collected for the rest of his life. It wasn’t a lot, amounting to sixty scudi per annum. Giulio Romano received fifty scudi in 1542 just for expressing his own views on the loggias. And without turning to the

“prince” of northern Italian architects, consider that in 1532, Andrea Moroni collected 120 ducats a year (in addition to a bushel of wheat, a cartload of wine, and the use of a house) as chief architect of the work site of Santa Giustina; and that in 1547, Pietro De Guberni, in exchange for the planning and supervi-sion of work on the Rialto bridge, demanded that workshops be registered in his name with a return of not less than 200 ducats a year. Forty years earlier, in 1506, Fra Giocondo had demanded one ducat per day (for a total of 365 a year) to enter the service ofLa Serenissima as an official architect; of these he received only 200, as much as Jacopo Sansovino came to earn in 1540 as the proto of San Marco (aproto was a kind of director of public works for La

Serenissima).It is very complicated to make precise compari-

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

3.2 The Basilica, Vicenza

Architecture 27

Antonio Foscari TUmULT AND orDErmalcontenta 1924–1939

Design: Integral Lars müller15 × 24 cm, 6 × 9 ½ in, 248 pages211 illustrations, hardcover2012, ISBN 978-3-03778-297-2, EnglishEUR 40.– GBP 35.– USD / CAD 50.–

In the 1920s and 1930s, the Villa Foscari in Venice, better known as La Malcontenta, became a meeting place for intellectuals, artists, and members of the nobility such as Serge Diaghilev, Boris Kochno, Serge Lifar, Winston Churchill, Robert Byron, Diana Cooper, and Le Corbusier. It was an era of inspiring encounters between aristocrats, the avant-garde, snobs, and intellectu-als that ended when Italy entered World War II. Antonio Foscari recounts this lively period in the building’s history and talks about its then owner, Bertie Landsberg, and his friends Catherine de Rochegude, Baroness of Erlanger, and Paul Rodo-canachi, who not only lovingly renovated the villa, but made it such a lively place for the first time. The text is complemented by numerous photo-graphs dating from this exciting time that convey an impression of what was happening in the villa in those days.

See also page 32:ANDrEA PALLADIo – UNBUILT VENICE

173172

As if Nothing Had Happened

Until the last, Bertie tried desperately to stay on the banks of the Brenta. But when Great Britain — “ his real fatherland,” as Claud always pointed out — declared war against Nazi Germany, he could not go on deluding himself. He finally made up his mind to leave, as the visitors’ book in the villa records: “ On Sept. 26th 1939 A.C.L. sailed for Rio de Janeiro, Brazil.”

That Bertie would sooner or later have been forced to take a decision of this kind had been clearly understood, for some time, by a rich American lady from Connecticut. Dorothea Mauran Watts (whose considerable shareholdings in the oil company Shell allowed her to travel the world in style) did not need to follow European political events to under-stand that everything was changing. All she needed to know was that Catherine — the female element balancing the trio that had seemed unassailable in its solidity — had departed, and therefore the way was clear for her to visit La Malcontenta in June 1938, and to return in March 1939. It was then that Dorothea said to Bertie, “ You are fifty, I’m fifty. Our ages total one hundred.”95

Dorothea returned to the palazzo the day before Bertie’s departure for Brazil on September 26, 1939. He went to his family home in Petropolis and, before long, Dorothea joined him. On March 20, 1940 they married and settled in Newport, Rhode Island. They only returned to “ war-battered and dilapidated ” La Malcontenta in April 1947.

On April 23 that year, after a frugal celebration with Antonio Teodato and his wife Pasqua (Adele) Casotto, who had confidently awaited the return of the owner whose lands they continued to farm, Bertie took out the visitors’ book, which he had been given by Catherine more than twenty years before, and — together with Dorothea — started to collect the signa- tures of anyone who came to visit. It was as if nothing had happened between 1939 and 1947.

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

42 43

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

58 59

La Malcontenta, north façade, 1926 ( photo: Osvaldo Boehm )La Malcontenta, east façade, 1925 ( photo: Osvaldo Boehm )

173172

As if Nothing Had Happened

Until the last, Bertie tried desperately to stay on the banks of the Brenta. But when Great Britain—“his real fatherland,” as Claud always pointed out—declared war against Nazi Germany, he could not go on deluding himself. He finally made up his mind to leave, as the visitors’ book in the villa records: “On Sept. 26th 1939 A.C.L. sailed for Rio de Janeiro, Brazil.”

That Bertie would sooner or later have been forced to take a decision of this kind had been clearly understood, for some time, by a rich American lady from Connecticut. Dorothea Mauran Watts (whose considerable shareholdings in the oil company Shell allowed her to travel the world in style) did not need to follow European political events to under-stand that everything was changing. All she needed to know was that Catherine—the female element balancing the trio that had seemed unassailable in its solidity—had departed, and therefore the way was clear for her to visit La Malcontenta in June 1938, and to return in March 1939. It was then that Dorothea said to Bertie, “You are fifty, I’m fifty. Our ages total one hundred.”95

Dorothea returned to the palazzo the day before Bertie’s departure for Brazil on September 26, 1939. He went to his family home in Petropolis and, before long, Dorothea joined him. On March 20, 1940 they married and settled in Newport, Rhode Island. They only returned to “war-battered and dilapidated” La Malcontenta in April 1947.

On April 23 that year, after a frugal celebration with Antonio Teodato and his wife Pasqua (Adele) Casotto, who had confidently awaited the return of the owner whose lands they continued to farm, Bertie took out the visitors’ book, which he had been given by Catherine more than twenty years before, and—together with Dorothea—started to collect the signa-tures of anyone who came to visit. It was as if nothing had happened between 1939 and 1947.

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

42 43

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

58 59

La Malcontenta, north façade, 1926 (photo: Osvaldo Boehm)La Malcontenta, east façade, 1925 (photo: Osvaldo Boehm)

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28

AND Now ThE ENSEmBLE!!!

Edited by miroslav Šik and the Swiss Arts Council Pro helvetia

With contributions by Adam Caruso, Hans Kollhoff, Vittorio Magnago Lampugnani, Quintus Miller, and Miroslav Šik

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in72 pages, 3 fold-out pages3 illustrations, hardcover2012, ISBN 978-3-03778-311-5, EnglishEUR 22.– GBP 18.– USD / CAD 28.–

And Now the Ensemble!!! is intended as a chal-lenge to architects, their clients, and commission-ing authorities to understand and create urban development as a dynamic and collective work of art and to make dialogue central to design. Design, atmosphere, and usage can make every new build-ing relate to its local surroundings. As a design process, this contextual expansion does not sim-ply imitate the urban pattern, but also interprets what is already there, to some extent modernizes it, makes the familiar alien by employing unusual atmospheric imagery, and ultimately transforms the accumulated chaos of soloists into an orches-trated whole.

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Contents:– Why Ensemble?Miroslav Šik–Prerequisites: A LegendHans Kollhoff– The Individual, Society, andthe Architecture of the CityVittorio Magnago Lampugnani–City Thinking and Collective MemoryQuintus Miller–Designing an EnsembleMiroslav Šik–The Alchemy of the EverydayAdam Caruso

BAKUoIL AND UrBANISm

Edited by Eve Blau with Ivan rupnik

With a portfolio of contemporary Baku by photographer Iwan Baan

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in, approx. 320 pagesapprox. 700 illustrations, hardcover2012, ISBN 978-3-03778-306-1, EnglishEUR 50.– GBP 45.– USD / CAD 60.–

Baku: Oil and Urbanism is the first architectural study of the relationship between oil and urbanism. Its focus is Baku, the capital of Azerbaijan and for-merly part of the Russian Empire and Soviet Union. Since the late 19th century, oil and urbanism have been intertwined in the spaces of the city. Later, Baku was the site of one of the most spectacular experiments in Soviet urban and infrastructural design—“Neft Dashlari,” the first off-shore drilling facility in the world, a city built on trestles in the Caspian Sea. Today, Baku is undergoing its second major oil boom. The book examines how urban design, planning, and architecture have dealt with the issue of oil in varying political conditions. Working with maps and archival photographs, the book analyzes sites, buildings, urban fabric, and plans to understand the evolution of the city.

Architecture 29

Extraction of oil

1825

1880

1883

27Oil Baron City (1872–1920)Extraction of oil

1825

1880

1883

27Oil Baron City (1872–1920)

Ismayilliya1908-13eng.: I. Ploshko

Chained House1890

Art Museum1888-95eng. N.A. fon der Nonne

Embassy of France1895arch.: I. V. Edel

Embassy of Iraq Late 19th century

State Oil Company of Azerbaijan1891-96arch.: P. Shtern

Building1896arch.: I. V. Edel

Russian Drama Theatre1900arch./eng.: ??

Embassy of Germany (B-4)1900

Embassy of Iran1901

Baki Soveti1900-04arch.: i. Goslavsky

The international Bank (old)1903-05

Building1898-1902arch.: I. V. Edel

Bank of Baku1907eng.: I. Ploshko

Imam Hussein Mosque1899-1909arch.: A. Eykhler

The Landmark Building1909/1998

Puppet Theatre1910eng.: I. Ploshko

Azerbaijan Cinema1910/1988/1998arch.: R. Seyfullayev

Taghiyev’s Residence - The National Museum of History1893-1902eng. I. Goslavskiy

Opera and Ballet Theatre1910-11eng.: N. Bayev

Palace of Happiness1911-12eng.: I. Ploshko

Philharmonic Society1910-12[Termikelov, accord. to Fattulayev]

Isa Bey Hojinski building1912

Song Theatre1912arc./eng.: ??

Embassy of the USA1912

Embassy of Turkey 1912

Blue Mosque1912-13eng.: Z. Ahmedbekow

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

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

Church of Archangel Michael1845

Union of Architects1899arch.: E.Y. Skibinskiy

Taza Pir Mosque1905-14Z. Ahmedbekow

Construction within the Ring Road/ VorstadtArea during the Oil Baron Period1890–1912

Church of Archangel Michael Church of Archangel Michael

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


Ismayilliya1908-13eng.: I. Ploshkoeng.: I. Ploshkoeng.: I. Ploshko

Chained HouseChained HouseChained House1890

Art MuseumArt MuseumArt Museum1888-951888-95eng. N.A. fon der Nonneeng. N.A. fon der Nonneeng. N.A. fon der Nonne

Embassy of FranceEmbassy of France18951895arch.: I. V. Edelarch.: I. V. Edel

Embassy of Iraq Embassy of Iraq Embassy of Iraq Late 19th centuryLate 19th centuryLate 19th century

State Oil Company of AzerbaijanState Oil Company of Azerbaijan1891-961891-961891-96arch.: P. Shternarch.: P. Shtern

BuildingBuildingBuildingBuilding18961896arch.: I. V. Edelarch.: I. V. Edelarch.: I. V. Edelarch.: I. V. Edelarch.: I. V. Edel

Russian Drama TheatreRussian Drama TheatreRussian Drama TheatreRussian Drama Theatre19001900arch./eng.: ??arch./eng.: ??arch./eng.: ??

Embassy of Germany (B-4)Embassy of Germany (B-4)Embassy of Germany (B-4)Embassy of Germany (B-4)Embassy of Germany (B-4)Embassy of Germany (B-4)Embassy of Germany (B-4)19001900

Embassy of IranEmbassy of IranEmbassy of IranEmbassy of Iran1901

Baki Soveti1900-04arch.: i. Goslavskyarch.: i. Goslavskyarch.: i. Goslavskyarch.: i. Goslavsky

The international Bank (old)The international Bank (old)The international Bank (old)The international Bank (old)1903-051903-051903-05

BuildingBuilding1898-19021898-1902arch.: I. V. Edelarch.: I. V. Edel

Bank of Baku1907eng.: I. Ploshko

Imam Hussein MosqueImam Hussein MosqueImam Hussein Mosque1899-19091899-19091899-1909arch.: A. Eykhlerarch.: A. Eykhlerarch.: A. Eykhler

The Landmark BuildingThe Landmark Building1909/19981909/1998

Puppet Theatre1910eng.: I. Ploshko

Azerbaijan CinemaAzerbaijan CinemaAzerbaijan Cinema1910/1988/19981910/1988/19981910/1988/1998arch.: R. Seyfullayevarch.: R. Seyfullayevarch.: R. Seyfullayevarch.: R. Seyfullayevarch.: R. Seyfullayev

Taghiyev’s Residence - The National Museum of HistoryTaghiyev’s Residence - The National Museum of HistoryTaghiyev’s Residence - The National Museum of HistoryTaghiyev’s Residence - The National Museum of History1893-19021893-19021893-19021893-19021893-1902eng. I. Goslavskiyeng. I. Goslavskiyeng. I. Goslavskiyeng. I. Goslavskiyeng. I. Goslavskiy

Opera and Ballet TheatreOpera and Ballet TheatreOpera and Ballet Theatre1910-111910-11eng.: N. Bayeveng.: N. Bayev

Palace of HappinessPalace of HappinessPalace of Happiness1911-121911-12eng.: I. Ploshkoeng.: I. Ploshkoeng.: I. Ploshko

Philharmonic SocietyPhilharmonic Society1910-121910-12[Termikelov, accord. to Fattulayev][Termikelov, accord. to Fattulayev][Termikelov, accord. to Fattulayev]

Isa Bey Hojinski building1912

Song TheatreSong Theatre19121912arc./eng.: ??arc./eng.: ??

Embassy of the USA1912

Embassy of Turkey 1912

Blue Mosque1912-13eng.: Z. Ahmedbekow

Kirkha Kirkha (Hall of Organ Music)1895-981895-98arch.: A. Eyhlerarch.: A. Eyhlerarch.: A. Eyhler

Church of Archangel MichaelChurch of Archangel MichaelChurch of Archangel MichaelChurch of Archangel MichaelChurch of Archangel MichaelChurch of Archangel MichaelChurch of Archangel MichaelChurch of Archangel MichaelChurch of Archangel MichaelChurch of Archangel MichaelChurch of Archangel Michael1845184518451845

Union of ArchitectsUnion of ArchitectsUnion of ArchitectsUnion of ArchitectsUnion of ArchitectsUnion of ArchitectsUnion of ArchitectsUnion of ArchitectsUnion of Architects18991899arch.: E.Y. Skibinskiyarch.: E.Y. Skibinskiyarch.: E.Y. Skibinskiyarch.: E.Y. Skibinskiyarch.: E.Y. Skibinskiy1899arch.: E.Y. Skibinskiy18991899arch.: E.Y. Skibinskiy1899

Taza Pir MosqueTaza Pir MosqueTaza Pir MosqueTaza Pir MosqueTaza Pir MosqueTaza Pir MosqueTaza Pir MosqueTaza Pir MosqueTaza Pir Mosque1905-141905-141905-141905-141905-14Z. AhmedbekowZ. AhmedbekowZ. AhmedbekowZ. AhmedbekowZ. AhmedbekowZ. AhmedbekowZ. AhmedbekowZ. Ahmedbekow1905-14Z. Ahmedbekow1905-141905-14Z. Ahmedbekow1905-141905-14Z. Ahmedbekow1905-141905-14Z. Ahmedbekow1905-14

Construction within the Ring Road/VorstadtArea during the Oil Baron Period1890–1912

Church of Archangel MichaelChurch of Archangel Michael Church of Archangel MichaelChurch of Archangel Michael

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


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From CAmP To CITYrefugee Camps of the western Sahara

Edited by manuel herz

In cooperation with ETH Studio Basel

Design: ETh Studio Basel and Integral Lars müller17.6 × 24 cm, 6 ¾ × 9 ½ in, 512 pages1172 illustrations, hardcover2012, ISBN 978-3-03778-291-0, EnglishEUR 50.– GBP 45.– USD / CAD 65.–

From Camp to City examines the theme of the refugee camp in the context of urbanism and architecture. Using the examples of the refugee camps in the Algerian desert in which Sahrawis originally from the Western Sahara have been liv-ing for 35 years, the book looks at the “urban” aspects of these settlements.

In contrast to the standard way of seeing refugee camps as scenes of human misery and despair, the examination concentrates on how people live and dwell in refugee camps, on how they work, move around, and enjoy themselves, and looks at the spaces and structures that are created in the process. With numerous images and texts, individ-ual aspects of urban life are presented and ana-lyzed in the different chapters. As an examination of a “borderline case” of urbanity, the publication does not ignore the problematic aspects of this theme, but on the contrary: its potential explosive-ness is further underscored by the focus on a “vocabulary of the urban.” It allows an understand-ing of the camps as a political project. The publi-cation is based on research studies of the ETH Studio Basel, Institute of Contemporary Urbanism at the ETH Zürich.

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Architecture 31

Edited by mohsen mostafavi with Gareth Dohertyharvard University Graduate School of Design

With contributions by Homi Bhabha, Stefano Boeri, Chuck Hoberman, Rem Koolhaas, Sanford Kwinter, Bruno Latour, Nina-Marie Lister, Mohsen Mostafavi, Matthias Schuler, Sissel Tolaas, Charles Waldheim, among others

While climate change, sustainable architecture, and green technologies have become increasingly topical, issues surrounding the sustainability of the city are much less developed. Ecological Urbanism brings together design practitioners and theorists, economists, engineers, artists, policy makers, environmental scientists, and public health specialists, with the goal of reaching a more robust understanding of ecological urbanism and what it might be in the future.

ECoLoGICAL UrBANISm

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in656 pages, 1000 illustrationshardcover2010, ISBN 978-3-03778-189-0, eEUR 50.– GBP 40.– USD/CAD 60.–

New: e-book2012, ISBN 978-3-03778-330-6, eEUR 14.99 GBP 11.99USD / CAD 19.99

LANDForm BUILDINGArchitecture’s New Terrain

Design: Thumb, New York16.5 × 24 cm, 6 ½ × 9 ½ in, 480 pages430 illustrations, hardcover2011, ISBN 978-3-03778-223-1, eEUR 45.– GBP 45.– USD / CAD 65.–

Iwan BaanBrASILIA – ChANDIGArhLiving with modernity

Design: Integral Lars müller24 × 30 cm, 9 ½ × 11 ¾ in, 240 pages200 illustrations, paperback2010, ISBN 978-3-03778-228-6, eEUR 40.– GBP 40.– USD / CAD 60.–

Edited by Lars müllerWith texts by Cees Nooteboom and Martino Stierli

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

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

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

e-book

32

michael merrillLoUIS KAhN: DrAwING To FIND oUTThe Dominican mother-house and the Patient Search for Architecture

Design: Integral Lars müller30 × 24 cm, 11 ½ × 9 ½ in, 240 pages233 illustrations, hardcover2010, ISBN 978-3-03778-221-7, eEUR 59.– GBP 60.– USD / CAD 90.–

michael merrillLoUIS KAhN: oN ThE ThoUGhTFUL mAKING oF SPACESThe Dominican mother-house and a modern Culture of Space

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in, 240 pages215 illustrations, paperback2010, ISBN 978-3-03778-220-0, eEUR 35.– GBP 35.– USD / CAD 55.–

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

Antonio FoscariANDrEA PALLADIo – UNBUILT VENICE

Design: Integral Lars müller15 × 24 cm, 6 × 9 ½ in, 288 pages230 illustrations, hardcover2010, ISBN 978-3-03778-222-4, eEUR 40.– GBP 40.– USD / CAD 60.–

Aga Khan Award for Architecture 2010ImPLICATE & EXPLICATE

Design: Irma Boom16.5 × 24 cm, 6 ½ × 9 ½ in, 352 pages191 illustrations, hardcover2011, ISBN 978-3-03778-242-2, eEUR 35.– GBP 35.– USD / CAD 50.–

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

Edited by mohsen mostafavi

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

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

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

INSULAr INSIGhTwhErE ArT AND ArChITECTUrE CoNSPIrE wITh NATUrE

Edited by Lars müller and Akiko mikiWith photographs by Iwan Baan

Insular Insight offers a comprehensive documen-tation of the Japanese art islands of Naoshima, Teshima, and Inujima. The photographs by Iwan Baan create a unique portrait of the islands and their fluid transitions between nature, art, and architecture. Numerous texts introduce readers to the individual projects either on permanent display or that have taken place temporarily on the islands.

Guy NordensonPATTErNS AND STrUCTUrESelected writings

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in464 pages, 218 illustrationspaperback2010, ISBN 978-3-03778-219-4, eEUR 40.– GBP 40.– USD / CAD 60.–

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in, 464 pages259 illustrations, hardcover2011, ISBN 978-3-03778-255-2, eEUR 45.– GBP 45.– USD / CAD 70.–

matthias Sauerbruch, Louisa huttonSAUErBrUCh hUTToN ArChIVE

Design: hendrik Schwantes24 × 30 cm, 9 × 11 ¾ in, 344 pages 650 illustrations, hardcover 2006, ISBN 978-3-03778-083-1e /gEUR 60.– GBP 55.–USD / CAD 79.–

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

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IDEAS AND INTEGrITIESA Spontaneous Autobiographical Disclosure

Reprint, original 1963, 12 × 19 cm, 4 ¾ × 7 ½ in, 416 pages50 illustrations in b/w, paperback2010, ISBN 978-3-03778-198-2, eEUR 25.– GBP 20.– USD / CAD 30.–

EDUCATIoN AUTomATIoN Comprehensive Learning for Emergent humanity

Reprint, originals 1962–1979, 12 × 19 cm, 4 ¾ × 7 ½ in, 224 pages15 illustrations in b/w, paperback2010, ISBN 978-3-03778-199-9, eEUR 25.– GBP 20.– USD / CAD 30.–

oPErATING mANUALFor SPACEShIP EArTh

Reprint, original 1969, 12 × 19 cm, 4 ¾ × 7 ½ in152 pages, paperback2008, ISBN 978-3-03778-126-5, e2010, ISBN 978-3-03778-188-3, fEUR 15.– GBP 15.– USD / CAD 20.–

UToPIA or oBLIVIoNThe Prospects for humanity

Reprint, original 1969, 12 × 19 cm, 4 ¾ × 7 ½ in, 448 pages32 illustrations, paperback2008, ISBN 978-3-03778-127-2, e EUR 25.– GBP 25.– USD / CAD 30.–

AND IT CAmE To PASS – NoT To STAY

Reprint, original 1976, 12 × 19 cm, 4 ¾ × 7 ½ in, 192 pages, paperback2008, ISBN 978-3-03778-132-6, eEUR 15.– GBP 15.– USD / CAD 20.–

Buckminster Fuller reprints

Edited by Jaime Snyder

R. Buckminster Fuller (1895 –1983) was an architect, engineer, geometrician, cartographer, philosopher, futurist, inventor of the famous geodesic dome, and one of the most brilliant thinkers of his time. For more than five decades, he set forth his comprehensive perspective on the world’s problems in numerous essays, which offer an illuminating insight into the intellectual universe of this renaissance man. These texts remain surprisingly topical even today, decades after their initial publication.

Long out of print, they are now republished, together with commentary by Jaime Snyder, the grandson of Buckminster Fuller. Designed for a new generation of readers, Snyder prepared these editions with supplementary material providing background on the texts, factual updates, and inter-pretation of Buckminster Fuller’s visionary ideas.

Jack masey and Conway Lloyd morgan CoLD wAr CoNFroNTATIoNSUS Exhibitions and Their role in the Cultural Cold war

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in424 pages, 200 illus., hardcover2008, ISBN 978-3-03778-123-4, eEUR 20.– GBP 20.–USD / CAD 30.–

Federico NederFULLEr hoUSESr. Buckminster Fuller’s Dymaxion Dwellings and other Domestic Adventures

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in, 240 pages170 illustrations, paperback2008, ISBN 978-3-03778-141-8, eEUR 30.– GBP 30.–USD / CAD 40.–

YoUr PrIVATE SKYr. BUCKmINSTEr FULLErThe Art of Design Science

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in524 pages, 600 illustrationshardcover1999, ISBN 978-3-907044-88-9, eEUR 25.– GBP 25.–USD / CAD 65.–

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

Edited by J. Krausse and C. Lichtenstein

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

World’s Fairs and International Exhibitions have always had a political as well as a commercial and cultural context. This was particularly true during the Cold War. Jack Masey served with the United States Information Agency for many years as Director of Design. He commissioned numerous American architects and designers including R. Buckminster Fuller and Charles and Ray Eames to design the US presence at major world Expos including Expo ’67 in Montréal and Expo ’70 in Osaka.

Alison and Peter SmithsonAS IN DSAn Eye on the road

Reprint, original 198311.5 × 29 cm, 4 ¼ × 11 ½ in164 pages, 70 illustrationspaperback2001, ISBN 978-3-907078-42-6, eEUR 15.– GBP 15.–USD / CAD 25.–

Edited by Christian Sumi

An illustrated diary by the architects Alison and Peter Smithson driving from their London office through to their Wiltshire cottage. The contrast of their Citroën DS 19, streamlined and mechanically advanced, with the picturesque landscape links both the urban and the country-side in the most sensitive manner. Reprint of the original publication from 1983, edited by Christian Sumi, architect, Zürich.

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ANDrEAS FUhrImANN GABrIELLE hÄChLEr whAT ANChorS A hoUSE IN ITSELF

With contributions by Hubertus Adam, Kurt W. Forster, Gianni Jetzer, Marie Theres Stauffer, and the architects, photographs by Valentin Jeck

What Anchors a House in Itself is devoted to private residences built by Zürich architects Fuhrimann Hächler. These homes captivate by virtue of the clarity and simplicity of their con-structive materials, their economically effective construction, and their haptic, sensual surfaces and flowing spatial transitions.

Design: norm18.6 × 24.8 cm, 7 ¼ × 9 ¾ in216 pages, 167 illustrationspaperback2010, ISBN 978-3-03778-240-8, e2010, ISBN 978-3-03778-224-8, gEUR 40.– GBP 35.– USD / CAD 60.–

herzog & de meuronNATUrAL hISTorY

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in472 pages, 800 illustrationspaperback2003, ISBN 978-3-03778-049-7, e2005, ISBN 978-3-03778-050-3, gEUR 45.– GBP 30.–USD / CAD 48.–

Edited by Philip Ursprung and the Canadian Centre for Architecture CCA

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

ThEo hoTZArChITECTUrE 1949–2002

Design: Integral Lars müller18.5 × 28 cm, 7 ¼ × 11 in320 pages, 600 illustrationshardcover2003, ISBN 978-3-03778-002-2e /gEUR 30.– GBP 30.–USD / CAD 45.–

With essays by Hubertus Adam, Ulrike Jehle and Philip Ursprung

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

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

Alice FoxleyDISTANCE & ENGAGEmENTwalking, Thinking and making Landscape

Design: Integral Lars müller24 × 16.5 cm, 9 ½ × 6 ½ in, 480 pages1000 illustrations, hardcover2010, ISBN 978-3-03778-196-8, eEUR 50.– GBP 50.– USD / CAD 80.–

TrEE NUrSErIES – CULTIVATING ThE UrBAN JUNGLE

Design: Integral Lars müller24 × 33 cm, 9 ½ × 13 in, 240 pages600 illustrations, paperback2010, ISBN 978-3-03778-218-7, e2010, ISBN 978-3-03778-217-0, gEUR 35.– GBP 35.– USD / CAD 55.–

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

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

Zaha hadidCAr PArK AND TErmINUS STrASBoUrG

Design: Integral Lars müller 31 × 33 cm, 12 ¼ × 13 in100 pages, 70 illustrationspaperback2004, ISBN 978-3-03778-028-2e /f / gEUR 15.– GBP 15.–USD / CAD 35.–

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

ArChITECTUrE oF ZAhA hADID in Photographs by hélène Binet

Design: Integral Lars müller19 × 31 cm, 7 ½ × 12 ¼ in176 pages, 90 illustrationshardcover2000, ISBN 978-3-907078-12-9, eEUR 20.– GBP 18.–USD / CAD 30.–

With a text by Hubertus von Amelunxen

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

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Peter EisenmanhoLoCAUST mEmorIAL BErLIN

Design: Integral Lars müller24 × 30 cm, 9 × 11 ¾ in120 pages, 65 illustrationshardcover2005, ISBN 978-3-03778-056-5, e2005, ISBN 978-3-03778-059-6, gEUR 23.– GBP 23.–USD / CAD 35.–

Peter EisenmanThE FormAL BASIS oF moDErN ArChITECTUrE (1964)

Design: Integral Lars müller29 × 30.5 cm, 11 ½ × 12 in384 pages, 300 illustrationshardcover2006, ISBN 978-3-03778-071-8, eEUR 50.– GBP 50.–USD / CAD 70.–

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

Text by Peter Eisenman and Hanno RauterbergWith photographs by Hélène Binet and Lukas Wassmann

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

ThE SANAA STUDIoS Learning from Japan: Single Story Urbanism

Design: Geoff han21.6 × 28 cm, 8 ½ × 11 in144 pages, 240 illustrationspaperback2010, ISBN 978-3-03778-190-6, eEUR 30.– GBP 30.–USD / CAD 45.–

Edited by Joseph Grima and Karen wongWith photographs by Dean Kaufman

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

ShIFTSANAA AND ThE NEw mUSEUm

Design: mevis & Van Deursen24 × 30 cm, 9 × 11 ¾ in136 pages, 144 illustrationspaperback2008, ISBN 978-3-03778-140-1, eEUR 33.– GBP 35.–USD / CAD 40.–

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

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

AFTERLars Müller Publishers


Architectural Papers VETH ZürichChair Prof. Dr. Josep Lluís Mateo

Contemporary Architectural Conditions

AFTER

CR

ISIS

Lars Müller P

ublishersA

rchitectural Papers V

NEXTMiddle East: Architecture and the City

Architectural Papers Monograph

Online Version Dap: Digital Architectural Papersregularly updated at www.architecturalpapers.ch

Architectural Papers V concentrates on the new conditions for architectural practice and the epistemologies that may inform it now that the fi nancial bubble has collapsed and living and working conditions have signifi cantly changed. Essays, studies, and interviews, along with a selection of illustrative projects, tackle the actual issues of growth and shrinking, economy and ideology, craftsmanship and social space in the city, and materiality and sustainability in architecture.

The Architectural Papers series covers a wide range of topics related to teaching and architectural culture in general, and is aimed at expanding the narrow boundaries of the discipline. Established in 2005, the series is edited by Chair Prof. Dr. Josep Lluís Mateo at ETH Zürich.

CRISISISBN 978-3-03778-230-9

CRISIS

AFTERJosep Lluís mateoArchitectural Papers V AFTEr CrISISContemporary Architectural Conditions

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in, 160 pages175 illustrations, paperback2010, ISBN 978-3-03778-230-9, eEUR 25.– GBP 25.– USD / CAD 40.–

Edited by the Chair of Josep Lluís mateo, Department of Architecture, ETh Zürich, and Krunoslav Ivanišin

After Crisis concentrates around the new condi-tions for architectural practice and around the new epistemologies that may inform it in the next future. Essays, studies and interviews tackle the actual issues of growth and shrinking, economy and ide-ology, craftsmanship and social space in the city, materiality and sustainability in architecture.

oThEr SPACE oDYSSEYS: GrEG LYNN, mIChAEL mALTZAN, ALESSANDro PoLI

Design: Integral Lars müller15 × 21 cm, 6 × 8 ¼ in, 160 pages113 illustrations, paperback2010, ISBN 978-3-03778-193-7, e2010, ISBN 978-3-03778-194-4, fEUR 25.– GBP 23.– USD / CAD 35.–

Edited by Giovanna Borasi, mirko Zardini, and the Canadian Centre for Architecture CCA

Other Space Odysseys has nothing to do with space architecture or architecture in outer space. It is not a celebration of high-tech architecture and imagery or extreme physical and mental con-ditions. Instead, this book proposes a letting go of architecture understood as the production of material goods in favor of architecture as the production of ideas.

Stephen Taylor, ryue NishizawaPErSPECTIVES DE VIE A LoNDrES ET A ToKYo

Design: Integral Lars müller15 × 21 cm, 6 × 8 ¼ in, 160 pages160 illustrations, paperback2008, ISBN 978-3-03778-152-4, fEUR 20.– GBP 20.– USD / CAD 30.–

Edited by Giovanna Borasi and the Canadian Centre for Architecture CCA

The book reconsiders the theme of living in a city by exploring new approaches that reveal a different way of integrating projects into the existing city. The housing projects of Nishizawa and Taylor show how inhabitants can live in a house, and, at the same time, enlarge the scale of their living to the neighbourhood and the city.

SENSE oF ThE CITYAn Alternate Approach to Urbanism

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in352 pages, 280 illustrations hardcover2005, ISBN 978-3-03778-060-2, eEUR 45.– GBP 40.–USD / CAD 60.–

Edited by mirko Zardini and the Canadian Centre for Architecture CCA

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

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ThE worLD’S FAIrEST CITY YoUrS AND mINEFeatures of Urban Living and Quality

Design: Andrea Gmünder18 × 12.8 cm, 7 × 5 in, 192 pages120 illustrations, paperback2010, ISBN 978-3-03778-186-9, e2010, ISBN 978-3-03778-185-2, gEUR 20.– GBP 20.–USD / CAD 30.–

Petra KempfYoU ArE ThE CITYobservation, organization and Transformation of Urban Settings

Design: Integral Lars müller21 × 29.7 cm, 8 ¼ × 11 ¾ in22 transparent slides in folder brochure, 16 pages2009, ISBN 978-3-03778-159-3, eEUR 30.– GBP 30.–USD / CAD 50.–

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

With contributions by Catherine Ingraham and Keller Easterling

As complex networks of geographic, economic, political and cultural segments, today’s cities are caught up in a constant process of differentiation. This publication creates a framework for under-standing the continually changing configuration of the city. With the aid of themed transparencies, it allows one to superimpose various realities in layers in order to create new urban connections.

CoNSTrUCTIoN SITEmetamorphoses in the City

Design: haeberli winkelmann19.5 × 25 cm, 7 ½ × 9 ¾ in, 144 pages 137 illustrations, hardcover2008, ISBN 978-3-03778-112-8, e2008, ISBN 978-3-03778-111-1, gEUR 40.– GBP 40.–USD / CAD 55.–

ThE ImAGE AND ThE rEGIoNmaking mega-City regions Visible

Design: Valerie Kiock16.5 × 24 cm, 6 ½ × 9 ½ in288 pages, 203 illustrationspaperback2008, ISBN 978-3-03778-131-9, eEUR 30.– GBP 30.–USD / CAD 45.–

Edited by marie Antoinette Glaser, ETh wohnforum

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

Edited by Alain Thierstein and Agnes Förster

Mega-city regions are currently a frequent topic of discussion. Decision makers in politics and business are calling for new measures for greater urban areas. But Europe seems to lack an awareness for metropolitan regions. Through essays from various disciplines the book approaches the phenomenon and discusses the necessity to visualize mega-city regions.

Gramazio & KohlerDIGITAL mATErIALITY IN ArChITECTUrE

Design: Integral Lars müller19.5 × 30 cm, 7 ¾ × 11 ¾ in112 pages, 157 illustrationshardcover2008, ISBN 978-3-03778-122-7, eEUR 35.– GBP 35.–USD / CAD 45.–

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

AS FoUND, ThE DISCoVErYoF ThE orDINArYBritish Architecture and Art of the 1950s

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in320 pages, 300 illustrationshardcover 2001, ISBN 978-3-907078-43-3, e2001, ISBN 978-3-907078-40-2, gEUR 30.– GBP 30.–USD / CAD 45.–

Edited by Claude Lichtenstein and Thomas Schregenberger

British art and architecture of the 1950s are of extraordinary topicality today. This applies par-ticularly to the Independent Group, which included artists such as Richard Hamilton and Magda Cordell, the photographer Nigel Henderson, critics Reyner Banham and Lawrence Alloway as well as architects such as Alison and Peter Smithson, James Stirling and Colin St. John Wilson.

Catherine de SmetLE CorBUSIEr, ArChITECT oF BooKS

Design: Integral Lars müller21 × 28 cm, 8 ¼ × 11 in, 128 pages 100 illustrations, hardcover2005, ISBN 978-3-03778-034-3, e2005, ISBN 978-3-03778-052-7, g2005, ISBN 978-3-03778-033-6, fEUR 35.– GBP 30.–USD / CAD 50.–

Catherine de SmetVErS UNE ArChITECTUrE DU LIVrELe Corbusier: édition et mise en pages 1912–1965

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in304 pages, 410 illustrationspaperback2007, ISBN 978-3-03778-067-1, fEUR 30.– GBP 30.–USD / CAD 45.–

Le Corbusier's buildings have long been part of the inalienable canon of twentieth-century architecture. But Le Corbusier's work as a book designer and author is scarcely known. He planned and realized over 40 books in his lifetime. Architect of Books shows that Le Corbusier accorded great importance to books as an essential part of his output.

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

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

The Yardstick

Naoto Fukasawa, Jasper morrisonSUPEr NormAL, 2007Design: Lars Müller14.8 × 20 cm, 5 ¾ × 7 ¾ in128 pages, 264 illustrations, paperback2007, ISBN 978-3-03778-106-7, EnglishEUR 25.– GBP 25.– USD / CAD 35.–

In this compilation of objects the authors present a convincing portrait of the way in which “unobtrusive” design slots into our everyday lives and affects our aesthetic sensibility. This type of design is natural and appro-priate, the hallmarks of its quality. With their œuvre, both designers have an enduring impact on contemporary design discourse.

Design 45

Takahiro KurashimaPoEmoTIoN

Design: Takahiro Kurashima, Junji hata17 × 23 cm, 6 ¾ × 9 in, 64 pages30 illustrations, paperback2012, ISBN 978-3-03778-277-4, EnglishEUR 28.– GBP 25.– USD/CAD 40.–

Poemotion is an interactive book-object. The abstract graphical patterns in this small volume are set in motion as soon as you move the attached special foil across them: moiré effects allow complex forms to develop, set circles in motion and make graphical patterns vibrate.

Inspired by Seesaw, an earlier book from the pub-lisher, in a playful and at the same time minimalist way the Japanese designer Takahiro Kurashima establishes a link to the motif of a “School of See-ing” that has long occupied a special place in the program of Lars Müller Publishers. With this book the viewer can discover how, as if by magic, figures and forms are created out of optical overlays, set in motion and then disappear again. In the era of digitalization this book shows that interactivity is also possible in the format of the analogous, bound book.

NEw

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FrEITAGout of the Bag

Edited by the museum of Design Zürich, renate menzi

Design: Jacques Borel11.6 × 17.8 cm, 4 ½ × 7 in, 280 pages310 illustrations, paperback2012, ISBN 978-3-03778-278-1, English2012, ISBN 978-3-03778-289-7, GermanEUR 25.– GBP 22.– USD / CAD 35.–

With its unique bags made of used materials, the Freitag company of Zürich is now an established commercial success, selling 300,000 of its design products around the world every year. How can a bag achieve that kind of cult status? How did a small, creative start-up become a large brand with a strong identity? Freitag – Out of the Bag investigates this story. Extensively illustrated inter-views with the brothers Daniel and Markus Freitag and their coworkers and collaborators in the fields of product design, manufacturing, distribut-ing, and marketing offer a look behind the scenes at the company, which manages as a brand to embody—through often humorous and ironic communications strategies—the paradox of an individualistic mass product.

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Design 47

A5/05: LUFThANSA AND GrAPhIC DESIGNVisual history of an Airline

Edited by Jens müller and Karen weiland, labor visuell at the University of Applied Sciences Düsseldorf, Department of Design

Design: Jens müller and Karen weiland14.8 × 21 cm, 5 ¾ × 8 ¼ in, 128 pages400 illustrations, paperback2012, ISBN 978-3-03778-267-5, English /GermanEUR 28.– GBP 25.– USD / CAD 40.–

Deutsche Lufthansa is one of the most important airlines in the world. Just as long and varied as its history is the history of its visual identity. The beginning of the 1960s witnessed one of the most important developments in corporate communi-cation. The company employed the designer Otl Aicher and his Gruppe E5 student group at the Hochschule für Gestaltung Ulm to develop a new visual identity for Lufthansa. Largely implemented beginning in 1963, today it ranks as one of the most groundbreaking corporate design solutions of the twentieth century. With a particular focus on its famous corporate identity, the design and advertising history of Deutsche Lufthansa from the 1920s until today is comprehensively documented here for the first time. Alongside numerous illustra-tions from the corporate archive and background articles and interviews, this volume contains repro-ductions from the Ulm study of 1962 and the first corporate design manual for Lufthansa from 1963.

See also page 57: A5 SErIES 32

Lufthansa Corporate Design1955-1963

66 67

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

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

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

28 29

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

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029 001 KEhRT UM. ENTRüSTET EUChCREATOR Serviceteam Werbung & Grafik SOURCE Plakatsammlung Museum für Gestaltung Zürich COPYRIGhT (C) Plakatsammlung Muse-um für Gestaltung Zürich

002 NO!CREATOR ChovanecSOURCE Plakatsammlung Museum für Gestaltung Zürich COPYRIGhT (C) Plakatsammlung Muse-um für Gestaltung Zürich

003 CAMARADAS DE LA RETAGUARDIA MASREfUGIOS Y EvITAREMOS NUEvAS vICTIMASCREATOR ParillaSOURCE Plakatsammlung Museum für Gestaltung Zürich COPYRIGhT (C) Plakatsammlung Muse-um für Gestaltung Zürich

004 U.G.T. ASSASINS!CREATOR L. Leo SOURCE Plakatsammlung Museum für Gestaltung Zürich COPYRIGhT (C) Plakatsammlung Muse-um für Gestaltung Zürich

005 SAvE WASTE fATS fOR ExPLOSIvESCREATOR henry Koerner SOURCE Plakatsammlung Museum für Gestaltung Zürich COPYRIGhT (C) Plakatsammlung Muse-um für Gestaltung Zürich

006 SIN Of GROWN-UPCREATOR hiroshi Sato SOURCE Plakatsammlung Museum für Gestaltung Zürich COPYRIGhT (C) Plakatsammlung Muse-um für Gestaltung Zürich

007 PEACE fOR CENTRAL AMERICA ANDThE CARIbbEANCREATOR Edith SpettigSOURCE Plakatsammlung Museum für Gestaltung Zürich COPYRIGhT (C) Plakatsammlung Muse-um für Gestaltung Zürich

008 NO!SOURCE Plakatsammlung Museum für Gestaltung Zürich COPYRIGhT (C) Plakatsammlung Muse-um für Gestaltung Zürich

009 PEACE IS IN OUR hANDSCREATOR David GillhespySOURCE www.davidgillhespy.comCOPYRIGhT (C) All rights reserved.

010 POWER TO ThE PEACEfULCREATOR Christopher RyanSOURCE Yo! What happened to peace?, p.46COPYRIGhT (C) All rights reserved.

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029 001 KEhRT UM. ENTRüSTET EUChCREATOR Serviceteam Werbung & Serviceteam Werbung & Grafik SOURCE Plakatsammlung Museum für Plakatsammlung Museum für Gestaltung Zürich COPYRIGhT (C) Plakatsammlung Muse-T (C) Plakatsammlung Muse-um für Gestaltung Zürich

002 NO!CREATOR ChovanecSOURCE Plakatsammlung Museum für Plakatsammlung Museum für Gestaltung Zürich COPYRIGhT (C) Plakatsammlung Muse-T (C) Plakatsammlung Muse-um für Gestaltung Zürich

003 CAMARADAS DE LA RETAGUARDIA MASREfUGIOS Y EvITAREMOS NUEvASvICTIMASCREATOR ParillaSOURCE Plakatsammlung Museum für Plakatsammlung Museum für Gestaltung Zürich COPYRIGhT (C) Plakatsammlung Muse-T (C) Plakatsammlung Muse-um für Gestaltung Zürich

004 U.G.T. ASSASINS!CREATOR L. Leo SOURCE Plakatsammlung Museum für Plakatsammlung Museum für Gestaltung Zürich COPYRIGhT (C) Plakatsammlung Muse-T (C) Plakatsammlung Muse-um für Gestaltung Zürich

005 SAvE WASTE fATS fOR ExPLOSIvESCREATOR henry Koerner SOURCE Plakatsammlung Museum für Plakatsammlung Museum für Gestaltung Zürich COPYRIGhT (C) Plakatsammlung Muse-T (C) Plakatsammlung Muse-um für Gestaltung Zürich

006 SIN Of GROWN-UPCREATOR hiroshi Sato SOURCE Plakatsammlung Museum für Plakatsammlung Museum für Gestaltung Zürich COPYRIGhT (C) Plakatsammlung Muse-T (C) Plakatsammlung Muse-um für Gestaltung Zürich

007 PEACE fOR CENTRAL AMERICA ANDThE CARIbbEANCREATOR Edith Spettig Edith SpettigSOURCE Plakatsammlung Museum für Plakatsammlung Museum für Gestaltung Zürich COPYRIGhT (C) Plakatsammlung Muse-T (C) Plakatsammlung Muse-um für Gestaltung Zürich

008 NO!SOURCE Plakatsammlung Museum für Plakatsammlung Museum für Gestaltung Zürich COPYRIGhT (C) Plakatsammlung Muse-T (C) Plakatsammlung Muse-um für Gestaltung Zürich

009 PEACE IS IN OUR hANDSCREATOR David Gillhespy David GillhespySOURCE www.davidgillhespy.com www.davidgillhespy.comCOPYRIGhT (C) All rights reserved.T (C) All rights reserved.

010 POWER TO ThE PEACEfULCREATOR Christopher Ryan Christopher RyanSOURCE Yo! What happened to Yo! What happened to peace?, p.46COPYRIGhT (C) All rights reserved. T (C) All rights reserved.

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Design 49

SIGNS For PEACEAn Impossible Encyclopedia

Edited by ruedi Baur and Vera Baur Kockot, Design2context

Design: megan hall16.5 × 24 cm, 6 ½ × 9 ½ in, approx. 608 pages1762 illustrations, paperback2012, ISBN 978-3-03778-243-9, EnglishEUR 40.– GBP 35.– USD / CAD 55.–

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

SIGNSFORPEACE

SIG

NS

FOR

PE

ACE

AN IMPOSSIBLEVISUAL ENCYCLOPEDIA

EDITED BY DESIGN2CONTEXTRUEDI Baur AND VERA BAUR

LARS MüLLER PUBLISHERS

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DESIGN IN QUESTIoN

Edited by Elisava, Design2context,ruedi Baur and Vera Baur Kockot

Design: Integral ruedi Baur7.4 × 10.5 cm, 3 × 4 in, 384 pages15 illustrations, hardcover2012, ISBN 978-3-03778-280-4, EnglishEUR 20.– GBP 18.– USD / CAD 28.–

In 2009, Ruedi Baur, Design2context, and the renowned Elisava School of Design in Barcelona launched a call for “Questions on Design” in order to create a typographical wall in the entrance area of Elisava. About a hundred persons from all over the world, designers as well as students, took part in the exercise.

As of today, more than 700 questions have been gathered and put onto the wall. Among them, Vera and Ruedi Baur have selected the wittiest ques-tions for this publication. They scrutinize different facets of design which are currently relevant in diverse fields, such as the natural sciences and society as a whole. A text explains the idea and the realization of the project.

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Design 51

POSTER COLLECTION 24ThE mAGIC oF ThINGS

Edited by the museum of Design Zürich

With an essay by Gerda Breuer and an insert by Bettina Richter

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages127 illustrations, paperback2012, ISBN 978-3-03778-258-3, English/GermanEUR 28.– GBP 25.– USD / CAD 40.–

The Magic of Things explores a former advertising strategy of Swiss product posters in which banal, everyday objects—butter, a sewing machine, or shoes—are presented as desirable objects enticing us to buy. Free from any further contextualization, the objects acquire a sensual presence and magi-cal aura. The product poster had its heyday in Switzerland in the 1940s with designers such as Niklaus Stoecklin, Peter Birkhäuser, or Otto Baum-berger. As consumer society developed, however, the exclusive focus on the product and the brand name was no longer enough—in advertising, the feelings associated with the object as it related to life grew increasingly important. Today it is in the cultural poster that the magical depiction of things is experiencing a kind of renaissance.

See also pages 58–60:PoSTEr CoLLECTIoN 1–23

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Design: Integral Lars müller12 × 16 cm, 4 ¾ × 6 ¼ in, 256 pages400 illustrations, paperback2002, ISBN 978-3-03778-046-6, eEUR 19.– GBP 15.– USD / CAD 25.–

New: e-book2012, ISBN 978-3-03778-332-0, eEUR 7.99 GBP 6.49USD / CAD 9.99

Lars müllerhELVETICAhomage to a Typeface

“ helvetica is the perfume of the city.”Lars Müller

This book sings the praises of this shift-worker and solo entertainer of typefaces, of its forgotten creator and all those who have contributed to its unparalleled international march of triumph over the past forty years.

Design: Victor malsy and Lars müller with Integral Lars müller19 × 26 cm, 7 ½ × 10 ¼ in160 pages, 150 illustrations hardcover2009, ISBN 978-3-03778-121-0, e2008, ISBN 978-3-03778-120-3, gEUR 30.– GBP 30.– USD / CAD 49.–

hELVETICA ForEVErStory of a Typeface

Edited by Lars müller and Victor malsy

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

e-book

Design 53

Design: Kenya hara16.5 × 24 cm, 6 ½ × 9 ½ in, 472 pages389 illustrations, hardcover2007, ISBN 978-3-03778-105-0, eEUR 55.– GBP 50.– USD / CAD 70.–

Design: Kenya hara13.5 × 19.5 cm, 5 ¼ × 7 ¾ in64 pages4 illustrations, hardcover2010, ISBN 978-3-03778-183-8, e2010, ISBN 978-3-03778-182-1, gEUR 25.– GBP 20.– USD / CAD 30.–

Kenya haraDESIGNING DESIGN

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

Kenya harawhITE

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

54

Jasper morrisonEVErYThING BUT ThE wALLS

Design: Integral Lars müller22 × 28 cm, 8 ¾ × 11 in, 256 pages300 illustrations, paperback2006, ISBN 978-3-03778-064-0, eEUR 40.– GBP 40.–USD / CAD 59.–

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

Jasper morrisonA worLD wIThoUT worDS

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

Design: Anthony Arefin1998, Reprint10.8 × 15.4 cm, 4 ¼ × 6 in, 108 pages104 illustrations, paperback2012, ISBN 978-3-03778-207-1, eEUR 18.– GBP 16.– USD / CAD 25.–

Peter ErniDIE GUTE FormProgramm des Schweize rischen werkbundes

Design: Lars müller22 × 30 cm, 8 ½ × 12 in, 160 pages600 illustrations, hardcover 1983, ISBN 978-3-906700-01-4, gEUR 30.– GBP 28.–USD/CAD 45.–

A comprehensive analysis of product design based on the “Die gute Form” (Good Design) campaign by the Swiss Werkbund 1952–1968.

Die gute Form is the first book by Lars Müller, published in 1983.

Design 55


Hannes

WettsteinSe

ekin

gA

rche

typ

es

hANNES wETTSTEINSEEKING ArChETYPES

Edited by Studio hannes wettsteinWith essays by Max Küng and Volker Albus and a text collage by Thomas Haemmerli

Hannes Wettstein Seeking Archetypes documents the work of Swiss designer Hannes Wettstein, who died in 2008, for the first time in monograph form. The volume features images, quotations from Wett-stein, anecdotes from his life, essays, as well as statements by personalities from the worlds of design and architecture, and creates a multifaceted portrait of an extraordinary designer.

Design: Prill & Vieceli23 × 29 cm, 9 × 11 ½ in, 292 pages662 illustrations, hardcover2012, ISBN 978-3-03778-265-1, e/g/iEUR 58.– GBP 55.– USD / CAD 85.–

The most Beautiful Swiss Books 2011

michael maharammAhArAm AGENDA

First known as a supplier of theatrical textiles to Broadway and beyond, Michael Maharam pio-neered the concept of engineered textiles for inte-rior applications in the 1960s. Today Maharam is the world’s leading provider of textiles to commer-cial architects and interior designers. His studio takes a holistic view of design, embracing a range of disciplines that include architecture and interior design, furniture, fashion, and digital means. The publication provides a comprehensive overview of the company’s history, displays cultural markers, and presents different design projects.

Design: A4 StudioCover: Hella Jongerius19.5 × 26 cm, 7 ¾ × 10 ¼ in256 pages, 408 illustrationshardcover with stitched fabric cover2011, ISBN 978-3-03778-187-6, eEUR 55.– GBP 50.– USD / CAD 65.–

European Design Awards 2012: Best Cover Design

56

CorPorATE DIVErSITYSwiss Graphic Design and Advertising by Geigy, 1940–1970

Design: norm 19.4 × 26.8 cm, 7 ¾ × 10 ½ in, 208 pages385 illustrations, hardcover2009, ISBN 978-3-03778-160-9, e2009, ISBN 978-3-03778-161-6, gEUR 40.– GBP 40.– USD / CAD 65.–

Edited by the museum of Design Zürich, Andres Janser, Barbara Junod

The design studio of J. R. Geigy AG was the launching pad for one of the great periods of Swiss graphic design in the 1950s and 1960s. The design reveals a modernist formal idiom. There was room for visual symbolism as well as the acquisition of nonrepresentational art. This is the first comprehensive presentation of Geigy design.

Ulrike FelsingDYNAmIC IDENTITIESIN CULTUrAL AND PUBLIC CoNTEXTS

Design: Ilka Flora, Ulrike Felsing16.5 × 24 cm, 6 ½ × 9 ½ in256 pages, 200 illus., paperback2010, ISBN 978-3-03778-163-0, e2010, ISBN 978-3-03778-162-3, gEUR 35.– GBP 35.–USD / CAD 55.–

Edited by Ulrike Felsing, Design2context

This publication studies methods for creating flexible looks for public and cultural institutions. In the combination of a basic logo and a family of symbols, the look is in a position to represent the fundamentals (the philosophy of the institution, its program) and the specifics (e.g., temporary exhibitions and events). Case studies of famous designers such as Karl Gerstner and Ruedi Baur enhance the analysis.

mETAhAVENUNCorPorATE IDENTITY

Design: metahaven17 × 24 cm, 6 ¾ × 9 ½ in, 608 pages200 illustrations, paperback2010, ISBN 978-3-03778-169-2, eEUR 45.– GBP 45.– USD / CAD 75.–

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

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

Jan ConradiUNImArK INTErNATIoNALThe Design of Business and the Business of Design

Design: Kevin rau with Jan Conradi19 × 26 cm, 7 ½ × 10 ¼ in, 244 pages150 illustrations, hardcover2010, ISBN 978-3-03778-184-5, eEUR 45.– GBP 40.–USD / CAD 65.–

Foreword by Massimo Vignelli

Unimark was known for always using the latest technological innovations and computers long before anyone else thought of doing so. A distinc-tive hallmark of Unimark design was the system-atic use of the Helvetica typeface for the corporate identity of its client firms Pirelli, Unilever, IBM, and Ford, among others. Even today, the success of Unimark International (1960 –1970) points the way for designers and the marketing sector.

Design 57

A5/01:hANS hILLmANNThe Visual works

Design: Jens müller14.8 × 21 cm, 5 ¾ × 8 ¼ in128 pages, 187 illustrationspaperback2009, ISBN 978-3-03778-179-1, e / gEUR 20.– GBP 20.– USD/CAD 30.–

Edited by Jens müller, labor visuell at the University of Applied Sciences Düsseldorf

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

A5/02:PhILIPS – TwENrealism Is the Score



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

A5/03:CELESTINo PIATTI AND DTVThe Unity of the Program



In 1961, the Deutscher Taschenbuch Verlag (dtv)was created to exclusively publish paperbacks. The corporate image of the company and all the book jackets were to be designed by the same hand. This commission went to the Swiss designer Celestino Piatti (1922–2007). Piatti gave dtv its unique look for over 30 years, and created the image of 6300 white paperbacks.

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

massimo VignelliThE VIGNELLI CANoN

Design: massimo Vignelli14.8 × 21 cm, 5 ¾ × 8 ¼ in, 112 pages142 illustrations, paperback2010, ISBN 978-3-03778-225-5, e2012, ISBN 978-3-03778-268-2, gEUR 28.– GBP 20.– USD / CAD 35.–

58

POSTER COLLECTION 17 PhoTo GrAPhICS

Edited by the museum of Design ZürichWith an essay by Nanni Baltzer

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 120 illustrations, paperback2008, ISBN 978-3-03778-128-9, e /gEUR 25.– GBP 25.– USD / CAD 35.–

POSTER COLLECTION 18oTTo BAUmBErGEr

Edited by the museum of Design ZürichWith an essay by Martin Heller

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 120 illustrations, paperback2008, ISBN 978-3-03778-129-6, e /g EUR 25.– GBP 25.– USD / CAD 35.–

POSTER COLLECTION 19hEAD To hEAD

Edited by the museum of Design ZürichWith an essay by Thomas Macho

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in, 192 pages 120 illustrations, paperback2009, ISBN 978-3-03778-151-7, e2009, ISBN 978-3-03778-130-2, gEUR 30.– GBP 30.– USD / CAD 40.–

POSTER COLLECTION 20hELP! Appeals to Social Conscience

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

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages120 illustrations, paperback2009, ISBN 978-3-03778-174-6, e /gEUR 25.– GBP 25.– USD / CAD 35.–

POSTER COLLECTION 23IN SErIES


Appeals to Social Conscience

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

Design: Integral Lars müller16.5 × 24 cm, 6 120 illustrations, paperback

POSTER COLLECTION 21PArADISE SwITZErLAND

Edited by the museum of Design ZürichWith an essay by David Signer


POSTER COLLECTION 22LETTErS oNLY

Edited by the museum of Design ZürichWith an essay by Emily King


16.5 × 24 cm, 6 203 illustrations, paperback2009, ISBN 978-3-03778-174-6, e /g

Edited by the museum of Design ZürichWith an essay by Fabian Wurm

This publication illustrates the creative and effec-tive advertising potential of posters in series. In some instances a formal or content-driven approach of subtle variations produces posters bearing only slight differences from the others in the series; in others, the free interpretation of a basic concept can lead to a wide and highly inspi-rational spectrum of implementations.

POSTER COLLECTION 13TYPo ChINA

Edited by the museum of Design ZürichWith an essay by Eva Lüdi Kong


POSTER COLLECTION 16ComIX!

Edited by the museum of Design ZürichWith an essay by Pascal Lefèvre


POSTER COLLECTION 11hANDmADE

Edited by the museum of Design ZürichWith an essay by Claude Lichtenstein


POSTER COLLECTION 10mIChAEL ENGELmANN

Edited by the museum of Design ZürichWith an essay by Anita Kühnel


POSTER COLLECTION 14ZÜrICh-mILANo

Edited by the museum of Design ZürichWith an essay by Hans Höger


POSTER COLLECTION 15BrEAKING ThE rULES

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


POSTER COLLECTION 12CAThErINE ZASK

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

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in, 64 pages 54 illustrations, paperback2005, ISBN 978-3-03778-054-1, e /g / fEUR 20.– GBP 15.– USD / CAD 20.–

POSTER COLLECTION 09rALPh SChrAIVoGEL

Edited by the museum of Design ZürichWith an essay by Robert Massin


Design 59

60

POSTER COLLECTION 02DoNALD BrUN

Edited by the museum of Design ZürichWith an essay by Jean Charles Giroud


POSTER COLLECTION 07ArmIN hoFmANN

Edited by the museum of Design ZürichWith an essay by Steven Heller


out of PrintPOSTER COLLECTION 03PoSTErS ForEXhIBITIoNS 1980–2000

Edited by the museum of Design ZürichWith an essay by Stuart Bailey


POSTER COLLECTION 01rEVUE 1926

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


POSTER COLLECTION 04horS-SoL

Edited by the museum of Design ZürichEssays by Bettina Richter and André Heiz


POSTER COLLECTION 05TYPoTEKTUr

Edited by the museum of Design ZürichWith an essay by Andres Janser


POSTER COLLECTION 08BLACK AND whITE

Edited by the museum of Design ZürichWith an essay by Lars Müller


POSTER COLLECTION 06VISUAL STrATEGIESAGAINST AIDS

Edited by the museum of Design ZürichWith an essay by Nigel Barley


NATUrE DESIGNFrom Inspiration to Innovation

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in320 pages, 318 illustrationspaperback2007, ISBN 978-3-03778-098-5, eEUR 30.– GBP 30.– USD / CAD 50.–

Edited by the museum of Design Zürich, Angeli Sachs

Nature has always been a source of inspiration for the design of the human environment, but in recent years this relationship has grown even more intense. Nature Design brings together projects and objects from design, architecture, photography, and art. The protagonists include Peter Eisenman, Zaha Hadid, Herzog & de Meuron, and Olaf Nicolai, among others.

Claude LichtensteinPLAYFULLY rIGIDSwiss Architecture, Graphic Design, Product Design, 1950 –2006

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in300 pages, 370 illustrationshardcover2007, ISBN 978-3-03778-090-9, e2007, ISBN 978-3-03778-089-3, gEUR 25.– GBP 25.–USD / CAD 38.–

This selection of Swiss architecture, graphic design, and design from 1950 to 2006 demon-strates that playful humor and clarity are by no means opposites, but a highly unusual duo of qualities that mingle. The question addressed by this publication is: are these examples from three professions bound together by a common denominator?

Peter Erni, martin huwiler, Christophe marchand TrANSFErErkennen und Bewirken

Design: Authors19.6 × 27 cm, 7 ¾ × 10 ½ in416 pages, 1500 illustrations paperback2008, ISBN 978-3-03778-113-5, gEUR 30.– GBP 27.– USD/CAD 40.–

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

GLoBAL DESIGNInternational Perspectives and Individual Concepts

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in320 pages, 350 illustrationspaperback2010, ISBN 978-3-03778-210-1, e2010, ISBN 978-3-03778-154-8, gEUR 35.– GBP 35.– USD / CAD 60.–

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

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

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Jean-Benoît LévyhANDBooK

Design: Jean-Benoît Lévy12 × 16 cm, 4 ¾ × 6 ¼ in256 pages, 490 illustrationspaperback2006, ISBN 978-3-03778-077-0, eEUR 15.– GBP 15.–USD / CAD 20.–

ToUCh mE!The mystery of the Surface

Design : Ecke Bonk16.5 × 24 cm, 6 ½ × 9 ½ in, 184 pages21 illustrations, hardcover2011, ISBN 978-3-03778-229-3, e2011, ISBN 978-3-03778-254-5, gEUR 30.– GBP 28.– USD / CAD 45.–

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

Edited by Pars Foundation

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

FINDINGS oN ELASTICITY

Design: studio Joost Grootens20 × 27 cm, 7 ¾ × 10 ¾ in208 pages, 70 illustrationspaperback2010, ISBN 978-3-03778-148-7, eEUR 35.– GBP 35.– USD / CAD 55.–

FINDINGS oN ICE

Design: studio Joost Grootens20 × 27 cm, 7 ¾ × 10 ¾ in190 pages, 126 illustrationspaperback2007, ISBN 978-3-03778-125-8, eEUR 30.– GBP 30.–USD / CAD 50.–

Edited by Pars Foundation

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

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

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

Design: Integral Lars müller19 × 27 cm, 7 ½ × 10 ¾ in264 pages, 415 illustrationspaperback1994, ISBN 978-3-906700-89-2, e1994, ISBN 978-3-907078-59-4, gEUR 40.– GBP 40.– USD / CAD 60.–

Lars müllerJoSEF mÜLLEr-BroCKmANNPioneer of Swiss Graphic Design

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

Pierre mendellAT FIrST SIGhT

Design: Pierre mendell24 × 30 cm, 9 ½ × 11 ¾ in, 200 pages250 illustrations, hardcover2001, ISBN 978-3-907044-49-0, e2001, ISBN 978-3-907078-64-8, gEUR 30.– GBP 30.–USD / CAD 45.–

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

Pierre mendellPoSTErS For ThE oPErA

Design: Pierre mendell15.5 × 22 cm, 6 × 8 ¾ in, 160 pages97 illustrations, hardcover2006, ISBN 978-3-03778-082-4e /gEUR 25.– GBP 25.–USD / CAD 35.–

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

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ruedi BaurrUEDI BAUr INTÉGrALAnticipating, Questioning, Inscribing, Distinguishing, Irritating, orienting, Translating

Design: ruedi Baur, heidi Abt, meriem Bouhara, Chantal Grossen16.5 × 24 cm, 6 ½ × 9 ½ in, 480 pages200 illustrations, hardcover2010, ISBN 978-3-03778-134-0, e2010, ISBN 978-3-03778-202-6, g2010, ISBN 978-3-03778-203-3, fEUR 50.– GBP 50.– USD / CAD 80.–

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

mark holt, hamish muir8vooN ThE oUTSIDE

Design: mark holt, hamish muir12 × 16 cm, 4 ¾ × 6 ¼ in, 536 pages 395 illustrations, hardcover2005, ISBN 978-3-03778-019-0, eEUR 25.– GBP 23.–USD / CAD 38.–

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

Pierre Bernard

mY worK IS NoT mY worKDesign for the public domain

Design: reynoud homan16.5 × 24 cm, 6 ½ × 9 ½ in, 320 pages 270 illustrations, paperback2008, ISBN 978-3-03778-087-9, e2007, ISBN 978-3-03778-086-2, f2007, ISBN 978-3-03778-104-3, DutchEUR 40.– GBP 40.–USD / CAD 50.–

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

wINDFALL LIGhTThe Visual Language of ECm

Design: Integral Lars müller18.5 × 26 cm, 7 ¼ × 10 ¼ in448 pages, 1260 illustrationspaperback2010, ISBN 978-3-03778-157-9, e2010, ISBN 978-3-03778-197-5, gEUR 55.– GBP 50.– USD / CAD 85.–

Edited by Lars müller

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

Frédéric DedelleyDESIGN DETECTIVE Design: J. Fracheboud17 × 22 cm, 6 ¾ × 8 ¾ in, 258 pages 210 illustrations, hardcover2008, ISBN 978-3-03778-137-1e / g /fEUR 30.– GBP 30.–USD / CAD 40.–

Edited by Ariana Pradal

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

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

Isabel Naegele and ruedi BaurSCENTS oF ThE CITY

Design: Intégral ruedi Baur14 × 20 cm, 5 ½ × 7 ¾ in480 pages, 1500 illustrationspaperback2004, ISBN 978-3-03778-012-1e/ g/fEUR 16.– GBP 15.–USD / CAD 20.–

Karl GerstnerDESIGNING ProGrAmmES

Design: Karl Gerstner Revised reprint, original 196419.5 × 25 cm, 7 ¾ × 9 ¾ in120 pages, 200 illustrationshardcover2007, ISBN 978-3-03778-093-0, e2007, ISBN 978-3-03778-092-3, g EUR 30.– GBP 30.–USD / CAD 40.–

KITChEN TooLSDesign by Kuhn rikon

Design: raffinerie, Zürich21 × 31.5 cm, 8 ¼ × 12 ½ in96 pages, 70 illustrations, hardcover2012, ISBN 978-3-03778-283-5, e/gEUR 38.– GBP 35.– USD / CAD 50.–

Edited by harald Geisler and Jonas Pabst

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

Edited by Kuhn rikonWith photographs by Cortis & Sonderegger, Zürich

Kitchen Tools provides a platform for products developed over the past five years at the Swiss kitchen tool manufacturer Kuhn Rikon. The photo-graphs are complemented by texts by Claude Lichtenstein, Christof Gassner, and Philipp Beyeler, and discuss the kitchen as a world en miniature, design for cooking, and the history of this iconic Swiss kitchen tool manufacturer.

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Gerlinde SchullerDESIGNING UNIVErSAL KNowLEDGEThe world as Flatland – report 1

Design: Information Design Studio / Gerlinde Schuller16.5 × 24 cm, 6 ½ × 9 ½ in, 304 pages 650 illustrations, hardcover2009, ISBN 978-3-03778-149-4, eEUR 35.– GBP 35.– USD / CAD 50.–

Edo SmitshuijzenSIGNAGE DESIGN mANUAL

Design: Edo Smitshuijzen16 × 26 cm, 6 ¼ × 10 ¼ in456 pages, 800 illustrationshardcover2007, ISBN 978-3-03778-096-1, eEUR 45.– GBP 40.–USD/CAD 60.–New: e-book2012, ISBN 978-3-03778-331-0, eEUR 14.99 GBP 11.99USD / CAD 19.99

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

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

DISorIENTATIoN/orIENTATIoN 1

Design: r. Baur, P. Taylor, U. Felsing16.5 × 24 cm, 6 ½ × 9 ½ in264 pages, 300 illustrationspaperback2008, ISBN 978-3-03778-133-3e / g / fEUR 30.– GBP 30.–USD / CAD 45.–

Edited by Design2context, ruedi Baur

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

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Institute Design2context

Zürich University of the Arts

LARS MÜLLER PUBLISHERS

ISBN: 978-3-03778-133-3

Edited by Design2context, ruedi Baur

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

DISorIENTATIoN/orIENTATIoN 2

Design: ruedi Baur und megan hall 16.5 × 24 cm, 6 ½ × 9 ½ in384 pages, 50 illustrationspaperback2010, ISBN 978-3-03778-158-6e / g / fEUR 30.– GBP 30.–USD / CAD 45.–

e-book

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hans richterNEw LIVING

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in128 pages, 500 illustrations hardcover2001, ISBN 978-3-907078-22-8, eEUR 44.– GBP 35.–USD / CAD 28.–

GEFESSELTEr BLICK25 profiles and articles on designers in advertising

Reprint, original 193021 × 26.5 cm, 6 × 8 ¾ in, 112 pages140 illustrations, hardcover1996, ISBN 978-3-907044-02-5, gEUR 45.– GBP 40.– USD/CAD 60.–

Annemarie BucherSPIrALEEine Künstler zeit schrift 1953–1964

Design: Lars müller22 × 30 cm, 8 ½ × 12 in, 224 pages450 illustrations, hardcover2001, ISBN 978-3-906700-21-2, gEUR 58.– GBP 52.– USD/CAD 65.–

hans Arp and El LissitzkyThE ISmS oF ArT 1914–1924

Reprint, original 192520 × 26 cm, 8 × 10 ¼ in60 pages, 75 illustrations hardcover1990, ISBN 978-3-906700-28-1e / g / fEUR 20.– GBP 15.– USD / CAD 30.–

Edited by Andres Janser and Arthur rüegg

This publication includes detailed sequences from the New Living film, as well as numerous documents that illustrate the new style of architectural modernism.

Edited by heinz and Bodo rasch

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

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

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

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

Emblematic

olafur EliassonYoUr ENGAGEmENT hAS CoNSEQUENCES, 2006Design: Michael Heimann(out of print)

Olafur Eliasson’s expansive installations and sculptures, which explore aspects and phenomena of perception, summon up fascinating yet confusing impressions. The artist sketches out a model in which space, time and motion all influence each other, making it impossible to articulate a definitive description of his works. The art is in the eye of the beholder.

ENCYCLoPEDIA oF FLowErSFlower works by makoto AzumaPhotographed by Shunsuke Shiinoki

Edited by Kyoko wada

Design: Kenya hara16.5 × 24.8 cm, 6 ½ × 9 ½ in, 512 pages203 color illustrations paperback in transparent slipcase2012, ISBN 978-3-03778-313-9, EnglishEUR 58.– GBP 50.– USD / CAD 85.–

Encyclopedia of Flowers is a visual exploration of the breathtaking floral arrangements by Makoto Azuma—encounters of unusual, sometimes exotic plants that wouldn’t typically occur in nature.With his meticulously composed photographs, Shunsuke Shiinoki exposes the flowers’ tenuous existence, their fragile forms, continuous metamor-phoses, and inevitable decay.

In a contemporary manner, Encyclopedia of Flowers immerses the reader in a universe of extraordinary beauty while at the same time addressing dichotomies such as durability and vanity, artificiality and nature, hybrid cultureand environmental change.

This volume by the Japanese “haute-couture” florists includes an introduction by Makoto Azuma and an index identifying all of the more than 2,000 featured species with their binomial names.

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DAN GrAhAmVIDEo – ArChITECTUrE – TELEVISIoNwritings on Video and Video works1970–1978

Edited by Benjamin h. D. Buchloh

Reprint, original 1979

28 × 21.6 cm, 11 × 8 ¼ in, 96 pages113 illustrations, paperback2012, ISBN 978-3-03778-300-9, EnglishEUR 40.– GBP 35.– USD / CAD 50.–

This title, published in 1979 and long since out of print, now appears as a reprint from Lars Müller Publishers. The original book was released in the series of publications Source Materials of the Contemporary Arts initiated by Kasper König and produced by the Press of the Nova Scotia College of Art and Design. The publication represents an important document in Dan Graham’s artistic examination of the video medium. Graham’s instal-lations and performances with video from the years 1970–78 are documented with numerous illustrations, photos, and brief descriptions. In addition, the volume contains an essay by the art-ist in which he examines the various possibilities and forms of representation offered by the video medium, and draws the boundaries between these and representational spaces in television, film, or architecture. The book also offers contributions by Michael Asher and Dara Birnbaum, as well as an annex with a biography and bibliography.

NEw

DAN GrAhAm’S NEw JErSEY

Edited by Craig Buckley and mark wasiuta

In cooperation with GSAPP, Columbia University

Design: Integral Lars müller19 × 26 cm, 7 ½ × 10 ¼ in, 192 pages140 illustrations, hardcover2012, ISBN 978-3-03778-259-0, EnglishEUR 45.– GBP 42.– USD / CAD 65.–

Dan Graham, one of North America’s most impor-tant contemporary artists, is best known today for his sculptural works and installations. His photo-graphic works are generally not so well known, despite the fact that he first became famous for his photographic series Homes for America, pictures of typical American suburbia. To this day the theme of architecture and its surfaces in the con-text of postmodern everyday culture represents an extremely important facet of his work.

This publication presents new photographs by Dan Graham together with original photographs from the Homes for America series. The new images exhibit stark similarities to the old pictures, as they were taken in the same locations, the same deserts of suburban streets and housing that Graham photographed in the sixties. Creating a fascinating, multilayered reference system of repetitions and differences, both spatially as well as temporally, it raises questions about architec-ture and public space and their function in society.

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4140 Untitled, Jersey City, NJ, 2006

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

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131130 Split Level “Two Home Home”, Jersey City, N.J. 1966Ground Level “Two Home Home”, Jersey City, N.J. 1966

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Silvia Bächli and Eric hattanBLINDHÆÐIREast Iceland

Design: Silvia Bächli and Eric hattan29 × 16.3, 11 ½ × 7 ½ in, 304 pages147 photographs, hardcover2010, ISBN 978-3-03778-216-3English /German /French /IcelandicEUR 40.– GBP 40.– USD / CAD 65.–

Edited by Editions Attitudes, Geneva

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

With an essay by Beate Söntgen

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

Silvia BächliLIDSChLAGhow It Looks

Design: Silvia Bächli and Lars müller22 × 28 cm, 8 ¾ × 11 in, 304 pages211 illustrations, hardcover2004, ISBN 978-3-03778-013-8 e /gEUR 30.– GBP 30.– USD / CAD 45.–

Silvia Bächli – DAS

Design: Anne hoffmann Graphic Design13 × 19.5 cm, 5 × 7 ¾ in, 136 pages60 illustrations, paperback2009, ISBN 978-3-03778-155-5 e /g EUR 23.– GBP 23.– USD / CAD 40.–

Edited by the Swiss Federal office of Culture, Bern

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

KAThArINA GroSSEwISh I hAD A BIG STUDIo IN ThE CENTEr oF ThE CITY

Design: heimann und Schwantes, Berlin17 × 23 cm, 6 ¾ × 9 in, 144 pages73 illustrations, hardcover2009, ISBN 978-3-03778-170-8, e2009, ISBN 978-3-03778-168-5, gEUR 30.– GBP 30.– USD / CAD 45.–

Edited by Katharina Grosse

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

Wish I had a big studio in the center of the city


Until a couple of years ago, my idea was that I had no need for a residence.

I spent most of my time in my studio or traveling.

My apartment was just to sleep in.

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

Only one window opens, and it’s violet.

Katharina Grosse

PArADoXES oF APPEArINGEssays on Art, Architecture andPhilosophy

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in 224 pages, 60 illustrations paperback2009, ISBN 978-3-03778-192-0, eEUR 30.– GBP 30.– USD / CAD 45.–

Edited by michael Asgaard Andersen and henrik oxvig

Paradoxes of Appearing contains a collection of essays by scholars and artists from a range of different fields, including art, art history, architec-tural theory, and philosophy. The essays refer to fundamental conside rations with regard to per-ception: what it is that evades us when works are experienced and created.

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

olafur EliassonYoUr moBILE EXPECTATIoNS:Bmw h2r ProJECT

Design: heimann und Schwantes, Studio olafur Eliasson14.7 × 21 cm, 5 ¾ × 8 ¼ in, 336 pages415 illustrations, hardcover2008, ISBN 978-3-03778-117-3, eEUR 20.– GBP 20.– USD/CAD 30.–

Christian möllerA TImE AND PLACEmedia Architecture

Design: Integral Lars müller12.5 × 19 cm, 5 × 7 ½ in, 240 pages288 illustrations, paperback2004, ISBN 978-3-907078-91-4, eEUR 20.– GBP 18.– USD / CAD 30.–

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

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hamish FultonThE UNCArVED BLoCK

Design: hamish Fulton30 × 24 cm, 11 ¾ × 9 ½ in, 160 pages120 illustrations, hardcover2010, ISBN 978-3-03778-227-9, eEUR 50.– GBP 50.– USD / CAD 75.–

Hamish Fulton’s photographic work focuses on nature and the way people experience nature. He has been hiking all over the world for 30 years, and translates what he expe riences and sees into art. In 2009, Hamish Fulton and an expedition team climbed Mount Everest, the highest peak in the world. The Uncarved Block presents this artist treatment of the ascent to the summit for the first time in a compendious pictorial volume.

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

Exemplary

Andreas SeibertFrom SomEwhErE To NowhErE, 2008Design: Integral Lars Müller(see page 93)

In his photographs and texts Andreas Seibert describes a social crisis in booming China. With exemplary persistence and empathy, he tracks down the background to individual biographies of working migrants and wins the protagonists’ trust. Never slipping into voyeurism, he conveys a unique impression of the scope of this massive modern migration.

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Andreas SeibertThE CoLorS oF GrowTh river huai in China

Design: Integral Lars müller26 × 19 cm, 10 ¼ × 7 ½ in, approx. 240 pagesapprox. 240 illustrations, hardcover2012, ISBN 978-3-03778-295-8, EnglishEUR 40.– GBP 35.– USD / CAD 50.–

China’s spectacular growth has brought not just prosperity, but also serious damage to the environment. For photojournalist Andreas Seibert, the present state of the Huai River is a clear example of these problems. Several stretches of the river have been so seriously polluted by toxic waste that people are advised not to even touch the water. Seibert has traveled along the river from source to mouth in order to record how it changes from a stretch of water rising amidst unspoiled nature into a large and poisonous river. Pictures taken on his travels present the poor hin-terlands which are generally forgotten in discus-sions on China, and show the people who live on and near the river—in a habitat on the brink of destruction.

See also page 93:From SomEwhErE To NowhErE

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

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

Ut verum, consere, uta nimosa soluptas dolorem porenis earupiduci cus ab-orDuntur accaecu mquiae num quibus et odiati berit que dempor as de cus aut por res eatia con nonet laudaecus nem adi consequi dipiti vent vent, a

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

Edited by Adriano A. Biondo and Lars müller

Photographs by Kazuma Obara

Design: Integral Lars müller23 × 29.7 cm, 9 × 11 ¾ in, 216 pages130 illustrations, paperback2012, ISBN 978-3-03778-292-7, English/Japanese EUR 50.– GBP 42.– USD / CAD 66.–

Ever since the first days following the disastrous events that took place in Japan in March 2011, photojournalist Kazuma Obara has been visiting the sites and the people affected. He even visited the Fukushima power plant itself, where he talked to the workers involved. The series of portraits and interviews he produced is published for the first time in this publication.

Obara’s photographs offer touching insights about the consequences of the events surrounding Fukushima. Recollected in this book, they offer a long-term perspective and pose the question of responsibility. They bring to mind just how far-reaching the consequences of this catastrophe are, for the people on site as well as worldwide. The book offers a view that goes beyond the pure facts on site—Beyond Fukushima.

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Christian LutzIN JESUS’ NAmE

Design: Integral Lars müller30 × 24 cm, 11 ¾ in × 9 ½, approx. 96 pagesapprox. 90 illustrations, hardcover2012, ISBN 978-3-03778-294-1, English/German EUR 40.– GBP 35.– USD / CAD 50.–

After examining political and economic structures of power in Protokoll and Tropical Gift, in the publi-cation In Jesus’ Name photographer Christian Lutz turns his focus on the ritual and social behavior patterns within a religious organization. For over a year he has documented the evangelical group “International Christian Fellowship” in Switzerland. With a coolly distanced view, his photographs show the yearning for belonging and for jointly experienced spirituality that is made manifest in large religious events. They reveal that at such meetings—in stadiums but also in remote camping sites—location and clothing play a less important role than the experience of community and cultic ritual. Lutz critically questions the emotionally charged meetings and reveals parallels to other social mass events such as rock concerts or foot-ball matches.

See alsopage 89: TroPICAL GIFT, ProToKoLLpage 93: FAITh IS

Photography 81

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Thomas FlechtnerNEwS

Design: Integral Lars müllerPortfolio with 108 printed-on newspaperpages in box32 × 47 cm, 12 ½ x 18 ½ in2012, ISBN 978-3-03778-318-4, English/GermanEUR 80.- GBP 65.– USD / CAD 120.–

News represents a further development of the much-acclaimed work of artist Thomas Flechtner. Whereas in Snow he looked at snow as a meta-phor for timelessness, calm, distance, and loneli-ness, and in Bloom used atmospherically con-densed studies of plants to examine the boundless colorfulness and movement of grown nature, for his new project News Flechtner collected newspa-per front pages over a period of one year, scat-tered plant seeds from very different countries over them, watered them, and, finally, exposed them to the sun. He recorded the way the “news” was gradually bleached and overgrown with plants in more than one hundred color photographs. Flechtner contrasts the anarchy of nature with the agenda of mankind, while also questioning the fleetingness of memory and the demands made on it in shaping today’s world.

See also page 88: BLoom

Photography 83

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2726 2726


Klaus Merkel Trees like Stones

Klaus merkelTrEES LIKE SToNES

Design: Integral Lars müller24 × 30 cm, 9 × 11 ¾ in, 120 pages94 illustrations, hardcover2012, ISBN 978-3-03778-272-9, English2012, ISBN 978-3-03778-263-7, GermanEUR 50.– GBP 45.– USD / CAD 70.–

For over thirty years Klaus Merkel has been photo-graphing stones, rocky landscapes, and trees that he combines in pairs of images. He portrays the astounding harmony between the animate and the inanimate, between natural and designed manifes-tations. His previous publication Album of Stones featured Milan Cathedral’s forest of figures and pinnacles next to the sandstone columns of Utah’s Bryce Canyon. In the same way, Trees like Stones presents fascinating connections between natural forms and artwork, such as the millennia-old bristle cone pines in Nevada’s Great Basin National Park and the decaying stupa temples of Burma. The book thus invites the reader to examine and compare the manifold similarities of diverse struc-tures, whether between a petrified wandering dune

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

Klaus merkelTrILoGY oF SToNES AND TImE

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

Klaus merkelThE rEADING oF TImE IN ThE TEXT oF NATUrE

Design: Integral Lars müller24 × 30 cm, 9 ½ × 11 ¾ in, 96 pages 84 photographs, hardcover 2000, ISBN 978-3-907044-97-1, eEUR 25.– GBP 25.–USD / CAD 38.–

Klaus merkelALBUm oF SToNES

Design: Integral Lars müller24 × 30 cm, 9 ½ × 11 ¾ in, 160 pages110 photographs, hardcover2005, ISBN 978-3-03778-058-9, e2005, ISBN 978-3-03778-062-6, gEUR 25.– GBP 23.–USD / CAD 38.–

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

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

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Design: Integral Lars müller24 × 30 cm, 9 × 11 ¾ incardboard slipcase2012, ISBN 978-3-03778-273-6, e2012, ISBN 978-3-03778-264-4, dEUR 98.– GBP 85.– USD / CAD 120.–

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With an essay by Claudia Jolles

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

SwISS PhoToBooKSFrom 1927 To ThE PrESENTA Different history of Photography

Edited by Peter Pfrunder, Fotostiftung Schweiz

Swiss Photobooks from 1927 to the Present offers a new overview of the history of Swiss photography. The focus is on seventy selected photobooks, from classics to long-forgotten publications or brilliant works by contemporary photographic artists. The individual books are presented with lavish series of illustrations and texts by highly-esteemed authors, while five longer essays position them in their respective eras.

Barbara heéChAVIoLAS A Landscape, so Intimate and Aloof

Design: Integral Lars müller29 × 19 cm, 11 ½ × 7 ½ in, 240 pages167 photographs, hardcover2010, ISBN 978-3-03778-165-4, e2010, ISBN 978-3-03778-171-5, gEUR 50.– GBP 45.– USD / CAD 80.–

Luciano rigoliniwhAT YoU SEE

Design: Integral Lars müller12 × 16 cm, 4 ¾ × 6 ¼ in 160 pages, 107 photographshardcover2008, ISBN 978-3-03778-139-5 English /German /French/JapaneseEUR 25.– GBP 25.– USD / CAD 35.–

Edited by the Fotostiftung SchweizWith an essay by Peter Pfrunder

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

Design: Integral Lars müller22 × 28 cm, 8 ¾ × 11 in, 704/576 pages861 illustrations, hardcover2012, ISBN 978-3-03778-274-3, German with English and French translations2012, ISBN 978-3-03778-260-6, GermanEUR 75.– GBP 70.– CAD/USD 120.–

Design: Integral Lars müller

136 137

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

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

1943FabrikJakob Tuggener

Martin Gasser

Jakob Tuggener (1904–1988) kannte die Welt der Fabriken buchstäblich von innen. Ausgebildet als Maschinenzeichner bei der Zürcher Maag Zahnräder AG, wurde er im Zuge der Weltwirtschaftskrise Ende der 1920er-Jahre entlassen, worauf er sich seinen seit der Kindheit gehegten Traum, Künstler zu werden, mit einer Ausbildung an der Reimann-Schule in Berlin erfüllte.1 Nach seiner Rückkehr in die Schweiz begann er 1932 als freier Mitarbeiter für die Maschinen-fabrik Oerlikon (MFO) zu arbeiten, vor allem für deren Hauszeitung mit dem programmatischen Titel Der Gleichrichter.2 Obwohl die Firma bereits einen eigenen Werkfotografen beschäftigte, betraute deren Direktor, Hans Schindler, Tuggener mit der Aufgabe, eine Art fotografische Innensicht des Betriebs zu erarbeiten, die via Der Gleichrichter die Kluft zwischen Arbeitern, BüroangeDer Gleichrichter die Kluft zwischen Arbeitern, BüroangeDer Gleichrichter -stellten und Direktoren verkleinern sollte. Neben mehrteiligen Serien mit Titeln wie Was Arbeiter über ihre Arbeit sagen oder Köpfe aus Bureau und Werkstatterschienen von Tuggener jedoch auch einseitige, montageartig angeordnete Bildreihen ohne Text von unbeachteten Szenen aus dem Fabrikalltag.3

Inspiriert waren diese kleinen Geschichten einerseits von Reportagen, wie sie damals in vielen illustrierten Zeitschriften üblich waren.4 Andererseits spielte bei Tuggener auch der Film eine wichtige Rolle. Unzählige Stummfilme, die er während der 1920er- und frühen 1930er-Jahre geradezu verschlungen hatte, beeinflussten seine fotografische Bildsprache, schärften sein Gefühl für Rhythmus und Dramaturgie von Bildfolgen und bestärkten seinen Glauben an die assoziative Kraft – entsprechend Sergej Eisensteins Theorie der Montage im Film –, die der Gegenüberstellung und Reihung von Fotografien innewohnt. Tuggener setzte dieses Prinzip der Montage jedoch nicht nur in seinen Reportagen und Filmen um, sondern vor allem im Medium Buch, das zu seiner hauptsächlichen fotografischen Ausdrucksform wurde. Bis zu seinem Tod 1988komponierte er über sechzig druckfertige Buchmaquetten, das heisst als Bücher gebundene Bildfolgen von je über hundert, meist ganz- oder doppel-seitigen Originalfotografien, für die er jedoch nie einen Verleger fand. Nicht zuletzt deshalb, weil er darauf bestand, dass seine «fotografischen Stummfilme», wie er sie nannte, unverändert und ganz ohne Text publiziert werden sollten.

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

Lukas FelzmannwATErS IN BETwEEN

Design: Integral Lars müller19 × 27 cm, 7 ½ × 10 ¾ in, 320 pages161 photographs, hardcover2009, ISBN 978-3-03778-138-8, eEUR 50.– GBP 45.–USD / CAD 65.–

Design: Lukas Felzmann with Lars müller21 × 27 cm, 8 ¼ × 10 ½ in, 240 pages115 illustrations, hardcover2011, ISBN 978-3-03778-241-5, eEUR 50.– GBP 45.– USD / CAD 70.–

PhotoEspaña 2012: Best Photography Book of the Year

Lukas FelzmannLANDFALL

Design: Lukas Felzmann13 × 18 cm, 5 × 7 in, 144 pages70 photographs, hardcover2004, ISBN 978-3-907078-92-1e/gEUR 28.– GBP 25.–USD / CAD 35.–

With marginalia by Angelus Silesius and John Berger

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

Lukas FelzmannSwArm

With contributions by Peter Pfrunder, Gordon H. Orians, Deborah M. Gordon, and Wallace Stevens

Swarm is a breathtaking photographic series exploring the flock movements of migrating birds. The photographs offer a unique view of the beauty but also the complexity and diversity of shape variations. Swarm looks up into the sky and follows flight through the dynamic landscape of streams of air.

With an essay by Peter Pfrunder

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

Photography 87

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Thomas FlechtnerBLoom

Design: Integral Lars müller23 × 30 cm, 9 × 11 ¾ in, 128 pages82 photographs, hardcover2007, ISBN 978-3-03778-091-6, eEUR 30.– GBP 30.–USD / CAD 45.–

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

Jean-Pascal Imsand PhoToGrAPhEr

Design: Integral Lars müller24 × 30 cm, 9 ½ × 11 ¾ in, 192 pages138 photographs in b/w, hardcover2004, ISBN 978-3-03778-037-4, e2004, ISBN 978-3-03778-040-4, g2004, ISBN 978-3-03778-041-1, fEUR 25.– GBP 25.–USD / CAD 38.–

With essays by Dieter Bachmann, Jean-Christophe Blaser, Martin Gasser, Sylvie Henguely, Fabio Pusterla

Jean-Pascal Imsand’s work eludes any attempt at classification, and contains an apparent paradox. While his photo-montages are much admired for their aesthetic and narrative qualities, yet are often political in nature, the precision of content demon-strated in his socio-documentary reportages does not exclude mythical interpretation.

Nadja Athanasiou, michael Bühler, Peter LüemThE DoLDEr GrAND

Design: Peter Zimmermann25 × 27 cm, 9 ¾ × 10 ¾ in640 pages, 400 photographshardcover2009, ISBN 978-3-03778-166-1, eEUR 60.– GBP 60.–USD / CAD 90.–

With contributions by Judith Wyder and Cees Nooteboom

In 2009, the Dolder Grand celebrated its first birthday since reopening, following a four-year remodelling carried out according to plans by Foster+Partners. The photographers Nadja Athanasiou, Michael Bühler, and Peter Lüem documented the entire project throughout every stage of the refurbishment, charting in detail the scope of the hotel’s metamorphosis.

Pete DavisIN wILDwooD

Design: Integral Lars müller30 × 24 cm, 11 ¾ × 9 ½ in96 pages, 72 photographshardcover2008, ISBN 978-3-03778-142-5, eEUR 40.– GBP 40.–USD / CAD 50.–

With a text by Conway Lloyd Morgan

Forests, according to folklore, are places of mystery and fear of fierce animals and fiercer men. Yet for our ancestors the forests were sources of food and fuel, managed spaces. In the forests of Wales and Vermont, the photo grapher Pete Davis has been exploring the dichotomy for over a decade, marking the changes created by time, weather and human intervention.

Christian LutzTroPICAL GIFT The Business of oil and Gas in Nigeria

Design: Integral Lars müller30 × 24 cm, 11 ¾ × 9 ½ in, 96 pages52 illustrations, hardcover2010, ISBN 978-3-03778-226-2, eEUR 35.– GBP 35.– USD / CAD 50.–

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

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

Christian LutzProToKoLL

Design: Integral Lars müller30 × 24 cm, 11 ¾ × 9 ½ in90 pages, 54 photographshardcover2007, ISBN 978-3-03778-110-4English / German /French /SpanishEUR 35.– GBP 35.–USD / CAD 45.–

Yann mingard, Alban KakulyaEAST oF A NEw EDENEuropean External Borders. A Documentary Account

Design: Integral Lars müller25 × 33 cm, 9 × 13 in, 320 pages150 illustrations, hardcover2010, ISBN 978-3-03778-176-0, e / fEUR 60.– GBP 60.– USD / CAD 99.–

Europe’s new eastern borders stretch from the Baltic Sea to the Black Sea: 1600 heavily guarded kilometers between former “fraternal countries.” Yann Mingard and Alban Kakulya spent a long time on the road in an effort to document the places and landscapes that mark the end of the Western world. They photographed the landscape as well as the border posts and documented a reality defined in faraway Strasbourg, Brussels, and else-where. Maps and satellite images are juxtaposed in this book with the striking photographs.

Jules Spinatsch attended the World Economic Forum in Davos and New York as well as the G8 summits in Davos and Evian. But rather than street fighting and handshakes, he shows winter nights in Davos, complete with floodlighted barbed wire, containers being used as barricades in Genoa, lonely TV reporters outside broadcast vehicles and sleepy guards in New York. Selected by Martin Parr as “one of the best photobooks of the last decade” (2011).

Jules SpinatschTEmPorArY DISComForT

Design: w. heininger24 × 30 cm, 9 ½ × 11 ¾ in, 186 pages115 photographs, hardcover2005, ISBN 978-3-03778-047-3, e /gEUR 30.– GBP 30.– USD / CAD 45.–

Photography 89

90

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Pièce de résistance

Edited by walter Kälin, Judith wyttenbach, and Lars müllerThE FACE oF hUmAN rIGhTS, 2004Design: Integral Lars Müller16.5 × 24 cm, 6 ½ × 9 ½ in, 720 pages, 500 illustrations2004, ISBN 978-3-03778-017-6, English (hardcover)EUR 45.– GBP 45.– USD / CAD 60.– 2008, ISBN 978-3-03778-114-2, German (paperback)EUR 30.– GBP 30.– USD / CAD 50.–

This book, based on an idea from our publishing house, depicts the concept of universal human rights in over five-hundred photographs and numerous texts. Examples serve to demonstrate both violation of human rights world-wide and how these rights are guaranteed in pluralistic societies. The book is conceived as a tool to support the struggle to attain greater respect for human rights. It paves the way for engaged consideration of specific facets of a responsible global development model in the “Visual Reader” format.

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

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KOHLENSTOFFKREISLAUFReservoire in Gigatonnen Kohlensto�Flüsse in Gigatonnen Kohlensto� pro Jahr

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

Laubfall

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

Tropische Wirbelstürme entstehen, wenn die Wassertemperatur des Ozeans auf über 27 Grad steigt. Sie können einen Durchmesser von mehreren hundert Kilometern erreichen. Zyklon über Australien, 2011. NASA / Corbis200 201

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

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

In collaboration with the Department of Environmental Sciences, ETH Zürich

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in, 576 pages307 illustrations, hardcover2012, ISBN 978-3-03778-245-3, English 2011, ISBN 978-3-03778-244-6, German EUR 45.– GBP 40.– USD / CAD 65.–

For Climate’s Sake! sets itself the goal of convey-ing the knowledge revealed by current climate research in a manner that is both concise and appealing. Extensive series of images with large photographs and informative diagrams accom-pany well-researched essays on and around the themes of climate history, research and policy and thus offer an in-depth examination.

The book provides insights into the history of the earth’s climate and reveals the factors that are responsible for climate change. It poses questions and provides answers: why is the earth becoming warmer? What are the consequences we must reckon with? What can we do against this? Who determines the future? As both a volume of illustrations and a reader For Climate’s Sake! is directed at all those who want to equip them-selves with knowledge and understanding to confront what is probably our planet’s most press-ing problem.

NEw

Contents:Climate history Between Fireball and Ice DesertClimate System Why the World is Getting WarmerClimate Consequences Risks and “Residual Risks”Pathways into the Future Reality and VisionGlobal Climate Politics Between Power and Powerlessness

who owNS ThE wATEr ?


FAITh IS.The Quest for Spirituality and religion


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

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

Edited by Lukas Niederberger and Lars müller

Religious phenomena exist both inside and out-side official religious groups. With texts and a clear pictorial language, this volume addresses the phenomenon of religious belief, guiding the reader and viewer into the world of the numinous and mysterious, while also offering them critical orientation and existential questions to take along on their continued quest.

Christina Kleineidam, hans Peter JostCoTToN worLDwIDE

Design: Integral Lars müller with hans Peter Jost19 × 26 cm, 7 ½ × 10 ¼ in320 pages, 220 illustrationshardcover2009, ISBN 978-3-03778-201-9, e2009, ISBN 978-3-03778-200-2, gEUR 40.– GBP 40.–USD / CAD 60.–

Cotton is grown on every continent, in a broad range of environmental conditions, and under widely disparate conditions of production. Hans Peter Jost has created a photographic portrait of cotton on his trips to India, China, Brazil, the US, Uzbekistan, Mali, and Tanzania, documenting the lives and working conditions of cotton farmers and the cultivation, harvesting, processing, and marketing of cotton.

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

Andreas SeibertFrom SomEwhErE To NowhErEChina’s Internal migrants

Design: Integral Lars müller19 × 26 cm, 7 ½ × 10 ¼ in320 pages, 228 photographshardcover2008, ISBN 978-3-03778-146-3, eEUR 40.– GBP 40.– USD / CAD 55.–

Society 93

94

SALIBAmazza – aus der feinen Küche Syriens

Design: Pierre mendell15.4 × 21.6 cm, 6 × 8 ½ in, 176 pages49 illustrations, hardcover1999, ISBN 978-3-907078-98-3German /ArabicEUR 25.– GBP 25.–USD/CAD 40.–

Edited by Elias hanna Saliba

Hanna Saliba ranks among the most innovative restaurateurs in Germany. His restaurant Saliba in Hamburg is renowned far beyond the city’s borders. Hans Hansen, Pierre Mendell, and the publisher developed the concept for this book together with Saliba as an expression of their enthusiasm for Arab cuisine. Arabic calligraphy complements the feast for the eyes and makes the book much more than a collection of recipes.

worLD oF GIVING

Design: Daniella Spinat, Daniel Koppich16.5 × 24 cm, 6 ½ × 9 ½ in256 pages, 120 illustrationspaperback2010, ISBN 978-3-03778-181-4, eEUR 30.– GBP 25.–USD / CAD 45.–

Edited by Jeffrey Inaba and C-Lab, Columbia University GSAPP

The world of giving has changed significantly. A new culture of giving that favors volunteering and action, coupled with accumulated expertise may enable imminent needs to be met. The World of Giving presents aid's history as an index of past and current relationships, indicating its indis-pensable global role in the future.

SCIENCE SUISSEAn Initiative of SrG SSr idée suisse

Design: Integral Lars müller16.5 × 24 cm, 6 ½ × 9 ½ in472 pages, 250 illustrationshardcover, with DVD2009, ISBN 978-3-03778-145-6e/ g/ f /i (PAL)EUR 30.– GBP 25.–USD / CAD 45.–

Edited by Christian Eggenberger, Lars müller

With texts by the Nobel Prize laureate Rolf Zinkernagel, Bertrand Piccard and photographs by Andri Pol

SCIENCEsuisse deals with science in Switzerland, with twenty-five textual portraits of selected re-searchers, depicting their development, career mile-stones, and outstanding research projects from the vantage point of distinguished science journalists.

ALL wE NEED

Design: Emanuel Tschumi, Fabienne Burri, Cybu richli16.5 × 24 cm, 6 ½ × 9 ½ in272 pages, 255 illustrationspaperback2007, ISBN 978-3-03778-119-7e / g /fEUR 30.– GBP 23.–USD / CAD 40.–

Edited by holzer Kobler Architekturen and iart interactive

The book’s point of departure is the ten needs of every person: subsistence, protection, affection, participation, recreation, creativity, understanding, identity, freedom, and transcendence. An exten-sive collage of texts and images illustrates the needs, supplemented by journalistic and art-his-torical images and philosophical quotations.

Index 95

8vo 64

A Time and Place 75A World Without Words 56Adjaye, David 11After Crisis 39Aga Khan Award for Architecture 32

Album of Stones 85All we need 94Allen, Stan 31And it Came to Pass – Not to Stay 34

And Now the Ensemble!!! 28Andersen, Michael Asgaard 75

Andrea Palladio – Unbuilt Venice 32

Architecture of Zaha Hadid 37Armin Hofmann 60Arp, Hans 67As Found, The Discovery of the Ordinary 41

AS in DS 35At first Sight 63Athanasiou, Nadja 88Authoring: RePlacing Art and Architecture 11

Baan, Iwan 18–19, 29, 31, 33, 38

Bächli, Silvia 74Baku – Oil and Urbanism 29Bandeira, Pedro 7Baur, Ruedi 48–49, 64–66Beltramini, Guido 26Benton, Tim 22–23Bernard, Pierre 64Binet, Hélène 37Biondo, Adriano A. 80Black and White 60Blau, Eve 29Blindhædir 74Bloom 88Borasi, Giovanna 16, 39Brasilia – Chandigarh 31Breaking the Rules 59Brillembourg, Alfredo 18–19Bucher, Annemarie 67Buchloh, Benjamin H. D. 72Buckley, Craig 73Buckminster Fuller, R. 34Bühler, Michael 88

Canadian Centre for Architecture, CCA, Montreal 16, 36, 39

Car Park and Terminus Strasbourg 37

Catherine Zask 59Celestino Piatti + DTV 57Chaviolas 86Christensen, Peter 12–13Cold War Confrontations 35Comix! 59Conradi, Jan 56Construction Site 40

Corporate Diversity 56Cotton Worldwide 93

Dan Graham’s New Jersey 73Davis, Pete 88de Smet, Catherine 41Dedelley, Frédéric 65Design Detective 65Design in Question 50Design2context 48–50, 56, 66Designing Design 53Designing Programmes 65Designing Universal Knowledge 66

Die gute Form 54Digital Materiality in Architecture 41

Disorientation / Orientation 1 66

Disorientation / Orientation 2 66

Distance & Engagement 36Doherty, Gareth 31Donald Brun 60Dumont d’Ayot, Catherine 22–23

Dynamic Identities in Cultural and Public Contexts 56

East of a New Eden 89Ecological Urbanism 31Editions Attituted, Geneva 74Eduardo Souto de Moura – Sketchbook No. 76 4

Education Automation 34Eggenberger Christian 94Eichinger, Gregor 62Eisenman, Peter 38Eliasson, Olafur 69, 75Elisava 50Encyclopedia of Flowers 70–71

Erni, Peter 56, 61ETH Studio Basel 30ETH Wohnforum 40Everything but the Walls 54

Faith is. 93Felsing, Ulrike 56Felzmann, Lukas 87Findings on Elasticity 62Findings on Ice 62Five North American Architects 15

Flechtner, Thomas 82–83, 88Floating Images 5For Climate’s Sake! 92Förster, Agnes 40Foscari, Antonio 27, 32Fotostiftung Schweiz 86Foxley, Alice 36Frampton, Kenneth 15Freitag 46From Camp to City 30From Rules to Constraints 10From Somewhere to Nowhere 77, 93

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

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

Hächler, Gabrielle 36Hadid, Zaha 37Handbook 62Handmade 61Hannes Wettstein Seeking Archetypes 55

Hans Hillmann 57Hara, Kenya 53Harvard University Graduate School of Design 12–13, 17, 31

Hattan, Eric 74Head to Head 58Heé, Barbara 86Help! 58Helvetica 52Helvetica Forever 52 Hertweck, Florian 20–21Herz, Manuel 30Herzog & de Meuron 36Holl, Steven 8–9Holocaust Memorial Berlin 38Holt Mark 64Holzer Kobler Architekturen 94

Hors-Sol 60Hotz, Theo 36Hutton, Louisa 33Huwiler, Martin 61

Iart interactive 94Ideas and Integrities 34Idenburg, Florian 38Imperfect Health 16Implicate & Explicate 33Imsand, Jean-Pascal 88In Jesus’ Name 81In Series 58In the Life of Cities 17In Wildwood 88Inaba, Jeffrey 94Instigations 12–13Institute of Historic Building Research and Conservation, ETH Zürich 22–23

Insular Insight 33Ivanišin, Krunoslav 39

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

Kakulya, Alban 89Kälin, Walter 91Katharina Grosse. Wish I Had a big Studio in the Center of the City 74

Kempf, Petra 40Kenzō Tange – Architecture for the World 14

Kitchen Tools 65Kleineidam, Christina 93Klumpner, Hubert 18–19Kockot, Stefanie-Vera 48–49Kollhoff, Hans 20–21Koolhaas, Rem 20–21Krausse, Joachim 35Kruk, Vinca 56Kuan, Seng 14Kuhn Rikon 65Kurashima, Takahiro 44–45

Labor visuell, at the University of Applied Sciences Düsseldorf 47, 57

Landfall 87Landform Building 31Langdalen, Erik Fenstad 32Lanz, Klaus 92–93Le Corbusier, Architect of Books 41

Le Corbusier’s Pavilion for Zurich 22–23

Letters only 58Lévy, Jean-Benoît 62Lichtenstein, Claude 35, 41, 61

Lidschlag 74Lippit, Yukio 14Lissitzky, El 67Louis Kahn: Drawing to Find Out 32

Louis Kahn: On the Thoughtful Making of Spaces 32

Lüem, Peter 88Lufthansa und Graphic Design 46

Lutz, Christian 81, 89

Maharam Agenda 55Maharam, Michael 55Malsy, Victor 52Mansilla, Luis M. 10Marchand, Christophe 61Marot, Sébastien 20–21Masey, Jack 35Mateo, Josep Lluís 39McQuade, Marc 11, 31Mendell, Pierre 63Menzi, Renate 46Merkel, Klaus 84–85Merrill, Michael 32Metahaven 56

96

Metahaven Uncorporate Identity 56

Michael Engelmann 59Miki, Akiko 33Mingard, Yann 89Miniature and Panorama 25Möller, Christian 75Morgan, Conway Lloyd 35Morrison, Jasper 43, 54Mostafavi, Mohsen 12–13, 17, 31–32

Muir Hamish 64Müller, Jens 47, 57Müller, Lars 31, 33, 52, 63–64, 80, 91–94

Museum of Design Zürich 46, 51, 56, 58–61

My Work is not my Work 64

Naegele, Isabel 65Natural History 36Nature Design 61Neder, Federico 35New Living 67News 82–83Niederberger, Lukas 93Nishizawa, Ryue 39Nooteboom, Cees 31Nordenson, Guy 33

Operating Manual for Spaceship Earth 34

Other Space Odysseys 39Otto Baumberger 58Ovaska, Arthur 20–21Oxvig, Henrik 75

Pabst, Jonas 65Paradise Switzerland 58Paradoxes of Appearing 75Pars Foundation 62Patterns and Structure 33Perspectives de vie à Londres et à Tokyo 39

Pfrunder, Peter 86Philips – Twen 57Photo Graphics 58Photographer 88Playfully Rigid 61Poemotion 44–45Poster Collection 51, 58–60Posters for Exhibitions 60 Posters for the Opera 63Pradal, Ariana 65Princeton University School of Architecture 10–11, 31, 38

Pro Helvetia Swiss Arts Council 28

Protokoll 89

Ralph Schraivogel 59Rasch, Heinz and Bodo 67Rentsch, Christian 92–93Reset – Beyond Fukushima 80

Revue 1926 60Richter, Hans 67

Riemann, Peter 20–21Rigolini, Luciano 86Ruedi Baur Intégral 64Rüegg, Arthur 67Rupnik, Ivan 29

Sachs, Angeli 61Saliba 94Saliba, Elias Hanna 94Sauerbruch Hutton Archive 33

Sauerbruch, Matthias 33Scents of the City 65Schregenberger, Thomas 41Schuller, Gerlinde 66Schwarzenbach, René 92–93Science Suisse 94Seibert, Andreas 77–79, 93Sense of the City 39Shift – Sanaa and the New Museum 38

Shu, Wang 2–3Signage Design Manual 66Signs for Peace 48–49Šik, Miroslav 28Silvia Bächli – DAS 74Smithson, Alison and Peter 35Smitshuijzen, Edo 66Snyder, Jaime 34Sou Fujimoto – Sketchbook 8Souto De Moura, Eduardo 4 –5Spinatsch, Jules 89Spirale 67Steven Holl – Color Light Time 9

Steven Holl – Scale 8Studio Hannes Wettstein 55Sumi, Christian 35Super Normal 43Swarm 87Swiss Federal Office of Culture, Bern 74

Swiss Photobooks From 1927 to the Present 86

Tange, Kenzō 14Tavares, André 7Taylor, Stephen 39Temporary Discomfort 89The Chair of Günther Vogt, ETH Zürich 37

The Chair of Josep Lluís Mateo, ETH Zürich 39

The City in the City – Berlin: A Green Archipelago 20–21

The Colors of Growth 78–79The Dolder Grand 88The Face of Human Rights 91The Formal Basis of Modern Architecture 38

The Image and the Region 40The Isms of Art 67The Magic of Things 51The Private Palladio 26The Reading of Time in the Text of Nature 85

The Sanaa Studios 38

The Uncarved Block 75The Vignelli Canon 57The World’s Fairest City Your’s and Mine 40

Theo Hotz Architecture 1949–2002 36

Thierstein, Alain 40Torre David 18–19Touch Me! 62Transfer 61Tree Nurseries – Cultivating the Urban Jungle 37

Trees like Stones 84Trilogy of Stones and Time 85Tröger, Eberhard 62Tropical Gift 89Tumult and Order 27Tuñón, Emilio 10Typo China 59Typotektur 62

Ungers, Oswald Mathias 20–21

Unimark International 56Urban-Think Tank, ETH Zürich 18–19

Ursprung, Philip 36Utopia or Oblivion 34

Valle, Giancarlo 10Van der Velden, Daniel 56Vers une architecture du livre 41

Video – Architecture – Television 72

Vignelli, Massimo 57Vishmidt, Marina 58Visual Strategies against Aids 60

Vogt, Günther 25

Wada, Kyoko 70–71Wang Shu – Imagining the House 2–3

Wasiuta, Mark 73Waters in Between 87Weiland, Karen 47What Anchors a House in Itself 36

What you see 86White 53Who owns the water? 93Windfall Light 64Wong, Karen 38Works 1World of Giving 94World of Giving 95Wyttenbach, Judith 91

You Are the City 40Your Engagement Has Consequences 69

Your Mobile Expectations: BMW H2R Project 75

Your Private Sky – R. Buckminster Fuller 35

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

Englisch Nachsatz 1

Lars Müller Publishers recommends www.architonic.com

Englisch Nachsatz 2

E-books for the iPadby Lars Müller Publishers

IMPERFECT HEALTHThe Medicalization of ArchitectureCo-published by CCA, MontrealEdited by Giovanna Borasi and Mirko ZardiniISBN 978-3-03778-287-3, EnglishISBN 978-3-03778-288-0, FrenchEUR 14.99 GBP 11.99 USD 19.99

ECOLOGICAL URBANISMEdited by Mohsen Mostafavi with Gareth Doherty, Harvard University Graduate School of DesignISBN 978-3-03778-330-6, English EUR 14.99 GBP 11.99 USD 19.99

Lars Müller

HELVETICAHomage to a TypefaceISBN 978-3-03778-332-0, EnglishEUR 7.99 GBP 6.49 USD 9.99

Edo Smitshuijzen

SIGNAGE DESIGN MANUALISBN 978-3-03778-331-3, EnglishEUR 14.99 GBP 11.99 USD 19.99

Englisch Nachsatz 3

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Lars Müller Publishers Catalog 2012/2013

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