Lars Müller Publishers 2010/2011 Architecture Design Photography ...

89016
Lars Müller Publishers
2010/2011
Architecture
Design
Photography
Art
Society
1 Architecture 2

Our new titles exemplify the value of the book as a medium
for storing and conveying complex contents, and also
suggest the variety of the design approaches through
which a book may assume its final form as an object.
The spectrum is immense. The unconventional perspective
of two icons of modernist architecture – Oscar niemeyer’s
Brasilia and Le Corbusier’s Chandigarh – offered by
photographer Iwan Baan forms a contrast with Louis Kahn’s
tenacious design process during the 1960s and with
Andrea Palladio’s bold plans for building in the Venice of
the renaissance.
Alongside new releases in the areas of architecture, design,
photography, and art, we are proud of the considerable
number of titles which continue to enjoy the interest of the
public. Our backlist remains the mainstay of our activities
as a publishing house.
we welcome your interest.
Lars Müller
Iwan Baan
BrASILIA – ChAnDIgArh
Living with Modernity
Edited by Lars Müller
With texts by Cees Nooteboom and
Martino Stierli
Design: Integral Lars Müller
24 x 30 cm, 9 ½ × 11 ¾ in, 240 pages
200 illustrations, softcover
2010, ISBN 978-3-03778-228-6, English
EUR 40.– GBP 40.– USD / CAD 60.–
“ Everything is monumental, human,
simple, grandiose, and ascetic
in the purity of its forms, which are
reduced to the necessary minimum.”
In 1960, Brasilia was celebrated as the realization
of an urban planning vision based on designs
by Lúcio Costa and Oscar Niemeyer. At the same
time, the sectoral city of Chandigarh was rising
according to plans by Le Corbusier. The “ test
tube city” arose as an export of modernity from
a Western planning euphoria that displayed
utopian traits. In both cities, foreign architecture
entered into a harmonious rela tionship with
indigenous culture, forming new and independent
identities.
This publication addresses the question of how
modernism has been appropriated in both cities,
and how the people who live in them deal with
it. Commonalities and differences are identified
and images of everyday urban life showcased.
On the initiative of the publisher, the photo grapher
Iwan Baan has taken stock of contemporary life
in both cities.
With commentary in the form of essays by Cees
Nooteboom on the photographs and by Martino
Stierli on the architectural and planning history.
3 Architecture 1
Lúcio Costa
50 years
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Brasilia

Michael Merrill
LOuIS KAhn:
DrAwIng TO fInD OuT
The Dominican Motherhouse
and the Patient Search
for Architecture
“while drawing, I’m always waiting
for something to happen.
I don’t want it to happen too
quickly, though.”
Louis Kahn
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Design: Integral Lars Müller
30 × 24 cm, 11 ¾ × 9 ½ in, 240 pages
233 illustrations, hardcover
2010, ISBN 978-3-03778-221-7, English
EUR 59.– GBP 60.– USD / CAD 85.–
Like few others, Louis Kahn cultivated the craft
of drawing as a means to architecture. His personal
design drawings are unique in the twentieth
century. Over two hundred – mostly unpublished –
drawings are woven together with a lively and
informed commentary into an intimate biography
of an architectural idea. Unfolding around the
iconic project for the Dominican Motherhouse
(1965 – 69, unbuilt) the drawings form a narrative
which provides compelling insights into Louis
Kahn’s mature culture of designing. Fascinating
beauty, the drawings open a new and stimulating
perspective on one of the past century’s great
architects.
Michael Merrill
LOuIS KAhn:
On ThE ThOughTfuL MAKIng
Of SPACES
The Dominican Motherhouse and
a Modern Culture of Space
Design: Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in, 240 pages
215 illustrations, softcover
2010, ISBN 978-3-03778-220-0, English
EUR 35.– GBP 35.– USD / CAD 55.–
irregular silhouette, its superimposed diagonal and orthogonal orders,
and its folded peripheries — being much more complex than either of
these two-dimensional readings would suggest. ) The final scheme
offers its inhabitants choices between ambulatory and linear patterns
of movement. The three great communal rooms, being at once usable
space and “ circulation,” are unconventionally skewered together over
the entire length of the building by a great diagonal enfilade. The corner-as-connecter
is Kahn’s provocative answer to the problem of the
otherwise “ dead ” corner of the square in plan: “ I discovered at Bryn
Mawr that you can connect a room over its corner.” Partially buffered
from the communal spaces by the thickened walls of “ servant ”
spaces, the ambulatories provide access to the dormitory rooms.
The linear and ambulatory systems, in combination with a series of
both extroverted and hidden stairs, give the students the choice of
both exposed and hidden routes through the building, the choice
between “ remote or direct association ” with cohabitants and with
those communal “ availabilities ” the house has to offer.
The Dominican Motherhouse represents a special, and especially
dense, manifestation of a “ society of rooms ” plan. We have already
studied in the narrative the earliest bipolar scheme, with its hermetic
cells and its communal “ Forum of Availabilities,” the great ambulatory
and courts being the means of both spacing and connecting the individual
spaces. By the development of the fourth and final version, the original
theme had evolved into something decidedly less conventional;
instead of being presented with a choice of access to various rooms from
the vantage point of a generous and unprogrammed “ space of appearance
” ( as at Fort Wayne, Ahmedabad, et al. ), we are now, from our position
within a single discrete room, presented with the choice of movement
in any one of at least three directions. Something like an “ ordered
labyrinth ” is the result. An inversion has taken place: the matrix
has replaced the counterform and virtually the entire complex has
become an “architecture of connection.” While the Kahnian imperative
of free choice has remained, that of “ indirect association ” has collapsed.
Robin Evans’ description of Raphael’s Villa Madama reverberates:
“Once inside it is necessary to pass through one room to the next, then
to the next, to traverse the building. Where passages and stairways
The Second Scheme: August – September 1966
While the June meeting was largely affirmative, it did not take long
for the first harbingers of difficulty to cloud the optimistic beginning.
In September, Mother Emmanuel, likely developing a sense for the
project’s true dimensions, wrote Kahn to express her concerns and
to remind him of the congregation’s limited budget. High interest
rates and inflation had added considerably to the burden of financing
such a large project during the mid-sixties, and without a reliable cost
estimate, she was uncertain of how to go forward.
After receiving Mother Mary Emmanuel’s letter, Kahn and Polk
soon began to reconsider their design. Attempting to press the first
plan’s parti into a more compact package, the architects developed
a second scheme over September. The monastery’s position
and orientation on the site remain the same, but now responds to
the sisters’ suggestion that the combined main and service entrance
drive now lead in from Bishop Hollow Road. This lessens the sense of
extended threshold when compared with the earlier approach through
the orchard. Gone as well is the elegant separation of visitor and service
access. On the other hand, the new monastery now has its own
address, no longer accessed by driving past the manor house. On this
point Kahn and the sisters were in agreement, and the new route of
approach would remain for the duration of the design.
In response to the new approach, the entry tower — now octago-
nal in plan — shifts from the west side of the complex to the east. In
an attempt to tighten up the plan, a narrower main gallery skewers
through the tower, connecting the communal spaces and terminating
in the school and the living quarters. The first version’s generous system
of cloisters has been compacted by pressing the building blocks
tightly against each other; gone are the figure-ground obscuring “ hollow
columns ” and “ water gardens ” of the earlier scheme. The direct
relationship between chapel and refectory — favored by both architect
and the sisters — remains. An intriguing moment in the plan is the
chapel, where a square rotated within a square creates poché for ancillary
spaces such as confessionals and sacristy as well as connecting
neighboring rooms. Whereas in the previous version the governing
geometry may be derived from both program and relationship to the
topography, here an “ irrational ” geometry takes over in which both
internal parti and external relationships are considerably less lucid
than before.
While this squeezing has wrung almost 35,000 square feet ( 3,252 m )
out of the plan ( now measuring 131,600 square feet [ 12,226 m ] and
landscape: the Texas plain of Fort Worth. Raking, horizontal, and
generously shade-giving in the stark Texas sun, the long-vaulted
Kimbell sympathizes with the extended lines of these dry flatlands.
Like the Salk Institute, the materials — here concrete, travertine,
and lead roofing — with their subdued colors and toothy textures,
were chosen for their bleached, archaic presence in the strong sun.
Details are kept flush to emphasize the simple shapes in sunlight,
revealing subtle tectonic relief only at closer range. It has been suggested
by Lawrence Speck that the long multiple vaults are references
to the bow-topped Texas livestock sheds which are so common
around the Fort Worth area, while the museum’s great loggias may be
seen as inter pretations of the vernacular domestic Texas porch.
Whether Kahn consciously abstracted from these antecedents remains
a source of speculation, as he never spoke of the building in this way.
( Although later in Texas, the project for the De Menil Collection
seems to wink even more explicitly at local domestic architecture. )
What is certain is that the Kimbell demonstrates a strong sense of its
locale — a deep insight into its atmosphere, its colors, its topography,
its vernacular — without the vaguest hint of the Southwestern vernacular
pastiche which has become so common in this part of America.
( This ur-sense of place would later lead the artist Donald Judd to ponder
if the Kimbell was not, perhaps, the first building to be erected in
Fort Worth, built by an earlier — more civilized — culture than the one
now living there. )
What these four buildings begin to intimate is that while Kahn’s
mature architecture is not “about ” contextualism in the style- emulating
and motif-seeking postmodernist sense of the word ( nor “ about ” landscape
in the contemporary, literalist, “ building-as-landscape ” sense of
the word ), it is indeed very much about gathering, focusing, and revealing
the conditions of its context. This revealing may take place at the
micro-scale of the particular site: the diagonal geometries of Erdman
Hall and the Fisher House may be discussed in purely formal or in
phenomenal terms. Anyone who has visited these buildings knows
the undeniably physical experience of these diagonal foils on their
sloping sites, how their prow-like shapes exaggerate and intensify
the sense of the immediate topography. ( Richard Serra’s site-specific
“ elevations ” come to mind. ) This revealing may — as in Angola — have
to do with atmosphere, may be experienced in the way that sun, wind,
2 Architecture 3
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It was not by chance that Louis Kahn’s move
into his profession’s spotlight coincided with the
crisis of modern architecture: representing, as his
work increasingly did, those aspects of space
which modernism had so ambitiously removed
from its program. Kahn’s rethinking of modern
architecture’s paradigm of space belongs to his
most important contributions to the métier. In
tracing the genesis of the unbuilt project for the
Dominican Motherhouse (1965–69), we are given
a close-up view of Kahn at work on a few fundamental
questions of architectural space: seeking
the sources of its meaning in its social, morphological,
landscape and contextual dimensions. This
rich and multivalent project opens the way to a second
section, which sheds new light on several of
major works in a timely reappraisal of Kahn’s work.
MICHAEL MERRILL, Dr.-Ing., is a practicing
architect in the USA and Germany and assistant
professor for Architectural Design at the
Karlsruhe Institute of Technology.

guy nordenson
PATTErnS AnD STruCTurE
Selected writings
Design: Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in, 464 pages
218 illustrations, softcover
2010, ISBN 978-3-03778-219-4, English
EUR 40.– GBP 40.– USD / CAD 60.–
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This rich collection of writings and criticisms by
structural engineer and Princeton University
professor Guy Nordenson, brings together previously
published essays on structural engineering,
architecture, design, and seismic research from
1972 to 2008. Decade by decade, 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.
Nordenson’s writings investigate a wide range of
genres: from technical reports on seismicity,
methods and technologies in structural engineering,
architectural criticisms, the importance of
collaboration in design, to the metaphor of tall
buildings, design democracy at Ground Zero, and
engineering history and theory.
“ It is rare to see engineers engaging in a sustained
effort to write about their work and its significance.
Those with a distinctive style are even less common.
nordenson possesses the capacity to convey
more than a technical expertise: a vision of what
matters today and how engineering can engage it. ”
Antoine Picon
With Great Joy and Expectations
In his 1968 autobiography Isamu Noguchi quoted Marcel Duchamp’s advice to him:
“ Don’t do anything that pleases you — only do that which you dislike and cannot
help but do. This is the way to find yourself. But it is also true that we cannot ever
be more than we are.” This turns against the grain of desire, but does not deny
desire or passion. It stills and sublimates it.
Buckminster Fuller and Isamu Noguchi met at Romany Marie’s tavern, for which
we are told Bucky designed the décor. Fuller would often stand on a table
and declaim his Homeric account of four-dimensional science and art, of triangles
and tetrahedra and the “ new consciously disciplined relationship of man to
his physical universe.” He enchanted an audience that included Noguchi, Mark
Tobey, Willem de Kooning, The Museum of Modern Art’s Dorothy Miller, the paleontologist
Walter Granger, and even Vilhjálmur Stefánsson, the Arctic explorer, with
epics that were part mathematics, part physics and chemistry, and part neo-Buddhist
mysticism avant-la-lettre, “ what the scientist-artist speaks of as intuition is the
intellect-initiated and synergetically precessional event evolution into conscious
objective anticipatory evolutionary conceptual formulation, realized in thought
described words, mathematical relationship rotation, graphical schematics, threedimensional
static and four-dimensional kinetic modelling.”
In 197 6 I worked as an intern in Noguchi’s Long Island City studio for Fuller and
Shoji Sadao, making tensegrity models with Rob Grip, one of Bucky’s assistants, for
that fall’s inaugural exhibition at the Cooper Hewitt Museum, titled Man Transforms.
Fuller stopped by one day and took me aside for tête-à-tête in his and Sadao’s
drafting office. He sat perched on a table; I took a chair, he turned off his hearing aid
and started off. Unfortunately, I don’t remember what he spoke of, but I do remember
I said nothing, figuring he could not or did not want to hear. Twenty-five years later
I learned from his daughter Allegra Fuller Snyder that he would turn off his hearing aid
at the start of a conversation so that he would not be distracted by ambient noises
and could concentrate, reading lips. I had completely misunderstood.
2. Boiler wall stiffness is neglected and the boiler element masses are
apportioned to each platform or key level on a tributary basis.
3. Typical load paths for boiler inertial loads are:
– element
– boiler wall ( consisting of vertical tubes )
– horizontal buckstay
– bumper
– main structure — columns or horizontal key level truss
– vertical bracing
Considerable attention is given to the design of the boiler wall to bumper
portion of the path, including any stress concentrations in the boiler wall.
4. Vertical bracing is designed by conventional means. A critical factor
is usually the client-specified limit on uplift forces at the column bases.
Current practice has been to mitigate this by locating the bracing between
columns supporting the “ top steel ” plate girders, mobilizing their
large reactions. The necessity for numerous ducts and other penetrations
across these “ inner ” bents, however, sometimes results in awkward configurations.
A review of this practice has identified several drawbacks which this
study has sought to correct:
– The boiler stiffness is in fact large and will influence the dynamic response
of the overall system. This has been recognized in the 1988 Uniform
Building Code (1988 UBC ) provisions for nonbuilding structures, wherein
it is mandated that elements weighing over 25 percent of the total system
weight must be properly represented in the analytical model.
– The horizontal diaphragm structure of two trusses alongside the boiler
cannot be considered rigid overall.
– The interference of ducts and other penetration with the bracing at the
“ inner ” bents is costly and preferably to be avoided.
Literature Review
An exhaustive review of existing literature on both the analysis and actual
earthquake response of SBSs has been done. Selected references are
provided herein. The literature obtained covers a range of topics including
the behavior of boilers in real earthquakes, vibration testing of fullsize
and scale model structures, and dynamic modelling of the boiler and
support structure.
Damage observed in real earthquakes includes buckling of crossbracing,
permanent deformations of the bumpers, damage caused by piping
Tall Building as Metaphor
“ The ‘ tall buildings, ’ which have . . . usurped a glory that affects you as rather
surprised, . . . the multitudinous sky-scrapers standing up to the view, from the
water, like extravagant pins in a cushion already overplanted, and stuck in as
in the dark, anywhere and anyhow, have at least the felicity . . . of taking the sun
and the shade in the manner of towers of marble. They are not all of marble,
I believe, by any means, even if some may be, but they are impudently new and
still more impudently ‘ novel ’ — this in common with so many other terrible things
in America — and they are triumphant payers of dividends; all of which, with flash
of innumerable windows and flicker of subordinate gilt attributions, is like the
flare, . . . of the lamps of some general permanent ‘ celebration.’ ”
After the terrorist attacks on New York and Washington on September 11 , 2001,
it was natural to wonder why the World Trade Center Towers and not the Statue
of Liberty had been the target in New York, why Al Qaeda had chosen a symbol
of commerce over a symbol of freedom. Whatever the answer, there is little doubt
that if it had been attacked, the statue would have been rebuilt ( as was the
Pentagon ) and not replaced ( as the World Trade Center will be ). What is not as
clear is how it would have been rebuilt, and what that would have meant.
Tall buildings, if only by being tall, look to stand out in a crowd. In time they may
become the crowd, but it is always their intention to speak up, to declare, indeed,
even to persuade us of their novelty, their sumptuousness, their responsibility
to social needs and ideals, their outright beauty, and their abstraction. The World
Trade Center Towers were built to revitalize downtown Manhattan and promote
globalization. Like Rockefeller Center, they expressed a unique moment of civic
will. And they became exponents of global commerce in the marketplace of
New York City. After their destruction, the same expression of civic will did not
reemerge; what did emerge was more of our own time.
hAMSun – hOLL – hAMArøy
Literature, Architecture, Landscape
Edited by Erik fenstad Langdalen, Aaslaug Vaa,
nina frang høyum, and Lars Müller
With photographs by Iwan Baan
Design: Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in, 240 pages
186 illustrations, hardcover
2010, ISBN 978-3-03778-214-9, English
2010, ISBN 978-3-03778-215-6, Norwegian
2010, ISBN 978-3-03778-213-2, German
EUR 40.– GBP 40.– USD / CAD 60.–
Steven Holl has set up a documentation
centre for the Norwegian author Knut Hamsun
(1859 –1952) on Hamarøy, in northern Norway.
This unconventional building reflects the author’s
no less unusual personality.
The centre in the barren landscape of Hamarøy,
where Hamsun lived and worked, the silence and
solitude, challenge visitors to involve themselves
with him and his work.
The book records the connection between
Hamsun, the architecture and the landscape.
Photographer Iwan Baan relates the landscape
and the building to each other. Historical
documents illustrate Hamsun’s contradictory
life and influential work, et al. the novel Hunger
(1890), with which Hamsun achieved his fame.
In 1920 the poet was awarded with the Nobel
Prize for Literature.
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Antonio foscari
AnDrEA PALLADIO – unBuILT VEnICE
Design: Integral Lars Müller
15 × 24 cm, 6 ½ × 9 ½ in, 288 pages
230 illustrations, hardcover
2010, ISBN 978-3-03778-219-4, English
EUR 40.– GBP 40.– USD / CAD 60.–
33 Giulio Romano, Battaglia di Ponte Milvio ( detail )
34 Giulio Romano ( and Raffaellino del Colle ? ), The Madonna and Child with Saint John
the Baptist ( detail )
35 Alessandro Buzzaccarini draughtsman, Fioravanti Penuti engraver [from the
watercolour by Marino Urbani], Interior of the Arena at Padua ( detail )
36 Giovanni Valle, Plan of the City of Padua ( edited ), 1784
50 51
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Any attempt to sum up Andrea Palladio’s (1508–
1580) creative achievements is invariably 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. They include the patriarchal Church of San
Pietro di Castello, the reorganisation of the Rialto
district at the commercial and financial heart of the
city, a church that would have overlooked the
Grand Canal and, lastly, the monumental complex
of the monastery for the Lateran Canons, the
Convento della Carità.
Antonio Foscari has now restored the balance by
charting the course of Andrea Palladio’s remarkable
life and prodigious oeuvre in a way that sheds
new light on all his works while also recognising
a number of previously unclassified drawings.
ANTONIO FOSCARI is an architect and professor
of history of architecture at the university IUAV of
Venice since 1971.
15 Demus Dalpozzo, Elevation of Libreria Marciana ( detail ), Venice
16 Detail of the Libreria Marciana, Venice 24 Villini giovanili
44 45
tradition of architectural culture that had developed over the
past decades, which until then he been able to explore almost
only indirectly or at one step removed.
It was in this spirit – without losing sight of his own cultural iden- the palazzo
tity or jeopardising his intellectual autonomy – that Palladio was in vicenza for
with Giulio when, after Gian Galeazzo Thiene’s death in 1542, his the thiene
son Marcantonio Thiene asked the famous “ Roman ” architect to
draw up a model for a palace through which he planned to assert
his family’s power and authority in the heart of Vicenza.
Clearly, inspired by such ambitious motives, Marcantonio
Thiene would never have considered entrusting such a challenging
task to a young man who had not completed a single work of
similar importance, and who for years had been known in the city
as the employee of a stonemasons’ workshop.
Instead, based on the wealth of experience he had accumulated
in Rome and Mantua, Giulio was commissioned. He was the one
architect who would have had no problem interpreting Marcantonio
Thiene’s self-celebratory requests. Indeed, to satisfy the ambition
of this Vicentine nobleman, Giulio Romano conceived
such a disruptive design that, had it been completed, would have
destroyed the late medieval framework of Vicenza’s urban fabric,
right at its centre.
This palace, with its square layout like Bramante’s Palazzo dei
Tribunali [ 52 ] or the Palazzo Te in Mantua, [ 53 ] was on a scale that
dwarfed all other private buildings in the city and it would have
stood in isolation ( in isola, forming an entire block, as Palladio
2 would say ), surrounded by four streets.
Its autonomy would have been emphasised by four virtual towers
that added weight to its corners, also in visual terms; but this
was not all. On two sides, it would also have been given perhaps
even greater emphasis by setting its façades back from the existing
street alignments. A volume jutting out from the main façade of
the fabbrica would have confirmed – as if it were a tribunal ( one
might say an imperial tribunal ) – the patron’s desire for power.
47 Villa Saraceno ( edited ), Finale ( Vicenza )
46 Villa Pojana, preliminary studies ( detail ), Pojana ( Vicenza )
48 Villa Zeno ( edited ), Cessalto ( Treviso ) 49 50 51
ANDREAS FUHRIMANN
GABRIELLE HÄCHLER
Andreas Fuhrimann Studium der Physik
und der Architektur an der ETH Zürich,
1985 Architekturdiplom ETHZ. 1986 Entwurfs-
und Planungsarchitekt im Architekturbüro
Marbach + Rüegg. Ab 1987 Zusammenarbeit
mit Christian Karrer. 1988
Dozent an der Kunstgewerbeschule Zürich.
Ab 1995 Zusammenarbeit mit Gabrielle
Hächler. 2005 Aufnahme in den BSA.Seit
2009 Dozent an der ETH Zürich
Gabrielle Hächler Studium der Kunstgeschichte
Universität Zürich, Studium der
Architektur ETH Zürich, 1988 Diplom
ETHZ. 4 Jahre Assistenz an der ETHZ. Ab
1988 eigenes Architekturbüro. Temporäre
Zusammenarbeit mit anderen ArchitektInnen
oder KünstlerInnen. Seit 1995 Zusammenarbeit
mit Andreas Fuhrimann. 2005
Aufnahme in den BSA. Seit 2009 Dozentin
an der ETH Zürich
56 57
whAT AnChOrS A hOuSE
TO ITSELf
AnDrEAS fuhrIMAnn
gABrIELLE häChLEr
With contributions by Hubertus Adam,
Kurt W. Forster, Gianni Jetzer, Marie Theres
Stauffer, and the architects
Photographs by Valentin Jeck
Design: norm
18.6 × 24.8 cm, 7 ¼ × 9 ¾ in, 216 pages
approx. 200 illustrations, hardcover
2010, ISBN 978-3-03778-240-8, English
2010, ISBN 978-3-03778-224-8, German
EUR 35.– GBP 35.– USD / CAD 55.–
The Zurich architects Fuhrimann Hächler take
on the most diverse building commissions. The
present volume is devoted in particular to private
residences, most of them realized for clients who
are at home in the architectural and art scenes.
These homes captivate by virtue of the clarity
and simplicity of their constructive materials, their
economically effective construction, and their
haptic, sensual surfaces and flowing spatial transitions.
Outstanding examples of their architecture
include the Haus Presenhuber in Vnà (2007),
the Haus Müller Gritsch in Lenzburg (2007) and
their own residence in Zurich (2003). The text contributions
take the reader beyond the featured
residences while situating these within the overall
oeuvres of the architects.
6 Architecture 7
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AFGH WHAT ANCHORS
A HOUSE TO ITSELF
ANDREAS
FUHRIMANN
GABRIELLE
HÄCHLER
LARS MÜLLER PUBLISHERS
WHAT
ANCHORS
A HOUSE
TO ITSELF
INHALT
SIEBEN
22 / 174
PAVILLO
HAFEN
50 / 182
HAUS IN
ZENTRA
84 / 190
HAUS
PRESEN
121
SYNTHE
UND BR
AFGH
000
ZUR PE
VON KU
ARCHIT
Gianni J
000
ÜBER D
DER AR
Marie-T
000
BAUEN
BEWEG
Kurt W.
000
ABC
Hubertu

TrEE nurSErIES – CuLTIVATIng
ThE urBAn JungLE
Edited by Dominique ghiggi, the Chair of
günther Vogt, Department of Architecture,
ETh Zürich
Design: Integral Lars Müller
24 × 33 cm, 9 ½ × 13 in, 240 pages
600 illustrations, softcover
2010, ISBN 978-3-03778-218-7, English
2010, ISBN 978-3-03778-217-0, German
EUR 35.– GBP 35.– USD / CAD 55.–
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Exotic trees in England and a rainforest in
Zurich, a seed bank on the arctic island
of Spitsbergen and urban agriculture in Tanzania,
trade in old trees in China and biodiversity
in Senegal. Tree Nursery – Cultivating the Urban
Jungle uses the example of plant production
throughout the world to demonstrate the manifold
relationships that exist between human beings
and nature. Numerous essays and detailed
accounts examine current phenomena like desertification
in the Sahel, greening projects in
Shanghai and the genesis of rooftop gardens in
London. Travelogues from Europe, Africa and
Asia consider the role played by a range of
economic and historical factors in the significant
influence that tree nurseries have come
to exercise on urban planning and landscape
architecture.
R H O D O D E N D RO N -
M A N I A
150 Jahre nach der in England stark
verbreiteten Rhododendronmania fotografi
erte der belgische Gärtner Koen van de
Moortel zehn Jahre lang eine unüberschaubare
Zahl blühender Rhododendron-Sorten
in den berühmtesten Gärten und Parks
seines Landes. Die Züchtungen des Rhododendrons
sind so unterschiedlich wie ihr
Verbreitungsgebiet – von der Meeresküste
bis ins Hochgebirge, vom tropischen
Regenwald bis in die subpolare Tundra.
Bildserie von Koen van de Moortel
DAGENHAM
D O C K S
BAUMSCHULE ALS PARK
So übergreifend der Begriff ist, so unterschiedlich
kann die Umsetzung der Prämisse
«Nachhaltigkeit» aussehen: Ihre Bedeutung
für Bauwerke, Grünfl ächen oder die Produktion
hängt von den Zielen, dem Standort
und seinen Ressourcen ab. Was im ökologischen,
wirtschaftlichen oder sozialen
Klima Shanghais Ressourcen schont, kann
in Zürich eine andere, vielleicht negative
Bilanz ergeben. Nachhaltigkeit mag ein
globales Thema sein, ihre Umsetzung ist in
höchstem Mass lokal. Insofern ist der Sustainable
Industries Park Dagenham Docks
ein Paradox: Er verbindet zwei so globale
wie künstliche Landschafts- beziehungsweise
Stadtlandschaftselemente – Industriegebiet
und Baumschule – zu einem lokalen
Konglomerat nachhaltiger Gestaltung.
Essay von Silke Schmeing
Ein Projekt von Vogt Landscape Limited London und Sergison Bates architects LLP, London
Alice foxley
DISTAnCE AnD EngAgEMEnT
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walking, Thinking and Making Landscape
Vogt Landscape Architects
Design: Integral Lars Müller
24 × 16.5 cm, 9 ½ × 6 ½ in, 480 pages
approx. 1000 illustrations, hardcover
2010, ISBN 978-3-03778-196-8, English
2011, ISBN 978-3-03778-195-1, German (January 2011)
EUR 50.– GBP 50.– USD / CAD 80.–
16 0 161 Project Novartis Campus Park Switzerland
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. They
don’t want to depend just on knowledge acquired
from books. They venture out into the landscape
at all times of the day and year and interrogate
what they see there. They make room for art and
science in their studies and use the same tools
SChematiC deSigN. A 1:200 model shows an inter­ ‘interpretation’ implies artistic invention. The successive
pretation of Basel’s ‘hidden landscape’ transformed terraces, for example, do not descend a slope but instead
into a park located on the roof of a subterranean parking are tilted upwards, as shown in the project sections
to turn garage. Because their it is a park landscape and not a scientific model, (p. 162). designs Thus, at the end of this into sequence layer reality.
after layer
Their “field trips” begin out of curiosity based
on something they’ve seen, heard, or read. Against
this backdrop, they explore, among other things,
fortifications in France, the Upper Rhine in
Switzerland, and national parks in England. The
results of their “field trips,” research projects,
and practical implementations in projects by Vogt
Landscape Architects are collected in this
publication.
1 2
of terraces are visible from a ground­level viewpoint. The
dramatic effect of this structure is revealed in photographs
of Novartis Campus Park as built (see pages 200 –201).
226 227 Project Novartis Campus Park Switzerland
ALICE FOxLEy studied architecture in Newcastle
and Bath, UK. Employed with Vogt Landscape
Architects since 2003.
günther Vogt
1 initial sketch
MInIATurE AnD 2 1:100 model of the oil tank
terraces and proposed park south
of Tate Modern photographed
from above
PAnOrAMA
Vogt Landscape Architects
7 8
304 305 Project London Tate Modern England
16.5 × 24 cm, 6 ½ × 9 ½ in, 576 pages
950 illustrations, hardcover
2007, ISBN 978-3-03778-069-5, Eng
2006, ISBN 978-3-03778-068-8, Ger
EUR 50.– GBP 50.–
USD 65.–
1 2
TransforMing TaTe Modern. The proposed land- emphasise in diverse ways connections between
here, focusing on the triangle of land to the south framed by At the junction of Sumner Street and Holland Street
scape of Tate Modern’s southern hemisphere uses coherent ‘Transformed’ Tate Modern and the visible urban and
Sumner Street, Tate Modern and the planned Transforming the roofs of subterranean oil tanks housing new gallery
circulation to connect disparate existing and new parts. invisible geological contexts. Because the project is still
Tate Modern extension. In our proposal the dual functions spaces double as a series of raised terraces enclosed
The proposed landscape morphology and materiality in progress, only parts of the design process are shown
of local park and Tate Modern plaza are combined. by a continuous wall of rough stabilised London Clay.
8 Architecture 9
1 1:200 model
2 details from the 1:200 model

TOuCh ME
The Mystery of the Surface
Edited by gregor Eichinger and Eberhard
Tröger, Chair of Architecture and Design,
Department of Architecture, ETh Zürich
Design : Ecke Bonk
16.5 × 24 cm, 6 ½ × 9 ½ in, approx. 240 pages
approx. 500 illustrations, softcover
ISBN 978-3-03778-229-3, English (January 2011)
EUR 30.– GBP 30.– USD / CAD 50.–
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Like a living skin, the architectural surface provides
an impression and expression of human
needs, moods and time-related commitments of
our designed environment. The surface is what
we perceive with all our senses at the same time
as spontaneous, synaesthetic, multi-dimensional
experience. Working on the basis of his work in
his department at the ETH in Zurich, in this publication
Gregor Eichinger therefore shifts emotional
relationships between people and architecture
into the centre. Touch me’s associative switches
between interdisciplinary texts and pictorial
sequences create a cosmos of our perceptions
of the built and designed environment.
Josep Lluís Mateo
Architectural Papers V
AfTEr CrISIS
Contemporary Architectural Conditions
Edited by the Chair of Josep Lluís Mateo,
Department of Architecture, ETh Zürich,
and Krunoslav Ivanišin
With contributions by Iñaki Ábalos, Tariq Ali,
Alexander Brodsky, Antón García-Abril, Rem
Koolhaas, Krunoslav Ivanišin, Julio Martínez
Calzón, Josep Lluís Mateo, Richard Sennett,
Wang Shu, Ramias Steinemann, Slavoj Žižek,
among others
Design: Integral Lars Müller
16.5 × 24 cm, 6 ½ × 8 ¾ in, 160 pages
approx. 175 illustrations, softcover
2010, ISBN 978-3-03778-230-9, English
EUR 25.– GBP 25.– USD / CAD 40.–
After Crisis concentrates around the new conditions
for architectural practice and around the
new epistemologies that may inform it in the next
future. That is, in the period after the financial
bubble has collapsed and living and working
conditions have significantly changed. Essays,
studies and interviews, along with a selection
of indicative projects, tackle the actual issues
of growth and shrinking, economy and ideology,
craftsmanship and social space in the city,
materiality and sustainability in architecture. In
a logical sequence, they depict the current
reality of architecture.
AFTER
ConTEmpoRARy ARChITECTuRAl CondITIonS
CRISIS
lARS müllER publIShERS
10 Architecture 11
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Dubai is a little statelet built on sand. Many of us have
of migrant labour from South Asia. Without this migrant
been saying for twenty years that if there is a serious
labour, the country would collapse, but they do not in-
economic crisis, countries like Dubai could disappear.
tegrate this migrant labour into the society as a whole
They will not disappear from the map, but all this con-
because they feel that these people might challenge it.
struction of huge skyscrapers which stay empty, with
Essentially, Gulf States are apartheid states, where the
only one storey occupied in a twenty storey building, will
migrants are kept on one side and the rich, both locals
CAN DUBAi come to an end. it is a world without a future. SURViV and foreigners, live in those bubble spaces. E ?
best-sellers.
Tariq Ali
… “Model Dubai” has bitten the dust, maybe forever. But
in fact, such a reading only reinforces our initial accusation
of laziness: Dubai is an entirely different construct,
the brainchild of a local minority that generously invited
manpower and expertise from everywhere to assemble an
artificial community, to test, explore and put into practice STRESSTEST
the relationship between islam and modernity.
Where a Western perspective could only register unguid-
Rem Koolhaas
inTEgRA T ion of THE Lo CAL And THE ConTEmPoRARy
As far as the architectural exploration is concerned, architects
should focus more on how Tiles wall integrates
with modern concrete construction system, and how its
height can be enlarged up to twenty four meters instead
of only eight of the traditional way. in the ningbo Historic
museum project, approximate same quantities of
tiles walls and concrete walls building with bamboo formwork
twist together, which become a kind of dialog with
complicated meaning but plain form. The result is really
surprising. on the detailed principles with incontrollable
masonry by handicraftsmen, the dark red tiles shape as
various “natural forms”. it is within the principles, but
out of our expectation.
When the construction of the museum was completed, it
was almost beyond words for these craftsmen to express
their pride. They did not call me “professor” any more, but
“master worker”. They told me that someone had asked
them to build the private houses using the method we
have used while building this museum. This confirms my
former idea that if we do not use traditional construction
methods with the modern ways in large-scale contemporary
architectures, Chinese architectural traditions will
die in architects’ empty talk and casuistry.
themselves about what they have done there. This laughter
is meant to mask the shame that they do these things
just for money. Lot of architects working there had no
integrity: it was about building something there just to
get a lot of money and then building something really serious
back where it matters. You can compare most of
the buildings in these imperial petrol stations to airport
That is the characteristic of all the Gulf States. i refer to
The great countries of the islamic world are the countries
them often as imperial petrol stations.
of the Maghreb, Egypt, iran, even Saudi Arabia or Yemen. The only building that i have seen there in which a West-
These are real countries, whether you like them or not; ern architect has tried to relate architecture to the soci-
As long as they have energy, gas and oil, they will go on.
whereas the Gulf States are a totally artificial breed. All ety in which he is building is the New islamic Art Museum
But if the price of oil collapses, if there are new eruptions
the buildings there could be seen as a sort of Post- Mod- in Qatar by i. M . P e i .
of war... these societies will not be able to cope with it.
ernist mimicry which forgets what there originally was.
As long as they carry on getting money and then using
They have nothing to do with the lives of people in that
that money the way they do, without being accountable to
area and there is a high level of obscenity in these build-
anyone, they can carry on existing, but that is a strange
ings. it is a very strange world. it does not feel real.
sort of an existence.
it reminds of dreams of American billionaires who became
it is strange in many ways: strange in the sense that the
rich suddenly and then they build strange buildings in
indigenous population is very small, and strange in the
strange parts of the United States. Gulf States have been
sense that they are totally dependent on a huge influx
exploited by some famous architects who laugh among
ed frivolity, Dubai from an iranian perspective would represent
freedom; from an indian, opportunity; to an Arab,
the hope that Arab modernity can work… it is true that
at one point a grotesque developer’s euphoria created
in the Gulf a number of unsustainable “visions”, some
barely built, others mercifully evaporated. With the yearly
cityscape as a nightmarish apotheosis, Dubai became an
experiment in what would happen in a world where the
developer would no longer encounter resistance. But the
reality on the ground remains much more complex…
Dubai is a prototype that will never be repeated. its madness,
even in retrospect, has the profoundly sympathetic
quality of a test with an uncertain outcome. it is impos-
sible to witness dawn across the Palm’s organized tenternationalism, to the sanctums of China’s think tanks, a
tacles without being moved by their sheer beauty, their new Arab world is being plotted and planned. The entire
weird poetry in numbers. The eye’s journey from the Gulf is teeming with initiatives- from the most public to
Burj’s base to its pinnacle has to traverse such a vast the most private- to change and reinvent seemingly im-
number of “perspectival” conditions as have never before mutable rules, regimes, edicts, and assumptions, culmi-
been offered in the history of mankind: a building where nating, perhaps, in the stated intention of Saudi Arabia,
top and bottom belong to literally different worlds. The Kuwait, Bahrain, Qatar, the United Arab Emirates and
metro, even unpaid, is an exhilarating achievement… Du- Oman to work more closely together in the Gulf Cooperabai’s
vision contained profound levels of reality. in fact tion Council… As we witness the very moment when the
the genius of Dubai was to suspend reality for one eu- proven hollowness and corruption of our own systems
phoric decade. The result, in the form of the Palm, the give us pause, there is every reason to take such integra-
Burj Khalifa, Business Bay, Dubai Marina, are significant tion very seriously.
prototypes that even if they read today as symptoms
of excess will soon become recognizable as defining But the Gulf states have a past, and they will have a fu-
achievements of the early twentieth century, both good ture. The contours of that future are readable even now
and bad… it is also obvious that Dubai’s energy and tal- amidst the signs of disarray.
ent are not spent; it has reached a point where it can only
have a great future.
From informal summer gatherings of Arabia’s jeunesse
dorée, to the deepest recesses of Riyadh’s royal palaces,
to the teetering international accountants’ empires that
are restructuring Dubai World’s debt, to Doha’s brisk in

Andrea Branzi, et al., “Masterplan Strijp Phillips, Eindhoven,” model view (1999–2000)
ECOLOgICAL urBAnISM
Edited by Mohsen Mostafavi with
gareth Doherty
harvard university graduate School of Design
With contributions by Homi Bhabha, Stefano
Boeri, Chuck Hoberman, Rem Koolhaas, Sanford
Kwinter, Bruno Latour, Nina-Marie Lister, Mohsen
Mostafavi, Matthias Schuler, Sissel Tolaas,
Charles Waldheim, among others
Design: Integral Lars Müller
16.5 × 24 cm, 6 ½ × 8 ¾ in, 640 pages
approx. 1000 illustrations, hardcover
2010, ISBN 978-3-03778-189-0, English
EUR 40.– GBP 40.– USD/CAD 60.–
While climate change, sustainable architecture,
and green technologies have become increasingly
topical, issues surrounding the sustainability
of the city are much less developed. The premise
of the book is that an ecological approach is
urgently needed both as a remedial device for
the contemporary city and as an organizing
principle for new cities. Ecological Urbanism
approaches the city without any one set of instruments
and with a worldview that is fluid in scale
and disciplinary approach. Design provides the
synthetic key to connect ecology with an urbanism
that is not in contradiction with its environment.
The book 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.
12 Architecture 13
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OThEr SPACE ODySSEyS:
grEg Lynn, MIChAEL MALTZAn,
ALESSAnDrO POLI
Edited by giovanna Borasi, Mirko Zardini,
and Canadian Centre for Architecture
Design: Integral Lars Müller
15 × 21 cm, 6 × 8 ¼ in, 160 pages
113 illustrations, softcover
2010, ISBN 978-3-03778-193-7, English
2010, ISBN 978-3-03778-194-4, French
EUR 25.– GBP 23.– USD / CAD 35.–
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Today we are witnessing a renewed enthusiasm
for space exploration, with scientific expeditions,
satellite launches, and the emergence of space
tourism pushing us to reconsider our relationship
with our planet.
Other Space Odysseys has nothing to do with
Space Architecture or architecture in outer space.
It is not a celebration of high-tech architecture
and imagery or extreme physical and mental conditions.
Instead, this book proposes a letting
go of architecture understood as the production
of material goods in favour of architecture as
the production of ideas.
How can thinking about space lead to fresh perspectives
on earth? Greg Lynn, Michael Maltzan
and Alessandro Poli present different avenues
for approaching this question. Their odysseys,
real and virtual, ultimately promise a rediscovery
of our own world.
Stephen Taylor,
ryue nishizawa
PErSPECTIVES DE VIE
A LOnDrES ET A TOKyO
Edited by
giovanna Borasi, CCA
15 × 21 cm, 6 × 8 ¼ in, 160 pages
160 illustrations, softcover
2008, ISBN 978-3-03778-150-0, Eng
2008, ISBN 978-3-03778-152-4, Fr
EUR 19.90 GBP 18.99
USD / CAD 29.90
N .O. A .H. ( New Outer Atmospheric Habitat )
Greg Lynn
When Jörg Tittel and Ethan Ryker were developing Divide, a science fiction
film addressing some of the socio-political mores that shape our world and
future, he invited me to design one of the characters: four new planets. The
N.O.A.H. ( New Outer Atmospheric Habitat) structures are internally porous,
city-scaled, man-made space stations housing millions. They are designed to
take advan-tage of orientations unique to the absence of gravity, much like the
interior organization and structures of cells or bacteria. The N.O.A.H.s are
riddled with open spaces and microclimates directly transplanted from earth. It
is a design concept combining architecture, technology, and terrestrial nature
to create a new ideal of living space — one not bound by gravity or planar surfaces.
From a distance, a N.O.A.H. resembles a single vast discrete shape, but
on closer obser vation it becomes an amalga mation of mutable and modular
cellular pockets. These cells create a variety of structural layers — similar to
a coral reef — and read as chambers and volumes within. When intersected
with the outer skin, they create crater-like openings that allow for the circulation
of light and air throughout the interior spaces.
N.O.A.H. ( New Outer Atmospheric Habitat ),
Greg Lynn, 2004
Asia, one of the “ planets” designed for the film
Divide : the structure is riddled with open spaces
and microclimates directly transplanted from
earth’s continent of the same name.
Model : 3-D printed ABS plastic
Pages 26–29 : Side, front and axonometric views
of the Asia planet.
Rendered frames
25
Autoritratto con riflessa autostrada Terra-Luna
( Self-portrait with reflection of Earth-moon highway
), Alessandro Poli, 1973
Photomontage
91
Zeno in his house in Riparbella, Alessandro Poli,
Zeno: Research on a Self- Sufficient Culture,
1 9 7 9 – 80
METAhAVEn
unCOrPOrATE IDEnTITy
Edited by Metahaven (Daniel van der Velden
and Vinca Kruk) with Marina Vishmidt
Co-published by Jan van Eyck Academie
Design: Metahaven
17 × 24 cm, 6 ¾ × 9 ½ in, 608 pages
200 illustrations, softcover
2010, ISBN 978-3-03778-169-2, English
EUR 45.– GBP 45.– USD / CAD 80.–
Uncorporate Identity is an anthology of
Metahaven projects, ideas and models. A science
fiction book about design, it describes corporate
identity beyond certainty, entwined with politics,
speculation and information networks. Carved
out from the multipolar geopolitical spaces of the
early 21st century and the paradoxical leftovers
and peripheries of ancient regimes and ruined
ideologies, Uncorporate Identity 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.
Uncorporate Identity is edited by Daniel van
der Velden and Vinca Kruk (Metahaven) with
Marina Vishmidt and includes contributions by
Pier Vittorio Aureli, Bruno Besana, Mariana
Celac, Boris Groys, David Singh Grewal, Vladimir
Kolossov, Keller Easterling, Dieter Lesage,
China Miéville, Mihnea Mircan, Chantal Mouffe,
Florian Schneider, Regula Stämpfli, Michael
Taussig, Marina Vishmidt, and others.
14 Architecture/Design 15
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gLOBAL DESIgn
International Perspectives and
Individual Concepts
Edited by the Museum of Design Zürich,
Angeli Sachs
nATurE DESIgn
from Inspiration
to Innovation
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With contributions by Beatriz Colomina, Angeli
Sachs, Philip Ursprung, Jeroen van Rooijen, a.o.
Design: Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in, 320 pages
350 illustrations, softcover
2010, ISBN 978-3-03778-210-1, English
2010, ISBN 978-3-03778-154-8, German
EUR 35.– GBP 35.– USD / CAD 60.–
This volume surveys the ways in which our globalized
world has manifested itself in design since
1970, and the ways in which design has evolved to
serve a globalized world. The point of departure is
a conception of design which encompasses
architecture, graphics, the media, fashion, product
and industrial design, as well as the shaping of the
manmade environment and of production processes.
The focus is on the formation of global networks
in the areas of communication, production,
commerce, finance, and mobility. The diverse phenomena
of globalization are visualized through film,
products, clothing, images, and models by wellknown
artists. Alongside the shipping container, an
indispensable element of globalization, the presentation
present day and historically, and presents
globalization in relationship to regionalism as well
as to worldwide trends.
Edited by the
Museum of Design Zürich,
Angeli Sachs
16.5 × 24 cm, 6 ½ × 9 ½ in, 320 pages
318 illustrations, softcover
2007, ISBN 978-3-03778-98-5, Eng
2007, ISBN 978-3-03778-100-5, Ger
EUR 30.– GBP 30.–
USD / CAD 49.–
fInDIngS On ELASTICITy
Edited by Pars foundation
Design: studio Joost grootens
20 × 27 cm, 7 ¾ × 10 ¾ in, 208 pages
70 illustrations, softcover
2010, ISBN 978-3-03778-148-7, English
EUR 35.– GBP 35.– USD / CAD 55.–
The second issue in the exciting and experimental
cross-disciplinary series Findings on . . . by Astrid
van Baalen and Hester Aardse from the Pars
Foundation is centred on elasticity in the broadest
sense of the word. What happens when one
gives a simple rubber band to an architect, historian,
choreographer, chemist, artist, mathematician,
physicist, economist, anthropologist, and
geologist and asks each of them for a statement
on elasticity? The economist studies the elasticity
of supply and demand of market forces. The
architect calculates the elasticity of the steel
structure of a building during an earthquake. The
anthropologist studies the flow of people returning
to their homes in the wake of a natural disaster.
The editors draw researchers out of their
specialized niches in order to publish their brilliant,
crazy, important, or bewildering results and
assemble them in this interdisciplinary volume.
Findings on Elasticity is the second issue of
a publication series that together will constitute
an atlas of creative thinking.
Pars foundation
fInDIngS On ICE
16 Design 17
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Edited by hester Aardse
and Astrid van Baalen
20 × 27 cm, 7 ¾ × 10 ¾ in, 190 pages
126 illustrations, softcover
2007, ISBN 978-3-03778-125-8, Eng
EUR 30.– GBP 30.–
USD / CAD 45.–

Massimo Vignelli
ThE VIgnELLI CAnOn
Design: Massimo Vignelli
14.8 × 21 cm, 5 ¾ × 8 ¼ in, 112 pages
142 illustrations, hardcover
2010, ISBN 978-3-03778-225-5, English
EUR 25.– GBP 20.– USD / CAD 35.–
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. By doing
this he is making an important manual available
to young designers that in its clarity both in
terms of subject matter and visually is entirely
committed to Vignelli’s modern design.
See p. 50 unIMArK InTErnATIOnAL
Equity Many times we have been asked to design a logo
or a symbol for a company – often at the request
of the marketing department to refresh the
company’s position in the marketplace.
Although this may be a legitimate request, very
often it is motivated by the desire for change
merely for the sake of change, and that is a
very wrong motivation.
A real corporate identity is based on an overall
system approach, not just a logo. A logo
gradually becomes part of our collective culture;
in its modest way it becomes part of all of us.
Think of Coca-Cola, think of Shell, or, why
not, AmericanAirlines. When a logo has been
in the public domain for more than fifty years
it becomes a classic, a landmark, a respectable
entity and there is no reason to throw it away
and substitute a new concoction, regardless
of how well it has been designed. Perhaps
because I grew up in a country where history
and vernacular architecture were part of the
culture of the territory and were protected,
I consider established logos as something
to be equally protected.
The notion of a logo equity has been with us
from the very beginning of time. When we were
asked to design a new logo for the FORD Motor
Company, we proposed a light retouch of the old
one which could be adjusted for contemporary
applications. We did the same for CIGA HOTELS,
CINZANO, LANCIA Cars and others. There
was no reason to dispose of logos that had
seventy years of exposure and were rooted in
people’s consciousness with a set of respectable
connotations. What is new is NOT a graphic
form but a way of thinking, a way of showing
respect for history in a context that usually has
zero understanding for these values.
34
Grids for Books
62
For the design of a book the grid provides again
structure and continuity from cover to cover.
In a picture book, according to the content, the
grid could have a number of columns and subcolumns
to organize the information accordingly .
In agreement with the content the size of the book
will be the first thing to be determined.
A book with square pictures will be square, a book
with rectangular pictures will be rectangular or
oblong, in accord with the most appropriate way
to exhibit the material. The content determines
the container – a basic truth also in book design.
It is a good practice to relate the grid to the
proportion of the majority of pictures, so that
there will be the least need for cropping their
images. Today photographers are more careful
about the composition of their images, so
the grid should be devised to take that in proper
consideration. By structuring the grid accordingly
the book will have a higher level of integrity
than otherwise.
The illustrations provide several examples of grids
for several kinds of books.
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Type Size
Relationship
82
1 0 0
We have some basic rules for typesetting. Choose
the proper size of type in relation to the width of
the column:
• 8/9 pt, 9/10 pt, 10/11 pt for columns up to 70 mm.
• 12/13 pt, 14/16 pt for columns up to 140 mm.
• 16/18 pt, 18/20 pt for larger columns.
Naturally every situation may require a different
ratio. For display reasons we like to set the type
much larger or increase the leading to achieve a
particular effect.
Basically we stick to no more then two type sizes
on a printed page, but there are exceptions.
We like to play off small type with larger type –
usually twice as big ( for instance, 10 pt text and
20 pt headings ). I prefer to keep the same size for
heads and subheads in a text, and just make them
in bold, with a line space above and none below,
or two line spaces above and one below according
to the context. We love type size consistency in
a book, which is also more economical since you
can set a style page and stick to it.
We try to achieve a typographic composition
that expresses intellectual elegance as opposed to
blatant vulgarity by using typographic devices: a
proper amount of leading for the context, a proper
use of roman or italic type, a regular spacing, a
tight kerning, using rules when appropriate ( to
separate different parts of the message), and a
logical use of bold, regular and light type weights.
We do not like the use of type as a decorative
element, and we are horrified by any type
deformation. There are situations, however, as in
packaging design, where a more flexible attitude
could provide better results. But even there, it
should be done with great moderation.
Title
Title
Title
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pharetra gravida urna pellentesque vel, mi sodales, justo
congue pretium lectus condimentum, quisque diam consectetur
interdum. Aliquam proin et magnis sit augue, nisl in quos odio
eu odio, pellentesque suspendisse nec non pulvinar dui cras,
sollicitudin at.
Lorem ipsum dolor sit amet, in maecenas pharetra gravida
ullamcorper neque. Sed hendrerit proin diam duis eu,
cursus odio placerat ultrices adipiscing lectus ornare, ut velit
nonummy, quidem vitae turpis enim. Adipiscing a lectus,
scelerisque tempus vivamus ac. Arcu fermentum nibh, turpis
pharetra gravida urna pellentesque vel, mi sodales, justo
congue pretium lectus condimentum, quisque diam consectetur
interdum. Aliquam proin et magnis sit augue, nisl in quos odio
eu odio, pellentesque suspendisse nec non pulvinar dui cras,
sollicitudin at.
Lorem ipsum dolor sit amet, in maecenas pharetra gravida
ullamcorper neque. Sed hendrerit proin diam duis eu,
cursus odio placerat ultrices adipiscing lectus ornare, ut velit
nonummy, quidem vitae turpis enim. Adipiscing a lectus,
scelerisque tempus vivamus ac.
Arcu fermentum nibh, turpis pharetra gravida urna pellentesque
vel, mi sodales, justo congue pretium lectus condimentum,
quisque diam consectetur interdum. Aliquam proin et magnis
sit augue, nisl in quos odio eu odio, pellentesque suspendisse
nec non pulvinar dui cras, sollicitudin at.
Julie Lasky
BESPOKE: ThE hAnDBuILT BICyCLE
With contributions by Michael Maharam
and Sacha White
Photographs by D. James Dee
Design: Integral Lars Müller
24 × 16.5 cm, 9 ½ × 6 ½ in, 128 pages
150 illustrations, softcover
2010, ISBN 978-3-03778-204-0, English
EUR 25.– GBP 20.– USD / CAD 35.–
18 Design 19
nEw
Like custom-tailored clothing that enfolds the
wearer in a second skin, custom-built bicycles are
Vintage Campagnolo hub
more than just lavish objects. They represent the
pinnacle of a craft practiced by a handful of
remarkable artisans – machines so meticulously
constructed and fitted to their users that they
seem like extensions of the body.
The publication presents the designs of six
i nternationally renowned bicycle builders whose
embrace of the tradition of working in metal
brings striking innovation to their craft (Mike
Flanigan /A.N.T, Jeff Jones, Dario Pegoretti,
Richard Sachs, J. Peter Weigle, Sacha White/
Vanilla). Bespoke offers a rich and intimate view
Aligning a frame; powder coating; doing a wheel check
of objects that sit squarely at the intersection
of art, design, craft and performance, with candid
portraits including builder’s inspirations, working
methods and bicycles, lavishly photographed
in great detail.
Chrome on drive-side chain stay protects tube from wear
The mud on this bicycle was preserved from the USA National Cyclocross Championship in Bend, Oregon, Sachs’s last race in 2009.
J. Peter Weigle
90
Mike Flanigan

POSTER COLLECTION 22
LETTErS OnLy
Edited by the Museum of Design Zürich
Design: Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages
114 illustrations, softcover
2010, ISBN 978-3-03778-206-4, English /German
EUR 25.– GBP 25.– USD / CAD 35.–
This publication casts light on the spectrum of
the script poster, using consistent reduction
to type and without any illustrative or geometrical
elements. The script poster enjoyed its first
heyday around 1915, with the discovery of the
letter as a design element. Starting with examples
influenced b the Bauhaus and its successors,
the series continues to the present day. Technical
developments in the spheres of design and
printing also influence visual expression.
The contemporary script poster offers a mixture
of different trends showing effortless skill in
handling different creative approaches.
See p. 47 POSTEr COLLECTIOn
nEw
A5/04: KIELEr wOChE
history of a Design Contest
nEw
Edited by Jens Müller and Karen weiland,
labor visuell at the university of Applied
Sciences Düsseldorf, Department of Design
Design: Jens Müller, Karen weiland
14.8 × 21 cm, 5 ¾ × 8 ¼ in, 128 pages
150 illustrations, softcover
2010, ISBN 978-3-03778-231-6, English / German
EUR 20.– GBP 20.– USD / CAD 30.–
Designing the posters for the annual Kieler
Woche sailing regatta has developed into
one of the most prestigious European design
competitions since it started in 1948. Since
1959 only five designers or design practices
have been invited to take part in the competition,
so that participation as such represents
a distinction and has proved a crucial
milestone in many designers’ careers.
Winners and participants such as Ruedi Baur,
Wim Crouwel, Willy Fleckhaus, Jan Lenica,
Josef Müller-Brockmann, and Odermatt+Tissi
are outstanding European designers. The
brief has remained unchanged for 60 years,
and offers a unique survey of the development
of European graphics.
20 Design 21

Christian Lutz
TrOPICAL gIfT
The Business of Oil
and gas in nigeria
Design: Integral Lars Müller
30 × 24 cm, 11 ¾ × 9 ½ in, 96 pages
52 illustrations, hardcover
2010, ISBN 978-3-03778-226-2, English
EUR 35.– GBP 35.– USD / CAD 50.–
Christian Lutz was awarded 2010
with “7ème Grand prix international de
photographie de Vevey”
Christian Lutz continues his photographic study
of power structures with Tropical Gift. He took
portraits in Nigeria of people who live by and with
the economic force that dominates everything
there, the oil and gas industry. The photographs
observe the protagonists’ everyday lives and
professional world from very close up, the rich
profiteers in the capital and the indigenous
population in the oil region, the Niger delta. The
pictures tell their own story of business with
these coveted raw materials subtly, but highly
expressively.
22 Photography 23
nEw
Christian Lutz
PrOTOKOLL
“ The best in Swiss
photography of 2007”
(ewz.selection-award)
30 × 24 cm, 11 ¾ × 9 ½ in
90 pages, 54 photographs
hardcover
2007, ISBN 978-3-03778-110-4
Eng/French/Ger/Spanish
EUR 35.– GBP 35.–
USD / CAD 45.–

Silvia Bächli and Eric hattan
BLINDHÆÐIR
East Iceland
Edited by Editions Attitudes, geneva
Design: Silvia Bächli and Eric hattan
29 × 16.3, 11 ½ × 7 ½ in, 304 pages
147 photographs, hardcover
2010, ISBN 978-3-03778-216-3
English /French /German /Icelandic
EUR 40.– GBP 40.– USD / CAD 65.–
nEw
Silvia Bächli and Eric Hattan spent four months,
from March to June, in Seydisfjördur in eastern
Iceland. The landscape they explored on their
daily walks is dominated by snow, which shapes
the atmosphere in and around the fjord with its
changeable forms: turquoise meltwater, frost patterns,
a few glass-clear bright colours in the
whiteness, walls of snow by the edge of the road,
drifts, icicles and at last the first brown snow-free
places — things are slowly turning green. The artists
create a unique portrait of Iceland’s magnificent
landscapes with their photographs, in all its
detail, thus chronicling the passage of time and
the approach of the warmer season.
Silvia Bächli
LIDSChLAg
how It Looks
With an essay by Beate Söntgen
Design: Silvia Bächli and Lars Müller
22 × 28 cm, 8 ¾ × 11 in, 304 pages
211 illustrations, hardcover
2004, ISBN 978-3-03778-013-8, English/German
EUR 30.– GBP 30.– USD / CAD 45.–
Silvia Bächli’s art makes us feel unsure of ourselves.
It sends viewers on a tightrope walk
between banality and deliberate continuity. Her
art always concentrates on the minimum. We
see isolated arms or faces or eyes. No context is
provided at all. 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 Bächli – DAS
Edited by the Swiss federal Office
of Culture, Bern
Design: Anne hoffmann graphic Design
13 × 19.5 cm, 5 × 7 ¾ in, 136 pages
60 illustrations, softcover
2009, ISBN 978-3-03778-155-5, English/German
EUR 23.– GBP 23.– USD / CAD 40.–
In 2009, Silvia Bächli designed the official contribution
for the Swiss Pavilion at the Venice
Biennale. This book provides a look inside her
studio and documents her preparations for
the Biennale, illustrating the artist’s working process
with spatial situations and snapshots that
show her trying out various constellations.
Complementing all this are photographs of her
working stay in Iceland.
24 Art 25

OLAfur ELIASSOn –
yOur ChAnCE EnCOunTEr
With an essay by architectural historian Eve Blau
and curator Hiromi Kurosawa
Design: Andreas Koch
24 × 20 cm, 9 ½ × 7 ¾ in, 216 pages
200 illustrations, hardcover
2010, ISBN 978-3-03778-211-8
English /Japanese
EUR 40.– GBP 40.– USD / CAD 65.–
nEw
The acclaimed Danish-Icelandic artist Olafur
Eliasson developed a sequence of spatial experiments
for his Your Chance Encounter exhibition
in the 21st Century Museum of Contemporary Art,
Kanazawa, Japan. His piece challenges visitors
to move around and get their bearings, and
stimulates them to see the museum as a public
space for addressing art and reality critically.
The installations were developed especially for
the exhibition. They are arranged in a tight context
with the spatial structure of the museum
and extend the concept of architecture by the
Japanese architecture practice SANAA. This
artist book was created in close co-operation
with Olafur Eliasson’s studio. Its elaborate design
with an extensive pictorial section offers a comprehensive
record of the exhibition and an important
analysis of this successful artist’s work.
Olafur Eliasson
yOur MOBILE EXPECTATIOnS:
BMw h 2 r PrOJECT
Design: heimann und Schwantes,
Studio Olafur Eliasson
14.7 × 21 cm, 5 ¾ × 8 ¼ in, 336 pages
415 illustrations, hardcover
2008, ISBN 978-3-03778-117-3, English
EUR 20.– GBP 20.– USD/CAD 30.–
As part of its BMW H 2 R research project,
Studio Olafur Eliasson is preparing a dense publication
comprising extensive visual material;
excerpts from two seminars held in 2006/2007;
and conversations between Olafur Eliasson
and a number of distinguished artists and thinkers.
In the research project, Eliasson raises
questions of formgiving and materiality, mobility,
temporality, movement, and renewable energy.
In 2005 a BMW H 2 R hydrogen-powered vehicle
was delivered to Studio Olafur Eliasson and
then stripped bare of its outer shell. To create
a new skin several form studies have been
carried out in a temporary geodesic dome, constructed
in the yard of the studio. The final
surface of the car consists of layers of ice, frozen
around two intricate nets, mirrored plates and
light. The “Climate car” can only exist in a microclimate
with a temperature of minus 6 degrees
Celsius or below.
Olafur Eliasson and Kjetil Thorsen
SErPEnTInE gALLEry PAVILIOn
Design: heimann und Schwantes
17 × 24 cm, 6 ¾ × 8 ½ in, 128 pages
186 illustrations, hardcover
2007, ISBN 978-3-03778-116-6, English
EUR 25.– GBP 25.– USD/CAD 35.–
The Serpentine Gallery has commissioned
Olafur Eliasson and architect Kjetil Thorsen
(Snøhetta) to design its pavilion in 2007. Based
on the principle of a winding ramp, the pavilion
explores the idea of vertical circulation within
a single space. “Our collaboration on the Serpentine
Pavilion 2007 is defined by our mutual
focus on the experience of space and on temporality
as a constitutive element of spaces, private
or public. We both work within a field of spatial
experimentation that renders conceptual
differences between art and architecture superfluous.”
The publication comprises extensive visual
material documenting the development and
realisation of the pavilion; two essays by Doreen
Massey, Professor of Geography at The Open
University (UK), and Andreas Ruby, architecture
critic; a conversation between Olafur Eliasson,
Kjetil Thorsen, Hans Ulrich Obrist and Julia
Peyton-Jones (Co-directors, Serpentine Gallery).
26 Art 27

Tibetan paper money pre-Chinese invasion
Hamish Fulton. Everest Diary 2009
hamish fulton
ThE unCArVED BLOCK
28 Art 29
nEw
Design: hamish fulton
30 × 24 cm, 11 ¾ × 9 ½ in, 160 pages
120 illustrations, hardcover
2010, ISBN 978-3-03778-227-9, English
EUR 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. This publication presents this artist
treatment of the ascent to the summit for the first
time in a compendious pictorial volume in the
form of collages of photographs and text, sculptures
and works on paper.

PArADOXES Of APPEArIng
Essays on Art, Architecture and
Philosophy
Edited by Michael Asgaard Andersen
and henrik Oxvig
With contributions by Michael Asgaard Andersen
and Henrik Oxvig, Renaud Barbaras, Andrew
Benjamin, Olafur Eliasson, Sanford Kwinter, David
Leatherbarrow, Martin Seel, David Summers,
and Sven-Olov Wallenstein
Design: Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in, 224 pages
60 illustrations, softcover
2009, ISBN 978-3-03378-192-0, English
EUR 30.– GBP 30.– USD / CAD 45.–
The book contains a collection of essays
by scholars and artists from a range of different
fields, including art, art history, architectural
theory, and philosophy. The essays refer to fundamental
conside rations with regard to perception:
When spectators confront and designers invent
works of art and architecture, vital questions
regarding their appearance arise. These are not
simply questions about what appears, but also,
and primarily, what does not; in other words, what
it is that evades us when works are experienced
and created.
Barbara heé
ChAVIOLAS
A landscape, so intimate and aloof
With an essay by Claudia Jolles
Design: Integral Lars Müller
29 × 19 cm, 11 ½ × 7 ½ in, 240 pages
167 photographs, hardcover
2010, ISBN 978-3-03778-165-4, English
2010, ISBN 978-3-03778-171-5, German
EUR 50.– GBP 45.– USD / CAD 80.–
Over a period of twenty years, the artist Barbara
Heé has photographed Chaviolas Island again
and again. The resulting panoramas present
a subtle portrait of this mountainous landscape
in Switzerlands Upper Engadine valley. The
depth and composition of these black-and-white
photographs are captivating. The doubling caused
by reflection in the lake and the ever-changing
lighting create spaces of magical presence.
PIPILOTTI rIST: COngrATuLATIOnS!
Edited by richard Julin and Tessa Praun,
Magasin 3, Stockholm
Design: fellow Designers
14.8 × 21 cm, 5 ¾ × 8 ¼ in, 160 pages
103 illustrations, hardcover
2007, ISBN 978-3-03778-108-1, English
2007, ISBN 978-3-03778-107-4, German
EUR 25.– GBP 20.– USD / CAD 35.–
Pipilotti Rist, one of the most acclaimed Swiss
artists of today, and Richard Julin, chief curator at
Magasin 3 Stockholm Konsthall (Sweden), met for
a day in Zurich in connection with the preparations
for Rist’s solo exhibition Gravity, Be My Friend
in Stockholm in spring 2007. The resulting book
Congratulations! is a very personal and fascinating
conversation that reveals new dimensions of the
world of Pipilotti Rist, with anecdotes from the creation
process and reflections on life, art and food.
Christian Möller
A TIME AnD PLACE
Media Architecture
Design: Integral Lars Müller
12.5 × 19 cm, 5 × 4 ½ in, 240 pages
288 illustrations, softcover
2004, ISBN 978-3-907078-91-4, English
EUR 20.– GBP 18.– USD / CAD 30.–
A Time and Place shows the extensive body
of work by the German artist Christian Moeller,
who lives in Los Angeles. It describes his fascinating
tightrope walk between analogue
and digital worlds. A monograph consisting of
both internet and book pages. Playing to the
particular strengths of each medium, A Time and
Place gives it readers a book that can be read
at a computer.
30 Art 31

IDEAS AnD InTEgrITIES
A Spontaneous Autobiographical Disclosure
Reprint, original 1963, 12 × 18 cm, 4 ¾ × 7 in, 416 pages
50 illustrations in b/w, softcover
2010, ISBN 978-3-03778-198-2, English
EUR 25.– GBP 20.– USD / CAD 30.–
EDuCATIOn AuTOMATIOn
Comprehensive Learning for
Emergent humanity
Reprint, originals 1962–1979, 12 × 18 cm, 4 ¾ × 7 in, 224 pages
15 illustrations in b/w, softcover
2010, ISBN 978-3-03778-199-9, English
EUR 25.– GBP 20.– USD / CAD 30.–
OPErATIng MAnuAL
fOr SPACEShIP EArTh
Reprint, original 1969, 12 × 18 cm, 4 ¾ × 7 in
152 pages, softcover
2008, ISBN 978-3-03778-126-5, English
2010, ISBN 978-3-03778-188-3, French
EUR 15.– GBP 15.– USD / CAD 20.–
uTOPIA Or OBLIVIOn
The Prospects for humanity
Reprint, original 1969, 12 × 18 cm, 4 ¾ × 7 in, 448 pages
32 illustrations, softcover
2008, ISBN 978-3-03778-127-2, English
EUR 25.– GBP 25.– USD / CAD 30.–
Édition
française
AnD IT CAME TO PASS – nOT TO STAy
Reprint, original 1976, 12 × 18 cm, 4 ¾ × 7 in, 192 pages, softcover
2008, ISBN 978-3-03778-132-6, English
EUR 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 being published
again, together with commentary by Jaime Snyder,
the grandson of Buckminster Fuller. Designed
for a new generation of readers, Snyder prepared
these editions with supplementary material providing
background on the texts, factual updates,
and interpretation of his visionary ideas.
federico neder
fuLLEr hOuSES
r. Buckminster fuller’s
Dymaxion Dwellings
and Other Domestic
Adventures
Design:
Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in
240 pages, 170 illustrations
softcover
2008, ISBN 978-3-03778-141-8
English
EUR 30.– GBP 30.–
USD / CAD 40.–
yOur PrIVATE SKy
r. BuCKMInSTEr
fuLLEr
The Art of Design
Science
Design:
Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in
524 pages, 600 illustrations
hardcover
1999, ISBN 978-3-907044-88-9
English
EUR 25.– GBP 25.–
USD / CAD 65.–
Jack Masey and
Conway Lloyd Morgan
COLD wAr
COnfrOnTATIOnS
uS Exhibitions
and Their role in the
Cultural Cold war
Design:
Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in
400 pages, 200 illustrations
hardcover
2008, ISBN 978-3-03778-123-4
English
EUR 20.– GBP 20.–
USD / CAD 30.–
With the publication of the Dymaxion House
in 1929, Buckminster Fuller became an overnight
sensation in the world of American architecture.
It was an uncompromising design and spectacularly
novel. The living areas were hexagonal and
attached around a central supply tower, and
the multistory interior was fully climate-controlled.
The house reflected Fuller’s basic technological
principle, his determination to achieve the greatest
possible utility at the smallest possible cost
in terms of energy and materials. The author
examines and compares Fuller’s Dymaxion House
in the context of the international development.
Edited by J. Krausse and C. Lichtenstein
Buckminster Fuller was one of the most
revolutionary technological visionaries of the 20th
century. As an architect, engineer, entrepreneur,
and poet, he was a quintessentially American,
self-made man. But he was also an outsider:
a technologist with a poet’s imagination
who already developed theories of environmental
control in the thirties (“more with less”) and
anticipated the globalization of our planet
(“think global—act local”).
World’s Fairs and International Exhibitions have
always had a political as well as a commercial
and cultural context. This was particularly true
during the Cold War between America and the
Soviet Union.
Jack Masey served with the United States Information
Agency from 1951 to 1979, for many
years as Director of Design. He commissioned
numerous American architects and designers
including R. Buckminster Fuller, Charles and
Ray Eames, George Nelson, Peter Blake, Ivan
Chermayeff and Thomas Geismar to design the
US presence at major world Expos including
Expo ’67 in Montréal and Expo ’70 in Osaka.
32 Architecture 33

yAD VAShEM
Moshe Safdie
The Architecture
of Memory
Design:
Integral Lars Müller
24 × 30 cm, 9 × 11 ¾ in, 136 pages
90 illustrations, hardcover
2006, ISBN 978-3-03778-070-1
English
EUR 40.– GBP 40.–
USD / CAD 65.–
Matthias Sauerbruch,
Louisa hutton
SAuErBruCh huTTOn
ArChIVE
Design:
hendrik Schwantes
24 × 30 cm, 9 × 11 ¾ in, 344 pages
650 illustrations, hardcover
2006, ISBN 978-3-03778-083-1
English/German
EUR 60.– GBP 55.–
USD / CAD 79.–
SnøhETTA wOrKS
Edited by Snøhetta
Design:
Integral Lars Müller
22 × 28 cm, 8 ¾ × 11 in, 304 pages
570 illustrations, hardcover
2009, ISBN 978-3-03778-147-0
English
EUR 50.– GBP 45.–
USD / CAD 75.–
yAD VASHEM, the museum, its architecture, and
its series of interior spaces with their carefully
designed exhibition facilities are documented in
an indepth photo essay and are illustrated with
texts and plans.
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. This allows one to trace
the development of their architectural thinking
through the vehicle of realised projects, their
texts, and a considerable number of unrealised
works. The book will reveal Sauerbruch and
Hutton’s understanding of their profession as
an ongoing process of research. The theme
of sustainability surfaces throughout the book
as an integral part of the architects’ language.
Snøhetta is a leading team of architects with
offices in Oslo and New york. This first-ever
publication to document their work presents the
most important projects of these architects, who
have been active internationally for fifteen years.
These projects include the Library of Alexandria
(2002), the New Opera House in Oslo (2008), and
the Gateway Project in Ras Al-Khaimah, Dubai
(2011), and the National September 11 Memorial
Museum Pavilion in New york. Snøhetta’s works
and projects revolve around a collaboration and
interchange between various disciplines. Each of
their projects is freshly observed and discussed
according to the fundamental aspects of site,
landscape, and context, in order to enable solutions
to be discovered and developed.
Zaha hadid
SPACE fOr ArT
Contemporary Arts
Center, Cincinnati
Edited by
Markus Dochantschi
Design:
Integral Lars Müller
21 × 33 cm, 8 ¼ × 13 in
128 pages, 70 illustrations
hard cover
2004, ISBN 978-3-03778-005-3
English
EUR 40.– GBP 40.–
USD / CAD 50.–
Zaha hadid
CAr PArK AnD
TErMInuS
STrASBOurg
Design:
Integral Lars Müller
31 × 33 cm, 12 ¼ × 13 in
100 pages, 70 illustrations
softcover
2004, ISBN 978-3-03778-028-2
German/English/French
EUR 15.– GBP 15.–
USD / CAD 35.–
ArChITECTurE Of
ZAhA hADID
in Photographs by
hélène Binet
Design:
Integral Lars Müller
19 × 31 cm, 7 ½ × 12 ¼ in
176 pages, 90 illustrations
hardcover
2000, ISBN 978-3-907078-12-9
English
EUR 20.– GBP 18.–
USD / CAD 30.–
Zaha Hadid’s design for the Rosenthal Center
for Contemporary Arts in Cincinnati is her
response to the city’s streams of traffic and
passers-by, conveying a feeling of dense
urban and cultural life. The street level rises
vertically as an “urban carpet,” the volumes
become soaring, interconnected exhibition
spaces, accessed via striking stepped ramps.
This publication presents the spectacular
building in photographs by Hélène Binet and
Paul Warchol.
The blurry interface of exurbia and suburbia
represents strange and alien territory for architects,
because the context is usually vague
and the space haphazardly organized. Zaha
Hadid’s work in Strasbourg capitalizes on the
haphazardness of its suburban setting. The
car park and terminus presented in this publication
demonstrate Hadid’s assumption that buses
and the trams are a permanently impermanent
part of the station’s overall organization and
composition. Hadid treats the cars that park here
almost as natural phenomena with their own
diurnal rhythms.
This volume brings together photographs of
the Vitra-Fire station and Landscape Formation
one – both in Weil am Rhein/G; Addressing
the Century, Hayward Gallery, London, 1998;
Blueprint /Interbuild Pavilion, 1995.
34 Architecture 35

Peter Eisenman
ThE fOrMAL BASIS
Of MODErn
ArChITECTurE (1964)
Design:
Integral Lars Müller
29 × 30.5 cm, 11 ½ × 12 in
384 pages, 300 illustrations
hardcover
2006, ISBN 978-3-03778-071-8
English
EUR 50.– GBP 50.–
USD / CAD 70.–
Peter Eisenman
hOLOCAuST
MEMOrIAL BErLIn
Design:
Integral Lars Müller
24 × 30 cm, 9 × 11 ¾ in
120 pages, 65 illustrations
hardcover
2005, ISBN 978-3-03778-056-5
English
2005, ISBN 978-3-03778-059-6
German
EUR 23.– GBP 23.–
USD / CAD 35.–
herzog & de Meuron
nATurAL hISTOry
Edited by Philip
ursprung and the
Canadian Centre for
Architecture, Montréal
Design:
Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in
472 pages, 800 illus., softcover
2003, ISBN 978-3-03778-049-7
English
2005, ISBN 978-3-03778-050-3
German
EUR 36.– GBP 30.–
USD / CAD 48.–
In 1963 at the University of Cambridge, Peter
Eisenman – world famous for his Holocaust
Memorial in Berlin (2005) – wrote a dissertation
on the formal basis of modern architecture. In
it, the architect confronts historicism with theory
and the analysis of form, whose distinguishing
features he regards as the foundation of architectural
composition. Eisenman illustrates his
observations with numerous, extremely precise
hand drawings. This striking document fully
deserves to be published here, for the first time,
in a faithful reproduction of the original.
In an afterword (2006), Peter Eisenman discusses
this remarkable starting point of his practical and
theoretical work.
Photographs by Héléne Binet and
Lukas Wassmann
Text by Peter Eisenman and Hanno Rauterberg
2700 concrete blocks flow unassertively over
the enormous field and invite visitors to immerse
themselves in them. The monument cannot be
interpreted in any one specific way, it is not
suitable for acts of state, and does not follow the
rules of ceremonial, which is what makes it so
spectacular. This publication was created in close
co-operation with Petern Eisenman and records
the memorial with photographs by Hélène Binet
and Lukas Wassmann.
Herzog & de Meuron’s interest in surface and
material, opacity and transparency, and the function
and variability of images makes 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.
“This book is an invitation to a wild journey:
anyone who reads natural history will feel they
are on an association meter passing through
the Basel architects’ world of ideas.”
Hochparterre
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.
Wish
I had a big studio in
the center of the city
ThE SAnAA STuDIOS
Learning from Japan:
Single Story urbanism
Edited by florian
Idenburg and Princeton
university, School of
Architecture
Design: geoff han
21.6 × 28 cm, 8 ½ × 11 in
144 pages, 240 illustrations
softcover
2010, ISBN 978-3-03778-190-6
English
EUR 30.– GBP 30.–
USD / CAD 45.–
ShIfT
SAnAA AnD ThE nEw
MuSEuM
Edited by Joseph grima
and Karen wong
Design:
Mevis & Van Deursen
24 × 30 cm, 9 × 11 ¾ in
136 pages, 144 illustrations
softcover
2008, ISBN 978-3-03778-140-1
English
EUR 33.– GBP 35.–
USD / CAD 40.–
KAThArInA grOSSE.
wISh I hAD A BIg
STuDIO In ThE
CEnTEr Of ThE CITy
Edited by Katharina
grosse
Design: heimann und
Schwantes, Berlin
17 × 23 cm, 6 ¾ × 9 in, 144 pages
73 illustrations, hardcover
2009, ISBN 978-3-03778-170-8
English
2009, ISBN 978-3-03778-168-5
German
EUR 30.– GBP 30.–
USD / CAD 45.–
With photographs by Iwan Baan
During three spring seasons between 2006 and
2008, Kazuyo Sejima and Ryue Nishizawa taught
at the School of Architecture at Princeton. The
SANAA Studios explored Japan’s contemporary
society as a context for architecture and considered
its particular perspective on space, personal
and public space. Design studies were situated
within the specific demographics and social variables
of three distinct sites in Japan. The Dutch
architectural photographer Iwan Baan, has revisited
the three sites in Japan to capture the spirit
of its context and the SANAA buildings in use.
With photographs by Dean Kaufman
The new building for the New Museum of Contemporary
Art, which opened in December 2007,
houses the first museum developed from the
ground up in Lower Manhattan. The seven-story
building, with a total floor area of 60,000 square
feet, 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. The building expands
the museum and its distinct role within the city
and at the same time testifies to an important
moment in the history, art, and life of the city.
With contributions by Georg Augustin,
Laura Bieger, Andreas Denk, Katharina Grosse,
Ulrich Loock, and Philip Ursprung
The artist Katharina Grosse has fulfilled her dream
of a tailor-made studio, a place large enough
to accommodate her large-scale 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. The result
is a compact, reinforced concrete cube containing
workrooms, storerooms, an archive, offices, and
living space.
36 Architecture 37
Katharina Grosse
Wish
I had a big studio in
the center of the city Lars Müller Publishers
Katharina Grosse
Lars Müller Publishers

ThE wOrLD’S fAIrEST
CITy
yOurS AnD MInE
features of urban Living
and Quality
Design:
Andrea gmünder
18 × 12.8 cm, 7 × 5 in, 192 pages
120 illustrations, softcover
2010, ISBN 978-3-03778-186-9
English
2010, ISBN 978-3-03778-185-2
German
EUR 20.– GBP 20.–
USD / CAD 30.–
Petra Kempf
yOu ArE ThE CITy
Observation,
Organization and
Transformation
of urban Settings
Design:
Integral Lars Müller
21 × 29.7 cm, 8 ¼ × 11 ¾ in
22 transparent slides in folder
brochure, 16 pages
2009, ISBN 978-3-03778-159-3
English
EUR 30.– GBP 30.–
USD / CAD 50.–
gramazio & Kohler
DIgITAL MATErIALITy
In ArChITECTurE
Design:
Integral Lars Müller
19.5 × 30 cm, 7 ¾ × 11 ¾ in
112 pages, 157 illustrations
hardcover
2008, ISBN 978-3-03778-122-7
English
EUR 35.– GBP 35.–
USD / CAD 45.–
Soon, more than two thirds of all human beings
on the planet will live in cities, and the number of
increasingly mobile people who shuttle effortlessly
between major cities is constantly growing.
Every year, various city rankings choose the
“top ten” cities in the world. But what makes a city
really livable? The answer to this question, as
offered by the rankings, is anything but satisfactory.
Their economically oriented, quantitative
criteria are often taken out of context. But personal
eperience is much more complex than this.
With contributions by Catherine Ingraham
and Keller Easterling
Today’s cities are hybrid entities based on multilayered
and sometimes contradictory organizing principles.
As complex networks of geographic, economic,
political and cultural segments, they are
caught up in a constant process of differentiation.
This publication offers architects and urban planners
a mapping tool that creates a framework for
understanding the continually changing configuration
of the city. With the aid of themed transparencies,
the tool allows one to superimpose various
realities in layers in order to create new urban connections.
Robots build! At their program in architecture
and digital production at the Swiss Federal Institute
of Technology in Zurich, the architects
Fabio Gramazio and Matthias Kohler have
installed a research facility that is unique in the
world. It is based on a computer-controlled industrial
robot that produces construction elements
directly from design data. The robot works flexibly
with a tremendous range of tools and materials.
In this way they probe the exciting potential
of digital design, construction, and manufacturing
techniques. First structures using robots have
already been built, for example the installation
at the Swiss Pavilion at the 11th Biennale Architecture.
SEnSE Of ThE CITy
Edited by Mirko Zardini
and the Canadian Centre
of Architecture CCA,
Montréal
Design:
Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in
352 pages, 280 illustrations
hardcover
2005, ISBN 978-3-03778-060-2
English
EUR 42– GBP 40.–
USD / CAD 60.–
COnSTruCTIOn SITE
Metamorphoses
in the City
Design:
haeberli winkelmann
23 × 28 cm, 9 × 11 in, 144 pages
137 illustrations, hardcover
2008, ISBN 978-3-03778-112-8
English
2008, ISBN 978-3-03778-111-1
German
EUR 40.– GBP 40.–
USD / CAD 55.–
ThE IMAgE AnD
ThE rEgIOn
Making Mega-City
regions Visible
Edited by Alain
Thierstein and Agnes
förster
Design: Valerie Kiock
16.5 × 24 cm, 6 ½ × 9 ½ in
288 pages, 203 illustrations
softcover
2008, ISBN 978-3-03778-131-9
English
EUR 30.– GBP 30.–
USD / CAD 45..–
With texts by Constance Classen, David Howes,
Norman Pressmann, Emily Thompson and Mirko
Zardini
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.
Without claiming completeness, this collection
represents a pictorial archive documenting two
very different kinds of expeditions through large
and small cities of the world.
Edited by Marie Antoinette glaser,
ETh wohnforum
The building site has been a popular metaphor
for the patchwork plans of contemporary life.
With authoritative information and reflection from
a variety of perspectives, some quite surprising,
the building site is presented as an extraordinary
place in the city and as a microcosm that operates
under heavy pressures of time and costs.
The book includes essays on specific building
sites such as the megaproject Sihlcity in Zurich
or the La Défense building site in Paris, interviews
with architects and construction managers, and
impressive illustrations.
Mega-city regions are currently a frequent topic
of discussion. Researchers are exploring the
fundamentals for understanding the role of metropolitan
regions and their social, economic, and
cultural developments on a national and European
basis. The responsible decision makers
in politics and business are calling for new measures
for greater urban areas. But that is just
the start of the problem: Europe seems to lack
an awareness for metropolitan regions. For the
majority of politicians, planners, institutions,
and residents the features of mega-city regions
remain invisible. They are scarcely charted; there
are no concepts for representing them or any
direct sensory understanding of them in everyday
life.
38 Architecture 39

AS fOunD,
ThE DISCOVEry
Of ThE OrDInAry
British Architecture and
Art of the 1950s
Design:
Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in
320 pages, 300 illustrations
hardcover
2001, ISBN 978-3-907078-43-3
English
2001, ISBN 978-3-907078-40-2
German
EUR 30.– GBP 27.–
USD / CAD 45.–
Catherine de Smet
Le COrBuSIEr,
ArChITECT Of BOOKS
Design:
Integral Lars Müller
24 × 30 cm, 9 × 11 ¾ in, 128 pages
100 illustrations, hardcover
2005, ISBN 978-3-03778-034-3
English
2005, ISBN 978-3-03778-033-6
French
2005, ISBN 978-3-03778-052-7
German
EUR 35.– GBP 30.–
USD / CAD 50.–
Catherine de Smet
VErS unE
ArChITECTurE
Du LIVrE
Le Corbusier: édition
et mise en pages
1912–1965
Design:
Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in
304 pages, 328 illustrations
softcover
2007, ISBN 978-3-03778-067-1
French
EUR 30.– GBP 26.–
USD / CAD 45.–
Edited by Claude Lichtenstein and Thomas
Schregenberger
British art and architecture of the 1950s are of
extraordinary topicality today. This applies particularly
to the Independent Group which included
artists such as Richard Hamilton, Eduardo
Paolozzi and Magda Cordell, the photographer
Nigel Henderson, critics Reyner Banham and
Lawrence Alloway as well as architects such as
Alison and Peter Smithson, James Stirling and
Colin St. John Wilson.
Le Corbusier’s buildings have long been part
of the inalienable canon of twentieth-century
architecture. But Le Corbusier’s work as a book
designer and author is scarcely known. He
planned and realized over 40 books in his lifetime.
Architect of Books shows that Le Corbusier
accorded great importance to books as an
essential part of his output. Catherine de Smet
traces the process by which these books
emerged and makes it possible to discover the
great construction architect as a book artist.
New images and in-depth analyses make Vers
une Architecture du Livre an indispensable complement
to Le Corbusier, Architect of Books.
Catherine de Smet is doctor of art history and
has written numerous articles on the history
and topicality of graphic design as well as contemporary
art.
Theo hotz
ArChITECTurE
1949–2002
Design:
Integral Lars Müller
18.5 × 28 cm, 7 ¼ × 11 in
320 pages, 600 illustrations
hardcover
2003, ISBN 978-3-03778-002-2
English/German
EUR 30.– GBP 30.–
USD / CAD 45.–
Jacques Schader
frEuDEnBErg
A Masterpiece of
European Architecture
Edited by Claude
Lichtenstein
Design:
Integral Lars Müller
14 × 12 cm, 5 ½ × 4 ¾ in
194 pages, 280 illustrations
softcover with DVD
2003, ISBN 978-3-907078-61-7
English/German
EUR 38.– GBP 35.–
USD / CAD 55.–
Alison and
Peter Smithson
AS In DS
An Eye on the road
Edited by Christian
Sumi
Reprint, original 1983
10.5 × 21.7 cm, 4 ¼ × 8 ½ in
164 pages, 70 illustrations
softcover
2001, ISBN 978-3-907078-42-6
English
EUR 15.– GBP 15.–
USD / CAD 22.–
With essays by Hubertus Adam, Ulrike Jehle
and Philip Ursprung
Theo Hotz, born in 1928, is a leading contemporary
Swiss architect. His spectacular glass
buildings produced since the mid eighties in
particular, the EMPA in St. Gallen (1996) for example,
or Hall 1 at the Basel Fair (1999) have made
an international impact. With detailed plans and
numerous illustrations, this publication gives
a complete overview over all of his buildings from
1949 to 2002.
With a film by Marc Schwarz
One of the most important works of 20th century
Swiss architecture: Freudenberg cantonal school
James Schader has created an internationally
acclaimed masterpiece of enormous postulate
and an architectural formulation: openness, transparency,
scope, A detailed four on film (DVD) provides
a clear account of the building’s complex
quality, and includes conversations with the architect
and experts. The accompanying brochure
contains the planning documents and links the
media in a new way.
An illustrated diary by the architects Alison and
Peter Smithson (representing the Independent
Group – see also As found) driving from their
London office through to their Wiltshire cottage,
their “Solar Pavilion” from 1961. The contrast of
their Citroën DS 19, streamlined and mechanically
advanced, with the luscious and picturesque
landscape links – thanks to the observing eye –
both the urban and the countryside in the most
sensitive manner. The book was conceived
as “A Sensibility Primer.” Reprint of the original
publication from 1983, edited by Christian Sumi,
architect, Zurich.
40 Architecture 41

uedi Baur
ruEDI BAur InTÉgrAL
Anticipating, Questioning, Inscribing,
Distinguishing, Irritating, Orienting,
Translating
Design: ruedi Baur, heidi Abt,
Meriem Bouhara, Chantal grossen
16.5 × 24 cm, 6 ½ × 9 ½ in, 480 pages
200 illustrations, hardcover
2009, ISBN 978-3-03778-134-0, English
2009, ISBN 978-3-03778-203-3, French
2009, ISBN 978-3-03778-202-6, German
EUR 50.– GBP 50.– USD / CAD 80.–
Isabel naegele and
ruedi Baur
SCEnTS Of ThE CITy
Design:
Intégral ruedi Baur
14 × 20 cm, 5 ½ × 7 ¾ in
480 pages, 1500 illustrations
softcover
2004, ISBN 978-3-03778-012-1
English/French/German
EUR 16.– GBP 15.–
USD / CAD 20.–
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
Integral studio in Zurich und Paris. Previously
unpublished new projects are integrated thematically
into the evolution of Baur’s oeuvre. This
book captures the conceptual and design constants
of, and the fascination in, the work of Ruedi
Baur. Five years after the success of Ruedi Baur,
Intégral et associés, the author again takes stock
and manifests the principles of his design work
and attitude.
With contributions by Marco Baschera,
Clemens Bellut, Christine Breton, André Vladimir
Heiz, Stefanie-Vera Kockot, Bernhard Stiegler,
and Sébastien Thiery
LA LOI ET SES
COnSÉQuEnCES
VISuELLES
Edited by ruedi Baur
Design: Severin wucher
16.5 × 24 cm, 6 ½ × 9 ½ in
608 pages, 650 illustrations
hardcover
2005, ISBN 978-3-03778-043-5
German/French
EUR 45.– GBP 40.–
USD / CAD 70.–
ISBN: 978-3-03778-133-3
DISOrIEnTATIOn/
OrIEnTATIOn 1
Edited by Design2
context, ruedi Baur
Design: r. Baur,
P. Taylor, u. felsing
16.5 × 24 cm, 6 ½ × 9 ½ in
264 pages, 300 illustrations
softcover
2008, ISBN 978-3-03778-133-3
English/German/French
EUR 30.– GBP 30.–
USD / CAD 45.–
Designers, graphic artists, architects, and urban
planners are now confronted with the tasks of
signage, route management, and information and
orientation systems. With this book they can
profit from a broad view of phenomena related to
disorientation – disorientation in scientific disciplines,
in our environments. On the one hand, this
should make it possible to benefit from attitudes
to the topic derived from experience and to move
from confusion to visual reflection. On the other,
it will enable scholarly disciplines to explore the
formation of categories that can move things
forward.
42 Design 43
2
Orient-ierung/ation Des-/Dés-/Dis-/orient-ierung/ation
Design2context
Institute Design2context
Zürich University of the Arts
LARS MÜLLER PUBLISHERS
DISOrIEnTATIOn/
OrIEnTATIOn 2
Edited by Design2
context, ruedi Baur
Design: ruedi Baur
und Megan hall
16.5 × 24 cm, 6 ½ × 9 ½ in
384 pages, 50 illustrations
softcover
2009, ISBN 978-3-03778-158-6
English/German/French
EUR 30.– GBP 30.–
USD / CAD 50.–
ulrike felsing
DynAMIC IDEnTITIES
In CuLTurAL AnD
PuBLIC COnTEXT
Edited by ulrike felsing,
Design2context
Design: Ilka flora,
ulrike felsing
16.5 × 24 cm, 6 ½ × 9 ½ in
256 pages, 200 illus., softcover
2009, ISBN 978-3-03778-163-0
English
2009, ISBN 978-3-03778-162-3
German
EUR 35.– GBP 35.–
USD / CAD 55.–
In graphic design, instructions, city planning, and
other creative disciplines, complex tasks related to
orientation and disorientation are on the rise. Disorientation/Orientation
2 is an academic investigation
into phenomena, representations, and stagings of
orientation and disorientation. The design research
institute Design2context, under the direction of
Ruedi Baur, invited academics from various fields to
discuss both categories. While the first volume
offered a predominantly pictorial treatment of the
topic, this one addresses the phenomenon with solidly
researched texts. 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.
This publication studies methods for creating flexible
looks for public and cultural institutions. The
classic logos normally used by companies are the
result of a unique process of compression and
abstraction. By contrast, flexible looks do not conceal
their diverse components of identity in a logo,
forming instead a complex family of symbols from
them. 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). The author describes the
effect and potential of looks and offers the criteria
that distinguish fully developed, dynamic looks.
Case studies of famous designers such as Karl
Gerstner and Ruedi Baur enhance the analysis.

Kenya hara
DESIgnIng DESIgn
Design: Kenya hara
16.5 × 24 cm, 6 ½ × 9 ½ in, 472 pages
389 illustrations, hardcover
2007, ISBN 978-3-03778-105-0, English
EUR 40.– GBP 35.– USD / CAD 55.–
Representing a new generation of designers in
Japan, Kenya Hara (born 1958) pays tribute to his
mentors, using long overlooked Japanese icons
and images in much of his work. In Designing
Design, he impresses upon the reader the importance
of “emptiness” in both the visual and philosophical
traditions of Japan, and its application
to design, made visible by means of numerous
examples from his own work: Hara for instance
designed the opening and closing ceremony
programs for the Nagano Winter Olympic games
1998. In 2001, he enrolled as a board member
for the Japanese label MUJI and has considerably
moulded the identity of this successful corporation
as communication and design advisor ever
since. Kenya Hara, alongside Naoto Fukasawa
one of the leading design personalities in Japan,
has also called attention to himself with exhibitions
such as Re-Design: the Daily products of
the 21st Century of 2000.
Kenya hara
whITE
Design: Kenya hara
13.5 × 19.5 cm, 5 ¼ × 7 ¾ in, 64 pages
4 illustrations, hardcover
2010, ISBN 978-3-03778-183-8, English
2010, ISBN 978-3-03778-182-1, German
EUR 20.– GBP 16.– USD / CAD 29.–
White is not a book about color. It is rather the
author’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.
Kenya Hara also sees his work as a designer
as a pure form of communication. Good communication
has the distinction of being able to listen
to each other, rather than to press one’s opinion
onto the opponent. Kenya Hara compares this
form of communication with an “empty container.”
In visual communication, there are equally signals
whose signification is limited, as well as signals
or symbols such as the cross or the red circle on
the Japanese flag, which—like an “empty con-
tainer”—permit every signification and do not limit
imagination. It is not only the fact that the Japanese
character for white forms a radical of the
character for emptiness that has prompted him
to closely associate the color white with the
state of emptiness.
wInDfALL LIghT
The Visual Language of ECM
Edited by Lars Müller
With contributions by Geoff Andrew,
Ketil Bjørnstad, Katharina Epprecht,
Lars Müller, and Thomas Steinfeld
Design: Integral Lars Müller
18.5 × 26 cm, 7 ¼ × 10 ¼ in, 448 pages
1260 illustrations, softcover
2010, ISBN 978-3-03778-157-9, English
2010, ISBN 978-3-03778-197-5, German
EUR 55.– GBP 50.– USD / CAD 85.–
Following the success of Sleeves of Desire (1996),
a second publication about the ECM label is now
devoted to its sleeve designs from 1996 to the
present. Since its founding in 1969, ECM (Edition
of Contemporary Music), has been dedicated
primarily to jazz and contemporary classical
music and is a leading international label in both
these fields. What distinguishes ECM are its design
aesthetics, which have always been an integral
part of its music productions. Manfred Eicher’s
collaboration with designers and alternating
photog raphers and artists has produced an aesthetics
of the cover that initiates a dialogue
between the mostly photographic image and the
music. This book takes the reader on an associative
journey through this visual world. In their
texts, the authors examine various aspects of this
visual language in greater detail. An illustrated
catalog of all of ECM’s releases since its founding
completes this publication.
44 Design 45

A5 SErIES
Edited by Jens Müller, labor visuell
at the university of Applied Sciences
Düsseldorf, Department of Design
hAnS hILLMAnn
The Visual works
Design: Jens Müller
14.8 × 21 cm, 5 ¾ × 8 ¼ in
128 pages, 187 illustrations
softcover
2009, ISBN 978-3-03778-179-1
English/German
EUR 20.– GBP 20.–
USD/CAD 30.–
PhILIPS – TwEn
realism Is the Score
Design: Jens Müller
14.8 × 21 cm, 5 ¾ × 8 ¼ in
96 pages, 103 illustrations
softcover
2009, ISBN 978-3-03778-180-7
English/German
EUR 20.– GBP 20.–
USD/CAD 30.–
CELESTInO PIATTI
AnD DTV
The unity of the
Program
Design: Jens Müller
14.8 × 21 cm, 5 ¾ × 8 ¼ in
128 pages, 120 illustrations
softcover
2009, ISBN 978-3-03778-178-4
English/German
EUR 20.– GBP 20.–
USD/CAD 30.–
The A5 series is intended as a growing archive
on graphic design. Each volume introduces
outstanding personalities and important themes
from the history of international graphic
design, with numerous illustrations, essays and
interviews.
Hans Hillmann (born 1925) started to design film
posters while he was still a student, and by 1974
he had produced over 150 posters 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. He worked for the cult magazine
twen as an illustrator, then later for the Frankfurter
Allgemeine Magazin. Hans Hillmann lives in
Frankfurt am Main.
The first edition of Twen appeared in 1959.
This magazine designed by Willy Fleckhaus did not
just strike the right note with a whole gene ration, it
also set new standards internationally in the magazine
design field. Something that has almost been
forgotten is a series of about seventy long-playing
records published between 1961 and 1968, as a
joint venture with the Philips record label. In his role
as art editor, Willy Felckhaus engaged graphic
designers such as Heinz Edelmann to create the
sleeves.
In 1961, eleven German publishing houses joined
forces to create the Deutscher Taschenbuch
Verlag, exclusively to publish paperbacks. The
publishers wanted the corporate image of the
company and all the book jackets to be designed
by the same hand. This was a commission that
remains unique to the present day, and it 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
with their right–justified Akzident Grotesk typeface
and characteristic cover illustrations.
POSTER COLLECTION 20
hELP!
Appeals to Social Conscience
Edited by the Museum of
Design Zürich
With an essay by Sønke Gau
and Katharina Schlieben
16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages
120 illustrations, softcover
2009, ISBN 978-3-03778-174-6, Eng/Ger
EUR 25.– GBP 25.– USD / CAD 35.–
POSTER COLLECTION 18
OTTO BAuMBErgEr
Edited by the Museum of
Design Zürich
With an essay by Martin Heller
Design: Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages
120 illustrations, softcover
2008, ISBN 978-3-03778-129-6
English/German
EUR 25.– GBP 23.– USD / CAD 30.–
POSTER COLLECTION 21
PArADISE SwITZErLAnD
Edited by the Museum of Design Zürich
Design: Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages
112 illustrations, softcover
2010, ISBN 978-3-03778-205-7, English/German
EUR 25.– GBP 25.– USD / CAD 35.–
POSTER COLLECTION 19
hEAD TO hEAD
Edited by the Museum of
Design Zürich
With an essay by
Thomas Macho
16.5 × 24 cm, 6 ½ × 9 ½ in, 192 pages
120 illustrations, softcover
2009, ISBN 978-3-03778-151-7, English
2009, ISBN 978-3-03778-130-2, German
EUR 30.– GBP 30.– USD / CAD 40.–
POSTER COLLECTION 17
PhOTO grAPhICS
Edited by the Museum of
Design Zürich
With an essay by
Nanni Baltzer
Design: Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages
120 illustrations, softcover
2008, ISBN 978-3-03778-128-9
English/German
EUR 25.– GBP 23.– USD / CAD 30.–
46 Design 47

POSTER COLLECTION 16
COMIX!
Edited by the Museum
of Design Zurich
With an essay by Pascal Lefèvre
Design: Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages
100 illustrations, softcover
2008 , ISBN 978-3-03778-099-2
English/German
EUR 25.– GBP 20.– USD / CAD 30.–
POSTER COLLECTION 14
ZÜrICh-MILAnO
Edited by the Museum
of Design Zürich
With an essay by Hans Höger
Design: Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages
117 illustrations, softcover
2006, ISBN 978-3-03778-079-7
English/German
EUR 23.– GBP 20.– USD / CAD 30.–
POSTER COLLECTION 12
CAThErInE ZASK
Edited by the Museum
of Design Zürich
With essays by Henri Gaudin
and Catherine de Smet
Design: Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in, 64 pages
54 illustrations, softcover
2005, ISBN 978-3-03778-054-1
English/German/French
EUR 20.– GBP 15.– USD / CAD 20.–
POSTER COLLECTION 10
MIChAEL EngELMAnn
Edited by the Museum
of Design Zürich
With an essay by Anita Kühnel
16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages
80 illustrations, softcover
2004, ISBN 978-3-03778-039-8
English/German
EUR 23.– GBP 20.– USD / CAD 20.–
POSTER COLLECTION 15
BrEAKIng ThE ruLES
Edited by the Museum
of Design Zürich
With an essay by Martin
Jaeggi and Peter Schweiger
Design: Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages
104 illustrations, softcover
2007, ISBN 978-3-03778-094-7
English/German
EUR 25.– GBP 20.– USD / CAD 30.–
POSTER COLLECTION 13
TyPO ChInA
Edited by the Museum
of Design Zürich
With an essay by Eva Lüdi Kong
Design: Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in, 64 pages
78 illustrations, softcover
2006, ISBN 978-3-03778-078-7
English/German
EUR 20.– GBP 15.– USD / CAD 25.–
POSTER COLLECTION 11
hAnDMADE
Edited by the Museum
of Design Zürich
With an essay by
Claude Lichtenstein
Design: Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages
140 illustrations, softcover
2005, ISBN 978-3-03778-053-4
English/German
EUR 23.– GBP 20.– USD / CAD 30.–
POSTER COLLECTION 09
rALPh SChrAIVOgEL
Edited by the Museum
of Design Zürich
With an essay by Robert Massin
16.5 × 24 cm, 6 ½ × 9 ½ in, 64 pages
70 illustrations, softcover
2003, ISBN 978-3-03778-016-9
English/German
EUR 20.– GBP 15.– USD / CAD 20.–
POSTER COLLECTION 08
BLACK AnD whITE
Edited by the Museum
of Design Zürich
With an essay by Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in, 80 pages
107 illustrations, softcover
2003, ISBN 978-3-03778-014-5
English/German
EUR 20.– GBP 15.– USD / CAD 22.–
POSTER COLLECTION 06
VISuAL STrATEgIES
AgAInST AIDS
Edited by the Museum
of Design Zürich
With an essay by Nigel Barley
16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages
130 illustrations, softcover
2003, ISBN 978-3-907078-90-7
English/German
EUR 23.– GBP 20.– USD / CAD 26.–
POSTER COLLECTION 04
hOrS-SOL
Edited by the Museum
of Design Zürich
Essays by Bettina
Richter and André Heiz
16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages
139 illustrations, softcover
2001, ISBN 978-3-907078-54-9
English/German
EUR 23.– GBP 20.– USD / CAD 26.–
POSTER COLLECTION 02
DOnALD Brun
Edited by the Museum
of Design Zürich
With an essay by Jean Charles
Giroud
16.5 × 24 cm, 6 ½ × 9 ½ in, 64 pages
70 illustrations, softcover
2001, ISBN 978-3-907078-53-2
English/German
EUR 20.– GBP 15.– USD / CAD 20.–
POSTER COLLECTION 07
ArMIn hOfMAnn
Edited by the Museum
of Design Zürich
With an essay by Steven Heller
16.5 × 24 cm, 6 ½ × 9 ½ in, 80 pages
80 illustrations, softcover
2003, ISBN 978-3-03778-004-6
English/German
EUR 20.– GBP 15.– USD / CAD 22.–
POSTER COLLECTION 05
TyPOTEKTur
Edited by the Museum
of Design Zürich
With an essay by Andres Janser
16.5 × 24 cm, 6 ½ × 9 ½ in, 64 pages
85 illustrations, softcover
2003, ISBN 978-3-907078-89-1
English/German
EUR 20.– GBP 15.– USD / CAD 20.–
POSTER COLLECTION 03
POSTErS fOr
EXhIBITIOnS 1980–2000
Edited by the Museum
of Design Zürich
With an essay by Stuart Bailey
16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages
150 illustrations, softcover
2001, ISBN 978-3-907078-55-6
English/German
EUR 23.– GBP 20.– USD / CAD 26.–
POSTER COLLECTION 01
rEVuE 1926
Edited by the Museum
of Design Zürich
With an essay by
Hans U. Gumbrecht
16.5 × 24 cm, 6 ½ × 9 ½ in, 64 pages
91 illustrations, softcover
2001, ISBN 978-3-907078-52-5
English/German
EUR 22.– GBP 20.– USD / CAD 20.–
48 Design 49

Jan Conradi
unIMArK
InTErnATIOnAL
The Design of Business
and the Business of
Design
Foreword by Massimo
Vignelli
Design: Kevin rau with
Jan Conradi
19 × 26 cm, 7 ½ × 10 ¼ in, 240 pages
150 illustrations, hardcover
2010, ISBN 978-3-03778-184-5, Eng
EUR 45.– GBP 40.–
USD / CAD 65.–
COrPOrATE
DIVErSITy
Swiss graphic Design
and Advertising
by geigy, 1940–1970
Edited by the Museum
of Design Zürich, Andres
Janser, Barbara Junod
Design: norm
19 × 26 cm, 7 ½ × 10 ¼ in, 250 pages
150 illustrations, hardcover
2010, ISBN 978-3-03778-184-5, Eng
EUR 40.– GBP 40.–
USD / CAD 65.–
Karl gerstner
DESIgnIng
PrOgrAMMES
Edited by harald geisler
and Jonas Pabst
Design: Karl gerstner
Revised reprint, original 1964
19.5 × 25 cm, 7 ¾ × 9 ¾ in
120 pages, 200 illustrations
hardcover
2007, ISBN 978-3-03778-093-0
English
2007, ISBN 978-3-03778-092-3
German
EUR 30.– GBP 30.–
USD / CAD 40.–
Unimark was known for always using the latest
technological innovations and computers long
before anyone else thought of doing so. With their
visual outlook, Unimark designers have had a
defining influence on our brand environment, and
their practice and their theory have left an enduring
legacy. A distinctive hallmark of Unimark
design was the systematic use of the Helvetica
typeface for the corporate identity of its client firms
Knoll, Olivetti, Pirelli, Ranx xerox, Unilever, IBM,
American Airlines and Ford, among others.
Even today, the success of Unimark International
(1960–1970), which is documented here for the
first time, points the way for designers and the
marketing sector.
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 open-minded corporate culture of the chemical
company in Basel combined product design
and corporate image in an exemplary way. The
design reveals a modernist formal idiom. There
was room in it for visual symbolism as well as the
acquisition of nonrepresentational art. In the
1960s, the studios of the subsidiaries in the United
States and the United Kingdom, placed more
emphasis on advertising. This is the first comprehensive
presentation of Geigy design, an important
Swiss contribution to the international history
of design.
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.
With many examples from the worlds of graphic human family.
and product design, music, architecture, and art, it
inspires the reader to seize on the material,
develop it further, and integrate it into his or her
own work.
LARS MÜLLER PUBLISHERS
hELVETICA fOrEVEr
Story of a Typeface
Design: Victor Malsy
and Lars Müller
with Integral Lars Müller
19 × 26 cm, 7 ½ × 10 ¼ in
160 pages, 150 illustrations
hardcover
2009, ISBN 978-3-03778-121-0
English
2008, ISBN 978-3-03778-120-3
German
EUR 30.– GBP 30.–
USD / CAD 49.–
Lars Müller
hELVETICA
homage to a Typeface
Design:
Integral Lars Müller
12 × 16 cm, 4 ¾ × 6 ¼ in
256 pages, 400 illustrations
softcover
2005, ISBN 978-3-03778-046-6
English
EUR 15.– GBP 15.–
USD / CAD 25.–
50 Design 51
H A N D B O O K
( TO GIVE YOU A HAND )
Modern hand-yeroglyphs function as
a sort of unofficial global communication
system which effectly cross over the
multiples barriers formed by diverse
national languages.
Even if sometimes, certain similar signs
have different meanings from one
culture to another, there is definitely
a common hand sign language.
This visual expression is intercultural.
Created everywhere, by everyone, at
any time, those signs belong to no one
in particular and to all of us in general.
The visual collection ( which you are
holding in your hands ) is presenting
hand signs in various situations and
demonstrates how represented in
different parts of the world, they are
expressing symbolically and without
words the unlimited actions of the
J E A N - B E N O Î T L É V Y
H A N D
B O O K
Jean-Benoît Lévy
hAnDBOOK
( FROM ONE HAND TO THE OTHER )
In the same collection:
Lars Müller
HELVETICA
Hommage to a typeface.
ISBN 3-03778-046-0
Design:
Jean-Benoît Lévy
12 × 16 cm, 4 ¾ × 6 ¼ in
256 pages, 490 illustrations
Isabel Naegele / Ruedi Baur
SCENTS OF THE CITY
ISBN 3-03778-012-6
The stylized handsigns
which are illustrating
this book are available
for softcover
Mac & Window
as a sign system named
H-AND-S
at www.myfonts.com
2006, ISBN 978-3-03778-077-0
English
EUR 15.– GBP 15.–
USD / CAD 20.–
LARS MÜLLER PUBLISHERS
Edited by Lars Müller and Victor Malsy
With contributions by Axel Langer
and Indra Kupferschmid
Designed in 1957, the Helvetica font is an icon
of swiss graphic design. This publication retraces
Helvetica’s fifty-year history, compares it to the
well-known sans serif fonts of the twentieth century,
and examines the phenomenon of its unparalleled
spread. Numerous illustrations show a
multitude of ways the font has been used in five
decades from a wide variety of fields – from
signal design to party flyers.
“helvetica is the perfume of the city.”
Lars Müller
“A declaration of love of a particular kind in
a small but elegant format. no design library
should be without it.”
Novum
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.
Over the years Jean-Benoît Lévy has collected
hundreds of examples backing up his notion
of a worldwide system of hand-signs. The panoply
of hands presented in this publication includes
charming curiosities and lay-persons’ creations
as well as concepts by professional communicators
– confirming that hand signs constitute
a global, inter-cultural metalanguage. As a handbook
– or “manual” – this publication advances
our vision and invites us to observe our own
surroundings with a new curiosity and sense of
awareness.

wolfgang weingart
TyPOgrAPhy
My wAy TO
TyPOgrAPhy
Design:
wolfgang weingart
22.5 × 27.5 cm, 8 ¾ × 10 ¾ in
520 pages, 450 illustrations
hardcover
2000, ISBN 978-3-907044-86-5
English /German
EUR 55.– GBP 50.–
USD / CAD 120.–
Lars Müller
JOSEf MÜLLEr-
BrOCKMAnn
Pioneer of Swiss
graphic Design
Design:
Integral Lars Müller
19 × 27 cm, 7 ½ × 10 ¾ in
264 pages, 369 illustrations
softcover
1994, ISBN 978-3-906700-89-2
English
1994, ISBN 978-3-907078-59-4
German
EUR 40.– GBP 40.–
USD / CAD 50.–
Claude Lichtenstein
PLAyfuLLy rIgID
Swiss Architecture,
graphic Design, Product
Design, 1950 –2006
Design:
Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in
300 pages, 370 illustrations
hardcover
2007, ISBN 978-3-03778-090-9
English
2007, ISBN 978-3-03778-089-3
German
EUR 25.– GBP 25.–
USD / CAD 38.–
Since the 1970s Wolfgang Weingart has exerted
a decisive influence on the international development
of typography. In the late 1960s he instilled
creativity and a desire for experimentation into
the ossified Swiss typographical industry and
reflected this renewal in his own work. Countless
designers have been inspired by his teaching
at the Basel School of Design and by his lectures.
In Typography Weingart gives an unusual and
frank narrative of his early life and development
as a designer. For the first time he gives a comprehensive
survey of his works over the past forty
years, most of which are unknown.
In his illustrated essay, Lars Müller traces the
history of “Swiss Graphic Design” from the
1930s to the 1960s. Müller-Brockmann’s posters
have become world famous for their ability
to convey information with great visual tension,
a sense of drama, and an extreme economy
of means. Müller-Brockmann created a body of
work in which timeless principles of visual
communication are inscribed.
This broad selection of swiss architecture,
graphic design, and design from 1950 to 2006
demonstrates that playful humor and clarity
are by no means opposites, but a highly unusual
duo of qualities that mingle and interpenetrate.
The question addressed by this publication
is: are these examples from three professions,
various regions and languages, and a period
of more than fifty years bound together by
a common denominator?
Pierre Mendell
AT fIrST SIghT
Design: Pierre Mendell
24 × 30 cm, 9 × 11 ¾ in, 160 pages
200 illustrations, hardcover
2001, ISBN 978-3-907044-49-0
English
2001, ISBN 978-3-907078-64-8
German
EUR 30.– GBP 30.–
USD / CAD 45.–
Pierre Mendell
POSTErS fOr ThE
OPErA
Design: Pierre Mendell
15.5 × 22 cm, 6 × 8 ¾ in, 160 pages
97 illustrations, hardcover
2006, ISBN 978-3-03778-082-4
English/German
EUR 25.– GBP 23.–
USD / CAD 33.–
Mark holt, hamish Muir
8vo
On ThE OuTSIDE
Design: Mark holt,
hamish Muir
12 × 16 cm, 4 ¾ × 6 ¼ in, 536 pages
395 illustrations, hardcover
2005, ISBN 978-3-03778-019-0
English
EUR 25.– GBP 23.–
USD / CAD 38.–
The design of Pierre Mendell (1929–2008) is
characterised by elements which are missing in
large part of contemporary graphic design: pithy
impact, communi cative force, poetry and humour.
The unfailing topicality and importance of his
work shows that visual communication based on
idea and context is more durable than those
subject to the dictates of electronics. Mendell’s
cultural posters and corporate design programs
are timelessly contemporary and modern. The
publication aims to encourage designers to trust
in the power of the idea and of simple forms and
to see their work as cultural expression of the
wider society.
Pierre Mendell has been designing 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, he has also linked
this opera house with a form of visual expression
that is unparalleled in its originality and immediacy.
Mendell’s simple, almost archaic, visual language
is admired over the world and his poster designs
are represented in leading collections such as the
Museum of Modern Art, New york.
On the outside surveys 8vo’s work from 1984
to 2001, including Octavo, the international journal
of typography and its influence in the emergent
typographically-led design movement in the
UK and internationally during the late 1980s and
through the 1990s. The emphasis is on process:
trying to reveal how 8vo’s design got 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.
52 Design 53

Jasper Morrison
EVEryThIng BuT
ThE wALLS
Design:
Integral Lars Müller
22 × 28 cm, 8 ¾ × 11 in, 256 pages
280 illustrations, softcover
2006, ISBN 978-3-03778-064-0
English
EUR 40.– GBP 40.–
USD / CAD 59.–
naoto fukasawa,
Jasper Morrison
SuPEr nOrMAL
Sensations of the
Ordinary
Design:
Integral Lars Müller
14.8 × 20 cm, 5 ¾ × 7 ¾ in
128 pages, 264 illustrations
softcover
2007, ISBN 978-3-03778-106-7
English
EUR 25.– GBP 25.–
USD / CAD 35.–
Jasper Morrison
A wOrLD wIThOuT
wOrDS
Design:
Anthony Arefin
11 × 15.5 cm, 4 ¼ × 6 in, 112 pages
104 illustrations, softcover
ISBN 978-3-03778-207-1, English
EUR 17.– GBP 15.–
USD / CAD 25.–
The name Jasper Morrison stands for simple an
enduring form, functional, and doing justice to
its materials. He has developed an unmistakable,
excitingly modern formal language, and became
one of the best-known and most influential
European product designers. Jasper Morrison
is giving us an insight into his approach and way
of working, which he defines as “utilism.” His
succinct essays describe the development of
individual products from the idea to manufacture.
A product list since 1981 completes the lavishly
presented selection.
Jasper Morrison and Naoto Fukasawa have
compiled 204 everyday objects in search of
super normal design: alongside examples
of anonymous design, there are design classics
like by Jacobsen, Rams, Bill or Noguchi. With
products by Newson, Grcic, the Azumis, and
the Bouroullecs, it also represents the generation
to which Morrison and Fukasawa belong.
The phenomenon of the super normal is located,
beyond space and time; and point to a future
that has long since begun. The super normal
is lying exposed before us, it is real and
available: Fukasawa and Morrison make it
visible for us.
What feeds the inspiration of the designer?
Observation. In Jasper Morrison’s collection of
pictures, the 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 creates a new
one in juxtaposition with its neighbor – 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.
A World Without Words is a school of seeing
that addresses designers and consumers
alike, who wish to explore the universe of goods.
frédéric Dedelley
DESIgn DETECTIVE
Edited by Ariana Pradal
Design: J. fracheboud
17 × 22 cm, 6 ¾ × 8 ¾ in, 258 pages
210 illustrations, hardcover
2008, ISBN 978-3-03778-137-1
English/French/German
EUR 30.– GBP 30.–
USD / CAD 40.–
Peter Erni
DIE guTE fOrM
Programm des
Schweize rischen
werkbundes
Design: Lars Müller
22 × 30 cm, 8 ½ × 12 in, 160 pages
600 illustrations, hardcover
1983, ISBN 978-3-906700-01-4
German
EUR 15.– GBP 30.–
USD/CAD 50.–
Peter Erni, Martin
huwiler, Christophe
Marchand
TrAnSfEr
Erkennen und Bewirken
Design: Authors
19.6 × 27 cm, 7 ¾ × 10 ½ in
416 pages, 1500 illustrations
softcover
2008, ISBN 978-3-03778-113-5
German
EUR 30.– GBP 27.–
USD/CAD 40.–
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 is transformed into
a new object. The book demonstrates in an
entertaining way the heart of design: seeing and
perceiving. It teaches how to see other images
than those shown in the media and encourages
readers to set up their own libraries of images
to serve as starting material for their projects.
The book serves as a source of inspiration and
guideline for designers and provides insight into
the practices of an experienced designer.
A comprehensive analysis of product design
based on the “Die gute Form” (Good Design)
campaign by the Swiss Werkbund 1952–1968.
The first book of the publishing house,
published in 1983.
Design professionals of every discipline –
architects, product and graphic designers – are
confessing to certain difficulties in common:
to transform their knowledge and understanding
of the ecological, economic, technological and
aesthetic parameters of an enduring contemporary
design into the practice of their professions.
It is a sentiment echoed by decision-makers in
the construction field and other industries. The
authors of Transfer present a collection of documentary
illustrations and quotations which is both
rigorous and stimulating in composition and
structure. They have devised a method of making
the critical factors of innovative design vividly
immediate and usable in practice.
54 Design 55

hans richter
nEw LIVIng
Design:
Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in
128 pages, 500 illustrations
hardcover
2001, ISBN 978-3-907078-22-8
English
EUR 44.– GBP 35.–
USD / CAD 28.–
gEfESSELTEr BLICK
25 profiles and articles
on designers
in advertising
Reprint, original 1930
15.5 × 21 cm, 6 × 8 ¾ in, 112 pages
140 illustrations, hardcover
1996, ISBN 978-3-907044-02-5
German
EUR 45.– GBP 40.–
USD/CAD 60.–
Annemarie Bucher
SPIrALE
Eine Künstler zeit schrift
1953–1964
Design: Lars Müller
22 × 30 cm, 8 ½ × 12 in, 224 pages
450 illustrations, softcover
2001, ISBN 978-3-906700-21-2
German
EUR 58.– GBP 52.–
USD/CAD 65.–
hans Arp and
El Lissitzky
ThE ISMS Of ArT
1914–1924
Reprint, original 1925
24.5 × 26.5 cm, 5 ¾ × 10 ½ in
60 pages, 75 illustrations
hardcover
1990, ISBN 978-3-906700-28-1
English/French/German
EUR 15.– 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
architecural modernism.
Edited by heinz and Bodo rasch
Gefesselter Blick, the captivated gaze, is one
of the most important publications on the
state of commercial art in the late 1920s. The
Rasch brothers invited 25 designers to write brief
“monographs and contributions.” Their publication
launches a radical reversal of classic
advertising design. The most revolutionary
artists of the time are represented.
Spirale was an international artists’ magazine for
young art and is now one of the most important
records of how art developed in the 50s. It marks
the change of generations in post-war art and
documents the development of abstract and constructive/concrete
art in Europe. The Spirale was
edited by Marcel Wyss, Dieter Roth, and Eugen
Gomringer and appeared 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.
gerlinde Schuller
DESIgnIng unIVErSAL
KnOwLEDgE
The world as flatland –
report 1
Design: Information
Design Studio /
gerlinde Schuller
16.5 × 24 cm, 6 ½ × 9 ½ in, 304 pages
650 illustrations, hardcover
2009, ISBN 978-3-03778-149-4
English
EUR 35.– GBP 35.–
USD / CAD 50.–
Pierre Bernard
My wOrK IS nOT My
wOrK
Design for the public
domain
Design: reynoud homan
16.5 × 24 cm, 6 ½ × 9 ½ in, 320 pages
270 illustrations, softcover
2008, ISBN 978-3-03778-087-9
English
2007, ISBN 978-3-03778-086-2
French
2007, ISBN 978-3-03778-104-3
Dutch
EUR 40.– GBP 40.–
USD / CAD 50.–
SIgnAgE DESIgn
MAnuAL
Edo Smitshuijzen
Design:
Edo Smitshuijzen
16 × 26 cm, 6 ¼ × 10 ¼ in, 456 pages
800 illustrations, hardcover
2007, ISBN 978-3-03778-096-1
English
EUR 45.– GBP 40.–
USD/CAD 60.–
The development of modern communication and
information technologies like the Internet and
globalization have not only changed access and
spread of the available knowledge but also the
speed of collecting. The author examines collections
of knowledge such as archives, encyclopedias,
data collections, and libraries that make
knowledge accessible worldwide. Who is collecting
the world’s knowledge? How is it structured
and designed? Who determines the access
of knowledge?
The French designer Pierre Bernard focuses
in his work—a comprehensive survey of which is
offered here for the first time—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 for the distinctive seal of the French
National Parks. Since 1991 Pierre Bernard leads
the Atelier de Création Graphique in Paris.
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 guides through this demanding process.
The combination of wide coverage and precise,
detailed information makes this book accessible
to a broad spectrum of readers, from information
and graphic designers to architects and
professionals. With the publication of Signage
Design Manual, the canon of signaletics finally
has its own textbook.
56 Design 57

Jean-Pascal Imsand
PhOTOgrAPhEr
Design:
Integral Lars Müller
24 × 30 cm, 9 × 11 ¾ in, 184 pages
138 photographs in b/w, hardcover
2004, ISBN 978-3-03778-037-4
English
2004, ISBN 978-3-03778-041-1
French
2004, ISBN 978-3-03778-040-4
German
EUR 25.– GBP 25.–
USD / CAD 38.–
Lukas felzmann
wATErS In BETwEEn
With marginalia by
Angelus Silesius
and John Berger
Design:
Integral Lars Müller
19 × 27 cm, 7 ½ × 10 ¾ in, 320 pages
161 photographs, hardcover
2009, ISBN 978-3-03778-138-8
English
EUR 50.– GBP 45.–
USD / CAD 65.–
Lukas felzmann
LAnDfALL
Essay by Peter Pfrunder
13 × 18 cm, 5 × 7 in, 144 pages
70 photographs, hardcover
2004, ISBN 978-3-907078-92-1
English/German
EUR 28.– GBP 25.–
USD / CAD 35.–
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.
Felzmann discovers with his camera the hidden
charms of the Sacramento Valley, that seeming
nonplace. The photographs show the diversity
of the plane: the original landscape, the large
swaths put to agricultural use, the modern provincial
towns, and the transitional areas in between.
Photographs of water in all its facets run through
the book, just as water runs through the valley.
Lukas Felzmann’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 long 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.
Broad landscapes and deep horizons become
expanses on to which all kinds of visions can be
projected.
SCIEnCE SuISSE
An Initiative of Srg
SSr idée suisse
Christian Eggenberger
and Lars Müller (Eds.)
Design:
Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in
472 pages, 250 illustrations
hardcover, with DVD
2009, ISBN 978-3-03778-145-6
Ger/Fr/It/Eng (PAL)
2009, ISBN 978-3-03778-156-2
Ger/Fr/It/Eng (NTSC)
EUR 30.– GBP 25.–
USD / CAD 45.–
nadja Athanasiou,
Michael Bühler,
Peter Lüem
ThE DOLDEr grAnD
Design:
Peter Zimmermann
25 × 27 cm, 9 ¾ × 10 ¾ in
640 pages, 400 photographs
hardcover
2009, ISBN 978-3-03778-166-1
English
EUR 119.– GBP 108.–
USD / CAD 179.–
SALIBA
Mazza – aus der feinen
Küche Syriens
Edited by
Elias hanna Saliba
With photographs by
Hans Hansen
Design: Pierre Mendell
15.4 × 21.6 cm, 6 × 8 ½ in, 176 pages
49 illustrations, hardcover
1999, ISBN 978-3-907078-98-3
Ger/Arab
EUR 24.– CHF 38.–
USD/CAD 40.–
With texts by the Nobel Prize laureate
Rolf Zinkernagel, Bertrand Piccard and
photographs by Andri Pol
Following the success of PHOTOsuisse,
SCIENCEsuisse deals with science in Switzerland,
with twenty-five textual portraits of selected
researchers, depicting their development,
career milestones, and outstanding research
projects from the vantage point of distinguished
science journalists. Two essays seek to situate
Switzerland as a research venue. Thirteen
critical theses deal with research and its general
conditions in Switzerland.
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. The
resulting photographic narrative is a rich and
complex tapestry in which text and image
are interwoven with a lyricism that brings the
architecture to life.
Hanna Saliba ranks among the most innovative
restaurateurs in Germany. His restaurant Saliba
in Hamburg, which serves Syrian cuisine, is
renowned far beyond the city’s borders for its
magical culinary experiences. Some of the restaurant’s
guests — Hans Hansen from Hamburg, the
Munich designer Pierre Mendell, and the publisher
of this volume — developed the concept for
this book together with Saliba as an expression
of their enthusiasm for Arab cuisine, particularly
for the diversity and sophistication of its incomparable
hors d’oeuvres called Mazza. “Eating with
the eyes” is to be taken literally. Arabic calligraphy
complements the feast for the eyes and makes
the book much more than a collection of recipes
for amateur cooks and professional chefs.
58 Photography 59

Thomas flechtner
BLOOM
Design:
Integral Lars Müller
23 × 30 cm, 9 × 11 ¾ in, 128 pages
82 photographs, hardcover
2007, ISBN 978-3-03778-091-6
English
EUR 30.– GBP 30.–
USD / CAD 45.–
Thomas flechtner
SnOw
Design:
Integral Lars Müller
24 × 30 cm, 9 × 11 ¾ in, 120 pages
100 photographs, hardcover
2002, ISBN 978-3-907078-65-5
English
EUR 58.– GBP 25.–
USD / CAD 40.–
Pete Davis
In wILDwOOD
With a text by Conway
Lloyd Morgan
Design:
Integral Lars Müller
30 × 24 cm, 11 ¾ × 9 ½ in
96 pages, 72 photographs
hardcover
2008, ISBN 978-3-03778-142-5
English
EUR 40.– GBP 40.–
USD / CAD 50.–
With Bloom, Thomas Flechtner continues to go
his own way as an artist. In his internationally
acclaimed debut publication Snow, he took viewers
by surprise with a compelling visual metaphysics
of snow as the exploration of a psychological
state. After exhibitions in London, New
york, Bilbao, and Tokyo, Flechtner is now free to
pursue a new passion, the unbridled color and
movement of organic nature, which he examines
with lyrical lightness and tremendous precision
in these densely atmospheric studies of plants.
As a photographer, Flechtner goes in search of
the essence of nature, abandoning the ostensible
safety of distance and allowing proximity and
for the first time also movement.
In Thomas Flechtner’s photographs, snow
becomes a metaphor for timelessness, stillness,
peace, distance, and loneliness. Both civilization
and the untouched countryside succumb to
the gentle weight of this element. These images
make the viewer long for silence and transparency.
“Thomas flechtner is a nomad, wanderer
and walker, in fact, a loner. he captures pure
beautyon quasi-solipsistic quests for prey:
ice-crystals of photography, poems from
water and air.”
Neue Zürcher Zeitung
Forests, according to folklore, are places of
mystery and fear the haunts of fierce animals and
fiercer men. yet for our ancestors the forests
were sources of food and fuel, managed spaces.
In the forests of Wales and Vermont the photographer
Pete Davis has been exploring the
dichotomy in forest fact and fable for over a
decade, marking the changes worked by time,
weather and human intervention.
Klaus Merkel
ThE rEADIng Of
TIME In ThE TEXT
Of nATurE
Design:
Integral Lars Müller
24 × 30 cm, 9 × 11 ¾ in, 96 pages
84 photographs, hardcover
2000, ISBN 978-3-907044-97-1
English
1997, ISBN 978-3-907044-40-7
German
EUR 25.– GBP 25.–
USD / CAD 38.–
Klaus Merkel
ALBuM Of STOnES
Design:
Integral Lars Müller
24 × 30 cm, 9 × 11 ¾ in, 160 pages
110 photographs, hardcover
2005, ISBN 978-3-03778-058-9
English
2005, ISBN 978-3-03778-062-6
German
EUR 25.– GBP 23.–
USD / CAD 38.–
Luciano rigolini
whAT yOu SEE
Edited by the
fotostiftung Schweiz
With an essay by
Peter Pfrunder
Design:
Integral Lars Müller
12 × 16 cm, 4 ¾ × 6 ¼ in
160 pages, 107 photographs
hardcover
2008, ISBN 978-3-03778-139-5
German/English/French/Japanese
EUR 25.– GBP 20.–
USD / CAD 35.–
Klaus Merkel’s coupled photo graphs mirror the
physical and spiritual patterns of both natural
and architectural 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 such themes as Stratification,
The Crystalline, The Vegetative, and Outer World
and Inner World.
The photographer and artist Klaus Merkel
searches for — and record in striking black-andwhite
photographs — structures in nature and
architecture that, no matter where they are,
exhibit over lapping patterns and con figurations,
significant deviations and parallels, and resonate
in juxtaposition. In this extension of that program,
he has turned his attention to stones and rock
landscapes and their patterns. It is a process
that he insists takes patience, sometimes years,
both in allowing the force of the photograph to
make itself felt over time and in seeking the perfect
pair, the photograph that will reverberate
with another in tandem.
The photographer and artist Luciano Rigolini
demonstrates that anonymous snapshots,
freed from their context, can convey a visual
experience. Rigolini pieces together his findings
to create a new work – a grammar of seeing
and perception. Consciously or unconsciously,
we become primarily aware of form and structure
in the snapshots, and content of the images
becomes inessential. This results in a fascinating
aesthetic play that questions our habits of seeing.
In this arranged sequence the photographs
can no longer be read as simply likenesses
of reality.
60 Photography 61

yann Mingard,
Alban Kakulya
EAST Of A nEw
EDEn
European External
Borders A Documentary
Account
Design:
Integral Lars Müller
25 × 33 cm, 9 × 13 in, 320 pages
150 illustrations, hardcover
2010, ISBN 978-3-03778-176-0
English/French
EUR 60.– GBP 60.–
USD / CAD 99.–
Jules Spinatsch
TEMPOrAry
DISCOMfOrT
Design: w. heininger
24 × 30 cm, 9 × 11 ¾ in, 186 pages
approx. 80 photographs
hardcover
2005, ISBN 978-3-03778-047-3
English/German
EUR 30.– GBP 30.–
USD / CAD 45.–
Andreas Seibert
frOM SOMEwhErE
TO nOwhErE
China’s Internal
Migrants
Design:
Integral Lars Müller
19 × 26 cm, 7 ½ × 10 ¼ in
320 pages, 228 photographs
hardcover
2008, ISBN 978-3-03778-146-3
English
EUR 40.– GBP 40.–
USD / CAD 55.–
Europe’s new eastern borders stretch from the
Baltic Sea to the Black Sea: 1.600 heavily guarded
kilometers between former “fraternal countries.”
The photographers yann Mingard and Alban
Kakulya spent a long time on the road; one of them
traveled down from the North and the other up
from the South in an effort to document the places
and landscapes that mark the end of the Western
world. On their journey, they photographed the
landscape as well as the border posts with their
soldiers and their refugees seized at the frontier,
and documented a reality defined in faraway Strasbourg,
Brussels, and elsewhere. Explanatory maps
and satellite images are juxtaposed in this book
with the striking photographs.
Jules Spinatsch was at the World Economic
Forum in Davos and New york and also attended
the G8 summits at Davos and Evian. But rather
than street fighting and handshakes, Jules
Spinatsch 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. Temporary Discomfort shows people
waiting for the big event, which is revealed as
meticulously planned down to the last detail.
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.
“It’s a thoughtful, sometimes hopeful
masterpiece of stolen moments and stunning
portraiture.” Monocle
wOrLD Of gIVIng
Edited by Jeffrey Inaba
and C-Lab, Columbia
university gSAPP
Design: Daniella
Spinat, Daniel Koppich
16.5 × 24 cm, 6 ½ × 9 ½ in
256 pages, 120 illustrations
softcover
2010, ISBN 978-3-03778-181-4
English
EUR 30.– GBP 25.–
USD / CAD 45.–
ALL wE nEED
Edited by holzer Kobler
Architekturen and iart
interactive
16.5 × 24 cm, 6 ½ × 9 ½ in
271 pages, 255 illustrations
softcover
2007, ISBN 978-3-03778-119-7
English/French/German
EUR 30.– GBP 23.–
USD / CAD 40.–
Christina Kleineidam,
hans Peter Jost
COTTOn wOrLDwIDE
Design:
Integral Lars Müller
with hans Peter Jost
19 × 26 cm, 7 ½ × 10 ¼ in
320 pages, 220 illustrations
hardcover
2009, ISBN 978-3-03778-201-9
English
2009, ISBN 978-3-03778-200-2
German
EUR 40.– GBP 40.–
USD / CAD 60.–
The last decade was largely defined by consumption
and greed. An untold story, however, is
the rise in benevolent giving seen in institutional,
public, and private sectors. The geography of aid
has also broadened; networks of NGOs now supplement
philanthropy and the global operations of
official channels. The current recession threatens
these support structures, diminishing aid at
this critical moment when distress is increasing.
World of Giving presents aid’s history as an index
of past and current relationships, indicating its
indispensable global role in the future.
The books point of departure is the ten needs of
every person: subsistence, protection, affection,
participation, recreation, creativity, understanding,
identity, freedom, and transcendence. An extensive
collage of texts and images illustrates the needs,
supplemented by journalistic and art-historical
images and philosophical quotations.
Cotton is grown on every continent, in a broad
range of environmental conditions, and under
widely disparate conditions of production. It is
an important raw material for a highly varied and
profitable value creation chain, and it is traded
on commodities markets throughout the world.
Hans Peter Jost has created a photographic
portrait of cotton on his trips to India, China,
Brazil, America, Uzbekistan, Mali, and Tanzania,
documenting the lives and working conditions
of cotton farmers and the cultivation, harvesting,
processing, and marketing of cotton. Christina
Kleineidam, offers background information on
the specific problems of the individual countries.
62 Society 63

64 Society
ThE fACE Of huMAn
rIghTS
Design:
Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in
720 pages, 500 illustrations
2004, ISBN 978-3-03778-017-6
English (hardcover)
2008, ISBN 978-3-03778-114-2
German (softcover)
EUR 45.– GBP 45.–
USD / CAD 60.–
whO OwnS ThE
wAT E r ?
Design:
Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in
536 pages, approx. 200 illustrations
hardcover
2006, ISBN 978-3-03778-018-3
English
2006, ISBN 978-3-03778-015-2
German
EUR 45.– GBP 45.–
USD / CAD 60.–
fAITh IS.
The Quest for
Spirituality and religion
Design:
Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in
396 pages, 159 illustrations
hardcover
2009, ISBN 978-3-03778-144-9
English
2009, ISBN 978-3-03778-143-2
German
EUR 40.– GBP 35.–
USD / CAD 55.–
Edited by walter Kälin, Lars Müller,
and Judith wyttenbach
With contributions by Slavenka Drakulić, Carlos
Fuentes, Ryszard Kapus´ciński, Alexander Kluge,
Sima Samar, Susan Sontag, Wole Soyinka,
and Margrit Sprecher
The Face of Human Rights attempts to present all
aspects of human rights visually and make them
tangible. Over 500 photographs show human rights
infringements world-wide and the tireless struggle
to implement and preserve those rights. The extensive
selection of texts explores the background
and creates a dense network of links.
Edited by Lars Müller, Klaus Lanz, Christian
rentsch, and rené Schwarzenbach
Industrialization and population growth have
brought about a global water crisis. Nature can
no longer compensate the exploitation of our
freshwater and our oceans. One billion people
have no reliable access to clean drinking water;
two billion live in precarious hygienic conditions.
Famine, poverty, epidemics, and infant mortality
are closely linked with the water crisis.
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 such as the yearning for
transcendence, inwardness, the experience
of oneness, happiness, meaning in life, and rituals,
as well as for models that can help to explain
the origins and future of humanity and the world,
exist both inside and outside official religious
groups. With texts and a clear pictorial language,
this volume addresses the phenomenon of religion
belief, guiding the reader and viewer into
the world of the numinous and mysterious, while
also giving them a bit of critical orientation and
existential questions to take along with them on
their continued quest.
Contact
Lars Müller Publishers
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Switzerland
Telephone +41 (0)56 430 17 40
Fax +41 (0)56 430 17 41
E-mail: info@lars-mueller-publishers.com
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Society 65