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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30 × 24 cm, 11 ¾ × 9 ½ in, 240 pages 

233 illustrations, hardcover 


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 


16.5 × 24 cm, 6 ½ × 9 ½ in, 240 pages 



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, 


nEw 

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 


16.5 × 24 cm, 6 ½ × 9 ½ in, 464 pages 



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 


16.5 × 24 cm, 6 ½ × 9 ½ in, 240 pages 



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 


15 × 24 cm, 6 ½ × 9 ½ in, 288 pages 



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 



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. 


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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 


24 × 33 cm, 9 ½ × 13 in, 240 pages 




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 


24 × 16.5 cm, 9 ½ × 6 ½ in, 480 pages 



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 


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. 


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 


16.5 × 24 cm, 6 ½ × 8 ¾ in, 160 pages 

approx. 175 illustrations, softcover 


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 


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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 


16.5 × 24 cm, 6 ½ × 8 ¾ in, 640 pages 



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. 


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OThEr SPACE ODySSEyS: 

grEg Lynn, MIChAEL MALTZAn, 

ALESSAnDrO POLI 

Edited by giovanna Borasi, Mirko Zardini, 

and Canadian Centre for Architecture 


15 × 21 cm, 6 × 8 ¼ in, 160 pages 



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 


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 



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. 


16.5 × 24 cm, 6 ½ × 9 ½ in, 320 pages 




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 


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 



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 


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 



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 

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. 





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. 





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 


24 × 16.5 cm, 9 ½ × 6 ½ in, 128 pages 



EUR 25.– GBP 20.– USD / CAD 35.– 


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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 


16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 


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 


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 


30 × 24 cm, 11 ¾ × 9 ½ in, 96 pages 



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 


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 


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 



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 


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 


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 



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 


16.5 × 24 cm, 6 ½ × 9 ½ in, 224 pages 


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 


29 × 19 cm, 11 ½ × 7 ½ in, 240 pages 




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 


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 


12.5 × 19 cm, 5 × 4 ½ in, 240 pages 


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 


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 


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 


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.– 


yOur PrIVATE SKy 

r. BuCKMInSTEr 

fuLLEr 

The Art of Design 

Science 



16.5 × 24 cm, 6 ½ × 9 ½ in 


hardcover 

1999, ISBN 978-3-907044-88-9 

English 

EUR 25.– GBP 25.– 


Jack Masey and 

Conway Lloyd Morgan 

COLD wAr 

COnfrOnTATIOnS 

uS Exhibitions 

and Their role in the 

Cultural Cold war 



16.5 × 24 cm, 6 ½ × 9 ½ in 


hardcover 

2008, ISBN 978-3-03778-123-4 

English 

EUR 20.– GBP 20.– 


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. 


yAD VAShEM 

Moshe Safdie 

The Architecture 

of Memory 



24 × 30 cm, 9 × 11 ¾ in, 136 pages 


2006, ISBN 978-3-03778-070-1 

English 

EUR 40.– GBP 40.– 


Matthias Sauerbruch, 

Louisa hutton 

SAuErBruCh huTTOn 

ArChIVE 


hendrik Schwantes 

24 × 30 cm, 9 × 11 ¾ in, 344 pages 


2006, ISBN 978-3-03778-083-1 

English/German 

EUR 60.– GBP 55.– 


SnøhETTA wOrKS 

Edited by Snøhetta 



22 × 28 cm, 8 ¾ × 11 in, 304 pages 


2009, ISBN 978-3-03778-147-0 

English 

EUR 50.– GBP 45.– 


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 



21 × 33 cm, 8 ¼ × 13 in 


hard cover 

2004, ISBN 978-3-03778-005-3 

English 

EUR 40.– GBP 40.– 


Zaha hadid 

CAr PArK AnD 

TErMInuS 

STrASBOurg 



31 × 33 cm, 12 ¼ × 13 in 


softcover 

2004, ISBN 978-3-03778-028-2 

German/English/French 

EUR 15.– GBP 15.– 


ArChITECTurE Of 

ZAhA hADID 

in Photographs by 

hélène Binet 



19 × 31 cm, 7 ½ × 12 ¼ in 


hardcover 

2000, ISBN 978-3-907078-12-9 

English 

EUR 20.– GBP 18.– 


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. 


Peter Eisenman 

ThE fOrMAL BASIS 

Of MODErn 

ArChITECTurE (1964) 



29 × 30.5 cm, 11 ½ × 12 in 


hardcover 

2006, ISBN 978-3-03778-071-8 

English 

EUR 50.– GBP 50.– 


Peter Eisenman 

hOLOCAuST 

MEMOrIAL BErLIn 



24 × 30 cm, 9 × 11 ¾ in 


hardcover 

2005, ISBN 978-3-03778-056-5 

English 

2005, ISBN 978-3-03778-059-6 

German 

EUR 23.– GBP 23.– 


herzog & de Meuron 

nATurAL hISTOry 

Edited by Philip 

ursprung and the 

Canadian Centre for 

Architecture, Montréal 



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.– 


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 


softcover 


English 

EUR 30.– GBP 30.– 


ShIfT 

SAnAA AnD ThE nEw 

MuSEuM 

Edited by Joseph grima 

and Karen wong 


Mevis & Van Deursen 

24 × 30 cm, 9 × 11 ¾ in 


softcover 

2008, ISBN 978-3-03778-140-1 

English 

EUR 33.– GBP 35.– 


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 


2009, ISBN 978-3-03778-170-8 

English 

2009, ISBN 978-3-03778-168-5 

German 

EUR 30.– GBP 30.– 


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. 


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 


Andrea gmünder 

18 × 12.8 cm, 7 × 5 in, 192 pages 



English 


German 

EUR 20.– GBP 20.– 


Petra Kempf 

yOu ArE ThE CITy 

Observation, 

Organization and 

Transformation 

of urban Settings 



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.– 


gramazio & Kohler 

DIgITAL MATErIALITy 

In ArChITECTurE 



19.5 × 30 cm, 7 ¾ × 11 ¾ in 


hardcover 

2008, ISBN 978-3-03778-122-7 

English 

EUR 35.– GBP 35.– 


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 



16.5 × 24 cm, 6 ½ × 9 ½ in 


hardcover 

2005, ISBN 978-3-03778-060-2 

English 

EUR 42– GBP 40.– 


COnSTruCTIOn SITE 

Metamorphoses 

in the City 


haeberli winkelmann 

23 × 28 cm, 9 × 11 in, 144 pages 


2008, ISBN 978-3-03778-112-8 

English 

2008, ISBN 978-3-03778-111-1 

German 

EUR 40.– GBP 40.– 


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 


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. 


AS fOunD, 

ThE DISCOVEry 

Of ThE OrDInAry 

British Architecture and 

Art of the 1950s 



16.5 × 24 cm, 6 ½ × 9 ½ in 


hardcover 

2001, ISBN 978-3-907078-43-3 

English 

2001, ISBN 978-3-907078-40-2 

German 

EUR 30.– GBP 27.– 


Catherine de Smet 

Le COrBuSIEr, 

ArChITECT Of BOOKS 



24 × 30 cm, 9 × 11 ¾ in, 128 pages 


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.– 


Catherine de Smet 

VErS unE 

ArChITECTurE 

Du LIVrE 

Le Corbusier: édition 

et mise en pages 

1912–1965 



16.5 × 24 cm, 6 ½ × 9 ½ in 


softcover 

2007, ISBN 978-3-03778-067-1 

French 

EUR 30.– GBP 26.– 


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 



18.5 × 28 cm, 7 ¼ × 11 in 


hardcover 

2003, ISBN 978-3-03778-002-2 


EUR 30.– GBP 30.– 


Jacques Schader 

frEuDEnBErg 

A Masterpiece of 

European Architecture 

Edited by Claude 

Lichtenstein 



14 × 12 cm, 5 ½ × 4 ¾ in 


softcover with DVD 

2003, ISBN 978-3-907078-61-7 


EUR 38.– GBP 35.– 


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 


softcover 

2001, ISBN 978-3-907078-42-6 

English 

EUR 15.– GBP 15.– 


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. 


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 


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 


Intégral ruedi Baur 

14 × 20 cm, 5 ½ × 7 ¾ in 


softcover 

2004, ISBN 978-3-03778-012-1 

English/French/German 

EUR 16.– GBP 15.– 


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 


hardcover 

2005, ISBN 978-3-03778-043-5 

German/French 

EUR 45.– GBP 40.– 


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 


softcover 

2008, ISBN 978-3-03778-133-3 

English/German/French 

EUR 30.– GBP 30.– 


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. 


2 

Orient-ierung/ation Des-/Dés-/Dis-/orient-ierung/ation 

Design2context 

Institute Design2context 

Zürich University of the Arts 


DISOrIEnTATIOn/ 

OrIEnTATIOn 2 

Edited by Design2 

context, ruedi Baur 

Design: ruedi Baur 

und Megan hall 

16.5 × 24 cm, 6 ½ × 9 ½ in 


softcover 

2009, ISBN 978-3-03778-158-6 


EUR 30.– GBP 30.– 


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.– 


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 


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 




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 


18.5 × 26 cm, 7 ¼ × 10 ¼ in, 448 pages 




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. 


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 


softcover 

2009, ISBN 978-3-03778-179-1 


EUR 20.– GBP 20.– 

USD/CAD 30.– 

PhILIPS – TwEn 

realism Is the Score 


14.8 × 21 cm, 5 ¾ × 8 ¼ in 


softcover 

2009, ISBN 978-3-03778-180-7 


EUR 20.– GBP 20.– 


CELESTInO PIATTI 

AnD DTV 

The unity of the 

Program 


14.8 × 21 cm, 5 ¾ × 8 ¼ in 


softcover 

2009, ISBN 978-3-03778-178-4 


EUR 20.– GBP 20.– 


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. 


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 


2009, ISBN 978-3-03778-174-6, Eng/Ger 

EUR 25.– GBP 25.– USD / CAD 35.– 


OTTO BAuMBErgEr 



With an essay by Martin Heller 


16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 


2008, ISBN 978-3-03778-129-6 


EUR 25.– GBP 23.– USD / CAD 30.– 


PArADISE SwITZErLAnD 

Edited by the Museum of Design Zürich 


16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 


2010, ISBN 978-3-03778-205-7, English/German 

EUR 25.– GBP 25.– USD / CAD 35.– 


hEAD TO hEAD 



With an essay by 

Thomas Macho 

16.5 × 24 cm, 6 ½ × 9 ½ in, 192 pages 


2009, ISBN 978-3-03778-151-7, English 

2009, ISBN 978-3-03778-130-2, German 

EUR 30.– GBP 30.– USD / CAD 40.– 


PhOTO grAPhICS 




Nanni Baltzer 


16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 


2008, ISBN 978-3-03778-128-9 


EUR 25.– GBP 23.– USD / CAD 30.– 



COMIX! 

Edited by the Museum 

of Design Zurich 

With an essay by Pascal Lefèvre 


16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 


2008 , ISBN 978-3-03778-099-2 


EUR 25.– GBP 20.– USD / CAD 30.– 


ZÜrICh-MILAnO 


of Design Zürich 

With an essay by Hans Höger 


16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 


2006, ISBN 978-3-03778-079-7 


EUR 23.– GBP 20.– USD / CAD 30.– 


CAThErInE ZASK 



With essays by Henri Gaudin 

and Catherine de Smet 


16.5 × 24 cm, 6 ½ × 9 ½ in, 64 pages 


2005, ISBN 978-3-03778-054-1 


EUR 20.– GBP 15.– USD / CAD 20.– 


MIChAEL EngELMAnn 



With an essay by Anita Kühnel 

16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 


2004, ISBN 978-3-03778-039-8 


EUR 23.– GBP 20.– USD / CAD 20.– 


BrEAKIng ThE ruLES 



With an essay by Martin 

Jaeggi and Peter Schweiger 


16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 


2007, ISBN 978-3-03778-094-7 


EUR 25.– GBP 20.– USD / CAD 30.– 


TyPO ChInA 



With an essay by Eva Lüdi Kong 


16.5 × 24 cm, 6 ½ × 9 ½ in, 64 pages 


2006, ISBN 978-3-03778-078-7 


EUR 20.– GBP 15.– USD / CAD 25.– 


hAnDMADE 




Claude Lichtenstein 


16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 


2005, ISBN 978-3-03778-053-4 


EUR 23.– GBP 20.– USD / CAD 30.– 


rALPh SChrAIVOgEL 



With an essay by Robert Massin 

16.5 × 24 cm, 6 ½ × 9 ½ in, 64 pages 


2003, ISBN 978-3-03778-016-9 


EUR 20.– GBP 15.– USD / CAD 20.– 


BLACK AnD whITE 



With an essay by Lars Müller 

16.5 × 24 cm, 6 ½ × 9 ½ in, 80 pages 


2003, ISBN 978-3-03778-014-5 


EUR 20.– GBP 15.– USD / CAD 22.– 


VISuAL STrATEgIES 

AgAInST AIDS 



With an essay by Nigel Barley 

16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 


2003, ISBN 978-3-907078-90-7 


EUR 23.– GBP 20.– USD / CAD 26.– 


hOrS-SOL 



Essays by Bettina 

Richter and André Heiz 

16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 


2001, ISBN 978-3-907078-54-9 


EUR 23.– GBP 20.– USD / CAD 26.– 


DOnALD Brun 



With an essay by Jean Charles 

Giroud 

16.5 × 24 cm, 6 ½ × 9 ½ in, 64 pages 


2001, ISBN 978-3-907078-53-2 


EUR 20.– GBP 15.– USD / CAD 20.– 


ArMIn hOfMAnn 



With an essay by Steven Heller 

16.5 × 24 cm, 6 ½ × 9 ½ in, 80 pages 


2003, ISBN 978-3-03778-004-6 


EUR 20.– GBP 15.– USD / CAD 22.– 


TyPOTEKTur 



With an essay by Andres Janser 

16.5 × 24 cm, 6 ½ × 9 ½ in, 64 pages 


2003, ISBN 978-3-907078-89-1 


EUR 20.– GBP 15.– USD / CAD 20.– 


POSTErS fOr 

EXhIBITIOnS 1980–2000 



With an essay by Stuart Bailey 

16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 


2001, ISBN 978-3-907078-55-6 


EUR 23.– GBP 20.– USD / CAD 26.– 


rEVuE 1926 




Hans U. Gumbrecht 

16.5 × 24 cm, 6 ½ × 9 ½ in, 64 pages 


2001, ISBN 978-3-907078-52-5 


EUR 22.– GBP 20.– USD / CAD 20.– 


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 


2010, ISBN 978-3-03778-184-5, Eng 

EUR 45.– GBP 40.– 


COrPOrATE 

DIVErSITy 

Swiss graphic Design 

and Advertising 

by geigy, 1940–1970 


of Design Zürich, Andres 

Janser, Barbara Junod 

Design: norm 

19 × 26 cm, 7 ½ × 10 ¼ in, 250 pages 


2010, ISBN 978-3-03778-184-5, Eng 

EUR 40.– GBP 40.– 


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 


hardcover 

2007, ISBN 978-3-03778-093-0 

English 

2007, ISBN 978-3-03778-092-3 

German 

EUR 30.– GBP 30.– 


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. 


hELVETICA fOrEVEr 

Story of a Typeface 

Design: Victor Malsy 

and Lars Müller 

with Integral Lars Müller 

19 × 26 cm, 7 ½ × 10 ¼ in 


hardcover 

2009, ISBN 978-3-03778-121-0 

English 

2008, ISBN 978-3-03778-120-3 

German 

EUR 30.– GBP 30.– 



hELVETICA 

homage to a Typeface 



12 × 16 cm, 4 ¾ × 6 ¼ in 


softcover 

2005, ISBN 978-3-03778-046-6 

English 

EUR 15.– GBP 15.– 



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: 


HELVETICA 

Hommage to a typeface. 

ISBN 3-03778-046-0 


Jean-Benoît Lévy 

12 × 16 cm, 4 ¾ × 6 ¼ in 


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.– 



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.” 


“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 


wolfgang weingart 

22.5 × 27.5 cm, 8 ¾ × 10 ¾ in 


hardcover 

2000, ISBN 978-3-907044-86-5 

English /German 

EUR 55.– GBP 50.– 

USD / CAD 120.– 


JOSEf MÜLLEr- 

BrOCKMAnn 

Pioneer of Swiss 

graphic Design 



19 × 27 cm, 7 ½ × 10 ¾ in 


softcover 

1994, ISBN 978-3-906700-89-2 

English 

1994, ISBN 978-3-907078-59-4 

German 

EUR 40.– GBP 40.– 


Claude Lichtenstein 

PLAyfuLLy rIgID 

Swiss Architecture, 

graphic Design, Product 

Design, 1950 –2006 



16.5 × 24 cm, 6 ½ × 9 ½ in 


hardcover 

2007, ISBN 978-3-03778-090-9 

English 

2007, ISBN 978-3-03778-089-3 

German 

EUR 25.– GBP 25.– 


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 


2001, ISBN 978-3-907044-49-0 

English 

2001, ISBN 978-3-907078-64-8 

German 

EUR 30.– GBP 30.– 


Pierre Mendell 

POSTErS fOr ThE 

OPErA 


15.5 × 22 cm, 6 × 8 ¾ in, 160 pages 


2006, ISBN 978-3-03778-082-4 


EUR 25.– GBP 23.– 


Mark holt, hamish Muir 

8vo 

On ThE OuTSIDE 

Design: Mark holt, 

hamish Muir 

12 × 16 cm, 4 ¾ × 6 ¼ in, 536 pages 


2005, ISBN 978-3-03778-019-0 

English 

EUR 25.– GBP 23.– 


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. 


Jasper Morrison 

EVEryThIng BuT 

ThE wALLS 



22 × 28 cm, 8 ¾ × 11 in, 256 pages 


2006, ISBN 978-3-03778-064-0 

English 

EUR 40.– GBP 40.– 


naoto fukasawa, 


SuPEr nOrMAL 

Sensations of the 

Ordinary 



14.8 × 20 cm, 5 ¾ × 7 ¾ in 


softcover 

2007, ISBN 978-3-03778-106-7 

English 

EUR 25.– GBP 25.– 



A wOrLD wIThOuT 

wOrDS 


Anthony Arefin 

11 × 15.5 cm, 4 ¼ × 6 in, 112 pages 


ISBN 978-3-03778-207-1, English 

EUR 17.– GBP 15.– 


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 


2008, ISBN 978-3-03778-137-1 


EUR 30.– GBP 30.– 


Peter Erni 

DIE guTE fOrM 

Programm des 

Schweize rischen 

werkbundes 

Design: Lars Müller 

22 × 30 cm, 8 ½ × 12 in, 160 pages 


1983, ISBN 978-3-906700-01-4 

German 

EUR 15.– GBP 30.– 


Peter Erni, Martin 

huwiler, Christophe 

Marchand 

TrAnSfEr 

Erkennen und Bewirken 

Design: Authors 

19.6 × 27 cm, 7 ¾ × 10 ½ in 


softcover 

2008, ISBN 978-3-03778-113-5 

German 

EUR 30.– GBP 27.– 


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. 


hans richter 

nEw LIVIng 



16.5 × 24 cm, 6 ½ × 9 ½ in 


hardcover 

2001, ISBN 978-3-907078-22-8 

English 

EUR 44.– GBP 35.– 


gEfESSELTEr BLICK 

25 profiles and articles 

on designers 

in advertising 


15.5 × 21 cm, 6 × 8 ¾ in, 112 pages 


1996, ISBN 978-3-907044-02-5 

German 

EUR 45.– GBP 40.– 


Annemarie Bucher 

SPIrALE 

Eine Künstler zeit schrift 

1953–1964 

Design: Lars Müller 

22 × 30 cm, 8 ½ × 12 in, 224 pages 


2001, ISBN 978-3-906700-21-2 

German 

EUR 58.– GBP 52.– 


hans Arp and 

El Lissitzky 

ThE ISMS Of ArT 

1914–1924 


24.5 × 26.5 cm, 5 ¾ × 10 ½ in 


hardcover 

1990, ISBN 978-3-906700-28-1 


EUR 15.– GBP 15.– 


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 


2009, ISBN 978-3-03778-149-4 

English 

EUR 35.– GBP 35.– 


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 


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.– 


SIgnAgE DESIgn 

MAnuAL 

Edo Smitshuijzen 


Edo Smitshuijzen 

16 × 26 cm, 6 ¼ × 10 ¼ in, 456 pages 


2007, ISBN 978-3-03778-096-1 

English 

EUR 45.– GBP 40.– 


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. 


Jean-Pascal Imsand 

PhOTOgrAPhEr 



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.– 


Lukas felzmann 

wATErS In BETwEEn 

With marginalia by 

Angelus Silesius 

and John Berger 



19 × 27 cm, 7 ½ × 10 ¾ in, 320 pages 


2009, ISBN 978-3-03778-138-8 

English 

EUR 50.– GBP 45.– 


Lukas felzmann 

LAnDfALL 

Essay by Peter Pfrunder 

13 × 18 cm, 5 × 7 in, 144 pages 


2004, ISBN 978-3-907078-92-1 


EUR 28.– GBP 25.– 


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.) 



16.5 × 24 cm, 6 ½ × 9 ½ in 


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.– 


nadja Athanasiou, 

Michael Bühler, 

Peter Lüem 

ThE DOLDEr grAnD 


Peter Zimmermann 

25 × 27 cm, 9 ¾ × 10 ¾ in 


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 


15.4 × 21.6 cm, 6 × 8 ½ in, 176 pages 


1999, ISBN 978-3-907078-98-3 

Ger/Arab 

EUR 24.– CHF 38.– 


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 



23 × 30 cm, 9 × 11 ¾ in, 128 pages 


2007, ISBN 978-3-03778-091-6 

English 

EUR 30.– GBP 30.– 


Thomas flechtner 

SnOw 



24 × 30 cm, 9 × 11 ¾ in, 120 pages 


2002, ISBN 978-3-907078-65-5 

English 

EUR 58.– GBP 25.– 


Pete Davis 

In wILDwOOD 

With a text by Conway 

Lloyd Morgan 



30 × 24 cm, 11 ¾ × 9 ½ in 


hardcover 

2008, ISBN 978-3-03778-142-5 

English 

EUR 40.– GBP 40.– 


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 



24 × 30 cm, 9 × 11 ¾ in, 96 pages 


2000, ISBN 978-3-907044-97-1 

English 

1997, ISBN 978-3-907044-40-7 

German 

EUR 25.– GBP 25.– 


Klaus Merkel 

ALBuM Of STOnES 



24 × 30 cm, 9 × 11 ¾ in, 160 pages 


2005, ISBN 978-3-03778-058-9 

English 

2005, ISBN 978-3-03778-062-6 

German 

EUR 25.– GBP 23.– 


Luciano rigolini 

whAT yOu SEE 

Edited by the 

fotostiftung Schweiz 


Peter Pfrunder 



12 × 16 cm, 4 ¾ × 6 ¼ in 


hardcover 

2008, ISBN 978-3-03778-139-5 

German/English/French/Japanese 

EUR 25.– GBP 20.– 


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 



25 × 33 cm, 9 × 13 in, 320 pages 



English/French 

EUR 60.– GBP 60.– 


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 


EUR 30.– GBP 30.– 


Andreas Seibert 

frOM SOMEwhErE 

TO nOwhErE 

China’s Internal 

Migrants 



19 × 26 cm, 7 ½ × 10 ¼ in 


hardcover 

2008, ISBN 978-3-03778-146-3 

English 

EUR 40.– GBP 40.– 


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 


softcover 


English 

EUR 30.– GBP 25.– 


ALL wE nEED 

Edited by holzer Kobler 

Architekturen and iart 

interactive 

16.5 × 24 cm, 6 ½ × 9 ½ in 


softcover 

2007, ISBN 978-3-03778-119-7 


EUR 30.– GBP 23.– 


Christina Kleineidam, 

hans Peter Jost 

COTTOn wOrLDwIDE 



with hans Peter Jost 

19 × 26 cm, 7 ½ × 10 ¼ in 


hardcover 

2009, ISBN 978-3-03778-201-9 

English 

2009, ISBN 978-3-03778-200-2 

German 

EUR 40.– GBP 40.– 


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 



16.5 × 24 cm, 6 ½ × 9 ½ in 


2004, ISBN 978-3-03778-017-6 

English (hardcover) 

2008, ISBN 978-3-03778-114-2 

German (softcover) 

EUR 45.– GBP 45.– 


whO OwnS ThE 

wAT E r ? 



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.– 


fAITh IS. 

The Quest for 

Spirituality and religion 



16.5 × 24 cm, 6 ½ × 9 ½ in 


hardcover 

2009, ISBN 978-3-03778-144-9 

English 

2009, ISBN 978-3-03778-143-2 

German 

EUR 40.– GBP 35.– 


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 

Stadtturmstrasse 19 

5400 Baden 

Switzerland 

Telephone +41 (0)56 430 17 40 

Fax +41 (0)56 430 17 41 

E-mail: info@lars-mueller-publishers.com 

www.lars-mueller-publishers.com 

Please note that all prices and specifications in this 

catalogue may be subject to change without prior 

notice at any time. All prices are excluded VAT and 

do not include any sales taxes. 

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

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