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

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IDEAS AnD InTEgrITIES A Spontaneous Autobiographical Disclosure Reprint, original 1963, 12 × 18 cm, 4 ¾ × 7 in, 416 pages 50 illustrations in b/w, softcover 2010, ISBN 978-3-03778-198-2, English EUR 25.– GBP 20.– USD / CAD 30.– EDuCATIOn AuTOMATIOn Comprehensive Learning for Emergent humanity Reprint, originals 1962–1979, 12 × 18 cm, 4 ¾ × 7 in, 224 pages 15 illustrations in b/w, softcover 2010, ISBN 978-3-03778-199-9, English EUR 25.– GBP 20.– USD / CAD 30.– OPErATIng MAnuAL fOr SPACEShIP EArTh Reprint, original 1969, 12 × 18 cm, 4 ¾ × 7 in 152 pages, softcover 2008, ISBN 978-3-03778-126-5, English 2010, ISBN 978-3-03778-188-3, French EUR 15.– GBP 15.– USD / CAD 20.– uTOPIA Or OBLIVIOn The Prospects for humanity Reprint, original 1969, 12 × 18 cm, 4 ¾ × 7 in, 448 pages 32 illustrations, softcover 2008, ISBN 978-3-03778-127-2, English EUR 25.– GBP 25.– USD / CAD 30.– Édition française AnD IT CAME TO PASS – nOT TO STAy Reprint, original 1976, 12 × 18 cm, 4 ¾ × 7 in, 192 pages, softcover 2008, ISBN 978-3-03778-132-6, English EUR 15.– GBP 15.– USD / CAD 20.– Buckminster fuller reprints Edited by Jaime Snyder R. Buckminster Fuller (1895 –1983) was an architect, engineer, geometrician, cartographer, philosopher, futurist, inventor of the famous geodesic dome, and one of the most brilliant thinkers of his time. For more than five decades, he set forth his comprehensive perspective on the world’s problems in numerous essays, which offer an illuminating insight into the intellectual universe of this renaissance man. These texts remain surprisingly topical even today, decades after their initial publication. Long out of print, they are now being published again, together with commentary by Jaime Snyder, the grandson of Buckminster Fuller. Designed for a new generation of readers, Snyder prepared these editions with supplementary material providing background on the texts, factual updates, and interpretation of his visionary ideas. federico neder fuLLEr hOuSES r. Buckminster fuller’s Dymaxion Dwellings and Other Domestic Adventures Design: Integral Lars Müller 16.5 × 24 cm, 6 ½ × 9 ½ in 240 pages, 170 illustrations softcover 2008, ISBN 978-3-03778-141-8 English EUR 30.– GBP 30.– USD / CAD 40.– yOur PrIVATE SKy r. BuCKMInSTEr fuLLEr The Art of Design Science Design: Integral Lars Müller 16.5 × 24 cm, 6 ½ × 9 ½ in 524 pages, 600 illustrations hardcover 1999, ISBN 978-3-907044-88-9 English EUR 25.– GBP 25.– USD / CAD 65.– Jack Masey and Conway Lloyd Morgan COLD wAr COnfrOnTATIOnS uS Exhibitions and Their role in the Cultural Cold war Design: Integral Lars Müller 16.5 × 24 cm, 6 ½ × 9 ½ in 400 pages, 200 illustrations hardcover 2008, ISBN 978-3-03778-123-4 English EUR 20.– GBP 20.– USD / CAD 30.– With the publication of the Dymaxion House in 1929, Buckminster Fuller became an overnight sensation in the world of American architecture. It was an uncompromising design and spectacularly novel. The living areas were hexagonal and attached around a central supply tower, and the multistory interior was fully climate-controlled. The house reflected Fuller’s basic technological principle, his determination to achieve the greatest possible utility at the smallest possible cost in terms of energy and materials. The author examines and compares Fuller’s Dymaxion House in the context of the international development. Edited by J. Krausse and C. Lichtenstein Buckminster Fuller was one of the most revolutionary technological visionaries of the 20th century. As an architect, engineer, entrepreneur, and poet, he was a quintessentially American, self-made man. But he was also an outsider: a technologist with a poet’s imagination who already developed theories of environmental control in the thirties (“more with less”) and anticipated the globalization of our planet (“think global—act local”). World’s Fairs and International Exhibitions have always had a political as well as a commercial and cultural context. This was particularly true during the Cold War between America and the Soviet Union. Jack Masey served with the United States Information Agency from 1951 to 1979, for many years as Director of Design. He commissioned numerous American architects and designers including R. Buckminster Fuller, Charles and Ray Eames, George Nelson, Peter Blake, Ivan Chermayeff and Thomas Geismar to design the US presence at major world Expos including Expo ’67 in Montréal and Expo ’70 in Osaka. 32 Architecture 33
yAD VAShEM Moshe Safdie The Architecture of Memory Design: Integral Lars Müller 24 × 30 cm, 9 × 11 ¾ in, 136 pages 90 illustrations, hardcover 2006, ISBN 978-3-03778-070-1 English EUR 40.– GBP 40.– USD / CAD 65.– Matthias Sauerbruch, Louisa hutton SAuErBruCh huTTOn ArChIVE Design: hendrik Schwantes 24 × 30 cm, 9 × 11 ¾ in, 344 pages 650 illustrations, hardcover 2006, ISBN 978-3-03778-083-1 English/German EUR 60.– GBP 55.– USD / CAD 79.– SnøhETTA wOrKS Edited by Snøhetta Design: Integral Lars Müller 22 × 28 cm, 8 ¾ × 11 in, 304 pages 570 illustrations, hardcover 2009, ISBN 978-3-03778-147-0 English EUR 50.– GBP 45.– USD / CAD 75.– yAD VASHEM, the museum, its architecture, and its series of interior spaces with their carefully designed exhibition facilities are documented in an indepth photo essay and are illustrated with texts and plans. This book is the first comprehensive monograph of sauerbruch hutton: 60 projects, 8 texts, and a complete register of projects document the architects’ rise to one of the leading practices concerned with a sustainable environment in the post-industrial city. This allows one to trace the development of their architectural thinking through the vehicle of realised projects, their texts, and a considerable number of unrealised works. The book will reveal Sauerbruch and Hutton’s understanding of their profession as an ongoing process of research. The theme of sustainability surfaces throughout the book as an integral part of the architects’ language. Snøhetta is a leading team of architects with offices in Oslo and New york. This first-ever publication to document their work presents the most important projects of these architects, who have been active internationally for fifteen years. These projects include the Library of Alexandria (2002), the New Opera House in Oslo (2008), and the Gateway Project in Ras Al-Khaimah, Dubai (2011), and the National September 11 Memorial Museum Pavilion in New york. Snøhetta’s works and projects revolve around a collaboration and interchange between various disciplines. Each of their projects is freshly observed and discussed according to the fundamental aspects of site, landscape, and context, in order to enable solutions to be discovered and developed. Zaha hadid SPACE fOr ArT Contemporary Arts Center, Cincinnati Edited by Markus Dochantschi Design: Integral Lars Müller 21 × 33 cm, 8 ¼ × 13 in 128 pages, 70 illustrations hard cover 2004, ISBN 978-3-03778-005-3 English EUR 40.– GBP 40.– USD / CAD 50.– Zaha hadid CAr PArK AnD TErMInuS STrASBOurg Design: Integral Lars Müller 31 × 33 cm, 12 ¼ × 13 in 100 pages, 70 illustrations softcover 2004, ISBN 978-3-03778-028-2 German/English/French EUR 15.– GBP 15.– USD / CAD 35.– ArChITECTurE Of ZAhA hADID in Photographs by hélène Binet Design: Integral Lars Müller 19 × 31 cm, 7 ½ × 12 ¼ in 176 pages, 90 illustrations hardcover 2000, ISBN 978-3-907078-12-9 English EUR 20.– GBP 18.– USD / CAD 30.– Zaha Hadid’s design for the Rosenthal Center for Contemporary Arts in Cincinnati is her response to the city’s streams of traffic and passers-by, conveying a feeling of dense urban and cultural life. The street level rises vertically as an “urban carpet,” the volumes become soaring, interconnected exhibition spaces, accessed via striking stepped ramps. This publication presents the spectacular building in photographs by Hélène Binet and Paul Warchol. The blurry interface of exurbia and suburbia represents strange and alien territory for architects, because the context is usually vague and the space haphazardly organized. Zaha Hadid’s work in Strasbourg capitalizes on the haphazardness of its suburban setting. The car park and terminus presented in this publication demonstrate Hadid’s assumption that buses and the trams are a permanently impermanent part of the station’s overall organization and composition. Hadid treats the cars that park here almost as natural phenomena with their own diurnal rhythms. This volume brings together photographs of the Vitra-Fire station and Landscape Formation one – both in Weil am Rhein/G; Addressing the Century, Hayward Gallery, London, 1998; Blueprint /Interbuild Pavilion, 1995. 34 Architecture 35
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