New T itle Architecture - Lars Müller Publishers

Lars Müller Publishers 

Autumn 2012 

Architecture 

Design 

Photography 

Art 

Society 

The book lives—and is stronger than ever! Talk of the crisis of books and their 

replacement by digital media is the order of the day—we are all the more 

convinced of the inherent qualities of this medium. With our meticulously 

produced publications in the areas of architecture, design, photography, 

art, and society, we invite you to linger and immerse yourselves. Instead of 

superficial efficiency and the rapid transfer of knowledge we aim to provide 

space for what is permanent. Space, for instance, for the time needed for 

architectural design to mature through a series of sketches—the new titles 

with the drawings of Pritzker Prize winners Wang Shu and Eduardo Souto 

de Moura provide evidence of this. In the Encyclopedia of Flowers the reader 

grows ever more absorbed while contemplating the cascades of flowers 

by Japanese florist and artist Makoto Azuma. With photographs by Iwan Baan, 

Torre David documents a “vertical favela” in an unfinished skyscraper in 

the center of Caracas. La Malcontenta: 1924–1939 transports us to the first 

half of the twentieth century and the bohemian community of the time, which 

frequently met at Palladio’s Villa Malcontenta in Venice. These are just a few 

examples from our richly varied fall program. As an independent publisher, 

thematic relevance and aesthetic coherence represent both a motivation and 

a measuring stick. 

Lars Müller 

www.lars-mueller-publishers.com

New Title Art /Design 

Available August 2012 

16.5 × 24.8 cm, 6 ½ × 9 ½ in 

approx. 512 pages 

approx. 200 color illustrations 

paperback 

ISBN 978-3-03778-313-9, English 

EUR 58.– GBP 50.– USD / CAD 85.– 

Encyclopedia of Flowers 

Flower Works by Makoto Azuma photographed by Shunsuke Shiinoki 

Edited by Kyoko Wada 

Design: Kenya Hara 

A book for anyone who loves fl owers, photography, or art 

The book’s illustrations show more than 2000 fl owers and plants 

The book contains an index listing the scientifi c names of all the featured 

plants 

Flowers have been a universal cultural object for millennia. They are an important 

aesthetic element in everyday life worldwide, and have played a highly symbolic role 

in art throughout the ages. Over the past few years, Makoto Azuma has created a 

furor in the art world with his fl oral installations, in which he creates unusual new 

shapes from plants and fl owers and their component parts. Inspired by the Japanese 

tradition of ikebana—the art of fl ower arranging—Azuma creates novel and previously 

unseen aesthetics by bringing together unusual plants that wouldn’t usually meet in 

nature—some of them exotic —in extraordinary arrangements. Shunsuke Shiinoki, who 

opened the “haute-couture” fl orists Jardin des Fleurs in Tokyo in 2002 in association 

with Makoto Azuma, captured these exceptional fl oral installations in extraordinary 

photographs. 

MAKOTO AZUMA, born in 1976 in the prefecture of Fukuoka, Japan, is a fl orist 

and artist. His plant and fl ower installations have been appearing at prominent art 

institutions worldwide since 2005. 

SHUNSUKE SHIINOKI, born in 1976, is a fl orist and photographer. In 2002, he and 

Makoto Azuma opened the “haute-couture” fl orists Jardin des Fleurs in Tokyo. 

2 3 

New Title Art /Design

New Title Architecture 


19 × 26 cm, 7 ½ × 10 ¼ in 


approx. 150 illustrations, paperback 

ISBN 978-3-03778-298-9 

English/Spanish 

EUR 45.– GBP 38.– USD / CAD 60.– 

RELATED TITLE 

Brasilia–Chandigarh, page 38 

Torre David 

Anarcho Vertical Communities 

Edited by Alfredo Brillembourg and Hubert Klumpner, Urban-Think Tank Chair 

of Architecture and Urban Design, ETH Zürich 

Photographs by Iwan Baan 

Documentation of the “vertical favela” in the center of Caracas 

Fascinating portrait of a place that shows the contradictions of modern society 

as if through a magnifying glass 

Torre David is an incomplete skyscraper in the center of the Venezuelan capital 

Caracas that has been occupied and reconstructed by local residents. Work on the 

building, named after the fi nancial investor David Brillembourg, who died in 1993, 

was suspended during the Venezuelan fi nancial crisis of 1994. After the offi ce tower— 

the third highest in Venezuela—had stood empty for many years, it was taken over by 

the local population in 2008. The occupants made the building their own with 

improvisation and skill—it is a “vertical favela,” now containing not just housing but 

also other everyday facilities such as an improvised doctor’s offi ce, shops, and more. 

Photographer Iwan Baan has documented Torre David and its occupants, 

creating a portrait that captures the contradictions of the place while at the same 

time revealing urban structures that have emerged dynamically and without planning. 

ALFREDO BRILLEMBOURG was born in New York in 1961. In 1993 he founded 

Urban-Think Tank in Caracas, Venezuela. Since May 2010, Brillembourg holds a chair 

in architecture and urban design at the Swiss Institute of Technology, Zürich. 

HUBERT KLUMPNER was born in Salzburg in 1965. In 1998 he joined Alfredo 

Brillembourg as director of Urban-Think Tank in Caracas. Since 2010, Klumpner holds 

a chair in architecture and urban design at the Swiss Institute of Technology, Zürich. 

IWAN BAAN, born in Alkmaar, Netherlands, in 1975, is an architecture and documentary 

photographer. His photographs feature regularly in such journals as Domus, A+U, 

The New Yorker, The New York Times, and others. 

4 5 

New Title Architecture


“My typical way, say, of designing a large building 

for the campus is that I think about it and 

make some small sketches, maybe for two months. 

Then—and this is a very typically Chinese way— 

one morning I get a feeling that is very clear. I pull out 

the paper, and I draw it from this end to that end, 

maybe working four hours before I fi nish the design. 

Four hours.” 

Wang Shu 

Wang Shu, Ningbo History Museum, Photo: Iwan Baan 


21 × 29.7 cm, 8 ¼ × 11 ¾ in 



ISBN 978-3-03778-314-6, English 

EUR 40.– GBP 35.– USD / CAD 50.– 

Wang Shu 

Imagining the House 

The only publication by this year’s Pritzker Prize winner 

The book offers unique insights into Wang Shu’s design process 

The content connects connects with other publications featuring featuring sketches sketches created 

by well-known architects (Steven Holl, Eduardo Souto de Moura, etc.) produced 

by Lars Müller Publishers 

Buildings by Chinese architect Wang Shu—this year’s winner of the Pritzker Prize— 

feature clear and simple contemporary designs that make use of traditional methods 

and materials. The reuse of building materials is characteristic of his buildings. 

Shu’s design process always begins with an intense study of the location. The 

architect spends as long as possible on the site, absorbing its atmosphere. He then 

produces drafts in the form of hand-drawn sketches, creating them in relatively 

quick succession. Imagining the House follows this process in various buildings. 

Photographic documentation of the locations elucidate Shu’s on-site research. 

The reproductions of drawings in this book demonstrate how the designs change 

and become more concrete over the course of the process. The book provides 

unique insights into the work of an architect who has hitherto received little attention 

in Europe, thereby addressing a considerable omission in the publishing world. 

WANG SHU was born in 1963 in the province of Xinjiang, China. He founded his 

architecture offi ce Amateur Architecture Studio in 1997. In 2012, he was awarded 

the Pritzker Prize. 

RELATED TITLES 

Sketchbook No. 76, page 8 

Sou Fujimoto, page 10 

Steven Holl – Scale, page 38 

6 7 




14.8 × 21 cm, 5 ¾ × 8 ¼ in 


approx. 200 illustrations, hardcover 

ISBN 978-3-03778-312-2 

EUR 32.– GBP 26.– USD / CAD 42.– 


Imagining the House, pages 6/7 

Sou Fujimoto, page 10 

Steven Holl – Scale, page 38 

Eduardo Souto de Moura 

Sketchbook No. 76 

Facsimile of a sketchbook of Eduardo Souto de Moura, Pritzker Prize 

laureate 2011 

Inspiration for architects and students interested in the evolution of 

architectural design 

The title shows the importance of drawings in the creative process 

While Floating Images: Souto de Moura’s Wall Atlas explores the architect’s 

visual archive as the basis for his work, Sketchbook No. 76 focuses on his concrete 

sketches. The publication is a reproduction of his sketchbook and gives insight 

into the architectural design process, which here can be quite literally experienced 

and understood. The publication records his fi rst ideas, fl eeting sketches, studies, 

and spontaneous jottings that offer a starting point for every project but also function 

as a working resource for developing existing ideas further and trying out any number 

of variants. Sketchbook No. 76 is a homage to the medium of drawing and makes 

it clear that it remains an essential element of the creative process. 

EDUARDO SOUTO DE MOURA, born in Porto in 1952, is regarded as one of the most 

important contemporary architects. In 2011 he was awarded the Pritzker Prize for 

his architectural work. 


14.8 × 21 cm, 5 ¾ × 8 ¼ in 

160 pages 

202 illustrations, hardcover 

ISBN 978-3-03778-301-6, English 

EUR 38.– GBP 32.– USD / CAD 50.– 

PEDRO BANDEIRA EVERYTHING IS ARCHITECTURE 

tecture firm, but the firm is itself certainly a work of architectural 

intelligence. 10 Architecture as creative expression, along with other 

arts, will always be the result of complex, transdisciplinary, intuitive 

processes that imply in their authorial 11 and poetic expression 

the healthy confrontation of objectivity and subjectivity, science 

and art, rule and exception. And while architecture essentially 

persists as a “ specialist in generalities, ” the mixing of images 

should come as no surprise — rescued from different origins and 

sharing the same place ( the wall ), to build something new and 

necessarily beautiful . . . and false. 

Various questions immediately arise: Do the images have an 

isolated value of their own or does that value derive from their 

association? Do they remain linked to their origin, do they keep a 

reference, or are they legitimately decontextualized? Do the 

images exist on this support due to their content or their superficial 

form? Are they sought with specific intent or casually found? 

Do they have an ephemeral meaning or do they express a desire 

to be forever? Are they a means, a vehicle, or an end? Do they 

comprise a whole, comprise an archive? Can they be appropriated? 

Are they worth more than a thousand words? Are they 

reality or representation? Do they simulate or replace the object? 

And above all: how do they relate to the planning and thinking of 

architecture? 

As unbelievers in a contrasted black-and-white reality ( images 

can be all and none of this ), we imagine that background wall as 

a vestige of an ambiguous mental map between determinism and 

chance, denouncing the same distance we’ll find in the space that 

wavers between the architectural plan and the work or between 

the built work and its later appropriation or perception. There will 

always be an observer who legitimizes the relativism, but under 

the title Eduardo Souto de Moura: Floating Images on Design Process, 

we aim to stratify in an illusorily objective manner the images 

taken as methodology for thinking out the architecture project. 

At a time when architecture seems to be giving way to new 

paradigms ( in which the discipline seems to lose its autonomy, in 

which regulations seem meant for mindless architects, in which 

only specialization seems to legitimize architectural production, 

10 11 

324. Eduardo Souto de Moura, Braga Municipal Stadium, 2000-2004, postcard. 

321. Eduardo Souto de Moura, Braga Municipal Stadium, 2000-2004, photography Paulo Catrica. 

and in which low-cost competition results in a shortage of time 

and quality ), these Floating Images assert themselves as a vestige 

of a time and method that will not stop representing a certain 

sense of resistance and will consequently also not stop justifying 

the exceptional nature of an architect and a work that can only be 

copied naively and superficially. This architecture, as Álvaro Siza 

says, needs time that’s not there today. However, there is no nostalgia 

in this sense of loss. Eduardo Souto de Moura always knew 

how to stand against every expectation. He is, when least expected, 

unpredictable. 

By focusing our attention on images on a wall in order to use 

them to legitimize a method, we are consciously withdrawing 

from another field of references linked to the word. This risk 

( which we hope will be lessened by the written contributions ) is 

evident in the precept that generally, the philosophers since Plato 

have always seen in the image an inferior form of representation, that 

is, an obstacle to thought. Traditional philosophy is dualist: image is 

on the side of the material, authentic thought is immaterial. To think, 

one has to go beyond images. 12 We can go even farther by stating 

that thought is previous to images, previous to the word itself. Even 

so, maybe what most appeals to us in the risk of focusing almost 

solely on images is precisely the abdication from “Authentic 

thought ” ( which in Plato’s Republic was attributed solely to God ) 

in favor of thought that does not necessarily live from the ant- 

Eduardo Souto de Moura, House on Douro II, Mesão Frio, 2004. 

Eduardo Souto de Moura, Hotel-Spa Aquapura, Alentejo, 2008. 

193. Eduardo Souto de Moura, Braga Municipal Stadium, 2000-2004, photography Maria Manuel Oliveira. 

339. Eduardo Souto de Moura, Braga Municipal Stadium, 2000-2004, photography Pedro Bandeira. 

338. Eduardo Souto de Moura, Braga Municipal Stadium, 2000-2004, photography Dulcineia Neves dos Santos. 

10 “ Welcome to the Vac- 

uum ” ( interview with M. 

Wigley by J. Moreno ), 

Jornal Arquitectos, no. 

239 May / June 2010, pp. 

108 109 

Floating Images 

Eduardo Souto de Moura’s Wall Atlas 

Edited by André Tavares and Pedro Bandeira 

Shows Eduardo Souto de Moura’s visual universe and sources of inspiration 

A book on the interplay between images and completed buildings 

Photographs, newspaper cuttings, postcards, drawings, and slides: on entering the 

studio of Eduardo Souto de Moura, winner of the Pritzker Prize 2011, one is confronted 

with a variety of images on the walls that engage in a dialogue. How do these photos, 

drawings, and illustrations impact his design practice? What is the relationship 

between the image and the completed building? Floating Images: Eduardo Souto de 

Moura’s Wall Atlas uses this question as an opportunity to examine the architect’s 

visual universe. He has added images from his extensive collection of drawings and 

project sketches and reorganized them in this atlas. Complex relationships are 

formed between the individual illustrations and projects. Essays by Pedro Bandeira, 

Eduardo Souto de Moura, Diogo Seixas Lopes, and Philip Ursprung round off the 

publication and provide a contextualization in terms of the history of art and images. 

ANDRÉ TAVARES, born in 1976, is an architect and runs Dafne Editora, a small 

architectural publishing house in Porto. He writes regularly and is the author of 

several books on the relation between architectural culture and the public sphere. 

PEDRO BANDEIRA, born in 1970, is an architect and teaches at the school of 

architecture of the University of Minho, Guimarães, Portugal. He develops specifi c 

architectural projects for a generic client in parallel to his theoretical approach 

to issues of photography and the architectural image. 

30–35. 

11 It may seem untimely 

to insist on architecture 

as an authorial creation. 

We know it is becoming 

nowadays more and more 

a team practice, 

extremely conditioned by 

regulations and technical 

demands. 

12 Sylvain Auroux, 

Yvonne Weil, Dicionário 

de Filosofia, Porto, ASA, 

1993, p. 205 ( 3rd ed. ). 

196. Jackson Hole, Wyoming, panoramic view used in Mies van der Rohe’s 

508. Unidentified photography. 

189. Adalberto Libera, Casa Malaparte, Capri, 1937. 

322. Thomas Bernhard, unidentified image. 

190. Le Corbusier, La Tourette, Éveux-sur-l’Arbresle, 1953-1960. 

Resor House collage, 1937-1941. 

102 103 

31. Le Corbusier, La Tourette, Éveux-sur-l’Arbresle, 1953-1960, postcard. 

47. Eduardo Souto de Moura, drawing for Metro do Porto on airsickness bag, s / d. 

116 117 

8 9 




13 × 21 cm, 5 × 8 ¼ in 



ISBN 978-3-03778-327-6 

EUR 40.– GBP 35.– USD / CAD 50.– 

Photo: Iwan Baan 

Sou Fujimoto – Sketchbook 

Facsimile of a sketchbook by Sou Fujimoto 

Insights into the design process of the Japanese architect known for 

his unconventional buildings 

Thematic links to other publications of sketchbooks (Wang Shu, 

Eduardo Eduardo Souto de Moura, Steven Holl) 

The works of Sou Fujimoto resist any form of conventional categorization. This young 

Japanese architect stands for unconventional buildings that cannot be described 

by standard criteria and defi nitions such as inside/outside or public/private. 

Clear divisions such as between fl oor levels and rooms are shattered by his complex 

ground plans and interlocking structures which—in a reference to the idea of the 

cave—he describes as “primitive future.” With this approach he creates forms that 

are committed to a playful interaction between user and space. Alongside private 

residences, such as the well-known N House, his library for Musashino Art University 

has achieved particular recognition. In addition he was represented at the 2010 

Venice Biennale with a design for a house. 

In his personal sketchbook Sou Fujimoto offers insights into his design process. 

Through the sketches, drawings, and notes readers can trace how his complex 

concepts are made manifest and develop on paper. 

SOU FUJIMOTO, born in Hokkaido, Japan, in 1971, established his architectural practice 

Sou Fujimoto Architects in 2000. In 2008, he was World Architecture Festival winner 

in the Private House category, and was awarded a RIBA International Fellowship 

in 2012. Recently he completed the new library and museum for the Musashino Art 

University in Tokyo. 


25 × 20.7 cm, 9 ¾ × 7 ¾ in 



ISBN 978-3-03778-310-8, English 

EUR 50.– GBP 45.– USD / CAD 60.– 

In her illuminating book on Louis Kahn, Sarah Williams Goldhagen 

summarized how the American architectural community, including 

Kahn, reacted to Whyte’s book or to the book Lonely 

Crowd by David Riesman6. Tange’s reaction to these propositions 

was the opposite; his was an almost Nietzschean affirmation 

of the new situation. Unlike other leftist intellectuals, both in 

the US and in Japan, he welcomed the megalopolis as a collective 

alter-ego of this Organization. Tange’s Organization Man, 

who belonged to the new social elite of the dawning era, was 

actually unlike Whyte’s, who was listless, lived in the suburbs, 

and lacked social aspirations. To continue the Nietzschean metaphor, 

Tange’s Organization Man was a ‘superman’ of the information 

society. “Tokyo Plan, 1960” is a city for these superman 

(fig. 14). For him, the megalopolis was a city transcending the modern 

metropolis and the mega-structure was its architectural 

form. 

height limit and featured an office block, divided into upper and 

lower levels, spanning between two vertical cores. Due to the 

height limit, however, the proposal failed to convey the impression 

of a city in the air composed of bridge-like clusters (fig. 15). 

[Translator’s note: I assume ‘height limit,’ refers to the one in effect, 

not the newly proposed height limit, though this is ambiguous 

in the manuscript I received.] 

In February of the same year, Weekly Asahi published an article 

on the development of the Marunouchi area, Tokyo’s most prestigious 

business center7. The article featured Teiji Ito, a prominent 

historian who criticized the strategy of the Mitsubishi-jisho 

(Mitsubishi Estate), Japan’s largest developer and a major landowner 

in the Marunouchi district. Ito criticized Mitsubishi for not 

trying to take on the challenge of new possibilities following 

height limit revisions. For the purposes of comparison, Teiji Ito 

introduced another “City in the Air” project by his close friend 

Arata Isozaki, one which had never been published before its inclusion 

in this article (fig.16). Ito later stated that in those days, 

Isozaki repeatedly said he was not interested in building anything 

below 31 meters. His new project for Marunouchi was designed 

only for provocation. Isozaki argued that this project 

could be built with minimum destruction of existing structures. 

Isozaki’s city in the air was dramatically juxtaposed to Mitsubishi’s 

city on the ground, expressing a striking contrast between 

the architect’s visions for the future and the vulgar capitalist reality 

of the time. 

At the same time as the release of his Tokyo Plan 1960, Tange 

was commissioned by Hideo Yoshida, the president of Dentsu, 

Japan’s largest advertising agency (and later the world’s largest), 

to build their headquarters. Tange had already built their 

Osaka branch in 1960 and designed the Totsuka Country Club for 

Yoshida. Yoshida, known as an avatar of the spirit of the advertising 

business, shared the architect’s ambitions for a rising nation. 

As head of the advertising agency, Yoshida must have been 

greatly impressed by an hour-long television program on Tokyo 

Plan 1960 by the National Broadcasting Company. Yoshida insisted 

that Dentsu should build a monumental building which 

would symbolize the company. The final outcome, eventually 

In the same issue, Tange’s second scheme for Dentsu, taller than 

completed in 1967, was, however, a rather mediocre one when 

the first, was also published, along with his own argument re- 

considered among Tange’s buildings from the 1960s and it has 

15 Tange; First scheme garding the possibilities presented by changes to building codes, 

failed to draw much attention. However, the initial intention was 

far more ambitious, in response to the client’s own ambitions. 

for Dentsu Headquarter 

1961( 

which Mitsubishi deliberately ignored to avoid the foreseeable 

troublesome procedures(fig.17. An initial Dentsu plan within the 

height limit regulation had been a temporary solution; Tange’s 

This awkward outcome is related to a dispute over revision of the 

team, keeping aware of the situation, waited for implementation 

building codes, which had prohibited building anything above 31 

of these new regulations, still under review. After it became clear 

meters. Revision, studied by the Architectural Institute of Japan 

that the height limit was indeed to be changed, the Dentsu proj- 

since the mid 1950s, yielded a 1955 report by the committee, led 

ect was again revised to a height of 21 stories, fully 100 meters 

by Takashi Asada, who had been Tange’s senior partner and 

high (fig.18) 8. In order to realize this additional height, Tange pro- 

would organize the Metabolist group. In 1963, the building codes 

posed that Yoshida appeal to landowners in the neighborhood ( 

were revised in a limited way, permitting building an extra 30% 

Floor Area Ratio, although only in exceptional cases, such as re- 

his proposal was accepted enthusiastically. 

developments larger than one urban block in size. Tange’s first 

This was a battle as well among leading Japanese corporations, 

22 23 

proposal for the Dentsu Headquarters Building adhered to the 

related to the new possibilities presented by increased building 

10 11 

13 Tange; “Tokyo Plan, 

1960” 1961 

14 Tange; “Tokyo Plan, 

1960” 1961 

Kenzo Tange 

Architecture for the World 

Edited by Seng Kuan and Yukio Lippit 

In cooperation with Harvard University Graduate School of Design 

New research on the work of the 1987 Pritzker Prize laureate 

Includes numerous illustrations, including photographic and archival 

material such as Tange’s exceptional drawings 

Kenzo Tange (1913–2005) is a peerless fi gure among twentieth-century Japanese 

architects, unmatched in his talent, infl uence, and versatility. This collection of essays 

represents a new generation of original research that reframes Tange in the context 

of Japan’s unique embrace of modern architecture as well as global discourses of 

cultural identity, technology, and the synthesis of the arts. Case studies on celebrated 

works clarify Tange’s wide-ranging interests and design methodology through 

collaboration with allied fi elds such as art, engineering, furniture design, and photography. 

The book will appeal to both specialists and general readers with an interest in 

the visual culture and built environment of modern Japan. 

SENG KUAN is assistant professor of architecture at Washington University 

in St. Louis. He organized the exhibition Utopia Across Scales: Highlights from the 

Kenzo Tange Archive (Harvard Graduate School of Design, 2009). 

YUKIO LIPPIT is professor of the history of art and architecture at Harvard University. 

He is author of Painting of the Realm: The Kano House of Painters in Seventeenth- 

Century Japan (University of Washington Press, 2012). 

60 Latus endam dunt ped quianda volesse 

61 



London 

186 

Bucharest 

190 

187 

191 

184 

Houston 

Paris 

Chigaco Moscow Baku 

189 

185 


16.5 × 24 cm, 6 ½ × 9 ½ in 



ISBN 978-3-03778-302-3, English 

EUR 50.– GBP 45.– USD / CAD 60.– 

In the Life of Cities 

Parallel Narratives of the Urban 

Edited by Mohsen Mostafavi 


Publication about the complex relationship between urban artifacts and urban 

activities 

With concrete examples from numerous cities around the world 

This volume addresses the complex relations between urban artifacts and urban life. 

The contributions show how architects, planners, and urban designers describe and 

give shape to the city, while novelists, humanists, and other scholars examine its operations 

and performances. The essential question is: How does the physical character 

of an urban environment infl uence or enable the events that take place within a 

specifi c setting? Contributors from a wide range of fi elds address the role and life of 

cities as diverse as Baku, Buenos Aires, Cairo, Detroit, Jakarta, Johannesburg, MumMumbai, Paris, Quito, St. Petersburg, Tel Aviv, Tirana, and Toronto. Portfolios of contemporary 

photography present the layered realities of urban life today. 

With contributions by Arjun Appadurai, Eve Blau, Svetlana Boym, Lindsay Bremner, 

Jana Cephas, Felipe Correa, Rahul Mehrotra, Mohsen Mostafavi, Antoine Picon, Gyan 

Prakash, Nasser Rabbat, Rafi Segal, Jorge Silvetti, AbdouMaliq Simone, and Charles 

Waldheim. 

MOHSEN MOSTAFAVI, an architect and educator, is dean of the Harvard University 

Graduate School of Design and the Alexander and Victoria Wiley Professor of Design. 

He is the editor of Ecological Urbanism (with Gareth Doherty). 

RELATED TITLE 

Ecological Urbanism, page 38 

Tokyo stainless 03621 

Tokyo 

Dakar 

12 13 

67 

Hong Kong 

Whiteout City: 

Tel Aviv’s Culture of the New 

Rafi Segal 

Introduction 

Out of a Middle East charged with political conflicts and religious tension, 

Tel-Aviv emerges as an urban retreat, an attempted escape from the burdens 

of Israeli reality. In order to maintain a sense of normalcy, independence and 

participation within the international scene, Tel Aviv offers a ‘counter-place’ 

an alternative urban life which is at the same time both an integral part and 

detached from Israeli society. In contrast to the more conservative side of 

Israeli society which has presented the country as ideological, religious, nationalist, 

right-wing, segregated, restrictive, conservative, oppressive, and 

violent, Tel Aviv has done almost everything possible to show it is exactly the 

opposite. The city, through its local cultural figures, media and official 

municipal campaigns has continuously expressed, in words and actions, its 

separatism, secularism, liberalism and ‘live and let live’ state of mind. 

The country’s intense pre-occupation with borders, national security, 

restriction and control of physical movement, and policing of public space, is 

counter acted with a sense of expansiveness, of having no boundaries or limitations. 

This is a notion felt in everyday life, in the city’s urban space, the heterogeneous 

composite of its population, its business relations, and nightlife 

scene (nicknamed Sodom or Gomorrah). Tel Aviv presents a place where anything 

is possible and everything is allowed, with minimum constraints or 

restrictions, as a recent Lonely Planet guide concludes: “(Tel Aviv) the total 

flipside of Jerusalem, a modern Sin City on the sea rather than an ancient Holy 

City on a hill. Hedonism is the one religion that unites its inhabitants. There 

are more bars than synagogues, God is a DJ and everyone’s body is a temple. 

Yet, scratch underneath the surface and Tel Aviv, or TLV, reveals itself as 

a truly diverse 21st-century Mediterranean hub . . . it is home to a large gay 

1 Obitiberum eum quae sedia volorrovit lam 

2 Imus sunto beat. Obitiberum eum quae sedia volorrovit lam et estiame nonet. 

community, a kind of San Francisco in the Middle East.” 1 The sense of disconnect 

from the country’s amplified political tensions is perhaps the strongest 

notion felt by anyone visiting the city, tourist and Israelis alike. It is this urban 

experience that draws so many young Israelis to the city. Tel Aviv simultaneously 

provides a sense of relaxation and of intense, overwhelming urban 

activity, yet does not offer any distinguishable sites to visit. The city has no 

monuments, no exceptional architectural works, no important religious 

buildings or other tourist attractions. 

Tel Aviv’s practice of detachment has been part of its raison d’etre, since its 

conception in the early twentieth century. It is a city which elevated the idea 

of being ‘the first at’ within the context of the Zionist revival in Palestine, and 

established itself upon the myth of a white city, a city built out of sand upon 

the empty dunes along the Mediterranean. As such, it saw itself as a new kind 

of urban center which celebrated its youth, cultural independence, lack of ties 

to history, or traditional commitments to urban context and architectural 

style. With a story of new beginnings, of first events, actions, of creating history 

from everyday life, Tel Aviv epitomized the modern Jewish revival: it 

offered the first Hebrew town, school, skyscraper and allowed the first 

Hebrew political assignation 2 . The narrative of the new, the progressive, the 

making of something out of nothing, which is the leitmotif of Zionism’s settlement 

of Palestine, is perhaps the most consistent historical narrative from 

which to understand Tel Aviv’s inconsistent urban development. This perpetual 

desire for renewal has often been confused for the city’s lack of identity. 

I would argue here the opposite, that this in fact is a sign and expression 

of its identity. Tel Aviv’s desire to continuously be re-born, redefined and 

re-experienced is an essential part of what the city is about. The dynamics of 

erasure and renewal, of detachment and re-inventing and imagining the city, 

serves to draw in and produce the activity, energy and social media connectivity 

that sustain it as an urban center and validate the narrative it set to follow. 

The continuous pursuit of renewal also results from the gap between Tel 

Aviv’s urban aspirations and its geo-political condition. Once detached from 

Israeli reality it seeks to participate within a larger international scene. In this 

3 Obitiberum eum quae sedia volorrovit lam 

4 Imus sunto beat. Obitiberum eum quae sedia volorrovit lam et estiame nonet. 

72 73 

39 



Available August 

2012 

16.5 × 24 cm, 6 ½ × 9 ½ in 



ISBN 978-3-03778-307-8, English 

EUR 50.– GBP 45.– USD / CAD 60.– 

Instigations 

GSD 075 

Edited by Mohsen Mostafavi and Peter Christensen 


Documentation of the history and current direction direction of of the renowned 

Harvard University Graduate School of Design 

Anniversaries offer the opportunity to consider the past as an active interlocutor with 

the present and the future. For the Harvard University Graduate School of Design, 

this means highlighting people, events, objects, and ideas in a rich institutional history 

to bring the collective memory of seventy-fi ve years into sharper focus for design 

practice today and tomorrow. Attempting a comprehensive account of the institution 

would run the risk of homogenizing a history characterized so consistently by heterogeneity 

and multiplicity. Instead, this book employs an episodic approach, framing 

selected moments as journalistic dispatches from the past. These reports are 

grouped within paired themes: Design as Research/Design as Critique, City as Practice/City 

as Form, the Continuous Institution/The Shifting Institution. Short essays 

by a range of GSD faculty signal current directions in teaching and research, pointing 

toward a future that is at once inherited and projective. 

MOHSEN MOSTAFAVI, an architect and educator, is dean of the Harvard University 

Graduate School of Design and the Alexander and Victoria Wiley Professor of Design. 

He is the editor of Ecological Urbanism (with Gareth Doherty). 

PETER CHRISTENSEN is a PhD candidate at the Harvard University Graduate School 

of Design and a former curatorial assistant in the Department of Architecture and 

Design at the Museum of Modern Art in New York. 

RELATED TITLE 

Ecological Urbanism, page 38 

14 15 



Available October 2012 

21 × 29.7 cm, 8 ¼ × 11 ¾ in 



ISBN 978-3-03778-326-9, English 

ISBN 978-3-03778-325-2, German 

EUR 40.– GBP 35.– USD / CAD 50.– 

16 17 

English 

German 

Oswald Mathias Ungers, Rem Koolhaas, Peter Riemann, Hans Kollhoff, Arthur Ovaska 

The City in the City – 

Berlin: A Green Archipelago 

Edited by Florian Hertweck and Sébastien Marot 

Critical Edition, Original 1977 

Critical version with commentaries of Oswald Mathias Ungers’ manifesto 

Contains two original texts as well as previously unpublished colored drawings 

Interviews with the protagonists of the time Rem Koolhaas, Hans Kollhoff, Peter 

Riemann, and Arthur Ovaska allow readers to follow the genesis of the text 

In the manifesto The City in the City – Berlin: A Green Archipelago, Oswald Mathias 

Ungers and a number of his colleagues from Cornell University presented the fi rst 

concepts and intellectual models for the shrinking city. In contrast to the reconstruction 

of the European city that was popular at the time, they developed the fi gure of a 

polycentric urban landscape. However, the manifesto really began to exert an effect 

beginning in the 1990s onwards, when the focus of the urban planning discourse 

turned to the examination of crises, recessions, and the phenomenon of demographic 

shrinking. This critical edition contains a previously unpublished version of the manifesto 

by Rem Koolhaas, as well as interviews with co-authors Rem Koolhaas, Peter 

Riemann, Hans Kollhoff, and Arthur Ovaska. Introductory texts explain the development 

of the manifesto between Cornell and Berlin, position the work in the planning 

history of Berlin, and reveal its infl uence on current approaches. 

FLORIAN HERTWECK, born in Bonn in 1975, is associate professor for architectural 

design, architectural theory, and urban planning in Versailles, and an associate in the 

planning offi ce Hertweck Devernois. 

SEBASTIEN MAROT, born in Paris, France, in 1961, is founding member of the “Ecole 

d’architecture de la ville et des territoires Marne-la-Vallée” and visiting professor 

at numerous universities including the ETH Zürich and Harvard. 




10.8 × 20.4 cm, 4 ¼ × 8 in 



ISBN 978-3-03778-299-6, English 

EUR 28.– GBP 25.– USD / CAD 36.– 

Guido Beltramini 

Palladio in Private 

Comprehensive biography of famous architect Andrea Palladio 

Andrea Palladio’s villa architecture is still admired for its elegance and harmony, but 

little is known about the person behind the buildings. Experienced Palladio researcher 

Guido Beltramini has worked meticulously on material from historical documents 

about Palladio’s person and life, and assembled a full picture of the architect. Palladio 

in Private follows his career, his rise from being the ordinary miller’s son Pietro della 

Gondola to become the architect Andrea Palladio. Beltramini does not just explore 

Palladio’s origins, his training as a stonemason, and his complex relationship with 

powerful clients and scholars, but also his private life: his jovial character, his life as a 

married man with fi ve children, and not least his profound conviction that architecture 

can and must enrich life. The text is complemented by numerous illustrations. 

GUIDO BELTRAMINI, born in 1961, has been director of the Centro Internazionale 

di Studi di Architettura Andrea Palladio in Vicenza since 1991. He has curated 

numerous exhibitions at venues including the Venice Biennale, the Royal Academy 

of Art, London, and the Canadian Centre for Architecture, Montreal. 

RELATED TITLE 

Andrea Palladio – Unbuilt Venice, page 39 


15 × 24 cm, 6 × 9 ½ in 



ISBN 978-3-03778-297-2, English 

EUR 40.– GBP 35.– USD / CAD 50.– 

Antonio Foscari 

La Malcontenta 

18 19 

s evero dectecto doluptat quis expel ilita nem ra alig 

1924–1939 

1924 

I in dal 1909 aveva pubblicato opere di Ezra III Basta la dedica di questo volumetto a Paul 

Pound), con un titolo, 

Rodocanachi e a Roger Quilter (oltre che alla 

II Tumult and Order, che esprime in modo ef- madre, che rimane risolutamente piazzata al 

ficace l‘aspirazione di Bertie di dare ordine suo fianco) a testimoniare come la casa di 

con la scrittura al tumulto di impulsi emotivi IV Rue du Centre sia ancora, dopo la guerra, 

che si accavallano nel suo animo. 

il baricentro attorno a cui ruota la vita di Ber- 

8 9 

Tumult and Order 

First publication on the eventful history of the famous Villa Foscari in Venice— 

also known as La Malcontenta—during the 1920s and 1930s 

La Malcontenta as a meeting point for intellectuals, artists, aristocrats, 

and bohemians 

With numerous photographs, sketches, and documents 

In the 

1920s and 1930s, the Villa Foscari in Venice, better known as La Malcontenta, 

became a meeting place for intellectuals, artists, and members of the nobility such as 

Sergei Diaghilev, Boris Kochno, Serge Lifar, Winston Churchill, Robert Byron, Diana 

Cooper, Bruce Chatwin, and Le Corbusier. It was an era of inspiring encounters 

between aristocrats, the avant-garde, snobs, and intellectuals that ended when Italy 

entered World War 

II. Antonio Foscari recounts this lively period in the building’s 

history and talks about its then owner, Albert Clinton Landsberger, and his friends 

Catherine di Rochegude, Baronesse von Erlanger, and Paul Rodocanachi, who not 

only lovingly renovated the villa, but made it such a lively place for the fi rst time. 

The text is complemented by numerous photographs dating from this exciting time 

that convey an impression of what was happening in the villa in those days. 

ANTONIO FOSCARI is an architect and has been a professor of architecture at 

the University of Venice since 1971. In 1973, he restored the Villa Malcontenta, built 

for his ancestors by Andrea Palladio, and has concentrated his research on buildings 

by the great Renaissance architect since that date. 

RELATED TITLE 

Andrea Palladio – Unbuilt Venice, page 39 




16.5 × 24 cm, 6 ½ × 9 ½ in 


3 image plates, hardcover 

ISBN 978-3-03778-311-5, English 

EUR 22.– GBP 18.– USD / CAD 28.– 

Miroslav Sˇik 

And Now the Ensemble! 

Edited by Pro Helvetia, the Swiss Arts Council, and Miroslav Sˇik 

With contributions by Adam Caruso, Hans Kollhoff, Vittorio Magnago Lampugnani, 

Quintus Miller, and Miroslav Sˇik 

Deals with the dialogical principle in architecture taking into account 

the urban context 

Published to accompany Miroslav Sˇik’s offi cial contribution for the Swiss 

Pavilion at the 2012 Venice Architecture Biennale 

And Now the Ensemble! is intended as a challenge to architects, their clients, and 

commissioning authorities to understand and create urban development 

as a dynamic and collective work of art; in short, to make dialogue central to design. 

Design, atmosphere, and use can make every new building relate to its local surroundings. 

As a design process, this contextual expansion does not simply imitate 

the urban pattern, but interprets what is already there, to some extent modernizes 

it, makes the familiar alien by employing unusual atmospheric imagery, and ultimately 

transforms the accumulated chaos of soloists into an orchestrated whole. 

MIROSLAV SˇIK, born in Prague, Czechoslovakia in 1953, is a Swiss architect, 

architectural theorist, and professor in the architecture department at the ETH 

in Zürich. 


17 × 24 cm, 6 ¾ × 9 ½ in 



ISBN 978-3-03778-305-4, English 

ISBN 978-3-03778-293-4, German 

EUR 40.– GBP 35.– USD / CAD 50.– 

Catherine Dumont d’Ayot, Tim Benton 

Le Corbusier’s Pavilion for Zurich 

Model and Prototype of an Ideal Exhibition Space 

Edited by by the Institute of Historic Building Research Research and Conservation, ETH Zürich 

Richly illustrated book of the last and forward-looking work by Le Corbusier 

First publication on the Pavilion at Zürichhorn, Zürich, that explains the role 

and signifi cance of the building 

Le Corbusier’s Pavilion for Zurich uses numerous handwritten documents, drawings, 

and papers to trace the history of Le Corbusier’s last built work. This dwelling, 

which is also a museum, was initiated by Zürich gallery owner Heidi Weber. With its 

abstract forms and colors, it represents an intellectual legacy of the famous architect 

in which the further development of architecture as envisaged by Le Corbusier is 

clearly legible. From the fi rst ideas and sketches from 1949–50 to the opening in 1967 

and beyond, the genesis of this exceptional building—the completion of which the 

architect did not live to see—is presented with lavish use of illustrations and docudocuments. This book explains for the fi rst time the signifi cance of the pavilion, which 

differs strongly from the beton brut of Le Corbusier’s late work, in terms of its position 

as one of the architect’s central and forward-looking works. 

CATHERINE DUMONT D’AYOT, born in France in 1965, studied architecture at the 

University of Geneva and at the École polytechnique fédérale de Lausanne. She has 

been teaching and researching at the University of Geneva since 1995 and at the ETH 

Zürich since 2006. 

TIM BENTON, born in Rome in 1945, was educated at Cambridge and the Courtauld 

Institute of Art, London. He taught for forty years at the Open University England and 

is currently professor emeritus in the history of art. 


Le Corbusier, Architect of Books, page 40 

Vers une Architecture du Livre, page 40 

20 21 

English 

German 



Available July 2012 

12 × 19 cm, 4¾ × 7½ in 

approx. 100 pages, paperback 

ISBN 978-3-03778-304-7, English 

ISBN 978-3-03778-303-0, German 

EUR 24.– GBP 20.– USD / CAD 32.– 

English 

German 

Landscape as an Attitude 

Conversations with Günther Vogt 

Edited by Medea Hoch, the Chair of Günther Vogt, Department of Architecture, 

ETH Zürich 

The book gives an insight into the design philosophy of well-known landscape 

architect Günther Vogt 

Shows modern approaches to landscape architecture 

A book for architects, urbanists, and landscape architects 

Inspired by the architects’ tradition of passing on experience in conversation form, 

this paperback book provides insights into the ideas, methods, and memories of one 

of Europe’s most innovative landscape architects. In twelve concise conversations, 

Vogt inquires into the meaning of landscape architecture in the context of the 

worldwide urbanization process, and tries to defi ne this young discipline’s position. 

To this day, our concept of landscape appears to be infl uenced by an Arcadian ideal. 

Only when landscapes are understood on several levels, as the product of natural, 

cultural, and social processes, can atmospheric and living urban landscapes appropriate 

to the specifi c situation be created. Günther Vogt sees landscape architecture 

decidedly as part of a city, given its close relationship to topography, architecture, 

and infrastructure. 

GÜNTHER VOGT is a landscape architect and owner of Vogt Landscape Architects 

Zürich, with branch offi ces in Munich, Berlin, and London. Since 2005, he is a professor 

for landscape architecture at ETH Zürich. Current work includes public realm and 

streetscape designs for the athletes’ village for the Olympic Games in London 2012, 

now known as East Village. 


Distance & Engagement, page 39 

Tree Nurseries, page 40 

“... Just a while ago I stood in a landscape while it was 

raining and came to the conclusion that the 

importance of the sun is overvalued—somewhat like 

Joseph Beuys, who once said that Duchamp’s 

silence was overvalued. A landscape in the rain is 

far more atmospheric than in the sunlight. But 

we rarely allow our perception to expand in this way.” 

Günther Vogt 

Available July 2012 New, extended 

16.5 × 24 cm, 6½ × 9½ in 



ISBN 978-3-03778-233-0, English 

EUR 58.– GBP 50.– USD / CAD 85.– 


Distance & Engagement, page 39 

Tree Nurseries, page 40 

New, extended 

version version 

Günther Vogt 

Miniature and Panorama 

Vogt Landscape Architects, Projects 2000–2012 

Features work on the athletes’ village of the Olympic Games in London 2012 

Extensive documentation with numerous illustrations, drawings, and maps 

For architects, students, and anyone interested in the architecture of 

urban space 

Using a typological structure (landscape, park, square, garden, promenade, etc.), 

Günther Vogt describes the theoretical foundation on which the successful projects 

of Vogt Landscape Architects are based. In recent years the offi ce has realized 

international projects in Europe and the United States, including a new type of city 

park for the Tate Modern in London (with Herzog & de Meuron); an “all-weather 

garden” with great poetic power at the Hyatt Hotel in Zürich (with Meili, Peter 

Architekten); an indoor tropical garden for the Novartis Campus in Basel (with Diener 

& Diener); and the exterior spaces of the Allianz Arena in Munich (with Herzog & 

de Meuron). This new and extended version of one of our best sellers also documents 

recent works, such as public realm and streetscape designs for the athletes’ village 

of the Olympic Games in London 2012. 

22 23 



Refinement: Black Town + White Town 

1890s Characteristic View of the Balakhany-Saboontcht Oil Field 

1890s The Romany Lake. which has been reclaimed 

A Modern Ocean-going Tanker of British Build. (Tankers like this transported oil) 

1890s Mud volcano at the Top of Bog-bog (The Balakhany-Saboontchy oil field in the distance. 

Oil Baron City (1872–1920) 


29 

31 


16.5 × 24 cm, 6 ½ × 9 ½ in 



ISBN 978-3-03778-306-1, English 

EUR 50.– GBP 45.– USD / CAD 60.– 

24 25 

Extraction: Oil fields + Pipelines: Balakany, BibiEibat 

Construction within the Ring Road/ Vorstadt 

Area during the Oil Baron Period 

1890–1912 

Construction within the Ring Road/Vorstadt 

Area during the Oil Baron Period 

1890-1912 

Taza Pir Mosque 

1905-14 

Z. Ahmedbekow 

Imam Hussein Mosque 

1899-1909 

arch.: A. Eykhler 

Palace of Happiness 

1911-12 

eng.: I. Ploshko 

Building 

1898-1902 

arch.: I. V. Edel 

Embassy of Iran 

1901 

Baki Soveti 

1900-04 

arch.: i. Goslavsky 

Philharmonic Society 

1910-12 

[Termikelov, accord. to Fattulayev] 

Art Museum 

1888-95 

eng. N.A. fon der Nonne 

Church of Archangel Michael 

1845 

Union of Architects 

1899 

arch.: E.Y. Skibinskiy 

Bank of Baku 

1907 


Ismayilliya 

1908-13 


State Oil Company of Azerbaijan 

1891-96 

arch.: P. Shtern 

Blue Mosque 

1912-13 

eng.: Z. Ahmedbekow 

Chained House 

1890 

Russian Drama Theatre 

1900 

arch./eng.: ?? 

Embassy of Iraq 

Late 19th century 

Building 

1896 


Embassy of France 

1895 


Embassy of Germany (B-4) 

1900 

Azerbaijan Cinema 

1910/1988/1998 

arch.: R. Seyfullayev 

Isa Bey Hojinski building 

1912 

The international Bank (old) 

1903-05 

Puppet Theatre 

1910 


Taghiyev’s Residence - The National Museum of History 

1893-1902 

eng. I. Goslavskiy 

Embassy of the USA 

1912 

Opera and Ballet Theatre 

1910-11 

eng.: N. Bayev 

Song Theatre 

1912 

arc./eng.: ?? 

Embassy of Turkey 

1912 

Kirkha (Hall of Organ Music) 

1895-98 

arch.: A. Eyhler 

The Landmark Building 

1909/1998 


“It is here that the crude petroleum, sucked 

up or allowed to spout from the bowels of the 

earth in Balakhani, and pumped thence from 

reservoirs through pipes to the shore of the bay, 

is distilled into burning oil and other products 

for the markets of Europe.” 


Baku 

Oil and Urbanism 

Edited by Eve Blau with Ivan Rupnik 

In cooperation with Harvard University Graduate School of Design and Sasa Randic 

With a portfolio of contemporary Baku by photographer Iwan Baan 

First study on the relationship between oil and and urbanism from an architectural 

architectural 

point of view 

Features maps, archival images, and photographs of present-day Baku 

Baku: Oil and Urbanism is the fi rst architectural study of the relationship between 

oil and urbanism. Its focus is Baku, the capital of Azerbaijan and formerly part of the 

Russian Empire and Soviet Union. Since the late 19th century, oil and urbanism have 

been intertwined in the spaces of the city. Later, Baku was the site of one of the most 

spectacular experiments in Soviet urban and infrastructural design —“Neft Dashlari,” 

the fi rst off-shore drilling facility in the world, a city built on trestles in the Caspian Sea. 

Today, Baku is undergoing its second major oil boom. The book examines how urban 

design, planning, and architecture have dealt with the issue of oil in varying political 

conditions. Working with maps and archival photographs, the book analyzes sites, 

buildings, urban fabric, plans to understand the evolution of the city. 

EVE BLAU is adjunct professor of the history of urban form at the Harvard University 

Graduate School of Design. Previously director of the architecture degree programs 

at the GSD and curator of exhibitions and publications at the Canadian Centre for Architecture 

in Montreal, she has written extensively on modern architecture, urbanism, 

and the post-socialist city. 

Leniendae voluptate essequias eum que volore volores simodi ut di 

omnihil itatem la voleseque pratiis este nullaut qui optatur sus volora 

ea prorrorit fugia dit qui od quodipisin recatibus rem aut andit estrumque 

comniminis arum sum aut et acilit, essinve lecearum vendel 

et, excesti orerfer spidige nectiae exerciis et etur, officia doloriam faccuptam, 

aspe voloruptur, ad mollique dolor solorem rernationsed maio. 

Iciet pelenihit es nis resti occus dolum hit fugitinus excepere, nonet ab 

idem nihicab oressitiam vita eum sitaes ad molupic tem qu 

Church of Archangel Michael Church of Archangel Michael 

39 

25 

Extraction of oil 

1825 

1880 

1883 

Baku’s oil distribution network during the “Oil Baron” period, 1872–1920 

The Nobel brothers transported oil by train car 

and by their own fl eet of tankers. They developed 

a network of storage facilities throughout the 

Russian Empire and abroad. They shipped oil as 

far as North America. 



Kosomolsk 

Yakutsk 

Kosomolsk 

Khabarovsk 

Khabarovsk 

Vorkuta 

Oulu 

Newcastle 

Arkhangel’sk 

Liverpool 

Stockholm Turku 

Oukhta 

Helsinki 

Bogoslovski 

Aarhus 

London 

Tallinn St. Petersburg 

Copenhagen 

Lubeck 

Riga 

Vologda 

Liepaja 

Paris 

Perm 

Ekaterinburg 

Nizhniy Novgorod 

Moscow 

Ufa 

Syzran 

Samara 

Volgograd 

Astrakhan 

NOBEL BROTHERS 

PETROLEUM HOLDINGS 

65,000 tonnes 

16,500 tonnes 

8,000 tonnes 

1,600 tonnes 

less than 1,600 tonnes 

Tyumen’ 

Novi Urengoy 

Dalian 

Vorkuta 

Ulan-Ude 

Oulu 

Irkutsk 

Beijing 

Tianjing 

Ulaanbaatar 

Newcastle 

Arkhangel’sk 

Liverpool 

Abakan 

Surgut 

Stockholm Turku 

Oukhta 

Helsinki 

Bogoslovski 

Aarhus 

London 

Amsterdam 

Tallinn St. Petersburg 

Copenhagen 

Novosibirsk 

Le Havre Antwerp 

Brussels 

Greifswald Lubeck 

Riga 

Vologda 

Liepaja 

Berlin 

Paris 

Perm 

Ekaterinburg Omsk 

Kurgan 

Warsaw 

Minsk 

Prague 

Nizhniy Novgorod 

Moscow 

Lisbon 

Ufa 

Madrid 

Vienna 

Syzran 

MarseilleGenova 

Kursk 

Venice Kiev 

Samara 

Trieste Budapest 

Saratov 

Barcelona 

Livorno 

Rome 

Belgrade 

Odessa 

Volgograd 

Almaty 

Bucharest 

Rostov-na-Donu 

BeyneuAstrakhan 

Istanbul 

Toshkent 

Andijon 

Quqorr 

Batumi Tbilisi 

Athens 

Jizzakh 

Ankara 

Buxoro Samarqand 

NOBEL BROTHERS 

Turkmenbasy 

Baku 

Turkmenabat 

PETROLEUM HOLDINGS 

Asgabat Mary 

65,000 tonnes 

16,500 tonnes 

8,000 tonnes 

1,600 tonnes 

less than 1,600 tonnes 

Tyumen’ 

Novi Urengoy 

Ulan-Ude 

Irkutsk 

Ulaanbaatar 

Abakan 

Surgut 

Amsterdam 

Novosibirsk 

Le Havre Antwerp 

Brussels 

Greifswald 

Berlin 

Omsk 

Kurgan 

Warsaw 

Minsk 

Prague 

Lisbon 

Madrid 

Vienna 

MarseilleGenova 

Kursk 

Venice Kiev 

Budapest 

Saratov 

Barcelona 

Trieste 

Livorno 

Rome 

Belgrade 

Odessa 

Almaty 

Bucharest 

Rostov-na-Donu 

Beyneu 

Istanbul 

Toshkent 

Andijon 

Quqorr 

Batumi Tbilisi 

Athens 

Jizzakh 

Ankara 

Buxoro Samarqand 

Turkmenbasy 

Baku 

Turkmenabat 

Asgabat Mary 

Yakutsk 

Okha 

Harbin 

Okha 

Korsakov 

Vladivostok 

Harbin 

Korsakov 

Vladivostok 

Tokyo 

Shanghai 

27 

Tokyo 

Pyongyang Seoul 

Nagasaki 

Pyongyang Seoul 

Nagasaki 

Dalian 

Beijing 

Tianjing 

23 

Shanghai 



Available September 2012 

21 × 30 cm, 8 ¼ × 11¼ in 



ISBN 978-3-03778-261-3, English 

EUR 45.– GBP 38.– USD / CAD 60.– 

Charlie Koolhaas 

True City 

Photographic portrait of the fi nancial centers London, Guangzhou, Houston, 

Dubai, and Lagos 

First major publication by Charlie Koolhaas 

With True City, a photographic essay on the “global city” of the twenty-fi rst century, 

photographer and sociologist Charlie Koolhaas weaves a dense photographic 

patchwork of images of the historic commercial centers of London, Guangzhou, and 

Houston and the emerging centers of commerce Dubai and Lagos. For her research, 

the author has visited these cities and taken photographs which refl ect contemporary 

life in a concentrated way. The images illustrate current issues such as the contradiction 

between cultural homogenization and local diversity at a time of globalization. 

True City starkly contrasts the various urban landscapes with their inhabitants to 

reveal the differences and similarities between the cities, their cultures, the architecture, 

and the people living in them. The book is part street photography, part raw documentary 

and intense observation. Literary text collages by the author supplement 

the visual explorations and form an associative network with them. 

CHARLIE KOOLHAAS, born in London in 1977, is a Dutch sociologist and artist. She 

graduated from New York University in 1999. Her editorial career includes magazine 

work in New York and London. 


17.6 × 23.5 cm, 6 ¾ × 9 in 



ISBN 978-3-03778-291-0, English 

EUR 50.– GBP 45.– USD / CAD 65.– 

From Camp to City 

Refugee Camps of the Western Sahara 

Edited by Manuel Herz 

In cooperation with ETH Studio Basel 

Deals with refugee camps from an unconventional, unconventional, urbanistic perspective 

A wide-ranging and richly illustrated documentation of urban phenomena and 

processes in refugee camps 

From Camp to City examines the theme of the refugee camp in the context of 

urbanism and architecture. Using the examples of of the refugee refugee camps in the Algerian 

desert in which Sahrawis originally from the Western Sahara have been living for 

35 years, the book looks at the “urban” aspects of these settlements. In contrast 

to the standard way of seeing refugee camps as scenes of human misery and despair, 

the examination concentrates on how people live and dwell in refugee camps, 

on how they work, move around, and enjoy themselves, and looks at the spaces and 

structures that are created in the process. With numerous images and texts, individual 

aspects of urban life are presented and analyzed in the different chapters. As an 

examination of a “borderline case” of urbanity, the publication does not ignore 

the problematic aspects of this theme, but on the contrary: its potential explosiveness 

is further underscored by the focus on a “vocabulary of the urban.” It allows 

an understanding of the camps as a political project. The publication is based on 

research studies of the ETH Studio Basel, Institute of Contemporary Urbanism at 

the ETH Zürich. 

MANUEL HERZ is an architect, based in Basel, Switzerland. Amongst his recently 

constructed buildings are the Jewish Community Center and Synagogue of Mainz 

(Germany) and the mixed-use building Legal / Illegal in Cologne. He currently is the 

head of teaching and research at ETH Studio Basel—Institute of the Contemporary 

City. Besides his work as a practicing architect, he researches and works in the fi eld 

of architecture of “humanitarian action.” 

26 27 


New Title Design 


16.5 × 24 cm, 6 ½ × 9 ½ in 



ISBN 978-3-03778-243-9, English 

EUR 40.– GBP 35.– USD / CAD 55.– 

Imagine Peace 

A Critical Visual Encyclopedia 

Edited by Ruedi Baur and Vera Baur Kockot, Design2context 

Design: Megan Hall 

An impressive visual encyclopedia of the iconography of peace 

Comprehensive selection of widely varied visualizations of peace 

Can one visualize peace? Are there signs, symbols, and images that present a positive 

image of peace as opposed to receiving their meanings in opposition to war? 

Over several years of research, the Design2context Institute has intensively examined 

the representation and representability of peace and has compiled a comprehensive 

collection of images. In order to include a number of historical, cultural, and political 

perspectives, the archival aspect is supplemented by workshops in crisis regions. 

The encyclopedia—which, as new sociopolitical situations continue to arise and call 

for new pictures, must inevitably remain incomplete—provides a broad overview of 

the iconography of peace, and is also intended to assist in gaining an understanding 

of the concept. This book represents a signifi cant contribution to future discussions 

on the need and desire for peace in political and social life. 

RUEDI BAUR, born in Paris in 1956, is a graphic designer. He is the head and founder 

of intégral ruedi baur et associés. He is director of Design2context Institute for 

Design Research at Zürich University of the Arts. He is co-director of the Civic City 

postgraduate program of the HEAD Genève and the Institute for Critical 

Research and Sciences in Design, Paris. 

VERA BAUR KOCKOT is a sociologist and culture and iconography theorist, and is 

co-director of the Design2context Institute for Design Research at Zürich University 

of the Arts. She is founder and co-director of the Civic City postgraduate program 

at the HEAD Genève and the Institute for Critical Research and Sciences in Design, 

Paris. 


16.5 × 24 cm, 6½ × 9 ½ in, 96 pages 


ISBN 978-3-03778-258-3, English/German 

EUR 28.– GBP 25.– USD / CAD 40.– 

POSTER COLLECTION 24 

The Magic of Things 

Edited by the Museum of Design Zürich 

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

Shows numerous posters by important Swiss designers such as Niklaus 

Stoecklin, Peter Birkhäuser, or Otto Baumberger 

Published on the occasion of the exhibition Magic of Things in the Museum of 

Design Zürich, August 29, 2012–January 6, 2013 

The Magic of Things explores a former advertising strategy of Swiss product posters 

in which banal, everyday objects—butter, a sewing machine, or shoes—are presented 

as desirable objects enticing us to buy. Free from any further contextualization, the 

objects acquire a sensual presence and magical aura. The product poster had its 

heyday in Switzerland in the 1940s with designers such as Niklaus Stoecklin, Peter 

Birkhäuser, or Otto Baumberger. As consumer society developed, however, the exclusive 

focus on the product and the brand name was no longer enough—in advertising, 

the feelings associated with the object as it related to life grew increasingly important. 

Today it is in the cultural poster that the magical depiction of things is experiencing a 

kind of renaissance. 


Poster Collection 1–23, page 43 

28 29 

New Title Design

New Title Design 


17 × 24 cm, 7 × 9 ½ in 



ISBN 978-3-03778-324-5, English 

EUR 34.– GBP 28.– USD / CAD 42.– 

Trust Design 

How Design Can Increase Our Trust. Or Damage It. 

Edited by Scott Burnham 

In cooperation with Premsela, the Netherlands Institute for Design and Fashion 

The book examines how design builds or damages our trust in products 

Concrete examples illustrate the concept of “trust design” 

A source of inspiration for product designers and architects 

Trust has become a critical issue in our society. Something as simple as eating or 

shopping for food becomes an exercise in trust as we weigh organic claims against 

reports of genetically modifi ed foods and contamination. How can trust be strengthened 

through the objects, services, and spaces we use? What are the ingredients 

of trust? Does trust have a color? A look? A feel? Can you design trust? Can you trust 

design? For a topic of such vast importance in our daily lives, little attention is paid 

to the real-world, tactile qualities of trust. Trust Design shows how trust can be communicated 

between the design of the object, system, or space, and the audience or 

end-user. Featuring examples of products, systems, services, interfaces, and spaces 

designed with trust in mind, Trust Design brings an often intangible concept into 

the physical world. 

SCOTT BURNHAM is a writer, researcher and creative director focusing on new 

approaches to design, and understanding design’s impact on society, from products 

and services to public spaces. He directed the “Trust Design Project” for Premsela, 

Netherlands Institute for Design and Fashion. 


13 × 21 cm, 5 × 8 ¼ in 



ISBN 978-3-03778-323-8, English 

EUR 24.– GBP 20.– USD / CAD 30.– 

Copy/Culture 

How to Deal with Our Obsession for Authenticity in the Digital Age? 

Edited by Premsela, the Netherlands Institute for Design and Fashion 

With contributions by Erik Spiekermann, Aric Chen, Henk Oosterling, Paul Gardien, 

Bert de Muynck, Ronald Tau, Jiang Jun, Frans Vogelaar, Elizabeth Sikiaridi, Fei Wang, 

and others 

Current topic: the meaning of copyright in the digital age 

Contrasts copyright with the right to copy 

With contributions by renowned authors from the fi elds of design, architecture, 

art and copyright law 

Design culture is obsessed with authenticity. Copying is often deemed reprehensible, 

and borrowing another’s idea or incorporating elements of his or her work into one’s 

own is viewed as a sign of creative impoverishment. But is this right? What’s wrong 

with interpreting someone else’s creation? Musicians have been quoting each other’s 

work for centuries—why shouldn’t the same thing happen in other creative disciplines? 

Where does quotation end and copying begin, and how original is an original 

anyway? Is intellectual property protection appropriate in an age of digital distribution, 

when it’s diffi cult to identify a product’s author, maker, or inventor? And in a culture 

in which quotation and copying have long led to enrichment and innovation, should 

these acts be made impossible? In this book, several thinkers from the worlds 

of design, architecture, art, business, and copyright law elaborate on the future of 

copyright and the right to copy. 

30 31 

New Title Design

New Title Art 


28 × 21.6 cm, 11 × 8 ¼ in 

96 pages 

113 illustrations, paperback 

ISBN 978-3-03778-300-9 English 

EUR 40.– GBP 35.– USD / CAD 50.– 

RELATED TITLE 

Dan Graham’s New Jersey, page 38 

Dan Graham 

Video – Architecture – Television 

Writings on Video and Video Works 1970–1978 

Edited by Benjamin H. D. Buchloh 

Reprint, Original 

1979 

The theses of the renowned American artist Dan Graham on video 

as medium of artistic expression 

An out-of-print classic of twentieth-century art now available again 

This title, published in 1979 and long since out of print, now appears as a reprint from 

Lars Müller Publishers. The original book was released in the series of publications 

Source Materials of the Contemporary Arts initiated by Kasper König and produced 

by the Press of the Nova Scotia College of Art and Design. The publication represents 

an important document in Dan Graham’s artistic examination of the video 

medium. Graham’s installations and performances with video from the years 1970–78 

are documented with numerous illustrations, photos, and brief descriptions. In addition, 

the volume contains an essay by the artist in which he examines the various 

possibilities and forms of representation offered by the video medium, and draws the 

boundaries between these and representational spaces in television, fi lm, or architecture. 

The book also offers contributions by Michael Asher and Dara Birnbaum, as well 

as an annex with a biography and bibliography. 

DAN GRAHAM, born in Urbana, Illinois, in 1942, is one of the most renowned contemporary 

artists. His work often focuses on cultural phenomena, incorporating materials 

as diverse as photography, video, performance, glass, and mirror structures. Dan 

Graham lives and works in New York. 


Portfolio with 16 printed-on newspaper 

pages accompanied by softcover 

brochure (approx. 14.8 × 21 cm, 

5¾ × 8 ¼ in, approx. 128 pages) 

ISBN 978-3-03778-318-4 

English/German 

EUR 80.– GBP 65.– USD / CAD 120.– 

Thomas Flechtner 

News 

The latest work by photographer Thomas Flechtner 

Artistic refl ection of the ephemerality of news headlines 

The confrontation of anarchic nature with man-made agendas in over 

one hundred photographs 

News represents a further development of the much-acclaimed work of artist Thomas 

Flechtner. Whereas in Snow he looked at snow as a metaphor for timelessness, calm, 

distance, and loneliness, and in Bloom Flechtner used atmospherically condensed 

studies of plants to examine the boundless colorfulness and movement of grown 

nature, for his new project News Flechtner collected newspaper front pages over 

a period of one year, scattered plant seeds from very different countries over them, 

watered them, and, fi nally, exposed them to the sun. He recorded the way the “news” 

was gradually bleached and overgrown with plants in more than one hundred color 

photographs. Flechtner contrasts the anarchy of nature with the agenda of mankind, 

while also questioning the fl eetingness of memory and the demands made on it in 

shaping today’s world. 

THOMAS FLECHTNER, born in Winterthur in 1961, studied at the Ecole de 

photographie, Vevey. He has received numerous prizes for his photographic works, 

which he regularly exhibits. He lives and works in Valliere, France and in Zürich. 

RELATED TITLE 

Bloom, page 46 

32 33 

New Title Photography

New Title Photography 


24 × 30 cm, 9 ½ × 11 ¾ in 



ISBN 978-3-03778-294-1 


EUR 40.– GBP 35.– USD / CAD 50.– 

Christian Lutz 

In Jesus’ Name 

A critical photographic contribution to the topic of “modern” religious 

organizations 

After Protokoll and Tropical Gift, In Jesus’ Name is the third part of the author’s 

trilogy on the topic of power relations 

After examining political and economic structures of power in Protokoll and Tropical 

Gift, in the publication In Jesus’ Name photographer Christian Lutz turns his focus on 

the ritual and social behavior patterns within a religious organization. For several 

months he has documented the evangelical group “International Christian Fellowship” 

in Switzerland. With a coolly distanced view, his photographs show the yearning 

for belonging and for jointly experienced spirituality that is made manifest in large 

religious events. They reveal that at such meetings—in stadiums but also in remote 

camping sites—location and clothing play a less important role than the experience 

of community and cultic ritual. Lutz critically questions the emotionally charged 

meetings and reveals parallels to other social mass events such as rock concerts or 

football matches. 

CHRISTIAN LUTZ, born in Geneva in 1973, studied at the Ecole Supérieure des Arts 

de l’Image, “Le 75” in Brussels. His artistic work has been awarded many prizes in 

Switzerland and abroad, and is regularly shown in exhibitions. 


Tropical Gift, page 45 

Protokoll, page 45 

Faith Is, page 47 


26 × 19 cm, 10 ¼ × 7 ½ in 



ISBN 978-3-03778-295-8 

English 

EUR 40.– GBP 35.– USD / CAD 50.– 

RELATED TITLE 

From Somewhere to Nowhere, page 45 

Andreas Seibert 

The Dirty Colors of Growth 

China’s Huai River 

Photographical documentation of the ecological consequences 

of the Chinese economic boom 

After From Somewhere to Nowhere, Seibert’s documentation of 

China’s migrant workers, he presents his next book on another pressing 

issue in China 

Published to accompany the exhibition Andreas Seibert—Huai He in 

the Fotostiftung Winterthur, October 27, 2012 – February 17, 2013 

China’s spectacular growth has brought not just prosperity, but also serious damage 

to the environment. For photojournalist Andreas Seibert, the present state of the Huai 

River is a clear example of these problems. Several stretches of the river have been 

so seriously polluted by toxic waste that people are advised not to even touch the 

water. Seibert has traveled along the river from source to mouth in order to record 

how it changes from a stretch of water rising amidst unspoiled nature into a large and 

poisonous river. Pictures taken on his travels present the poor hinterlands which are 

generally forgotten in discussions on China, and show the people who live on and 

near the river—in a habitat on the brink of destruction. 

ANDREAS SEIBERT was born in 1970 in Wettingen, Aargau, Switzerland. He studied 

photography at the Hochschule der Künste in Zürich and German literature and 

philosophy at the University of Zürich. He has lived in Tokyo since 1997. His photographic 

work has been published in numerous international magazines and shown in 

exhibitions all over the world. 

34 35 


New Title Photography 

Released in March 2012 

23 × 29,7 cm, 9 × 11 ¾ in 

216 pages, 130 illustrations, paperback 

ISBN 978-3-03778-292-7 

English/Japanese 

EUR 50.– GBP 42.– USD / CAD 66.– 

Reset – Beyond Fukushima 

Will the Nuclear Catastrophe Bring Humanity to Its Senses? 

Edited by Adriano A. Biondo and Lars Müller 

Photographs by Kazuma Obara 

The photo book documents the fi rst days, weeks, and months in the Fukushima 

region after the nuclear catastrophe 

With photos directly taken on site as well as portraits and interviews of workers 

of the nuclear power plant 

Current topic: nuclear power, an issue of debate on the political agenda 

Ever since the fi rst days following the disastrous events that took place in Japan in 

March 2011, photojournalist Kazuma Obara has been visiting the sites and the people 

affected. He even visited the Fukushima power plant itself, where he talked to 

the workers involved. The series of portraits and interviews he produced is published 

for the fi rst time in this publication. 

Obara’s photographs offer touching insights about the consequences of the events 

surrounding Fukushima. Recollected in this book, they offer a long-term perspective 

and pose the question of responsibility. They bring to mind just how far-reaching 

the consequences of this catastrophe are, for the people on site as well as worldwide. 

The book offers a view that goes beyond the pure facts on site—Beyond Fukushima. 

KAZUMA OBARA, born in Iwate in 1985, Japan, is a photojournalist. He studied social 

sciences at Utsunomiya University and continued his studies at Days Japan Photo 

Journalism School. Three days after the earthquake disaster, he began documenting 

what was happening in the affected areas. His photographs from the Fukushima 

Daiichi Nuclear Power Plant have been published all over Europe. 

36 37 


Backlist Architecture 

IMperfect 

HealtH 

the MediCaLization 

of arChiteCture 

Today we are anxious about ground pollution, 

food safety, smog, obesity and aging. Because almost 

everything in our surroundings is perceived as 

a possible source of disease, the health, defence 

and fortification of the body is an obsessive pursuit. 

Design is also affected 

by such anxieties. Imperfect 

Health investigates the 

historical connections between 

health, design and the 

environment, bringing to light 

uncertainties and contradictions 

in cultures informed by 

Western medicine, to insist on 

a challenging hypothesis: 

that urbanism, landscape design 

and architecture take care 

of their “inhabitants,” instead of 

seeking an ultimate cure. 

Edited by 

Giovanna Borasi 

Mirko Zardini 

Canadian Centre for arChiteCture 

Lars MüLLer PubLishers 

English 

French 

Imperfect Health 

The Medicalization of Architecture 

Co-published by the Canadian Centre for Architecture, 

Montreal 

16.5 × 24 cm, 6 ½ × 9 ½ in, 400 pages 


2012, ISBN 978-3-03778-279-8, English 

2012, ISBN 978-3-03778-284-2, French 

EUR 50.– GBP 45.– USD / CAD 70.– 

Steven Holl – Scale 

Lars Müller (Ed.) 

16.8 × 12.6 cm, 6 ½ × 5 in, 480 pages 


2012, ISBN 978-3-03778-251-4, English 

EUR 40.– GBP 38.– USD / CAD 55.– 

Ecological Urbanism 

Mohsen Mostafavi with Gareth Doherty, 

Harvard University Graduate School of Design (Eds.) 

16.5 × 24 cm, 6 ½ × 9 ½ in, 656 pages 


2010, ISBN 978-3-03778-189-0, English 

EUR 50.– GBP 40.– USD / CAD 60.– 

Michael Merrill 

Louis Kahn: 

Drawing to Find Out 

The Dominican Motherhouse 

and the Patient Search for Architecture 

30 × 24 cm, 11 ½ × 9 ½ in, 240 pages 


2010, ISBN 978-3-03778-221-7, English 

EUR 59.– GBP 60.– USD / CAD 90.– 

David Adjaye 

Authoring: Re-Placing Art and Architecture 

Marc McQuade (Ed.) 

In cooperation with Princeton University 

School of Architecture 

16.5 × 24 cm, 6 ½ × 9 ½ in, 272 pages 


2012, ISBN 978-3-03778-282-8, English 

EUR 32.– GBP 28.– USD / CAD 45.– 

Steven Holl – Color Light Time 

With essays by Jordi Safont-Tria, Sanford Kwinter, 

and Steven Holl 

12.6 × 16.8 cm, 5 × 6½ in, 144 pages 


2012, ISBN 978-3-03778-252-1, English 

EUR 32.– GBP 25.– USD / CAD 40.– 

Landform Building 

Architecture’s New Terrain 

Stan Allen and Marc McQuade (Eds.) 

In cooperation with the Princeton University 


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


2011, ISBN 978-3-03778-223-1, English 

EUR 45.– GBP 45.– USD / CAD 65.– 

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 


2010, ISBN 978-3-03778-220-0, English 

EUR 35.– GBP 35.– USD / CAD 55.– 

Luis M. Mansilla + Emilio Tuñón 

From Rules to Constraints 

Giancarlo Valle (Ed.) 

In cooperation with Princeton University 


16.5 × 24 cm, 6 ½ × 9 ½ in, 248 pages 


2012, ISBN 978-3-03778-281-1, English 

EUR 32.– GBP 28.– USD / CAD 45.– 

Five 

North American 

Architects 

An Anthology by 

Kenneth Frampton 

Stanley Saitowitz 

Brigitte Shim+ 

Howard Sutcliffe 

Rick Joy 

John+Patricia Patkau 

Steven Holl 

Columbia University GSAPP 


Five North American Architects 

An Anthology by Kenneth Frampton 

In cooperation with GSAPP, Columbia University 

16.5 × 24 cm, 6 ½ × 9 ½ in, 136 pages 


2012, ISBN 978-3-03778-256-9, English 

EUR 38.– GBP 32.– USD / CAD 50.– 

Dan Graham’s New Jersey 

In cooperation with GSAPP, Columbia University 

With contributions by Mark Wigley and Mark Wasiuta 

19 × 26 cm, 7 ½ × 10 ¼ in, 192 pages 


2012, ISBN 978-3-03778-259-0, English 

EUR 45.– GBP 42.– USD / CAD 65.– 

Iwan Baan 

Brasilia – Chandigarh 

Living with Modernity 


With texts by Cees Nooteboom and Martino Stierli 

24 × 30 cm, 9 ½ × 11 ¾ in, 240 pages 


2010, ISBN 978-3-03778-228-6, English 

EUR 40.– GBP 40.– USD / CAD 60.– 

Buckminster Fuller 

Reprints 

Jaime Snyder (Ed.) 

38 39 

GiGon 

Guyer 

LArs MüLLer PubLishers 

Architects 

Works & Projects 2001– 2011 

English 

German 

Gigon/Guyer Architects 

Works & Projects 2001– 2011 

With essays by Gerhard Mack, Arthur Rüegg, 

and Philip Ursprung 

16.5 × 24 cm, 6 ½ × 9 ½ in, 608 pages 


2012, ISBN 978-3-03778-276-7, English 

2012, ISBN 978-3-03778-257-6, German 

EUR 58.– GBP 55.– USD / CAD 85.– 

Insular Insight 

Where Art and Architecture Conspire with Nature 

Naoshima Teshima Inujima 

Lars Müller and Akiko Miki (Eds.) 

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


2011, ISBN 978-3-03778-255-2, English 

EUR 45.– GBP 45.– USD / CAD 70.– 

Ideas and Integrities 

A Spontaneous Autobiographical Disclosure 

Reprint, original 1963, 12 × 19 cm, 4 ¾ × 7 ½ in 

416 pages, 50 illustrations in b/w, paperback 

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 × 19 cm, 4 ¾ × 7 ½ in 

224 pages, 15 illustrations in b/w, paperback 

2010, ISBN 978-3-03778-199-9, English 

EUR 25.– GBP 20.– USD / CAD 30.– 

Operating Manual for Spaceship Earth 

Reprint, original 1969, 12 × 19 cm, 4 ¾ × 7 ½ in English 

152 pages, paperback 

2008, ISBN 978-3-03778-126-5, English 

2010, ISBN 978-3-03778-188-3, French 

EUR 15.– GBP 15.– USD / CAD 20.– 

French 

Utopia or Oblivion 

The Prospects for Humanity 


448 pages, 32 illustrations, paperback 

2008, ISBN 978-3-03778-127-2, English 

EUR 25.– GBP 25.– USD / CAD 30.– 

And It Came to Pass – Not to Stay 


192 pages, paperback 

2008, ISBN 978-3-03778-132-6, English 

EUR 15.– GBP 15.– USD / CAD 20.– 

English 

German 

What Anchors a House in Itself 

Seven Buildings 

Andreas Fuhrimann, Gabrielle Hächler 

18.6 × 24.8 cm, 7 ¼ × 9 ¾ in, 216 pages 


2010, ISBN 978-3-03778-240-8, English 

2010, ISBN 978-3-03778-224-8, German 

EUR 40.– GBP 35.– USD / CAD 60.– 

Alice Foxley 

Distance & Engagement 

Walking, Thinking and Making Landscape 

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


2010, ISBN 978-3-03778-196-8, English 

EUR 50.– GBP 50.– USD / CAD 80.– 

English 

German 

Herzog & de Meuron 

Natural History 

Philip Ursprung and the Canadian Centre 

for Architecture (Eds.) 

16.5 × 24 cm, 6 ½ × 9 ½ in, 472 pages 


2003, ISBN 978-3-03778-049-7, English 

2005, ISBN 978-3-03778-050-3, German 

EUR 45.– GBP 30.– USD / CAD 48.– 

Antonio Foscari 

Andrea Palladio – Unbuilt Venice 

15 × 24 cm, 6 × 9 ½ in, 288 pages 


2010, ISBN 978-3-03778-222-4, English 

EUR 40.– GBP 40.– USD / CAD 60.– 

Your Private Sky 

R. Buckminster Fuller 

The Art of Design 

Science 

J. Krausse and 

C. Lichtenstein (Eds.) 

16.5 × 24 cm, 6 ½ × 9 ½ in 

524 pages, 600 illus. 

hardcover, 2009 

ISBN 978-3-907044-88-9 

English 

EUR 25.– GBP 25.– 

USD / CAD 65.– 

Backlist Architecture

Backlist Architecture 

Touch Me! 

The Mystery of the Surface 

Gregor Eichinger and 

Eberhard Tröger, Chair of 

Architecture and Design, 

ETH Zürich (Eds.) 

16.5 × 24 cm, 6 ½ × 9 ½ in 

184 pages, 21 illustrations 


ISBN 978-3-03778-229-3, e 

ISBN 978-3-03778-254-5, g 

EUR 30.– GBP 28.– 


The SANAA Studios 

Learning from Japan: 

Single Story Urbanism 

Florian Idenburg and 

Princeton University School 

of Architecture (Eds.) 

21.6 × 28 cm, 8 ½ × 11 in 


paperback, 2010 

ISBN 978-3-03778-190-6, e 

EUR 30.– GBP 30.– 


Construction Site 

Metamorphoses in the City 

Marie Antoinette Glaser, 

ETH Wohnforum (Eds.) 

23 × 28 cm, 9 × 11 in 



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

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

EUR 40.– GBP 40.– 


Catherine de Smet 

Le Corbusier 

Architect of Books 

21 × 28 cm, 8 ¼ × 11 in 



ISBN 978-3-03778-034-3, e 

ISBN 978-3-03778-033-6, f 

ISBN 978-3-03778-052-7, g 

EUR 35.– GBP 30.– 


Aga Khan Award for 

Architecture 2010 

Implicate & Explicate 

Mohsen Mostafavi (Ed.) 

16.5 × 24 cm, 6 ½ × 9 ½ in 



ISBN 978-3-03778-242-2 

English 

EUR 35.– GBP 35.– 


The World’s Fairest City – 

Yours and Mine 

Features of Urban Living 

and Quality 

18 × 12.8 cm, 7 × 5 in 



ISBN 978-3-03778-186-9, e 

ISBN 978-3-03778-185-2, g 

EUR 20.– GBP 20.– 


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 



ISBN 978-3-03778-067-1 

French 

EUR 30.– GBP 30.– 


Zaha Hadid 

Car Park and Terminus 

Strasbourg 

31 × 33 cm, 12 ¼ × 13 in 



ISBN 978-3-03778-028-2 

German/English/French 

EUR 15.– GBP 15.– 


Guy Nordenson 

Patterns and Structure 

Selected Writings 

16.5 × 24 cm, 6 ½ × 9 ½ in 



ISBN 978-3-03778-219-4 

English 

EUR 40.– GBP 40.– 


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 

ISBN 978-3-03778-159-3 

English, 2009 

EUR 30.– GBP 30.– 


Matthias Sauerbruch, 

Louisa Hutton 

Sauerbruch Hutton Archive 

24 × 30 cm, 9 × 11 ¾ in 



ISBN 978-3-03778-083-1 


EUR 60.– GBP 55.– 


Theo Hotz 

Architecture 1949 – 2002 

18.5 × 28 cm, 7 ¼ × 11 in 



ISBN 978-3-03778-002-2 


EUR 30.– GBP 30.– 


NEXT 

Middle East: 

Architecture and the City 

Architectural Papers Monograph 

Online Version 

Dap: Digital Architectural Papers 

regularly updated at 

www.architecturalpapers.ch 

AFTER 

CRISIS 


ISBN 978-3-03778-230-9 

Other Space Odysseys: 

Greg Lynn, Michael 

Maltzan, Alessandro Poli 

Giovanna Borasi and Mirko 

Zardini, Canadian Centre for 

Architecture (Eds.) 

15 × 21 cm, 6 × 8 ¼ in 



ISBN 978-3-03778-193-7, e 

ISBN 978-3-03778-194-4, f 

EUR 25.– GBP 23.– 


Architectural Papers V 

AFTER CRISIS Lars Müller Publishers 

Architectural Papers V concentrates on the new conditions for architectural 

practice and the epistemologies that may inform it now that the fi nancial bubble 

has collapsed and living and working conditions have signifi cantly changed. 

Essays, studies, and interviews, along with a selection of illustrative projects, tackle 

the actual issues of growth and shrinking, economy and ideology, craftsmanship 

and social space in the city, and materiality and sustainability in architecture. 

The Architectural Papers series covers a wide range of topics related to teaching 

and architectural culture in general, and is aimed at expanding the narrow 

boundaries of the discipline. Established in 2005, the series is edited by Chair 

Prof. Dr. Josep Lluís Mateo at ETH Zürich. 

SHIFT 

SANAA and the 

New Museum 

Joseph Grima and Karen 

Wong (Eds.) 

24 × 30 cm, 9 × 11 ¾ in 



ISBN 978-3-03778-140-1 

English 

EUR 33.– GBP 35.– 


Peter Eisenman 

The Formal Basis of 

Modern Architecture 

(1964) 

29 × 30.5 cm, 11 ½ × 12 in 



ISBN 978-3-03778-071-8 

English 

EUR 50.– GBP 50.– 


As Found 

The Discovery of the 

Ordinary British Architecture 

and Art of the 1950s 

C. Lichtenstein and 

T. Schregenberger (Eds.) 

16.5 × 24 cm, 6 ½ × 9 ½ in 



ISBN 978-3-907078-43-3, e 

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

EUR 30.– GBP 30.– 



ETH Zürich 

Chair Prof. Dr. Josep Lluís Mateo 


AFTER 

CRISIS 

Contemporary Architectural Conditions 

Josep Lluís Mateo 


After Crisis 

Contemporary 

Architectural Conditions 

16.5 × 24 cm, 6 ½ × 9 ½ in 



ISBN 978-3-03778-230-9 

English 

EUR 25.– GBP 25.– 


Gramazio & Kohler 

Digital Materiality 

in Architecture 

19.5 × 30 cm, 7 ¾ × 11 ¾ in 



ISBN 978-3-03778-122-7 

English 

EUR 35.– GBP 35.– 


Peter Eisenman 

Holocaust Memorial Berlin 

24 × 30 cm, 9 × 11 ¾ in 



ISBN 978-3-03778-056-5 

English 

ISBN 978-3-03778-059-6 

German 

EUR 23.– GBP 23.– 


Alison and Peter Smithson 

AS IN DS 

An Eye on the Road 

Christian Sumi (Ed.) 

Reprint, original 1983 

11.5 × 29 cm, 4 ½ × 11 ½ in 



ISBN 978-3-907078-42-6 

English 

EUR 15.– GBP 15.– 


Tree Nurseries – 

Cultivating the Urban Jungle 

Dominique Ghiggi, the Chair 

of Günther Vogt, Department 

of Architecture, ETH Zürich 

(Eds.) 

24 × 33 cm, 9 ½ × 13 in 



ISBN 978-3-03778-218-7, e 

ISBN 978-3-03778-217-0, g 

EUR 35.– GBP 35.– 


The Image and the Region 

Making Mega-City Regions 

Visible 

Alain Thierstein and 

Agnes Förster (Eds.) 

16.5 × 24 cm, 6 ½ × 9 ½ in 



ISBN 978-3-03778-131-9 

English 

EUR 30.– GBP 30.– 


Sense of the City 

An Alternate Approach 

to Urbanism 

Mirko Zardini, Canadian 

Centre for Architecture (Eds.) 

16.5 × 24 cm, 6 ½ × 9 ½ in 



ISBN 978-3-03778-060-2 

English 

EUR 45.– GBP 40.– 


Architecture of Zaha Hadid 

In Photographs 

by Hélène Binet 

19 × 31 cm, 7 ½ × 12 ¼ in 



ISBN 978-3-907078-12-9 

English 

EUR 20.– GBP 18.– 


40 41 

English 

German 

FREITAG 

Out of the Bag 

Museum of Design Zürich, Renate Menzi (Ed.) 

11.6 × 17.8 cm, 4 ½ × 7 in, 280 pages 


2012, ISBN 978-3-03778-278-1, English 

2012, ISBN 978-3-03778-289-7, German 

EUR 25.– GBP 22.– USD / CAD 35.– 

Jasper Morrison 

A World Without Words 

1998, Reprint 

10.8 × 15.4 cm, 4 ¼ × 6 in, 112 pages 


2012, ISBN 978-3-03778-207-1, English 

EUR 18.– GBP 16.– USD / CAD 25.– 

Kenya Hara 

White 

English 

German 

13.5 × 19.5 cm, 5 ¼ × 7 ¾ in, 64 pages 


2010, ISBN 978-3-03778-183-8, English 

2010, ISBN 978-3-03778-182-1, German 

EUR 25.– GBP 20.– USD / CAD 30.– 


Helvetica 

Homage to a Typeface 

12 × 16 cm, 4 ¾ × 6 ¼ in, 256 pages 


2002, ISBN 978-3-03778-046-6, English 

EUR 19.– GBP 15.– USD / CAD 25.– 

A5/05: Lufthansa and Graphic Design 

Visual History of an Airline 

Jens Müller and Karen Weiland, labor visuell 

at the University of Applied Sciences Düsseldorf, 

Department of Design (Eds.) 

14.8 × 21 cm, 5 ¾ × 8 ¼ in, 128 pages 


2012, ISBN 978-3-03778-267-5, English/German 

EUR 28.– GBP 25.– USD / CAD 40.– 

Naoto Fukasawa, Jasper Morrison 

Super Normal 

Sensations of the Ordinary 

14.8 × 20 cm, 5 ¾ × 7 ¾ in, 128 pages 


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

EUR 25.– GBP 25.– USD / CAD 35.– 

Kenya Hara 

Designing Design 

16.5 × 24 cm, 6 ½ × 9 ½ in, 472 pages 


2007, ISBN 978-3-03778-105-0, English 

EUR 55.– GBP 50.– USD / CAD 70.– 

Helvetica Forever 

Story of a Typeface 

Lars Müller and Victor Malsy (Eds.) 

English 

German 

19 × 26 cm, 7 ½ × 10 ¼ in, 160 pages 


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

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

EUR 30.– GBP 30.– USD / CAD 49.– 

Takahiro Kurashima 

Poemotion 

17 × 23 cm, 6 ¾ × 9 in, 64 pages 


2012, ISBN 978-3-03778-277-4, English 

EUR 28.– GBP 25.– USD / CAD 40.– 

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.– USD / CAD 59.– 

Seeking 

Archetypes 

Hannes 

Wettstein 


Hannes Wettstein 

Seeking Archetypes 

Studio Hannes Wettstein (Ed.) 

With essays by Max Küng and Volker Albus 

and a text collage by Thomas Haemmerli 

23 × 29 cm, 9 × 11 ½ in, 292 pages 


2012, ISBN 978-3-03778-265-1, English/German/Italian 

EUR 58.– GBP 55.– USD / CAD 85.– 

Massimo Vignelli 

The Vignelli Canon 

English 

German 

14.8 × 21 cm, 5 ¾ × 8 ¼ in, 112 pages 


2010, ISBN 978-3-03778-225-5, English 

2012, ISBN 978-3-03778-268-2, German 

EUR 28.– GBP 20.– USD / CAD 35.– 

Backlist Design

Backlist Design 

Michael Maharam 

Maharam Agenda 

19.5 × 26 cm, 7 ¾ × 10 ¼ in, 256 pages 

408 illustrations, hardcover with stitched fabric cover 

2011, ISBN 978-3-03778-187-6, English 

EUR 55.– GBP 50.– USD / CAD 65.– 

IS DESIGN A SEARCH 

FOR QUESTIONS? 

Pedro Gonçalves, Art Director, Portugal 

Küchen Werkzeug / Kitchen Tools 

Design by Kuhn Rikon 

With photographs by Cortis & Sonderegger, Zürich 

21 × 31.5 cm, 8 ¼ × 12 ½ in, 96 pages 



EUR 38.– GBP 35.– USD / CAD 50.– 

Jan Conradi 

Unimark International 

The Design of Business and the Business of Design 

Foreword by Massimo Vignelli 

19 × 26 cm, 7 ½ × 10 ¼ in, 244 pages 


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

EUR 45.– GBP 40.– USD / CAD 65.– 

Nature Design 

From Inspiration to Innovation 

Museum of Design Zürich, Angeli Sachs (Eds.) 

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


2007, ISBN 978-3-03778-098-5, English 

EUR 30.– GBP 30.– USD / CAD 50.– 

DESIGN IN 

QUESTION 

Metahaven 

Uncorporate Identity 

Metahaven (Daniel van der Velden and Vinca Kruk) 

with Marina Vishmidt (Eds.) 

Co-published by Jan van Eyck Academie 

17 × 24 cm, 6 ¾ × 9 ½ in, 608 pages 


2010, ISBN 978-3-03778-169-2, English 

EUR 45.– GBP 45.– USD / CAD 75.– 

DESIGN IN 

QUESTION 

A Visual Proposal by Ruedi Baur, Vera Baur Kockot and the Institute Design2context 

ZHdK Zurich for Elisava, Barcelona School of Design and Engineering 

LARS MÜLLER PUBLISHERS 

Design in Question 

Elisava, design2context (Eds.) 

7.4 × 10.5 cm, 3 × 4 in, 384 pages 


2012, ISBN 978-3-03778-280-4, English 

EUR 20.– GBP 18.– USD / CAD 28.– 


Josef Müller-Brockmann 

Pioneer of Swiss Graphic Design 

English 

German 

19 × 27 cm, 7 ½ × 10 ¾ in, 264 pages 


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

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

EUR 40.– GBP 40.– USD / CAD 60.– 

English 

German 

Global Design 

International Perspectives 

and Individual Concepts 

Museum of Design Zürich, Angeli Sachs (Eds.) 

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


2010, ISBN 978-3-03778-210-1, English 

2010, ISBN 978-3-03778-154-8, German 

EUR 35.– GBP 35.– USD / CAD 60.– 

English 

German 

Corporate Diversity 

Swiss Graphic Design and Advertising by Geigy, 1940–1970 

Museum of Design Zürich, Andres Janser, 

Barbara Junod (Eds.) 

19.4 × 26.8 cm, 7 ¾ × 10 ½ in, 208 pages 


2009, ISBN 978-3-03778-160-9, English 

2009, ISBN 978-3-03778-161-6, German 

EUR 40.– GBP 40.– USD / CAD 65.– 

English 

German 

Karl Gerstner 

Designing Programmes 

Harald Geisler and Jonas Pabst (Eds.) 

Revised reprint, original 1964 

19.5 × 25 cm, 7 ¾ × 9 ¾ in, 120 pages 


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

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

EUR 30.– GBP 30.– USD / CAD 40.– 

Hans Arp and El Lissitzky 

The Isms of Art 1914–1924 

Reprint, original 1925 

20 × 26 cm, 8 × 10 ¼ in, 60 pages 


1990, ISBN 978-3-906700-28-1, English/French/German 

EUR 20.– GBP 15.– USD / CAD 30.– 

Windfall Light 

The Visual Language of ECM 


English 

German 

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


2010, ISBN 978-3-03778-157-9, English 

2010, ISBN 978-3-03778-197-5, German 

EUR 55.– GBP 50.– USD / CAD 85.– 


In Series 

Museum of Design Zürich (Ed.) 

16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages 


2011, ISBN 978-3-03778-266-8 

English /German 

EUR 28.– GBP 25.– USD / CAD 40.– 


Otto Baumberger 


16.5 × 24 cm, 6 ½ × 9 ½ in 

96 p., 120 illus., paperback 

ISBN 978-3-03778-129-6 

English/German, 2008 

EUR 25.– GBP 25.– 



Catherine Zask 


16.5 × 24 cm, 6 ½ × 9 ½ in 


ISBN 978-3-03778-054-1 

English/German/French 

2005 

EUR 20.– GBP 15.– 



Visual Strategies Against 

Aids 


16.5 × 24 cm, 6 ½ × 9 ½ in 


ISBN 978-3-907078-90-7 


EUR 23.– GBP 20.– 



Photo Graphics 


16.5 × 24 cm, 6 ½ × 9 ½ in 


ISBN 978-3-03778-128-9 


EUR 25.– GBP 25.– 



Handmade 


16.5 × 24 cm, 6 ½ × 9 ½ in 


ISBN 978-3-03778-053-4 


EUR 23.– GBP 20.– 



Typotektur 


16.5 × 24 cm, 6 ½ × 9 ½ in 


ISBN 978-3-907078-89-1 


EUR 20.– GBP 15.– 



Letters Only 


16.5 × 24 cm, 6 ½ × 9 ½ in 


paperback 

ISBN 978-3-03778-206-4 


EUR 25.– GBP 25.– 



Comix! 


16.5 × 24 cm, 6 ½ × 9 ½ in 


ISBN 978-3-03778-099-2 


EUR 25.– GBP 20.– 



Michael Engelmann 


16.5 × 24 cm, 6 ½ × 9 ½ in 


ISBN 978-3-03778-039-8 


EUR 23.– GBP 20.– 



Hors-Sol 


16.5 × 24 cm, 6 ½ × 9 ½ in 


ISBN 978-3-907078-54-9 


EUR 23.– GBP 20.– 



Paradise Switzerland 


16.5 × 24 cm, 6 ½ × 9 ½ in 


paperback 

ISBN 978-3-03778-205-7 


EUR 25.– GBP 25.– 



Breaking the Rules 


16.5 × 24 cm, 6 ½ × 9 ½ in 


ISBN 978-3-03778-094-7 


EUR 25.– GBP 20.– 



Ralph Schraivogel 


16.5 × 24 cm, 6 ½ × 9 ½ in 


ISBN 978-3-03778-016-9 


EUR 20.– GBP 15.– 



Posters for Exhibitions 

1980 – 2000 


16.5 × 24 cm, 6 ½ × 9 ½ in 


ISBN 978-3-907078-55-6 


EUR 23.– GBP 20.– 



Help! 

Appeals to Social Conscience 


16.5 × 24 cm, 6 ½ × 9 ½ in 


paperback 

ISBN 978-3-03778-174-6 


EUR 25.– GBP 25.– 



Zürich-Milano 


16.5 × 24 cm, 6 ½ × 9 ½ in 


ISBN 978-3-03778-079-4 


EUR 23.– GBP 20.– 



Black and White 


16.5 × 24 cm, 6 ½ × 9 ½ in 


ISBN 978-3-03778-014-5 


EUR 20.– GBP 15.– 



Donald Brun 


16.5 × 24 cm, 6 ½ × 9 ½ in 


ISBN 978-3-907078-53-2 


EUR 20.– GBP 15.– 



Head to Head 


16.5 × 24 cm, 6 ½ × 9 ½ in 


ISBN 978-3-03778-151-7 

English, 2009 

ISBN 978-3-03778-130-2 

German, 2009 

EUR 30.– GBP 30.– 



Typo China 


16.5 × 24 cm, 6 ½ × 9 ½ in 


ISBN 978-3-03778-078-7 


EUR 20.– GBP 20.– 



Armin Hofmann 


16.5 × 24 cm, 6 ½ × 9 ½ in 


ISBN 978-3-03778-004-6 


EUR 20.– GBP 15.– 



Revue 1926 


16.5 × 24 cm, 6 ½ × 9 ½ in 


ISBN 978-3-907078-52-5 


EUR 22.– GBP 20.– 


42 43 

Backlist Design POSTER COLLECTION

Backlist Design 

Findings on Elasticity 

Pars Foundation (Ed.) 

20 × 27 cm, 7 ¾ × 10 ¾ in 



ISBN 978-3-03778-148-7 

English 

EUR 35.– GBP 35.– 


Ulrike Felsing 

Dynamic Identities 

in Cultural and Public 

Contexts 

16.5 × 24 cm, 6 ½ × 9 ½ in 



ISBN 978-3-03778-163-0, e 

ISBN 978-3-03778-162-3, g 

EUR 35.– GBP 35.– 


Edo Smitshuijzen 

Signage Design Manual 

ISBN: 978-3-03778-133-3 

16 × 26 cm, 6 ¼ × 10 ¼ in 



ISBN 978-3-03778-096-1 

English 

EUR 45.– GBP 40.– 


Isabel Naegele and 

Ruedi Baur 

Scents of the City 

14 × 20 cm, 5 ½ × 7 ¾ in 



ISBN 978-3-03778-012-1 

English/French/German 

EUR 16.– GBP 15.– 


Gerlinde Schuller 

Designing Universal 

Knowledge 

The World as Flatland – 

Report 1 

16.5 × 24 cm, 6 ½ × 9 ½ in 



ISBN 978-3-03778-149-4 

English 

EUR 35.– GBP 35.– 


2 

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

Design2context 

Institute Design2context 

Zürich University of the Arts 


Orientation/ 

Disorientation 2 

Design2context, Ruedi Baur 

(Eds.) 

16.5 × 24 cm, 6 ½ × 9 ½ in 



ISBN 978-3-03778-158-6 


EUR 30.– GBP 30.– 


Findings on Ice 

Pars Foundation (Ed.) 

20 × 27 cm, 7 ¾ × 10 ¾ in 



ISBN 978-3-03778-125-8 

English 

EUR 30.– GBP 30.– 


Hans Richter 

New Living 

Andres Janser and 

Arthur Rüegg (Eds.) 

( 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 

human family. 


16.5 × 24 cm, 6 ½ × 9 ½ in 



ISBN 978-3-907078-22-8 

English 

EUR 44.– GBP 35.– 


H A N D B O O K 

Celestino Piatti + dtv 

The Unity of the Program 

Jens Müller, labor visuell 

at the University of Applied 

Sciences Düsseldorf, 

Department of Design 

14.8 × 21 cm, 5 ¾ × 8 ¼ in 



ISBN 978-3-03778-178-4 


EUR 20.– GBP 20.– 


Orientation/ 

Disorientation 1 

Design2context, Ruedi Baur 

(Eds.) 

16.5 × 24 cm, 6 ½ × 9 ½ in 



ISBN 978-3-03778-133-3 


EUR 30.– GBP 30.– 


JEAN-BENOÎT LÉVY 

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 

Isabel Naegele / Ruedi Baur 

SCENTS OF THE CITY 

ISBN 3-03778-012-6 

The stylized handsigns 

which are illustrating 

this book are available 

for Mac & Window 

as a sign system named 

H-AND-S 

at www.myfonts.com 


12 × 16 cm, 4 ¾ × 6 ¼ in 



ISBN 978-3-03778-077-0 

English 

EUR 15.– GBP 15.– 


Pierre Mendell 

At fi rst sight 

24 × 30 cm, 9 ½ × 11 ¾ in 



ISBN 978-3-907044-49-0 

English 

ISBN 978-3-907078-64-8 

German 

EUR 30.– GBP 30.– 


Philips – Twen 

Realism Is the Score 





14.8 × 21 cm, 5 ¾ × 8 ¼ in 



ISBN 978-3-03778-180-7 


EUR 20.– GBP 20.– 


Frédéric Dedelley 

Design Detective 

Ariana Pradal (Ed.) 

17 × 22 cm, 6 ¾ × 8 ¾ in 



ISBN 978-3-03778-137-1 


EUR 30.– GBP 30.– 


Claude Lichtenstein 

Playfully Rigid 

Swiss Architecture, 

Graphic Design, Product 

Design, 1950 –2006 

16.5 × 24 cm, 6 ½ × 9 ½ in 



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

ISBN 978-3-03778-089-3, g 

EUR 25.– GBP 25.– 


Hans Hillmann 

The Visual Works 





14.8 × 21 cm, 5 ¾ × 8 ¼ in 



ISBN 978-3-03778-179-1 


EUR 20.– GBP 20.– 


Jack Masey and 

Conway Lloyd Morgan 

Cold War Confrontations 

16.5 × 24 cm, 6 ½ × 9 ½ in 



ISBN 978-3-03778-123-4 

English 

EUR 20.– GBP 20.– 


Pierre Mendell 

Posters for the Opera 

15.5 × 22 cm, 6 × 8 ¾ in 



ISBN 978-3-03778-082-4 


EUR 25.– GBP 25.– 


Ruedi Baur 

Ruedi Baur Intégral 

Anticipating, Questioning, 

Inscribing, Distinguishing, 

Irritating, Orienting, 

Translating 

16.5 × 24 cm, 6 ½ × 9 ½ in 

480 p., 200 illus., hc, 2010 

ISBN 978-3-03778-134-0, e 

ISBN 978-3-03778-203-3, f 

ISBN 978-3-03778-202-6, g 

EUR 50.– GBP 50.– 


Pierre Bernard 

My Work is not my Work 

Design for the public domain 

16.5 × 24 cm, 6 ½ × 9 ½ in, 320 p. 


ISBN 978-3-03778-087-9 

English, 2008 

ISBN 978-3-03778-086-2 

French, 2007 

ISBN 978-3-03778-104-3 

Dutch, 2007 

EUR 40.– GBP 40.– 


Mark Holt, Hamish Muir 

8vo 

On the Outside 

12 × 16 cm, 4 ¾ × 6 ¼ in 



ISBN 978-3-03778-019-0 

English 

EUR 25.– GBP 23.– 


German with English and 

French translations 

44 45 

German 

Swiss Photobooks from 1927 to the Present 

A Different History of Photography 

Peter Pfrunder, Fotostiftung Schweiz (Eds.) 

22 × 28 cm, 8 ¾ × 11 in, 704 / 576 pages 


2012, ISBN 978-3-03778-274-3, German with 

English and French translations 

2012, ISBN 978-3-03778-260-6, German 

EUR 75.– GBP 70.– USD / CAD 120.– 


Tropical Gift 

The Business of Oil and Gas in Nigeria 

30 × 24 cm, 11 ¾ × 9 ½ in, 96 pages 

52 photographs, hardcover 

2010, ISBN 978-3-03778-226-2, English 

EUR 35.– GBP 35.– USD / CAD 50.– 

Andreas Seibert 

From Somewhere to Nowhere 

China’s Internal Migrants 

19 × 26 cm, 7 ½ × 10 ¼ in 

320 pages, 228 photographs, hardcover 

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

EUR 40.– GBP 40.– USD / CAD 55.– 

Jules Spinatsch 

Temporary Discomfort 

24 × 30 cm, 9 ½ × 11 ¾ in, 186 pages 


2005, ISBN 978-3-03778-047-3 


EUR 30.– GBP 30.– USD / CAD 45.– 

Lukas Felzmann 

Swarm 

With contributions by Peter Pfrunder, Gordon H. Orians, 

Deborah M. Gordon, and Wallace Stevens 

21 × 27 cm, 8 ¼ × 10 ½ in, 240 pages 


2011, ISBN 978-3-03778-241-5, English 

EUR 50.– GBP 45.– USD / CAD 70.– 


Protokoll 

30 × 24 cm, 11 ¾ × 9 ½ in, 90 pages 


2007, ISBN 978-3-03778-110-4 

English/French/German/Spanish 

EUR 35.– GBP 35.– USD / CAD 45.– 

Christina Kleineidam, Hans Peter Jost 

Cotton worldwide 

English 

German 

19 × 26 cm, 7 ½ × 10 ¼ in, 320 pages 


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

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

EUR 40.– GBP 40.– USD / CAD 60.– 

Klaus Merkel 

Album of Stones 

English 

German 

24 × 30 cm, 9 ½ × 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.– USD / CAD 38.– 

Barbara Heé 

C H av iolas 

a landscape, so intimate and aloof 

lars Müller Publishers 

English 

German 

Barbara Heé 

Chaviolas 

A Landscape, so Intimate and Aloof 

29 × 19 cm, 11 ½ × 7 ½ in, 240 pages 


2010, ISBN 978-3-03778-165-4, English 

2010, ISBN 978-3-03778-171-5, German 

EUR 50.– GBP 45.– USD / CAD 80.– 

Luciano Rigolini 

What you see 

Fotostiftung Schweiz (Ed.) 

12 × 16 cm, 4 ¾ × 6 ¼ in, 160 pages 


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

German/English/French/Japanese 

EUR 25.– GBP 25.– USD / CAD 35.– 

Yann Mingard, Alban Kakulya 

East of a New Eden 

European External Borders 

A Documentary Account 

25 × 33 cm, 9 × 13 in, 320 pages 


2010, ISBN 978-3-03778-176-0, English/French 

EUR 60.– GBP 60.– USD / CAD 99.– 

Klaus Merkel 

The Reading of Time 

in the Text of Nature 

English 

German 

24 × 30 cm, 9 ½ × 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.– USD / CAD 38.– 

Backlist Photography

Backlist Photography/Art 


Waters in Between 

With marginalia by Angelus 

Silesius and John Berger 

19 × 27 cm, 7 ½ × 10 ¾ in 

320 pages, 161 photographs 


ISBN 978-3-03778-138-8 

English 

EUR 50.– GBP 45.– 


Hamish Fulton 

The Uncarved Block 

30 × 24 cm, 11 ¾ × 9 ½ in, 160 pages 


2010, ISBN 978-3-03778-227-9, English 

EUR 50.– GBP 50.– USD / CAD 75.– 

Silvia Bächli 

Lidschlag 

How It Looks 


Landfall 

Essay by Peter Pfrunder 

13 × 18 cm, 5 × 7 in 



ISBN 978-3-907078-92-1 


EUR 28.– GBP 25.– 


22 × 28 cm, 8 ¾ × 11 in, 304 pages 



EUR 30.– GBP 30.– USD / CAD 45.– 

Olafur Eliasson 

Your mobile expectations: 

BMW H 2R project 

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.– 

Katharina Grosse 

Wish 

I had a big studio in 

the center of the city Lars Müller Publishers 

Nadja Athanasiou, 

Michael Bühler, Peter Lüem 

The Dolder Grand 

25 × 27 cm, 9 ¾ × 10 ¾ in 



ISBN 978-3-03778-166-1 

English 

EUR 60.– GBP 60.– 


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 



Wish 

I Had a Big Studio in 

the Center of the City 

Pete Davis 

In Wildwood 

30 × 24 cm, 11 ¾ × 9 ½ in 



ISBN 978-3-03778-142-5 

English 

EUR 40.– GBP 40.– 


English 

German 

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.– USD / CAD 45.– 

Silvia Bächli 

das 

Swiss Federal Offi ce of Culture, Bern (Ed.) 

13 × 19.5 cm, 5 × 7 ¾ in, 136 pages 



EUR 23.– GBP 23.– USD / CAD 40.– 

Christian Moeller 

A Time and Place 

Media Architecture 

12.5 × 19 cm, 5 × 7 ½ in, 240 pages 


2004, ISBN 978-3-907078-91-4, English 

EUR 20.– GBP 18.– USD / CAD 30.– 

Thomas Flechtner 

Bloom 

23 × 30 cm, 9 × 11 ¾ in 



ISBN 978-3-03778-091-6 

English 

EUR 30.– GBP 30.– 


Silvia Bächli and Eric Hattan 

BLINDHÆÐIR 

East Iceland 

Editions Attitudes, Geneva (Ed.) 

29 × 16.3, 11 ½ × 7 ½ in, 304 pages 


2010, ISBN 978-3-03778-216-3 

English /French /German /Icelandic 

EUR 40.– GBP 40.– USD / CAD 65.– 

Jean-Pascal Imsand 

Photographer 

24 × 30 cm, 9 ½ × 11 ¾ in 


in b/w, hardcover, 2004 

ISBN 978-3-03778-037-4, e 

ISBN 978-3-03778-041-1, f 

ISBN 978-3-03778-040-4, g 

EUR 25.– GBP 25.– 


Paradoxes of Appearing 

Essays on Art, Architecture 

and Philosophy 

Michael Asgaard Andersen and Henrik Oxvig (Eds.) 

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.– 

16.5 × 24 cm, 6 ½ × 9 ½ in, 576 pages 


2012, ISBN 978-3-03778-245-3, English 

2011, ISBN 978-3-03778-244-6, German 

EUR 45.– GBP 40.– USD / CAD 60.– 

46 47 

English 

German 

English 

German 

The Face of Human Rights 

Walter Kälin, Lars Müller, and Judith Wyttenbach (Eds.) 

16.5 × 24 cm, 6 ½ × 9 ½ in, 720 pages, 500 illustrations 

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

EUR 45.– GBP 45.– USD / CAD 60.– 

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

EUR 30.– GBP 30.– USD / CAD 50.– 

All We Need 

Holzer Kobler Architekturen and iart interactive (Eds.) 

16.5 × 24 cm, 6 ½ × 9 ½ in, 272 pages 


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

English/French/German 

EUR 30.– GBP 23.– USD / CAD 40.– 

For Future’s Sake! 

A Visual Reader of Climate Change 

René Schwarzenbach, Lars Müller, Christian Rentsch and Klaus Lanz (Eds.) 

In cooperation with the Department of Environmental Sciences, ETH Zürich 

This visual reader offers a new approach to explaining climate change 

and making the topic accessible to a wider public 

Continues the series of our well-known bestsellers The Face of Human Rights 

and Who Owns the Water? 

For Future’s Sake! sets itself the goal of conveying the knowledge revealed by 

current climate research in a manner that is both concise and appealing. It differs 

from other books on climate change principally in the way it is conceived as a 

visual reader that deliberately uses the effectiveness and power of the image to present 

the theme in a graphic way. Extensive series of images with large photographs 

and informative diagrams accompany well-researched essays on and around the 

themes of climate history, research and policy and thus offer an in-depth examination. 

The book provides insights into the history of the earth’s climate and reveals 

the factors that are responsible for climate change. It poses questions and provides 

answers: why is the earth becoming warmer? What are the consequences we must 

reckon with? What can we do against this? Who determines the future? As both 

a volume of illustrations and a reader, For Future’s Sake! is directed at all those who 

want to equip themselves with knowledge and understanding to confront what is 

probably our planet’s most pressing problem. 

RENÉ SCHWARZENBACH was dean of the Department of Environmental Sciences 

at ETH Zürich. 

CHRISTIAN RENTSCH is a journalist. 

KLAUS LANZ is a journalist and environmental researcher. 

English 

German 

Who Owns the Water? 

Lars Müller, Klaus Lanz, Christian Rentsch, 

and René Schwarzenbach (Eds.) 

16.5 × 24 cm, 6 ½ × 9 ½ in, 536 pages 


2006, ISBN 978-3-03778-018-3, English 

2006, ISBN 978-3-03778-015-2, German 

EUR 45.– GBP 45.– USD / CAD 60.– 

World of Giving 

Jeffrey Inaba and C-Lab, Columbia University GSAPP (Eds.) 

16.5 × 24 cm, 6 ½ × 9 ½ in, 256 pages 


2010, ISBN 978-3-03778-181-4, English 

EUR 30.– GBP 25.– USD / CAD 45.– 

English 

German 

Faith Is. 

The Quest for Spirituality and Religion 

Lukas Niederberger and Lars Müller (Eds.) 

16.5 × 24 cm, 6 ½ × 9 ½ in, 396 pages 


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

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

EUR 32.– GBP 25.– USD / CAD 44.– 

Science Suisse 

An Initiative of SRG SSR idée suisse 

Christian Eggenberger and Lars Müller (Eds.) 

16.5 × 24 cm, 6 ½ × 9 ½ in, 472 pages 

250 illustrations, hardcover, with DVD (PAL) 

2009, ISBN 978-3-03778-145-6 

English/French/German/Italian 

EUR 30.– GBP 25.– USD / CAD 45.– 

Backlist Society

Lars Müller Publishers GmbH 

Pfingstweidstrasse 6 

CH-8005 Zürich 

Switzerland 

Phone +41 (0)44 274 37 40 

Fax +41 (0)44 274 37 41 

sales@lars-muller.ch 

www.lars-mueller- 

publishers.com 

INTERNATIONAL 

DISTRIBUTION 

EUROPE (EU/EEA) 

(excluding United Kingdom 

and Ireland) 

Lars Müller Publishers GmbH 

Pfingstweidstrasse 6 

CH-8005 Zürich 

Phone +41 (0)44 274 37 40 

Fax +41 (0)44 274 37 41 

sales@lars-muller.ch 

www.lars-mueller-publishers. 

com 

Distribution 

Verlegerdienst München GmbH 

Gutenbergstrasse 1 

D-82205 Gilching 

Phone +49 (0)8105 388 620 

Fax +49 (0)8105 388 259 

Contact: Manuela Brandstätter 

lars-mueller@verlegerdienst.de 

FRANCE 

Interart 

1, Rue de l’Est 

F-75020 Paris 

Phone +33 (0)1 434 93 660 

Fax +33 (0)1 434 9 41 22 

commercial@interart.fr 

UNITED KINGDOM, 

IRELAND AND WORLD 

(excluding EU/EEA, 

USA and Canada) 

UK Office 

Prestel Publishing Limited 

4 Bloomsbury Place 

London WC1A 2QA 

Phone +44 (0)20 7323 5004 

Fax +44 (0)20 7636 8004 

sales@prestel-uk.co.uk 

www.prestel.com 

Andrew Hansen – Managing 

Director 

ahansen@prestel-uk.co.uk 

Oliver Barter – Sales 

Manager 

obarter@prestel-uk.co.uk 

Keira Parish – Sales Executive 

kparish@prestel-uk.co.uk 

Distribution 

Grantham Book Services 

(GBS) 

Trent Road 

Grantham 

Lincolnshire NG31 7XQ 

Phone +44 (0)1476 541080 

(UK Customer Services) 

Phone +44 (0)1476 541082 

(Export Customer Services) 

Fax +44 (0)1476 541061 


Fax +44 (0)1476 541068 


orders@gbs.tbs-ltd.co.uk 


48 

export@gbs.tbs-ltd.co.uk 


www.granthambookservices. 

co.uk 

Sales Representatives: 

UK 

Greater London 

Henry Thompson 

43 New River Crescent 

London N13 5RD 

Phone +44 (0)20 8882-7389 

Mobile +44 (0)7770 796088 

henry@ 

henrythompsonbooks.co.uk 

South East, East Anglia and 

Home Counties 

Mel Howells 

Signature Book Representation 

20 Castlegate 

York YO1 9RP 

Phone +44 (0)845 862 1730 

Fax +44 (0)161 683 5270 

Mobile +44 (0)7970 700506 

mel@signaturebooksuk.com 

South West, South Wales 

Andrew Gilman 

University Presses Marketing 

The Tobacco Factory 

Raleigh Road, Southville 

Bristol BS3 1TF 

Phone +44 (0)117 9020275 

Fax +44 (0)117 9020294 

Mobile +44 (0)7973 862 502 

ag@universitypresses 

marketing.co.uk 

Midlands, North, North 

Wales, Scotland 

Jim Sheehan 

Signature Book Representation 

20 Castlegate 

York YO1 9RP 

Phone +44 (0)845 862 1730 

Fax +44 (0)161 683 5270 

Mobile +44 (0)7970 700505 

jim@signaturebooksuk.com 

IRELAND 

Gabrielle Redmond 

93 Longwood Park 

Rathfarnham, Dublin 14 

Republic of Ireland 

Phone +353 (0)1 493 6043 

Mobile +353 (0) 876 738922 

gabrielle.redmond@ 

gmail.com 

AUSTRALIA AND 

NEW ZEALAND 

Peribo 

58 Beaumont Road 

Mount Kuring-gai 

NSW 2080 Australia 

Phone +61 (0)2 9457 0011 

Fax +61 (0)2 9457 0022 

info@peribo.com.au 

ASIA, AFRICA 

JAPAN 

UK Office 

INDIA, NEPAL, 

SRI LANKA, BHUTAN 

Raavi Sabharwal 

TBI-Publisher & Distributors 

1882 Bhasker Bhawan 

Village Kotla, Mubarkpur 

New Delhi 110003 / India 

Phone 9811791246 / 

01146056198 

raavisabharwal@gmail.com 

SOUTHEAST ASIA 

Peter Couzens 

Sales East 

77/5 Moo 1 

Tambon Ang Sila 

Amper Muang 

Chonburi 20000 

Phone +66 892 444 071 

peter.couzens@gmail.com 

CHINA, HONG KONG, 

KOREA, PHILIPPINES, 

TAIWAN 

Edward Summerson 

Asia Publishers Services 

Units B&D 

17th Floor Gee Chang 

Hong Centre 

65 Wong Chuk Hang Road 

Aberdeen, Hong Kong 

Phone +852 2553 9289 

Fax +852 2554 2912 

edward_summerson@ 

asiapubs.com.hk 

PAKISTAN 

Anwer Iqbal 

Book Bird Publishers 

Representatives 

Mian Chambers 

3, Temple Road 

GPO Box 518 

Lahore, Pakistan 

Phone +92 (0)42 6367275 

Fax +92 (0)42 6361370 

bookbird@brain.net.pk 

AFRICA 

(excluding South Africa) 

Tony Moggach 

IMA InterMediaAmericana 

14 York Rise 

London NW5 1ST 

Phone +44 (0)20 7813 3507 

Fax +44 (0)20 7485 8462 

tony.moggach@ 

tonymoggach.com 

SOUTH AFRICA 

Shay Heydenrych 

Sales Manager 

Jacana Media (Pty) Ltd. 

P.O. Box 291784 

Melville 

2109 Johannesburg 

South Africa 

Phone +27 (0) 11 628 3212 

Fax +27 (0)86 697 3001 

shay@jacana.co.za 

MIDDLE EAST, NORTH 

AFRICA AND EASTERN 

MEDITERRANEAN 

(excluding Israel) 

Richard Ward 

Peter Ward Book Exports 

1 Adams Mews 

London SW17 7RD 

UK 

Phone +44 (0)20 8672 1171 

Fax +44 (0)20 8450 8923 74 

richard@pwbookex.com 

ISRAEL 

Aviva Karlinski 

Lonnie Kahn Ltd. 

20, Eliyahu Eitan Street 

Rishon-Lezion 75703, Israel 

Phone +972 (0)3 9 51 84 18 

Fax +972 (0)3 9 51 84 15/6 

aviva@lonibooks.co.il 

LATIN AMERICA 

LATIN AMERICA AND 

CARIBBEAN 

David Williams 

IMA InterMediaAmericana 

PO Box 8734, London SE21 7ZF 

Phone +44 (0)20 7274 7113 

sales@ 

intermediaamericana.com 

USA 

Sales and Marketing Office 

Prestel Publishing 

900 Broadway, Suite 603 

New York, NY 10003 

Phone (212) 995-2720 

Fax (212) 995-2733 

sales@prestel-usa.com 

Stephen Hulburt – 

Vice President 

shulburt@prestel-usa.com 

Raya Thoma – Marketing and 

Special Sales Director 

rthoma@prestel-usa.com 

Customer Service, 

Warehouse, and Fulfillment 

Prestel Publishing 

Innovative Logistics 

575 Prospect Street 

Lakewood, NJ 08701 

Phone (732) 363-5679 

Fax (732) 363-0338 

toll-free for orders: 

(888) 463-6110 

toll-free fax for orders: 

(877) 372-8892 

Sales Representatives: 

Mid-Atlantic States 

R&R Book Company, LLC 

410 Ramapo Valley Rd 

Oakland, NJ 07436 

Phone (201) 337-3400 

Fax (201) 337-0534 

Midwest States 

McGarr Associates Inc. 

5692 Heathwood Court 

Taylor Mill, KY 41015 

Phone (859) 356-9295 

Fax (859) 356-7804 

Southeast States and South 

Central States 

Bill McClung & Associates 

20475 Hwy 46W suite 180 

Spring Branch, TX 78070 

Phone (888) 813-6563 

Fax (888) 311-8932 

Western States 

Hand Associates 

16 Nelson Avenue, 

Mill Valley, CA 94941 

Phone (415) 383-3883 

Fax (415) 383-3883 

New England States 

Nanci McCrackin 

138 Windy Row, 

Peterborough, NH 03458 

Phone (603) 924 8766 

Fax (603) 924 0096 

CANADA 

Canadian Manda Group 

165 Dufferin Street 

Toronto, Ontario 

Canada M6K 3H6 

Phone 416 516 0911 

Fax 416 516 0917 

general@mandagroup.com 

Returns in Canada 

Fraser Direct 

100 Armstrong Avenue 

Georgetown, Ontario 

L7G 5S4, Canada 

Phone 905 877-4411 

Fax 905 877-4410 

All prices and title details are 

subject to change without 

notice. All prices are excluded 

VAT and do not include any 

sales taxes.

New T itle Architecture - Lars Müller Publishers

Create successful ePaper yourself

Delete template?

Save as template?