Lars Müller Publishers Autumn Catalog 2013

The history of Lars Müller Publishers began thirty years ago. Since then, the publishing house has made a name for itself with outstanding titles in the fields of architecture, design, photography, art, and society. Our 2013 autumn program is exemplary of these enduring high standards.

With Urban Hopes by Steven Holl, Wang Shu: Amateur Attitude, Kenneth Frampton’s Genealogy of Modern Architecture, and numerous other high-class architecture titles, we invite you to engage critically on many different levels with our built environment. The new publications on graphic design, above all 100 Years of Swiss Graphic Design and also Ken Miki's Apple, along with the second edition of our bestseller Poemotion, now in color, demonstrate how topical and up-to-the-minute analogue media still are when it comes to communicating ideas, creativity, and knowledge. Olafur Eliasson’s Your Moving Landscape and Felice Varini’s From Spaces to Spaces attest to the evocative power images can unfold at the intersection between art and photography. The new addition to our series of visual readers on social issues, entitled Challenging Democracy, poses questions of great current interest on the prerequisites for democratic governance in the 21st century and how such governments are performing today.

Lars Müller

www.lars-mueller-publishers.com

Lars Müller Publishers Autumn 2013

ArchitectureDesignPhotographyArtSociety

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Urban HopesMade in China by Steven Holl

Edited by Christoph a. Kumpusch

New work by Steven Holl in China

A rough script for a new notion of urbanism

Embracing that which could dominate us—the city, infrastructure, overpopulation and social chaos—has been part of the process of Steven Holl Architects as the offi ce has taken on work of increasing complexity and scale in China over the past decade.

The projects featured in this book play a serious game with scale and the dynamic between micro and macro. There is no in-between, no easy hybridity, but a study of contrasting and nested scales that acknowledge the fact that the city-dweller’s perception across a given day necessarily shifts from micro to macro environments and foci.

In content and format the book refl ects such juxtaposition, featuring large format images and graphic documentation of Steven Holl’s recent works realized in China alongside critiques and analyses offered by a new generation of theorists.

CHRISTOPH a. KUMPUSCH is a New York-based architect and the principal of Foraward slash (/) c.a.k Productions. He is a professor of architecture at Columbia University’s Graduate School of Architecture, Planning and Preservation; and Pratt Institute.STEVEN HOLL, born 1947, is an American architect, perhaps best known for the 1998 Kiasma Contemporary Art Museum in Helsinki, Finland, the 2003 Simmons Hall at MIT in Cambridge, Massachusetts, and the praised 2009 Linked Hybrid mixed-use complex in Beijing, China.

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The Light Pavilion by Lebbeus Woods and Christoph a. Kumpusch for the Sliced Porosity Block in Chengdu, China 2007–2012 published by Lars Müller

Edited by Christoph a. KumpuschWith photographs by Iwan Baan

24 × 24 cm, 9 ½ × 9 ½ in, 88 pages, 82 images, hardcover2013, ISBN 978-3-03778-309-2, EnglishEUR 15.– GBP 12.– USD/CAD 15.–

The fi rst built project and fi nal creative work of artist and architect Lebbeus Woods (1940 –2012), the Light Pavilion is transcendent architecture, a project that exemplifi es the preoccupations of a consummate draftsman, thinker and educator. A visionary design made intensely real, the pavilion offers a glimpse of the future as well as a catalog of architecture’s past.

Available October 2013

24 × 34 cm, 9 ½ × 13 ¼ in, 288 pages166 illustrations, hardcoverISBN 978-3-03778-376-4, EnglishEUR 58.– GBP 48.– USD/CAD 75.–

RELATED TITLES

Steven Holl – Scale page 26Steven Holl – Color Light Time page 26Five North American Architects page 26

Available now!

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Titles ArchitectureAvailable October 2013

24 × 30 cm, 9 ½ × 11 ¾ in approx. 280 pagesapprox. 300 illustrations, hardcoverISBN 978-3-03778-337-5, EnglishEUR 58.– GBP 48.– USD/CAD 75.–

RELATED TITLE

Wang Shu – Imagining the House page 26

Wang ShuAmateur Attitude

Essays by Kenneth Frampton and Aric Chen

Following our publication of his sketches, Wang Shu – Imagining the House, this is our second book about the Chinese architect

Explains Wang Shu’s approach to thoughtful planning and realization

Richly illustrated and with essays by Kenneth Frampton and Aric Chen

Amateur Attitude examines the recent work of the Chinese architect Wang Shu, Pritzker Prize winner in 2012. Exhibiting a contemporary aesthetic, the architect’s buildings show his intense engagement with their setting and its history, coupled with a reliance on traditional building techniques. He often reuses materials from city districts that have been torn down. This approach is based on a critical attitude toward the kind of overly rationalized architecture being built today in many of the world’s cities, where effi ciency seems to be the primary watchword. Wang Shu’s architecture reveals instead a thoughtful attitude toward both design and implemen-tation, as well as the ability to react fl exibly to the context of a particular site – something he characterizes as an “Amateur Attitude.” The essays place the architect’s work in its contemporary context, while extensive illustrations provide exclusive insights into his varied creative work.

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.KENNETH FRAMPTON, born 1930, is one of the world’s most renowned architectural theorists, the author of the world best seller Modern Architecture: A Critical History, and a professor at Columbia University, New York.ARIC CHEN, born 1974, is an author, critic, and the curator of design and architecture of the new M+ Museum for Visual Culture in Hong Kong.

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House VisionEdited by Kenya Hara

Infl uential Japanese architects and artists envision the ideal house of the 21st century

New concepts for living in the post-industrial society

In front of the backdrop of recent disasters Kenya Hara founded the platform “house vision” in order to contemplate possible new ways of living in the post-industrial age, while at the same time combining sustainable architecture with the latest technology. Containing essays by renowned architects and artists, House Vision continues where the eponymous exhibition left off. Toyo Ito, the winner of this year’s Pritzker Prize, develops a vision of a house for a nostalgic future. Sou Fujimoto invents a “Powerhouse,” which unites all electronic applications in itself; the fl ower artist Makoto Azuma designs walls with plants, and Hiroshi Sugimoto invokes native materials, using them to design futuristic ways of living. This publication sheds light on this Japanese project from a western standpoint, offering generally applicable ideas for architecture and life in the future.

With contributions by Makoto Azuma, Masataka Baba, Joshiaki Fujimori, Sou Fujimoto, Kenya Hara, Kunio Harimoto, Atsumi Hayashi, Hidemitsu Hori, Akira Ichikawa, Jun Inokuma, Toyo Ito, Masaaki Kanai, Norio Kanayama, Kengo Kuma, Muneaki Masuda, Toshiharu Naka, Yuri Naruse, Ban Shigeru, Hirokazu Suemitsu, Hiroshi Sugimoto, Naoya Toida, Sadao Tsuchiya, Riken Yamamoto, Hiroya Yoshizato.

KENYA HARA, born 1958, is a graphic designer, a professor at the Musashino Art University, and a consultant for communication design at Muji.


17.3 × 24 cm, 6 ¾ × 9 ½ in, 192 pages200 illustrations, paperback ISBN 978-3-03778-384-9, English EUR 38.– GBP 30.– USD/CAD 50.–

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Designing Design page 28White page 28

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Genealogy of Modern ArchitectureA Comparative Critical Analysis of Built Form by Kenneth Frampton

Reference work for students

Comparative analyses accompanied by extensive visual material

Genealogy of Modern Architecture is a reference work on modern architecture by Kenneth Frampton, one of today’s leading architectural theorists. Conceived as a genealogy of twentieth century architecture from 1924 to 2000, it compiles some sixteen comparative analyses of canonical modern buildings ranging from exhibition pavilions and private houses to offi ce buildings and various kinds of public institutions. The buildings are compared in terms of their hierarchical spatial order, circulation structure and referential details. The analyses are organized so as to show what is similar and different between two paired types, thus revealing how modern tradition has been diversely infl ected. Richly illustrated, Genealogy of Modern Architecture is a new standard work in architectural education.

KENNETH FRAMPTON, born 1930, is one of the world’s most renowned architectural theorists, the author of the world best seller Modern Architecture: A Critical History, and a professor at Columbia University, New York.

RELATED TITLE

Five North American Architects page 26

English

German

Available September 2013

16.5 × 24 cm, 6 ½ × 9 ½ in, 320 pagesapprox. 500 illustrations, hardcoverISBN 978-3-03778-369-6, EnglishISBN 978-3-03778-371-9, GermanEUR 36.– GBP 30.– USD / CAD 45.–

Tugendhat House Ludwig Mies van der Rohe Villa Mairea Alvar Aalto

76 Villa Mairea

Architect: Alvar Aalto

Noormarku - Finland,1939.Climate: Continental

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76 Villa Mairea

Architect: Alvar Aalto

Noormarku - Finland,1939.Climate: Continental

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D Villa Mairea House, Ground FloorC Tugendhat House, Ground Floor

Upon entering the Tugendhat House one finds oneself in a generous foyer, paved throughout in travertine. 9 This space is furnished with Mies’s MR chairs and lit through full-height walls of opalescent glass. This is the only public space on the upper level, since the remainder of the floor is devoed to private bedrooms. A generous stair descends directly from this representational space nto the living room below, where one encounters a second threshold with a full height, steel-framed glass door separating the stair hall from the freely planned living volume which opens out beyond. Thus unlike the Villa Mairea, the main stair is isolated from the internal space-form of the house. The living space of the Tugendhat House has a more monumental character than that of the Villa Mairea, although different areas of activity are indicated by screen walls which, by virtue of their material character, suggest different social settings, such as the onyx wall flanking the sitting area 10 or the semicir-cular screen, veneered in rosewood, which encloses the dining alcove. 11 The large floor area, finished in linoleum, opens onto an external terrace, paved in travertine, which leads to a wide stair faced in the same material descending to the garden below. The conservatory, also paved in travertine, has a similar neoclassical character, reinforced by a diminutive ountain pool. 12 Otherwise in contrast to the Villa Mairea, the space is differentiated by furniture rather than by changes in floor finish. The

retractable plate glass window-wall of the Tugendhat House is capable, when withdrawn into the podium-basement, of transforming the living space into a belvedere. 13 An additional, more intimate connection to the garden is pro vided through the conservatory. Otherwise, as we have already noted, the living volume is articulated through an exceptionally sensuous use of material such as the onyx wall separating the lounge from the study or floor-to-ceiling cutainsof raw silk, running on tracks close to the ceiling. 14 These are not only capable of sub-dividing the volume but also of closing off the large plate-glass window at night. Eight free-standing cruciform columns, clad in chromium steel 24 , also serve to articulate the pace hroughout. Interms of goal-route the principal circulation leads counter-clockwise from the foyer into the living room below. Here it serves the primary goals of the lounge and the dining area together with the secondary focii of the study and the conservatory. Although it is just as freely planned as the Tugendhat House, the organi-zation of the Villa Mairea is more differentiated in terms of flooring material. This is immediately indicated by the wooden portico at the entry7 Thereafter the free-flowing space of the villa is articulated into five

well defined areas. After entering, a tiled foyer provides access to the living and dining spaces through two separate short stairs, leading to the living space on the left 15 and dining on the right. D These preliminary

Villa MaireaTugendhat House 1716 Villa MaireaTugendhat House

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11

12 13

12 Raerem qui dolendit que quaspedis ex evelia

13 doluptatur, sandem quia sandem quia

14 etum adite porionseque nos sandem quia




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17 Villa Mairea

12 13




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54 Tugendhat House

Architect: Ludwig Mies van der Rohe

Brno, Czechoslovakia, 1930Climate: Continental

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Harvard U

niversity Graduate S

chool of Design

Ethics of the UrbanThe City and the Spaces of the Political

Edited by Mohsen Mostafavi In collaboration with Harvard University Graduate School of Design

The publication elaborates whether and how the political appears in urban spaces

With contributions by experts in history, sociology, art, political theory, planning, law, and design practice

Is democracy spatial? How are the physical aspects of our cities, houses, streets, and public spaces—the borders, the neighborhoods, the monuments—bearers of our values? In a world of intensifying geo-economic integration, extreme fi nancial and geopolitical volatility, deepening environmental crises, and a dramatic new wave of popular protest against both authoritarian government and capitalist speculation, cities have become leading sites for new claims on state power and new formations of political subjectivity. This volume brings together perspectives from history, sociology, art, political theory, planning, law, and design practice to explore the urban spaces of the political. A selection of contemporary photography from around the world offers a visual refl ection of this timely investigation.

Contributors include: Michael Arad, Diane Davis, Keller Easterling, Gerald Frug, Mohsen Mostafavi, Chantal Mouffe, Erika Naginski, Saskia Sassen, Richard Sennett, Loïc Wacquant, Krzysztof Wodiczko.

MOHSEN MOSTAFAVI, an architect and educator, is the Dean of the Harvard University Graduate School of Design and the Alexander and Victoria Wiley Professor of Design.


16.5 × 24 cm, 6 ½ × 9 ½ in, 368 pagesapprox. 200 illustrations, hardcoverISBN 978-3-03778-381-8, English EUR 50.– GBP 40.– USD/CAD 60.–

RELATED TITLES

In the Life of Cities page 26Ecological Urbanism page 26

Protesters in LondonNational September 11 Memorial, New York

Krysztof Wodiczko, Institute for the Abolition of the War, 2011

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17.5 × 25 cm, 6 ¾ × 9 ¾ inapprox. 320 pagesapprox. 300 illustrations, hardcover ISBN 978-3-03778-374-0, EnglishEUR 50.– GBP 40.– USD/CAD 65.–

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In the Life of Cities page 26From Camp to City page 26


16.5 × 24 cm, 6 ½ × 9 ½ in, 128 pagesapprox. 100 illustrations, hardcover ISBN 978-3-03778-375-7, EnglishEUR 24.– GBP 20.– USD/CAD 32.–

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From Camp to City page 26

The Inevitable Specifi city of CitiesEdited by ETH Studio Basel

The publication shows how cities develop their own specifi city even under the infl uence of globalization

Including essays by important architects, for instance Jacques Herzog, Roger Diener, Marcel Meili

What is a city? What determines its specifi city? What shapes its quality? Theevolution of the contemporary city does not follow a linear movement. It is shaped by transformation processes that are directed toward often distant and confl icting goals. Even though cities are inscribed into global processes and networks, they develop their own specifi c ways of dealing with these conditions. They tend to pro-duce and reproduce their own specifi city, their own patterns and character traits. Using the categories of territory, power, and difference — also lending the book its structure — the texts analyze different case studies of cities and urbanized territories, ranging from the Canary Islands to Hong Kong and Nairobi, unfolding the distinc-tiveness of their physical and social existences. With contributions by Roger Diener, Mathias Gunz, Manuel Herz, Jacques Herzog, Rolf Jenni, Marcel Meili, Shadi Rahbaran, Christian Schmid, and Milica Topalovic.

Shadi Rahbaran, Manuel Herz, Ligia Nobre

NairobiMigration Shaping the City

Edited by ETH Studio Basel

The publication analyzes how heterogeneous city structures are shaped by different forms of migration in Nairobi

Nairobi, in its short history spanning just over one hundred years, has grown to be one of the most varied and international cities of our contemporary world. Migration has been shown as one of the key forces infl uencing the city. In the context of Nairo-bi’s complex colonial and postindependence political trajectory, migration has rein-forced ethnic, spatial, and economic differences, leading to the formation of multiple power structures. This process is evident in the city’s radically different urban pat-terns. The book documents, along specifi c neighborhoods, how different cultures of urban life constitute the city today.

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16.5 × 24 cm, 6 ½ × 9 ½ in, 544 pagesapprox. 90 illustrations, paperbackISBN 978-3-03778-373-3, English EUR 35.– GBP 28.– USD/CAD 46.–

Global PrayersContemporary Manifestations of the Religious in the CitymetroZones 13

Edited by Jochen Becker, Katrin Klingan, Stephan Lanz, and Kathrin Wildner

Design: Image Shift

Reviews the mutual infl uences of religion and city

With conversations, reports, scientifi c texts, and visual essays by artists

Religious communities inscribe themselves into the cityscape not only socially and politically, but also acoustically and architecturally. Global Prayers examines the mutual infl uence of religion and urbanism, looking at how various forms of faith manifest themselves in the cities of the world. Photo essays, interviews, reports, scientifi c texts, and artistic photo spreads inquire into the making of urban religion and the production of religious urbanity.

With contributions by Nezar AlSayyad, Filip de Boeck, Hengameh Golestan, Brian Larkin, Aernout Mik, Werner Schiffauer, AbdouMaliq Simone, Camilo José Vergara, Paola Yacoub.

JOCHEN BECKER works as an author, lecturer, and curator, and is a founding member of metroZones – Center for Urban Affairs. KATRIN KLINGAN studied comparative literature and Hispanic studies in Vienna and Madrid. She is head of the department for literature and humanities at Haus der Kulturen der Welt in Berlin.STEPHAN LANZ is an urban researcher at the European University Viadrina Frankfurt-on-Oder, and a founding member of metroZones. KATHRIN WILDNER is an urban ethnologist and a founding member of metroZones.

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Medine Altiok

MittelmeerlandAn Urban Portrait of the Mediterranean

A publication on the Mediterranean – one of the most fascinating regions in terms of politics, culture, and economy

A broad overview of history, geography, and current transformation processes as well as future challenges in the region

With a special focus on the cities of Dubrovnik, Tangier, Beirut, Algiers, Alexandria, Haifa, Istanbul, Marseille, Barcelona, and Tripolis

The Mediterranean Sea not only separates two geographic continents, but has always been a complex crossroads between divergent social, economic, and political spheres. Mittelmeerland examines this many-sided region, showing how current and future developments and challenges manifest themselves here on both land and water. The book investigates on ten port cities: Alexandria, Algiers, Barcelona, Beirut, Dubrovnik, Haifa, Istanbul, Marseille, Tangier, and Tripolis. An essay provides an overview of the cartographic history of the Mediterranean region, and numerous drawings visualize the spatial transformation processes and territorial relationships between water, land, and ports.

MED INE ALTIOK, born 1974, is a German-Turkish architect who graduated from the AA London in 2000. Since 2011, she is program director of the Mittelmeerland series at the AA London. She is based in Zürich with her own architecture offi ce.


19 × 26 cm, 7 ½ × 10 ¼ in, 240 pagesapprox. 100 illustrations, hardcoverISBN 978-3-03778-385-6, English EUR 50.– GBP 40.– USD/CAD 65.–

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Architecture of LifeAga Khan Award for Architecture 2013

Edited by Mohsen Mostafavi

A publication about the Aga Khan Award for Architecture, which rewards outstanding architectural projects in societies with a Muslim presence

Presentation of this year’s shortlist and the recipients of the award

The Aga Khan Award for Architecture was established by His Highness the Aga Khan in 1977 to identify and encourage excellence in architecture and other forms of intervention in the built environment of societies with a Muslim presence. The award is given every three years and recognizes all types of building projects that affect today’s built environment. Smaller projects are given equal consideration as large-scale buildings. Richly illustrated and with explanatory texts, the book presents this year’s shortlist and the award recipients. This year’s topic is centered around the relationship between life and architecture. Numerous essays examine how architecture interacts with the life of people who inhabit it.

MOHSEN MOSTAFAVI, an architect and educator, is the Dean of the Harvard University Graduate School of Design and the Alexander and Victoria Wiley Professor of Design.

RELATED TITLE

Aga Khan Award for Architecture 2010 page 27



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21 × 28 cm, 8 ¼ × 11 in, 112 pagesapprox. 100 illustrations, hardcover ISBN 978-3-03778-353-5, English EUR 40.– GBP 33.– USD/CAD 55.–


16.5 × 24 cm, 6 ½ × 9 ½ in, 320 pagesapprox. 700 illustrations, hardcoverISBN 978-3-03778-306-1, EnglishEUR 50.– GBP 40.– USD/CAD 60.–

Ismayilliya1908-13eng.: I. Ploshko

Chained House1890

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

Embassy of France1895arch.: I. V. Edel

Embassy of Iraq Late 19th century

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

Building1896arch.: I. V. Edel

Russian Drama Theatre1900arch./eng.: ??

Embassy of Germany (B-4)1900

Embassy of Iran1901

Baki Soveti1900-04arch.: i. Goslavsky

The international Bank (old)1903-05

Building1898-1902arch.: I. V. Edel

Bank of Baku1907eng.: I. Ploshko

Imam Hussein Mosque1899-1909arch.: A. Eykhler

The Landmark Building1909/1998

Puppet Theatre1910eng.: I. Ploshko

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

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

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

Palace of Happiness1911-12eng.: I. Ploshko

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

Isa Bey Hojinski building1912

Song Theatre1912arc./eng.: ??

Embassy of the USA1912

Embassy of Turkey 1912

Blue Mosque1912-13eng.: Z. Ahmedbekow

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

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

Church of Archangel Michael1845

Union of Architects1899arch.: E.Y. Skibinskiy

Taza Pir Mosque1905-14Z. Ahmedbekow

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

Church of Archangel Michael Church of Archangel Michael

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

25Oil Baron City (1872–1920)

BakuOil and UrbanismEdited by Eve Blau with Ivan RupnikWith a portfolio of contemporary Baku by photographer Iwan Baan

First study on the relationship between oil and urbanism

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. Since the late 19th century, oil and urbanism have been intertwined in the spaces of Baku. Today, the city 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 photo-graphs, the book analyzes sites, buildings, urban fabric, and 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.

Zaha HadidHeydar Aliyev CentrePhotographs by Hélène Binet and Iwan Baan

Unique documentation of the recently completed cultural center by Zaha Hadid in Baku

With photographs by Hélène Binet and Iwan Baan

Zaha Hadid: Heydar Aliyev Centre is devoted to the new cultural center designed by Zaha Hadid in the Azerbaijani capital of Baku. As one of the most important cultural centers in the country, the building houses a variety of institutions under one roof. The building contains an auditorium that seats over a thousand, a conference center, a museum, and a library. Its open, inviting, and curvilinear design, which picks up and expands on forms from the surrounding environment, strongly differentiates the build-ing from the city’s monumental architecture of the Soviet era. Essays explain concep-tual and technical aspects of this impressive piece of architecture.

ZAHA HADID, born in 1950 in Baghdad, is one of the most infl uential architects of our time.

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DoubleStorefront for Art and Architecture Manifesto Series 2

Edited by Serkan Özkayan

Design: Pentagram

Current topic: the meaning and potential of copying and replicating

Double includes a group of artists, architects, critics, historians and theorists, discussing the effects, desires and implications in the act of doubling and replicating. Society has constantly regulated the act of copying. Almost as an instinctual impulse towards originality, the desire and need for constant innovation has been protected throughout history with public shame, bureaucratic forms or even trials. Investigating the issues of sameness and difference, this compilation of manifestos explores the possibilities embedded in the act of copying, opening a path for learning by copying, and ultimately copying better.

SERKAN ÖZKAYAN, born 1973 in Istanbul, is a contemporary conceptual artist whose work deals with topics of appropriation and reproduction.


12.5 × 19.5 cm, 5 × 7 ½ in, 176 pages402 illustrations, paperbackISBN 978-3-03778-345-0, EnglishEUR 15.– GBP 12.– USD/CAD 20.–

FormlessStorefront for Art and Architecture Manifesto Series 1

Edited by Garrett Ricciardi and Julian Rose

Design: Pentagram

The concept of the formless in architecture discussed by experts from various fi elds

Struggles to escape form as a manifestation of various norms and constraints are as old as architecture itself. But the formless is also increasingly in the air today, explicitly as in discussions of the “formless” quality of the city, and implicitly in talk of atmospheric buildings, randomized structures, and the dematerialization (or increased mediation) of architecture. No doubt part of its appeal lies in the fact that the formless is frequently found at the intersections between architecture and other fi elds, from art to ecology or engineering. Nevertheless, the formless has not yet been theorized rigorously in architecture. It seems to underpin a wide range of ten-dencies that have not yet been connected, or even explicitly acknowledged or identifi ed. This book represents a fi rst step toward this articulation.

GARRETT RICCIARDI and JULIAN ROSE are the founders of Formlessfi nder. STOREFRONT FOR ART AND ARCHITECTURE is a nonprofi t organization committed to the advancement of innovative positions in architecture, art and design.


12.5 × 19.5 cm, 5 × 7 ½ in, 184 pages107 illustrations, paperbackISBN 978-3-03778-346-7, EnglishEUR 15.– GBP 12.– USD/CAD 20.–

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Landscape as a Way of Life Lectures by Roberto Burle Marx

Edited by Gareth Doherty

Contains previously unpublished lectures by the famous landscape architect Roberto Burle Marx

Roberto Burle Marx (1909–1994) remains one of the leading landscape architects ever. The signifi cance of his landscape design lies in his use of abstract shapes that rarely employ symmetry, and his use of tropical, mainly Brazilian, fl ora. His distinctive and widely acclaimed work has been featured and referenced in numerous sources, yet few of Burle Marx’s own words have been published. This book of previously unpublished lectures fi lls this void. The lectures, delivered on international speaking tours, address topics such as: “The Garden as an Art in Living,” “Gardens and Ecology,” and “The Problem of Garden Lighting.” Their timely publication helps shed light on Burle Marx’s distinctive style and ethos of landscape as a way of life.

GARETH DOHERTY is lecturer in landscape architecture and urban planning and design at the Harvard University Graduate School of Design.

Landscape as an Attitude Conversations with Günther Vogt

Edited by 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 concise conver sations, 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. 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.

RELATED TITLE

Miniature and Panorama page 26


12 × 19 cm, 4 ¾ × 7 ½ inapprox. 100 pages, paperback ISBN 978-3-03778-304-7, EnglishISBN 978-3-03778-303-0, GermanEUR 24.– GBP 20.– USD/CAD 32.–

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German


14 × 21 cm, 5 ½ × 8 ¼ inapprox. 160 pages, 10 illustrationshardcover ISBN 978-3-03778-379-5, EnglishEUR 24.– GBP 20.– USD/CAD 32.–

RELATED TITLES

Ecological Urbanism page 26Landform Building page 26

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Sean Lally

The Air from Other PlanetsA Brief History of Architecture to Come

Energy as a material of the architecture of the future

The Air from Other Planets introduces an architecture built and controlled by amplifying and designing the energy within our electromagnetic, thermodynamic, acoustic, and chemical environment. This approach to design exchanges the walls and shells we have assumed to be the only type of attainable architecture for a range of material energies that develops its own shapes, aesthetics, organiza-tional systems, and social experiences. Energy emerges as more than what fi lls the interior of buildings or refl ects off its outer walls. Instead, it becomes its own enterprise for design innovation: it becomes the architecture itself. The Air from Other Planets is a book nostalgic for the future, rooted in the belief that the architect’s greatest attributes lie in the execution of the imagination, through speculations and projections of worlds and environments yet to exist.

SEAN LALLY, born 1974, is the founder of WEATHERS, an offi ce that approaches design by embracing the potential overlap between the disciplines of architecture, landscape architecture and urban design. He is an assistant professor at the University of Illinois at Chicago.


11.7 × 17.2 cm, 4 ½ × 6 ¾ in, 256 pagesapprox. 100 illustrations, hardcover ISBN 978-3-03778-393-1, EnglishEUR 24.– GBP 20.– USD/CAD 32.–

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Takahiro Kurashima

Poemotion 2

The astonishing visual moiré effects of Poemotion, now in color

An extraordinary interactive book-object

The interactive book object Poemotion 2 is a color sequel to Takahiro Kurashima’s popular title Poemotion from Lars Müller Publishers.

The abstract graphic patterns in this slim volume start to move as soon as the reader overlays them with the special fi lm enclosed: moiré effects create complex shapes, make circles start to spin, and set graphic patterns vibrating. New in Poemotion 2 is the use of color. The observer discovers playfully how optical overlaps between colorful fi gures and shapes come about, are set in motion, and then disappear again.

TAKAHIRO KURASHIMA, born in 1970, studied graphic design at Musashino Art University. Since 1992 he has worked as art director for the Japanese advertising agency Dentsu.

Takahiro Kurashima

Poemotion 1

“A great toy and gift for all who enjoy visual effects,” Slanted

Inspired by Seesaw, an earlier book from Lars Müller Publishers, in a playful and at the same time minimalist way the Japanese designer Takahiro Kurashima established with Poemotion 1 a link to the motif of a “School of Seeing” that has long occupied a special place in the publisher’s program.

His bestseller is now available in a competitively priced yet high quality hardcover edition.

RELATED TITLE

Poemotion (paperback) page 28


17 × 23 cm, 6 ¾ × 9 in, 64 pages30 illustrations, hardcover with moiré fi lm ISBN 978-3-03778-351-1, EnglishEUR 20.– GBP 15.– USD/CAD 25.–


17 × 23 cm, 6 ¾ × 9 in, 64 pages30 illustrations, hardcover with moiré fi lm ISBN 978-3-03778-407-5, EnglishEUR 20.– GBP 15.– USD/CAD 25.–

hardcover

edition

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Titles Design

English

German


20.6 × 30.9 cm, 8 × 12 in, 384 pagesapprox. 600 illustrations, hardcoverISBN 978-3-03778-399-3, EnglishISBN 978-3-03778-352-8, GermanEUR 55.– GBP 45.– USD/CAD 70.–

100 Years of Swiss Graphic Design

Edited by Christian Brändle, Karin Gimmi, Barbara Junod, Bettina Richter, and Museum of Design Zürich

Design: NORM

A chronological and thematic overview of the development of Swiss graphic design

A must-have for all who are interested in typography, photo-graphics, poster design, and book design

100 Years of Swiss Graphic Design takes a fresh look at Swiss typography and photo-graphics, posters, corporate image design, book design, journalism and typefaces over the past hundred years. With illuminating essays by prominent experts in the fi eld and captivating illustrations, this book, designed by the Zürich studio NORM, presents the diversity of contemporary visual design while also tracing the fi ne lines of tradition that connect the work of different periods. The changes in generations and paradigms as manifested in their different visual languages and convictions are organized along a timeline as well as by theme. The various fi elds of endeavor and media are described, along with how they relate to advertising, art, and politics. Graphic design from Switzerland refl ects both international trends and local concerns. High conceptual and formal quality, irony and wit are its constant companions. A new, comprehensive reference work on Swiss design.

With Essays by the editors and Hans-Rudolf Bosshard, Christoph Bignens, Max Bruinsma, Jürgen Döring, Meret Ernst, Ulrike Felsing, Roland Früh, Ariel Herbez, Richard Hollis, Martin Jaeggi, Andres Janser, Roxane Jubert, Urs Lehni, Claude Lichtenstein, Kerry William Purcell, François Rappo, Jörg Stürzebecher, and Ruedi Widmer.

Aufsatz Lorem ipsum dolor ametKapitel Lorem Ipsum 4 5

2 AnonymDie Mitin-Etikette/ein Qualitätszeichen von Weltruf/CH/CH, frühe 1960er Jahre, Broschüre, DoppelseiteBuchdruck

3 Max Schmid Arbeitsbereiche der J. R. Geigy A. G. in schematischer Darstellung: von der Forschung (a) CH/CH, 1952, Buch, DoppelseiteBuchdruck


Dienste des jeweils zu bearbeitenden Themas. Er bevorzugte eine sachliche Herangehensweise, die in erster Linie Gedanken vermitteln sollte und erst in zweiter Linie als künstlerische Form zu betrachten war. Die grafische Form sollte dem Thema unterge-ordnet werden. Müller-Brockmanns Entwicklung be-gann bei der Illustration, jedoch ging er bald zur „sachlichen Grafik“ über, die ihm objektiver erschien. Er konstruierte seine Arbeiten hauptsächlich aus geometrischen Formen, deren Proportionen und Ab-stände in einem strengen mathematischen Verhält-nis zueinander standen, sowie aus typografischen Elementen. Er konstruierte seine Arbeiten hauptsächlich aus geometrischen Formen, deren Proportionen und Ab-stände in einem strengen mathematischen Verhält-nis zueinander standen, sowie aus typografischen Elementen. Als Schriftarten verwendete er aus-schließlich Grotesk-Schriften. Durch den Verzicht auf Ornamente und der daraus resultierenden Sachlich-keit sowie besseren Lesbarkeit schienen sie ihm zweckdienlicher. Zur Komposition der Bildelemente verwendete er ein Rastersystem, welches er in sei-nem Buch „Grid systems in graphic design“ näher beschrieb. Der Beruf des Grafikers ist laut Josef Mül-ler-Brockmann einer der universalsten künstleri-schen Berufe. Müller-Brockmann verlangte, dass Grafiker außer gestalterischen Fähigkeiten auch noch technische, wirtschaftliche und kulturelle Kom-petenzen haben sollten. Da der Bereich der Werbung alle beruflichen Gebiete umfasst, sollten Grafiker in Müller-Brockmanns Ansicht auch in der Lage sein, die wirtschaftliche und kulturelle Bedeutung eines Problems zu erfassen. Generell war er von der gro-ßen Tragweite der gestalterischen Arbeit überzeugt, die sich auch mit sozialen und gesellschaftlichen Be-

langen auseinandersetzen sollte.Wird die Arbeit des Grafikers im Druck umgesetzt, so da werden die bes-ten Ergebnisse erzielt, wenn der Grafiker auch über technische Kenntnisse verfügt. So kann er den Re-produktionsprozess selbst überwachen und kennt bereits beim Entwurf der Drucksache die Möglichkei-ten und Grenzen der Technik. An der Kunstgewerbe-schule in Zürich und an der Hochschule für Gestal-tung in Ulm.

Eine sachliche Herangehensweise Josef Müller-Brockmanns Arbeitsweise stand stark im Dienste des jeweils zu bearbeitenden The-mas. Er bevorzugte eine sachliche Herangehenswei-se, die in erster Linie Gedanken vermitteln sollte und erst in zweiter Linie als künstlerische Form zu be-trachten war. Die grafische Form sollte dem Thema untergeordnet werden. Müller-Brockmanns Entwick-lung begann bei der Illustration, jedoch ging er bald zur „sachlichen Grafik“ über, die ihm objektiver er-schien. Er konstruierte seine Arbeiten hauptsächlich aus geometrischen Formen, deren Proportionen und Abstände in einem strengen mathematischen Ver-hältnis zueinander standen, sowie aus typografi-schen Elementen. Als Schriftarten verwendete er ausschließlich Grotesk-Schriften. Durch den Verzicht auf Ornamente und der daraus resultierenden Sach-lichkeit sowie besseren Lesbarkeit schienen sie ihm zweckdienlicher. Zur Komposition der Bildelemente verwendete er ein Rastersystem, welches er in sei-nem Buch „Grid systems in graphic design“ näher beschrieb. Der Beruf des Grafikers ist laut Josef Mül-ler-Brockmann einer der universalsten künstleri-schen Berufe. Müller-Brockmann verlangte, dass Grafiker außer gestalterischen Fähigkeiten auch

Emotionen für den Tourismus und den Export in die USA

1 Karl GerstnerChemistry knows no frontiersCIBA/Geigy/Hoffmann-La Roche/SandozOffset

2 AnonymDie Mitin-Etikette/ein Qualitätszeichen von Weltruf/Buchdruck

3 Max Schmid Arbeitsbereiche der J. R. Geigy A. G. in CH/CH, 1952, Buch, DoppelseiteBuchdruck

noch technische, wirtschaftliche und kulturelle Kom-petenzen haben sollten. Da der Bereich der Werbung alle beruflichen Gebiete umfasst, sollten Grafiker in Müller-Brockmanns Ansicht auch in der Lage sein, die wirtschaftliche und kulturelle Bedeutung eines Problems zu erfassen. Generell war er von der gro-ßen Tragweite der gestalterischen Arbeit überzeugt, die sich auch mit sozialen und gesellschaftlichen Be-langen auseinandersetzen sollte. Wird die Arbeit des Grafikers im Druck umgesetzt, so da werden die bes-ten Ergebnisse erzielt, wenn der Grafiker auch über technische Kenntnisse verfügt. So kann er den Re-produktionsprozess selbst überwachen und kennt bereits beim Entwurf der Drucksache die Möglichkei-ten und Grenzen der Technik. An der Kunstgewerbe-schule in Zürich und an der Hochschule für Gestal-tung in Ulm. Komposition der Bildelemente. Josef Müller-Brockmanns Arbeitsweise stand stark im Dienste des jeweils zu bearbeitenden Themas. Er bevorzugte eine sachliche Herangehensweise, die in erster Linie Gedanken vermitteln sollte und erst in zweiter Linie als künstlerische Form zu betrachten war. Die grafische Form sollte dem Thema unterge-ordnet werden. Müller-Brockmanns Entwicklung be-gann bei der Illustration, jedoch ging er bald zur. Dienste des jeweils zu bearbeitenden Themas. Er bevorzugte eine sachliche Herangehensweise, die in erster Linie Gedanken vermitteln sollte und erst in zweiter Linie als künstlerische Form zu betrachten war. Die grafische Form sollte dem Thema unterge-ordnet werden. Müller-Brockmanns Entwicklung be-gann bei der Illustration, jedoch ging er bald zur „sachlichen Grafik“ über, die ihm objektiver erschien. Er konstruierte seine Arbeiten hauptsächlich aus geometrischen Formen, deren Proportionen und Ab-


Dienste des jeweils zu bearbeitenden Themas. Er bevorzugte eine sachliche Herangehensweise, die in erster Linie Gedanken vermitteln sollte und erst in zweiter Linie als künstlerische Form zu betrachten war. Die grafische Form sollte dem Thema unterge-ordnet werden. Müller-Brockmanns Entwicklung be-gann bei der Illustration, jedoch ging er bald zur „sachlichen Grafik“ über, die ihm objektiver erschien. Er konstruierte seine Arbeiten hauptsächlich aus geometrischen Formen, deren Proportionen und Ab-stände in einem strengen mathematischen Verhält-nis zueinander standen, sowie aus typografischen Elementen. Er konstruierte seine Arbeiten hauptsächlich aus geometrischen Formen, deren Proportionen und Ab-stände in einem strengen mathematischen Verhält-nis zueinander standen, sowie aus typografischen Elementen. Als Schriftarten verwendete er aus-schließlich Grotesk-Schriften. Durch den Verzicht auf Ornamente und der daraus resultierenden Sachlich-keit sowie besseren Lesbarkeit schienen sie ihm zweckdienlicher. Zur Komposition der Bildelemente verwendete er ein Rastersystem, welches er in sei-nem Buch „Grid systems in graphic design“ näher beschrieb. Der Beruf des Grafikers ist laut Josef Mül-ler-Brockmann einer der universalsten künstleri-schen Berufe. Müller-Brockmann verlangte, dass Grafiker außer gestalterischen Fähigkeiten auch noch technische, wirtschaftliche und kulturelle Kom-petenzen haben sollten. Da der Bereich der Werbung alle beruflichen Gebiete umfasst, sollten Grafiker in Müller-Brockmanns Ansicht auch in der Lage sein, die wirtschaftliche und kulturelle Bedeutung eines Problems zu erfassen. Generell war er von der gro-ßen Tragweite der gestalterischen Arbeit überzeugt, die sich auch mit sozialen und gesellschaftlichen Be-langen auseinandersetzen sollte.Wird die Arbeit des Grafikers im Druck umgesetzt, so da werden die bes-ten Ergebnisse erzielt, wenn der Grafiker auch über technische Kenntnisse verfügt. So kann er den Re-produktionsprozess selbst überwachen und kennt bereits beim Entwurf der Drucksache die Möglichkei-ten und Grenzen der Technik. An der Kunstgewerbe-schule in Zürich und an der Hochschule für Gestal-tung in Ulm.

Eine sachliche Herangehensweise Josef Müller-Brockmanns Arbeitsweise stand stark im Dienste des jeweils zu bearbeitenden The-mas. Er bevorzugte eine sachliche Herangehenswei-se, die in erster Linie Gedanken vermitteln sollte und erst in zweiter Linie als künstlerische Form zu be-trachten war. Die grafische Form sollte dem Thema untergeordnet werden. Müller-Brockmanns Entwick-lung begann bei der Illustration, jedoch ging er bald zur „sachlichen Grafik“ über, die ihm objektiver er-schien. Er konstruierte seine Arbeiten hauptsächlich aus geometrischen Formen, deren Proportionen und Abstände in einem strengen mathematischen Ver-hältnis zueinander standen, sowie aus typografi-schen Elementen. Als Schriftarten verwendete er ausschließlich Grotesk-Schriften. Durch den Verzicht auf Ornamente und der daraus resultierenden Sach-lichkeit sowie besseren Lesbarkeit schienen sie ihm zweckdienlicher. Zur Komposition der Bildelemente verwendete er ein Rastersystem, welches er in sei-nem Buch „Grid systems in graphic design“ näher beschrieb. Der Beruf des Grafikers ist laut Josef Mül-ler-Brockmann einer der universalsten künstleri-schen Berufe. Müller-Brockmann verlangte, dass Grafiker außer gestalterischen Fähigkeiten auch noch technische, wirtschaftliche und kulturelle Kom-

Emotionen für den Tourismus und den Export in die USA

1 Karl GerstnerChemistry knows no frontiersCIBA/Geigy/Hoffmann-La Roche/SandozOffset

2 AnonymDie Mitin-Etikette/ein Qualitätszeichen von Weltruf/Buchdruck

3 Max Schmid Arbeitsbereiche der J. R. Geigy A. G. in CH/CH, 1952, Buch, DoppelseiteBuchdruck


Dienste des jeweils zu bearbeitenden Themas. Er bevorzugte eine sachliche Herangehensweise, die in erster Linie Gedanken vermitteln sollte und erst in zweiter Linie als künstlerische Form zu betrachten war. Die grafische Form sollte dem Thema unter-geordnet werden. Müller-Brockmanns Entwicklung begann bei der Illustration, jedoch ging er bald zur „sachlichen Grafik“ über, die ihm objektiver erschien. Er konstruierte seine Arbeiten hauptsächlich aus geometrischen Formen, deren Proportionen und Abstände in einem strengen mathematischen Ver-hältnis zueinander standen, sowie aus typografischen Elementen. Er konstruierte seine Arbeiten hauptsäch-lich aus geometrischen Formen, deren Proportionen und Abstände in einem strengen mathematischen Verhältnis zueinander standen, sowie aus typogra-fischen Elementen. Als Schriftarten verwendete er ausschließlich Grotesk-Schriften. Durch den Verzicht auf Ornamente und der daraus resultierenden Sach-lichkeit sowie besseren Lesbarkeit schienen sie ihm zweckdienlicher.

1 Karl GerstnerChemistry knows no frontiersCIBA/Geigy/Hoffmann-La Roche/SandozUS/US, ca. 1955, Sammelinserat, UmdruckOffset

2 AnonymDie Mitin-Etikette/ein Qualitätszeichen von Weltruf/CH/CH, frühe 1960er Jahre, Broschüre, DoppelseiteBuchdruck

3 Max Schmid Arbeitsbereiche der J. R. Geigy A. G. in schematischer Darstellung: von der Forschung (a) CH/CH, 1952, Buch, DoppelseiteBuchdruck

17

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POSTER COLLECTION 25

Josef Müller-Brockmann

Edited by Museum of Design Zürich

With an essay by Alice Twemlow

The publication provides an inside view of the working methods of the outstanding Swiss graphic designer Josef Müller-Brockmann

Josef Müller-Brockmann’s graphics left a lasting mark on Swiss visual communi-cation from the 1950s onward. His posters demonstrate how a sober, formally reduced language works best for conveying a universal, timeless message. Poster campaigns for longtime clients such as the Tonhalle concert hall in Zürich or the Automobile Club of Switzerland follow strict functional criteria–and yet exhibit a variety of design solutions and exciting, dynamic compositions.

This book presents selected posters by Müller-Brockmann and places them in the context of their own time while also examining the validity of his solutions from today’s point of view.

RELATED TITLES

The Magic of Things page 29In Series page 29Armin Hofmann page 29


16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pagesapprox. 100 illustrations, paperbackISBN 978-3-03778-392-4English/GermanEUR 28.– GBP 24.– USD/CAD 40.–

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Titles Design

Ken Miki

Apple

The basics of visual communication, playfully explained using an apple

With Apple, Ken Miki playfully presents a complete basic course in visual com-munication — all based on a simple and familiar object: the apple. First, all fi ve senses are activated in a step-by-step analysis of the apple by touching, looking at, smelling, tasting and listening to the sound of eating it. The apple is then used to illustrate the topics of form, color, size, surface, texture, writing, line, body and text — the funda-mental elements a designer works with. Addressing each theme based on this every-day object enables a playful approach that also makes for highly effective learning. A unique textbook that offers inspiration and food for thought for both experienced graphic artists and those less familiar with the world of design.

KEN MIKI, born in 1955, founded his own eponymous design studio in 1982 and teaches at the University of Osaka.


16.5 × 24 cm, 6 ½ × 9 ½ in, 160 pagesapprox. 100 illustrations, paperbackISBN 978-3-03778-386-3, EnglishEUR 32.– GBP 27.– USD/CAD 42.–

Katrin Trautwein

The Color Black

A comprehensive treatise on the color black

High-quality screen prints show the color palette of black in all its different shades

Is there such a thing as “pure black”? In this book, Katrin Trautwein shows us how many shades of gray and different pigments can go into creating this special color, to which countless meanings are attached both in Western culture and other parts of the world. By means of high-grade screen prints, the publication makes the wide range of blacks tangible to the reader, belying the notion that black is the mere absence of light. On the contrary, the different black tones are uniquely suited to emphasizing nuances in lightness and darkness. These are the shades that create moods within architecture. A room can be designed without color, but not without light and shadow – without them, it would have no form. The fascinating palette of black tones is accompanied by an essay that illuminates the subject from different perspectives.

KATRIN TRAUTWEIN, born in Stuttgart in 1962, founded the company kt.COLOR in 1998. Since 2000, she has held the exclusive license to produce and distribute Le Corbusier colors.

English

German


26 × 19 cm, 10 ¼ × 7 ½ in, 256 pagesapprox. 200 illustrations, hardcoverISBN 978-3-03778-383-2, EnglishISBN 978-3-03778-382-5, GermanEUR 50.– GBP 40.– USD/CAD 65.–

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Titles Photography

Available November 2013



19 × 26 cm, 7 ½ × 10 ¼ inapprox. 200 pagesapprox. 200 illustrations, paperback ISBN 978-3-03778-275-0, EnglishISBN 978-3-03778-262-0, GermanEUR 50.– GBP 40.– USD/CAD 65.–

German

English


The Cosmopolitics of Visual Memory:Albert Kahn and the Archives of the Planet

Edited by Kjetil A. Jakobsen and Trond E. Bjorli

First publication offering a thematic access to Albert Kahn’s “The Archives of the Planet”

In 1912, the French banker and philanthropist Albert Kahn ( 1860 –1940 ) founded “The Archives of the Planet,” an extensive collection of photographs and fi lms that today contains 72,000 autochromes and 183,000 meters of fi lm. The Cosmopolitics of Visual Memory is the fi rst publication offering a thematic access to this fascinating collection of visual records, highlighting aspects such as mobility, communications, or ethnographic documentation with texts by Jay Winter, Paula Amad, Kjetil A. Jakobsen, Trond E. Bjorli, Gilles Baud-Berthier, and Trond Lundemo.

KJETIL A. JAKOBSEN, born in Norway in 1965, is a cultural historian and is currently the Henrik Steffens Professor at Humboldt University in Berlin. TROND E. BJORLI, ethnographer and historian of photography, is a curator at the Norwegian Museum of Cultural History in Oslo.

Inside CERNEuropean Organization for Nuclear Research

A unique view behind the scenes at the world-famous research center CERN

Andri Pol portrays the people who work at this center of excellence

With an essay by Peter Stamm

For most people locations that hold a particular importance for the development of our society and for the advancement of science and technology remain hidden from view. CERN, the European Organization for Nuclear Research, is best known for its giant particle accelerator. Here researchers take part in a diverse array of fundamental physical research, in the pursuit of knowledge that will perhaps one day revolutionize our understanding of the universe and life on our planet. The Swiss photographer Andri Pol mixed with this multicultural community of researchers and followed their work over an extended period of time. In doing so he created a unique portrait of this fascinating “underworld.” The cutting-edge research is given a human face and the pictures allow us to perceive how in this world of the tiniest particles the biggest connections are searched for. With an essay by Peter Stamm.

ANDRI POL, born 1961, is a photographer based in Basel.

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Titles Art

Olafur Eliasson

Your Moving Landscape

Photos by the artist Olafur Eliasson show us his view of Iceland, a source of inspiration for much of his work

An essay by the artist accompanies the images

Over the past two decades, Olafur Eliasson has regularly traveled to Iceland to photograph the island’s landscape and natural phenomena. This ambitious, on-going venture — almost cartographical in its scope — has resulted in approximately eighty photo series to date and a plethora of individual photographs of glaciers, waterfalls, rainbows, sunrises, volcanoes, and geysers. Far from only documenting the world, Eliasson’s vibrant images refl ect on our relationship to nature and our physical existence within space.

An artwork in its own right, this book presents Eliasson’s highly personal selection of full-color images from his immense body of work, granting the reader a rare peek into a signifi cant source of inspiration for much of the artist’s work in other media — the Icelandic landscape.

OLAFUR ELIASSON, born 1967, is one of the most renowned contem porary artists. He is based in Berlin where he has established Studio Olafur Eliasson, a laboratory for spatial research. In his works he explores the relationship between individuals and their surroundings.

Over the past two decades, Olafur Eliasson has regularly traveled to Iceland to Available October 2013

34 × 29 cm, 13 ¼ × 11 ½ inapprox. 240 pagesapprox. 240 illustrations, hardcover ISBN 978-3-03778-390-0, English EUR 70.– GBP 58.– USD/CAD 95.–

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Titles Art

Available August 2013

30 × 24 cm, 11 ¾ × 9 ½ inapprox. 400 pagesapprox. 300 illustrations, hardcover ISBN 978-3-03778-405-1, EnglishISBN 978-3-03778-406-8, FrenchEUR 60.– GBP 50.– USD/CAD 80.–

French

English

Felice Varini

From Spaces to Spaces

A publication on Varini’s spatial installations — an interaction between two-dimensional patterns and changing and evolving forms

Contains an essay by Doris von Drathen and a dialogue with the artist

Displays Felice Varini’s most recent work

From Spaces to Spaces is the latest publication by the artist Felice Varini, constituting a re-examination of his complete oeuvre based on his most recent works.

His fascinating spatial installations make use of urban landscapes, walls, and rooms as “screens” for abstract graphical projections which the artist paints, draws, or fabricates from materials such as adhesive tape. Seen from an ideal vantage point, they appear as unexpected two-dimensional patterns against their three-dimensional background. When the viewer then leaves this vantage point and moves through the space, he sees the work as a perpetual metamorphosis of shifting, evolving forms. Accompanying the numerous illustrations is a text by Doris von Drathen that situates the work in its art-historical context, as well as an interview she conducted with the artist.

FELICE VARINI, born in 1952, is a contemporary artist. In his work, painting becomes part of spatial installations set up both indoors and outdoors. He lives and works in Paris.

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Harald F. Müller

First Cuts

Art nostalgic for the future by Swiss artist Harald F. Müller

First Cuts shows 15 photographic appropriations that artist Harald F. Müller realized for the fi rst time in Switzerland’s tallest building: the Prime Tower in Zürich, designed by architects Gigon/Guyer. Applied by means of a perforated grid onto sound- absorbing metal panels on the building’s interior walls, the re-photographed motifs depict a series of “fi rsts” from the worlds of technology, sports, and culture. Evoking nostalgia for human faith in progress, they also point with their references to CERN and Constructivism to cutting-edge research and timeless modernity. These art-works refuse to fufi l merely a passive decorative function, making instead their own architecture-related statement. The book follows the same principle by invoking cosmological references and presenting itself as an independent work rather than merely explaining and illustrating. Essays by Gerd Blum and Johan Frederik Hartle describe the role First Cuts played in the development of Harald F. Müller’s oeuvre, focusing on abstraction and atomism.

HARALD F. MÜLLER, born in 1950, works with reproductions to develop image and color concepts for specifi c spaces and architectures. He lives and works at Lake Constance and in Zürich.


17.3 × 24 cm, 6 ¾ × 9 ½ in, 344 pagesapprox. 300 illustrations, hardcoverISBN 978-3-03778-388-7, English EUR 50.– GBP 40.– USD/CAD 65.–

Annelies Štrba

Noonday

A sequel to the title Shades of Time, published in 1997

The artist Annelies Štrba captures in her very personal family pictures the melancholy mood of time passing by

The photo book Noonday can be regarded as a sequel to Annelies Štrba’s Shades of Time, published almost twenty years ago by Lars Müller Publishers. The photo-graphs show intimate moments in the life of the artist’s family, everyday situations and seemingly insignifi cant moments captured on fi lm. They confront the viewer with the human urge to remember and inability to forget as they evoke in his mind’s eye similar images and memories from his own past. While Shades of Time focused on Štrba’s own children, Noonday shows photographs of her grandchildren. The images display the children sleeping, in the forest or other places and thus preserve graceful moments of life. With a subjective and yet documentary gaze, Štrba halts the passing of time, oscillating between closeness and distance, relishing the moment recorded while cognizant of its ineluctable transience.

ANNELIES ŠTRBA, born 1947 in Zug, is on of the most renowned Swiss photographers. Her work is discussed and shown worldwide.


18 × 24 cm, 7 × 9 ½ in, 180 pages38 b/w illustrations, paperbackISBN 978-3-03778-408-2 EnglishEUR 32.– GBP 27.– USD/CAD 42.–

RELATED TITLE

Gigon/Guyer Architects page 27

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15 × 24 cm, 6 × 9 ½ in, 248 pages approx. 180 illustrations, hardcoverISBN 978-3-03778-370-2, EnglishEUR 40.– GBP 33.– USD/CAD 55.–

RELATED TITLES

Tumult and Order page 27Andrea Pallacio – Unbuilt Venice page 27The Private Palladio page 27

Antonio Foscari

FrescosIn the Rooms of PalladioMalcontenta 1557–1575

After Andrea Palladio – Unbuilt Venice and Tumult and Order, the third volume by Antonio Foscari focuses on the frescos in the Villa Malcontenta in Venice

During the Renaissance, the contest to decide the order of rank among the fi ne arts, architecture, painting, and sculpture was an issue that also occupied the famous architect Andrea Palladio. He was convinced that architecture spoke for itself and did not require any ornamentation through painting. Nevertheless, frescos adorn the walls and ceilings of many of his villas. At the Villa Malcontenta, for example, one of Venice’s best-known fresco painters of the day, Giovanni Battista Zelotti, was com-missioned to design the interior. In Frescos, Antonio Foscari analyzes this fresco cycle.

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.


24 × 16.5 cm, 9 ½ × 6 ½ in, 160 pagesapprox. 80 illustrations, paperbackISBN 978-3-03778-400-6, English EUR 24.– GBP 20.– USD/CAD 32.–

Retracing the Expanded FieldA Symposium on Art and Architecture

Edited by Spyros Papapetros and Julian RoseIn collaboration with the Princeton University School of Architecture

Re-examines the important essay by Rosalind Krauss and its position in the current fi elds of arts and architecture

In her seminal essay “Sculpture in the Expanded Field” fi rst published in 1979, the infl uential art historian Rosalind Krauss redrew the limits of artistic practices by diagramming a number of structural oppositions between sculpture, architecture, and landscape art. Retracing the Expanded Field not only revisits the origins of Krauss’ now canonical text but also reexamines its legacy and status against devel-opments in the “expanded practices” of art and architecture over the last thirty years. Numerous illustrations provide the reader with extensive and profound insight into the artwork alluded to by Krauss – for example, Vito Acconci, Carl Andre, Alice Aycock, Constantin Brancusi, Peter Eisenman, Richard Long, Richard Serra, Joel Shapiro, Robert Smithson.

24

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Title Society

Challenging DemocracyEdited by Hanspeter Kriesi, NCCR Democracy, University of Zürich

Texts by experts and visual essays generate a broad compendium of democracy in the 21st century

The newest volume in the visual reader series published by Lars Müller Publishers

“Democracy is the worst form of government — except for all those other forms that have been tried from time to time.” Challenging Democracy tries to get to the bottom of the dilemma expressed in this world-famous quote from Winston Churchill. Designed as a visual reader that makes targeted use of the communicative power of the image, the book constitutes a comprehensive compendium on the history, development, and current debates on democracy. Are democracies more capable than other forms of government? What role is played today by digital media in democracies and democratization processes? Is globalization conducive to democracy? What forms of democracy are there?

The visual reader delves into both fundamental and more topical issues and thus provides the key to a comprehensive understanding and an in-depth engagement with democracy from its origins to the present day.

With contributions by André Bächtiger, Thomas Bernauer, Daniel Bochsler, Florin Büchel, Francis Cheneval, Frank Esser, Regula Hänggli, Jürg Helbling, Erik Jentges, Hanspeter Kriesi, Daniel Kübler, Andreas Ladner, Sandra Lavenex, Wolfgang Merkel, Frank Schimmelfennig, Marco Steenbergen, Manuel Vogt.

HANSPETER KRIESI is holder of the Stein Rokkan Chair in comparative politics at the European University Institute in Florence.

RELATED TITLES

For Climate’s Sake!, The Face of Human Rights, Who Owns the Water?, Faith Is page 31

English

German


16.5 × 24 cm, 6 ½ × 9 ½ in, 576 pagesapprox. 500 illustrations, hardcoverISBN 978-3-03778-396-2 EnglishISBN 978-3-03778-296-5, GermanEUR 45.– GBP 38.– USD/CAD 60.–

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Fresh from the P

ressCulture: CityWilfried Wang, Akademie der Künste, Berlin (Ed.)

21.5 × 27.5 cm, 8 ½ × 10 ¾ in, 232 pages406 illustrations, paperback2013, ISBN 978-3-03778-335-1, English2013, ISBN 978-3-03778-336-8, GermanEUR 40.– GBP 33.– USD/CAD 55.–

English

German

The City in the City – Berlin: A Green ArchipelagoA Manifesto (1977) by O. M. Ungers, R. Koolhaas, P. Riemann, H. Kollhoff, A. OvaskaA critical edition by Florian Hertweck and Sébastien Marot (Eds.)21 × 29.7 cm, 8 ¼ × 11 ¾ in, 176 pages 150 illustrations, paperback2013, ISBN 978-3-03778-326-9, English 2013, ISBN 978-3-03778-325-2, German2013, ISBN 978-3-03778-329-0, FrenchEUR 40.– GBP 35.– USD / CAD 50.–

Englisch

German

French

Max Bill’s View of Things

Die gute Form: An Exhibition 1949Claude Lichtenstein and Museum of Design Zürich (Eds.)

22 × 30 cm, 8 ½ × 11 ¾ in, 160 pagesapprox. 120 illustrations, hardcover2013, ISBN 978-3-03778-372-6, English2013, ISBN 978-3-03778-339-9, GermanEUR 33.– GBP 27.– USD/CAD 45.–

English

German

Nicholas Hawksmoor: Seven Churches for LondonMohsen Mostafavi (Ed.)

Photographs by Hélène Binet

24 × 30 cm, 9½ × 11 ¾ in, 112 pagesapprox. 50 illustrations, hardcover 2013, ISBN 978-3-03778-349-8, EnglishEUR 38.– GBP 30.– USD/CAD 50.–

Catherine Dumont d’Ayot, Tim Benton

Le Corbusier’s Pavilion for ZurichModel and Prototype of an Ideal Exhibition SpaceInstitute of Historic Building Research and Conservation, ETH Zürich (Ed.)16.8 × 24 cm, 6 ½ × 9 ½ in, 224 pages203 illustrations, hardcover2013, ISBN 978-3-03778-305-4, English2013, ISBN 978-3-03778-293-4, German2013, ISBN 978-3-03778-328-3, FrenchEUR 40.– GBP 35.– USD / CAD 50.–

English

German

French

30 Years of Swiss Typographic Discourse in the Typografi sche MonatsblätterTM RSI SGM 1960–90

Ecole cantonale d’art de Lausanne (ECAL) and Roland Früh, Louise Paradis and François Rappo (Eds.)

20 × 29 cm, 7 ¾ × 11 ½ in, 240 pagesapprox. 400 illustrations, hardcover2013, ISBN 978-3-03778-334-4, EnglishEUR 50.– GBP 45.– USD/CAD 65.–

Tim Benton

LC FOTO:Le Corbusier Photographer

24 × 16.5 cm, 9 ½ × 6 ½ in, 416 pages approx. 500 illustrations, hardcover2013, ISBN 978-3-03778-344-3, EnglishEUR 40.– GBP 33.– USD/CAD 55.–

The CiTyin The CiTy

Berlin: The CiBerlin: The CiiBerlin: in Berlin: n TBerlin: The Berlin: he a greenia greenin a greenn Ta greenThe a greenhe Cia greenCiTa greenTya greenyaCiaCirchipelagoCirchipelagoCiTrchipelagoTyrchipelagoyA Manifesto (1977) by

Oswald Mathias UngersRem Koolhaas

Peter Riemann

Hans Kollhoff Arthur Ovaska

A critical edition by

Florian Hertweckand Sébastien Marot

In collaboration with UAA Ungers Archiv für Architekturwissenschaft

lars Müller publishers

Don’t Brand My Public Space!Ruedi Baur and Sébastien Thiery (Eds.)

A project of the research series by Design2context

16.5 × 24 cm, 6 ½ × 9 ½ in, 320 pagesapprox. 500 illustrations, paperback2013, ISBN 978-3-03778-348-1, English2013, ISBN 978-3-03778-354-2, FrenchEUR 40.– GBP 33.– USD/CAD 55.–

English

French

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From Camp to CityRefugee Camps of the Western SaharaManuel Herz (Ed.)In cooperation with ETH Studio Basel

17.6 × 24 cm, 7 × 9 ½ in, 512 pages1172 illustrations, hardcover2013, ISBN 978-3-03778-291-0, EnglishEUR 50.– GBP 45.– USD / CAD 65.–

Ecological UrbanismMohsen Mostafavi with Gareth Doherty, Harvard University Graduate School of Design (Eds.)

16.5 × 24 cm, 6 ½ × 9 ½ in, 656 pages1000 illustrations, hardcover2010, ISBN 978-3-03778-189-0, EnglishEUR 50.– GBP 40.– USD / CAD 60.–

Landform BuildingArchitecture’s New TerrainStan Allen and Marc McQuade (Eds.)In cooperation with the Princeton University School of Architecture


Günther VogtMiniature and PanoramaVogt Landscape ArchitectsProjects 2000–12

16.5 × 24 cm, 6 ½ × 9 ½ in, 608 pages1250 illustrations, paperback2012, ISBN 978-3-03778-233-0, EnglishEUR 58.– GBP 50.– USD / CAD 85.–

Wang ShuImagining the House

24 × 29.7 cm, 9 ½ × 11 ¾ in, 168 pages 68 drawings, 15 photographspaperback, Japanese binding2012, ISBN 978-3-03778-314-6, EnglishEUR 50.– GBP 45.– USD / CAD 65.–

Sou FujimotoSketchbook

13 × 21 cm, 5 × 8 ¼ in, 240 pagesfacsimile of the original sketchbookhardcover2012, ISBN 978-3-03778-327-6 English/JapaneseEUR 40.– GBP 35.– USD / CAD 50.–

Eduardo Souto de MouraSketchbook No. 76

14.8 × 21 cm, 5 ¾ × 8 ¼ in, 200 pagesfacsimile of the original sketchbook hardcover2012, ISBN 978-3-03778-312-2EUR 32.– GBP 26.– USD / CAD 42.–

Floating ImagesEduardo Souto de Moura’s Wall AtlasAndré Tavares and Pedro Bandeira (Eds.)

14.8 × 21 cm, 5 ¾ × 8 ¼ in, 160 pages202 illustrations, hardcover2012, ISBN 978-3-03778-301-6, EnglishEUR 38.– GBP 32.– USD / CAD 50.–

Steven Holl – ScaleLars Müller (Ed.)

16.8 × 12.6 cm, 6 ½ × 5 in, 480 pages420 illustrations, hardcover2012, ISBN 978-3-03778-251-4, EnglishEUR 40.– GBP 38.– USD / CAD 55.–

Steven Holl – Color Light TimeWith essays by Jordi Safont-Tria, Sanford Kwinter, and Steven Holl

12.6 × 16.8 cm, 5 × 6½ in, 144 pages72 illustrations, hardcover2012, ISBN 978-3-03778-252-1, EnglishEUR 32.– GBP 25.– USD / CAD 40.–

Five North American ArchitectsAn Anthology byKenneth Frampton

Stanley SaitowitzBrigitte Shim+ Howard SutcliffeRick JoyJohn+Patricia PatkauSteven HollColumbia University GSAPPLars Müller Publishers

Five North American ArchitectsAn Anthology by Kenneth FramptonIn cooperation with GSAPP, Columbia University


Michael MerrillLouis Kahn: Drawing to Find OutThe Dominican Motherhouse and the Patient Search for Architecture

30 × 24 cm, 11 ¾ × 9 ½ in, 240 pages233 illustrations, hardcover2010, ISBN 978-3-03778-221-7, EnglishEUR 59.– GBP 60.– USD / CAD 90.–

Torre DavidInformal Vertical Communities

Alfredo Brillembourg and Hubert Klumpner, Urban-Think Tank Chair of Architecture and Urban Design, ETH Zürich (Eds.)

Photographs by Iwan Baan


In the Life of CitiesParallel Narratives of the Urban

Mohsen Mostafavi (Ed.)

In cooperation with Harvard University Graduate School of Design


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InstigationsEngaging Architecture, Landscape, and the City Mohsen Mostafavi, Peter Christensen (Eds.) In cooperation with Harvard University Graduate School of Design 16.5 × 24 cm, 6 ½ × 9 ½ in, 560 pages559 illustrations, paperback2012, ISBN 978-3-03778-307-8, EnglishEUR 50.– GBP 45.– USD / CAD 60.–

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Buckminster FullerOperating Manual for Spaceship EarthJaime Snyder (Ed.)

Reprint, original 1969, 12 × 19 cm, 4 ¾ × 7 ½ in152 pages, paperback2008, ISBN 978-3-03778-126-5, English 2010, ISBN 978-3-03778-188-3, FrenchEUR 15.– GBP 15.– USD / CAD 20.–

Canadian Centre for arChiteCtureLars MüLLer PubLishers

the MediCaLization of arChiteCture

IMperfect

HealtH

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 careof their “inhabitants,” instead of seeking an ultimate cure.

Edited by Giovanna BorasiMirko Zardini

Engl

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Imperfect HealthThe Medicalization of ArchitectureCo-published by the Canadian Centre for Architecture, Montreal

16.8 × 24 cm, 6 ½ × 9 ½ in, 400 pages365 illustrations, hardcover2012, ISBN 978-3-03778-279-8, English2012, ISBN 978-3-03778-284-2, FrenchEUR 50.– GBP 45.– USD / CAD 70.–

Insular InsightWhere Art and Architecture Conspire with NatureNaoshima Teshima InujimaLars Müller and Akiko Miki (Eds.)


Kenzō Tange Architecture for the WorldSeng Kuan and Yukio Lippit (Eds.)In cooperation with Harvard University Graduate School of Design

25 × 20.7 cm, 9 ¾ × 8 ¼ in, 192 pages186 illustrations, hardcover2012, ISBN 978-3-03778-310-8, EnglishEUR 50.– GBP 45.– USD / CAD 60.–

Guido BeltraminiThe Private Palladio

10.8 × 20.4 cm, 4 ¼ × 8 in, 108 pages50 illustrations, hardcover2012, ISBN 978-3-03778-299-6, EnglishEUR 28.– GBP 25.– USD / CAD 36.–

Antonio Foscari Tumult and OrderMalcontenta 1924–1939

15 × 24 cm, 6 × 9 ½ in, 248 pages211 illustrations, hardcover2012, ISBN 978-3-03778-297-2, EnglishEUR 40.– GBP 35.– USD / CAD 50.–

Antonio FoscariAndrea Palladio – Unbuilt Venice

15 × 24 cm, 6 × 9 ½ in, 288 pages230 illustrations, hardcover2010, ISBN 978-3-03778-222-4, EnglishEUR 40.– GBP 40.– USD / CAD 60.–

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Gigon/Guyer ArchitectsWorks & Projects 2001– 2011With essays by Gerhard Mack, Arthur Rüegg, and Philip Ursprung

16.5 × 24 cm, 6 ½ × 9 ½ in, 608 pages935 illustrations, hardcover2012, ISBN 978-3-03778-276-7, English2012, ISBN 978-3-03778-257-6, GermanEUR 58.– GBP 55.– USD / CAD 85.–

Engl

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Ger

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Andreas Fuhrimann, Gabrielle Hächler What Anchors a House in ItselfSeven Buildings

18.6 × 24.8 cm, 7 ¼ × 9 ¾ in, 216 pages167 illustrations, paperback2010, ISBN 978-3-03778-240-8, English2010, ISBN 978-3-03778-224-8, GermanEUR 40.– GBP 35.– USD / CAD 60.–

Iwan BaanBrasilia – ChandigarhLiving with ModernityLars Müller (Ed.)With texts by Cees Nooteboom and Martino Stierli24 × 30 cm, 9 ½ × 11 ¾ in, 240 pages200 illustrations, paperback2010, ISBN 978-3-03778-228-6, EnglishEUR 40.– GBP 40.– USD / CAD 60.–

Aga Khan Award for Architecture 2010Implicate & Explicate

Mohsen Mostafavi (Ed.)


Guy NordensonPatterns and StructureSelected Writings

16.5 × 24 cm, 6 ½ × 9 ½ in464 pages, 218 illustrationspaperbackISBN 978-3-03778-219-4English, 2010EUR 40.– GBP 40.–USD / CAD 60.–

David AdjayeAuthoring: Re-Placing Art and ArchitectureMarc McQuade (Ed.)

16.5 × 24 cm, 6 ½ × 9 ½ in272 pages, 121 illustrations paperbackISBN 978-3-03778-282-8 English, 2012EUR 32.– GBP 28.– USD / CAD 45.–

Luis M. Mansilla + Emilio TuñónFrom Rules to ConstraintsGiancarlo Valle (Ed.)

16.5 × 24 cm, 6 ½ × 9 ½ in248 pages, 242 illustrations paperbackISBN 978-3-03778-281-1 English, 2012EUR 32.– GBP 28.– USD / CAD 45.–

Matthias Sauerbruch, Louisa HuttonSauerbruch Hutton Archive

24 × 30 cm, 9 ½ × 11 ¾ in344 pages, 650 illustrationshardcoverISBN 978-3-03778-083-1English/German, 2006EUR 60.– GBP 55.–USD / CAD 79.–

Peter EisenmanThe Formal Basis of Modern Architecture (1964)

29 × 30.5 cm, 11 ½ × 12 in384 pages, 300 illustrationshardcoverISBN 978-3-03778-071-8English, 2006EUR 50.– GBP 50.–USD / CAD 70.–

Peter EisenmanHolocaust Memorial Berlin

24 × 30 cm, 9 × 11 ¾ in120 pages, 65 illustrationshardcoverISBN 978-3-03778-056-5English, 2005ISBN 978-3-03778-059-6German, 2005EUR 23.– GBP 23.–USD / CAD 35.–

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Lars MüllerHelveticaHomage to a Typeface

12 × 16 cm, 4 ¾ × 6 ¼ in, 256 pages400 illustrations, paperback2002, ISBN 978-3-03778-046-6, EnglishEUR 19.– GBP 15.– USD / CAD 25.–

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Ger

man

Helvetica ForeverStory of a TypefaceLars Müller and Victor Malsy (Eds.)

19 × 26 cm, 7 ½ × 10 ¼ in, 160 pages150 illustrations, hardcover2009, ISBN 978-3-03778-121-0, English2008, ISBN 978-3-03778-120-3, GermanEUR 30.– GBP 30.– USD / CAD 49.–

Engl

ish

Ger

man

Lars MüllerJosef Müller-Pioneer of Swiss Graphic Design

19 × 27 cm, 7 ½ × 10 ¾ in, 264 pages 415 illustrations, paperback1994, ISBN 978-3-906700-89-2, English1994, ISBN 978-3-907078-59-4, GermanEUR 40.– GBP 40.– USD / CAD 60.–

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h

Ger

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Massimo VignelliThe Vignelli Canon

14.8 × 21 cm, 5 ¾ × 8 ¼ in, 112 pages142 illustrations, paperback2010, ISBN 978-3-03778-225-5, English2012, ISBN 978-3-03778-268-2, German EUR 28.– GBP 20.– USD / CAD 35.–

Kenya HaraDesigning Design


Engl

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Ger

man

Kenya HaraWhite

13.5 × 19.5 cm, 5 ¼ × 7 ¾ in, 64 pages4 illustrations, hardcover2010, ISBN 978-3-03778-183-8, English2010, ISBN 978-3-03778-182-1, GermanEUR 25.– GBP 20.– USD / CAD 30.–

Jasper MorrisonA World Without Words

1998, Reprint10.8 × 15.4 cm, 4 ¼ × 6 in, 108 pages104 illustrations, paperback2012, ISBN 978-3-03778-207-1, EnglishEUR 18.– GBP 16.– USD / CAD 25.–

Naoto Fukasawa, Jasper MorrisonSuper NormalSensations of the Ordinary

14.8 × 20 cm, 5 ¾ × 7 ¾ in, 128 pages264 illustrations, paperback2007, ISBN 978-3-03778-106-7, EnglishEUR 25.– GBP 25.– USD / CAD 35.–

Mark Holt, Hamish Muir8voOn the Outside

12 × 16 cm, 4 ¾ × 6 ¼ in, 536 pages395 illustrations, hardcover2005, ISBN 978-3-03778-019-0, EnglishEUR 25.– GBP 23.– USD / CAD 38.–

Jan ConradiUnimark InternationalThe Design of Business and the Business of DesignForeword by Massimo Vignelli

19 × 26 cm, 7 ½ × 10 ¼ in, 244 pages150 illustrations, hardcover2010, ISBN 978-3-03778-184-5, EnglishEUR 45.– GBP 40.– USD / CAD 65.–

Nature DesignFrom Inspiration to InnovationMuseum of Design Zürich, Angeli Sachs (Eds.)


Engl

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Ger

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Global DesignInternational Perspectives and Individual ConceptsMuseum of Design Zürich, Angeli Sachs (Eds.)

16.5 × 24 cm, 6 ½ × 9 ½ in, 320 pages350 illustrations, paperback2010, ISBN 978-3-03778-210-1, English2010, ISBN 978-3-03778-154-8, GermanEUR 35.– GBP 35.– USD / CAD 60.–

Takahiro Kurashima

Poemotion

17 × 23 cm, 6 ¾ × 9 in, 64 pages30 illustrations, paperback2012, ISBN 978-3-03778-277-4, EnglishEUR 28.– GBP 25.– USD / CAD 25.–

See also page 15:

Poemotion 2Poemotion 1 (hardcover)

Signs for Peace An Impossible Visual Encyclopedia

Ruedi Baur and Vera Baur Kockot, Design2context (Eds.)


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IS DESIGN A SEARCH FOR QUESTIONS?Pedro Gonçalves, Art Director, Portugal

DESIGN IN QUESTION

Design in QuestionElisava, Design2context, Ruedi Baur and Vera Baur Kockot (Eds.)

7.4 × 10.5 cm, 3 × 4 in, 384 pages15 illustrations, hardcover 2012, ISBN 978-3-03778-280-4, EnglishEUR 20.– GBP 18.– USD / CAD 28.–

Michael Maharam Maharam Agenda

19.5 × 26 cm, 7 ¾ × 10 ¼ in, 256 pages408 illustrations, hardcover with stitched fabric cover2011, ISBN 978-3-03778-187-6, EnglishEUR 55.– GBP 50.– USD / CAD 65.–

Lars Müller Publishers

Hannes

WettsteinSe

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rche

typ

es

Hannes Wettstein Seeking ArchetypesStudio Hannes Wettstein (Ed.)With essays by Max Küng and Volker Albus and a text collage by Thomas Haemmerli23 × 29 cm, 9 × 11 ½ in, 292 pages662 illustrations, hardcover2012, ISBN 978-3-03778-265-1English/German/ItalianEUR 58.– GBP 55.– USD / CAD 85.–

Peter ErniDie gute FormProgramm des Schweize rischen Werkbundes

22 × 30 cm, 8 ½ × 12 in, 160 pages600 illustrations, hardcover1983, ISBN 978-3-906700-01-4, GermanEUR 30.– GBP 28.– USD / CAD 45.–

MetahavenUncorporate IdentityMetahaven (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 pages200 illustrations, paperback2010, ISBN 978-3-03778-169-2, EnglishEUR 45.– GBP 45.– USD / CAD 75.–

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Ger

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Corporate DiversitySwiss Graphic Design and Advertising by Geigy, 1940–1970Museum of Design Zürich, Andres Janser, Barbara Junod (Eds.)19.4 × 26.8 cm, 7 ¾ × 10 ½ in, 208 pages385 illustrations, hardcover2009, ISBN 978-3-03778-160-9, English2009, ISBN 978-3-03778-161-6, GermanEUR 40.– GBP 40.– USD / CAD 65.–

Edo SmitshuijzenSignage Design Manual

16 × 26 cm, 6 ¼ × 10 ¼ in, 456 pages800 illustrations, hardcover2007, ISBN 978-3-03778-096-1, EnglishEUR 45.– GBP 40.– USD / CAD 60.–

Ruedi BaurRuedi Baur IntégralAnticipating, Questioning, Inscribing, Distinguishing, Irritating, Orienting, Translating16.5 × 24 cm, 6 ½ × 9 ½ in, 480 p., 200 illus., hc 2010, ISBN 978-3-03778-134-0, English2010, ISBN 978-3-03778-202-6, German2010, ISBN 978-3-03778-203-3, FrenchEUR 50.– f: EUR 25.–GBP 50.– USD / CAD 80.–

Engl

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Ger

man

Windfall LightThe Visual Language of ECMLars Müller (Ed.)

18.5 × 26 cm, 7 ¼ × 10 ¼ in, 448 pages1260 illustrations, paperback2010, ISBN 978-3-03778-157-9, English2010, ISBN 978-3-03778-197-5, GermanEUR 55.– g: EUR 25.– GBP 50.– USD / CAD 85.–

POSTER COLLECTION 24The Magic of ThingsMuseum of Design Zürich (Ed.)

16.5 × 24 cm, 6½ × 9 ½ in, 96 pages127 illustrations, paperback2012, ISBN 978-3-03778-258-3English/GermanEUR 28.– GBP 25.– USD / CAD 40.–

POSTER COLLECTION 23In SeriesMuseum of Design Zürich (Ed.)

16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages203 illustrations, paperback2011, ISBN 978-3-03778-266-8English /GermanEUR 28.– GBP 25.– USD / CAD 40.–

POSTER COLLECTION 07Armin HofmannMuseum of Design Zürich (Ed.)

16.5 × 24 cm, 6 ½ × 9 ½ in, 80 pages80 illustrations, paperback2003, ISBN 978-3-03778-004-6 English/GermanEUR 20.– GBP 15.– USD / CAD 22.–

A5/05: Lufthansa and Graphic DesignVisual 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 pages400 illustrations, paperback2012, ISBN 978-3-03778-267-5English/GermanEUR 28.– GBP 25.– USD / CAD 40.–

FREITAGOut of the BagMuseum of Design Zürich, Renate Menzi (Eds.)

11.6 × 17.8 cm, 4 ½ × 7 in, 280 pages310 illustrations, paperback2012, ISBN 978-3-03778-278-1, English2012, ISBN 978-3-03778-289-7, GermanEUR 25.– GBP 22.– USD / CAD 35.–

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Andreas SeibertFrom Somewhere to NowhereChina’s Internal Migrants

19 × 26 cm, 7 ½ × 10 ¼ in, 320 pages228 photographs, hardcover2008, ISBN 978-3-03778-146-3, EnglishEUR 40.– GBP 40.– USD / CAD 55.–

Reset – Beyond FukushimaWill the Nuclear Catastrophe Bring Humanity to Its Senses?Adriano A. Biondo and Lars Müller (Eds.)Photographs by Kazuma Obara23 × 29.7 cm, 9 × 11 ¾ in, 216 pages130 illustrations, paperback2012, ISBN 978-3-03778-292-7English/Japanese EUR 50.– GBP 42.– USD / CAD 66.–

Ger

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Swiss Photobooks from 1927 to the PresentA Different History of PhotographyPeter Pfrunder, Fotostiftung Schweiz (Eds.)22 × 28 cm, 8 ¾ × 11 in, 704 / 576 pages861 illustrations, hardcover2012, ISBN 978-3-03778-274-3, German withEnglish and French translations2012, ISBN 978-3-03778-260-6, GermanEUR 75.– GBP 70.– USD / CAD 120.–

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

21 × 27 cm, 8 ¼ × 10 ¾ in, 240 pages115 photographs, hardcover2011, ISBN 978-3-03778-241-5, EnglishEUR 50.– GBP 45.– USD / CAD 70.–

Christian LutzTropical Gift The Business of Oil and Gas in Nigeria

30 × 24 cm, 11 ¾ × 9 ½ in, 96 pages52 photographs, hardcover2010, ISBN 978-3-03778-226-2, EnglishEUR 35.– GBP 35.– USD / CAD 50.–

Christian LutzProtokoll

30 × 24 cm, 11 ¾ × 9 ½ in, 90 pages54 photographs, hardcover2007, ISBN 978-3-03778-110-4English/German/French/SpanishEUR 35.– GBP 35.– USD / CAD 45.–

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Christina Kleineidam, Hans Peter JostCotton worldwide

19 × 26 cm, 7 ½ × 10 ¼ in, 320 pages220 illustrations, hardcover2009, ISBN 978-3-03778-201-9, English2009, ISBN 978-3-03778-200-2, GermanEUR 40.– GBP 40.– USD / CAD 60.–

Yann Mingard, Alban KakulyaEast of a New EdenEuropean External BordersA Documentary Account

25 × 33 cm, 9 ¾ × 13 in, 320 pages150 illustrations, hardcover2010, ISBN 978-3-03778-176-0English/FrenchEUR 60.– GBP 60.– USD / CAD 99.–

Jules SpinatschTemporary Discomfort

24 × 30 cm, 9 ½ × 11 ¾ in, 186 pages115 photographs, hardcover2005, ISBN 978-3-03778-047-3English/GermanEUR 30.– GBP 30.– USD / CAD 45.–

Luciano RigoliniWhat you seeFotostiftung Schweiz (Ed.)

12 × 16 cm, 4 ¾ × 6 ¼ in, 160 pages107 photographs, hardcover 2008, ISBN 978-3-03778-139-5 English/German/French/JapaneseEUR 25.– GBP 25.– USD / CAD 35.–

Andreas Seibert

The Colors of Growth China’s Huai River

26 × 19 cm, 10 ¼ × 7 ½ in, 272 pages191 illustrations, hardcover2013, ISBN 978-3-03778-295-8, EnglishEUR 40.– GBP 35.– USD / CAD 50.–

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Klaus MerkelTrilogy of Stone and Time

24 × 30 cm, 9 × 11 ¾ in, cardboard slipcase2013, ISBN 978-3-03778-273-6, EnglishEUR 120.– GBP 99.– USD / CAD 160.–2013, ISBN 978-3-03778-264-4, GermanEUR 180.–

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Klaus MerkelTrees like Stones

24 × 30 cm, 9 × 11 ¾ in, 120 pages94 photographs, hardcover2013, ISBN 978-3-03778-272-9, English2013, ISBN 978-3-03778-263-7, GermanEUR 50.– GBP 45.– USD / CAD 70.–

Engl

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Klaus MerkelAlbum of Stones

24 × 30 cm, 9 ½ × 11 ¾ in, 160 pages110 photographs, hardcover2005, ISBN 978-3-03778-058-9, English2005, ISBN 978-3-03778-062-6, GermanEUR 25.– GBP 23.– USD / CAD 38.–

Klaus MerkelThe Reading of Time in the Text of Nature

24 × 30 cm, 9 ½ × 11 ¾ in, 96 pages84 photographs, hardcover2000, ISBN 978-3-907044-97-1, EnglishEUR 25.– GBP 25.– USD / CAD 38.–

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Dan GrahamVideo – Architecture – TelevisionWritings on Video and Video Works 1970–1978Benjamin H. D. Buchloh (Ed.)Reprint, original 197928 × 21.6 cm, 11 × 8 ½ in, 96 pages113 illustrations, paperback2013, ISBN 978-3-03778-300-9, EnglishEUR 40.– GBP 35.– USD / CAD 50.–

Dan Graham’s New JerseyCraig Buckley and Mark Wasiuta (Eds.)

In cooperation with GSAPP, Columbia University

19 × 26 cm, 7 ½ × 10 ¼ in, 192 pages140 illustrations, hardcover2012, ISBN 978-3-03778-259-0, EnglishEUR 45.– GBP 42.– USD / CAD 65.–

Thomas FlechtnerNews

35 × 50 cm, 13 ¾ × 19 ¾ inPortfolio with 112 printed-on newspaper pages in box2013, ISBN 978-3-03778-318-4English/GermanEUR 80.– GBP 65.– USD / CAD 120.–

Hamish FultonThe Uncarved Block

30 × 24 cm, 11 ¾ × 9 ½ in, 160 pages120 illustrations, hardcover2010, ISBN 978-3-03778-227-9, EnglischEUR 50.– GBP 50.– USD / CAD 75.–

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


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

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

My apartment was just to sleep in.

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

Only one window opens, and it’s violet.

Katharina Grosse

Wish

I had a b

ig studio

in the center o

f the cityLars M

üller Pub

lishers

Katharina G

rosse

Engl

ish

Ger

man

Katharina GrosseWish I Had a Big Studio in the Center of the City

17 × 23 cm, 6 ¾ × 9 in, 144 pages73 illustrations, hardcover2009, ISBN 978-3-03778-170-8, English2009, ISBN 978-3-03778-168-5, GermanEUR 30.– GBP 30.– USD / CAD 45.–

Silvia Bächli and Eric HattanBLINDHÆÐIREast IcelandEditions Attitudes, Geneva (Ed.)

29 × 16.3, 11 ½ × 6 ½ in, 304 pages147 photographs, hardcover2010, ISBN 978-3-03778-216-3English /German /French /IcelandicEUR 40.– GBP 40.– USD / CAD 65.–

Silvia BächliLidschlagHow It Looks

22 × 28 cm, 8 ¾ × 11 in, 304 pages211 illustrations, hardcover2004, ISBN 978-3-03778-013-8English/GermanEUR 30.– GBP 30.– USD / CAD 45.–

Silvia Bächli dasSwiss Federal Offi ce of Culture, Bern (Ed.)

13 × 19.5 cm, 5 × 7 ¾ in, 136 pages60 illustrations, paperback2009, ISBN 978-3-03778-155-5English/German EUR 23.– GBP 23.– USD / CAD 40.–

Engl

ish

Ger

man

For Climate’s Sake! A Visual Reader of Climate ChangeRené Schwarzenbach, Lars Müller, Christian Rentsch, and Klaus Lanz (Eds.)

16.5 × 24 cm, 6 ½ × 9 ½ in, 576 pages307 illustrations, hardcover2012, ISBN 978-3-03778-245-3, English 2011, ISBN 978-3-03778-244-6, German EUR 45.– GBP 40.– USD / CAD 60.–

Engl

ish

Ger

man

The Face of Human RightsWalter Kälin, Lars Müller, and Judith Wyttenbach (Eds.)16.5 × 24 cm, 6 ½ × 9 ½ in, 720 pages, 500 illus.2004, ISBN 978-3-03778-017-6English, hardcoverEUR 45.– GBP 45.– USD / CAD 60.–2008, ISBN 978-3-03778-114-2German, paperbackEUR 30.– GBP 30.– USD / CAD 50.–

Engl

ish

Ger

man

Who Owns the Water?Lars Müller, Klaus Lanz, Christian Rentsch, and René Schwarzenbach (Eds.)


Engl

ish

Ger

man

Faith Is.The Quest for Spirituality and ReligionLukas Niederberger and Lars Müller (Eds.)


Backlist A

rt/Society

Encyclopedia of FlowersFlower Works by Makoto AzumaPhotographed by Shunsuke Shiinoki

Kyoko Wada (Ed.)

16.5 × 24.8 cm, 6 ½ × 9 ¾ in, 512 pages203 color illustrations, paperback in transparent slipcase2012, ISBN 978-3-03778-313-9, EnglishEUR 58.– GBP 50.– USD / CAD 85.–

telehor. the international review new visionFacsimile Reprint and Commentary

Klemens Gruber and Oliver Botár (Eds.)With a text by Sigfried Giedion

21 × 29.7 cm, 8 ¼ × 11 ¾ in, 138 pages69 illustrations, spiral binding (reprint)21 × 29.7 cm, 8 ¼ × 11 ¾ in, 80 pages52 illustrations, paperback (commentary)2013, ISBN 978-3-03778-253-8German/English/French/Czech/Mandarin/Russian/Hungarian/SpanishEUR 50.– GBP 45.– USD / CAD 65.–

mezinárodní časopis pro visuální kulturu

internationale zeitschrift für visuelle kultur

the international review new vision

revue internationale pour la culture visuelle

revista internacional para la cultura visual

международный журнал визуальной культуры

国际视觉艺术期刊

a vizuális kultúra nemzetközi folyóirata

KommentarbandCommentary & Translations

Klemens GruberOliver A. I. BotarHrsg. /eds.

telehorl. moholy-nagy


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Documents

Lars Müller Publishers Autumn Catalog 2013