niggli BENTELI

spring2019

niggli BENTELI

2

Contents

Braun New Releases Stay Overnight. Hospitality Design in Repurposed WallsTiny Interiors. Compact Living SpacesNordic Style. Warm & Welcoming Scandinavian InteriorsMy Private SpaBuilding Berlin, Vol. 8. The latest architecture in and out of the capital

Braun Backlist

Niggli New ReleasesSantiago Calatrava: Bridgesnotamuse. A New Perspective on Women Graphic Designers in EuropeStructuring Design. Graphic Grids in Theory and Practice Visions of the Bauhaus Books. Exploring Connections to Contemporary Graphic Design Practice

Niggli Backlist

Benteli New ReleasesCassette Culture. The Past and Present of a Musical Icon StauWerke. Monuments of Power

Benteli Backlist

Distribution

68

101213

14

20242628

29

3436

37

38

5

typografie design architektur

RAHEL M. FELIX PETER FELIX

HAUSMARKE

WEGE DES IMMOBILIENMARKETINGS

BRANDINGPROPERTYAPPROACHES TO REAL ESTATE MARKETING


HAUSMARKE



Michelle Galindo, born 1982, currently

living in Berlin, has studied architecture

in Los Angeles. Since 2004 she has edited

and written numerous design and archi-

tectural books as well as city guides for

different international publishers.

Doctors’ Practices features 60 differ-ent offices and practices created for a wide variety of fields, from dentistry and pediatrics to Traditional Chinese Medicine. The architects and designers featured demonstrate the most creative solutions to the very particular demands of the healthcare sector.

ISBN 978-3-03768-077-3

www.braun-publishing.ch

Doctors’ practices have become a new frontier in construction. Architects and designers around the world have risen to the challenge, successfully creating environments that are as innovative and inviting as they are functional. The patient finds himself or herself in well designed and comfortable surroundings, which contribute as much to the process of healing and recovery as well as the technical equipment and medical com-petence.

Do

cto

rs’ P

ract

ice

s

Also available in this series:

www.braun-publishing.ch

Re-Use Architecture

ISBN 978-3-03768-064-3

Kindergartens – Educational Spaces

ISBN 978-3-03768-049-0

Ecological Architecture

ISBN 978-3-03768-010-0

Malls and Department Stores

ISBN 978-3-03768-018-6

Cinema Architecture

ISBN 978-3-03768-027-8

Stations

ISBN 978-3-938780-044-5

Pharmacies

ISBN 978-3-03768-096-4

Automobile Architecture

ISBN 978-3-03768-073-5

Playground Design Michelle Galindo

niggli BENTELI

6

new title

Chris van UffelenBook design: Martin DenkerStay OvernightHospitality Design in Repurposed WallsEnglishHardcover24 x 28 cm | 9½ x 11 in.320 pages520 illustrationsISBN 978-3-03768-244-9£ 39.95May 2019

From the contents:n Film Studio Ace Hotel Downtown LA, USA (Commune Design) n Chapel Suite Albergo Villa Marta in Lucca, Italy (O2 Studio)

n Old Mill Hotel Belgrade, Serbia (Graft Architects)n W Hotel Bank Building in Amsterdam, Netherlands (Office Winhov)n The Silo in Cape Town, South Africa (Heatherwick Studio)

Adaptive reuse of existing buildings is gaining ground also in the hotel industry. The careful and respectful handling of the building fabric is as important in this process as the creative extension of the existing structures. Con-verting old structures for new purposes is a great way to offer an authentic experience for guests, while also conserving land, reducing urban sprawl and preserving the originality of historic buildings.

The featured architects show different pos- sibilities how stations, warehouses, churches and offices can be converted into hotels. Whether through striking contrast with the new creation or reinterpretation of the exist-ing architecture – or indeed both together – all featured projects are defined by their respect-ful and thoughtful stance towards the sites they occupy and establish an enthralling rela-tionship between the old and the new.

sample pages…

16 S TAY OVERNIGHT

Onomichi u2

5Hiroshima, Japan

ISBN-13: 978-3-03768-244-9

18 19 S TAY OVERNIGHTS TAY OVERNIGHT

Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a lar-ge language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia.

Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the, a larg Far far away, behind the word mountains, far from the countries.

1 Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts.

2 Far far away, behind the word mountains, far from the coun-tries Vokalia and Consonantia, there live the blind texts far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts.

It is a paradisematic country, in which roasted parts of senten-ces fly into your mouth even the all-powerful Pointing has no con-trol about the blind texts it is an almost unorthographic life.

One day however a small line of blind text by the name of Lorem Ipsum decided to leave for the far World of Grammar. The Big Oxmox advised her not to do so, because there were thousands of bad Com-mas, wild Question Marks and de-vious Semikoli, but the Little Blind Text didn’t listen. She packed her by the name of Lorem Ipsum.

2

1 3

8

From the contents: n Sleep and Play in Moscow, Russia (Ruetemple)n Riviera Cabin in La Spezia, Italy (llabb)n 29 sqm in Wrocław, Poland (3XA)

n BB 501 in Chongqing, China (Jam)n Lightbox in Point Roberts, WA, USA (Bohlin Cywinski Jackson)

The desire for as much space as possible on as little room as necessary is neither auto-matically connected to an alternative lifestyle nor is it a protest against our luxury-oriented society. Sometimes it simply makes life ea-sier, more comfortable, and more economical. The “Tiny House Movement” lifestyle trend, which began in the United States, has spread throughout the entire world, intensified by the construction and financial crisis.

This title presents contemporary projects from around the world that take on the simple yet challenging task to develop enthralling room concepts and spatial solutions for the efficient use of the smallest living spaces. The furnish- ings need to be carefully designed and com-pact to make the most of the available space. These mini interiors investigate the possibility of providing a better setting for everyday living based on what is necessary, what is desired and what is possible.

Lisa BakerBook design: Edwin van GelderTiny Interiors Compact Living SpacesEnglishHardcover23.5 x 23.5 cm | 9¼ x 9¼ in.248 pages370 illustrationsISBN 978-3-03768-247-0£ 39.95April 2019

sample pages…

new title

9

ISBN-13: 978-3-03768-247-0

21 Microloft Kd7620 Tiny Interiors 21

CHEN RESIDENCETAIPEI CITY, TAIWAN

Title: Chen Residence

Designer: KC design studio

Location: Taipei City, Taiwan

Assignment:

Client:

Completion: 2013

22 Tiny Interiors 23 Chen Residence

First Floor

The conceptual idea behind this design was the creation of ‘spatial flexibility’, merged with northern-European style. The client desired a dining area, study and guest room, all integrated into an open-plan space. Thus a space was created that has been segregated to form various functional areas. In accordance with typical northern-European style, most of the main building materials are light in color and include the use of pinewood, Paulownia wood and Pandomo flooring. Decorative elements such as glazed tiles, metallic accessories and colorful fabric give the interior design a playful and colorful accent.

11

From the contents: n Garður Landhouse in Reykjavík, Iceland (Studio Granda) n The Green House in Lejre, Denmark (Sigurd Larsen)n House on Krokholmen, Sweden (Tham & Videgård Arkitekter)

n Cabin Sjusjøen, Norway (Aslak Haanshuus Arkitekter)n House Y in Iisalmi, Finland (Arkkitehtitoimisto Teemu Pirinen)

In almost no other European region the con-nection between nature and design is as pro-nounced and at the same time as varied as in the Scandinavian countries. The rugged wil-derness and dark days require comfortable interiors with warm colors; while lovely land-scape scenarios and long mid-summer nights are juxtaposed to functional-minimalist and timeless design.

This title presents the impressive wealth of Scandinavian interiors, locally inspired and in-ternationally successful. It shows for example how designers rely on the tradition of using local materials and natural shapes which they apply in a successful mix, often with current building technologies, to develop design con-cepts that make the Nordic style so popular and unique.

Chris van UffelenBook design: Lisa ZechNordic StyleWarm & Welcoming Scandinavian InteriorsEnglishHardcover24 x 31.5 cm | 9½ x 12½ in.192 pages340 illustrationsISBN 978-3-03768-246-3£ 34.95March 2019

Warm & Welcoming ScandinavianInteriors

Nordic

Style

Chris van Uffelen

new title

ISBN-13: 978-3-03768-246-3

sample pages…

Fredensborg House

The main goal for this house was to provide a feeling of serenity and calm. The use of different contrasting materials was minimized, in favor of using local materials. The interior is made up of raw gray walls, brushed natural oak floors and white ceilings. Natural materials that had some imperfection gave the house an added authentic aesthetic. In that sense the architects were very much inspired by the Japanese thoughts on wabi-sabi. Another important aspect of the design is the play with natural light. How it gets into the house at different times of the day, makes it an integral part of shaping the architecture. The architects play a lot with different formats of windows to obtain certain effects when the light enters the house – giving each room its own character.

Architect:Norm Architects

Location: Copenhagen, Denmark

Client: privateYear: 2006.

Materials: wood and glass.

Copenhagen3233

a

b

3435

c ed

f

aBildunterschrift Beispiel

bStockholm archipelago, Sweden.

cYear: 2006.

dwood and glass.

ewood and glass.

fwood and glass.

12

new title

MY PRIVATE SPAMARKUS SEBASTIAN BRAUN

Markus Sebastian BraunBook design: Johannes RinkenburgerMy Private SpaEnglishHardcover22 x 22 cm | 8¾ x 8¾ in.224 pages380 illustrationsISBN 978-3-03768-245-6£ 29.95February 2019

From the contents: n Lorimer Street Townhouse in Brooklyn, NY, USA (Elizabeth Roberts Architecture & Design)n Mod Apartment in Kiev, Ukraine (Sergey Makhno Architects)

n Summer Cave House in Santorini, Greece (Kapsimalis Architects)n Sursock Apartment in Beirut, Lebanon (Platau)n Taringa Treehouse in Brisbane, Australia (Phorm Architecture + Design)

The evolution from yesterday’s purely function-al and usually soulless bathroom to today’s pri-vate oasis that comes in all shapes and sizes – and that sometimes even seems like a piece of art – continues to open up new horizons: from introducing elements of ancient bathhouse culture to contemporary concepts, materials and products.

With a careful choice of projects from across the globe, this volume showcases an excep-tional spectrum ranging from small and in-timate baths to wide open spa landscapes – from size S to XL. They all have their own special way of inviting to immerse, relax, and let go. The multitude of design concepts pre-sents the coming together of solid and fluid elements in architecture and interior design as an inspiration for body and soul.

sample pages…

13

ISBN-13: 978-3-03768-245-6

32 33Address: 72 Sentosa Cove Drive, Singapore, Singapore. Client: Optima Capital Pte Ltd. Completion: 2009.Gross floor area: 560 m2 (house), 19 m2 (bathroom).

This home can endure the tropical climate with minimal environmental impact, by tapping into available natural resources. Four levels make up the building, each catering to the family’s various social and entertainment needs while also accommodating each member’s individual need for solitude. The internal spaces face inward into a multifunctional courtyard, which acts as circulation pivot, light well, ventilation exhaust, and a visual focal point. Dense foliage also provides a natural means for additional privacy. The building’s slimmer east and west façades contrast with the wide-open façades on the north and south. This regulates natural lighting and wind ventilation for efficient thermal circulation. A lap pool and training room round off the home’s facilities.

SINGAPOREONG&ONG

72 SENTOSA COVE

From the contents: n Futurium in Berlin, Germany (Richter Musikowski)n Minimal Living in Berlin, Germany (Nägeli Architekten)n Floating Penthouse Berlin, Germany (Atelier Zafari)

n Greenland Central Plaza in Zhengzhou, China (gmp)n Urban Barn in Palo Alto, CA, USA (Goderbauer Architects)

Architecture and the architectural discourse have become ever more important for the cre-ative hub of Berlin. Whether new constructions or building redevelopments, interior design, landscape architecture or urban planning, proj-ects related to the German capital stand for sophisticated concepts and high quality. The variety of ideas, the technical perfection with which it is implemented, and the attention to ecological aspects are essential factors which characterize the building culture in and from Berlin.

The presentation of the 60 to 70 projects in eight chapters is accompanied by essays on exemplary aspects. These range from the ar-chitectural significance of Berlin for tourism, new interior design trends for bars and restau-rants, and look at the newly developed city quarters and their relationship to neighboring local subculture scenes.

Architektenkammer Berlin (ed.)Book design: eckedesignBuilding Berlin, Vol. 8The latest architecture in and out of the capital EnglishSoftcover21 x 27 cm | 8¼ x 10¾ in.192 pages430 illustrationsISBN 978-3-03768-248-7£ 24.95March 2019ISBN-13: 978-3-03768-248-7

sample pages…

6362 Office, Commerce & Trade

Kapelle-Ufer 410117 Berlin

GFA 45,325 m²GV 170,000 m³

KSP Jürgen Engel Architekten www.ksp-architekten.de

Client: OVG Real Estate GmbH

HumboldtHafenEins

New construction of an office complex as the result of a competition in 2011. Two- storey arcades for cafés and restaurants line the waterside promenade. Above the building plinth, the office levels meander around three open courtyards. This gives every rental unit a view of the water. At the south end, the building projects over the waterfront promenade. The office floors are arranged as combination offices: an open central zone links the individual perimeter offices. Floor-to-ceiling windows and glass fibre reinforced concrete define the façades. A CHP plant provides heat and electricity. A ventilation system with heat recovery, an energy-optimised cooling system and the triple insulating glazing with infrared reflecting coating all contribute to the energy efficiency. The office building was the first to receive a platinum label from the German Sustainable Building Council (DGNB).

24

View from the River Spree bend

Office View from the Humboldthafen (above), standard floor plan and location plan (below)

Office, Commerce & Trade 24

AKB_JB16_Layout_final_englisch.indd 62-63 03.09.18 10:08

new title

16 17Address: Grünspechtstraße, Munich, Germany. Client: private. Completion: 2011. Gross floor area: 75 m2. Project Architects: Sascha Arnold, Tobias Dorfmeister. Materials: dark-stained acacia wood.

The attic of a 1920s detached villa in the Munich district of Hartmannshofen was turned into an open and modern residence. To maintain the quality of the roof truss, all fittings were matched to its shape. The dark etched acacia furniture is subordinated to the geometry of the space. The characteristic shape of the roof design is highlighted and accentuated by the indirect illumination on the flanks of the vault. The elaborate restoration of the existing hardwood floors coupled with the addition of box-type round-arched windows at the narrow sides of the house created a link to the origin of the old building, strengthening its character. The spatial transitions are flowing, the slightly set back furniture accommodates perception of the entire space with the sliding doors closed, resulting in a generous spatial experience.

ARNOLD | WERNER ARCHITEKTENMUNICH

PRIVATE BATHROOM

100

Site plan View from the street

360-degree video wall in the stadium

New construction of a stadium for the Russian premier league team, FK Krasnodar. The structure was built in accordance with UEFA guidelines as a dedicated football stadium for about 34,000 spectators. It is the core of a newly developing urban district in the northeast of Krasnodar. The building rises above the surrounding sports park and the neighbouring football academy. Its horizontally tripartite façade references ancient amphitheatres as the archetype of the stadium per se. They are articulated by fluted pilasters in Roman travertine. A 4,700-square-metre video screen runs behind the top tier. Its curved shape derives from the geometry of the tiers and the oval of the stadium. A ring cable roof spans the tiers. Technical zones for floodlighting and stand heating are integrated into the lower of the two PTFE-coated glass fabric roof membranes.

ul. Razvedchika Leonova 1350901 Krasnodar (Russia)

FA 120,000 m² Seats 34,150

gmp • Architekten von Gerkan, Marg und Partnerwww.gmp-architekten.de

Client: Investstroj Krasnodar

FK Krasnodar Stadium

FaçadeHealth, Leisure & Social Services 38

N

05

2550

AKB_JB17_Layout_englisch_final_180103.indd 100-101 03.09.18 10:33

backlistbacklist

14 15

Coffee LoveCafé Design & StoriesISBN 978-3-03768-242-5£ 29.95

When a Factory Becomes a HomeISBN 978-3-03768-240-1£ 39.95

Building to EducateSchool Architecture & DesignISBN 978-3-03768-238-8£ 35.00

Company GardensISBN 978-3-03768-241-8£ 35.00

Stack, Cut, Assemble ISO 668ISBN 978-3-03768-231-9£ 35.00

Where Architects Stay in Europe ISBN 978-3-03768-232-6£ 24.95

Young VisionariesThe New Generation of ArchitectsISBN 978-3-03768-233-3£ 45.00

MakeoverISBN 978-3-03768-234-0£ 59.95

Inspired & InspiringISBN 978-3-03768-235-7£ 39.95

Healing Architecture 2004–2017ISBN 978-3-03768-230-2£ 35.00

Nomadic LivingRelocatable ResidencesISBN 978-3-03768-227-2£ 39.95

Design Affairs: Shoes, Chandeliers, Chairs, etc. by Architects ISBN 978-3-03768-223-4£ 19.95

Massive, Expressive, SculpturalBrutalism Now and ThenISBN 978-3-03768-224-1£ 39.95

Design Solutions for Urban DensificationISBN 978-3-03768-228-9£ 45.00

The Sunny Side of LifeWinter Gardens, Sunrooms, Glazed HousesISBN 978-3-03768-226-5£ 29.95

XS – small houses big timeISBN 978-3-03768-202-9£ 35.00

Where Architects StayLodgings for Design Enthusiasts ISBN 978-3-03768-208-1£ 24.95

Pallets 3.0. Remodeled, Reused, Recycled: Architecture + DesignISBN 978-3-03768-211-1£ 29.95

Compendium of Landscape ArchitectureISBN 978-3-03768-219-7£ 69.95

Living in WoodArchitecture & Interior DesignISBN 978-3-03768-218-0£ 35.00


HAUSMARKE




HAUSMARKE



Rough Past Meets New DesignISBN 978-3-03768-220-3£ 39.95

Branding PropertyISBN 978-3-03768-221-0£ 49.95

Cool Off! The Pool BookISBN 978-3-03768-207-4£ 35.00

On The ShoreSeaside LivingISBN 978-3-03768-213-5£ 29.95

Green, Greener, Greenest:Façades, Roofs, IndoorsISBN 978-3-03768-212-8£ 29.95

The sub/Urban Idea ISBN 978-3-03768-214-2£ 39.95

Temporary ArchitectureISBN 978-3-03768-169-5£ 35.00

Extreme Minimalism: ArchitectureISBN 978-3-03768-164-0£ 35.00

Green, Hidden and AboveThe Most Exceptional TreehousesISBN 978-3-03768-193-0£ 35.00

Rough InteriorsISBN 978-3-03768-157-2£ 35.00

Link it!Masterpieces of Bridge DesignISBN 978-3-03768-175-6£ 45.00

Built on WaterFloating Architecture + DesignISBN 978-3-03768-178-7£ 45.00

Mediterranean LivingISBN 978-3-03768-197-8£ 35.00

Yoga and Spiritual RetreatsISBN 978-3-03768-194-7£ 35.00

Sailing YachtsISBN 978-3-03768-165-7£ 39.95

Tropical Houses ISBN 978-3-03768-095-7£ 39.95

Tropical LivingISBN 978-3-03768-179-4£ 39.95

Tropical GardensISBN 978-3-03768-143-5£ 39.95

Airport ArchitectureISBN 978-3-03768-104-6£ 45.00

Studios & Workshops –Spaces for CreativesISBN 978-3-03768-181-7£ 45.00

backlistbacklist

16 17

Townhouse Design –Layered Urban LivingISBN 978-3-03768-172-5£ 45.00

Bamboo Architecture & DesignISBN 978-3-03768-182-4£ 35.00

CONCRETEPure. Strong. Surprising.ISBN 978-3-03768-189-3£ 49.95

Berlin – The Architecture GuideISBN 978-3-03768-083-4£ 24.95

Prague – The Architecture GuideISBN 978-3-03768-112-1£ 19.95

Munich + Bavaria – The Architecture GuideISBN 978-3-03768-167-1£ 19.95

London – The Architecture GuideISBN 978-3-03768-030-8£ 19.95

Paris – The Architecture GuideISBN 978-3-03768-002-5£ 24.95

Retro & Vintage DesignISBN 978-3-03768-171-8£ 29.95

Kids’ DesignISBN 978-3-03768-155-8£ 29.95

Packaging DesignISBN 978-3-03768-139-8£ 29.95

Toy DesignISBN 978-3-03768-028-5£ 24.95

Do not disturb!Heavenly Honeymoon RetreatsISBN 978-3-03768-200-5£ 29.95

The Beauty of SpaceLiving in Minimal StyleISBN 978-3-03768-204-3£ 35.00

Working in StyleArchitecture + InteriorsISBN 978-3-03768-203-6£ 49.95

Living in StyleArchitecture + InteriorsISBN 978-3-03768-177-0£ 49.95

101 Hotel Rooms, Vol. 1(softcover edition)ISBN 978-3-03768-184-8£ 19.95

101 Hotel Rooms, Vol. 2ISBN 978-3-03768-198-5£ 39.95

101 Hotel Baths & SpasISBN 978-3-03768-180-0£ 39.95

101 Hotel-Lobbies, Bars & RestaurantsISBN 978-3-03768-138-1£ 39.95

Bars, Clubs & LoungesISBN 978-3-03768-176-3£ 39.95

Winter Sports in Vintage Poster Art ISBN 978-3-03768-185-5£ 69.95

Sommeliers’ HeavenISBN 978-3-03768-183-1£ 49.95

long established and the most fashionable BookshopsISBN 978-3-03768-122-0£ 24.95

Architectural Visions ISBN 978-3-03768-035-3£ 35.00

The Book of Drawings + Sketches: ArchitectureISBN 978-3-03768-150-3£ 35.00

Villas – Superb Residential StyleISBN 978-3-03768-158-9£ 55.00

Chalets – Trendsetting Mountain TreasuresISBN 978-3-03768-156-5£ 55.00

Interior design is becoming an ever more comprehensive field of activity. Today interior designers are often involved in the design of new buildings as well as the planning for conversion or new use construction. This compendium is both a refer-ence work and a source of inspiration with 500 unique examples of contemporary interior design, featuring the work of world-renowned designers as well as emerg-ing talents. There are a multitude of materials and colors, forms, surfaces and furniture which together with the deployment of light create a targeted effect. The selection of cutting-edge projects showcased in this book from private houses to shops, spas, restaurants and offices, among others, provide a global vision. The Atlas of World Interior Design gives a detailed overview of world interior design today, between international trends, regional traditions and individual styles.

ISBN 978-3-03768-061-2www.braun-publishing.ch

ATLASOF WORLD INTERIOR DESIGN

500 x Art in PublicISBN 978-3-03768-098-8£ 35.00

Atlas of European ArchitectureISBN 978-3-03768-192-3£ 58.00

Atlas of World ArchitectureISBN 978-3-03768-127-5£ 69.95

Atlas of World Interior DesignISBN 978-3-03768-061-2£ 69.95

Michelle Galindo, born 1982, currently

living in Berlin, has studied architecture in Los

Angeles. Since 2004 she has edited and written

numerous design and architectural books as

well as city guides for different international

publishers.

Michelle Galindo, née en 1982, a etudié

l’architecture à Los Angeles et vit actuellement

à Berlin. Depuis 2004, elle rédige et ecrit de

nombreux livres d’architecture ainsi que des

guides touristiques pour de différentes maisons

d’éditions internationales.

ISBN 978-3-03768-076-6www.braun-publishing.ch

JAPANESE

À première vue, l’architecture intérieure japonaise

semble se fonder sur des contradictions. Des couleurs

simples cachent des concepts compliqués et ludiques,

des espaces hyper modernes sont construits avec des

matériaux traditionnels et le rapport entre la nature et

l’architecture est parfois tendu, parfois harmonieux. Cer-

tains aspects restent constants. Le minimalisme chic

domine, les couleurs sont surtout claires et chaudes, et

les créateurs trouvent toujours des solutions extraordi-

naires à des problèmes ordinaires. Cet ouvrage présente

47 projets d’architecture intérieure japonaise contempo-

raine, comprenant des hôtels, des bureaux, des bars, des

restaurants et des domiciles privés. Des concepteurs de

renommée internationale comme Jo Nagasaka et nendo

ainsi que de nouveaux talents montrent que le pays du

Soleil-Levant est aussi le pays de la créativité sans fin.

At first glance, Japanese interior design seems ruled by

contradictions. Simple color schemes articulate complex

and playful concepts, hyper-modern spaces are created

using only traditional materials, and the relationship

between nature and human architecture is sometimes

tense, sometimes harmonious. Some aspects do remain

constant: stylish minimalism rules, the color palette

tends to be warm and light, and the designers always

seem to invent extraordinary solutions to ordinary

challenges. This volume presents 47 of Japan’s most

exciting contemporary interior design projects, with a

range of areas that includes hotels, offices, shops, bars,

restaurants, and private homes. From world-renowned

designers like Jo Nagasaka and nendo to up-and-coming

young talents, the Land of the Rising Sun proves to be a

land of endless inspiration and creativity.

Inte

rior

Des

ign

JAPA

NES

E

Michelle Galindo

InteriorDesign

Atlas of World Landscape ArchitectureISBN 978-3-03768-166-4£ 69.95

Japanese Interior DesignISBN 978-3-03768-119-0£ 19.95

Masterpieces: Country House Architecture + DesignISBN 978-3-03768-072-8£ 35.00

Masterpieces: Courtyard Architecture + DesignISBN 978-3-03768-162-6£ 39.95

Masterpieces: Performance Architecture + DesignISBN 978-3-03768-042-1£ 35.00

Masterpieces: Roof Architecture + DesignISBN 978-3-03768-113-8£ 35.00

Masterpieces: Library Architecture + DesignISBN 978-3-03768-174-9£ 39.95

Masterpieces: Bungalow Architecture + DesignISBN 978-3-03768-145-9£ 39.95

19


1

Willi KunzPhantasmagorias

Daydreaming with Lines

Tagträumen mit Linien

Rêveriesen lignes

niggli BENTELI

typography design architecturetypography design architecture

niggli niggli2120

Santiago Calatrava is among the most important and influential architects of our times. His candid architec-ture is polarizing yet unmistakable. The trademark of the Spanish architect are sculptural bridge designs that gained international acclaim as a symbiosis of elegant shape vocabulary and engineering master feats and that shape the cityscapes of the concerned locations such as Jerusalem, Venice, and California.

“Bridges” is a special homage to his work: Santiago Calatrava in person talks about the visions on artistic- architectural philosophies behind his unparalleled bridge designs. He also contributes many descriptions of implemented and unimplemented projects, which, together with first drafts, water color paintings, as well as high-quality photographs and renderings, document the selected projects.

_ The most important engineer-cum-architect of bridge design_ Direct insights into Calatrava’s thoughts, visions and inspirations _ Wide variety of visual materials _ Finished and unrealized projects

Santiago Calatrava

Book design: Lisa Zech

Santiago Calatrava: Bridges

English, 512 pages, 640 illustrations

30 x 25 cm | 11¾ x 9¾ in., hardcover

£ 79.00

ISBN 978-3-7212-0984-6

June 2019ISBN-13: 978-3-7212-0984-6

Santiago Calatrava is a highly revered architect, who

received many distinctions as well as awards and honorary

doctorates. Born in Valencia in 1951, he initially studied ar-

chitecture at the Escuela Técnica Superior de Arquitectura in

his hometown, followed by constructional engineering at the

ETH Zurich. He established his own company in 1981, which

today has subsidiaries in Dubai and New York. His most

important current major work is the transportation hub at the

Ground Zero in New York with its characteristic “oculus” hall,

which was inaugurated in 2016.

SantiagoCalatrava

BRIDGES

5

Alamillo Bridge Cartuja Viaduct

PROJECT

New Cable-Stayed

Steel Bridge

CLIENT

Regional Government of

Andalusia, Seville

LOCATION

Seville, Spain

YEAR

1987––19924

1110

A Bridge for the World

The Expo’ 92 World Fair provided the authorities of Seville with the opportunity to improve the infrastructure of the city and its surrounding areas in the Province of Andalusia. This initiative included the provision of better road connections to neighboring towns, a ring road for Seville, and eight new bridges over the Guadalquivir river. As part of these works I was commissioned by La Junte de Andalucía with the construction of the Alamillo Bridge, spanning 200 meters (656 feet) over the section of the river known as Meandro San Jerónimo and connected to a viaduct for automobiles, bicyclists, and pedestrians that crosses La Cartuja island. I intended the La Cartuja Viaduct, which is 526.5 meters (1,727 feet) long, to serve as a gateway to the north entrance of the Expo ’92 site. It is a continuous structure with a vaulted underside and overlapping levels: an upper level, about 22 meters (72 feet) wide, for vehicular traffic, and two lower levels for pedestrians and bicycles, 4.4 meters (14.4 feet) wide. My idea was that each of its two 10-meter (33 feet) carriageways cantilevers five meters (16.5 feet) away from the top of the structure, providing shade for pedestrians on the cantilevered promenade below to ensure that the structure receives light through three continuous rows of circular light wells, one along the crown of the vault between the two carriageways and the other two sides, between the carriageway and the promenades. The Alamillo bridge, about 250 meters (820 feet) long with a maximum span of 200 meters (656 feet), is characterized toward La Cartuja island by a pylon, 142 meters (466 feet) high and inclined 58 degrees on the horizontal. The pylon supports the bridgeway with thirteen pairs of cables. From my experience I knew that it was best to construct the pylon by lifting segments of the steel shell into place with a large, high-capacity crane, then welding them together and filling them with reinforced concrete. The weight of the pylon is sufficient to counter-balance the deck, and backstays are thus not required. With this new type of cable-stayed bridge, which substitutes the weight of an inclined pylon for one set of stay cables, I created a dialogue of balance between pylon and deck. For this concept I was inspired by my own work; by the sculpture “Running Torso” from 1986, in which a tensioned wire balances inclined stacked marble cubes.

The bridge deck consists of a hexagonal steel box beam spine to which I attached the stay cables. The steel wings, supporting the deck to either side, are cantilevered off this spine, whose 3.75-meter (12 feet) wide top side, elevated some 1.6 meters (5 feet) above road level, serves as an elevated footway and cycle route between the separated traffic lanes. Initially, I intended to construct the box girder and cantilevered road deck elements on continuous falsework, supported on the mostly dry riverbed. The Alamillo site is unusual in that the same river is crossed twice. As a response to the natural demand for symmetry, I first thought about two bridges in order to span the two sections of the river. The mirrored bridges, with their pylons tilted towards each other, approximately 1.5 kilometers (0.9 miles) apart and connected by the Cartuja Viaduct, would have suggested a huge triangle, its apex high up in the sky.

»However, for a variety of reasons, we decided upon an asymmetrical solution and in the end only built the bridge over the Meandro San Jerónimo and the viaduct.«

Nis nosam que volo volestrum, sunt, sunderum ipsunt quam int unt denda ipsam, ut occabo. Nemodi omnimos venemolo ipsandis doluptas idi de coriostem vernam eostibus a verferum eum que dictur, ipictust fugiatiam ut qui soles dicium nonsecabore, si doloribust mod maximenimus nat vendi dolupta inveraes exceptam et velis nimendit ex ea dolenessunt, idemo blabore debis et alique quod millant. Pudignat volorem oluptati inctustenem quas quias aliquam ut invenis enihicilit ratendi sumqui nus ad ut venes cum ea plitior sam litiur re, occae aborers periorit as praes conem. Udi aliquam vidi bero ommos magni duci odis et mo dolor alita vellesequas atus rest velescim am estectur. Qui nam, cus de ima vel maximillese in nus erum a quis rem voluptatur rate sit veni cuptur sinvero vitasin corro moluptatur, ut as sandaec uscitati consequatur restia nihillam quid exped mo tenimpo rerum, essintiam ius siti auditia sunt, il il id modi tem re nonsequam, cum rem nobit dolupta volorectur, arcimus magnis esequis eos sunt acerspis rem estrum eicto debitat et qui nam, sitatem int ut molorem facia verum evellia num sequaspel et dendae verchit, con reperibus dellit idel ipsapeditati quiatur. Eprae volorum doluptas moloreh entibusanto quam as modis eost laut everia velesti untusdae. Ut autem re vel in eos eumquia dolupiet aut aut harum vendia solorrunto venis si opta debit, con natur. Am, aut re, sam velis eiundipsus sequatur. Qui cones vellicid quiam faccullanda commolo esto blaborempor aut ut renimus audiatem fugiasi tatiscime lis vent, optatis eatisqui to mo ex evel et il incitis res ma sequia cus et dignatur, cuptas non rem re nimus natur

apicipsa velenti onsedio bernatur, utaecab in pres aciliquosam nonsequas etur maximax iminument quo exceat ratemoluptus modit acepudandam hillabo. Ovid quiatemporem aribusa nducili quideliquam dis consequi suntia quam nus, im fugitatum vident alit estem faccatum quat rae pra et qui conempo rectur, con con nem ullumquistem id es moluptae veles doluptam ipsant magnimagni cus acidus, tem accus et omniste mporempos nienist ecullup tatene voluptatendi optas alic tem ipsam rem quoditas atur. Con reiciendi sincima alitate cusapere re re pre et laccatus, solo blantibus ape et et, inullorepe sum nulpa voles que cus aut aligendantem simpost aut facius quat et arumquaest poremol uptaturi si verrum elest quoditat. Tatenit isinis soluptia di ulparitate veria qui dem fuga. Ut velis aborest, coreiciumet et quos ne venti nobit quasi inus et, odignatet officitiat que sinctiandis sequist ut atiaten ditatiate voluptam fuga. Tiam everem fuga. Ugiaecea volorpo rrorit as aliquam commoleni am fugia cor simo eatemquae nulparum, auda quiaspe rnatiam dundis iscipsa qui sim voluptasimo corum laborerum restiae perrores moluption provitios se parum inumque omnitio. Latur, omnima . Tatenit isinis soluptia di ulparitate veria qui dem fuga. Ut velis aborest, coreiciumet et quos ne venti nobit quasi inus et, odignatet officitiat que sinctiandis sequist ut atiaten ditatiate voluptam fuga. Tiam everem fuga. Ugiaecea volorpo rrorit as aliquam commoleni am fugia cor simo eatemquae nulparum, auda quiaspe rnatiam dundis iscipsa qui sim voluptasimo corum laborerum restiae perrores moluption provitios se parum inumque omnitio. Latur, omnima volectatquae dit aut voluptis aut porectaspiet litat pa cus. Uditates aut prae. Cum illuptatur sinci aut apernatium ellaces sam, corest, quid modia peri anistet que nos que laudam, veliquam nate di quo qui illaborepre laccabo reperia non presequ aturibus erum quatibu sdaerum liquat unt, tet et quo dolores ectiore la de dolorum conseditio es delloribus ex erovidi orehend eritae voloribustem audam experovid unt harum, consequidi cone dessiti nverciam eic to destior estectur, cusande eossum fugitatio. Nemo que perero bla volesed qui dunt veriorum debis excere quid et estrum, quae experio.

above

Olorest, con nam, sequat rendem que voloribus dolo

below

Olorest, con nam, sequat rendem que voloribus dolo

7

98 below

Lignis aliquatem face-peristo et, omnis sime plaborestem acest.

below

Lignis aliquatem

1312 left

Ipsus sunt. Lignis aliquatem faceperisto et, omnis sime plaborestem acest.

previous page

Ficaboris asperum cum fuga. Epefer ovitae doluptio.

below

Ipsus sunt lignis com aliquatem faceperisto et, sime plaborestem acest etar.

Silva Baum, Claudia Scheer, Lea Sievertsen

Book design: Silva Baum, Claudia Scheer,

Lea Sievertsen

notamuse

A New Perspective on Women Graphic Designers

in Europe


22 x 31 cm | 8¾ x 12¼ in., hardcover

£ 39.95

ISBN 978-3-7212-0993-8

April 2019

typography design architecture

A New Perspective on Women Graphic Designers in Europe

Edited by Silva Baum, Claudia Scheer and Lea Sievertsen

no

tam

use

As a response to the predominantly male presence in the design scene, this book exclusively presents works by exceptional female designers. It is not about discovering something inherently “female” and defining “feminine” design, but to counter the male-dominated discourse of the sector. The carefully selected graphic works stand on their own and range from commissioned assignments via free artistic projects to the area of design research. They open new perspectives on how diverse contemporary graphic design can be.

This presentation is complemented by interviews con-ducted with 22 female designers, sociologists and design theorists. To shed light on the lacking visibility of women in the design sector, the editors especially focused on the design philosophy, perceptions, and ideals of the respec-tive sectors and the experiences encountered in everyday work situations.

_ Featuring exclusively women graphic designers_ Promising newcomers and established studios_ Each presented by brief introduction followed by selection of works_ Includes interviews on the topic with 22 notable women from the design scene


ISBN-13: 978-3-7212-0993-8

niggli niggli2524

Silva Baum studied communication design in Münster,

Istanbul and Hamburg, where she received her Master’s

degree in 2017. She currently works as an exhibition designer

and develops wall graphics and typography, interfaces and

editorial designs, as well as advertising media for museums

and other cultural institutions.

Following her professional training as a media designer,

Claudia Scheer studied design in Nuremburg (Bachelor) and

Hamburg (Master). She works as a member of the muskat

design company in Berlin as a freelance designer with a

focus on visual identities, packaging and publications.

Lea Sievertsen is studying graphic design for a Master of

Fine Arts in Hamburg and works as a freelance designer.

She previously studied communication design at the Burg

Giebichenstein Kunsthochschule Halle and in Hamburg. In

addition to her design work, she focuses on the theoretical

aspects of practical design. 78 79

Ca

teri

na

Bia

nc

hin

i De

sig

n C

ate

rin

a B

ian

ch

ini D

es

ign

Ca

teri

na

Bia

nc

hin

i De

sig

n C

ate

rin

a B

ian

ch

ini D

es

ign

Ca

teri

na

Bia

nc

hin

i De

sig

n C

ate

rin

a B

ian

ch

ini D

es

ign

Ca

teri

na

Bia

nc

hin

i De

sig

n C

ate

rin

a B

ian

ch

ini D

es

ign

Ca

teri

na

Bia

nc

hin

i De

sig

n C

ate

rin

a B

ian

ch

ini D

es

ign

Ca

teri

na

Bia

nc

hin

i De

sig

n C

ate

rin

a B

ian

ch

ini D

es

ign

Ca

teri

na

Bia

nc

hin

i De

sig

n C

ate

rin

a B

ian

ch

ini D

es

ign

Ca

teri

na

Bia

nc

hin

i De

sig

n C

ate

rin

a B

ian

ch

ini D

es

ign

Ca

teri

na

Bia

nc

hin

i De

sig

n C

ate

rin

a B

ian

ch

ini D

es

ign

Ca

teri

na

Bia

nc

hin

i De

sig

n C

ate

rin

a B

ian

ch

ini D

es

ign

I Axe on WaxYear: 2017Client: Axe on Wax

Selection of posters for »Axe on Wax«, a London based record label.

II Ruifier, Limited Edition PackagingClient: RuifierFormat: various

»Ruifier« is a luxury jewellery brand. This limited edition Christmas packaging was designed to have a luxurious feel to nod towards the retailers it would be stocked in. How ever, it was still important the design considered the playful nature of the brand and the characters from the Friend Collection. The packaging included tissue paper design, look book card for the full Friend Collection, box design, Smiley Faces Rework, stickers and finally a presentation card that would be the first thing a consumer would see when opening the packaging.

III ParkoYear: 2017Client: Parko SkincareFormat: various

»Parko« is an organic and paraben free toiletries range based in LA. Focusing on naturally sourced products that all have ingredients with healing characteristics, »Parko« is all about being good to your skin. The brand was developed with the concept »Back to Basics«. Simple products with a few ingredients combined to create bars of soap and hand creams with scents that are good enough to eat. Basic graphic shapes were developed to subliminally refer to the six ingredients used throughout the entire range. A pastel colour palette was developed to directly refer to the delicate approach the products have on the skin. Coupled, the design elements created a bold and coherent packaging range. The packaging was designed to refer directly to the approachable, laid back characteristic of »Parko«. Shape and typography interact across the brand assets creating balanced and considered layouts. The logotype was developed to be versatile but modern. The addition of small quirks within the typeface allow diversity and variation in the characters, creating a typeface that is hard to miss. With a serif feel to the characters, a slick, sharp typeface has been created, that juxtaposes again the soft contours of the graphic shapes and pastel colour palette.

IV SB XCBYear: 2017Client: Stories Collective

Fashion lookbook for »Stories Collective« based in London and Portugal. Bold graphic shapes and striking colour palettes are used to create memorable spreads. Colours crop the images in interesting dynamic ways.

V ÕndaYear: 2017Client: Alex RitaFormat: various

»Õnda« is a handmade clothing label run by Alexandra Rita. The brand needed a design that reflected the ethos and the meaning of the name of the company. »Õnda«, meaning »wave« in Brazilian, was the main visual focus of the branding, however, the second visual stimulant had to reflect the company’s relaxed attitude. Both factors were approached with the design of a flexible logo that takes reference from a wavelike shape. The wave within the logo was deliberately designed with a soft curve and short in height, creating a natural feeling logotype. The pattern and graphic development shown in the posters and pattern boards were all designed with earthy, neutral tones that reflect the recycling element of the companies work.

Caterina Bianchini is a designer and art director based in London. Founded with the ambition to create beautiful and intelligent design, her studio works in art direction, print, advertising, branding, fashion and graphic design. In her work she experiments with unique typographic layouts and beautifully curated colour palettes. Caterina Bianchini studied in Edinburgh and at Gray’s School of Art in Aberdeen, where she gives guest lectures annually.caterinabianchini.com

Caterina Bianchini Design

Caterina Bianchini

119118 I

An

na

Ha

as

An

na

Ha

as

An

na

Ha

as

An

na

Ha

as

An

na

Ha

as

An

na

Ha

as

An

na

Ha

as

An

na

Ha

as

An

na

Ha

as

An

na

Ha

as

An

na

Ha

as

An

na

Ha

as

An

na

Ha

as

An

na

Ha

as

An

na

Ha

as

An

na

Ha

as

An

na

Ha

as

An

na

Ha

as

An

na

Ha

as

An

na

Ha

as

303302

Yu

kik

o Y

uk

iko

Yu

kik

o Y

uk

iko

Yu

kik

o Y

uk

iko

Yu

kik

o Y

uk

iko

Yu

kik

o Y

uk

iko

Yu

kik

o Y

uk

iko

Yu

kik

o Y

uk

iko

Yu

kik

o Y

uk

iko

Yu

kik

o Y

uk

iko

Yu

kik

o Y

uk

iko

V

8180

Ca

teri

na

Bia

nc

hin

i De

sig

n C

ate

rin

a B

ian

ch

ini D

es

ign

Ca

teri

na

Bia

nc

hin

i De

sig

n C

ate

rin

a B

ian

ch

ini D

es

ign

Ca

teri

na

Bia

nc

hin

i De

sig

n C

ate

rin

a B

ian

ch

ini D

es

ign

Ca

teri

na

Bia

nc

hin

i De

sig

n C

ate

rin

a B

ian

ch

ini D

es

ign

Ca

teri

na

Bia

nc

hin

i De

sig

n C

ate

rin

a B

ian

ch

ini D

es

ign

Ca

teri

na

Bia

nc

hin

i De

sig

n C

ate

rin

a B

ian

ch

ini D

es

ign

Ca

teri

na

Bia

nc

hin

i De

sig

n C

ate

rin

a B

ian

ch

ini D

es

ign

Ca

teri

na

Bia

nc

hin

i De

sig

n C

ate

rin

a B

ian

ch

ini D

es

ign

Ca

teri

na

Bia

nc

hin

i De

sig

n C

ate

rin

a B

ian

ch

ini D

es

ign

Ca

teri

na

Bia

nc

hin

i De

sig

n C

ate

rin

a B

ian

ch

ini D

es

ign

I


niggli 26


niggli27

In visual communication, contents are arranged, orga-nized, and presented. Design laws and principles that are inherent to every medium ensure that from a distance a novel looks like a novel, an art catalog like an art catalog, and a magazine like a magazine. This publication offers a compact mix of explanations, practical tips, and back-ground information on the topic.

At its center is the grid as the most important design principle, whose function and application are thoroughly discussed. The grid allows a consolidated approach to a structured design like a blueprint that supports not only faster and easier reading but also better comprehension of information. In a second part, the author discusses the design process itself with answers to seemingly simple questions of what to observe when designing and the sequence of steps. Another chapter focuses on relevant theoretical aspects such as how method and intuition are correlated. The final section contains an extensive glossary.

_ Introduction to the basics of graphic design_ Backgrounds, explanations, guidelines for all thematized aspects_ Strong focus on the grid as the most important element for the topic_ With many visual examples

Ulysses Voelker joined the Hochschule Mainz in the year

2000 as a professor for typography and editorial design and

co-founder of the research institute Designlabor Gutenberg.

After graduating from the HfK Bremen, he initially worked

as an art director before establishing his own companies.

He received several awards for his work.

Ulysses Voelker

Book design: Michael Schmitz

Structuring Design

Graphic Grids in Theory and Practice


17.5 x 25 cm | 6¾ x 9¾ in., hardcover

£ 29.95

ISBN 978-3-7212-0994-5

March 2019ISBN-13: 978-3-7212-0994-5

6—7

AA

A1

A2

A3

A4

A5

A6

A7

A8

B

B1

C

C1

C2

C3

D

D1

D2

D3

D4

Graphic Grids in Everyday Design

Behind the scenes of design — which grids are used where and how — the medium is the message: From novels to websites, from the base line grid to the responsive layout — the invisible grid always sends out signals, some may sound complicated, but in reality it is all rather simple

30—31

GRAPHIC GRIDS IN EVERYDAY DESIGN THE GRID IN NON-FICTION BOOKS

A

A1

A2

A3

A4

A5

A6

A7

A8

B

B1

C

C1

C2

C3

D

D1

D2

D3

D4

The grid in non-fiction booksA–3

Of course, the primary requirement for non-fiction books is sensible reader guidance. Headlines relate to the associa-ted columns, marginal columns complement the text, pic-ture captions offer assistance. In other words: the content is presented in a logical manner and the result is a harmonious overall image. Such harmonious design also includes repea-ted image sizes. They are (invisibly) related to each other, for example by having proportionate formats. At the same time, harmonious design also means that images that are next to (or inside) the text are associated with text lines (i.e. the base line grid). Therefore, images should not float "any which way" in space unrelated to each other 1.

Maion namus et fugit re, nonseque sim quiam, non ped et deresci mporibu strupta incipsaessi consequides sit rat maio. Et aut plaut et harchil isinventi qui temquam, idi con rerfe-ris re necus sit dolum et fugia si tendae iliqui dolorecturi de quunt. Mil estrum dolessum que ex eatempo struntur? Labo-rio quis earum qui qui dolupti squiati untiatist iusant labor sim etur? Quia dolum et adis si num earciist quias endiantotat asitias a velignam, es reheneseque odi volorro quam no.

Ebis saped que platur, odiatibus nonsedigendi ommo esciliae endae laborro id quam eatius. Laciistia que est, tem quas quidunt omni omnis exero bea nobis animenda dolupta ssi-modi tassinv erroriant mo inus quam aut et quam id et ipsum repelest ariorepero conectios aut arum aborese repellestis mos et dolorestias inihitat.Olendit re plabore, occus volorpo repelicia dolupis accusci aspero ommolorum fugiatum aritis ipis quibuscium qui unt, sed ullantur, in net aut la destet ommo beaquam quam coris verchil liquiam, ut volo omnis aut haribus ut sequatet enimu-sam conseq. Ibeaqui cusdandit idebis rerum qui nimusti stibus ad essum utem dolupta turiatet ut qui consed explic to con pratur 2 – 5.

We are all familiar with non-fiction books since we have all attended school. And sometimes I ask myself to this day if my aversion to a certain subject or another may have stemmed from the confusing non-fiction books that I had to plot through. Yet it is not an easy task – a non-fiction book confronts us designers with the task of having to combine texts and images, preferably with the greatest reading convenience and optimal reader guidance.

1 The example double page from a non-fiction book shows that a large amount of information must be organized in a way that is easy for the reader to comprehend. This is why the grid is divided not only hori-zontally but also vertically. Such vertical division into modules allows standardized reference edges and image proportions.

LOREM IPSUM DOLO SIT AME

CONSETETUR

SADI SCING ELIT, SED DIAM NONUMY IRMOD

TEMPOR INVIDUNT UT ABORE ET DOLOE MAGNA

ALIQUYAM ERAT,ED DIAM VOLUPTUA. AT VERO

EOS ET ACCUSKI2SANCTUS EST LOREM IPSUM

DOLO SIT AMET. LOREM I PSUM DOLOR SIT

MET, CONSETETURSA IPSCING ELITRED DIAM

NONUMY EIRM OD TEMPORINVIDUNT UT LABOR

ET DOLORE MAGNA ALIQ YAM ERAT SED DIAM

VOLU AM ET JUSTODUODOLORES ET E

REBUM. STET CITA KASD GUBE GREN, NO SEA

TAKI2SANCTUS EST LOREM

LOREM IPSUM DOLO SIT AMASDASE

CONSETETUAD ASD AASD A ASDA R

SADI SCING ELIT, SED DIAM NONUMY IRMOD






NONUMY EIRM OD TEMPORINVIDUNT UT L

IPSUM DOLO SIT AMET. LOREM I PSUM DOLOR

SIT MET, CONSETETURSA IPSCING ELITRED

DIAM NONUMY EIRM OD TEMPORINVIDUNT UT

LABOR ET DOLORE MAGNA ALIQ YAM

LOREM IPSUM DOLO SIT ASDASDA ME

CONSETETUR

SADI SCING ELIT, SED DIAM NONUMY IRMNA





NONUMY EIRM OD TEMPORINVIDUNT UT LABOR

ET DOLORE MAGNA ALIQ YAM ERAT SED DIAM

VOLU AM ET JUSTODUODOLORES ET E

REBUM. STET CITA KASD GUBE GREN,O SEA

TAKI2SANCTUS EST LOREM IPSUM DOLO SIT

AMET. LOREM I PSUM DOLOR SIT MET,

L ASDAF ADSD

L ASDSAD ASD ASDDA

ASDA

L ASDAASD ASDD

L ASDA ASD AS

L ASDAAS ASD AS ASDA

ASDDD

L ASDAASSDASDAASDD

L ASDAF ADSDASDASD ASJDKSDFJKNSDFSS

ASDFJSKGFAASD ASDJ ASDJ LDSFSDF

L ASFFDDF ASDJIAF JASFKLSDF SDFSDFSDF

L ASDSAD ASD ASDDAFSDFSDFSDSFSDFSDFS

L ASDFFFFDF

L ASDAF ADSDASDASD ASJDKSDFJKNSDFF SS

ASDFJSKGFAASD ASDJ ASDJ LDSFSDFFS

L ASF AS

L AAD ASDA DSF SDBJKSD SDFJKSDF S

AASDDFJSKGFAASD ASDJ ASDJ LDSFSDF

AASDDFJSKGFA

A AASDD

LOREM IPSUM DOLO SIT ASDASDA ME

CONSETETURSDFSDFSDFDFSSDF


CONSETETURSA IPSCING ELITRED DIAM

NONUMY EING ELIT, SED DIAM NONUMY IRMOD


ALIQUYAM ERAT,ED DIAM VOLUPTUA. AT

VERO EOS ET ACCUSKI2SANCTUS EST LOREM

IPSUM DOLO SIT AMET. LOREM I PSUM DOLOR

SIT MET, CONSETETURSA IPSCING ELITRED

DIAMRM OD TEMPORINVIDUNT UT LABOR ET

DOLORE MAGNA ALIQ YAM ERAT SED DIAM VOLU

AM ET JUSTODUODOLORES ET

»Alvar Aalto«Alvar Aalto, Karl Fleig

GRAPHIC GRIDS IN EVERYDAY DESIGN

86—87

A

A1

A2

A3

A4

A5

A6

A7

A8

B

B1

C

C1

C2

C3

D

D1

D2

D3

D4

2 »Liquid« web design: the horizontal dimension of the layout adjusts to different monitor widths. The vertical distances remain constant.

LOREMP

SUMOLSIT

DAAME

CONSSET

ETUSR

SADISDSCI

LOREMPCONSSETETUSRSADISDS

LOREM IPSUM DOLOASD SIT

AMASDASE ASD ASD

SADI SCING ELIT, SED DIAM NONUMY

IRMOD TEMPOR INVIDUNT UT ABORE ET

DOLOE MAGNA ALIQUYAM ERAT,ED DIAM

VOLUPTUA. AT VERO EOS ET ACCUSKI-

2SANCTUS EST LOREM IPSUM DOLO SIT




IPSUM DOLO SIT AMET. LOREM I PSUM

DOLOR SIT MET, CONSETETUR

LOREMP

SUMOLSIT

DAAME

CONSSET

ETUSR

SADISDSCI



AMASDASE ASD ASD











LOREMP

SUMOLSIT

DAAME

CONSSET

ETUSR

SADISDSCI


LOREM IPSUM

DOLOASD SIT

AMASDASE ASD ASD

SADI SCING ELIT, SED

DIAM NONUMY IRMOD

TEMPOR INVIDUNT UT

ABORE ET DOLOE MAGNA

ALIQUYAM ERAT,ED DIAM

VOLUPTUA. AT VERO EOS

ET ACCUSKI2SANCTUS

W E B D E S I G N

3 The »adaptive« web design is now added to the »liquid« web design: The depictions show the erratic changes of the information structure – the number of columns changes. This happens when the »break points« take effect.



AMASDASE ASD ASD










LOREMP

SUMOLSIT

DAAME

CONSSET

LOREM IPSUM DOLOASD

SIT AMASDASE ASD ASD

SADI SCING ELIT, SED DIAM NO-

NUMY IRMOD TEMPOR INVIDUNT UT

1 2

3

4

5

1

5

6

2

1

4

5

3

2

6

4

LOREMP

SUMOLSIT

DAAME

CONSSET

ETUSR

SADISDSCI



AMASDASE ASD ASD











DESIGN PROCESS – FIRST STEPS IDEA AND SKETCH

112—113

A

A1

A2

A3

A4

A5

A6

A7

A8

B

B1

C

C1

C2

C3

D

D1

D2

D3

D4

Step 3Mi, to magnihil eum es minverc iuntur? Ucia doluptur sedit rescid minctur modicitione magnatur autem restestrum sus mos quasitati re nonsequi odis duntissit qui berum fuga. Ibus dolorio volumque offictur a cus nem ium lante quatius accum, ommos eum int earchicia naturis.

Step 1The best way for me to think is by drawing, if the sketch is so small that I cannot be precise. The original size of my small sketches.

Step 2I liked the small sketches.They are filled with agitation, but also contain order.

Step 4Sequi omnia qui apicit, optiae dendes sinctot asiminc itatur ape.

Independent of the size of the sketch (each person has their own preferences), it is recommended to sketch several double pages. The reasons: »entertaining« can also entail the surpri-sing change of the layout from one double page to another; while the attribute »informative« can be visualized via continuous elements across several pages. After all, the reader will later leaf through the magazine and not just stare at a single page.

... I have some initial ideas for an informative and at the same time entertaining magazine and record them as sketches.

This is important for all types of entertainment, because people who want to receive information need to have a certain quiet when reading. I want to cultivate the interaction of agitation and order and increase the size of the sketches somewhat. They look as If I could manage with a three- column grid.

Ferchil modit modigni mintem. Nam fuga. Ecte nonsero molo il et expla con num sum aborias sapit ommolorerit est, as erum qui consequi dolorunte eate rae plique nullaut is es et elende nonsent ipit eatquam, vel maxim faces eatem aut aute velis ad et es es magnatur sum ulparchil idunt.Uritatia venes dolupta comnimet experchici dolenihit andae ditatem fugiaestia ipsunt re si sanihicte con repedis inctius.

Evelia dolent que intota nonsequ iatiunda volupti corepeditis ipicit aut quas min pos aut ad explaccae molupta cum ut rest, sanda doloriatquam voluptatur?Ximusap eratempe peliquia dolo omnihiliquia nonsequo.


niggli niggli2928

niggli classics

ISBN 978-3-7212-0145-1

ISBN 978-3-7212-0043-0

ISBN 978-3-7212-0006-5

This book is the legacy of Emil Ruder, one of the origina-tors of Swiss Style whose holistic approach is still recognized as fundamental for graphic designers and typographers all over the world. This volume represents a critical reflection on his teaching and practice and a life-time of accumulated knowledge. _ Unabbreviated edition of the 1967 original edition _ Capturing Ruder’s ideas, methods and approaches

The author is a timeless pioneer of graphic form with an economic use of color and fonts, whose work remains relevant to contemporary minimalist design work for its reliance on the fundamental elements of graphic form – point, line, and shape. The thoroughly revised edition of the design manual classic from 1965 includes new sections that adapt his thoughts to contemporary digital uses. New edition as hardcover volume

_ Revised version of the 1965 design manual adapted to

modern design practices _ Easy to use examples and instructions

Josef Müller-Brockmann’s work is recognized for its simple designs and his clean use of fonts, shapes and col-ors, which still inspires many graphic designers throughout the world today. This Niggli bestseller provides guidelines and rules for the function and use of grid systems from 8 to 32 grid fields which can be used for the most varied of projects, the three-dimensional grid being treated as well. _ Comprehensive overview of grid systems _ Exact directions and instructions

Josef Müller-Brockmann

Grid systems in graphic design. A visual communication manual for

graphic designers, typographers and three dimensional designers

English | German, 176 pages, 357 illustrations

21 x 30 cm | 8¼ × 11¾ in., hardcover, £ 39.95

ISBN 978-3-7212-0145-1

Emil Ruder

Typography. A Manual of Design

English | German | French, 276 pages, 500 illustrations

22.5 x 23.5 cm | 8¾ × 9¼ in., cloth binding with jacket, £ 49.95

ISBN 978-3-7212-0043-0

Armin Hofmann

Graphic Design Manual. Principles and Practice

English | German | French, 200 pages, 301 illustrations

21 x 24.5 cm | 8¼ × 9¾ in., hardcover, £ 35.00

ISBN 978-3-7212-0006-5

Visions of the Bauhaus Books ExploringConnections to Contemporary Graphic DesignPractice

JohannesRinkenburger

The 14 Bauhaus books, edited by Walter Gropius and László Moholy-Nagy, were published between 1925 and 1930. Their authors discussed design principles, practices, and science of art approaches from various perspectives. Johannes Rinkenburger examined and researched the contents and key concepts of this avant-garde series of books along with their backgrounds and context and deducts their useful application and importance to current design schools.

Based on design experiments, new links and correla-tions are established and methods shown that reveal and apply the legacy of Bauhaus, one of the historically most important design schools worldwide, to contemporary design. In the visual illustrations, which make up a large part of the publication, individual concepts and methods of the Bauhaus books are combined, contemplated on and implemented using today’s graphic design methods and techniques.

_ Celebrating 100 years of Bauhaus in 2019 _ Analysis of graphic design concepts of the Bauhaus books _ Accentuating their relevance for today _ llustrated design experiments based on concepts and methods of the book series

Johannes Rinkenburger studied architecture and visual

communications at the renowned Bauhaus-Universität

Weimar. A major focus of his interdisciplinary work is on the

exploration of techniques and methods for visual research

on which he has held several national and international

exhibitions.

Johannes Rinkenburger

Book design: Johannes Rinkenburger

Visions of the Bauhaus Books

Exploring Connections to Contemporary Graphic

Design Practice


18 x 23 cm | 7 x 9 in., softcover

£ 29.95

ISBN 978-3-7212-0992-1

February 2019ISBN-13: 978-3-7212-0992-1

4746

An active line on a walk, moving freely, a walk for a walk's sake, without goal. The agent is a point that sets itself in motion.»Paul Klee (p. 6)

The second experiment of this series is based on a similar approach. While the previous experiment uses time exposure for recording movement, in this case moving images are used. Through various geometrical three-dimensional objects, constantly changing positional relations are presented in a space with a dynamic size. The parameters of the objects are always adjusted to the format of the limiting space and have varying relations to each other.

The material of the creative artist – the painter, sculptor, architect – is shape and color. These design tools created by the human mind should be called abstract due to their artificiality, and the fact that they indicate an endeavor against nature for the purpose of creating order. the shape is expressed in the height, width and depth dimension as a line, an area and a solid. Depending on this it is a lineament (frame-work), wall or space and as such a rigid, i.e. palpable form. In its non-rigid not palpable form it is light that creates solids and space in the geometry of the ray of light and fireworks in a linear fashion and as a flare.»Oskar Schlemmer (p. 11)

The first drafts for the dynamic- constructive power system can only consist of experimental and demonstration devices for testing the relationship between human beings, materials, power, space. this is followed by the utilization of the experimental outcomes for the design of free (free of machine-technology movement) moving works of art.» László Moholy-Nagy(Bauhaus book 14, p. 163)

«

«

«

109108

mouse.sub(center);

acc.normalize(); acc.mult(.5); vel.add(acc); vel.limit(topspeed); loc.add(vel);

for (int i = 0; i < in.bufferSize() - 1; i++) { if (i < in.bufferSize()/2) { l = in.left.get(i)*5; r = in.right.get(i)*5; } else { l2 = in.left.get(i+1)*5; r2 = in.right.get(i+1)*5; } }

x = lerp(x, -(l*width), 0.001); y = lerp(y, -(l*height), 0.001);

translate(width/2, height/2); stroke(0); strokeWeight(2*width); line(x-mouse.x, y-mouse.y, -width/1.9*mouse.x, -height/1.9*mouse.y); noStroke();

x2 = lerp(x2, r*mouse.x*2, 0.05); y2 = lerp(y2, r*mouse.y*2, 0.08); x3 = lerp(x3, r2*mouse.x*2, 0.05); y3 = lerp(y3, r2*mouse.y*2, 0.08);

float d = map(dist(mouse.x, mouse.y, 0, 0), 0, width/2, 1, 0.7); ellipse(x3*d, y3*d, dist(mouse.x, mouse.y, 0, 0)*d, dist(mouse.x, mouse.y, 0, 0)*d);}

3.2.1 Move – Countermove

import ddf.minim.*;

Minim minim;AudioInput in;

PVector loc; PVector vel; PVector acc;float topspeed = 5;

float l = 0; float r = 0; float l2 = 0; float r2 = 0;float x; float y; float x2; float y2; float x3; float y3;float t1 = 0; float t2 = 0;

void setup() { fullScreen(); smooth(); loc = new PVector(mouseX, mouseY); vel = new PVector(0, 0);

minim = new Minim(this); in = minim.getLineIn();

strokeCap(SQUARE); fill(0); ellipseMode(CENTER);}

void draw() { background(255);

t1 = t1+0.003; t2 = t2+0.0058;

float tx = map(noise(t1), 0, 1, 0, width); float ty = map(noise(t2), 0, 1, 0, height);

PVector mouse = new PVector(tx, ty); PVector acc = PVector.sub(mouse, loc); PVector center = new PVector(width/2, height/2);

niggli niggli3130

non-books

further titles

SchneezeichenISBN 978-3-7212-0944-0£ 45.00

Color and FormMemo-game based on Johannes IttenISBN 978-3-7212-0865-8£ 19.95

niggli.puzzleISBN 978-3-7212-0633-3£ 19.95

Colorondo. A Game with 80 ColorsISBN 978-3-7212-0572-5£ 19.95

Building in Exile – Bruno Taut Turkey 1936–1938ISBN 978-3-7212-0990-7 £ 29.95

Postmodern BerlinResidential Buildings of the 80s ISBN 978-3-7212-0987-7£ 35.00

Tbilisi – Archive of TransitionISBN 978-3-7212-0983-9£ 29.95

Architecture & Human RightsA Book on Urban ThinkingISBN 978-3-7212-0980-8£ 35.00

Urban BeingAnatomy & Identity of the CityISBN 978-3-7212-0968-6£ 29.95

ArchiflopISBN 978-3-7212-0960-0£ 24.95

Essays, Arguments & Interviews on Modern Architecture Kuwait ISBN 978-3-7212-0958-7£ 29.95

Modern ArchitectureKuwait 1949–1989 ISBN 978-3-7212-0948-8£ 35.00

Purism in Concept, Form and Materials. The Pioneering Work of Hermann RosaISBN 978-3-7212-0955-6£ 35.00

Re-searching Utopia When Imagination Challenges RealityISBN 978-3-7212-0908-2£ 35.00

Architecture Dialogues Positions – Concepts – VisionsISBN 978-3-7212-0802-3£ 35.00

A Gallery in Type CasesThe Arno Stolz CollectionISBN 978-3-7212-0986-0£ 39.95

The Thonet Brand – A Look at Its Graphic Design HistoryISBN 978-3-7212-0985-3 £ 29.95

Craft-based DesignISBN 978-3-7212-0979-2£ 24.95

RisomaniaThe new spirit of printingISBN 978-3-7212-0966-2£ 29.95

Fab LabRevolution Field Manual ISBN 978-3-7212-0965-5£ 29.95

1

Willi KunzPhantasmagorias

Daydreaming with Lines

Tagträumen mit Linien

Rêveriesen lignes

PhantasmagoriasDaydreaming with LinesISBN 978-3-7212-0964-8£ 19.95

Postage Stamp Designs – From Kafka to LoriotISBN 978-3-7212-0959-4£ 29.95

Rhetoric of LogosA Primer for Visual LanguageISBN 978-3-7212-0957-0£ 19.95

4661 m2. Art in PrisonISBN 978-3-7212-0947-1£ 35.00

Nomadic Furniture 3.0ISBN 978-3-7212-0935-8£ 39.95

360° Industrial DesignFundamentals of Analytic Pro-duct DesignISBN 978-3-7212-0915-0£ 29.95

Experimental Design: Visual Methods and Systematic PlayISBN 978-3-7212-0912-9 £ 39.95

Tools for the Design RevolutionDesign Knowledge for the FutureISBN 978-3-7212-0903-7£ 19.95

Drawing as Design ProcessISBN 978-3-7212-0319-6£ 49.95

Bi-Scriptual. Typography and Graphic Design with Multiple Script SystemsISBN 978-3-7212-0982-2£ 45.00

Design, Typography, etc. A HandbookISBN 978-3-7212-0977-8£ 39.95

52typo. 52 stories on type, typo-graphy and graphic designISBN 978-3-7212-0975-4£ 24.95

Overlap. Web & TypographyISBN 978-3-7212-0946-4£ 19.95

Yearbook of Type, Vol. 2ISBN 978-3-7212-0942-6£ 19.95

New TypefacesPositions and PerspectivesISBN 978-3-7212-0892-4£ 19.95

Typography: Formation and TransFormationISBN 978-3-7212-0495-7£ 39.95

The Graphic Artist and his Design ProblemsISBN 978-3-7212-0466-7£ 49.95

Printed matter, mainly booksISBN 978-3-7212-0399-8£ 35.00

Typography. Advertising. Book DesignISBN 978-3-7212-0341-7 £ 35.00

A History of Visual CommunicationISBN 978-3-7212-0188-8 £ 39.95


R e n a t o B e r g a m i n

ÜberGiacometti reden

Begegnungen mit Eberhard W. Kornfeld und Ernst Scheidegger

B e n t e l i

BENTELI

I AM INUITBY BRIAN ADAMS & JULIE DECKER

I AM

INU

ITB

EN

TE

LI

Quinhagak, Teller, Shungnak, Utqiaġvik, Point Hope, Wainwright, Anaktuvuk Pass, Kaktovik, Kotzebue, Buckland, Noorvik, Noatak, Nome, Shishmaref, Shaktoolik, White Mountain, Bethel, Hooper Bay, Alakanuk, Tuluksak, and Anchorage.

Photographs and stories from Alaska:

Beginning in 2015, Iñupiaq photographer Brian Adams has been traveling through Alaska, capturing the Inuit and their individual stories and finding out how they spend their individual lives in the 21st century. Visiting 21 communities, he took portraits of the residents and recorded their narratives, sharing these across social media. The project I AM INUIT as well as this book have the aim of promoting understanding, dismantling stereotypes, sharing the rich and vibrant culture, and connecting the world with the Inuit, and the Arctic, through common humanity.

ISBN 978-3-7165-1839-7ISBN 978-3-7165-1839-7

www.benteli.ch

facebook.com/benteli

With climate change, the world is coming to the ArcticArctic communities are faced with powerful forces bringing pressures on Inuit culture and society. Global climate change is having a profound impact on the Arctic, its sensitive ecosystem and the communities that rely upon the region’s natural resources. The impacts are real, immediate, physical and psycho-logical.

The issues and opinions related to the future of this region are many and diverse. And Inuit are at the forefront of these. The future of the Arctic is embedded in its land and in its people. Warming of the Arctic will not only affect Inuit, but will also have an impact upon the entire planet. (From the preface)

Adela Lane Adolph Smart Adrian Brown Adrian Nassuk Alicia Solomon Allison Akootchook Warden Amber Allain Amy R. Okpeaha Anastasia Jones Andrew Hadley Andrew Hawk Angela Nasuk Cox Annie Cleveland Arnoldine Hill Audrey Thomas Axel Joe Ben Hopson Benjie Seghlili Iknokinok Beulah Ballot Blaire Okpealuk Bradley Jackson Brandon Booth Brittany Cleveland Bruce Inglangasak Byron Nicholai Caldon Sampson Calvin Brown Sr. Carissa Alexie Carol Richards Caroline Tickett Chanel Alice Tuunralek Simon Charlee Korthuis Charles Foster Charlie Katchatag Chato Michael Moss Sr. Cheryl Panik Christine Kagak Clara Kokeok Clifford Weyiouanna Cora Ablowaluk Coreen Napoka Crawford Patkotak Daniel Komok Darren Kayotuk Dennis Davis Derek Menadelook Derek Moses Diane Coffin Don Tall Sr. Donna Barr Dora Napoka Drew Michael Edgar Jackson Edna Commack Edna Nashookpuk Edwin Vestal Elton Cleveland Emma Daniel Emma Frances Enoch L. Mitchell Esau Sinnok Eugene Asicksik Eugene K. Monroe Sr. Eva Wesley Fred Vestal Frederick Rexford Gabriel Charlie Grace Ongtowasruk Harry Patkotak Harry Williams Helen Jackson Helen Wells Holly Nord-lum Irma Hunnicutt Irving Ashenfelter Isabel Nashookpuk Issac Akootchook Jackie Williams Jaeda Moses James A. Charles Jeff- rey Hawk Jennie Massaun Jeremiah Ticket Jerrilyn Cleveland Jerry Moses Jessica Gologergen Jimmie Milligrock Joe Garnie John Kokeok John Sharp Jon Ipalook Jonas Mackenzie Jon-athan Weyiouanna Joni Edwardsen Joseph Agayar Joseph M. Simon Joshua Cleveland Julia Lee Karen Atseriak Karen Jackson Karl T. Ashenfelter Kate Lambrecht Katherin Evan Kayla Hopson Keenan Jackson Keri Cleveland Kevin Bell Kirk Sampson Kobe Cook Kristen Heakin Kristy Mark Latrell Alstrom Lester Vestal Levi Rexford Linda Lee Linda Soplu Lloyd Hugo Lloyd Morris Lo-gan Gusty Lonnie Arnold Lonnie Tebbits Jr. Lott G. Lott Ludwina Jones Lynden Weyiouanna Makayla Nayokpuk Marie Rexford Marlene Hill Martha Attie Martha Burns Marvin Okleasik Mary Ann Warden Mary D. Charles Mary Patkotak Mary Simon Mason Cook Mason Gregory Melvin Lee Micah Moore Michael Ag- nasagga Mildred Black Minnie Foster Myron Andrew Naomi Ox-ereok Nathaniel Agathluk Nick Topkok Nicole Kanayurak Nora Jane Kaveolook Burns Norman Kokeok Oscar Griest Sr. Paul Patkotak Paul Tickett Peter Napoka Peter Norton Philip A. Booth Philip Jr. Booth Phillip Charlie Preston Olson Rainey Hopson Renee Green Renee Olanna Richard Ahgook Ricky George Rob-ert Stanislaus Robert White Rylan Moses Sally Agloinga Scotty Ipalook Shailene Richards Shelton Kokeok Shirley Ipalook Sonny Jones Sr. Sophie Georgine Cleveland Steven Booth Steven Stone Taktuk Hopson Tara Richards Tariek Oviok Taryn Andrew Taylor Kulukhon Ted Moore Tiffany Tutiakoff Timothy Gavin Jr. Tommy Owen Tori Inglangasak Travis Savetilik Trayton Ballot Trenton Nazuruk Trina Landlord Tristan Peter Warren Douglas Wassillie Isaac Whittier Burns William Jack William Sharp Zoe Mark

niggli BENTELI

From videos by Frank Ocean to the “Guardians of the Galaxy” movie, tapes have become increasingly prominent in cinema, advertising, and, of course, the music industry. And as tape sales in the US grew by 74 percent last year, there is no doubt that it is time to address past, present and future of the Compact Cassette as icon of popular culture.

New generations of individuals, record labels and DIY communities are rediscovering its unique characteristics, adapting them to a contemporary context. In the age of soulless MP3s and similar digital formats there is a real appreciation for the physical qualities of an item that can be collected, exchanged and individ- ually designed. This volume covers themes such as recording and design, distro as distribution source, interviews, and provides a step-by-step manual to conducting own tape experiments.

The Ultimate Guide to the “Tapenaissance”

CASSETTE CULTURETHE PAST AND PRESENT OF A MUSICAL ICONJohn Z. KomurkiBook design: Luca Bendandi

English

160 pages, 280 illustrations,

16 x 21 cm | 6¼ x 8¼ in., hardcover

£ 19.95

ISBN 978-3-7165-1848-9

March 2019

John Z. Komurki, currently living in Berlin, writes about analog technol-

ogy and print cultures. His books have been published in several langu-

ages. He was founding editor of Mexico City Lit, and editor of the Berlin

NEW TITLE

Cassettes Changed Music and Listening Forever

35

Quarterly. Current projects include a history of the mimeograph and

a study of contemporary print practices.

ISBN-13: 978-3-7165-1848-9

NEW TITLE

R. Stevie Moore was born in Nashville in 1952. In 1982, he set up the R. Stevie Moore Cassette Club to distribute his own releases, which he has been doing ever since. To date he has released around 300 albums. As a pioneer of so-called lo-fi music and one of the most prominent figures in the original cassette underground, he is often referred to as the godfather of home recording, an epithet he only grudgingly accepts.

It’s about the music. Cassettes were just a certain avenue, way back when. I was doing reel-to-reel tapes before cassettes in the ‘70s, which is when my whole career started to flower. The DIY thing. I was already doing that for ten years before suddenly there was this new format and it was perfect for me. I just jumped in and took advantage of it.

I left Nashville in 1978 right as Punk and New Wave started happening, and suddenly my career started taking off, in a tiny way. I just fell into it. I don’t recall there being a move-ment. Although I wasn’t the only one, naturally. The conve-nience of it was wonderful. The best thing about tape was that it was so easy to mail via the postal system. That was the best thing, the size of it. And the fidelity was great. In retrospect, I had no problem with the fidelity. And that’s ironic, because

Today you take it for granted—wherever you go, you’re listening to your music. But there was a time, long be-fore the days of iPods and streaming, when your music collection was stuck at home, anchored to a hi-fi. Then, one after the other, two devices burst onto the market and kickstarted a revolution in personal listen-ing. Thanks to the boombox and the Walkman, people suddenly became able to curate a mobile soundtrack to their lives.

Both these iconic appliances were based on cassette technology. But they embodied opposed musical habits. The boombox was noisy, brash, extrovert—it turned your music outwards, for all to love or hate. The Walkman—quiet, private, introvert—enveloped users in a self-enclosed aural universe. For the first time in human history, listening to music became an insular, inward-looking activity.

Incid mi, aut remquat quiae. Ipiciis ciatis ratium dolessenda consequo expliqu atiumqu nsequodepo.




Name: Burger RecordsLocation: California, USAEstablished: 2007Website: burgerrecords.com

Burger Records is an independent record label and re-cord store based out of Fullerton, California. The label was founded in 2007 by Sean Bohrman and Lee Rick-ard, members of the power pop band Thee Makeout Party. The record/video store co-owned by Sean Bohr-man and Brian Flores was opened in 2009.

The label is notable for releasing most of its material on cassette, and among the hundreds of artists re-leased on the label are The Brian Jonestown Massa

36

ART | CULTURE | PHOTOGRAPHY

Pioneering feats of industrialization and electrification, the around 200 retaining walls, weirs, and dams in the Swiss Alps are to this day among the most important monuments of the country’s economic success. With their perfectly crafted architecture, these functional marvels emanate an almost sacral tranquility.

Photographer Simon Walther has been captivated by their magic: fascinated by the interaction between na-ture and technology in the harsh conditions of the alpi- ne climate, he presents the energy and power inherent in every flood barrier in all four seasons in a surprising light. Some walls dominate the landscape with their weighty mass, while others almost seamlessly fit into it. At the same time, in his photographs each dam stands as an independent work of art in Switzerland’s untamed nature.

A Photographic Résumé of More Than 100 Years of Water Barrier Construction

Simon Walther

Monuments of Power

StauWerke

STAUWERKEMONUMENTS OF POWERSimon WaltherBook design: Simon Walther

English | German

192 pages, 160 illustrations,

24 x 33 cm | 9½ x 13 in., hardcover

£ 45.00

ISBN 978-3-7165-1849-6

May 2019ISBN-13: 978-3-7165-1849-6

Homage to the Great Big Swiss Walls

Simon Walther, born in 1965, is a Swiss photographer and designer.

After finishing his training as graphic artist and designer for advertise-

ment, he founded his own communication agency in Wattwil in 1989.

Beside commissions for corporate design, brochures, documentations,

catalogs and annual reports, Walther has devoted himself to freelance

photography of mountains and landscape since 2010.

37

NEW TITLE

Lago Bianco – ein Stausee am Berninapass zwischen dem Valposchiavo und dem Val BerninaBaujahr 1911 Sperrentyp Gewichtsmauer Stauvolumen 18.6 Mio. Kubikmeter Sperrenhöhe 12.9 m Kronenlänge 290 m Seepegel 2235 m ü. MLago Bianco - a reservoir at the Bernina pass between Valposchiavo and the Val Bernina

EVERY WALL IS A DOOR URBAN ART: ARTISTS. WORKS. STORIES ISBN 978-3-7165-1845-8£ 29.95

NEXT EXIT. TRIENNALE VALAIS | WALLIS 2017ISBN 978-3-7165-1843-4£ 24.95

THE TAROT GARDENISBN 978-3-7165-1834-2£ 24.95

NIKI DE SAINT PHALLE AND THE TAROT GARDENISBN 978-3-7165-1537-2£ 45.00

FROM KIRCHNER’S MORPHINE TO A PASSION FOR GIACOMETTIISBN 978-3-7165-1824-3£ 14.95

HARZBURGER HOFTHE STORY OF A GRAND HOTELISBN 978-3-7165-1846-5£ 40.00

MAKING A LIVING FROM OLD SHOESISBN 978-3-7165-1826-7£ 19.95

ULRICH SEIDL IN THE BASEMENTISBN 978-3-7165-1815-1£ 25.00

DRINKING SKILLSISBN 978-3-7165-1790-1£ 39.95

IWC SCHAFFHAUSENENGINEERING TIME SINCE 1868ISBN 978-3-7165-1631-7£ 175.00

FAIRY TALES AND LEGENDS – A JOURNEY. ICE-LANDISBN 978-3-7165-1835-9£ 29.95

DAYS GONE BY ROADSIDE PHOTOGRAPHS OF THE AMERICAN SOUTHISBN 978-3-7165-1841-0£ 39.95

BENTELI

I AM INUITBY BRIAN ADAMS & JULIE DECKER

I AM

INU

ITB

EN

TE

LI

Quinhagak, Teller, Shungnak, Utqiaġvik, Point Hope, Wainwright, Anaktuvuk Pass, Kaktovik, Kotzebue, Buckland, Noorvik, Noatak, Nome, Shishmaref, Shaktoolik, White Mountain, Bethel, Hooper Bay, Alakanuk, Tuluksak and Anchorage.

Photographs and stories from Alaska:

Beginning in 2015, Iñupiaq photographer Brian Adams has been traveling through Alaska, capturing the Inuit and their individual stories and finding out how they spend their individual lives in the 21st century. Visiting 21 communities, he took portraits of the residents and recorded their narratives, sharing these across social media. The project I AM INUIT as well as this book have the aim of promoting understanding, dismantling stereotypes, sharing the rich and vibrant culture, and connecting the world with the Inuits, and the Arctic, through common humanity.

ISBN 978-3-7165-1839-7ISBN 978-3-7165-1839-7

www.benteli.ch

facebook.com/benteli

downüberberg

alpsupside

Alpenpanoramen in ihrer symmetrischen VerdoppelungMountain Panoramas Symmetrically Doubled

Simon Walther

MOTHS OF COSTA RICA’S RAINFORESTISBN 978-3-7165-1840-3£ 45.00

I AM INUITISBN 978-3-7165-1839-7£ 39.95

THE SILENT MAGIC OF THE ALPSISBN 978-3-7165-1838-0£ 49.95

ALPSUPSIDEDOWNISBN 978-3-7165-1831-1£ 39.95

UNDERWATER CATHEDRALSISBN 978-3-7165-1827-4£ 35.00

SHOT BY BOTH SIDESA GLIMPSE OF NEW YORK 1986ISBN 978-3-7165-1788-8£ 25.00

MOMENTS. LANDSCAPE PHOTOGRAPHY AS ART FORM: AN HOMAGE TO NATUREISBN 978-3-7165-1755-0£ 45.00

POWER BOOKISBN 978-3-7165-1743-7£ 39.95

38

AsiaChina, Hong Kong and TaiwanT +852 2553 9289F +852 2554 [email protected]

For Beijing EnquiriesMarc [email protected] For Shanghai EnquiriesJiajin [email protected]

For Taiwan EnquiriesHelen [email protected]

India, Nepal, Bangladesh and BhutanKapil KapoorRoli BooksT + 91 11 2921 0886F + 91 11 2921 [email protected]

JapanSian Edwards & Christian FrederkingExport [email protected]

KoreaZita [email protected]

MalaysiaThames & Hudson (S) Private LtdT +60 7877 6063F +60 7877 [email protected]

Near & Middle EastStephen EmbreyT+44 0117 915 [email protected]

Pakistan and Sri LankaStephen EmbreyT +44 0117 915 [email protected]

Singapore and South East-AsiaThames & Hudson (S) Private LtdSingapore 349560T +65 6749 3551F +65 6749 [email protected]

AustralasiaAustralia, New Zealand & the Pacific IslandsThames & Hudson Australia Pty LtdT +61 3 9646 7788F +61 3 9646 [email protected]

Central & South AmericaNatasha FfrenchExport [email protected]

AfricaSouth Africa, Swaziland, Lesotho, Namibia and BotswanaPeter Hyde AssociatesT +27 21) 447 [email protected]

Rest of AfricaIan BartleyExport [email protected]

For countries not mentioned, please contact:Alexandra LevyExport SalesT +44 20 7845 50038F +44 20 7845 [email protected]

© 2018 by Braun Publishing AG

Braun, Niggli, Benteli are imprints of Braun Publishing AGArenenbergstrasse 28268 SalensteinSwitzerlandT +41.44.586 11 97F +41.71.664 31 [email protected] www.braun-publishing.chfacebook.com/braunpublishing

Sales & DistributionStephan [email protected]@[email protected]

All rights reserved.No part of this catalog may be reproduced in any manner.Prices are subject to change without prior notice.

SwitzerlandBuchzentrum AGIndustriestrasse Ost 104614 HägendorfT +41 62 209 26 44F +41 62 209 27 [email protected]

GermanyLKG Leipziger Kommissions- und Großbuchhandelsgesellschaft An der Südspitze 1-1204571 RöthaT +49 34206 65 122F +49 34206 65 [email protected]

AustriaMohr Morawa BuchvertriebSulzengasse 21232 WienT +43 1 688 14 235F +43 1 688 [email protected]

FranceGEODIF/Groupe Eyrolles61 bd Saint-Germain75240 Paris Cedex 5FranceT +33 1 44 41 11 58F +33 1 44 41 11 [email protected]

USAConsortium Book Sales & Distribution34 Thirteenth Avenue NE, Suite 101Minneapolis, MN 55413-1007T +1 612 746 2600F +1 612 746 [email protected]

OrdersIPS Customer CareT +1 866 400 [email protected]

CanadaRaincoast Book Distribution2440 Viking WayRichmond, BC V6V 1N2T +1 800 663 5714F +1 800 [email protected]

Distribution all other territoriesThames & Hudson Ltd181A High HolbornLondon WC1V 7QXT +44 20 7845 5000F +44 20 7845 5050

Trade Distribution and AccountsLittlehampton Book ServicesFaraday CloseDurrington, WorthingWest Sussex, BN13 3RBCustomer Services T +44 1903 828501

Direct Orders T +44 1903 828511F +44 1903 828801/[email protected]@lbsltd.co.uk

GiftsPoppy EdmundsT +44 20 7845 [email protected]

EuropeBelgium Alexandra LevyExport Sales [email protected]

Eastern EuropeSara TicciT+44 117 915 [email protected]

Eastern MediterraneanStephen EmbreyT+44 117 915 [email protected]

Italy, Spain and PortugalNatasha FfrenchExport [email protected]

NetherlandsVan Ditmar b.v.Bas van der [email protected]

Russia and the Baltic StatesPer BurellT +46 70 725 [email protected]

Scandinavia Per BurellT +46 70 725 [email protected]

United KingdomBen GutcherT +44 20 7845 5023 [email protected]

DISTRIBUTION DISTRIBUTION

39

www.niggli.chfacebook.com/niggli.verlag

www.benteli.chfacebook.com/benteli

www.braun-publishing.chfacebook.com/braunpublishing

UK ISBN 978-3-03768-980-6ISBN-13: 978-3-03768-980-6

Documents

niggli BENTELI