A meticulous and attentive treatment of the photographic image is a primary concern of the publishing house in all program areas. Additionally, the medium of photography has the status of an independent discipline. Artistic positions are just as much of interest as photo-journalism reportage. The criteria are authorship and artistic independence.

Over a period of twenty years, the artist Barbara Heé has photographed Lake Silser and Chaviolas Island again and again. The resulting panoramas present a subtle portrait of this mountainous landscape in Switzerlands Upper Engadine valley. The depth and composition of these black-and-white photographs are captivating. The doubling caused by reflection in the lake and the everchanging lighting create spaces of magical presence. Precise observation of similar motifs opens up a world of sculptural forms that goes beyond the mere likeness. This volume of photographs presents, in the sense of an artists book, the complete series of photographs taken between 1987 and 2007, and which have been incorporated into Barbara Heé’s artistic work as a sculptress, painter, and draftswoman.

With an essay by Claudia Jolles

Europe’s new eastern borders stretch from the Baltic Sea to the Black Sea: 1.600 heavily guarded kilometers between former “fraternal countries.” The photographers Yann Mingard and Alban Kakulya spent a long time on the road; one of them traveled down from the North and the other up from the South in an effort to document the places and landscapes that mark the end of the Western world. On their journey, they photographed the landscape as well as the border posts with their soldiers and their refugees seized at the frontier, and documented a reality defined in faraway Strasbourg, Brussels, and elsewhere. Explanatory maps and satellite images are juxtaposed in this book with the striking photographs. Articles by political scientists, security experts, sociologists, human rights specialists, and philosophers, as well as literary texts round out this photographic survey of the EU’s Eastern European external borders.

With contributions by Ellie Barnavie, Daniel Bolomey, John W. Donaldson, Gianni Haver, Jon Levy, LUST, Martino Pesaresi, Ian Russell, Laura Serani

In 2009, the Dolder Grand celebrated its first birthday since reopening, following a four-year remodelling carried out according to plans by Foster+Partners. The photographers from the Zurich studio nave, Nadja Athanasiou, Michael Bühler, and Peter Lüem, documented the entire project throughout every stage of the refurbishment, charting in detail the scope of the hotel’s metamorphosis. The resulting photographic narrative is not simply a linear documentation, but a rich and complex tapestry in which text and image are interwoven with a lyricism that brings the architecture to life on the pages of the book. Journalist Judith Wyder’s texts provide a manyfaceted insight and complement the photographs with anecdotes and background information. Dutch novelist Cees Nooteboom has contributed an essay in which he describes the hotel as a microcosm and a home away from home, musing on how guests tend to take possession of the hotels they stay in.

With contributions by Judith Wyder and Cees Nooteboom

The photographer Lukas Felzmann was fascinated by the very thing that some driving past would find boring, flat, and disconsolate: the vast Sacramento Valley, located just a hundred miles from San Francisco. Felzmann discovers with his camera the hidden charms of that seeming nonplace. For him, exploring a place means both walking around and lingering quietly, until the valley opens up like a book, with stories that cry out to be read and discovered. With his camera he traces how time, determined here by the growth of the plants, slows on the plane, and how the horizontality of the surface becomes a reassuring balance to the hectic city of millions nearby. The photographs show the diversity of the plane: the original landscape in its natural state, the large swaths put to agricultural use, the modern provincial towns, and the transitional areas in between. Photographs of water in all its facets run through the book, just as water runs through and forms a valley.

With marginalia by Angelus Silesius and John Berger

Forests, according to folklore, are places of mystery and fear the haunts of fierce animals and fiercer men. Yet for our ancestors the forests were sources of food and fuel, managed spaces. The forest of Pen Gelli in Wales was used by charcoal burners in the Iron Age and after, while Strata Florida served the needs of a Cistercian Abbey: the maple forests of Vermont reclaimed land used until the 19th century for sheep-farming. In these forests photographer Pete Davis has been exploring the dichotomy in forest fact and fable for over a decade, marking the changes worked by time, weather and human intervention. This is not a vision of the green splendour or the dark mystery of the forest, but rather the intimacy and subtlety marked by change and time.

With an appreciation by Conway Lloyd Morgan

Anonymous snapshots are the ideal projection screen: they inspire the imagination to invent stories. The photographer and artist Luciano Rigolini demonstrates, however, that these images, freed from their context, can also convey a visual experience. Rigolini pieces together his findings from flea markets, archives, or the Internet to create a new, independent work - a grammar of seeing and perception. Consciously or unconsciously, we become primarily aware of form and structure in the compiled snapshots, and the specific content of the images becomes inessential. This results in a fascinating aesthetic play that radically questions our habits of seeing. In this cleverly arranged sequence the photographs can no longer be read as simply likenesses of reality. They turn out to be artifacts that construct reality. What You See presents a multiplicity of surprising, confusing, and surreal photographs from a rich fund of anonymous photography.

With an essay by Peter Pfrunder

High-population centers of enormous size are springing up in China with dizzying speed. With them comes an increased demand for migrant workers in the construction sector, factories, and mines. In growth centers like the Pearl River Delta in Southern China, million people have already set out from the underdeveloped provinces to earn their living there. The photographer Andreas Seibert accompanied the workers repeatedly in order to document their everyday lives and their journey to the high-population centers. Their stories are told in a collection of striking photographs that provide a close-up portrait to complement the current discussion of economic growth in China. With its combination of text and images, this volume conveys a unique impression of the scale of this modern migration of peoples.

With texts by Jeff Kingston, Andreas Seibert, Chen Guidi and Wu Chuntao

The post office – for those who live in Switzerland a treasured and ubiquitous feature of daily life – has developed in the cities into a complex service center, while in the country it has often become superfluous as a result of the changing economy and new means of communication. We find ourselves having to say good-bye to many rural post offices, which have long been not only one of the characteristic forms of Swiss service but also a typical expression of the aesthetic of our everyday lives. Jean Luc Cramatte’s photographs of numerous post offices, taken after closing time, are cheerful and unpretentious – the mail has already been sent or has already arrived.

Over a period of three years the photographer Christian Lutz accompanied a member of the Swiss Federal Council on diverse official occasions throughout the world. In Protokoll he observes the mise-en-scène of authority within the hierarchies to which the political decision makers and their delegations are subjected. He isolates the clichés that rule the world and records the unsaid and unobserved with his camera. His images show a reality that differs from the official photographic reports. The photographs present a concentrated critique that calls into question a deeply ingrained system of representation and causes readers to alternate between laughter and astonishment.

With Bloom, Thomas Flechtner continues to go his own way as an artist. In his internationally acclaimed debut publication Snow, he took viewers by surprise with a compelling visual metaphysics of snow as the exploration of a psychological state. After exhibitions in London, New York, Bilbao, and Tokyo, Flechtner is now free to pursue a new passion, the unbridled color and movement of organic nature, which he examines with lyrical lightness and tremendous precision in these densely atmospheric studies of plants. As a photographer, Flechtner goes in search of the essence of nature, abandoning the ostensible safety of distance and allowing proximity and for the first time also movement.

Hanna Saliba ranks among the most innovative restaurateurs in Germany. His restaurant Saliba in Hamburg, which serves Syrian cuisine, is renowned far beyond the city’s borders for its magical culinary experiences. Some of the restaurant’s guests —Hans Hansen from Hamburg, the Munich designer Pierre Mendell, and the publisher of this volume — developed the concept for this book together with Saliba as an expression of their enthusiasm for Arab cuisine, particularly for the diversity and sophistication of its incomparable hors d`oeuvres called Mazza. “Eating with the eyes” is to be taken literally. Arabic calligraphy complements the feast for the eyes and makes the book much more than a collection of recipes for amateur cooks and professional chefs.

With a preface by Udo Steinbach
With photographs by Hans Hansen

In 1962 the young photographer René Burri, on the staff of the renowned photo agency MAGNUM, and known for his reportage and portraits, presented the architect, Le Corbusier, with a fold-out book, made with his own hands, containing photographs dating back to 1953, that he had taken of the architect in various situations.

This very personal gift is now a highly prized original owned by the Corbusier Foundation in Paris. The photographs it contains show Corbusier at the height of his creativity—in conversation, alone in his studio, at the construction site. They also convey the unmistakable atmosphere of his designs. This scrupulous facsimile reproduction comes with a text by René Burri and commentaries by the Corbusier connoisseur and editor Arthur Rüegg.

The photographer and artist Klaus Merkel searches for — and record in striking black-and-white photographs — structures in nature and architecture that, no matter where they are, exhibit overlapping patterns and con figurations, significant deviations and parallels, and resonate in juxtaposition. In this extension of that program, he has turned his attention to stones and rock landscapes and their patterns. It is a process that he insists takes patience, sometimes years, both in allowing the force of the photograph to make itself felt over time and in seeking the perfect pair, the photograph that will reverberate with another in tandem.

With an essay by Klaus Merkel

Jules Spinatsch was at the World Economic and also attended the G8 summits at Davos and Evian. But rather than street fighting and handshakes, Jules Spinatsch shows winter nights in Davos, complete with floodlighted barbed wire, containers being used as barricades in Genoa, lonely TV reporters outside broadcast vehicles and sleepy guards in New York. Temporary Discomfort shows people waiting for the big event, which is revealed as meticulously planned down to the last detail.

With texts by Martin Jäggi and Jamie Patrick Shea

In the 1970s, German photographer and filmmaker Dieter Appelt first saw the Forth Rail Bridge, built in 1890 to cross the River Forth in Scotland. The spectacular cantilevered steel span, a marvel of 19th-century engineering over 8,000 feet long and still in regular use today, fascinated him with its kinetic and cinematic appearance. When invited by the Canadian Centre for Architecture to work with its collection for the mixing-of-disciplines Tangent series, he found photographs of the bridge in the archives.

With texts by Hubertus von Amelunxen and Louise Désy

Jean-Pascal Imsand’s work eludes any attempt at classification, and contains an apparent paradox. While his photo-montages are much admired for their aesthetic and narrative qualities, yet are often
political in nature, the precision of content demonstrated in his socio-documentary reportages does not exclude mythical interpretation.

With essays by Dieter Bachmann, Jean-Christophe Blaser, Martin Gasser, Sylvie Henguely, Fabio Pusterla

Lukas Felzmann’s Landfall is far more than just a compilation of strong single images. Roads that peter out in the middle of nowhere, buildings that no long make sense, flotsam and jetsam that defy oblivion: Felzmann’s scenery and objects quietly and unobtrusively open up their profound symbolism in the field of tension between desire and memory, hope and pain, dream and reality. Broad landscapes and deep horizons become expanses on to which all kinds of visions can be projected.

With an essay by Peter Pfrunder

In Thomas Flechtner’s photographs, snow becomes a metaphor for timelessness, stillness, peace, distance, and loneliness. Both civilization and the untouched countryside succumb to the gentle weight of this element. These images make the viewer long for silence and transparency.

The work of this influential photographer and admired specialist in "Sachfotografie" (object photography) is being celebrated in shows in German museums during 2001/2002. This publication records all the key creative phases and working fields of Hans Hansen, extending from landscape photography and personal studies to extensive advertising campaigns and product photographs (including Lufthansa, Erco, Vitra). As well as this, it introduces a personality and his view of the world of objects, and attempts to explire the photographer's inspirations and passions.

Klaus Merkel’s coupled photographs mirror the physical and spiritual patterns of both natural and architectural structures. They demonstrate fundamental and universal formal laws in their compelling revelation of inseparably intertwined nature and culture. The pictures are grouped according to such themes as stratification, crystallization, the vegetable world, and inside/outside.

Paradoxically arranged rooms, fictional architecture, suggestive spaces. Bernard Voïta’s photographs are the work of a sculptor exploring three-dimensional space and two-dimensional representation. His constructions are optical illusions. With humor and playful irony they challenge us to decipher them. The publication traces an artist’s development and documents his entire oeuvre since 1987.

With essays by Laurent Adert, “The Space and the Place” and Daniel Kurjakovi´c, “The Shadow was without Movement”