Our aim is that, taken together, the new publications of any one year should give a more or less clear picture of the spectrum of our program. This year the picture is crystal clear: In all subject areas we have achieved a selection that does full justice to our guiding principle of pinning down facets of cultural debates and revealing social contexts. The new titles provide insights into seminal themes of our times, discuss design processes, social questions, cultural phenomena, and they document outstanding positions in design and art. These are specialties that are not only for experts, but for an interested audience that shares our fascination with multifaceted and quality debate.
Edited by Sara Marini in collaboration with aut. architektur und tirol
Available in the US and Canada: September 2014
Maria Giuseppina Grasso Cannizzo exhibited at the Venice Biennial in 2004 and 2008, and was honored by the Royal Institute of British Architects (RIBA) in 2012. That same year she won a gold medal for her life’s work at the Milan Triennial, and has been nominated twice for the Mies van der Rohe Prize. Nevertheless, she’s still considered an insider’s tip. She lives in Vittoria, a small city in southern Sicily, where she realizes the majority of her architecture, including many transformations of historical buildings, single and multiple-family housing, or projects such as the control tower in Marina di Ragusa. Grasso Cannizzo’s special design methods are based on her analyses of the urban context and the landscape, as well as her examination of the specific “story” behind each project. She translates the knowledge gained into minimal, self-aware, and sometimes radical concepts, which are ultimately always open to any changes that life and the passage of time may bring. At the same time, this first comprehensive monograph is also a conceptual manifesto by Grasso Cannizzo. Collected in a black box, loose prints provide insight into her most important buildings and make it possible to see the architect’s general design methods.
With texts by Raoul Buntschoten, Pippo Ciorra, Francesco dal Co, Marco de Michelis, Rainer Köberl, Sara Marini
With photographs by Hélène Binet, Armin Linke, and Giulia Bruno
16,8 x 24 cm, 6 ½ × 9 ½ in, 380 pages, approx. 900 illustrations, box (2014)
ISBN 978-3-03778-451-8, e€40.00 / $50.00 / £35.00
100 Years of Swiss Graphic Design
Edited by Christian Brändle, Karin Gimmi, Barbara Junod, Christina Reble, Bettina Richter, and Museum of Design Zürich
Available in the US and Canada: End of September 2014
100 Years of Swiss Graphic Design takes a fresh look at Swiss typography and photo-graphics, posters, corporate image design, book design, journalism and typefaces over the past hundred years. With illuminating essays by prominent experts in the field and captivating illustrations, this book, designed by the Zürich studio NORM, presents the diversity of contemporary visual design while also tracing the fine lines of tradition that connect the work of different periods. The changes in generations and paradigms as manifested in their different visual languages and convictions are organized along a timeline as well as by theme. The various fields of endeavor and media are described, along with how they relate to advertising, art, and politics. Graphic design from Switzerland reflects both international trends and local concerns. High conceptual and formal quality, irony and wit are its constant companions. A new, comprehensive reference work on Swiss design.
With Essays by the editors and Hans-Rudolf Bosshard, Christoph Bignens, Jürgen Döring, Meret Ernst, Ulrike Felsing, Roland Früh, Ariel Herbez, Richard Hollis, Martin Jaeggi, Andres Janser, Roxane Jubert, Urs Lehni, Claude Lichtenstein, Kerry William Purcell, François Rappo, Carol Ribi, Jörg Stürzebecher, and Ruedi Widmer.
20.6 × 30.9 cm, 8 × 12 in, 384 pages, approx. 600 illustrations, hardcover (2013)
ISBN 978-3-03778-399-3, EnglishEnglish,
ISBN 978-3-03778-352-8, German€55.00 / $70.00 / £45.00
German,€55.00 / $70.00 / £45.00
FutebolUrban Euphoria in Brazil
With photographs by Leonardo Finotti and Ed Viggiani
In Brazil soccer is more than just a sport. It is hope for a better future, a distraction from drab everyday life, creator of identity and community, something that makes sense. If there is no ball around, people kick fruit or cans; when there is no field, they make one. Soccer marks the soul of the Brazilian people, as well as the image of city and landscape. Any land that is somewhat level and not overgrown or built up becomes a soccer field. Even though there may be a lack of meeting places, parks, or village centers, there is always a campo de pelada. In this volume, two Brazilian photographers seek and find soccer in places where one might not expect to find it.
Leonardo Finotti creates a kind of inventory, showing pictures from his series Campos Sagrados, for which he traveled through all of Brazil, to neighborhoods rich and poor, to industrial zones, urban peripheries, and to the country, to take photographs from an elevated standpoint of temporary and “real” soccer fields and their surroundings.
In his photo series Brasilieiros Futebol Clube Ed Viggiani accompanies his fellow countrymen everywhere where soccer is played or a team followed.
17 x 23 cm, 6 ⅔ x 9 in, approx. 64 pages, 32 illustrations, hardcover (2014)
ISBN 978-3-03778-431-0, e€20.00
Elements of Venice
With a foreword written by Rem Koolhaas
Available in the US and Canada: September 2014
The metamorphic nature of Venice, a city in which most buildings underwent throughout the centuries substantial volumetric and formal transformations informed by political and cultural shifts, is revealed in Elements of Venice through the analysis of single architectural elements. Developed as a parallel research project of Fundamentals—the 14th Venice Architecture Biennale curated by Rem Koolhaas—the book offers insights on Venetian facades, stairs, corridors, floors, ramps, ceilings, doors, hearths, windows, balconies and walls.“Product not [only] of the mind but of societal organization” the elements are isolated from their picture-perfect context and from the postcard view of Venice that is impressed in our retinas, introducing the reader—through a combination of collages, drawings, photographs, paintings, film stills and quotes—to a radically new way of seeing Venice. Like a camera obscura photograph cuts through the often irrelevant embellishments of architecture to reveal the underlying skeleton of a building (i.e. its elements), this guide will allow the reader to better understand the fundamental transformations that have shaped Venice during the past ten centuries. This city, which for many is—architecturally speaking—permanently frozen in time, has in fact often been at the forefront of challenging the architectural conventions, both during the days of the Republic (until 1797), in which gothic and renaissance styles were seen as carriers of political and ideological meanings, and in the past two centuries when, despite the introduction of the dooming motto “Com’era, dov’era” (“As it was, where it was”), Venice underwent an unprecedented urban transformation.
12 x 16.7 cm, 4 ¾ × 6 ½ in, 696 pages, approx. 1500 illustrations, paperback (2014)
ISBN 978-3-03778-429-7, e€29.00
Place and DisplacementExhibiting Architecture
Edited by Thordis Arrhenius, Mari Lending, Wallis Miller, Jéremie Michael McGowan
Seemingly immobile and durable, architecture remains a challenge in the modern world of collecting and exhibiting. From the late eighteenth century onward, divergent conventions of display have been confl ated with urgent discussions of how material culture is handed down, distributed, appropriated, and evaluated. Place and Displacement: Exhibiting Architecture investigates historical and contemporary practices of displaying architecture, whether in full scale or as fragments, models, or two-dimensional representations. Exploring questions of circulation and temporality, issues of institution and canon, and the discourse and politics of architectural spaces on exhibit, the book’s essays discuss the ambiguous status of architecture as an object of display. Contributions from leading scholars in the new research field of architectural exhibitions reveal the centrality of the exhibition in defining and redefining the notion of architecture and its history.
16,5 x 24 cm, 6 ½ x 9 ½ in, 256 pages, approx. 60 illustrations, paperback (2014)
ISBN 978-3-03778-416-7, e€40.00 / $50.00 / £35.00
OfficeUS Agenda (Catalogue)
Edited by Eva Franch i Gilabert, Ana Milijački, Ashley Schafer, Michael Kubo, Amanda Reeser Lawrence
The OfficeUS Agenda, the catalogue for the U.S. Pavilion, serves simultaneously as a guide and counterpoint to the exhibition. Organized into stories of expertise, exchange, and export, the Agenda frames the narratives that have projected the organizational structures and branded identity of U.S. architecture firms internationally from 1914–2014.
The Agenda includes thirteen essays of original scholarship, including Barry Bergdoll, Beatriz Colomina, Jorge Otero-Pailos and Keller Easterling.
16 x 24 cm, 6 ¼ × 9 ½ in, 272 pages, approx. 640 illustrations, paperback (2014)
ISBN 978-3-03778-437-2, e€25.00
The Good LifePerceptions of the Ordinary
Just what is it that catches the eye, and why? What’s the significance of a broken flowerpot, a pair of identical tables side by side, a garden hose wrapped around an old car wheel? In this collection of photo essays, the famous designer Jasper Morrison examines and imagines the life behind a series of seemingly ordinary situations.
6 ¾ x 9 in, 80 pages, hardcover (2014)
ISBN 978-3-03778-423-5, e€20.00 / $29.00 / £18.00
TypographyMy Way to Typography
Since the 1970s Wolfgang Weingart has exerted a decisive influence on the international development of typography. In the late 1960s he instilled creativity and a desire for experimentation into the ossified Swiss typographical industry and reflected this renewal in his own work. Countless designers have been inspired by his teaching at the Basle School of Design and by his lectures. In Typography Weingart gives an unusual and frank narrative of his early life and development as a designer. For the first time he gives a comprehensive survey of his works over the past forty years, most of which are unknown.
22,5 x 27,5 cm, 8¾ x 10¾ in, 520 pages, 450 illustrations, softcover (2014)
ISBN 978-3-03778-426-6, e/g€40.00
Neue Grafik/New Graphic Design/Graphisme actuel1958–1965
Facsimile reprint of all 18 issues published, with commentary
Edited by Lars Müller
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Neue Grafik, the “International Review of graphic design and related subjects,” was initiated by designer Josef Müller-Brockmann and published in eighteen issues between 1958 and 1965 by an editorial collective consisting of him, Richard Paul Lohse, Hans Neuburg und Carlo Vivarelli ( LMNV ). The complete volumes are now available in an excellent facsimile reprint from Lars Müller Publishers.
From a historical point of view, Neue Grafik can be seen as a programmatic platform and effective publishing organ of Swiss graphic design, an international authority in its field at the time. Protagonists of the Swiss school and its rigorous Zurich faction lead an essential discourse on the foundations of current communication and constructive design. The influence of this movement cannot be overstated. The Swiss school, also called “International Style,” became exemplary for the conceptual approach to corporate design of increasingly globally operating corporations and an influential precursor in the design of individual projects, such as posters, exhibitions, and publications.
Neue Grafik is an important point of reference in the recent history of graphic design. After the heights of the digital revolution now follows a renewed concern for matter-of-fact concepts and clear form languages. This explains the interest in the almost fundamentalist stance of the four Zurich-based designers, who were responsible for the content of the magazine.
Design: Integral Lars Müller
25 x 28 cm, 9¾ x 11 in, 1184 pages (reprints), 64 pages (commentary), 18 paperback volumes in a slipcase (2014)
ISBN 978-3-03778-411-2, d/e/f€160.00
Poster Collection 26
Japan – Nippon
Edited by the Museum für Gestaltung Zürich
With an essay by Kiyonori Muroga
Posters circulated in Japan simultaneously with the country's swift reconstruction and economic revival after the Second World War. If the first generation of poster designers was mostly guided by Western modernism, searching for a universal and functional way of communication, the following generation from the 1970s onwards increasingly drew on their own pictorial tradition and maintained marked individual approaches. This was not least a reaction to the West's fascination with a poster culture with very different parameters and arguments. Until today, the Japanese poster functions most notably as a highly aesthetic image advertisement and indoor medium, presupposing the designer as an artist.
16.5 x 24 cm, 6 ½ x 9 ½ in, 112 pages, 137 illustrations, paperback (2014)
ISBN 978-3-03778-422-8, e/g€28.00 / $40.00 / £24.00
Poster Collection 25
Edited by the Museum of Design Zürich
Josef Müller-Brockmann’s graphics left a lasting mark on Swiss visual communication from the 1950s onward. His posters demonstrate how a sober, formally reduced language works best for conveying a universal, timeless message. Poster campaigns for longtime clients such as the Tonhalle concert hall in Zürich or the Automobile Club of Switzerland follow strict functional criteria–and yet exhibit a variety of design solutions and exciting, dynamic compositions.
This book presents selected posters by Müller-Brockmann and places them in the context of their own time while also examining the validity of his solutions from today’s point of view.
Design: Integral Lars Müller
16.5 x 24 cm, 6 ½ × 9 ½ in, 96 pages, 140 illustrations, paperback (2014)
ISBN 978-3-03778-392-4, e/g€28.00 / $40.00 / £24.00
HfG UlmConcise History of the Ulm School of Design
Edited by Jens Müller
The Ulm School of Design (HfG Ulm) ranks among the world’s most important institutions of the 20th century in modernist design. Its founders Inge Aicher-Scholl, Otl Aicher and Max Bill wanted to contribute to the shaping of a new and better world after the terrible experiences of the Nazi regime and the Second World War. The meaning of design today cannot be understood without considering the developments at HfG. That applies not only to the design of appliances and communications, but also to the profession of designer, design education, methodology and design theory—ranging from the relationship between design and science up to the question of what relationship design should adopt with art and crafts, or business and society. This massive impact of the HfG is all the more astounding, considering that it existed for only 15 years, from 1953 to 1968. This book provides a contextual and broadly illustrated history of the HfG Ulm.
14.8 x 21 cm, 5 ¾ x 8 ¼ in, 128 pages, 182 illustrations, paperback (2014)
ISBN 978-3-03778-413-6, e/g€28.00 / $40.00 / £25.001. Die gesellschaftliche Verantwortung der Gestalter / The Designers' Societal Responsibility
2. Die kulturelle Bewältigung der technischen Zivilisation / Coping Culturally with Technical Civilization
3. Kurze Geschichte der HfG Ulm / A Brief History of HfG Ulm
4. Die Schliessung / The Closure
I. HfG Ulm in Bildern / Pictures of HfG Ulm
II. Die wichtigsten Dozenten / Important Lecturers
III. Abteilungen / Departments
IV. Resultate / Outcome
Rolf MüllerStories, Systems, Marks
Edited by Jens Müller
This book is the first monograph dedicated to the designer Rolf Müller who is known above all for his design of the visual identity of the Munich Olympic Games in 1972. Shortly after graduating from the famous Ulm School of Design, his former professor Otl Aicher entrusted him with this work, which set new standards in international design. In parallel, he established his design firm Büro Rolf Müller in Munich. On the basis of selected projects, the book attempts to sketch the mentality and methods of his design: For nearly four decades, the firm developed corporate identities, books, magazines and signage systems on the highest level. The firm’s projects include the visual identity of the City of Leverkusen, forged over several decades, and the magazine HQ High Quality for the company Heidelberger Druckmaschinen, of which 39 issues were published. As a storyteller and system designer, Rolf Müller has left his mark on international design history with his work. His stance has had a decisive impact in shaping the way in which today’s communications designers view their profession.
14.8 x 21 cm, 5 ¾ x 8 ¼ in, 128 pages, 350 illustrations, paperback (2014)
ISBN 978-3-03778-414-3, g/e€28.00 / $40.00 / £25.00