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.
The Inevitable Specificity of Cities
Edited by ETH Studio Basel
What is a city? What determines its specificity? What shapes its quality? The evolution of the contemporary city does not follow a linear movement. It is shaped by transformation processes that are directed toward often distant and conflicting goals. Even though cities are inscribed into global processes and networks, they develop their own specific ways of dealing with these conditions. They tend to produce and reproduce their own specificity, their own patterns and character traits. Using the categories of territory, power, and difference—also lending the book its structure—the texts analyze different case studies of cities and urbanized territories, ranging from the Canary Islands to Hong Kong and Nairobi, unfolding the distinctiveness of their physical and social existences.
With contributions by Roger Diener, Mathias Gunz, Manuel Herz, Jacques Herzog, Rolf Jenni, Marcel Meili, Shadi Rahbaran, Christian Schmid, and Milica Topalovic.
Design: Integral Lars Müller
17.6 x 24 cm, 6 ¾ x 9 ½ in, approx. 320 pages, approx. 300 illustrations, hardcover (2014)
ISBN 978-3-03778-374-0, English€50.00 / $65.00 / £40.00
The artist Annelies Štrba, best known for photographs of her children, now brings us in Noonday pictures of her grandchildren. In this “noonday dream” (a reference to Emily Brontë), we encounter a host of fairytale creatures, playing, sleeping, or dreaming. The viewer is drawn in and becomes part of this reverie, which is interspersed with images of everyday family life, travel, and game-playing. While the images in the artist’s previous series, Shades of Time (1997), were raw and direct, Noonday glows with the ease of a summer afternoon and yet still leaves us with the melancholy certainty that the days of childhood pass by much too fast.
Design: Integral Lars Müller
17.3 × 24 cm, 6 ¾ × 9 ½ in, 336 pages, hardcover (2013)
ISBN 978-3-03778-388-7, Englisch€49.00 / $65.00 / £39.00
Thoughts on Designing Information
This book presents the reflections of 16 designers of international renown, all of whom are active in the broad field of information design: interactive, editorial and environmental design, data visualization, wayfinding, typography, cartography, etc. Through interviews, Inge Gobert and Johan Van Looveren provide insight into the field of information design, its working methods, possibilities and limitations, attitudes, dreams and frustrations. Special emphasis is placed on how future information designers can be effectively prepared to work in a world where the nature of information is constantly changing.
Interviews with: Johannes Bergerhausen, Peter Crnokrak / The Luxury of Protest, Brendan Dawes, Rose Epple, Tim Fendley / Applied, Joost Grootens / Studio Joost Grootens, Fernando Gutiérrez / Studio Fernando Gutiérrez, Joe Malia / BERG, Joris Maltha / Catalogtree, Morag Myerscough / Studio Myerscough, Maria da Gandra & Maaike van Neck / MWMcreative, Mark Porter / Mark Porter Associates, Lizá Ramalho & Arthur Rebelo / R2, Andreas Uebele / Büro Uebele Visuelle Kommunikation, Gerlinde Schuller / The World as Flatland, Andrew Vande Moere.
22 x 29 cm, 8 ½ x 11 ½ in, 192 pages, approx. 230 illustrations, softcover (2014)
ISBN 978-3-03778-436-5, English€25.00 / $35.00 / £20.00
Landscape as a Cabinet of CuriositiesIn Search of a Position
Edited by Rebecca Bornhauser and Thomas Kissling, Chair of Günther Vogt, Department of Architecture ETH Zürich
Picking up on architecture’s tradition of teaching professional experience to students through conversation, this book provides insight into the ideas, methods, and memories of Günther Vogt, and questions the attitude that this innovative landscape architect adopts towards his profession. With reference to five different locations, Günther Vogt speaks about current themes of landscape architecture and its relationship to architecture and the city, about his teaching at the ETH Zürich, and about the work of Vogt Landscape Architects; he describes his perception of the landscape as a cabinet of curiosities, tells how he collects various phenomena and individual elements, relates them to each other and rearranges them. And in the reader’s mind’s eye unfolds a cosmos, in which the lack of wholeness of nature seems to be a gain rather than a loss.
12 × 19 cm, 4¾ × 7½ in, 228 pages, 64 illustrations, hardcover (2014)
ISBN 978-3-03778-304-7, EnglishEnglish,
ISBN 978-3-03778-303-0, German€24.00 / $32.00 / £20.00
German,€24.00 / $32.00 / £20.00
Max Bill's View of ThingsDie gute Form: An Exhibition 1949
Edited by Lars Müller in collaboration with the Museum für Gestaltung Zürich
The international touring exhibition Die gute Form was conceived by Max Bill on behalf of the Swiss Werkbund and was shown for the first time in 1949 at the Basel Mustermesse trade fair. The exhibition consisted of 80 display panels, designed by Bill, presenting a selection of consumer goods from all over the world, chosen by Bill as examples of good design. The show caused some upset in Switzerland and fuelled heated debates abroad. But it also exerted a wide-reaching influence – for example, upon the way in which consumer goods were perceived.
This publication documents Bill’s initiative in reproductions of the original display panels and layout plans for the venues visited by the exhibition, and places Die gute Form in a theoretical context that considers its reception and impact within the history of design.
21 × 29,7 cm, 8 ½ × 11 ¾ in, 160 pages, hardcover (2014)
ISBN 978-3-30778-372-6, EnglishEnglish,
ISBN 978-3-30778-339-9, German€39.00 / $49.00 / £29.90
German,€39.00 / $49.00 / £29.90
SQM: The Quantified Home
Edited by Space Caviar (Joseph Grima, Andrea Bagnato, Tamar Shafrir)
The way we live is rapidly changing under pressure from multiple forces—financial, environmental, technological, geopolitical. What we used to call home may not even exist anymore, having transmuted into a financial commodity of which the square meter is the basic unit. Yet, domesticity and the domestic space ceased long ago to be present in the architectural agenda.
SQM, produced for the 2014 Biennale Interieur in Kortrijk, Belgium, charts the scale of this change using data, fiction, and a critical selection of homes and their interiors—from Osama bin Laden’s compound to apartment living in the age of Airbnb.
With original texts by:
Rahel Aima, Aristide Antonas, Gabrielle Brainard and Jacob Reidel, Keller Easterling, Ignacio González Galán, Joseph Grima, Hilde Heynen, Dan Hill, Sam Jacob, Alexandra Lange, Justin McGuirk, Joanne McNeil, Alessandro Mendini, Jonathan Olivares, Marina Otero Verzier, Beatriz Preciado, Anna Puigjaner, Catharine Rossi, Andreas Ruby, Malkit Shoshan, Bruce Sterling
Design by Folder (Marco Ferrari, Elisa Pasqual)
17 x 24 cm, 6 ¾ x 9 ½ in, 304 pages, 140 illustrations, paperback with dust jacket (2014)
The dust jacket is screen-printed on real wallpaper in a variety of different patterns, randomly mixed. It is not possible to choose a specific pattern.
ISBN 978-3-03778-453-2, English€35.00 / $50.00 / £30.00
In this publication, color expert Katrin Trautwein allows subtle differences in a "black palette" to be experienced by means of 24 high-quality screenprints. Made using genuine, water-based pigment paints, the screenprints show how rich and sensual black can be. They are accompanied by eight essays that place the topic in its creative, linguistic, architectural, and cultural contexts. Black is shown to be not the absence of light, but the means by which the elements of white architecture are rendered most visible.
28,5 x 23,2 cm, 11,2 x 9,1 in, text volume with 64 pages plus 24 color charts, hardcover in slipcase (2014)
ISBN 978-3-03778-382-5, d/e€98.00
It was always there, it's just grown stronger
Over the now more than forty-five years that he has been studying and exploring photography, Christian Vogt has discovered new visual vocabularies again and again. In his new work, consisting almost exclusively of contrasting pairs of pictures, he continues to question the relationship between visible reality and its photographic reproduction, between image and text, between seeing and knowing. Using a pinhole camera and modern technology without the intervention of digital manipulation, he deals with the “necessary nonsense,” with unifying opposites, with actual and supposed paradoxes, defining some things through exploration and allowing others to remain undefined.
24 x 16,5 cm, 9 ½ x 6 ½ in, 144 pages, hardcover (2014)
ISBN 978-3-03778-455-6, English€25.00 / $40.00 / £25.00
Life in the digital economy of information and images enriches us but often induces a sense of being overwhelmed. Sensing the Future: Moholy-Nagy, Media and the Arts considers the impact of technology by exploring ways it was addressed in the practice of the Hungarian polymath artist László Moholy-Nagy (1895-1946), a prominent professor at the Bauhaus and a key fi gure in the history of Modernism. Moholy-Nagy felt that people needed guidance to cope with the onslaught of sensory input in an increasingly technologized, mediatized, hyper-stimulating environment. His ideas informed media theorists such as Walter Benjamin, John Cage, Sigfried Giedion, and Marshall McLuhan, who anticipated digital culture as it emerged. Should we then regard Moholy-Nagy as a pioneer of the digital? His aesthetic engagement with the technology/body problematic broached the notions of immersion, interactivity and bodily participation, innately offering a critique of today’s disembodiment. Was he then both a pioneer and a proto-critic of the digital? This book is intended to introduce this seminal fi gure of post-medial practices to younger generations and, by including responses to his work by contemporary artists, to refl ect on the ways in which his work is relevant to artistic practice now.
21 × 29,7 cm, 8 ¼ × 11 ¾ in, 192 pages, hardcover (2014)
ISBN 978-3-03778-433-4, EnglishEnglish,
ISBN 978-3-03778-434-1, German€35.00
Neubau Forst Catalogue is the 432-page print catalogue of a digital collection of tree silhouettes and sculptures seen at different seasons. Working by hand, the Neubau designers digitally removed the trees from their original Berlin surroundings and thereby crafted a body of visual material whose scope, outstanding quality of detail and excellent image resolution sets it clearly apart from conventional tree libraries compiled with autotracing tools. The trees, which were systematically photographed in summer and winter over several years, assume a timeless validity through Neubau’s process of selection and are thus universally applicable for future visualizations.
From the existing stand-alone tree objects, which can be placed against both dark and light backgrounds of all kinds, Neubau has furthermore derived individual “tree modules”. These modules can be combined with the ready-to-use trees in an endless number of ways. Alongside detailed information about tree species, size, location, year of planting and file format, the catalogue contains also numerous impressive examples of how these images can be used.
The corresponding Neubau Forst Archive, consisting of 683 individual elements, is the digital library of which architects, designers, graphic designers and illustrators have previously only dreamed. Each book contains an individual download code that guarantees you an exclusive discount of 25% on purchases from the data archive in the standard image (TIFF) and vector (EPS) format.
24 x 28 x 4.7 cm, 9.5 x 11 x 1.98 in, 432 pages, 765 full-color illustrations (315 HD-bitmap tree masks, 327 HD-bitmap tree modules, 40 HD vector trees, 72 illus. of bark, 144 documentary illus.), paperback (2014)
ISBN 978-3-03778-435-8, Englisch€50.00 / $70.00 / £45.00
100 Years of Swiss Design
Edited by the Museum für Gestaltung Zürich, Christian Brändle, Renate Menzi, Arthur Rüegg
100 Years of Swiss Design offers a new perspective on Switzerland’s achievements in furniture and product design. The book presents the essential historical designs in chronological sequence, from the regional roots of the early days around 1900 to the globalized network of today. Thirty essays by known experts shed light on themes typical of their times in word and image. Beside the design process, manufacturing techniques, distribution, and reception, the changing roles of the designer — from mediator between form and function, entrepreneur, social worker, to branding architect — are examined. Featuring one hundred key works from the Designsammlung, the world’s largest collection of Swiss design, this reference work is the first to present and discuss a comprehensive show of Swiss designers’ achievements, from the anonymous to the famous.
With essays by the editors and Claude Enderle, Meret Ernst, Fredi Fischli, Hans Ulrich Gumbrecht, Sebastian Hackenschmidt, Christof Kübler, Peter Lepel, Claude Lichtenstein, Anne-Claire Schumacher, Christina Sonderegger, Klaus Spechtenhauser, Stanislaus von Moos, and Sophie Wirth-Brentini.
21,6 x 32,4 cm, 8½ × 12¾ in, 352 pages, approx. 700 illustrations, hardcover (2014)
ISBN 978-3-03778-441-9, EnglishEnglish,
ISBN 978-3-03778-440-2, German€55.00 / $70.00From Dec 2014
German,€55.00 / $70.00
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
Elements of Venice
With a foreword written by Rem Koolhaas
Developed as a parallel research project of Fundamentals—the exhibition at the 14th Venice Architecture Biennale curated by Rem Koolhaas—the book offers insights on Venetian façades, 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 and 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
OfficeUS, the U.S. Pavilion for the 2014 International Architecture Exhibition – La Biennale di Venezia, reframes the history of U.S. architecture through the lens of export in two interrelated constructs: “The Office” and “The Repository”. The “Repository” presents 1000 projects designed by 200 US offices working abroad in a chronological archive of the last 100 years. Collectively these projects tell multiple, imbricated stories of U.S. firms, typologies, and technologies, as well as a broader narrative of modernization and its global reach. The “Office” engages these projects, revisiting their premises and conclusions over the course of the Biennale. It functions as a laboratory staffed by a diverse group of resident design partners collaborating with outpost offices and a rotating cast of visiting experts. Together, these two halves of OfficeUS create both an historical record of the U.S. contribution to global architectural thought, and a petri dish in which that record is submitted to contemporary agents of disruption and critique.
OfficeUS is curated by Eva Franch i Gilabert, Ana Miljački and Ashley Schafer and produced by Storefront for Art and Architecture, PRAXIS Journal, students from MIT’s Department of Architecture and the Knowlton School at The Ohio State University, Leong Leong, Pentagram: Natasha Jen, CASE, Lars Müller, Architizer, and CLOG.
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
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