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.
From November 2014
Genealogy of Modern ArchitectureA Comparative Critical Analysis of Built Form by Kenneth Frampton
Genealogy of Modern Architecture is a reference work on modern architecture by Kenneth Frampton, one of today’s leading architectural theorists. Conceived as a genealogy of twentieth century architecture from 1924 to 2000, it compiles some sixteen comparative analyses of canonical modern buildings ranging from exhibition pavilions and private houses to office buildings and various kinds of public institutions. The buildings are compared in terms of their hierarchical spatial order, circulation structure and referential details. The analyses are organized so as to show what is similar and different between two paired types, thus revealing how modern tradition has been diversely inflected. Richly illustrated, Genealogy of Modern Architecture is a new standard work in architectural education.
KENNETH FRAMPTON, born 1930, is one of the world’s most renowned architectural theorists, the author of the world best seller Modern Architecture: A Critical History, and a professor at Columbia University, New York.
16.5 × 24 cm, 6 ½ × 9 ½ in, 320 pages, approx. 500 illustrations, hardcover (2013)
ISBN 978-3-03778-369-6, English€36.00 / $45.00 / £30.00
From October 2014
Ethics of the Urban
The City and the Spaces of the Political
Edited by Mohsen Mostafavi
In collaboration with Harvard Graduate School of Design
Is democracy spatial? How are the physical aspects of our cities, houses, streets, and public spaces—the borders, the neighborhoods, the monuments—bearers of our values? In a world of intensifying geo-economic integration, extreme financial and geopolitical volatility, deepening environmental crises, and a dramatic new wave of popular protest against both authoritarian government and capitalist speculation, cities have become leading sites for new claims on state power and new formations of political subjectivity. This volume brings together perspectives from history, sociology, art, political theory, planning, law, and design practice to explore the urban spaces of the political. A selection of contemporary photography from around the world offers a visual refl ection of this timely investigation.
Contributors include: Michael Arad, Diane Davis, Keller Easterling, Gerald Frug, Mohsen Mostafavi, Chantal Mouffe, Erika Naginski, Saskia Sassen, Richard Sennett, Loïc Wacquant, Krzysztof Wodiczko.
MOHSEN MOSTAFAVI, an architect and educator, is the Dean of the Harvard University Graduate School of Design and the Alexander and Victoria Wiley Professor of Design.
Design: Integral Lars Müller
16.5 x 24 cm, 6 ½ × 9 ½ in, 368 pages, approx. 200 illustrations, hardcover (2013)
ISBN 978-3-03778-381-8, English€50.00 / $60.00 / £40.00
From October 2014
Max Bill's View of ThingsDie gute Form: An Exhibition 1949
Edited by Claude Lichtenstein and the Museum für Gestaltung, Zürich
The special exhibition Die gute Form, put on by the Swiss Werkbund (SWB) at the Basel trade fair in 1949, was an event that caused a furor far beyond Switzerland’s borders. The renowned architect, designer, and graphic artist Max Bill was the mastermind behind the idea and personally selected the exhibits and designed their setting. Eighty exhibition panels showed consumer objects of exemplary design, from a teacup to the jet plane. Bill recognized the emerging, American-style commodity aesthetic that was making inroads into Switzerland and postwar Europe and sought to confront it with a specifically “Swiss” aesthetic shaped by a desire to create long-lasting forms.
This publication documents Bill’s initiative by presenting the 80 original exhibition panels, which are part of the design collection at the Museum für Gestaltung Zürich, and Ernst Scheidegger’s photographs of the installation places this famous design show in a theoretical and design-historical context, examines its background, and creates a link to the publishing house’s first publication from 1983.
22 × 30 cm, 8 ½ × 11 ¾ in, 160 pages, approx. 120 illustrations, hardcover (2013)
ISBN 978-3-30778-372-6, EnglishEnglish,
ISBN 978-3-30778-339-9, German€33.00 / $45.00 / £27.00From Oct 2014
German,€33.00 / $45.00 / £27.00From Oct 2014
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
Neubau Forst Catalogue
Developed and edited by Neubau
Neubau Forst Catalogue is a collection of detailed silhouettes of urban trees and separate tree sculptures. In years of manual work, using a method developed especially for this project, these details have been digitally removed from their original urban surroundings in Berlin. The materials are distinguished by their extent, outstanding quality of detail, and excellent resolution of the usual autotraced digital tree library.
The Berlin trees were selected according to a special matrix. The letters of the name of the design studio, NEUBAU, were laid over a map of Berlin. The trees that were located at the structural anchor points of the letters were marked to appear in the Neubau Forst Catalogue. Over a period of time, from 2009 to 2013, these trees were systematically photographed, documented, and catalogued in the summer and winter seasons. Neubau’s process of selection and distillation gives the trees a timeless validity, and they can be used universally in future images. Additionally, so-called “tree modules” were removed from existing separate trees. They can be set in front of both dark and light backgrounds of any kind and photographed without any flash. There are endless combinations of ready-to-use trees and different modules.
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
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
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
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
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
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
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
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