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.

  1. Sensing the Future: Moholy-Nagy, Media and the Arts
    Oliver Botar
    Sensing the Future: Moholy-Nagy, Media and the Arts

    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, English
    ISBN 978-3-03778-434-1, German



    Oliver Botar

    OLIVER A. I. BOTAR is Professor of Art History at the University of Manitoba in Canada. He is the author of Technical Detours: The Early Moholy-Nagy Reconsidered (2006, in Hungarian, 2007) and A Bauhäusler in Canada: Andor Weininger in the 50s (2009), and is co-editor of Biocentrism and Modernism (with Isabel Wünsche, 2011) and Telehor (with Klemens Gruber, 2013). He has published numerous articles, curated exhibitions and has lectured widely.

  2. It was always there, it's just grown stronger
    Christian Vogt
    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. Deliberately dispensing with digital photography and occasionally working with a pinhole camera, 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
    Christian Vogt

    CHRISTIAN VOGT was born in Basel in 1946. His works are shown in renowned museums, galleries, and institutions around the world. Vogt is the author or co-author of numerous books, and catalogues, and the subject of many others worldwide.

  3. Neubau Forst Catalogue
    Stefan Gandl
    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
    Stefan Gandl STEFAN GANDL was born in 1969. Digital fonts, geometric patterns, and pictograms are the major building blocks that the Austrian designer has used to construct not only his studio, Neubau, in Berlin, but also an entirely new realm of signs, which he and his international team are constantly expanding.
  4. 100 Years of Swiss Design
    100 Years of Swiss Design

    Edited by the Museum für Gestaltung Zürich, Christian Brändle, Renate Menzi, Arthur Rüegg

    Design: norm

    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.

    Design: norm

    21,6 x 32,4 cm, 8½ × 12¾ in, 352 pages, approx. 700 illustrations, hardcover (2014)

    ISBN 978-3-03778-441-9, English
    ISBN 978-3-03778-440-2, German

    €55.00 / $70.00
    From Dec 2014
    €55.00 / $70.00

  5. Loose Ends
    Maria Giuseppina Grasso Cannizzo
    Loose Ends

    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
    Maria Giuseppina Grasso Cannizzo

    MARIA GIUSEPPINA GRASSO CANNIZZO was born in 1952. She studied architecture at the University of Rome, where she also taught from 1974 to 1980. Today she lives and works in Sicily.

  6. 100 Years of Swiss Graphic Design
    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.

    Design: norm

    20.6 × 30.9 cm, 8 × 12 in, 384 pages, approx. 600 illustrations, hardcover (2013)

    ISBN 978-3-03778-399-3, English
    ISBN 978-3-03778-352-8, German

    €55.00 / $70.00 / £45.00

    €55.00 / $70.00 / £45.00

  7. Futebol
    Urban 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 everyday life, creator of identity and community. 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

  8. Place and Displacement
    Place and Displacement
    Exhibiting 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
  9. OfficeUS Agenda (Catalogue)
    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

  10. Elements of Venice
    Foscari Giulia
    Elements of Venice

    With a foreword written by Rem Koolhaas

    Available in the US and Canada: October 2014

    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

  11. The Good Life
    Jasper Morrison
    The Good Life
    Perceptions 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
    Jasper Morrison

    Jasper Morrison was born in London in 1959, and graduated in Design at Kingston Polytechnic Design School and the Royal College of Art in London, with a year at Berlin’s HdK. In 1986 he set up an Office for Design in London. 1994, began a consultancy with Üstra, the Hanover transport authority, designing a bus shelter, and in 1995 the new Hanover tram. In 2001 elected as a Royal Designer for Industry. In 2003 a branch office was opened in Paris. Jasper Morrison Ltd. design for a wide-ranging customers base including: Alessi (Italy), Cappellini (Italy) Flos (Italy), Magis (Italy), Rowenta (France), Vitra, (Switzerland). 2004, began consultancies with Samsung (Korea),  Muji (Japan), Ideal Standard (UK) and Olivetti (Italy). 2005, founding of Super Normal with Naoto Fukasawa. In June 2006, first Super Normal exhibition in Tokyo. 2009 opening of the Jasper Morrison Limited Shop in London.

  12. Typography
    Wolfgang Weingart
    My 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

  13. Neue Grafik/New Graphic Design/Graphisme actuel
    Neue Grafik/New Graphic Design/Graphisme actuel

    Facsimile reprint of all 18 issues published, with commentary

    Edited by Lars Müller

    Free Shipping to CH, D and A. Other countries plus shipping costs.
    Please state your phone number in the address form if you're ordering from overseas.
    For orders of more than 3 copies please contact us at: info@lars-muller.ch.

    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

  14. Japan – Nippon
    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