Search results for ""Lars Müller Publishers""

Switzerland's image has been significantly shaped by photographs dedicated to tourism. Through spectacular mountain panoramas, snapshots of rural idylls, or portraits of local people, the country could be successfully marketed, and these photographs also made an important contribution to- ward national identity. Another consequence, however, was that the respective pictorial repertoire became inflated and stereotyped. For this publication and for an exhibition of the same name opening in 2017, five internationally renowned photographers were invited to scrutinize Switzerland in their capacity as independent, subjective, and sensitive observers-unrestricted by any advertising commission. What Alinka Echeverri a (Mexiko/UK), Shane Lavalette (USA), Eva Leitolf (Germany), Simon Roberts (UK), and Zhang Xiao (China) discovered on their travels around the country or along its borders is both inspiring and revealing. Their exciting, poetic, or mysterious-enigmatic im- ages invite viewers to see the familiar with the eyes of an outsider.6 booklets in a slipcase

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For nearly fifty years "the building" has primarily been viewed as a means rather than an end within architectural history and theory. This volume presents an alternative to that trend by reconceiving it as a central discursive category in its own right. Contributors-including architects and academics from world-renowned institutions-offer insightful discussions of key architectural structures conceived in Europe, Asia, and the U.S.A. over the last three decades. In doing so they propel architectural thinking's importance as a domain of knowledge. Further, in exploring those structures through a number of questions both intra- and meta-disciplinary, this book suggests ways in which buildings can trigger conceptual frameworks whose influence extends well beyond architecture. A balanced text-to-image ratio caters to readers in both practice and academia.

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In 1903, Adolf Loos edited the journal Das Andere - Ein Blatt zur Einfuhrung abendlandischer Kunst inOsterreich, in which he expressed his thoughts on, and theories of, contemporary architecture, fashion, anddesign. The publication was born out of Loos' aversion to a superficial aestheticization of life in Austria, whichhe saw embodied by the "Wiener Secession" and later on "Wiener Werkstatte" and "Werkbund." As acounterbalance, in Das Andere he showed his admiration especially for the fashion and culture of England andAmerica. Contemporary advertisements on these subjects were included in the journal, which ran for just twoissues.Beatriz Colomina supplements the reprint of Das Andere with an extensive commentary."

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First Cuts shows 15 photographic appropriations that artist Harald F. Muller realized for the first time in Switzerland's tallest building: the Prime Tower in Zurich, designed by architects Gigon/Guyer. Applied by means of a perforated grid onto soundabsorbing metal panels on the building's interior walls, the re-photographed motifs depict a series of "firsts" from the worlds of technology, sports, and culture. Evoking nostalgia for human faith in progress, they also point with their references to CERN and Constructivism to cutting-edge research and timeless modernity. These artworks refuse to fufil merely a passive decorative function, making instead their own architecture-related statement. The book follows the same principle by invoking cosmological references and presenting itself as an independent work rather than merely explaining and illustrating. Essays by Gerd Blum and Johan Frederik Hartle describe the role First Cuts played in the development of Harald F. Muller's oeuvre, focusing on abstraction and atomism.

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China's spectacular growth has brought not just prosperity, but also serious damage to the environment. For photographer Andreas Seibert, the present state of the Huai River is a clear example of these problems. Several stretches of the river have been so seriously polluted by toxic waste that people are advised not to even touch the water. Seibert has traveled along the river from source to mouth in order to record how it changes from a stretch of water rising amidst unspoiled nature into a large and poisonous river. Pictures taken on his travels present the poor hinterlands which are generally forgotten in discussions on China, and show the people who live on and near the river - in a habitat on the brink of destruction.

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Hanna Saliba's 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. 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.

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This book acts as a bridge between the topics of energy and water. It is an artfully crafted visual ode which imagines and reflects upon the intricate bond between the people who count on dams for energy and water, and the source that fuels this bounty. It is a tribute to the engineering feat so grand that it made Switzerland an energy hub in demand, providing the life-sustaining flow that drives our modern world. Candid and curious, this publication focuses on two things: the appearance and significance of the dam and power plant, and the appreciation of the structure as an impressive manifestation of civilization and culture in harmony with the spectacular nature and surroundings. With interviews and breathtaking photographs, this book delves into the history of the valley region and includes memories and opinions of those involved. Expert insights broaden the context and consider Emosson as an example of an intact symbiosis of nature and culture, and provide a glimpse of what is to come.

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Handbook of Tyranny portrays the routine cruelties of the twenty-first century through a series of detailed non-fictional graphic illustrations. None of these cruelties represent extraordinary violence – they reflect the day-to-day implementation of laws and regulations around the globe. Every page of the book questions our current world of walls and fences, police tactics and prison cells, crowd control and refugee camps. The dry and factual style of storytelling through technical drawings is the graphic equivalent to bureaucratic rigidity born of laws and regulations. The level of detail depicted in the illustrations of the book mirror the repressive efforts taken by authorities around the globe. The twenty-first century shows a general striving for an ever more regulated and protective society. Yet the scale of authoritarian interventions and their stealth design adds to the growing difficulty of linking cause and effect. Handbook of Tyranny gives a profound insight into the relationship between political power, territoriality and systematic cruelties.

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In these rapidly changing times, we are increasingly embracing change and innovation; we deviate, modify, shift and pivot to challenge long-accepted norms. Transformation is everywhere, at all times. Transformation is also the central topic in the architectural profession and the built environment. It can be evidenced in concepts and ideas, in awareness, appearance, form, character, nature or culture. This year, the Zumtobel Group commissioned the international architecture practice UNStudio to create their annual report for 2021/2022, adding to the Austrian lighting company’s unique oeuvre of yearly published art books. As a collaboration with graphic design duo Bloemendaal & Dekkers, this year’s publication presents a design reflection on the theme of transformation. Using illustrations drawn from the work of UNStudio over the past thirty years, the book presents a visual investigation into the creative process, and demonstrates how ideas and concepts are developed by the practice into physical form. Through a similar thought process, the book itself is designed to undergo its own metamorphosis.

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Selbstverständlich is the German expression which, in the mind of Albert Kriemler, creative director at AKRIS, best encapsulates the aesthetic ideal that he wishes to accomplish with his fashion designs. For Kriemler, the embodiment of natural modernity is selbstverständlich, evident in the wearer and also the use and functionality of the clothes. Taking the collections as waymarks, the book encompasses the entire one hundred years of AKRIS history and its location in St. Gallen, Switzerland. The unsurpassed quality of the fabrics and craftsmanship employed in the creation of Albert Kriemler’s art-inspired designs is dedicated to the woman of today and tomorrow. She comes alive in her clothes, and with her body language and presence imbues them with identity. Jessica Iredale describes the uniqueness and forward-looking nature of AKRIS. Iwan Baan, photographer, illuminates with his photo essays the hometown and the inside world of the brand. The meticulous book design confirms the AKRIS mindset: selbstver- ständlich, naturally.

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The most “African” of the Brazilian villages in the south of Bahia bears a Swiss name: Helvécia. It was founded 200 years ago by Swiss and German colonists, and the coffee grown on its vast estates produced great wealth for them. This would not have been possible without exploitation: in the mid-nineteenth century, for 200 white colonists, there were 2,000 slaves of African origin. Black people still make up the majority of the population today; many do not know the origins of their community. With great sensitivity and in dialogue with the inhabitants, Swiss photographer Dom Smaz goes in search of traces of the past, capturing the lives of the local people. Smaz’s pictures and text contributions by internationally renowned post-colonialism-expert Shalini Randeria, among others, allow a new look at history and the origins of Switzerland’s wealth, revealing global histories of interconnectedness and power relations of the past that continue into the present.

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This third and final volume in the Indicia book series presents the results of the Future Cities Laboratory research program in the form of “actions” for sustainable city-making. It complements the first and second volumes of the series that respec- tively documented the research challenges and approaches that prefigured these results. Read together, the three volumes chart the full arc and many productive eddies of the five-year programme and its mission to shape sustainable future cities. Research results are presented as condensed actions that take the form of general principles, recommendations, practical guidelines, and rules of thumb. The actions are neither technical standards nor prescriptive check-lists but invitations to explore, test and refine research insights within the context in which the reader lives, works and acts. The credibility, salience and legitimacy of each action is underpinned by scientific publications (journal articles, books and exhibitions) presented in extensive footnotes and suggestions for further reading.

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This book, the rst in a planned series, reports on the Future Cities Laboratory and its ambitious mission to shape sustainable future cities through science, by design, in place. It offers a global perspective on cities from the vantage point of Asia, where the laboratory is based. This view has particular signi cance today as the fortunes of Asia, the world's most populous and rapidly urbanising continent, will also delineate the prospects of the planet.The series as a whole will assemble the necessary indicia-indications, clues, evidence-on how cities grow and ourish, produce and innovate, consume and waste, threaten and destroy, to form practical strategies for future city making. The rst volume in the series focuses on the challenges that future cities pose to sustainability. The second will concentrate on the innovative approaches necessary for addressing those challenges. The third will present concrete scenarios and action plans that emerge from such approaches.

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La Ruta del Peregrino (the pilgrimage route) stretches a distance of 117 kilometers through the vast and imposing mountain range of Jalisco, Mexico. Approximately two million people participate each year in this religious phenomenon to meet the Virgin of Talpa as an act of devotion, faith, and gratitude. This book conveys the feeling of travelling on the pilgrim's route and encountering architectural monuments and their infrastructure, like shelters and viewpoints, embedded in the harsh landscape. Each introduced landmark, designed by renowned architects, sparks a dialogue about sustainability and austerity, landscape and architecture. Landscape of Faith is a documentation of the way architecture can increase the identity of a pilgrimage route and add layers of meaning that reach far beyond the religious.

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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.

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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 conflated with urgent discussions of how material culture is handed down, distributed, appropriated, and evaluated. Place and Displacement: Exhibiting Architecture investigates historical and con temporary 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.

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The first in a new series called A5 in which important figures in the history of design will be made accessible to a broader audience. The graphic artist Hans Hillmann is one of Germany's most important poster designers and illustrators who, as a professor of graphic design for more than 30 years, had a formative influence on entire generations of designers. 120 illustrations

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The shift towards digital modes of production has fundamentally changed both cartography and graphic design. The omni-present computer, the interactive possibilities of digital media and the direct exchange of visual information through networks have blurred the distinction between designers and users of visual information. Blind Maps and Blue Dots is the first work to explore the disappearing boundaries between producers and users of maps. Using three mapmaking practices as examples – the Blue Dot, the location function in Google Maps; the Strava Global Heatmap, a world map showing the activities of a fitness app; and the “Situation in Syria” maps, a regularly updated map of the Syrian conflict made by an Amsterdam teenager – renowned designer Joost Grootens shows the blurring of the binary distinction between producing and using, ultimately offering a whole new approach to graphic design.

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This book is an extension of the interactive installation Phenotypes/Limited Forms. The installation encourages visitors to pick their favorite subjects out of a total of several hundreds of displayed photographs, rearrange them, name their sequences, and print them in the form of a fanfold. The publication analyzes the 30 000 sequences selected by the public. A detailed demonstration of the applied algorithms helps us to understand the connection between the photographs, the number of times they were chosen by an individual visitor, and how the visitors named their personal selection of images. The book traces the creative processes and the interaction of the visitors with the material of the installation as a work of art highly dependent on the involvement of the audience. Essays by curators and art historians discuss the subject on a theoretical level while examining the aspects of participation and emancipation as well as the question of the autonomy of images.

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Bodies act as powerful signs: Which bodies are represented and how, which gaze determines them, which bodies are not shown or only shown in a particular way and in a particular context? Normative ideas of the body and beauty shape images of the self and the world. They are bodies that manifest inequalities and reflect the prevailing relations of power and violence. Talking Bodies examines mechanisms of representation of the body in medial cultures and illus- trates them exemplarily with posters. Masterpieces of art history that have inscribed themselves in the collective memory are negotiated, as are contemporary self-dramatizations in social media, gender stereotypes, images of black bodies, and the representation of disabled and non-normative bodies. With its focus on the construction and impact of body images, but also on possible strategies of resistance, the publication sees itself as a critical contribution to current debates. With essays by Markus Dederich, Florian Diener, Hans Fässler, Bettina Richter, Maria Schreiber, Marilyn Umurungi, Paula-Irene Villa

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The cave – both as a physical space and a metaphor – is a provocation to test the limits of contem- porary architecture. It invites new thinking about how architecture can adapt to a more community- focused, ecologically sensitive, low-carbon future. This publication and the accompanying sixth exhibition in The Architect’s Studio series at the Louisiana Museum of Modern Art are dedicated to the Kenyan architects Cave_bureau. Stella Mutegi and Kabage Karanja from Cave_bureau describe eight of their projects. Stunning visuals are accompanied by essays poignantly asking questions about the future of architecture in the age of the Anthropocene, the effects of colonial extraction and erasure on African architecture as well as the specificity of each continent and each geographic space. CAVE_BUREAU is a Nairobi-based bureau of architects and researchers founded in 2014 by Stella Mutegi and Kabage Karanja. The bureau charts explorations into architecture and urbanism within nature. Its work addresses the anthropological and geological context of the African city as a means to confront the complexities of our contemporary rural and urban lives.

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As a pioneer of modern design, Willy Guhl created world-famous furniture such as the Eternit garden chair or Europe’s first plastic shell chair. In the tradition of modernism and against the traditional Heimatstil, after 1945 he developed a holistic design approach oriented to human beings and their needs; functionality and reduction to the essential characterize his everyday objects. In collaboration with Swiss companies such as Dietiker, Eternit and Aebi, Willy Guhl designed seating furniture, planters and mowing machines. Willy Guhl’s designs, his teaching methods and his image archive bear witness to the innovations of the booming design industry of the post-war period and the changing professional image of the industrial designer. As a teacher and later head of the class for interior and product design at the Zurich School of Arts and Crafts from 1941 to 1980, Willy Guhl influenced generations of Swiss designers, including Robert Haussmann, Kurt Thut and Andreas Christen. The trained carpenter and interior designer passed on his design knowledge “hands-on,” with illustrative objects, by model making and storytelling. This first comprehensive monograph illuminates Willy Guhl’s legacy in the context of this design and teaching practice as well as current theories of the design discipline. As a thematically structured catalog of works, it offers a complete index of all design projects, and illustrates in sketches, plans and photographs his exploratory working method and his passion for material and technology, which is equally evident in the selection of exemplary student works.

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Wood is the building material of the 21st century. Understanding the renewable raw material and its potential requires recognizing it in its ecological, technological and cultural-historical contexts. These are explored in the publication and presented with inspiring examples – practical and visionary. On this basis, the use of wood in architecture appears to be the order of the day, and Switzerland’s leading role in wood processing and building aesthetics is demonstrated in an international context. Authors from various disciplines create the content framework in which wood can be experienced sensually and its possibilities and limitations can be discussed. Touch Wood – Material, Architecture, Future is aimed at an engaged audience of experts and laypersons who want to enrich their experi- ences with knowledge and thus become actors in the promotion of wood in architecture. In addition to documenting exemplary buildings in accessible texts and with numerous illustrations, the publi- cation also illuminates the many relationships that connect people with wood as a material.

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Across the African continent, but especially in the sub-Saharan regions the light provided by the sun has a particularly stark quality, which becomes most apparent in relation to age-old buildings and in the way in which it shapes daily routines. Without relying on artificial light, architecture had to both make use of the sun light to create a light source within a building, yet also protect those living in the houses from the intensity of it. This has resulted in vernacular architecture that works with very few or small openings that render the inside of a building near pitch black while the outside is illuminated by direct sunshine that bears down mercilessly. On the initiative of the lighting company Zumtobel Group, photographer Iwan Baan and architect Francis Kéré set out to capture how the sun’s natural light cycle shapes vernacular architecture with little to no artificial light sources in Burkina Faso. They travelled to three exemplary locations: Communal compounds in Gando, the main mosque of Bobo Dioulasso and the terraced houses in Dano utilising pots to create skylights. Baan’s pictures are accompanied by architectural sketches by Francis Kéré, who himself grew up in this light environment and whose architecture is inspired by it. The stunning photographs are printed in a special technique to give a sense of being immersed in the very light conditions that are being documented.

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“The oldest things are the newest”—this paradoxical idea is present throughout the oeuvre of contemporary Japanese artist and photographer Hiroshi Sugimoto. In 2008, Sugimoto and the architect Tomoyuki Sakakida founded the New Material Research Laboratory, an architectural firm that researches and develops “new materials” from known materials and techniques by applying a different approach and interpretation. The Laboratory's aim is to rethink the use of old materials passed on to us from ancient times, the Middle Ages and the modern period. It advocates for a reconnection of the present with a bygone era, and to extend that connection to the future through architecture. Old Is New delves into the art and architecture, as well as the archaeological philosophy and contemporary practice of the New Material Research Laboratory. Richly illustrated, the book shows the choice of materials for each project. The photographs in itself are compositions, presenting scenes that show a balance of the present and past. Sugimoto and Sakakida, discussing their practice and approach, wrote the principal texts of this volume. Additional text contributions delve into the origin of the laboratory’s design ethos rooted in Japanese tradition and aesthetics and their historical context. The book also includes an annotated index of materials and classic Japanese techniques with information drawn from the laboratory’s research.

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The fourth volume presents the main characteristics of the Bauhaus concept of the stage. It was essentially shaped by Oskar Schlemmer, who had taken over the stage department in 1923. László Moholy-Nagy took an interest in abstract kinetic and luminary phenomena which he examines in his essay “Theatre, Circus, Variété.” Farkas Molnár focused for his part on stage architecture, which he discusses in detail in this volume.

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How we deal with land has far-reaching implications for architecture and urban development. The last decade has seen a dramatic rise in the privatization of urban land and in speculation. Many European cities that today find themselves under extreme development pressure have virtually no land left to build on. In view of the acute housing shortage, the question of who owns the land is therefore more relevant than ever: To what extent are we able to treat the land as a common good and guard it from the excesses of capitalism? After a number of specialist journals have already addressed the land property issue, this book aims to dig deeper by providing a historical overview spanning an arc from Henry George to the present day. Interviews with stakeholders in global models provide insights into the current handling of the land issue. The book presents outstanding projects based on either a legal or spatial distribution of land and thus makes a valuable contribution to the current discussion on sustainable land policy.

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'Pattern-Thinking' reassesses the work of Buckminster Fuller - unique hybrid between theoretician, architect, designer, educator, inventor, and author - as advancing contemporary models of design-research, practice, and pedagogy. Drawing extensively on Fuller’s archive, the book follows his unique process of translation between the physical and conceptual dimensions of design, to redefine our understanding of the relationships between geometry, structure, language, and intellectual property. Rather than being organised around a chronology of distinct narratives, 'Pattern-Thinking' follows these parallel explorations as the basis for Fuller’s artifacts and inventions. In the space between lines, models, words, and patents, it traces his ambition to measure physical experience in an ever-expanding pattern of relationships, while coordinating these into a conceptual network of words and concepts that shape the basis for his thinking. Advocating a multidisciplinary and political perspective, Fuller’s transversal logic expands the knowledge base of contemporary models of design, which seek to find broader participation and to address new publics.

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The starting image was of a circle on a rectangle; every subsequent image was visually connected to the previous one. It was understood from the beginning that they had to use images that could be scanned from physical items they already had at home (no images from the Internet)—such as children’s books, personal collections of technical manuals and assorted ephemera. The call-and-response nature of the enterprise can be appreciated in the distinctive pairs of facing pages that present themselves as you go through the bound book. To reinforce their dual roles each image appears twice in the book, once as response and again as call. One can see the resulting series of images as a closed loop with no beginning and no end. This second, expanded edition includes the entire project of 196 exchanges that make up Dumontier and Lexier’s clever, competitive, and meandering loop of images. Creative people in art and design will take pleasure in browsing the book and discover formal analogies, witty poetic correspondence and dadaesque follies, which congregate to an unseen visual narrative. Truly an inspirational tool for creative activists!

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This book is a collection of essays at the intersection of architecture and climate change. Neither a collective lament nor an inventory of architectural responses, the essays consider cultural values ascribed to climate and ask how climate reflects our conception of what architecture is and does. Which materials and conceptual infrastructures render climate legible, knowable, and actionable, and what are their spatial implications? How do these interrelated questions offer new vantage points on the architectural ramifications of climate change at the interface of resiliency, sustain- ability, and ecotechnology? Climates also contains a dossier of precedents for thinking about architecture and climate change drawn from a number of leading practitioners. New approaches to understanding climate in architecture make this book invaluable.This publication is a project by The Avery Review, a journal produced by the Office of Publications at Columbia University's Graduate School of Architecture, Planning and Preservation.

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Buckminster Fuller (1895-1983) was one of the most revolutionary technological visionaries of the 20th century. As an architect, engineer, entrepreneur, and poet, he was a quintessentially American self-made man. But he was also an outsider: a technologist with a poet's imagination who already developed theories of environmental control in the thirties ("more with less") and who anticipated the globalization of our planet ("think global-act local"). In light of the reawakening interest in his works and thoughts, and of their growing importance for our technological world, it is time for a reedition of this comprehensive and legendary publication from 1999. The visual reader Your Private Sky examines and documents Fuller's theories, ideas, and projects, and critically deals with his ideology of "rescue through technology."

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'A New Nature' is a book about architecture as the organization of material. It unfolds an idea of working with architecture and urbanity as conditions rather than form. By experiencing cities and cultural landscapes as states of change, the author investigates their degree of organisation between order and chaos: "When we design and build buildings, naturally, we need to enter into an already existing context. Even so, many houses simply stand alone side by side, rather than identifying themselves with and becoming a part of the urbanity that connects and creates cohesion in the culturally created – the new nature." The first part of the book develops an architectural language that connects material and meaning through nine states between liquid and solid, in order to achieve a qualified and sustainable approach to understanding the modern city in its continuous transformation. The book's second part documents a number of project proposals and realised works that illustrate the usage of this architectural idiom. Including precise drawings and models, 'A New Nature' introduces a new kind of spatial investigation. AUTHOR: Anders Abraham (born 1964) is a Copenhagen-based architect and Professor at the Royal Danish Academy of Fine Arts, School of Architecture. 450 images

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In "Ideas and Integrities" Buckminster Fuller describes the revolutionary designs and concepts he has pioneered - among them the geodesic dome, the Dymaxion world map, the Dymaxion 4-D house, the Dymaxion 4-D automobile, and the countless other structures and creations that have changed the face of America and the world. And he sets forth his amazing and challenging ideas for the world of the future - ideas that would revolutionize everything from university education to bathroom design, ideas that, above all, demonstrate how we can and must make far more imaginative and efficient use of the resources now available to us to ensure a better standard of living for all men.

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With his new artist's book The Fabric of Reality, Beat Streuli for the first time lays a trail leading through his oeuvre. Following Public Works (JRP Ringier, 2012), which delivered an overview of Streuli's installations from 1996-2011, the artist now links projects, photographs, and video stills from the past seven years with early black-and-white works. Arranged in close succession and with frequent superimposition, the works create a visual rhythm that conveys an impression of an oeuvre marked by sober conceptual observation verging on documentary status. Essays on the themes of urbanism and sociology, as well as on media theory and the theory of perception, embed Streuli's work in a discursive context.

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To explain the desperate state of our world, its functioning and malfunctioning, is the ambitious goal of this book by Ruedi and Vera Baur. To achieve this goal they have joined forces with the globalization-critical organization Attac, which has provided them with the data. The publication is a formal homage to the sociologist Otto Neurath and the graphic designer Gerd Arntz, who created the Isotype (International Education System by Typographical Images) in the 1920s. Ruedi and Vera Baur also recycled a figurine system originally developed for Manifesta 11, the European Biennial for Contemporary Art in Zurich. Our World to Change! not only explains figures related to economics, finance, ecology, nutrition, and immigration, but also presents suggestions and alternatives from specialists in these fields and from Attac. Visually deciphering the functions of our world system helps to show that another world is possible and necessary.

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What is the role of a museum in contemporary society? Recognising that a museum is a mediator between art and life, Snohetta's expansion to Mario Botta's 1995 San Francisco Museum of Modern Art reimagines SFMOMA both as a new art experience and as a gateway into the city of San Fran- cisco itself. No longer an inward-looking shrine to the art object, a museum today must engage with its local conditions in a proactive way. This book presents Snohetta's most recent investigation into how architecture can nurture social engagement, foster relationships between art and people, and support the museum's mission to remain vital and magnetic. Accompanied by behind-the-scenes sketches, drawings, and photographs that detail the design and construction process, this book is in itself an intimate engagement with the building, its directors and curators, its inhabitants, and its creators.

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Despite the historical significance of form in architecture, the subject is frequently undervalued in debate. This book relates a variety of ideas regarding form, not only through aesthetic and techno- logical approaches, but also from social and political positions. The contents underline the cultural and technical relevance of architecture to society. The Form of Form condenses the debate occa- sioned by the 4th Lisbon Architectural Triennale (2016), presenting to a wider international audience the idea that form is an autonomous subject in ongoing architectural debates. It aims to foster new thoughts in architectural approach as we reach the dawn of a rapidly changing society driven by fast access to information.

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Based on the idea that creativity and curiosity are fundamental to both art and science, PARS presents their third work in their "Findings on..." series. It presents works centered around the topic of "Light." Every living organism needs light to live and survive-the body's circadian rhythms, neurological and biochemical processes, they all need light to function. A collection of fascinating, and sometimes unbelievable, research, this book joins the series after "Ice" and "Elasticity."

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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.

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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 fi nancial 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, Loic Wacquant, Krzysztof Wodiczko.

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The Air from Other Planets introduces an architecture built and controlled by amplifying and designing the energy within our electromagnetic, thermodynamic, acoustic, and chemical environment. This approach to design exchanges the walls and shells we have assumed to be the only type of attainable architecture for a range of material energies that develops its own shapes, aesthetics, organizational systems, and social experiences. Energy emerges as more than what fills the interior of buildings or reflects off its outer walls. Instead, it becomes its own enterprise for design innovation: it becomes the architecture itself. The Air from Other Planets is a book nostalgic for the future, rooted in the belief that the architect's greatest attributes lie in the execution of the imagination, through speculations and projections of worlds and environments yet to exist.

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This visual reader sheds light on climate change on the basis of reportage, case studies, and striking image sequences. Presented alongside chapters on the history of the earth and of climate and on the 'climate engines' (solar energy, greenhouse gases, and global warming) are both the consequences of climate change and the political strategies designed to combat it. In the foreground are existential problems as formulated by the Millennium Developmental Goals: poverty and hunger, health and underdevelopment, but also the interdependency between climate change, economics, and politics. Unavoidable in this context as well are problems related to migration, megacities, and ethical questions of human rights, equity, and solidarity. 'For Climate's Sake!' addresses these questions rationally, at the same time evoking an emotional response.

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This publication helps fill the void of writings regarding the field of engineering and its advances and collaborations. Essays on structural engineering, architecture, design, and seismic research

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How does light transform the objects it shines upon? What are the consequences of such meta- morphoses on architectural thought? Book of Hours seeks to answer these questions. To this end, it presents the architect Frida Escobedo's research on the transformative effect of light on matter. Time lapses show the process in action and translucent paper mimics the permeable barrier between light sources and objects and enacts the mutability of matter.

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