Search results for ""lars muller publishers""

Inspired by the architects' tradition of passing on experience in conversation form, this paperback book provides insights into the ideas, methods, and memories of one of Europe's most innovative landscape architects. In twelve concise conversations, Vogt inquires into the meaning of landscape architecture in the context of the worldwide urbanization process, and tries to define this young discipline's position. To this day, our concept of landscape appears to be influenced by an Arcadian ideal. Only when landscapes are understood on several levels, as the product of natural, cultural, and social processes, can atmospheric and living urban landscapes appropriate to the specific situation be created. Gunther Vogt sees landscape architecture decidedly as part of a city, given its close relationship to topography, architecture, and infrastructure.

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BIG-GAME is a Swiss design studio founded by three friends in 2004. This book presents their industrial design work on everyday objects. Through anecdotes, diagrams, and pictures made for the publication, the book gives an overview of fifteen years of practice and reveals the pleasure the designers take in creating items that become part of our everyday lives. From a wine bottle sold in supermarkets to a chair in the permanent collection of the MoMA, a set of cutlery for an airline to a timepiece for a Swiss watchmaker, a collaboration with Japanese potters to a piece of furniture sold at Ikea, the charming, humorous, and direct tone they use to explain their work is a fun way to express the industrial design process today. Based on a series of informal interviews, the main text by Anniina Koivu explains the design process within this modern-day design collective. The introduction by Susanne Hilpert Stuber, casts a light on the relationship between BIG-GAME and today's Swiss design industry, and puts it in an international context.

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The fourth volume in the series The Architect’s Studio is dedicated to the works of Anupama Kundoo. The much appraised Indian architect aims to shed light on a scarce resource in our life: time. Kundoo sees time as a forgotten resource in architecture. For her, architecture is a process that embraces the present, the past and the future. Taking inspiration from ancient building methods, Kundoo is concerned with using as few resources as possible in her architecture. This publication explores how traditional Indian building customs, crafts and materials are integrated into her studio’s remarkable projects.

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Marcel Breuer (1902-1981) is celebrated as a furniture designer, teacher, and architect who changed the American house after his emigration from Hungary to the U.S.A. in 1937. More recently historians, architects, and-with the reopening in New York of the great megalith of his Whitney Museum as the Met Breuer-a larger public are gaining new insights into the cities and large-scale buildings Breuer planned. Often seen as a pioneer of a "Brutalist modernism" of reinforced concrete, Breuer might best be understood through the lens of the changing institutional structures in and for which he worked, a vantage developed in the fresh approaches gathered here in essays by a group of younger scholars. These essays draw on an abundance of newly available documents held in the Breuer Archive at Syracuse University, now accessible online.

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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.

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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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How Life Unfolds provides an insight into the approach, methods, and processes of the popular design studio atelier oï based in La Neuveville, Switzerland. atelier oï pushes the boundaries of architecture, product design, and scenography, and experiments with various textures and dimensions. The troika—Aurel Aebi, Armand Louis, and Patrick Reymond—presents surprising design solutions that are remembered by the public as icons—be it the “Arteplage” at Expo 2002 in Neuchâtel, a precious perfume bottle or oating paper installations. The publication features archive material as well as descriptions of current projects and photo essays. Statements of designers and partners, friends and critiques, customers and producers let the readers delve further into the world of the multi-awarded design studio. The book also offers an insight into its immense material archive, which has grown over the decades. How Life Unfolds is published on the occasion of the exhibition “Oïphorie” at the Museum für Gestaltung Zürich. The exhibition is on display from March 3 to September 30, 2018.

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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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In devising a concept for the Abbildungen exhibition, Konstantin Grcic thought back to one of his earliest designs, an additional pedestal for a sculpture by Constantin Brancusi. This became the leitmotif of his staging of twenty-one selected objects. The exhibition is the underpinning for the conception of this publication, which turns its gaze on the media-framing of Grcic's design objects. First researched in early magazines, company prospectuses, flyers and other print media, the selected pieces are presented here as reproductions of reproductions. The publication is accompanied by an in-depth analysis by Robin Schuldenfrei, Professor at the Courtauld Institute of Art in London, who, in presenting Konstantin Grcic's oeuvre to the German-speaking world, examines it from a historical perspective for the first time. Finally, the staged gallery spaces at Kunsthalle Bielefeld are documented in photographs by Wolfgang Gunzel, Offenbach. AUTHOR: Konstantin Grcic (*1965) studied Industrial Design at the Royal College of Art in London and was assistant to Jasper Morrison. He founded his own design studio in 1991. 336 illustrations

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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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Laboratories are both monasteries and space stations, redolent of the great ideas of genera- tions past and of technologies to propel the future. Yet standard lab design has changed only little over recent years. Here Mark Fishman describes how to build labs as homes for scientists, to accommodate not just their fancy tools, but also their personalities. This richly illustrated book explores the roles of labs through history, from the alchemists of the Middle Ages to the chemists of the 19th and 20th centuries, and to the geneticists and structural biologists of today, and then turns to the special features of the laboratories Fishman helped to design in Cambridge, Shanghai, and Basel. Anyone who works in, or plans to build a lab, will enjoy this book, which will encourage them to think about how this special environment drives or impedes their important work.

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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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This title, published in 1979 and long since out of print, now appears as a reprint from Lars Muller Publishers. The original book was released in the series of publications Source Materials of the Contemporary Arts initiated by Kasper Konig and produced by the Press of the Nova Scotia College of Art and Design. The publication represents an important document in Dan Graham's artistic examination of the video medium. Graham's installations and performances with video from the years 1970 - 78 are documented with numerous illustrations, photos, and brief descriptions. In addition, the volume contains an essay by the artist in which he examines the various possibilities and forms of representation offered by the video medium, and draws the boundaries between these and representational spaces in television, film, or architecture. The book also offers contributions by Michael Asher and Dara Birnbaum, as well as an annex with a biography and bibliography.

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In 1960, Brasilia was celebrated as the realization of an urban planning vision based on designs by Lúcio Costa and Oscar Niemeyer. At the same time, the sectoral city of Chandigarh was rising according to plans by Le Corbusier. The “test tube city” arose as an export of modernity from a Western planning euphoria that displayed utopian traits. In both cities, foreign architecture entered into a harmonious relationship with indigenous culture, forming new and independent identities. This publication addresses the question of how modernism has been appropriated in both cities, and how the people who live in them deal with it. Commonalities and differences are identified and images of everyday urban life showcased. On the initiative of the publisher, the young photographer Iwan Baan has taken stock of contemporary life in both cities.

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With essays by Pedro Alonso, Pedro Álvarez, Nicole Cristi, Francisca Espinosa, Mario Garcés, Michael Lemon, Eden Medina, Carlos Montes de Oca, Hugo Palmarola, Marian E. Schlotterbeck, Martin Tironi, Rita Torres, Camilo Trumper and Peter Winn. From 1970 to 1973 Chile carried out on a political experiment in which socialist change would occur peacefully and with respect for existing democratic institutions. This “Chilean road to socialism,” as it was often called, offered a unique political third way at the height of the Cold War – one that broke from the opposing models put forth by the United States and the Soviet Union. This short and abruptly ended period in Chilean history resulted in product and communication design that powerfully demonstrates how design can influence social behavior and identity and foster solidarity and cohesion. How to Design a Revolution documents this Chilean visual language born out of exceptional circum- stances. The publication broadens the study of influential and consequential visual languages of the social (protest) movements of the1960s and1970s, such as the Cuban Revolution, the Vietnam War and May 68, and illustrates how design came to reflect the dynamics of this political moment while also becoming a tool for political change.

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Iranian graphic design looks back on a brief history. The first poster designers completed independent artistic training and created painterly-illustrative works in the 1960s. The simultaneous opening to the West under Shah Mohammad Reza Pahlavi promoted global cultural exchange. With the proclamation of the Islamic Republic in 1979 and the First Gulf War (1980–1988), however, this was rapidly interrupted. At the end of the 1980s, a new generation of designers took up the graphic heritage of the pre-war period. At the turn of the millennium, the Iranian poster finally conquered international festivals and caused a great stir in the Western community. The volume Contemporary Iran brings together Iranian cultural posters from 1960 to the present. Despite the many different creative approaches, they always demonstrate the search for a fusion of history and contemporaneity, Iran’s own tradition and Western inspiration, art and everyday culture. An often unorthodox interpretation of Persian cultural heritage is combined with the confident use of computer-generated graphics. Thus, some posters confirm common Western notions of Islamic aesthetics, while others radically undermine them and irritate and surprise us.

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unique creations by artist-architect Didier Fiúza Faustino. The book is an opportunity to place Didier Fiúza Faustino’s work in the context of the most contemporary ideas, experiences and forms. The objective of this book-manifesto places the body at the center of all the concerns of an architect without scale. The publication is divided into three main parts. The first is designed as a magazine with real fake advertisements created by Faustino’s Bureau des Mésarchitectures. The second focuses on the agency’s manifesto projects. The third part shows the realizations. Between these parts, the manifesto texts of the agency and of various invited authors will be inserted to analyze and put into perspective the work of Didier Fiúza Faustino and his team.

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From the 1920s to the 1960s, René Hubert (1895–1976) belonged to the crème de la crème of costume designers. He designed costumes for stars such as Tallulah Bankhead, Ingrid Bergman, Marlon Brando, Yul Brynner, Marlene Dietrich, Vivien Leigh, Laurence Olivier, and Marilyn Monroe in one of her first roles. Shirley Temple danced the hula in the film Curly Top wearing a grass skirt ensemble designed by Hubert; he was especially closely associated with Gloria Swanson, who encouraged him to relocate to Los Angeles when she met him in Paris in 1924. Hubert consented, and soon found himself working with directors René Clair, Alfred Hitchcock and Otto Preminger, elevating their stars with his flair for opulent color and elegant lines. Hubert’s international reputation helped him to win commissions in his native Switzerland, most notably for the Swiss National Exhibition in 1939, for Swissair uniforms and aircraft interiors, and for various theaters and textile companies. This richly illustrated publication compiles sketches, costume photography, stage photos and film stills of Hubert’s work. Experts from both sides of the Atlantic reflect on his multifaceted oeuvre at his numerous workplaces in Switzerland, Europe and the US. Excerpts from his unpublished memoirs provide a personal view of his life and the glamor of the era.

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