Search results for ""Lars Muller Publishers""

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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The photo book Noonday can be regarded as a sequel to Annelies Aetrba's Shades of Time, published almost twenty years ago by Lars Muller Publishers. The photographs show intimate moments in the life of the artist's family, everyday situations and seemingly insignificant moments captured on film. They confront the viewer with the human urge to remember and inability to forget as they evoke in his mind's eye similar images and memories from his own past. While Shades of Time focused on Aetrba's own children, Noonday shows photographs of her grandchildren. The images display the children sleeping, in the forest or other places and thus preserve graceful moments of life. With a subjective and yet documentary gaze, Aetrba halts the passing of time, oscillating between closeness and distance, relishing the moment recorded while cognizant of its ineluctable transience.

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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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Make New History, the companion publication to the 2017 Chicago Architecture Biennial, invites speculation on the status and importance of history to architecture today. The book brings together an eminent collection of historians, curators, and practitioners-including Giovanna Borasi, Edward Eigen, Sarah Herda, Robert Somol, Martino Stierli, Philip Ursprung, Jesus Vassallo, and Sarah Whiting-and features over a hundred artists and architects from the exhibition.The 2017 Biennial focuses on the efforts of contemporary architects to align their work with versions of history. From the diverse voices within discipline, it examines the interplay of design and the broadening recall of and access to historical source material. In the realm of building practice, participants interrogate how sites are made up of the historical accumulation of materials, regula- tions, social conventions, and memories. Issues under consideration are the regulation and management of power and identity, what prevails and what does not, and how to recognize the signi cance of untold narratives.

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What People Do for Money is published on the occasion of the 11th edition of Manifesta, the European Biennial of Contemporary Art. Curated by artist Christian Jankowski, the biennial permeates the social fabric of Zurich by initiating collaborative projects between artists and citizens from different worlds of work. The catalogue features over thirty of these joint ventures-along with illustrations of the thematic exhibition, documentation of the Pavillon of Reflections on Lake Zurich, and coverage of the participatory artists' guild at Cabaret Voltaire. Including commentaries from the artists' collaborators, stills from the film programme, sociological research, and new literary texts, it presents a multifaceted portrait of Zurich-one which by generating and gauging discussions serves to contextualise the Swiss capital within Europe today. With contributions from Franco Berardi, Harald Falckenberg, Hedwig Fijen, Sarah Schilliger, Mikhail Shishkin, and Jakob Tanner, among others.

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Like his previous publications, photographer Patrick Faigenbaum's new book is dedicated to a specific terrain: the Bengali metropolis of Kolkata, which bore the name of Calcutta during its time as a British colony. The historical profile of the chaotic metropolis and its close connection with the surrounding countryside are shown through the prism of figures from public life, rituals, and intimate landscapes. 153 illustrations

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This book is the first monograph dedicated to the designer Rolf Muller who is known above all for his design of the visual identity of the Munich Olympic Games in 1972. Shortly after graduating from the famous Ulm School of Design, his former professor Otl Aicher entrusted him with this work, which set new standards in international design. In parallel, he established his design firm Buro Rolf Muller in Munich. On the basis of selected projects, the book attempts to retrace the mentality and methods of his design: For nearly four decades, the firm developed corporate identities, books, magazines and signage systems at the highest level. The firm's projects include the visual identity of the City of Leverkusen, forged over several decades, and the magazine HQ High Quality for the company Heidelberger Druckmaschinen, of which 39 issues were published. As a storyteller and system designer, Rolf Muller has left a mark on international design history with his work. His stance has had a decisive impact in shaping the way in which today's communications designers view their profession. 350 illustrations English/German Text

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Nairobi, in its short history spanning just over one hundred years, has grown to be one of the most varied and international cities of our contemporary world. Migration has been shown as one of the key forces infl uencing the city. In the context of Nairobi's complex colonial and postindependence political trajectory, migration has reinforced ethnic, spatial, and economic differences, leading to the formation of multiple power structures. This process is evident in the city's radically different urban patterns. The book documents, along specifi c neighborhoods, how different cultures of urban life constitute the city today.

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Ever since the first days following the disastrous events that took place in Japan in March 2011, photojournalist Kazuma Obara has been visiting the sites and the people affected. He even visited the Fukushima power plant itself, where he talked to the workers involved. The series of portraits and interviews he produced is published for the first time in this publication. Obara's photographs offer touching insights about the consequences of the events surrounding Fukushima. Recollected in this book, they offer a long-term perspective and pose the question catastrophe are, for the people on site as well as worldwide. This book thus offers a view that goes beyond the pure facts on site - Beyond Fukushima.

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While Floating Images: Souto de Moura's Wall Atlas explores the architect's visual archive as the basis for his work, Sketchbook No. 76 focuses on his concrete sketches. The publication is a reproduction of his sketchbook and gives insight into the architectural design process, which here can be quite literally experienced and understood. The publication records his first ideas, fleeting sketches, studies, and spontaneous jottings that offer a starting point for every project but also function as a working resource for developing existing ideas further and trying out any number of variants. Sketchbook No. 76 is a homage to the medium of drawing and makes it clear that it remains an essential element of the creative process.

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The Zurich architects Fuhrimann Hachler take on the most diverse building commissions. The present volume is devoted in particular to private residences, most of them realized for clients who are at home in the architectural and art scenes. These homes captivate by virtue of the clarity and simplicity of their constructive materials, their economically effective construction, and their haptic, sensual surfaces and flowing spatial transitions. Outstanding examples of their architecture include the Haus Presenhuber in Vna (2007), the Haus Muller Gritsch in Lenzburg (2007) and their own residence in Zurich (2003). The text contributions take the reader beyond the featured residences while situating these within the overall oeuvres of the architects.

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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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Otto Neurath's famous Modern Man in the Making, first published by Alfred A. Knopf in 1939, captures and describes the state of the world in the 1930s by using text and figurative illustrations. From 1925 onwards, Neurath and his team had worked on a new visual language termed Isotype (International System of Typographic Picture Education). At a time that saw the rise of new mass media making hitherto unthinkable amounts of information available, Neurath felt the need for a systematic visualization explaining facts, statistic data and comparative numbers in simple ways. The book can be seen as one of the most influential predecessors of today's ever-present infographics. Its mission was to analyze the fundamental trends in the social, political and economic life of humanity. The topics covered in the book include diverse social issues of the time such as mortality, health, employment, trade, education, mobility, migration and demographics.Modern Man in the Making shows Neurath's democr

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Following the pair of monographic “Sauerbruch Hutton Archives” (Archive, 2006; Archive 2, 2016) Lars Müller Publishers presents a reader edited by the architects. Matthias Sauerbruch and Louisa Hutton have asked a diverse group of authors to reflect on the various conditions that have shaped the conception, production and dissemination of architecture in Europe over the course of the last three decades, and of the architecture that has resulted. The essays generally include observations on one or more of Sauerbruch Hutton’s buildings, but these do not necessarily form the focus of the respective texts. The authors include critics who have written on the work of the practice in the past, architectural colleagues and writers whose opinions and observations are respected by the editors as well as a handful of people who either live or work in one of their buildings and so have experienced Sauerbruch Hutton’s architecture firsthand. Further, a photographic essay by the Finnish artist Ola Kolehmainen will augment the twenty-fi ve essays with works created between 1990 and 2020. Analogous to the written pieces, these are images in their own right and of their own subjects that have been triggered by the presence of one of Sauerbruch Hutton’s buildings.

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Poverty, in its universality, seems immediately understandable and yet, as a global problem, its dissolution remains highly complex.To illustrate what it means to live at the poverty line, Stefen Chow and Huiyi Lin visited thirty-six cities on six continents, and examined poverty with regards to food. From the local markets, they bought vegetables, fruits, cereal products, proteins and snacks – the amount of food they could afford per day based on the respective poverty line definition set by each government. They photographed the resulting pile of food, placed on a page of a local newspaper they bought that day. Using visual typology and artistic research as their guiding principle, they carefully calibrated lighting and shooting distance to ensure uniformity and comparability. In this visual reader, Chow and Lin embark on an economic comparison between the thirty-six countries and territories making the problem of poverty visible and comprehensible. In addition to the examination of the poverty line and its meaning across the world, the duo selected nine foods available in most of the economies observed to illustrate the globalization of production and the variations in prices and consumption. The book is enriched by texts that shed light on issues around the poverty line as a global phenomenon: The authors relate to the challenges of our society and the UN 2030 Agenda for Sustainable Development whose first of seventeen goals is to end poverty in all its forms.

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Although he was never an official member of the Bauhaus, Albert Gleizes dedicated his influential essay on Cubism to the art school. In 1928, László Moholy-Nagy and Walter Gropius included this essay as volume 13 of the Bauhausbücher series. In addition to his own works, Gleizes shows works by Georges Braque, Robert Delaunay, Fernand Léger and Pablo Picasso as reference examples, and places the Bauhaus and its series in an international context that impressively captures the interaction of the numerous art movements of the time.

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A leading figure of photorealist painting, Franz Gertsch (born 1930, Switzerland) has created monumental portraits of charismatic youths and meditative depictions of nature in vivid and pains- taking detail for over fifty years. Polyfocal Allover surveys Gertsch’s paintings from 1970 to 1982 and woodcut prints from 1979 to 2019, reflecting a vision in which all that lies within the frame is accorded equal value. The essays, interviews, and conversations in this publication bring further definition to the lives and landscapes Gertsch renders with such virtuosic, eerie precision.

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Questions of privacy, borders, and nationhood are increasingly shaping the way we think about all things digital. Data Centers brings together essays and photographic documentation that analyze recent and ongoing developments. Taking Switzerland as an example, the book takes a look at the country's data centers, law firms, corporations, and government institutions that are involved in the creation, maintenance, and regulation of digital infrastructures. Beneath the official storyline— Switzerland’s moderate climate, political stability, and relatively clean energy mix—the book uncovers a much more varied and sometimes contradictory set of narratives.

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Theo van Doesburg was a jack of all trades: painter, writer, architect, typographer, and art theorist. In this volume of the Bauhausbücher, he attempts to make elementary concepts in the visual arts generally comprehensible. He was addressing the “modern artist” of his day, who had to deal with both shifting social paradigms and a changing understanding of art and art theory. Van Doesburg describes theory as a necessary consequence of creative practice. Artists, he says, “do not write about art but from within art.”

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