Search results for ""lars müller publishers""

In 1919, the state art school in Weimar was reopened under the direction of Walter Gropius, with a radical teaching approach and under the new name Bauhaus. Four years passed before the first exhibition took place, which conveyed a new approach to art to the enthusiastic public and carried the school’s ideas all over the world. The catalogue Staatliches Bauhaus in Weimar 1919–1923 was published in 1923 to accompany this first public appearance. In this interdisciplinary oeuvre catalogue, the idea and potential of the Bauhaus found their way onto paper for the first time. In addition to numerous project presentations, the theoretical approaches of Paul Klee, Wassily Kandinsky, and Gertrud Grunow convey the teaching methods of the various workshops. Gropius’ preface traces the structure of the State Bauhaus and presents the unique reformation approach that demands and teaches the unity of technology and art. The illustrations from the various workshops also show projects by students whose connection to the Bauhaus is less known. With the original layout by László Moholy-Nagy and the cover designed by Herbert Bayer, the book is an important testimony to that legendary avant-garde movement. This facsimile is supplemented by a commentary that places this publication, rare and long out of print, in a historical context and documents the Bauhaus from its idea to its establishment as a renowned art and design school. The German facsimile is accompanied by the first full English translation of the catalogue, making it accessible to an international audience.

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Adolf Meyer was Walter Gropius’s right-hand man, his planner and close confidant. As early as 1910, they jointly created the Fagus Factory, one of the most important modernist buildings. The experimental single-family home “Haus am Horn” was built for the first Bauhaus exhibition, in the summer of 1923 in Weimar. The house was planned by Georg Muche (design) and the architectural department at the Bauhaus. Adolf Meyer and Walter March were responsible for construction management. The book about the project was compiled in the summer of 1924 and became the third volume of the Bauhausbücher. Following an essay by Walter Gropius that supplies information on the “Housing Industry,” Georg Muche presents the design of the model building. Adolf Meyer then describes its technical execution, giving details on the companies involved.

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With Ultimate Atlas, Theo Deutinger—architect, designer and author of the acclaimed Handbook of Tyranny— illustrates the basic data of Earth and its inhabitants to create a total portrait of the planet. How can we keep track of everything that happens on the Earth? How can we share this information with its inhabitants, despite their different languages and cultural backgrounds? Expanding on the visions of Buckminster Fuller and Stewart Brand, Ultimate Atlas answers these questions by radically levelling graphic data. Breaking down planet earth into 12 sections, the book gives a page spread to information pertaining to themes like ethnic groups, religions, nuclear warheads, and number of motor vehicles per country. The white pages of the book are divided by vertical black lines, in decreasing percentages from left to right. In this way Ultimate Atlas charts the planet with an impressive simplicity and clarity. The territorial size of Earth’s countries; the planet’s most commonly spoken languages; the places where the most chickens are raised; all this information is lucidly displayed for ready comprehension. Here is truly “planet earth in a book.”

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In short, following Marshall McLuhan’s famous provocation, the editors focus less on the message and more on the medium of research. This involves retreating from research contents—the topics, themes, questions, hypotheses, insights, ideas, concepts, and thoughts—for the moment to consider the materials, methods, tools, techniques, and approaches that support them. This change in perspective reveals a rich array of research approaches that include: the visual documentationof complex stakeholder interests, political and economic circumstances in built form and design vision; two-and three-dimensional mapping of vegetation, temperature and humidity, in conjunction with point cloudterrestrial and airborne laser-scanning technology; gathering data from sensors and geospatial data; emergence of “solution spaces”and multi-dimensional complexity science; subject oriented approaches to behavioural and cognitive decision making in city navigation; and approaches to emergent phenomena such as extended urbanisation that are not always visible to existing analytical or documentary lenses.

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Sigfried Giedion’s small but vocal manifesto Befreites Wohnen (1929) is an early manifestation of modernist housing ideology and as such is key to the broader understanding of the ambitions of the International Congresses of Modern Architecture (CIAM) and the debate on the industrialization of construction processes and its impact on public housing at the beginning of the twentieth century. An important step in Giedion’s rise as one of the foremost propagators of modern architecture, this manifesto is based on the argumentative power of visual comparisons, and is the only book the art historian both authored and designed. Along a facsimile edition in German, Giedion’s Befreites Wohnen is presented here for the first time in English translation (by Reto Geiser and Rachel Julia Engler). It is completed with annotations and a scholarly essay that anchors the work in the context of its time and suggests the book’s relevance for contemporary architectural discourse.

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While our era of constant crisis demands stronger social and political engagement, architecture has been largely characterized by a lack of strong positions during the last decades. But more recently, one can again observe attitudes that claim to address architecture and urbanism as more engaged with the social and political effects of global capitalism. Against the liberal 'anything goes' and the revival of architectural autonomy, these attitudes believe less in the possibility for even the most experimental architectural object to have a changing effect on society. Their approaches instead vary from activism to the construction of new critical narratives. But how do these attitudes emancipate themselves from capitalism and to what extent are they able to take into account the complexities of the sociopolitical, economical, ecological, and cultural aspects of the production of space? This book relays a passionate debate between some of the most outstanding theoreticians and eloquent protagonists of this new attitude, leaving us with an overview of such postulated ambitions. A debate with Anne-Julchen Bernhardt, Arno Brandlhuber, Gilles Delalex, Manuel Gausa, Rania Ghosn &vEl Hadi Jazairy, Adrian Lahoud, Bart Lootsma, Markus Miessen, Can Onaner, Laurent Stalder, Peter Swinnen, Pelin Tan, Milica Topalovic, Stephan Truby, Yoshiharu Tsukamoto, and Paola Vigano.

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Combining the talents of an architect, artist, and developer, John Portman was able to embark on a series of large-scale building projects-megastructures-that radically redefined the relationship of architecture to the city and its citizens.Portman's own voice and ideas complement the contributions of others, including new photographs by Iwan Baan, to present a more complex and nuanced reading of both the architect and his architecture.Finally, the repertoire of Portman's buildings is analyzed in meticulous detail and used by a group of students from the Harvard Graduate School of Design as a catalyst for a host of divergent and new architectural speculations.

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Accompanying an exhibition of the same name at the Louisiana Museum of Modern Art, this publication examines the recent work of the Chinese architect Wang Shu, Pritzker Prize winner in 2012. At a time when China's explosive urbanization is making inroads into rural areas and leaving the marks of cheap concrete construction everywhere, Wang Shu and Amateur Architecture Studio are keen to work against this tendency by reusing materials from the buildings that Chinese authorities are systematically tearing down and rebuilding after western models. Wang Shu's architecture reveals a thoughtful attitude toward both design and implementation, as well as the ability to react flexibly to the surroundings and history of a particular site.

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By what means did so much beauty and ingenuity appears in articles of everyday rural life in Portugal? How did the shape of these objects balance necessity and formal perfection so skillfully? This book explores the effect that generations of trial and error, individual craftsmanship, and an instinct to carve out the essential with the slenderest of means brought to objects that made life both livable and meaningful to a pre-industrial society. The objects photographed and described by designer Jasper Morrison may be appreciated both for their beauty and for the example they set of design at its purest.

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Dafi Kuhne is a Swiss designer who works with analog and digital ways to produce fresh and unique letterpress-printed posters. Using very different kinds of instruments, from a MacBook to a pantograph, for his compositions, he pushes the boundaries of design. Never afraid of getting his hands dirty in his creative workshop, Kuhne embraces the labour involved in the entire process of creating a poster from initial idea to finished product. Fusing modern means with the century-old tradition of the letterpress, he forms a new vocabulary on how to communicate through type and form in a truly un-nostalgic way. Never retro, his work is a clever response to the search for new ways of graphic expression: true print. 182 illustrations

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The OfficeUS Atlas collects the exhibition research in an archive of nearly 1000 architectural projects. Organized according to individual firm histories, the Atlas documents the development of U.S. architectural offices working abroad from 1914 to the present. Offices and their projects are illustrated by over 1200 photographs and architectural drawings. OfficeUS, the U.S. Pavilion for the 2014 International Architecture Exhibition - la Biennale di Venezia, reframes the history of U.S. architecture through the lens of export in two interrelated constructs: "The Office" and "The Repository." The Repository presents 1000 projects designed by 200 US offices working abroad in a chronological archive of the last 100 years. Collectively these projects tell multiple, imbricated stories of U.S. firms, typologies, and technologies, as well as a broader narrative of modernization and its global reach. The Office engages these projects, revisiting their premises and conclusions over the course of the Biennale. It functions as a laboratory staffed by a diverse group of resident design partners collaborating with outpost offices and a rotating cast of visiting experts. Together, these two halves of OfficeUS create both an historical record of the U.S. contribution to global architectural thought, and a petri dish in which that record is submitted to contemporary agents of disruption and critique.

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Bucky Inc. offers a deep exploration of Richard Buckminster Fuller's work and thought to shed new light on the questions raised by our increasingly electronic world. It shows that Fuller's entire career was a multi-dimensional reflection on the architecture of radio. He always insisted that the real site of architecture is the electromagnetic spectrum. His buildings were delicate mobile instruments for accessing the invisible universe of overlapping signals. Every detail was understood as a way of tuning into hidden waves. Architecture was built in, with, for and as radio. Bucky Inc. rethinks the legacy of one of the key protagonists of the twentieth-century. It draws extensively on Fuller's archive to follow his radical thinking from toilets to telepathy, plastic to prosthetics, and data to deep-space. It shows how the critical arguments and material techniques of arguably the single most exposed designer of the last century were overlooked at the time but have become urgently relevant today.

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"The current compendium traces the development of the office's architectural practice and thinking through a series of completed buildings, works in progress and projects that, as yet, remain unrealised. The book illuminates its strategies of sustainable design, its multiple interventions in the post-industrial cityscape and the unfolding of an architectural language full of sense and sensuality that reacts to its physical and social context, as well as to functional, technical, spatial and sculptural considerations. The book reveals Sauerbruch and Hutton's understanding of their profession as an ongoing process of research into presence and future, and is the only comprehensive documentation of their numerous works."

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The monograph provides a sharply focused insight into how Annette Gigon and Mike Guyer understand architecture. The various concepts as well as the different constructions, materials, forms and colors that they employ in their projects are presented in an exhaustive documentation of their work that uses numerous photographs, plans and short texts. The three essays as well as a discussion between Patrick Gmur, Martin Steinmann and the architects offer in-depth reflection and contextualization.

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Dan Graham, one of America's most important contemporary artists, is best known today for his sculptural works and installations. His photographic works are generally not so well known, despite the fact that he first became famous for his photographic series, Homes for America, pictures of typical American suburbia. To this day the theme of architecture and its surfaces represents an extremely important facet of his work, as does the question of what role it plays in postmodern society and in the context of everyday culture. This publication presents new photographs by Dan Graham, taken in the context of a study trip with the architecture faculty of Columbia University, together with a selection of original photographs from the Homes for America series. The new images exhibit stark similarities to the old pictures, because they were taken in the same locations, in the same deserts of suburban streets and housing that Graham had photographed in the 1960s. This creates a fascinating reference system of repetitions and differences, in terms of both the temporal and the spatial, that asks questions of the viewer about architecture, public space, and their function in society.

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After the successful conclusion of the centenary celebrations of Andrea Palladio''s birth, there are still many unanswered questions about his work. Antonio Foscari retraces Andrea Palladio''s life and offers new perspectives on the architects built and unbuilt work. The author reveals an image of Venice that differs from the one we all know: a city that projects herself into the modern age by abandoning the accepted principles of late medieval culture that had so profoundly influenced its formation.

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Unimark International was a firm with global reach, with eleven offices in five different countries. Its use of the most modern design approaches and latest marketing methods quickly made it famous and unrivaled. Its clients were international corporations like Gillette, Jaguar, Ferrero, Knoll International, Olivetti, Pirelli, Ranx Xerox, Unilever, IBM, as well as American Airlines and Ford, for which it created visual corporate identities that are still in use today. Unimark was known for always using the latest technological innovations and for using computers long before anyone else. With their visual outlook, Unimark designers had a defining influence on our environment; they left an enduring legacy with their practice and their theory. Many Unimark designers have been honored with international awards for their achievements. A distinctive hallmark of Unimark design is the systematic use of the Helvetica typeface for the corporate identity of firms. The success of Unimark International, which is documented here for the first time, points the way for designers and the marketing sector today. AUTHOR: Janet Conradi, Professor of Graphic Design at Rowan University in Glassboro, New Jersey. 150 illustrations

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White not only plays an important role in Japanese culture in general but also in the work of designer Kenya Hara. In 100 Whites, Hara gives one hundred specific examples of white-such as snow, Iceland, rice, and wax. On the basis of these examples he discusses the importance of white in design-not only as a color but as a philosophy. Hara describes how he experiments with the different whites he mentions, what they mean in the process of his work, and how they influence design today. 100 Whites is the extension of his previously published book White. The new publication explores the essence of white, which Hara sees as symbolizing simplicity and subtlety.

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Are We Human? rethinks the philosophy of design in a multi-dimensional exploration from the very first tools and ornaments to the constant buzz of social media. The average day involves the experience of thousands of layers of design that reach to outside space but also reach deep into our bodies and brains. Even the planet itself has been completely encrusted by design as a geological layer. There is no longer an outside to the world of design. Design has become the world. Design is what makes the human. It is the very basis of social life. But design also engineers inequalities and new forms of neglect, such as lawlessness, poverty, and the climate at the same time as the human genome and the weather are being actively redesigned. We can no longer reassure ourselves with the idea of "good design." Design itself needs to be redesigned.

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The way we live is rapidly changing under pressure from multiple forces - financial, environmental, technological, geopolitical. What we used to call home may not even exist anymore, having transmuted into a financial commodity of which the square meter is the basic unit. Yet, domesticity and the domestic space ceased long ago to be present in the architectural agenda. SQM, produced for the 2014 Biennale Interieur in Kortrijk, Belgium, charts the scale of this change using data, fiction, and a critical selection of homes and their interiors - from Osama bin Laden's compound to apartment living in the age of Airbnb. With original texts by: Rahel Aima, Aristide Antonas, Gabrielle Brainard and Jacob Reidel, Keller Easterling, Ignacio Gonzalez Galan, Joseph Grima, Hilde Heynen, Dan Hill, Sam Jacob, Alexandra Lange, Justin McGuirk, Joanne McNeil, Alessandro Mendini, Jonathan Olivares, Marina Otero Verzier, Beatriz Preciado, Anna Puigjaner, Catharine Rossi, Andreas Ruby, Malkit Shoshan, Bruce Sterling

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During the Renaissance, the contest to decide the order of rank among the fine arts, architecture, painting, and sculpture was an issue that also occupied the famous architect Andrea Palladio. He was convinced that architecture spoke for itself and did not require any ornamentation through painting. Nevertheless, frescos adorn the walls and ceilings of many of his villas. At the Villa Malcontenta, for example, one of Venice's best-known fresco painters of the day, Giovanni Battista Zelotti, was com- missioned to design the interior. In Frescos, Antonio Foscari analyzes this fresco cycle, one that not only represents an outstanding example of trompe l'oeil based on architectural structures - and which is closely modeled on Palladio's ideals - but also sheds light on formative events within the family that commissioned Palladio. This publication contains a wealth of historical documents as well as photographs of the frescos by Matthias Schaller.

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This book is a tool kit to create new forms. It deals with grid-based design and gives the reader techniques to develop new forms, fonts, logos, and patterns. The concept represents a design process in which individual decisions follow much larger and deeper principles than immediate and spontaneous-intuitive actions. Using a wide variety of examples, each chapter contains a detailed description of the procedure from form analysis to setting up design rules and their application. Both a workbook and a source of inspiration, this publication provides designers and architects with the tool they need to find analytical forms—analog, algorithm-based, exploratory but never of arbitrary origin. The procedures described allow an almost infinite number of possibilities. The designer is thus transformed from inventor to interpreter or curator, who assesses individual forms for logos, fonts or patterns on the fly and ensures that the design process is always efficient and goal-oriented.

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How are changing conditions in society likely to affect Germany's built environment? What are the catalysts for transformation in its cities and regions? Speculations Transformations is devoted to the social and spatial transformations that Germany will face in the future, speculating on their architectural consequences.

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This volume, the first comprehensive assessment of the work of the Metabolic architect Kiyonori Kikutake (1928 - 2011) in the English language, highlights his lifelong creation of a constantly evolving platform for living, floating above land and sea hrough pivotal works, from the late 1950s to today. Abundantly illustrated, the publication situates Kikutake's work within an international context and as a vital inspiration for Japanese architectural practice today.

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