Search results for ""niggli verlag""

As a result of globalization and increased interaction across countries and cultures, multilingualism is becoming increasingly important all around the world. Script, as the most important conveyor of confirmation, plays a major role in this development. Designers are more and more faced with the challenge of creating designs that not only combine various languages but two or even more writing systems. At first, Bi-Scriptual discusses on a theoretical level questions such as the sociocultural relations between various writing systems and the increasing importance of sociocultural communication. Following a general section on the practical application of bilingual design, experts of the concerned languages compare eight writing systems with the Latin script. This part also contains topical interviews and practical examples of more than 100 designers that show the various possibilities of creating designs incorporating different writing systems side by side.

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Between 1949 and 1989, remarkable buildings of late modernity were constructed in the coastal city of Kuwait. Within these four decades, the city state on the Arabian Gulf was comprehensively restructured and practically redesigned. Following a first volume with 150 carefully selected exemplary buildings, this second volume features interviews, essays and arguments, as well as transcripts of contemporary publications of these years. The texts from local and international scholars focus on questions regarding the significance and function of the buildings along with the role of individual and corporate protagonists that influenced, defined and created this highly dynamic restructuring process. Furthermore, all aspects are integrated into a wider regional and international context. The contributions are complemented by an extensive array of photographic, layout, and archive materials.

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The architectonic possibilities of the pitched roof seem almost unlimited and are all the more interesting for today’s architects, in that the subject has been neglected for such a long time. By thematic plates this publication shows the whole spectrum of possibilities that are opened up by pitched roofs. Their potential for the design of the outer façade and its relation to context and interior is shown in a systematic fashion. Individual aspects are explored in depth in articles by specialists.

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Certain aspects and contexts of the perception of architecture can best be explained by means of images – that is the idea upon which this book is based. The author has divided selected structural details into individual chapters, including such subjects as space, color, dynamics and surface. The reader can discover analogies as well as contradictions and view the photos completely independent of the texts. In the back of the book all the information about the structures depicted in the front can be found, as well as a complete view of the buildings and texts about architecture and perception. The photographs were taken in foreign countries on every continent and depict a great number of famous and representative structures from different ages and cultures.

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There is a long tradition of comparing cities with organisms as they have similarities in their anatomy. But since cities are brought into life by the presence of people, they are less living beings than urban beings with their own identity. This is based on the behaviours, needs and requirements of the residents. In other words, the anatomy of the city informs its identity – certain city structures, wherever they are, are influenced in similar ways by the people who interact with them. This volume shows and makes understandable these influences on the living environments of the inhabitants. Through detailed charts and elaborate maps generated from satellite images various city structures are compared across five different dimensions and their influence on the city’s identity through the lived experience of the inhabitants is discussed. These range from local urban cells, explorable by foot, and urban centres to macro-regions, agglomerations of many hundreds of cities that stretch across thousands of kilometres.

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The creation of a logotype as one of the most important elements of corporate design is a challenging task for communication designers. The concept that a good logotype is by definition a persuasive logotype creates a direct link to the genre of rhetoric, which, according to Aristotle, has the power of observing the means of persuasion on almost any subject. It follows that rhetoric concepts and methods are ideally suited for understanding the effectiveness of logotypes to expand the horizon of applied design work. In this publication the author illustrates how designers can utilize the tools of rhetoric, a science that dates back more than 2,500 years. Stylistic devices play a central role in this as logotypes are analysed and classified to determine which communicative strategies and intended effects they fulfil. The theoretical in- sights gained from this provide designers with a wealth of knowledge that facilitates analysis, idea generation, and argumentation along with a deeper understanding of the design process.

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The East German engineer Ulrich Müther contributed an important chapter to the European history of shell construction. From 1963 on he realized pioneering shell constructions that rank among the classics of modernism and inspired architects from all over the world. The buildings are portrayed with the aid of current photographs, plans, texts and project information.

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The typograhic grid is a child of constructive art. This book offers a collection of about two dozen typographic works of the author including books, brochures and art catalogues. The works, documented in schematic drawings and many individual illustrations, are not meant to be recipes; instead, they should provide the reader with impulses of how he himself can set design processes in motion from the outset. The many-sidedness of design with grid systems should be made manifest.

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The world can be turned inside out, the world has rhythm. This perspective of wood sculptor, technician and inventor Paul Schatz offers whole new viewpoints. He succeeded in creating a technology which brings the laws and rhythms of nature in line. Schatz's journey of discovery leads to stunning developments in design, in the perception of the geometric and architectural space, and to a new art of mechanical engineering. Oloids and acuboids are forms that are intriguing in their beauty. Turbula and Inversina mixers are used for industrial purposes while the oloid has proved very useful in water and environmental engineering. The boo presents life's work that hasn't suffered a loss of currency. The study of Rhythms and Technology offers inspiration for the work of philosophers and practitioners alike.

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Müller-Brockmann’s book aimed to solve the graphic designer’s problem of finding the appropriate contemporary form. It became a standard work that still serves as a historic practical guide well beyond the boundaries of Switzerland. This edition is an unabbreviated reconstruction of the original edition of 1961, as a hardcover with jacket. It includes the additions made by Josef Müller-Brockmann himself for the paperback edition of 1983. In the first part, the path from illustrative to functional graphic design is traced, as well as the meaning of design elements, their use and effect in every area of advertising: business printed matter, advertisements, brochures, books, posters, and exhibitions. The middle section of the book contains fundamental thoughts concerning the work of the graphic designer. The chapter “Science and Visual Communication” covers the area of semiotics and communications research. In the last part, the systematic education of the graphic designer is presented by means of a comprehensive documentation. Thus, the book offers graphic designers a valuable survey of the fundamental tasks of design.

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The capital of Georgia practically pre-sents a new face every day. Ambitious building projects and large foreign investments are constantly changing the cityscape of Tbilisi. This relentless development is the subject of much debate among the city’s residents: What should be preserved and what may be subjected to change? What is available for sale and what is common property? What do we want to remember and what are our sources of inspiration? The very diverse and impressively illustrated contributions give an immediate view of the multiple changes taking place between the desire for the preservation of the past and the dawn of a new era.

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As soon as it leaves the protective environment of drafting boards, specialized computer programs, and sophisticated 3-D models, every architectural project is inevitably forced to face the circumstances of real life. In most cases, it’s a relatively painless experience, it nevertheless progresses without major problems – but sometimes things go wrong and it fails miserably! What remains are unfulfilled expectations and broken dreams of overly optimistic architects, owners, and clients. With a tongue in cheek approach, this book presents a selection of the most spectacular architectural flops from the 20th century to the present. Each project is described briefly and its circumstances are analysed and documented via photos. The author is not aiming to uncover faults and condemn failed projects but rather to contemplate on how difficult and nearly impossible it is to predict the future of any type of endeavour.

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The great majority of architectural productions attempt to satisfy our everyday needs and to maintain the status quo of this basic requirement, an effort which is generally dubbed the state of the art. But architects of all times have simultaneously attempted to leave these limitations behind them and to propose entirely innovative paths, challenging the status quo of their environments and creating something entirely new. History has consistently demonstrated that Utopias have always been developed against the most varied backgrounds: Utopias have appeared as a reaction to crisis situations, as visions for a new start or as carriers for innovation. During the nineteen sixties and seventies in particular Utopias served as a source of inspiration for many architects. In the following decades Utopias continued to be a relevant issue in the humanities, but now tended to be pushed aside in architectural discourse.

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“What constitutes good architecture?” is a question Werner Blaser was always asked by friends, readers, companions and students. In this comprehensive work the author sets out on a search for the answer to that question. This volume is not only a fascinating study about quality in architecture, but also a comprehensive overview of architectural history. By analysing special buildings, different aspects and interconnections become clear, which by themselves or in combination define an architectural quality. Drawing on photographs from his impressive archive, which he accompanies with short explanatory texts, the author vividly demonstrates the basic foundations of architecture and perception.

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Jost Hochuli has been working as a freelance graphic designer since 1959. Although book design forms only a small part of his activity, he has become well-known particularly through this work. Besides his book designs, several of his commercial artwork pieces and typefaces are pictured in this volume. The book is thus the ultimate synthesis of Hochuli’s works. It is structured in three thematic blocks “Commercial Graphic Design”, “Typefaces Cut in Wood and Linoleum” and “Books” which are accompanied by theoretical texts while generously documented by numerous examples from Hochuli’s work.

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The Risograph printer is at the forefront of a new creative explosion. More and more artists and designers all over the world are rediscovering this stencil duplicator for themselves, sparking a unique and unexpected renaissance in analogue printing. And Risography is just the most prominent technique in a new wave of cutting-edge contemporary design, one that is also recuperating forgotten technologies such as the Gestetner and the mimeograph. At the heart of the volume are fabulous, hugely diverse examples of Riso-printing, including postcards, magazines, posters, flyers, and experimental printed products, all of which inspire through vivacity of colour, unique textures and, above all, the perfectly imperfect authenticity of Risography.

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What is the role of craftsmanship in the post-industrial age? Can it hold up as an economically viable model in face of the increasing digitalization in all areas of life? The editors portray selected designing crafters with very different educational backgrounds in a generational dialogue, showing how they join design work, technology, and manufacturing with cleverly implemented international experience to develop self-determined and economically successful small-scale business models. Photographs of the resulting products and workshops they are made in are complemented with interviews revealing the personal knowledge of the crafters, providing the reader with impressive insights on contemporary craftsmanship and establishing it as an approach unique to the 21st century.

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Influenced by the currently very popular do-it-yourself movement, the contemporary design scene is increasingly shaped by a creative fusion of production and consumption. When it comes to the development of a self-made furniture culture, this book project combines for the first time design history research and consumerism theory with numerous historical and contemporary construction instructions and interior design recommendations. Across five chapters, design history and everyday culture are vividly and closely examined. What are their origins? Which media and channels are used to pass on experiences and practical instructions? Who exchanges in-formation with whom and under what circumstances? And what has changed since the advent of the era of digital modernity?

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Typographic design begins with a set of information and a concept. The designer, facing a blank sheet of paper or a computer screen, is anxious about the first step to take in developing a design. The elements of typography are an obvious starting point, but often do not get the attention they deserve. A thorough understanding of how letters, words, lines, paragraphs and columns are formed, what makes them unique as design elements, and how they express character and emotion are the most essential tools in the designer’s repertoire. The basic principles of typographic design transform the utilitarian quality of words, lines, paragraphs and columns into an aesthetic form that conveys both the intellectual meaning and emotional feeling of the message. Through the relationship between the elements and space, and their rhythm and composition, design not only objectively conveys information but also gives subjective cues for the interpretation of its contents. As a visual form of language, typography is perceived as a whole before its individual parts are read. The surface characteristics of the design – the topology – create the first impression and derive from the form, size, position, and color of the typographic elements. Captured in a series of transparent diagrams, they reveal a new design dimension and animate the designer to further develop the original conceptual idea. This process provides the designer with a tool for refining, altering, adjusting, deconstructing and reassembling the individual levels to create a finely detailed, cohesive typographic composition.

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