lars müller publishers autumn catalogue 2012

The book lives—and is stronger than ever! Talk of the crisis of books and their replacement by digital media is the order of the day—we are all the more convinced of the inherent qualities of this medium. With our meticulously produced publications in the areas of architecture, design, photography, art, and society, we invite you to linger and immerse yourselves. Instead of superficial efficiency and the rapid transfer of knowledge we aim to provide space for what is permanent. Space, for instance, for the time needed for architectural design to mature through a series of sketches—the new titles with the drawings of Pritzker Prize winners Wang Shu and Eduardo Souto de Moura provide evidence of this. In the Encyclopedia of Flowers the reader grows ever more absorbed while contemplating the cascades of flowers by Japanese florist and artist Makoto Azuma. With photographs by Iwan Baan, Torre David documents a “vertical favela” in an unfinished skyscraper in the center of Caracas. La Malcontenta: 1924–1939 transports us to the first half of the twentieth century and the bohemian community of the time, which frequently met at Palladio’s Villa Malcontenta in Venice. These are just a few examples from our richly varied fall program. As an independent publisher, thematic relevance and aesthetic coherence represent both a motivation and a measuring stick.

Lars Müller

www.lars-mueller-publishers.com

Lars Müller Publishers Autumn 2012

ArchitectureDesignPhotographyArtSociety

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Available August 2012

16.5 × 24.8 cm, 6 ½ × 9 ½ in approx. 512 pagesapprox. 200 color illustrationspaperbackISBN 978-3-03778-313-9, EnglishEUR 58.– GBP 50.– USD / CAD 85.–

Encyclopedia of FlowersFlower Works by Makoto Azuma photographed by Shunsuke Shiinoki

Edited by Kyoko Wada

Design: Kenya Hara

A book for anyone who loves fl owers, photography, or art

The book’s illustrations show more than 2000 fl owers and plants

The book contains an index listing the scientifi c names of all the featured plants

Flowers have been a universal cultural object for millennia. They are an important aesthetic element in everyday life worldwide, and have played a highly symbolic role in art throughout the ages. Over the past few years, Makoto Azuma has created a furor in the art world with his fl oral installations, in which he creates unusual new shapes from plants and fl owers and their component parts. Inspired by the Japanese tradition of ikebana—the art of fl ower arranging—Azuma creates novel and previously unseen aesthetics by bringing together unusual plants that wouldn’t usually meet in nature—some of them exotic —in extraordinary arrangements. Shunsuke Shiinoki, who opened the “haute-couture” fl orists Jardin des Fleurs in Tokyo in 2002 in association with Makoto Azuma, captured these exceptional fl oral installations in extraordinary photographs.

MAKOTO AZUMA, born in 1976 in the prefecture of Fukuoka, Japan, is a fl orist and artist. His plant and fl ower installations have been appearing at prominent art institutions worldwide since 2005.SHUNSUKE SHIINOKI, born in 1976, is a fl orist and photographer. In 2002, he and Makoto Azuma opened the “haute-couture” fl orists Jardin des Fleurs in Tokyo.

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19 × 26 cm, 7 ½ × 10 ¼ inapprox. 240 pagesapprox. 150 illustrations, paperbackISBN 978-3-03778-298-9 English/SpanishEUR 45.– GBP 38.– USD / CAD 60.–

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Brasilia–Chandigarh, page 38

Torre DavidAnarcho Vertical Communities

Edited by Alfredo Brillembourg and Hubert Klumpner, Urban-Think Tank Chair of Architecture and Urban Design, ETH Zürich

Photographs by Iwan Baan

Documentation of the “vertical favela” in the center of Caracas

Fascinating portrait of a place that shows the contradictions of modern society as if through a magnifying glass

Torre David is an incomplete skyscraper in the center of the Venezuelan capital Caracas that has been occupied and reconstructed by local residents. Work on the building, named after the fi nancial investor David Brillembourg, who died in 1993, was suspended during the Venezuelan fi nancial crisis of 1994. After the offi ce tower—the third highest in Venezuela—had stood empty for many years, it was taken over by the local population in 2008. The occupants made the building their own with improvisation and skill—it is a “vertical favela,” now containing not just housing but also other everyday facilities such as an improvised doctor’s offi ce, shops, and more. Photographer Iwan Baan has documented Torre David and its occupants, creating a portrait that captures the contradictions of the place while at the same time revealing urban structures that have emerged dynamically and without planning.

ALFREDO BRILLEMBOURG was born in New York in 1961. In 1993 he founded Urban-Think Tank in Caracas, Venezuela. Since May 2010, Brillembourg holds a chair in architecture and urban design at the Swiss Institute of Technology, Zürich. HUBERT KLUMPNER was born in Salzburg in 1965. In 1998 he joined Alfredo Brillembourg as director of Urban-Think Tank in Caracas. Since 2010, Klumpner holds a chair in architecture and urban design at the Swiss Institute of Technology, Zürich.IWAN BAAN, born in Alkmaar, Netherlands, in 1975, is an architecture and documen-tary photographer. His photographs feature regularly in such journals as Domus, A+U, The New Yorker, The New York Times, and others.

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“My typical way, say, of designing a large building for the campus is that I think about it and make some small sketches, maybe for two months. Then—and this is a very typically Chinese way— one morning I get a feeling that is very clear. I pull out the paper, and I draw it from this end to that end, maybe working four hours before I finish the design. Four hours.”Wang Shu

Wang Shu, Ningbo History Museum, Photo: Iwan Baan

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Wang ShuImagining the House

The only publication by this year’s Pritzker Prize winner

The book offers unique insights into Wang Shu’s design process

The content connects with other publications featuring sketches created by well-known architects (Steven Holl, Eduardo Souto de Moura, etc.) produced by Lars Müller Publishers

Buildings by Chinese architect Wang Shu—this year’s winner of the Pritzker Prize—feature clear and simple contemporary designs that make use of traditional methods and materials. The reuse of building materials is characteristic of his buildings.

Shu’s design process always begins with an intense study of the location. The architect spends as long as possible on the site, absorbing its atmosphere. He then produces drafts in the form of hand-drawn sketches, creating them in relatively quick succession. Imagining the House follows this process in various buildings. Photographic documentation of the locations elucidate Shu’s on-site research. The reproductions of drawings in this book demonstrate how the designs change and become more concrete over the course of the process. The book provides unique insights into the work of an architect who has hitherto received little attention in Europe, thereby addressing a considerable omission in the publishing world.

WANG SHU was born in 1963 in the province of Xinjiang, China. He founded his architecture offi ce Amateur Architecture Studio in 1997. In 2012, he was awarded the Pritzker Prize.

RELATED TITLES

Sketchbook No. 76, page 8Sou Fujimoto, page 10 Steven Holl – Scale, page 38

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21 × 29.7 cm, 8 ¼ × 11 ¾ in approx. 128 pagesapprox. 100 illustrations, paperbackISBN 978-3-03778-314-6, EnglishEUR 40.– GBP 35.– USD / CAD 50.–

Wang ShuImagining the House

The only publication by this year’s Pritzker Prize winner

The book offers unique insights into Wang Shu’s design process

The content connects with other publications featuring sketches created by well-known architects (Steven Holl, Eduardo Souto de Moura, etc.) produced by Lars Müller Publishers

Buildings by Chinese architect Wang Shu—this year’s winner of the Pritzker Prize—feature clear and simple contemporary designs that make use of traditional methods and materials. The reuse of building materials is characteristic of his buildings.

Shu’s design process always begins with an intense study of the location. The architect spends as long as possible on the site, absorbing its atmosphere. He then produces drafts in the form of hand-drawn sketches, creating them in relatively

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Eduardo Souto de MouraSketchbook No. 76

Facsimile of a sketchbook of Eduardo Souto de Moura, Pritzker Prizelaureate 2011

Inspiration for architects and students interested in the evolution of architectural design

The title shows the importance of drawings in the creative process

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 fi rst ideas, fl eeting 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.

EDUARDO SOUTO DE MOURA, born in Porto in 1952, is regarded as one of the most important contemporary architects. In 2011 he was awarded the Pritzker Prize for his architectural work.


14.8 × 21 cm, 5 ¾ × 8 ¼ in approx. 200 pagesapprox. 200 illustrations, hardcoverISBN 978-3-03778-312-2EUR 32.– GBP 26.– USD / CAD 42.–

RELATED TITLES

Imagining the House, pages 6/7Sou Fujimoto, page 10 Steven Holl – Scale, page 38

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324. Eduardo Souto de Moura, Braga Municipal Stadium, 2000-2004, postcard.321. Eduardo Souto de Moura, Braga Municipal Stadium, 2000-2004, photography Paulo Catrica.

193. Eduardo Souto de Moura, Braga Municipal Stadium, 2000-2004, photography Maria Manuel Oliveira.339. Eduardo Souto de Moura, Braga Municipal Stadium, 2000-2004, photography Pedro Bandeira. 338. Eduardo Souto de Moura, Braga Municipal Stadium, 2000-2004, photography Dulcineia Neves dos Santos.

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47. Eduardo Souto de Moura, drawing for Metro do Porto on airsickness bag, s / d.

PEDRO BANDEIRA EVERYTHING IS ARCHITECTURE

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Eduardo Souto de Moura, House on Douro II, Mesão Frio, 2004.Eduardo Souto de Moura, Hotel-Spa Aquapura, Alentejo, 2008.

10 “ Welcome to the Vac-uum ” ( interview with M. Wigley by J. Moreno ), Jornal Arquitectos, no. 239 May / June 2010, pp. 30–35.

11 It may seem untimely to insist on architecture as an authorial creation. We know it is becoming nowadays more and more a team practice, extremely conditioned by regulations and technical demands.

12 Sylvain Auroux, Yvonne Weil, Dicionário de Filosofia, Porto, ASA, 1993, p. 205 ( 3rd ed. ).

and in which low-cost competition results in a shortage of time and quality ), these Floating Images assert themselves as a vestige of a time and method that will not stop representing a certain sense of resistance and will consequently also not stop justifying the exceptional nature of an architect and a work that can only be copied naively and superficially. This architecture, as Álvaro Siza says, needs time that’s not there today. However, there is no nos-talgia in this sense of loss. Eduardo Souto de Moura always knew how to stand against every expectation. He is, when least expected, unpredictable.

By focusing our attention on images on a wall in order to use them to legitimize a method, we are consciously withdrawing from another field of references linked to the word. This risk ( which we hope will be lessened by the written contributions ) is evident in the precept that generally, the philosophers since Plato have always seen in the image an inferior form of representation, that is, an obstacle to thought. Traditional philosophy is dualist: image is on the side of the material, authentic thought is immaterial. To think, one has to go beyond images.12 We can go even farther by stating that thought is previous to images, previous to the word itself. Even so, maybe what most appeals to us in the risk of focusing almost solely on images is precisely the abdication from “Authentic thought ” ( which in Plato’s Republic was attributed solely to God ) in favor of thought that does not necessarily live from the ant-

tecture firm, but the firm is itself certainly a work of architectural intelligence.10 Architecture as creative expression, along with other arts, will always be the result of complex, transdisciplinary, intui-tive processes that imply in their authorial11 and poetic expression the healthy confrontation of objectivity and subjectivity, science and art, rule and exception. And while architecture essentially persists as a “ specialist in generalities, ” the mixing of images should come as no surprise — rescued from different origins and sharing the same place ( the wall ), to build something new and necessarily beautiful . . . and false.

Various questions immediately arise: Do the images have an isolated value of their own or does that value derive from their association? Do they remain linked to their origin, do they keep a reference, or are they legitimately decontextualized? Do the images exist on this support due to their content or their superfi-cial form? Are they sought with specific intent or casually found? Do they have an ephemeral meaning or do they express a desire to be forever? Are they a means, a vehicle, or an end? Do they comprise a whole, comprise an archive? Can they be appropri-ated? Are they worth more than a thousand words? Are they reality or representation? Do they simulate or replace the object? And above all: how do they relate to the planning and thinking of architecture?

As unbelievers in a contrasted black-and-white reality ( images can be all and none of this ), we imagine that background wall as a vestige of an ambiguous mental map between determinism and chance, denouncing the same distance we’ll find in the space that wavers between the architectural plan and the work or between the built work and its later appropriation or perception. There will always be an observer who legitimizes the relativism, but under the title Eduardo Souto de Moura: Floating Images on Design Pro-cess, we aim to stratify in an illusorily objective manner the images taken as methodology for thinking out the architecture project.

At a time when architecture seems to be giving way to new paradigms ( in which the discipline seems to lose its autonomy, in which regulations seem meant for mindless architects, in which only specialization seems to legitimize architectural production,

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196. Jackson Hole, Wyoming, panoramic view used in Mies van der Rohe’s 189. Adalberto Libera, Casa Malaparte, Capri, 1937.

508. Unidentified photography.322. Thomas Bernhard, unidentified image.190. Le Corbusier, La Tourette, Éveux-sur-l’Arbresle, 1953-1960.Resor House collage, 1937-1941.31. Le Corbusier, La Tourette, Éveux-sur-l’Arbresle, 1953-1960, postcard.

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Floating ImagesEduardo Souto de Moura’s Wall Atlas

Edited by André Tavares and Pedro Bandeira

Shows Eduardo Souto de Moura’s visual universe and sources of inspiration

A book on the interplay between images and completed buildings

Photographs, newspaper cuttings, postcards, drawings, and slides: on entering the studio of Eduardo Souto de Moura, winner of the Pritzker Prize 2011, one is confront-ed with a variety of images on the walls that engage in a dialogue. How do these pho-tos, drawings, and illustrations impact his design practice? What is the relationship between the image and the completed building? Floating Images: Eduardo Souto de Moura’s Wall Atlas uses this question as an opportunity to examine the architect’s visual universe. He has added images from his extensive collection of drawings and project sketches and reorganized them in this atlas. Complex relationships are formed between the individual illustrations and projects. Essays by Pedro Bandeira, Eduardo Souto de Moura, Diogo Seixas Lopes, and Philip Ursprung round off the publication and provide a contextualization in terms of the history of art and images.

ANDRÉ TAVARES, born in 1976, is an architect and runs Dafne Editora, a small architectural publishing house in Porto. He writes regularly and is the author of several books on the relation between architectural culture and the public sphere.PEDRO BANDEIRA, born in 1970, is an architect and teaches at the school of architecture of the University of Minho, Guimarães, Portugal. He develops specifi c architectural projects for a generic client in parallel to his theoretical approach to issues of photography and the architectural image.

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14.8 × 21 cm, 5 ¾ × 8 ¼ in 160 pages202 illustrations, hardcoverISBN 978-3-03778-301-6, EnglishEUR 38.– GBP 32.– USD / CAD 50.–

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Sou Fujimoto – Sketchbook

Facsimile of a sketchbook by Sou Fujimoto

Insights into the design process of the Japanese architect known for his unconventional buildings

Thematic links to other publications of sketchbooks (Wang Shu, Eduardo Souto de Moura, Steven Holl)

The works of Sou Fujimoto resist any form of conventional categorization. This young Japanese architect stands for unconventional buildings that cannot be described by standard criteria and defi nitions such as inside/outside or public/private. Clear divisions such as between fl oor levels and rooms are shattered by his complex ground plans and interlocking structures which—in a reference to the idea of the cave—he describes as “primitive future.” With this approach he creates forms that are committed to a playful interaction between user and space. Alongside private residences, such as the well-known N House, his library for Musashino Art University has achieved particular recognition. In addition he was represented at the 2010 Venice Biennale with a design for a house.

In his personal sketchbook Sou Fujimoto offers insights into his design process. Through the sketches, drawings, and notes readers can trace how his complex concepts are made manifest and develop on paper.

SOU FUJIMOTO, born in Hokkaido, Japan, in 1971, established his architectural prac-tice Sou Fujimoto Architects in 2000. In 2008, he was World Architecture Festival win-ner in the Private House category, and was awarded a RIBA International Fellowship in 2012. Recently he completed the new library and museum for the Musashino Art University in Tokyo.


13 × 21 cm, 5 × 8 ¼ in approx. 240 pagesapprox. 240 illustrations, hardcoverISBN 978-3-03778-327-6EUR 40.– GBP 35.– USD / CAD 50.–

Sou Fujimoto – Sketchbook

Facsimile of a sketchbook by Sou Fujimoto

Insights into the design process of the Japanese architect known for his unconventional buildings

Thematic links to other publications of sketchbooks (Wang Shu, Eduardo Souto de Moura, Steven Holl)

The works of Sou Fujimoto resist any form of conventional categorization. This young Japanese architect stands for unconventional buildings that cannot be described by standard criteria and defi nitions such as inside/outside or public/private. Clear divisions such as between fl oor levels and rooms are shattered by his complex ground plans and interlocking structures which—in a reference to the idea of the cave—he describes as “primitive future.” With this approach he creates forms that are committed to a playful interaction between user and space. Alongside private residences, such as the well-known N House, his library for Musashino Art University has achieved particular recognition. In addition he was represented at the

Photo: Iwan Baan

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25 × 20.7 cm, 9 ¾ × 7 ¾ inapprox. 192 pagesapprox. 130 illustrations, hardcoverISBN 978-3-03778-310-8, EnglishEUR 50.– GBP 45.– USD / CAD 60.–

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height limit and featured an office block, divided into upper and lower levels, spanning between two vertical cores. Due to the height limit, however, the proposal failed to convey the impres-sion of a city in the air composed of bridge-like clusters (fig. 15). [Translator’s note: I assume ‘height limit,’ refers to the one in ef-fect, not the newly proposed height limit, though this is ambigu-ous in the manuscript I received.]

In February of the same year, Weekly Asahi published an article on the development of the Marunouchi area, Tokyo’s most pres-tigious business center7. The article featured Teiji Ito, a promi-nent historian who criticized the strategy of the Mitsubishi-jisho (Mitsubishi Estate), Japan’s largest developer and a major land-owner in the Marunouchi district. Ito criticized Mitsubishi for not trying to take on the challenge of new possibilities following height limit revisions. For the purposes of comparison, Teiji Ito introduced another “City in the Air” project by his close friend Arata Isozaki, one which had never been published before its in-clusion in this article (fig.16). Ito later stated that in those days, Isozaki repeatedly said he was not interested in building any-thing below 31 meters. His new project for Marunouchi was de-signed only for provocation. Isozaki argued that this project could be built with minimum destruction of existing structures. Isozaki’s city in the air was dramatically juxtaposed to Mitsubi-shi’s city on the ground, expressing a striking contrast between the architect’s visions for the future and the vulgar capitalist real-ity of the time.

In the same issue, Tange’s second scheme for Dentsu, taller than the first, was also published, along with his own argument re-garding the possibilities presented by changes to building codes, which Mitsubishi deliberately ignored to avoid the foreseeable troublesome procedures（fig.17. An initial Dentsu plan within the height limit regulation had been a temporary solution; Tange’s team, keeping aware of the situation, waited for implementation of these new regulations, still under review. After it became clear that the height limit was indeed to be changed, the Dentsu proj-ect was again revised to a height of 21 stories, fully 100 meters high (fig.18) 8. In order to realize this additional height, Tange pro-posed that Yoshida appeal to landowners in the neighborhood （ his proposal was accepted enthusiastically.

This was a battle as well among leading Japanese corporations, related to the new possibilities presented by increased building

In her illuminating book on Louis Kahn, Sarah Williams Goldha-gen summarized how the American architectural community, in-cluding Kahn, reacted to Whyte’s book or to the book Lonely Crowd by David Riesman6. Tange’s reaction to these proposi-tions was the opposite; his was an almost Nietzschean affirma-tion of the new situation. Unlike other leftist intellectuals, both in the US and in Japan, he welcomed the megalopolis as a collec-tive alter-ego of this Organization. Tange’s Organization Man, who belonged to the new social elite of the dawning era, was actually unlike Whyte’s, who was listless, lived in the suburbs, and lacked social aspirations. To continue the Nietzschean meta-phor, Tange’s Organization Man was a ‘superman’ of the infor-mation society. “Tokyo Plan, 1960” is a city for these superman (fig. 14). For him, the megalopolis was a city transcending the mod-ern metropolis and the mega-structure was its architectural form.

At the same time as the release of his Tokyo Plan 1960, Tange was commissioned by Hideo Yoshida, the president of Dentsu, Japan’s largest advertising agency (and later the world’s larg-est), to build their headquarters. Tange had already built their Osaka branch in 1960 and designed the Totsuka Country Club for Yoshida. Yoshida, known as an avatar of the spirit of the advertis-ing business, shared the architect’s ambitions for a rising nation. As head of the advertising agency, Yoshida must have been greatly impressed by an hour-long television program on Tokyo Plan 1960 by the National Broadcasting Company. Yoshida in-sisted that Dentsu should build a monumental building which would symbolize the company. The final outcome, eventually completed in 1967, was, however, a rather mediocre one when considered among Tange’s buildings from the 1960s and it has failed to draw much attention. However, the initial intention was far more ambitious, in response to the client’s own ambitions.

This awkward outcome is related to a dispute over revision of the building codes, which had prohibited building anything above 31 meters. Revision, studied by the Architectural Institute of Japan since the mid 1950s, yielded a 1955 report by the committee, led by Takashi Asada, who had been Tange’s senior partner and would organize the Metabolist group. In 1963, the building codes were revised in a limited way, permitting building an extra 30% Floor Area Ratio, although only in exceptional cases, such as re-developments larger than one urban block in size. Tange’s first proposal for the Dentsu Headquarters Building adhered to the

13 Tange; “Tokyo Plan, 1960” 1961

14 Tange; “Tokyo Plan, 1960” 1961

15 Tange; First scheme for Dentsu Headquarter 1961（

60 61Latus endam dunt ped quianda volesse

Kenzo Tange Architecture for the World

Edited by Seng Kuan and Yukio Lippit

In cooperation with Harvard University Graduate School of Design

New research on the work of the 1987 Pritzker Prize laureate

Includes numerous illustrations, including photographic and archival material such as Tange’s exceptional drawings

Kenzo Tange (1913–2005) is a peerless fi gure among twentieth-century Japanese architects, unmatched in his talent, infl uence, and versatility. This collection of essays represents a new generation of original research that reframes Tange in the context of Japan’s unique embrace of modern architecture as well as global discourses of cultural identity, technology, and the synthesis of the arts. Case studies on celebrated works clarify Tange’s wide-ranging interests and design methodology through collaboration with allied fi elds such as art, engineering, furniture design, and photog-raphy. The book will appeal to both specialists and general readers with an interest in the visual culture and built environment of modern Japan.

SENG KUAN is assistant professor of architecture at Washington University in St. Louis. He organized the exhibition Utopia Across Scales: Highlights from the Kenzo Tange Archive (Harvard Graduate School of Design, 2009).YUKIO LIPPIT is professor of the history of art and architecture at Harvard University. He is author of Painting of the Realm: The Kano House of Painters in Seventeenth-Century Japan (University of Washington Press, 2012).

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In the Life of CitiesParallel Narratives of the Urban

Edited by Mohsen Mostafavi


Publication about the complex relationship between urban artifacts and urban activities

With concrete examples from numerous cities around the world

This volume addresses the complex relations between urban artifacts and urban life. The contributions show how architects, planners, and urban designers describe and give shape to the city, while novelists, humanists, and other scholars examine its op-erations and performances. The essential question is: How does the physical charac-ter of an urban environment infl uence or enable the events that take place within a specifi c setting? Contributors from a wide range of fi elds address the role and life of cities as diverse as Baku, Buenos Aires, Cairo, Detroit, Jakarta, Johannesburg, Mum-bai, Paris, Quito, St. Petersburg, Tel Aviv, Tirana, and Toronto. Portfolios of contempo-rary photography present the layered realities of urban life today.

With contributions by Arjun Appadurai, Eve Blau, Svetlana Boym, Lindsay Bremner, Jana Cephas, Felipe Correa, Rahul Mehrotra, Mohsen Mostafavi, Antoine Picon, Gyan Prakash, Nasser Rabbat, Rafi Segal, Jorge Silvetti, AbdouMaliq Simone, and Charles Waldheim.

MOHSEN MOSTAFAVI, an architect and educator, is dean of the Harvard University Graduate School of Design and the Alexander and Victoria Wiley Professor of Design. He is the editor of Ecological Urbanism (with Gareth Doherty).

RELATED TITLE

Ecological Urbanism, page 38


16.5 × 24 cm, 6 ½ × 9 ½ inapprox. 352 pagesapprox. 200 illustrations, hardcoverISBN 978-3-03778-302-3, EnglishEUR 50.– GBP 45.– USD / CAD 60.–

In the Life of CitiesParallel Narratives of the Urban

Edited by Mohsen Mostafavi


Publication about the complex relationship between urban artifacts and urban activities

With concrete examples from numerous cities around the world

This volume addresses the complex relations between urban artifacts and urban life. The contributions show how architects, planners, and urban designers describe and give shape to the city, while novelists, humanists, and other scholars examine its op-erations and performances. The essential question is: How does the physical charac-ter of an urban environment infl uence or enable the events that take place within a specifi c setting? Contributors from a wide range of fi elds address the role and life of cities as diverse as Baku, Buenos Aires, Cairo, Detroit, Jakarta, Johannesburg, Mum-

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community, a kind of San Francisco in the Middle East.” 1 The sense of discon-nect from the country’s amplified political tensions is perhaps the strongest notion felt by anyone visiting the city, tourist and Israelis alike. It is this urban experience that draws so many young Israelis to the city. Tel Aviv simultane-ously provides a sense of relaxation and of intense, overwhelming urban activity, yet does not offer any distinguishable sites to visit. The city has no monuments, no exceptional architectural works, no important religious buildings or other tourist attractions.

Tel Aviv’s practice of detachment has been part of its raison d’etre, since its conception in the early twentieth century. It is a city which elevated the idea of being ‘the first at’ within the context of the Zionist revival in Palestine, and established itself upon the myth of a white city, a city built out of sand upon the empty dunes along the Mediterranean. As such, it saw itself as a new kind of urban center which celebrated its youth, cultural independence, lack of ties to history, or traditional commitments to urban context and architectural style. With a story of new beginnings, of first events, actions, of creating his-tory from everyday life, Tel Aviv epitomized the modern Jewish revival: it offered the first Hebrew town, school, skyscraper and allowed the first Hebrew political assignation2. The narrative of the new, the progressive, the making of something out of nothing, which is the leitmotif of Zionism’s set-tlement of Palestine, is perhaps the most consistent historical narrative from which to understand Tel Aviv’s inconsistent urban development. This per-petual desire for renewal has often been confused for the city’s lack of iden-tity. I would argue here the opposite, that this in fact is a sign and expression of its identity. Tel Aviv’s desire to continuously be re-born, redefined and re-experienced is an essential part of what the city is about. The dynamics of erasure and renewal, of detachment and re-inventing and imagining the city, serves to draw in and produce the activity, energy and social media connec-tivity that sustain it as an urban center and validate the narrative it set to fol-low. The continuous pursuit of renewal also results from the gap between Tel Aviv’s urban aspirations and its geo-political condition. Once detached from Israeli reality it seeks to participate within a larger international scene. In this

Whiteout City: Tel Aviv’s Culture of the NewRafi Segal

IntroductionOut of a Middle East charged with political conflicts and religious tension, Tel-Aviv emerges as an urban retreat, an attempted escape from the burdens of Israeli reality. In order to maintain a sense of normalcy, independence and participation within the international scene, Tel Aviv offers a ‘counter-place’ an alternative urban life which is at the same time both an integral part and detached from Israeli society. In contrast to the more conservative side of Israeli society which has presented the country as ideological, religious, na-tionalist, right-wing, segregated, restrictive, conservative, oppressive, and violent, Tel Aviv has done almost everything possible to show it is exactly the opposite. The city, through its local cultural figures, media and official municipal campaigns has continuously expressed, in words and actions, its separatism, secularism, liberalism and ‘live and let live’ state of mind.

The country’s intense pre-occupation with borders, national security, restriction and control of physical movement, and policing of public space, is counter acted with a sense of expansiveness, of having no boundaries or limi-tations. This is a notion felt in everyday life, in the city’s urban space, the het-erogeneous composite of its population, its business relations, and nightlife scene (nicknamed Sodom or Gomorrah). Tel Aviv presents a place where any-thing is possible and everything is allowed, with minimum constraints or restrictions, as a recent Lonely Planet guide concludes: “(Tel Aviv) the total flipside of Jerusalem, a modern Sin City on the sea rather than an ancient Holy City on a hill. Hedonism is the one religion that unites its inhabitants. There are more bars than synagogues, God is a DJ and everyone’s body is a temple. Yet, scratch underneath the surface and Tel Aviv, or TLV, reveals itself as a truly diverse 21st-century Mediterranean hub . . . it is home to a large gay

1 Obitiberum eum quae sedia volorrovit lam2 Imus sunto beat. Obitiberum eum quae sedia volorrovit lam et estiame nonet.

3 Obitiberum eum quae sedia volorrovit lam4 Imus sunto beat. Obitiberum eum quae sedia volorrovit lam et estiame nonet.

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Instigations GSD 075

Edited by Mohsen Mostafavi and Peter Christensen


Documentation of the history and current direction of the renowned Harvard University Graduate School of Design

Anniversaries offer the opportunity to consider the past as an active interlocutor with the present and the future. For the Harvard University Graduate School of Design, this means highlighting people, events, objects, and ideas in a rich institutional history to bring the collective memory of seventy-fi ve years into sharper focus for design practice today and tomorrow. Attempting a comprehensive account of the institution would run the risk of homogenizing a history characterized so consistently by hetero-geneity and multiplicity. Instead, this book employs an episodic approach, framing selected moments as journalistic dispatches from the past. These reports are grouped within paired themes: Design as Research/Design as Critique, City as Prac-tice/City as Form, the Continuous Institution/The Shifting Institution. Short essays by a range of GSD faculty signal current directions in teaching and research, pointing toward a future that is at once inherited and projective.

MOHSEN MOSTAFAVI, an architect and educator, is dean of the Harvard University Graduate School of Design and the Alexander and Victoria Wiley Professor of Design. He is the editor of Ecological Urbanism (with Gareth Doherty).PETER CHRISTENSEN is a PhD candidate at the Harvard University Graduate School of Design and a former curatorial assistant in the Department of Architecture and Design at the Museum of Modern Art in New York.

RELATED TITLE

Ecological Urbanism, page 38

New

Title Architecture


16.5 × 24 cm, 6 ½ × 9 ½ in approx. 480 pagesapprox. 250 illustrations, paperbackISBN 978-3-03778-307-8, EnglishEUR 50.– GBP 45.– USD / CAD 60.–

Instigations GSD 075

Edited by Mohsen Mostafavi and Peter Christensen


Documentation of the history and current direction of the renowned Harvard University Graduate School of Design

Anniversaries offer the opportunity to consider the past as an active interlocutor with the present and the future. For the Harvard University Graduate School of Design, this means highlighting people, events, objects, and ideas in a rich institutional history to bring the collective memory of seventy-fi ve years into sharper focus for design practice today and tomorrow. Attempting a comprehensive account of the institution would run the risk of homogenizing a history characterized so consistently by hetero-geneity and multiplicity. Instead, this book employs an episodic approach, framing selected moments as journalistic dispatches from the past. These reports are

Available August

16

New

Title Architecture

17

New

Title Architecture

Available October 2012

21 × 29.7 cm, 8 ¼ × 11 ¾ in approx. 160 pagesapprox. 15 illustrations, paperbackISBN 978-3-03778-326-9, EnglishISBN 978-3-03778-325-2, GermanEUR 40.– GBP 35.– USD / CAD 50.–

English

German

Oswald Mathias Ungers, Rem Koolhaas, Peter Riemann, Hans Kollhoff, Arthur Ovaska

The City in the City – Berlin: A Green ArchipelagoEdited by Florian Hertweck and Sébastien Marot

Critical Edition, Original 1977

Critical version with commentaries of Oswald Mathias Ungers’ manifesto

Contains two original texts as well as previously unpublished colored drawings

Interviews with the protagonists of the time Rem Koolhaas, Hans Kollhoff, Peter Riemann, and Arthur Ovaska allow readers to follow the genesis of the text

In the manifesto The City in the City – Berlin: A Green Archipelago, Oswald Mathias Ungers and a number of his colleagues from Cornell University presented the fi rst concepts and intellectual models for the shrinking city. In contrast to the reconstruc-tion of the European city that was popular at the time, they developed the fi gure of a polycentric urban landscape. However, the manifesto really began to exert an effect beginning in the 1990s onwards, when the focus of the urban planning discourse turned to the examination of crises, recessions, and the phenomenon of demographic shrinking. This critical edition contains a previously unpublished version of the mani-festo by Rem Koolhaas, as well as interviews with co-authors Rem Koolhaas, Peter Riemann, Hans Kollhoff, and Arthur Ovaska. Introductory texts explain the develop-ment of the manifesto between Cornell and Berlin, position the work in the planning history of Berlin, and reveal its infl uence on current approaches.

FLORIAN HERTWECK, born in Bonn in 1975, is associate professor for architectural design, architectural theory, and urban planning in Versailles, and an associate in the planning offi ce Hertweck Devernois. SEBASTIEN MAROT, born in Paris, France, in 1961, is founding member of the “Ecole d’architecture de la ville et des territoires Marne-la-Vallée” and visiting professor at numerous universities including the ETH Zürich and Harvard.

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Guido Beltramini

Palladio in Private

Comprehensive biography of famous architect Andrea Palladio

Andrea Palladio’s villa architecture is still admired for its elegance and harmony, but little is known about the person behind the buildings. Experienced Palladio researcher Guido Beltramini has worked meticulously on material from historical documents about Palladio’s person and life, and assembled a full picture of the architect. Palladio in Private follows his career, his rise from being the ordinary miller’s son Pietro della Gondola to become the architect Andrea Palladio. Beltramini does not just explore Palladio’s origins, his training as a stonemason, and his complex relationship with powerful clients and scholars, but also his private life: his jovial character, his life as a married man with fi ve children, and not least his profound conviction that architecture can and must enrich life. The text is complemented by numerous illustrations.

GUIDO BELTRAMINI, born in 1961, has been director of the Centro Internazionale di Studi di Architettura Andrea Palladio in Vicenza since 1991. He has curated numerous exhibitions at venues including the Venice Biennale, the Royal Academy of Art, London, and the Canadian Centre for Architecture, Montreal.

RELATED TITLE

Andrea Palladio – Unbuilt Venice, page 39


10.8 × 20.4 cm, 4 ¼ × 8 in approx. 120 pagesapprox. 40 illustrations, hardcoverISBN 978-3-03778-299-6, EnglishEUR 28.– GBP 25.– USD / CAD 36.–

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15 × 24 cm, 6 × 9 ½ in approx. 160 pagesapprox. 160 illustrations, hardcoverISBN 978-3-03778-297-2, EnglishEUR 40.– GBP 35.– USD / CAD 50.–

s evero dectecto doluptat quis expel ilita nem ra alig

8 9

I in dal 1909 aveva pubblicato opere di Ezra Pound), con un titolo, II Tumult and Order, che esprime in modo ef-ficace l‘aspirazione di Bertie di dare ordine con la scrittura al tumulto di impulsi emotivi che si accavallano nel suo animo.

III Basta la dedica di questo volumetto a Paul Rodocanachi e a Roger Quilter (oltre che alla madre, che rimane risolutamente piazzata al suo fianco) a testimoniare come la casa di IV Rue du Centre sia ancora, dopo la guerra, il baricentro attorno a cui ruota la vita di Ber-

Antonio Foscari

La Malcontenta1924–1939

Tumult and Order

First publication on the eventful history of the famous Villa Foscari in Venice—also known as La Malcontenta—during the 1920s and 1930s

La Malcontenta as a meeting point for intellectuals, artists, aristocrats, and bohemians

With numerous photographs, sketches, and documents

In the 1920s and 1930s, the Villa Foscari in Venice, better known as La Malcontenta, became a meeting place for intellectuals, artists, and members of the nobility such

Sergei Diaghilev, Boris Kochno, Serge Lifar, Winston Churchill, Robert Byron, Cooper, and Le Corbusier. It was an era of inspiring encounters

aristocrats, the avant-garde, snobs, and intellectuals that ended when Italy World War I I. Antonio Foscari recounts this lively period in the building’s and talks about its then owner, Albert Clinton Landsberger, and his friends Catherine di Rochegude, Baronesse von Erlanger, and Paul Rodocanachi, who not only lovingly renovated the villa, but made it such a lively place for the fi rst time. The text is complemented by numerous photographs dating from this exciting time that convey an impression of what was happening in the villa in those days.

ANTONIO FOSCARI is an architect and has been a professor of architecture at the University of Venice since 1971. In 1973, he restored the Villa Malcontenta, built for his ancestors by Andrea Palladio, and has concentrated his research on buildings by the great Renaissance architect since that date.

RELATED TITLE

Andrea Palladio – Unbuilt Venice, page 39

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Miroslav SikAnd Now the Ensemble!

Edited by Pro Helvetia, the Swiss Arts Council, and Miroslav S ik

With contributions by Adam Caruso, Hans Kollhoff, Vittorio Magnago Lampugnani, Quintus Miller, and Miroslav S ik

Deals with the dialogical principle in architecture taking into account the urban context

Published to accompany Miroslav Sik’s offi cial contribution for the Swiss Pavilion at the 2012 Venice Architecture Biennale

And Now the Ensemble! is intended as a challenge to architects, their clients, and commissioning authorities to understand and create urban development as a dynamic and collective work of art; in short, to make dialogue central to design. Design, atmosphere, and use can make every new building relate to its local sur-roundings. As a design process, this contextual expansion does not simply imitate the urban pattern, but interprets what is already there, to some extent modernizes it, makes the familiar alien by employing unusual atmospheric imagery, and ultimately transforms the accumulated chaos of soloists into an orchestrated whole.

MIROSLAV S IK, born in Prague, Czechoslovakia in 1953, is a Swiss architect, architectural theorist, and professor in the architecture department at the ETH in Zürich.


16.5 × 24 cm, 6 ½ × 9 ½ in approx. 96 pages3 image plates, hardcoverISBN 978-3-03778-311-5, EnglishEUR 22.– GBP 18.– USD / CAD 28.–

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Catherine Dumont d’Ayot, Tim Benton

Le Corbusier’s Pavilion for ZurichModel and Prototype of an Ideal Exhibition Space

Edited by the Institute of Historic Building Research and Conservation, ETH Zürich

Richly illustrated book of the last and forward-looking work by Le Corbusier

First publication on the Pavilion at Zürichhorn, Zürich, that explains the role and signifi cance of the building

Le Corbusier’s Pavilion for Zurich uses numerous handwritten documents, drawings, and papers to trace the history of Le Corbusier’s last built work. This dwelling, which is also a museum, was initiated by Zürich gallery owner Heidi Weber. With its abstract forms and colors, it represents an intellectual legacy of the famous architect in which the further development of architecture as envisaged by Le Corbusier is clearly legible. From the fi rst ideas and sketches from 1949–50 to the opening in 1967 and beyond, the genesis of this exceptional building—the completion of which the architect did not live to see—is presented with lavish use of illustrations and docu-ments. This book explains for the fi rst time the signifi cance of the pavilion, which differs strongly from the beton brut of Le Corbusier’s late work, in terms of its position as one of the architect’s central and forward-looking works.

CATHERINE DUMONT D’AYOT, born in France in 1965, studied architecture at the University of Geneva and at the École polytechnique fédérale de Lausanne. She has been teaching and researching at the University of Geneva since 1995 and at the ETH Zürich since 2006.TIM BENTON, born in Rome in 1945, was educated at Cambridge and the Courtauld Institute of Art, London. He taught for forty years at the Open University England and is currently professor emeritus in the history of art.

RELATED TITLES

Le Corbusier, Architect of Books, page 40Vers une Architecture du Livre, page 40


17 × 24 cm, 6 ¾ × 9 ½ inapprox. 192 pagesapprox. 150 illustrations, hardcoverISBN 978-3-03778-305-4, EnglishISBN 978-3-03778-293-4, GermanEUR 40.– GBP 35.– USD / CAD 50.–

German

Catherine Dumont d’Ayot, Tim Benton

Le Corbusier’s Pavilion for ZurichModel and Prototype of an Ideal Exhibition Space

Edited by the Institute of Historic Building Research and Conservation,

Richly illustrated book of the last and forward-looking work by Le Corbusier

First publication on the Pavilion at Zürichhorn, Zürich, that explains the role and signifi cance of the building

Le Corbusier’s Pavilion for Zurichand papers to trace the history of Le Corbusier’s last built work. This dwelling, which is also a museum, was initiated by Zürich gallery owner Heidi Weber. With its abstract forms and colors, it represents an intellectual legacy of the famous architect in which the further development of architecture as envisaged by Le Corbusier is clearly legible. From the fi rst ideas and sketches from and beyond, the genesis of this exceptional building—the completion of which the architect did not live to see—is presented with lavish use of illustrations and docu-


English

22

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Landscape as an AttitudeConversations with Günther Vogt

Edited by Medea Hoch, the Chair of Günther Vogt, Department of Architecture, ETH Zürich

The book gives an insight into the design philosophy of well-known landscape architect Günther Vogt

Shows modern approaches to landscape architecture

A book for architects, urbanists, and landscape architects

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 defi ne this young discipline’s position. To this day, our concept of landscape appears to be infl uenced 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 appro-priate to the specifi c situation be created. Günther Vogt sees landscape architecture decidedly as part of a city, given its close relationship to topography, architecture, and infrastructure.

GÜNTHER VOGT is a landscape architect and owner of Vogt Landscape Architects Zürich, with branch offi ces in Munich, Berlin, and London. Since 2005, he is a profes-sor for landscape architecture at ETH Zürich. Current work includes public realm and streetscape designs for the athletes’ village for the Olympic Games in London 2012, now known as East Village.

RELATED TITLES

Distance & Engagement, page 39Tree Nurseries, page 40

Available July 2012

12 × 19 cm, 4¾ × 7½ inapprox. 100 pages, paperbackISBN 978-3-03778-304-7, EnglishISBN 978-3-03778-303-0, GermanEUR 24.– GBP 20.– USD / CAD 32.–

English

German

New

Title Architecture

Landscape as an AttitudeConversations with Günther Vogt

Edited by Medea Hoch, the Chair of Günther Vogt, Department of Architecture, ETH

The book gives an insight into the design philosophy of well-known landscape architect Günther Vogt

Shows modern approaches to landscape architecture

A book for architects, urbanists, and landscape architects

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 defi ne this young discipline’s position. Available July 2012

“... Just a while ago I stood in a landscape while it was raining and came to the conclusion that the importance of the sun is overvalued—somewhat like Joseph Beuys, who once said that Duchamp’s silence was overvalued. A landscape in the rain is far more atmospheric than in the sunlight. But we rarely allow our perception to expand in this way.”Günther Vogt

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Available July 2012

16.5 × 24 cm, 6½ × 9½ inapprox. 600 pagesapprox. 1100 illustrations, paperbackISBN 978-3-03778-233-0, EnglishEUR 58.– GBP 50.– USD / CAD 85.–

RELATED TITLES

Distance & Engagement, page 39Tree Nurseries, page 40

New, extended

versionAvailable July 2012 New, extended

version

Günther Vogt

Miniature and PanoramaVogt Landscape Architects, Projects 2000–2012

Features work on the athletes’ village of the Olympic Games in London 2012

Extensive documentation with numerous illustrations, drawings, and maps

For architects, students, and anyone interested in the architecture of urban space

Using a typological structure (landscape, park, square, garden, promenade, etc.), Günther Vogt describes the theoretical foundation on which the successful projects of Vogt Landscape Architects are based. In recent years the offi ce has realized international projects in Europe and the United States, including a new type of city park for the Tate Modern in London (with Herzog & de Meuron); an “all-weather garden” with great poetic power at the Hyatt Hotel in Zürich (with Meili, Peter Architekten); an indoor tropical garden for the Novartis Campus in Basel (with Diener & Diener); and the exterior spaces of the Allianz Arena in Munich (with Herzog & de Meuron). This new and extended version of one of our best sellers also documents recent works, such as public realm and streetscape designs for the athletes’ village of the Olympic Games in London 2012.

24

Refinement: Black Town + White Town 29Oil Baron City (1872–1920)

1890s Characteristic View of the Balakhany-Saboontcht Oil Field1890s The Romany Lake. which has been reclaimedA Modern Ocean-going Tanker of British Build. (Tankers like this transported oil)1890s Mud volcano at the Top of Bog-bog (The Balakhany-Saboontchy oil field in the distance.

31Oil Baron City (1872–1920)

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25

Extraction of oil

1825

1880

1883

27Oil Baron City (1872–1920)Extraction: Oil fields + Pipelines: Balakany, BibiEibat

“It is here that the crude petroleum, sucked up or allowed to spout from the bowels of the earth in Balakhani, and pumped thence from reservoirs through pipes to the shore of the bay, is distilled into burning oil and other products for the markets of Europe.”


Ismayilliya1908-13eng.: I. Ploshko

Chained House1890

Art Museum1888-95eng. N.A. fon der Nonne

Embassy of France1895arch.: I. V. Edel

Embassy of Iraq Late 19th century

State Oil Company of Azerbaijan1891-96arch.: P. Shtern

Building1896arch.: I. V. Edel

Russian Drama Theatre1900arch./eng.: ??

Embassy of Germany (B-4)1900

Embassy of Iran1901

Baki Soveti1900-04arch.: i. Goslavsky

The international Bank (old)1903-05

Building1898-1902arch.: I. V. Edel

Bank of Baku1907eng.: I. Ploshko

Imam Hussein Mosque1899-1909arch.: A. Eykhler

The Landmark Building1909/1998

Puppet Theatre1910eng.: I. Ploshko

Azerbaijan Cinema1910/1988/1998arch.: R. Seyfullayev

Taghiyev’s Residence - The National Museum of History1893-1902eng. I. Goslavskiy

Opera and Ballet Theatre1910-11eng.: N. Bayev

Palace of Happiness1911-12eng.: I. Ploshko

Philharmonic Society1910-12[Termikelov, accord. to Fattulayev]

Isa Bey Hojinski building1912

Song Theatre1912arc./eng.: ??

Embassy of the USA1912

Embassy of Turkey 1912

Blue Mosque1912-13eng.: Z. Ahmedbekow

Construction within the Ring Road/Vorstadt Area during the Oil Baron Period 1890-1912

Kirkha (Hall of Organ Music) 1895-98arch.: A. Eyhler

Church of Archangel Michael1845

Union of Architects1899arch.: E.Y. Skibinskiy

Taza Pir Mosque1905-14Z. Ahmedbekow

Construction within the Ring Road/ VorstadtArea during the Oil Baron Period1890–1912

Church of Archangel Michael Church of Archangel Michael

Leniendae voluptate essequias eum que volore volores simodi ut di omnihil itatem la voleseque pratiis este nullaut qui optatur sus volora ea prorrorit fugia dit qui od quodipisin recatibus rem aut andit es-trumque comniminis arum sum aut et acilit, essinve lecearum vendel et, excesti orerfer spidige nectiae exerciis et etur, officia doloriam fac-cuptam, aspe voloruptur, ad mollique dolor solorem rernationsed maio. Iciet pelenihit es nis resti occus dolum hit fugitinus excepere, nonet ab idem nihicab oressitiam vita eum sitaes ad molupic tem qu


65,000 tonnes

NOBEL BROTHERS PETROLEUM HOLDINGS

16,500 tonnes

8,000 tonnes

1,600 tonnes

less than 1,600 tonnes

London

NewcastleLiverpool

Paris

Copenhagen

Aarhus

Lubeck

HelsinkiTurkuStockholm

RigaLiepaja

Tallinn

Oulu

St. Petersburg

Arkhangel’sk

Oukhta

Vorkuta

Bogoslovski

MoscowNizhniy Novgorod

Samara

Syzran

Vologda

Volgograd

Astrakhan

Perm

Ufa

EkaterinburgTyumen’

Novosibirsk

Surgut

OmskKurgan

Abakan

Vladivostok

Khabarovsk

KosomolskYakutsk

Okha

Korsakov

Tokyo

NagasakiPyongyang Seoul

Dalian

Beijing Tianjing

Shanghai

Harbin

Irkutsk

Ulan-Ude

Ulaanbaatar

Saratov

Rostov-na-DonuOdessa

Kiev

Minsk

Kursk

WarsawPrague

Budapest

Vienna

Berlin

Greifswald

TbilisiBatumi

MarseilleGenova

Livorno

Istanbul

Ankara

Bucharest

Athens

BakuTurkmenbasy

Asgabat Mary

Turkmenabat

Buxoro Samarqand

AndijonQuqorr

Jizzakh

Toshkent

Almaty

VeniceTrieste

AntwerpBrussels

AmsterdamLe Havre

Belgrade

Madrid

Beyneu

Barcelona

Rome

Novi Urengoy

Lisbon

65,000 tonnes

NOBEL BROTHERS PETROLEUM HOLDINGS

16,500 tonnes

8,000 tonnes

1,600 tonnes

less than 1,600 tonnes

London

NewcastleLiverpool

Paris

Copenhagen

Aarhus

Lubeck

HelsinkiTurkuStockholm

RigaLiepaja

Tallinn

Oulu

St. Petersburg

Arkhangel’sk

Oukhta

Vorkuta

Bogoslovski

MoscowNizhniy Novgorod

Samara

Syzran

Vologda

Volgograd

Astrakhan

Perm

Ufa

EkaterinburgTyumen’

Novosibirsk

Surgut

OmskKurgan

Abakan

Vladivostok

Khabarovsk

KosomolskYakutsk

Okha

Korsakov

Tokyo

NagasakiPyongyang Seoul

Dalian

Beijing Tianjing

Shanghai

Harbin

Irkutsk

Ulan-Ude

Ulaanbaatar

Saratov

Rostov-na-DonuOdessa

Kiev

Minsk

Kursk

WarsawPrague

Budapest

Vienna

Berlin

Greifswald

TbilisiBatumi

MarseilleGenova

Livorno

Istanbul

Ankara

Bucharest

Athens

BakuTurkmenbasy

Asgabat Mary

Turkmenabat

Buxoro Samarqand

AndijonQuqorr

Jizzakh

Toshkent

Almaty

VeniceTrieste

AntwerpBrussels

AmsterdamLe Havre

Belgrade

Madrid

Beyneu

Barcelona

Rome

Novi Urengoy

Lisbon

Baku’s oil distribution network during the “Oil Baron” period, 1872–1920

The Nobel brothers transported oil by train car and by their own fl eet of tankers. They developed a network of storage facilities throughout the Russian Empire and abroad. They shipped oil as far as North America.


BakuOil and Urbanism

Edited by Eve Blau with Ivan Rupnik

In cooperation with Harvard University Graduate School of Design and Sasa Randic

With a portfolio of contemporary Baku by photographer Iwan Baan

First study on the relationship between oil and urbanism from an architectural point of view

Features maps, archival images, and photographs of present-day Baku

Baku: Oil and Urbanism is the fi rst architectural study of the relationship between oil and urbanism. Its focus is Baku, the capital of Azerbaijan and formerly part of the Russian Empire and Soviet Union. Since the late 19th century, oil and urbanism have been intertwined in the spaces of the city. Later, Baku was the site of one of the most spectacular experiments in Soviet urban and infrastructural design —“Neft Dashlari,” the fi rst off-shore drilling facility in the world, a city built on trestles in the Caspian Sea. Today, Baku is undergoing its second major oil boom. The book examines how urban design, planning, and architecture have dealt with the issue of oil in varying political conditions. Working with maps and archival photographs, the book analyzes sites, buildings, urban fabric, plans to understand the evolution of the city.

EVE BLAU is adjunct professor of the history of urban form at the Harvard University Graduate School of Design. Previously director of the architecture degree programs at the GSD and curator of exhibitions and publications at the Canadian Centre for Ar-chitecture in Montreal, she has written extensively on modern architecture, urbanism, and the post-socialist city.

New

Title Architecture


16.5 × 24 cm, 6 ½ × 9 ½ in approx. 320 pagesapprox. 700 illustrations, hardcoverISBN 978-3-03778-306-1, EnglishEUR 50.– GBP 45.– USD / CAD 60.–

BakuOil and Urbanism

Edited by Eve Blau with Ivan Rupnik

In cooperation with Harvard University Graduate School of Design and Sasa Randic

With a portfolio of contemporary Baku by photographer Iwan Baan

First study on the relationship between oil and urbanism from an architectural point of view

Features maps, archival images, and photographs of present-day Baku

Baku: Oil and Urbanismoil and urbanism. Its focus is Baku, the capital of Azerbaijan and formerly part of the Russian Empire and Soviet Union. Since the late been intertwined in the spaces of the city. Later, Baku was the site of one of the most

26

New

Title Architecture

Available September 2012

21 × 30 cm, 8 ¼ × 11¼ in approx. 256 pagesapprox. 230 illustrations, paperbackISBN 978-3-03778-261-3, EnglishEUR 45.– GBP 38.– USD / CAD 60.–

Charlie Koolhaas

True City

Photographic portrait of the fi nancial centers London, Guangzhou, Houston, Dubai, and Lagos

First major publication by Charlie Koolhaas

With True City, a photographic essay on the “global city” of the twenty-fi rst century, photographer and sociologist Charlie Koolhaas weaves a dense photographic patchwork of images of the historic commercial centers of London, Guangzhou, and Houston and the emerging centers of commerce Dubai and Lagos. For her research, the author has visited these cities and taken photographs which refl ect contemporary life in a concentrated way. The images illustrate current issues such as the contra-diction between cultural homogenization and local diversity at a time of globalization. True City starkly contrasts the various urban landscapes with their inhabitants to reveal the differences and similarities between the cities, their cultures, the architec-ture, and the people living in them. The book is part street photography, part raw doc-umentary and intense observation. Literary text collages by the author supplement the visual explorations and form an associative network with them.

CHARLIE KOOLHAAS, born in London in 1977, is a Dutch sociologist and artist. She graduated from New York University in 1999. Her editorial career includes magazine work in New York and London.

New

Title Architecture

27

From Camp to CityRefugee Camps of the Western Sahara

Edited by Manuel Herz

In cooperation with ETH Studio Basel

Deals with refugee camps from an unconventional, urbanistic perspective

A wide-ranging and richly illustrated documentation of urban phenomena and processes in refugee camps

From Camp to City examines the theme of the refugee camp in the context of urbanism and architecture. Using the examples of the refugee camps in the Algerian desert in which Sahrawis originally from the Western Sahara have been living for 35 years, the book looks at the “urban” aspects of these settlements. In contrast to the standard way of seeing refugee camps as scenes of human misery and despair, the examination concentrates on how people live and dwell in refugee camps, on how they work, move around, and enjoy themselves, and looks at the spaces and structures that are created in the process. With numerous images and texts, individual aspects of urban life are presented and analyzed in the different chapters. As an examination of a “borderline case” of urbanity, the publication does not ignore the problematic aspects of this theme, but on the contrary: its potential explosiveness is further underscored by the focus on a “vocabulary of the urban.” It allows an understanding of the camps as a political project. The publication is based on research studies of the ETH Studio Basel, Institute of Contemporary Urbanism at the ETH Zürich.

MANUEL HERZ is an architect, based in Basel, Switzerland. Amongst his recently constructed buildings are the Jewish Community Center and Synagogue of Mainz (Germany) and the mixed-use building Legal / Illegal in Cologne. He currently is the head of teaching and research at ETH Studio Basel—Institute of the Contemporary City. Besides his work as a practicing architect, he researches and works in the fi eld of architecture of “humanitarian action.”

New

Title Architecture


17.6 × 23.5 cm, 6 ¾ × 9 in approx. 512 pagesapprox. 800 illustrations, hardcoverISBN 978-3-03778-291-0, EnglishEUR 50.– GBP 45.– USD / CAD 65.–

From Camp to CityRefugee Camps of the Western Sahara

Edited by Manuel Herz

In cooperation with ETH Studio Basel

Deals with refugee camps from an unconventional, urbanistic perspective

A wide-ranging and richly illustrated documentation of urban phenomena and processes in refugee camps

From Camp to Cityurbanism and architecture. Using the examples of the refugee camps in the Algerian desert in which Sahrawis originally from the Western Sahara have been living for 35to the standard way of seeing refugee camps as scenes of human misery and despair, the examination concentrates on how people live and dwell in refugee camps,

28

New

Title Design

Imagine PeaceA Critical Visual Encyclopedia

Edited by Ruedi Baur and Vera Baur Kockot, Design2context

Design: Megan Hall

An impressive visual encyclopedia of the iconography of peace

Comprehensive selection of widely varied visualizations of peace

Can one visualize peace? Are there signs, symbols, and images that present a posi-tive image of peace as opposed to receiving their meanings in opposition to war? Over several years of research, the Design2context Institute has intensively examined the representation and representability of peace and has compiled a comprehensive collection of images. In order to include a number of historical, cultural, and political perspectives, the archival aspect is supplemented by workshops in crisis regions. The encyclopedia—which, as new sociopolitical situations continue to arise and call for new pictures, must inevitably remain incomplete—provides a broad overview of the iconography of peace, and is also intended to assist in gaining an understanding of the concept. This book represents a signifi cant contribution to future discussions on the need and desire for peace in political and social life.

RUEDI BAUR, born in Paris in 1956, is a graphic designer. He is the head and founder of intégral ruedi baur et associés. He is director of Design2context Institute for Design Research at Zürich University of the Arts. He is co-director of the Civic City postgraduate program of the HEAD Genève and the Institute for Critical Research and Sciences in Design, Paris.VERA BAUR KOCKOT is a sociologist and culture and iconography theorist, and is co-director of the Design2context Institute for Design Research at Zürich University of the Arts. She is founder and co-director of the Civic City postgraduate program at the HEAD Genève and the Institute for Critical Research and Sciences in Design, Paris.


16.5 × 24 cm, 6 ½ × 9 ½ in approx. 720 pagesapprox. 3000 illustrations, paperbackISBN 978-3-03778-243-9, EnglishEUR 40.– GBP 35.– USD / CAD 55.–

New

Title Design

29

New

Title Design

POSTER COLLECTION 24

The Magic of Things

Edited by the Museum of Design Zürich

With an essay by Gerda Breuer and an insert by Bettina Richter

Shows numerous posters by important Swiss designers such as Niklaus Stoecklin, Peter Birkhäuser, or Otto Baumberger

Published on the occasion of the exhibition Magic of Things in the Museum of Design Zürich, August 29, 2012–January 6, 2013

The Magic of Things explores a former advertising strategy of Swiss product posters in which banal, everyday objects—butter, a sewing machine, or shoes—are presented as desirable objects enticing us to buy. Free from any further contextualization, the objects acquire a sensual presence and magical aura. The product poster had its heyday in Switzerland in the 1940s with designers such as Niklaus Stoecklin, Peter Birkhäuser, or Otto Baumberger. As consumer society developed, however, the exclu-sive focus on the product and the brand name was no longer enough—in advertising, the feelings associated with the object as it related to life grew increasingly important. Today it is in the cultural poster that the magical depiction of things is experiencing a kind of renaissance.

RELATED TITLES

Poster Collection 1–23, page 43


16.5 × 24 cm, 6½ × 9 ½ in, 96 pagesapprox. 104 illustrations, paperbackISBN 978-3-03778-258-3, English/GermanEUR 28.– GBP 25.– USD / CAD 40.–

30

New

Title Design

Trust DesignHow Design Can Increase Our Trust. Or Damage It.

Edited by Scott Burnham

In cooperation with Premsela, the Netherlands Institute for Design and Fashion

The book examines how design builds or damages our trust in products

Concrete examples illustrate the concept of “trust design”

A source of inspiration for product designers and architects

Trust has become a critical issue in our society. Something as simple as eating or shopping for food becomes an exercise in trust as we weigh organic claims against reports of genetically modifi ed foods and contamination. How can trust be strength-ened through the objects, services, and spaces we use? What are the ingredients of trust? Does trust have a color? A look? A feel? Can you design trust? Can you trust design? For a topic of such vast importance in our daily lives, little attention is paid to the real-world, tactile qualities of trust. Trust Design shows how trust can be com-municated between the design of the object, system, or space, and the audience or end-user. Featuring examples of products, systems, services, interfaces, and spaces designed with trust in mind, Trust Design brings an often intangible concept into the physical world.

SCOTT BURNHAM is a writer, researcher and creative director focusing on new approaches to design, and understanding design’s impact on society, from products and services to public spaces. He directed the “Trust Design Project” for Premsela, Netherlands Institute for Design and Fashion.


17 × 24 cm, 7 × 9 ½ in approx. 240 pagesapprox. 100 illustrations, paperbackISBN 978-3-03778-324-5, EnglishEUR 34.– GBP 28.– USD / CAD 42.–

New

Title Design

31

New

Title Design

Copy/CultureHow to Deal with Our Obsession for Authenticity in the Digital Age?

Edited by Premsela, the Netherlands Institute for Design and Fashion

With contributions by Erik Spiekermann, Aric Chen, Henk Oosterling, Paul Gardien, Bert de Muynck, Ronald Tau, Jiang Jun, Frans Vogelaar, Elizabeth Sikiaridi, Fei Wang, and others

Current topic: the meaning of copyright in the digital age

Contrasts copyright with the right to copy

With contributions by renowned authors from the fi elds of design, architecture, art and copyright law

Design culture is obsessed with authenticity. Copying is often deemed reprehensible, and borrowing another’s idea or incorporating elements of his or her work into one’s own is viewed as a sign of creative impoverishment. But is this right? What’s wrong with interpreting someone else’s creation? Musicians have been quoting each other’s work for centuries—why shouldn’t the same thing happen in other creative disciplines? Where does quotation end and copying begin, and how original is an original anyway? Is intellectual property protection appropriate in an age of digital distribution, when it’s diffi cult to identify a product’s author, maker, or inventor? And in a culture in which quotation and copying have long led to enrichment and innovation, should these acts be made impossible? In this book, several thinkers from the worlds of design, architecture, art, business, and copyright law elaborate on the future of copyright and the right to copy.


13 × 21 cm, 5 × 8 ¼ in approx. 160 pagesapprox. 40 illustrations, paperbackISBN 978-3-03778-323-8, EnglishEUR 24.– GBP 20.– USD / CAD 30.–

32

New

Title Art

Dan Graham Video – Architecture – Television Writings on Video and Video Works 1970–1978

Edited by Benjamin H. D. Buchloh

Reprint, Original 1979

The theses of the renowned American artist Dan Graham on video as medium of artistic expression

An out-of-print classic of twentieth-century art now available again

This title, published in 1979 and long since out of print, now appears as a reprint from Lars Müller Publishers. The original book was released in the series of publications Source Materials of the Contemporary Arts initiated by Kasper König and produced by the Press of the Nova Scotia College of Art and Design. The publication repre-sents 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 addi-tion, 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, fi lm, or architec-ture. The book also offers contributions by Michael Asher and Dara Birnbaum, as well as an annex with a biography and bibliography.

DAN GRAHAM, born in Urbana, Illinois, in 1942, is one of the most renowned contem-porary artists. His work often focuses on cultural phenomena, incorporating materials as diverse as photography, video, performance, glass, and mirror structures. Dan Graham lives and works in New York.


28 × 21.6 cm, 11 × 8 ¼ in96 pages113 illustrations, paperbackISBN 978-3-03778-300-9 EnglishEUR 40.– GBP 35.– USD / CAD 50.–

RELATED TITLE

Dan Graham’s New Jersey, page 38

Dan Graham Video – Architecture – Television Writings on Video and Video Works 1970–1978

Edited by Benjamin H. D. Buchloh

Reprint, Original

The theses of the renowned American artist Dan Graham on video as medium of artistic expression

An out-of-print classic of twentieth-century art now available again

33

New

Title Photography

Thomas Flechtner

News

The latest work by photographer Thomas Flechtner

Artistic refl ection of the ephemerality of news headlines

The confrontation of anarchic nature with man-made agendas in over one hundred photographs

News represents a further development of the much-acclaimed work of artist Thomas Flechtner. Whereas in Snow he looked at snow as a metaphor for timelessness, calm, distance, and loneliness, and in Bloom Flechtner used atmospherically condensed studies of plants to examine the boundless colorfulness and movement of grown nature, for his new project News Flechtner collected newspaper front pages over a period of one year, scattered plant seeds from very different countries over them, watered them, and, fi nally, exposed them to the sun. He recorded the way the “news” was gradually bleached and overgrown with plants in more than one hundred color photographs. Flechtner contrasts the anarchy of nature with the agenda of mankind, while also questioning the fl eetingness of memory and the demands made on it in shaping today’s world.

THOMAS FLECHTNER, born in Winterthur in 1961, studied at the Ecole de photographie, Vevey. He has received numerous prizes for his photographic works, which he regularly exhibits. He lives and works in Valliere, France and in Zürich.

RELATED TITLE

Bloom, page 46


Portfolio with 16 printed-on newspaper pages accompanied by softcover brochure (approx. 14.8 × 21 cm, 5¾ × 8 ¼ in, approx. 128 pages)ISBN 978-3-03778-318-4English/GermanEUR 80.– GBP 65.– USD / CAD 120.–

Available October

34

Christian Lutz

In Jesus’ Name

A critical photographic contribution to the topic of “modern” religious organizations

After Protokoll and Tropical Gift, In Jesus’ Name is the third part of the author’s trilogy on the topic of power relations

After examining political and economic structures of power in Protokoll and Tropical Gift, in the publication In Jesus’ Name photographer Christian Lutz turns his focus on the ritual and social behavior patterns within a religious organization. For several months he has documented the evangelical group “International Christian Fellowship” in Switzerland. With a coolly distanced view, his photographs show the yearning for belonging and for jointly experienced spirituality that is made manifest in large religious events. They reveal that at such meetings—in stadiums but also in remote camping sites—location and clothing play a less important role than the experience of community and cultic ritual. Lutz critically questions the emotionally charged meetings and reveals parallels to other social mass events such as rock concerts or football matches.

CHRISTIAN LUTZ, born in Geneva in 1973, studied at the Ecole Supérieure des Arts de l’Image, “Le 75” in Brussels. His artistic work has been awarded many prizes in Switzerland and abroad, and is regularly shown in exhibitions.

RELATED TITLES

Tropical Gift, page 45Protokoll, page 45Faith Is, page 47


24 × 30 cm, 9 ½ × 11 ¾ inapprox. 96 pagesapprox. 90 illustrations, hardcoverISBN 978-3-03778-294-1English/German EUR 40.– GBP 35.– USD / CAD 50.–

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35

New

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26 × 19 cm, 10 ¼ × 7 ½ inapprox. 320 pagesapprox. 240 illustrations, hardcoverISBN 978-3-03778-295-8EnglishEUR 40.– GBP 35.– USD / CAD 50.–

RELATED TITLE

From Somewhere to Nowhere, page 45

Andreas Seibert

The Dirty Colors of Growth China’s Huai River

Photographical documentation of the ecological consequences of the Chinese economic boom

After From Somewhere to Nowhere, Seibert’s documentation of China’s migrant workers, he presents his next book on another pressing issue in China

Published to accompany the exhibition Andreas Seibert—Huai He in the Fotostiftung Winterthur, October 27, 2012 – February 17, 2013

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

ANDREAS SEIBERT was born in 1970 in Wettingen, Aargau, Switzerland. He studied photography at the Hochschule der Künste in Zürich and German literature and philosophy at the University of Zürich. He has lived in Tokyo since 1997. His photo-graphic work has been published in numerous international magazines and shown in exhibitions all over the world.

36

New

Title Photography

37

Reset – Beyond Fukushima

Will the Nuclear Catastrophe Bring Humanity to Its Senses?

Edited by Adriano A. Biondo and Lars Müller

Photographs by Kazuma Obara

The photo book documents the fi rst days, weeks, and months in the Fukushima region after the nuclear catastrophe

With photos directly taken on site as well as portraits and interviews of workers of the nuclear power plant

Current topic: nuclear power, an issue of debate on the political agenda

Ever since the fi rst 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 fi rst 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 of responsibility. They bring to mind just how far-reaching the consequences of this catastrophe are, for the people on site as well as worldwide. The book offers a view that goes beyond the pure facts on site—Beyond Fukushima.

KAZUMA OBARA, born in Iwate in 1985, Japan, is a photojournalist. He studied social sciences at Utsunomiya University and continued his studies at Days Japan Photo Journalism School. Three days after the earthquake disaster, he began documenting what was happening in the affected areas. His photographs from the Fukushima Daiichi Nuclear Power Plant have been published all over Europe.

New

Title PhotographyReleased in March 2012

23 × 29,7 cm, 9 × 11 ¾ in 216 pages, 130 illustrations, paperbackISBN 978-3-03778-292-7English/Japanese EUR 50.– GBP 42.– USD / CAD 66.–

38

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rchitecture

Canadian Centre for arChiteCtureLars MüLLer PubLishers

the MediCaLization of arChiteCture

IMperfect

HealtH

Today we are anxious about ground pollution, food safety, smog, obesity and aging. Because almost everything in our surroundings is perceived as a possible source of disease, the health, defence and fortification of the body is an obsessive pursuit.

Design is also affected by such anxieties. Imperfect Health investigates the historical connections between health, design and the environment, bringing to light uncertainties and contradictions in cultures informed by Western medicine, to insist on a challenging hypothesis: that urbanism, landscape design and architecture take careof their “inhabitants,” instead of seeking an ultimate cure.

Edited by Giovanna BorasiMirko Zardini

English

French

Imperfect HealthThe Medicalization of ArchitectureCo-published by the Canadian Centre for Architecture, Montreal

16.5 × 24 cm, 6 ½ × 9 ½ in, 400 pages356 illustrations, hardcover2012, ISBN 978-3-03778-279-8, English2012, ISBN 978-3-03778-284-2, FrenchEUR 50.– GBP 45.– USD / CAD 70.–

David AdjayeAuthoring: Re-Placing Art and ArchitectureMarc McQuade (Ed.)In cooperation with Princeton University School of Architecture

16.5 × 24 cm, 6 ½ × 9 ½ in, 272 pages121 illustrations, paperback2012, ISBN 978-3-03778-282-8, EnglishEUR 32.– GBP 28.– USD / CAD 45.–

Luis M. Mansilla + Emilio TuñónFrom Rules to ConstraintsGiancarlo Valle (Ed.)In cooperation with Princeton University School of Architecture


Steven Holl – ScaleLars Müller (Ed.)

16.8 × 12.6 cm, 6 ½ × 5 in, 480 pages420 illustrations, hardcover2012, ISBN 978-3-03778-251-4, EnglishEUR 40.– GBP 38.– USD / CAD 55.–

Steven Holl – Color Light TimeWith essays by Jordi Safont-Tria, Sanford Kwinter, and Steven Holl

12.6 × 16.8 cm, 5 × 6½ in, 144 pages72 illustrations, hardcover2012, ISBN 978-3-03778-252-1, EnglishEUR 32.– GBP 25.– USD / CAD 40.–

Five North American ArchitectsAn Anthology byKenneth Frampton

Stanley SaitowitzBrigitte Shim+ Howard SutcliffeRick JoyJohn+Patricia PatkauSteven HollColumbia University GSAPPLars Müller Publishers

Five North American ArchitectsAn Anthology by Kenneth FramptonIn cooperation with GSAPP, Columbia University


Ecological UrbanismMohsen Mostafavi with Gareth Doherty, Harvard University Graduate School of Design (Eds.)

16.5 × 24 cm, 6 ½ × 9 ½ in, 656 pages1000 illustrations, hardcover2010, ISBN 978-3-03778-189-0, EnglishEUR 50.– GBP 40.– USD / CAD 60.–

Landform BuildingArchitecture’s New TerrainStan Allen and Marc McQuade (Eds.)In cooperation with the Princeton University School of Architecture


Dan Graham’s New JerseyIn cooperation with GSAPP, Columbia UniversityWith contributions by Mark Wigley and Mark Wasiuta

19 × 26 cm, 7 ½ × 10 ¼ in, 192 pages140 illustrations, hardcover2012, ISBN 978-3-03778-259-0, EnglishEUR 45.– GBP 42.– USD / CAD 65.–

Michael MerrillLouis Kahn: Drawing to Find OutThe Dominican Motherhouse and the Patient Search for Architecture

30 × 24 cm, 11 ½ × 9 ½ in, 240 pages233 illustrations, hardcover2010, ISBN 978-3-03778-221-7, EnglishEUR 59.– GBP 60.– USD / CAD 90.–

Michael MerrillLouis Kahn:On the Thoughtful Making of SpacesThe Dominican Motherhouse and a Modern Culture of Space


Iwan BaanBrasilia – ChandigarhLiving with ModernityLars Müller (Ed.)With texts by Cees Nooteboom and Martino Stierli

24 × 30 cm, 9 ½ × 11 ¾ in, 240 pages200 illustrations, paperback2010, ISBN 978-3-03778-228-6, EnglishEUR 40.– GBP 40.– USD / CAD 60.–

39

Buckminster Fuller ReprintsJaime Snyder (Ed.)

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rchitecture

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r G

iGo

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ects

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011

LArs MüLLer PubLishers

English

German

Gigon/Guyer ArchitectsWorks & Projects 2001– 2011With essays by Gerhard Mack, Arthur Rüegg, and Philip Ursprung

16.5 × 24 cm, 6 ½ × 9 ½ in, 608 pages935 illustrations, hardcover2012, ISBN 978-3-03778-276-7, English2012, ISBN 978-3-03778-257-6, GermanEUR 58.– GBP 55.– USD / CAD 85.–

English

German

What Anchors a House in ItselfSeven BuildingsAndreas Fuhrimann, Gabrielle Hächler

18.6 × 24.8 cm, 7 ¼ × 9 ¾ in, 216 pages167 illustrations, paperback2010, ISBN 978-3-03778-240-8, English2010, ISBN 978-3-03778-224-8, GermanEUR 40.– GBP 35.– USD / CAD 60.–

English

German

Herzog & de MeuronNatural HistoryPhilip Ursprung and the Canadian Centre for Architecture (Eds.)

16.5 × 24 cm, 6 ½ × 9 ½ in, 472 pages800 illustrations, paperback2003, ISBN 978-3-03778-049-7, English2005, ISBN 978-3-03778-050-3, GermanEUR 45.– GBP 30.– USD / CAD 48.–

Insular InsightWhere Art and Architecture Conspire with NatureNaoshima Teshima InujimaLars Müller and Akiko Miki (Eds.)


Alice FoxleyDistance & EngagementWalking, Thinking and Making Landscape

24 × 16.5 cm, 9 ½ × 6 ½ in, 480 pages1000 illustrations, hardcover2010, ISBN 978-3-03778-196-8, EnglishEUR 50.– GBP 50.– USD / CAD 80.–

Antonio FoscariAndrea Palladio – Unbuilt Venice

15 × 24 cm, 6 × 9 ½ in, 288 pages230 illustrations, hardcover2010, ISBN 978-3-03778-222-4, EnglishEUR 40.– GBP 40.– USD / CAD 60.–

Ideas and IntegritiesA Spontaneous Autobiographical Disclosure

Reprint, original 1963, 12 × 19 cm, 4 ¾ × 7 ½ in 416 pages, 50 illustrations in b/w, paperback2010, ISBN 978-3-03778-198-2, EnglishEUR 25.– GBP 20.– USD / CAD 30.–

Education Automation Comprehensive Learning for Emergent Humanity

Reprint, originals 1962–1979, 12 × 19 cm, 4 ¾ × 7 ½ in 224 pages, 15 illustrations in b/w, paperback2010, ISBN 978-3-03778-199-9, EnglishEUR 25.– GBP 20.– USD / CAD 30.–

Operating Manual for Spaceship EarthReprint, original 1969, 12 × 19 cm, 4 ¾ × 7 ½ in English

French

152 pages, paperback2008, ISBN 978-3-03778-126-5, English 2010, ISBN 978-3-03778-188-3, FrenchEUR 15.– GBP 15.– USD / CAD 20.–

Utopia or OblivionThe Prospects for Humanity

Reprint, original 1969, 12 × 19 cm, 4 ¾ × 7 ½ in 448 pages, 32 illustrations, paperback2008, ISBN 978-3-03778-127-2, English EUR 25.– GBP 25.– USD / CAD 30.–

And It Came to Pass – Not to StayReprint, original 1976, 12 × 19 cm, 4 ¾ × 7 ½ in 192 pages, paperback2008, ISBN 978-3-03778-132-6, EnglishEUR 15.– GBP 15.– USD / CAD 20.–

Your Private SkyR. Buckminster FullerThe Art of Design ScienceJ. Krausse and C. Lichtenstein (Eds.)

16.5 × 24 cm, 6 ½ × 9 ½ in 524 pages, 600 illus. hardcover, 2009ISBN 978-3-907044-88-9 EnglishEUR 25.– GBP 25.– USD / CAD 65.–

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rchitecture

Touch Me! The Mystery of the SurfaceGregor Eichinger and Eberhard Tröger, Chair of Architecture and Design, ETH Zürich (Eds.)

16.5 × 24 cm, 6 ½ × 9 ½ in184 pages, 21 illustrationshardcover, 2011ISBN 978-3-03778-229-3, eISBN 978-3-03778-254-5, gEUR 30.– GBP 28.–USD / CAD 45.–

Aga Khan Award for Architecture 2010Implicate & ExplicateMohsen Mostafavi (Ed.)

16.5 × 24 cm, 6 ½ × 9 ½ in352 pages, 191 illustrationshardcover, 2011ISBN 978-3-03778-242-2EnglishEUR 35.– GBP 35.–USD / CAD 50.–

Guy NordensonPatterns and StructureSelected Writings

16.5 × 24 cm, 6 ½ × 9 ½ in464 pages, 218 illustrationspaperback, 2010ISBN 978-3-03778-219-4EnglishEUR 40.– GBP 40.–USD / CAD 60.–

Other Space Odysseys: Greg Lynn, Michael Maltzan, Alessandro PoliGiovanna Borasi and Mirko Zardini, Canadian Centre for Architecture (Eds.)

15 × 21 cm, 6 × 8 ¼ in160 pages, 113 illustrationspaperback, 2010ISBN 978-3-03778-193-7, eISBN 978-3-03778-194-4, fEUR 25.– GBP 23.–USD / CAD 35.–

AFTERLars Müller Publishers

Lars Müller Publishers

Architectural Papers VETH ZürichChair Prof. Dr. Josep Lluís Mateo

Contemporary Architectural Conditions

AFTER

CR

ISIS

Lars Müller P

ublishersA

rchitectural Papers V

NEXTMiddle East: Architecture and the City

Architectural Papers Monograph

Online Version Dap: Digital Architectural Papersregularly updated at www.architecturalpapers.ch

Architectural Papers V concentrates on the new conditions for architectural practice and the epistemologies that may inform it now that the fi nancial bubble has collapsed and living and working conditions have signifi cantly changed. Essays, studies, and interviews, along with a selection of illustrative projects, tackle the actual issues of growth and shrinking, economy and ideology, craftsmanship and social space in the city, and materiality and sustainability in architecture.

The Architectural Papers series covers a wide range of topics related to teaching and architectural culture in general, and is aimed at expanding the narrow boundaries of the discipline. Established in 2005, the series is edited by Chair Prof. Dr. Josep Lluís Mateo at ETH Zürich.

CRISISISBN 978-3-03778-230-9

CRISIS

AFTER

Josep Lluís MateoArchitectural Papers VAfter CrisisContemporary Architectural Conditions


Tree Nurseries – Cultivating the Urban JungleDominique Ghiggi, the Chair of Günther Vogt, Department of Architecture, ETH Zürich (Eds.)

24 × 33 cm, 9 ½ × 13 in240 pages, 600 illustrationspaperback, 2010ISBN 978-3-03778-218-7, eISBN 978-3-03778-217-0, gEUR 35.– GBP 35.–USD / CAD 55.–

The SANAA Studios Learning from Japan: Single Story UrbanismFlorian Idenburg and Princeton University School of Architecture (Eds.)

21.6 × 28 cm, 8 ½ × 11 in144 pages, 240 illustrationspaperback, 2010ISBN 978-3-03778-190-6, eEUR 30.– GBP 30.–USD / CAD 45.–

The World’s Fairest City – Yours and MineFeatures of Urban Living and Quality

18 × 12.8 cm, 7 × 5 in192 pages, 120 illustrationspaperback, 2010ISBN 978-3-03778-186-9, eISBN 978-3-03778-185-2, gEUR 20.– GBP 20.–USD / CAD 30.–

Petra KempfYou Are the CityObservation, Organization and Transformation of Urban Settings

21 × 29.7 cm, 8 ¼ × 11 ¾ in22 transparent slides in folder, brochure, 16 pagesISBN 978-3-03778-159-3English, 2009EUR 30.– GBP 30.–USD / CAD 50.–

SHIFTSANAA and the New MuseumJoseph Grima and Karen Wong (Eds.)

24 × 30 cm, 9 × 11 ¾ in136 pages, 144 illustrationspaperback, 2008ISBN 978-3-03778-140-1EnglishEUR 33.– GBP 35.–USD / CAD 40.–

Gramazio & KohlerDigital Materiality in Architecture

19.5 × 30 cm, 7 ¾ × 11 ¾ in112 pages, 157 illustrationshardcover, 2008ISBN 978-3-03778-122-7EnglishEUR 35.– GBP 35.–USD / CAD 45.–

The Image and the RegionMaking Mega-City Regions VisibleAlain Thierstein and Agnes Förster (Eds.)


Construction SiteMetamorphoses in the City Marie Antoinette Glaser, ETH Wohnforum (Eds.)

23 × 28 cm, 9 × 11 in144 pages, 137 illustrationshardcover, 2008ISBN 978-3-03778-112-8, eISBN 978-3-03778-111-1, gEUR 40.– GBP 40.–USD / CAD 55.–

Catherine de SmetVers une Architecture du LivreLe Corbusier: édition et mise en pages 1912 –1965

16.5 × 24 cm, 6 ½ × 9 ½ in304 pages, 410 illustrationspaperback, 2007ISBN 978-3-03778-067-1FrenchEUR 30.– GBP 30.–USD / CAD 45.–

Matthias Sauerbruch, Louisa HuttonSauerbruch Hutton Archive

24 × 30 cm, 9 × 11 ¾ in344 pages, 650 illustrationshardcover, 2006ISBN 978-3-03778-083-1English/GermanEUR 60.– GBP 55.–USD / CAD 79.–

Peter EisenmanThe Formal Basis of Modern Architecture (1964)

29 × 30.5 cm, 11 ½ × 12 in384 pages, 300 illustrationshardcover, 2006ISBN 978-3-03778-071-8EnglishEUR 50.– GBP 50.–USD / CAD 70.–

Peter EisenmanHolocaust Memorial Berlin

24 × 30 cm, 9 × 11 ¾ in120 pages, 65 illustrationshardcover, 2005ISBN 978-3-03778-056-5EnglishISBN 978-3-03778-059-6GermanEUR 23.– GBP 23.–USD / CAD 35.–

Sense of the CityAn Alternate Approach to UrbanismMirko Zardini, Canadian Centre for Architecture (Eds.)


Catherine de SmetLe CorbusierArchitect of Books

21 × 28 cm, 8 ¼ × 11 in128 pages, 100 illustrationshardcover, 2005ISBN 978-3-03778-034-3, eISBN 978-3-03778-033-6, fISBN 978-3-03778-052-7, gEUR 35.– GBP 30.–USD / CAD 50.–

Zaha HadidCar Park and Terminus Strasbourg

31 × 33 cm, 12 ¼ × 13 in100 pages, 70 illustrationspaperback, 2004ISBN 978-3-03778-028-2German/English/FrenchEUR 15.– GBP 15.–USD / CAD 35.–

Theo HotzArchitecture 1949 – 2002

18.5 × 28 cm, 7 ¼ × 11 in320 pages, 600 illustrationshardcover, 2003ISBN 978-3-03778-002-2English/GermanEUR 30.– GBP 30.–USD / CAD 45.–

As FoundThe Discovery of the Ordinary British Architec-ture and Art of the 1950s C. Lichtenstein and T. Schregenberger (Eds.)

16.5 × 24 cm, 6 ½ × 9 ½ in320 pages, 300 illustrationshardcover, 2001ISBN 978-3-907078-43-3, eISBN 978-3-907078-40-2, gEUR 30.– GBP 30.–USD / CAD 45.–

Alison and Peter SmithsonAS IN DSAn Eye on the RoadChristian Sumi (Ed.)

Reprint, original 198311.5 × 29 cm, 4 ½ × 11 ½ in164 pages, 70 illustrationspaperback, 2001ISBN 978-3-907078-42-6EnglishEUR 15.– GBP 15.–USD / CAD 25.–

Architecture of Zaha HadidIn Photographs by Hélène Binet

19 × 31 cm, 7 ½ × 12 ¼ in176 pages, 90 illustrationshardcover, 2000ISBN 978-3-907078-12-9EnglishEUR 20.– GBP 18.–USD / CAD 30.–

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esign

English

German

FREITAGOut of the BagMuseum of Design Zürich, Renate Menzi (Ed.)

11.6 × 17.8 cm, 4 ½ × 7 in, 280 pages310 illustrations, paperback2012, ISBN 978-3-03778-278-1, English2012, ISBN 978-3-03778-289-7, GermanEUR 25.– GBP 22.– USD / CAD 35.–

A5/05: Lufthansa and Graphic DesignVisual History of an AirlineJens Müller and Karen Weiland, labor visuell at the University of Applied Sciences Düsseldorf, Department of Design (Eds.)

14.8 × 21 cm, 5 ¾ × 8 ¼ in, 128 pages400 illustrations, paperback2012, ISBN 978-3-03778-267-5, English/GermanEUR 28.– GBP 25.– USD / CAD 40.–

Takahiro KurashimaPoemotion

17 × 23 cm, 6 ¾ × 9 in, 64 pages30 illustrations, paperback2012, ISBN 978-3-03778-277-4, EnglishEUR 28.– GBP 25.– USD / CAD 40.–

Jasper MorrisonA World Without Words

1998, Reprint10.8 × 15.4 cm, 4 ¼ × 6 in, 112 pages104 illustrations, paperback2012, ISBN 978-3-03778-207-1, EnglishEUR 18.– GBP 16.– USD / CAD 25.–

Naoto Fukasawa, Jasper MorrisonSuper NormalSensations of the Ordinary

14.8 × 20 cm, 5 ¾ × 7 ¾ in, 128 pages264 illustrations, paperback2007, ISBN 978-3-03778-106-7, EnglishEUR 25.– GBP 25.– USD / CAD 35.–

Jasper MorrisonEverything but the Walls

22 × 28 cm, 8 ¾ × 11 in, 256 pages300 illustrations, paperback2006, ISBN 978-3-03778-064-0, EnglishEUR 40.– GBP 40.– USD / CAD 59.–

English

German

Kenya HaraWhite

13.5 × 19.5 cm, 5 ¼ × 7 ¾ in, 64 pages4 illustrations, hardcover2010, ISBN 978-3-03778-183-8, English2010, ISBN 978-3-03778-182-1, GermanEUR 25.– GBP 20.– USD / CAD 30.–

Kenya HaraDesigning Design



Hannes

WettsteinSe

ekin

gA

rche

typ

es

Hannes Wettstein Seeking ArchetypesStudio Hannes Wettstein (Ed.)With essays by Max Küng and Volker Albus and a text collage by Thomas Haemmerli

23 × 29 cm, 9 × 11 ½ in, 292 pages662 illustrations, hardcover2012, ISBN 978-3-03778-265-1, English/German/ItalianEUR 58.– GBP 55.– USD / CAD 85.–

Lars MüllerHelveticaHomage to a Typeface

12 × 16 cm, 4 ¾ × 6 ¼ in, 256 pages400 illustrations, paperback2002, ISBN 978-3-03778-046-6, EnglishEUR 19.– GBP 15.– USD / CAD 25.–

English

German

Helvetica ForeverStory of a TypefaceLars Müller and Victor Malsy (Eds.)

19 × 26 cm, 7 ½ × 10 ¼ in, 160 pages150 illustrations, hardcover2009, ISBN 978-3-03778-121-0, English2008, ISBN 978-3-03778-120-3, GermanEUR 30.– GBP 30.– USD / CAD 49.–

English

German

Massimo VignelliThe Vignelli Canon

14.8 × 21 cm, 5 ¾ × 8 ¼ in, 112 pages142 illustrations, paperback2010, ISBN 978-3-03778-225-5, English2012, ISBN 978-3-03778-268-2, German EUR 28.– GBP 20.– USD / CAD 35.–

42

Backlist D

esign

Michael Maharam Maharam Agenda

19.5 × 26 cm, 7 ¾ × 10 ¼ in, 256 pages408 illustrations, hardcover with stitched fabric cover2011, ISBN 978-3-03778-187-6, EnglishEUR 55.– GBP 50.– USD / CAD 65.–

MetahavenUncorporate IdentityMetahaven (Daniel van der Velden and Vinca Kruk) with Marina Vishmidt (Eds.)Co-published by Jan van Eyck Academie

17 × 24 cm, 6 ¾ × 9 ½ in, 608 pages200 illustrations, paperback2010, ISBN 978-3-03778-169-2, EnglishEUR 45.– GBP 45.– USD / CAD 75.–

English

German

Corporate DiversitySwiss Graphic Design and Advertising by Geigy, 1940–1970Museum of Design Zürich, Andres Janser, Barbara Junod (Eds.)

19.4 × 26.8 cm, 7 ¾ × 10 ½ in, 208 pages385 illustrations, hardcover2009, ISBN 978-3-03778-160-9, English2009, ISBN 978-3-03778-161-6, GermanEUR 40.– GBP 40.– USD / CAD 65.–

Küchen Werkzeug / Kitchen ToolsDesign by Kuhn RikonWith photographs by Cortis & Sonderegger, Zürich

21 × 31.5 cm, 8 ¼ × 12 ½ in, 96 pages70 illustrations, hardcover 2012, ISBN 978-3-03778-283-5, English/GermanEUR 38.– GBP 35.– USD / CAD 50.–

DESI

GN IN

QU

ESTI

ONA

Visu

al P

ropo

sal b

y Ru

edi B

aur,

Vera

Bau

r Koc

kot a

nd th

e In

stitu

te D

esig

n2co

ntex

t ZH

dK Z

uric

h fo

r Elis

ava,

Bar

celo

na S

choo

l of D

esig

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LARS

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IS DESIGN A SEARCH FOR QUESTIONS?Pedro Gonçalves, Art Director, Portugal

DESIGN IN QUESTION

Design in QuestionElisava, design2context (Eds.)

7.4 × 10.5 cm, 3 × 4 in, 384 pages15 illustrations, hardcover 2012, ISBN 978-3-03778-280-4, EnglishEUR 20.– GBP 18.– USD / CAD 28.–

English

German

Karl GerstnerDesigning ProgrammesHarald Geisler and Jonas Pabst (Eds.)

Revised reprint, original 196419.5 × 25 cm, 7 ¾ × 9 ¾ in, 120 pages 200 illustrations, hardcover2007, ISBN 978-3-03778-093-0, English2007, ISBN 978-3-03778-092-3, German EUR 30.– GBP 30.– USD / CAD 40.–

Jan ConradiUnimark InternationalThe Design of Business and the Business of DesignForeword by Massimo Vignelli

19 × 26 cm, 7 ½ × 10 ¼ in, 244 pages150 illustrations, hardcover2010, ISBN 978-3-03778-184-5, EnglishEUR 45.– GBP 40.– USD / CAD 65.–

English

German

Lars MüllerJosef Müller-BrockmannPioneer of Swiss Graphic Design

19 × 27 cm, 7 ½ × 10 ¾ in, 264 pages 415 illustrations, paperback1994, ISBN 978-3-906700-89-2, English1994, ISBN 978-3-907078-59-4, GermanEUR 40.– GBP 40.– USD / CAD 60.–

Hans Arp and El LissitzkyThe Isms of Art 1914–1924

Reprint, original 192520 × 26 cm, 8 × 10 ¼ in, 60 pages 75 illustrations, hardcover1990, ISBN 978-3-906700-28-1, English/French/GermanEUR 20.– GBP 15.– USD / CAD 30.–

Nature DesignFrom Inspiration to InnovationMuseum of Design Zürich, Angeli Sachs (Eds.)


English

German

Global DesignInternational Perspectives and Individual ConceptsMuseum of Design Zürich, Angeli Sachs (Eds.)

16.5 × 24 cm, 6 ½ × 9 ½ in, 320 pages350 illustrations, paperback2010, ISBN 978-3-03778-210-1, English2010, ISBN 978-3-03778-154-8, GermanEUR 35.– GBP 35.– USD / CAD 60.–

English

German

Windfall LightThe Visual Language of ECMLars Müller (Ed.)

18.5 × 26 cm, 7 ¼ × 10 ¼ in, 448 pages1260 illustrations, paperback2010, ISBN 978-3-03778-157-9, English2010, ISBN 978-3-03778-197-5, GermanEUR 55.– GBP 50.– USD / CAD 85.–

43

Backlist D

esign P

OS

TE

R C

OL

LE

CT

ION

POSTER COLLECTION 06Visual Strategies Against AidsMuseum of Design Zürich (Ed.)

16.5 × 24 cm, 6 ½ × 9 ½ in 96 p., 130 illus., paperbackISBN 978-3-907078-90-7 English/German, 2003EUR 23.– GBP 20.– USD / CAD 26.–

POSTER COLLECTION 05TypotekturMuseum of Design Zürich (Ed.)


POSTER COLLECTION 04Hors-SolMuseum of Design Zürich (Ed.)


POSTER COLLECTION 03Posters for Exhibitions 1980 – 2000Museum of Design Zürich (Ed.)


POSTER COLLECTION 02Donald BrunMuseum of Design Zürich (Ed.)


POSTER COLLECTION 01Revue 1926Museum of Design Zürich (Ed.)


POSTER COLLECTION 12Catherine ZaskMuseum of Design Zürich (Ed.)

16.5 × 24 cm, 6 ½ × 9 ½ in 64 p., 54 illus., paperbackISBN 978-3-03778-054-1 English/German/French2005EUR 20.– GBP 15.– USD / CAD 20.–

POSTER COLLECTION 11HandmadeMuseum of Design Zürich (Ed.)


POSTER COLLECTION 10Michael EngelmannMuseum of Design Zürich (Ed.)


POSTER COLLECTION 09Ralph SchraivogelMuseum of Design Zürich (Ed.)


POSTER COLLECTION 08Black and WhiteMuseum of Design Zürich (Ed.)


POSTER COLLECTION 07Armin HofmannMuseum of Design Zürich (Ed.)


POSTER COLLECTION 18Otto BaumbergerMuseum of Design Zürich (Ed.)


POSTER COLLECTION 17Photo GraphicsMuseum of Design Zürich (Ed.)


POSTER COLLECTION 16Comix!Museum of Design Zürich (Ed.)


POSTER COLLECTION 15Breaking the RulesMuseum of Design Zürich (Ed.)


POSTER COLLECTION 14Zürich-MilanoMuseum of Design Zürich (Ed.)


POSTER COLLECTION 13Typo ChinaMuseum of Design Zürich (Ed.)


POSTER COLLECTION 22Letters OnlyMuseum of Design Zürich (Ed.)

16.5 × 24 cm, 6 ½ × 9 ½ in96 pages, 114 illustrationspaperbackISBN 978-3-03778-206-4 English/German, 2010EUR 25.– GBP 25.–USD / CAD 35.–

POSTER COLLECTION 21Paradise SwitzerlandMuseum of Design Zürich (Ed.)

16.5 × 24 cm, 6 ½ × 9 ½ in96 pages, 112 illustrationspaperbackISBN 978-3-03778-205-7 English/German, 2010EUR 25.– GBP 25.– USD / CAD 35.–

POSTER COLLECTION 20Help!Appeals to Social ConscienceMuseum of Design Zürich (Ed.)

16.5 × 24 cm, 6 ½ × 9 ½ in 96 pages, 120 illustrationspaperbackISBN 978-3-03778-174-6 English/German, 2009EUR 25.– GBP 25.– USD / CAD 35.–

POSTER COLLECTION 19Head to HeadMuseum of Design Zürich (Ed.)

16.5 × 24 cm, 6 ½ × 9 ½ in 192 p., 120 illus., paperbackISBN 978-3-03778-151-7 English, 2009ISBN 978-3-03778-130-2 German, 2009EUR 30.– GBP 30.– USD / CAD 40.–

POSTER COLLECTION 23In SeriesMuseum of Design Zürich (Ed.)

16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages203 illustrations, paperback2011, ISBN 978-3-03778-266-8English /GermanEUR 28.– GBP 25.– USD / CAD 40.–

44

Backlist D

esign

Findings on ElasticityPars Foundation (Ed.)

20 × 27 cm, 7 ¾ × 10 ¾ in208 pages, 70 illustrationspaperback, 2010ISBN 978-3-03778-148-7EnglishEUR 35.– GBP 35.–USD / CAD 55.–

Gerlinde SchullerDesigning Universal KnowledgeThe World as Flatland – Report 1


Celestino Piatti + dtvThe Unity of the Program Jens Müller, labor visuell at the University of Applied Sciences Düsseldorf, Department of Design

14.8 × 21 cm, 5 ¾ × 8 ¼ in128 pages, 196 illustrationspaperback, 2009ISBN 978-3-03778-178-4English/GermanEUR 20.– GBP 20.–USD / CAD 30.–

Philips – TwenRealism Is the Score Jens Müller, labor visuell at the University of Applied Sciences Düsseldorf, Department of Design


Hans HillmannThe Visual Works Jens Müller, labor visuell at the University of Applied Sciences Düsseldorf, Department of Design


Ruedi BaurRuedi Baur IntégralAnticipating, Questioning, Inscribing, Distinguishing, Irritating, Orienting, Translating

16.5 × 24 cm, 6 ½ × 9 ½ in480 p., 200 illus., hc, 2010ISBN 978-3-03778-134-0, eISBN 978-3-03778-203-3, fISBN 978-3-03778-202-6, gEUR 50.– GBP 50.–USD / CAD 80.–

Ulrike FelsingDynamic Identities in Cultural and Public Contexts

16.5 × 24 cm, 6 ½ × 9 ½ in256 pages, 200 illustrationspaperback, 2010ISBN 978-3-03778-163-0, eISBN 978-3-03778-162-3, gEUR 35.– GBP 35.–USD / CAD 55.–

2

De

sig

n2co

nte

xt

Ori

en

t-ie

run

g/a

tio

n D

es-/

Dé

s-/

Dis

-/o

rie

nt-

ieru

ng

/ati

on

Institute Design2context

Zürich University of the Arts

LARS MÜLLER PUBLISHERS

ISBN: 978-3-03778-133-3

Orientation/Disorientation 2Design2context, Ruedi Baur (Eds.)

16.5 × 24 cm, 6 ½ × 9 ½ in384 pages, 50 illustrationspaperback, 2010ISBN 978-3-03778-158-6English/German/FrenchEUR 30.– GBP 30.–USD / CAD 45.–

Orientation/Disorientation 1Design2context, Ruedi Baur (Eds.)

16.5 × 24 cm, 6 ½ × 9 ½ in264 pages, 300 illustrationspaperback, 2008ISBN 978-3-03778-133-3English/German/FrenchEUR 30.– GBP 30.–USD / CAD 45.–

Frédéric DedelleyDesign DetectiveAriana Pradal (Ed.)

17 × 22 cm, 6 ¾ × 8 ¾ in258 pages, 210 illustrationshardcover, 2008ISBN 978-3-03778-137-1English/German/FrenchEUR 30.– GBP 30.– USD / CAD 40.–

Jack Masey and Conway Lloyd MorganCold War Confrontations

16.5 × 24 cm, 6 ½ × 9 ½ in400 pages, 200 illustrationshardcover, 2008ISBN 978-3-03778-123-4EnglishEUR 20.– GBP 20.– USD / CAD 30.–

Pierre BernardMy Work is not my WorkDesign for the public domain

16.5 × 24 cm, 6 ½ × 9 ½ in, 320 p. 270 illustrations, paperbackISBN 978-3-03778-087-9English, 2008ISBN 978-3-03778-086-2French, 2007ISBN 978-3-03778-104-3Dutch, 2007EUR 40.– GBP 40.–USD / CAD 50.–

Edo SmitshuijzenSignage Design Manual

16 × 26 cm, 6 ¼ × 10 ¼ in456 pages, 800 illustrationshardcover, 2007ISBN 978-3-03778-096-1EnglishEUR 45.– GBP 40.–USD / CAD 60.–

Findings on IcePars Foundation (Ed.)

20 × 27 cm, 7 ¾ × 10 ¾ in190 pages, 126 illustrationspaperback, 2007ISBN 978-3-03778-125-8EnglishEUR 30.– GBP 30.– USD / CAD 50.–

J E A N - B E N O Î T L É V Y

HA

ND

BO

OK

L A R S M Ü L L E R P U B L I S H E R S

( FROM ONE HAND TO THE OTHER )

In the same collection:

Lars Müller

HELVETICA Hommage to a typeface.

ISBN 3-03778-046-0

Isabel Naegele / Ruedi Baur

SCENTS OF THE CITY ISBN 3-03778-012-6

The stylized handsigns

which are illustrating

this book are available

for Mac & Window

as a sign system named

H-AND-S at www.myfonts.com

( T O G I V E Y O U A H A N D )

Modern hand-yeroglyphs function as

a sort of unofficial global communication

system which effectly cross over the

multiples barriers formed by diverse

national languages.

Even if sometimes, certain similar signs

have different meanings from one

culture to another, there is definitely

a common hand sign language.

This visual expression is intercultural.

Created everywhere, by everyone, at

any time, those signs belong to no one

in particular and to all of us in general.

The visual collection ( which you are

holding in your hands ) is presenting

hand signs in various situations and

demonstrates how represented in

different parts of the world, they are

expressing symbolically and without

words the unlimited actions of the

human family.

HA

ND

L A R S M Ü L L E R P U B L I S H E R S

BO

OK

Jean-Benoît LévyHandbook

12 × 16 cm, 4 ¾ × 6 ¼ in256 pages, 490 illustrationspaperback, 2006ISBN 978-3-03778-077-0EnglishEUR 15.– GBP 15.– USD / CAD 20.–

Claude LichtensteinPlayfully RigidSwiss Architecture, Graphic Design, Product Design, 1950 –2006

16.5 × 24 cm, 6 ½ × 9 ½ in300 pages, 370 illustrationshardcover, 2007ISBN 978-3-03778-090-9, eISBN 978-3-03778-089-3, gEUR 25.– GBP 25.– USD / CAD 38.–

Pierre MendellPosters for the Opera

15.5 × 22 cm, 6 × 8 ¾ in160 pages, 97 illustrationshardcover, 2006ISBN 978-3-03778-082-4English/GermanEUR 25.– GBP 25.– USD / CAD 35.–

Mark Holt, Hamish Muir8voOn the Outside

12 × 16 cm, 4 ¾ × 6 ¼ in536 pages, 395 illustrationshardcover, 2005ISBN 978-3-03778-019-0EnglishEUR 25.– GBP 23.– USD / CAD 38.–

Isabel Naegele and Ruedi BaurScents of the City

14 × 20 cm, 5 ½ × 7 ¾ in480 pages, 1500 illustrationspaperback, 2004ISBN 978-3-03778-012-1English/French/GermanEUR 16.– GBP 15.– USD / CAD 20.–

Hans RichterNew LivingAndres Janser and Arthur Rüegg (Eds.)

16.5 × 24 cm, 6 ½ × 9 ½ in128 pages, 500 illustrationshardcover, 2001ISBN 978-3-907078-22-8EnglishEUR 44.– GBP 35.– USD / CAD 28.–

Pierre MendellAt fi rst sight

24 × 30 cm, 9 ½ × 11 ¾ in200 pages, 250 illustrationshardcover, 2001ISBN 978-3-907044-49-0EnglishISBN 978-3-907078-64-8GermanEUR 30.– GBP 30.– USD / CAD 45.–

45

Backlist P

hotography

German with English and French translations

German

Swiss Photobooks from 1927 to the PresentA Different History of PhotographyPeter Pfrunder, Fotostiftung Schweiz (Eds.)

22 × 28 cm, 8 ¾ × 11 in, 704 / 576 pages861 illustrations, hardcover2012, ISBN 978-3-03778-274-3, German withEnglish and French translations2012, ISBN 978-3-03778-260-6, GermanEUR 75.– GBP 70.– USD / CAD 120.–

Lukas FelzmannSwarmWith contributions by Peter Pfrunder, Gordon H. Orians, Deborah M. Gordon, and Wallace Stevens

21 × 27 cm, 8 ¼ × 10 ½ in, 240 pages115 illustrations, hardcover2011, ISBN 978-3-03778-241-5, EnglishEUR 50.– GBP 45.– USD / CAD 70.–

Barbara Heé

C H av i o la sa landscape, so intimate and aloof

lars Müller Publishers

English

German

Barbara HeéChaviolas A Landscape, so Intimate and Aloof

29 × 19 cm, 11 ½ × 7 ½ in, 240 pages167 photographs, hardcover2010, ISBN 978-3-03778-165-4, English2010, ISBN 978-3-03778-171-5, GermanEUR 50.– GBP 45.– USD / CAD 80.–

Christian LutzTropical Gift The Business of Oil and Gas in Nigeria

30 × 24 cm, 11 ¾ × 9 ½ in, 96 pages52 photographs, hardcover2010, ISBN 978-3-03778-226-2, EnglishEUR 35.– GBP 35.– USD / CAD 50.–

Christian LutzProtokoll

30 × 24 cm, 11 ¾ × 9 ½ in, 90 pages54 photographs, hardcover2007, ISBN 978-3-03778-110-4English/French/German/SpanishEUR 35.– GBP 35.– USD / CAD 45.–

Luciano RigoliniWhat you seeFotostiftung Schweiz (Ed.)

12 × 16 cm, 4 ¾ × 6 ¼ in, 160 pages 107 photographs, hardcover2008, ISBN 978-3-03778-139-5 German/English/French/JapaneseEUR 25.– GBP 25.– USD / CAD 35.–

Andreas SeibertFrom Somewhere to NowhereChina’s Internal Migrants

19 × 26 cm, 7 ½ × 10 ¼ in320 pages, 228 photographs, hardcover2008, ISBN 978-3-03778-146-3, EnglishEUR 40.– GBP 40.– USD / CAD 55.–

English

German

Christina Kleineidam, Hans Peter JostCotton worldwide

19 × 26 cm, 7 ½ × 10 ¼ in, 320 pages220 illustrations, hardcover2009, ISBN 978-3-03778-201-9, English2009, ISBN 978-3-03778-200-2, GermanEUR 40.– GBP 40.– USD / CAD 60.–

Yann Mingard, Alban KakulyaEast of a New EdenEuropean External BordersA Documentary Account

25 × 33 cm, 9 × 13 in, 320 pages150 illustrations, hardcover2010, ISBN 978-3-03778-176-0, English/FrenchEUR 60.– GBP 60.– USD / CAD 99.–

Jules SpinatschTemporary Discomfort

24 × 30 cm, 9 ½ × 11 ¾ in, 186 pages115 photographs, hardcover2005, ISBN 978-3-03778-047-3English/GermanEUR 30.– GBP 30.– USD / CAD 45.–

English

German

Klaus MerkelAlbum of Stones

24 × 30 cm, 9 ½ × 11 ¾ in, 160 pages110 photographs, hardcover2005, ISBN 978-3-03778-058-9, English2005, ISBN 978-3-03778-062-6, GermanEUR 25.– GBP 23.– USD / CAD 38.–

English

German

Klaus MerkelThe Reading of Time in the Text of Nature

24 × 30 cm, 9 ½ × 11 ¾ in, 96 pages84 photographs, hardcover2000, ISBN 978-3-907044-97-1, English1997, ISBN 978-3-907044-40-7, GermanEUR 25.– GBP 25.– USD / CAD 38.–

46

Backlist P

hotography/Art

Lukas FelzmannWaters in BetweenWith marginalia by Angelus Silesius and John Berger

19 × 27 cm, 7 ½ × 10 ¾ in320 pages, 161 photographshardcover, 2009ISBN 978-3-03778-138-8EnglishEUR 50.– GBP 45.– USD / CAD 65.–

Lukas FelzmannLandfallEssay by Peter Pfrunder

13 × 18 cm, 5 × 7 in144 pages, 70 photographshardcover, 2004ISBN 978-3-907078-92-1English/GermanEUR 28.– GBP 25.– USD / CAD 35.–

Nadja Athanasiou, Michael Bühler, Peter LüemThe Dolder Grand

25 × 27 cm, 9 ¾ × 10 ¾ in640 pages, 400 photographshardcover, 2009ISBN 978-3-03778-166-1EnglishEUR 60.– GBP 60.– USD / CAD 90.–

Pete DavisIn Wildwood

30 × 24 cm, 11 ¾ × 9 ½ in96 pages, 72 photographshardcover, 2008ISBN 978-3-03778-142-5EnglishEUR 40.– GBP 40.– USD / CAD 50.–

Thomas FlechtnerBloom

23 × 30 cm, 9 × 11 ¾ in128 pages, 82 photographshardcover, 2007ISBN 978-3-03778-091-6EnglishEUR 30.– GBP 30.– USD / CAD 45.–

Jean-Pascal ImsandPhotographer

24 × 30 cm, 9 ½ × 11 ¾ in192 pages, 138 photographs in b/w, hardcover, 2004ISBN 978-3-03778-037-4, eISBN 978-3-03778-041-1, fISBN 978-3-03778-040-4, gEUR 25.– GBP 25.– USD / CAD 38.–

Hamish FultonThe Uncarved Block

30 × 24 cm, 11 ¾ × 9 ½ in, 160 pages120 illustrations, hardcover2010, ISBN 978-3-03778-227-9, EnglishEUR 50.– GBP 50.– USD / CAD 75.–

Wish I had a big studio in the center of the city


Until a couple of years ago, my idea was that I had no need for a residence.

I spent most of my time in my studio or traveling.

My apartment was just to sleep in.

Now I’m going to plant a kitchen garden around the house.

Only one window opens, and it’s violet.

Katharina Grosse

Wish

I had a b

ig studio

in the center o

f the cityLars M

üller Pub

lishers

Katharina G

rosse

English

German

Katharina GrosseWish I Had a Big Studio in the Center of the City

17 × 23 cm, 6 ¾ × 9 in, 144 pages73 illustrations, hardcover2009, ISBN 978-3-03778-170-8, English2009, ISBN 978-3-03778-168-5, GermanEUR 30.– GBP 30.– USD / CAD 45.–

Silvia Bächli and Eric HattanBLINDHÆÐIREast IcelandEditions Attitudes, Geneva (Ed.)

29 × 16.3, 11 ½ × 7 ½ in, 304 pages147 photographs, hardcover2010, ISBN 978-3-03778-216-3English /French /German /IcelandicEUR 40.– GBP 40.– USD / CAD 65.–

Silvia BächliLidschlagHow It Looks

22 × 28 cm, 8 ¾ × 11 in, 304 pages211 illustrations, hardcover2004, ISBN 978-3-03778-013-8, English/GermanEUR 30.– GBP 30.– USD / CAD 45.–

Silvia Bächli dasSwiss Federal Offi ce of Culture, Bern (Ed.)

13 × 19.5 cm, 5 × 7 ¾ in, 136 pages60 illustrations, paperback2009, ISBN 978-3-03778-155-5, English/German EUR 23.– GBP 23.– USD / CAD 40.–

Paradoxes of AppearingEssays on Art, Architecture and PhilosophyMichael Asgaard Andersen and Henrik Oxvig (Eds.)


Olafur EliassonYour mobile expectations:BMW H2R project

14.7 × 21 cm, 5 ¾ × 8 ¼ in, 336 pages 415 illustrations, hardcover2008, ISBN 978-3-03778-117-3, EnglishEUR 20.– GBP 20.– USD / CAD 30.–

Christian MoellerA Time and PlaceMedia Architecture

12.5 × 19 cm, 5 × 7 ½ in, 240 pages288 illustrations, paperback2004, ISBN 978-3-907078-91-4, EnglishEUR 20.– GBP 18.– USD / CAD 30.–

47

English

German

Backlist S

ociety

English

German

The Face of Human RightsWalter Kälin, Lars Müller, and Judith Wyttenbach (Eds.)

16.5 × 24 cm, 6 ½ × 9 ½ in, 720 pages, 500 illustrations2004, ISBN 978-3-03778-017-6, English, hardcoverEUR 45.– GBP 45.– USD / CAD 60.–2008, ISBN 978-3-03778-114-2, German, paperbackEUR 30.– GBP 30.– USD / CAD 50.–

English

German

Who Owns the Water?Lars Müller, Klaus Lanz, Christian Rentsch, and René Schwarzenbach (Eds.)


English

German

Faith Is.The Quest for Spirituality and ReligionLukas Niederberger and Lars Müller (Eds.)


All We NeedHolzer Kobler Architekturen and iart interactive (Eds.)

16.5 × 24 cm, 6 ½ × 9 ½ in, 272 pages255 illustrations, paperback2007, ISBN 978-3-03778-119-7English/French/GermanEUR 30.– GBP 23.– USD / CAD 40.–

World of GivingJeffrey Inaba and C-Lab, Columbia University GSAPP (Eds.)


Science SuisseAn Initiative of SRG SSR idée suisseChristian Eggenberger and Lars Müller (Eds.)

16.5 × 24 cm, 6 ½ × 9 ½ in, 472 pages 250 illustrations, hardcover, with DVD (PAL)2009, ISBN 978-3-03778-145-6English/French/German/ItalianEUR 30.– GBP 25.– USD / CAD 45.–

16.5 × 24 cm, 6 ½ × 9 ½ in, 576 pages307 illustrations, hardcover2012, ISBN 978-3-03778-245-3, English 2011, ISBN 978-3-03778-244-6, German EUR 45.– GBP 40.– USD / CAD 60.–

For Future’s Sake! A Visual Reader of Climate Change

René Schwarzenbach, Lars Müller, Christian Rentsch and Klaus Lanz (Eds.)In cooperation with the Department of Environmental Sciences, ETH Zürich

This visual reader offers a new approach to explaining climate change and making the topic accessible to a wider public

Continues the series of our well-known bestsellers The Face of Human Rights and Who Owns the Water?

For Future’s Sake! sets itself the goal of conveying the knowledge revealed by current climate research in a manner that is both concise and appealing. It differs from other books on climate change principally in the way it is conceived as a visual reader that deliberately uses the effectiveness and power of the image to pre-sent the theme in a graphic way. Extensive series of images with large photographs and informative diagrams accompany well-researched essays on and around the themes of climate history, research and policy and thus offer an in-depth examination. The book provides insights into the history of the earth’s climate and reveals the factors that are responsible for climate change. It poses questions and provides answers: why is the earth becoming warmer? What are the consequences we must reckon with? What can we do against this? Who determines the future? As both a volume of illustrations and a reader, For Future’s Sake! is directed at all those who want to equip themselves with knowledge and understanding to confront what is probably our planet’s most pressing problem.

RENÉ SCHWARZENBACH was dean of the Department of Environmental Sciences at ETH Zürich. CHRISTIAN RENTSCH is a journalist. KLAUS LANZ is a journalist and environmental researcher.

48

Lars Müller Publishers GmbHPfingstweidstrasse 6CH-8005 ZürichSwitzerlandPhone +41 (0)44 274 37 40Fax +41 (0)44 274 37 [email protected] publishers.com

INTERNATIONAL DISTRIBUTION

EUROPE (EU/EEA)(excluding United Kingdom and Ireland)

Lars Müller Publishers GmbHPfingstweidstrasse 6CH-8005 ZürichPhone +41 (0)44 274 37 40Fax +41 (0)44 274 37 [email protected]

DistributionVerlegerdienst München GmbHGutenbergstrasse 1D-82205 GilchingPhone +49 (0)8105 388 620Fax +49 (0)8105 388 259Contact: Manuela Brandstä[email protected]

FRANCEInterart1, Rue de l’EstF-75020 ParisPhone +33 (0)1 434 93 660Fax +33 (0)1 434 9 41 [email protected]

UNITED KINGDOM, IRELAND AND WORLD(excluding EU/EEA, USA and Canada)

UK OfficePrestel Publishing Limited4 Bloomsbury PlaceLondon WC1A 2QAPhone +44 (0)20 7323 5004Fax +44 (0)20 7636 [email protected]

Andrew Hansen – Managing [email protected] Barter – Sales [email protected] Parish – Sales [email protected]

DistributionGrantham Book Services (GBS)Trent RoadGranthamLincolnshire NG31 7XQPhone +44 (0)1476 541080 (UK Customer Services)Phone +44 (0)1476 541082 (Export Customer Services)Fax +44 (0)1476 541061 (UK Customer Services)Fax +44 (0)1476 541068 (Export Customer Services)[email protected] (UK Customer Services)

[email protected] (Export Customer Services)www.granthambookservices.co.uk

Sales Representatives:

UKGreater LondonHenry Thompson43 New River CrescentLondon N13 5RDPhone +44 (0)20 8882-7389Mobile +44 (0)7770 796088henry@ henrythompsonbooks.co.uk

South East, East Anglia and Home CountiesMel HowellsSignature Book Representation20 CastlegateYork YO1 9RPPhone +44 (0)845 862 1730Fax +44 (0)161 683 5270Mobile +44 (0)7970 [email protected]

South West, South WalesAndrew GilmanUniversity Presses MarketingThe Tobacco FactoryRaleigh Road, SouthvilleBristol BS3 1TFPhone +44 (0)117 9020275Fax +44 (0)117 9020294Mobile +44 (0)7973 862 502ag@universitypresses marketing.co.uk

Midlands, North, North Wales, ScotlandJim Sheehan Signature Book Representation20 CastlegateYork YO1 9RPPhone +44 (0)845 862 1730Fax +44 (0)161 683 5270Mobile +44 (0)7970 [email protected]

IRELANDGabrielle Redmond93 Longwood ParkRathfarnham, Dublin 14Republic of IrelandPhone +353 (0)1 493 6043Mobile +353 (0) 876 738922gabrielle.redmond@ gmail.com

AUSTRALIA AND NEW ZEALAND Peribo58 Beaumont RoadMount Kuring-gaiNSW 2080 AustraliaPhone +61 (0)2 9457 0011Fax +61 (0)2 9457 [email protected]

ASIA, AFRICA

JAPAN UK Office

INDIA, NEPAL, SRI LANKA, BHUTANRaavi SabharwalTBI-Publisher & Distributors1882 Bhasker BhawanVillage Kotla, MubarkpurNew Delhi 110003 / IndiaPhone 9811791246 / [email protected]

SOUTHEAST ASIAPeter CouzensSales East77/5 Moo 1Tambon Ang SilaAmper MuangChonburi 20000Phone +66 892 444 [email protected]

CHINA, HONG KONG, KOREA, PHILIPPINES, TAIWANEdward Summerson Asia Publishers ServicesUnits B&D17th Floor Gee Chang Hong Centre65 Wong Chuk Hang RoadAberdeen, Hong KongPhone +852 2553 9289Fax +852 2554 2912edward_summerson@ asiapubs.com.hk

PAKISTANAnwer IqbalBook Bird Publishers RepresentativesMian Chambers3, Temple RoadGPO Box 518Lahore, PakistanPhone +92 (0)42 6367275Fax +92 (0)42 [email protected]

AFRICA(excluding South Africa) Tony MoggachIMA InterMediaAmericana14 York RiseLondon NW5 1STPhone +44 (0)20 7813 3507Fax +44 (0)20 7485 8462tony.moggach@ tonymoggach.com

SOUTH AFRICAShay HeydenrychSales ManagerJacana Media (Pty) Ltd.P.O. Box 291784Melville2109 JohannesburgSouth AfricaPhone +27 (0) 11 628 3212Fax +27 (0)86 697 [email protected]

MIDDLE EAST, NORTH AFRICA AND EASTERN MEDITERRANEAN (excluding Israel) Richard WardPeter Ward Book Exports 1 Adams MewsLondon SW17 7RDUKPhone +44 (0)20 8672 1171Fax +44 (0)20 8450 8923 [email protected]

ISRAELAviva KarlinskiLonnie Kahn Ltd.20, Eliyahu Eitan StreetRishon-Lezion 75703, IsraelPhone +972 (0)3 9 51 84 18Fax +972 (0)3 9 51 84 15/[email protected]

LATIN AMERICA

LATIN AMERICA AND CARIBBEANDavid WilliamsIMA InterMediaAmericanaPO Box 8734, London SE21 7ZFPhone +44 (0)20 7274 7113sales@ intermediaamericana.com

USASales and Marketing OfficePrestel Publishing900 Broadway, Suite 603New York, NY 10003Phone (212) 995-2720Fax (212) [email protected]

Stephen Hulburt – Vice [email protected] Thoma – Marketing and Special Sales [email protected]

Customer Service, Warehouse, and FulfillmentPrestel Publishing Innovative Logistics575 Prospect StreetLakewood, NJ 08701Phone (732) 363-5679Fax (732) 363-0338toll-free for orders: (888) 463-6110toll-free fax for orders: (877) 372-8892

Sales Representatives:

Mid-Atlantic StatesR&R Book Company, LLC410 Ramapo Valley RdOakland, NJ 07436Phone (201) 337-3400Fax (201) 337-0534

Midwest StatesMcGarr Associates Inc.5692 Heathwood CourtTaylor Mill, KY 41015Phone (859) 356-9295Fax (859) 356-7804

Southeast States and South Central StatesBill McClung & Associates20475 Hwy 46W suite 180Spring Branch, TX 78070Phone (888) 813-6563Fax (888) 311-8932

Western StatesHand Associates16 Nelson Avenue,Mill Valley, CA 94941Phone (415) 383-3883Fax (415) 383-3883

New England StatesNanci McCrackin138 Windy Row,Peterborough, NH 03458Phone (603) 924 8766Fax (603) 924 0096

CANADACanadian Manda Group165 Dufferin StreetToronto, OntarioCanada M6K 3H6Phone 416 516 0911Fax 416 516 [email protected]

Returns in CanadaFraser Direct100 Armstrong AvenueGeorgetown, OntarioL7G 5S4, CanadaPhone 905 877-4411Fax 905 877-4410

All prices and title details are subject to change without notice. All prices are excluded VAT and do not include any sales taxes.

lars müller publishers autumn catalogue 2012

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