Lars Müller Publishers Spring 2014 Architecture Design

Lars Müller Publishers
Spring 2014
Lars Müller Publishers GmbH
Pfingstweidstrasse 6
CH -8005 Zürich
Switzerland
Phone +41 (0)44 274 37 40
Fax +41 (0)44 274 37 41
sales@lars-muller.ch
www.lars-mueller-publishers.com
Architecture
Design
Photography
Art
Society
Interviews on Los Angeles Architecture 1970s–1990s
New
title
Edited by Stephen Phillips
Provides an oral history of Los Angeles architecture from the 1970s to 1990s through personal
interviews with leading L.A. architects
Contributions examine the institutional, historical, social, political, and cultural life surrounding
art, architecture, and design from Postmodernism to Deconstructivism
Catapulted to fame by the international media in and around the 1980s, a loosely affiliated cadre of
architects — the so-called L.A. Ten — emerged to define the future of Los Angeles architecture. In this book,
architects Neil Denari, Frederick Fisher, Ming Fung, Craig Hodgetts, Coy Howard, Wes Jones, Thom Mayne,
Eric Owen Moss, Michael Rotondi, and former associates of the late Franklin Israel offer a casual, witty,
and approachable retrospective on the characters, environment, and cultural history of L. A. architecture
as they remember it. Architect, historian, and educator Stephen Phillips and the students of the Cal Poly
L. A. Metro Program in Architecture and Urban Design, alongside Wim de Wit and Christopher Alexander
of the Getty Research Institute, conduct the engaging series of oral history interviews.
January 2014
15.2 × 22.9 cm, 6 × 9 in, 256 pages
194 illustrations, hardcover
ISBN 978-3-03778-409-9, English
G BP 25.–
STE PHE N PHILLIPS , an architect, historian and educator, is Associate Professor of Architecture at
California Polytechnic State University, San Luis Obispo, and Founding Director of the Cal Poly L.A. Metro
Program in Architecture and Urban Design.
L.A. [ TEN]: INTERVIEWS ON LOS ANGELES ARCHITECTURE 1970s–1990s
Morphosis Architects, oral history interview with the Cal Poly L.A. Metro Program and the Getty Research
Institute, Culver City, March 3, 2011. Thom Mayne. Photo by James Oh.
40
connection—we’re always with each other. In fact, that became the collective glue in
L.A.—we know each other because we were sitting in front of students at juries over
and over again. So ten to fifteen years ago, you were already with a group of people
that you’d been with for sometime, carrying on existing conversations that had been
going on for a while. So we all know what we represented, and we were just going at
it. I can sit down now with Eric, and we’ll be saying, “Okay, here we go again.” With
that common dialogue, you can come in and try new stunts. Say, “Let’s kind of come
around this in a different way.” There was really a very strong connection between all
of us, and anyway, it led into these shows.
What happened with John was incredible. I think it was the first time in L.A. he got
interested in it and covered every show. It was the first time in L.A. that something
like this happened, and the newspaper gave John the front page of the “Calendar”
section, which was unheard of in L.A. because this is not a city that’s been interested
in architecture, regardless of the fact that we’ve probably had the strongest group of
modern architects in the twentieth century. In terms of a wider public conversation,
if you look at New York and L.A., there’s not even a close comparison. There’s the
Modern Project at a smaller scale in Los Angeles—a residential scale—but the project
was taking place with [Frank Lloyd] Wright, [Rudolf] Schindler, and [Richard] Neutra.
Then, after that, the case study guys. When I went to school, it was [Raphael] Soriano,
Craig Ellwood, and Ray Kappe—who was the end of that period—and Gregory
Ain, who were my teachers, including Pierre Koenig, and our generation ended up
rejecting them.
Their project was more or less exhausted in our eyes, and it was perhaps finally in
the world’s eyes as well. We were moving on; we were not interested in that kind of
work, but that’s a whole other story. When you start looking back and saying things
were more interesting then than they are now, that’s dangerous. [Laughter] That’s a
bad sign, so I’m not going to go there, but there was a time that the discourse in the
schools was a bit more contentious. You were allowed to kind of argue in a way.
For instance, I had Craig Ellwood in my fifth and final year at USC, I put up five
blank boards for my thesis with Craig. Craig was a nice man and a good architect,
and he had taken us around to the Rosen House and all of his stuff. He’s a Mies
protégé as you know, and I remember him kind of whispering in my ear and saying,
“Thom, Thom, come on, just do what I want you to do and you’re gonna get an A,”
which of course just stoked the fire. [Laughter] It was just the worst thing you could
possibly say to me. So, I put up four or five blank boards, and I had a bet with my
classmates that I could pull it off. I made a case for the irrelevance of the problem,
and that was acceptable. You could actually do that, and I did okay. They dinged me
grade-wise, but that meant nothing, and I later became good friends with Craig.
I admire Craig as an architect; I don’t always agree with him, but I admire him. He
was a very, very good architect. This kind of heated engagement wouldn’t happen as
much today, but at SCI-Arc, back then, we continued it. It was pretty feisty among the
group of people I’m talking about—almost to the point of being outrageous. We would
get together, whether it was within faculty meetings, within the schools, or within these
evening soirées, and it would get pretty testy. At the time, I think my biggest point of
reference—I can’t speak for anybody else—was Team 10. I remember reading pieces
of Team 10 and the discussions that were taking place with them. They were strong,
and then they were done, and everyone went out drinking. It was fun.
You could have serious arguments, and I really, really wish we had recorded some
of these because they were just outrageous. I have to say some of these characters
which were in the show—the Robert Mangurians and the Coy Howards and the Eric
Mosses, et cetera—have an intellectual and an emotional component that allows
them to express themselves in fairly tough, strong ways. There certainly wasn’t a fear
of arguing either because there were often screaming matches and expletives. We
got Ray to swear in a way I’ve never heard him swear before, and we’d just go totally
off the wall. It was like the political scene in Taiwan; at SCI-Arc they were reaching
over the table and effectively slugging at each other. I mean it was really close to that
at times, especially because the faculty at SCI-Arc had a fundamental division. We
had two different generations at SCI-Arc, and we would really go at it. Ray and I, you
would think we were the worst of enemies, and then, always the next morning, we
would call each other up and meet at the West Beach Café—one of the great places
L.A. [ TEN]: INTERVIEWS ON LOS ANGELES ARCHITECTURE 1970s–1990s
I think in that project, you see
walls becoming surfaces and
being recomposed in terms of
surface. That gets back to my
point that I feel like in some
projects there’s a real shift from
walls into screens.
82
Steven Shortridge: Well,
that’s like in the Divine Pavilion,
you’re talking about here,
with the shape of that, and
there’s an arc, and he was
working with these shapes,
often kind of eye shapes.
There were several things,
where there was a T-shirt that
he was doing, that arc and
eye shape kept reappearing.
In that one, it ended up being
in an airport hanger, Barker
Hangar, at the Santa Monica
Airport. In the middle of it is
part of a fundraiser event, and
Franklin Israel (1945–1996): Divine Design Pavilion, Santa Monica,
it was a fun project because it
1991. Photo by Grant Mudford.
happened very quickly.
It was generated by the arc feeling of the space. It worked perfectly in the space.
Then it was skinned over almost airplane-like. There was a sense of lightness and
airiness to it that came into play, but if you see that arc happening there, you see
it happening in an early Virgin Records thing. You even see it in an earlier project,
the Bright and Associates project—that sort of conical partial section. That one was
skinned in plywood and happened at other parts of that.
These things were happening at the same time, and with Annie involved, more
other things were happening. So back to the thing of how there were different things
happening in the same office at the same time, Frank was comfortable working that
way with different people and the energy that they would bring to something, and
working from that, then ending up in different places.
Coming straight back from my trip to Peru, seeing that situation happening, he
was generous enough to allow me to continue the questions I had at Columbia.
The sectional early stuff at the Woo House and at the Hague House—which I think
is probably the most tight in terms of a statement—and then eventually to Drager
house—a little bit less resolved, but other questions were asked on that one too.
Barbara Callas: Yeah. It’s interesting because Annie does take an informal typology
of an early period—kind of an architect without the architects’ period that also
coincided with Frank. His doodles of conch shells and the football shape that came
out of it, or was also reinforced by the footballs that hold and cover the knots in
plywood. There were repetitious forms that were recurring and that he felt comfortable
with. When somebody felt comfortable with that, he was going in that way. Annie’s not
somebody to make a curve. [Laughter]
Barbara Callas: I don’t know if you ever have.
Joe Day: That’s from Scarpa, too.
Barbara Callas: Yeah. Then it probably did come from that.
Mitchell De Jarnett: I think along with all that, and Joe, you touched on this earlier,
the Walker exhibition was an interesting moment where Frank actually had some time
to sit down and assess where he was at, at that moment in his development. We
can’t discount the importance of what it means to come to Southern California and be
committed to building and realizing, except with very, very few exceptions, that you’re
going to build stick buildings with cementitious skins over paper because the seismic
environment that we work in necessitates us to do that to meet the economic criteria
that buildings have out here.
I think that might be one consistent thing that would go through all the different
kind of strands that made up the production in the office. But it’s really clear in Divine
Design with that idea of pulling those apart—pulling that stick skeleton either away or
letting it be exposed or skinning it with other materials—so that it could have a visual
presence rather than just a structural one.
As I said earlier, we all felt like we were burdened with one way to build here in
Southern California in those days, and Frank gradually took that and made it a real
virtue. Working with all of us, in some ways, to come to new understandings about
Annie Chu: On the issue of the arc, there was always the ubiquitous Eames chair.
Barbara Callas: The potato chip chair in every single photo or the early projects.
Annie Chu: It’s been called potato chip chairs, and these were all referred to as
the potato chips. He was generous enough and secure enough, and that was an
amazing thing about him—he would bring people into his office who were coming in
with ideas, and you know, certainly Steven offered him ideas.
I offered my ideas pretty much fresh out of Columbia, fresh out of Tod Williams
and Billie Tsien’s office in New York, and coming back and resisting everything that
has to do with the planometric situation going on at the time. I was really interested
in the kind of situation at that point we call the blurring between architecture and
landscape—the integral relationship between walls and ceilings, walls and floors.
L.A. [ TEN]: INTERVIEWS ON LOS ANGELES ARCHITECTURE 1970s–1990s
introduction
6
“It was a cool, windy day. I first posed the group in a line stretched across the sand, with a lot of
distance between each subject. This solution was to accommodate the unease and tension that
resulted from the clash of egos . . . Things loosened up and some camaraderie developed. The
last shots reveal Fred [Fisher], Coy Howard, and Craig Hodgetts alternately attempting to tackle
Frank Gehry or pay homage to him.”
—Ave Pildas
While they appeared close when they gathered as a pack of young, up-and-coming,
hotshot architects at Venice beach for their Interiors Magazine photo shoot in 1980, in
retrospect, the so-called “L.A. Ten” were not a cohesive group. [Figs. 1–3] Aside from
significant attempts to position them as a group in the media, their affiliation remained
loosely defined. Media portrayal spoke more to the political savvy and ambitions
of the so-called L.A. Ten, alongside their ability to accept and take advantage of
serendipitous opportunities.
In 1979 Thom Mayne of Morphosis Architects held his “Current L.A.: 10
Viewpoints” lecture and exhibition series, in conjunction with the Southern California
Institute of Architecture (SCI-Arc), at his Venice Beach studio and home. [Fig. 4] This
ten-week series featured exhibits and lectures from a group of architects and firms
comprising ten different viewpoints. Inspiration for this activity, Mayne admits, in part
came from his interest in Team 10—the international group of architects practicing
in the 1950s to 1980s, often referred to as “Team X,” who challenged and effectively
broke away from the dominant international modernist group Congrès internationaux
d’architecture moderne (CIAM), active from the 1920s to 1950s.1
Similarly, breaking from the modern agendas still prevalent in Los Angeles, Mayne
hoped the ten viewpoints presented in his L.A.: 10 lecture and exhibition series
would provoke discourse and debate, and garner attention for this younger group
of experimental L.A. architects. And it did. John Dreyfuss of the Los Angeles Times
(L.A. Times) promoted these lectures and exhibitions through a series of articles
in the newspaper’s “Calendar” section. Additionally, writer Olivier Boissière and
photographer Donatella Brun from Domus magazine traveled from Europe to Los
Angeles to meet the group. Their ensuing Domus article “Ten California Architects” did
much to establish international notoriety for the so-called L.A. Ten. [Fig. 5] Boissière
did create confusion, however, when he did not feature the same architects as
Mayne—as Brun explains, they had a difference of opinion.2
Mayne and Boissière agreed that Frederick Fisher, Frank Gehry, Coy Howard,
Craig Hodgetts, Thom Mayne, Robert Mangurian, Eric Owen Moss, and Michael
Rotondi all belonged to this formative group of experimental practitioners. Boissière
also included Thane Roberts and James Stafford, while Mayne included Eugene
Kupper, Roland Coate Jr., Frank Dimster, and Peter de Bretteville. Three of these
members did eventually leave Los Angeles; two went to work for larger firms, and one
returned to more traditional practice. In effect, there seems to have been a core group
of seven or eight architects that comprised the L.A. Ten, alongside the ebb and flow
of two or more participants.
Other notable experimental architects soon moved onto the L.A. scene
contributing to this dynamic group. Hsinming (Ming) Fung partnered with Craig
Franklin Israel (1945–1996): Models, left: Hague House, The Netherlands, circa 1992. Basswood. Right: Woo
Fong Pavilion, Silverlake, circa 1992. Basswood and chipboard. Photos by Tom Bonner.
www.lars-mueller-publishers.com
Figure 1. L.A. Architects at Venice Beach, 1980. Left to right: Frederick Fisher, Robert Mangurian, Eric Owen
Moss, Coy Howard, Craig Hodgetts, Thom Mayne, and Frank Gehry. Photo by Ave Pildas.
Hodgetts and launched their new firm Hodgetts + Fung in 1984. Hodgetts’s former
partner Robert Mangurian of Studio Works partnered with Mary Ann Ray in 1987.
Neil Denari, Franklin Israel, and Wes Jones, among others (Julie Eizenberg, Steven
Ehrlich, and Michele Saee), also contributed to this L.A. architecture community,
arguably matching the accomplishments of the original so-called L.A. Ten. The notion
of Los Angeles thereby having a group of ten architects or firms leading a school of
thought was never definitive.
L.A. [Ten]: Interviews on Los Angeles Architecture 1970s–1990s thus seeks to
characterize, discuss, understand, and challenge the historically complex position
of group formation and the social organization that surrounded the Los Angeles
architecture scene in and around the 1970s to the 1990s. It attempts, through a series
of interviews, to recall the stories of ten of the most relevant Los Angeles experimental
practitioners, who defined their own architectural language through innovative and
creative forms of speculation, experimentation, and production. This book begins to
compile an oral history of the local and global events and practices that situate and
define architecture in Los Angeles near the end of the twentieth century. In so doing,
these oral histories hit upon a wide range of themes and strategies on the institutional,
historical, social, cultural, and political life surrounding art, architecture, and design
during the postmodern period.
Although oral history can appear to be inexact, based on loose memory and
hearsay, as an architect and scholar, I’ve come to understand how cultural politics
have a way of distorting historical facts anyway. That old cliché that those in power
write the history they want others to remember has a certain validity. Journalists,
historians, and biographers are all subject to the politics of their time, and it seems to
me the history of Los Angeles architecture in many ways is a product of the complex
positioning of varied institutions and individuals involved, rather than a recording of a
clear timeline of factual events. Oral history provides us with a selective recollection
Architecture
L.A. [Ten]
Design
René Spitz
A5 /06: HfG Ulm
title
New
Concise History of the Ulm School of Design
1
2
3
4
6
8
5
7
1-3 arbeiten in der Grundlehre/works
from the fundamentals; Hans G. conrad,
1953
4-8 arbeiten zur farblehre in der
Grundlehre/color theory works from
the fundamentals; Hans G. conrad, 1954
Die Aufgabe der Grundlehre bestand bei
weitem nicht nur darin, die Kenntnisse der
Studierenden mit ihren höchst unterschiedlichen Vorbildungen auf ein einheitliches
Niveau zu bringen. Darüber hinaus ging es
erstens darum, die Studierenden auf die Arbeit in den Abteilungen ab dem 2. Studienjahr
vorzubereiten, insbesondere methodisch.
Zweitens sollten die grundlegenden Herausforderungen des technischen Zeitalters
vermittelt werden. Der Horizont war gerade
nicht nur auf das praktische Tagesgeschäft
beschränkt, sondern es wurden die großen
Zusammenhänge in Gesellschaft, Politik,
Wirtschaft, Kultur thematisiert. Drittens wurde
die Zusammenarbeit zwischen den Fächern
und im Team trainiert.
Edited by Jens Müller
Fächer in der Grundlehre waren zum Beispiel:
– Visuelle Methodologie: Erkenntnisse aus
der Forschung in Bezug auf den zwei- und
dreidimensionalen Raum
– Theorie der Wahrnehmung
– Werkstättenarbeit: Holz, Metall, Druckerei,
Fotografie
– Darstellungsarten: technisches Zeichnen,
Schrift, Freihandzeichnen, Sprachen
– Mathematik, Physik, Chemie; mathematische Logik
– Soziologie
– Kulturgeschichte des 20. Jahrhunderts:
Architektur, Literatur, Kunst
Die Studenten sollten in intellektueller und
pragmatischer Hinsicht mit den Gesetzen
der Mathematik, Physik, Geometrie und
Mechanik vertraut gemacht werden: Von den
elementaren festen Körpern wie Kugel, Kegel
und Würfel über die Verbindung dieser Körper
bis zu komplexen plastischen Strukturen. All
diese Themen sind noch fern von formalästhetischen Aufgaben.
Comprehensive documentation on the famous Ulm School of Design
94
January 2014
14.8 × 21 cm, 5 ¾ × 8 ¼ in
128 pages, 182 illus.
paperback
ISBN 978-3-03778-413-6
English / German
G BP 25.–
The Ulm School of Design (HfG Ulm) ranks among the world’s most important institutions
of the 20th century in modernist design. Its founders Inge Aicher-Scholl, Otl Aicher and
Max Bill wanted to contribute to the shaping of a new and better world after the terrible
experiences of the Nazi regime and the Second World War. The meaning of design today
cannot be understood without considering the developments at HfG. That applies not only
to the design of appliances and communications, but also to the profession of designer,
design education, methodology and design theory—ranging from the relationship between
design and science up to the question of what relationship design should adopt with art
and crafts, or business and society. This massive impact of the HfG is all the more astounding, considering that it existed for only 15 years, from 1953 to 1968. This book provides
a contextual and broadly illustrated history of the HfG Ulm.
A5/07: Rolf Müller
Stories, Systems, Marks
95
Abteilung Produktgestaltung/
Product Design Department
1
3
4
2
5
6
1 tanksäule/Gasoline pump; student:
werner zemp, 1964/65; 2. studienjahr/
2. study-year; Dozenten/teacher: Gui
bonsiepe, peter raacke. Veröffentlicht
in/published in: ulm 12/13, März 1965/
March 1965
2 Verkehrszeichenanlage/trafficsign
equipment; studenten/students:
richard schärer, Kinga Gebefügi, Martin
Hess, 1965/66; 2. studienjahr/2.
study-year; Dozent/teacher: Herbert
lindinger. Veröffentlicht in/published
in: ulm 19/20, august 1967
3 innenraum und Karosserie eines pKw/
interior and body-work of a car; student: pio Manzoni, 1962/63; 3. studienjahr/3. study-year; Dozent/teacher:
rodolfo bonetto. Veröffentlicht in/
published in: ulm 8/9, september 1963
4 Dreirädriges Kleintaxi und Kleintransporter/three wheel taxi and transport
vehicle; studenten/students: Manfred
Herrmann, Dieter lassmann, eberhard
wahl, 1963/64; 2. studienjahr/2.
study-year; Dozent/teacher: rodolfo
bonetto. Veröffentlicht in/published in:
ulm 14/15/16, Dezember 1965/December 1965
5 triebwagen/electric railway for citytraffic; entwurf/Design: Hans Gugelot,
Herbert lindinger, Helmut Müller-Kühn;
farbberatung/colour-consultants: otl
aicher, peter croy; auftraggeber/commissioned by: Hamburger Hochbahn aG.
Veröffentlicht in/published in: ulm 7,
Januar 1963/January 1963
6 Karosserie für einen Gran-turismowagen/body design for a Gran turismo
car; studenten/students: Michael
conrad, pio Manzoni, Hans werner.
Veröffentlicht in/published in: ulm 6,
oktober 1962/october 1962
110
111
title
New
“The election campaign brochure for Willy
Brandt was an unusual order, in that it came
straight from Willy Brandt’s office and not
through his party, the SPD. One of Brandt’s
personal assistants knew the journalist ClausHeinrich Meyer. He met him, and said, ‘Hey,
that Brandt. We’ve got nothing about him. No
biography, really nothing at all.’ Every other
politician had a CV or a brochure, and only
Willy Brandt did not. Claus came to me. ‘I’m
supposed to write a little breviary about Willy
Brandt.’ That’s no good. Brandt and a breviary.
No chance. We then invited the personal
assistant to Munich. I had a dummy made up
in this size and said, ‘That’s how you have to
sell Willy Brandt. In this format.’ He relayed
that to Brandt, who said, ‘Yes, go ahead.’ We
had six weeks to do it. Claus-Heinrich Meyer
wrote the texts, and I collected the pictures.
We made one copy and sent it to Bonn. And
then Willy Brandt had a look at it, made three
corrections to the typesetting—which were
needed—and approved it. Otherwise, no complaints. The first print run was 90,000 copies,
and in the end there were more than 1 million.
That was my favourite project.”
Edited by Jens Müller
First monograph dedicated to the designer Rolf Müller
January 2014
14.8 × 21 cm, 5 ¾ × 8 ¼ in
128 pages, 350 illus.
paperback
ISBN 978-3-03778-414-3
English / German
G BP 25.–
This book is the first monograph dedicated to the designer Rolf Müller who is known above
all for his design of the visual identity of the Munich Olympic Games in 1972. Shortly after
graduating from the famous Ulm School of Design, his former professor Otl Aicher entrusted him with this work, which set new standards in international design. In parallel, he established his design firm Büro Rolf Müller in Munich. On the basis of selected projects, the
book attempts to retrace the mentality and methods of his design: For nearly four decades,
the firm developed corporate identities, books, magazines and signage systems at the
highest level. The firm’s projects include the visual identity of the City of Leverkusen, forged
over several decades, and the magazine HQ High Quality for the company Heidelberger
Druckmaschinen, of which 39 issues were published. As a storyteller and system designer,
Rolf Müller has left a mark on international design history with his work. His stance has had
a decisive impact in shaping the way in which today’s communications designers view
their profession.
POSTER COLLECTION 26
Japan—Nippon
New
Willy Brandt
Wahlkampfbroschüre/
Election campaign brochure
1971, 21 x 39,8 cm
24
25
«Allen Zeichen liegen bestimmte Ordnungsfaktoren zugrunde, die das System zu einer
visuellen Grammatik machen. Das System
besteht aus Bildzeichen und aus Subzeichen,
die die Bildzeichen modifizieren. Die Bildzeichen leiten sich überwiegend von charakteristischen Bewegungssituationen, von Gegenständen, typischen Bekleidungsformen und
ihrer Kombination ab. Subzeichen sind zum
Beispiel der Pfeil oder der Querbalken, der die
Bedeutung eines Bildzeichens negiert.»
(Peter von Kornatzki in «Kunst und DesignKultur Olympia», 1986)
“All symbols are based on certain ordering
factors which make the system into a visual
grammar. The system consists of pictograms
and sub-symbols which modify the pictograms. The pictograms are predominantly
derived from characteristic movements, from
objects, typical forms of clothing and combinations of these. The sub-symbols include
for example the arrow or the diagonal line
which negates the meaning of a pictogram.”
(Peter von Kornatzki in “Kunst und DesignKultur Olympia”, 1986)
«Der Läufer, das allererste Piktogramm
stammt von mir – auch das Raster. Wir haben
im Team gearbeitet. Das Mittag- und Abendessen war die beste Gelegenheit Gedanken
auszutauschen. Am Wochenende haben
wir uns gemeinsam auf einen Gasthof auf
dem Land zurückgezogen. Dort wurden viele
Skizzen auf A4 abgearbeitet.»
Piktogramme zu den Spielen der
XX. Olympiade München 1972/
Pictograms for the XXth Olympic
Games, Munich 1972
1967 - 1972
64
“The runner, the first pictogram of all, comes
from me—including the grid. We worked in
a team. Lunch and dinner were the best times
to exchange ideas. At the weekends, we
retreated to a country inn, where we worked
through a lot of sketches in A4 format.”
«Olympischer Sommer»
(Olympic Summer)
Broschüren/Brochures
1971 - 1972
«Die Hefte zum Kulturprogramm erschienen
im Vorfeld der Olympischen Spiele in 16 bis
20 Sprachversionen. Hierzu musste ich ein
praktikables System erfinden. Die Lösung
war ein Vordruck mit vier Sonderfarben in
riesiger Auflage, in den dann die Sprachen
nachträglich eingedruckt wurden.»
“The booklets on the cultural programme
were published in 16 to 20 language versions
in the run-up to the Olympic Games. I had to
find a practicable system to get that done.
The solution was a pre-printed blank with four
special colours in huge quantities, into which
the different texts were then subsequently
printed.”
65
title
Edited by the Museum of Design Zürich
With an Essay by Kiyonori Muroga
A complete picture of Japanese poster design since the 1950s
Homage to the Japanese pictorial aesthetic
February 2014
16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages
approx. 120 illustrations, paperback
ISBN 978-3-03778-422-8, English / German
G BP 24.–
2
Posters circulated in Japan simultaneously with the country’s swift reconstruction and economic revival
after the Second World War. If the first generation of poster designers was mostly guided by western
modernism, searching for a universal and functional way of communication, the following generations from
the 1970s onwards increasingly drew on their own pictorial tradition and maintained marked individual
approaches. This was not least a reaction to the west’s fascination with a poster culture with very different
parameters and arguments. Until today, the Japanese poster functions most notably as a highly aesthetic
image advertisement and indoor medium, presupposing the conception of the designer as an artist.
New
title
Limited edition
The collaboration between photographs, writings, space, scale, paper and typography make this
an art object in itself for collectors, artists, and photographers.
January 2014
29.5 × 38.1 cm, 11 ½ × 15 in, 112 pages
75 illustrations, paperback
ISBN 978-3-03778-410-5, English / Polish
G BP 50.—
Polish-born photographer Jurek Wajdowicz’s new art book luxuriates the viewer with both saturated and
minimalist images that float between abstraction and reality of both the perceived and the imagined. The
largeness of this limited-edition publication, reminiscent of a gallery space, envelopes the reader and creates a pause for each image. You realize at once that you are seeing something captured in its purity—in its
minimal, intense and separate state. Fred Ritchin in his introduction writes “. . .Seeing and looking are hardly
the same. The riches reside as well in the parallel universes, those which conventional photography, quoting from appearance, hardly seem to take into account. In the hints of shape in Wajdowicz’s own images,
in his embrace of negative space, appearance manages to conceal itself, implying the gaps of the forever
in-between. The engaged viewer can then infer ways to re-imagine, while Jurek’s lens argues for a less
traveled space. It is no wonder that his imagery reads like jazz. . .”
Photography
Liminal Spaces
Jurek Wajdowicz
Fotografie_75
JURE K WAJDOWICZ , born in Poland, is the principal of Emerson Wajdowicz Studios (EWS ) in New York.
He is recognized internationally as a leader in the photojournalistic approach to graphic design.
FRE D RITCHIN is professor and associate chair of the Department of Photography and Imaging at New
York University’s Tisch School of the Arts and co-directs the Photography and Human Rights Program at
NYU with the Magnum Foundation.
Recently published
Inside CERN
European Organization for Nuclear Research
With an essay by Peter Stamm and a text by Rolf Heuer
For most people locations that hold a particular importance for the development of our society
and for the advancement of science and technology often remain hidden from view. They are
separate and protected, such as CE RN , the European Organization for Nuclear Research, close
to the city of Geneva. CE RN is best known for its giant particle accelerator. Here researchers
from around the world take part in a diverse array of fundamental physical research, in the pursuit
of knowledge that will perhaps one day revolutionize our understanding of the universe and life
on our planet.
November 2013
20 × 27.5 cm, 7 ¾ × 10 ¾ in, 432 pages
297 illustrations, paperback
ISBN 978-3-03778-275-0, English
G BP 40.–
Photography
Andri Pol
The Swiss photographer Andri Pol and author Peter Stamm mixed with this multicultural community
of researchers and followed their work over an extended period of time. In doing so they created
a unique portrait of this fascinating world. The cutting-edge research is given a human face and even
if we don’t fully understand the processes at work, the pictures allow us to perceive how in this world
of the tiniest particles the biggest connections are searched for.
ANDRI POL , born 1961, is an internationally acclaimed Swiss photographer who, in his work,
seeks out the remarkable in the everyday. He has published several books, including the bestseller
Grüezi—Seltsames aus dem Heidiland (2006) and Where is Japan (2009).
3
Recently published
Architecture
Architecture Is Life
Aga Khan Award for Architecture
Edited by Mohsen Mostafavi
The Aga Khan Award for Architecture was established by His Highness the
Aga Khan in 1977, to identify and encourage excellence in architecture of
societies with a Muslim presence. Richly illustrated and with explanatory texts,
the book presents the 2013 shortlist and the award recipients. This year’s
topic is centered around the relationship between life and architecture.
Numerous essays examine how architecture interacts with the life of people
who inhabit it.
October 2013
16.5 × 24 cm, 6 ½ × 9 ½ in, 352 pages
206 illustrations, hardcover
ISBN 978-3-03778-378-8, English
GBP 30.–
With contributions by David Adjaye, Mohammad al-Asad, Homi K. Bhabha,
Farrokh Derakhshani, Michel Desvigne, Omar Abdulaziz Hallaj, Hanif Kara,
Mahmood Mamdani, Toshiko Mori, Mohsen Mostafavi, Hashim Sarkis, Wang
Shu, Shahzia Sikander, Murat Tabanlioglu, and Han Tümerkin.
Sean Lally
The Air from Other Planets
The inside surfaces of the acrylic vitrines
are etched so as to trap condensation,
allowing the water to pool in specified
areas.
A Brief History of Architecture to Come
The Air from Other Planets introduces the reader to an architecture produced
by designing the energy within our environment (electromagnetic, thermodynamic, acoustic, and chemical). This architecture exchanges the walls and
shells we have assumed to be the only type of attainable architecture for a
range of material energies that develop their own shapes, aesthetics, organizational systems, and social experiences. The book is a story in which energy
emerges as more than what fills the interior of a building or reflects off its outer
walls. Instead, energy becomes its own enterprise for design innovation:
it becomes the architecture itself.
November 2013
11.7 × 16.5 cm, 4 ½ × 6 ½ in, 248 pages
90 illustrations, hardcover
ISBN 978-3-03778-393-1, English
GBP 20.–
fluorescent tracers have
been added to the water
in the basin, and fluorescent
lighting is used to track
differences in how water,
humidity, and air movement
and speed are controlled
in the different vitrines.
A m P l i f i c AT i o n , 2 0 0 6 – 0 0 7
Sean Lally WEATHERS
shAPing energies
Architecture’s shape ( the physical edges that control a person’s
movement, the spatial typologies that organize activities, and
the aesthetic qualities conveyed ) is created through a dialogue
between the building materials used and the human body’s ability
to detect the boundaries those materials produce. Particles
and waves of energy produce gradients of intensity, requiring
the human body’s sensory perception to be sensitive enough
to detect and respond to the properties of those more blurred
edge conditions. The shape of this architecture is a result of
a precise calibration between the senses of the human body and
the material energies that the body can perceive and come into
contact with.
m AT e r i A l e n e r g i e s
create gradient boundaries.
Arch iTecTu r e’s shAPe
is a dialogue between the material energies
and the body’s sensorial envelope.
SEAN LALLY, born 1974, is the founder of WEATHE RS , an office that approaches design by embracing the potential overlap between the disciplines of
architecture, landscape architecture and urban design.
s e n s o r i A l e n V e lo P e s
detect the gradient boundaries.
38
introduction
39
Shadi Rahbaran, Manuel Herz
Nairobi, Kenya
Migration Shaping the City
Edited by ETH Studio Basel
November 2013
17.5 × 24 cm, 6 ¾ × 9 ½ in, 176 pages
211 illustrations, hardcover
ISBN 978-3-03778-375-7, English
GBP 20.–
November 2013
12.5 × 19.5 cm, 5 × 7 ½ in, 188 pages
107 illustrations, paperback
ISBN 978-3-03778-346-7, English
GBP 12.–
4
Nairobi, in its short history spanning just over one hundred years, has grown
to be one of the most varied and international cities of our contemporary world.
Migration has been shown as one of the key forces influencing the city. In the
context of Nairobi’s complex political trajectory from colonialism to independence, migration has reinforced ethnic, spatial and economic differences,
leading to the formation of multiple power structures. This process is evident
in the city’s radically different urban patterns. The book documents specific
neighborhoods, showing how different cultures of urban life constitute the city
today.
Formless
Double
Storefront for Art and Architecture
Manifesto Series 1
Storefront for Art and Architecture
Manifesto Series 2
Edited by Garrett Ricciardi and Julian Rose
Edited by Serkan Özkaya
The formless is increasingly in the air today, such
as in discussions of the “formless” quality of the
city, in talk of atmospheric buildings, randomized
structures, and the dematerialization (or increased
mediation) of architecture. No doubt part of its
appeal lies in the fact that the formless is found
at the intersections between architecture and other
fields. Nevertheless, it has not yet been theorized
rigorously in architecture. This book represents
a first step toward this articulation.
Double discusses the effects, desires
and implications in the act of doubling
and replicating. Society has constantly
regulated the act of copying. Almost as
an instinctual impulse towards originality, the
desire for constant innovation has been protected
throughout history with public shame, bureaucratic
regulation or even trials. Investigating the issues
of sameness and difference, this compilation
of manifestos explores the possibilities embedded
in the act of copying, opening a path for learning
by copying, and ultimately copying better.
November 2013
12.5 × 19.5 cm, 5 × 7 ½ in, 164 pages
402 illustrations, paperback
ISBN 978-3-03778-345-0, English
GBP 12.–
Recently published
Architecture
Urban Hopes
Made in China by Steven Holl
Edited by Christoph a. Kumpusch
December 2013
17 × 17 cm, 6 ¾ × 6 ¾ in, 288 pages
166 illustrations, hardcover
ISBN 978-3-03778-376-4, English
GBP 35.–
Embracing that which could dominate us—the city, infrastructure,
overpopulation and social chaos—has been part of the process
of Steven Holl Architects as the office has taken on work of increasing complexity and scale in China over the past decade.
The projects featured in this book play a serious game with scale
and the dynamic between micro and macro. There is no inbetween, no easy hybridity, but a study of contrasting and nested
scales that acknowledge the fact that the city-dweller’s perception across a given day necessarily shifts from micro to macro foci
and environments. In content and form the book reflects such
juxtaposition, featuring large format images and graphic documentation of Steven Holl’s recent works realized in China alongside
critiques and analyses offered by a new generation of theorists.
Zaha Hadid Architects
Heydar Aliyev Center
abstract, liquid, and incandescent in the sun, the heydar aliyev
center in Baku does not look as though it was actually constructed,
but seems instead to have appeared, like an emanation, after a
magician rubbed a lamp. a landmark in architectural history and
engineering, and the new symbol of a new nation, the center,
with a roof that flows into walls that pour onto the ground, tents
a national museum, gallery, and auditorium. the design marks
a convergence of architectural vision, computational intelligence,
and extreme engineering that combine to make the virtuosity
of the structure look serene and effortless. with compound curves
evolving and revolving inside and out into other curves and
countercurves, the surfaces of the free-form structure are as
continuous as a Möbius strip or Klein bottle. like venerable
cathedrals and mosques, the center holds a mystifying aura that
conditions visitors for the experiences inside.
Edited by Saffet Kaya Bekiroglu
Photographs by Hélène Binet and Iwan Baan
November 2013
21 × 28 cm, 8 ¼ × 11 in, 112 pages
134 illustrations, hardcover
ISBN 978-3-03778-353-5, English
GBP 33.–
Zaha Hadid Architects: Heydar Aliyev Center is devoted to the new
cultural center designed by Zaha Hadid in the Azerbaijani capital
of Baku. The building contains an auditorium that seats over
a thousand, a conference center, a museum, and a library. Its open,
inviting, and curvilinear design, which picks up and expands on
forms from the surrounding environment, strongly differentiates the
building from the city’s monumental architecture of the Soviet era.
Photographs by Hélène Binet and Iwan Baan display the building
in all its facets, making it possible for the reader to experience its
formal, haptic, and spatial qualities. Essays bring to light conceptual
and technical aspects of this impressive piece of architecture.
TM RSI SGM 1960–90
Edited by the Ecole Cantonale d’Art ( ECAL ), Lausanne, Louise Paradis with
Roland Früh and François Rappo
October 2013
21.5 × 31.5 cm, 8 ½ × 12 ½ in, 276 pages
472 illustrations, hardcover
ISBN 978-3-03778-334-4, English
GBP 45.–
11
Design
30 Years of Swiss Typographic Discourse
in the Typografische Monatsblätter
10
Typografische Monatsblätter is one of the most important journals to
successfully disseminate the phenomenon of “Swiss typography” to an international audience. With more than 70 years in existence, the journal witnessed
significant moments in the history of typography and graphic design.
30 Years of Swiss Typographic Discourse in the Typografische Monatsblätter
examines the years 1960–90, which correspond to a period of transition.
The book includes a large number of works from well-known and lesser-known
designers, such as Emil Ruder, Helmut Schmid, Wolfgang Weingart, HansRudolf Lutz, Jost Hochuli, and many others.
Ken Miki
Apple
Learning to Design, Designing to Learn
November 2013
16.5 × 24 cm, 6 ½ × 9 ½ in, 164 pages
224 illustrations, paperback
ISBN 978-3-03778-386-3, English
GBP 27.–
With Apple, Ken Miki playfully presents a complete basic course in visual
communication—all based on a simple and familiar object: the apple. First, all
five senses are activated in a step-by-step analysis of the apple by touching,
looking at, smelling, tasting, and listening to the sound of eating it. The apple is
then used to illustrate the topics of form, color, size, surface, texture, writing,
line, body and text—the fundamental elements a designer works with. Addressing each theme based on this everyday object enables a playful approach
that also makes for highly effective learning. A unique textbook that offers inspiration and food for thought for both, experienced graphic artists and those
not yet familiar with the world of design.
KE N MIKI , born in 1955, founded his own eponymous design studio in 1982
and teaches at the University of Osaka.
5
Recently published
Design
POSTER COLLECTION 25
Josef Müller-Brockmann
Edited by the Museum of Design Zürich
With an essay by Catherine de Smet and a text by Lars Müller
December 2013
16.5 × 24 cm, 6 ½ × 9 ½ in, 96 pages
140 illustrations, paperback
ISBN 978-3-03778-392-4, English / German
GBP 24.–
Josef Müller-Brockmann’s graphics have left a lasting mark on Swiss visual
communication from the 1950s onward. His posters demonstrate the use
of a sober, formally reduced language for conveying a universal, timeless
message. Poster campaigns for longtime clients such as the Tonhalle concert
hall in Zürich or the Automobile Club of Switzerland follow strict functional
criteria—and yet exhibit a variety of design solutions and exciting, dynamic
compositions. This book presents selected posters by Müller-Brockmann and
places them in the context of their own time while also examining the validity
of his solutions from today’s point of view.
Don’t Brand My Public Space!
Edited by Ruedi Baur and Sébastien Thiéry
October 2013
16.5 x 24 cm, 6 ½ × 9 ½ in, 288 pages
1669 illustrations, paperback
ISBN 978-3-03778-348-1, English
ISBN 978-3-03778-354-2, French
GBP 33.–
Katrin Trautwein
Black
Is there such a thing as “pure black”? In this book, Katrin Trautwein shows us how many
shades of gray and different pigments can go into creating this special color, to which countless
meanings are attached both in Western culture and other parts of the world. By means of
high-grade screen prints, the publication makes the wide range of blacks tangible to the reader,
belying the notion that black is the mere absence of light. On the contrary, the different black
tones are uniquely suited to emphasizing nuances in lightness and darkness. These are
the shades that create moods within architecture.
Previously announced,
available in February 2014
26 × 19 cm, 10 ¼ × 7 ½ in, 256 pages
approx. 200 illustrations, hardcover
ISBN 978-3-03778-383-2, English
GBP 40.–
Art
First Cuts—Harald F. Müller
Edited by Gerd Blum and Johan Frederik Hartle
With a foreword by Mike Guyer
First Cuts shows 15 photographic appropriations that artist
Harald F. Müller realized in Switzerland’s tallest building: the Prime
Tower in Zürich, designed by architects Gigon/Guyer. Evoking
nostalgia for human faith in progress, the motifs depict a series of
“firsts” from the worlds of technology, sports, and culture, pointing
to cutting-edge research and timeless modernity.
October 2013
18 × 24 cm, 7 × 9 ½ in, 192 pages
38 illustrations, paperback
ISBN 978-3-03778-408-2, English / German
GBP 27.–
6
HARALD F. MÜLLE R , born 1950, works with reproductions to
develop image and color concepts for interior and exterior spaces.
He lives and works at Lake Constance and in Zurich.
French
Don’t Brand My Public Space! is a critical investigation of the
visual strategies employed to identify and brand political territories.
Isn’t it about time to look at their often banal images as part of
a crisis of political representation? In the context of a revival
of xenophobic propaganda on the one hand and the degradation
of places into pure marketing products on the other, it is possible
to recognize an increasingly theatrical, unquestioned production of
public signs and symbols. Contributions on the theme by political
scientists, designers, and sociologists make reference to the three
visual essays that are at the heart of the book. The publication
is released in collaboration with Civic City (HEAD Genève) and the
research program «Écrire la ville» (EnsadLab, Paris).
English
A project of the research series by Design2context
Recently published
Frescos
within Palladio’s Architecture
Malcontenta 1557–1575
Art
Antonio Foscari
In Frescos, Antonio Foscari analyzes La Malcontenta’s superb
fresco cycle, one that not only represents an outstanding example of trompe l’oeil based on architectural structures—and which
is closely modeled on Palladio’s ideals—but also sheds light
on formative events within the family that commissioned Palladio.
ANTONIO FOSCARI is an architect and has been a professor
of architecture at the University of Venice since 1971.
October 2013
15 × 24 cm, 6 × 9 ½ in, 298 pages
270 illustrations, paperback
ISBN 978-3-03778-370-2, English
GBP 35.–
French
English
Felice Varini—Place by Place
December 2013
30 × 24 cm, 11 ¾ × 9 ½ in, 402 pages
615 illustrations, hardcover
ISBN 978-3-03778-405-1, English
ISBN 978-3-03778-406-8, French
GBP 50.–
Felice Varini—Place by Place is the latest publication by the artist,
constituting a re-examination of his complete oeuvre based on
his most recent works. His fascinating spatial installations make
use of urban landscapes, walls, and rooms as “screens” for
abstract graphical projections, which the artist paints, draws, or
fabricates from materials such as adhesive tape. Seen from an
ideal vantage point, they appear as unexpected two-dimensional
patterns against their three-dimensional background. When
the viewer then leaves this vantage point and moves through the
space, he sees the work as a perpetual metamorphosis of shifting, evolving forms.
Edited by NCCR Democracy, Hanspeter Kriesi, Lars Müller
September 2013
Democracy demands and democracy challenges—and as a system of
government, democracy is itself challenged today by globalization and the
development of digital media. Against this background, and in light of political
and economic events in Asia or in the Arab world, there is another incessant
question: is democracy still up-to-date? But of course! Democracies perform
generally better and ensure peace more successfully than other forms of
government. Democracy: An Ongoing Challenge illustrates why. This visual
reader uses the power of images to complement text, resulting in a compendium of the history and development of democracy, and offering insight into
contemporary debates.
Society
Democracy:
An Ongoing Challenge
16.5 × 24 cm, 6 ½ × 9 ½ in, 528 pages
340 illustrations, hardcover
ISBN 978-3-03778-396-2, English
GBP 38.–
Global Prayers
Contemporary Manifestations of the Religious in the City
Edited by Jochen Becker, Katrin Klingan, Stephan Lanz, and Kathrin Wildner
Religious communities inscribe themselves into the cityscape not only
socially and politically, but also acoustically and architecturally. Global Prayers
examines the mutual influence of religion and urbanism, looking at how various
forms of faith manifest themselves in the cities of the world. Photo essays,
interviews, reports, scientific texts, and artistic photo spreads inquire into the
making of urban religion and the production of religious urbanity.
November 2013
With contributions by Nezar AlSayyad, Filip de Boeck, Hengameh Golestan,
Brian Larkin, Aernout Mik, Werner Schiffauer, AbdouMaliq Simone, Camilo
José Vergara, Paola Yacoub.
16.5 × 24 cm, 6 ½ × 9 ½ in, 656 pages
410 illustrations, hardcover
ISBN 978-3-03778-373-3, English
GBP 28.–
7
21 × 29.7 cm, 8 ¼ × 11 ¾ in, 176 pages
226 illustrations, paperback
2013, ISBN 978-3-03778-326-9, English
2013, ISBN 978-3-03778-329-0, French
GBP 35.–
Wang Shu
Imagining the House
24 × 29.7 cm, 9 ½ × 11 ¾ in, 168 pages
68 drawings, 15 photographs
paperback, Japanese binding
2012, ISBN 978-3-03778-314-6, English
GBP 45.–
Takahiro Kurashima
Poemotion 1
Takahiro Kurashima
Poemotion 2
17 × 23 cm, 6 ¾ × 9 in, 64 pages
30 illustrations, hardcover with moiré film
2013, ISBN 978-3-03778-407-5, English
GBP 15.–
17 × 23 cm, 6 ¾ × 9 in, 64 pages
30 illustrations, hardcover with moiré film
2013, ISBN 978-3-03778-351-1, English
GBP 15.–
Torre David
Informal Vertical Communities
Alfredo Brillembourg and Hubert Klumpner,
Urban-Think Tank
Chair of Architecture and Urban Design,
ETH Zürich (Eds.)
16.5 × 24 cm, 6 ½ × 9 ½ in, 416 pages
406 illustrations, hardcover
2013, ISBN 978-3-03778-298-9, English
GBP 38.–
A5/05: Lufthansa and Graphic Design
Visual History of an Airline
Jens 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 pages
400 illustrations, paperback
2012, ISBN 978-3-03778-267-5, English/German
GBP 25.–
Ecological Urbanism
Mohsen Mostafavi with Gareth Doherty,
Harvard University Graduate
School of Design (Eds.)
French
English
French
English
Backlist
The City in the City – Berlin:
A Green Archipelago
A Manifesto (1977) by O. M. Ungers,
R. Koolhaas, P. Riemann, H. Kollhoff, A. Ovaska
Florian Hertweck and Sébastien Marot (Eds.)
Buckminster Fuller
Operating Manual for Spaceship Earth
Jaime Snyder (Ed.)
16.5 × 24 cm, 6 ½ × 9 ½ in, 656 pages
1000 illustrations, hardcover
2010, ISBN 978-3-03778-189-0, English
GBP 40.–
Reprint, original 1969, 12 × 19 cm, 4 ¾ × 7 ½ in
152 pages, paperback
2008, ISBN 978-3-03778-126-5, English
2010, ISBN 978-3-03778-188-3, French
GBP 15.–
Lars Müller
Helvetica
Homage to a Typeface
Helvetica Forever
Story of a Typeface
Lars Müller and Victor Malsy (Eds.)
12 × 16 cm, 4 ¾ × 6 ¼ in, 256 pages
400 illustrations, paperback
2002, ISBN 978-3-03778-046-6, English
GBP 15.–
19 × 26 cm, 7 ½ × 10 ¼ in, 160 pages
150 illustrations, hardcover
2009, ISBN 978-3-03778-121-0, English
GBP 30.–
Dan Graham
Video – Architecture – Television
Writings on Video and Video Works
1970–1978
Benjamin H. D. Buchloh (Ed.)
The Face of Human Rights
Walter Kälin, Lars Müller, and
Judith Wyttenbach (Eds.)
mezinárodní časopis pro visuální kulturu
internationale zeitschrift für visuelle kultur
the international review new vision
revue internationale pour la culture visuelle
revista internacional para la cultura visual
международный журнал визуальной культуры
国际视觉艺术期刊
a vizuális kultúra nemzetközi folyóirata
telehor
l. moholy-nagy
Kommentarband
Commentary & Translations
Klemens Gruber
Oliver A. I. Botar
Hrsg. /eds.
Lars Müller Publishers
Tim Benton
LC FOTO
Le Corbusier Secret Photographer
24 × 16.5 cm, 9 ½ × 6 ½ in, 416 pages
970 illustrations, hardcover
2013, ISBN 978-3-03778-344-3, English
GBP 39.–
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telehor.
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henry@henrythompsonbooks.co.uk
ASIA, AFRICA
INDIA, NEPAL, SRI LANKA, BHUTAN
Tapas Dutta
1853/10, Govindpuri Extension
2nd Floor, Kalkaji, New Dehli 110019/India
Phone +91 11 41016413
Mobile +91 9958683821
Tapasdutta65@gmail.com
Reprint, original 1979
28 × 21.6 cm, 11 × 8 ½ in, 96 pages
113 illustrations, paperback
2013, ISBN 978-3-03778-300-9, English
GBP 35.–
AUSTRALIA AND NEW ZEALAND
Peribo
58 Beaumont Road, Mount Kuring-gai
NSW 2080 Australia
Phone +61 (0)2 9457 0011
Fax +61 (0)2 9457 0022
info@peribo.com.au
PAKISTAN
Anwer Iqbal
Book Bird Publishers Representatives
Mian Chambers, 3, Temple Road
GPO Box 518, Lahore, Pakistan
Phone +92 (0)42 6367275
Fax +92 (0)42 6361370
bookbird@brain.net.pk
AFRICA (excluding South Africa)
Tony Moggach
IMA InterMediaAmericana
14 York Rise, London NW5 1ST
LATIN AMERICA AND CARIBBEAN
David Williams
IMA InterMediaAmericana
PO Box 8734, London SE21 7ZF
Phone +44 (0)20 7274 7113
sales@intermediaamericana.com
CONTINENTAL EUROPE
Lars Müller Publishers GmbH
Pfingstweidstrasse 6, CH-8005 Zürich
Phone +41 (0)44 274 37 40
Fax +41 (0)44 274 37 41
sales@lars-muller.ch
www.lars-mueller-publishers.com
Distribution
Verlegerdienst München GmbH
Gutenbergstrasse 1, D-82205 Gilching
Phone +49 (0)8105 388 618
Fax +49 (0)8105 388 259
Contact: Sabina Dzigal
lars-mueller@verlegerdienst.de
16.5 × 24 cm, 6 ½ × 9 ½ in
720 pages, 500 illustrations
2004, ISBN 978-3-03778-017-6,
English, hardcover
GBP 45.–
FRANCE
Interart
1, Rue de l’Est, F-75020 Paris
Phone +33 (0)1 434 93 660
Fax +33 (0)1 434 9 41 22
commercial@interart.fr
ITALY
Books Import SRL
Via Maiocchi 11, I-20129 Milano
Phone +39 02 29 400 478
Fax +39 02 29 51 52 54
ordini@booksimport.com
www.booksimport.com
SPAIN
distribution art books
Avda. Fernández Latorre, 5
E-15006 A Coruña
Phone +34 981 255 210
Contact: Ramón Domínguez
info@distributionartbooks.com
www.distributionartbooks.com
NORTH AMERICA
Sales and Marketing Office
Prestel Publishing
900 Broadway, Suite 603,
New York, NY 10003
Phone (212) 995-2720
Fax (212) 995-2733
sales@prestel-usa.com
All prices and title details are subject
to change without notice. All prices are
excluded VAT and do not include any
sales taxes.