Bøger udgivet af Lars Muller Publishers

- Reprint of the legendary special edition of the telehor magazine about Laszlo Moholy-Nagy on the occasion of the 75th anniversary of its publication - Key texts on modern photography and film-theory

An ideal introduction to Kahn's thinking. Over two hundred drawings, most published for the first time in a generous, high-quality volume. A narrative in drawings sheds light on a profound culture of designing.

Roads that peter out in the middle of nowhere, buildings that no longer make sense, flotsam and jetsam that defy oblivion: Lukas Felzmann's scenery and objects quietly and unobtrusively open up their profound symbolism in the field of tension between desire and memory, hope and pain, dream and reality. Together they form a narrative that follows its own rules, subtly carrying the viewer along on a strange journey, where broad landscapes and deep horizons become expanses onto which visions of all kinds can be projected. Uncompromisingly printed in a small format deliberately set apart from the typical coffee-table picture book, Landfall is like a literary work, an existential analysis of the truths and illusions of our civilization, or a piece of poetry full of surprising encounters, whose ambivalence requires repeated reading.

Honoring the fiftieth anniversary of the death of Louis Kahn in March 1974, this facsimile edition exquisitely reproduces the notebook in which the renowned American architect sketched and wrote during his travels in the last year of his life.Anchored by a magnificent set of drawings illustrating the final design of the Franklin D. Roosevelt Four Freedoms Park in New York City (1973/74, posthumously completed in 2012), "Louis I. Kahn: The Last Notebook" provides an intimate glimpse into the architect's mind and design process. These private sketches and poetic reflections reveal Kahn's spiritual understanding of architecture as inclusive of our total environment and shed new light on the architect's influential philosophy for designing, building and conceiving architecture.The facsimile pays close attention to the material qualities of the original notebook, replicating its delicate, transparent paper. Made widely available for the first time, the publication includes transcriptions of Kahn's handwriting by Sue Ann Kahn and a commentary by architectural critic and historian Michael J. Lewis.Continuing on from earlier investigations into the importance of drawing in the iconic architect's work at Lars Müller Publishers, "Louis I. Kahn: The Last Notebook" replicates sketching in its most raw, pure form.

In der Geschichte der Architektur erscheinen die Städte Rom und Las Vegas in starkem Kontrast: Während die ehemalige Hauptstadt des Römischen Reiches als antik, vornehm und vielschichtig wahrgenommen wird, gilt "Sin City", die Stadt der Sünde, als schrill, vulgär und künstlich. Und doch befinden sich beide Städte historisch und zeitgenössisch an der Schnittstelle von Macht und Spiel.Fünfzig Jahre nach dem Erscheinen von Denise Scott Brown und Robert Venturis ikonischem Buch "Lernen von Las Vegas" (1972) offenbaren die Aufnahmen in diesem Buch ungeahnte Übereinstimmungen und Zusammenhänge der beiden Städte, aus der Luft bis zum Fussboden; das Spektakel Las Vegas wird auf Roms Strassen wiederentdeckt. Iwan Baans Fotografien kontrastieren und untergraben herkömmliche Auffassungen von Authentizität und Künstlichkeit und stellen solche polaren Kategorisierungen letztendlich infrage. Auf diese Weise erörtern die Aufnahmen Scott Browns und Venturis Plädoyer, zuerst zu schauen, zu verstehen und erst dann zu urteilen.

This book brings together a diverse range of exemplary architectural projects from across the globe. Carefully selected and examined by a team of experts, these projects demonstrate innovative approaches that respond to the challenges and potentials of contemporary conditions and contexts. One guiding principle of this cycle of the Aga Khan Award for Architecture is the importance of plurality. Since its inception the Award has aimed to be inclusive and to embrace the engagement of a diverse group of users. But equally, it has sought projects that explore a plurality of methods and architectures in achieving that goal. Here, the authors of the essays use that productive tension between architecture and plurality not only to provide a framework for the examination of the projects but also to explore the intellectual and projective means by which architecture and plurality can find other common grounds in the future.

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.

Authoring: Re-placing Art and Architecture challenges traditional assumptions about therelationship between art and architecture. From 2008 through 2010, David Adjaye, along with Marc McQuade, taught three studios at the Princeton School of Architecture. Each studio focused on a collaboration with three distinguished artists--Matthew Ritchie, Teresita Fernández, and Jorge Pardo--on interventions in three vastly different sites: the state of New Jersey, the Gowanus Canal in Brooklyn, and the city of Mérida in Mexico's Yucatán Peninsula. Through an exploratory process of questioning, developing, and testing, each architect and artist reexamines the expectations traditionally associated with the conventions of architectural design and representation. Authoring: Re-placing Art and Architecture presents recent projects from David Adjaye, Matthew Ritchie, Teresita Fernández, and Jorge Pardo, along with interviews, essays, and archival material that unpack the shared space of art and architecture.

From 2008 to 2010, Madrid based architects Luis M. Mansilla and Emilio Tunon held the Jean Labatut Visiting Professorship at the Princeton School of Architecture. More than a collection of student work, From Rules to Constraints is a wide ranging reflection on teaching, design practice, history and the city. Focusing on three sites at three distinct scales, this book examines the constraints of the architectural project--social, political, historical, and environmental--in order to create new rules for working. Examining both their teaching methods and Mansilla + Tunon's own design work, the book presents the design process as an ongoing conversation between the building and the environment, between freedom and limits, and between the decided and undecided.

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 financial investor David Brillembourg, who died in 1993, was suspended during the Venezuelan financial crisis of 1994. After the office 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 office, 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 Brillembou rg 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 Klumpne r 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 documentary photographer. His photographs feature regularly in such journals as Domus, A+U, The New Yorker, The New York Times, and others.

Double includes a group of artists, architects, critics, historians and theorists, discussing 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 and need for constant innovation has been protected throughout history with public shame, bureaucratic forms 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.

Exploring the seven design concepts behind the work of Ruedi BaurPreviously unpublished new projects are thematically integrated into the evolution of Baur's oeuvre. The book thus reveals a conceptual and design constant, or even fascination, in the work of Ruedi Baur.Five years after the success of Ruedi Baur, Integral et associés, the author takes stock and manifests the principles of his design work and attitude.

A masterful example of the connection between music and graphic designThe A-5 is understood as a growing archive of graphic design. In numerous illustrations, essays, and interviews, this book focuses on the outstanding personalities and important themes from the history of international graphic design. A5 is a collaboration between the visual laboratory at the Department of Applied Sciences Dusseldorf and Lars Muller Publishers. The magazine Twen, was published with a series of records between the years of 1961 and 1968, provided by the record label Philips. Each Twen issue at that time appeared with a record from the fields of jazz, classical, radio place, world music, or pop. Art Director Willy Fleckhaus used art by Karl Gerstner, Max Bill, Heinz Edelmann, and Gunther Kieser as the design for the album covers. The Forgotten, a collection of about seventy plates is a masterful example of the connection between music and graphic design. In cooperation with music archives and private collectors, this rare series is once again fully compiled and documented.

A visual dialogue of exemplary Swiss advertisements from 1900 to the presentWhatever became of the myth of Switzerland? Is Switzerland really a beatific island, or does this "paradise on Earth" betray fault lines? What is connoted by the name "Switzerland"? As displayed in tourism posters, chocolate wrappers, milk cartons, wristwatches, and banknotes, the Swiss image-world reflects the Zeitgeist, disclosing projections and yearnings found throughout society. This publication brings together exemplary advertisements dating from 1900 to the present to form a stimulating visual dialogue. Explored first are the ways in which Switzerland has appeared in advertising, and secondly, how this land has been transformed into a cohesive image. Illuminated in the context of image strategies and advertising texts are a range of iconographic types. Coming to light are clichés, images of native life and of foreignness, as well as contradictions and fractures. Readers will encounter the multifaceted spectrum of "Swissness" through approximately 90 posters by important designers and ad agencies including Aebi und Partner, Otto Baumberger, Emil Cardiaux, Hans Falk, Walter Herdeg, Herbert Leupin, Burkhard Mangold, Herbert Matter, Martin Peikert, Emil Schulthess, Stalder und Suter, Niklaus Stoecklin, Ruf Lanz, Carlo Vivarelli, Weber, Hodel, Schmid, and others.

Otto Baumberger (1889-1961) was one of the first Swiss graphic artists to have a career that responds to the occupational title of "poster designer". However, his desire to be recognized as an artist as well went unfulfilled. Early on, as an employee of Wolfensberger AG in Zurich, he acquired a thorough knowledge of lithographic technique. He designed more than two hundred posters, which helped to modernize the medium. Baumberger was far ahead of his time in recognizing fundamental aspects of consumer goods advertising. Although he did not create an actual style, he always sought the most adequate approach to conveying the message at hand. His original graphic creations led to a reduction bordering on abstraction, in which graphic and textual elements underwent an increasingly potent synthesis. Thus, in its variety, Baumberger's work embodies and exemplifies the history of Swiss poster art in the first half of the twentieth century, as the painterly artist poster gradually evolved toward graphically oriented corporate design.

Approaches to graphic design, from the traditional to the subversiveThe effective interplay of photography, graphic arts, and typography marks the beginning of modern graphic design. Illuminated here are eight selected approaches that both engage with tradition and consciously distinguish themselves from it in order to achieve fruitful reinterpretations. Tension-filled mixtures of images and text express contemporary trends.

Europe's new eastern borders stretch from the Baltic Sea to the Black Sea 1,600 heavily guarded kilometers between former "fraternal countries." The photographers Yann Mingard and Alban Kakulya spent one and a half months on the road; one of them traveled down from the North and the other up from the South in an effort to document the places and landscapes that mark the end of the Western world. On their journey, they photographed the landscape as well as the border posts with their soldiers and their refugees seized at the frontier, and documented a reality defined in far-away Strasbourg, Brussels, and elsewhere. Explanatory maps and satellite images are juxtaposed with the striking photographs. Articles by political scientists, security experts, sociologists, human rights specialists, and philosophers, as well as literary texts round out this photographic survey of the EU s Eastern European external borders.

Politicians are omnipresent in our society. How they present themselves depends on historical context as well as on the prevailing form of government and cultural environment. Vital components of political work are image building, political advertising, election campaigns, and self-representation, but also the tearing down of one's opponent. The exchange between politicians and the people is marked by a complex disparity. While politicians seek to rally broad sectors of the population behind their programs, they only engage sporadically in a genuine exchange with individuals. This publication illuminates historical roots, epoch-making election campaigns, recurrent patterns in political public relations, and defining figures such as Lenin, Che Guevara, Arnold Schwarzenegger, and Yulia Tymoshenko.

The poster as a vehicle for urgent ethical and ecological appeals to the publicThanks to their social effectiveness, posters have always been an ideal vehicle for addressing global and urgent ethical appeals to the populace. This publication presents international posters since 1980 that urge us to take responsibility for humanity and the planet. While posters designed by artists to serve their own purposes tend to reflect a desire to enlighten and inform, posters for human rights and environmental organizations and relief agencies are direct attempts to stir individuals into action. In recent years, however, commercial enterprises have also discovered social and ecological engagement as a marketing tool with which to cultivate their image. This book illuminates the broad range of visual strategies and the rhetorical communication of social messages in posters. For posters are as varied in their content, form, and expression as are the motivations and intentions of the clients who commission them.

World's Fairs and International Exhibitions have always had a political as well as a commercial and cultural context. This was particularly true during the Cold War between America and the Soviet Union. Jack Masey served with the United States Information Agency from 1951 to 1979, for many years as Director of Design. He commissioned numerous American architects and designers including R. Buckminster Fuller, Charles and Ray Eames, George Nelson, Peter Blake, Ivan Chermayeff and Thomas Geismar to design the US presence at major world Expos including Expo '67 in Montreal and Expo '70 in Osaka.This important new book draws on Masey's recollections, recently declassified documents, unpublished memoirs and photographs, interviews with surviving members of U.S. design teams, and others, to detail the significant role played by architects and designers in shaping America's image during the cultural Cold War.

Over a period of three years the photographer Christian Lutz accompanied a member of the Swiss Federal Council on diverse official occasions throughout the world. In Protokoll he observes the mise-en-scène of authority within the hierarchies to which the political decision makers and their delegations are subjected. He isolates the clichés that rule the world and records the unsaid and unobserved with his camera. His images show a reality that differs from the official photographic reports. The power that is presented in these strictly codified rituals gives way only briefly in fleeting gestures. Christian Lutz delimits a context in which the activities of the ministers, their deputies, and the personnel that orbits the political cosmos unfold. The photographs present a concentrated critique that calls into question a deeply ingrained system of representation and causes readers to alternate between laughter and astonishment.

This book presents three architectural responses to the idea of journeys through outer space in a future based on technology. After the 1969 moonwalk, Alessandro Poli with Superstudio considered it critical to imagine our environment as connected to outer space. His "Architettura interplanetaria" imagined a form of architecture that could be conceived and realized at the galactic scale. Poli's "Architettura materiale," on the other hand, challenged the optimism of journeying so far from our centre and questioned our dependence on technology. NASA's Jet Propulsion Laboratory is the site of one of Michael Maltzan's current projects. His goal is to bridge earthbound scientists with their work at the scale of outer space. Maltzan challenges existing architectural models for scientific research, and proposes a new type of environment to facilitate collaboration. Greg Lynn imagines a virtual challenge to our traditional way of conceiving space. He proposes original ways of thinking about design in relation to gravity and is creating a computer-based simulated environment that will allow a new kind of architectural experimentation. New City is the first such virtual world to be conceived by an architect, and provides an unprecedented geographic representation of our own world. This book will bring the reader on many journeys while questioning fundamental assumptions about architecture and space.

Sketchbook No. 76 is the reproduction of a sketchbook of the renowned Portuguese architect and last year's Pritzker Prize laureate, Eduardo Souto de Moura. The sketchbook was in use between September 2011 and January 2012 and records first ideas, fleeting sketches, studies, and spontaneous jottings that offer a starting point for every project but also function as a working resource. One can quite literally experience the architectural design process and how developing existing ideas are further developed in different variants. Sketchbook No. 76 is a homage to the medium of drawing and manifests that this working method remains an essential element of the creative process.

With their atmosphere of sociopolitical ferment, the 1980s also witnessed the appearance of a new aesthetic in Swiss graphic design, influenced by the punk aesthetic and first experiments with the Macintosh. Alternative cultural and political movements consciously seized on new visual identities in order to set themselves apart from established institutions. In constructive conflict with the stylistic rigor of the Swiss Style, young designers discovered innovative forms of visual expression which continue to enrich and enhance the world of graphic design today.With posters from 1980 to 1995, this publication presents a heterogeneous collection of design attitudes that consciously break the rules. Included are works by Peter Bäder, Polly Bertram and Daniel Volkart, Richard Feurer, Roli Fischbacher, Peter Frey, Ralph Schraivogel, Mihaly Varga, Cornel Windlin, Ruedi Wyss, and others.

The second issue in the exciting and experimental cross-disciplinary series Findings on... by Astrid van Baalen and Hester Aardse from the Pars Foundation is centred on ELASTICITY in the broadest sense of the word.What happens when one gives a simple rubber band to an architect, historian, choreographer, chemist, artist, mathematician, physicist, economist, anthropologist, and geologist and asks each of them for a statement on elasticity? The economist studies the elasticity of supply and demand of market forces. The architect calculates the elasticity of the steel structure of a building during an earthquake. The anthropologist studies the flow of people returning to their homes in the wake of a natural disaster. The choreographer pushes the elasticity of his dancers' movements as they rehearse a new dance. The Pars Foundation draws researchers out of their specialized niches in order to publish their brilliant, crazy, important, or bewildering results and assembles them in this interdisciplinary volume. Findings on Elasticity is the second part of a publication series that together will constitute an atlas of creative thinking. There are no guidelines for the form their contributions must take. It may be images, poems, essays, sketches on coasters, formulas, a piece of sculpture or a piece of string; the editors only ask that a contribution reflect the respondent's own field as well as his or her passion for the topic.