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Active at the Bauhaus between 1920 and 1931, teaching in the bookbinding, stained glass and mural-painting workshops, Paul Klee (1879–1940) brought his expressive blend of color and line to the school—and, with the second volume in the Bauhausbücher series, beyond its walls. In his legendary Pedagogical Sketchbook, Paul Klee takes a theoretical approach to drawing using geometric shapes and lines. Evincing a desire to reunite artistic design and craft, and written in a tone that oscillates between the seeming objectivity of the diagram, the rhetoric of science and mathematics, and an abstract, quasi-mystical intuition, Klee’s text expresses key aspects of the Bauhaus’ pedagogy and guiding philosophies. And while Klee’s method is deeply personal, in the context of the fundamentally multivocal Bauhaus, his individual approach to abstract form is typical in its idiosyncrasy. In this book, he presents his own theory about the relationships between line, shape, surface, and color in the visual space. This English edition of Klee's book appears in original design and with separate commentary.

Buckminster Fuller (1895-1983) was an architect, engineer, geometrician, cartographer, philosopher, futurist, inventor of the famous geodesic dome, and one of the most brilliant thinkers of his time. For more than five decades, he set forth his comprehensive perspective on the world's problems in numerous essays, which offer an illuminating insight into the intellectual universe of this renaissance man. These texts remain surprisingly topical even today, decades after their initial publication.While Fuller wrote the works in the 1960's and 1970's, they could not be more timely: like desperately needed time-capsules of wisdom for the critical moment he foresaw, and in which we find ourselves. Long out of print, they are now being published again, together with commentary by Jaime Snyder, the grandson of Buckminster Fuller. Designed for a new generation of readers, Snyder prepared these editions with supplementary material providing background on the texts, factual updates, and interpretation of his visionary ideas.Initially published in 1969, and one of Fuller's most popular works, Operating Manual for Spaceship Earth is a brilliant synthesis of his world view. In this very accessible volume, Fuller investigates the great challenges facing humanity, and the principles for avoiding extinction and "exercising our option to make it." How will humanity survive? How does automation influence individualization? How can we utilize our resources more effectively to realize our potential to end poverty in this generation? He questions the concept of specialization, calls for a design revolution of innovation, and offers advice on how to guide "spaceship earth" toward a sustainable future.And it Came to Pass - Not to Stay brings together Buckminster Fuller's lyrical and philosophical best, including seven "essays" in a form he called his "ventilated prose," and as always addressing the current global crisis and his predictions for the future. These essays, including "How Little I Know," "What I am Trying to Do," "Soft Revolution," and "Ethics," put the task of ushering in a new era of humanity in the context of "always starting with the universe." In rare form, Fuller elegantly weaves the personal, the playful, the simple, and the profound.

100 Words for Water: A Projective Ecosocial Vocabulary delves into the urgent and intertwined relationship between water systems and human life amidst the escalating climate crisis. Drawing on the United Nations’ assertion that “the climate crisis is mainly a water crisis,” this thought- provoking book compiles over one hundred key terms defined by contemporary thinkers in science, philosophy, politics, activism and architecture. These terms – such as Water Rights, Hydrocatharsis, Decommodification of Water and Liquid Modernity – form a vital lexicon to guide transformative action and foster a more symbiotic relationship with water.Structured as a collaborative exploration, the book combines scientific insight, philosophical depth and architectural vision to redefine how we engage with water socially, politically and ecologically. Illustrated with cartographic case studies, the volume offers vivid and hopeful scenarios for reshaping human-water interdependence. Through its diverse contributors and a interdisciplinary approach, 100 Words for Water challenges readers to rethink water management and design as the foundation of a resilient, multispecies future. This book is an essential resource for architects, activists, policymakers and anyone passionate about ecosocial transformation and water equity in an era of unprecedented environmental change.

With texts by the editors and Hans-Rudolf Bosshard, Christoph Bignens, Max Bruinsma, Jürgen Döring, Meret Ernst, Ulrike Felsing, Roland Früh, Ariel Herbez, Richard Hollis, Martin Jaeggi, Andres Janser, Roxane Jubert, Urs Lehni, Claude Lichtenstein, Kerry William Purcell, François Rappo, Jörg Stürzebecher and Ruedi Widmer. 100 Years of Swiss Graphic Design takes a fresh look at Swiss typography and photographics, posters, corporate image design, book design, journalism and typefaces over the past 100 years. With captivating illustrations and illuminating essays by prominent experts in the field, this book, designed by the Zurich studio NORM, presents the diversity of contemporary visual design while also tracing the fine lines of tradition that connect the work of different periods. The changes in generations and paradigms as manifested in their different visual languages, and convictions are organized along a timeline as well as by theme. The various fields of endeavor and media are described, along with how they relate to advertising, art and politics. Graphic design from Switzerland reflects both international trends and local concerns. High conceptual and formal quality, irony and wit are its constant companions. A new, comprehensive reference work on Swiss design.

Old things, historic things, smelly dirty things, all the things that were considered the very opposite of "contemporary," have suddenly irrupted forcefully into architecture and art, blurring their bound- aries. This book takes stock of the emerging generation behind this turn, and examines their experimental engagements with the preservation of culturally charged objects. Structured around a series of interdisciplinary dialogues among practitioners and thinkers, and illustrated with recent projects, the book provides a window into the unfolding intellectual frameworks, aesthetic modes, cultural ambitions, and political commitments that are the basis of experimental preservation.

The publication explores the different yet corresponding architectural concepts of Umberto Riva and Bijoy Jain. On the basis of building visits and ongoing conversations, the author Mirko Zardini interprets Umberto Riva's and Bijoy Jain's motivations and inds unlikely resonance in their complementary approaches. The publication accompanies the exhibition held under the same name at the Canadian Centre for Architecture.

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

'Designing Japan' presents renowned designer Kenya Hara’s vision of how his industry can support Japan in crafting a future founded on a unique philosophy of beauty as well as crowd-sourced wisdom from around the world. A master collaborator, meticulous organiser, and globally conscious innovator, Hara draws on more than three decades of participations in design work and exhibition curating, as well as deep professional interaction with creators from many fields.In 'Designing Japan' Hara reveals methods that make publicly accessible aesthetic inquiries of how this island nation will proceed as its population ages, other nations take over manufacturing, and technology develops. Illustrations and examples recognise successful problem-solving through design, proving that it is a living, changing industry that remains relevant not in spite of, but as a partner to, advancing technology.

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

A leading figure of photorealist painting, Franz Gertsch (born 1930, Switzerland) has created monumental portraits of charismatic youths and meditative depictions of nature in vivid and pains- taking detail for over fifty years.Polyfocal Allover surveys Gertsch’s paintings from 1970 to 1982 and woodcut prints from 1979 to 2019, reflecting a vision in which all that lies within the frame is accorded equal value. The essays, interviews, and conversations in this publication bring further definition to the lives and landscapes Gertsch renders with such virtuosic, eerie precision.

"White" is not a book about colors. It is rather Kenya Haras attempt to explore the essence of "White," which he sees as being closely related to the origin of Japanese aesthetics - symbolizing simplicity and subtlety. The central concepts discussed by Kenya Hara in this publication are emptiness and the absolute void. Kenya Hara also sees his work as a designer as a form of communication. Good communication has the distinction of being able to listen to each other, rather than to press one's opinion onto the opponent. Kenya Hara compares this form of communication with an "empty container." In visual communication, there are equally signals whose signification is limited, as well as signals or symbols such as the cross or the red circle on the Japanese flag, which - like an "empty container" - permit every signification and do not limit imagination. Not alone the fact that the Japanese character for white forms a radical of the character for emptiness has prompted him the closely associate the color white with emptiness.

A new edition showing the work of one of the most famous Swiss designers: a comprehensive overview of his oeuvre. This illustrated essay traces the history of one of the leading exponents of "Swiss Graphic Design" in the 1950s and 1960s. Josef Mu ller- Brockmann's posters have become world famous for their ability to convey information with great visual tension, a sense of drama, and an extreme economy of means. He created a body of work in which timeless principles of visual communication are inscribed. In addition to the posters, the image part presents examples of logotypes, appearances, and exhibitions as well as numerous lesser-known works in chronological order.

This book is a collection of essays at the intersection of architecture and climate change. Neither a collective lament nor an inventory of architectural responses, the essays consider cultural values ascribed to climate and ask how climate reflects our conception of what architecture is and does. Which materials and conceptual infrastructures render climate legible, knowable, and actionable, and what are their spatial implications? How do these interrelated questions offer new vantage points on the architectural ramifications of climate change at the interface of resiliency, sustain- ability, and ecotechnology? Climates also contains a dossier of precedents for thinking about architecture and climate change drawn from a number of leading practitioners. New approaches to understanding climate in architecture make this book invaluable.This publication is a project by The Avery Review, a journal produced by the Office of Publications at Columbia University's Graduate School of Architecture, Planning and Preservation.

Point and Line to Plane can be seen as a continuation of Wassily Kandinsky’s seminal treatise On the Spiritual in Art. Kandinsky’s thesis is that different constellations of point, line and surface have different emotional effects on the viewer. Starting from the point (which represents the most concentrated and minimal graphic form), he understands all painterly forms as being a play of forces and counterforces: of contrasts.

Cleanliness is a core value of societies around the globe. So much so that cleaning seems to be an inherent part of human nature and how we interact with and domesticate our environment. This book explores the concept of cleaning in all its various aspects and illustrates each cleaning method, thus expanding our conception of an activity that is such a big part of our daily lives. From a child sorting its toys, to the meticulous work of a clockmaker and an impressive deep-clean of a ship, each process is treated with the same gentle fascination. Short texts add a semi-poetic dimension. The portable book format invites readers to take this publication out into the world with them as they look at everyday processes with fresh eyes. Flipping through the pages of Cleaning is as enlightening as it is entertaining.

The designers Jasper Morrison and Naoto Fukasawa have compiled 204 everyday objects in search of -super normal design-: alongside examples of anonymous design like the Swiss Rex vegetable peeler or a simple plastic bag, there are design classics like Marcel Breuer's tubular steel side table, Dieter Ram's 606 shelving system, or Joe Colombo's Optic alarm clock of 1970.

In the 1890s, Berlin artist, sculptor and teacher Karl Blossfeldt started to photograph plants, seeds and other illustrative material from nature for the purpose of teaching his students about the patterns and designs found in natural forms. His close-ups of the smallest plant parts, magnified up to thirty times their natural size, are startling as the plants appear geometric and sculptural. Published in 1928, his first collection of photographs Urformen der Kunst (later translated into English as Art Forms in Nature) became an international bestseller and remains one of the most significant photo books of the twentieth century.Karl Blossfeldt: Variations is the first book-length monograph to examine the reception of Blossfeldt’s work. Drawing on unpublished materials, it analyzes the photographs’ replication in teaching mate- rials, pattern books and art books, and also in the pages of the illustrated press. The six chapters of the richly illustrated study trace the paths Blossfeldt’s legendary plant motifs described as specimens, illustrations, patterns, analogues, models and abstractions from 1890 to 1945. Thematic excursions into the present, illustrating the rediscovery of Blossfeldt’s motifs in design and architecture over the past twenty years, offer a contemporary perspective on the famous German photographer.

In "Ideas and Integrities" Buckminster Fuller describes the revolutionary designs and concepts he has pioneered - among them the geodesic dome, the Dymaxion world map, the Dymaxion 4-D house, the Dymaxion 4-D automobile, and the countless other structures and creations that have changed the face of America and the world. And he sets forth his amazing and challenging ideas for the world of the future - ideas that would revolutionize everything from university education to bathroom design, ideas that, above all, demonstrate how we can and must make far more imaginative and efficient use of the resources now available to us to ensure a better standard of living for all men.

The sequel to the authors’ Are We Human?, this provocative book is an urgent manifesto for an alternative architectural philosophy. It treats bacteria as the real architects, construction workers, maintenance crews and inhabitants of buildings. Colomina and Wigley draw on the latest research into microbes to rethink the past and possible futures of the built environment. The book explores the intimate entanglements of the microbes within bodies and buildings over the last 10,000 years, culminating in the antibiotic philosophy of contemporary architecture. The diseases of our time are diseases of the built environment. The deadly combination of rapidly declining microbial diversity and rising antibiotic-resistant bacteria is as great a threat as climate change. Hostility to bacteria has to give way to new forms of hospitality from a more symbiotic architecture that learns from bacteria, embracing them and reconnecting with soil, plants and other species. Buildings based on fear of bacteria, which is to say fear of life itself, must give way to buildings learning from models of coexistence based on bacteria themselves.The main goal of the book is to rethink the very idea of shelter in terms of forms of inclusion rather than prophylactic forms of exclusion.

One of the greatest and most influential architects of Japan’s postwar generation, Kazuo Shinohara (1925–2006) has remained virtually unknown outside the small community of devoted followers. As one of the leaders of architectural movement Metabolism, Shinohara achieved cult-figure stature with sublimely beautiful, purist houses that break away from Japan’s postwar suburban architecture.Perhaps the most iconic of Shinohara’s works, House of White (1964–66), rearranges a familiar design palette—a square plan, a pointed roof, white walls, and a symbolic heart pillar—to give almost oceanic spaciousness through abstraction. The underlying formalism in Shinohara’s architecture—its basic explorations of geometry and color— lends his work a poetic quality that fuses simplicity and surprise, the ordered and the unexpected.This volume brings together new scholarship from the foremost specialists on Shinohara and Japan’s modern architecture. New perspectives and historical frameworks range from the development of the small house as a building type in postwar Japan to Shinohara’s engagement with French critical theory. Hitherto unpublished archival drawings and personal travel photographs by Shinohara complement the essays.

The cave – both as a physical space and a metaphor – is a provocation to test the limits of contem- porary architecture. It invites new thinking about how architecture can adapt to a more community- focused, ecologically sensitive, low-carbon future. This publication and the accompanying sixth exhibition in The Architect’s Studio series at the Louisiana Museum of Modern Art are dedicated to the Kenyan architects Cave_bureau. Stella Mutegi and Kabage Karanja from Cave_bureau describe eight of their projects. Stunning visuals are accompanied by essays poignantly asking questions about the future of architecture in the age of the Anthropocene, the effects of colonial extraction and erasure on African architecture as well as the specificity of each continent and each geographic space.CAVE_BUREAU is a Nairobi-based bureau of architects and researchers founded in 2014 by Stella Mutegi and Kabage Karanja. The bureau charts explorations into architecture and urbanism within nature. Its work addresses the anthropological and geological context of the African city as a means to confront the complexities of our contemporary rural and urban lives.

First-ever facsimile edition of Hans Arp and El Lissitzky’s iconic survey of avant-garde movements.With art history’s notorious “isms” as its protagonists, the facsimile of this 1920s publication brings back a pioneering and original take on avant-garde art. Published as a trilingual English, French and German edition, the work is considered a seminal polemic on early twentieth-century art by two key figures of the time.Carefully put together by Hans Arp and El Lissitzky, CDie Kunstismen illustrates the diversity of modern art movements from 1914 to 1924, using paintings, sculptures and drawings by a range of inter-national artists to represent eachism. Lissitzky’s exceptional graphic design epitomizes the new approach to art and sets the scene for the movements and accompanying artworks.

100 Years of Swiss Design offers a new perspective of Switzerland's achievements in furniture and product design. The book presents the essential historical designs in chronological sequence, from the regional roots of the early days around 1900 to the globalized network of today. Thirty essays by known experts shed light on themes typical of their times in word and image. Besides the design process, manufacturing techniques, distribution, and reception, the changing roles of the designer--from mediator between form and function, entrepreneur, social worker, to branding architect--are examined. Featuring one hundred key works from the Designsammlung, the world's largest collection of Swiss design, this reference work is the first to present and discuss a comprehensive show of Swiss designers' achievements, from the anonymous to the famous.

Marcel Breuer (1902-1981) is celebrated as a furniture designer, teacher, and architect who changed the American house after his emigration from Hungary to the U.S.A. in 1937. More recently historians, architects, and-with the reopening in New York of the great megalith of his Whitney Museum as the Met Breuer-a larger public are gaining new insights into the cities and large-scale buildings Breuer planned. Often seen as a pioneer of a "Brutalist modernism" of reinforced concrete, Breuer might best be understood through the lens of the changing institutional structures in and for which he worked, a vantage developed in the fresh approaches gathered here in essays by a group of younger scholars. These essays draw on an abundance of newly available documents held in the Breuer Archive at Syracuse University, now accessible online.

At its presentation in 1955, the Citroën DS was a sensation and a magnet for designers, philosophers, and politicians alike. No other automobile was able to combine form and technology so coherently and seemingly effortlessly. Radical in its implementation and revolutionary in terms of comfort and safety, the DS is one of the most innovative design icons of the 20th century.In collaboration with Lars Müller Publishers, the Swiss architect Christian Sumi published the new edition of AS in DS by Alison and Peter Smithson in 2001. In this new book, he now analytically examines the characteristics of this classic vehicle, which he documents in carefully arranged picture series and with drawings by Flaminio Bertoni and the Citroën design team, such as of the body, the chassis, or the legendary hydraulics. Using image essays from advertising campaigns for the Citroën DS, Sumi critically examines its iconization and reception, along with theories that discuss the phenomenon in both a contemporary and philosophical context.

Kenzo Tange (1913 - 2005) is a peerless figure among twentieth-century Japanese architects, unmatched in his talent, influence, 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 fields such as art, engineering, furniture design, and photography. The book will appeal to both specialists and general readers with an interest in the visual culture and built environment of modern Japan.

Helvetica is a sans-serif typeface. It is simple and clean, and commonly seen in advertising, signage, and literature. The R has a curved leg, and the i and j have square dots. The Q has a straight angled tail, and the counterforms inside the O, Q, and C are oval. It is an all-purpose type design that can deliver practically any message clearly and efficiently. It is one of the most popular typefaces of all time. Helvetica: Homage to a Typeface presents 400 examples of Helvetica in action, selected from two diametrically opposed worlds. Superb applications by renowned designers are juxtaposed with an anonymous collection of ugly, ingenious, charming, and hair-raising samples of its use.

Neue Grafik, the -International Review of graphic design and related subjects, - was initiated by designer Josef Muller-Brockmann and published in eighteen issues between 1958 and 1965 by an editorial collective consisting of him, Richard Paul Lohse, Hans Neuburg und Carlo Vivarelli ( LMNV ). The complete volumes are now available in an excellent facsimile reprint from Lars Muller Publishers. From a historical point of view, Neue Grafik can be seen as a programmatic platform and effective publishing organ of Swiss graphic design, an international authority in its field at the time. Protagonists of the Swiss school and its rigorous Zurich faction lead an essential discourse on the foundations of current communication and constructive design. The influence of this movement cannot be over-stated. The Swiss school, also called -Inter-national Style, - became exemplary for the conceptual approach to corporate design of increasingly globally operating corporations and an influential precursor in the design of individual projects, such as posters, exhibitions, and publications. Neue Grafik is an important point of reference in the recent history of graphic design. After the heights of the digital revolution now follows a renewed concern for matter-of-fact concepts and clear form languages. This explains the interest in the almost fundamentalist stance of the four Zurich-based designers, who were responsible for the content of the magazine.

Closer to Things: Drawing Practices as Spatial Research examines drawing as a critical research methodology in architecture and the spatial disciplines. Moving beyond drawing’s conventional role as a prescriptive design tool, the publication addresses how drawing can be deployed as an analytical instrument to investigate, or get “closer to,” urgent matters of concern in the existing built environment. Through this lens, drawing becomes a potent tool to reveal and communicate complex and often obscured spatial conditions of social inequality, economic asymmetries, environmental degradation or climatic crisis. This publication comprises an extended text by the authors interrogating different forms of research agency performed through drawing; a curated archive of relevant historical and contemporary drawings paired with theoretical reflections; and a series of new interviews and conversations on drawing’s research agency with practitioners and researchers such as Momoyo Kaijima, Eyal Weizman, Fei Fei Zhou, Laura Kurgan, Huda Tayob and Denise Scott-Brown, amongst others. Relevant reading for researchers, practitioners and students alike, Closer to Things frames drawing not just as a creative act, but as a powerful tool of critical spatial inquiry.