This book celebrates Lora Lamm (1928 – 2025), one of the most admired and successful women in the field of commercial graphic design in the 1950s and 1960s. Trained in Switzerland and active in Milan in the postwar period, her work remains of outstanding interest and relevance today, with its strong communication skills, elegant colour effects, original and refined style.Presented here are some of her most important works: sketches, posters, invitations and packaging created for la Rinascente department store – where she was the in-house graphic designer and creative consultant – and for other major companies, including Pirelli, Elizabeth Arden and Niggi.Texts by Nicoletta Ossanna Cavadini, Carlo Vinti, and Mario Piazza; an interview with Lora Lamm; an anthology of testimonies (Gillo Dorfles, Giancarlo Iliprandi, Mariarosa Toscani Ballo, Elsbeth Calabresi-Gumpfer, Serge Libiszewski, Italo Lupi, Emilio De Maddalena, Ruedi Külling, Aoi Huber-Kono, Silvia Latis, Heinz Waibl); and biobibliographical notes.Text in English and Italian.

This volume is dedicated to Max Bill, one of the most versatile artists of the 20th century, whose work was driven by the pursuit of beauty as the highest expression of harmony, balance, unity, space, and logic.Although best known as a painter, sculptor, designer, and graphic artist, Bill was also an architect. He studied at the Bauhaus between 1927 and 1928, where he developed the principles that would shape his rational, objective, and non-figurative approach to art. Through his personal and professional relationships, he also helped forge a strong cultural link between Zurich and Milan, playing a key role in promoting the innovative movement of Konkrete Kunst (Concrete Art).For Max Bill, artistic practice, theoretical thinking, and teaching were inseparable aspects of a single method—an approach that led critics to describe him as a truly “universal artist.”Featuring more than 150 paintings, sculptures, graphic works, and design objects, this volume highlights Max Bill’s central role as one of the leading figures of the Modern Movement.Text in English and Italian.

The first complete monograph devoted to Luciano Rigolini's photography Alongside his work in cinema and documentary, Luciano Rigolini has also carried out intense and rigorous research in the field of photography. Between 1990 and 2002 he photographed the urban landscapes and architectural details of European and American cities. These black and white images are uniform in size (140 x 140 cm), and immediately reveal their aesthetic and conceptual roots in the historical avant-garde, especially constructivism and German objectivity. At the same time he began to collect vintage stereoscopic plates, nineteenth century photographic prints and anonymous amateur images dating from the eighties of last century. A synthesis of these elements gave rise to an exhibition entitled La forma dello sguardo held in Spring 2001 at the Museo Cantonale d’Arte in Lugano; a substantial catalogue was also published. This was followed in 2008 by the exhibition Fotostiftung Schweiz di Winterthur “What you see”, which was centred around anonymous works by 107 amateur photographers. This new work focuses in particular on the relationship between photography, painting and the role played by digital technology. Among other things, it presents a wealth of hitherto unpublished large format works, a reinterpretation of anonymous photographs and documents uncovered in forgotten archives, at flea markets or purchased from antique dealers or on the Internet. These images, originally created with no artistic pretensions, restored or re-elaborated using specific digital processes and printed in large format, reveal surprising sculptural, pictorial and formal qualities.

This book celebrates Lora Lamm (1928 – 2025), one of the most admired and successful women in the field of commercial graphic design in the 1950s and 1960s. Trained in Switzerland and active in Milan in the postwar period, her work remains of outstanding interest and relevance today, with its strong communication skills, elegant colour effects, original and refined style.Presented here are some of her most important works: sketches, posters, invitations and packaging created for la Rinascente department store – where she was the in-house graphic designer and creative consultant – and for other major companies, including Pirelli, Elizabeth Arden and Niggi.Texts by Nicoletta Ossanna Cavadini, Carlo Vinti, and Mario Piazza; an interview with Lora Lamm; an anthology of testimonies (Gillo Dorfles, Giancarlo Iliprandi, Mariarosa Toscani Ballo, Elsbeth Calabresi-Gumpfer, Serge Libiszewski, Italo Lupi, Emilio De Maddalena, Ruedi Külling, Aoi Huber-Kono, Silvia Latis, Heinz Waibl); and biobibliographical notes.Text in English and Italian.

This volume is dedicated to Max Bill, one of the most versatile artists of the 20th century, whose work was driven by the pursuit of beauty as the highest expression of harmony, balance, unity, space, and logic.Although best known as a painter, sculptor, designer, and graphic artist, Bill was also an architect. He studied at the Bauhaus between 1927 and 1928, where he developed the principles that would shape his rational, objective, and non-figurative approach to art. Through his personal and professional relationships, he also helped forge a strong cultural link between Zurich and Milan, playing a key role in promoting the innovative movement of Konkrete Kunst (Concrete Art).For Max Bill, artistic practice, theoretical thinking, and teaching were inseparable aspects of a single method—an approach that led critics to describe him as a truly “universal artist.”Featuring more than 150 paintings, sculptures, graphic works, and design objects, this volume highlights Max Bill’s central role as one of the leading figures of the Modern Movement.Text in English and Italian.

The first complete monograph devoted to Luciano Rigolini's photography Alongside his work in cinema and documentary, Luciano Rigolini has also carried out intense and rigorous research in the field of photography. Between 1990 and 2002 he photographed the urban landscapes and architectural details of European and American cities. These black and white images are uniform in size (140 x 140 cm), and immediately reveal their aesthetic and conceptual roots in the historical avant-garde, especially constructivism and German objectivity. At the same time he began to collect vintage stereoscopic plates, nineteenth century photographic prints and anonymous amateur images dating from the eighties of last century. A synthesis of these elements gave rise to an exhibition entitled La forma dello sguardo held in Spring 2001 at the Museo Cantonale d’Arte in Lugano; a substantial catalogue was also published. This was followed in 2008 by the exhibition Fotostiftung Schweiz di Winterthur “What you see”, which was centred around anonymous works by 107 amateur photographers. This new work focuses in particular on the relationship between photography, painting and the role played by digital technology. Among other things, it presents a wealth of hitherto unpublished large format works, a reinterpretation of anonymous photographs and documents uncovered in forgotten archives, at flea markets or purchased from antique dealers or on the Internet. These images, originally created with no artistic pretensions, restored or re-elaborated using specific digital processes and printed in large format, reveal surprising sculptural, pictorial and formal qualities.