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Page 1: Preview Spring 2014, niggli

niggli

1420

_new publications

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architecture design typography

_new publications spring 2014

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Magazines 2013/2014

Order our latest niggli magazine as well as our sister company BENTELI`S

magazine for free at our distributors or directly with us.

_

Price info

All prices given in this preview are in Swiss Francs and Euro, incl. the respec-

tive VAT. The prices in Swiss Francs are recommended retail prices for Swit-

zerland. The prices in Euro are fixed retail prices for Germany, respectively

recommended retail prices for Austria. All prices, descriptions and release

dates are subject to alterations or errors.

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_ Reduced, straightforward and clear – the new look of niggli clearly aligns itself with the basic concepts that Arthur Nig-gli laid down with Karl Gerstner, creator of the niggli logo, in 1950. The streamlined design represents the concept of our publishing program as well. niggli publishes books on architecture, design and typography. Our publications address all teachers, students and professionals in these areas. We aim to produce books with high-quality content and good design that support and inspire our readers in their professional life. The high value we place on content is also re-flected in the inspired design and careful production methods of our products. niggli has always been and continues to be a name that stands for quality, a quality that we, with your help, would like to bring to your customers, our readers.

As before, our new releases are grouped into three areas: Architecture presents a variety of current positions and concepts, featuring monographs on contemporary architects and interior designers, Design meanwhile focuses on the field of furniture design and presents one of the pioneers of Swiss furniture design – Alfred Altherr junior. A useful tool in form of a handbook is the monograph by the Berlin-based office Moniteurs, offering insights into the design of orientation systems. Our new typography titles not only focus on new fonts, the 23rd issue of Slanted takes a look at contemporary design in Switzerland. Switzerland, or more specifically Swiss architecture, is also the focus of the first issue of archithese in 2014, the annually published Swiss Performance.

Our spring program is packed with outstanding titles that will surely find an interested audience. We would like to reach out to our colleagues in bookselling with an offer of intensified future cooperation to support you in your efforts in selling our books. Are you interested? Our sales representatives Giovanni Ravasio and Hans Frieden are happy to advise you, or you can directly contact Kirstin Meditz at the publishing house.

We hope you will enjoy our new releases and look forward to our future cooperation.

Andrea Wiegelmann, Publishing Director niggli, and team

_Foreword

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— The first monograph of the Zurich-based interior design office Gessaga Hindermann, who explore the limits and possibilities of the discipline in their projects

— The monograph is a practical design compendium for architects, interior architects and students of both disciplines

— A handbook for the future: everything you need to know to quickly and easily make informed design, production and consumer choices

The monograph Boden Wand Decke – Zur Poesie der Innenarchitektur by the Zurich-based interior architecture office Gessaga Hindermann serves as a working tool and a source of inspiration for design profes-sionals. It consists of two parts complementing each other – an image volume and a text booklet.

The illustrated volume focuses on the latest design discourse and presents Gessaga Hindermann projects in a comprehensive image montage. The picture series also illustrate the working process and thereby emphasize the core competency of the discipline – the draft, the design itself.

Six authors discuss the influence and importance of tradition and convention for the interior design process in the included text booklet. The essays pick up on central important questions in design: they dis-cuss the connections between architecture, interior architecture and scenography as well as aspects of user friendliness and the sociology of space.

The combination of a documenting image series and discursive text contributions by experts make this publication an insightful and inst-ructive compendium that connects theory to practice, thereby offering a comprehensive depiction of design processes.

With texts by Christina Sonderegger, Alois M. Müller, Jörg Boner, Sascha Stahl, Peter Schneider, Simon Libsig, Nader Taghavi, Berna-dette Fülscher, Robert und Trix Haussmann and others.

_Boden Wand Decke – Zur Poesie der Innenarchitektur

_

In 2000, Jérôme Gessaga und Christof Hinder-

mann, two designers and interior architects, foun-

ded the company Gessaga Hindermann GmbH in

Zurich. Their aim is to develop and execute pro-

jects in the area of interior architecture, product

and exhibition design. Their projects are a result

of intensive research into the working processes

and communication cultures of companies.

www.gessaga-hindermann.ch

_

Gessaga Hindermann (ed.)

Boden Wand Decke – Zur Poesie der Innenarchitektur

German, approx. 272 pages, illustrated throughout

20 × 28 cm, hardcover with a text booklet in Swiss binding

approx. Euro (D) 49.80, Euro (A) 51.20, CHF 62.–

ISBN 978-3-7212-0899-3

April 2014

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Rhythmus und Melodie

Die Übertragung von Begriffen und Phänomenen aus anderen Disziplinen auf die Architektur steht oft im Mittel­punkt unseres Interesses als Architekten. Wir sprechen von »Formenkanon«, »Fassadenrhythmus«, »Raumkonti­nuum«, »Signalwirkung« und ähnlichen Wortschöpfungen, um das eigentlich Unbeschreibliche besser benennen und vermitteln zu können. Diese »Cross­Over­Strategie« wird in der Musik, der Bildenden Kunst und der Literatur beispielsweise seit langem angewendet. Sie eröffnet immer wieder neue Gedankenräume durch die Konfron ta­tion mit etwas Ungewohntem und anfangs auch Irri­tierendem. Unter Rhythmus und Melodie kann sich jeder etwas vorstellen, aber im Zusammenhang mit der Archi­tektur denkt man eigentlich eher an Begriffe wie Ordnung und Form. Wir empfinden diese Begriffe jedoch als einen­gend, weil wir die Möglichkeit offen lassen möchten, dass sich die Architektur nicht ausschließlich auf sich selbst bezieht, sondern auch aus ›fachfremden‹ Gebieten das Potenzial ihrer Weiterentwicklung erlangt. Die Begriffe erzeu gen ›Bilder‹ in uns oder Stimmungen, die mit Archi­tektur vielleicht zunächst nicht viel zu tun haben, aber architektonisches Potenzial haben, das wir als Architekten erkennen und weiterverarbeiten. ›Rhythmus und Melodie‹ – in dieser Reihen folge ergibt das Begriffspaar für uns einen Sinn. Der Rhythmus kann für sich bestehen und braucht nur einen Ton oder ein Geräusch, um in seiner ganzen Tragweite wahrgenommen werden zu können. Rhythmus ist archaisch und zuweilen kollektiv mitreißend. Eine Melodie ohne Rhythmus ist ad hoc kaum vorstellbar, weil ihr scheinbar der Sinn und das Ziel fehlen. Architektur ist kein Selbstzweck. Aber Architek tur ist Kunst, denn Kunst ist nach unserer Auffassung auf einen Sinn und ein Ziel ausgerichtet. Kunst ist also auch kein Selbstzweck.

Für uns steht Architektur im Spannungsfeld verschie dener Polaritäten: Stadt und Landschaft, Gesell­schaft und Individuum, Kunst und Wissenschaft. Jedes von uns geplante Gebäude zeigt seine innere Logik in seiner Struktur und spricht über Raum und Gestalt die sinn­ liche Wahrnehmung an. ein Gebäude ist gelungen, wenn das Wesenhafte seiner Bestimmung atmosphärisch zum Ausdruck kommt. Da für uns der Mensch im Mittelpunkt unserer Arbeit stehen sollte, verfolgen wir einen am Huma ­nismus orientierten Weg, der von Klarheit und Verständ­lichkeit geprägt ist. Was wir tun, soll sinnvoll sein, soll unsere Ressourcen sinnvoll nutzen, die materiellen, die geistigen und die intuitiven. Das Bewusstsein über die Endlichkeit der materiellen Ressourcen ist zur entschei­denden Grundlage unserer Arbeit geworden. Das Infra­gestellen von Konventionen und Mechanismen, das Quer­denken als Prinzip innerhalb eines kreativen Vorgangs führt zu Inspirationen, die die Gestaltwerdung unserer Gedanken befördern. Es ist ein Vorgang der gegensei­tigen Steigerung von Struktur und Raumgestalt, der dem Zusammenwirken von Rhythmus und Melodie sehr ähn­lich ist. Erst dadurch entsteht Musik. Die Mittel, die wir dazu wählen, setzen nicht nur auf Harmonie, sondern auch auf Spannung durch inno­vative und überraschende Momente, um festgefahrene Strukturen und Abläufe aufzubrechen und der Fantasie Raum zu geben. Die aktive Kenntnis der Baugeschichte wird für uns eine zunehmend wichtige Grundlage des Bauens im Kontext und als Inspirationsquelle für typologisches Ent­werfen. Wir sind uns aber im Klaren darüber, dass diese Kenntnis die Offenheit für Zukunftsvisionen nicht ersetzen kann. Ein durchgängiges Merkmal aller unserer Ent würfe ist der Bezug zum gebauten Kontext. Dabei versuchen wir, die Vielschichtigkeit dieses Begriffes möglichst umfas­send auszuloten. Neben der Analyse des Ortes, seines Um­feldes und seiner Geschichte gehören auch Hintergründe

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i.A. Gaston Stoff I 23.10.2013

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wulf architektenRhythmus und Melodie

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Das umgebende Stadtquartier ist im Wesentlichen von ein­ bis zweigeschossigen Baustrukturen geprägt. Der Entwurf sieht für den finalen Ausbauzustand ein Ensemble aus 3 klar umrissenen Einzelbaukörpern (Grundschule, Sporthalle und Realschule) vor, die sich um einen gemeinsamen Hof gruppieren. Dieser zentrale Hof öffnet sich leicht Richtung Sengestraße und bildet die Adresse der Gesamtanlage. Er ist Schulhof und Zugangsplatz für alle Bereiche und schafft eine präg nante Außenraumsituation von hohem Identifikationswert. Im Erdgeschoss der Schule befindet sich eine zweigeschossige Aula sowie das für die Montessori­Pädagogik charakteris­tische Lernhaus.

Evangelische Grundschulemit SporthalleKarlsruhe

2011 — 201314

155

_Having worked for well-known offices such as Gottfried Böhm, Jo-

achim Schürmann, Auer + Weber and Behnisch & Partner in the past, wulf architekten have long since developed their very own position. Inspired by a deliberate openness towards innovation, however, they constantly challenge this position. Their way of finding solutions, un-hindered by preconceived ideas and concepts, is what the architects call “identity through search”; this search also means movement and change. The only, meanwhile important, constant is their humanistic approach – a distinct focus on people as a starting point for all design work. This central conviction shows in the sensuous quality and the variety of the office’s built projects. Their numerous designs for com-petition do not only serve to acquire new project commissions, they have far greater significance: giving shape to new ideas, approaching new topics, experimenting and testing the boundaries. In texts that es-tablish connections between central statements of the three partners and their built projects, the publication Rhythm and Melody offers a comprehensive insight into the way wulf architekten think and work. Architecture, as already hinted at by the title, is not understood as an isolated discipline here, but as part of a multifaceted cultural context.

_wulf architekten. Rhythm and Melody

— One of the leading offices in the field of hospital con- struction in Germany

— Projects a.o. adidas factory outlet, Herzogenarach; fair Stuttgart; State Revenue Office, Landshut; Bavarian State Office for Health and Food Safety, Erlangen

_

wulf architekten. Rhythmus und Melodie

With texts by Hubertus Adam, Hans-Jürgen Breuning,

Tobias Wulf, Kai Bierich and Alexander Vohl

approx. 256 pages, approx. 200 illustrations and plans

30 × 23 cm, half-cloth binding

approx. Euro (D) 62.–, (A) 63.70, CHF 78.–

German Edition: ISBN 978-3-7212-0900-6

English Edition: ISBN 978-3-7212-0901-3

April 2014

_

The Stuttgart-based office wulf architekten, foun-

ded in 1987 by Tobias Wulf (*1956), was joined by

Kai Bierich (*1957) and Alexander Vohl (*1961) as

partners in 1996. Among their main works are the

award-winning adidas factory outlet in Herzogen-

aurach (2003), the Stuttgart fair grounds (2007)

and the State Revenue Office in Landshut (2011).

Apart from several school buildings, wulf archi-

tekten is currently planning the new building for

the IHK Region Stuttgart as well as the German

Center for Neurodegenerative Diseases, located

on the campus of the university hospital in Bonn.

wulfarchitekten.com/

German

English

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BDE ArchitEktEn Archhöfe WinterthurhErAusgEgEBEn von huBErtus ADAm

niggli

— A monography on one of the most noteworthy new buildings in Switzerland

— One building – three uses: Shoppingcenter, Dienstleistungsgeschoss und Wohnungen

— Building in an urban context

_Winterthur has undergone a structural change during the last

decades from an industrial working-class town to an attractive urban agglomeration. The architectonic face of the city has meanwhile chan-ged as well.

The building of the Archhöfe played an important part in this, closing off the station square at its southern end and thereby taking up an attractive inner-city location. The eye-catching monolithic building combines shopping center, service sector and residential development under one tent-shaped roof. This makes the Archhöfe an impressive example of multifunctional architecture as well as a construction suc-cessfully planned and incorporated into a grown urban surrounding.

The book presents the project in plans and pictures, an essay by ar-chitecture critic Hubertus Adam and further documentations. Its begin-nings date back to a competition in 2003, when BDE Architekten, who secured the project back then, were still an up-and-coming team. Today, ten years later, they have grown to be a renowned architectural office.

_BDE Architekten – Archhöfe Winterthur

_

BDE Architekten

Founded in 2002 by Philipp Brunnschweiler,

Matthias Denzler and Oliver Erb. Amadeus

Dorsch joined BDE Architekten as a partner in

2010. Their projects include the rectory Stein-

hausen (2005) and the parish hall Wiesendangen

(2007) – which received the architecture award

for the region Winterthur – among others. At the

moment they are working on several projects,

among them the bus depot Grüzefeld in Win-

terthur, the residential and retail development

Schlossberg in Baden as well as residential buil-

dings at the lake in Arbon and in Winterthur.

www.bde.ch

_

Hubertus Adam (ed.)

BDE Architekten – Archhöfe Winterthur

German, 112 pages, 160 color illustrations and plans

24,2 × 28,5 cm, clothbound hardcover

Euro (D) 46.–, Euro (A) 47.30, CHF 58.–

ISBN 978-3-7212-0891-7

already available

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— Pioneering concepts for a dense urban architecture

— Selected works by Japanese architect Riken Yama- moto: The Circle, the project at Zurich Airport, and the local community areas

_The works of Japanese architect Riken Yamamoto are of outstan-

ding importance in contemporary Japanese architecture. His aim is to always integrate the social aspects of an assignment into his architec-ture.

The publication How to make a city focuses on Yamamoto’s long-standing involvement with the topic of the dense city. The book, publis-hed along with the exhibition of the same name at the Architecture Gallery Lucerne, picks up on several selected newer works of the office Riken Yamamoto, among them the project The Circle at Zurich Airport. This project originated from a competition in 2009, which Yamamoto won despite a large number of international submissions.

The multifunctional building complex, whose inner organisation adapts medieval city structures in a modern form, is based on Yamamoto’s research project on the Local Community Area, which is also presented in the publication. It explores surprising as well as fascinating possibili-ties for the aesthetic and sustainable design of dense urban structures.

_Riken Yamamoto. How to make a city

_

Riken Yamamoto (*1945) founded the architec-

tural office Riken Yamamoto & Field Shop in

1973. Projects like the Yokohama Public Housing,

the Future University Hakodate or the Yokosuka

Museum of Art have gained international atten-

tion. One of the recurring themes in Yamamoto’s

buildings is the importance of the public space,

the possibility of social interaction. From 2002 to

2007 he was a professor at Kogakuin University

and from 2007 to 2011 he taught at the State Uni-

versity Yokohama. Since 2011, Yamamoto has been

a partner professor there and also holds a special

chair for graduate studies in the area of construc-

tional engineering at the University of Nihon.

riken-yamamoto.co.jp/

_

Architekturgalerie Luzern (ed.)

Riken Yamamoto. How to make a city

German/English, 32 pages

27 illustrations and plans, 22 × 27,4 cm

softcover with bound dust jacket

Euro (D) 19.80, (A) 20.40, CHF 25.–

ISBN 978-3-7212-0888-7

already available

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KONFERENZ ZUR SCHÖNHEIT UND LEBENSFÄHIGKEIT DER STADT 4

STADTBAUKUNST

CHRISTOPH MÄCKLER WOLFGANG SONNE (HG.) DEUTSCHES INSTITUT FÜR STADTBAUKUNST

NIGGLI

DIE NORMALE STADT UND IHRE HÄUSER

DAS NORMALE STADTHAUS

DAS NORMALE STADTQUARTIER

PLANUNGS- UND ENTWICKLUNGSINSTRUMENTE

— Focus “Building in the City”

— With contributions by: Klaus Theo Brenner, Jörg Hartmann, Vittorio Magnago Lampugnani

— The next conference will take place on the 27th to 28th of March 2014 at the Rheinterrassen in Düsseldorf

_Konferenz zur Schönheit und Lebensfähigkeit der Stadt 4: «Die normale Stadt und ihre Häuser»_

Apart from the basic questions as to what constitutes a normal city, this year’s conference focused in more detail on the concept of normal urban dwellings. This topic once more brought together the different disciplines concerned with urban development, not to debate and dissociate their ideological principles but to communally work towards improving planning and building culture, using concrete examples, and thus contributing to the discipline of urban design. Architects, urban planners, engineers, sociologists, politicians, artists, citizens – they all are involved in the project of the normal urban dwelling and have answered the following questions, among others:

What standards does the modern city dwelling need to fulfill? What impact should private inner-city houses have on the public space? How should they be arranged in the block and towards the street front? How can the ground level interact with the street or square? What type of facade facilitates communication between private and public space? And what type of facade creates cityscapes? Which types and traditions can we build on, which ones are less suited? What are the different client concepts available for urban construction today?

Which laws, regulations or norms hinder the construction of normal city houses nowadays? And what, on the other hand, could benefit their construction? And finally, what training is required to plan and build normal urban dwellings?

Authors of this issue (among others):Prof. Klaus Theo Brenner, Klaus Theo Brenner Stadtarchitektur, BerlinProf. Dr. Andrzej Górak, Pro-rector TU DortmundMichael Groschek, Minister for building, living, urban develoment and trafficJörg Hartmann, actorProf. Dr. Vittorio Magnago Lampugnani, ETH ZürichProf. Christoph Mäckler, Deutsches Institut für StadtbaukunstProf. Dr. Wolfgang Sonne, Deutsches Institut für StadtbaukunstProf. Jörn Walter, Hansestadt Hamburg

_

Christoph Mäckler, Wolfgang Sonne

[German Institute for Urban Design] (ed.)

Konferenz zur Schönheit und Lebensfähigkeit der Stadt 4: «Die normale

Stadt und ihre Häuser» (Conference on Urban Aesthetics and Quality of

Life 4: The Normal City and its Houses)

German, approx. 200 pages, approx. 150 illustrations

21 × 25 cm, softcover with flaps

approx. Euro (D) 38.–, Euro (A) 39.10, CHF 48.–

ISBN 978-3-7212-0894-8

March 2014

_

The German Institute for Urban Design at the

University of Technology Dortmund, under the

direction of Prof. Christoph Mäckler, focuses on

the research and teaching of the art of urban con-

struction. This term encompasses two things: a

focus on the artistic character of urban planning,

the aesthetic design of a city; and the idea that

city planning should combine different aspects,

such as social, economic, ecological, technical

and cultural requirements, in the design of urban

areas.

This art of uniting a multidisciplinary conception

of the city into one harmonious townscape was

mainly lost with the emergence of the reductionist

idea of a functionalist, sociological and traffic-

oriented urban design, but it was still defining the

young urbanism of the early 20th century, which

used the term “art of urban design” for it.

The aim of the Institute of Urban Design is to take

up this thread and tie together the disciplines

of architecture, urban and regional planning,

open space design, traffic management and civil

engineering that have been drifting apart over the

past decades.

www.stadtbaukunst.tu-dortmund.de

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— Magazine about architecture – from architects for architects

— Thematical issues six times per year

— German / English / French, 22,5 × 29,5 cm Euro (D) 22.–, Euro (A) 22.60, CHF 28.–

_Issue 1 / February 2014: Swiss PerformanceThe yearbook for Swiss architectureThe widely acclaimed Swiss architecture and building quality never runs out of steam in archithese.

For the first issue of 2014, after a year of research and observations, the editors once again collate outstanding projects that have been built in Switzerland or by Swiss architects abroad in 2013. Bet-ween new finds and the inescapable, archithese retraces the basics of Swiss architecture culture. By putting a special focus on the works of young offices the review becomes an outlook as well. What themes and ideas do they bring into the conversation? The review also includes a selection of book publications, important projects from the field of built heritage conservation and spatial planning as well as the original purpose of archithese: sharp to-the-point architecture criticism.

_Issue 2 / April 2014: Bündnis – Alliance – Association New forms of organization in the architectural professionEvery man for himself or all for one? The architect – an individualist grown lonely thanks to his

own egomania? The post-individualistic age of sharing and global communication, and the reawa-kening of a communal spirit in the new millennium as an alternative to the seemingly unavoidable corporate structure pose new questions about the organisational structure of the profession. The evolution of architecture in the first half of the 20th century was defined by alliances, federations and architectural associations. CIAM and many other groups forged alliances on the basis of common ideas on design or politics to promote and propagate their respective approaches. Which models do we have today? And what are we lacking? What is the role of established professional associations and why are conferences as popular as ever despite growing digital networks? archithese takes a look at the structures of the architecture discipline.

_Issue 3 / Juni 2014: Neomanie – Langeweile | Hype – Boredom What is design and what influences it?Endless strive for innovation or continuation of the same old. Creative volcano, expression or res-

traint and strict order; a maximisation of possibilities or an integration into the cityscape? Autonomous, canonical profession or free exchange of the disciplines, searching for new impulses?

The discourse surrounding hype and boredom is not simply a question of style, but has been defi-ning the struggle for architecture and cityscape for centuries. Does mastery also mean virtuosity – or proportionality – or is it simply camouflage for a lack of ideas? Is neomania – the barely controllable creativity and obsession with innovation – the driving force of architecture or do boring constructions prove to be better in the long run?

What is media’s role in all of this? The wheel of topics, themes and names seems to be turning faster and faster; one-hit wonders seem to have entered the realm of architecture and ever so often themes and personalities now disappear before any substantial examination is even possible. The “hype”, me-aning artificially induced excitement about topics and protagonists, is not only a fast lane to success; it also sparks rejection and backlash. What are the costs of media’s simplification for the production and perception of architecture? Is the “slow” discipline architecture still resilient or do we already start to think in seasons, summer hits and shooting stars?

_

ISBN 978-3-7212-0895-5

_

ISBN 978-3-7212-0896-2

_

ISBN 978-3-7212-0897-9

Subscription rates Switzerland: _1 year: CHF 148.– 1 year student rate: CHF 115.–

International subscription rates: -1 year: Euro 128.–, CHF 159.– 1 year student rate: Euro 98.–, CHF 124.– plus postage

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— The first publication on Alfred Altherr junior – designer, architect and exhibition designer

— Pioneer of modern furniture design

— A defining member of the Swiss Werkbund

_Alfred Altherr junior – Protagnonist derSchweizer Wohnkultur_

Alfred Altherr junior made his mark in the area of modern Swiss architecture as designer, architect, museum director, lecturer and ex-hibition designer. Joan Billing and Samuel Eberli from Design+Design reviewed and researched the comprehensive estate of this protagonist of Modernism. They paved the way for a striking publication that puts Altherr and his work back into the spotlight.

Already in his early years, Altherr was able to realize his first design for a steel tube lounger at the company Embru in Rüti. He gained relevant experience during his internship with Le Corbusier and Pierre Jeanneret in Paris. Altherr played an important part as an advocate of Swiss living culture He was a co-founder of the award “Die gute Form” and founder of the first “objective furnishing design advice center” in Winterthur. His aim was to promote the new lifestyle not only to the young Swiss but also to the older generation.

This publication shows that design culture is able to consolidate past and present. With texts by Alfred Altherr, Arthur Rüegg, Michael Hanak, Susanna Koeberle, Peter Lepel, Claude Lichtenstein and Juho Nyberg.

_

Design+Design (ed.)

Alfred Altherr junior –

Protagonist der Schweizer Wohnkultur

German, 136 pages, 129 illustrations and plans

21 × 27 cm, softcover

Euro (D) 29.80, (A) 30.60, CHF 38.–

ISBN 978-3-7212-0893-1

already available

_

Design+Design is a platform for the cultivation

of design culture, especially vintage design. They

are based in Baden and regularly host the Vintage

Furniture Salon, which features international

gallery owners. Joan Billing and Samuel Eberli

believe that originals from their different time

periods exude a certain energy and soul.

www.designunddesign.ch

Alfred Altherr junior (1911–1972) initially trained as

an architectural draftsman and attended courses

on carpentry and metalworking. He went to Paris in

1931 to work for Le Corbusier and dedicated himself

to the study of modern and Japanese building

culture. Back in Zurich, he founded his own ar-

chitectural office at the age of 24 and started desi-

gning prototype buildings, houses, interior designs

and standardized furniture. He realized multiple

pavilions for the Swiss National Exhibition 1939 and

the “Landi” bank. Later in his career he taught at

the Vocational School of the Arts Zürich, worked as

an editor for Bauen + Wohnen and Werk, acted as

executive director of the Swiss Werkbund, was one

of the founders of “Die gute Form”, director of the

Trade and Crafts Museum Winterthur and founder

of the objective interior design advice center, as

well as director of the Vocational School of the Arts

and the Applied Arts Museum Zürich.

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36 Werkzeuge für die Design-Revolution 37Werkzeuge für die Design-Revolution

Der Drucker ist ein Beispiel für das geplante vorzeitige End-Of-Life eines Produktes. Er enthält einige Komponenten, welche manipulierbar sind und von den Herstellern genutzt werden, den regelmäßigen Bedarf neuer Drucker aufrecht zu erhalten und so den Umsatz auf dem Markt konstant zu halten oder zu steigern. Mittels Zahnrädern zählt das Gerät mit, wieviele Seiten gedruckt werden und diese Informationen werden in unscheinbaren Chips dazu genutzt eine Auskunft über den Füllstand der Patrone zu geben. Wie der genaue Füllstand ist, ist nicht bekannt und so melden die meisten Drucker eine leere Patrone, obwohl wir mit dieser noch eine Vielzahl an Seiten drucken könnten. Nach einigen gewechselten Patronen kommt es zu weiteren Meldungen über einen verunreinigten oder defekten Druckkopf. Der dem Gerät eingeschriebene Todeszeitpunkt ist erreicht. Nach Auskunft des Service lohnt eine Reparatur nicht, da bereits für wenige Euros mehr ein neues Ge-rät erhältlich ist. So landen täglich technisch einwandfreie Geräte auf dem Müll.

Auf den Geräten warnen grelle Hinweis-schilder vor dem Öffnen des Produktes. Die Garantie erlischt sobald die erste Schraube gelöst ist - vorausgesetzt der passende im Handel schwer erhältliche Spezialschrauben-zieher wurde gefunden. Hersteller haben es geschafft in uns ein Gefühl zu erzeugen, als würden wir mittels krimineller Energien ein Verbrechen begehen wenn wir nun wider al-len Hinweisen und Empfehlungen versuchen an unserem erworbenen Drucker Lebensver-längernde Maßnahmen zu ergreifen. Doch wer gibt hier wem vor wie wir uns Verhalten sollen? Und ist es verwerflich die Diktate der Industrie aufzubrechen?

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Werkzeuge für die Design-Revolution Designwissen für die Zukunft

IDRV – Institute of Design Research Vienna

8 Werkzeuge für die Design-Revolution 9Werkzeuge für die Design-Revolution

8

— Strategies and concepts for social, ecological and ethically sustainable design

— A handbook for the future: everything you need to know to quickly and easily make informed design, production and consumer choices.

_Tools for the Design Revolution.Design Knowledge for the Future_ The publication Tools for the Design Revolution shows the position of current designs at a critical turning point in history and offers practical guidelines and tools for sustainable design processes. The tools come in the form of strategies for sustainable design that clear the way to a social, ecological and ethically sustainable future. Letting go of tradi-tional, established product and design ideas is getting more and more important.In the past, design used to be a service for the industry. In the future, the tools of design should be in the hands of the public. Terms like “cradle to cradle” or “open source design” stand for a changing un-derstanding of design processes. Learning from each other, exploring experimental strategies and mindsets in combination with scientifically proven methods is the key to change.Design is more than just giving an appearance to products – it plays a vital role in changing the appearance of a society fit for the future as well as in the formulation of sustainable lifestyles based on global solidarity.Tools for the Design Revolution invites you to take part in a critical exa-mination of topics like sustainability and your own consumer culture.

_

Institute of Design Research Vienna (ed.)

Texte von Harald Gründl, Christina Nägele,

Marco Kellhammer, Ulrike Haele

Tools for the Design Revolution.

Design Knowledge for the Future

approx. 160 pages, illustrated throughout

16,6 × 24 cm, softcover

approx. Euro (D) 29.80, Euro (A) 30.60 CHF 38.–

German Edition: ISBN 978-3-7212-0902-0

English Edition: ISBN 978-3-7212-0903-7

May 2014

_

The Institute of Design Research Vienna (IDRV)

was founded 2008 with the goal of making an

independent, academically influenced contribution

to the establishment of the new field of design

studies. As a non-profit scientific organization, the

IDRV was created to foster interdisciplinary and

disciplinary discussions on concrete issues of the

worldwide design community, especially regarding

the areas of ecologically and socially sustainable

design as well as design history and teaching.

www.idrv.org

Harald Gründl (*1967) studied Industrial Design at

the University of Applied Arts in Vienna and founded

the Atelier EOOS in 1995, together with Martin

Bergmann and Gernot Bohmann. Gründl completed

his postgraduate studies in 2005 with The Death of

Fashion, earning the title of Doctor of Philosophy.

Christina Nägele (*1976) studied cultural studies

and aesthetic practices at the University Hildesheim.

She is a cultural scientist with a focus on curatorial,

mediating and administrative work on the borderline

of the fine arts, architecture, theater and media.

Marco Kellhammer (*1988) studied Industrial

Design at the University of Osnabrück and has

been working at the IDRV since 2012, focussing on

sustainable design.

German

English

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82

Zwei große Unternehmen haben ihren Sitz im Aufbau Haus: Die

„Aufbau Verlagsgruppe“ und „Modulor“ – ein Materialanbieter,

der als „Planet Modulor“ weitere Dienstleister aus Kreativ-

industrie und Handwerk ins Haus holte. Die Themen der beiden

Hauptmieter – Schrift und Material – bildeten den Ausgangs-

punkt für die Gestaltung des Orientierungssystems. An seiner

Herstellung – so die Idee von Moniteurs – sollten Handwerker

des „Planet Modulor“ beteiligt sein. Das Konzept der „mate-

rialisierten Schrift“ präsentiert sich nun in Form von gefrästen

Zeilen aus beschichteter Trägerplatte. Die einzelnen Zeilen

sind leicht auswechselbar und können bei Mieterwechsel gut

verändert werden. Kombiniert werden diese mit dreidimensional

anmutenden Kennzeichen auf der Wand. So entsteht bei aller

Vielfalt der Mieter ein übergeordnetes Erscheinungsbild, das

dem Haus seine eigene Identität verleiht.

Aufbau Haus

Leit- und Orientierungssystem

Fassade und Innenbereich

Berlin 2011

Auszeichnungen

European Design Awards 2012

reddot design award 2012

Bundesdesignpreis 2012

(nominiert)

Auftraggeber

Moritzplatz 1 Entwicklungs-

gesellschaft mbH

Architektur

Clarke und Kuhn

freie Architekten BDA

Nutzfläche

17.500 qm

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Page 17: Preview Spring 2014, niggli

68

Alle Straßennamen im Außen-

bereich sind nach wichtigen

Personen der Luftfahrt-

geschichte benannt. Ein am

Straßenschild angebrachter

QR-Code ermöglicht es

den Passagieren, mithilfe

ihres eigenenen Smartphones

Hintergrundinformationen

zu diesen Personen abzurufen.

Die Digitalanzeigen sind analog

zum Leitsystem mit der Corporate-

Schrift des Flughafens gestaltet.

54

Flughafen Berlin Brandenburg

Moniteurs 1 : 1

— Award-winning signage and orientation systems by Berlin-based office Moniteurs

— The new orientation system for the airport BER Berlin Brandenburg

— Signage and lettering at a 1:1 scale

_1:1 – Signage, Orientation, Identity

_1 : 1 – Signage, Orientation, Identity is a special book. It not only de-

scribes the projects of the last ten years and the way of working of the communications design company Moniteurs, but the projects are also graphically brought into focus: in this way the book shows Moniteurs’ orientation systems on a 1:1 scale. The concepts of individual projects are presented in short, concise texts with many photographs and in-fographics, while an interview with the three owners of the company, Heike Nehl, Sibylle Schlaich and Isolde Frey, gives an insight into their approach.

_

Moniteurs (ed.)

1:1 – Signage, Orientation, Identity

224 pages, 144 illustrations,

23 × 28,5 cm, softcover with flaps

Euro (D) 49.80, (A) 51.20, CHF 62.–

German Edition: ISBN 978-3-7212-0889-4

English Edition: ISBN 978-3-7212-0890-0

already available

_

Founded 1994 in Berlin, the office Moniteurs is

today headed by three partners – Heike Nehl,

Sibylle Schlaich, and Isolde Frey. Moniteurs

develops concepts for the visual communication

of companies, institutes, organisations, and

NGOs. They also design print and digital media

as well as graphical spatial elements . Their aim is

to illustrate content in an easily comprehensible

form, convey dates and facts and include people

and their needs when creating designs.

www.moniteurs.de

German

English

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SLANTED 23

SUISSE

Typo

grap

hy a

nd G

raph

ic D

esig

n

SUISSESUISSE

— Slanted presents Swiss (graphic) design and typo graphy on 320 pages.

— SLANTED is published twice a year and is comple ted via the blog www.slanted.de komplementiert.

— Distributor for the Swiss market only!

_Slanted #23 – Swiss / Suisse

_The Alps, chocolate, democracy and graphic design – Switzerland is

known for reliability, quality and perfection, whether in the form of Em-mental cheese or a Swatch precision watch. Manifesting in the history books of the western design hemisphere as the epitome of straightfor-wardness and an objective design vocabulary, the paradigms of “Swiss Style” still govern the creative sector today.

For over fifty years, these laid-down rules have been universally accepted. But how is this prestigious heritage applied by designers today? Where and when do they emancipate themselves and what is the face of Swiss Style beyond the legacy of its founding fathers Emil Ruder, Armin Hoffmann and Josef Müller-Brockmann?

On 320 pages, SLANTED takes a look at contemporary design between tradition, transgression and progressivity, and presents Swiss (graphic) design and typography by local design professionals.

The issue also presents works from neighboring disciplines like illus-tration, photography and art in the context of contemporary creative work in general; comprehensive studio portraits and interviews offer insights into the work of newcomers and icons of Swiss graphic design.

_

Magma Brand Design (ed.)

Slanted #23: Swiss / Suisse

German/English, 320 pages, illustrated throughout

16 × 24 cm, softcover

CHF 25.–

ISBN 978-3-7212-0898-6

May 2014

_

Also available:

Slanted #18: Signage & Orientation

ISBN 978-3-7212-0854-2

_

Slanted #19: Super Families

ISBN 978-3-7212-0855-9

_

Slanted #20: Slab Serif

ISBN 978-3-7212-0856-6

_

Slanted #21: Cuba

ISBN 978-3-7212-0866-5

_

Slanted #22: Art Type

ISBN 978-3-7212-0878-8

_

Picture credits:

Ill. top: Norm, ME, WE, 2011

Poster/exhibition project Design Biennale Chengdu, China – 396

Poster, designed based on 48 modules.

Ill., bottom left: Olivier Lebrun, “Another Companion to Books” from

The Simpsons in Alphabetical Order

Blind no 34, 352 pages, 11.5 × 16.5 cm, ISBN 978-3-906213-00-2

Ill. bottom right: Emma Souharce, Voyeur

Blind no 36, 256 pages, 11 × 16.5 cm, ISBN 978-3-906213-04-0

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30 31

AB

EIF

FE

L

AN

DR

É B

AL

DIN

GE

R

Schri. Typeface. AB EielGealter. Designer. André BaldingerLabel. Foundry. abtypefoundry.comJahr. Year. 2005—2009

Auslöser für die Entwicklung der Schri war ein Ge-altungswebewerb für eine neue Signaletik des Eielturms in Paris, zu dem Intégral Ruedi Baur Paris eingeladen war. Die Schri sollte für zwei sehr unterschiedli-che Einsatzbereiche konzipiert werden. Eine große Dilay-Variante für die Beschriung und eine Text-Variante für die Drucksachen. Während der Re-

cherchen wurde schnell klar, dass es nicht die Form des Turmes, sondern dessen Strukturelemente sind, welche einen interessanten Ausgangunkt für die Schrigealtung bilden. Charakteriisch für die Struktur sind das Quadrat, das Doppelquadrat und eine Reihe von Verrebungen mit verschiede-nen Winkeln. Diese geometrische Formenrache war das Ausgangsmaterial für den Konruktions- und Entwurfrozess.

The trigger for the development of this font was a design competition for a new Signality of the Eif-fel Tower in Paris, to which Intégral Ruedi Baur

was invited. The typeface was required to serve two very different purposes: a large display vari-ant for signs, and a text variant for printed mat-ter. During research it quickly became evident that it is less the shape of the tower as such, but rather its structure elements which offered an in-teresting starting point for the type design. The characteristics of the structure are the square, the double square and a series of struts at differ-ent angles. This geometric form language was the starting point for the construction and design process.

AB Eiffel-Bold AB Eiffel-Niveau2

AB Eiffel-Regular AB Eiffel-Bold

AB Eiffel-Niveau2 AB Eiffel-Bold

324 M1887 à 1889Pilier Est

Gustave Eiff el

«Le plus haut bâtiment du monde»

Charles Léon Stephen Sauvestre

AB Eiffel-BoldAB Eiffel-Niveau2AB Eiffel-Regular

AB Eiffel-BoldAB Eiffel-Niveau2AB Eiffel-Bold

MONUMENTALES EINGANGSPORTAL UND

AUSSICHTSTURMAB Eiffel-Niveau2 — 50pt

Der Eiff elturm ha e über die architektonische Leistung hinaus

eine starke Bedeutung für das französische Nationalbewusstsein.

AB Eiffel-Bold — 30pt

Hohe Türme haben nicht nur aufgrund der biblischen Vorlage des Turmbaus zu Babel einen kulturellen Hintergrund, sondern gelten auch als Sinnbild für die Überwindung der Schwerkra ,

als Zeichen der Herrscha über den Raum und damit auch o über die Menschen im Umkreis. In diesem Kontext ist

der ursprüngliche Widerstand gegen den Eiff elturm als ein besonders herausragendes Beispiel der beherrschenden Macht

von technischen Türmen zu sehen.

Andererseits erfüllte Eiff el mit dem Bau seines Turms einen Menschheitstraum,

nachdem rund 100 Jahre zuvor von Montgolfi ère bereits der Traum vom

Fliegen verwirklicht worden war.

AB Eiffel-Regular — 14ptAB Eiffel-Bold — 8pt

58 59

HA

NN

ES

VO

N D

ÖH

RE

N

BR

AN

DO

N

Schri. Typeface. BrandonGealter. Designer. Hannes von DöhrenLabel. Foundry. hvdfonts.comJahr. Year. 2010—2012

Brandon Groteque i eine Groteskfamilie mit sechs Gewichten und passender Kursivschri. Beeinflus von den geometrischen Grotesk-Schrien, die in den Zwanziger- und Dreißigerjahren des neunzehn-ten Jahrhunderts beliebt waren, basieren auch hier die Fonts auf geometrischen Formen, die zum Zwe-cke der besseren Lesbarkeit optisch korrigiert wur-den. Brandon Grotesque hat ein funktionelles, aber warmes Schribild. Während die feinen und die schwarzen Gewichte sich beens für Dilaygrö-ßen eignen, sind die leichten, normalen und mile-

ren Gewichte für längere Texte geeignet. Die ge-ringe x-Höhe und die zurückhaltenden Formen geben der Schri eine unaufdringliche Eleganz. Brandon Grotesque i prädeiniert für anruchs-volle professionelle Aufgaben. Brandon Text hat eine größere x-Höhe als die Grotesque Version und i optimiert für lange Texte, kleinen Druck und Bildschirme. Die gesamte Bran-don Serie verfügt über alternative Buchaben, Brü-che und einen erweiterten Zeichensatz für o- und weeuropäische Sprachen.

Brandon Grotesque is a sans-serif type family of six weights plus matching italics. Influenced by the geometric-style sans-serif faces that were popular during the 1920s and 30s, the fonts are

based on geometric forms that have been opti-cally corrected for better legibility. Brandon Gro-tesque has a functional look with a warm touch. While the thin and the black weights are great performers in display sizes, the light, regular and medium weights are well suited for longer texts. The small x-height and the restrained forms lend it a distinctive elegance. Brandon Grotesque is well equipped for complex, professional typogra-phy. Brandon Text has a higher x-height than the Grotesque version and is optimized for long texts, small sizes and screens. The whole Brandon se-ries is equipped with alternate letters, fractions and an extended character set to support East European as well as West European Languages.

Brandon Grotesque Medium Brandon Text Medium

Brandon Grotesque Black Ital ic Brandon Text Light I tal ic

Brandon Text Black Brandon Grotesque Regular

DER STERNGrotesque Thin, ItalicGrotesque Light, ItalicGrotesque Regular, ItalicGrotesque Medium, ItalicGrotesque Bold, ItalicGrotesque Black, Italic

Text Thin, ItalicText Light, ItalicText Regular, ItalicText Medium, ItalicText Bold, ItalicText Black, Italic

Bag BagGrotesque Text

Journalismus im Internet ist nichts anderes als eine Dauerkonversation aller Beteiligten

untereinander. Das gedruckte Medium o eriert Geschichten, die aus einem vielschichtigen

Diskurs- und Produktionsprozess hervorgehen.

Diese Zeitung ist ein Organ der Niedertracht. Es ist falsch, sie zu lesen. Jemand, der zu dieser Zeitung bei-

trägt, ist gesellschaftlich absolut inakzeptabel. Es wäre verfehlt, zu einem ihrer Redakteure freundlich oder

auch nur höflich zu sein. Man muss so unfreundlich zu ihnen sein, wie es das Gesetz gerade noch zulässt. Es

sind schlechte Menschen, die Falsches tun.

Brandon Text Regular — 7pt Brandon Grotesque Light — 10pt

Unsere Mythologie lesen wir täglich dreimal

in der Zeitung.Brandon Text Bold — 36pt

Ein Mensch, der gar nichts liest, ist besser informiert als derjenige, der nur Zeitung liest.

Brandon Grotesque Black — 22pt

»Art Déco«DER STERN

ZEIT IM BILD

15. Jahrgang

MonatsschriftKOSMOS

Text Thin, ItalicText Light, ItalicText Regular, ItalicText Medium, ItalicText Bold, ItalicText Black, Italic

Brandon Grotesque MediumBrandon Text Medium Brandon Grotesque Black Ital ic

Brandon Text Light I tal icBrandon Text BlackBrandon Grotesque Regular

124 125

TIL

L W

IED

EC

K &

TIM

M H

ÄN

EK

E

Schri. Typeface. HM TilmGealter. Designer. Timm Häneke & Till WiedeckLabel. Foundry. tillwiedeck.comJahr. Year. 2010

Als ein Kurz-Projekt wurde HM Tilm mit der selb-gesetzten zeitlichen Vorgabe von 24 Stunden als komplee Monoace-Schri entwickelt. Der

Name geht auf die Vornamen Till und Timm zurück. Die Schri beeht aus 240 Glyphen. Ihr Hauptcha-rakter basiert auf der Kombination einfacher, funkti-onaler Formen mit außergewöhnlichen, verielten Details.

As a short-term project HM Tilm, an entire mono-space typeface, was designed within a selfset

time frame of 24 hours. The name originates from the first names, Till and Timm. The charac-ter set features 240 glyphs. Its main character is defined by the combination of simple and func-tional shapes and unusual playful details.

HM

TIL

M24h1440 min

240 Glyphen

1Tag24h

! " # $ % & ' ( ) * + , - . / 0 1 2 3

4 5 6 7 8 9 : ; < = > ? @ A B C D E F G

H I J K L M N O P Q R S T U V W X Y Z [

\ ] _ a b c d e f g h i j k l m n o

p q r s t u v w x y z | ~ ¡ ¢ £ ¤ ¥

¦ § © ª « ¬ ® ° ± µ ¶ · º » ¿ À

Á Â Ã Ä Å Æ Ç È É Ê Ë Ì Í Î Ï Ð Ñ Ò Ó Ô

Õ Ö × Ø Ù Ú Û Ü Ý Þ ß à á â ã ä å æ ç è

é ê ë ì í î ï ð ñ ò ó ô õ ö ÷ ø ù ú û ü

ý þ ÿ ı Ł ł Œ œ Š š Ÿ Ž ž ƒ

∆ Ω µ π – — ‘ ’ ‚ “ ” „ † ‡ • … ‰ ‹

› ⁄ € ™ Ω ∂ ∆ ∏ ∑ − √ ∞ ∫ ≈ ≠ ≤ ≥ ◊ fi fl

— Contemporary type designs in text and image.

— With type designs and interviews of André Baldin- ger, Peter Bil’ak, Veronika Burian, Verena Gerlach, André Gröger, Lars Harmsen, Karl Nawrot, Tobias Rechsteiner, Pieter von Rosmalen, Gerard Unger, Andrea Tinnes a.o.

_Neue Schriften. New Typefaces. Positions and Perspectives

_Neue Schriften. New Typefaces. offers insight into the fascinating

world of type design. Positions in contemporary type design are pre-sented in words and pictures: key protagonists offer insights into their thinking and working, take a position on current developments under the new technical, aesthetic and socio-political conditions.

While in the 1970s just a few hundred new typefaces were publis-hed, today we can choose from tens of thousands of fonts — with an upward tendency. This publication, however, shows that current type design is not subject to randomness or a fashionable hype. Seventy dif-ferent type designs present an overview of current developments. For the exhibition Call for Type. New Fonts. New Typefaces. at the Guten-berg Museum in Mainz, twenty typefaces were chosen and expanded on in very personal reflections by their designers, which take the form of interviews in the book. From the rich international cosmos of typefaces, the book presents experimental type designs, based either on a spontaneous idea or the concept of an individually chosen design project; there are display fonts with a small range of styles or typefaces for books with large type families, which, often over a number of years, were developed systematically with passion, endurance and an unswerving attention to characteristic detail.

Therefore this publication not only documents a high professiona-lism, but also a great and passionate enthusiasm as the driving force of today’s type designers.

_

Petra Eisele, Isabel Naegele, Annette Ludwig (ed.)

Neue Schriften. New Typefaces.

Positions and Perspectives

German / English, 248 pages, numerous type specimens

17 × 22,5 cm, Swiss brochure

Euro (D) 29,80, (A) 30,60, CHF 38.–

ISBN 978-3-7212-0892-4

already available

_

Petra Eisele studied Art History and German

Studies. Research associate for the History and

Theory of Design at the Bauhaus University

Weimar. She has been a professor of History and

Theory of Design at the FH Mainz since 2006.

Isabel Naegele studied Visual Arts at the HfG-

Offenbach; in 1983 she started studying Medicine

in Frankfurt a. M. Doctorate at the Goethe Uni-

versity. Since 1999, professor of Typography and

Basics of Design at the FH Mainz

.

Annette Ludwig studierte Kunstgeschichte,

Baugeschichte und Neuere Deutsche Literaturwis-

senschaft an der Universität Karlsruhe. Magister

Artium und Promotion. Tätig als Kuratorin an

Museen. Seit 2008 Lehrbeauftragte am Zentrum

für Angewandte Kulturwissenschaft des KIT. She

has been director of the Gutenberg-Museum

Mainz since 2011.

www.fh-mainz.de/gestaltung

www.gutenberg-museum.de

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— How are optical illusions created?

— Why do static pictures on paper suddenly start to move?

— What are the basics of good type design?

— With texts by von Philippe Apeloig, Johannes Bergerhausen, Hans Rudolf Bosshard, Luc(as) de Groot, Hans-Jürg Hunziker, Paul van der Laan, Georg Salden, Fred Smeijers, Andreas Uebele and others

_Visual Perception

_schriftgestaltenon type and design

_Reversible figures, illusory contours, neon effects, rotation illusions

– Jürg Nänni’s book explores these and many other visual phenomena in a playful and fascinating way. An introductory chapter acquaints the reader with the basics of visual perception and lays the foundation for the following texts. Jürg Nänni takes readers on a tour through the mysterious cosmos of visual perception, using image and stereo expe-riments. The enclosed stereoscopic glasses offer extraordinary visual experiences, which are complemented by the interactive experiments on the CD-ROM.

Visual Perception is an indispensable compendium for artists, desig-ners and everyone interested in visual phenomena.

_How are fonts made? And why do we need new fonts at all? Why

are some fonts good, others bad? How do you use type? And what are the basic things you need to know about good type design?

The book schriftgestalten (designing type) answers these and similar questions by presenting works, drafts and experiments by influential typographers and type designers. The variety of letters and the diffe-rent approaches to their work become apparent in these examples. Some of them even personally comment on their work methods from drawing the first sketches to applying a font in practice. schriftgestal-ten offers inspiration and exclusive insights and takes you on a journey through the vast field of typography.

With texts by Philippe Apeloig, Johannes Bergerhausen, Hans Rudolf Bosshard, Luc(as) de Groot, Hans-Jürg Hunziker, Paul van der Laan, Uwe Loesch, Georg Salden, Eckehart Schumacher-Gebler, Fred Smeijers, Andreas Uebele and Kurt Weidemann.

_

Jürg Nänni

Visual Perception

An interactive discovery of our visual system

2nd edition, German/English, 244 pages, more than 300 illustrations,

30 × 28 cm, hardcover, with CD-ROM and stereoscopic glasses (only compa-

tible with Windows XP/Vista, Max OSX 10.3–10.5)

→ New price from February 1, 2014

CHF 29.80 instead of CHF 88.–, Euro (D) 24.80 instead of Euro (D) 70.–

Euro (A) 25.50.– instead of Euro (A) 72.–

ISBN 978-3-7212-0618-0

_

Tino Graß

schriftgestalten.

on type and design

German, 260 pages, more than 200 illustrations

20,5 × 24 cm, softcover with flaps

→ New price from January 1, 2014

CHF 34.80 instead of CHF 78.–, Euro (D) 29.80 instead of Euro (D) 62.–

Euro (A) 30.60 instead of Euro (A) 63.70

ISBN 978-3-7212-0653-1

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_new publications spring 2014

special editions

Page 21: Preview Spring 2014, niggli

_

reinhardpartner Architekten und Planer (ed.)

_Hans und Gret ReinhardBauten und Projekte 1942–1986

_

German, 392 pages, more than 500 illustra-

tions and plans, 22,5 × 29,5 cm

Hardcover with dust jacket

Euro (D) 70.–, Euro (A) 72.–, CHF 88.–

ISBN 978-3-7212-0628-9

_

Jörg Kurt Grütter

_Architektur und Wahrnehmung

_

German/English, 280 pages

approx. 400 illustrations

28 × 28 cm, hardcover

Euro (D) 62.–, Euro (A) 63.70, CHF 78.–

ISBN 978-3-7212-0831-3

_

Marc Angélil, Jørg Himmelreich, Departement

für Architektur der ETH Zürich (ed.)

_Architecture Dialogues.Positions– Concepts – Visions

_

628 pages, more than 180 illustrations

14 × 22 cm, softcover

Euro (D) 62.–, Euro (A) 63.70, CHF 78.–

German Edition: ISBN 978-3-7212-0801-6

English Edition: ISBN 978-3-7212-0802-3

_

archithese 5’2013

_Österreich | Austria

_

German/English/French, 112 pages

numerous illustrations and plans

22,5 × 29,5 cm, softcover

Euro (D) 22.–, Euro (A) 22.60, CHF 28.–

ISBN 978-3-7212-0884-9

_

Archtitekturforum Biel u.a. (ed.)

_Max Schlup. Architekt

_

German/French, 356 pages

more than 300 illustrations and plans

22 × 30 cm, clothbound hardcover

Euro (D) 70.–, Euro (A) 72.–, CHF 88.–

ISBN 978-3-7212-0786-6

2nd edition

_

Georg Ebbing, Christoph Mäckler

[German Institute for Urban Design] (ed.)

_Der Eckgrundriss

_

German, 200 pages

approx. 200 illustrations and plans, 21 × 25 cm

Softcover with flaps

Euro (D) 22.50, Euro (A) 23.10, CHF 28.–

ISBN 978-3-7212-0824-5

_

Jørg Himmelreich (ed.)

_Gestaltwandel. Schauhaus Botanischer Garten Grüningen

_

German, 72 pages, approx. 75 illustrations and

plans, 18,7 × 26,3 cm, softcover with flaps

Euro (D) 25.50.–, Euro (A) 26.20, CHF 32.–

ISBN 978-3-7212-0881-8

_

archithese 1’2013

_Swiss Performance 13

_

German/English/French, 104 pages

numerous illustrations and plans

22,5 × 29,5 cm, softcover

Euro (D) 22.–, Euro (A) 22.60, CHF 28.–

ISBN 978-3-7212-0872-6

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_

Guido Lengwiler

_Die Geschichte des Siebdrucks. Zur Entstehung des vierten Druckverfahrens

_

German, 486 pages

more than 900 illustrations, 24,5 × 31 cm

Half cloth binding

Euro (D) 78.–, Euro (A) 80.20, CHF 98.–

ISBN 978-3-7212-0876-4

_

Ruedi Wyss (Hrsg.), Ulrich Binder (Autor)

_Gestaltung der Grundlagen

_

German, 236 pages

approx. 100 illustrations, 11 × 15 cm

Softcover with flaps

Euro (D) 14.–, Euro (A) 14.40, CHF 18.–

ISBN 978-3-7212-0877-1

_

Moritz Zwimpfer

_Licht und Farbe. Physik Erscheinung Wahrnehmung

_

German, 160 pages

more than 400 illustrations, 30,5 × 25,5 cm

Half cloth binding

Euro (D) 70.–, Euro (A) 72.–, CHF 88.–

ISBN 978-3-7212-0804-7

_

Claire und Damien Gautier

_Gestaltung, Typografie etc.Ein Handbuch

_

German, 272 pages

numerous illustrations, 23,5 × 31,5 cm

Hardcover

Euro (D) 70.–, Euro (A) 72.–, CHF 88.–

ISBN 978-3-7212-0668-5

Nominated for the Design Prize Switzer-

land 2011 in the Category «Research»

_

André Vladimir Heiz

_Grundlagen der Gestaltung

_

4 volumes in drawer, 1434 pages

illustrated throughout, 14 × 22 cm

softcovers

Euro (D) 133.–, Euro (A) 136.70, CHF 168.–

German Edition: ISBN 978-3-7212-805-4

French Edition: ISBN 978-37212-0839-9

_

K.D. Geissbühler

_Oper im Weltformat

_

German, 384 pages

300 illustrations, 23,5 × 30,5 cm

Hardcover with dust jacket

Euro (D) 78.–, Euro (A) 80.20, CHF 98.–

ISBN 978-3-7212-0859-7

Silver at the German Photo Book

Prize 2013

_

Peter Olpe

_Out of Focus.Lochkameras und ihre Bilder

_

German/English/French, 432 pages

approx. 850 illustrations, 19,5 × 22,5 cm

Softcover with attached bookplates

Euro (D) 62.–, Euro (A) 63.70, CHF 78.–

ISBN 978-3-7212-0851-1

_

Andreas Koop

_Die Macht der Schrift. Eine angewandte Design-forschung

_

German, 304 pages

numerous illustrations, 19,5 × 25,5 cm

Hardcover

Euro (D) 46.–, Euro (A) 47.30, CHF 58.–

ISBN 978-3-7212-0780-4

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_

Slanted c/o Magma Brand Design (ed.)

_Yearbook of Type I

_

English, 464 pages

numerous type specimens, 17,5 × 24,5 cm

Half-linen binding

Euro (D) 49.80, Euro (A) 51.20, CHF 62.–

ISBN 978-3-7212-0861-0

_

Indra Kupferschmid

_Buchstaben kommen selten allein. Ein typografisches Handbuch

_

German, 144 pages

numerous illustrations, 15 × 21 cm

Softcover with spiral binding and flaps

Euro (D) 34.–, Euro (A) 35.–, CHF 42.–

ISBN 978-3-7212-0501-5

2nd, revised edition

_

Jost Hochuli

_Das Detail in der Typografie

_

German, 68 pages

12,6 × 21 cm, softcover

Euro (D) 18.–, Euro (A) 18.50, CHF 22.–

ISBN 978-3-7212-0547-3

2nd, slightly revised edition

_

Josef Müller-Brockmann

_Rastersysteme für die visuelle Gestaltung. Ein Handbuch für Grafiker, Typografen und Ausstellungsgestalter

_

German/English, 176 pages

357 illustrations, 21 × 29,7 cm

Hardcover

Euro (D) 62.–, Euro (A) 63.70, CHF 78.–

ISBN 978-3-7212-0145-1

8th, revised edition

_

Christian Fischer, Johannes Eckert, Ilona

Pfeifer, Philipp Schäfer, Andreas Uebele –

FH Düsseldorf, Fachbereich Design (ed.)

_Schrift und Identität. Die Gestaltung von Beschilde-rungen im öffentlichen Verkehr

_

German, 300 pages, illustrated throughout

16 × 22,5 cm, hardcover

Euro (D) 38.–, Euro (A) 39.10, CHF 48.–

ISBN 978-3-7212-0820-7

Finalist Newcomer-Preis beim

German Design Award 2014

_

Jan Filek

_Read/ability. Typografie und Lesbarkeit

_

German, 200 pages

approx. 60 illustrations, 18,6 × 24,4 cm

Softcover with bound dust jacket

Euro (D) 38.–, Euro (A) 39.10, CHF 48.–

ISBN 978-3-7212-0879-5

_

Hans Rudolf Bosshard

_Der Typografiestreit der Moderne. Max Bill kontra Jan Tschichold

_

German, 120 pages

more than 60 illustrations, 15 × 22 cm

Clothbound hardcover with dust jacket

Euro (D) 29.80, Euro (A) 30.60, CHF 38.–

ISBN 978-3-7212-0833-7

_

Emil Ruder

_Typographie.Ein Gestaltungslehrbuch

_

German/English/French, 274 pages

more than 500 examples, 22,4 × 23,3 cm

Clothbound hardcover with flaps

Euro (D) 78.–, Euro (A) 80.20, CHF 98.–

ISBN 978-3-7212-0043-0

9th edition, reprint of the original edition from

1967

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contact

bspublish agniggli VerlagSteinackerstrasse 8CH-8583 SulgenT +41 71 644 91 11F +41 71 644 91 [email protected]

contact persons in the publishing houseKirstin [email protected]

Andrea [email protected]

distributors

SwitzerlandAVA Verlagsauslieferung AGCentralweg 16CH-8910 Affoltern am AlbisTel. +41 44 762 42 60Fax +41 44 762 42 [email protected]

Germany/AustriaGVA GöttingenGmbH&Co.KGPostfach 2021DE-37010 GöttingenTel. +49 551 487 177Fax +49 551 413 [email protected]

NetherlandsCoen Sligting BookimportGroot Nieuwland 27NL-1811 ET AlkmaarTel. +31 72 511 92 20Fax +31 72 511 70 [email protected]

Frankreich Interart S.A.R.L.1, rue de l’EstFR-75020 [email protected]

USA / Canada r.a.m. publications +distributions, inc.2525 Michigan Avenue,Bldg. #A2USA-Santa Monica,CA 90404Tel. +1 310 453 00 43Fax +1 310 264 48 [email protected]

WorldACCSandy LaneOld MartleshamGB-Woodbridge, SuffolkIP12 4SDTel. +44 1394 389 950Fax +44 1394 389 [email protected]

sales representatives

SwitzerlandGiovanni RavasioKlosbachstrasse 33CH-8032 ZürichTel. +41 44 260 61 31Fax +41 44 260 61 [email protected]

Germany/AustriaHans Friedenc/o G.V.VGroner Strasse 20DE-37073 GöttingenTel. +49 551 797 73 90Fax +49 551 797 73 [email protected]

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