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Publications

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Vitra Design Museum


SANAA, New Museum of Contemporary Art, New York, USA, 2003–07 2


New Releases Neuheiten Home Stories  6 Atlas of Furniture Design  8 SANAA10 Featured Titles Weitere Titel Objects of Desire Balkrishna Doshi

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Backlist16 Products22 Vitra Campus

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Exhibitions Worldwide Ausstellungen weltweit

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Contact27

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Lina BoBardi, Living room Casa de Vidro, 2002 4


New Releases Neuheiten

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1. Ludwig Mies van der Rohe, Villa Tugendhat, Brno, Czech Republic, 1928–30 2. Finn Juhl, Situational plan of his house with planned extension, 1968 3. Jacques Tati, film still from Mon Oncle, 1958

Anderson’s article suggests that, in the United States of America, the 1950s represented a crucial moment for the evolution of the discipline under discussion, and that several transitions were taking place: from the interior decorator to the interior designer; from the amateur to the fully-fledged professional; and from working in the domestic sphere to engaging with contract work. Crudely speaking, while the decades prior to the 1950s had been dominated by the achievements of the (predominantly female) interior decorator in the homes of the wealthy, those following witnessed the emergence of the (predominantly male in the first instance) professional interior designer who increasingly focused on a wide range of non-residential spaces. These mid-century transitions served to define interior design as it moved through the second half of the twentieth century and into the twenty-first century. To grasp fully how that definition emerged it is necessary to understand how and why those shifts occurred.

From Decorator to Designer The idea of hiring someone to decorate one’s home interior originated in France in the late eighteenth and early nineteenth centuries. Under the kings Louis XIV, XV, and XVI, France experienced a long period in which, through the work of its leading architects and its highly skilled craftsmen and cabinetmakers, the interior decoration of its aristocratic homes had not only manifested great inventiveness and originality, but had hugely influenced those of many other European countries [A]. The publication of architects Charles Percier and Pierre Fontaine’s 1801 book, Recueil de Décorations Intérieures—which offered potential patrons a wide range of period styles in which to elaborate their homes—was among the first to use the term and to suggest that the aesthetic treatment of the domestic interior could be considered independently of architecture. 3 Six years later, the Englishman Thomas Hope published his book Household Furniture and Interior Decoration, thereby translating the term into English.4

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Home Stories

[A]

Salon de compagnie, Petit Trianon palace, Versailles, France, 1763–68, with furniture made by Francois Il Foliot, Gilles Joubert, and Jean-Baptiste Claude Sené.

The widespread fashion for interior decoration then ensued rapidly, reaching the new urban middle classes who, if sufficiently wealthy, employed an interior decorator, or, if not, undertook the task themselves with the help of the growing number of books offering guidance on the subject and with the support of a number of specialized tradesmen. In the latter context, women took up the responsibility for making aesthetic decisions and overseeing the process of home decoration. By the second half of the nineteenth century—both in Britain, in the persons of Rhoda and Agnes Garrett, 5 and in the United States, in that of Candace Wheeler, among others—a number of women crossed the dividing line between amateur and paid decorator [B]. Wheeler wrote a treatise on the subject of interior decoration in which she claimed 3.

Charles Percier and Pierre Fontaine, Recueil de Décorations Intérieures . Paris: P. Didot L’ainé, 1812 [1801].

4.

Thomas Hope, Household Furniture and Interior Decoration . London: Dover Publications, 1971 [1807].

5.

See Emma Ferry, “‘Decorators may be compared to doctors’: An Analysis of Rhoda and Agnes Garrett’s ‘Suggestions for House Decoration in Painting, Woodwork and Furniture’ (1876)”, Journal of Design History, vol. 16, no. 1 (2003), pp. 15–33.

[B]

“Drawing-Room Chimney Piece”, Illustration from Rhoda and Agnes Garrett’s book Suggestions for House Decoration in Painting, Woodwork, and Furniture, 1876.

of taste to grant them the social status they craved. For example, the Californian Crocker family, the Chicagobased Ogden Armours, and the New Jersey Harknesses, among others, all hired the professional interior decorator Elsie de Wolfe to furnish their homes. From 1907 onwards, the former actress, de Wolfe, injected taste into the homes of second-generation American Gilded Age families. 8 Working mostly in the French Louis XV and XVI styles, she rapidly earned herself a reputation for possessing elegant good taste that could transform homes [C]. At the same time, in spite of her use of stylistic historicism, because she was very much part of that socio-economic context, and because she understood the very contemporary need for women to construct their personal identities through their domestic interiors, de Wolfe can be considered a “modern” (although, of course, not a “modernist”) decorator. Becoming one of America’s, if not the world’s most renowned lady decorators until the late 1930s, a number of other women interior designers followed her example. Among them were Rose Cumming, Dorothy Draper, Nancy Lancaster, Nancy McClelland, Eleanor McMillen, Sister Parish, and, in the United Kingdom, Syrie Maugham, all of whom worked

2014

“I refuse to define rooms. I leave it open whether a room is suitable for living or working.” – Arno Brandlhuber, 2015.

Antivilla Arno Brandlhuber Berlin, Germany

Living room with view of Lake Krampnitz, with Duo Seat designed by Muller Van Severen

that it offered an opportunity for paid work for women. 6 The novelist Edith Wharton supported her cause, and, in 1897, with co-writer Ogden Codman, she penned a book entitled The Decoration of Houses .7 By the last decades of the century, the United States was leading the world in that area, through the financial support of many newly rich, upwardly mobile families who employed professional “lady” interior decorators in order to ensure that their extravagant homes displayed the necessary degree

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6.

See Amelia Peck, Candace Wheeler: The Art and Enterprise of American Design, 1875–1900, exh. cat. Metropolitan Museum of Art, New York, 2002.

7.

See Edith Wharton and Ogden Codman, The Decoration of Houses . New York: Cosimo Classics, 2008 [1897].

8.

See Penny Sparke, Elsie de Wolfe: The Birth of Modern Interior Decoration . New York: Acanthus, 2005.

Penny Sparke

Exterior view of the Antivilla.

AFacestis andelesci aut landi te parcipi dipsam, odisi qui a que arum quam, quam quam ipsa dolorep ratecte ndelit modi corerfera into eossum qui dolorest, anis doluptatis ipsapit et eum qui reri acestianto occume re cus aut laborpo ssuntia quis quamus aut rem quas nestibe archilissi consendit, quia nonet, im velent, arumquo molum qui cullabo. Et omniminis antenda metur, quia doluptatet utectur? Eriost, que dolupid ipsus, atque vendit inumet aliquodia nes voluptium ipsamuscia quiaerchit autem veliqui raepell abore, eossi aut ut liquis doluptaquo tem expla que si comnim sedi aut qui nonecto tendae verchicit mint vel isto con nonsedit, conse pe des necatqui ut voluptat omnis doloribus asperfe rnamus, sequi cus, consenistio etur, sequis reic tem iniam que prerspidus. Ugiassinis et quidundem hillore mpossuntio illuptas eum sendund aecum, eos ut essimolorias inum inte nis dolorib erferem hictur mos eatem. Unt ipsa quatibustis veratio nsequis vit, quo conet volliquam estores ab is nosam none nonsequatque sed min et, aliquidus moditiatem facit mil et quo blabo. Ut resti doluptur, que nonsequo quibus, eum unt, ut volupta quianti omni cor simolen diorit hiciducias eum quo que mod ut molorerenim velest enimiliquae velessit optatem cus esciet dolo offic tesseque ea con pelless umquisim la doloruptas el magnam aliqui reped ut autemporro exped es evelisti volorrunt rehenet, omnimpo renecatiat aut volupta tquodit idis del iliquid que voluptatiae sin nis et as aut occullitis et qui acest, que nis mi, ut pero incto cusaect ibusdae rerro cep udaepe est ium et magnatem reptur aliquas adis et doluptas ne

Floor installation made of cassette tapes by Gregor Hildebrandt and view of the basement below.

[C]

The curtain-divider can split up the space depending on the season and desired use. With he Shallow Luna rug (right) designed by Reuber Henning and mizafo.

Elsie de Wolfe, Second-floor drawing room of actress Hope Hampton’s residence, 1145 Park Avenue, New York, USA, c. 1934.

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Home Stories

1.

189

Antivilla

Alex Buck and Matthias Vogt (eds), Michael Graves: Designer Monographs 3 . Berlin: Ernst & Sohn, 1994, p. 65.


Home Stories

100 Years, 20 Visionary Interiors

Our homes are an expression of how we want to live; they shape our everyday routines and fundamentally affect our well-being. Interior design for the home sustains a giant global industry and feeds an entire branch of the media. However, the question of dwelling, or how to live, is found increasingly to be lacking in serious discourse. This book sets out to review the interior design of our homes. It discusses 20 iconic residential interiors from the present back to the 1920s, by architects and designers such as Assemble, Arno Brandlhuber, Lina Bo Bardi, and Josef Frank and by artists such as Cecil Beaton and Andy Warhol. Including historic and recent photographs, drawings and plans, the book explores these case studies as key moments in the history of the modern interior. Penny Sparke provides a concise history of the discipline of interior design, Alice Rawsthorn investigates the role of gender, and Mark Taylor discusses the discourse on interior design in the twenty-first century. Adam Štěch offers insights into the use of colour in residential interiors and Matteo Pirola offers a detailed and richly illustrated chronology of significant events in the history of interior design. In a portfolio of photographs selected exclusively for this book, Jasper Morrison explores what makes a good interior. In addition to interviews with contemporary interior design practitioners, experts in the fields of the sociology of living and psychology provide further insight. This book a valuable resource for anyone interested in interior design.

Unser Zuhause ist ein Ausdruck dessen, wie wir leben möchten. Es wirkt auf unsere Alltagsroutinen und unser Wohlbefinden. Die Inneneinrichtung von Wohnräumen unterhält weltweit einen eigenen Wirtschafts- und Medienzweig. Dennoch fehlt es heute an einem ernsthaften Diskurs darüber, wie wir wohnen und uns einrichten. Dieses Buch bietet einen umfassenden Blick auf die Gestaltung von Wohnräumen. Es stellt zwanzig ikonische Wohninterieurs vor – von der Gegenwart bis zurück in die 1920er Jahre. Sie stammen von Architekten und Designern wie Assemble, Arno Brandlhuber, Lina Bo Bardi und Josef Frank, von Künstlern wie Cecil Beaton und Andy Warhol. Die Fallstudien präsentieren Schlüsselmomente in der Geschichte der Innengestaltung, illustriert mit Zeichnungen und Plänen sowie mit historischen und jüngeren Fotografien. Penny Sparke liefert eine prägnante Zusammenfassung der Geschichte der Innengestaltung, Alice Rawsthorn untersucht den Genderaspekt in der Innengestaltung und Mark Taylor beleuchtet den Diskurs der Disziplin im 21. Jahrhundert. Adam Štěch gibt Einblicke in die Bedeutung der Farbgestaltung und Matteo Pirola liefert eine detaillierte und reich illustrierte Chronologie wichtiger Ereignisse in der Geschichte der Innengestaltung. In einem eigens für das Buch entstandenen Portfolio ausgewählter Fotografien untersucht Jasper Morrison, was ein gutes Interieur ausmacht. Neben Praktikerinnen im Bereich der Innenarchitektur kommen Expertinnen für Wohnsoziologie und Wohnpsychologie zu Wort. Die Fülle von Beiträgen macht das Buch zu einer wertvollen Quelle für jeden, der sich für Innengestaltung interessiert.

› Presents 20 influential interiors from the last 100 years › Drawings and plans illustrate the design process, historic and recent photographs show how these interiors changed over time › Image portfolio by Jasper Morrison, »A Sense of Space« › Essays by well-known authors shed light on the history of interior design in the twentieth century › Interviews with reputed scholars and designers offer insights into today’s interior design practice

› Präsentiert zwanzig einflussreiche Interieurs der letzten hundert Jahre › Pläne und Skizzen zeigen den Entwurfsprozess, historische und jüngere Fotografien dokumentieren den Wandel der Interieurs › Portfolio von Jasper Morrison, »Ein Sinn für den Raum« › Essays namhafter Autoren beleuchten die Geschichte des Interior Designs im 20. Jahrhundert › In Interviews berichten bekannte Gestalter aus der Praxis des Interior Designs

Home Stories 100 Years, 20 Visionary Interiors Editors: Mateo Kries, Jochen Eisenbrand Softcover 25 × 25,5 cm 320 pages, approx. 500 images 02/2020 978-3-945852-38-5 (English) Art.-No. 200 226 02 Home Stories 100 Jahre, 20 visionäre Interieurs 978-3-945852-37-8 (German) Art.-No. 200 226 01 € 59,90

With contributions by Jochen Eisenbrand, Joseph Grima, Anna-Mea Hoffmann, Jasper Morrison, Matteo Pirola, Alice Rawsthorn, Timothy Rohan, Penny Sparke, Adam Štěch, and Mark Taylor; interviews with Nacho Alegre, Charlap Hyman & Herrero, Ilse Crawford, Sevil Peach, among others. 7


Atlas of Furniture Design

› The ultimate book on modern furniture design › 1 028 pages, 1 740 objects, 2 852 images, 551 texts › 7 1 authors, 237 years, 546 designers, 565 manufacturers

› Das maßgebliche Buch über modernes Möbeldesign › 1 028 Seiten, 1 740 Objekte, 2 852 Abbildungen, 551 Texte › 7 1 Autoren, 237 Jahre, 546 Designer, 565 Hersteller

The Vitra Design Museum’s »Atlas of Furniture Design« is a new and essential work on the history of modern furniture design. Featuring 1,740 objects by more than 540 designers, it includes some 2,800 illustrations ranging from detailed object photographs to historical images documenting interiors, patents, brochures, and related works of art and architecture. The basis for the »Atlas of Furniture Design« is the collection held by the Vitra Design Museum, one of the largest of its kind. The book presents selected pieces by the most important designers of the last 200 years and documents key periods in design history, including early nineteenth-century industrial furniture in bentwood and metal, Art Nouveau and Secessionist pieces, and works by protagonists of classical modernism and post-war design, as well as postmodern and contemporary pieces. The »Atlas of Furniture Design« employed a team of more than 70 experts and features over 550 detailed texts about key objects. In-depth essays provide sociocultural and designhistorical context to four historical epochs of furniture design and the pieces highlighted here, enriched by a detailed annex containing designer biographies, glossaries, and elaborate info graphics. These features make this publication an encyclopedic reference guide and indispensable resource for collectors, scholars, and experts, and without a doubt a book to be treasured by design lovers all over the world.

Mit dem »Atlas des Möbeldesigns« präsentiert das Vitra Design Museum das neue Grundlagenwerk zur Geschichte des modernen Möbeldesigns. Die über 1000-seitige Publikation bietet einen einzigartigen enzyklopädischen Überblick über die Geschichte des modernen Möbels. Vorgestellt werden 1740 Objekte von über 540 Designern, illustriert durch mehr als 2800 Abbildungen, von detailgenauen Objektfotografien bis zu historischen Bildern von Inneneinrichtungen, Patenten, Broschüren und Referenzwerken aus Kunst und Architektur. Grundlage für den »Atlas des Möbeldesigns« ist die Sammlung des Vitra Design Museums, eine der größten ihrer Art. Das Buch umfasst Werke der bedeutendsten Designer der vergangenen 200 Jahre und dokumentiert alle wichtigen Phasen der Designgeschichte. Dazu gehören Möbel des 19. Jahrhunderts aus Bugholz und Metall, Entwürfe aus der Zeit des Jugendstils und der Secession, Designikonen von Protagonisten der Moderne, aber auch Möbel der Postmoderne und der Gegenwart. An der Vorbereitung für den »Atlas des Möbeldesigns« waren über 70 Experten beteiligt. Über 550 Texte liefern detailgenaue Objektanalysen, Essays zu vier großen historischen Epochen beschreiben den soziokulturellen und designhistorischen Kontext der gezeigten Objekte, ein umfangreicher Anhang bietet Designerbiografien, Glossare und Infografiken. All dies macht den »Atlas des Möbeldesigns« zu einer unverzichtbaren Recherchegrundlage für Sammler, Wissenschaftler und Experten — und zu einem wunderbar gestalteten Buch für Designliebhaber auf der ganzen Welt. With texts by Mateo Kries, Jochen Eisenbrand, Henrike Büscher, Nina Steinmüller, Alberto Bassi, Fulvio Ferrari, Otakar Máčel, Jane Pavitt, Ingeborg de Roode, Catharine Rossi, Arthur Rüegg, Penny Sparke, Deyan Sudjic, Wolf Tegethoff, Carsten Thau and Kjeld Vindum, Gerald W. R. Ward, and others

Atlas of Furniture Design Editors: Mateo Kries, Jochen Eisenbrand Hardcover 23,5 × 31 cm 1028 pages, 2852 images 978-3-931936-99-0 (English) Art.-No. 200 814 02 Atlas des Möbeldesigns 978-3-931936-98-3 (German) Art.-No. 200 814 01 € 159,90


1. Thonet factory in Bystřice, Czechoslovakia (now Czechia), c. 1921 2. Michael Thonet, No. 14 / Consumer Chair, c. 1855 – 1 859 3. Bart van der Leck, »Man te paard« (The Horseman), 1918, oil on canvas 4. Gerrit Thomas Rietveld, Untitled / Red Blue Chair, 1918/19

D

1973 – 2017

820

Corallo Fernando Campana, Humberto Campana

1410 ◊

Type Designed First Production Later Production Material

Lounge chair 2003 Since 2005 Edra, Perignano, Italy – Stainless-steel wire, finished with epoxy lacquer in coral red, white, or black

Object Depicted Dated Material Dimensions

MBR-1009 2014 Stainless-steel wire, finished with epoxy lacquer in coral red 86.5 × 138 × 91 cm

Although Corallo alludes to the form of a classical upholstered lounge chair, it is made of an intricate mesh of stainless-steel wire; lacquered in light red, it is recalling the sprawling coral reefs off the coast of Brazil. Fernando and Humberto Campana describe this sculptural object as ‘scribbling’ translated into a three-dimensional structure.1 The design in fact rests on a sketch by Humberto, hastily done in preparation for a metal sculpture in 1989. Fourteen years later the brothers built a series of models based on the sketch, proceeding in their typically experimental, artisanal fashion by welding small pieces of wire together. The initial concept and early mock-ups were realized by Humberto, while it was Fernando who reworked them and removed all superfluous elements.2 Edra, which commenced serial production of the chair in 2004, still bends, welds, and lacquers all the wire by hand. In 2013 the company launched a bed designed in the same way. With Corallo’s graphic tangle of lines, the Campanas have succeeded in reinterpreting the classic lounge chair in a spectacular way. Wiebke Lang 1 2

Price, ed., Campana Brothers (2010), 114. Ibid. 111.

D

821

1411 ◊

Random Chair Bertjan Pot

1412 ◊

Breeding Table Kram/Weisshaar

1413 ◊

Pane Chair Tokujin Yoshioka

Type Designed First Production Later Production Material

Lounge chair 2003 2003–06 Studio Bertjan Pot (c. 50 copies) Since 2006 Goods, Amsterdam, Netherlands Epoxy-drained carbon fibre

Type Designed First Production

Type Designed First Production Later Production Material

Lounge chair 2003–05 2005 Tokujin Yoshioka (edition of 39 copies) – Polyester fibre (polyester elastomer)

Material

Table 2003–05 Since 2005 Kram/Weisshaar, Munich, Germany / Stockholm, Sweden Since 2006 Moroso, Cavalicco, Italy (two different models under the name Countach) Mild steel, powder-coated / smoked glass, reflective on one side

Object Depicted Dated Material Dimensions

SNL-1007 2013 Epoxy-drained carbon fibre 71.5 × 53.5 × 93.5 cm

Object Depicted Dated Material Dimensions

MGE-1192 (#1157) 2007 Mild steel, powder-coated / smoked glass, reflective on one side 74.5 × 160 × 80 cm

Object Depicted Dated Material Dimensions

MJP-1044-1 (no. 14 of 39) 2005 Polyester fibre (polyester elastomer) 78 × 87 × 87 cm

A recurrent theme in Bertjan Pot’s varied oeuvre is the ‘skin‘ of an object or, more precisely, a thin surface which can have constructive and decorative functions. Pot’s first major achievement in this regard was the Random Light of 1999, which has been distributed by Moooi since 2002. The large globes of this lamp are produced from hand-wrapped glass fibre impregnated with epoxy (synthetic resin) and allowed to harden. In 2003 and 2004, the lamp was followed by a series of chairs made from carbon filament. The Random Chair shown here, for which uncoated carbon filament permeated by epoxy is randomly coiled over a polystyrene mould, was the first design in this series. The irregular play of lines in Pot’s Random Light and Random Chair emphasizes the handmade nature of the process. Although Pot says that the ideal of designers such as Charles and Ray Eames to ‘make affordable products for the masses’ is not foremost in his mind, his designs distributed by Moooi are commercially successful.1 The Random Chair is made in smaller quantities by manufacturer Goods and is therefore more exclusive. Ingeborg de Roode 1

Reinewald, ‘Portfolio Bertjan Pot’ (2005), 75.

Later Production

Design duo Reed Kram and Clemens Weisshaar’s Breeding Table is one of the first examples of a generative computer-based design approach to making furniture. The bases of the tables are produced with the help of a specially developed software which uses an algorithm to generate the geometrics and then control the production. Parameters like dimensions, splay, and carrying capacity of the legs can be altered, and previously generated models can be crossed with each other. From all considerable variations, the software only generates geometrics which are stable and corresponds to the given parameters of construction. Different source data is used depending on the type of table. This process facilitates the output of an infinite number of table structures from which the designers can make their selection. As a next step, the parts for the table bases are cut from steel plates with a laser, mechanically folded, and finally joined and powder-coated. The bases and tabletops of the Breeding Table are made by specialized manufacturers, then assembled and distributed by Kram/Weisshaar. Since 2006, Moroso has produced two variants of the table in small series. Jochen Eisenbrand

No. 1410 – 1413

Tokujin Yoshioka is known for his poetic designs and installations made of unusual, often lightweight, ephemeral materials. His interest in the opportunities offered by textiles and fibres was sparked in 2003 by an article in National Geographic.1 That same year, he began conducting experiments for the Pane Chair. To create the chair, he sawed into a cylindrical block of polyester foam, sewed it partially together, wrapped it in a sheet, tied the ends together, and slid it into a cardboard cylinder. It was then baked at 104 degrees Celsius – quite like an Italian panettone cake. The chair was first presented at the Museo della Permanente during the 2006 Milan Furniture Fair. A year later, Moroso launched a modified version as the Panna Chair, for which Yoshioka reinforced the foam with an internal steel frame and covered the whole object with fabric. Jochen Eisenbrand 1

Ito, ‘Thanks to National Geographic‘ (2006), 117.

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1. Office of Ryue Nishizawa, Teshima Art Museum, Teshima, Japan, 2004–10, Rei Naito, Matrix, 2010 2. SANAA, New Museum of Contemporary Art, New York, USA, 2003–07 3. Kazuyo Sejima & Associates, Osaka University of Arts, Department of Art Science, Osaka, Japan, 2015–18 4. Kazuyo Sejima & Associates, S-Art House and A-Art House, Inujima Art House Project, Inujima, Japan, 2008–10; A-Art House: Haruka Kojin, contact lens and reflectwo, 2008


SANAA

The Architecture of Kazuyo Sejima and Ryue Nishizawa

› First comprehensive publication on the architectural work of SANAA, as well as a documentation of the studios Kazuyo Sejima & Associates and the Office of Ryue Nishizawa › Richly illustrated overview from 1987 until today with new photographs and exclusive archive material, plans, drawings, sketches, and text

› Erste umfassende Publikation zum architektonischen Werk von SANAA sowie den Architekturbüros Kazuyo Sejima & Associates und dem Office of Ryue Nishizawa › Reich bebildertes Überblickswerk von 1987 bis heute mit neuen Fotoaufnahmen und exklusivem Archivmaterial, Pläne, Zeichnungen, Skizzen und Text

The Japanese architecture studio SANAA, founded by Kazuyo Sejima and Ryue Nishizawa in Tokyo in 1995, is one of the most influential architectural practices of our time. Known for the crisp and sheer simplicity of their buildings, SANAA realize projects with spatial relations that are among the most radical and complex to be found in contemporary architecture. It is Sejima and Nishizawa’s endeavor to create an architecture that acts like a catalyst in the creation of diverse relationships between architecture, man, the environment, and spaces. Highlighting the studio’s earliest works to projects they are currently developing, the publication »SANAA: The Architecture of Kazuyo Sejima and Ryue Nishizawa« documents for the first time in a comprehensive manner the Pritzker Prize-winning architects’ multifaceted body of work, both by Kazuyo Sejima & Associates and the Office of Ryue Nishizawa as well as by SANAA. The richly illustrated survey presents built and unrealized projects, competitions, installations and product design from 1987 to the present day, giving insights into the architects’ design ideals and working methods.

Das japanische Architekturbüro SANAA, 1995 von Kazuyo Sejima und Ryue Nishizawa in Tokio gegründet, gehört zu den einflussreichsten Büros unserer Zeit. SANAAs Bauten sind von einer klaren Einfachheit, Transparenz und Leichtigkeit geprägt, hinter der sich so vielfältige wie radikale und komplexe Beziehungen bilden – zwischen den Teilen der Architektur selbst, aber ebenso zwischen der Architektur, den Menschen und der Umwelt. Ihre Architektursprache entspringt einem kollaborativen Prozess, der einzigartig und inspirierend zugleich ist. Die Publikation »SANAA. Die Architektur von Kazuyo Sejima und Ryue Nishizawa« dokumentiert erstmals umfassend das vielfältige Werk der beiden Pritzker-Preisträger, sowohl die unter dem Namen SANAA gemeinsam entworfenen Gebäude als auch die Bauten von Kazuyo Sejima & Associates und dem Office of Ryue Nishizawa. Das reich bebilderte Überblickswerk präsentiert gebaute und nicht realisierte Projekte, Wettbewerbe, Installationen und Produktdesign von 1987 bis heute und gibt Einblicke in die Gestaltungsideale und Arbeitsmethoden der Architekten.

SANAA The Architecture of Kazuyo Sejima and Ryue Nishizawa Editors: Mateo Kries, Jolanthe Kugler Concept: Kazuyo Sejima, Ryue Nishizawa 2 hardcover volumes in slipcase 28 × 22,5 cm 540 pages, approx 800 images 09/2020 978-3-945852-41-5 (English) Art.-No. 200 227 02 SANAA Die Architektur von Kazuyo Sejima und Ryue Nishizawa 978-3-945852-40-8 (German) Art.-No. 200 227 01

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Installation view of »Objects of Desire: Surrealism and Design 1924 – Today« 12


Featured Titles Weitere Titel

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Objects of Desire

› A thorough look at the reciprocal ­influences of Surrealism and design to the present day › An examination of the influence of Surrealist ideas on design beyond functionalist dogma › A comprehensive selection of images documenting the dialogue between Surrealism and design, including works by well-known artists and designers

Surrealism and Design 1924 – Today

› Umfassende Darstellung der wechsel­ seitigen Beeinflussung von S ­ urrealismus und Design bis heute › Untersuchung des Einflusses von surrealistischem Gedankengut auf ein ­Design jenseits des funktionalistischen Dogmas › Umfangreicher Bildteil zur Veranschaulichung des Dialogs zwischen Surrealismus und Design mit Werken ­bekannter Künstler und Designer

Surrealism expanded our reality by drawing upon myths, dreams, and the subconscious as sources of artistic inspiration. Beginning in the 1930s, the movement made a crucial impact on design, and it continues to inspire designers to this day. ­»Objects of Desire: Surrealism and Design« is the first book to document this ­fascinating conversation. It includes numerous essays and a comprehensive selection of images which traces these reciprocal exchanges by juxtaposing exemplary artworks and design ­ objects. Among the featured artists and designers are Gae Aulenti, Achille C ­ astiglioni, Giorgio de Chirico, Le Corbusier, Salvador Dalí, Marcel Duchamp, Iris van Herpen, Frederick Kiesler, René Magritte, Carlo Mollino, Meret Oppenheim, and many others. The book is rounded off with historical text material as well as statements by contemporary designers. This i­ n-depth examination makes one thing abundantly clear: form does not always follow function — it can also follow our obsessions, our fantasies, and our hidden desires.

Der Surrealismus erweiterte unsere Realität, indem er Mythen, Träume und das Unterbewusstsein als Quellen künstlerischen Schaffens entdeckte. Ab den 1930erJahren übte dies einen entscheidenden Einfluss auf das Design aus und inspiriert Designer bis heute. »Objekte der Begierde. Surrealismus und Design« ist die erste Publikation, die diesen faszinierenden Austausch dokumentiert. Sie umfasst mehrere fundierte Essays und einen umfangreichen Bildteil, der der wechselseitigen Beeinflussung anhand prägnanter Gegenüberstellungen von Kunstwerken und Designobjekten nachspürt. Unter den vertretenen Künstlern und Designern sind Gae Aulenti, Achille Castiglioni, Giorgio de Chirico, Le Corbusier, Salvador Dalí, Marcel Duchamp, Iris van Herpen, Friedrich Kiesler, René Magritte, Carlo Mollino, Meret Oppenheim und viele andere. Abgerundet wird das Buch durch historische Zitate sowie Statements von zeitgenössischen D ­ esignern. Dabei wird deutlich: Die Form folgt nicht immer der Funktion — sondern zuweilen auch unseren Obsessionen, Fantasien und Sehnsüchten. With texts by Mateo Kries, Krzysztof Fijalkowski, Claudia Mareis, Vera Sacchetti, Alex Coles, Tanja Cunz, and Napoleone Ferrari 12

OBJECTS OF DESIRE

ThE LIBERaTIOn OF FORM [003]

René Magritte, La Trahison des images, 1929

In January of 1924, the year of Breton’s first Manifesto of Surrealism, young architect Le Corbusier published the article “Autres icônes: les musées” in his journal, L’Esprit nouveau, with a simple white bidet serving as the title illustration [027].6 Two months later, the article “Usurpation: Le Folklore” followed, this time introduced by the image of a pipe.7 Bidet, pipe? Of course this instantly evokes Marcel Duchamp’s famous ready-made Fontaine (Urinoir) from 1917 [028] and “Ceci n’est pas une pipe.” (This is not a pipe.)—arguably Surrealism’s most famous phrase—written by René Magritte on his 1929 painting of a pipe, La trahison des images [003]. These are just two examples of numerous parallels connecting Le Corbusier’s L’Esprit nouveau with emerging Surrealism that become apparent when compared with Duchamp’s ready-mades, which André Breton was not alone in considering the source of all Surrealist objects. Duchamp proved the boundary between industrial object and artwork to be fiction by altering contexts and drawing attention to marginal differences in serial objects,8 thus leading to the well-known (yet greatly simplified) definition that ready-mades are “ordinary objects elevated to the dignity of a work of art by the mere choice of an artist”.9 This was Le Corbusier’s interest as well. He argued that the logic of industrial production was entirely capable of manufacturing well-designed objects equal to works of art and therefore deserved a place in major museums, closing his article “Autres icônes” with the question: “Doit-on brûler le Louvre?” (Should we burn down the Louvre?).10 The calculated provocation in elevating an everyday object to the status of art was an integral part of the artistic programs of Duchamp and Le Corbusier: as with the meeting of the umbrella and the sewing machine, it enabled new readings of supposedly familiar objects and questioned established concepts of meaning and status.11 The extent

MaTEO KRIES

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to which L’Esprit nouveau was linked to Surrealism’s emergence was also demonstrated by Paul Dermée, one of the magazine’s co-founders, who in 1924 began a heated argument with André Breton about who invented the term Surrealism: “I founded the major magazine L’Esprit nouveau together with my friends Ozenfant and Jeanneret [Le Corbusier] in 1920 just to give new impetus to this movement. […] Where does Monsieur Breton get his criteria of Surrealism, which he intends to reveal in his letter? In all likelihood solely from my article ‘Découverte du lyrisme’ (published in L’Esprit nouveau, October 1920).”12 Dermée’s lines indicate that Surrealism was a wide-ranging project of the Parisian avant-garde, developing as a direct continuation of Dadaism and the Symbolist literature of Lautréamont, Arthur Rimbaud, and Guillaume Apollinaire. As Surrealism moved further into psychological terrain, Le Corbusier watched on suspiciously: “The new ‘Surrealist’ (formerly Dadaists) claim to lift themselves above the brute nature of the object and are ready to recognize only relationships which belong to the visible and subconscious world of the dream. Nevertheless they compare themselves to radio antennae; thus they raise radio onto their own pedestal […] the extremely elegant relationships of their metaphors […] are all the time very clearly dependent on the products of straightforward conscious effort.”13 Nevertheless, Le Corbusier continued to act as a mediator between the functionalist avantgarde and Surrealism, most notably when he designed a two-storey rooftop apartment on the Champs-Élysées in Paris (1929–31) for Carlos de Beistegui,

[004]

Le Corbusier, Rooftop garden of Carlos de Beistegui’s apartment, Paris, 1929–31, published in Plaisir de France, no. 18, March 1936

[117]

SaLVaDOR DaLí, Mae West’s Face which May be Used as a Surrealist Apartment, 1934/35

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[118]

STuDIO65, Bocca, 1970

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Objects of Desire Surrealism and Design 1924 – Today Editors: Mateo Kries, Tanja Cunz Hardccover, cloth binding with die-cut 18,5 x 24,5 cm 368 pages, approx. 300 images 09/2019 978-3-945852-33-0 (English) Art.-No. 200 815 02 Objekte der Begierde Surrealismus und Design 1924 – heute 978-3-945852-32-3 (German) Art.-No. 200 815 01 € 59,90


Balkrishna Doshi

› First monograph in over 20 years on Balkrishna Doshi´s life and work › Texts by renowned scholars, architects, and colleagues, as well as interviews › New photographs of Doshi´s buildings and portfolios documenting his artistic work, design, and research

Architecture for the People

› Erste Monografie der letzten 20 Jahre über Balkrishna Doshis Leben und Werk › Textbeiträge von renommierten ­Forschern, Architekten und Weg­ge­fährten sowie ­Interviews › Neue Fotoaufnahmen von Doshis Bauten und ergänzende Portfolios zu seinem künstlerischen Schaffen, zu Design und Forschung

»Balkrishna Doshi: Architecture for the People« is the first overview of the architect’s work in over twenty years, analyzing his most important works and providing timely context to his oeuvre. In-depth academic texts by outstanding experts in the field give insights into the inspiration behind Doshi’s work and background to his projects, as well as his lasting influence on younger generations. The richly illustrated survey comes complete with a detailed biography and new photographs of his buildings, which demonstrate the timeliness of the Indian master’s approach to a wide variety of typologies.

Mit dem Buch »Balkrishna Doshi. Architektur für den Menschen« liegt seit zwanzig Jahren erstmals wieder eine umfassende Publikation über den Architekten und PritzkerPreisträger vor, die alle wichtigen Projekte vorstellt und mit wissenschaftlichen Essays herausragender Experten Aufschluss über Inspirationen, Hintergründe und Einfluss von Doshis Arbeit gibt. Ergänzt wird das reich illustrierte Überblickswerk durch eine ausführliche Biografie und neue Fotografien seiner Bauten, die eindrücklich die Aktualität der Herangehensweise des indischen Meisters an unterschiedlichste Bauaufgaben belegen. Edited by Mateo Kries, Jolanthe Kugler, Khushnu Panthaki Hoof. With contributions by Balkrishna Doshi, Khushnu Panthaki Hoof, Kenneth Frampton, Kazi Ashraf, Martha Thorne, Samanth Subramanian, Juhani Pallasmaa, Rajeev Kathpalia, Jolanthe Kugler.

Balkrishna Doshi Architecture for the People Publishers: Vitra Design Museum, Wüstenrot ­Stiftung Concept: Mateo Kries, Khushnu Hoof, Jolanthe Kugler Editors: Jolanthe Kugler, Khushnu Hoof Hardcover, cloth binding with bellyband 24 × 30 cm 400 pages, approx. 450 images 03/2019 978-3-945852-31-6 (English) Art.-No. 200 222 02 Balkrishna Doshi Architektur für den Menschen 978-3-945852-30-9 (German) Art.-No. 200 222 01 € 59,90

Debitis int laut etur, que sunturia dunt laborum quam

1958 – 63 SHREYAS FOUNDATION COMPREHENSIVE SCHOOL AHMEDABAD

The Shreyas school complex was Doshi’s first large commission for Leena Mangaldas, the daughter of Sarladevi Sarabhai, who introduced the Montessori school concept in India in 1924. In the early stages of the design process Doshi and Mangaldas focused intensely on the process of learning and its relationship to architecture. The school was intended as a manifestation of Maria Montessori’s philosophy of education imparted through observation and experience with an emphasis on self-growth. Children are encouraged to nourish their personal strengths, and learning also takes place beyond the confines of the classroom. Doshi conceived a village of learning and growth for the undulating thirty-acre site. The campus emerged by transforming valleys into theatres and fields into parks interspersed with clusters of classrooms. The freestanding classroom buildings with attached verandas are connected by means of corridors or pathways open to the sky. These open and closed spaces are intended as extensions of the learning spaces. Children are encouraged to move through the open spaces at their own pace while taking in the changing seasons, trees, birds, clouds, and nature. The classroom plans are flexible, allowing for multiple activities within the same space and for different age groups. Storage areas in the classrooms are tucked into the niches created by the columnar structure visible from both interior and exterior. The buildings were designed in relation to the physical height of teachers and children; they are low towards one end and high at the other depending on the activities taking place within. The precast roof construction not only responds to these changing heights but also to Ahmedabad’s hot climate. The roof is designed to create an air gap between the top layer of waterproofed asbestos cement sheet and the bottom layer of reinforced concrete slab cast in-situ. The structure is supported by precast hollow concrete girders with small square holes at their ends to allow air to circulate under the roof. The air gap thus serves as an insulating layer that keeps the classrooms cooler during summer months. Furthermore, louvered windows on both sides of the classroom allow for cross ventilation and the entry of diffuse natural light. The buildings merge with the landscape of the Shreyas campus and open upon a hilly playground shaped by the site’s natural topography. This interaction between landscape and buildings reinforces the idea of unlimited time and space for learning.

Debitis int laut etur, que sunturia dunt laborum quam Debitis int laut etur, que sunturia dunt laborum quam

Debitis int laut etur, que sunturia dunt laborum quam

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ARCHITECT Eture, excest lab iniatempos CLIENT Eture, excest lab iniatempos PROJECT ASSOCIATES D.C. Eture, excest lab iniatempos PROJECT ASSISTANTS H.M. Eture, excest lab iniatempos PROJECT ENGINEERS R.M. Eture, excest lab iniatempos STRUCTURAL ENGINEERS Eture, excest lab iniatem CONTRACTORS Eture, excest iniatempos ENGINEERING Eture, excest lab iniatempos TOTAL BUILT-UP AREA xxx COST INR xxx

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Winner of the Best Book on Contemporary Architecture, Richard Schlagman Art Book Awards 2019 15


Backlist Victor Papanek The Politics of Design

The designer, author, and design activist Victor J. Papanek (1923–98) anticipated an understanding of design as a tool for political change and social good that is more relevant today than ever. »Victor Papanek: The Politics of Design« offers the first comprehensive overview of the designer's life and work.

Der Designer, Autor und Aktivist Victor J. Papanek (1923–1998) war Wegbereiter eines sozial engagierten, nachhaltigen Designansatzes, demzufolge Design nicht nur Formgebung ist, sondern ein Werkzeug politischen und sozialen Wandels. »Victor Papanek. The Politics of Design« bietet erstmals einen umfassenden Überblick über Papaneks Leben und Werk. With texts by Jan Boelen, Alison J. Clarke, Elizabeth Guffey, Orit Halpern, Jamer Hunt, Amelie Klein, Felicity Scott, Cameron Tonkinwise, Alice Twemlow, and others

Victor Papanek The Politics of Design Editors: Mateo Kries, Amelie Klein, Alison J. Clarke Softcover, debossed, with flaps 19 × 25 cm 400 pages, approx. 500 images 10/2018 978-3-945852-26-2 (English) Art.-No. 200 220 02 978-3-945852-25-5 (German) Art.-No. 200 220 01 € 59,90

Winner of the Best Book on History of Design, Richard Schlagman Art Book Awards 2019

Night Fever Designing Club Culture 1960 – Today

Since the 1960s, nightclubs and discothèques have been centres of the avant-garde that question established codes of social living. »Night Fever: Designing Club Culture« takes the reader on a fascinating journey through a world of glamour, subculture, and the search for the night that never ends.

Night Fever Designing Club Culture 1960 – Today Editors: Mateo Kries, Jochen Eisenbrand, Catharine Rossi Softcover, silver emboss, with flaps 20 × 26,5 cm 400 pages, approx. 600 images 03/2018

Seit den 1960er Jahren versammeln sich in Nachtclubs und ­Diskotheken Avantgarden, die gesellschaftliche Normen infrage stellen. »Night Fever. Design und Clubkultur« begleitet die Leser auf einer faszinierenden Reise durch Subkulturen und Glitzer­ welten – auf der Suche nach der Nacht, die kein Ende nimmt.

978-3-945852-24-8 (English) Out of stock

With texts by Jörg Heiser, Tim Lawrence, Ivan Lopez Munuera, Catharine Rossi, ­Sonnet Stanfill, Alice Twemlow, and others, as well as interviews with Ben Kelly, Peter Saville, Ian Schrager, and others

Night Fever Design und Clubkultur 1960 – heute 978-3-945852-23-1 (German) Art.-No. 200 219 01 € 59,90


Typecasting An Assembly of Iconic, Forgotten and New Vitra Characters Editor: Robert Stadler Softcover, foil with screen print 24 × 32 cm 176 pages, approx. 350 images 12/2018

ROBOTS 1:1 R.F. Collection Editor: Rolf Fehlbaum Hardcover, large format, Includes USB drive and poster 32 × 48 cm 276 pages, approx. 250 images 06/2018

978-3-945852-29-3 (English) Art.-No. 200 223 02

978-3-945852-27-9 (English) Art.-No. 200 221 02

€ 24,90

Limited edition, signed € 150,00

Eames Furniture Sourcebook Editors: Mateo Kries, Jolanthe Kugler Hardcover, debossed  17 × 24 cm 336 pages, approx. 350 images 09/2017

Essential Eames Words & Pictures Editors: Eames Demetrios, Carla Hartman Softcover 16,5 × 24 cm 216 pages, approx. 125 images 09/2017

978-3-945852-20-0 (English) Art.-No. 200 813 02 978-3-945852-19-4 (German) Art.-No. 200 813 01 € 49,90

978-3-945852-17-0 (English) Art.-No. 200 812 02 Essential Eames Zitate & Bilder 978-3-945852-16-3 (German) Art.-No. 200 812 01 € 29,90

Together! The New Architecture of the Collective Editors: Mateo Kries, Mathias Müller, Daniel Niggli, Andreas Ruby, Ilka Ruby Softcover 23 × 30 cm 352 pages, approx. 440 images 06/2017 978-3-945852-15-6 (English) Art.-No. 200 811 02 Together! Die Neue Architektur der Gemeinschaft 978-3-945852-14-9 (German) Out of stock

Hello, Robot. Design between Human and Machine Editors: Mateo Kries, Amelie Klein Softcover, embossed 19 × 25 cm 328 pages, approx. 255 images 01/2017 978-3-945852-11-8 (English) Art.-No. 200 809 02 Hello, Robot. Design zwischen Mensch und Maschine 978-3-945852-10-1 (German) Art.-No. 200 809 01 € 49,90

€ 49,90 17


Backlist

The Vitra Schaudepot Architecture, Ideas, Objects Editors: Mateo Kries, Viviane Stappmanns Softcover with flaps 17 × 23,5 cm 108 pages, approx. 480 images 01/2017

Alexander Girard A Designer’s Universe Editors: Mateo Kries, Jochen Eisenbrand Hardcover, cloth binding 19,5 × 27,5 cm 512 pages, approx. 5 30 images 03/2016

978-3-945852-13-2 (English) Art.-No. 200 810 02

978-3-945852-05-7 (English) Art.-No. 200 215 02 Out of stock

Das Vitra Schaudepot Architektur, Idee, Objekte 978-3-945852-12-5 (German) Art.-No. 200 810 01 € 14,90

978-3-945852-04-0 (German) Art.-No. 200 215 01 € 69,90

The Lucky, Plucky Chairs Author: Rolf Fehlbaum Illustrations: Maira Kalman Hardcover with jacket 15,5 × 20,5 cm 48 pages, approx. 35 images 12/2015

The Bauhaus #itsalldesign Editors: Mateo Kries, Jolanthe Kugler Softcover with flaps 19 × 25 cm 464 pages, approx. 500 images 09/2015

978-3-945852-09-5 (English) Art.-No. 200 083 02

978-3-945852-02-6 (English) Art.-No. 200 214 02

Die tollkühnen Stühle 978-3-945852-08-8 (German) Art.-No. 200 083 01

Das Bauhaus #allesistdesign 978-3-945852-01-9 (German) Art.-No. 200 214 01

€ 14,95

Making Africa A Continent of Contemporary Design Editors: Mateo Kries, Amelie Klein Softcover 24 × 33,5 cm 336 pages, approx. 350 images 04/2015 978-3-931936-52-5 (English) Art.-No. 200 213 02 978-3-945852-00-2 (German) Art.-No. 200 213 01 Making Africa Un continente de diseño ­contemporáneo 978-8-495216-75-5 (Spanish) Art.-No. 200 213 04

€ 69,90

Alvar Aalto Second Nature Editors: Mateo Kries, Jochen Eisenbrand Hardcover, cloth binding 16,5 × 23,5 cm 688 pages, approx. 500 images 09/2014 (03/2018, 2nd printing) 978-3-931936-93-8 (English) Art.-No. 200 513 02 978-3-931936-87-7 (German) Art.-No. 200 513 01 € 69,90

€ 69,90 18


Konstantin Grcic Panorama Editors: Mateo Kries, Janna Lipsky Softcover 21 × 28 cm 320 pages, approx. 440 images 03/2014 978-3-931936-07-5 (English) Art.-No. 200 5 30 02 978-3-931936-06-8 (German) Art.-No. 200 5 30 01 € 69,90

Pop Art Design Editors: Alexander von Vegesack, Mathias Schwartz-Clauss, Peter Dunas Softcover in plastic 28 × 28 cm 272 pages, approx. 325 images 10/2012 978-3-931936-96-9 (English) Out of stock 978-3-931936-95-2 (German) Art.-No. 200 808 01 € 69,90

Gerrit Rietveld Die Revolution des Raums Author: Ida von Zijl Hardcover with jacket 23 × 29 cm 240 pages, approx. 400 images 05/2012 978-3-931936-94-5 (German) Art.-No. 200 527 01 € 75,00

Lightopia Editors: Mateo Kries, Jolanthe Kugler 3 softcover volumes in slipcase 21,5 × 28,5 cm 397 pages, approx. 300 images 09/2013 978-3-931936-05-1 (English) Art.-No 200 529 02 978-3-931936-04-4 (German) Art.-No 200 529 01 € 79,90

Louis Kahn The Power of Architecture Editors: Mateo Kries, Jochen Eisenbrand, Stanislaus von Moos Hardcover with jacket 24 × 32 cm 370 pages, approx. 500 images 09/2012 978-3-931936-92-1 (English) Art.-No. 200 807 02 978-3-931936-91-4 (German) Art.-No. 200 807 01 € 79,90

Rudolf Steiner Alchemy of the Everyday Editors: Mateo Kries, Alexander von Vegesack Hardcover with jacket 21 × 28,5 cm 336 pages, approx. 550 images 06/2010 978-3-931936-86-0 (English) Out of stock Rudolf Steiner Die Alchemie des Alltags 978-3-931936-85-3 (German) Art.-No. 200 805 01 € 79,90

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Backlist

Die Essenz der Dinge/ The Essence of Things Editors: Alexander von Vegesack, Mathias Schwartz-Clauss Softcover with flaps 24,5 × 31 cm 132 pages, approx. 180 images 03/2010 978-3-931936-50-1 (German/English) Art.-No. 200 804 99 € 41,00

George Nelson Architect, Author, Designer, Teacher Editors: Alexander von Vegesack, Jochen Eisenbrand Hardcover 23,5 × 28 cm 352 pages, approx. 300 images 09/2008 978-3-931936-82-2 (English) Art.-No. 200 523 02 Out of stock George Nelson Architekt, Autor, Designer, Lehrer 978-3-931936-81-5 (German) Art.-No. 200 523 01 € 59,90

Antibodies/Antikörper Fernando & Humberto Campana 1989 – 2009 Editors: Alexander von Vegesack, Mathias Schwartz-Clauss Softcover 24,5 × 32 cm 128 pages, approx. 250 images 05/2009 978-3-931936-47-1 (English/German) Art.-No. 200 803 01 € 32,90

Le Corbusier A Study of the Decorative Art Movement in Germany Editors: Mateo Kries, Alexander von Vegesack Hardcover with bellyband 16,5 × 20 cm 224 pages, approx. 115 images 06/2008 978-3-931936-29-7 (English) Art.-No. 200 186 02 Out of stock Le Corbusier Studie über die deutsche Kunstgewerbebewegung 978-3-931936-28-0 (German) Art.-No. 200 186 01 € 36,40

Le Corbusier The Art of Architecture Editors: Alexander von Vegesack, Stanislaus von Moos, Arthur Rüegg, Mateo Kries Hardcover with bellyband 22 × 31 cm 398 pages, approx. 500 images 05/2007 978-3-931936-72-3 (English) Art.-No. 200 121 02 Out of stock 978-3-931936-71-6 (German) Art.-No. 200 121 01 € 59,90

Jean Prouvé The Poetics of the Technical Object Editors: Alexander von Vegesack, Bruno Reichlin, Catherine Dumont d’Ayot Hardcover in corrugated metal 23 × 28 cm 392 pages, approx. 895 images 03/2006 978-3-931936-54-9 (English) Art.-No. 200 185 02 Out of stock Jean Prouvé Die Poetik des technischen Objekts 978-3-931936-5 3-2 (German) Art.-No. 200 185 01 € 71,90


Joe Colombo Inventing the Future Editors: Alexander von Vegesack, Mateo Kries Hardcover 24 × 28 cm 304 pages, approx. 520 images 10/2005 978-3-931936-58-7 (English) Art.-No. 200 184 02 Out of stock Joe Colombo Die Erfindung der Zukunft 978-3-931936-57-0 (German) Art.-No. 200 184 01 Joe Colombo L̓ i nvention du futur 978-3-931936-73-0 (French) Art.-No. 200 184 03 € 44,90 Grow Your Own House Simón Vélez and Bamboo Architecture / Simón Vélez und die Bambusarchitektur Editors: Alexander von Vegesack, Mateo Kries Softcover 24 × 29 cm 265 pages, approx. 300 images 2000 978-3-931936-25-9 (German/English) Art.-No. 200 165 09 € 22,40

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Products

Multicolor * Ronan Bouroullec Poster, matte print on glossy (high quality) paper, with printed packaging 2018 67,5 × 67,5 cm

Bicolor * Ronan Bouroullec Poster, matte print on glossy (high quality) paper, with printed packaging 2018 67,5 × 67,5 cm

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€ 49,90

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Green * Ronan Bouroullec Poster, matte print on glossy (high quality) paper, with printed packaging 2019 50 × 67,5 cm

Orange * Ronan Bouroullec Poster, matte print on glossy (high quality) paper, with printed packaging 2018 50 × 67,5 cm

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The Chair Collection * Poster 2018 84 × 119 cm

R. F. Robot Collection * Poster 2017 84 × 119 cm

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EAN 426 054 399 001 5 Art.-No. 205 504 31

€ 22,60

€ 22,60

Atlas of Furniture Design * Tasche 38 × 32 x 10 cm

Alexander Girard Coloring Book La Fonda del Sol Softcover 18 × 18 cm 42 sheets

EAN 426 054 399 002 2 Art.-No. 200 225 01

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* Only available in Germany 23


Vitra Campus Located on the Vitra Campus in Weil am Rhein, Germany, the Vitra Design Museum is one of the world’s leading museums of design. It is dedicated to the research and presentation of ­design, past and present, and examines its relationship to architecture, art, and everyday culture. The museum mounts at least two major exhibitions every year in its main building, designed by Frank Gehry. Additional shows are presented in the Vitra Design Museum Gallery and in the Vitra Schaudepot, designed by Herzog & de Meuron. Up to ten annual exhibitions, as well as a wide array of events, workshops, talks, and tours, provide a rich programme of cultural activities on the Vitra Campus. For our current calendar of events, please visit www.design-museum.de/en.

Das Vitra Design Museum auf dem Vitra Campus in Weil am Rhein zählt zu den führenden Designmuseen weltweit. Es erforscht und vermittelt die Geschichte und Gegenwart des ­Designs und setzt diese in Beziehung zu Architektur, Kunst und Alltagskultur. Im Hauptgebäude von Frank Gehry präsentiert das Museum jährlich zwei große Wechselaus­ stellungen. Weitere Ausstellungen werden in der Vitra Design Museum Gallery und im Vitra Schaudepot von Herzog & de Meuron gezeigt. Insgesamt präsentiert das Museum bis zu zehn Ausstellungen jährlich auf dem Vitra Campus, ergänzt um zahlreiche Veranstaltungen, Workshops und ­andere Vermittlungsangebote. Unser aktuelles Programm finden Sie unter www.design-museum.de. 6 Vitra Schaudepot Herzog & de Meuron, 2016

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1 Vitra Design Museum Frank Gehry, 1989


5 Fire Station/Feuerwehrhaus Zaha Hadid, 1993

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5 4 Vitra Slide Tower/Vitra Rutschturm Carsten Hรถller, 2014

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3 VitraHaus Herzog & de Meuron, 2010

2 Vitra Design Museum Gallery Frank Gehry, 2003

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Exhibitions Worldwide Ausstellungen weltweit Vitra Design Museum exhibitions around the world. More information: www.design-museum.de/worldwide Aktuelle Wanderausstellungen des Vitra Design Museums. Nähere Informationen: www.design-museum.de/worldwide

2 Balkrishna Doshi Architecture for the People 03. 2020 – 06. 2020 Vienna (AT) 09. 2020 – 12. 2020 Chicago (US)

1 Objects of Desire Surrealism and Design 1924 – Today 02. 2020 – 06. 2020 Barcelona (ES) 07. 2020 – 10. 2020 Madrid (ES) 11. 2020 – 03. 2021 Sevilla (ES) 04. 2021 – 08. 2021 Palma (ES)

3 Together! The New Architecture of the Collective 09. 2020 – 12. 2020 Delft (NL))

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4 Victor Papanek The Politics of Design 10. 2019 – 02. 2020 Barcelona (ES) 03. 2020 – 06. 2020 Genk (BE) 06. 2020 – 10. 2020 Den Bosch (NL)

6 Hello, Robot. Design ­between Human and Machine 11. 2019 – 02. 2020 Dundee (UK)

7 Alexander Girard A Designer’s Universe 11. 2019 – 03. 2020 Palm Springs (US) 06. 2020 - 10. 2020 Mexico City (MX)

5 Night Fever Designing Club Culture 1960 – Today 01. 2020 – 09. 2020 Copenhagen (DK) 11. 2020 – 02. 2021 Dundee (UK)


Contact All publications may be ordered directly from the Vitra Design Museum or from our distributors. Prices reflect German retail prices incl. VAT and are subject to change without prior notice given. Alle Publikationen sind direkt beim Verlag des Vitra Design Museums erhältlich oder bei unseren Vertriebspartnern. Preise entsprechen den deutschen Verkaufspreisen inkl. gesetzlicher Mehrwertsteuer, Preisänderungen vorbehalten. Vitra Design Museum Charles-Eames-Str. 2 79576 Weil am Rhein Germany T +49.7621.702.3200 verlag@design-museum.de

Distribution Germany and Austria LKG, Leipziger Kommissions- und Großbuchhandelsgesellschaft GmbH An der Südspitze 1 – 12 04571 Rötha Germany T +49.34206.65.100 lkg@lkg-service.de Peter Jastrow T +49.30.44732.180 service@buchart.org North and East Germany Michael Klein T +49.8742.9645522 mi-klein@t-online.de Northwest Germany Stefan Schempp T +49.89.23077737 stefan.schempp@mnet-mail.de South and Southwest Germany, Austria

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Imprint / Credits Vitra Design Museum GmbH Charles-Eames-Str. 2 79576 Weil am Rhein Germany T +49.7621.702.3200 info@design-museum.de HRB 413163 Amtsgericht Freiburg UST ID DE 813099569 Concept: Boros. Layout: bfg, Thorsten Romanus Cover: Illustration by Daniel Streat, Visual Fields; Lina Bo Bardi, Casa de Vidro, São Paulo, 1952, © Instituto Bardi / photo: Francisco Albuquerque; p.02/03: © Dean Kaufman; p.04/05: photo: © Nelson Kon; p.06 (image 1): © Archiv Štenc Praha/ VG Bild-Kunst, Bonn 2019; (image 2) © Designmuseum Danmark/Photography: Pernille Klemp; (image 3) © Les Films de Mon Oncle - Specta Films CEPEC;p. 09: (image 1) Collection Alexander von Vegesack, Domaine de Boisbuchet, France; (image 2) © Vitra Design Museum, photo: Jürgen HANS, www.objektfotograf.ch; (image 3) © VG Bild-Kunst, Bonn 2019, © Vitra Design Museum, photo: Jürgen HANS, www.objektfotograf.ch; (image 4) © VG Bild-Kunst, Bonn 2019, Collection Kröller-Müller Museum, Otterlo; p. 10: (image 1) Teshima Art Museum_© Fukutake Foundation, photo: Noboru Morikawa; (image 2) © Dean Kaufman; (image 3) © Kazuyo Sejima & Associates; (image 4) Kazuyo Sejima & Associates; p. 11: © Takashi Okamoto; p.12/13: © Vitra Design Museum, photo: Ludger Paffrath, © VG Bild-Kunst, Bonn 2019 27


Alvar Aalto, Nacho Alegre, Gae Aulenti, Iwan Baan, Lina Bo Bardi, Jan Boelen, Arno Brandlhuber, Ronan & Erwan Bouroullec, Umberto & Fernando Campana, Ilse Crawford, Salvador Dalí, Balkrishna Doshi, Marcel Duchamp, Charles & Ray Eames, Front, Alexander Girard, Global Tools, Walter Gropius, Gruppo 9999, Keith Haring, Heide & von Beckerath, Herzog & de Meuron, Finn Juhl, Friedrich Kiesler, Shiro Kuramata, Dorte Mandrup, Ingo Maurer, Marshall McLuhan, mischer’traxler, Carlo Mollino, Isamu Noguchi, Opendesk, Meret Oppenheim, Victor Papanek, Gaetano Pesce, Alice Rawsthorn, Man Ray, Daniel Rybakken, Peter Saville, Jerszy Seymour, Ettore Sottsass, Robert Stadler, Studio 65, Superflux, …

Vitra Design Museum Charles-Eames-Str. 2 79576 Weil am Rhein Germany www.design-museum.de

ISBN 9783945852392

9 783945 852392 >

Profile for Vitra Design Museum

Vitra Design Museum Publications 2020  

Vitra Design Museum Publications 2020  

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