This lavishly illustrated volume, which comes in four different colours and with an open Japanese binding, looks from both sides of the Atlantic at 80 years of photography from Chicago. At the New Bauhaus and what later became the Institute of Design, teachers like Laszlo Moholy - Nagy, Gyoergy Kepes and spater Arthur Siegel, Harry Callahan and Aaron Siskind taught an uninhibited approach to the medium which influenced generations of photographers. To mark the start of the great Bauhaus anniversary in 2019, the Bauhaus Archiv / Museum fur Gestaltung Berlin is presenting its collecti on of "New Bauhaus Photography" which is unique in Europe. It introduces the protagonists and institutions who since the foundation of the New Bauhaus in Chicago in 1937 have inspired, created and collected photography and then presented it to the public. The wide range of illustrations extends from abstract photograms and material experiments to conceptual and process - oriented works series. Contemporary works from Chicago complete the picture and reflect the importance of the Bauhaus thought process for th e present day.

Under the label Atelier Zanolli, a fantastic world of silk fabrics that were painted and imprinted with patterns, opulently embroidered cushions, colourful pearl creations, as well as finely crafted leather and wood articles, was created between 1905 and 1939 in Zurich. The Zanollis had immigrated from Italy in 1905. Their family business was entirely women-run by mother Antonietta and her daughters Pia, Lea, and Zoe Zanolli. The cultural and stylistic influences manifested in the Zanollis' visually appealing product world range from the avant-garde to a typically Swiss aesthetic forged by a national spirit of defence against the increasingly felt threat that Nazi Germany posed to the country in the 1930s. Driven by a striving for artistic self-realisation, the atelier defied the many economic challenges of the period and carried out many commissions for Zurich's leading textile businesses and department stores. This book traces the history of Atelier Zanolli, places its work in the context of the development of Zurich and the Swiss textile industry in the first half of the 20th century, and for the first time also positions the "Zanolli style" internationally. More than 600 images show the wealth of colours and shapes of the cosmos of textiles and crafted objects, as well as templates, sketches, private photographs, business cards, and letters. The essays illuminate the techniques and work processes used, discuss entire motif families and unique designs, and grant a rare comprehensive insight into the tastes of the time.

In 1919, the state art school in Weimar was reopened under the direction of Walter Gropius, with a radical teaching approach and under the new name Bauhaus. Four years passed before the first exhibition took place, which conveyed a new approach to art to the enthusiastic public and carried the school's ideas all over the world. The catalogue Staatliches Bauhaus in Weimar 1919-1923 was published in 1923 to accompany this first public appearance. In this interdisciplinary oeuvre catalogue, the idea and potential of the Bauhaus found their way onto paper for the first time. In addition to numerous project presentations, the theoretical approaches of Paul Klee, Wassily Kandinsky, and Gertrud Grunow convey the teaching methods of the various workshops. Gropius' preface traces the structure of the State Bauhaus and presents the unique reformation approach that demands and teaches the unity of technology and art. The illustrations from the various workshops also show projects by students whose connection to the Bauhaus is less known. With the original layout by Laszlo Moholy-Nagy and the cover designed by Herbert Bayer, the book is an important testimony to that legendary avant-garde movement. This facsimile is supplemented by a commentary that places this publication, rare and long out of print, in a historical context and documents the Bauhaus from its idea to its establishment as a renowned art and design school. The German facsimile is accompanied by the first full English translation of the catalogue, making it accessible to an international audience.

As a pioneer of modern design, Willy Guhl created world-famous furniture such as the Eternit garden chair or Europe's first plastic shell chair. In the tradition of modernism and against the traditional Heimatstil, after 1945 he developed a holistic design approach oriented to human beings and their needs; functionality and reduction to the essential characterize his everyday objects. In collaboration with Swiss companies such as Dietiker, Eternit and Aebi, Willy Guhl designed seating furniture, planters and mowing machines. Willy Guhl's designs, his teaching methods and his image archive bear witness to the innovations of the booming design industry of the post-war period and the changing professional image of the industrial designer. As a teacher and later head of the class for interior and product design at the Zurich School of Arts and Crafts from 1941 to 1980, Willy Guhl influenced generations of Swiss designers, including Robert Haussmann, Kurt Thut and Andreas Christen. The trained carpenter and interior designer passed on his design knowledge "hands-on," with illustrative objects, by model making and storytelling. This first comprehensive monograph illuminates Willy Guhl's legacy in the context of this design and teaching practice as well as current theories of the design discipline. As a thematically structured catalog of works, it offers a complete index of all design projects, and illustrates in sketches, plans and photographs his exploratory working method and his passion for material and technology, which is equally evident in the selection of exemplary student works.

The Swiss type designer Adrian Frutiger decisively influenced the international creation of typefaces after 1950. His Univers typeface and the machine-readable font OCR-B are milestones, as is his type for the Paris airports, which evolved into the Frutiger typeface. All set new standards for signage types. In all, he created some fifty types, including Ondine, Meridien, Avenir, and Vectora. Based on conversations with Frutiger himself and on extensive research, this publication provides a highly detailed and accurate account of the type designer's artistic development. All of his types - from the design phase to the marketing stage - are illustrated and analyzed with reference to the technology and related types. Hitherto unpublished types that were never realized and more than one hundred logos complete the picture.

What kind of fashion exists without mass production, without Hollywood and international fashion weeks? In Switzerland, far from the international spotlight and the dictates of the major fashion hubs, small labels, collectives, and young graduates as well as established brands test their potential for greatness. Creative designers take initiative and position themselves in Berlin, join the fashion circus in Paris, or establish clever business models at home in Switzerland. Wild Thing - The Swiss Fashion Scene, published in conjunction with an exhibition at Museum fur Gestaltung Zurich, puts a spotlight on this development and the products resulting from it. The book picks up on current topics - such as minimalism and the questioning of assigned gender identities - that shape designs, design concepts, and processes. Lavishly illustrated, it features looks and creations by important labels, selected outfits, textile inventions, and collection presentations. Together with brief interviews, portraits of individual designers, and text contributions, Wild Thing - The Swiss Fashion Scene is a highly attractive snapshot of Switzerland's creative and vibrant fashion scene. In addition, the book contains links to short print-in-motion videos, which can be watched by pointing a smartphone camera at the corresponding image. The videos offer portraits of designers, interviews with fashion experts, and contributions from fashion schools. Text in English and German.

Das Atelier der J.R. Geigy AG war Ausgangspunkt einer Sternstunde der Schweizer Grafik der 50er- und 60er-Jahre. Die aufgeschlossene Unternehmenskultur des Basler Chemiekonzerns ermAglichte eine exemplarische Verbindung von Produkt- und Firmenwerbung. Die Werke zeigen eine modernistische Formensprache, ohne dabei einem formelhaften Stil verpflichtet zu sein. Eine bildhafte Symbolik hatte darin ebenso ihren Platz wie das Lernen von der ungegenstAndlichen Kunst, der manche der beteiligten Grafiker nahe standen. Unter der langjAhrigen Leitung von Max Schmid arbeiteten u. a. Roland Aeschlimann, Karl Gerstner, JArg Hamburger, Steff GeissbA1/4hler, Andreas His, Toshihiro Katayama und Nelly Rudin. Auch freischaffende Gestalter wie Michael Engelmann, Gottfried Honegger, Armin Hofmann, Herbert Leupin, Warja Lavater, Numa Rick und Niklaus Stoecklin wurden beauftragt. In den 60er-Jahren orientierte sich das Basler Atelier, insbesondere George Giusti und Fred Troller, an der Entwicklung der Ateliers der Tochterfirmen in den USA und Grossbritannien und setzte vermehrt auf Werbung. Mit dem Geigy Design wird ein bedeutender Schweizer Beitrag zur internationalen Designgeschichte in seiner Konsequenz und EigenstAndigkeit erstmals umfassend vorgestellt.

Das Plakat war aufgrund seiner gesellschaftlichen Wirksamkeit schon immer ideales Medium, um Appelle von globaler Brisanz und ethischer Dimension an die BevAlkerung zu richten. Die Publikation prAsentiert internationale Plakate seit 1980, die dazu aufrufen, Verantwortung gegenA1/4ber der Menschheit und dem Planeten wahrzunehmen. WAhrend sich das im Eigenauftrag entstandene Autorenplakat der AufklArung verpflichtet fA1/4hlt, zielen Plakate von Menschenrechts-, Umweltschutzorganisationen und Hilfswerken direkt auf die Aktion des Einzelnen ab. Aber auch Wirtschaftsunternehmen haben in den letzten Jahren soziales und Akologisches Engagement als Marketinginstrument entdeckt, um ihr Image zu pflegen. Beleuchtet werden die verschiedenen visuellen Strategien und die rhetorische Vermittlung sozialer Botschaften im Plakat. Denn so unterschiedlich Motivation und Intention der Auftraggeber sind, so verschieden sind auch die Plakate in ihrem inhaltlichen und formalen Ausdruck.

Posters lend themselves perfectly to serial display. The mediation of the message and of the identity of the advertiser is supported by the effects of ecognition.
However in contemporary advertising campaigns this awareness is only rarely used in imaginative and intelligent ways. This publication illustrates the creative and effective advertising potential of posters in series. What is vital here is that a design concept has been followed. By doing so a formal or content-driven approach is sensitively varied, with the posters in the series only slightly differing from one another. At the same time the free interpretation of a basic concept can lead to a wide and highly inspirational spectrum of interpretations. What has been fundamental in the selection of campaigns for this book is the
ability of the single poster to assert itself individually, while the fact that it belongs to a series is shown as being visually beneficial.