Scheidegger & Spiess Art I Photography I Architecture INTERNATIONAL NEW TITLES 2018–19 Content 5 Christoph Schaub 8 / 9 (compilation) Swiss Environmental Peter Zumthor Talks About 6 / 7 Action Foundation (editor) His Work Ruch & Partners Architects Dry Stone Walls A Biographical Collage Fundamentals, Construction 4 (editor) Guidelines, Significance Stanislaus von Moos, Close-up—Ruch & Partners Martino Stierli (editors) Architects 1996–2018 Eyes That Saw Architecture after Las Vegas 12 / 13 Almut Grunewald (editor) 16 The Giedion World 14 / 15 Mirjam Fischer, Anna Sigfried Giedion and Roland Jaeger Niederhäuser (editors) Carola Giedion-Welcker Photo-Eye Fritz Block Susi + Ueli Berger in Dialogue New Photography Furniture in Dialogue Modern Color Slides 10 / 11 Ivan Žaknic Klip and Corb on the Road The Dual Diaries and Legacies of August Klipstein and Le Corbusier on their Eastern Journey, 1911 20 Michael Auping (editor) Cosmic Theater The Art of Lee Mullican 18 Werner Feiersinger Overturn 19 Storm Janse van Rensburg (editor) Jacob Lawrence 17 21 Lines of Influence Antonella Camarda (editor) Michael Bird (editor) Bettina Pousttchi Lynn Chadwick A Sculptor on the Inter-national Stage 26 25 22 / 23 Dominic Büttner Meinrad Schade Jill Mellick Dreamscapes The Red Book Hours Unresolved Discovering C.G. Jung’s Art Mediums and Creative 24 Process Minoru Onoda 29 28 Katrin Luchsinger, Helen Tom Haller—Nuggets 27 Hirsch, Thomas Röske American Landscapes Colombia (editors) On the Brink of Paradise Extraordinary! Unknown Works from Swiss Psychiatric Institutions around 1900 30 Rahel Hartmann-Schweizer Schwarzflug 30 Oliver Schwarz Katja Baumhoff (editor) Drawings and Paintings 31 Othmar Eder 31 Kesselhaus Josephsohn Finding Images Fanni Fetzer (editor) (editor) Claude Sandoz. A Kind of Hans Josephsohn Panorama Exhibition Photographs Anse Chastanet, St. Lucia 1997–2018 32 Nordamerika Native Museum Zurich (editor) 32 Karl Bodmer Wilfried Dechau (editor) A Swiss Artist in America Nossa Punt 1809 –1893 Tavanasa—Bridges Landscape Edited by Stanislaus von Moos and An intellectual panorama on the Martino Stierli significance and legacy of Learning from Las Vegas, a classic of mod- Paperback ern architectural theory approx. 256 pages, 100 color illustrations Collects previously unpublished 14 × 21 cm (5½ × 8¼ in) original essays by Stan Allen, Eve 978-3-85881-820-1 English Blau, Beatriz Colomina, Valéry Di- CHF 49.00 | EUR 48.00 delon, Elizabeth Diller, Peter GBP 45.00 | USD 49.00 Fischli, Dan Graham, Neil Levine, ARCHITECTURE Mary McLeod, Rafael Moneo, Stanislaus von Moos, Katherine MAY 2019 (Europe) Smith, Martino Stierli, and Karin JULY 2019 (US) Theunissen, as well as postscripts by Robert Venturi and Denise Scott Brown Richly illustrated with images of icons of Las Vegas architecture Eyes That Saw What can architects At the peak of the 1968/69 students’ riots at American Universities, Robert Venturi and learn from Las Denise Scott Brown, together with Steven Izenour, pursued their Design and Research Studio on the topic of Las Vegas at Yale School of Architecture. The resulting book, Vegas today? Learning from Las Vegas, became a classic almost instantly upon its first publication in 1972. It excited the 1970s architecture world and continues to be an influence for architects, teachers, and theoreticians to the present day. Some forty years later, this new book offers a richly illustrated collection of essays by renowned scholars of art and architectural history, eminent architects, and artists, who revisit Learning from Las Vegas and its legacy from various perspectives. All build on the knowledge of the radical influence the book has had on architecture and urban design, visual art, and even on history in a broader sense. Published alongside the texts are documents from the Venturi, Scott Brown & Associates Archive at Uni- versity of Pennsylvania, as well as an illustrated chronology of the international media response to the publication of Learning from Las Vegas in 1972. Stanislaus von Moos has been a professor of art history at University of Zurich, 1983–2005, and a visiting professor of art history at Yale School of Architecture, 2010–14. Martino Stierli is the MoMA’s Philip Johnson Chief Curator of Architecture and Design and an SNF Professor for the History of Architecture and Art at University of Zurich. N EW TITLES 2018–2019 4 Compiled by Christoph Schaub New biographical film collage on celebrated architect Peter DVD in cardboard cover Zumthor Films in original language version with English subtitles 71 minutes total play time, ar- Playing time approx. 71 mins, color ranged into eight chapters 14 × 19 cm (5½ × 7½ in) 978-3-85881-915-4 English Includes a wealth of newly pro- CHF 39.00 | EUR 39.00 duced or previously unreleased GBP 35.00 | USD 39.00 material from interviews, conversa- ARCHITECTURE tions, lectures, and public talks with and by Zumthor AVAILABLE Peter Zumthor Talks about His Work A Biographical Collage A unique biograph- Over the past thirty years, Swiss architect Peter Zumthor has talked on numerous ical film collage occasions and in a range of contexts about his work and his self-conception as an architect. Many of his statements have been recorded on film. From this wealth of on the celebrated interviews and conversations, lectures, and public talks, Christoph Schaub—Swiss architect film director and internationally renowned author of documentaries on architects and architecture—in collaboration with Atelier Peter Zumthor composed a biographical film collage. It spans Zumthor’s entire career from its early days in the 1980s until today and also includes conversations between Zumthor and Schaub that have been newly recorded for this compilation. This portrait also introduces us to Zumthor as an individual who has changed over three decades, yet somehow remained the same. He answers the interviewer’s ques- tions with authenticity, integrity and passion, elaborating on his ideas and stances. His statements reveal sensitivity and consistency and bear witness to a person who has always followed his inner compass and ideals. Christoph Schaub is one of Switzerland’s most eminent film directors. Apart from documentaries on a range of topics he has also realized various dramas and comedies. N EW TITLES 2018–2019 5 27 Albanatscha Substation, Silvaplana Built 1994–1996 The Albanatscha substation is fed by the existing 150-kilovolt an ordinary house and seems more like a topographic fortifi- power transmission line that connects the Engadin via the cation inextricably fused to the terrain, a true landmark. Bernina and Julier Passes with Val Poschiavo and the valley of The sometimes very large quarry stones of the encasing wall, Oberhalbstein, where it is again linked to the international which tapers upward at a ratio of 1:7 and has separate founda- grid via transformers in each case. From here, the power is fed tions to disconnect it completely from the core building, con- into the 60-kilovolt supply network serving the Upper Engadin. sciously exhibit traces of their extraction and handling, such For selecting the location, proximity to the existing 150-kilo- as the holes needed for the blasting and splitting processes. volt line across the Julier Pass and good accessibility consti- The building’s edges, the entry portal, and the surrounds of tuted the two most important site conditions. the glass-block fields, on the other hand, are built of sharply The building is situated above the Julier Pass road, in the cut stones, producing the desired crystalline effect and a clear Stüerta Granda. The site was chosen so that the substation lies refraction of light. outside the avalanche zone. Of particular note in this regard was our intensive collabora- The individual spaces in the building are arranged and orga- tion with the engineer Jürg Conzett for the planning of the nized according to the flow of the electrical current. The trans- outer wall and the anchor portal. former cells and the switchgear are arranged around the cen- The building’s roof surface, which is covered with large stone tral assembly hall with its 100-ton crane and large access door. slabs, completes the stone cube and ensures that the substa- From here, ancillary spaces that are spread over four levels can tion, which is visible from various locations, is able to assert be reached via a stair and elevator core. itself and integrate within the stately mountain scenery thanks It quickly became clear that given the prominent location, the to its powerful appearance and the identity of the material. huge building volume (approx. 16,000 cubic meters) that was The two large glass-block fields cannot be misconstrued as needed, and the environmental impact on the landscape, any normal window areas. Their appearance is more like mica or association with an ordinary “house” should be avoided. This quartz inclusions in a large rock. project’s architectural concept is based on the theme of the The central assembly hall, which serves as the hub of opera- flow and force of energy. tions, is accessed along a drive that cuts through the terrain The building mass is consciously laid out radially to the branch perpendicularly to the building, following the shortest route mast of the Julier line. The guying structure indicates where from the Julier Pass road. the energy flows into the ground, causing it to be “lifted up” The large entrance door (6 × 7 meters) is constructed mono- As a result, a ridge is created on the existing crest in the terrain. lithically of untreated brass and can be silently moved aside By using quarry stone from the excavation (in some cases, with the push of a button. blast rock) to encase the above-ground portion of the struc- ture, which makes up about half of the total cubic volume of the building, and by continuing the side walls until they disap- pear into the terrain, the structure precludes comparison with 31 The work of St.