Future Offices examines the evolving nature of the office as a spatial asset. Rapid changes in culture, technology, and society have upended longstanding notions of offices and the nature of work itself. While companies and capital around the globe have become increasingly consolidated, labour vis-à-vis technology has become increasingly decentralized. The office, traditionally a key spatial interlocutor between labour and capital is caught in an awkward position with typological considerations for architecture. What should the future office look like? What is the future role of the headquarters? What does the office’s changing role mean for urbanism? The works collected here provide frameworks for understanding the complex and multifaceted nature of contemporary work, manufacturing, and commerce, and they aspire to influence new ways of conceiving architecture at multiple scales. They speculate upon a future where offices acquire new facets as resources of space, knowledge, and production that participate in local and global economic and cultural contexts in new hybridised forms. At the heart of this is a recognition that the new ways in which companies integrate into in society should be reflected in architecture itself.
The novelist, writer, curator and cultural commentator Michael Bracewell has written extensively for museums and galleries, along with art publications as diverse as Frieze and The Burlington Magazine, approaching visual art through its cultural context, the lens of the recent past and prolonged looking.
Bracewell’s art writing focuses on detailed descriptions of works of art, expanding their interpretation to include media, politics, music, poetry and other areas of cultural production. By exploring connections between the visual arts, pop music, modern iconography and subcultures, while appraising the vision and ideas of individual artists, he relates their work to its broader cultural context.
This collection of texts reads like a history of British art (and the UK itself) from the 1950s to the 2010s, featuring artists such as Richard Hamilton, Bridget Riley, Gilbert & George, John Stezaker, Wolfgang Tillmans, Leigh Bowery, Glenn Brown and Damien Hirst. Each essay is accompanied by an illustration selected by Bracewell, and the publication concludes with a body of autobiographical writings.
“If you really want to get under the skin of a city, the 500 Hidden Secrets series, which covers a number of cities from Havana to Ghent, all written by people who know the cities inside out, is ideal. It’s an innovative and refreshing take on the traditional travel guide.” – The Independent
The perfect book for those who wish to discover the locals’ favourite spots in Venice, one of the most popular tourist destinations in Europe. Avoiding the usual tourist haunts, this affectionate guide provides a fresh perspective on the must-visit spots and introduces you to Venice’s best-kept secrets, such as 5 restaurants that most tourists will never find, 5 cosy markets in the open air, the 5 most beautiful buildings by architect Carlo Scarpa, 5 convents where you can spend the night, the 5 nicest bookshops for kids and much more.
The Art & Times of Daniel Jocz presents the entrancing and challenging work of American jewellery artist and sculptor Daniel Jocz. There is a spontaneous quality to the work, yet it is always rich with meaning. His open spirit is fully embodied in the 2007 neckpiece series An American’s Riff on the Millstone Ruff. Inspired by the extravagant scale of 17th-century Dutch ruffs at the Rijksmuseum in Amsterdam, he decided to update them with automobile paint.
Jeannine Falino takes an in-depth look at the twists and turns of Jocz’s long career, from his early geometric sculptures to the fashion-forward flocked Candy Wear collection, and from his ruminations on Marlene Dietrich in the form of necklaces featuring enamel smoked cigarettes to the wall reliefs he explores today. Wendy Steiner considers Jocz’s place in the avant-garde through the lens of fashion and culture, while Patricia Harris and David Lyon explore his involvement in the rollicking Boston jewellery scene of the late 20th century.
“Newman’s preternaturally piercing baby blue eyes shine through in every picture, and he was well aware of how his fame rested on the colour of his irises.” — Peter Sheridan, Daily Express
Once, when asked how he’d like to be remembered, Paul Newman replied: “I’d like to be remembered as a guy who tried. Tried to be part of his times, tried to help people communicate with one another, tried to find some decency in his own life, tried to extend himself as a human being.”
As an actor who became a film star, Newman repeatedly tapped into his times and in doing so redefined what movie stardom could be. Newman was a new kind of movie star, bringing a particular authenticity, intensity and sensitivity to his performances.
Throughout his career, Newman was extensively photographed: these images enriched film audiences’ connection to him as a cool and graceful presence both on and off-screen.
Milton Greene, Douglas Kirkland, Lawrence Fried, Terry O’Neill, Al Satterwhite and Eva Sereny are amongst the photographers who worked with Newman on and off-set across his career. From early stage work with his wife, Joanne Woodward, to his love of racing cars, to the essential 1980s drama Absence of Malice to the great success of the new western Butch Cassidy and the Sundance Kid and the cult favourites, Pocket Money and The Life and Times of Judge Roy Bean, Newman’s movies were an essential part of American culture.
With comment and contributions from the photographers, Paul Newman: Blue-Eyed Cool, gathers together portraits, stage, racing and on-set photography — including never before seen images — in a celebration of an actor who was always… cool.
“Newman’s preternaturally piercing baby blue eyes shine through in every picture, and he was well aware of how his fame rested on the colour of his irises.” — Peter Sheridan, Daily Express
Once, when asked how he’d like to be remembered, Paul Newman replied: “I’d like to be remembered as a guy who tried. Tried to be part of his times, tried to help people communicate with one another, tried to find some decency in his own life, tried to extend himself as a human being.”
As an actor who became a film star, Newman repeatedly tapped into his times and in doing so redefined what movie stardom could be. Newman was a new kind of movie star, bringing a particular authenticity, intensity and sensitivity to his performances.
Throughout his career, Newman was extensively photographed: these images enriched film audiences’ connection to him as a cool and graceful presence both on and off-screen.
Milton Greene, Douglas Kirkland, Lawrence Fried, Terry O’Neill, Al Satterwhite and Eva Sereny are amongst the photographers who worked with Newman on and off-set across his career. From early stage work with his wife, Joanne Woodward, to his love of racing cars, to the essential 1980s drama Absence of Malice to the great success of the new western Butch Cassidy and the Sundance Kid and the cult favourites, Pocket Money and The Life and Times of Judge Roy Bean, Newman’s movies were an essential part of American culture.
With comment and contributions from the photographers, Paul Newman: Blue-Eyed Cool, gathers together portraits, stage, racing and on-set photography — including never before seen images — in a celebration of an actor who was always… cool.
“Newman’s preternaturally piercing baby blue eyes shine through in every picture, and he was well aware of how his fame rested on the colour of his irises.” — Peter Sheridan, Daily Express
Once, when asked how he’d like to be remembered, Paul Newman replied: “I’d like to be remembered as a guy who tried. Tried to be part of his times, tried to help people communicate with one another, tried to find some decency in his own life, tried to extend himself as a human being.”
As an actor who became a film star, Newman repeatedly tapped into his times and in doing so redefined what movie stardom could be. Newman was a new kind of movie star, bringing a particular authenticity, intensity and sensitivity to his performances.
Throughout his career, Newman was extensively photographed: these images enriched film audiences’ connection to him as a cool and graceful presence both on and off-screen.
Milton Greene, Douglas Kirkland, Lawrence Fried, Terry O’Neill, Al Satterwhite and Eva Sereny are amongst the photographers who worked with Newman on and off-set across his career. From early stage work with his wife, Joanne Woodward, to his love of racing cars, to the essential 1980s drama Absence of Malice to the great success of the new western Butch Cassidy and the Sundance Kid and the cult favourites, Pocket Money and The Life and Times of Judge Roy Bean, Newman’s movies were an essential part of American culture.
With comment and contributions from the photographers, Paul Newman: Blue-Eyed Cool, gathers together portraits, stage, racing and on-set photography — including never before seen images — in a celebration of an actor who was always… cool.
“Newman’s preternaturally piercing baby blue eyes shine through in every picture, and he was well aware of how his fame rested on the colour of his irises.” — Peter Sheridan, Daily Express
Once, when asked how he’d like to be remembered, Paul Newman replied: “I’d like to be remembered as a guy who tried. Tried to be part of his times, tried to help people communicate with one another, tried to find some decency in his own life, tried to extend himself as a human being.”
As an actor who became a film star, Newman repeatedly tapped into his times and in doing so redefined what movie stardom could be. Newman was a new kind of movie star, bringing a particular authenticity, intensity and sensitivity to his performances.
Throughout his career, Newman was extensively photographed: these images enriched film audiences’ connection to him as a cool and graceful presence both on and off-screen.
Milton Greene, Douglas Kirkland, Lawrence Fried, Terry O’Neill, Al Satterwhite and Eva Sereny are amongst the photographers who worked with Newman on and off-set across his career. From early stage work with his wife, Joanne Woodward, to his love of racing cars, to the essential 1980s drama Absence of Malice to the great success of the new western Butch Cassidy and the Sundance Kid and the cult favourites, Pocket Money and The Life and Times of Judge Roy Bean, Newman’s movies were an essential part of American culture.
With comment and contributions from the photographers, Paul Newman: Blue-Eyed Cool, gathers together portraits, stage, racing and on-set photography — including never before seen images — in a celebration of an actor who was always… cool.
Russell “Russ” Melcher came to Europe and photographed the superstars of the time, either during their visits to Paris and France or accompanied them on worldwide trips. He witnessed many world events from film festivals to terrorist attacks. Among the portrayed were royal families like the Windsors, Grace Kelly & the Monegasques, as well as film legends like Romy Schneider, Alain Delon, Burt Lancaster, Erol Flynn, Alfred Hitchcock, Sofia Loren, Brigitte Bardot, and music legends like Frank Sinatra, Elvis Presley, Harry Belafonte, and Yves Montand. In addition, there were political greats such as Charles DeGaulle, Fidel Castro, Nikita Khrushchev, the Shah of Persia, American presidents, and many more. Later Russ Melcher became director of the legendary photo agency MAGNUM and worked with photo legends Robert Capa, Henry Cartier-Bresson, Ian Berry, Bruce Davidson, Elliott Erwitt, to name a few.
This large-format photo book is about the stories behind the images and personalities. Entertaining, humorous, but also profound, Russ describes his way to the perfect photo, his individual perspective, up to the importance of photographic storytelling of this ‘Golden Age of Photojournalism’. Russ Melcher is an important witness to that time, but also an American entertainer in Paris who encouraged his protagonists to do things that few photographers could manage, a true and trusted partner to the stars of that era through the ages. The book is organised according to the two decades and Russell’s encounters with the stars of the time.
Text in English and German.
The Many Lives and Deaths of Louise Brunet brings together several hundred works of art, objects and archival documents, covering diverse geographies over several millennia. From Cranach to 1960s industrial design, and ancient funerary stele to 18th century Japanese Samurai armour, the exhibition draws on the collections of local and foreign institutions. It exhumes trans-historical narratives of fragility and resistance and confronts them with a diversity of works by the biennale’s invited artists.
Departing from the context of Lyon, the exhibition is designed as a retelling of the obscure 19th century story of Louise Brunet, a silk spinner from the Drôme, who after joining the revolution of the “Canuts” (silk weavers) in 1834, embarked on an arduous journey of self-reinvention, which ended in the Lyon-owned silk factories of Mount Lebanon. Louise Brunet is portrayed as an elusive figure, part real, part fictional, that appears in different guises, in various places, at several moments in history.
A World of Endless Promise assembles a host of creative practices by 88 artists from 39 countries that are spread across 12 locations spanning several centuries of Lyon’s rich history.
Whether through the issues they tackle, or the materials they use, these artists’ diverse approaches represent varied understandings of our current state of global uncertainty and has the potential to inform our thinking about generative paths of resistance. In recognising that artists, past and present, are often among the most vulnerable voices in our societies, the exhibition also brings together works of art and objects spanning millennia that bare their scars and deformities, share forgotten accounts of turmoil, and draw attention to the indelible traces of time. And it is exactly there, at the heart of their fragility, that the promise of a truly changed world begins.
This book aims to help readers rediscover the sacredness of the everyday landscapes around them in order to shed light on the ecological imperatives of our time. Drawn from the union of art, nature, and metaphysics, it presents some of the myths and legends of antiquity as they might be recognised by our modern society of earth-shapers. Through word and image the authors reference the ecological and environmental concepts found at the core of traditional environmental knowledge and provide a new context for environmental engagement that merges the spiritual and phenomenological with the scientific and empirical. Wisdom of Place can be used by anyone — from creatives to spiritual seekers, landscape architects to coders — to call forth the voice of the genius loci — the spirit of place — and reveal the creative forces and hidden currents of nature.
The photography collected in A View from the Top may have arisen out of a desire to document a singular body of work—the Viewpoint Collection. Through Kelley’s eye, lens, and postproduction choices, however, it advances the very way that buildings can be photographed and understood, allowing us to visit residences that most of us will never see in person.
The photographs also demonstrate that these projects are quintessentially Californian. Their emphasis on open plans, airy modernism, the indoor-outdoor relationship, natural textures and colour-palette, and an intensive attention to landscaping are also quintessentially Los Angeles. The buildings—which are the creations of some of the world’s most renowned architects—are inspired and inspiring. They are luxurious, aspirational, and visually exciting. The book is both a valuable contribution to architectural history and a pleasure to read.
Montreal is so much more than its old world architecture and love of wine and cheese. The Quebecois metropolis is bursting with enough joie de vivre to make just about anyone want to get out and explore its cobblestoned and pothole-ridden streets — and true Montrealers know that the city has its own unique identity and quirks that place it in a league all its own.
Spend a wine-fuelled cinq à sept with a ghost at the city’s oldest bar. Get up close and personal with a life-like portrayal of Benito Mussolini. And go skating in the middle of the downtown core — any time of the year.
This guide comes as a love letter to Canada’s largest French-speaking city and everything it has to offer its residents and travellers. Visiting and full-time Montrealers alike will be pleasantly surprised by what can be discovered beyond the cobblestone and steeples if only you’re willing to take the side streets.
Most people go to Napa and Sonoma in Northern California for the wine, and rightly so. The trove of 111 unexpected treasures in this guidebook, however, vastly broadens the possibilities for exploring and experiencing this region in a whole new way. The area is filled with natural wonders, from giant redwood forests and rolling hills, to cliffs and beaches, and even a secret spot to see 20,000 migrating grey whales. Discover the history of Native people who lived here for millennia. Walk in the footsteps of titans of literature, film, and design. Linger in museums featuring fine art, culinary history, and a hubcap collection. You’ll find a sense of whimsy here, too, as you hunt for fairy doors or stroll through a pygmy forest. Visit restaurants, gardens, music venues, gravesites of people who made an impact here, and more places you never imagined existed – and, yes, a few truly unique wineries too.
René Staud, the grand master of automobile photography, has published a new illustrated book. In his coffee-table book Black Beauties, the automotive photographer devotes himself entirely to the colour black. In this extraordinarily book, Staud takes car lovers on a journey through time and presents the top models of the world’s greatest sports car brands. From the legendary Alfa Romeo 8C from the 1930s, to the declared goddess Citroën DS, to the fastest open-top series sports car, the Bugatti Veyron Grand Sport Vitesse, the star photographer demonstrates the aesthetics that the colour black lends a car.
Staud’s photographs are characterised by his trademark striking style and uniquely showcase the classic elegance and sporting potency of the vehicles.
But this impressive coffee table book does not only inspire with its great photos. The texts are by Jürgen Lewandowski, a luminary in automotive journalism and author of over 90 books on the subject. In addition, comments by Andrea Zagato (CEO Zagato), Gorden Wagener (head of design Mercedes) and Stephen Bayley (journalist and design critic) are included to provide the reader with specific insider knowledge from the industry.
Text in English and German.
Porsche, this car brand stands for power, precision and design. To mark the 75th anniversary of Porsche sports cars, photographer René Staud and Porsche expert Tobias Aichele present the impressive photo book Porsche – A Passion for Power.
In vivid images, the two authors illuminate the models of the Stuttgart-based carmaker along the timeline of the company’s history. The coffee-table book is structured chronologically, from the first Porsche Type 356 No. 1 to today’s top model, the Taycan. The impressive photos were mainly taken in the studio of the famous automobile photographer René Staud. With his sophisticated lighting technique, the Magicflash®, he conjures up shots that perfectly vividly depict the design and shape of the vehicles.
Hardly anyone knows the Porsche company as well as Tobias Aichele. And so it almost seems like a knighthood that the author of the bestseller Porsche 911 – Forever Young and the multiple award-winning book Mythos Porsche contributed his exciting content to this illustrated book. For die-hard sports car fans, Aichele has compiled a comprehensive model chronology and a lot of information about the company history of the sports car manufacturer.
Text in English and German.
At the age of 48, when she moved to the Isle of Wight, Julia Margaret Cameron (1815-1879) was given a camera by her daughter: “It might amuse you, Mother, to try to photograph during your solitude at Freshwater.” The gift was to begin Cameron’s short but prolific career as one of photography’s first great artists.
“From the first moment I handled my lens with a tender ardour, and it has become to me as a living thing, with voice and memory and creative vigour.”
The modern interest in Cameron’s photography began with the pioneering 1926 book by her great-niece Virginia Woolf and art critic Roger Fry. Their essays and the original plates are reprinted here, together with Cameron’s own account of her life in photography, Annals of My Glass House, her only surviving poem, On a Portrait, and an introduction by Tristram Powell.
Thirty-nine plates and other illustrations have been added, including many of Cameron’s most famous images.
The war in Ukraine has brought about a newfound curiosity and interest in a country that is often misunderstood. Beloved Ukraine offers a glimpse into this country before the recent conflict, as captured through the lens of National Geographic Society photographer, Paul Chesley, over the course of several years. Beloved Ukraine is a tribute to this enigmatic country and its people.
“…his stories are always interesting, lively and well written, giving an insight to the art world as he experienced it.” — Literary Review
“If you read one book on art this year, it must be this brilliant critique of art today seen through the lens of retired museum curator Julian Spalding.” — International Property & Travel
Julian Spalding’s career as a curator and creator of museums was amongst the most controversial and effective of his time. In this collection of essays and memoirs he revisits some of the important events and battles of the last 40 years, when he spearheaded resistance to the cult of conceptual art being promoted from the centre. Witty, illuminating, coruscating and blazingly intelligent, this book is a vital guide to the ways in which we consume art today, for good or ill.
In Reimagined Worlds: Narrative Placemaking for People, Play, and Purpose, Margaret Chandra Kerrison presents an indispensable manifesto, compelling designers of environments and experiences to embrace a people-centred approach fuelled by intentional narratives. This thought-provoking book delves into the realm of uncharted possibilities, envisioning a world that fosters a deep sense of belonging and authentic self-expression. She shares her unique insights, drawing from her experiences as a former Walt Disney Imagineer and the 2023 Paul Helmle Fellow at Cal Poly Pomona’s School of Architecture. By combining storytelling with architectural and experiential design, the book inspires the creation of meaningful places that cultivate strong communities and shared values. Through this narrative lens, she encourages us to imagine and build a world we truly desire to inhabit, one that thrives on collaboration and purposeful living.
A Year in the Vineyard is a tribute to the cycle of the vine. From winter pruning to vine leaves capturing the energy of the late autumn sun, the narrative is spun through vignettes about activities in vineyards around the globe, accompanied by photographs and background paintings. The book honours seasonal rhythms and rituals without glossing over potential risks, such as hail piercing acres of nascent chardonnay in Champagne or wildfires in the Napa Valley. The hope is that each spread captures a gesture, a step in a dance with the natural world, thus providing an experiential understanding of the axiom ‘wine is made in the vineyard’ and of the notion that fine wines are achieved in tandem with nature, not through triumph over the elements. It also shows wine growers as operating on the front line of the climate crisis, posing questions and offering potential remedies in response to the earth’s changing ecology.
“Award-winning Belgian photojournalist Nick Hannes casts a critical eye on six newly built capital cities around the world, from Korea to Kazakhstan, and questions whether they are really serving the people who live in them.” — Elle Decoration UK
What does the ideal capital look like? Photographer Nick Hannes travelled to six countries – Egypt, Korea, Nigeria, Kazakhstan, Indonesia and Brazil – that have recently built a new capital or are in the process of doing so. Each and every one of them is a typical example of what Rem Koolhaas calls the Generic City: a planned city without historical layers, local identity, or its own character. As a visual sociologist with a sharp eye for detail, Hannes searches for the human dimension in a setting full of spectacular architecture and pompous prestige projects. New Capital is a critical reflection on unbridled neoliberal urban development and its social and ecological consequences, but is also peppered with subtle humour and surprising coincidences. Meandering between pride and sadness, New Capital shows how utopia and dystopia are sometimes surprisingly close.
Bruges has many faces. Its proud towers, elegant stepped gables and charming squares were once the scene of bloodshed and intrigue, but also of budding romances and excessive wealth. Seduced by its illustrious past, Bruges attracts countless visitors who come to soak up the romance and atmosphere of yesteryear. Apart from the must-see sights like the Rozenhoedkaai, the Beguinage, the Minnewater and the Grote Markt, the city also boasts countless intimate corners, authentic squares and tranquil green oases that provide a retreat for those seeking some peace and quiet. Through the lens of photographer Selina De Maeyer, the essence of Bruges comes to life. Her evocative photographs capture the city in all its bustling vibrancy, its occasional weariness, and even moments of wistfulness. They offer a poetic glimpse into the soul of the city and take us on a journey from the iconic hotspots to the hidden gems.
Text in English, French and Dutch.