Arkitektur og design

An album cover collection exploring 70 years of surprising, shocking and frankly hilarious nude and provocative art. Sexy covers sold all musical genres, from funk to punk, and the silly German schlager. Comedy albums range from mid-century "stag party" pin-ups to the undeniably raunchy '70s sensation, Blowfly. Steamy, seamy and adults only.

Viele ikonische Marken wie Rolex, BMW, Louis Vuitton und die New York Yankees verwenden über 100 Jahre alte Logos. Der Designguru Jens Müller hat für diesen Band die Ursprünge des Markenzeichens und die Entwicklung moderner Unternehmensauftritte zurückverfolgt und mehr als 3.000 Logos von der Mitte des 18. Jahrhunderts bis 1980 zusammengetragen.

Von Jugendstil-Plakaten über typografische Anzeigen aus den Sechzigern hin zu Social-Media-Content aus den 2010er Jahren untersucht Jens Müller, wie Grafikdesign jede Gesellschaftsschicht erreichte und die Welt veränderte. Mit Hunderten von Arbeiten und Profilen der Branchenführer ist dieser Band ein Genuss für Designfans und Profis gleichermaßen.

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The renowned Cree artist unmasks a whitewashed, Eurocentric history through provocative paintings full of sexuality and dramaOne of Canada's most renowned artists, interdisciplinary Cree artist Kent Monkman challenges the art historical narrative of settler cultures that colonized First Peoples from North America. He incorporates influences from the canon of European and Euro-American painting, reframing historical, contemporary and speculative future Indigenous experiences. Taking inspiration from Western artists such as George Catlin, as well as from the Old Masters, Monkman's monumental history paintings feature white colonizers in violent conflict with Indigenous people. The depictions range from early colonial encounters to modern and contemporary clashes between Indigenous communities and uniformed police or clergy. In borrowing the visual language of his oppressors, Monkman reclaims the narrative written by Western art history about the brutalization and cultural genocide carried out against Indigenous North American communities.History is Painted by the Victors accompanies the artist's first major exhibition in the United States. The catalog gathers rich analysis of Monkman's art from prominent scholars, expanding our understanding of his oeuvre and offering new insight via queer theory, historical and contemporary contexts, visual analysis and lived experience.Kent Monkman was born in 1965 in Ontario, Canada and is a member of Fisher River Cree First Nation in Treaty 5 Territory. Monkman's works have been exhibited at the Metropolitan Museum of Art, Montreal Museum of Fine Arts, Hayward Gallery, Philbrook Museum of Art, Palais de Tokyo and many more. He is the author of two bestselling novels, The Memoirs of Miss Chief Eagle Testickle, Volumes 1 and 2, which are based on his gender-fluid alter ego who often appears in Monkman's work as a time-traveling, shape-shifting, supernatural being who reverses the colonial gaze to challenge received notions of history and Indigenous peoples. He lives and works in New York City and Toronto. This book was published in conjunction with Denver Art Museum; Montreal Museum of Fine Arts

Clayton's poetic, intricate drawings made on a typewriter capture glimpses of life at the beginning of the Covid pandemicSince 2012, Lenka Clayton (born 1977) has (mis)used the typewriter as a drawing tool. To this date, she has made over 500 typewriter illustrations by using only the letter and punctuation keys on a standard mechanical typewriter. How We Thought It Would Be and How It Was presents 23 of these drawings, executed on a 1957 portable Smith-Corona Skyriter on antique, letter-size typewriter paper. Each drawing carries physical traces of the making process, including folds that enable the paper to move in all directions through the carriage. The subjects are all drawn from direct observation of daily life Clayton experienced during the early weeks of the pandemic in 2020, including her grandma's thumb on the camera during a Zoom conversation, empty supermarket shelves and the remnants of tea towels that were hastily cut up to make homemade masks.

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This pocket-sized pop-up book illustrates legendary fashion brands through their most iconic moments and artifacts, using paper engineering and 3D design.

This pocket-sized pop-up book illustrates legendary fashion brands through their most iconic moments and artifacts, using paper engineering and 3D design.

This pocket-sized pop-up book illustrates legendary fashion brands through their most iconic moments and artifacts, using paper engineering and 3D design.

A significant catalogue of Pakistani-American artist Huma Bhabha’s layered and nuanced sculptures and works on paper that center on a reinvention of the figure and its expressive possibilities.Through the artist’s fusion of materials and influences, Bhabha’s work unites the ancient and the futuristic, evoking both familiarity and otherworldliness. Her formally innovative practice pulls from a wide range of references, from those that span the history of art to quotidian influences such as science fiction and horror films and the makeshift structures and detritus of urban life. Instinctive and rigorous, her work brings diverse aesthetic, cultural, and psychological touchstones into contact with matters of surface, materiality, and formal construction. This publication highlights Bhabha’s ability to move between a wide range of media and forms, creating deeply resonant hybrid figures that seem to simultaneously dwell in the past, present, and future. Published on the occasion of two concurrent exhibitions at David Zwirner in New York in 2024, Welcome . . . to the one who came includes a text by the curator Tausif Noor that investigates the theme of alienation in Bhabha’s work. In his essay, the curator and writer Peter Eleey situates her practice within the arc of art-historical models and contextualizes her first foray into working with cast iron.

Discover the visual dynamism of Raymond Saunders's paintings and his multifaceted legacy as an artist and thinker in this seminal monograph.Saunders’s work brings together the artist's extensive formal training with his own observations and lived experience. His assemblage-style paintings frequently begin with a monochromatic black ground elaborated with white chalk—a pointed reversal of the traditional figure-ground relationship. He subsequently adds a range of other markings, materials, and talismans. At once deliberately constructed and improvisatory, didactic and deeply felt, these richly built surfaces conjure a range of themes, allowing for a vast and nuanced multiplicity of meanings. A record of a two-part exhibition presented at David Zwirner and Andrew Kreps gallery in 2024, this catalogue considers Saunders’s ability to infuse his work with social relevance and commentary. Featured texts include an introduction by curator Ebony L. Haynes; a conversation between Haynes and Studio Museum of Harlem director Thelma Golden about her multidecade engagement with Saunders’s artwork and writing; and a facsimile reproduction of Saunders's seminal self-published pamphlet from 1967 Black Is a Color, along with new annotated commentary by art historian Darby English. An essay by Jarrett Earnest provides an in-depth formal interpretation of two of Saunders’s chalkboard works. Also included is a never before published interview from 1980 between the artist and Judith Wilson in which Saunders discusses his multilayered practice. Lastly, a reprint of a pivotal text from 1993 by art historian Richard J. Powell offers a panoramic examination of Saunders’s art from 1968–1993, with a special focus on his iconic painting Dr. Jesus. This robust group of texts and academic considerations offers a compelling exploration of Saunders’s wide-ranging practice and lasting influence.

Cultural upheavals have brought enormous change to the world of art. This sweeping history, covering more than 200 years, puts recent changes in a revealing new context. Here's the how and the why of changing perspectives that make and break reputations, often reversing who is considered a master one day and who is unknown the next. Each generation of experts believes their own taste is the last word, confident in their opinions about the art that was the best of their time. As the author writes, "People are inclined to view past changes in taste as unique misjudgments that will not happen again; they are incredulous that Botticelli was forgotten and Vermeer overlooked until the late 19th century. They cannot imagine how foolish people were to reject the paintings of Van Gogh or of Picasso and the Cubists, or how angry the Armory Show made many art lovers. How unthinking, how stupid, they think, not realizing that the pattern has been repeated again and again in the past and will be in the future. We now recognize that the process is a continual one. Each past canon was established for good reason; there are no mistakes, there is only history. Many of the favored artists of any period including our own will drop from favor, something that art dealers never tell their clients, or museum curators their boards." Today, museums, critical judgments, and collectors have gone through a dramatic shift. There has been an emergence of new aesthetic standards based on identity, race, justice, and an embrace of diversity. Words such as "masterpiece" have been all but banished in the artworld. One of America's most respected museum curators and art scholars, Theodore E. Stebbins, is uniquely able to put recent shifts in the canon within the context of a regular, generational shift in taste that tells us much about the value that is placed on art--including who decides what matters and what does not--and art's unpredictable future. Profusely illustrated throughout, fascinating, controversial, deeply informed, Rethinking American Art is for any art lover who wants a greater understanding of the constant process of change.

Handcrafted textiles hold a central place in humanitarian aesthetics, ethics, and campaigning, from Oxfam projects to refugee workshops. These crafts evoke images of creativity and resilience but also stand as symbols of labour exploitation. Textile production, particularly in piecework and 'sweated industries, ' has long been a site of protest against poor pay, exploitation, and the erosion of traditional skills. Despite this dual significance, the history of philanthropic interventions in textile craft remains underexplored. This book delves into the intricate connections between craft, labour, and humanitarianism, examining the historical role of textiles in European and imperial humanitarian efforts. Through a series of case studies, it explores how philanthropic organisations and individuals have engaged with handicrafts to address social and economic challenges. Crucially, the book interrogates the complexities of humanitarian craftwork, balancing narratives of empowerment with critical analyses of control, agency, and commodification. Engaging with contemporary socially-engaged textile artists, the contributors reflect on how knowledge of craft practice can reshape historical understandings of humanitarianism. In doing so, it bridges past and present, showing how historical processes become materialised in modern craftwork. This is an essential contribution to the history of labour, material culture, and humanitarian practice, offering fresh perspectives on the intersections of craft and care.

While more than half of the world's population live in cities, informal settlements or slums continue to expand. Concomitant with their worldwide expansion, however, we do not see urban designers and planners wanting to actively engage with the informality conundrum. This bookexplores the informality-urban design nexus, and why formal urban designers and planners have remained largely reluctant or prostrate to address those challenges facing our cities. One could ask what distinguishes the formal vs. informal urban design paradigms in the first place? Experience shows that compounding informality and urban design creates more confusion as opposed to dealing with each theme separately. While urban designers could at least pinpoint specific problems, i.e., walkability, gentrification, visual and economic decline, sense of place, meaning, in their pre-design problem definition stage, informal settlement problems prove inexorably complex, and harder to fathom to begin with. Therefore, seeking to demystify these epistemological ambiguities--while difficult--makes sense. Using abductive reasoning, regulations, aesthetics, and design epitomize formal while information, assets and adaptation characterize the multifarious attributes of informal urban planning and design. Besides these thematic differentiations, this book uses case studies to better contextualize and unpack the metaphorical distinctions of the two theoretical entities. Conceptualizing these two schools of thought this way, the book engages urban designers more into these debates, and explores how informal settlement residents see themselves, act collectively, care about their settlements, or leverage opportunities. The book ends with some observations on avoiding two potential pitfalls surrounding discussions on urban design and informality.

Explores dynamics of water and the built environment in the urban and ecological landscapes of South Asia. Case studies from Bangladesh, India, Pakistan, and Sri Lanka offer guidance to improve climate resilience through water-sensitive development, integrated urban design, and resource management in cities, wetlands and ecosystems.

Emerging trends in Industrial Engineering and Management (IEM) refer to the new and transformative developments, practices, and technologies that are currently gaining prominence in the field of industrial engineering and management.

The text introduces the fundamental concepts and problems relating to green manufacturing at the levels of processes, machines, and systems. It also illustrates the potential for significant improvement and the ways to achieve the improvement using several examples from various industrial sectors.

A highly illustrated memoir on the figure of Carmen Dell'Orefice, the world's oldest working supermodel and actressCarmen Dell'Orefice began her career at the tender age of fourteen when she appeared in Vogue. When she was fifteen, Salvador Dalí painted a portrait of her; Carmen has been a force in fashion ever since, working for the greatest photographers of all time, including Horst P. Horst, Richard Avedon, Lilian Bassman, Norman Parkinson, and Francesco Scavullo. Born in New York City on June 3, 1931, she was discovered by photographer Irving Penn, becoming a prominent figure in the fashion industry. Known for her striking beauty and timeless elegance, Carmen has graced the covers of major magazines, including Vogue and Harper's Bazaar. She is often regarded as one of the longestserving models in fashion history, having worked continuously for more than 70 years. Despite her age, Dell'Orefice has remained a symbol of grace and sophistication, challenging conventional notions of beauty in the modeling world. Throughout her career, she has represented brands, walked in runway shows, and remained an inspiration for many generations of models.

A comprehensive introduction to more than fifty years of work by American artist and architect James WinesWhat Else Could It Mean? Drawings & Writings presents more than five decades of visionary work in art, design, environment, and education by James Wines—artist, architect, and founder of SITE. Featuring rarely seen archival photography, drawings, and essays, this richly illustrated book invites readers to explore Wines' and SITE iconoclastic critiques and creative redefinitions of art, architecture, and urbanism. More than a retrospective monograph, What Else Could It Mean? is a forwardthinking call to action to address the challenges of our time with wit and imagination. James Wines is the founder of SITE, an environmental arts organization established in New York City in 1970. His work spans visual art, architecture, landscape, and public space design, all rooted in a creative response to their surrounding contexts. He has lectured in fiftynine countries and contributed essays to numerous books and magazines across the Americas, Europe, and Asia. In addition to the many published books on the work of SITE, Wines is the author of DEARCHITECTURE (1987) and Green Architecture (2000). His practice has completed over 100 projects for public and private clients in 11 countries. Wines has received prestigious honors, including the Chrysler Award for Design Innovation (1995) and the National Design Award for Lifetime Achievement (2013), and his work has been supported by fellowships and grants from organizations including the National Endowment for the Arts, Kress Foundation, American Academy in Rome, Guggenheim Foundation, Rockefeller Foundation, Graham Foundation, and Ford Foundation.

A captivating book that delves into the unique architectural and design landscape of the cool islandof Ibiza.

Richard Pousette-Dart (1916–1992) ist neben Künstlern wie Jackson Pollock und Mark Rothko einer der bedeutendsten Wegbereiter des Abstrakten Expressionismus. Sechzig herausragende Werke aus allen Schaffensphasen lassen uns in das farbgewaltige und facettenreiche Œuvre dieses Ausnahmekünstlers eintauchen.Die amerikanische Avantgardebewegung des Abstrakten Expressionismus veränderte die Entwicklung der modernen Malerei radikal. Wie viele seiner Mitstreiter:innen beschäftigte sich auch Pousette-Dart intensiv mit Themen wie Mythos, Archaik und Spiritualität. Viele seiner lichtdurchflutenden Arbeiten rufen die Idee transzendentaler Kräfte hervor, oft in motivischer Anlehnung an die Schönheit des Firmaments oder die aufgeladene Energie leuchtender Himmelskörper. Eindrucksvoll zeigt der opulente Band Pousette-Darts Kunst als eine Poesie des Lichts.

Gebäude haben einen immensen Energiebedarf und verursachen einen erheblichen Teil der weltweiten CO2-Emissionen – sowohl während der Bauphase als auch bei Nutzung oder Rückbau. In Zeiten der Energiewende und extremer Wetterphänomene wird somit die Frage "Wie bauen wir in Zeiten des Klimawandels?" umso drängender. Der Band präsentiert internationale Best-Practice-Projekte die sich durch zukunftsfähiges Design auszeichnen und richtungsweisende Antworten geben.Ein Supermarkt in wiederverwertbarer Holz-Beton-Konstruktion mit Dachfarm; ein Kindergarten erbaut mit Recyclingmaterial von vor Ort; die Sanierung eines Bürogebäudes, das ohne Klimaanlage und Lüftungssysteme auskommt – die Möglichkeiten zur Reduktion von Emissionen und Energiebedarf bestehen neben Materialwahl und innovativen Betriebskonzepten, vor allem auch darin, den gesamten Lebenszyklus eines Gebäudes mitzudenken; hierzu gehört auch, im Zweifelsfall eher zu sanieren als neu zu bauen. Der Band vereint anschaulich konkrete Beispiele und gibt Ansatzpunkte für das Bauen von heute und morgen.