Arkitektur og design

Engineers, designers, applied mathematicians, physicists, and historians of science can now directly access James Clerk Maxwell's seminal ideas in structural mechanics. Annotations of his texts combined with summaries of the latest research show how this often-overlooked aspect of Maxwell's work has immediate relevance for 21st-century design.

The Covid-19 crisis and the designed interventions that the authors have catalogued in this book prove definitively that design does care. The authors documented this as it evolved every day from the 1st January 2020 to 31st May 2020 inclusive. Then they looked at all of this care and caring from the point of view of design and, by the sheer volume of design interventions they have documented, illustrate that design is good in a crisis.What the Covid-19 pandemic illustrated is that for the first time in modern history, capital was totally irrelevant. Money could not save your life. Only design could. Rapidly designed masks, shelters, hospitals, instructional posters, infographics, dashboards, respirators, sanitisers, virtual and local communities emerged to save us. From January 2020, design became king.The Covid-19 global pandemic presented an ontological reality; design is more than margins or profit. In fact, design became extremely valuable when it stopped concentrating on those things and started to care about peoples' lives. This brief episode in history is still repositioning the status of design and reconfiguring its signifier from consumption to care.The contents of this book cover the outbreak, lockdown, and the beginning of the reopening in the UK. In between, the book functions as a history of pandemic crisis design interventions. As such it is a "research-in-the-moment project" where we have illustrated our thoughts and insights in tables, charts and diagrams. We have accepted all design interventions as valid and given them the same role and status by presenting each of them in a standard format. No curation. No selection. No position. The task of critical analysis must follow - perhaps by us, certainly by others.

Since we imagine something intentional about a community both in its formation and its function as a new entity, there is something both baffling and attractive about the idea of a "plant community." Do plants know what they're doing? Some claim our attention: good to eat, good to smell, get stuck to your clothes. For a majority, plants or plant communities arouse a restricted admiration: lawn. A lawn can be a plant community, an atrocious one to be sure. But I'm thinking of plant communities in the eyes of God, where the plants foregather in ancient times and set out toward infinity. These deserve the word community, and the individuals who make them up are original in the extreme, as they must be: they live in a tough town.It is our luck that the eternal aspects of these daredevils have fallen to the eye of artist Lindy Smith who has used the sun in ways known best to her to reveal the souls of plants as lives, as archetypes, as semaphore. Their shapes seem to belong to dreams while for all their unexpectedness they are no more accidental than dreams. What we see emerges from the lives they've lived in deep time; their importance hangs over them as an aura. We long to say their names: milkweed, mullein, bulrush, fescue, rush, yarrow. Or, on the other hand, sumpweed, pigweed, spurge. They belong to the things we see for the first time while recognizing we've known them always, hence the longing to absorb their eternal forms. Creation--we have it by our fingertips, just. Smith's images Smith has discovered the souls of so many plants I thought I knew and left their essential signatures on my mind that I will never see them in the same way again, or more to the point, forget them again. I wish I knew enough about the process to understand what help the sun has been in finding these plants out. But here they are, seen by an artist, and what help it is.--from the Preface by Tom McGuane

The Dance Advantage offers a fresh, empowering approach to raising confident, motivated and resilient kids.

The Conserving of Violence discusses the governance of protected forests in Zimbabwe to spotlight the structural and operational ways in which violent tactics are produced, employed and sustained to promote nature conservation. An important addition to political ecology, environmental justice and the broader environmental humanities.

A survey of the leading interior designers and architects who are collectively defining the city’s signature style.As perhaps the most diverse city in the world, Toronto is a veritable patchwork of cultures, styles, languages, and neighbourhoods—each with its own distinct architecture. With heritage rowhouses in Cabbagetown, glass towers overlooking Lake Ontario, narrow Victorian Bay-and-Gables in the Annex, grand Georgians in Rosedale, and wartime bungalows on the edges of the city, there truly is something for everyone. The interiors of these distinct home styles are no less unique, but, when taken together they exemplify the push and pull between heritage and modern sensibilities that has created a true design movement in this city on the lake.In Toronto Interiors, design writer Catherine Macintosh profiles 30 established and emerging local studios that are evolving the living spaces and streetscapes for the next generation of Torontonians. Whether bringing their talents to innovative renovations or new builds, these studios are crafting homes that are beautiful but not precious; homes that are made for how we live now. Within these deeply personal and highly functional spaces are moments of true creative brilliance—the artistic use of light, the seamless interplay between indoors and out, unique focal points, a careful mix of natural materials, and a delicate balance between old and new. The exemplary homes in Toronto Interiors feel at ease in their settings, adding to the city’s unique urban landscape.Toronto Interiors spotlights a moment in time when high design and individuality are expertly applied by designers challenging the status quo, inspiring readers to look at their own spaces through a new lens. Featuring 87 projects brought to life in stunning full-colour photography, Toronto Interiors is a book to both read and dream on.

Ask Haida artist and hereditary chief 7IDANsuu James Hart how long it took him to master the art of carving, and he'll tell you: "Around ten thousand years." Hart has achieved national prominence and international acclaim for his towering poles, stately cedar sculptures, and massive bronzes--monumental works that extend the long continuum of Haida visual traditions into powerful new forms. Since his early days assisting Robert Davidson and Bill Reid, through his reproductions of historical Haida poles and his carving of original house front, story, and memorial poles for private commissions and clan-based contexts in Haida Gwaii and beyond, he has developed an innovative practice rooted in tradition, and widely celebrated: thousands of people gathered to witness the raising and activation of his Reconciliation Pole; his Three Watchmen bronzes overlook the Audain Art Museum, National Gallery of Canada and the Plains of Abraham; and The Dance Screen (The Scream Too) in Whistler is considered a once-in-a-generation sculptural masterpiece. This, the first publication devoted to Hart, is both a survey of his major career achievements and a document of an impossible-to-assemble exhibition. Alongside hundreds of photos of nineteen monumental works and associated smaller carvings and bronzes scattered across North America and Europe, and drawing on over two years of interviews with the artist, Curtis Collins illustrates how key animal and supernatural figures reappear across scales and mediums, from jewellery to sixty-foot poles (the "backbone" of his practice), and speaks to the associated activation ceremonies as integral to Haida monumental art. Wade Davis considers Hart's expressions of Haida resilience within the people's long history, from time immemorial to the nation's present-day efforts towards national sovereignty; Gwaliga Hart offers a personal perspective on his father's work; and in an autobiographical essay the artist himself reflects on his life, and his life's work.

This visually rich book celebrates design ingenuity – acknowledging the significant contributions of disabled individuals and communities to design and making the point that, simply put, inclusive design is better for all.

An illustrated obsession, a guidebook, a kaleidoscope of life on the wing.Liam O'Brien has spent three decades chasing, learning about, protecting, occasionally catching, and always loving butterflies. Here, he shares his capacious knowledge of California butterflies through a treasure trove of stories and 700 gorgeous, hand-drawn illustrations—featuring both adult forms and caterpillars—of the 135 species that live in the greater Bay Area. This sumptuous book also shares practical tips for finding and identifying all the butterflies who call the Bay Area home. Learn which plants nurture Silver-spotted Skippers, which trail to hike to see Swallowtails flitting creek-side, and why so many butterflies cluster on hilltops. Share in the joy that O'Brien brings to the study of butterflies, and join the community scientists contributing to our understanding of Monarchs, Metalmarks, and Marbles—and what they need to survive and thrive in our busy Bay Area.

Catalogue celebrating and accompanying the exhibition to be held in Paris et La Galerie d'Architecture from 8 November to 7 December, featuring nine works of architecture.

Die Publikation, die als Dokumentation zur gleichnamigen Ausstellung in der Sammlung Philara erscheint, nimmt Aspekte der Freiheit, Selbstbestimmung und der Ekstase körperlicher Liebe in den Blick und führt zwei international renommierte Positionen zusammen: William N. Copley und Dorothy Iannone. Während Copley vom Dadaismus, Surrealismus und der Pop-Art beeinflusst war, kam Dorothy Iannone über den amerikanischen Expressionismus, der in den 1950er-Jahren vorwiegend männlich geprägt war, zu ihrer ganz eigenen Bildsprache.Erstmals werden die Arbeiten von Copley und Iannone in einer Gegenüberstellung gezeigt. Im Werk beider Künstler*innen lassen sich spielerische Formulierungen von Freiheitlichkeit und die Würdigung des Alltäglichen ebenso erkennen wie der humorvolle Umgang mit wiederkehrenden Bildelementen, Symboliken, Narrativen und Text.Zu Lebzeiten hatten beide Künstler*innen nur wenige Berührungspunkte. Unabhängig voneinander entwickelten beide eine extrem konsequente Bildsprache, die Parallelen wie auch deutliche Unterschiede erkennen lässt. Ein Ausbrechen aus Gender- und Rollenklischees, gesellschaftlichen Normen und der damit verbundene Kampf gegen Zensur sind kennzeichnend für Iannones Bilder; Copley dagegen wählte Darstellungen, die in ihrer strikten Durchformulierung und Überspitzung von Geschlechterrollen bis ins Absurde einen zutiefst doppelbödigen Humor beweisen.

In ihrer neuesten Werkserie All About Eve, an der die US-amerikanische Künstlerin Ruth Marten (*1949) seit 2022 arbeitet, offenbart sich ein komplexes Spiel mit Realitäts-, Zeit- und Gattungsgrenzen voll hintergründigem Humor.Ruth Marten begann in den 1970er-Jahren als Tattoo-Künstlerin und war später als Illustratorin für verschiedene Verlage und amerikanische Zeitschriften tätig. Hier lernte sie auch die für ihr künstlerisches Werk maßgebliche Technik der Übermalung und Collage kennen. Als Grundlage ihrer Arbeiten dienen Marten alte druckgrafische Blätter aus dem 18. und 19. Jahrhundert sowie Fotografien aus dem späten 19. und frühen 20. Jahrhundert.Durch die Überarbeitung der Originale schafft Ruth Marten eine faszinierende Verbindung zwischen historischen Darstellungen und zeitgenössischen Perspektiven. Thematisch kreisen ihre Arbeiten und Werkgruppen um Themen wie Identität, Sexualität, den gesellschaftlichen Blick auf die Rolle und Erscheinung der Frau oder das Verhältnis von Natur und Mensch.Die Serie All About Eve reflektiert im Spezifischen den tiefgreifenden kulturellen Wandel der 1920er-Jahre: Die von Marten überarbeiteten Heliogravüren zeigen Tänzerinnen eines französischen Varie¿te¿theaters, die die neuen Freiheiten der Nachkriegszeit verkörpern. Durch ihre künstlerischen Eingriffe betont Marten die Vielfalt und Komplexität weiblicher Möglichkeiten und versetzt diese mit der ihr typischen Prise aus Humor und Subversion.

Die filmischen Arbeiten von Silke Schönfeld (*1988) bewegen sich zwischen Installation, Inszenierung und dokumentarischem Film. In der Auseinandersetzung mit sozialen Medien und der allgegenwärtigen Bilderflut setzt sie auf Doppeldeutigkeiten, fragt nach der Authentizität von Bewegtbildern und verfrachtet damit die Zuschauer in einen diffusen Bereich zwischen Inszenierung und Dokumentation.Dabei interessiert sich Schönfeld vor allem für Orte und Situationen, die so alltäglich sind, dass sie einem nicht (mehr) auffallen und man achtlos an ihnen vorbeigeht. Diese zunächst unscheinbaren Orte und Situationen werden für die Künstlerin zu Ausgangspunkten, um über größere, gesellschaftlich relevante Themen nachzudenken. Persönliche Geschichten verwebt Schönfeld gekonnt mit historischen und gesellschaftlichen Kontexten und lenkt so den Blick subtil auf soziale Phänomene, Rituale, Ideologien und gesellschaftliche Prozesse.Die Publikation erscheint anlässlich der gleichnamigen Einzelausstellung im HMKV Dortmund und stellt fünf großformatige Videoinstallationen vor. Umfangreiche Bildstrecken und Einführungstexte werden um ein ausführliches Interview mit der Künstlerin ergänzt.

What is the future of the image in the age of climate change and artificial technology? - from the highly acclaimed video artist and author of Duty Free Art