In the middle of the electromagnetic spectrum between the binary extremes of black and white it’s not gray, as you might expect, but green. And within green’s bandwidth there are more tonal variations than any other colour can make. Maybe this is why – envy, naivete, and money aside – green is generally synonymous with good. Green is paradise for Islam, luck for the Irish, and a healthy planet for environmentalists. Whereas the industrial past was grey, the future is green.

LA+ Green explores the green spectrum from plants to politics and from art to science, with contributions from: Noam Chomsky; Robert D. Bullard; Kassia St. Clair; Neil M. Maher; Rob Levinthal; Sonja Dümpelmann; Peder Anker; Robert Mcdonald; Parker Sutton; Tamara Toles O’Laughlin; Nicholas Pevzner; Michael Marder; Shannon Mattern; Michael Geffel; Brian Osborn; Julian Bolleter; Cristina Ramalho; Robert Freestone; Richard Weller; Michael Geffel; Brian Osborn; Julian Raxworthy.

Back-lit in the morning, the olive tree differs greatly in appearance from in the afternoon or at sunset, each time offering new perspectives as well as new photographic collections. Jacques Berthet has long been interested in the olive tree. The idea of studying them came to him during a photography project which took Berthet all around the Mediterranean: from the Alentejo region in Portugal to the Pleistos Valley at Delphi, passing through Kabylia, Tunisia, to the Middle East, in Israel and the West Bank. In his photography, Berthet opts for black and white to distance himself from botany and move closer towards sculpture or drawing, opting for backlighting to single out the chosen tree against the backdrop of the olive grove which remains bathed in light.

The olive tree has remained a significant influence in the everyday life of cultures around the Mediterranean. In ancient poetry and writing, it is the most venerated of trees. The Greeks made it a sacred tree (particularly for its oil, used in lamps), and so have the people of Tunisia and Algeria in more recent times. In Islamic cultures, it is the cosmic tree, the centre and the pillar of the world, symbolising universal man. What sets the olive tree apart from many other species is that no two trees look alike, and its fate is closely linked with that of man.

Text in English and French.

Presents a selection of more than 100 furnishing textiles and designs that range from a spectacular printed hanging designed by the Wiener Werkstätte artist, Dagobert Peche, between 1911 and 1918, to a series of dramatic woven, silk and metal wall coverings Les Colombes designed by Henri Stephany for the 1925 Exposition Internationale des Arts Decoratifs et Industriels Modernes. The Art Deco period is well represented by the works of Raoul Dufy, Alberto Lorenzi, Robert Bonfils, Alfred Latour, Emile Alain Seguy and Paul Dumas. Although the majority of pre-Second World War textiles are of French origin, the exhibition also includes some rare British furnishing fabrics from the 1930s, in particular the iconic and very elegant Magnolia Leaf by Marion Dorn, woven in off-white and silver viscut by Warner & Sons in 1936. During this period, Britain attracted talented European designers, such as Jacqueline Groag and Marian Mahler who had trained with Josef Hoffmann at the Vienna Kunstgewerbeschule. They became highly influential in creating a ‘New Look’ that took hold of Britain after the austerities of the Second World War. ‘The Festival of Britain,’ held in 1951, was epitomised by Calyx which launched the career of its designer, Lucienne Day and is now considered to be a landmark of post-War design. So great was its success that several versions were produced as well as contemporary copies, all of which are reproduced here in spectacular colour.

Two great textiles from the 1950s – Seaweed designed by Ashley Havinden in 1954 for Arthur Sanderson and Grecian by Alec Hunter in 1956 for Warner & Sons – bridge the gap between the spirit and elegance of the inter-War period and the new ‘contemporary’ look of the 1950s. Britain maintained its pre-eminent position in textile design throughout the 1950s, 1960s and early 1970s. This was because firms like Edinburgh Weavers, Heal & Sons and Hull Traders and museums such as the Whitworth Art Gallery in Manchester (the centre of the British textile industry) worked hard at integrating and promoting great design, often by well-known artists within the industry. Among the artists who worked with Edinburgh Weavers were Marino Marini, Victor Vasarely and Alan Reynolds. Britain was not alone in applying art to industry. An elegant example of Op Art is the work of the German artist, Wolf Bauer, whose 1969/70 designs for one of the leading American manufacturers, Knoll Textiles, is a highlight of this book.

You can’t sit still. You don’t like unannounced visitors. You always triple-check if the lights are out. But you also see details that no-one else notices. You’re always coming up with surprising solutions. You can focus intensely for hours at a stretch. Usually without realising it, many people lie somewhere on the spectrum of a neurodivergent condition. We often tend to focus on the many downsides of neurodivergent conditions such as AD(H)D, ASD, dyslexia and OCD. This book takes a different approach by looking in depth at the special talents that go hand in hand with these conditions. Whether you already have a diagnosis or simply feel you’re somewhere on the neuroatypical spectrum, one thing is certain: once you’ve identified your unique talents, you’ll be able to make more focused choices in your life and work. You’ll discover which jobs best showcase your talents, which colleagues complement your personality, and which environments and corporate cultures are right for you.

A vibrant, colourful and beautiful book that introduces readers to Impressionism and Post-Impressionism. It explains the difference between the two movements and the main artists associated with each. Illustrations are drawn from the renowned and outstanding collection of French art held by the National Galleries of Scotland and they include a number of rarely seen works.

This book tells the fascinating stories of how key paintings and drawings found their way into the collection.

Artists include Monet, Millet, Gauguin, Bastien-Lepage, Charles Jacque, Troyon, Corot, Degas, Seurat, Van Gogh, Cézanne, Vuillard, Bonnard, Derain, Matisse, Legros and Rodin.

During the three decades following the Second World War, and before the advent of personal computers, government investment in university research in North America and the UK funded multidisciplinary projects to investigate the use of computers for manufacturing and design. Designing the Computational Image, Imagining Computational Design explores this period of remarkable inventiveness, and traces its repercussions on architecture and other creative fields through a selection of computational designers working today.

Situating contemporary expressions of design in relation to broader historical, disciplinary, and technical frames, the book showcases the confluence, during the second half of the 20th century, of publicly funded technical innovations in software, geometry, and hardware with a cultural imaginary of design endowing computer-generated images with both geometric plasticity and a new type of agency as operative design artifacts.

Glass is a threshold material, serving as both a divider and an opening, for one can always see what is behind it. This is a unique phenomenon and it is confounding, as well as being alluring and enhancing, making the space breathe. Florian Lechner (b. 1938) has dedicated himself to this unique material. He explores its substance and formal possibilities through architectural works and sculptural objects. He also experiments with it in combination with the media of light, sound and movement. For him it is essential to forge his work single-handedly, because only unrestricted personal creative input and the development of one’s own, often innovative ways of working can ensure an authentic result. However, the concepts behind his works and their spiritual roots are always more important to him than the process of their creation. Intellectual significance defines Florian Lechner as an artist. He takes an intellectual and philosophically motivated approach, but the result is always a sensory experience and never dominated by dry theory. Contents: Foreword Glass, Light, Space, Sound – Transparency and Transcendency Traversant: “En traversant un objet du regard, on peut aussi le parcourir mentalement.” Spaces and Places The Sculptural Work Bowl, Cosmos, Vessel, Sound The School of Fluxus Biography Appendix Text in English & German.

The Art of Ferrari is a delightfully opulent coffee-table brand experience book that celebrates the fascination and essence of the Ferrari brand, its formative history and stories as well as its iconic products in a way that is both substantial and desirable.

Immediate, authentic, intense, journalistically and creatively sophisticated. This is where professional expertise meets interdisciplinary perspectives. With fresh approaches and a confident love of experimentation. 

The Art of Ferrari convinces as a style-defining high-end project. With a look at the entire field of tension between sports cars, lifestyle, design, art and pop culture, this book will not only inspire car enthusiasts. With more than 300 illustrations and pictures, exclusive interviews and insights as well as a sophisticated design in an embossed slipcase, The Art of Ferrari is a truly exceptional book.

Eccentric, perturbing and mannerist, the art of Rachel Feinstein (Fort Defiance, Arizona, 1971) has the ability to transport the audience into a dreamlike dimension that draws inspiration as much from classical art and Renaissance painting as from modern fairy tales and cartoons. Juxtaposing often contrasting genres, suggestions and styles, the artist shapes her works by proceeding by addition and juxtaposition, as in a modern pastiche with an almost grotesque and alienating result that does not intend to pursue beauty at all costs.

Through a wide selection of texts and images, Rachel Feinstein in Florence offers a journey into the artist’s creative universe, taking the reader inside the monographic exhibition dedicated to her in three historic museums in Florence, Palazzo Medici Riccardi, the Museo Stefano Bardini and the Museo Marino Marini, in dialogue with their art collections.

“Forget the rural idylls. This sublime show recasts John Constable as the godfather of the Avant Garde, producing explosive, nightmarish paintings of a vanishing world.” – Jonathan Jones, Guardian

One of Britain’s greatest landscape painters, John Constable (1776–1837) was brought up in Dedham Vale, the valley of the River Stour in Suffolk. The eldest son of a wealthy mill owner, he entered the Royal Academy Schools in 1800 at the age of 24, and thereafter committed himself to painting nature out of doors. His ‘six-footers’, such as The Hay Wain and The Leaping Horse, were designed to promote landscape as a subject and to stand out in the Academy’s Annual Exhibition. Despite this, he sold few paintings in his lifetime and was elected a Royal Academician late in his career.

With texts by leading authorities on the artist, this handsome book looks at the freedom of Constable’s late works and records his enormous contribution to the English landscape tradition.

The Padua School originated from the Istituto Pietro Selvatico in Padua. The distinctive features of this jewelry are the use of gold reminiscent of the goldsmith’s art in antiquity and a modern and abstract formal expression within the group. Mario Pinton, who brought the goldsmith movement international recognition and acclaim in the 1950s and ’60s, is credited with founding the experimental goldsmith movement in Padua. Francesco Pavan has enlarged the scope of the Padua School with his kinetic and geometric formal idiom.

The breakthrough on the international jewelry scene took place in the late 1960s with Giampaolo Babetto, under whose support the geometric and Minimalist tendency was most pronounced. Other distinguished artists in jewelry such as Graziano Visintin, Renzo Pasquale, Annamaria Zanella, Stefano Marchetti and Giovanni Corvaya continued along these lines or went their own highly individual ways by experimenting with the use of new materials including plastic. The work of these creative artists is beautifully displayed through color photographs, which serve to highlight their great talent.

The Smart Traveller’s Wine Guide series is written in collaboration with Club Oenologique, with comprehensive listings of restaurants, hotels, cafés and bars, points of wider cultural interest such as art galleries and museums in France, which wineries you can visit, how to read a Rhône wine list, Rhône winemakers’ favourite restaurants and more.

Georg Baselitz has been exploring, challenging and redefining contemporary art for over six decades, mainly via the medium of paint. A cornerstone of this task has been his complex exchange with historical and contemporary art. Georg Baselitz: Feet First illuminates the German artist’s relationship to the art of Edvard Munch, which he has been in artistic dialogue with since the 1960s.

This richly illustrated book includes writings by exhi­bition curator Jon-Ove Steihaug, Christian Weikop, Sverre Wyller and Baselitz himself, as well as a longer conversation with the artist.

Slow Wine Guide USA is a new and revolutionary guide to the wines of California, Oregon, New York, and Washington. Thanks to the help of a handful of expert contributors, we’ve selected the best wineries from each state and reviewed their most outstanding bottles.

The idea behind Slow Wine is simple: it acknowledges the unique stories of people and vineyards, of grape varieties and landscapes, and of their wines. The awareness that wine is more than just liquid in a glass helps wine lovers make better, more conscious choices and enhances the very enjoyment of this beverage. Since its beginnings in Italy twelve years ago, Slow Wine has combined its tasting sessions with equally important moments of exchange and debate with producers. The direct contact with winegrowers and winemakers allows for a genuine, authentic, and always up-to-date report on what’s happening in America’s vineyards and cellars. Each winery receives a review divided in three sections: the first one is dedicated to the people who live and work at the winery, the second to the vineyards and the way they’re farmed, and the third to the finest wines currently available on the market.

The very best wines are awarded the Top Wine accolade. Among these we have the Slow Wines — which beyond their outstanding sensory quality are of particular interest for their sense of place, environmental sustainability or historical value — and the Everyday Wines, representing excellent value at prices within $30. The most interesting wineries on the other hand are awarded the Snail, for the way they interpret Slow Food values (sensory perceptions, territory, environment, identity) while offering good value for money; the Bottle, to wineries whose wines are of outstanding sensory quality throughout the range; the Coin to those estates offering excellent value for money.

Master printmaker Liu Chunjie is renowned for his beautiful woodcut art. Born to land reclamation workers in Heilongjiang Province’s 856 Farm, Lui began life in a remote part of China that was deemed to be a place of cultural exile. But it is here that a vibrant chapter in the history of contemporary Chinese printmaking, known as Beidahuang Prints, was born.

Living and breathing woodcut art, Liu takes the reader on a personal journey through his life’s work. Written in beautiful poetic prose, Liu describes how his art and the techniques he uses have developed over time, culminating in a stunning body of work that has made him the celebrated artist he is today.

Having experimented with coloured ink, installation art and mixed-media painting, it is the spirit of woodcut that remains the foundation of Liu’s art. Using ancient tools and materials, he creates works that embody modern concepts, elevating the essence of woodcut art to a new level.

The 904, full name Porsche 904 Carrera GTS, was in many ways a special model for Porsche. Due to the unique design of Ferdinand Porsche, the sports car is affectionately called “Butzi’s masterpiece” and is still considered by many to be one of the most beautiful road racing cars. In a record-breaking development period of six months, the Porsche 904 was implemented in 1963. But not only that made this car a model in terms of innovation.

For homologation (the approval process) as a race car, about 100 units of the Porsche 904 were registered as road vehicles and sold to private customers. The demand was so great that the car soon became a highly exclusive rarity. The distinctive look that characterises the Porsche design and the combination of technical innovations and low production costs did the rest to give the Porsche 904 a cult status that continues today.

With text by Jürgen Lewandowski and photos by Stefan Bogner, two proven Porsche connoisseurs.

Text in English and German.

Enter the world of Mission Masala, where fiery spices, street food vibes and pure passion come together on your plate. This book takes you behind the scenes of this vibrant soul food hotspot. Discover the flavours and recipes that make Mission Masala a culinary mission. From next-level curries and smoky tandoori to colourful cocktails and funky sides – every dish is bursting with flavour and personality. A feast for foodies, spice lovers and anyone ready to fire up their kitchen. Let’s spice things up! 

The Weighty Body reflects on the fascinating relation mankind has with its appearance. The main theme of the book is the history of “hungering”. Why do people decide to stop eating? Do they have personal or aesthetical motives, religious ones or economical? When can one talk about an abnormal relationship with his or her body? Are we the boss of our own body nowadays? The book goes on to discuss disorders such as anorexia and bulimia through history and in different cultures. Through exhibitions and books, The Museum Dr. Guislain aims to put the focus on important psychiatric problems and put them in a broader social and cultural context.

Text in English, Dutch and French.

“It is a rare species, but it exists,” as ’60s art critic Pascal Renous pointed out on the subject of artistic couples. This designer-decorator duo of Janine Abraham and Dirk-Jan Rol met at Jacques Dumond’s studio in 1955. The couple shares the same love of precision, line and plain colours. Their earliest joint creations were first exhibited at the Salon des artistes décorateurs, in Paris. Their furniture, made of wicker, wood and aluminium, twice won prizes at the Salon des artistes décorateurs (a sideboard in 1956 and an armchair in 1958), garnering notice from the public and professionals alike. Jean Royère did not hesitate to use their emblematic Soleil armchair (gold medal at the 1958 Brussels World’s Fair) in the decoration of the palace of the Shah of Iran, in Teheran. Their light and functional designs are available today, re-edited by Yota Design. Abraham & Rol were also interior designers and intervened in this capacity for both individual clients and large corporate clients, such as Yves Rocher and Saint-Gobain, with the same precision and sense of composition that define their furniture pieces. Finally, the couple also expressed their creativity through architecture, their mastery of this discipline enabling them to design some twenty houses from the 1960s through the 2000s in the Île-de-France region. Their homes are genuine inhabited sculptures, of which certain have become truly emblematic. Text in English and French

Born into the American aristocracy, Elizabeth Eyre de Lanux abandoned high society to pursue an artistic career. Starting her training with Constantin Brancusi, she then arrived in Paris in 1919, following her marriage to French diplomat and writer Pierre de Lanux. She soon met the designer Eileen Gray. Eyre took over Gray’s research on laquer and continued experimenting with innovative materials not previously used in furniture, namely cork, amber and linoleum. With Evelyn Wyld, she created a literary universe in which the poetry of her rugs, blended with furniture and lamps in totally new ways, all in an environment of muted shades and modern comfort.

An ambitious artist in the Surrealist Paris of the interwar years, she wanted to believe in a peaceful future. But the crash of 1929 and World War II sounded the death knell for the career of this fresh new talent, ensuring that her creations became the rarest of objects. A bridge between the pioneering Eileen Gray and the rational Charlotte Perriand, like them, Eyre de Lanux drew inspiration from Japonism. Neither poor, nor stripped bare, her rare architectured interiors have remained secret until now.

Elizabeth Eyre de Lanux is a recognised name but a forgotten talent. With Eileen Gray, Eyre de Lanux, Charlotte Perriand and Maria Pergay, the four cardinal points have now been identified.

Finn Geipel is the founder of two architecture and urban design firms: LABFAC, based in Paris and operating between 1987 and 2001, and Berlin- and Paris-based LIN, operating since 2001. Geipel focuses on finding adaptable and integrative solutions for architecture and urban development. LABFAC’s and LIN’s designs of varied scale always consider the ever-changing urban and ecological conditions. Both firms did and continue to collaborate with experts from other disciplines, such as climate and circular design, economics, mobility, ecology, as well as philosophy, art, and cultural studies.

This first monograph on Finn Geipel and his work with LABFAC and LIN features their key built and unrealised designs and research projects since 1985. The evolution of their working methods and thematic and research focuses is explained, supported by rich visual material. Contributions by fellow architects and teachers as well as personal friends, such as Hashim Sarkis, Joseph Hanimann, Riken Yamamoto, and Bénédicte Savoy, offer a critical perspective on Finn Geipel’s achievements in the context of current debates on architecture and urban design.

Niels Schabrod’s photographs represent a quest for Europe’s icons, for historical snapshots in our collective memory that make sense of and shed light on our understanding of the past. For his project, Schabrod visited four key locations from two centuries: Waterloo, the Somme, as well as the theatres of the Spanish Civil War and of the D-Day landing in 1944 — places that clearly refer to historical events that, given their relevance to remembrance culture and political history, have informed the development, policies and self-image of the European Union.

Schabrod’s works invite spectators to think about the legacy of those events and our response to them. His photographs show not only the sites themselves, but also the soldiers, politicians, reenactors, and tourists who flock to these battlefields. In conjunction with quotations and textual fragments, they act as a kaleidoscope that continuously shakes up historical details and rearranges them to form ever-new patterns.

Text in English, German and, French.