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Höweler + Yoon Architecture, founded in 2001 and based in Boston, gained early praise for ephemeral and interactive public projects and is recognised today for striking works that combine conceptual speculation and technological sophistication. The firm’s impressive body of work has expanded the scope of design beyond traditional disciplinary boundaries and has won them numerous national and international awards. Verify in Field is Höweler + Yoon Architecture’s second book. Its title derives from a notational convention on architectural drawings to indicate that the information is subject to unknown conditions in the field. The book highlights verification as an intergral part of the design process and demonstrates it as a productive tool to test ideas and act on the world. For both disciplinary and contractual reasons, the instruments of design – drawings, models, and prototypes – operate on the world at a distance. Techniques of prototyping, measurement, feedback, negotiation, and intervention inform the diverse output of the studio. Verify in Field features recent designs by Höweler + Yoon architecture, including such projects as the Memorial to Enslaved Laborers at the University of Virginia; a floating outdoor classroom in Philadelphia; the MIT Museum; and a pedestrian bridge in Shanghai’s Expo Park. The book also examines the discipline’s pressing questions, as they relate to verification, uncertainty, and design agency, in a series of essays by Eric Höweler and J. Meejin Yoon on topics that include means and methods, the public realm, energy and environments, the construction detail, and social media. These themes are echoed in conversations with collaborators, historians, and theorists: Adam Greenfield, Nader Tehrani, Kate Orff, Daniel Barber, and Ana Miljacki.

In the second volume exploring the impact of and response to an exhibition, the artist Jakob Mattner questions which perspective we might take in light of current world events. In his exhibition Deep Time, shown over five months at St. Matthäus, which is part of the Kulturforum Berlin, he expanded the concept of time into deep time, shifting perspective to a world without us, to a time before humankind existed, and transforming fundamental questions of meaning into expanded fields of perception and spaces for contemplation.

Authors Verena Auffermann, Hannes Langbein, Bernd Scherer, and Rudolf Zwirner explore the artist’s most recent work Deep Time. They reflect upon his artistic dialogue with forms of life and the threats they are facing against the backdrop of a looming existential crisis for our civilisation.

Mattner’s drawings, paintings, and sculptures develop in the transitions between light and dark. He has been influenced by the iconicity of Malevich and the light-dynamics of Moholoy-Nagy, post-revolutionary constructivism, the chiaroscuro of Caravaggio, and the simple means of Arte Povera. In his art, Mattner has created a singular free space of a continuing avant-garde. Pontus Hultén has written that Mattner’s work is marked by the mystery of perspective, explored and elevated by the means of light. For the project Gazing at the Sun, Mattner cooperated for two years with astrophysicists from the Einstein Tower in Potsdam and showed the overlapping of art and science in several museums exhibitions.

Text in English and German.

During Law’s stay at St Ives in the late 1950s, the artist developed a series of Field drawings that reduced elements observed in the surrounding landscape – the sun, trees and clouds – into a set of abstract signs held within a rhomboid frame. The series was, in Law’s words, ‘about the position of myself on the face of the earth and the environmental conditions around me’.

Using a thickly drawn line to contain and delimit the almost-blank pictorial field, Law refined his early abstract language in subsequent monochrome works, from ‘open’ and ‘closed’ drawings to the monumental paintings of the Mister Paranoia series.

Published to accompany a 2015 exhibition of the same name, this volume draws together over 20 works by leading British minimalist Bob Law (1934–2004), providing a concise overview of the artist’s career.

This fully illustrated catalogue includes an essay by Douglas Fogle that includes new scholarship on the artist and focuses on his pursuit of the void’s poetic possibilities.

[ materialistin ]. Matter of Care, Care of Matter presents sculptures and site-specific installations by eight sculptors based in Leipzig: Laura Eckert, Enne Haehnle, Elisabeth Howey, Lucy König, Agnes Lammert, Wibke Rahn, Theresa Rothe and Sophie Uchman. The focus of [ materialistin ]’s work and practice lies in the expanded field of sculpture.

The artists work with steel, stone, plaster and concrete, plant fibres and renewable raw materials, wax and clay.

The group operates in solidarity and is not organised hierarchically. The members counter the physical, economic and logistical challenges in the field of sculpture by sharing experiential knowledge, tools, contacts and networks.

The cross-generational structure represents a unique feature within the art world. [ materialistin ]’s group exhibition at Hamburger Bahnhof – Nationalgalerie der Gegenwart highlights new forms of collective practice and solidarity.

It is a statement that, in its anniversary year, extends far beyond the museum.

This is the 20th in a series of publications accompanying exhibitions of contemporary artists at Hamburger Bahnhof – Nationalgalerie der Gegenwart. In addition to exhibition views and images of artworks, it comprises a curatorial introduction by Sam Bardaouil, a roundtable discussion with all artists moderated by Sarah Alberti and texts on the individual positions by Silvia Gaetti, Jenny Graser, Luisa Heese, Annabelle Hirsch, Annekathrin Kohout, Dietmar Rübel, Christian Schüle and Susanne Witzgall.

Text in English and German.

The London Press Exchange (LPE), founded in 1892, grew out of an agency set up by two young reporters in London to supply news items to provincial papers. It was to grow to become the biggest and most profitable advertising agency in Britain. Yet it never was to attract the publicity as did lesser fry as Crawford’s or Colman, Prentis, Varley. It’s policy was actually declared to be one of reticence, which is not what advertising is all about. Yet some of the characters it conceived were to become household familiars as Mr.Therm for the gas industry and ‘the little man’ for Double Diamond. And in carrying out the first major readership survey in Britain, under the aegis of Mark Abrams, LPE kick-started market research here, The Market Research Society being founded in its offices. This tribute is to establish LPE as ‘leader of the field’.

Scarcity of resources in all forms is commonly portrayed negatively. Yet these conditions—which have long been a reality in many extreme climate conditions across the global south and are increasingly becoming a global reality—often stimulate an abundance of innovation, inspiration, and ingenuity. Permanence has created a climate crisis, with spaces constructed with non-degradable materials, resource extraction without active replenishment, and buildings designed for a single-eternal use. Our present reality is marked by a global pandemic, violent conflicts, and the looming threat of climate change-induced environmental disasters. This fragile situation is particularly evident in the Global South, where systems, innovations, and structures shaped by imperial and industrial powers through exploitation and extraction of natural resources lack a long-term, sustainable vision. Yet there remains an optimism about the creative possibilities that arise within these constraints.
Field Notes on Scarcity, published in conjunction with the 2023 Sharjah Architecture Triennial, examines what scarcity truly looks like on the ground, and the challenges and opportunities it presents across architecture and design. 60 scholars and practitioners from across the Global South—including Lesley Lokko, Yinka Shonibare, Formafantasma, Rahul Mehrotra, Olalekan Jeyifous, Abeer Seikaly, Ilze and Heinrich Wolff, Chitra Vishwanath, Deema Assaf, and many others—contribute reflections, poems, visual essays, and dialogues exploring what scarcity represents, what it inspires, and what it reveals.

The practice of Taroni-Cividin constitutes one of the most groundbreaking areas of the international experimental landscape. Active between 1977 and 1984, the two artists pushed at the edges of cinema and of performance, of the live and the recorded, developing a very personal language that continues to generate questions in some of the present time’s most pressing debates.

Taroni-Cividin. Performance, Video, Expanded Cinema (1977–1984) seeks to do justice to the complexity and richness of Taroni-Cividin’s work, giving the reader a sense of the theoretical perspectives that guided it, bringing to light precious archival materials, and critically re-examining a season of Italian contemporary art which has thus far been largely neglected.

Text in English, Italian and German.

Monotown: Urban Dreams Brutal Imperatives examines the post-industrial transformation and transnational legacy of single industry towns, which emerged as a distinctive sociopolitical project of urbanisation in the Soviet Union during the 1920s. Monotowns took form through the establishment of industrial enterprises strewn across remote parts of the Siberian hinterland, around which cities had to be built to provide labour. This model entailed the relocation of vast populations which would require services, housing, and social and physical infrastructure, all linked to a given industrial enterprise. By examining the ways in which monotowns have adapted over time in this expanded field, this book establishes a broader yet more specific dialogue about the challenges faced by towns within this particular single-industry etymology.

The title of Phoebe Unwin’s project holds many different connotations. The ‘field’ could be a landscape, but also a colour field, or the field of vision. It is an in-between place, a traditional subject in painting, which allows the artist to hover between figuration and abstraction, to investigate the formal aspects of her medium. Investigating the concept of landscape and how the human figure interacts with its surroundings, Unwin uses painting to construct a delicate alternation of horizons, whose varying distances elicit different paces of observation. The layered, porous surface of her works and hazy depiction of her subjects also generate a dynamic kind of vision within each painting, and an intimate link between the works. Through a process that moves from abstraction to figuration, where matter becomes sign and figures swim up out of colour, Unwin creates images that seem to float within an indeterminate space and time. Her paintings are visual places whose possibilities are infinite; the intrinsic story of the works is neither defined nor definitive and new versions of it are constantly revealed, emerging through the viewer’s active gaze. Text in English and Italian.

Field Test is a photographic examination of the conflicting field between external forces and hyperconnectivity. Jackie Nickerson (*1960) questions the living conditions of the people of this world and chronicles the consciousness of her generation. Nickerson‘s impressive photo sculptures dismantle and reconstruct, protect and destroy the individual human being.

The topics that we encounter in her photographs are omnipresent: globalisation, technology and medicine, commercialisation, mass production, environmental pollution, migration, digitisation, fake news and, last but not least, COVID-19. The materials are primarily composed of plastic and packaging materials in which people literally seem to be “caught”.

Nickerson’s work is disturbingly unsettling. They almost seem like images of an inevitable future that is already impacting us today.

While the foundations of the Josette and Jean-Claude Weill Collection lie in painting, their passion for seeking out exciting new forms soon led them to embrace the infinite diversity of tribal art. Expanded over the decades under the enthusiastic stewardship of their son Jean-Pierre, the collection now includes over 120 works of the very highest order, covering Africa, Oceania, and the Americas. Several large categories can be discerned, reflecting the Weill family’s liking for daring, expressionistic forms: Dogon and Tellem statues combining geometric shapes with textured surfaces, as well as Kongo powerful figures endowed with magic properties. The expressive arts of Nigeria, Cameroon, and Melanesia are also well represented in the collection. Among the more classic works there are pieces that have iconic status – such as the Bena Lulua statue that used to belong to Jacques Kerchache, Edward Robinson’s Fang reliquary figure, or the Biwat powerful flute plug from the Lemaire Collection – that testify to the sureness of the Weill’s taste and to the shrewd instinct that led them to appreciate this art from another world. An important group of finely carved small ivories makes up one-third of the whole collection. This book will provide an opportunity to unveil the Parisian collection shrouded in mystery, whose importance is matched only by its confidentiality. In order to enable the reader to capture the full richness and diversity of its contents, the works are all accompanied by notes written by experts, including Viviane Baeke (Africa Museum, Tervuren), Philippe Dagen (historian and art critic), Jean-Paul Colleyn (anthropologist), Bertrand Goy (author specialising in the Ivory Coast), Hélène Joubert (Musée du Quai Branly-Jaques Chirac), Hélène Leloup (historian and antiquarian), Sean Mooney (the Rock Foundation), and Philippe Peltier (formerly at Musée du Quai Branly-Jaques Chirac).

Revised, updated, and expanded by nearly 100 projects, this new edition of the catalogue for the “a_show,” Architekturzentrum Wien’s (Az W) permanent exhibition on Austrian architecture of the 20th and 21st century, has become a stand-alone reference book. Its scope extends beyond the themes of the exhibition. Apart from condensing the current discourse on Austrian architecture of the last 150 years, it also documents relevance and singularity of the Az W collection.

Featuring more than 2,300 images and plans, accompanied by explanatory texts structured chronologically as well as thematically the book points out both historical connections and contemporary tendencies. Paired with a timeline, and also offering an overview of all relevant media since 1836, brief biographies, and an index, this is the authoritative survey of modern and contemporary Austrian architecture.

Since a compilation of their work was published in the series Anthologie 2012 ISBN 9783037610565, Detlef Horisberger and Mario Wagen have achieved further competition successes and expanded their exciting oeuvre. The designs always critically and creatively engage with the building programme, the location and the legal construction regulations.

Text in English and German.

In 1962, Ernst Scheidegger published the first book using his own name as an imprint: the German edition of Jean Genet’s essay on Alberto Giacometti (still available in the Scheidegger & Spiess list today). Giacometti, a close personal friend of Ernst Scheidegger since the 1940s, has been subject of many books published by Verlag Ernst Scheidegger and later Verlag Scheidegger & Spiess over the past fifty years. The most successful one has been Traces of a Friendship – Alberto Giacometti, first published in German in 1990 and in English in 2001. To mark the 50th anniversary of Verlag Ernst Scheidegger / Verlag Scheidegger & Spiess this very intimate view of Alberto Giacometti and his work has been completely revised and expanded. The new edition Alberto Giacometti: Traces of a Friendship also features for the first time around forty previously unpublished colour images, which have recently been discovered in Ernst Scheidegger’s archive. Besides of the more accurate dating of some photographs the essays and captions have been revised and amended as well. Text in English and German.

The Council on Tall Buildings and Urban Habitat’s Outrigger Working Group has addressed the pressing need for design guidelines for outrigger systems with this guide, now in its second edition, providing a comprehensive overview of the use of outriggers in skyscrapers. This guide offers detailed recommendations for analysis of outriggers within the lateral load resisting systems of tall buildings, for recognising and addressing effects on building behaviour and for practical design solutions. It also highlights concerns specific to the outrigger structural system, such as differential column shortening and construction sequence impacts. In this edition, a new chapter explores the use of ‘hybrid’ outrigger systems that can ‘tune’ the stiffness of outrigger trusses, use leverage of the outrigger arms to drive non-linear damping devices, and use yielding materials that absorb seismic energy.

Several project examples are explored in depth, illustrating the role of outrigger systems in tall building designs and providing ideas for future projects. The guide details the impact of outrigger systems on tall building designs, and demonstrates ways in which the technology is continuously advancing to improve the efficiency and stability of tall buildings around the world. The new second edition features updated design considerations to reflect current practices, expanded systems organisation and examples, and updated recommendations and suggestions for future research.

GEO – Earth – is a word that simultaneously signifies something vast and elemental. It refers to both the planet on which we live and the soil that sustains us. GEO is the physical and representational bedrock of landscape architecture – the foundation of many disciplines from which we draw our knowledge. Geography, Geology, and Geometry, in particular, are fundamental to our discipline’s intellectual core. And now, we seem ever more entangled in GEO as some scholars across the sciences and humanities argue that humans should be recognised as agents of change at geologic time scales.

LA+ GEO includes interviews with the celebrated author of After the Map, William Rankin, author and citizensensing visionary Jennifer Gabrys, and New Zealand based media artist and author Janine Randerson with guest editors Karen M’Closkey and Keith VanDerSys explore site surveying and sensing technologies as part of an expanded toolkit for landscape architects to bring environmental patterns down to earth and into view.

Other notable points are from Designer Robert Gerard Pietrusko who reveals the covert militaristic agendas of early aerial land cover interpretation, Geographer Matthew W. Wilson revisits the rise of critical cartography within geography in the 1980s and ‘90s.

Media scholar Lisa Parks describes the politics of vertical mediation by recounting the importance of activists’ use of drone-captured video to document both the protests against the construction of an oil pipeline through tribal lands, as well as the aggressive countermeasures taken by law enforcement to squelch the protests.

Jeffrey S. Nesbit and David Salomon, rocket launch pads provide a vehicle to unpack the relationship between terrestrial and extra-terrestrial territories. Geographers Douglas Robb and Karen Bakker caution against the voyeuristic tendencies enabled by the satellite gaze.

Through illustrated “Geostories,” Rania Ghosn imaginatively engages the “global commons” of outer space and oceans. Designer Matthew Ransom examines the tension between grassroots organisations and fracking industries in Pennsylvania. Author and activist Lucy R. Lippard takes us on an aerial journey across the United States. Historian and geographer B.W. Higman traces our modern predilections towards flatness.

Through a remaking of Eugène Violletle Duc’s Mont Blanc studies, landscape architect Aisling O’Carroll exposes the imposition of geometric rationalisation on nature. Noah Heringman revisits the sublime in 18th-century landscape design, offering parallels to today’s Anthropocene discourses about environmental depletion and Shannon Mattern examines how rocks are collected, examined, and displayed as objects of spectacular brilliance – objects that ultimately reflect back on us by illuminating the histories of oppression embedded in their extraction.

Over the past decade, Frank Bowling has enjoyed belated attention and celebration, including a major Tate Britain retrospective in 2019. This comprehensive monograph, published in 2011, is now available in an updated and expanded edition.

Born in British Guiana in 1934, Bowling arrived in England in his late teens, going on to study at the Royal College of Art alongside David Hockney and Derek Boshier. By the early 1960s he was recognised as an original force in the vibrant London art scene, with a style that brilliantly combined figurative, symbolic and abstract elements.

Dividing his time between New York and London since the late 1960s, he has developed a unique and virtuosic abstract style that combines aspects of American painterly abstraction with a treatment of light and space that consciously recollects the great English landscape painters Gainsborough, Turner and Constable. In a compelling text the art writer, critic and curator Mel Gooding hails Bowling as one of the finest British artists of his generation.

An indispensable guide for art-world neophytes and seasoned professionals alike, the best-selling ArtSpeak returns in a revised and expanded third edition, illustrated in full colour. Nearly 150 alphabetical entries – 30 of them new to this edition – explain the who, what, where, and when of postwar and contemporary art. These concise mini-essays on the key terms of the art world are written with wit and common sense by veteran critic Robert Atkins. More than 80 images, most in colour, illustrate key works of the art movements discussed, making ArtSpeak a visual reference, as well as a textual one. A timeline traces world and art-world events from 1945 to the present day, and a single-page ArtChart provides a handy overview of the major art movements in that period.

More than a fashion accessory or means to tell the time, the wristwatch has become a statement of identity; politician or celebrity, scientist or sportsman, what you choose to wear on your wrist speaks volumes about who you are. The World’s Most Expensive Watches presents some of the most extravagant, intricate, collectable, decadent, or just plain interesting modern-day timepieces that sit at the top of the price spectrum. Starting at a threshold price of about $200,000, it is a trip through the last decade or so of watches whose values soar incredibly to prices of $5 million dollars or more. Additionally, there is a selection of notable watches that yielded extremely high prices at auction – many of which are historically relevant. A stunning collection that is both informative and entertaining; with detailed descriptions of individual watches and articles that usefully deconstruct the price tag with an explanation of the relevance of craftsmanship and complexity of design, as well as the importance of exclusivity, prestige and collectability. Prepare to be impressed by a larger-than-life-look at some relatively small items that command not only huge prices but kudos and respect, in all areas of a global society fascinated with using accessorising to create identity. This is the second expanded and updated edition.

This finely printed and bound volume is an expanded, more personal version of Ira Resnick’s critically acclaimed photo book The Seventies: A Photographic Journey, featuring twice as many celebrity photos and anecdotes.

In images and words, Resnick re-creates his path through a decade of tremendous change, in the world and in himself – from film school at NYU, through travels in Israel and Canada, to the cultural ferment of Mill Valley and the glamour of Hollywood. Along the way, Resnick’s work as a professional photographer brought him in contact with the leading personalities of his time:

Resnick’s photographs of these iconic figures – many never seen since their original publication in magazines like Rolling Stone, People, and Us – will fascinate anyone with an interest in popular culture. And his personal journey will resonate with anyone who came of age in the 1970s.

Modern Painting in Egypt is an invitation to journey through the Egyptian art scene of the 20th century, spotlighting many of its major painters and their role in shaping Egypt’s cultural heritage. This two-volume edition revives the book by Aimé Azar, a noted specialist of modern Egyptian art, first published in 1961 by Éditions Nouvelles and long out of print. Expanded and enriched, it gives readers a comprehensive understanding of this period in art history through texts and imagery of exceptional quality. The book is divided into seven chapters, followed by more than 90 biographies of Egyptian and foreign artists, presented chronologically in volume 2 and spanning 40 years of modern Egyptian art. A corpus of more than 600 paintings and drawings illustrates the book, allowing readers to grasp the essence of Egyptian painting and the full range of its nuances. Translated and reprinted in Arabic in 2006, it is now published in English to give the subject international reach.

Experience the sights and sounds of the City of Lights like a true native with this expanded edition Bill Gillham has been visiting Paris for decades. For him, the pleasure is not in revisiting the tourist sights, but rather in immersing himself in a particular quartier, discovering little shops and bistros, exploring markets, parks, and local entertainment, and finding the quirks and particularities of the city’s day-to-day life. In this unique guidebook, Bill takes travellers to 21 of his favourite areas in Paris–some central, some suburban, all off the beaten track. Neglected or completely ignored by ordinary guide books, each of these locales has a purely individual, Parisian character and make superb bases for traditional sightseeing, and in particular an ideal way of seeing Paris with children. All the information about where to stay; how to get about; where to shop and eat; which museums, parks, playgrounds to not miss; and what to avoid is provided along with lush photographs that give a hint of the pleasures to be gleaned. All the information has been meticulously updated, and many sections have been enlarged and improved.

From the 1950s to the 1980s, the open-air playground was a social laboratory. Innovative, wacky, educational, and exciting playground designs emerged in European and American cities, as well as elsewhere around the world: artists, landscape designers, architects, and activists sought to provide children with the best possible place to play, while also reimagining cities and communities.
First published in 2018, The Playground Project instantly became a classic. This much-expanded new edition brings back the wealth of ideas of that period to inspire us today. It offers many previously unpublished images, numerous new portraits, especially of female protagonists of the time, as well as findings from the latest research on playground design. An incisive introductory essay places the playground at the intersections of education, architecture, urban politics, design history, and leisure policy. A detailed focus is placed on the forgotten history of playgrounds in the former German Democratic Republic. Moreover, young researchers explore the culture of memory surrounding the Shek Lei Playground in Hong Kong, and the role that playgrounds played in the process of state-building in Mexico.
The book is a tribute to play in public spaces and a rich source for architects, designers, students, children, and political actors.

Chablis has a distinct identity amongst the wines of Burgundy. The gently sloping vineyards of this small, scenic region produce a remarkably diverse range of wines, even though all are made from just one variety – Chardonnay.

As in other parts of France, it was the Romans who introduced vines and the medieval Church which expanded the vineyard. By the twelfth century the wines of Chablis, were already being celebrated in poetry. However, over the centuries a considerable amount of everyday wine also found its way via the river Yonne to the cafés of Paris. In its heyday of production towards the end of the nineteenth century the region encompassed 40,000 hectares of vines. But that was before phylloxera and oidium ravaged the vineyards and the railways brought competition from further south to the capital’s wine drinkers.

From a low point of 500 hectares just after the Second World War, the vineyard has now expanded more than tenfold, and quality has increased too. Wines in the appellation’s four categories – grand cru, premier cru, Chablis and Petit Chablis – are created by vignerons keen to work with the terroir to produce the elegant, mineral, long-lived wines for which the region earned its reputation. To this end, ever greater care is being taken in the vineyards and the routine use of chemicals is becoming increasingly uncommon.

The region’s history, unique soil, geography and climate are all covered in detail, but it is Rosemary George’s lively and insightful profiles of those who make the region’s wines that form the body of The wines of Chablis and the Grand Auxerrois. Through the lives of these vignerons – from the lows of disastrous weather to their love of the land – she paints a unique picture of a much-admired region.