Planting design is, rather obviously, a complex topic, spanning as it does art, science, social need, and morality – especially during these days of increasing planetary environmental threat. Although certainly not denying the importance of scientifically appropriate practices, the symposium “The Aesthetics of [Contemporary] Planting Design” addressed planting design today, proposing a renewed concern for the cultural and aesthetic aspects of the landscapes that result. This book, which has been developed from the original presentations at the symposium, presents the thoughts of a select international group of landscape architects and historians who discuss the subject of planting design through the lens of their own work as well as the work of others, both contemporary and historical. They suggest that, as in real estate, the most important factor in selecting plants is “location, location, location.” Certainly the Californian situation is far more forgiving than the aridity and other restrictive environmental conditions endemic to the Sonoran desert, or the frost and short growing seasons of Nordic lands that direct Scandinavian landscape architects to rely on native birches, pines, rowan, and moss. Most of us would agree that there are plants sensible for each climatic zone. Addressing environmental conditions is but the first step in the equation, however. There are also the issues of combination and composition.

The biblical metaphor of a “Land of Milk and Honey” has denoted for millennia a prophecy and promise for plenitude. This book, published in conjunction with the Israeli Pavilion at the 17th International Architecture Exhibition of the Venice Biennale, examines the reciprocal relations between humans, animals, and the environment within the context of modern Palestine-Israel, and demonstrates how this promise has become an action-plan over the course of the twentieth century.

Through this lens, Land. Milk. Honey investigates how colonialism, settlement, urbanisation, infrastructure, and mechanised agriculture radically reshaped the environment of the contested territory of Palestine-Israel, and altered human-animal relationships. It shows how the celebrated metamorphosis of the region into a prosperous agricultural landscape was entangled with irreparable damage to the local fauna and flora, as well as the disruption of human communities and ways of living. And it highlights the predicaments that both the environment and its inhabitants are facing after the territory has over a century been the test bed of modernist aspirations for plenitude.

The fundamental changes the region has gone through are portrayed through the stories of five local animals: cow, goat, honey-bee, water-buffalo, and bat. These case-studies and a zoo-centric analysis construct a spatial history of a place in five acts: Mechanization Territory, Cohabitation, Extinction and the Post-Human. A rich collection of literary excerpts, historical documents, archival photos, as well as short original vignettes brings about the story of this remarkable transfiguration and redesign.

The human soul is said to weigh 21 grams. But what is the soul, and what makes us human? What do friendship, relationship, partnership entail? How and, most importantly, who defines us and our (gender) identity, our way of loving and living? Is it society? Or rather we ourselves? In her book, the photographer Celine Yasemin addresses these fundamental questions. She has turned her lens on friends and fleeting acquaintances, people from various cultural and social backgrounds who do not identify with the norm, who live a self-determined life with different experiences, preferences, and approaches to life, who comply neither with traditional roles nor relationship models.

With deeply empathetic images, Yasemin portrays her fellow human beings. She has succeeded in showing people in their most vulnerable state: in their private surroundings, in bed, naked, without makeup – and without sugarcoating anything. Her careful use of lighting together with her great sense for detail have resulted in pictures full of intimacy, dignity, and power. This book serves as a testimony to acceptance of each other’s differences and to mutual respect.

Reporting live from “everywhere,” photographer Adam Katz Sinding (formerly known as Le 21ème) travels around the globe to document the fashion zeitgeist. An Instagram hit, @aks’s lens captures fashion weeks, runway idols, the next big trends, tastemakers, and — in particular — street style. His first teNeues book This is Not a F*cking Street Style Book featured a curated collection of some of his best images, taken both backstage at the shows and of the style-setters on the streets. In this new publication, Sinding widens his scope and explores culture and landmarks with the same sophisticated eye he uses to photograph fashion. In the last year, he has travelled through over 35 countries across the globe, snapping a breathtaking number of beautiful photos that capture the essence of a place as only he would recognise it. Along with his pictures, the book includes contributions from Errolson Hugh and offers a unique insight into the peculiar mind of Adam Katz Sinding himself, his obsessive exercising habits, and the cultural phenomenon he has become over the years.

“This modern, refreshing examination of today’s American cowboys and cowgirls is something people will want to revisit time and time.” — Yahoo
“…captures the pioneering spirit of modern cowboys and cowgirls, turning the camera on high-stakes rodeos, hard-working ranchers and horseback rides across stunning desert landscapes.” – Ailbhe Macmahon, Daily Mail

“Cowboys may be innately photogenic, but French photographer Anouk Krantz has succeeded in capturing their lives and surroundings like no other.”  —Graphius Magazine

Having earned wide acclaim for her bestselling Wild Horses of Cumberland Island (2017) and West: The American Cowboy (2019), this new collection of work that is American Cowboys is Anouk’s strongest work yet. Join Anouk Masson Krantz in her solo journey across America where she reveals the intimate lives and families of this private, elusive icon of our American West. Through her lens Anouk showcases an incredible journey from an outsider’s perspective into the private world of the American cowboy. Real people and real stories — a remarkable and inspiring story of people coming together to share their lives and celebrate the nation’s cowboy culture. This book is a must-have title among Anouk’s fine collections of photographs.

Anouk’s work has been exhibited in galleries and museums across America. She is renowned for her large-scale contemporary photography and her use of white space that defines her elegant, minimalistic style.

This book offers a review of Matteo Pugliese’s art over the past 20 years. The figures the Milanese sculptor creates are distinguished by their great power, revealing an inner torment that can no longer be disguised. The men depicted in his sculptures are all trying to break free of the wall that holds them, to throw off their limitations and assert their value as individuals in the hopes of escaping from dull uniformity and social and family expectations. These are people who are attempting to achieve a painful rebirth by struggling against materialised restraint — a wall — that seeks to prevent them expressing themselves, growing and therefore existing. The artist chooses to portray the moment of greatest effort, of supreme tension, the instant when a man regains control of his life and struggles against what is holding him trapped so as to restore a sense of purpose in his life. The carefully studied poses of his figures recall ancient models, in the same way as the material from which they are fashioned is also ancient. Luigi Spina’s lens knowingly lingers on these figures’ troubled birth and enables the reader, admirer, and art historian to acquire an intimate understanding of the sculpture and even to feel a part of the travails and manifest vulnerability that grip all of humanity.

Text in English and Italian.

A delightful culinary voyage to discover the wonderful world of Milanese cooking, presented here through a contemporary lens, yet simultaneously highlighting traditional influences as well.

The book is divided into 13 chapters, each dedicated to a particular ingredient or specific dish: brief introductions rich in curious and historical details are followed by tips on recognising the quality and seasonality of products.

The authors share priceless advice with readers. They will lead you to a reconsideration of winter vegetables, through scrumptious dishes like cabbage rolls, cauliflower cream and baked onions. You will also be introduced to the numerous culinary possibilities of cooking with offal, with traditional dishes such as Milanese tripe. Enjoy the lovely flavours of braised meat cooked in wine and broth, the refined experience of goose cassoeula, and the timeless appeal of Milanese classics like ossobuco.

For those who wish to delve into tradition while keeping a finger on the pulse of the present, Contemporary Milanese Cooking will surely not disappoint.

“Robert Doisneau is commonly regarded as one of the pioneers of French street photography, so if you want a masterclass in the genre, this is the book for you.”—Live Preston & Fylde
Robert Doisneau (Gentilly, 1912 – Montrouge, 1994) is regarded as one of the founding fathers of French humanist photography and street photojournalism.

Through his lens he was able to grasp the daily life of the men and women who populate Paris and its suburbs, presenting the city and its inhabitants with an ironic and light touch, but also with deep humanity and participation.

The volume collects 130 black and white silver salt prints from the Atelier Robert Doisneau in Montrouge, which houses his photographic archive. Whether they are photographs made on commission or the result of his wanderings in Paris, the artist’s personal style is outlined through these shots, which mixes charm and imagination, but also a freedom of expression not far from surrealism. These pictures capture moments of daily happiness among ordinary people – such as the famous Le Baiser de l’Hôtel de Ville, or “The kiss” – in which tenderness, sometimes veiled with melancholy, but also ever-present notes of humour are mixed.

Text in English, Italian, and French. 

Published to accompany an exhibition at Rovigo, Palazzo Roverella 23 September 2021- 30 January 2022

This beautifully illustrated monograph details the designs and unbuilt works of renowned Korean architect firm BCHO Partners and explores the firm’s focus on architecture with simple structures and a strong regard for the natural environment. Filled with a rewarding collection of unbuilt projects, this richly illustrated monograph provides critical insight from the designers into the context of each development and plan. These projects all feature one consistent interest: a concern for the relationship between the proposed building and the surrounding landscape. The carefully selected collection of projects reflects the breadth of the firm’s past explorations and the diversity of ground conditions they have encountered. The book provides an occasion to revisit the vast collection of the firm’s past unbuilt projects through the common lens of the given site and landscape.

Jörg Rubbert’s series of photos about Paris, taken over a period of 30 years between 1988 and 2019, views the city and its people from different perspectives. His images feature bourgeois neighbourhoods and majestic public squares as well as run-down areas and famous red-light districts. Rubbert focuses both on the city’s unique atmosphere and on its residents. He consistently makes use of analogue photography without digital add-ons, exclusively relying on natural light.

With their dense atmosphere, blurred focus, high contrasts, and in some cases grainy appearance, Rubbert’s photos are “imperfect” in the best sense of the word, taking on an almost painterly quality.

His images approach their subject from two different angles. They show Paris, with its striking architecture and picturesque atmosphere, through the lens of accentuated nostalgia, yet they also shine a light on people’s lives and the city’s current social condition. In a demonstration that the streets still form the real stage of the “theatre of life,” they put a spotlight on the seemingly trivial stories of everyday life.

Text in English, German and French.

The year 2021 was another amazing year for the Wolfpack, the dream cycling team of Patrick Lefevere. Davide Ballerini won the Omloop, Kasper Asgreen took the E3 and the Tour of Flanders, and Sam Bennett, Mark Cavendish, Remco Evenepoel and Julian Alaphilippe all gathered victories, while Michael Morkov took Olympic Gold on the track. In this book you’ll follow the cyclists through the lens of Wout Beel: in an intimate family circle during their few free moments, in total ecstasy after a victory, in decompression on the team bus. See them fall, get up and win again. A group portrait that will stay with you forever.

“The legacy and mythology of the Mercedes-Benz 300 SL—aka the “Sports Car of the Century”—is beheld through the genius lens of top automotive photographer Rene Staud …” — Maxim

“What a stroke of fate: 70 years of the SL, 70 years of Staud and 10 years of The Mercedes-Benz 300 SL Book. You might even say: The star is reborn.” — Maxim Australia
This iconic sports car, from the first Mercedes 300 SL to its latest successors, proves that technology can indeed evolve into art. And who better to showcase this procession of pioneering automobiles than René Staud, whose striking photographs will captivate any enthusiast. This book, based on Staud’s successful calendars, is an ode to an extraordinary vehicle whose spell stars such as Grace Kelly, Frank Sinatra and Alfred Hitchcock have all fallen under. The elaborately orchestrated pictures show sleek curves and precision in every detail, conveying the passion for this breathtaking automobile. A photographic tribute to the “sports car of the century”, covering the 70-year history of the 300 SL racing car models from 1952 to the latest SL generation.

Text in English, German and French.

“Who doesn’t know Paul Newman? The man with the beautiful blue eyes, the chiselled face and body, the 50-plus years of memorable acting and directing roles, the awards, the movie-star marriage. Well, it turns out, there is lots more to know.” — Parade Magazine
“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

“Hollywood Hunk Paul Newman as you’ve never seen him before.”  — Yahoo! News

“Paired with raw and unvarnished commentary from the photographers themselves, Newman’s incomparable authenticity and appealing persona bleed through each page.” — Newsweek
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.

Paul Newman: Blue Eyed Cool is a must-have for fans who see in Newman’s work and in his life a true hero.

memymom is the mother‐daughter artistic collaboration of Marilène Coolens and Lisa De Boeck. Their transgenerational project, which first emerged in the 1990s, consists of intimate archives and family photos where Marilène urges her daughter Lisa to express and invent herself by improvising her own theatrical scenes. Since 2004, the protagonists have worked together behind and in front of the lens, simultaneously photographer and model. Over the years, memymom’s dreamlike, partly directed portraits have matured into a conversation about metamorphosis, personal identity, potential, as well as a plea for sensual analysis and tragic romanticism, as irrefutably illustrated in their latest series Somewhere Under the Rainbow.

In this book, which is the culmination and prolongation of their recent work, the two artists disclose the way in which their themes and visual language have remained constant over the past 30 years, while simultaneously evolving fascinatingly in terms of aesthetics and content, through recurring references and reflections. This exhibition also provides an opportunity to see how the inclusion of an assorted group of other people, each playing a different role, has always been part of their artistic process.

Text in English and French.

Transformation processes are the focus of Georg Aerni’s new photographs. The Swiss photographer and artist shows plastic greenhouses that have annexed whole swathes of land for agricultural mass production, residential houses that have been built overnight on the city outskirts without construction machines and literally noiselessly. He points his lens at olive trees that have grown over centuries into figures full of character, at creepers that conquer leftover spaces between high-rises and motorways, and at mighty rock faces that are being gnawed by erosion. With the merging of art and documentation that is typical of Aerni’s work, Georg Aerni—Silent Transition makes the signs of change the object of a contemplative observation and at the same time asks challenging questions: about our handling of natural resources, about the social backgrounds to cities growing out of control, about the regenerative force of nature.

A decade after Aerni’s first monograph, Sites & Signs, this new book showcases the artist’s ongoing continuation of his photographic work through numerous individual images as well as new series. 166 beautiful colour and black-and-white plates are introduced through texts by Peter Pfrunder and Nadine Olonetzky and commented on with an essay by Sabine von Fischer.

Text in English and German.

Suzanis, the exquisite hand-embroidered panels from Central Asia, have captured the hearts and minds of collectors and decorators for many years. Joyful and exuberant, they are a bridge to a past way of life in which textiles permeated every facet of existence. While today they adorn the walls of museums and can be spotted in homes designed by interior designers such as Robert Kime and Beata Heuman, not much is known about their history. This book sets out to change that.

Through the lens of one of the best collections of suzanis in the world, we delve into the history of Central Asia and understand more about the women who painstakingly stitched these works of art. A true delight for all who have experienced the magic of the suzani, this publication pairs beautiful visuals with engaging new research.

Shaped by nature and selected by man, scholars’ rocks, or gongshi, have been prized by Chinese intellectuals since the Tang dynasty, and are now sought after by Western collectors as well.

They are a natural subject for the photographer Jonathan Singer, most recently acclaimed for his images of those other remarkable hybrids of art and nature, Japanese bonsai.

Here Singer turns his lens on some 150 fine gongshi, ancient and modern, from the world-class collection of Kemin Hu, a recognised authority on this art form. In his photographs, Singer captures the spiritual qualities of these stones as never thought possible in two dimensions; he shows us that scholars’ rocks truly are, in Hu’s words, “condensations of the vital essence and energy of heaven and earth.”

Hu contributes an introductory essay on the history and aesthetics of scholars’ rocks, explaining the traditional terms of stone appreciation, such as shou (thin), zhou (wrinkled), lou (channels), and tou (holes). She also provides a narrative caption for each stone, describing its history and characteristics.

One icon meets another: For true automotive enthusiasts, it was no surprise that the paths of Aston Martin and René Staud would cross at some point.

The British brand’s meteoric success story began almost exactly 110 years ago. Its claim of building road-ready racing cars has always remained intact. Legendary victories at Le Mans or the Nürburgring, for example, contributed to Aston Martin’s appeal, as did the fact that Her Majesty’s secret agent, James Bond, drove the elegant, British-built DB5 as early as 1964.

In this new edition of the best-selling book, multiple award-winning automotive photographer René Staud presents breathtaking new photographs of both old and present-day models — even those knowledgeable about the brand will discover stories not yet heard.

Text in English and German.

“Nineties Spirit is comprehensive, compelling and at times emotional. It’s a must-have for any fan of music.” — Amateur Photographer
“As a time capsule of the music industry in the 1990s… Nineties Spirit is comprehensive, compelling and at times emotional. It’s a must-have for any fan of music.” —  Amateur Photography

“If photographs could sing, Paul Bergen’s would be chart toppers.” — SquareMile

David Bowie and Bruce Springsteen, Nirvana and Oasis, Pete Doherty and Phil Collins, Prince and Motörhead — the internationally acclaimed and renowned music photographer Paul Bergen has seen all the stars of the 1990s through his lens, both on stage and backstage.

His photo archives are among the world’s largest in the music industry. In Nineties Spirit, he is now sharing these treasures with a large audience for the very first time.

The artists themselves also get a chance to have their say. In short passages, interviews, and commentaries, the authors bring the iconic decade alive again. They make Nineties Spirit a one-of-a-kind chronicle of the times that captures an entire generation’s attitude toward life.

Lam Partners has blazed the trail in architectural lighting design for more than 60 years. The visionary team of designers, architectural imaginers, and technical gurus have illuminated prominent and prestigious buildings, landmarks, and spaces across the United States and around the world.

William Lam founded his eponymous studio in 1961, pioneering the field of modern lighting design and establishing the core philosophies and principles that continue to lay the foundation for Lam Partners and the lighting industry today. Now led by its third generation of principals, Lam Partners collaborates closely with architects to develop custom lighting designs that bring their vision to life. Their passion for architecture and lighting is evident in the energy and enthusiasm injected into the design process, and the technical and creative strategies that enrich architecture and space, and elevate the human experience.

This beautifully presented monograph showcases 25 architectural lighting projects by Lam Partners, including the United States Institute of Peace, Guggenheim Museum Bilbao, Yad Vashem Memorial Museum, The TOWER at PNC Plaza, Salt Lake City Public Library, and SoFi Stadium. It also features a selection of legacy projects, such as the Washington D.C. Metro and Union Station, and the Atlanta Marriott Marquis, considered to be some of Lam’s greatest contributions to architectural lighting.

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.