Managing change has become an increasingly critical capability for today’s turbulent and disruptive environment. Nevertheless, research indicates that failure rates of change initiatives remain high. In Six Batteries of Change, the authors propose a new model and a measurement tool that help managers to deal with this challenging topic in a more effective way. The model and the tool track to what extent your organization possesses the energy to successfully complete your change programs. The book identifies six batteries of change that organizations and managers need to charge for change to become effective, and offers insights in how to charge each of the six batteries. The role of a change manager is to ensure that all six batteries are charged, in order to generate the amount of energy necessary in successfully completing change. If the batteries of change remain empty, the success rate of the change will be limited. Six Batteries of Change shows managers how to develop transformation competencies by creating a more energized organization capable of dealing with faster and more complex change. The book presents new frameworks and uses numerous cases to illustrate what this approach is all about in practice.
This book is a compilation of the winning entries from the 28th Asia Pacific Interior Design Awards 2020, featuring 61 projects across 12 space types, judged by top designers such as Ho Chung Hin and Jurgen Bey. The entries showcased the latest design trends in the Asia Pacific region, and interpreted and led the spirit of Asia Pacific design, in line with 28 years of consistent quality.
The impact of the 2020 epidemic has also had a profound impact on the field of design, and the direction of this year’s selection captures this change keenly, looking for outstanding designs that address and interpret people’s changing physical and spiritual needs in the light of the new changes. For example, new scenarios that reconfigure the way people live together in the blurring of boundaries between public and private spaces. Pushing new professional boundaries has always been the creative mission of the Asia Pacific Interior Design Awards, and this time, its professionalism is reflected in its commitment and care for people’s lives and well-being.
“…it’s the colorful photographs (over 500!) of one-of-a-kind Hopi and Moroccan-inspired mosaic pieces featured in her memoir, out in October, that truly command attention, from ammonite fossils and ivory animal renderings to stunning lapis, coral, and turquoise designs.” — Natural Diamonds
North African-born Eveli Sabatie had a long-time fascination with Native American culture and history. As a young woman, she left her home in Paris in 1968 to move to San Francisco, hoping to learn more. A chance encounter with a Hopi traditionalist led to an invitation to Arizona, where she apprenticed with a master Native American jewelry-maker. For her, this was the beginning of a new world.
Art can never be fully divided from the artist’s voice, nor the natural world. When Eveli encountered red jasper while roaming the Arizona mountains, she knew she had to incorporate her local geology into her work. Yet raw materials are just one of many ways in which the world around Eveli shapes her art. This book is a direct and personal exploration of Eveli’s work, following her arc of growth, challenges and internal workings.
Eveli’s jewelry is entirely created by her, from gathering material to fabricating the body of the piece, doing the lapidary work and finally adding stone settings and finishings. She works in a rustic, ancient environment, often choosing to use rudimentary and home-made tools over commercial techniques. This book explores her creative process through five sections: THE JOURNEY, a biographical overview of her time at the Hopi reservation in Northern Arizona, where she apprenticed under Charles Loloma; CLOUDS AND RAIN, exploring the influence of the Hopi and the desert on her work; BEING HOME, which talks in greater detail about Eveli’s relationship with the environment; BEING HUMAN, a philosophical study of humanity through jewelry; and BRANCHING OUT, which features Eveli’s other artworks, which are sought after by collectors from around the world.
This is a profound reflection on the earth, through the medium of jewelry.
The French city of Limoges was world famous for the production of champlevé enamels during the Middle Ages. During the Renaissance a revival of Limoges enamels took place, but the technique employed was that of painted enamel. Triptychs with a sacred subject, conceived as a painting but shining like jewelry and built with durable materials, became popular. The three works held at the Bargello National Museum in Florence are attributable to Nardon Pénicaud (1470–1542), a primary artist with an active workshop. The three enamel paintings came from the famous collection of Louis Carrand, a Lyon antiquarian, who donated them to the Bargello in the 19th century. Their story is told in Ilaria Ciseri’s essay. Paola Venturelli analyzes the historical and artistic aspects of the works and places them in the context of contemporary enamel production. The final contributions from the Opificio delle Pietre Dure address the conservation of the three delicate enamels and analyzes materials and pigments.
Humayun, the son of Babur and the second Mughal ruler, reigned in Agra from 1530 to 1540 and then in Delhi from 1555 to 1556. Until now, his numerous achievements, including winning back the throne of Hindustan, have not been well recorded. The Planetary King follows Humayun’s travels and campaigns during the political and social disturbances of the early 16th century. It delves into Humayun’s extraordinary social and intellectual life; demystifies his magico-scientific world view, draws attention to his deep involvement with literature, poetry, painting, architecture, mathematics, astronomy, astrology, occultism and extraordinary inventions, and offers a new analysis of Humayun’s mausoleum as the posthumous sum of his visions and dreams.
The book accompanies the new site museum at Humayun’s tomb created by the Aga Khan Trust for Culture upon the culmination of two decades of conservation work on the World Heritage Site.
Co-published with Aga Khan Trust for Culture, New Delhi.
Gilbert & George created Dark Shadow in 1974 as a ‘living sculpture book,’ the ‘result of our past three years of earnest daily thoughts, shadows, deeds, cares, and pleasures.’ Hurtwood’s limited re-edition of 2,000 marks its fiftieth anniversary.
Featuring original text and artwork by Gilbert & George, the publication offers an unparalleled perspective on the early career of one of the twentieth century’s most significant artistic duos. Like their art, Gilbert & George’s writing is irreverent, rebellious, often funny, and deeply poetic. The book includes a letter to their readers and photographs by the artists of themselves, their home in East London, and their pictures.
Dark Shadow is structured into eight chapters, which elaborate on the inspirations behind Gilbert & George’s work, such as London life and British culture, including, of course, Gordon’s Gin. As is emblazoned on the cover, Dark Shadow is a continuation of their lifelong agenda ‘Art for All’, and each book is a piece of art in itself, uniquely bound in the UK with hand-marbled cloth.
The Meaning of the Earth offers a retrospective on the lives and work of the relentlessly controversial artists, placing them within the context of twentieth century British culture. Wolf Jahn tells the story of how Gilbert & George found their identity in opposition to pervasive ideas around social conformity and religion after meeting in 1967.
The artists staged an internal revolution, mining their psyches to create visionary and unwaveringly modern art. The ‘two people but one artist’ ask the questions that gnaw at us all: ‘Where do we come from?’, ‘Who are we?’ and ‘Where are we going?’ The book meditates on the artists’ role in this century, connecting their beginnings as Living Sculptures to their pictorial work of today.
The Meaning of the Earth is a continuation of Jahn’s 1989 work, The Art of Gilbert & George. The author writes a playful philosophical interrogation of Gilbert & George’s work that truly grasps its cosmic scale.
When photographer Anthony Dawton realized how dramatically homelessness had increased in London, he took to the streets with his camera. For years he had taken photographs in areas of need worldwide, but after spending some time in his home city, he noticed how many people were living on its streets. He embarked on a new project to raise awareness for a city he no longer recognized: NOTLondon.
Anthony Dawton photographs his subjects with a beauty and dignity that many of them are often denied. His portraits capture the strength and power of humanity as well as its vulnerability. By accompanying the image with the person’s name and their story, Anthony gives voice to the voiceless and attempts to offer the homeless a place, a home on the page. Governmental institutions turn a blind eye to the homeless, leaving the work up to charities. Homeless shelters are rife with substance abuse, making them a dangerous place for those trying to overcome addiction. Homelessness becomes a vicious cycle and many find it difficult to break free. Since the start of the pandemic, over 70,000 households in the UK have been made homeless. Dawton’s photographs are mesmerizing, and as we stare into the eyes of their subjects, we’re faced with reality: this is a problem that’s getting worse and needs urgent attention.
NOTLondon is a provoking campaign to help the city’s most vulnerable and to address the fact that, despite its wealth, the city is not providing for those most in need. NOTLondon includes an introduction by Leilani Fahra, former UN special Rapporteur on the Right to Housing and the Global Director of The Shift. Having dedicated her life’s work to changing attitudes to homelessness and attacking the governmental systems and structures which perpetrate homelessness, she shares her thoughts in NOTLondon, highlighting the importance of Dawton’s project.
Montreal is so much more than its old world architecture and love of wine and cheese. The Quebecois metropolis is bursting with enough joie de vivre to make just about anyone want to get out and explore its cobblestoned and pothole-ridden streets — and true Montrealers know that the city has its own unique identity and quirks that place it in a league all its own.
Spend a wine-fueled cinq à sept with a ghost at the city’s oldest bar. Get up close and personal with a life-like portrayal of Benito Mussolini. And go skating in the middle of the downtown core — any time of the year.
This guide comes as a love letter to Canada’s largest French-speaking city and everything it has to offer its residents and travelers. Visiting and full-time Montrealers alike will be pleasantly surprised by what can be discovered beyond the cobblestone and steeples if only you’re willing to take the side streets.
Muzharul Islam (1923–2012) has left behind an outstanding architectural legacy in Bangladesh, with a significance reaching far beyond the temporal and geographical horizons of its creation. Yet until now, his work has remained relatively unknown despite its relevance and singularity. This monograph presents numerous photographs and reproductions of detailed original drawings to introduce a series of unique buildings to an international audience, highlighting the Bengali architect’s way of thinking and actions, as well as his engagement in cross-cultural dialogue.
Contributions by practising architects from different continents present multifaceted perspectives on Islam’s work, placing him within a historical context and global interconnections. Muzharul Islam’s pioneering and timeless works address burning issues that are currently shaping the global architectural debate: climate-sensitive and self-sufficient construction, social engagement and overcoming colonial mindsets are all fields that the architect pursued relentlessly since the beginning of his career in the 1950s.
From the fringes of society to the envy-inducing images on social media, how and why has vanlife become more popular than ever before? What does this tell us about our love of travel and our ideas of home? And how do camper vans address issues of minimalism, freedom and sustainability? The creators of The Rolling Home journal bring you a timely, attractively priced paperback re-issue of The Complete Vanlife Book, with essays, interviews, illustrations, and photographs that tell you everything you need to know about vanlife culture. On a practical level the authors impart the basics of compact interior design and van conversions, along with inspiring personal accounts of living and traveling by van.
Wine has been considered a luxury product since the time of the ancient Egyptians, and today is coveted by collectors and wine enthusiasts from around the world. Yet little has been written about the world of luxury wine marketing, explaining how a wine brand can enter that special realm. This book helps to demystify the process by describing how to craft, implement, and maintain a luxury wine brand. Beginning with a definition and history of luxury wine, the authors then explain the unique business model and consumer segments for luxury wine, before outlining industry best practice in the building of luxury wine brands. Each chapter is supplemented with a vignette of a successful luxury brand producer, and provides beneficial advice on the long-term vision and passion that is necessary to create a successful luxury wine marketing strategy. This book also contains original research conducted by the authors on the size of the luxury wine market and analysis of its segmentation by region, allowing for new and unique insight into the world’s top wine regions. Written as both a practitioner’s guide and as a wine business textbook, Luxury Wine Marketing is a cornerstone reference resource for the business of wine.
More than other painters, the Impressionists wanted to shake off the dust of the studio, and swarmed the noisy streets of Paris, filling the cafés and living in garrets and humble little dwellings on the hill of Montmartre, which still seemed like the countryside at the time, its slopes covered with vineyards and vegetable gardens. Nor did they limit themselves to the city, planting their easels in the clearings of the forest of Fontainebleau, on the coast of Normandy, in the rustic villages in the Oise Valley and in Bougival and Argenteuil on the banks of the Seine. Like their Naturalist friends Zola and Maupassant, they liked to mix with the locals so they could experience the places directly, painting everywhere, even on a boat, like the one where Monet had his floating studio.
Globalization has forced us to stop thinking that art only exists in the West. The very notion of art was invented by the West and refers to the learned version of its material culture. It was then projected onto other civilizations, particularly Asian ones, and finally onto the preliterate societies of Africa and Oceania.
Whether or not these cultures possess the concept of art is of little importance, because when they honor their gods, they inevitably address what they consider to be the acme of beauty. For a long time, this openness to other aesthetics was based on the arts of the past, until it was finally accepted that there were living creators in these distant lands, and that today’s means of communication have brought them closer to us.
These “others” who appeared in the 1980s are by no means a homogenous group. Without stretching this analysis too far, they can be regarded as falling into two categories: those who have opted for modernity and submit to the demands of the market and Western based institutions, and those who concentrate on giving visual expression to their communities and beliefs, ignoring the demands of the art market. Australian Aboriginal art represents an intermediate situation, since alongside art of a sacred nature, there are works deliberately produced for sale, initially encouraged by missionaries.
Nothing Too Beautiful for the Gods aims to show the variety of works connected with the spiritual impulse, from those used in religious rites to contemporary artworks that refer to them. These hybrid works are often the result of accommodations with modernity. The exhibition and accompanying book bring together altars from Africa, the Caribbean and Asia, works by artists invested with religious responsibilities (Didi, Shiraga), works by religious artists (Ramoun) and others by artists who refer explicitly to religions and spirituality (Sooja Kim, El Anatsui, Vasquez de la Horra, Bedia, Boltanski, Viola).
Text in English and French.
“… essential reading for anyone interested in conservation, African history, and the human spirit. It is a moving portrait of a park that continues to inspire global efforts in environmental stewardship, even under the most difficult circumstances.” — Ninu Ninu
“This book is a reminder of the park’s value both in local terms and on a global scale, and why the fight to protect it must continue.” —Outdoor Photography
Virunga National Park, the green lung in the eastern DR Congo, is Africa’s oldest nature reserve. The park is breathtakingly beautiful and offers an unparalleled diversity of ecosystems—from active volcanoes to tropical rain forests, from the glaciers of the Rwenzori peaks to the savannas of Rwindi. It is home to an exceptional array of wildlife, including the world’s last mountain gorillas. Thanks to these unique features, Virunga is listed as a UNESCO World Heritage site. This publication, written by around 40 experts, explores the complex history of this Congolese gem. It sheds light on those who have dedicated themselves to its preservation since 1925, as well as the current teams fighting to address the countless environmental and social challenges in a region plagued by conflict, poverty, and humanitarian crises. Through their efforts, the park has become a catalyst for development and stabilisation of the entire region. The book invites us on a fascinating journey where resilience and innovation serve the park and surrounding communities, continuing to shape the legend of Virunga.
The Hannah Ryggen Triennale is initiated and organized by Nordenfjeldske Kunstindustrimuseum in Trondheim, Norway, and dedicated to the celebrated textile artist Hannah Ryggen (1894–1970). During her lifetime, Ryggen gained international recognition for her vibrant political tapestries, and her heartfelt humanistic works still resonate with audiences today.
Each Triennale explores themes from Ryggen’s art through the lens of contemporary craft and visual art. The theme of the 4th edition is “Mater,” for which the exhibitions and the accompanying catalogue highlight Ryggen’s thematizing of motherhood and material, how her works were rooted in the nature around her, and how she “wove herself” into arts and crafts traditions. This year’s Triennale presents contemporary artists who address these themes by approaching materiality from an ecological perspective, or by actively seeking out their foremothers in the textile tradition to explore their individual and cultural identity.
Text in English and Norwegian.
The British architect Tony Fretton has long been renowned as a pioneer of London’s architectural scene, winning many commendations and prizes for his buildings. Highlights include the Lisson Gallery in London, for which he attracted initial attention in 1990, as well as the Red House in London (2001) and the Danish Fuglsang Art Museum (2008).
The three parts of this comprehensive and conclusive monograph address all aspects of his creative oeuvre: including his buildings, sketches, project ideas and his non-architectural photographic work. The reserved design of this overall presentation reflects his own rational, unembellished work, which is inspired by each respective location.
This book traces the legacy of the Department Building at the Ulm School of Design, where experimentation and intellectual rigor redefined modern architecture. Rooted in critical thinking and knowledge exchange, it brought together design, science, and creativity to address architecture’s complex challenges.
“Today, the open spirit of Ulm feels more urgent than ever, reshaping how we inhabit and imagine the future of our data-driven world.” – Georg Vrachliotis, Head of the Architecture Department, TU Delft
Miami, Florida, is a city that’s highly vulnerable to the effects of climate change. Global design firm ArquitectonicaGEO is at the forefront of designing sustainable, contemporary landscaped environments that address these challenges as well as enhancing the human experience and community wellbeing.
In Resilient Horizons: The Future of Landscape Architecture, ArquitectonicaGEO presents 10 pioneering projects in Miami, offering an insightful case study that explores the transformative role of landscape architecture in creating a more resilient city. Ranging from urban green spaces and neighborhood precincts to large-scale developments and ecosystem restorations, these projects demonstrate how sustainable, innovative landscape architecture can transform not just spaces, but entire communities, and our future cities.
Full-color photography, site plans, drawings, and engaging narratives showcase the innovative approaches that ArquitectonicaGEO uses to design sustainable, resilient, enriching environments. Written in English and Spanish, the bilingual text reaffirms the importance of landscape architecture as a powerful, transformative tool for a greener future.
Text in English and Spanish.
500 piece puzzle featuring the artwork of South African artist Thania Petersen.
South African artist Thania Petersen can trace her lineage back to Tuan Guru, an Indonesian prince brought to South Africa by the Dutch in the 18th century. Fittingly, her work interrogates colonial histories and explores hybrid identities. Her dazzling embroideries, like this middle panel from her recent Drowned Bodies Never Die tryptic, fuse styles derived from history painting and textiles and provide both visual delight and subversive content through their rich symbolism.
Gilbert & George are two men, but one artist. Tied to the 2025 exhibition Death Hope Life Fear… at the Gilbert & George Centre in London, this book showcases 18 of their powerful works from 1984 to 1998. During this period, their art evolved into vivid, confrontational territory, with intense colors and ritualistic energy. Central to the show is the monumental Death Hope Life Fear (1984), a key work from The 1984 Pictures, exploring themes of youth, nature, identity and cosmic balance. The exhibition spans early spiritual pieces from Finding God (1982) to the raw introspection of The Rudimentary Pictures (1998). Bold and uncompromising, Death Hope Life Fear… reaffirms Gilbert & George’s enduring mission to create art that speaks to all.
“As enterprises embrace AI and automation, three challenges emerge: empowering employees as roles shift, enabling continuous reskilling without disruption, and creating real synergy between AI and human talent. Drawing from real-world transformation programs, this book offers a practical playbook to address these shifts – not with theory, but with actionable strategies, proven tools, and human-centric design. The new AI era demands more than technology; it demands a reimagined employee experience that fuels performance, personalizes learning, and strengthens coaching. When done right, this isn’t just adaptation. It’s transformation, helping people stay relevant, resilient, and ready for what’s next.” — Gal Rimon, Founder and CEO, Centrical
“With clarity and structure, this book turns the overwhelming topic of AI into the confidence leaders need to simply get started.” — Eline Lostrie, Co-CEO, nexxworks
AI Will Replace You shows how organizations can let go of their fear of AI and instead embrace this technology as a lever for growth. Using the practical and accessible AI Navigator framework, you’ll discover how to effectively embed AI into your strategy, get your employees on board, and prepare your organization to become an AI leader.
Flowers of Fire is a poetic and experimental collaboration between artist Anaïs Tondeur and philosopher Michael Marder, created during a residency in Naples in dialogue with scientists and the inhabitants of the Terra dei Fuochi. The project intertwines photography, ecology, and philosophy to address a landscape marked by pollution and environmental trauma. Using an innovative technique of phytography, Tondeur lets plants imprint their own presence onto photosensitive paper and textiles recovered from landfills—images born from sunlight, soil, and vegetal touch. Marder responds with letters addressed to the plants, read aloud by the artist in a ritual of correspondence and care. Together, their dialogue gives form to an ethics of listening and reciprocity between human and vegetal life. Both artwork and ecological meditation, Flowers of Fire invites us to imagine new bonds of responsibility with the living world.
For more than 4,500 years people have been drawn to a windswept plain at the heart of southern England where a circle of vast upright stones topped with massive lintels stands. Yet Stonehenge – probably the most famous prehistoric monument in the world – remains mysterious.
Today, nearly one and a half million people a year come from across the world to see for themselves this silent icon of the ancient past. But what do we really know about the people who built it, why they did so, and what they did here among the stones? In the 18th century stories of Druids, of sacrifices and pagan worship emerged in the silence. How has our understanding of this complex site changed since then?
Through spectacular new photography, historic images, artworks and a remarkable new reconstruction drawing, Susan Greaney tells the story of Stonehenge, its builders and the people whose lives have been touched by this awe-inspiring monument from earliest times to the present day.