Search results for ""Author Museum of Domestic Design"

From the Werkbund to the Bauhaus to Braun, from furniture to automobiles to consumer appliances, twentieth-century industrial design is closely associated with Germany. In this pathbreaking study, Paul Betts brings to light the crucial role that design played in building a progressive West German industrial culture atop the charred remains of the past. "The Authority of Everyday Objects" details how the postwar period gave rise to a new design culture comprising a sprawling network of diverse interest groups - including the state and industry, architects and designers, consumer groups and museums, as well as publicists and women's organizations - who all identified industrial design as a vital means of economic recovery, social reform, and even moral regeneration. These cultural battles took on heightened importance precisely because the stakes were nothing less than the very shape and significance of West German domestic modernity. Betts tells the rich and far-reaching story of how and why commodity aesthetics became a focal point for fashioning a certain West German cultural identity. This book is situated at the very crossroads of German industry and aesthetics, Cold War politics and international modernism, institutional life and visual culture.

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An exuberant, radical style, Art Nouveau blithely trampled many of the Victorian Age's orthodoxies of art and design. Exploding age-old strictures with its fanciful approach to furniture, graphic arts, jewellery, architecture and more, Art Nouveau also embraced new technologies and incorporated foreign stylistic flourishes. It was also unabashedly luxurious and sensual. The Triumph of Nature: Art Nouveau from the Chrysler Museum of Art brings together approximately 120 of the finest Art Nouveau treasures from the uncommonly rich holdings of the Chrysler Museum of Art, drawing primarily from the gifts of Walter P. and Jean Chrysler, whose homes were once the havens for these opulent treasures. Designing for a range of clients and settings including domestic interiors, innovative artists such as de Feure, Majorelle, and Galle fashioned their eclectic works to play off each other in harmonious visual arrangements, conceiving of Art Nouveau as an enveloping style. This stunningly illustrated comprehensive volume gathers a profusion of Art Nouveau works and accessories-furniture, paintings, sculpture, mosaics, books, posters, prints, lamps, glass, and other stunning objets d'art- all of them originally designed and coordinated to complement each other in elaborate ensembles. AUTHORS: Lloyd DeWitt is chief curator and Irene Leache Curator of European Art, Chrysler Museum of Art. Carolyn S. Needell is Barry Curator of Glass, Chrysler Museum of Art. Gabriel P. Weisberg is a leading scholar on Art Nouveau, and on nineteenth-century French art. SELLING POINTS: . Features over 150 beautiful and finely crafted examples of Art Nouveau furniture, decorative arts, and graphic arts, all highlights from a remarkable collection . Collection is exceptional for its quality and breadth . All the major figures of this pivotal artistic movement that thrived from the 1880sthrough the First World War are well represented including Hector Guimard, Emile Galle, Louis Majorelle, Alphonse Mucha and many others 197 colour illustrations

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Over the course of the past century, the kitchen, more than any other room in the modern dwelling, has been the focus of intensive aesthetic and technological innovation. Historically, European and American kitchens were often drab, poorly ventilated, and hidden from view in a basement or annexe. Towards the end of the 19th century, however, the kitchen became a central concern of modernism and a testing ground for new materials and technologies. Since then, the room has come to articulate and at times actively challenge society’s relationships to food, consumerism, the domestic role of women, and even international politics. Counter Space examines the 20th-century transformation of the kitchen through the collection of The Museum of Modern Art, featuring a wide variety of design objects, architectural plans, posters, archival photographs and artworks – ranging from the iconic Frankfurt Kitchen, massproduced for German public housing estates in the aftermath ofWorldWar I, to an electric kettle, heat-resistant glassware and colourful plastics.With an introductory essay by Juliet Kinchin, this volume is a lively introduction to the kitchen as a barometer of changing technology, aesthetics and ideology.

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This beautifully produced book celebrates the work of Robert Adam, the great eighteenth-century architect who influenced generations by stamping his distinctive neoclassical aesthetic vision on the English country house interior. Lavish new photography provides a deeply visual exploration of Adam s most important surviving country houses, to which the author and photographer gained unparalleled access. Included are magnificent country houses such as Syon House and Harewood House styled and inspired by the ideal of the neoclassical as well as Adam s castle-style Mellerstain and town houses such as Home House all captured in splendid detail. Original Adam design drawings, from Sir John Soane s Museum, illustrate the boldness of planning, color, and creative interpretation of Adam s domestic interiors. A biographical and contextual account of Adam s life and work describes his unique design process, his patrons, and the legacy of his design achievement. This richly illustrated volume will appeal to designers and homeowners as well as traditional architecture enthusiasts, promising to become an important addition to any architecture and interior design library.

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This complete overview of contemporary studio furniture celebrates the achievements of an international selection of designers producing works of individual artistic expression that sit as comfortably in museums as they do in domestic settings. Featuring more than 400 exemplars, from finely finished tables and chairs made from natural materials to experimental furniture that straddles the boundary between craft and art, this is the only comprehensive survey of its kind. Structured by type of object and maker, the book also showcases the home interiors of makers and collectors, in which crafted furniture is used to create highly personal environments. Personalization and exclusivity in design have become increasingly prized in a world that is turning back to the values of authentic craftsmanship. This richly illustrated guide will be essential reading for all design connoisseurs, collectors and anyone interested in bespoke furniture design. With 680 illustrations in colour

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American art museums of the Gilded Age were established as civic institutions intended to provide civilizing influences to an urban public, but the parochial worldview of their founders limited their democratic potential. Instead, critics have derided nineteenth-century museums as temples of spiritual uplift far removed from the daily experiences and concerns of common people. But in the early twentieth century, a new generation of cultural leaders revolutionized ideas about art institutions by insisting that their collections and galleries serve the general public. Things American: Art Museums and Civic Culture in the Progressive Era tells the story of the civic reformers and arts professionals who brought museums from the realm of exclusivity into the progressive fold of libraries, schools, and settlement houses. Jeffrey Trask's history focuses on New York's Metropolitan Museum of Art, which stood at the center of this movement to preserve artifacts from the American past for social change and Americanization. Metropolitan trustee Robert de Forest and pioneering museum professional Henry Watson Kent influenced a wide network of fellow reformers and cultural institutions. Drawing on the teachings of John Dewey and close study of museum developments in Germany and Great Britain, they expanded audiences, changed access policies, and broadened the scope of what museums collect and display. They believed that tasteful urban and domestic environments contributed to good citizenship and recognized the economic advantages of improving American industrial production through design education. Trask follows the influence of these people and ideas through the 1920s and 1930s as the Met opened its innovative American Wing while simultaneously promoting modern industrial art. Things American is not only the first critical history of the Metropolitan Museum. The book also places museums in the context of the cultural politics of the progressive movement—illustrating the limits of progressive ideas of democratic reform as well as the boldness of vision about cultural capital promoted by museums and other cultural institutions.

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The twentieth century offered up countless visions of domestic life, from the aspirational to the radical. Whether it was the dream of the fully mechanised home or the notion that technology might free us from home altogether, the domestic realm was a site of endless invention and speculation. But what happened to those visions? Are the smart homes of today the future that architects and designers once predicted, or has ‘home’ proved resistant to radical change? Home Futures: Living in Yesterday’s Tomorrow –accompanying a major Design Museum exhibition of the same title–explores a number of different attitudes toward domestic life, tracing the social and technological developments that have driven change in the home. It proposes that we are already living in yesterday’s tomorrow, just not in the way anyone predicted. This book begins with a lavishly illustrated catalogue portraying the ‘home futures’ of the twentieth century and beyond, from the work of Ettore Sottsass and Joe Colombo to Google’s recent forays into the smart home. The catalogue is followed by a reader consisting of newly commissioned essays by writers such as Dan Hill and Justin McGuirk, which explore the changes in the domestic realm in relation to space, technology, society, economy and psychology.

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The Umbrella House is the smallest residential home by Japanese architect and mathematician Kazuo Shinohara (1925–2006). This book tells the story of his unique masterpiece, which was first built in Tokyo in 1961. More than sixty years later, a stroke of good fortune made it possible to save the Umbrella House from demolition and move it to a new location, where it now stands on the Vitra Campus in Weil am Rhein (Germany). The wooden house’s post-and-beam construction references traditional Japanese domestic and temple architecture. Experts from Japan and Europe supervised the dismantling of the house in Tokyo and its reassembly in Weil am Rhein. The book traces the long journey of the Umbrella House in lavish illustrations including impressions from 1960s Japan, architectural designs and plans, and photographs that document its dismantling and reassembly or show the house in its new location. Texts by Ryue Nishizawa (SANAA), Shin-ichi Okuyama, and David B. Stewart discuss the Umbrella House against the background of Japanese architectural discourse between 1960 and the present. "The strength of my conviction that A House is a Work of Art was born of the struggle with this small house. I wished to express the force of space contained in the doma [earthen-floor room] of an old Japanese farmhouse, this time by means of the geometric structural design of a karakasa [oiled-paper Japanese umbrella]." Kazuo Shinohara in a text on the Umbrella House published in October 1962 in the Japanese architecture journal Shinkenchiku (vol. 37, no. 10; first published in English in February 1963 in The Japan Architect, vol. 38, no. 2).

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Published on the occasion of an important international loan exhibition at The Azerbaijan Carpet Museum in Baku, this multi-author book is much more than a mere catalogue. Written by a team of international museum professionals and independent scholars, it is the first co-ordinated and detailed study of the West Caspian region's characteristic silk embroideries. The book traces the history of embroidery in the Caucasus, the multi-cultural sources of domestic embroidery iconography and designs in which the textile traditions of the Iranian and Turkic worlds meet, materials and needlework techniques, as well as the relationship between embroidery and the pile carpet weaving tradition in the region.

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A stunning celebration of the architect’s residential masterpieces Louis Kahn (1901–1974), one of the most important architects of the postwar period, is widely admired for his great monumental works, including the Kimbell Art Museum, the Salk Institute, and the National Assembly Complex in Bangladesh. However, the importance of his houses has been largely overlooked. This beautiful book is the first to look at Kahn’s nine major private houses. Beginning with his earliest encounters with Modernism in the late 1920s and continuing through his iconic work of the 1960s and 1970s, the authors trace the evolution of the architect’s thinking, which began and matured through his design of houses and their interiors, a process inspired by his interactions with clients and his admiration for vernacular building traditions.Richly illustrated with new and period photographs and original drawings, as well as previously unpublished materials from personal interviews, archives, and Kahn’s own writings, The Houses of Louis Kahn shows how his ideas about domestic spaces challenged conventions, much like his major public commissions, and were developed into one of the most remarkable expressions of the American house.

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The Henry VII and Elizabeth of York marriage bed, rediscovered in 2010, is an exceptional piece of late medieval English royal furniture: no other equivalent example of secular domestic furniture is known to have survived, and, indeed, precious little woodwork from this period remains outside of ecclesiastical settings. As a tour-de-force of medieval royal woodwork, the bed offers an unprecedented insight into elite domestic furniture from this period. Since its rediscovery, the bed has been subjected to a wide array of investigation by furniture specialists, medieval historians, design historians and scientists. Emerging from a decade-long multidisciplinary research project, this book is the first sustained account of the bed: it shows how numerous disciplines covering the arts and conservation sciences can be brought together to assess and interpret such rare historic survivals.Broken down into thematic chapters, the book explores the bed’s form and structure, context, iconography, wood, paint, physical history, provenance – including its curious reproduction by George Shaw in Victorian England – and relationship with known surviving Tudor furniture, as well as Georgian and Victorian Gothic Revival beds. Although thought to be a 19th-century fake, this book presents historical, archival and scientific evidence to show, beyond doubt, the bed’s late medieval age.Whilst grounded upon research presented at a 2019 conference funded by the Institute of Conservation and held at the Victoria and Albert Museum in London, the book incorporates additional historical and scientific discoveries made since the conference. Written by a range of scientists, historians and specialist researchers, this volume is a multi-disciplinary work of immeasurable value to readers from numerous disciplines.

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The Politics of Vietnamese Craft uncovers a little-known chapter in the history of American cultural diplomacy, in which Vietnamese craft production was encouraged and shaped by the US State Department as an object for consumption by middle class America.Jennifer Way explores how American business and commerce, department stores, the art world and national museums variously guided the marketing and meanings of Vietnamese craft in order to advance American diplomatic and domestic interests. Conversely, American uses of Vietnamese craft provide an example of how the United States aimed to absorb post-colonial South Vietnam into the ''Free World'', in a Cold War context of American anxiety about communism spreading throughout Southeast Asia. Way focuses in particular on the part played by the renowned American designer Russel Wright, contracted by the US International Cooperation Administration's aid programs for South Vietnam to survey the craft industry in South Vietnam and mana

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In the Gilded Age, when most sculptors aspired to produce monuxadments, Bessie Potter Vonnoh (1872–1955) made significant contributions to small bronze sculpture and garden statuary designed for the embellishment of the home. Her work commanded admiration for her fluid and suggestive modeling, graceful lines, and sculptural form. In 1904 Bessie Potter Vonnoh won the gold medal for sculpture at the St. Louis World’s Fair for bronzes of contemporary American women and children that delighted all who saw them. Although Vonnoh’s work is represented today in museums throughout the United States, Bessie Potter Vonnoh: Sculptor of Women provides for the first time an intimate and engaging encounter with one of the most widely respected sculptors of her day. Julie Aronson explores how, by concentrating on sculpture for domestic settings that expertly combined naturalism with elegance, Vonnoh negotiated a male-dominated field to create a pathway to professional success and made high-quality sculpture accessible to a wider audience. In an essay that examines Vonnoh’s relationship with her foundries and scrutinizes bronze castings, Janis Conner demystifies baffling issues of authenticity and quality in turn-of-the-century bronzes. This copiously illustrated book, indispensable for all sculpture enthusiasts, accompanies the first exhibition since 1930 dedicated to the art of Bessie Potter Vonnoh.

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Today Kensington Palace is synonymous with young royals; it is the official home of TRH The Duke and Duchess of Cambridge and their family, and of TRH The Duke and Duchess of Sussex. It is also famous for being the residence of Diana, Princess of Wales, during the last years of her life, and visitors still flock to the palace to learn about her story. But the history of Kensington stretches back much further. It boasts more than three centuries of continuous royal occupation, making it unique among the Historic Royal Palaces. Formerly a private house enlarged by Christopher Wren in the late 17th century to suit the needs of William and Mary, Kensington Palace was the favoured home of five sovereigns until the death of George II in 1760. Even after its conversion into a royal residence, the palace remained a rather unprepossessing building, fashioned out of reddish-grey brick. However, this belied its architectural significance, for it was shaped and decorated by some of the country's leading architects, artists, craftsmen and designers, and is now a major national monument. The palace's social and political significance is arguably even greater. Kensington has played host to some of the most important personalities and events in the long history of the royal family. It was the birthplace and childhood home of Queen Victoria, and it was here that she held her first council meeting as monarch in 1837. During the previous century, Kensington had been divided into apartments for the younger generation of royals - an arrangement that continues today. From the late 19th century onwards, it became a visitor attraction, a museum and home to the Royal Ceremonial Dress Collection. Today the palace attracts more than 400,000 visitors a year. In this new illustrated account, Tracy Borman tells the fascinating story of Kensington from private residence to modern-day royal palace, describing not only the development of the building and its magnificent gardens, but also the dramas and intrigues of court life. Its history is set against a backdrop of events that shaped both Britain and its monarchy: from the Jacobite uprisings of the mid-18th century to the rise of industrialisation in the 19th, and the turbulence of world war in the 20th. Here, in the domestic surrounds of the palace, the monarchy evolved and modernised in tandem with the times. The story of Kensington Palace is, in short, the story of the modern monarchy. AUTHOR: Tracy Borman is joint Chief Curator of Historic Royal Palaces. She has worked for various national heritage organisations, including the Heritage Lottery Fund, the National Archives and English Heritage. An acclaimed writer and historian 200 illustrations, 1 plan

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The village of Metsovo, called Amintziou in the Vlach language, is one of the most famous traditional settlements in Greece. Nestled in the heart of the Pindos mountain range, Metsovo owes its fame to the beauty of the landscape and the uniqueness of its hand-woven textiles. This book deals with the secrets of the weaving of Metsovo, which are presented in a simple, yet elegant manner. The subject is not only treated from a strictly technical and aesthetic point of view, but consideration is also given to the various interpretations of it, its symbols, and role of weaving as a factor in the everyday life of Metsovo. Representative examples of domestic textiles and traditional costumes from the Collection of the Laographic Museum of the Baron M. Tositsa Foundation are described in succinct, authoritative texts, accompanied by impressive, lavish illustrations, which introduce us to the beauty of the art and tradition of the weaving of Metsovo. A final section includes detailed drawings and descriptions of the decorative motifs and designs used in the woven textiles.

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The exquisite ceramic ware produced at the Imperial Porcelain Manufactory at Jingdezhen in southern China functioned as a kind of visual propaganda for the Qing dynasty (1644–1911) court. Porcelain for the Emperor charts the career of bannerman Tang Ying, a technocrat in the porcelain industry, through the first half of the eighteenth century to uncover the wider role of specialist officials in producing the technological knowledge and distinctive artistic forms that were essential to cultural policies of the Chinese state. Through fiscal management, technical experimentation, and design, these imperial technocrats facilitated rationalized manufacturing in precapitalist and preindustrial society. Drawing on museum collections and firsthand archaeological evidence, as well as the voluminous Archive of the Imperial Workshops, this book contributes new insights to scholarship on global empires and the history of science and technology in China. Readers will learn how the imperial state’s intervention in industry left a lingering imprint on modern China through its modes of labor-intensive production, the division of domestic and foreign markets, and, above all, a technocratic culture of centralization.

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Introducing British Silver is one of a series of new books exploring items acquired by the famous 20th-centuryGlaswegian shipping magnate and philanthropist Sir William Burrell and Constance, Lady Burrell, his wife, for their vast collection of art.Following the donation of the entire collection to the City of Glasgow in 1944, it was not until 1983 that the dedicated Burrell Collection museum opened in Pollok Country Park. This book is the sixth published since the reopening of the museum in spring 2022, allowing readers to marvel anew at the highlights from the decorative arts collection items that Sir William acquired.Divided thematically by the theme Ceremonial Silver, Domestic Silver, Silver Marks, Huguenot Silversmiths, and Silver Service the book examines some of the most interesting pieces, their origins, symbolism, and design. It also unpacks why Sir William acquired certain pieces and from whom.Lavishly illustrated in full colour, this book offers readers the latest research

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The celebrated Ashcan School artist John Sloan produced a distinctive body of work depicting life on the rooftops of early twentieth-century New York City. Designed to accompany the major loan exhibition of the same name organized by the Palmer Museum of Art, From the Rooftops: John Sloan and the Art of a New Urban Space examines the allure of rooftop locales for Sloan, as well as for more than a dozen of his contemporaries.From his early career as an illustrator in Philadelphia to the final years of his life, Sloan nurtured a fascination with what he called the “roof life of the metropolis.” Devoted to the importance of this setting in Sloan’s oeuvre, From the Rooftops features paintings, prints, and photographs by Sloan, alongside examples from other notable artists of the time, such as George Ault, William Glackens, Hughie Lee-Smith, Edward Hopper, and Reginald Marsh—artists who were likewise enthralled by “the city above the city.” In this book, art historian Adam Thomas explores the pivotal role that New York’s City’s rooftops played in Sloan’s thinking about urban space and places Sloan’s work within its broader artistic and cultural context. In his analysis, Thomas considers the liminal status of the rooftop and its complexities as both an extension of the domestic sphere and an escape from it during a period of profound social and architectural transformation in New York City. Featuring insightful analysis and more than eighty full-color illustrations, this catalog will appeal to art historians and art enthusiasts alike.

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Stephen Foster's "My Old Kentucky Home" has been designated as the official state song and performed at the Kentucky Derby for decades. In light of the ongoing social justice movement to end racial inequality, many have questioned whether the song should be played at public events, given its inaccurate depiction of slavery in the state.In Slavery and Freedom in the Bluegrass State, editor Gerald L. Smith presents a collection of powerful essays that uncover the long-forgotten stories of pain, protest, and perseverance of African Americans in Kentucky. Using the song and the museum site of My Old Kentucky Home as a central motif, the chapters move beyond historic myths to bring into sharper focus the many nuances of Black life. Chronologically arranged, they present fresh insights on such topics as the domestic slave trade, Black Shakers, rebellion and racial violence prior to the Civil War, the fortitude of Black women as they pressed for political and educational equality, the intersection of race and sports, and the controversy over a historic monument.Taken as a whole, this groundbreaking collection introduces readers to the strategies African Americans cultivated to negotiate race and place within the context of a border state. Ultimately, the book gives voice to the thoughts, desires, and sacrifices of generations of African Americans whose stories have been buried in the past.

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Craft Across Continents presents 50 objects in two-parts: the first 22 plates focus on works by Japanese makers; the second section of 21 plates on works by American and European practitioners. Marking the mid-way point of the volume is a special 8-page section, printed on a different uncoated paper stock, featuring large-scale, full-page images, including a portrait of the collectors and views of the glass, ceramics, bamboo and other objects as seen in the domestic setting of the collectors' private home. The wide-ranging and highly personal collection includes masterworks of twenty-first-century Japanese wood-fired ceramics, as well as works in porcelain by Satoshi Kino and Machiko Ogawa. Moreover, an additional 20-plus objects were gifted to the Mint in 2021 including further Japanese ceramics, a fine collection of Japanese bamboo sculptures by several generations of makers-a unique feature of the Collection-as well as an indigo resist-dyed wall hanging by Rowland Ricketts, an artist and farmer based in Bloomington, Indiana, using natural dyes and historical Japanese processes to create contemporary textiles. From Europe and the United States, there are major glass sculptures, a seminal installation by Danish maker Tobias Mohl, a mobile by Polish-trained artist Anna Skibska, and fine examples of cast blown, and lamp-worked glass. One of the most spectacular large glazed ceramic vessels in the collection is by the British maker, Gareth Mason. AUTHORS: Jen Sudul Edwards is chief curator and curator of Contemporary Art at The Mint Museum. Joe Earle is an author and curator. He was chair of the Asia, Oceania, and Africa department at the Museum of Fine Arts, Boston and served as vice president and director for the Japan Society Gallery at Japan Society from 2007-2011. Annie Carlano is senior curator of Craft, Design & Fashion at The Mint Museum. Rebecca Elliot is assistant curator of craft, design, and fashion at The Mint Museum. SELLING POINTS: . A wide-ranging and highly personal collection which through both its contents and its structure underscores the subtle interplay of Asian and Western craft practitioners and makers . Reveals how traditional methods of Japanese wood firing and textile dying inform and inspire contemporary makers in Europe and the USA . Accompanies a unique exhibition, which celebrates Lorne Lassiter and Gary Ferraro's unique collection of international craft acquired over decades, and which they have gifted to the Mint Museum to form a central part of its permanent craft collection . A a special 8-page central section features large-scale, full-page images of selected pieces from, and views of the collection as seen in the domestic setting of the collectors' private home 100 colour illustrations

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In this beautifully designed and illustrated volume, leading craft scholars, curators and artists come together to assess the post-War history and contemporary flourishing of craft in America. Their critical gaze encompasses craft practice by artists, professional makers, and amateurs; crafting as it takes place in the studio and in the domestic space, and as it is exhibited in museums and galleries; craft that uses materials and crafting in the digital arena, and critical issues confronting craft such as industry, education and digitization.

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Tracing the impacts of militarism on the American landscape, through the lens of art, environmental studies, and politicsDevour the Land considers how contemporary photographers have responded to the US military’s impact on the domestic environment since the 1970s, a dynamic period for environmental activism as well as for photography. This catalogue presents a lively range of voices at the intersection of art, environmentalism, militarism, photography, and politics. Alongside interviews with prominent contemporary artists working in the landscape photography tradition, the images speak to photographers’ varied motivations, personal experiences, and artistic approaches. The result is a surprising picture of the ways violence and warfare surround us. Although most modern combat has taken place abroad, the US domestic landscape bears the footprint of armed conflict—much of the environmental damage we live with today was caused by our own military and the expansive network of industries supporting its work. Designed to evoke a field book and to nod toward ephemera produced by earlier artists and activists, the catalogue features works by dozens of photographers, including Ansel Adams, Robert Adams, Dorothy Marder, Alex Webb, Terry Evans, and many more.Distributed for the Harvard Art MuseumsExhibition Schedule:Harvard Art Museums, Cambridge, MA (September 17, 2021–January 16, 2022)

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For many young architects, houses or domestic buildings are among the first projects they design. For David Adjaye, such early commissions were connected to a rising generation of creatives, with whom he shared a range of sensibilities. His artistry, clever use of space and inexpensive, unexpected materials resulted in many innovative and widely published houses, mainly built in London. After twenty years of practice and a raft of high-profile projects around the world – not least the National Museum of African American History and Culture in Washington, DC, which opened in the autumn of 2016 – houses represent a smaller portion of Adjaye’s work, but are more potent as a result. Selecting projects that are challenging for their sites, complexity or architectural possibility, Adjaye has both expanded and sharpened his domestic design, taking it in new directions. This monograph presents in vivid detail the nine finest and most recent examples, from Ghana to Brooklyn, from desolate farmlands to urban jungles. The results, presented through lucid texts alongside detailed and photographically rich visual documentation, testify to the importance of Adjaye’s growing inventiveness and provide powerful new design ideas for residential architecture.

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The product of many years’ research by Susan Palmer, archivist to Sir John Soane’s Museum, At Home with the Soanes paints a detailed picture of the social and domestic life at Nos 12 & 13 Lincoln’s Inn Fields, London, in the early 19th century – how the buildings were heated, the servants’ daily duties, what meals were cooked, wines purchased and teas drunk – even the fate of the family’s pet dog. Family life with two children – in many ways as difficult as modern offspring – is brought vividly to life and the below-stairs relationships of the servants are poignantly recorded. The evening social whirl of visits to theatres and supper parties is chronicled, and the description of seaside holidays on the Kentish coast, when Margate was in vogue, portrays the social niceties of promenades and dances. Originally published in 1997, At Home with the Soanes has been updated to include the latest discoveries that have come to light during restoration of the house and re-designed to include over 100 illustrations, mostly in colour, from the extensive Museum archive, including photographs of the newly-recreated ‘lost’ private apartments. At Home with the Soanes offers a fascinating insight into this London family’s life, both upstairs and downstairs.

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This guide traces the history of Maggie's cancer treatment centres and takes visitors to see how they have grown up in Britain and elsewhere to become a new type of institution; a paradigm for architecture. Founded by Maggie Keswick Jencks and Charles Jencks, both landscape designers and architects, each Maggie's Centre is a successful example of "a hybrid of four buildings: it's a non-hospital institute, it's a kind of non-home house, a non-confessional religious refuge and a non-museum art gallery. However, it presents traces of all four typologies, used in a new way" (C.J., 2018). In addition to the peculiarity of being a hybrid building, the success of the Maggie's Centre project seems to be crucial to the fact that, in order to carry out their work, the architects are provided, from the outset, with the Architectural Brief, where they find described not so much the technical and functional requirements, but rather the emotional and sensory states that the new building, intended for cancer patients and their relatives and friends, will have to guarantee. The buildings are and should all be of great visual impact due to their sophisticated architectural design, but at the same time be familiar with their domestic and welcoming spaces and should be able to encourage patients to support each other.

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Scotland-born, London-based artist Caroline Walker is celebrated for her paintings exploring the lives of women, from those living luxury lifestyles to those fleeing oppression. In this publication, which was produced to accompany Walker’s first exhibition with Ingleby Gallery, Edinburgh, in autumn 2020, the artist turns her attention closer to home, presenting a series of paintings in which the focus is the artist’s own mother, Janet, as she goes about her daily tasks: cooking, cleaning, tidying and tending the garden of the Fife home where the artist spent her childhood.The publication features a newly commissioned essay and an interview with the artist by critic and author Hettie Judah. The essay opens by comparing Walker’s works to the Dutch Golden Age, encouraging consideration of everyday domestic scenes. Judah then leads the reader through Walker’s latest series of works, exploring the daily routines and household chores that have filled Walker’s mother’s days for the past forty years, along with the artist’s treatment of these activities. Judah deftly locates this latest body of work within Walker’s wider practice, opening up discussion of women at work in different industries and notions of invisibility. She asserts: ‘While "Janet" extends Walker’s long-held interest in women’s work, the series is also a loving undertaking. The artist offers us her mother with great pride, both in particular, and on behalf of other mothers overlooked and working out of sight.’ The interview offers further insight into Walker’s thoughts in relation to the "Janet" series, and to the working processes behind it.The publication features around eighty illustrations of the preparatory studies and paintings that comprise this new body of work. It has been designed by Joanna Deans, Identity, with photography by Peter Mallet. The publication was produced by Ingleby, Edinburgh, and printed by Die Keure, Bruges. It was co-published in 2020 by Ingleby and Anomie Publishing, London, in an edition of 1500 copies.Caroline Walker was born in Dunfermline, Scotland, in 1982. She attended Glasgow School of Art from 2000-04, before completing her MA at the Royal College of Art in 2009. Recent and forthcoming exhibitions include Kettle’s Yard, Cambridge, the Midlands Arts Centre (MAC), Birmingham, and participation in the ninth edition of the British Art Show. She is represented in a number of public collections including the National Museum of Wales, Cardiff, the UK Government Art Collection, London, Kistefos Museum, Jevnaker, Norway, and Museum Voorlinden & Kunstmuseum den Haag, in the Netherlands.Hettie Judah is chief art critic of the British daily newspaper The i, a regular contributor to The Guardian, The New York Times, Frieze, Art Quarterly, Numéro Art and The Art Newspaper, and a contributing editor to The Plant. Recent publications include a short biography of Frida Kahlo (Laurence King, 2020) and Art London (ACC Art Books, 2019).

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Young Poland: The Polish Arts and Crafts Movement, 1890–1918 is the first book in any language to explore the Young Poland (Młoda Polska) period in the context of the international Arts and Crafts movements.The Young Poland movement emerged in the 1890s in response to the country’s non-existence for almost a century. It embraced an unprecedented flourishing of applied arts and the revival of crafts, drawing inspiration from nature, history, peasant traditions and craftsmanship to convey patriotic values.The book argues that Young Poland shared fundamental parallels with the British Arts and Crafts Movement, and that it was specifically this Arts and Crafts ethos that fuelled the movement’s patriotic ideology and the nation’s quest to regain Polish independence.The lavishly illustrated publication charts the rich history of the artists, designers and craftspeople whose schemes came to define Young Poland, including over 250 illustrations of ceramics, furniture, textiles, paper cuttings, wood carvings, tableware, stained glass, book arts, children’s toys and Christmas decorations, as well as domestic, church and civic interior decoration schemes.The book is the culmination of an international research project co-financed by the Polish Ministry of Culture and National Heritage as part of the ‘Inspiring Culture' Programme. It is a collaboration between Lund Humphries, the William Morris Gallery, the National Museum in Kraków and the Polish Cultural Institute, London.

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Text in French and English. Mouans-Sartoux, a small community near Cannes, has become a Mecca for concrete art. Since 1990 two collectors from Switzerland, Sybil Albers and the artist Gottfried Honegger, have been working to establish the Espace de l'Art Concret (EAC). Neither a museum nor a municipal gallery, this institution is located in the Château de Mouans and in two new buildings in its large park. The first of the two new buildings was a studio designed by Marc Barani from Nice for children who come here to paint and to develop their aesthetic senses. Barani began work in 1990 with the extension to the cemetery of Saint Pancrace in Roquebrune-Cap-Martin. The way he located the cemetery in the local landscape and his use of original vegetable and mineral materials immediately brought him to international notice. In 2000 Albers and Honegger decided to donate their collections to the French state, on the understanding that it would finance a building to house the nearly 500 works of art. A competition was launched and was won by the Zurich architects Annette Gigon and Mike Guyer. The building, which opened its doors in 2004, stands on a steeply sloping wooded terrain. As one enters the park, one sees its yellowish-green hues through the branches of the trees. The monochrome colour unifies the five levels of the building that give no clue as to what it contains. While the outside of the building looks artificial, independent, sculptural, its interior is set up in accordance with Honegger's special instructions. He wanted the building that was to house his collection to be distinct from the official and sterile museums that are often laid out on the gallery model, passageways for contemplation, internal streets with overhead lighting. Honegger prefers an interior that is like a private home rather than a public institution. The domestic framework of the rooms must reflect a principle dear to the heart of the donors: that the works are to be lived with. Honegger takes an overall view of our material environment and emphasises that for him the distinction between fine arts and applied arts has no meaning, because "an unapplied art would have no purpose and would be bound to be insignificant and disappear".

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Shaker Fancy Goods tells the story of the Shaker Sisters of the nineteenth and early twentieth century who responded to the economic perils of the Industrial Revolution by inventing a lucrative industry of their own—Fancy Goods, a Victorian term for small adorned household objects made by women for women. Thanks to their work ethic, business savvy, and creativity, the tireless Shaker Sisters turned a seemingly modest trade into the economic engine that sustained their communal way of life, just as the men were abandoning the sect for worldly employment. Relying on journals and church family records that give voice to the plainspoken accounts of the sisters themselves, the book traces the work they did to establish their principal revenue streams, from designing the products, to producing them by hand (and later by machine, when they could do so without compromising quality) to bringing their handcrafts to market. Photographs, painstakingly gathered over years of research from museums and private collections, present the best examples of these fancy goods. Fancy goods include the most modest and domestic of items, like the pen wipes that the Sisters shaped into objects such as dolls, mittens, and flowers; or the emeries, pincushions, and needle books lovingly made back in an era when more than a minimal competency in sewing was expected in women; to more substantial purchases like the Dorothy cloaks that were in demand among fashionable women of the world; or the heavy rib-knitted sweaters, cardigans, and pullovers that became popular items among college boys and adventurous women.

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Text in English & German. The inhabitants of our cities have undoubtedly come down with a gardening virus. Gardening is being propagated as the new sex. Wherever one looks, a gardening euphoria is in bloom. We only have to think of the riverbanks restored to their natural state, the urban gardening and urban farming projects springing up all over the world, the green skyscrapers (prospective and actually built) such as, for instance, the utopian farmscrapers of Vincent Callebout, the conversion of former high rail lines into green recreation spaces, the meditation gardens of Piet Oudolf, and the vertical gardens of Patrick Blanc. We dwell on the growing and sprouting, on the sowing and harvesting, with a kind of covert pleasure and sublimated erotic desire. These days, we feel close to greenery, just as we feel close to our pets. We tend and nurture the seeds and stalks, the leaves and flowers, the shrubs and grasses, the bushes and trees, with a matchless solicitude. These culturally coded natural phenomena also have therapeutic qualities, because they offer us self-determination and the possibility to share in social development. This is nothing less than the reintegration of the first, primal nature into the context of the conditions that have become ubiquitous today into the context of what has, today, become 'second nature'. For some people, such as the campaigners of 'Guerilla Gardening', these plants, wild and domestic, provide a way of criticizing the system; others, such as vertical planners of wall gardens like Ken Yeang, utopia-infatuated and bitten by the green bug, presumably see themselves as an avant-garde working in harmony with the system. All of those coming down the garden virus, however, have in common that they see themselves as reformers, as campaigners and as voices arguing for a reconciliation the first and the second, ubiquitous urban, nature, but also between the ecology and the economy. Volker Fischer was deputy director of the Deutsches Architekturmuseum in Frankfurt am Main for over ten years. From 1994 to 2012 he has built up a new design department at the Museum for Applied Arts in Frankfurt. At the same time, he taught on the history of architecture and design at the Hochschule für Gestaltung in Offenbach. Fischer is already represented in Edition Axel Menges by books on Stefan Heiliger, Richard Meier, Stefan Wewerka, the Commerzbank in Frankfurt am Main by Norman Foster, Hall 3 of Messe Frankfurt by Nicholas Grimshaw, on 'beauty design' as well as on the design activities of Lufthansa and Apple.

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