Search results for ""lund humphries publishers ltd""

Architectural practice Conran + Partners aim to create spaces and places that improve the quality of people’s lives and the built fabric of our towns and cities. Adopting a multi-disciplinary approach which embraces architecture and interiors, the practice’s portfolio encompasses residential projects, hotels and restaurants, as well as work and retail spaces, mixed-use developments and master planning, with commissions across the UK, Europe and Asia.The practice benefits from a long and prestigious history, with decades of experience gained under the leadership of Sir Terence Conran. Under his stewardship, the firm was responsible for iconic London designs ranging from Bluebird Café and Quaglinos through to Butler’s Wharf and The Design Museum. This book shows how the current team at Conran + Partners is building upon this rich heritage, while also taking the firm onwards into new sectors and fresh parts of the world, embracing 21st-century challenges.

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The ways in which urban areas have evolved over the past 100 years have deeply influenced the lives of the communities that live in them. Some influences have been positive and, in the UK, people are healthier and live longer than ever before. However, other influences have contributed to health inequalities and poorer well-being for some in society. Today many people suffer as a consequence of ‘lifestyle diseases’, such as those associated with growing obesity rates and harmful consumption of alcohol. The threat of these health issues is so acute that life expectancy of future generations may begin to decline. Healthy Cities? explores the ways in which the development of the built environment has contributed to health and well-being problems and how the physical design of the places we live in may support, or constrain, healthy lifestyle choices. It sets out how understanding these relationships more fully may lead to policy and practice that reduces health inequalities, increases well-being and allows people to live more flourishing, fulfilling lives. It examines the consequences of ‘car orientated’ design, the ‘toxic’ High Street, and poor quality, cramped housing; and the importance of nature in cities, and of initiatives such as community gardening, healthy food programmes and Park Run. It questions whether Heritage is always conducive to well-being and offers lessons from holistic and innovative programmes from the UK, North America and Australia which have successfully improved community and individual health and well-being.

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This book offers key concepts and practical guidance about the planner’s role in countering terrorist risk. Public safety and security has always been a fundamental premise of successful public spaces, and a material consideration in planning processes, but especially so since the events of 9/11 2001. Recent attacks in Berlin, Nice, Stockholm, London, Melbourne, Barcelona, New York and elsewhere using fast-moving vehicles in crowded places has led to a re-evaluation of security in many public locations. In these uncertain times, planners are increasingly being seen as key stakeholders in national security and counter-terrorism endeavours where the spatial configuration and aesthetic design of protective security interventions will have a crucial impact upon the vibrancy, resilience and safety of urban centres both now and in the future.Illustrated with historic and contemporary international case studies, this book discusses: the changing roles and responsibilities of planning; how security is increasingly becoming a statutory consideration in the planning process; the need for planners to engage with a range of non-traditional stakeholders such as the military, police and security services to facilitate better planning outcomes; the importance of planning in national and global politics; the ethics of planning decision-making and the importance of determining what is in the public interest; how to advance proportionate counter-terrorist security in plans that balance effectiveness with social and cultural factors; and the role of training, guidance, standards and regulation in enforcing or encouraging the fulfilment of planning requirements.

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Blending the reflected cultural climate of his adopted home, Los Angeles, with the multi-layered world of American popular culture, Jim Shaw (b.1952) creates rich, dream-like worlds within distinct bodies of work. Addressing, for the first time, how the artist's oeuvre inter-relates, this substantial monograph argues that the artist's seemingly disparate series actually function together to present a lucid and insightful portrait of America today.Emerging out of the long West-Coast shadows of California Assemblage by way of LA Pop and Conceptualism, Shaw’s narrative-driven art marries art history and contemporary existence, as well as literature and comic books, ancient myths and modern movies, science and its variations in popular psychology — not only blurring the boundaries between art and life, but cultivating that confusion to consider the relationship between fact and fiction that seems to define so much of the world we inhabit today.Giving contemporary viewers an effective way to think about art, this publication is an invaluable resource for those interested in painting today and its interaction with modern life.

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Kurt Jackson’s Botanical Landscape is a new collection of poems, paintings, drawings, sculptures and printmaking by the artist and staunch environmentalist: responses to his engagement with and rich experience within the natural world of flora. From day-to-day plants – weeds, the flowers in the hedge, familiar trees and the vegetable garden – to the more unusual, twisted forms and strange fruit of the undergrowth, Jackson’s works celebrate the staggering diversity of the plant kingdom. For the art enthusiast, the naturalist, the gardener and the armchair horticulturist, Kurt Jackson’s Botanical Landscape maps a particularly expressive communion with nature and offers a unique and beguiling interpretation of the natural world.

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This book reveals a great untold story of enterprise and innovation based on the relationship between the Victoria and Albert Museum, and Elkington & Co., the renowned industrial art and design manufacturer of the 19th-century. The Birmingham-based company pioneered and patented the industrial art of electro-metallurgy to create original artworks, perfect replicas, and mass-reproduced luxury consumer goods that used electricity to ‘grow’ metal into shape at a molecular level. This technological revolution created a profound legacy, which continues to influence the way modern material culture looks and operates today.Elkington’s syntheses of science and art into industrial manufacturing processes revolutionized the design and production, replication and reproduction of precious metalwork, metal sculpture, and ornamental art metalwork. Elkington & Co. gained huge public acclaim at the Great Exhibition of 1851. They subsequently produced artworks and luxury goods, including world-renowned sports trophies like the Wimbledon Singles Trophies, as well as luxury dining services for great steamships and railways, including tableware that sank with the Titanic.Elkington played a crucial role in shaping and building the V&A’s permanent collection from its foundation in 1852 (following the Great Exhibition) until the First World War. The V&A’s collections in turn had a profound influence on Elkington’s output. The great success of their relationship cemented both the museum’s status as a leading cultural institution, and the E&Co ‘makers-mark’ as one of the world’s first truly multinational designer brands. Elkington’s electrical alchemy helped spark the electrical revolution that founded the modern world.

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In America between 1946 and 1953, the German-Jewish architect Eric Mendelsohn planned seven synagogues, of which four were built, all in the Midwest. In this book, photographer Michael Palmer has recorded in exquisite detail Mendelsohn's four built synagogues: Saint Paul, Saint Louis, Cleveland and Grand Rapids. These photographs are accompanied by an insightful contextual essay by Ita Heinze-Greenberg which reflects on Eric Mendelsohn and his Jewish identity.Mendelsohn's post-war commitment to sacred architecture was a major challenge to him, but one on which he embarked with great enthusiasm. He sought and found radically new architectural solutions for these ‘temples’ that met functional, social and spiritual demands. In the post-war and post-Holocaust climate, the old references had become obsolete, while the founding of the State of Israel in 1948 posed a claim for the redefinition of the Jewish diaspora in general. The duality of Jewish and American identity became more crucial than ever and the congregations were keen to express their integration into a modern America through these buildings. Hardly anyone could have been better suited for this task than Mendelsohn, as he sought to justify his decision to move from Israel and adopt the USA as his new homeland. The places he created to serve Jewish identity in America were a crowning conclusion of his career. They became the benchmark of modern American synagogue architecture, while the design of sacred space added a new dimension in Mendelsohn’s work.

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This useful guide sets out clearly a bespoke urban design process for practice, developed by the authors. The process works through urban analysis; policy and people; strategic framework; concepts and options; design layering and technical detail; to delivery of place. It considers design across multiple scales within the built environment and describes the complexity of project management in delivering large-scale projects, such as master-planning and major public-realm and civic schemes. It achieves this through the use of a 'live’ case study to graphically illustrate the process in action supported with international examples. It provides the reader with a clear overview of the role which urban design and urban designers play in shaping and creating places today and how designers conceive and deliver contextually responsive, high-quality design solutions. Beginning with a brief history of contemporary urban design, the book tracks urban design’s roots in architecture and planning and identifies how and why it has emerged as a separate discipline. It then sets out the principles and key criteria that underpin urban design and explains how urban designers interpret policy, baseline data, and graphical analysis to present an understanding of place and space. The book concludes by highlighting a number of growing urban challenges facing cities today, discussing how urban design can play a leading role in tackling issues connected with climate change, globalisation, and technological advancements, and positively respond to the current and future needs of society.

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Why is it important to plan for the natural environment at a whole-landscape scale and to connect wildlife habitats together? Why do planners need to look beyond protecting particular species and their habitats? Why should planners help nature to recolonise towns and cities and how can they best do this?In seeking to answer such questions, this book provides a grounding for planners and professionals in related fields in the key concepts associated with biodiversity and the natural environment, and in how to apply them in practice. It looks at how natural environment policy has shifted from the protection of rare species and nature reserves to a more holistic approach, based on biodiversity.Beginning with a brief history of environmental movements, the guide then focuses on changing approaches to conserving the natural environment. It explains environmental sustainability approaches as well as techniques for planners, using ideas such as environmental capacity and natural capital and, more recently, ecosystem services and multi-functional solutions. It addresses issues of spatial scale, connectivity, and ecological networks, recognising that small nature reserves are vulnerable and lack resilience to change. Other key topics include rebuilding biodiversity through habitat creation, enhancement, and restoration, along with the ‘re-naturing’ of cities. The tools and policies are set out before identifying key lessons and implications for future policy development and planning practice.

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Lee Miller (1907-1977) moved to London in the late 1930s, just as a rich strand of Surrealist practice was burgeoning in Britain. Miller was central to its development and prolonged life after World War II, exhibiting alongside British Surrealists such as Eileen Agar and Henry Moore in often overlooked London exhibitions. This book is the first to present Lee Miller's photographs of, and collaborations with key British Surrealists alongside their artworks, to tell the story of this exciting cultural moment. Miller's photographs of noted continental Surrealists such as Max Ernst and E.L.T Mesens, taken while they were working and exhibiting in Britain, also feature alongside their works, documenting their enduring friendships with Miller and her husband, the artist Roland Penrose. Miller's interdisciplinary photographic practice acted as a conduit for the dispersal of Surrealist images out of the realm of fine art and into the worlds of fashion, commercial photography and journalism. A vital study for all students and enthusiasts of Surrealism and those enthralled by the enigmatic Lee Miller, this book reveals the social and cultural networks in which she was embedded, offering a holistic view of her work and the life of the Surrealist movement in Britain.

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Why do we plan? Who decides how and where we plan and what we should value? How do theories and ideologies filter down into real policies and plans which affect our lives?Written in a deliberately practitioner-friendly manner, this useful guide answers these questions and reveals planning theories to be simply new ideas that can help one see the world differently. Thinking about them enables us to take a step back to appreciate the wider context. The guide discusses the value of planning, how rationales for planning have changed, and whether we have too much, too little, or just the wrong kind of planning.It then sets out 25 key concepts central to professional practice, ranging from participation and complexity to post-politics and state theory, from risk and resilience to governmentality, from assemblage to ecosystems and sustainability.

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Whether in town or country, James Gorst’s buildings are defined by a combination of modern thinking and an ingrained respect for craftsmanship and bespoke detailing, with equal weight given to architectural form and engaging, vibrant interiors, full of texture and life. This is the first monograph on his work.In many respects, the timeless character of Gorst’s work is rooted in the architect’s own journey. Starting out as a neo-classicist, Gorst ultimately became frustrated by the restrictions and historicism of the classical approach and reinvented himself as a dedicated modernist, yet continued to place particular emphasis on a love of proportion, scale, symmetry and detailing. Ranging from rural projects which reflect the vernacular traditions of the surrounding countryside, including large contemporary country houses like RIBA award-winning Ironstone House, to others which creatively reinvent and add to period properties, along with new and innovative urban homes, all are defined by a particular ambition to be innovative, fresh and one of a kind. Each of Gorst's houses represents a particular journey, informed by the client and their needs, the context of the site and a response to landscape and setting, which is often reflected in his choice of natural textures and materials.

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This book presents a comprehensive view of the work of American painter Philip Taaffe (b.1955), who has expanded the parameters of painting through his use of silkscreen, linocuts, collage, stencils, gouache, chine-collé, marbling, acrylic, enamel, watercolour and gold leaf. Possessing many technical skills, Taaffe has moved decisively between unique pictorial inventions and appropriations, as well as overlaying divergent modes of representation, through cultural patterns found in ornament, and biomorphic abstraction. John Yau's insightful text is the first to look at every part of Taaffe's artistic development, from the works he made at Cooper Union while a student of Hans Haacke, to the present. It pays special attention to Taaffe's acquisition of different techniques, as well as investigating his various sources of inspiration, which include the work of experimental filmmakers Stan Brakhage, Bruce Conner and Harry Smith, the Natural History illustrations of Ernst Haeckel, and the ancient art of paper marbling.

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Studio Voices explores the multi-layered experiences of modern and contemporary British artists in their own words, drawing on the author's original research in the Artists' Lives audio archive at the British Library. Michael Bird's fascinating oral history of the lives and working practices of artists over the last century, extracted from the huge and growing archive of artists' interviews recorded since 1990, allows us to eavesdrop on artists' life-story conversations, which range through creative practice and professional achievements, childhood memories, family life, relationships, and unexpected, incidental epiphanies of self-awareness.The Artists' Lives project was established in 1990 as part of National Life Stories, the UK's national oral history archive, which is based at the British Library.

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Eduardo Galeano, Uruguayan writer, once pleaded for `a pretty move for the love of God' when watching his beloved soccer. This book is likewise interested in `beautiful moves', but turns instead to the architecture of the stadium as an architectural type as captivating as the play occurring on the pitch. In the past 30 years a number of stadium projects have been completed that highlight how this building type has become a site for architectural innovation and complexity. Clients that once would once have turned to large firms specializing in stadia instead began to hire A-list and Pritzker-Prize-winning architects to design new stadia. As a result, in cities around the world stadia are often the most expensive and monumental of projects, and may be icons of identity and defining presences in the built landscape. By examining a range of exemplary stadia from around the world (built, unbuilt and demolished projects), this book presents for the first time a canon for this building type. Organized chronologically, it includes famous examples from the likes of Lina Bo Bardi, Frei Otto, Eduardo Souto de Moura, Herzog & de Meuron, Foster + Partners and Studio Gang.

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By retracing Frank Lloyd Wright's footsteps on journeys he made beyond his homeland of the USA, this book explores his global ambitions and his lasting legacy and offers an original and contemporary view of Wright and his architecture. While Lloyd Wright is perceived as the quintessential American architect, in fact he was well-travelled, and these six journeys were to develop and promote his globalising 'organic' philosophy. The author takes off first to Japan and Germany to explore the way Wright's visits to these countries informed and framed his 'Prairie House' period. He then travels to Russia and the UK, where Wright presented his global 'Usonian' manifesto. The final two chapters pursue Wright to Italy and the Middle East as part of his 'Legacy' period. The book is beautifully illustrated with Wright's own sketches and photographs, as well as some historical photographs of Wright's original journeys and works. The author meets people who are living and coping with Wright's 'organic' architecture today and asks them whether their homes are still true to Wright's intent or whether there is something else that made their home particular.By considering Wright beyond America, his architecture is critiqued against different cultural settings so that it can be evaluated as emerging from a new globalised era of architectural production. The author reflects on Frank Lloyd Wright as an early promoter of globalisation - in fact, as the first 'global architect'.

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The roll-call of wars down the centuries is paralleled by an equally extensive narrative of the theft, destruction, plundering, displacement and concealing of some of the greatest works of art during those conflicts - a story that is expertly told in this original publication.From the many wars of Classical Antiquity, through the military turning points and detours of the Fourth Crusade, the Thirty Years’ War, Revolutionary and Napoleonic France, the First and Second World Wars, and then onwards to the ongoing contemporary conflicts in Afghanistan and Iraq, the history of art crime in times of war contains myriad fascinating and often little-known stories of the fate of humankind’s greatest works of art.Plundering Beauty: A History of Art Crime during War charts the crucial milestones of art crimes spanning two thousand years. The works of art involved have fascinating stories to tell, as civilisation moves from a simple and brutal 'winner takes it all' attitude to the spoils of war, to contemporary understanding, and commitment to, the idea that our artistic heritage truly belongs to all humankind.

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As we stand on the cusp of a fundamental restructuring of the housing and building industries, this book provides timely insights into the promise of prefabricated housing. The idea of a more industrialised approach to house building is not a new one: since the 19th century, designers, inventors, engineers, builders, developers, and entrepreneurs have all been fascinated by the idea of the factory-built, modular home. But international housing affordability crises, emerging technologies, and concerns for more sustainable building practices have given a new urgency to the need to transform building construction in the 21st century. Richly illustrated and drawing on historical examples and contemporary design studies, the book takes the reader through the foundations of prefab, leading up to a discussion of contemporary problems and opportunities. It includes a broad international survey of leading companies and their products, and draws on research from an international team of experts in the field. This book suggests a future scenario for industrialised house building that will both challenge the existing industry and stimulate the public imagination.

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The housing projects built in Camden in the 1960s and 1970s when Sydney Cook was borough architect are widely regarded as the most important urban housing built in the UK in the past 100 years. Cook recruited some of the brightest talent available in London at the time and the schemes - which included Alexandra Road, Branch Hill, Fleet Road, Highgate New Town and Maiden Lane - set out a model of housing that continues to command interest and admiration from architects to this day. The Camden projects represented a new type of urban housing based on a return to streets with front doors. In place of tower blocks, the Camden architects showed how the required densities could be achieved without building high, creating a new kind of urbanism that integrated with, rather than broke from, its cultural and physical context. This book examines how Cook and his team created this new kind of housing, what it comprised, and what lessons it offers for today. New colour photographs combine with original black and white photography to give a fascinating 'then and now' portrayal not just of the buildings but also of the homes within and the people who live there.

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This is the definitive study of US artist Dorothea Tanning (1910-2012), positioning her as one of the most fascinating and significant creative forces to emerge during the 20th century. It provides a framework within which to consider the range and depth of Tanning's work, well beyond the better-known early Surrealist works of the 1940s, and makes connections between her life experiences and thematic preoccupations. Extensively illustrated and featuring unpublished material from interviews which the author conducted with the artist between 2000 and 2009, this book will appeal to the general museum-going public as well as academics, students, curators and collectors.

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The private collector’s museum has become a phenomenon of the 21st century. There are some 400 of them around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies’, the picture is far more complex and nuanced, as art-market journalist Georgina Adam (author of best-selling Big Bucks and Dark Side of the Boom) shows in her compelling new book. Georgina Adam’s investigation into this extraordinary proliferation, based on her recent visits to over 50 private spaces across the US, Europe, China and elsewhere, delves into the reasons behind this boom, the different motivations of collectors to display their art in public, and the various ways in which the institutions are financed. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Should private museums step in to fill a gap left by declining public investment in culture, and what are the implications for society and the arts? At a time of crisis in the museums sector, this book is an essential and thought-provoking read.

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Nina Möntmann's timely book extends the decolonisation debate to the institutions of contemporary art. In a thoughtfully articulated text, illustrated with pertinent examples of best practice, she argues that to play a crucial role within increasingly diverse societies museums and galleries of contemporary art have a responsibility to 'decentre' their institutions, removing from their collections, exhibition policies and infrastructures a deeply embedded Euro-centric cultural focus with roots in the history of colonialism. In this, she argues, they can learn from the example both of anthropological museums (such as the Rautenstrauch-Joest-Museum in Cologne), which are engaged in debates about the colonial histories of their collections, about trauma and repair, and of small-scale art spaces (such as La Colonie, Paris, ANO, Institute of Arts and Knowledge, Accra or Savvy Contemporary, Berlin), which have the flexibility, based on informal infrastructures, to initiate different kinds of conversation and collective knowledge production in collaboration with indigenous or local diasporic communities from the Global South. For the first time, this book identifies the influence that anthropological museums and small art spaces can exert on museums of contemporary art to initiate a process of decentring.

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In just half a century of growth, the art fair industry has transformed the art market. Now, for the first time, art market journalist Melanie Gerlis tells the story of art fairs' rapid ascent and reflects on their uncertain future. From the first post-war European art fairs built on the imperial 19th-century model of the International Exhibitions, to the global art fairs of the 21st century and their new online manifestations, it's a tale of many twists and turns.The book brings to life the people, places and philosophies that enabled art fairs to take root, examines the pivotal market periods when they flourished, and maps where they might go in a much-changed world.

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Memory Art in the Contemporary World deals with the ever-expanding field of transnational memory art, which has emerged from a political need to come to terms with traumatic historical pasts, from the Holocaust to apartheid, colonialism, state terror and civil war. The book focuses on the work of several contemporary artists from beyond the Northern Transatlantic, including William Kentridge, Vivan Sundaram, Doris Salcedo, Nalini Malani and Guillermo Kuitca, all of whom reflect on historical situations specific to their own countries but in work which has been shown to have a transnational reach. Andreas Huyssen considers their dual investment in memories of state violence and memories of modernism as central to the affective power of their work.This thought-provoking and highly relevant book reflects on the various forms and critical potential of memory art in a contemporary world which both obsesses about the past, in the building of monuments and museums and an emphasis on retro and nostalgia in popular culture, and simultaneously fosters historical amnesia in increasingly flattened notions of temporality encouraged by the internet and social media.

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For fifty years, graffiti and street art have been challenging conventions and stimulating debate around our perceptions of what constitutes art. As the genre enters its sixth decade, this ground-breaking book presents a new interpretation of where street art and graffiti are situated today. Introducing the concept of 'Intermural Art' - art in between the walls - Rafael Schacter presents a genre at a key moment of transition. While many street and graffiti artists are still challenging the orthodoxies of the public sphere, an increasingly large group are reshaping the field by no longer furtively entering the institution, no longer slavishly reproducing exterior works inside, but instead attempting to merge out and in to create a form that articulates graffiti, street and contemporary-art influences. Through forty profiles of the leading proponents of this new approach from around the globe, Rafael Schacter presents a compelling analysis for 'Intermural Art' while also showcasing some of the boldest work being made currently.

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In May 1949, the Scottish artist Wilhelmina Barns-Graham (1912-2004) visited the Grindelwald Glacier in Switzerland. It was a trip which would have a profound and lasting impact on her work. Charting the journey, the beautiful work it stimulated and wider questions around glacial landscapes, then and now, this publication provides insights that will expand our understanding of both an acclaimed body of work and the artist who created it. That Barns-Graham produced her final glacier painting in 1994, some 45 years after her sole visit to Switzerland, is testament to the influence that the experience had on her. So too are her 100 or so individual glacier works - made first between 1949 and 1952 and then in revisiting the subject between 1976 and 1994. Including a complete catalogue of the glacier paintings, this book presents the definitive account of a trip that would transform the artistic imagination of one of the foremost British painters of the twentieth century.

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At a time of increased pressure for new urban development, where there is a focus on either object-based architecture or the rolling out of developer-designed suburban sprawl, there is a concern that the lessons learned about the creation of a general attractive townscape' or streetscape' have become forgotten or obscured. Featuring 26 of the most attractive and interesting historic town centres, this book analyses key routes and the urban or visual incidents along them and explains why they might provoke different sensations of joy, interest or containment for the inhabitant or passer-by. Each of the town studies includes two historical maps one created by John Speed in the C16th, which explains the general overall layout of a town, its shape, size, defensive walls, and river crossings, and the other a first edition OS map from the late C19th, which reveals the extent that medieval arrangements have survived, or not. Key routes within selected towns are then selected and illust

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In a painting career spanning half a century, Helen Clapcott (b.1952) has remained consistent in both her choice of subject and her disregard of the art establishment's playbook. In this, the first major monograph on the artist, Andrew Lambirth charts Clapcott's unconventional path and presents a painter with an uncompromising vision. Clapcott is a painter pre-occupied with the destruction and regeneration of the landscape of her native North-West England. Depictions of the mutation and evolution of what was once Stockport's industrial valley, now a commuter corridor, are expressions of our developing environments and the growth of vernacular townscapes. Based on numerous conversations with the artist, and an in-depth understanding of Clapcott's oeuvre, Andrew Lambirth's text provides a lively account of the artist's background, training and working methods, including her mastery of tempera. Above all, this is a study of an artist's very personal relationship with the evolving la

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Sculptor and printmaker Kim Lim (1936-1997) had a lifelong fascination with space and its relationship with two- and three-dimensions. This important new publication explores her outstanding body of work. In a series of fascinating chapters, leading art-world specialists survey the artist's rich career and legacy across four decades. Exploring Lim's profound contribution to the development of modern British abstract art, her marginalisation in the histories of sculpture since her death is questioned. Through reproductions of Lim's work in wood, metal, stone and paper, the artist's shape-shifting oeuvre, which continually probed relationships between space, light and form, is rightfully brought centre stage. Including discussion of Lim's Asian heritage and its connection to her work, this publication is essential reading for all those seeking new perspectives on both Lim and British art history more broadly.

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Published 100 years ago, Le Corbusier's Vers une Architecture was conceived as a way of making sense architecturally of a moment of profound social and technological change. Today, we live at another pivotal moment for architecture and for the wider world. The climate emergency alone requires us to rethink everything we have previously taken for granted about how we conceive and construct buildings. One of the great ironies of Le Corbusier's messianic vision is that the very thing he so celebrated unbridled industry has led us to the climate emergency. Yet, moments of crisis and transformation are also opportunities for overturning conventions, facing uncomfortable truths and forcing disciplinary and societal reset'. What we need is not a new architecture, as Le Corbusier was popularly mistranslated as advocating, but another one: an architecture that is not bound to a single vision or future, but is diverse, pluralist and sustains multiple conversations about the active role that

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Alois Derso (1888-1964) and Emery Kelen (1896-1978) were remarkable cartoonists who became internationally renowned, particularly for their depictions in the 1920s of efforts to build a better world following the establishment of the League of Nations; of the rise of fascism in the thirties; and of the world cooperation through the United Nations that emerged in the forties. Their sequence of cartoons, imbued with humour, wit, gentle satire, artistry and vision, captures the Zeitgeist of a period of history that resonates today. Surprisingly, no comprehensive account of their work and lives has been published before. The authors analyse and discuss the extraordinary political insights revealed in the cartoons, which contribute to our understanding of those years. Drawing on original research, this overdue book delves into all aspects of Derso and Kelen’s careers, including the unusual, if not unique, technical nature of their artistic collaboration and Kelen’s additional gifts as a writer. It will inform the non-expert of the history of the time and the often overlooked role of cartoons as historical evidence. So memorable and informative are the images, it will also be a useful supplement to the literature on modern history, international relations and art.

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Joe Tilson RA (b.1928) is one of the great figures in post-war British art and a pivotal artist of the British Pop Art movement during the 1960s. Still working, and still evolving, he has continued to explore many new directions and a great variety of mediums since moving away from his Pop origins. Astonishingly, no general monograph documenting all these phases of Tilson’s prolific production has ever been published. This book remedies this through a series of insightful chapters, exploring each decade of the artist’s career, written by Marco Livingstone, a respected authority on British contemporary art. Featuring a lively and visually rich design, this unique work will guide the reader through the evolution of one of the most distinctive voices in contemporary British art.

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For too long, artists have been told that they can't have both motherhood and a successful career. In this polemical volume, critic and campaigner Hettie Judah argues that a paradigm shift is needed within the art world to take account of the needs of artist mothers (and other parents: artist fathers, parents who don't identify with the term 'mother', and parents in other sectors of the art world). Drawing on interviews with artists internationally, the book highlights some of the success stories that offer models for the future, from alternative support networks and residency models, to studio complexes with onsite childcare, and galleries with family-friendly policies. Some artists have described motherhood as providing them with renewed focus, a new direction in their work, and even inspiration for a complete change of career. Other artists choose to keep their domestic and creative lives compartmentalised. All are placed at a disadvantage by the art world as it is currently structured. This book argues that by making changes and becoming more sensitive to the needs of artist parents, the art world has much to gain.

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Why do we not know more of Susie Barstow? A prolific artist, Susie M. Barstow (1836-1923) was committed to expressing the majesty she found in the national landscape. She captured on canvas and paper the larger American landscape experience as it evolved across the nineteenth century. A notable figure in the field of American landscape painting, now is the time to bring forward her narrative. In Susie M. Barstow: Redefining the Hudson River School, the life and career of this fascinating artist are explored and extensively researched utilizing vast, and previously unknown, archival materials. This rare occasion to mine the depths of an artist’s life through letters, diaries, photographs, and sketchbooks provides a unique opportunity to present a comprehensive study that is both art-historically significant and visually stunning. Susie M. Barstow: Redefining the Hudson River School unpacks and positions Susie 'as a prominent landscape artist, whose paintings won her wide renown,' as her obituary would confirm, and explores the manner in which she struggled, flourished, and ultimately earned her living in the arts. This is her moment.

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The book discusses the role of art in architecture with a particular focus on colour and the dynamic relationships between light, form, material surface, space and movement. Drawing on historical examples to establish recurring themes, it examines the work of artists and architects whose use of colour is informed by artistic practice. Engagingly written and beautifully illustrated, it is divided into three main sections: the first focusing on architecture, the second on the artworks and the final section on collaboration. Throughout, it bridges time, insightfully comparing historic artworks and spaces with contemporary ones, addressing key questions such as 'if an artwork is self-sufficient, how is this accommodated within an architectural setting without compromising both?' and setting out examples of what does and doesn’t work.

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This book explores the wealth of wooden architecture that is to be found in Northern Europe, in particular, the Fennoscandian Peninsula. This distinct region, which includes Norway, Sweden, Finland and the Russian Republic of Karelia, was dominated by coniferous forest and remained until well into the 20th century a largely rural society. Wood was seen as a living material - one that was permeated with myth and folklore - while the forest itself formed the background to everyday life. Indeed, no single source of material wealth has contributed more to the economy, art and culture of Fennoscandia than the forests. Nowhere is this contribution clearer than in the region's historic buildings, the vast majority of which were constructed in wood up until the late 19th century. This is the first book to examine and record the distinctive wooden architecture of this region from the early medieval period to the early 20th century. Structured according to different wood types, it concentrates on domestic and religious buildings, as these formed the great bulk of historic architecture in the peninsula over many centuries. It begins by setting out the geographical, social and historic background, before discussing the way in which two different timber-building traditions emerged in the region. It then provides a detailed examination of different types of dwellings (rural and urban) and storage lofts, followed by a section on Catholic, Protestant and Orthodox churches, along with their free-standing bell-towers. The book concludes with a chapter outlining the development of wooden domestic and religious buildings during the closing decades of the 19th century and the early years of the 20th century.

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For sculptors Alfred Gruber (1931-1972) and Jacqueline Stieger (b.1936), their meeting in 1962 marked the start of a bountiful partnership - their artistic chemistry conjuring works that exploited the transformative qualities of common and precious metals. Chronicling their intertwined stories, which saw Gruber reach his pinnacle as a solo artist and Stieger establish innovative sculptural techniques that informed her onward career, their individual achievements are also given due focus in this ambitious publication. Tracing each artist's early history, their meeting in Switzerland and their eventual move to Yorkshire, the book includes assessment of their work with pioneers of modern church architecture in both Switzerland and the UK, their contribution to the development of art jewellery from the mid-1960s, the debt owed by European artistic friends and collaborators including David Weiss, later of Fischli and Weiss who worked for both Gruber and Stieger in the 1960s, and the de

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Our relationship with our homes changed in 2020 when the pandemic known as Covid-19 led to enforced periods of self-isolation, called 'lockdown'. We got to know our living spaces intimately and learned the greatest risk of infection was indoors through the breath we shared in poorly ventilated spaces, where microbial atmospheres could work their way inside, through every door, window and with every visitor. Our fear of such invisible threats will persist long after the pandemic ends and reflects a growing divide between the human and the microbial realm. This book examines the notion of the home in the context of the pandemic and lockdown, as they relate to environmental concerns and how we live with viruses and bacteria. It argues that, in order to decrease our vulnerability to infective agents, we need to acknowledge the link between people, space, daily routines and microbes and explore how the predominantly benign microbial world might be harnessed to combat and boost our immunity to future pathogens. Suggesting more than environmental home improvements, it explores new innovations and new materials which incorporate microbes for more ecological designs, such as ceramic tiles, concrete bio-receptive surfaces, building skins, fabrics, waste management and alternative energy supplies. A series of drawings which reveal the evolution of microbial technologies, infrastructures, spaces, dwellings, and architectures sets out a prototype for an ecological home for post pandemic times. Identifying the lessons that COVID-19 has brought us, the book highlights the need for humans to consider and take microbes into account in future built environments.

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Elisabetta Sirani of Bologna (1638-1665) was one of the most innovative and prolific artists of the Bolognese School. Not only a painter, she was also a printmaker and a teacher. Based on extensive archival documentation and primary sources — including inventories, sale catalogues and her work diary — Elisabetta Sirani provides an overview of the life, work, critical fortune and legacy of this successful Baroque artist. Placing her within the context of the post-Tridentine society that both inhibited and supported her, Modesti examines Sirani's influence on many of the artists studying at Bologna's school for professional women artists, as well as her significance in the professionalisation of women’s artistic practice in the seventeenth century.Beautifully illustrated throughout, Elisabetta Sirani focuses on women’s agency. More specifically, it explores Sirani’s identity as both a woman and an artist, including her professional ambition, self-fashioning and literary construction as Bologna’s pre-eminent cultural heroine.

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There is almost nothing new left to say about the urgent need to reduce our devastating impact on the biosphere that supports us. In architectural terms, we have been told since the 1960s that mainstream architecture is not engaged enough with the environmental consequences of what it produces and how it produces it. The usual approach is to propose new ways of designing and building to persuade the reader of the centrality of environmental concerns. But too many readers have remained resolutely unpersuaded over decades. In four sharp, interlocking essays, this book asks why the majority of the architectural profession and its clients still only pay lip service to the importance of the environmental. The first - Overthrowing - examines the Modern Movement’s astonishing success in establishing itself, and its legacy in contemporary architectural culture; the second - Converting - explores the inability of the environmental movement to ignite and transform architecture in the same way; the third - Making - discusses the importance of shifting architecture back to a materially-based view of itself to increase its effectiveness, and finally - Educating - looks at the need for architectural education to urgently reconsider how and what it teaches in the volatile 21st century. This in no way diminishes the extraordinary contribution that a minority in architectural practice and education have made to the development of environmental design and environmental thinking over the past fifty years. In each essay, therefore, are examples of innovative and determined people pursuing other ways of practicing architecture and other ways of training architects for this critical century, who are pulling the model of a nature-centric practice out of the margins and into the centre.

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This is the first comprehensive overview of the career to date of British artist Hurvin Anderson (b.1965). Anderson is known for painting loosely rendered ‘observations’ of scenes and spaces loaded with personal or communal meaning.Anderson’s painting style is notable for the ease with which he slips between figuration and abstraction, playing with the tropes of earlier landscape traditions and 20th-century abstraction. His paintings of barbershop interiors, country tennis clubs and tropical roadsides teem with rich brushwork and multitudes of decorative patterns or architectural features, at once obscuring and adding to underlying ruminations on identity and place.Drawing on interviews with the artist, Michael J. Prokopow offers a critical assessment of Hurvin Anderson’s painting practice to date that will be enlightening for all students, dealers and collectors of contemporary painting.

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Hugely admired by artists and writers from Henri Cartier Bresson to the Booker prize winner Howard Jacobson, the extraordinary life and work of painter Dennis Creffield (1931-2018) are explored in this, the first major monograph on the artist. The narrative traces the artist's 'Dickensian' upbringing, his formative experiences as a teenager under the tutelage of David Bomberg, his conversion to Catholicism and his award-winning years at the Slade. Focus is given to Creffield's passions for the stories of England, not only in the Cathedral drawings, but in his expressive work on Shakespeare's Midsummer Night's Dream, on Blake and in his paintings and drawings of London, the great Petworth House, Cornish tin mines and the eerie military buildings on Orford Ness. Complementing his work on England's sacred and profane identity is an equally audacious body of work on the human body, from tender paintings of mother and child to erotic paintings of women to his late paintings of men near death - Turner, Nelson and Rimbaud. To quote his fellow artist R.B. Kitaj, Creffield's cover has been 'well and truly blown.'

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Memorials have long been an important part of our built environments. In recent decades, there have been enormous changes in who and what we commemorate, and how. This increasing need for unique and sensitive memorials opens up new creative horizons for architects tasked with translating complex subjects and feelings into emotive spatial experiences that are as memorable as they are commemorative. This book showcases 45 contemporary memorials dating from since the beginning of the 21st century. Hauntingly eloquent, or starkly confrontational, each example highlights the effectiveness of such structures in focusing society’s consciousness on important and diverse issues. From Argentina to New Zealand, Comoros to South Korea, the memorials represent a wide geographical spread, and each interacts in original and surprising ways with its context. Interspersed with the memorials are interviews with leading international architects, including Carmody Groarke, MASS Design Group, Michael Arad, Moshe Safdie, Philippe Prost and others. Their words offer insights into how architects have given form to such abstract concepts as loss, love, permanence, peace, justice, hope and memory itself.

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Always recognised as a master print from the moment of its appearance around 1649, the Hundred Guilder Print is one of Rembrandt's most compositionally complex and visually beautiful works. This book gives a full overview of the fascinating story surrounding this print, from its genesis and market value to attitudes towards it in the present day. Focusing on the tradition of printmaking as well as the reception of the print in Rembrandt's time, Golahny explores the ways the artist made visual references to the work of such masters as Michelangelo, Raphael and Leonardo da Vinci, while uniquely combining aspects of Christ's ministry. Placing the work within its wider cultural and historical context, Rembrandt's Hundred Guilder Print offers an original and engaging approach to current Rembrandt scholarship and is essential reading for anyone interested in the work of one of the most famous artists of the Dutch Global Age.

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Through historical coincidence that almost takes on a mythical character, 'Michelangelo' was the given name not only of the Florentine sculptor, but also of the painter who grew up in Caravaggio, a provincial town in Lombardy, about 25 miles east of Milan. Michelangelo Merisi da Caravaggio, commonly called by reference to his hometown, produced revolutionary paintings whose impact was as great — at the beginning of the 1600s — as the other Michelangelo’s art had been a century earlier. In this book, author Bette Talvacchia explores the significant, but little-discussed, connection between the 'two Michelangelos'. She exposes the dynamic relationship between their work through looking at the ways in which Caravaggio creatively responded to the art of his namesake from the start of his youthful arrival in Rome. In addition, she suggests how Michelangelo’s overwhelming achievement was a model that helped to drive the young Caravaggio’s powerful ambition and shape his identity as an artist.With lucid and intelligent prose, this fascinating book sheds light on the similar 'artistic temperament' constructed in the biographies of each artist — glorifying their rebellious, anti-social behaviour and uncompromising artistic principles — examined both in its historical and contemporary configurations. Why does our culture find these two artists so compelling, and how were they seen in their time and in the intervening centuries until our own day? Linking the past to the present, Talvacchia encourages readers to appreciate more fully the individual works discussed, and to reflect upon the continuing relevance of these two artists to the culture of the present day.

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Londoners Making London tells the story of nine projects that have transformed urban neighbourhoods. Countering the expectation that the development of cities is exclusively controlled by architects, planners and developers, this book demonstrates that transformational change is increasingly driven by communities. In areas such as Wandsworth, Shoreditch and Wood Green, young and old can be seen working together with determination, conviction and often against all odds to create better places to live, learn and play. Colourful street parties, co-housing, new libraries, urban food gardens and local enterprise spaces all illustrate what can be done when people work together. In-depth interviews with instigators, community activists, campaigners and self-builders illuminate the projects. Their stories candidly reveal challenges, share moments of triumph and provide insight into how we might scale up the impact of grass-roots urbanism. For anyone seeking to change their community for the

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