Search results for ""Merrell Publishers Ltd""

The award-winning architectural practice Hawkins\Brown, founded in 1988, is well-known for its thoughtful, innovative and sustainable new buildings and refurbishments of all types. The practice prides itself on bringing a fresh and collaborative approach, creating places that are well-made, well-used and well-loved. This new book examines 14 of its projects in detail, interspersed with essays on various themes by members of the practice. The book begins with an examination by the eminent architecture journalist Hugh Pearman of the founding, history and approach of Hawkins\Brown, based on personal interviews with the practice’s two founding principals, Roger Hawkins and Russell Brown. A full discussion of the projects follows, each comprehensively illustrated with photographs, plans and renderings. The Bartlett School of Architecture in London had been outgrown by the School; it has been stripped back and reconfigured to create a building that staff and students alike are delighted to use. The Corby Cube is a well-equipped, multi-purpose civic and cultural centre that is beloved of this East Midlands town’s inhabitants. Here East, the repurposing of the Olympic press and broadcast centres in east London into space for creative and digital industries, is an excellent example of collaboration between client, architect and stakeholders. At Hilden Grange Preparatory School in Kent, Hawkins\Brown slotted exemplary new teaching spaces into natural woodland in a sustainable and sympathetic way. The University of East Anglia’s Bob Champion Building is part of the Norwich Medical School’s vision to become a world leader in clinical research and teaching, and was completed in less than a year. Park Hill housing estate in Sheffield has been updated with a charismatic new facade treatment and revitalized flats, taking it from eyesore to icon. Another housing estate, Peabody Burridge Gardens in southwest London, has been rebuilt completely, and is now more pleasant and better integrated. Tottenham Court Road station in central London – part of the enormous Crossrail project – has been sympathetically but radically redesigned to provide for the extra people who will use it, and includes artworks by Daniel Buren, Richard Wright and Douglas Gordon. At Hackney Town Hall in east London, the refurbishment of an important art deco building required all numerous skills, from reuse and repair to conversion and conservation. A combined refurbishment and new building on Great Suffolk Street just south of the river in central London, meanwhile, has created an expanded commercial building that sits comfortably in its semi-industrial setting. For the City of London Freemen’s School in Surrey, Hawkins\Brown created a new swimming pool that is simultaneously functional, beautiful and sympathetic to its rural location. With the University of Oxford Beecroft Building – where environment is also deeply important – the practice produced a new Physics research facility that both satisfies the city’s stringent historical and conservation controls and is a genuinely groundbreaking scientific building. East Village Plot No. 6 is a `build-to-rent’ development in Stratford, east London, where architecture has been used to create community. Finally, the Thames Tideway Tunnel is a crucial yet little-known infrastructure project that will extend and modernize London’s sewerage system to cope with future demand. The visible architecture here involves various surface points along the river, including at Chelsea Embankment and at Blackfriars. The essays demonstrate Hawkins\Brown’s pride in the input of its staff. Seth Rutt explains the architect’s desire for creative autonomy and wish to follow the process of creating a new building all the way from designing it to supervising the construction. Darryl Chen explains the importance of taking time away from day-to-day work to focus on broader themes, and introduces the practice’s own think tank. Nicola Rutt discusses the importance of refurbishment in the output of the practice, emphasizing its importance to the urban fabric and to the people who inhabit our towns and cities. Morag Morrison writes about the integration of art with architecture, and Katie Tonkinson examines mixed-use architecture in the context of the architect’s approach rather than the client’s brief. Harbinder Birdi explains the importance of urban planning and considering the human context for all projects, and, finally, Oliver Milton and Jack Stewart celebrate the opportunities afforded by new technology.

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When the photographer Enzo Barracco decided to mount a photographic expedition to Antarctica, inspired by the example of Sir Ernest Shackleton, he had much more than simple cold to contend with. As the world's last empty continent, the snowy lands of the South Pole are a challenge for the most seasoned explorer, with their merciless winds, treacherous seas and vast sheets of ice. Even to arrive on the continent itself involves a perilous journey by sea from southern Argentina through the notoriously rough Drake Passage. THE NOISE OF ICE: ANTARCTICA explores what drove Barracco to embark on his journey, and tells the story of the expedition in words and astonishing photographs, all of them captured during the trip and many obtained in hazardous conditions. In his gripping text, Barracco explains how even his journey to Antarctica itself was undertaken with the essential help of an ice pilot, to spot and avoid icebergs that ship's radar can miss. He tells of how the waves on that first journey threw him to the deck and brought home how hostile such an environment is, and of his constant battle to protect his photographic equipment and all-important memory cards from the extreme cold. Most importantly, he explains that in capturing these beautiful landscapes, his intention is to remind us all of the precarious position in which this part of the world finds itself. As the explorer Sir Ranulph Fiennes puts it in his foreword to THE NOISE OF ICE, "witnessed by only a few, Antarctica should be enjoyed by many and protected by all".

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Published to mark the reopening of the spectacular baroque interior of the Old Royal Naval College in Greenwich after a landmark conservation project, The Painted Hall is a wonderful celebration of what has been called `the Sistine Chapel of the UK’. The ceiling and wall decorations of the Painted Hall were conceived and executed by the artist Sir James Thornhill between 1707 and 1726 – years that witnessed the Act of Union during the reign of Queen Anne and Great Britain’s rise to become a dominant Protestant power in a predominantly Catholic Europe. The accessions to the throne of William III and Mary II in 1688 and George I in 1714 form the central narrative of a scheme that also honours Britain’s maritime successes and mercantile prosperity. The artist drew on a cast of around 200 figures – a mixture of historical, contemporary, allegorical and mythological characters – to tell a story of political change, scientific and cultural achievements, naval endeavours, and commercial enterprise against a series of magnificent backdrops. In the first part of the book, Dr Anya Lucas describes the history and architecture of the building and the background to Thornhill’s commission. The grandeur of his composition, which covers 40,000 square feet, reflects the importance of the space that the paintings adorn: the hall of the new Royal Hospital for Seamen. The Hospital was established in 1694 at Queen Mary’s instigation for men invalided out of the Navy, and was designed by Sir Christopher Wren and Nicholas Hawksmoor. The Painted Hall was originally intended as a grand dining room, but it soon became a ceremonial space open to paying visitors and reserved for special functions. The last naval pensioners left the site in 1869, when it became home to the Royal Naval College, an officers’ training academy. The passage of nineteen years from the start of the commission to its completion, and the need to navigate contemporary political events, meant that Thornhill was required to rethink the design of his paintings several times. His preparatory sketches for the Painted Hall reveal how carefully he experimented with and planned the content. When he had finished his work, Thornhill wrote An Explanation of the paintings, which was published by the Hospital directors and sold to visitors. This guide is the subject of the second part of our book, by Dr Richard Johns. Johns also explores image and meaning in Thornhill’s decorative scheme, which stretches across three distinct but connected spaces: the domed Vestibule, the long Lower Hall, and the Upper Hall, together presenting a vivid and compelling picture of Britain’s place in the world according to those who governed it at the start of the 18th century. During the last 300 years, smoke and dirt built up on the fragile painted surfaces of the Hall, and varnish layers fractured under the effects of heat and humidity. In the final part of the book, the specialist conservators Sophie Stewart and Stephen Paine consider historic restorations of the Painted Hall from the 18th century to the Ministry of Works campaign of the late 1950s. The spring of 2019 sees the completion of a ground-breaking conservation programme that has reversed decades of decay and ensured the long-term preservation of the paintings. Now that every inch of decorated surface has been lovingly cleaned and conserved, new photography brings the colour, clarity and vibrancy of Thornhill’s masterpiece to life.

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Borde Hill Garden is set in historic parkland in a designated Area of Outstanding Natural Beauty in West Sussex. The Elizabethan mansion was purchased in the 1890s by Colonel Stephenson Robert Clarke (known as Stephie), who set about creating the garden and woodland using plants from several continents brought back to England by the great plant hunters of the early 1900s. Well over a century and three generations later, Borde Hill remains in the ownership of the Stephenson Clarke family, and today is renowned for its collection of rare shrubs and trees. This beautiful new book - the first dedicated to Borde Hill - is structured in two main parts. For the first, 'The History', Vanessa Berridge has had exclusive access to the Borde Hill archive, which contains not only family photographs but also a wealth of written sources, such as letters between Stephie and nurserymen, directors of botanical gardens, other landowners, and plant hunters. Giving unique insight into the horticultural world and social history of the interwar years, this correspondence reveals acts of courage by such famed plant explorers as George Forrest and Ernest Wilson and the professional level of accomplishment of Stephie and his gardening acquaintances. The second part of the book takes the reader on an extended tour of the garden, illustrated by the glorious photography of John Glover. Borde Hill is laid out as a series of intimate outdoor 'rooms', including the Old Rhododendron Garden, the Rose Garden and the terraced Italian Garden. With its variety further encompassing wide lawns that flow out into the countryside, many plant species not found elsewhere in Britain and one of the country's largest collections of privately owned rare trees, it is no wonder that Borde Hill lays claim to offering visitors the world in one garden. Concluding with information on Borde Hill's historic plants, its many RHS Awards of Merit and its 70 champion trees, this authoritative, engaging book is a fitting celebration of one of Britain's great heritage gardens.

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For the serious collector and connoisseur of the field of American art of the nineteenth and twentieth centuries, this series of essays will be invaluable. Twenty-eight writers, each of them highly experienced and an acknowledged expert in their field, examine every aspect of the subject and contribute illuminating and often thought-provoking examinations of a wide variety of topics. The book is divided into three sections. Part I, The Historical Overview, contains fourteen essays. Their subjects range from the Hudson River School to the art of the American West, American artists in Europe, American Impressionism, Modernism, examinations of the major artists Marguerite Zorach, John Sloan, Everett Shinn, Marsden Hartley, Stuart Davis, Arshile Gorky, John Graham, Willem de Kooning, Guy Pene du Bois and his relationship with the collector Gertrude Vanderbilt Whitney, African American Art, figurative sculpture, and period frame connoisseurship. Part II deals with Connoisseurship and the Collector, and covers such topics as developing an instinct for quality; dealing in fine art; conservation; choosing wisely in making a collection; the pleasures and perils of collecting art works on paper; researching paintings you may be considering acquiring; the role of qualified art advisors; the anatomy of an auction; knowing the law when buying art; and legal issues for the collector selling art. There are glimpses of the prominent collectors who have contributed so greatly to the American art scene over many years. Part III covers Current Themes in the Art Market, and what to look out for, examining how to make historical American art relevant to the modern age and avoiding misinterpretation of what could be seen as sensitive subjects such as race; pointers to ways of connecting historical American art and the modern world; a look at why galleries matter; and discussing shifting tastes in American art. The authors include owners of established galleries, directors of museums, art historians, and teachers at prestigious universities and other major institutions. Virtually all the essays are illustrated with outstanding examples of works of art: 174 in all. Among them are works by Thomas Cole, Asher B. Durand, Albert Bierstadt, Frederic Remington, Benjamin West, Childe Hassam, Sloan, Shinn, Hartley, Marguerite Zorach, Davis, De Kooning, Pene du Bois, John Singleton Copley, John Singer Sargent, Mary Cassatt, Georgia O'Keeffe, Frederic Edwin Church, and many others. Elizabeth Broun, PhD, Director Emerita of the Smithsonian American Art Museum and currently on the Board of Directors of the Henry Luce Foundation and The Olana Partnership, is Visual Art Advisor to the Kennedy Center for its expansion project, called The Reach. She contributes a Foreword that expands on the role of the Atlanta Art Forum over the last twelve years and explains why it has played such a leading part in the appreciation of historical American art, exploring the nuances and purposes of art collecting generally, and of American art specifically. The speakers invited to the Forum were at the top of their fields, and the city of Atlanta quickly found itself "on the map" as a major site for American art. The general editor, and the progenitor of this book, Stephen M. Sessler, has with his wife Linda been an active collector of historical American art for many years. Joining the Fine Art Collectors group in Atlanta, Georgia, in the 1990s, they increased their knowledge hugely over time. Eventually, as that group's activities were scaled back, he saw an opportunity and founded the Atlanta Art Forum in 2006, becoming its visionary "dean," with the aim of meeting other enthusiasts and experts and discussing his chosen subject with them. He felt that so much information and knowledge acquired over twelve years should be available to a much wider audience, and this book was the result. The market and interest in historical American art has undergone a dramatic shift in the past ten to fifteen years as contemporary art has become the standard-bearer for the art market in general. By revisiting this art from many different angles and perspectives, this collection of essays will remind collectors, curators, and the art market as a whole of the value and intrinsic worth that still exist in this field, which has stood the test of time so well.

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Kiftsgate Court, perched on the northern edge of the Cotswolds Hills in Gloucestershire, is a garden composed of many different scenes. Some elements - the bluebell wood, the clipped hedging and the rose border, with its famously huge Kiftsgate rose - are traditionally English, but there are also areas of Italianate planting and terracing, and others where a mixture of perennials, roses and rare and exotic shrubs thrive side by side. Equally remarkable is the fine balance between continuity and gentle evolution that the visitor finds at Kiftsgate. This is largely because the garden has belonged to the same family since its creation 100 years ago. Three women have tended Kiftsgate, each one its driving force for a third of a century, and each building on the legacy of the previous generation. In 1919 Heather Muir and her husband, Jack, bought the house, which stands on a relatively narrow plateau from which a bank plunges 100 feet. Heather gave Kiftsgate its structure, laying out the semi-formal gardens by the house, planting the tapestry hedge and rose garden, and terracing the banks. In 1954 Heather was succeeded by her daughter, Diany Binny, who extended and developed her mother's planting, made more borders and paths, and refashioned the White Sunk Garden. Since the late 1980s Diany's daughter, Anne Chambers, has been at the helm, further modernizing the garden and its planting, creating new areas of interest, and opening more often to the public. As Robin Lane Fox, who has written the foreword, comments: `There is nowhere else in Britain that has such a family tradition of planting and dedication ... It is intimate but many-sided, evolving but with roots in a remarkable past.' This beautiful new book - the first dedicated to Kiftsgate - is structured in two main parts. For the first, `The History', Vanessa Berridge has had exclusive access to the Kiftsgate archive, which contains not only family photographs but also letters from their gardening friends, helping us to understand why and how Heather, Diany and Anne have gardened. Among the circle of friends and acquaintances who feature are Lawrence Johnston of Hidcote Manor (Kiftsgate's neighbour); Vita Sackville-West, the creator of Sissinghurst Castle Garden; and the horticulturalist Graham Stuart Thomas, gardens adviser to the National Trust. The second part of the book takes the reader on an extended tour of the garden, illustrated by the glorious photography of Sabina Ruber. The tour concludes with notes on Kiftsgate's signature plants and Anne Chambers's personal reflections on this, one of the great gardens of England.

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Over the course of his fifty-year career, American photographer Edward Weston (1886-1958) blazed a path into Photo-Modernism rendering portraits, landscapes, still-lifes and nudes. In 1902, a sixteen-year-old Weston took up photography in Highland Park, Illinois, where he worked as an amateur for five years. In 1907, at the age of twenty-one, Weston moved to Tropico, California, now the city of Glendale in Los Angeles County, where he constructed his first studio and set about with great purpose to become a photographic artist. Examining Weston's earliest sharp- and soft-focus photographs reveals that the young artist had already formed a perfect sense of composition that was to be the hallmark of his later work. Presenting Weston's earliest work from a recently discovered family album, Edward Weston: Portrait of the Young Man as an Artist compares the artist's naive first artistic efforts with his latest masterworks to show the persistence and evolution of his singular vision to find essential form in the vernacular with an ever-increasing intensity.As a young man deeply intuitive and original in his creative expression, Edward Weston demonstrates that his teenage work, beginning with his amateur snapshots, embrace the same significant form as the later work for which he is now considered a master.

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Few things are as synonymous with London as its famous red buses, thousands of which carry millions of passengers a year on hundreds of separate routes. Yet since the withdrawal from service of the much-loved Routemaster in the mid-2000s, none of its replacements has succeeded in generating the same kind of affection among the travelling public. Now, however, the stylish, Thomas Heatherwick-designed New Routemaster looks set to recapture the imagination of Londoners and visitors alike. In The New Routemaster, automotive expert Tony Lewin tells the remarkable and compelling story of this, the latest incarnation of the London bus, from its very public genesis in 2008 to its first scheduled journey in 2012. Contributions from key personnel provide a unique insight into the detailed thinking behind this innovative vehicle, which is notable as much for its stunning design as its precision engineering, while an illustrated survey of London's buses down the ages places it in context. Beautifully designed and richly illustrated throughout, The New Routemaster is the fitting and must-have account of the most significant London bus since the 1960s - a Routemaster for the twenty-first century.

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Among the most magnificent buildings of England are its Anglican cathedrals, great symbols of spiritual and architectural power. No one can fail to marvel at Durham's incomparable Romanesque masterpiece, the elegant stylistic unity of Salisbury, the world- amous stained glass of Canterbury or the striking Gothic scissor arch at Wells. In this breathtaking new book, award-winning Magnum photographer Peter Marlow has captured the nave of each of England's 42 Anglican cathedrals. Taken in natural light at dawn, usually looking towards the east end of the building, these remarkable images bring into sharp relief the full splendour of the architecture, whatever the style. Marlow's spellbinding photographs are accompanied by his commentary on the project, including sketches and preparatory shots; an introduction by curator Martin Barnes on the tradition of church photography in England, particularly the work of Frederick Evans and Edwin Smith; and a concise summary of each cathedral interior by architectural historian John Goodall. A special collector's edition comprising a blocked, cloth-bound hardback edition of the book and a signed, hand-finished print, 30.5 x 25.4 cm (10 x 12 in.) , placed together in a handmade, blocked, cloth-bound slip case.

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The reinvention of London's Grade I-listed King's Cross station by Network Rail, architectural practice John McAslan + Partners and engineers Arup is among Europe's most ambitious infrastructure projects. It has seen more than the restoration and modernization of the historic fabric of Lewis Cubitt's original double-barrelled train shed of 1852, in itself a masterpiece of rational design: the vast new semicircular Western Concourse, with its dramatic glass-and-steel canopy, creates at King's Cross one of Britain's most iconic examples of transport architecture. This fascinating book tells the complete story of the transformation of the station, a transport hub that is projected to be used by some 55 million people each year and is the gateway to the wider urban regeneration of the bustling surrounding area. With lively contributions from experts in the fields of architecture, planning and design, Transforming King's Cross is the essential record of a groundbreaking project, and offers a preview of the new dynamics of movement and place that are set to become familiar in our large cities over the coming decades.

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'Made in Japan' is a simple phrase, but one full of meaning. From kettles and cutlery to chairs, Japan creates some of the most innovative, elegant, whimsical and well-made objects in the world. Combining high aesthetic standards with cutting-edge technology, many of these designs turn everyday items into functional works of art that would look as good in a museum as on a kitchen counter. Made in Japan surveys 100 of the country's recent design triumphs, among them furnishings, utensils, gadgets, clothing, office equipment and even a silent guitar. While the book features mainly mass-produced objects, it also includes one-off prototypes and limited-edition items that are immensely popular in Japan. Created specifically for the Japanese consumer, these products reflect the way people live, work and play in a country that prizes highly both exceptional craftsmanship and industrial perfection.

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Rich in symbolism and metaphor, and blessed with its own varied and dramatic palette, the garden has proved to be an extremely fertile source of artistic inspiration. In The Garden in Art, acclaimed art historian Debra N. Mancoff reveals the many different ways in which artists from all periods of history - from ancient Egypt to the present day - have employed the motif of the garden. Featuring more than 200 illustrations of both renowned and lesser-known works, the book approaches its subject thematically, exploring such topics as working gardens, the garden through the seasons and artists' gardens. Complete with a detailed timeline and a suggested list of gardens to visit, The Garden in Art is an absorbing and highly rewarding examination of the meaning and significance of the depiction of the garden.

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Everyone has an idea of their own dream home, whether it be a minimally furnished apartment overlooking a city skyline or an informal and colourful retreat in the sun. Whatever your dream, this bestselling book - now available in paperback for the first time - presents 100 inspirational interiors of all styles from around the globe, from New England to Mallorca and from Provence to South Africa. Alongside the work of many of the world's most talented interior designers are homes that have been imaginatively transformed by the vision and commitment of their owners. "Dream Homes" features 100 inspirational homes, the key characteristics of which are compellingly described by leading interiors writer Johanna Thornycroft and stunningly illustrated with over 800 photographs by world-renowned interiors photographer Andreas von Einsiedel.

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Made in Ibiza is both a visual treat and a fitting celebration of a dynamic creative scene that contributes so much to the vitality of this unique Mediterranean island.

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The artist Mark Hearld finds his inspiration in the flora and fauna of the British countryside: a blue-eyed jay perched on an oak branch; two hares enjoying the spoils of an allotment; a mute swan standing at the frozen water's edge; and a sleek red fox prowling the fields. Hearld admires such twentieth-century artists as Edward Bawden, John Piper, Eric Ravilious and Enid Marx, and, like them, he chooses to work in a range of media - paint, print, collage, textiles and ceramics. Work Book is the first collection of Hearld's beguiling art. The works are grouped into nature-related themes introduced by Hearld, who narrates the story behind some of his creations and discusses his influences. He explains his particular love of collage, which he favours for its graphic quality and potential for strong composition. Art historian Simon Martin contributes an essay on Hearld's place in the English popular-art tradition, and also meets Hearld in his museum-like home to explore the artist's passion for collecting objects, his working methods and his startling ability to view the wonders of the natural world as if through a child's eyes.

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Horst P. Horst (1906-1999) was one of the twentieth century's master photographers. A revered figure in the world of fashion image making, he charted sixty years of style for Vogue and House and Garden, from the fashions and celebrities of the 1930s to the interiors of the 1980s. However, little-known within his body of work - and contrasting intriguingly with his career in fashion - is a set of prints and a book, Patterns from Nature (1946). Working with a Rolleiflex and Graphic View Camera in new York, Monterey and Mexico, Horst photographed the detailed textures and forms of natural objects, including plants, rocks, shells and butterfly wings. His close scrutiny of these forms makes them unfamiliar and revelatory. These images were gathered into Patterns from Nature, which also featured 9 kaleidoscopic images made by arranging the photographs in simple repeat. Horst believed that these dynamic patterns would be 'immediately applicable to industrial fields such as textiles, wallpaper, carpets, plastics and glass'. Published to coincide with a major retrospective on Horst's work at the Victoria and Albert Museum, Martin Barnes re-examines these images in, Horst: Patterns from Nature. This new edition will make the 9 original collaged images available for the first time in nearly 70 years and will also include a further 28 photo-collages that have only recently been rediscovered and have never before been seen or published.

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A humorous and incisive analysis of the basic tenets of typography and how to turn them on their heads, this book will appeal to the conformist and the non-conformist in everyone - not just the newcomer to design. One side of this sharp-witted, cleverly designed guide presents the ten main rules, or 'commandments', of type design, addressing such aspects of typographic doctrine as legibility, alignment and capitalization; the other shows how type can successfully subvert these rules, presenting 'sacreligious' visual alternatives. In support of the commandments, Felton includes a list of twelve 'disciples', those internationally renowned graphic designers whom he identifies as rule-abiding, including such figures as Eric Gill, Jan Tschichold and Erik Spiekermann. Confronting these are his 'fallen angels', including such experimental typographers as David Carson, Jeffery Keedy, Phil Baines, and Jonathan Barnbrook.

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A luxurious 368-page book, which takes us on a journey to explore the ocean, and ourselves, in a totally new way. Agua Nacida is an evocative and breath-taking volume that reflects the ocean as a feminine element, captured in Arnold's stunning images of underwater nudes.

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This new coloring book showcases a remarkable selection of breathtaking armor in The Metropolitan Museum of Art, giving artists of all ages the opportunity to explore a wide range of designs from a variety of different traditions and cultures around the world.

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The proposals in London of the Future aim to predict and prescribe how the metropolis might be governed, organized, and designed in years to come and to provoke debate among planners, architects, and developers. Over the course of eighteen essays, experts in various fields - engineering, urbanism, architecture, manufacturing, futurology, journalism, and more - examine possibilities for reimagining and improving many aspects of the city. These writers consider changes both radical and minor that could shape London into a more resilient city and a fairer, healthier place to live. The architectural commentator Peter Murray provides an engaging introduction. Discussing some of the more interesting and, in some cases, eccentric proposals of the earlier book, he paves the way for an entirely new and up-to-date collection of ideas for the twenty-first century and beyond. The architectural critic and consultant Hugh Pearman ponders the dangers and uses of prediction while proposing that London be improved and made more liveable, rather than expanded and developed. The architect Carolyn Steel continues the focus on making the city a more pleasant place to live by discussing the future of its food supplies, considering the place of farming within the city's boundaries to spearhead urban renewal in a newly environmental age. The engineer Roma Agrawal advocates increasing cross-disciplinary understanding in the building and engineering world so that tomorrow's engineers can be curious without boundaries. Yvonne Farrell and Shelley McNamara of the architectural practice Grafton interrogate the meaning of permanence, and what London's inhabitants will need from their buildings, and the urbanist Kat Hanna discusses the future of two of London's identities: the Central Business District and the Financial Services Hub. Mark Brearley, an architect and proprietor of a long-established London manufacturer, writes on the subject of the local high street and how the city is strengthened by these social, commercial hubs. Gillian Darley, a writer and historian, looks at the future of heritage, and how the city's past can be conserved and contribute towards its future. Sarah Ichioka is an environmental and social consultant, and her approach focuses on the climate emergency and natural solutions to make the city more resilient. The architect Indy Johar puts forward radical ideas about the shift that is required of all London's inhabitants if the city is to transform itself for the future, and Smith Mordak, an architect and engineer with Buro Happold, advocates for large infrastructural changes for sustainability. The cultural practitioner and writer Yasmin Jones-Henry, meanwhile, advocates for the value of cultural activities, powered by diversity, while the theatre director Jude Kelly calls for London's broadly inclusive cultural past to be put at the centre of future plans, and imagines a place for AI in that future. Dame Baroness Lawrence, a campaigner who has promoted reforms in the police service, uses housing, education, policing, and racial equality to put forward her vision for a more equitable London. The journalist Anna Minton sets the extraordinarily high values of property in certain areas of the city against the crisis of social housing and the poor quality of low-income housing and asks how the problem of housing inequality can be solved. The architect Claire Bennie also examines how housing can be made fairer and available to more people. The futurologist Mark Stevenson, meanwhile, imagines a commercial, building-focused solution to the problem of climate change, while the journalist Tony Travers imagines London's future in relation to its survival of past crises. Neal Shashore, an architectural historian, focuses on the approach to educating future designers of the capital, to champion inclusivity and focus on the needs of people and communities. As part of the London Society's growing role to campaign for a better London, the proposals in this book aim to influence the discourse of politicians and local authorities and to provoke debate among architects, developers, and planners. But it will also provide food for thought more generally, in a world where change will be required of everyone.

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This new colouring book is devoted to the remarkable artwork of the pre-eminent American modernist Marsden Hartley (1877 1943). Hartley grew up in poverty in Maine, but, full of creativity and imagination, he dreamed of travel and adventure. He made his way to Europe in the years before the First World War and created exciting modernist paintings based on the visual influences that he encountered in the vibrant cities of Paris, Berlin and Munich. Solitary by nature, Hartley never lost his wanderlust, and throughout his life found inspiration in many other landscapes and cultures, including in southern France, Italy, Bermuda, New Mexico, Mexico and Canada. When ultimately he returned to the Maine of his childhood, Hartley did so with decades of artistic knowledge and cultural engagement. This book provides the opportunity to immerse yourself in the natural world that Hartley loved: the vast deserts of the American Southwest, the windswept beaches of New England, the sun-soaked hillsides of Provence, and the dramatic peaks of the Bavarian Alps. Also featured are some of Hartley's powerful still lifes and abstract compositions genres in which he often experimented with new ideas, styles and motifs and several striking potraits. Be guided by Hartley's bold use of colour or express yourself through your own choice of palette and design! AUTHOR: Rick Kinsel is President of the Vilcek Foundation in New York. In this role, he manages the Vilcek Collection, conceives and facilitates the curation of travelling exhibitions based on the collection, and oversees the foundation's primary operations in the award of prizes and grants in the ar ts, sciences and humanities. Paula Kinsel is an artist, graphic designer and art director whose projects include still and motion graphics for film, television and independent art productions. 34 line drawings, 29 colour illustrations

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Pueblo pottery is renowned for its extraordinary beauty and craftsmanship. 'Pueblo' is a Spanish word meaning 'town' or 'village'. When the Spanish arrived in 1540 in what is now known as the American Southwest, they referred to the Indigenous communities and their settlements as Pueblos. The Pueblos are among the oldest settlements in North America, and their pottery-making tradition is as old as the ancient Pueblos themselves. Pottery is used throughout the life of a Pueblo person, and various forms are made for cooking, gathering water, food storage and ceremonial use. The Coloring Book of Pueblo Pottery features more than 30 drawings for you to complete, whether by reproducing the traditional palettes or by finding inspiration in the swirling or geometric patterns and stylised motifs for a unique design of your own. Made predominantly by women, the pots are created from natural clay using a coil method; they are hand-painted and fired outdoors. Designs vary from one Pueblo to another, but symbols and motifs relating to the natural world - birds, deer, plants and water - are common. Today, such pottery is highly collectible and is found in museums and private collections around the world. This delightful colouring book allows you to create your very own masterpieces of this celebrated and cherished art form. AUTHOR: Brian Vallo is the Terri and Michael Smooke Curator and Department Head of Contemporary Art at the Los Angeles Museum of Art. 34 line drawings, 32 colour illustrations, 1 map

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The term Latinx art is used to describe works created by artists of Latin American birth or descent who live in the United States. It encompasses a diverse range of artistic practices, from geometric abstraction to figurative and conceptual approaches. The impact of Latinx populations on everything from urban design and body ornamentation to political posters and stencil graffiti has been greatly underestimated. Bringing together more than 30 works by artists who span several generations, this new coloring book is a celebration of many things that are key to Latinx art. Patrick Martinez and Jaime Muñoz find inspiration in everyday culture such as supermarket cakes and custom cars, while Ana Serrano creates intricate, brightly painted cityscapes. Michael Menchaca fuses a video-game aesthetic with Mesoamerican imagery, and the abstract paintings of Eamon Ore-Giron and Carlos Rosales-Silva also incorporate design motifs and symbols from the ancient Americas. The artwork of indigenous cultures across history is explored by Gala Porras-Kim and Sandy Rodriguez. In her energetic compositions, Carolyn Castaño blends pattern, tropical botanical illustration and feminist histories. The equally expressive work of Patssi Valdez features highly stylized depictions of figures and devotional objects. The dreamlike murals of Ms. Yellow (Nuria Ortiz) address such contemporary themes as community, sisterhood and social justice. While identity is central to the art of both Marcel Alcalá and Felipe Baeza, the former’s vibrant figurative paintings contrast with the latter’s more abstract renderings of the human body. AUTHOR: Rita Gonzalez is an American curator, author and media artist. She is the head of the contemporary art department at Los Angeles County Museum of Art (LACMA), an institution she has worked at since 2004 30 colour illustrations

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Southern California is the birthplace of skateboard culture and, even though skateparks may be found worldwide today, it is where these parks continue to flourish as architects, engineers and skateboarders collaborate to refine their designs. The artist Amir Zaki grew up skateboarding, so he has an understanding of these spaces and, as someone who has spent years photographing the built and natural landscape of California, he has a deep appreciation of the large concrete structures not only as sculptural forms, but also as significant features of the contemporary landscape, belonging to a tradition of architecture and public art. To capture the images in this book, Zaki photographed in the early-morning light, climbing inside the bowls and pipes while there were no skaters around. Each photograph is a composite of dozens of shots taken with a digital camera mounted on a motorized tripod head. The resulting images are incredibly high resolution and can be printed at a large scale with no loss of detail. Their look is unusual in that Zaki's lens is somewhat telephoto, which has the effect of flattening space, yet the angle of view is often quite wide, which exaggerates spatial depth. The technology also allows Zaki to photograph certain areas from difficult positions that would otherwise be impossible to capture. Zaki makes the point that, by climbing deep inside these spaces, the visual experience is fundamentally different from viewing them from outside. In his text, Tony Hawk - one of world's best-known professional skateboarders - describes how Zaki's photographs of empty skateparks and open skies evoke memories of the idyllic freedom and the sense of potential that he felt when he first visited a skatepark as a child and saw skaters flying like birds in and out of the concrete pools and bowls. Hawk has skated in some of the parks featured in this book, and for him several of Zaki's images, taken from the skater's perspective, recall the experience of trying to learn a particular trick. A beautiful full pipe that looks like a barrelling wave may be, for Hawk and other seasoned skateboarders, a perfect example of function and form fitting together flawlessly in a well-designed skatepark. In his essay, the Los Angeles-based architect Peter Zellner offers a different perspective. Skateparks are made by excavating large open areas of land within city parks. The forms inside them may represent ocean waves, mountainous terrain and other features from nature, but they are permanently frozen in cement like Brutalist architecture. Every shape, line, transition, hip, tombstone, coping, stair, flow, tile, bowl, pipe, spine, rail, ledge, roll-in, kidney, clover, square and bank serves a specific purpose - to provide a challenging thrill and maximum pleasure for the rider. In this sense, skateparks epitomize function over form. In Zaki's mesmerizing photographs, however, these concrete landscapes suggest a more complex and integrated relationship with the history of design and architecture in Southern California.

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Birds’ eggs are true wonders of the natural world: they are strong enough to protect the embryo as it grows and to withstand incubation by the parent, yet sufficiently fragile to allow the chick to hatch. Little wonder that the enormous diversity of avian eggs – the amazing range of shapes, sizes, colours, textures and patterns – has long fascinated us. Since boyhood, the renowned landscape photographer Colin Prior has had a passion for wild birds. For him, birds are the embodiment of nature, and fundamentally enrich the experience of being outdoors. This stunning new book presents Prior’s remarkable images of birds’ eggs side by side with his dramatic photographs of the birds’ natural habitats. At a time when many human influences are having an adverse impact on the environment, these habitats are equally fragile and vulnerable to change. Loss of habitat is, in turn, a major factor in the decline of wild bird populations. It has been illegal to take any birds’ eggs from the wild in Great Britain since 1954, and since 1982 it has been against the law to possess the egg of any wild bird. The eggs featured in this book belong to the National Museum of Scotland in Edinburgh, which holds one of the world’s largest collections of birds’ eggs. The eggs were collected legally during the late 19th and early 20th centuries and bequeathed to the museum by private collectors. Prior set up a studio at the museum and spent five weeks photographing more than 300 eggs using the latest digital technology. Each photograph is a compilation of between 40 and 80 separate exposures that were then blended into a single image using specialist software. The final image is an exquisite, almost three-dimensional rendition of the egg, pin-sharp from the front to the back. The eggs vary in size from that of the tiny goldcrest, the UK’s smallest bird, to that of the mute swan. In his introduction, Prior describes how his love of the natural world was nurtured by the endless hours he spent in the countryside around the Glasgow suburb where he grew up; how he overcame the technical challenges of photographing the eggs; how the featured eggs were selected from the museum’s collection; and how the photography of each bird’s habitat was completed. In his essay, the Scottish environmentalist Professor Des Thompson reflects on the state of nature and the relationship between nesting and habitats. In the main part of the book, the birds’ eggs are arranged into chapters according to the species found in a particular habitat, such as ‘Mountain and Moorland’ and ‘Seashore and Estuary’. The caption beneath each egg details the common and scientific name of the bird, the date the egg was collected, the size of the clutch, and the egg’s dimensions. Each egg is presented in a diptych with a photograph of the bird’s habitat, painstakingly captured at a time of year when the dominant colours of the landscape most closely resemble those of the egg. Fragile – the culmination of ten years’ work – not only showcases the inherent beauty of birds’ eggs, but also serves as a powerful reminder to protect the birds’ natural habitats and thereby the birds themselves.

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Kazakh nomads have been grazing their livestock near the Altai Mountains in western Mongolia for many hundreds of years. Here, in this desolate landscape, where temperatures plummet to minus 40 degrees Celsius in winter, live the last of the men who use eagles to hunt on horseback. Rugged, formidable, proud, the golden eagles share the same qualities as the men with whom they ride. Only the toughest survive here. Fascinated by the special bond that develops between hunter and eagle, award-winning photographer Palani Mohan has spent the last few years documenting the burkitshi, as the hunters are known in Kazakh. As Mohan explains in his introduction to a collection of breathtaking duotone images, this is a culture under threat. There are no more than 50 to 60 'true' hunters left, and each winter claims a few more. Having taken a pup from the nest, given it pride of place in their home and trained it, all hunters describe the eagle as part of their family. With its massive wingspan, sharp eyesight and powerful, flesh-tearing beak and talons, the golden eagle is the perfect predator. Its usual prey, fox, provides a welcome meal for the hunter's family, while the pelt can be made into warm clothing. Mohan's photographs of the stark landscape, the isolation of the hunt, and most of all the trusting relationship between man and bird, convey the huge importance that the eagle plays in the lives of the last remaining Kazakh hunters. This is an enthralling, timely record of these noble men and their majestic eagles in an unforgiving part of the planet. AUTHOR: Indian born, Australian raised Palani Mohan is an award-winning photographer whose work has been featured in many international publications, including National Geographic, Stern, Geo, the New York Times, Timeand Newsweek. He has previously published four books, including 'Hidden Faces of India' (2002) and 'Vanishing Giants: Elephants of Asia' (2008). He currently lives in Hong Kong. SELLING POINTS: . Stunning duotone images document the unique relationship between the hunters and their eagles . A captivating, sensitive appreciation of a little-known and now threatened way of life . Will appeal to anyone interested in disappearing cultures and to lovers of travel and nature photography 85 duotone photos, 1 map

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Regardless of style, age or size, a home should be a place of refuge, a private space in which we can feel truly comfortable, whether spending time on our own or entertaining friends. Above all, it should be a place of our own making, filled with the books, furniture and other cherished objects that say so much about who we are. Nowhere is this philosophy more apparent than in the work of Chester Jones, one of the UK's most celebrated interior designers and decorators. Lavishly illustrated throughout, The Interiors of Chester Jones provides a unique and fascinating insight into both Jones himself - a former architect and managing director of Colefax and Fowler - and the thinking behind the many rich and nuanced interiors he has created since establishing his own firm in 1989. The book covers every aspect of his work, from his distinctive use of art and artefacts to his sympathetic treatment of a building's architectural history, and includes a series of in-depth case studies on past projects. At the heart of this beautiful book is Jones's own belief that to be happy in one's own surroundings, to live contentedly in a space of our own design, is to feel genuinely at home.

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The last 25 years or so have witnessed redevelopment in the City of London on an unprecedented scale, following the deregulation of the financial markets, the so-called 'Big Bang', in the mid-1980s. As the City has earned its place as a true global financial centre, the majority of its office space has been rebuilt, and developers have taken a more adventurous approach, commissioning such leading British and international architects as Norman Foster, Rem Koolhaas, Jean Nouvel and Richard Rogers. New City is the first book to examine in depth the creation of one of the world's largest collections of cutting-edge architecture - not just the prestigious office blocks that have changed the skyline, but also cultural institutions, retail sites and public spaces. Following an introduction that explores the context for the rebuilding of the City, the main part of the book is divided into 12 concise walk-throughs of the major areas. Authoritatively written by a former urban planner and with all-new photography throughout, this is an indispensable architectural guide for professionals and the public alike.

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Modernism, referring to the period dating roughly from the late 19th century to 1970, is regarded as a crucial moment in the history of American art. Although Modernist artists adopted a wide range of styles, they were linked by a desire to interpret a rapidly changing society and to cast aside the conventions of representational art. Some, such as Stuart Davis and Joseph Stella, responded to consumerism, urbanism and industrial technology; others, such as Arthur Dove and Georgia O'Keeffe, found inspiration in nature and the Native American culture of the Southwest. This magnificent new book presents the works of the Vilcek Collection, an unparalleled private collection of American Modernist paintings, drawings and sculpture. Art historian Lewis Kachur explores almost 100 rarely seen works by 20 leading artists active during the first half of the last century, while William C. Agee contributes an incisive introduction. Lavishly illustrated throughout, Masterpieces of American Modernism provides an outstanding overview of the radical shift in art driven by this major aesthetic movement.

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The very first photographs of the nineteenth century were produced without the use of a camera. Today, having rediscovered camera-less techniques, a number of artists are using camera-less photography to create beautiful, startling images. Now available in an updated and fully revised edition, Shadow Catchers surveys the work of five leading practitioners - Pierre Cordier, Susan Derges, Adam Fuss, Garry Fabian Miller and Floris Neususs - who, by casting shadows on light-sensitive paper or by chemically manipulating its surface, capture the presence of objects, figures or glowing light. The resulting pictures are consistently powerful, often with surreal effects and symbolic content. This is the first book to gather together the work of these key contemporary artists, revealing the technical processes and creative practices involved in their art. In an age of mass-produced imagery, Shadow Catchers offers a fascinating insight into a world of handcrafted photographs that are at once visually striking and intellectually stimulating.

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Even in times of economic hardship, perfume is an affordable luxury, recognized for its ability to make us not only smell good but also feel great. No woman's dressing table or bathroom cabinet is complete without at least one bottle. Cult Perfumes is the first book to explore the most exclusive boutique perfumeries producing some of the world's most captivating scents. Tessa Williams documents more than 25 perfumeries and brands, ranging from the pharmacy of Santa Maria Novella in Florence, established by Dominican friars in 1221, and the classic English company Floris, founded in 1730, to the new eponymous range created by the famed fragrance expert Roja Dove. Williams goes behind the scenes at each perfumery to interview the perfumers and explore the evolution of the company, the ethos behind the brand, and its signature scents. With a concise illustrated introduction to the history of perfume-making and features on iconic perfumes, future cult classics and the so-called 'noses' who keep the brands attuned to today's popular scents, Cult Perfumes will be as alluring to lovers and collectors of perfume as the fragrances it presents.

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Future Beauty is the first comprehensive survey of Japanese avant-garde fashion of the last 30 years. Such designers as Issey Miyake, Yohji Yamamoto and Rei Kawakubo made an enormous impact on the world fashion scene in the late twentieth century, challenging established notions of beauty and turning fashion into art. Today a new generation of radical designers, among them Tao Kurihara and Jun Takahashi, is fast gaining acclaim. This spectacular book, written by a team of experts led by the eminent fashion historian Akiko Fukai, explores the distinct sensibility of Japanese design - the uniqueness of its form, cut and fabric. Illustrated with over 250 photographs and sketches, Future Beauty is an authoritative and stylish guide to some of the world's most expressive fashion.

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Ask almost anyone to describe their ideal home, and the chances are that it'll be spacious and glamorously decorated, as though it has leapt straight from the pages of a glossy magazine. But enviable decor alone does not result in happiness. The days of simply 'getting the look' are over; we are now more interested in achieving a contented home life than in considering purely the aesthetics of our interiors. After all, home is not simply a pretty backdrop to life, but a practical and integral part of it. In this timely new book, interiors expert Rebecca Winward first considers what makes our homes so vital to our happiness, then outlines the basic principles that create a happy home. The main part of the book follows a clear room-by-room arrangement, with sections on such elements as layout, colour, coverings for walls and floors, storage and accessories for each main space in the house. Useful, down-to-earth advice is accompanied by inspirational photographs from stylish homes of all kinds, and every chapter concludes with a list of dos and don'ts for achieving the perfect happy room. Happy Home is not so much about a certain style as about a certain style philosophy. Follow these principles, and your home will be functional, beautiful - and ultimately happier.

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Today fashion is moving forward at a faster pace than ever before, with advancing technologies and new materials reinventing clothing as we know it. Futuristic garment designs are often inspired by surprising sources: biological science, climate change, space suits, artificial intelligence, genetic engineering and nanotechnology. Fashion Futures offers a fascinating survey of these new directions, charting the transformational products, design processes, maverick materials, and groundbreaking practitioners that are revolutionizing fashion. Design expert Bradley Quinn also explores radical retail operations, fashion forecasting, and the relationship between fashion and other disciplines. Featuring inspirational interviews with international trend forecasters and designers, and packed with illustrations of extreme designs and prototypes , Fashion Futures is a thought-provoking overview of how fashion will look, perform and be manufactured and purchased in the twenty-first century.

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With an extraordinary array of ravishing interiors from 100 contemporary homes of all styles around the world, Dream Rooms is a sumptuous sourcebook that will spark countless new ideas for transforming any and every room in the home. From stylish ways to give a living-room a new lease of life to the fusion of practicality and clever design that makes a kitchen the hub of a house, this book offers a wealth of possibilities. More than 800 brand-new inspirational images by renowned photographer Andreas von Einsiedel showcase an astonishing range of beautiful bedrooms, living-rooms, dining-rooms, working areas, kitchens, halls and stairways, bathrooms and outdoor spaces, while Johanna Thornycroft pinpoints the key characteristics of each look. Clearly organized by room, and focusing on such themes as colour, pattern, furniture and lighting, this glorious book is the ultimate reference for anyone seeking to turn their vision for their favourite room into a gorgeous and abiding reality. AUTHOR: Andreas von Einsiedel has specialized in interiors photography for the past 20 years, and is a regular contributor to the World of Interiors, House & Garden, Architectural Digest and other titles in the United States, Australia and Europe. He has photographed subjects for more than 20 books. Johanna Thornycroft is a freelance writer and journalist who regularly contributes design features to newspapers and interiors magazines worldwide, and the author of several books. SELLING POINTS: . The latest dazzling companion to Merrell's bestselling Dream Homes, More Dream Homes and Dream Homes Country . Presents a multitude of decoration ideas to suit every taste . An essential reference for anyone wanting to transform any space in their home 800 colour

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A companion and successor to Merrell's hugely successful Dream Homes (more than 50,000 copies in print), this book presents 100 exceptional interiors of all styles from around the globe. From sumptuous, state-of-the-art city apartments created by professional designers to quirky holiday retreats transformed by their dedicated owners, More Dream Homes is an exciting kaleidoscope of locations and decoration ideas. Each project is fully illustrated with beautiful photographs by celebrated interiors photographer Andreas von Einsiedel, while Johanna Thornycroft describes concisely the key characteristics of each home and how these have been achieved, providing insights into the work of leading designers. More Dream Homes contains a wealth of inspiration for lovers of interior design or anyone seeking to make their dream home a reality.

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The artist Angie Lewin has a unique vision of the natural world. Her hugely popular prints depict in intricate detail the native flora of a variety of environments, from salt marsh and Highland loch, to flower-strewn meadow and wild garden. Lewin finds beauty in each landscape, whatever the season, and is particularly inspired by plant forms: slender reeds, stately goatsbeard, spiky teasels and sculptural seed heads. 'Plants and Places' presents over 70 of Lewin's beautifully crafted linocuts and wood engravings. The works are grouped according to habitat such as coast, woodland and hedgerow, and garden together with drawings, paintings and collages from Lewin's sketchbooks of grasses, seed pods, seaweed, shells and other objects that she has collected on her walks. In an engaging introduction, Leslie Geddes-Brown meets Lewin in her studio, discusses her artistic inspirations and her fascination with plants, and describes how she creates her prints.

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The book takes the form of an incomparable journey looking at the ten new gardens from the internationally renowned garden designer, Ulf Nordfjell, from northern Sweden to the Mediterranean, a journey that passes through many latitudes and climate zones.

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Hampton Court Palace, to the south-west of London, is one of the most famous and magnificent buildings in Britain. The original palace was begun by Cardinal Wolsey, but it soon attracted the attention of his Tudor king and became the centre of royal and political life for the next 200 years. In this new, lavishly illustrated history, the stories of the people who have inhabited the palace over the last five centuries take centre stage. Here Henry VIII and most of his six wives held court, Shakespeare and his players performed, and Charles I escaped arrest after his defeat in the Civil War. William III and Mary II introduced French court etiquette, and Georgian kings and princes argued violently amid the splendid interiors. Alongside the royal residents, there have been equally fascinating characters among courtiers and servants. Queen Victoria opened the palace to the public in the nineteenth century, and since then millions of visitors have been drawn to Hampton Court by its grandeur, its beauty and the many intriguing stories of those great and small who once lived here.

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Walking through London's busy streets, you would not imagine that the city boasts one of the world's most diverse manufacturing scenes. But throughout its 32 boroughs, people are making propellers, bicycles, ballet shoes, military uniforms, cardboard packaging, neon signs, umbrellas, chocolate truffles, craft beer and much more. Today there are around 4000 manufacturers based in Greater London, building on the city's rich heritage of making. While producing world-class goods, they are all jostling for space and dealing with familiar challenges, such as rising rents and trying to keep developers at bay. This book provides a fascinating glimpse behind the doors of London's making and manufacturing companies: the processes and spaces that are so often hidden from view, and the people who work there, from sole traders to workforces numbering in the hundreds. The introduction is written by Mark Brearley, an architect and Professor of Urbanism at London Metropolitan Museum who also owns the London-based tray and trolley manufacturer Kaymet. The main part of the book is arranged into chapters grouping similar types of manufacturer. In total, 50 businesses are featured, ranging from the Ford Motor Company in Dagenham, the biggest factory in London; to William Say, third-generation tin-can makers, in Bermondsey; Nichols Brothers, bespoke woodturners, in Walthamstow; Growing Underground, a salad farm in old air-raid shelters under the streets of Clapham; and Jost Haas, Britain's last glass-eye maker, in Mill Hill. Specially commissioned photography by Carmel King captures the making process, the materials, the finished products and the staff at each manufacturer, while concise, engaging descriptions are provided by the design and architecture journalist Clare Dowdy. Made in London is a timely celebration of the vibrant manufacturing scene that contributes so much to the creativity, vitality and economy of the city.

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Mid-Century Type is a fascinating visual exploration of how, during the middle decades of the last century, the typographer became an independent, influential contributor to a fast-developing technological world of communications. The years after the Second World War were a time of great economic, social, and cultural change as consumerism erupted across industrialized countries, fuelled by the growth of mass communication. The same period was also one of exceptional creativity, including in the fields of typography and graphic design. During the war, governments came to appreciate the skill of designers in communicating public information effectively. Once the conflict was over, designers were recognized for the first time as having an essential role to play in the rebuilding of economies, infrastructure, and public morale. The typographer, however, was still something of a 'Cinderella': type was crucial to communication in almost any medium, yet typography remained a vague and largely unacknowledged profession. This perception changed dramatically between 1945 and 1965. The range of media expanded, and the influence of time-based media such as television and film was profound, providing information 'as it happens' and transforming the turning of a page into the equivalent of the film editor's cut. 'Speed' was the elixir for growth and prosperity. The specific needs of motorway and airport signage were recognized as requiring the expertise of a typographer. Phototypesetting and offset lithographic printing coalesced to provide full-colour reproduction, which in turn vastly increased the sale of all printed material, but especially books and magazines. All of this drew typographers into what became established as specialist fields of printed and screen media. Finally, the cultural value of the typographer's work could be equated with that of the artist, poet, author, and film director. Mid-Century Type charts this meteoric rise of the typographer and graphic designer (often one and the same person) during the early post-war decades. Each chapter is devoted to a specialist field of design activity in which typography played a significant role, from type design and corporate identity to advertising and film, and television. David Jury's text offers fresh insight into the work of a wide array of British, European, and American typographers and is accompanied by some 350 illustrations, many from the author's own extensive collection.

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American art underwent a transformation during the period 1940–55, and nowhere is that change better exemplified than in the work of Ralston Crawford (1906–1978). Crawford worked in a variety of media throughout his career, and his wartime and early postwar art ranged from designing camouflage and creating weather infographics for the US Army to documenting the detonation of the atomic bomb for Fortune magazine. This exciting new book explores Crawford's influences and the ideas and experiences he had during World War II and its aftermath, and chronicles a period of change, during which Crawford gradually moved away from celebrating feats of engineering and industrial development to creating imagery that was more abstract and far more personal, expressing the grief and anxiety of the postwar world. Crawford's painting during the 1930s had largely been a dazzling series of Precisionist works that reflected American advances in industry, engineering and technology. After the United States entered World War II, Crawford served in the Weather Division of the Army Air Forces. He created pictorial representations of weather patterns for airplane pilots, and was exposed to countless photographs of air crashes. He continued working as an artist throughout the conflict, receiving a commission to paint the Curtiss-Wright aircraft plant in Buffalo, New York, and, in 1946, an assignment to observe and record one of the atomic bomb tests at Bikini Atoll. These experiences had a profound impact on Crawford, and marked a major turning point in his life and art. Published to coincide with an exhibition opening at the Dayton Art Institute, Ralston Crawford: Air & Space & War presents a remarkable selection of Crawford's paintings, drawings, photographs and prints from this time. These vary from powerful images of chaos and devastation to ordered and precise paintings of airplane assembly at the Curtiss-Wright plant and cover illustrations and charts related to weather, flight and radar for Fortune magazine. The evolution of many of the works can be traced from photograph and drawing to the finished painting, revealing Crawford's decisions about form and space, which were informed by his experiences with airplanes and flight. Accompanying the artworks is a series of perceptive essays. Rick Kinsel considers Crawford's war years in the context of developments in both aviation and American art. Emily Schuchardt Navratil reflects on aerial views by Crawford and on his Curtiss-Wright commission. Amanda Burdan looks at Crawford's work for Fortune, while Jerry Smith surveys various American and European abstract renditions of airplanes and flight as a means by which to place Crawford's interest in aviation during World War II into a broader historical context. In the final essay, John Crawford examines the importance of photography in his father's work, and explores collage as both a compositional technique and as a term that may be used to describe the series of intense experiences that contributed to Crawford's development as an artist in the 1940s and early 1950s. 270 illustrations

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The Crown in Focus traces the remarkable relationship between the British Royal Family and photography over the course of nearly 200 years, from Queen Victoria and Prince Albert's enthusiastic adoption of the emerging technology in the mid-19th century to the use of Instagram by the modern monarchy. Today, photographs of the British Royal Family remain some of the most widely distributed images across the world. Featuring iconic formal portraits alongside little-known pictures from private collections, this fascinating book explores how each new development of the medium has been embraced to record royal life. Since its invention almost two centuries ago, photography has created an unprecedented intimacy between monarch and subject. Where previously royal painted portraiture allowed a degree of control and an element of creative licence and negotiation between artist and sitter, the development of the photographic image provided the public with a more personal window on to the lives of the people behind the pageantry. Over the years, the medium has helped to shape the role and purpose of the Royal Family - to the point where, in a rapidly changing society, the close connection between Crown and camera has ensured the continued survival and popularity of the British monarchy. The book also considers the art of royal photography through the monarchy's patronage of such major 20th-century photographers as Cecil Beaton and family members Lord Snowdon and Patrick Lichfield, and such contemporary photographers as Chris Jackson. Members of the Royal Family have always been keen photographers themselves. The Crown in Focus includes pictures from their private albums, and looks, too, at the publication of photographs by the royals, from Queen Alexandra to the Duchess of Cambridge, where the personal view has become the public image. Written by an expert curator from Historic Royal Palaces and published to coincide with a major new exhibition at Kensington Palace, the book combines an introductory essay with 200 extraordinary royal images and engaging extended captions that reveal the story behind each photograph.

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The car industry and the way in which cars are created have changed beyond all recognition over the last half-century. Automotive styling was once the grudging afterthought when the engineers had finished their work. Now, following a short flirtation with exotic Italian design houses, it has evolved into sophisticated design carried out by multitalented in-house teams honing carefully crafted brand identities. One of the visionary designers at the forefront of that revolution has been Patrick le Quement. Most widely acclaimed for his 22 years in charge of Renault Design, resulting in such standout models as the Twingo, Scenic and Avantime, le Quement has enjoyed a 50-year career that has also taken in Simca, Ford and Volkswagen-Audi. In his foreword to the book, Stephen Bayley calls le Quement `perhaps the very most original designer working in the conservative car business at the turn of the millennium'. Some 60 million cars across the world now bear the unmistakable stamp of le Quement. Design: Between the Lines is not a straightforward autobiography; rather, le Quement charts his journey through five decades of thoughts, actions, failures and successes. He offers fascinating commentaries on design and the creative process, and on some of the extraordinary automotive brands that make up our shared cultural heritage. As Bayley notes, for le Quement, design is `as much a matter of thinking as a matter of drawing'. On a broader, more philosophical level, le Quement also shares his views about life in general and that remarkable contraption called `the automobile', which has so influenced the lives of millions of people the world over from the late 1800s to the present day. Presented as a series of 50 brief essays or `perspectives', le Quement's thoughtful and astute observations from the street, from the design studio and from his seat in the boardroom give the reader a penetrating and often amusing insight into the high-level workings of a global industry, its triumphs and tragedies, and the foibles of the decision-makers responsible for running it. A lively complementary text by the automotive journalist Stephane Geffray accompanies each of le Quement's perspectives, and illustrations are provided by the automobile designer Gernot Bracht. Design: Between the Lines will appeal to all motoring fans and enthusiasts of good design. As Chris Bangle, the former Director of BMW Design, remarks: `Few car designers have had a career so filled with innovative successes that they have inspired a whole industry; fewer still have the skills to share it. Engaging and revealing, Patrick relates his personal experience and deep knowledge of car design in a very enjoyable manner.'

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