Aldo Van Eyck
By Robert McCarter
Dutch design has taken on a decidedly different image in the last decade or so. Before things got all bold and playful there was Aldo van Eyck, a man who helped define the modern architectural era. This new Yale monograph on the architect and educator reveals the life and work of a designer dedicated to a simple modernism, struck through with a very human approach to scale, materials and function. Van Eyck, working with his partner Hannie, is perhaps best known as a designer of schools and playgrounds, creating complex interlocking plans that reduced the scale of the city down to that of the domestic. His legacy is an ongoing fascination with free spirit and organised disorder, and a realisation that architecture need not always make grand gestures to have a big impact.
Published by Yale University Press, $65Photography: Michael Ainscough
From the book: Van Eyck's greatest work, the Municipal Orphanage, Amsterdam 1955–60. Pictured: a view of a child on the terrace, adjacent to the elder children's common room. Photography: Aldo Van Eyck
Hubertus House, home for single parents and their children, Amsterdam 1973–81; occupying two 19th-century residential buildings on Plantage Middenlaan. Pictured: the terrace on the upper level of children's houses
Winter garden in the European Space Research and Technology Centre (ESTEC) in Noordwijk, designed between 1984–89
Dead: A Celebration of Mortality
By Charles Saatchi
Charles Saatchi has a magpie eye for much more than mere art. The collector’s latest book is an assemblage of modern ruminations on the art of dying; whether dying well, badly, significantly or simply in a half-noteworthy fashion. This Booth-Clibborn publication is presented in funereal style, a monumental slab that opens up to reveal over 50 essays on various aspects of the bitter end. These range from Charles Darwin’s taste for natural history, funerary styles in Russia, death in Disneyland, on-air suicides – and of course the culture of dark humour surrounding death. For sure, much of this material has come in from the modern wire services provided by the web, but Saatchi makes it his own with a morbidly dry presentation of the facts and the odd barbed aside. In the process, he reveals a rather unnerving obsession with death and ways of dying. Perhaps, after all these years, he has found his calling?
Published by Booth-Clibborn Editions, £16.99Photography: Michael Ainscough
From the book: Second World War photographer Bert Hardy's image of a young boy in the Gorbals area of Glasgow playing in a cemetery. Photography: Bert Hardy. Courtesy of Booth-Clibborn Editions
Russian photographer Denis Tarasov's untitled piece from his 'Essence' series, 2013. Photography: Denis Tarasov
The Pininfarina Book
By Gunther Raupp
For many people, the name Pininfarina is inextricably linked to some of the most beautiful cars ever designed. And it’s true that the studio skills of this Italian design consultancy have been responsible for timeless classics from the likes of Ferrari, Fiat, Peugeot, Maserati and more. But as this new monograph on the studio’s work shows so well, the Pininfarina name has been applied to every aspect of industrial design, although it must be said that cars, bikes and planes are more captivating than perfume bottles and coffee machines. The future for this 85-year old company looks certain to include more of the same, as a new breed of car collector seeks out ever more bespoke creations.
Published by teNeues, £80Photography: Michael Ainscough
From the book: classic designs from the 1930s. Pictured: Lancia Astura Cabriolet 'Tipo Bocca,' 1936. Courtesy of Pininfarina
The iconic Ferrari design which Pininfarina has been styling since 1951 – in this instance, the 458 Seociale, 2014 version. Photography left: G. Raupp. Courtesy of Pininfarina
Cars designed after the Second World War are characterised by clean lines. Pictured: Cisitalia 202 Gran Sport from 1947. Courtesy of Pininfarina
SPIN: 360 Degrees
Concept: Tony Brook
Edited by Isabel Andrews, Tony Brook and Adrian Shaughnessy
A good designer is obsessed with process. Spin Studio was founded in 1992 by Tony Brook and Patricia Finegan and this, their first monograph, is a testament to a passion for collection, accumulation, chronicling and method. Spin’s client list is extensive, focusing on design and identity for the arts, including Christie’s, Channel 4, the Whitechapel Gallery and many more. The 500 page book is also a showcase of the studio’s work, charting its course through a changing media landscape.
Published by Unit Editions, £85Photography: Michael Ainscough
From the book: Spin was appointed to redesign art institute Proa's identity in 2008 (their collaboration is ongoing). Pictured left: exhibition identity for 'Algunos Artistas / 90 – HOY', 2013. Right: 'Mona Hatoum', 2015. Courtesy of Unit Editions
This year, Spin worked with British furniture designer Simon Pengelly. Pictured left: logo-branded tape. Right: compliment slips and tape. Courtesy of Unit Editions
The studio undertook a rebrand for Channel 4 in 1998. Pictured: a selection of indent stills from 1998–2002. Courtesy of Unit Editions
Variations autour de la Longue Marche
By Julio Le Parc
The Paris-based Argentinean artist Julio Le Parc has spent his career creating canvases that vibrate with colour and solid form. Firmly in the op-art tradition, he was approached by Hermès to translate his imagery into a silk scarf, following in the footsteps of Josef Albers and Hiroshi Sugimoto. This book explores the elaborate – and expansively folded-out – imagery that inspired art you can wear.
Published by Actes Sud / Hermes, €35Photography: Michael Ainscough
From the book: Le Parc's technicolour pattern is developed from the initial 'Série 1, théme 1' pictured here. This progression can be seen when the page is folded out. Courtesy of Hermès
The rainbow colour and pattern has grown here in 'Série 2, théme 3', with more shades and twists. Courtesy of Hermès
An even more developed version here in 'Série 4, théme 5', which has a coloured background and 13 gradients of colour. Courtesy of Hermès
Marcio Kogan Studio MK27
Inspiration and Process in Architecture
The latest in a series of mini monographs from Moleskine looks at the work and sketchbooks of long-time Wallpaper* favourite Marcio Kogan. The architect’s contribution takes the form of an illustrated diary, charting his design thoughts, media briefings and the afterlife of his studio’s elegant contemporary designs, creating a companion piece to the short films and exhibitions that shape the way we see his architecture.
Published by Moleskine, £25Photography: Michael Ainscough
From the book: Monday 28 April 2014 diary entry – Piacsek House, São Paulo, study sketches of plans and compositions of volumes
Diary entry from Thursday 24 April, 2014 detailing a meeting at Escola da Cidade architectural school in the centre of São Paulo
By William Hall
If you ever stare out of the window of Wallpaper’s HQ, you’ll notice that brick is having a moment (specifically, hundreds of thousands of custom-built bricks are currently creeping up the concrete facade of Herzog & de Meuron’s Tate Modern 2 extension). Brick is a masterfully compiled compendium of history’s most acclaimed brick structures, exploring the structural audacity, decorative capacity and rich warmth that can be wrought from this humble and ancient building material.
Published by Phaidon, £29.95Photography: Michael Ainscough
From the book: Pictured left: First Baptist church of Columbus by Harry Weese, Indiana, USA, 1965. Right: St Mary's Church by Douglas Cardinal Architect, Red Deer, Canada, 1968 – the building was inspired by JS Bach. Courtesy of Getty Images
Left: Four of the 241 decorated chimneys of Hampton Court Palace, created in 1514. Right: the experimental St Michael the Archangel Cadreita, by Francisco Javier Sáenz de Oiza, Spain, 1959. Photography left: Rob Telford; right courtesy of Phaidon Press
Le Corbusier: Ideas and Forms
By William JR Curtis
It would hard to hazard at how many Corbusier tomes have crossed our collective desks over the last few years. The Corb Industry is still alive and well, and there look set to be many more books to eke out of the Swiss giant’s career. The latest, Ideas and Forms, is a new edition of the author’s authoritative 1986 volume, benefiting from fresh scholarship, new imagery and even better production technology. ‘Each generation finds something different in Le Corbusier,’ Curtis writes in his new introduction, and it’s true that the obsessions of every age are somehow mirrored in a facet of the architect’s enormously varied and expansive portfolio.
Published by Phaidon, £100
Photography: Michael Ainscough
From the book: Villa Savoye, Poissy, France, 1928–29. View across the meadow to the southwest facade, showing the colour scheme as it was in 1984. Photography: William J R Curtis
Right: Le Corbusier, sketch of boat and shell, sketchbook B6, 1931, pencil on paper. Courtesy of the Fondation Le Corbusier, Paris
Corbusier's Chapel of Notre Dame du Haut, Ronchamp, France 1951–54. The outdoor chapel and altar in front of the east facade. Photography: William J R Curtis
Sculptures of Jeddah
By Ahmed Mater
It’s surprising to discover that the desert city of Jeddah is still scattered with big, bold sculptural gestures. The Saudi art scene has never been especially vital, but for a time in the 1970s and 80s, oil money flowed not just into real estate and luxury car manufacturers, but the pockets of the elder generation of modernist sculptors. Thanks to an ambitious public art programme instigated by mayor Dr Mohammed Said Farsi, Jeddah commissioned Joan Miro, Alexander Calder, Henry Moore, Jean Arp, Victor Vasarely and César, who were joined by local artists to create a series of titanic public art works. In 2011, a programme of restoration and relocation began, culminating in the creation of a new sculpture park alongside the Red Sea. Sculptures of Jeddah charts the road from initial correspondence through to sketches and finished structures, revealing a hidden world of art.
Published by Booth-Clibborn Editions, £35Photography: Michael Ainscough
From the book: designs for the 'Holy Koran' by Julio Lafuente, 1982. Courtesy of Booth-Clibborn Editions
'Verse Boat', Prince Sultan Street, by Julio Lafuente, 1981. Courtesy of Ahmed Mater and Booth-Clibborn Editions
Reprint Karel Martens
By Karel Martens
The acclaimed Dutch designer Karel Martens has created a modest publication to expound upon his theory of design education and explore the abstract side of his portfolio. Martens, who won the Gerrit Noordzij Prize in 2012, uses the pages to explore his admiration for graphic simplicity and abstract pattern. Tactile, beautiful and replete with useful words of wisdom, Reprint Karel Martens explores the influence of the ephemeral on the eternal.
Published by Idea Books, £20
Photography: Michael Ainscough
From the book: Martens' mathematical stencil print in three primary colours – the formation is a 'magic square,' as found in Vedic mathematics. Courtesy of Karel Martens and Roma Publications
Another stencil in primary colours – most of his prints are rollers rubbed in ink, rolled in metal, pressed on paper and left to dry. Courtesy of Karel Martens and Roma Publications
Multiplied printing shown here. The process of printing is always mysterious, as the dimensions, colour and style do not always come out as planned. Courtesy of Karel Martens and Roma Publications
For those who know Martens personally, the prints are part of an exchange. They come as gifts in envelopes, as a token of thanks, or as a greeting, with his personal message written on one edge. Courtesy of Karel Martens and Roma Publications
Dior: The New Look Revolution
By Laurence Benaim
The debut of Dior’s ‘New Look’ is frequently cited as a key moment in 20th century fashion, an exaggerated take on the traditional silhouette that marked the move away from post-war austerity and the return of classic glamour. The imagery and shapes have never really left us, and the House of Dior continues to keep the tradition alive. The big skirts, tailored jackets and cinched waists of the New Look remain influential; this compact catalogue tracks modern interpretations of the style as well as some of the original sketches.
Published by Rizzoli, $45
Photography: Michael Ainscough
From the book: The 'Bar' suit shown at a lecture given by Christian Dior at Sorbonne, 1955
Left: toile for a day dress in pink wool crepe with a structured bustier inset, the A/W 2012 haute couture collection. Right: a jacket toile from the A/W 2012 haute couture collection
Black wool jacket and off-white wool skirt ensemble, S/S 2010 haute couture collection. Photography: Patrick Demarchelier
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