Bøger udgivet af Monacelli Press

A luxury volume on a luxury designer, A Romance of East and West presents the residential work of Baltimore-based interior decorator Mona Hajj.Characterized by delight and discovery, grandeur, and rustic charm, Hajj''s work spans a wide range of historic periods and styles. Her interiors combine a far-reaching global vision with an American emphasis on elegance, comfort, and simplicity.Born in West Africa and educated in Europe, Lebanon, and the United States, Mona Hajj brings a truly eclectic aesthetic to her interiors. Since founding Mona Hajj Interiors in 1990, she has produced a body of work that is grounded in classicism yet influenced by modern-day styles and ways of living. Her international background inspires the work in myriad ways, from the inclusion of a Syrian chest of drawers to a reference to Moroccan ceramic tiles.A Romance of East and West features antique European and Middle Eastern textiles from Hajj''s personal collection that inspire the use of color and pattern in her work.

A unique, quirky view of New York City as a vast collection of urban typologies, Codex New York marks one photographer''s revelatory journey through the city.As a native New Yorker with a lifelong curiosity about urban infrastructure, photographer Stanley Greenberg—author of the bestselling Invisible New York--observes characteristics of the city that most people miss. And the more he explores the city, the more he understands it as a huge catalog of features that repeat, vary, morph, and multiply—block by block, neighborhood by neighborhood. He embarked on an extraordinary journey, walking every block of Manhattan from the Battery (where there is today much more land than when the Dutch first arrived) to Inwood (which retains more of its original topography than any part of the city) to photograph striking and subtle urban typologies along the way. Alleys, skybridges, parking sheds, architectural relics, tiny streets, water infrastructure—these and more were captured to create an incomparable visual chronicle of the city.What are the objects that a city needs to be a city? Codex New York organizes them into an idiosyncratic field guide that prompts new paths of inquiry. When were they built? Codex New York also serves as a temporal marker; many of the empty spaces Greenberg photographed have already been built on, obscuring the views of the city that now exist only in images. Joining the ranks of great photographic documents of the city, Codex New York is a critical look at and investigation of what New York is made of.

Dror Benshetrit''s massively successful design for brands like Tumi, Rosenthal, and Cappellini and his next phase of visionary large-scale projects are now assembled in this debut monograph.Since 2002, Dror Benshetrit has developed an interdisciplinary practice specializing in truly innovative design projects. His multifaceted approach to design at wildly varying scales and concepts encompass product design, interior design, graphic design, and architecture.In this survey of Dror Benshetrit''s first fifteen years of practice, readers are introduced to an ingenious design practice that started with household objects and furniture, to a collaborator with top brands such as Tumi, Rosenthal, Cappellini, and Bentley, and has since evolved into a visionary architecture office. Dror Dreams showcases the evolution of the designer''s work, reflecting the diversification of his practice over time and the profound results that stem from its holistic approach. Told in his own approachable voice, charting his path from impassioned novice to ambitious ideator, Dror shares the conceptual origins and process behind his projects, as well as marking successes, failures, and conclusions. Dror seeks to communicate the value of creativity without limitation, promote the importance of collaboration, and through example inspire tomorrow''s designers to dream big.

Imagining the Modern explores Pittsburgh''s ambitious modern architecture and urban renewal program that made it a gem of American postwar cities, and set the stage for its stature today.In the 1950s and ''60s an ambitious program of urban revitalization transformed Pittsburgh and became a model for other American cities. Billed as the Pittsburgh Renaissance, this era of superlatives--the city claimed the tallest aluminum clad building, the world''s largest retractable dome, the tallest steel structure--developed through visionary mayors and business leaders, powerful urban planning authorities, and architects and urban designers of international renown, including Frank Lloyd Wright, I.M. Pei, Mies van der Rohe, SOM, and Harrison & Abramovitz. These leaders, civic groups, and architects worked together to reconceive the city through local and federal initiatives that aimed to address the problems that confronted Pittsburgh''s postwar development.Initiated as an award-winning exhibition at the Carnegie Museum of Art in 2014, Imagining the Modern untangles this complicated relationship with modern architecture and planning through a history of Pittsburgh''s major sites, protagonists, and voices of intervention. Through original documentation, photographs and drawings, as well as essays, analytical drawings, and interviews with participants, this book provides a nuanced view of this crucial moment in Pittsburgh''s evolution. Addressing both positive and negative impacts of the era, Imagining the Modern examines what took place during the city''s urban renewal era, what was gained and lost, and what these histories might suggest for the city''s future.

A step-by-step guide for people who love dragons, unicorns, griphons, and other creatures of legend.Harry Potter, Game of Thrones, The Shape of Water, Fantastic Beasts and Where to Find Them, Lord of the Rings, The Hobbit, even My Little Pony are just a few examples of the mythological, fantastical, and supernatural stories currently in popular culture. Artists old and young enjoy drawing beasts and characters from their favorite fantasy stories.How to Draw Magical Mythological Creatures continues a rich tradition of mythology and art. In this step-by-step guide to drawing all manner of creatures--from the Hydra and the Phoenix to Cerberus and basilisks--in pencil and pen-and-ink, J. C. Amberlyn combines her love of fantasy and mythological storytelling with her beautiful, detailed drawing style and love of all non-human creatures. Amberlyn covers all the basics of drawing so that even beginners will feel confident and successful. Included is introductory information on art technique and material basics and detailed, step-by-step instruction on anatomy, features, and finishing details.

The first book dedicated to the career of the preeminent American architect, Henry N. Cobb.As a builder, teacher, and mentor, Henry N. Cobb has been one of the most eloquent voices in architecture for well over half a century. A founding partner of Pei Cobb Freed & Partners, where he has worked actively and continuously since its inception in 1955, his practice encompasses a wide variety of building types, with projects across the world that resound in the public imagination. Cobb''s sensitivity to place and use generate surprising and unparalleled forms in educational and civic buildings--such as the Portland Museum of Art in Maine, the Anderson School of Management at UCLA, the John Joseph Moakley U.S. Courthouse in Boston, and Palazzo Lombardia in Milan--or in corporate and commercial projects, such as the John Hancock Tower in Boston, Fountain Place Tower in Dallas, Tour EDF at La Défense in Paris, and Four Seasons Hotel and Residences at One Dalton, now under construction in Boston.Henry N. Cobb: Words & Works 1948-2018 is his first book, uniquely combining poetic analyses of his distinguished works with essays and lectures that cover topics about architecture''s past, present, and future. His voice is complemented by interviews and discussions with Michael Graves, Robert A.M. Stern, Hal Foster, Charles Gwathmey, Paolo Conrad Bercah, Cynthia Davidson, Peter Eisenman, Mark Pasnik, and John Hejduk. Handsomely designed by OverUnder, this book is packaged in a portable size evocative of the Library of America series.A longtime educator--and chair of the Harvard Graduate School of Design from 1980 to 1985--Cobb takes up his extensive subject matter in a thoughtful and engaging manner. To anyone interested in the development of American architecture in its transition from modernism to postmodernism and into the era of high-tech starchitecture, there are a number of treasures here to discover. Henry N. Cobb is a landmark survey--in words and works--of one of the great architects of our time.

Stephen Talasnik's intricate and mesmerizing work bridges the disciplines of art and architecture in this debut monograph.A polymath whose work encompasses sculpture, drawing, and architectural land art, Stephen Talasnik manifests an elaborate and evocative aesthetic vision. Inspired by visionary artists and architects such as Leonardo da Vinci, Giovanni Piranesi, Gustav Eiffel, Antoni Gaudí, and Buckminster Fuller, Talasnik presents a fantastical world that looks as archaeological as it does futuristic.Unearthed presents a broad spectrum of Talasnik's work spanning the last decade, starting with floating sculptures commissioned by the Denver Botanic Garden, continuing on through projects at Storm King Art Center and Russel Wright Design Center, and culminating with a 30-foot-high timber sculpture at the new, highly lauded Tippet Rise Art Center in Montana. The publication of Unearthed coincides with the first exhibition at Tippet Rise devoted to a single artist. Numerous examples of Talasnik's drawings are also included, as well as smaller-scale indoor and outdoor sculptures in diverse materials. Several key contributors help interpret diverse angles of Talasnik's practice, including renowned art critic Phyllis Tuchman, architect and critic Michael Sorkin, theorist David Wittenberg, and the late architect Lebbeus Woods, a close friend to Talasnik. Through these essays and hundreds of reproductions of Talasnik's spellbinding work, Unearthed presents the extraordinary visions of an artist on the cusp of broad recognition.

Landscapes in Oil is the first-ever comprehensive guide to classical landscape painting reinterpreted for the twenty-first century.Drawing from the tradition established by American painters of the Hudson River School--artists like Thomas Cole, Frederic Church, and George Inness--author and painter Ken Salaz reveals great masters'' philosophy and methods, updating their approaches for the contemporary landscape painter. Beginning painters are given the basic tools and step-by-step demonstrations, intermediate painters are challenged with unpublished techniques that allow them to break through to the next level, and advanced painters learn to apply their skills under unified theories.Landscapes in Oil devotes a chapter to each of the fundamental elements of landscape painting--drawing, value, color, composition, and light quality--and offers critical advice on selecting tools and materials, choosing colors, and structuring your palette for best results. Emphasizing the necessity of plein air drawing and painting, Salaz demonstrates how to translate small, quick studies made outdoors into full-scale studio paintings. He provides detailed step-by-step breakdowns of the creation of four of his own paintings, focusing not only on application but also on the ideas that underpin every decision a landscape painter must make. The scores of landscape masterworks, past and present, that illustrate this book have been carefully chosen for their aesthetic power and because each embodies a specific aspect of the landscape painter''s craft.For Salaz, landscape painting is a noble pursuit, and the goal of the landscape artist is not to paint "pretty pictures" but to create compelling images that express human beings'' profound connection to nature in all its diversity and grandeur. At a time when classical landscape is enjoying a renaissance in art schools, ateliers, and galleries across North America, this book is an essential resource for beginning and experienced painters alike.

Hudson Modern showcases stunning new houses in the Hudson River Valley that embrace the dramatic settings and cultural bounty of this popular region.As the birthplace of American landscape painting, the Hudson River Valley has long been a refuge from the city and a laboratory for new aesthetic expression. Today, thanks to its ascendant reputation as a weekend utopia, architects are extending that tradition into the built environment. Designing residences that revere local climate, landscape, and history in a distinctly modernist language, these talents are sowing a new Hudson River school of architectural thought. Hudson Modern surveys this emerging domestic architecture, featuring nearly twenty houses that integrate with site and region through composition, scale, and materials, and which strike a balance between innovation and rootedness. A reconstructed midcentury house accented in cedar, walnut, and bluestone by Joel Sanders and landscaped by the late Diana Balmori blurs the edge of habitation and nature. KieranTimberlake revises the classic vision of a glass box by cladding a home on a rocky site in Pound Ridge in a tapestry of steel, aluminum, copper, and glass. In Rhinebeck, Steven Holl experiments with a radical form that has both ecological and social dimensions. Author David Sokol presents these and numerous other examples of design-forward residences that are responsive to terrain, building vernacular, and cultural legacy. Together, the new Hudson Valley houses point a way forward for rural living in the twenty-first century.

Celebrating Yale''s first new residential colleges in fifty years, The New Residential Colleges at Yale examines the role of the residential college system and the evolution of Yale''s urban campus, presenting an important new chapter in the history of Yale and New Haven.The residential college system at Yale, modeled after the academic communities at Oxford and Cambridge, is a cornerstone of Yale undergraduate life, breaking down the larger university into smaller, more closely-knit communities. Eight of the original ten residential colleges at Yale were designed by James Gamble Rogers in the 1930s, establishing Collegiate Gothic as the style with which Yale is most closely identified today. For the two new colleges, Robert A.M. Stern Architects was charged with designing buildings that fit into the residential college system, and in so doing say "Yale," while bringing twenty-first-century standards of communal living and environmental responsibility to college residential life. The two new colleges, housing 450 students each, are conceived as fraternal twins, similar in size but each enjoying its own identity, each incorporating a dining hall, a library, and a house for the head of the college, and each maintaining the traditional organization of entryways that intentionally create more intimate communities of students within the larger whole. The site will play important role in redefining the overall sense of the Yale campus, serving as it does as a lynchpin between districts identified with the humanities and the sciences, and between the university and adjacent neighborhoods. Beyond questions of Yale and New Haven, the book contributes to a wider historical and theoretical conversation about the expression of place, time, and identity through architecture. The design of the new colleges exemplifies the challenges and opportunities involved with practicing traditional architecture as a meditation between past and present in a historically sensitive setting. An extensive archive of original drawings, models, material samples, as well as extensive color photography of the completed buildings, illustrates the story.

In this, the first monograph of Richard Filipowski, a major figure bridging the Bauhaus and American midcentury modernism finally gets his due.Richard Filipowski (1923-2008) was among the most gifted polymaths in the annals of American modernism. Whether as a painter, sculptor, or designer of furniture and jewelry, Filipowski developed a lush, abstract, and amazingly consistent visual language that marks him among the finest figures of midcentury art and design.As a student at the Institute of Design (formerly the New Bauhaus) in Chicago, he quickly became a protégé of founder László Moholy-Nagy, who featured several of Filipowski''s works in his seminal text Vision in Motion (1947); Filipowski was the only student Moholy-Nagy called upon to join the faculty, where he taught alongside Walter Gropius and Marcel Breuer. Recruited by Gropius to develop a course in design fundamentals at Harvard, which remains a cornerstone of design pedagogy to this day, he would move to MIT where he taught for more than three decades, until his retirement in 1988. With a foreword by László Moholy-Nagy''s daughter Hattula, Richard Filipowski: Art and Design Beyond the Bauhaus is the first monograph of this master, who over the course of his career created a unique body of work in diverse media that has largely, until recently, been held in private collections due to his relative lack of compulsion to seek media attention or worldly rewards. But now through the efforts of the Filipowski family and new attention by design scholars--several of whom contribute essays here on Filipowski''s graphic and painted works, sculpture, furniture, and position in design history--the work is being revealed to a new generation of aficionados. Richard Filipowski is a rich document of a life and career that is poised to reenter the canon of modernism.

Mod New York traces the fashion arc of the 1960s and 1970s, a tumultuous and innovative era that continues to inspire how we dress today. During this period, demure silhouettes and pastels favored by First Lady Jacqueline Kennedy exploded into bold prints and tie-dyed psychedelic chaos and ultimately resolved into a personal style dubbed by Vogue the "New Nonchalance." Accompanying a major exhibition at the Museum of the City of New York, this book is beautifully illustrated by two hundred groundbreaking and historically significant designs by Halston, Geoffrey Beene, Rudi Gernreich, Yves Saint Laurent, André Courrèges, Norman Norell, and Bill Blass, among many others, all drawn from the renowned costume collection at MCNY. By the mid-1960s, clothing assumed communicative powers, reflecting the momentous societal changes of the day: the emergence of a counterculture, the women's liberation movement, the rise of African-American consciousness, and the radicalism arising from the protests of the Vietnam War. New York City, as the nation's fashion and creative capital, became the critical flashpoint for these debates. Authoritative essays by well-known fashion historians Phyllis Magidson, Hazel Clark, Sarah Gordon, and Caroline Rennolds Milbank explore the ways in which these radical movements were expressed in fashion. Of special note is Kwame S. Brathwaite's presentation of the Grandassa Models and "Black is Beautiful" movement, which is illustrated with photographs by his father, Kwame Brathwaite.

The 1920s and 1930s saw the birth of modernism in the United States, a new aesthetic, based on the principles of the Bauhaus in Germany: its merging of architecture with fine and applied arts; and rational, functional design devoid of ornament and without reference to historical styles. Alfred H. Barr Jr., the then 27-year-old founding director of the Museum of Modern Art, and 23-year-old Philip Johnson, director of its architecture department, were the visionary young proponents of the modern approach. Shortly after meeting at Wellesley College, where Barr taught art history, and as Johnson finished his studies in philosophy at Harvard, they set out on a path that would transform the museum world and change the course of design in America. The Museum of Modern Art opened just over a week after the stock market crash of 1929. In the depths of the Depression, using as their laboratories both MoMA and their own apartments in New York City, Barr and Johnson experimented with new ideas in museum ideology, extending the scope beyond painting and sculpture to include architecture, photography, graphic design, furniture, industrial design, and film; with exhibitions of ordinary, machine-made objects (including ball bearings and kitchenware) elevated to art by their elegant design; and with installations in dramatically lit galleries with smooth, white walls. Partners in Design, which accompanies an exhibition opening at the Montreal Museum of Fine Arts in April 2016, chronicles their collaboration, placing it in the larger context of the avant-garde in New York-1930s salons where they mingled with Julien Levy, the gallerist who brought Surrealism to the United States, and Lincoln Kirstein, co-founder of the New York City Ballet; their work to help Bauhaus artists like Josef and Anni Albers escape Nazi Germany-and the dissemination of their ideas across the United States through MoMA's traveling exhibition program. Plentifully illustrated with icons of modernist design, MoMA installation views, and previously unpublished images of the Barr and Johnson apartments-domestic laboratories for modernism, and in Johnson's case, designed and furnished by Ludwig Mies van der Rohe-this fascinating study sheds new light on the introduction and success in North America of a new kind of modernism, thanks to the combined efforts of two uniquely discerning and influential individuals.

Often problematically labeled as "Brutalist" architecture, the concrete buildings that transformed Boston during 1960s and 1970s were conceived with progressive-minded intentions by some of the world's most influential designers, including Marcel Breuer, Le Corbusier, I. M. Pei, Henry Cobb, Araldo Cossutta, Gerhard Kallmann and Michael McKinnell, Paul Rudolph, Josep Lluís Sert, and The Architects Collaborative. As a worldwide phenomenon, building with concrete represents one of the major architectural movements of the postwar years, but in Boston it was deployed in more numerous and diverse civic, cultural, and academic projects than in any other major U.S. city. After decades of stagnation and corrupt leadership, public investment in Boston in the 1960s catalyzed enormous growth, resulting in a generation of bold buildings that shared a vocabulary of concrete modernism. The period from the 1960 arrival of Edward J. Logue as the powerful and often controversial director of the Boston Redevelopment Authority to the reopening of Quincy Market in 1976 saw Boston as an urban laboratory for the exploration of concrete's structural and sculptural qualities. What emerged was a vision for the city's widespread revitalization often referred to as the "New Boston." Today, when concrete buildings across the nation are in danger of insensitive renovation or demolition, Heroic presents the concrete structures that defined Boston during this remarkable period-from the well-known (Boston City Hall, New England Aquarium, and cornerstones of the Massachusetts Institute of Technology and Harvard University) to the already lost (Mary Otis Stevens and Thomas F. McNulty's concrete Lincoln House and Studio; Sert, Jackson & Associates' Martin Luther King Jr. Elementary School)-with hundreds of images; essays by architectural historians Joan Ockman, Lizabeth Cohen, Keith N. Morgan, and Douglass Shand-Tucci; and interviews with a number of the architects themselves. The product of 8 years of research and advocacy, Heroic surveys the intentions and aspirations of this period and considers anew its legacies-both troubled and inspired.

From simple 18th- and early 19th-century gardens to the lavish estates of the Gilded Age, the gardens started by 1930s inmates at Alcatraz in San Francisco Bay to the centuries-old camellias at Middleton Place near Charleston, South Carolina - Rescuing Eden celebrates the history of garden design in the United States, with 28 examples that have been saved by ardent conservationists and generous private owners, and opened to the public. The United States has a rich tradition of landscape design, with gardens on a scale that rivaled the great gardens of Europe, but in the absence of specific institutions dedicated to their preservation, many of these "ephemeral collaborations between man and nature" were lost - during the wars, economic depressions, and social upheavals that swept the country in the mid-20th-century, or to creeping development and urban sprawl. The surviving gardens presented here were selected for the drama of their original creation and rescue and for their historical and horticultural importance. Ranging from wonderful to woebegone, each has its own character, and each has been brought back from the brink through a combination of imagination and tenacity. Discover The Kampong in Miami, Florida, planted with hundreds of tropical rarities from Southeast Asia by legendary plant explorer Dr. David Fairchild; Barnsley Gardens in Georgia, one of the few antebellum gardens surviving in the South, planted with 200 varieties of roses; the Lynchburg, Virginia garden created by Harlem Renaissance poet and civil rights activist Anne Spencer; the eccentric Ladew Topiary Gardens, with 15 garden rooms and a topiary foxhunt; the Belle Epoque grandeur of the Untermyer Garden in Yonkers, New York; and many others across the country, in Kentucky, Texas, Michigan, Maine, Rhode Island, and California. Each garden has been specially photographed by noted landscape and garden photographer Curtice Taylor, and introduced with authoritative and engaging text from design historian Caroline Seebohm, encouraging readers to appreciate the landscapes that serve not only as windows on American history, but living, flourishing pleasure grounds for botanists, horticulturalists, and nature lovers throughout the United States.

At the height of his career as the leader of the Hudson River School of American landscape painting, Thomas Cole listed himself in the New York City Directory as an architect. Why would this renowned painter, who had never before designed a building, advertise himself as such?   The importance of Cole’s paintings and the significance of his essays, poems, and philosophy are well established, yet an analysis of his architectural endeavors and their impact on his painting has not been undertaken—until now. In celebration of the recreation of the artist’s self-designed Italianate studio at Cedar Grove in Catskill, New York, now the Thomas Cole National Historic Site, this book focuses on Cole’s architectural interests through architectural elements found in his paintings and drawings as well as in his realized and visionary projects, expanding our understanding of the breadth of his talents and interests.   An essay by noted art historian Annette Blaugrund and a contribution by Franklin Kelly, illustrated with Cole’s famous works, sketches, and architectural renderings, reveal an unexplored, yet fascinating, aspect of the career of this beloved artist—and thus, a crucial moment in the development of the Hudson River School and American art.   Published to coincide with the exhibition “Thomas Cole: The Artist as Architect” at the Thomas Cole National Historic Site and travelling to the Columbus Art Museum, the book adds a new dimension to scholarship on the artist.

Interior design firm Cullman & Kravis infuses traditional interiors with a modern perspective, embracing historicism and referencing a wide range of cultures and contemporary design motifs. In From Classic to Contemporary: Decorating with Cullman & Kravis, Ellie Cullman and Tracey Pruzan explore the lessons from modernism that add a new and welcome dynamism to the firm’s most recent projects, both traditional and modern.   “We believe in the alchemy of old and new,” observes Ellie Cullman, founder and principal of Cullman & Kravis. “We approach every project with the rigor of a jigsaw puzzle, but with the desire to create a magnificent tapestry.”   Cullman and Pruzan share how the venerable interior design firm applies principles of modernism to add a new and welcome tension to their more classical work, while in their more modern schemes, the classic principles of design guide their process.   The fourteen distinct projects in this book are collaborations between Ellie Cullman and her partners Lee Cavanaugh, Sarah Ramsey, Claire Ratliff, and Alyssa Urban. Running the gamut from modest revisions to ground-up construction and complete renovations, these interiors include a sumptuous New York City duplex that is a clever mix of traditional furnishings and an impressive contemporary art collection; a glass-clad modern Miami villa with vivid colors and bold prints; an oceanfront Palm Beach house with museum-quality art and antiques; an historic Westchester estate once owned by Brooke Astor; and Ellie Cullman’s own home, whose “refresh” illustrates how to renew, modernize, and reinvigorate any project.

Plein air painting, the art of painting outdoors, offers possibilities artists can’t find inside the studio. When painters set up easels outside, they put themselves in direct contact with nature. Responsiveness to the landscape’s changing light, forms, and colors yields work that’s lively and spontaneous. However, plein air painting also poses a set of challenges not encountered in the studio. There are matters of choosing a location, rationing the number of supplies to bring, working within a time limit, adjusting to sudden changes in weather, and possibly even testing physical endurance when transporting equipment to a painting site.   The Art of Plein Air Painting presents the full picture of what painting en plein air requires. Devoted plein air artist M. Stephen Doherty guides readers through how to choose the best spot, which materials and tools to bring, and the basics of mixing colors and preparing canvases and panels ahead of time. Sidebars and step-by-step demonstrations cover topics that range from sketching out a composition to starting a painting with washes or lines, toning a surface, and doing a cityscape. Doherty even teaches how to do a nocturne—a painting made after the sun has gone down.   Works by famous plein air painters, such as Claude Monet and John Singer Sargent, are discussed, along with works by some of today’s best plein air artists. Doherty interviews contemporary masters Mark Boedges, Clyde Aspevig, Kathryn Stats, Michael Godfrey, Joseph McGurl, and Clive C. Tyler to gain a deeper insight into the plein air process. Finally, the book contains information on plein air events—workshops, county festivals, and juried shows—now being held across North America, as well as advice on selling finished work.

In this step-by-step guide, J. C. Amberlyn combines her love of cats with her beautiful, detailed drawing style in order to teach beginning artists to draw many different breeds of cats and kittens in pencil and pen-and-ink.   Cats are creatures of beauty and mystery. They live among us but have never quite been tamed, drawing the ire of some and the admiration of others. They keep rodents away from our homes and offer purring companionship for those they have deemed worthy of their attention. The feline form exudes grace and flexibility and can be a joy to draw.   How to Draw Cats and Kittens continues a rich tradition of cats in art. Covering all the most popular types of cats, as well as kittens, this book gives easy-to-follow instructions for drawing cats in many poses and a variety of expressions. Amberlyn includes basic information on art materials and the fundamental mechanics of drawing so that even beginners will feel confident and successful as they learn to produce highly detailed, lifelike drawings of their fluffy companions.

SuperDesign charts the Italian Radicals’ bold experimentation in modern design from its birth through its continued influence on design today. Radical Design was launched by art, architecture, and design students in Italy in the mid-1960s. What started as a youthful rally against the establishment and a rejection of design norms became a movement that brought together some of the most dynamic and avant-garde thinkers and makers across the country.    Through enigmatic, confrontational, and clever furniture and objects—such as the iconic lip-shaped Bocca sofa, or the Cactus coat-rack in green foam—as well as more public innovations including discotheque interiors and subversive performances, the Radicals projected design’s new era as equal parts Pop Art, play, Surrealism, and futurism. Told through exclusive interviews, unreleased photographs, original drawings and artwork unearthed from personal archives, and newly commissioned photography of rarely seen works, SuperDesign explores this fervent period of design that played out against the era’s social and political turmoil.   Featured designers include Archizoom Associati, Lapo Binazzi (UFO), Pietro Derossi (Gruppo Strum), Piero Gilardi, Ugo La Pietra, Gaetano Pesce, Gianni Pettena, Studio65, and Superstudio. The culmination of a decade of collecting and researching original examples of some of the most important and iconic works of the period, SuperDesign offers a unique new introduction to the legacy of the Italian Radicals.