Nouveau Projet 31
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L’équipe de Nouveau Projet est de retour avec un numéro spécial de fin d’année! Ce troisième numéro, divisé en deux grandes parties, revisite dans un premier temps l’année qui touche à sa fin pour ensuite jeter un regard prospectif sur 2026.
Nouveau Projet 31
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L’équipe de Nouveau Projet est de retour avec un numéro spécial de fin d’année! Ce troisième numéro, divisé en deux grandes parties, revisite dans un premier temps l’année qui touche à sa fin pour ensuite jeter un regard prospectif sur 2026.
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The eighth issue of Errant Journal questions the ways in which hegemonic culture and discourse tends to prioritize the ideal of openness, access, transparency, and visibility. Delving into topics such as face coverings, ‘'coming out'’ in queer discourses, the use of opacity in transformative justice, and different strategies of (visual) resistance, ‘'Against Visibility'’(...)
Errant Journal #8 : Against visibility (or, the right to opacity)
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The eighth issue of Errant Journal questions the ways in which hegemonic culture and discourse tends to prioritize the ideal of openness, access, transparency, and visibility. Delving into topics such as face coverings, ‘'coming out'’ in queer discourses, the use of opacity in transformative justice, and different strategies of (visual) resistance, ‘'Against Visibility'’ can be read as a proposition of refusal of the paradigm of visibility and access that permeates all areas of western thinking. At a moment in which representation and uncovering ‘'lost'’ histories are trending, Errant asks what is being erased in a world where everything must always be visible. When Édouard Glissant proclaimed the right to opacity, he sought not to be reduced or to be measured against an ideal scale in order to be understood and accepted. Expanding from this, ''Against Visibility'' looks into the ways in which unlearning imperialism also includes unlearning the ideal of visibility itself.
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Building in existing fabric conserves resources, saves energy, and reduces carbon emissions – good reasons to choose conversion over new build. Yet there is another, less tangible dimension: time. With additions and adaptations, patina and cracks, it leaves its mark and stores memories in the buildings. To carry these stories forward requires sensitivity to materials,(...)
Detail 11 2025 : Building in existing contexts
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Building in existing fabric conserves resources, saves energy, and reduces carbon emissions – good reasons to choose conversion over new build. Yet there is another, less tangible dimension: time. With additions and adaptations, patina and cracks, it leaves its mark and stores memories in the buildings. To carry these stories forward requires sensitivity to materials, spaces, and histories. Deciding what remains and what is replaced demands careful judgment. Some interventions are so discreet that only trained eyes notice them, often compared by architects to the restoration of a classic car. Others are more radical: ceiling panels titled and set diagonally into a room, or large atriums cut into the existing architecture. At times, we may need to rethink our ingrained aesthetics and ask whether materials with a problematic reputation – such as fibre cement panels (Eternit) – can still be used, or whether cut edges might be left uncovered.
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Al Hayya issue 4
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The free people of the world are organizing, moving toward what many refer to today as the global revolution. In Gaza, the genocide pins the infinity of time, trapping it within the loneliness of each minute. This fight, and how we wage it, will determine whether we are worthy of the land’s forgiveness, and whether she will grant us passage into the future or consume us(...)
Al Hayya issue 4
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The free people of the world are organizing, moving toward what many refer to today as the global revolution. In Gaza, the genocide pins the infinity of time, trapping it within the loneliness of each minute. This fight, and how we wage it, will determine whether we are worthy of the land’s forgiveness, and whether she will grant us passage into the future or consume us all, once and forever. The fourth issue of Al Hayya focuses on Dreams of Liberation. It traces resistance as it takes shape inside the home, in the streets, across borders, and within the self. It examines how art, memory, and the rituals of everyday life carry defiance. It documents the weight and texture of struggle as both personal and collective. This issue features a rare interview with Palestinian revolutionary and PFLP member Leila Khaled. It also includes an in-depth conversation with Françoise Vergès on decolonial feminism and cultural resistance. Photo essays by Maen Hammad, Amal Al-Nakhala, Nader Bahsoun, Sarah Kontar, and Hannah La Follette Ryan document life under pressure, grief, exile, and survival.
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Pin-Up 39 : Domesticity
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This issue brings together critical work by Frida Escobedo’s friends and colleagues and her own research on domesticity, its theoretical implications, and its material challenges. From intimate conversations about family rituals to beautiful interiors that defy how we think about comfort and luxury, the question remains: How do the larger structures that shape our world(...)
Pin-Up 39 : Domesticity
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This issue brings together critical work by Frida Escobedo’s friends and colleagues and her own research on domesticity, its theoretical implications, and its material challenges. From intimate conversations about family rituals to beautiful interiors that defy how we think about comfort and luxury, the question remains: How do the larger structures that shape our world mirror themselves in our most intimate spaces? Who cooks? Who cleans? And what kind of sofa do we want to sit on?
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At first blush, there’s a clear distinction between the scope of work of architects and landscape architects. But that doesn’t always hold true. This month’s issue looks at a series of projects where the work of architecture and landscape architecture are tightly intertwined and interwoven.
Canadian Architect v.70 n.08 November 2025
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At first blush, there’s a clear distinction between the scope of work of architects and landscape architects. But that doesn’t always hold true. This month’s issue looks at a series of projects where the work of architecture and landscape architecture are tightly intertwined and interwoven.
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''Entangled Landscapes'' is an independent print publication dedicated to telling regional food stories - stories about the many entangled and regenerative efforts, visions, and practices that all co-exist within the realm of food and sustainability. All in the context of one specific region at a time. This first volume is dedicated to the Abruzzo region, Italy : ''(...)
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November 2023
Entangled landscapes Vol I: Abruzzo
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''Entangled Landscapes'' is an independent print publication dedicated to telling regional food stories - stories about the many entangled and regenerative efforts, visions, and practices that all co-exist within the realm of food and sustainability. All in the context of one specific region at a time. This first volume is dedicated to the Abruzzo region, Italy : '' 'Forte e gentile' best defines Abruzzo. Translating to 'strong and gentle', these two little words juxtapose the tenacity and tenderness of the region's vast and varied ecosystems, along with the people who have been shaped by it. Within this duality to be two very different things at once, both pastoral and coastal, Abruzzo has left us completely entranced, ultimately inspiring our first edition of 'Entangled Landscapes'.''
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The second issue of ''Entangled Landscapes'' explores the food culture and agricultural heritage of Catalunya through interviews, essays, and recipes. Inside, you’ll meet seed-keepers, cheesemakers, agroecological activists, and cider producers working to preserve and regenerate the region’s landscapes. Stories include efforts to revive Collserola’s farming traditions,(...)
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November 2024
Entangled landscapes Vol. 2: Catalunya
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The second issue of ''Entangled Landscapes'' explores the food culture and agricultural heritage of Catalunya through interviews, essays, and recipes. Inside, you’ll meet seed-keepers, cheesemakers, agroecological activists, and cider producers working to preserve and regenerate the region’s landscapes. Stories include efforts to revive Collserola’s farming traditions, protect the native cattle of the Albera Mountains, and trace the influence of mushroom foraging on local policy. The volume also highlights edible wild plants and seasonal recipes that reflect the rhythms of the Catalan countryside.
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Issue 10 of ''TOO MUCH: Magazine of Romantic Geography'' takes a deep dive into the idiosyncratic oeuvre of Schemata Architects. Founded in 1998 by Jo Nagasaka, Schemata is a Tokyo-based practice that works across architecture, interior and furniture design. Jo Nagasaka, the creative force behind Schemata Architects, introduces the concept of “pluralistic(...)
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December 2025
Too Much Magazine, Issue 10. Schemata Architects
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Issue 10 of ''TOO MUCH: Magazine of Romantic Geography'' takes a deep dive into the idiosyncratic oeuvre of Schemata Architects. Founded in 1998 by Jo Nagasaka, Schemata is a Tokyo-based practice that works across architecture, interior and furniture design. Jo Nagasaka, the creative force behind Schemata Architects, introduces the concept of “pluralistic architecture,” emphasizing spaces continually shaped by diverse perspectives. Nagasaka’s deliberate embrace of open-ended designs allows for adaptation and even “misuse” of spaces, challenging traditional notions of architecture. This issue invites readers on a captivating tour of Schemata’s projects, both past and present, examining how Nagasaka’s pluralistic philosophy transforms preexisting spaces. The essence of “semi-architecture,” as manifested in Schemata’s intentionally understated works, starkly contrasts conventional architectural norms.
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Faire – Regarder le graphisme n° 54 : Le directeur, le graphiste et l'imprimeur : Pontus Hultén et l
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Centré sur la figure emblématique de Pontus Hultén, ce numéro s'intéresse à la production éditoriale du directeur lors de son mandat au Moderna Museet de Stockholm, de 1960 à 1973. Directeur et fondateur de multiples institutions, dont le Moderna Museet et le Centre Pompidou, Pontus Hultén a édité des livres tout au long de sa carrière. Dès les années 60, alors qu'il(...)
Faire – Regarder le graphisme n° 54 : Le directeur, le graphiste et l'imprimeur : Pontus Hultén et l
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Centré sur la figure emblématique de Pontus Hultén, ce numéro s'intéresse à la production éditoriale du directeur lors de son mandat au Moderna Museet de Stockholm, de 1960 à 1973. Directeur et fondateur de multiples institutions, dont le Moderna Museet et le Centre Pompidou, Pontus Hultén a édité des livres tout au long de sa carrière. Dès les années 60, alors qu'il devient directeur du premier musée d'art moderne de Suède, il s'empare pleinement de la question du catalogue d'exposition, allant jusqu'à s'investir dans sa mise en forme.
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