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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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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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S'intéressant aux contributions qui explorent le composite comme formes d'art et de design, comme méthodologies et pratiques de recherche et/ou comme concepts théoriques, le numéro 60 de la revue « Azimuts – Design Art Recherche » propose d'appréhender le composite en tant que mode de présentation ou de représentation des réalités.
Azimuts n° 60 : Récits dé-composites
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S'intéressant aux contributions qui explorent le composite comme formes d'art et de design, comme méthodologies et pratiques de recherche et/ou comme concepts théoriques, le numéro 60 de la revue « Azimuts – Design Art Recherche » propose d'appréhender le composite en tant que mode de présentation ou de représentation des réalités.
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E-flux index #7
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As we myopically gaze at the handsets inches from our face, we are often encouraged by sensible apostles of "objectivity" to try and get some perspective; to zoom out, zoom up, and achieve something like a lofty bird’s-eye view on our situation. e-flux Index #7 floats upward to give an aerial view over the terrain of everything e-flux published between December 2024 and(...)
E-flux index #7
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As we myopically gaze at the handsets inches from our face, we are often encouraged by sensible apostles of "objectivity" to try and get some perspective; to zoom out, zoom up, and achieve something like a lofty bird’s-eye view on our situation. e-flux Index #7 floats upward to give an aerial view over the terrain of everything e-flux published between December 2024 and February 2025. This peek through the porthole across three months worth of daily publishing gathers together long-form essays on contemporary culture and architecture, exhibition, book, and film reviews, profiles of artists, critical interjections, fresh translations from the historic avant-garde, and analytical dispatches from live political and social conjunctures. These have been recomposed into eleven thematic sections, to help us get some perspective (however vertiginous) on the present moment and emergent tendencies in critical discourse.
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Jurors Alison Brooks, Sonia Gagné, and Kelly Buffey met in Toronto to consider 184 project submissions to the professional Awards of Excellence program. Over two days of deliberation, they selected nine Awards of Excellence winners and five Award of Merit winners. They also reviewed the top graduating work as nominated by schools of architecture from across Canada to(...)
Canadian Architect v.70 n.09 December 2025
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Jurors Alison Brooks, Sonia Gagné, and Kelly Buffey met in Toronto to consider 184 project submissions to the professional Awards of Excellence program. Over two days of deliberation, they selected nine Awards of Excellence winners and five Award of Merit winners. They also reviewed the top graduating work as nominated by schools of architecture from across Canada to select four Student Award winners.
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a+u’s July looks at how, even in a city such as New York, where projects are executed on a grand scale, designing spaces to walk, rest, work, and play centers the human experience. The selected projects from Midtown and Lower Manhattan provide but a small cross section of the varying typologies of differing scales currently enhancing the architecture of New York City.(...)
A+U 658 25:07 Manhattan Towers
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a+u’s July looks at how, even in a city such as New York, where projects are executed on a grand scale, designing spaces to walk, rest, work, and play centers the human experience. The selected projects from Midtown and Lower Manhattan provide but a small cross section of the varying typologies of differing scales currently enhancing the architecture of New York City. Projects such as the Moynihan Train Hall by Skidmore Owings & Merrill (SOM) endeavor to preserve the fabric of the city while addressing the increased need for transportation hubs by the expansion of Pennsylvania station to the adjacent historic James A. Farley Building, while adaptive reuse projects such as Gansevoort Peninsula Park by nArchitects are part of a decadeslong effort to transform the industrial waterfront into much needed green spaces and sports facilities. Kohn Pedersen Fox Associates (KPF) addresses the shortage of residential space with projects that integrate the materiality of the building to its context and incorporate the human scale with the urban one. Amid the massive developments taking place, smaller practices such as Worrell Yeung and WORKac seek to preserve urban character, through surgical intervention in their renovation projects.
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a+u’s August issue continues Mauricio Pezo and Sofía von Ellrichshausen’s first monograph published 12 years ago (a+u 2013:06, no. 513). The 20 works presented here showcase the evolution of their methodology and philosophy toward the concatenation of painting and architecture. Playing with the limits of the architectural surface through explorations in geometry, Pezo von(...)
A+U 659 25:08 Pezo Ellrichshausen
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a+u’s August issue continues Mauricio Pezo and Sofía von Ellrichshausen’s first monograph published 12 years ago (a+u 2013:06, no. 513). The 20 works presented here showcase the evolution of their methodology and philosophy toward the concatenation of painting and architecture. Playing with the limits of the architectural surface through explorations in geometry, Pezo von Ellrichshausen invite the reader to consider the “architectonic picture,” not as a rigid reproduction but as a method of visualizing the self in the world amid all the world’s potentialities, where the physical eye and mind’s eye meet. Architecture, therefore, is not fixed but unpredictable, subject to the individual’s self-perception overlaid with the space and moment they occupy. Paintings by the duo allow us to enter their perception of architecture as both sensual and conceptual.
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Paris Review Winter 2025
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Hélène Cixous on the Art of Criticism: “There’s a feminist discourse that women can’t do it all. This is what many women experience, and it’s very difficult. But I am not like that.” Alice Oswald on the Art of Poetry: “You come at poetry with the momentum of having failed. It’s only when other communication is absolutely impossible that a poem has to exist.” Prose by(...)
Paris Review Winter 2025
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Hélène Cixous on the Art of Criticism: “There’s a feminist discourse that women can’t do it all. This is what many women experience, and it’s very difficult. But I am not like that.” Alice Oswald on the Art of Poetry: “You come at poetry with the momentum of having failed. It’s only when other communication is absolutely impossible that a poem has to exist.” Prose by Eve Babitz, Marlene Morgan, Alec Niedenthal, Gwendoline Riley, and Elias Rodriques. Poetry by Millicent Borges Accardi, Monzer Masri, Alice Oswald, Jana Prikryl, and Ed Roberson. Art by Ali Banisadr, Pippa Garner, Joan Jonas, and Mieko Meguro; cover by Adebunmi Gbadebo.
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Le dossier de ce numéro rassemble les portfolios de Christos Dikeakos, Michel Campeau et Sara Knelman, autour de la thématique Collectionner. Une même passion pour l’image parcourt les séries présentées dans ce numéro, rassemblées par des artistes et une écrivaine qui sont à la fois un peu collectionneurs, archivistes et documentaristes.// The feature section of this(...)
CV Ciel variable 131 : Collectionner / Collecting
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Le dossier de ce numéro rassemble les portfolios de Christos Dikeakos, Michel Campeau et Sara Knelman, autour de la thématique Collectionner. Une même passion pour l’image parcourt les séries présentées dans ce numéro, rassemblées par des artistes et une écrivaine qui sont à la fois un peu collectionneurs, archivistes et documentaristes.// The feature section of this issue brings together portfolios by Christos Dikeakos, Michel Campeau, and Sara Knelman around the theme of Collecting. A shared passion for the image runs through the series presented in this issue, brought together by artists and a writer who are, each in their own way, collectors, archivists, and documentarians.
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