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Translates by Thomas Goddard Bergin and Max Harold Fisch. A bold new translation of a masterpiece of early social science that has found enthusiasts among such artists and scholars as James Joyce and Harold Bloom. Although Vico lived his whole life as an obscure academic in Naples, his New Science is an astonishingly ambitious attempt to provide a comprehensive(...)
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Translates by Thomas Goddard Bergin and Max Harold Fisch. A bold new translation of a masterpiece of early social science that has found enthusiasts among such artists and scholars as James Joyce and Harold Bloom. Although Vico lived his whole life as an obscure academic in Naples, his New Science is an astonishingly ambitious attempt to provide a comprehensive(...)
Title:
The new science of Giambattista Vico
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Translates by Thomas Goddard Bergin and Max Harold Fisch. A bold new translation of a masterpiece of early social science that has found enthusiasts among such artists and scholars as James Joyce and Harold Bloom. Although Vico lived his whole life as an obscure academic in Naples, his New Science is an astonishingly ambitious attempt to provide a comprehensive science of all human society by decoding the history, mythology, and law of the ancient world. It argues that the key to true understanding lies in accepting that the customs and emotional lives of the Greeks and Romans, Egyptians, Jews, and Babylonians were utterly different from our own. In examining these huge themes, Vico offers countless fresh insights into topics ranging from physics to politics, money to monsters, and family structures to the Flood. Deeply influential since the dawn of Romanticism, the New Science even inspired the framework for Joyce's Finnegans Wake. This powerful new translation makes it clear why this work marked a turning-point in humanist thinking as significant as Newton's contemporary revolution in physics.
The new science of Giambattista Vico
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Translates by Thomas Goddard Bergin and Max Harold Fisch. A bold new translation of a masterpiece of early social science that has found enthusiasts among such artists and scholars as James Joyce and Harold Bloom. Although Vico lived his whole life as an obscure academic in Naples, his New Science is an astonishingly ambitious attempt to provide a comprehensive science of all human society by decoding the history, mythology, and law of the ancient world. It argues that the key to true understanding lies in accepting that the customs and emotional lives of the Greeks and Romans, Egyptians, Jews, and Babylonians were utterly different from our own. In examining these huge themes, Vico offers countless fresh insights into topics ranging from physics to politics, money to monsters, and family structures to the Flood. Deeply influential since the dawn of Romanticism, the New Science even inspired the framework for Joyce's Finnegans Wake. This powerful new translation makes it clear why this work marked a turning-point in humanist thinking as significant as Newton's contemporary revolution in physics.
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books
books
Publication:
January 1984, Ithaca, London
January 1984, Ithaca, London
Subject:
Critical Theory
Critical Theory
Form:
journals and magazines
journals and magazines
Title:
Hunch 9 2005 : disciplines
Hunch 9 2005 : disciplines
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"Hunch 9" asserts a broad disciplinary claim regarding architectural publications generally: it is not the quantities of publications that are a problem, but rather their consistent failure to present lines of reasoning. This inadequacy will be addressed by disciplining the issue : by organizing projects, lectures, interviews and essays into a set of arguments about(...)
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"Hunch 9" asserts a broad disciplinary claim regarding architectural publications generally: it is not the quantities of publications that are a problem, but rather their consistent failure to present lines of reasoning. This inadequacy will be addressed by disciplining the issue : by organizing projects, lectures, interviews and essays into a set of arguments about(...)
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Hunch 9 2005 : disciplines
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"Hunch 9" asserts a broad disciplinary claim regarding architectural publications generally: it is not the quantities of publications that are a problem, but rather their consistent failure to present lines of reasoning. This inadequacy will be addressed by disciplining the issue : by organizing projects, lectures, interviews and essays into a set of arguments about 'disciplines'. 'Return' will discuss the current erosion of architecture's disciplinary distinctions; 'Resonate' will examine the perspectives of other disciplines such as music, money, planning and film; 'Reason' will trace theoretical precedents for architectural autonomy, expertise, and education; 'Realize' will make connections between theory and practices through Berlage research-production processes, construction technology, form and precedent; and 'Relay' will expose the various disciplinary transfers in and out of architectural practice. Texts for this issue include essays and lectures by Brian Eno, Jeff Kipnis, Bernard Cache, Lieven de Cauter, Mark Linder, Alejandro Zaera-Polo, Richard Sennett, Paul Morrell, Helene Furján, Peter Trummer, Ronald Wall, Rem Koolhaas, a master class by Greg Lynn, a studio with Salvador Perez Arroyo and an interview with R.E. Somol. Graphic design : Mick Morsink.
Hunch 9 2005 : disciplines
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"Hunch 9" asserts a broad disciplinary claim regarding architectural publications generally: it is not the quantities of publications that are a problem, but rather their consistent failure to present lines of reasoning. This inadequacy will be addressed by disciplining the issue : by organizing projects, lectures, interviews and essays into a set of arguments about 'disciplines'. 'Return' will discuss the current erosion of architecture's disciplinary distinctions; 'Resonate' will examine the perspectives of other disciplines such as music, money, planning and film; 'Reason' will trace theoretical precedents for architectural autonomy, expertise, and education; 'Realize' will make connections between theory and practices through Berlage research-production processes, construction technology, form and precedent; and 'Relay' will expose the various disciplinary transfers in and out of architectural practice. Texts for this issue include essays and lectures by Brian Eno, Jeff Kipnis, Bernard Cache, Lieven de Cauter, Mark Linder, Alejandro Zaera-Polo, Richard Sennett, Paul Morrell, Helene Furján, Peter Trummer, Ronald Wall, Rem Koolhaas, a master class by Greg Lynn, a studio with Salvador Perez Arroyo and an interview with R.E. Somol. Graphic design : Mick Morsink.
Form:
journals and magazines
journals and magazines
Publication:
January 1900, Rotterdam
January 1900, Rotterdam
Subject:
Magazines
Magazines
Form:
books
books
Title:
What time is it?
What time is it?
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The last book that John Berger wrote was this precious little volume about time titled What Time Is It?, now posthumously published for the first time in English by Notting Hill Editions. Berger died before it was completed, but the text has been assembled and illustrated by his longtime collaborator and friend Selçuk Demirel, and has an introduction by Maria Nadotti. (...)
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The last book that John Berger wrote was this precious little volume about time titled What Time Is It?, now posthumously published for the first time in English by Notting Hill Editions. Berger died before it was completed, but the text has been assembled and illustrated by his longtime collaborator and friend Selçuk Demirel, and has an introduction by Maria Nadotti. (...)
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What time is it?
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The last book that John Berger wrote was this precious little volume about time titled What Time Is It?, now posthumously published for the first time in English by Notting Hill Editions. Berger died before it was completed, but the text has been assembled and illustrated by his longtime collaborator and friend Selçuk Demirel, and has an introduction by Maria Nadotti. What Time Is It? is a profound and playful meditation on the illusory nature of time. Berger, the great art critic and Man Booker Prize–winning author, reflects on what time has come to mean to us in modern life. Our perception of time assumes a uniform and ceaseless passing of time, yet time is turbulent. It expands and contracts according to the intensity of the lived moment. We talk of time “saved” in a hundred household appliances; time, like money, is exchanged for the content it lacks. Berger posits the idea that time can lengthen lifetimes once we seize the present moment. “What-is-to-come, what-is-to-be-gained empties what-is.”
What time is it?
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The last book that John Berger wrote was this precious little volume about time titled What Time Is It?, now posthumously published for the first time in English by Notting Hill Editions. Berger died before it was completed, but the text has been assembled and illustrated by his longtime collaborator and friend Selçuk Demirel, and has an introduction by Maria Nadotti. What Time Is It? is a profound and playful meditation on the illusory nature of time. Berger, the great art critic and Man Booker Prize–winning author, reflects on what time has come to mean to us in modern life. Our perception of time assumes a uniform and ceaseless passing of time, yet time is turbulent. It expands and contracts according to the intensity of the lived moment. We talk of time “saved” in a hundred household appliances; time, like money, is exchanged for the content it lacks. Berger posits the idea that time can lengthen lifetimes once we seize the present moment. “What-is-to-come, what-is-to-be-gained empties what-is.”
Form:
books
books
Publication:
September 2019
September 2019
Subject:
Literature and poetry
Literature and poetry
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books
books
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$41.95
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Summary:
Art is big business, with some artists able to command huge sums of money for their works, while the vast majority are ignored or dismissed by critics. This book shows that these marginalised artists, the 'dark matter' of the art world, are essential to the survival of the mainstream and that they frequently organize in opposition to it. Gregory Sholette, a(...)
$41.95
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Summary:
Art is big business, with some artists able to command huge sums of money for their works, while the vast majority are ignored or dismissed by critics. This book shows that these marginalised artists, the 'dark matter' of the art world, are essential to the survival of the mainstream and that they frequently organize in opposition to it. Gregory Sholette, a(...)
Title:
Dark matter: art and politics in the age of enterprise culture
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Art is big business, with some artists able to command huge sums of money for their works, while the vast majority are ignored or dismissed by critics. This book shows that these marginalised artists, the 'dark matter' of the art world, are essential to the survival of the mainstream and that they frequently organize in opposition to it. Gregory Sholette, a politically engaged artist, argues that imagination and creativity in the art world originate thrive in the non-commercial sector shut off from prestigious galleries and champagne receptions. This broader creative culture feeds the mainstream with new forms and styles that can be commodified and used to sustain the few artists admitted into the elite. This dependency, and the advent of inexpensive communication, audio and video technology, has allowed this 'dark matter' of the alternative art world to increasingly subvert the mainstream and intervene politically as both new and old forms of non-capitalist, public art. This book is essential for anyone interested in interventionist art, collectivism, and the political economy of the art world.
Dark matter: art and politics in the age of enterprise culture
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$41.95
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Summary:
Art is big business, with some artists able to command huge sums of money for their works, while the vast majority are ignored or dismissed by critics. This book shows that these marginalised artists, the 'dark matter' of the art world, are essential to the survival of the mainstream and that they frequently organize in opposition to it. Gregory Sholette, a politically engaged artist, argues that imagination and creativity in the art world originate thrive in the non-commercial sector shut off from prestigious galleries and champagne receptions. This broader creative culture feeds the mainstream with new forms and styles that can be commodified and used to sustain the few artists admitted into the elite. This dependency, and the advent of inexpensive communication, audio and video technology, has allowed this 'dark matter' of the alternative art world to increasingly subvert the mainstream and intervene politically as both new and old forms of non-capitalist, public art. This book is essential for anyone interested in interventionist art, collectivism, and the political economy of the art world.
Form:
books
books
Publication:
December 2010
December 2010
Subject:
Art Theory
Art Theory
Form:
books
books
Title:
Imagining MIT
Imagining MIT
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In the 1990s, MIT began a billion-dollar building program that transformed its outdated, run-down campus into an architectural showplace. Funded by the high-tech boom of the 1990s and driven by a pent-up demand for new space, MIT's ambitious rebuilding produced five major works of architecture: Kevin Roche's Zesiger Sports and Fitness Center, Steven Holl's Simmons Hall,(...)
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In the 1990s, MIT began a billion-dollar building program that transformed its outdated, run-down campus into an architectural showplace. Funded by the high-tech boom of the 1990s and driven by a pent-up demand for new space, MIT's ambitious rebuilding produced five major works of architecture: Kevin Roche's Zesiger Sports and Fitness Center, Steven Holl's Simmons Hall,(...)
Title:
Imagining MIT
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In the 1990s, MIT began a billion-dollar building program that transformed its outdated, run-down campus into an architectural showplace. Funded by the high-tech boom of the 1990s and driven by a pent-up demand for new space, MIT's ambitious rebuilding produced five major works of architecture: Kevin Roche's Zesiger Sports and Fitness Center, Steven Holl's Simmons Hall, Frank Gehry's Stata Center, Charles Correa's Brain and Cognitive Science Complex, and Fumihiko Maki's still-unrealized project for the Media Laboratory. In Imagining MIT, William Mitchell (who served as architectural adviser to MIT president Charles Vest) offers a critical, behind-the-scenes view of MIT's new buildings and the complex processes that produced them. The story is not simply one of commissions, projects, CAD, and hardhats; it is about all the forces that come into play--including money, politics, institutional dynamics, and ideology--when a major university campus is imagined, designed, and built. Lavishly illustrated with architectural photographs, drawings, plans, and models, with color images throughout, Imagining MIT shows both the opportunities and the obstacles facing architectural production and city building at the dawn of a new millennium.
Imagining MIT
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In the 1990s, MIT began a billion-dollar building program that transformed its outdated, run-down campus into an architectural showplace. Funded by the high-tech boom of the 1990s and driven by a pent-up demand for new space, MIT's ambitious rebuilding produced five major works of architecture: Kevin Roche's Zesiger Sports and Fitness Center, Steven Holl's Simmons Hall, Frank Gehry's Stata Center, Charles Correa's Brain and Cognitive Science Complex, and Fumihiko Maki's still-unrealized project for the Media Laboratory. In Imagining MIT, William Mitchell (who served as architectural adviser to MIT president Charles Vest) offers a critical, behind-the-scenes view of MIT's new buildings and the complex processes that produced them. The story is not simply one of commissions, projects, CAD, and hardhats; it is about all the forces that come into play--including money, politics, institutional dynamics, and ideology--when a major university campus is imagined, designed, and built. Lavishly illustrated with architectural photographs, drawings, plans, and models, with color images throughout, Imagining MIT shows both the opportunities and the obstacles facing architectural production and city building at the dawn of a new millennium.
Form:
books
books
Publication:
May 2007, Cambridge / London
May 2007, Cambridge / London
Subject:
Architectural Theory
Architectural Theory
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books
books
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$59.95
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From its origins in the Midwest in the early nineteenth century, the technique of light timber framing—also known at the time as "Chicago construction"—quickly came to underwrite the territorial and ideological expansion of the United States. Softwood construction was inherently practical, as its materials were readily available and required little skill to assemble. The(...)
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From its origins in the Midwest in the early nineteenth century, the technique of light timber framing—also known at the time as "Chicago construction"—quickly came to underwrite the territorial and ideological expansion of the United States. Softwood construction was inherently practical, as its materials were readily available and required little skill to assemble. The(...)
Subject:
Timber Construction
Timber Construction
Publication:
September 2023
September 2023
Title:
American framing: the architecture of a specific anonymity
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From its origins in the Midwest in the early nineteenth century, the technique of light timber framing—also known at the time as "Chicago construction"—quickly came to underwrite the territorial and ideological expansion of the United States. Softwood construction was inherently practical, as its materials were readily available and required little skill to assemble. The result was a built environment that erased typological and class distinctions: no amount of money can buy you a better 2 x 4. This fundamental sameness paradoxically underlies the American culture of individuality, unifying all superficial differences. It has been both a cause and effect of the country’s high regard for novelty, in contrast with the stability that is often assumed to be essential to architecture. "American framing" is a visual and textual exploration of the social, environmental, and architectural conditions and consequences of this ubiquitous form of construction. For architecture, it offers a story of an American project that is bored with tradition, eager to choose economy over technical skill, and accepting of a relaxed idea of craft in the pursuit of something useful and new—the forming of an architecture that enables architecture.
American framing: the architecture of a specific anonymity
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$59.95
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From its origins in the Midwest in the early nineteenth century, the technique of light timber framing—also known at the time as "Chicago construction"—quickly came to underwrite the territorial and ideological expansion of the United States. Softwood construction was inherently practical, as its materials were readily available and required little skill to assemble. The result was a built environment that erased typological and class distinctions: no amount of money can buy you a better 2 x 4. This fundamental sameness paradoxically underlies the American culture of individuality, unifying all superficial differences. It has been both a cause and effect of the country’s high regard for novelty, in contrast with the stability that is often assumed to be essential to architecture. "American framing" is a visual and textual exploration of the social, environmental, and architectural conditions and consequences of this ubiquitous form of construction. For architecture, it offers a story of an American project that is bored with tradition, eager to choose economy over technical skill, and accepting of a relaxed idea of craft in the pursuit of something useful and new—the forming of an architecture that enables architecture.
Form:
books
books
Publication:
September 2023
September 2023
Subject:
Timber Construction
Timber Construction
Form:
books
books
Holdings:
Description:
223 pages : color illustrations ; 29 cm
Description:
223 pages : color illustrations ; 29 cm
Author:
Subject:
Publication:
New York : Monacelli Press, 2006.
New York : Monacelli Press, 2006.
Title:
LA 2000+ : new architecture in Los Angeles / John Leighton Chase.
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Holdings:
Description:
223 pages : color illustrations ; 29 cm
LA 2000+ : new architecture in Los Angeles / John Leighton Chase.
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Holdings:
Description:
223 pages : color illustrations ; 29 cm
Form:
books
books
Publication:
New York : Monacelli Press, 2006.
New York : Monacelli Press, 2006.
Author:
Subject:
Form:
books
books
Title:
Architecture and abstraction
Architecture and abstraction
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$45.95
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In this theoretical study of abstraction in architecture—the first of its kind—Pier Vittorio Aureli argues for a reconsideration of abstraction, its meanings, and its sources. Although architects have typically interpreted abstraction in formal terms—the purposeful reduction of the complexities of design to its essentials—Aureli shows that abstraction instead arises from(...)
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In this theoretical study of abstraction in architecture—the first of its kind—Pier Vittorio Aureli argues for a reconsideration of abstraction, its meanings, and its sources. Although architects have typically interpreted abstraction in formal terms—the purposeful reduction of the complexities of design to its essentials—Aureli shows that abstraction instead arises from(...)
Title:
Architecture and abstraction
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In this theoretical study of abstraction in architecture—the first of its kind—Pier Vittorio Aureli argues for a reconsideration of abstraction, its meanings, and its sources. Although architects have typically interpreted abstraction in formal terms—the purposeful reduction of the complexities of design to its essentials—Aureli shows that abstraction instead arises from the material conditions of building production. In a lively study informed by Walter Benjamin, Karl Marx, Alfred Sohn-Rethel, and other social theorists, Architecture and Abstraction presents abstraction in architecture not as an aesthetic tendency but as a movement that arises from modern divisions of labor and consequent social asymmetries. These divisions were anticipated by the architecture of antiquity, which established a distinction between manual and intellectual labor, and placed the former in service to the latter. Further abstractions arose as geometry, used for measuring territories, became the intermediary between land and money and eventually produced the logic of the grid. In our own time, architectural abstraction serves the logic of capitalism and embraces the premise that all things can be exchanged—even experience itself is a commodity. To resist this turn, Aureli seeks a critique of architecture that begins not by scaling philosophical heights, but by standing at the ground level of material practice.
Architecture and abstraction
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In this theoretical study of abstraction in architecture—the first of its kind—Pier Vittorio Aureli argues for a reconsideration of abstraction, its meanings, and its sources. Although architects have typically interpreted abstraction in formal terms—the purposeful reduction of the complexities of design to its essentials—Aureli shows that abstraction instead arises from the material conditions of building production. In a lively study informed by Walter Benjamin, Karl Marx, Alfred Sohn-Rethel, and other social theorists, Architecture and Abstraction presents abstraction in architecture not as an aesthetic tendency but as a movement that arises from modern divisions of labor and consequent social asymmetries. These divisions were anticipated by the architecture of antiquity, which established a distinction between manual and intellectual labor, and placed the former in service to the latter. Further abstractions arose as geometry, used for measuring territories, became the intermediary between land and money and eventually produced the logic of the grid. In our own time, architectural abstraction serves the logic of capitalism and embraces the premise that all things can be exchanged—even experience itself is a commodity. To resist this turn, Aureli seeks a critique of architecture that begins not by scaling philosophical heights, but by standing at the ground level of material practice.
Form:
books
books
Publication:
May 2023
May 2023
Subject:
Architectural Theory
Architectural Theory
Form:
books
books
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$38.00
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Summary:
In 1924 two architects, William Van Alen and Craig Severance (former friends and successful partners, but now bitter adversaries), set out to imprint their individual marks on the rapidly evolving skyline of New York City. Each man desired to build the city’s tallest building, or ‘skyscraper.’ Van Alen was a creative genius who envisioned a bold, contemporary building(...)
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Summary:
In 1924 two architects, William Van Alen and Craig Severance (former friends and successful partners, but now bitter adversaries), set out to imprint their individual marks on the rapidly evolving skyline of New York City. Each man desired to build the city’s tallest building, or ‘skyscraper.’ Van Alen was a creative genius who envisioned a bold, contemporary building(...)
Title:
Higher : a historic race to the sky and the making of a city
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$38.00
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In 1924 two architects, William Van Alen and Craig Severance (former friends and successful partners, but now bitter adversaries), set out to imprint their individual marks on the rapidly evolving skyline of New York City. Each man desired to build the city’s tallest building, or ‘skyscraper.’ Van Alen was a creative genius who envisioned a bold, contemporary building that would move beyond the tired architecture of the previous century. By a stroke of good fortune he found a larger-than-life patron in automobile magnate Walter Chrysler, and they set out to build the legendary Chrysler building. Severance, by comparison, was a brilliant businessman, and he tapped his circle of downtown, old-money investors to begin construction on the Manhattan Company Building at 40 Wall Street. From ground-breaking to bricklaying, Van Alen and Severance fought a duel of wills. Each man was forced to revamp his architectural design in an attempt to push higher, to overcome his rival in mid-construction, as the structures rose, floor by floor, in record time. Yet just as the battle was underway, a third party entered the arena and announced plans to build an even larger building. This project would be overseen by one of Chrysler’s principal rivals--a representative of the General Motors group--and the building ultimately became known as The Empire State Building.
Higher : a historic race to the sky and the making of a city
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$38.00
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Summary:
In 1924 two architects, William Van Alen and Craig Severance (former friends and successful partners, but now bitter adversaries), set out to imprint their individual marks on the rapidly evolving skyline of New York City. Each man desired to build the city’s tallest building, or ‘skyscraper.’ Van Alen was a creative genius who envisioned a bold, contemporary building that would move beyond the tired architecture of the previous century. By a stroke of good fortune he found a larger-than-life patron in automobile magnate Walter Chrysler, and they set out to build the legendary Chrysler building. Severance, by comparison, was a brilliant businessman, and he tapped his circle of downtown, old-money investors to begin construction on the Manhattan Company Building at 40 Wall Street. From ground-breaking to bricklaying, Van Alen and Severance fought a duel of wills. Each man was forced to revamp his architectural design in an attempt to push higher, to overcome his rival in mid-construction, as the structures rose, floor by floor, in record time. Yet just as the battle was underway, a third party entered the arena and announced plans to build an even larger building. This project would be overseen by one of Chrysler’s principal rivals--a representative of the General Motors group--and the building ultimately became known as The Empire State Building.
Form:
books
books
Publication:
September 2003, New York
September 2003, New York
Subject:
Gratte-ciels
Gratte-ciels
Form:
books
books
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$44.95
(available to order)
Summary:
Why would two talented and employable young graphic designers start up their own practice without any clients, in the midst of a recession, and in a city brimming with world-renowned designers? "Karlssonwilker inc.'s tellmewhy" is the improbable story of such a ventureor act of bravura or insanityon the part of Hjalti Karlsson and Jan Wilker, and offers a telling,(...)
$44.95
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Summary:
Why would two talented and employable young graphic designers start up their own practice without any clients, in the midst of a recession, and in a city brimming with world-renowned designers? "Karlssonwilker inc.'s tellmewhy" is the improbable story of such a ventureor act of bravura or insanityon the part of Hjalti Karlsson and Jan Wilker, and offers a telling,(...)
Subject:
Graphic Designers, Monographs
Graphic Designers, Monographs
Publication:
October 2003, New York
October 2003, New York
Title:
Karlssonwilker inc.'s tellmewhy : the first 24 months of a New York design company
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$44.95
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Why would two talented and employable young graphic designers start up their own practice without any clients, in the midst of a recession, and in a city brimming with world-renowned designers? "Karlssonwilker inc.'s tellmewhy" is the improbable story of such a ventureor act of bravura or insanityon the part of Hjalti Karlsson and Jan Wilker, and offers a telling, humorous, and always human insight into the workings of a young startup design studio, showcasing every project they did in their first two years. A book as iconoclastic as their designs, tellmewhy features fresh stories of karlssonwilker's ordinary office and its less-than-romantic tales about rooftop parties, battles with immigration, missed meetings, and money problems. Despite these storiesand because of otherskarlssonwilker has produced an impressive body of design work in two short years. Tellmewhy shows the happy endings, including signage for a Philadelphia restaurant, logo designs for a New York fashion house, and CD packaging for both independent and major music labels. And it presents unrealized designs, like an ad campaign for a TV network. All share the designers' creative and humorous take on design. Karlssonwilker intersperses these examples with its singular illustrated diagrams, faux flow charts linking the partners' biographies, work, social lives, and whatever comes to their unique minds. A foreword by former employer Stefan Sagmeister recalls karlssonwilker's start in his design office.
Karlssonwilker inc.'s tellmewhy : the first 24 months of a New York design company
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$44.95
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Summary:
Why would two talented and employable young graphic designers start up their own practice without any clients, in the midst of a recession, and in a city brimming with world-renowned designers? "Karlssonwilker inc.'s tellmewhy" is the improbable story of such a ventureor act of bravura or insanityon the part of Hjalti Karlsson and Jan Wilker, and offers a telling, humorous, and always human insight into the workings of a young startup design studio, showcasing every project they did in their first two years. A book as iconoclastic as their designs, tellmewhy features fresh stories of karlssonwilker's ordinary office and its less-than-romantic tales about rooftop parties, battles with immigration, missed meetings, and money problems. Despite these storiesand because of otherskarlssonwilker has produced an impressive body of design work in two short years. Tellmewhy shows the happy endings, including signage for a Philadelphia restaurant, logo designs for a New York fashion house, and CD packaging for both independent and major music labels. And it presents unrealized designs, like an ad campaign for a TV network. All share the designers' creative and humorous take on design. Karlssonwilker intersperses these examples with its singular illustrated diagrams, faux flow charts linking the partners' biographies, work, social lives, and whatever comes to their unique minds. A foreword by former employer Stefan Sagmeister recalls karlssonwilker's start in his design office.
Form:
books
books
Publication:
October 2003, New York
October 2003, New York
Subject:
Graphic Designers, Monographs
Graphic Designers, Monographs
