GA Houses 200
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‘GA Houses’ documents outstanding new residential architecture from all over the world. With projects by Steven Holl, Chenchow Little, nanometer architecture, Phorm architecture + design, Maki Onishi + Yuki Hyakuda, Yolodi + Maria Architects, Wiyoga Nurdiansyah, Yo Shimada, Nielsen Jenkins, and Taichi Mitsuya.
GA Houses 200
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‘GA Houses’ documents outstanding new residential architecture from all over the world. With projects by Steven Holl, Chenchow Little, nanometer architecture, Phorm architecture + design, Maki Onishi + Yuki Hyakuda, Yolodi + Maria Architects, Wiyoga Nurdiansyah, Yo Shimada, Nielsen Jenkins, and Taichi Mitsuya.
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This issue’s main feature focuses on the circular economy, a topical theme explored through works by Herzog & de Meuron, BeAr, and Harquitectes, among others, and commentary by architect Mireia Luzárraga of Barcelona-based TAKK studio. In connection with this subject there is a conversation with the curators of the Spanish Pavilion at the Venice Biennale, Manuel Bouzas(...)
AV Proyectos 130 : Circular economy
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This issue’s main feature focuses on the circular economy, a topical theme explored through works by Herzog & de Meuron, BeAr, and Harquitectes, among others, and commentary by architect Mireia Luzárraga of Barcelona-based TAKK studio. In connection with this subject there is a conversation with the curators of the Spanish Pavilion at the Venice Biennale, Manuel Bouzas and Roi Salgueiro. In addition, the construction of the new building by OFFICE Kersten Geers David Van Severen for Swiss Radio and Television in Lausanne is covered, plus an illustrated travelogue of editor Luis Fernández-Galiano’s recent trip to China with Gong Dong, head of Vector Architects.
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Experimental and radical, material and gestural are adjectives that could define the suggestive projects of the studio led by Anne Holtrop (Netherlands, 1977). On the border between art and architecture, his work avoids typological reference and is built from unexpected elements: topography, trail layouts, material molds, textures extracted from everyday objects, or(...)
AV Monographs 277: Studio Anne Holtrop
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Experimental and radical, material and gestural are adjectives that could define the suggestive projects of the studio led by Anne Holtrop (Netherlands, 1977). On the border between art and architecture, his work avoids typological reference and is built from unexpected elements: topography, trail layouts, material molds, textures extracted from everyday objects, or traces of natural processes that become the starting point for architectural definition. AV Monographs presents this intuitive practice through a selection of works and projects – with an introduction by Adrian Lahoud –, which take stock too of the life course of their author: from the beginnings at his home country to the move to the Persian Gulf.
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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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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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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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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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décembre 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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Peu importe notre définition du fascisme, nous vivons en ce moment avec la propagation de son esthétique et de ses valeurs, avec aussi les contrecoups de sa propagande, et de son usurpation du pouvoir. Nous voici donc d’emblée dans une émotion antifasciste. Ce dossier s’intéresse à toutes les réactions qui ne sont pas la peur et le découragement. Colère, rire, dégoût,(...)
Liberté n.349 : Brèches antifascistes I, sortir de la torpeur
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Peu importe notre définition du fascisme, nous vivons en ce moment avec la propagation de son esthétique et de ses valeurs, avec aussi les contrecoups de sa propagande, et de son usurpation du pouvoir. Nous voici donc d’emblée dans une émotion antifasciste. Ce dossier s’intéresse à toutes les réactions qui ne sont pas la peur et le découragement. Colère, rire, dégoût, honte: des réactions qui font bouger.
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Vie des arts 279
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Un édito à quatre têtes, à quatre cœurs et à huit mains?! Rien de moins pour célébrer d’une écriture commune notre thème Anniversaires (ou comment célébrer). Car, selon le contexte, dans ce cas-ci festif, célébrer et/ou commémorer est un acte collectif – comme la production de chacun de nos numéros que nous fêtons trois fois par année. Via ce numéro, nous soulignons une(...)
Vie des arts 279
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Un édito à quatre têtes, à quatre cœurs et à huit mains?! Rien de moins pour célébrer d’une écriture commune notre thème Anniversaires (ou comment célébrer). Car, selon le contexte, dans ce cas-ci festif, célébrer et/ou commémorer est un acte collectif – comme la production de chacun de nos numéros que nous fêtons trois fois par année. Via ce numéro, nous soulignons une balise marquante de Vie des arts en 2026?: son 70e anniversaire.
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Safar 9: Protests
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To protest is a fundamental human act against injustice. It takes many forms: the defiant act of existing, the organized resistance of multitudes, armed struggles, and the disruption of systems through speech, action, and refusal in person, in prints and slogans online, or on the streets. Some forms of protest require symbols, flags, and specific attire, while others are(...)
Safar 9: Protests
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To protest is a fundamental human act against injustice. It takes many forms: the defiant act of existing, the organized resistance of multitudes, armed struggles, and the disruption of systems through speech, action, and refusal in person, in prints and slogans online, or on the streets. Some forms of protest require symbols, flags, and specific attire, while others are carried out through non-verbal communication, secret dissemination, and ideological discipline. Yet all of them need cultural carriers–our bodies, our stories, and our marks to hold what can be remembered and learned from. Whether explicit or invisible, in communities or in solitude, this issue explores why we protest, and how, in the hopes of sparking solace, solidarity, and action.
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