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Japandi is the newest and hottest trend in interiors: a harmonious combination of functionality, comfort, and the minimalist look that characterizes Scandinavian design, with the purest elegance of traditional Japanese craftsmanship. Japandi harmoniously blends Scandinavian hygge with wabi-sabi, a concept derived from Zen Buddhism that advocates peaceful sobriety and invites us to admire the beauty hidden in slight imperfections in nature. This first major survey of Japandi style will introduce the reader to the fundamentals, and to iconic objects that will transform an interior into a Japandi-inspired retreat. Chapter one of the book examines the converging principles that have contributed to the emergence of Japandi Style such as functionality, neutral colors, the importance of organic materials, and the thoughtful simplicity of shapes. Chapter two presents some of the most emblematic works of Japandi Style, and the design studios behind them. Chapter three gives examples of how to decorate and furnish rooms--the living room, dining room, bedroom, bathroom, winter garden, or home office--in Japandi Style.

The Coloring Book of Armor showcases a remarkable selection of armor in the collection of The Metropolitan Museum of Art, giving artists of all ages the opportunity to explore a wide range of designs from a variety of countries.Initially developed for an eminently practical purpose - to protect the wearer from injury - armor may take the form of body coverings or objects held in the hand. Any material that can serve as a hard shell or cushion was put to use; not just metal, but also bone, leather, and even silk. Armor also fulfilled other functions. When decorated with magical or religious symbols and texts, it could invoke the powerful assistance of outside forces, including gods. Should it fail to deflect harm, it would at least help to save one's soul. When featuring the emblems of a community or a leader, it fostered a sense of belonging. When made of or decorated with precious metals, it denoted rank and resources. Popular motifs included flowers and leaves, birds, winged lions, and geometric patterns. Armor made for horses was effective at evoking the anatomy of mythical beasts such as dragons, thus instilling >There are more than 30 line drawings for coloring, including a dragon-shaped shaffron (horse's head armor) used in tournaments by the future Henry II of France; the highly decorative suit of armor worn by George Clifford, a favorite of Elizabeth I of England; a 17th-century Japanese helmet in the shape of a sea conch; distinctive armor of chain mail and steel plate from the Indian kingdom of Sindh; and a 19th-century Native American shield of buffalo hide. Photographs of all pieces are provided, allowing you to follow the original coloring - or you may decide to create your own dazzling color schemes. The book also features a concise description of each item, highlighting its origin, materials, and function. This delightful introduction to an extraordinary art form will inspire you to learn more about armor and what it can tell us about our ancestors and different traditions and cultures around the world.

The first building-by-building survey of the remarkable architectural achievements in Saudi Arabia over the last fifty years, featuring case studies of 45 outstanding projects as well as previews of buildings due for completion by 2030.Since the mid-1970s, there has been unprecedented construction in Saudi Arabia, much of which has involved high-profile architects and engineers from the Kingdom and around the world. They have produced buildings that are often highly innovative in their style, sustainability, construction techniques, and materials while drawing on the country's rich architectural heritage and taking account of environmental and climatic factors. Many of these developments were commissioned by King Salman when he was governor of Riyadh, giving rise to a body of architecture known as Salmani. The principles of the Salmani architectural style - authenticity, continuity, human-centered design, liveability, innovation, and sustainability - have determined much of the architecture, interior design, landscaping, and urban planning of recent decades. Through detailed case studies, this new book shows how innovation has been combined with an interest in conservation and urban regeneration, as well as a concern for the social and human impact of architectural and planning decisions. From commercial developments and government and civic buildings to cultural and leisure facilities and palaces and mosques, a wide variety of projects are featured. While some have a strong basis in vernacular styles, others are daring, visionary designs, among them NEOM, an ambitious development incorporating a smart, car-free city known as The Line. Among the featured international and Saudi architects are Ateliers Jean Nouvel, Beeah, Bjarke Ingels Group, Foster + Partners, Henning Larsen, HOK, Kengo Kuma & Associates, Omrania, Saudi Oger, Snøhetta, SOM, Thomas Heatherwick, and Zaha Hadid Architects.As author Christopher Masters discusses in his text, the radicalism of NEOM (part of the Vision 2030 plan led by Crown Prince Mohammed bin Salman), the traditionalism of Salmani architecture, and the conservation programs in such locations as central Jeddah and the historic town of Diriyah appear to be very different in approach and philosophy. Yet all promote a strong interest in urbanism, an alternative to the car-oriented cities constructed as Saudi Arabia rapidly modernized in the last decades of the 20th century. They embody an aspiration to improve society through architecture and environment and to create cities that are fit for the challenges of the future. Lavishly illustrated with plans, drawings, and photographs, this timely volume highlights a field of architecture that has international importance and relevance and deserves to be more widely known outside the region.

The proposals in London of the Future aim to predict and prescribe how the metropolis might be governed, organized, and designed in years to come and to provoke debate among planners, architects, and developers not only in London but in all major cities throughout the world.Over the course of eighteen essays, experts in various fields - urbanism, architecture, engineering, manufacturing, futurology, journalism, and more - examine possibilities for reimagining and improving many aspects of the city. These writers consider changes both radical and minor that could shape London into a more resilient city and a fairer, healthier place to live. The architectural commentator Peter Murray provides an engaging introduction. Discussing some of the more interesting and, in some cases, eccentric proposals of the earlier book, he paves the way for an entirely new and up-to-date collection of ideas for the twenty-first century and beyond.The architectural critic and consultant Hugh Pearman ponders the dangers and uses of prediction while proposing that London be improved and made more liveable, rather than expanded and developed. The architect Carolyn Steel continues the focus on making the city a more pleasant place to live by discussing the future of its food supplies, considering the place of farming within the city's boundaries to spearhead urban renewal in a newly environmental age. The engineer Roma Agrawal advocates increasing cross-disciplinary understanding in the building and engineering world so that tomorrow's engineers can be curious without boundaries. Yvonne Farrell and Shelley McNamara of the architectural practice Grafton interrogate the meaning of permanence, and what London's inhabitants will need from their buildings.Urbanist Kat Hanna discusses the future of two of London's identities: the Central Business District and the Financial Services Hub.Mark Brearley, an architect and proprietor of a long-established London manufacturer, writes on the subject of the local high street and how the city is strengthened by these social, commercial hubs. Gillian Darley, a writer and historian, looks at the future of heritage and how the city's past can be conserved and contribute towards its future. Sarah Ichioka is an environmental and social consultant, and her approach focuses on the climate emergency and natural solutions to make the city more resilient. The architect Indy Johar puts forward radical ideas about the shift that is required of all London's inhabitants if the city is to transform itself for the future. Smith Mordak, an architect and engineer with Buro Happold, advocates for large infrastructural changes for sustainability. The cultural practitioner and writer Yasmin Jones-Henry, meanwhile, advocates for the value of cultural activities, powered by diversity.The theatre director Jude Kelly calls for London's broadly inclusive cultural past to be put at the center of future plans and imagines a place for AI in that future. Dame Baroness Lawrence, a campaigner who has promoted reforms in the police service, uses housing, education, policing, and racial equality to put forward her vision for a more equitable London. The journalist Anna Minton sets the extraordinarily high values of property in certain areas of the city against a crisis of social housing and the poor quality of low-income housing and asks how the problem of housing inequality can be solved.The architect Claire Bennie also examines how housing can be made fairer and available to more people. The futurologist Mark Stevenson imagines a commercial, building-focused solution to the problem of climate change.The journalist Tony Travers imagines London's future in relation to its survival of past crises. Neal Shashore, an architectural historian, focuses on the approach to educating future designers of the capital, to champion inclusivity and focus on the needs of people and communities.

"Mid-Century Type is a fascinating visual exploration of how, during the middle decades of the last century, the typographer became an independent, influential contributor to a fast-developing technological world of communications. The years after the Second World War were a time of great economic, social, and cultural change as consumerism erupted across industrialized countries, fuelled by the growth of mass communication. The same period was also one of exceptional creativity, including in the fields of typography and graphic design. During the war, governments came to appreciate the skill of designers in communicating public information effectively. Once the conflict was over, designers were recognized for the first time as having an essential role to play in the rebuilding of economies, infrastructure, and public morale. The typographer, however, was still something of a 'Cinderella': type was crucial to communication in almost any medium, yet typography remained a vague and largely unacknowledged profession. This perception changed dramatically between 1945 and 1965. The range of media expanded, and the influence of time-based media such as television and film was profound, providing information 'as it happens' and transforming the turning of a page into the equivalent of the film editor's cut. 'Speed' was the elixir of growth and prosperity. The specific needs of highway and airport signage were recognized as requiring the expertise of a typographer. Phototypesetting and offset lithographic printing coalesced to provide a full-color reproduction, which in turn vastly increased the sale of all printed material, but especially books and magazines. All of this drew typographers into what became established as specialist fields of printed and screen media. Finally, the cultural value of the typographer's work could be equated with that of the artist, poet, author, and film director." --Publisher marketing.

No art form is more associated with the Native Americansof the Southwest than pottery. For centuries, Pueblo people have made beautifulpottery, often painted with intricate designs, for everyday activities such ascooking, food storage and gathering water, and for ceremonial use. Vessels ofthese types have been found at ancient sites including Chaco Canyon and MesaVerde. The tradition of pottery-making continues to thrive among Pueblocommunities in the Southwest, and while pottery is still made for practicalpurposes, it is also commonly produced for the art market. Since thetime of the AncestralPuebloans, pottery has been made predominantly by women. The pots arecreated from natural clay using a coil method; they are hand-painted and thenfired outdoors. Designs vary from one Pueblo to another, but many symbols andmotifs are shared by the Pueblos. An impressive survey of more than 100 pieces of historic Pueblopottery, Grounded in Clay is remarkable for the fact that its contenthas been selected by Pueblo community members. Rather than relying on Anglo-Americanart historical interpretations, this book foregrounds Native American voicesand perspectives. More than 60 participants from 21 Pueblo communities in theSouthwest - among them potters and other artists, as well as writers, curatorsand community leaders - chose one or two pieces from the collections of the IndianArts Research Center at the School of Advanced Research in Santa Fe, NewMexico, and the Vilcek Collection in New York. They were then given the freedomto express their thoughts in whichever written form they wished, prose or poem.Their lively, varied contributions reveal the pottery to be not only autilitarian art form but also a powerfully intangible element that sits at theheart of Pueblo cultures. With magnificent photography throughout, Groundedin Clay showcases the extraordinary history and beauty of Pueblo potterywhile bringing to life the complex narratives and stories of this mostessential of Native American arts.

A fascinating look behind the doors of theworkshops and factories of London that make everything from glass eyeballs toautomobiles. Walking through London's busy streets, you would not imagine that the city boasts one of the world's most diverse manufacturing scenes. But throughout its 32 boroughs, people are making propellers, bicycles, ballet shoes, military uniforms, cardboard packaging, neon signs, umbrellas, chocolate truffles, craft beer and much more. Today there are around 4000 manufacturers based in Greater London, building on the city's rich heritage of making. While producing world-class goods, they are all jostling for space and dealing with familiar challenges, such as rising rents and trying to keep developers at bay. This book provides a fascinating glimpse behind the doors of London's making and manufacturing companies: the processes and spaces that are so often hidden from view, and the people who work there, from sole traders to workforces numbering in the hundreds. The introduction is written by Mark Brearley, an architect and Professor of Urbanism at London Metropolitan Museum who also owns the London-based tray and trolley manufacturer Kaymet. The main part of the book is arranged into chapters grouping similar types of manufacturer. In total, 50 businesses are featured, ranging from the Ford Motor Company in Dagenham, the biggest factory in London; to William Say, third-generation tin-can makers, in Bermondsey; Nichols Brothers, bespoke woodturners, in Walthamstow; Growing Underground, a salad farm in old air-raid shelters under the streets of Clapham; and Jost Haas, Britain's last glass-eye maker, in Mill Hill. Specially commissioned photography by Carmel King captures the making process, the materials, the finished products and the staff at each manufacturer, while concise, engaging descriptions are provided by the design and architecture journalist Clare Dowdy. Made in London is a timely celebration of the vibrant manufacturing scene that contributes so much to the creativity, vitality and economy of the city.