Archives for category: new books





This catalogue, published on the occasion of an exhibition at Gagosian Gallery, Hong Kong, centers on a set of 150 lithographs made by Giacometti. These prints focus on cafés, boulevards, and his own atelier in his beloved Paris. Fully illustrated this book also includes two small booklets that fit inside the front and back covers. One is a facsimile of the book of Paris sans fin prints, 150 total, and the second booklet is the entire preparatory maquette for the project.

In depth and very detailed, holding nothing back on the publication.


Available here.







Edward Kienholz, an often over looked artist of the Beat Generation, was more appreciated in Europe than in his native America. His work, usually in collaboration with his wife & partner Nancy Reddin Kienholz, was highly critical of modern American life.

This volume lavishly documents his assemblage and installation works.

Get it here.






Industrial photographers Bernd & Hilla Becher were all about documentation- allowing the structures in their spaces to do the speaking. In The Mill photographer Matthias Schaller takes the reader on an intimate and thorough tour of their live/work studio.

Following in the documentation tradition of the Becher’s each shot of Schaller’s, beginning with the ivy covered entrance, through the stackably-organized work area and calm living spaces, allows space for the artist’s objects to do the speaking.

It is available here.







Born in Berlin Weber initially trained as a cabinet maker before enrolling at a Decorative Arts Program. After graduating in 1912, Weber went on to work in Bruno Paul’s office. While working for this office Weber was sent to our fair town of San Francisco to supervise the work on the German pavilion being built. However the onset of World War I prevented him from returning to Germany, leaving him stranded in California.

As is tradition with most literal and metaphorical re-births that come from “going West”, Karl Emanuel Martin Weber, utilized his initials to adopt the less Germanic sounding name of Kem. After designing some Spanish Colonial houses in Santa Barbara, Kem migrated towards the Los Angeles area where he re-focused on industrial design and established his own independent design studio.

This monograph is a great collection of all of Weber’s work. It is richly illustrated and shows in detail Weber’s style classified as “streamline moderne”.

It is available here.






The German-American Artist Lyonel Feininger begin his work as a fine artist at the age of 36, after many years as a commercial caricaturist for magazines and newspapers. This collection of woodcuts clearly shows his role as a leading figure of the Expressionist movement.

Get it here





The recipient of the 2014 Pritzker Architecture Prize, Shigeru Ban is no stranger to the role of humanitarian. He work often revolves on the innovative use of inexpensive materials (such as paper) and the construction of emergency shelters.  Ban’s use of paper tubing structures, goes hand in hand with the reality of limited material availability during times of disaster relief, since it is often not considered a building material and is comparatively inexpensive and accessible.

Shigeru Ban Humanitarian Architecture highlights Ban’s various relief efforts around the world. There are detailed photographs & floor plans through out the book.

Cape Cod Modern: Mid-Century Architecture and Community on the Outer Cape by Peter McMahon and Christine Cipriani
Metropolis Books, 2014

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In the summer of 1937, Walter Gropius, founder of the Bauhaus and a professor at Harvard’s new Graduate School of Design, rented a house on Planting Island, near the base of Cape Cod. There, he and his wife, Ise, hosted a festive reunion of Bauhaus masters and students who had recently emigrated from Europe: Marcel Breuer, Herbert Bayer, László Moholy-Nagy, Xanti Schawinsky and others. Together they feasted, swam and planned their futures on a new continent, all sensing they were on the cusp of a momentous new phase in their lives. Yet even as they moved on, the group never lost its connection to the Cape Cod coast. Several members returned, when they had the means, to travel farther up the peninsula, rent cabins, buy land and design their ideal summer homes. Thus began a chapter in the history of modern architecture that has never been told–until now. The flow of talent onto the Outer Cape continued and, within a few years, the area was a hotbed of intellectual currents from New York, Boston, Cambridge and the country’s top schools of architecture and design. Avant-garde homes began to appear in the woods and on the dunes; by the 1970s, there were about 100 modern houses of interest here. In this story, we meet, among others, the Boston Brahmins Jack Phillips and Nathaniel Saltonstall; the self-taught architect, carpenter and painter Jack Hall; the Finn Olav Hammarström, who had worked for Alvar Aalto; and the prolific Charlie Zehnder, who brought the lessons of both Frank Lloyd Wright and Brutalism to the Cape. Initially, these designers had no clients; they built for themselves and their families, or for friends sympathetic to their ideals. Their homes were laboratories, places to work through ideas without spending much money. The result of this ferment is a body of work unlike any other, a regional modernism fusing the building traditions of Cape Cod fishing towns with Bauhaus concepts and postwar experimentation.