Kultur & Gespenster, was ist das? Ein hochwertiges Druckerzeugnis. Schwer, fast schon ein Buch. Auf jeden Fall solide, aber nicht glossy, kein Hipster-Heft. Der klangvolle Titel der etwa zweimal jährlich im Hamburger Textem Verlag erscheinenden Publikation macht eine Zuordnung schwer, das Objekt allerdings umso begehrenswerter. von hundert, April 2016

Purple Fashion Magazine (France): A very unique and different fashion magazine from Paris. A rare peek into fashion world creativity and style like no other. Feature contributions by worldfamous designers, arttists and writers give it a distinctive character.

This issue of AnOther Magazine is an exploration of the heroic: the valiant, noble, audacious, brave. However one chooses to de ne the word, the world has rarely needed heroes – people to look up to, be inspired by, and learn from – more than they do today.

“An activist is someone who is not afraid to be truthful or vulnerable,” declares Amandla Stenberg in the Spring 2017 issue of Dazed. Stenberg is joined on the covers by fellow actor Ashton Sanders, whose poignant portrayal of black LGBT masculinity in Moonlight has struck an unprecedented chord. Together, they are just two young Americans using their art to move us and their voices to foster real change. Led by these two cultural agenda-setters, in this issue we join forces with the artists, activists and free-thinkers proving that protest comes in many forms – and using their energy and poise to galvanise a post-Trump generation.

This issue comprises various outlooks on “perspective.” This might be taken to mean something as specific as a particular opinion or as general as an axonometric projection; in short, different ways and means of looking at the world. And so we find Vincenzo Latronico attempting to get in touch with E.T., a collection of Lucy McKenzie’s illusory quodlibets, a conversation between Jumana Manna and Robert Wyatt on art and ethics, along with other points of view from Sarah Demeuse, Mark de Silva, Jocelyn Penny Small, Abigail Reynolds, James Langdon & Mathew Kneebone, Johan Hjerpe, and the inimitable 9mother9horse9eyes9.

Beton is a contemporary printed gallery. It serves as a moodboard, visualising concepts, impressions and ideas within the creative medium. There is no final definition of Beton, that is the aesthetic. It is you, the observer, who defines it.

Avant-garde and ironic, Dull is aimed at those in the know who are looking for a good time while rediscovering fashion. It showcases portraits of young designers, figures who are helping to change the face of fashion, and big names who have succeeded in transforming society by presenting new styles, positions and movements. Dull is a French fashion magazine focusing on the new talents taking part in the current fashion revolution. The world of luxury is changing. And Dull is hot on their heels. In a market where reviews boast increasingly perfect photo series from issue to issue, but where in-depth, investigative pieces are becoming scarce, Dull is looking to keep the magazine style while reporting on the latest trends. It will not be a polished, timeless fashion review, but a magazine. Its substance will always be its articles and information. Dull is positioned as a luxury printed object, with cutting-edge graphic design and an original holographic transparent plastic cover.

2017

Reportagen, das unabhängige Magazin für erzählte Gegenwart. Herausragende Autorinnen und Autoren berichten in spannenden Reportagen aus dieser Welt. Vor Ort recherchiert, persönlich bei den Protagonisten und abseits der ausgetretenen Pfade. Jeden zweiten Monat neu. Im hochwertig gestalteten Taschenbuch und digital.

Markus Grob erzählt die Geschichte der Architektur im 20. Jahrhundert entlang einer Reihe von Einfamilienhäusern. Ihre entweder steilen oder flachen Dächer analysiert er als aus dem 19. Jahrhundert hervorgegangene Formen, deren Gegeneinander in einem „Dächerstreit“ mündet. Damit wirft er einen bisher nicht dagewesenen, neuen Blick auf die Baugeschichte des vergangenen Jahrhunderts und auf seine Siedlungsformen von Vorstadt, Speckgürtel und Agglomeration. „Merkwürdig, wie diese beiden Dachformen im vergangenen Jahrhundert gegeneinander ausgespielt wurden, […] entsprachen [sie] folglich zumindest anfangs verwandten Lebensvorstellungen, bevor sich diese zu gegensätzlichen gesellschaftlichen Programmen auseinanderentwickelten und die Dächer zu Zeichen im Streit um die Vorherrschaft machten, der im Entsetzlichen mündete. Die Scham danach wollt nichts mehr wissen von allem, was darunter ausgeheckt worden ist: so blieben Dächer schließlich als leere Formen zurück und dem jeweils eigenen Kalkül der Bewohner, Entwerfer und Kreditgeber überlassen. Und doch gibt es noch beide Formen, weiterhin sind sie von den Vorlieben getragen, ist ihre Wirkung nicht aufgehoben, nur ist diese unbestimmt geworden.“ (Markus Grob) 17 auf Spaziergängen selber gemachte Fotografien bilden den Auftakt einer ersten Untersuchung. Diese Reihe wird begleitet von ausführlichen Legenden, die den jeweiligen Anspielungszusammenhang skizzieren. Auf den letzten 16 Seiten findet der Leser ein Resumée der Beobachtungen und Recherchen als Erzählung. Mit der Frage nach flach oder steil und dem Form- und Lebensgefühl des 20. Jahrhunderts dokumentiert das Buch die Suche nach der geeigneten Bauform der damaligen Architekten und Bauherren dieses aufreibenden Jahrhunderts.

Im Heft stecken erneut zwei Titelgeschichten: Eine erstreckt sich über gut 40 Seiten und behandelt die Volksbühne Berlin, das mutmaßlich „gefährlichste Theater der Welt“. Das Volksbühnen-Spezial beinhaltet (8-seitige) Interviews mit Noch-Intendant Frank Castorf und Regisseur René Pollesch, sowie Gespräche mit Leo Neumann vom Autonomen Gestaltungsbüro LSD Berlin und Schauspielerin Kathrin Angerer und außerdem drei Beiträge zum Thema von unseren Autoren/ Autorinnen Bonn Park, Lena Brasch & Juri Sternburg. Sämtliche Fotos für das Volksbühnen-Spezial stammen von William Minke, der für dieses Heft bereits u.a. Lilith Stangenberg & Haiyti fotografierte. Für unsere zweite Titelgeschichte waren wir mal wieder in Wien unterwegs, wo wir in einem Hotel Bilderbuch-Sänger Maurice Ernst für ein 10-seitiges Interview trafen. Die Fotos dazu schoß Lukas Gansterer im Volkstheater Wien. Darüber hinaus im neuen Wetter: Joy Denalane, Candelilla, Philipp Winkler, Fatma Aydemir, Kreator, Karies, eine Bildstrecke von Jenny Schäfer und eine Volksliedkolumne von Hops Holzmann. »Das Wetter« verbindet Zeitgeist mit Zeitlosigkeit, sowie Diskurs-Punk mit Straßenrap, Pop mit Literatur und ein stilvolles Design mit qualitativ hochwertigen Texten, Fotos und Illustrationen.

Very Nearly Almost is a UK-based independent magazine printed quarterly which features interviews with some of the world’s best urban artists, illustrators and photographers. Launched in 2006, VNA tracks everything from the wheatpastes, paint and stencils out there on the streets through to gallery shows and events that bring together artists from around the world. Each issue brings you in-depth feature articles and interviews with the biggest names on the scene, as well as up and coming artists. Previous cover artists include Shepard Fairey, Retna, Invader, EINE, Sickboy, ROA, Insa, Anthony Lister, Conor Harrington, The London Police, D*Face, Faile, Swoon, Paul Insect, 3D, Kid Acne & Aryz. VNA gets up close and personal with the artists we cover – we document recent work, visit artists’ studios and provide sneak previews of new work. Everyone involved in VNA has a shared love of street art and the culture that’s grown up around it and we hope you enjoy reading it as much as we enjoy putting it together.

Each cover of i-D magazine gives you a knowing wink that hints at the wonder inside. Cutting-edge and influential, this publication is well known for its superb layout and first class photography. From the UK, this manual of style was one of the first to break the barrier between art and fashion photography.

The more stuff we accumulate, the more space we need to store it all. Vast portions of the landscape are claimed and governed by spaces of storage, their maintenance, and the goods that move through them—or remain buried within them indefinitely. This issue of Harvard Design Magazine investigates and unpacks the contents, containers, and systems of storage that organize our world. Storage is the aggregation and containment of the material and immaterial stuff of culture; but also the safeguarding—or hoarding—of energy and tools for some imagined future purpose. How does all this stuff mask or overcompensate for economic and ecological bankruptcy? Is storage about greed or need? Storage, perhaps, is everything we can live without but insist on living with. “Shelf Life” explores what’s inside the box (shed, tank, urn, vault, crypt, crate, case, pot, bag, vat, morgue, safe, bin, archive, warehouse, cabinet, cellar, cemetery, depository, locker, freezer, landfill, library). Even as we attempt to reduce and recycle, the stuff that we dispose of also needs to be stored. Where do we put it? Our planet is now a saturated receptacle. This warehouse is full, and we’re all inside it.

Inhalt: Editorial Christoph Laimer – Judentum und Urbanität: Vorwort Joachim Schlör Das Phänomen der jüdischen Berlinophilie Laurence Guillon Der dunkle Kontinent unweit des Hauptpostamts. Das jüdische London aus (post)kolonialer Perspektive Tobias Metzler Warschau – jüdische Absenz, jüdische Präsenz Joachim Schlör Antisemitismus und Großstadtfeindschaft Bodo Kahmann Diamanten und Orthodoxie? Ein historischer Blick auf jüdisches Leben in Antwerpen Veerle Vanden Daelen – Kunstinserts: Susanne Kriemann: One Time One Million Andreas Fogarasi – Magazin: Zwischen An- und Abwesenheit Mikro-Verteilerzentren in urbanen Nischen Carina Sacher In Ketten durch Wien. Leo Perutz – Zwischen neun und neun Alexander Peer Was ist Urbanität? Eine Auseinandersetzung mit Manfred Russos Buch Projekt Stadt Klaus Ronneberger – Besprechungen: Wunschmaschine Gemeindebau Robert Temel Am Ende der Anfang? Andre Krammer Kreativpolitik und städtisches Regierungshandeln Klaus Ronneberger Zweimal Leben! Wie sich durch Film unsere Realität erweitert Ursula Probst

Design is one of the most powerful forces in our lives. When deployed wisely, it can bring us pleasure, choice, strength, decency and much more. But if its power is abused, the outcome can be wasteful, confusing, humiliating, even dangerous. None of us can avoid being affected by design, whether or not we wish to. It is so ubiquitous that it determines how we feel and what we do, often without our noticing. Hello World explores design's influence on our lives. Written by the renowned design critic Alice Rawsthorn and designed by the award-winning book designer Irma Boom, it describes how warlords, scientists, farmers, hackers, activists and designers have used design to different ends throughout history: from the macabre symbol invented by 18th century pirates to terrorise their victims into surrender, to one woman's quest for the best possible prosthetic legs and the evolution of the World Cup ball. At a time when we face colossal changes, unprecedented in their speed, scale and intensity – from the deepening environmental crisis, to giant leaps in science and technology – Hello World explains how design can help us to make sense of them andto turn them to our advantage. 'Hello World is a new book by Alice Rawsthorn, the one and only, the best design critic in the entire world. She keeps the banner of design flying high. Irma Boom designed it, and Irma is simply the best book designer alive' Paola Antonelli, Senior Curator of Architecture and Design at the Museum of Modern Art, New York Praise for Alice Rawsthorn's Yves Saint Laurent 'As gripping as a thriller, packed with plot, character and atmosphere' The Times 'Rawsthorn's excellent biography isn't merely a story about clothes, but of crises, comebacks and drug clinics, and as a document of the time it is compulsive' Evening Standard 'The best book I have ever read about the mesmerising cruelty of fashion' The Spectator 'Intelligent and pragmatic… this is a page-turner of a book' New Statesman 'What a story! A skilful interweaving of the artistic, business and emotional life of a great couture house' Mail on Sunday Alice Rawsthorn is the design critic of the International Herald Tribune, the global edition of the New York Times. Her weekly Design column is syndicated worldwide. A trustee of Arts Council England and the Whitechapel Gallery in London, she is chair of trustees at the Chisenhale Gallery and the author of an acclaimed biography of Yves Saint Laurent. Read more at https://www.penguin.co.uk/books/183410/hello-world/#qEJ448JKfyBcrIVm.99

Besides providing botanical contents in a simple, personal and cozy way, The Plant offers to plant lovers a new look on greenery by featuring the works of creative people who also love plants.

2016

This book is many books: It features a brief media history, a fantastic fiction (by Sebastian Michael), a contemporary architectural theory, a documentation on the Sentiment Cocoon, interviews (with two of ARUP’s engineers), and two essays – one on lig …

nomad ist ein Design- und Gesellschaftsmagazin. Es interpretiert Design als Zukunfts­gestaltung und somit als Katalysator für gesellschaftliche Entwicklungen und individuellen Lifestyle. In nomad wandelt sich die Sichtweise auf Design vom Status des Be …

2016

Featuring interviews with Lynda Benglis, Roe Ethridge, Becca Blackwell, Antonio Campos, Robert Greene, Angie Keefer, Liz Magic Laser ao.

Graphic designers and exhibitions The 27th Brno Biennial 2016 and the State of the Graphic Design Exhibition Today

2016

Edit ist eine Zeitschrift aus Leipzig, die dreimal im Jahr neue deutschsprachige Literatur präsentiert. Seit ihrer Gründung 1993 setzt sie sich für zeitgenössische Schreibweisen, die Vielfalt literarischer Formen und Erstübersetzungen ein. Seit 2014 erscheint bei Spector Books und mikrotext die Buchreihe VOLTE

TEXTS BY Jo Barraclough Paoletti, Victor Rios, Patrick Lopez-Aguado, Johannes Lenhard, Sean Trainor, Annebella Pollen, Christina Moon, Shaun Cole, Thomas Page McBee, Claire Marie Healy, S.G Goodrich, Christopher Breward, Vince Aletti, Alice Hines INTERVIEWS BY Anja Aronowsky Cronberg FICTION BY Mark Twain, Sloan Wilson, Nate DiMeo VISUALS BY Jason Fulford, JeongMee Yoon, Camilo José Vergara, Titus Simoens, Karen Knorr, Wolfgang Tillmans, Scheltens & Abbenes, Bob Mizer, Pawel Jaszczuk DESIGN BY Studio Blanco

Jahrhunderte lang arbeiteten Künstler im Auftrag von Päpsten, Königen und Aristokraten. Mit der Moderne erschlossen sie sich einen bürgerlichen Kunstmarkt und beendeten diese Abhängigkeiten. Spätestens seit der Jahrtausendwende aber ist eine neue Auftragskunst zu beobachten: Immer mehr Unternehmen beauftragen Künstler, ortsspezifisch oder mit ihren Produkten, ihrem Logo oder unter ihrem Namen Werke zu schaffen. Die Kunst dient dabei als Klebstoff, als Verbindungsmittel zur Gesellschaft, zu Kunden, zu Mitarbeitern, zum Publikum. In „Die neue Auftragskunst“ werden Unternehmer, Kuratoren, Sammler, Galeristen und Künstler interviewt, um die Notwendigkeit von Kompromissen zu erörtern und die Scheu vor dem Begriff zu thematisieren. Neben einem konzentriert, historischen Rückblick, wird anhand einer großen Auswahl an Beispielen von Unternehmen z.B. aus der Modebranche, dem Bank- und Immobiliensektor, der Kirche, dem öffentlichen Raum oder Institutionen, Einblick in die massiv zunehmende Produktion von Auftragskunst gegeben und die Kritik an der neuen Situation zur Debatte gestellt.

A selection of essays, interviews, conversations, and projects appeared in the first ten years of Mousse. Featuring: Chantal Akerman; Cecilia Alemani; Jennifer Allen; Kai Althoff; Bruce Altshuler; Ed Atkins; Lutz Bacher; Darren Bader; Alex Bag; John Baldessari; Phyllida Barlow; Kirsty Bell; Andrew Berardini; Jonathan Berger; Michael Bracewell; Tom Burr; Maurizio Cattelan; Marc Camille Chaimowicz; Sofía Hernández Chong Cuy; Carolyn Christov-Bakargiev; Stuart Comer; Lauren Cornell; Nicholas Cullinan; Roberto Cuoghi; Nick Currie; Massimo De Carlo; Gino De Dominicis; Jens Hoffmann; Judith Hopf; William E. Jones; Omar Kholeif; Alexander Kluge; Jiří Kovanda; William Leavitt; Élisabeth Lebovici;Seth Price; Laure Prouvost; Alessandro Rabottini; Carol Rama; Filipa Ramos; Jason Rhoades; Dieter Roelstraete; Esperanza Rosales; Nicolaus Schafhausen; Fender Schrade; Stuart Sherman; Frances Stark;Christopher Williams; Jordan Wolfson.

dezember 2016

dezember, 2016

Während Mathias Fuchs in seinem Artikel „Gamification – Geheimwaffe oder Bullshit?“ der Relevanz des Spielens in spielfernen Kontexten nachgeht, wirft Lieselotte van Leeuwen in „The Rhetorics of Play – Gedankenspiele“ einen psychologischen Blick auf diese Tätigkeit und erläutert die sich daraus ergebenden Möglichkeiten für Designer. Auf welche Art und Weise Spielregeln ihren partizipativen Designprozess informieren, verraten Roel Wouters und Luna Maurer von Studio Moniker in einem Interview, das Sie als einen von drei Artikeln online lesen können. Der Realität im Spiel kommt das Entwicklungsstudio Crytek in ihrem neuesten Virtual Reality-Spiel „Robinson: The Journey“ näher. Wir haben mit dem Artdirektor des Spiels, Pascal Eggert, über die Herausforderungen dieser neuen Technologie gesprochen. Außerdem ergänzen sechs Praxisbeispiele aus den Bereichen Architektur, Grafik- und Produktdesign den Focus. Des Weiteren beleuchten wir die aktuelle Ausstellung „Thinking Tools. Design als Prozess: Wie Schreibgeräte entstehen“ im Museum Angewandte Kunst in Frankfurt am Main kritisch, widmen uns dem gestalterischen Umgang mit Farbe und begeben uns in der Rubrik Archive in die Kasseler Gestaltungsszene der Nachkriegsjahre. Mit dem ersten von sechs Teilen der Serie „Revisiting the Past“ feiern wir auf 16 Extraseiten das 60-jährige Bestehen der form und leiten damit unseren Jubiläumsjahrgang ein. Ausgehend von den Artikeln des Industriedesigners Herbert Lindinger zur „Design Geschichte“ aus den Jahren 1964/65, die Sie hier nachlesen können, bieten wir in der Reportage „Ein Bild von einem Stuhl – Collecting Design“ über den Designsammler Sebastian Jacobi eine neue Perspektive auf die historischen Zusammenhänge der Dinge. Ebenfalls in neuem Licht erscheinen die drei Artikel aus dem Heft, die Sie wie immer online lesen können. Diesmal gehört das bereits erwähnte Interview mit Studio Moniker zur Auswahl, ebenso wie der Artikel „Private Utopias“, der dem Verhältnis zwischen Privat- und Arbeitssphäre nachgeht, und der Beitrag „Web brutal“ zu Webseiten, die sich bewusst einer Ästhetik aus den Anfängen des Internets bedienen. In den form Dossiers erweitern wir außerdem den Artikel zu Gestaltern aus Basel um den Sedici-Verlag, haben ein Interview mit den Autorinnen von „Vom Blatt zum Blättern“ geführt und die beiden Designer des faltbaren Kanus Onak zu ihrem Produkt befragt.

Im Zuge der Globalisierung ist sich die Welt näher gekommen, manchmal etwas zu nah. Nicht nur beuten reiche Ländern ärmere nach wie vor hemmungslos aus, auch haben sie manche Regionen durch den Import merkantiler Beliebigkeit ihrer Eigenheiten beraubt. Wer heute nach Saigon fährt, könnte auch in Hong Kong oder Kuala Lumpur sein. Der Café bei Starbucks schmeckt gleich, die Hemden bei Zara sind die selben. Wenn man sich die Geschichten dieses Heftes anschaut, die die Reporter in aller Welt erlebt haben, könnte man meinen, dass sich die Verschiedenheit auch nationaler Identitäten eher in den Nächten zeigen. Die Art, wie die Menschen in den Favelas von Rio Musik machen und tanzen, wird man nirgendwo sonst auf der Welt finden. Die Lust am bierseligen Handgemenge, die man in einer nordirischen Kneipe spürt und den Stoizismus der Obdachlosen auf den Straßen Moskaus auch nicht.

Besides providing botanical contents in a simple, personal and cozy way; The Plant offers plant lovers a new look at greenery by featuring the works of many creative people who share our love for plants. As a curious observer of ordinary plants and other greenery, the magazine presents a monograph on a specific plant; bringing together photographers, illustrators, designers, musicians, writers and visual artists, both established and emerging, from all over the world. These people share with The Plant their unique perceptions and experiences of plants.

The book features a historical reference on housing needs by Lucius Burckhardt, a philosophy on contemporary machinic capitalism by Gerald Raunig, an essay on gender questions in the sharing economy by Brigitte Theißl, an analytical text on Airbnb’s photo policy and how it affects our everyday life by åyr. It also brings together a set of polemic theses by its editor Christian Berkes, an agonistic panel talk held at Swiss Institute in NYC, which was organized by the London based art collective åyr, and a hyper positivist pamphlet for sharism by Isaac Mao. The text that lent its main title to this publication rounds up this multi-perspective critique of the sharing economy and leads over into a lavishly illustrated Xerox Collection with hidden jokes, self-dissolving associations, and a beautiful form of early interior photography. Welcome Home.

Modern Matter’s 11th issue, American Masters, features a special compilation of visual essays, interviews and artworks from the very best of America’s artists and institutions, 1968 — 2016. With Vito Acconci, John Baldessari, an interview with MoMA PS1’s Klaus Biesenbach, and Sol Lewitt. Plus: Philippe Parreno at Tate Modern, and an exclusive supplement project created with Sarah Lucas, featuring original artwork.

The magazine of the Palais de Tokyo Around the Lasco Project, the Palais de Tokyo’s programme dedicated to urban art, PALAIS magazine is devoting its latest issue to artists whose work has been developed in the street. The Lasco Project was initiated in 2012, and stands as one of the most astonishing successions of urban art in a cultural site, reaching into the slightest nook and darkest cranny of the Palais de Tokyo. For it, almost sixty international artists have produced interventions, some of them monumental, others secret, which confront the Palais de Tokyo’s plain architecture, and infiltrate into its interstices. Interviews, encounters with artists, special contributions, theoretical essays and original texts Bilingual (French & English)

Die 8. Ausgabe der Bauhaus Zeitschrift beschäftigt sich mit dem Thema Bewegung. Sie enthält Texte und Gespräche von und mit Torsten Blume, Wolfgang Thöner, Bernd Wedemeyer-Kolwe, Werner Möller, Charlie Koolhaas, Elisabeth Kremer, Annett Zinsmeister, Fabienne Eggelhöfer, Lutz Schöbe, Ross Anderson, Florian Heilmeyer, Marion von Osten, Bernd Scherer, Madelaine Sillfors, Regina Bittner, Paul Nolte, Sasha Waltz und Angelika Fitz.

We believe that a man’s style is something that derives from his own personality, not from ephemeral “trends”. We enjoy opinionated men. Men with a sense of purpose and a soul. Smart, intelligent and creative; men with ideas and ideology. Men who are their own men, who don’t fit others’ standards. Misfits? Yes. We don’t believe in negativity. We believe in revolution.

'Toiletpaper' is an artists’ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text; each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists’ mental outbursts. Since the first issue, in June 2010, 'Toiletpaper' has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art, which, through its accessible form as a magazine, and through its wide distribution, challenges the limits of the contemporary art economy.

Toiletpaper' is an artists’ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text; each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists’ mental outbursts. Since the first issue, in June 2010, 'Toiletpaper' has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art, which, through its accessible form as a magazine, and through its wide distribution, challenges the limits of the contemporary art economy.

SLEEK dedicates issue 52 to The New Native, a term that refers to people who look at home not as a geographic location, but rather as set of friends and relationships, as our EIC Jeni Fulton argues. With a hectic schedule of fashion weeks and travel, our cover star Virgil Abloh from the much-buzzed label Off-White encompasses this concept perfectly. Conversely, “Berlin Calling” focuses on six fashion designers who have chosen to call the German capital home for different reasons. Elsewhere in the magazine, stylist Tess Yopp revisits her childhood home of Moscow in the fashion editorial “On the Margins”; and Michelangelo Pistoletto discusses his career marked by 60 years of artistic rebellion.

berlin, 2016

– ASH THAYER… the celebrated photographer/filmmaker/activist might be located in Los Angeles these days, but she spent her formative years in the squatting scene in New York’s Lower East Side – a place that basically felt like a different planet in the 90s compared to the frozen yoghurt fantasies it fulfills these days. – JAY ADAMS… passed away in 2014, and the (skateboarding) world lost one of its true pioneers. Not only was he one of the originators of what eventually became the most powerful youth culture movement in human history- he was also the tragic figure, the badboy, the dropout of an art form he cofounded. – ADAM FREELAND… the acclaimed DJ/producer and one third of The Acid has been a lil’ bit off the radar lately – because he’s put into action what others will fantasize about their whole life: exchanging the safe side of what you know in favor of embracing the unknowns: living off-grid in the Californian desert. – JUNCTION 48… the movie already won major awards at festivals like Tribeca and the Berlinale, as it took critics and audiences by storm via a story that isn’t too interested at all about notions of the good and the bad – instead it tells a multi-layered underdog tale with a pumping hip-hop score set within the heavily complex cultural system of modern Israel. – more eloquent statements and visual awesomeness about “DROPOUT“ from the likes of: JASON LEE, DARIA WERBOWY, BRUCE STEWART, MULTI KULTI, CHAD MUSKA, JAY NELSON, BONOBO, JOE HOLBROOK and many others.

One of architecture’s histories is that of the art of display: architecture displaying power, political ambition, economic success, social agendas, or less mundane notions like dreams, convictions and belief. These days architecture has also become subjected to display: the display of architecture – in museums and collections, and in auctions for example. That adds but also distracts meaning; not every aspect of architecture can be displayed as easy. And what does a culture of display (be seen or perish) add to this condition? Thinking of the value of architecture beyond purely financial terms, ‘display’ is a factor of influence. For better or for worse. 144 p, ills colour & bw, 20 x 27 cm, pb, English

The extent to which economic value is placed on knowledge today forces us to reconsider its social role and our relation to it. Research, the general category for processes of knowledge production, has become omnipresent in both education and practice. Today it’s not so important what you know but rather how you think. Progress, in this sense, is predicated by critical reflection on ways of knowing and disciplinary traditions of thought. This issue of Volume – the second in our series on learning – is dedicated to mapping the contemporary field of research in architecture, art and the social sciences. We wanted to learn from those who have been instrumental in shifting the boundaries and shaping today’s landscape of creative knowledge production. What follows is an issue comprised entirely of dialogues. 144 p, ills colour & bw, 20 x 27 cm, pb, English

Machines have long been integral to architectural discourse. Vitruvius concluded his ten books with a meditation on war machines, and Le Corbusier published on his industrial muses just over 100 years ago. Yet something is different today. We have always learned from machines, but now, machines learn. Machinic processes, computational algorithms and artificial intelligence have never been so proximate, direct, and intimate to daily life, yet we are many steps removed from their practical operations. This issue of Volume seeks to take one small step in the direction towards understanding the contemporary relevance of machines for architecture, and one giant leap for mankind.