Manus Machina

Manus × Machina (“Hand × Machine”) features exceptional fashions that reconcile traditional hand techniques with innovative machine technologies such as 3-D printing, laser cutting, circular knitting, computer modeling, bonding and laminating, and ultrasonic welding. Featuring 90 astonishing pieces, ranging from Gabrielle “Coco” Chanel’s iconic tweed suit to Karl Lagerfeld’s 3-D-printed version, and from Yves Saint Laurent’s bird-of-paradise dress to Iris van Herpen’s silicone adaptation — all beautifully photographed by Nicholas Alan Cope — this fascinating book is an exploration of both the artistry and the future of fashion.

Featuring interviews with Sarah Burton (Alexander McQueen), Hussein Chalayan, Maria Grazia Chiuri and Pierpaolo Piccioli (Valentino), Nicolas Ghesquière (Louis Vuitton), Lazaro Hernandez and Jack McCollough (Proenza Schouler), Iris van Herpen, Christopher Kane, Karl Lagerfeld (Chanel), Miuccia Prada, and Gareth Pugh.

The long-anticipated monograph on OMA New York by Shohei Shigematsu and Jason Long is sure to be the design and architecture book of the season. Presenting more than 20 radical architectural projects from a new generation of the firm, this mammoth volume is the first compendium by OMA, since Content and Rem Koolhaas’s S, M, L, XL. Well into its fourth decade, the Office for Metropolitan Architecture (OMA), founded by Rem Koolhaas in 1975, remains one of the most influential and successful practices of its kind. OMA describes itself as “a firm operating within the traditional boundaries of architecture and urbanism that applies architectural thinking to domains beyond.” OMA New York, has grown from an American outpost to a full-fledged operation with its own attitudes, contributing to the evolution of the globally acclaimed office. Through a diversity of projects, the firm has transformed our understanding of the city and our evolving relationship with art, fashion, food, sustainability, and other quintessentially twenty-first-century preoccupations. The works presented here elaborate on OMA’s philosophy even as they expand its portfolio geographically. Featured projects (led by partners Shohei Shigematsu and Jason Long) include residential skyscrapers in New York, Miami, and San Francisco, mixed-use developments in cities from Tokyo to Houston, and projects like 11th Street Bridge Park in the public realm, alongside more intimate spaces such as the studio for renowned Chinese artist Cai Guo-Qiang. Permanent structures, such as Milstein Hall at Cornell University, the new galleries of Quebec’s Musée National des Beaux-Arts, a cultural forum and neighborhood for Faena in Miami, and the expansion of museums such as the Albright-Knox Art Gallery in Buffalo and the New Museum in Manhattan, contrast vividly with temporary interventions such as the Manus x Machina exhibition at the Met Costume Institute and the sculptural installation of soaring concrete columns for An Occupation of Loss. In between projects are dialogues with leading policy makers, museum directors, artists, fashion designers, musicians, chefs, and curators—Christopher Hawthorne, Lisa Phillips and Massimiliano Gioni, Taryn Simon, Iris van Herpen, Virgil Abloh, David Byrne, Alice Waters, and Cecilia Alemani—who provide insight onto areas of the firm’s interests and preoccupations beyond the realm of architecture.

Fashion Projects: 15 Years of Fashion in Dialogue anthologizes the New York–based journal Fashion Projects. The book is an index of a particular time within the fashion studies landscape and the attendant fields of fashion writing, fashion curation, and critical fashion practice during which the field witnessed a meteoric rise. The long-running non-profit journal Fashion Projects was described by The Paris Review as “a journal devoted to critical discourse in fashion,” Fashion Projects was founded in New York in 2005 as a zine. It gradually morphed into a larger journal straddling the academic and general interest worlds, with international distribution and an ardent readership. It served as a platform to highlight the importance of fashion within current critical discourses through longform interviews with a range of curators, critics, artists and designers. This book collects together the best articles from the journal, most issues of which are now unavailable. From exploring the rise of digital fashion media with Penny Martin (the founding editor-in-chief of SHOWstudio) to the continued importance of connoisseurship with Harold Koda (former Curator in Chief of the Met’s Costume Institute), the anthology records the increasing centrality of fashion to contemporary critical discourse.

The Mind Is a Collection approaches seventeenth- and eighteenth-century theory of the mind from a material point of view, examining the metaphors for mental activity that invoked the material activity of collection.

Data, Matter, Design presents a comprehensive overview of current design processes that rely on the input of data and use of computational design strategies, and their relationship to an array of outputs. Technological changes, through the use of computational tools and processes, have radically altered and influenced our relationship to cities and the methods by which we design architecture, urban, and landscape systems. This book presents a wide range of curated projects and contributed texts by leading architects, urbanists, and designers that transform data as an abstraction, into spatial, experiential, and performative configurations within urban ecologies, emerging materials, robotic agents, adaptive fields, and virtual constructs. Richly illustrated with over 200 images, Data, Matter, Design is an essential read for students, academics, and professionals to evaluate and discuss how data in design methodologies and theoretical discourses have evolved in the last two decades and why processes of data collection, measurement, quantification, simulation, algorithmic control, and their integration into methods of reading and producing spatial conditions, are becoming vital in academic and industry practices.

More than eighty designs--iconic, archaic, quotidian, and taboo--that have defined the arc of human reproduction. While birth often brings great joy, making babies is a knotty enterprise. The designed objects that surround us when it comes to menstruation, birth control, conception, pregnancy, childbirth, and early motherhood vary as oddly, messily, and dramatically as the stereotypes suggest. This smart, image-rich, fashion-forward, and design-driven book explores more than eighty designs--iconic, conceptual, archaic, titillating, emotionally charged, or just plain strange--that have defined the relationships between people and babies during the past century. Each object tells a story. In striking images and engaging text, Designing Motherhood unfolds the compelling design histories and real-world uses of the objects that shape our reproductive experiences. The authors investigate the baby carrier, from the Snugli to BabyBjörn, and the (re)discovery of the varied traditions of baby wearing; the tie-waist skirt, famously worn by a pregnant Lucille Ball on I Love Lucy, and essential for camouflaging and slowly normalizing a public pregnancy; the home pregnancy kit, and its threat to the authority of male gynecologists; and more. Memorable images--including historical ads, found photos, and drawings--illustrate the crucial role design and material culture plays throughout the arc of human reproduction. The book features a prologue by Erica Chidi and a foreword by Alexandra Lange. Contributors Luz Argueta-Vogel, Zara Arshad, Nefertiti Austin, Juliana Rowen Barton, Lindsey Beal, Thomas Beatie, Caitlin Beach, Maricela Becerra, Joan E. Biren, Megan Brandow-Faller, Khiara M. Bridges, Heather DeWolf Bowser, Sophie Cavoulacos, Meegan Daigler, Anna Dhody, Christine Dodson, Henrike Dreier, Adam Dubrowski, Michelle Millar Fisher, Claire Dion Fletcher, Tekara Gainey, Lucy Gallun, Angela Garbes, Judy S. Gelles, Shoshana Batya Greenwald, Robert D. Hicks, Porsche Holland, Andrea Homer-Macdonald, Alexis Hope, Malika Kashyap, Karen Kleiman, Natalie Lira, Devorah L Marrus, Jessica Martucci, Sascha Mayer, Betsy Joslyn Mitchell, Ginger Mitchell, Mark Mitchell, Aidan O’Connor, Lauren Downing Peters, Nicole Pihema, Alice Rawsthorn, Helen Barchilon Redman, Airyka Rockefeller, Julie Rodelli, Raphaela Rosella, Loretta J. Ross, Ofelia Pérez Ruiz, Hannah Ryan, Karin Satrom, Tae Smith, Orkan Telhan, Stephanie Tillman, Sandra Oyarzo Torres, Malika Verma, Erin Weisbart, Deb Willis, Carmen Winant, Brendan Winick, Flaura Koplin Winston

Advances in Human Dynamics for the Development of Contemporary Societies Proceedings of the 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022), July 24–28, 2022, New York, USA

Today, writing by hand seems a nearly archaic process. Nearly all of our written communication is digital—our letters are via email or text message, our manuscripts are composed using word processors, our journals are blogs, and we sign checks to pay bills with the push of a button. Sonja Neef believes that what we have lost in our modern technological conversation is the ductus—the physical and material act of handwriting. In Imprint and Trace Neef argues, however, that handwriting throughout its history has always been threatened with erasure. It exists in a dual state: able to be standardized, repeated, copied—much like an imprint—and yet persistently singular, original, and authentic as a trace or line. Throughout its history, from the first prehistoric handprint, through the innovations of stylus, quill, and printing press, handwriting has revealed an interweaving, ever-changing relationship between imprint and trace. Even today, in the age of the digital revolution, the trace of handwriting is still an integral part of communication, whether etched, photographed, pixelated, or scanned. Imprint and Trace presents an essential re-evaluation of the relationships between handwriting and technology, and between the various imprints and traces that define communication.