Leading German corporations as owners of art collections, which, in importance and size, are in no way inferior to those of public museums, has become quite a common phenomenon. The individual endeavors of artloving executives soon turned into a successful example of modern corporate culture. High-profile and professionally cared for corporate collections create a cultural indentity. CORPORATE COLLECTIONS takes a look at these comprehensive corporate collectors' activities in Germany. 70 corporate collections, their approaches, and their focuses are presented in this valuable book of plates. For quick reference, all corporations and their respective locations are listed in an index. CORPORATE COLLECTIONS explores the role of these corporate collections as sponsors of art whose influence so far has gone almost unnoticed.

Wenn Tradition, Qualitat und Stil zu einem ausdrucksstarken, unverwechselbaren Produkt verschmelzen, dann steckt moglicherweise eines der 43 Top-Marken des LABEL BOOK dahinter. Denn sie alle gehoren auch international zu den besten in ihrem Segment.

With her progressive architectural office Archi-Tectonics, Winka Dubbeldam has advanced to the very top of the New York architecture scene. Her innovative projects are grounded within the context of urban planning, society and technology and attest to a unique interplay of materials and methods. This monograph presents an impressive overview of the projects that have endowed her with international prestige. Language — English, German. Монография одного из самых прогрессивных архитекторов современности, Винки Даббельдам, представляет впечатляющий обзор проектов, которые принесли своей создательнице международное признание. Эмигранты из Европы в течение десятилетий меняли облик современной американской архитектуры. Винка Даббельдам безусловно входит в этот список выдающихся деятелей. Не ограничивая себя размерами, работая и над нью-йоркскими небоскребами, и над деревенскими домиками, Даббельдам зарекомендовала себя как одну из наиболее провокационных фигур в сфере объединения функции и формы, технологии и удобства, города и дома. Ее метод основан на том, чтобы вскрыть противоречия устоявшихся структур, раздвинуть границы архитектуры и найти неизвестные ранее формы для пространства и зданий. Ее идеи фантастичны и требуют глубоких изысканий, исследований и экспериментов. Основанная на передовых технологиях студия-лаборатория «Archi-Tectonics» выдвигает Даббельдам на первые позиции в мире современной архитектуры и даже позволяет заглянуть в будущее. Невероятные футуристические модели архитектора, представляющие собой искусственные острова — особые экономические и развлекательные зоны, соединенные друг с другом «умными» водными автострадами, – показывают нам то, как может выглядеть наше будущее. Данная монография представляет наиболее значительные проекты Даббельдам, которые помогут читателям проникнуть в самую суть ее необычного подхода к архитектуре. Здесь вы найдете, к примеру, фасад 12-тиэтажного хранилища в районе нью-йоркского Сохо. Закованное в стекло здание производит неуловимое впечатление водопада и гармонирует с улицей и соседними домами, не теряя при этом своего очарования как произведение искусства. Академия в Монровии построена исходя из экологических и социологических соображений и задумана как похожий на деревню ансамбль зданий, который удовлетворяет общинным, экологическим и экономическим требованиям. Причем подобный ансамбль вполне мог бы находиться в Манхэттене. «Archi-Tectonics» исследует более 20 проектов архитектора, включая такие поразительные как выставка «From HardWare to SoftForm», «Aida Hair Salon» и «Gipsy Trail Residence».

After the success of Or Glory 21st Century Rockers, acclaimed photographer Horst A. Friedrichs captures the spirit of The Rockers Jacket in modern times. First coming into its own as a symbol of youth rebellion in the 50s, the Leather jacket continues to fascinate as much for its beauty as its mythology. The leather jacket belongs to that select group of garments that can be described as iconic. No other western garment has been individualized that much, expressing the soul of who it belongs. The book features new exclusive pictures from the Lewis leathers vintage jacket collection. Iconic leather jackets never seen before, but also showing the contemporary replicas by Lewis Leathers.

The German architecture and design scene today is characterized by imaginative and progressive concepts on the highest technical and creative level. E specially in the field of ecological construction Germany set the international standards. Zeitgeist introduces the most compelling German architecture — and design offices, from the most established and renoun to the shooting stars of the scene.

Like a watchlist RISING presents about 100 young artists who are still at the beginning of their career and whose extremely interesting positions are not yet counted as secured by the established art market. Young art personalities in the often difficult but crucial time between the academy and the first experiences in galleries whose exciting work already raises hopes. The book is not only an inspiration for collectors, curators and galerists and a stimulation for a desired and lively discussion, but also allows an insight to the Boheme of the artistic new bloods. The selection of the artists is accompanied by a board of trustees of well-known collectors, galerists and connoisseurs of the international art scene.

There are no boundaries: todays edges between style, format and content are bluring aswell as the real and the imagined have been blurred. FRESH is a ground breaking collection of contemporary illustration from around the world, presenting a wide range of styles and techniques. Hundreds of successful projects from brand new faces to star illustrators are featured in this series of three books. By presenting such a broad spectrum of leading protagonists side by side makes FRESH an inspiring reading for professional illustrators, artists and anyone with a love for visual language. Cutting E dge Illustrations — Print A cutting edge presentation of personal designs alongside fashion illustration and commercial work produced for books, flyers, brochures, or magazines.

«There are no boundaries: today's borders between style, format and content are blurring just as the real and the imagined have been blurred. FRESH is a groundbreaking collection of contemporary illustration from around the world, presenting a wide range of styles and techniques. Hundreds of successful projects from brand-new faces to star illustrators are featured in this series of three books. The presentation of such a broad spectrum of leading protagonists side by side makes FRESH an inspiring read for professional illustrators, artists and anyone with a love for visual language. «Cutting Edge Illustrations — Object» explores illustration in a sculptural or three-dimensional environment as well as the art of illustrations on products in the form of industrial or fashion design.»

FRESH is a ground breaking collection of contemporary illustration from around the world, presenting a wide range of styles and techniques. Hundreds of successful projects from brand new faces to star illustrators are featured in this series of three books. By presenting such a broad spectrum of leading protagonists side by side makes FRESH an inspiring reading for professional illustrators, artists and anyone with a love for visual language. Cutting Edge Illustrations Public presents street art, graffiti and illustration in architecture, in-store graphics or public space.

The United States is a magnet for creative people from across the world who come here to draw on the inspiration they need for their internationally acclaimed projects. The output of the best creative minds in the architecture, design, art, fashion, photography and advertising scene is presented through a stunningly illustrated journey spanning six chapters. Creatives featured in this book... ADVERTISING: 22squared, Big Spaceship, Deutsch, King & Partners, Mother New York, R & R Partners, The Richards Group, Volume, Young & Rubicam ARCHITECTURE: Belzberg, Ben Ryuki Miyagi, Designarc, Mark Jensen, Lewis. Tsurumaki. Lewis, LOHA, Rex, Soma, Studio Pali Fekete, Trahan, XTEN ART: Britt Ehringer, Cameron Gray, Colin Cook, Jorg Dubin, Joshua Petker, Kelsey Brookes, Natalia Fabia, Peter Tunney, Ron English, Shepard Fairey, Terence Koh DESIGN: Esque Studio, Icrave, Josh Owen, Karim Rashid, Orange22, Ron Gilad, Tagfront, Thomas Meyerhoffer, Toda, Yves Bhar FASHION: Bibhu Mohapatra, Brian Lichtenberg, Catherine Malandrino, Christian Siriano, Joseph Altuzarra, Julia Clancey, Lost Art, Parabeal Gurung, Rami Kashou PHOTOGRAPHY: Alison Jackson, Chris Anthony, Eliot Lee Hazel, Holly Andres, Glenn Wexler, Lionel Deluy, Mike Ruiz, Roger Erickson, Sara Vanderbeek, Shirin Neshat Text in English, German, Spanish ILLUSTRATIONS: Colour throughout.

Wahrend seiner abschlieenden Studienarbeit ist Alexander Babic nach Australien und Sudafrika gereitst um sich ganz dem Phanomen der sehr groen LKWs zu widmen. Das zentrale Thema seiner Arbeit konzentriert vor allem auf die Fahrer dieser groen Maschinen.Die Technik der Freistellung, die den Hintergrund ausblendet, ist signifikant fur die Objekte der Bilder: Die Trucker sind „frei“ und folgen ihrem Fernweh. Sie leben unterwegs nicht ganz ungefahrlich, denn die Welt der Highways hat ihre eigenen Gesetze. Alexander Babic hat ihre Gesichter, in denen sich ihre Starke, aber auch ihre Verletzlichkeit widerspiegelt, fixiert. Dabei ist sein wichtigstes Zubehor ein groes weies Tuch, vor dessen Hintergrund er die Manner portraitiert. Er will, so sagt er: „Gesichter, in denen sich Geschichten, Erlebnisse, auch Tragik und erlebte Harte widerspiegeln, auf ganz klassische und ungeschmuckte Art und Weise als Schwarzwei?-Portrats festhalten. “Abbildungen der LKWs, der Rastanlagen und der Landschaften erganzen die schwarzweien Portraits und erzeugen eine atmospharische Gesamtheit der Reihe.

Set in different landscapes, this title contains photographic portraits of trucks and their drivers.

«For over two centuries, public space has been gradually adjusted to meet the needs of a rapidly growing traffic. Thanks to the mass-motorization of the 50's and 70's in the US respectively Europe and the subsequent development of private mobility, less visionary Traffic Design quickly generated an ugly and alienated architecture. The needed infrastructure had to be built quick and, what was more important, it had to be cheap. In the name of the automobile, the urban space and plenty of landscapes were sacrificed: A threat to man and nature. The change came during the 90's-thanks to a shift in thinking that led to a different appreciation of nature and life quality. Buildings of all kinds-bridges, tunnels, parking garages, drive-throughs and service stations-slowly achieve the potential to become favorite landmarks. They reflect the automobile lifestyle perfectly and secure a new quality of living, especially in urban zones. This is good, since everybody spends more of his lifetime in those public spaces than within its own four walls. Therefore, it is important and necessary to support this new paradigmatic way of thinking. This is effectively fostered by the car maker Renault, who in 2000 launched in Germany the «Renault Traffic Design Award». The competition credits not only completed projects, but also visionary concepts by students that demonstrate a inherent better quality. Looking at projects that have been awarded over the last six years, one notices a consistent increase in design quality. Individual traffic as much as the number of circulating automobiles being due to increase further in the next decades, the importance of good Traffic Design becomes more important every day-and not only in Germany — it seemed to make sense to gather various extraordinary projects from all over the world in one book, as a source of inspiration for designers, consumers and clients. As a whole, the projects not only show different cultural approaches to design, but also show the differing needs of different people, companies and their brands-this all in spite of ongoing globalization. But no matter how different they are, it is always important to plan ahead. Not just because most existing structures cannot fulfill the growing need for mobility, but also because new technologies and materials finally allow for more functional and-even more important-esthetical solutions to be implemented. A new way of thinking and approaching Traffic Design issues is badly needed and appropriate. After all, everyone everyday is confronted with this problem, not only car drivers.»

«Non Intentional Design (NID) is a term we have invented and which has not yet entered everyday linguistic use. (Perhaps this will change following publication of this book.) NID refers to the day-to-day redefining of the defined. NID deals with norms which are «abnormally» transformed — every day, everywhere, by everyone. It is about the use and the exploitation of objects already designed: the chair (also) becomes a coat stand, a surface to put things on, a ladder or — for example by piling books on the seat — a child's chair; staples are suitable for cleaning fingernails and for removing CDs from the computer; magnets on the fridge turn it into a notice board; steps are not just there to overcome differences in height, but also serve as seats and ramps for skaters; jam jars accommodate pens and Biros; cardboard boxes metamorphose into storage containers, a dirt track provides a shortcut... — the possibilities are endless. Look at your own living room, kitchen or desk from this perspective: you are no exception — you are also an NID person just like the rest of us. Non Intentional Design lends apparently unambiguous objects a polymorphism, implies transformation combined with clever invention and novel functions. NID is created out of necessity, convenience and play. It is frequently reversible and sometimes the product will be given a definite new application. NID does not want to design anything; no new design is being created here. It simply uses, converts, and generates something new or replaces something old as a result. NID could spare us much expense and trouble and could open design professionals' eyes to a more sensitive perception of their clients' requirements. The cultural diversity of the otherwise mainly globally organized and available world of products proves itself in usage only. It is high time to recognize the purely everyday, though exciting reinvention of all objects: because NID re-empowers people by returning to them their confidence and autonomous use of the object world.»