Cycles Brillant. 1925. A. M. Cassandre.

30 3/8 x 46 1/8 in./77.1 x 117.2 cm

This is one of Cassandre’s most economically realized images, with every line, curve, and shape serving a well-defined function. It is also one of his rarest: it nearly defies logic that such a splendid image was not preserved with more available copies. The reason may well be that this was one of the very first posters ever created by the master.

Available at auction October 30.


David Robinson, Speak (1980).

This piece is displayed at Regent College in Vancouver, where it is described this way: “Speak was created by local Vancouver artist David Robinson as a homage to the preacher. The preacher hangs inside the pulpit—a thin, vulnerable human, whose life is given to preaching God’s word. This piece is a call to humility for all of us, as we go about serving God in our varied vocations.”


Today we say goodbye to the eminent graphic designer, Elaine Lustig Cohen (1927-2016). Her website provides a fitting description:

A high point of book publishing of the 1950s and 60s, Elaine’s typographic, abstract and photographic book jacket designs are a unique style of American modernism characterized by inventiveness and clarity.

Thank you, Elaine, for showing us how to speak visually, boldly, concisely. 

The Bible Design Blog with first thoughts on the 6-volume ESV Reader’s Bible. Crossway continues to experiment, very intelligently and artfully, with different modes of presentation — but I don’t know thast any other Bible publishers are following their lead. We can at least hope that the Bibliotheca project eventually comes to fulfillment.

Léon Stynen & Paul De Meyer, architects, in collaboration with prof.-ingenieur André Paduart & architect André Vlieghe, Sint-Rita, Harelbeke, 1960-68

The city of Liège, Belgium in 1914, under siege, and in 2009. When, in August 1914, the German armies decided to cut through Belgium on their way to France, thereby mocking the treaty Germany had signed to protect the integrity of Belgium, they expected no resistance. They got resistance.

Their immediate response was to burn a nearby village to the ground, shoot a good many random civilians, and round up Catholic priests and execute them on the totally spurious, invented-on-the-spot grounds that they were spies working against Germany. All that happened on the first day of the German invasion. When those actions did not lead to a Belgian surrender, the Germans sent zeppelins over the city to terror-bomb it into submission.

The notion that the Great War was fought in a relatively civilized way, and that it was only World War II that introduced terror against civilians as an essential element of military strategy, is belied by these first events of the earlier conflict. The German army didn’t continue in this vein simply because it couldn’t: it had limited access to major population centers for the rest of the war. But from the moment the war began the Germans were prepared to destroy anyone who stood in their war, without regard to any other consideration, no matter how time-honored or essential to humanity.


”The Italian Futurist Fortunato Depero’s 1927 monograph Depero Futurista, also known as The Bolted Book, because it is famously bound by two industrial aluminum bolts, is acknowledged as the first modern-day artist’s book. Filled with typographic experimentation and serving as a showcase for Depero’s art in a variety of media, it is universally recognized as a tour de force of avant-garde book-making.

Designers & Books, in collaboration with the Center for Italian Modern Art in New York, and the Mart, Museum of modern and contemporary art of Trento and Rovereto, Italy (which houses Depero’s archives), will launch a Kickstarter on October 18 to publish a new facsimile edition of this rare and groundbreaking book.” [source] [pdf press release]



Takefumi Aida 

’ It’s impossible to make architecture move, although i’d like to’ T. Aida

Aida started with ‘silence’ in earlier seventies, toying with ‘playfulness’ metaphor for a series of residential projects structured from images of child’s building blocks. But

from mid-eighties onwards, he purposes a system of architectural ordering _ fluctuation_ applying this on its metaphorical usage more than in its physics terms.

Moving from the theory of fluctuation to fluctuating architecture Aida manages the perception of movement created by people’s passage through his work with a carefully controled sequence of unfolding views that the visitors generate as they move.

He has applied this concept of (yuragi) ‘fluctuation’ to civic spaces, mixed-used architectures and to one of Tokyo’s modern sacred sites, theTokyo Memorial Park as you can see on images above.

Keep reading

Lin employed an equally timeless form for the nearby Riggio-Lynch Chapel of 2004, a simple but beautifully crafted wooden structure whose subtly curving contours recall those of a boat, a reference that harks back to early Christian iconography of the church as a barque akin to that of Jesus and his apostles as they fished on the Sea of Galilee. Indeed, the architectural term “nave” — the main enclosure of a sanctuary—stems from the Latin navis (ship).

The Quiet Power of Maya Lin by Martin Filler | The New York Review of Books. Filler is so right about Maya Lin, but it’s curious that neither he nor his editors know that the primary reference of church-as-navis is to Noah’s ark. The Church is the ship of salvation, the instrument of God’s rescue of His people, as the Ark had been earlier.