In this beautifully executed, concertina-fold book, Allen Jones RA explores the human form and how painting on a figure is a vastly different process, and has vastly different results, to painting from a figure. The first half of the book features detail photography of the artist's sculpture series Waiting on Table. The second half concertinas out to reveal the front and back of one of Jones's most prominent sculptures, A Muse, which can also be displayed as a wall hanging. For many years as a student, Jones had to draw from casts of Greek and Roman sculptures. Over time he developed a reverence for their idealized bodies, heightened by the tactile purity of the white marble. It seemed sacrilegious to him, therefore, to discover later that the marble was often painted over with colour. Painting on a figure is quite different from painting the figure? is an observation that Jones has grown to embrace, and one that has greatly informed his practice. Like the Romans, Jones has discovered that colour matters. Jones was elected a Royal Academician in 1986. He is one of Britain's most distinguished artists from the pioneering Pop Movement, whose paintings and sculptures are held in many important international collections, including: Tate Gallery and the Victoria & Albert Museum in London, the Museum of Modern Art in New York, the Hirshhorn Museum and Sculpture Garden in Washington DC, the Museum of 20th-Century Art in Vienna, the Wallraf-Richartz Museum in Cologne, the Moderna Museet in Stockholm and the Stedelijk Museum in Amsterdam. Colour Matters is one of a collection of four artist's books by Allen Jones that Black Dog Press is releasing in September 2022.

A pioneer of the Pop Movement, Jones's many accolades include representing the UK at the Paris Biennale in 1963, where he received the Prix des Jeunes Artistes, and being elected a Royal Academician in 1986. There have been several prominent solo exhibitions of his work over the past 55 years, including: the 1978/79 painting and sculpture retrospective of his work at the Walker Art Gallery, Liverpool and the Serpentine Gallery, London; the 1995 retrospective of his complete graphic works at the Barbican Art Gallery in London, which for three years toured the world under the auspices of the British Council; and the 2007?8 shows where Jones's work was exhibited simultaneously at Tate Britain and The Royal Academy of Arts. To mark the artist's 75th birthday in 2012, a large, retrospective exhibition entitled Off the Wall, featuring sculptures, paintings, prints and drawings, toured through Europe, going on to tour venues in South America in 2015. In addition, a 2014/15 Royal Academy of Arts retrospective presented his work on thematic lines. Alongside his paintings and sculptures, which are held by many of the world's most revered art institutions, Jones has worked on large-scale commissions for a host of prestigious organizations and architects. These include mural projects in Basle, Zurich and London, and monumental sculptures in London, Hong Kong, Shanghai and China for the likes of Chelsea and Westminster Hospital, Yuzi Paradise Sculpture Park and Allen & Overy.

Allen Jones RA's 52-page book On the Road: Parking Markings takes the reader on a graphic visual journey by road. Since roads were first bisected by a white line, a pictorial language has evolved that, in classic parlance, is the first or Primitive phase in ever-developing visual vocabulary, says Jones. Parking markings were introduced during my final years as a student. Produced with stencils, these marks are enlivened by human error and chance. Because of increasing traffic during the 1960s a change was needed. Yellow represented a new and Classical phase, telling us what we should NOT do, the artist continues. Familiarity breeds contempt and by the 1990s the problem required desperate measures. Red, the colour of danger, anger and hell marked a third, Baroque phase in the developing language of road marking. During the 1950s we were asked politely  in white. During the 1960s we were told in yellow. During the 1990s we were shouted at in red. Now the air is blue. Jones was elected a Royal Academician in 1986. He is one of Britain's most distinguished artists from the pioneering Pop Movement, whose paintings and sculptures are held in many important international collections, including: Tate Gallery and the Victoria & Albert Museum in London, the Museum of Modern Art in New York, the Hirshhorn Museum and Sculpture Garden in Washington DC, the Museum of 20th-Century Art in Vienna, the Wallraf-Richartz Museum in Cologne, the Moderna Museet in Stockholm and the Stedelijk Museum in Amsterdam. On the Road: Parking Markings is one of a collection of four artist's books by Allen Jones that Black Dog Press is releasing in September 2022.

A pioneer of the Pop Movement, Jones's many accolades include representing the UK at the Paris Biennale in 1963, where he received the Prix des Jeunes Artistes, and being elected a Royal Academician in 1986. There have been several prominent solo exhibitions of his work over the past 55 years, including: the 1978/79 painting and sculpture retrospective of his work at the Walker Art Gallery, Liverpool and the Serpentine Gallery, London; the 1995 retrospective of his complete graphic works at the Barbican Art Gallery in London, which for three years toured the world under the auspices of the British Council; and the 2007/8 shows where Jones's work was exhibited simultaneously at Tate Britain and The Royal Academy of Arts. To mark the artist's 75th birthday in 2012, a large, retrospective exhibition entitled Off the Wall, featuring sculptures, paintings, prints and drawings, toured through Europe, going on to tour venues in South America in 2015. In addition, a 2014/15 Royal Academy of Arts retrospective presented his work on thematic lines. Alongside his paintings and sculptures, which are held by many of the world's most revered art institutions, Jones has worked on large-scale commissions for a host of prestigious organizations and architects. These include mural projects in Basle, Zurich and London, and monumental sculptures in London, Hong Kong, Shanghai and China for the likes of Chelsea and Westminster Hospital, Yuzi Paradise Sculpture Park and Allen & Overy.

This book features exclusive photography by the renowned artist Allen Jones RA. These images enable the shadows of his celebrated sculptures to become works of art in their own right, revealing a viewpoint previously unseen or unnoticed. Intermingled with views of the Jones's own home and household objects, Shadows is an intimate, beautiful and playful 60-page publication featuring previously unseen work by the artist. Light can transform a solid object into an insubstantial shadow, not a copy but a unique slant on the real thing, says Jones. Domestic shadows are anchored to their place but out of doors they can come alive seemingly of their own volition. Dependent on the sun and moon for their existence these shadow drawings will exactly repeat themselves only once a year weather permitting. Jones was elected a Royal Academician in 1986. He is one of Britain's most distinguished artists from the pioneering Pop Movement, whose paintings and sculptures are held in many important international collections, including: Tate Gallery and the Victoria & Albert Museum in London, the Museum of Modern Art in New York, the Hirshhorn Museum and Sculpture Garden in Washington DC, the Museum of 20th-Century Art in Vienna, the Wallraf-Richartz Museum in Cologne, the Moderna Museet in Stockholm and the Stedelijk Museum in Amsterdam. Shadows is one of a collection of four artist's books by Allen Jones that Black Dog Press is releasing in September 2022.

A pioneer of the Pop Movement, Jones's many accolades include representing the UK at the Paris Biennale in 1963, where he received the Prix des Jeunes Artistes, and being elected a Royal Academician in 1986. There have been several prominent solo exhibitions of his work over the past 55 years, including: the 1978/79 painting and sculpture retrospective of his work at the Walker Art Gallery, Liverpool and the Serpentine Gallery, London; the 1995 retrospective of his complete graphic works at the Barbican Art Gallery in London, which for three years toured the world under the auspices of the British Council; and the 2007/8 shows where Jones's work was exhibited simultaneously at Tate Britain and The Royal Academy of Arts. To mark the artist's 75th birthday in 2012, a large, retrospective exhibition entitled Off the Wall, featuring sculptures, paintings, prints and drawings, toured through Europe, going on to tour venues in South America in 2015. In addition, a 2014/15 Royal Academy of Arts retrospective presented his work on thematic lines. Alongside his paintings and sculptures, which are held by many of the world's most revered art institutions, Jones has worked on large-scale commissions for a host of prestigious organizations and architects. These include mural projects in Basle, Zurich and London, and monumental sculptures in London, Hong Kong, Shanghai and China for the likes of Chelsea and Westminster Hospital, Yuzi Paradise Sculpture Park and Allen & Overy.

Taking the form of a composition book, a classic style of American notebook. Written English is an Allen Jones RA artwork in book form. Over 40 pages, Jones playfully explores the English language, and its use? and misuse. Conquest and trade allowed the English language to become the World's lingua franca, perhaps because its phonetic and grammatical structure is more pliable than most languages, says Jones. Global, popular culture, advertising and newspapers have shown a creativity that has enriched and extended our English usage.? Jones was elected a Royal Academician in 1986. He is one of Britain's most distinguished artists from the pioneering Pop Movement, whose paintings and sculptures are held in many important international collections, including: Tate Gallery and the Victoria & Albert Museum in London, the Museum of Modern Art in New York, the Hirshhorn Museum and Sculpture Garden in Washington DC, the Museum of 20th-Century Art in Vienna, the Wallraf-Richartz Museum in Cologne, the Moderna Museet in Stockholm and the Stedelijk Museum in Amsterdam. Written English is one of a collection of four artist's books by Allen Jones that Black Dog Press is releasing in September 2022.

A pioneer of the Pop Movement, Jones's many accolades include representing the UK at the Paris Biennale in 1963, where he received the Prix des Jeunes Artistes, and being elected a Royal Academician in 1986. There have been several prominent solo exhibitions of his work over the past 55 years, including: the 1978/79 painting and sculpture retrospective of his work at the Walker Art Gallery, Liverpool and the Serpentine Gallery, London; the 1995 retrospective of his complete graphic works at the Barbican Art Gallery in London, which for three years toured the world under the auspices of the British Council; and the 2007?8 shows where Jones's work was exhibited simultaneously at Tate Britain and The Royal Academy of Arts. To mark the artist's 75th birthday in 2012, a large, retrospective exhibition entitled Off the Wall, featuring sculptures, paintings, prints and drawings, toured through Europe, going on to tour venues in South America in 2015. In addition, a 2014?15 Royal Academy of Arts retrospective presented his work on thematic lines. Alongside his paintings and sculptures, which are held by many of the world's most revered art institutions, Jones has worked on large-scale commissions for a host of prestigious organizations and architects. These include mural projects in Basle, Zurich and London, and monumental sculptures in London, Hong Kong, Shanghai and China for the likes of Chelsea and Westminster Hospital, Yuzi Paradise Sculpture Park and Allen & Overy.

Federico Solmi: Escape Into The Metaverse examines the work of Federico Solmi, a leading practitioner in the genre of new media art. As a narrative and figurative artist, Solmi utilises lurid colours and satire to portray a dystopian vision of contemporary society, highlighting the contradictions and fallibilities that characterize our time. Employing video, painting, drawing, sculpture, sound and digital game design, he creates a carnivalesque virtual reality with historical and present-day world leaders animated by computer script and motion capture performance in a critique of Western society's obsession with power. Inspired by real events and fabricated myths, Solmi explores, re-interprets and concocts celebrated moments in history. As reconfigured narratives, these social and political commentaries disrupt the mythologies that underpin Western society, revealing its ties to nationalism, colonialism, religion and consumerism. The book documents Solmi's unique process of melding traditional art practices and digital technologies in a case study of his most ambitious video-painting to date, The Bathhouse (2020). Pioneering new modes of cultural production and art experience afforded by the metaverse, Solmi's absurd rewriting of past and present merge dark humor and a sense of the grotesque in a virtual world that indicts our own reality. Solmi was born in 1973 to a working-class family in Bologna, Italy. He is self-trained and self-educated. In 1999, he moved to Brooklyn, New York, to pursue his career. His perspective reflects his outlook as a cultural voyeur, questioning the nationalistic and revisionist American mythologies that are often presented as fact. In 2003, Solmi began to experiment with the tools of video game design, fascinated by the parallel universe made possible by 3D graphics, which he saw as a structure to create narrative video sequences using drawings and paintings. Every visual texture is painted and scanned on the computer up to three times to achieve the intentional flickering effect. The art of Paolo Uccello, Giorgio Morandi and Giorgio di Chirico serve as references for his visual compositions, while the writings of Howard Zinn, Noam Chomsky and Oriana Fallaci serve as inspiration for his social and political commentary.

Federico Solmi (artist) Federico Solmi is a new media artist, best known for his sardonic video-paintings and video installations, with a multimedia practice that incorporates drawing, painting, sculpture, digital design and game design. Born in 1973 in Bologna, Italy, Solmi moved to Brooklyn, New York, in 1999, where he lives and works today. Solmi's work has been featured in numerous solo and group exhibitions in the US: Morris Museum, Morristown, New Jersey; Luis de Jesus Los Angeles; National Portrait Gallery, Smithsonian Institution, Washington, DC; Rowan University Art Gallery, Glassboro, New Jersey; Times Square Arts, New York; Tarble Arts Center, Charleston, Illinois; Rochester Contemporary Art Center, Rochester, New York; Block Museum of Art, Northwestern University, Evanston, Illinois; and Postmasters Gallery, New York. And internationally: Ocean Flower Island Museum, Hainan Province, Danzhou, China; Galerie Kornfeld, Berlin; ADN Galeria, Barcelona; 1335MABINI, Manila; Museo de Arte Contemporáneo del ZulIa, Maracaibo, Venezuela; Haifa Museum of Art, Israel; Dino Morra Arte Contemporanea, Naples, Italy; Centro Cultural Mantucana 100, Santiago, Chile; Gleichapel, Paris; Galerie Vernon, Prague, Czech Republic; Italian Cultural Institute of Madrid, Spain; Galerie Zimmermann Kratochwill, Fraz, Austria; and Galleri SE, Bergen, Norway; as well as international art biennials and festivals. His work is in the permanent collections of: The Phillips Collection, Washington, DC; Block Museum of Art, Northwestern University, Evanston, Illinois; Tarble Art Center, Charleston, Illinois; Buckhorn Sculpture Park, Sherry and Joel Mallin Collection, Pound Ridge, New York; 21C Museum Hotels, Louisville, Kentucky; OCT Contemporary Art Terminal, Shanghai; Thoma Foundation, Chicago and Santa Fe; Collezione Farnesina Experimenta, Rome, Italy; and Collezione BolognaFiere, Bologna, Italy. From 2016?19, Solmi was Visiting Professor at Yale University School of Art and Yale School of Drama, New Haven, Connecticut, and he is Guest Critic for 2022. His awards include a 2009 Guggenheim Fellowship for Video and Audio in the Unites States and Canada from the John H Guggenheim Memorial Foundation. Lawrence Weschler (contributor) Lawrence Weschler is an award-winning nonfiction author. For over 20 years, Weschler worked as a staff writer at the New Yorker (1981?2002) exploring topics ranging from art and culture to politics. His politically centered books include The Passion of Poland (1984); A Miracle, A Universe: Settling Accounts with Torturers (1990); and Calamities of Exile: Three Nonfiction Novellas (1996). His Passions and Wonders series includes Seeing is Forgetting the Name of the Thing One Sees: A Life of Contemporary Artist Robert Irwin (1982); David Hockney's Cameraworks (1984); Mr. Wilson's Cabinet of Wonder (1995); A Wanderer in the Perfect City: Selected Passion Pieces (1998); Boggs: A Comedy of Values (1999); Robert Irwin: Getty Garden (2002); Vermeer in Bosnia (2004); Everything that Rises: A Book of Convergences (2006); and Uncanny Valley: Adventures in the Narrative (2011). His most recent works include Wondercabinet: Lawrence Weschler's Fortnightly Compendium of the Miscellaneous Diverse (2021); And How Are You, Dr. Sacks: A Biographical Memoir of Oliver Sacks (2019); A Conversation with Liza Lou in the Liza Lou Rizzoli Monograph (2011); True to Life: Twenty Five Years of Conversations with David Hockney (2009); Deborah Butterfield, a survey of the artist's work at the LA Louver Gallery (2009); and Tara Donovan, the catalog for the artist's exhibition at the Institute of Contemporary Art, Boston (2008). He is the twice recipient of the George Polk Award (in 1988 for Cultural Reporting and in 1992 for Magazine Reporting); recipient of the 1998 Lannan Literary Award, and winner of the 2006 National Book Critics Circle Award in Criticism.

Edinburgh: An Architectural Portrait features an inspiring portfolio of imagery created over a ten-year period by the photographer and visual artist James Reid. Documenting the City of Edinburgh using digital, analogue and polaroid formats, the book captures the city's main conservation areas, with an emphasis on key architects, listed buildings and distinct aspects of the cityscape. Presented as a beautiful collection of black-and-white images, along with a handful of colour works, the book's digital images are a mixture of full-frame capture and large-scale composite pieces, along with a selection of 35mm analogue single-frame photography. These 'nclude panoramic views as well as more intimate perspectives, made possible by Reid's unique access to the city?s various buildings and structures of note. The book also features essays by five established Edinburgh-based artists ? Alastair Gordon (painter), Bruce Hare (artist and architect), Marianne Magnin (artist and curator), Merlin Ramos (painter) and Henry Stevens (artist and architect) ? each of whom offers a personally informed response to the city and how its architecture, art and history inform, influence and impact on them. The resulting publication is a unique visual mapping of the city's most architecturally significant areas that will appeal to not only architects, artists and academics, but also residence of and visitors to one of the world's most architecturally rich capitals of culture.

James Reid is an Edinburgh-based visual artist who has established his own distinct style using a range of photographic media (digital, analogue and polaroid), along with printing, drawing and airbrush techniques, to produce traditional and experimental works around the world. Reid received his MA in Fine Art Photography from De Montfort University in Leicester. His art practice is founded on the natural and built environment, and has evolved to include the capturing of large-scale architecture and structures, both during construction and upon completion. Recent projects include the book 70 St Mary Axe (Artifice Press, 2020), which features Reid's detailed visual record of the major central London development of the same name, from concept through to completion.

Leon Polk Smith: Big Form, Big Space accompanies the recent exhibition of the same name at the Contemporary Art Gallery (CAG), Vancouver (2021) and its extended presentation at Palm Springs Art Museum, California (2022), focusing on paintings and works on paper that chart a key moment in Smith?s career. Born outside Chickasha, in what would become Oklahoma, Smith grew up in a farming community among the Chickasaw and Choctaw nations. During the 1950s, his work moved away from the Eurocentric impulses of his formative years to introduce and connect to themes, ideas, forms and conditions present in his rural upbringing and personal identity. Including critical essays by Barry Schwabsky and Ashley Holland, this extensively illustrated publication features a series of wide-ranging readings of Smith?s work, examining the complexities surrounding issues of context, time and identity within an appreciation of his place in hard-edge modernist abstraction. Leon Polk Smith (1906?1996) holds a unique place in the tradition of American geometric abstract painting, heralded for his lifelong commitment to simple shapes, brilliant colours and intense compositions. Since his first solo exhibition in New York City in 1941, he has been the subject of numerous retrospectives, with work included in major collections, such as the Art Institute of Chicago; Brooklyn Museum; Crystal Bridges Museum of American Art; Solomon R Guggenheim Museum, New York; Hirshhorn Museum and Sculpture Garden; Los Angeles County Museum of Art; Metropolitan Museum of Art; Museum of Modern Art; National Gallery of Art, Washington, DC; and Whitney Museum of American Art.

Ashley Holland Ashley Holland is Associate Curator at Art Bridges Foundation, Bentonville, AR. Prior to Art Bridges, Holland was Assistant Curator of Native Art at the Eiteljorg Museum of American Indians and Western Art in Indianapolis. Holland earned her doctorate in Art History from the University of Oklahoma, Norman with a focus on Indigenous identity, cultural memory and issues of diaspora in Cherokee contemporary art. She received her MA in Museum Studies from Indiana University-Purdue University, Indianapolis and her BA in Art History and Religious Studies from DePauw University in Greencastle, Indiana. Holland is a citizen of the Cherokee Nation and currently lives in Rogers, Arkansas. Holland was recently the moderator for the roundtable discussion during Thinking, Making, Writing: A Mini-Symposium on Indigenous Studies and Art History in the Museum, Classroom, and Community, co-organised by Crystal Bridges Museum of American Art and the University of Arkansas School of Art, Department of Art History. Nigel Prince Nigel Prince took up the position as Director of Artes Mundi in Cardiff, UK at the end of 2019. Prior to that he was Executive Director at the Contemporary Art Gallery, Vancouver, Canada, Curator at Ikon Gallery, Birmingham, UK and worked on founding International Project Space (IPS) also in Birmingham. Prince began his career at Tate Liverpool and alongside curatorial work has held several academic and research posts including Course Director at Birmingham City University. His work with contemporary artists is extensive and includes a vital range of partnerships with institutions including Ballet BC, Birmingham Contemporary Music Group, and museums and galleries worldwide. Prince continues to write about contemporary art for a wide range of publications and journals, most recently contributing to monographs on Lucy and Jorge Orta and Julia Dault. Barry Schwabsky Barry Schwabsky is an American art critic, art historian and poet. He has taught at the School of Visual Arts, Pratt Institute, New York University, the School of the Art Institute of Chicago, Yale University and Goldsmiths College, among others. He is art critic for The Nation and also writes regularly for such publications as New Left Review and Artforum (where he is co-editor of international reviews). His art criticism books include: Words for Art: Criticism, History, Theory, Practice (Ram Publications); The Widening Circle: Consequences of Modernism in Contemporary Art (Cambridge University Press); and contributions to Abstract Painting: Concepts and Techniques and Vitamin P: New Perspectives in Painting (Phaidon Press). He has published books on Jessica Stockholder (Phaidon Press), Mel Bochner, Chloe Piene, Karin Davie, Dana Schutz, Alex Katz, Gillian Wearing: Mass Observation (Merrill Publishers), Henri Matisse and Alighiero Boetti, among others.

A fascinating and long-overdue study of the artistss work spanning five decades of her diverse practice, this comprehensive and thought-provoking book provides an overview of Marianness oeuvre. It also creates dialogues between different periods of her work by presenting them alongside one another ? many shown this way for the first time in print. From her spontaneous, gesturally abstract drawings of the 1970s, to her bolder, more defined, large-scale drawings that gained public attention at the 1980 Venice Biennale, to her lesser-known sculptural and photographic works, to the wall painting created for Kunstmuseum Basel in 2018 ? this book spans the artistss creative scope. The characteristic linear forms that underscore Marianness practice come from the meditative process of drawing she developed in her lifetime, whereby she externalised her personal experiences onto paper. Marianne Eigenheer documents beautifully how the artist created a highly distinctive and recognizable visual language by working in this way throughout her career. The book also features a selection of essays by a diverse group of writers that discuss and explore the different aspects of Marianne's practice, shining a light on her work as artist, writer, curator and teacher.

Marianne Eigenheer (1945-2018, Swiss) was a renowned artist and active academic whose work has been exhibited across Europe, Australia and the United States. As a child, Marianness parents had aspirations for her to become a pianist, although she wanted to become a composer. Instead, she began drawing and painting after finishing school and went to art college in Lucerne, Switzerland. Marianness work was featured in Achille Bonito Oliva and Harald Szeemannss seminal Venice Biennale exhibition Aperto 80 in 1980, as well as in numerous solo and group exhibitions in Germany ? Bonner Kunstverein, Volker Diehl, Galerie Volker Diehl, Zeppelinmuseum and Ludwig Forum fur Internationale Kunst; in the US ? Holly Solomon Gallery and the Swiss Institute in New York; and at the Manege Central Exhibition Hall in St Petersberg, Russia, Perth Institute of Contemporary Arts (PICA) in Australia, and the Meguro Museum of Art in Tokyo, Japan. Her work has also been exhibited in Switzerland at sic! Raum für Kunst in Lucerne, von Bartha in Basel, and at the Kunstmuseum Basel in 2018. During her academic career, Marianne was Professor and Director of the Institute for Curatorship and Education at Edinburgh College of Art, where she was granted an honorary professorship in 2009, having worked previously at several universities and art colleges, including the University of Art and Design, Offenbach, and the State Academy of Fine Arts in Stuttgart.

Contrary to what one might imagine, there is no such thing as an experience designer. At least not in the sense that we might talk of an individual recognized as such. To make experiences is to be human. Shaman, architect, food engineer, you name it, they are all experience designers. Informed by an understanding of people's needs and wants, our stories, our rituals, our myths, the beautifully designed experience has the power to transform lives. The Experience Book is an ode to that power. Essentially, it is a book about time and how we use it to design and make experiences that define the spaces we live, work and play in. Divided into a guidebook and a sourcebook, it begins by explaining what it is about the human mind that so deeply feasts on the notion of the experience, and then employs this knowledge to suggest a method or framework for designing experiences. The guidebook done, the sourcebook serves as inspiration for the art of experience design, with precedents drawn from the past 35,000 years? worth of transformative experience making. The first publication about the attributes that together make what is fast becoming a recognized discipline, The Experience Book is beautifully presented. Comprised of a wonderfully eclectic range of written forms, illustrated by a fantastic mix of drawings and photography, and backed by historical and contemporary examples from the worlds of architecture, branding, fashion, music, art, sport and business, it introduces the maker of experiences as part ethnographer, storyteller, master planner and performance artist. Challenging the orthodoxy of function, reasserting process over monument and product, delighting in the unexpected, and championing the spectator over the spectacle, this is a book for anyone interested in the power of design, be they creator, communicator or consumer.

Adam Scott and Dave Waddell have spent more than a decade thinking, talking and writing about the making of experiences. An architect, stone mason, designer and teacher, Adam is something of a polymath and has won a number of Cannes Lions, not least for Blackpool's Dune Grass, the tallest freestanding kinetic public art installation in the world. Along with Dave and his team at FreeState, working with some of the worldss greatest brands, urban planners, developers, architects and place activators, he has helped pioneer the concept of experience masterplanning for the likes of NIKE, Sony, Google, MTV, Manchester City Football Club, The Crown Estate, University of Glasgow, University of Melbourne, Network Rail, Transport for London and Melbourne Airport. It is an approach designed to help architects and developers properly meet the needs of the people they are designing and building for. As well as hosting the FreeState podcast, Adam's experience, knowledge and eloquent advocacy for the transformational experience make him a sought-after keynote speaker, host and judge. In addition to helping design Central Saint Martins narrative environment curriculum, Adam is a visiting lecturer and mentor at the renowned London-based arts and design college. Dave is a writer, design strategist, teacher and one-time whisky aficionado. Having spent many years writing on the side while working as a primary school teacher, he set up his own copywriting company in 2010 and cut his teeth as a design, travel and drinks writer soon after. Following a revelatory experience visiting a distillery in Islay, Scotland, he became a budding whisky enthusiast, authored Whisky: The Knowledge (2015) and was, for a time, a world whisky awards judge. Having worked with Adam since his teaching days, much of Dave's work in design is experience-based and is today largely and similarly focused on ensuring that architects and urban planners build the things that people need and want. He is co-author of House Paint & Other Stories (2014) and the architectural monograph From Now On (2020). As well as their blogs and articles, Adam and Dave collaborated on RETHINK Design Guide: Architecture for a post-pandemic world (2021). The Experience Book is their first full-length book.

Existing histories of modern architecture typically give their highest praise to private houses and their most severe condemnation to architect-authored urban plans, often neglecting the built works that are no smaller than a single building and possibly as large as an urban block, the middle or institutional scale, where culturally significant urban transformation actually takes place. Urban architecture is a timely topic as today cities worldwide are suffering accelerated urbanization, which is often dehumanizing and destructive, especially to the unbuilt environment, airs, waters and soils. The middle or institutional scale is shown to activate and actualize latent potentials for cultural experience and environmental intelligence, allowing the city to surprise itself and delight in its discoveries. In Projecting Urbanity, David Leatherbarrow, via author-architect texts by his former doctorate students, lays out the basis for a revision of modern architecture's contribution to cities and their culture. Presenting a series of texts featuring buildings or their parts of various scales from the construction detail, to the room or garden, to ensembles within a neighborhood ? the contributors introduce concepts for contemporary and future urban architecture, together with richly indicative examples from the past several decades. While architecture cannot solve today's urban problems, it certainly has a role to play in their productive transformation, articulating opportunities for life and culture that are more humane, less wasteful, and more beautiful.

David Leatherbarrow is Emeritus Professor of Architecture at the University of Pennsylvania School of Design, Philadelphia. Previously he taught theory and design at the University of Cambridge and the Polytechnic of Central London. He has lectured throughout the world and has held guest professorships in Britain, Denmark and China at Southeast University. Questions of how architecture appears, how architecture is perceived, and how topography and architecture shape one another orient his research. He is the recipient of the 2020 Topaz Medallion, the highest award given by the AIA and ASCA for excellence in architectural education.