June 27, 2016

Another reason to visit the Frankfurt Book Fair 2016

The Frankfurt Book Fair, one of the leading book industry events for 2016, will open its door on October 19th. The fair boasts a fanfare of industry professionals from all over the world, and the Images Publishing team will feature among their ranks. 

IMAGES has provided exceptional books on design and architecture for over three decades and has been represented at Frankfurt for many years.  It’s a place where we are able to catch up with old friends and colleagues and meet new friends and forge new business relationships.

IMAGES is moving forward and creating new opportunities with electronic media and expanding its title range to include many academic publications, as well as highly illustrated coffee-table books on architecture, interiors and design.

Why not stop by?

It’s your chance to put a face to the name of IMAGES and we would be delighted to meet with you. So drop by our stand, Hall 6.1 C 129, and talk to the team about your publishing needs, pitch a potential book, discuss the opportunities to feature your work in our upcoming titles, or simply stop by to check out our latest releases, along with a collection of our standout titles.

This year, IMAGES will be represented by Publisher, Paul Latham, and team members from our Shanghai office.

May 27, 2016

Gehry in Sydney book launch

Sydney recently broke with a surge of excitement when it was announced that world-renowned architect Frank O Gehry had been commissioned to design the Dr Chau Chak Wing Building for the UTS (the University of Technology Sydney). As one of the most influential architects of this generation, there were many who, along with the city’s architecture and design communities, were understandably abuzz with anticipation.

Gehry is famous for many iconic buildings. Works to date include the Dancing Building in Prague, the Guggenheim Museum Bilbao in Spain, the Walt Disney Concert Hall in Los Angeles, and the Peter B. Lewis Library Building at Princeton University.

The design for his first building in Australia is unlike anything he has previously constructed. The outstanding result is a unique building skin with an undulating and corbelled brick veneer – laid entirely by hand – for the eastern façade facing Sydney’s city centre, and a chevron pattern in large sheets of glass for the building’s western façade.

Lucy Hughes Turnbull AO

Lucy Hughes Turnbull AO launched IMAGES’ book Gehry in Sydney at a special reception in the building on Friday 6 May, 2016. Speaking at the launch, Turnbull talked about the “sensational result which arose from a very good process, and it shows us all that there really is a design dividend from great design.”

Dr Liisa Naar

Co-author Dr Liisa Naar, a designer and postdoctoral research fellow at UTS, spent hundreds of hours as a “fly on the wall” as the building moved from concept to completion. Naar describes Gehry as a “genius” who “inspires us and stimulates us, as people who work and teach and learn in this building … when I walk towards it, it makes me smile.” As well as thanking the executive architects on the project, Daryl Jackson, Robin Dyke and Daniel Beekwilder of DJRD in particular, she also offered some glowing praise for the team at IMAGES. “Images Publishing … were a great team to work with, and Rod Gilbert in particular. We had so many phone calls over a two-year period, yet have never met in person”.

Turnbull has also been quoted as lauding Gehry in Sydney as a “stunning” book. “It has the most magical combination between text and narrative on the one hand with illustrations and snapshots of people’s perspectives. As a book of a building … it is really, I think, absolutely exceptional.”

You can read more about the launch on the UTS website at http://www.uts.edu.au/about/uts-business-school/news/gehry-building-pays-design-dividend-turnbull.



April 21, 2016

Our Collective Obsessions

by Stephen CraftiThis is an extract from Eclectic Collections.

PEOPLE HAVE BEEN collecting things for centuries.

Whether it’s something precious, or simply things that recall childhood memories, collecting can turn a simple hobby into a lifelong mission. What starts as a mild interest can, if left unchecked, turn into an obsession – always collecting the next piece of a much larger puzzle.

The collectors featured in this book didn’t start out with the collections they have now. It could have started with a wrong turn that led them to an antique market or secondhand store. In the case of Sarah Guest, who collects Australian timber boxes, she was initially looking for a chest of drawers for her daughter and spied a fairly rudimentary box made by an apprentice in the 1960s. One box led to the next, with her collection now comprising over 200 boxes.

Likewise, architect Phyllis Murphy’s collection changed direction in the 1980s. With architect husband John Murphy, the couple decided to move to the country. The discovery of an old painter-decorator’s shed, filled with hundreds of rolls of wallpaper dating as far back as the early 19th century, spurred her interest in wallpapers from the past. Thirty years later, Murphy has one of, if not the largest, collections of period wallpapers known. Each paper is carefully labelled and catalogued. While Murphy continues to look out for wallpapers, many people contact her directly who may have a paper of interest.

Other collectors, such as interior designer Sandy Geyer, have a large collection of contemporary jewellery. Her jewellery boxes are full of interesting pieces. Some, like the jewellery of the late Japanese-Australian artist Mari Funaki, are beautifully presented in Perspex cases in Geyer’s living room. Geyer regularly removes the lids of her cases to choose a brooch (some part sculpture, some part jewellery). Like many of the collectors featured in this book, Geyer was collecting contemporary jewellery in the late 1960s, when many people were still wearing pearls and twinsets.

Art collectors Harry and Susan Curtis also started looking at contemporary art in the 1960s, while many of the artists now in their collection were, then, unheard of. Rather than making a conscious decision to start an art collection, they came across a particular etching. The young married couple preferred to defer stocking their new home with household essentials, such as a mop or broom, as they took greater pleasure from the etching on their wall. Not surprising, this one etching led them in search of some of the other great contemporary artists of that time. What did they see that others failed to notice? Beata and Vann Fisher also saw the importance of collecting contemporary art. They now have an extraordinary collection of paintings, sculpture and objets d’art that has been beautifully incorporated into their home. Sliding walls and doors allow art to be rehung, creating a dynamic and ever-changing collection to show. Another collector, Corbett Lyon, has turned his home into a house museum in order to share his contemporary Australian art collection with the public. Michael Buxton’s art collection has also grown over the years, now representing one of the country’s largest and most significant collections of contemporary art.

Janni Lawford Soltys’ collection has taken a different direction. As a fashion model in the 1960s and 70s, Soltys was attracted to London’s flea markets and secondhand vintage clothing stores. Decades later, she has wardrobes and boxes brimming with designer fashion from the early 20th century to more recent times. It wasn’t until Japanese fashion designers made their mark in the early 1980s that Soltys realised the true value of these designs.

Rare shells, books, and paintings are featured in this book. However, there are also collections that are difficult to value. Suzie Stanford’s cake topper collection started with her parent’s wedding cake. Soon Stanford was on the hunt for another, and yet another.

This book not only captures a number of fine and precious collections, but collections that tell rich and fascinating stories. This book also observes the lengths people will go to in finding their next collector ‘fix’. One collector, who focuses on a single furniture designer from the mid-20th century, is not about to stop collecting. Every room in their house is brimming with furniture and what can’t be accommodated at home is stored in a warehouse. Nothing gives this collector more pleasure than a phone call from someone who has a piece of furniture by the same designer to sell. When asked why it’s so important to have another piece of furniture, there’s trepidation, something unexplainable.

Collecting is addictive – obsessive you could say – and can rarely be fully explained. And by the time it is explained it’s too late – one’s abode is filled with a collection that’s truly remarkable.

Eclectic Collections

People have been collecting things for centuries. Whether it’s something precious, or simply things that recall childhood memories, collections can turn a hobby into a lifetime obsession.

This latest book by Stephen Crafti, Eclectic Collections, looks at a number of great collections: contemporary art, vintage fashion, wallpapers, ceramics, contemporary jewellery, and even rare and fine books. Some collectors have customised their spaces at home to accommodate their collections, while others have transformed their abodes into warehouses, desperately trying to find room for their next acquisition.

A collector of designer hats even resorted to the bathtub to accommodate her collection. This book not only showcases great collections but draws out the collector's personality and their ‘hunt’ for the next piece in their extraordinary ‘puzzles’, each acquisition shedding new light on these impressive collections.


April 15, 2016

Relocating Place, Form and Identity - Leading Innovation Today

Written by Farooq Ameen for Fifty Under Fifty: Innovators of the 21st Century

Fumihiko Maki, the remarkably modest Pritzker recipient and architect of the new Four World Trade Center complex in New York, recently discussed his manifesto to a spellbound audience of nearly 3000 individuals in the most dense city in the world: Dhaka, Bangladesh.

It was not a coincidence that some of the world’s most creative designers, historians and activists had descended upon this unbridled South Asian megalopolis. The challenges facing its future and that of the large majority of cities will demand the most innovative design solutions. Maki’s ephemeral work is grounded by the timeless Vitruvial essentials of Utilitas, Firmitas, Venustas, (Durability, Utility, Beauty), of which the third is the most critical for him. The real test, according to Maki, is not visual tectonics but that the users experience delight (Venustas) by claiming the work as their own. This is the true measure of success in design innovation.

The primary proponent of the field of material ecology, Israeli architect Neri Oxman reminds us that the act of imagination is the key to nurturing innovation and perhaps the most critical aspect in a designer’s creative agenda. This is certainly true of the select group of designers whose work and philosophy have been presented in this volume. Whereas the imaginations of the 50 remain uniquely their own, they are exposed directly or indirectly to the innovative work of accomplished designers who are leading the innovative edge in all aspects of the design of the environment. We might organize these aspects in several categories to highlight key innovative principles: ecological urbanism, bio-mimicry, reinventing fabrication, rediscovering material, architectural alchemy, hedonistic sustainability, and relocating tradition. As is evident in the work presented here, innovative projects incorporate multiple aspects resulting in a complex, layered response to the challenge of place, form, and identity.

Ecological urbanism: think like a king, act like a peasant The dynamic Beijing-based landscape architect Kongjian Yu calls his practice Turenscape, derived from two Chinese characters: Tu-Ren. He explains that Tu means “land” or “earth” and Ren means “human being” or “man”; and that the ideology of his practice (literally earthman landscape) is about creating harmony between land and people. Eschewing the ornamental and cosmetic that is geared toward a highculture-seeking pleasure, he declares that China’s landscape, like that of many other rapidly growing Asian nations, is about survival from a crisis of energy and a shortage of clean water. Yet, it is the scale and pace of the challenge that has enabled Turenscape to implement ideas that are generally considered theoretical in the West, according to William Saunders, editor of Harvard Design Magazine.

The Shanghai Expo Houtan Park is a 34-acre (13.8-hectare) regenerative landscape built on a former brownfield industrial site on the Huangpu riverfront in the heart of Shanghai. The primary ecological strategies included the construction of a 1.06-milelong (1.7-kilometer-long) wetland that is a living machine treating contaminated water; it cascades to oxygenate the nutrient-rich water and a series of terraces that enable connectivity in the nearly 16.5-foot (5-meter) separation between the city and the river. A habitat-friendly riprap protects the shoreline and enables native species to grow.

Similar regenerative techniques slow down stormwater flow at the nationally celebrated Liupanshui Minghu Wetland Park, a formerly deteriorating suburban site on a channelized concrete river. In addition to stormwater management, the park cleanses the water, recovers native habitats, and creates dynamic public space. In both these projects, Yu challenges us to consider bold ambitious strategies, but to learn from vernacular techniques, to leave aside the cosmetic (elitist small feet aesthetic) for the regenerative (peasant big foot survival). In his words, we must “think like a king, act like a peasant.”

Material ecology: bio-mimicry, computation, and fabrication

In juxtaposition to the vernacular bio-mimicry and grand scale of Turenscape’s work in China, Neri Oxman’s goal is to “enhance the relationship between the built and the natural environments by employing design principles inspired or engineered by Nature.” She suggests that the emerging paradigm is that of the “world-as-organism” where there is a desire to “instill intelligence into objects, buildings and cities.” She contrasts this with the industrial revolution, or the “world-as-machine.” The field of material ecology is thus grounded in the premise that the “age of biology” will overcome the “age of the machine.” At the Mediated Matter design research group at MIT, she directs research in an arena that emulates nature at the confluence of computational design, digital fabrication, materials science, and synthetic biology.

These four fields are brought together in the design and fabrication of the two-part Gemini Acoustic Chaise Lounge, using 3D printing technology. The chaise features an enclosure that cushions the body within a colored, multimaterial, 3D printed cocoon, replicating the tranquility of the womb. A solid wood shell exterior protects the composite digital color lining, thus combining natural and synthetic materials. The technology enables specific pressure points on the body to act as a soundproof anechoic chamber. The Gemini and similar projects replicates nature’s ability for multi-functionality and mass customization as opposed to the mass production of the industrial revolution. Oxman declares that when “matter, fabrication and environment are integrated into an undifferentiated scheme … architectural design will have arrived at an ecology of the artificial: a material ecology”.

Reinventing material and craft: green steel of the 21st century

The inevitable connection between social justice, sustainability and material use is gracefully articulated in the iconic work of Vo Trong Nghia. He observes that “Green architecture … elevates human life by embracing the powers of the sun, wind and water into living space. If the current way of thinking does not change, sooner or later citizens will actually live in concrete jungles.” This holistic attitude informs the work which has developed an architecture derived from embracing local materials and traditional skills with a modernist aesthetic and technology. In fact, Vo believes that bamboo will replace other materials and is the “green steel of the 21st century.”  The Wind and Water Bar is an elegant expression of this aesthetic, enclosed in a bamboo structure located in the middle of an artificial lake and using prevailing wind combined with the cool lake water to provide natural ventilation; an open skylight at the top of the bamboo dome functions as an exhaust mechanism for the warm air inside. The structural bamboo arch system for the main frame integrates 48 prefabricated units, each of which is made of multiple bamboo elements bound together and built by local workers over a three-month period. Vo acknowledges learning about the Japanese “way of thinking toward climate and natural features” and discovered similarities with that of Vietnam, where he has incorporated them.

The Pritzker recipient Shigeru Ban also learnt from his native Japanese traditions through carpenters working at his parents’ home and was captivated by the tools and construction, wanting to become a

carpenter. His work is characterized by an elegant innovation that builds on this resourceful access to traditiwonal methodologies. The Pritzker jury recognized this experimental approach and cited his ability.to “see in standard components and common materials, such as paper tubes, packing materials or shipping containers, opportunities to use them in new ways. He is especially known for his structural innovations and the creative use of unconventional materials like bamboo, fabric, paper, and composites of recycled paper fiber and plastics.”

Ban originally proposed paper-tube shelters in response to the 1994 conflict in Rwanda. The techniques were further developed after the 1995 earthquake in Kobe, Japan, where he developed the Paper Log House for Vietnamese refugees. The aesthetics of cardboard tubes and bamboo have also been extended to conventional projects, like the Centre Pompidou–Metz or the Nine Bridges Country Club, which have undulating latticework roofs comprised of wooden strips inspired by a woven bamboo hat. Similarly, the Aspen Art Museum, a 33,000-squarefoot (3,066-square-meter) structure in Colorado has a woven exterior wood screen. As noted by the Pritzker jury chair, Lord Peter Palumbo, Shigeru Ban’s work demonstrates an “emphasis on cutting-edge materials and technology; total curiosity and commitment and endless innovation”.

Architectural alchemy and hedonistic sustainability

The innovative Danish architect Bjarke Ingels considers his projects as opportunities for crafting an architectural alchemy where “you take traditional ingredients that would separately be just “normal this” and “normal that,” and when you combine them, because of symbiotic relationships, you get much more out of the mix than if you were to leave them separate”. The work extends this perspective to a notion of hedonistic sustainability where comfort is creatively integrated, not compromised. He suggests that architects need to expand their role to become “designers of ecosystems” and not just individual buildings with static programs.

These notions are evident in the 8 House in Copenhagen, comprising a hybrid of offices and shops, two-story garden townhouses, and classic apartments. These are blended together in an infinity loop to form a figure-eight-shaped perimeter block where the row houses are located along a mountain path from the ground floor to the penthouse. This allows people to bicycle or walk all the way to the 11th floor and extends the public realm. The apartments are placed at the top, benefitting from sunlight and fresh air, while the commercial program unfolds at the base of the building merging with life on the street. There are two sloping green roofs strategically placed to reduce the urban heat island effect as well as to visually tie it back to the adjacent farmlands. The shape of the building allows for daylighting and natural ventilation for all units, a sort of hedonistic sustainability where form is shaped by environmental response. In addition, rainwater is collected and repurposed through a stormwater management system.

Bjarke Ingels Group’s reinvention of the “New York apartment building” is a hybrid between the European perimeter block and a traditional Manhattan high-rise. West 57th has a unique shape that combines the compactness and effciency of a European courtyard building providing density, intimacy and security, with the expansive views of a skyscraper. Its unique geometry opens up the courtyard to the Hudson River while bringing low western sun deep into the block. The work affirms the philosophy that “by hitting the fertile overlap between pragmatic and utopia, we architects once again find the freedom to change the surface of our planet, to better fit contemporary life forms”.


Relocating tradition

Kenneth Frampton’s seminal 1983 essay “Prospects for a Critical Regionalism” recognized that its practice “seeks to deconstruct universal modernism in terms of values and images which are locally cultivated, while at the same time, adulterating these autochthonous elements with paradigms drawn from alien resources.” The most prominent efforts until recently have been in the so-called developing world exemplified by the work of Geoffrey Bawa in Sri Lanka, Luis Barragan in Mexico, or Balkrishna Doshi in India resisting forces of internationalization. In this millennium, we live in a reverse paradigm where many prominent designers from Asia, Africa and South America are incorporating traditional insights with practices located in Europe or North America.

In a recent interview, David Adjaye observed that his African-British identity gives him “an altered perspective from others in the profession, in which Mies van der Rohe or Palladio have their place, but so do mud constructions in Mali.” The approach is to draw inspiration from many influences around the world with an enthusiasm for issues of place and identity. For the Smithsonian National Museum of African American History and Culture, the entire building is wrapped in an ornamental bronze lattice as a historical reference to African American craftsmanship. The density of this lattice pattern, which is integral to its identity, can be modulated to control the amount of sunlight and transparency. In strong contrast, at the Moscow School of Management, the built form responds to the harsh cold winters of Skolkovo. The main elements of the building are assembled as a single entity in which a range of facilities is internally connected and made accessible without going outside as on a traditional campus.

The work of Qingyun Ma is based on a “transcultural mission and cross-Pacific practice” that is steeped in a deep respect for Chinese tradition yet informed by a robust global sensibility. This bi-continental practice (MADA s.p.a.m.) and Ma’s dual role as a prominent educator in Southern California consolidate the access to some of the most innovative thinking in North America. His strategy to integrate these notions and gain acceptance and community ownership of his work is to involve local craftspeople and builders. He considers the design of his Father’s House in Xi’an, China as a journey that is a dialogue with his father.

The modernist vocabulary and details are not traditional, but the material is local and the technology is familiar, and was built by villagers his father grew up with. Eventually, the house has become a temple (Miao—something unfamiliar) symbolizing the Chinese notion of “presence” that connects his father’s past with the future.

In a similar approach to repositioning tradition, the Xian Television and Broadcasting Center takes its form literally from the image of the city of Xi’an where the Wall is the definition of the City. In the newly designated tourism development zone, traditional architecture has been adopted as the official style. Ma reconsiders the tradition by deforming the wall, thereby manifesting an evolution and differentiation from the past. This attitude about relocating tradition consolidates Ingels observation that “Architecture seems to be entrenched in two equally unfertile fronts: either naively utopian or petrifyingly pragmatic.” He believes that there is a third way wedged in between these diametrical opposites and calls for “a pragmatic utopian architecture that takes on the creation of socially, economically and environmentally perfect places as a practical objective.” In an increasingly connected global paradigm, the viability and competitiveness of our communities will depend on our ability to innovate and evolve while relocating our notion of place, form and identity.

Fifty Under Fifty: Innovators of the 21st Century

Fifty Under Fifty: innovators of the 21st Century | Architecture Books | Design InspirationThe architects, designers, artists and others represented in Fifty Under Fifty are innovators of our time.

After a world-wide search of 50 top architecture and design firms by the editors, lead author Beverly Russell along with Eva Maddox and Farooq Ameen help bring together a unique body of work; all partners in these firms will be 50 years old or under at the time of publication, and represent a forward-thinking generation of creative people, aware of global issues that urgently need solutions through imaginative design.

April 07, 2016

New Student Housing - New Ideas for Old Ways

Innovation certainly leads the charge for new student accommodations in Innovative Student Residences: New Directions in Sustainable Design. This exciting new book from Images Publishing looks at global trends that are shaping student accommodations. Written by McGill University’s architecture professor Dr Avi Friedman, this insightful book features projects from the US, Canada, UK, France, Spain, Netherlands, Norway, Denmark, Germany, Slovenia, Austria, New Zealand and Australia.

Chapters include Designing for New Realities, Flexibility in Student Housing, Integrative Approaches to Design, Green Residences, and Student Life, with inspired introductory essays to accompany each of these themes.

“With each century, evolving societal challenges have led to the shifting and resetting of architectural priorities in many nations. The need to remodel old design ideas, and act upon them innovatively, has taken on an added importance in the 21st century. Student housing is part of this process. It is therefore hoped that this book will be of value to contemporary designers, university administrators and future students.” – An extract from the Preface by Avi Friedman.

Current design models of student residences are facing challenges of both philosophy and form. Past approaches no longer sustain new demands and require innovative thinking. Fundamental changes in environmental, economic, and social factors have propelled the need for an entirely new outlook on the design and architecture for the ever-changing needs of students.

Thinking innovatively about the challenges facing university student accommodations led to the idea to write Innovative Student Residences: New Directions in Sustainable Design. Avi Friedman offers a fascinating insight into contemporary design concepts and illustrates them with outstanding examples, showcased by full-color photography and detailed plans.

Avi Friedman, PhD, is Professor of Architecture at McGill University in Montreal, Canada, where he directs the Affordable Homes Research Group. He is also a practicing architect specializing in sustainable residential design and is renowned internationally for his housing innovation, in particular for The Grow Home and The Next Home, which were built in several countries.

He has authored 16 books and is the recipient of many accolades, including the World Habitat Award, the Creative Achievement Award, and the Lifetime Achievement Award from Sustainable Buildings Canada. In the year 2000, he was selected by Wallpaper* magazine as one of 10 people from around the world “most likely to change the way we live” in the new millennium.

See the book on the IMAGES online bookstore by clicking here.

Innovative Student Residences Cover



 Firms featured in the book:

  • 2A Design (formerly CG Architectes)
  • AART 
  • Architectenbureau Marlies Rohmer
  • Architectus
  • Arge Werner Wirsing Bogevischs Buero
  • ARKITEMA Architects
  • Arons en Gelauff Architecten
  • Baumschlager & Eberle
  • Bevk Perović Arhitekti
  • Carrier Johnson + Culture   
  • Emmanuel Combarel Dominic Marrec Architectes
  • Fact Architects
  • GWP Architecture
  • H Arquitectes and dataAE
  • Hawkins\Brown
  • Haworth Tompkins Architects
  • JAHN
  • Kieran Timberlake
  • Lundgaard & Tranberg Arkitekter
  • Mack Scogin Merrill Elam Architects
  • Mahlum
  • Mateo Arquitectura
  • Mecanoo Architecten
  • MEK architects
  • NOBEL Arkitekter
  • OFIS Arhitekti
  • Régis Côté et associés, architectes
  • Steven Holl Architects
  • Studio E Architects
  • Studioninedots
  • Tempohousing Global
  • Tetreault Parent Languedoc & Saia Barbarese Topouzanov
  • Tony Owen Partners and Silvester Fuller Architects

Architecture and design practices/topics covered:

  • BREEAM and LEED Certification
  • Conservation – environmental and historical
  • Community Design
  • Environmental Design
  • Flexible Design
  • Green Construction and Green Roofs
  • Historical Development and Design
  • Integrated Learning
  • Integrative Design
  • Large-Scale Housing
  • Mixed-Use Housing
  • Modular Construction – Shipping Containers
  • Passive Design
  • Renovated Housing
  • Social Housing
  • Solar Power
  • Sustainable Housing and Technology
April 01, 2016


The IMAGES community has been saddened by news of the passing of Zaha Hadid. Like so many people around the world, Zaha’s vision for architecture was a constant source of fascination. Just as her architecture inspired us towards seeking design perfection, her life story was also a source of great inspiration. 

Zaha was highly awarded and lauded by her peers. In 2004, she was the first woman to be awarded the Pritzker Architecture Prize and was most recently recognised as the recipient of the 2016 RIBA Gold Medal, the first woman to win this award in in her own right.

We link here to a very revealing article written by Michael Kimmelman published in the New York Times 31 March, 2016. The article includes links to additional information about the life and work of Zaha Hadid.

April 01, 2016

Inspirational Design - A Talk with M. Ziya Cetik, Senior Designer, HOK

When we published Fifty Under Fifty: Innovators of the 21st Century with authors Beverly Russell, Eva L Maddox and Farooq Ameen, we expected it to attract considerable global attention. And ever since it was launched at the A+D Architecture and Design Museum in Los Angeles, it has. The book was designed by Pentagram in New York and the design—with its beautiful French-fold jacket and clean layout—speaks directly to its intended audience of design aficionados.  

Anything that is published by IMAGES that profiles emerging talent in architecture and design serves as a guide to who to watch on the design scene and what has placed them on this trajectory.

We thought we would speak to a handful of the designers featured in the book to tell us a little about what it meant to be featured in an IMAGES publication. Interestingly, many people who have been profiled say that they feel the responsibility of mentoring to a new generation of designers. More on that later.

The first “innovator” we’ve spoken to thus far is M. Ziya Cetik. Ziya, who works at the Los Angeles studio of HOK as a senior designer, focuses on creative interior environments, furniture, and lighting design. He is also an instructor at UCLA in the Interior Architecture masters program. At 35 years of age at the time of publication, he is possibly the youngest designer profiled in Fifty Under Fifty.

Ziya tells us that he first became aware of IMAGES’ titles when studying for his Bachelor of Interior Architecture at Istanbul Technical University. The library there featured an extensive collection of IMAGES titles that inspired his thirst for knowledge about the global design scene.

He joined HOK in 2011 after six years of previous professional experience, and in that time has consulted for a diverse international client base and delivered more than 65 projects, including workplace design, hospitality, retail and high-end residential. His clients have included LinkedIn, ICM Talent Agency, Annenberg Space for Photography, Angeles Investment Advisors, Unilever, SAP, Novartis, and Matras.

Ziya says that his attraction to architecture and design has been a long-term passion, derived from a curiosity to improve the world around him. This passion, he says, lead him to seek opportunities for education, to obtain specialized skills to develop inspiring, efficient and eye-catching built environments for clients. He lists among the architects and designers who have influenced him the most as BIG, Ross Lovegrove, Santiago Calatrava, Tadao Ando, and Herzog & de Meuron. And when asked to list the buildings that he most admires, he names the Milwaukee Art Museum, the De Young, and the building known affectionately as the Gherkin, Foster + Partners’ 30 St Mary Axe.

On living in the United States after having lived in Turkey, he says that both have been advantageous as he developed his own architectural language. He describes it as a never-ending search in which he has established a certain level of language in the detail of the spaces and products he designs.

When working in Turkey, Ziya gained experience consulting with many major firms from around the world, and we asked if this left him with any unique experiences. He explains that there were noticeable differences based on styles and taste, client expectations, awareness, and regulations which required flexibility, combined with extensive knowledge and background development.

So, what does Ziya say about the responsibility of mentoring new designers? He notes that new designers should follow their passions and dreams no matter what their situation might be, to stay focused and work hard, and that they will be rewarded and recognized for their work. It’s good advice, and advice which can be imparted by anyone mentoring the next generation’s leaders. Don’t you just wish you were one of his students at UCLA?

On being profiled in Fifty Under Fifty, he tells us that, “Being featured in this IMAGES publication has raised the bar so high about my goals and desire to succeed. It is motivational and inspiring to know that my work will be visible around the world.” But he counsels, too, by reminding us that, “Design is an endless journey. Have fun, be responsible and work hard.”

We will talk to other architectures and designers and bring you their thoughts on being featured in Fifty Under Fifty.

Fifty Under Fifty: Innovators of the 21st Century

Fifty Under Fifty: innovators of the 21st Century | Architecture Books | Design InspirationThe architects, designers, artists and others represented in Fifty Under Fifty are innovators of our time.

After a world-wide search of 50 top architecture and design firms by the editors, lead author Beverly Russell along with Eva Maddox and Farooq Ameen help bring together a unique body of work; all partners in these firms will be 50 years old or under at the time of publication, and represent a forward-thinking generation of creative people, aware of global issues that urgently need solutions through imaginative design.

Firms / individuals featured in the article

March 23, 2016

The Changing Face of China's Skyline

The skylines of many of China’s major urban centres have undergone a complete transformation in recent years. As a manufacturing and economic powerhouse, China’s cityscapes have been transformed by engineers and architects who have dared to challenge everything that was thought to limit what a tall building could and should be. It can be argued that if any building type ever symbolised the emergence of a nation as successful or an economic powerhouse, it is the tall building.

Published late in 2015, Tall Buildings of China, compiled by tall buildings specialist, Georges Binder, showcases more than 100 of the tallest buildings in China across 25 cities, including those towering over the megacities of Beijing and Shanghai, as well as the emerging supercities of Chengdu, Guangzhou and Tianjin. The result is the purposeful addition of density to limited and valuable space, in some of the world’s most restricted real estate.

The reader is treated to a flash tour of the major cities of China and its new buildings, from the supertall to the megatall, including many still under construction and due to be completed in 2016 and 2017. Buildings are presented in rich, full-colour photography and renderings, many with site plans and drawings, together with building specifications and credits.

Yet, tall buildings are not new to China. Binder summarises the history of the Chinese tall building landscape from the 1930s to the present day, touching on local expertise in the development of the tall building in the region’s history in the last century. It shows too, that the region has not shied away from developing partnerships with the world’s best names in engineering and architecture to make its goals attainable.

Tall Buildings of China

Edited by Georges Binder

Forewords by A. Eugene Kohn and James von Klemperer of Kohn Pedersen Fox, and Anthony Wood of the Council on Tall Buildings and Urban Habitat

Click here to purchase a copy of Tall Buildings of China direct from Images Publishing. 

Architectural Firms Included in this book are:

  • A+E Design
  • Adrian Smith + Gordon Gill Architecture
  • Aedas
  • Andrew Bromberg of Aedas
  • Architectural Design & Research Institute of Tongji University (Group)
  • Architectural Design and Research Institute of Guangdong Province
  • Architectural Design Institute of Sichuan Province
  • Architecture and Design Research Institute of South China
  • Architecture Design Institute IPPR (Xiamen) Engineer Co., Ltd
  • Arquitectonica
  • Arthur Kwok Architects & Associates Limited
  • Atkins Consultants (Shenzhen) Co., Ltd
  • Beijing Capital Engineering Architecture Design Co. LTD
  • BIAD (Beijing)
  • BIG
  • C.Y. Lee & Partners Architects/Planners
  • Capital Engineering & Research Incorporation
  • CCDI (China Construction Design International)
  • CERI Ltd
  • Changzhou Runwanjia Real-Estate Co., Ltd
  • Chengdu Sina Smith Group
  • China Architecture Design & Research Institute
  • China Architecture Design and Research Group
  • China Building Technique Group Co., Ltd
  • China Construction Beijing Architectural Design & Research Institute Ltd (CBADRI)
  • China Electronics Engineering Design Institute (CEEDI)
  • China Northeast Architecture Design Research Institute
  • China Shipbuilding NDRI Engineering Co., Ltd
  • China Southwest Architectural Design and Research Institute (CSADR)
  • China United Engineering Corporation, Hangzhou
  • Council on Tall Buildings and Urban Habitat (CTBUH)
  • Dayuan Architecture Design Consulting (Shanghai)
  • Dennis Lau & Ng Chun Man Architects & Engineers (HK) Ltd
  • East China Architectural Design & Research Institute (ECADI)
  • Gehry Partners, LLP
  • Gensler
  • gmp (von Gerkan, Marg and Partners | Architects)
  • Goettsch Partners
  • Gravity Partnership Ltd
  • Guangzhou Design Institute
  • Guangzhou Foreview Architect Institute
  • Guangzhou Residential Architectural Design Institute
  • HS Architects
  • Huasen Architectural & Engineering Designing Consultants Ltd Shenzhen
  • JAHN
  • Jerde Partnership International, Inc., The
  • Jiang Architects & Engineers
  • Jiangsu Provincial Architectural D&R Institute Ltd
  • John Portman & Associates
  • Kohn Pedersen Fox Associates
  • LDI
  • LWK Architects
  • MAD Architects
  • Maunsell Structural Consultants Ltd
  • Ming Lai Architects, Inc.
  • Mingkong International Design Co., Ltd
  • Mori Building Architects and Engineers
  • Nanjing Architectural Design & Research Institute
  • Nanjing Design Institute
  • NBBJ
  • Nikken Sekkei Ltd
  • OMA
  • P&T Group
  • Pei Partnership Architects, LLP
  • Pelli Clarke Pelli Architects
  • Qingdao Tourism Design Institute, Qingdao
  • RMJM Hong Kong
  • Robert A.M. Stern Architects
  • Rocco Design Architects Limited
  • Ronald Lu & Partners
  • RTKL Associates, Inc.
  • SADI
  • Safdie Architects
  • Shanghai Institute of Architectural Design & Research (SIADR)
  • Shanghai Xian Dai Architecture Design (Group) Co., Ltd
  • Shanghai Zhongfu Architectural Design Institute
  • Shenzhen Aoyi Architecture & Engineering Design Company
  • Skidmore, Owings & Merrill LLP (SOM)
  • Steven Holl Architects
  • Sunlight Architects & Engineers Co., Ltd
  • Tanghua Architects Shenzhen Co., Ltd
  • TFP Farrells Limited
  • TK
  • Tongji Architects (Shenzhen)
  • UNStudio
  • Xiamen BIAD Architectural Design Ltd
  • Zaha Hadid Architects


March 18, 2016

Discovering Melbourne’s Secret Architectural Landmarks

Dubbed as one of the most livable cities in the world, Melbourne is a treasure trove of secret spots with hidden basement stores, concealed doorway boutiques and historical marvels on offer for the adventurous.

The city of Melbourne boasts a labyrinth of laneways donning an eclectic collection of modern street art. During the day they play host to a myriad of trendy cafes and boutique shops. At night these laneways take on a whole new life as hidden doorways open up a magical world of bars and clubs that tantalise the senses. Melbourne is a city filled with heritage-listed buildings, juxtaposed against a modern architectural landscape and art deco hideaways.

This city is a 'must visit' experience and the following examples from Stephen Crafti’s Melbourne Secrets are likely to entice any would-be visitors.

* Melbourne Secrets is part of Images Publishing’s Interactive book series

Discover Melbourne’s Illustrious Past
 at the Old Treasury Building, located at the very top of Collins Street. In the Basement, you will see how gold was once stored. While the real thing has long gone, you’ll find replica of the bullion in a glass display case embedded into the blue stone floor. 

At the top of Little Bourke Street, also known as Chinatown, you find 24 Gordon Place originally called ‘Coppens Improve Dwellings and Lodging House’, and intended as a men's hostel. The 1884 pile, with its Gothic-style windows, was based on the Chelsea housing model, while the internal courtyards offered respite from the bustle of the city; the institutional arrangement of the actual hotel rooms will not appeal to everyone. At the bottom of Bourke Street, duck in and see the art nouveau style of Grossi Florentino, one of the city’s most exclusive restaurants. A Melbourne establishment, this restaurant includes a mural on the first floor by Napier Waller. His murals can also be seen in the Myer Mural Hall, located on the top floor of the Myer department store in Bourke Street.


Flinders Lane, once Melbourne's epicenter for the clothing industry is now a hub for galleries, cafes and boutiques, many of which are located below street level.

The City also includes significant architecture that is worth a look. There's the distinctive Federation Square with its shops and cafes, and it is also home to the Ian Potter Centre: NGV Australia. Designed by Lab in association with Bates Smart, Federation Square is a regular drawcard for Melbourne’s festival programmes, and artistic and cultural events. There’s also the RMIT Design Hub, located at the corner of Victoria Parade and Swanston Street; the glass-disked façades have gained attention both locally and internationally. Across the way, also at RMIT University, is ARM Architecture’s Storey Hall. If the hall is open, which is often the case, take the time to explore this building with it’s many rooms that serve different functions, and outstanding city views from the conference room.

Melbourne’s CBD could be seen simply as another large city, with its high-rise buildings and grid-like streets. And yes, there are the malls where you’ll find the large department stores, such as Myer and David Jones. But it’s in the city’s laneways that you’ll find a more bespoke Melbourne, with hidden gems along the way.

Darting down the laneways can bring some relief from the heavy traffic and bustle of the main thoroughfares. The little backstreets are also home to music venues, galleries and boutique fashion stores. A lot of the more interesting and unusual shops of Melbourne are tucked away down the lanes, perhaps because the rent isn’t as high.

The City of Melbourne’s Laneway Commission have given local and international artists the opportunity to create temporary works all over the city. Light Installations, interactive soundscapes, suspended sculptures, and even graffiti have drawn people to stop and look up and over, breaking them from the pattern of modern city hustle.

To read more from Melbourne Secrets by Stephen Crafti click here

March 11, 2016

Interactive Books - The Evolution of Architectural Publishing

Interactive Books | Architecture Books

Whether you love them or hate them eBooks have revolutionised the publishing world. The digital world has made books easily accessible to a whole generation of new readers. But how do you bridge the gap between print books and the online world?

The answer is interactive books which use key images with the printed book to open up exciting digital features through a mobile device.

Why Interactive Books?

An interactive book enriches the message or information contained throughout the book and opens up a diverse range of unique features to explore additional information.

Imagine yourself reading about the innovative designs of Moshe Safdie. You flip to a page providing an interior layout, only it has an interactive feature that transports you to the building itself, taking you on a walkthrough of the building in all its glory. Added to this, the narration from the architect as they take you through their design process.

An interactive book offers an added depth to their readers. Print Books and eBook formats are an experience in themselves. Interactive books combine the visceral aspect of a printed book with the convenience of a digitally interactive eBook. Interactive books make reading an entirely different story altogether.


Interactive books are the next step in architectural publishing. Allowing architects to speak to the readers. Textbooks on architectural theory can speak directly to students offering information in an additional format that allows it to be absorbed more easily.

Tasks could be set throughout the text to be completed by the student and directly sent to the professor for evaluation.

Not only does an interactive book let the architect speak directly to the reader, an interactive book lets the building speak directly to the reader.

Concept art, sound and intuitive 360-degree video allows the reader to take a virtual walkthrough of any influential architectural landscape without ever having to leave the comfort of their lounge.

To find out more about how the IMAGES Interactive Book App works, Click Here

Why Use Interactive Books? Why Not Just Use the Internet?

Put simply, convenience. Interactive books provide you with the information right when you are engaged with the topic. You don’t have to step away from the book to go the one step further to really get inside the topic you are reading.

Why Do Architects Need Interactive Books?

Interactive books let the architect make a real connection with the reader. You can speak to them directly. Offer them an insight into the mind. But for architects, the real value is the connection to potential clients. An interactive book can connect the readers directly to your site. Directly to where they can contact you.

Why Have IMAGES Created our Interactive Books range?

The world of publishing is constantly changing. Book lovers from all over the world are wanting more from the books.

And IMAGES readers are no different. They can get our books in print, to touch and smell. They can conveniently get them in eBook format. But interactive books bridge between the two that architects, designers and readers have been asking for.

And as the saying goes, ‘Give the people what they ask for!’.

To check out the current range of IMAGES interactive books, click here