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  <url>
    <loc>https://www.readingdesign.org/work</loc>
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    <lastmod>2019-09-06</lastmod>
    <image:image>
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      <image:title>Visual</image:title>
      <image:caption>Max Creasy documents the ad hoc, contemporary vernacular furniture he encountered in Crete.  Ingenious, surprising, often surprisingly solid, many of the pieces he finds express what Richard Wentworth has termed 'making do and getting by'.  Yet in their functional lack of concern for conventional aesthetics so many of these things become quite beautiful; mixing materials and metaphors, unselfconsciously arranging objects and containers like an artwork - a Morandi or a surrealist tableaux. http://maxcreasy.com/  © Max Creasy</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/546c4e6be4b03de55205641b/1477670098070-4ZM3WARXAGWIACQ02NQP/Ray+of+light%5Bbw%5D_ed.jpg</image:loc>
      <image:title>Visual</image:title>
      <image:caption>Graphic designer Christian Küsters' photos of his East London environs including images of architectural landmarks the Balfron Tower and Robin Hood Gardens. These are a selection from his book available via his website www.chkdesign.com. More images on https://www.instagram.com/chkdesign/ © Christian Küsters</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/546c4e6be4b03de55205641b/1447148367255-QDQDQ5UF01WXAXN84MHI/01+copy.jpg</image:loc>
      <image:title>Visual - INFORMAL ARRANGEMENTS</image:title>
      <image:caption>Improvised back alley seating in Hong Kong. Captured by long-time resident Michael Wolf, the chairs speak of how these hidden lanes are used for momentary rest and how discarded items are brought back to life. This is no chic upcycling, just functional and inventive re-use. The haphazard arrangements form a captivating urban still life.  “Hong Kong’s back alleys are often unnoticed against their more glamorous counterparts of dazzling architecture. However, they present an authentic slice of Hong Kong’s grass roots culture. In my opinion they should be nominated as a heritage site.” – Michael Wolf. © Michael Wolf. Images courtesy of Flowers Gallery, London</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/546c4e6be4b03de55205641b/1481885491541-9SGPWDLGH2A60FLPSTW0/1002_copyright+Michael+Johnson_Woman+in+White+and+Black+Dress_c1965_Lever+Gallery.jpg</image:loc>
      <image:title>Visual</image:title>
      <image:caption>When a group of Italian illustrators left the Cinecitta studios in Rome and arrived in London in the early 1960s they found a grey city receptive to their bold, colourful, sexy illustrations. Together with some like-minded British counterparts they flourished for a few short years in a quick-fire environment of trashy paperback covers, film posters and magazine illustrations. These works (courtesy of the Lever Gallery) illustrate the dynamism of an illustration style that helped sixties London swing.    Michael Johnson, White and Black Dress, c. 1965, acrylic on board. Johnson painted this to pitch to art directors at fashion magazines. It was one of the first images Johnson created with acrylic paint, which first became available in the 1960s. Before this, illustrators used egg-based casein paint. The new acrylics had greater colour depth and were more resilient than casein being almost waterproof once dry. ©Michael Johnson, courtesy of Lever Gallery</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/546c4e6be4b03de55205641b/1489000626661-I8FEX78ZP7T981ZO59TK/01-Andy_Mattern-Temporary_Fix-1100229.jpg</image:loc>
      <image:title>Visual - TEMPORARY FIX</image:title>
      <image:caption>US visual artist Andy Mattern's series of photographs reveals a well of latent artistic talent. With thanks to Andy Mattern. andymattern.com ©Andy Mattern</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/546c4e6be4b03de55205641b/1489000161530-DLTO5G5P2SCK61HN84JR/time_machine_01.jpg</image:loc>
      <image:title>Visual</image:title>
      <image:caption>TIME MACHINE: BUDAPEST STAIRCASES The staircase in an apartment block is a vertical street, a part public/part public route which is as much about representation as access. Balint Alovits' photos of spiralling Budapest stairs give an impression of infinity, a sense of swirling vertigo but they also underline the architectural invention and thought that was applied to what might otherwise have been purely functional. With thanks to Balint Alovits. http://www.balintalovits.com/   ©Balint Alovits</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/546c4e6be4b03de55205641b/1492093217137-IV43XMB7JOTOPD4Z5GHP/Die+Stahl+Kirche_1.jpg</image:loc>
      <image:title>Visual - Die Stahl Kirche</image:title>
      <image:caption>Copper &amp; Brass Research Association, New York</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/546c4e6be4b03de55205641b/1497879330701-579EXVQ5KA4G4CYS0JKW/1-Curry%27s+Auto%2C+8081+Livernois+Ave.%2C+Detroit%2C+1998+Sign+by+Eugene%2C_.jpg</image:loc>
      <image:title>Visual - THE OTHER SHINOLA</image:title>
      <image:caption>Photographer Camilo José Vergara has been returning to Detroit regularly for 40 years. He documents the destruction and the ruins but he has also been recording the signs and murals of the city, the visual legacy of African American culture. With a remarkable diversity of style, scale and subject, the paintings on the walls are fading but in Vergara's photographs they shine. Read Vergara's proposal for The Other Shinola here. Curry's Auto, 8081 Livernois Ave., Detroit, 1998. Sign by folk artist Eugene. © Camilo José Vergara  </image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/546c4e6be4b03de55205641b/1501055375607-XNAMCJ3ZS5MP2QBORO5M/Boscombe.jpg</image:loc>
      <image:title>Visual</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/546c4e6be4b03de55205641b/1520848465781-TMP26CGGYP9TVV7Z7QDK/DSC03356.jpg</image:loc>
      <image:title>Visual - REPAIRED CARS</image:title>
      <image:caption>This selection of photographs of vehicles with repaired and replaced panels and doors is by Daniel Eatock.  That this harlequin approach to repairs looks so odd is the perfect illustration of how absurd the automotive model is - a product prone to scratches and knocks finished in a vulnerable gloss.  These ad hoc replacements should, Eatock suggests, be celebrated and enjoyed.     With thanks to Daniel Eatock.  eatock.com ©Daniel Eatock See also Eatock's Mini-Manifesto here.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/546c4e6be4b03de55205641b/1539786324021-8HMMOJ3V1KPAA326XDV6/A2_080_DSB_Soweto_1_1970.jpg</image:loc>
      <image:title>Visual</image:title>
      <image:caption>Denise Scott Brown's photos from the 1950s and 60s, a few of which are shown here, reveal the beauty in a seemingly commercial cityscape with little regard for aesthetics or finesse in much the same way as did her writing. She used photography to find the humanity in the street and her quickly-taken shots echo the work of her contemporaries in photography - Joel Meyerowitz, Saul Leiter, Fred Herzog, Gary Winogrand and the others who revitalised street photography with colour and an eye for moments of visual pleasure in the everyday. Yet there was no pretence that these were art. 'Just shoot,' she said. With thanks to Denise Scott Brown. Soweto, South Africa, 1970, Photo by Denise Scott Brown, courtesy of Venturi, Scott Brown and Associates, Inc. © Denise Scott Brown</image:caption>
    </image:image>
    <image:image>
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      <image:title>Visual - Roadside America</image:title>
      <image:caption>On a series of road trips across the US over forty years (1969-2008), John Margolies recorded the fading remnants of a culture of roadside architecture which was under threat from freeway building, changing taste and corporate fast food. His photos of the bizarre, the surreal and the often downright brilliant examples of twentieth century popular architecture are credited with giving the development of Post-Modernism a critical boost and giving the culture of architecture a much-needed shot of humour and expression in the 1970s and 80s. The photos were, in their own way, as important as the writings of Robert Venturi and Denise Scott-Brown and Charles Jencks in arguing for a more inclusive and more entertaining canon of modern design. Big Fish Supper Club, Route 2, Bena, Minnesota, 1980 © John Margolies</image:caption>
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      <image:title>Visual</image:title>
      <image:caption>Fac 51 The Haçienda (better known simply as The Haçienda) was a nightclub and music venue in Manchester, England. It became most famous during the "Madchester" years of the late 1980s and early 1990s; during the 1990s it was labelled the most famous club in the world by Newsweek magazine. The Haçienda opened in 1982, and despite considerable and persistent financial troubles survived until 1997 – during much of this time the club was mainly supported by record sales from New Order. The Haçienda is associated with the rise of acid house and rave music.</image:caption>
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      <image:title>Visual</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/546c4e6be4b03de55205641b/1418306854079-WJKN9M4GQIHW15W98BI2/FK05.2004.jpg</image:loc>
      <image:title>Visual</image:title>
    </image:image>
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    <loc>https://www.readingdesign.org/new-cover-page-1</loc>
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    <priority>1.0</priority>
    <lastmod>2017-06-07</lastmod>
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      <image:title>cover</image:title>
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    <loc>https://www.readingdesign.org/urban-detective</loc>
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    <lastmod>2017-04-05</lastmod>
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    <loc>https://www.readingdesign.org/tag-wiles-will</loc>
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    <lastmod>2016-04-28</lastmod>
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    <lastmod>2018-06-29</lastmod>
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    <loc>https://www.readingdesign.org/tag-art-1</loc>
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    <lastmod>2018-01-24</lastmod>
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    <lastmod>2018-05-11</lastmod>
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    <lastmod>2016-05-10</lastmod>
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      <image:title>Is Irony Killing Design?</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/546c4e6be4b03de55205641b/1430404725942-GTTH221J0PYGKTNBQJ4D/Swiss+cheese+wedge</image:loc>
      <image:title>Is Irony Killing Design?</image:title>
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    <lastmod>2018-09-07</lastmod>
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    <lastmod>2020-03-13</lastmod>
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    <lastmod>2016-12-10</lastmod>
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    <lastmod>2017-01-06</lastmod>
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    <lastmod>2019-09-06</lastmod>
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    <lastmod>2020-08-21</lastmod>
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    <lastmod>2016-05-10</lastmod>
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      <image:title>ADF Manifesto</image:title>
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      <image:title>ADF Manifesto</image:title>
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    <lastmod>2017-06-16</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/546c4e6be4b03de55205641b/1430228023874-K86VDED751F5H9M6OIM0/Marriott.jpg</image:loc>
      <image:title>Rightness</image:title>
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    <lastmod>2020-07-09</lastmod>
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      <image:title>NEW</image:title>
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  <url>
    <loc>https://www.readingdesign.org/ten-principles</loc>
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    <lastmod>2019-05-31</lastmod>
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      <image:title>Ten Principles for Good Design</image:title>
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    <lastmod>2016-05-12</lastmod>
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    <lastmod>2020-05-08</lastmod>
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    <lastmod>2015-09-25</lastmod>
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    <lastmod>2017-03-17</lastmod>
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