This first major retrospective of Lily Greenham (1924–2001), marks the centenary of her birth. The exhibition collects her prolific output and pioneering works including sound poetry and lingual music, op, kinetic, and computer art. The typeface is a contemporary synthesis of IBM’s Selectric Elite 72, with a complementary italic. This marks a direct connection with the majority of Greenham’s typewritten compositions, essays, and scores. Commissioned by the archive’s and exhibition’s curator Andrew Walsh-Lister. The retrospective opens in 2024 at Badischer Kunstverein in Karlsruhe, Germany.

Published by The MIT Press, 2023. 564 pages, 9 x 11.75". In sprawling scholarship across more than twenty critical contributions, the anthology traces the the emergence of a new genre in the 19th century: world histories of architecture. In lieu of extracted illustrations, primary source material is presented as a complete artifact highlighting each object’s materiality, printing, wear, and in some cases marginalia. The project required close coordination with the Canadian Centre for Architecture to art direct photography of first editions in their archive. Commissioned by Tom Weaver, edited by Petra Brouwer, Martin Bressani and Christopher Drew Armstrong, and designed with Julia Novitch.

Balcony is a bi-annual collection of conversations with artists situated in the everyday. Each issue contains a selection of dialogues as well as visual stories and original artworks. Sidestepping conventions of both art criticism and the artist profile, Balcony presents the artist’s voice as its primary source, blurring the boundaries between the art world and the everyday. Edited by Audrey Rose Smith and Vicente Muñoz. Art direction and design in collaboration with Julia Novitch. Visit balconymagazine.com.

Founded in 1923, Triennale Milano is a leading cultural institution “conveying the complexities of the contemporary world” through design, architecture, and the visual, scenic and performative arts. Ignoto was inspired by both the literary and the scientific, an empirical version of certainty set against an unfathomable future. Developed at 2×4 with Marcus Hollands, Donnie Luu, and Michael Rock.

A substantial monograph on the life and work of Los Angeles architect Gregory Ain (1908–1988) presents five significant residential projects together for the first time. Ain’s work presented a new model of neighborhood design conceived to celebrate the everyday life of its working-class residents. A folio of photographs by Julius Shulman, three illustrated essays, and several artifacts all contextualize this work. The book’s materials are organized into three discrete but connected portraits; an archival, scholarly, and contemporary description of this relatively unknown architect. Edited by Anthony Fontenot.

Developed at 2×4 with Susan Sellers, Donnie Luu, Marcus Hollands, and Sophie Brotman.

O’Leary leads a broad practice of image-making, working primarily with photography and video. Instead of a monolithic presentation of work, the website is conceived as a flexible series of galleries to facilitate organization and curation within and across several bodies of work. Programming by Julia Novitch. Visit evaoleary.com ↗

Writing Architecture is a popular and critically acclaimed series that has been in circulation for over two decades. Published two to three times yearly, it accommodates wide-ranging subjects and authorship from architectural writers, practitioners, and designers. To reflect this scholarship in the freshly standardized design, elegant and classical notions of layout and typography are packaged in the form of a modest, mass-produced paperback. Slivers of images from the previous volume’s cover appear on the next to generate a visual continuum, while unique printing inks distinguish each new contribution. Writing Architecture Series is a project of the Anyone Corporation, and edited by Cynthia Davidson. Formulations is the first of the series redesign, written by Andrew Witt.

Both a systematic critical reading and a monograph of the artist, the book presents Thomas Struth’s photography as three distinct stages of production: archive, matrix, and assembly. As the author chronicles these evolutions in Struth’s work over forty years, each section’s layout evolves correspondingly. The photographs are arranged according to collected subjects, and captions derived from a comprehensive index are printed in silver metallic ink. Written by Nana Last, and designed with Neil Donnelly.

The exhibition catalogue focuses on an obscure and crucial episode of Peggy Guggenheim’s collecting as she turned towards arts of Africa, Oceania, and the Americas. Thirty-five artworks are presented together for the first time, accompanied by essays offering a critical stance on the violence of theft and misappropriation of such works, especially in the context of Guggenheim's European art collection. Edited by curator Vivien Greene, and designed with Neil Donnelly.

The promotional materials for the office of admissions adopt the visual cues of bulletin boards from undergraduate campuses where these posters will likely be displayed.

Models of the firm’s recent work are positioned in dialogue with sectional studies of historic architectural precedents from around the world, presented with texts, images, and two projected films within the open-ended installation. Designed in collaboration with Weiss/Manfredi and Neil Donnelly.

The catalogue gathers photo collages, paintings, and drawings of Josef Albers in the context of twelve trips to Mexico and Central America. It reveals the striking relationship between Albers’ abstract works on canvas and paper, and his documentation of Pre-Columbian sites between 1935–1968. Edited by curator Lauren Hinkson, with contributions by Joaquin Barríendos, and designed with Neil Donnelly.

Way-finding signage and environmental graphics for a 15,000 sq ft renovation in collaboration with Andrew Berman Architect, designed with Neil Donnelly. Photography by Naho Kabuta.

The exhibition brings the forgotten work of this modernist master to the public. Installed at several locations between 2015–2017, the exhibition graphics included a modular display system which could adapt to a variety of spaces. Curated by Rafi Segal and Tadeáš Goryczka of Kabinet Architektury. Fabrication by Massachusetts Institute of Technology.

A bilingual microsite design and content management system for the festival and exhibtion at Arko Art Center in Seoul. Curated by Haeju Kim, Moving/Image brings together contemporary performance and video art. For the first time, a microsite was developed to promote and archive the Center’s program. Designed with Moonsick Gang.

A poster commemorating the first year of Paprika!, Yale School of Architecture’s bi-weekly broadsheet. The first year’s issues were gathered, photographed, and composited.