Theatre designers rarely make a name for themselves. They have to queue up for applause behind the writer, the director and the cast. It’s no surprise that they often seek creative control by working outside the box. Es Devlin has designed shows for Lady Gaga and the Pet Shop Boys. Peter Mumford has created a remarkable light installation on a screen above the altar at Guildford Cathedral. And now Ralph Koltai is unveiling his sculptures.

Third in our summer book extracts series is the theatre designer Tobias Hoheisel, whose designs for Glyndebourne Opera's Janáček productions remain iconic, and more recently designed English National Opera's Boris Godunov.

Born in Frankfurt, Hoheisel trained in design in Berlin and was strongly influenced by the theatre of Peter Stein/Karl-Ernst Herrmann, Luc Bondy, Robert Wilson and Ariane Mnouchkine. Patrice Chereau’s Ring cycle in Bayreuth and the world-class Berlin orchestras inculcated in him a love of opera and music.

It’s hard to believe that it’s 30 years since the release of The Clash's London Calling, an album that sounds as vital, immediate and relevant today as it did then. Yet there are probably people who remain more familiar with London Calling’s iconic cover than the music contained on the two discs of shiny black vinyl that came with it. Perhaps that’s one reason a new exhibition inspired by London Calling is about the cartoonist and illustrator Ray Lowry, rather than The Clash or the album itself.

Modernist art movements are a lot like totalitarian regimes. They produce their declaratory manifestos, send forth their declamatory edicts, and, before you know it, a Year Zero mentality prevails: the past must be declared null and void. Seeking to overturn 1,000 years of Western civilisation with a universal aesthetic utopia of brightly coloured squares and boldly delineated lines, a confident Theo van Doesburg, founding member and chief theorist of the Dutch movement De Stijl, wrote, “What the Cross represented to the early Christians, the square represents to us all.

The Victoria and Albert Museum intends on 22 February to disperse its collection of musical instruments to other venues, to allow more room for fashion and textile exhibits. Conductor Christopher Hogwood and composer Oliver Knussen are two more well-known names in the list of more than 5,100 signatories to the petition lodged at 10 Downing Street asking for the move to be prevented. theartsdesk invited big hitters on either side to debate the case - Roxy Music designer Anthony Price makes the fashion case, while conductor Laurence Cummings heads the musician's view. And we ask you: What do you think? Please take part in the debate by making your comment below.