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  • Christopher Dell

    Replaycity. Improvisation als urbane Praxis

  • Hans Dickel, Lisa Puyplat (Hg.)

    Reading Susanne Kriemann

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    Shanzhai. Dekonstruktion auf Chinesisch

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    Kritik der Kompetenz

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    After Crisis. Contemporary Architectural Conditions

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    On the Self-reflexive Page

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    Spomenik

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    Dinge und Undinge. Phänomenologische Skizzen

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    Morphologie City Metaphors

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    The Modern Utopian. Alternative Communities of the 60s and…

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    Reporting. Unternehmenskommunikation als Imageträger

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    Civic City Cahier 3. Distributed Agency, Design’s…

  • El Croquis 154

    Aires Mateus 2002-2011

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    Landscapology. Learning to Landscape the City

  • Jan Ole Arps

    Frühschicht. Linke Fabrikintervention in den 70er Jahren

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    Cognitive Architecture. From Biopolitics to NooPolitics

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    Sagmeister: Another Book about Promotion and Sales Material

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    The Intellectual Work. Sixty Paperweights

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    Catwalk to History - A Sourcebook

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    Poor Man’s Expression

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    Sou Fujimoto 2003-2010

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    Lovely Language. Words Divide Images Unite

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    Tomás Maldonado in Conversation with María Amalia García

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    Junya Ishigami

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    The Spontaneous City

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    Naked City. The Death and Life of Authentic Urban Places

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    Herzog & de Meuron 2005-2010

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    TSNX C24VA7ME A play by Dr Hun

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    My Green City

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    "Mit-Sein". Gemeinschaft – ontologische und…

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    Cyberwelt, die wissentlich schlimmste Politik

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  • Ingmar Bergman

    Laterna Magica. Mein Leben. Autobiographie

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    Where Art Belongs

  • The Institute of Social Hypocrisy

    The Sound Of Downloading Makes Me Want To Upload

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    Gerd Arntz. Graphic Designer

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    Something Fantastic. A Manifesto by Three Young Architects…

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    Photography After Conceptual Art

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    Umbau 25. Architektur im Ausverkauf. Architecture for Sale

  • Steven Heller, Lita Talarico

    Graphic. Inside the Sketchbooks of the World's Great G…

  • Nils Röller

    Magnetismus. Eine Geschichte der Orientierung

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    What was the Hipster? A Sociological Investigation

  • Peter Hook

    The Hacienda. How Not to Run a Club

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    The Designed World. Images, Objects, Environments

  • Tony Fry

    Design as Politics

  • Hans Venhuizen

    Game Urbanism. Manual for Cultural Spatial Planning

  • Gary Indiana

    Last Seen Entering the Biltmore. Plays, Short Fiction,…

  • Amos Vogel

    Film as a Subversive Art

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    Closing Down — All Stock Reduced — The Role of Design in…

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    Das Erziehungsbild. Die visuelle Kultur des Pädagogischen

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    The Idea of Communism

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    AA Book. Projects Review 2010

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    Designing Media

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    Architecture on Display. On the History of the Venice…

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    Civic City Cahier 2. Design and Democracy

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    Rich Texts. Selected Writing for Art

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    Tokyo Metabolizing

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    Colonial Modern. Aesthetics of the Past, Rebellions for the…

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    Katalog. Desire in Represention

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    Das Potosí-Prinzip

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    A Conversation with Frei Otto

The Hacienda. How Not to Run a Club

Eine Achterbahnfahrt durch Erfolg, Geld, Verwirung und wahren Glauben - dies sind die verrückten und und spannenden Erinnerungen von Robert Hook, dem Mitbegründer der Bands Joy Division und New Order, an die Ära des Manchester Hacienda Clubs. Als junger naiver Musiker eröffneten er und seine Bandkollegen von New Order den Club - und erlebten eine Zeit, die weit trauriger, lustiger, furchterregender und seltsamer war, als man es sich vorstellen kann. Alle Protagonisten - Barney, Tony Wilson und Shaun Ryder - haben hier ihr Stelldichein, wenn Robert Hook erzählt, wie es wirklich gewesen ist.
Peter Hook, as co-founder of Joy Division and New Order, has been shaping the course of popular music for thirty years. He provided the propulsive bass guitar melodies of 'Love Will Tear Us Apart' and the bestselling 12-inch single ever, 'Blue Monday' among many other songs. As co-owner of Manchester's Hacienda club, Hook propelled the rise of acid house in the late 1980s, then suffered through its violent fall in the 1990s as gangs, drugs, greed and a hostile police force destroyed everything he and his friends had created. This is his memory of that era and 'it's far sadder, funnier, scarier and stranger' than anyone has imagined. As young and naive musicians, the members of New Order were thrilled when their record label Factory opened a club. Yet as their career escalated, they toured the world and had top ten hits, their royalties were being ploughed into the Hacienda and they were only being paid GBP20 per week. Peter Hook looked back at that exciting and hilarious time to write HACIENDA. All the main characters appear - Tony Wilson, Barney, Shaun Ryder - and Hook tells it like it was - a rollercoaster of success, money, confusion and true faith.
http://www.cerysmaticfactory.info/the_hacienda_how_not_to_run_a_club.htm...


Peter Hook
The Hacienda. How Not to Run a Club
Simon and Schuster , 2010, 978-1847391773