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  • HfG-Archiv Museum Ulm, Katharina Kurz,…

    Nicht mein Ding − Gender im Design

  • Clog

    Clog 17. Cannabis

  • Frédéric Gros

    Disobey! A Philosophy of Resistance

  • Hal Foster

    What Comes after Farce?

  • Tim Bergfelder, Erica Carter, Deniz…

    The German Cinema Book (second edition)

  • Dieuwertje Hehewerth

    Salticidae Icius - a Research on Independent Art Spaces and…

  • Sruti Bala

    The gestures of participatory art

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    Intersektionalität. Von der Antidiskriminierung zur…

  • Anneke Lubkowitz (Hg.)

    Psychogeografie

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    Architektur auf gemeinsamem Boden. Positionen und Modelle…

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    Operative Mapping. Maps as Design Tools

  • Silvia Federici

    Jenseits unserer Haut. Körper als umkämpfter Ort im…

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    Creativity Exercises. Emancipatory Pedagogies in Art and…

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    Institution as Praxis

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    The Manifesto Handbook. 95 Theses on an Incendiary Form

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    Goethe in the Skyways

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    Cedric Price Works 1958 - 2003. A Forward-Minded…

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    Universalenzyklopädie der menschlichen Klugheit

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    Join the Future. Bleep Techno and the Birth of British Bass…

  • Milo Sweedler

    Allegories of the End of Capitalism. Six Films on the…

  • HfG Ulm (Hg.)

    Hans Gugelot: Die Architektur des Design

  • David Rattray

    How I Became One of the Invisible (New Edition)

  • Sarah T. Roberts

    Behind the Screen. Content Moderation in the Shadows of…

  • Jessica Bruder, Dale Maharidge

    Snowden’s Box. Trust in the Age of Surveillance

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    Real-Time Realist #2: Typefaces don't care, Typefaces…

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    Designästhetik. Theorie und soziale Praxis

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    Surveillance Valley. The Secret Military History of the…

  • Sandra Umathum, Jan Deck (Hg)

    Postdramaturgien

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    Sleeveless. Fashion, Image, Media, New York 2011-2019

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    Sprache und Sein

  • Christine Schranz

    Augmented Spaces and Maps. Das Design von kartenbasierten…

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    IDEA 389. Feminist Moments: Thoughts on graphic design…

  • Patrick Cowley

    Mechanical Fantasy Box: The Homoerotic Journal of Patrick…

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    Music - A Subversive History

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    Die neue Krise der Städte

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    Set the Night on Fire - L.A. in the Sixties

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    Hybride Ökologien

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    Designing Disorder. Experiments and Disruptions in the City

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    October Files 24: Michael Snow

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    Ruth Wolf-Rehfeldt: Introverse Arrangements

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    Beyond Plant Blindness : Seeing the Importance of Plants…

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    Good Times in Dystopia

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    Materials and Meaning in Architecture

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    GRAV : Groupe de Recherche d'Art Visuel "…

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    Everything She Touched. The Life of Ruth Asawa

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    Filmed Thought. Cinema as Reflective Form

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    Paris Calligrammes. Eine Erinnerungslandschaft von Ulrike…

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    Uneven Innovation. The Work of Smart Cities

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    Demokratisierung der Postdemokratie. Städtische soziale…

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    Whose Tradition? Discourses on the Built Environment

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    Migrant Mother, Migrant Gender

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    Marmor für alle. Zur Kunst im öffentlichen Raum in Berlin

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    How We Die Is How We Live Only More So

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    The Demon of Writing. Powers and Failures of Paperwork

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    Snøhetta: Architektur Und Baudetails / Architecture and…

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    Clubkultur. Dimensionen eines urbanen Phänomens

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    Harun Farocki. Ich habe genug!

  • David Joselit

    Heritage and Debt. Art in Globalization

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    Merce Cunningham. After the Arbitrary

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    Betrachtungen zur Schwulenfrage

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    Making and Being: Embodiment, Collaboration, and…

  • Bill Gaver, Phoebe Sengers

    The Presence Project. Computer Related Design Research…

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    Statista. Staatskunst am Haus der Statistik

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    Smart Cities

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    The Pornographic Age

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    Das Grafische Atelier Stankowski + Duschek

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    Scheingleichheit. Drei Essays

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    Hexen. Die unbesiegte Macht der Frauen

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    Females. Everyone is female, and everyone hates it

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    Work Want Work. Labour and Desire at the End of Capitalism

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    Theory for the World to Come. Speculative Fiction and…

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    Science Fiction

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    Immanence and Immersion. On the Acoustic Condition in…

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    Spaces of Commoning: Artistic Research and the Utopia of…

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    Genesis Breyer P-Orridge. Sacred Intent. Conversations with…

  • Architecten De Vylder Vinck Taillieu

    Variete / Architecture / Desire

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    Modes of Criticism 5. Design Systems

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    Hacking Urban Furniture. HUF

  • Constantine Verevis

    Flaming Creatures

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    Stockhausen Serves Imperialism

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    Glitterworlds. The Future Politics of a Ubiquitous Thing

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    Reverse Cowgirl

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    Ways of Knowing Cities

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    Althusser and Art

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    Kapital und Ideologie

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    Visuelle Zeitgestaltung

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    All Data Are Local. Thinking Critically in a Data-Driven…

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    Chelsea Girls

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    Ed Atkins

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    Philosophie des Designs

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    Kapitalismus. Ein Gespräch über kritische Theorie

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    Beyond The Periphery Of The Skin. Rethinking, Remaking,…

  • João Carmo Simões

    Gulbenkian. Photography by André Cepeda

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    Home Stories. 100 Jahre 20 visionäre Interieurs

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    Die Welt wieder verzaubern. Feminismus, Marxismus &…

  • Ilka and Andreas Ruby (Ed.)

    The Materials Book

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    Planet Earth: 21st Century

  • Judith Butler

    The Force of Non-Violence. An Ethico-Political Blind

El Alto. Freddy Mamani Silvestre

EL ALTO zeigt die fantastische Architektur von Freddy Mamani Silvestre, die
auf 4100 Metern Höhe in Bolivien entstanden ist.
The Bolivian architect Freddy Mamani Silvestre doesn’t have an office, use a computer, or draw formal blueprints. He sketches his plans on a wall or transmits them orally to his associates. Since 2005, Mamani and his firm have completed sixty projects in El Alto, the world’s highest city, which sits at nearly fourteen thousand feet, on an austere plateau above La Paz. In the past twenty years, the economy there has burgeoned, along with an enterprising, mostly indigenous population. Mamani earned his fame building mixed-use dream houses for the city’s nouveaux riches.
Like most of his clients, and like some 1.6 million of his fellow-citizens, Mamani is an Aymara. His people have been subject to successive waves of conquest and dispossession, first by the Inca, then by the Spanish. As a young man, he worked in construction; in his early twenties, he earned a degree in civil engineering, against the advice of his family. “It’s a career for the rich,” they told him. Architecture, too, is a career for the rich. But Mamani has made an advantage of his outsider status; he designs in an Aymara vernacular of his own invention.
Each of his houses has a futuristic façade, a commercial ground floor with jazzy shop fronts, a baroque party hall on the mezzanine, a story or two of apartments, and an owner’s penthouse. This aerie is sometimes called a cholet, a pun on the words “chalet” and “cholo”—a dismissive racial epithet that cholos like Mamani have proudly embraced. Mamani’s architecture incorporates circular motifs from Aymara weaving and ceramics and the neon colors of Aymara dress, and it alludes to the staggered planes of Andean temples. But it has also been inspired by science fiction, particularly by the Transformer movies. It might be called, like the second film in the saga, “Revenge of the Fallen.”
http://www.newyorker.com/project/portfolio/high-aspirations
http://www.granser.de/news.html


Peter Granser
El Alto. Freddy Mamani Silvestre
Edition Taube, 2016, 978-3-945900-05-5