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  • Diskursiv (Hg.)

    Diskursiv No. 2, Colors

  • dérive

    dérive N° 98, Eigentum (Jan-Mar 2025)

  • Viktoria Schabert

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  • Arch+ Zeitschrift für Architektur und…

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  • Oxana Gourinovitch

    Raising the Curtain. Operatic Modernism in the Soviet…

  • Alexander Eisenschmidt

    Felix Candela From Mexico City to Chicago. Rise and Fall of…

  • Lydia Kallipoliti

    Histories of Ecological Design. An Unfinished Cyclopedia

  • Anders Engberg-Pedersen

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    Constructive Disobedience

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    As Found. Experiments in Preservation

  • !Mediengruppe Bitnik, Janez Fakin Janša

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  • Docomomo International (Ed)

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  • Daniela Hamaui (Ed.)

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    Why I Do What I Do - Global Curators Speak

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  • Folke Köbberling

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  • Urszula Kozminska, Nacho Ruiz Allen

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  • Anja Kaiser, Rebecca Stephany

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  • Ursula K. Le Guin

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  • Helmut Draxler

    Was tun? Was lassen? Politik als symbolische Form

  • Enzo Traverso

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    After the Holocene. Planetary Politics for Commoners

  • Paolo Cirio

    Climate Tribunal. Fossil Fuels Industry on Trial

  • சிந்துஜன் வரதராஜா (Sinthujan…

    Hierarchien der Solidarität. Hierarchies of Solidarity.

  • Patrick McGraw, Heavy Traffic

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  • Simon O'Sullivan

    From Magic and Myth-Work to Care and Repair

  • André Tavares

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  • Daniela Comani

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    Architektur im Anthropozän. Eine spekulative Archäologie

  • Editor: Sascha Bauer, Authors: Sascha…

    The Joinery Compendium. Learning from Traditional…

  • Sara Ahmed

    Feminist Killjoy. Das Handbuch für die feministische…

  • Lisa Luksch, Andres Lepik (ed.)

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  • George MacBeth

    e-flux Index #3

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  • Jill Johnston, Clare Croft (ed.)

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  • Anna-Sophie Springer, Raul Walch (eds.)

    Owned by Others: A Map to Possession Island

  • Canadian Centre for Architecture

    AP 205 Amancio Williams: Readings of the Archive

  • Clothilde Morette, Victoria Aresheva (…

    Science/Fiction. A Non-History of Plants

  • Ulrich Heinke

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  • Franziska Bollerey

    Eselsohren. Journal of Art, Architecture and Urbanism. Vol…

  • Richard Sennett

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    Einfach Grün - Greening the City

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  • Yuk Hui

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    How Silicon Valley Unleashed Techno-Feudalism

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  • Ian Erickson, Tomi Laja

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  • Estelle Hoy, edited by Antonia Carrara

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  • Nick Mauss, Edited by Antonia Carrara…

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  • Clémence Imbert

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  • dérive

    dérive N° 97, Energie (Okt-Dez 2024).

  • Christina Landbrecht

    Künstlerische Forschung. Potenziale, Probleme, Perspektiven

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  • Raafat Majzoub (ed.)

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  • Anne Lacaton, Jean-Philippe Vassal

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  • Guido Neubeck, Professur für Entwerfen…

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  • Bianca Felcori (Ed.)

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  • Marouane Bakhti

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  • Kathrin Wildner, metroZones

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  • Christian Hanussek, metroZones

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  • Anne Huffschmid, metroZones

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  • Ian Trowell

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  • Sandra Hofmeister

    Bauen im Bestand. Wohnen / Building in Existing Contexts.…

  • Jon Dowling

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  • Domen Ograjensek

    Restricting Flight Surreptitious Assembly. The Diagrammatic…

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