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    Grounds for Possible Music

  • Wita Noack

    Mies van der Rohe. Schlicht und ergreifend. Landhaus Lemke

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    Prose Poetry and the City

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    Ungehorsam der Probleme

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    Porous City: From Metaphor to Urban Agenda

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    Raumproduktionen II. Theoretische Kontroversen und…

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    Open Architecture: Migration, Citizenship and the Urban…

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    This is Not Fashion: Streetwear Past, Present and Future

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  • William Davies (Ed.)

    Economic Science Fictions

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    How to Love Brutalism

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    Image Factories: Infographics 1920-1945. Fritz Kahn, Otto…

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    On Accident. Episodes in Architecture and Landscape

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    Das Design Thinking Playbook: Mit traditionellen, aktuellen…

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    The History of Animals. An Essay On Negativity, Immanence…

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    Stumme Medien. Vom Verschwinden der Computer in Bildung und…

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    The Expulsion of the Other: Society, Perception and…

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    Sleeping by the Mississippi

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    Der Glaube an das Grosse in der Architektur der Moderne:…

  • Alison Hugill (Ed.)

    Co-machines. The Mobile Disruptive Architecture

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    Social Reproduction Theory. Remapping Class, Recentering…

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    Machines and Robots (Edition Digital Culture 5)

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    Liquidation World: On the Art of Living Absently

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    Werkzeuge des Entwerfens

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    Generative Gestaltung: Creative Coding im Web Entwerfen,…

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    William Kentridge. Triumphs and Laments

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    Necessarily Eurometropolitan

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    The New Analog: Listening and Reconnecting in a Digital…

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    Sonic Agency. Sound and Emergent Forms of Resistance

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    Filmfunke. 50 Jahre DFFB / Film Sparks. 50 Years of DFFB

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    Judith Hopf. A Reader

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    Modernism as Memory: Building Identity in the Federal…

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    Transtopia: Wie wir städtische Transformation gestalten

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    The Sonic Persona. An Anthropology of Sound

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    Renzo Piano Before Renzo Piano

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    Social Medium: Artists Writing, 2000 - 2015

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    Speculative Art Histories. Analysis at the Limits

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    Reader 2: Overcoming the Hype

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    Max Bill: ohne Anfang, ohne Ende. No Beginning, No End

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    Talking Cities. Urban narratives from Dar es Salaam and…

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    Sergei Eisenstein and the Anthropology of Rhythm

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    Gärten der Kooperation / Gardens of Cooperation

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    Fugitive Belonging

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    Into the Great Wide Open

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    Architectural Intelligence

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    Utopia/Dystopia. A Paradigm Shift in Art and Architecture

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    Spandex Studies

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    Notes on Space. Monumental Painting in Estonia 1947-2012

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    Mobile Cinema

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    Uncut Funk. A Contemplative Dialogue

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    Design Ecology Politics. Towards the Ecocene

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    Jean Prouvé. Architect for Better Days

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    Affect Me. Social Media Images in Art

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    Studium, nicht Kritik

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    Sundry Modernism . Materials for a Study of Palestinian…

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    Revisiting Postmodernism

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    Beyond the New on the Agency of Things

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    Ökologien der Sorge

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    Keep Walking Intently. The Ambulatory Art of the…

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    Disko 27. Retrospektiv Bauen in Berlin

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    The Postconceptual Condition

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    Terms of Appropriation: Modern Architecture and Global…

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    Sur les pavés la pub

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    In the Flow

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    Photography Against the Grain: Essays and Photo Works, 1973…

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    Entkunstung I

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    Ich hatte keinen Ort: Tagebücher 1944-1955

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    Bruno Munari. Total Artist

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    Entgrenzter Formalismus. Verfahren einer antimodernen…

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    Stoffwechsel. Materialverwandlung in der Architektur

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    Navigating Noise

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