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  • Juan Bonet, Sean Kissane (Hg.)

    Vertical Thoughts. Morton Feldman and the Visual Arts

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    Dan Graham's New Jersey

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    The Sense of Sound

  • Annette Wehrmann

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    Architects' Journeys. Building, Traveling, Thinking

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    Making Noise. From Babel to the Big Bang and Beyond

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    Forget Fear. 7. Berlin Biennale (Reader Dt. & Engl.)

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    Urban Images. Unruly Desires in Film and Architecture

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    Pugin’s Contrasts Rotated

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    Strategy Space. Landscape, Urbanism, Strategies

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    Caring Culture. Art, Architecture and the Politics of Health

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    Cosima von Bonin. The Lazy Susan Series

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    Distinct Ambiguity. Graft

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    Und der Zukunft zuge­wandt. Pots­dam und der gebaute…

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    Universum Ackerstrasse. Berliner Geschichten

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    Staging the New Berlin

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    (Re)Staging the Art Museum

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    The Monument Upside Down. The City Walls of Istanbul

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    Nihilism, Art, Technology


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    Microplanning. Urban Creative Practices. Sao Paulo

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    The Hierarchies of Cuckoldry and Bankruptcy

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    Martha Wilson Sourcebook

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    The One and the Many. Contemporary Collaborative Art in a…

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    Hummer unter der Bettdecke

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    Saul Bass. A Life in Film & Design

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    Spangbergianism

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    Radical Prototypes. Allan Kaprow and the Invention of…

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    Cities for People, Not for Profit. Critical Urban Theory…

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    In The Space Of A Song. The Uses of Song in Film

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    Under Blue Cup

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    Moderators of Change. Architektur, die hilft

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    Architecture and Violence

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    Anarchitektur

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    The Story of Post-Modernism

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    Creatives in Japan. Keywords to Know

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    Beyond and Before. Progressive Rock since the 1960s

  • Susanne Neubauer

    Paul Thek Reproduced, 1969 - 1977

  • Yvonne Rainer

    Poems

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    How to Design Websites

  • Nick Land

    Fanged Noumena. Collected Writings 1987-2007

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    Territorien des Widerstands. Eine politische Kartografie…

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    Community Art: The Politics of Trespassing

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    Project Japan. An Oral History of Metabolism

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    Tower and Slab. Histories of Global Mass Housing

  • Roman Ondák

    Loop

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    A Thousand Eyes. Media Technology, Law, and Aesthetics

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    Die Medien der Architektur

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    Poster Collection 23. In Series

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    Pop Song Piracy. Disobedient Music Distribution Since 1929

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    The Participation Reader

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    After the Future

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    Double or Nothing

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    It's Lonely in the Modern World

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    Lookalikes

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    Kultur und Kritik (Heft 1, Herbst 2012) POP

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    Sensible Sammlungen. Aus dem anthropologischen Depot

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    Amateur der Weltgeschichte. Historiographische Praktiken im…

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    Touch Me! Das Geheimnis der Oberfläche

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    Visual Storytelling. Inspiring a New Visual Language

  • Christian Marazzi

    Capital and Affects. The Politics of the Language Economy

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    Social Works. Performing Art, Supporting Publics

  • Hal Foster

    The Art-Architecture Complex

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    Establishing a Critical Corpus

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    Linke Metropolenpolitik. Erfahrungen und Perspektiven am…

  • Lars Spuybroek

    The Sympathy of Things

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    Atta (Semiotext(e) / Intervention)

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    The Culture Intercom

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    Testify! The Consequences of Architecture

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    Beyond Shelter. Architecture for Crisis

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    Valerio Olgiati 1996-2011

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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