Über Grenzen. On Borders, photographs by Ostkreuz - Agentur der Fotografen. Texts by Andrea Böhm, Wolfgang Büscher, Fabian Dietrich, Anna-Christina Hartmann and Marcus Jauer. Graphic design by Jan Spading.

Available on amazon UK, i couldn't find it on amazon USA.)

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Publisher Hatje Cantz writes: They offer protection, lead to war, limit freedom, or make it possible; they have always been there and they will continue to exist: borders. Hardly anything else is as socially ambivalent, as timeless, and simultaneously as extremely relevant. The Ostkreuz agency was founded when what was probably the most important border in the history of Germany--the Berlin Wall--disappeared. Two decades later, the agency's photographers set out on a search for today's frontiers. Their pictures tell of discovering a state identity in South Sudan; they portray groups of indigenous peoples battling for their land in Canada and gay people in Palestine seeking exile in the enemy country of Israel. The focus is always on people: how do boundaries influence their everyday lives, and how do they shape their lives along those that surround them?

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Maurice Weiss, Libya, Misrata, war museum, handmade construction, autumn 2011. From the series "Arabian Autumn". © Maurice Weiss / OSTKREUZ

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Anne Schönharting, Gerry Reynolds, Catholic Priest, Bombay Street, West Belfast, 2011. © Anne Schönharting / OSTKREUZ

This book is about conflicts, misunderstandings, distrust, isolation, greed, fear, privileges and control. Über Grenzen. On Borders contains the kind of images you see in newspapers and press photo exhibitions. This time however they come with the personal story of the photographer: the doubts, the dangers encountered (one of them was kidnapped on the job), the challenges, the disappointments. I like the way photographers write. Whether they do it in the form of a diary or of a more traditional reportage article, whether they attempt to stay neutral or cannot hide their involvement in the issue they are covering, photographers are factual, informative, and efficient. As someone whose job consists mostly in writing, i can only feel envy. I should have undertaken a formation in photography instead of philology (what was i thinking the day i enrolled in philologie classique?)

As the description suggests, Über Grenzen. On Borders takes you all around the world. The stories which are closer from home are obviously the ones that hurt the most: the extreme lengths the European Union goes to in order to keep at bay anyone who doesn't have the right passport; the communities, such as the Roma, who are vilified and driven out of their houses.

Here are some of photo reports presented in the book:

In A State Emerges, Espen Eichhöfer documents the first steps of a new nation: South Sudan. Houses might be ramshackle, government buildings might be hosted by temporary structures but the government and citizens rest their hopes on oil. About eighty percent of the oil deposits in all of Sudan are in their territory.

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Espen Eichhöfer, National garde, Airport, Juba, South Sudan, 2012. © Espen Eichhöfer / OSTKREUZ

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Espen Eichhöfer, Ministry of Information, Juba, South Sudan, 2012. © Espen Eichhöfer / OSTKREUZ

The Green Line looks at the Republic of Cyprus which, officially, is still undivided. Since the invasion by Turkish troops in 1974, however, the government only controls two-thirds of the national territory. The United Nations has guarded a buffer zone for almost forty years along the old ceasefire line. It runs right through the capital city.

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Lefkosia Airport, Nicosia, Nicosia's former international airport lies in the middle of the buffer zone and has been abandoned. A Cyprus Airways Hawker Siddeley Trident (ID 5B-DAB) still stands on the run way; it could not escape the fighting, was riddled with bullets, and later stripped, 2012, Cypress © / Ostkreuz / LUZphoto

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Heinrich Völkel, UN #UN Buffer Zone, Lefkosia Airport, Nicosia, Waiting room at the deserted Lefkosia International Airport. During the Cypress conflict the airport lay between the two fronts and the UN declared it a protected zone. It has been closed ever since, 2012 © Heinrich Völkel / OSTKREUZ

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Cypress (South), Barricade in the Greek national colors at the entrance to the buffer zone in the old city of Nicosia, 2012, Cypress © / Ostkreuz / LUZphoto

Members of the Lubicon Cree (in today's Canada) have never surrendered and relinquished their territory. But oil and gas development on or near their land is threatening their way of life, their culture, and their health.

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Dawin Meckel, Vern Hunting Pigeons, Canada, 2012. © Dawin Meckel / OSTKREUZ

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Dawin Meckel, Waterpump on the Lubicon Cree territory, Little Buffalo, Alberta, 2011. © Dawin Meckel / OSTKREUZ

Twenty-two years after the fall of the Berlin Wall Ute and Werner Mahler drove along the old border that used to separate East German citizens from the West: a strip of land almost 1400 kilometers long running from the Baltic in the Harz to the foothills of the Thuringian Forest, in Saxony.

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Ute und Werner Mahler, Tettau Railway, Thuringian border, Bavaria, 2012. © Ute und Werner Mahler / OSTKREUZ

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Ute und Werner Mahler, Wall near Waddekath, Sachsen-Anhalt border, Lower Saxony, 2012

Most illegal immigrants enter the European Union via the route that goes from Turkey to Greece. And the instruments put forward to keep them out are getting increasingly sophisticated. Mostly through the Frontex Agency, a EU border patrol that upgrades technology along the edges of Europe. In the future, they plan to use robots and drones.

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Julian Roeder, Greek-Bulgarian Frontex patrol at the European border between Greece and Turkey in the Evros region, January 2012. © Julian Roeder / OSTKREUZ

A four-kilometer-wide strip has separated North and South Korea since 1953. Soldiers there are still on alert, and every once in a while a shot is fired. Nevertheless, the South Korean tourist office still lures tourists to the last existing border left over from the Cold War, which was a prohibited zone for a long time.

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Jörg Brüggemann, Families collecting shellfish. The peninsular is blocked to protect the main land from North Korean spies. Songjiho Beach, South Korea, June 2012. © Jörg Brüggemann / OSTKREUZ

In Prato (Tuscany), the "pronto moda" industry churns out cheap clothes that imitate current trends. They are made by Chinese residents (many of whom entered the country illegally) who produce clothing "made in Italy," under the worst working conditions.

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Jordis Antonia Schlösser, In a sweatshop: Chinese immigrants sleep, eat and work here, Prato, 2012. © Jordis Schlösser / OSTKREUZ

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Jordis Antonia Schlösser, Police raid, called a blitz, in a Chinese sweatshop, Prato, 2012. © Jordis Schlösser / OSTKREUZ

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Jordis Antonia Schlösser, Via Pistoiese, Mainstreet, Prato, Chinatown, 2012 © Jordis Schlösser / OSTKREUZ

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Jordis Schlösser, Food truck in Prato's industrial zone: open evenings to feed workers on the night shift, Prato, 2012 © Jordis Schlösser / OSTKREUZ

Views inside the book:

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Bad Graffiti, by Scott Hocking.

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(available on amazon UK and USA.)

Black Dog Publishing writes: Bad Graffiti is a humorous celebration of the graffiti seen everyday in our cities and often overlooked.

Bad Graffiti looks at the plethora of graffiti that adorns our cities at a ubiquitous, popular cultural level. It is a record of the graffiti of the everyday, not of the named 'artists' who have contributed to the many books on graffiti 'art' over the past ten years or so.

Scott Hocking has been photographing graffiti since 2007, focusing on the humorous commentary decorating urban landscapes and particularly in areas of decay or abandonment. Hocking's photographs, collected here for the first time, tell the story of the everyday and showcase the areas or markings so often seen but also overlooked by others.

Bad Graffiti is a funny, informative and at times irreverent look at the urban landscape today, making a great gift for those interested in the city and popular culture.

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Dick Slap Yo Face Biatch - Man with Bass Guitar Penis

I don't think i've ever recommended that you rest your eyes on something truly awful. Nor have ever reviewed a book that made me laugh so much.

Artist Scott Hocking has been spotting and photographing the most unsophisticated, the crudest, the clumsiest and the most idiotic graffiti in and around Detroit since 2007.

He's not looking for the big names of street art but for what he calls 'the little guy', the one who's drunk, angry, frustrated, bored or who just want to look like a bad boy (and miserably fails in the attempt.)

The result is funny but somehow it has more soul than the works you can admire at the MOBA (the Museum of Bad Art.) And that's probably because Hocking knows that a graffiti can never really be taken out of its context. His photos show the comedy but also the tragedy of abandoned buildings, of a city hit by crisis, of its disenchanted inhabitants.

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Stegosaurus - Man Hanging from Stegosaurus Sized Penis - Fuck Your Foot!

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Fuck The Police

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Church of Dork

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Penis - Vomit Man - Satan Detroit - Meow Cats Meow - Tortoise - Baby Tortoise - Masked Man - Smoking Man and Woman with Boobs

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Shit

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Fart

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Blood

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Spouting Whale - Sad Creature - Hello?

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I Fucked Your Mom In The Ass Back Here, with Four Penises

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Eat Me

0Ludovico-PostDigitalPrint.jpgPost-Digital Print - the Mutation of Publishing Since 1894, by Alessandro Ludovico.

You can get them on amazon UK and USA.

Publisher Onomatopee writes: In this post-digital age, digital technology is no longer a revolutionary phenomenon but a normal part of everyday life. The mutation of music and film into bits and bytes, downloads and streams is now taken for granted. For the world of book and magazine publishing however, this transformation has only just begun.

Still, the vision of this transformation is far from new. For more than century now, avant-garde artists, activists and technologists have been anticipating the development of networked and electronic publishing. Although in hindsight the reports of the death of paper were greatly exaggerated, electronic publishing has now certainly become a reality. How will the analog and the digital coexist in the post-digital age of publishing? How will they transition, mix and cross over?

In this book, Alessandro Ludovico re-reads the history of the avant-garde arts as a prehistory of cutting through the so-called dichotomy between paper and electronics. Ludovico is the editor and publisher of Neural, a magazine for critical digital culture and media arts. For more than twenty years now, he has been working at the cutting edge (and the outer fringes) of both print publishing and politically engaged digital art.

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Michael Mandiberg, Old News, 2011

The Mutation of Publishing Since 1894... I won't hold it against you if you tell me that this sound austere. This book is however a joy to read. It is entertaining, impeccably researched and written in a compelling style. Alessandro Ludovico blends together retro-futuristic drawings, theory, anecdotes, art works and personal observations to narrate the paper vs pixel battle and ultimately kick off a discussion about the role of print in digital times. To be honest, i knew Ludovico would write a good book about the issue because i've followed his many activities and researches in the field for a number of years now but i had no idea i'd have so much fun reading it. I can't remember having had in my hands a book that made my brain go from quotes by Clay Shirky, Marissa Mayer, Jorge Luis Borges, Vuk Cosic, or Cory Doctorow to stories about keitai shousetsu, Paulo Coelho's call to 'pirate' books, Amazon erasing from your Kindle the copies of George Orwell's books 'while you were sleeping', Daniel Vydra's New York Times Roulette, artistic imitation of banknotes, Sniffin' Glue punk zines, mail art, etc. Add to that the odd flashback (for example the magazines that used to be sold with a floppy disk containing 'bonus' content) that reminds you how fast the publishing world has to adapt in order to keep on attracting readers.

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Twitter switch for Guardian, after 188 years of ink

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Villemard, En L'An 2000, 1910. At School. Photo

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Stencil duplicator or mimeograph machine

The first chapter, "The death of paper (which never happened)" analyzes 7 moments in history when a new medium has been heralded as a superior alternative to paper. Chapter 2,"A history of alternative publishing reflecting the evolution of print", looks at how artistic avant-gardes have been using print throughout the 20th century. The third chapter, "The mutation of paper: material paper in immaterial times", explores the reasons why paper still makes sense in our digital age. Chapter 4, "The end of paper: can anything actually replace the printed page?", take a critical look at electronic devices, strategies and platforms. The Fifth Chapter, "Distributed archives: paper content from the past, paper content for the future", explores the long-term implication of choosing a medium rather than the other one. The final chapter, "The network: transforming culture, transforming publishing" explains how much quality cultural entities can gain from working as a network.

I've been particularly fascinated by the Appendix which brings side by side the world of print and the digital world to highlight their similarities and differences: shelf space vs web host storage space, shipping strike vs no connection, smell of ink vs sound of clicks, etc.

Post-Digital Print is a book i'd recommend to bloggers, journalists, writers, publishers, designers (of the physical and the 'immaterial' alike), and to anyone who wants to be able to shine at elegant dinners when the conversation turns to questions such as "what's more eco-friendly? is it the print or the digital?' "Will printed magazines disappear in the coming years?" "Is The Pirate Bay killing the publishing industry?"

Alessandro Ludovico's affection for paper and enthusiasm for pixel culture are illustrated by the way the book is distributed: you can either buy it from the publisher or download it as a free PDF.

And because Alessandro Ludovico is the founder and editor of the magazine Neural, he illustrated many of the observations, facts and ideas about post-digital print with a series of artworks. Here's a couple i discovered along the pages:

The Quick Brown monitored Fox News regularly and highlighted changes made on the headlines over the course of the day.

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Jonathan Puckey, The Quick Brown

Pamphlet: people typed a message on a computer. As they pressed the 'send' button, the message was printed and dropped as a pamphlet from the 10th floor of the building.


Helmut Smits, Pamphlet, 2006

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André Breton, René Hilsum, Louis Aragon, Paul Eluard, 1919. Wearing false moustaches and posing with the issue number 3 of the Dada journal

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Hans Haacke, News, 1969/2008. From the exhibition The Last Newspaper at the New Museum in New York, 2010

Tim Schwartz's iPod's contents cataloged on paper cards:

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Tim Schwartz, Card Catalog, 2008

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Berg/Cloud, The Little Printer

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Tobias Wong, The Times Of New York candle

Alessandro Ludovico was interviewed about Post-Digital Print in visualMAG.

A Guide to Archigram 1961-74 , edited by Dennis Crompton.

(Available on amazon USA and UK.)

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Publisher Princeton Architectural Press writes: In the decade of the Beatles and the moon landing, cybernetics and megacities, an ambitious group of young British architects burst on the scene with a bold manifesto for urban building. The Archigram group pioneered a playful brand of architecture that was visionary, utopian, and grounded in social need. Through a provocative series of publications and exhibitions, the avant-garde cooperative challenged an architectural establishment they felt had become reactionary and self-serving. They advocated a complete rethinking of the relationships between technology, society, and architecture, rightly predicting today's information revolution decades before it came to pass.

A Guide to Archigram 1961-74 is a compact history showcasing the group's most interesting and influential schemes, from walking cities and plug-in universities to inflatable dwellings and free time nodes. This book, the most comprehensive guide to Archigram's voluminous output, collects the critical responses of the period, in addition to hundreds of drawings and photographs.

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Amazing Archigram, 1964. Cover illustration of the fourth issue of Archigram magazine

I thought i knew Archigram. I had read about their vision of technology (or 'technocratic future' as magazine editors like to call it), about the walking city, the plug-in city and the instant city. I even read about the swimming pool for Rod Stewart. But this book confirmed that my knowledge of their work and ideas was -at best- superficial.

The book is like a paper version of the Archigram Archive that the University of Westminster made available online a couple of years ago. There's only a couple of contemporary essays in the book. The rest is drawings, comics, editorials written by Peter Cook for the Archigram magazines, essays by members of the group, project descriptions, black and white photos, etc. You jump from an essay mentioning the anti-aircraft Maunsell Forts recycled into headquarters for offshore pirate stations to houses you can carry on your back, inflatables villages or even traveling metropolis. With Archigram, robots are shooting screens, seminars and conferences are adopting the model of the circus to move around the country and Roy Lichtenstein draws urban super heroes.

Archigram is a product of their time of excitement, innovation and faith in the future when thinkers, engineers and architects were dreaming of marine cities and flying houses. Yet the texts written by Peter Cook in the issues of the Archigram magazine haven't lost their spark nor visionary relevance. Back in the 70s they were already saluting the rise of diy initiatives, of people being creative and playing a more active part in the environment in which they lived. And while today, we're talking about smart fridges, a 1969 Archigram project imagined the 'electronic tomato' which would do the shopping and direct business operations for you.

Reading Archigram's essay is uplifting and thought-provoking. Because of the vivid imagination, the use of comics to communicate ideas but also because of Archigram's critique of society (and of the architecture profession in particular.)

It's also a bit disheartening at times, i know that next time i visit the graduation show of a design school, i might look at some of the projects and realize that they have that uncanny air of "Archigram's been there, done that!"

Two words about the format: it is squarish, super thick and short. The kind of shape that never quite fits into the most manicured bookshelves. The inside has a vintage feel with thick, mat pages and tiny fonts.

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Archigram Magazine Issue No. 1

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Page from Archigram Magazine n. 5, Computer City, November 1964

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Archigram, no. 8, 1968

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Archigram, "Walking city" Concept

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Ron Herron, Enviro Pill, 1969

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Living Pod, 1966. © David Greene, Archigram

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Living Pod, 1966. © David Greene, Archigram

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Gala Ambiance, Monte Carlo Palm Tree Project, Archigram Architects, 1971


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Room of 1000 Delights, Peter Cook, 1970

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Peter Cook, Blow-out Village, 1986

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Electronic Tomato, 1969. © Warren Chalk, David Greene, Archigram

Photo on the homepage: Blow-Out Village, Peter Cook, Archigram 1966.

The Where, the Why, and the How: 75 Artists Illustrate Wondrous Mysteries of Science, by Jenny Volvovski, Julia Rothman, and Matt Lamothe • Foreword by David Macaulay.

Available on amazon UK and USA

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Publisher Chronicle Books writes: A science book like no other, The Where, the Why, and the How turns loose 75 of today's hottest artists onto life's vast questions, from how we got here to where we are going. Inside these pages some of the biggest (and smallest) mysteries of the natural world are explained in essays by real working scientists, which are then illustrated by artists given free rein to be as literal or as imaginative as they like. The result is a celebration of the wonder that inspires every new discovery. Featuring work by such contemporary luminaries as Lisa Congdon, Jen Corace, Neil Farber, Susie Ghahremani, Jeremyville, Jon Klassen, Jacob Magraw, and many more, this is a work of scientific and artistic exploration to pique the interest of both the intellectually and imaginatively curious.

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Gilbert Ford illustrated Why do we blush?

Teaming up science mysteries with illustration, comics or even fine art is obviously a nice idea. But a great idea is not enough. It needs to comes with a fresh direction, clever match-making, genuine curiosity and impeccable taste. This book, fortunately, has all these ingredients.

The scientific enigmas explored in the book depart far far away from us with "What existed before the Big Bang?" then moves gradually, in a very Powers of Ten fashion, to issues pertaining to the universe ("Are there more than 3 dimensions?"), our planet ("Can evolution outpace climate change?), the mundane peculiarities of human beings ("why do we hiccup?"), the idiosyncrasy of the animal world ("Why don't animal muscles atrophy during hibernation?") then the questions start investigating what goes on inside our bodies and they end on the nanoscale ("Are nanomaterials dangerous?")

The result is often gripping and sometimes even baffling. Some issues remain a mystery: i'm afraid that scientists are still unsure about the reason why whales sing (in case the question is keeping you awake) and more annoyingly, they don't know either what happens to time as you approach the speed of light. But whether they have a clear-cut answer to a mystery or only tentative theories, the scientists manage to explain the phenomenon and its raison d'être with a limpid, intelligible and fairly short text.

This book is delightful and if i have one negative commentary to say about the book it's that I'm not a huge fan of the retro-feel of the illustrations. It gives a uniformity to the book which imho is both a blessing and a curse. But, hey! Now i know why pigeons bob their head when they walk and that knowledge, my friend, is going to make me the star of all the Christmas parties this year.

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Lab Partners illustrated the Circadian Clock

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John Hendricks illustrating Do Rogue Waves Exist?

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Lauren Nassef's illustration of "What is the origin of the moon?"

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Alex Eben Meyer's take on "Why do pigeons bob their heads when they walk?"

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Matt Forsythe illustrated "Why are humans and chimps so different if they have nearly identical DNA?"

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Yelena Bryksenkova illustrated "Can evolution outpace climate change?"

The book trailer!

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Luke Ramsey illustrated "What triggers the Earth's polarity?"

Darkitecture: Learning Architecture for the Twenty-First Century, edited by Iwona Blazwick and published by Two Little Boys.

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(available on amazon UK and USA)

Darkitecture is an anthology of texts and projects exploring how we learn about and build architecture for real communities in the twenty-first century. It draws on the ideas and methods of the late architect and Royal College of Art tutor Gerrard O'Carroll, a vibrant and unorthodox thinker of architecture. Along with his writings and statements are texts and projects by his contemporaries and alumni. Together they represent some 'what if?' scenarios with which to proceed on the journey towards becoming an architect; towards the conception of a design vocabulary that expresses everyday lives; and the creation of buildings and urbanities that embrace the irrational and celebrate the social. Darkitecture is a revolutionary handbook that will challenge students, designers, architects and citizens to review the way they look at, think about, learn and build architecture.

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Assemble Folly for Flyover, 2011

The figure of architect and senior tutor at the Royal College of Art Gerrard O'Carroll is at the center of the book. I couldn't remember where i had heard his name until i leafed through the book and i realized i had visited some of the exhibitions he had organized and blogged about the work of several of his architecture students.

A critic called O'Carroll the "King of Darkitecture" after having visited an exhibition of his in 2007. The neologism made for an attention-grabbing book title. However, I don't find the book nor the projects and ideas it presents dark at all. I found them thought-provoking, relevant to our times (which i admit are fairly dark) and lucid. Even if most of the essays and works are dealing with "speculative near future and alternative nows." There's plenty of humour in the book as well. And not necessarily of the dark kind. My favourite quote was by O'Carroll asking why the modulor man has no penis.

O'Carroll called for a more thoughtful brand of architecture, for an architecture that engages with society, with the 'fragility of human behaviour', for an architecture that doesn't enclose but create a framework for things to happen.

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Tom Greenall's 2009 project Cultivating faith: The feeding of the 59,000 imagines that a UK shortage of halal meat might be answered by the building of an in-vitro meat production facility.

The content of the essays is eclectic. One moment you read about how radical architecture emerges with times of economic crisis, unrest and doubts. Next, you read about aspiring models knocking on the doors of photographer Juergen Teller. Or about the way technology interferes with the way we love, about the handing over of our streets and squares to private developers, the role of the anti-hero in architecture, the tension between our nostalgia for unspoilt 'natural' food and our interest for the consumption of fruit enhanced with drug-delivery systems. The people evoked in the book include J. G Ballard, radical architects Superstudio, Jacques Tati, Gaetano Pesce and Ennio Morricone.

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SuperStudio

The book is edited by Iwona Blazwick OBE and includes contributions from Iain Aitch (journalist), Paola Antonelli (MoMA), Iwona Blazwick (Whitechapel Gallery), Nigel Coates (architect), Emma Dexter (curator), Tom Greenall (RCA), Rosy Head (RCA), Jonathan Hill (Bartlett), Claire Jamieson (RCA), Anna Minton (writer), Rowan Moore (critic), Jake Moulson (RCA), Richard Noble (Goldsmiths College), Lucy Pengilley Gibb (RCA), Fiona Raby (RCA), Alex Smith (RCA), Noam Toran (RCA), Anthony Vidler (Cooper Union) and Gilda Williams (writer).

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View inside the book

Pretty nice design by Luke Fenech and Morag Myerscough too!

Image on the homepage from Mon Oncle, the film by Jaques Tati, 1958.

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