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In an era of high-tech and climate extremes, we are drowning in information while starving for wisdom. Enter Lo--TEK, a design movement building on indigenous philosophy and vernacular infrastructure to generate sustainable, resilient, nature-based technology. With a foreword by anthropologist Wade Davis and spanning 18 countries from Peru to...
LOT-EK is a design practice that believes in being unoriginal, ugly, and cheap. Also in being revolutionary, gorgeous, and completely luxurious. LOT-EK’s work reveals extraordinary transformations of ordinary things—from their famous shipping container projects onward—combining maker culture and hacker culture into beautiful and radical visions for sustainable and meaningful living. LOT-EK: Objects + Operations surveys dozens of projects—built, unbuilt and in-progress; polemical, practical, and in-between—complemented by photographs from LOT-EK’s multi-year URBAN SCAN project, a vast photographic document of infrastructure and incident, as well as essays by Thomas de Monchaux and interviews with founding partners Ada Tolla and Giuseppe Lignano.
Dig deep into the origins of building. The ground, now often used as a passive foundation for going higher, is rife with possibilities. Bjarne Mastenbroek investigates the relationship architecture has, had, and will have, with site and nature. Dissecting structures from the past millennia, this nearly 1,400 page global survey, designed by...
The New York-based architectural firm LOT/EK (pronounced "low-tech") has made a distinctive mark on the architectural landscape through a series of seemingly whimsical projects that make a point of using prefabricated industrial materials in unexpected ways. In their hands, a shipping container can be transformed into a mobile working unit, a museum, or a restaurant. In the process, they question our relation to the industrial environment and the artificiality of the urban landscape. LOT/EK: Urban Scan, the first and only monograph on the firm, is organized categorically and alphabetically. Twenty-three projects are presented in detail, including American Diner (a restaurant in a container), the InspiroTrainer (created for the Museum of Modern Art), Mixer (a cement mixer-cum-video immersion unit), the Meltzer Gallery, the Boon boutique, the MDU (Mobule Dwelling Unit), and the Goree Memorial and Museum. It also includes more than 1,000 photographs of infrastructural objects--everything from air conditioners to water tanks--that serve as the raw material and inspiration for this creative practice.
This book presents and discusses a strategy which includes four approaches to dealing with the risk of sea-level rise and other water hazards. It also offers opportunities for cities to explore urban extensions such as marine estates, aquatic food production systems, new sea related industries, maritime transport developments, new oceanic tourist attractions, and the designation of additional coastal ecological zones. The urban interface between Sea and Cities generates, therefore, both burning issues and valuable opportunities and raises the question of whether it is possible to solve the former by exploiting the latter?
Mike Mosher’s “Some Aspects of Californian Cyberpunk” vividly reminds us of the influence of West Coast counterculture on cyberpunks, with special emphasis on 1960s theoretical gurus such as Timothy Leary and Marshall McLuhan, who explored the frontiers of inner space as well as the global village. Frenchy Lunning’s “Cyberpunk Redux: Dérives in the Rich Sight of Post-Anthropocentric Visuality” examines how the heritage of Ridley Scott’s techno-noir film Blade Runner (1982) that preceded Gibson’s Neuromancer (1984) keeps revolutionizing the art of visuality, even in the age of the Anthropocene. If you read Lunning’s essay along with Lidia Meras’s “European Cyberpunk Cinema,” which closely analyzes major European cyberpunkish dystopian films Renaissance (2006) and Metropia (2009) and Elana Gomel’s “Recycled Dystopias: Cyberpunk and the End of History,” your understanding of the cinematic and post-utopian possibility of cyberpunk will become more comprehensive. For a cutting-edge critique of cyberpunk manga, let me recommend Martin de la Iglesia’s “Has Akira Always Been a Cyberpunk Comic?” which radically redefines the status of Akira (1982–1993) as trans-generic, paying attention to the genre consciousness of the contemporary readers of its Euro-American editions. Next, Denis Taillandier’s “New Spaces for Old Motifs? The Virtual Worlds of Japanese Cyberpunk” interprets the significance of Japanese hardcore cyberpunk novels such as Goro Masaki’s Venus City (1995) and Hirotaka Tobi’s Grandes Vacances (2002; translated as The Thousand Year Beach, 2018) and Ragged Girl (2006), paying special attention to how the authors created their virtual landscape in a Japanese way. For a full discussion of William Gibson’s works, please read Janine Tobek and Donald Jellerson’s “Caring About the Past, Present, and Future in William Gibson’s Pattern Recognition and Guerilla Games’ Horizon: Zero Dawn” along with my own “Transpacific Cyberpunk: Transgeneric Interactions between Prose, Cinema, and Manga”. The former reconsiders the first novel of Gibson’s new trilogy in the 21st century not as realistic but as participatory, whereas the latter relocates Gibson’s essence not in cyberspace but in a junkyard, making the most of his post-Dada/Surrealistic aesthetics and “Lo-Tek” way of life, as is clear in the 1990s “Bridge” trilogy.
"Each time the waters of the mighty Mississippi River overflow their banks, questions arise anew about the battle between "man" and "river". How can we prevent floods and the damage they inflict while maintaining navigational potential and protecting the river's ecology?" "The design of the Mississippi and how it should proceed has long been a subject of controversy. What is missing from the discussion, say the authors of this book, is an understanding of the representations of the Mississippi River. Landscape architect Anuradha Mathur and architect/planner Dilip da Cunha draw together an array of perspectives on the river and show how these different images have played a role in the process of designing and containing the river landscape. Analyzing maps, hydrographs, working models, drawings, photographs, government and media reports, painting, and even folklore, Mathur and da Cunha consider what these representations of the river portray, what they leave out, and why that might be. With original silk screen prints and a selection of maps, the book joins historic, scientific, engineering, and natural views of the river to create an entirely new portrait of the great Mississippi."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Although traditionally a building material of the warmer climate zones, bamboo is becoming increasingly popular amongst architects in the northern hemisphere; bamboo has several advantages – it is very stable, of low weight, and highly elastic, in addition to being readily available as well as renewable. The applications of bamboo in architecture have become significantly wider and diversified, so that today, even structures with large spans – such as bridges – are built with this material. The new and revised second edition of this manual provides a practical, systematic overview of the numerous potential applications and processing methods of this renewable material. The comprehensive presentation of groundbreaking bamboo buildings has been updated with more recent projects.
Formgiving. An Architectural Future History, by Bjarke Ingels Group, is the third installment in its TASCHEN trilogy. Ingels looks into the distant future of architecture, addressing the main design trends and the development of AI, sustainability and interplanetary migration, giving form to the world of tomorrow.
Is it a book...or an electronic tablet? From bestselling author and Caldecott honoree Patrick McDonnell comes a timely tale in a tablet-shaped package that's perfect for today's legions of device-obsessed, digital-savvy children. Here is a hilarious (and heartfelt) reminder of how technology can take us backward...all the way to the times of prehistoric man! Tek is a cave boy in love with tech: his tablet, videogames, phone, and TV keep him deep in his cave, glued to his devices, day in and day out. He never sees his friends or family anymore--and his ability to communicate has devolved to just one word: "UGH!" Can anyone in the village convince Tek to unplug and come outside into the big, beautiful world? A distinctive, digitally-inspired package and design cleverly evokes the experience of using an electronic device that eventually shuts down...and after a magic page turn, Tek reconnects with the real world.