The photographer Jens Klein was invited by the Evangelisches Studienwerk Villigst to produce an image book. He decided to sift through the application documents of over eight thousand scholarship holders from the 1950s on who had submitted analogue passport photographs to accompany their applications. Covering a period from 1950 to 2012, Klein selected 176 photographs of applicants who had received support from the foundation: a kind of transverse look across time and a visual chronicle reflecting Germany’s history and the evolution of photography. The photographs show how the medium has changed over the years: from black and white to colour, from an analogue to a digital medium, from elaborate studio shots to quick photo-booth pictures. In 2012, the Studienwerk introduced an online application process, thus ending the era of analogue images.

December 2016, English 12.5 x 20 cm, b/w and color ill., softcover ISBN 978-3-95679-048-5

Edited by Luca Lo Pinto Texts by Andrew Ayers, Dafne Boggeri, Luca Lo Pinto, Stephen Piccolo, Lodovico Pignatti Morano, Barbara Radice

berlin, 2016

– ASH THAYER… the celebrated photographer/filmmaker/activist might be located in Los Angeles these days, but she spent her formative years in the squatting scene in New York’s Lower East Side – a place that basically felt like a different planet in the 90s compared to the frozen yoghurt fantasies it fulfills these days. – JAY ADAMS… passed away in 2014, and the (skateboarding) world lost one of its true pioneers. Not only was he one of the originators of what eventually became the most powerful youth culture movement in human history- he was also the tragic figure, the badboy, the dropout of an art form he cofounded. – ADAM FREELAND… the acclaimed DJ/producer and one third of The Acid has been a lil’ bit off the radar lately – because he’s put into action what others will fantasize about their whole life: exchanging the safe side of what you know in favor of embracing the unknowns: living off-grid in the Californian desert. – JUNCTION 48… the movie already won major awards at festivals like Tribeca and the Berlinale, as it took critics and audiences by storm via a story that isn’t too interested at all about notions of the good and the bad – instead it tells a multi-layered underdog tale with a pumping hip-hop score set within the heavily complex cultural system of modern Israel. – more eloquent statements and visual awesomeness about “DROPOUT“ from the likes of: JASON LEE, DARIA WERBOWY, BRUCE STEWART, MULTI KULTI, CHAD MUSKA, JAY NELSON, BONOBO, JOE HOLBROOK and many others.

One of architecture’s histories is that of the art of display: architecture displaying power, political ambition, economic success, social agendas, or less mundane notions like dreams, convictions and belief. These days architecture has also become subjected to display: the display of architecture – in museums and collections, and in auctions for example. That adds but also distracts meaning; not every aspect of architecture can be displayed as easy. And what does a culture of display (be seen or perish) add to this condition? Thinking of the value of architecture beyond purely financial terms, ‘display’ is a factor of influence. For better or for worse. 144 p, ills colour & bw, 20 x 27 cm, pb, English

The extent to which economic value is placed on knowledge today forces us to reconsider its social role and our relation to it. Research, the general category for processes of knowledge production, has become omnipresent in both education and practice. Today it’s not so important what you know but rather how you think. Progress, in this sense, is predicated by critical reflection on ways of knowing and disciplinary traditions of thought. This issue of Volume – the second in our series on learning – is dedicated to mapping the contemporary field of research in architecture, art and the social sciences. We wanted to learn from those who have been instrumental in shifting the boundaries and shaping today’s landscape of creative knowledge production. What follows is an issue comprised entirely of dialogues. 144 p, ills colour & bw, 20 x 27 cm, pb, English

Machines have long been integral to architectural discourse. Vitruvius concluded his ten books with a meditation on war machines, and Le Corbusier published on his industrial muses just over 100 years ago. Yet something is different today. We have always learned from machines, but now, machines learn. Machinic processes, computational algorithms and artificial intelligence have never been so proximate, direct, and intimate to daily life, yet we are many steps removed from their practical operations. This issue of Volume seeks to take one small step in the direction towards understanding the contemporary relevance of machines for architecture, and one giant leap for mankind.

Publisher Corraini Edizioni ISBN 9788886250795

In the third issue of 'Dirty Furniture
' on the theme of the toilet, we wonder why poo-bum jokes are funny, lament the loss of the public loo, and stand for girls who stand. Sanitation in India is investigated, toilet paper unrolled, nappies reconsidered, and we interview a farmer and a toilet attendant. With Alex Schweder on pissing, Natalie D Kane on nappies, Alice Twemlow on graphic design, plus shitting monarchs, Superflex, and the poo emoji. 152 p, ills colour & bw, 17 x 23 cm, pb, English

Soooooo, the new issue of our magazine is here: zweikommasieben #14 featuring N.M.O., PALMISTRY, ENDGAME, Phuong Dan, Carla dal Forno, ZULI, Ekman, Telephones, Broshuda, _meandyou., feldermelder, Bernardino Femminielli, Daniele Guerrini, Petit Singe an …

‘Back Cover’ returns with its first issue since 2013. This time, in different forms and with a certain degree of eclecticism, it sets out to discover French design. Editor Alexandre Dimos proclaims this to be a subject the magazine has “failed to examine sufficiently in the past”, a response to past criticism from British writer on design, Rick Poynor. Included are features on Benoît Bonnemaison-Fitte, Yorgo Tloupas, Matthieu Cortat, Otl Aicher, and Claude Closky, plus a variety of other contributions: Gilles Rouffineau writes about “Reading Barthes (typo)graphically”, Helmut Völter revives Masanao Abe’s vision of Mt. Fuji, Étienne Greib looks back at K Records, and much more. 80 p, ills colour, 20 x 28 cm, pb, French/English

Tóth Kína Hegyfalu are two Hungarian experimental musicians, poet and visual artists. Kinga Toth ( www.tothkinga.blogspot.de) and Normal Gergely (www.molnargergely.blogspot.de).