Last Thursday, the 5th International Architecture Biennial Rotterdam themed ‘Making City’ opened. Our contribution Allmetropolis perfectly fits this years’ subject: we propose to learn from Chinese urbanization by introducing the concept of the Special Economic Zone (SEZ) in Europe. By superimposing the concept of the SEZ on Flevoland, we think Flevoland could act as an economic powerhouse for The Netherlands. Below you can see some screenshots of the movie introducing the idea. Want to see the whole movie? Visit the IABR at the Netherlands Architecture institute, or contact us for a personal YouTube login!

Although China is known for its incredible building production, with ‘a Chicago of skyscrapers’ being realized every year, a lot of architectural proposals never leave the drawing board or the model room. The Shanghai office of Cannon Design decided to dedicate an exhibition to this phenomena and dubbed it ‘Unmade in China‘. They selected ten Western offices to show their – unmade – work in the exhibition, and combined each project with interviews with the architect discussing the question why the projects were not realized. They asked us to write a prologue for the exhibition catalog.

The exhibition runs from 20 April to 20 June, 2012

Team:

Curators: Michael Tunkey, Lukasz Kos, Henrick Borjesson
Interviews: Lukasz Kos
Exhibition Design: Cannon Design
Graphic Design: Yasuo Kishibe
Prologue: Daan Roggeveen
Text editing: Martin Mevius
Communications: Hu Huifang (Cannon), Clarisse Stulp (The Attention Company)

From: Wikipedia, the free encyclopaedia, lemma ‘Iceberg’

Last month, I visited the offices of friends in downtown Shanghai. My friends are three enthusiastic thirty-something Chinese architects, all trained in one of the leading architectural practices in the country. After exchanging the usual compliments, they gave me a tour of their impressive office. In the studio, staff and interns worked concentratedly behind their AutoCAD stations. Tests and models filled the model room, and sketches covered the whiteboard in the meeting room. Finally, we returned to the entrance, where the firm showed its presentation models. Here, the mindboggling portfolio of this ambitious trio became clear: hundreds of thousands of square meters of glitzy urban landscape appeared in front of me. One scheme in particular struck my attention: a commercial podium with two towers, interconnected by a garden in the middle. ‘What’s the status of this project?’, I asked my friend. ‘Well’, was his answer, ‘this is a project, but not a real project.’

China is a country known for its incredible building production, where the equivalent of the entire city of Chicago is built in skyscrapers every year. Unmade in China demystifies this architectural reality and shows that beyond the real world of urban construction, a realm of potential architecture exists that for one reason or another has not been realized – pieces of frozen ambition that outsiders do not often get to see.

What do Unmade buildings mean? Are they less valuable than built work? Or can they open up unexplored fields of interest for the architect? Why did projects in China become Unmade? And what do these Unmade projects say about the status and condition of the profession of architecture in China and in the rest of the world? Unmade in China shows unrealized projects by Western offices. It discusses the position of the Western architect in the East, it questions the cultural relationship between China and the West, and asks: how do western offices overcome the challenges they face while working in this vast and complex country?

The answers to these questions are probably in the eye of the beholder. Everyone will want to construct his or her own reality from the phantoms of what-could-have-been. The young western architect will try to find a recipe for avoiding pitfalls on the road to architectural success in China. The sceptical architect will see his prejudices about the downside of high-speed growth confirmed. And the Chinese architect will probably be surprised by the naivety about unrealized projects.

Since 2008, an economical and political crisis has hijacked the Western world. By explicitly showing the effects of the economic crisis in the West on architecture worldwide, Unmade in China clearly demonstrates the extent to which architecture has become globalized. Architecture has become an industry in which desperate professionals exchange their homelands for China in a quest for work – with the West no longer losing jobs to China, but China instead providing employment. Globalization also leads to architectural nomadism, with architects flying to the other side of the planet, visiting clients and building sites while suffering from an explosive mix of jetlag and translation problems.

The offices presented in this exhibition differ largely. Some are completely foreign, while others are deeply rooted in China. Some have only recently set up a so-called rep office, while others use their bases in China for expansion across the world, conquering the West from China instead of the other way round. The architectural production by these offices provides a breeding ground for surreal experiences and anecdotes about speed, misunderstandings and the clash of low and high culture. The stories in Unmade in China transcend the level of Tintin and the Blue Lotus, and tell the tale of the astonishing modernisation of a massive country and its urban condition.

This huge country is not one single reality – either in time or space. Some offices worked on their projects in the early 2000s – a prehistoric era in Chinese architectural terms. The locations of the projects also differ, with important consequences: a project in Shanghai has a completely different geographical, social and economical context than a project in Zhengzhou, an urban context is incomparable to a rural one. In short, the reasons why the buildings displayed have not been realized differ from project to project, depending on context, client and local conditions. Even so, one aspect is universal: all of the Unmade projects have been produced against the backdrop of an urban landscape subject to unprecedented change.

Academics, architects and students worldwide have studied Unmade architecture for decades. Projects by Boullé, Friedmann or Buckminster Fuller prove that Unmade projects can be as influential as, or even more influential than built projects. The 1970s phrase ‘paper architect’ celebrates this phenomenon.

Unmade projects can have an impact on the architectural debate as whole. But more importantly, they can affect to a large extent the course a certain architectural practice will take. It is impossible to imagine the work of Le Corbusier without Maison Citrohan, Kenzo Tange without Tokyo Bay or Koolhaas without the Très Grande Bibliotheque. Looking back, Unmade projects often appear as starting points for new investigations and as inspiration for new concepts. Rather than signifying failure, Unmade architecture is the herald of new opportunities.

Since the architectural opening-up of China, the country appears as an architects’ fairy-tale: a land of plenty where every volume falling from the foam cutter is turned into concrete and steel within months. Although architects and investors worldwide love to believe these stories, Unmade in China subtly shows the complex truth. Of course, developments in China can take on an incredible speed, with skyscrapers and cities appearing seemingly overnight. But they can also be treacly, unpredictable and slow. How many discarded projects are the collateral damage of this speedy urbanization? The exhibition does not answer that pressing question. What it does reveal is that under the tip of explosive construction hovers a mass of architectural production – an invisible volume that might be even bigger than the mountain we can see.

Daan Roggeveen
Shanghai, April 2012

Daan Roggeveen is an architect and researcher. With journalist Michiel Hulshof he is the founder of the Go West Project, a multidisciplinary research and design lab focusing on China’s emerging megacities. They recently published How the City moved to Mr Sun, a journalistic report on the development of new megacities in the heart of China.

Last week, we had a studio interview on Business News Radio, one of the leading news stations in the Netherlands, about our plan to change the Dutch province Flevoland into a new metropolitan area, using Chinese models for urbanisation.

You can listen to the whole interview below (note: it’s in Dutch!)

Download audio file (20120411-BNR-dubbelinterview-over-SEZ.mp3)

A few days later, Omroep Flevoland made a special about our proposal for a Special Economic Zone in the Flevopolder.

Op vrijdag 13 april 2012 presenteren journalist Michiel Hulshof en architect Daan Roggeveen in de Amsterdamse Stadsschouwburg hun boek De Stad Die Naar Meneer Sun Verhuisde, dat wegens internationaal succes nu ook in het Nederlands wordt uitgegeven bij uitgeverij SUN.

Drie jaar lang reisden Hulshof en Roggeveen door het binnenland van China. Ze bezochten steden met miljoenen inwoners waarvan de meeste mensen nog nooit hebben gehoord. Ze ontmoetten bouwvakkers die de grootste stad op aarde bouwen, en eenvoudige maïsboeren die hun eigen boerderijen afbreken en vervangen door moderne appartementencomplexen. Ze gingen op de thee bij een miljonair in zijn splinternieuwe Italiaanse villa, bezochten een eeuwenoude stad die eruit ziet alsof hij zojuist is gebombardeerd en liepen rond in een splinternieuw stadcentrum zonder bewoners. Ook spraken ze met talloze hoge overheidsofficials die opvallend openhartig waren over de donkere kanten van het Chinese succes.

Door middel van pakkende reportages ontleden Hulshof en Roggeveen in De stad die naar meneer Sun verhuisde haarfijn de kolkende maalstroom van het ontstaan van de grootste stedelijke samenleving die de wereld ooit heeft gezien. Ze vermijden bestaande vooroordelen en stellen de vraag: kan China haar revolutie van steen en beton omzetten in een model dat de wereld verovert?

Op vrijdag 13 april presenteren Hulshof en Roggeveen een speciale editie van het programma WorldTalks in Café Cox van de Amsterdamse Stadsschouwburg. Daarin proberen ze de vraag te beantwoorden welke lessen Europa kan trekken uit China’s opmars. Met hun voorstel om Flevoland te veranderen in een Speciale Economische Zone naar Chinees model nemen ze een voorschot op hun deelname aan de Internationale Architectuur Biënnale in Rotterdam, die in april van start gaat en het thema “Making City” heeft.

Michel Schreinemachers van NEXT Architects zal toelichten op welke wijze het bureau – dat een vestiging heeft in Beijing – heeft geleerd van China.

13 april | Café Cox, Stadsschouwburg Amsterdam |  Marnixstraat 429 | 18:00u (deuren open), 18:30 (start programma) | Entree: Gratis

Over de Engelstalige editie van How The City Moved To Mr Sun (najaar 2011):

‘Leest als een vlotte smeuïge novelle.’ – Blauwe Kamer
‘Een fascinerend portret van de ambitieuze Chinese samenleving waarin alles en iedereen op vooruitgang is gericht.’ – Dagblad van het Noorden
‘Eigenlijk gewoon een boek dat je gelezen moet hebben.’ – Architectenweb Magazine

In a special edition of WorldTalks, the weekly Urban Mixer for the internationally minded community of Amsterdam, we will present the Dutch edition of our book.
Together with NEXT Architects, an office with extensive experience in China, we will give short, provoking presentations about the lessons that Europe can learn from China’s rise. And we will talk about our plan to turn the Dutch province of Flevoland into a Chinese-style Special Economic Zone…

Friday 13 April | 18:00 | Café Cox | Marnixstraat 429 | Amsterdam | Free entrance | More information

‘China’s New Megacities’ is a varied program about China’s emerging cities, in which we will give presentations about the world’s fastest developing region. Moreover, we will present the Dutch edition of our book titled De stad die naar meneer Sun verhuisde. Joining us is China-expert and author Jeanne Boden. The program is organized in close co-operation with Flemish-Dutch House deBuren and the Flemish Architecture Institute.

Thursday 29 March | 20:00 | deSingel | Desguinlei 25, Antwerpen | Free entrance | More information and registration.

During the 5th International Architecture Biennale Rotterdam, Go West will present a futuristic plan that turns the Dutch province Flevoland into a Chinese-style Special Economic Zone. Drawing on our research in Shenzhen, we show the possibilities and chances that a free-trade zone could bring to Europe in terms of economic growth and employment. During the Biennale, this plan will be shown in Rotterdam and Almere in conjunction with other plans to create jobs in Flevoland by MVRDV and Zandbelt&vandenBerg.

April 20th – August 20th | IABR | Rotterdam, Almere

Favela, Rio de Janeiro, photo Neville Mars

The New York Times featured an article about the Rio Olympics today, that looks amazingly recognizable: just replace the name ‘Rio’ for ‘Beijing’, and change ‘favela‘ for ‘hutong‘ and you have the story about what happened downtown Beijing between 2002 and 2008:

“The authorities think progress is demolishing our community just so they can host the Olympics for a few weeks,” said Cenira dos Santos, 44, who owns a home in the settlement, which is known as Vila Autódromo. “But we’ve shocked them by resisting.”

For many Brazilians, holding the 2014 World Cup soccer tournament and the 2016 Olympics on Brazilian soil is the ultimate expression of the nation’s elevation on the world stage, and the events are perfect symbols of its newfound economic prowess and international standing.

Sports and evictions is a popular combination: the same happened in South Africa two years ago when people from Townships in Capetown were removed to the ‘relocation area’ of Blikkies Dorp (literally: Tin can Town). The Guardian about this ‘relocation area’:

“It’s a dumping place,” said Jane Roberts, who lives in the sparsely furnished structure known as M49. “They took people from the streets because they don’t want them in the city for the World Cup. Now we are living in a concentration camp.” (..)

Campaigners argue that this bleak place in Delft township shows that Africa’s first World Cup has become a tool to impress wealthy foreigners at the expense of its own impoverished people. Residents say it is worse than the townships created by the white minority government before the end of racial apartheid in 1994.

The same sort of phenomena seems to take place in Rio now:

“These events were supposed to celebrate Brazil’s accomplishments, but the opposite is happening,” said Christopher Gaffney, a professor at Rio’s Fluminense Federal University. “We’re seeing an insidious pattern of trampling on the rights of the poor and cost overruns that are a nightmare.”

Estimations are that in Brazil, 170,000 people face evictions. And the way these evictions take place, are also remarkably recognizable..:

In São José dos Campos, an industrial city, a violent eviction in January of more than 6,000 people captured the nation’s attention when security forces stormed in, clashing with squatters armed with wooden clubs.

Although there are similarities between these huge sports events that are used as a legitimation to remove large residential ares, there are also differences between the examples of Rio and Beijing:

Meanwhile, residents in some of the favelas, or slums, who face eviction are pulling together and standing their ground, in stark contrast to the preparations for the 2008 Olympics in Beijing, where authorities easily removed hundreds of thousands of families from the city for the Games.

Favela residents are using handheld video cameras and social media to get their messages across. And they are sometimes getting a helping hand from Brazil’s vibrant and crusading news media, arguably the envy of other Latin American countries.

Four more years till the Olympic Torch will be carried into the stadium. To be continued..

Last June we met the American architect Adam Mayer in the city of Chengdu. Adam was educated at USC LA and worked for two years as an architect in Chengdu. Apart from producing architecture in the fastest urbanizing region in the world, Adam also writes on his blog China Urban Development. He reflects in an interesting and profound way on the current spatial developments in China. The piece below is his most recent writing, and we’re very happy to be publishing it as well. Hopefully many more to come..

A few months ago I read a piece from Bloomberg discussing Frank Gehry’s decision to ‘turn to Asia for architecture projects as U.S. growth slows.’ In terms of big name architects from the U.S. and Europe turning to Asia for work, Gehry is late to the party. Nevertheless, it is a very telling sign that Gehry, someone who in the past could be highly selective of his clients, is looking to Asia to keep his office busy.

In the Bloomberg article, Gehry is candid about his desire to work domestically in the U.S. yet lacking the opportunity due to the depressed economic situation. As if another reminder is needed about the sorry state of the industry, Salon published a piece about the dire outlook for the profession last month titled ‘The Architecture Meltdown‘.

So aside from returning to graduate school, designing furniture or leaving the profession completely, most architects in the U.S. and other Western nations have limited options, therefore turning to emerging markets where there is work happening. China is by far the largest of these emerging markets for new buildings.

As such, over the past year I have received many inquiries asking for advice about doing business in the architecture/construction/real estate industries in China. There is never one ‘magic-bullet’ to successfully pursuing architecture work in China as different types of architects have different specialties and varying range of resources. Most of the very large, international corporate firms already have a foothold into the market, and with their wider resources, many have already established locally staffed offices in Beijing and Shanghai.

One of the greatest misconceptions about doing work in China is that it is one great big tabula rasa for trying out wild new architectural ideas. Surely this is the case for a select few, but if your name is not Zaha Hadid, Steven Holl or Rem Koolhaas, you can forget about China being an ideal playground for realizing this kind of fantasy.

The reality is much more stark and the competition for work increasingly fierce. The competition these days is not only between foreign architects operating in China, but also with domestic Chinese architects who are quickly learning and moving up the value chain in terms of design ability.

With that said, China remains a bright spot in the global economy for urban growth and there is still ample opportunity for the courageous and ambitious. Below is a list of ten recommendations to architects looking to do work in China:

(Special thanks to Matthias Bauer, Studio Leader of Urban Design at Atkins Beijing for his insight and contribution to this list)

1. Make sure that your client is able and willing to pay for your work. Insist on being paid up-front, if possible, and never agree to do any unpaid work.

Too many architects jump into the China market only to quickly find themselves caught up in situations where they are not appropriately compensated for their work. Given the current lack of new work in the developed world, property developers in China know that they have the upper hand when it comes to soliciting services from experienced Western architects and will use this fact to undercut design fees.

2. Many projects may have, at least initially, more to do with ‘market research’, ‘branding’, ‘image’ or ‘positioning’ and not actual design. Your work, especially at the beginning stages, should reflect this.

In addition, don’t expect your client to explicitly tell you what the design is for. What they might not tell you is that there is already a design from a local ‘design institute’ (LDI) planned for construction, but need you to provide something with more of a ‘wow’ factor to satiate government officials. Another reason might be that a developer is trying to win a land bid and wants to show that they can build something cutting-edge to gain an advantage.

3. The Western idea of progressing projects step-by-step, proceeding from the abstract and general to the detailed solution, is on the whole alien to China. Expect to be asked to do everything at once, right now.

Chinese clients like to feel like they are getting their money’s worth and expect the architect to prove it through volume of work produced. Powerpoint presentations with less than 100 slides are not taken seriously and are merely taken as evidence that you haven’t worked hard enough. Even if your design will never be built, you are nonetheless expected to deliver detailed designs right from the start.

4. Don’t expect the project to proceed at lightning speed. Instead, it will be more of a stop-and-go process, as the client will often need some time for internal discussions or for negotiations with the government, during which the project will grind to a halt, sometimes for months.

Planning bureaucracy exists in China just as it does in the West, just in different form. In the West, the transparent nature of the planning process ensures that stakeholders have a clear idea of the various issues to be negotiated and worked out. In China, the big decisions happen behind closed doors. So expect to modify, adjust or completely change your design over and over without clear explanations as to the reasons why. Moreover, expect this to happen with very short notice and to short deadlines.

5. Understand that the initial schedule agreed with your client is for guidance only. Any deadlines, meeting times, presentation times, etc. will change often at short notice.

This relates to #3 in that clients expect you to cater to their whims, regardless if you have other things scheduled for your day. There were several instances in one of the firms I worked where clients showed up at the office unannounced expecting to hold impromptu meetings. Be aware that Chinese developers like to keep their architects on their toes.

6. Meetings and presentations to high-level government leaders (such as Mayors or Vice Mayors) or real estate executives never take place at the agreed time.

At the day of the presentation, expect the time to be changed frequently every half an hour or so until the meeting is cancelled altogether and then re-scheduled again for the same day, late at night. Also be prepared to be contacted on Sunday night and asked to give a presentation for a new design option Monday morning.

7. Use flashy 3D renderings and multimedia animations to sell your design. Try to show reasonably detailed master plans, detailed architectural design and detailed landscape design right from the start, as nobody will understand simple massing models or abstract diagrams.

Most of the time, Chinese developers and government officials lack the capacity to understand the type of artsy and abstract presentation drawings coveted by the architecture community. Rather, drawings should be as easy to comprehend as possible and computer renderings should show substantial Photoshopped entourage complete with crowds of people, detailed landscaping, luxury cars, abundant storefront signage, and even fireworks, hot air balloons and blimps in the sky.

8. Don’t assume that as a Westerner you could somehow override and ignore Chinese planning law, Chinese building regulations or any unwritten Chinese rules and standards, even if they seem entirely unreasonable to you.

Your job as a foreign architect in China is to add prestige to a development and maybe a bit of experienced design insight. Don’t let this give you the impression that you have license to singlehandedly change local planning laws at your own whim.

9. Understand that the Chinese are generally not interested in their own architectural legacy. Trying to preserve existing old buildings will be an arduous and mostly futile undertaking.

Likewise, offering contemporary versions of ancient Chinese courtyard houses and hutongs, as so many newcomers to China attempt to do, will likely not get you anywhere. Western architects are hired to bring their expertise from the West to China, not to reinterpret Chinese history (although I must admit as a designer looking for inspiration, I have been guilty several times of digging through the treasure trove of Chinese history to arrive at an architectural concept only to have the idea rejected).

10. Understand that in China, as presumably in your home country, master planning and architecture serve a professional, hard-nosed and profit-seeking real estate industry. In the end, it always comes down to money.

If you pursue design as a form of self-expression, China is likely to deeply disappoint you. If you look at China as a business opportunity and chance to expand your international design portfolio, venturing into the Middle Kingdom can be an exciting and highly rewarding adventure.

Recently, Oriental Outlook, a Chinese news weekly, published excerpts from three chapters of our book: on Mr Deng in his floating village in Chongqing, on the residential compound in Xi’an, and on ethnic culture in Hohhot. Several Chinese news portals spread the stories. An excerpt of our story on Xi’an was published on amongst others Sohu, one of the biggest news portals in China, 565, a popular BBS on international news; and on the news portals dooland and FGS. News portal JSBBS published an excerpt of our chapter on Hohhot.

After the exhibition in the Shenzhen Biennale 2011, we recently published a booklet containing our proposal for a Special Economic Zone in Europe, called Allmetropolis – een Speciale Economische Zone in de Flevopolder. The publication, which so far only is available in Dutch, deals with the narratives of both the Shenzhen SEZ and the Flevopolder. Although both areas have a similar background, they developed in a total different way. Where Shenzhen turned into the ultimate business city, the Flevopolder became the suburban residential dream. What would happen when you would superimpose the concept of the SEZ on the Flevopolder? Contact us if you’re interested in the publication.

Over the past year, we developed the concept of the SAZ, the Special Academic and Art Zone: a concept for the development of cultural life in emerging Chinese megacities. We launched the concept last year in the Global Times, spent time thinking and writing about it and tested it in the Chengdu Biennale last October. We also wrote an essay about it, which is recently published in the winter 2011 issue of Asia Literary Review. You can find an introduction to the essay here:

THE MAKING of ideas follows the same logic as that of laws and sausages: ‘Laws, like sausages, cease to inspire respect in proportion to our knowledge of how they are made’, according to the nineteenth-century American poet John Godfrey Saxe. And contrary to the common notion of a sudden, bright insight, an idea tends to grow gradually, nurtured by reflection and discussion, improved after opposition and setbacks.

Seen in this light it is difficult to reconstruct how the idea for a Special Academic and Art Zone emerged, but I like to think it began on a sunny morning while I was riding my bike to our office in Shanghai. Traffic was chaotic as usual and demanded my constant attention, but my mind kept drifting off. For weeks, one question had been bothering me: would Chinese cities ever become thriving, mind-blowing, cultural hotspots, true metropolises that attract not merely businessmen but artists, entrepreneurs, writers, actors and intellectuals from all over the world?

In 2009 architect Daan Roggeveen and I began the Go West Project, a think tank tracking the development of megacities in China’s hinterland. We travelled to sixteen megacities including Wuhan, Chongqing, Shijiazhuang and Guiyang – fast-growing urban agglomerations with millions of people and impressive skylines comparable to those of London, Hong Kong or Sao Paolo. We were finishing our book, How the City Moved to Mr Sun, which would show the results of our work, and we needed to draw conclusions about everything we had seen.

As I was cycling, I structured my thoughts. All the Chinese cities we had visited seemed prepared for the future: they had promising new business districts, gleaming new airports and endless new residential districts. They were interconnected with high-speed bullet trains that made the American and European railway systems seem like children’s toys from another, bygone age. Judging from their infrastructure and physical appearance, most Chinese megalopolises resembled the world’s biggest, tallest and most modern cities; however, in other aspects of urban life we found Chinese cities lagging behind culturally and intellectually, despite their immense populations.

We were sure this had to change. ‘It’s inevitable that Chinese cities will enter a new phase,’ Daan said. ‘At some moment, their focus will have to shift from physical growth to non-physical growth, from hardware to software.’

We realised this was easier said than done. One of the obstacles to creating cultural life is China’s rigid political system. In a lecture at Xiamen University, China’s literary bad boy and blogger Han Han addressed this issue:

Leaders, teachers and students, hello. Do you know why China can’t become a cultural power? Because in most of our speeches, “leaders” always come first, and our leaders are illiterate. Moreover, they are scared of culture. Their job is to censor culture so they can control it. How can such a country become a cultural power? What do you say, leaders?

On that sunny morning, riding my bike in Shanghai, I was not looking to lay blame; I was searching for a solution, and I thought the answer lay in a concept that Chinese government officials would understand because they had seen it work before.

Read the rest of this essay in this month’s Asia Literary Review.

The newest issue of Volume has an excerpt of on of the chapters of our book: about the millionaires on the artificial island ‘Little Venice’ in Changsha. The issue, which deals with the privatization of our cities, is out now. More on the theme here:

What used to be collective care is rapidly becoming private responsibility. At least in the West. Is privatization the one fits all solution to every (financial) problem? Can addressing collective needs be thought of as the sum total of numerous private initiatives? And will the ‘retreat’ of government and state be compensated by other ways to organize the complex organism called society?

You can now buy our book worldwide in the bookstores listed below.
And of course you can buy the book online.

ASIA
Singapore: Basheer Graphic Books

Hong Kong: China Publishers Services

Beijing, CN: Timezone 8
Shanghai, CN: Garden Books
Shenzhen, CN: Stage

EUROPE
Brussel, BE: BOZAR Shop
Brussel, BE:  Don Quichote – Passaporta Bookshop

Geneva, CH: Archigraphy Bookshop Sarl
Zürich, CH: Hochparterre Bücher

Berlin, DE: Buecherbogen
Berlin, DE: Pro QM
Bremen, DE: Missink Link
Koln, DE: Walter Koenig

München, DE: L. Werner
Münster, DE: Extrabuch
Stuttgart, DE: Fachbuchhandel Karl Kraemer

Aarhus, DK: Student Bookshop Aarhus
Copenhagen, DK: Danish Center for Architecture
Virum, DK: Philip Glaser Books

Barcelona, ES: Cooperativa d’Arquitectes
Madrid, ES: Mairea Libros
Madrid, ES: Libreria Naos

Bordeaux, FR: Librairie Mollat S.E.
Nantes, FR: Librairie Medicale
Paris, FR: Librairie Flammarion
Paris, FR: Librairie du Moniteur
Toulouse, FR: Ombres Blanches

Almere, NL: Selexyz Scheltema
Amsterdam, NL: Athenaeum Boekhandel
Amsterdam, NL: Erasmus Antiquariaat
Amsterdam, NL: Boekhandel Minerva
Amsterdam, NL: Architectura + Natura
Amsterdam, NL: Boekhandel Van Rossum
Amsterdam, NL: Java Bookshop
Amsterdam, NL: Zwart Op Wit
Bilthoven, NL: Bilthovense Boekhandel
Delft, NL:  Waltman,
Den Haag, NL: Van Stockum,
Den Haag, NL:   Paagman
Den Haag, NL: Selexyz Verwijs
Deventer, NL: Boekhandel Colmschate
Geldrop, NL: Van Grinsven
Haarlem, NL: Athenaeum Boekhandel
Haarlem, NL: Kennemer Boekhandel
Houten, NL: Bruna B.V.
Leeuwarden, NL: Boekhandel vd Velde
Leiden, NL: Selexyz Kooyker
Maastricht, NL: Selexyz Dominicanen
Rotterdam, NL: NAi Booksellers
Rotterdam, NL:  Selexyz Donner
Rotterdam, NL: Van Gennep Boekhandel
Rosmalen, NL: Boekhandel de Omslag
Terneuzen, NL: Boekhandel van de Sande
Utrecht, NL:  Selexyz Broese

Milano, IT: Libr Ulrico Hoepli

Lisboa, PT: RBMDC Livros

Stockholm, SE: Architektur Museet

London, UK: Artdata London

USA
Contoocook NH: YBP Library Services
New York, NY: Philip Galgiani
New York, NY: Rizzoli Bookstores Inc.
San Francisco, CA: William Stout Architectural

OCEANIA
Melbourne, AUS: Architext Melbourne
Melbourne, AUS: DA Information Services
Sydney, AUS: Architext Sydney

ONLINE
You can order our book online at Amazon.com, Amazon.co.uk and Amazon.de and through our publisher SUN Architecture.

Bookstores interested in selling the book, please contact Marlies Dijkstra / SUN Publishers:
m.dijkstra@uitgeverijsun.nl, tel: + 31 (0)20 5218939