Volume #2: Doing (Almost) Nothing

July, 2005

Can we do something by doing (almost) nothing? Can we achieve anything by doing too much? Can we do what we need to do, by doing just what is needed? How do we define doing too much, too little? How to think through doing anyway?

The box contains 4 elements to examine these questions: Volume magazine, an A1 poster, a research paper on ‘Unknown urbanity in China’ and a deck of cards cum essay.
1. Volume #2 magazine
– Ilka & Andreas Ruby gathered 14 projects where the designer did as little as he/she could (or was allowed to)
– Too many architects make too much architecture; a conversation with the late Giancarlo De Carlo
– C-LAB explores Asphalt, Champagne, Dust, Shifting Meaning and the History of Quantity
– Sam Jacob interviews Lou Reed on his performance in Casa da Musica
– Thomas Daniell reviews a Japanese garden walk composed by Laurie Anderson.
2. A1 Poster: The AMO Bulletin and the Oil & Gas & the World Map: with Brendan McGetrick, Mendel Robbers, Todd Reisz.
3. Research Paper: Urbanism of Victims. Unknown urbanity in China – Village within the City: results of a research studio at the Berlage Institute. Text by Yushi Uehara and introduction by Arjen Oosterman.
4. Deck of cards: Devant moi, le déluge. A deck of cards with images taken from the cultural history of The Flood, each one complemented with a text. On the occasion of and in collaboration with the 2nd International Architecture Biennale Rotterdam. With an essay by Carlos Betancourth and introduction by Ole Bouman.

Volume#2: Doing (Almost) Nothing
64 pages + supplements
Binding: Soft-Cover
ISBN 90 77966 02 1
ISSN 1574-9401
Price: € 15
Release: April 2005
Editor-in-chief: Ole Bouman
Contributing editors: Ole Bouman, Rem Koolhaas, Mark Wigley
Design: Various Contributors
Publisher: Stichting Archis

Volume #2 includes contributions by Carlos Betancourth, Thomas Daniell, Keller Easterling, Sam Jacob, Rem Koolhaas, Laura Kurgan, Ilka & Andreas Ruby, Yushi Uehara, Bettina Vismann, Enrique Walker, Mark Wigley, Mirko Zard

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