Vivier met Sophie through a casting agent around four years ago. “I was looking for a very athletic woman for a photoshoot,” she recounts. “When I met Sophie, I was not only fascinated by her powerful, sculptural body but I was also drawn to her face which is sweet, feminine and tender. I felt that Sophie had a lot to say through her bodybuilding practice – it is, or at the time was, a reconstruction of

Although the Californian conceptual artist Robert Kinmont’s work dates back to the late 1960s and the beginning of 1970s, this is the first monograph ever. Kinmont is primarily concerned with his environment, the Californian landscape. He works with simple, mostly natural materials, and places them in relation to his body and his life. Probably his best known work, entitled 8 Natural Handstands (1969/2005), a series of photographs showing the artist doing handstands in abandoned landscapes, on

It is hard to overstate the importance of drawing for architectural practice. Ever since antiquity, architects have relied on drawings to conceptualise ideas, provide instructions for workers, and construct their ideas into architecture. The specific practices of drawing have changed over time, however, adapting to changing technologies. In doing so they have altered the production of architecture. This issue of OASE looks at architectural drawings as dynamic processes that shape architectural thinking.

Design Dedication makes a plea for adaptive mentalities within design pedagogy, with a non-normative approach to design practices. It explores an attitude in and towards design education that is socially engaged, politically aware, generous in approach, lyrical in tone, experimental in form and collaborative in practice. How can we talk about and bring out the political that’s inherent in the work that design students are doing? How to work on specific urgencies that are

Sans Grace is an ongoing encounter woven by the unique wording of Grace Seri, a book on the edge of writing and speaking. These texts, written while undergoing logorrheic exercises with Kayije Kagame, initiate a writing method without graphemes, by which the unconscious speaks and the body writes. Once transcribed, the texts led to the diptych Sans Grace / Avec Grace, staged by Kayije Kagame, that explores twinship, the multiple identities of characters in search of