About Alexandra
For the last six months, I have been a strange tourist in Munich. I came here to work in a studio and had not so much time to visit it properly. But I partly came in Germany because I was interested in its specific creative approach: it’s precision and rigorousity. In it’s system culture in a way. And indeed it’s a very intellectual society, ruled by color codes and order. It was definitely funny to see that these things are visible in many daily aspects of life. Or maybe it’s just me wanting to see them… Very soon, I will move to London - where I would like to do some freelance work, in product, furniture and space design.
http://Alexandra.gerber@gmail.com
Current city: London
For the last six months, I have been a strange tourist in Munich. I came here to work in a studio and had not so much time to visit it properly. But I partly came in Germany because I was interested in its specific creative approach: it’s precision and rigorousity. In it’s system culture in a way. And indeed it’s a very intellectual society, ruled by color codes and order. It was definitely funny to see that these things are visible in many daily aspects of life. Or maybe it’s just me wanting to see them… Very soon, I will move to London - where I would like to do some freelance work, in product, furniture and space design.
 
Living here in Munich, i could sense how the BMW industry has a massive impact on the region (regarding that third of the people i met are studying or have a job linked to cars or machine-industry). By curiosity for this atypical fact, i forced my visit to the “BMW World”, which combines a museum, a platform for clients and sort of a touristic center hold by the group. As I could imagine it is all extremely overdone and slick, but once you got over that, I really enjoyed my visit. It is such a fascinating world. Before that I haven’t quite realised how much this industry is the future.The technologies, the materials, the quality, everything is such more advanced. The best thing to look at is for me the crazy LED-lighthouses. For the first time i thought that the yellow bulb was definitely old school.
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Just by walking through the column range you can sense what power means. A feeling that increases once you step in : everything is constructed so solid and out of proportions. But if you go on the back side of the building, this general impression will be disturbed. Looking up, you will notice that the stone columns are reinforced by bamboos fixed by Chinese vases. The hole facade looks like it is doing some exercise...It’s looks so funny. (actually, whilst invited for an exhibition Ai Wei Wei did judge that the building seems to fall apart and that it needs a bit of reinforcement...) I love it.
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Bang in the center of the city, the quite bucolic English garden is also an internationally renown spot for surfers. The maybe four meter large river that crosses it creates just under a bridge, one single and endless wave. What means that all year long, even when it’s snowing, you can see guys in wetsuit queuing to ride it. It’s so surreal.
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I have been accepted as guest in a community house for students.One hundred people live here, most of them are here since ages and have never moved out. And indeed, sometimes I felt like in a cruise boat where if I wanted I could have spend months in without needing to go out. This place is almost like a city in the city, where you get a daily backer delivery, where the fridges are always refilled with beers, and a massive bank of films and music is available through the intranet network. Everything is organised. For that they have some in house politics, ruled by “democraticaly” elected ministers. So you have the plant minister, the kitchen minister, the toilet-paper minister, the cooking-herbs minister...I know it sounds silly but it is very serious for them. I see that as a very typical German place. Somehow.
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There are two lion statues standing at the entrance of the Public Treasury building. The first time I passed this site, I was quite surprised to see more that one persons passing by them, rubbing there nose as if they would be little doggies. Even bikers hold on to give them a little stroke. For some reasons rubbing their noses is meant to give you good luck. Looking at how the material got polished, I can imagine how people are sensitive to myths or just superstitious. So am I... now each time I pass there, I do the same.
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It is a big room furnished with dark and massive-wood chairs, a good number of billiard tables, and walls full of random objects and portraits. Everything is nice about it. And especially the deep atmosphere created by this mix wood and the green light reflected by the billiard carpet. If you go there early in the morning you get a large coffee served on a Formica plate with a biscuit. Before 11a.m., it seems to be just a quiet Tearoom where only grannies meat for a Bretzel. But the first players arrive, and by the end of the afternoon it full. It’s quite a joy full place and you can always get a chance to play a round.
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More People in London 327

Alistair Hall is an award-winning graphic designer based in London. He set up his design studio, We Made This, in 2004, and specialises in thoughtful, simple, beautiful graphic design for print. He has made work with clients including Penguin Books, Historic Royal Palaces, Jeremy Tankard Typography, the National Trust and John Lewis.  Alistair is also a co-founder and art director of the children’s literacy charity Ministry of Stories, and its fantastical shop, Hoxton Street Monster Supplies. Alistair has been writing about design and visual culture at wemadethis.co.uk/blog for over ten years. He also teaches at Central Saint Martins and The Sir John Cass School of Art, Architecture and Design; and has given talks about his practice across the UK and overseas. He’s currently researching a book about London’s street nameplates.
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Born in Kolkata, India I moved to the UK as a teenager and to London when I got into Central Saint Martins to study illustration. I'm still here 27 years later so I guess I'm a Londoner now.
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I was born in the mid 1980's and grow up in London. From always having a fascination with mechanical objects and relentlessly playing with lego as a child becoming a still life photographer seemed like a natural progression. There is something enormously rewarding about creating exactly whats in your head. I try and make my images on first glance look completely perfect but on closer inspection its revealed there are many imperfections, if you look closer at the 'Wrapping Paper Series' you can see all the joins and creases. I think this makes it look and feel like a photograph and not CGI.
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Joe Hales is a London based graphic designer, whose work is underscored with an ongoing interest in the relationship between the form, function and content of print based media. This is reflected in projects spanning a diverse range of clients, where careful attention is paid to producing aesthetically relevant, clear and engaging typographic work. Recent projects include an artist monograph for Nicola Hicks (Elephant in association with Flowers Gallery), a series of exhibition catalogues for Bloomberg SPACE, a group exhibition catalogue for Royal Academy Schools, a visual identity for new community, educational and creative space Rabbits Road Institute and the visual design for the Longplayer app, a musical composition lasting 1000 years by Jem Finer. Joe is a design consultant for Falmouth University and teaches typography at The Faculty of Art, Design & Architecture, Kingston University, London. He is a founding member of collective The International Western whose work to date has concentrated on mechanisms of transmission, translation and transformation of information. Recent pieces include the recording of Four in the Wave (in Verfreundungseffekt Magazine Vol. I, London, 2013), and the site-specific performance and print edition Calling All (Over Time, Royal Museums Greenwich, London, 2014 and Chisenhale Dance Space, London, 2016).
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London based Artist and Illustrator 
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