Blue Crow Media, perhaps the foremost current publisher of city maps focused on modernist architecture, returns with the Berlin U-Bahn Architecture and Design Map. Like the previous entries in their series showcasing the architectural highlights of urban transit systems – London, New York, Paris, Moscow – the Berlin entry is attractively printed on thick, sturdy paper with a die-cut slipcase.
IN UKRAINIAN RAILROAD LADIES, photographer Sasha Maslov documents the female workers of Ukraine’s national railway system in photographs that are both exquisitely arranged and highly personal. While brightly-colored uniforms serve as the initial focus, offering a vivid palette of Soviet-era contrasting pastels, the women themselves shine through as the true subjects, standing proudly against an equally-colorful array of backdrops.
SIEMENS, MUCH LIKE AEG and Daimler, is a present-day German company with roots stretching back to the 19th century. Founded in an office on Kreuzberg’s Schöneberger Straße in 1847, by the time of founder Werner von Siemens’ death in 1892 the company had offices in 13 countries.
Lying at the northern border of Berlin’s Moabit district, just south of the Westhafenkanal on the U9 line, is U-Bahnhof Westhafen. In a city with so many strikingly varied train stations, Westhafen nonetheless stands as one of the most beautiful and unique: since 2000, the entire station has been home to a massive text-based art installation by artists Francoise Schein and Barbara Reiter, under the auspices of the multi-country Inscrire project.
Westhafen is one of 27 stops on the Ringbahn, which means it’s both a U-Bahn and S-Bahn station—but with the latter being a standard, ground-level outdoor station, the texts are limited just to the U-Bahn (i.e. underground) part of the complex and its connecting passages.
