In the mid 90s Thomas Meyer photographed rising shopping centers on East German farmland for his diploma thesis at the University of Arts in Bremen. An award-winning work on the non-verbal artifice of the new architecture in this part of Germany. In the photographs, a peculiar irony mixes with stylistic devices of romance. Places and buildings are documented carefully, convincingly and somehow irritating with their indifferent pathos.

In the mid 90s Thomas Meyer photographed rising shopping centers on East German farmland for his diploma thesis at the University of Arts in Bremen. An award-winning work on the non-verbal artifice of the new architecture in this part of Germany. In the photographs, a peculiar irony mixes with stylistic devices of romance. Places and buildings are documented carefully, convincingly and somehow irritating with their indifferent pathos.

In the mid 90s Thomas Meyer photographed rising shopping centers on East German farmland for his diploma thesis at the University of Arts in Bremen. An award-winning work on the non-verbal artifice of the new architecture in this part of Germany. In the photographs, a peculiar irony mixes with stylistic devices of romance. Places and buildings are documented carefully, convincingly and somehow irritating with their indifferent pathos.

In the mid 90s Thomas Meyer photographed rising shopping centers on East German farmland for his diploma thesis at the University of Arts in Bremen. An award-winning work on the non-verbal artifice of the new architecture in this part of Germany. In the photographs, a peculiar irony mixes with stylistic devices of romance. Places and buildings are documented carefully, convincingly and somehow irritating with their indifferent pathos.

In the mid 90s Thomas Meyer photographed rising shopping centers on East German farmland for his diploma thesis at the University of Arts in Bremen. An award-winning work on the non-verbal artifice of the new architecture in this part of Germany. In the photographs, a peculiar irony mixes with stylistic devices of romance. Places and buildings are documented carefully, convincingly and somehow irritating with their indifferent pathos.

In the mid 90s Thomas Meyer photographed rising shopping centers on East German farmland for his diploma thesis at the University of Arts in Bremen. An award-winning work on the non-verbal artifice of the new architecture in this part of Germany. In the photographs, a peculiar irony mixes with stylistic devices of romance. Places and buildings are documented carefully, convincingly and somehow irritating with their indifferent pathos.

In the mid 90s Thomas Meyer photographed rising shopping centers on East German farmland for his diploma thesis at the University of Arts in Bremen. An award-winning work on the non-verbal artifice of the new architecture in this part of Germany. In the photographs, a peculiar irony mixes with stylistic devices of romance. Places and buildings are documented carefully, convincingly and somehow irritating with their indifferent pathos.

In the mid 90s Thomas Meyer photographed rising shopping centers on East German farmland for his diploma thesis at the University of Arts in Bremen. An award-winning work on the non-verbal artifice of the new architecture in this part of Germany. In the photographs, a peculiar irony mixes with stylistic devices of romance. Places and buildings are documented carefully, convincingly and somehow irritating with their indifferent pathos.

In the mid 90s Thomas Meyer photographed rising shopping centers on East German farmland for his diploma thesis at the University of Arts in Bremen. An award-winning work on the non-verbal artifice of the new architecture in this part of Germany. In the photographs, a peculiar irony mixes with stylistic devices of romance. Places and buildings are documented carefully, convincingly and somehow irritating with their indifferent pathos.

In the mid 90s Thomas Meyer photographed rising shopping centers on East German farmland for his diploma thesis at the University of Arts in Bremen. An award-winning work on the non-verbal artifice of the new architecture in this part of Germany. In the photographs, a peculiar irony mixes with stylistic devices of romance. Places and buildings are documented carefully, convincingly and somehow irritating with their indifferent pathos.