After their pastrami buvette Maxie Eisen, the three restaurateurs Oskar Melzer, James and David Ardinast took the next step, opening their first fine-dining restaurant Stanley Diamond, named after Maxie Eisen’s notorious Jewish- American mafioso associate from the 20th century and also located in Frankfurt’s Bahnhofsviertel. Culinary references to bygone times characterize the kitchen which is inspired by European classics. Traditional recipes that have steadily disappeared from restaurant menus are revived with a contemporary take to form a diverse and seasonal menu featuring classics such as Leipziger Allerlei, plaice ‘Finkenwerder style’, Osso Bucco, Bouillabaise, Baba au rhum or apricot dumplings. The interior, designed by Paul Bauer in collaboration with the architects Hollin+Radoske and the design company e15, plays with the combination of contrasting materials. A long stone wall made from green Indian marble, a rose-pink concrete flooring and a gleaming copper ceiling are set off against wooden elements and custom made seating. With strong ties to the city, Melzer and the Ardinast brothers combine fine-dining with the rough and vibrant atmosphere of the Bahnhofsviertel.
Root vegetables, Icelandic moss, Scandinavian mountain herbs and dried seaweed join Berlin’s culinary scene with the resturateurs of Grill Royal and Pauly Saal’s newest venture: restaurant and bar dóttir. Inspired by her Scandanavian roots, head chef Victoria Eliasdóttir combines her experience from kitchens in Sao Paulo and Berkeley with Icelandic, Danish and Swedish cuisines and preparation methods, creating dishes with fish from the Baltic Sea, regional vegetables, lamb and unique flavours. Located in the ground floor of a corner building that stood empty for many years in the business district surrounding Friedrichstrasse, dóttir is separated into a bar, dining area and open kitchen – marked by the original plaster walls, freshly installed old wooden floorboards, antique furniture, tailor-made sofas, and, of course, artworks from the owners’ collections – with access to an enchanting hidden courtyard in the summer.
Photos: Stefan Korte
In 1977, NASA launched two probes, Voyager’s I and II, each of which had on board an identical “Golden Record.” They carried messages, images and sounds of the Earth and its inhabitants into outer space, intended to provide extraterrestrials with an idea of what was, at the time, considered ‘terrestrial.’ Despite having since disappeared from both the outer reaches of the solar system and collective consciousness, the programme now receives a unique bibliophilic memorial.
In Drittel Books’ latest publication, Voyager – The Grand Tour, author and photographer Martin Eberle documents and recapitulates this self-intoxicated pinnacle of the space age in three volumes: Voyager – Mission, Voyager – Golden Record, and Voyager – The Grand Tour. Bridging the gap between science, photography and cultural history, the volumes revisit the places, protagonists and technologies associated with the mission, using the sober insight of the 21st century to resolve the mission’s self-referential messages to the Earth’s inhabitants both pictorially and textually.
Inspired by the shift in expedition technologies from hybrid manned-electronic to virtual models, artist Marco Brambilla, in cooperation with NASA, presents Apollo 18. As part of Midnight Moment, Apollo 18 transforms the New York City landmark into a virtual launchpad. Reinterpreting mankind’s relationship to space exploration in the electronic age, the video collage presents the countdown to an imagined lift-off of a Saturn V rocket. Weaving never-before published archival footage from NASA missions with computer-generated imagery, Apollo 18‘s countdown builds dramatic tension without climactic release, compressing the entire imagined mission into spectacle. Covering many of Times Square’s electronic billboards, the multi-channel video installation is presented as a communal event, condensing manned space exploration into the feverish moments before liftoff.
Bringing the authentic dining experiences of Tokyo to Berlin, Zenkichi shies away from typical sushi and teriyaki dishes. Instead, the Japanese brasserie focuses on exquisite, traditional Japanese dishes with modern flair, their specialties ranging from homemade tofu with light dashi sauce and deep fried potato rice cake served with spicy mayonnaise, to black cod Kyoto miso marinade and Berkshire Kakuni, a simmered pork belly in traditional dashi broth with a soft boiled egg. The multi-dimensional experience combines the fresh, seasonal dishes with an equally special Tokyo-style interior. Hidden away in the lower ground floor of a Mitte building, Zenkichi opens with a lounge and sake bar, which leads to a dining area past the reception. Unlike the usual large seating area, the dining space is composed of 35 semi-private booths of varying sizes, equipped with bamboo blinds for extra privacy. The distinct seating concept reflects what owners Motoko Watanabe and Shaul Margulies point to as a Japanese desire to “concentrate on their food and their company.” Further establishing the intimate atmosphere, the dining experience is completed with subdued lighting and organic materials, composed of dark stained wood, bamboo sticks, granite paving and black pebbles.
Photos: © Zenkichi
I am smart but my brain is run in California… Inspired by the hideouts of the ever-powerful Apple and Facebook in contrast to the new, overtly conspicuous offices of the Federal Intelligence Service in Berlin-Mitte, “Android Paranoid” hosts a journey through current scenarios of the future. Through lectures, performances and film screening, the event examines our vision of the days to come – sterile white rooms, the role of technology – in turn posing the questions: was the future always so quiet? What are the underlying structures, aesthetic parameters and control mechanisms of these scenarios? Do we need a new design, a new system of expression in architecture? Do we surrender ourselves to technology because that which we cannot see, we also cannot design?
Futurologists, architects, critics and curators from around the world will convene to address the ambiguous influence of digitalisation on architecture and our cities, the power of “Big Data,” and smart cities and their vulnerabilities. Among the participants of the discussion: Kristoffer Gansing director of Transmediale, Berlin; Daniel van der Velden of Metahaven Design and Research Studio, Amsterdam; Dr. Jan Willmann from Gramazio Kohler Architects, ETH Zurich; Liam Young, architect and speculative thinker, Princeton, AA from London; together with music by David Letellier and film screenings by the Russian artist Andrey Yagubsky from Moscow.
Following their installation ‘Ground to Sky,’ Welsh-German artist duo Awst & Walther present their edition JUMP. The installation — a head-high, expansive, floating boxwood hedge — was shown, amongst other places, in framework of the project Vor Ort. Kunstprojekt Sennenstadt, in which it hung amongst the trees in the Bullerbachtal, an area in the middle of the city. The installation seemed to be taken from the floor and acted as a motif for illusionistic painting, referring not only to the importance of the garden hedge in civil settlements, but also the interplay of nature and landscape, and the regulation and ownership of space in urban areas. JUMP, which reinterprets the installation into a cotton pullover, will be presented as one of the Bielefelder Kunstverein’s annual gifts, a selection of unique items and editions artists within their exhibition program. All of the annual gifts can be seen in their premises.
The golden triangle: joining axis Berlin-Lisbon is BUREAU N’s third and most recent office in Basel. We look forward to being in Switzerland for the foreseeable future as we join several of our projects in Basel, including the Hoschschule für Gestaltung und Kunst FHNW (University of Art and Design) and the Bundesamt für Kultur (Federal Office of Culture), with whom we work on the Swiss Art Awards and Swiss Design Awards. BUREAU N’s new office can be found in the middle of the city, at the co-working area of the unternehmen mitte.
The Berlin “Brachflächenatlas” was once a playground and inspiration to many architects and builders. Today, it has lost its meaning: nearly all holes in the city’s landscape have been filled; the spaces that once characterised the city have disappeared. For the first edition of Abriss-Atlas Berlin, ten Berlin journalists and authors explore the capital’s mixed architecture and offer a solution for a new Berlin.
With a playfully critical approach, the authors offer up their favourite pieces of the city’s architecture for demolition including such recognisable sites as the O2 Arena, Potsdamer Plats and the Siegessäule. With snappy commentary, Abriss-Atlas joins the ongoing discussion on what has become of Berlin, with the hopes of rediscovering and redefining the city’s wastelands.
Philosophically similar to NEW TENDENCY, Donald Judd’s objects are continuously driven by an obsession for craftsmanship, coupling high quality materials and industrial production techniques, met by the ambition of handmade production processes. Donald Corporate takes Judd’s ambition as a starting point for a spatial conversation about the functionality of furniture-scale spatial objects – its core idea based on a two-fold approach, which unites our motivation to bastardize and hijack an existing family of objects, at the same time working around and implementing a process of ‘Maximizing Minimalism.’
In the context of this collaboration Markus Miessen speculates on how to imagine and implement the maximum use value while maintaining the spatial properties of the so-called original. As in Judd’s original, the tabletops contain a second layer, which – in the case of the revamped version – acts as a functional retrofit that is also mimicked by the stands. These storage units can be used and explored in a variety of formal and informal ways and range from the super-functional to the partially absurd. Donald Corporate was previewed on this year’s Istanbul Design Biennale and will be officially released at the upcoming imm Cologne 2015.