© Thomas Meyer
Berlin is a fascinating yet chaotic whirlwind of clashing architectural sites, with some of its most monumental and distinctive landmarks inherited from the German Democratic Republic era. Distinctively embodying the GDR’s engineering ambitions, Funkhaus is a colossal broadcasting centre and studio complex designed during the 1950s by the distinguished Bauhaus architect Franz Ehrlich. His job was to create the world’s largest and most sophisticated recording facility that promised to be an ideal marriage of German functionality and Eastern decadence. It was constructed to symbolize the virtues of equality, collectivity and openness by bringing a wide array of musical genres under one roof. Red Bull Music Academy is celebrating their 20th anniversary at the historic complex, which has been converted into a creative microcosm. 61 international musicians have been selected to participate in the Academy, they will have the opportunity to exchange ideas, learn new things and expand their musical vocabulary. Design studio New Tendency has created a bespoke furniture collection for the Academy, combining lounge modules, tables and sofas that bring back the essence of Bauhaus design principles and through a poetic and playful tone rejuvenate the functional and rational aesthetic of the interiors. Part of the transformation is an exhibition showcasing Berlin’s established and most promising emerging artists. Hailing from different generations, the artists have been carefully selected by Johann König. The exhibition takes central stage at the Lecture Hall with large-scale paintings by Karl Horst Hödicke, a pioneer of German neo-expressionism and a representative of the New Figuration, depicting Berlin in the decades before and after the fall of the wall.
© Armin Linke, 2013. | Benjamin Bratton, Strelka Institute.
As both a forward-looking movement and a child of its time Bauhaus looked to interconnect various forms of knowledge—technical, scientific, emotional and creative. Workshops at Bauhaus school were known as spaces for creativity and innovation where testing of design prototypes was guided by material and technological experimentation. Today we live in times when the belief in utopian aspirations of modernism has lost its innocence, but the ideals are carried forward and awaiting to be dynamically reformulated in relation to the present situation in society. Project Bauhaus looks to critically examine the ethos of Bauhaus teaching by using its methods. This year’s iteration, Projekt Bauhaus Workshop / Datatopia takes inspiration from the Bauhaus workshop structure in order to explore the emancipatory potential of technology, question the idea of progress and formulate a critique of the present through design. Projekt Bauhaus Workshop has found a fitting home at the site of Floating University, an old, concrete rainwater basin right next to the Tempelhof airfield that has been repurposed into a visionary inner city offshore laboratory for collective, experimental learning. Over the course of four days the guests and the participants will exchange on the current state of research through workshops, lectures, exhibitions and performances. Renowned speakers will include Benjamin Bratton, Keller Easterling, Armin Linke, T’ai Smith, and Eyal Weizman, with on-site artistic interventions specially developed for the occasion by Morehshin Allahyari, Olaf Nicolai and Brave New Alps.
The Catastrophe Colours 2018. An Exhibition by Gonzalez Haase AAS and June 14 Meyer-Grohbrügge & Chermayeff, Photography: Dominik Gigler
A rejection of colour has come to characterise the aesthetic of modern architecture. White and monochromatic tones were often seen as the antithesis of purity, honesty and authenticity. Stemming from a time that defies any categorization, can contemporary architecture embody a more complex and shifting relationship to colour? Reaffirming the status of colour as primarily a sensory perception, architecture office Gonzalez Haase AAS has developed the book Catastrophe Colours, underlining a critical approach to colour theory in the present. By confronting media images of catastrophes with their inherent chromatic essence, the book establishes a new inventory of colour. One that is based on research, linkage and storytelling, echoing the basic components of our information society. For this exhibition at BNKR, Gonzalez Haase collaborated with June14 Meyer-Grohbrügge & Chermayeff, to arrange various catastrophe colours into new sets of colour like Middle East Conflict, Vietnam War, Cold War, Nuclear Disaster, Oil Spills and Terrorism. Such new samples are specifically adopted from a political context, transforming colour patterns into narratives. An event as part of the program „Stop making sense, it’s as good as it gets.“ curated by Ludwig Engel and Joanna Kamm.
Soundsystem Despacio, New Century Hall, Manchester International Festival, Juli 2013 © Rod Lewis / Guests at Studio 54, New York, 1979. © Bill Bernstein, David Hill Gallery, London / Installation views, Photos: Mark Niedermann
Nightclubs and discothèques are hotbeds of contemporary culture. Since the 20th century, they have been centres of the avant-garde that question the established codes of social life and experiment with different realities. Interior and furniture design merges with graphics, and art with sound, light, fashion and special effects to create a modern Gesamtkunstwerk. Night Fever is the first exhibition to give a comprehensive overview of the design history of the nightclub, examining its cultural context from numerous perspectives. Examples range from Italian clubs of the 1960s created by the protagonists of Radical Design to the legendary Studio 54 where Andy Warhol was a regular, from the Palladium in New York designed by Arata Isozaki to more recent concepts by the OMA architecture studio for the Ministry of Sound in London. Featuring films and vintage photographs, posters, flyers and fashion, the exhibition incorporates music, light and spatial installations to take visitors on a fascinating journey through a world of glamour and subcultures – always in search of the night that never ends. In a night that never ends, the exhibition begs the question of whether the disco culture has evolved into a particular direction.
For most people, Antarctica, the earth’s sixth continent, is so far away that it can be perceived as common heritage, as an agile archive and laboratory, in which a new era of ecological consciousness is being fostered. Antarctica is a geographic end of the world yet central to global debates about climate change. But what are the intellectual and practical coordinates of commissioning art in such a location? Can we even talk about an ‘antarctic imaginary’ beyond scientific discourse? Starting with a screening of Pierre Huyghes’ film A Journey That Wasn’t, the event “Expeditions / Exhibitions” investigates the topic of travels and their presentation. What follows is a discussion between Antarctic Biennale participant Gustav Düsing, author and expert in Huyghe’s work Marie-France Rafael, and co-curator of the Antarctic Biennale Nadim Samman addressing the larger questions at hand. As part of the event, Düsing will reveal his architectural contribution to the biennial: a tent made of frozen fabric as a reference to the most prominent typology that has been used for Arctic expeditions since the 19th century. This event is part of Stop making sense, it’s as good as it gets., an ongoing program developed by Ludwig Engel and Joanna Kamm, derived from a close reading of Tom McCarthy’s novel Satin Island. Artists, writers, architects, theorists and scientists are invited to discuss their interpretations of time through different formats.
Across the world there has been a shared desire to bring the vision of the Bauhaus up to date, but every attempt to revive it is doomed to failure since it was both a forward-looking project and a child of its time. projekt bauhaus critically examines the ideas of the Bauhaus by using its own methods. It will seek to expose the internal contradictions of the Western idea of progress and discuss alternative approaches. The Bauhaus sought a synthesis of knowledge in which the various forms of knowledge—technical, scientific, emotional, creative—would be interconnected. This concept of knowledge was combined with a new pedagogy to emancipate the people, release their potential, and ultimately lead to the creation of a “new man.” As 2019 will mark the centenary of the founding of the Bauhaus, a one-day symposium hosted at the Haus der Kulturen der Welt in Berlin will bring together great thinkers to address questions of progress and renewal pertinent to our times: Which spaces encourage creativity and innovation? Which sites of knowledge does society need today? And essentially, do advanced laboratories of computer, internet and media companies represent the Bauhaus of the twenty-first century?
An unusual bank building in the centre of Germany, designed by architect Hans Kollhoff in the late 1990s, has been converted into a depot for art and valuables. Seemingly monolithic on one side with its heavy sandstone facade, the mammoth structure flows into an unexpected openness and even relaxedness on the other side. This stems from the enormous glass window designed by Swiss artist Helmut Federle, as well as the interior courtyard covered by a glass roof that, though impregnable, comes across as a light element. Austere calm emitted from the exterior coalesces with a certain domestic atmosphere imparted by an array of rooms inside. There’s a distinct feel for aesthetics and art, and since the new tenants belong to the latter category rather than the monetary world, a harmonizing balance occurs. ZentralDepot offers a safe home to artworks within a climate-controlled setting combining unprecedented security and exceptional design. It goes to indicate that the one does not have to eliminate the other.
© Images: Thomas Meyer – Ostkreuz / big image: Gonzalez Haase AAS
Tucked away snugly between two adjacent buildings, vGGG is a housing cooperative project consisting of three residential units with a “house-inside-a-house” character. Starting from the outside, the building’s location is crucial to its aesthetic qualities. Ohmstrasse, a landmark-protected street, is something of an inner-city island or haven of sorts: its existing structures date back to the “founding era” of Berlin, yet it is surrounded by wasteland, industrial plants and highrises. Its historic provenance, however, makes the addition of modernist-inspired architecture a challenge, due to strict regulations. To resolve this creatively, Gonzalez Haase’s design approach disregards the outside appearance of a building shell and therefore vGGG is conceived from the inside out. The building reacts to its environment on a more complex level, which can only be experienced when one encounters the architecture from within. Inside, one thing is instantly evident: the prevailing feature is the abundance of light entering from every possible direction. From the size and placement of windows, to shortened walls and connective openings between floors, it’s all about unobstructed views and allowing natural brightness to penetrate the rooms. Thus, the industrial charm of the neighbouring horizon steps into the sphere of the private. In turn, the house morphs into a threshold between entirely contrasting urban landscapes. For Gonzalez Haase, conforming to regulations and framework conditions shapes architecture, and can ultimately generate beauty — and in this case lead to a refreshing take on reducing things to their core.
Images: Iwan Baan / rendering by Diller Scofidio + Renfro
In Moscow’s oldest district, a new public park is unfurling — the first to be built in the Russian capital in over 50 years. Zaryadye Park sits on a historically charged site in close proximity to the Kremlin and Red Square, as well as surrounding heritage buildings. Since the demolition of the colossal Rossiya Hotel that existed there until 2007, the most expensive real-estate in Moscow was left in ruin. After winning an international competition organized by Moscow Chief Architect Sergei Kuznetsov in collaboration with Strelka KB, NIIPI Genplana of Moscow and the Moscow Committee for Architecture, a design consortium led by Diller Scofidio + Renfro (DS+R) in partnership with Hagreaves Associates and Citymakers has applied their approach to fostering inclusivity, openness, access and porosity to the project. The defining part of the design’s basis is the idea of “Wild Urbanism” — an elemental confrontation between the natural and artificial, the local and global. Expanding on this overarching concept, the overall lack of paths and predefined routes allow people and plants to exist and move freely alongside each other. Unpredictable conditions give as little instructions as possible and therefore offer a more genuine sense of exploration. Visitors can meander between the different landscapes that blend into one another, and reconcile urban life with the desire to be in proximity to nature. Zaryadye Park’s concept is specific to Russia by including native flora in four artificial microclimates that mimic the landscape typologies dominating Russia: the tundra, the forest, the wetland and steppe. “Moscow lost and found” runs as an underlying thread throughout the project: Once inside the park, large swatches of forest and vegetation allow immersion in nature and escape from the city. Elsewhere, promontories offer singular outlooks from which the city is rediscovered and appreciated anew. Based on the principle of lamination, the park buries built structures underneath, which host different cultural programs, restaurants and a philharmonic hall. Thus, a multiplicity of experiences are embedded in the same space in an ostensibly organic manner that resists over-calculated design. Scheduled to be revealed in September 2017, the current transformation of the Zaryadye district into a public space, represents both a historic moment for the Russian capital, and a powerful opportunity to rethink the purpose, potential, and value of parks in the 21st century.