The original idea behind the Bauhaus, founded in Weimar in 1919, was not white boxes and tubular furniture, but collaboration: the collaboration of genres and disciplines as well as the interchange of arts, crafts and industries. Digital Bauhaus 2014 takes this idea into the 21st century and explores the formats and frameworks of creative group work, both online and on-site, that shape successful project organization. In the frame of an extensive program of hands-on workshops, keynote talks, panels and spaces for exchange, professional experts on collaboration invited to the summit will share lessons they’ve picked up, and delve into modes and models of working together both old and new.
Moscow is one of the most relevant settings for discussions of urban development today. Recent changes in the city’s infrastructure, as well as new attitudes towards the planning of public spaces, have made Moscow an intriguing destination for architects and urban designers. Following 14th International Architecture Exhibition’s theme ‘Fundamentals’, the exhibition MOSKVA: urban space highlights elementary shifts in architecture throughout Moscow’s past, revealing new urban possibilities on the basis of the winning project for the creation of Zaryadye Park by Diller Scofidio + Renfro. Covering approximately 700 square meters MOSKVA: urban space will take place in the exhibition spaces of the Biennale as well as the inner courtyards of Santa Maria della Pietá. An accompanying conference, ‘Between Architecture. Public Space and the Urban Commons’, will debate how society and governance renegotiate the demands and expectations concerning the role of urban public space in modern societies.
Vor Ort (On site) has invited eight international artists to present their works in the public spaces of Sennestadt, a district of Bielefeld. Under the artistic direction of Thomas Thiel, director of the Bielefelder Kunstverein, the new commissions look to connect real, social and medial spaces, focusing on the specific history of the landscape as well as the current situation in Sennestadt. The architectural – and, in urban design – significant district, together with its inhabitants, become the subject-matter. In the 1950s and 60s, the major residential development of Sennestadt excited interest both nationally and internationally as an ‘Experiment amid Green Fields’. The ideas of its architect, Prof. Dr.-Ing. Hans-Bernhard Reichow (1899-1974), and his designs were based on what he advocated as an ‘organic urban architecture’, which strove for a spacious city suffused with greenery, offering living conditions as he believed they should be. It revolved around a synthesis of landscape, architecture and art, in the sense of an expansive culture of living. This original concept and its further development under the motto, ‘Reichow for the 21st century’ has played an important role in the context of the Sennestadt remodelling project since 2008. In this public space, the sculptures and the contributions of the Vor Ort exhibition will signal a provisional status-quo in the course of the remodelling.
Established with design in Berlin since 1981, the exhibition Italian Eclectic marks the inaugural show of Hans-Peter Jochums new space on Mommsenstrasse, which is from now on operating under the new name JochumRodgers. Particularly interested in its mentality and playful spirit, Hans-Peter Jochum and Jett Rodgers’ works draw heavily on Italian design: exploring the development of design as an end in itself rather than a way to produce objects of utility.
As a result, Italian Eclectic spans from Carlo Bugatti’s Art Nouveau furniture to the bold postmodern pieces of the Memphis Group and Ettore Sottsass, and provides an assemblage of unique objects and small editions designed by different artists: a mirror object by Gino Marotta, a black cabinet by the sculptor Giacomo Cometti, a chair by the painter and sculptor Thayaht, and the TOP mirror chair by the architect and artist Nanda Vigo.
In the frame of the young curators’ program Jeunes Commissaires and in cooperation with the Deutsches Architektur Zentrum DAZ, the Bureau des arts plastiques / Institut français has developed the project In Extenso – Erweitert, posing the question ‘How to rethink space and matter?’ On this occasion, the French curators Agnès Violeau, Karima Boudou, Céline Poulin and Florence Ostende have been invited to delve into the themes of Performance, Social Context, Public Space and Storytelling in an experimental process based on a series of public discussions and workshops: an open and ongoing exchange between them, and with the invited artists, architects, thinkers from France and Germany shall be initiated. This will offer the curators the possibility of a context-shifting, extended interaction, oscillating between architecture and visual arts, performative and narrative expression, physical and social space. The outcome of In Extenso – Erweitert will be presented in a second phase of the project at the DAZ from September 2015 onwards. The evolution of the project and the research process will be documented and made available on www.jeunescommissaires.de.
In her exhibition Homage, Jill Magid considers the eschewal of intellectual property rights in favour of sharing. This concept is explored through the mutually respectful relationship between the Bauhaus modernist Joseph Albers and Mexico’s modernist architect Luis Barragán. Aided by the precise notes Albers left on the back of his paintings which tell of the colours, brands and condition of each of the paints he used, Magid makes her own ‘Homages’, forging Albers’ works according to his own instructions. Complementing these paintings, a series of ‘Butaque’ chairs will be on view, which Magid has made through a process of further replication, involving the work of Mexican-based designer Clara Porset. She worked with Barragán, and was friends with Albers, allowing the latter to trace the dimensions of her chair and reproduce it for every room in Black Mountain College — a version that is attributed to Albers. Furthering the logic of this appropriation, Magid presents her own Butaque chair, made by tracing the contours Albers’ own traced version. Homage is Jill Magid’s first solo exhibition with the Zurich based gallery RaebervonStenglin.
The exhibition Collection Röthlisberger | Miroirs – Spiegel at Kunsthalle Fribourg marks the largest presentation dedicated to designers and architects, Trix and Robert Haussmann, in over a decade. Since 1967, the couple has built an idiosyncratic oeuvre that has continuously challenged architectural, design and aesthetic conventions, and has explored many creative perspectives, such as poetry composed by chance, drawings, collages and texts. The exhibition, composed entirely in collaboration with Trix and Robert Haussmann, examines every aspect of their research, and weaves together different bodies of work, including furniture objects belonging to the Röthlisberger Collection, as well as a series of unique mirror’s made in the 1980’s. In addition, they have conceptualized, designed and produced about 10 new mirror works from 2014 that will be installed in the space of the Kunsthalle to create different optical illusions.
How does a digitally oriented generation, for whom creativity, sustainability, and mobility are more important than status, live? This is the question explored in Freunde von Freunden’s and Vitra’s first apartment in Berlin. Building upon their common styles and experiences, the FvF Apartment by Vitra on Mulackstrasse offers a glimpse into the world of the Swiss furniture manufacturer’s collage and visualizes the interview magazine’s conceptualization of urban living. The 65sqm ‘Altbau’ apartment has been rebuilt and designed to be adaptable to the diverse scenarios of everyday life.
In November 2012, Studio Manuel Raeder began developing the three display structures and furniture that make up La letra E está por doquier (The Letter E is everywhere) with fellow studio designer Santiago da Silva for Centro de Diseño de Oaxaca. As the first public institution of its kind in Mexico, it understands design as a tool for social change and, coinciding with the ethos of Studio Manuel Raeder, follows the understanding that form relates to production and production to alternative economic relations based on dialogue and the exchange of ideas. As a result the furniture features seating made out of plastic, wooden stools and upturned buckets, as well as the ubiquitous white plastic Monobloc chairs, reconfigured and covered with woven palm leaf. The modular cake table was produced in collaboration with a furniture factory and local wood producers in Oaxaca. Additionally the cubic structures display a selection of catalogues and artists’ books produced by Studio Manuel Raeder over the past ten years, as well as collected and found objects such as art wares, which the designers collected from their stay in Mexico.
From ICC to ICCC – International Center for Contemporary Culture Berlin
The ICC, a 38-year-old architectural Gesamtkunstwerk, is one of the most important international buildings in Berlin. The unique icon of the 20th century is to be preserved and at the same time newly challenged. The ICC could become the ICCC, a center for contemporary culture in Berlin. The utilization concept is based on a synergy of conference facilities, a venue for performers and fine arts, a restaurant and cafés, a hotel, an art and media outlet as well as temporary co-working spaces, and studios. „What is needed is a catalyst for the meeting of worlds that represents and is part of our journey in to the future. The first phase of post-Wall Berlin, the art colonisation of the city, is almost complete. Now we need to look towards a new, technically orientated consciousness and what better hub for that endeavour than the ICCC? A mothership for the merging of two cultures in the third industrial age. The architecture of the ICC, the ship-like form that shouts “space” rather than “sea” are all perfect companions to this journey.“ Sophie Lovell (Author & Editor-in-Chief, uncube magazine). Scope of work of BUREAU N was the concept development for future use, together with Florian Heilmeyer and Something Fantastic.
What is needed is a catalyst for the meeting of worlds that represents and is part of our journey in to the future. The first phase of post-Wall Berlin, the art colonisation of the city, is almost complete. Now we need to look towards a new, technically orientated consciousness and what better hub for that endeavour than the ICCC? A mothership for the merging of two cultures in the third industrial age. The architecture of the ICC, the ship-like form that shouts “space” rather than “sea” are all perfect companions to this journey. Sophie Lovell (Author & Editor-in-Chief, uncube magazine)