After several years of joint development by Verner Panton and Vitra, the Panton Chair was finally ready for production in 1967 as the first all-plastic cantilever chair to be manufactured in one piece. Created with a revolutionary technique even for today’s standards, the chair’s unique sculptural design was presented to the public for the first time at the imm Furniture Fair in Cologne in 1968. It rapidly came to symbolize an entire era. Now, 50 years after its launch, Vitra is celebrating this timeless icon by issuing two limited editions that bring lustre and luminosity to those dynamic curves: Panton Chrome and Panton Glow. The inspiration for the first one derives from Verner Panton’s fascination with mirrored surfaces and his extensive experiments with diverse reflective effects. An old dream of the designer finally comes to fruition as a recent complex process prevents its previous sensitivity to scratching. On the other hand, Panton Glow accentuates luminosity and a certain “radiance from within” due to phosphorescent pigments that absorb daylight and emit a blue glow in the dark. The jubilee duo shines bright, paying homage to the design’s smooth twists and bends.
top Baas Maartens´ Smoke, bottom Dave Hakkens´ bloks. both © Frank Hülsbömer
Shiny, immaculate, new: these are the qualities we expect from the objects with which we surround ourselves. But one often forgets that aging is also part of life – and design. Transience, the theme taken on by the sixth Design Display exhibition, is much more than a philosophical question. Two designers who deal with the concept of impermanence in different ways take center stage: Maarten Baas destroys in order to create, while Dave Hakkens develops concepts of sustainability. Though both of them share the opinion that good design is more than good looks. For the Smoke series, Baas took iconic design pieces and torched them until they were left charred. In reworking design classics, Maarten Baas’ productive act of destruction not only shows the surface’s vulnerability, but the transience of the original design intentions. The torched versions call for the recognition that things must elapse to make room for the new. Facing Baas on the other side of the glass display, is Dutch designer Dave Hakkens with his Phonebloks – a concept for a smartphone made up entirely of individual modules. The idea is that different “bloks” can be assembled on the motherboard like Lego blocks. These blocks are autonomous functional units such as batteries, processors, speakers, cameras, or memory cards. Users can assemble or upgrade their device at will, as well as easily replace broken parts. The transience of a single module doesn’t spell the end for the whole device. The transience of a single module doesn’t spell the end for the whole device. In the On Display magazine accompanying the exhibition, the fascination with ephemerality and the allure of decay are further explored.
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?
Architecture is not necessarily an activity whose sole purpose is construction, but rather a field for intellectual research and speculation that encompasses an arsenal of numerous disciplines. The emerging generation of the most talented architects and urban professionals in Europe joined forces during the Future Architecture Festival in Ljubljana organized by the Museum of Architecture and Design (MAO). The purpose? To break down walls. Not just physical walls, but also those of imaginary, professional and ideological nature. Through critical approach, architecture is perceived as a means to address the most pressing social and political issues of our times. Essentially, the common aim of all the ideas taking part in the festival is to observe, analyze and change the world we live in. Some of the stimulating topics discussed included James Taylor Foster’s (archdaily) lecture and panel discussion “What is Attention Economy? Why Should I Care?” which unpicked the designed intention behind social sharing and the state of the Internet in 2017 – a reality both fascinating and disconcerting in equal measure. Focusing on future materials, Esen Gökçe Özdamar presented the Bioplarch workshop which proposed new bio-degradable plastic made out of edible components and how it can be realistically used and widely applied in industries and daily life. Of course, one of the fervent topics throughout the whole festival was the reclamation of public space and strengthening communal initiatives. Among others, Kosmos Architects proposed to turn Basel’s underground river into a linear botanical garden, open for the public year-round.
Bureau N’s involvement
As a member of the Future Architecture Platform, Bureau N was invited to host a talk during the festival. We decided to focus on a common thread between our field of expertise — cultural communications — and the overarching theme of architecture. It was quickly obvious that the shared ground we were after was storytelling. Within our practice, stories are an indispensable device that helps us convey messages, if not the underlying protagonist of all our projects. Giving shape to narratives that others can empathize with, or are curious to explore further, is the bedrock of every worthwhile creative project seeking to transmit information that’s understood by more than one person in a powerful manner. In this case here, taking storytelling as a point of departure, we aimed to touch upon the relationship between architecture and narrative, and how space can be perceived through that particular scope. Our talk, entitled “Tales Only Architecture Can Tell” was joined by two theorists and two practitioners: futurist Ludwig Engel whose work deals with urban utopias and future cities; Victor Cano Ciborro of the architectural collective and radical research group Arquitectura Subalterna; scientist and researcher Ana Jeinic who engages in how architecture will adapt to post-futuristic states of culture; and Adrianna Pablos Llona who questions borders, nations and monolithic disciplines. All presented lectures and workshops will be soon available online on videolectures.net
Images: Bioplarch,starch-based bioplastic as construction material by Esen Gökçe Özdamar, Ahmet Bal, Schermin Schentürk / Hidden Park, Kosmos Architects / Tempio di Minerva. Sonic Impression or Architecture as Instrument”, FAKT Architects in collaboration with MAXXI
With their inexhaustible supplies of imagination, intelligent sense of humor and iconic creations, Charles and Ray Eames had a major impact on 20th century culture that extended well beyond design and architecture. Throughout their careers, they focused primarily on finding answers to the simple question of how the basic human needs for living space, comfort and knowledge could best be met. Rather than a luxury, they understood design as a solution. Nowadays, the duo’s name is synonymous with timeless aesthetics and technical precision, embodying the synergy of form and function. In celebration of these two enduring creative forces, the Vitra Design Museum is presenting four parallel exhibitions that offer an unprecedented view of the work created by the ever-referenced designers. From medical splints and airport seating to films and children’s toys, visitors will be invited to explore an all-encompassing spectrum of the Eames’s vision taking over the entirety of the Vitra Campus. The exhibition sequence’s major retrospective will be accompanied by the designers’ cinematic oeuvre of more than 60 films, children toys as well as the full scope of the collection of the Eames Office that is with the museum since 1988.
Credits:Charles and Ray Eames selecting slides / Ray Eames with an early prototype of »The Toy« in the patio of the Eames House, 1950 / Charles and Ray in the living room of the Eames House, 1958 / Installation view of »Glimpses of the U.S.A.«, American National Exhibition, Moscow, 1959 / Photo shoot of the Aluminum Group with Charles Eames, 1960 / Charles and Ray Eames, Film still »Powers of Ten: A Film Dealing with the Relative Size of Things in the Universe and the Effect of Adding Another Zero«, 1977. All pictures: © Eames Office LLC
“Design is invisible”, wrote sociologist Lucius Burckhardt almost 40 years ago. Design doesn’t merely apply to objects, graphics, user interfaces or spaces, but also refers to social processes and complex systems. Democracy is one such a system: it is not a given, but rather a structured process. The 5th edition of the exhibition series Design Display examines how design and democracy intersect in order to effect change in society. On the basis of two different democratic processes, the exhibition presents a spectrum of creative possibilities: from hands-on participation in urban development to new digital technologies that can fundamentally alter the face of democracy. On one side of the two-fold exhibition, the Hamburg-based group PlanBude focuses on promoting public participation in city planning and explores how design can become more inclusive. Shaping and implementing participatory processes is a crucial step to ensuring democracy isn’t just a formal act, but a vital part of everyday life. This means giving voice to those not normally consulted during the stages of development. Architects and city planners are made aware of the residents’ knowledge, desires, and needs, so that site-specific features can be incorporated into their designs. PlanBude advocates moving beyond designing for the people toward designing with the people. The second element of the exhibition turns to the digital world and, in particular, the innovative technology of blockchains and its various applications within the infinite World Wide Web. Blockchains store information in small units, in blocks that aren’t stored on one, but on many different servers connected to each other. This form of storage is extremely secure against hacking and manipulation and thus utilizable for democratic processes. Among other things, this new technology makes it conceivable to cast secret ballots on the Internet, to make management transparent, or to provide tools that promote direct democracy or economic autonomy. Across the world, blockchain solutions are prompting administrative processes to become more transparent and citizens to get involved more directly.
In 2017, the Swiss Design Competition celebrates its 100th edition. Since then, the promotion has pursued two objectives: on the one hand, direct economic support, which gives designers a boost from prototype to production that pays into the quality and the reputation of Swiss design. On the other hand, it allows an indirect freedom, financially and temporarily, that enables the designers to create new and extraordinary solutions to be worked out and tested. In the exhibition Swiss Design Awards, around 50 works from designers in the fields of graphic design, photography, fashion and textile, products, scenography and mediation are presented to a broad public.
As a consequence of “post-modernization” at large, the city seems to have lost its authority as the sole territory we look to for the source of quality existence. Contained within the title of the 25th Biennial of Design, FARAWAY, SO CLOSE, are many topics of the ensuing debate: could we re-occupy distant places, activate remote territories, re-enact ancient relations through our urban habits? Can new frictions between distant conditions emerge, and produce new scenarios for a different present time? Slovenia, with its specific geographical condition, will perform as a paradigm to stimulate, discuss and test the status of this global shift. Rather than an exhibition of existing projects, the biennial is conceived as a production platform where groups of designers develop different scenarios as alternatives to established systems. Seven Slovenian individuals, known for their work outside of the design field, were paired with seven international creative figures, chosen for their ability to use design and architecture as tools for investigating contemporary issues – Studio Formafantasma with Andrej Detela; Matali Crasset with Matej Fegus; Point Supreme with Iztok Kovac; Didier Faustino with Mojca Kumerdej; Studio Mischer’Traxler with Klemen Kosir; Studio Folder with Renata Salecl; Odo Fioravanti with Marin Medak. The resulting collaborations are shown at the Museum of Architecture and Design (MAO) in Ljubljana, which organises the Biennial, as well as seven sites across the Slovenian environment, ranging from the wild forest of Kocevje to the subterranean world of the Mayor’s Cave.
From a period of political upheaval and rebellion against existing societal structures, a diverse set of stylistic trends emerged in the 60s and 70s. For the exhibition ‘Experiments’ Jochum Rodgers combines unusual design objects of the two decades in question selected by numerous architects, designers and artists. As the title implies, what acted as a driving force for the creation of the objects was not merely functional necessity but the actual pleasure derived from experimentation. Among the iconic exhibits, there are pieces by Joe Colombo, Pietro Cascella, Gianfranco Fini, Pier Giacomo & Achille Castiglioni, Frank O. Gehry, Piero Gilardi, Hans Gugelot, Gruppo Archizoom, Gruppo A.R.D.I.T.I., Ennio Lucini, Hans von Klier, Angelo Mangiarotti, Gino Marotta, Casati Ponzio, Gino Sarfatti, Ettore Sottsass, Studio Tetrarch and Superstudio.
Since 2007, in addition to the Swiss Design Awards, the Federal Office of Culture has presented the Swiss Grand Award for Design to individual designers or established firms that contribute to the renown of Swiss design nationally and internationally. Having originated as a means of encouraging, supporting and ultimately honouring the Swiss design scene, the prize communicates and indicates the traditions of Swiss design. This year the disciplines of the three laureates range from graphic design to jewellery and illustration; all of which have played a key role in the cultural fabric of Switzerland. David Bielander translates simple, everyday objects into items straddling the line between jewellery and artwork. His contemporary pieces open up unexpected lines of communication and discreetly narrate underlying stories for both the wearer and the perceiver. Another mode of storytelling is found in the work of Thomas Ott whose dark, meticulous comics don’t contain words yet manage to be universally comprehensible. As Ott’s work becomes more layered and complex, it gives rise to kaleidoscopic narratives and painstaking detail. This marked the first time that the award goes to a comic artist. Similarly following a precise optical language and consistent set of tools, Jean Widmer, one of the first Swiss graphic designers in Paris, produces clear designs ahead of their time. Among others, he’s created the visual identity for such institutions as Musée?d’Orsay and Centre Georges Pompidou – where his emblematic logo still remains.