Created around the concept that an object finds its form only when utilised by the user, the YUHI lamp consists of geometric surfaces, indirectly lit by an internal organic light-emitting diode (OLED). Designed by architect Clemens Tissi at the invitation of NEW TENDENCY, the lamp is suitable for both tabletops and floors. The two-dimensional light produced by the thin OLED-module allows the light grey steel sheet to become a reflective source of light. Surface and light form a variable entity of two independent parts in YUHI, Japanese for “evening sun,” in turn creating graphic and spatial depictions of various modulations of light and shadow.
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.
Beginning as an email newsletter for friends, the Cee Cee weekly guide has become a staple in multi-faceted Berlin city life. Every Thursday, five recommendations are sent to subscribers, highlighting inspiring places, food, culture, design, art and events, accompanied by a guest contribution of people from all walks of life recommending places and things they like. Among them: fashion designer Hien Le who recommended his favourite restaurant, and New York Times correspondent Gisela Williams, who introduced the literary lounge at Soho House Berlin. The best of the Cee Cee newsletters have now been compiled into a book including old and new guest entries. Chapters are uniquely separated by specific search themes, marked in individual colors and thus easily located on the foldable map that comes with the book. The map is meant to accompany and navigate the reader throughout the city.
Given today’s range of contemporary social, economic and ecological issues in combination with the acceleration of technological change, we are positioned in an inclusive and complex time. HOW SOON IS NOW revisits themes of the legendary exhibition “This Is Tomorrow” held at the Whitechapel Art Gallery in London in 1956, curated by Lawrence Alloway, asking if yesterday’s tomorrow is not today, how soon is now? What values and possibilities can we imagine with a more speculative approach that is unburdened by the constraints of everyday practice? Speculating in antagonistic collaboration HOW SOON IS NOW sets up a programme for the future and presents spatial interventions and manifestos by: Barkow Leibinger, Brandlhuber+, Jesko Fezer, Christoph Gengnagel, Fehling & Gogel , Gonzalez Haase AAS, Konstantin Grcic , J. MAYER H. with Marc Kushner, June-14 | Meyer-Grohbrügge & Chermayeff, Ludwig Leo, Sauerbruch Hutton, and Something Fantastic.
Nine Berlin-based artists and architects have been invited by Jochum Rodgers to present contemporary statements in an autumn group show. Berta Fischer, Barkow Leibinger, Thilo Heinzmann, Thomas Kröger, Angela Mewes, Sven Temper, Clemens Tissi, Tina Roeder and Suse Weber – a group of friends among themselves, their practices are grounded in the fine arts, performance, architecture and sculpture, while their respective work is located between the disciplines. Their tendency towards design stems from different interests: experimentation with materials, boredom with the norm, questions of compositions or the joy of provocation. All works in the exhibition are either unique items or editions.
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.
Organized annually by the Federal Office of Culture since 1918, the Swiss Design Awards creates platforms that help the competition winners advance in their careers and present their work to a wider audience. This year’s Swiss Design Awards exhibition, designed by Holzer Kobler Architekturen, will feature the works by 49 selected designers from a number of disciplines: products and objects, fashion and textile design, graphic design, photography, scenography and intermediation. All of them are featured in detail with an interview and profile on the specifically built Swiss Design Awards Blog. The winners of the Awards can choose between prize money, a six-month internship at a well-known firm, or free studio residences in London and New York. Furthermore, the Swiss Grand Prix Design is annually awarded on the occasion of the SDA to outstanding individual designers that contribute to the renown of the country’s innovation – this year’s Grand Prix winners are Alfredo Häberli, Wolfgang Weingart and Erich Biehle.
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.
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.