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.
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.
At the heart of an evolving, urbane, inner-city district, the Academy of Art and Design FHNW opens a new campus. Including converted studio spaces and a new high rise, all of the school’s institutes, which were previously located throughout Basel, will finally be brought together in the Dreispitz complex. Through the spatial concentration of the departments in a joint Campus of the Arts, knowledge and experience can now be widely shared and also centrally pooled. New initiatives will foster this interdisciplinary and intercultural orientation of the Campus: for example, an experimental platform for contemporary artistic positions (Curating the Campus), an initiative linking areas of knowledge, other activities, and current discourses on the themes of design confronted with today’s environmental challenges (Design Platform Basel), and a knowledge based, interactive digital platform that will connect theory, research, and artistic and design practice (Digital Campus). On the occasion of its degree show, the Academy for Art and Design FHNW will open its doors to a preview of the new building complex in mid-September, and will celebrate the area’s official opening by the end of October.
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.