Henning Larsen to redesign Esbjerg Bypark in Denmark
Danish architecture firm Henning Larsen has won an open competition to revitalize Bypark in Esbjerg, a historic harborside park in the coastal city in western Jutland.
The renovation of the park, which occupies a 30,000-sqm area between the city’s commercial center and its harbor, is an important step to strengthen the city’s cultural offerings and reshape its urban identity.
Best known as a port city, Esbjerg is a city whose rich cultural and natural offering has been historically overshadowed by its industrial importance. Nevertheless, Esbjerg Bypark has long been a meeting point for both words since, a number of spaces and structures for cultural and leisure activities have been created over time on its sloped site, located among a tree forest.
The park dates back to the city’s foundation when early residents planted fir trees along the waterfront’s steep terrain to prevent coastal erosion. As the city grew so did the harbor, eventually cutting off public access to the waterfront.
In the late 1990s, the Esbjerg Art Pavilion, the Music House Esbjerg, a restaurant-cafe, and an outdoor amphitheater for Summer concerts and live performances were built on the park’s northern border.
Henning Larsen, Esbjerg Bypark, site plan
Cover-image: the playground
Now, Henning Larsen’s design is aimed to further develop the park’s distinctive qualities by introducing new landscape elements, redesigning its trail and footpaths and creating a number of water features to reestablish the park’s once close relationship with the city’s port, urban center, and waterfront.
At the center of the park, there will be a lake which can be covered to become a stage for public events in the summer, and frozen for ice-skating in the winter. The concrete platform the lake will be positioned atop visually connects to a number of similar concrete bunkers found in the park which will contain backstage areas for artists and performers, pop-up ice cream shops, temporary event venues, and storage spaces.
Henning Larsen, Esbjerg Bypark, view from the bridge
Henning Larsen, Esbjerg Bypark, section
Henning Larsen, Esbjerg Bypark, diagram of the plantings
Henning Larsen, Esbjerg Bypark, diagram of the water elements
Henning Larsen, Esbjerg Bypark, site plan of the playground
Henning Larsen, Esbjerg Bypark, slope plan
All images courtesy of Henning Larsen – henninglarsen.com/
90 Degrees – Rotate. Ascend. Turn East – is a large scale installation designed by HQ Architects for the Jerusalem Design Week, taking place from 13 through 20 June 2019.
The festival, which is in its 8th international edition, is hosted at Hansen House, a historic hospital for lepers that was established in Jerusalem in 1887, nowadays transformed into a design, media, and technology cultural center.
The installation – text by HQ Architects
Responding to this year’s curatorial theme, ‘EAST’, while dealing with a sensitive historic context, HQ Architects designed a large scale installation that shifts the building’s orientation.
Hansen House’s dominant character is oriented from south to north, creating a complex circulation between the interior spaces. Can a building change its orientation? 90 Degrees responds to both this year’s curatorial theme, and to the spatial needs of the various exhibitions taking place during the Design Week. The content of the Design Week is built of distinct joints that create a temporary sequence through which the visitor will wish to move. 90 Degrees transforms the appearance and organization of the building by taking into consideration both the permanent structural limitations and the temporary needs of the Design Week.
The installation is comprised of a diagonal scaffolding system that climbs the building from west to east, from ground level to above the roof, and rotates the orientation 90 Degrees forcing the visitors to face towards the East.
The steps form a physical platform approximately 14 meters high. This elevated space creates a link between the old and the new and suggests an alternative journey through Hansen House while offering views beyond the building and the exhibition. The flexibility of the scaffolding as a material, together with its structural qualities enables the addition of a new space by gently surrounding and penetrating the existing building.
About HQ Architects
HQ Architects was founded in Tel Aviv in 2008 by Erez Ella and currently comprised by a creative and dedicated team of 35 people, of whom 30 are architects, based in Tel Aviv.
Focusing on a strong pragmatic and programmatic approach, HQ Architects strives to question conventions and create culturally challenging buildings, spaces, and urban environments.
The practice combines innovative and high-quality design with strong technical expertise and spearheads the design and construction over many projects of various scales in Israel and abroad.
’90 Degrees’ is part of the Jerusalem Design Week 2019.
Open to public: June 13 / June 20, 2019.
Hansen House Center for Design, Media and Technology
14 Gedalyahu Alon St., Jerusalem – Israel
Images courtesy of HQ Architects – www.hqa.co.il
photography: Dor Kedmi
Save the date – Designer-makers on show from June 17 to 26 on Lake Garda
From 17 through 26 June, 2019, unique pieces and limited edition designs are on view in Salò, on the west coast of Lake Garda. The Domus hall, a large exhibition space next to the city’s Cathedral, hosts the 4th edition of ‘Arte 3.0‘, an event entirely dedicated to home accessories, contemporary jewelry, and sustainable design organized by the association FATTOAMANOCREMONA.
Giovanna Besostri, Patrizia Bonati, Maria Scarognina, Terrestre (BeL Associati), Emiliana Triglia, Federico Bianchi, Serena Brigati, Nelly Bonati.
Left: decorative panels by Giovanna Besostri. Right: jewels by Patrizia Bonati
Left: re-lamps, paper lamps by Terrestre (BeL Associati). Right: lamp by Maria Scarognina
Left: Emiliana Triglia, panel from the “Stories of Brittany” series; Right, Federico Bianchi “il Pollaio” collection.
Left: Serena Brigati, ring realized with a mix of powders, metals and resin
Right, Nelly Bonati, PLAySTIC necklaces with Murano glass.
Salone DOMUS (Domus Hall) Piazza Duomo, adjacent to the city’s Cathedral
Open to the public from 17 through 26 June, 2019
Opening times: open daily 10.30-13.30 /17.30-22,30 (26 June: 10.30-13.30)
FB/ instagram: fattoamanocremona
From 12 through 20 June, the Barcelona Design Week opens its doors to celebrate the 14th edition.
Entitled TRANSICIONS (transitions) BDW’19 brings the design to people and to all design lovers, offering an extensive programme encompassing more than 120 activities open to the city: exhibitions, workshops, talks, open doors, as well as activities aimed to professionals with a view to create business opportunities and facilitate the exchange of knowledge.
People, societies, even the world order, are in permanent transition. In fact, we are right in the middle of a necessary and urgent change on a global level with a goal as simple as the survival of humanity. A transition from a linear economy model to a circular economy model for an ecologically sustainable world. Furthermore, cities, as a complex environment, where the multiple interests, conflicts and challenges to be overcome are created, are transforming towards a digital, smart city, innovative and highly technological model, which must put people’s well-being at the heart of it.
The BDW complete program is on www.barcelonadesignweek.com/en/
‘Disseny en Diagonal’, is one of the events of the BDW’19
BDW: images from the 2018 edition
At the Greentech Festival in Berlin, (May 2019) Skyports and Volocopter announced a cooperation to build the first mobile Volo-Port for air taxis.
The German air taxi company Volocopter developed the first fully electronic vertical take-off vehicle that flies autonomously and is accordingly ideally suited for use in urban areas.
Together with GRAFT and Arup, the Berlin agency GRAFT Brandlab won the design competition for a modular vertiport concept.
above: Graft brandlab, modular vertiport concept, modular and typological diagrams
The design concept of the Volo-Ports combines lounge, security and departure areas with a hydraulic landing platform that makes it possible to board the Volocopters sheltered from the weather. The result is a flowing space that carefully orchestrates the passengers’ experience and contributes to promoting acceptance of three-dimensional passenger transport.
The modular Volo-Ports make it possible to seamlessly integrate this new form of passenger transport into existing urban infrastructure. Possible implementation scenarios include railway stations, airports and unused roof surfaces as well as floating Volo-Ports mounted on pontoons, utilising the free air corridors over rivers and other water surfaces.
Construction of the first Volo-Port will be completed in Singapore later this year.
Graft Brandlab Volo-Port, renderings
GRAFT was founded in 1998 in Los Angeles by Lars Krueckeberg, Wolfram Putz and Thomas Willemeit. With additional studios in Berlin and Beijing, the hybrid office works around the globe in the fields of architecture, urban development, design and communications and is known for its experimental and multi-disciplinary design approach. Since its founding, the office has undertaken self-initiated projects alongside design commissions, including the SOLARKIOSK and its work as a founding partner of the Make It Right Foundation and with Heimat2.
In 2014, GRAFT’s partners founded GRAFT Brandlab together with Linda Stannieder, a communications agency working at the intersection of architecture, design and branding.
Images courtesy of Graft
‘Please be Seated‘, designed by British designer Paul Cocksedge is the most ambitious of the British Land’s commissions for the next London Design Festival.
Located in the heart of Broadgate – a diverse hub connecting innovation and finance – ‘Please be seated’ will be a large-scale installation, a functional sculpture which re-imagines and re-uses scaffolding wood planks, and creates a space for seating, as well as to walk under, or find shade.
LDF – 14 /22 September 2019
London Design Festival returns to London for its 17th year the next September 2019 with a program of events and installations across the city. This year also marks 11 years with the V&A as a collaborating partner and the official Festival hub.
Initially established in 2003 by Sir John Sorrell and Ben Evans, London Design Festival is an annual citywide celebration that brings together a global community of designers, artists, architects, and the creative industries with a vision to celebrate and promote London as the design capital of the world. Since its inception, the London Design Festival has grown to encompass a broad range of activities and attracts visitors from around the world.
above and cover image: ‘Please be Seated’ by Paul Cocksedge
The project Hórama Rama by Pedro & Juana has been named the winning design of the The Museum of Modern Art and MoMA PS1’s 20th annual Young Architects Program.
Opening in June 2019, this year’s architectural installation is an immersive junglescape set within a large-scale cyclorama that sits atop MoMA PS1’s courtyard walls.
Selected from among five finalists, Hórama Rama will be on view through the summer, serving as a temporary built environment for MoMA PS1’s pioneering outdoor music series Warm Up.
For 20 years, the Young Architects Program at The Museum of Modern Art and MoMA PS1 has offered emerging architectural talent the opportunity to design and present innovative projects, challenging each year’s winners to develop creative designs for a temporary and sustainable outdoor installation that provides shade, seating, and water.
The architects must also work within environmentally sensitive guidelines.
Pedro&Juana is a studio from Mexico City founded by Ana Paula Ruiz Galindo and Mecky Reuss. Link to the website.
The 2019 Young Architects Program is sponsored by Bloomberg Philanthropies.
Major support is provided by Allianz, MoMA’s partner for design and innovation.
Hórama Rama by Pedro & Juana. Images courtesy of MoMA
Jannis Kounellis, a retrospective at the Fondazione Prada in Venice
Until 24 November 2019, the Fondazione Prada in Venice presents “Jannis Kounellis”, the major retrospective dedicated to the artist following his death in 2017.
Curated by Germano Celant and developed in collaboration with Archivio Kounellis, the project brings together more 60 works from 1959 to 2015, from both Italian and international museums, as well as from important private collections both in Italy and abroad.
The exhibition explores the artistic and exhibition history of Jannis Kounellis (Piraeus 1936 – Rome 2017), establishing a dialogue between his works and the eighteenth-century spaces of Ca’ Corner della Regina.
Cover image: Jannis Kounellis, Untitled,1971 gas tanks, flames, rubber pipes. Photo: Agostino Osio – Alto Piano, Courtesy Fondazione Prada.
Jannis Kounellis, Untitled, 1971, oil paint on canvas, chair, cellist. Photo: Agostino Osio – Alto Piano, Courtesy Fondazione Prada.
Jannis Kounellis, Untitled, 2011 coats, hats, shoes, in the background Jannis Kounellis, Untitled (Giallo),1965, oil on canvas. Photo: Agostino Osio – Alto Piano, Courtesy Fondazione Prada
Jannis Kounellis, Untitled, 2013 iron, coffee. Photo: Agostino Osio – Alto Piano, Courtesy Fondazione Prada
Jannis Kounellis, Untitled, 1993–2008, wardrobes, steel cables. Photo: Agostino Osio – Alto Piano, Courtesy Fondazione Prada.
Curated by Germano Celant
11 May / 24 November 2019
Fondazione Prada, Cà’ Corner della Regina,
Santa Croce 2215, 30135 – Venice
Bauhaus#Itsalldesign at Designmuseum Danmark celebrates
the 100th anniversary of Bauhaus
Organized by the Vitra Design Museum and the Bundeskunsthalle of the German Federal Republic, the exhibition Bauhaus#Itsalldesign is open at the Designmuseum Danmark for the 100th anniversary of the art school founded by Walter Gropius in Weimar in 1919.
Bauhaus#Itsalldesign has been conceived both as a celebration event and to investigate the cultural heritage the school left, despite its brief period of activity of only 14 years from the foundation to the forced closure imposed by the Nazi regime in 1933.
The exhibition demonstrates the topicality of the teaching principles of what, at the time, was the first democratic school based on concepts such as non-hierarchical society and self-determination.
Such principles were already expresses in the manifesto that Gropius wrote in 1919, in which he advocated the union of architecture, painting, and sculpture into a new creative teaching method aimed to support a more equal society.
The school was based on the collaboration between teachers and students – many of which would lately become teachers in turn -, on interdisciplinarity, and on the central role of experimentation. In the Bauhaus led by Gropius – to whom Hannes Meyer and Mies van der Rohe will follow as directors – rationality and a clear methodological approach underlay the development of all disciplines, from urban planning to architecture, from industrial design to graphics, textile design, and fashion.
Walter Gropius (Text), manifesto and programme of the Staatliches Bauhaus in Weimar, 1919, book plate, private estate © VG Bild-Kunst Bonn, 2015
The exhibition presents pieces, some of which never publicly displayed before, related to the Bauhaus’ many creative fields and teaching programs, including architecture, product design, graphic design, cinema, theater, and graphic advertising. Pieces by Marianne Brandt, Marcel Breuer, Lyonel Feininger, Walter Gropius, and Wassily Kandinsky are displayed together with works by Lord Norman Foster, Konstantin Grcic, Hella Jongerius, and Enzo Mari – designers who were inspired – sometimes explicitly, sometimes more subtly – by the principles, methodology and projects of Bauhaus.
The exhibition makes clear how the concepts on which open source design and social design are based today are rooted in the principles of the Bauhaus school and in the idea that designers have an influence of the complex processes aimed to improve people’s living conditions.
above and cover image: Bauhaus #itsalldesign, installation views, photos by Pernille Klemp
Designmuseum Danmark also added a special section, entitled “Bauhaus – Danish Design“, which compares projects and theoretical concepts of those two seminal and world-renowned design currents.
The Bauhaus milestones
1919 – Gropius writes the Bauhaus manifesto, the school opens in Weimar
1925 – The Bauhaus moves to Dessau
1929 – Hannes Meyer takes on the direction of the school
1930 – Ludwig Mies van der Rohe replaces Meyer as director
1932 – the school relocates to Berlin
1933 – the school is closed by the Nazis
Mural workshop, Bauhaus Dessau, 1926, (photographer unknown) Bauhaus-Universität Weimar, Archiv der Moderne.
Advertising workshop, Bauhaus Dessau, 1926 (unknown photographer, source: Bibliothek der Friedrich-Ebert Stiftung)
Hannes Meyer, Co-op room, Basel, 1926, © Archiv ETH Zürich
Left: Marcel Breuer, lounge chair B 3 (known as Wassily Chair), 1925, Collection Vitra Design Museum, photo: © Vitra Design Museum, Jürgen Hans. Right: Ludwig Mies van der Rohe, arm chair MR 20/3, 1927, Collection Vitra Design Museum, © VG Bild-Kunst Bonn, 2015
Konstantin Grcic, Pipe table and chair, 2009, Collection Vitra Design Museum,
photo: Florian Böhm
Enzo Mari, Proposta per un’autoprogettazione, 1973, Collection Vitra Design Museum
photo: Andreas Sütterlin
until December 1, 2019
images – courtesy of designmuseum Danmark
The winners of the “EU Prize for Contemporary Architecture Mies Van Der Rohe Award” 2019 were announced on May 10, 2019. (more…)
With the exhibition “Living in a Box: Design and Comics”(from 24 May 2019) at the Vitra Schaudepot, the Vitra Design Museum is taking a fresh look at its collection by exploring the world of comics and their relationship to design. Iconic furniture features prominently in comics such as “The Adventures of Tintin”, “Peanuts” and “Diabolik” while, at the same time, countless designers have taken inspiration from comics to create pieces informed by stories of superhuman strength, lightning speed, and razor-sharp irony.
The exhibition deals with both of these tendencies in the museum’s first-ever study of the comics medium, and through the illustrated world of the comic strip and graphic novel, objects from the museum’s collection jump off the page and come to life.
Design has continuously appeared in comics because design is a part of our daily life, that comic artists have always mirrored.
cover image: Guido Crepax, Valentina (detail), 1975 © Guido Crepax, courtesy by Archivio Crepax.
Left: Angela and Luciana Giussani, Sergio Zaniboni and Saverio Micheloni, Diabolik (detail), 1974 © Astorina srl. Right: Pier Giacomo and Achille Castiglioni, Taccia, 1962 © Vitra Design Museum, photo: Andreas Jung.
Left: Tove Jansson, Moomin (detail), 1958 © Moomin Characters™. Right: Grupo Austral, B.K.F. Chair/Hardoy Chair, Butterfly Chair, 1938 © Vitra Design Museum, photo: Jürgen HANS
Winsor McCay, Little Nemo in Slumberland (detail), 1907
Gaetano Pesce, Tramonto a New York, 1980 © Vitra Design Museum, photo: Jürgen HANS
Maurice Calka, No. 6462, Boomerang, 1969 © Vitra Design Museum, photo: Jürgen HANS
Charles Schulz, Peanuts (detail), 1953 © 1953 Peanuts Worldwide LLC
Images courtesy of Vitra
“Living in a Box: Design and Comics”
24 May / 20 October 2019
79576 Weil am Rhein, Germany
On May 9, 2019, GAD – Giudecca Art District, a project by Paolo Scelsi and Valentina Gioia Levy, opens on the Giudecca island in Venice. (more…)
Glass Oriented Design, exhibition at CID grand-Hornu
Until May 26, 2019 the CID – Centre d’innovation et du design – in Belgium, features “Glass-Oriented Design”.The exhibition presents a meaningful series of glass objects, realized at Cirva, in Marseille by designers in collaboration with the glassmakers.
cover image: Andrea Branzi, Simbiosi © Andrea Branzi © Normal Studio.
Glass-Oriented Design, CID Grand-Hornu, installation view
Cirva is a research and production workshop that welcomes artists, designers and architects who want to work with glass for their innovative projects. The artists develop their projects assisted by the centre’s technical team. For 30 years Cirva has welcomed about 200 artists for various projects in the fields of contemporary art, design, and applied arts. It boasts a collection of approximately 600 works that are showed in temporary or permanent exhibitions, in museums and art centres. Cirva has been based in Marseille since 1986, in a former industrial building at the heart of the city.
Works in progress, Atelier Cirva, 2015 © Normal Studio
The first part of “Glass-oriented Design” focuses on the works, realized at CIRVA between 2001 and 2008, by italian designer Andrea Branzi. The Branzi’s collection arises from an investigation into the relationship between domestic objects, nature and architecture.
A more technical approach to the material is highlighted through the research of Sylvain Willenz (Shift, Spot lights and Block containers collections, 2011/2012) and the lighting project developed by the French duo Normal Studio, which explore the imprint left by the mould. The emphasis is placed on the stages of work which make it possible to understand the experimental process.
Through the poetic, narrative universe of David Dubois, the exhibition also considers questions of randomness and movement. Like a central theme, a series of unique works including suspension and wall lights (Globes, 2014) form a lighting landscape which in spatial terms is both graphic and diaphanous.
The exhibition design is by Normal Studio
Glass-Oriented Design – temporary exhibition
Until May 26, 2019
CID – Centre d’innovation et du design, Grand-Hornu
Rue Sainte-Louise, 82 – 7301 Hornu – Belgium
Glass-Oriented Design, CID Grand-Hornu, installation view © Normal Studio
Mold-blown glass © Normal Studio © Serge Anton for the CID Grand-Hornu
Glass-Oriented Design, CID Grand-Hornu, installation view
Vase Parade © Jean-Baptiste Fastrez © Serge Anton for the CID Grand-Hornu.
Glass-Oriented Design, CID Grand-Hornu, installation view.
David Dubois, Mobile, 2014 © David Dubois.
Glass-Oriented Design, CID Grand-Hornu, installation view
Andrea Branzi, Giardino di vetro © Andrea Branzi © Normal Studio.
Glass-Oriented Design, Cid / Grand Hornu, installation view
Works in progress, Cirva 2012 © Atelier © Sylvain Willenz
The celebrated ‘Villa Malaparte’ at Capri establishing a dialogue with the lodge in the Dolomites by the young DEMOGO architects; the university colleges in Urbino by Giancarlo De Carlo with the ‘Sugar Hill’ development by David Adjaye in Harlem ; ‘Casa Baldi’ by Paolo Portoghesi in Rome with the ‘space age’ house by Zaha Hadid in Russia; the ‘Bosco Verticale’ by Stefano Boeri in Milan with the ‘Moryama House’ in Tokyo; the house by Francesco Berarducci in Rome (in the Elio Petri’s film “Indagine su un cittadino al di sopra di ogni sospetto’) with a building designed in Johannesburg by Jo Noero.
cover image: Francesco Berarducci, Villa in via dei Colli della Farnesina, Roma, 1969
From the film “Indagine su un cittadino al di sopra di ogni sospetto”, with Gian Maria Volonté, directed by Elio Petri. Production: Marina Cicogna and Daniele Senatore
These are just a few of the duets in “AT HOME. Designs for contemporary living”, the new presentation of the museum’s architecture collection that recounts the evolution of the concept of habitation from the post-war years to the present day, analysed through the works of the great 20th century masters and those of the new figures emerging on the international architectural scene, at MAXXI from 17 April to April 2020.
Curated by Margherita Guccione, Director of MAXXI Architettura and Pippo Ciorra, Senior curator of MAXXI Architettura, the exhibition offers diverse and intersecting interpretative keys: from the individual to the collective through the duets, the site specific pavilions and a visual survey of auteur photographs.
“Between past and present – says Margherita Guccione – this reflection on habitation is an opportunity to highlight the centrality if the theme in both the works of the masters of the past and the latest projects by contemporary Italian and international architects that enrich the museum with extraordinary designs by the likes of Demogo,Adjae, Noero and Pezo Von Elkrichshausen among others. Today, as in the past, what emerges is the capacity of design to look forwards and prefigure the new models of contemporary housing.”
DEMOGO, Bivacco Fanton, (shelter) Dolomiti (BL), 2015. Photo Pietro Savorelli
Adalberto Libera, Casa Malaparte, Capri, 1938-40. Photo Andrea Jemolo
Carlo Scarpa, Casa Veritti, Udine, 1955-63. Courtesy CISA Fototeca Carlo Scarpa
Photo credit: Aldo Ballo, Gianantonio Battistella.
Maria Giuseppina Grasso Cannizzo, ANM 2018 / Intervento sull’ordinario, Modica.
Photo Giulia Bruno.
AT HOME – Designs for contemporary living
MAXXI, via Guido Reni 4A, Rome
17 April 2019 / April 2020
Italian artist Maria Cristina Finucci created a large site-specific installation in Milan made out of about two tons of used plastic bottle caps. (more…)
During the Milan Design Week 2019, Brazilian design firm Estudio Campana (led by brothers Fernando and Humberto Campana) transformed a cloister of the Statale University palace in Milan into a large grass-covered installation. (more…)
At Milan Design Week 2019, Japanese design firm TAKT PROJECT, led by Satoshi Yoshiizumi, presents an intriguing lighting installation called “glow ⇄ grow”. (more…)
The SaloneSatellite Awards 2019 were announced.
The annual award, a collateral event at Salone del Mobile Milano, highlights the work of young designers (under 35 years old) from all over the world.
In this year’s edition, the prizes were assigned to projects focused on material-recycling processes and on their applications.
Below, the award-winning designers and their projects with the jury’s motivations.
SaloneSatellite AWARD 2019 – 10th EDITION
1st PRIZE – SaloneSatellite Award
Designer: KULI-KULI, Japan | Project: KOBE LEATHER
This Japanese studio is based in Kobe, famous for its meat. The designers, in collaboration with local tanners, decided to turn cowhide, not traditionally used, into a collection of new products. Motivation: Kobe Leather’s project is commendable because it is based on a process of recuperation, harnessing the material to create a design system applicable to a wide range of product types.
KULI-KULI – Project: KOBE LEATHER
2nd PRIZE – SaloneSatellite Award
Designer: STUDIO PHILIPP HAINKE, Germany | Project: HALO
The Halo chair concept was devised to showcase the strength and possibilities of a lightweight material made from hemp and casein, which the designer developed during his “Organico” research project. Motivation: The Halo chair is an example of design in its broadest sense, calling for the contemporaneous study of material, form, functionality and production method.
STUDIO PHILIPP HAINKE – Project: HALO chair
3rd PRIZE – SaloneSatellite Award
Designer: BAKU SAKASHITA, Japan | Project: 2.5 DIMENSIONAL OBJECTS
These 2.5-dimensional objects are 3D wire structures that look like 2D black lines drawn on flat paper. The optical illusion derives from the thinness of the wire, which is 0.3 mm in diameter. Motivation: The sophisticated artistic abstraction of the 2.5 Dimensional Object project is striking while demonstrating the scope for further different potential in terms of development and application.
BAKU SAKASHITA – Project: 2.5 DIMENSIONAL OBJECTS
Special Mention, RONG DESIGN LIBRARY – RESIDENCE PROGRAM AWARD
Designer: KOKO, Croatia | Project: KOKO LOKO
Koko Loko is designed for kids and every Loko is a combination of eight elements. Changing the combination varies their functionality and appearance. Motivation: The concept for this children’s furniture project is evidence of a desire to revisit traditions that is deserving of further exploration during a residency at the Rong Design Library.
KOKO – Project KOKO LOKO
Special Mention RONG DESIGN LIBRARY – RESIDENCE PROGRAM AWARD
Designer: STUDIOMIREI, Italy | Project: NEBULA LAMP.
These lamps, which resemble interstellar clouds of dust in space, are made of banana fiber. Studiomirei worked on fabric manipulation based on the intrinsic properties of the fabric.
Motivation: The designer’s approach to the study of materials, which shines clearly through this project, is deserving of the opportunity for further in-depth exploration and comparison offered by a residency at the Rong Design Library.
STUDIOMIREI – Project: NEBULA LAMP
INTESA SANPAOLO Special prize – 3rd edition Best Project on Food as a Design Object
Designer: MELBOURNE MOVEMENT / KRISTEN WANG, Australia | Project: RE.BEAN COFFEE STOOL.
Made from locally collected coffee grounds, the Re.Bean Coffee Stool not only derives a unique smell and tactility from being made from coffee, but it is also 100% biodegradable. Motivation: The project responds perfectly to the concept underpinning the SaloneSatellite 2010 theme, Food as a Design Object, bringing experimentation and functionality together.
MELBOURNE MOVEMENT / KRISTEN WANG – Project: RE.BEAN COFFEE STOOL.
At the Milan Design Week 2019, FLOS presents two new products designed by two masters of contemporary design. In both cases, more than lamps, they are unconventional lighting objects based on LED technology.
Noctambule, a collection of blown glass designed by Konstantin Grcic, is presented through an installation at the FLOS showroom in Corso Monforte 15.
The installation consists of a group of visually bold clusters made by combining a number of clear glass cylinders connected to one another by LED stripe rings at both ends. Inspired by nocturnal animals, almost invisible in the daylight, Noctambule is available in two versions – floor lamp and ceiling light – and can be completed with dome-shaped or cone-shaped “heads”.
On the other side, Philippe Starck plays with his own image, as well as with his status of “pop star of design” (in his installation Starck’s portrait transforms into the long-blond-haired head of a greyhound), to present his new “invention”, a cinema-inspired mirror equipped with a luminous frame entitled “La Plus Belle” (The Most Beautiful One).
The installation is on display at the FLOS Flagship Store in Corso Monforte 9 until April 14, 2019.
Above and cover image: Noctambule by Konstantin Grcic, FLOS showroom, Corso Monforte 15, Milan (April, 9-14, 2019) photos Federica Lusiardi / Inexhibit.
Above: La Plus Belle by Philippe Starck; FLOS Flagship Store, Corso Monforte 9, Milan (April, 9-14, 2019) photo courtesy of FLOS
La Plus Belle by Philippe Starck, FLOS Flagship Store, Corso Monforte 9, Milan (April, 9-14, 2019) Federica Lusiardi / Inexhibit.
Fashion brand COS and London-based French architect Arthur Mamou-Mani joined forces to create Conifera, a site-specific work made from 3D-printed bioplastics bricks installed at Palazzo Isimbardi during the 2019 Milan Design Week. (more…)
Spanish architectural firm Vaillo+Irigaray has won the competition to design the new Tourism Faculty building at the University of Malaga, Spain. (more…)
The Villa Emma Foundation has announced the results of an international design competition for a museum and memorial dedicated to 73 Jewish children who found refuge in Nonantola, Italy, during WWII. (more…)
Turkish firm Melike Altinisik Architects has recently won the competition to design the Robotic Science Museum in Seoul. (more…)
Japanese architect Junya Ishigami (b. 1974, Kanagawa Pref.) and Serpentine Galleries have revealed the first images of their Summer Pavilion to be installed at Kensington Gardens, London, from June 20 through October 6, 2019. (more…)
Until 6 May 2019, the Centre Pompidou in Paris presents a major retrospective dedicated to Victor Vasarely. (more…)
For the upcoming Milan design week – which will run from April 9 through 14, 2019 – “5VIE art + design” confirms its objective to promote high-quality design, art, and craftsmanship. (more…)
The installation “CASA OJALÁ / INHABITING THE INFINITE CHOICE” will be presented during the next Milan Design Week (April 9/14, 2019). (more…)
The Jury of the EU Mies Award 2019 has selected the five finalist works for this year’s edition of the prize. They are: PC CARITAS in Melle by architecten de vylder vinck taillieu ; Plasencia Auditorium and Congress Centre by selgascano ; Skanderbeg Square in Tirana by 51N4E, Anri Sala, Plant en Houtgoed and iRI ; Terrassenhaus Berlin/Lobe Block by Brandlhuber+ Emde, Burlon and Muck Petzet Architekten ; Transformation of 530 dwellings – Grand Parc Bordeaux by Lacaton & Vassal architects, Frédéric Druot Architecture and Christophe Hutin Architecture.
Two of them – PC Caritas in Belgium and Grand Parc Bordeaux in France – are adaptive reuse projects; the first of them has been capable to invent a new spatial typology which also creates a network of social relationships; the second one improve the living standards of 530 residential units also by adding a winter garden to each of them.
The theme of functional flexibility is well represented by the Terrassenhaus Berlin / Lobe Block, while the renovation of Skanderbeg Square, in Tirana, has been considered the cornerstone of the future urban renovation of the city.
Skanderbeg Square City – Tirana, Albania
Offices: 51N4E; Anri Sala; Plant en Houtgoed and iRI
The Skanderbeg Square public space renovation has been conceived from the beginning as the start of the urban renovation of Tirana. The project is particularly significant both as a new space in which the local community can gather every day and as a seminal work which can trigger, in the near future, the redevelopment of the urban areas nearby as well as of the streets which connect such areas to the newly renovated square. The green belt which encircles the Skanderbeg Square comprises twelve gardens whose design was developed in a number of public workshops.
51N4E; Anri Sala; Plant en Houtgoed and iRI, Skanderbeg Square City – Tirana, Albania; photos Filip Dujardin.
PC CARITAS – Melle, Belgium
Office: Architecten De Vylder Vinck Taillieu
Dating back to the 19th century, The Sint-Jozef building is part of the Caritas di Melle psychiatric center. Abandoned for a long time, the building was saved from demolition and transformed into a hybrid between a closed and an open-air space. The collaborative design team – which comprised aDVVT architects, the medical staff, and the patients of the center – devised a place, part of a public park, which can be used by both the patients and the local community. The old building was restored, repaired and improved; the openings were enlarged to increase natural lighting, internal and external spaces were connected through a sequence of small courtyards, both protected and welcoming.
Architecten De Vylder Vinck Taillieu, PC CARITAS, Melle, Belgium, photos Filip Dujardin
Terrassenhaus Berlin / Lobe Block – Berlin, Germany
Offices: Brandlhuber+Emde, Burlon, and Muck Petzet Architekten
Terrassenhaus Berlin is a mixed-use building with two interesting elements. The first element is how external spaces have been maximized, thanks to a ziggurat-like design which allowed to create large terraces on each level and a public space on top of the building which can be reached through two long stairways. The second interesting point is the functional flexibility of the residential units, which only include central cores with elevators and bathrooms. Due to its stepped profile, the building contains units of different floor areas, from 26 square meters on the ground floor to 11 square meters on the top floor, as well as an art gallery, a co-working space, offices, a residence for artists, and workshops.
Brandlhuber+Emde, Burlon and Muck Petzet Architekten, Terrassenhaus Berlin / Lobe Block – Berlin, Germany, photos Erica Overmeer, David von Becker
Transformation of 530 dwellings – Grand Parc Bordeaux – Bordeaux, France
Offices: Lacaton & Vassal architectes; Frédéric Druot Architecture and Christophe Hutin Architecture
This is the renovation project of three 1960s residential blocks comprising 530 units in total.
The project’s aim was to improve the quality of life of the people living in each residential unit, maintaining their distinguishing features while at the same time adding new spaces when appropriate. A second facade with winter gardens and terraces was added to the old facade, thus expanding the size of the apartments and providing them with more daylight. The small windows of the old buildings were replaced by larger sliding doors opening onto the winter gardens. Another interesting aspect is that not a single resident was relocated during the renovation works, thanks to the modular prefabrication construction system adopted.
drawing: Lacaton & Vassal architectes; Frédéric Druot Architecture and Christophe Hutin Architecture
above and cover image:
Lacaton & Vassal architectes; Frédéric Druot Architecture and Christophe Hutin Architecture Transformation of 530 dwellings – Grand Parc Bordeaux, France. Photos Philippe Ruault
Plasencia Auditorium and Congress Centre – Plasencia, Spain
The Plasencia Auditorium, in the Extremadura region of Spain, was intended by selgascano as an opportunity to create a “protected island” within an urban expansion area. The small footprint of the ground floor of the building – which contains the auditorium’s stage and orchestra stalls – makes it look like an “alien” object gently landed on the ground.
The main entrance, located 17 meters above the ground floor level, can be reached through a panoramic footbridge which also provides spectacular views of the countryside and the Sierra de Gata mountains.
selgascano, Plasencia Auditorium and Congress Centre – Plasencia, Spain ; photos Iwan Baan
The 2019 edition of the Milan Furniture Fair pays tribute to the genius of Leonardo da Vinci in the 500th anniversary of his death.
Marco Balich, “AQUA. Leonardo’s Vision”, rendering.
During the celebrations to mark the 500th anniversary of the death of Leonardo da Vinci, the Salone del Mobile.Milano presents the installations “AQUA” and “DE-SIGNO”.
“AQUA” will celebrate the originality and visionary depth of the artist’s scientific studies, “DE-SIGNO” presents the experience of Italian design and craftsmanship, from the time of the great Master to the present day.
Leonardo da Vinci ; Codex Atlanticus ; Shower of projectiles and sketch of a horse ; stylus tip, black pencil, pen and ink ; c. 1503-04, Pinacoteca Ambrosiana, Milano. Photo Inexhibit.
Located at the “Conca dell’Incoronata” canal lock – where Leonardo is likely to have overseen the building work and designed the lock gates – “AQUA. Leonardo’s Vision” is a site-specific immersive experience conceived by Marco Balich and developed in partnership with Balich Worldwide Shows, which narrates a tiny fragment of the Renaissance and the future of Milan.
Marco Balich, “AQUA. Leonardo’s Vision”, axonometric view. Above: “AQUA. Leonardo’s Vision” courtesy Salone del Mobile.Milano
“DE-SIGNO” will be an immersive installation that will marry the languages of film and
theatrical scenography in an inclusive and exciting way. It will house a show of images and
music illustrating Leonardo’s approach to design and the industriousness of the Renaissance
laboratories as related to the know-how of present-day design companies. Conceived by Davide Rampello and designed by architect Alessandro Colombo, the installation will occupy a 400-square-meter space. It will feature a monumental set, dominated by two wood portals hand-made by master sculptors and painters and inspired by Donato Bramante’s original drawings and studies. The Installation “DE-SIGNO” will be on view in the Pavilion 24 at the Salone del Mobile.Milano.
Davide Rampello and Alessandro Colombo, “DE-SIGNO”, internal view.
5 th – 14th April
Conca dell’Incoronata, Via San Marco
10.00 am – 10.00 pm
9 th – 14th April
Pavilion 24 – Fiera Milano, Rho
9.30 am – 6.30 pm
Zaha Hadid Design has created three collections of vases for Rosenthal, the leading brand of ceramic objects for the home, which in its 140-year-long history has collaborated with artists and designers such as Salvador Dali, Andy Warhol, Walter Gropius, and Werner Panton.
The Lapp collection comprises a family of vases of different sizes in varying combinations of matt and gloss ceramic finishes. Informed by the motion of liquid droplets flowing along a solid surface, the design creates openings and voids that allow for many different flower arrangements at the top – as well as on the sides – of the vase.
Defined by the fluid lines of Zaha Hadid’s sketching hand, the Weave vases incorporate delicate strokes that interweave and diverge to express their interplay of fluidity and symmetry.
The Strip collection includes three sculptural vases and two bowls of different sizes. A sequence of vertical strips with rhythmical offsets, the Strip collection transitions their square base into a circular top edge.
Zaha Hadid Design, Weave vases for Rosenthal
Zaha Hadid Design, Lapp vases for Rosenthal
Zaha Hadid Design, Strip vases for Rosenthal.
Images: courtesy of Zaha Hadid Design
Cover: Zaha Hadid Design, sketch for Weave vases, Rosenthal.
Serpentine Galleries in collaboration with Google Arts & Culture, together with internationally acclaimed architect Sir David Adjaye, have launched Serpentine Augmented Architecture: a global open call for creative practitioners to design ground-breaking architectural structures to be developed and experienced in augmented reality on site at the Serpentine Galleries.
Without the constraints of a physical location, entrants are invited to dream new architectures and propose complex or unbuildable structures which imagine new futures of the city and the urban environment, imagining new possibilities for the urban landscape.
A two-stage process, a shortlist of projects will receive mentorship from experts in architecture, engineering and immersive technology to test the feasibility of their proposals.
One applicant will then be commissioned to realize their full design in augmented reality which the public will be able to experience in Summer 2019 installed alongside the internationally celebrated Serpentine Pavilion 2019.
World class advisors will guide the process, with a selection committee that includes:
Virgil Abloh, Artist & Designer; Sir David Adjaye OBE, Architect and Trustee of the
Serpentine Galleries; Amira Gad, Curator, Exhibitions & Architecture, Serpentine
Galleries; Freya Murray, Creative Lead, Google Arts & Culture Lab; Hans Ulrich Obrist,
Artistic Director, Serpentine Galleries; Yana Peel, CEO, Serpentine Galleries; Amit
Sood, Director, Google Arts & Culture; Ben Vickers, Chief Technology Officer,
Serpentine Galleries; Kay Watson, Digital Curator, Serpentine Galleries; Greg
Williams, Editor-in-Chief, WIRED UK.
For more information and to apply visit: augmentedarchitecture.org
Images © Cecilia Serafini
Fondazione Prada presents “Surrogati. Un amore ideale” (Surrogate. A Love Ideal), an exhibition curated by Melissa Harris, from 21 February to 22 July 2019 at the Osservatorio venue in Galleria Vittorio Emanuele II, Milan. (more…)
From March 1 to September 1, 2019, the Triennale di Milano presents its XII International Exhibition, titled “Broken Nature: Design Takes on Human Survival”. (more…)
From February 10 through May 27, 2019 the Museum of Modern Art in NYC presents the exhibition “The Value of Good Design”. (more…)
International design and innovation office CRA – Carlo Ratti Associati presents “GUIDO“, a concept for a driverless robotic cafe. (more…)
Until March 24, 2019, Palazzo Fortuny in Venice presents the exhibition “Futuruins”. Originating from a collaboration among the City of Venice, the Venice Museums Foundation and the State Hermitage Museum of Saint Petersburg the exhibition features over 250 works of art, from antiquity to the present. (more…)
In the next edition of Maison&Object Paris, the “Rising Talent Awards” looks eastwards, exploring China’s design scene. Following the success of the United Kingdom, Italy and Lebanon editions, China will showcase its Rising Talents at the Exhibition Centre – Paris Nord Villepinte, from 18 to 22 January 2019.
cover image: Mario Tsai, Pig Side Table
China’s burgeoning design scene reflects the country’s aim to become a global player in design, creativity and innovation. Life in today’s China moves quickly, and the design industry’s rapid development reflects wider society’s growth and progress. A decade of change is crafting a new Chinese aesthetic, with increasingly higher standards of professionalism and a renewed commitment to good craftsmanship, innovation and quality. This has impacted both how designers see themselves, and also how their work is viewed in China – and around the world.
The six personalities invited by MAISON&OBJET and DesignChain to sit on this year’s Rising Talents Selection Jury are: Neri&Hu, Luca Nichetto, Tom Dixon, LIU Xu, QU GuangCi, XING Tong-He.
This year’s selection process included five young designers selected by members of the Rising Talents Awards Jury, and one young designer selected via a Call For Entry.
Frank Chou, Chen Furong, Mario Tsai, Hongjie Yang, Ximi Li and Bentu rank as some of the brightest young design powers in the country today. Exemplifying talent, emotional depth and creativity, these six designers bring innovation and energy to their work. Some prefer a China-centric approach, others have absorbed multicultural influences by studying, working and living abroad. But all are committed to forming a new Chinese language of design.
Frank Chou – Growing up in China’s capital city, Frank Chou witnessed first-hand the dynamic changes afoot in his hometown over the past few decades. After graduating from Beijing Forest University, where he majored in Materials Science and Engineering, he travelled between China and Europe, accumulating international industry experience in furniture design, engineering and trade work. In 2012 he set up Frank Chou Design Studio, where he produces elegant, long-lasting, functional pieces which represent contemporary Chinese thinking, yet finely balance the needs of modern Oriental and future Oriental lifestyles.
Above: portrait of Frank Chou; the Middle chair, inspired by the traditional Chinese bamboo chair. Below: the modular Combo sofa.
Chen Furong – Founder of lighting, furniture and accessories brand WUU, Chen Furong designs timeless collections which blend handcrafted techniques with a modernist vision.
Born in Zhangzhou, he studied at the Shanghai Institute of Visual Arts, majoring in Integrated Design. After graduation in 2012, he travelled with some friends more than 10,000 kilometres across China, interviewing local creatives for an exhibition called Metaphysics.
Furong founded his Xiamen-based studio in 2014 and later that year participated in Homeland magazine’s Artisanship Revival program, where he worked closely with local craft artists in Fuzhou, combining technology with traditional crafts.
Above: Chen Furong’s portrait; Axis table. Below: T Lamp series.
Mario Tsai prefers to “use less, design better”. After graduating from Beijing Forest University where he majored in Furniture Design and Manufacturing, Mario travelled around China and Nepal to experience different lifestyles. He moved to Hangzhou in 2013 where he opened a shop and, in 2014, set up the Mario Tsai Studio. He has since worked with clients from China and Europe, and has participated in furniture fairs globally. Sustainability and material research are key; he is committed to reducing excess material usage and improving both society and the environment through his works which include the aluminium tube-inspired Pig Side Table and the thoughtful Pure Desk.
Mario Tsai’s portrait; Pig side table.
Hongjie Yang was born and raised in China. He went on to study in the USA and at the Design Academy Eindhoven, Netherlands, where he received his Master’s Degree in Contextual Design. After living and travelling abroad for the past 12 years, he is currently based in the Netherlands. His powerful works, which explore the divide between nature and culture, have been widely exhibited in many countries including in the USA, France, the Netherlands, Switzerland, Germany, Italy and China.
Above: portrait of Hongjie Yang ; Synthesis Monolith Coffee Table
Below: Synthesis Monolith Mirror
Ximi Li – Shanghai-based Ximi Li holds a Bachelor of Industrial Design from the China Academy of Art, Shanghai, and a Master’s Degree in Furniture Design from the Polytechnic University of Milan. He worked for leading designers Andrea Branzi and Luca Trazzi in Italy and, upon returning to Shanghai joined Neri & Hu, acting as Chief Designer for 6 years. In 2016 Ximi launched independent design studio Ximi Li and furniture brand URBANCRAFT.
Working to create timeless pieces that integrate East and West, Ximi is committed to global cultural fusion, quality and good craftsmanship. URBANCRAFT’s product lines include the award-winning stainless steel, leather and oak Jiazhuang (‘dowry’) dressing table inspired by the traditional Chinese jewellery box.
Above: Portrait of Ximi Li; Mirror Yuan. Below: Jiazhuang (‘dowry’) dressing table.
Bentu – Chen Xingyu founded design brand Bentu alongside Xu Gang, Peng Zeng and Chen Xingguang in 2011. Industrial Design graduate from Guangzhou University, Xingyu works to meet the problems raised by a rapidly developing society, recycling materials that others may deem waste – like coal cinder, construction waste and bone ash – and transforming them into furniture, lighting and accessories. His Guangzhou-based studio is known for experimentation, exploration and innovation, combining environmentally-friendly materials with commercial appeal, an approach which has won numerous awards, including a 2017 Red Dot Design Award. Bentu’s latest Terrazzo Collection recycles ceramic waste and also offers hope for a sustainable furniture industry in the city of Foshan, the world’s largest ceramic industry hub.
The collection looks to the original texture of terrazzo, and uses concrete, leftover stone aggregate and ceramic waste to make items like the Yuan Plantpot and the Tu and Planet Pendant Lamps.
Above: Portrait of Chen Xingyu; Planet Pendant lamps
Below: Pin, wall lamps.
Photos courtesy of Maison & Objet
“Swell“, the latest installation designed by Japanese design studio we+, is a magic which captures wind and light. (more…)
The European Commission and the Fundació Mies van der Rohe have announced the list of 383 works competing for the 2019 European Union Prize for Contemporary Architecture – Mies van der Rohe Award. (more…)
The Musée des Arts Décoratifs in Paris highlighs the richness of Japan’s contributions to art and design with an exhibition titled “Japon-Japonismes, 1867-2018”.
cover image: Sato Oki “Cabbage” Chair, Nendo Editions, Japan, 2008
Musée des Arts Décoratifs © MAD Paris / Photo: Jean Tholance
Open through March 3, 2019, the exhibition takes place as part of the “Japonismes 2018 : les âmes en resonance” program, which showcase the diversity of Japanese culture through nearly 100 venues in Paris and other locations in celebration of 160 years of diplomatic relations between the Government of Japan and the Government of France.
Visitors have the opportunity to admire nearly 1,500 works of art spanning a wide variety of artistic media, including art and design, fashion, graphic arts and photography.
Sou Fujimoto, acclaimed Japanese architect well known for his Serpentine Gallery Pavilion 2013 in London and the Musashino Art University Museum and Library in Tokyo, is responsible for the exhibition design, which extends over 2,200 m2 on three floors of the Rohan Wing.
“Japon-Japonismes, 1867-2018” presents the Musée de Arts Décoratifs’ collection of historic Japanese artworks – one of the most important in France – alongside Western Japanized creations.
The exhibition includes works by Hokusai, Emile Gallé, René Lalique, Kuramata Shiro, Charlotte Perriand and Tanaka Ikkō.
This exhibition is co-organized by the Musée des Arts Décoratifs and the Japan Foundation
Chiyogami — Decorated paper ,Japan,19 th century
Musée des Arts Décoratifs © MAD Paris / Photo: Jean Tholance
Issey Miyake, « Nihon buyo », Série n°1, Printemps / Été 2016
© Issey Miyake INC. / photo Francis Giacobetti
Charlotte Perriand — Bamboo chaise longue Japan, 1940
Musée des Arts Décoratifs © MAD Paris / Photo: Jean Tholance Adagp, Paris, 2018
from November 15, 2018 through March 3, 2019
MAD – Musée des Arts Décoratifs – Site Rivoli
107-111, rue de Rivoli, 75001 Paris
YAPE – autonomous electric vehicle for urban delivery, designed by Italian company e-Novia, has recently won the prestigious German Design Award 2019. (more…)
MAD Architects has been commissioned by the Droom en Daad Foundation to design a panoramic viewpoint on top of the historic Fenix warehouse in Rotterdam.
The site is on the Katendrecht peninsula, located on the southern banks in the port of Rotterdam, and was once home to one of the oldest Chinatowns in Europe. Around the 1900’s it was here that one could find opium kits, and that the first Chinese restaurant opened its doors in the Netherlands, and possibly in Europe.
In addition to the platform, MAD will design a theatrical staircase and a public atrium in the Fenix warehouse which will merge the ground and first floors with the observation deck on the roof.
In the future, the first floor of the Fenix warehouse – once one of the biggest warehouses in the world – will be used to present Rotterdam’s history of migration. Indeed, millions of migrants left Europe from these embankments, most of whom had Ellis Island as their final destination.
Ma Yansong, founder of MAD Architects: ‘We are proud to realize a dynamic transformation of the historical warehouse that will encourage people to move through the space, and be enjoyed by the community. It will lift body and mind, and be a place of pleasure and contemplation. The Fenix will inspire wonder and exploration about the past, the present, and the future.’
Wim Pijbes, director of the Droom en Daad foundation: ‘The Fenix Warehouse will become a landmark for all those millions who left Europe from the banks of the Maas, and for everybody arriving today. It offers a great future for Rotterdam’s past.’
Images: courtesy of MAD Architects
Cover image: Riccardo, Federica, and Gea dog visiting Arte Sella in Fall 2015
Arte Sella is an exceptional example of an open-air museum of the union of contemporary art and nature.
Located in a mountain valley, this sculpture park stretching 3 miles along a pine forest in the Trentino / South Tyrol region in Northern Italy is world-renowned for its outstanding and innovative vision of a contemporary art open to all, as well as for its thorough attention to the relationship between nature and humans (you find a link to our in-depth article about Arte Sella below).
Unfortunately, a recent calamitous event struck Sella Valley on October 29, 2018, destroying much of Arte Sella, its forest and its art park.
Maybe you’ll have the chance to visit this exceptional place of art and nature (an experience I warmly hope you can do once in your lifetime) or not, but, believe me, to support an organization committed to make art available art to all – families, children, singles -, and to raise attention to our natural environment, really needs our help.
An exceptionally violent storm destroyed almost half of the artworks in the art park, together with the entire forest on the South slope of Mount Armentera, Arte Sella’s brand new exhibition space opened in 2018, and the art garden of Villa Stroebe, thus leaving the institution in a bad financial situation, not to mention the sad psychological condition.
One of Arte Sella’s art installations destroyed by the October 2018 storm. Photo via Trento Today
I have visited Arte Sella three years ago and found there one of the most intriguing and captivating open-air art museums I have experienced in my entire life. I’m truly sad about how such a wonderful place could have suffered such a damage because of the climate change which is now hitting the previously pristine environment of the Italian Alps.
Inexhibit supports Arte Sella.
You can donate by PayPal or by bank transfer: IBAN: IT36W0810234401000041050846 – SWIFT: CCRTIT2T27A
Further information on how to donate are available at
Patrick Dougherty, Tana Libera Tutti, 2011- copyright Arte Sella – Photo Giacomo Bianchi
Until February 2019, the Louisiana Museum of Modern Art, in Denmark, hosts an exhibition dedicated to the Elemental Studio of Alejandro Aravena. This is the second of a series of monographic exhibitions of architecture entitled “The Architect’s Studio“. (more…)
Home Futures – at the Design Museum in London from 7 November 2018 – explores today’s home through the prism of yesterday’s imagination. (more…)
Originating from the collaboration between WeWork and BIG-Bjarke Ingels Studio, the first WeGrow school was recently opened in Manhattan. (more…)
The exhibition “LOW FORM. Imaginaries and Visions in the Age of Artificial Intelligence” takes place until 24 February 2019 at the MAXXI in Rome. (more…)
From October 10, 2018, through January 27, 2019, Barbican Art Gallery in London hosts the exhibition “Modern Couples: Art, Intimacy and the Avant-garde”. (more…)
Until January 2016, the Vitra Design Museum in Weil am Rhein presents the work of young Dutch designer Christien Meindertsma. (more…)
Zaha Hadid Architects have been selected by the jury of the international design competition to build the new Sverdlovsk Philharmonic Concert Hall in Yekaterinburg, Russia. (more…)
From October 6, 2018, the Triennale di Milano hosts a major exhibition dedicated to Achille Castiglioni, to celebrate the 100th anniversary of the birth of one of the greatest Italian designers of all time.
The CCCB – Center of Contemporary Culture of Barcelona – presents the exhibition “Stanley Kubrick“. Retracing the creative career of the great director (1928-1999), the exhibition starts from his formative years, develops through materials related to the 12 films and closes with projects that have remained incomplete or have been continued from other directors. (more…)
From September 23, 2018, through May 5, 2019, the Cloister of Bramante in Rome hosts Dream, an exhibition in which some of the most recognized contemporary artists explore the world of dreams.
The “Picasso Metamorphosis” exhibition – taking place at the Royal Palace – Palazzo Reale in Milan from October 18, 2018, through February 19, 2019 – explores the interest in mythology and ancient art the great Spanish artist developed during his long and complex creative process. (more…)
Until February 3, 2019, The Museum of Modern Art – MoMA in New York presents “Judson Dance Theater: The Work Is Never Done“, a major exhibition that looks anew at the formative moment in the1960s when a group of choreographers, visual artists, composers, and filmmakers made use of a local church to present groundbreaking cross-disciplinary performances. (more…)
From September 26, 2018, through January 20, 2019, the New Museum in New York City presents a great retrospective exhibition on acclaimed, provocative British artist Sarah Lucas. (more…)
This fall, the Museum of Contemporary Art Chicago presents West by Midwest, an exhibition tracing how artists with ties to the Midwest helped shape art and culture on the West Coast (more…)
As of 29 November 2018, thirty artworks will light up the city center of Amsterdam for the seventh year in a row. For this years’ edition of Amsterdam Light Festival artists, designers and architects from sixteen different countries share their interpretation of the central theme ‘The Medium is the Message’. All participating artworks will be lit simultaneously during the 53-day-long festival. There will be one exhibition – in the historical center of Amsterdam – which can be experienced in different ways: by boat, by bike or on foot. This year, for the very first time, visitors can vote for their favorite light artwork. The Public Award will be presented to the artist of the winning artwork in the last weekend of the festival. Amsterdam Light Festival can be enjoyed until 20 January 2019.
Cover image: artist’s impression of the lighting installation by Peter Koros Design at the 7th Amsterdam Light Festival
A selection of the participating artists and artworks:
Ivana Jelić and Pavle Petrović (Serbia) found inspiration for their work Starry Night in Van Gogh’s famous painting of the same name. Since the beginning of the 21st century, as a result of the increase in light pollution, starry nights are less and less visible in urban areas. With the installation Starry Night, the Serbian duo gives Amsterdam its (artificial) starry night back, which reminds us of what we are missing out on.
Groupe LAPS (France) produces movies and (multi)media installations and often integrates the urban surrounding into their work. Exclusively for the festival, the French artist collective designed Spider on the Bridge: eighty spiders of two meters each, which together form one gigantic spider on the bridge between the Herengracht and Amstel. Light effects give the illusion that the creatures are crawling all over each other. Arachnophobic visitors are warned!
Amigo & amigo (Australia) – also known as Renzo B. Larriviere and Simone Chua – explores the relationship between sculptures and light with their technically complex artworks. Parabolic Lightcloud is a cloud of light made with impressive colors, patterns, and transitions. With this installation, the duo tries to picture human emotions and stimulate visitors to think about the impact of external impulses on our feelings and instincts. Moreover: the installation consists of 1.000 led lights and 800 meters of rope made out of recycled plastic from discarded bottles.
OGE Group (Israel) is an expert on light art, the founders Merav Eitan and Gaston Zahr are the artistic directors of Jerusalem Light Festival. Their work is characterized by the powerful way in which it arouses emotions, with Light a Wish as a clear example of that. The artwork pictures the moment you blow the fluff off a dandelion and make a wish while it scatters in the air. Eitan and Zahr cherish this childhood memory by making the dandelions float above de Herengracht, where everyone can make a wish during the festival.
Balmond Studio (United Kingdom) has become a friend of the festival. The studio’s innovative artworks are inspired by science, math, and biology. With Optilli, Balmond Studio creates an optical illusion and shows the subjective way our brain processes light as a source of information. As soon as the light is converted into impulses, our brain produces an image. The question is: is the displayed image correct?
Light as a medium, and remarkable stories about Amsterdam
From hundreds of submitted concepts, the festival jury selected thirty artworks. This years’ exhibition revolves around the theme ‘The Medium is the Message‘, the famous statement by the Canadian scientist and philosopher Marshall McLuhan. The idea behind his statement was simple: the way we send a message is at least as important as the message itself. The participating artists focused on questions such as: what role does light play as a medium or a message? And how can light create spaces that would otherwise have remained invisible? The city of Amsterdam as a medium for telling stories is also a central part of this edition.
On behalf of the festival, art historian Koen Kleijn went in search of remarkable stories about the city and from October onward they will be released as a ten-part series on the festival website. In his stories, Kleijn identifies the connection between the city and the central theme.
Some of the lighting installations on show at the 7th Amsterdam Light Festival – previews
Light a Wish by OGE Group
Parabolic Lightcloud by amigo & amigo
Portam Civitatis by Peter Snijder
Spider on the bridge by Groupe LAPS
7th Amsterdam Light Festival
29 November 2018 | 20 January 2019
From October 10 to December 31, 2018, the Centre Pompidou in Paris presents a major retrospective exhibition on acclaimed Japanese architect Tadao Ando (b. 1941, Osaka). (more…)
copyright Inexhibit 2019 - ISSN: 2283-5474