CARTHA on Making Heimat
Book launch, German Pavilion, Biennale di Venezia, Italy.
Olafur Eliasson and David Adjaye – Your black horizon Art Pavilion
Exhibition, Lopud Island, Croatia.
Dirk Braeckman and Eva Wittocx – Belgium at the Venice Biennial
Exhibition, Multiple venues, Venice, Italy.
Exhibition, Design Museum, Helsinki, Finland.
Maximal | Minimal – 8th International Alvar Aalto Design Seminar 2016
Seminar, Jyväskylä, Finland.
Atmosphere For Enjoyment – Harry Bertoia’s Environment For Sound
Exhbition, MAD, New York, USA.
Manifesto / Utopias are Over: Cities are Living Systems
A Manifesto by John Thackara
A philosopher and writer by training, John Thackara travels the world in search of stories about practical steps being taken to restore the planet and realise a sustainable future. He […]
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ISSUE #57 / Articles
Fights + Fictions #57
Reckoning with the public space
Tackling the subject of public space in the 21st century, this event gathered architects, curators, urban planners, and cultural workers from some 20 cities in the Global North and Global South. With worldwide migration, social conflict, economic and financial crises, and etcetera, public space has been facing massive challenges over recent decades, resulting in violent changes and fundamental paradigm shifts across the planet. Between security and surveillance, participation and commercialisation, artistic and social freedom, and the demonstration of power, public space is where the future of democracy and quality of life are being decided. Léopold Lambert, one of the guest speakers, conveys the content of this factory of thought.
Too Much Past / Not Enough Future #57
A view on the 15th Venice Architecture Biennale
This assessment by Pedro Gadanho of one of Architecture’s prime international events provides an astute, insightful review of the offerings on show, suitably accompanied by an articulate critique. It is concluded that the presentations fail to reveal the advances the profession has achieved and therefore leaves the visitor in the dark as to what is round the corner. The lack of ‘vanguard’ projects is prevalent, obscuring the adventurous developments that are indeed underway. Thankfully, there are a few exceptional works on display that contain vision and intelligence, thus generating the kind of excitement the writer dares to demand.
Design Flâneurs #57
Studio Swine favours a stroll
Increasingly, it would appear, companies are working with designers to make PR rather than to make a mass-produced product. Which is where film comes in. According to Studio Swine, this is a really exciting area of design at the moment. High-quality films can be created with very little money, and social media takes care of the distribution. This has opened up a whole world to designers, and the way that design-film can be used to engage with people. The studio creates movies to accompany many of its design projects, working with filmmakers to produce short documentaries that explore the sourcing of unusual materials and experiments with manufacturing techniques.
At Home in Germany? #57
The bittersweet immigration issue
The German Pavilion at the 15th International Architecture Exhibition in Venice addresses the role of architecture in direct relation to the integration of immigrants. It does so not by indicating a formula for this challenge but through creating an audacious political signal, in the hope of generating a long-overdue discussion. Sandra Hofmeister relays her observations on her home country’s contribution to the Biennale, entwined with an assembly of European perspectives that have emerged since the marked move by Germany last year to open its borders to immigrants.
An Eye for the Big Apple #57
John Chiara’s captivating vistas
John Chiara is devoted to the contact print, for this is is the only way he can evoke the expression he is after. Having realised early on that too much information was lost in the darkroom enlargement process when using standard size negatives, he set about developing his own equipment and processes. The resulting large format box cameras he has created enable him to produce the images he wants, if even the unwieldiness of the equipment means it needs hauling round on a flatbed trailer. Chiara’s working method consists of physically entering the camera, instinctively manoeuvring the photographic paper, and using his hands to burn and dodge the image to his liking.