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Most Recent Picture Stories



István Csákány – The Sewing Room

István Csákány (Hungarian, b. 1978) has created a huge, site-specific installation for the Documenta (13): The Sewing Room. The installation represents work, the products of work, as well as absence. The handmade machines and the suits foreground the once-close relationship between art and craft that has now become multifarious and contradictory. The meticulous detail, the objects transposed into wood, the human figures, and their carefully crafted cloths convey the many hours that were spent preparing them.



Shinro Ohtake – MON CHERI: A Self-Portrait as a Scrapped Shed

MON CHERI: A Self-Portrait as a Scrapped Shed, 2012, the title was taken from an out-off-business snack bar in Uwajima, whose neon sign Ohtake founds ten years ago. The piece explores habitation as a portrait by attaching objects and materials. At the core of the project are a huge scrapbook representing his life's work and a series of sounds collected over the course of a year that are activated by the movement of people outside the space.



Geoffrey Farmer – Leaves of Grass

"Leaves of Grass" by the canadian artist Geoffrey Farmer consists hundreds of shadow puppets that have been fabricated from images cut outs from the American Life magazine. The images are dawn from five decades of the journal, from 1935 to 1985. Millions of peoples, especially Americans relied on Life for their view of the world.

As the title suggest, both (the photographic archive of the twenty century) and the space (with the three-dimensional, sculptural activation of collage) are volatilized in this work.



Lara Favaretto – Momentary Monument IV (Kassel) 2012

Metallic material recuperated from landfill and recycling centers is violently unloaded onto a disused square. Favaretto then retrieves several objects from the pile, choosing them for their intrinsic expressive force, and placed in the empty spaces they leave behind elements made out of rough cement, whose color, density, and shape are largely dictated by this provisional function of filling.

Momentary Monument IV (Kassel), 2012, by Italian artist Lara Favaretto is seen during the Documenta (13) fair for contemporary art in Kassel, central Germany. The Documenta (13) exhibition of modern and contemporary art is running from June 9 to September 16, 2012 and takes place every five years.



Magna Mana Production Studio

The new studios should reflect the world of movie making and create a futuristic atmosphere. The wild expressionist setdesign of Robert Wiene´s `The Cabinet of Dr. Caligari´ and the overlap of filmstrips in Lis Rhodes's videoinstallation `Light Music´ served as our inspiration and point of departure. Our vision was to interweave the whole space with huge transparent filmstrips. We developed a folded multifunctional wall, that generates the counter, seatings and storage place, transforming the corridors into an autonomous, collective space illuminated by daylight. The formal and functional repertoire accumulates into the central object-space, the colour grading studio, extendable to a temporary cinematic space. The construction is still in progress.



10th Anniversary Jewish Museum Berlin Stagedesign

The stage formed a platform to host the 10th Anniversary Celebration of the Jewish Museum Berlin. The former Flower Market Hall opposite to the museum, which will accommodate the new Academy of the Jewish Museum conceived by Daniel Libeskind, was chosen for the venue. We positioned the stage between the audience and the construction site of Daniel Libeskinds `cubes´.

By opening and framing the view to the background, the new construction became an integral part of the stage setup. The stage is like a window, opening the view to the future and at the same time looking back by projecting images of exhibitions and events from the past 10 years. A set of triangular shapes was arranged to leave the roman numeral for 10 inbetween them, marking the museum´s first decade. The geometry was inspired by the Star of David.


Daewoo and al fatah framed by  restroom window


I traveled to Tripoli few months before the war of 2011. I only had few hours to walk in the city. From one of the top floors of the hotel where I was staying I could see in the distance the vertical developments close to the old town. With a small digital camera, I explored the new districts looking for construction sites as I normally do when I arrive to a place I have not been before. Once I was back, I photographed the city skyline as I saw it behind the curtains of the hotel’s room. Within the taxi I took my last images before reaching to the Airport.

The structures, which I include in these series are found in the Central Business Center are not far from the old town and right next to Al Kurnish Road facing the sea. The towers are Alfateh Tower, Abu Layla Tower, Daewoo Tripoli Hotel, Corinthia Hotel and the That Al- Imad tower Complex (informally called the 5 bottles). Finally some scattered residential apartments. Manuel Alvarez Diestro



Souvenir Frankfurt

for three months (20. Aug. - 20. Nov. 2009) AT JUJUGI created a temporary urban intervention. a mobile kiosk – remembering a big oversea box – called SOUVENIR FRANKFURT playing with the area in front of the main train station in frankfurt/m.

they invited other designers to create contemporary souvenirs. AT JUJUGI created a simple packaging, branded the products as "souvenir frankfurt" and put a story to them, close to the basic idea souvenirs transport memories by using things.

often frankfurt am main is only communicate as a place of crime, drugs and financial business in the german medians. there are also many creative peoples… a lot agencies, museums and one of the famoust art-school "the städel" is located in Frankfurt. so AT JUJUGI decided to do something to change the view.

just a little action generating big resonance in the local medians… they start with the box and visit with the mobile container different local places, you will see in the image story. …the project grows, they were invited to a galley as a kind of contemporary pop-up store, then they they are invited to conduct different events, some weaks later they rent a small shop in the area close to the main train station.

by the time, the project is invited to be part in a big shopping-mall in the central city. we are nosey to see what the time will brings.



simINN Flightsimulation Center, Stuttgart

The simINN Flight Simulation Center offers it´s users the full technical performance and visual experience of flying a Boeing 737 and a Learjet without leaving the ground. Inspired by the technical aspects and design elements of planes and airports, we wanted to reflect the world of aviation by connecting it to a media-architectonic experience. Our aim was to complete the built simulators visually up to the illusion of an entire plane on a runway. The architectural plan defined the positions of the simulators with their adjacent walls in order to complete the remaining aircraft parts graphically. From the most significant views, the entrance and lounge area, the built and painted aircraft parts line up to create a visual continuity between them. The huge wall graphics become salient and the built components seem to disintegrate. From other perspectives the wall graphics become abstract and reveal their real expansion in space. They overlay the walls, floor and ceiling to reach the real dimensions of the original planes. The emerging graphic distortions exaggerate the shapes of the airplanes and create varying compositions in combination with the built components. Floor graphics, based on a runway marking system, take up the movements of the visitors and emphasize the angles of the design.


17_beeinig young in germany-o_700_01

17: Being Young in Germany

"Do what you want while you still can. Waste your youth!” urged the German band DAF in their timeless cult song of 1981. For people between the ages of 13 and 18, everything seems possible. It’s a time of discovery and radical beliefs – but also of doubts and contradictions.

The exhibition “17: Being Young in Germany” (House of History, Federal Republic of Germany) examines how it feels to be young, and to find and shape your personality. Designed by Atelier Markgraph, the exhibition uses around 800 exhibits, interactive media installations, music and scenographic ensembles to present the theme worlds of youth from the 1950s to the present day – from sexuality through rebellion and religion to professional training, careers and leisure activities. The exhibition’s guiding principle is the transitory nature of adolescence. To emphasise this, seven exhibition rooms – each with their own mood – are connected to each other and the forum by means of airlocks, whereby personal development narratives and historical lines meet repeatedly. First love, first demonstration, first idol: the exhibition “17: Being Young in Germany” invites visitors to (re)immerse themselves in the fascinating phase of adolescence.



deli house bakery

Deli house bakery as one of the bakeries in the midst of the shopping center, want to emphasize in simple, clean, innovative but still elegant characteristic. With those approach as the base, illustration of how a “bread” is made, descripted by a space which dominated with white and brown colored curves, and using materials that give the warm image.



Street Art - meanwhile in deepest east anglia, thunderbirds were go…

Street Art - meanwhile in deepest east anglia, thunderbirds were go… at the Heydt Museum - Kunsthalle Barmen Wuppertal.

Exhibition Concept, Abstract: "Streetart is everywhere. Unsolicited, it leaves its traces and signs in urban space. It conquers public space with stickers, posters, extensive murals, and stencil graffiti. It’s galleries are the world’s streets…

There is a variety of Streetart. Temporary actions, unusual objects and sculptures, lettering, and characters are woven into the visual flow of the city as stumbling blocks. The possibility that many of the passers-by take no notice of these interventions is consciously taken into account. Thus they comprise a subversive counterweight to the constant presence of advertising, whose blinking images and seductive buying options dominate everyday life. It is not only in this respect that Streetart is the expression of a critical examination of the social, cultural, and economic dimensions of the city, which in the age of globalization is rapidly and sustainably changing." The exhibition shows a over-few of different kinds, street art artists work, curated by Kik Reinking.


01-02-vigi house (edharchitects) -28.09.2010-

vigi house

CONCEPT Location is definitely playing an important role for the architect in designing this project, to create specific identity and come forth differently than the other surrounding residential buildings. This house is located right in the center one of Jakarta’s most crowded residential area and assessed got lot of “luck” factors. Wide green area and shading trees become the expression of the architect in the design. The design approach itself for this house is pretty simple, but still oriented to the needs of the owner of functional spaces. On 378 square meter site, mass compositions of the building are consist of two boxes with light impression, contain public area on the second floor and private area on the third. Both placed right above the first floor which contain the service area, and the whole composition is lifted higher than the street level. Each boxes are subtracted in certain parts. Those are done with the intention to still get the separated boxes impression without breaking the interconnection, so that the dialogue between exterior spaces form and interior spaces could be created. Sensation of movement, both horizontally and vertically, is felt because of the dynamism as the result of that interaction.


08-22-vpg house (edyhartono) -24.04.2010-

leo house

concept FengShui is an old Chinese topography, which believes that man, building, and nature should live harmoniously in a positive synergy. Beside of the FengShui, which becomes the main base for zoning the whole area of this house, the architect also tried to presenting modern architecture into this building, so that the house is not only worth for its functionality, but also being aesthetic. Simple but hold a strong character. Both of these terms are the things that the architects wanted to pull in into his design.


Vitrine mit pokale_vorschau

To Adorn oneself with borrowed plumes by Verónica Aguilera

To Adorn oneself with borrowed plumes / Action with installation / Trophy cups, glass case / 2008

This installation consists of a ready for shipment glass case containing 60 trophy cups that Verónica Aguilera acquired from the popular Internet auction platform eBay between 2008 and 2009. However, she did not only acquire these cups at auction, she also contacted the sellers to find out background information on the cup in question. The more inventive the artist found the story concerning the relevant cup, the higher she was prepared to go with her bid.

The project also involved producing a publication containing the stories of the various cups. The glass case plus its contents is once again being put up for auction via eBay. The auction is kicking off at the usual starting price of one euro and will run for one month. The person offering the most money must accept the glass case in person, receiving a certificate from Verónica Aguilera herself concerning the artistic genuineness of the collection. Of course, the buyer is free to decide on the subsequent fate of this work of art. This project is not only intended to illustrate the short lifespan of success, honor or praise, but also to scrutinise art show formats. The exhibition setup in the 1822 forum is complemented by a computer with the aid of which people can follow the auction and even make their own personal bids.


"AUKTIONSINFORMATIONE , Verkäufer: alenainffo, Käufer: pepe310, Artikelnummer: 143264544121, Artikelbezeichnung: Pokal-Tänzerin, Beendet: 23.10.08, 15:10:27, Preis: 2,90 EUR + Versandkosten
Beschreibung: Ich biete hier einem Pokal an, der eine Frau Tänzerin bzw. Ballerina darstellt. Er ist in neuwertigem Zustand. Der Sockel ist Marmor, der Rest ist rot-goldene Kunststoff. Die gesamt höhe beträgt 35 cm. Das Gewicht ca. 400 gr. Das kleine Pokalschild, welches am Sockel festgeklebt war, habe ich vorsichtig entfernt. Keine Beschädigungen! Er ist also wieder anderen Kids überreichbar, auf dass sie sich wie große Sieger fühlen! Und das ist doch das wichtigste, oder!?

Dear Pepe310, an excellent idea! I am happy to contribute In 1994/95 I was an exchange student in the United States. After the regular classes at my high school I joined a “Speech” class where we learned to present/read texts of all kinds: a mix between rhetoric and theater. This covered poetry, a spontaneous speech and stories that were read by two people. During the year there were speech contests. I took part in the poetry contest and later on – together with a friend
– in the category “Duos” and I was/we were very successful. All three trophies are from the poetry contest; the ones for the duo-presentation I gave to my friend. If you are able to auction the three trophies and use them for your arts project, I could also give you a wooden board that I won at a contest if you wish. Unfortunately I can’t remember the contests very well. But I looked at the engravings. I have three small children now and a fulfilled life. I have cleared out a lot of things which belonged to my life “before the children” – which is good. I don’t need the trophies anymore; for my memories the plaques are sufficient. They don’t mean anything to me anymore. Of course I was happy and proud when I won a contest but as objects they have no meaning for me. Still, I enjoy telling you their story and I would be happy if they are “heard” within an arts project. I hate to throw them away and would be glad if other children or young people would be proud of them. I would appreciate if you could send me a link to your project. I’m really interested in it! Best regards, alenainffo



guidance system Kaiser Passage

Guidance System at the Kaiser Passage, Bahnhofsviertel Frankfurt am Main for the exhibition “Street Galery” of Ulrich Mattner. Made by Souvenir Frankfurt the concept store by At Jujugi.



The Identity Of Streets

There is not a street in the world that does not have its own special look. Shaped by the appearance of the stores and brands, and the people to whom these shops appeal to, namely the particular target group.

Collage of shop signs of three different streets of four different cities of the world: Barcelona, Frankfurt, London and Guangzhou.


Macha high


The reputation of Ted Noten is based on his unconventional and innovative way of developing jewellery and the special way he widens the field. He is best known for the acrylic rings, brooches and necklaces in which he uses polished gemstones just as easily as he uses insects and mice. His controversial attitude shows in the acrylic handbags he makes (often referring to the behavioural codes of the world of the rich and famous), where besides numerous rings, he regularly casts a gun or a line of cocaine.

Ted Noten has been able to unite all the disciplines in which he works, within one concept: Design, applied arts and visual arts. The possibilities that arise, are used to the max. It is a radical contemporary interpretation of the ancient craft of the goldsmith.

In the mid-nineteenth century, the Japanese artist Hiroshige immortalised, from every conceivable view, the most beautiful landscape that he knew, in the print series '36 Views of Mount Fuji ". It inspired Ted Noten to develop 36 rings for as many specific types of women: the Femme Fatale, the Nymphomaniac, the Suffragette, the Fashionista, the Shy. All clichés, archetypes and dreams are shown. From each archetype, Noten makes an associative portrait: a monumental collage, with sometimes more, sometimes less relevant "objects trouvés’. The connection between the materials used and traditional jewellery is lost: they materials range from shoes and tires, to porcelain figurines and plush toy animals. 

Noten has exchanged his role as a visual artist for that of a jewellery designer when he changes the scale of the compositions of the original sculptures on the computer and makes objects in all possible materials and finishes. Heavily scaled-down versions become suitable to be worn around a finger or the wrist. On the basis of each collage is ultimately produced only one piece of gold jewellery. The designer comes into play when the same techniques are used to develop small batches in steel, nylon or titanium. Above all, the computer technology also provides the unprecedented luxury of producing rings and bracelets at exactly the right size.

In the past, Ted Noten captured reality in acrylic; with this project reality only lent its shape and meaning. The unparalleled detail the production technology allows the rich array of associations of the original objects to be captured, and the miniaturization adds an unexpected mystery. With this project Ted Noten does not only seduce the 36 women, but he also seduces the lover of gold as well as a broader audience.



Mercedes-Benz Museum / Mythos 6

How do tomorrow’s drive technologies look today? From February 2011 on, the Mercedes-Benz Museum offers a wide-ranging look into the future – with Mythos 6, a new exhibition room that shows the path to emissions-free mobility. The moment visitors enter the room over a curved ramp, a 500 m2 media-fed LED ’sky’ provides a first glimpse of the hopeful, courageous look into the future. Media feeds of abstract flocks of birds and leaf canopies set the mood by introducing three of tomorrow’s important themes: society, mobility and environmental protection. Under the media-powered sky, a spiral-shaped tour guides visitors through the challenges of the present and the future. Driven by the insight that progress needs a pedigree, five dynamically configured car exhibits present drive technologies on the road to emissions-free mobility. These range from an optimized internal combustion engine to electric and hybrid drives, and right through to the fuel cell. The exhibits are mounted on illuminated media pedestals that offer further information. A workbench invites visitors to interact and explore topics in more depth, either via touch display or hands-on exhibits. In the microcinema, a film about the methods, projects and scenarios of Daimler futurologists provides insights into the forward-looking competence of Mercedes-Benz. The consistently minimalistic design of the room is defined by a dynamic Time Line with 60 monitors. This genealogy enables visitors to understand how drive technology has evolved during 125 years of carmaking. ’Future Windows’ extrapolate this path by showing how society, mobility and the environment will develop in years to come.




readymade' is the work of a team of interior design and architecture students from germany's university of applied sciences in darmstadt, under the direction of architect boris banozic. the piece was designed as an exhibition stand for the [d3] exhibition for young designers at imm cologne 2011. in search of a product with the potential of creating space and reflecting our faculty in one way or another, the team came upon the folding meterstick: the tool of the architect and at the same time the link between the architect and the craftsman. long used to measure space, the designers decided to create space with it. to get a stable structure only with metersticks, a knot was developed by interlocking two metersticks and putting a lace around it. by adding the resulting crosses by overlapping and screwing together components, the team generated a strong horizontal structure, capable of reaching a freestanding height of 2.70m. the installation consists of two walls (6mx9m long), erected without any further support by bending them to a curved position. the resulting amorphous form is composed of 1,148 metersticks, 2,296 screws and 574 plastic fasteners. departing from the topic of readymades, the piece is at once a reaction to a tight budget of € 3,000, as well as an investigation of the potentials of already existing materials and products to generate space. the team's self-stated goals were to transform a standard, ordinary form into an extraordinary one, and to create an extensive spatial work starting with the smallest possible unit.   Students: Christoph Stoll, Johannes Herud, Carina Cestaro, Maren Höss, Isabelle Hack, Lina Möller, Susanne Pauls, Rebekka Brasch, Kristina Kriegbaum, Christopher Lohoff, Mariam El Bahi, Iris Klawiter, Veronika Pöschel, Nicole Baier, Elisabeth Priessnigg, Alexander Kunst, Katarzyna Kulpa, Laura Schäfer, Stefanie Speier, Anne Conrad, Judith Lang, Franziska Klatte, Jennifer Wilm, Gabi Kiel



The Ruins of Detroit

Yves Marchand and Romain Meffre (born in 1981 and 1987) both grew up in the Paris area. They began interested in ruins as photographers in 2001. After they met each other in 2002, they started making a systematic record of ruins and changing urban landscape around Paris, then, further in France, Belgium, England, Spain and Italy. Visiting these places made them more sensitive to the rarity and uniqueness of the historic buildings, especially those built in the 19th and 20th centuries, sadly neglected and often threatened.

They explain :
“Ruins are the visible symbols and landmarks of our societies and their changes, small pieces of history in suspension. The state of ruin is essentially a temporary situation that happens at some point, the volatile result of change of era and the fall of empires. This fragility, the time elapsed but even so running fast, lead us to watch them one very last time : being dismayed, or admire, making us wondering about the permanence of things. Photography appeared to us as a modest way to keep a little bit of this ephemeral state.”

In 2005 after months of preparation they decided to go to the symbolic city of modern ruins, Detroit. Ruins were no longer something anecdotic in the city, it was simply a logical part of the landscape.

At the beginning of the XXth Century, with the invention of assembly line, Detroit rose as the car capital of the world, becoming the 4th most important city in USA. Motor City literally produced what would forever become the economic, industrial and urban model of our modern societies. But from the 50's, desindustrialisation and suburbanisation, segregation, social tension, disinvestment turned Motor city into ruin. Detroit went from 2 millions to 900 000 inhabitants. Thus within even 50 years Detroit, one of the richest city, fell from grace to became the most ruined city in the entire western world.

When they started, Yves and Romain used to work on the same places but separately, with two cameras, then they progressively evolved to a rigorous set, a way of photographing, a common vision. In Detroit, they both started to work using only one camera. While photographing, each don’t have a predefined role, they share their ideas until finding the “ideal” spot.

They made their first exhibition “Les fabuleuses ruines de Detroit” in June 2006. Then they came back to Detroit several times within the following five years to complete their work on the city. In parallel they keep working on ruins, starting several projects in which the old theaters. Their first book “The Ruins of Detroit” is slated to be released in fall 2010 by Steidl.



Serpentine Gallery Pavilions

The Serpentine Gallery is an art gallery in Kensington Gardens, Hyde Park, central London. It focuses on modern and contemporary art.

The Serpentine Gallery Pavilion series is the world’s first and most ambitious architectural programme of its kind, and is one of the most anticipated events in the international design calendar.

The Serpentine Gallery annually commissions international architects of worldwide acclaim to design a pavilion on the gallery’s lawn that provides a unique showcase for contemporary architectural practice. The pavilion is host to a special programme of film screenings, talks, the BBC proms and café.

Since 2000 each summer the gallery has commissioned a temporary pavilion by leading architects including: 2000: Zaha Hadid, 2001: Daniel Libeskind, 2002: Toyo Ito, 2003: Oscar Niemeyer, 2005: Álvaro Siza and Eduardo Souto de Moura, 2006: Rem Koolhaas with Cecil Balmond and Arup, 2007 pre-pavilion 'Lilias': Zaha Hadid and Patrik Schumacher, 2007: Olafur Eliasson, Cecil Balmond, and Kjetil Thorsen, 2008: Frank Gehry, 2009: SANAA, 2010: Jean Nouvel…


1 edited

Exhibition for "Sociology in Frankfurt 1910-2010"

The geometrical development of the proposal uses the diagram of the twist, by which a transition is made from the wooden ground hosting the software interface, to the plexiglass wall which embodies the printed text and image. The two objects are mirrored in symmetry; creating an in between space. This strategy allows for the freedom of movement around the objects, maximizing the interaction of the users with the exhibited material, while at the same time creating zones of interaction between the users themselves. The exhibition was held at the Goethe University in Frankfurt.

Project credits

Curator: Felicia Herrschaft

Exhibition architecture: Mehran Mojtahedzadeh, HfbK Städelschule Frankfurt am Main

Graphics: Andreas Bohn, neue linie

Interactive software: Meso Digital Interiors GmbH

Artistic contributions: Oliver Heinzenberger, „Unter dem Parkett liegt nur der Schmu“

Pedro Lagoa, „Archive of destruction

“ Erika Laiber and Mr. A. Sinclair


Bildschirmfoto 2010-11-02 um 15.59.05

Making Future Magic: iPad light painting

We’ve been making two films with "Berg" over the summer. It’s an exciting project for us, as it’s the first time we’ve had a proper chance to explore some of the themes and possibilities behind Making Future Magic, with the benefit of the superbrains and hands of some new creative partners Timo Arnall, Jack Schulze and the rest of the "Berg" team.

The brief and discussions we had in the process of making these films were about some of the aims behind the Making Future Magic strategy – all of which are about expanding the value of the commercial communications we make by approaching things with a particular set of priorities:

To make creative work that is contributory and sensible to its culture and environment; to be exploratory and sensitive with regard to materials and media; to wonder what magical visions (as opposed to the familiar dystopias) of the future of media might look like.

We also talked about the meaning of each three words. “Making”, with its emphasis on craftsmanship, understanding of materials and media, and collaboration; “Future”, meaning something not seen before, something new and unexpected (not so much sci-fi, as near-future); and “Magic” – surprising, culturally powerful, unusual, capable of delighting.

One of the major reasons we were keen to work with "Berg" is the inventive and human approach to materials and media characteristic of all their work.  Their response went beyond the hopes and imaginings of the original brief to produce something of astonishing beauty and ingenuity that breathed life into the strategy both conceptually and executionally.  For this particular film they invented a technique using long camera exposures to record the iPad moving through space in order to make a stop motion film of 3-d light forms.

Thanks to Timo Arnall, Jack Schulze, Campbell Orme, Matt Brown, Matt Jones and Matt Webb (Berg), Bethany Wilcox and John Matta (Dentsu London), Liam Paton and Andy Theakstone (Resonate) and Marjut Rimminen. (Written by Beeker)



Sir Walter Scott


1. July - 12. September 2010

The work of the American artist Mike Bouchet, who currently lives and works in Frankfurt, questions social currents through a variety of forms, including sculpture, installation, painting, film and actions. Two of his recurring concerns are issues of urbanity and consumption. At the 2009 Venice Biennale, Mike Bouchet showed “Watershed,” a 250 square meter single-family house, which he floated in a Venice canal in an attempt to promote the suburbanization of water. For Bouchet, a suburban home is a commercialized architectural fantasy: dream houses sold in kits for the mass consumer.

For his exhibition at the SCHIRN, Bouchet has literally chainsawed “Watershed” into pieces, as a way of continuing his artistic discussion with this popular architectural form. The transformed house is a new sculpture titled “Sir Walter Scott.” Within the exhibition, entitled “Neues Wohnen” (New Living), the physical components of the house are used as material for an examination of the physical and psychological dimensions of contemporary suburban architecture. It is supplemented with further new works by Mike Bouchet. Curator: Matthias Ulrich (SCHIRN)



“1.26“ by Janet Echelman

Janet Echelman’s 230-foot-long aerial sculpture “1.26” suspends from the roof of the 7-story Denver Art Museum above downtown street traffic to commemorate the inaugural Biennial of the Americas.

The temporary nature of the Biennial and its accelerated timeline precluded the artist’s use of a permanent steel armature, as employed in the artist’s previous monumental permanent commissions. Instead, “1.26” pioneers a tensile support matrix of Spectra® fiber, a material 15 times stronger than steel by weight. This low-impact, super-lightweight design made it possible to temporarily attach the sculpture directly to the façade of the Denver Art Museum, and this structural system opens up a new trajectory for the artist’s work in urban airspace.
Because this monumental sculpture is made entirely of soft materials, it is animated by the wind. Its fluidly moving form contrasts with the rigid surfaces of the surrounding urban architecture. At night, colored lighting transforms the work into a floating, luminous form while darkness conceals the support cables.

Materials: Spectra fiber, high-tenacity polyester fiber, lighting. Size: Dimensions of net: 230 ft. long x 63 ft. x 30 ft., suspended 93 ft. in the air. Team: Sponsoring Agency: Denver Office of Cultural Affairs City Project Coordinator: Kendall Peterson, DOCA; Chris Jahn, Fuse Studio Architects Artist: Janet Echelman, Janet Echelman, Inc. Art Project Manager: Mark Drummond Davis, Janet Echelman, Inc. Engineer of Record: Charles Keyes & Shane McCormick, Martin/Martin Consulting Engineers Design Engineer: Peter Heppel, Peter Heppel Associates NASA Scientist: Richard Gross, Jet Propulsion Laboratory NOAA Scientist: Christopher Moore, Center for Tsunami Research Installation Management: Mike Mancarella, Junoworks Lighting Designer: Joseph Gann, Richter Scale Productions Book Designer: Peter Bergman Donor of Spectra® Fiber: Honeywell



Light at the End of the Tunnel

At Luminale, Schauspiel Frankfurt highlighted its program. The Willy-Brandt-Platz underground station became a stage for an interactive text-based play, with passers-by as actors. Passers-by could activate quotes taken from the plays in Schauspiel Frankfurt’s current program. By stepping on one of the role fields on the floor, they could trigger lighting, LEDs and sound. With the aid of media feeds on the LED, it was possible to enter into dialogue with their fellow participants. „Light at the End of Tunnel“ was a joint venture by the Schauspiel Frankfurt theatre company, station managers VGF, and Atelier Markgraph, that also supplied the idea for the production. The lighting and media technology was sponsored by Martin Professional, and the project was implemented with the aid of Meso, Ströer and HELI Show Equipment.



The Städelschule opens its doors

Rundgang 2010 The Städelschule opens its doors to the public for its annual Rundgang from 12-14 February, where the 167 fine arts and architecture students will be showing their current work in their studios. Städelschule (main building), Dürerstrasse 10: the classes of Judith Hopf, Christa Näher, Michael Krebber, Mark Leckey, Willem de Rooij and Ben van Berkel Städelschule



the movie mobile by CLICK Architecture

Project Team: Ben Mickus, Steve Thomas, Paul Coughlin, Brian Thomas - A lightweight movie mobile, deployable in any parking spot, used for spontaneous urban gatherings. - A bicycle powered projector runs from a magnetic level trainer, car alternator and diode generating electric. - This lightweight installation was fabricated from high density foam using a CNC mill and coated with fiberglass and a water based resin. Simply unhitch from your bicycle, flip open screen, pedal, lounge and enjoy. CLICK Architecture



Street Art in Cologne, Germany

January 2010



Design. Politicized.

Design. Politicized. is an exhibition that displays the political graphic design works of Florian Conradi and Michelle Christensen at the PASSAGEN 2010, cologne. Amongst the themes in the work are issues such as the immigration debate in Western Europe, and the wars in Afghanistan, Iraq, Uganda and Israel.



»Revolving Realities« Dornbracht Edges

Passagen / imm International Furniture Fair 2010, Cologne FACTORY

Dornbracht unveiled its new exhibition project, ‘Revolving Realities’, at Passagen 2010, which had taking place within the framework of IMM Cologne, the international furniture fair. The installation was the latest instalment in the Dornbracht Edges series featuring projects in which architecture, design and art intersect. Curated by Mike Meiré, the installation was the work of the group Interpalazzo.

‘Revolving Realities’ had been an auto-reactive installation, one that plays with the sense of reality by continually causing us to perceive and experience a place and an object in new ways. Its surfaces projected with different images, textures and animations, the object becomes a mirror of changing realities. As a result, a kind of real virtuality arises to confront virtual reality.

A modular light installation issuing from the sculptural object reworks the space. Cords of light pass through the 600 m2 of surrounding space, intertwining the surrounding area with the centre. Ideas are seized upon and returned; the space is transformed into a sound box that enters into a reflexive dialogue with the sculpture. The object, the space and the beholder form a communicative unit. Interpalazzo was a collective of media artists founded by Martin Hesselmeier, Andreas Muxel and Carsten Goertz. for ‘Revolving Realities’, Interpalazzo had teamed up with composer Marcus Schmickler, who is creating a sound composition specifically for the project.




When you cross the Metro Station Willy-Brand-Platz, Frankfurt/M. faces will look at you. Faces of actors of the "Schauspiel Frankfurt". You will also confronted with bold letters, extracts of poetics: e.g. "Du wirst meiner Liebe nicht entgehen", by Horváth; "You say you want a revolution" by the Beatles. These installation in the urban space created by Atelier Markraph based on the new Corporate Identity designed by Double Standards Berlin for the Frankfurt Theater, "Schauspiel Frankfurt".


Client: Schauspiel Frankfurt
Idea, design and production-coordination: Atelier Markgraph
Graphic-Design: Double Standard



»Shop-Window Design, Cologne 2010«

Within the Passagen Interior Designweek Cologne… we saw some great shop-window designs. E.g. the poetic installation »Greenhouse« by Ilka Helmig in collaboration with Cornelia Pistorius, Carolin Zorn. The artwork was paper made for the window of Leitwerk. In the urban space you can hear the sing sang of birds. The window of sisley, cologne, was made as generative graphic design. There was also a shop-window playing with different scales, in a normal sized small window was build a very small one, the little scene you can saw shows the competence of the window owner: a model-builder.




Higher Density & Sustainable

Transportation In the post-oil era, the cost of transportation will rise dramatically. The solution lies in the densification of the city as well as in finding alternative ways of commuting. The long term question remains, how much density Copenhagen can afford and at what price. A first step into the right direction has been done by expanding the existing, extensive network of bike lanes into the suburbs. Additionally, there is also a network of 13 highway bike routes for bicycle commuters in planning. They will connect the suburbs with the city centre. The new Bicycle Sharing System must be integrated into this concept to create synergies with other fields, e.g. public and individual transportation. It must become an integral part of a comprehensive transport and energy policy.

The New City Bike Share System

The Bike Share System must become more than just a transporting system. It deals not only with the problem of stocks and flows of people, but must add extra value to its user and to the city itself. We suggest that the Bike Share System becomes an integral part of the city. The bicycles should function as censors and inform the system about certain behaviours, so that the system can react according to the situation.To predict the performance of a system, the entities have to exchange information. An internet-based platform can analyse the different interests and could then manage possible conflicts. The bicycles are equipped with GPS und W-Lan, so they are connected to each order and can inform the system about their position and status. (Is a bike being used? Where is the bike and where is it moving to? Is there a reservation for the bike? etc.) Privacy protection is a matter that has to be taken into account in the process. To increase the number of commuters travelling by bicycle from 37% to 50% by 2015, approx. 25.000 bicycles have to be integrated into the urban fabric; these bikes will need at least 20.000 m2 of storage space. We see a high risk of overloading the squares, streets and stations of Copenhagen. Therefore, our focus is to reduce the „visual pollution“ wherever possible. At the same time, easy accessibility as well as the system’s visual presence has to be maintained (hide & show policy). The following proposal distinguishes between three different trajectory scales: S,M and L.

rafaa - Architecture and Design



Parabolic Facades by Manuel Alvarez Diestro

This photographic series portrays a collection of images captured in Algiers. Most of them belong to structures built in the fifties and sixties and highly influenced from the precepts of Modern Architecture. As is characteristic in the Maghreb region, the building's facades profusely mirror the lives of those who live inside the vertical structures. In this Mediterranean city for instance, the "cites" are heavily populated with parabolic screens becoming part of the vernacular architecture. The tenants’ individualistic attitude of adding more and more screens generates an organic quality to the buildings. This improvisation takes us into new realms of expression converting the facades into a celebration of rhythm and colour. Algiers in the era of communications has contributed to push even further the experience of seeing the city.




This photographic series portrays a collection of images captured in Algiers. Most of them belong to structures built in the fifties and sixties and highly influenced from the precepts of Modern Architecture. As is characteristic in the Maghreb region, the building's facades profusely mirror the lives of those who live inside the vertical structures. In this Mediterranean city for instance, the "cites" are heavily populated with parabolic screens becoming part of the vernacular architecture. The tenants’ individualistic attitude of adding more and more screens generates an organic quality to the buildings. This improvisation takes us into new realms of expression converting the facades into a celebration of rhythm and colour. Algiers in the era of communications has contributed to push even further the experience of seeing the city.




FINANZDECKEN – IRRITATE MODERN "Wie sehen die Finanzdecken inmitten der Krise aus, wie unterschiedlich, wie stark, wie dünn sind sie? Sorgen die Finanzdecken der Menschen noch für einen guten Schlaf?"

We like to keep a close eye on our neighbours, now that their wealth has diminished or even vanished completely. But instead of looking at people’s bank accounts, the “Finanzdecken” project looks into the waste paper bins of the city’s different neighbourhoods. Used newspapers tell new stories and offer exciting perspectives. We started in the Westend of Frankfurt.

Nobody reads the business pages in this (wealthy) part of town. Why? “Finanzdecken” holds up a mirror and draws comparisons. Does recession change people or do people actually yearn for it? Are we now clever, capable and willing enough not to repeat this crisis? Do we learn from our mistakes? Or is the error in the system? It seems to be in the human system.

“Finanzdecken” are tragicomic witnesses of greed, poor judgement, lost property and a wealth of newly-won insights. The zigzag seams which sew the “Finanzdecken” together reflect the zigzag course of the stock exchanges, the ups and downs of human psychology. The downturn keeps us together. What goes down must come up. Zigzag, that’s us.

"In mehreren Stadtteilen der Eurostadt Frankfurt wurden die Finanzteile von gebrauchten Zeitungen gesammelt und zu Finanzdecken in einer Größe von jeweils ca. 1,20 x 1,70 Meter zusammen genäht. Derzeit werden ausgestellt: “Finanzdecke Westend”, “Finanzdecke Gutleut”, “Finanzdecke Dichterviertel”, “Finanzdecke Ostend”, “Finanzdecke Bockenheim”, “Finanzdecke Sachsenhausen”, “Finanzdecke Ginnheim”, “Finanzdecke Hausen”. Weitere “Finanzdecken” sind in Planung."




TOTART is an art project series. This time about duels. A duel between a shooter and a dummy was simulated - with live bullets. The public order office approved this project under one condition: to cut the head off the dummy. Don’t shoot on a thing that looks like a human being. A good rule. But does a dummy without head doesn’t look like a human being anymore? And isn’t it much more brutal to behead the dummy like a terrorist than to manufacture some tops with bullet holes? The project shows one of millions of farcial regulations of our authorities in a very cruel way. The t-shirts, longsleeves and hoodies of the inferior dueler were sold at a happening. All the sound effects used in the TOTART movie are original sounds from the shooting. Some sound like big waves, some like the snoring of a public servant. The quotes are from “rules of duels” published in 1871. Rules that are very contemporary in times of only winners and losers and nothing inbetween. watch movie



CURIOUS IMPLANTATION – a project by artist Nicole Knauer

She developed the complex work in the year 2005. Since this time she arranged a constantly increasing sculpture from more than a half million handput white plastic cable straps.

CURIOUS IMPLANTATION is an installation that transgresses space representing a hybrid creation made of plastic cable straps that the artist has combined in an unconventional and quite personal way. Its dimensions are extended through costumes, videos, photographies and transformation through interaction. The translucent, ephemeral but also transient characteristics of the artist's favorite materials and shapes that are represented in this installation can be regarded as a metaphor for the sphere between reality and absurdity.

Nicole Knauer's aim is to use synthetic waste products other than originally intended. More than a half million white plastic cable straps have been combined manually to create a 50 qm sculpture as well as costumes that mutate into utopian formations and hybrid creations. CURIOUS IMPLANTATION represents a hybrid creation between nature and technology. Its appearance is amorph, partly moved by human beings and partly by technology. It is an odd installation resembling a scene of a science fiction movie.

When entering the gallery space the viewer finds a monstrous creation. The space and the sculpture are white thus visually blending into each other. The surface that appears organic at first sight turns out to be filigran-structured and synthetic when looking closer. Tightly woven white nylon cable ties cover the whole surface of the sculpture. When the viewer gets closer the sculpture starts moving getting alive. The installation changes from a surreal artistic landscape to a strange creature that breathes. The appearance of the cable-ties-implanted surface creates a desire to touch it. At first sight the white sculpture seems to be soft like fur or a meadow. However when touching the surface the viewer experiences an irritation through the bristly resistance of the material. The indirect lighting makes the sculptue even softer looking and therefore emphasizes the contrast to the touching experience. This is similar with the costumes. They appear light and soft, the cable ties resemble feathers or soft ribbons. When being moved they rustle like multi-layerd taffeta. However they are heavy when being worn, the cable ties scratch and sting. When undressing their inner creatures come to light: The cast off skin of a fable creature, the baleen of a whale, cuttlefish, mussels, corals, ticks or totally unknown creatures.



creatives inspired by creatives

Transform magazine is a medium for creatives from all over the world to meet and inspire each-other. It is also addressed to people who are sensitive to and interested in their visual, architectural and cultural environments.
Transform is a project database for contemporary three dimensional design projects and the merger of the different disciplines to create them. The driving force behind the magazine is to provide a forum of inspiration, information and expression.