09/04/2013

Public Works: Architecture by Civil Servants

Public Works: Architecture by Civil Servants

The architect, or so the popular narrative goes, is a singleminded auteur, a créateur hellbent on erecting his or her (mostly his) vision of the built environment. He’s a mix of van Bruggen and Serra, decking out the city with pretty showpiece sculpture. He is Hadid and Gehry and Calatrava and the like, dreaming up improbable, untouchable icons akin to garish Rolls-Royce hood ornaments.

But, in case you haven’t noticed, you likely don’t inhabit an ornament. Rather, it’s probably a series of boxes penned by someone with a far less impressive name. Do you know who designed London’s magnificent, sweeping Barbican? Chicago’s utopian, yet tremendously functional Marina City? Your own home, for that matter? Doubtful. Yet it is precisely those functional, perhaps benignly anonymous buildings that our human lives actually inhabit. These works by architects no less diligent than their better-known colleagues are the real fabric of the built environment.

So, while the names of the architects who design these buildings have already been forgotten by posterity, OMA has curated Public Works: Architecture by Civil Servants, a fresh exhibition that seeks to at least pay tribute to their excellent work. Ironically enough, OMA itself is headed by the irascible Rem Koolhaas (the contemporary architect who perhaps best defines the aforementioned starchitect archetype – starchetype?), but his practice is nothing if not a visionary and considerate of human society. It seems strangely appropriate that this starchitect would be behind such an inclusive tribute to the extensive work of “anonymous bureaucrats” (the words of co-curator Reinier de Graaf): his forbears, his successors, his minions. The servants which make the boxes against which his starkly original designs look all the more impressive.

The show, which first opened at last year’s Venice Biennale d’Architettura, focuses specifically on large-scale, oft maligned brutalist/modernist 1960s-1970s public architecture of London, Berlin, Amsterdam, Italy and France. De Graaf calls the period “a short-lived, fragile period of naïve optimism, before the market economy’s brutal command took the lead.” It was the last gasp of an era when designers and planners actually seemed to believe they could neatly, cleanly solve world problems of urbanism once-and-for-all through building.

Open through April 14th at St. Agnes at Alexandrinenstraße 118 in Berlin.

Tag Christof

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08/04/2013

50s Fashion Comeback; Glamour or Rebellious Youth?

50s Fashion Comeback; Glamour or Rebellious Youth?

Sometimes it seems like every possible decade influences fashion trends, at times we may wonder when a trend comes back in, when did it leave in the first place, or did it just merge with another trend to create a new silhouette and style? 50s fashion influences are back on the scene, so how do they fit into the current trends – the 90s look, the grunge rock look and the clean functional sports trends, which are predominant on the streets and catwalks right now – this time around?


Contrary to these more masculine and androgynous looks there is a rebellious notion and a need for a more feminine and glamorous come back, after all, the 50s was a time when the female form was emphasized and complimented with the cuts and silhouettes of that time. The hour glass silhouette introduced by Dior, known as the New Look, was a reaction to the years of hardship and suffering following the two world wars where clothing was functional and basic. Women were ushered back to the kitchen and family life, and their clothing was to represent femininity and the perfect family home.

Around this era, although it originated from the late 1940s, there was the rebellious youth culture which was emerging from the conformist Britain and America. Rock and Roll music gained popularity as did the youth films of this time and Teddy Boys, Rockers and the Beat generation were born.


Interestingly now, you see the influences of both of these contrasting looks emerging into the trends; retro styling, print mixes such as animal print, polka dots and gingham checks, fitted and flared silhouettes and college style baseball jackets and biker jackets are all 50s inspired trends worn either in a glamorous feminine way or with an edgy and youthful twist.

Perhaps it’s a notion which reflects our fears and aspirations of present times due to the economic struggle and worries of tough times ahead; we look towards a time when a new prosperity was dawning, hoping that this may represent our own hopes and dreams for the future.

Tamsin Cook 

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08/04/2013

Hilma af Klint – A Pioneer of Abstraction

Hilma af Klint – A Pioneer of Abstraction

In the beginning of the 20th century, years before the dawn of abstract art in Russia and Europe, the Swedish artist Hilma af Klint (1862-1944) made paintings that turned away from visible reality. Already in 1906, years before her colleagues Kandinsky, Mondrian and Malevitj, she developed an abstract imagery that manages to feel relevant today. At the Moderna Museet in Stockholm, she is now being honoured with the retrospective Hilma af Klint – A Pioneer of Abstraction (curated by Iris Müller-Westermann), up to now the largest presentation of the artist’s work, featuring a total of 230 paintings and works on paper.

Hilma af Klint was influenced by contemporary spiritual movements like spiritism, theosophy and later anthroposophy. Through her paintings she wanted to visualize what the eye couldn’t see and communicate the various dimensions of human existence. Hilma af Klint attended séances already in the late 1870’s, and in 1896, after years of traditional art studies in Stockholm, she abandoned her portraits and landscapes in naturist styles to form the group “De Fem” (The Five) together with four other women. They made contacts with “high masters” from another dimension and practiced automatic writing – writing without consciously guiding the movement on the pen on paper. Decades before the Surrealists, she developed a form of automatic drawing, and many of those simple, yet impressive drawings on brown paper are on view for the first time at the Moderna Museet.

In the large series Paintings for the Temple the are references to organic forms taken from nature, as well as esoteric Christianity and Rudolf Steiner’s Rosicrucianism, her works growing more geometrical as the years go by. No wonder that this year’s curator of la Biennale di Venezia, Massimiliano Gioni, has chosen five of af Klint’s paintings to be represented in the main pavilion of the Biennale – entitled The Encyclopedic Palace – along with many other artists referring to the science of our nature.

In her will, Hilma af Klint wrote that her abstract works weren’t to be shown in public until at least 20 years after her death. She was convinced that their full meaning wouldn’t be understood until then, that her paintings carried messages to humanity for the future. With this retrospective, we think we’re finally there. 2013 is Hilma af Klint’s year.

Hilma af Klint – A Pioneer of Abstraction is on view at Moderna Museet Stockholm until May 26th 2013. The exhibition will then tour to Hamburger Bahnhof – Museum für Gegenwart, Berlin (June 15th – October 6th 2013) and Museo Picasso Málaga, Málaga (October 21st 2013 – February 9th 2014).

Helena Nilsson Strängberg

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07/04/2013

Sunday Breakfast by Love For Breakfast

Sunday Breakfast by Love For Breakfast

Hungry for a bite out of Spring.

Alessia Bossi from Love For Breakfast

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05/04/2013

Daft Punk – Beyond the Music

Daft Punk – Beyond the Music

Daft Punk – everybody recognizes their huge influence in the electronic music scene, everybody knows they are about to release their fourth album “Random Access Memories” next May. But, do you ever question how their image has changed through time?

If you look at the very debut of their career they were unmasked, angry and pretty rock/grunge. It was 1993, and their aesthetic was a clash of music styles as well as of youth subculture-way of dressing. Then, in the mid to late nineties, came “the incognito”, and masks often popped up on their faces: whether they were Halloween masks or just post-produced blurred effect. Furthermore their infamous videos (Da funk, Fresh, Around the world) were full of costumes and grotesque masks.

As Martin Margiela teaches us: avoiding physical identification is a way to let your creative talk first, but also a way to feed the imaginary around your mysterious identity. The duo learnt the lesson fast, and during this period (the so called Homework album era) their style became clearer and much more minimal: they usually performed, still unmasked, but with military or working uniforms, or baseball varsity jackets.

Indeed it was just a matter of time: Daft Punk’s robot helmets made their first appearance with the album “Discovery” (1999). They were geometrical, minimal with rough shape, made by the LED FX Company, featuring a screen surface displaying texts, images and music patterns. This retro futuristic outfit was completed by metallic finger gloves. Without a doubt this proto/robotic look is somehow connected to the love they both share for the futuristic world created by manga/anime artists (as Leiji Matsumoto, who collaborated later with them for the movie “Interstella 5555″).


Looking back to it, what was eye-catching and peculiar, is the contrast between the technological helmets and the clothes they used to wear: Thomas Bangalter normally showed himself in a colorful shirt and a blue or grey casual suit without a tie, or with a classic B/W and a bow tie; Guy-Manuel de Homem-Christo, instead, often appeared in a very formal white vintage shirt with ruffles and a very informal double-breasted red leather trench on it, or once again, in a classic suit. This “casual/chic vs technologic” approach to the outfits slowly disappeared for the previously popular overalls/uniforms and later for full leather outfits; meanwhile the helmets started to have more designed, softer lines.

The small adjustments to the outfits became mature and visually very effective with the release of “Human After All” (2004) and their movie Electroma (2006). Very minimal helmets and fitted black (sometimes white) leather outfits; biker trousers were combined to a zipped rock perfecto, studded in the back with the band’s name. Rock and electro were the main influences on the album, and the outfits together with their attitude clearly reflected it. For their promotional “Alive” tour (2007) they asked Janet Hansen, the chief of Enlightened Design, an high technologic costume design company, to create two leather outfits with special LEDs glowing in the dark underling of their costume, as well as on their pyramidal stage setting. It was just like a visual premonition: in 2010 they produced the soundtrack and did a cameo in “Tron Legacy” movie.

Recently, after composing soundtracks for movies and short films (Irreversible, The void, First point), Thomas Bangalter put himself again behind the camera and created a promotional fashion film for the LA brand Co, starring his charming wife Elodie Bouchez; 03.31 seconds of visually sharp and clean material, with an emotive twist. After an interesting 3D editorial for the magazine Dazed & Confused (in 2010), wearing classic evening suit, the last effort of the French duo is a 15-minute edit of the blues legend Junior Kimbrough’s songs for the 2013 S/S YSL collection of their friend Hedi Slimane. Apparently the more the time passes by, the more Daft Punk get close to the fashion world. What they’ll come up next, we’ll see upon the new release in May!

Nicolò Parisi

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05/04/2013

Lost in Torres del Paine

Lost in Torres del Paine

At the end of the Chilean world, 350km from the nearest big city, lies Torres del Paine; a prehistoric-feeling National Park famed for its granite spires, ancient plains, ethereal glaciers and isolated beauty. This is a place of adventure and intrigue. While days are passed braving the Patagonian terrain – a combination of grassy fields, impossible cliffs, snow-covered mountains and dazing waterfalls – nights are spent watching the beautifully choreographed light display put on by the various constellations of the Southern Hemisphere. The fact that the only other light at night comes from the moon only adds to the region’s mysticism.



Feeling whimsical and rather in awe, you’re up for any challenge Torres del Paine decides to throw at you. You’ll dare to tackle at least a small part of the famed ‘W’ Trail. Voted as one of the world’s best hike by National Geographic magazine, the entire trail covers a distance of 75km and takes three to six days to complete. You walk through the Park’s iconic las torres (the towers), huge granite monoliths that turn pink at sunset and foster pastel-hued glacial lakes. You’ll also venture through the French Valley, a forest, wildflower and mountain-covered area that still carries the scars of bushfires past. Then there is Glacier Grey, accessed only by boat, this glacier glows the most astounding shade of blue. Alternatively, you could always bike through the plains, watched over by Alpaca-like Guanacos, who are simultaneously inquisitive and terrified. Or just indulge in the region’s famed Patagonian food and local wine – somehow Malbec always tastes better when actually devoured in Chile.

However you choose to pass you time in this uniquely stunning National Park, one thing is sure. Being this isolated is utterly exhilarating.


Liz Schaffer

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04/04/2013

Soul and Soles

Soul and Soles

Both brits, both famous for their soles and both sharing a part of their history with one each other: the shoe brands Solovair and Dr. Martens stands on common ground, yet, the perception of the brands are often diverse. Dr. Martens are worldwide known, even among non-wearers, while Solovair have kept their secret a bit more of a riddle. This is a story about two footwear brands hailing from a factory on the English countryside in Northamptonshire.

British, historical and qualitative leather are attributes you could apply to them both, but thereafter the perceptions part ways: despite their more sophisticated models, Dr. Martens has since long been seen as the rebels of the industry – the British working class hero using every crayon in the box. Solovair on the other hand brings the thoughts to leather manufacturing, British gentlemen and a traditional England. Comparing the two names as brands gives Dr. Martens a huge advantage in amount of time: over 50 years compared to Solovair’s barely 20. Though, if we take a step back and glance at the history we can understand where the touch of England comes from. In 1881, Northamptonshire Productive Society, more known as NPS, was founded as a co-operative in the little village of Wollaston and has ever since produced shoes. It is also here, in the late 1950’s, that the two brands originally met. The first pair of Dr. Martens boots was manufactured by NPS and for the 35 upcoming years the air-cushioned soles and British boot was going to be hand-made under the license “Dr. Martens by Solovair”.


When the two brands parted ways in 1995, Solovair stayed within the walls of NPS and formed a brand on its own while Dr. Martens conquered the world, and the world media. With famous brand ambassadors and collaborations, such as the name and face of Agyness Deyn, Dr. Martens has kept up the name as the loveable rebel, whereas Solovair have worked on the fellows. For example, one of their latest collaboration with brands happened with the menswear brand President’s, not yet released to the public, featuring British and Italian heritage and style, always coherent with the signature “sole of air”.

Whether you prefer asphalted streets or cobblestoned alleys, these two brands brings you more than a sole to walk on, but a soul and a history. Boot up!


Lisa Olsson Hjerpe

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04/04/2013

Sneakerstory

Sneakerstory

Most of the fashion images from last year to the day on street-style websites portrait sneakers; comfortable, fashionable and contemporary. What else? If you’re thinking about the trend, placing it to the 90s, you are only partially right. It really seems like a sport breeze – if you even can associate the modern day sneakers to sports anymore – is still blowing. But what about the first sneakers ever?

The very first rubber-soled shoes have been created in the late 19th century in US. Their were called plimsolls, and funny enough, there was no difference between the right or left foot shoe. A company from Connecticut was the first to claim the license for a new manufacturing process called vulcanization, discovered by the owner, Charles Goodyear. The process consists of using heat to melt rubber to fabric for a more permanent bond.


Around 1892 the first canvas sneakers were born, called Keds, being produced by U.S. Rubber Company. In twenty years Keds became very common, and they got the name sneaker from Henry Nelson McKinney, an advertising agent. They were so quiet that a person wearing them could sneak on someone. In 1917 Marquis Converse produced the first pair of shoes created specifically for basketball, the Converse All-Stars. Chuck Taylor, an Indiana hoops star, became their testimonial and made them definitely the best-selling basketball shoes of all time.

1924 was the time when sneakers became international. A man from Germany, named Adolf “Adi” Dassler, made a collection of shoes under a brand called Adidas, and after ten years his brother Rudolf started up another brand, Puma.

The long love affair between youth culture and sneakers started during the 50s, mainly thanks to the star of Rebel Without a Cause, James Dean who inspired a whole generation with his style. At the beginning of the 80s Sean Penn in Fast Times at Ridgemont High, helped Vans to achieve greater success wearing the famous slip-on model. The peak of all the sneaker history happened in 1984, when Michael Jordan signed a contract with Nike: does Air Jordan sound familiar to you?

And here we are, the 90s arrived and you have witnessed yourself how crucial it was to get a pair of sneakers back then, almost like it still is nowadays.

Francesca Crippa 

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03/04/2013

Piedmont, an Italian Slow Pace Weekend

Piedmont, an Italian Slow Pace Weekend

Italy is an adventure. It’s nice to drive around and discover wonderful places where you can eat, take some pictures and drink good wine. We were in Piedmont, in the northwestern Italy. In a weekend you can see lots of places and discover taverns that offer you local products. In San Rocco Seno d’Elvio, near Alba, you can find Osteria Italia, a small inn ran by Renato and Marina. You can get there by asking the locals. San Rocco is nestled in the countryside, where farmers raise rabbits and produce Barbaresco, a red wine into which you can drown all thoughts.

In the hills of Diano d’Alba we discovered a farmhouse. After a long walk in the woods we paused to find something to eat. Francesco, an old peasant we met, fed us veal with tuna sauce, fried bread with spiced lard, maltagliati with tripe and Dolcetto di Diano red wine stew. These places are magical. You can feel the joy when you smell the fresh air after it has snowed, and when the sun is slowly peeking.









Stefano Tripodi

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03/04/2013

Taking Hip Hop Back to the Streets

Taking Hip Hop Back to the Streets

Hip hop has always been site-specific, but Jay Shells is taking things a step further. The New York-based artist is hitting the streets, taking famous rap lyrics and screwing them on street posts at specific locations all over New York City. “Alot of rappers call out their block,” Shells said in the promotional video below. “When you’re on a corner that’s called out in a song, I think it’s cool to know that.”


The ongoing project, “Rap Quotes”, consists of homemade but very official-looking bright red street signs. For example, you can find Busta Rhymes’ line “Yes, yes y’all, you know we talkin’ it all, see how we bringin the street corner to Carnegie Hall” outside the entrance to — you guessed it — Carnegie Hall. Mos Def’s boast that he’s “Blacker than midnight at Broadway and Myrtle” can now be found at that exact spot under the JMZ line in Brooklyn. Outside the Marcy Houses, a Jay Z lyric reads, “Cough up a lung where I’m from, Marcy son, ain’t nothin’ nice.”

Shell’s big red street signs sport lyrics from New York legends Nas, Mos Def, Big Daddy Kane, Jim Jones, Big Noyd, Kanye, Kool G Rap, Capital Steez, KRS One, GZA, Redman, Guru, Capital Steez, and many others. You can follow Rap Quotes’s progress on Twitter. “It became sort of a scavenger hunt,” Shells said, before adding, “I think people will steal these. Within a week, they’ll be gone.”

Lane Koivu

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