Musical-firework Festival - Former Airport Berlin-Tempelhof

Bei der PYROMUSIKALE gestalten sieben der besten Feuerwerkskünstler der Welt im Wettstreit Feuerwerke zur Live-Musik der Berliner Symphoniker und Solisten von Weltrang. Die Besucher können sich an allen drei Tagen auf ein breites Spektrum von Konzerten freuen: Täglich treten ab ca. 16 Uhr Stars aus Pop, Rock, Soul und Jazz auf, darunter Top-Acts wie Christina Stürmer, die Hooters oder Kool and the Gang; im Anschluss daran folgen jeden Tag ab ca. 21 Uhr Sinfoniekonzerte mit einigen der schönsten Stücke der Klassik und dann Musik-Feuerwerke.

SYSTM is a Design Bar, SYSTM is also an Art Gallery. Everything in one but actually SYSTM is projection space for your Idea!

Seats like benches, chairs,  stool has to be design with the fitting tables…

We are looking for an innovative seats corner concept? Can you convince us with you idea? take  part and submit us you idea until the 27 of July by contacting info@systm-berlin.com

We are looking for student and young Designer submission!

SystM design Bar, Art gallery, exhibition space CALL FOR ENTRIES

Estuaire is also a political and tourist project, aimed specifically at accompanying and spurring the foundation of the Nantes - Saint-Nazaire metropolis, and using the physical line drawn by the Loire river as the basis of a tour full of secrets.
Until 2011, the National scene of Nantes - le lieu unique - will bear the project; Estuaire will then get a life of its own, with the creation of an  organisation, aimed at maintaining the sites, communicating on the project and keeping it accessible to tourists.

This open park, made of art installations, of natural or man-made heritage, of remarkable industrial buildings, will give the estuary a striking  identity. Sensible town and country planning will be necessary - walking paths, cycle tracks, cottages, shelters, camping site, viewpoints,   belvederes, gardens, sports grounds - and will shape and make visible its assets.

Estuaire is very proud of its natural territory. Each installation, fascinating as it is, will inspire our perception of the landscape, and will draw a different perspective on an exceptional natural environment.

The strength of Estuaire is also to be at the meeting point of all the partners, environmental associations, industries, farmers, local  professional bodies, fishermen, hunters, the Coastal Protection Agency, all working hand in hand to increasingly make of the estuary a Éuropean tourist destination.

The riverside towns are now starting to design the riverbanks, to build pontoons, hence to make the project grow stronger. Moreover, the
juxtaposition of Estuaire’s art installations next to the cultural heritage of each riverside town reinforces the power of one another.

Jean Blaise
Director of le lieu unique - Estuaire

Daniel Buren et Patrick Bouchain

the trail in nantes
Ile de Nantes
Daniel Buren
Patrick Bouchain
“Les Anneaux”
Perennial Artwork for Estuaire 2007
Based on the Isle of Nantes, the site chosen for Les Anneaux represents the link between two eras: the great maritime and naval past of the town, and today’s great architectural and urban projects, putting Nantes on the European stage.

Daniel Buren wanted to highlight the double perspective of the Isle of Nantes: the architectural perspective, drawn by the docks and
the warehouses, and the natural perspective delineated by the Loire river. A series of 18 rings facing the river offer as many different cutouts of the landscape. At night, the enlightened rings - red, blue and green, three colours at the basis of so many others - become multiseeing
tools…

Ronan Signer

the trail ON THE ESTUARY
REZÉ (Trentemoult)
Roman Signer
“Le pendule”
Rezé has a strong architectural heritage (Le Corbusier, Dominique Perrault or Massimiliano Fuksas). One of its quarter, a former fisherman village, overlooks the river: Trentemoult. This is where Roman Signer made the decision to start off his project using an old concrete factory,
built at the end of the sixties, and which is now derelict.

Tadashi Kawamata

the trail ON THE ESTUARY
Lavau-sur-Loire
Tadashi Kawamata
“L’observatoire”
Following the creation of the channel and numerous planned landscape developments, the Lavau site has slowly turned into a marsh. And this is the particular aspect of the estuary that Tadashi Kawamata has decided to put forward, as early as 2007.
Tadashi Kawamata then initiates work with the village population as well as with students, creating a melting pot, which is vital to his creative process.
At Lavau, the commune is favourable to contemplating nature. He designs a new identity and uses the wooden path leading to an observatory, to offer a new viewpoint over the river to everyone. The building site of the Observatory started in 2007 with the end of
the path: little by little, the visitor rises in the middle of the reed beds and reaches a vast platform where a tower is built.
In 2009, the artist rounds up the construction by adding a wooden path in the surrounding meadows and reed beds that are drawing the line between the tower and the village. Tadashi Kawamata creates here a little path in wood, 40 cm above the ground, which is embedded in the
marsh and seems to float in the natural environment.
Movement accessible to the disabled / observatory : first floor only.
Walking length round trip: 1h30.

Felice Varini

the trail in saint-nazaire
Submarine base (Panoramic terrace)
Felice Varini
“Suite de triangles, Saint-Nazaire 2007″
Perennial Artwork for Estuaire 2007
The construction of the German submarine base between 1940 and 1942 disrupted significantly the port; ensuing its construction, the heavy bombardment destroyed almost all of the “Little Breton California”.
Nowadays, the project Town-Port is a vast town planning with the submarine base at its heart. Here, the vastness of the landscape
and its industrial identity challenged his capacity to explore space: the piece, a 2 km long painting, is the biggest ever executed by the artist.
From a viewpoint located on the roof of the panoramic terrace at the submarine base, Felice Varini draws a “horizontal line” which hugs the landscape around the Saint-Nazaire port. The division of the shapes above and below this line split the landscape into different sequences. The artist reveals a shape painted on a single level, a shape that detaches from and places itself on top of the architecture to which it seems to belong.
Leaving the viewpoint on the terrace now means experiencing the third dimension and seeing the explosion of the figure.

Gilles Clement

the trail in saint-nazaire
ROOF OF THE SUBMARINE BASE
Gilles Clément
“Le Jardin du Tiers Paysage”
Open to the public since 1998 thanks to the project of the urbanist Manuel de Sola Morales, the roof of the submarine base is now an open-air terrace between the sky and the ocean.

The Jardin du Tiers-Paysage is triptych which takes advantage of the three architectural devices of the site: The Wood of Aspen will be placed in Les Chambres d’éclatement des bombes in 2009, The garden of Grasses and Stonecrap in The Covered Rows scheduled for 2010,
and The Label Garden will be in The Pit in 2011.
Appearing suddenly from the concrete of the base, a 107 aspens with bright leaves sway in the wind. Having the base to scintillate and quiver is the first intention - poetic intention - of Gilles Clément, who sees in the base a place of resistance, where the ecological diversity of
the estuary can reside.

It seems difficult to understand how it is possible that more than 500 Offices worked  on open competition organized by the state and that at the end nobody get honored! It is also useless to remind that many time in those kind of competitions, architects, designers and artists are working for free.

I try myself to do the competition, but after few weeks it come out that the difficulties we are facing are probably due to the complexity of the topic or to the unclear or too ambitious will of the organizer. We finally decided not to take part.

Are the 500 participants (people who submits their work) not good enough or was the question bad formulated by the client. Are some organizations involved protecting the participants?

Frédéric Louis Fourrichon, Berlin

Would be good to suggest them an English version!

Als im vergangenen Sommer WEDDING DRESS #3, das von Berlins größtem kommunalen Wohnungsunternehmen degewo initiierte Festival of Urban Fashion and Lifestyle, die Brunnenstraße in einen großen Fashion-Boulevard verwandelte, drängten sich Tausende von Besucher durch den Wedding, um sich die brandneuen Kollektionen angesagter Designer nicht entgehen zu lassen. Modebegeisterten, Fachpublikum, Trendscouts, Pressevertretern, Anwohnern und Interessierten wurde eine große Vielfalt aktueller Trends rund um das Thema „Urbane Mode und Lebenskultur” geboten.

Auch zur kommenden Fashion Week wird WEDDING DRESS #4 am 4. und 5. Juli 2009 in der Brunnenstraße zwischen Bernauer und Voltastraße stattfinden. Es erwartet Euch ein großer Designer-Sale, ein Outdoor-Fashionbasar, Fashion-Shows, Partys mit angesagten DJs und Live-Konzerte, Ausstellungen und vieles mehr.

An die 180 nationale und internationale Designer und Labels wie z.B. Marcel Ostertag, Kilian Kerner, Miriam Schaaf, Comtesse de la Haye, Seelenkleid und viele andere werden Euch die neusten Trends aus der Modewelt präsentieren. Und das Tolle daran: WEDDING DRESS #4 ist nicht nur zum Ordern gedacht, sondern zum Bummeln, Inspirieren, Loungen und Shoppen.

Die Planungen laufen auf Hochtouren und Ihr seid hoffentlich wieder mit dabei.
Wir freuen uns auf Euch!

Euer Wedding Dress Team

Useful tiles
The utilization of tiles is realized in a taunting and ironic way by having the tiles themselves becoming kitchen utensils. Such collection complies of a series of objects usually used for cooking, which come out of the kitchen tiles on the wall. Each one of these objects besides being an aesthetically valuable piece of complementary furniture, it is also a perfectly functioning tool.
Tired of looking for our utensils around the kitchen, we could have lemon squeezers, funnels, nutcrackers, bottle openers, mortar and pestle and whatever else, near at hand, perfectly integrated as part of our kitchen décor.

Picture frame / table
The picture frame is transformed into an emergency table; the emergency table is transformed into a picture frame which can be displayed as a furnishing object. Living spaces are often smaller and smaller, thus furniture with two or more purposes is often being proposed. This is a simple furnishing object which when needed can become a useful surface for dinner parties. It is also possible to use in the frame one’s own favourite pictures.

lampada verde

Timida lamp
The wall is fitted with “ghost” objects which in the least invasive way carry out their own functions. The objects vary from lamps, clocks, coat hangers, umbrella stands, wall vases and other useful tools which are camouflaged by the pre-existent style of the wall.

Coffee tables
The peculiarity of this object is that it is made up by two identical, interweavable surfaces. Thus, by sliding the two surfaces together, the table can acquire shapes that go from the classical squared one of a simple coffee table, to more fanciful ones. The table is available in varnished wood, shiny steel and transparent Plexiglas, allowing choices of chromatic combinations and opening the house décor to personalised solutions.

Sebastian Jansson was selected for the 2009 edition of the Salone Satellite; a showcase dedicated to young international talents selected by a panel of experts. This year, he is exhibiting three objects: a chair, a lamp and something special for the kitchen.

One of Jansson’s more recent works, his geometric chair, has sourced inspiration from the structure of a coffee leaf. His in-depth study of the leaf has allowed him to extract structural geometric shapes, such as the triangle, pentagon and hexagon. Originally, this chair was designed to decorate the interior of a coffee bar - hence the coffee leaf - and further developed in Milan, gaining critical feedback form reputable personalities as Lindfors and Giovannoni.

A strong sense of character and personality emphasize the interesting aesthetic of Janssons modular lamp, as this time he has combined the use of geometric shapes with organic building principles. The Glo-Flex material, reflective and semitransparent, is supported by a structure of Velcro, which bind the hexagonal and pentagonal tiles together, releasing a warm light with a contemporary twist. The composition of these forms were influenced by the simplicity of a soccer ball, as it also reflects the playful yet refined nature of Janssons style. He is also experimenting with alternate joining methods and is currently testing a brand new material by Velcro ® - Ultramar ® Prototype, an 80% ready product.

Jansson’s range is further complimented by his steel cutlery set. Their deceptive nature and simplicity suggest a sense of mystery, as there is little reference to their specific task. There are many scenarios in which this object can be used, and their versatility makes them a design feature in themselves. Minimalism has been the driving force behind this creation and apparently, is as simple as a folded sheet of steel.

Marco Sammicheli

Design Editor, Publisher ZERO
April 2009

Product description

utensils_ Sebastian Jansson

TEMPUS are a set of kitchen utensils, incorporating a sense of multi-functionalism through their simplistic language. Their resting place was initially specific to the kitchen, but their discreetness and cleaver consideration of detail, forces a sense of ambiguity, and invites the user to handle with these tools as they please. They are made from a folded piece of stainless steel.

These utensils were one of the first products Jansson presented at University of Art and Design Helsinki. Whilst under the tuition professor Martin Relander, Jansson’s creations were said to be very ‘fast and dirty’, as time was not on his side. In the workshop, Jansson’s creations emerged in minutes, as he worked under pressure to submit his work on time. With his creative juices flowing, Jansson was able to complete the task by using only necessary details to fulfill the requirements. Following the assessment of professor Relander, the objects were considered to be the “peak of minimalism”.

Habitus_ bar chair_ Sebastian Jansson

HABITUS is a bar stool inspired by the coffee leaf, constructed form geometric shapes. With its sculptural appearance, Habitus gives character to a space and environment, inviting the eye to glance over its anthropomorphic structure. By studying the formation of coffee leafs, Jansson was able to re-create the stool through this intricate arrangement of geometric forms, whilst maintaining its aesthetic qualities and comfort.

The stool is made from is laser cut 1mm steel, folded and welded. Habitus has been developed and manufactured during Jansson’s time in Milan in 2008-09. It was originally designed to feature in café and coffee shop of Kaffa Roastery based in Helsinki, but is now represented internationally. Jansson has also created the brand identity and communication for this boutique coffee roaster.

CUMULUS This modular lamp is contemporary study of two materials- both placed in a foreign context. The reflective and semitransparent material delivered by the Philippine company Stavellan Inc. uses this material as never before. The light is deflected in six directions within a sphere, and diffuses the light in a spectacular manner, creating an optical illusion. The use of Velcro® Ultramate® as a joining mechanism, creates an extremely rigid framework as together it forms the skeletal structure for light diffusion. The aesthetic of the light has been inspired by clouds, as there is no limit to how this system can be arranged. Yet again, Cumulus is a reflection of Jansson’s geometric interpritation of the organic environment.

Why the title “Objects Around the Tablescape“?
Patrick Chia in conversation with Patrick Chia

• PC: Why the terms “objects” and not “products” or “sculpture”?
• PC: “Object ” is free - it can be any thing. It could come as it is. It does not come with the baggage and conforms that “product ” or “sculpture” has. It does not takes positions, it is non absolute.
• PC: Why ” table” + “scape” and not “desktop”?
• PC: Every thing that exists has a relationship with and impacts another. A tree does not only provide shade and fresh air on a landscape, it is also a measure of seasons. It is a measure of time, a measure of space and also a measure of our existence. The object does not exist by itself. Like in the landscape - trees or grass, everything is related in time and in space.
• PC: Why “around” and not “on”?
• PC: “On” is foreign and transplanted. “Around” seems more organic and it suggest s that the objects have been all along.
• PC: Please describe the concept, choice of material and process for each of the pieces.
• PC: We are interested in the innate quality of the material and its process; looking at a block of wood and asking it “what it would like to be? “. We are looking for an encounter that has a visceral resonance.

d. lab^TM is a commercial entity and trademark created by the Design
Incubation Centre to communicate its research and outcomes through
commercial distribution channels. d . lab^TM aims to examine and create
new possibilities and new relationships between man, object and his
environment .

The Design Incubation Centre is a design research laboratory which
investigates and develops new design tools to find new possibilities for
the practice of design. This is done through projects that analyze the
emerging and evolving human needs, technology and social trends.
The Design Incubation Centre is par t of the Depar tment of Architecture
at the School of Design and Environment in the National University of
Singapore.

Berlin serves as the perfect venue for the critical exchange between design and technology. In an age where computer technology has touched and pervaded all aspects of everyday life, we are faced with the question of how to turn today’s research discoveries into the products of tomorrow. Looking at what the repercussions of this relationship between digital technology and design might hold for producers, designers and consumers, this year’s DESIGNMAI theme “Digitalability” aims to explore some of the answers.

more informations are coming soon!

The project has been carried out once a year since 2006 and grows every constantly. In July 2008, for example, 76 artists from 9 different countries took part in it.
The basic idea with the project is to bring art to the public in a different way from normal; to surprise people and bring them into contact with art in their everyday life.
The initial impulse for this project came with the tightening of a law, in 2005, equating sticking up posters in public places with graffiti-spraying. But the idea of distributing art by bike came more from the search for new ways to bring art straight to society,
and have more fun doing so, than out of fear of possible punishment.
Papergirl is, in short: participatory, analogue, non-commercial and impulsive.

This means:

- Everyone can participate by contributing something and/or by helping with the distribution. Before the rolls are delivered, all contributions presented can be viewed in an exhibition where visitors can look over the complete contents without being fragmented.
- Papergirl is distributed like a newspaper, but not edited or printed like it. It consists of art pieces which are rolled up together. Contributions are handed in by mail or personally and are later included in the art rolls. There are no guidelines as to format, subject matter or quantity, so originals, prints, photos, copies etc. come together. Each roll contains 10-15 different works, meaning that each one holds a unique combination of works!
- The art rolls cannot be sold and they are not delivered to subscribers.
- Giving the work out by bike means that there is no time for any stereotypes when choosing recipients of the pieces. You have to react really fast and spontaneously. Chance plays its part and there is no time Our motto is: Anyone who picks up a roll is lucky, and money can’t buy luck. And giving something is most fun when you don’t expect anything in return.

The art rolls cannot be sold and they are not delivered to subscribers.

Please submit your works at:

GULASCH
Winstr. 9, Berlin, Germany

Wednesday, June 17

or write to info@papergirl-berlin.de and ask for airmail info

http://www.papergirl-berlin.de/

In 2003 the Arty Farty association organised the first ‘Nuits Sonores’ festival and succeeded in bringing together sharp, emergent music styles with more popular trends. Among the essential axes of the festival’s development are: research into Lyon’s unknown and symbolic places of architectural heritage, collaboration with numerous local actors from the electronic and innovative cultures and, opening the city to creators and initiators from around the world. More than 250 artists play each year at the ‘Nuits Sonores’ festival - from the most symbolic and international artists of the electronic music’s history to the latest emergent musicians. In 2007 the ‘Nuits Sonores’ festival gathered over 50,000 people, including more than 250 journalists and almost 1,000 accredited professionals. Since its creation, a thousand artists from 30 countries have performed on the festival’s stages, which are located every year in 40 to 50 places throughout Lyon.

Pierre Henry, Special Guest, Father of french electronic music

See programmation on the official Website

http://www.nuits-sonores.com

It’s all systems go again! The engines driving the great Saloni machine are now up and running, fired up by the huge success of the previous edition.
Great projects, great displays and great crowds will provide the basic ingredients for what is universally regarded as the key event par excellence at global level in the home furnishing sector.

Alongside the Salone Internazionale del Mobile, now in its 48th edition, together with the International Furnishing Accessories Exhibition this year will be Euroluce, the eagerly-awaited International Lighting Exhibition that sets the sectorial benchmark with its wide range and broad spectrum of goods that go to make up a unique lighting sector scenario - from light sources to domestic lighting, from technical illumination to urban illumination - embracing both technological and formal innovation.
A major collateral event dedicated to light will also be held in the city.

Design Salon edition 2009, Milan

SaloneSatellite, that unmissable event and great crowd-pulling catalyst, will be held again this year, with its line-up of creative young talent at the service of businesses.

Again this year we will be working in partnership with the Municipality of Milan which, for the third time, has offered us its prestigious headquarters at Palazzo Reale. This time it will serve as the venue for a truly special and unique event that will tie modern and antique furnishing in with a special pedigree mapping out the origins of Made in Italy.

An unmissable appointment, therefore, with the Saloni:

from 22 to 27 April 2009.

Below is the announcement:

‘Laureate of the Pritzker Architecture Prize. The formal ceremony for what has come to be known throughout the world as architecture’s highest honor will be held on May 29 in Buenos Aires, Argentina. At that time, a $100,000 grant and a bronze medallion will be bestowed on the 65-year old architect.

Although most of his work is in Switzerland, he has designed projects in Germany, Austria, The Netherlands, England, Spain, Norway, Finland and the United States. His most famous work is in Vals, Switzerland - the Thermal Baths, which has been referred to by the press as ‘his masterpiece.’ Most recently critics have praised his Field Chapel to Saint Nikolaus von der Flüe near Cologne, Germany. The jury singled out not only those buildings, but also the Kolumba Museum in Cologne, calling the latter ‘a startling contemporary work, but also one that is completely at ease with its many layers of history.’

Ermal Bath Vals Graubünden, Switzerland, 1996

In announcing the jury’s choice, Thomas J. Pritzker, chairman of The Hyatt Foundation, quoted from the jury citation, ‘Peter Zumthor is a master architect admired by his colleagues around the world for work that is focused, uncompromising and exceptionally determined.’ And he added, ‘All of Peter Zumthor’s buildings have a strong, timeless presence. He has a rare talent of combining clear and rigorous thought with a truly poetic dimension, resulting in works that never cease to inspire.’

In Zumthor’s own words as expressed in his book, Thinking Architecture, ‘I believe that architecture today needs to reflect on the tasks and possibilities which are inherently its own. Architecture is not a vehicle or a symbol for things that do not belong to its essence.

In a society that celebrates the inessential, architecture can put up a resistance, counteract the waste of forms and meanings, and speak its own language. I believe that the language of architecture is not a question of a specific style. Every building is built for a specific use in a specific place and for a specific society. My buildings try to answer the questions that emerge from these simple facts as precisely and critically as they can.’

Pritzker Prize jury chairman, The Lord Palumbo elaborated with more of the citation: ‘Zumthor has a keen ability to create places that are much more than a single building. His architecture expresses respect for the primacy of the site, the legacy of a local culture and the invaluable lessons of architectural history.’ He continued, ‘In Zumthor’s skillful hands , like those of the consummate craftsman, materials from cedar shingles to sandblasted glass are used in a way that celebrates their own unique qualities, all in the service of an architecture of permanence.’

Zumthor, when notified that he had been named the 2009 laureate, responded, ‘Being awarded the Pritzker Prize is a wonderful recognition of the architectural work we have done in the last 20 years. That a body of work as small as ours is recognized in the professional world makes us feel proud and should give much hope to young professionals that if they strive for quality in their work it might become visible without any special promotion.’

Zumthor has been named 2009 Pritzker Architecture Prize Laureate.

The Zumthor choice marks the second time in three decades of the Pritzker Architecture Prize that Switzerland has provided the laureate. In 2001, Jacques Herzog and Pierre de Meuron were the honorees.

The purpose of the Pritzker Architecture Prize is to honor annually a living architect whose built work demonstrates a combination of those qualities of talent, vision and commitment, which has produced consistent and significant contributions to humanity and the built environment through the art of architecture.

The distinguished jury that selected Zumthor as the 2009 Laureate consists of its chairman, Lord Palumbo, internationally known architectural patron of London, chairman of the trustees, Serpentine Gallery, former chairman of the Arts Council of Great Britain, former chairman of the Tate Gallery Foundation, and former trustee of the Mies van der Rohe Archive at the Museum of Modern Art, New York; and alphabetically: Alejandro Aravena, architect and executive director of Elemental in Santiago, Chile; Shigeru Ban, architect and professor at Keio University, Tokyo, Japan; Rolf Fehlbaum, chairman of the board, Vitra in Basel, Switzerland; Carlos Jimenez, professor, Rice University School of Architecture, principal, Carlos Jimenez Studio in Houston, Texas; Juhani Pallasmaa, architect, professor and author of Helsinki, Finland; Renzo Piano, architect and Pritzker Laureate, of Paris, France and Genoa, Italy; and Karen Stein, writer, editor and architectural consultant in New York. Martha Thorne, asssociate dean for external relations, IE School of Architecture, Madrid, Spain, is executive director.

‘There have been two Pritzker Prize Laureates from South America, but we have never held the ceremony there,’ explained Pritzker. ‘The first was Oscar Niemeyer of Brazil in 1988, and then another Brazilian in 2006, Paulo Mendes da Rocha. We held their ceremonies in Chicago and Istanbul respectively. The venues change every year, moving around the world focusing on historic and architecturally significant sites. We’ve held ceremoies in Asia, Europe and North America, including Mexico, so it is time to visit South America.’

The late Philip Johnson was the first Pritzker Laureate in 1979. The late Luis Barragán of Mexico was named in 1980. The late James Stirling of the United Kingdom was elected in 1981, Kevin Roche in 1982, Ieoh Ming Pei in 1983, and Richard Meier in 1984. Hans Hollein of Austria was the 1985 Laureate. Gottfried Böhm of Germany received the prize in 1986. The late Kenzo Tange was the first Japanese architect to receive the prize in 1987; Fumihiko Maki was the second from Japan in 1993; and Tadao Ando the third in 1995. Robert Venturi received the honor in 1991, and Alvaro Siza of Portugal in 1992. Christian de Portzamparc of France was elected Pritzker Laureate in 1994. The late Gordon Bunshaft of the United States and Oscar Niemeyer of Brazil, were named in 1988. Frank Gehry of the United States was the recipient in 1989, the late Aldo Rossi of Italy in 1990. In 1996, Rafael Moneo of Spain was the Laureate; in 1997 the late Sverre Fehn of Norway; in 1998 Renzo Piano of Italy, in 1999 Sir Norman Foster of the UK, and in 2000, Rem Koolhaas of the Netherlands. In 2001, two architects from Switzerland received the honor: Jacques Herzog and Pierre de Meuron.

Australian Glenn Murcutt received the prize in 2002. The late Jørn Utzon of Denmark was honored in 2003; Zaha Hadid of the UK in 2004; and Thom Mayne of the United States in 2005. Paulo Mendes da Rocha of Brazil was the Laureate in 2006, and Richard Rogers received the prize in 2007. Jean Nouvel of France was the Laureate last year.

The field of architecture was chosen by the Pritzker family because of their keen interest in building due to their involvement with developing the Hyatt Hotels around the world; also because architecture was a creative endeavor not included in the Nobel Prizes.

The procedures were modeled after the Nobels, with the final selection being made by the international jury with all deliberations and voting in secret. Nominations are continuous from year to year with hundreds of nominees from countries all around the world being considered each year.’

While big and wealthy cities in many parts of the world challenge the limits of possibility by building gigantic hotels with fancy shapes, erecting sky-high office towers or constructing hovering philharmonic temples, Berlin sets up a decent mountain. Yet, never at a loss for anything, we do not have to build it. We just picture it to ourselves and pretend its beautiful existence to everyone else: It’s peak exceeds 1000 metres and is covered with snow from September to March…
Hamburg, as stiff as flat, turns green with envy, rich and once proud Munich starts to feel ashamed of its distant Alp-panorama and planners of the Middle-East, experienced in taking the spell off any kind of architectural utopia immediately design authentic copies of the iconic Berlin-Mountain. Tempelhof no longer only is on Berliners’ minds: People come in flocks to - not to see the mountain. Thus,

Come and see The Berg!

The NIAGARA-CHALLENGE
1 months to beat the Niagara Falls

Niagara Falls panorama

THE BERG challenges the NIAGARA FALLS as the more popular sightseeing attraction. Intermediate results:

THE BERG 2040 - NIAGARA FALLS 2502. The Berg grows faster - so keep it …

Participate and become a fan!!!

http://www.the-berg.de/

28 March - 7 June 2009 / Opening: Saturday, 28 March 2009
STILL / MOVING / STILL is the main exhibition of the festival. This exhibition aims to initiate a debate on the history and contemporary status of slide projection. Slides are well known to a large number of people, particularly within family circles. Millions of people can recall watching slide presentations in private settings, typically holiday snapshots or family histories. Through the development of digital imagery and the digital slideshow on the computer, slide projection has since been in a rapid decline. Today we often look back on slide projections and the surviving images with a certain sense of nostalgia. Over the past twenty years, there has been considerable debate about the role of projected images in art institutions. The image has been strongly influenced by experimental film, cinematographic installations, digital photography, and light boxes. Within this context, one medium has until now escaped the attention of theoretical inquiry, namely that of slide projection. It is the goal of this exhibition to change this situation, and to show how this medium always has been (and still is) a vital contributor to this ongoing discussion. The historic dimensions together with the resurrection of a contemporary following, makes this exhibition not only a stimulating exercise, but also a very necessary one. That an experience as this takes place in Knokke-Heist, which is a place that has played an important role in the history of the photographic and cinematic image, offers an extra dimension to this exhibition. The collaboration between the curator and Knokke-Heist was the occasion for a rarely seen dynamic in Europe with respect to a medium that has received little attention until now.

Participating artists: Robert Barry, Lothar Baumgarten, David Blamey, Marcel Broodthaers, Matthew Buckingham, David Bunn, Daniela Comani, Peter Downsbrough, Cerith Wyn Evans, Ceal Floyer, Andrea Geyer, Liam Gillick, Shumona Goel, Dan Graham, Tamar Guimaraes, Mischa Kuball, Hilary Lloyd, Mary Lucier, Anthony Mc Call, Simon Dybbroe M¿ller, Jonathan Monk, Dennis Oppenheim, Pablo Pijnappel, Wolfgang Pl ager, Erik Schmidt, Billy Sullivan, Lisa Tan, Sofie Thorsen, Markus Wirthmann, and Florian Zeyfang.

Marc Gloede is the curator of STILL / MOVING / STILL. He is a film scholar, independent curator and critic. He has curated numerous exhibitions and film series on topics of the projected image, film + architecture. film + art, such as, Andy Warhol: A factory (Kunstmuseum Wolfsburg/Arsenal) and The Art of Projection at the Museum Hamburger Bahnhof. Since 2001 he has been the Co-Director of the Wild Walls Film Festival (Berlin, Los Angeles, London, and New York). He is the curator for the Art Basel film program, has been invited curator for the Experimenta Festival 2007 in Mumbai/Bangalore, India, and curated the film program at The J. Paul Getty Museum, LA, for the exhibition, Please Be Seated , 2008. He is widely published in his field and is a regular contributor for Art in America.

Location: Laguna Hall Duinbergen / Krommedijk 57 / 8300 Duinbergen - Belgium

see also
www.ccknokke-heist.be
www.fotofestival.be

Curated by Benjamin Godsill, Curatorial Associate, New Museum.
About the Three Museum (Three M) Project

In 2004, The Three M Project was conceived and developed together with the Museum of Contemporary Art, Chicago, and the Hammer Museum in Los Angeles, to jointly commission, exhibit, and acquire important works of contemporary art by artists whose work has not yet received significant recognition. All three museums share a collaborative vision and entrepreneurial spirit, and the belief that ambitious projects on a national scale can be produced through efficiency, knowledge, and resource sharing. The partnership, now in its second cycle, involves four new commissions by Jeremy Deller, Daria Martin, Mathias Poledna, and Urban China. Together, these exhibitions will be presented simultaneously in “New Commissions” at the New Museum. The Three M project is directed by leading curators from each museum: Laura Hoptman, Kraus Family Senior Curator, New Museum; Elizabeth Smith, James W. Alsdorf Chief Curator, with Dominic Molon, Curator, Museum of Contemporary Art, Chicago; and Ali Subotnik, Curator, Hammer Museum, Los Angeles.

For more info visit : The Hammer museum