The special attention Francis Kéré dedicates to a place is not a theoretical approach, but is rooted in his own history. Born in 1965, the architect, who was awarded the Pritzker Architecture Prize in 2022, grew up in Gando, a village in Burkina Faso in West Africa, and describes this origin as an influence that still shapes his perspective today. For him, landscape, climate, community, and rituals form the real prerequisites for building. When he writes that a place consists »mainly of people«, it is not a casual remark, but a key to his work. From this, it becomes understandable why his architecture always considers the relationships that a place already holds within itself.

On Tuesday, June 9, at 6 p.m., the book will be presented and signed exclusively by Francis Kéré at
the TASCHEN Store in Berlin, Schlüterstraße 39, 10629 Berlin.
RSVP HERE

When Kéré developed his first school building for Gando in the late 1990s, this biographical origin became a central element of his thinking. The project evokes memories of his own childhood, of lessons in cramped, overheated rooms, and connects them with his return to his village, where the existing school already showed cracks and structural failure. This experience sparked the desire to create a space that offers light, air, and protection, and at the same time arises from what is available locally. Kéré precisely describes how, through engagement with rainy seasons, material availability, artisanal knowledge, and social processes, a design emerges that cannot be reduced to a formal gesture. The building in Gando is thus far more than an early project. It already very concretely shows what his work will revolve around for the next 25 years.

It is therefore very fitting that Kéré does not present himself as a detached author of his buildings, but as someone who experiments, corrects, and continues to work. »My only concern is that my work must have a positive impact on the communities in which it is embedded«, he writes in the foreword. Shortly thereafter, he condenses this claim into a sentence as simple as it is concise: »For whom do we do all this? For human beings. It is all about people.« This very thought gives weight to the personal passages of his life. Kéré writes about uncertainties, about resistance in the village, about the arduous path of financing, and about the patience needed for trust to grow, thus making it clear how closely his work is actually linked to personal commitment.

Francis Kéré. Building Stories thus reads as the testimony of an architect who understands building as a service to a community. This becomes particularly clear in the chapter on the Naaba Belem Goumma Secondary School. Kéré describes the years from 2011, during which his work between Berlin, teaching, international projects, and responsibility for Gando became increasingly demanding. At the same time, he recounts the death of his father, who had been the first to send him to school. After his father’s death, Kéré was expected to take on the role of village chief. He decided against it and held on to architecture as his way of taking responsibility.

This standard is maintained even when Kéré writes about international projects. For the Serpentine Pavilion in London, to name just one example, he designed an open space that welcomes people, offers protection from the weather, and at the same time reminds us of fundamental needs. Kéré explicitly describes the pavilion, which collects rainwater, creates shade, and shapes space, as a place of encounter that is only completed by the people who gather beneath it. Spaces should provide shelter, accommodate movement, and enable communal life.

As personal and intimate as Kéré’s own words carry the 444-page volume, a philosophical classification from outside naturally complements this very direct perspective. In the essay »the existential task of architecture«, Juhani Pallasmaa reads Kéré’s buildings as an architecture that remains tied to lived experience, perception, and human reality, and in this context also cites Wittgenstein’s sentence that architecture »immortalizes and glorifies something«. Kéré himself summarizes his story much more directly and accessibly, without elaborate theory: »My story begins in a village in sub-Saharan Africa and reaches a thousand places.«

With Francis Kéré. Building Stories , published by TASCHEN, Kéré himself formulates a way of thinking that orders everyday life, creates dignity, preserves knowledge, opens up encounters, and gives spatial form to the communal – thereby showing that good architecture, like good reading, begins where people find themselves within it. [Ed.]

Francis Kéré
Softcover, 19 x 25.5 cm, 1.09 kg, 444 pages
taschen.com

Modern Barragán by Lake Verea presents itself as a personal homage to Luis Barragán (1902–1988), a Pritzker Prize laureate and one of the most significant architects of the twentieth century. The Mexican architect became known for his reduced yet poetic architecture, in which light, color, water and landscape play central roles. His buildings combine modernist clarity with traditional Mexican elements, with his private residence and studio, Casa Barragán in Mexico City, standing as an exemplary example of his style. Today the house is open to the public as Museo Casa Luis Barragán and has been a UNESCO World Heritage Site since 2004.

The photographs show the architecture of the building, which has been largely preserved in its original state and still retains numerous pieces of furniture, objects and materials from Barragán’s own time, along with its often unnoticed intimate details and traces of a lived life. During their stays at Casa Barragán, the artists’ duo engaged with the place deliberately on both a physical and emotional level: they »sat on his chairs, opened his closets, listened to the silence and kissed in the enchanted garden«, as the book states. In this way, an unusual perspective on Barragán’s work emerges—less analytical than experiential, almost performative.

Following an introductory reflection on the project itself, the book unfolds into several chapters and photographic series that illuminate different aspects of the house and its cultural context, opening up various approaches to Barragán’s architecture. The opening—The Staircase That Made Us Fall in Love with Him—already demonstrates how strongly individual architectural elements can become the starting point of a narrative. The iconic staircase—essentially a functional element within the house – is described as a sculptural experience that connects movement, body and space.

Another chapter pursues an almost biographical perspective: Portrait of the Architect Through His Cadillac. Here Barragán’s Cadillac from 1957 is read as a kind of time capsule, whose forms and materials offer clues to the architect’s personality, era and myth. The car appears as an extension of his character—elegant, monumental and full of symbolic meanings.

Further chapters focus on the concrete material and spatial details of the house. In His House with the Original Materials and Colors, attention is directed to surfaces, furniture and objects that still date back to Barragán’s own time. Through careful observation and photographic studies, an impression emerges of how strongly color, texture and materiality contribute to the overall experience of his architecture.

Particularly striking is the series Wild Nights, which explores the house in complete darkness. Here the artists photograph with flash or under moonlight and streetlight, transforming familiar rooms into unexpected, abstract-appearing image spaces. This method connects to their long-standing interest in light and perception. Atmospherically reinterpreted, the architecture appears beyond a purely documentary perspective. The photographs show the house during the day, at night, in moonlight or during a thunderstorm; in some cases the walls and floors are even rubbed with aluminum to reveal their textures.

It is a combination of personally shaped documentary research, artistic intervention and immediate experience that defines the project. What emerges is a multilayered approach to memory, perception and intimacy. The publication presents Barragán’s architecture as a historical masterpiece, but also as a living place that can be reread again and again—through the perspective of contemporary artists as well as through the experiences of visitors who allow themselves to truly enter this house. [Ed.]

Lake Verea: Modern Barragán
Edited by Lake Verea
240 pages, 210 mm x 250 mm
240 illustrations
hatjecantz.com

]]> https://chapter.digital/en/architecture-homes-for-our-time-sustainable-living/ Mon, 09 Feb 2026 12:55:22 +0000 https://chapter.digital/architecture-for-a-limited-future/ With the book series »Homes for Our Time«, TASCHEN has for years documented contemporary residential architecture as a reflection of social, technological, and ecological developments. The volumes in the series understand the single-family house as an experimental field for new ways of living, materials, and construction methods. The latest volume, »Sustainable Living«, places sustainable architecture at the center of a global survey.

The timing is deliberate. In light of climate change, finite resources, and growing urbanization, sustainable living is no longer a niche topic but a central architectural concern. »Sustainable Living« brings together 63 residential projects from diverse regions around the world, showing how architects respond to climatic, social, and ecological conditions—replacing universal solutions with site-specific strategies.

What unites these projects is a shared ambition: to conceive architecture across its entire life cycle. »Homes for Our Time. Sustainable Living« places particular emphasis on energy-efficient building envelopes, resource-conscious construction, and the use of recycled and biodegradable materials. Equally central are designs that respond to natural elements such as sun, wind, and rain, integrating them deliberately into architectural concepts.

What connects these projects is a common goal: to think about architecture over its entire life cycle. The volume pays particular attention to energy-efficient building envelopes, resource-saving constructions, and the use of recycled and biodegradable materials. Equally central are designs that react to natural elements such as sun, wind, and rain and integrate them specifically into the architectural concept.

Among the featured architects are internationally renowned names such as Norman Foster and Snøhetta, alongside lesser-known studios working with local materials and craft-based techniques. This mix is what makes the volume compelling: sustainability emerges as a versatile practice adaptable to different budgets, cultures, and climatic conditions.

Visually, »Sustainable Living« remains true to the »Homes for Our Time« series. High-quality photography presents the houses embedded in their respective environments, complemented by informed commentary and short biographical profiles of the architects involved. The tone remains documentary and analytical, free of moralizing, underscoring that sustainable architecture is not a matter of style. »Homes for Our Time. Sustainable Living« does not frame sustainability as a trend or an aesthetic category, but as a mindset—one that questions privilege and convention and opens up new possibilities. The volume invites readers to rethink how we live: more lightly, more consciously, and with a sharpened awareness of the responsibility architecture bears toward society and the environment. [Ed.]

Homes for Our Time. Sustainable Living
Hardcover, 24.6 x 37.2 cm, 3.90 kg, 496 pages
taschen.com

Architecture by Herzog & de Meuron

The architecture of »Calder Gardens« was designed by the Swiss firm Herzog & de Meuron, known for its context-sensitive cultural buildings. The renowned architectural practice keeps the design restrained, framing the art in a calm, carefully structured setting. Partially embedded in the ground, the structure develops along the property in horizontal sequences.

The architecture remains deliberately low and opens up to the landscape, rather than separating itself from it. In response to the kinetic and static quality of Calder’s sculptures, a sequence of spatial situations emerges, characterized by differently proportioned rooms, varying ceiling heights, and strategically placed daylight openings. Materials and surfaces are subtly chosen, directing focus to the form, movement, and scale of the sometimes larger-than-life sculptures.

Landscape Design by Piet Oudolf

Piet Oudolf, one of the most influential landscape designers of our time, was entrusted with the design of the landscape for »Calder Gardens«. His concept is based on a multi-layered planting of perennials, grasses, and woody plants, used as compositional elements that change with the rhythm of the seasons. Movement—one of the central principles of Alexander Calder’s mobiles—is created here by wind, light, growth, and change.

Oudolf’s overall overview of the planting concept for the «Calder Gardens» site, with color coding for plant selection as a reference; the drawing shows various planting concepts for the different areas of the landscape and their connection to each other.

Like Calder’s sculptures, which remain in a constant, never identical state due to air movement, gravity, and balance, the landscape is also designed as a dynamic system. More than 250 plant species form a living structure in which processes of becoming, passing, and renewal become visible. Calder’s statement »The universe is real, but you can’t see it. You have to imagine it.« can be read in this context as a unifying idea: perception is active and only unfolds in the interplay of space, time, and imagination.

Calder in his Roxbury studio, 1941.

In the garden spaces, designed as open structures, the sculptures do not appear as isolated objects, but as integral components of a changing environment. Wind, light, and vegetation continuously influence their perception and echo Calder’s interest in movement and change; Oudolf expands the environment with his intervention—as in a successful collaboration—to an additional dimension.

A Quiet System

»Calder Gardens« largely foregoes explanatory texts or traditional mediation formats, focusing instead on direct experience. The project positions itself neither as a sculpture park nor as an exhibition house, but as a coherent ensemble of space, design, landscape, and art, where Calder’s work is rethought both spatially and conceptually. In doing so, »Calder Gardens« sets a new standard for dealing with modern sculpture in public and semi-public spaces. Architecture and landscape do not compete with the art, but form an environment specifically tailored to the work—a place where design has a structural impact and allows art to speak in its own way. [Ed.]

Staging and Substance

From the outset, the project’s official launch event left little doubt about the ambition Mercedes-Benz and Binghatti attach to their second joint venture. On the evening of January 14, 2026, the area in front of the renowned Meydan Hotel in Dubai was transformed into an expansive stage of light and choreographed drone formations. that even turned the city sky into a projection surface. It was that form of staging that is almost a matter of course in Dubai, but even here it set new standards.

With all the visual bombast, it should not be overlooked that the evening was less to be interpreted as an end in itself, but as a visible expression of a partnership based on substantive content. Because Mercedes-Benz and Binghatti are connected by more than a lucrative business relationship and strategic co-branding. Design excellence, the pursuit of constant innovation and a clear commitment to the highest quality form the common ground.

 A Market in a Permanent State of Exception

Hardly any real estate market is developing as dynamically as Dubai’s. In recent years alone, billions have been invested there in high-quality residential, hospitality and mixed-use projects, and numerous new luxury quarters are under construction or in planning. International developers, luxury brands and investors are competing for attention, location and relevance. In such an environment, financial clout and size alone are no longer enough. Visibility only arises where architectural clarity, design vision and brand authority come together. And this is precisely where the collaboration between Mercedes-Benz and Binghatti comes in. Both partners have a high level of recognition, but also the necessary credibility to transfer this to a project of this magnitude. The fact that Mercedes-Benz recently demonstrated its design expertise once more with projects such as the Vision Iconic (whose influence is now also reflected in the concept of Mercedes-Benz Places | Binghatti City) further reinforces this ambition.

Binghatti: Developer with its own signature

While Mercedes-Benz’s design and technological expertise has been established internationally for over a century, Binghatti has also consistently earned its status in the Real Estate market in recent years. Regardless of who you talk to in Dubai, one point comes up again and again: Binghatti stands for architecturally clear and immediately recognizable projects. In a city where formal exaggeration is omnipresent, the company has established its own design-driven visual signature, with a clearly recognizable commitment to architecture as an art form. This development is largely driven by Muhammad BinGhatti, whose charismatic presence and entrepreneurial talent sharpen the brand’s profile.

Muhammad BinGhatti (CEO of Binghatti) and Mathias Geisen (Member of the Board of Management Mercedes-Benz)

As CEO and Chairman, he embodies a form of developer role that brings together architecture, brand management and media impact. Binghatti is not a typical developer, but a trained architect: he graduated from the American University of Sharjah  with a degree in architecture and took over the management of the family business, which his father founded in 2008, at an early stage. At the presentation in Dubai, Muhammad BinGhatti says that he has always wondered why, for example, the design of cars effortlessly fascinates even children, while buildings hardly receive any attention in perception. His conclusion: buildings must be able to have an earlier, more immediate and emotional effect.

He wanted to achieve exactly this potential for buildings that evoke reactions beyond pure function and remain anchored in the collective consciousness. At the same time, he transferred the principles of strategic brand management into his work at an early stage by combining architectural identity with brand identities that are otherwise more familiar from the world of luxury goods. This is also demonstrated by previous collaborations with brands such as Bugatti or Jacob & Co. Against this background, Mercedes-Benz Places | Binghatti City  can be seen not only as a logical continuation but also as the most far-reaching formulation to date of a strategy in which a globally established brand identity and clear design language become the design basis for an entire district.

Gorden Wagener, Chief Design Officer of Mercedes-Benz, at the presentation in Dubai. One of his last public appearances in this function — he is leaving the company on January 31, 2026.

A city within a city

Mercedes-Benz Places | Binghatti City is designed as a »City within the City«. Not in the sense of a closed enclave, but as a structurally independent urban structure. The project covers approximately 836,000 square meters in the Meydan  area and comprises more than 13,000 residential units, spread over twelve towers. At the center is the so-called Vision Iconic, which functions as a spatial and visual reference point and connects the surrounding structures.

The entire building composition follows a clear, recurring design language derived from the Mercedes-Benz design philosophy of Sensual Purity. The successively rising volumes create a dynamic skyline that suggests movement and progress, while metallic accents in silver and chrome tones are intended to subtly reference the brand’s industrial heritage. An additional level of meaning is created by the naming of the individual towers: each bears the name of a Mercedes-Benz concept car—from the Mercedes-Benz Vision One-Eleven, the historical Vision Mercedes Simplex  to the Vision AVTR.

Design, Landscape, Community

This approach remains consistent inside as well. According to the developers, the residences should follow a reduced, timeless design that avoids contrasts and instead works with a few, controlled materials. Black and silver tones form the basis, complemented by leather and wood. Technological integration is an integral part, but does not take center stage, but supports comfort and everyday usability. The residential offer is complemented by a finely tuned system of communal, sporting and landscape spaces. The Grand Promenade  is intended to form the green backbone of the project and offer, among other things, wellness and sports facilities as well as event areas and family-oriented areas. It goes without saying that mobility and EV infrastructure are also integrated as an important part of the overall concept.

Mercedes-Benz Places | Binghatti City  is therefore less a collection of individual building blocks than a thoroughly composed luxury quarter in which architecture, use and brand identity are coordinated. And this is precisely where the actual claim and the special feature of the project lie: In a market like Dubai, which is characterized by ever more extreme luxury stagings and a competition to outdo each other in terms of size and effect, the project deliberately focuses on design stringency, coherence and long-term relevance—regardless of the spectacularly designed staging of the launch event. [CPS]

The architecture of the Louisiana Museum of Modern Art follows the principles of Danish modernism of the 1950s and 60s: reduced forms, natural materials, and clear proportions. While classic white-cube architectures usually exclude views to the outside, in Louisiana, generous window areas open up to the park and the Øresund, making daylight a central design element.

The neutrally designed spaces provide a functional framework for the exhibitions, while the architectural basic concept, expanded over decades, retains its original form, connecting buildings, nature, and art into a clearly structured whole. Pavilions set low into the landscape, connected by glass corridors, create a museum that unfolds linearly yet flexibly, continuously establishing connections between the interior and its surroundings.

At the heart of the museum is a diverse collection of modern classics that shapes not only the architectural structure but also the museum’s conceptual identity, including works by Alexander Calder, Alberto Giacometti, Henry Moore, and Jean Arp.
The Giacometti Gallery is one of the museum’s most important spatial reference points: an elongated, deliberately minimalist space specifically created to present Alberto Giacometti’s slender, vertically oriented figures in optimal spatial tension. The bright, almost ascetic architecture—narrow window bands, clear lines, controlled daylight—enhances the effect of the sculptures, whose proportions and surfaces emerge particularly strikingly in the interplay of light and shadow. The deliberate distance between the figures allows for different viewing angles along the axis of the room, making the gallery a place where visitors’ perspective and movement directly influence the perception of the works.

Furthermore, the museum’s collection includes significant works by artists such as Joan Miró, Wassily Kandinsky, Asger Jorn, and Roy Lichtenstein, which are shown in rotating presentations and continuously foster the dialogue between classical modernism and contemporary positions at Louisiana.

At the same time, Louisiana expands its program with major solo exhibitions by international artists, opening new perspectives on current art developments. Exhibitions have included works by Yayoi Kusama, Louise Bourgeois, Pipilotti Rist, Olafur Eliasson, Cindy Sherman, Jenny Holzer, David Hockney, Jeff Wall, Bruce Nauman, and Richard Serra. Installative and expansive works benefit from the open museum structure, which allows for variable presentation forms—for example, Olafur Eliasson’s 2014 exhibition »Riverbed,« in which the museum installed a walkable rock landscape that completely transformed the architectural framework and impressively redefined the relationship between nature, space, and perception.

The Sculpture Park  adds an important spatial dimension to the museum. Works by Calder, Moore, Lygia Clark, Richard Serra, or Alexander Tovborg are placed on the grounds, forming a direct connection between art and landscape. The positions are deliberately chosen to incorporate both architectural lines and topographical features.

In its curatorial program, the museum, in line with its architectural heritage, intensively addresses questions of design, spatial culture, and architectural history. Thematic insights into Nordic design and building culture are as much a focus as exhibitions on international architectural movements, designers, and urban developments. Projects by Louis Kahn, Zaha Hadid, Renzo Piano, and Tadao Ando, among others, have been presented, expanding the museum’s scope with relevant positions in global architecture.

For almost 70 years, the Louisiana Museum of Modern Art has demonstrated how naturally architecture, landscape, and curatorial practice can intertwine. This is precisely where the enduring quality of this place lies: in the consistent evolution of a framework tied to its location and culture, which presents international artists in a context that is both temporally and spatially precise yet open. [Ed.]

Created as part of the progressive »Case Study House« program of the 1940s and 1950s, which aimed to develop a new vision of American living—affordable and modern for post-war America—, the Stahl House, with its open steel structure and seemingly floating platform with panoramic windows, is among the most radical and at the same time most poetic realizations of this idea.

The story begins in 1959, when owner C. H. Buck Stahl, a former American football player, without formal architectural knowledge but with an unwavering vision, showed Koenig his sketches. What followed was the realization of an almost utopian concept: a bold design, supported by a delicate steel structure, a flat roof, and widely cantilevered glass fronts that completely dissolved the boundary between inside and outside. After a construction period of nine months, the work was finally completed in June 1960.

Through countless media reports and mentions in specialized books, the building, with its dizzying 270-degree panorama, gained worldwide recognition and is undeniably considered an icon of modern Californian architecture. Photographer Julius Shulman also played a decisive role: in 1960, his legendary motif (image above) was created: two women sitting relaxed in armchairs at the glass edge of the living room, with the glittering metropolis below them. A shot that went around the world, shaped »California Modernism,« and indelibly imprinted the Stahl House into the collective imagination of a modern lifestyle. A motif that helped the house achieve international fame and secured its status as a monument of Californian Modernism.

For over six decades, the house remained in family ownership—a rare continuum in a city that has elevated constant change to a way of life. The Stahls not only preserved the building, they lived with it, nurtured its radical clarity, and later carefully opened it for viewings, film crews, and architecture enthusiasts from all over the world. The house became a pilgrimage site for photographers, filmmakers, designers, and design enthusiasts.

The announcement of the sale, listed by the renowned real estate firm The Agency, is therefore a significant cultural turning point. What does it mean when such a significant place changes hands? Who will take on the responsibility of protecting a building that has long outgrown its physical existence and belongs to the collective memory of a city? And who will take future responsibility for this place that made architectural history? One thing is certain, you are acquiring not just a house, but a symbol, an important chapter of modernism, a vision of the Californian lifestyle.

The Stahl House—located at 1635 Woods Dr, Los Angeles—spans approximately 215 square meters and is listed at an asking price of 25 million US dollars. Contact: William Baker, Architecture Director at The Agency Beverly Hills. [DM]

Over 750 sketches, drawings, models, and technical plans document Ando’s creative process over five decades—from his beginnings in the 1970s to his most recent projects. It’s not just about depicting objects or places, but about asking questions. What traces does humanity leave in nature? How do materials change over time? And what remains visible when we set aside the obvious and focus our attention on the hidden?

»Tadao Ando. Sketches, Drawings and Architecture« takes us on a quiet journey through forms, materials, and spaces of perception. Particularly insightful are those chapters where graphic representation itself becomes the focus as a means of architectural reflection: How does our view change through the choice of line or material? What role does light play when architecture is sketched? And to what extent does materiality determine our perception of space? Anyone looking for a quick answer here will hardly find one—after all, with a sketch, one is at the beginning of a process that only solidifies in its advanced stages. It is therefore primarily about setting aside expectations and engaging with Ando’s proposals—an exercise in devotion built into the work.

In the end, there is no defined plot, no clear conclusion; the book ends in an open field of possibilities. It challenges us to reflect on architecture, thought, and life—not as finished concepts, but as fluid experiences in relation to space, time, material, and the same environments that we shape and are shaped by. In this sense, »Tadao Ando. Sketches, Drawings and Architecture« is not a picture book—it is an invitation to renewed perception: a silent appeal to observe and comprehend.

For collectors and enthusiasts, the book also offers a sensual component: The binding, typography, and haptic experience harmonize in their aesthetic self-conception. It is an object that not only carries its content but embodies it. Those who engage with this type of literature will be rewarded with a work that resonates more deeply in consciousness than many quick publications—and in the best sense of the word: sustainable. [DM]

Tadao Ando. Sketches, Drawings & Architecture
Hardcover, 28 x 33.7 cm, 4.49 kg, 594 pages
TASCHEN

The building at Place du Palais-Royal 2, built in 1855, between the Louvre and the Palais Royal, has been transformed into a high-tech art venue in a historic setting. Nouvel’s concept: a dynamic architecture of five height-adjustable platforms that can be set to eleven different height positions, allowing for various combinations of volume, light, and verticality. In total, the new museum offers 8,500 square meters of publicly accessible space, including 6,500 square meters of exhibition space—five times more than before. The renovation costs are estimated at over 200 million euros.

With this technical and spatial flexibility, the Fondation Cartier  aims to set new standards for contemporary art exhibitions in the future. Director Dercon sees the variable architecture as a scenographic instrument that can be used to serve a wide range of disciplines—from visual arts, photography, and cinema to crafts and performance, as well as dance, music, and science.

Opening Exhibition “Exposition Générale”

To inaugurate its new home, the Fondation Cartier  presents the exhibition »Exposition Générale«, curated by Chris Dercon. The show embraces the building’s eventful history—once a hotel, an antique auction house, and a department store—and connects it with the present of contemporary art. Approximately 600 works by 300 artists from the Fondation Cartier  collection fill the new spaces, illustrating the diversity and openness of the program that has shaped the dialogue between art, science, and society since 1984.

Particularly impressive is the range of artistic positions that the Fondation Cartier  has presented to date: Brazilian painter Beatriz Milhazes plays with the contrasts between rigor and abundance, while Japanese photographer Rinko Kawauchi, in a poetic video work, merges light, movement, and silence into a quiet meditation on time and perception, as well as French artist Annette Messager, who combines textile fragments, objects, and writing into a multifaceted installation where the personal transcends into the public.

A Place for Dialogue and the Present

The Fondation Cartier, founded in 1984 by Alain Dominique Perrin, then president of Maison Cartier, was France’s first private art foundation. Its goal: to create a platform for dialogue and artistic expression that transcends the boundaries between art forms and promotes interdisciplinary exchange. With international programs, exhibitions, performances, and discourse formats, the foundation aims to make contemporary art accessible to a broad audience and to open spaces for intercultural dialogue.

With its move to the immediate city center of Paris, the Fondation Cartier  opens a new chapter—as both an architectural and institutional directive. Directly opposite the Louvre, a place is thus created that not only showcases art but also becomes a space for contemporary creativity itself. [Ed.]

Chapter has already shown that automotive brands have long been designing more than just vehicles in the analysis of the global expansion of Porsche, Mercedes-Benz, Bentley, and Pininfarina into the real estate market. The appeal of such projects for the brands lies particularly in creating a multidimensional brand identity and in transferring characteristic design principles to new sectors. Lines, materials, and proportions that stand for dynamism and elegance in automotive design are now reflected in glass, concrete, and spatial dramaturgy. In addition, branding gives real estate a form of seal of approval and benefits from the brand loyalty of its own community.

This is precisely where the new branded real estate project from Aston Martin comes in, while also incorporating a clear reference to the luxury brand’s racing tradition. The Aston Martin Residences Daytona Beach Shores  are being built in the immediate vicinity of the iconic Daytona International Speedway. The location alone creates a bridge between speed and tranquility, between movement and permanence. According to Aston Martin, the approximately 20,000 square meter area will be home to a building that combines craftsmanship, precision, and technology. In addition to spacious, luxurious living areas, fine dining options and direct access to the beach are planned. The upper floors will house eight two-story penthouses with ocean views.

«Architecture and interior design are the most natural expressions of our design philosophy for us,» explains Marek Reichman, Chief Creative Officer of Aston Martin. Factors such as proportion, balance, and precision are just as crucial as in vehicle construction. The branded real estate projects are intended to continue Aston Martin’s «holistic design approach»—flowing shapes, high-quality materials, and an atmosphere that focuses equally on tranquility and presence.

Branded Residences have long been considered a new dimension of brand architecture. What began with the Porsche Design Tower  in Miami has developed into a global phenomenon. Buyers are not only acquiring living space, but also a piece of brand identity—a promise of aesthetics, permanence, and exclusivity. In Daytona Beach, this concept now meets Aston Martin’s characteristic understanding of the highest luxury: less spectacular than the real estate projects of Bentley, less futuristic than those of Mercedes-Benz, but precise, durable, and always committed to the tradition of British craftsmanship.

Stefano Saporetti, Director of Brand Diversification at Aston Martin, describes the partnership with Valor as a consistent step in the further development of the brand beyond the automotive sector. For him, the project is more than just another prestige object: «Our growing real estate portfolio creates ultra luxury living that provides discerning clientele with a truly elevated ownership proposition, permanently reinforcing the Aston Martin brand globally.»

After Miami (pictured above) and Tokyo, Daytona Beach is Aston Martin’s third international residential project. Further locations, including Tampa Bay and Mexico City, are already being planned. What began as a foray into a new sector is thus increasingly developing into a separate pillar of brand identity—and shows how consistently a holistic design philosophy can unfold across various disciplines. [CS]

]]> https://chapter.digital/en/e-1027-eileen-gray-and-the-house-by-the-sea/ Fri, 17 Oct 2025 17:10:46 +0000 https://chapter.digital/e-1027-eileen-gray-and-the-house-by-the-sea/ Eileen Gray’s attempt to create a discreet yet avant-garde refuge for herself led to a conflict—and to a story that, like few others, tells of the expression of female self-determination and societal expectations. The documentary film »E.1027—Eileen Gray and the House by the Sea« approaches this fascinating chapter of architectural and design history in a sensitive yet visually powerful way.

»A house is not a machine to live in. It is the shell of man, his extension, his release, his spiritual emanation«—this is how the Irish-born architect and designer Eileen Gray once summed up her understanding of architecture. What lies behind these words becomes clear when one takes a closer look at her first house, a masterpiece as discreet as it is avant-garde, named »E.1027«. Gray built the villa, located on the Côte d’Azur, in 1929 as a refuge for herself. The name is a cryptic combination of her initials and those of the journalist and architect Jean Badovici, with whom she built the house. Originally, it was conceived as a place that would allow them to hide from the world, if necessary, but also from each other. While its flat roof and clear lines clearly corresponded to the spirit of modernism, Gray added a sensual-intuitive layer to the design, which ultimately meant that »E.1027« had nothing to do with Le Corbusier’s coined term of the »living machine«.

Painted over and appropriated

Gray began her career as a lacquer artist, but gradually evolved into a designer and interior architect, creating design icons with the »Adjustable Table E 1027« and many other designs. Not only her refuge on the Côte d’Azur, but also her furniture and furnishings testify that Eileen Gray was far ahead of her time. Long before Mies van der Rohe, the artist, who grew up in an aristocratic family in County Wexford, Ireland, experimented with tubular steel furniture. The »Non Conformist Armchair« (1926) was an important piece of furniture of its time not only because of its formal language, but also because of its statement, which perfectly matched the attitude of its creator: One side—the one with the armrest—was for leaning back and smoking, the other allowed for the freedom needed when gesturing and discussing.

Eileen Gray’s connection to Jean Badovici and his extensive network led, among other things, to several encounters with Le Corbusier, who could barely conceal his enthusiasm for »E.1027«. After Gray decided in the early 1930s to leave the house to Jean Badovici, he encouraged Le Corbusier to cover the interior and exterior walls of »E.1027« with imposing frescoes. Eileen Gray, who had deliberately used white, bare walls as a stylistic device, was not informed about this. She described the paintings as vandalism and demanded their removal, but her wish was ignored. Le Corbusier instead built his famous »Le Cabanon«, a rustic-looking log cabin, directly behind »E.1027«. With her departure from »E.1027« in 1931, Eileen Gray also withdrew from the public spotlight. She died in 1976 at the age of 98. Her furniture and furnishings are now traded at high prices and are represented in numerous museums and exhibitions. »E.1027« is accessible to the general public as a museum.

Formulas are nothing

The film »E.1027 — Eileen Gray and the House by the Sea«, which was filmed, among other locations, at the original site of »E.1027« in Roquebrune-Cap-Martin, reconstructs the dramatic story of an avant-garde designer and her refuge, which turned out to be a masterpiece. Gray’s design language was also the direct inspiration for the film’s creation, which also tells of the challenges Eileen Gray had to face as one of the first female architects of the modern era to pursue her passion. Since Eileen Gray had her private correspondence destroyed, »E.1027 — Eileen Gray and the House by the Sea« is a film that approaches the person through her work.

»At the heart of this film is an unresolved conflict. One could argue that Le Corbusier did nothing wrong. Eileen Gray was already gone when he appeared. Jean Badovici gave him permission for the murals and even encouraged him. But is it okay to violate and appropriate another artist’s artistic vision? Of course not, I would argue,« summarizes director Beatrice Minger the core conflict. »Le Corbusier did not appropriate Gray’s house because she was a woman. He could not bear her different perspective her deep sensibility, her artistic power, her freedom—and had to make it his own.«
Eileen Gray formulated it as follows: »Formulas are nothing. Life is everything. And life is simultaneously mind and heart.« [SW]

With her latest project, »Villa N« architect and designer Katja Pargger demonstrates a keen sense of materiality, craftsmanship, and spatial dramaturgy. The recently completed private residence in the Paris suburbs captivates with its restrained interventions in the existing building fabric, subtle historical references without nostalgic retrospection, and a pointed spatial effect that only precisely placed art can evoke.

Chapter   What role do timeless elegance and architectural permanence play in your project Villa N, and how do you personally define these terms?

Katja Pargger   For me, timeless elegance means combining design clarity and reduction with a fine sense of materials and proportions. With Villa N,  I deliberately wanted to avoid fashionable gestures and instead create a balance between the classic substance of the house and a modern, almost silent interior. For me, architectural permanence is reflected in a space that still radiates relevance and dignity even decades from now—not through loudness, but through attitude. I deliberately preserved the high ceilings and the classicist facade, but reinterpreted them—with mineral plaster and glass that makes the garden a constant companion.

Chapter   The design features numerous historical references as well as influences from art and design history. Is there an architectural or design tradition that has a lasting impact on your creative work?

Katja Pargger  I feel deeply connected to the spirit of American modernism, especially the architecture of Rudolph Schindler. This way of combining functionality with technical and aesthetic precision has always inspired me. At the same time, I also find formative influences in design that incorporates a love of handcrafted details—as can be found in the Wiener Werkstätte or Art Déco. In Villa N, I wanted to make this dialogue between the clarity of American modernism and the ornaments of the Wiener Werkstätte tangible—with a reference to history, but without a nostalgic look back. This fusion of cultural influences gives the architecture a timeless relevance that is simultaneously anchored in the present.

Chapter   In addition to its impressive visual impact, what conceptual idea is behind the circularly designed sofa and what role does it play in the interior design?

Katja Pargger   For me, the two semicircular sofas are more than just pieces of furniture—they define a place of encounter, of intimacy, almost like a Conversation Pit, but reimagined. Their shape invites you to turn to each other, to share the space and to appropriate it without dominating it. In a living room as spacious as that of Villa N, the sofa creates an inner pole of calm, a center. It is also a playful moment that contrasts with the very clear floor plan—a little twist in the big picture.

Chapter   The building houses numerous works by contemporary artists. What criteria were used to select them, and what synergies arise between them and your design vision?

Katja Pargger  I don’t see art as decoration, but as an active part of the spatial effect. The selection of works was very intuitive, but never arbitrary—I looked for positions that radiate a certain independence and can create tension. Works by Clément Borderie or Ciprian Tocu, as well as the sculptures by Xolo Cuintle or the tapestry by Zuzanna Czebatul, bring something idiosyncratic to the house—they are autonomous voices in an orchestrated space. In contrast, there are also works by lesser-known, sometimes long-deceased designers and artists, who unfold a special presence with their patina and their lived lives. This mixture creates a silent communication between the new and the old. Synergies arise where gaps are deliberately left—Umberto Eco’s idea of the open work of art was an inspiring thought that I took up in my work.

ARTICLE FIRST PUBLISHED IN CHAPTER №XII »SIMPLICITY« — SUMMER 2025

As is well known, we are in the midst of an automotive »paradigm shift«: New drive technologies are changing vehicle design, for example, because batteries and electric motors require different spatial arrangements within the bodywork. Another indication of change is the tendency for automotive groups and manufacturers to numerically reduce the sales and maintenance services previously provided through brand dealerships and authorized dealers, and to significantly modify presentation areas. A lot is therefore in motion, and for all involved — from engineering to design, marketing, and infrastructure providers, right up to the customers. But such a »paradigm shift« is not new. With a little courage to look back at history, one can go back over 100 years and find oneself in the midst of a veritable revolution in mobility.

This can be experienced in an inspiring way at the Stuttgart Mercedes-Benz Museum. Here, in the first room of the exhibition, one stands opposite a millennia-old vehicle, or rather, companion of humankind — the horse. And then come the ancestors of the car: still carriage-like machines. The threshold of transition from the old to the new era is very broad in Europe and had to be overcome over many years until comprehensive mechanization.
The spread of the automobile into society proceeded very differently, which is understandable in the first decades due to the high prices and complex technical maintenance. Initially, the wealthy classes owned the new mobile, and among the protagonists of this movement, then still understood as a fashion, were also ruling princes such as the German Emperor or the Russian Tsar.
Within this mobile revolution, it eventually took some time until producers began to think about the first professional sales rooms, the precursors of today’s authorized dealers and showrooms. Initially, manufacturing companies presented their vehicles individually to customers at home; later, the first locksmith workshops used by private motorists for customer service set up small showrooms, a »Point of Sale« so to speak. Interestingly, national and international sales in their early phase often ran through a few exclusive wholesalers who had secured this contractually and were thus also responsible for high prices.

Mercedes Palace in Berlin-Mitte: Exterior view of the elaborately designed branch of Daimler-Motoren-Gesellschaft, which opened on September 30, 1913. Exterior view with passers-by, photographed around 1913.

Daimler, for example, could only sell 20 percent of its vehicles itself — in 1913, the manufacturer opened a large branch for this purpose on Berlin’s grand boulevard Unter den Linden, the Mercedes Palace. The sales representatives of the young Mercedes brand certainly did not lack sophistication when they took care of one of the very first car dealerships in the early days of product marketing.
On the one hand, they relied on magnificent architecture and a large sales salon, equipped with curtains and Greek statues, which attracted the wealthy clientele with the slogan »See, buy — drive«. On the other hand, the special quality of stay succeeded in defining a new kind of meeting point for Berlin society — the appeal of the location was further enhanced by the spatial combination with a well-known wine house. Our automotive shift thus seemed to have started successfully.
From the second half of the 1920s, the larger European manufacturers increasingly established their own extensive showrooms in reputable and frequented locations of important major cities. With the advent of modernity, a characteristic marketing and sales culture developed, which quickly shed the representative-conventional style of the early 20th century and aimed to place the automobile as a technical product, and above all as a bearer of a new, namely the »modern« lifestyle, in an authentic setting.

With the slogan »See, buy — drive«, the wealthy clientele was recruited. (Mercedes Palace, Berlin, 1913)

The most architecturally and for the automotive culture of that time certainly most exciting concept was realized by the office of Laprade Bazin in 1929 in Paris for Citroën: The ten-story, 10,000-square-meter Department Store for Cars, located not far from the Champs-Élysées, displayed automobiles as if in a shop, on shelf-like galleries. The foyer was 17 meters high, completely open to the city, thanks to a fully glazed facade. It is understandable that such presentation spaces, along with cleverly designed corporate branding, set standards for the brand’s international dealer network.
The principle of »Brand Spaces« was born and now communicated not only product-specific technicality and modernity but also, with the size of its presentation spaces, corresponded to the significance of a vehicle purchase for the private household. With the first halls or building complexes dedicated exclusively to car sales and potential branch and workshop functions, the consumer-oriented building type of the »car dealership« also established itself in the post-war period. It replaced the previous separation of inner-city sales salons and customer service workshops in the outer districts and offered new opportunities for outdoor advertising and brand self-presentation.
Early examples used the typical industrial and gas station architecture for this purpose, although these differed from other company buildings primarily by the applied signage — the large brand logos or wordmarks along with the corporate colors on signs, facade panels, or flags. Still, the vehicles stood factually isolated in the sales halls. Nevertheless, during the following decades, the emerging and globally popular styles of high-tech architecture and postmodernism led to a significant intensification of the communication capability of buildings and facades.
Undoubtedly, the architectural aesthetic supported the external impact of those »Brand Galleries«, which, from the perspective of engineers and brand managers, correspond to the rapid pace of innovation in automotive technology and should reflect the state of the art of their vehicles both atmospherically and stylistically. For the introduction of a new concept or production site, the accompanying campaign was soon no longer sufficient. It was recognized that special brand architectures, ideally even »signature buildings«, proved particularly valuable in this regard. Not only because they made the new product visible in the clearest way, but also because the »special« could quickly provide effective brand advertising independently via »viral marketing« with the advent of internet communication.
One of these successful eye-catchers was the Smart Tower, which has been placed sixty-five times in Europe in front of a Smart or Mercedes-Benz dealership since 1998. Those glass towers, in which small cars were stacked on thin, elevator-like frames, conveyed not only an impression of lightness but also of unproblematic fun with mobility, which could noticeably lower the access threshold of young urban consumers to the product. They cleverly played with the psychological effect that products in illuminated display cases are perceived as higher quality, and products shown as widely available are perceived as more affordable.
Similarly, the by no means less spectacular, yet gigantic display case of the Mercedes-Center Munich, opened in 2003 as part of the local branch. Its six-story glass facade stages the global brand with countless silver vehicles, arranged like objects on a shelf. A magnificent serial aesthetic in the brand’s traditional corporate color. Who wouldn’t want to at least briefly »drop by Mercedes« after that?

Mercedes-Center, Munich Branch, 2003

One recognizes: The modern car dealership as a building type is a consequence of the insight into the importance of the buying experience. In the mid-nineties, a textbook states: »The process of realizing that the car is no longer the focus of all contacts with the dealership has long begun for customers. He, the customer, will be the human center of all efforts his dealership makes for him.«
New and redesigns of corresponding branches are geared towards buyers, from operational processes to spatial atmospheres. Not only sales, but also after-sales service and image building need to be managed. The sales halls continue to grow, not only to present even more vehicles from the expanding range, but also because of the emerging concept of event marketing, which demands additional space. Small shops, seating areas, and bistro offerings have long joined the reception desks and glass-enclosed booths for consultations — now, themed islands connected with temporary campaigns and event possibilities are following. The showroom becomes a veritable showplace — almost beyond improvement, Coop Himmelb(l)au’s Munich BMW Welt then entered architectural history in 2007.

BMW Welt, Munich, 2007

A few years later, the next evolutionary step for car dealerships followed — reacting to the general establishment of the latest techniques in information and communication media. The Ingolstadt-based company led the way: In 2012, the first cyberstore concept Audi City opened in exclusive London-Mayfair. Audi combines the real with the possibilities of an extended virtual space on a limited area — due to the expensive inner-city location. A single vehicle is sufficient as a physical contact point with the brand; the presence of the remaining offering of 45 types and versions in one million configurations is managed virtually: Using freestanding multi-touch tables, the virtual vehicles can be configured 1:1 and also moved on large wall screens. The display and the experience shift into the illusionistic representation and the fascination of interactive play. The Audi House of Progress in Autostadt Wolfsburg further developed the concept of the now-closed Audi City in London, thereby setting new standards for the brand’s staging. There, a Table of Vision now presents the latest state of automotive futurology.

Behind the timeless exterior architecture of the Audi Pavilion in Autostadt Wolfsburg, Audi makes the four brand values of digitalization, design, performance, and sustainability tangible for visitors.

The trend of showrooms established in London, which supplemented the usual, decentrally located branches, prevailed in the following years — the urban flagship store became the model, combined with the experiences of successful automotive museums. The VW Group, for example, uses Berlin’s prime location, Unter den Linden, for its DRIVE. Volkswagen Group Forum with exhibitions, conference rooms, and gastronomy. Test drives are also arranged, and the Volkswagen Bank is located next door. Some of the brands displayed ideally match the nobility of the location: Bentley and Bugatti, whose distinctive grilles become ideal attractors in the shop windows. One would have to say, buying a car has never been so cultivated.
Even in 2023, the dynamic of the paradigm shift in mobility has by no means diminished, but it is developing on two tracks. On the one hand, the industry is reducing pure exhibition and sales areas — inner-city shops with a single display vehicle are preferred. Almost 90 percent of interested parties enter the sales room already pre-informed, and 60 percent have already decided on the model and price. Instead of branches and authorized dealers, an agency model is envisioned — like Mercedes-Benz. This manufacturer plans to reduce its showrooms by one-fifth by 2028 — supported by temporary small pop-up stores. At the same time, numerous online shops are already planned for the present.

DRIVE. Volkswagen Group Forum, exhibition »Driven by Dreams. 75 Years of Porsche Sports Cars.«, 2023

Marketing and sales have long expanded their platforms and switched from analog customer conversations to multi- or omnichanneling. All communication channels are served. Instead of the revolving door into the car salon, today the landing page, i.e., the brand’s web presence or its activities in social media channels, primarily takes its place.
On the other hand, there must still be a physical place for analog encounters with the product — the automobile is not yet suffering from habitat loss. Nevertheless, spatial concepts are noticeably changing — and this is the second path of current development, which is primarily based on sophisticated interior architecture and spatial scenography. While the pleasantness of a dignified sales salon originally relied on traditional, luxurious lounge qualities such as armchairs, sofas, displayed magazines, and free drinks, these are now complemented by emotionally designed and quasi-familiar, or at least individually customer-appealing, atmospheres.
The guiding narrative changes depending on the brand and target group — from gentle mall-like strolling to an active-sporty experience like at a Mercedes-AMG Experience Center with racing simulators.

NIO House in West Lake, Hangzhou, China, 2018

Café in the NIO House in Tianjin, China, 2019

For the increased volumes of sales architecture and the significantly higher budget that comes with it, these investments seem justifiable, considering the recently realized locations, especially of the new Chinese premium brands such as the NIO Houses, which are referred to as »Flagship Automotive Gallery and Clubhouse«. Their interior design strives to incorporate surface materials and design language that reflect vehicle design, such as that of a NIO ES8 or EVE, especially since in many areas, no automobiles are deliberately present. Here, Living Rooms and Member Areas and play areas for the children of customers and guests are set up, as if one were in a hotel or a private club. To manage this creatively and at the same time meet the technical demands of the brands, manufacturers commission renowned offices such as Schmidt Hammer Lassen Architects or MVRDV. Planning ideas use the motif of a »journey« that one wants to offer visitors: »A succession of layered concatenated spaces organize the different functions and give hierarchy with levels of privacy and connections.«
Anyone who then actually visits such a house and has left the aesthetically cool areas of pure car presentation towards the hotel-like, family-oriented living zones will be overcome by a feeling, depending on the type, either irritating or comforting: How much they have changed, the presentation spaces of our new cars.

What the oil-smelling customer service workshop once directly communicated, namely the technology and the sensory-craft element of driving, is now apparently strictly reconditioned and oriented towards the detached stay in the upholstered and media-dominated living space of the vehicle. It is understandable that the most prominent exhibits in 21st-century car dealerships are precisely those cars that suggest autonomous driving to their new owners.
But for those who think differently, there are still the company branches with their archaic experience spaces, where car-loving customers can authentically pursue their passion, even if one sits in a soft lounge chair and the glass pane pleasantly separates one from the real wrenching work. »Nothing is impossible« — to quote Toyota.

ARTICLE FIRST PUBLISHED IN CHAPTER №VIII »ELEMENTS« — SUMMER 2023

In 1961, successful television writer and composer Stephen Lord (CHiPs, Fantasy Island, Johnny Ringo, etc.) commissioned modernist architect Richard Neutra to design a home on a 26,500-square-foot promontory lot with jetliner views toward the Santa Monica Mountains overlooking the San Fernando Valley and beyond. The property is located in Los Angeles, off Mulholland Drive at the end of a private road. Situated at the top of a ridge, the »lost« Lord House offers seclusion and privacy.

A few years ago, the supposedly forgotten house came into the possession of Dora Chi and Erik Amir from spatial practice Los Angeles / Hong Kong – a collaborative partnership for architecture and art installations. The construction work took two years and set the standard of maintaining the existing design language throughout and with maximum understanding of the original idea.

With this in mind, the extension to the existing house was to continue Richard Neutra’s famous signature, but still have its own architectural identity. While the main house consists of a series of floating surfaces, the extension is the inverse of this – two abstract volumes connected by a floating canopy built around an existing tall cypress tree. The living room with its floor-to-ceiling windows and sliding glass doors faces the valley to the north and makes the transition between indoors and outdoors appear seamless. The contrasting, heavy yet floating fireplace from Richard Neutra is located in the middle between the open-plan living and dining room.

The house is flooded with natural light thanks to the extensive glazing and a series of light wells distributed throughout the house. The new open kitchen made of white oak utilizes the existing openings and provides a view of the entrance terrace and the Santa Monica Mountains. The new modern bathrooms are minimalist and timeless in design, with pure and geometric shapes expressed by warm, floating travertine washbasins.

The loose curves of the landscape and the pool run through the orthogonal design of the house and the extension, creating a sense of different gardens. Rocks and stones strategically placed in the gardens provide a certain tranquillity. A large entrance terrace penetrates the house and leads visitors under a low-hanging, rectangular canopy over a bridge and a reflection pool, past a Japanese black pine tree to the front door. [Red.]

»Our style must be timeless, but must always be rethought. We challenge ourselves every day to combine aesthetics with innovation«, says Gorden Wagener. With Mercedes-Benz Places, he and his team now want to transfer their own design philosophy of Sensual Purity  to architecture. With over 2.5 million square feet of space and 67 floors, it is one of the largest and most ambitious construction projects in Florida and will include around 800 residential units and residences, a wellness center, a 174-room luxury hotel, office space and, of course, the most exclusive amenities—from huge swimming pools and Mercedes-inspired lounges such as the Silver Arrow Lounge to dedicated podcast studios and a Mercedes-Benz Formula 1 simulator.

Of course, the self-confidence typical of Mercedes-Benz is also evident in this project: The aim is to set new standards for branded residences and redefine the future of premium living—with a harmonious synthesis of iconic design, state-of-the-art technology and maximum comfort. In Brickell, Miami’s rapidly growing district known for its ultra-modern architecture of office towers and luxury residential complexes, this project is set to manifest itself in a similar way to Mercedes-Benz Places Dubai—whereby the two projects ideally complement each other in terms of design and at the same time demonstrate the bipolarity of the Sensual Purity  design philosophy: »Dubai, with its unmistakable elliptical shape and flowing lines, appeals more strongly to emotions—the heart. Miami stands more for rationality and thus the intelligent pole of our design philosophy. Its simple cubic bodies, artfully linked together, form a striking skyscraper that will stand out from Miami’s architectural landscape«, explains Gorden Wagener, who played a leading role in the design of the project, in our interview.

The recently unveiled VR renderings and architectural models already hint at the meticulous technological precision and uncompromising quality standards behind these cubic towers, whose stacked elements subtly echo the brand’s signature design language. Yet, the progressive architectural vision of Mercedes-Benz Places Miami is also deliberately provocative: »It becomes an icon when you rub against corners and edges, like the G-Class  for example—when something has a distinctly significant shape. And we are now trying to achieve this in architecture too. We did this in Dubai with the Streamline shape and here we are doing it with the cubic body. Both are also a little provocative«, attests Gorden Wagener.

The fact that a holistic understanding and applicability of the design concept he has defined, far beyond the automotive sector, is important to the German designer and that he truly enjoys it, becomes clear again and again during our conversation: »You can only be good if you have fun«, he emphasizes. And Gorden Wagener particularly enjoys creating beauty—a goal that has always been his top priority, despite all the luxury superlatives surrounding Mercedes-Benz Places Miami: »I am a true believer in beauty. We will never create ugly or awkward things,« Wagener tells us. »And I am also convinced that good design must be sustainable—This is a German virtue: clean, purist design with a focus on longevity. Like a perfectly designed watch that is passed down through generations.«

Another key element of the project is also based on sustainability: the redesign of the surrounding Southside Park  in collaboration with the renowned landscape architecture firm Field Operations, which was also responsible for the concept of the famous High Line in New York City. The Southside Park is to be completely revitalized and planted with plants and offer leisure and sports facilities—a green oasis in the urban environment that will benefit the entire district.

And there is no shortage of such strong partnerships in this project anyway: the implementation of Mercedes-Benz Places Miami   will be the result of a collaboration with some of the most renowned players in the architecture, real estate and design industry. The project is being developed by the JDS Development Group, known for some of the most impressive skyscrapers of recent years—including the Brooklyn Tower, the Steinway Tower, considered the world’s thinnest skyscraper, and the American Copper Buildings in Manhattan. The architecture comes from the multi-award-winning SHoP Architects, while the renowned design studio Woods Bagot is responsible for the interior design together with the Mercedes-Benz design team. And last but not least, successful marketing will of course be essential: Serhant, a leading US real estate and media group led by Ryan Serhant (in picture above with Gorden Wagener), who is as busy as he is present in the media, will provide the necessary sales power.

»We want to take the next step in design history«, Gorden Wagener concludes, »our vision is to create not just cars, but living spaces that define the future.« You will be able to see this for yourself by the end of 2027 at the latest, when Mercedes-Benz Places Miami  will be completed. As an architectural highlight that will not only have a lasting impact on the Miami skyline, but will certainly also shape the future of premium living. [CS]

Hardly any other building material divides people more on the question of what »is beautiful« — not to mention its image; only asbestos would suffer from greater depression if it could feel anything. And yet, for around 2,000 years, its technological development has shaped the aesthetics of urban space like no other material. The almost endless possibilities of its shaping nourish the dream of overcoming gravity and create its bipolar nature. Thus he gives us a grandiose bridge structure that spans a wide valley in a tender gesture. Just around the next bend, however, he cuts a swath of devastation through a baroque old town, his corset embraces a once meandering stream and degrades it to a hydrodynamic death zone. Concrete. It all began so beautifully.

INSTITUTE OF SCIENCE & TECHNOLOGY, Kiev, F. Yuryev and L. Novikov, 1971, © Martin Püschel von Statten

The light of the sky burns brightly through a huge hole in the ceiling, through which the gods of antiquity look out at the perplexed audience. A grey firmament with a diameter of around 43 meters, completed around the year 128, arches majestically above the astonished spectators. At that time, Vienna was the Roman border fortress of Vindobona, behind which Barbaricum lay, and Berlin was nothing more than the distant future of a swampy expanse full of mosquitoes. No pillar supports this construction, which was only completed a good 1,800 years later by the Hala Stulecia (Hall of the Century) in today’s Wrocław as the largest domed building in the world. Anyone who has ever entered the Pantheon  in the center of Rome in awe and furtively thought that this technical masterpiece looked like concrete can rest assured: it is concrete.

PANTHEON, inner dome, Rome, around 128 AD, © Martin Püschel von Statten

BERLIN-MARZAHNICUM

The Pantheon in Rome is no exception; on the contrary, concrete was a decisive factor in the expansion and survival of the Roman Empire. Temples, palaces and viaducts were built quickly, cheaply and with a long lifespan using a building material that seemed utopian for the time. As sobering as it may sound to fans of ancient architecture, the reason why even the Colosseum  still stands today is a simple one: concrete. The Romans used a mixture of burnt lime, water and additives such as tuff or broken bricks to produce calcium silicate hydrate. They called this predecessor of modern concrete opus caementitium  and had been using it as mortar since the 3rd century BC. Later, entire buildings were made from it, »thick at the bottom, thin at the top« was the formula for the corresponding stability. Since, unlike today, there was no steel reinforcement in the concrete, nothing could rust inside and eventually collapse. As a result, the impressive buildings are still standing today, wind and weather cannot harm them, and even in 2,000-year-old wall plaster there is not the slightest crack to be found to this day. As exposed concrete was apparently not in vogue with the Romans, most of the buildings were clad with a wide variety of stones. From the outside, theaters, arenas and the like look like solid masonry monuments, beautiful, aesthetic, admirable. It’s all just a facade. Rome is the ancient version of Berlin-Marzahn.

Pantheon, sectional view; James Ferguson, A History of Architecture in All Countries 3rd edition.
Ed. R. Phené Spiers, F.S.A. London, 1895 Vol. I, p. 320, Public domain on Wikimedia Commons

With the fall of the Roman Empire, darkness once again descended on Europe. People retreated into holes in the ground and wooden shacks, forgetting what toilets were and, accordingly, that concrete ever existed. It was not until the middle of the 18th century that concrete was rediscovered, in England, the northernmost part of the former Roman Empire. Initially conceived as a waterproof mortar, a modern building material quickly developed, from which the first buildings were to be constructed using tamped concrete. The decisive breakthrough came with the Frenchman Joseph Monier, who patented reinforced concrete in 1867. He paved the way for the progressive technological development of concrete, which is now used to build the tallest and longest structures known to man using water, sand, cement and steel.

Concrete trowel of the »sails« of the SYDNEY OPERA HOUSE, Jørn Utzon, 1959 – 1973; Dr. Frank Köhler. Sydney Opera House;

GRAVITATION AS THE BOUNDARY OF POWER AND GRACE

Beyond being fast and cheap, concrete developed into a political issue, similar to the Roman Empire. The planned rebuilding of entire cities between Naples and Berlin, even implemented in small parts, would have been unthinkable without reinforced concrete. But no matter which political system prevails: tanks roll particularly well over concrete roads, the more exciting the construction, the greater the appreciation of its creators and financiers. Those who think highly of themselves also build a phallus in the urban landscape where there is no shortage of space, expensive and powerful, right up above the clouds. War-ravaged Europe became a playground for the dawn of modernity, entire metropolises were rebuilt in record time, satellite cities were erected and sensational prestige buildings for administration and culture were created, which – depending on political taste and zeitgeist – were intended to manifest the superiority of a system through their extraordinary elegance or massiveness. This is particularly evident in the states of the former Soviet Union. After Stalin and the confectioner’s style became obsolete, Moscow proclaimed a new aesthetic, for which the properties of concrete and its visible materiality played a prominent role: Thanks to reinforced concrete, futuristic buildings emerged, graceful, self-supporting and as visible proof of a modern society turned towards the future. On the other side of the planet too, in Brazil for example, elegant to almost daring concrete constructions bear witness to a progressive self-image. A high aesthetic standard and an unshakeable belief in progress have become a built reality before the eyes of the global public. Buildings for culture and religion exhibit a very similar phenomenon. Whether in the sweeping, soaring sails of an opera house or in the edgy, massive church buildings of post-war modernism – concrete was and is deliberately used as a contemporary and aesthetic stylistic device to create a sublime space of the highest grace.

Pilgrimage church Maria Königin des Friedens, Neviges, Germany; Flickr gottfried böhm, pilgrimage church, neviges 1963 – 1972, seier+seier. Licensed under the Creative Commons Attribution 2.0 Generic license

At the same time, the almost free form of the building material offers an effective means of representation both internally and externally. Government buildings that even play with visible concrete surfaces follow the same principle. In Brasilia, for example, an entire capital was cast in concrete; in Berlin, a massive ribbon of the federal government  stretches from east to west in velvety-looking exposed concrete. The construction of apartments for 20,000 people by the GDR in Zanzibar flourished in the 1960s: in return, Zanzibar recognized the GDR as a sovereign state.

In addition to reinforced concrete, the ferrocement construction method, which had been refined since the 1920s, was the starting point for new forms in architecture. The shell construction resulted in curved concrete shells that were self-supporting. The filigree dome of the Zeiss Planetarium in Jena, Thuringia, was the driving force behind built utopias. With a span of 25 meters, the shell is only 6 centimeters thick. Concrete, wafer-thin and stable as never before, created in 1926. In the following years, and especially after the Second World War, the shells reached ever greater spans, from pavilions to congress halls, spaceship-like structures grew into urban spaces worldwide. One of the best-known architects of so-called hypar shell buildings was Ulrich Müther, who adorned the cities and communities of the GDR with futuristic functional buildings such as canteens and exhibition halls. The elaborate technology of the hypar shells harbored a paradox of sorts: it brought a forward-looking aesthetic to every corner of the country, in which the old towns were increasingly falling into disrepair and the carefully planned large housing estates (until German reunification) often remained monotonously designed and monofunctional.

RETTUNGSTURM 1, Binz, Rügen, Germany, Ulrich Müther, 1981; Müther Archive Association, Annika Janke, Wismar University of Applied Sciences, Faculty of Design

TYPICALLY INDIVIDUAL

This brings us to the Plattenbau, the horror image of all those who today pay a lot of money to live in the former slums of the Wilhelminian era. Even if we don’t venture out of the pigeonhole into which we put prefabricated housing … no dystopian film dispenses with the aesthetic stylistic device of the ever-same and eternal gray; it casts a spell over us. Grids and repetition exert their own fascination on people, which is another reason why the prefabricated building can be included in the series of remarkable building types. In German-speaking countries in particular, prefabricated housing is often the subject of one-sided media coverage and has become, quite wrongly, a symbol of poverty and decline. Whenever social problems are reported on in Switzerland, Austria or Germany, the following agency image appears again and again in newspapers and news programs: Little girl in pink jacket sitting sadly on a dilapidated fence, gray prefabricated buildings in the background. The fact that millions of people around the world live very happily in the »Platte« is completely ignored.

Les choux de creéteil »Cauliflower settlement«, Créteil near Paris, Gérard Grandval, 1969—1974, © Martin Püschel von Statten

Buildings and urban structures emerged around the globe, representing national pride in technical achievements in the form of typified housing. Residential buildings were built that aspire to the stars like rockets or imitate flowers in their floor plans. Some cities, such as Vienna and Genoa, experimented in type construction with »housing machines», which despite their massive bodies – and thanks to the possible formwork shapes of the concrete – have a high design standard and undoubtedly enable high-quality living in sometimes exciting buildings. Furthermore, the technological developments in concrete also made it possible to create regional aesthetics in mass housing construction, where the design of the type buildings is based on brick Gothic or Islamic floral ornamentation, for example. The evolving technology of infra-lightweight concrete (ILC) offers completely new possibilities in urban and residential construction. Conventional concrete has to be insulated with an additional material, which means that a building consists of several layers. Even exposed concrete thus becomes just a shell, which makes neither economic nor ecological sense. ILC, on the other hand, combines statics and thermal insulation. So-called expanded glass, which is produced by foaming used glass, makes the stable concrete particularly light. Tiny air pores provide the necessary insulating properties, as air is a poor conductor of heat. Now that smaller buildings have already been constructed with ILC, plans for high-rise buildings made of the new material are well advanced. Various institutions and engineering firms are experimenting with the use of specially shaped, prefabricated elements, which in turn open up completely new paths in type construction. As the private and public merge into a single unit in terms of materiality, the technical innovation of infra-lightweight concrete becomes a test of aesthetic perception: Exposed concrete is the defining element in both urban spaces and intimate living areas.

CHEONGGYECHEON, a recreational area around 11 kilometers long in the center of Seoul, after the highway was demolished in 2005, © Martin Püschel von Statten

WITH ALL MY LOVE …

… we need to talk. About the fact that the forests of the Roman Empire were burned in the lime kilns that made the construction of ancient metropolises possible in the first place. We need to talk about the countless beaches and riverbeds of our planet that are being transformed into highways by concrete mixers or growing into the sky in the form of skyscrapers so that the gods no longer have to look at their creation through a hole in the concrete lid. At eye level with the universe, the industrialized world celebrates progress and with it the fairy tale of limitless growth that blocks the view of finite resources. Sand is one of these. As early as the 1st century BC, the Roman master builder Marcus Vitruvius Pollio wrote that good sand must crunch between the fingers for building. Desert sand does not do this – but sand that has become a massive problem for the stability of entire coastal regions due to overexploitation; the construction boom does not even stop at protected river systems. The suction trunks of specially designed boats provide the building materials industry with supplies, which are inexorably dragging the habitats of flora and fauna into the abyss through erosion. And thus also those of humans. Another sticking point is CO₂, as the cement industry produces at least 7 percent of global carbon dioxide emissions. On the one hand, energy production for burning lime consumes large quantities of fossil fuels, and on the other, the greenhouse gas is also produced by the chemical reactions in the cement.

We will not be able to do without concrete as a building material for the foreseeable future. The younger generation in particular is called upon to publicly question the prevailing policy: Answers are provided by the increased mix of materials, exclusively recyclable insulation materials and the promotion of timber construction. Wood is very durable and flexible, it is a renewable raw material, binds large amounts of CO₂ and can be reused. Concrete should only be used where it is really necessary, for example in building cores and bridge structures. New technologies allow innovative type elements and now even high-rise buildings to be made of wood. This does not detract from the aesthetics, as wood also adapts to many shapes, and the individuality of a building is retained through the appropriate façade design. Cities will continue to grow – with the increased use of natural building materials, we can help to harmonize high-quality architecture and ecological construction.

Built with everything that was there: ROMA-VILLA, Soroca, Moldova, © Martin Püschel von Statten

The third volume in the series »Homes for Our Time« presents 59 contemporary projects in 25 countries, from the USA to Japan, accompanied by immersive photographs that provide an emotional level of spatial experience and illustrate different styles, from minimalist and functional approaches to opulent architecture and artistic interior design. What remains striking, however, is that despite unique concepts and creative approaches to (spatial) design, ultimately almost always uses nature as a timeless model.

Regardless of the technological level of implementation—when it comes to creating harmonious living spaces, it seems that architects and designers are guided by three central, nature-loving approaches. One of these is the seamless transition and connection between the interior and the landscape, i.e. houses that open up to nature. Definitely not a new idea, but one that has stood the test of time. If you look to Los Angeles, exceptional architects such as Richard Neutra promoted design ideas from the mid-20th century onwards that not only enabled a deeper connection to nature, but were also intended to bring a sense of space and freedom into living spaces.

This long tradition also includes a contemporary residential example, which can be found on the very first pages of »Homes for Our Time 3«: The Arkell project (Beverly Hills, Los Angeles, 2022) by Miguel Ángel Aragonés and Rafael Aragonés. Built on a gently sloping hillside, the house opens up to the outside with its open-plan design and generous window fronts, providing a view of the breathtaking, famous surrounding landscape, with the main roof greened with an extensive roof garden.

Unlike his mid-century role models, however, the possibilities of modern lighting concepts play a key role here alongside natural light—the trademark of the Aragonés father-and-son duo. The highlighting and influencing of (spatial) perception in architecture through innovative lighting technologies and direction has rarely been implemented so consistently and forcefully in buildings that serve as living spaces. In the intimate setting of one’s own home, the colorful, targeted lighting transforms supposedly everyday places into transformative and meditative spaces of experience.

The desire to create sustainable and inspiring living spaces that are not merely in connection with nature, but in deep harmony with it, goes one step further. »The starting point was the realization that architecture should adapt to the terrain and not the other way around«, according to the architecture studio Tetro—founded in 2008 by Carlos Maia, Débpra Mendes and Igor Macedo—quoted in the book and presented with their project Açucena House (Nova Lima, Brazil, 2021).

The unusual shape of the house, which is located in the Atlantic rainforest, the second largest tropical forest in Brazil, is partly due to the conscious effort to preserve the local nature, for example by not cutting down any trees during construction. Thin black support columns visually blend seamlessly into the forest area. Their main purpose is to lift the house off the ground and thus minimize the impact on the ecosystem.

Modern architecture that creates sustainable and unprecedented living spaces using highly developed technological possibilities can almost be seen as a mission. These are then no longer merely in connection or harmonious harmony, but in close partnership with nature. An outstanding example of this is the research project TECLA — Technology and Clay (Ravenna, Italy, 2021) by Mario Cucinella presented in the book.

According to Cucinella’s accompanying text, it is the first ecologically sustainable house to be printed in 3D from raw earth — a mixture of local soil, water and natural fibers from rice. As spartan as the prototype may seem at first glance, the demands on the technical possibilities are seemingly proportional to the desire and longing to be close to nature. Thanks to state-of-the-art printing techniques and materials, the building is virtually emission-free. And as if that wasn’t thought through enough, the shape of the architecture is based on typical local building styles— with the aim of maintaining structural balance.

»Homes for Our Time 3 — Contemporary Houses Around the World« is a study of contemporary living that reflects the desires of modern people. This includes not only, as one might think at first glance, the satisfaction of aesthetic sensibilities, but also, as volume 3 of the series clearly shows, the seemingly universal demand for peace and refuge that people have always sought and found through connection and access to nature. [DM]

Homes for Our Time. Contemporary Houses around the World. Vol. 3
Hardcover, 24.6 x 37.2 cm, 3.84 kg, 488 pages
taschen.com

Since its founding in 1980 under the direction of Benedikt Taschen, Cologne-based Taschen Verlag has been regarded as instrumental in the emergence of the cult of the coffee table book and its rise to collector’s item status. Not least as a beautifully designed interface between art and knowledge, the oversized XXL volumes of the art book publisher offer an aesthetic and content-related framework for a broad spectrum of culturally and intellectually outstanding topics and personalities.

In this spirit, the monograph now published by the architect, engineer and artist Santiago Calatrava, who was born in Spain in 1951 and lives in Switzerland, is dedicated to an impressive range of human creativity that breaks through genre boundaries, spans a network of old knowledge in new designs and bundles the power of personal expression.

Although he is primarily known as an architect, a closer look at his spectacular buildings reveals a deep, inherent creative streak.
Calatrava is a sculptor, painter, furniture designer and stage designer––to name just a few of his fields of activity. The book encompasses all areas of his work and is a testament to an inimitable talent for realizing the connection between space and form on the most diverse scales, and above all demonstrates Calatrava’s ability, which is always an indispensable prerequisite for his work––the loosely taut red thread that connects the first page with the last.

His architectural concepts thrive on overwhelming (spatial) impact and emotional depth. One example of this is the spectacular subway station at the World Trade Center, the »World Trade Center Transportation Hub«. The dramatic futuristic aesthetics of the building with its striking roof, whose radial ribs are reminiscent of the wing bones of a soaring bird, Calatrava has not only created a roof for a functional transportation hub, but also a monumental sculptural composition. The innovative, symbolic potential of the architecture embodies a new era of reconstruction and symbolizes the transition from destruction to a new beginning at Ground Zero.

However, Calatrava’s architecture does not only thrive on monumental grandeur. His buildings are the product of superior technological sophistication, complemented by a human-artistic sensitivity for materials, and push the possibilities of modern materials and their use to the limits of technical possibilities.

Whether the »Museum of Tomorrow« in Rio de Janeiro (2015) or his most recent project, the »Pavilion of the United Arab Emirates« for the Expo 2020 in Dubai, the »St.Nicholas Greek Church« at Ground Zero (2022) in New York or the sculpture »Constellation« in River Point Park (2017) in Chicago––Calatrava’s unmistakable signature is always characterized by aerodynamic elegance of originally organic forms as well as his sensitive feel for the interplay of aesthetics and structure.

Aesthetics and structure are also the keywords in relation to the comprehensive exhibition »Calatrava. Complete Works 1979–Today«––a meticulously compiled collection that explores the universal artist’s unique creative vision through detailed entries, photographs and watercolor sketches. Also available as a limited Art Edition of 300 copies with two signed lithographs by Santiago Calatrava and a custom-made box. [DM]

Calatrava. Complete Works 1979-Today
Hardcover, printed on two different types of paper
30.8 x 39 cm, 6.79 kg, 688 pages
taschen.com

Whether the Porsche Design Tower, the ICONIC Tower by Pininfarina, Mercedes-Benz Places or real estate projects by Bentley and Aston Martin — more and more automotive brands are deciding to outdo themselves with luxuriously futuristic residential projects, whereby the design principles of the skyscrapers are usually closely linked to the design philosophies of the car manufacturers.

There is hardly a car brand that would not claim to aim high. In the figurative sense, of course. With Porsche, Mercedes-Benz, Bentley, Aston Martin and several other luxury car manufacturers, however, there have also been brands for some years now that have literally committed themselves to this — admittedly somewhat hackneyed — phrase. Since Porsche set an (all) outstanding starting point with the Porsche Design Tower in Miami, which was completed in 2017, so-called branded residences, which bear the names of these luxury car manufacturers and were also (co-)developed by them, have been springing up like mushrooms. The two metropolises of Miami and Dubai have emerged as particularly fertile areas in this respect.

Mercedes-Benz’ first real estate project in the USA is being built in Brickell, Miami, and is being developed in cooperation with the real estate development group JDS Development Group.

The German manufacturer Mercedes-Benz has set up shop in both hotspots with its ambitious and unusual Mercedes-Benz Places real estate project. “Both buildings are unmistakably characterized by our design philosophy of “Sensual Purity” and thus the bipolarity of emotion and intelligence. With its unmistakable elliptical shape and flowing lines, Dubai appeals more to the emotion — the heart. Miami stands more for rationality and thus the intelligent pole of our design philosophy. Its simple cubic bodies, artfully linked together, form a striking skyscraper that stands out from Miami’s architectural landscape,” says Gorden Wagener, Chief Designer at Mercedes-Benz, who played a leading role in the design of the two skyscrapers. As a designer, he always strives to create something new and unique, but only time will tell whether the work he and his team have created will one day achieve iconic status, says Wagener. “But icons make the difference, because they define luxury and embody certain characteristics: they are timeless and unmistakable. They are also based on a strong idea that can polarize,” the designer continues. However, the emotional core of every design is clearly beauty. “Everything we do must be aesthetic. What is beautiful fascinates people and exerts a great attraction. But that alone is not enough for us: we also strive to give beauty the brilliance of the extraordinary — be it in a Mercedes-Benz model or a property.”

Mercedes-Benz Places Dubai is a joint project between Mercedes-Benz and Binghatti Developers.

THE NEW STAR ON THE HOUSING MARKET

Attractiveness is a good keyword, because there is not enough interest in the 150 luxury apartments in the 365-metre-high building. Mercedes-Benz skyscraper in Dubai the German car manufacturer can’t complain, says Florian Haffa in Tom Junkersdorf’s “Tomorrow” podcast. As Founder and CEO of Brand Labs International, Haffa builds bridges between brands and real estate. This is also the case with Mercedes-Benz. “Branding gives the properties a form of seal of approval,” says Haffa. However, the high demand is also the result of an undeniable brand fetishism, which, in his opinion, almost all people carry within them. On average, customers are willing to pay 30 percent more for a property from their “love brand”. Around 700 projects of this type have been completed worldwide by 2023, with a further 600 in the pipeline and due to be completed by 2030. In the past ten years, the number of branded residences worldwide has risen by more than 160 percent. While the sector was dominated by luxury hotel chains in the past, there are now more and more lifestyle brands that are shaking up the sector with their projects. In addition to the automotive industry, these are primarily fashion brands and jewelry manufacturers. Although it seems to be a phenomenon that has only really taken off in the last ten years, the beginnings of branded residences date back almost 100 years. The opening of the New York apartment hotel The Sherry Netherland Hotel in 1927 is usually cited as the concrete starting point. The tallest hotel in the city at the time, it was the first property to offer 165 luxury apartments for sale. At the same time, the new owners had all the amenities of a luxury hotel at their disposal.

BEAM ME UP, PORSCHE

The fact that Gorden Wagener, as mentioned at the beginning, was at the forefront of the development of the two Mercedes-Benz skyscrapers says a lot about the role that design plays in transferring the brand identity to the real estate sector. A very big one. It is also fitting that many major automotive brands are increasingly relying on their design departments to help shape the overall brand identity. The term design now means much more than just the design of individual vehicles. “I find it incredibly exciting that we designers are becoming more and more involved in shaping the entire brand image. This has also changed the significance of design as a whole. In management positions, you suddenly become part of the overall corporate strategy,” says Porsche Head of Design Michael Mauer.

One of the highlights of the Porsche Design Tower Miami are the automated car elevators. The technically complex “Dezervator” has made it possible to integrate the car parking space into the living area.

With the Porsche Design Tower Miami, Porsche Design aims to transfer the characteristic attributes of the brand — functional design, technical innovation and pioneering technologies — to a residential real estate project.

In 2017, the manufacturer from Stuttgart-Zuffenhausen set the first standards in an area that had barely been explored with the 60-storey Porsche Design Tower in Miami. At Porsche, too, the design principles that apply to the cars span all areas belonging to the brand, explains Stefan Büscher, Chairman of the Management Board of Porsche LifestyleGmbH Co. GmbH Co KG. Functionality, reduction and timelessness — in conjunction with technical excellence — are at the heart of this. There are some parallels between the world of real estate and that of automotive development, he adds. “Both areas are united by the fact that they are technically very demanding. In addition to the design performance, i.e. the pure appearance, the focus is on the technical-functional aspect. Engineering performance therefore plays a much greater role than in other product categories. In addition, vehicles and even more so buildings have a very long life cycle. In addition to the enormous technical challenges, this also has a considerable influence on the design. This must inevitably be timeless and still up to date decades from now. In product categories with shorter life cycles, on the other hand, you can be more experimental and react more quickly to trends.” A third similarity is the high visibility in the public eye. “Outstanding and striking buildings as well as vehicles have a fundamental impact on the image of modern cities,” he concludes.

For Stefan Büscher, the Porsche Design Tower Miami is not only a symbol of architectural excellence, but also a testimony to the brand’s commitment to offering its customers ultra-exclusive experiences. “The idea of community is also central to this,” Büscher interjects, adding: “In English, they say: ‘It’s not about what you buy but what you buy into. We are very lucky that no automotive brand in the world has gained such a large, loyal and emotional community as Porsche over the decades. As Porsche Design, we take this on board and carry it forward with our products and projects. So it was not just about a technical and architectural achievement that offers dream spaces for its residents, but about a lighthouse and a unique community hub.”

At the design level, the company has remained true to the “form-follows-function” approach. He explains what this means in concrete terms as follows: “In line with our identity, we deliberately decided against design elements that have no function other than pure showmanship. Such an element does have a strong recognition value, but you quickly get tired of it, which clashes with the building’s long life cycle. An additional challenge with a building is that it is located in a public space and therefore has a relationship with its surroundings that we cannot influence, but which we have to take into account.” The highlight of the 60-storey tower is, of course, the patented, revolutionary car elevator system, which takes residents sitting in their vehicle to their luxurious home “in the clouds” — the “Dezervator” developed by Dezer Development. “Dezervator” developed byDezer Development. “The complexity of the system presented the developers and engineers with a number of novel design challenges,” says Büscher.

A DIAMOND FOR BENTLEY FANS

At the English luxury brand Bentley, both vehicles and real estate projects are the result of a deep passion for design, craftsmanship and individualization. Steven de Ploey, Director of Product and Marketing, is convinced that both cars and real estate are about offering customers luxurious moments with the wow factor. Together with Dezer Development and Sieger Suarez Architects, Bentley is currently building a 61-storey skyscraper in Miami, which is due to be completed by 2026. It is obvious that this will be an absolute luxury property. After all, if it says Bentley on it, it contains luxury. But what does luxury actually mean in 2024? “In my opinion, luxury today means that sustainability — coupled with a life in harmony with nature — is not just a trend, but a guiding principle. For us, this applies to all areas, from the car to the sustainable materials we use for the interior design of the Bentley Residences. Surfaces such as wood, leather and glass have been carefully selected to reflect the coastal environment in which the property is located. In addition, we want our clients to feel that their luxury residences are an extension of their personality and that they recognize the values they stand for,” answers Steven de Ploey.

Bentley Residences Miami is a collaboration between Bentley, Sieger Suarez Architects and Dezer Development, a company specializing in luxury real estate, and is scheduled for completion in 2027.

The Bentley Residences Miami will also be home to the innovative, patented “Dezervator” car elevator – just one of the many amenities of the luxury real estate project.

Chris Cooke, Head of Design Collaborations at Bentley, is convinced that the key to success lies in the attention to detail. “There are numerous references to our cars in the property — for example, Bentley’s signature diamond motif is reflected in the diamond-shaped glass façade panels and the diamond-shaped tiles in the lobby. Enthusiasts and connoisseurs will recognize further allusions. And then, of course, there is the patented transparent car elevator (“Dezervator”, note), which makes it possible to literally integrate the cars into the living space.” For Chris Cooke, luxury means, among other things, being prepared to go beyond classic shapes and sculptures and using traditional materials in innovative ways, while maintaining attention to detail and an unconditional commitment to quality.

CREATIVITY MEETS CRAFTSMANSHIP

The Italian design company Pininfarina, which is building a luxury skyscraper comprising 311 residential units in Dubai, is also committed to attention to detail and high quality standards. In addition, as in the automotive sector, the company strives to design buildings that are not only functional but also visually impressive. Among other things, this means integrating state-of-the-art building technologies in such a way that they blend in with the overall aesthetic, says Giovanni de Niederhäusern, Senior Vice President Architecture. Redefining luxury in the real estate sector by committing to an “economy of creativity” is one of the declared goals, he adds. “For us, this concept means moving away from traditional luxury to one that emphasizes the maximization of creative potential and the appreciation of craftsmanship — values that have always been at the heart of Pininfarina’s philosophy.” On a design level, the ICONIC Tower, which already bears the design goal in its name, is characterized by the fact that the residential floors are divided into three blocks. “This breaks up the monotony, makes the structure more dynamic and raises the visual appeal of the building to a new level. It will also reflect the energetic soul of Dubai and its constantly evolving landscape,” says de Niederhäusern, who has declared the real estate sector to be an important cornerstone for the further development of the brand. “Through our multidisciplinary expertise, we will hopefully be able to create not just buildings, but entire environments that reflect our values. Above all, this means positively influencing these environments with the combination of beauty and technology.”

ASTON MARTIN SAILS INTO THE REAL ESTATE BUSINESS

In a duel between Dubai and Miami, British luxury and racing car manufacturer Aston Martin opted for the latter location. A 66-storey skyscraper with a sail-like shape was built there. The glass façade and the curved shape are a reference to the aerodynamics of the vehicles, according to the manufacturer. “We have incorporated the speed, flexibility and feeling of the Aston Martin brand into both the exterior design and the interior design. Even the door handles on the apartments are a tribute to the Aston Martin door handles,” explains lead architect Rodolfo Miani in an interview. In addition to a two-storey fitness center with a view of the Atlantic, there is an art gallery, two cinemas, a virtual golf simulator, a business center and a conference room as well as a spa area, a beauty salon and a hairdressing salon. “This remarkable new project realizes our long-term vision of entering the world of luxury real estate and is the latest expression of Aston Martin’s evolution into an ultra-luxury brand,” Aston Martin said enthusiastically.

The Aston Martin Residences are intended to reflect the development of Aston Martin into an ultra-luxury brand.

Three bespoke interior styles have been created by the Aston Martin design team for the project: The Timeless collection embodies classic Aston Martin design and draws on the heritage of the British luxury brand to create a contemporary style, while the Covert collection is inspired by the interiors of darker vehicle concepts. Residents looking for an extra dose of luxury can opt for the Indulgent collection, which combines natural materials in a softer, calming color palette with a touch of theatricality. A new real estate project from Aston Martin is already in the planning stages and is being built on the man-made Al Marjan archipelago, which belongs to the United Arab Emirates. The project is being implemented in cooperation with the Dubai-based real estate developer DarGlobal. “This is the first time that Aston Martin’s design team has applied its knowledge and reputation to a real estate project in collaboration with the Gulf Cooperation Council and taken responsibility for the interior design,” the company says.

The Aston Martin Residences Miami offer salons and lounges, a state-of-the-art fitness center with spa, an infinity pool on the 55th floor, a private marina and much more.

For more than a century, Aston Martin has stood for outstanding automotive design – now the brand wants to transfer its design expertise to exclusive real estate projects.

The fact that living and driving are growing ever closer together is therefore not only due to the fact that vehicle interiors are being designed to be ever more homely – partly as a result of developments in the field of autonomous driving. Anyone who wants to can now bring the feeling of driving a Bentley or a Porsche into their own four walls. In the truest sense of the word – because with the “Dezervator”, the vehicle lift developed by Dezer Development, you can stay very close to your vehicle even when you are in a luxury apartment above the clouds of Dubai. So one question that will probably be asked more and more frequently in future is: “Are you living or just driving?”, although the use of the adverb “just” in connection with car brands such as Aston Martin, Mercedes-Benz and the like may seem somewhat inappropriate.

Tokyo-born architect Shigeru Ban sees his role as an architect as far more extensive than the mere creation of supporting structures. As the basic construction materials of his buildings, paper and cardboard not only symbolize the progressive use of modern production and design possibilities, but also stand for an expanded social awareness and resource-saving construction. The resulting buildings are symbolic of the mindfulness with which Ban approaches his projects and whose design and implementation he derives with a keen sense of the individual social and cultural context.

TASCHEN is now dedicating a monograph to Ban’s unique, solution-oriented approach and unmistakable style, entitled »Shigeru Ban. Complete Works 1985 – Today «, which approaches the work of the Pritzker Prize winner through both personal anecdotes and scientific questions.

As the size and format of the monumental volume already suggest, the success story of the exceptional architect, who is regarded as a symbolic figure of Japanese architecture, is given an appropriate setting here. »It was the beginning of paper architecture«, Ban describes one of his very early projects from 1986, referring to the design of the architecture for an exhibition in Tokyo dedicated to the work of Finnish architect and furniture designer Alvar Aalto. Paper tubes were used as a cheaper alternative to Aalto’s favorite material, wood, and Ban established them as the unmistakable structural elements of his work at a time when the use of ecologically compatible building materials could still be described as progressive.

His Curtain Wall House, an architectural experiment created in Tokyo between 1993 and 1995, also stands in the context of something radically new, in which Ban questions the concept of the walls of a house. In order to reduce the heaviness of the construction, he uses glass doors and curtains that can be opened or closed completely towards the city in addition to narrow columns.

His early exploration of the significance of walls was taken to the extreme in 1997 with the realization of the project »The Wall-less house« in Nagano, Japan. The concept is based on the vision of a »universal floors«, a continuous floor that compensates for the missing walls and connects all the rooms. This construction method also corresponds to Ban’s view that a strong supporting structure is not tied to the material used, but to a sophisticated construction.

However, Shigeru Ban proves his flexibility as an architect and his attitude as a person above all with his buildings in disaster areas, where walls play an extremely essential role as protective structures. His cost-effective and environmentally friendly »Paper Tube Structures« proved to be of particular importance in the aid projects of the NGO Voluntary Architects Network, which he founded in 1995 and whose aim was to build temporary houses and huts for earthquake victims in Kobe (Japan), civil war refugees in Rwanda (East Africa) and tsunami victims in Sri Lanka. From 1995 to 2000, Shigeru Ban worked as a consultant to the UN Refugee Commission.

One example of this is the so-called »Paper Log Houses«. These served as emergency shelters after the devastating earthquake in Kobe – built from beer crates, sandbags, plywood, cardboard tubes, waterproof adhesive tape and steel rods. The »Paper Church« was also erected as a temporary community center, which also provided spiritual refuge for the residents.

His constructive experiments using unusual materials also resulted in his unmistakable major works, such as the Centre Pompidou-Metz, the Swatch/Omega Campus in Switzerland, a two-story penthouse on the roof of a 140-year-old New York landmark Cast Iron House and La Seine Musicale, a concert hall integrated into Jean Nouvel’s master plan on the Ile Séguin in France.

With his monograph »Shigeru Ban. Complete Works 1985 – Today«, TASCHEN has brought together Ban’s life’s work to date in an impressive 696-page volume, bringing the spirit of his work back into the bottle. [DM]

Also available as an Art Edition, limited to 200 copies with a signed art print by Shigeru Ban and a custom-made 3D laser-cut wooden cover.

Shigeru Ban. Complete Works 1985 – Today
Hardcover, 30.8 x 39 cm, 6.85 kg, 696 pages, € 200
taschen.com

Chapter  What brought you to Brooklyn Heights?

Robert Rieger  Over the last two years, I’ve been to New York several times on business and then spent some time there privately. Brooklyn Heights was of course also on the list of places I absolutely had to see. I found it incredibly fascinating to suddenly come from the loud and hectic life of New York to this quiet district that had fallen out of time. It was important to me to convey this sense of time travel with the photographs, which is why I deliberately excluded many references to the present day—cars, CCTV cameras or air conditioning systems—from the photographs.

Chapter  What makes it exciting for you to photograph in a setting that already contains elements of your visual signature?

Robert Rieger It is probably the case with many photographers that they familiarize themselves with themes that also fit into their visual language. But that doesn’t make photography any less complex, because dealing with light and styling is not always easy, especially in public spaces. You have to work around cars, passers-by, billboards and, of course, respect the residents. In terms of light, it is either necessary to plan very precisely when you take photos or you have to be lucky with the desired light.

Chapter  As a photographer, what importance do you personally attach to traditional media such as illustrated books and print of all kinds?

Robert Rieger  For me, it is extremely fascinating to work with the medium of books, as I don’t do much analog photography and grew up in the digital age. This makes it all the more important for me to consider every little detail—from the curation of the works to the smell and feel of the paper. Another crucial point is that, unlike in the digital world, any errors can no longer be corrected. In my opinion, this is precisely where the special appeal lies.

Chapter  Since the consumption of images mostly takes place within a digital framework, do you think that illustrated books still have the power to give the works depicted a greater appreciation?

Robert Rieger  Illustrated books are being appreciated more than ever because we look at so many photographs on displays, reception on paper is a completely different experience. It was important for me to develop a beautiful cover with the designer Maximilian Mauracher so that the book could be staged in rooms as an aesthetic object.

Façades of Brooklyn Heights by Robert Rieger, Hardcover, published by POOL Publishing

]]> https://chapter.digital/en/sha-wellness-clinic/ Mon, 25 Mar 2024 13:32:28 +0000 https://chapter.digital/sha-wellness-clinic/ With SHA Mexico Costa Mujeres, the highly specialized SHA Wellness Clinic is opening another location in the Mexican Caribbean at the beginning of the year. A paradise within a paradise, in other words, that sees the health of people and the environment as being intertwined.

Located in the state of Quintana Roo in the eastern part of the Yucatán peninsula, the new wellness paradise SHA Mexico Costa Mujeres rises high into the sky, between the emerald green of the mangrove forests and the infinite blue tones of the Caribbean.
The Mexican destination of the SHA Wellness Clinic not only offers its visitors a relaxing stay, but also combines this with health-promoting measures. A concept that is becoming more and more popular – away from treading water in thermal springs towards all-encompassing prevention in health matters with the help of state-of-the-art medicine, highly effective and first-class therapies.

A modern architectural concept is used to generate the desired external experience and internal result on a holistic level. Designed by the renowned Mexican architecture firm Sordo Madaleno, the structure of the multi-storey façade, which nestles against the coast in an undulating shape, echoes the double-stranded human genome. To the unqualified eye, the open design and clean aesthetics certainly also point to the purpose of the building—a modern wellness paradise—but the actual, ambitious dimensions of the promise of relaxation are only revealed inside the spacious complex. The wellness resort not only offers its guests a comfortable and relaxing stay, but also a variety of medical practice rooms with different specializations, all of which offer a fascinating view of the sea or the mangrove forests.

A state-of-the-art gym, yoga and meditation rooms, spa and hydrotherapy area provide spaces for body and mind to increase energy, strength and longevity. The fitness facilities are also complemented by indoor and outdoor training areas, including four different gyms, high-tech fitness equipment with a virtual reality jogging track, guided meditation walks and tennis and padel tennis courts, to name but a few. Other amenities include a movie theater, art exhibitions, a library, conference rooms and a cooking studio where workshops on healthy living are offered.

In keeping with the holistic approach, interior designer Alejandro Escudero brings together the interior and exterior of the complex by using carefully selected natural materials such as Mexican ceramics, wickerwork, local textiles and marble. In addition, the project made extensive use of natural building materials and renewable energy sources in order to minimize the impact on the surrounding landscape.

The lush tropical gardens were designed and laid out by architecture studio Maat Handasa, taking into account the natural habitat of native species. With its own white sandy beach and a natural spring, a »cenote«, SHA Mexico Costa Mujeres is located directly opposite the largest coral reef in the northern hemisphere, a marine ecosystem under species protection.

Guests have the option of arriving privately by plane or boat. A discreet heliport and jetty take you directly to one of the 35 residences, 100 rooms and suites, all of which have private balconies with panoramic views. An infinity pool and a beach club make it possible to enjoy the simple pleasures of Mexico between consultations, treatments and experiences. [DM]

While the prestigious Aman Hotels have expanded far beyond the physical dimensions of the original vision of »modest, warm hospitality of a gracious private home« since their inception in 1988, they remain true to the approach of creating a collection of retreats with maximum privacy, exceptional design and unparalleled service.

Located at one of the world’s most prestigious addresses—at the intersection of Wilshire and Santa Monica Boulevard—the mega-project comprising an Aman hotel, exclusive residences and the Aman Club, Aman Beverly Hills continues the brand’s strategic vision for growth in global cities, following the opening of Aman New York in 2022.
As in the past, long-time Aman collaboration partner Kerry Hill Architects (KHA) was commissioned to create the designs for the project. Known for their signature design and mindful approach, KHA has developed a context-sensitive design for the Aman Hotel, Club and Residences in Los Angeles.

The design by the architecture studio based in Australia and Singapore reflects the vibrancy of the metropolis and the unique garden setting of the project by retaining the feeling of an oasis despite the incredible architectural radiance. This is made possible by the contemporary aesthetics, a neutral color palette in harmony with the Californian nature and the use of natural materials such as stone and wood, which provide the necessary warmth in the wide, open spaces from which guests, owners and club members can enjoy a sweeping view over the city.

Aman Beverly Hills will include a 78-suite hotel as well as a limited number of private residences located in two landmark residential towers adjacent to the hotel. In addition, the Aman Club will offer various wellness facilities over an area of 100,000 square meters. This makes it the first independent Aman Club in the brand’s constellation. [Red.]

»Everything flows«—one of the most famous statements in the history of ideas, which we owe to Heraclitus. It points to a crucial truth: that everything is becoming and changing, that the cosmos, nature and humanity are inconceivable without permanent change. This also applies to construction. Yesterday, for example, it was said that cities should be densified because of the housing shortage—today, after a dry summer, green spaces and courtyards are becoming climate savers. Previously, office towers grew into the sky, but now, after the pandemic, the home office concept is leading to a rethink in many places. This shows: Movement is vital in a complex world and is also a creative tool for design.

It is therefore hardly surprising that the current Architecture Biennale in Venice is also responding to this and, according to its curator Lesley Lokko, is acting as an »agent of change«. As is typical of clever definitions, this can be understood in several ways. In terms of content, it is about perception and new conclusions from regions of building culture that have hardly been addressed to date, particularly in Africa. And as an exhibition, it is intended to be both a »moment« of experience and a »process« and thus have an impact. It is not without reason that the latter juxtaposition relates to us, who enjoy stimuli and exhibits but also seek the discourse that is ultimately the basis of any further development. At this point, however—as is so often the case—the lived social reality clashes with the concept of the specialist scene. Contrary to what rational and intellectual considerations would suggest, we tend to reach for the static rather than the mobile when it comes to shaping our life situation. No wonder, as we are evolutionary nesting animals and therefore need a clear commitment to a place to live and a plan to secure our livelihood. In this respect, many of the committed actions that deal with »change« encounter at least unconscious resistance, which is based on this very need for a secure location. What is immediately striking about this analysis is that it has to make use of all the usual terms in the architectural field: Place, space, planning, security. Again, no wonder, because there we are dealing with real estate that is fixed and forms secure spaces. Ultimately, however, this results in a decisive confrontation with the realities of life, of nature, of the »human condition«. There, on the other hand, there is constant becoming and permanent change. But incorporating this into your own attitude and way of life is exhausting and challenging.

The new inclusive access ramp to the German Pavilion »Open for Maintenance«.

For the sake of simplicity and safety, we laypeople therefore tend to turn to states, to the static, and to speak of a now and a then, of a before and an after. Although we are aware of the processes that characterize our lives, we like to work with definable individual steps: Idea, design, realization—result. So if we really wanted to react to the insight that everything is actually in a state of constant change, this would mean that every time we have just succeeded in defining a fact and adjusting to it with our planning, we would have to relativize it again—as a mere transitory state. At the same time, we are enthusiastic about wisdom such as the Confucian »The way is the goal« or Heraclitus’ dictum »Everything flows« and enjoy their philosophical depth. Ergo: Let’s simply take up the impetus of the Biennale and deal with this problem, which seems to signal that movement is needed in a not insignificant way—in Venice, the city of Vivaldi, one would choose a term known from music for this appeal: »con moto«. In the Giardini of the Biennale, the German Pavilion in particular is making an indicative effort to achieve this by presenting itself as being »under reconstruction«. Although carefully staged, no fixed statement is offered to those entering, instead the intermediate situation, the interim, is thematized. Those who enter are greeted by piles of material. Nothing is finished—whatever the plan may have been, the exhibition is and remains a building site. Even if one of the guiding and quite concrete ideas of this staging is the use and conversion of the existing building in the sense of sustainability, the general principle of continuous change is also emphasized, just not in a creatively controlled form. After all, it is only a theoretical indication in a curatorial space whose aim is to sensitize and motivate contemporaries.

»In conversion«: The German Pavilion stages the use and conversion of the existing building in terms of sustainability.

But what possibilities does architecture itself have to respond to the factual and universally effective change, the metabolic change, the mobility of all living things, despite all structural statics? Nowadays, it is no longer a question of equipping people with their own, fully supplied reinforced concrete box for self-centered cocooning, but of providing for them in and with the help of the building in such a way that they remain as connected as possible with their natural environment and its characteristics. In terms of their own substance—i.e. from a pragmatic point of view—it is certainly their temporary and ephemeral buildings such as stands, pavilions or exhibition and festival architecture on a large scale, and in structural terms the movable elements such as doors and windows, their handling of light, the corridors as traffic routes and traditionally the staircases, which are often designed with great care. These are deliberately used as performative performance spaces, as in baroque palace complexes or political buildings, which simultaneously become »catalysts« due to their narrowing pathways and the slow, forced movement of people. This is how one of the founders of the Danish architecture firm 3XN, Kim Herforth Nielsen, puts it. For him, architecture creates certain forms of behavior that can also influence the human openness and intellectual mobility of the people in the building. The central staircase element of the star-shaped UN building designed by 3XN for Copenhagen becomes an indicator of this. Its pointedly symbolic, dancing sculpture made of shiny black steel and wood generates a special »movement« in the building complex, which uses architectural means to influence the state of mind of the UN staff. »The staircase also forms the basis for dialogue, cooperation and informal meetings between the various UN organizations.«

In terms of cultural history or architectural theory, the movement of people in the context of a building, generated or at least stimulated by spatial and formal dispositions, plays a significant role in its effectiveness. Just as the UN employees from different countries are supposed to meet here in the narrow lanes of the staircase in order to engage in an informal exchange, cultic design concepts in antiquity already worked with the momentum of the mobile, which unconsciously attracts people’s attention and atmospheric participation. Circumambulatio, or walking around something, was one of the archaic acts of sacredness and celebration and was brought to a climax with the breathtaking architecture of the classical-antique temples of Greece, such as the Parthenon. Instead of extensive walls, the Peripteros type has a ring of columns around which the worshippers circled. In the case of the Temple of Athena on the Acropolis, they could also see a surrounding frieze depicting the famous procession of the annual ceremonial procession. The attractiveness of the building and its cultic charge consequently moved everyone who went near it—both physically and emotionally.

Central staircase element of the UN building in Copenhagen, designed by 3XN.

A leap from the 5th century BC to the legendary 1920s continues this list of mobilizing ideas with a planning concept by the Swiss architect Le Corbusier, which he called a »promenade architecturale«. He was concerned with a sophisticated and varied range of paths through the house, which in the case of his houses and villas such as La Roche, Savoye or Stein-De Monzie consisted of corridors, indoor and outdoor ramps, bridges and spiral staircases. The idea was to be able to stroll along them at will and enjoy changing impressions—on y va!—at the same time as being conditioned to a specific sensitivity towards the architectural plan. The overriding aim was to educate people about the building, as it were, and to make them confident, but also to lead them into a new quality of life that referred to Corbusier’s ideal of »L’Esprit Nouveau«—a forward-looking concept, geared towards a »New Spirit«, with which one could then face the challenges of the future as a creative and capable person.The change in the world, which we cannot stop, with which we are existentially connected and which we naturally influence, was therefore already preoccupying the avant-garde of the architectural scene a hundred years ago. Within the huge portfolio of all designs conceived and realized since then, which more or less engage with this interactive moment, there are—»thank God«, one could say—ideas and initiatives of visionary, perhaps even utopian power, as can be found in avant-garde modernism or the 1960s—whereby Coop Himmelb(l)aus’s exclamation »Architecture must burn« is certainly one of the most consistent therapies that can be recommended to an uninspired, dreary building culture such as that of the then dominant post-modernism in terms of an urgently needed mobilization.

Anyone who has now woken up and browses through the catalog of renowned and actually implemented architectural concepts will come across a small but remarkable building, realized by the UNStudio office in 1998 in Het Gooi in the Netherlands and definitely one of the most exciting villas of the turn of the millennium. The design analyzes the everyday life of a couple working from home in their house, notes its topological sequence over 24 hours with its respective spatially assigned activities in a diagram and then transfers this into a möbius strip-like loop, since the usage process of the following day follows without interruption. This resulted in a two-level structure for this villa called Möbius House—in the sense of an architectural office, a sequence of zones was realized in it, which offers a logical sequence of places in the living process, which can then be visited according to the respective action and condition. Staircases and tube-like spaces enable a continuous flow of use in the sense of the continuous lines of the Möbius strip. Regardless of its compulsion for stable constructive implementation in concrete and glass, in which the couple’s way of life seems to have crystallized structurally, the architecture here behaves as if it wanted to make a sincere offer: a biotope that does not set a rigid Euclidean box whose structural boundaries we simply have to accept, but rather forms a sphere that attempts to respond to the metabolic characteristics of man, the permanent restless change of his modus vivendi.

The daily routine implemented in the building: the Möbius House‘s staircases and tube-like rooms enable a continuous flow of use—in the sense of the continuous lines of the Möbius strip.

The visual arts are allowed to think even further than is permitted for a building that is assigned to economy and functional reason—their inclusion is now permitted to reinforce the aspect discussed here, as we have also started from the art-oriented Biennale. A good example of effective work with extreme, provocative positions, which, like Coop Himmelb(l)aus’s »burning architecture«, really affect us psychologically, can be found in a creative attack by Dutch artist Zeger Reyers on the kitchen as the epitome, the topos of »home«. The performance »Rotating Kitchen« was realized for the first time in 2009, whereby the following happened: A large box is installed in an exhibition space on a steel construction. It contains a complete, fully functional kitchen. After a cook has used the kitchen to serve the guests of the performance sitting in front of her, she leaves the cubic space, whereupon it begins to rotate slowly around an inclined axis, regardless of the disastrous change that this anti-architectural rotation causes to its equipment and the food. The participants experience this with increasing inner turmoil as they gradually witness the inevitable chaos, the pollution and ultimately the partial destruction of their emotionally very familiar environment. Reyers would like to add an overarching interpretation to this jolting irritation of routine living: »The world as a kitchen«. For him, then, the transformation of our private architectural sphere of life communicates a general process that we cannot stop and that takes no account of human plans, orders or interests.

Zeger Reyers, »Rotating Kitchen«, 2009, installation view: »Eat Art. On food in art«, Kunstmuseum Stuttgart, 2010

The second concept presented here achieves this in an equally effective way: it also moves the architectural in a demonstratively unrealistic, almost nightmarish way. As users, we come up against the limits of our habit-based approach to the built space and the functions it has set up for us. The ReActor installation, anchored on a meadow in Ghent, USA, consists of a beam-like, all-round glazed housing that sits freely on a concrete pillar like a rotating seesaw. A fully functional small apartment has been arranged in it—arranged lengthwise like a train carriage—in which its designers, the performance artists Alex Schweder and Ward Shelley, are actually staying temporarily. However, there is the possibility of an incline of up to 30 degrees, which can make staying there quite uncomfortable. The two men must therefore develop a common way of life that takes the tipping moment into account with every single movement in the house. The architecture, which is usually always unproblematically stable, thus creates the necessity here for those using it, in this case the artists themselves, to coordinate, interact or even empathize with each other so that the always precarious balance is maintained—if one goes to the left towards the balcony, the other has to go to the outside right, if he wants to go to the middle of the bathroom, the other reacts and goes to the kitchen, which is at the same height—the strange vacation home becomes the »agent provocateur« of the events inside it. After all, both artists not only enjoyed the fun movement of their domicile, but also the unplanned human harmonization with each other.

Alex Schweder + Ward Shelley, ReActor, 2016

What is the bottom line? Let’s see if we can’t manage to design architecture that can adapt sensitively, responsibly and as symbiotically as possible to the dynamically changing world, vital nature and the changeable character of people. And for those who do not want to embark on this task without reference to cultural history, Winston Churchill’s remark, which he made in 1943 in a debate after the House of Commons was destroyed by bombs, is worth mentioning. He pleaded for the exact reconstruction of the historical parliamentary architecture with its lively vis-à-vis of the parties, as this has proven its worth in the pursuit of a democratic culture of cooperation: »We shape our buildings and afterwards our buildings shape us.«

Winston Churchill once said: »First man shapes space, then space shapes man.« A statement that also made the city in the Mojave Desert the subject of research by American architects Robert Venturi, Denise Scott Brown and Steven Izenour. In their 1972 book »Learning from Las Vegas«—now a key text and classic of architectural theory—they interpret the desert city as the epitome of commercially oriented American urban planning and development. In doing so, Scott Brown, Venturi and Izenour also attempt to conclusively comprehend social issues—an undisputed fundamental component of the Las Vegas system.

City of Entertainment

One of the most famous buildings on the Las Vegas Strip—the Bellagio Las Vegas—is a good example of the impact this has on hotels in a city that is geared towards round-the-clock entertainment.
It is no surprise that the multifaceted social aspect plays a key role in modern hotel operations. In the context of a mega hotel like the Bellagio, however, it is an extremely complex construct that goes far beyond friendly, attentive staff. This must be able to move flexibly through the entire microcosm and, depending on requirements and design, be adapted to the most diverse needs, social backgrounds and expectations. This creates a very complicated interaction between the business and its visitors, between space and psyche, which calls for a regulated system, for example by means of exterior and interior design.

A stage for everyone

The Bellagio is an impressive building, with the main façade arranged in a semi-circle around a three-hectare lake—the Fountains of Bellagio—which at certain times throughout the day puts on spectacular water shows. Inside, visitors find themselves in what feels like a self-contained ecosystem that is seemingly capable of fulfilling all their needs. Such a complex, in which people with the most diverse requirements but similar concerns come together, requires not only a solid construction, but above all many well thought-out control mechanisms tailored to the physical and psychological aspects of the guests.

At the lowest level of the Bellagio in a casino area of 10,800 m² that operates around the clock, this includes not only the gigantic ventilation systems that filter the air in the room, the targeted use of light or the muffling of ambient noise by means of carpets, these are just some of the effective little tricks to turn time upside down.

ON EVERY LEVEL

Those who experience a lot also have to process a lot and so people’s needs are being channeled by letting them flow from the bottom to the top of the building. In this sense, the upper levels of the Bellagio microcosm offer a place of retreat, if used as such.

Light again plays a central role and influences activity vs. relaxation, promoting a day and night rhythm in an ambience where the boundaries are often fluid. In addition to large floor-to-ceiling windows, the monumental casino resort offers its visitors an impressive 3,950 elegantly furnished rooms, including luxurious marble bathrooms and many other modern amenities. The suites are located on the highest levels of the hotel, offer a private elevator, separate sleeping and living areas, a whirlpool bathtub and a butler service, all other wishes can certainly be fulfilled after a direct conversation. Of course, the service reflects the budget of the guests, although it should be noted that the Bellagio also offers people with average financial means more than initially expected because very customer’s satisfaction pays off and in the case of Las Vegas, this statement can be taken literally.

It seems almost unnecessary to mention the extensive gastronomic offering, which, in addition to bars geared towards entertainment and amazement, also includes stylish, international restaurants, cafés and what feels like countless other »lower-threshold« options for the city’s diverse clientele.

In an unorthodox desert metropolis like Las Vegas and the example of the Bellagio Las Vegas Hotel and Casino, much can be seen of the psychological power and effect of architecture as a starting point for further purpose- and profit-oriented design processes. What emerges is an adventurous form of so-called human-centered architecture, in which people are no longer the focus, but instead become part of a beautiful overall illusion that has always brought so many visitors to Las Vegas and the Bellagio. [DM]

Vienna – Los Angeles

Directly after studying architecture with Otto Wagner at the Academy of Fine Arts in Vienna, Rudolph M. Schindler emigrated to the United States in 1914. Alongside his compatriot Richard Neutra and other illustrious names such as Gropius and Mies van der Rohe, he quickly became one of the most respected representatives of a new, progressive architectural development, the »Neues Bauen«.

Already in his manifesto of 1912 – later published under the title “Space Architecture« – he records his interpretation of space as the medium of an architect’s art and in this context also speaks of Frank Lloyd Wright as a »space architect”, who with his open space concept had a formative influence on Schindler’s practice and for whose architectural firm he worked for four years. Among Wright’s commissions, he supervised the construction of the legendary Hollyhock House in East Hollywood, built for oil heiress Aline Barnsdall.

PROTOTYP

Schindler’s philosophy of »spatial architecture« is probably best exemplified by his own home on Kings Road in West Hollywood. The structure now known as Schindler House can be seen as a model house of his work, which, with the exception of a manageable number of larger buildings, focuses exclusively on the single-family home.

If it was primarily Schindler’s wife Pauline Schindler who was interested in alternative models of living together, a stay in Yosemite National Park in California consequently inspired the architect to rethink the common model of a »residential house« as such and provided the final impetus for the realization of the building designed for two couples.

Schindler’s translation of the structures of the campground there expressed itself through the open space concept of living and open spaces that was so central to him. In the spirit of a modern form of living together is not only the attached guest apartment, but also the two overlapping L-shaped residential complexes, where the interlocking volumes of space were used as a common room and kitchen. Schindler’s new ideas for space are also evident in the way the interiors are structured with simple cubic forms, freestanding wall panels, and large window walls that open up the space to the garden area and connect them fluidly. He continues these clear design principles in the interior design as well – his simple furniture designs are an integral part of the overall concept, which is based above all on the pursuit of practicality.

In prestigious company

The formal spatial situation of the house allowed the Schindlers to live their idea of modern living together within a community. From the completion of the building in the early summer of 1922, they lived not only with the friendly couple, contractor Clyde Chace and his wife Marian Chace, until the summer of 1924, but also with his colleague Richard Neutra and his family for several years from 1925.

As a workspace and retreat for individual development, all residents had their own studio room at their disposal; there were four in total. The sleeping-porches, however, were located on the flat roof of the house, made possible by the mild Californian climate, and covered with canvas to protect them from sun and rain.

The complex natural conditions of nature were an aspect of building that Schindler always carefully considered in his planning. Originally, the house stood on extensive undeveloped land and was designed to be part of a large garden complex that corresponded with the typical expanse of the California landscape. A perfect backdrop, which over the years, despite numerous efforts to prevent this, had to give way to newly built apartment complexes.

MAK Center Los Angeles

Since 1994, the Schindler House has been operated as a dependence of the
MAK
Vienna since 1994. As a California branch, the MAK Center Los Angeles is based in three of Rudolph M. Schindler’s most architecturally significant houses. In addition to the Schindler House, the Fitzpatrick-Leland House (1936) and the Mackey Apartments (1939) will be used as sites for research, art production, and interdisciplinary dialogue. [DM]

Greta Magnusson Grossman’s footprint in the history of American mid-century design should actually be clearly defined and of impressive depth. It is therefore all the more astonishing that the Swedish-born designer, who emigrated to the USA with her husband in 1940 and caused a sensation there shortly after her arrival, was never really recognized as one of those designers who helped write the design and architectural history of the 20th century with a clear signature. Instead of clear footprints: tiny footnotes. However, if you embark on a search for clues, which is not always easy, you will discover the unique work of a far-sighted pioneer.

In 1906, Greta M. Grossman—then still Greta Magnusson—was born into a family of carpenters in the south of Sweden. The house she grew up in was built by her grandfather himself. Before studying at the renowned design and art academy Konstfack in Stockholm, she tried to continue this tradition and began training as a carpenter. Even decades later, she would always talk about how deeply rooted she felt in the craftsmanship of her parents’ and grandparents’ generation. »I have wood in my soul,« she once said in an interview with the American magazine House & Garden.

At the age of just 27, Grossman was the first woman ever to be awarded the prize for »Good Furniture Design« by the Swedish Society for Industrial Design, and she also decided to study architecture after attending Konstfack. In the meantime, she applied to join the design team of a well-known Swedish department store and was promptly rejected. The reason given was that they had no rooms for women. Grossman’s graduation, a travel scholarship that took her to Vienna, among other places, in 1931, and her start as a professional designer coincided ideally with the growing international interest in Swedish design. »The world will look up to Sweden as the supreme exponent of Modernism which has succeeded in finding its own soul and embellishing itself with a purely mechanistic grace«, declared the journalist and architecture critic Morton Shand on the occasion of the Stockholm Exhibition of 1930, which was extremely successful with around four million visitors.

SWEDISH DESIGN IN CALIFORNIA

In 1940, the designer and architect emigrated to the USA with her husband, the jazz musician Billy Grossman. As Billy Grossman was of Jewish origin and Sweden proclaimed neutrality to the outside world but maintained close economic ties with the Third Reich, the couple no longer felt safe in their home country. They traveled by plane and train through the Soviet Union, went by ship to Japan and then by ocean liner to San Francisco, where they arrived on July 27, 1940.

Interior view of Greta M. Grossman’s house on Claircrest Drive in Beverly Hills, 1956-57

She opened her first own store studio shortly after her arrival, where she showed her own designs as well as products by other Scandinavian designers, and set up shop on the world-famous Rodeo Drive in Los Angeles. Once she had built up a customer base and felt she had arrived on the Californian design scene, she decided to move her studio from the posh address to a more affordable location on North Highland Avenue in Hollywood. Her statement that she didn’t need much more than »a car and some shorts« for her new start in the USA not only became the title of a comprehensive retrospective in Stockholm (2010), but also allows conclusions to be drawn about her design philosophy. »Filling every inch of the room with furniture may seem to avoid wasted space—until you find much cannot be used anyway«, she explained with her typical clarity of expression in a 1949 interview with the LA Times. In 1945, she summed up her desire for simplicity: »Simplicity must be the keynote today in any development of the pattern of living. We cannot live in the Victorian style of yesteryear and expect to survive the pressures that go with modern life. We need to free ourselves from all décor that may hamper our outlook, if not our actions.«

Her thoughts on contemporary design were always characterized by a strong claim to functionality, which she occasionally added with a wink. In an interview with American Artist magazine, she pointed out the influence of the fact that most homeowners have to get by without employees. »So, the modern architect and designer must provide average modern housekeepers with an environment that can be kept clean without a retinue of butlers and maids… She requires simple, polished surfaces on her tables, chests, etc. No intricate carvings please, says the modern housekeeper who does her own work.« In theory, this left women, who were still much more stuck in the corset of traditional roles than they are today, more time to deal with things that were less about housework and more about self-fulfilment. Today, one could therefore say that this statement already contained a gently flickering feminist train of thought.

Coffee table Ironing Board, manufactured by Glenn of California, 1954

The success of her work was not long in coming, partly because the aesthetics of European modernism were at the top of the popularity scale in the USA at the time. In 1939, a year before her arrival, the Swedish pavilion at the New York World’s Fair had already attracted a great deal of attention. The architecture critic Lewis Mumford described it in the New Yorker as a »miracle of elegant simplicity«. According to the former director of the Isamu Noguchi Foundation and the Drawing Center Brett Littman, Grossman’s designs and her studio succeeded in merging Scandinavian Good Design with the American ideal of a Casual Lifestyle. »The Scandinavian Good Design movement really comes out of social thinking, about good design for people—we should make beautiful objects that are affordable, that people can put in their homes,« says Littman and continues: »The American modernist movement also has some of those same ideas, but maybe a little bit less of the kind of social democracy concept behind it.«

Scandinavian Good Design: Grossman’s designs, produced by Glenn of California, 1952

It wasn’t long before artists such as Frank Sinatra, Greta Garbo, Ingrid Bergman, Gracie Allen and Joan Fontaine were coming and going at Greta M. Grossman’s. She also managed to secure deals with well-known furniture companies such as Barker Brothers, Modern Line, Glenn of California and Sherman Bertram. Her work has also been shown in group exhibitions with other sought-after designers. Grossman was also known for her lavish parties and her networking skills.

COBRA AND GRASSHOPPER

During her early years in the USA, Greta M. Grossman initially concentrated on furniture and lighting design. Her designs always corresponded to the modern Scandinavian design language that American design enthusiasts were craving at the time, but at the same time always had a spark of stubbornness. The clearly recognizable influence of Mies van der Rohe and other Bauhaus artists did nothing to change the fundamental independence of her objects, the most famous of which include the two lamps Gräshoppa (1948) and Cobra (1949). The simplicity of her designs was also accompanied by a preference for technical sophistication, which can possibly be traced back to Grossman’s beginnings as a cabinetmaker. Some of their luminaires have flexible necks and swivel ball pins on the lampshades.

Gräshoppa lamp, produced by Ralph O. Smith, 1947-48

Unlike her luminaires, which can be adjusted in various ways, Grossman always remained true to her own stance. She countered the prevailing assumption at the time that women could not be assigned mechanically complex tasks, for example, in the following way: »The old idea that women are not as good as men at mechanical work is stuff and nonsense,« Grossman wrote in an issue of the American Artist Magazine. »The only advantage a man has in furniture designing is his greater physical strength.« The design of the furniture produced to this day Gräshoppa also suggests that Greta M. Grossman approached her profession with a sense of humor.

In 1952, Grossman designed a famous furniture series for Glenn of California, which she called the 62 Series because she was convinced that the series of tables and chests of drawers was easily ten years ahead of its time. The 62 Series is one of the designer and architect’s best-known designs. »What I like about her work is the kind of simplicity of it, the sophistication of the engineering, and aesthetically, sometimes they can kind of just disappear into the landscape of your apartment,« Littman notes. »They don’t necessarily call a lot of attention to themselves, but they’re all very functional and useful.«

Grossman’s architectural designs were mostly realized on structurally complicated hillside plots;

Claircrest Drive, Beverly Hills, 1956-57

At the end of the 1940s, Greta M. Grossman began to devote herself increasingly to architecture. Around 14 small houses were built in and around LA. Many of these houses, which were mostly built on structurally complicated hillside plots and of which only a few remain today, can be seen as harbingers of today’s Tiny House movement, as they were characterized by built-in features, multi-purpose rooms and numerous multifunctional interior and exterior designs. As an architect, she believed that a home should be a place of refuge and happiness, not a place to flee from. At least that’s how she summed it up in an interview with the LA Times.

MARGINAL FIGURE DESPITE REVIVAL

In 1966, Greta M. Grossman moved with her husband to Encinitas near San Diego and thus withdrew from the design scene. While she devoted herself to landscape painting, her work was increasingly forgotten. Even before her move, she repeatedly expressed disillusionment when it came to the world of architecture and furniture and product design. She said: »We have lost our searching for design that fits the time we are living in. And our design does not start from within, it starts from without. Current design is not thought through and it is not original.« Billy Grossman died in 1978, Greta M. Grossman 20 years later.

Today, Grossman’s designs are being reissued by Danish furniture manufacturer GUBI:

Gräshoppa table lamp, 2013
Gräshoppa floor lamps, 2011
62 Chest of drawers from the 62 Series, 2012

In 2012, her work experienced a small renaissance when Danish manufacturer GUBI decided to reissue some of her most iconic designs. These include the aforementioned 62 Series and the two luminaires Cobra and Gräshoppa. In the same year, one of her aluminum and brass lamps was sold at auction for 37,500 pounds. This small wave of attention did not, however, wash Greta Magnusson Grossman back into the design canon. Although she was the only female designer and architect to even run her own architecture and design studio at a time when the design and architecture scene was populated by only a handful of women, she was not declared an icon after her withdrawal from the world of design, but rather marginalized. In an article published in the magazine Art Papers essay published in 2013, author Arianna Schioldager poses the question that naturally arises: »Why has design pioneer Greta Magnusson Grossman so long remained a footnote in the annals of mid-century modern history, even in the midst of her own revival?«

Harriet Harriss & Naomi House: »Greta Magnusson Grossman. Modern Design from Sweden to California«.

Lund Humphries, 2021

In their essay »Greta Magnusson Grossman: Living in a modern way«, Harriet Harriss and Naomi House propose the following explanatory approach, among others: »In its very principles, modernism established a clear distinction between home and work, the private and the public—and so there is palpable discomfort in the non-binary position presented by professional women who occupy both spheres.« In addition, other—usually structurally anchored—factors also played a decisive role in the struggle for visibility, representation and recognition. Greta M. Grossman, who likes to dance at several weddings (and parties) and has already attended the Konstfack experimented with different art styles and materials and then also studied architecture did not seem to fit into the picture at the time, let alone into a fixed framework. One thing is certain in any case: it is worth uncovering their large footprints and not being satisfied with a few small footnotes.

In the heart of West Hollywood, between the legendary Santa Monica Boulevard nightlife district, prestigious Melrose Avenue and tranquil West Hollywood Park, rise the striking monolithic buildings of the Pacific Design Center (PDC). Designed in 1975 by renowned Argentine architect Cesar Pelli, the trio of postmodern glass buildings functioned for many years as the West Coast flagship of contemporary design. And even though the imposing building complex has struggled for many years with a high vacancy rate and a variety of image and acceptance problems, it is still considered an architecturally significant building with great relevance for the local design scene.

With its considerable size, which offers a total floor space of more than 14 hectares, the Pacific Design Center currently houses, in addition to countless office spaces, more than 70 design showrooms and presents more than 2,000 brands of the most diverse design directions, including the traditional British brands Farrow & Ball or George Smith, the design studio EuroConcept Kitchen, which presents quality brands such as Sub-Zero/Wolf or Miele, or the American Society of Interior Designers.

As early as 1975, the blue colossus, perceived by many as particularly disproportionate and quickly christened the »Blue Whale«, laid the ambitious foundation stone of the Pacific Design Center. With the »Green Building« in 1988 and the tapered modern office complex »Red Building« in 2012, the characteristic trio of buildings finally found its current form. The architecture of the PDC was always designed to combine minimalist aesthetics, form and function: Among other things, the primary-colored glass facades, which shine almost like gemstones in the characteristic Californian sunlight, are also intended to flood the spacious and openly designed interiors with sufficient light, create an appealing atmosphere and, in particular, also reduce energy consumption.

In any case, that use of glass, in combination with steel and concrete, still gives the complex an unmistakable industrial-minimalist touch, while in the interior, warm wood and marble elements have also been used in contrast to ensure a balanced, welcoming atmosphere. Between the three buildings, you’ll also find expansive courtyards designed as green oases lined with tall palm trees to offer peace and relaxation, and – like the myriad indoor event venues – serve as venues for a variety of cultural events.

Conceived as a hub for creativity and design, the enormous floor space and resulting occupancy problems over the years have also led to the arrival of many well-known companies outside the design industry as tenants, including outsourced laboratories of the nearby Cedars-Sinai Medical Center, the L.A. branch of international coworking space pioneer WeWork, and offices of the dating platform Grindr. The PDC also features two restaurants, a fitness center designed by renowned designer and architect Michael Graves, and expansive event spaces that have been used for high-profile film premieres, exhibitions, conferences, and even parties (including Elton John’s legendary Oscar afterparty).

The creative use of the available space for companies outside the design industry and the nevertheless constant occupancy problems are mainly due to the demand for (physical) exhibition facilities and spaces for design products, which has been drastically decreasing for many years, explains a spokesperson for the PDC. Critics from the local (design) community in West Hollywood, on the other hand, complain that the Pacific Design Center was designed to be disproportionately large for its purpose right from the start – and that it lacks harmony with the surrounding architectural identity of West Hollywood. Moreover, it no longer meets the requirements of a modern center for contemporary design – the atmosphere is more like that of an eighties shopping mall than that of a creative hub for design innovation, it is said. While it was once bustling with activity, one can currently walk through aisles of the center and not see or hear another person.

The PDC‘s exclusive by-appointment-only concept, which restricts access to interested parties, also seems a somewhat curious contrast to the open architecture, the self-proclaimed concept of the international creative hub, and the ubiquitous, literally open-minded spirit of the City of West Hollywood. Probably for this reason, the current operators of the design center have recognized that the identity and concept of the PDC must be redefined in order to meet the demands of the market on the one hand and to create a new relevance in the design scene of L.A. and beyond on the other. Courage to reflect and broaden horizons towards an inclusive, cosmopolitan center for diversity and creativity – in keeping with the original intent. [Red.]

The selection of design accommodations is based primarily on the stylistic characteristics typical of the design school: purist architecture, characterized by strict geometric shapes in which form follows purpose. Designed for a new, modern form of living together, whose specific structural implementation – in seemingly wise anticipation – seems tailor-made for the current steadily growing sharing economy. Airbnb hosts around the world invite travelers to experience this modern architecture, which is deeply rooted in our everyday lives, in an authentic way.

A VILLA BY WALTER GROPIUS

This Walter Gropius-designed villa near Boston is a true gem for Bauhaus lovers.
Location: Bedford, USA

MASTERPIECE BY HARRY SEIDLER

Built by Harry Seidler in the Southern Highlands, one of the first architects to apply Bauhaus principles in Australia. Location: Joadja, Australia

ARCHITECTURE AND CONSERVATION

Surrounded by a nature reserve near Poznań, the clean lines and minimalist approach are the perfect expression of the formal purity and functionality of the Bauhaus style. Location: Poznań, Poland

THE WOLFHOUSE BY PHILIP JOHNSON

Designed by architect Philip Johnson and featuring breathtaking views of the Hudson River.
Location: Newburgh, United States

A HIDDEN COUNTRY HOUSE

This Bauhaus gem is just an hour from Montreal and overlooks a lake with a private dock.
Location: Saint Jean de Matha, Canada

For those looking to discover even more design-rich accommodations, the »Design« category on Airbnb includes nearly 30,000 listings that allow guests to experience outstanding architecture, affordable luxury, and inspiring decor. [Red.]

Vienna in transition

Loos Bar, originally titled Kärntner Bar  or American Bar, opened in 1908 as one of the first »American Bars« in Vienna. Thus, the bar was part of a movement that first introduced Viennese nightlife to American-style cocktail bars and British gentlemen’s clubs. Furthermore, the bar created an alternative space to the more sophisticated coffee house. Originally, Loos Bar  was exclusive to male visitors, but this changed just five weeks after the opening. As Claire Loos, Adolf Loos’ third wife, describes in her memoirs: »The women forced their way in.«

The beginning of the 20th century in Vienna was characterized not only by political and social tensions, but also by different artistic movements and conflicts. While the Wiener Werkstätte aesthetic dominated in art and architecture, Loos Bar exhibited avant-garde approaches in its design, which, however, could not entirely escape the influence of the Secessionists.

Structures and breaks

Entering Loos Bar, an illuminated mosaic sign first tilts down from diagonally above at the entrance, revealing the words Kärntner Bar  against the backdrop of the U.S. flag. Four marble columns frame the windows and entrance, separating the outside from the inside of the bar. Inside, checkerboard-pattern floor tiles meet square panels of onyx over the entryway, a coffered ceiling, and dark marble columns that evenly texture the space. At approximately six by four meters, an intimate atmosphere is created through dark color schemes, targeted lighting and materials in their original state. While mahogany wood clads the lower half of the walls, the upper half of the room breaks with the limited space through visual expansiveness. The graphically uniform marble frieze repeats seemingly endlessly in the mirror covering. The furnishings consists of the bar that runs the length of the room, low seating in green leather and eye-catching tables with octagonal plates made from illuminated frosted glass.

Marianne Kohn, known as the »Queen of the Night« and manager of the Viennese cult club U4 in the Eighties, took over Loos Bar  as managing director in 1995. Under her management, the bar established itself as one of Vienna’s most important cultural spots – Kohn herself describes it as an institution. There is only one  bar in Vienna, people tend to say about Loos Bar. For one thing, its unique position is due to the incomparable atmosphere in a confined space, and then also to the diverse clientele, which ranges from well-known personalities and architecture lovers to curious admirers. [LM]

For the realization of the »Green City in the City« concept, the site of the abandoned Matarazzo Hospital was chosen, situated in a prime location near Avenida Paulista, one of the city’s most important boulevards. On a total of 45,000 square meters, 10,000 trees were planted, the existing hospital buildings were renovated and converted, and additional new buildings were also constructed to create a place of environmentally conscious well-being. Besides offices, apartments, restaurants and hotels, Cidade Matarazzo also includes cultural and conference centers, a campus and an organic supermarket. The project can claim to be Brazil’s largest monument restoration to date.

Mata Atlantic Tower by Jean Nouvel

The Cidade Matarazzo proves that ecological awareness and design standards are not necessarily mutually exclusive. The most striking building in the complex is probably the newly built Mata Atlantic Tower, a 32-story skyscraper designed by Pritzker Prize winner Jean Nouvel. With 200 trees up to 14 meters forming a vertical forest along the facade, the tower is not only an architectural work of art, but rather a political statement and a symbol of resistance against the destruction of nature, which has reached its sad climax in recent years under Bolsonaro. Rosewood Hotel São Paulo, one of the city’s most luxurious hotels, is located inside the vertical forest. None other than Philippe Starck is responsible for the interior design of the hotel, which includes Nouvel’s tower and a renovated villa that was formerly a maternity ward.

Starck’s signature is unmistakable, but in keeping with the project, it appears more nature-oriented than one is used to from him. This is probably due to the fact that Starck was encouraged by the inventor and founder of Cidade Matarazzo, Alexandre Allard, to work exclusively with Brazilian raw materials. Wood is omnipresent as a material, naturally deriving from sustainable and local cultivation. During the construction process it was already clear to keep the carbon footprint of the project as low as possible by avoiding long transport routes of materials.

A holistic concept

Cidade Matarazzo is not just about appearances, which is proven by the holistic approach in which the project was created. While star architects and innovation hubs generate the necessary public attention, it is the less obvious structures that significantly shape the project. What is not immediately apparent to visitors at first glance is that the entire facility is powered exclusively by renewable energy. Moreover, the company has invested in its own water reclamation system to save resources. In addition to a completely sustainable supply chain for the facility’s restaurants, a program has also been initiated to train farmers in organic farming and make them aware of the dangers of monoculture. In the near future, new sustainable methods and technologies will be tested and other farmers will be trained on a model farm belonging to Cidade Matarazzo. So there is no question of greenwashing in the luxury segment; Cidade Matarazzo is in fact a successful attempt to combine aesthetics, innovation, enjoyment and sustainability. [AD]

Whether as an actress in the theater or as a photographer, for Anastasiia Duvallie, telling a story credibly requires a mixture of an unconditional desire for personal expression and raw honesty. In her spontaneously created series of photographs, she takes a look at Philip Johnson’s Glass House shaped by the theater stage and, as the director of the series, intuitively follows the given architectural conditions. The result is a seemingly intimate work that also makes the presence of the person behind the camera palpable.

Chapter Originally being a theater actress, how has your background in drama shaped your visual aesthetics?

Anastasiia Duvallie Being in drama for almost 14 years, I feel like what it taught me is less about visual aesthetics and more about the internal reality. I learned a lot about myself and people in general. It made me become more comfortable with being uncomfortable––staying open and honest should be a goal in any form of art.

When it comes to photography my theater background helped me realize what »connection« actually means, in terms of how much you are able to feel and how deep you can dig. Sometimes it feels scary to know how much I’m telling through my work, especially photography, but it still feels safe in a way that nobody really knows about it. On the other hand, performing a story on stage you might think it is somebody else’s, but it is still you reacting to different circumstances. I think, photography in itself is even more vulnerably honest since you are the one creating it following your own story. In that sense, even commercial work feels personal to me. In conclusion, I think before creating anything we should just find the »human« inside us, not creativity but literally a human with its body and soul––and that’s the blurred line for me between theater and photography.

Chapter Your images of The Glass House built by Philip Johnson seem very much like an imaginative reflection of the actual architecture and linear composition of the interior––how did this series come to life?

Anastasiia Duvallie Thinking about it, I realized it is not easy for me to answer that question because at first it wasn’t about the house but me wanting to be surrounded by nature. The Glass House attracted me by its simplicity and quiet respectful interaction with nature––co-existing in balance, complementing and granting each other space to breathe. When I came there I did not have a plan as what to create, it was very intuitive and maybe that is why the outcome looks like a personal reflection of the actual architecture: I did not try to do something seemingly artistic––I was trusting the space and followed its geometry.

Chapter Being an autodidact in the field of photography, what role do intuition and emotion play in the process?

Anastasiia Duvallie I feel both intuition and emotion play a major part in the process. Without connecting and listening to your inner self, the creations are meaningless. In a modern world, following your intuition and trusting your emotions is risky and very scary which is why I feel like even photographers considered as being good at what they do sometimes are playing on the safe side by just offering trained skills. Transporting feelings comes from opening up and taking that emotional risk in your art. If the outcome isn’t what you intended it to be or even bad, at least you were honest with yourself which means you are being honest with others too.

Chapter In general, how much do you think the evolution of artistic expression is tied to personal growth?

Anastasiia Duvallie I think it is so deeply connected. When I look at my early photography starting 2017 I can tell how new to this world I was as my photography was very experimental. Thinking back, I feel like I just didn’t want to reveal too much of myself or maybe I just didn’t know how to do it. I believe that photography as art is about love and wisdom. Those two things take on different meanings throughout life, changing and evolving the artist’s work by reflecting the concept of it continuously.