In the Boros residence – a former Second World War air raid shelter built in 1942 in central Berlin – visitors can easily lose their way in the maze-like corridors of bare concrete.
Bullet holes from the Second World War testify the historical significance of the building. The heart of this hermetic concrete cube contains an exhibition of contemporary works from the private collection of ad agency founder and publisher, Christian Boros. In order to create a suitable space for the collection, architect Jens Casper deconstructed the 3,000 square meter bunker, which was once devoid of natural light, transforming it into a complex room arrangement. The glass superstructure of the penthouse is the polar opposite of the cube’s massiness.
There, Christian and his wife, Karen, live with their son amidst paintings by Elizabeth Peyton and a series of installations by groundbreaking artists such as Olafur Eliasson. It is a dream home that once seemed impossible to realize, but has now become an art manifesto for Berlin’s historical Mitte district, where change is the norm.
Boros Collection, Edited by Boros Foundation, Photographs by Noshe, German, English, 2009. 198 pp., 68 color ills. 24 x 32 cm, hardcover, ISBN 9783775724784
Buy the book: Amazon
Job Smeets and Nynke Tynagel have renovated and converted a 1960s villa into a home-cum-museum. To add authenticity to their restoration of the villa, the designers tracked down the same model of car owned by the previous occupants – a 1972 Ford Taunus GXL Coupé – which now sits in the garage, ready for use.
Studio Job House, Bergijk, Netherlands, via: Wallpaper, Photography: R. Kot
“During the London Design Festival, The Victoria & Albert Museum invited us to intervene in any space we wanted within the Museum: the result is Textile Field an installation 30 meters long and 8 meters wide which takes over 240m sq of the floor of the famous Raphael Cartoons Gallery.
“An invitation to lascivious reverie. Our intention is to propose a different, casual approach to freely experience what can be a quite intimidating environment, such as a museum. We conceived an expansive, coloured foam and textile piece with gentle inclinations to produce a sensual field on which to comfortably lounge while meditating on the surrounding Raphael Cartoons. Everyone can immerse into this temporary installation, for a minute, an hour or more, that is the idea. No efforts, no apprehension just contemplation.”
A renowned photographer in the fashion industry, Stéphane Laniray travels to Tokyo twice a year. Stuck for long hours in his hotel room, waiting for the next runway event to be shot, the French artist decided to stave off boredom in going out and taking pictures of the city. The Tokyo Architecture series resulted of his wanderings around town. Private dwellings, government buildings and offices, public lighting or factories attracted the eye of Laniray, particulary fond of architecture, and a great admirer of Mies van der Rohe’s achievements.
Tokyo is stripped bare of any explicit representation (crowded and extremely lively, but also suffocatingly hot at the time the series was shot). Each image is multiplied, distorted into a renewed evocation, unleashing imagination. Far from cliché representations of Tokyo, Laniray’s quest for urban poetry reveals the raw beauty of a wall covered in graffiti, and turns a glass building into a finely shaped diamond. In most of the photographs, human beings are nowhere to be seen; a line of trees or tangled electric wires design a whole new urban story. Focused on actual details, the artist depicts a fantasied rendering of Japan’s capital city. Stéphane Laniray, whose pictures can regularly be seen in prominent Interior decorating magazines, owns and runs the Anorak Gallery in Paris.
(Journalist Elodie Palasse-Leroux is the founder and editor of Sleek design)
Tokyo Architecture, by Stéphane Laniray
Designer Taku Satoh recreated a 3-dimensional version of the Japanese alphabet by stacking numerous layers of paper.
The case is a simple cube, with a surface covered with no space matching geometric ornaments produced by CNC-woodturning. So beside the storage function there is originated a new, unusual, powerful abstract sculpture-looking furniture. At a first glance it’s not visible that the furniture hides a relatively large storage place inside due to the optical illusion of the ornaments. The case is diagonally symmetrical, so the storage section can be covered with the lid rotated 180 degrees. Cube Illusion was selected on IFDA Asahikawa 2011 as finalist.
Nature is not evil, it´s ugly. Thats why we have gardens.
It´s like ok, but we can do it a little bit better by arranging everything.
We are obsessed by tetris, order and man-made systems.
Mother Nature, Cliff bird, Model of Surroundings, Modern Painters, Endless Growth,
by Axel Brechensbauer
When race car driver and auctioneer Herve Poulain asked his friend, artist Alexander Calder, to paint the BMW 3.0 CLS that he would race in the 1975 Le Mans endurance race, it was the beginning of a truly gorgeous concept. Calder’s design of the BMW 3.0 CSL was the first Art Car ever, and one of his last works of art before he died in 1976. His rendition of the BMW Art Car boasts powerful colors and attractive curving expanses, which he applied generously to the wings, hood and roof.
Calder saw his art in action when he attended the Le Mans 24-hour race as a guest to witness his work’s premiere.
BMW 3.0 CLS Art Car, for the 1975 Le Mans Endurance Race, by Alexander Calder
via: City Furniture