istanbul – DesignApplause

talking to michelle boone on chicago’s first architecture biennial.

Oct 2, 2015

It’s hard to believe that 2015 is the launch date of the first Chicago Architecture Biennial. With so many major worldwide architecture & design events going on and with Chicago’s architectural heritage being one of the richest in the world, this event will serve as the epitome of ‘it’s never too late.’ We talked to the biennial’s resourceful, Michelle Boone, Commissioner of the City of Chicago’s Department of Cultural Affairs and Special Events (DCASE), after an exhilarant, worldwide audience filled, first press event. Many would say she’s 100% responsible for this inaugural happening.

[DesignApplause] What’s the genesis of the Chicago Architecture Biennal? How far back does it go?
[Michelle Boone] I was appointed by Mayor Emanuel in 2011, and I would say probably that second week of my tenure I got a call from the mayor wanting to work towards identifying a new platform, a major platform to convene the world and celebrate one of Chicago’s multiple assets. And very quickly through the process of working on the Chicago Cultural plan released in 2012, we landed on architecture. That while we had great organizations like the Chicago Architecture Foundation, and others that were doing their part to introduce visitors to Chicago institutions and Chicago Architecture history, the city itself had done very little to really promote architecture. We had great music festivals, engaging theatre programs and grant programs in support of individual artists, but as an agency very little for architecture, one of the city’s cultural strengths. And professions! I mean, just the sector of architecture as a creative industry is really important to the city. So we began to explore and look at biennials and exhibitions around the world.

[DA] And what year was this?
[MB] 2012. We went to Venice, the granddaddy of them all and met with those folks and they were very encouraging. And you know, they were shocked and surprised when we told them Chicago wasn’t doing a biennial. Every time we spoke to someone outside of the city, we heard that over and over. Through this process and along with our very encouraging and supportive local architecture community we’re here today kicking off our biennial. Looking back it was very easy in the beginning pulling the pieces together, but then we had to do the hard work of pulling everything together.

[DA] To summarize, how long has it taken to get to today?
[MB] We’ve been working on it for three years, in different iterations. The exploration, research, the ideas started back in 2012. I think Sarah (Herda, executive director of the Graham Foundation) coming on board, and really starting to massage the artistic vision for the biennial probably started in late 2013. So, yes, I think the work that she and Joseph (Grima, an architect and writer who co-curated the 2012 Istanbul design biennial) have been engaged in has been at least 18-24 months for sure.

[DA] Venice started in the 80s. The experts say you have 10 years, and with the biennial occurring every-other year, that’s 20 years. Are you going to hang in there?
[MB] Well, the Biennial will hang in there (laughing) I don’t know if it needs me to hang in there all that time. What’s very important, we started right from the beginning establishing the Chicago Architecture Biennial as an organization, an independent non-profit to ensure the sustainability of the event. It’s not dependent on me being here at the city of Chicago, or Mayor Emanuel being here, but that the organization will build the institutional intrastructure to be able to carry this on.

[DA] You’ve been able to see all the installations, can you point me to one or two?
[MB] There are a lot of cool things here and one of the coolest to me is the installation with spider webs, so the spider as architect (Tomas Saraceno, Berlin) is pretty interesting to see.

above> – click image for slide show; Tomas Saraceno, Berlin – When entering into Saraceno’s installation, a visitor’s perception is reoriented in a darkened environment dotted with glowing sculptures that are articulated in silvery spider silk. Formed of complex interwoven geometries suspended in air, each piece appears as a unique galaxy floating within an expansive, infinite landscape. The work’s titles reveal the technical basis for each sculptural element, like the genus and species of the spider collaborators and the amount of time needed to construct their webs – one four months. During the building period of a sculpture, each cube is turned onto its different sides, dislodging gravity and interweaving concepts of freedom of control within the work.

[DA] Anything else you wish to say?
[MB] It’s free! One unique thing about our biennial in comparison to some of the others around the world, is that all of the works are free and accessible.

[DA] How did the largest architecture and design festival ever to be held in North America press conference go?

The [ Chicago Architecture Biennial ] launches 3 October 2015, and will run through 3 January 3 2016. @chicagobiennial @grahamfound

video presentation & report – new national stadium tokyo. zaha hadid architects.

Aug 26, 2015

In November of 2012 Zaha Hadid Architects (ZHA) is selected from 46 submissions by the jury of architects and experts as the winner of the international completion for a New National Stadium for Japan. The venue is to last the next 50-100 years and that it would host the 2019 Rugby World Cup as its first event, then the Tokyo Olympics-Paralympics if Tokyo was awarded the 2020 Games.

This past July 2015 the National Stadium and ZHA experienced many new announcements, as you might expect, including: The New National Stadium Advisory Committee ministers approving the design and budget of the stadium; Prime Minister Abe announcing his commitment to building the stadium designed by ZHA; The Japanese Government deciding to scrap everything and start over.

The original stadium proposal is both admired and polarizing. The noise generated by architectural notables is worth noting: Tadao Ando, a 1995 Pritzker winner, chairman of the competition selection panel said of the winner: “The entry’s dynamic and futuristic design embodies the messages Japan would like to convey to the rest of the world.” He added: “I believe this stadium will become a shrine for world sport for the next 100 years.”

But there are equally notable detractors, 2013 Pritzker winner Toyo Ito and prominent Japanese architect Arata Isozaki saying it reminded him of a turtle. Another likened the proposal to another kind of animal.

“Why do we need this white elephant?” said Fumihiko Maki, a 1993 Pritzker winner. “Tokyo is not a zoo.”

There was additional noise that the winner of the National Stadium was not from Japan. But the finalists were in fact well-vetted: The Japan Sport Council, owner of the Kasumigaoka National Stadium, selected a total of 11 out of the 46 entries for the international design competition to update and remodel the venue in preparation for Tokyo’s Olympic and Paralympic Bid and the IRB 2019 Rugby World Cup. The 11 finalists were renown offices from Australia (1), France (1), Germany (1), Great britain (2), Japan (4), Netherlands (1), and Turkey (1).

Arguably, a most compelling bad vibe was the estimated 2020 finished product $2 billion price tag, supposedly even after a redesign in 2014 by ZHA.

The Tokyo stadium faces another challenge: It must avoid becoming an economic burden by carving out a life as a sports resource long after closing ceremonies. The most recent example is the London Aquatics Centre for the 2012 London Olympics. On 1 March 2014, the centre was opened to the public. Architect of record: ZHA.

So here we are today in late August 2015, with ZHA submitting a thorough revisiting of the project brief, which correctly asks for an 80,000 seat solution to sit on a tight parcel of urban real estate. The architect affirms the price-tag problem is not the design but the non-competitive bidding process and inflationary economy that is Japan at this point in time.

Admittedly, I had concerns with this concept in this venue at first glance. Will the stadium encroach on the nearby historic Meiji Shrine, built in central Tokyo in the early 20th century to commemorate Emperor Meiji. The arena will occupy part of the shrine’s outer gardens, which preservationists say leaving no breathing space and raising traffic and safety concerns.

above> the original national stadium that hosted the 1964 olympics is the oval in the red plot – seating capacity 55,000. below> the new seating bowl with and w/o roof exoskeleton – seating 80,000.

Let’s consider everyone craving an efficient and smart solution, which in fact may be sitting dead center right in front of them. The concept sketches draw much more attention to the building than what will really be. And the façade where the structure is not only expressed but inhabited. A series of diagonal stairways and elevated walkways are developed into the envelope of the stadium that function as a stadium on event days and other days it’s an extension of the pedestrian landscape of the Gainen area, allowing extended walks and elevated views over Tokyo.

above> a pedestrian landscape of the Gainen area, allowing extended walks and elevated views over Tokyo. below> carving out a life as a destination for many interests, a rock concert for example, long after closing ceremonies.

Hence, the more I understand the proposed solution, understand the considerable change the new speaks to the old, there is much more right than wrong. The proposal is worth another look.

Lest we forget, the brief also asks for a 50-plus-year lifespan at minimum. Who can’t envision the future landscape shift around this building – because of this building. We’ve learned the new and significant speaks to future ambitions.

Official ZHA Statement> [ zha / new national stadium report august 201 ] outline in detail the unique design for the New National Stadium which has been developed over two years to be the most compact and efficient stadium for this very special location in Tokyo. Zaha Hadid Architects welcomes a new contractor bidding process for the New National Stadium to reduce costs and ensure value for money in terms of quality, durability and long-term sustainability.

Designed by Zaha Hadid Architects and our Japanese partners, the New National Stadium contains all the knowledge and expertise gained from the team’s direct experience of other Olympic, World Cup and World Championship stadia. The substantial investment in time, effort and resources already made by the Government and people of Japan into the existing team over the past two years ensures the New National Stadium can be completed in time to welcome the world to Japan in 2019 ahead of the Tokyo 2020 Olympic and Paralympic Games, and become a new home for sport for many future generations of Japan’s athletes, sportsmen and women.

[ prologue ]
September 2011> Tokyo submits their bid for the 2020 Olympic Games. Istanbul, Madrid and Tokyo are later shortlisted.

November 2012> Zaha Hadid Architects (ZHA) was selected from 46 submissions by the jury of architects and experts as the winner of the international competition for a New National Stadium for Japan to last the next 50-100 years and that would host the 2019 Rugby World Cup as its first event, then the Tokyo Olympics-Paralympics if Tokyo was awarded the 2020 Games.

September 2013> International Olympic Committee (IOC) announced Tokyo as the host city of the 2020 Olympic Games.

June 2014> ZHA submits a redesign responding to new budgetary restraints. The modifications include downsizing (the 80,000 seat capacity remained the same), a lower profile and lighter and sustainable materials.

Spring 2015> The old stadium which hosted the 1964 Olympic Games was demolished. (Surveys of the old stadium had found the original 1958 structure in considerable disrepair. Simply to meet current seismic and safety codes would have required an investment of at 100 billion yen alone. Further investment was also required for improvements to the facilities for athletes, spectator sight-lines and amenities, and to increase capacity from 55,000 to 80,000.)

7 July 2015> The New National Stadium Advisory Committee ministers approves the design and budget of the stadium.

10 July 2015> Prime Minister Abe announced his commitment to building the stadium design by ZHA.

17 July 2015> The Japanese Government decides to go back to the start on the New National Stadium.

25 August 2015> ZHA / New National Stadium Report August 2015 is submitted.

[ new national stadium video presentation ] [ zha / new national stadium report august 201 ]

a preview of the future… zoë ryan. graham foundation.

Nov 13, 2014

event> a preview of the future…
venue> graham foundation | madlener house 4 west burton place chicago 312.787.4071
date> 17 november 2014 | 6p cst

under the overarching title, the future is not what it used to be, the 2nd istanbul design biennial explores the potential of the design manifesto to envision and interrogate the future, now. in our contemporary context of rapid social and political change, how might design manifestos address larger issues while remaining grounded in everyday life? could the manifesto move beyond its western origins and incorporate ideas from across cultures? are new forms of media generating new forms of manifestos? zoë ryan, john h. bryan chair and curator of architecture and design at the art institute of chicago, and curator of the 2nd istanbul design biennial, will discuss its making, which is on view through december 14, 2014.

zoë ryan is a curator and writer. she is the john h. bryan chair and curator of architecture and design at the art institute of chicago where she is building the museum’s first collection of contemporary design and expanding its architecture collection. her recent exhibitions include building: inside studio gang architects (2012); fashioning the object: bless, boudicca, and sandra backlund (2012); bertrand goldberg: architecture of invention (2011); and hyperlinks: architecture and design (2010). prior to working at the museum, ryan was senior curator at the van alen institute in new york. ryan has authored and edited numerous publications, including, building with water: designs, concepts, visions (birkhauser press, 2010). ryan is often called upon as a juror and critic and has lectured on her work internationally. she has served on the advisory committee of the experimenta design biennial in lisbon, and has been a juror for the national design awards, cooper hewitt national design museum and the wheelwright fellowship, graduate school of design, harvard university. ryan is an adjunct associate professor in the school of design at the university of illinois at chicago and is a lecturer in the art history department of the school of the art institute.

this talk is presented in partnership with the architecture & design society of the art institute of chicago.

designapplause talked to zoë leading up to 2nd istanbul design biennial [ more ]

zoë ryan: the future is not what it used to be. 2014 istanbul design biennial.

Oct 15, 2014

zoë ryan | courtesy the art institute of chicago/ portrait by cynthia lynn

Zoë Ryan is the John H. Bryan Curator of Architecture and Design and Chair of the Department of Architecture and Design at the Art Institute of Chicago. I’ve been trying to catch her for almost four months to talk about the curator appointment of the 2nd Istanbul Design Biennial coming up in October 2014. We talk following her break-out session with formlessfinder at Design Miami: [ff] won this year’s commission to build the entrance to the Design Miami pavilion.

[DesignApplause] Zoë, have you had a chance to get around Design Miami?
[Zoë Ryan] I’ve only had a small window before this talk, then I’ll head back out and start walking around.

[DA] This is my fifth year coming to Design Miami. I am sort of yearning for something more experimental.
[ZR] I mean, I would say, it’s difficult in this environment, but if you go back to Galerie kreo, they have one or two pieces from Hella Jongerius and one or two pieces from Wieki Somers which came from really experimental exhibitions. They’re kind of one or two from a big collection that they had produced that was shown in Paris. They were really fantastic. I thought that especially the Wieki Somers, um, these hybrids, furniture-lighting- not even sure what they are pieces- they were very exciting for me to see.

I also really enjoyed Volume Gallery and their show with only featuring Jonathan Muecke. I thought it’s quite daring to do a solo show. But in this environment, it really works well. It’s very legible, you get to see a great breadth of work. I think they’ve taken a lot of time. Their collection is very rigorous. It shows the breadth and depth of work, and for me, that’s what I’m looking for. Of course, this is a very specific environment to see this work in but I’m also very interested in.

I want to go see the Charlotte Perriand house on the beach that’s at the Raleigh Hotel, which is going to be hopefully a fantastic piece to see. I’ve never walked through the Herzog & de Meuron parking facility and check out the ‘Art Drive-Thru’ (Colette & Alchemist) installation. I’m curious about the new piece (Phare No. 1-9) by Simon Heijdens, who, you know, we’ve worked with in the past, who seems to know no bounds of his own dexterity as a designer. So I’m excited about that.

In terms of new experimentation, and also I think that’s where- for me- Miami excels is in these types of projects. Projects like formlessfinder’s and the Perrier-Jouët sponsored Simon’s project, are brilliant, where really those are the types of designers that are going to take this opportunity and really do something terrific with it. And something that really relates to their practice and helps them move their practice further, not only something that’s really rigorous and makes a lot of sense for them, and they get as much out of it as they give to the sponsor who’s sponsoring them. And I think more of that kind of sophistication is really needed. What have you seen?

[DA] You’ve given me new glasses to look through. The Swarovski Crystal Palace collaboration with Guilherme Torres creates ‘Mangue Groove’, an insightful installation inspired by mangrove trees to remind us of aquatic conservation efforts surrounding mangrove ecosystems in Brazil. Carpenters Workshop Gallery instilled the concept of time with two creatively fun video/grandfather clocks by Maarten Baas and rAndom created ‘Study of Time’ a mezmerizing illuminated digital wall hanging. Off-site there’s the ‘Untitled’ tent, the venue ‘finally’ on the beach and in Windwood there’s great graffiti art everywhere.

You mentioned Galerie kreo. They’re debuting a Poltrona di Proust armchair, first created by Alessandro Mendini in 1978; this version is in gold Bisazza mosaics. I’m not crazy about gold glitter. kreo director Joanna Frydman said, “It fits entirely with the luxurious mood of the fair.”

Can we talk about Istanbul? – Did this commission come out of nowhere for you?

[ZR] (Laughing) Yes, this came out of nowhere. So, in about- I don’t know- May of this year, I got an email from them asking if they could speak with me about the Biennial. I thought they were calling to ask about different projects and designers to work with, so I was all geared up for that. And then the next day they call again and asked me to curate their event and I was a bit, I was absolutely flabbergasted, but of course really excited.

It took me a minute to think on my good days, am I going to be able to do this project justice? And also will my boss, the Art Institute, allow me to do this? The museum is very committed to find work from other parts of the world and becoming more international, and definitely getting into parts of the world that have been, you know, largely ignored or overlooked.

One of the reasons why I was so excited to do the project was to work in Istanbul, a place that I’ve been to many times before, but never worked there, but somewhere I’ve always been a big fan of. And also to find that there really is a very thriving community of architects and designers there, which have a lot to give to the rest of the world and are really not known to the rest of the world. So that was really fantastic.

[DA] The theme ‘Manifesto’, was it given to you?
[ZR] No, absolutely not. When they came to me I asked for a few months to work on the title and the theme, and I was given complete carte blanche. I sort of floated some concepts past them last month- November. But I also went to Istanbul with my associate curator, Meredith Carruthers, who I hired, and we set out a number of different roundtable discussions with many, many architects and designers in the city, to get to know them and for them to get to know us and to start to throw ideas around. I already had in my mind what I wanted to- I love the history of manifestos, but I really wanted to rethink: what does it mean to have a manifesto today?

below> SIBLING reinstalls its video ‘The Encounterculture’, a manifesto of sevens ways to participate. The film, made in collaboration with Nicole Rose, is re-configured with eight tear-away propaganda posters that see the manifesto travel from the gallery wall out into the streets.

And the title of the Biennial is actually ‘the Future is Not What It Used to Be.” And it’s a way for us, I think we’re in this really critical moment, where we should take stock of where we are, where we’ve come from, and where we want to go. And we were using the manifesto really as a platform where we’re inviting architects and designers to rethink and revisit the history of manifestos, but propose ‘what is a conceptual design manifesto?’ You know, manifestos, towards the end of the 20th Century, seemed really outdated. They seemed naive, at best. And they were often very violent and destructive, they didn’t care about consequences. And so how can we use that talk and perhaps turn it around and reclaim it for our time?

Because I felt we’re in a moment where we do want both big and small ideas, but designers and architects really need to show that they can help us identify issues, work through issues and, at best, overcome issues. For example, how can the manifesto be something that deals with everyday realities, talk about the negative and positive consequences, look at the present yet potentially propose ideas for the future? A key- the manifesto does not need to be a text. It could be a project, it could be a provocation, it could be a service, it could be a publication. I mean, we’re looking for all kinds of projects that will make up the Biennial.

[DA] What’s your timeline?
[ZR] We’ve just launched the call for ideas, that’s gone online. And there’s a two-part call for ideas. The first part is the short statement and it’s about what your manifesto is, a few images, and what kind of platform or medium you want it to be in. And the deadline for that is February 1. And then we will circle back after that and start working individually with studios.

[DA] What are the expectations and criteria for the role of the curator? What’s the schedule for you going to be? How are you going to communicate with everyone to pull it together?
[ZR] Well, there are no hard and fast rules. I’ve been to Istanbul three times already, and I have my associate curator. There’s a team in Istanbul, there’s a foundation team that runs the Biennial. I’m building an international advisory. We have an informal advisory now in Istanbul. And we’re going to continue the idea sessions. We’ll be meeting at least once a month.

[DA] Zoë, is there anything you want to say that we didn’t talk about?
[ZR] Designers, we need you!

[ at-a-glance ]

below> Defne Koz, Marco Susani presents ‘Justaddwater’, their vision for the future of the food experience, where smart appliances meet creative gastronomy.

courtesy koz susani design

below> Turkey has had its share of earthquakes and there are earthquake kits available. In response to this need designers Jessica Charlesworth and Tim Parsons, who are looking at everyday surivivalism for different scenarios create a project called ‘New Survivalism: Alternative Bug-Out Bags’.

courtesy parsons & charles- worth

below> ‘Becoming Istanbul’ by Superpool and Project Projects, explores contemporary Istanbul through an interactive database of over 400 artists’ videos, photography series, documentaries, news reports, cartoons and architectural projects.

courtesy superpool & project projects

below> architect/designer Elena Manferdini serves up ‘Still Life to Living Pictures’ using digital rendering at the scale of architecture to create a space of aesthetic reflection, asking the viewer to be both critical and complicit in this transformed environment, to suspend disbelief and enter the imaginative space of the backdrop, but also to “break the fourth wall” and inspect the surface of her illusion.

updated / just in from istanbul sent by iphone | courtesy elena manferdini

[ participating designers and projects announced – updated ]

 ’The Future Is Not What It Used To Be’ hosts 53 projects that ask: “What is the future now?”  By rethinking the manifesto as a platform to frame pertinent questions, the projects question the role of design, its relationship to society, and its ability to be an active agent for change.

The exhibition at the Galata Greek Primary School, the hub of the 2nd Istanbul Design Biennial, will spread over all five floors of the school, an area of approximately 2,300 square meters.  The projects imagine new possibilities that can transform the present and invite new potential futures. Arranged in five departments— Personal, Norms and Standards, Resource, Civic Relations, and Broadcast — the projects question the manifesto as a platform for situating ideas and pointing to new directions.

[ personal department ] The Moonwalk Machine—Selena’s Step, Sputniko!
Consider Beauty, Studio Frith & Thirteen Ways
Still Life to Living Pictures, Atelier Manferdini: Elena Manferdini
Jardin d’hiver, Dice Kayek: Ayşe Ege and Ece Ege
In The Future, Everyone Will Be Heroic for 1.5 Minutes, Sarraf Galeyan Mekanik: Memduh Can Tanyeli, Erhun Erdoğan and Emine Seda Kayım
BIRDY 2214, Meriç Canatan and Fatosh Erhuy
Ownership of the Face, Kristina Cranfeld
Manifesting the Look of Love, Haelo Design: Helen Maria Nugent and Ron Kirkpatrick
Poly, giffin’termeer: Jess Giffin and Jim TerMeer
Mapmaker Manifesto, Stamen Design: Beth Schechter and Eric Rodenbeck
New Survivalism, Jessica Charlesworth and Tim Parsons

[ norms and standards department ] N°41 Workoutcomputer, BLESS: Desiree Heiss and Ines Kaag
Dyslexie Typeface, Christian Boer
Nap Gap, J. Mayer H. und Partner, Architekten: Jürgen Mayer H. with Wilko Hoffmann and Julien Sarale
smart design (. . .) smart life, Jacob de Baan, Giorgio Caione and Rianne Koens
Justaddwater, Koz Susani Design: Defne Koz, Marco Susani
LEPSIS: The Art of Growing Grasshoppers, Mansour Ourasanah
Designing for the Sixth Extinction, Alexandra Daisy Ginsberg
New Energy Landscapes, Sean Lally
Incomplete Manifesto for The Night, Clio Capeille
Towards a Universal Mundane Manifesto, Emmet Byrne and Alex DeArmond

[ resources department ] A Reading Room, Future Anecdotes Istanbul: Can Altay and Aslı Altay
Open Manifesto, FormaFantasma: Simone Farresin and Andrea Trimarchi
Palamut Timeline, Didem Şenol of Lokanta Maya and Gram, with Elif Esmez, Esra Aca
Rebuild the Electronic and Digital Tools, Coralie Gourguechon
NASALO Dictionary of Smell, Sissel Tolaas
This sea of sugar knows no bounds, AVM Curiosities: Tasha Marks
Hacking the Modern Kitchen, Gastronomika
Diario, Moisés Hernández
knowledge-tools-memory, Studio mischer’traxler: Katharina Mischer and Thomas Traxler
Crafted in Istanbul, Seda Erdural, Barış Gümüştaş and Bilal Yilmaz
Repair Society, Gabriele Oropallo, Joanna van der Zanden, and Cynthia Hathaway
Cultures of Assembly, Studio Miessen
Imagining Our Shared Future, Atatürk Library, Alexis Şanal and Ali Taptık

[ civic relations department ] Public Drawing, Atelier Bow-Wow: Yoshiharu Tsukamoto and Momoyo Kaijima
Use of Shores, a Micro-Manifesto on Micro-Urbanisms, İyiofis: Elif Ensari and Can Sucuoğlu
The Moment for the Generic is Now, fala atelier: Filipe Magalhães and Ana Luisa Soares
#occupygezi architecture, Architecture for All (Herkes için Mimarlık)
The Encounterculture or, Seven Ways to Participate, SIBLING: Amelia Borg, Nicholas Braun, Jonathan Brener, Jessica Brent, Jane Caught, Qianyi Lim, Timothy Moore, and Alan Ting
Retreat, dpr-barcelona: Ethel Baraona, Studio-X; GSAPP: Marina Otero and FAST, The New Institute, Rotterdam: Malkit Shoshan
Design Activism: A Contemporary Design Manifest, Manufakturist: Mia Bogovac, Matea Bronić, Maša Milovac, and Kristina Volf; GOTWOB: Begüm Çelik and Berk Şimşek
TWTRATE, Cansu Cürgen, Eren Tekin, Yelta Köm, Barış Gümüştaş, Avşar Gürpınar, Yağız Söylev and Arzu Erdem
Who Builds Your Architecture?, WBYA?: Kadambari Baxi, Jordan Carver, Laura Diamond Dixit, Tiffany Rattray, Beth Stryker, Mabel O. Wilson
How To Do Too Kadıköy, 72 Hour Urban Action: Kerem Halbrecht and Gilly Karjevsky; with Tasarım Atölyesi Kadıköy (TAK): Onur Atay, Omer Kanıpak, Sıla Akalp
Retroactive Manifesto, Rural Urban Framework: Joshua Bolchover and John Lin
UMK: Lives and Landscapes, Dunne & Raby: Anthony Dunne and Fiona Raby
Phoenix Declaration, Arctic Perspective Initiative (API): Matthew Biederman and Marko Peljhan
The Cultural Sauna, Åbäke
ABC Manifesto Corporation Writers and Consultants, disturbATI collective

[ broadcast department ] Kontraakt, H. Cenk Dereli, Hayrettin Günç, and Yelta Köm
Growing Manifesto, Something & Son: Andrew Merritt and Paul Smyth
Unfacebook, Vibok Works: Paula Alvarez
140journos: Data Concretization, Institute of Creative Minds: Cem Aydoğdu, Engin Önder, Hilal Koyuncu, İgal Nassima, Meriç Şeker

The biennial’s exhibition space, catalogue, and visual identity are designed by Istanbul based Superpool and Project Projects, New York.

[ the opening week program | 30 october > 2 november  ]

>press and professional preview | 30>31 october 2014
>press conference | 10am 30 october at galata greek primary school, followed by an exclusive tour of the exhibition with the curator zoë ryan, associate curator meredith carruthers and the director of the istanbul design biennial deniz ova.

The opening week will provide special opportunities to hear from a number of the participating designers as well as key experts from a variety of fields and occupations. Kicking off the biennial, Curator Zoë Ryan is joined by curators, designers and thinkers in an informal discussion on the Future of Manifestos with Aric Chen, Alison Clarke, and Fiona Raby, exploring the key themes of the biennial on Friday, 31 October between 2>4pm.

Related panels explore the Future of Exhibitions with Paola Antonelli, Jan Boelen, Vasıf Kortun, and Prem Krishnamurthy with curator Zoë Ryan on Saturday, 1 November between 4.30-6pm; and the Future of Publishing with associate curator Meredith Carruthers and Can and Aslı Altay (Future Anecdotes Istanbul) Simon Johnson (THAT Magazine), Adam Michaels (Project Projects) and TWTRATE, on Sunday, 2 November between 4.30>6pm.

Also included in the opening week’s programme will be personal dialogues by designers from all around the world. Designers in Dialogue moderated by Denise Marie Bennett will include Jessica Charlesworth & Tim Parsons – Coralie Gourguechon; Mansour Ourasanah – Marco Susani & Defne Koz; Joshua Bolchover and John Lin – Kadambari Baxi and Mabel Wilson; Natasha Marks – Katharina Mischer Thomas Traxler on Saturday, 1 November between 2-4pm; disturbATI collective – Clio Capeille; GOTWOB – Manufakturist; Arctic Perspective – Cenk Derelli & Yelta Köm; Beth Schechter – Helen Maria Nugent on Sunday, 2 November between 2>4pm.

[ 2nd istanbul design biennial events ]

In addition to the exhibition, the biennial hub at the Galata Greek Primary School will host different events for design enthusiasts daily for six weeks: the Kontraakt team’s broadcast programming will be held on Tuesdays and throughout the week, Q&A’s and panels on Wednesdays, film screenings on Thursdays, and Children and Youth program every day.

Design Walks, comprised of visits to design studios, stores, manufacturers, and noted buildings in 6 neighborhoods and 6 thematic walks on Istanbul’s Asian and European sides to examine the textures of the city and observe traditional crafts are organised throughout the biennial.

The Academy Programme featuring 72 projects including workshops, exhibitions and panels organized by over 33 universities from Istanbul, Ankara, Izmir, Turkish Republic of Northern Cyprus, Europe and the United States to reveal different aspects of the biennial theme can be viewed at university campuses and at Antrepo no.7.

event> [ 2014 Istanbul Design Biennial ] @tasarimbienali #tasarimmanifestosu #designbiennial
date> 1 > 14 november 2014 | tuesday > sunday 10a > 7p | free admission
venue> galata greek primary school | istanbul

<a href="about ron kovach

Marmaray project: world first tunnel between asia and europe.

Oct 29, 2013

first test train through the marmaray tunnel

A railway tunnel underneath the Bosphorus Strait has been opened (29 October 2013) in Turkey, creating a new link between the Asian and European shores of Istanbul. The Marmaray tunnel is the world’s first connecting two continents. It was inaugurated on the 90th anniversary of the Republic of Turkey. [ story ]

fatih sultan mehmet bridge looking from asian side to europe. tunnel crossing near this landmark

over 40,000 artifacts discovered during excavation

Work began in 2004, but archaeological excavations delayed construction. Prime Minister Recep Tayyip Erdogan has long championed the undersea project, first conceived by an Ottoman sultan in 1860. The underwater section runs for 0.8 miles (1.4 km), but in total the tunnel is 8.5 miles (13.6 km) long and and is designed to withstand earthquakes. [ 40,000 artifacts ]
installing tunnel into bosphorus seemingly easiest phase of project

Parsons Brinckerhoff, who’s role was design/construction supervision and D-B contract administration provides an enlightening video of lowering the tunnel into the Bosphorus. [ video ]
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ICFF 2012 preview: autobahn.

May 18, 2012

click > enlarge

Autobahn, the Istanbul-based design studio has grown rapidly since they set up shop in 2003. Now their team has grown to include 35 architects and interior designers with projects that range in scale from furniture to architectural. They had a few pieces at Matter‘s Design Week pop-up as an extension of their official showing at ICFF. On view was a large piece from their Tulip lamp collection, the Deer chair and the Reedy bookcase, but their ICFF booth will, no doubt, feature brand new pieces.

You can see a Q&A with Autobahn’s Seyhan Ozdemir and Sefer Caglar at 10:30am on Monday, May 21st, at their booth in the Javits Center (#1632). RSVP is required.

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