Press and News – Page 24

The Bauhaus and Beyond

12 June 201218 March 2019Ekaterina Vekova

Visitors to the current exhibition at London’s Barbican Centre on the Bauhuas would be forgiven for thinking that the Bauhaus was a style. The exhibition of course contained many beautiful objects in perspex boxes. There was some detailed explanation of the desire to respond to industrial production but there was no reference – apart from a few photographs of empty studios to the fundamental point. The Bauhaus was not a style – it was a school. Jean-Louis Cohen’s The Future of Architecture since 1889 addressed this issue in a fundamental way. He explains that the school rethought the relationship between art, design and architecture. The school championed the new principles of abstract art to challenge existing building forms and then under Hannes Meyer and Mies Van Der Rohe the shapes of cities.

Sandberg Institute Wins BE OPEN Inside the Academy Prize at Design Miami/ Basel 2012

11 June 201212 March 2019Ekaterina Vekova

A prize for achievements in design education

Sandberg Institute has been selected to win the BE OPEN Inside the Academy Prize, from a shortlist of six leading European design schools: La Cambre, Belgium; Ecole Cantonale d’art de Lausanne (ECAL), Switzerland; Hochschule Basel, Switzerland; Konstfack, Stockholm, Sweden; Sandberg Institute Amsterdam, The Netherlands; Glasgow School of Art, UK.

BE OPEN Inside the Academy

6 June 201212 March 2019Ekaterina Vekova

BE OPEN Inside the Academy – a new platform to showcase and honour recent achievements in educational approaches – at Design Miami/ Basel

The next stop on BE OPEN’s worldwide tour is Basel, for Design Miami/ Basel 2012. A new platform – BE OPEN Inside the Academy – will showcase and honour recent achievements in educational approaches that promote real-world problem solving through creative design.

Be Open to the Future of Sound

25 May 201212 March 2019Ekaterina Vekova

London Design Festival 2012
19-23 September
Trafalgar Square project

BE OPEN Sound Portal
Take a journey to the heart of acoustic creativity, through a portal in Trafalgar Square

This year BE OPEN, the new global initiative to foster creativity and innovation, and the London Design Festival are co-producing a project in Trafalgar Square that focuses on the idea of ‘design you can’t see’.

Press Clipping: Milan, Italy — April 2012

20 May 201229 April 2019Ekaterina Vekova

Salone del Mobile
Corriere della Sera
April 16, 2012

Un ponte creativo tra Europa e Russia “Cosi la scienza dialoga con il business”
Affari & Finanza
April 2, 2012

L’Italia del talento puo vincere la crisis
Affari & Finanza
April 2, 2012

BE OPEN Experience: Story by Francesco Morace

9 May 201212 March 2019Ekaterina Vekova

Francesco Morace

Sociologist, writer

Sociologist, journalist and author of over 20 books translated into various languages, ranging in subject from trends in consumption to social change. Founder of a Research and Strategic Institute – Future Concept Lab (1989). Mr. Morace is also Professor at Domus Academy and Milan’s Politecnico. He has participated in conventions and seminars in 22 countries worldwide.

Things Will Have to Change

5 May 201218 March 2019Ekaterina Vekova

Tim Abrahams

writer

Tim Abrahams is a former editor of Blueprint. He now writes for Icon, Architect’s Journal and RIBA Journal. He is also the owner of a digital publishing company and an advisor to major cultural institutions on their online strategy.

Everyone operating in the worlds of architecture, design and technology knows that the world has changed since 2008, but the job of identifying and describing exactly how is only just beginning to happen. It was the contention of the convener of the first BE OPEN conference, Francesco Morace, that three new relationships in the world of design had undergone a huge and important shift. Morace suggests that a fundamental realignment in thinking has occurred in over the issue of sustainability, the idea of happiness and perhaps most fundamentally the relationship between the local and the universal. These theories were tested by the inquiring minds of some of the leading figures in the design world.

Sitting Uncomfortably

5 May 201218 March 2019Ekaterina Vekova

Tim Abrahams

writer

The most important object in the Freud Museum in London, where the great psychoanalyst lived for just one year before he died, is clearly his couch. Draped in Persian rugs and scattered with cushions, it is on the bohemian side of mid-20th century tastes. Although insignificant in size it is impossible not to look at the piece of furniture and not think of all the dreams that have been relayed there and the neuroses diagnosed. Given that Freudian analysis prioritises relations between the subject and their parents, the familial and domestic becomes the site of the fundamental debates of existence. The couch is not just important because of his historical significance but also because of its symbolism. Anne Leibovitz has photographed it and Louise Bourgeois has exhibited alongside it.

Exhibition Verge

29 April 201212 March 2019Ekaterina Vekova

Valentine Dyakonov

Art critic and expert

Russian art critic and expert on the 20^th – 21^st century art.

Russian design became widely acknowledged at the same period as Russian art, i.e., in the 1910-1920s. At that time the self-identifications of progressively minded Western and Russian artists had much in common: here and there the artists demonstrated a huge interest in new technologies, targeted the most unspecific audience and consequently aspired to achieve universal artistic solutions considering both economy and aesthetics. Yet, the imminent differences of the addressed audiences could not but draw a line between the Avant-garde practices in the West and in Russia.

Сonference. Daily & Happy

18 April 201212 March 2019Ekaterina Vekova

Happiness is many things to many different people. To Julian Schnabel it is clearly the idea of ceaseless creativity that leads – sometimes inadvertently – to happiness. If Schnabel’s philosophy is that there is no past or future, but an endless present, then his art becomes a means of simultaneously existing in as many places as possible. Happiness for him is the bi-product of multiple acts of creativity. Separating where creativity ends and happiness begins is difficult to describe, as chef Carlo Cracco found. Alberto Alessi meanwhile used the history of his company to challenge our notions of what is serious and what makes us happy.