“For Forest” temporary art intervention by Klauss Littmann

Inspired by The Unending Attraction of Nature, a dystopian drawing by Austrian artist and architect Max Peintner (b. 1937) that Littmann discovered almost thirty years ago, FOR FOREST finally brings that vision to life.


Max Peintner, The Unending Attraction of Nature, pencil drawing, 1970/71, hand-coloured by Klaus Littmann in 2018, unique print from series


8 September 2019 marks the opening of FOR FOREST – The Unending Attraction of Nature, a temporary art intervention by Klaus Littmann and Austria’s largest public art installation to date. Bringing together art, nature and architecture in an unprecedented way, this monumental art intervention sees the transformation of Wörthersee football Stadium in Klagenfurt into a native central European forest, with almost 300 trees, some weighing up to six tons each, carefully installed on the existing pitch. FOR FOREST is open daily, free to access and on view until 27 October 2019. (more…)

“Le Mobilier d’architectes, 1960-2020” at Citè de l’Architecture

Through the movable creations of the biggest names in architecture of the last sixty years, the exhibition proposes to discover how architects fit into the decorative arts, through the design of furniture, objects and lighting.


“Le Mobilier d’architectes, 1960-2020” at Citè de l’Architecture © louisegoingout


For 150 years, architects have been designing furniture and lighting to complete their buildings. Unlike the furniture of their predecessors in the Viennese Secession, Art Deco, Bauhaus or the Modern movement, the furniture of architects from the 1960s to today has been little studied so far. (more…)

“ITALOMODERN. Architecture in Northern Italy 1946-1976” at Finstral Studio Friedberg

With current photographs and newly drawn plans, architect Martin Feiersinger and sculptor Werner Feiersinger rediscover post-war architecture in Northern Italy: idiosyncratic and characteristic buildings by neorealists, rationalists, brutalists and organicists. The exhibition, developed jointly with aut. architektur und tirol, can now be seen for the first time in Germany.




With the comprehensive inventory of ITALOMODERN, Martin and Werner Feiersinger draw attention to the heterogeneous architecture of the post-war period in Northern Italy. The focus of the brothers reflects their respective professional approaches, as a sculptor and as an architect. “On the one hand it is about the sculptural qualities of the buildings, their materiality and the different surfaces, on the other hand it is about space formation, functional conception and the integration into the environment.“ Martin and Werner Feiersinger


“ITALOMODERN. Architecture in Northern Italy 1946-1976”
26 September, 2019 – 15 July, 2020
Finstral Studio Friedberg
Winterbruckenweg 64,  Friedberg


The spectrum ranges from the precursors of today’s tiny houses such as Mario Cavallé “Case Zucca” in Milan, to small residential buildings such as Gino Valles “Casa Rossa” in Udine, to residential complexes in Trieste and Genoa that still seem bold today.


Aldo Bernardis, Terrazza a Mare, Lignano, 1969 – 72 Foto: Werner Feiersinger

Colle Val d’Elsa, via di Spugna: banca del Monte dei Paschi di Siena (Giovanni Michelucci, Bruno Sacchi, 1973-83)


Among the 115 photographs on display are pictures of the machine-like architecture of the Olivetti Hotel “La Serra” in Ivrea, the spectacular silhouette of BBPR’s “Torre Velasca” in Milan, and courageous constructions by hardly known architects. Not timeless architecture, then, but buildings that are a clear expression of a time full of optimism and belief in the architectural design of the future.


BBPR, Torre Velasca, Milan, 1950–58, Foto: Werner Feiersinger


ITALOMODERN results from years of initially private research carried by Martin and Werner Feiersinger. Their photographs, taken on journeys without any purpose of exploitation, were presented to the public for the first time in 2011 in aut. architektur und tirol. The recognition and international response to the exhibition and the catalogue encouraged them to continue their research and travel activities, resulting in ITALOMODERN 2, shown in aut in 2015. After stops in Austria, Switzerland and Italy, the South Tyrolean window manufacturer Finstral is now bringing the exhibition to Germany for the first time.





Expressly for the gallery rooms of Finstral Studio Friedberg, Martin and Werner Feiersinger have designed a arge space object, which at the same time serves as a presentation surface and whose pointed forms are reminiscent of Mendini’s drawing “Non c’è Italia senza spine”: there is no Italy without thorns.


Angelo Mangiarotti und Bruno Morassutti, Kirche “Mater Misericordiae” Mailand, 1956 – 57, © Werner Feiersinger

News source: Finstral Studio Friedberg
Subscribe here to get weekly updates about architecture events and exhibitions.

“Karl Blossfeldt: Urformen der Kunst” at Thyssen-Bornemisza Museum Madrid

The German photographer and sculptor Karl Blossfeldt (Germany, 1865-1932) captured the hidden beauty of nature through his camera. Throughout his life Blossfeldt photographed plants and flowers using cameras of his own design that allowed him to magnify the subject up to 30 times its size.


Karl Blossfeldt. Adiantum, 1928. LOEWE.


Austere and objective but with a power to transmit great emotion to the viewer, Blossfeldt’s images attracted the attention of writers and artists due to their innovative concept of nature, leading him to become one of the key reference points for avant-garde photography.


“Karl Blossfeldt: Urformen der Kunst”
6 September – 5 October, 2019
Thyssen-Bornemisza Museum Madrid
Paseo del Prado, 8, Madrid


From 6 September to 5 October 2019 the Museo Thyssen-Bornemisza and LOEWE Perfumes will be presenting a selection of 40 of these photographs from the album Urformen der Kunst [Original forms of art], considered one of the seminal photographic books of the 20th century. Published in 1928, it was the work that brought Blossfeldt to public attention and gave him entry to the art scene of the day, making him one of the most important of the New Objectivity photographers. The high quality of the paper and printing of these fascinating photographs further enhances the beauty of their powerful images, in which lighting and composition are used to emphasise the sculptural and graphic qualities of the plants. From the outset Blossfeldt’s photographs were compared to African sculptures and provided a source of inspiration for the Bauhaus industrial designers and creators.


Karl Blossfeldt. Aconitum_Anthora, 1928. LOEWE.


For the present exhibition its curator Juan Naranjo has organised the photographs into different sections that group Blossfeldt’s work together in formal and thematic terms, playing with de-contextualisation in order to reveal the formal beauty of the plants.


Karl Blossfeldt. Abutilon, 1928. LOEWE.


The importance of Urformen der Kunst continues today, given that it has come to be considered a manifesto for the interconnection of art and nature. Karl Blossfeldt revealed the beauty of the natural, a concept that is notably present in today’s causes and debates.


Karl Blossfeldt. Vaccinium, 1928. LOEWE.


Blossfeldt embarked on studying sculpture in 1881 and shortly after that date entered the School of Applied Arts in Berlin where he completed his art training. During that period he started to use photography to record specimens of plants that he found on days out and field trips. This unique and distinctive photographic “herbal”, which he produced over the course of more than thirty years, led Blossfeldt to become one of New Objectivity’s most important photographers.


Karl Blossfeldt. Petasites, 1928. LOEWE.


For many years Karl Blossfeldt’s photographic output was associated with his activities as a teacher and illustrator. With the publication of Urformen der Kunst (1928) his photographic work
entered the terrain of art, becoming extremely well known and successful. Blossfeldt’s photographs are to be found in the collections of some of the world’s leading museums and he captivated critics and theoreticians such as Georges Bataille and Walter Benjamin, while also inspiring numerous artists, including Max Ernst, Joan Fontcuberta and Arno Rafael Minkkinen.


Karl Blossfeldt. Centaurea, 1928. LOEWE.

Karl Blossfeldt. Cotula, 1928. LOEWE.


An expert in early and vintage photography, Juan Naranjo is an independent curator whose research has focused on the uses and functions of photography. He teaches on the Masters in Photography at the Universidad Politécnica de Valencia and has been a member of the advisory committee of the department of photography at the Museu Nacional d’Art de Catalunya, Barcelona. He advises the publishing house Gustavo Gili on its photography collection and has curated a number of exhibitions, including Distinción, Un siglo de fotografía de moda, Fundación Cristóbal Balenciaga (Guetaria, 2019) and Museu del Disseny (Barcelona, 2017); Gabriel Casas, Fotografía, información y modernidad, 1929-1939, Obra Social La Caixa, Museu Nacional d’ Art de Catalunya (Barcelona, 2015-2016); and Joaquim Gomis, de la mirada oblicua a la narración visual, Fundació Joan Miró (Barcelona, 2012).

News source: Thyssen-Bornemisza Museum Madrid
Subscribe here to get weekly updates about architecture events and exhibitions.

“Giacomo Quarenghi architect in the imperial St. Petersburg” at Accademia Carrara

The exhibit, consisting of a selection of about seventy of the architect’s pages drawn from the Carrara collection, is the ideal conclusion of the celebrations that began in 2015 under the aegis of the Municipality of Bergamo and the Quarenghi Observatory, culminating in the 2017 anniversary, the bicentenary of the architect’s death.


Giacomo Quarenghi a Carskoe Selo. Accademia Carrara Bergamo


Over little less than forty years of work in Russia, Quarenghi contributed significantly to shaping the plans of Empress Catherine II of Russia and, later, of her son Alexander, who set out to transform St. Petersburg into a European capital. (more…)

“Álvaro Siza. In/Discipline” at Serralves Museum

Name: Álvaro Siza. Discipline: as little as possible. This confessional note – once written by Álvaro Siza on the inner flap of one of his sketchbooks – was the point of departure for the exhibition commemorating the twentieth anniversary of the Serralves Museum of Contemporary Art.


Álvaro Siza, image from Sketchbook .Col. Álvaro Siza Fonds – Canadian Centre for Architecture, Montreal (CCA)


Álvaro Siza: in/discipline reveals the salutary disquiet and insubordination that inform Siza’s creative method, construed over more than six decades in the cross-fertilization of knowledges, cultures, geographies, works and authors, and subsidiary to his questioning of architecture on the grounds of both what is inside and what is outside of this disciple. (more…)

“Reflections: The Anatomy of Form” at the Design Museum

Showing for the first time in London, this exhibit explores the work behind Skidmore, Owings & Merrill (SOM), an interdisciplinary practice responsible for some of the world’s most technically and environmentally advanced buildings.


"SOM. The Engineering of Architecture" © photo: Saskia Wehler

“SOM. The Engineering of Architecture” © photo: Saskia Wehler


A series of models offer insight into SOM’s exploration of the idea architects and engineers practice a poetry of inquiry, experimentation and ingenuity. The exhibit showcases a selection of SOM’s ground-breaking projects, all of which anticipated new ways of living, working, and learning. The display includes projects from different typologies and height, including Exchange House and Manhattan Loft Gardens in London, JTI headquarters in Geneva; John Hancock Centre (875 North Michigan Avenue) and the Sears Tower (now known as the Willis Tower) in Chicago, as well as the Burj Khalifa in Dubai.

“Landscapes of knowledge. Red Location” Jo Noero at Cagliari

The exhibition deals with the housing and cultural issues and its manifestations of production, performance and exchange, which have opened up new ways of thinking, making cities and architecture in South Africa.


“Landscapes of knowledge.Red Location” © Jo Noero


The architecture and conference exhibition “Landscapes of knowledge Red Location” will be presented on September 5th at 4 pm. The exhibition, curated by Massimo Faiferri, Samanta Bartocci, Fabrizio Pusceddu, Lino Cabras and Rosa Manca, will be open until 27 September 2019. (more…)

“Malware: Symptoms of Viral Infection” at Het Nieuwe Instituut

Het Nieuwe Instituut – Museum for Architecture, Design and Digital Culture – presents “Malware: Symptoms of Viral Infection”, an exhibition about the history and evolution of the computer virus, from 5 July to 10 November 2019. Using the most infamous examples, the exhibition explores the cultural impact of malware and raises questions concerning security, warfare and geopolitics.


Malware exhibition, including AIDS virus and other DOS viruses. Image: Ewout Huibers


The first computer virus was designed 33 years ago. Since then, more than a million viruses have been developed, hundreds of millions of devices have been infected, billions of euros have been lost due to reduced productivity, and the so-called malware has become a digital weapon of geopolitical significance. (more…)

“It’s Urgent! – Part II” at Luma Westbau

The point of departure for “It’s Urgent!” is an exhibition model that Hans Ulrich Obrist started (with Christian Boltanski and Betrand Lavier) in 1993 with “do it”. For this on-going, flexible and open-ended show, we invite artists to write instructions, scores and recipes that can then be interpreted by others each time they are presented.


Tony Cokes, Wolfgang Tillmans, Nora Turato, Etel Adnan, Eileen Myles, Rirkrit Tiravanija, Wolfgang Tillmans, Lauren Halsey, Hans Haacke. It’s Urgent!, Kunsthal Charlottenborg, 2019. Photo by David Stjernholm.


For example, poet Eileen Myles (who is also included in the new It’s Urgent! project) made a piece called How to Run for President of the United States. Her text is a reminder that even in these frightening times, democracy belongs to the people, and that art can be a means of reclaiming it. (more…)