…major built project was the Vitra Fire Station (1993) in Weil am Rhein Composed of a series of sharply angled planes Her other built works from this period included a housing project for IBA Housing (1993) in Berlin Eurovoix With just two months to go until the Eurovision Song Contest takes over Basel the nearby German city of Weil am Rhein is gearing up for its own celebration of Europe’s biggest music event and Lord Mayor Diana Stöcker officially unveiled their parallel ESC programme which aims to bring Eurovision fever across the border into Germany The ESC Festival will take place from 11 to 17 May 2025 One of the standout events of Weil am Rhein’s festival is a special concert by Eurovision icon Nicole who won the 1982 contest with her song “Ein bisschen Frieden” (A Bit of Peace) Her exclusive concert will take place on May 14 at the House of People’s Education the festival offers a variety of free events Eurovision”) will present a scientific lecture on how the ESC reinvents itself who wrote his dissertation on the Eurovision Song Contest is also a freelance journalist for NDR and team leader of the Eurovisions International Conference a research group that studies the competition from an academic perspective Some logistical challenges have impacted plans further plans from Weil am Rhein’s city council A public viewing area with only 80 seats means that most fans will likely head to Basel for large-scale screenings a previously planned festival tent at the Rheincenter parking deck had to be scrapped due to financial The city has allocated 160,000 Swiss francs (165,300 euros) for the ESC Festival the same budget usually reserved for the annual Gravel Plant Open-Air Festival Switzerland will host the contest for the third time after the inaugural edition at Lugano in 1956 and the 1989 edition at Lausanne Image Source: Stadt Wheil am Rhein | Source: BaZ & Stadt Weil am Rhein Germany was one of seven countries to participate in the Eurovision Song Contest in 1956 The country has taken part in every contest since then when they failed to make it through the qualifying round The first time was in 1982 when Nicole sang “Ein Bisschen Frieden” in Harrogate Germany didn’t win again until 2010 when Lena sang “Satellite” in Oslo Eurovoix News Editor and Dutch playwright obsessed with Eurovision since 2006 Frank Gehry will also have his museum on the German Rhine The Vitra museum is the product of his relationship with furniture designers and builders and also of his contacts with that pop art whose vitality slides through the work of the architect from Los Angeles A prestigious space to exhibit and exalt the tradition of modern design - between rational and surreal - of the chair placed in front of the offices of the factory and that welcomes the recent history in the collection of pieces gathered by Vitra Cliente ClientVitra International / Rolf Fehlbaum Equipo de diseño Design teamFrank Gehry; Robert Hale; C Lorrach (arquitectos asociados associated architects): Roland Mayer Rafael Novoa; Vitra-Modo Office (interiorismo interiorism); Gerschik & Falk there arent any match using your search terms an award-winning bridge that cost around £86 million to construct enables tourists to visit three countries in a day which is the world's longest single-span bridge crosses the Rhine river between France's Huningue and Germany's Weil am Rhein The bridge lies in Swiss city of Basel and stretches an impressive 248 metres in length It features no central supports in the water and stands as a testament to modern engineering and design dedicated solely for the use of pedestrians and cyclists The bridge is the brainchild of visionary Franco-Austrian architect Dietmar Feichtinger and was inaugurated in 2007 Travel enthusiasts who have ventured across this bridge have shared their awe-inspiring experiences online One visitor commented: "Great opportunity to walk to Germany One traveller remarked: "The bridge itself is amazing That such a large and expensive bridge was built solely for pedestrians and bicycles is enlightening." highlighting the contrast between the sides: "The German side is very industrial multicultural area that is bedecked with colour." Luis Barragán (1902–1988) is widely regarded as the most important Mexican architect of the twentieth century the architect’s professional estate has been in the care of the Barragan Foundation a small team of researchers under the leadership of architectural historian Federica Zanco has systematically evaluated and catalogued the archival documents within the framework of a thorough analysis of Luis Barragán’s oeuvre As part of a newly established partnership between the Barragan Foundation and the Vitra Design Museum this material has moved to new premises on the Vitra Campus in Weil am Rhein With the aim of facilitating further scholarly investigation and cooperation with other institutions the Barragán Archive joins the museum’s archival holdings from the estates of such prominent figures as Charles and Ray Eames The Barragán Archive is hosted by the Vitra Design Museum in new facilities designed by Dieter Thiel located in close proximity to the Vitra Schaudepot This includes a state-of-the-art repository for the documents Curated by Martin Josephy in collaboration with Luis E photographs and other material from the Barragán Archive together with biographical details and an illustrated chronology of modern architecture in Mexico This ensemble of documents and supplementary information illuminates Barragán’s life and work in a larger context Luis Barragán’s oeuvre spans a period of six decades between the late 1920s and the 1980s After attracting international attention with his first buildings in his hometown of Guadalajara where he further developed his distinctive architectural language By combining the international vocabulary of Modernism with traditional elements of Mexican culture and landscape he created a truly original form of expression Significant works include the planning of the new district Jardines del Pedregal (1945–1952) located on a lava plain south of Mexico City and the residential developments of Las arboledas (1957–1962) and Los clubes (1961–1966) Barragán was awarded the Pritzker Architecture Prize The documents and objects in the Barragán Archive were accumulated by the architect over the course of his entire career The Archive encompasses approximately 13,500 sketches nearly the same number of photographic prints This body of material was offered for sale in 1995 by New York City dealer Max Protetch The Barragan Foundation was established in order to prevent the dispersal of the architect’s professional estate and to ensure its conservation for future study significant complementary acquisitions were made including a collection of negatives and original prints by the Mexican photographer Armando Salas Portugal whose striking portrayals of Barragán’s architecture are artistic works in their own right A previous collaboration between the Barragan Foundation and the Vitra Design Museum resulted in the travelling exhibition Luis Barragán which debuted in Weil am Rhein in the year 2000 before touring internationally with a final showing in 2002/03 at the Museo de Bellas Artes in Mexico City The Vitra Design Museum is currently planning a new retrospective and a comprehensive publication by the Barragan Foundation is in preparation was the among the first of Hadid’s design projects to be built The building’s obliquely intersecting concrete planes which serve to shape and define the street running through the complex represent the earliest attempt to translate Hadid’s fantastical powerful conceptual drawings into a functional architectural space The Vitra Campus is a vast complex comprising factories, showrooms, and the Vitra Design Museum Since the original factory’s destruction by a fire in 1981 Vitra has commissioned replacement structures by renowned architects from around the world: buildings by Frank Gehry and several other notable designers all stand within the same estate After a bolt of lightning caused a fire that burned more than half the factory campus in a single night Vitra was determined to prevent a similar disaster from destroying its new campus.[1,2] Hadid was initially tasked only to design the fire station itself. The project, however, would eventually expand to include boundary walls, an exercise space, and a bicycle shed. These elements were to sit along a bend in the main road running through the Vitra Campus. The street—and by extension, the new fire station—was designed to act as a linear landscaped zone, one that would reference the layout of the surrounding farmland.[3] These design intentions resulted in a long, narrow structure that stretched the program along the edge of the street. The building itself is composed of a series of linear concrete walls and roof elements, with the program fitted into the interstitial spaces between them. The walls, which appear as pure planar forms from the outside, are punctured, tilted, or folded in order to meet internal requirements for circulation and other activities.[5] © Christian RichtersThe planes which form the walls and roof are formed from exposed Hadid specified that the visual purity of these elements was to be strictly maintained; roof cladding and edging which would have distracted from the otherwise crisp edges of the concrete This conspicuous visual simplification was carried through in every aspect of the building from the frameless glazing down to the lighting treatment in the interiors; the very lines of light that permeate the fire station are logical and straightforward.[6] The resulting impression is that of “frozen movement.”[10] It is a fitting architectural mood for a fire station, which must remain on constant alert; the design reflects that tension, as well as the potential to burst into action at any given moment.[11] With as much effort as Hadid put in to represent the nature of a fire station, it is ironic that her design saw no real service in that role – instead, it is now used an exhibition and special event space.[12,13] p146.[11] “Vitra Fire Station.”[12] Jodidio You'll now receive updates based on what you follow Personalize your stream and start following your favorite authors If you have done all of this and still can't find the email With »Nike: Form Follows Motion« the Vitra Design Museum will present the first ever museum exhibition about Nike the world’s most revered sports brand The exhibition will explore the company’s five-decade ascent from a grassroots start-up to a global phenomenon The focus is on Nike’s design history: from the company’s beginnings in the 1960s and the design of its famous »swoosh« logo to iconic products such as Air Max and Flyknit and current research devoted to future materials and sustainability Following the Olympic and Paralympic Summer Games in Paris as well as the European Football Championship in Germany the exhibition will emphasize the importance of sports for design innovation and social change while also shedding light on the almost mythical devotion to sneakers and sportswear in popular culture and social media The exhibition has been initiated and produced by the Vitra Design Museum and curated by Glenn Adamson.  has become the world’s leading sports brand since its incorporation in 1972 it is also the world’s largest apparel company with an annual revenue of more than $50 billion But Nike is not only a successful company; it is a whole design culture The proof can be seen almost no matter where you go: a dynamic display of innovative materials products are developed through a unique blend of scientific study Hundreds of designers there collaborate with specialists in other fields from material engineering to biology to body mechanics – and with many of the world’s best athletes.   the exhibition »Nike: Form Follows Motion« offers a look behind the scenes of this unique design laboratory while also examining Nike’s involvement with technological innovation and social change Most of the exhibits are sourced from the Department of Nike Archives (DNA) The exhibition is the first to present a curated selection from this archive to the public Among the exhibits are rarities and one-offs including experimental prototypes of iconic sneaker models like the Waffle trainer as well as original design studies for shoes and apparel The creative contributions of individual designers are highlighted throughout both those inside the company like Diane Katz and external collaborators like Marc Newson Athletes — from the world’s greatest to the everyday — have also played an especially important role in Nike’s design process by bringing their own experiences and requirements into product development.  The exhibition is structured in four chronological sections delves into the Nike archive’s earliest holdings The company was founded by two men: Phil Knight Their early employees — and most of their customers — were mainly serious amateurs and collegiate runners with a few professionals helping to promote the brand with sales representatives taking shoes to track meets Nike established one of its key design principles: always listen to the voice of the athlete visitors will encounter stories from the brand’s earliest days such as the development of the first Waffle Sole in Nike co-founder Bill Bowerman’s kitchen or the story of the Tennessee State University Tigerbelles a team of black female athletes during the civil rights era in the United States.   Through endorsements with star athletes like Michael Jordan the company established itself as a prime mover in popular culture Nike transcended its origins in track and field Its designs became fixtures of pop culture thanks to a crafty understanding of the street-style landscape Classics like the Air Force 1 and the Air Jordan were featured in imaginative TV commercials (mostly by the Portland-based ad firm Wieden + Kennedy) the company was investing in a new technology: capsules of pressurized gas that provided cushioning without adding weight Nike Air was first made visible in the 1987 Air Max opening up a new chapter in the company’s design history the fascinating evolution of the Air sole is illustrated with numerous artefacts from the initial development process including air bag prototypes and a testing machine created by engineer Frank Rudy who first developed the technology and proposed it to Nike.   explains some of the research and development behind Nike’s designs visitors get an insight into the heart of the Nike Sport Research Lab one of the world’s largest and most advanced facilities for the study of the body in motion this technical research has increasingly focused on the advancing athletic potential which simulates the feel of barefoot running developed as part of an effort to break the two-hour barrier in the marathon The gallery shows the impact of material innovations like Flyknit on both performance and sustainability and explores Nike’s current efforts to reduce its own climate impact through ethical material sourcing and circular manufacturing techniques Nike’s research into plastic recycling is also examined in this section with examples including Nike Grind —a granulate of recycled items used for a variety of purposes — as well as the company’s journey from the first recycling projects in the early 2000s up to current initiatives.  reflects on Nike’s collaborations with external designers The gallery is a showcase for fifty examples of intriguing and sometimes outrageous footwear from Nike’s history some developed through collaborations with fashion designers and creatives The room also examines Nike’s eminent role in pop and counterculture which is illustrated with examples of music videos or Social Media footage that show Nike’s critical role in shaping and reflecting new trends and values This section underlines that the symbiosis of design and sports has always been about more than just performance It is also about reflecting ideals of the human body the deeply human aim to push the boundaries and discover new territory.  director of the Vitra Design Museum: »For a long time we have wanted to organize an exhibition on design and sports we learned more about their incredible design archive — a huge treasure that had never been presented in an exhibition That was how the idea of this exhibition was born The show offers a unique opportunity to focus on design through the lens of a single brand and to display fascinating objects that illustrate the process of design development — some of which have never been shown before.«   curator of the exhibition: »In addition to our interest in the evolution of iconic products we will look at the larger social and historical context surrounding Nike sport has had a tremendous impact on our perception of the human body beyond the track and the court — for example Our exhibition will show how the company has both instigated and responded to these changing dynamics from its initial emphasis on performance and optimization to greater diversity and inclusion By looking at Nike’s design strategies we gain insights into that bigger cultural picture.«  The exhibition will be guided by a broad range of events and workshops on the subject of sports and design Following its premiere at the Vitra Design Museum the exhibition will travel to further international museum venues.  is a new shopping centre being developed as a multi-national shopping destination in the German town of Weil am Rhein The project was awarded planning permission in April 2018 and the ground-breaking ceremony was held in November 2018 Estimated to involve an investment of €85m ($96.04m), the mall is expected to be completed by Autumn 2021. It will create 400 jobs and attract visitors from across the Swiss border in Basel Centermanagement Group Germany Weil am Rhein (CEMAGG Weil am Rhein) won the Europe-wide competition conducted by the local council for the development of a new shopping centre in Weil am Rhein Chapman Taylor’s Düsseldorf studio is the designer of the shopping facility The shopping centre is located at Europaplatz near the point where France The location is close to the regional S-Bahn station and the new S8 tram station The mall can also be accessed by a new tram line from the Swiss border in Basel The shopping centre is being built into a steep site with a 15m drop known as Hangkante or Edge of Slope It is being developed as a curved building complex on the 10,000m² inner-city area It will have a sales area of 16,500m² and include between 60 and 70 shops and restaurants the mall will include three levels of retail and three levels of parking for up to 600 cars It will include two buildings to be connected on the upper floors including the shopping centre and an entrance tower on the area of the new turning loop of the S8 tram station and a third on the B3 federal highway opposite the train station Large windows are being created at the entrances and the course of the Müllheimer Straße rear-ventilated metallic one designed to allow enough natural light into the building Escalators to the north and south as well as three customer elevators and a staircase in the middle will be installed to ensure connectivity to all retail levels The lowest retail level will be linked to the garage floors through elevators and staircases The kindergarten will have a dedicated entrance for easy accessibility The construction of the shell of the third and fourth basement levels was completed in May 2020 while the overall shell is anticipated to be completed in early-2021 The Three Countries Mall can be accessed directly from the B3 and an additional left-turn lane will be constructed for left-turners coming from the north The entrances and exits will include two barrier systems with adequately dimensioned backwater solutions The building will be heated via a bio-oil-operated combined heat and power unit and a condensing peak load biogas boiler The first floor will have multiple restaurants and a 150m² west-facing outdoor terrace which will provide a view of the border triangle A forecourt will provide a new public area for events and leisure activities A customer guidance system will be available across all parking and retail floors the mall will have high-quality rest areas and baby changing rooms Give your business an edge with our leading industry insights View all newsletters from across the GlobalData Media network 2024 emerges as a pivotal year—a canvas for daring experimentation and paradigm shifts Let’s delve into how unconventional design styles are redefining aesthetics Unconventional design styles are not only breaking the rules but also creating new ones designers are exploring the possibilities of mixing and matching different elements these styles are challenging conventional notions of beauty and functionality and inviting the viewers to see the world in a new light These styles also reflect the diversity and complexity of the world and express different perspectives From social activism to cultural fusion to personal storytelling these styles are giving voice to the marginalized and the unheard and inspiring change and action these styles are pushing the boundaries of what is possible and desirable Designers are using cutting-edge technologies to create innovative and immersive experiences These styles are not only enhancing the functionality and usability of design but also expanding the scope and impact of design From interactive art installations to smart clothing to living architecture these styles are transforming the way we interact with our environment and ourselves Unconventional design styles are making a statement in 2024 Deconstructivism is a term that describes a style of graphic design that challenges the conventional norms and rules of composition It is inspired by the philosophical concept of deconstruction which questions the assumptions and meanings of language and representation Deconstructivism in graphic design is not a fixed set of techniques or methods but rather a creative attitude that seeks to disrupt and reassemble the elements of design in unexpected and innovative ways Emerging in the late 1980s and early 1990s influenced by the postmodern movements in architecture Some of the pioneers of deconstructivist graphic design were David Carson They aimed to challenge the viewers’ expectations and provoke them to think critically about the messages and meanings of design Deconstructivism has had a lasting impact on the modern graphic design scene as it has opened up new possibilities of expression and communication Many contemporary designers have adopted and adapted the deconstructivist approach using digital tools and media to create designs that are dynamic Some examples of modern deconstructivist design are the works of Stefan Sagmeister They use deconstruction as a way to explore and experiment with different forms This is a style that adapts to the changing preferences and expectations of customers Customers are looking for designs that are not only functional and efficient They want designs that are not only standardized and consistent but also personalized and customized They want designs that are not only familiar and comfortable Deconstructivism can meet these needs by creating designs that are flexible Nature and modern design may seem like opposites but they can actually complement each other and create a new style that is both innovative and organic which are inspired by the shapes and patterns of living forms we can achieve a more natural aesthetic in our urban environments while also enhancing our well-being and sustainability but it has gained popularity in recent years as more people seek to reconnect with nature and reduce their environmental impact Biomorphic design can be applied to various fields and disciplines can convey complex concepts and emotions in a simple and elegant way one of the most popular online platforms for travel and accommodation is a biomorphic design that is inspired by the shape of a paperclip Nature and modern design can mix and create a new style that is both innovative and organic biomorphic design can create more natural and human-centered environments and more sustainable and harmonious solutions Biomorphic design is not only a style but also a way of thinking and living that respects and celebrates the diversity and beauty of nature Imagine a concrete façade with exposed aggregate Brutalist buildings evoke a sense of permanence The Barbican Estate in London stands tall as a testament to this style and gardens—all within a monolithic concrete shell The beauty lies in its honesty—the material’s imperfections become part of the design Brutalism is a style of design that is not afraid to show its true colors It is inspired by the architecture of the mid-20th century which used concrete and other rough materials to create functional and imposing buildings Brutalism is not about making things pretty or pleasing It is about making a statement and challenging the norms but it has recently gained popularity in graphic design More and more designers are embracing the brutalist aesthetic and applying it to their websites What is the appeal of this raw and rebellious style Brutalism is a reaction to the mainstream and the conventional It is a way of expressing one’s individuality and creativity It is a way of standing out from the crowd and the noise It is a way of challenging the expectations and standards of industry and society Brutalism is a reflection of the times and the mood It is a way of capturing reality and the emotions of the present It is a way of addressing the issues and problems of the world It is a way of showing the contrast and the conflict between the natural and the artificial Brutalism is a celebration of the materials and the medium It is a way of showcasing the beauty and potential of the raw and the simple It is a way of experimenting with the tools and techniques of the digital age It is a way of exploring the possibilities and the limits of graphic design But brutalism is not trying to please everyone We’re embracing cyberpunk chic—a fusion of high-tech and grunge Imagine an office space with exposed wires Architects play with materials like brushed steel a nod to a future where technology and urban decay coexist It is a genre of science fiction that imagines a future where technology has advanced but society has declined It’s a world where high-tech meets low-life where neon lights and skyscrapers contrast with pollution and crime This design style captures this essence by creating a gritty and chaotic aesthetic that reflects the themes and issues of the genre inspired by cyberpunk literature and movies Some of the pioneers of the genre include Ridley Scott These works depicted a dystopian future where humans interacted with artificial intelligence Cyberpunk design was also influenced by Japanese anime and technological integration of cyberpunk creating a unique fusion of styles and elements Cyberpunk design has some distinct features that make it recognizable and impactful as well as contrast with the bright and vibrant colors of neon lights The most common colors for these accents are blue which evoke a futuristic and artificial feel As for the typography Cyberpunk design uses typography that is bold It often mixes different fonts and languages to reflect the cultural diversity and globalization of cyberpunk The typography also conveys a sense of rebellion and anarchy as well as a connection to technology and cyberspace The style features architecture that is futuristic and complex Cyberpunk design has evolved and influenced modern design in various ways As some of the technologies and issues of cyberpunk have become more relevant and realistic cyberpunk design has also become more prevalent and popular It is a fascinating and influential genre of design that reflects the high-tech and low-life aspects of cyberpunk It combines various styles and elements to create a dystopian and futuristic aesthetic that resonates with the themes and issues of the genre Cyberpunk design has also evolved and influenced modern design as it adapts to changing technologies and society Do you ever feel bored by the same old minimalist designs that seem to dominate everything from websites to logos to posters There’s a growing movement of designers and artists who are embracing maximalism a design style that celebrates the idea that more is more Maximalism is not just a trend; it’s a revolution It’s a way of challenging the status quo and breaking free from the constraints of simplicity and harmony It’s a way of exploring the infinite possibilities of creativity and expression It’s a way of reflecting the complexity and diversity of the world we live in Because it resonates with the postmodern individual This style appeals to the emotional and sensory aspects of the human experience It makes a bold and memorable statement in a crowded and competitive market Maximalism is not only changing the world of graphic design but also influencing other fields and industries and even music are adopting the maximalist style creating a more vibrant and eclectic aesthetic Maximalism is not only a design style but also a lifestyle but it’s for anyone who dares to be different It’s for anyone who wants to unleash their creativity and make a lasting impact Design is a powerful form of expression that can shape the world around us But how can you unleash your creativity in design and graphic design and use it to make a difference in the design world Creativity is not a fixed trait that you either have or don't have Creativity is also not a solitary activity that happens in isolation It is a collaborative process that involves interaction Explore a myriad of diverse sources of inspiration Immerse yourself in the intricacies of the natural world where patterns emerge in the dance of leaves and the intricate designs of seashells Delve into the rich tapestry of artistic expression from the classical masterpieces of the Renaissance to the bold experimentation of contemporary artists pushing the boundaries of creativity each offering a unique perspective and aesthetic vocabulary that can enrich your own creative journey Draw inspiration from the annals of history leaving behind a legacy of innovation and ingenuity Explore the frontiers of science and technology where cutting-edge discoveries and advancements pave the way for new possibilities and realms of imagination Experiment with an eclectic array of tools and techniques each offering its own unique potential for creative expression From the tactile experience of traditional mediums like charcoal and oil paint to the boundless possibilities of digital platforms and virtual reality explore the full spectrum of artistic mediums at your disposal Embrace the tactile nature of sculpting clay or the fluidity of watercolor painting allowing the physicality of the medium to inform and shape your creative process where algorithms and code intersect with creativity offering limitless possibilities for exploration and experimentation Whether sketching with a simple pencil or manipulating complex 3D models each tool and technique offers a new avenue for creative exploration and discovery Challenge yourself to push the boundaries of your design beyond the confines of convention and expectation Embrace the spirit of experimentation and innovation daring to explore uncharted territories of creativity Allow yourself to embrace failure as an opportunity for growth recognizing that breakthroughs often arise from moments of uncertainty and exploration Embrace a mindset of curiosity and exploration allowing yourself to wander down unexpected paths and discover new insights along the way Merge elements from disparate eras and styles weaving together a tapestry of influences that transcends time and space Embrace the juxtaposition of the old and the new allowing the rich tapestry of history to inform and inspire your creative vision Draw inspiration from the classical elegance of ancient architecture or the vibrant energy of modern urban landscapes blending these influences into a seamless synthesis of the past and present Embrace the interplay of tradition and innovation forging connections between seemingly disparate elements to create designs that resonate on a deeper level Embrace the boundless possibilities of imagination daring to dream the impossible and defying the constraints of reality Allow yourself to explore fantastical realms and alternate realities where the laws of physics and reason bend to the will of creativity Engage with speculative fiction and visionary art allowing these imaginative realms to inspire and inform your creative process Push the boundaries of what is deemed possible challenging yourself to envision bold new futures and realities that transcend the limitations of the present moment you can unlock new realms of creativity and imagination pushing the boundaries of what is deemed possible and inspiring awe and wonder in all who encounter your designs Reward yourself with a journey through the design world and see how beautiful it really is are planning events for the Eurovision Song Contest 2025 which is located in the Alsace region of France is planning free public screenings of the two semi-finals and the final The screenings will be held in the Autodrome of the Mulhouse Automobile Museum deputy mayor of Mulhouse and minister for tourism We want to use Eurovision to show that Alsace does not only consist of Strasbourg but that we are a miniature Europe on a large scale The occasion is also convenient for us because Mulhouse is celebrating its 800th anniversary this year Suarez also said that she is looking to see if trains could go to and from Basel at 02:00 during Eurovision and if Louane a five-day music festival will be organised The festival will take place on the northern edge of the Rheinpark close to the Rheincenter in a tent with space for up to 1,000 people While the line-up for the festival hasn’t been announced yet said that he hoped the line-up would be enough to convince visitors to cross the border into Germany to visit Eurovision has been seen as an opportunity for the Trinational Eurodistrict of Basel President of the Cantonal Government of Basel-Stadt commented: we felt great support for our bid and from the Trinational Eurodistrict.” have not announced any events for Eurovision 2025 yet President of the Cantonal Government of Basel-Stadt at the Allocation Draw in Basel in January Switzerland earned the honor of hosting Eurovision 2025 after Nemo triumphed at the 2024 contest with their song “The Code” with 365 from the jury and 226 from the televote securing Switzerland’s first victory since 1988 The 69th edition of the Eurovision Song Contest will take place in Basel on May 13 Image Source: Daniel Stridh | Source: Basler Zeitung Neil is from Ireland but has lived in several countries around Europe. He has has been an editor for Eurovoix since May 2017. He has been following the Eurovision Song Contest since 2005 and attended every contest as press since 2019. He also follows other Eurovision contests, such as the Junior Eurovision Song Contest, which he has watched since the very first edition in 2003. At the center of the ground floor is a hall, above which is an outdoor atrium. The ring-shaped floor plan reduces the number of vertical circulation areas required and allows the floors to be flexibly divided into different functional units. The 4.05-meter grid of light-colored bricks and rectangular windows echoes the scale and rhythm of the surrounding residential buildings. © Roland HalbeLight grey wool felt curtains can be used as needed to divide the open-plan space. Cellular rooms at the ends of the building bundle function to provide spaces for both meetings and concentrated work.  The interior palette of materials is limited to exposed concrete ceilings, oak built-in furniture and wall paneling, white modular partitions, and green carpeting. Only a few versatile pieces of furniture, predominantly in white, were selected, along with a few specific textile 'splashes' of color. They embody the idea of providing a modular system of interior elements that can be easily adapted to changing work situations and company structures.  © Roland HalbeSustainability. Thanks to its spatial adaptability, the office building can be used for a long time to come, even if the composition and needs of its users change. The compact structure has a favorable surface-to-volume ratio, which helps to reduce heat losses. The internal courtyard and large expanses of glass ensure that the office areas receive optimum natural light and also allow cross-ventilation through the windows. SectionDurable and easily repairable materials were used – such as clinker brick, timber-aluminum windows, exposed concrete, oak surfaces, and exposed mastic asphalt screed. Many elements were not glued but screwed or hung without the use of harmful substances. which exploits the inertia of the building mass Additional short-term heating requirements are met by the ventilation system which is kept to a strict minimum using low-velocity air diffusers at the windows and central exhaust air intakes at the two cores The building is connected to the municipal district heating network The entire roof area is used for photovoltaic power generation Located inside the iconic Buckminster Fuller geodesic dome in the Vitra Campus in Weil am Rhein the Camper Pop-up Shop pioneers a new form of retail shopping by combining the best attributes from in-store and online shopping through a mix of virtual The design had to adapt to the existing geodesic structure without competing with it The solution consisted in creating two concentric layers of self-bearing shelves are lightweight composite timber panels organized in a varied way to create voids and passages of different sizes and characteristics The spacing of the wall elements allows for a visual and acoustic permeability exploration and chance encounters between visitors The handcrafted aesthetic of Camper is highlighted by using materials and processes that are indicative of shoe fabrication such as braided cord The installation coincided with the exhibition ‘Making Africa: A Continent of Contemporary Design,’ a traveling exhibition that reflects the energy of a new generation of designers Visplay (sistemas de venta shopfitting systems) Vizona (dirección de obra y supervisión construction management and supervision) Well-known for its designer furniture factory in the German part of the region Weil am Rhein is part of the imprecise belt of outer suburban Basel This photographic studio is located in what was formerly one of the older suburbs of villas in a landscape marked by the nearby motorway small workshops and single family dwellings While everything incited the studio to distance themselves from this catalogue of forms and ideas some of the items inspired a solution that bore a likeness to the informal A detached house with the characteristic slate roof renovated to house the company’s administration was the starting point for a project that opted for contrast the main volume in this architectural ensemble provides a perspective background for the existing villa Together with a glazed link gallery and the wall hiding the car park it transforms the outside space into an oblique Each link of the unit plays a distinguishing role If the administration proposes a connection with the domestic scale of the street the studio traverses the rear of the site with a silent envelope that identifies it as a work area The sloping roof and the trapezoidal line of the ground plan play with the deformation perspective of the volume alluding to the activity it contains inside A narrow bay housing the darkroom and an office lays out the new entrance the bay produces a vertical transition towards the courtyard Above its slanting silhouette we see the outline of three cubic skylights which can be closed by means of interior sliding panels feed natural light into a space that is usually lit artificially Cliente ClientUrsula & Rob Frei-Reimann  Arquitectos ArchitectsJacques Herzog, Pierre de Meuron  Fotos PhotosRalf Frei/ Look, Hisao Suzuki, Margherita Spiluttini Sorry, there arent any match using your search terms, please try again using other terms. Vitra Campus General PlanThe selection of SANAA © Human WuA production facility without a role model Almost all of the major projects that SANAA has completed up until now have been buildings for cultural institutions or universities. In Weil am Rhein – with the first industrial facility to be designed by SANAA – the idea was to apply a similar approach to the construction of a production hall. Photo by SANAA © VitraThe plan for the new structure was initiated by the desire of Vitra’s management to replace an old factory building near the southern corner of the premises that had survived the great fire in 1981 with only minor damage. The extant building was not only showing its age, but was also too small for current demands. The new facility was to provide 20,000 square metres of floor area – compared to 12,000 square metres in the old structure. SituationA circular footprint is unusual for a factory building, but all of the conditions in Weil favoured this solution, so that SANAA was able to convince the client to accept their proposal. Another ideal feature of the circular structure is the proportional relationship of the façade’s surface area to the volume of the interior space. one does not recognize – or even suspect – that the geometry of the floor plan deviates from a perfect circle; yet perhaps this unconformity is unconsciously perceptible Just as SANAA avoids the use of classical symmetry in their architecture they frequently employ slightly distorted geometric figures This may recall the aesthetic concept of wabi sabi the Japanese notion that imperfection and aesthetic consummation are not necessarily contradictory The subtle shape of the ‘Alessi Tea Set’ (2004) by SANAA points in this direction Kazuyo Sejima and Ryue Nishizawa also spoke about transferring some of the liveliness inherent in freehand drawing which always stands at the beginning of their design process Or in their own words: ‘My impression is that the circle The Vitra Campus’ new perennial garden part of which is seen here in front of a modified geodesic dome by Richard Buckminster Fuller set in front of Herzog & de Meuron's VitraHaus features pathways that fluidly guide visitors to experience every inch of flora Piet Oudolf at his Vitra Garden in August 2020 when Oudolf's design was mapped out using a grid system One of Oudolf's planting plans for his Vitra garden specifying plant species and configurations in meticulous detail Oudolf's Vitra garden is now open to the public Piet Oudolf creates a garden for all seasons at the Vitra campus in Weil am Rhein Germany: we took a sneak first peek of the garden design project Renowned Dutch landscape designer Piet Oudolf has created a lush 4,000 sq m perennial garden for Vitra bringing a touch of nature to the company's headquarters in the southern German town of Weil am Rhein Its opening could not be more perfectly timed: having endured long stretches of domestic confinement in the past year, we now crave gardens and horizons afforded by wide open spaces.  exacting lines and modern fabrications of the architecture both contrast with and complement Oudolf’s landscaping – his complex planting techniques favour texture and structure over frothy blooms creating year-round ambience so natural as to appear free of human intervention.  so when the theme of a garden on the Vitra Campus came up I immediately thought of him.’  who is no gardener and has no plans to become one still extols the powerful ‘potential of integrating nature in the campus helping Vitra to go further and develop the whole campus as a cohesive landscape’ He points out that landscaping has incrementally become part of Vitra’s HQ; first when Álvaro Siza designed the factory building and the adjoining parking lot and more importantly with the Álvaro Siza Promenade the new garden was to be planted around the Frank Gehry-designed Vitra Design Museum that it would be more captivating set in front of the VitraHaus ‘They had this place with fruit trees in the front of the restaurant and I thought it would be great if people coming in and out could see something dynamic with plants and flowers,’ says Oudolf ‘You immediately take the visitors in.’ Captivating the audience is always Oudolf’s starting point he artfully crafts pathways through bushes of allium and echinacea fluidly guiding visitors to experience and enjoy every inch of flora ‘The idea is that people can wander there You can walk around and lose yourself a little bit it’s not a straight path,’ he says.  Oudolf’s planting feels characteristically accidental The Vitra Campus garden uses more than 30,000 plants with many species and this takes expert organisation: feathery Asclepias tuberosa; reddish Sporobolus heterolepis; giant daisy-like Echinacea pallida; raspberry-coloured brush heads of Sanguisorba menziesii; violet fuzzy baubles of Echinops ritro; candy floss clouds of Filipendula rubra.  escapism and design stories from around the world direct to your inbox ‘I use many design narratives and concepts in one garden Part of this garden is wilder with more grasses that are dominant and there’s an area where the plants are taller and more robust Around the building we have a different concept There are many considered things you might not notice individually but you can feel the ambience when you are in the garden,’ he says.  Oudolf considers the calendar of the garden creating points of interest that will flourish year round ‘Gardens should be interesting all year long,’ he insists ‘The plants that I choose in my designs often have another life after flowering The colour is only there for a month or two.’ Part of Oudolf’s genius lies in his appreciation of the architecture and structure of plants beyond petals the framework they provide to an outdoor space.  Piet Oudolf’s advice on garden design and creating inspirational outside space Gardens should be interesting all year long the plants that I choose in my designs often have another life after flowering The colour is only there for a month or two He works by first of all sketching his designs on drafting paper and will colour code the plants according to flowering schedule or their physical properties which will later be marked out on the ground using string to create a guide that allows him to transfer the designs on paper to the soil we had to prepare a bulb plan for crocuses so in February 2021 there would be something in flower Perennials that grow in full sun start [to bloom] in May and June and the main flowering period is August and September. In November 2020 pruning and more planting prepared the garden for a snowy winter so that it could emerge in spring 2021 in good shape I hope what I do inspires people to start with plants and also inspires them to see the power of plants The past year has sparked an exodus from many of the world’s major cities as residents pursue a newly discovered desire for more outside space and cities are spending more money on gardens and so on You see that people that stay at home are starting to garden more and you realise that we need more of this in our lives,’ says Oudolf You can only do that by creating a design that has a layer over it you cannot define the thing that makes the garden so good and makes you want to stay to create something that is more than just plants.’  VIEW GOOGLE MAPS Tilly is a British writer, editor and digital consultant based in New York, covering luxury fashion, jewellery, design, culture, art, travel, wellness and more. An alumna of Central Saint Martins, she is Contributing Editor for Wallpaper* and has interviewed a cross section of design legends including Sir David Adjaye, Samuel Ross, Pamela Shamshiri and Piet Oudolf for the magazine. Text description provided by the architects. Over the years the Vitra Campus has become an architecture museum, featuring works by the most renowned architects:  Frank Ghery, Zaha Hadid, Alvaro Siza, Tadao Ando, Jean Pruvé, Nicholas Grimshaw, Buckminster Fuller and SANAA (under construction). The latest addition to the complex is the VitraHaus building, a series of stacked pitched-roof boxed, designed by Herzog & de Meuron for Vitra's Home Collection: DiagramIn January 2004, Vitra launched its Home Collection, which includes design classics as well as re-editions and products by contemporary designers. As a company whose previous activity was primarily focused on office furnishings and business clients, Vitra created the Home Collection with a new target group in mind: individual customers with an interest in design. ModelThe VitraHaus has a daytime view and a night time view one gazes out of the VitraHaus into the landscape the illuminated interior of the building glows from within while its physical structure seems to dissipate The rooms open up; the glazed gable ends turn into display cases that shine across the Vitra Campus and into the surrounding countryside carsten höller has erected a 30.7-metre-high structure on the vitra campus in weil am rhein the ‘vitra slide tower’ is the result of the furniture company’s objective to envision a work with an artist that would fit into the overall plan of the site – something that would be able to distinctively stand alone amidst the powerful architecture already existing on the campus without being closed off and self-contained led them to select carsten höller who is known for engaging the participation of his viewers through site-specific installations that alter one’s perception of the space around them worm’s eye view of the towering structurephoto by julien lanoo reinforcing the topographic reorientation of the vitra campus scheme the free-standing interactive sculpture is composed of three diagonal columns that taper upwards meeting at the top where a revolving clock is found the timepiece measures 6-metres in diameter and is visible from a distance its diagonal orientation makes it unclear as to whether the hour mark that is vertically located at the top indicates twelve o’clock or rather the point that corresponds to the diagonal angle at which the columns stand every twelve hours the hands will form the vitra logo for a few brief moments but not facilitating a practical reading of it view of the ‘vitra slide tower’ in the context of the vitra campus in weil am rheinphoto by julien lanoo the ‘vitra slide tower’ is accessed via a double-flight staircase that is fitted into the slanted supports with intermediate landings interrupting its path an observation deck is offered for visitors to pause at and take in the surrounding landscape this platform also stands as the starting point for a 38-metre-long corkscrew tube slide inviting an alternative way to descend its verticality full view of the structure that is ascended via a staircase and descended through the route of a slidephoto by julien lanoo ‘a slide is a sculptural work with a pragmatic aspect it would be a mistake to think that you have to use the slide to make sense of it looking at the work from the outside is a different but equally valid experience just as one might contemplate the endless column by constantin brancusi from 1938 from an architectural and practical perspective the slides are one of the building’s means of transporting people safely and elegantly to their destinations they’re inexpensive to construct and energy-efficient they’re also a device for experiencing an emotional state that is a unique condition somewhere between delight and madness it was described in the fifties by the french writer roger caillois as ‘a kind of voluptuous panic upon an otherwise lucid mind’.’ – carsten höller views of the 38-meter-long corkscrew slide which visitors use to descend the towerphotos by attilio maranzano a 6-metre diameter clock sits at the top of the three supporting columnsphoto by attilio maranzano the clock and upper deck are illuminated by nightphotos by attilio maranzano AXOR presents three bathroom concepts that are not merely places of function but destinations in themselves — sanctuaries of style By The Vitra Design Museum is an exhibition center dedicated to industrial design and architecture It is located in Germany but at a very short distance from the Swiss city of Basel is housed in a building designed by the Canadian-American architect Frank Gehry and is part of the Vitra Campus a noteworthy ensemble of buildings and architectural structures conceived by some of the most important international architects Some buildings can be visited through guided tours Photos: cover by Patrick Collins; 1 Riccardo Bianchini The Vitra Campus is not simply a corporate museum but actually a unique collection of contemporary architecture The Vitra Schaudepot is a new exhibition venue conceived by Herzog & de Meuron in the famous Vitra Campus near Basel copyright Inexhibit 2025 - ISSN: 2283-5474 The head of a mosque in southern Germany attacked with Molotov cocktails on Thursday night has told Anadolu Agency his community has lived for years in peace beside their neighbors the head of the Eyup Sultan mosque association in the town of Weil am Rhein said unknown assailants threw at least four devices at the building The latest attack has taken place amid a surge in anti-Muslim sentiment in Germany Thursday’s attempted arson was the third attack targeting mosques belonging to the Turkish-Muslim community in Germany over the last two weeks Coskun said members of the community were worried about growing anti-Turkish and anti-Muslim feeling “For many years we lived together peacefully; we have never done harm to anyone always remained neutral,” he told Anadolu Agency “We hope that the perpetrators will be swiftly arrested and brought to justice,” Coskun added The mosque’s security cameras captured images of a group of five people throwing devices at the building Police have appealed to the public for help in identifying the suspects.  unknown assailants vandalized mosques in Freiburg and Leipzig spray-painting Nazi symbols and anti-Turkish slogans on their walls It was not immediately clear whether these three attacks were coordinated They came after a heated public debate in Germany about Turkey’s April 16 constitutional referendum and the political choices of the three-million-strong Turkish community living in the country Many supported Turkish President Recep Tayyip Erdogan’s proposal for a presidential system Among the 700,000 Turkish expats who casted their ballots in Germany 63 percent voted in favor of a presidential system in Turkey German politicians who backed the No campaign argued that support for Erdogan among Turkish expats was a sign that they were not well-integrated and were not sensitive to issues of democracy and freedoms Several far-right politicians even called on Turks who backed the Yes campaign to leave Europe and return to Turkey Turkish community leaders sharply criticized such calls and warned against growing racism in Germany which received more than 1.1 million refugees mostly from Syria and Iraq has witnessed growing anti-migrant sentiments in recent years triggered by the propaganda of far-right parties The Umbrella House by Kazuo Shinohara is installed at the Vitra Campus in Weil am Rhein is the smallest and one of the last remaining residences from the first of Shinohara’s four self-titled ‘styles'.  Its arrival in Germany is the result of a rescue mission that began when the Japanese architectural firm SANAA contacted Vitra It had been informed by the Japanese organisation Heritage Houses Trust that the house was at risk of being demolished to make way for a new road Recognising the building’s significance – Shinohara is considered one of the most important Japanese architects from the latter half of the 20th century but is still little known internationally – Vitra worked with the Tokyo Institute of Technology to dismantle where it will serve as a venue for small gatherings Surrounded by a circle of gravel and approached via a single paved pathway the single-storey house stands serenely on a square platform raised off the ground and topped by a pyramid-shaped roof – Shinohara was the first to transfer elements like this Its small but perfectly formed 55 sq m footprint accommodates a kitchen and dining table a bathroom and a traditional tatami room with 15 half-size tatami mats which provide living and sleeping quarters for a small family.  the visible umbrella structure of the roof makes clear the house’s namesake It spans the interior volume at 4m in height and is intended to make the small floor area appear larger.  Shinohara intentionally chose simple and inexpensive materials such as Japanese cypress Oregon cedar and cement fibre boards for the house's post-and-beam construction and it was erected by craftsmen without heavy machinery This made the relocation process much simpler as even the largest wooden element was less than 5m long so it could be easily loaded into a sea container and shipped economically Despite not being known to a wide audience Kazuo Shinohara has influenced many contemporary Japanese architects who have also built on the Vitra Campus. ‘It can make sense to move a building if its construction easily allows this it must fit into the context of the new location,' said Rolf Fehlbaum ‘The Umbrella House meets both criteria: it is relatively simple to relocate and it connects with the strong Japanese presence – Tadao Ando SANAA and soon Tsuyoshi Tane – on the Vitra Campus.'  vitra.com Ali Morris is a UK-based editor, writer and creative consultant specialising in design, interiors and architecture. In her 16 years as a design writer, Ali has travelled the world, crafting articles about creative projects, products, places and people for titles such as Dezeen, Wallpaper* and Kinfolk. Hidden under a sawtooth factory building, the Vitra Design Museum collection, ranked among the most important holdings of furniture design worldwide, has never been on permanent display to the public. The Schaudepot has the appearance of an industrial building or warehouse with the complex requirements of a walk-in museum repository, and it will now exhibit more than 400 key pieces of modern furniture design. Located in the southwest corner of the Vitra Campus, the building is a second entry point that offers a new facade to the street and improves its connection with Weil am Rhein and Basel. At the opposite end is VitraHaus – built by Herzog & de Meuron in 2009 – and the main street is dotted with architectural landmarks built over the last decades by Zaha Hadid, SANAA, Tadao Ando, Álvaro Siza and Renzo Piano among other architects. However, the new building was not conceived as another architectural statement, but as a functional piece seamlessly blended with its industrial context and consistent with the depot context. Client Representative: Rolf Fehlbaum, Chairman Emeritus and active Member of the Board of Partners: Jacques Herzog, Pierre de Meuron, Andreas Fries (Partner in Charge). Project Team: Martin Krapp (Project Director), Florian Stroh (Project Manager). James Bailey, Maximilian Kimmel, Eduardo Salgado Mordt, Magdalena Stadler. Architect Planning: Herzog & de Meuron; Executive Architect: Mayer Baehrle freie Architekten BDA; Electrical Engineering: Klaus Schepperle VDE; HVAC Engineering: Ingenieurbüro Behringer; Structural Engineering: Ingenieurbüro Autenrieth. Acoustics, Building Physics: Horstmann und Berger; Civil Engineering: Ingenieur Büro Bölk GmbH; Facade Engineering: Franz Revermann Sichtmauerwerk EK; Geometrician: Vermessungsbüro Frey; Lighting Consultant: Ansorg; Security Consultant: Siemens AG; Fire Protection: IBB Grefrath; Geological Survey: GeoIngenieure; Security Doors: Sommer-Hof GmbH. Herzog & de Meuron; Ruedi Walti; Christian Flierl; Vitra Design Museum Text description provided by the architects. As an addition to the Making Africa exhibition at the Vitra Design Museum, Kéré Architecture’s design for a Camper Pop-up store pioneers a new form of retail shopping.  By combining the best attributes from in-store and online shopping, the project aims to create a fully-functioning shop with an embedded atmosphere of virtual, sensory, and communal interfaces. Located inside the iconic Buckminster Fuller geodesic dome on the Vitra Campus, the interior retail space is shaped by an interactive boundary. Conceived as an interactive wall system made of lightweight composite timber panels, the architecture supports all functions of the store including product display and showroom, stock storage, welcome desk, transaction counter, fitting area and customer lounge. Cortesía de Kéré ArchitectureThe handcrafted aesthetic of Camper is highlighted by using materials and processes that are indicative of shoe fabrication such as braided cord and laminated wood.  Cortesía de Kéré ArchitectureAdditional elements such as an in-house fabrication workshop produce a fun and exciting atmosphere within a highly-sophisticated consumer experience The Paris-based Japanese architect Tsuyoshi Tane – founder of the architecture firm ATTA – was commissioned to build this cabin raised on a stone base with a timber structure enclosed with thatch a material chosen for its insulating properties It is the latest addition to the furniture brand Vitra’s campus in Weil am Rhein a German town close to the Swiss city of Basel There it has joined buildings by Tadao Ando The compact 15-square-meter garden house takes in 8 people and is designed for gardeners on the campus to relax in Visitors can go up to the roof deck by climbing an exterior wooden staircase with a banister woven with rope the design references primitive Swiss houses Shaped as a square with the corners cut off the volume was raised with natural materials assembled by local craftsmen In developing the design Tane’s team constructed hundreds of small models with moss The miniature huts and caves were shown in an exhibition at the Vitra Design Museum in the autumn of 2023 Dibujos DrawingsAtelier Tsuyoshi Tane Architects Fotografía PhotographsJulien Lanoo (courtesy of ATTA and Vitra) the structure provides the institution with a venue for publicly presenting key objects from its extensive collection the addition of the building opens up a second entry point to the campus to the south enhancing connections to the neighboring urban centers of basel and weil am rhein the project also creates a new public space that incorporates zaha hadid’s fire station the building is fronted by a public forecourt that connects the building with the rest of the campus image © vitra design museum | main image © VITRA design museum, julien lanoo public forecourt that connects the building with the remainder of the campus its design contrasts with the dynamic contours of hadid’s fire station while corresponding to the brick factory buildings completed by álvaro siza in 1992 the new structure presents itself as a monolithic volume constructed from hand-broken bricks characterized by a completely windowless façade and a simple gable roof this simple and dignified appearance is intended to reflect the cultural worth of the objects it stores within the building offers ideal conservational conditions for the preservation of the collection’s valuable pieces the schaudepot neighbors zaha hadid’s fire station completed in 1993 image © VITRA design museum the building is modest in comparison to the array of architecture also on site the original plan was to locate the new storeroom below ground as a spatial extension to the existing storage basement below the 1960’s sawtooth factory in particular in the wake of the financial crisis VITRA’s founder rolf fehlbaum opted for a subtle architectural statement instead of an extravagant eye-catcher the architects convinced fehlbaum for an above-ground facility that would in result the masonry itself assumes a storage and presentation function of sorts – as a stacked ‘display’ of broken bricks each visible and distinctive due to the unique fracture pattern ‘the VITRA campus is characterized by its architectural diversity which reflects rolf fehlbaun’s insatiable curiosity and love for contemporary architecture and design we have been able to contricute two buildings which bears practically no traces of its makers it was in fact originally planned as an underground warehouse without any form of architectural expression we finally opted for an archetipical architecture that reveals little of its origins: its period or the architects behind it.’ – jacques herzog and pierre de meuron the main hall is defined by a regular gridded arrangement of fluorescent tubes on the ceiling this large volume houses the permanent exhibition as well as temporary displays related to the collection the presentation is divided into three areas with a total of around 1,600 square meters the ground floor contains the main hall where the extensive permanent exhibition is structured chronologically the central focus is a selection of more than 400 key pieces of furniture design with rare works included alongside lesser-known or anonymous objects detailed information on the objects is communicated in a digital catalogue accessible via smartphone or tablets the main hall is defined by a gridded arrangement of fluorescent tubes on the ceiling image © vitra design museum links the building to the restoration workshop and the offices of the vitra design museum a large window connects the main hall to the lower ground floor where visitors are able to see the other parts of the collection these existing repositories remain in operation becoming part of the museum’s overall presentation VITRA’s collection ranks among the most important holdings of furniture design worldwide image © vitra design museum VITRA’s collection ranks among the most important holdings of furniture design worldwide it contains around 7,000 pieces of furniture more than 1,000 lighting objects and numerous archives as well as the estates of such designers as charles & ray eames although the main museum building by frank gehry from 1989 was originally conceived to house the collection the space is primarily used to stage major exhibitions the museum’s collection has never been on permanent display the collection contains around 7,000 pieces of furniture and over 1,000 lighting objects image © vitra design museum the centerpiece of herzog & de meuron’s design is a permanent exhibition of more than 400 key pieces of modern furniture design the objects shown include early bentwood furniture icons of classical modernism by le corbusier along with colorful plastic objects from the pop era and recent designs produced with a 3D printer this presentation is complemented by smaller temporary exhibitions on themes related to the collection beginning with a look at the ‘radical design’ movement of the 1960s the building offers insights into additional focal points of the collection the presentation is divided into three areas with a total of around 1,600 square meters image © vitra design museum radical design: 04.06 – 17.11.2016 image © designboom the first temporary exhibition held inside the schaudepot is dedicated to radical design – an italian movement that reached its peak at the end of 1960s and the beginning of 1970s. recognized as one of the most important avant-garde movements, their unconventional design vocabulary, manifestos and utopian ideas protested against functionalism and the established taste in design and architecture. in collaboration with gufram studio65 used the material polyurethane foam and latex rubber coating in their pieces and thus achieved a break-through in design freedom with the opening of the ‘schaudepot’ the vitra design museum is expanding both its exhibition space and its program frank gehry’s museum building will continue to be used for the large-scale temporary exhibitions while the vitra design museum gallery shows smaller the ‘schaudepot’ displays the permanent exhibition as well as one temporary exhibition forming one of the world’s largest permanent exhibitions and research facilities on modern furniture design see designboom’s previous coverage of the project here visitors are able to see other parts of the collection image © vitra design museum existing repositories remain in operation becoming part of the museum’s overall presentation image © vitra design museum the structure provides a venue for presenting a selection of key objects image © vitra design museum, florian böhm the museum’s collection has never been on permanent display image © vitra design museum a further section links the building to the offices of the vitra design museum image © vitra design museum, daniele ansidei work stations within the offices of the vitra design museum image © vitra design museum janna lipsky project management: marc zehntner head of collection: susanne graner curators of collection: serge mauduit heng zhi content coordination: jolanthe kugler graphics: onlab berlin total floor space of schaudepot: approx 1,600 sqm objects in permanent exhibition: approx 410 exhibitions per year: 1 permanent exhibition Archive Exhibitions Archive Art Archive Urbanism-Landscape please click the box below to let us know you're not a robot Get the most important global markets news at your fingertips with a Bloomberg.com subscription With the exhibition »Victor Papanek: The Politics of Design« running from 29 September 2018 to 10 March 2019 the Vitra Design Museum will present the first large retrospective focussing on the designer Papanek was one of the twentieth century’s most influential pioneers of a socially and ecologically oriented approach to design beginning in the 1960s remains the most widely read book about design ever published and sustainability – themes of greater relevance for today’s design than ever before The exhibition includes high-value exhibits such as drawings some of which have never before been presented These are complemented by works of Papanek’s contemporaries from the 1960s to 1980s or the radical design initiative »Global Tools« Contemporary works from the areas of critical and social design provide insight into Papanek’s lasting impact Papanek escaped to the United States in 1939 After pursuing a career as an industrial designer during the 1960s he developed a critique of consumerism that would make him well known around the world This position is also reflected in his designs which he often developed together with his students or collaborators including televisions and radios for African countries an object designed to stimulate the sense of touch (1965–1970) user-assembled furniture that could be modified to meet different needs is to be found in his work as an author and arbiter of a new and critical understanding of design He lectured in universities around the world and tirelessly promoted a wider social debate about design beginning in 1961 he moderated a television series about design that was broadcast throughout the USA which has been translated into over twenty languages additional books such as »How Things Don’t Work« (1977) or »Design for Human Scale« (1983) cemented his reputation as a pioneer of alternative design In them he used pointed language and humour to criticize a blind belief in consumerism and adapt the ideas of the generation of 1968 to address practical issues of everyday life for a great number of people »Victor Papanek: The Politics of Design« is organized into four sections offering an in-depth look at Papanek’s life and work The exhibition begins with an introductory large-format media installation presenting the designer’s ideas in a contemporary context and follows with a biographical overview tracing Papanek’s life from his escape from Europe to his international success organizers were able to draw upon materials of the Papanek estate held by the Papanek Foundation at the University of Applied Arts Vienna which includes a number of documents that have never been exhibited pieces from Papanek’s collection of ethnological objects as well as over thousands slides that the designer used for his lectures Two other sections focus on the main themes of Papanek’s work including his fundamental criticism of consumerism and his engagement with social minorities his commitment to the needs of what was then known as the »Third World« and »making« culture – creation and production using one’s own resources – which had its origins in the 1960s do-it-yourself movement Visitors can also view a wealth of designs by Papanek including those by the Danish designer Susanne Koefoed who as a student of Papanek developed the first International Symbol of Access in 1968 The exhibition is supplemented with around twenty carefully selected contemporary works that transport Papanek’s ideas into the twenty-first century by designers including Catherine Sarah Young or the Brazilian collective Flui Coletivo and Questtonó deal with complex themes such as global climate change meaning they reflect the continuing resonance of the questions Papanek was already addressing in the 1960s and male-dominated world to which Papanek was bound despite all his efforts to the contrary »Victor Papanek: The Politics of Design« is thus both a retrospective as well as a themed exhibition namely the significance of design as a political tool what was revolutionary for Papanek’s time is now generally accepted: design is not only about giving form to something; it is a tool for political transformation that must consider social and ethical points of view This is reflected by the fact that today’s debates over themes such as social design and design thinking draw upon Papanek’s ideas as a matter of course The exhibition seeks to rediscover Papanek as a pioneer of these debates – and as one of design’s greatest forward thinkers – for the twenty-first century it examines how Papanek’s socially engaged design is changing our world today – as well as how it can make the world a better one As featured in the August 2021 issue of Wallpaper* Piet Oudolf’s garden for the Vitra Campus in Weil am Rhein photographed in May 2021 just as it began to bloom Oudolf’s limited-edition cover artwork for Wallpaper’s August 2021 issue Wallpaper* offers a leading creative figure carte blanche to design a limited-edition cover landscape designer Piet Oudolf sketched a planting plan for Oudolf Garten newly installed at Vitra HQ in Weil am Rhein It’s easy to recognise the work of renowned Dutch garden designer Piet Oudolf He favours herbaceous rather than woody plants allowing them to ebb and flow across a continuous landscape without imposing a linear structure not optimised for a particular vantage point but instead dazzling from many angles And rather than digging up wilted plants and replacing them with fresh ones Oudolf selects species that have a sculptural quality beyond their flowering season Piet Oudolf’s Vitra garden opens in Weil am Rhein A further behind-the-scenes element comes in the form of our August issue’s limited-edition cover which shows a planting plan sketched by Oudolf with organically shaped flower beds shaded in different colours and the names of some species crossed out and replaced as Oudolf finessed his design evocative glimpse into the inner workings of a fertile mind.  Piet Oudolf’s cover is the latest addition to the Wallpaper* limited-edition cover series, which features a specially created artwork by a different artist, architect or designer each issue. Limited-edition covers are available to subscribers only; for more information, see wallpaper.com/sub21 TF Chan is a former editor of Wallpaper* (2020-23) where he was responsible for the monthly print magazine editing and writing long-lead content across all pillars He also played a leading role in multi-channel editorial franchises such as Wallpaper’s annual Design Awards Guest Editor takeovers and Next Generation series visually-driven content while championing diversity international representation and social impact TF joined Wallpaper* as an intern in January 2013 and served as its commissioning editor from 2017-20 winning a 30 under 30 New Talent Award from the Professional Publishers’ Association he holds an undergraduate degree in history from Princeton University From hand axe to multipack carrier: selection of objects from the exhibition’s prologue — “The Essence of Things: Design and the Art of Reduction,” on view through September 11 at the New Orleans Museum of Art brings together approximately 150 objects from 100 years of design history ranging from humble items like flip-flops and rubber bands to high-concept living pods graphic design and architecture are represented in this exhibition which includes work by well-known historic and contemporary designers such as Gerrit Rietveld “NOMA is delighted to be working in partnership with the internationally-renowned Vitra Design Museum to bring this exciting thoughtful exhibition to New Orleans as one of only two venues in the United States,” says Susan Taylor the museum’s Montine McDaniel Freeman director “This is NOMA’s first presentation of an exhibition dedicated to Twentieth Century and contemporary design It vividly demonstrates today’s interconnected world of visual arts “Essence of Things” explores how many designers embrace minimalism as a way to achieve both function and elegant aesthetics an article of clothing or the newest smartphone These designers operate under the idea that “good design” is when nothing can be added but also nothing can be taken away This principle of simplicity has increasingly guided the international field of industrial design for more than a century “Essence of Things” explores these many facets of minimalism and demonstrates the disparate ways designers have sought to approach “the essential” in an object Introducing this exhibition is a prologue gallery featuring a surprising selection of 50 everyday objects that show a minimalist approach as the solution to a successful design The gallery considers diverse objects including a prehistoric stone hand axe “I love how this exhibition will encourage you to think about familiar objects in a new way,” says Mel Buchanan NOMA’s RosaMary curator of decorative arts and design “Something as deceptively simple as a golf ball a Lego block or a fiberglass Eames chair is the result of a designer’s experimentation and calculation with both science and art.” The exhibition follows four large themes of “Manufacture,” “Function,” “Aesthetics” and “Ethics,” with each large idea shown through a variety of well-known designs and products Icons like Nineteenth Century bentwood Thonet chairs and a clear plastic chair by French design superstar Philippe Starck are complemented with photo and video projections showing examples from related fields — graphic design accompanied by a catalog published by Vitra Design Museum Publications was organized by the Vitra Design Museum in Germany The New Orleans Museum of Art is a 1 Collins C., Diboll Circle, City Park. For further information, www.noma.org or 504-658-4100 A Grand Reopening — The Frick Collection ‘Banners of Liberty’ Revolutionary War Flags Gather At Museum Of The American Revolution Turner Exhibition Reopens Yale’s Center For British Art 2014Herzog & de Meuron’s VitraHaus (2010).Save this storySaveSave this storySaveArt Basel (June 19–22) and Design Basel (June 17–22) may be stealing the limelight this week but just across the border lies one of the world’s greatest architectural assemblages in the German (bring your passport) town of Weil am Rhein a free shuttle will take you there in 20 minutes from the design-show fairgrounds The Vitra Campus is a treasure trove of buildings and grounds designed by leading architects It was created after a 1981 fire destroyed the furniture manufacturer’s original facilities including several Pritzker Prize and Royal Institute of British Architects Award winners Fehlbaum was the first to give European commissions to Frank Gehry and Tadao Ando The campus also includes impressive works by Zaha Hadid as well as vintage items like a gas station by Jean Prouvé and an early Airstream camper Vitra is also the proud producer of furniture and objects by such masters of design as the Bouroullec brothers The latest to join the Vitra family is the highly esteemed company Artek which was cofounded by Finnish master Alvar Aaalto Click here to tour the Vitra Campus. trapezoidal marquee hoisted on spindly pilot is points the way towards the primary pedestrian entrance on the long eastern front Scarcely a handful of architects ever attain sufficient fame as to graduate to the Mies-level status of a mononym their surname all but falling out of use in professional circles the list more or less stops at three: Frank perhaps only the third cognomen has become so familiar that most culturally-aware persons can recognise it without much prompting Zaha Hadid’s name (or at least half of it) is still on the lips of millions in the design world and in the world at large—though significantly the expression that those lips assume when pronouncing it Zaha has become almost synonymous with the excesses of a certain variety of hyperactive formalism born of the giddy digital mania and go-go globalism of the 1990s now exhausted creatively and in low political repute really deserves for the flaws of that mode of practice or how much credit for its accomplishments it seems only appropriate to start at the very beginning with her first major completed project: the 1991 Vitra Fire Station in Weil-am-Rhine Already known by that point (at least among the cognoscenti) as an up-and comer Zaha had been on the scene since the 1970s serving a long stint with fellow uninomial avant-gardist Rem Koolhaas while also establishing her own identity through the production of a body of challenging her oversized images fashioned out of synthetics polymers and paper showed fragmented forms flying through space coalescing into jagged artificial landscapes and airborne cities seen at high speed and impossible perspectives and so far as anyone appeared to think at the time entirely unsuited to translation into anything like built work the second-generation hetman of Swiss design mega-brand Vitra had already gone out on a rather daring limb in 1989 by commissioning a new museum for his company’s sprawling campus in the Black Forest just outside (though across the national border from) Basel selecting a then-unknown Los Angeles architect who at the time had yet to shed even his middle initial: Frank O The success of that project combined with a devastating fire in 1981 was to prompt Fehlbaum’s next architectural gambit: an onsite fire house with a dedicated staff and firetruck ready to go at a moment’s notice In keeping with Vitra’s reputation as a dedicated pusher of aesthetic envelopes its president turned to the Iraqi-born artist-architect giving Zaha her big break as an actual builder The internal circulation is a collage-like sequence of glass enclosed passages Punctuating the southern terminus of the Vitra compound’s central axis the structure she produced could perhaps best be described as a concrete wall with split personality disorder the facility reveals itself as a series of splinter-thin with one slightly fatter volume out one side; the latter is the garage for the actual trucks meant to service the campus trapezoidal marquee hoisted on spindly pilot is pointing the way towards the primary pedestrian entrance on the long eastern front goggle-eyed perspectival effect as Zaha’s paintings the building operates on a kind of slingshot logic the mass pulled back and downward for maximum tension ready to release a pure bolt of firefighting power The architect’s swirling forms find their way off the canvas and into a similarly collage-like sequence of sharp turns with partition walls and built-ins popping into a view in a way that suggests an amped-up version of Mies’s spatial poetics glass-enclosed circulation passages appear to bespeak a fire crew with a surprising amount of time for leisure and reflection which includes an exercise room and bicycle storage Not much of an arson wave in 1990s Weil-am-Rhein The pervasive impression that the Vitra Fire Station was more Vitra than fire station has long been the stock critique of the project One popular story had it that the exciting if perilous-looking garage door was too tightly slanted to accommodate the firetrucks—though even were this true there was still plenty of parking space under a west-facing marquee Whether or not the building was really suited to its nominal function it never really served as such for very long: Weil-am-Rhein eventually built its own municipal firehouse the foundational project of one of the world’s most famous architects has served the same purpose as so many of her other used as an exhibition space and a site for cultural events the smallest and oddest-shaped pearl on Vitra’s glittering string of buildings by Gehry that the building should ultimately be considered: not as an unusually eccentric bit of functional architecture The wave of progressively more ambitious projects created by Vitra between the late 80s and today has both reflected and helped to guide the main current of contemporary design over the same period Zaha’s contribution shows how much she could wring from so little using nothing but a few poured-in-place slabs and her own inscrutable thinking about the history and future of the built environment That her thinking was strictly formal in its frame of reference does not detract from its primary appeal—that is its almost hieratic weirdness—and it is only unfortunate that the architect was later elevated into a sort of pop priestess dedicated to the memory of a forgotten architect whom everyone knows: to Zaha © Built Environment and Architecture Media Ltd 2025 We use cookies and other tracking technologies to ensure that we give you the best experience on our website analyse your use of our products and services assist with our promotional and marketing efforts These cookies are necessary for the website to function and cannot be switched off in our systems They are usually only set in response to actions made by you which amount to a request for services You can set your browser to block or alert you about these cookies but some parts of the site may not work then These cookies allow the provision of enhance functionality and personalisation They may be set by us or by third party providers whose services we have added to our pages then some or all of these functionalities may not function properly These cookies allow us to count visits and traffic sources so we can measure and improve the performance of our site They help us know which pages are the most and least popular and see how visitors move around the site All information these cookies collect is anonymous we will not know when you have visited our site These cookies are set through our site by our advertising partners They may be used by those companies to build a profile of your interests and show you relevant ads on other sites you will not experience our targeted advertising across different websites These cookies are necessary to display content from social networks such as Facebook In such a way that you can share our content with your favourite social networks