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02 Nov 18:20

Designing the Hippie Modernism Exhibition Catalogue

by Emmet Byrne
Olena Bulygina

need one


The catalogue for Hippie Modernism: The Struggle for Utopia is edited by curator Andrew Blauvelt and contains new scholarship that examines the art, architecture, and design of the counterculture of the 1960s and early 1970s. The catalogue surveys the radical experiments that challenged societal norms while proposing new kinds of technological, ecological and political utopia. It includes the counter-design proposals of Victor Papanek and the anti-design polemics of Global Tools; the radical architectural visions of Archigram, Superstudio, Haus-Rucker-Co, and ONYX; the installations of Ken Isaacs, Joan Hills, Mark Boyle, Hélio Oiticica, and Neville D’Almeida; the experimental films of Jordan Belson, Bruce Conner, and John Whitney; posters and prints by Emory Douglas, Corita Kent, and Victor Moscoso; documentation of performances by the Diggers and the Cockettes; publications such as Oz and The Whole Earth Catalog; books by Marshall McLuhan and Buckminster Fuller; and much more.


While the turbulent social history of the 1960s is well known, its cultural production remains comparatively under-examined. In this substantial volume, scholars explore a range of practices such as radical architectural and anti-design movements emerging in Europe and North America; the print revolution in the graphic design of books, posters and magazines; and new forms of cultural practice that merged street theater and radical politics. Through a profusion of illustrations, interviews with figures including: Gerd Stern of USCO; Ken Isaacs; Gunther Zamp Kelp of Haus-Rucker-Co; Ron Williams and Woody Rainey of ONYX; Franco Raggi of Global Tools; Tony Martin; Drop City; as well as new scholarly writings, this book explores the conjunction of the countercultural ethos and the modernist desire to fuse art and life.


While designing the publication, one of the tensions we were interested in exploring was the relationship of the hippie as popularized by the media and its authentic counterpart, if such a thing existed. As Andrew describes in his preface to the catalogue, “The hippie was and remains a highly mediated figure, one used rhetorically within this project as the same kind of empty signifier to which accreted many different agendas. Or, as the Diggers once said, the hippie was just another convenient “bag” for the “identity-hungry to climb in.” If the publication could illustrate both the hippie as utopic countercultural agent and the hippie as “devoted son of Mass Media,” we might begin to emulate a Hippie Modernism.


117Typographically, we responded to lo-fi publications such as the Whole Earth Catalog, How to Build Your Own Living Structures, Be Here Now, and the Foundation Journal on one hand, and the iconic, corporate advertising language of the ’60s and ’70s on the other. Bridging these two registers came quite naturally to many of the artists and designers of this era, who understood that envisioning a utopia meant performing it, broadcasting it, projecting it, publishing it, and advertising it. Creating the future meant co-opting the strategies of mass communication.





One obvious example of this was “Advertisements for the Counter Culture,” an insert in the July 1970 issue of Progressive Architecture magazine, in which representatives of the counterculture were invited to create advertisements for their various projects and efforts. In the preface, editor Forest Wilson wrote, “The following pages reflect deep discontent with things as they are. We should be concerned when such options cease to be advertised, for it is when those who seek change despair of its realization that violence becomes inevitable. The public notices that follow are put forth to offer alternatives to our way of life, not to destroy it.”



In addition to reprinting the insert in our catalogue, we created a 16-page reimagining of it through the lens of Hippie Modernism, interspersed throughout the essay section. Some of these pages feature real ads, publication covers, and layouts from the period, while others are fictional recreations (the McLuhan ad, for example, required restaging a photoshoot in order to translate an ad that was originally black-and-white into full color). The pages are printed on Constellation Jade Riccio, a dreamy, pearlescent paper embossed with a wavy pattern that brings to mind the organic psychedelia of certain hippie projects such as Elias Romero’s oil and ink light show experiments, while also reinforcing notions of mass production and surface, by way of it’s highly artificial nature. (I first saw this paper used beautifully by Laurent Fétis and Sarah Martinon in the design of the catalogue for the 23rd International Poster and Graphic Design Festival of Chaumont 2012.)




The book also includes an extensive plate section, featuring images and descriptions of the projects featured in the exhibition.


Finally, the image on the cover of the book depicts the US Pavilion for Expo 67 (Montreal), designed by Buckminster Fuller and Shoji Sadao, as it caught fire on May 20, 1976. As a signifer, the photo by Doug Lehman seems to perfectly encapsulate the friction implied by the term “hippie modernism” and, more explicitly, the counterculture’s utopian agenda being subsumed—and deemed a failure—by the conservative era that was to follow. With each passing year, though, this reactionary characterization of the counterculture moment rings more and more hollow, as contemporary practitioners revisit the revolutionary strategies these artists, designers, and activists deployed.


03 Nov 16:30

Hand-Colored 1860s Photographs Reveal the Last Days of Samurai Japan

by Colin Marshall

Samurai Japan 1

Any fan of samurai movies knows the elaborate lengths some productions can go to in order to recreate the look and feel of old Japan, but globetrotting Italian-British photographer Felice Beato (1832 – 1909) actually managed to capture those days on celluloid first-hand. He arrived in Japan in 1863, at the very twilight of the era of the samurai, a time he documented evocatively with a series of hand-colored photographs of subjects like “kimonos, parasols, baby’s toys, basket sellers, courtesans at rest and a samurai gang ready for action,” as the Guardian lists them in their gallery of Beato’s Japanese work.

Samurai Japan 2

“After spending over two hundred years in seclusion, Japan was being forced by the Americans — under a mission led by Commodore Matthew C. Perry — to expand its trade with the west,” writes Dangerous Minds’ Paul Gallagher, describing the unprecedented moment of Japanese history in which Beato found himself, one that provided the opportunity to photograph not just the last of the samurais but also the courtesans they loved. But all this had its risks: “Travel was dangerous in Japan,” Gallagher adds, “with many of the Shogunate samurai warriors killing westerners,” a fate Beato narrowly avoided at least once.

samurai in color

Having photographed in Constantinople, India, and China before Japan, Beato moved on after it to other parts of Asia, including Korea and Burma, before returning to his native Italy at the very end of his life. But his pictures of Japan remain among the most striking of his entire career, perhaps because of their artistic use of color, perhaps because of a historical time and place that we think we’ve come to know through so many sword-and-suicide epics. Their characters, from the honor-bound samurai to the sly courtesan to the simple merchant, can seem to us a bit theatrical as a result, but Beato’s photographs remind us that they all began as very real people. Who might they inspire to make a film about their real lives?

Samurai Japan 4

Samurai Japan 5

Samurai Japan 6

via The Guardian/Dangerous Minds

Related Content:

Hand-Colored Photographs of 19th Century Japan

Advertisements from Japan’s Golden Age of Art Deco

Glorious Early 20th-Century Japanese Ads for Beer, Smokes & Sake (1902-1954)

Early Japanese Animations: The Origins of Anime (1917-1931)

A Photographic Tour of Haruki Murakami’s Tokyo, Where Dream, Memory, and Reality Meet

Colin Marshall writes elsewhere on cities, language, Asia, and men’s style. He’s at work on a book about Los Angeles, A Los Angeles Primer, the video series The City in Cinemaand the crowdfunded journalism project Where Is the City of the Future? Follow him on Twitter at @colinmarshall or on Facebook.

Hand-Colored 1860s Photographs Reveal the Last Days of Samurai Japan is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.

04 Nov 14:44

ASX.TV: A Conversation with Alec Soth (2015)

by The ASX Team
On 'Gathered Leaves' at the Media Space, Science Museum The post ASX.TV: A Conversation with Alec Soth (2015) appeared first on AMERICAN SUBURB X.

[[ This is a content summary only. Visit my website for full links, other content, and more! ]]
27 Oct 16:00

Picturing the Marathon

by Rebecca Robertson
© Andrew Hinderaker / Courtesy Museum of the City of New York © Adrian Kinloch / Courtesy Museum of the City of New York © Dina Litovsky / Courtesy Museum of the City of New York © Dina Litovsky / Courtesy Museum of the City of New York © Jeffrey Aaronson / Courtesy Museum of the City of New York © Ramin Talaie / Courtesy Museum of the City of New York © Richard Chung / Courtesy Museum of the City of New York

On the first Sunday of November, 50,000 runners dressed in their best sweatpants and Spandex are expected to take part in the 45th New York City Marathon; the number of photos generated by their 26.2-mile trip through all five boroughs will be almost certainly upwards of that. Since the first race in 1970, when 127 participants ran laps around Central Park, the race has grown into a massive event that attracts more than a million spectators along its route, cheering family and friends and photographing the colorful blur that sweeps past them. On view in time for the race is “The New York City Marathon: The Great Race,” the first exhibition focusing on photography to explore the history and experience of running the city’s race, on view until March 2016 at The Museum of the City of New York.

The exhibition includes images made by both amateur and professional photographers who responded to the museum’s call for images. From several thousand entries, 120 were selected, taken on devices ranging from cell phones to state-of-the-art digital cameras. Among them are Dina Litovsky’s study of a drift of green water cups left in the runners’ wake in Queens, and Adrian Kinloch’s composition framing participants against the face of an empty brick- and plywood-fronted building in Brooklyn. Spanning locations along the marathon route from the starting line, through diverse neighborhoods, across five bridges and ending at the Central Park finish line, the photos record the struggle and pride the race inspires.

Curated by Sean Corcoran, curator of prints and photographs at MCNY, the show mirrors the inclusive spirit of the race by combining photos from professionals with those from fans and participants. “With this exhibition, we hope to celebrate the Marathon as an event that brings all five boroughs and anyone who visits them together in truly inspiring fashion,” explains Corcoran in a statement. Meanwhile, photos for this year’s race are already accumulating on social media – five days before the big day, hashtag #nycmarathon has close to 90,000 posts on Instagram, and growing.


Running Down a Dream

New York Bike Style

PDN’s 30 2014: Dina Litovsky

22 Oct 02:53

The Architectural Legacy of Pizza Hut Restaurants

by Claire Voon
Ho Hai Tran, "The Great Wall, Glendale Heights, IL, USA " (all photos courtesy Ho Hai Tran and Chloe Cahill)

Ho Hai Tran, “The Great Wall, Glendale Heights, IL, USA ” (all photos courtesy Ho Hai Tran and Chloe Cahill)

While our love for pizza will never die, the dine-in locations of the red-roofed Pizza Hut have been gradually shuttering across the world. Still, even if they no longer house cheesy, greasy goodness, their iconic hut-shaped forms endure, dotting the landscape as buildings for new businesses. For the past two years, freelance photographer Ho Hai Tran has been traveling the world, hunting down these shells of former Pizza Huts and photographing nearly 100 of them. The series of images in his forthcoming, Kickstarter-funded book, Pizza Hunt, is an homage to a particular period of the fast food chain’s history, one that introduced an unexpected architectural design that spread globally.

The former flatbread eateries now exist as Chinese restaurants, liquor stores, pawn shops, gospel churches, and funeral homes, but certain lasting or repurposed architectural elements remain that hint to days when patrons gathered around sticky tables to double-fist doughy slices and hunks of cheesy bread.

Cover of 'Pizza Hunt' by Ho Hai Tran and Chloe Cahill (click to enlarge)

Cover of ‘Pizza Hunt’ by Ho Hai Tran and Chloe Cahill (click to enlarge)

“The huts vary from the slightly altered to the drastically transformed but were all originally built in the same image,” Tran told Hyperallergic. “Some of the tell-tale features of the hut are the trapezoidal windows and the two-tiered shingled roof.”

Pizza Hut’s first location — which opened on June 15, 1958 and now exists on the Wichita State University campus — was actually just a small brick building, where a shortage of space on its entryway sign in addition to its architecture dictated the brand name. As the chain expanded and competing businesses emerged, however, its founders decided to set Pizza Hut apart with a new and unique design. As e-zine Dairy River explains in a heavily researched essay on Pizza Hut’s famous roof, a local architect Richard D. Burke takes responsibility for coming up with the red, pavilion-style roof. His design dates to around 1964, and it popped up just about everywhere, from Anchorage, Alaska, to Alimos, Greece.

Ho Hai Tran, "Olsens Funerals , Revesby, NSW, Australia"

Ho Hai Tran, “Olsens Funerals , Revesby, NSW, Australia”

Many of those red roofs are now repainted and many buildings disguised, but Tran, along with creative director and editor Chloe Cahill, combed Google Maps, mined existing online research, and spoke with locals to confirm a business’ original pizzeria status. Some are still easily recognizable, like the Pizza Hut-turned pagoda-style Chinese restaurant in Illinois that tweaked its roof with a teal paint job and upturned edges; or “Copycat,” a copy store in Pennsylvania that stays true to its name and pretty much adheres to the structure of the pizza parlor. Others, like Olsens Funerals in Australia, bear faint resemblance to Burke’s design, requiring much more digging into history.


Ho Hai Tran, "Copycat , California, PA, USA"

Ho Hai Tran, “Copycat , California, PA, USA”

“Pizza Hunt” isn’t the first compendium devoted to the enduring legacy of the hut-like diner, although it will be the first printed publication on the topic that is self-compiled. Since 2008, the blog Used to Be a Pizza Hut has been crowdsourcing photographs to document the current nature of the franchise’s old establishments. Like Pizza Hunt, its archives reveal the significance of Pizza Hut’s architecture not only in building the pie giant’s brand but also in creating a now-distant experience that predates the arrival of delivery services.

“The Pizza Hunt is a celebration of the golden era of dine-in fast food,” Tran said. “For anyone who’s ever made a mountain of mini marshmallows on their self-serve sundae, maxed out on free refills at the drink fountain or driven past a hut and felt its strange allure – this book’s for you.”

Ho Hai Tran, "Vacant, West Palm Beach, FL, USA" (click to enlarge)

Ho Hai Tran, “Vacant, West Palm Beach, FL, USA”

Ho Hai Tran, "Church of Our Savior, Boynton Beach, FL, USA"

Ho Hai Tran, “Church of Our Savior, Boynton Beach, FL, USA”

Ho Hai Tran, "Los Burritos Mexicanos, St. Charles, IL, USA"

Ho Hai Tran, “Los Burritos Mexicanos, St. Charles, IL, USA”

Limited edition Clams

Limited edition book with custom pizza box clamshell

Pizza Hunt is only available through Kickstarter.

05 Oct 13:35

Doom Running On The Apple Watch

This is a video of doom running on the Apple Watch, this was created by Libor Tubi who work’s for Facebook in Tel-Aviv."So we had a 10-hour hackathon in our Facebook Tel-Aviv office, and the idea was to hack around iOS stuff. Apple has released beta versions for watchOS 2 that lets you run native apps on the watch and we thought it could be fun to port Doom over to it! (not to mention the fact that JOHN CARMACK is a colleague OMG!!)" The next video shows Doom running on the Apple TV, this was put together by developer Mehdi Mulani who also works for Facebook...(Read...)

22 Sep 14:24

New Service Will Preserve and Frame Your Tattoos After You Die

by Claire Voon
(all images courtesy NAPSA)

A framed piece of preserved skin art (all images courtesy NAPSA)

You may now bequeath your tattoos to your loved ones to frame and display, just like any other work of art that you value or that may be a family heirloom. Save My Ink, a new professional service offered by the National Association for the Preservation of Skin Art (NAPSA), treats body art as a work of fine art and is the first to offer such preservation on a mass and professional scale.

“You would never burn a Picasso or any piece of art you invested in and had a passion for,” said NAPSA’s executive director Charles Hamm, who also co-owns a tattoo studio outside Cleveland. “Your tattoo is also art with a unique story, just on a different canvas.”

The process is open to only members — 18 years old and up — of the nonprofit association, who pay an initial fee in addition to yearly dues. Those ready to pass along their dermis for posterity identify the piece they wish to preserve (which cannot be inked on the face or genitalia) and designate a beneficiary; within 18 hours of one’s passing, the beneficiary then alerts NAPSA who will overnight send a removal kit and paperwork to the funeral home. The embalmer has to then remove the tattoo — or tattoos — within 60 hours, place it in a “nontoxic temporary preservation compound,” and send it back to NAPSA, who will preserve the tattooed skin and return it to the beneficiary within three to six months. According to NAPSA, most funeral homes and embalmers are willing to follow through with the fairly easy removal process, although the organization also has a master embalmer who is building a network of funeral home providers for the service.


A framed piece of preserved skin art (click to enlarge)

The idea of framing a slice of your loved one’s skin is a little creepy and stomach-churning — and Save My Ink will undoubtedly face its share of critics — but beneficiaries won’t end up with a framed maggot-magnet. The process, which took a year to perfect, according to NAPSA, is “essentially a chemical and enzymatic process that permanently alters the chemical structure thus permanently fixing it against decomposition (while preserving the integrity of the art).” The process also touches up and enhances the work, returning it to its original look — making the procedure quite similar to the conservation of a priceless painting.

“These pieces should be treated as what they are, fine art,” Hamm told Hyperallergic in an email. “If one frames the piece according to NAPSA guidelines and keeps it out of direct sunlight, the piece should last forever.”

In terms of legality, NAPSA says that challenges arise depending on how regulators classify tattoos at various steps of the process – although, since it firmly believes that “recovered” body ink is, in fact, simply art, Save My Ink is merely “fulfill[ing] the wishes of many art collectors in the country.” The service will, however, work on behalf of its members around the world to overcome any possible regulatory hurdles.

The launch of Save My Ink emphasizes the increased perception of tattoos as fine art  — likewise indicated by the language tattoo enthusiasts increasingly adopt that was once reserved for non-body art (such as “collector”). Many tattoo artists also work on mediums beyond skin and participate in gallery shows (this November, some will even have original work auctioned off). This past weekend, NAPSA even exhibited its own gallery of preserved skin art at the Las Vegas Tattoo Convention, and Hamm tells Hyperallergic that the association plans to have the art in a museum one day.

The display of tattoos in museums is an ancient tradition, and many institutions have centuries-old specimens: London’s Wellcome Collection, for example, is home to the world’s largest collection of preserved body art; the French National Museum of Natural History also has over 50 pieces; and the Musée du Quai Branly’s soon-to-end exhibition, Tatouers, Tatoués, features an entire marked arm. Such historic works, however, are artifacts, originally saved to be studied, and are now often placed in glass cabinets for public viewing. Save My Ink instead preserves body art for its artistic worth, and its eventual display in private homes is a much more intimate (if not unusual) gesture.


A framed piece of preserved skin art


A framed piece of preserved skin art


A framed piece of preserved skin art


A framed piece of preserved skin art


A framed piece of preserved skin art

Member certificate

Members also receive a highly embellished member certificate, which is itself a work of art.


22 Feb 06:31

The Dreslyn – “Lost In Translation” Winter Lookbook @ The LINE Hotel (Los Angeles)

by wheeler
PastedGraphic-1 PastedGraphic-2 PastedGraphic-3 PastedGraphic-4 PastedGraphic-5 PastedGraphic-6
22 Sep 00:51

The Martian's Official Mission Guide

For each mission, NASA does a considerable amount of work publicizing their efforts to bring awareness of their mission to the general public.  The same would be true for a manned Mars Mission, as the official Mission Guide for The Martian demonstrates.The guide looks like a slick magazine with a whole bunch of facts and pictures about the Ares 3 mission. This mission? Study the geology and sedimentology of Acidalia Planitia to learn about the planet’s recent geologic history.  The document also talks about the background of each of the characters. Download the official Mission Guide here...(Read...)

14 Sep 07:56

Discovered: First Use of the “F Word” May Date Back to 1310

by Dan Colman


We previously thought that the first use of the “F word” dated back to 1528 — to when a monk jotted the word in the margins of Cicero’s De Officiis. But it turns out that you can find traces of this colorful curse word in English court documents written in 1310.

Dr. Paul Booth, a former lecturer in medieval history at Keele University, was looking through court records from the age of Edward II when he accidentally stumbled upon the name “Roger Fuckebythenavele.” The name was apparently used three times in the documents, suggesting it was hardly a mistake. According to The Daily Mail, Booth believes “Roger Fuckebythenavele” was a nickname for a defendant in a criminal case. And, going further, he suggests the nickname could mean one of two things: ‘Either this refers to an inexperienced copulator, referring to someone trying to have sex with the navel, or it’s a rather extravagant explanation for a dimwit, someone so stupid they think this that is the way to have sex.’ Booth has notified the Oxford English Dictionary of his discovery.

via The Daily Mail

Related Content:

The Very First Written Use of the F Word in English (1528)

Steven Pinker Explains the Neuroscience of Swearing (NSFW)

Stephen Fry, Language Enthusiast, Defends The “Unnecessary” Art Of Swearing

Medieval Cats Behaving Badly: Kitties That Left Paw Prints … and Peed … on 15th Century Manuscripts

Discovered: First Use of the “F Word” May Date Back to 1310 is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.

04 Aug 13:01

The Artist Statements of the Old Masters

by John Seed


“If the great European artists of the past were alive today, what kinds of statements would they need to write to explain and justify their work?”

This summer I asked myself that question over two dozen times for a small, humor book that I have been developing. I hope you will find the sampling of seven statements below funny and even a bit poetic. Five of them were written specifically for Hyperallergic and two are from my new book.








John Seed’s Artist’s Statements of the Old Masters (2015) is available on Amazon.

14 Jul 15:30

Insanely Cute Cat Commercials from Studio Ghibli, Hayao Miyazaki’s Legendary Animation Shop

by Jonathan Crow

Back in 2010, Hayao Miyazaki’s company Studio Ghibli produced a commercial for the massive food conglomerate Nissin Seifun. The spot centers on a rotund cat named Konyara who bats lazily at a red butterfly – Nissin’s logo. Konyara is rendered in simple thick, black lines that recall Japanese sumi-e painting.

Miyazaki reportedly didn’t have much to do directly with the piece but his influence is all over it. The commercial was produced by Miyazaki’s long time collaborator Toshio Suzuki and animated by Katsuya Kondo, who did the character design for perhaps Miyazaki’s most cat-centric movie Kiki’s Delivery Service. Another Miyazaki collaborator, pop legend Akiko Yano, did the music. More to the point, Konyara looks like some of Miyazaki’s most enduring characters from Totoro to Ponyo to the Kodama from Princess Mononoke. Adorable, elegant and vital.

The commercial was so successful that Nissin commissioned two more. The second one aired in 2012 and featured a sleepy Konyara struggling to grab 40 winks while her offspring, named Ko-Konyara (trans: Little Konyara), insists on cuddling. The calligraphy on the side reads “Always together.”

The most recent Ghibli/Nissin commercial came out a few months ago. Konyara’s brood has expanded to three – the two new cats named Kuroneko and Buchi. All three tumble into the frame as Konyara presents them with a fish while text appears reading, “I’m hungry.” When the little black kitten, who looks a lot like a soot sprite from Totoro, runs off with dinner, Konyara gives a resigned sigh. It’s an expression that anyone who has spent long periods with very young children will recognize.

You can watch all three above or here.

via Cartoon Brew

Related Content:

The Simpsons Pay Wonderful Tribute to the Anime of Hayao Miyazaki

How to Make Instant Ramen Compliments of Japanese Animation Director Hayao Miyazaki

French Student Sets Internet on Fire with Animation Inspired by Moebius, Syd Mead & Hayao Miyazaki

Jonathan Crow is a Los Angeles-based writer and filmmaker whose work has appeared in Yahoo!, The Hollywood Reporter, and other publications. You can follow him at @jonccrow. And check out his blog Veeptopus, featuring lots of pictures of vice presidents with octopuses on their heads.  The Veeptopus store is here.

Insanely Cute Cat Commercials from Studio Ghibli, Hayao Miyazaki’s Legendary Animation Shop is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs. is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.

The post Insanely Cute Cat Commercials from Studio Ghibli, Hayao Miyazaki’s Legendary Animation Shop appeared first on Open Culture.

28 Apr 15:44

Large Format Photographs Capture Ornate Opera Houses From Around the World

by Kate Sierzputowski

All images © David Leventi, Margravial Opera House, BAYREUTH, GERMANY, 2008

David Leventi photographs the interiors of world famous opera houses, capturing the ornate design of the architecture found inside. Using 4×5″ and 8×10″ Arca-Swiss cameras, Leventi captures each opera house from the vantage of an operatic singer, photographing the space from the very center of the stage.

Leventi is not just aesthetically inspired by the opera houses he photographs, but also holds a familial connection to their structures. He is the son of two architects, and the project was started in remembrance of his grandfather Anton Gutman, a cantor trained after World War II by a famous Danish operatic tenor. Gutman performed for prisoners and officers while interned at a prisoner-of-war camp in the Soviet Union, and Leventi’s photographs are a gesture that aims to examine the spaces he was never able to perform.

Leventi’s photographic process imitates with light what a performer would do with his or her voice, light waves bouncing off of each architectural element and bringing the vast space back to the detailed image. Each photograph captures a view impossible to the naked eye, combing both line-of-sight and periphery imagery to produce images that wrap the viewer in the experience of each world famous theatre. Leventi is not just capturing the depth of the space, but also the extensive history lived within each performance hall.

Leventi received his BFA in Photography from Washington University in St. Louis, Missouri and is represented by galleries internationally. Leventi’s exhibition “David Leventi: Opera” will open May 7 at Rick Wester Fine Art in New York City, and his first monograph by the same name (published by Damiani) will be released this spring. (via Arch Atlas)

All images © David Leventi, Romanian Athenaeum BUCHAREST, ROMANIA, 2007

Romanian Athenaeum BUCHAREST, ROMANIA, 2007

La Fenice VENICE, ITALY, 2008

La Fenice VENICE, ITALY, 2008

Curtain, Palais Garnier PARIS, FRANCE, 2009

Curtain, Palais Garnier PARIS, FRANCE, 2009

Palais Garnier PARIS , FRANCE, 2009

Palais Garnier PARIS , FRANCE, 2009

The Metropolitan Opera NEW YORK, UNITED STATES, 2008

The Metropolitan Opera NEW YORK, UNITED STATES, 2008

Teatro di Villa Aldrovandi Mazzacorati BOLOGNA, ITALY, 2014

Teatro di Villa Aldrovandi Mazzacorati BOLOGNA, ITALY, 2014

Mariinsky Theater ST. PETERSBURG, RUSSIA, 2009

Mariinsky Theater ST. PETERSBURG, RUSSIA, 2009

Teatro di San Carlo NAPLES, ITALY, 2009

Teatro di San Carlo NAPLES, ITALY, 2009

Palau de les Arts Reina Sofía VALENCIA, SPAIN, 2014

Palau de les Arts Reina Sofía VALENCIA, SPAIN, 2014



Curtain, Royal Swedish Opera, STOCKHOLM, SWEDEN, 2008

Curtain, Royal Swedish Opera, STOCKHOLM, SWEDEN, 2008

24 Mar 15:42


by JX
Olena Bulygina

summer 2012, 99% dressed.

Olena Bulygina by Anastasiya Lazurenko


(c) Anastasiya Lazurenko @ cargocollective

27 Apr 10:54

Extreme Drawing

by Lauren Purje


23 Apr 08:00

See the First Known Photograph Ever Taken (1826)

by Josh Jones


In histories of early photography, Louis Daguerre faithfully appears as one of the fathers of the medium. His patented process, the daguerreotype, in wide use for nearly twenty years in the early 19th century, produced so many of the images we associate with the period, including famous photographs of Abraham Lincoln, Edgar Allan Poe, Emily Dickinson, and John Brown. But had things gone differently, we might know better the harder-to-pronounce name of his onetime partner Joseph Nicéphore Niépce, who produced the first known photograph ever, taken in 1826.

Something of a gentleman inventor, Niépce (below) began experimenting with lithography and with that ancient device, the camera obscura, in 1816. Eventually, after much trial and error, Niépce developed his own photographic process, which he called “heliography.” He began by mixing chemicals on a flat pewter plate, then placing it inside a camera. After exposing the plate to light for eight hours, the inventor then washed and dried it. What remained was the image we see above, taken, as Niépce wrote, from “the room where I work” on his country estate and now housed at the University of Texas at Austin’s Harry Ransom Center.


At the Ransom Center website, you can see a short video describing Niépce’s house and showing how scholars recreated the vantage point from which he took the picture. Another video offers insight into the process Niépce invented to create his “heliograph.” In 1827, Niépce traveled to England to visit his brother. While there, with the assistance of English botanist Francis Bauer, he presented a paper on his new invention to the Royal Society. His findings were rejected, however, because he opted not to fully reveal the details, hoping to make economic gains with a proprietary method. Niépce left the pewter image with Bauer and returned to France, where he shortly after agreed to a ten-year partnership with Daguerre in 1829.

Sadly for Niépce, his heliograph would not produce the financial or technological success he envisioned, and he died just four years later in 1833. Daguerre, of course, went on to develop his famous process in 1829 and passed into history, but we should remember Niépce’s efforts, and marvel at what he was able to achieve on his own with limited materials and no training or precedent. Daguerre may receive much of the credit, but it was the “scientifically-minded gentleman” Niépce and his heliography that led—writes the Ransom Center’s Head of Photographic Conservation Barbara Brown—to “the invention of the new medium.”

Niepce Reproduction

Niépce’s pewter plate image was re-discovered in 1952 by Helmut and Alison Gernsheim, who published an article on the find in The Photographic Journal. Thereafter, the Gernsheims had the Eastman Kodak Company create the reproduction above. This image’s “pointillistic effect,” writes Brown, “is due to the reproduction process,” and the image “was touched up with watercolors by [Helmut] Gernsheim himself in order to bring it as close as possible to his approximation of how he felt the original should appear in reproduction.”

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

See the First Known Photograph Ever Taken (1826) is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.

The post See the First Known Photograph Ever Taken (1826) appeared first on Open Culture.

22 Apr 08:00

High-Tech Japanese Camera Proves That the Shape of a Wine Glass Affects the Flavor of Wines

by Dan Colman
Olena Bulygina


Japanese scientists have developed a camera that confirms what we’ve long sensed: “wine glass shape has a very sophisticated functional design for tasting and enjoying wine.” That’s what Kohji Mitsubayashi, a researcher at the Tokyo Medical and Dental University, told Chemistry World.

It’s a little complicated, and I’d encourage you to read this Chemistry World article, but the upshot is this: Mitsubayashi’s team used a special camera to analyze “different wines, in different glasses – including different shaped wine glasses, a martini glass and a straight glass – at different temperatures.” And they found that “different glass shapes and temperatures can bring out completely different bouquets and finishes from the same wine.”

In the video above, you can see the new-fangled camera in action, demonstrating how wines at different temperatures (something that’s affected by the geometry of the glass) release different vapors. And those translate into different flavors. Get more on this at Chemistry World.

Follow us on Facebook, Twitter, Google Plus and LinkedIn and  share intelligent media with your friends. Or better yet, sign up for our daily email and get a daily dose of Open Culture in your inbox.

Related Content:

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High-Tech Japanese Camera Proves That the Shape of a Wine Glass Affects the Flavor of Wines is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.

The post High-Tech Japanese Camera Proves That the Shape of a Wine Glass Affects the Flavor of Wines appeared first on Open Culture.

14 Mar 11:37

wmagazine: Gone Girl Photograph by David Fincher for W. 


Gone Girl

Photograph by David Fincher for W

21 Mar 08:49


Olena Bulygina

this is literally a piece of me

23 Mar 14:17


24 Mar 14:27

isbsh: Nike x sacai | Dazed

19 Mar 17:36

Anairam ©

Anairam ©

16 Feb 11:03

krabbydon: gerrycanavan:understanding art, lesson one this...



understanding art, lesson one

this will never not be funny

31 Jan 00:35

Stephanie Gonot Insult Cakes 2014

Stephanie Gonot Insult Cakes 2014

02 Feb 23:45

Corrie Baldauf Infinite Jest Project 2014Baldauf initially began...

Corrie Baldauf Infinite Jest Project 2014

Baldauf initially began the process of flagging all the references to color in the text — more than 2,600 of them — as a sort of mechanism to help her concentrate on reading David Foster Wallace’s infamous masterwork, a notoriously difficult literary achievement that has divided readers on one side or the other, or in many cases, lost somewhere in the middle. Stymied by her early attempts to tackle the book, Baldauf “realized that the part I cared the most about was the color references, and that was going to be my impetus — it was going to be the familiar, intriguing thing that was going to help me focus, to commit,” she told Hyperallergic.

via Hyperallergic…
20 Jan 23:06

Head-On Collision: Photography Legends Test Drive Google Glass

Olena Bulygina

Photos are on the Spiegel website

On Monday, sales were discontinued of the Google Glass Explorer version, which had a pricetag of $1,500. And good riddance, too. The prototype had been riddled with problems like short battery life and complicated handling. Later this year, Google plans to sell a totally overhauled consumer version, at a lower price and with longer lasting batteries. Development of the new product is being overseen by former Apple executive Tony Fadell, the inventor of the iPod.

Google is not alone in its efforts. Headmounted displays proved to be all the rage at the Consumer Electronics Show in Las Vegas last week.

Could these headsets, with their tiny, unobtrusive cameras, change the way we perceive the world in the same way Kodak cameras did a century ago, with candid photography becoming easier than ever before? Could they usher in something that we might call, for lack of a better word, wearable photography?

We asked two masters of candid street photography, Elliott Erwitt and Bruce Gilden, to give us a glimpse of the future as the legends tested Google Glass.


Bruce Gilden fiddles nervously with his glasses on his first day as a photographer without a camera.

With his full, white beard, green army jacket and sneakers, Gilden looks a little out of place amid the throngs of suits and Prada outfits here on New York's Upper West Side. Gilden has a world-famous body of photography to his name, but that isn't much help to him today. For the next couple of days, he will be trying out Google Glass, the headmounted display with a built-in miniature camera lens.

"I look like a damn cyborg," Gilden grumbles. A monitor barely bigger than an M&M glows in front of his right eye, where the camera lens is also located, all of it reinforcing the impression that Gilden might indeed be part man and part machine. "I can be a glasshole for Halloween," he grouses. The term is an epithet for Google Glass wearers in San Francisco, where they are reportedly much hated.

Gilden arrives at Elliott Erwitt's studio. The door opens to reveal a stooped man in a lilac-colored shirt, his eyes at once mischievous and sad. Erwitt is likewise a world-famous photographer -- the master of street photography, some say.

"You're 86 and I'm 68, like mirror images," Gilden declares. Erwitt smiles and says nothing. He once commented that the whole point of taking pictures is so that you don't have to explain things with words.

These two photographers have known each other for about 20 years. Both work for the photo agency Magnum and wear the same gray sneakers. And yet they could not be any more different. Erwitt is the patient observer, Gilden the grandstanding go-getter. Together, they have more than 100 years of photographic experience.

Absurd Glasses

Today, they're meeting to discuss a new project. Are cameras hidden on the photographer's body the future of street photography? Google Glass' eye-tracking camera could make it possible to take the most unobtrusive, true-to-life pictures imaginable. Or it could be used to spy on unsuspecting people.

It's a head-on collision between old masters and new technology. Both Erwitt and Gilden prefer black and white analog photography, but now they're being asked to swap their Leicas for these absurd glasses. Gilden jerks his head back like a chicken gulping down food and says, "Okay, Glass, take a picture." The device follows his command instantly. But the photographer finds the jerky motion painful. "All this twitching is going to give me a seizure," he says.

So far, this early version of the data glasses, the so-called Explorer version, has been used almost exclusively by programmers developing apps for them. But the competition hasn't been idle, and companies such as Huawei and Sony are at work on similar products. Google Glass, meanwhile, is still just a prototype in beta, and it's likely to be a while before the product really catches on, perhaps initially for use by specialists such as engineers, surgeons and laboratory technicians.

And yet even in their unfinished state, these photo-taking glasses may afford an initial, if perhaps blurry, glimpse into a future where not a single moment must remain undocumented, as tiny cameras become capable of nestling closer and closer to the body, built into watches, glasses, necklaces or plastic clips. The Google Glass Explorer Version will soon go the way of all technology and land on the shelves of tech museums, next to the original, 100-year-old Leica camera. But the trend they stand for will continue as the pioneering devices slowly become classics, then museum pieces: ever easier, ever more candid photos.

Street Shots

The test run is starting. Bruce Gilden makes his way through the crowds on Fifth Avenue, his old hunting grounds. Gilden, who as a child wanted to be a boxer, instead fought his way to fame on these unyielding sidewalks by taking portraits of strangers. His preferred method: jumping out at his subjects like a tiger pouncing on its prey, using his camera with its harsh flash to immortalize them from an arm's length away. His final product: unvarnished snapshots direct from daily life. The art world rejoiced over Gilden and in 1998 he was honored with membership in Magnum.

The new wearable photography technology, on the other hand, affords an opportunity to take pictures secretly, which is not at all Gilden's thing. There -- a woman with a bitter gaze and a lot of makeup, just the sort of subject Gilden likes. He snaps his shot. "I just took a picture of you," he calls after the woman. She doesn't even notice. Taking and exhibiting pictures of strangers is legal in New York, falling under the auspices of freedom of speech and artistic freedom. In Germany, with its obsession about privacy rights, though, this right may soon be curtailed.

Gilden is zigzagging through the throng, constantly engaging strangers in conversation, doing photography as a contact sport. A driver leans, bored, against the side of his black limousine. Gilden walks right up to him, adjusts his glasses, quirks his finger, done. The chauffeur, too, didn't notice a thing.

Gilden doesn't like this secrecy. "You don't take good pictures with a camera, you take them with your entire personality," he says. "You have to go up to people, get as close as possible. The photographer Robert Capa once said, 'If your photographs aren't good enough, you're not close enough.' Absolutely true."

Gilden's photographs project the insolent attitude of a street urchin. He grew up in New York's Williamsburg before the neighborhood was fashionable, with a father who wore heavy rings on his fingers, kept a cigar clamped in the corner of his mouth and conducted opaque business deals in his used tire store. Bruce played basketball, the dirtier the better, winning was what mattered.

The crowd flows around him like a raging river. "They all look alike. New York is getting more and more boring," he says. "There, that homeless guy has an interesting face, but I don't want to expose him. Hey, that woman over there, her makeup makes her look like a clown. Or her, back there, she's perfect."

He steps into the woman's path. He introduces himself: "I'm Bruce Gilden. I'm a famous photographer." She nods. "If you believe that, I'll tell you another one." She laughs. "No, no smiling" he says. He puts his hands at the nape of her neck and angles her face a bit to the side and down -- after all, using Google Glass leaves both his hands free -- and the woman allows him to do so. "Great, that doesn't look posed at all," he says, and snaps his picture.

"The street is a stage and the passersby are actors," he says. "But this is my play and I'm the director here." The woman thanks him effusively. "Most people love attention," Gilden says afterward. "I just made her day."

An Invisible World Star

Gilden's colleague and antipode Elliott Erwitt takes a different approach. He shuffles across the street from his apartment to Central Park. Passing dogs often catch his eye, since he's still mourning Terry, his mutt who died a couple months ago.

Erwitt is an invisible world star, an artist who disappears behind his pictures. His warm-hearted snapshots of dogs and people are widely known, and he publishes a new photo book nearly every year. He's been taking photographs for 70 years. "Most editors think I died years ago," he says, and smiles.

Erwitt doesn't talk much -- in fact, he's never talked much -- but the little he does say tends to hit home. He, too, is testing out the Google Glass camera on familiar terrain. Couples, passersby, a dog, a photograph, a smile. Then he slips off and continues on his way. A small poodle appears in front of him and Erwitt bends down to arrange the background composition around the dog. Then there's the sudden sound of a loud honk and the dog jerks around with wide eyes. Erwitt snaps his picture.

The old bicycle horn is one of his little tricks, something he keeps attached to his cane, he calls it the "Elliot Erwitt Walking Stick". "It works with animals of all kinds, and with people too," he says.

Erwitt was born in Paris in 1928. His parents, who were Jewish, had fled there from Russia. He grew up in Paris and Milan, with the family speaking Italian. When World War II broke out, the family fled again, this time to the US. At the age of 13, Erwitt received a dog and a camera, two presents that would alter the course of his life. Drafted into the army in 1951, he served as a photographer in Germany and France. The legendary Robert Capa then invited him to join Magnum. He took photographs for advertisements, newspapers and exhibitions, as well as shooting documentary films, all the while remaining always curious, always skeptical.

'Like Eating Soup with a Fork'

It's time to take stock of the preliminary results in Erwitt's studio directly on Central Park, a darkened room that looks like a shrine to the history of photography, with enormous prints on the walls and cabinets full of originals. Their freshly taken images are downloaded on a computer, they sit down in front of the screen to evaluate their catch of the day. They are surprised at the resolution of the 5-megapixel camera.

Does the Google Glass camera allow him to get closer to his subjects? "No, the opposite is true," Gilden says. "It's got such a wide angle, far too much ends up in the picture." Erwitt nods.

"Besides, the screen is much too small, you can hardly control the frame" Gilden says. Erwitt nods.

Google Glass might work for email or GPS, Gilden says, but not for taking photographs. "It's the wrong tool, like eating soup with a fork."

"I often eat soup with a fork," Erwitt says. "If it's matzah ball soup." Both men come from Jewish families, where this traditional dish is popular.

"We barely had time to get to know this technology," Gilden explains. "If you put me on an island, I think after a time period I would figure out how to use it to its best effect."

"Manhattan is an island," Erwitt points out.

The room is a bit small for two full-scale egos, the two of them flirting and sparring with each other. And with the technology.

Gilden throws himself back into the fray. After half an hour, the rechargeable battery built into the glasses frame has run down, so a cable now hangs from the glasses, connecting them to a back-up battery. The right side of the frame is growing alarmingly hot. "I can use this to keep my fingers warm in the winter," Gilden proposes. Passersby turn around to watch and whisper when they catch sight of his cyborg look.

Natan Dvir / Der Spiegel

The glasses are not going down well with Gilden. The light is failing and it's starting to drizzle. The quality of the photographs remains surprisingly good, but Gilden lacks a way to manually adjust the exposure, and he lacks a flash -- the harsh light of which is part of his signature style.

But the biggest obstacle is the fact that the glasses are only designed to take pictures in a horizontal format, whereas Gilden is considered a master of the vertical format.

Absurd Contortions

Gilden is thirsty and takes a drink, then sets the bottle down behind him. A minute later, someone steals it. Then he notices the handsome young man behind him, in a suit and a tie and a wool hat, leaning unobtrusively against a traffic light and photographing Gilden with his smartphone. "I hate these beginners, that guy is sneaky, I don't like photos like that" Gilden complains. He calls over to the paparazzo and takes a picture of him. The two men photograph each other.

Gilden hates having anyone boss him around. It's one reason he became a photographer. Now these nightmare glasses are literally leading him around by the nose, forcing him into all sorts of absurd contortions.

After 40 years of working intensively with his manual Leica camera, Gilden could operate it blind. When he doesn't have it with him, he feels it like a phantom pain. Wearable cameras could allow everyone to experience that melding of body and camera. Because the devices are so small, they're operated with gestures -- a nod turns Google Glass on, a blink can trigger the camera shutter. The body becomes a part of the camera, with neck muscles and eyelids replacing the on/off switch and the shutter button. That may be a good thing for young nerds, but not so much for old men.

"All this nodding is giving me a stiff neck," Gilden says. Instead, he chooses to operate the glasses using a tiny button the size of a grain of rice on the right side of the frame, but it's far too small to be easily manipulated by Gilden's large mitts. Confronted with glasses developed by young geeks for young geeks, the director of the streets feels the device is dictating what he should do, rather than the other way around.

"I feel like a gorilla that's being made to eat with fork," he says. He's fed up. He scans the crowd and picks out a bald man. He addresses the man in broken Spanish and convinces him to stand still. Then Gilden twists himself around until the glasses are vertical instead of horizontal. Finally, he takes the glasses off and holds them in front of him. Like a camera.

"Don't move, man," Gilden says, then adds a little joke: "I had to hold still, too, 170 years ago when I had a daguerreotype taken."

Erwitt, too, is groping half-blind through the dawning of a new technology. He doesn't see well with his right eye, but the right side is where the Google Glass' display screen is located. "I try not to get noticed, but these glasses are much more conspicuous than a camera or a phone," he says.

Growing Pains

Erwitt is familiar with the growing pains of new forms of media. He experimented with color film, and published a book of color photographs titled "Kolor". The "K" is an homage to the Kodak company, which revolutionized photography in the late 19th century with its family friendly cameras so simple a child could operate them and the slogan, "You press the button, we do the rest." When the Kodak factory in Rochester, New York, shut down, Erwitt made a pilgrimage there to say farewell. But even the newfangled headmounted camera, as he is still grappling with its novelty, is turning into a piece of legacy hardware from a bygone future.

Natan Dvir / Der Spiegel

Exhausted, Erwitt sits down on a bench and waits. His legs ache, but in his head he's already composing his next picture. "If you keep your cool, you'll get everything," he says. The background is right, but he's still missing a scene in the foreground. "What I need is a big dog in the foreground, and a lot of people's legs behind it." He waits. He watches. He keeps quiet. Then, exactly what he was waiting for occurs, in a ballet of dogs, chance and light. Click.

"Google Glass might be nice for keeping a picture diary," he says. "It's good for pictures, but not for photos." He cuts the Bluetooth connection between the headmounted display and the cell phone on which he can review the pictures he takes. It makes him uncomfortable to think everything he sees there could theoretically also be viewed by others over the Internet. "My clients would use that to be constantly looking over my shoulder and giving me instructions," he says. "Which would mean less time and less work. Less freedom."

Wearable photography is bound to catch on sooner or later, at least in some niches, whether with Google Glass or other devices. The ubiquitousness of the tiny lens will make it possible for anyone to capture even the most fleeting moment, without having to dig out a cell phone or camera to do so.

In 1839, the painter Louis Daguerre gave the world the photograph, a new kind of image that seemed to paint itself, making it possible for even those without artistic talent to capture highly detailed pictures. Then came Kodak, which again radically simplified the process of creating images. Then came the spread of cell phone cameras, and now the next revolution in images is at hand. Not only are shutter buttons now superfluous, but spoken commands are as well. Users who wish to do so can operate Google Glass with the simple blink of an eye -- you blink, we do the rest. Scientists are already tinkering with integrating cameras into contact lenses.

This test run has demonstrated the democratic promise of wearable photography, as well as its limitations. It can't replace the most important elements of a good photograph, qualities such as patience, persistence and an ability to assert oneself -- against the technology, if necessary.

Erwitt has taken off the glasses and is holding them close to the ground, at eye level with a white poodle. He releases the shutter not with a spoken command, but by hand. As if the glasses were his Leica.

Above him, the leaves of a mighty plane tree rustle in the wind. "This tree is special," he says. Pause. "Terry liked to pee here."

When he still had Terry, Erwitt sometimes forgot to take his camera along when he took the dog for walks, and was sad when he missed out on capturing unique, natural daily life scenes he saw. Wouldn't it be comforting, then, to have a camera with him at all times, in his watch or glasses?

"No," Erwitt says. "The pictures I didn't take are the best ones."

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Flüchtlingsroman: Höllenfahrt ins Nichts (Kultur, 08:42)
Boyband-Revival: Caught in the Act erwägen Comeback (Panorama, 08:28)
Die Schulverbesserer, Teil 7: Sollen Eltern bei den Hausaufgaben helfen? (SchulSPIEGEL, 08:12)
Uno-Bericht: Zahl der Bootsflüchtlinge auf Rekordniveau (Panorama, 08:08)
Pegida-Aufmärsche: Ministerpräsident Tillich nennt AfD-Verhalten "niederträchtig" (Politik, 07:47)
Schmiergeld: China verurteilt hohen Wirtschaftsplaner zu lebenslanger Haft (Wirtschaft, 07:34)
News-Blog: Das war DerMorgen @SPIEGEL ONLINE (Politik, 06:17)
Hotel Montana nach dem Erdbeben: "Aufgeben liegt nicht in der Natur der Haitianer" (Reise, 05:08)
Pegida-Aufmärsche: "Das ist ein politisches Pulverfass" (Politik, 05:02)
CDU-Vizes von der Leyen und Klöckner: Egoshooter vs. Strahlefrau (Politik, 04:55)
US-Folterbericht: "Nashiri reagiert gut auf harte Behandlung" (Politik, 04:42)
Fahrdienstvermittler: Kalifornische Staatsanwälte verklagen Uber (Wirtschaft, 04:36)
Haushalt: US-Regierung und Opposition einigen sich auf Etat (Politik, 03:20)
Krisenschutz: US-Notenbank Fed verlangt von Großbanken dickere Kapitalpolster (Wirtschaft, 02:50)
Reaktionen auf CIA-Folterbericht: Uno und Menschenrechtler fordern strafrechtliche Konsequenzen (Politik, 01:26)
BVB holt den Gruppensieg: Arsenal abgewehrt (Sport, 00:12)
Moldau:: Polizei stellt geschmuggeltes Uran sicher (Panorama, 00:01)


Letzter Vorrundenspieltag: Liverpool scheitert durch Unentschieden gegen Basel (Sport, 23:36)
Champions League: Bayer Leverkusen verspielt Platz eins (Sport, 22:47)
Champions League: Immobile sichert Dortmund den Gruppensieg (Sport, 22:35)
Prozess in Missoula: Direns tödliche Mutprobe (Panorama, 22:25)
Anschlagspläne: US-Bürger wollte muslimische Stätten in Israel angreifen (Panorama, 21:51)
Nach Tod eines Fans: Basketball-Euroleague bestraft Istanbul und Belgrad (Sport, 21:44)
CIA-Folter unter George W. Bush: Die furchtbaren Jahre (Politik, 21:30)
Überfall in New York: Polizei erschießt Angreifer in Synagoge (Panorama, 21:00)
Präsidiumswahlen: Minister Gröhe bewahrt CDU vor Quoten-Panne (Politik, 20:40)
Geldwäsche: Schwester von König Felipe soll Schadenersatz leisten (Panorama, 20:35)
Anti-Islam-Bewegung: AfD-Chef Lucke findet Pegida "gut und richtig" (Politik, 20:32)
Todesfall in Spanien: Regierung erklärt Entlassung von Klub-Sicherheitschefs (Sport, 20:29)
Absage der Bread & Butter: Von Berlin über Barcelona ins Nirwana (Panorama, 20:26)
Vorwurf der Vergewaltigung: Freispruch für Karl Dall (Panorama, 20:24)
Vorwurf der Vergewaltigung: Freispruch für Karl Dall (Panorama, 19:32)
Kapverdische Inseln: Lavamassen löschen Dörfer aus (Wissenschaft, 19:27)
Kommentar zu CIA-Folter: Amerikas Schande (Politik, 19:19)
Brasiliens Fußball-Idol: Pelé darf das Krankenhaus verlassen (Sport, 19:17)
Attacke bei CDU-Parteitag: Warum Merkel jetzt die SPD mobbt  (Politik, 19:07)
NSU-Prozess: "Verzweifelte Versuche der Verteidigung" (Panorama, 19:06)
Kosten für Kabelnutzung: Telekom wehrt Millionenklage von Kabel Deutschland ab (Wirtschaft, 18:59)
Ukraine-Konflikt: Ein Tag Waffenruhe  (Politik, 18:38)
Verfahren wegen Demo-Blockade: Gericht will Ramelows Immunität aufheben lassen (Politik, 18:34)
Golf: Deutsche Ryder-Cup-Bewerbung mit Berlin oder Hamburg (Sport, 18:32)
Appell der Bundesregierung: Entführte Aktivisten in Syrien sollen freigelassen werden (Politik, 18:23)
Hoyzer-Skandal: Schiedsrichter Zwayer soll Schmiergeld angenommen haben (Sport, 18:05)
Champions League: So holen Dortmund und Bayer den Gruppensieg (Sport, 18:02)
Neuer BMW-Chef Krüger: Der geräuschlose Aufsteiger (Wirtschaft, 17:57)
Chefwechsel bei BMW: Reithofers Revolutionen (Auto, 17:57)
Achilles' Verse: Läuferdiagnose Zahlenmystik (Gesundheit, 17:53)
Quiz zum Trainer-Rauswurf: Wofür braucht Neururer einen Wohnwagen? (Sport, 17:52)
Verhöre von Terrorgefangenen: US-Senat prangert brutale Foltermethoden der CIA an (Politik, 17:43)
EU-Investitionspaket: Atomkonzerne wollen 80 Milliarden Euro abgreifen (Wirtschaft, 17:34)
Arbeitsausfall: Psychische Probleme lassen Krankenstand steigen (KarriereSPIEGEL, 17:33)
Modelabel: Abercrombie-Chef Jeffries tritt zurück (Wirtschaft, 17:27)
Italienisches Gefängnis: Harte Jungs in der Weihnachtsbäckerei (Panorama, 17:20)
Verwirrendes FDP-Wahlplakat: Katja, der Mann für alle Fälle (Politik, 17:18)
Schirrmacher-Nachfolge: Jürgen Kaube wird Herausgeber der "FAZ" (Kultur, 17:09)
Fahrdienstvermittler: Gericht verbietet Uber in ganz Spanien (Wirtschaft, 17:06)
Champions League: BVB gegen Anderlecht im Livestream und im Liveticker (Sport, 17:05)
Linkes US-Magazin "New Republic": Exodus (Kultur, 16:59)
Vorwurf der Vergewaltigung: Staatsanwalt fordert Bewährungsstrafe für Karl Dall (Panorama, 16:59)
BGH-Urteil: Reiseveranstalter dürfen höchstens 20 Prozent Anzahlung verlangen (Reise, 16:57)
Augenblick: Schneeweiß (Panorama, 16:54)
Abgehört: Die wichtigste Musik der Woche (Kultur, 16:43)
"Neue Zürcher Zeitung": Markus Spillmann tritt als Chefredakteur ab (Kultur, 16:25)
Facebook-Chef: Chinesischer Dissident geht mit Zuckerberg hart ins Gericht (Netzwelt, 16:20)
Ex-Bundestrainer: Vogts kritisiert Weltmeister Kramer (Sport, 16:11)
"Mission beendet. Traum erfüllt!": Niederländerin erreicht Südpol mit Traktor (Reise, 16:05)
Trotz Kritik: FC Bayern wählt wieder Katar als Trainingslager (Sport, 16:03)
Langerak für Weidenfeller: Klopps großes Torwart-Rätsel (Sport, 15:59)
Wiederwahl zur Vorsitzenden: Merkels Projekt 2017 (Politik, 15:56)
Orkan über dem Atlantik: Wetterdienste warnen vor 20-Meter-Wellen (Wissenschaft, 15:47)
Britische Rechtspopulisten: Ukip-Politiker wegen angeblicher Belästigung suspendiert (Politik, 15:39)
Eva Mattes als Klara Blum: Bodensee-"Tatort" wird eingestellt (Kultur, 15:30)
Bestechungsverdacht: Informantin erhebt neue Vorwürfe gegen Katar (Sport, 15:27)
Parteitag in Köln: CDU bestätigt Merkel mit 96 Prozent als Chefin (Politik, 15:14)
Fußballbundesliga: Frankfurt muss auf Torwart Wiedwald verzichten  (Sport, 15:08)
Patiententode in Oldenburg: Staatsanwalt ermittelt gegen acht weitere Klinikmitarbeiter (Panorama, 15:08)
Wowereit-Abgang: Ex-Daimler-Manager Arendt zieht in BER-Aufsichtsrat ein (Wirtschaft, 15:04)
Premier League: Arsenal-Fans prügeln sich wegen Wenger (Sport, 14:56)
Defekte Takata-Airbags: Honda startet weltweite Rückrufaktion (Auto, 14:52)
Set-Designer von James Bond: "Nichts war unmöglich" (Kultur, 14:50)
Dritte Liga: Baumann soll Hansa vor dem Abstieg retten (Sport, 14:48)
Deutsche und Muslime: Chantalle, zieh die Burka an (Politik, 14:45)
CDU-Parteitag: Die große Leere (Politik, 14:38)
SSL-Sicherheitslücke: Poodle betrifft bis zu zehn Prozent aller Webseiten  (Netzwelt, 14:28)
58,7 Millionen im Lotto: Junger Handwerker streicht Rekordgewinn ein (Panorama, 14:14)
Jahrelange Gefangenschaft: Französische Geisel wieder frei (Politik, 14:12)
Lkw-Maut: Opposition attackiert Dobrindt wegen Toll-Collect-Vertrag (Politik, 14:10)
Luxemburg Leaks: Niederlande wollen Steuerdeals mit Firmen offenlegen (Wirtschaft, 14:09)
CIA: Soll der Folterbericht veröffentlicht werden? Das sagen die Medien (Politik, 14:06)
Mount Sharp: Mars-Rover findet Hinweise auf lebensfreundliches Klima (Wissenschaft, 14:06)
Urteil gegen Oscar Pistorius: Richterin vertagt Entscheidung über Berufung (Panorama, 13:39)
Picasso-Affäre: Platini hält sich für "sauberer als sauber" (Sport, 13:37)
"Addams Family": Ex-Kinderstar Ken Weatherwax gestorben (Kultur, 13:24)
Bundestagsvize Singhammer: CSU-Politiker prahlt mit seinem Sprachtalent (Politik, 13:09)
Luftkrieg gegen "Islamischen Staat": So bombardieren US-Kampfjets den IS (Politik, 12:55)
Schnappschuss: Schwarzfahrer (Panorama, 12:51)
Merkel auf CDU-Parteitag: "Wie klein will sich die SPD eigentlich noch machen?" (Politik, 12:39)
Kate Hudson und Matt Bellamy: Verliebt, verlobt, verfreundet (Panorama, 12:34)
Neuer Feiertag für Schüler: Ich bin Humanist, ich habe frei (SchulSPIEGEL, 12:30)
So geht Bluffen: "Menschen zu täuschen, ist eine Kunst" (KarriereSPIEGEL, 12:13)
100 Millionen Dollar: "Grumpy Cat"-Besitzerin weist Bericht über Riesenvermögen zurück (Panorama, 12:11)
NS-Verbrechen in Frankreich: Gericht lehnt Prozess wegen Massakers von Oradour ab (Panorama, 12:09)
Alternative für Deutschland: AfD hat keine Lust auf CDU (Politik, 12:08)
YouTube: Neue Funktion sagt, welche Musik man hochladen darf (Netzwelt, 12:08)
Bayern-Kapitän Lahm: "Wir können gar nicht mehr schlecht spielen" (Sport, 12:05)
South Stream: Gabriel hofft trotz russischen Vetos auf die Mega-Pipeline (Wirtschaft, 12:01)
Olympia 2024: IOC entscheidet in Lima über deutsche Bewerbung (Sport, 11:53)
Fotos von Jessica Todd Harper: Die kurze Zeit, die wir Leben nennen (Kultur, 11:49)
Bipolare Störung: Feuer im Blut (Gesundheit, 11:46)
Affen: Männerfreundschaften machen cool (Wissenschaft, 11:45)
Pegida: Was steckt hinter den neuen Montagsdemos?  (Politik, 11:36)
Eisschnelllauf: Weltverband lehnt Boykott der EM in Russland ab (Sport, 11:35)
Anti-Islam-Aufmärsche: Justizminister fordert All-Parteien-Bündnis gegen Pegida (Politik, 11:27)
Veröffentlichung des US-Folterberichts: Angst vor 500 Seiten Grauen (Politik, 11:09)
Heute in den Feuilletons: "Das Gesäß ist ein zweideutiges Motiv" (Kultur, 10:55)
Beste erste Verkaufswoche seit 2007: AC/DC-Fans sind die treuesten Albumkäufer (Kultur, 10:51)
Prozess in Montana: Diren Dede starb laut Gerichtsmediziner durch Kopfschuss (Panorama, 10:43)
20 Jan 01:32

Why Bitcoin is and isn't like the Internet

Olena Bulygina

Joichi Ito, Director, MIT Media Lab on bitcoin

In the post that follows I’m trying to develop what I see to be strong analogues to another crucial period/turning point in the history of technology, but like all such comparisons, the differences are as illuminating as the similarities. I'm still not sure how far I should be stretching the metaphors, but it feels like we might be able to learn a lot about the future of Bitcoin from the history of the Internet. This is my first post about Bitcoin and I’m really looking more for reactions and new ideas than trying to prove a point. Feedback and links to things I should read would be greatly appreciated.

I’m fundamentally an Internet person -- my real business life started around the dawn of the Internet and for most of my adult life, I’ve been involved in building layers and pieces of the Internet, from helping start the first commercial Internet service provider in Japan to investing in Twitter and helping bring it to Japan. I’ve also served on the boards of the Open Source Initiative, the Internet Corporation for Names and Numbers (ICANN), The Mozilla Foundation, Public Knowledge, Electronic Privacy Information Center (EPIC), and been the CEO of Creative Commons. Given my experiences in the early days of the net, it’s possible that I’m biased and everything new looks like the Internet.

Having said that, I believe that there are many parallels between the Internet and Bitcoin and there are many lessons from the Internet that can help provide guidance in thinking about Bitcoin and its future, but there are also some important differences.

The similarity is that Bitcoin is a transportation infrastructure that is decentralized, efficient and based on an open protocol. Instead of transferring packets of data over a dynamic network in contrast to the circuits and leased lines that preceded the Internet, Bitcoin’s protocol, the blockchain, allows trust to be established between mutually distrusting parties in an efficient and decentralized way. Although you could argue that the ledger is “centralized”, it’s created through mechanical decentralized consensus.

The Internet has a root -- in other words, just because you use the Internet Protocol doesn’t mean that you’re necessarily part of the Internet. To be part of THE Internet, you have to agree to the names and numbers protocol and root servers that are administered by ICANN and its consensus process. You can use the Internet Protocol and make your own network, using your own rules for names and numbers, but then you’re just a network and not The Internet.

Similarly, you can use the blockchain protocol to create alternative bitcoins or alt.coins. This allows you to innovate and use many of the technological benefits of Bitcoin, but you are no longer technically interoperable with Bitcoin and do not benefit from the network effect or the trust that Bitcoin has.

Also like the beginning of the Internet, there are competing ideas at each of the levels. AOL created a dialup network and really helped to popularize email. It eventually dumped its dialup network, its core business, but survived as an Internet service. Many people still have AOL email accounts.

With crypto-currencies, there are coins that don’t connect to the “genesis block” of Bitcoin -- alt.coins that use fundamentally the same technology. There are alt.coins that use slightly different protocols and some that are fundamentally different.

On top of the coin layer, there are various services such as wallets, exchanges, service providers with varying levels of vertical integration -- some agnostic to whichever cryptocurrency ends up “winning” and some tightly linked. There are technologies and services being built on top of the infrastructure that use the network for fundamentally different things than transacting units of value, just as voice over IP used the same network in a very different way.

In the early days of the Internet, most online services were a combination of dialup and x.25 a competing packet switching protocol developed by Comité Consultatif International Téléphonique et Télégraphique, (CCITT), the predecessor to the International Telecom Union (ITU), a standards body that hangs off of the United Nations. Many services like The Source or CompuServe used x.25 before they started offering their services over the Internet.

I believe the first killer app for the Internet was email. On most of the early online services, you could only send email to other people on the same service. When Internet email came to these services, suddenly you could send email to anyone. This was quite amazing and notably, email is still one of the most important applications on the Internet.

As the Internet proliferated, the TCP/IP stack, free software that anyone could download for free and install on their computer to connect it to the Internet, was further developed and deployed. This allowed applications that ran on your computer to use the Internet to talk to other programs running on other computers. This created the machine-to-machine network. It was no longer just about typing text into a terminal window. The file transfer protocol (FTP) and later Gopher, a text-based browsing and downloading service popular before the web was invented, allowed you to download music and images and create a world wide web of content. Eventually, permissionless innovation on top of this open architecture gave birth to the World Wide Web, Napster, Amazon, eBay, Google and Skype.

I remember twenty years ago, giving a talk to advertising agencies, media companies and banks explaining how important and disruptive the Internet would be. Back then, there were satellite photos of the earth and a webcam pointing at a coffee pot on the Internet. Most people didn’t have the imagination to see how the Internet would fundamentally disrupt commerce and media, because Amazon, eBay and Google hadn’t been invented -- just email and Usenet-news. No one in these big companies believed that they had to learn anything about the Internet or that the Internet would affect their business -- I mostly got blank stares or snores.

Similarly, I believe that Bitcoin is the first “killer app” of The Blockchain as email was the killer app for the beginning of the Internet. We are in the process of inventing eBay, Amazon and Google. My hunch is that The Blockchain will be to banking, law and accountancy as The Internet was to media, commerce and advertising. It will lower costs, disintermediate many layers of business and reduce friction. As we know, one person’s friction is another person’s revenue.

One of the main things we worked on when I was on the board of ICANN was trying to keep the Internet from forking. There were many organizations that didn’t agree with ICANN’s policies or didn’t like the US’s excessive influence over the Internet. Our job was to listen to everyone and create an inclusive and consensus-based process so that people felt that the benefits of the network effect outweighed the energy and cost of dealing with this process. In general we succeeded. It helped that almost all of the founders and key technical minds and technical standards organizations that designed and ran the Internet worked together with ICANN. This interface between the policy makers and the technologists -- however painful -- was viewed as something that wasn’t great but worked better than any of the other alternatives.

One question is whether there is an ICANN equivalent needed for Bitcoin. Is Bitcoin email and The Blockchain TCP/IP?

One argument about why it might not be the same is that ICANN fundamentally had to deal with the centralization caused by the name space problem created by domain names. Domain names are essential for the way we think the Internet works and you need a standards body to deal with the conflicts. The solutions to Bitcoin’s centralization problems will look nothing like a domain name system (DNS), because although there is currently centralization in the form of mining pools and core development, the protocol is fundamentally designed to need decentralization to function at all. You could argue that the Internet requires a degree of decentralization, but it has so far survived its relationship with ICANN.

One other important function that ICANN provides is a way to discuss changes to the core technology. It also coordinates the policy conversation between the various stakeholders: the technology people, the users, business and governments. The registrars and registries were the main stakeholders since they ran the “business” that feeds ICANN and provides a lot of the infrastructure together with the ISPs.

For Bitcoin it’s the miners -- the people and companies that do the computation required to secure the network by producing the cryptographically secure blockchain at the core of Bitcoin -- all in exchange for bitcoin rewards from the network itself. Any technical changes that the developers want to make to Bitcoin will not be adopted unless the miners adopt them, and the developers and the miners have different incentives. It’s possible that the miners have some similarities to the registrars and registries, but they are fundamentally different in that they are not customer-facing and don’t really care what you think.

As with ICANN, the users do matter and are key for the network effect value of Bitcoin, but without the miners the engine doesn’t run. The miners aren’t as easy to identify as the registrars and registries and it’s unclear how the dynamics of incentives for the miners will develop with the value of bitcoin fluctuating, the difficulty of mining increasing and the transaction fees being market driven. It’s possible that they will develop into a community with a user interface and a governance function, but they are mostly hidden and independent for a variety of reasons that are unlikely to change for now. Having said that, one of the first publicly traded Bitcoin companies is a miner.

The core developers are different as well. The founders of the Internet may have been slightly hippy-like, but they were mostly government-funded and fairly government-friendly. Cutting a deal with the Department of Commerce seemed like a pretty good idea to them at the time.

The core Bitcoin developers are cypherpunks who do what they do because they don’t trust governments or the global banking system and are trying to build a distributed and autonomous system, one that is impervious to regulation and meddling by anyone at any time. At some level, Bitcoin was designed to not care what regulators think. The miners have an economic interest in Bitcoin having value, since that’s what they’re paid in, and they care about scale and the network effect, but the miners probably don’t care if it’s Bitcoin or an alt.coin that ends up winning, as long as their investments in hardware and plant don’t disappear before they make a return on their investment.

Regulators clearly have an incentive to influence the rules of the network, but it’s unclear whether the core developers really need to care what the regulators think. Having said that, without some sort of buy-in by regulators, it’s unlikely to scale or have the mainstream impact that the Internet did.

Very much like the early days of the Internet, when we saw the power of Internet email but hadn’t yet invented the Web, we are just imagining the potential uses of concepts such as crypto-equity and smart contracts … to name just a few.

I believe it’s possible that over-regulation could cause Bitcoin or the blockchain to never achieve its full potential and remain a feature of the side-economy, much in the same way that the Tor anonymizing system is extremely valuable to people who really need privacy but not really used by “normal people”... yet.

What helped make the Internet successful was the lack of regulation and the generally inclusive and permissionless nature of innovation. This was driven in large part by free and open source software and the venture capital community. The question I have is whether the fact that we’re now talking about “money” and not “content,” and that we seem to be innovating at a much higher speed -- venture capital investment in Bitcoin is outpacing early Internet investments, the dialog in popular media is growing, and governments are very interested in Bitcoin -- makes this a completely different game. I think ideas like the five-year moratorium on Bitcoin regulation proposed by US Representative Steve Stockman are a good idea. We really have no idea what this whole thing is going to turn into, so a focus on dialog versus regulation is key.

I also believe that layer unbundling and innovation at each layer, assuming that the other layers will sort themselves out, is a good idea. In other words, exchanges and wallets that are coin-agnostic or experiments with colored coins, side chains and other innovations that are “unbundled” as much as possible allow the learnings and the systems created to survive regardless of exactly how the architecture turns out.

It feels a lot to me like when we were arguing over ethernet and token ring -- for the average user, it doesn’t really matter which we end up with as long as in the end it’s all interoperable. What’s different is that there is more at stake and it’s moving really fast, so the shape of failure and the cost of failure might be much more severe than when we were trying to figure out the Internet and a lot more people are watching.

23 Dec 22:19

2014: The Year According to Omar Sosa

by Emmet Byrne
Olena Bulygina

Dune + our motto

To commemorate the year that was, we invited an array of artists, writers, designers, and curators—from artist Kalup to poet LaTasha Diggs, author Jeff Chang to futurist Nicolas Nova—to share a list of the most noteworthy ideas, events, and objects they encountered in 2014. See the entire series 2014: The Year According to                                 . 


Omar Sosa is a Barcelona-based art director, graphic designer, and publisher. In 2008, after a period of working at Folch Studio in Barcelona as a Business Partner, Omar founded the magazine Apartamento together with his friend Nacho Alegre. Apartamento is now distributed in 45 countries. Two years later he went on to win the prestigious Yellow Pencil Award and Apartamento was awarded the Best Entire Magazine of 2010 by the D&AD association (Design & Art Direction Association, UK). Sosa has worked as the Art Director for a wide range of international clients: Flos, Louis Vuitton Group, Rizzoli International, Carolina Herrera NY, DDG Partners, Corriere Della Sera, Patricia Urquiola, Ricardo Bofill Architecture, among others. His work spans from designing books and magazines to creating brand identities, designing exhibitions and generating successful liaisons among creative professionals.





Neptolemos Michaelides house, Cyprus

Last January I went to Cyprus for the opening of an exhibition of the Cypriot light designer Michael Anastassiades and had the chance to visit the private house of the Cypriot architect Neoptolemos Michaelides and his wife. They both passed away few years ago and now the house belong to their foundation. We came together with the photographer Hélène Binet who took beautiful pictures that where then published in the last issue of Apartamento (pdf) and in a exhibition in Cyprus that opened last month. The house has an incredible architecture full of sensibility and respect for nature and light, and it’s still full of the furniture and amazing collection of fossils and stones that once belonged to Neoptolemos.



Marmoreal by Max Lamb, Milan

April is a great month, not just because the winter is over but also because it’s the Milan Design Week called Salone. This year I’ve been quite lazy, too many offerings usually make me end up remembering nothing. One of my favorite things was this nice project of my friend the British designer Max Lamb for Dzek. A whole room entire made for this special terrazzo.



La Fabrica of Ricardo Bofill

This is the house/studio of one of the biggest architects in Spain of all times, Ricardo Bofill. This is seen from its neighboring building, Walden 7, also by Bofill. It’s a huge recovered cement factory from the beginning of 1900.  The size of a cathedral, it’s an incredible work in progress for more than 40 years.



Alexander Girard: An Uncommon Vision, New York

May is design week in New York and Herman Miller made this amazing exhibition about the legacy of the designer and architect Alexander Girard. Together with them we launched the 13th issue of Apartamento featuring an extensive supplement about the legacy of Girard and his family in Santa Fe (New Mexico).



Donald Judd Foundation, New York

While in New York I had the opportunity to visit the recently restored Judd Foundation. The 5-story Soho iron building was purchased by the artist Donald Judd in the 1970s and served as his studio and house for his family. It has been fully restored this year and is finally open to the public.



111 Lincoln Road, Miami

While in Miami this June I was impressed by this amazing parking deck by the Swiss architecture studio Herzog & de Meuron. I was even more impressed when I heard that the owner of the parking deck lives on the top floor with a huge garden and a swimming pool.



City Flats Hotel, Michigan

Every time I travel to the small city of Holland (Michigan) I have the opportunity to explore new rooms at the City Flats Hotel. The hotel is well known because Holland is home to many of the biggest furniture companies in the US, which means that many, many designers have stayed in the City Flats Hotel. This hotel is peculiar in that every single room is different, with all the possible configurations of queen bed + king bed, double queen bed, queen + double single, etc., that you can imagine. It’s known that you don’t want to receive the kind of room I got the last time, which featured two queen beds facing opposite walls. It was definitely impossible to get a good rest there.



Walden 7, Barcelona

This is another beautiful project from the architect Ricardo Bofill—a subsidized housing complex built in the early 1970s. I always knew it existed but never went to visit it. I was impressed by the color, proportions, and shapes, its little streets inside and balconies make it resemble a small vertical city.



Four Seasons Restaurant by Philip Johnson, New York

I had the opportunity to have a drink at the bar and I was impressed by the space, the sculptural ceiling installations, window curtains, and materials on the toilets.



Kiss Room, Paris

I met the interior designer and artist Mathias Kiss in Paris and showed me one of his recent projects. This tiny 10sqm bedroom in the backside of a bar in Le Marais could be rented for one night, 1000 nights are for sale and it will be destroyed after. The whole space is skillfully covered in mirror tiles with a geometric architecture that enables the guests to feel like you are underwater. Despite being all covered in glass, the spaces feels incredibly cozy rather than a torture room, and the effect after you have a shower and the whole little space becomes visible because of the steam is something you have to live.

10 Jan 06:05


10 Dec 15:40

Shooting Sites of Execution

by Laura C. Mallonee
"Private Joseph Byers,  Private Andrew Evans, 
Time unknown / 6.2.1915; Private George E. Collins, 07:30 / 15.2.1915; Six Farm, Loker, West-Vlaanderen" by Chloe Dewe Mathews, 2013

Chloe Dewe Mathews, “Private Joseph Byers, Private Andrew Evans, 
Time unknown / 6.2.1915; Private George E. Collins, 07:30 / 15.2.1915; Six Farm, Loker, West-Vlaanderen” (2013)

In 2006, Britain’s Ministry of Defense officially pardoned 306 soldiers it had executed for cowardice or desertion during World War I. Many of them were underage, suffered from post-traumatic stress disorder, and hadn’t been given a fair trial. Among them, 16-year-old Herbert Burden had lied about his age so he could join the army; after he fled a massacre 10 months later, he was shot by firing squad. Burden later came to represent these ill-fated young men: his likeness was used in a monument commemorating them, titled “Shot at Dawn.” Photographer Chloe Dewe Mathews borrowed that name when she embarked on her own photographic tribute, commissioned by the Ruskin School of Art as part of 14–18 NOW and currently on view at Stills center for photography in Scotland.

For the series, the photographer visited 23 execution sites around the same time and season as when the soldiers died there. These landscapes may now be quiet and even bucolic, but Mathews’s photographs ensure that their past horrors are not forgotten. As Geoff Dyer, who introduced the accompanying monograph by Ivorypress, wrote in Harper’s, “When no grave or memorial is in view, one still understands — one feels — that this is more than just a conventionally pleasing landscape, even if the particulars of what has happened remain unknown. History has taken root here.”

"Soldat Ahmed ben Mohammed el Yadjizy, Soldat Ali ben Ahmed ben Frej ben Khelil, Soldat Hassen ben Ali ben Guerra el Amolani, Soldat Mohammed Ould ben Ahmed, 17:00 / 15.12.1914, Verbranden-Molen, West-Vlaanderen" by Chloe Dewe Mathews, 2013

Chloe Dewe Mathews, “Soldat Ahmed ben Mohammed el Yadjizy, Soldat Ali ben Ahmed ben Frej ben Khelil, Soldat Hassen ben Ali ben Guerra el Amolani, Soldat Mohammed Ould ben Ahmed, 17:00 / 15.12.1914, Verbranden-Molen, West-Vlaanderen” (2013)

"Soldaat Jean Raes, Soldaat Alphonse Verdickt, Time unknown / 21.9.1914, Walem, Mechelen, Antwerpen" by Chloe Dewe Mathews, 2013

Chloe Dewe Mathews, “Soldaat Jean Raes, Soldaat Alphonse Verdickt, Time unknown / 21.9.1914, Walem, Mechelen, Antwerpen” (2013)

"Private Herbert Chase, 04:30 / 11.6.1915, Sint-Sixtusabdij, Proven, Westvleteren" by Chloe Dewe Mathews, 2013

Chloe Dewe Mathews, “Private Herbert Chase, 04:30 / 11.6.1915, Sint-Sixtusabdij, Proven, Westvleteren” (2013)

Shot at Dawn, Chloe Dewe Mathews is on view at Stills (23 Cockburn Street, Edinburgh, Scotland) through January 25, 2015.