Dear Friends,

please join us on August 2, 2023 at 7:00pm at Motto Books, Berlin for a conversation with Sandra Peters and Adam Feldmeth to present Peters’ new book Cut Cube.

The book Cut Cube, (2022) results from Sandra Peters’ interest in the graphic interplay between two- and three-dimensional structures. The 11 possible ways to unfold a cube are laid out on white paper, whereas the seven cuts that make it possible to unfold a cube are printed on transparent paper and related to each of the six sides of each flattened cube. Turning pages generates a flow of information to make the viewer aware of the complex interplay between both types of structures. 

The book is published with Motto Books, Berlin/Lausanne. A book signing will follow the discussion.

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Sandra Peters is an artist, writer, and educator based in Abu Dhabi, UAE. In her work she focuses on architecture and urban space. She is working towards a reciprocal integration of sensual, structural, and conceptual factors.

Peters has widely presented her work in Europe, the US, and the United Arab Emirates, including Performing the City at the NYUAD Project Space in Abu Dhabi (2023); Un–folded Cube (landscape mode) at Foyer-LA, Los Angeles (2023); Bilateral, Diagonal, Cubical at the Gallery Aanant & Zoo, Berlin (2012) and participated in the group exhibition Erschaute Bauten. Architektur im Spiegel zeitgenössischer Kunstfotografie at the MAK—Österreichisches Museum für angewandte Kunst/Gegenwartskunst (2011).
She is teaching at New York University Abu Dhabi since 2014 in the Art and Art History Program, where she is Co-program head since 2021.

Adam Feldmeth lives in Los Angeles and Berlin. His work engages the social elasticity of art through situational discourse with those involved in its materialization. Critical contributions have been included at the Luminary Projects, St. Louis, Missouri; Contemporary Art Daily; the MAK Center, Los Angeles; Kunstbibliothek Sitterwerk, St. Gallen, Switzerland; Overgaden Institute for Contemporary Art, Copenhagen; the Guggenheim Gallery at Chapman University; and the 53rd Venice Biennale of Art. In 2008, he co-authored, “Nomad Post School,” with Guan Rong and in 2020 “Some Pedagogies of the Southland Institute” with Joe Potts

He is co-director of the Southland Institute in Los Angeles, teaches Film/Media studies at Polytechnic School in Pasadena, California, and is a doctoral student at the European Graduate School where he is considering the cobblestone as a mediator of momentum at the confluence of urban space and cinematic montage.

Dear friends,

We are happy to invite you to Cults and Culture on Thursday, July 13th from 7:00 PM, a talk by Alex Head in which the author will discuss his book Ricochet – Cultural Epigenetics and the Philosophy of Change (Ljå Forlag, Oslo, 2021).

Reflecting on discoveries and debates that have occurred in the two years since its publication, artist Alex Head will read from current works in progress to highlight specific aspects within his ambitious book 
Ricochet to discuss the architecture of power.

It is now well documented that cults have been used to disseminate disinformation. For example the extremist cults of MAGA, The Oath Keepers and Proud Boys who’s recruitment pipeline has been funded by Big Oil and crypto libertarians in an attempt to overthrow the United States and 
crash their and the world’s economy.

But what about the arts more widely, is there a form of culture that is transparent about its ideology, particularly in today’s hyper-accelerate media vortex? Are all cultural institutions not also in some way cultish? The cult of patriarchy being just one obvious example that transcends both religious and cultural institutions.

Focussing on specific evidence of how cults have been used to spread disinformation and other historical data the artist will discuss the central motif to his work Ricochet, – the Sacred Date Palm Tree – as a expression of the anti-rhizome. Are we, the unwitting public being continuously gaslit by Sacred Date Palm tree’s in the form of neoclassical architecture? And if so, what can we do to review and 
refocus personal and political objectives as users navigate the web architecture of the app?

Join us at Motto Berlin on Thursday, 13th of July for an insightful talk where we will explore the profound themes of Ricochet and run across topics like January 6th, Classical Architecture, White Supremacy, BND Building Berlin, Mental Health, Libertarianism, Bitcoin, Gold Standard, Going Offline, Art, Publishing, Design, Cultural Epigenetics, Memory, Witnessing and Social Media.

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Alex Head

Ljå Forlag

A ROOM WITH A VIEW takes place in and around the Pensione Seguso, a historic, family-run hotel in Venice. Guided by architecture professor Verena von Beckerath as part of the homonymous seminar at Bauhaus-Universität Weimar that she led in collaboration with art historian Sassa Trülzsch, the contributions to this edition range from the historical to the anecdotal to the artistic and beyond, resulting in a holistic and comprehensive analysis of not only the pensione, but what hospitality and tourism mean today, both in Venice and the world at large.
The contributors to this publication come from varying backgrounds, and the rich variety in tone and format reflects that. A ROOM WITH A VIEW features a reflection and collage by urologist and art fanatic Albrecht Kastein, photos by architect and photographer Andrew Alberts, architect Oda Pälmke’s personal account of her time at the pensione, an insightful interview with the owners Yvonne Matijas Seguso and Lawrence Hoque, and architect, professor and editor Ludovico Centis’s historical account of Venice.
Much like the pensione, the book eludes rigid categorisation; it alternates between written pieces and photographs, each adding nuance to the work and changing the narrative perspective. As you wander through the pensione during the course of this edition, meeting the owners and venturing into the history of Venice, one question continuously arises, how can we live together?
This book is NOA 10 in the Notes on Architecture series, which is published by the Chair of Design and Housing at Bauhaus-Universität Weimar.

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Reprtoire 8 zeigt berührende Fragmente aus Architektur und Kunst, Theorie und Realität, die ohne Hierarchie und Sortierung und vor allem ohne Anspruch auf Vollständigkeit assoziativ zu einer Sammlung gefügt sind. Die unendlich aufeinander verweisenden Bilder, Zeichnungen und Texte zeigen ein Formenrepertoire, das Grundlage ist für einen architektonischen Diskurs, der nicht mit der eigenen Problemlösung beginnt, sondern mit der Erschaffung eines Kenntniskosmos der Ideen.

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Heft 7 der Reihe Repertoire enthält Beobachtungen – Bilder, Zeichnungen und Texte von Häusern und Räumen – der in Berlin lebenden Architektin Oda Pälmke, die sich wie bei einem ­Entwurf gegenseitig ergänzen und zunehmend ineinander verweben. Es ist eine Einladung, die Autorin auf ihren Spaziergängen und Reisen in die Welt zu begleiten oder, vielleicht ebenso gut, die Publikation zum Anlass für eigene Explorationen zu nehmen.

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“Repertoire” shows a collection of drawings and photographs of common situations and elements of the built environment and may inspire the natural expansion of the design repertoire. 

Issue 7 of the Repertoire series contains observations – pictures, drawings and texts of houses and spaces – by the Berlin-based architect Oda Pälmke, which complement each other like a design and increasingly interweave. It is an invitation to accompany the author on her walks and trips around the world or, perhaps as well, to use the publication as an opportunity for her own explorations.

“Oda Pälmke’s way of working is characterized by the methodology of appropriation, the appropriation of found material. It is a strategy that allows a fruitful examination of the real. Casual and trivial, found and invented develop new levels of meaning through their specific way of working through. If everything can once again become “starting material for transformations”, everything can again become “raw material for productions”, says Peter Sloterdijk, there is no creative creation ex nihilo and the modern phantasm of tabula rasa is overcome. The creative process then consists in finding an attitude towards what has been found and developing a story from it. ”(Anh-Linh Ngo, publisher ARCH +)

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Repertoire zeigt eine Sammlung von Zeichnungen und Fotografien gewöhnlicher Situationen und Elemente der gebauten Umwelt und mag zur selbstverständlichen Erweiterung des entwerferischen Repertoires anregen.

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“Repertoire” shows a collection of drawings and photographs of common situations and elements of the built environment and may inspire the natural expansion of the design repertoire.

Repertoire 1 – GESTALT Häuser / FORM Houses
Repertoire 2 – STRUKTUR Oberflächen / STRUCTURE Surfaces
Repertoire 3 – STANDARD Badezimmer / STANDARD Bathrooms
Repertoire 4 – AUSSTATTUNG Mobiliar / EQUIPMENT Furniture
Repertoire 5 – ÜBERGANG Treppen / TRANSITION Stairs
Repertoire 6 – SITUATION Konstellationen / SITUATION Constellations

“Oda Pälmke’s way of working is characterized by the methodology of appropriation, the appropriation of found material. It is a strategy that allows a fruitful examination of the real. Casual and trivial, found and invented develop new levels of meaning through their specific way of working through. If everything can once again become “starting material for transformations”, everything can again become “raw material for productions”, says Peter Sloterdijk, there is no creative creation ex nihilo and the modern phantasm of tabula rasa is overcome. The creative process then consists in finding an attitude towards what has been found and developing a story from it. ”(Anh-Linh Ngo, publisher ARCH +)

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“At first; mountains are mountains and rivers are rivers; while you are studying, mountains are no longer mountains and rivers are no longer rivers; but once you have had enlightenment, mountains are once again mountains and rivers again rivers.” — “Transmission of the Lamp” (Song Dynasty) 



Artist Yan Kallen studied and lived overseas for many years, participating in many museum and gallery exhibitions abroad. However, Yan always regarded Hong Kong as home. Upon his return from Kyoto, Yan captured his own understanding and sentiments of Hong Kong using traditional Chinese painting style in combination with epiphany derived from Zen school of thought originating from Song Dynasty.

In this city, old houses are demolished every day and construction in process is found everywhere — around any corner, you can find a new high-rise building that seemingly came from nowhere. Revisiting places that were etched into his memory before he left Hong Kong as a child, this book starts from the home of Yan’s grandfather in Pak Hung House in Choi Wan Estate, Ngau Chi Wan. In this easily forgotten place surrounded by high cement walls, how can one gently set down one’s memories?

Perhaps this is a question that every one of us need to answer for ourselves.

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“Amaneceres Domésticos. Temas de vivienda colectiva en la Europa del siglo XXI” presenta, a partir de obras construidas, los temas principales que van modelando la vivienda colectiva europea en el siglo XXI. A través de una serie de conceptos, ejemplificados con proyectos construidos, sus editores, Carmen Espegel, Andrés Cánovas y José María de Lapuerta, proponen un lugar de reflexión y debate sobre el presente y el futuro de los espacios que habitamos. A través de 28 ejemplos paradigmáticos de vivienda construida organizados en torno a siete categorías: Conciencia climática, Recargas activas, Cuidados domésticos, Nueva gestión, Contextos urbanos, Vivir y compartir e Identidades icónicas, más un epílogo COVID se muestran los conceptos fundamentales de la nueva habitabilidad que se están desarrollando en la vivienda colectiva de la Europa de principios del siglo XXI, propiciando de este modo un debate que permita continuar avanzando en este sentido.

Textos de Carmen Espegel, Andrés Cánovas, José María de Lapuerta, Eduardo Prieto, Almudena Ribot, Hilde Heynen, Marina Otero Verzier, Elli Mosayebi, Amparo Lasén, Uriel Fogué y Javier Echeverría
Diseño: gráfica futura
Traducción: Noemí Gª Millán y Mike Lumber
Edición: Fundación ICO, Ministerio de Transportes, Movilidad y Agenda Urbana (MITMA) y Ediciones Asimétricas

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This special issue is the cataLog for Model Behavior, a group exhibition of models, architectural and otherwise, curated by the Anyone Corporation and presented by The Irwin S. Chanin School of Architecture at The Cooper Union in New York City. The exhibition, which ran October 4–November 18, 2022, questioned the role of the model in projecting or eliciting social behavior. In addition to documenting the 55 exhibited works with four-color images and project descriptions, the 160-page cataLog includes essays by curator Cynthia Davidson; by architecture theorists Jörg H. Gleiter, Kiel Moe, and Christophe Van Gerrewey; and by art historian Annabel Jane Wharton.

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MODEL BEHAVIOR

OCTOBER 4 – NOVEMBER 18, 2022

A GROUP EXHIBITION CURATED BY THE ANYONE CORPORATION AND PRESENTED BY THE IRWIN S. CHANIN SCHOOL OF ARCHITECTURE OF THE COOPER UNION FOR THE ADVANCEMENT OF SCIENCE AND ART

Models, whether physical or digital, are intrinsic to architecture. Just as science, mathematics, politics, economics, and other fields use models to visualize, reflect, and predict behaviors, so do architectural models. Model Behavior, a group exhibition curated by Log editor Cynthia Davidson, designed by New Affiliates (Ivi Diamantopoulou and Jaffer Kolb), considered how architectural models contribute to shaping social behaviors. Model Behavior featured 70 works and objects by 45 artists and architects including artists Olafur Eliasson, Isamu Noguchi, Ekow Nimako, and Thomas Demand, and architects Peter Eisenman, Darell Wayne Fields, Greg Lynn, Forensic Architects (Eyal Weizman), First Office (Anna Neimark and Andrew Atwood), MALL (Jennifer Bonner), Ensamble (Débora Mesa and Antón García-Abril), and Höweler and Yoon (Eric Höweler and Meejin Yoon).

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Fall 2000 issue of Nest: A Quarterly of Interiors. 

Special edition wrapped with a plastic slipcover.

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