HEART - DARK issue by HEART international arts magazine

DARK

INTERNATIONAL ARTS MAGAZINE  ISSUE NO.4

HEART

COVER PAGE MODEL: CAROLIN (MJ MODEL MANAGEMENT) PHOTOGRAPHER: DAVIDE DE VISDOMINI

18 44 66 78

FEATURED ARTISTS TOOMAS VOLKMANN

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FASHION

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SISTERS @ THE SISTERS PHOTOS BY DAVE CAMPBELL DARK SKIN PHOTOS BY PAUL KADARISMAN

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PHOTOGRAPHY

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COKE TOWN PHOTOS BY OTT KADARIK BLACK MOOD PHOTOS BY DAVIDE DE VISDOMINI SLEEP AND SLEEPINESS PHOTOS BY ANI BERBERIAN DARK EDGES PHOTOS BY DAVE CAMPBELL

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ARCHITECTURE

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INTERCONNECTING CENTURIES KOSMOS ARCHITECTS DARKNESS IN A CULTURE OF OVER-ILLUMINATION CHRIS HILLYARD

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ON THE PULSE

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N.Y. BEAT TEXT BY VERONIKA BJARSCH LONDON BEAT TEXT BY DAVE CAMPBELL BARCELONA BEAT TEXT BY DAVIDE DE VISDOMINI TALLINN BEAT TEXT BY MARIT MIHKLEPP TOKIO BEAT TEXT BY AYANA KOBAYASHI

PAGE 102 PAGE 104 PAGE 106 PAGE 108 PAGE 110

CONTENTS

HEART MAGAZINE PHOTOGRAPHER DAVE CAMPBELL D5 MEETS ESTONIAN COMMERCIAL PHOTOGRAPHER

TERE! HELLO!

TOOMAS VOLKMANN

6 D FEATURED ARTISTS I’VE ARRANGED TO MEET TOOMAS VOLKMANN, ONE OF THE MOST ACCOMPLISHED PHOTOGRAPHERS IN ESTONIA. I FEEL UNPREPARED AS I COULDN’T DO MUCH RERSEARCH BUT HERE WE GO... IT’S QUITE DIFFICULT TO RESEARCH YOU TOOMAS, IS IT A CONSCIOUS EFFORT NOT TO HAVE A WEBSITE? IT IS BASICALLY THAT I AM TOO OLD FASHIONED AND LAZY. IT IS ALSO DOWN TO THE WORKING SYSTEM WE HAVE IN ESTONIA THAT THERE ARE NOT MANY PHOTOGRAPHERS ON THE COMMERCIAL MARKET AND ADVERTISING AGENCIES KNOW WHAT SPECIFIC PHOTOGRAPHERS ARE GOOD AT SO WOULD CONTACT ME ON THAT BASIS. ALSO RIGHT NOW MY FOCUS OF PHOTOGRAPHY IS STARTING TO TURN, WHETHER PERMANENTLY OR NOT I DO NOT KNOW, WHICH IS ANOTHER REASON I’M IN NO HURRY TO GET A WEBSITE. THE LITTLE RESEARCH I WAS ABLE TO FIND WAS IN YOUR 2007 BOOK ‘BRIDES IN BLOOM’ WHERE I DISCOVERED THAT YOU FIRST BEGUN STUDYING MEDICINE, THEN ACTING AND DURING THE EARLY 90’S YOU STUDIED AT THE LONDON COLLEGE OF PRINTING. SO HOW DID YOU GET INTO PHOTOGRAPHY? WELL DURING THE PERIOD WHEN I WAS STUDYING MEDICINE I WAS ALSO STUDYING MUSIC, IN PARTICULAR SINGING. AFTER GRADUATING I WORKED AT A THEATRE FOR ONE YEAR THEN I BECAME INVOLVED IN A ‘RENAISSANCE REPERTOIRE’ MUSIC GROUP CALLED ‘ORTUS MUUSIKUS’. I WAS PART OF THIS GROUP FOR 2/3 YEARS AND WE USED TO TOUR AROUND EUROPE. BUT IT CAME TO A POINT WHERE I WAS VERY SELF-CONSCIOUS ABOUT MY SINGING BACKGROUND AS IT WASN’T VERY ACADEMIC. I THEN TURNED TO PHOTOGRAPHY AS I HAD BEEN FASCINATED WITH THIS MEDIUM FROM THE AGE OF 12 AND I HAPPENED TO GET THE OPPORTUNITY TO GO TO LONDON TO STUDY AT THE LCP I STUDIED A 1 YEAR POST GRADUATE COURSE IN PHOTOGRAPHY SO THE COURSE WAS VERY SHORT BUT DURING THAT PERIOD I LEARNED A LOT ABOUT LONDON AND HOW THE FASHION INDUSTRY WORKED.

FEATURED ARTISTS D 7 SO WHEN YOU LEFT TO STUDY IN LONDON WAS THERE MUCH OPPORTUNITY TO STUDY PHOTOGRAPHY IN NEWLY INDEPENDENT ESTONIA? (ESTONIA BECAME INDEPENDENT FROM THE SOVIET UNION IN 1991) NO NOT REALLY. THERE WAS ONE SCHOOL IN TALLINN YOU COULD ATTEND AFTER GRADUATING HIGH SCHOOL, WHICH WAS A TWO YEAR COURSE THAT MAINLY FOCUSED ON REPORTAGE PHOTOGRAPHY.THAT HAS OBVIOUSLY CHANGED DRAMATICALLY TO THE CURRENT SITUATION WHERE THERE ARE PHOTOGRAPHIC COURSES TAUGHT IN A NUMBER OF CITIES IN ESTONIA.THE NUMBER OF GRADUATES HAS ALSO OBVIOUSLY INCREASED BUT TO ME THEY HAVE LITTLE UNDERSTANDING OF WHAT THE ESSENCE OF PHOTOGRAPHY IS. WHEN I WAS A YOUNG PHOTOGRAPHER IN TALLINN EVERYONE USED TO PRINT THEIR OWN WORK IN A LITTLE LAB SOMEWHERE, BUT NOW PHOTOGRAPHERS ARE PART OF THE INTERNET GENERATION AND SPEND MORE TIME TRYING TO CREATE ON THE COMPUTER RATHER THAN CREATING IN THE FIELD. ON YOUR RETURN FROM LONDON WAS IT EASY TO GET WORK? YES, ON RETURN (1995) I WAS VERY LUCKY IN THAT THE ADVERTISING/FASHION SCENE WAS STARTING TO BOOM AND WORK CAME VERY EASILY. ESTONIA WAS NOW PART OF THE OPEN MARKET AND THE POSSIBILITIES WERE ENDLESS. BUSINESS WAS CONDUCTED IN THE CLUBS WHERE THERE WAS A MIX OF ALL SOCIETY FROM RUSSIAN MAFIA TO ESTONIAN POLITICIANS TO THE KIDS FROM THE POORER PARTS OF THE CITY. SOCIETY DIDN’T HAVE THE CONSTRAINTS THAT IT HAS TODAY SO PEOPLE WOULD MIX HAPPILY TOGETHER. I BELIEVE ALSO THAT I COMMUNICATED WELL WITH CLIENTS COMPARED TO SOME OTHER PHOTOGRAPHERS THAT MAY HAVE WORKED IN MY FAVOUR.

8 D FEATURED ARTISTS ESTONIAN ADVERTISING/FASHION MARKET MUST HAVE DEVELOPED VERY QUICKLY SINCE INDEPENDENCE. HOW HAVE YOU WITNESSED IT’S DEVELOPMENT? WELL ALLYOUNG PHOTOGRAPHERS AT THAT TIME WERE SO ENTHUSIASTIC AND PERHAPS STUPIDLY RADICAL. FOR EXAMPLE I REMEMBER WRITING AN ARTICLE ON FASHION TRENDS AND WROTE “ OK GUYS, IF YOUR GIRLFRIEND PUTS PINK LIPSTICK ON BEFORE YOU GO OUT TONIGHT THEN STAY AT HOME BY ANY MEANS NECESSARY!” SO I JUST MADE UP FASHION TRENDS BUT THAT PUBLICATION RECEIVED MANY COMPLAINS FOR WHAT I WROTE. BUT NOW YOU HAVE TO BE AWARE NOT TO OFFEND, WHETHER IT BE THE USE OF THIN MODELS, SMOKING ON CAMERA WHICH IS NOW TABOO. A DIRECT COMPARISON IS THAT SEVEN YEARS AGO I PHOTOGRAPHED AN ESTONIAN POP ARTIST CALLED KIWA. HE HAD PRODUCED A PAINTING OF COCA COLA BUT SMEARED COLA JUST TO LEAVE COCA. BACK THEN I THOUGHT NOTHING OF IT BUT WHEN I CAME TO REPRINT IT RECENTLY I WAS AWARE THAT IT COULD BE A REFERENCE TO DRUGS AND COULD I PUT THIS ON MY WALL BECAUSE IT COULD BE SEEN THAT I CONDONE THE USE OF DRUGS. I FEEL I NEED TO ANALYZE EVERYTHING THAT I DO. SO BASICALLY THE INDUSTRY HAS BECOME A LOT MORE CONSERVATIVE AND EVERYTHING IS QUESTIONED. DO YOU THINK THE SAME COULD BE SAID FOR THE ADVERTISING INDUSTRY? I JUST THINK THAT THE ADVERTISING INDUSTRY HAS COMPLETELY LOST ITS IDEALISM. ADVERTISING AGENCIES ARE RESPONSIBLE FOR CREATING INNOVATIVE AND INSPIRING CAMPAIGNS, THIS IS THEIR MORAL OBLIGATION BUT THEY ARE NOW INFLUENCED BY BUDGETS. WHEN THE DIGITAL REVOLUTION HIT THE ESTONIAN MARKET THEN THE REACTION IN THE AD. AGENCIES WAS THAT, WHY DON’T WE DO IT OURSELVES? AGENCIES HAD MAC WORKERS THAT WOULD USUALLY DO LAYOUTS ECT. BUT THEY WERE NOW DOING IT THEMSELVES. THEIR PHOTOGRAPHIC SKILLS WERE OBVIOUSLY INFERIOR SO THEY WOULD SHOOT EVERYTHING ON A WHITE BACKGROUND THEN MONTAGE THE IMAGE IN POST-PRODUCTION. THE ESSENCE OF PHOTOGRAPHY HAD BEEN TOTALLY LOST.

I READ AN ESSAY ON THE ESTONICA WEBSITE (THE ENCYCLOPAEDIA OF ESTONIA) WHICH STATED THAT ESTONIAN ART PHOTOGRAPHY HAS FALLEN INTO A SLUMBER IN THAT IT HAS NO CONTEXT COMPARED TO 90’S ART PHOTOGRAPHY WHICH WAS VERY MUCH THE DOCUMENTARY OF POSTSOVIET OCCUPATION. WOULD YOU AGREE WITH THIS STATEMENT? WELL NEWLY INDEPENDENT ESTONIA WAS A VERY FAST MOVING AND AMBITIOUS COUNTRY. THE RATE OF CHANGE IN THIS COUNTRY WAS PHENOMENAL SO DOCUMENTATION WAS EASY. EVEN IF YOU WERE NOT A VERY SKILLED PHOTOGRAPHER THERE WAS VISUAL STIMULATION EVERYWHERE YOU LOOKED. BUT TOWARDS THE END OF THE 90’S MORE CONCEPTUAL PHOTOGRAPHY BECAME POPULAR. THE SKILL OF PHOTOGRAPHY CAME SECOND TO THE IDEA. I REMEMBER GOING TO GALLERIES AND VIEWING THESE REALLY SERIOUS PHOTO STORIES AND THINKING WHY ARE YOU A PHOTOGRAPHER, WHY AREN’T YOU AN ART CRITIC OR SOMETHING? THIS LEADS QUITE NICELY TO MY NEXT QUESTION, WHICH REFERENCES THE FORE MENTIONED ESSAY STATING THAT ESTONIANS IN GENERAL REJECT PHOTOGRAPHY AND CINEMATOGRAPHY AS AN ART FORM. HAVE YOU BEEN WITNESS TO THIS? IT’S VERY MUCH ABOUT GALLERY AND MUSEUM CURATORS AS TO WHAT THEY WANT TO SHOWCASE. ESTONIAN IS SUCH A SMALL COUNTRY AND THERE ARE SE FEW CURATORS THAT WHAT IS EXHIBITED IS VERY MUCH DOWN TO THEM AND THEIR OPTIONS OF WHAT ART IS. A THIRD OF THE ESTONIAN POPULATION ARE RUSSIAN BUT MY EXPERIENCETO DATE HAVE BROUGHT ME NO CONTACT WITH RUSSIAN ADVERTISING OR FASHION PHOTOGRAPHERS. ARE THERE ANY PREVALENT RUSSIAN PHOTOGRAPHERS IN ESTONIA? NO. I DO NOT KNOW OF ANY. AND ONLY A COUPLE OF RUSSIAN FASHION BRANDS HAVE SURVIVED. THIS IS MAINLY DOWN TO THE INFLUENCED OF WESTERN CULTURE AND THE INTRODUCTION OF WESTERN BRANDS, WHICH ESTONIANS ARE VERY EAGER TO CONSUME.

FEATURED ARTISTS D 9 I SHOOT DIGITAL BECAUSE NO MAGAZINES NOW ACCEPT FILM. I DON’T EVEN KNOW OF ANY PUBLICATION COMPANIES THAT HAVE LARGE FORMAT SCANNERS TO SCAN FILM. WHEN DID YOU MOVE TO DIGITAL? ABOUT 3 OR 4 YEARS AGO. IT WAS A RELUCTANT MOVE; I DON’T LIKE THE SMALL VIEWFINDERS ON DIGITAL CAMERAS AND PHOTOSHOP IS THIS STUPID THING I HAVE TO USE TO MAKE COLOUR CORRECTIONS OR TO TAKE OUT BLEMISHES. I WAS VERY LOST WHEN I FIRST MOVED OVER TO DIGITAL BECAUSE I WORKED VERY DIFFERENTLY USING FILM. I DIDN’T USE POLARIODS BUT WOULD CONSTRUCT THE SET IN MY HEAD USING MY LIGHT METER. A FRIEND OF MINE WHO GOT ON WELL USING PHOTOSHOP SAID TO ME THAT HE DOESN’T USE HIS LIGHT METER ANY MORE, HE JUST GOES TO HIS STUDIO, SETS UP A LIGHT, LOOKS AT THE SHOT ON THE COMPUTER AND THEN ADJUSTS THE LIGHT ACCORDINGLY. WHAT I LOVE WITH FILM IS THAT YOU HAVE TO GET IT RIGHT SO ARE TRULY CAPTURING THE MOMENT. AS I WALK AROUND THE CITY I NOTICE MANY YOUNG PEOPLE WITH SLR’S. WITH SO MANY YOUNG PHOTOGRAPHERS COMING ONTO THE MARKET DO YOU SEE THIS AS A POSITIVE THING FOR THE MARKET OR NEGATIVE? I DON’T SEE IT AS NEGATIVE NOR POSITIVE JUST A NATURAL OCCURRENCE THAT HAS COME WITH DIGITAL PHOTOGRAPHY. IN FACT IT IS MUCH HARDER FOR YOUNG PEOPLE TO MAKE A CAREER FROM PHOTOGRAPHY, THEY HAVE TO BE LUCKY OR FIND SOME SORT OF ANGLE ON SOMETHING. THOSE WHO WILL SUCCEED ARE THOSE WHO HAVE THE PASSION EVEN IN THESE HARD TIMES. WHAT TALLINN NEEDS ARE SOME MORE CRAZY YOUNG ARTISTS WHO DEFINED THE ARTS IN THE EARLY 90’S. MOVING NOW TOWARDS YOUR OWN WORK, ARE YOU STILL SHOOTING FILM OR DO YOU SHOOT EXCLUSIVELY ON DIGITAL?

10 D FEATURED ARTISTS WHAT STILL INSPIRES YOU? TERRY RICHARDSON AND I ADORE HELMUT NEWTON. I READ IN A RECENT MARIE CLARE PUBLICATION THAT THERE IS A TREND CALLED A LA HELMUT NEWTON SO IT’S NOW OFFICIAL HIS STYLE HAS BEEN IMMORTALISED. I’M BORED OF GLAMOUR FASHION PHOTOGRAPHY BUT WHAT I DO STILL LOVE IS THE REPORTAGE STYLE. DO YOU THINK YOUR PERSONALITY IS REFLECTED IN YOUR WORK? IF I LOOK THROUGH MY FASHION PHOTOGRAPHS THEY ALL LOOK QUITE DIFFERENT BECAUSE WHEN I WORKED ON A MONTHLY BASIS FOR FASHION MAGAZINES THEY WOULD DEMAND SOMETHING DIFFERENT EVERY TIME. I ALMOST HAD TO AVOID MY OWN STYLE. WHAT I WOULD SAY ABOUT MY WORK IS THAT IT HAS A MOVIE QUALITY IN THAT IT TELLS A STORY. IT HAS A BEGINNING AND AN END EVEN IF IT’S A STUDIO SHOOT. PERHAPS THAT HAS COME FROM MY THEATRE BACKGROUND. WHAT ARE YOU WORKING ON AT THE MOMENT? COMMERCIALLY I’M DOING THE PHOTOGRAPHY FOR A NEW COOK BOOK. THERE ARE ALREADY SO MANY COOKBOOKS OUT THERE ALREADY BUT I LIKED THE CONCEPT OF THIS BOOK AS IT FOCUSES MORE ON THE PROCESS OF COOKING RATHER THAN THE FINAL PRODUCT AND ABOUT THE COMPANY THAT ONE HAS WHEN COOKING. 16 CHEFS ARE INVOLVED SO I’M QUITE EXCITED ABOUT THE PROJECT.

FINALLY THE THEME FOR THIS ISSUE OF HEART IS DARK. IN REFERENCE TO THAT, HAVE YOU EVER APPROACHED DARK THEMES IN YOUR WORK REGARDING SOCIAL OR PERSONAL ISSUES? YES AND NO. ALL OF MY EXHIBITIONS HAVE BEEN MY PORTRAITURE WORK. MY LAST EXHIBITION WAS ABOUT A YEAR AGO AND AGAIN WAS PORTRAITURE; CLOSE UP SHOTS OF THE SUBJECTS, WHITE/GREY BACKGROUND AND FRONTAL LIGHTING. NOW, IS THIS WORK ABOUT ME, YES IN SOME WAY AS IT IS HOW I HAVE INTERACTED WITH THE SUBJECT. WHEN YOU SHOOT PORTRAITURE WITH A SHORT LENS THEN YOU WILL BE VERY CLOSE TO THE SUBJECT AND THEIR PERSONAL SPACE. EVEN GOOD FRIENDS WOULD FEEL UNCOMFORTABLE IN THIS SITUATION. I FEEL LIKE I AM VICTIMIZING THE SUBJECT, WHICH IS SOMETHING I TRY TO AVOID. IT’S DIFFICULT BEING A HETEROSEXUAL MALE PHOTOGRAPHER WHEN PHOTOGRAPHING A WOMAN AND FOR THE WOMAN TO LOOK LIKE SHE IS IN CONTROL.TO MAKE IT LOOK LIKE SHE HAS CHOSEN ME TO PHOTOGRAPH HER IN THIS MOMENT. THAT IS WHAT HELMUT NEWTON USED TO DO SO WELL THANK YOU TOOMAS FOR THIS INTERVIEW... ...HEAD AEGA! ...GOOD-BYE!

ERRATA CORRIGE:

WE MISSED SOME INFORMATION FROM OUR LAST ISSUE. IN THE EDITORIAL OF BLOOMY SUNDAY ON PAGE 26 NANCY IS WEARING A DRESS FROM HELEN VALK (helen.valk@hotmail.com) OUR DEEPEST APOLOGIES!

ENJOY.

FAS ION

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KIRTI WEARS ROLL NECK SWEATER AND PANTS BY EMPORIO ARMANI

SISTERS @ THE SISTERS PHOTOGRAPHY BY DAVE CAMPBELL

KAISA WEARS CASHMERE, MOHAIR SWEATER AND SWEAT PANTS BY EMPORIO ARMANI

KAISA WEARS PURPLE CARDIGAN BY EMPORIO ARMANI

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D 23 KIRTI WEARS SHIRT BY D&G AND KAISA WEARS SHIRT BY BERGS BIKKEMBERG

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26 D FASHION PREVIOUS PAGE AND OPPOSITE KAISA WEARS DRESS BY GF FERRÉ AND SHAWL BY EMPORIO ARMANI PREVIOUS PAGE KIRTI WEARS BLOUSE BY EMPORIO ARMANI OPPOSITE PAGE KIRTI WEARS VEST AND FRILL DRESS BY EMPORIO ARMANI

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OPPOSITE KAISA WEARS BLOUSE BY EMPORIO ARMANI

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PHOTOGRAPHY BY DAVE CAMPBELL davecampbellphoto@yahoo.com STYLING BY MARTA KONOVALOV martakonovalov@hotmail.com MAKE-UP BY LEA NÕMME smiletolea@gmail.com MODELS KIRTI AND KAISA FROM LIVING MODELS www.livingmodels.com

SHOT ON LOCATION AT THE THREE SISTERS HOTEL, TALLINN, ESTONIA www.threesistershotel.com

www.kaieichen.com

pikk 43/vaimu 1, tallinn - estonia

kai@kaieichen.com

k a i e i c h e

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DARK WELCOME TO THE WORLD OF WHIPPED CREAM, A WORLD WHERE THE SMOOTHEST LEATHER CARESSES YOUR SKIN, WHERE PLEASURE ISN’T A SIN NOR FANTASIES - JUST A DREAM. PHOTOGRAPHY: PAUL KADARISMAN

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SKIN

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Will all need to shed another skin, shall we?

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www.yourwhippedcream.com

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PHOTOGRAPHY AND ART DIRECTION: PAUL KADARISMAN www.totallynow.blogspot.com MODELS: NADA AND MARIA (CINDY AS A GUESTSTAR) www.glam-management.com MAKE-UP & HAIRSTYLING: WIDI widymakeup@gmail.com LOCATION: TROY’S, SOUTH JAKARTA - INDONESIA DESIGNER: HEADMISTRESS OF WHIPPED CREAM headmistress@yourwhippedcream.com www.yourwhippedcream.com

CREDITS

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HEART WAS PRODUCED WITH THE HELP FROM OUR FRIENDS AT KLIFF&KLAUS STUDIO

P OTOGRAP Y H

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COKETOWN

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PHOTOGRAPHY: OTT KADARIK

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www.gmo.ee

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BLACK MOOD BY DAVIDE DE VISDOMINI

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CREDITS PHOTOGRAPHY BY DAVIDE DE VISDOMINI davide.devisdomini@gmail.com STYLING BY KAI EICHEN kai@kaieichen.com MAKE-UP BY RISTO PILLAROO ristopillaroo@gmail.com HAIR BY RAIMO SUVISTE AND RISTO PILLAROO raimo79@hot.ee MODELS: CAROLIN AND DAGMAR (MJ MODEL MANAGEMENT) www.mj-models.ee

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SLEEP &

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SLEEPNESS PHOTOGRAPHY: ANI BERBERIAN TEXT: VERONIKA BJARSCH

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EVERY NIGHT OF GOOD SLEEP IS THE SAME BUT EVERY NIGHT OF BAD SLEEP IS MISERABLE IN ITS OWN UNIQUE WAY. LAST YEAR IN THE USA, 40 MILLION SLEEP-INDUCING DRUGS WERE PRESCRIBED (THE NUMBER OF INHABITANTS OF THE UNITED STATES IS ESTIMATED AT AROUND 305 MILLION), WHICH REPRESENTS A 53% INCREASE COMPARED WITH 5 YEARS AGO. THIS IS NOT ONLY A SIGN OF THE INCREASING COMMERCIALIZATION OF SLEEP BUT ABOVE ALL THIS FACT INDICATES THAT WE HUMANS YEARN FOR SLEEP AND HAVE INCREASINGLY FORGOTTEN HOW TO EXPERIENCE IT AS NATURE INTENDED. AND THUS WE MAKE USE OF THE MOST SIMPLE SOLUTION: CHEMICAL “KNOCKOUTS” THAT WORK AS ADVERTISED. BEING UNABLE TO SLEEP MEANS BOTH LOSING ONE’S ANIMALISTIC EXISTENCE AND ONE’S PLACE IN THE UNIVERSE. BUT, AT THE SAME TIME,THE INSOMNIAC FEELS HIMSELF OR HERSELF BEING PAINFULLY REDUCED TO HIS OR HER PHYSICAL EXISTENCE WHILE BEING ROBBED OF HIS OR HER TREMENDOUSLY OVERSTIMULATED MIND. SLEEPLESSNESS IS ALWAYS LOADED WITH A DOUBLE FEELING OF MEANING AND PHYSICAL PAIN. MEDIEVAL ASCETICS SWORE BY BARE BEDS AND STATES OF PIOUS WAKEFULNESS. IN HER BOOK “INSOMNIA: A CULTURAL HISTORY,” ELUNED SUMMERS-BREMNER TALKS ABOUT HOW THE LACK OF SLEEP HAS DEVELOPED INTO A DECIDEDLY URGENT MATTER REQUIRING TREATMENT INSTEAD OF BEING AN IMPRESSIVE FEAT OF WAKEFULNESS. TODAY IN A PHASE CHARACTERIZED BY THE “SECULARIZATION OF TIME” AND UNCERTAINTY, FINANCIAL SPECULATION AMONG OTHER THINGS PREVENTS A GREAT DEAL OF PEOPLE FROM EASILY ENJOYING A GOOD NIGHT’S REST BECAUSE OF THE ALL WORRY AND STRESS THAT IT BRINGS ABOUT. SIMILARLY, IN THE 18TH CENTURY CAFFEINE, TOBACCO AND STIMULATING ENTERTAINMENT SERVED AS A MEANS OF DIVERSION FOR THE SLEEPLESS IN ADDITION TO BEING REAL OBSTACLES TO DOZING OFF. TODAY INSOMNIA IS UNDERSTOOD AS BEING A STUBBORN, MODERN FORM OF EVIL. DOCTORS RECOMMEND THAT WE REGULATE OUR SLEEP CYCLE AND CUT DOWN ON OUR USE OF STIMULANTS. AT THE SAME TIME, HOWEVER, NOT SLEEPING IS SEEN AS BEING A HEROIC INDICATOR OF OUR WORK ETHIC AND PRODUCTIVITY. THE ENTREPRENURIAL WARRIOR INTENTIONALLY REJECTS SLUMBER AS A FORM OF WEAKNESS.

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PHOTOGRAPHY D 73 ALONG WITH THE INABILITY TO SLEEP, A DOUBLE PRIVATATION COMES TO LIGHT: THE ABSENCE OF FORGETFULNESS AND THE NEGATION OF THE NEGATIVE. INSOMNIA BRINGS US EMPTINESS, THE FEELING OF EMPTINESS AND EMPTY HOURS THAT AWAIT US. ALTHOUGH OUR OWN BED STANDS FOR THE PEACEFUL PROMISE OF A GOOD NIGHT’S REST AND ITS ACTUAL FULFILLMENT, DURING A NIGHT OF BAD SLEEP IT CAN ALSO SYMBOLIZE TORTURE AND DESPAIR. WE CAN QUICKLY GO FROM ONE EXTREME TO THE OTHER AND SOMETIMES WE CAN EVEN EXPERIENCE BOTH DURING THE SAME NIGHT. WE MAKE OUR BED AND THEN ATTEMPT TO GO BACK TO SLEEP AND EVERYTHING BEGINS ANEW. DESCARTE’S CREDO “I THINK, THEREFORE I AM” CAN ALSO BE SEEN AS DESCRIBING A LARGE GAP IN BEING, SINCE IT IS EASY FOR US TO IMAGINE THAT WE ARE CAPABLE OF THINKING AND BEING. REFLECTING ON BEING AND LIVING OUT BEING IS DIFFICULT FOR US TO MASTER, IF BOTH ARE BEING DEMANDED AT ONCE. THIS IS ONLY POSSIBLE TO ACHIEVE IF WE MANAGE TO PLACE OURSELVES OUTSIDE OF OURSELVES WHILE REMAINING IN THE PRESENT. IN OTHER WORDS, WE CANNOT THINK ABOUT BEING AT THE SAME TOPOLOGICAL LEVEL WHILE SIMULTANEOUSLY BEING. WHILE WE ARE IN THE PROCESS OF THINKING, WE ARE COMPLETELY ABSORBED BY THIS ACTIVITY. THINKING REQUIRES THAT WE IGNORE OTHER ACTIVITIES OF SIMILAR IMPORTANCE. AT LEAST THIS WAS ONCE THE CASE AND THE DESIRE FOR THIS OLD, UNIFIED CYCLE IS INCREASING AGAIN. WE WANT TO GIVE BIRTH TO OUR CHILDREN IN THE SECURITY OF OUR HOME, WHERE THEY CAME INTO BEING AND EVEN WE WANT TO BE IN THIS ENVIRONMENT. THERE IS ALSO THE HOPE WE HAVE OF DYING IN THE ARMS OF OUR BELOVED.THE BEGINNING AND THE END OF EXISTENCE INCREASINGLY KEEP ON SHIFTING INTO THE HOSPITAL, INTO THE BARE, COOL AND WHITE ROOMS,WHERE THE NURSES CHANGE AT EIGHT HOUR INTERVALS.WE PUT UP WITH THIS IN ORDER TO BE SAFE. SECURITY AND OUR FEAR OF TRANSIENCE ALLOW US TO ACCEPT THE UNPLEASANT CONDITIONS. WE CANNOT KEEP ON EXISTING WITHOUT SLEEP AND THIS HOLDS TRUE TOO WITH REGARD TO BEING. HOWEVER, WE ALSO CANNOT SLEEP WHILE WE ARE THINKING (AT LEAST NOT IN THE RATIONAL SENSE OF THE WORD). OUR MATERIAL EXISTENCE IS THUS INTENSIFIED EVEN MORE SO THROUGH THE NECESSITY OF SLEEP. INSOMNIA DEMONSTRATES THIS MOST CLEARLY, FOR WITHOUT SLEEP (UNDERSTOOD HERE AS A MATERIAL, PHYSICAL PHENOMENON) WE ARE UNABLE TO THINK ABOUT BEING. NOW WE CAN WONDER ABOUT WHERE THE ATTITUDE OF “I’LL FINALLY BE ABLE TO GET SOME SLEEP WHEN I’M DEAD.” COMES FROM. IT IS NOT ONLY THE CASE THAT EMOTIONAL DISTRACTIONS PREVENT US FROM SLEEPING. INDEED, SLEEP HAS INCREASINGLY BECOME A REASON IN AND OF ITSELF NOT TO GO TO SLEEP. THE WESTERN OR, MORE PRECISELY SPEAKING, THE CAPITALIST WAY OF LIFE, WHICH ALMOST ALL OF US HAVE ACCEPTED, HAS GIVEN US THE TASK OF EARNING AS MUCH MONEY AS POSSIBLE, ENTAILING AS IT DOES A HIGH LEVEL OF SELF-SACRIFICE. WE ALL KNOW ABOUT HOW IMPORTANT HAVING A GOOD NIGHT’S REST IS FOR US TO BE ABLE TO REFRESH OUR MIND AND BODY. AND, OF COURSE, WE KNOW ABOUT HOW HIGH THE RISKS ARE TO OUR HEALTH IF WE DO NOT GET ENOUGH SLEEP. BUT, AT THE SAME TIME, OUR CURRENT WORK HABITS AND THE EXPECTATIONS OF THE PEOPLE AROUND US INFLUENCE THE WAY IN WHICH WE GO ABOUT INTEGRATING SLEEP INTO OUR SYSTEM. IF WE DO NOT IGNORE IT, THEN WE CAN MICRO-MANAGE IT WITH THE POSITIVE HELP OF MEDIATION OR WITH THE NEGATIVE HELP OF PILLS, WHICH IN EITHER CASE ENABLES US TO FALL ASLEEP AND WAKE UP AGAIN.

74 D PHOTOGRAPHY IN MY OPINION, WE ARE THUS IN ACTIVE DENIAL OF OUR SLEEPING HABITS. I AM ESPECIALLY TALKING HERE ABOUT PEOPLE WHO HAVE COME UNDER THE INFLUENCE OF THE PREVAILING GLOBAL WORKING CONDITIONS, WHERE THE DOMINANT LOGIC IS THAT OF THE INDIVIDUAL’S EFFICIENCY.THIS CAN MEAN, FOR INSTANCE,THAT WE MIGHT HAVE TO COMPLETE A PROJECT AT A CERTAIN TIME ON THE OTHER SIDE OF THE PLANET. IT IS INCREASINGLY THE CASE THAT WE ARE ADAPTING OUR SLEEP TO THE INTERACTIVE COMPONENTS OF OUR COMPLEX LIFE. EVEN IF THE EFFECTS OF THE LIBELING OF SLEEP CAN BE CLEARLY SEEN ON EVERYONE’S FACE, IT IS CERTAINLY THE CASE THAT THE REASONS FOR THIS LIE MUCH FURTHER BACK IN THE PAST. CHRISTIANITY EARLIER USED TO TEACH THAT ACCUMULATING EARTHLY RICHES WAS NOT IMPORTANT AND THAT THE PIOUS BELIEVER, BY LIVING A JUST LIFE, COULD ATTAIN RICHES IN HEAVEN. ONLY THE ANXIETY ABOUT WHAT CONSTITUTED A TRULY PIOUS LIFE TORMENTED THE SLEEPLESS BACK THEN AND NOT ANY WORRIES ABOUT MONEY AND WEALTH ON EARTH.THIS HAS CHANGED, OF COURSE, IN THE LAST 500 YEARS. RELIGION HAS FADED IN IMPORTANCE, IT HAS BEEN SECULARIZED OR, AS THE CASE MAY BE, IT HAS TOTALLY DISAPPEARED. AND, AS A RESULT, OUR PRESENT LIFE ON EARTH HAS BECOME ALL THE MORE IMPORTANT. WHY SHOULD WE WAIT FOR THE RICHES OF HEAVEN, WHEN WE CAN ENJOY AND ALSO HAVE EARTHLY RICHES RIGHT NOW? SO IT IS THAT WHEN WE ASK OURSELVES ABOUT THE MEANING OF LIFE AND OF OUR OWN LIFE IN PARTICULAR, WE END UP DEALING WITH THE ISSUE OF MATERIAL POSSESSIONS. WEALTH PRODUCING ACTIVITIES FORM THE BASIS OF OUR LIFE. WE DEFEND OUR POSSESSIONS, WE POSSESS AND BORROW WEALTH AND SO ON AND SO FORTH. IF WE TAKE A LOOK AT THE HISTORY OF INSOMNIA, THEN WE SEE THAT, WHEN THE BED AND THE BEDROOM BECAME MORE PRIVATE, INSOMNIA INCREASINGLY BECAME REGARDED AS A FORM OF PATHOLOGY OR AS A PROBLEM AS OPPOSED TO BEING A STATE OF DEMONIC POSSESSION OR A CONDITION SHARED BY LATE-NIGHT REVELERS. IN THE EARLY DECADES OF THE 20TH CENTURY, SLEEP INCREASINGLY BECAME NOT JUST A PRIVATE MATTER BUT ALSO A MATTER OF PUBLIC IMPORTANCE IN ITS OWN RIGHT. THIS DEVELOPMENT WAS ACCOMPANIED BY THE PSYCHOLOGICAL VIEW THAT THE MIND IS THE INDIVIDUAL’S PRIVATE PROBLEM. PRIVACY, LONELINESS AND SILENCE PUT PRESSURE ON US. USUALLY, WE COMPLAIN ABOUT THE OPPOSITE, FOR INSTANCE, UNWANTED NOISES LIKE THE TICKING OF A CLOCK OR LOUD NEIGHBORS. IF WE HAVE A CLOSER LOOK AT THE HISTORY OF SLEEP, HOWEVER, THEN WE SEE THAT IT IS EASIEST FOR US TO SLEEP WHEN WE ARE ON FAMILIAR TERMS WITH OUR SURROUNDING ENVIRONMENT AND THE SOUNDS AT NIGHT, NO LONGER EVEN NOTICING THEM. BOTH EXTREMELY QUIET SITUATIONS (THINK, FOR INSTANCE, ABOUT PRIMITIVE TRIBES THAT REGARD COMPLETE QUIETNESS AS AN ADVANCE WARNING OF AN EVENT) AND THE CONSTANT RUSH OF UNKNOWN NOISES ARE INTOLERABLE FOR US WHEN IT COMES TO FINDING REST. THUS, WE SEE THAT MODERN-DAY SLEEPLESSNESS AND THE ANXIETY CAUSED BY CAPITALISM GO HAND IN HAND. IN THE 13TH CENTURY, THE CHURCH TO A LARGE EXTENT STILL INFLUENCED HOW EACH DAY WAS SPENT. PRAYERS, AFTER-LUNCH RESTS ETC.WERE ALL STIPULATED, EVEN IF THE CHURCH COULD NOT -AND THIS HOLDS

photos.varunsingh.net

TRUE TODAY AS WELL- GIVE A PRECISE EXPLANATION OF WHAT LIFE IN HEAVEN IS LIKE, ESPECIALLY IN REGARD TO

PHOTOGRAPHY D 75 HOW TIME IS SPENT AND THE DIVISION OF LABOR. GRADUALLY, PEOPLE WERE GRANTED MORE CONTROL OVER HOW THEY SPENT THEIR TIME. IN OTHER WORDS, THEY BECAME RESPONSIBLE FOR THEIR OWN DAILY ROUTINE (WHICH NATURALLY ALWAYS CENTERED AROUND WORK). OVER TIME, THIS RESPONSIBILITY INCREASED AND PEOPLE BECAME LESS DEPENDENT ON THE CHURCH, DETERMINING THE COURSE OF THEIR LIVES THEMSELVES. ANXIETY CONTINUED TO INCREASE AND PEOPLE BEGAN THINKING ABOUT THE PROPER RELATIONSHIP BETWEEN WORK AND REST. THERE WAS ALSO AN INCREASE IN PEOPLE HAVING BAD CONSCIENCES. AT THE SAME TIME, WHEN TIME BECAME THE PERSONAL RESPONSIBILITY OF THE INDIVIDUAL, THERE WERE MORE CHANCES FOR IT TO BE MISUSED.

UNTIL THE 18TH CENTURY, IT WAS NORMAL FOR PEOPLE TO INTERRUPT THEIR REST AFTER THE “FIRST SLEEP.” DURING THIS PERIOD OF TIME, THEY WOULD WORK ON SOMETHING, PRAY AND THEN GO TO BED SOMEWHAT LATER. NOWADAYS, SUCH SLEEPING BEHAVIOR MIGHT WELL BE INTERPRETED AS A SIGN OF CLINICAL DEPRESSION. E. ROGER EKIRCH’S BOOK “AT DAY’S CLOSE” CLEARLY DEPICTS HOW PEOPLE WOULD WAKE UP AT LEAST ONCE DURING THE NIGHT AND SOMETIMES EVEN GET UP TO PERFORM CERTAIN TASKS. OUR MODERN VIEW WHICH STATES THAT HEALTHY SLEEP OUGHT TO OCCUR IN ONE BLOCK OF TIME SEEMS STRANGE, SINCE ONLY TWO CENTURIES AGO SLEEP WAS EXPERIENCED IN A DIFFERENT WAY. ANOTHER EXPERIMENT ALSO LOOKED INTO THIS PHENOMENON. PARTICIPANTS IN THIS STUDY WERE ASKED TO LIVE IN ACCORDANCE WITH RELATIONSHIP BETWEEN DAY AND NIGHT DURING THE WINTERTIME, THAT IS, 10 HOURS OF LIGHT AND 14 HOURS OF DARKNESS. THEY ENDED UP DEVELOPING A WAY OF SLEEPING SIMILAR TO THE TYPE OF SLEEP OUR ANCESTORS FROM THE NOT TOO DISTANT PAST EXPERIENCED EVERY TIME THEY WENT TO BED: 4 HOURS OF SLEEP THEN A PAUSE OF 1-3 HOURS AND AFTERWARDS A SECOND PHASE OF SLEEP ALSO LASTING 4 HOURS. HERE WE CAN REALLY WONDER ABOUT WHETHER THE INSOMNIA THAT PEOPLE THINK THEY HAVE AND COMPLAIN ABOUT IS SIMPLY NOTHING OTHER THAN THE TRADITIONAL WAY OF SLEEPING. AFTER THE 18TH CENTURY CAME TO A CLOSE, THIS WAY OF SLEEPING DISAPPEARED. THERE WERE DIFFERENT REASONS TO WAKE UP. IN THE CITY, IT WAS THE RINGING OF THE CHURCH BELLS OR THE CRY OF THE NIGHT-WATCHMAN. IN THE COUNTRYSIDE, IT WAS THE ANIMALS AND FIRE THAT HAD TO BE ATTENDED TO. OUR EXPECTATIONS OF HAVING A LONG, UNINTERRUPTED PERIOD OF SLEEP CAN PROVE TO BE VERY PROBLEMATIC, ESPECIALLY IF WE ARE AFRAID OF WAKING UP OR FALLING BACK ASLEEP. THE GAP BETWEEN THE TWO PHASES OF SLEEP SEEMS TO POINT TO THE DIFFERENCE BETWEEN SLEEP IN THE EARLY MODERN PERIOD AND SUBSEQUENT INDUSTRIAL SOCIETY. IT IS THE DIFFERENCE BETWEEN THE TRUST OUR ANCESTORS HAD IN THEIR ABILITY TO FALL BACK ASLEEP AT ANY GIVEN TIME AND OUR MODERN WAY OF REGARDING SLEEP OCCURRING OVER SEVERAL SMALL PHASES AS A FAILURE. IN THE PAST, SLEEP WAS UNDERSTOOD AS A COMMUNAL ACT WHILE TODAY IT IS SEEN AS PURE INDIVIDUAL PERFORMANCE. THIS EARLIER UNDERSTANDING OF SLEEP MAY HAVE EVEN BROUGHT ABOUT A NORMALIZATION OF SLEEP. AT ANY RATE, IT REMAINS A FACT THAT THE CHURCH DIVIDED UP SLEEP DURING THE CANONICAL HOURS OF THE NIGHT AND OF THE DAY. THERE WERE THREE OR FOUR MARKING POINTS DURING THE NIGHT, WHICH WERE KNOWN AS VIGILAE OR AS “HOURS” AND DURING WHICH NUNS AND MONKS PRAYED FOR OTHERS, WHICH IN TURN LED TO PEOPLE FEELING MORE AT EASE. IT WAS NOT THE CASE, OF COURSE,THAT PEOPLE WERE AWARE OF THE SPECIFICS OF THESE PRAYERS BUT RATHER THEY HAD GROWN UP KNOWING THAT OTHERS WERE ALSO AWAKE AT NIGHT OR WERE WAKING UP AND THAT MANY OF THEM WERE PRAYING. JUST THINKING ABOUT THIS COULD CONSOLE SOMEONE WHO WAS WORRYING ABOUT THE ETERNAL SALVATION OF HIS OR HER SOUL.

76 D PHOTOGRAPHY

IF WE TAKE A MORE GENERAL LOOK AT THE 18TH CENTURY AND ESPECIALLY LONDON DURING THIS TIME, THEN WE SEE PEOPLE WHO WERE OVERSTIMULATED. THIS WAS ESPECIALLY THE CASE WITH THE EDUCATED. THESE PEOPLE READ NEWSPAPERS AND TOOK AN INTEREST IN POLITICS BUT THEY STILL DID NOT KNOW HOW THE BIOCHEMICAL REACTIONS OF THE HUMAN BODY, CAFFEINE AND THE VARIOUS TYPES OF FOOD INFLUENCED SLEEP. IN THE 19TH CENTURY, CASES OF INSOMNIA IN WOMEN WERE WIDESPREAD. GENERALLY SPEAKING, THIS CAN BE EXPLAINED BY THE LACK OF STIMULATION DURING THE DAY OR SIMPLY BOREDOM. FEMALE ANXIETY AND NERVOUSNESS WERE FREQUENTLY MENTIONED IN DISCUSSIONS CONCERNING THE LIVING AND WORKING CONDITIONS OF MEN AND WOMEN IN URBAN, INDUSTRIALIZED MILIEUS. PEOPLE SAW THEMSELVES AS BEING COMPONENTS, PART OF A NETWORK OF MACHINERY AND PRODUCTION AND INSOMNIA WAS SIMPLY ONE OF THE SYMPTOMS OF THIS ENVIRONMENT. NATURALLY, BOTH WORLD WARS ALSO HAD A ROLE TO PLAY. EVEN IF ONLY MEN FOUGHT IN THE WARS, WOMEN WERE ALSO PART OF THE WAR MACHINERY,WORKING IN HOSPITALS AS NURSES. INSOMNIA IS BOTH A NOCTURNAL BYPRODUCT AND THE LONG-TERM MEMORY OF WAITING TO GO TO WAR, OF THOSE HOURS OF TIREDNESS WHEN SLEEPING WOULD HAVE BEEN DANGEROUS. INSOMNIA IS RIDDEN WITH GUILT AND GUILT IS BOUND UP WITH INSOMNIA. BEING DEPRIVED OF SLEEP AFFECTS PEOPLE’S HEALTH. INSOMNIA HAS NOT YET BECOME ONE OF THOSE POPULAR PROBLEMS SUCH AS OBESITY OR LAZINESS THAT ARE DETRIMENTAL TO ONE’S HEALTH BUT THIS MIGHT WELL BE THE CASE ONE DAY. INSOMNIA HAS NOT YET BEEN CLASSIFIED AS SUCH BUT IT IS MORALLY EVALUATED AND USED. THEY SAY IT’S BAD FOR YOUR HEALTH, IT INCREASES YOUR CHANCE OF BEING INJURED AND CHANGES YOUR BEHAVIOR. INSOMNIA IS REGARDED AS A PRIVATE AND LONELY MATTER. THOSE SUFFERING FROM INSOMNIA FEEL LEFT TO THEMSELVES WITH THIS SICKNESS. IF YOU CANNOT SLEEP, THEN EVERYBODY ELSE SEEMS TO BE HAPPILY SLEEPING AND DREAMING. ON THE OTHER HAND, THOSE AFFLICTED WITH INSOMNIA TEND TO EXPERIENCE SOLIDARITY WITH OTHER PEOPLE WHOM THEY CAN SEE BY THE LOOK IN THEIR EYES, FOR INSTANCE, ARE TIRED AS WELL. IN REALITY, INSOMNIA IS BOTH AN ACT OF SOLITUDE AND A COMMUNAL ACT. EACH ONE OF US NEEDS AT LEAST ONE OR TWO HOURS OF SLEEP PER NIGHT; OTHERWISE WE WOULD GO CRAZY. AND IF WE ARE UNABLE TO SLEEP, THEN WE FEEL AS IF WE ARE EXCLUDED FROM THE COMMUNITY. IT IS STRANGE TO THINK THAT WE CHARACTERIZE OURSELVES AS BELONGING TO THE COMMUNITY. NOW WHAT IS REALLY ASTONISHING TO LEARN IS THE FACT THAT INSOMNIACS HARDLY CAN TRUST THEIR OWN FEELINGS WHEN IT COMES TO HOW LONG THEY HAVE SLEPT. A PESSIMISTIC FORM OF SUFFERING RULES THEIR LIVES.

PHOTOGRAPHY D 77

LOCATION: new york city, u.s.a. PHOTOGRAPHY: ani berberian www.aniberberian.com TEXT: veronka bjarsch

H SHOTS TAKEN ON LOCATION IN SOUTHERN FRANCE USING THE RUSSIAN MEDIUM FORMNAT CAMERA - THE LUBITEL

PHOTOGRAPHY BY DAVE CAMPBELL

DARK EDGES 78 D PHOTOGRAPHY

PHOTOGRAPHY D 79

ARC ITECTURE

82 D ARCHITECTURE

EXTERIOR VIEW**

ARCHITECTURE D 83

INTERCONNECTING

CENTURIES A BRAND NEW APARTMENT BUILDING IN THE HEART OF THE OLD TOWN OF TALLINN IS PROJECTED TO THE FUTURE BUT STILL KEEPS LINKS WITH THE HERITAGE FROM THE PAST KOSMOS ARCHITECTS

84 D ARCHITECTURE

AIA THE 5-STORY APARTMENT BUILDING IS SITUATED ON THE EDGE OF THE MEDIEVAL OLD TOWN OF TALLINN. IT IS NOT DOMINANT FROM THE STREET LEVEL, NOR DOES IT SEEM TOO HIGH IN THE SURROUNDING CONTEXT. THE DYNAMIC MASS OF THE BUILDING IS SITUATED IN THE NORTHERN AND WESTERN SIDE OF THE PLOT. IN CONNECTION WITH SOME OLD HISTORICALLY VALUABLE BUILDINGS, IT CREATES AN ENVIRONMENT OF SMALL INTERCONNECTED UNITS, CHARACTERISTIC TO THE ARCHITECTURAL WHOLE OF THE OLD TOWN. EVERY APARTMENT HAS A LARGE TERRACE, BRINGING PRIVATE HOUSE TYPOLOGY INTO THE VERY CENTER OF THE CITY. THE GROUND LEVEL OPENS TO THE STREET AS AN ACTIVE SHOPPING SPACE. THE CONSTRUCTION OF THE BUILDING IS A COMBINATION OF REINFORCED CONCRETE AND STEEL FRAMES. THE NON-SUPPORTING WALLS ARE FINISHED WITH NATURAL STONE TILES, MAKING THE BUILDING VISUALLY SMALLER, WHILE ALLUDING TO THE SURROUNDING STONE HOUSES OF THE OLD TOWN. THE TIMBER-CLAD TERRACES AND THE HORIZONTAL SURFACES OF THE OVERHANGS LINK THE APARTMENT BLOCK TO THE NEIGHBORING WOODEN HOUSE, WHILE DECOMPOSING THE BUILDING’S VOLUME INTO A VARIETY OF SPACES. IT IS AN INNER-CITY LANDSCAPE HOUSE OF DIFFERENT QUALITIES.

ARCHITECTURE D 85

EXTERIOR VIEW*

86 D ARCHITECTURE

VIEW OF THE COURTYARD*

PROJECT: AIA LOCATION: TALLINN, ESTONIA TOTAL FLOOR AREA: 5500 SQ M USE: RESIDENCE + COMMERCIAL

ARCHITECTURE D 87

2ND FLOOR PLAN

88 D ARCHITECTURE

VIEW OF THE TERRACES**

ARCHITECTURE D 89

3RD FLOOR PLAN

90 D

ARCHITECTURE

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EXTERIOR VIEW*

OÜ AB KOSMOS ADDRESS: Rävala pst.8/808, Tallinn 10143 Estonia WEB: www.kosmoses.ee MAIL: info@kosmoses.ee TEL: +372 6312050 * PHOTOS BY OTT KADARIK ** PHOTOS BY PACO ULMAN

DARKNESS IN A CULTURE

OF OVER-ILLUMINATION

CHRIS HILLYARD

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GLARE.

ARCHITECTURAL REVIEW IN 1901 STATED THAT ‘A MISCONCEPTION EXISTS IN THE PUBLIC MIND UPON THE SUBJECT OF STREET LIGHTING. IT IS ASSUMED THAT BECAUSE ELECTRICITY IS A CONVENIENT METHOD OF ILLUMINATION, YOU CANNOT HAVE TOO MUCH OF IT’. ARTIFICIAL LIGHT HAS SINCE BECOME BRIGHTER, CHEAPER AND MORE UBIQUITOUSLY AVAILABLE. ARTIFICIAL LIGHT IS STILL TAKEN FOR GRANTED AS A NECESSITY OF OUR WAY OF LIFE TODAY, AND THE IMPLICATIONS OF THIS SPATIAL VALUE NEED TO BE QUESTIONED.

PATHOLOGY CONTRAST MISSING. NOT ONLY ARE TYPICAL ARTIFICIALLY PROVIDED LUX LEVELS AFTER DARK BEYOND THE NEEDS OF THE ACTIVITIES WE ARE PERFORMING, BUT INTERIOR AND EVEN EXTERIOR LIGHTS OFTEN REMAIN ON DURING DAYLIGHT, BARELY NOTICEABLE AGAINST THE MORE POWERFUL ILLUMINATION FROM THE SUN. ARTIFICIAL OVER-ILLUMINATION BLEACHES SPACE IN EXCESSIVE BRIGHTNESS BUT DOESN’T PROVIDE THE OPTIMAL CONDITIONS FOR HUMAN SIGHT. WHAT IS MISSING IS THE CONTRAST OF LIGHT AND DARK. (FIG 1) ‘A MANUFACTURE RATE OF 50000 BULBS PER HOUR’.

THE INTERNATIONAL DARK SKY ASSOCIATION ESTIMATES THAT ONE-THIRD OF ALL LIGHTING IN THE U.S. IS WASTED, AT AN ANNUAL COST OF ABOUT 30 MILLION BARRELS OF OIL AND 8.2 MILLION TONS OF COAL— A TOTAL OF ABOUT U.S.$2 BILLION. DUE TO THE UBIQUITY OF LIGHT, WE OFTEN FORGET OUR CONNECTION TO A WIDER SYSTEM WHEN WE SWITCH ON A LIGHT, LOOK AT A MONUMENT AFTER DARK, OR WALK DOWN A LIT STREET AT NIGHT. LIGHT IS HOWEVER A COMMODITY BOUND INTO A CYCLE OF INDUSTRIAL PRODUCTION, WASTE AND ENERGY CONSUMPTION.

BRIGHTNESS = SUCCESS. JUNICHIRO TANIZAKI IN ‘IN PRAISE OF SHADOWS’ WRITES: “THE PROGRESSIVE WESTERNER IS DETERMINED ALWAYS TO BETTER HIS LOT. FROM CANDLE TO OIL LAMP, OIL LAMP TO GASLIGHT, GASLIGHT TO ELECTRIC LIGHT—HIS QUEST FOR A BRIGHTER LIGHT NEVER CEASES, HE SPARES NO PAINS TO ERADICATE EVEN THE MINUTEST SHADOW.” DEVELOPMENT IS MARKED BY A CONTINUING TREND FOR INCREASING NUMBERS OF LUMENS. ILLUMINATED CITIES ARE SUCCESSFUL CITIES. LIGHT = CONTROL. ALBERT SPEER’S CATHEDRAL OF LIGHT AT THE NUREMBERG RALLIES IN 1930 TRANSFORMED AIRCRAFT SEARCH LIGHTS FROM FUNCTIONAL EQUIPMENT TO HIGHLY CHARGED SYMBOLS. LIGHT IS A MEDIUM OF ASSERTING AND MAINTAINING POWER AND CONTROL. THIS EXTENDS TO SPACES OF THE EVERYDAY WHICH ARE LIT FOR SECURITY, AS A PREVENTATIVE MEASURE AGAINST SUBVERSIVE ACTIVITIES. ANTI-GLARE. THERE IS GROWING EVIDENCE OF COUNTER-MOVEMENTS. VOLUNTARY BLACK-OUTS ALREADY TAKE PLACE. THE LARGEST ‘EARTH HOUR’ STARTED WITH A COORDINATED ONE HOUR BLACKOUT IN SYDNEY ON 31ST MARCH 2007. ARCHITECTURAL ICONS INCLUDING THE OPERA HOUSE AND HARBOUR BRIDGE WERE REDUCED TO FAINT SILHOUETTES WHEN THEIR DRAMATIC LIGHTING WAS SWITCHED OFF. THE EVENT WAS UNDERTAKEN IN OVER 100 CITIES WORLD-WIDE ON 29TH MARCH 2008. EARTH HOUR OPERATES EFFECTIVELY AS A KIND OF CRITICAL DEVICE, PARTICULARLY EFFECTIVE WHEN UNDERMINING THE TYPICAL READING OF THE ARCHITECTURAL ICON. THE CITY OF WOODSTOCK, CANADA, ALSO HAS BLACK-OUT EVENTS ANNUALLY ON 14TH AUGUST (REMEMBERING THE WIDESPREAD POWER FAILURES OF THE NORTH-EAST OF NORTH AMERICA IN 2003), DEMONSTRATING THE POTENTIAL ENVIRONMENTAL BENEFITS. THE FLEETING EVENTS PROVIDE ONLY A GLIMPSE OF AN ALTERNATIVE TO UBIQUITOUS LIGHTING, AND HAVE NOT STRUCK DEEPLY ENOUGH TO SPARK A LIFE-STYLE REVOLUTION.

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REMEDY CHANGING THE ATTITUDE UNDERLYING THE ACTION.

OUR USE OF ARTIFICIAL LIGHT OPERATES AT A GLOBAL SCALE, TIED INTO SYSTEMS OF ENERGY, RESOURCES, ECONOMICS. BUT THIS SHOULD NOT BE DIVORCED FROM EXPECTATIONS OF INDIVIDUALS. THE RECONCEPTUALISATION OF LIGHT MUST ATTACK BOTH THE INDIVIDUAL’S (INHERITED) PERCEPTION AND THE GLOBAL SYSTEM SIMULTANEOUSLY.

GLOBAL SYSTEMS. THE GLOBAL NETWORK OF ENERGY DISTRIBUTION AND USE OF ARTIFICIAL LIGHT IS REVEALED BY COMPOSITE SATELLITE IMAGES OF THE SURFACE OF THE EARTH AT NIGHT. FLUCTUATING DENSITIES OF LIGHT SPILL INTO THE NIGHT-SKY REVEAL THE LAND MASSES AND CONCENTRATIONS OF DEVELOPMENT. IT IS A POWERFUL IMAGE BUT A CONCEIT: THE IMAGE IS GENERATED FROM NUMEROUS TILES WHICH ARE STITCHED TOGETHER ACROSS SPACE AND TIME. TWENTY-HOURS WORTH OF NIGHT PHOTOGRAPHS ARE COLLAPSED INTO ONE FRAME TO PICTURE THE WHOLE EARTH’S SURFACE, UNWRAPPED AND PROJECTED. BUT THIS IMAGE PROVIDES ONE SCALE OF ‘SITE’ WHICH CAN BE OPERATED UPON: SUBTRACTION AS CREATION. IN MICHAEL HEIZER’S ‘DOUBLE NEGATIVE’ A POSITIVE VOLUME OF SPACE IS GENERATED BY EXCAVATING ITS NEGATIVE FROM THE ROCK ON TWO SIDES OF A CLEFT IN A MESA. IN RICHARD LONG’S ‘WALKED LINE’ THE ARTWORK AS ‘THING’ IS GENERATED BY MATTING DOWN OR WEARING AWAY, RATHER THAN BY THE ADDITION OF ANY NEW MATERIAL. RATHER THAN SEEING THE ABSENCE OF ELECTRIC LIGHT ON DEMAND AS A PROBLEM WE CAN THINK OF IT AS A POSITIVE THING: SUBTRACTION AS CREATION.

FIG. 2

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“USING BLACK IS LIKE SWITCHING ON THE LIGHTS.” THE MAP OF LIGHT ‘POLLUTION’ CAN BE TREATED AS A PAINTERLY SURFACE THAT CAN BE CONTROLLED AND MANIPULATED. LEGIBLE FIGURES OF BLACKNESS CAN BE CREATED BY SUBTRACTING FROM OR ‘CARVING’ INTO THE ARTIFICIAL LIGHT CAST TOWARD THE SKY. DARKNESS BECOMES A VALUED SPATIAL EXPERIENCE - THE MOST LEGIBLE AREAS OF BLACK-OUT ARE INEVITABLY CARVED FROM THE BRIGHTEST METROPOLITAN REGIONS, AND BRIGHTNESS IS UNDERMINED AS AN INDEX OF ECONOMIC DEVELOPMENT. LIGHT ITSELF APPEARS BRIGHTER ONCE CONTRAST IS REINSTATED IN THE BUILT ENVIRONMENT. DE-TERRITORIAL, RE-TERRITORIAL.

IN READING THIS IMAGE, THE RELATIONSHIP BETWEEN LIGHT AND DARK REMAINS INDETERMINATE – DARKNESS CAN BE READ AS FIGURE OR GROUND. THE SWATHES OF DARKNESS ARE THEMSELVES A SPACE, BUT ALSO CIRCUMSCRIBE AREAS OF LIGHT. THE DARKNESS FORMS BOUNDARIES THAT DO NOT NECESSARILY LIE UPON ANY EXISTING POLITICAL, GEOGRAPHIC OR ECONOMIC BOUNDARIES, BUT FOLLOW LOGICS OF THEIR OWN (THE PAINTERLY LOGIC OF THE IMAGE, OR SOMETHING OTHER). THE SWATHES OF DARKNESS GENERATE A SET OF ALTERNATIVE TERRITORIAL READINGS, DEFINING NEW GEOGRAPHIC AND POLITICAL REGIONS. HOWEVER, LIGHTS CAN BE SWITCHED ON; THE SUBTRACTION OF LIGHT IS A TEMPORARY CONDITION. THE BOUNDARIES OF NEWLY DEFINED TERRITORIES ARE NOT STATIC BUT FORM SHIFTING PATTERNS.

LIGHT LOGISTICS.

WHAT DOES THIS RADICAL SCALE OF GESTURE PRODUCE BEYOND THE IMPACT OF THE IMAGE AS A CRITICAL DEVICE? THE LOGISTICS AND IMPLEMENTATION ON THE GROUND WOULD MAKE THE PROJECT A POWERFUL TOOL OF AGENCY. THE COOPERATION OF LARGE POPULATIONS, THE CORPORATIONS, FACILITIES AND ORGANISATIONS THAT ARE BOUND INTO OUR LIFESTYLES, NOT TO MENTION THE DIFFUSION THROUGH THE MEDIA, ARE ALL NEEDED TO CHOREOGRAPH THE BLACK-OUT. THE GUISE OF CREATING AN SUPER-IMAGE BECOMES A FUNCTIONING MECHANISM. IT FORCES A DEPARTURE FROM ‘PATCH THINKING’ TOWARDS AN UNDERSTANDING OF THE IMPLICATION OF LOCAL ACTION ON A GLOBAL SCALE.

FIG. 3

FIG. 4

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D 97

ENCLAVE OR FREEDOM? ON THE 14TH OF AUGUST 2003, A HUGE AREA OF THE NORTHEAST UNITED STATES BLACKED OUT, AFFECTING AN ESTIMATED 50 MILLION PEOPLE ACROSS SEVERAL STATES, AND AT LEAST TWELVE MAJOR CITIES INCLUDING NEW YORK CITY. DAILY PERSONAL ROUTINES AND PATTERNS OF LIFE WERE JOLTED AND QUESTIONED. THERE WERE MASSIVE DISRUPTIONS TO WORK-FLOW CAUSING FINANCIAL LOSSES AND HUGE NUMBERS OF PEOPLE STRANDED IN GRIDLOCKS, AIRPORTS AND STATIONS. SOME LOOTING AND CIVIL UNREST OCCURRED. YET DESPITE THESE NEGATIVE EFFECTS, THERE WAS A SET OF CORRESPONDING POSITIVE BENEFITS BLACK-OUT: SOCIAL CONVENTIONS WERE INTERRUPTED BY THE COMMON PREDICAMENT OF BEING TEMPORARILY UNABLE TO CONTINUE NORMAL LIFE. THERE WERE SPONTANEOUS PARTIES IN THE STREET AND RESTAURANTS SERVED FREE FOOD TO AVOID IT ALL SPOILING WITH THE LACK OF POWER FOR REFRIGERATION. ‘THE AIR SMELLED FRESH AFTER TWO DAYS OF REST FROM OZONE AND INDUSTRIAL POLLUTION, AND HOW PEOPLE SLEPT LIKE BABIES UNDER THE COVER OF DARKNESS.’ THE DARKNESS CUTS A ZONE OF STARK CONTRAST THROUGH THE INTENSITY OF METROPOLITAN ACTIVITY, TEMPORARILY UNDERMINING COMMERCIAL ENTERPRISES, AND THE NORMAL ROUTINES AND DESIRES OF THE CITY. THE SPACE IS FORMED BY AN IMPOSITION OF INTERRUPTION UPON THE SYSTEMS OF THE CITY, BUT CREATES CORRESPONDING FREEDOM IN THIS TEMPORARY VOID. IN AN INCESSANT WORLD, CAN WE CHOREOGRAPH BLACK-OUTS TO GIVE PEOPLE A TOTAL TIME-OUT? BODY CLOCK.

AS PHILLIPPE RAHM HAS SUGGESTED, LIGHTING IN ARCHITECTURE CAN BE READ AS THE DISPLACEMENT OF CLIMATIC CONDITIONS OVER SPACE AND OVER TIME. ARTIFICIAL LIGHT VIRTUALLY ELIMINATES THE TIE BETWEEN THE VARIATION OF DAYLIGHT HOURS ACROSS THE SEASONS AND THE ACTIVITY TAKING PLACE IN THE CITY; NIGHT-TIME SPORTING EVENTS BLAZE A SECOND DAWN ONTO THE FIELD OF PLAY. MOREOVER, THE TYPICAL CONDITIONS OF ARTIFICIAL OVER-ILLUMINATION THAT WE ARE SUBJECTED TO ARE PHYSICALLY DEBILITATING – CAUSING FATIGUE, DECREASING PRODUCTIVITY, AND EVEN INDUCING MIGRAINE HEADACHES. THE STATIC NATURE OF INTERIOR AND EXTERIOR LIGHTING PLACES THE HIGHEST VALUE ON A STEADY STATE OF LIGHT LEVELS THAT ENABLE UNINTERRUPTED USE OF URBAN SPACE AT NIGHT, THEREBY EXTENDING THE PRODUCTIVITY OF THE CITY TO MAXIMISE WORK HOURS, TRADING HOURS, WAKING HOURS. WE SHOULD QUESTION THE TWENTY FOUR HOUR METROPOLIS: THE SPACE OF BLACKOUT IS ONE THAT CAN SHIFT AND CHANGE, A FLUCTUATING CONDITION: AS DAYLIGHT FADES, THE SPACE OF BLACK-OUT EMERGES. AS THE SUN RISES, IT DISAPPEARS AGAIN. IF DARKNESS IS CREATED BY A SUBTRACTION OF ARTIFICIAL LIGHT, THEN BLACK-OUT RELATES THE CITY BACK TO A BIOLOGICAL CYCLE OF LIGHTING. IT RE-PLACES VALUE UPON SEASONAL VARIATION IN ACTIVITY. DARKNESS IS NOT SIMPLY AN ABSENCE OR VOID IN OCCUPATION OF SPACE. RATHER BLACK PRESENTS ITS OWN SET OF ACTIONS AND ACTIVITIES, BOTH IN AN URBAN CONTEXT AND INSIDE BUILDINGS. SHADOW AND THE DARK ARE NOT OBJECTS OF FEAR OR UNCLEAN SPACE, BUT RATHER POSSESS THEIR OWN RICH QUALITIES: “IF LIGHT IS SCARCE THEN LIGHT IS SCARCE; WE WILL IMMERSE OURSELVES IN THE DARKNESS AND THERE DISCOVER ITS OWN PARTICULAR BEAUTY.”

VOID OF LIGHT.

THE BLACKOUT OF THE CITY IS A DOUBLE NEGATIVE - A SUBTRACTION OF LIGHT THAT CREATES A FIGURE. IF DARKNESS CAN BE A POSITIVE, THEN LIGHT CAN BE CONSIDERED VOID: URBAN LIGHTING SO OFTEN SIMPLY ILLUMINATES EMPTY UNOCCUPIED SPACE. OVERNIGHT, A LOT OF STREETS ARE BARELY USED, YET SPACES ARE LIT AT THE SAME STEADY STATE INTENSITY IRRESPECTIVE OF THIS. THERE ARE OBVIOUSLY LARGE EXPENDITURES OF ENERGY ON SPACE WHICH IS UNOCCUPIED.

98 D

ARCHITECTURE

BODY SPACE. BEFORE LIGHT BECAME ABSORBED INTO THE STATIC ARCHITECTURAL ENVELOP (TELLINGLY KNOWN AS A ‘FIXTURE)’, PEOPLE WOULD CARRY LIGHT WITH THEM AROUND THE HOUSE BY WAY OF A CANDLE OR A LAMP. TODAY WE LEAVE A TRAIL OF ELECTRIC LIGHTS IN OUR WAKE AS WE MOVE THROUGH BUILDINGS (WHETHER RESIDENTIAL, COMMERCIAL OR PUBLIC), OR ELSE LEAVE LIGHTS PERMANENTLY ON IN ANTICIPATION OF SOMEONE’S ARRIVAL. ANOTHER PRECEDENT COMES FROM THE HISTORY OF BLACKS-OUTS. PUBLIC INFORMATION POSTERS FROM THE TIME OF THE WORLD WAR II BLACKOUTS IN THE UNITED KINGDOM SUGGEST DONNING REFLECTIVE CLOTHES WHICH RENDERED THE INDIVIDUAL AS ‘BOTH STYLISH, AND VISIBLE’ (FIG 5). THE IDEA OF BODY SPACE HAS PRECEDENT IN ARCHITECTURAL DISCOURSE. UTOPIAN ‘BUBBLE’ PROJECTS SUCH AS ARCHIGRAM’S CUSHICLE AND SUITALOON CREATED PERSONAL ENVIRONMENTS AROUND AN INDIVIDUAL WHICH SUPPLIED A HOST OF CONDITIONING AND ENTERTAINMENT SYSTEMS TO THE USER, OR FRANCOIS DALLEGRET’S ‘COSMIC OPERA SUIT’ ‘ENLARGE[D] THE MENTAL AND PHYSICAL POWERS OF THE WEARER’ (FIG 6). SUCH DEVICES WERE IMAGINED AS COMPLEX TECHNOLOGY-LADEN PROSTHETICS CARRIED WITH THE BODY, EMPOWERING THE SUBJECT WITH AN ENHANCED SELF-SUFFICIENCY, AND CARRIED THE HOPE FOR DETACHMENT FROM THE SYSTEMS OF SUPPORT PROVIDED BY URBAN INFRASTRUCTURE AND ARCHITECTURE. SO, RATHER THAN LIGHTING EMPTY SPACE, THE PEOPLE OCCUPYING IT CAN BECOME THE FOCUS OF LIGHT SOURCES. EITHER URBAN LIGHTING CAN REMAIN A SEPARATE SYSTEM WHICH TRACKS THE PASSAGE OF PEOPLE THROUGH SPACE OR CAN BECOME MERGED WITH THE BODY AS A SUPPLEMENT TO CLOTHING. LIGHT SOURCES ARE UNFIXED FROM ARCHITECTURE AND REATTACHED TO THE SUBJECT. (FIG.7) THE WIDESPREAD REDUNDANCIES OF A GRID NETWORK ARE ELIMINATED. URBAN LIGHTING HYBRIDISES WITH THE FASHION INDUSTRY.

‘THE WAY WE ASK THE QUESTION IS PART OF THE PROBLEM.’ I HAVE THUS FAR SUSPENDED DISBELIEF WITH DESCRIPTIONS OF GLOBAL IMAGE PROJECTS, OR THE BODY AS LIGHT SOURCE. THERE ARE OF COURSE FLAWS IN THIS ARGUMENT FOR BLACKOUT. ARGUMENTS FOR MAINTAINING CURRENT SYSTEMS OF LIGHTING WOULD DISMISS BLACKOUT AS INVITING CRIME, CAUSING ACCIDENTS, OR ENCOURAGING LOOTING. MOREOVER WE COULD ARGUE THAT BLACKOUT WOULD GENERATE LARGE ECONOMIC LOSSES, AND THE DISRUPTION OF THE VERY COGS OF SOCIETY: THE STRUCTURE OF THE DAY, OF THE CITY. HOWEVER, THESE ARGUMENTS AGAINST BLACK-OUT ARE TIED TO THE VERY NORMS WHICH I INTEND TO QUESTION, NORMS WHICH SHOULD NOT BE ACCEPTED OF AS GIVEN VALUES. THE NATURE OF THE PROPOSALS IS THEREFORE NOT LIMITED TO SIMPLY REFINEMENTS OF EXISTING SYSTEMS (SUCH AS AN ENERGY-SAVING LIGHT-BULB WITH GREATER EFFICIENCY, OR A FEW MORE MOTION SENSORS), BUT RATHER ATTEMPT RE-THINK THE SYSTEMS THEMSELVES. FOR ARTIFICIAL LIGHTING IS NOT MERELY AN AESTHETIC ARCHITECTURAL VALUE, AND A NECESSITY FOR OUR INDIVIDUAL LIFESTYLES BUT ALSO A POLITICAL, SOCIAL, ECONOMIC, AND BIOLOGICAL VALUE. WHILST THESE PROPOSALS FOR BLACK-OUT AND RE-EVALUATING LIGHT MIGHT BE HARD TO IMAGINE AS PLAUSIBLE, THEY POINT TO THE KIND OF DRASTIC CHANGES IN PERCEPTION THAT ARE NOW ESSENTIAL TO SUSTAIN OUR LIFESTYLE. IN THIS WAY, THE IDEAS PRESENTED STAND BOTH AS PROPOSALS OF AGENCY, OR CRITICAL DEVICES IN THEIR OWN RIGHT. USING BLACK-OUT MIGHT JUST SWITCH US ON.

ARCHITECTURE

D 99

FIG. 1 – Author. Base image for BT tower aerial collage: HYPERLINK “http://picasaweb.google.com/ bruce147/POTower19681972” \l “5201949932284271506”http://picasaweb.google.com/bruce147/POTower19681972#5201949932284271506 FIG. 2 – Author. Base image for satellite collage: HYPERLINK “http://www.europa.usenet.eu.org/ night.html”http://www.europa.usenet.eu.org/night.html HYPERLINK “http://www.europa.usenet. eu.org/night.html”. HYPERLINK “http://www.europa.usenet.eu.org/night.html” HYPERLINK “http://www.europa.usenet.eu.org/night.html”I think this comes ultimately from HYPERLINK “http://apod.nasa.gov/apod/ap990516.html”http://apod.nasa.gov/apod/ap990516.html HYPERLINK “http://apod.nasa.gov/apod/ap990516.html” credit and copyright: DMSP Digital Archive, NGDC, NOAA. BUT this is not the same image, its a much lower resolution version. FIG. 3 - Stylish but visible. Wartime information poster. Cannot ﬁnd the internet source where I got this from. FIG. 4 - François Dallegret: Dallegret, F., ‘Francois Dallegret’s Art Fiction’, Art in America, (March-April 1966). FIG. 5 – Image from press at time of Beijing opening ceremony Architectural Review, (London, July 1901)

FIG. 5

ON the PULSE

ARTS ANDREA BOWERS „MERCY MERCY ME“ DATE: 2009.10.24 - 2009.12.04 PLACE: ANDREW KREPS GALLERY, 525 W 22ND STREET

WEBSITE: www.andrewkreps.com BLAINE DE ST CROIX „MOUNTAIN STRIP“

SITE SPECIFIC INSTALLATION DATE: 2009.10.09 - 2010.01.10 PLACE: BLACK & WHITE PROJECT SPACE, 483 DRIGGS AVENUE, BROOKLYN

WEBSITE: www.blackandwhiteprojectspace.org RICHARD TUTTLE „RENAISSANCE UNFRAMED“

A SERIES OF 25 ENCAUSTIC DRAWINGS ON MUSLIN WITH COMPANION SCULPTURE PLACE: Carolina Nitsch, 101 Wooster Street

WEBSITE: www.carolinanitsch.com ROBERT FRANK„THE AMERICANS“

EXHIBITION CELEBRATES THE 50TH ANNIVERSARY OF THE PUBLICATION OF “THE AMERICANS,” ROBERT FRANK’S GROUNDBREAKING BOOK OF BLACK-AND-WHITE PHOTOGRAPHS DATE: 2009.09.22 - 2010.01.03 PLACE: THE METROPOLITAN MUSEUM OF ART, 1000 FIFTH AVENUE AT 82ND STREET

WEBSITE: www.metmuseum.org URS FISCHER „MARGUERITE DE PONTY“ DATE: 2009.10.28 - 2010.01.24 PLACE: NEW MUSEUM, 235 BOWERY

WEBSITE: www.newmuseum.org

SHOPPING FOOD - best best best H&H BAGELS

WHAT: BAGELS WHERE: 2239 BROADWAY (AT 80TH STREET), UPPER WEST SIDE

WEBSITE: www.hhbagels.net OREN’S DAILY ROAST

WHAT: FRESHLY ROASTED COFFEE WHERE: 31 WAVERLY PLACE (GREENWICH VILLAGE)

WEBSITE: www.orensdailyroast.com BUTTER LANE WHAT: CUP CAKES WHERE: 123 E 7TH ST (EAST VILLAGE)

WEBSITE: www.butterlane.com BEDFORD CHEESE SHOP WHAT: CHEESE SHOP WHERE: 141 N 4TH ST (WILLIAMSBURG)

WEBSITE: www.bedfordcheeseshop.com BORGATTI’S RAVIOLI EGG NOODLES WHAT: FRESH RAVIOLI WHERE: 632 E 187TH ST (BRONX)

WEBSITE: www.borgattis.com LENELL’S WEBSITE: www.lenells.com

THE HIGH LINE, A FORMALLY ELEVATED RAILWAY 30 FEET ABOVE THE CITY’S WEST SIDE THAT WAS BUILT IN 1934 FOR FREIGHT TRAINS HAULING DAIRY PRODUCTS, PRODUCE AND MEATS, AND TO ELIMINATE THE FATAL ACCIDENTS THAT OCCURRED ALONG THE STREET-LEVEL RIGHT-OF-WAY. IN THE 1990S, IT BECAME KNOWN TO A FEW URBAN EXPLORERS AND LOCAL RESIDENTS FOR THE TOUGH, DROUGHT-TOLERANT WILD GRASSES, FORBS AND TREES THAT HAD SPRUNG UP IN THE GRAVEL ALONG THE ABANDONED RAILWAY. THE HIGH LINE PARK FINALLY OPENED TO THE PUBLIC THIS SUMMER. THE 2,3 KM LONG PARK IS RUNNING THROUGH THE WEST SIDE NEIGHBORHOODS OF THE MEATPACKING DISTRICT, WEST CHELSEA AND CLINTON/HELL’S KITCHEN. IT FEATURES AN INTEGRATED LANDSCAPE, DESIGNED BY LANDSCAPE ARCHITECTS JAMES CORNER FIELD OPERATIONS, WITH ARCHITECTS DILLER SCOFIDIO + RENFRO, COMBINING MEANDERING CONCRETE PATHWAYS WITH NATURALISTIC PLANTINGS. FIXED AND MOVABLE SEATING, LIGHTING, AND SPECIAL FEATURES ARE ALSO INCLUDED IN THE PARK. IST A PERFECT WALK BEFORE DINNER TO WATCH THE SUN SET SCENERY AT THE HUDSON RIVER OR TO STROLL AROUND AFTER DINNER.

WEBSITE: www.thehighline.org

INFO BROUGHT TO YOU BY VERONIKA BJARSCH @NYC.US

NEW YORK BEA

WALK HIGH

ARTS DANCE UMBRELLA: MICHAEL CLARK COMPANY

MICHAEL CLARK CELEBRATES TWENTY-FIVE YEARS OF HIS COMPANY WITH A NEW WORK INSPIRED BY A ROCK ‘N’ ROLL TRIUMVIRATE: DAVID BOWIE, IGGY POP AND LOU REED. CLARK HAS ALWAYS DRAWN ON ROCK AND PUNK MUSIC AS A FOIL TO HIS CLASSICAL DANCE ROOTS AND THE RESULT IS FREQUENTLY ANARCHIC, OUTRAGEOUS AND DIVINE. DATE: UNTIL SAT NOV 7 PLACE: BARBICAN THEATRE, SILK ST, LONDON, EC2Y 8DS PRICES: £10-£35

WEBSITE: www.barbican.org.uk

HAMMER FESTIVAL

EXHIBITION ABOUT THE HAMMER FILM COMPANY, WHICH CORNERED THE HORROR MARKET BETWEEN THE 1950S AND THE 1980S AND IS ABOUT TO RELEASE A NEW FILM, ‘LET ME IN’. ON SHOW ARE ORIGINAL POSTERS, RARE PHOTOGRAPHS OF HAMMER STARS INCLUDING CHRISTOPHER LEE, PETER CUSHING AND URSULA ANDRESS AND OTHER EPHEMERA. A SERIES OF RELATED TALKS, TOURS AND SCREENINGS IS ALSO TAKING PLACE; SEE THE WEBSITE FOR DETAILS. DATE: UNTIL SUN NOV 15 PLACE: IDEA GENERATION, 11 CHANCE ST, LONDON, E2 7JB FREE PRICE: FREE

WEBSITE: www.ideageneration.co.uk TURNER PRIZE 2009

THE TURNER PRIZE IS AN ANNUAL PRIZE PRESENTED TO A BRITISH VISUAL ARTIST UNDER THE AGE OF 50. SINCE ITS BEGINNINGS IN 1984 IT HAS BECOME THE UNITED KINGDOM’S MOST PUBLICISED ART AWARD. ALTHOUGH IT REPRESENTS ALL MEDIA, AND PAINTERS HAVE ALSO WON THE PRIZE, IT HAS BECOME ASSOCIATED PRIMARILY WITH CONCEPTUAL ART. DATE: UNTIL JAN 3, 2010 PLACE: TATE BRITAIN, MILLBANK, LONDON, SW1P 4RG WEBSITE: www.tate.org.uk/britain PRICES: £8/£6

FOOD AMAYA

GLAMOROUS, STYLISH AND SEDUCTIVE, AMAYA IS SLEEKLY APPOINTED WITH SPARKLY CHANDELIERS, SPLASHES OF MODERN ART AND A GROOVY BAR.THIS RESTAURANT’S CALLING CARD IS ITS SOPHISTICATED INDIAN CREATIONS FROM A MENU THAT CLEVERLY LINKS DRESSED-UP STREET FOOD WITH REGAL SPECIALITIES. IF YOU FANCY A TABLE WITH A VIEW, BAG ONE BY THE OPEN KITCHEN AND WATCH THE CHEFS WIELD LADEN SKEWERS AND SLAP ROTIS AGAINST THE WALLS OF THE TANDOOR. OF OUR SELECTIONS, WE LOVED A MELTINGLY TENDER CHICKEN TIKKA FOR ITS SMOKY, LEMONY FLAVOUR AND SUBTLE MARINADE OF ROSE-SCENTED GINGERY YOGHURT. GOOD NEWS CONTINUED WITH A GIGANTIC MADAGASCAN PRAWN STEEPED IN CHILLI-SPIKED LIME JUICE AND COOKED TO PERFECT PINKNESS;THE ROBUST JUICES WERE GRATEFULLY MOPPED UP WITH HOT NANS. AN EARTHY RICH STAPLE OF CREAMY SPINACH PASTE SPICED WITH GINGER AND GREEN CHILLIES WAS ELEVATED TO FINE-DINING STATUS AND SENSIBLY SERVED WITHOUT ANY EXPERIMENTAL FLOURISH. SERVICE WAS FAULTLESS. ONLY MANGO TIRAMISU (PIPED ON TO A SPONGE FINGER) WAS LESS THAN OUTSTANDING – A LITTLE TOO CLOSE TO HOME COOKING TO WIN ACCOLADES. AMAYA IS A MAGNET FOR DEEP-POCKETED KNIGHTSBRIDGE SUITS AS WELL AS ROMANCING COUPLES. PLACE: 9 MOTCOMB STREET, 15 HALKIN ARCADE, KNIGHTSBRIDGE, SW1X 8JT

WEBSITE: www.realindianfood.com

LONDON BEA INFO BROUGHT TO YOU BY DAVE CAMPBELL @LONDON.UK

ARTS THE ANARCHY OF SILENCE. JOHN CAGE AND EXPERIMENTAL ART

THIS EXTENSIVE EXHIBITION DEVOTED TO JOHN CAGE (1912-92), THE MOST IMPORTANT SINCE HIS DEATH, AIMS TO CAPTURE THE RELEVANCE OF THE ARTIST´S CONTRIBUTION TO CONTEMPORARY ART. SOUND RECORDINGS, FILMS, SCORES, AND DOCUMENTARY MATERIALS PROVIDE AN INSIGHT INTO THE EXTRAORDINARY SCOPE OF CAGE’S CONCEPTUAL AND THEORETICAL INNOVATIONS. DATE: 2009.10.23-2010.01.10 PLACE: MUSEU D´ART CONTEMPORANI DE BARCELONA

WEBSITE: www.macba.cat LA NOVA GENERACIÓ DE LA FOTOGRAFIA

A COLLECTIVE EXHIBITION OF 15 YOUNG ARTISTS WILL SHOW, THROUGH THEIR IMAGES, MANY OF THE CONCERNS OF OUR AGE, SUCH AS ISSUES OF IDENTITY, BELONGING TO URBAN TRIBES, DISEASES, REFLECTIONS ON THE URBAN ENVIRONMENT, AMONG MANY OTHERS. DATE: 2009.10.27-2009,11,29 PLACE: ARTS SANTA MÒNICA

WEBSITE: www.artssantamonica.cat WORLD PRESS PHOTO

THE CONTEMPORARY CULTURE CENTRE OF BARCELONA TAKES ITS TURN AT HOSTING THE WORLD PRESS PHOTO EXHIBITION. REGARDED AS THE WORLD’S MOST IMPORTANT DISPLAY OF PHOTOJOURNALISM, THE AWARD-WINNING SNAPS APPEAR AT GALLERIES AND ART CENTRES IN SOME 100 CITIES WORLDWIDE. DATE: 2009.11.10-2009.12.20 (NOT MONDAYS) PLACE: CONTEMPORARY CULTURE CENTRE OF BARCELONA

WEBSITE: www.worldpressphoto.org ; www.cccb.org PICASSO: EROTIC PRINTS

BARCELONA’S PICASSO MUSEUM DISPLAYS EROTIC PRINTS PRODUCED BY THE ARTIST BETWEEN 1964 AND 1970, A TIME WHEN ALL HIS CREATIONS CARRIED SEXUALLY EXPLICIT THEMES. THE EXHIBITION ALSO FEATURES JAPANESE SHUNGA PRINTS THAT BEAR A STRONG RESEMBLANCE TO PICASSO’S WORKS. DATE: 2009.11.05-2010.02.14 PLACE: PICASSO MUSEUM

WEBSITE: www.museupicasso.bcn.es/en

MUSIC BARCELONA INTERNATIONAL JAZZ FESTIVAL

BIG BAND, BEBOP, GOSPEL AND LATIN-JAZZ CONCERTS TAKE PLACE AT VENUES ACROSS THE CITY, INCLUDING THE PALAU DE LA MÚSICA CATALANA AND L’AUDITORI. DATE: 2009.10.18 - 2009.12.06 PLACE: VARIOUS

WEBSITE: www.theproject.es DEPECHE MODE DATE: 2009.11.20-21 PLACE: PALAU SANT JORDI OPENING HOUR: 21:30

WEBSITE: www.depechemode.com

BARCELONA BEA INFO BROUGHT TO YOU BY DAVIDE DE VISDOMINI @BARCELONA.CAT

FILM PÖFF

THIS YEAR THE 13TH TALLINN BLACK NIGHTS FILM FESTIVAL TAKES PLACE. THE AUDIENCE CAN ENJOY WORLD CINEMA IN ALL COLOURS, OFFERING DELICIOUS PIECES TO ALL TASTES AND AGES. FESTIVAL IS A UNIQUE EVENT COMBINING A FEATURE FILM FESTIVAL WITH THE SUB-FESTIVALS OF ANIMATED FILMS (ANIMATED DREAMS, 18 – 22 NOVEMBER), STUDENT FILMS (SLEEPWALKERS, 12 – 15 NOVEMBER) AND CHILDREN/YOUTH FILMS (JUST FILM, 21 – 28 NOVEMBER). DATE: 12TH OF NOVEMBER UNTIL 6TH OF DECEMBER PLACE: VARIOUS CINEMAS OPENING HOURS: VARIOUS ADMISSION: VARIOUS. TICKETS AVAILABLE IN NOVEMBER IN VIRU KESKUS, SOLARIS AND PILETILEVI, MORE INFORMATION FROM THE WEBSITE FROM 1ST OF NOVEMBER

WEBSITE: www.poff.ee KUMU DOCUMENTARY

SERIES *“AT THE SOURCE OF IMPRESSIONISM”*. THE FILMS REVEAL THE BACKGROUND OF THE ERA, THE WORKS AND THE ARTISTS OF “PAINTING IN NORMANDY”. CONCENTRATING TO THE ACTUAL STATE OF NATURE PUTS HUMAN EYE ON THE RELATIONSHIPS BETWEEN LIGHT AND COLOUR AND THE ETERNAL EXPRESSED THROUGH MOMENTARY. DATE: 4TH, 11TH, 18TH, 25TH OF NOVEMBER PLACE: ART MUSEUM OF ESTONIA, WEIZENBERGI 34 OPENING HOURS: BEGINNING AT 18.00 ADMISSION: FREE OF CHARGE

WEBSITE: www.poff.ee/kumu

MUSIC MIKKO INNANEN & INNKVISITIO FEAT. FREDRIK LJUNGKVIST & DANIEL ERDMANN

JAZZ NEVER LEAVES TALLINN AND ON 1ST OF NOVEMBER RETRO-FUTURIST FINNISH JAZZ IS GOING TO BE PLAYED IN KUMU AUDITORIUM. *MIKKO INNANEN & INNKVISITIO FEAT. FREDRIK LJUNGKVIST & DANIEL ERDMANN *(FINLAND, SWEDEN, GERMANY) WILL MAKE SOME CRAZY SAXOPHONE HUMOR. EVENING PROMISES SPECIAL GROOVE, HEAVY SWING AND FAST CONVERSATIONS BETWEEN MUSICIANS. DATE: 1ST OF NOVEMBER PLACE: ART MUSEUM OF ESTONIA, WEIZENBERGI 34 OPENING HOURS: BEGINNING AT 17.00 ADMISSION: 125/100 EEK

WEBSITE: www.jazzkaar.ee VINCENT COURTOIS QUARTET

ON 6TH OF NOVEMBER VINCENT COURTOIS QUARTET IS ON STAGE.VINCENT COURTOIS IS A CELLIST FROM FRANCE WHO IS PASSIONATE ABOUT IMPROVISING, LANDING WITH AIRPLANES, SUSHI, CUBA, SCHUBERT, FISHING, STYLISH UNDERWEAR, OIL PAINTINGS. ON VOCALS JEANNE ADDED, ON TROMBONE YVES ROBERT AND ON DRUMS AND ELECTRONICS FRANCOIS MERVILLE. DATE: 6TH OF NOVEMBER 2009 PLACE: THEATRE NO99, SAKALA 3 OPENING HOURS: BEGINNING AT 21.30 ADMISSION: 125/120

WEBSITE: www.jazzkaar.ee

ELIIT IS A BAND OF IMPROVISATIONAL PSYCHEDELIC POP-CHAOS, NO REHEARSALS, NO STEADY MUSICIANS, JUST MAKING SONGS UP IN LIVE PERFORMANCES. THE SAME PRINCIPLE GOES FOR FREE TALLINN TRIO, EVERYTHING IS SPONTANEOUS, RICH MUSICAL VOCABULARY AND EXPERIENCES INCLUDED. DATE: 19TH OF NOVEMBER 2009 PLACE: ROCK CAFÉ, TARTU MNT 80D OPENING HOURS: BEGINNING AT 21.00 ADMISSION: 125 EEK

WEBSITE: www.jazzkaar.ee

DANCE TAVAJ

THREE STRIPES, THREE PEOPLE, ONE TERRITORY. DANCE PERFORMANCE “TAVAJ” IS A PROJECT THAT INVESTIGATES THE SMALL DIFFERENCES BETWEEN ESTONIANS AND RUSSIANS LIVING IN ESTONIA. RENZO VAN STEENBERGER, ALISSA ŠNAIDER AND PÄÄR PÄRENSON USE LANGUAGE, CULTURAL BACKGROUND AND DAILY HABITS TO SHOW THE TRANSITION FIELD OF THESE DIFFERENCES. DATE: 4TH, 5TH, 6TH, 16TH AND 17TH OF NOVEMBER PLACE: KANUTI GILDI SAAL, PIKK 20 OPENING HOURS: BEGINNING AT 19.30 ADMISSION: 70/120 EEK

WEBSITE: www.saal.ee

INFO BROUGHT TO YOU BY MARIT MIHKLEPP @TALLINN.EE

TALLINN BEA

ELIIT

ARTS KENGO KUMA “STUDIES IN ORGANIC” KENGO KUMA, A LEADING JAPANESE ARCHITECT WITH AN INTERNATIONAL PRACTICE, SEEKS TO ELABORATE HIS ARCHITECTURAL IDEAS EVEN AS HE TENDS TO HIS BUSY PRACTICE. THIS EXHIBITION, ENTITLED “STUDIES IN ORGANIC”, IS A PRESENTATION OF HIS CURRENT ACTIVITIES. MANY STUDY MODELS AND SAMPLES WILL BE DISPLAYED AND SCENES OF HIM AT WORK ON MULTIPLE PROJECTS PROCEEDING SIMULTANEOUSLY AND INFLUENCING ONE ANOTHER WILL BE DOCUMENTED. LARGE MODELS (EXPECTED TO BE AT 1:25 SCALE) OF TWO ON-GOING PROJECTS-- BESANCON CITY ARTS AND CULTURE CENTER (BESANCON, FRANCE; ANTICIPATED COMPLETION DATE: 2011) AND GRANADA PERFORMING ARTS CENTER (GRANADA, SPAIN; ANTICIPATED COMPLETION DATE: 2013) --WILL ALSO BE ON DISPLAY. SO, WHAT DOES HE MEAN BY ORGANIC?? DATE: 2009-10-15 TO 2009-12-19 PLACE: AT GALLERY MA OPENING HOURS: FROM 11:00 TO 18:00 ADMISSION: FREE

WEBSITE: www.toto.co.jp/gallerma/ex091015/index_e.htm A TOKYO CULTURE CREATION PROJECT LUXURY IN FASHION RECONSIDERED: SPECIAL EXHIBIT KAZUYO SEJIMA SPATIAL DESIGN FOR COMME DES GARÇONS THIS SPECIAL EXHIBIT ACCOMPANYING THE EXHIBITION “LUXURY IN FASHION RECONSIDERED” WILL FEATURE CLOTHING ANIMATED BY THE AVANT-GARDE SPIRIT OF COMME DES GAR_ ONS, SELECTED FROM THE KYOTO COSTUME INSTITUTE (KCI) COLLECTION AND DISPLAYED IN SPACES DESIGNED BY ARCHITECT KAZUYO SEJIMA, . HER INSTALLATION WILL ALTER VIEWERS’ PERCEPTIONS OF CLOTHING AND ITS RELATIONSHIP WITH THEIR BODY. IN SEJIMA’S SPACES, THE REVOLUTIONARY CHARACTER OF COMME DES GAR_ONS WILL CRACKLE WITH NEW LIFE. DATE: 2009.10.31 TO 2010.1.17 PLACE: MUSEUM OF CONTEMPORARY TOKYO ART OPENING HOURS: FROM 10:00 TO 18:00FRIDAYS CLOSING AT 19:00 ADMISSION: FREE

WEBSITE: www.mot-art-museum.jp/exhibition/106/ “TREASURES OF THE IMPERIAL COLLECTIONS - SPLENDOR OF JAPANESE ART” EXHIBITION TO COMMEMORATE THE 20TH ANNIVERSARY OF THE EMPEROR’S ENTHRONEMENT, THE TOKYO NATIONAL MUSEUM WILL HOLD A SPECIAL EXHIBITION UNITING A RICH SPECTRUM OF WORKS FROM THE IMPERIAL COLLECTIONS. THE EXHIBITION WILL BE HELD IN TWO PARTS, AND WILL INCLUDE OBJECTS OWNED BY THE IMPERIAL HOUSEHOLD AS WELL AS TREASURES FROM THE SHOSOIN REPOSITORY AND SANNOMARU SHOZOKAN (THE MUSEUM OF THE IMPERIAL COLLECTIONS). PART 1 WILL BE ON VIEW OCTOBER 6 - NOVEMBER 3, AND PART 2 WILL BE ON VIEW NOVEMBER 12 - 29. DATE: FROM 2009.10.06 TO 2009.11.29 PLACE: TOKYO NATIONAL MUSEUM ADMISSION:ADULTS ¥1300, UNIVERSITY STUDENTS ¥1000, HIGH SCHOOL STUDENTS ¥700, JUNIOR HIGH SCHOOL STUDENTS AND UNDER FREE

WEBSITE: www.tnm.jp/en

CAFÉ : ALVAR AALTO BY FINLAND CAFÉ

TOKIO BEA

DESIGN

THEY HAVE ORGANIZED “FINLAND CAFE” SINCE 2002 AS ANNUAL TEMPORARY EVENT. VARIOUS FINNISH IDEAS OF ART, DESIGN, FOOD AND LIFESTYLE WILL BE BROUGHT AND INTRODUCED, SINCE THAT MANY JAPANESE HAS BEEN INTERESTED IN FINLAND AND FELT SYMPATHY FOR FINN. THIS YEAR’S KEY PERSON IS ALVAR AALTO. THEY FIND IT NECESSARY TO INTRODUCE HIS GREAT WORKS AND IDEAS TO EVERY PUBLIC (NON-ARCHITECT), BECAUSE AALTO’S SOUL SEEMS TO HAVE STRONG CONNECTION WITH ESSENCE ON FINNISH MANUFACTURING. HERE WE CAN WATCH AALTO’S EXHIBITION, LISTEN TO FINNISH MUSIC, EAT FINNISH FOOD, GET FINNISH DESIGN AND FEEL FRESH FINLAND!! DATE: FROM 2009.10.24 TO 2009.12.23 PLACE: U-D STUDIO IN SHIBUYA OPENING HOURS: FROM 17:00 TO 0:00, WEEKDAYS, FROM 11:00 TO 23:00,WEEKENDS,HOLIDAYS ADMISSION: FREE

WEBSITE: www.united-destinations.com

INFO BROUGHT TO YOU BY AYANA KOBAYASHI @TOKIO.JP

EDITORS IN CHIEF:

DAVIDE DE VISDOMINI

- FASHION EDITOR: KAI EICHEN; PHOTOGRAPHY EDITOR: DAVE CAMPBELL; AR - FASHION EDITOR: KAI EICHEN; PHOTOGRAPHY EDITOR: DAVE CAMPBELL; AR REPORTER FROM LOS ANGELES: VIIDALEPP; REPORTER NEW YOR -REPORTER FASHION EDITOR: KAI EICHEN;MARIA PHOTOGRAPHY EDITOR: DAVEFROM CAMPBELL; AR FROM LOS ANGELES: MARIA VIIDALEPP; REPORTER FROM NEW YOR -REPORTER FASHION EDITOR: KAI EICHEN; PHOTOGRAPHY EDITOR: DAVE CAMPBELL; AR CAMPBELL; REPORTER FROM BARCELONA: DAVIDE DE VISDOMINI; BRAND MA FROM LOS ANGELES: MARIA VIIDALEPP; REPORTER FROM NEW YOR -CAMPBELL; FASHION EDITOR: KAI EICHEN; PHOTOGRAPHY EDITOR: DAVE CAMPBELL; AR REPORTER FROM BARCELONA: DAVIDE DE VISDOMINI; BRAND MA REPORTER FROM LOS ANGELES: MARIA VIIDALEPP; REPORTER FROM NEW -YOR TALLINN: MARIT MIHKLEPP; REPORTER FROM TOKIO: AYANA KOBAYASHI CAMPBELL; REPORTER FROM BARCELONA: DAVIDE DE VISDOMINI; BRAND MA REPORTER FROM LOS ANGELES: MARIA VIIDALEPP; REPORTER FROM NEW -YOR TALLINN: MARIT MIHKLEPP; FROM TOKIO: AYANA KOBAYASHI CAMPBELL; REPORTER FROM REPORTER BARCELONA: DAVIDE DE VISDOMINI; BRAND TALLINN: MARIT MIHKLEPP; REPORTER FROM TOKIO: AYANA KOBAYASHI -MA CAMPBELL; REPORTER FROM BARCELONA: DAVIDE DE VISDOMINI; BRAND TALLINN: MARIT MIHKLEPP; REPORTER FROM TOKIO: AYANA KOBAYASHI -MA TALLINN: MARIT MIHKLEPP; REPORTER FROM TOKIO: AYANA KOBAYASHI -

KAI EICHEN

DAVE C AM

PBELL

RCHITECTURE EDITORS: DAVIDE DE VISDOMINI - PHILIP TIDWELL; RCHITECTURE EDITORS: DAVIDE DE VISDOMINI - PHILIP TIDWELL; RK AND BERLIN: VERONIKA BJARSCH; REPORTER FROM LONDON: RCHITECTURE EDITORS: DAVIDE DE VISDOMINI - PHILIP TIDWELL;DAVE RK AND BERLIN: VERONIKA BJARSCH; REPORTER FROM LONDON: DAVE RCHITECTURE EDITORS: DAVIDE DE VISDOMINI PHILIP TIDWELL; ANAGER AND REPORTER FROM BOLOGNA: MARCO SILVERII; REPORTER RK AND BERLIN: VERONIKA BJARSCH; REPORTER FROM LONDON: DAVEFROM RCHITECTURE EDITORS: DAVIDE DE VISDOMINI PHILIP TIDWELL; ANAGER AND REPORTER FROM BOLOGNA: MARCO FROM SILVERII; REPORTER RK AND BERLIN: VERONIKA BJARSCH; REPORTER LONDON: DAVEFROM ANAGER AND REPORTER FROM BOLOGNA: MARCO FROM SILVERII; REPORTER RK AND BERLIN: VERONIKA BJARSCH; REPORTER LONDON: DAVEFROM ANAGER AND REPORTER FROM BOLOGNA: MARCO SILVERII; REPORTER FROM ANAGER AND REPORTER FROM BOLOGNA: MARCO SILVERII; REPORTER FROM

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