Category: Best Integrated Campaign Led by PR; Advertiser: MILA/JAKOB TIGGES; Product/Service: CORPORATE COMMUNICATION.
You desire most what you can’t have. Berliners have it all: world class museums, night clubs, parks, lakes, the sea at a two hour drive - the only thing impossible for flat Berlin remains a veritable mountain; which doesn’t mean we can’t have one… when Berlin’s senate called for ideas in an architectural competition for Berlin’s famous Tempelhof airport we seized the opportunity.
At the time Tempelhof enjoyed unprecedented public attention due to the public row over its future use that had even led to a plebiscite. Our proposal to just imagine and pretend the most beautiful of all mountains on the site of the “mother of all airports” instead of adding another mediocre housing project might be rejected by grey administrators, but would fascinate many people as much as it fascinated us. We speculated on The Berg’s potential to emancipate from the competition to become a topic in its own right.
As the sector of financial services is very abstract to most people, the main challenge with regards to the contents was to develop innovative and exciting narrative formats that create a tangible experience. Design wise we wanted to avoid permanent spatial logos that dominate and frame the space with simple 3D extrusion, thus, we had to find a subtle though still clearly recognisable way of translating it into spatial architecture.
As part of the redesign of their corporate headquarters, Deutsche Bank took the opportunity to create a permanent brand space. The brief was to shape an environment where their well-known logo designed by Anton Stankowski is embodied within the space and where customers, employees and external visitors would be able to experience and to connect with the Deutsche Bank brand. All relevant aspects of the company, beginning with its history and extending to its various business divisions and their contributions to society today should be communicated to the visitor.
Using the concept of anamorphosis abstract architectural structures have been designed to only reveal themselves as the logo when viewed from specific sweet spots. Parts of the logo sculptures are formed by incorporated media installations that allow the visitor to physically experience and interact with the brand. One of the sculptures is touch-sensitive – here networked information bits can be explored. The second reacts to the visitor, whose physical motions trigger the display of statistic data. The third, a kinetic sculpture communicates the brand values precision and passion in a metaphorical, emotional way.
Since the opening on April 6, more than 20,000 visitors came to see the Brand Space. Board members use the space to hold receptions, functions such as HR are using it for employee activities, bank managers invite partners and clients, and the press department welcomes journalists in the Brand Space. Moreover, marketeers from international companies come to experience the space, as it’s the first brand space for a financial services brand.
Advertiser/Client: DEUTSCHE BANK; Entrant Company: ART+COM Berlin, GERMANY; DM/Advertising Agency: ART+COM Berlin, GERMANY; 2nd DM/Advertising Agency: COORDINATION Berlin, GERMANY; Creative Director: Joachim Sauter (ART+COM); Creative Director: Jochen Gringmuth (Coordination); Project Manager: Gert Monath (ART+COM); Art Director: Eva Offenberg (ART+COM); Art Director: Petra Trefzger (ART+COM); Architect: Jeanette Riedel (Coordination); Head Of Media Technology: Björn Seeger (ART+COM); Designer: Arne Michel (ART+COM); Computational Designer: Christian Riekoff (ART+COM); Head Of Development: Sebastian Heymann (ART+COM).
Bureau Foster + Partners, the well-known British architect, will take part in the program on studying of prospects of building of buildings on the Moon. Details of the project do not disclose, but, according to edition Building Magazine, bureau Foster + Partners will be engaged in studying of the materials existing on the Moon and Mars and potentially suitable for building.
The project will be a part of the big program "Aurora" of the European Space Agency. The representative of a bureau has informed, that a certain tender is provided, but on details to make comments has refused.
Spaceport for Virgin Galactic
The Guardian reminds, that Foster + Partners is engaged in designing of the first-ever private spaceport by request of company Virgin Galactic. Spaceport should open in 2011 in desert in the State of New Mexico.
The well-known architectural bureau
Norman Foster — the winner of every possible architectural awards, architectural bureau Foster + Partners was engaged in the project such known constructions, as: a covered court yard of the British museum, reconstruction Reichstag in Berlin, Hurst's tower in New York, the London skyscraper.
The Greek government has finally acknowledged that the British Museum is the lawful owner of the “Elgin Marbles”. That, at least, is the logical conclusion of the recent news that Greece has dropped its legal claim to the Parthenon Sculptures.The results of a recent poll hosted by the British newspaper The Telegraph
The surprise announcement came only 48 hours after Amal Clooney and the team at London’s Doughty Street Chambers sent the Greek government a 150-page report admitting that there was only a 15% chance of their success in a British court, and that Greece should consider pursuing the claim at the International Court of Justice. However, quite understandably, the Greek government has decided that what Clooney is really saying is that they have no case.
The Syriza government is keenly aware that British courts are recognized the world over for their experience in resolving international disputes, including those involving British interests and institutions. So, quite reasonably, the new Greek government has concluded that an international court will probably not reach a different conclusion. Nikos Xydakis, culture minister, has therefore announced that Greece will drop its legal claim and pursue “diplomatic and political” avenues instead.
This is unsurprising, as — contrary to the widespread misconception — there was nothing illegal about the way in which Lord Elgin saved the Parthenon Sculptures from acute ongoing destruction. The mauling had started when the Greek church smashed up a large number of the ancient temple’s carvings in the fifth century. The Venetians then blew up chunks of the building in 1687. And in the 1800s, when Lord Elgin arrived in Athens, the occupying Ottomans were grinding the sculptures up for limestone and using them for artillery target practice.
Elgin had intended to commission casts and paintings of the sculptures, but when he saw firsthand the ongoing damage (about 40% of the original sculptures had been pulverised), he acquired an export permit from the Ottoman authorities in Athens, and brought as many as he could back to safety in Britain. It was a personal disaster which bankrupted him, but it has meant that, since 1816, the British Museum has been able to share with its visitors some of the best-preserved Parthenon Sculptures in the world.
What is usually missing in the emotion of the Elgin Marbles debate is that the British Museum is a universal museum, which tells the story of humanity’s cultural achievements from the dawn of time. In this, the work of the Ancient Greek department is world leading, and part of a network of museum classicists — including those from the New Acropolis Museum in Athens — who work together collaboratively, sharing their knowledge and passion for the classical world with the widest possible public.
Coincidentally, the British Museum (the nation’s largest tourist attraction) is currently hosting a once-in-a-lifetime exhibition of Greek sculpture, drawing on its own collection and generous loans from other museums all over the world to showcase the evolution of ancient Greek ideas about beauty and the human body. In this breathtaking visual story of the march of classical ideas about aesthetics, the Parthenon Sculptures take their place, contributing eloquently to the state of sculpture in the golden age of Athenian carving under Pheidias.
The overarching misconception we need to get over is that museum objects belong uniquely to the country in which they were created. If that was so, the world should empty out its leading museums of the foreign artefacts they have purchased or been donated. Athens would be no exception in this, and would be required to return their extensive collections of Egyptian, Chinese, Islamic, and South American art.
Of course, it is an absurd idea. The world is manifestly enhanced by museums and their depth of specialised knowledge. They are, above all, educational places that enrich us all. The fact that half the surviving sculptures from the Parthenon can be seen in Athens, with the remaining half split between London, Berlin, Munich, Würzburg, Copenhagen, the Vatican, and — thanks to the British Museum — the Hermitage in St Petersburg earlier this year, ensures that the widest possible audience is able to experience for themselves the unique and bewitching ability of fifth-century Athenians to convert rough stone into warm, living flesh.
Another page has turned definitively in the story of the Parthenon Sculptures. The idea that Lord Elgin or Parliament did something illegal has finally been dropped, and not before time. Now the debate can proceed in a less antagonistic manner, and everyone can acknowledge that it is a question of politics, not looted artefacts.
As the world has recently discovered from the tragic destruction of Assyrian art at Nimrud, Mosul, and elsewhere in the Middle East, the planet’s heritage does not last unless someone looks after it. And so far, in the case of the Parthenon Sculptures (and indeed its holdings of Assyrian sculpture), the British Museum continues to do the world an enormous service
Author: Dominic Selwood | Source: The Telegraph [May 14, 2015]
Ever since the mighty Unearth surfaced in the Heavy Music scene in 1998, they have kept delivering their global audience passionate music full of crushing riffs, and with highly energetic elements of chaos. With their fifth studio album titled "Darkness In the Light" (to be released July 5th in North America via Metal Blade Records), Unearth has proven once again that they sonically have it what it takes to keep flying the Heavy Music flag up high with pride and plenty of adrenaline. Produced by Adam Dutkiewicz from Killswitch Engage and Times of Grace, who has produced their previous three records, and co-produced by guitarist Ken Susi. "Darkness In the Light" possesses Unearth's signature sound and at first glimpse what stands out the most are the vocals that Trevor Phipps laid down on tape. He sounds better than ever. This is what he had to say about the production of the record: "We started writing last summer between tours. Buz and Ken write the riffs, then they bring them to practice and all approve or disapprove. We started writing the record with Derek Kerswill, we figured that it wasn't working out since he was looking for something more Rock N Roll friendly, and this band is looking to go even heavier than the last album. More extreme!" Unearth is considered one of the pioneers of Nu-Metal along with Shadow's Fall and Killswitch Engage, and the three of them together helped to establish the Massachusetts Heavy Music scene! Today they are ready to unleash their beastly new album, and to hit the road. Unearth will be part of these years Rockstar Mayhem Festival, and then they will be heading to Europe. Since Unearth's former drummer Derek Kerswill left the band before the recording of the new album, the band will be joined by drummer Justin Foley from Killswitch Engage, who also recorded the drums on "Darkness In the Light". Here is what Foley had to say about this: “I’m really looking forward to playing with some old friends, and spending a summer full of beers and breakdowns!" We had a chance to interview Unearth's vocalist Trevor Phipps about the present and the future of Unearth. Here is what went down:
Tour Dates: UNEARTH: 07/05/2011 Jakes - Lubbock, TX w/ Turbid North 07/06/2011 Club 101 - El Paso, TX w/ Turbid North 07/08/2011 Hard Rock Café - Las Vegas, NV w/ Turbid North UNEARTH on 2011's Rockstar Energy Drink Mayhem Festival w/ Disturbed, Godsmack, Megadeth, Machine Head, In Flames, Trivium, Suicide Silence, All Shall Perish, Straight Line Stitch, Kingdom Of Sorrow, Red Fang: 07/09/2011 San Manuel Amphitheatre - San Bernardino, CA 07/10/2011 Shoreline Amphitheatre - San Francisco, CA 07/11/2011 Hawthorne Theatre - Portland, OR *Off Date w/ Suicide Silence, All Shall Parish 07/12/2011 White River Amphitheater - Seattle, WA 07/13/2011 Idaho Center Amphitheatre - Boise, ID 07/15/2011 Cricket Wireless Pavilion - Phoenix, AZ 07/16/2011 Hard Rock Casino Presents: The Pavilion - Albuquerque, NM 07/17/2011 Comfort Dental Amphitheatre - Denver, CO 07/18/2011 Granada Theater - Lawrence, KS *Off Date w/ Suicide Silence, All Shall Parish , Red Fang 07/19/2011 Verizon Wireless Amphitheater - St. Louis, MO 07/20/2011 Riverbend Music Center - Cincinnati, OH 07/22/2011 Comcast Center - Boston, MA 07/23/2011 Parc Jean Drapeau - Montreal, QC 07/24/2011 The Comcast Theatre - Hartford, CT 07/25/2011 Lost Horizon - Syracuse, NY *Off Date w/ All Shall Parish 07/26/2011 Club Texas - Auburn, ME *Off Date w/ Suicide Silence, All Shall Parish 07/27/2011 P.N.C. Bank Arts Center - Holmdel, NJ 07/29/2011 First Niagara Pavilion - Pittsburgh, PA 07/30/2011 Jiffy Lube Live - Washington, DC 07/31/2011 Susquehanna Bank Center - Camden, NJ 08/02/2011 Verizon Wireless V. Beach Amphitheater - Virginia Beach, VA 08/03/2011 Time Warner Cable Music Pavilion at Walnut Creek - Raleigh, NC 08/04/2011 Peabody's - Cleveland, OH *Off Date w/ Suicide Silence, All Shall Parish 08/05/2011 First Midwest Bank Amphitheatre - Chicago, IL 08/06/2011 DTE Energy Music Theatre - Detroit, MI 08/07/2011 Verizon Wireless Music Center - Indianapolis, IN 08/09/2011 Zoo Amphitheatre - Oklahoma City, OK 08/10/2011 Superpages.com Center - Dallas, TX 08/11/2011 New Daisy Theatre - Memphis, TN *Off Date w/ Suicide Silence, All Shall Parish , Red Fang 08/12/2011 Lakewood Amphitheatre - Atlanta, GA 08/13/2011 1-800-Ask-Gary-Amphitheatre - Tampa, FL 08/14/2011 Cruzan Amphitheater - West Palm Beach, FL UNEARTH on the European Hell On Earth Tour w/ Evergreen Terrace, Bane, Nasty, Casey Jones and Full Blown Chaos: 08/26/2011 F-Haus - Jena, Germany 08/27/2011 Essigfabrik - Köln, Germany 08/28/2011 Vorstin - Hilversum, Netherlands 08/29/2011 Islington O2 Academy, London, UK 08/30/2011 Fleece - Bristol, UK 08/31/2011 White Rabbit - Plymouth, UK 09/01/2011 Moho Live - Manchester, UK 09/02/2011 Derby - Derby Redemption, UK 09/03/2011 Rock im Loch Festival - Lünen, Germany 09/04/2011 Trix Zaal - Antwerpen, Belgium 09/05/2011 Faust - Hannover, Germany 09/06/2011 Markthalle - Hamburg, Germany 09/07/2011 The Rock - Copenhagen, Denmark 09/08/2011 Hot Spot - Kassel, Germany 09/09/2011 Garage - Saarbrücken, Germany 09/10/2011 LKA - Stuttgart, Germany 09/11/2011 Gare de Lion - Wil, Switzerland 09/12/2011 Werk - Munich, Germany 09/13/2011 Explosiv - Graz, Austria 09/14/2011 Statsaal - Spittal an der Drau, Austria 09/15/2011 Abaton - Prague, Czech Republic 09/16/2011 Conne Island - Leipzig, Germany 09/17/2011 SO 36 - Berlin, Germany 09/18/2011 Into The Pit Festival - Vincenza, Italy 09/19/2011 Komma - Wörgl, Austria 09/20/2011 Halle 02 - Heidelberg, Germany Worldwide Release Dates: Darkness In The Light will be released in Germany, Austria, Switzerland and Norway July 1, the rest of Europe on July 4, North America, Spain and Italy on July 5, Finland and Hungary on July 6, Australia July 8 and Japan on July 27. Special thanks to Trevor Phipps and Unearth, Earsplit Compound, and Metal Blade Records! Related links: Unearth Unearth's Landing Page for Darkness In the Light Unearth on Facebook Unearth on Twitter Unearth on MySpace Metal Blade Records
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