Between Berlin’s main station and the Federal Ministry for Education and Research, an unusual work of public art has recently been previewed to the public. The installation is titled “Drehmoment”, which translates into English as “torque”, and was created by the Berlin-based artist and architectural group “realities:united”.

The kinetic sculpture is the result of an open art-in-architecture competition held in 2015 and launched by the German “Institute of Federal Real Estate”. After a two-year developmental phase, the installation was finally handed over to the “Futurium”, Berlin’s upcoming “Center for Shaping the Future”. The permanent installation “Drehmoment” is the first work by “realities:united” to be shown in public space in the city of Berlin.

Suddenly, the installation awakens from its resting state

The artwork itself is supposed to remind us of a “dramatically enlarged circus act”. A four meter wide ring rotates on top of a thirteen-meters-tall, curved steel mast. However, not much seems to happen at first. Then, the installation awakens from its resting state. The rotation speed increases slowly but steadily. Quickly, the movement becomes faster. The ring rotates more dynamically. Finally, the rotational force lifts the ring from its support. Tumbling and stable at the same time, it balances along the tip of the rotating mast until the speed finally decreases and the ring returns to its original position.

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Not only the technical implementation of this kinetic sculpture is remarkable. The installation achieves one thing above all else – it evokes human emotion. “Drehmoment” triggers something in our innermost consciousness. The regular, circular movement and the balance of the individual elements have a calming and pleasing effect. At the same time the viewer’s mind anticipates a possible collapse of this given balance, since it seems as if the ring could drop off any minute. The feeling of grace and calm mixes with deep concern and unease.

The artwork as a “silent commentary of building”

This emotional experience is in dialogue with the programmatic focus of “Futurium”, which is to develop into an exhibition space for “future-oriented, scientific and technical developments of national and international significance”.

The artwork relates to development-based future questions of our human existence. It embodies the simultaneity of stability and instability as an essential part of our dynamic and technologically driven society. “Drehmoment” intends to motivate visitors to question the contents of “Futurium”, as well as their everyday experiences. The artists themselves understand the installation as a “silent commentary on building”.

Curious visitors can already observe the artwork at any time. However, we have to wait until next year to finally see “Drehmoment” in daily motion. All the more so, we look forward to the official opening of “Drehmoment” and “Futurium” in September 2019.

There was a special vehicle to be spotted on London’s Regent’s Canal in early 2018: A golden, inflatable boat theater. It’s called AirDraft and was designed by architects Thomas Randall-Page and Benedetta Rogers. The boat ranked first at this year’s Antepavilion – a competition that rewards experimental installations in public space.

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Inflatable like an Air Mattress

Not only does the boat theater look good, it’s also cleverly designed: its golden cupola can be inflated within twelve minutes, deflating it takes half that time. Thanks to this flexibility, maneuvering under the canal’s numerous bridges is a lot easier. The two architects Randall-Page and Rogers worked on their vision for about ten weeks. The costs for the project that amounted to the surprisingly small sum of 28,000 euros proof that exceptional design doesn’t has to be expensive.

An Example for the Arts

What would a stage (on water or not) be without a good program? Not much and that’s why there’s plenty going on during the eight-day festival tour: From live concerts and poetry slams to stand-up comedy – there’s a lot of entertainment on the water. At this it was very important for the architects to provide a platform for local artists. This way, the boat is to set an example for the preservation of London’s independent art scene which is struggling to survive due to the rising rents, says Randall-Page.

All pictures: Jim Stephenson

Air pollution? We often don’t even realize that in our day-to-day life. British artist Michael Pinsky set out to change that with an art installation at Somerset House in London. Thanks to five cupolas, visitors could inhale the air of different cities.

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On the occasion of the World Earth Day on April 22, the installation “Pollution Pods” was opened in the courtyard of Somerset House in London. Five geodetical cupolas represented the air quality in five different cities on three continents: London, BeiJing, Sao Paulo, New Delhi and Tautra, a small Norwegian peninsula.
While walking through these cupolas, visitors experienced the clear, fresh air of Tautra as well as the thick smog of New Delhi. This way, visitors realized how clear London’s air is compared to Sao Paulo’s – even though it’s far from actually being clean. According to WHO studies, Londoners lose 16 months of their lives due to the air pollution, while it is even four years for the inhabitants of New Delhi.

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Can Art Change Anything?

The artwork was originally commissioned by the Norwegian University of Science and Technology and first displayed in Trondheim. The goal of the installation was to find out how art can affect our behavior towards the climate change. The initiating university hoped that physical and emotional reactions of the visitors would lead to an increased awareness for the environment and air pollution.

Imitating Smells

For the installation, Pinsky collaborated with experts that imitate various smells. Dutch company I Scent produced the odors of burning plastic, grass, wood and coal.
As part of the installation, a new flag was raised at Somerset House that changed it color depending on the current air quality.