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Eine Stadt muss gelebt und kann nicht verordnet werden, was ein Minimum an Vorschriften voraussetzt. Verkehrsplanerische Phantasie ist ein Gebot der Stunde. Transnational corporate groups allow themselves the luxury of top architects and representative buildings — the more spectacular the better. Besides these decorative publicity projects plain banality is raging, the number of faceless, uninspired and inconsiderate variations of the very same are legion. Grown structures with all their particularities are constantly ignored. So are the architects the root of all evil?
Megacities such as Shanghai or Moscow exemplify the worldwide phenomenon of a decline of ethics in urban planning even though this has never been more crucial to survival than today. The so-called pop architecture — which is easily consumable, follows fast moving fashions and puts more emphasis on the computer aided design image than on contents or programs — is obsolete. There is urgent need for radically renewed and clear strategies in urban planning; adequate solutions.
A city has to be experienced and cannot be decreed, which implies that regulations must be kept to a minimum. Urban planning should express the actual diversity of contemporary societies. To respect others, however, does not mean to cement or even widen current social, economic, cultural or ethnic gaps. On the contrary, cooperation has to be promoted, separations of all sorts have to be abolished; thus it should be easy to reach every single spot: Social change always revolutionizes the structures of needs; a city that closes the eyes to this development becomes an infrastructural prison for all those living there.
In this context the importance of apartments increases, too. Visionary transport planning has number one priority. Urban planning is successful where tradition and experiment may confront each other, where we dare set signals of progress. A step backwards to the traditional or outdated is absolutely out of the question. Is it trend-setting or even esthetically intelligent to reconstruct the Berlin Palace true to the original?
The city has to be open to new constructional forms or programs. Never Mind the Gap! The last Verbindung des Technischen mit einem true story in pop. My second big insight was by Roxy Music. Another way of looking at the canon of pop. Roxy Music is what has become known as lifestyle, a postmodern lifestyle project. This is what we understand as converge culture. A collage of cultural experiences and references.
Design and fashion have always been socially relevant. A means of emancipation, a part of democratization. I am not interested in that. I am interested in shaping space around things because it should be done, because it can be better, because the way we live can be better. I need to earn some money but only enough for myself. An eye on Manchester — If we make this city synnow. The city has to take care of itself. Well it makes the 50, Euro job a , Euros. A brand is something people believe in.
A brand is what you are known for. No amount of business cards, advertisements and. In the British Design Museum showed a retrospective of his work which was highly acclaimed by both audience and critics. Reason enough, even for less anglophile minds to recognize his singularity. In Punk is swept away by New Wave. Romantic idealism confronts modernity and technology. In May Ian Curtis, lead singer of the band Joy Division, commits suicide, the Manchester scene has its icon and the rest is history: Ian actually consolidated the future of Manchester and provided a support base for a decade or longer.
The last true story in pop. This is the goal of the brand vision. In the city council commissions Saville to enhance the reputation of his native city as creative director of the brand Manchester. Saville, who is also well aware of the social dimension of a revival of the business locaSaville, however, increasingly abandons his tion. I am interested in a community anymore. More than ever shaping space around things because it before it is the responsibility of a city now.
One thing, however, is clear for Saville: Well it makes the 50, Euros job a , Euros. No amount of business cards, advertisements and the rest of it is really going to change what you are known for. Comprehensive studies and inquiries shall bring about a new and strong brand identity. We have the young people there, a strong university culture. If we make this city synonymous with original contemporary innovations and thinking, then more of those young talents have a reason to stay here and eventually change this place. Bedeutet dies das Ende der Stadt als kreatives Zentrum, wie wir sie kennen?
Denn die moderne Stadt beginnt unter diesen Voraussetzungen in Zukunft an ihren Enden. Weil an den Enden Innovationen und neue Werte entstehen, und nicht im Zentrum. Wer oder was sind diese Enden? Die Enden, das ist vielmehr jener neue Schwarm kreativer Akteure, der durch das Aufkommen globaler Netzwerke erst entstehen konnte.
Und entgegen der obigen These leben diese kreativen Akteure auch im Und deshalb brauchen kreative Akteure die Stadt. Das ist die Idee der City of Ends. Und deshalb sind kreative Akteure in Bewegung. Das Gegenteil ist der Fall: Laut einer aktuellen Analyse der Federal Reserve Bank wechseln von den Millionen kreativen Akteuren weltweit knapp 14 Prozent1, also rund 20 Millionen, ab dem Lebensjahr2 mindestens einmal ihren Lebensmittelpunkt.
Und das hat gravierende Folgen: Inward migration of creative citizens is limited to only a small number of cities. In numerous cities outward migration predominates. Chicago ist Schweden gleichzusetzen. Denn eine der wichtigsten Eigenschaften von Power Laws liegt in ihrer Dynamik.
Um diese Chancen zu erkennen, bedarf es eines neuen Blickwinkels: Drei Fragen stehen dabei im Mittelpunkt: Diese Initialevents haben erstaunliche Eigenschaften: Innovationen beruhen damit vor allem auf der aktiven Innovationen nicht im Zentrum entstehen, sondern an den Selbstorganisation eines oder mehrerer kreativer Akteure. Deshalb suchen viele kreative Akteure permanent die Begegnung mit anderen kreativen Akteuren. Die Antennen stehen auf Empfang.
Dadurch wird aus einem heterogenen Nebeneinander ein loses Miteinander. Dieses Versprechen markiert einen Wendepunkt. Eher ist das Gegenteil der Fall: Das Versprechen der City of Ends setzt sich zusammen aus dem: Gleichzeitig erfordert eine City of Ends von den Regierenden aber ein Umdenken. The City of Ends — In this context lie the great challenges for future urban planning. Friedman in the meanhalf of all wages, they will never be the while 3rd edition of his book of the same mainstream or even the majority of a city.
Similar to a current Internet poker current form. This is the idea of the City of ad everybody, no matter where he lives may Ends. According to the motto: Gramatneusiedl meets New York City. The percentage seems to be even higher in emerging markets as is documented by the social and economic development of cities such as Shanghai, Shenzen, Beijing, Bangalore or Hyderabad. Is this the end of the city as a creative center as we know it? Since under these conditions in the future the city will begin at its ends.
Since innovation and new values may be This is the second error of many globalizafound at the ends, not in the center. What are these ends? The ends are not the suburbs, not even the rural areas adjacent to On the contrary. Rather, these ends are this new where you are the more important it is for swarm of creative citizens, which was only able to develop thanks to the emerging global the individual where this location is, who else is there and what is actually happening networks.
And contrary to the above assumpthere. Seen from this angle creative citizens tion these creative citizens prefer to live in do not consider global networking the death the cities even in the 21st century. The actual of distance, but regard it as an opportunity to potential of the global network is not decentralization but a new form of diversity i. The consequences are dramatic: Power laws constantly change with each single new impulse emitted by the ends of the network that keep it together.
The chart clearly shows the thus arising disequilibrium. In the long tail there are many small cities, followed by the rural areas. Such trigger events have surprising characteristics: As of this moment the rich are getting richer and the poor are getting poorer. Relating to migration the fact that a higher number of creative citizens are moving to a particular city, and not to another one, increases the probability that exponentially more creative citizens will follow them to this city than go elsewhere.
Thus the ten largest urban centers in the US together have an economic output which ranks on third place worldwide, closely behind the US in total and Japan. The economic output of New York is comparable to that of Brazil or Russia. Chicago is equivalent to Sweden. Apart from Tokyo there are only some European cities which are able to keep up with these numbers: Since one of the most important characteristics of power laws is dynamism. This principle applies both in a larger and a smaller context.
It explains why innovations do not develop in the center, but at the ends. And it explains why many of the new cities which have made their way to the head originally started their journey in the long tail of the L-Curve. Cities like Tallin, Detroit, Nagoya and Mexico City are examples thereof, while former industrial strongholds such as St. Louis or Pittsburgh descend into the tail. There are three central questions:.
Through digitalization and the convergence of media creative citizens may not only individually experience the exchange of knowledge, information and ideas on a global level, but may also immediately utilize these. Thus the output of innovations explodes on the global level, which in reverse allows the dissemination of these innovations via the same or other networks that are thus made accessible as well. The set of rules of these networks functions according to a logic that is a mixture of order, anarchy and hierarchy: Thus senders and receivers have to convince nobody but themselves before developing and testing an idea.
Innovations are therefore mainly based on the active self-organization of one or several creative citizens. The numerous microcosms that emerge from this are loosely connected with each other, because innovation in these systems is based on mixing, reusing and recombining the resources to which all other ends have access as well. And as from a certain moment each microcosm, which initially developed at one of the ends of the network, automatically becomes a center, the same applies to them as to all other centers: Therefore numerous creative citizens seek permanent encounter with other creative citizens.
Antennas are ready for service. Thus heterogeneous coexistence develops into loose cooperation, which results in diversity.
This promise marks a turning point. Since it considerably changes the perspective from which the creative citizens look at where they are. On the one hand the active participation and exchange in the global network opens up opportunities for the creative citizens to advance their innovative achievements independent of their location. The shortage of knowledge, resources and exchange of new ideas this location brings about both as regards working and the demands a person has for his or her personal lifestyle is no longer the sole yardstick that determines our actions.
On the other hand, the fact that a change of location does not necessarily mean to give up everything but only parts of it increases the chances of being able to win much more there than you would lose here — easier and faster. And that is the reason why creative citizens increasingly emigrate to innovate. Such compromise often causes disappointment. The above-mentioned study by the Federal Reserve Bank illustrates this with a surprising result: It furthermore shows that the size of a city is not necessarily equivalent to the diversity creative citizens desire.
Cities like Austin or Stockholm prove that small cities, too, have the potential to become creative strongholds. It not only promotes the exchange of ideas, knowledge and resources of all kinds, but also favors the development of those small trigger events on a local level which have the potential to have an impact even on the global level. Therefore creative centers of today will not necessarily be those of tomorrow. It is clear that creative citizens immigrate to cities which on a local level function according to similar principles as the world of ends which made the things that are done today possible through its set of rules.
What they are searching for are cities of ends which allow them to continue using the global networks on a local level in order to give them the opportunity to provide their will of innovation and the connected lifestyle with a location to come full circle. They do jobs that already exist, but also create new jobs within their microcosms.
He who wants to leave will leave, because the promise made by — These companies, too, settle in the City of Ends and start growing and developing. Important are thus those who want to come, because they hope to for the collectivity. Thus there will be no ghettoization, no — What happens there and gilded cages. A City of Ends is not a parallel — why this location has everything it needs world, but an integral part of a city, which to decide that this is exactly the place to do gives the city its distinctive identity. All in all the City of Ends is not a principle that — like many others — demands the concerted withdrawal of politics from future urban development.
At the same time a City of Ends requires that those who are in power rethink their opinions. Governments have to pay attention to this. For this is the best opportunity cities will have in the future. The name of the bar, the bar is called heaven. The band in heaven plays my favorite song.
They play it once again, they play it all night long. Heaven is a place where nothing ever happens. Hier gibt es nicht nur himmlische Bars, in denen nie etwas passiert. In Wiens gesamter Lokalszene passiert fast nie etwas. Und das ist oft gut so. Ohne Lokale gibt es keine Stadt. Wirklich umbringen kann man sie nur mittels Eins-zu-eins-Nachbauten, mittels ideenloser Imitation: Eine Generation, Konzept gibt es nicht. Ist eigentlich ein Beisl. Die neue Sushi-Bar ebendort? Schaut doch wirklich aus wie ein Heuriger mistisch genannt wird, architektonisch das alte Wirtshaus mit mit Tanzgelegenheiten drinnen!
Das braucht nebenbei wirklich kein Mensch. Generell schaut es an der Spitze der Wiener Restaurant-Szene kulinarisch recht bescheiden aus, bedenkt man die sehr hohe Dichte an guten Restaurants in der gehobenen Mittelklasse. Wirklich wilde, neue und innovative Lokale? Daran ist nicht zuletzt ein Minderwertigkeitskomplex schuld: Eine Stadt mit einem so konsequent eigenen Stil kann und wird es nicht geben. Und vor allem eins darf man nie vergessen: In Wien gibt es vor allem auch die alte Tradition, alles schlecht zu machen, was einem lieb und teuer ist. There are not only heavenly bars, where nothing ever happens.
And strictly speaking they are even more important because a city with mediocre parks like in Vienna , with monotonous supermarkets like in Vienna and barely enlivened water bodies like in Vienna is no problem so long as there exists a gastronomic scene like in Vienna. Needless to say, all four function excellently and rely on a slight overestimation. Because there is no city gastronomy concept more purist than this. And because there is no place like home, the inn is of course romanticized. The setting includes wood wainscoting, deer antlers and small format and intends to create an atmosphere of pensive nostalgia.
Suddenly young much traveled townspeople love to frequent restaurants and bars which for their own parents were the epitome of Austrian anti-city-culture. And this is real creativity. Seems to be the call of identity. They can only be killed by one-to-one replications, by uninspired imitation: The inns boast wood wainscoting of the seventies and eighties, which hits the taste buds like the frying fat used there.
Why then this romanticizing? On the one hand the pop culture has contributed to this phenomenon: Close scrutiny shows that there are only these three types of gastronomic locations in Vienna, plus the sausage stand. The new Sushi bar in the same area? Is in fact a Japanese sausage stand. The good old club at the Danube Canal? And a British pub close to the university? Which, by the way, really nobody needs.
Is strictly speaking only a strange inn with bad food. In no other city so many international fast food and bad food chains failed as in Vienna: Pizza Hut or Sandwich struggled on the Danube as hard as nowhere else. Starbucks actually had to close some stores in Vienna, a phenomenon hitherto unseen. Burger Kind needed two starts to gain a footing. However the sausage stand might really try to improve its sausage cooking culture. The famous French cuisine for example is non-existent in Vienna.
Some might murmur that this also has political reasons, the French were not really nice to us.
Translational Psychiatry , 7: Normal aging dampens the link between intrusive thoughts and negative affect in reaction to daily stressors. The Journals of Gerontology: Ich habe eine Schreibmaschine bekommen, als ich 10 Jahre alt war. European, white man 2. That has always position in modern management. A City of Ends is not a parallel — why this location has everything it needs world, but an integral part of a city, which to decide that this is exactly the place to do gives the city its distinctive identity.
Even the success of the trendy restaurants and bars on the Naschmarkt and in the Museumsquartier is mainly based on DJ, music, interior designer and public, their gastronomic concepts have all already been seen in other cities. Really new, wild and innovative restaurants and bars? Last but not least this is caused by an inferiority complex: Just like in Berlin! The usual comparisons concerning restaurant ranking are quite revealing: The comparison with Zurich not wholly easy, in some areas it seems to be ahead of Vienna , with Munich simple and clear: There can and will be no other city with such a consistently original style.
And always bear in mind: Roland Haas zeigt eines besonders deutlich: Mich hat zunehmend die Kultur in der Kunst interessiert. Ich habe so lange Kunst gemacht, dass ich wusste, wie der Schall ans Ohr kommt. Was unterscheidet Ihre Arbeit von vorhandenen Erkenntnissen? Genau — das Wissen ist uralt.
Heute will man wissen, warum und wie Musik wirkt. In beiden Bereichen sind bisher noch nicht sehr viele konkrete Anwendungen erforscht — mit Ausnahme der Schmerzmedizin. Das geschieht aber als Freizeiterlebnis. Das ist unsere Kunst. Die Compliance unserer Patienten zur Musik ist zu 98 Prozent gelungen.
Ohne die emotionalen oder die seelischen Anteile in der Musik geht gar nichts. Komponisten haben dies immer zum Ziel gehabt. Gesundheit ist mehr als Pillen und Operationen. Das merken wir alle immer mehr, nicht zuletzt auch durch die Kosten. Musik sollte es in der Gesundheitsberatung geben, wenn Apotheken das machen, dann gerne — aber nur auf Rezept! Roland Haas, Dramaturg, Rektor a. Hochentwickelte Verfahren helfen, die Reaktion von Patienten auf bestimmte akustische Stimulationen zu messen und so die Musikprogramme individuell anzupassen.
Last he was university rector at the Mozarteum Salzburg and one of the people in charge of the Mozart year Balzer, physicist and professor at the Academy of Fine Arts, Vienna. Haas, what made you jump in at the deep end by establishing your own business? I have become more and more interested in the way culture manifests itself in art. It was gained from observations or based on harmonic systems.
Our diagnostic procedures enable us to determine objectively whether a certain piece of music animates, soothes or annoys the respective listener, and. Due to his physiological reactions we can in most cases determine these things faster than he himself realizes them. It can probably play an important part in treating all relevant diseases. Orthodox medicine can treat only the symptoms of these two severe health problems and not the causes. We explain the basics of chronobiology and his autonomic nervous system to him, in particular the interaction of the sympathetic and parasympathetic nervous systems.
You have to keep in mind that humans deal with sounds, rhythms and music all their lives. Actually the whole human body is based on rhythmic phenomena. What we have to do is consciously make use of our knowledge for establishing sustainable processes of self-regulation. That is our skill. If they are able to do that they will soon start enjoying it. What part does artistic expression play in this respect? However, that alone is not enough. Composers have always aimed at that.
What is crucial, ultimately, are the emotions generated when listening to music. Health is more than pills and operations. We are becoming more and more aware of this, not least because of the costs. Music should be part of health counseling. If pharmacies want to do that, I have no objections — but only on prescription! Music ought to assume at least part of its former cultural function of healing once more. The team was able to specify this knowledge in numerous studies and has developed a special audio program for clinics and hospitals in cooperation with the Viennese start-up company SANOSON.
Acoustic Medicine Total funding: Doppeltes Spiel, Best Friends: Gleichzeitig hat uns das unorganisierte Arbeiten, das wir in der Szene gelernt hatten, auch geschadet. Spielen ist eine harte Schule. Wir haben uns am Anfang viele blutige Klischee, das es rund um die Spiele-Szene gibt. Und das hat in den haben. Nur damit sind wir bei der Paradegeschichte der Spiele-Branche: Seit Anfang der 90er. In der Spieleentwicklung ist es angefangen. Das war immer, was ich machen wollte. Dabei ist gerade umgekehrt: Man muss die Leute also eher bremsen, dass geworden.
Wer zu viel spielt, lernt nichts. Heute sind wir sicher eines der am Thema aber erledigt. Was ist der Unterschied Leben lernen? Es ist sicher nicht optimal, zwischen Spielern und Spielemachern? Ich spiele Counter Strike zu spielen. Die Demoszene entstand doch aus dem Wettbewerb von CrackerGruppen, bei dem es darum ging, wer als Erster den Kopierschutz eines Spiels knackt. Aber ich bin da auch ganz realistisch.
Ein Unterschied zu heute ist, dass es damals um die reine Herausforderung ging, ein Spiel zu cracken, und nicht darum, es danach zu verbreiten. Bei uns stand das Kreative im Mittelpunkt. Nach kurzer Zeit waren diese Demos technisch wesentlich interessanter als irgend so ein Durchschnittsspiel, das danach kam. Da wir mit 15 angefangen hatten, waren wir technisch von Anfang an unglaublich versiert. Sicher, wir hatten gelernt, schnell und kreativ. And they have the potential to earn you an A in the subjects creativity, originality and inventiveness.
When did you start developing games? In the early 90s. I started developing games when I was still at school. I had always wanted to do just that. It ended up with my university studies going down the drain and falling victim to my job. Imagine how hard it was to convince my parents that I had to neglect my studies to become an engineer in favor of developing Moorhuhn! However, that is no longer an issue now. Naturally I also immensely enjoy playing. For me consuming games was never a priority. Before I became a developer of games I was part of the demo scene.
What would you say now if someone were to crack your games? But I am quite realistic in this respect. We cared more about the creative aspect. We preferred creating intros — soon these demos were much more interesting technically than the average main game that followed. This gave rise to a new scene, which had nothing to do anymore with cracking. There were groups that solely created demos, and they came from all over Europe to meet several times a year for parties, where they awarded prizes for the best demos.
The winner there was king. What is funniest is that the whole Austrian community of games developers has its roots in this particular sub-culture. As we had started when we were 15, we were familiar with the latest technical developments from the beginning. It was like a boot camp and also helped us when we established the company. If you want to be successful as a start-up you have to work very long hours, and we were used to long nights. Sure, we had learned to produce results quickly and in a creative way, and to think out of the box if necessary.
At the same time the disorganized way of working we had become used to in this community was also a disadvantage. You cannot manage a games studio in a disorganized way in the long run. Therefore I would rather say: And that leads us to a fact that is typical of the gaming sector: It is just the other way round in the gaming industry: Finally we had to make a decision on the question: Today we are certainly.
Surely it is not the best thing to be living in a Quentin Tarantino world or play Counter Strike all day. On the other hand I am often surprised to see children solve some incredibly complex problems when playing a game, tasks they would never be able to accomplish for example at school. It is a question of presentation and the will of the person playing to put his mind to it. Tasks imposed in a playful context rarely create stress. Playing is not only regarded as a task but also as pleasant entertainment.
And that is what helps. The team is a licensed developer of all common games consoles and published titles such as Panzer Tactics, Undercover: Dual Motives, Best Friends: Sproing is now starting the development of a new game for Nintendo DS. They succeeded in winning a renowned brand for this project and obtaining a product license.
Game development for Nintendo DS Total funding: Im Zusammenhang mit Web 2. Aber jetzt gibt es Tupalo. Die Richtung, in die Web 2. Im Gegensatz dazu wollen wir mit Tupalo unseren Usern die Freiheit bieten, die Inhalte, die sie in Tupalo erstellt haben, auch auf andere Orte zu portieren. Wir machen es den Usern auch leichter, Informationen wie Flickr-Fotos, del. Tun sie aber leider nicht wirklich. Zuallererst einmal wollen wir keinerlei Vendor Login. Tupalo bietet allen die gleichen hochwertigen Dienstleistungen. Aber wie wird eure Konkurrenz reagieren? Hey, das sind meine Facebook-Freunde.
Aber immer mehr User meinen: Ich bin mir sicher, was immer die User wollen, werden sie letztendlich auch bekommen. Es ist also in unser aller Interesse. It is a method of securing a closed information system in contrast to actively providing access to the open Internet for content. Facebook, MySpace, Friendster, Yahoo etc.
So here is Tupalo. With its strategy of experience-driven openness Tupalo is an example of a new generation of start-ups that could easily become the next big thing even on a global scale. Honestly, what Web 2. At the same time most of them are not willing to share with outside peers. What we want to do on Tupalo instead, is to give our users the freedom to port as much of the content they created on Tupalo anywhere else. We give them tools to build their own widgets and plug it into their MySpace or Facebook pages or their personal blogs. At the same time we make it easier to plug information into Tupalo, like Flickr fotos, del.
And we help them to communicate it within Tupalo and beyond. We are building an open system. Tupalo is providing the same superior services to everybody. But by default Tupalo is also a walled garden: But you can easily opt out of that, whenever you wish to, and make your private data public to everyone else even outside of the system. So we enable users to make these choices all by themselves. You can do that for non-commercial purposes. This should certainly be possible. But how will your competitors react? So we should allow all of these friends, no matter if they are using MySpace or Facebook or Tupalo, to be able to share their content.
So if someone on Facebook or Friendster recommends a certain link, we hope that you on Tupalo one day will be able to see that. We are not afraid of that. I want them to become friends with people I know on Tupalo. A lot of the companies who built closed systems rely on an old business model. Facebook refused to share. At the same time an overwhelming amount of people is saying: We are the users, and we want to be able to pull this information from other services however we think it is convenient for us.
My argument is that whatever the users want is eventually what they are going to get. This is where we get back to a distributional advertising model based on a new growing cycle: Users may recommend these locations to their friends by writing comments, and in return remain informed about the favorite places of their friends. The aim is to present a city to both its inhabitants and visitors from a very personal point of view. Tupalo currently exists for some large cities in Europe and North America. Access shall be possible from anywhere by means of special versions optimized for cell phones.
In addition, discussion forums, groups, lists and events shall provide a platform for intensive personal exchange. Wir kombinieren Low- und Hightech, Handskizze und 3D. Unsere Animationssoftware manifestiert sich in neuartigen und von ralf birke experimentellen Formen: So sind wir Betatester es auch in ihrem aktuellen Projekt: Und werden Sie das in Zukunft weiter tun? Wir haben Skizzen echt wirkende Darstellungen werden. Einfach nur ein gutes Werkzeug. Neueste Bildberechnungstechnoloextern vergeben werden musste.
Er steuert den Visualisierungsprozess, ja. So kommt er an eine Dienstleistung, die er bislang meist extern vergeben musste. Das System zeichnet sich durch extreme Geschwindigkeit aus. Der Arbeitstitel ist Virtual Photo, mal sehen, ob es dabei bleibt. Wie kommt man auf die Idee, Online-Visualisierungen anzubieten? So bewegen wir uns in den unscharfen Grenzen. This intermingling of worlds is exactly what their latest project is about.
Thus, plans, ideas and sketches can be turned into realistic visualizations within a single day. Virtual Photo represents a rather pragmatic approach. It is simply a good tool. It will help many people — experts, but also young creative people — to present their ideas in a professional, swift and competitive way. That is what Virtual Photo helps to do. Virtual Photo addresses architects, real estate agencies, furniture designers, interior and industrial designers as well as graphic designers and visualization artists.
Rendering by e-mail, visualizations by a mouse click? A standard web browser both with PC and Mac will be enough. Our software is characterized by extraordinarily simple handling and user-friendliness. Novel image calculation technologies and comprehensive data libraries result in almost photorealistic display quality. Yes, the clients themselves control the visualization process. The system is easily installed and adapted, no special knowledge is required.
It is distinguished by its extreme speed. Laub was trained as a joiner before going to the university. In your team there are software developers and 3D graphic designers. LAUBlab is an interdisciplinary design and graphic arts studio, specializing in creatively applying new technologies and classical drawing techniques.
We are active at the interface of architecture, graphic design and digital experiments. In architects Sabine and Stefan Laub established the company LAUBlab which is active at the interface of architecture, graphic design and digital experiments. With Virtual Photo the team intends to offer a novel online service for the automated production of photorealistic renderings and 3D models.
Virtual Photo can be used with a standard web browser both with PC or Mac. Its characteristics are uncomplicated handling and user-friendliness. Visualizations may be generated within very short time and completed within one day. Virtual Photo addresses architects and real estate agencies, furniture designers, interior and industrial designers as well as graphic designers.
The clients themselves control the visualization process. Novel image calculation technologies and a comprehensive data library allow an almost photographic display quality. Virtual Photo Total funding: We combine low- and hightech, handdrawn sketches and 3D visualizations. Our animation software is able to create new and experimental forms. We try to unite art, architecture, technology, nature, research and economic viability to establish a company philosophy … — It seemed like a natural development for us to apply our know-how and years of experience directly to developing software.
Apart from acting as beta testers for a number of leading software. And will you keep doing so in the future? Not all, but some of them, have already been built. Non-digital architecture is part of our plans for the future, the logical next step after Virtual Photo. We are already working out future projects, we want to break new ground in this area as well … —.
Wie sieht eure Toilette zuhause aus? Das Klo von mir ist rosa — also schon nicht so Mainstream — und hat einen braunen Rand. Das ist so eine Eighties-Geschichte. Ich habe kein dekoriertes Klo. Bis jetzt ist es sich nicht ausgegangen. Weil diese Dekorierungssache ihre Wurzeln schon in der Monarchie hat. Die Verbindung von moderner Kunst mit altem Handwerk ist eben sehr Wien-lastig.
Unser gemeinsamer Weg hat in Los Angeles begonnen. Das ist das Gelbe vom Ei, da bleiben wir jetzt. Wir haben damals 6. Das Tausendfache von dem, was wir verdient haben. Darum haben wir gedacht: Es gibt schon Es gibt fast keine Meeting Points wie bei uns. Hier kann man sich an den Naschmarkt setzen und ein Glas Wasser bestellen. Alles ist extrem konsumorientiert. In Wien gibt es eher diesen Netzwerkgedanken. In Wien stagniert alles, es geht nichts weiter und alle raunzen … Dort ist es einfach so: Okay, ihr macht das jetzt, wenn ihr das gut macht, bekommt ihr wieder etwas.
Das hat uns Selbstvertrauen gegeben. Immer noch nebeneinander, sage ich einmal gleich vorweg, es funktioniert besten Was ist das Wichtigste? Meine Empfehlung ist eine gewisse Risikobereitschaft. Es soll nie ganz simpel und von der Stange sein, sondern eben etwas Spezielleres. Mit dem Blick auf das Bankkonto … lacht bernhard blum: Wobei … Champagnerpartys sollten wir eh auch machen! Both like interspersing their talk with English terms and radiate a relaxed aura that suggests that a part of Los Angeles still remains inside the young entrepreneurs.
Mine is pink — not really mainstream — and has a brown rim. Cause the roots of this decoration thing go as far back as the monarchy. The combination of modern art with traditional craftsmanship is very typical of Vienna. We adopted the name as inspiration and clue. We started cooperating in Los Angeles. We developed concepts for them, the whole corporate design, logo, image texts and so on. We received 6, dollars for the job and thought it was easy anyway.
We were happy until we read on CNN Business how many orders they had been able to secure. It was a thousand times. Therefore we decided to establish our own business, however, not exclusively as service providers but with a product. In Austria it is much cozier, and more importance is attached to social values, over there everyone is more egoistic and focused on money. There are hardly any meeting points, like you have here.
Everything is extremely focused on consumption. In Vienna the idea of a network is more pronounced. There is something good in both ways of life. In Vienna everything gets stuck, nothing moves on and everybody grumbles … Over there it went just like that: Still cooperating with each other, let me say that beforehand, it really works extremely well … michael lukas: What is most important? We always try to pimp up our surroundings, that is make them more beautiful. After many years in the creative industries you know how people often play fast and loose with things that look great from the outside — champagne parties and the like.
Of course working with beautiful things is also just a profession. However, we are not obsessed with that, which would take away our personalities — and it is always important with individualized products to express your own personality.
Coming to think of it … we should nevertheless go in for champagne parties! The cooperation between artists and leading producers of sanitary ware brings synergy effects for all parties involved. What makes All Austrian Arts so unique is the transformation of sanitary ware into works of art. At moderate extra charge customers may add a special touch to sanitary ware by renowned producers through creative colorings and motifs made by young upcoming designers and artists.
Was interessiert dich daran? Ich starte von einer Idee, die in der Umsetzung wieder neue Ideen generiert. Eigentlich bereits seit dem Zeitpunkt, als ich in Graz begonnen habe, Bildhauerei zu studieren. Ich habe damals angefangen zu schnitzen, auch Steinhauerei zu betreiben. Die klassische Goldschmiede war mir zu langweilig, mich interessierten neue Materialien und Formen.
Durch die Dimension war der Schritt zum Alu sehr nahe liegend. Aluminium ist ein sehr interessantes Material, mit dem man vielseitig arbeiten kann. Ich machte eine MAK-Nite. Welcher Szene ordnest du dich zu? Meine Arbeit ist ein totales Konglomerat. Ob ich in einem Museum eine Ausstellung mache, in Fashion Stores vertreibe, oder meine Designleistung an Werbeagenturen verkaufe — mein Zugang ist immer derselbe. Und gute Fashion Stores gibt es weltweit mehr als genug. Ich versuche mich von rein kommerziellen Trends freizuhalten.
I like working with big formats. First I attended a technical high school for goldsmithing in Steyr Upper Austria , then a technical high school for sculptural art in Graz Styria. The large size of my pieces gives the people who wear them an additional sense of protection. Also, large pieces of jewelry are much more visible on the catwalk and come across much better on press photos.
Have you always enjoyed that aspect? My creative urge has always been huge. My eyes and ears are open to new technologies and materials. I get most of my ideas when I am working. Actually, since the time when I started to study sculptural art in Graz. Back then I took up carving, including stone carving.
Traditional goldsmithing had soon started to bore me and I became interested in new materials and shapes. The size of my work soon brought me to aluminum. Aluminum is a very interesting and versatile substance. Surface treatment can turn it into a very luxurious material. First, I participated in a large exhibition in the Austrian province of Tyrol. Which scene would you say you are part of? I am not part of any scene. I am too independent for that. My work is a complete conglomerate. Whether I do an exhibition at a museum, sell my pieces in fashion stores or provide my design services to advertising agencies — I always take the same approach.
The number of galleries and also that of clients is, however, very limited. And there are more than enough good fashion stores all over the world. I do not want to turn away from the art world, but I increasingly create products for the fashion scene. No, my interests stay the same, including maximum demands on design. Lieder aus den nationalsozialistischen Konzentrationslagern: Geschichte n , Erinnerung und Rezeption.
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