Hasta La Ideas

KISKA is an independent design studio. More than 260 designers, strategists, digital experts, engineers, and modelers work at KISKA’s Austrian headquarters, including their headquarters in Germany, the United States, and China. Working across industries and integrating creative fields, they design desirable products and brands.

In collaboration with Husqvarna, KISKA created the NORDEN Motorcycle concept. With it’s versatile and accessible package, the NORDEN concept is designed to provide you with all you need for effortless riding. 

The Opportunity

“Starting as a designer here isn’t like anywhere else. Leads trust you to take on a big role right away,” said Julian, a designer at KISKA. You could do an internship at a brand headquarters or a traditional studio. But you want something different! KISKA makes you think differently. The brand-oriented nature of product design here means that every day is a big-picture day. Apply now to be a part of this groundbreaking environment!

Responsibilities

• Deep involvement in the design process and innovation projects.
• Supporting your team throughout the entire design process.
• Bringing unique ideas to the table.

Requirements

• Motivation to gain insights into both the design process and studio life.
• To be a design student or recent graduate. Preferably in product design or industrial design. Availability for six months.
• An open mind and willingness to work across creative fields to challenge status-quo ideas.
• English fluency.

How to Apply

The Austrian government requires employers to state the minimum salary for every position. In this case, the actual salary is €1,000 per month for an undergraduate internship and €1,200 per month for a postgraduate internship. KISKA is also an equal opportunity employer. It’s a no-brainer, but important to mention.

Location

Salzburg, Austria.

Click here to Apply Now!

Check out all the latest design openings on Yanko Design Job Board

Rise Design Studio has sunk a weathered steel-clad extension in the garden of a London house as a sanctuary from the UK’s Brexit-dominated political climate.

Dubbed the Brexit Bunker, the small studio provides a place to work or relax.

Hot-rolled steel, the same material used in the construction of the railway track directly behind the site, was left to naturally rust and then used to cover the entire exterior of the garden room.

Featuring a pyramidal roof with an oriel window, it faces the main house from the other end of a paved garden and is sandwiched between two brick walls.

“The garden studio sits, or rather nests, at the rear of a small garden connected by a patio clad in clay pavers, a contemporary addition that is still reminiscent of the reclaimed bricks used for the garden walls,” said the studio.

Steps leads down from this patio to the Brexit Bunker’s door next to a projecting window box providing seating overlooking the garden.

At  the back, where it faces the railway tracks, the only views are upwards through the skylight.

Plywood provides a surprising contrast to the rough exterior, lining the walls and ceiling to create a warm and light-filled space.

Built-in storage has been arranged to provide a niche for seating below.

A set of steps lead over the niche and up to create an accessible platform area directly beneath the skylight.

“One can relax surrounded by the sounds of birds without any visual hint that they are in the city instead of the country; it is a place of sanctuary,” said the studio.

The walls and roof of the studio have been highly insulated to offer both thermal and acoustic protection.

A hanging light fixture also made from weathered steel illuminates the patio.

Its shape is designed to emulate the pyramid-shape of the Brexit Bunker, connecting the house and the studio.

Rise Design Studio, based in Queens Park in London, was founded in 2011 by Sean Ronnie Hill.

Previous projects by the firm include a glazed, light-filled extension to a terrace home, as well as the renovation of a flat inside a 19th century mansion block.

Photography is by Edmund Sumner.

Project Credits:

Architect: RISE Design Studio
Contractor: Capital Building Contractors
Structural engineer: Tyrone Bowen, CAR
Party wall surveyor: Osprey Building Consultancy
Glazing, oriels and sliding doors and glazed envelope: Maxlight
Garden design: Daniel Shea
Glazing: Finchley Glass Clay
Pavers: Vande Moortel

The post Sunken steel-clad Brexit Bunker built in garden of London house appeared first on Dezeen.

The father/son team address transparency, tech and collecting work today

The very first website appeared in 1991 and explained how to use the internet. Not many companies were quick to launch online (an unknown realm for most at the time) and many that did disappeared quickly into insignificance. Artnet—which was founded in 1989 by German art dealer  Hans Neuendorf—was one of the first companies to make the brave foray into the digital universe. Neuendorf’s mission was to create transparency within the art market, while providing collectors and dealers with updates on art sales all over the world.

These updates had been sent via fax previously, but in 1995, with the digital launch of Artnet, that changed. The online iteration became a constant, virtual art fair able to instantly connect a global roster of gallerists, dealers and collectors. While the mid-’90s were still the early days of the internet, it was then that Artnet began making its mark and changing the art world. To celebrate 30 years of the significant company, we spoke with founder Neuendorf and his son (Artnet’s current CEO) Jacob Pabst, about transparency, tech and art.

Launching so early in internet history, what do you think Artnet had at the beginning that made it so long-lasting?

Hans Neuendorf: Artnet had a product that everybody in the art market needed as well as the patience and determination to take on the massive work that a database of this size requires.

Jacob Pabst: We were very early and had the right products, strategy, vision and team. We have often been too early, actually. Being too early can be a challenge.

Does that same element remain relevant and crucial today?

JP: Yes, and today we have a very strong brand and reputation on top of that which certainly helps.

The mission for the site was to bring transparency to the art world, why does that remain important—perhaps even more so today?

HN: No market can function efficiently without price transparency. Dealers and auction houses in the art market thought that keeping prices secret was the key to good profits whereas every economist will tell you that the opposite is true.

JP: People want to feel confident when they buy and sell art. Transparency gives them that confidence. Any market needs transparency and access to relevant information to be able grow.

How has the Artnet audience changed over the years—are their interests and queries very different from the early days?

HN: The resistance to online transactions in art has been much reduced and continues to lessen.

JP: As market trends have changed so have the searches on our site. The contemporary market for example has completely outpaced other categories and this is one search pattern that changed accordingly. There are many more interesting trends and developments hidden in our data. Also, we attract a much larger audience as traffic has grown tremendously over the years and this year alone has increased over 20% already.

And how have you continued to change the site in order to remain relevant within the art world?

JP: There are many small upgrades and improvements launched regularly and then bigger changes or new product launches. The last major product that launched was Artnet News in 2014, which is the most read art market publication in the world today. We are very proud of that. In 2008 we launched Artnet Auctions as transactions in the art market are moving more and more online as it’s so much faster and cheaper.

Our goal has always been to use technology to overcome inefficiencies in the art market and we are very excited to see what the future will bring

Were there some significant moments—within and outside the art world—that influenced the changes at Artnet?

JP: In general, I would say technological advancements over the years have made it possible for us to do what we do, and this will continue especially as technology changes faster and faster. Our goal has always been to use technology to overcome inefficiencies in the art market and we are very excited to see what the future will bring. Outside of that, I would say that the gradual acceptance of and trust in the internet has transformed our business especially when it comes to buying and selling art online. Buying and selling art should be much faster and cheaper and not focused on only a few popular artists. This is why we started Artnet Auctions: to bring liquidity to the market. We believe Artnet Auctions will have a similar impact on the market like bringing transparency to the art world did in 1989 when we launched the price database.

What’s your proudest moment during your tenure at Artnet?

HN: The support of our shareholders during a hostile take-over attempt in spite of still weak financial results.

JP: There is not one particular moment. I am very proud about the progress we have been making overall and to be able to work together with so many talented people.

What do you hope to see on the platform over the next several years?

HN: Connecting our products better for the benefit of our users and making artworks liquid.

JP: The relaunch of Artnet. As technology changes faster and faster we are working on upgrading the entire system and launching the new Artnet which will go online incrementally in 2020. I feel like we are still only at the beginning and all our products have a lot of potential that can be unlocked with the relaunch.

Images courtesy of Artnet

Canadian firm Diamond Schmitt Architects and American architects Tod Williams and Billie Tsien have revealed plans to redesign the David Geffen Hall at New York’s Lincoln Center, two years after Heatherwick Studio’s overhaul was scrapped.

The Lincoln Center for the Performing Arts and the New York Philharmonic announced yesterday, 2 December, that David Geffen Hall will be renovated by local studio Tod Williams Billie Tsien Architects and Toronto’s Diamond Schmitt Architects.

The latter was originally paired with the London’s Heatherwick Studio for the masterplan but the project was cancelled in 2017.

In the new venture, Diamond Schmitt will overhaul the New York City concert hall, while Tod Williams Billie Tsien will redesign the public spaces.

The renovation of the music hall, which is the home of the New York Philharmonic orchestra, aims to update the space with improved acoustics and sightlines. The firm is working with Paul Scarbrough of Akustiks for the acoustic design, and Fisher Dachs Associates for the theatre planning and design.

Renovated concert hall “will be intimate, immersive, and adaptable”

“The auditorium is recalibrated to deliver improved sightlines, audience comfort, and superb acoustics from every seat in the house,” said Diamond Schmitt project lead Gary McCluskie.

“The new concert hall will be intimate, immersive, and adaptable to host a range of performances of classical compositions and innovative programming.”
The stage of David Geffen Hall will be moved forward by 25 feet (7.6 metres), and seating capacity will be reduced from 2,738 to 2,200. Seats will be placed closer to the stage and arranged to wrap around it.

The stage’s ceiling will also be elevated and replaced with an adjustable canopy.

The layout of the original inclined seating dating back to 1962 will also be restored on the orchestra level, adapting an alteration made in 1976.

Additional wrap-around seating will be built around the orchestra section, which will contain a new motorised lift for stage risers for the orchestra. The firm will also improve the centre’s ADA accessibility.

Renderings show that the concert hall will be resurfaced with pale wood cladding and curves.

Tod Williams Billie Tsien to expand public spaces

Tod Williams Billie Tsien’s redesign of the public spaces includes a new lobby that will be double in size and open up to the outdoors on three of its sides. It will resemble the original layout, and feature a digital streaming wall to show concerts in real-time.

The first floor of David Geffen Hall, called the Grand Promenade, will be also reconfigured with more seating, bar and food service, and will access new promontories overlooking the ground floor.

“By reorganising and reconceiving the concert hall and its public spaces, the interiors of David Geffen Hall will be unified and invigorated,” said Williams and Tsien.

“The result will be an experience that is warm, captivating, and exciting,” the duo added. “We’re thrilled to be part of the team extending the Philharmonic and Lincoln Center’s arms to wider audiences for generations to come.”

Renovation to add new amenities

A new eatery will also be built in the lobby in the southwest corner, and have both informal and casual dining. A welcome centre will be added to the side of the centre that meets Broadway street.

A community and art installation space, called Sidewalk Studio, will also be located at the corner of the complex at 65th Street and Broadway. Restrooms and two lounges are among other new additions, while existing staff offices will be moved from the ground floor to upstairs.

Other amends to the exterior of David Geffen Hall will comprise new lighting on the upper tier, and the addition of site-specific works on the northern facade.

The new David Geffen Hall is projected to cost $550 million (£425 million), and is expected to open in March 2024.

Designed by mid-20th-century American architect Max Abramovitz, David Geffen Hall was originally called Avery Fisher Hall completed in 1962. The 2,738-seat auditorium was renamed in 2015 after entertainment mogul David Geffen donated $100 million (£76 million) to fund its transformation.

Proposal replaces Heatherwick Studio masterplan

In the same year, Heatherwick Studio and Diamond Schmitt were picked from 100 firms to replace Foster + Partners on the project.

The duo were then dropped two years later, with a joint statement from Lincoln Center and the New York Philharmonic released at the time suggesting the proposal to completely gut the concert hall was too drastic.

Diamond Schmitt and Tod Williams Billie Tsien will instead conduct the overhaul in stages. The scheme involves two closures of the hall, with the first closure from May to October 2022 that will result in the initial creation of the redesigned concert hall. A second closuer is planned to span from May 2023 until February 2024.

The David Geffen Hall project forms part of an overhaul of the Lincoln Center – which opened in 1962 and comprises several rectangular buildings arranged around a plaza and outdoor fountain, designed in a similar style with flat roofs, slender pillars and glazed walls.

The update of the entire complex overseen by New York architecture firm Diller Scofidio + Renfro.

The post Tod Williams Billie Tsien teams with Diamond Schmitt for redesign of New York Philharmonic concert hall appeared first on Dezeen.

Lighthearted and groovy, SiR and Zacari’s “Mood” burns at a steady tempo, highlighted by falsetto from both singers. Zacari ( Zacari Pacaldo) commands the chorus, while SiR (Sir Darryl Farris) leads the verses with breathy, layered vocals. The Mez for Heirs-directed video puts the pair into an action movie, culminating war scenes from Farris’ nightmarish dreams. The west coast-influenced track appeared on SiR’s recent Chasing Summers album.