Award-winning product designer Werner Aisslinger (born 1964 in Nördlingen, lives in Berlin) has been invited to create a site-specific installation for the Paternoster Hall at Pinakothek der Moderne.
This new format, scheduled in each case for 10 months, expands the idea of a temporary exhibition and alters the image of Die Neue Sammlung. Following on from Konstantin Grcic, Werner Aisslinger is the second renown designer to explore the two-story hall, which can be viewed from a gallery and is characterized by two Paternoster elevators. He continues, with the contents of his own works, the discourse kindled about displays and museums.
Werner Aisslinger’s practice is based on the idea of material transfers and the question of what living and working in tomorrow’s world will be like. On the one hand, social changes are influencing people’s living needs, while on the other an ever-increasing volume of new materials with enormous potential are being marketed, which have their origins in the automotive industry, medicine, and the bio-sciences. Werner Aisslinger responds to these challenges with his objects used directly in living and working environments. He is known for his striking, unconventional solutions for product design and interior architecture. Ecological structures, sustainability issues, and practical aspects play the main role in the development and production process for his objects.
For Die Neue Sammlung, Werner Aisslinger converts the Paternoster Hall into a lively “House of Wonders”. The Paternoster elevators are part of a new temporary architecture, which offers fluctuating living and working situations. Micro-farming projects dispersed around the building exemplify how the production of food and furniture can be adapted to individual requirements. Connecting analogue and decorative designs with digital technology, robots, and drones more and more implemented into our daily lives, Werner Aisslinger is questioning the bond between big data and user behavior in terms of aesthetics and emotions.
The visionary concept of living, paired with the idea of mobility and system, is transferred to the outdoor area of the Pinakothek der Moderne: situated on the south-eastern site of the museum’s building, the Loftcube is conceived as a mobile working space and flexible living unit in one. Belonging to Aisslinger’s most important designs it will be accessible to the public by the end of November as a satellite of the exhibition within the context of the acompanying program.