The Catastrophe Colours 2018. An Exhibition by Gonzalez Haase AAS and June 14 Meyer-Grohbrügge & Chermayeff, Photography: Dominik Gigler
A rejection of colour has come to characterise the aesthetic of modern architecture. White and monochromatic tones were often seen as the antithesis of purity, honesty and authenticity. Stemming from a time that defies any categorization, can contemporary architecture embody a more complex and shifting relationship to colour? Reaffirming the status of colour as primarily a sensory perception, architecture office Gonzalez Haase AAS has developed the book Catastrophe Colours, underlining a critical approach to colour theory in the present. By confronting media images of catastrophes with their inherent chromatic essence, the book establishes a new inventory of colour. One that is based on research, linkage and storytelling, echoing the basic components of our information society. For this exhibition at BNKR, Gonzalez Haase collaborated with June14 Meyer-Grohbrügge & Chermayeff, to arrange various catastrophe colours into new sets of colour like Middle East Conflict, Vietnam War, Cold War, Nuclear Disaster, Oil Spills and Terrorism. Such new samples are specifically adopted from a political context, transforming colour patterns into narratives. An event as part of the program „Stop making sense, it’s as good as it gets.“ curated by Ludwig Engel and Joanna Kamm.
Soundsystem Despacio, New Century Hall, Manchester International Festival, Juli 2013 © Rod Lewis / Guests at Studio 54, New York, 1979. © Bill Bernstein, David Hill Gallery, London / Installation views, Photos: Mark Niedermann
Nightclubs and discothèques are hotbeds of contemporary culture. Since the 20th century, they have been centres of the avant-garde that question the established codes of social life and experiment with different realities. Interior and furniture design merges with graphics, and art with sound, light, fashion and special effects to create a modern Gesamtkunstwerk. Night Fever is the first exhibition to give a comprehensive overview of the design history of the nightclub, examining its cultural context from numerous perspectives. Examples range from Italian clubs of the 1960s created by the protagonists of Radical Design to the legendary Studio 54 where Andy Warhol was a regular, from the Palladium in New York designed by Arata Isozaki to more recent concepts by the OMA architecture studio for the Ministry of Sound in London. Featuring films and vintage photographs, posters, flyers and fashion, the exhibition incorporates music, light and spatial installations to take visitors on a fascinating journey through a world of glamour and subcultures – always in search of the night that never ends. In a night that never ends, the exhibition begs the question of whether the disco culture has evolved into a particular direction.
Frozen tent for the Antarctic-Biennale 2017, Work + Photo: Gustav Düsing
For most people, Antarctica, the earth’s sixth continent, is so far away that it can be perceived as common heritage, as an agile archive and laboratory, in which a new era of ecological consciousness is being fostered. Antarctica is a geographic end of the world yet central to global debates about climate change. But what are the intellectual and practical coordinates of commissioning art in such a location? Can we even talk about an ‘antarctic imaginary’ beyond scientific discourse? Starting with a screening of Pierre Huyghes’ film A Journey That Wasn’t, the event “Expeditions / Exhibitions” investigates the topic of travels and their presentation. What follows is a discussion between Antarctic Biennale participant Gustav Düsing, author and expert in Huyghe’s work Marie-France Rafael, and co-curator of the Antarctic Biennale Nadim Samman addressing the larger questions at hand. As part of the event, Düsing will reveal his architectural contribution to the biennial: a tent made of frozen fabric as a reference to the most prominent typology that has been used for Arctic expeditions since the 19th century. This event is part of Stop making sense, it’s as good as it gets., an ongoing program developed by Ludwig Engel and Joanna Kamm, derived from a close reading of Tom McCarthy’s novel Satin Island. Artists, writers, architects, theorists and scientists are invited to discuss their interpretations of time through different formats.
Across the world there has been a shared desire to bring the vision of the Bauhaus up to date, but every attempt to revive it is doomed to failure since it was both a forward-looking project and a child of its time. projekt bauhaus critically examines the ideas of the Bauhaus by using its own methods. It will seek to expose the internal contradictions of the Western idea of progress and discuss alternative approaches. The Bauhaus sought a synthesis of knowledge in which the various forms of knowledge—technical, scientific, emotional, creative—would be interconnected. This concept of knowledge was combined with a new pedagogy to emancipate the people, release their potential, and ultimately lead to the creation of a “new man.” As 2019 will mark the centenary of the founding of the Bauhaus, a one-day symposium hosted at the Haus der Kulturen der Welt in Berlin will bring together great thinkers to address questions of progress and renewal pertinent to our times: Which spaces encourage creativity and innovation? Which sites of knowledge does society need today? And essentially, do advanced laboratories of computer, internet and media companies represent the Bauhaus of the twenty-first century?
© Andreas Gehrke, 2017
An unusual bank building in the centre of Germany, designed by architect Hans Kollhoff in the late 1990s, has been converted into a depot for art and valuables. Seemingly monolithic on one side with its heavy sandstone facade, the mammoth structure flows into an unexpected openness and even relaxedness on the other side. This stems from the enormous glass window designed by Swiss artist Helmut Federle, as well as the interior courtyard covered by a glass roof that, though impregnable, comes across as a light element. Austere calm emitted from the exterior coalesces with a certain domestic atmosphere imparted by an array of rooms inside. There’s a distinct feel for aesthetics and art, and since the new tenants belong to the latter category rather than the monetary world, a harmonizing balance occurs. ZentralDepot offers a safe home to artworks within a climate-controlled setting combining unprecedented security and exceptional design. It goes to indicate that the one does not have to eliminate the other.
© Images: Thomas Meyer – Ostkreuz / big image: Gonzalez Haase AAS
Tucked away snugly between two adjacent buildings, vGGG is a housing cooperative project consisting of three residential units with a “house-inside-a-house” character. Starting from the outside, the building’s location is crucial to its aesthetic qualities. Ohmstrasse, a landmark-protected street, is something of an inner-city island or haven of sorts: its existing structures date back to the “founding era” of Berlin, yet it is surrounded by wasteland, industrial plants and highrises. Its historic provenance, however, makes the addition of modernist-inspired architecture a challenge, due to strict regulations. To resolve this creatively, Gonzalez Haase’s design approach disregards the outside appearance of a building shell and therefore vGGG is conceived from the inside out. The building reacts to its environment on a more complex level, which can only be experienced when one encounters the architecture from within. Inside, one thing is instantly evident: the prevailing feature is the abundance of light entering from every possible direction. From the size and placement of windows, to shortened walls and connective openings between floors, it’s all about unobstructed views and allowing natural brightness to penetrate the rooms. Thus, the industrial charm of the neighbouring horizon steps into the sphere of the private. In turn, the house morphs into a threshold between entirely contrasting urban landscapes. For Gonzalez Haase, conforming to regulations and framework conditions shapes architecture, and can ultimately generate beauty — and in this case lead to a refreshing take on reducing things to their core.
Images: Iwan Baan / rendering by Diller Scofidio + Renfro
In Moscow’s oldest district, a new public park is unfurling — the first to be built in the Russian capital in over 50 years. Zaryadye Park sits on a historically charged site in close proximity to the Kremlin and Red Square, as well as surrounding heritage buildings. Since the demolition of the colossal Rossiya Hotel that existed there until 2007, the most expensive real-estate in Moscow was left in ruin. After winning an international competition organized by Moscow Chief Architect Sergei Kuznetsov in collaboration with Strelka KB, NIIPI Genplana of Moscow and the Moscow Committee for Architecture, a design consortium led by Diller Scofidio + Renfro (DS+R) in partnership with Hagreaves Associates and Citymakers has applied their approach to fostering inclusivity, openness, access and porosity to the project. The defining part of the design’s basis is the idea of “Wild Urbanism” — an elemental confrontation between the natural and artificial, the local and global. Expanding on this overarching concept, the overall lack of paths and predefined routes allow people and plants to exist and move freely alongside each other. Unpredictable conditions give as little instructions as possible and therefore offer a more genuine sense of exploration. Visitors can meander between the different landscapes that blend into one another, and reconcile urban life with the desire to be in proximity to nature. Zaryadye Park’s concept is specific to Russia by including native flora in four artificial microclimates that mimic the landscape typologies dominating Russia: the tundra, the forest, the wetland and steppe. “Moscow lost and found” runs as an underlying thread throughout the project: Once inside the park, large swatches of forest and vegetation allow immersion in nature and escape from the city. Elsewhere, promontories offer singular outlooks from which the city is rediscovered and appreciated anew. Based on the principle of lamination, the park buries built structures underneath, which host different cultural programs, restaurants and a philharmonic hall. Thus, a multiplicity of experiences are embedded in the same space in an ostensibly organic manner that resists over-calculated design. Scheduled to be revealed in September 2017, the current transformation of the Zaryadye district into a public space, represents both a historic moment for the Russian capital, and a powerful opportunity to rethink the purpose, potential, and value of parks in the 21st century.
Architecture is not necessarily an activity whose sole purpose is construction, but rather a field for intellectual research and speculation that encompasses an arsenal of numerous disciplines. The emerging generation of the most talented architects and urban professionals in Europe joined forces during the Future Architecture Festival in Ljubljana organized by the Museum of Architecture and Design (MAO). The purpose? To break down walls. Not just physical walls, but also those of imaginary, professional and ideological nature. Through critical approach, architecture is perceived as a means to address the most pressing social and political issues of our times. Essentially, the common aim of all the ideas taking part in the festival is to observe, analyze and change the world we live in. Some of the stimulating topics discussed included James Taylor Foster’s (archdaily) lecture and panel discussion “What is Attention Economy? Why Should I Care?” which unpicked the designed intention behind social sharing and the state of the Internet in 2017 – a reality both fascinating and disconcerting in equal measure. Focusing on future materials, Esen Gökçe Özdamar presented the Bioplarch workshop which proposed new bio-degradable plastic made out of edible components and how it can be realistically used and widely applied in industries and daily life. Of course, one of the fervent topics throughout the whole festival was the reclamation of public space and strengthening communal initiatives. Among others, Kosmos Architects proposed to turn Basel’s underground river into a linear botanical garden, open for the public year-round.
Bureau N’s involvement
As a member of the Future Architecture Platform, Bureau N was invited to host a talk during the festival. We decided to focus on a common thread between our field of expertise — cultural communications — and the overarching theme of architecture. It was quickly obvious that the shared ground we were after was storytelling. Within our practice, stories are an indispensable device that helps us convey messages, if not the underlying protagonist of all our projects. Giving shape to narratives that others can empathize with, or are curious to explore further, is the bedrock of every worthwhile creative project seeking to transmit information that’s understood by more than one person in a powerful manner. In this case here, taking storytelling as a point of departure, we aimed to touch upon the relationship between architecture and narrative, and how space can be perceived through that particular scope. Our talk, entitled “Tales Only Architecture Can Tell” was joined by two theorists and two practitioners: futurist Ludwig Engel whose work deals with urban utopias and future cities; Victor Cano Ciborro of the architectural collective and radical research group Arquitectura Subalterna; scientist and researcher Ana Jeinic who engages in how architecture will adapt to post-futuristic states of culture; and Adrianna Pablos Llona who questions borders, nations and monolithic disciplines. All presented lectures and workshops will be soon available online on videolectures.net
Images: Bioplarch,starch-based bioplastic as construction material by Esen Gökçe Özdamar, Ahmet Bal, Schermin Schentürk / Hidden Park, Kosmos Architects / Tempio di Minerva. Sonic Impression or Architecture as Instrument”, FAKT Architects in collaboration with MAXXI
With their inexhaustible supplies of imagination, intelligent sense of humor and iconic creations, Charles and Ray Eames had a major impact on 20th century culture that extended well beyond design and architecture. Throughout their careers, they focused primarily on finding answers to the simple question of how the basic human needs for living space, comfort and knowledge could best be met. Rather than a luxury, they understood design as a solution. Nowadays, the duo’s name is synonymous with timeless aesthetics and technical precision, embodying the synergy of form and function. In celebration of these two enduring creative forces, the Vitra Design Museum is presenting four parallel exhibitions that offer an unprecedented view of the work created by the ever-referenced designers. From medical splints and airport seating to films and children’s toys, visitors will be invited to explore an all-encompassing spectrum of the Eames’s vision taking over the entirety of the Vitra Campus. The exhibition sequence’s major retrospective will be accompanied by the designers’ cinematic oeuvre of more than 60 films, children toys as well as the full scope of the collection of the Eames Office that is with the museum since 1988.
Credits:Charles and Ray Eames selecting slides / Ray Eames with an early prototype of »The Toy« in the patio of the Eames House, 1950 / Charles and Ray in the living room of the Eames House, 1958 / Installation view of »Glimpses of the U.S.A.«, American National Exhibition, Moscow, 1959 / Photo shoot of the Aluminum Group with Charles Eames, 1960 / Charles and Ray Eames, Film still »Powers of Ten: A Film Dealing with the Relative Size of Things in the Universe and the Effect of Adding Another Zero«, 1977. All pictures: © Eames Office LLC
“You can avoid people but you can’t avoid architecture.“
Whether through questions about gender and sexuality, or by investigating architecture’s imposing ability to manipulate our physical actions on a daily basis, Monica Bonvicini consistently explores themes of power and control. Her multidisciplinary approach—videos, installations, drawings and sculptures—touches on identity as well as socio-political and economic issues with a hint of humour. Conceived for the large exhibition hall of the Berlinische Galerie, Bonvicini’s new installation, amongst other things, investigates the term “facade” and its function in the built environment. The institutional viewing space is often the subject of her work and thus, Bonvicini’s site-specific, power-conscious and gendered allusions to the norms of architectural and artistic modernism quite literally operate on the boundary between artwork and spectator.