Modern Contemporary is a very beautiful monograph of Belgium artist Arne Quinze‘s work. This work, despite or thanks to its obvious influences like Kawamata, Basquiat, Matta Clark, Katsushika Hokusai (whose drawing is tattooed on A.Quinze’s back) etc. manages to find a real strength which probably find its source in the overwhelming energy spent by the artist. This book, published by German publisher Hatje Cantz, is an excellent collection of the translation of this energy on the various mediums that are objects, dioramas, paintings, installations, architectures etc.
Arne Quinze manages to always flirt with the dangerous “coolness” without seeming to fall for it and the aggressiveness of his work is intelligently balanced with the apparent fragility of his creations.
Previous articles about Arne Quinze:
- The Sequence
- My Home my House my Stilthouse & my Safe Garden
- Contemplating the void / 50th anniversary of the NY Guggenheim
Serge Brussolo is a French science-fiction writer whose masterpieces has been mainly written in the 1980′s. As far as I know he has never been translated into English and although I already tackled this topic at the very beginning of this blog’s life I am willing to evoke it again and give a short translation of my own of some excerpts of the short story Aussi Lourd que le Vent (As Heavy as the Wind).
Written in 1981, this story narrates the invention of a new form of art (and by deviation of architecture) that introduces voice’s frequencies as a mean of materialization of evanescent porcelain volumes. S. Brussolo actually iven implies even a sort of counter-Kaballah as the words screamed by the artist which seem to produce the most beautiful pieces are insults from whichever language they come from.
Once their time is up, those porcelain volumes release the sound that generated them just as if their materiality was strictly composed by sound itself that could transform itself from waves to solid and back to waves again.
At the end of the narrative, a venal patron manages to make the volume permanent and sell it to the building industry that produce entire buildings in this unbreakable porcelain.
With this story, S.Brussolo invented a new way of creating architecture: a declamatory design that requires the architect to recite or improvise a composition of sounds and words that materialize into porcelain. It also celebrate the creation of architecture as a ceremony that, once again, owns something from the Kaballah, a religious power attributed to the words. Here, the Golem is not activated by the word of God but rather by insults in what I would interpret as a beautiful homage to Antonin Artaud.
Arne Quinze continues his obsessive beautiful work on the tracks of Tadashi Kawamata and Yona Friedman. This new installation will be soon visible at the Lousiana Museum of Modern Art in Humlebæk (Denmark) from June 1st to October 2nd.
My Home my House my Stilthouse & my safe Garden is an investigation of the notion of domesticity and neighborhood. Each “building” is, as always, architecturally recounting its own fragility and self-construction.
For those of you who would like to help the Japanese evacuees from the disaster they just experienced and who would like to donate for a project more specific than the Red Cross or the Unicef, you can visit Shigeru Ban‘s office’s website who organizes partitions kits to set up in the big gyms and other rooms where hundreds of people have to share a shelter after they loose their homes.
Here is the link towards this project’s page.
Formlessfinder, whose interesting manifesto is now published on The Funambulist, created this year, what is the best PS1 Pavilion proposition I have ever seen. Observing the limitation of the redundant canopy, they have been designing a beautiful debris jungle which materializes what I have been idealizing since the first time I visited PS1 !
Bag Pile uses a palette of geotextile containers, products developed to control erosion and shifting material at a vast scale, in combination with heavy (gravel, sand) and light (recycled foam) fills to pack the PS1 courtyard with a tangle of columns, arches, and vaults. These elements are formed by combining heavy and light according to a simple structural principle – lightweight fill is used in overhead spans and tall vertical elements, which are always anchored to the ground and secured against wind loads through a ballast of heavy fill. Shipping and material costs are kept to a minimum not only by using industrial materials typically deployed at a much larger scale than that of the courtyard, but by sourcing materials locally – the heaviest material comes from less than a mile and a half from the site. Demolition costs are more or less eliminated by finding destinations in advance for all materials to be recycled and repurposed. In this way, secondary materials – typically hidden from view in infrastructure and landscape projects – become primary.
The challenge of this annual competition is to design an interesting architecture with a very low budget and most offices seem to think of a scheme that would necessities more money to finally reduce the project to a very reduced version. Bag Pile on the contrary, recounts its own budget limitation and imagines a sort of playfield whose apparent dirtiness disturbs the visitor and requires a negotiation with his repulsion.
found on David Gissen’s blog HTC Experiments with pictures from Bustler
I wrote an article about the same topic in 2008, but it seems worth re-evoking the very interesting practice of Recetas Urbanas (Urban Prescriptions in Spanish). Created by Santiago Cirugeda this office is situated in Seville and insert a part of its project in the ambiguous folds of the city’s construction code. In fact, I always refer to Cirugeda’s work as something in between the important works of Teddy Cruz who negotiate with the Institution to achieve legal projects and of Max Rameau who requisitions Miami’s speculative land to compose homeless’ villages. This practice requires an exhaustive knowledge of the legal frame of the environment it registers in.
Explaining the approach of a project like ANDAMIOS (photo 2) is highly illustrative of this attitude. Seville’s urban code allows oneself to set up a scaffolding on one’s facade in order to repaint it (maybe because of a graffito on it for example). As long as this operation is backed by a licensed architect who can sign the health and safety form, one could then install an additional balcony to his apartment during this same duration:
The Thai multi-disciplinary design studio Supermachine Studio (founded by Pitupong Chaowakul in 2009) has designed and built the temporary installations for the Big Mountain Music Festival in Thailand. The architectural vocabulary used expresses its ephemerality in a similar way of what the French collective EXYZT is used to produce or, to stay in Asia, Kolkata’s Pandals during Durja Puja.
Thank you Camille
Fabio Gramazio and Matthias Kohler
will be presenting their robot that we don’t introduce anymore (for uninformed people or Harvard students
, you can see R-O-B work on this former post
) at the Storefront for Art and Architecture
in NYC between September 30th and November 15th. The installation will not be set at the storefront itself, but rather in the public space on Pike Street between Division Street and East Broadway. We will then see if after several year, this robot learned from its experience or keep on doing the same thing over and over again…
Here is last Arne Quinze’s installation close to the Flemish Parliament in Brussels for the first Festival of politics which ran on november 14th, 15th and 16th.
More pictures and informations on the official site
Here is one of the tenth International Sonsbeek Sculpture Exhibition’s work in Arnhem (Netherlands). This Flying Green House
was designed by Tomas Saraceno and consists of a 10m diametre sphere which can shelter the green house’s plants, surrounded by 31 other spheres ensuring that temperature remains constant.
Let’s hope that this work will really exists as a green house, not only as a sculpture.
Fabio Gramazio and Matthias Kohler
are going more and more into details in their reseach about robotic aided construction. After Gantenbein Winery
(see the movie
) and their Seroussi Pavilion’s Competition entry, they invaded Switzerland’s Venice’s Biennal Pavilion with their bricks walls assembled by R-O-B (he’s a robot by the way !).
I would say qualities and faults are quite the same than for other projects; notably, bricks are ugly and the space created could have been much more interesting… In addition it would have been great to see the machine assembling the walls LIVE !
Anyway, interesting people are too rare to be devaluated so let’s thank and congratulate Switzerland for its choice !
As said in this post’s title, the new Serpentine Gallery
‘s pavilion has been inaugurated two days ago. This year, Frank Gehry with Ove Arup were appointed to design it and succeed to create a new impressing technical work. Although, I am quite desperate to observe that once more, what was created can be assimilated to an unique roof and people have been once more offered some basic benches where they can admire the genius’work… Does engineering is the only issue here ? Why do these TEMPORARY buildings have to be so frigid and neat ? When I visited Eliasson’s last year pavilion I was with a guy who started to climb over the cone and who was immediatly yelled at and put back into the line of gregarious people visiting peacefully. Only MVRDV in 2004 proposed to tackle this problem but unfortunetly their pavilion was not constructed…
Here is a little reminder of past pavilions which are, I have to admit, all various and beautiful but which are also all hopelessly examples of what I was just observing.
As you might know, the Serpentine Gallery’s Pavilion is appointed to an office which has never built any building in the UK.
Voici quelques photos de l’installation de Didier Faustino au Storefront à New York évoquée dans un précédent post plus une petite vidéo trouvée sur hragvartanian.com
Le groupe EXYZT est un collectif d’architectes et autres créateurs construisant eux mêmes les projets qu’ils ont conçus au préalable. La volonté du groupe est de créer des zones de fiction dans la ville et d’y vivre durant un temps. Les projets sont largement visible sur http://www.exyzt.net et parmi eux, peut être vous souviendrez vous du dernier pavillon français à la biennalle d’architecture de Venise coordonné par Patrick Bouchain.
Proposition évanescente d’un lieu de restauration (d’où le nom le Monument Cuisine) gonflable et s’intégrant au sein de divers non lieux urbains, parking, ruelles, sous faces de périphérique etc. (voire même un jardin !). Pour plus de photos, le lien vers ce projet est le suivant (http://www.raumlabor-berlin.de/projekte/kuechenmonument/index.html) mais je vous conseille également le site qui globalement est intéressant. (www.raumlabord-berlin.de donc)
voir également le site http://www.plastique-fantastique.de pour plus d’interventions gonflables urbaines ou non