site
Affichage des articles dont le libellé est Architecture. Afficher tous les articles
Affichage des articles dont le libellé est Architecture. Afficher tous les articles
vendredi 26 octobre 2007
samedi 13 octobre 2007
vendredi 12 octobre 2007
lundi 8 octobre 2007
vendredi 5 octobre 2007
Caruso / St John
The Feeling of Things
a+t ediciones 13, 1999, p48–51, extrait
There is a group of contemporary artists whose work develops Beuys' attempt to prioritise intuitive forms of intelligence. The work of artists like Katharina Fritsch, Robert Gober, and Juan Muñoz use the human figure and objects from everyday life. But rather than use these forms with any explicitly iconographic intent, as would have been the case in historical figurative art, this work attempts to operate first and foremost at an emotional level. The image in this work, with its associations to childhood, appeals to such commonly held experiences that one forms a strong feeling about the work almost as soon as one sees it. In common with much conceptual sculpture, this work attempts to operates primarily by way of the object, seeking to short-circuit any didactic or literary readings. However, unlike that work of Donald Judd or Richard Serra who claim to eliminate associative readings of their work, the work of these younger artists intentionally contains a surfeit of emotional content, which emerges simultaneously from the image and from the fabric of the artefact.
Why does everything have to come back to concepts? Being disturbed visually, experiencing ambivalence-why does that have to go straight into the language cage? It's just an escape into didacticism. A very important element in my work is that you come in, experience an image, allow yourself to be drawn into it, perceive it directly. 1 K Fritsch
Construction
We are interested in making an architecture that does not rely on language. An architecture whose physical presence has a direct emotional effect.
We think that construction has a direct effect on the emotional character of spaces. Although discourses on construction often centre on issues of performance and technique, ultimately construction is about appearance, about choosing appropriate constructions in the production of space.
Within architecture there is a strong tradition to regard construction as a means to achieve a priori intentions, whether they are compositional, iconographic or ideological. Construction can, however, be considered as a media, simultaneous with form. Ideas of volumetric elaboration or descriptive grids seem impoverished when compared to the material condition of a stacked, log wall or an unpainted lining of skim jointed plasterboard.
a+t ediciones 13, 1999, p48–51, extrait
There is a group of contemporary artists whose work develops Beuys' attempt to prioritise intuitive forms of intelligence. The work of artists like Katharina Fritsch, Robert Gober, and Juan Muñoz use the human figure and objects from everyday life. But rather than use these forms with any explicitly iconographic intent, as would have been the case in historical figurative art, this work attempts to operate first and foremost at an emotional level. The image in this work, with its associations to childhood, appeals to such commonly held experiences that one forms a strong feeling about the work almost as soon as one sees it. In common with much conceptual sculpture, this work attempts to operates primarily by way of the object, seeking to short-circuit any didactic or literary readings. However, unlike that work of Donald Judd or Richard Serra who claim to eliminate associative readings of their work, the work of these younger artists intentionally contains a surfeit of emotional content, which emerges simultaneously from the image and from the fabric of the artefact.
Why does everything have to come back to concepts? Being disturbed visually, experiencing ambivalence-why does that have to go straight into the language cage? It's just an escape into didacticism. A very important element in my work is that you come in, experience an image, allow yourself to be drawn into it, perceive it directly. 1 K Fritsch
Construction
We are interested in making an architecture that does not rely on language. An architecture whose physical presence has a direct emotional effect.
We think that construction has a direct effect on the emotional character of spaces. Although discourses on construction often centre on issues of performance and technique, ultimately construction is about appearance, about choosing appropriate constructions in the production of space.
Within architecture there is a strong tradition to regard construction as a means to achieve a priori intentions, whether they are compositional, iconographic or ideological. Construction can, however, be considered as a media, simultaneous with form. Ideas of volumetric elaboration or descriptive grids seem impoverished when compared to the material condition of a stacked, log wall or an unpainted lining of skim jointed plasterboard.
Caruso / St John
Novaris, Basel, Switzerland, 2003
The front face of the concrete upstands is clab in slabs of thin, white marble. This luxurious material lends a brilliant reflectivity to the outer surface of the façade that catches the colours of the Park and the changing character of the sky.
Arosa Sportheatre, Switzerland, 2000, (competition)
This project for the Arosa Sporttheatre is for a joyful buildingwith a light spirit. A building which provides a day to day landmark for the town of Arosa and which can radiate an energy during special events and festivals.
dimanche 30 septembre 2007
lundi 17 septembre 2007
samedi 15 septembre 2007
samedi 8 septembre 2007
hotel in palmyra
BAUKUH
Place: Palmyra, Syria. Task: preliminary project. Client: Jabry family. Program: hotel. Cost: 4.000.000 $.
Palmyra is well known worldwide as one of the most impressive roman cities. The plot for the hotel is about 2 km south of the ruins, the oasis is in-between them. The land is flat, young olive trees on a grid, the desert around. The shape is an elongated rectangle, 70 meters north and south, almost 400 in the other direction. The brief suggested as many rooms as possible facing the ruins on the north and obviously a certain Arabic taste. We proposed for the first phase a four levels compact building on the northern part of the site, with 39 panoramic rooms and a basement on the south with courts and interior gardens, hosting all the facilities. The second and third phases complete the building with two long wings, a porch, a swimming pool and two big gardens, adding 20 ground floor rooms with private open space, a second restaurant and a spa.
The relation between the building and the landscape, how the building organizes the system of open spaces, is resembling roman and renaissance samples, establishing a clear connection even with Umayad and Sassanid palatial architecture. The openings in the elevation facing the ruins are based on geometrical patterns derived from motifs of the first Islamic decoration, thus resembling atomic models. A ionic gate acts as entrance door. The exterior material is mud plaster, similar to the color of the desert, except for two walls, covered with tiles, one pink and one black.
The building was considered too modern.
Next time, do not forget to add some Arabic arches.
samedi 1 septembre 2007
mercredi 18 juillet 2007
mercredi 13 juin 2007
dokumenta...mardi 12 juin 2007
dimanche 10 juin 2007
jeudi 7 juin 2007
jeudi 3 mai 2007
Inscription à :
Articles (Atom)