Architektur für Kinder

May 6th, 2013

The Playground Project, curated by Gabriela Burkhalter, is a richly illustrated exhibition exploring the history of postwar playground design and highlighting important examples of playgrounds from the 20th century. The survey focuses on the years between 1940 and 1980 as the most fruitful era in playground design and introduces outstanding achievements from Europe, the US, and Japan. More than 130 photographs, prints, plans, models, and books, along with eleven films and slideshows, will illustrate the exciting and inspiring history of playgrounds, from June 10, 2013, Carnegie Museum of Art, Pittsburgh.

The Images of Architects

April 9th, 2013

Valerio Olgiati asked architects to send him important images that show the basis of their work. Images that are in their head when they think. Images that show the origin of their architecture.
In The Images of Architects, available in may, you can find find 44 individual “musées imaginaires”. The most unique architects living today each present up to 10 images to explain the autobiographical roots of their oeuvre. The images are explanations, metaphors, foundations, memories and intentions. They are poetic and philosophical avowals. They reveal a personal perspective on thoughts. They show the roots of architecture and expectations concerning projects. Conscious and unconscious.
This book has the format of a reader. As little as possible is said. The images are small, legible and interpretable as icons. As individual collections, they present a personal view of an individual world, while as a whole they provide a universal view of the perceptible origin of contemporary architecture.

Posted in Architecture, Art, Books


March 31st, 2013

© Speer und Er, Heinrich Breloer, 2005; The Shining, Stanley Kubrick, 1980; One Fine Day, Michael Hoffman, 1996; La Mani sulla Città, Francesco Rosi, 1963; Zoolander, Ben Stiller, 2001

Mock-ups in Close-up, Architectural Models in Film 1919 – 2012, a constantly growing film project by architect Gabu Heindl and film-theorist Drehli Robnik, is a collection of excerpts from an increasing number of narrative films that feature architectural models. In chronological order (from 1927 to 2010), the two-hour long video includes classics as well as recent American comedies and more obscure material.

Some of the models figure quite prominently in the films, others appear more randomly. Without using narration, the compilation attempts to push the inclusion of all mock-ups to the extreme – until traction occurs, or until history (including that of architecture and its applications) again becomes relevant through the archives of randomness: history as an image of the Cold War or the fluidity of labor, as a power play of masculinity and the scale of the models themselves.

The compilation does not primarily deal with “films about architecture”. Rather, it offers a section through an all-inclusive film history which, in the project’s re-writing, appears to be obsessed with showing models in a variety of contexts: be it on the fringes or in the center of a scene, models pop up in love stories, thrillers, psychological dramas, comedies or sci-fi . The list of filmmakers who could not resist to either pan over or to focus on architectural models includes Fritz Lang, Francis Ford Coppola, Stanley Kubrick, Tim Burton, Steven Spielberg, Ben Stiller, the Farrelly Brothers, and Wes Anderson.

Upcoming presentation, screening and discussion, April 5, 2013, 7pm, at Ooga Booga, Los Angeles; and April 18, 2013, 7pm, The Architecture Foundation, London.

Posted in Architecture, Art

Candide – Journal for Architectural Knowledge

January 13th, 2013

Candide is dedicated to exploring the culture of knowledge specific to architecture.
How is architectural knowledge generated, collected, presented, and passed on? Which forms of architectural knowledge can be observed? How can knowledge generated in reference to a specific task be applied to other contexts? Which experts, designers, and users, which institutions and organizations are involved? Which techniques, tools, and methods are instrumental?
Each issue of Candide is made up of five distinct sections. This framework responds to the diversity of architectural knowledge being produced, while challenging authors of all disciplines to test a variety of genres to write about and represent architecture.


January 4th, 2013

Failure is an intrinsic part of experimentation, creativity and inconveniently, life. It’s said if you’re not failing often then you’re not trying hard enough. The beautiful screw ups, the happy accidents, the painful flaws and the Epic Fails are celebrated.
For Pie #04 – Failure the idea of failure was taken in all its variant forms and looked for the beauty, humour and wisdom gained from these unwanted mishaps.

Beauregard, le 5 juillet 2012

December 17th, 2012

Avec Beauregard, le 5 juillet 2012, George Dupin et Jérôme Saint-Loubert Bié proposent un projet conçu comme un work in progress qui prend en compte la notion de chantier au sens large: d’une part, le Frac Bretagne représenté à travers ses activités, et de l’autre, le temps du chantier comme moment décisif entre un avant et un après, entre bilan et projet.

Sur une période de trois années, les artistes ont créé et réuni ensemble une vaste matière dont le statut oscille entre document, archive et œuvre, et dont la finalité est un livre. Celui-ci, de même que le chantier à ciel ouvert, expose son architecture interne.
L’un des principes de ce projet repose sur la manière dont sont reproduites les photographies : imprimées en négatif sur des feuilles noires avec de l’encre argent, les images se lisent en positif grâce à l’opacité de l’encre et à son pouvoir réfléchissant, amplifié lorsque l’on tourne les pages. Le recto des feuilles montre le chantier du nouveau bâtiment et alterne avec le verso, qui montre les bases de cette histoire : la collection, les réserves, la documentation sur les œuvres et les artistes, les archives des expositions et évènements passés, l’ancien site du Frac à Châteaugiron.

Deux expositions ont permis de montrer le matériau constitutif du livre, à savoir des documents et des feuilles d’imprimerie avec pour chacune de ces occasions un dispositif spécifique. Les photographies de ces expositions alimentent à leur tour le livre et en constituent la partie centrale.

Cet ouvrage – qui incarne donc la troisième occurrence de ce projet, présenté le 18 décembre 2012, 17h, Frac Bretagne, Rennes – tente une exploration subtile de l’histoire d’une institution, des liens entre la mémoire, la collection, les projets et la manière dont ceux-ci s’incarnent dans une architecture spécifique.


December 14th, 2012


November 13th, 2012

MAKERSANDFOUNDERS is an always expanding collection of video interviews with makers and founders from a variety of sources and perspectives.

Perspecta 45: Agency

November 10th, 2012

Architecture has always been intimately intertwined with its social, political, and economic contexts; major events in world history have had correspondingly dramatic effects on the discipline. The Great Depression, the fall of the Berlin Wall, and Hurricane Katrina, for example, were all catalysts for architectural response and resulted in a diversification of the architect’s portfolio. Yet far too often, architects simply react to changes in the world, rather than serving as agents of change themselves.

Perspecta: The Yale Architectural Journal is a student-edited peer-reviewed academic journal published by the MIT Press and Yale School of Architecture, Yale University since 1952.
This issue, Perspecta 45: Agency – edited by Kurt Evans, Iben Falconer & Ian Mills; designed by Zak Jensen & Mylinh Trieu Nguyen – takes a broader view, using the concept of agency to explore the future of architecture. The retreat from liability, the barricade of theory, and the silos of specialization have generated a field that is risk-averse and reactive, rather than bold and active. Instead of assuming that architects can only throw up their hands in despair, the editors of this issue of Perspecta invite them to roll up their sleeves and get to work.
Prominent architects, scholars, and artists investigate how architects can become agents for change within their own discipline and in the world at large.

Contributors include Eeva-Liisa Pelkonen, Nader Tehrani, Ines Weizman, Jaime Lerner, Urban-Think Tank, Stefano Boeri, Peter Eisenman, Michael Osman, Darryl Collins, Vann Molyvann, Enrique Ramirez, Rania Ghosn, Victor van der Chijs, Bjarke Ingels, Jan Kempenaers, Andrew Shanken, Keller Easterling, Timur Galen, Perspecta 45 & Pierluigi Serraino, Thomas Auer, Joshua Vanwyck & Erik Olsen, Preston Scott Cohen, and Ariane Lourie Harrison.

Common Room

November 9th, 2012

Common Room is an architectural practice, publishing imprint, exhibition space, and collaborative platform based in New York City and Brussels. Common Room is comprised of architects Lars Fischer, Todd Rouhe and Maria Ibañez, and graphic designer Geoff Han.

Posted in Architecture

Offprint Paris

November 9th, 2012

Offprint Paris is an Art Publishing Fair focused on emerging practices in Art.

“We give special attention to the evolution of publishing/curating from traditional “spaces” (catalogues, artists books, photobooks, newspapers, but also museums and schools) towards new spaces and artists organizations (independent publishing, self publishing strategies, websites, blogs, social networks, activism, non institutional activities…).
We consider that the topic of “Publishing” can offer a stimulating hermeneutic to analyse the structure and development of the contemporary art world in a context of digitalization of cultures.”

15–18 November 2012
École nationale supérieure des beaux-arts, Paris

The future of architecture

November 6th, 2012

The future of architecture is a participatory book project which tries to provide an insight into the future role of architecture. It is an attempt to supply an insight into the question, “What is the future of architecture?”.
Every architectural attempt starts by making a representation of an imaginative situation or design, which will happen, or could happen in the future. In many cases an architectural design remains a future plan, and in times of economical and political crisis, the question of what comes next, gains relevance. So, while architects shape the future, this book is concerning about the future of architecture.

Posted in Architecture, Books

Zak Kyes Working With…

October 31st, 2012

Zak Kyes Working With… brings together a range of works by graphic designer Zak Kyes, as well as works by a host of collaborators that includes architects, artists, writers, curators, editors, and graphic designers, presenting contemporary graphic design as a practice that mediates, and is mediated by, its allied disciplines.
The book highlights the designer’s relations with partners, clients, and institutions, and the creative potential of these collaborations to evolve traditional understandings of graphic design, art, and architecture.

With contributions by Can Altay, Charles Arsène-Henry, Shumon Basar, Richard Birkett, Andrew Blauvelt, Edward Bottoms, Wayne Daly, Jesko Fezer, Joseph Grigely, Nikolaus Hirsch, Maria Lind, Markus Miessen, Michel Müller, Radim Peško, Barbara Steiner.


October 25th, 2012

©William Wegman, Reading Two Books

OFFPRINT, November 15-18, 2012, Paris
KIOOSK, November 17-18, 2012, Kraków
PA/PER VIEW, November 24-25, 2012, Porto
ROOKIE, December 6-8, 2012, Poznan

Construire l’image: Le Corbusier et la photographie

October 23rd, 2012


Le Corbusier (1887-1965) souhaitait apporter à ses contemporains une nouvelle façon de penser à la fois l’habitat, l’urbanisme et l’art: proposer des conditions de vie nouvelles pour un homme nouveau.

La photographie est bien sûr à la base de la diffusion de son oeuvre architecturale, mais l’exposition Construire l’image: Le Corbusier et la photographie ne se limite pas à la représentation photographique des réalisations de Le Corbusier. Dans son cas, la photographie mérite en effet d’être envisagée dans une perspective bien plus large : il est ici question de la photographie autant comme outil de représentation, de promotion ou de diffusion que comme moyen de recherche artistique et plastique.

Durant toute sa vie, Le Corbusier a fait de l’image des usages différenciés. Ses voyages ont été pour lui l’occasion de réunir de nombreux documents qu’il a utilisés dans son travail d’architecte, d’urbaniste, de théoricien et de plasticien. Il a puisé dans ce vaste répertoire iconographique pour illustrer ses écrits et ses expositions, développant des stratégies de communication innovantes. Il a supervisé la documentation de ses ouvres avec un œil exigeant et aiguisé, qui en fait parfois un véritable co-auteur de certaines photographies consacrées à son architecture. Par ailleurs, Le Corbusier a lui-même expérimenté cadrages et jeux de lumière dans son travail photographique personnel, encore largement inédit. La découverte récente de milliers de négatifs permet ainsi de restituer son processus créatif et de le confronter à sa pratique picturale.

Pour l’architecte, la photographie a ainsi servi à la fois de notes de travail et d’outil de recherche plastique. Au-delà de son propre travail de création, Le Corbusier a aussi été un des premiers à construire consciencieusement et systématiquement son image et celle de son œuvre à travers la photographie, en s’appuyant sur le travail de plusieurs photographes de renom.

jusqu’au 13 janvier 2013
Musée des beaux-arts, La Chaux-de-Fonds

Éditions B2

October 22nd, 2012

Les Éditions B2, entre autres nées d’une insatisfaction devant l’offre éditoriale en matière d’architecture et d’une bibliothèque spécialisée recelant des trésors anciens et/ou non-traduits, forment une “Galaxie Gutenberg” de poche et entendent édifier un “cabinet de curiosités” architectural, espèces d’espaces rassemblant une infinité de petits univers d’hétérotopies classiques, d’actualités et d’étrangetés…

Posted in Architecture, Books


October 9th, 2012

Pour sa 9ème édition le Salon Light met en scène rencontres et dialogues avec cinquante éditeurs et libraires indépendants, et trois journées de recherches et de performances sur la pratique éditoriale. Les acteurs de la micro-édition occupent un champ d’expérimentation multimodale et se jouent des frontières artistiques, comme des déterminations théoriques. Directement liées aux techniques de création et de diffusion de l’information les plus novatrices, les pratiques éditoriales ouvrent le champ de l’art et de ses frontières : sciences humaines, graphisme, son, poésie… Une nouvelle génération de curateurs s’est constituée sur le modèle de l’éditeur indépendant, qui s’adapte de manière dynamique aux mutations du monde contemporain où les rôles de l’édition (auteur, éditeur, graphiste, collectionneur, photographe, conservateur, libraire, lecteur) sont tour à tour joués par les mêmes. Une nouvelle route de la soie est ainsi empruntée par un nombre grandissant d’acteurs animés du désir de rompre avec un art qui fait du profit et souhaite réinventer un art complexe qui véhicule du savoir et se démarque naturellement du produit de luxe. Le Cneai renouvelle pour le Salon Light#9 la forme du salon en un véritable espace d’exposition des pratiques éditoriales.

19-21 octobre 2012
Palais de Tokyo, Paris


September 10th, 2012

MISS READ 2012 brings together for the fourth time the most important protagonists of artistic book publishing. With the artist book as an autonomous artistic work, artists use the linearity of the book as medium to tell visual stories, generate archives, depict collections, present research results, or even quite intentionally practice book piracy. The productive collaboration between artist, author, and designer often results in the creation of complex books that also enable a fresh perspective on the art.

September 14-16, 2012
abc art berlin contemporary, Berlin

Another Pamphlet No. 4 – SCALELESS

September 7th, 2012

If scale is familiar, the scaleless is unfamiliar.

The fourth issue of Another PamphletScaleless! – will consider the scaleless; the scaleless representation, the scaleless object, the scaleless process, the scaleless system, the scaleless attitude. Lacking an understandable relationship to something known; a measure, a body, a context – the scaleless resists quantification, challenges comprehension, and destabilizes conventions.

Scale is inherent in the experience of perception, and like all perceptual properties it is dynamic; objects we see oscillate between having ‘a sense of scale’ and being ‘out of scale’. Scale is paradoxically both persistent and fleeting, both objective and subjective.

Throughout the history of aesthetic practice, scale has been variously deployed as an operative design strategy – emphasizing scale to provide a stabilizing force from which to measure, repurposing ideas at different scales to challenge expectations, or deliberately denying scale to encourage multiple readings. Scale is a fundamental issue for architecture; it links the process of design to the process of building, leverages the systems of proportion, orders part to whole, and allows buildings to relate to one another. However, recent developments in modeling tools (the scalelessness of digital space), fabrication (the increasingly seamless translation of this scaleless digital space into physical space), and the homogenizing pressures of globalization (the loss of local context), have upset these traditional registers, leaving the status of scale increasingly uncertain and urgently in need of reformulation.

This issue suggests an emerging atmosphere of the scaleless; cultural, political, economic, material, and aesthetic. We embrace the complex ambiguity of the scaleless, seek out its untapped potential, and ask what is at stake for the discipline of architecture.

Contributions by Benjamin Critton, Julien de Smedt, Isaiah King, Mark Lee, Ryan Neiheiser, Jesse Reiser, Garrett Ricciardi, Julian Rose, Hilary Sample, Sam Stewart-Halevy, Giancarlo Valle, Jesus Vassallo.

Launch, September 13, 6pm
Printed Matter, New York

four questions from another pamphlet on Vimeo.


September 5th, 2012

“What is essential here is the presence of the spirit of dialogue, which is in short, the ability to hold many points of view in suspension, along with a primary interest in the creation of common meaning.” Physicist David Bohm

With this “spirit” in mind, ROLU’s attention is equally paid to thought and content, conception and reality. With their active engagement in a multitude of dialogs, they design like water – mixing ideas from the past, from each other, from memory, and from fantasy. Sampling from these different forms of inspiration, ROLU presents forms that are both familiar and completely new.

In Everything is Always Changing All of the Time, ROLU collaborates with Greek architect Andreas Angelidakis to create ambiguous spaces within space, where the work exists as ‘many points of view in suspension’. Sculptures function as dressers, chairs double as totems, forms serve as screens for video projection all contributing to their own unique dialoged and preserved for participation. Suddenly a Lygia Clark sculpture becomes a chest of drawers and a Helio Oiticica installation turns a chair into a room.

The work is a continuation of ROLU’s ongoing study of questioning when a design begins – is it invented or discovered. The works will be presented on Angeldakis’s Universal Exhibition Walls – which act as dividers, plinths and architectural elements.

September 7 – October 13
Volume Gallery, Chicago

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