Retrospective of the Viennese group currently (hosted by WORK Gallery, near Kings Cross) inflatables capsules for two, parasitic structures, breathing devices, utopian ideas, helmets and pneumatic prostheses. It’s critique of architecture and architecture as critique.
Inner World / Innen Welt: The Projects of Haus-Rucker-Co., 1967-1992, shows archival drawings and collages, photographs, models and original ephemera spanning Haus-Rucker-Co.’s 25-year collaboration. The show marks the 20-year anniversary of Haus-Rucker-Co.’s dissolution. Haus-Rucker-Co. was founded in 1967 by Laurids Ortner, Günther Zamp Kelp and Klaus Pinter, later joined by Manfred Ortner. Already working together as Ortner & Ortner on major building commissions from the mid-1980s, Manfred and Laurids Ortner went on to develop an extensive portfolio of built projects, propelling the preoccupations of Haus-Rucker-Co. into a new realm.
Haus-Rucker-Co.’s designs for inflatable structures, prosthetic devices and interventions into public spaces were also blueprints for social change and an experiential theory of architecture. Situating itself in the transitional ground between architecture, design and action art, the group was unique in its distinctive emphasis on the perceptual realm.
Their pneumatic projects aimed to counteract apathy and passive acceptance of one’s environment by distorting the experience of public and private spaces, evoking a “feeling of foreignness”. Immersive environments, bubble and capsule forms, and mind-expanding structures for private contemplation or forging personal connections all delineate not only specific physical zones but also psychological spaces. Haus- Rucker-Co. also took a playful approach to architectural materials and strategies. Plastics—mutable, flexible, inexpensive, and with seemingly infinite potential—provided not only the material for many of their projects but also served as a model for the era’s futurist vision of a democratic and mobile lifestyle.
Inner World / Innen Welt presents a comprehensive selection of archival drawings and collages, photographs, models and ephemera spanning Haus-Rucker-Co.’s 25-year collaboration. Some of the projects on display were realised in public spaces; others remain virtual—and often fantastic—solutions for social, political or environmental concerns. Exhibited projects include Oase Nr. 7, a bubble-like personal oasis which protruded from the façade of the Museum Fridericianums during the 1972 Documenta; Gelbes Herz, a psychedelically-patterned “communications space-capsule for two people”; Rahmenbau, a giant framing mechanism contrasting urban sprawl with the natural landscape; and Cover, a temporary white inflatable casing erected over Mies van der Rohe’s 1921 Lange House in a gesture of architectural dialogue.
Inner World / Innen Welt marks the 20-year anniversary of Haus-Rucker-Co.’s dissolution with a celebration of the broad scope and conceptual density of this extraordinary group’s output. Haus-Rucker-Co. was founded in 1967 by Laurids Ortner, Günther Zamp Kelp and Klaus Pinter, later joined by Manfred Ortner. The group has exhibited internationally, including participation in Documenta 5 and 6, and was the subject of a major exhibition at Kunsthalle Wien in 1992, the year of the collective’s dissolution. Already working together as Ortner & Ortner on major building commissions from the mid-1980s, Manfred and Laurids Ortner went on to develop an extensive portfolio of built projects, propelling the preoccupations of Haus-Rucker-Co. into a new realm.
Oase Nr. 7, a personal oasis with a diameter of 8 metres protruded from the façade of the Museum Fridericianums during the 1972 Documenta.
The Mind Expander allowed two people to isolate themselves from their environment and enter in spiritual communion with each other.”The Mind Expanding Programme aimed to explore the inner world, and to improve the psychological capacity of those who took part in the individual elements, as well as those who witnessed them in some way.”
Nike was an installation for the Forum Metall Linz exhibition. The photographic replica of the headless Victory of Samothrace was projected upwards from the rood of the University of the Arts. The works sparked a debate about the work itself and the state of contemporary art. After 27 months of controversy, it was discreetly removed under the cover of the night.
The Inclined Plane was an element of temporary architecture that visually separated Vienna into two halves. The half towards the inner city was bordered by the black surface of the plane, the other half, facing away from the city, by the plane’s other, white surface.
flanerie: the art if getting lost
The notion of flâneur – employed since the late 19th century to designate poets and intellectuals that critically observed people’s behavior while strolling among the crowd, and codified in the Walter Benjamin’s influential work on the Passages of Paris – is once again of central interest (in sociology, philosophy, architecture, literature, and cinema) as a tool for identifying a specific mode of travel and exploration of places, a particular type of reflective relationship with people and spaces.
Anthony Giddens, Zygmunt Bauman, Mike Featherstone, Keith Tester, Ash Amin and Nigel Thrift are only some of the contemporary thinkers who, from startlingly different vantage points, have addressed the topic of flâneurs…..to define the main characteristics of the flâneur/flâneuse (as artists or writers vagabonding and describing the urban life) in the past as well in the contemporary societies and to investigate his/her potential role …….
Today, the post-modern crisis of scientific rationality, ideology and metanarratives makes stories increasingly important in order to properly interpret society, reinforcing the links between sociology and the narrative approach…..flânerie for interpreting the urban life in the metropolitan area …..
(apologies to Nuvolati, Giampaolo
Dept. of Sociology and Social Research, University of Milan Bicocca Italy)
Andrew Melville Hall, design(ed) by James Sterling
which hadaged and weathered well with overgrown moss and lichen, hadhas survived 40 years of age after it was completed in year 1968. A bold move by Sterling to use prefabricated concrete at that time, quoting what Simon Henley of Buschow Henley Architects said,
“It deals with things I find interesting such as the culture of the institution. It’s not a pretty building, but it is heroic and dramatic.”
James Stirling and Louis Kahn
was(were) Simon Henley’s mentor(s), not face to face, but through their work. He studies their plans and visits their buildings. Revisiting Andrew Melville Hall has a great influence on him, especially the psychological/communal aspect of buildings, what he like to call the anthropological — the rituals and behaviours of communal living. Like other buildings, Andrew Melville Hall have(has) had technical flaws too. It leaked and asecondary glazing havehas been done to make the promenade more comfortable. But considering the time it was built,maybe it was more acceptable to just be cold or to spend more money on heating.‘It’s a bold example of prefabricated concrete. Assembly was an industrialised process, with a crane on wheels dropping the precast wall panels into place. There are a lot of interfaces — corners, sills, small sections of flat roofs, parapets, flashings and overhangs, and lots of open joints in precast panels — so it had plenty of possible places to fail.
The jointing of the panels doesn’t just occur anywhere but where it should —
inon a corner. As a result, the panels and their jointing made sense of the plan and sculptural form. And the ribbing is a way of covering imperfections in the precast panels so that the concrete has grain, like timber.
On one level, it’s very idealistic. Stirling recognised the possibility of the landscape by positioning the building right on the escarpment between the coastal plain and the plateau, then created a great mid-level promenade. He took the topology and accentuated it from four storeys to eight, and accentuated the sense of landscape.
You’re really aware of belonging to this great congregation of people. Everyone shares a view inward, of each other, and outward, to the sea. It’s about the lonely relationship with the landscape and the social one with friends — written right into the plan of the building. It deals very well with the notion of society — everyone congregates at the apex of the building and at the promenades out into the two wings.
Its visual qualities are as much about looking from it as looking at it. It’s like an optical instrument — everywhere you sit, it’s like putting on a pair of binoculars with the views. The relationship between inside and outside space has a huge impact on the experience of being in a building, and you can see that here — you can’t help but be engaged by the view.
People say it has associations with ships. Personally, I think it’s more like a monastery — both live an isolated and a communal life.
One of its biggest questions is the isolation. It doesn’t belong to the city, but to the place, the topography. It has a primordial connection with the landscape. You could interpret this removal from the town as a physical manifestation of the legitimate removal of students from the rest of society.
What’s really interesting is how it touches the ground. The battered, moss-covered base is more reminiscent of motorway engineering. I also like to think it is reminiscent of the bases of rusticated renaissance palazzos. It’s very heavy on the ground, with the strong horizontal lines and the diagonal lines in the concrete all playing against the topography.’
-Simon Henley interviewed by Pamela Buxton, bd online.
alighiero boetti. game plan: www.museoreinasofia.es/archivo/videos/2011/alighiero-boetti_en.html
Doors was an enormous 10-story public art installation made from 1,000 reused doors by South Korean artist Choi Jeong-Hwa. Choi became a public installation artist because he was unable to draw or paint, so instead he spends much of his time walking around the city discovering interesting trash and discarded objects and photographing them.
three players can be accommodated without compromising any of the original rules
chess slice anyone?