HILD UND K
‘SAMMELN’ (‘COLLECT’ IN GERMAN), WASTE DEPOT + BUS STOP IN LANDSHUT, 1996
“SAMMELN, says the built structure. Is it some ironic chapel of refuse? Or the categorical imperative of the wealthy bourgeoisie? Or a memento mori of surplus? Or a site for the alchemical sublimation of rubbish?
It is more like a piece of oversized graffiti. Here, however, it is a word cast in gilded concrete, converted into a wall, as eternal as only temples and underground car parks are. Graffiti as a building for waste storage. The building as categorical imperative. The imperative (SAMMELN!) as a word in the urban landscape and a transitional stage of past values.
Where buildings assume on all sides the condition of rubbish, words have lost their power. In opposition to this, the architects have set up their eternally materialized word in seven concrete slabs, the letters formed by the two unfilled sections in each cast panel. Thus the thought becomes word and the word becomes building.”
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HANS DIETER SCHAAL
STAGE SET FOR ‘PATMOS’, 1990
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HANS DIETER SCHAAL
STAGE SET FOR ‘DER PRINZ VON HOMBURG’ AT HESSISCHES STAATSTHEATER WIESBADEN, 1997
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HANS DIETER SCHAAL
STAGE SET FOR ‘STADTRÄUME’ (‘URBAN SPACES’) AT THE BAUHAUS THEATER IN DESSAU, 1998
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TANNER LEDDY MAYTUM STACY ARCHITECTS
LIVE/WORK HOUSE IN SAN FRANCISCO, 1991
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GREGOR SCHNEIDER
‘U R 8’, TOTAL ISOLIERTER, TOTER RAUM / TOTALLY ISOLATED AND DEAD SPACE, 1989-91
…i’m so obsessed with sensory deprivation and white torture at the moment
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DAN HOFFMAN
RECORDING WALL, 1992
“Dan Hoffman’s Recording Wall explored and deconstructed the scientific view of the human body at work. By systematically photographing each step in the construction of a masonry wall, Hoffman offered a reinterpretation of time-motion studies, mechanical-reproduction processes (such as photography), and repetitive labor.
An eight-by-sixteen-foot concrete wall was erected without mortar. As a mason set each block into place, a remote shutter release activated cameras positioned on either side of the wall: the wall was photographed each time a block was placed. Light-sensitive emulsion painted on each block allowed the photographs to be printed directly on each respective block’s surface. As a result, each of the 105 blocks carried a photographic record of the progress of the wall being built. It also documented the physical effort required to build it as we see the man working away, block by block.”
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SOL LEWITT
NEW STRUCTURES, 1995
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JONATHAN HILL
VISUAL INDEX OF TRANSIENT ELEMENTS, 1996
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STEVEN HOLL
VOID SPACE / HINGED SPACE, HOUSING IN FUKUOKA, JAPAN, 1991
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STEVEN HOLL
PALAZZO DEL CINEMA IN VENICE, 1990
…this is a plan view of the model - but i initially thought it was a sectional model (which would have been much cooler)
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CAROLYN BUTTERWORTH
LICKING THE BARCELONA PAVILION, 1992
…i bet there are architects who would LOVE to do that. or lick mies himself.
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FAT / FASHION ARCHITECTURE TASTE
SPATIAL CONFIGURATION / ENTRY FOR THE CARDIFF OPERA HOUSE COMPETITION, USING THE ICONOGRAPHY OF ARCHITECTURAL REPRESENTATION TO DESCRIBE SPACE AS DETERMINED BY MODES OF OCCUPATION, 1994
…i like the ‘transsexual couple’ as a mode of occupying space.
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STEVEN HOLL
HOUSE OF ICE AT CRANBROOK INSTITUTE OF SCIENCE, 1998
…this one is dedicated to my freezing friends in europe
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STEVEN HOLL
KEY TO THE LIGHT SCORE, 1990s
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