Monumenta 2011 in Paris / France, internationally renowned artist Anish Kapoor has created a truly monumental work called Leviathan | The Hardt
For Monumenta 2011 in Paris / France, internationally renowned artist Anish Kapoor has created a truly monumental work called Leviathan. Kapoor created a space within the space of the Grand Palais. “Visitors will be invited to walk inside the work, to immerse themselves in color, and it will, I hope, be a contemplative and poetic experience” (Anish Kapoor). Video by Christophe Ecoffet.
Aesthetically and Geographically Related Projects:
Falling Garden by Gerda Steiner & Jörg Lenzlinger| Rebecca Law ‘Garten’
Falling Garden (2003) by Gerda Steiner & Jörg Lenzlinger located at the 50th Venice Biennial in the Church of San Stae on the Grand Canal. The Falling Garden was created for the 50th Venice Biennial in 2003. It was housed in the Church of San Stae on the Grand Canal. It was conceived and executed by Swiss artists Gerda Steiner and Jörg Lenzlinger. Gerda Steiner and Jörg Lenzlinger create site-specific fantasias and interactive wonderlands which are an adaptation of nature. The two have collaborated since 1997 and among the most successful contemporary Swiss artists.
Conceived and executed by Swiss artists Gerda Steiner and Jörg Lenzlinger, Falling Garden (2003) is a world in which botanical curios are suspended from the ceiling of a 17th-century church for the 50th Venice Biennial in 2003. It’s a botanic tableau in three dimensions, against a backdrop of richly decorated Italian marble.
Rebecca Louise Law
‘Garten’ (March-April 2016)
Materials: 30,000 mixed flowers, copper wire
Location: Berlin, Germany
Exhibited: March – April 2016
Flowers donated by Dutch Flower Council.
Check out more of Rebecca’s work on her website, which is absolutely gorgeous.
Some other cool architectural projects, not really related but still pretty tight:
Plain Space Exhibition – John Pawson – Design Museum London 2010 | The Hardt
Plain Space Exhibition – John Pawson – Design Museum London 2010. The goal here was to communicate the thinking and give a sense of the body of work, whilst also engaging the widest possible audience. Since engagement is facilitated by first-hand experience, a site-specific, 1:1 installation was conceived as a key element — the first time anyone had constructed a building inside the Design Museum. As well as the more conventional curated content of an architectural show, the design incorporated subtle changes to the gallery space itself, on the basis that the success of the exhibition would not simply be a matter of the quality of the assembled material, but of the overall atmosphere, this spatial recalibration would generate.
The team at Studio Hardie, based in Lewes, East Sussex, has a wide range of specialist expertise from cutting-edge design to age-old craft skills. In this post, Hamish Boden describes the challenges they faced when creating the ultimate modern exhibition space using traditional skills. This project was a 1:1 scale architectural installation to host the Plain Space exhibition for British architect John Pawson , described by the New York Times as “the father of modern architectural minimalism”. The installation space was both a location for the exhibition and part of the event and was based at the Design Museum, London, in September 2010. Hamish writes “This was one of Studio Hardie’s first full-scale architectural installations, essentially a building inside a building. The difficulty with achieving a crisp minimal look is that exposed fixings are not allowed so all the mechanics go on behind the scenes. Another major hurdle of the project was the timescale, achieving the level of tolerance and perfection on a really tight installation turnaround. The beauty of having such a big workshop is that you can create entire structures, test them check everything fits and make fine adjustments before leaving the workshop, this can save days of site work.
Spending time meticulously planning the install is critical; the choreography of how everything comes together quickly, accurately and beautifully. We couldn’t rely on ‘off the shelf’ being totally straight so we designed a new system for making dead flat-straight walls out of MDF torsion boxes. You often hear carpenters complaining about using MDF but for us it was a rare treat. We are used to using solid timber that shrinks cracks and moves. MDF, in contrast, is a very predictable and versatile material. It was a real challenge to create the curved ceiling. We knew that constructing the sections on the floor would mean we could make a much better quality finish than working over-head. This is where modern technology meets classic old-fashioned carpentry knowledge. To get the perfect curve we had some roof fins cut with CNC and covered them with a thin sheet of MDF.
Photos: Gilbert McCarragher and Marco Zanta
Project Team Mark Treharne, Chris Masson, Nicholas Barba, Alison Morris
Aesthetically and Geographically Related Projects:
Thomas Hirschhorn Swiss, b. 1957, Bern, Switzerland, based in Paris, France
Using his signature materials of plywood, cardboard, aluminum foil, packing tape, and copious photocopies, Thomas Hirschhorn makes installations that advance pointed critiques of the global military-industrial complex. Hirschhorn’s works overflow with imagery and text, created with a deliberately slap-dash DIY aesthetic and often incorporating the writings of such Leftist philosophers as Antonio Gramsci and Georges Bataille. The over-abundance of ideas and images in Hirschhorn’s installations mimics the media saturation of contemporary life and highlights the desensitization that consumers experience as a result. For Laundrette (2001), the artist transformed the gallery space into a facsimile of a typical Laundromat, complete with drab linoleum floor, garbage bins, and chained up plastic chairs, juxtaposed with the phrases from Marxist writings adorning the walls.
Chiharu Shiota is primarily known for large-scale installations such as The Key In The Hand (2015) with which she represented Japan at the 56th Venice Biennale. The starting points for the majority of Shiota’s installations are collections of used possessions; belongings, haunted by memories, that act as expressions of human acts. Complex networks of yarn are often interlaced around and between objects, linking their inherent narratives and creating a new visual plane, as if painting in mid-air.
Shiota initially studied painting at Seika University, Kyoto. During this time she undertook an exchange residency at Canberra School of Art, Australia. It was here that she began to explore the boundaries of painting, staging her first performance Becoming Painting (1994) in which she used her body as a canvas.
She moved to Germany in 1996 and continued her studies, firstly in Braunschweig and later Berlin, where she continues to live today. Her installations began receiving international attention in 2000, primarily through the group exhibition Continental Shift at the Ludwig Forum, Aachen and also the 2001 Yokohama Triennale.
Part of artist Olafur Eliasson’s Versailles exhibition, The Waterfall is a massive, life-size replica of an actual waterfall that almost doesn’t seem real. The plumes of water appear from mid-air before pouring down into the Grand Canal at the Palace of Versailles.Olafur is one of our favorite artists.
Floating Fountains by Isamu Noguchi, Osaka, Japan
These decidedly modern fountains appear to float with no connection to ground or water over an artificial lake. A brilliant cinematic feat of artistic ingenuity and clever plumbing they were dreamed up by the Californian sculptor and landscape architect Isamu Noguchi for Expo’ 70, the first World’s Fair to be hosted in Japan. Only when they are not working is Noguchi’s mystifying game given away. Water is pumped up to the sculpted floating fountains through vertical pipes invisible when the fountains flow. Happily, Noguchi’s artwork has remained long after the futuristic 1970 exhibition had vanished into folk memory. (Credit: The Isamu Noguchi Foundation and Garden Museum, New York / ARS, New York – DACS, London/ Michio Noguchi) via BBC
There Is Truly Something To Be Said About A Piece Of Art That Blends Into The Surrounding In Which It Was Placed. Blending Seamlessly Into It’s Surrounding Environment While Not Disturbing It’s And Actually Enhancing The Surroundings, Is The Epitome Of A Good Design Becoming A Great Design.
Christian Boros and wife Karen Lohmann 5-story Berlin home, converted from World War 2 bunker to this unbelievably, surreal house | The Hardt
Christian Boros and wife Karen Lohmann 5-story Berlin home, converted from World War 2 bunker to this unbelievably, surreal house. This historically significant Second World War building was originally constructed for the German railway company by reinforced concrete and was used as a shelter to protect travelers who arrived at the Friedrichstrasse Railway station from air raid attacks. Architect Karl Bonatz was commissioned by Nazi Germany the architectural design of The Bunker; the building had a capacity which could shelter up to 3,000 passengers in five floors.
Completed under Hitler’s command in 1943, the bunker was built as an air-raid shelter for the passengers of the nearby train station. In case of attack, the bunker, with 180 cm (six feet) walls and a three meter (nine feet) deep ceiling, could house and protect 3,000 seated people distributed over five floors. The design by Karl Bonatz strictly followed the guidelines of Albert Speer, the Third Reich’s head architect and a member of Hitler’s inner circle. In the years following the fall of the Nazi regime, the bunker embraced varying functions – from a tropical fruit warehouse (known to locals as the “Banana Bunker”) to the locale for hard-core fetish and techno parties in the 1990’s – until it was forced to shut down by the police in 1995.
In 2003, Christian Boros, art collector, and owner of a successful advertising agency decided to purchase the bunker and convert it into his own gallery and home. Renovation commenced in 2004 by the Berlin-based firm Realarchitektur – Jens Casper, Petra Petersson, and Andrew Strickland – who were commissioned to design both the exhibition and living spaces. Using a method of subtraction from the original form, over 750 cubic meters of concrete were diamond-sawed from within and carefully removed by hand. Additions which had been made over the years were removed, the facades cleaned, but the inner exposed walls were kept as they were, with the traces of sweat, blood and neon dye left behind by the building’s diverse users over the decades.
The façades of the building were cleaned and were structurally refurbished while paying homage and being in accordance with heritage. Bullet holes from World War II bear witness to the historical significance of the building and were dealt with respect, thus leaving war traces physically present. In the heart of this hermetic concrete, cube remains the exhibition of contemporary works since the early 1990’s to recent. However, in order to create this space suitable for the Boros collection, architect Jens Casper drastically deconstructed the 33,000 ft² (3,000 m²) bunker, which was once devoid of natural light, transforming it into a complex 80-room arrangement.
The artwork which is currently on display has been installed in the rooms by the artists themselves and works with space. If you made it this far, my apologies for posting such a long story, but this home is absolutely deserving of one.