A city for fish modelled on a high-rise development underway in Xi’an, China, has been installed in a gallery next to the construction site (+ slideshow).
Photograph by Lindle_Bukor
Vienna-based artists Christian Lindle and Raoul Bukor worked with Beijing artist Lu Yang to install fish tanks shaped like skyscrapers in a gallery space next to a large urban development.
The tanks form a 1:60 scale model of the adjacent high-rises currently under construction.
One thousand five hundred Goldfish inhabit the glass towers to represent the people due to live in this development once complete.
“Fishpond City is inhabited by goldfish, an ancient Chinese symbol for luck, prosperity and fertility,” said the group of artists. “These residents act as a bridge to perception and empathy of urban space.”
At 1:60 scale a day lasts for 24 minutes and this accelerated passing of time is simulated by coloured LEDs housed in the smaller glass boxes.
Photograph by Lindle_Bukor
The lights glow orange in the east to represent dawn, shine bright white at noon then fade to red for dusk. Sounds of early morning traffic, street markets and conversations are also played in the space.
Photograph by Lindle_Bukor
Visitors can walk between the tanks, the tallest of which are around head-height.
To keep the tanks clean, water is syphoned under a glass floor etched with patterns of trees to signify parkland in the development. The water passes through a filtration system before being pumped back into the fish city.
Photograph by Lindle_Bukor
The artists created the installation as an observation of the rapid urban development in the provincial capitals of central China.
“Fishpond City is a measuring tool for cultural identification of urban space and reflects on the high speed development of a society,” they said.
The Chinese hotspots of turbo urbanisation have shifted: the large construction sites, engines of economic growth have moved inland to the large provincial capitals, like Xi’an in Shaanxi. Literally thousands of high rises and shopping centres grow simultaneously, nerved by wide boulevards.
Water filtration system under the gallery floor. Photograph by Lindle_Bukor
Vienna-based artists Raoul Bukor and Christian Lindle in cooperation with Beijing based artist Lu Yang emerged themselves into this radical change of space by erecting a city themselves: Fishpond City – a city for fish. This permanent installation is a true to scale model of a future district of Xi’an and located right next to the construction site.
The high-rise development that provided the model for the installation. Photograph by Lindle_Bukor
Like a real city the model is a living system, influenced by ecological and demographic aspects. Fishpond City is inhabited by goldfish, an ancient Chinese symbol for luck, prosperity and fertility. These residents act as a bridge to perception and empathy of urban space. The installation is accompanied by 50 portraits showing the people involved in the construction of the new district as well as in its artistic interpretation, who after all accomplish Chinas urbanisation.
Urban development in Xi’an
Fishpond City is a measuring tool for cultural identification of urban space and reflects on the high speed development of a society.
The facade of this house in the English seaside town of Margate appears to peel away from the rest of the building and slump down into the front yard (+ movie).
British designer Alex Chinneck created the installation – called From the Knees of my Nose to the Belly of my Toes – by removing the facade of a detached four-storey house that had been derelict for eleven years and replacing it with a brand new frontage that leaves the crumbling top storey exposed, then curves outwards so the bottom section lies flat in front of the house.
“I just feel this incredible desire to create spectacles,” Chinneck told Dezeen. “I wanted to create something that used the simple pleasures of humour, illusion and theatre to create an artwork that can be understood and enjoyed by any onlooker.”
Located on Godwin Road in the Cliftonville area of the town, the house had been acquired by the local council and earmarked for social housing, but nothing was due to happen to it for a year and the structure was in a dilapidated state. “There were barely any floorboards, it’s very fire-damaged at the back and water-damaged at the front, and had fallen into ruin,” said the designer.
His installation reveals this dilapidated interior where the smart new facade falls away from the top floor. “I increasingly like that idea of exposing the truth and the notion of superficiality,” he explained. “I didn’t go into the project with that idea, but as it evolved I started to like that.”
Cliftonville is a district of Margate that used to be affluent, but like many seaside towns in the UK it has suffered with the changing patterns of holidaymakers. “It has social issues, it struggles with high levels of crime and the grand architecture has fallen into a fairly fatigued state,” said Chinneck.
In addition to causing delight when residents happen upon his intervention, the designer hopes to will draw visitors up the hill from the centre of Margate, where high-profile projects like the Turner Contemporary gallery by David Chipperfield are using culture as a tool for regeneration.
“Cliftonville is a very poor area referred to as being ‘up the hill’, and the culture and the arrival of artists hasn’t quite reached up the hill yet,” he said. “I was drawn to Cliftonville because it’s an area where the culture hasn’t reached and I think public art too often forgets its responsibility to the public.”
“I like the idea of surprise,” he added. “I never put signs on my work and I never give it any labels, so it does have this sense of mystery. It’s positioned in a way that you don’t see the artwork as you approach from either direction – you just see the hole in the top at first, so it’s a series of discoveries and you have to walk around it.”
The designer initiated the project himself and spent twelve months convincing companies to help him realise the artwork. Everything was donated by ten different companies except the labour, which was done at cost and paid for buy the Arts Council. The installation itself came together in just six weeks by assembling prefabricated panels.
The artwork will remain in place for a year, before the building is converted for use as housing.
“I like the contradiction of taking a subject that’s dark or depressing or bleak, something like dereliction which suggests something quite negative socially but also aesthetically, and delivering a playful experience within that context,” he explained. “I don’t think it’s a negative comment on society, it’s just trying to give society a positive experience.”
British artist and designer Alex Chinneck has completed construction of his most ambitious installation to date after peeling the front of a four-storey house in Margate away from the rest of the building. As curving bricks, windows and doors slide into the front garden of a property that has been vacant for eleven years its upper interiors are revealed to the public below.
Thanet District Council gave the artist permission to use an empty property on Godwin Road in the Cliftonville area to create the artwork. Cliftonville is a district striking for both the grandeur of its architecture and for the challenging social issues it has faced in the last thirty years. Together with Margate’s widely discussed use of culture as a tool for regeneration, this provides an ideal context for the piece.
The completion of construction follows a twelve-month campaign undertaken by the artist to realise his self-initiated £100,000 project. Ten leading companies across British industry donated all the materials, manufacturing capabilities and professional services required to build the sliding facade.
Alex Chinneck’s practice playfully warps the everyday world around us, presenting surreal spectacles in the places we expect to find something familiar. At 28 years old ‘From the knees of my nose to the belly of toes’ is his boldest project yet as he continues to theatrically combine art and architecture in physically amazing ways. This project follows his acclaimed 2012 installation ‘Telling the truth through false teeth’, in which the artist installed 1248 pieces of glass across the façade of a factory in Hackney to create the illusion that its 312 windows had been identically smashed and cracked.
Alex Chinneck is a London based artist and designer. He is the founder of The Sculpture House, a member of the Royal British Society of Sculptors and a graduate of Chelsea College of Art and Design.
This project has been made possible with support from the Arts Council England, Margate Arts Creativity Heritage, Thanet District Council, Ibstock Brick, Smith and Wallwork Engineers, Norbord, Macrolux, WW Martin, Urban Surface Protection, Jewson, RJ Fixings, Resort Studios, Cook Fabrications, the Brick Development Association, and All Access Scaffolding.
Location: 1 Godwin Road, Cliftonville, Margate, CT9 2HA Dates: 1st of October 2013 – October 2014
Dutch studio KoningEllis Architects used a combination of grey slate, warm timber and shimmering aluminium for the walls of a new building at this school for children with learning disabilities in Haarlem, the Netherlands (+ slideshow).
Daaf Geluk secondary school had previously been located on two sites, but the construction of new housing had created the opportunity to bring the entire school together on one campus. KoningEllis Architects was tasked with renovating one of the old buildings – a brick structure from the 1940s – and adding an additional block of classrooms and sports facilities.
To complement the red and brown tones of the existing brickwork, architects Suzanne Ellis and Ieke Koning designed a two-storey extension with a timber facade, then added a ribbon of grey slate around its middle.
“The two buildings are in agreement with each other not only in form, but also in appearance, without being copies,” said the architects.
A glass tunnel leads from the renovated building to the new structure, which accommodates 12 classrooms, offices and a pair of sports halls.
Rooms are arranged around a double-height atrium with a generous skylight. A wide staircase extends up through the centre and doubles up as seating, allowing the space to function as an informal auditorium.
To create a “quiet, homely atmosphere”, the architects used a simple colour palette of white, grey and lime green. They also added windows at the end of every corridor so that natural light floods through the building.
“White walls and ceilings combined with grey melange floors form a peaceful basis,” explained Ellis. “For the frames, the staircase, floor and ceiling of the auditorium white oak was used, to add a neutral, natural and warm-looking material.”
She added: “We only added one distinct colour – grass green. This fresh colour forms a stylish, modern combination with the oak.”
Each of the classrooms feature thick partitions walls, creating built-in storage closets on the inside and private workspaces in the corridors.
The two sports halls are housed at the western end of the building and feature first-floor viewing platforms for spectators.
Here’s a more detailed project description from KoningEllis Architects:
Secondary School Haarlem
The Daaf Geluk School is a special-needs school, which means that it provides education for secondary school pupils who need more attention, guidance and help. The school offers tailored-made education and provides lessons in small classes of up to sixteen pupils.
Renovation and Expansion
Formerly, the 350 pupils of the ‘Daaf’ were spread over two locations in Haarlem. When the annex had to give way to housing, the school got the chance to come together on one site. The choice was made for renovation and expansion of the existing building at the current location. The expansion consists of offices, a communal space, twelve classrooms and two sports halls.
Design
For the type of pupils of ‘the Daaf’ it is important that the school has a quiet, homely atmosphere. Structure, clarity, peacefulness and security were therefore important conditions for the design. The layout ensures that there is always light at the end of the spacious corridors. The interior design has been kept basic and light, to avoid too much stimulation.
The heart of the school is the auditorium, where the broad wooden staircase, also functioning as seating for the stage, immediately catches the eye. The wood extends as a carpet in front of the staircase and at the end curls up into natural casing of the stage. A large skylight above the stairs makes the auditorium light and pleasant.
The building has been logically and cleverly planned. For example, the common areas are situated at the nodes and there is no wasted space. In the corridors smart double walls have been constructed. On the classroom side, there are built-in cupboards and on the corridor side there are recessed lockers and workplaces where pupils can sit and work quietly. Through the window the teacher can monitor them as well.
At the far end of the extension is a double gymnasium. The height in this part of the building is used for changing-rooms on the first floor and to provide a balcony where spectators can follow the activities in the gym. By providing the gyms with their own entrance they can also be used outside school hours.
Renovation
On the site they found a beautiful brick school building from the forties, but it didn’t meet the current requirements any longer and the original structure was not visible anymore. By removing the superficial interior additions and careful renovation of the primary structures, the architects were able to bring back the beauty of the original building. Constructive interventions strengthened the improvement of the routing and lines of visibility.
Sight lines are important to our design. From the new entrance square you look through the connecting corridor into the old building. The orientation of the buildings creates several outdoor areas: an entrance square, two playgrounds, and a secluded courtyard between the old and the new buildings. The old and the new are connected by a glazed corridor.
The new interventions were accentuated by using the colour green, which continues into the new building. To leave the historic appearance as much intact as possible, the iconic iron window frames were retained and renovated. Finally, a modern ventilation/air handling system was put in to improve the climate in the building. In this way the historic characteristics of the existing building have been preserved and the quality of the building environment has been optimised.
The two buildings are in agreement with each other not only in form, but also in appearance, without being copies. The colour palette of the façade and the roof of the old building; brown and purple-grey, returns in the new building in contemporary materials such as preserved wood, aluminium and slate, all maintenance free materials. Hence the new building gets a warm feel to it, in tune with the old one, but still with its own character.
Around the school they put a ‘ribbon’; a horizontal stripe of purple-grey slate. In front of the entrance are the large steel letters ’DAAF’. The sign fits well with the modest building. No loud signs, just a stylish touch.
An aluminium strip ensures a tight transition between the different materials and gives the outline of the horizontal and vertical surfaces in the facade extra sharpness. The sun-blinds are hidden behind a removable panel. The technical drawings for the construction were not outsourced to ensure the quality of the design and to have maximum control during the building process.
With the same attention to detail the building was integrated into the environment. Also, the neighbourhood, welfare and preservation organisations were consulted. It was a puzzle to get the new building onto the plot. The new building doubled the volume of the existing school, and residential homes are close. That is why the appearance of the school has been kept modest. By using a light colour wood at the top and the bottom, the building looks friendly and inviting.
The project comprises a 4.5 metre-tall black vehicle with two large wing-shaped legs that exit a diamond-shaped cockpit and have caterpillar tracks on the feet. “The object revives the mysterious atmosphere of the Cold War and its accompanying terrifying weaponry,” said the designers.
There is seating for ten people to work inside the object, which will be used by visiting researchers. “The unconventional combination of nature and Cold War history offers an exciting environment for the development of knowledge about nature, technology and aviation,” said Ronald Rietveld.
Interior workspace
The vehicle is housed in a former F15 plane hanger and when in use travels along the disused airstrip. “The lethargic pace of the caterpillar wheels gives viewers a long period of contemplation of the elevated vessel and its historical context at the military airbase,” the designers said.
“Due to this brutal object’s constantly changing position in the serene landscape, it allows the visitor to experience the area and the history of the military airbase in new ways.”
The elevated vehicle was designed to resemble military aircraft but remains flightless. It is 4.5 metres tall, 11 metres wide and eight metres long.
A third leg extends over the back end of the capsule to provide stability and has a wheel on the foot for maneuverability.
The machine is constructed from steel and wood that is sprayed with liquid black rubber. The interior is lined with painted wood.
“It is a functional piece of work that serves as a research station,” said the designers. One of the first groups to use the workspace is aerospace engineering researchers CleanEra from Delft University of Technology, who are researching environmentally-sound aviation.
The Secret Operation project was originally created for arts festival Vrede van Utrecht 2013.
Secret Operation 610 by Rietveld Landscape and Studio Frank Havermans
When aircraft Shelter 610 opens its ruthless doors, a monstrous black behemoth slowly comes driving out. The object revives the mysterious atmosphere of the Cold War and its accompanying terrifying weaponry.
Diagram
At an almost excruciatingly slow pace, the artwork uses its caterpillar tracks to cross the seemingly infinite runway. Due to this brutal object’s constantly changing position in the serene landscape, it allows the visitor to experience the area and the history of the military airbase in new ways.
At the same time, the artwork functions as a working environment for researchers. Their temporary stay creates opportunities for innovative research programs that otherwise would be impossible.
The general aesthetic of the sculptural object resembles something from a science fiction movie. However, it is a functional work that serves as a research station. One of the groups occupying the space is CleanEra: technical university (TU) delft aerospace engineering students who are developing the ‘no noise, no carbon, just fly’ technologies for the future of flight.
For example, inside the object, students of the Technical University Delft will develop a program for the innovative flying of the 21st century: “no noise, no carbon, just fly”. The old runway is the perfect test site for state of the art aviation experiments.
The mobile sculpture and shelter 610 are perfect spaces for research, experiment and innovation for groups coming from various disciplines. The unconventional combination of nature and Cold War history offers an exciting environment for the development of knowledge about nature, technology and aviation.
Design team: Frank Havermans, Ronald Rietveld, Arna Mackic Production leader: Koos Schaart productions Location: Former Flight Base Soesterberg, The Netherlands Client: CBK Utrecht, Vrede van Utrecht Coordination: Ella Derksen
These images show shoes presented on sinuous display stands with metallic edges, while wall-mounted shelves curve out from vertical surfaces surrounded by more flowing forms.
Large lights recessed into the ceiling illuminate the space, while accessories on plinths and shelves are highlighted with additional lighting.
Hadid explained that stores in New York, Hong Kong and Rome planned for 2014 will each have their own identity but follow a similar style.
Amsterdam designer Monique Goossens has made a typeface with strands of human hair.
Goossens’ Hair Typography is crafted by arranging bunches of hairs into the shapes of single letters. Each character has a dense centre and becomes increasingly sparse towards the edges.
“The shapes of the letters are created by forming the hairs into a legible character,” said Goossens. “The ends of the hairs create an organised chaos – an energetic play of lines, which form a haze around the shape.”
The script letters have fluid strokes and the designer compares the individual filaments to fine pen lines. Each letter has interwoven curling lines and can be made in a variety of weights.
Once the letters are formed, Goossens photographs the characters for reproduction. The designer told Dezeen that she hopes the font will be used for magazine or book covers, and individual commissions can be made directly from the designer.
Goossens studied interior design at Academie Artemis in Amsterdam, and photography and design at Design Academy Eindhoven. She currently teaches Interior Design and Visual Communication at Academie Artemis.
The hair letters consist of hundreds of hairs and give the impression of being fine pen drawings. The basic shape of the letters are created by forming the hairs into a legible character, during which I follow the natural characteristics of the hairs: curly, rounded corners, springiness.
To a great extent, it is the dynamic of the hairs which determines the shape of the letters. The ends of the hairs create an organized chaos, an energetic play of lines which forms a haze around the letter’s basic shape.
About Monique Goossens
Designer Monique Goossens studied at Academie Artemis in Amsterdam, graduating cum laude in Interior Design Styling in 2006. During her studies, she developed an interest in the relationship between design and photography which she went on to explore in depth during further study at the Design Academy in Eindhoven.
Monique Goossens’ work includes elements of both design and autonomous art. It often takes the form of staged images in which she challenges established concepts of function and material. In consequence, shifts occur at elementary level and result in a degree of estrangement. A refined appreciation of materials enhances this process, leading to beautiful and unexpected discoveries. Photographs of these scenes become the definitive works.
Monique’s work is playful, humorous, surprising. Her graphic work follows a similar process as she collates photographs into books and develops letter types using a range of materials.
Monique currently teaches Interior Prognoses at Academie Artemis.
Dezeen will be reporting live from the festivals this week and filming interviews with winners of the awards programmes, plus making movies for our Dezeen and MINI World Tour. Also as part of the tour, we’ll be stopping in Eindhoven to check out Dutch Design Week later in the month.
French architects RAUM have arranged a cluster of holiday apartments in Brittany around terraces that are connected by small alleys (+ slideshows).
The clients for the project were a couple who asked RAUM to create two holiday homes with adjoining studio flats on the Quiberon peninsula, which can be rented by one or more families.
The architects designed the buildings around a series of outdoor spaces, linked by passages that can be transformed from public to private areas by closing gates.
Interiors are given a minimal treatment to focus attention on the terraces, and all of the ground floor living rooms feature sliding doors that open onto the decking outside.
A small building in the southwest corner of the site houses one of the studio flats, while another is located above the garage.
Wooden flooring is used throughout the interiors and also creates a connection with the external decking.
News:furniture retail giant Ikea has announced plans to sell flat-packed solar panels.
Ikea‘s thin film cells for residential roofs will cost £5700 for 18 panels and – unlike the self-assembly bookcases and sofas the brand is known for – will include installation. The panels are made in Germany by Chinese producer Hanergy Solar.
The scheme will be rolled out to all UK stores in the next ten months, where customers will be able to see the products and have a consultation.
The products are available in the Southampton store on the south coast from Monday following a trial at Ikea Lakeside, east of London, which the company claims sells roughly one photovoltaic system per day.
Ikea has already installed more than 250,000 solar panels on the roofs of its own buildings worldwide.
Product news: design collective Outofstock have created a shelving unit inspired by suspension bridges.
Bridge shelves, designed by Barcelona- and Singapore-based Outofstock are produced by the Danish company Bolia.
Firstly, a wooden baton is attached horizontally to the wall.
From this, three solid oak shelves of different lengths are suspended using bent steel rods.
The user can configure their own arrangement of the unit by moving the shelves along the baton.
“We have always been fascinated by the beauty and engineering marvel of the Golden Gate Bridge and the Akashi Kaikyō Bridge” said the designers. “Strong and functional, at the same time awe-inspiring.”
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