Hasta La Ideas

Dutch firm DUS Architects have created a pavilion made of bubbles.

Visitors to a Rotterdam square had to construct the soapy walls themselves by lifting metal frames from five-sided steel pools.

Anyone standing in one of these pools became enclosed inside one of sixteen massive bubbles.

The pavilion was open to the public for less than three weeks and was completed as part of the International Architecture Biennial Rotterdam, which continues until August.

We recently rounded up all our projects featuring bubbles, including a lamp that blows its own temporary shades. See them all here.

Here’s some more explanation from DUS Architects:

Announcing: The Bubble Building!

The World’s most temporary pavilion entirely made out of soap bubbles, in Rotterdam, NL

At the very centre of breezy Rotterdam, lies the world’s most fragile and temporary pavilion: The Bubble Building. The temporary pavilion does justice to its name, as it is entirely made of soap bubbles.

On invitation by the IABR (International Architecture Biennial Rotterdam) and the ZigZagCity Festival, DUS architects designed a pavilion that instigates interaction, as the pavilion only appears when visitors build it themselves. The Bubble Building opened to the public on April 20th and can still be visited until Sunday May 6th, at the Karel Doormanhof in Rotterdam, NL.

The Bubble Building is made from 16 hexagonal shaped mirroring ponds; a shape derived from the natural shape of connected foam bubbles. Positioned in a square plan, the steel ponds create a 35 m2 reflective soap surface, strong enough to carry human weight. This creates a surreal scene, as visitors wearing rubber boots seem to stand on a reflective water surface. No sign of a pavilion, just a few handlebars that hint at what needs to be done.. What happens next, is an instant spectacle: When visitors pull up the handlebars, massive soap walls emerge in a split second. The soap walls appear as super slim glass, wavy, curvaceous, and always different; A multitude of soap walls and a rainbow of colours. Old and young join in to make the pavilion appear, over and over again.

Economic bubble

While the building is temporary, it refers to monumental architectural themes such as the re-building of Rotterdam. In order to make the building appear, you must erect it yourself, until it pops again. This way, the Bubble Building also is a reference to the current bursting of the economic bubble. Moreover, the Bubble Building is about collective building, as it takes at least two people to erect one cell of the pavilion. The more people join in, the larger the pavilion becomes.

Mental Monument

Visitors are invited to eternalize their own momentary version of the pavilion in a bubble snapshot, and upload these images to the ZigZagCity website. Online, a multitude of different bubble buildings appear. In these pictures lies the true beauty of the pavilion: the remembrance. As ultimately, the Bubble Building is about beauty.

It is said that temporary experiences are perceived as more beautiful, because they only last for a short time. Rotterdam philosopher Erasmus said ‘Homo Bulla Est’ – ‘man is a soap Bubble’. Life is momentary. So go build the Bubble Building, because it will only be there for an instant!

Artist Daniel Buren plants a forest of candy-colored sunshades for “Exentrique(s), travail in situ” at the Grand Palais

Following the installation by Anish Kapoor in 2011, Monumenta 2012 invited famed French artist Daniel Buren for the fifth edition of the annual challenge to create an installation that will fill the soaring nave of Paris’ Grand Palais. Buren’s take on the site-specific concept is “Excentrique(s), travail in situ”.

True to its name, what Buren has created can best be described as eccentric—a rainbow forest of hundreds of transparent, sunshade-like plastic saucers planted on flagstaffs spreads over the entire area of the 13,500-square-meter space, playing with the light pouring into the huge, glassy cupola to cover the ground with colorful reflected spots.

For this color-dominated installation, even the central cap of the dome itself has been saturated with a blue checkerboard to resemble the stained-glass windows of a church. Working as a huge illuminated forum, the whole display is conceived to attract, reflect, expend and multiply the light into fragments of joyful colors. At night the figure reverses and the glass roof is lit by the reflected colors of the saucers, due to a sweeping electrical device. The forest also features a relatively low ceiling that counterbalances the 35 meter height of the building.

At the center of the work is an interruption in the cover of the sunshades, with disk-shaped mirrors on the floor that make the area seem like a glade among the forest of umbrellas. Their pools reflect the steel structure of the roof above, and from there, the exhibition spreads out on all sides in a dotted landscape of colorful saucers.

In keeping with the idea of the eccentric—meaning away from the middle, existing on the fringe of the mainstream—the experience was designed to keep the center from swallowing up the rest of the space. Visitors enter on the north side of the nave and exit through the south wing, an intentional course that forces the visitor to cross the length of the expanse while avoiding the center. As Buren explains, the center tends to draw all the attention and leave the rest of the space empty.

Buren touches on the idea of the eccentric by diverging quite far from his typically austere and minimalist black and white vertical stripes which established his name. Though still highly recognizable, Buren’s new work hasn’t been seen before from him, all circles, transparencies, light and color.

Having now established himself as a master of color, Buren uses his basic figures—black and white vertical flagstaffs—along with the new round shapes of the saucers and mirrors. The circle is the key figure of the installation—the high, round saucers as sunshades, the round mirrors on the floor in the center. Buren started considering the circle after he realized that the whole architecture of the Grand Palais building was based on the pattern of this figure.

Continuing the 40-year pursuit of his work, Buren plays on forms with a mathematical approach. The game here consists in assembling tangent discs, all in contact with one another, filling the empty space as much as possible. Employing only four basic colors (blue, yellow, red and green) Buren displayed them after an alphabetical order, with blue appearing 95 times and the others, 94 times each. The installation is completed by a soundtrack comprising the repetition of the names of the colors in 40 different languages.

“Excentrique(s), travail in situ” is on display at Grand Palais through 21 June 2012.

Construction of the controversial 115 metre-high sculpture that artist Anish Kapoor and structural engineer Cecil Balmond designed for the London 2012 Olympic park is now complete.

Visitors will enter a central elevator to ascend the steel tower, named the ArcelorMittal Orbit, arriving at an observation deck with a panoramic view of the city. To exit, they will be encouraged to climb down a staircase of 455 steps that spirals around the tower’s exterior.

Around 560 metres of red tubular steel form the structure and 250 coloured spotlights illuminate it at night. Internal fit-out will begin later this month and the attraction will open to the public before the games begin in July.

The project suffered a huge backlash when the initial plans were revealed back in 2010. See the comments from Dezeen readers here.

See also: our earlier stories about completed Olympic venues the aquatics centre, the velodrome and the main stadium, and see all our stories about the London 2012 Olympics here.

Photography is by ArcelorMittal.

Here’s some more information from the London Mayor’s Office:

ArcelorMittal Orbit unveiled to the world

Main construction of the London 2012 landmark is declared complete.

ArcelorMittal, tier two sponsor of the London 2012 Olympic and Paralympic Games and the world’s leading steel company, will today offer a preview of the completed ArcelorMittal Orbit – the 114.5 metre sculpture designed by Anish Kapoor and Cecil Balmond which will stand at the heart of the Olympic Park.

The ArcelorMittal Orbit is being handed over to the London Legacy Development Corporation later this month, so that Balfour Beatty Workplace can complete the fit-out ahead of the London 2012 Games where it will be a ticketed visitor attraction.

The press event will be attended by the team behind the sculpture, including Anish Kapoor and Cecil Balmond, Lakshmi N. Mittal, Chairman and CEO, ArcelorMittal, and Mayor of London, Boris Johnson, alongside the architects, engineers and builders who have helped bring the project to reality. For the first time, attendees to the unveiling will be able to travel up to the viewing platform and enjoy a panoramic view of up to 20 miles, encompassing the entire Olympic Park and London’s skyline beyond. At 114.5m, the ArcelorMittal Orbit is the UK’s tallest sculpture and stands 22 metres taller than New York City’s Statue of Liberty.

“It gives me great pride to see the ArcelorMittal Orbit standing not only as a completed work of public art but as a physical symbol of the Olympic spirit,” comments Lakshmi N. Mittal, Chairman and CEO of ArcelorMittal. “It makes me very proud that ArcelorMittal plants from across the world contributed to this showcase of the strength and versatility of steel,” he adds.

Boris Johnson: “This 114.5metre-high attraction to trump rivals the world over is a calling card for investment in east London. It is a symbol of prosperity and growth, backed by one of the world’s most astute business leaders, which delivers the strongest message that this part of London is open for business after decades of neglect.

“In addition to the £11billion plus investment that has taken place around the Olympics over the last four years, the ArcelorMittal Orbit will draw visitors to newly regenerated swathes of east London in perpetuity and has changed our skyline and aspirations forever. The development of this area, creating new jobs, homes, schools, and thriving communities beyond the Olympics, is one of the most important regeneration priorities as we lay the ground now to meet the needs of the next 25 years.”

Anish Kapoor: “I am absolutely delighted that construction is now complete and I would like to thank the project team for making this possible and for their work on what is technically a very challenging project. I am looking forward to the Olympics when visitors to the Park will be able to go up the ArcelorMittal Orbit for the first time and I am delighted that members of the public will be able to interact with the work in this way.”

Cecil Balmond: “Anish and I were conscious from the beginning that the ArcelorMittal Orbit would be a lasting legacy to the city and so we wanted to stretch the language of the icon as far we could go. The Orbit is a hybrid, a network of art and structure, and its dynamic is the non-linear. You read into it multiple narratives in space.”

One of the world’s leading artists, Turner Prize winning Anish Kapoor studied in London, where he is now based. He is well known for his use of rich pigment and imposing, yet popular works, such as Marsyas, which filled the Tate’s Turbine Hall as part of the Unilever Series, Cloud Gate in Chicago’s Millennium Park and his recent record breaking show at the Royal Academy, the most successful exhibition ever presented by a contemporary artist in London.

The ArcelorMittal Orbit was designed by Anish Kapoor and one of the world’s leading structural designers, Cecil Balmond, who trained and lives in London, and is known for his innovative work on some of the greatest contemporary buildings in the world, such as the CCTV building in Beijing, as well as many Serpentine Gallery Pavilion commissions.

Construction of the ArcelorMittal Orbit took 18 months and required 560 metres of tubular red steel to form the sculpture’s lattice superstructure. The result is a bold statement of public art that is both permanent and sustainable, with close to 60 per cent of the 2,000 tonnes of steel used in the sculpture being drawn from recycled sources, underlining steel’s status as the world’s most recyclable material. Steel was chosen for the ArcelorMittal Orbit because of its unique properties including strength, modular structure and advantages of weight and speed of construction.

Sitting between the Stadium and the Aquatics Centre, the ArcelorMittal Orbit will be a beacon of the Olympic Park during the Games and the Queen Elizabeth Olympic Park as the area will be known after the Games.

Visitors will be able to take a trip to the top of the structure in a lift and down too if they wish, although they will be encouraged to walk down the spiral staircase, which has 455 steps and has been designed to enable the guests to experience the feeling that they are orbiting around the structure as they descend it.

After the Olympic and Paralympic Games and following a period of transformation, the Legacy Corporation will run the ArcelorMittal Orbit as a visitor attraction with ticketed viewing from the observation decks and a compelling venue for private functions. It will be able to accommodate around 5,000 visitors a day with potential to attract around one million people during its first year of operation. It will have the capacity to accommodate between 400 – 600 visitors per hour, including full wheelchair access.

Last month, the Legacy Corporation announced that the ArcelorMittal Orbit will light up East London after 250 colour spot lights were added to the sculpture. Each can be individually controlled to produce a stunning digital combination of static and animated effects including a 15 minute moving light show every evening after the Games.

Andrew Altman, Chief Executive of the London Legacy Development Corporation, said: “The ArcelorMittal Orbit will become one of London’s most spectacular visitor attractions and a stunning backdrop to the Queen Elizabeth Olympic Park. “Not only will it offer differing views by day and night, but it will light up the East London skyline to become a beacon of the incredible transformation of this part of East London.”

The Legacy Corporation, which will lease the ArcelorMittal Orbit to LOCOG during the Games, has said that 85% of the 50 jobs created in the venue after the Games will go to local people.

As a tier two sponsor of London 2012, ArcelorMittal has committed to funding up to £19.6 million of the £22.7 million cost of the ArcelorMittal Orbit, with the outstanding £3.1 million provided by the London Development Agency. It has been estimated that the resulting visitor attraction will generate up to £10 million of revenue per annum and create up to 50 new jobs following the 2012 Olympic and Paralympic Games.

Swedish architects Claesson Koivisto Rune have completed a house on the coast of a Baltic island, with grey sealant drawing graphic lines across the white concrete facade.

Villa Widlund on the island of Öland was constructed in solid white concrete, rather than painted or pigmented on the surface, and prefabricated to ensure the precise angles required for each slab.

Slanted walls and roofs make the building narrower in the middle, separating the two-storeys of bedrooms at the back from a double-height communal space at the front.

See all our stories about Claesson Koivisto Rune »

Here’s some more information from the architects:

Villa Widlund vacation house
Öland, Sweden

This house is like a funnel of light, space and sea views. The location is the west coast of the Baltic island of Öland.

The white concrete box is “corsetted” in the middle, creating slightly sheared wall and roof angles.

This gives the house both its direction and character, while also marking the difference between the rear private two-storey bedroom part and the communal double ceiling-height front part.

Precast concrete is perhaps not the most common choice for a private house at this scale, but was ideal for achieving the ultimate precision in manufacturing tolerance and colour/finish.

The concrete is not painted or surface-pigmented but solid white, which gives it a wonderful glow.

The joints between the concrete elements are carefully designed and positioned so that – instead of interfering with – they become part of the building’s geometry and expression.

The sealant in between is gray to enhance the graphic effect rather than matching the concrete surface.

Architect Claesson Koivisto Rune Architects, Stockholm

Project group Mårten Claesson, Eero Koivisto, Ola Rune, Deta Gemzell, Kumi Nakagaki, Kia Larsdotter, Lotti Engstrand

Project vacation house

Location Sandvik, Öland, Sweden

Client Karin Meindner and Jan Widlund

Designed 2008

Built 2011

Builder Folke Nilsson AB and Finja (precast concrete)

Construction/Material solid white precast concrete

Building area 220 m2

Remember those commercials featuring Zack the Legomaniac? His real-world, adult equivalents are known as LEGO Certified Professionals, a designation that only a dozen people worldwide have achieved. One of them is Adam Reed Tucker, a Chicago architect-turned-“architectural artist” that now builds exclusively with tiny plastic bricks. “Working with my hands, creating art and sculpture, the freedom to create and explore my own vision of design without computer reliance, and to share architecture with the world all made this a natural move for me,” he says. “I wanted to work on ways to inspire and motivate those familiar with architectural elements and those with no design knowledge at all.”

Tucker is to thank for the LEGO Architecture product line, launched in 2008 with kits devoted to the Sears Tower and the John Hancock Center. He’s also the tireless brickbuilder behind “LEGO Architecture: Towering Ambition,” on view through September 3 at the National Building Museum in Washington, DC. Tucker’s 15 globe-spanning LEGO landmarks (including the Empire State Building, Frank Lloyd Wright‘s Fallingwater, and the Burj Khalifa) recently got some new neighbors, as the museum welcomed LEGO versions of 15 Central Park West (downsized by its original designers, Robert A.M. Stern Architects) and a couple of hometown favorites: a Metro station (ZGF Architects) and a traditional center hall colonial home (Gulick Group). Total brick count on the three models? 77,000. This weekend, Tucker returns to the museum to put the finishing touches on his LEGO White House. Stop by between noon and 4 p.m. on Saturday or Sunday to join in the architectural fun. Can’t make it to Our Nation’s Capital? Build your own LEGO White House (considerably smaller than the museum version) with this 560-piece kit. No word as to whether the gift shop also sells a LEGObama figure to place inside.

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