Après les impressionnants clichés du métro de Stockholm, voici cette série du photographe Nick Frank sur le style futuriste du métro de la ville de Munich. Un rendu très minimaliste et surréaliste sans la présence de passagers. A découvrir dans notre galerie, disponible dans la suite de l’article.
Architects J. Mayer H. have designed a building made from scaffolding to host the collections and events of the Pinakothek der Moderne museum in Munich when it closes for renovation next year.
The temporary pavilion will occupy a site at the museum from February to September and will contain a large ground floor exhibition room for displaying four of the modern art collections.
External stairs will lead to the upper levels, where a series of platforms and a projection area will provide a flexible space for events, screenings and installations.
J. Mayer H. have also recently completed a few projects in Georgia – see a slideshow of them all here.
Here’s some information from the architects:
Schaustelle – Space for Experiments
Designed by J. MAYER H., the ‘Schaustelle’ or ‘show site’ will be a temporary pavilion and platform for the four collections housed at the Pinakothek der Moderne.
In an official statement, Dr. Markus Michalke, Chairman of the Pinakothek der Moderne Foundation announced:
The Pinakothek der Moderne is due to close in February 2013 for renovation work and is expected to reopen again in September 2013. The temporary closure has been seen as an opportunity that will give rise to a makeshift exhibition building – the Schaustelle. Set up for the duration of the renovations, it will provide the four collections at the Pinakothek der Moderne with a lively platform to hold exhibitions, workshops, talks, performances, film screenings and video installations and much more besides. The scheme has been initiated by the Pinakothek der Moderne Foundation.
The ground floor of the Schaustelle contains a large exhibition space that can be easily adapted to suit the requirements of the various exhibitions of the four collections. The plans foresee the use of the open scaffold structure in the outdoor area as a projection area, making it available as an addition exhibition space. The scaffold structure allows visitors to walk through it, while they catch new glimpses of the city beyond, set off by works on display from the collections. Accompanying events, including some at night, multimedia projections in the outdoor area and a viewing platform overlooking the city centre: all these things will cast the Kunstareal in a new and exciting light. The Pinakothek der Moderne Foundation and the four institutions in the Pinakothek der Moderne are also using the temporary platform to send a political signal to push for the completion of the second section of the main building. The Schaustelle is an operational platform and think tank in one.
Date: February – September 2013
Location: Pinakothek der Moderne, Munich, Germany
Architects: J. MAYER H.
Designed for: Pinakothek der Moderne und Bayrische Staatsgemäldesammlungen, Bayrisches Staatsministerium für Wissenschaft, Forschung und Kunst
The post Schaustelle
by J. Mayer H. appeared first on Dezeen.
Slideshow: there are no horizontal crossbeams to interrupt the vertically striped wooden batons that clad this house outside Munich by German architects Titus Bernhard.
Matching wooden slats frame the building’s deep-set windows, which fold around the corners of walls as well as up over the concealed eaves.
The structure below the wooden cladding is constructed from prefabricated elements that were assembled onsite.
The name of the three-storey residence is House 11×11, which relates to its square shaped dimensions in plan.
The lowest level is an underground basement, while an open-plan living and dining room occupies the ground floor and a bedroom and two offices are located upstairs.
See more houses in Germany here.
Photography is by Jens Weber & Orla Conolly.
Here’s some more information from Titus Bernhard Architekten:
House 11×11
The idea behind House 11 x 11 was to design an apparently compact house of homogenous materials, with a low external surface but as large a usable area as possible, a house that serves a family as an inhabitable sculpture and shows its exterior as an image of the inner organization.
House 11 x 11 is an icon for its users, symbolic and built with a new method of construction: the exterior walls and the wooden roof made of prefabricated elements are covered by a vertical wood-lamella façade without counter-battens, converging on the ridge of the roof.
A pronounced graphic character is the result, reinforced by the variable density and very precise setting of the lamellae, including the integration of the wooden window frames.
The inner organization expresses itself in the open-plan floor space of the ground floor, containing a kernel for secondary uses as a space continuum, connecting optically with the upper story by means of airspaces and cleverly designed lighting.
Designer Martin Papcún and Czech architects Atelier SAD want to immerse an upside-down shell of a house into the ground of St. Jakob’s Square in Munich.
The proposals were drawn up as an entry to a competition organised by the City of Munich for the design of public art installations.
Envisioned as a memorial, the structure would commemorate all unnamed victims of war or violence in the city, specifically those caught up in conflict they didn’t choose to participate in.
The empty house would be formed from sand-blasted concrete, with a narrow illuminated gap between the walls and roof.
The base of the structure would protrude up from the ground just enough to create a parapet that prevents anyone falling in.
The winners of the competition have yet to be announced.
We recently counted down the ten most popular memorials that have been on Dezeen – see them here.
Visualisations are by Michal Nohejl.
Here’s the full project description from Martin Papcún:
Memorial for all victims “House — Minster”
House as a diary of our being
Every human’s live is an outstanding abandoned indelible mark, whether in a shape of tangibly handled “stories”, or mere imprint in us.
Our being is energy which is self transformed and self fulfilled in to our physical world.
Life of everyone of us has its strong specific way which is influenced and makes influences during effusion.
In any war conflict, totalitarian and violent regime, natural disaster or civil accident there are victims – people who are forced in to circumstances they don’t want and don’t want to participate in; they are thrown in to situation, which doesn’t allow them act freely and make independent decisions.
Often they are unnamed, fought by their own destiny in to “abyss” from which there is no escape and no way to win.
Any one of us assumedly has never heard about them, never met them, but imprint of their lives is lasting, is here and doesn’t disappear.
We could often come across places without visible marks of change, where we feel stigmatisation left by horror, tragedy and pain, and those places are the bearers of memories.
It is about something that is difficult to express through substance but we can feel it from inside and can define it by personal feelings.
Imprints of lives outlived can be recognised in modern day’s matter.
Memorial of all victims is dedicated to the people who were not heroes but they left somewhere their own indelible imprint. We are learning on their destiny how to repair our own mistakes and mistakes of others.
Archetypal building “House — Minster”
House is a universal place of our lives, centre of family, love, work, trust and contemplation, shelter in which we are hiding and it is a space for our eternal sleep.
Our private and social lives are connected with home / house / building – place of living and working. Thus the matter defining place/space is witnessing the passing of our live.
House is not just a building; it’s the point and centre of our home. Our memories, our energy, and our lives are imprinted there.
Everything that happened in our live is transformed inside us and has an influence on surroundings. This impact is denoted and absorbed by space around us.
We can sense this untouchable imprint but we can’t catch it and frame it in words.
Energy goes through the walls, has no borders, no limits. Places, spaces and buildings are stigmatised by us.
Subject of the Memorial
Negative form of archetypal shape of a house is a definitive space determined by the matter around. “Inside” matter is missing, similar to our past caught only by memories.
Shape of the House is defined by side walls and roof made from black/gray matt sand blasted concrete. The House will be turned upside down, turned a bit on two axis and immersed by 4/5 in to the ground. This turned imprint of a building, house and minster – is archetypal place of first and last hide.
It is the place of transcendence, contemplation, recollection and grief.
Positioning
Place at St. Jakobs–Square was chosen for its historical context, with Ohel–Jakobs Synagogue and Israelitische Kultur congregation, and also for the architectural quality of surrounding buildings.
The absence of matter in the Memorial is a kind of transcendental dimension inside everyone who would step in the visually overcrowded social space of the Square.
This place is about taking a brake for thought, an opportunity to immerse oneself in to transcendental dark / light space inside of each of us.
The Memorial place is in the centre of the Square, in dialog with surrounding buildings. It does not get in a way of passers– by or residents returning home. It invites you to come over and stay for a while. Graduation of the Memorial’s height allows non–obstructed observation of the surrounding buildings and the turn on two axis creates points of various heights in the composition.
A first time viewer will see space defined by black/grey wall, and undefined matter inside. But the closer view will show negative imprint of hollow house immersed in to the ground.
As the viewer comes closer to the Memorial the depth and the negative imprint inside the house will reveal themselves.
A step nearer to the edge and a glance inside will present full view on the imprinted house and the missing contents.
The Memorial is turned and placed in such a way that its lowest point for viewing is in the direction of the open space of the Square.
Inside the memorial side walls are not touching the roof separated by space between them. This space is in shadow during the day and effulge light at night. The roof seems to be levitating in the underground space as if the minster is floating in another dimension.
Visual disconnection from surrounding space above creates a feeling of calmness. Glance in to the empty space, in to dark is a symbol of a shared journey with the ones we meet.
At night the shadows are changing in to intensive effulge light. It is so intense that a viewer will loose ability to visually comprehend what is inside.
Where is the beginning there is the end. Absorption by darkness is alternated by absorption by light.
The level of the upper part of the House is gradually rising alongside the walls creating natural barrier against accidents.
New work by the NYC artist known for his colorfully bold “prison” paintings
Earlier this month, one of New York CIty’s native artists,
Peter Halley, invited some members of the press into his studio for a preview of his new works. For over 25 years Halley has painted his “prisons” and “cells,” reflecting the “increasing geometricization of social space in the world we live in.”
Regardless of how you read the social commentary, these bold, bright paintings masterfully impose color and texture on the canvas. His use of a Roll-a-Tex, an industrial tool, creates such a powerful contrast of texture within his “cells” that the varied surfaces are visible when standing ten feet away.
His new works will be on display at the Galerie Thomas Modern
in Munich starting 9 September 2011 and running through 19 November 2011.
Images courtesy of The Ballast.
Ce terrain de basket installé à Munich est unique au monde. Pensé par Inges Idee, ce dernier est tout en relief 3D afin de donner une impression stylisée avec la présence de bosses et de lampadaires. Un rendu impressionnant à découvrir en images dans la suite de l’article.
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The world’s 16 most famous art cars come together in one exhibit
Honoring the 35th anniversary of the project,
an exhibit at the BMW Museum in Munich brings together the complete set of 17 BMW Art Cars (with the exception of Olafur Eliasson’s ice sculpture) for the first time. Seeing them in one place makes for a study of the car as canvas, highlighting both similarities in the artist’s approaches (the majority are splashed with bright colors) as well as each distinct style.
While assembling all the cars is an impressive single-subject show, and many of the big names—Calder, Hockney, Lichtenstein—are familiar, there’s plenty of opportunity for discovery with some of the lesser-known works, like the shimmering surface of Matazo Kayama’s 1990 535i that welcomes visitors to the exhibit.
On a recent visit there as a guest of BMW, I also picked up a few insights that speak to the rich history of the brand initiative. As a whole, the show speaks to the savvy pairing of culture and sport, supporting the automaker’s values of performance and the joy of driving as they introduce fine art to race car driving.
A classic Warhol story, that he took all of 23 minutes to paint his 1979 M1 because he said the design of the car is so great, underlines his accompanying statement that he “tried to portray a sense of speed. When a car is going really fast all the lines and colours become a blur.” The short film on the making of this car and its race is worth checking out on the BMW Art Car microsite.
Similarly, Kayama said of his car (pictured above), “it was the attractive basic shape of the car which made my work at all possible in the first place.”
The show runs through 30 September 2011 at the BMW Museum in Munich. See more art cars—from Rauschenberg to Stella to Holzer and more—in the gallery below.
Une belle campagne de publicité print pour ce fabriquant allemand de crayon et porte-mine baptisée Faber-Castell. Un travail de l’agence Serviceplan Munich. avec cette déclinaison autour de 4 visuels pour la baseline “True Colours. Faber-Castell”. Plus d’images dans la suite.
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Stuttgart practice Ippolito Fleitz Group have completed the interiors for a fast-food chicken restaurant in Munich, Germany.
Called Wienerwald, the restaurant has tree motifs and forest graphics covering some of the walls and windows of the bright green space.
The use of brown and green througout the interior space is meant to reference nature and the forest.
The very first Wienerwald restaurant was opened in 1955 and the Ippolito Fleitz Group have been commissioned to rebrand all the restaurants.
Photographs are by Zooey Braun.
More restaurants/bars on Dezeen »
More interiors on Dezeen »
Here’s some information from the architects:
Friedrich Jahn opened the very first Wienerwald restaurant in Munich in 1955. The synonymous fast-food chain expanded over the following decades until it was operating branches in 18 countries. Following the collapse of the group, the company was under varying ownership until the grandchildren of the founding family bought back the rights to the brand in 2007. Their goal is now to build on the long tradition of the company, exploiting both the strength of the brand and the uniqueness of their gastronomic concept. Our studio was commissioned to develop new corporate architecture for the chain, which has already been rolled out in two Wienerwald branches in Munich.
Wienerwald has not only relaunched its visual presence, but also its culinary offering. Chicken, with its naturally low-fat, healthy meat, remains the main staple of the menu. However a second focus on fresh chopped salads has been introduced to move the food chain into the sector of fresh and healthy foods.
The new interior design underscores the realignment of the brand, while translating the chain’s traditional strengths of high quality, comfort and German cuisine into a contemporary design idiom. Materials and colours reflect the principles of freshness and naturalness, which find their expression in materials such as wood, leather and textiles, as well as in the dominant green tones that complement the fresh white. Gold is used as an accent colour, conjuring up associations of quality and the crisp, gold-coloured skin of the main product, the Wienerwald grilled chicken.
The space has been organised to ensure good visitor guidance, crucial in a self-service restaurant, as well as respecting the need for a differentiated selection of seating. Upon entering the restaurant, the guest is guided towards a frontally positioned counter, which presents itself as a clearly structured, monolithic unit. Menu boards suspended above the counter visualise the range of food on offer. The food itself is also visible: An indirectly lit niche in the rear wall of the service area presents a selection of salads adjacent to grilled chickens turning on a spit. The wall is covered in anthracite mosaic stones, into which frameless, stainless steel units have been precisely inserted, thereby underscoring the high standard of the products. A neon green arrow in the centre of the rear wall indicates a hatch to the kitchen where fried chicken dishes are prepared.
Order and payment terminals occupy the far ends of the white, solid surface counter. The chopping station is in the middle. After ordering, this is where salads are chopped, chicken is portioned and toppings are added from containers set into the counter under the guests’ watchful eyes. In the wall adjacent to the payment terminal, a display refrigerator stocks drinks and desserts. The restaurant remains odourless thanks to a ventilation and extraction system integrated into the counter area.
In front of the service counter is a service station made of white solid surface, offering sauces, condiments and cutlery. It stands on golden chicken legs and looks expectantly towards the entrance. Green instructions and Wienerwald chickens set into the rustic wood floor show the customer how to navigate the ordering process.
The dining area offers a range of seating options catering toward different requirements. White solid surface high bar tables are available for guests with little time on their hands. These are supported by a single leg with a tapering cylinder at its foot, recalling the traditional turned table leg. Alternative seating is available in an elongated seating group upholstered in brown, artificial leather, a reflection of the traditional Wienerwald seating niches.
Guests are really spirited away into the ‘Wienerwald’ (English: Vienna Woods) here. Overlapping, rough-sawn oak panels on the rear wall quote the forest theme. Round mirrors printed with the outlines of tree and forest motifs are set into this wall. Different-sized pendant luminaires at varying heights hang over the tables. These are sheathed in a roughly woven fabric in three shades of green and ensure a pleasant atmosphere.
Forest images in different shades of green on wallpaper occupy one side wall, as well as transparencies on the windows. The view into the restaurant from the outside thus becomes a multi-faceted experience in which the individual elements on the mirror and glass surfaces reflect and overlap one another, making the brand world a truly holistic experience.
A display of dining plates on the wall is dedicated to the Wienerwald company and its long tradition, reminiscing on the history of the brand in 14 motifs. They pay tribute to Friedrich Jahn, the brand’s founding father, and show a photograph of the first Wienerwald restaurant. The new restaurant design repositions Wienerwald as a contemporary fast-food chain. Traditional elements of the brand have been incorporated and translated into modern spatial elements with an exciting twist.
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La marque de sport Munich vient d’ouvrir une nouvelle boutique à Valence, avec la société d’architecture Deardesign. Une véritable vitrine pour les sneakers, basé sur le logo de la marque où chaque chaussure semble planer dans les airs leur offrant une visibilité maximale.
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