Hasta La Ideas

Non-profit organisation Assemble have constructed a temporary canal-side cinema under a London motorway flyover.

Folly for a Flyover was assembled by a team of volunteers over the course of a month, using reclaimed and donated materials.

It remains in place for six weeks, staging a series of movies and performances as part of the Create festival.

Built from bricks of clay and wood and supported by scaffolding, the structure encloses a cafe, bar and cinema stalls.

Visitors can also take trips to the nearby Olympic site aboard rowing boats and canoes that depart from a wooden jetty on the canal bank.

More stories about pavilions on Dezeen »

Photography is by Assemble.

Here are some more details from Assemble:

Folly for a Flyover

On 24th June, a building will appear in the gap between the east and westbound traffic of the A12.

Transforming the cavernous undercroft where the motorway crosses the Lea Navigation Canal, Folly for a Flyover will host a six week programme of waterside cinema, performance and play.

Hand-built with local, reclaimed and donated materials, the Folly draws influence from the surrounding red-brick buildings of Hackney Wick, posing as an imaginary piece of the area’s past, a building trapped under the motorway.

By day the folly will host a café, workshops and events and boat trips exploring the surrounding waterways.

At night there will be screenings ranging from animation classics to early and experimental cinema with live scores, light shows and performances.

Like a giant construction-kit, the folly will be built over the period of a month by a team of volunteers.

Having served one purpose it will be disassembled at the end of the summer, and the compents will find new uses across the local area.

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Mobile performance venue by Various Architects	Nomad by 1/100	Summer Theatre by Kadarik Tüür

This disco-cum-caravan is one of five timber-clad cabins installed by Swiss architects 1/100 in the garden of the Quai Branly Museum, Paris.

Each mobile pavilion folds open to reveal a different function, offering a sheltered information point, an ice cream vendor, a sound-system, a kindergarten and a stage.

Scattered across the site, the Nomad caravans are decorated with disco lights and surrounded by carpets, stools and chairs to encourage social gatherings.

At the end of the summer each caravan will be folded up and towed to a new location.

More stories about pavilions on Dezeen »

Photography is by Thomas Mailaender.

Here are some more details from the architects:

NOMAD
Museum Quai Branly, Paris

The installation NOMAD squats the garden of the Museum Quai Branly for the summer months. It inhabits the site from the 4th of June to the 4th of September, before continuing its journey.

The installation NOMAD chooses to inject programm into a hyperarchitectural environment. This programmatic occupation of the site will last the summer months, taking advantage of the highly frequented garden. Caravans, tents, carpets and stools: informal architecture, assemblage of recycled and transformed objects, the installation enables the domestication and the appropriation of a garden originally thought to be admired. Lightweight and mobile, five informal settlements provide spaces for events, refreshments and subsistence. Spread along the paths, in the glades and under the museum ship, they trigger interactions and create a new field of relationships. In the heart of the city, the dense vegetation is the set of a temporary occupation. Without fences nore measurements, this territory is redefined, held, inhabited for a time.

Second-hand caravans, transformed and tuned, build the heart of those mobile units. They offer shelter to an info point, a sound-system, an ice cream van, a kindergarden and a stage, programs chosen for they capacity to generate interactions. Agricultural canvas, tight to the caravans, offer shade to an inviting floor of colorful carpets. Lightweight foldable wood furniture, inspired from the museum collections, can be spread according to needs. Detached from their context and aesthetized by the museography, many domestic objects presented in the musem exhibitions have lost any relation with their original function. Inspired by the collections, the furniture created for NOMAD desacralizes and reintegrates those objects to where they belong, everyday life. The whole deployement can be removed in no time and leave the site without any marks. An architecture without bonds, but not without history or territory: the caravans and their inhabitants, removed for a while from the national landscape, are integral part of the European culture – and way before this summer of 2010, when France hunted them down.

Museum of Arts and Civilisations, museum of Primal Arts, museum of Africa, Asia, Oceania and Americas? Let’s call it Museum of Quai Branly, this would avoid any ambiguity and misunderstanding. Beyond a polemic of designation, this is an institution which chooses to focus on extra-european cultures, however defining itself as a place where cultures are in dialogue. But the monologue is not a variant of the dialogue. This fixation on the exotic risks to block any parallels, any cultural exchanges and, above all, to impede any reflexion on occidental practices and cultures. The project chooses then to fight against an euro-centrist vision of culture and its bigoted evolutionism. Indeed, if it is far from being absurd to expose those fascinating objects coming from cultures that we definitively know too less, their display should jeopardize our position – otherwise it is purely aesthetics.

At a time when a billion humans are migrating throughout the world, often involuntary, nomadism becomes the horizon of art and society. It is about not looking away, about doing an humble autocritic, as from now on we recognize nomadism as part of our own culture, integrated in globalization.

NOMAD stops in the garden of the Museum Quai Branly to affirm contextualization against esthetization, diffusion against centralization, emancipation against homogeneization.

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Opera by Axel Enthoven	Rolling Huts by Olson Sundberg Kundig Allen	Vostok Cabin by Atelier Van Lieshout

Rectangular voids are carved out of the stone facade of this monolithic pavilion in the Netherlands by Rotterdam-based Shift architecture urbanism.

Sliding glass windows fill the voids, but are recessed to create sheltered terraces along the front and rear elevations.

As part of Tilburg University, the Faculty Club provides a restaurant, lounge and two conference rooms for the use of academic staff and their guests.

More education architecture on Dezeen »

Photography is by René de Wit.

Here is some more text from Harm Timmermans of Shift architecture urbanism:

Faculty Club, Tilburg University, by Shift architecture urbanism

Tilburg University has extended its campus with the Faculty Club, a multipurpose pavilion for the academic staff and their guests. Shift architecture urbanism took the initiative to reanimate the quintessential quality of the Tilburg campus: strong solitary buildings in the green. The monumental modernism of Jos Bedaux served as a frame of reference. Bedaux designed the first – still the best – buildings for the university in the sixties.

By creating a strong formal relation between the existing university buildings and the new Faculty Club, an ensemble of omni-directional solitaires is created. This enables one to recognize the Faculty Club as part of the university, despite its peripheral forest location and exclusive program.

The Faculty Club is designed as a carved-out-monolith, one simple box in which transparency and massiveness melt together. The central restaurant is carved out from the centre, creating a tunnel-effect in the front façade. In order to strengthen its solitaire character the building is lifted from the ground. The height difference is bridged by outside stairs and a ramp integrated within the front façade.

Each façade has only one window. By recessing each window, outdoor spaces are created within the front and rear façades. These mark the entrance in front and form a large covered terrace in the back. The simplicity and plasticity of the three-dimensional window treatment further contributes to the building’s sculptural qualities.

The primary program consists of a restaurant for eighty persons, a lounge and two conference rooms. The secondary program consists of a kitchen, storage space and other services. The further the functions are situated from the campus, the more intimate and informal the space becomes. The conference rooms look out over the campus, while the lounge completely relates to the forest and the garden. All main functions are physically linked by a transparent axis running the length of the building.

Both the lounge and the restaurant are connected to the carved-out terrace situated at the rear of the building. A four-rail system of sliding windows enables one to open up two-thirds of the total eighteen meters of glass façade. This intensifies the experience of the forest without the visitor having to step outside the building envelope.

The construction principles of the Faculty Club are deceptively simple. In order to emphasize contrasting space and mass, the structure, installations and details are integrated within walls and floors. The starting point for the engineering was the visual absence of technique. Key contractors and consultants were engaged early in the process of preliminary design, enabling the development of precise and project-specific details that consistently support the overall concept. Shift architecture urbanism was responsible for the design, including the execution drawings and the site supervision.

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The result is an integral, durable and engaging building. A monolith carved in such a way as to both profit and profit from the surrounding landscape while maintaining its distinct primary form. Its architecture refers to the heritage of Jos Bedaux by abstracting and updating his formal language. This makes the building into a solidary solitaire, sober and luxurious, massive and transparent, silent and outspoken.

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Project data:

Client: Tilburg University
Design: Shift architecture urbanism, Rotterdam
Project architects: Harm Timmermans and Pieter Heymans
Collaborators: Sabine Hogenhout, Bahar Akkoclu and Tjeerd Bloothoofd
Developer: Van der Weegen Bouwontwikkeling, Tilburg
Main contractor: Van der Weegen Bouwgroep, Tilburg

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Construction: Bartels, Eindhoven
Installations: Van Delft Installaties, Nieuwkuijk
Stone façade: Van Stokkum Natuursteen, Venlo
Glass façade: MHB, Herveld
Fixed interior: Smeulders IG, Nuenen
Concrete floor: Van Kempen Bedrijfsvloeren, Bergeijk
Garden: Van Helvoirt Groenprojecten, Berkel Enschot
Lighting: Philips Lighting and Living Projects
Furniture: Brokx Projectinrichting, Oosterhout with Vitra
Garden design: MTD, Den Bosch
Garden realisation: Van Helvoirt Groenprojecten, Berkel Enschot

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Gross area: Inside space: 518m2
Outside space: 110m2
Address: Warandelaan 3, Tilburg
Delivery: June 2011
Stone façade: Limestone, type: Muschelkalk
Glass façade: Anodized aluminium, type MHB-Skyframe with Saint Gobain glazing
Ceiling: Acoustic stucco, OWA
Lighting: LED, Philips
Furniture: Vitra

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School of Technology and Management	Pedagogic Resource Centre by Béal & Blanckaert	Haifa University Student Centre by Chyutin Architects

Following our previous story about a labia-like staircase, these images by French photographer Stefan Tuchila illustrate the womb-like orbs created by artist Anish Kapoor in the Grand Palais, Paris.

Formed of three 35 metre-high interconnected balloons, the Leviathan sculpture has a dark purple skin and a translucent red interior.

From inside, the silhouette of the palace ceiling is visible through the bulbous red rubber.

The sculpture was designed for the fourth Monumenta exhibition, which closes imminently.

See our earlier story on the ArcelorMittal Orbit by Anish Kapoor »

See more images of this project on the photographer’s website.

The following information is from the press release:

MONUMENTA 2011
Anish Kapoor at the Grand Palais
Leviathan from 11th May to 23rd June 2011

Each year MONUMENTA invites an internationally-renowned artist to turn their vision to the vast Nave of Paris’ Grand Palais and to create a new artwork especially for this space. MONUMENTA is an artistic interaction on an unparalleled scale, filling 13,500m2 and a height of 35m.

The first three MONUMENTA exhibitions were hugely successful, drawing in 150,000 visitors over five weeks. In 2007, the first challenge was met by German artist Anselm Kiefer, who resides in France, followed by American artist Richard Serra in 2008 and French artist Christian Boltanski in 2010.

For its fourth incarnation, the French Ministry for Culture and Communication has invited Anish Kapoor, one of his generation’s greatest artists, to produce a new work for the Nave’s monumental space, from 11th May to 23rd June 2011.

Thirty years after his first exhibition in Paris, MONUMENTA marks Anish Kapoor’s return to the French capital. He is considered as one of the most important sculptors of our time. His work has profoundly enlarged the scope of contemporary sculpture, as much by his mastery of monumental scale as by the colourful sensuality and apparent simplicity emanating from his works. All this contributes to the fascination they hold for the public at large, as demonstrated, for example, by the popular success of Cloud Gate in Chicago.

Born in Bombay in 1954, he has lived in London since the 1970s. His work rapidly gained international recognition and has been awarded numerous prizes, including the famous Turner Prize, which he won in 1991. His career has been the subject of a number of solo exhibitions at the world’s most prestigious museums, including the Louvre, the Royal Academy, Tate Modern, etc. Recently, he has been commissioned to design the key landmark for the forthcoming Olympic Games in London: a 116-metre-high sculpture entitled « Orbit ».

The artist describes the work he is creating for MONUMENTA as follows: “A single object, a single form, a single colour.” “My ambition”, he adds, “is to create a space within a space that responds to the height and luminosity of the Nave at the Grand Palais.

Visitors will be invited to walk inside the work, to immerse themselves in colour, and it will, I hope, be a contemplative and poetic experience.”

Designed using the most advanced technologies, the work will not merely speak to us visually, but will lead the visitor on a journey of total sensorial and mental discovery.

A technical, poetic challenge unparalleled in the history of sculpture, this work questions what we think we know about art, our body, our most intimate experiences and our origins.

Spectacular and profound, it responds to what the artist considers to be the crux of his work: namely, “To manage, through strictly physical means, to offer a completely new emotional and philosophical experience.”

The awe-inspiring strength of Anish Kapoor’s work is a fertile ground that favours the democratization of the access to contemporary art.

Through this series and subsequent exhibitions, the French Ministry for Culture and Communication hopes to appeal to the widest possible audiences.

To exceed the visitor’s expectations, artistic educators, whose knowledge and teaching abilities multiply the possibilities to access and understand the artwork, will be on hand throughout the exhibition to talk to visitors, widening their understanding of contemporary art at no extra cost.

School groups will have their own special programme developed in collaboration with the French Ministry for National Education.

Multidisciplinary and fun, the programme is designed for young visitors, ranging from nursery school to high school, one highlight being dance workshops in partnership with the Théâtre National de Chaillot.

There will be learning activities on the internet, making it possible to link the artist’s work to school programmes.

Themed cross-generational tours will also create a link with Anish Kapoor’s creation.

In addition, tours for the disabled will be available, in order to facilitate access to today’s heritage.

Finally, throughout the exhibition, an events programme will propose a dialogue between word, music, dance and Anish Kapoor’s work and the creations it shelters, in order to uncover new aspects of his creation.

Jean de Loisy is curator of Monumenta 2011. Independent exhibition curator, he has held among other positions that of creation inspector for the French Ministry for Culture and Communication, Cartier Foundation curator and curator at the Georges Pompidou Centre. He has directed and co-directed a variety of art centres in France. He has organized numerous solo artist exhibitions and memorable exhibitions such as “La Beauté” in Avignon in 2000, or “Traces du sacré” in 2008 at the Pompidou Centre. He has been working for 30 years with Anish Kapoor, for whom he organized numerous exhibitions including the 2009 retrospective at London’s Royal Academy of Arts.

The MONUMENTA admission price is 5 Euros, with concessions 2.50 Euros. The cultural programme (free with admission) proposes concerts, performances, readings and ‘encounters’ in connection with Anish Kapoor’s artwork. A bi-lingual highly documented website will help visitors to prepare their visit.

A fully illustrated album, co-published by the CNAP and the Rmn-GP publishing services, Paris 2011, and monograph, co-published by Flammarion and the CNAP, will be published in connection with this event.

Organised by the French Ministry for Culture and Communication, the exhibition is co-produced by the Centre national des arts plastiques (CNAP) and the Etablissement public de la Réunion des musées nationaux et du Grand Palais des Champs-Elysées (Rmn-GP).

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Queens Museum of Art by Elliot White	Metropol Parasol by J. Mayer H.	Nissan Y150 Dream Front by Torafu Architects

Michigan architects Synecdoche stacked up timber offcuts to construct this pavilion in Atlanta, Georgia, held together by gravity alone.

Called Edge Condition Pavilion, the tower weighing two and a half tons is tied to the ground by cables for safety.

The hardwood rods are the only material used and will be recycled when the pavilion is dismantled.

The design won first place in a competition run by Young Architects Forum of Atlanta, who funded its construction.

More stories about pavilions on Dezeen »

Here are some more details from architects Lisa Sauve and Adam Smith:

Edge Condition

Utilizing a by-product material as a means of invoking the temporary pavilion with a temporary material wood edges cut from hardwood boards give a standardized object to build upon creating a field in which to inhabit.

By operating on the edge of definitive material, neither board nor wood chip, the wood edge becomes the temporal object between two phases.

In the same light the pavilion offers the capacity to be an edge condition of construction. The methodical mode of stacking and maneuvering the edges is in itself on the edge of a mode of construction.

The flat stacking method gives way to opportunities for expansion and contraction of the volume between the material.

The variable of stacking techniques allow for light to move into the pavilion only through the spaces between the edges transforming the edge condition into an ephemeral effect.

The standardized one inch thick wood edge and weight of the hardwood compress the stack into a inhabitable nest stabilized by its dimension and assembly.

While dis-assembly is the reverse operation, the disposal of the material is a process of returning the wood edges to the hardwood mill as to re enter the recycling process that would otherwise take place.

Sponsors: wood edges donated by Hardwoods of Michigan in Clinton, Michigan. Young Architects Forum of Atlanta, Octane Coffee Bar, AIA Atlanta, Modern Atlanta

Ann Arbor crew: Christopher Holzwart, Mary O’Malley, Sarah Petri, Kyle Shobe, Robert Yuen

Atlanta crew: Emily Bacher, Keith Brockman, Jason Diehl, Adam Glenn, Nathan Koskovich, Carolina Montilla

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The Bird’s Nest by Inrednin Gsgruppen	UK Pavilion by Thomas Heatherwick	The Termite Pavilion at Pestival