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ARCH+ features 51: Incidental Space / Vortrag Christian Kerez

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ARCH+ features 51: Incidental Space / Vortrag Christian Kerez
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mit Christian Kerez und Bas Princen, im Rahmen der Reihe POSITIONEN Donnerstag, 8. Dezember 2016, 19 Uhr, TU Berlin Architekturgebäude,Berlin Moderation: Anh-Linh Ngo, Sandra Oehy Gibt es eine Rationalität des Raumes jenseits des Menschen? Ausgangspunkt der Diskussion ist Christian Kerez’ Beitrag Incidental Space für die 15. Architekturbiennale Venedig sowie Bas Princens fotografische Arbeiten. Interessanterweise hat Princen als Künstler eine Architekturausbildung genossen, während Kerez seine Architektenkarriere als Fotograf begonnen hat. Welche Rolle spielt die Fotografie bei der Suche nach einem Raum, der die Beschränkungen eindeutig erkennbarer Autorschaft überwindet? ARCH+ Features 51 findet in Kooperation mit der TU Berlin, Institut für Architektur, Fachgebiet Baukonstruktion und Entwerfen, Prof. Regine Leibinger im Rahmen der Reihe POSITIONEN sowie mit Christian Kerez und Sandra Oehy/Schweizer Pavillon zur 15. Architekturbiennale Venedig statt.
ArchitektHauseigentumArchitektinGebäudeMikroarchitektur <Gebäude>ComputeranimationVorlesung/Konferenz
HausRaumstrukturSäulenordnungCityComputeranimation
MiniaturmodellGeschoss <Bauwesen>Mikroarchitektur <Gebäude>Besprechung/Interview
Computeranimation
HausRaumstrukturProfilblechComputeranimation
ArchitektRaumstrukturComputeranimation
GrundrissKonzertpavillonVorlesung/Konferenz
Miniaturmodell
HausParkInnenarchitekturMantelrohrUmweltplanungRaumstrukturCityGebäudeProfilblechMiniaturmodellLandschaftsarchitekturComputeranimation
RaumstrukturInnenraumVorlesung/Konferenz
ArchitektErdbauHausKapelleRaumstrukturMiniaturmodellVorlesung/Konferenz
FilmtheaterRaumstrukturBauteilBauausführungProfilblechBauproduktMiniaturmodellComputeranimationInnenraum
SpringbrunnenComputeranimationVorlesung/Konferenz
TransportbetonComputeranimationVorlesung/Konferenz
TransportbetonInnenarchitekturPrivatgrundstückSchimmelProfilblechTierkörperbeseitigungMiniaturmodellComputeranimationVorlesung/Konferenz
RaumstrukturVorlesung/Konferenz
RaumstrukturMiniaturmodellComputeranimation
Also ich zeige vier Projekte, aber es geht eigentlich nicht um die Projekte, sondern um den Zusammenhang zwischen denen, beziehungsweise die Themen, die diese Projekte verbinden und wie sie zueinander in Beziehung stehen. Und zuerst möchte ich so ein Projekt für
Parisopolis zeigen, das wurde auch ausgestellt an der Biennale und die hatte ja diesen Titel, oder so Reports from the Front. Und da haben dann alle erwartet, ja, die Architekten zeigen dann,
wie man die Welt verbessert und wie sie sich so mit aktuellen Krisengebieten beschäftigen. Und ich denke letztendlich ist es völlig irrelevant, mit was sich ein Architekt beschäftigt, im Sinne einer Aufgabenstellung oder eines Programmes. Und ich denke es hat keine
Bedeutung architektonisch gesehen, ob man für arme Leute baut oder für Reiche, ob man etwas Grosses baut, etwas Kleines, ob man in der Schweiz baut oder in China. Letztendlich
die einzig relevante Frage, die es gibt in der Architektur, ist, was das architektonisch bedeutet. Und damit meine ich nicht mal, ist es das grossartig und wichtig und verändert die Welt und die beste Architektur, die es je gab, sondern damit meine ich eigentlich
nur, was sind die spezifischen räumlichen Eigenschaften eines Projektes. Und, oh, should I talk English? Okay, I try in English. So what we worked on was this
extension for a favela, and it was the first time ever that I was inside a favela, and I only heard of drug problems, prostitution, poverty, all these things, but when I was
there, I was amazed by the beauty of the favela and the specific spatial quality, which I would call is labyrinthic and it's a concept of space which maybe could be called atomized space. You find all the things that you find also in every city,
but just in a totally different scale. And all I try to do is to repeat that, to copy that, not to invent something, not to go to Brazil and say, well, you
can do it all wrong, but just kind of make like an homage to what already exists there. So I try to, by purpose, create an urbanistic mess. And so since it is
by purpose, this, let's say, chaos is constructed. It is built by five different houses, and they are just positioned randomly, always a bit
slightly different. So there is an order. There are these only five houses repeated over 50 times to create the biggest mess or the biggest variety or, you know, to come as close as possible to this labyrinthic
beauty. The project was a total failure. The city forgot to buy the land. It was occupied by drug dealers and it's now quite a dangerous place. And I, as a Swiss architect, totally failed. And the people
living there in the favela built themselves a favela, which was just great, much better maybe than my project. So the story that was told in the Biennale was also this chronology of the project. It was not
kind of presenting a model that you could say, well, we saved the world, but much more talking about the trial of a personal anticipation on something, but from the perspective of architecture. And I think there
is not such a thing as a lost project. Every project that brings you to look at things in a different way, and for me the experience, the physical experience of the favela was a revelation, brings you
to other projects. And this is now another project which I would say would not have been possible without the experience of the favela. And it has a totally different program. It's a private commission for a person in Prague. And we just received three weeks ago
the building permit and are now in the office working on it. And hopefully it will be built. So this is a project for a house with three apartments. These were first trials. And then actually
came the idea, what about we don't think of a form of a house, but we rather think of a form of spaces and we make each space totally autonomous. And each space would have the same form, but slightly different in size. And the interesting thing
out of that is that even if the spaces look the same or have the identical geometry, they relate to each other in a totally different way. What you see here on this diagram
is how the openings relate to each other and how you can see from one space to the other. So the space is built out of other spaces and in this sense also relates to the previous project. I think one of the most pleasant things
in the profession of architect is that you don't choose. It's totally different to a photographer. I never wanted
to build something in the Swiss pavilion. It was just an opportunity and we took it, but it was never really a plan. But it's always a chance to come up with spatial
ideas that maybe lead to other projects. China was, let's say, a difficult story because I just loved China, but China didn't love me. We did plenty of
projects there. No, not plenty, but let's say we invested plenty of time, but nothing was ever built. But anyway, we always came into a fever because
I was amazed by the scale because I don't think big things are more beautiful than small things, but I would say that the large scale allows you to achieve a certain complexity that a small scale
as such doesn't have. A big thing is always kind of in logistical way is extremely complex. So I was always attracted to the large scale, not because, let's say, of the dimension,
but because I thought this might be a way to achieve complexity. So this is a project for three museums in Guangzhou. This is the plot and we had the opportunity to not only
design one house as an object, but the entire environment, the landscape garden and four buildings within these landscape gardens should actually be part of the landscape, not of the city.
Then we actually started to design houses like normally maybe a landscape designer would work, so we assembled some rocks or some branches out of the garden
and maybe it looks like objects, but you can also think of these, let's say, landscape elements as architecture, not in terms of an object, but in terms
of space. So this is a 1 to 500 model and this is the interior of the very same model. We just put some scale figures in it and some elements like trees to indicate the scale
and imagine the space where you can walk through without buying a ticket, without looking at any exhibition, which is basically just an extension of the park. Another example of these three museums,
this was for the art museum, where we worked with different forms that we assembled in different ways and again, I think it's the model on top, on the right side that you see now here.
You could say, well, maybe this is just a picture and cannot be built, but we took this model quite seriously and the 1 to 50 model that is based on drawings which are also fulfilling a program
which covers 40,000 square meters, which has entrances, elevators, what have you, is actually all integrated in this final presentation
of the space. And again, the idea was to come up with a space, not with an object where people could go to,
where people could just enjoy themselves and honestly the program for post-war calligraphy from Pearl River Delta we thought is maybe not the most exciting in the world, so the museum itself just became like an envelope
for this huge public space. And the fourth project, of course, is incidental space. And I think relationship
between projects are sometimes unconsciously and sometimes they relate to each other. And I think to a certain extent the project incidental space was the smallest and most complicated project I ever worked on.
So it was also a kind of exercise to take the complexity and to translate it to a totally different scale. I started my work as an architect with a small chapel in Oberrealter
which just looked like a house and it's actually the same as incidental space it is just a space and a shell around it, but in terms of let's say complexity it's the total opposite. So I show some pictures
from the process and after we won this competition where Sandra Oey already collaborated was an important member of the team we set up a studio
at the ETH which was called the Biennale Studio to find the final form the shape of this so called incidental space. Of course it's not incidental we did 300 models and we chose one
so in this sense it's more but it is let's say incidental was like the possibility to do something without clearly explaining it. I would say that the main idea was also
not to use the Biennale as a possibility for promotion and say look here guys this is how the world looks like and what I do with it and how one can change or improve or whatever but just to offer an experience
an architectural experience no matter what exactly it means and this actually also made it then really important to come up with a theory which was kind of constructed at the same time
that this space was constructed. Anyway the designing process looked more like cooking or like chemistry laboratory the components of the figure
that was later on cast in Gibson were materials that don't have a clear shape like dust, sugar sand, wax and the utmost goal
the most important quality in this entire research also when we in the end selected the final model was always OK, what is the most complex space and the stranger space that doesn't resemble
something that we already knew so this is one example a form out of wax and then there were whole series this is now like a midterm where you see some
casts and in the background you see blow ups from the interior space because we thought it's not only about the shape of the space but also its surface its ornamentation that would add
complexity to the space and to certain extent the exhibition also came naturally out of this laboratory situation this is the number
180 which was built it was cut into pieces to make a three dimensional scan and a lot of decisions
were made on directly with this model for example the engineer he just observed the deformation of the space and then he explained where we should take one centimeter two, three or sometimes even four and we just taped
his reflection, his talk on the model and then it became later on the structural report and contrary to other Biennale contributions we had no problems to get the permission we had just half an A4 paper
saying it will hold and it respects all Italian norms there are which we even didn't know and engineer signed so everybody was very happy and he was right
here you see one person from the company that moved the pieces to Venice another person the one in the foreground was very important he was specialized in fountains
and artificial rocks and it was his first big commission and he worked with sprayed concrete and his whole training actually came from Hollywood
the whole structure is assembled out of different pieces and what you see here the lines these are different areas that are built in a different way so we have basically three components
3D print 5X milling and 3X milling because of the weight these pieces and also of production these pieces were actually
fabricated much smaller but then assembled in the biggest possible size that you could still move by hand these now are some examples of
5X milling waiting for the spray concrete these are other more complex parts which were done 3D printed the process of
it was also necessary to make all prefabricated because this precision you could never reach with in situ concrete and the precision was extremely important for
all these details so this is one piece just before shipping to Venice this is the render
who knows and this is the actual gypsum model that was scanned this which looks a bit like a lousy copy
actually is the original but you see how close they are it's really hard to tell what is what this is in a workshop
where the artificial lightening was tested in a 1 to 5 model the schedule when which part of the model was where and because they were produced in different parts
again a view where you can see all these prefabricated elements how the prefabricated elements were assembled
and the final result you see that the exterior is totally different than the interior because here you see the traces of the process of spraying concrete on the formwork
a lot of people were talking of a cloud and this is the final interior where the spray concrete captured the form of the mould
so it's much more ornamented much more detailed and this process was quite challenging and also in terms of budget and schedule but I would say the thing that I thought
is actually where I was most afraid was not a budget was not a schedule was not any technical aspect but it was how will the space
will be in the end because we always thought that even if the space is extremely small which has a footprint of approximately 25 square metres it should look infinite from within, it should look like an endless space
because you cannot see the borderline you could not see the end of the space but also because all the ornaments you cannot capture if you are within the space so the biggest fear the actual nightmare was always
will it not look a bit small if you are inside, will it not look a bit too simple or too pretentious so I would say if this is an experiment first of all it's an experiment in space and in the sense
what will be the perception of this final space and only this made this incredible effort worth to go from a very simple
model, this is the first model we ever did to final project thank you