Wednesday, November 30, 2011
Installation zu sehen sein, die vor den Augen des Besuchers "fliegend" assembliert wird und die langjährige Forschung der Kooperationspartner in Form eines visionären Architekturprojekts kulminieren lässt."
Wednesday, November 23, 2011
Made exclusively from polypropylene pipe and nylon cable ties, this installation occupied an entire room at Industry Gallery, in Washington DC from September to November 2011.
The work partly pays homage to Washington DC's own iconic cherry trees, whilst also questioning our relationship with and attitudes towards plastics.
The longevity and ready availability of the industrially manufactured materials used to construct the installation stands in stark contrast to the ephemerality and natural beauty of the cherry trees and blossoms it emulates."
"Located in the center of the city's cultural complex, the program for the Tel Aviv Museum of Art Amir Building posed an extraordinary architectural challenge: to resolve the tension between the tight, idiosyncratic triangular site and the museum's need for a series of large, neutral rectangular galleries. The solution: subtly twisting geometric surfaces (hyperbolic parabolas) that connect the disparate angles between the galleries and the context while refracting natural light into the deepest recesses of the half buried building.
The building represents an unusual synthesis of two opposing paradigms for the contemporary museum: the museum of neutral white boxes and the museum of architectural spectacle. Individual, rectangular galleries are organized around the "Lightfall", an eighty-seven foot tall spiraling atrium. The building is composed according to multiple axes that deviate significantly from floor to floor. In essence, it is a series of independent plans and steel structural systems stacked one atop the other, connected by geometric episodes of vertical circulation.
The new building refers to the original building in such a way that the two can be seen as having a family resemblance. At the same time, it relates to a larger tradition of the new that exists within Israeli architectural culture. The multiple vocabularies of Mendelsohn and Bauhaus Modernism in Tel Aviv are re-synthesized in an architectural language that is internationalist and progressive in its cultural orientation."
"VoltaDom, by Skylar Tibbits - for MIT's 150th Anniversary Celebration & FAST Arts Festival (Festival of Arts, Science and Technology) - is an installation that populates the corridor spanning building 56 & 66 on MIT’s campus. This installation lines the concrete and glass hallway with hundreds of vaults, reminiscent of the great vaulted ceilings of historic cathedrals. The vaults provide a thickened surface articulation and a spectrum of oculi that penetrate the hallway and surrounding area with views and light. VoltaDom attempts to expand the notion of the architectural “surface panel,” by intensifying the depth of a doubly-curved vaulted surface, while maintaining relative ease in assembly and fabrication. This is made possible by transforming complex curved vaults to developable strips, one that likens the assembly to that of simply rolling a strip of material."