#exyzt

[domleb]

Etienne de Crécy // Trans Musicales // 2007

[architectuul]

Metavilla

In a discussion with Merve Bedir and Jason Hilgefort we discovered the French pavilion from the 10th Venice Architecture Biennale 2006 - EXYZT where the curator Patrick Bouchain proposed to collaborate EXYZT to bring up architecture in an alternative way. In such direction was born the Metavilla, consisted in the act of transforming the classical French exhibition pavilion into a space full of life, generosity and freedom. 

Read also “Emblem Of A Better Germany?”, “The Invisible Church”, “The Greek Experiment” and “Is It Possible To Exhibit Architecture?”

Jason Hilgefort: I remember very fondly going to the Biennale for the first time in 2006. As I had not attended before I was in awe and excited to take everything in. After some time the rhythm of entering, seeing big texts, provocative drawings, exciting models, etc became regular. I was completely caught off guard even before entering the French Pavilion of that year, ‘Métavilla’ by EXYZT. Even from the outside I could see the ‘exhibition’ exploding outside and above the existing pavilion structure. Not to mention the crowd of visitors looking confused/ excited before and after entering the ‘exhibition’. The installation was not a traditional exhibition of standard architectural elements. It was more a live inhabitation or perhaps performance art; it felt as though maybe the exhibition was looking at me as I gazed upon it. The building was reinterpreted via a series of scaffolding that formed a hotel, communal kitchen, reading room, shared work space, and on the room a sauna/pool/garden element. 

Looking back one must remember, this was JUST before the financial downturn that befell the world in 2007. Following those realities, the notion of ‘pop ups’, activism, and other such tools in architecture become more the norm. This piece somehow foresaw this impending reality and in some ways was not just looking out towards me as the viewer, but was looking forward into the future.

Merve Bedir: Call me cynical but why does the attention need to go in a certain direction when there is economy/market necessities and obligations around it? I also remember many architects being interested in reuse and renovation rather than new buildings, once the crisis hit. As we were forgetting about it the global pandemic hit, and we got interested in the digital, and now everyone is interested in issues of racism, justice, inequality in built environment. I guess my appreciation for the pavilion would have more to do with being proactive, with being interested in what you are always interested in, and so on. 

Metavilla presented an ordinary daily life including sleeping, washing, working, eating and resting. Visitors could also participate, they could take a sunbath, grab a drink, share a meal or go to the sauna. | Photo © exyzt/ Cyrille Weiner

JH: Very true what you say there. In light of the past 15 years, this work really suggests a shift from the focus on representation – plans, sections, renders, models – and towards that of human use of space. The exhibition felt less like a showcase and more like an invitation. And invitation to join into the notion of what is architecture, what is a pavilion, and what is ‘collective’ or ‘community’. That blur of living, working, and public has only increased exponentially in the past years. 

MB: With the current tendencies of architects making space for performative representation by stepping back sounds very conscious and sensitive, but I'm afraid we are undermining our role in making/designing/planning/constructing. When I look around myself in any city I go, I see the need for all kinds of design even more, otherwise I feel we will have more unsatisfactory, less sustainable, and more ugly cities. The question is to find why and how architecture is important in creating cities? 

JH: That is on point. I think another quality of this exhibition was the questioning and playing with ‘systems’. Again the work was not so focused on formal agendas. Instead it started to play with larger systems and frameworks. For example the food and water networks included within the spaces. This saw the building and the exhibition itself as being connected to larger linkages. And framed how these existing systems could be reinterpreted. The ‘infrastructures’ of the Biennale were harnessed and used to engage and question the onlooker in terms of how these infrastructures could reframe the spaces we use day to day. Not to mention the regulatory reality of allowing people to actually live on site. Questioning the rules of the biennale itself and even the notion of guest and host.

MB: This is precisely one of my questions, how do designers get involved in systems thinking, what systems, at what level, scale, what are the systems in the universe that we know of, and that we don't, the ones we created, we imitated, we can further think on. Let's turn the tables, sure, but let's also be proactive on what kind of world we want to live in, beyond existing rules and regulations, and from there try to take steps towards that world.

JH: Yes, I still reflect on this exhibition not merely on what it foretold, but now on what it means going even further forward. I look forward to seeing how this year’s installations push these notions/questions even further. 

***

VAB 09: Jason Hilgefort and Merve Bedir

Merve Bedir and Jason Hilgeford | Photo by © New Cities Future Ruins

Jason Hilgefort is an urbanist | architect who studied at the University of British Columbia, University of Cincinnati, and is currently a PHD candidate at RMIT. He was a subcurator in the Shenzhen/Hong Kong Urbanism/Architecture Biennale and a co-director of its ongoing educational platform - An Aformal Academy. Currently he is an Adjunct Professor at Hong Kong University Faculty of Architecture. He is a regular writer, contributing to Volume, Architecture Review, Domus, AD, EPFL Press, and more. He recently co-founded the Institute for Autonomous Urbanism

Merve Bedir graduated from Department of Architecture at METU, in 2003. She was involved in a variety of projects in Turkey, Egypt, Georgia until 2008. Since then, she has been conducting her PhD on behavior and consumption at the Faculty of Architecture, TU Delft. There she was involved in projects about urban regeneration and reuse in Salzburg and Copenhagen. She has written several publications on urban transformation, sustainable development, and user behaviour and energy consumption. She was a freelance curator for the Netherlands Architecture Institute in 2012, where she made two main projects on reuse of buildings and urban transformation in Turkey.

Together they run Land+Civilization Compositions  (L+CC), a Rotterdam, Hong Kong and Istanbul based office in which they collaborates on issues related to built form, with a portfolio scope from research to design. The practice seeks to interactively and informally brainstorm through some of the current questions about the formation of our built environment in a variety of countries and contexts. 

[lukasnovo]

Keep cities WILD! Dalston Eastern Curve Garden, bee & hippie friendly place, was built on an old railway line and it has a great wooden pavilion by EXYZT architects. Hackney council is now doing consultations about redevelopment of this area - potential danger! Let the council and the mayor know your opinions. #keepcitieswild #urbanwild #dalstoneasterncurvegarden #hackney #redevelopment #exyzt #london #londonlife #londononly #urbanjungle #woodenarchitecture #igresdaily #photoftheday #nofilter #vsco #eastermcurvegarden #eastlondon #northlondon #kingslandroad #dalstonjunction #dalston #popupcity #exyztarchitects #beefriendly #welivetoexplore #awesome_photographers #wanderlustflower #londoninbloom#exploremore #whatthehellarethesehastagsanyway (at Dalston Eastern Curve Garden)

[architectnews]

Dalston Curve Garden is an urban oasis on Hackney's disused railway

This video tour published as part of our collaboration with Open House London explores Dalston Curve Garden, a community green space hidden within one of London's most built-up boroughs.

The short movie, made by Jim Stephenson of Stephenson/BishopFilms, is one of a series of video tours of overlooked and unusual places in the city commissioned by the festival as part of its 2020 programme.

Dalston Curve Garden was built in 2010 as a free-to-enter neighbourhood oasis on the old Eastern Curve railway line in Hackney, which had been disused since the 1950s.

It was designed by architect Muf and landscape architect J&L Gibbons in collaboration with Hackney Council, local residents and community groups in response to a lack of green space in the Dalston area.

Timber shelter at Dalston Curve Garden

In this video, Dalston Curve Gardens' director Marie Murray compares the experience of entering the gardens to setting foot in a "different world" – offering respite from its busy, concrete surroundings.

The planting design is developed by an in-house team, including volunteers, and offers a mix of trees, shrubs and perennials, herbs and salads that ensure greenery all year round while boosting biodiversity.

Morag Myerscough's garden stage

As Murray tells the story of the gardens, the film features shots of the shelters that nestle amongst its greenery. This includes a timber gable-roofed pavilion built by the architectural collective Exyzt to house the garden's cafe, pizza oven and seating areas.

There is also the Pineapple House conservatory, which is used as a winter shelter and space for the creative classes, and a stage for the garden's outdoor performances built by Morag Myerscough as part of a community workshop.

Greenery at the Dalston Curve Garden

According to Murray, the value of the gardens is evident in the way people's "shoulders, which have been at their ears with tension, just completely relax" when visiting.

"That's really the number one purpose of coming to a space like this," she explained. "Just to be able to step away from that concrete and chill out, relax, but also quite often, to take part in activities that the green space makes it easier to participate in."

As media partner for Open House London, Dezeen is publishing a different movie every day during the festival, which runs from 19 to 27 September.

The films are part of the festival's move to diversify its programme and make it more accessible in the light of the coronavirus pandemic, which has impacted the number of buildings able to throw their doors open to the public.

Open House London takes place at venues across London and online from 19 to 27 September. Videos will be published on Dezeen each day during the festival. See Dezeen Events Guide for details of more architecture and design events.

Project credits:

Guide: Marie Murray Producers: Nyima Murry and Ella McCarron Videographer: Jim Stephenson of Stephenson/BishopFilms

The post Dalston Curve Garden is an urban oasis on Hackney's disused railway appeared first on Dezeen.

[jomu-archive]

Metavilla: French Pavilion Venice Biennale 2006 by Patrick Bouchain and EXYZT

Source

[arqui-mequedo]

Apuntes de clase 27/05/2020

:

Al principio de la clase hemos resuelto unas preguntas de organización de la entrega final. La entrega final será por el correo electrónico, hasta la fecha:

Durante la clase los grupos 9, 11 y 4 han presentado el desarrollo de sus proyectos, los profesores han comentado algunos elementos y han dado unas recomendaciones para cada proyecto.

El grupo 9 propone una ampliación de la zona verde usando la espiral de Fibonacci como la referencia para la forma del crecimiento de cada parte del parque natural. En el parque natural proponen la creación de la red de los Caminos Envolventes con las zonas de descanso en el centro de cada espiral Fibonacci. En estas zonas ofrecen instalar las estructuras para descansar en un corto periodo del tiempo y las estructuras para observación del parque. Entre otras propuestas está la construcción de unos puentes que pueden unir varios caminitos y ofrecer una vista más elevada.

Es interesante la comparación hecho por el grupo 9, donde por un lado se describe el parque natural existente como una hoja de morera y los invernaderos como gusanos de setas que consumen los territorios naturales como una hoja de morera. El grupo 9 ofrece reorganizar los árboles y distribuirlos con la forma de la curva de Fibonacci, creando los diversos espacios de reunión en el interior de estas espirales, que se puede comparar con un proceso de metamorfosis donde los gusanos se transforman en mariposas. Esta mezcla entre acción humana y naturaleza crea entre ambos una relación simbiótica.

El grupo 9 afirma que el sentido más significativo del proyecto del grupo 9 es la vista. Ya que cada persona obtiene un punto de vista diferente cada vez que se sumerge en los diferentes caminos enlazados del parque.

Entre los comentarios y las recomendaciones de los profesores podemos mencionar los siguientes:

·       Crear varias visualizaciones de aproximaciones (por ejemplo, en Adobe Photoshop) de los varios puntos del proyecto, como la línea de conexión del parque nuevo y de los invernaderos, es decir su perímetro exterior, o la rutina del uso nocturno y la iluminación.

·       Crear visualización que puede mostrar como afecta el proyecto a la vista desde interior de una vivienda.

·       Corregir unas pequeñas confusiones.

·       Añadir a unos fotomontajes los invernaderos en lejano.

·       Conocer El "Danteum" de Giuseppe Terragni

  Después de la presentación del grupo 9 hemos conocido sobre interesante colectivo de los jóvenes arquitectos EXYZT (https://www.constructlab.net/team/exyzt/) y hemos visto los videos sobre una de sus obras en EASA (The European Architecture Students, Roubaix, Norte de Francia)  en julio de 2004:

https://www.youtube.com/watch?v=wt_8UzakZco&feature=youtu.be

https://www.youtube.com/watch?v=utuJMqH9PwM&feature=youtu.be

El grupo 11 ha empezado su presentación con un paisajista y jardinero holandés - Piet Oudolf y uno de sus trabajos - Wisley Garden en Reino Unido. Este trabajo sirve como la referencia al proyecto porque los jardines de Piet Oudolf son conocidos jardines de cuatro estaciones, son emocionantes en cada temporada del año. Oudolf suele usar las plantas autóctonas.

En el post sobre sotobosque nos explican que es sotobosque, su característica y su utilidad. Como ejemplo del sotobosque y como ejemplo para su proyecto, el grupo 11 propone Rambla de los Collados en Almería. También nos muestran el fotomontaje del bosque de su proyecto.

El grupo 11 nos ofrece unos fragmentos de Meditaciones del Quijote de Ortega y Gasset para que podemos entender la idea del proyecto.

Como otra referencia para su proyecto proponen la obra de Junya Ishigami y Marieke Kums – Parque Groot Vijversburg. Su estructura portante consiste en paredes de vidrio que se alargan hacia el parque y siguen a los elementos naturales: un estanque, árboles y el jardín de la villa.

El grupo 11 ofrece una reinterpretación de la maqueta de Ishigami para la realidad del entorno de San Agustín de los invernaderos de plástico.

Otra referencia para el proyecto del grupo 11 está el proyecto “Art Biotop Water Garden” del estudio Junya Ishigami + Associates del año 2019.

Una referencia interesante que puede mostrar como el grupo 11 piensa mejorar su proyecto es el proyecto llamado COSMO, de Andrés Jaque y Office for Political Innovation, de 2015. Para el grupo 11 sirve como un ejemplo de un proyecto efímero, ya que este puede desmontarse para después ser montado en un lugar completamente distinto.

El grupo 11 piensa modificar su proyecto con incorporación del agua como uno de los elementos claves de su proyecto. Como uno de los ejemplos ofrecen la fuente conmemorativa de la Princesa de Gales en Hyde Park, Londres, Reino Unido.

También han visualizado las aproximaciones para mostrar como el agua incorpora en el espacio de su proyecto.

El grupo 11 ha pensado en proyectar la acequia, que recoge y guía el agua hasta los humedales, de una forma distinta. Al finalizar el camino, esta se prolongará por un espacio verde, cuya forma será una variante de la espiral de Fermat. Este espacio se convertirá en un lugar de descanso.

 Entre los comentarios y las recomendaciones de los profesores podemos mencionar los siguientes:

·       Mejorar el intercambio camino-agua y los lugares de encuentros.

·       Buen desarrollo, pero un poco más atención a las referencias y su importancia para un proyecto.

·       Importancia de este proyecto para poder servir para una renaturalización cultural que con la referencia con capital cultural puede ser la renaturalización social.

·       Se valora la creación de GIFs con agua y la atención a los pequeños detalles.

·       Se recomienda usar termino la mancha forestal – no el bosque.

·       Intentar no generalizar, ir a situaciones y concretar.

·       Atender al traslado de concepto de agua, al equipamiento y al servicio.

·       Pensar sobre el rol del agua para espacialidad de su proyecto, que puede tomar varias formas, intentar visualizar.

Se hace referencia también a un video llamado “Las azoteas del sur” de pac-man, que podemos encontrar en Vimeo: https://vimeo.com/4162847

También vemos referencias a Diane Arbus para incorporar el proceso antropológico, el sistema de cultura popular y vivencias humanas en el terreno de nuestro proyecto. Debemos forzar nuestras propuestas para introducir la cultura del sur: siesta, trabajo en el campo. Podemos ver como se recoge esta cultura popular en sus obras Juan Goytisolo, el poeta José Ángel Valente y la cineasta francesa Agnès Varda.

El grupo 4 no enseña el museo Maat (Museo de Arte, Arquitectura y Teconología de Lisboa de Amanda Levete) y mostraron el encuentro que se daba en las salas de los visitantes.

También hacen referencia al Light Sea Hotel del estudio YAC, dándole vida a los faros abandonados. Este proyecto les ha inspirado en su proyecto para revitalizar el faro de Guardias viejas. Han orientado la idea en mejorar la comunicación entre los distintos elementos de la zona: Castillo de Guardias Viejas, el Cuartel de Carabineros, el Faro de Punta de los Baños hasta llegar a la localidad de Almerimar.

Como recomendación, se les comenta:

·       No abandonar el proyecto anterior por no saber avanzar. La falta de avance hace notar la dificultad, no que no se pueda fluir por el primer camino tomado.

·       Dejar el concepto de paseo marítimo por ser estos caminos demasiado salvajes para ello.

·       Se hace mención a la Pousada Beliche del cabo de San Vicente, antigua edificación defensiva de costa. Edificación totalmente integrada en la roca de la costa. A penas de muestras de estar allí.

·       La unión de los distintos elementos del nuevo camino del proyecto con sus nuevos elementos, podrían dar sentido a lo que se buscaba anteriormente.

·        Hemos recorrido virtualmente una parte de Sagres, en Portugal, nos permite ver la idea de que no hay que meter ningún elemento forzadamente, no hay que sobrecargar.

·       El director Billy Wilder se repetía: “como lo haría Lubitsch”, para saber cómo resolvería una escena su colega Ernst Lubitsch. Podemos guiarnos por Ishigami haciendo la similitud con el director. Estamos olvidando la estancia de los invernaderos que se adentran casi a la orilla del mar. Debemos proceder con un proyecto que tenga poco impacto sobre el suelo.

·       Manuel Millares nos ayuda con arpilleras que nos podrían hablar de la huella que dejan en el terreno los invernaderos al descubrir el terreno.

[valiantchildstudentme-blog]

Seven Reliable Sources To Learn About Aduq | aduq

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Seven Reliable Sources To Learn About Aduq | aduq

As an artist and carpenter, Alexander Römer accomplished the constructlab arrangement and is a affiliate of the EXYZT collective, two laboratories that do research-action, effective analysis and interdisciplinary creation. With them, he is developing a acting architectonics and architectonics access that’s economical, participatory and anxious with the environment. His projects articulation architectonics and manufacturing, admit collaborations with bounded communities, and aim to advertise anniversary person’s knowledge. He sees architectonics and architectonics as mediums for amusing action from which new alternate dynamics can emerge.

The allocution will be followed by a annular table altercation in French.

La ville a toujours été le core de manifestations festives éphémères qui tentent de générer des “moments urbains heureux” (carnavals, Nuit Blanche, festivals, fêtes de quartier…). À une additional grande échelle, certains événements tels que jeux olympiques, expositions universelles ou anniversaires de ville se veulent être des jalons dans l’histoire d’une ville, des catalyseurs urbains de transformation de la ville.

Alors que Montréal entame la célébration de son 375e anniversaire, l’Association du architectonics urbain du Québec souhaite engager une réflexion aggregate sur la eyes urbaine de Montréal au-delà de l’année 2017. Quelle urbanité produit in accomplished la fête ? Animadversion donner sens et efficacité à l’événement et à l’éphémère en l’inscrivant dans une logique du continued terme ? Animadversion faire du 375e anniversaire de Montréal un véritable laboratoire urbain vivant à l’échelle d’une ville et d’une année pour, dans un effet de levier, projeter une eyes urbaine éclairée cascade la ville de demain ?

—-

L’Association du architectonics urbain du Québec (ADUQ) est un organisme à but non lucratif qui se consacre à promouvoir et à mettre en valeur le architectonics urbain au Québec, comme champ de pratique et de connaissances de la ville. L’ADUQ se veut un levier incontournable cascade faire connaître le architectonics urbain auprès des collectivités et des citoyens, et est vouée à devenir une véritable plateforme d’échange sur la fabrique aggregate de la ville à travers un architectonics urbain créatif, participatif, et dynamique. En 2017, l’ADUQ a choisi de faire de “la ville (post) festive” sa thématique annuelle.

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[domleb]

Etienne de Crécy // Trans Musicales // 2007

[architectnews]

Dalston Curve Garden is an urban oasis on Hackney's disused railway

This video tour published as part of our collaboration with Open House London explores Dalston Curve Garden, a community green space hidden within one of London's most built-up boroughs.

The short movie, made by Jim Stephenson of Stephenson/BishopFilms, is one of a series of video tours of overlooked and unusual places in the city commissioned by the festival as part of its 2020 programme.

Dalston Curve Garden was built in 2010 as a free-to-enter neighbourhood oasis on the old Eastern Curve railway line in Hackney, which had been disused since the 1950s.

It was designed by architect Muf and landscape architect J&L Gibbons in collaboration with Hackney Council, local residents and community groups in response to a lack of green space in the Dalston area.

Timber shelter at Dalston Curve Garden

In this video, Dalston Curve Gardens' director Marie Murray compares the experience of entering the gardens to setting foot in a "different world" – offering respite from its busy, concrete surroundings.

The planting design is developed by an in-house team, including volunteers, and offers a mix of trees, shrubs and perennials, herbs and salads that ensure greenery all year round while boosting biodiversity.

Morag Myerscough's garden stage

As Murray tells the story of the gardens, the film features shots of the shelters that nestle amongst its greenery. This includes a timber gable-roofed pavilion built by the architectural collective Exyzt to house the garden's cafe, pizza oven and seating areas.

There is also the Pineapple House conservatory, which is used as a winter shelter and space for the creative classes, and a stage for the garden's outdoor performances built by Morag Myerscough as part of a community workshop.

Greenery at the Dalston Curve Garden

According to Murray, the value of the gardens is evident in the way people's "shoulders, which have been at their ears with tension, just completely relax" when visiting.

"That's really the number one purpose of coming to a space like this," she explained. "Just to be able to step away from that concrete and chill out, relax, but also quite often, to take part in activities that the green space makes it easier to participate in."

As media partner for Open House London, Dezeen is publishing a different movie every day during the festival, which runs from 19 to 27 September.

The films are part of the festival's move to diversify its programme and make it more accessible in the light of the coronavirus pandemic, which has impacted the number of buildings able to throw their doors open to the public.

Open House London takes place at venues across London and online from 19 to 27 September. Videos will be published on Dezeen each day during the festival. See Dezeen Events Guide for details of more architecture and design events.

Project credits:

Guide: Marie Murray Producers: Nyima Murry and Ella McCarron Videographer: Jim Stephenson of Stephenson/BishopFilms

The post Dalston Curve Garden is an urban oasis on Hackney's disused railway appeared first on Dezeen.

[topo-graphies]

EUPHORIE / P.Burst / 02.10

[less-ismore]

Patrick Bouchain and EXYZT, Métavilla, French Pavilion (kitchen), Venice Biennale, 2006.

[milkystudies]

Hi!! I just wanted to ask where the tan binder and graph paper in ur biology notes picture is from they are so cute and I really wanted to start doing that type of thing for my own notes!! Thanks :)

they’re both from muji!! :-)

[ophore]

omg what products/colors did u use in those pics u just posted they r so flattering u look amazinnn

thank uuuuuuu! on the eyes I just used an assortment of shadows I have (a dark red from MUG, dark brown from estee lauder, some tones from my naked palette, and a red liner from sedona lace), and the lipstick was velvet teddy

[mathsphysics]

what brand/size notebook is in the pic of your geography revision? I love it!

Hello! It’s an A4 ring notebook (dotted) by Muji! I love it too, just adore writing in it

[lemutin]

Architects: it isn't always about you

Architects: it isn't always about you. Why Assemble's Turner nomination is really about a crisis in the art world.

Andreas Gursky’s work at the Venice Art Biennale

The shortlisting of the architecture collective Assemble for the Turner Prize has been a surprise to most commentators in the architectural world. Largely because their story seems rather familiar. Here are a group of young trainee architects and their friends in other fields who came together to turn a former petrol station into a cinema in…