a point of view
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Nicola Gerber | a point of view + + a point of view Standpunkt > Blickpunkt . Bewegung . Gedaechtnis . Raum
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Nicola Gerber | a point of view
+ +
a point of view Standpunkt > Blickpunkt . Bewegung . Gedaechtnis . Raum
Nicola Gerber | a point of view
“In an age when our view of the world has become not so much objecBve as teleobjecBve, how can we persist being? How can we effecBvely resist the sudden dematerializaBon of a world where everything is seen, déjà vu – already seen – and instantly forgoLen? How can we persist in the real space of the oeuvre, while the acceleraBon of real Bme sweeps away everything in our path?”
Paul Virilio in ‘Art as far as the eye can see’, p. 121
> Wahrnehmung von Architektur
Nicola Gerber | a point of view
Wahrnehmung von Architektur
Wahrnehmung von Architektur
> Distant Doubles . Roni Horn
Nicola Gerber | a point of view
“Die Verdoppelung hebt die Frage nach der Referenz auf, indem sie die Antwort in eine andere Richtung lenkt: eine Form erklaert sich daraus, dass es sie schon einmal gibt, … aus der Gegenwart einer zweiten in weitestem Sinne aehnlichen Form. …Iden?taet und Differenz werden ab 1986 in den Doubles themaBsiert…Die Distant Doubles sind nicht eine blosse Erweiterung der Doubles, denn sie radikalisieren die Paarbeziehung: die Naehe der Paarformen setzt die Moeglichkeit gegenseiBger Ergaenzung, waehrend die weit auseinander liegenden Doubles, die in keiner Weise mehr gemeinsam gesehen werden koennen, die chronologische Folge hervorheben…. vom Zeitpunkt an, da der Betrachter auf die zweite Form stoesst, wird auch die erste Form zur zweiten, die immer nur als schon vertraut, als in Beziehung stehende erfasst werden kann. Einem synchronen Vergleich zweier Phaenomene steht die sie verbindende Geschichte gegenueber, die unau`ebbar angesammelte Zeit und Erfahrung mit sich bringt.”
Roni Horn | Dieter Schwarz in ‘Rare Spellings’ p.121
Nicola Gerber | a point of view
Roni Horn | Distant Double 2.26 XY, 1989 RH 27 (A)
Nicola Gerber | a point of view
Roni Horn | Distant Double 2.26 XY, 1989 RH 27 (B)
> ‘Distant Doubles’ in der Architekturausstellung
Nicola Gerber | a point of view
Was tun, wenn die gebaute Architektur nicht in den Ausstellungsraum passt? ‘Distant Doubles’ in der Architekturausstellung.
‘Distant Doubles’ in der Architekturausstellung
> Original im Ausstellungsraum . Zwei Beispiele
Nicola Gerber | a point of view
Li Xiaodong in conversaBon with Kate Goodwin, RA exhibiBon catalogue, p. 107
“…he (Frank Lloyd Wright) was able to establish a clear understanding of what is ‘real’ and what is ‘conceptual’. This is the fundamental difference between ‘being present’ in a space, where you are absorbed within it, and looking at images of a space, where the mind is detached.” Zwei Beispiele von Architekturausstellungen, die sich mit dem ‘Original’ im Ausstellungsraum auseinandersetzen Serpen?ne Pavilions Hyde Park, London 2000-‐2014
‘Sensing Spaces: Architecture Re-‐imagined’ Royal Academy of Arts, London 25 January — 06 April 2014
Original im Ausstellungsraum . Zwei Beispiele
Nicola Gerber | a point of view
Serpen?ne Pavilions London 2000 – 2014
Serpen?ne Pavilions Der ‘SerpenBne Pavilion’ ist ein alljaehrlicher temporaerer Pavilion im ‘Vorgarten’ der SerpenBne (Art) Gallery im Hyde Park in London. Seit der Beaupragung von Zaha Hadid im Jahr 2000 fuer eine temporaere KonstrukBon, in der die alljaehrliche Sponsoren Gala der SerpenBne Gallery staqinden sollte, haben die beiden Kuratoren Julia Peyton-‐Jones und Hans Ulrich Obrist aufgrund des Erfolges in den folgenden Jahren jeweils einen prominenten Architekten/Kuenstler, mit dem Entwurf eines Pavilions beaupragt, der bis dahin noch kein Projekt in Grossbritannien realisiert hat.
Nicola Gerber | a point of view
2000 Zaha Hadid
2001 Daniel Libeskind
2002 Toyo Ito
2004 MVRDV (nicht realisiert)
2005 Alvaro Siza and Eduardo Souto de Moura
2006 Rem Koolhaas
2007 Olafur Eliasson, KjeBl Thorsen 2008 Frank Gehry
2009 SANAA
2010 Jean Nouvel
2011 Peter Zumthor
2012 Ai Weiwei and Herzog & de Meuron
2013 Sou Fujimoto
2014 Smiljan Radic
2003 Oscar Niemeyer
Serpen?ne Pavilions London 2000 -‐ 2014
Nicola Gerber | a point of view
2000 Zaha Hadid
2006 Rem Koolhaas
2009 SANAA
2011 Peter Zumthor
2012 Ai Weiwei and Herzog & de Meuron
2003 Oscar Niemeyer
Garten im Garten
Wiederholung Miniatur
Spiegelung ‘OTHERS’
Wiederverwendung
Serpen?ne Pavilions London 2000 -‐ 2014
Nicola Gerber | a point of view
Christopher Le Brun, RA President “In recent years much discussion on architecture has focused on economic, social or poliBcal issues, someBmes obscuring its cultural value and its capacity to offer transcendent experience. There is , therefore, no beLer moment – and no beLer place than the Royal Academy – for an exhibiBon devoted to architecture’s sensory, experienBal and emoBve qualiBes.” Kate Goodwin, curator of the exhibiBon “ExhibiBons of Architecture – consisBng for the most part of drawings, photographs and models – open distance us from what we might experience in direct contact with a building: here, instead, we asked whether an exhibiBon could become the means to highlight not merely the funcBonal or purely visual aspects of architecture but also the sensaBon of inhabiBng built space.”
Sensing Spaces: Architecture Reimagined 25 January — 06 April 2014 Royal Academy of Arts London
‘Sensing Architecture: Architecture Reimagined’ Ist eine Architekturausstellung in der Royal Academy of Arts in London, konzipiert und kuriert von Kate Goodwin. Sieben internaBonale Architekten waren eingeladen, sich mit dem gestellten Thema und dem Ort durch ein architektonisches Projekt auseinanderzusetzen.
Nicola Gerber | a point of view
Sensing Spaces: Architecture Reimagined 25 January — 06 April 2014 Royal Academy of Arts London
Grapon Architects
Li Xiaodong
Kengo Kuma
Diébédo Francis Kéré
Pezo von Ellrichshausen
Álvaro Siza
Eduardo Souto de Moura
Nicola Gerber | a point of view
Sensing Spaces: Architecture Reimagined 25 January — 06 April 2014 Royal Academy of Arts London
Li Xiaodong
Diébédo Francis Kéré
Pezo von Ellrichshausen
Eduardo Souto de Moura
RAUMsequenz
RAUM im Raum
RAUMbegehung
Verdoppelung2
Nicola Gerber | a point of view
Sensing Spaces: Architecture Reimagined 25 January — 06 April 2014 Eduardo Souto de Moura
Verdoppelung2
Eduardo Souto de Moura in conversaBon with Kate Goodwin, RA exhibiBon catalogue, p. 163/165 “But if people ask why I have made two doors, then I can only say, that I don’t know. Part of the answer, though, is that for me architecture requires conBnuity: we have to conBnue what others have done before us but using different methods of construcBon and materials. This means that the language too has to change – the same door made in concrete is a different door. … Because in life there is more than one way to understand things.”
Nicola Gerber | a point of view
Sensing Spaces: Architecture Reimagined 25 January — 06 April 2014 Diébédo Francis Kéré
Raum im Raum
Diébédo Francis Kéré in conversaBon with Kate Goodwin, RA exhibiBon catalogue, p. 147/149 “I believe it is important to engage people in the process of building so they have an investment in what is developed; … when the architecture exhibits itself, as here, it becomes both context and object for the visitor. My pavilion addresses this issue: it is an object in its physical presence, its manipulaBon of light and its relaBonship to its surrounding but it also creates its own context by enclosing, by breaking up the space of the gallery, by creaBng changing percepBons and its irregularity and transparency. The effect achieved is like a frame that enhances the experience of looking.”
Nicola Gerber | a point of view
Sensing Spaces: Architecture Reimagined 25 January — 06 April 2014 Li Xiaodong
Raumsequenz
Li Xiaodong in conversaBon with Kate Goodwin, RA exhibiBon catalogue, p. 107 “Once the visitors enter the installaBon itself, I’d like it to seem like a journey of discovery, with the sense that alternaBve worlds run alongside their path and intersect with it. Along the way, not everything will be visible and clear; rather the story unfolds like a painted image on a Chinese handscroll, to be appreciated over Bme. By the end, though, they will have gained a series of impressions that create a new mental landscape.”
DD Liyuan Library Huairou, near Beijing China (2011)
Nicola Gerber | a point of view
Sensing Spaces: Architecture Reimagined 25 January — 06 April 2014 Pezo von Ellrichshausen
Raumbegehung
Pezo von Ellrichshausen in conversaBon with Kate Goodwin, RA exhibiBon catalogue, p. 129 “…each Bme we finish a building we feel we have executed just one specific variaBon within a panorama of possibiliBes for the same idea… What is more intriguing is the possibility of playing different games with the same set of rules. We tend to see projects as conceptual problems for a specific physical context, so the issue is, to put it in the words of an ArgenBnian poet, to do the same thing but never in the same way.”
> Original im medialen Zeitalter
Nicola Gerber | a point of view
“If Over-‐communicaBon is fatal to the dramaBc stage, over-‐exposure is equally fatal to the arBsBc stage, to its authenBcity in a panic-‐ridden world where the nebula of contemporary art never ceases growing, like the fog of war: This ‘war of images’ that will from now on be delivered to us in closed circuit – unBl the revolving panorama offers us, tomorrow, in real Bme, if not the end of the world then at least the end of ‘the art of seeing’.”
Paul Virilio in ‘Art as far as the eye can see’, p. 122
Original im medialen Zeitalter In einer medialen Zeit, wenn alle Architekturmagazine 24/7/365 im Netz stehen und alle Architekturphotos und -‐plaene bei Google Images in Sekundenschnelle zu sehen sind, ist die Frage nach dem Original (wieder) interessant – und die Frage, ob ein ‘Doppel’ nicht auch ein authenBsches Original sein kann. Liegt die Authen?zitaet der Architekturerfahrung gerade in diesem ‘Distant Double’?
