Catalina Nicolescu + Le Corbusier

Cité Radieuse (Episode 1), 2010
HD video, 5’40

via Domusweb

Alex Hartley + Koenig

Case Study House #21 (Bailey House), 2003. Chromogenic print, 22 x 28-1/4 inches, edition of 3

Marko Lulic + Mies van der Rohe

Entertainment Center Mies (red)", 2004, Plexiglas, 200 x 400 x 160 cm
Photo: Wolfgang Günzel/ Sammlung DekaBank, Frankfurt/M.

Eiko Grimberg + Moore

From the series "Future History: New Orleans, 2000/2010
C-print

Martin Eberle 'Pyongyangstudies II, 2007–2012'

Pyongyangstudies II, 2007–2012
Wallpaper of photographs

Pyongyangstudies II documents those twenty-five plates exhibited at the state academy of architecture in Pyongyang that bring together countless icons of world architecture: from archaic druid stones (1000BC) to the Guggenheim Museum in New York (1943–59, Frank Lloyd Wright) to Kenzo Tange’s City Hall in Shinjuku/Tokyo (1991). The exhibition initiated by Kim Jong-il, the supreme leader of the People’s Republic of North Korea from 1994 to 2011, spotlights the principles of reconstruction of the North Korean capital in the wake of the Korean War. An illustration also photographed by Martin Eberle, in turn, visualises the underlying urban concept: a rationalist-modernist model of the city comprising a number of “landmarks” from a wide range of historical styles.

via Württembergischer Kunstverein Stuttgart

Daniel Garcia Andújar + Nouvel

Let’s democratise democracy, since 2011
Installation with photographs, video, poster

Daniel Garcia Andújar carried out the action Democraticemos La Democracia (Let’s democratise democracy) in Barcelona in 2011. An aeroplane trailing a banner with the slogan in the title flew along the city’s coastline. The action was photographed from another aeroplane. Unlike from ground level, here the slogan does not appear against a blue sky, but against the skyline of Barcelona. When the Torre Agbar (Spain’s highest building, designed by Jean Nouvel) appears on the horizon together with the banner, this is a clear comment against trivialising the city with the notion of the Iconic City – and in favour of enhancing its function as a place where communities are articulated and constituted: let’s democratise democracy!

via Württembergischer Kunstverein Stuttgart

Dirk Brömmel + Mies van der Rohe

Villa Tugendhat

via deconarch

Michael Wesely, Lina Kim + Costa & Niemeyer

Eixo Rodoviário, 2004
KW 1408C-Print, UltrasecG, Holzrahmen lackiert
100 x 150 cm

Memorial JK, 2004
KW 1466C-Print, UltrasecG, Holzrahmen lackiert
100 x 140 cm

Eixo Monumental, 2004
KW 1247C-Print, UltrasecG, Holzrahmen lackiert
180 x 300 cm

Congresso Nacional, 2004
KW 1376
C-Print, UltrasecG, Holzrahmen lackiert
100 x 140 cm

Torre de TV, 2004
KW 1394C-Print, UltrasecG, Holzrahmen lackiert
100 x 140 cm

Lina Kim & Michael Wesely
Brasilia
Apr 27 - Jun 16, 2012

Larissa Fassler 'Les Halles'

At the very moment in which the troubled piece of Parisian urban land is being dismantled again, artist Larissa Fassler tries to preserve the “complex derelict knot of rail and Métro interchanges, subterranean retail chain stores, tunnels, and passageways that make up Les Halles today”.
Through cheap cardboard paper the artist experiences the space of the banal, of the eveyday, the shop, the mall, the passageways and the escalators.
Miniature fragments contrast, with their near-obsessive precision, the dysfunctional emptyness of derelict non-lieux.

Via socks-studio

Lara Almarcegui + Olbrich

Lara Almarcegui, installation views: Construction Rubble of Secession's Main Hall, 2010, Photo: Wolfgang Thaler

Dan Graham + Bunschaft

"For Gordon Bunschaft" (2008)

Hirschhorn

Doug Aitken + Bunschaft / SOM

Song 1 (2012)

Hirshhorn

Wael Shawky 'Al-Aqsa Park'

“Al-Aqsa Park” is an animated film installation where the Dome of the Rock, the symbolic referring to the al-Aqsa complex in Jerusalem, is displayed as a fairground carousel. Although the work brings an additional reflection on the intersection of the discourses of political systems and religiosity, a theme salient to Shawky’s rich career, the al-Aqsa Park installation is essentially centered on the idea of controlled entertainment that the experience of riding a carousel, as well as its spectacle, delivers. The carousel, conventionally the center-piece of a fair, circling at a speed to generate weightlessness and ‘freedom’, is actually a machine maneuvered by an operator, according to a tightly controlled schedule. (Source: Meeting Point 5)

Gerold Tagweker + Johnson

 

johnson.grid#1/
johnson.grid#2 - 2004/2007
b/w-print on dibond, behind brown colored glass; 190 x 115 cm

pennzoil - 2007
bronze and silver reflecting glass; 100 x 100 x 198 cm

http://www.geroldtagwerker.comhttp://www.geroldtagwerker.com

Charlotte Moth + Chemetov

Charlotte Moth
Proximity - Proposition at Lavomatic, St Ouen, France, 2011
Model of Patinoire, St Ouen, Architect Paul Chemetov, 1975: bolsor wood, foam sheet
66cms width x 76cms length x 37cms height
unique

The English artist Charlotte Moth has decided to make a model out of a very interesting and popular building in Saint-Ouen, a covered ice-skating ring.
From the sixties on, the famous architect Paul Chemetov conceived and build many social and public buildings, among them this famous ice-skating ring, in 1975. This multifunctional building in the center of the suburbian town of Saint-Ouen, as much as beeing a leisure place, serves as a shelter, as much as a commercial center and a parking.

Strongly apparented to science-fiction novelist Ballard and the aesthetic of Blade Runner, the building has is fascinating for it’s structural method and anticipated many furtive architecte of our time. The anachronism the building transmit has therefore struck the imagination of the artist Charlotte Moth.
I discovered the Patinoire of St Ouen because I lived here between 2007 - 2010. I was always struck by this building, as it is so different to many of the other buildings that I have lived near, and seen on a daily basis. For Lavomatic, which is also the studio space of Seamus Farrell, I wanted to develop a work that related the physical proximity of the Patinoire to Lavomatic, (the Patinoire is situated at the end of the main road from which Rue Claude Monet stems).
Following a visit with Cécile Bourne-Farrell in June of this year, to the architectural office of Paul Chemetov who designed the Patinoire in 1975. I became more and more interested in the model of the Patinoire that I discovered through a series of photographs. The original model of the building was not to be found.
I decided that I would like to re-contstruct the model to the best of my abilities through looking at exsisting images of it. My model in this sense functions as a three dimensional drawing, a sculpture. Displayed in the window space of Lavomatic the sculpture will be simply lit.

Charlotte Moth and Cécile Bourne-Farrell would like to thank Monsieur Paul Chemetov and Agnès Chemetoff, Peter Fillingham, Rachel Daniels, Seamus Farrell, Mohssin Harraki, Ricardo Nicolau, (Fondation Serralves, Porto), Caroline Coll, Directrice du service culturel and les archives de Saint-Ouen.

Louidgi Beltrame + Niemeyer + Le Corbusier

Louidgi Beltrame, Brasilia / Chandigarh, 2008, 27 minutes, courtesy Jousse Entreprise.)

http://www.jousse-entreprise.com/louidgi-beltrame

Mario Garcia Torres 'No sé si esa sea la causa / Je ne sais si c’en est la cause'

Mario Garcia Torres 'No sé si esa sea la causa / Je ne sais si c’en est la cause'

Described as a story of “deceptions and disappointments,” Mario García Torres' audio-visual installation describes the context in which The Grapetree Hotel was built in the 60s, on the island of St. Croix. It was at this hotel that the young French artist Daniel Buren produced a group of murals. Buren struggled to make these works and expressed his distaste for them, but later acknowledged their importance as his first in-situ works, a characteristic of his highly influential Conceptual Art practice. García Torres' project explores the inherent fictions, politics and creativity of history.

Mark Manders + Wright

Two Connected Houses is Mark Manders' proposition for the Guggenheim's exhibition Contemplating the Void . In fact, this artist proposes to link a little house in the the void of the Guggenheim, with another house on the other side of the street by a tunnel excavated from New York's ground. "It will take four days to construct the tunnel", he writes.

Istvan Csákány + Breuer

Marcel BREUER MEMORIAL-ROOM
Winner of BREUER IN PÉCS / BACK and FORTH - public art competition in memory of Marcel Breuer
2010, public art project (has not been realized)
 
The Marcel Breuer Memorial-Room is the winner of a public art competition by the city of Pécs - the European Capital of Culture in 2010 - in memory of Marcel Breuer. Breuer was born in the city of Pécs, but emigrated at a young age, lived, worked and rose to fame as a "self-made man" at the Bauhaus school and later on in the USA. The Memorial-Room manifests the lack of Breuer's presence in Hungary. It also questions whether a city or a country is entitled to grace themselves with and hog credit for a man's fame, whose life and work is more or less independent from his birthplace and erect a memorial for them. The memorial room is the 1:1 concrete replica of a container, that might as well have been imported from across the Atlantic (just like Breuer's fame). It is designed as a compact, independent and self-sufficient module with solar panels and a sewage tank. The concrete (a material favoured by Breuer) is in case of the Memorial-Room a light-transmitting concrete, a contemporary invention by a young Hungarian engineer. The solar panels mounted on top of the container make the light-transmitting concrete module glow "from the inside" when it gets dark – a strong contrast to the usual Hungarian memorials of figural national heroes illuminated by floodlights pointing at them.


http://www.csakanyistvan.hu/