Panta Klaus
Dec 2016
Various Sizes, Colour
1x + 2x scaled mock-up
Tis the season to be panny! Enjoy!
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Sunday, 11 December 2016
Sunday, 21 August 2016
"Everybody believes they are the good guy."
Amaryllis Fox a former CIA Clandestine Service officer, “If I learned one lesson from my time with the CIA, it is this: Everybody believes they are the good guy.”
Sunday, 29 May 2016
JR's Louvre Pyramid Installation.
(Images from Design Boom and Wallpaper)
I love this installation at the Louvre so much!!!
From Wallpaper:
Last week, as a black and white simulacrum of the Louvre’s grand architecture began to mask IM Pei’s pyramid that stands in its forecourt, the person responsible could be found among those already taking photos. French artist JR had positioned himself at the point that the optical illusion – the ‘anamorphose’ – revealed a level of perfection that would have impressed and amused the kings and emperors who had once called this palace home.
JR has been making giant photographic gestures around the world for upwards of a dozen years, often focusing on human faces so that the favela rooftops of Rio di Janeiro or the outside wall of the Tate Modern project groups of people as iconic statements. He puts the graphic into demographics. Yet it’s safe to say this might be his most audacious intervention so far. Here, the glass and steel pyramid becomes camouflaged by an exceedingly precise scan of the Pavilion Sully rising in the background. Consider it an architectural throwback by street art’s most monumental portraitist.
The Louvre, which has a history of inviting contemporary artists to create a temporary site-specific work, began speaking with JR roughly around a year ago; and while the idea didn’t take long, working through the technical details did. The same specialists who worked on JR’s installation at the Panthéon in 2014 executed the installation of the film.
Up close, the arches, mullions and stonework become an abstracted pattern of Ben-Day dot pixilation (JR noted that the film will not leave residue on the glass once removed). Every element of the entry – from the recessed framing to the door pulls – has been covered with bits of the image to maintain total continuity. Something you won’t see: any corporate logos or sponsorship names. The project was self-funded, an aspect that JR says remains crucial to the way he works.
‘I couldn’t have been born ten years earlier in the sense that everything I do is with the media of my time. Taking digital photos, sharing them on social networks, traveling to all these destinations around the world, working without brands,’ he tells Wallpaper*. ‘The way in which I work reflects the time in which I live.’
Despite cancelling out a structure that has never won over all Parisians, JR says the project is not intended as a critical commentary. Rather, he’s encouraging people to interact differently with the pyramid, proposing an ephemeral twist to an institution anchored in preservation.
‘This polemic – was it better before – what does that actually mean? I did not know it before; I am of the generation who grew up with the pyramid. This is a question that largely depends on how people have lived with the pyramid,' he offers.
Still, a brief occasion to imagine the Louvre without its modern addition might fulfil a fantasy for some. For everyone else, because the anamorphic image only covers the pyramid’s outward side, JR’s disruption won’t preclude a view of Pei’s most famous creation in its original state.
But already, people have begun queuing at the spot where the ‘disappearance’ takes place. And for 24 hours from Saturday afternoon through Sunday, JR has invited a roster of artists including Daniel Buren, Felice Varini and Agnès Varda to participate in interactive programming – much of it open to the public.
In this way, the overall project transcends an ambitious stunt to become an part of the collective memory. ‘It’s a little like magic; how will people discuss and share and repeat it – and in a way that’s often changed or amplified from the reality,’ he says. ‘It fascinates me to think of how people will remember the image when it no longer exists.’/// References ///
Amy Verner, "Disappearing act: artist JR makes IM Pei's Louvre pyramid vanish," Wallpaper, 27 May 2016, http://www.wallpaper.com/art/artist-JR-makes-IM-Peis-pyramid-at-the-Louvre-vanish
Nia Azzarello, "JR completes monumental anamorphic artwork on the louvre's glass pyramid," Design Boom, 28 May 2016, http://www.designboom.com/art/jr-louvre-museum-installation-paris-05-24-2016/
Sunday, 13 December 2015
Sunday, 22 June 2014
Archifest Pavilion 2013: "House".
Archifest is a month-long festival celebrating the urban environment and the communities that make it come alive. Organised by the Singapore Institute of Architects, Singapore’s only architecture festival features programmes to engage a wider audience in conversations about the city.
Accompanying the festival, is the festival pavilion whose design is won through competition. The pavilion is in its third year this year; in fact, it just concluded competition submissions last week, therefore results for this year's winning scheme should be out anytime soon.
"House", the winning scheme last year won by RSP Architects Engineers and Planners, was a structure built with construction scaffolding.
Accompanying the festival, is the festival pavilion whose design is won through competition. The pavilion is in its third year this year; in fact, it just concluded competition submissions last week, therefore results for this year's winning scheme should be out anytime soon.
"House", the winning scheme last year won by RSP Architects Engineers and Planners, was a structure built with construction scaffolding.
Archifest Pavilion: A House for Contemplating Architecture
by Lim Sio Hui 27/09/13 1:33 AM EDT
Organized by the Singapore Institute of Architects, this year’s Archifest opens today, September 27, with the unveiling of the pavilion.
Like a house under construction, the scaffolding-wrapped structure of this year’s Archifest Pavilion reveals itself upon closer inspection. Set lightly on Dhoby Ghaut Green, the purpose-built venue is accessed through a main footpath leading from the MRT station exit, where a series of small installations invite and lead visitors into the main event area, whose pitched-roof form can be seen as one moves closer. It is in this sheltered space where visitors will find many of the festival’s activities taking place, from talks, tours to exhibitions.
Titled “House,” the winning design by RSP Architects Planners & Engineers centers around a concept that contemplates the process of a building’s life, its carbon footprint and the larger landscape in which it resides, as well as building with common elements found in the industry, which gave rise to the scaffolding-based structure.
“Such structures loom large at every construction site spotted across the island, yet people often look past or through them for the final product,” explains the project’s lead designer Mark Wong. Additional reasons for choosing the scaffolding system was for its efficacy in set up and teardown, and more importantly 100% recyclability, and inherent structural logic also allows the pavilion to be elevated, hence reducing the damage made to the ground. “In essence, the Pavilion unapologetically evokes a sense of fleeting temporariness, even if expansive, with a grand hope that past its shelf-life and little to no waste is incurred on the land,” says Wong.
Apart from the main event space, the plot has been designed to flow out into the surrounding landscape and internal courtyard, allowing activities to extend to the entire site with its existing greenery and trees. Visitors are also encouraged to explore and experience the pavilion in their own way, interacting with the playfully inserted elements that range from the very small to the extremely large, from the landscape blinker lights that are attached to scaffolding pipes, to the link-way installation and the main event space itself.
“From our experience, Archifest is an excellent opportunity for architectural designers to explore new and unconventional ways of building, and to really flex one’s design thinking in a way that a lot of permanent projects cannot for an array of reasons,” says Wong.
“We do believe that House lends a very different perspective on what architecture is and can be moving away from just a finished product, to the wonders of the smaller, transient and forgotten parts, processes and the people who contribute to the finished product.”
(All images belong to RSP Architects Engineers and Planners Ptd Ltd.)
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References:
- Archifest Official Website.
- Lim, Sio Hui, Archifest Pavilion: A House for Contemplating Architecture, Blouin Artinfo, 27 Sep 2013
Thursday, 19 June 2014
Building for sporting events and costs.
There're series of derelict sporting facilities photos floating about in view of on-going Brazil World Cup 2014. Mostly, we see facilities that are abandoned once international games like the Olympics end because people in the host countries never/ don't gravitate towards the sports that these facilities are meant for. In conservation, the quickest death to any building is in its disuse, for with abandonment comes lack of maintenance and care.
Here're some examples of two facilities build for the Beijing Summer Olympics in 2008:
Beach Volleyball Stadium in July 2008:
Beach Volleyball Stadium Now:
Rowing canals in 2008:
Rowing canals now:
Other than the potential unsustainability of facilities for these major sporting events, there's also the question of whether or not the spending committed to the hosting of these events even begins to justify itself. One of the key bone of contention in on-going anti-World Cup protests in Brazil is the obscene amount of money pumped into the event by the government, when the general conditions for workers, public welfare and facilities (e.g. schools) are not improving.
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References:
- "30 Haunting Photos Of Abandoned Olympic Stadiums. It's Scary To Think Sochi May Be Next...",
- "Striking Images of Brazil’s Anti-World Cup Protest Movement"
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