text prof. štefan šlachta

Small artworks from big architects
A roof above one’s
head has been the constant problem of the population, and
the search for its solution has lasted for thousands of years.
The roof above the head that we can put in the boot of a car is
the problem of the present. Several have tried to resolve this
problem… Roofs above the head created from palettes, from
bags filled with keramzit and also from referee chairs from
tennis courts are innovative ideals, which in Bratislava are
presented by Peter Cook, Odile Decq, Medusa Group, Matali
Crasset, and also Helen & Hard. These small movable puzzles,
kind of „huts“, made from everyday materials, proposes not
only functional but also artistic values. This demonstrates
that even small projects can have, in the hands of the big
architects, big results...
bratislava
text prof. štefan šlachta
danubian
dreams
medusa group pl
peter cook gb
matali crasset fr
helen & hard no
odile decq fr
Danubian Dreams brings together five European architects
and designers: Odile Decq, Peter Cook, Matali Crasset, Medusa
Group, Helen & Hard, who are invited to create a shed of their
own. This project investigates the notion of the hut as the first
habitat and proposes to rethink it within the context of the 21st
century.
These new proposals will travel throughout
Europe. The first destination is along the banks of the Danube
in Bratislava, Slovakia. Further locations will include Budapest
and Belgrade with other creations of sheds that are designed
by other architects.
Danubian Dreams was designed
according to specific parameters: each shed measures 5 by
10m2 and must be designed with a mobile character that will
alow it to travel throughout Europe. Each shed is constructed
with dismountable and transportable elements that should
be carried by two people at the most.
Each proposal
is made in an edition of 8 and is a fully livable space. In
conjunction with the commissioned architects and designers
the gandy gallery to making the architectural realization of
these sheds possible. Danubian Dreams was conceived by
gallery founder Nadine Gandy and distinguishes itself by
the diversity of variations on the theme of the shed, and the
meeting of architecture, contemporary art and design in
a project out of the ordinary.
text gandy gallery
eur shed
medusa group pl
materials.
This is also an open project that leaves
a margin for individual modification concerning the shape,
cover, roof protection and the flooring.
The presented
version is more a design manifesto representing our approach
to designing than a real specified functional object.
text medusa group
medusa group eur shed 80 wooden palletes + screws 2.4 × 5.07 × 2.4m ed 8 + 3 AP 2006
EUR Shed is an answer of how we imagine contemporary
pavilion corresponding to the universal context.
We
tried to find out what is the universal context for the modern
shed and what we got was the lack of context. But in some
way lack of context is still a context. The context of uniformed
and global world obsessed by consumption, transport and
market. The EUR Shed is referring to those factors. We did
use the uniform transportation palette as the repetitive basic
element of the pavilion and the common plastic band used
in shipping goods. This element is a part of mentioned above
global context. Its an icon of the transport era and is easy
recognizable in almost every country. Thus the EUR Shed fits
different locations and due to its uniform character could
be applied to any context. At the same time it represents
also the most important for us features in designing space :
its cheap, easy to install, flexible and recyclable. It could be
easily mounted by two people, and the construction materials
could be bought at the destination place and than could be
sold after deconstruction without big loss of value. In a sense
the transport of the shed is more transporting the user
manual and the know-how than transporting real construction
hat and coat
peter cook gb
23 January 2003
Dear Nadine. Enclosed are working
drawings for the Hat and Coat Cabin. The selection of colours
will come to you in a few days. Below I have tried to list out
all the fabrication issues I can think of. It is essential that
your fabricator constructs it all first in his workshop before
dismanling and transporting. The reason for this is because
the dimensions are based upon the model and in full size
there may be some discrepancies. An experienced carpenter
will know how to adjust: my own procedure would be to
construct the two sections: A + B and then work onwards
through the sections as indicated on drawing 9.
The
fabricator can then modify the later panels if there is some
distortion. The part with A + B and F + G are critical as they
contain the hatch and the door: which need to be correctly
I am assuming that he will work with
rectilinear.
12 mm external quality plywood or similar. MDF or blockboard
are better in some ways but heavier and more expensive. I am
assuming he will wish to use 5 cm × 5 cm framing and may
want to add more framing, though the plywood should be very
strong. I assume he will connect by bolts and washers and I am
OK with the appearance of bolts and washers on the outside
I recommend that
when they are correctly spaced.
the interior surface is painted also as it will be seen through
the hatch and other apertures.
The Hat is surely
a most important component and less traditionally part of
the kiosk or exhibit repertoire than the wooden construction.
Much depends on whether the Cabin will be outdoors for
long periods. This must be decided now as it has major
ramifications concerning the whole structure, particularly the
Hat. If it is, the material of the Hat should be rain resistant and
the filling such that it will not gather water. The protruding
‘feet’ (the 10 cm that continues down from the frames)
should be painted with bituminous paint. The Exterior colour
should be 3 coats water resistant paint. I shall now review the
drawings.
Sheet 1 – Plan: This is taken at the level of
the base of the panels. Dotted are the approximate lines of
Hat and panel tops. There is a variation in corner conditions
based upon likely sequencing of construction. If the carpenter
has alternative preferences he should bear in mind the
dismantling-reconstructing sequence.
The position
of the „Tie Beam“, running between the A / B corner and the
E / F lap point seems to me to be a useful ‘steadying’ element,
particularly at times when the hat is being moved on to the
top. I have suggested a 15 cm × 3 cm piece : it could, maybe, be
smaller, but at times will be taking considerable transferred
thrust. At the corner A / B it will need the top surface to be
‘chamfered’ (trimmed down) to the top profile of B but has
a nee to be fixed to the framing within B that surrounds the
hatch B1.
Sheet 2 – Hat Plan: Note that the heavy
line refers to the fabrication size but on site it is expected to
‘droop’ to somewhere like the broken line path. When placing
the Hat, care must be taken to allow the door to open fully. The
recommendation is that the method and principle that has
been established for more than 30 years now in the fabrication
of ‘bean bags’ (floppy chairs filled withy polystyrene balls)
should be followed. You can see from the photographs of the
rough model that the edge condition is critical – the real object
needs to be as ‘rounded’ and seam-free as possible. This is
a ‘tailoring’ job. The skin of the hat should have some flexibility
but care taken with reinforcing the points of likely tearing
that will be affected by the corner geometry (ER patches on
the drawing).
Sheet 3 – Section X-X: Reiterates the
need for door clearance. Suggests a minimum thickness for
the hat.
Sheet 4 – Section Y-Y: Mainly concerned with
the ‘Flap-Counter’ this will be coloured and may be exhibited
Open, Shut, and Partly Open. It illustrates the need for internal
Sheets 5 and 6
painting- particularly in this corner.
– Elevations: Should be self-explanatory. Give a good indication
Sheets 7 and
of the ‘character’ required for the Hat.
8 – Schedules of Hard Components: Panel B Key panel that
establishes the functioning part of the kiosk. Flap Counter B1
will rest, when open, on internal brackets (see section Y-Y).
The top flap should be fitted with chains to retain it when
open. Panel A has a peep-slit that will have Flap A1 this should
be hinged onto the panel (see Plan). As with the hatch it will
probably be displayed partly open. Panel C Self-explanatory.
peter cook hat and coat coat: 12 mm blackboard / hat: plastic + ekostyren 2.14 × 1.84 × 2.32 m ed 8 + 2 AP 2006
Panel D Contains a peep-slit similar to that on Panel A, this
should have a flap, hinged on the side of the cabin corner.
Panel E Self-explanatory. Panel E1 is eccentric to most of the
other panels in being essentially an ‘infill’ , rather than primary
structure. My recommendation is to construct it last and fit
it in to on-site measurement. Panel F A complex panel. The
left-hand frame may have to be adjusted to take account of the
‘lap’ condition, where panel E can be bolted through, as well as
the absorption of panel E1. The middle frame member is part
of the door frame. Frame G Essentially a straightforward door
and frame, with fixed panel above the door. Unlike the other
panels, it requires a completion of the frame condition at floor
level (suggested size 5 cm × 3 cm : for minimum interference)
but the door itself continues the panel line. Panel H and Panel J
Sheet 9 – Suggested Components:
Self explanatory.
This charts only the main moves. Consideration will need to be
given to a compromise between (A) the idea of the ‘flat-pack’
– which will require maximum on-site construction or (B) the
construction broken down into L-shaped or T-shaped elements:
suggested on the diagram. Even if flat-packed, a first-stage
construction process as shown prior to total construction
may be useful.
General Points The cabin is conceived
as a prototype Working Kiosk: hence the counter. This is
important. Transportability is also a key factor. The organisers
should think carefully about the likely erection team. Will the
original fabricators travel with it? If not who will reconstruct it?
It should be made as ‘idiot-proof’ as possible with all elements
and junctions coded.
text peter cook
klorofil
matali crasset fr
text matali crasset
matali crasset klorofil wood + plastic + metal 2.33 × 2.85 × 2.85 m ed 8 + 2 AP 2006
Klorofil is conceived as a platform that provides new
ways of viewing the world.
The structure consists
of 4 raised seating units linked together in the shape
of a belvedere that is integrated to the surrounding
landscape.
Klorofil is about: Taking over time to
appreciate nature and open new windows to view the world
/ Disconnecting from reality and at the same time sharing
moments where time is suspended / Enjoying looking
at starry skies at night as you sip decoctions of herbal
tea.
And when you feel really tired, or if you want to
take a short nap for a couple of hours, Klorofil offers the ideal
conditions for resting outside your home and waking up to the
rising sun.
Klorofil provides a different experience for
the family, another insight into the world that you can enjoy
just outside your home. Klorofil is a tool of transmission and
sensibilisation through which you experience new and exciting
adventures.
With Klorofil, you can look at stars,
examine birds during the mating season, and follow nature‘s
development over the course of each season. A comfort that
brings out essential values and fosters the sharing of new
sensations.
air force take away
helen & hard no
the translucence of the mattresses, the light condition inside
constantly changes creating a dazzling atmosphere. Air Force
Take Away is an expression of playfulness, color, organic form
and flexibility
text helen & hard
helen & hard air force take away 70 airbeds ed 8 + 2 AP 2006
Helen & Hard�s pavillion is called �Air Force Take Away�.
The intention is to explore two different modes of nomadic
�spatialization�: occupying a territory with a carpet and
personalizing it with an individual�s personal effects. Our design
of the shed combines these two nomadic modes into a single
performative surface responsive to programmatic, spatial and
environmental changes. Personal effects are woven into the
carpet as �scapes�. The carpet can roll-up into a variety of forms,
more or less opened depending on one�s needs.
The
carpet is made out of 70 air-mattresses sewn together into
a grid and later inflated and arched into a variety of forms.
The resulting form is thus lightweight and soft. The �scapes�
vary from compositions of recycled beverage containers
produced by a Basura women�s coop in the Philippines, to
recycled wool mats and lighting.
Within �Air Force Take
Away�s� spacious interior to eat, drink and relax, the special
�scapes� displayed delicacies from both Norway and Slovakia
for sampling. The carpet is flexible in use: It can be rolled up
into a room, used as a large raft in its flat configuration or as
a children�s play area.
The pavilion has different zones
and relationships between inside and outside. Because of
opentipi
odile decq fr
text odile decq
odile decq opentipi model 4 × 8.75 m ed 8 + 2 AP 2006
My project is a tipi. It is opened – not a cocoon; it communicates
and opens to the surrounding world.
The elements
that compose its partitions can take different configurations
and also reorganize the space to transparent, while stripping
the leaves off itself it gives itself space and opens this one to
the exterior one. Simple, technological and recyclable. It can
be manufactured very simply:
1. the perches will be on
aluminum or on carbon fiber
2. the elements partitions
can be simple textile, or plastic one, of canvas of covers that
has tarp, of felts, etc.
3. certain partitions will be done
several beds of materials.
22 06 2006
exhibition opening on the boat anchored on the left bank of danube river
bratislava
thanks
Each morning, i walk my dog Torcello along the Danube, each
morning, cargo ships and barges transport merchandise from
Western Europe at Oriental Europe, Each morning dreams
are made possible: such as building cabins and nomadic
architectures along this mythical river.
Two concepts
are at the origin of this slightly crazy bet: simplicity and
imagination and I thank with all my heart the architects that made
these demands become a reality.
I would also like to
thank Marta Gili who suggested the idea of pursuing the Danube
down-river with new architectural projects: the next project takes
place in Budapest (Autumn 2007) followed by Belgrade.
text nadine gandy
Peter Cook
Matali Crasset
Odile Decq
Helen Hard, Reinhard Hard Helen & Hard
Pzermo Lukasik, Lugasz Zagala Medusa Group
Nathalie Anglés Location One New York
Vadimír Bajan President of the Bratislava Self-governing Region
Samuel Barrois AGS
Daniela Borská French Institut Bratislava
Serge Delbarre
Roman Cintula Cargo
Bruno Fernandez Ľudová Banka
Marta Gili Musée du jeu de Paume Paris
Francesca von Habsburg, Daniela Zyman Thyssen-Bornemisza Art Contemporary Vienna
Jozef Kaliský Incheba
Wagih Khoury, Tamara Šporánková Hotel Danube
Zbygnew Machej Institut Polski
Christian Mandl Sky Europe
Boris Meluš
Olivier Poivre d‘Arvor, Dimitry Ovstchinikov, Alain Reinodo Cultures France
Silvia Poláková gandy gallery
Louise de Saint Angel
Deidi von Schaewen
Štefan Šlachta Main Architect of Bratislava
danubian dreams bratislava
published by gandy gallery
photography deidi von schaewen
graphic design boris meluš
printed by vydavateľské družstvo lúč
number of copies 1000
© gandy gallery 2006
all images and projects
are courtesy of gandy gallery
gandy gallery
panenská 30, 811 03 bratislava, slovakia
t/f +421 2 5441 0801
info@gandy-gallery.com
www.gandy-gallery.com