Het Huis Stoclet in Brussel - Academie voor Beeldende Kunsten Aalst
Het Huis Stoclet in Brussel - Academie voor Beeldende Kunsten Aalst
Het Huis Stoclet in Brussel - Academie voor Beeldende Kunsten Aalst
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<strong>Academie</strong> <strong>voor</strong> <strong>Beeldende</strong> <strong>Kunsten</strong><br />
Schoolreis zesde jaar<br />
4 – 6 oktober 2010<br />
Metz – Colmar – Bazel
PRAKTISCHE GEGEVENS<br />
Jeugdherberg:<br />
Youth Hostel Basel<br />
St. Alban Kirchra<strong>in</strong> 10<br />
Ch-4052 Basel<br />
Tel: ++41 (0)61 272 05 72 Fax:++41 (0)61 272 08 33<br />
www.youthhostel.ch/basel<br />
Telefoonnummers (<strong>in</strong> nood):<br />
Karel: 0032485206102<br />
Stefaan: 0032486535222<br />
Stijn: 0032474979339<br />
Veerle: 0032476721165<br />
De huidige wisselkoers:<br />
1,0000 EUR = 1,3164 CHF<br />
1,0000 CHF = 0,7570 EUR
1. Centre Pompidou – Metz<br />
A) OVER DE ARCHITECT en HET GEBOUW<br />
Shigeru Ban<br />
Shigeru Ban (1957) wordt gezien als<br />
een pionier op het gebied van bouwen met<br />
karton. In zijn gebouwen is papier het<br />
belangrijkste materiaal. Daarnaast gebruikt<br />
hij organische materialen als bamboe. Naast<br />
het gebruik van deze natuurlijke materialen<br />
staat Shigeru Ban bekend om de humanitaire<br />
gedachte die <strong>in</strong> zijn werk naar voren komt.<br />
Zo ontwierp hij van karton een<br />
daklozenhuisvest<strong>in</strong>g <strong>voor</strong> de slachtoffers van<br />
de aardbev<strong>in</strong>g <strong>in</strong> Kobe (1995).<br />
Ban werd geboren <strong>in</strong> Tokio. Van 1977<br />
tot 1980 studeerde hij aan de Southern<br />
California Institute of Architecture. Van 1980<br />
tot 1982 volgde hij the Cooper Union School<br />
of Architecture. Hier kreeg hij onder meer les<br />
van John Hejduk.<br />
(http://www.shigerubanarchitects.com/)<br />
Hij begon zijn carriére bij het architectenbureau van Arata Isozaki, waarna hij <strong>in</strong> 1985 zijn
eigen bureau begon. Ban liet zich onder andere <strong>in</strong>spireren door het werk van Ludwig Mies<br />
van der Rohe.<br />
Hij ontwierp talloze tentoonstell<strong>in</strong>gen, waaronder de show van Alvar Aalto <strong>in</strong> de Axis<br />
Gallery te Tokio <strong>in</strong> 1986. Verder ontwierp hij gebouwen, zoals het Odawara paviljoen <strong>in</strong><br />
Kanagawa (1990), de Paper Gallery <strong>in</strong> Tokio (1994), het Paper House <strong>in</strong> Lake Yamanaka<br />
(1995) en de Paper Church <strong>in</strong> Takatori, Hyogo (1995). Ook ontwierp hij het Japanse<br />
paviljoen op de Expo 2000 <strong>in</strong> Hannover. Daarnaast bedacht Ban ook afbreekbare<br />
structuren, zoals zijn Paper Refugee Shelter, gemaakt van plastic vellen en papieren<br />
buizen.<br />
(http://www.architectenweb.nl/aweb/archipedia/archipedia.asp?ID=7399)<br />
Metz Centre Pompidou / Shigeru Ban’s w<strong>in</strong>n<strong>in</strong>g project<br />
Just a few months after the official announcement of the w<strong>in</strong>n<strong>in</strong>g project, the Paris<br />
exhibition presents the proposals of the six f<strong>in</strong>alists <strong>in</strong> the architecture competition for<br />
construction of the Metz Centre Pompidou.<br />
Shigeru Ban, Tokyo & Jean de Gast<strong>in</strong>es, Paris and Philip Gumuchdjian of London,<br />
have won the design competition to build the new Pompidou Centre <strong>in</strong> the city of Metz, 3<br />
1/2 hours east of Paris. Commemorat<strong>in</strong>g the 30th anniversary of the open<strong>in</strong>g of the<br />
Pompidou Centre <strong>in</strong> Paris, the new facility is scheduled to open <strong>in</strong> 2007.<br />
The Pompidou Center and the city of Metz <strong>in</strong> eastern France announced the<br />
decision <strong>in</strong> January 2003, <strong>in</strong> agreement with the m<strong>in</strong>istry for the arts, culture &<br />
communications, to set up the first decentralized branch of the ‘Centre National d'Art et de<br />
Culture Georges Pompidou’ <strong>in</strong> Metz. The build<strong>in</strong>g will be constructed <strong>in</strong> the ‘amphithéâtre’<br />
district, currently the focus of a wide-rang<strong>in</strong>g development project; it will host exhibition<br />
halls, ateliers, conference rooms and adm<strong>in</strong>istrative offices. The project will also permit<br />
future expansion with the addition of a mediateque.<br />
Total area: 12,000 m2 for 6,000 square meters / exhibition space: 6,000 square<br />
meters. Costs: € 35 million.<br />
Short description of the w<strong>in</strong>n<strong>in</strong>g project: a large pavilion set with<strong>in</strong> a new park, the<br />
museum consists of both permanent and temporary exhibition space. The centre's most<br />
<strong>in</strong>terest<strong>in</strong>g feature will be the roof – <strong>in</strong>spired by a woven bamboo ch<strong>in</strong>ese hat, a giant,<br />
hexagonal umbrella made of woven steel and plywood protected by a translucent lattice<br />
membrane on top will cover the entire complex. It protects the facades from the weather<br />
<strong>in</strong> w<strong>in</strong>ter and provides shade <strong>in</strong> the summer.<br />
3 rectangular, climate-controlled, steel truss, cantilevered tubes, each measur<strong>in</strong>g<br />
100m long x 15m wide, will form the basis of the galleries for the permanent collections<br />
and will be sited so as to frame views of the city's historic monuments, such as its railway<br />
station and cathedral.<br />
The whole forum will be encased with movable glass shutters that can close off the<br />
forum from, or open it up to, the surround<strong>in</strong>g gardens. The scheme offers the curators a<br />
broad range of flexible spaces and light<strong>in</strong>g opportunities. The only w<strong>in</strong>dows will be each<br />
end of the galleries, thus emphasis<strong>in</strong>g the importance of the <strong>in</strong>ternal light<strong>in</strong>g. Enormous<br />
curta<strong>in</strong>s will reduce the natural light as required.<br />
The floor of the public forum is cooled and warmed us<strong>in</strong>g re-circulated ground<br />
water while the large forum space is cooled and warmed by re-circulat<strong>in</strong>g the tempered air<br />
of the gallery spaces.<br />
The design team <strong>in</strong>cludes the landscape architect Michel Desvigne, recipient of the<br />
medal of the French Academy of Architecture <strong>in</strong> 2000, who worked on the Dallas Centre
for the Perform<strong>in</strong>g Arts foundation <strong>in</strong> 2003. Arup eng<strong>in</strong>eers, which also worked on the<br />
orig<strong>in</strong>al Pompidou Centre, will prepare the structural and services designs. Ingo Maurer<br />
from Munich, Germany will be the light<strong>in</strong>g designer, and DLE, France, the quantity<br />
surveyors.
B) OVER DE TENTOONSTELLING<br />
CHEFS-D'OEUVRE?<br />
“To the question What is a masterpiece? neither museums nor reproductions give any<br />
def<strong>in</strong>itive answers, but they raise the question clearly.” (André Malraux, 1947)<br />
“… the artist may shout from all the rooftops that he is a genius: he will have to wait for<br />
the verdict of the spectator <strong>in</strong> order that his declarations take a social value and that,<br />
f<strong>in</strong>ally, posterity <strong>in</strong>cludes him <strong>in</strong> the primers of Artist History.” (Marcel Duchamp, 1957)<br />
“The art bus<strong>in</strong>ess is merely jump<strong>in</strong>g from one catalogue to the next.” (Marcel Broodthaers,<br />
1972)<br />
“There is no more an ideal format than there is a masterpiece: there is a “wholeness of<br />
work”, of which we see parts or excerpts.” (Niele Toroni, 1988)<br />
A Unique Exhibition<br />
What is a masterpiece? Is this notion still relevant today? Who decides what is a<br />
masterpiece? Once a masterpiece, always a masterpiece? The open<strong>in</strong>g exhibition of the<br />
Centre Pompidou-Metz exam<strong>in</strong>es the notion of the masterpiece, past, present and future,<br />
through an exceptional selection of almost eight hundred works of art.<br />
Thanks to the extraord<strong>in</strong>ary richness and diversity of the collection of the Centre<br />
Pompidou, Musée national d’art moderne (which is the source of the majority of the<br />
artwork displayed <strong>in</strong> this exhibition), some of the greatest figures of 20th century art are<br />
on display <strong>in</strong> Metz. Come and discover or rediscover major works and experience<br />
unexpected "encounters with works of art". In addition, commissions have been especially<br />
undertaken for the occasion, along with loans from prestigious French and foreign<br />
<strong>in</strong>stitutions, creat<strong>in</strong>g an ensemble which is as novel as it is majestic. Pa<strong>in</strong>t<strong>in</strong>gs, sculptures,<br />
<strong>in</strong>stallations, graphic arts, photography, video, sound works, film, architecture, design, and<br />
more, every field of artistic creation is represented, reflect<strong>in</strong>g the cross-discipl<strong>in</strong>ary nature<br />
of Centre Pompidou-Metz’ programm<strong>in</strong>g.<br />
Masterpieces? <strong>in</strong>vites you to partake <strong>in</strong> a journey <strong>in</strong> four parts. In the Grande Nef, a<br />
chronological display takes you on an encounter with "Masterpieces throughout history"<br />
and highlihgts key moments <strong>in</strong> the creation of the Musée national d’art moderne and its<br />
collection. In Gallery 1, "Stories beh<strong>in</strong>d masterpieces" plunges you <strong>in</strong>to the life of the<br />
works presented, from their production right up to their reception by critics, <strong>in</strong>stitutions<br />
and the visitors themselves. The exhibition cont<strong>in</strong>ues <strong>in</strong> Gallery 2 with "Masterpiece<br />
Dreams", the proposal of a dream museum. F<strong>in</strong>ally, <strong>in</strong> Gallery 3, "Masterpieces ad<br />
<strong>in</strong>f<strong>in</strong>itum " exam<strong>in</strong>es the persistence of the notion of the masterpiece over the 20th<br />
century, <strong>in</strong> an era when images became easily reproducible.<br />
Four Parts<br />
The first part of the exhibition, Masterpieces throughout History, unfolds as a<br />
chronological succession of 17 rooms illustrat<strong>in</strong>g how the concept of the masterpiece has<br />
evolved over the centuries.<br />
By analys<strong>in</strong>g the various mean<strong>in</strong>gs of the term ‘ masterpiece ’ s<strong>in</strong>ce it first appeared<br />
<strong>in</strong> the Middle Ages, this section provides the opportunity to re-exam<strong>in</strong>e the history of
taste. It also highlights key moments <strong>in</strong> the creation of the Musée National d’Art Moderne<br />
and its collection.<br />
A huge mirror hang<strong>in</strong>g from the ceil<strong>in</strong>g of the monumental nave shows an <strong>in</strong>verted<br />
image of the gallery space, thus visually <strong>in</strong>clud<strong>in</strong>g the visitor <strong>in</strong> the exhibition’s endeavour<br />
to exam<strong>in</strong>e the nature of a masterpiece.<br />
Stories Beh<strong>in</strong>d Masterpieces<br />
The second part of the exhibition, Stories beh<strong>in</strong>d Masterpieces, is presented <strong>in</strong><br />
Galerie 1. What is a masterpiece, other than the product of converg<strong>in</strong>g stories – those of<br />
an artist, a creative process, a work, and its critical fortunes ? Once passed Respirare<br />
l’ombra, by Giuseppe Penone, visitors can choose between two possible directions : a<br />
series of rooms dedicated to the ma<strong>in</strong> avant-garde movements, or so-called ‘ isms ’<br />
(Fauvism, Cubism etc.) or a different historic narrative revolv<strong>in</strong>g around lesser-known<br />
figures and movements from the 20th century. This gallery is subdivided <strong>in</strong>to a series of<br />
various sized rooms, provid<strong>in</strong>g for numerous visual correspondences.<br />
Masterpiece Dreams<br />
The exhibition cont<strong>in</strong>ues <strong>in</strong> Galerie 2 with the section entitled Masterpiece Dreams,<br />
a proposal for the ‘dream museum’ that draws a parallel between the museum as a<br />
‘conta<strong>in</strong>er’ and the artworks as its ‘contents’. Upon enter<strong>in</strong>g the gallery space, visitors face<br />
a chronological display of emblematic works from the 20th century. The reverse side of the<br />
wall features the first-ever historical outl<strong>in</strong>e of modern and contemporary art venues built<br />
<strong>in</strong> France s<strong>in</strong>ce 1937. Some thirty architectural projects are highlighted <strong>in</strong> a unique<br />
presentation of models, orig<strong>in</strong>al draw<strong>in</strong>gs, and filmed <strong>in</strong>terviews.<br />
Masterpieces ad <strong>in</strong>f<strong>in</strong>itum<br />
The f<strong>in</strong>al part of the exhibition, Masterpieces ad <strong>in</strong>f<strong>in</strong>itum, analyses how the notion<br />
of masterpiece has persisted throughout the 20th century at a time when images became<br />
easily reproducible.<br />
With the development of new media such as film and digital imagery, contemporary<br />
artists have adopted a different approach to the concept of masterpiece. Many have made<br />
copies and reproductions a part of their work, prompt<strong>in</strong>g the viewer to reconsider the<br />
essential characteristic of any masterpiece : its uniqueness.<br />
And f<strong>in</strong>ally the exhibition’s scenography calls the visitor’s attention to the scenic<br />
view of St. Stephen’s Cathedral, an architectural masterpiece by any standard. The optical<br />
illusion created - the cathedral dim<strong>in</strong>ishes, as the viewer draws nearer to it – offers a<br />
visual allegory of the unfathomable essence of the masterpiece, the def<strong>in</strong>ition of which<br />
eludes us while accommodat<strong>in</strong>g the most contradictory <strong>in</strong>terpretations.
2. Isenheimschrijn – Colmar<br />
Between 1512 and 1516, the artists Niclaus of Haguenau (for the sculpted portion)<br />
and Grünewald (for the pa<strong>in</strong>ted panels) created this celebrated altarpiece for the Antonite<br />
order’s monastic complex at Isenheim, a village about 15 miles south of Colmar. This<br />
polyptych, which decorated the high altar of the monastery hospital’s chapel until the<br />
French Revolution, was commissioned by Guy Guers, who served as the <strong>in</strong>stitution’s<br />
preceptor from 1490 to 1516.<br />
Established around 1300, the Isenheim monastery belonged to Sa<strong>in</strong>t Anthony’s<br />
order, which had been founded <strong>in</strong> the Dauph<strong>in</strong>é region of France <strong>in</strong> the 11th century. The<br />
monks of the Antonite order m<strong>in</strong>istered to victims of Sa<strong>in</strong>t Anthony’s fire, a horrible illness<br />
that was common <strong>in</strong> the Middle Ages. This calamity’s cause is now known to be poison<strong>in</strong>g<br />
from a fungus (ergot) that grows on rye grass, thus contam<strong>in</strong>at<strong>in</strong>g the rye flour used <strong>in</strong><br />
mak<strong>in</strong>g bread. Ergot conta<strong>in</strong>s a chemical that drives its victims mad and results <strong>in</strong>
gangrene of the hands and feet due to constriction <strong>in</strong> blood flow to the extremities. To<br />
care for the sick, the Antonites served them good quality bread and had them dr<strong>in</strong>k a<br />
concoction called sa<strong>in</strong>t v<strong>in</strong>age, a holy fortified w<strong>in</strong>e, <strong>in</strong> which the monks had first<br />
macerated a special blend of herbs and then soaked the relics of Sa<strong>in</strong>t Anthony. They also<br />
produced a salve from herbs possess<strong>in</strong>g anti-<strong>in</strong>flammatory properties.<br />
Little by little, the monks at Isenheim acquired a rich collection of works of art<br />
commissioned and f<strong>in</strong>anced by the monastery, one of which was this altarpiece. Held at<br />
this religious <strong>in</strong>stitution until the Revolution, it was transferred to the local branch of the<br />
French national library <strong>in</strong> 1792 for safekeep<strong>in</strong>g. In 1852 it was moved to the chapel of the<br />
former Dom<strong>in</strong>ican convent known as the Unterl<strong>in</strong>den <strong>in</strong> Colmar, becom<strong>in</strong>g the pr<strong>in</strong>cipal<br />
treasure of the museum be<strong>in</strong>g established at that time and has never ceased to captivate<br />
and enthral visitors s<strong>in</strong>ce.<br />
Matthias Grünewald (ca. 1480 – 1528)<br />
(eig. Mathis Gothard) Duits schilder, waarshijnlijk geboren <strong>in</strong> Würzburg. De naam<br />
Grünewald kreeg hij per abuis van een 17e-eeuwse biograaf.<br />
Grünewald kreeg veel grote opdrachten en<br />
was van 1516-1525 <strong>in</strong> dienst bij de<br />
belangrijkste keurvorst van die tijd, kard<strong>in</strong>aal<br />
Albrecht van Brandenburg. Zijn stijl is te<br />
omschrijven als monumentaal en realistisch,<br />
met een opvallende behandel<strong>in</strong>g van kleur<br />
en licht, en is waarschijnlijk beïnvloed door<br />
de Italiaanse renaissance maar wordt<br />
doorgaans gerekend tot de laat-gotische<br />
schilderstraditie.<br />
Zijn hoofdwerk is het Isenheimer Altar, een veelluik met <strong>voor</strong>namelijk bijbelse taferelen dat<br />
zich thans <strong>in</strong> een museum <strong>in</strong> Colmar bev<strong>in</strong>dt.<br />
Nadat hij door Albrecht van het hof was verdreven, <strong>voor</strong>zag Grünewald enige tijd <strong>in</strong> zijn<br />
onderhoud door watermolentjes en fonte<strong>in</strong>en te bouwen. Hij overleed <strong>in</strong> 1528 te Halle.<br />
<strong>Het</strong> hier afgebeelde portret is van St. Sebastiaan en onderdeel van het altaar, maar wordt<br />
vaak als een zelfportret beschouwd.
3. Bazel<br />
Switzerland, one of Europe's smallest countries, with the Alps at its core, has an area of<br />
41293 square kilometres. Its 1850 kilometres of borders l<strong>in</strong>k it to France <strong>in</strong> the west,<br />
Germany <strong>in</strong> the north, Liechtenste<strong>in</strong> and Austria <strong>in</strong> the east, and Italy <strong>in</strong> the south.<br />
Surrounded by the great cont<strong>in</strong>ental cultures, its central position and control of the alp<strong>in</strong>e<br />
passes have made Switzerland a classic transit region, across which goods were, and still<br />
are, moved from east to west, from north to south, and vice versa. Switzerland is a<br />
European watershed whose rivers flow <strong>in</strong> all directions, and is the source of Rh<strong>in</strong>e, Rhone,<br />
and of major tributaries to Danube and Po. 140 glaciers and some 1500 lakes make<br />
Switzerland Europe's moated castle. The other major mounta<strong>in</strong> range is the Jura, which<br />
extends from the Basel region along Switzerland's western border to Geneva. The Swiss<br />
midlands lie between the Jura and the Alps, and south of the Alps lie the Tic<strong>in</strong>o and a few<br />
valleys that belong to the canton of Grisons. The country's highest po<strong>in</strong>t, 4634m above<br />
sea level, is the Dufourspitze <strong>in</strong> the Monte Rosa massif; its lowest, at 193m, is Lago<br />
Maggiore.<br />
Seven million <strong>in</strong>habitants<br />
Like its topography, Switzerland's climate also varies very widely. In the west, the Atlantic<br />
is the dom<strong>in</strong>ant <strong>in</strong>fluence; <strong>in</strong> the east, cont<strong>in</strong>ental air currents dom<strong>in</strong>ate; <strong>in</strong> the north, the<br />
Arctic makes its <strong>in</strong>fluence felt; and the south is often subjected to hot and humid<br />
Mediterranean air. The Föhn, a warm, dry southerly w<strong>in</strong>d, blows ma<strong>in</strong>ly down the Alp<strong>in</strong>e<br />
valleys and can cause severe storms; it is also often blamed for mood<strong>in</strong>ess. Because the<br />
Alp<strong>in</strong>e region is rather <strong>in</strong>hospitable, most of Switzerland's population is concentrated <strong>in</strong> the<br />
country's midlands, which are also used for <strong>in</strong>tensive agriculture, and <strong>in</strong> its cities; the<br />
biggest of these are Zurich, Geneva, Basel, Berne, and Lausanne. Foreign nationals<br />
account for about one-fifth of Switzerland's population of some seven million, but the ratio<br />
<strong>in</strong> some cantons, such as Basel-Stadt, may be as high as thirty percent.<br />
Four official languages<br />
Switzerland has four official languages. The majority speaks German; next comes French,<br />
followed by Italian and Romantsch, an ancient form of Lat<strong>in</strong> struggl<strong>in</strong>g for survival <strong>in</strong> the<br />
Alps. Protestants and Roman Catholics are the ma<strong>in</strong> denom<strong>in</strong>ations, the latter with a<br />
slightly higher share of the total population.
23 cantons<br />
Switzerland is divided <strong>in</strong>to 23 cantons, three of which are split <strong>in</strong>to two half-cantons:<br />
Unterwalden (Obwalden and Nidwalden [those above and below the woods]); Appenzell<br />
(Innerrhoden and Ausserrhoden [those on the near and far banks of the Rhodan river]);<br />
and Basel (Stadt and Landschaft). Though Berne is the country's capital, Zurich is the<br />
country's biggest city.<br />
Two peculiarities dist<strong>in</strong>guish the canton of Basel-Stadt from the other 25 cantons and halfcantons:<br />
like all half-cantons, it has only one representative <strong>in</strong> the Upper Chamber of the<br />
federal parliament, the Ständerat (Council of State); and because the territory of its<br />
biggest municipality is almost identical with that of the canton, it is practically a city-state.<br />
Basel beats differently is the motto with which Basel wants to draw attention to itself at<br />
home and abroad. Special to Basel <strong>in</strong> fact different is its position <strong>in</strong> the so-called<br />
Dreiländereck, the triangle formed by the three countries of Switzerland, Germany, and<br />
France. Basel is known as an open, many-faceted cultural, educational, and economic<br />
metropolis.<br />
Basel is the centre of north-western Switzerland, on the border with Germany and France,<br />
and located at the very core of central Europe. Identification with their city is exceptionally<br />
high not only among the city's population, but also among those who live <strong>in</strong> the city's<br />
suburbs and beyond.<br />
Population of the Basel-Stadt at the end of the year 2006: 165'529 <strong>in</strong>habitants.<br />
Cultural, educational, and economic metropolis<br />
Basel projects, well beyond central Europe, the image of a progressive, environmentally<br />
conscious, <strong>in</strong>ternational, and <strong>in</strong>tegrative cultural, educational, and economic metropolis. It<br />
successfully comb<strong>in</strong>es such small-town features as clarity and <strong>in</strong>timacy with the<br />
advantages of a city: expansiveness, wide choice, and diversity.<br />
Despite its social dynamism and <strong>in</strong>novative economic strength, Basel is a lively border<br />
town, with a strong traditional base rooted <strong>in</strong> history which can be experienced not only at<br />
its carnival, the Basler Fasnacht. Both its historic townscape and modern architecture are<br />
part of Basel's liv<strong>in</strong>g present.
4. Fondation Beyeler<br />
In a extremely sensitive response to the collection, its creators and the location, Renzo<br />
Piano has created an ideal build<strong>in</strong>g for present<strong>in</strong>g modern art. From outside, the<br />
approximately 127 metre-long build<strong>in</strong>g, which is shielded from traffic noise by a porphyryclad<br />
external wall, resembles a ship ly<strong>in</strong>g anchored alongside the busy road.<br />
On pass<strong>in</strong>g through the entrance gate, one f<strong>in</strong>ds oneself <strong>in</strong> the calm of an English-style<br />
landscape park. To the right, nestled among groups of trees, one sees the pavilion-like<br />
museum built out of a harmonious comb<strong>in</strong>ation of stone, white-pa<strong>in</strong>ted steel and glass. Its<br />
project<strong>in</strong>g glass roof, with a surface area of approximately 4,500 square metres, seems to<br />
float above its four monumental parallel walls.<br />
There exists a harmonious balance between the materials used throughout the museum.<br />
The vertical walls clad with porphyry from Argent<strong>in</strong>a convey an impression of heav<strong>in</strong>ess<br />
and durability. A project<strong>in</strong>g steel structure has been suspended over them horizontally like<br />
a fly<strong>in</strong>g carpet. It supports the glass of the transparent roof and the 900 brise-soleil that<br />
protect the <strong>in</strong>terior aga<strong>in</strong>st direct overhead sunlight.<br />
The <strong>in</strong>ternal requirements associated with the Beyeler Collection's characteristics and size<br />
have been sensitively reconciled with the site's external constra<strong>in</strong>ts. Piano has described<br />
his task <strong>in</strong> the follow<strong>in</strong>g words: "A museum should attempt to <strong>in</strong>terpret the quality of the<br />
collection and def<strong>in</strong>e its relationship with the outside world. This means tak<strong>in</strong>g an active,<br />
but not an aggressive role."<br />
The transparent roof, with its highly sophisticated technology, provides the whole of the<br />
<strong>in</strong>terior with the natural light so desirable for view<strong>in</strong>g works of art. The use of glass for the<br />
museum's northern and southern façades creates <strong>in</strong>teraction between the build<strong>in</strong>g and the<br />
park. Through the <strong>in</strong>terconnections he has established between the <strong>in</strong>terior and the<br />
exterior, Piano has created a unique synthesis of art, architecture and nature.
Inside the museum, Piano has designed absolutely tranquil rooms unmarred by the<br />
slightest technical or design detail. Their carefully conceived sequence alternately<br />
encourages stand<strong>in</strong>g still and motion, <strong>in</strong>tensive view<strong>in</strong>g of the works and reflection on<br />
them as one walks about. Piano has created a discreetly elegant architecture that serves<br />
art totally without conceal<strong>in</strong>g itself.<br />
In the course of the museum's extension, the northern part of the park was also<br />
significantly modified, be<strong>in</strong>g extended to the ma<strong>in</strong> road. Bernard Plattner of Renzo Piano's<br />
Build<strong>in</strong>g Workshop has stressed that the redesign "re-establishes an optical equilibrium<br />
between the northern and southern ends of the park, with the museum stand<strong>in</strong>g <strong>in</strong> the<br />
optical centre."<br />
The architect: Renzo Piano<br />
Renzo Piano was born <strong>in</strong> September 1937 <strong>in</strong> Genoa, the ancient Italian port on the<br />
Mediterranean. He studied <strong>in</strong> Florence and <strong>in</strong> Milan, where he worked <strong>in</strong> the office of<br />
Franco Alb<strong>in</strong>i and experienced the first student rebellions of the 1960s. Born <strong>in</strong>to a family<br />
of builders, frequent visits to his father Carlo’s build<strong>in</strong>g sites gave him the opportunity to<br />
comb<strong>in</strong>e practical and academic experience. He graduated from the Politecnico University<br />
<strong>in</strong> Milan <strong>in</strong> 1964.<br />
From 1965 to 1970, he comb<strong>in</strong>ed his first experimental work with his brother<br />
Ermanno together with numerous trips to Great Brita<strong>in</strong> and the United States. In 1971, he<br />
set up the Piano & Rogers office <strong>in</strong> London with Richard Rogers. Together they won the<br />
competition for the Centre Pompidou and he subsequently moved to Paris. From the early<br />
1970s to the 1990s, he worked with the eng<strong>in</strong>eer Peter Rice, shar<strong>in</strong>g the Atelier Piano &<br />
Rice from 1977 to 1981.<br />
In 1981, the Renzo Piano Build<strong>in</strong>g Workshop (RPBW) was established, and it<br />
currently has a staff of 150 and offices <strong>in</strong> Paris, Genoa and New York. RPBW has designed<br />
build<strong>in</strong>gs all around the world: the Menil Collection <strong>in</strong> Houston, the term<strong>in</strong>al for Kansai<br />
International Airport <strong>in</strong> Osaka, the Fondation Beyeler Museum <strong>in</strong> Basel, the Jean-Marie<br />
Tjibaou Cultural Centre <strong>in</strong> New Caledonia, Potsdamer Platz <strong>in</strong> Berl<strong>in</strong>, the Nasher Sculpture<br />
Center <strong>in</strong> Dallas, the extensions of the High Museum of Art <strong>in</strong> Atlanta and of the Morgan<br />
Library <strong>in</strong> New York, the Maison Hermès <strong>in</strong> Tokyo, the New York Times headquarters, the<br />
California Academy of Sciences <strong>in</strong> San Francisco and the Modern W<strong>in</strong>g of the Art Institute<br />
of Chicago.<br />
Recognition of his achievements has <strong>in</strong>cluded such awards as the RIBA Royal Gold<br />
Medal for Architecture <strong>in</strong> 1989, the Praemium Imperiale <strong>in</strong> Tokyo <strong>in</strong> 1995, the Pritzker<br />
Architecture Prize <strong>in</strong>1998, and the AIA Gold Medal of the American Institute of Architects<br />
<strong>in</strong> 2008. Some of his most important current projects <strong>in</strong>clude a new build<strong>in</strong>g for the<br />
Isabella Stewart Gardner Museum <strong>in</strong> Boston, the redevelopment and enlargement of the<br />
Fogg Museum <strong>in</strong> Cambridge (Massachusetts) and of the Los Angeles County Museum of<br />
Art,<br />
the Whitney Museum of American Art and the Campus of Columbia University <strong>in</strong> New York,<br />
an expansion of the Kimbell Art Museum <strong>in</strong> Fort Worth, the London Bridge Tower and St.<br />
Giles Court <strong>in</strong> London, the Monastery of the Poor Clares <strong>in</strong> Ronchamp and the Stavros<br />
Niarchos Foundation Cultural Center <strong>in</strong> Athens.
WIEN 1900 – KLIMT, SCHIELE UND IHRE ZEIT<br />
Wien um 1900 war e<strong>in</strong>e der Geburtsstätten der Moderne. Die Kaffeehauskultur,<br />
Komponisten und Kabarettisten, Freuds Psychoanalyse, die Experimentierfreude <strong>in</strong> der<br />
Wiener Werkstätte, aber auch die Skandale um die Wiener Secession zählen zu den<br />
Phänomenen dieser Zeit. Im Zentrum der grossen Ausstellung zur Wiener Moderne stehen<br />
die berühmten ornamentalen Porträts und Landschaften von Gustav Klimt sowie die<br />
ausdrucksstarken Körperdarstellungen von Egon Schiele – und natürlich ihre legendären<br />
erotischen Zeichnungen.<br />
Klimt und se<strong>in</strong> genialer Schützl<strong>in</strong>g Schiele waren <strong>in</strong> Wien die zentralen<br />
Lichtgestalten. Die Ausstellung vere<strong>in</strong>t e<strong>in</strong>e e<strong>in</strong>zigartige Auswahl ihrer Meisterwerke aus<br />
den grossen Museen und Privatsammlungen der Welt.<br />
Porträts des jungen Oskar Kokoschka, Selbstbildnisse des tragischen Richard Gerstl<br />
und Werke des Malerkomponisten Arnold Schönberg bilden weitere Höhepunkte. Arbeiten<br />
anderer Künstler, Architekten, Möbeldesigner und Kunsthandwerker der Wiener Secession<br />
und der Wiener Werkstätte zeigen, wie deren enge Zusammenarbeit e<strong>in</strong>en neuen<br />
Kunstbegriff kreierte: das Gesamtkunstwerk.<br />
In der Ausstellung der Fondation Beyeler werden rund 200 Ölbilder, Aquarelle und<br />
Zeichnungen gezeigt, dazu Architekturmodelle, Möbel, Textilentwürfe, Glas- und
Silberobjekte, Künstlerplakate und Fotographien. Sie zeichnen e<strong>in</strong> fasz<strong>in</strong>ierendes Bild von<br />
Wien um 1900, wie es so noch nicht zu sehen war.<br />
Die von Gastkurator<strong>in</strong> Barbara Steffen konzipierte Ausstellung wird besonders<br />
unterstützt von: Museum Leopold, Albert<strong>in</strong>a <strong>in</strong> Wien und Kunsthaus Zug Stiftung<br />
Sammlung Kamm sowie Belvedere, MAK (Österreichisches Museum für angewandte<br />
Kunst), Neue Galerie New York, Wien Museum und Wiener Secession.
5. Weil Am Rhe<strong>in</strong>: Vitra Design Museum<br />
<strong>Het</strong> Vitra Design Museum werd <strong>in</strong> 1989 opgericht en is een <strong>in</strong>ternationaal gerenommeerd<br />
cultureel <strong>in</strong>stituut <strong>voor</strong> het onderzoek naar, en de populariser<strong>in</strong>g van design en<br />
architectuur. Deze door de firma Vitra gesponsorde, maar onafhankelijke sticht<strong>in</strong>g houdt<br />
tal van tentoonstell<strong>in</strong>gen, organiseert workshops en geeft publicaties over het thema<br />
design en architectuur uit. De tentoonstell<strong>in</strong>gen zijn <strong>in</strong> <strong>in</strong>ternationale <strong>in</strong>stituten en musea<br />
over de hele wereld te zien.<br />
<strong>Het</strong> Vitra Design Museum ontwerpt en produceert <strong>voor</strong> elke tentoonstell<strong>in</strong>g een eigen<br />
catalogus. Auteurs en fotografen van naam en faam verschaffen achtergrond<strong>in</strong>formatie<br />
over thema’s en tentoonstell<strong>in</strong>gsobjecten. Deze uitgebreide documentatie maakt de<br />
meeste uitgaven tot standaardwerken op hun gebied.<br />
<strong>Het</strong> Centre International de Recherche et d’Education Culturelle et Agricole (C.I.R.E.C.A.)<br />
organiseert ‘s zomers <strong>in</strong> samenwerk<strong>in</strong>g met het Vitra Design Museum en het Centre<br />
Georges Pompidou <strong>in</strong>terdiscipl<strong>in</strong>aire workshops. De deelnemers werken en leven een week<br />
met <strong>in</strong>ternationaal bekende architecten, ontwerpers en kunstenaars op het Doma<strong>in</strong>e de<br />
Boisbuchet, een idyllisch landgoed <strong>in</strong> het zuidwesten van Frankrijk. Ze geven <strong>in</strong>zicht <strong>in</strong> het<br />
ontwerpproces en de daarmee samenhangende eisen die aan het rationele denken, de<br />
fantasie en de handvaardigheid worden gesteld.<br />
<strong>Het</strong> Vitra Design Museum ontwikkelt m<strong>in</strong>iaturen van bekende klassieke meubelen op een<br />
schaal van 1:6 die erg gewild zijn bij liefhebbers van design en bij uitstek geschikt zijn als<br />
educatieve objecten.
The Vitra Design Museum<br />
Follow<strong>in</strong>g a major fire <strong>in</strong> 1981, the company Vitra has pursued a conscious approach to its<br />
own architecture, start<strong>in</strong>g with the commission awarded to the English architect Nicholas<br />
Grimshaw to build a new factory hall. His high-tech architecture was seen as uphold<strong>in</strong>g<br />
the vision of Vitra as an enterprise synonymous with technical excellence.<br />
After completion of the first structure, he was assigned the task of develop<strong>in</strong>g a master<br />
plan for the Vitra grounds. This idea of "corporate identity architecture" was called <strong>in</strong>to<br />
question, however, by the 1984 erection of the sculpture "Balanc<strong>in</strong>g Tools" by Claes<br />
Oldenburg and Coosje van Bruggen. It served as the trigger for an entirely new<br />
architectural concept: deliberately contrast<strong>in</strong>g works of architecture were to confront one<br />
another and imbue the site with vitality and a dist<strong>in</strong>ctive identity. In keep<strong>in</strong>g with this idea,<br />
Vitra commissioned a different architect for each build<strong>in</strong>g project. Such as Frank O. Gehry,<br />
for example, who designed the expressive ma<strong>in</strong> build<strong>in</strong>g of the Vitra Design Museum with<br />
its towers, ramps and cubes that was dedicated on 3 November 1989.<br />
Even though there is certa<strong>in</strong>ly no lack of significant contemporary build<strong>in</strong>gs <strong>in</strong> the Basel<br />
region: for some years now, the biggest draw and place with the most far-reach<strong>in</strong>g<br />
<strong>in</strong>ternational presence has been the premises of the Vitra company's factory <strong>in</strong> Weil am<br />
Rhe<strong>in</strong>. This is not solely due to the illustrious architects like Frank O. Gehry, Tadao Ando,<br />
Zaha Hadid, Nicholas Grimshaw and Alvaro Siza who have all realised significant designs<br />
here at the <strong>in</strong>vitation of company head Rolf Fehlbaum. It is primarily because of the<br />
unique density and quality of the build<strong>in</strong>gs assembled here <strong>in</strong> such a compact space. No<br />
wonder, then, that the company grounds have emerged as a Mecca for architecture lovers<br />
from all over the world <strong>in</strong> the past one and a half decades. To accommodate the extensive<br />
public <strong>in</strong>terest <strong>in</strong> the build<strong>in</strong>gs on the Vitra site, the Vitra Design Museum offers regular<br />
guided architectural tours <strong>in</strong> numerous languages.<br />
The start<strong>in</strong>g po<strong>in</strong>t for the tour is Gehry's sculptural-expressionistic museum build<strong>in</strong>g,<br />
completed <strong>in</strong> 1989 - the first of the California architect's build<strong>in</strong>gs to be realised <strong>in</strong> Europe.<br />
The Conference Pavilion by Japan's Tadao Ando was also a European premiere. The<br />
<strong>in</strong>troverted structure is visually impressive with its formal restra<strong>in</strong>t and reduction to a few<br />
materials. Along with the museum and Conference Pavilion, the Fire Station by Londonbased<br />
Zaha Hadid is one of the highlights of the tour. Long an icon of deconstructivist<br />
architecture, this was the first work ever to be realised by the master architect who is<br />
today entrusted with prestigious major commissions throughout the world.
A provisional capstone <strong>in</strong> the architectural<br />
development of the grounds was set by<br />
the Portuguese architect Alvaro Siza with<br />
the puristic seem<strong>in</strong>g brick-clad Production<br />
Hall he connected to the neighbour<strong>in</strong>g<br />
hall with a bridge-like roof construction.<br />
In past years, the architecture park <strong>in</strong><br />
Weil has been enriched with two<br />
treasures from the history of build<strong>in</strong>g: a<br />
dome-shaped tent construction from the<br />
American architectural visionary<br />
Buckm<strong>in</strong>ster Fuller and a small knockdown<br />
petrol station by the French<br />
constructeur Jean Prouvé, which are<br />
likewise covered <strong>in</strong> the architectural tour.
1. Conferentiepaviljoen (Tadao Ando)<br />
2. Balancerend Gereedschap (Claes Oldenburg en Coosje Van Bruggen)<br />
3. Vitra Design Museum (Frank Gehry)<br />
4. Bushalte (Jasper Morrison)<br />
5. Vitrahuis (Herzog & De Meuron)<br />
6. Productiehallen (Nicholas Grimshaw)<br />
7. Tankstation (Jean Prouvé)<br />
8. Dome (Richard Buckm<strong>in</strong>ster-Fuller)<br />
9. Productiehal (Alvaro Siza)<br />
10. Productiehal (Kazuyo Sejima/Sanaa)<br />
11. Brandweerkazerne (Zaha Hadid)
A) Zaha Hadid<br />
De <strong>in</strong> 1950 <strong>in</strong> Irak geboren architecte<br />
Zaha Hadid geldt als een eigentijdse<br />
visionaire. In haar schilderijen stelt de<br />
'diva van de architectuur' een gebouwde<br />
wereld <strong>voor</strong>, waar<strong>in</strong> de hoekige en<br />
regelmatige contouren uit de<br />
werkelijkheid zijn vervangen door<br />
dynamische en onconventionele vormen<br />
en composities. Deze komen ook terug <strong>in</strong><br />
haar architectuur, zoals de Vitra<br />
brandweerkazerne en het Rosenthal<br />
Center.<br />
Van modernisme naar deconstructivisme<br />
Hadid werd na haar afstuderen <strong>in</strong>1977 aan de Architectural Association (AA) <strong>in</strong> Londen,<br />
waar ze les kreeg van Rem Koolhaas en Elia Zenghelis, partner van Office for Metropolitan<br />
Architecture (OMA). Hadid beschouwt OMA-oprichters Koolhaas en Zenghelis als cruciale<br />
leermeesters. Ook g<strong>in</strong>g ze zelf doceren aan de AA, waar ze tot 1987 een eigen studio had.<br />
Haar doorbraak was <strong>in</strong> 1983, toen Hadid met een serie schilderijen de strijd <strong>voor</strong> het<br />
ontwerp van de Peak Leisure Club <strong>in</strong> Hong Kong won. Ze maakte een <strong>voor</strong>stell<strong>in</strong>g van<br />
gebouwen op een berghell<strong>in</strong>g die niet volgens de wetten van de zwaartekracht waren<br />
georganiseerd, maar hun plaats leken te hebben gevonden door een aardbev<strong>in</strong>g. De<br />
gebouwen stonden schots en scheef en kriskras door elkaar heen. De schilderijen<br />
vertolkten een wereld die <strong>in</strong> de werkelijkheid niet te realiseren is en kenmerkten een
overgang <strong>in</strong> de moderne architectuur.<br />
<strong>Het</strong> credo van eenvoud <strong>in</strong> het vroegere modernisme werd vervangen door complexiteit.<br />
Niet langer was het zaak om gebouwen zo simpel en goedkoop mogelijk te bouwen; ze<br />
moesten voldoen aan de eisen van de dynamische en veeleisende maatschappij, naar de<br />
ideeën van het deconstructivisme.<br />
Schilderijen van het constructivisme<br />
Hoewel veel mensen denken dat Hadid is geïnspireerd door moderne zaken als de<br />
computer, grijpt ze juist terug naar het Russische constructivisme. Deze kunstbeweg<strong>in</strong>g uit<br />
het beg<strong>in</strong> van de tw<strong>in</strong>tigste eeuw heeft <strong>in</strong> de omwentel<strong>in</strong>g naar het communisme vrijwel<br />
geen architectuur opgeleverd, maar wel veel schilderijen en beelden. Hadid heeft ermee<br />
geëxperimenteerd <strong>in</strong> projecten tijdens haar studietijd.<br />
Van sommige gebouwen bestaan wel honderden schilderijen van haar hand. Ondanks<br />
breed gedragen enthousiasme over haar visionaire kwaliteiten kreeg Hadid lange tijd<br />
alleen kle<strong>in</strong>schalige ontwerpopdrachten. <strong>Het</strong> bekendst is de Vitra-brandweerkazerne<br />
(1993) <strong>in</strong> het Duitse Weil am Rhe<strong>in</strong>.<br />
Hadid greep opnieuw terug naar het constructivisme toen ze <strong>in</strong> 1992 het legendarisch<br />
geworden ontwerp <strong>voor</strong> een tentoonstell<strong>in</strong>g over het Russisch constructivisme <strong>in</strong> het<br />
Guggenheim Museum <strong>in</strong> New York mocht verzorgen. Ze maakte een ruimtelijke vertal<strong>in</strong>g<br />
van een schilderij van Wladimir Malevitsj. De expositie kreeg hierdoor een extra dimensie,<br />
alsof de kunstwerken deel uitmaakten van hun eigen <strong>voor</strong>stell<strong>in</strong>g.<br />
Prestigieuze opdrachten<br />
Twee jaar later werd Hadid getroffen door<br />
het bekende lot van de visionair: haar<br />
w<strong>in</strong>nende en luid bejubelde ontwerp <strong>voor</strong><br />
een operagebouw <strong>in</strong> Cardiff werd niet<br />
uitgevoerd. Tegenstanders hadden al <strong>voor</strong><br />
vertrag<strong>in</strong>g gezorgd door de jury te<br />
bewegen tot een heroverweg<strong>in</strong>g van het<br />
oordeel, maar uite<strong>in</strong>delijk sneuvelde het<br />
project bij een reger<strong>in</strong>gswissel. <strong>Het</strong> geld<br />
werd besteed aan een rugbystadion.<br />
Nog altijd lijkt Hadid zelf beroemder dan haar gebouwen, maar s<strong>in</strong>ds de eeuwwissel<strong>in</strong>g<br />
krijgt ze steeds meer grote en prestigieuze opdrachten. Ze ontwierp de M<strong>in</strong>d Zone <strong>voor</strong><br />
het Millennium Dome (1999) <strong>in</strong> Londen en het Rosenthal Center for Contemporary Art<br />
(2003) <strong>in</strong> C<strong>in</strong>c<strong>in</strong>natti (VS).<br />
Een ander beroemd bouwwerk is de Bergisel skischans (2002) bij Innsbruck <strong>in</strong> Oostenrijk.<br />
De schans is 'de v<strong>in</strong>ger die de lucht <strong>in</strong> aanrak<strong>in</strong>g brengt met de grond'.<br />
Zaha Hadid was <strong>in</strong> 2004 de eerste vrouwelijke w<strong>in</strong>naar van de Pritzker Prize.
B) Frank O. Gehry Frank Gehry is Design Pr<strong>in</strong>cipal for the<br />
firm of Frank O. Gehry and Associates, Inc.,<br />
which he established <strong>in</strong> 1962. Before<br />
found<strong>in</strong>g the firm, Mr. Gehry worked with<br />
architects Victor Gruen and Pereira &<br />
Luckman <strong>in</strong> Los Angeles, and with André<br />
Remondet <strong>in</strong> Paris.<br />
Raised <strong>in</strong> Toronto, Canada, Frank<br />
Gehry moved with his family to Los Angeles<br />
<strong>in</strong> 1947. Mr. Gehry received his Bachelor of<br />
Architecture degree from the University of<br />
Southern California <strong>in</strong> 1954, and he studied<br />
City Plann<strong>in</strong>g at the Harvard University<br />
Graduate School of Design. In subsequent<br />
years, Mr. Gehry has built an architectural<br />
career that has spanned four decades and<br />
produced public and private build<strong>in</strong>gs <strong>in</strong><br />
America, Europe and Asia.<br />
In an article published <strong>in</strong> The New York Times <strong>in</strong> November, 1989, noted<br />
architecture critic Paul Goldberger wrote that Mr. Gehry's "build<strong>in</strong>gs are powerful essays <strong>in</strong><br />
primal geometric form and... materials, and from an aesthetic standpo<strong>in</strong>t they are among<br />
the most profound and brilliant works of architecture of our time." Hallmarks of Mr.<br />
Gehry's work <strong>in</strong>clude a particular concern that people exist comfortably with<strong>in</strong> the spaces<br />
that he creates, and an <strong>in</strong>sistence that his build<strong>in</strong>gs address the context and culture of<br />
their sites.<br />
His work has earned Mr. Gehry several of the most significant awards <strong>in</strong> the<br />
architectural field. In 1977, Mr. Gehry was named recipient of the Arnold W. Brunner<br />
Memorial Prize <strong>in</strong> Architecture from the American Academy of Arts and Letters. In 1989,<br />
he was awarded the Pritzker Architecture Prize, perhaps the premiere accolade of the field,<br />
honor<strong>in</strong>g "significant contributions to humanity and the built environment through the art<br />
of architecture." In 1992, he received the Wolf Prize <strong>in</strong> Art (Architecture) from the Wolf<br />
Foundation. In the same year, he was named the recipient of the Praemium Imperiale<br />
Award by the Japan Art Association to "honor outstand<strong>in</strong>g contributions to the<br />
development, popularization, and progress of the arts."<br />
In 1994, he became the first recipient of the Dorothy and Lillian Gish Award for<br />
lifetime contribution to the arts. In 1998, Mr. Gehry received the National Medal of Arts,<br />
and he became the first recipient of the Friedrich Kiesler Prize. In 1999, Mr. Gehry received<br />
the Lotos Medal of Merit from the Lotos Club, and he received the Gold Medal from the<br />
American Institute of Architects. In 2000, Mr. Gehry received the Lifetime Achievement<br />
Award from Americans for the Arts. Mr. Gehry was named a Fellow of the American<br />
Academy of Arts and Letters <strong>in</strong> 1987, a trustee of the American Academy <strong>in</strong> Rome <strong>in</strong> 1989,<br />
and a Fellow of the American Academy of Arts and Sciences <strong>in</strong> 1991. In 1994, he was<br />
bestowed with the title of Academician by the National Academy of Design. In 1998, he<br />
was named an Honorary Academician by the Royal Academy of Arts. Mr. Gehry has<br />
received honorary doctoral degrees from Occidental College, Whittier College, the<br />
California College of Arts and Crafts, the Technical University of Nova Scotia, the Rhode<br />
Island School of Design, the California Institute of Arts, the Southern California Institute of<br />
Architecture, the Otis Art Institute at the Parsons School of Design, and the University of<br />
Toronto. In 1982, 1985, and 1987-89, Mr. Gehry held the Charlotte Davenport<br />
Professorship <strong>in</strong> Architecture at Yale University.
In 1984, he held the Eliot Noyes Chair at Harvard University. In 1996-97, he was a<br />
visit<strong>in</strong>g scholar at the Federal Institute of Technology <strong>in</strong> Zürich, Switzerland. Mr. Gehry was<br />
elected to the College of Fellows of the American Institute of Architects (A.I.A.) <strong>in</strong> 1974,<br />
and his build<strong>in</strong>gs have received over 100 national and regional A.I.A. awards.<br />
Mr. Gehry's work has been featured <strong>in</strong> major architectural publications and <strong>in</strong><br />
national and <strong>in</strong>ternational trade journals, as well as <strong>in</strong> Newsweek, Time, Forbes, The<br />
Economist, Vanity Fair, Art <strong>in</strong> America, The Wall Street Journal, The New York Times, The<br />
Los Angeles Times, The Wash<strong>in</strong>gton Post, Le Monde, L'Express, El Correo, and Frankfurter<br />
Allgeme<strong>in</strong>e. Mr. Gehry's architectural draw<strong>in</strong>gs and models, as well as his designs for<br />
cardboard and bentwood furniture and his <strong>in</strong>terpretations (<strong>in</strong> various forms and materials)<br />
of fish, have been exhibited <strong>in</strong> major museums throughout the world.<br />
Frank O. Gehry established the architecture firm of Frank O. Gehry & Associates <strong>in</strong><br />
1962. S<strong>in</strong>ce that time, Mr. Gehry has built an architectural career that has spanned four<br />
decades and produced public and private build<strong>in</strong>gs <strong>in</strong> America, Europe and Asia. In an<br />
article published <strong>in</strong> the New York Times <strong>in</strong> November, 1989, noted architecture critic Paul<br />
Goldberger wrote that Mr. Gehry's "build<strong>in</strong>gs are powerful essays <strong>in</strong> primal geometric form<br />
and... materials, and from an aesthetic standpo<strong>in</strong>t they are among the most profound and<br />
brilliant works of architecture of our time."<br />
Selected Architectural Designs:<br />
1983 - Temporary Contemporary at the Museum of Contemporary Art; Los Angeles,<br />
California<br />
1988 - Sirmai-Peterson Residence; Thousand Oaks, California<br />
1989 - Schnabel Residence; Los Angeles, California<br />
1989 - Vitra International Manufactur<strong>in</strong>g Facility & Design Museum; Weil am Rhe<strong>in</strong>,<br />
Germany<br />
1991 - Chiat/Day Headquarters; Venice, California<br />
1992 - University of Iowa Advanced Technologies Laboratory; Iowa City, Iowa<br />
1992 - University of Toledo Center for the Visual Arts; Toledo, Ohio<br />
1993 - Frederick R. Weisman Art Museum; M<strong>in</strong>neapolis, M<strong>in</strong>nesota<br />
1994 - Vitra International Headquarters; Basel, Switzerland<br />
1994 - The American Center; Paris, France<br />
1995 - EMR Communication and Technology Center; Bad Oeynhausen, Germany<br />
1995 - Team Disneyland Adm<strong>in</strong>istration Build<strong>in</strong>g; Anaheim, California<br />
1996 - Nationale-Nederlanden Build<strong>in</strong>g; Prague, Czech Republic<br />
1997 - Guggenheim Museum Bilbao; Bilbao, Spa<strong>in</strong><br />
1999 - The Vontz Center for Molecular Studies at the University of C<strong>in</strong>c<strong>in</strong>nati, C<strong>in</strong>c<strong>in</strong>nati,<br />
Ohio<br />
1999 - Der Neue Zollhof; Dusseldorf, Germany<br />
2000 - DG Bank Headquarters; Berl<strong>in</strong>, Germany *<br />
2000 - Experience Music Project; Seattle, Wash<strong>in</strong>gton *<br />
2001 - Bard College Center for the Perform<strong>in</strong>g Arts; Annandale-on-Hudson, New York *<br />
2002 - The Walt Disney Concert Hall; Los Angeles, California *<br />
2003 - The Peter B. Lewis Campus of the Weatherhead School of Management at Case<br />
Western Reserve University <strong>in</strong> Cleveland, Ohio*<br />
2003 - Massachusetts Institute of Technology Stata Complex; Cambridge, Massachusetts *
Over Gehry:<br />
FULL OF GENEROSITY<br />
By Christopher Knight<br />
Frank O. Gehry makes generous architecture. More than the radical playfulness of their<br />
organic forms or the sensual erotics of their spatial flux, what sets his build<strong>in</strong>gs apart<br />
from most of the architectural landscape is their sheer generosity÷liberal, openhanded,<br />
abundant, magnanimous. These are not words that fit most build<strong>in</strong>gs, even great<br />
build<strong>in</strong>gs by great designers of the past. But they describe Gehry's build<strong>in</strong>gs. He makes<br />
architecture that makes people feel like they've been given an unexpected gift.<br />
How he does it is worth consider<strong>in</strong>g. Take the 1997 Guggenheim Museum Bilbao, which<br />
has been the object of such lavish and universal praise. Before go<strong>in</strong>g to Bilbao I'd read all<br />
the kudos and analysis. I'd read about the advanced computer technology brought to<br />
bear on the construction of evanescent sculptural forms, which make for a<br />
phantasmagoria of architectural space. I'd read that the build<strong>in</strong>g offers rare hope to<br />
eternal skeptics about the possibility for significant architecture and plann<strong>in</strong>g as catalysts<br />
for the spiritual revival of neglected urban environments. I'd read that, f<strong>in</strong>ally, here was a<br />
build<strong>in</strong>g about which critics did not have to say "yes, but;" they could just say yes,<br />
without hav<strong>in</strong>g to qualify it. Not until I got there, though, did I beg<strong>in</strong> to understand what<br />
makes this build<strong>in</strong>g so unusual. Generosity has a lot to do with it.<br />
The build<strong>in</strong>g is of course a masterpiece of contextual urbanism, billow<strong>in</strong>g up from a bend<br />
<strong>in</strong> the river to meet the gruff city and gentle hills surround<strong>in</strong>g it. The famous titanium<br />
cladd<strong>in</strong>g identifies the spaces for contemporary art <strong>in</strong>side the immense structure,<br />
separat<strong>in</strong>g them out from other functions that are housed <strong>in</strong> elegant limestone boxes,<br />
and from adm<strong>in</strong>istrative spaces clad <strong>in</strong> stucco pa<strong>in</strong>ted bright, exuberant colors. Gehry's<br />
riff on Frank Lloyd Wright's famous rotunda for the Guggenheim's parent museum <strong>in</strong> New<br />
York is a marvel of savvy design, at once respectful of its orig<strong>in</strong> yet determ<strong>in</strong>ed to be<br />
unique. The atrium explodes upward, establish<strong>in</strong>g a central vertical sp<strong>in</strong>e around which<br />
the rest of the build<strong>in</strong>g unfurls on several floors. This light-filled tower of curved,<br />
shattered, sometimes transparent planes allows a visitor to cont<strong>in</strong>uously orient himself<br />
wherever he goes <strong>in</strong> the rambl<strong>in</strong>g build<strong>in</strong>g. The big surprise of the vast Guggenheim<br />
Bilbao is that, despite its gargantuan complexity and unorthodox appearance, you never<br />
feel lost or confused <strong>in</strong>side. You always know where you are. So you give yourself over,<br />
will<strong>in</strong>gly, to an exploratory sense of architectural discovery. It's a build<strong>in</strong>g you can trust.<br />
The generosity of Gehry's architecture can be traced to two sources. One is his own<br />
home, the famous Santa Monica bungalow that the architect disassembled, reassembled<br />
and wrapped <strong>in</strong>side a second structure of cha<strong>in</strong> l<strong>in</strong>k and two-by-fours. The other critical<br />
source is his draw<strong>in</strong>g.<br />
Gehry's home remakes the great Southern California domestic tradition of <strong>in</strong>door-outdoor<br />
liv<strong>in</strong>g. This tradition characterizes the region's vernacular architecture, from courtyard<br />
haciendas to suburban ranch houses, as well as its unequaled legacy of household<br />
masterworks by Wright, Irv<strong>in</strong>g Gill, R.M. Sch<strong>in</strong>dler, Richard Neutra and many other<br />
dist<strong>in</strong>guished architects. For example, the kitchen and d<strong>in</strong><strong>in</strong>g room of the Gehry house<br />
occupy a former outdoor space, where the driveway to the garage used to be. The floor
ema<strong>in</strong>s asphalt, acknowledg<strong>in</strong>g that history, while an <strong>in</strong>terior wall is composed from the<br />
exterior wall of clapboards of the orig<strong>in</strong>al liv<strong>in</strong>g room next door, which can be glimpsed<br />
through an <strong>in</strong>tact picture w<strong>in</strong>dow. Sitt<strong>in</strong>g "<strong>in</strong>side" the new house yet "outside" the old<br />
one, you're <strong>in</strong>side and outside at the same time. Formally, the <strong>in</strong>divisibility of<br />
<strong>in</strong>side/outside space recalls the seamless flow of a classic Donald Judd box, <strong>in</strong> which the<br />
conventional dist<strong>in</strong>ction between a sculpture's <strong>in</strong>side and its outside is erased. Buck<strong>in</strong>g<br />
the history of Western sculpture, a Judd box is not a discrete mass occupy<strong>in</strong>g space and<br />
with a hidden <strong>in</strong>terior realm. Neither is Gehry's house.<br />
Unlike a Judd box, though, domestic space is not just formal. Domestic space is<br />
emotionally charged, <strong>in</strong>corporat<strong>in</strong>g a complex psychological dimension that changes over<br />
time. Even for a visitor to Gehry's house the experience of be<strong>in</strong>g simultaneously <strong>in</strong>side<br />
and outside is psychologically disconcert<strong>in</strong>g; the renovated bungalow gives surpris<strong>in</strong>g<br />
physical form to an <strong>in</strong>stantly recognizable quality of domestic estrangement and<br />
alienation. The past century's architecture has been mostly conceived <strong>in</strong> formal and social<br />
terms, but central to Gehry's achievement has been this uncanny articulation of<br />
psychological space.<br />
The key is <strong>in</strong> his draw<strong>in</strong>gs. A Gehry build<strong>in</strong>g beg<strong>in</strong>s with a sketch, and Gehry's sketches<br />
are dist<strong>in</strong>ctive. They're characterized by a sense of off-hand improvisation, of <strong>in</strong>tuitive<br />
spontaneity. The f<strong>in</strong>e l<strong>in</strong>e is <strong>in</strong>variably fluid, impulsive. The draw<strong>in</strong>gs convey no<br />
architectural mass or weight, only loose directions and shift<strong>in</strong>g spatial relationships. The<br />
Guggenheim Bilbao is a remarkable turn<strong>in</strong>g po<strong>in</strong>t <strong>in</strong> Gehry's work öand <strong>in</strong> the history of<br />
architecture÷because it manages to ma<strong>in</strong>ta<strong>in</strong> <strong>in</strong> built form the impromptu sketch<strong>in</strong>ess of<br />
his draw<strong>in</strong>gs. It's a sketch <strong>in</strong> real space, a sketch you can walk <strong>in</strong>to. Draw<strong>in</strong>g is the<br />
medium most capable of closely record<strong>in</strong>g the evolution of artistic thought÷from bra<strong>in</strong> to<br />
hand to pencil to paper and back to bra<strong>in</strong>. Walk<strong>in</strong>g through Gehry's sketchy build<strong>in</strong>g is<br />
like navigat<strong>in</strong>g a projection of psychological space that is cont<strong>in</strong>uously unfold<strong>in</strong>g. The<br />
result: Every visitor is always located at its exact center, and the center moves with you.<br />
That's generosity. All the rapturous <strong>in</strong>k that has been spilled <strong>in</strong> the wake of Bilbao turns<br />
out to have been someth<strong>in</strong>g other than what it <strong>in</strong>itially seemed. Not just critical love<br />
letters, they're heartfelt thank you notes.<br />
Prelim<strong>in</strong>ary sketches for the Panama Puente de Vida Museo | © Frank O. Gehry
C) Herzog & De Meuron<br />
Herzog & De Meuron behoren momenteel tot de top van de wereldarchitectuur. <strong>Het</strong><br />
Zwitserse architectenbureau ontv<strong>in</strong>g talloze onderscheid<strong>in</strong>gen, waaronder de Pritzker<br />
Architecture Prize (2001) en de Royal Gold Medal (2007) van RIBA. Beroemde werken zijn<br />
de uitbreid<strong>in</strong>g van de Tate Modern Art Gallery <strong>in</strong> Londen, de Prada Store <strong>in</strong> Tokio en de<br />
Allianz Arena <strong>in</strong> München. <strong>Het</strong> meest recente beroemde bouwwerk is het zogenoemde<br />
'Vogelnest', het Olympisch Stadion <strong>in</strong> Beij<strong>in</strong>g.<br />
De leeftijdsgenoten Jacques Herzog en Pierre de Meuron zijn naast bureaupartners<br />
boezemvrienden. Ze genoten hun opleid<strong>in</strong>g aan dezelfde scholen en richtten uite<strong>in</strong>delijk <strong>in</strong><br />
1978 hun gezamenlijke bureau op. Al <strong>in</strong> de jaren tachtig was de maatschap<br />
verantwoordelijk <strong>voor</strong> veelsoortige projecten, waaronder <strong>voor</strong>al veel won<strong>in</strong>gen. <strong>Het</strong><br />
materiaalgebruik trok <strong>in</strong>ternationale aandacht; Herzog & De Meuron comb<strong>in</strong>eren<br />
traditionele materialen met nieuwe of exotische en componeren daar met name<br />
<strong>in</strong>trigerende gevels mee.<br />
E<strong>in</strong>d jaren tachtig, beg<strong>in</strong> jaren negentig rees hun ster met beroemde projecten als<br />
het pakhuis Ricola <strong>in</strong> Laufen (1986) en Galerie Goetz <strong>in</strong> München (1992). Daardoor<br />
verwierven de Zwitsers ook grotere opdrachten, zoals het ontwerp <strong>voor</strong> de uitbreid<strong>in</strong>g van<br />
de Tate Modern Art Gallery (1994-2000) <strong>in</strong> Londen. Herzog & De Meuron verbouwden <strong>in</strong><br />
dit kader een oude elektriciteitscentrale tot tentoonstell<strong>in</strong>gsgebouw. In 2007 werd het<br />
groene licht gegeven <strong>voor</strong> een tweede uitbreid<strong>in</strong>g: dit elf verdiep<strong>in</strong>gen hoge gebouw naast<br />
de huidige Tate Modern Art Gallery zal <strong>voor</strong>namelijk bestaan uit glas en moet <strong>voor</strong> de<br />
Olympische Spelen <strong>in</strong> Londen <strong>in</strong> 2012 gereed zijn.<br />
De omhull<strong>in</strong>g van gebouwen bleef een belangrijk aspect <strong>in</strong> het werk van het bureau<br />
dat <strong>in</strong> de personen van Harry Gugger (1991) en Christ<strong>in</strong>e B<strong>in</strong>swanger (1994) gaandeweg<br />
nieuwe partners kreeg. Een <strong>voor</strong>beeld hiervan is de Allianz Arena, waarvan de buitenwand<br />
met membraankussens doet denken aan een reusachtige zwemband of marshmallow.<br />
De architectuur van Herzog & De Meuron werd steeds spectaculairder. De Elbphilharmonie<br />
<strong>in</strong> Hamburg (realisatie gepland <strong>voor</strong> 2010) bestaat uit een golvend maar strak<br />
theatergebouw, boven op een <strong>voor</strong>malig pakhuis. Ook het Stadion van Portsmouth<br />
(bouwstart <strong>in</strong> 2009) en het Olympisch Stadion van Beij<strong>in</strong>g vallen op door hun<br />
opzienbarende vormgev<strong>in</strong>g.<br />
RIBA-<strong>voor</strong>zitter Jack Pr<strong>in</strong>gle zei bij de uitreik<strong>in</strong>g van de Gold Medal dat het bureau is<br />
veranderd van een experimentele studio <strong>in</strong> een groot kantoor, zonder dat het werk vlakker
is geworden. 'They re<strong>in</strong>vent everyth<strong>in</strong>g with each new project and do it with such vigour'.
D) Tadao Ando<br />
De Japanse architect Tadao Ando (1941) is geboren <strong>in</strong> Osaka en staat bekend<br />
vanwege zijn typerende gebruik van licht en schaduw, gecomb<strong>in</strong>eerd met het uiterlijk van<br />
'zijn' beton. Hij heeft vrijwel iedere belangrijke architectuurprijs gewonnen, terwijl hij geen<br />
enkele architectonische opleid<strong>in</strong>g heeft genoten.<br />
Ando vermengt <strong>in</strong> zijn werk Japanse kenmerken met de modernistische architectuur<br />
zoals we die kennen van Le Corbusier, Louis Kahn en Frank Lloyd Wright. Deze comb<strong>in</strong>atie<br />
heeft geleid tot een volledig eigen, m<strong>in</strong>imalistische stijl. Met name zijn gebruik van beton<br />
is zeer typerend. Hoewel zijn betonnen vlakken zeer glad en vaak gevernist zijn, wekken<br />
ze tegelijk de <strong>in</strong>druk niet af te zijn. Dit effect ontstaat mede door de cirkelvormige<br />
afdrukken, die worden veroorzaakt door de afstandhouders die nodig zijn bij het bekisten<br />
van het beton. Meestal worden deze, wanneer het beton <strong>in</strong> het zicht wordt toegepast,<br />
weggewerkt. Ando gebruikt de afdrukken juist om het beton de <strong>voor</strong> hem typische<br />
structuur mee te geven. Deze betonstructuur wordt dan ook wel 'Ando-beton' genoemd.<br />
Door het materiaalgebruik te reduceren tot hoofdzakelijk beton, zorgde Ando, ondanks het<br />
gebruik van veel gesloten muren, <strong>voor</strong> een <strong>in</strong>tensieve aanwezigheid van de natuur, <strong>in</strong> de<br />
vorm van licht en schaduw, b<strong>in</strong>nen<strong>in</strong> zijn gebouwen.<br />
Ando heeft zich het vak van architect zelf eigen gemaakt. Naast een carrière als<br />
bokser heeft Ando oorspronkelijk een opleid<strong>in</strong>g gevolgd tot timmerman. Hij raakte<br />
geïnteresseerd <strong>in</strong> architectuur nadat hij per toeval met het werk van Le Corbusier <strong>in</strong><br />
aanrak<strong>in</strong>g kwam. Ando was geboeid door het werk van deze <strong>in</strong> Zwitserland geboren<br />
architect en vernoemde later zelfs zijn hond naar zijn <strong>in</strong>spiratiebron. Door te reizen en te<br />
lezen bestudeerde hij de Europese bouwkunst. Door dit te comb<strong>in</strong>eren met de Japanse<br />
traditie probeerde hij zich op te werken bij verschillende architectenbureaus.<br />
In 1969 begon hij zijn eigen bureau <strong>in</strong> zijn geboorteplaats Osaka, waar hij tot de<br />
dag van vandaag woont. <strong>Het</strong> timmermansvak heeft nog altijd veel <strong>in</strong>vloed op zijn<br />
architectuur, <strong>voor</strong>al <strong>in</strong> zijn ambachtelijke manier van bekisten. Ando neemt ook altijd zelf<br />
de leid<strong>in</strong>g over de bouw van zijn werken. In zijn eerste won<strong>in</strong>gbouwprojecten liet hij al<br />
danig van zich spreken door zijn onconventionele ontwerpen.<br />
<strong>Het</strong> Japanse Azuma House, een rijtjeshuis uit 1976, is één groot betonvolume, met
slechts één deuropen<strong>in</strong>g <strong>in</strong> het oppervlak. Opvallend is de ger<strong>in</strong>ge grootte van het<br />
bouwwerk, iets wat kenmerkend zou blijven <strong>voor</strong> zijn gebouwen. Deze kle<strong>in</strong>schaligheid is<br />
een Japanse <strong>in</strong>vloed, net als zijn veelvuldige gebruik van terrassen en b<strong>in</strong>nentu<strong>in</strong>en. <strong>Het</strong><br />
Azuma House werd het uitgangspunt <strong>voor</strong> zijn verdere werk.<br />
Natuurlijke elementen en de relatie tussen gebouw en omgev<strong>in</strong>g spelen een grote<br />
rol <strong>in</strong> zijn architectuur. In de Kerk van het Licht (1989) <strong>in</strong> Osaka komt daglicht via een<br />
kruis <strong>in</strong> de muur b<strong>in</strong>nen. Dit kruis is ontstaan door middel van vier betonblokken, die door<br />
een verticale en horizontale spleet zijn gescheiden. In de Watertempel (1991) <strong>in</strong> Hiogo is<br />
water het belangrijkste element. In een groot waterbass<strong>in</strong> op het dak loopt een door<br />
beton omsloten trap naar beneden.<br />
Naast won<strong>in</strong>gen en tempels bouwt Ando veel musea. Een <strong>voor</strong>beeld is het gebouw<br />
van de Langen Sticht<strong>in</strong>g, een museum <strong>voor</strong> historische Japanse en tw<strong>in</strong>tigste eeuwse<br />
Europese kunst <strong>in</strong> het Duitse Neuss. Ook hier paste Ando weer licht<strong>in</strong>val toe via spleten <strong>in</strong><br />
de muur. Met dit licht creëert hij een sterk ruimtelijk effect, net als <strong>in</strong> andere projecten<br />
waar hij deze techniek gebruikt.<br />
<strong>Het</strong> Langenmuseum, dat een oase van rust vormt <strong>in</strong> het drukke Ruhrgebied, is een<br />
van de relatief we<strong>in</strong>ige projecten die Ando buiten Japan realiseerde. Zijn belangrijkste<br />
werken staan stuk <strong>voor</strong> stuk <strong>in</strong> zijn vaderland. <strong>Het</strong> Rokko Hous<strong>in</strong>g project (1983-1993) <strong>in</strong><br />
Kobe is zijn meest essentiële won<strong>in</strong>gbouwproject.<br />
Ando werd <strong>voor</strong> het laatstgenoemde project beloond met de Japanse prijs <strong>voor</strong> cultureel<br />
ontwerp. <strong>Het</strong> is echter slechts een van de vele onderscheid<strong>in</strong>gen die hij ontv<strong>in</strong>g. Zijn<br />
meest prestigieuze prijzen zijn de Pritzker Prize (1995) en de Gold Medal van de<br />
International Union of Architects (2005).
F) Jasper Morrison<br />
JASPER MORRISON is one of today's most <strong>in</strong>fluential <strong>in</strong>dustrial designers. Born <strong>in</strong><br />
London, he is renowned for his ascetically elegant, quietly humorous style and has<br />
designed everyth<strong>in</strong>g from a tray-table to a tram system.<br />
Anyone who wants to understand Jasper Morrison's work should flick through A<br />
World Without Words, the collection of images he compiled <strong>in</strong> 1988 from his collection of<br />
second-hand books and postcards. From one of Buckm<strong>in</strong>ster Fuller's Dymaxion houses and<br />
Gerald Summers' one piece plywood chair to a fisherman's hut on Hast<strong>in</strong>gs' sh<strong>in</strong>gly beach,<br />
each image illustrates the wit and elegance with which Morrison has revitalised rationalist<br />
design.<br />
Born <strong>in</strong> London <strong>in</strong> 1959, Morrison grew up there and <strong>in</strong> New York, when his<br />
advertis<strong>in</strong>g executive father was posted <strong>in</strong> the US. He studied design at K<strong>in</strong>gston<br />
Polytechnic and the Royal College of Art. In 1986, a year after graduat<strong>in</strong>g from the RCA,<br />
Morrison opened his Office for Design <strong>in</strong> London.<br />
He cites his early <strong>in</strong>spirations as his grandfather's study - a light, bright room<br />
furnished <strong>in</strong> the modernist style and an Eileen Gray exhibition he saw at London's Victoria<br />
& Albert Museum. Dur<strong>in</strong>g his student years, Morrison became <strong>in</strong>terested <strong>in</strong> the work of<br />
modernist pioneers - such as Buckm<strong>in</strong>ster Fuller, Gerald Summers, Jean Prouvé and Le<br />
Corbusier - that he discovered <strong>in</strong> the second-hand books he bought and sold to raise extra<br />
cash and later turned <strong>in</strong>to A World Without Words. Another <strong>in</strong>spiration was the flamboyant<br />
furniture he saw at the Memphis movement's first exhibition <strong>in</strong> Milan <strong>in</strong> 1981. Morrison<br />
later described the experience as: "Just fantastic. Here was proof that none of the old<br />
design rules mattered any more."<br />
Even as an impecunious young designer, Jasper Morrison was determ<strong>in</strong>ed to design<br />
for <strong>in</strong>dustrial production. Rather than mak<strong>in</strong>g pieces by hand as many young designers do,<br />
he scoured London on his Honda 90 moped look<strong>in</strong>g for small <strong>in</strong>dustrial workshops which<br />
would make up small quantities of objects from ready-made <strong>in</strong>dustrial components. His<br />
1984 Flower Pot Table, for <strong>in</strong>stance, was made from a glass circle supported by a stack of<br />
ord<strong>in</strong>ary flower pots.<br />
"It was the Thatcher era and those small workshops were be<strong>in</strong>g forced further and<br />
further away from central London," said Morrison. "When I started it was a manageable<br />
circuit, but as time went by I felt doomed to ride round <strong>in</strong> ever-<strong>in</strong>creas<strong>in</strong>g circles as they<br />
moved out to the suburbs."<br />
Slowly he won <strong>in</strong>dustrial commissions from SCP <strong>in</strong> London; FSB, the German door
handle maker; Cappell<strong>in</strong>i, the Italian furniture manufacturer; and Vitra, the Swiss furniture<br />
company whose chairman, Rolf Fehlbaum, contacted Morrison after see<strong>in</strong>g a slide<br />
presentation of A World Without Words.<br />
In 1988, Morrison designed a room set for the Berl<strong>in</strong> Design Werkstadt exhibition.<br />
Entitled Some New Items For The House, it consisted of chairs, tables, a chaise longue,<br />
four walls and a door - all made from plywood. At first glance, the objects looked banal<br />
with their simple l<strong>in</strong>es and familiar forms, but closer <strong>in</strong>spection revealed the quiet<br />
<strong>in</strong>telligence with which Morrison had ref<strong>in</strong>ed them. The critic, Charles Arthur Boyer, later<br />
described Some New Items as av<strong>in</strong>g "crystallised" his design ethos: "to produce everyday<br />
objects for everyone's use, make th<strong>in</strong>gs lighter not heavier, softer not harder, <strong>in</strong>clusive<br />
rather than exclusive, generate energy light and space".<br />
Jasper Morrison has pursued those goals ever s<strong>in</strong>ce. Still work<strong>in</strong>g for Vitra and<br />
Cappell<strong>in</strong>i, he has now nurtured a strong rapport with other clients <strong>in</strong>clud<strong>in</strong>g Flos, the<br />
Italian light<strong>in</strong>g company; Magis, the Italian plastic manufacturer; Rosenthal, the German<br />
porcela<strong>in</strong> producer; and Alessi, the Italian metal maker. The perfectly pla<strong>in</strong> 1998 T<strong>in</strong><br />
Family steel kitchen t<strong>in</strong>s he produced for Alessi and 1997 Moon tableware for Rosenthal<br />
echo the apparent simplicity and underly<strong>in</strong>g subtlety of his New Items and the "archetypal<br />
objects" that Morrison searches for constantly. "If I watch a film, I often spend more time<br />
look<strong>in</strong>g at the details of objects <strong>in</strong> the background than keep<strong>in</strong>g up with the plot," he<br />
admitted.<br />
Always keen to collaborate with fellow designers - such as James Irv<strong>in</strong>e, a friend<br />
from the Royal College of Art, and Andreas Brandol<strong>in</strong>i, with whom he formed the Utilism<br />
collective <strong>in</strong> the mid-1980s, Morrison has commissioned products from them and other<br />
designers. He and Irv<strong>in</strong>e worked together to compile Cappell<strong>in</strong>i's 1992 Progetto Oggetto<br />
range of household objects.<br />
Critically, Morrison's clients have also allowed him to experiment with new materials<br />
and technologies. The results <strong>in</strong>clude his 1999 Low Pad Chair for Cappell<strong>in</strong>i, which was<br />
<strong>in</strong>spired by one of Morrison's favourite mid-20th century chairs - the Danish designer, Poul<br />
Kjaerholm's 1956 steel and leather Chair, but used a new method of condensed upholstery<br />
to create a comfortable, but durable padded leather seat. Another technical coup is his<br />
1999 Air Chair, an elegant, relatively <strong>in</strong>expensive moulded d<strong>in</strong><strong>in</strong>g chair made from a s<strong>in</strong>gle<br />
piece of plastic us<strong>in</strong>g Magis's new gas <strong>in</strong>jection technology.<br />
Morrison has tackled more complex commissions: notably by design<strong>in</strong>g a tram<br />
system for the city of Hanover <strong>in</strong> what he described as "an exhaust<strong>in</strong>g, but not<br />
unenjoyable" two year project. He also collaborated with Herzog & de Meuron, the Swiss<br />
architects of London's Tate Modern museum, to furnish its public spaces with his Low Pad<br />
Chairs and 1998 Op-lá tray table for Alessi.<br />
In 2000, Jasper Morrison departed from his self-imposed rule of concentrat<strong>in</strong>g on<br />
<strong>in</strong>dustrial production by accept<strong>in</strong>g a commission from a museum <strong>in</strong> the Provençal village of<br />
Vallauris to produce a limited edition of ceramics made by local artisans. The result, as<br />
Morrison himself admits, shares the sleekness and formal clarity of his <strong>in</strong>dustrial designs.<br />
Rather than be<strong>in</strong>g flattered by his <strong>in</strong>terest, the European craft community was outraged.<br />
"Why work with the ancient skills of the Vallauris potters," railed an editorial <strong>in</strong> one craft<br />
magaz<strong>in</strong>e, "to make someth<strong>in</strong>g that looks as if it came from a factory?"<br />
In the early 2000s Morrison set up a new studio <strong>in</strong> Paris and proceeded to divide his<br />
work<strong>in</strong>g life between there and London. He acquired new clients such as Rowenta, the<br />
French household appliances manufacturer for which he is develop<strong>in</strong>g a new range of<br />
kitchen products <strong>in</strong>clud<strong>in</strong>g kettles, irons and coffee mach<strong>in</strong>es. Morrison also susta<strong>in</strong>ed his<br />
relationship with established clients by design<strong>in</strong>g new projects for Cappell<strong>in</strong>i, Magis and<br />
Vitra.
G) Jean Prouvé<br />
Jean Prouvé <strong>in</strong>spires us as someone who knew what it meant to comb<strong>in</strong>e creativity,<br />
entrepreneurship and the ethics of work. In his oeuvre he coupled handicraft with <strong>in</strong>dustry<br />
and design with architecture extend<strong>in</strong>g his experience yet further with each new step - as<br />
craftsman of Art déco, as manufacturer and constructer of furniture and architecture and,<br />
f<strong>in</strong>ally, as a highly valued teacher. He never sought to evolve his own unique style but<br />
consistently sought logical answers to desired functions and the available means for their<br />
realisation. And yet it is precisely this which accounts for the authentic, unmistakable<br />
characteristic stamp that all his works bear.<br />
Today, Prouvé is prized as one of the most <strong>in</strong>novative architectural and furniture<br />
draftsman of the 20th century. Thanks to his technical knowledge of production, he<br />
consistently developed detachable, light constructions - from small barracks to large halls,<br />
multifunctional facade systems as well as movable or dismountable, extremely solid<br />
furniture. As a consequence of the <strong>in</strong>creas<strong>in</strong>g enthusiasm for technology <strong>in</strong> recent years<br />
Prouvé's <strong>in</strong>fluential <strong>in</strong>ventions <strong>in</strong> build<strong>in</strong>g construction and simple <strong>in</strong>dustrial functional<br />
furniture have been acknowledged once aga<strong>in</strong> and hence experienced a renewed<br />
appreciation.<br />
In conception, this first comprehensive and systematic tour<strong>in</strong>g exhibition on the<br />
furniture and architecture, which Jean Prouvé (1901-1984) created between 1924 to the<br />
mid 1970s, is very much <strong>in</strong> keep<strong>in</strong>g with Prouvés own ideas. Thus, guest curator Prof.<br />
Bruno Reichl<strong>in</strong> draws on the famous courses, which Prouvé held between 1957 to 1970 at<br />
the Paris CNAM (Conservatoire National des Arts et Métiers). The most important orig<strong>in</strong>al<br />
furniture pieces will be exhibited together with several orig<strong>in</strong>al architectural elements<br />
(among them a reconstructed "Maison de S<strong>in</strong>istrés") as well as numerous architectural<br />
models, photographs and orig<strong>in</strong>al sketches on architecture and furniture.<br />
The majority of exhibition pieces are drawn from the Vitra Design Museum's<br />
<strong>in</strong>ventory. In addition, important loans have been contributed by the Paris gallerists<br />
Philippe Jousse and Patrick Segu<strong>in</strong>, the archives of the Départementales de Meurthe et<br />
Moselle <strong>in</strong> Nancy as well by the Prouvé family.<br />
A comprehensive catalogue, edited by Cather<strong>in</strong>e Dumont d'Ayot, has been<br />
published on the exhibition. The exhibition which was organised under the direction of the
Vitra Design Museum <strong>in</strong> cooperation with the Design Museum Akihabara, Tokyo and the<br />
Deutschen Architektur Museum, Frankfurt Ma<strong>in</strong>.
H) Richard Buckm<strong>in</strong>ster Fuller<br />
Driven by the design philosophy of “more for less”, RICHARD BUCKMINSTER<br />
FULLER (1895-1983) worked simultaneously on plans for houses, cars, boats, games,<br />
television transmitters and geodesic domes, all of which were designed to be massproduced<br />
us<strong>in</strong>g the simplest and most susta<strong>in</strong>able means possible.<br />
Philosopher, designer, architect, artist, eng<strong>in</strong>eer, entrepreneur, author,<br />
mathematician, teacher and <strong>in</strong>ventor – Richard Buckm<strong>in</strong>ster Fuller was all these th<strong>in</strong>gs and<br />
more. Conv<strong>in</strong>ced that the way the world managed its human and material resources<br />
needed to be radically rethought, he applied himself to seek<strong>in</strong>g long term, technology-led<br />
solutions to some of the most press<strong>in</strong>g problems of his time, particularly <strong>in</strong> the fields of<br />
build<strong>in</strong>g and transport. Despite the groundbreak<strong>in</strong>g <strong>in</strong>ventiveness of so much of his work,<br />
it was not until Fuller’s large-scale, multifunctional geodesic domes began to appear<br />
around the world <strong>in</strong> the 1950s that he really made his name.<br />
Dur<strong>in</strong>g his life Fuller worked with – and <strong>in</strong>fluenced – such diverse talents as the<br />
architect Norman Foster, the sculptor and designer Isamu Noguchi and the composer John<br />
Cage. S<strong>in</strong>ce his death <strong>in</strong> 1983 the relevance of his radical discoveries, <strong>in</strong>ventions and<br />
proposals has been accentuated with the realisation that the world’s resources are not<br />
<strong>in</strong>f<strong>in</strong>ite and must be handled with the greatest economy and care. Fuller is now cited as an<br />
<strong>in</strong>spiration by equally diverse figures from the <strong>in</strong>dustrial designer Marc Newson, to the<br />
humanitarian designers who put his ideas <strong>in</strong>to practice <strong>in</strong> disaster zones all over the world<br />
<strong>in</strong> their work for Architecture for Humanity.<br />
Born <strong>in</strong> Massachusetts <strong>in</strong> 1895 to a wealthy and patrician New England family, Fuller<br />
horrified his parents by fail<strong>in</strong>g to graduate from Harvard University, as Fuller boys had<br />
done for over a century. At the age of 22 <strong>in</strong> 1917, he married his sweetheart Anne Helwett<br />
and jo<strong>in</strong>ed the US Navy for wartime service. Fuller had loved boats ever s<strong>in</strong>ce childhood<br />
visits to his grandmother’s island-farm off the coat of Ma<strong>in</strong>e. He later claimed that he<br />
garnered all his technical expertise to the navy. His service as a naval communications<br />
officer and gunboat commander was a determ<strong>in</strong><strong>in</strong>g <strong>in</strong>fluence on his life and work. Fuller<br />
believed that the most significant developments <strong>in</strong> scientific knowledge were a direct
esult of the experience of sea travel and the desire to reach new shores. The seafarer<br />
had to develop solutions to a different set of challenges than the stay-at-home<br />
“landlubber”: the ability to harness the w<strong>in</strong>d, to navigate by the stars and cont<strong>in</strong>uously to<br />
improve the ability of ships and their navigational <strong>in</strong>struments to cope with what Fuller<br />
described as the “Fluid Geography” of the oceans.<br />
After leav<strong>in</strong>g the navy <strong>in</strong> 1922, Fuller co-founded the Stockade Build<strong>in</strong>g Company to<br />
produce lightweight build<strong>in</strong>g materials. The knowledge he acquired there was to prove<br />
<strong>in</strong>valuable to his later experiments with design and architecture. Disaster struck <strong>in</strong> 1927<br />
when Fuller lost his job at Stockade. At the age of 32 he found himself on the shore of<br />
Lake Michigan wonder<strong>in</strong>g whether to end his life there. Fuller took a decision to devote his<br />
life to others by embark<strong>in</strong>g on “an experiment to discover what the little, penniless,<br />
unknown <strong>in</strong>dividual might be able to do effectively on behalf of all humanity”.<br />
Fuller decided to concentrate on the field he knew best, construction. The follow<strong>in</strong>g<br />
year he made his first patent application for the 4D tower, a lightweight, prefabricated,<br />
multi-storey apartment tower to be delivered anywhere <strong>in</strong> the world by airship. Once<br />
delivered the towers would generate their own light and heat with an <strong>in</strong>dependent sewage<br />
disposal system.<br />
From then on, ideas and <strong>in</strong>ventions seemed to flow from him <strong>in</strong> a cont<strong>in</strong>uous<br />
stream. Driven by his philosophy of “more for less”, Fuller threw himself wholeheartedly<br />
<strong>in</strong>to a quest for a new way of hous<strong>in</strong>g mank<strong>in</strong>d, <strong>in</strong> “Lightful Houses” so-called because<br />
they were full of light, lightweight, delightful and so forth. This programme and his<br />
accompany<strong>in</strong>g vision of a world united by the most modern means of transport and<br />
telecommunication evolved <strong>in</strong>to Fuller’s philosophy of four-dimensional, or 4D design. He<br />
def<strong>in</strong>ed this as th<strong>in</strong>k<strong>in</strong>g <strong>in</strong> time <strong>in</strong>stead of only the three dimensions of space: th<strong>in</strong>k<strong>in</strong>g of<br />
consequences for humanity <strong>in</strong>stead of only immediate personal ga<strong>in</strong>.<br />
The project that made Fuller’s name was the 1929 Dymaxion House, which he<br />
unveiled <strong>in</strong> the <strong>in</strong>terior decorat<strong>in</strong>g department of the Chicago department store, Marshall-<br />
Field. The name Dymaxion – Dy(namic)max(imum)ion – was co<strong>in</strong>ed by the marketer<br />
Waldo Warren who, after listen<strong>in</strong>g to Fuller talk for two days, devised endless<br />
comb<strong>in</strong>ations of syllables taken from his highly idiosyncratic vocabulary. F<strong>in</strong>ally he found<br />
the word which seemed to him best to dramatise Fuller’s personality. Made from<br />
lightweight steel, duralum<strong>in</strong>ium and plastic and suspended from a central mast from which<br />
the rooms radiated <strong>in</strong> a hexagonal plan, the Dymaxion House was conceived not as private<br />
property, but rather as temporary, transportable space that could be rented – rather like a<br />
telephone issued by a telephone company.<br />
As well as hous<strong>in</strong>g, Fuller was determ<strong>in</strong>ed to design a revolutionary new car. In<br />
1928 he had conceived a fly<strong>in</strong>g car with <strong>in</strong>flatable w<strong>in</strong>gs which was modified <strong>in</strong><br />
subsequent draw<strong>in</strong>gs <strong>in</strong>to a streaml<strong>in</strong>ed road vehicle the rear of which would rise <strong>in</strong> an<br />
aerodynamic lift to ‘fly’ steered by a rudder as the front rolled. In 1933 he presented his<br />
plans for the three-wheeled Dymaxion Car with rear steer<strong>in</strong>g and front-wheel drive<br />
powered by a Ford eng<strong>in</strong>e. The aerodynamic shape, most closely related to high<br />
performance yachts, came partly from Fuller’s co-designer, the shipbuilder Starl<strong>in</strong>g<br />
Burgess. The rave reviews of the car’s styl<strong>in</strong>g, speed and manoeuvrability were tragically<br />
underm<strong>in</strong>ed when the first of three prototypes was rammed and overturned, kill<strong>in</strong>g the<br />
driver, outside the entrance to the 1933 Chicago World’s Fair.<br />
Undeterred, Fuller cont<strong>in</strong>ued his experiments and ga<strong>in</strong>ed an <strong>in</strong>ternational reputation<br />
for his work <strong>in</strong> lightweight, <strong>in</strong>expensively and speedily constructed hous<strong>in</strong>g. In 1940, <strong>in</strong><br />
anticipation of the bomb<strong>in</strong>g of British cities, he was asked by the British War Relief<br />
Organization to design an emergency shelter. Fuller worked with the Butler Company of<br />
Kansas City, which manufactured gra<strong>in</strong> silos of curved galvanised steel, to develop a self-
support<strong>in</strong>g structure <strong>in</strong> a circular shape designed to provide the most advantageous<br />
relationship between circumference and <strong>in</strong>terior space. The unit was designed to be set up<br />
and taken down easily. Metal for its construction was, however, never made available by<br />
the British Government as it was needed for the production of armaments. When the US<br />
entered World War II, Fuller’s units were commissioned as emergency accommodation for<br />
the air force.<br />
As relationships between the superpowers fluctuated dur<strong>in</strong>g the war, Fuller became<br />
conv<strong>in</strong>ced of the need to develop a world map on which the whole globe could be seen at<br />
once; a map better suited than the standard Mercator Projection to the representation of<br />
global relationships. The Dymaxion World Map was his attempt to resolve the problem of<br />
how best to represent a spherical world on a flat surface, with true scale, true direction<br />
and correct configuration. In orthodox cartography to present one of these attributes<br />
accurately others must be distorted but The Dymaxion World Map’s distortions are<br />
distributed proportionally with<strong>in</strong> each of its fourteen segments.<br />
With the end of the war <strong>in</strong> sight, Fuller returned to the development of<br />
standardised, lightweight, cost-effective homes. No other plan for a model home has<br />
moved as far away from traditional architecture towards <strong>in</strong>dustrial design as the Dymaxion<br />
Dwell<strong>in</strong>g Mach<strong>in</strong>e – or Wichita House – that he developed with the technologicallyadvanced<br />
Beech Aircraft Company of Wichita, Kansas. On presentation of the prototype of<br />
a full-size family dwell<strong>in</strong>g weigh<strong>in</strong>g just four tonnes, Fuller Houses Inc. received thousands<br />
of orders, but Fuller <strong>in</strong>sisted that the design needed perfect<strong>in</strong>g before production could<br />
commence. The banks baulked at the delay and withdrew their support. A Wichita<br />
bus<strong>in</strong>essman bought the prototype, reassembled it on his own land and lived there with<br />
his six children for the rest of his life. In 1992 it was rescued by the Henry Ford Museum<br />
from a colony of raccoons.<br />
From 1948 onwards, Fuller taught at numerous colleges and universities. His<br />
teach<strong>in</strong>g system was unacademic and, as a pioneer of project-based teach<strong>in</strong>g, he often<br />
merged student exercises with his own research. Charismatic and enthusiastic, Fuller was<br />
an <strong>in</strong>spir<strong>in</strong>g teacher and formed many friendships, particularly <strong>in</strong> the experimental<br />
atmosphere of Black Mounta<strong>in</strong> College <strong>in</strong> North Carol<strong>in</strong>a, where he worked with the<br />
composer John Cage, choreographer Merce Cunn<strong>in</strong>gham and the artists and former<br />
Bauhaus teachers, Josef and Anni Albers. The collaboration of his teach<strong>in</strong>g colleagues and<br />
the contributions of students like Kenneth Snelson, Don Richter and Shoji Sadao were<br />
crucial to Fuller’s work <strong>in</strong> the 1950s, notably <strong>in</strong> the development of his most successful<br />
project, the geodesic dome, the first large scale versions of which were built at Black<br />
Mounta<strong>in</strong> College.<br />
Hailed at the time as the lightest, strongest and most cost-effective structure, the<br />
geodesic dome was designed to cover the maximum possible space without <strong>in</strong>ternal<br />
supports. The bigger it is, the lighter and stronger it becomes. The first full-size geodesic<br />
structure was completed – with a 49 feet diameter – <strong>in</strong> Montreal <strong>in</strong> 1950, the follow<strong>in</strong>g<br />
year one was exhibited at the Museum of Modern Art, New York. In 1954 Fuller<br />
constructed two domes at the Milan Triennale exhibition made from six pieces of<br />
corrugated cardboard pre-cut <strong>in</strong> the US and folded <strong>in</strong>to a small pack<strong>in</strong>g case for transport<br />
to Italy. Fuller’s hope was that such domes could one day be manufactured at the rate of<br />
3,000 a day. By 1957 he had ref<strong>in</strong>ed the design so that an enormous auditorium-sized<br />
geodesic dome was assembled <strong>in</strong> 22 hours <strong>in</strong> Honolulu.<br />
Hundreds of thousands of geodesic domes have s<strong>in</strong>ce been constructed all over the<br />
world, often <strong>in</strong> extreme conditions, to offer <strong>in</strong>expensive shelter to homeless families <strong>in</strong><br />
Africa, or to house weather stations <strong>in</strong> 180 mph w<strong>in</strong>ds <strong>in</strong> the Antarctic. In 1960 Fuller<br />
designed a dome of two miles <strong>in</strong> diameter to encase midtown Manhattan <strong>in</strong> a controlled
climate. He calculated that it would pay for itself with<strong>in</strong> ten years simply by sav<strong>in</strong>g on<br />
snow removal costs. The most impos<strong>in</strong>g of his actual domes was the geodesic threequarter<br />
sphere – 61 metres high and 76 metres <strong>in</strong> diameter – that he designed with Sadao<br />
to house the US Pavilion at Montreal’s Expo ’67. A filigree network of steel rods was<br />
formed of an outer layer of triangular units and hexagonal units l<strong>in</strong>ked to an <strong>in</strong>ner layer of<br />
hexagons. A sk<strong>in</strong> of acrylic panels ensured total transparency apart from the occasional<br />
closure of triangular bl<strong>in</strong>ds programmed to react to very bright sunlight. It was a step<br />
toward Fuller’s ideal of a geodesic membrane as sensitive and adaptable as human sk<strong>in</strong>.<br />
Alongside these practical projects, Fuller delved deeper and deeper <strong>in</strong>to his own<br />
particular form of natural science. Self-taught, and with little respect for specialised<br />
academic research, he developed his own way of question<strong>in</strong>g the material world. In 1948<br />
his search for “a geometry as nature uses it” led him to discover the mathematical formula<br />
for “the closest pack<strong>in</strong>g of spheres”, show<strong>in</strong>g how spheres compact together symmetrically<br />
and tangentially. This led to Fuller’s exploration of what he called the “Jitterbug<br />
transformation” and <strong>in</strong>to primary research <strong>in</strong> the field of quantum mechanics.<br />
It took some time for the natural sciences to catch up with the significance of such<br />
discoveries. In some cases recognition of the importance of Fuller’s scientific research<br />
came only after his death. By then he had registered 25 US patents, written 28 books,<br />
traveled around the globe 57 times and received 47 honourary doctorates as well as<br />
numerous other awards <strong>in</strong>clud<strong>in</strong>g a 1969 nom<strong>in</strong>ation for the Nobel Peace Prize.
I) SANAA<br />
Kazuyo Sejima and Ryue Nishizawa have been work<strong>in</strong>g collaboratively under the name<br />
‘Sanaa’ s<strong>in</strong>ce 1995. Sejima studied architecture at the Japan Women's University before<br />
collaborat<strong>in</strong>g with architect Toyo Ito. She launched her own practice <strong>in</strong> 1987 and was<br />
named ‘young architect of the year’ <strong>in</strong> Japan <strong>in</strong> 1992.<br />
Nishizawa studied architecture at Yokohama National University and, <strong>in</strong> addition to his<br />
work with Sejima, has also ma<strong>in</strong>ta<strong>in</strong>ed an <strong>in</strong>dependent practice s<strong>in</strong>ce 1997.<br />
recent work <strong>in</strong>clude:<br />
2000 - day care center, Kanagawa, Japan<br />
2001- Prada Beauty, Hong Kong, Ch<strong>in</strong>a<br />
2003 - Christian Dior build<strong>in</strong>g, Tokyo, Japan<br />
2004 - 21st century Museum of Contemporary Art, Kanazawa.<br />
current projects <strong>in</strong>clude:<br />
2003 - ... - Zollvere<strong>in</strong> School, Esen, Germany.<br />
2003 - ... - New Museum of Contemporary Art, New York, USA<br />
Sejima and Nishizawa have been awarded many prizes such as the ‘Gold Lion’ at Venice<br />
Biennale (2004) and the ‘Arnold Brunner Memorial’ medal of the American Academy of<br />
Arts and Letters (2002).
J) Alvaro Siza<br />
Álvaro Joaquim Melo Siza Vieira was born <strong>in</strong> Matos<strong>in</strong>hos (Portuguese only) near<br />
Oporto, Portugal, <strong>in</strong> 1933. From 1949-55 he studied at the Escola de Belas Artes <strong>in</strong><br />
Oporto, his first design built <strong>in</strong> 1954. From 1955-58 Siza worked with the architect<br />
Fernando Tavora. He taught at the School of Architecture (ESBAP) from 1966-69 and was<br />
appo<strong>in</strong>ted Assistant Professor of Construction <strong>in</strong> 1976.<br />
He has been a Visit<strong>in</strong>g Professor at the Ecole Polythechnique of Lausanne, the<br />
University of Pennsylvania, the Los Andes School <strong>in</strong> Bogota and at the Graduate School of<br />
Design of Harvard University as Kenzo Tange Visit<strong>in</strong>g Professor. He cont<strong>in</strong>ues to teach at<br />
the Oporto School of Architecture.<br />
Among many current designs, 1200 homes are now be<strong>in</strong>g built <strong>in</strong> Malagueira,<br />
Evora, with the designs for the Setubal College of Education, the Oporto Faculty of<br />
Architecture and Aveiro University Library near<strong>in</strong>g completion. Further on-go<strong>in</strong>g designs<br />
<strong>in</strong>clude the Galicia Museum of Contemporary Art <strong>in</strong> Santiago de Compostela, Spa<strong>in</strong>, the<br />
Oporto Modern Art Museum and, recently, a major mixed-use development <strong>in</strong> Boavista,<br />
Oporto. He has been co-ord<strong>in</strong>at<strong>in</strong>g the Schilderswijk Zone 5 Renovation Plan <strong>in</strong> The<br />
Hague, Holland, s<strong>in</strong>ce 1985, and is draw<strong>in</strong>g up a scheme for blocks 6-7-8 <strong>in</strong> Ceramique<br />
Terre<strong>in</strong>, Maastricht. He is also supervis<strong>in</strong>g reconstruction of the fire-damaged area of<br />
Chiado <strong>in</strong> Lisbon. Other major works <strong>in</strong>clude the Praca de Espanha/Avenida Malhoa Master<br />
Plan <strong>in</strong> Lisbon and the design for the Meteorological Centre of the Olympic Village <strong>in</strong><br />
Barcelona.<br />
Álvaro Siza's works have been exhibited <strong>in</strong> Copenhagen (1975), Aarhus and<br />
Barcelona (1976), the Biennale of Venice (1978), Milan (1979), the Museum of<br />
Architecture <strong>in</strong> Hels<strong>in</strong>ki and the Alvar Aalto Museum, F<strong>in</strong>land (1982), the Georges<br />
Pompidou Centre, Paris (1982), the Institute of Contemporary Arts, London, and the<br />
Sticht<strong>in</strong>g Wonen, Amsterdam (1983), Technische Hogenschool, Delft, ESBAP and Almada<br />
Negreiros Gallery, Lisbon (1984), International Build<strong>in</strong>g Exhibition, Berl<strong>in</strong> (1984 and 1987),<br />
Biennale of Paris and Massachusetts Institute of Technology, Cambridge (1985), 9H<br />
Gallery, London (1986), Columbia University, New York (1987), Harvard Graduate School<br />
of Design, Cambridge (1988), Georges Pompidou Centre, Paris, and MOPU<br />
Gallery/M<strong>in</strong>istério de Obras Publicas, Madrid (1990), RIBA, London (1991), Colegio de<br />
Arquitectos, Seville (1991), deS<strong>in</strong>gel Gallery, Antwerp (1992), Rui Alberto Gallery, Oporto,<br />
the MOPU, Madrid, the DESSA gallery, Ljubljana/Slovenia (1993), Colegio de Arquitectos,<br />
Granada and Seville, Sala de Risco, Lisbon (1994).
He has also participated <strong>in</strong> various sem<strong>in</strong>ars and conferences <strong>in</strong> Portugal, Spa<strong>in</strong>,<br />
Italy, Germany, France, Norway, Holland, Switzerland, Austria, England, Colombia,<br />
Argent<strong>in</strong>a, Brazil, Japan, Canada and the United States.<br />
Hav<strong>in</strong>g been <strong>in</strong>vited to participate <strong>in</strong> <strong>in</strong>ternational competitions, Siza obta<strong>in</strong>ed first<br />
place <strong>in</strong> Schlesisches Tor, Kreuzberh, Berl<strong>in</strong> (now completed), the restoration of Campo di<br />
Marte <strong>in</strong> Venice (1985), and the re-development of the Cas<strong>in</strong>o and Café W<strong>in</strong>kler, Salzburg<br />
(1986). He took part <strong>in</strong> the competitions for Expo 92 <strong>in</strong> Seville, Spa<strong>in</strong> (1986), for Un<br />
Progretto per Siena, Italy (1988), for the La Defensa Cultural Centre <strong>in</strong> Madrid, Spa<strong>in</strong><br />
(1988/89), which he won, for the Bibliotheque de France <strong>in</strong> Paris (1989/90) and for the<br />
Hels<strong>in</strong>ki Museum (1993).<br />
The Portuguese Department of the International Association of Art Critics awarded<br />
him the Prize for Architecture <strong>in</strong> 1982. He received an Award from the Portuguese<br />
Architects Association <strong>in</strong> 1987.<br />
In 1988 he was awarded the Gold Medal for Architecture by the Colegio de<br />
Architectos, Spa<strong>in</strong>, the Alvar Aalto Foundation Gold Medal, the Pr<strong>in</strong>ce of Wales Prize <strong>in</strong><br />
Urban Design from Harvard University, and the European Architectural Award by the<br />
EEC/Mies van der Rohe Foundation, Barcelona. In 1992 he was awarded the Pritzker Prize<br />
by the Hyatt Foundation of Chicago for his lifelong achievements. In 1993 he was awarded<br />
the National Architecture Prize by the Portuguese Architects Association. Doctor Honoris<br />
Causa by the University of Valencia (1992) and by the Ecole Polythechnique Federal of<br />
Lausanne (1993).
6. Kunstmuseum (Bazel)<br />
Andy Warhol - The early Sixties. Pa<strong>in</strong>t<strong>in</strong>gs and Draw<strong>in</strong>gs 1961-1964<br />
In the early 1960s, after a successful career as a commercial artist, Andy Warhol<br />
decided to devote himself to the f<strong>in</strong>e arts. Even so, consumerism and the media-oriented<br />
nature of mass production cont<strong>in</strong>ued to be the ma<strong>in</strong> thrust of his work. The exhibition<br />
highlights the artist’s sem<strong>in</strong>al years from 1961 to 1964. It was then that Warhol<br />
made the transition, step by step, from an <strong>in</strong>dividual visual idiom to mediatized, collective<br />
visual material and, along with it, to mechanized production. In consequence, he called<br />
<strong>in</strong>to question the very foundations of artistic categories <strong>in</strong> the age of modernism. The<br />
exhibition is the first ever to explicitly address this transitional period <strong>in</strong> Warhol’s oeuvre,<br />
demonstrated, for example, by the fact that <strong>in</strong> 1962 Warhol pa<strong>in</strong>ted more than one<br />
variation on the same picture.<br />
One version may show traces of the gestural and expressive pa<strong>in</strong>t<strong>in</strong>g process while<br />
another – though still pa<strong>in</strong>ted by hand – already shows the diagrammatic reduction and<br />
coolness of his later work. In selected groups of work, viewers can study his approach to<br />
silkscreen<strong>in</strong>g on a monochromatic ground. Pa<strong>in</strong>t<strong>in</strong>gs or draw<strong>in</strong>gs of Campbell´s Soup Cans<br />
and Dollar Bills are especially <strong>in</strong>dicative of the scope of his work from the gestural<br />
beg<strong>in</strong>n<strong>in</strong>gs to repetitive series of pr<strong>in</strong>ts. The exhibition culm<strong>in</strong>ates <strong>in</strong> the famous Star<br />
series of Elvis and Liz, a gallery of Death & Disaster and the first Flowers series of 1964.<br />
Some 70 pa<strong>in</strong>t<strong>in</strong>gs and draw<strong>in</strong>gs will be on view, <strong>in</strong>clud<strong>in</strong>g major works from the hold<strong>in</strong>gs<br />
of the Kunstmuseum Basel and the Kupferstichkab<strong>in</strong>ett.
ANDY WARHOL CHRONOLOGY<br />
1928<br />
Andrew Warhola was born <strong>in</strong> Pittsburgh on August 6 to Julia and Andrej Warhola,<br />
Carpatho-Rusyn immigrants from the village of Mikova <strong>in</strong> present-day eastern Slovakia. He<br />
had two older brothers, Paul and John. The family regularly attended St. John Chrysostom<br />
Byzant<strong>in</strong>e Catholic Church.<br />
1934<br />
After rent<strong>in</strong>g a succession of small apartments, the Warholas purchased a home at 3252<br />
Dawson Street. Andy lived there until he moved to New York <strong>in</strong> 1949.<br />
1936<br />
Andy projected cartoon images on the walls of his home.<br />
1937<br />
Andy grew <strong>in</strong>terested <strong>in</strong> photography and took pictures with the family’s Kodak Brownie<br />
camera. An area of the Warholas’ basement was cleared for use as a darkroom. From<br />
about 1937 to 1941, he attended free Saturday art classes at the Carnegie Institute.<br />
After contract<strong>in</strong>g rheumatic fever, Andy was stricken with St. Vitus dance (Sydenham<br />
chorea) and conf<strong>in</strong>ed to home for more than two months, dur<strong>in</strong>g which his mother<br />
encouraged his <strong>in</strong>terests <strong>in</strong> art, comics, and movies.<br />
1939<br />
Andy began collect<strong>in</strong>g photographs of movie stars.<br />
1942<br />
Signed a portrait he pa<strong>in</strong>ted of his friend Nick Kish with the name “A. Warhol.” Graduated<br />
from Holmes Elementary School and entered Schenley High School, where he received the<br />
highest marks <strong>in</strong> his art classes. Andrej Warhola died after a lengthy illness. He had saved<br />
several thousand dollars to be used for Andy’s education.<br />
1945<br />
Andy Warhola was admitted to the Carnegie Institute of Technology (now Carnegie Mellon<br />
University) and enrolled <strong>in</strong> the Department of Pa<strong>in</strong>t<strong>in</strong>g and Design.<br />
1947<br />
In 1947–1948, he experimented with a blotted l<strong>in</strong>e draw<strong>in</strong>g technique that became a<br />
ma<strong>in</strong>stay of his 1950s commercial work. Andy worked at a summer job <strong>in</strong> the display<br />
department at the Joseph Horne department store <strong>in</strong> downtown Pittsburgh.<br />
1948<br />
Warhol’s pa<strong>in</strong>t<strong>in</strong>g I Like Dance and his pr<strong>in</strong>t Dance <strong>in</strong> Black and White <strong>in</strong>cluded <strong>in</strong> the<br />
annual exhibition of the Associated Artists of Pittsburgh. Andy served as art editor for the<br />
student magaz<strong>in</strong>e Cano.<br />
1949<br />
Warhol’s pa<strong>in</strong>t<strong>in</strong>g The Broad Gave Me My Face, But I Can Pick My Own Nose was rejected<br />
for the annual exhibition of the Associated Artists of Pittsburgh. Juror George Grosz, the<br />
German artist, was said to have praised the work. It was later <strong>in</strong>cluded <strong>in</strong> a student
exhibition at Pittsburgh’s Arts and Crafts Center. Graduated from Carnegie Tech with a<br />
Bachelor of F<strong>in</strong>e Arts degree <strong>in</strong> pictorial design. His professors <strong>in</strong>cluded Samuel Rosenberg<br />
and Robert Lepper. Shortly after graduat<strong>in</strong>g, he moved to New York City. Began to work as<br />
a commercial artist, usually under the name Andy Warhol. Throughout the 1950s and early<br />
1960s, he illustrated a great variety of published projects, and designed department store<br />
w<strong>in</strong>dows.<br />
1951<br />
Received an Art Directors Club Medal for his newspaper illustrations that advertised the<br />
CBS radio feature “The Nation’s Nightmare.” He received numerous graphic arts awards<br />
throughout the 1950s.<br />
1952<br />
Warhol’s first solo exhibition, “Fifteen Draw<strong>in</strong>gs Based on the Writ<strong>in</strong>gs of Truman Capote,”<br />
was held at the Hugo Gallery, New York. Julia Warhola moved to New York, where she<br />
lived with her son until 1971.<br />
1953<br />
Produced the illustrated books A Is an Alphabet and Love Is a P<strong>in</strong>k Cake, “by Corkie and<br />
Andy,” with his friend Ralph T. Ward. He gave these and other books to clients and<br />
associates, and also sold them through shops.<br />
1954<br />
Exhibited <strong>in</strong> both group and solo shows at the Loft Gallery, New York. Among his works<br />
were marbleized and folded or crumpled paper works displayed on the walls, floors, and<br />
ceil<strong>in</strong>g. Self-published the illustrated book 25 Cats Name Sam and One Blue Pussy, with<br />
text by Charles Lisanby. These and Warhol’s other books were hand-colored at “color<strong>in</strong>g<br />
parties” with friends and associates. Began frequent<strong>in</strong>g the café Serendipity 3 on East<br />
58th Street, which is known for its desserts.<br />
1955<br />
Used hand-carved rubber stamps to create repeated images, which were often handcolored.<br />
He employed this technique through the early 1960s. The shoe company I. Miller<br />
selected Warhol to illustrate its weekly newspaper advertisements, which became a great<br />
success and run for about three years. Nathan Gluck was hired as a studio assistant.<br />
1956<br />
Warhol’s “Studies for a Boy Book” exhibited at the Bodley Gallery, New York. Dur<strong>in</strong>g the<br />
1950s, Warhol filled numerous sketchbooks with his draw<strong>in</strong>gs of young men. Exhibited<br />
gold-leaf-collaged shoe draw<strong>in</strong>gs <strong>in</strong> his “Golden Slipper Show or Shoes Shoe <strong>in</strong> America” at<br />
the Bodley Gallery. His gold shoes were published <strong>in</strong> the January 21, 1957, issue of Life<br />
magaz<strong>in</strong>e. A Warhol draw<strong>in</strong>g of a shoe was <strong>in</strong>cluded <strong>in</strong> the exhibition “Recent Draw<strong>in</strong>gs<br />
U.S.A.” at the Museum of Modern Art. Became acqua<strong>in</strong>ted with the photographer Edward<br />
Wallowitch. Warhol used images from Wallowitch’s photographs, as well as other<br />
photographs and images, <strong>in</strong> his own works.<br />
Took a two-month world tour focus<strong>in</strong>g on Asia and Europe with his friend Charles Lisanby.<br />
1957<br />
Self-published A Gold Book, with many draw<strong>in</strong>gs based on Wallowitch’s photos. Andy<br />
Warhol Enterprises was legally <strong>in</strong>corporated. Underwent cosmetic surgery on his nose.
1959<br />
With his friend Suzie Frankfurt, Warhol self-published Wild Raspberries, a cookbook of<br />
absurd recipes; the title is a joke referenc<strong>in</strong>g Ingmar Bergman’s film Wild Strawberries.<br />
1960<br />
Acquired a townhouse at 1342 Lex<strong>in</strong>gton Avenue, which accommodated his grow<strong>in</strong>g<br />
collections of art, furniture, and objects. It also gave him the space to create larger<br />
artworks. Warhol’s stage designs appear <strong>in</strong> performances of the Lukas Foss / Gian Carlo<br />
Menotti operetta Introductions and Goodbyes at The Festival of Two Worlds <strong>in</strong> Spoleto,<br />
Italy.<br />
1961<br />
Pa<strong>in</strong>ted his first works based on comics and advertisements, by us<strong>in</strong>g an opaque projector<br />
to enlarge the orig<strong>in</strong>al image onto a canvas, which Warhol then traced and pa<strong>in</strong>ted.<br />
Showed his pa<strong>in</strong>t<strong>in</strong>gs Advertisement, Little K<strong>in</strong>g, Superman, Before and After, and<br />
Saturday’s Popeye with a display of dresses <strong>in</strong> a w<strong>in</strong>dow of New York’s Bonwit Teller<br />
department store.<br />
1962<br />
Published his first editioned pr<strong>in</strong>t, Cook<strong>in</strong>g Pot, a photoengrav<strong>in</strong>g of a detail from a<br />
newspaper advertisement. Used rubber stamps to create S & H Green Stamps and other<br />
works, <strong>in</strong>clud<strong>in</strong>g portrait illustrations for Harper’s Bazaar. Warhol based his Do It Yourself<br />
pa<strong>in</strong>t<strong>in</strong>gs on common pa<strong>in</strong>t-by-numbers images. Made pa<strong>in</strong>t<strong>in</strong>gs of entire newspaper front<br />
pages. After creat<strong>in</strong>g a few series of works us<strong>in</strong>g hand-drawn silkscreens, he began to use<br />
the photo-silkscreen technique. Warhol experimented with <strong>in</strong>stant photography, which<br />
became essential to his portrait process <strong>in</strong> the early-1970s. After silk-screen<strong>in</strong>g portraits of<br />
the teen idols Natalie Wood, Troy Donahue, and Warren Beatty, Warhol began his photosilkscreened<br />
Marilyn pa<strong>in</strong>t<strong>in</strong>gs after Marilyn Monroe’s death. Started a series of pa<strong>in</strong>t<strong>in</strong>gs<br />
of suicides and car crashes. Warhol’s hand-pa<strong>in</strong>ted Campbell’s Soup Can pa<strong>in</strong>t<strong>in</strong>gs were<br />
shown at the Ferus Gallery, Los Angeles. Warhol’s recent pa<strong>in</strong>t<strong>in</strong>gs were shown at the<br />
Stable Gallery, New York. Included <strong>in</strong> the exhibition “New Pa<strong>in</strong>t<strong>in</strong>g of Common Objects,” at<br />
the Pasadena Art Museum. Featured <strong>in</strong> a Time magaz<strong>in</strong>e article on Pop artists.<br />
1963<br />
Hired Gerard Malanga as studio assistant. Made multiple image silkscreened portraits of<br />
the collector Ethel Scull and others based on photographs of his subjects taken <strong>in</strong> common<br />
photo booths. Began pa<strong>in</strong>t<strong>in</strong>gs of Elvis Presley and Elizabeth Taylor us<strong>in</strong>g publicity<br />
photographs as sources. Bought a 16mm movie camera. Made the films Sleep, Kiss,<br />
Haircut, and Tarzan and Jane Rega<strong>in</strong>ed…Sort Of, and the first of more than 500 Screen<br />
Tests. While <strong>in</strong> Los Angeles for the exhibition of his Elvis and Liz pa<strong>in</strong>t<strong>in</strong>gs, Warhol met<br />
Marcel Duchamp at his exhibition <strong>in</strong> Pasadena, and attended a “Movie Star Party” arranged<br />
<strong>in</strong> his honor by Dennis Hopper. Included <strong>in</strong> the exhibition “Six Pa<strong>in</strong>ters and the Object,” at<br />
the Solomon R. Guggenheim Museum, New York. Included <strong>in</strong> the exhibition “The Popular<br />
Image” at the Wash<strong>in</strong>gton Gallery of Modern Art, Wash<strong>in</strong>gton, D.C. The exhibition traveled<br />
to London. Baby Jane Holzer, Taylor Mead, and Ond<strong>in</strong>e (Bob Olivo) became his associates<br />
at about this time, act<strong>in</strong>g <strong>in</strong> his films. Warhol’s first Superstars, they were synonymous<br />
with his work. Warhol rented an abandoned firehouse near his home, for use as a pa<strong>in</strong>t<strong>in</strong>g<br />
studio. Designed costumes for a Broadway production of The Beast <strong>in</strong> Me, by James<br />
Thurber. His work wasn’t credited because he was not a union member.
1964<br />
Established his studio at 231 East 47th Street, soon to be known as “the Factory.” It was<br />
pa<strong>in</strong>ted silver and covered with alum<strong>in</strong>um foil by Billy Name (Billy L<strong>in</strong>ich) a theatrical<br />
light<strong>in</strong>g designer whom Warhol had met the year before. Made the Thirteen Most Wanted<br />
Men mural for the facade of the New York Pavilion at the 1964 New York World’s Fair.<br />
Officials objected to the work, and it was pa<strong>in</strong>ted over <strong>in</strong> silver pa<strong>in</strong>t. Made Brillo Boxes<br />
and other box sculptures, which were exhibited at the Stable Gallery. Began his series of<br />
Jackie pa<strong>in</strong>t<strong>in</strong>gs after President Kennedy’s assass<strong>in</strong>ation. Began Flowers pa<strong>in</strong>t<strong>in</strong>gs, which<br />
were shown at the Castelli Gallery this year, and <strong>in</strong> Paris the next year. His pa<strong>in</strong>t<strong>in</strong>gs of car<br />
crashes and suicides were shown at Galerie Ileana Sonnabend <strong>in</strong> Paris, and elsewhere <strong>in</strong><br />
Europe. Made the films Blow Job, Eat, Empire, and Harlot (his first with live sound). His<br />
film Andy Warhol films Jack Smith film<strong>in</strong>g Normal Love (1963) is confiscated <strong>in</strong> a raid by<br />
the New York City Police Department, and lost. Acquired his first tape recorder, which later<br />
became his constant companion. Warhol’s pa<strong>in</strong>t<strong>in</strong>g Orange Disaster No. 5 <strong>in</strong>cluded <strong>in</strong> the<br />
Pittsburgh International (now the Carnegie International) exhibition at the Carnegie<br />
Institute, Pittsburgh. A Warhol film <strong>in</strong>stallation with a soundtrack by LaMonte Young was<br />
exhibited at the New York Film Festival. Received the Independent Film Award from Film<br />
Culture, the avant-garde film periodical edited by Jonas Mekas.<br />
1965<br />
Made the films Poor Little Rich Girl, V<strong>in</strong>yl, Kitchen, Lupe, Outer and Inner Space, My<br />
Hustler, and others. Designed the cover for an issue of Time magaz<strong>in</strong>e. Exhibited his video<br />
art, the first artist to do so. While <strong>in</strong> Paris for the open<strong>in</strong>g of his Flowers exhibition at the<br />
Galerie Ileana Sonnabend, Warhol described himself as a “retired artist” who planned to<br />
devote himself to film. The open<strong>in</strong>g night crowd overwhelmed the retrospective of<br />
Warhol’s work at the Institute of Contemporary Art, Philadelphia. Met Paul Morrissey, one<br />
the most important figures for Warhol’s work <strong>in</strong> film. Edie Sedgwick starred <strong>in</strong> about ten of<br />
Warhol’s films. Superstars Brigid Polk (Brigid Berl<strong>in</strong>) and Ultra Violet (Isabelle Col<strong>in</strong><br />
Dufresne) began to frequent the Factory at about this time. Film producer Lester Persky<br />
hosted “The Fifty Most Beautiful People” party at the Factory. Judy Garland, Rudolf<br />
Nureyev, Tennessee Williams, Allen G<strong>in</strong>sberg, Montgomery Clift, and others attended.<br />
1966<br />
Produced the Explod<strong>in</strong>g Plastic Inevitable, multimedia shows featur<strong>in</strong>g the Velvet<br />
Underground rock and roll band, performance, film, and light shows. At the Castelli<br />
Gallery, Warhol exhibited his Cow wallpaper <strong>in</strong> one room, and filled a second, white-walled<br />
room with his float<strong>in</strong>g Silver Clouds. Made the films The Velvet Underground and Nico and<br />
The Chelsea Girls. The Chelsea Girls was distributed widely and received <strong>in</strong>ternational<br />
media attention. Published the pr<strong>in</strong>t editions Kiss, Jacquel<strong>in</strong>e Kennedy (I, II, and III),<br />
Banana, and Self-Portrait. In the follow<strong>in</strong>g years, Warhol created over 400 pr<strong>in</strong>t editions.<br />
Produced the first LP album by the Velvet Underground and Nico. The cover, designed by<br />
Warhol, showed a banana with v<strong>in</strong>yl sk<strong>in</strong> that could be peeled off to expose the p<strong>in</strong>k fruit.<br />
A larger f<strong>in</strong>e art pr<strong>in</strong>t is also produced. The follow<strong>in</strong>g advertisement appeared <strong>in</strong> the<br />
February 10 issue of The Village Voice: “I’ll endorse with my name any of the follow<strong>in</strong>g;<br />
cloth<strong>in</strong>g AC-DC, cigarettes small, tapes, sound equipment, ROCK N’ ROLL RECORDS,<br />
anyth<strong>in</strong>g, film, and film equipment, Food, Helium, Whips, MONEY!! love and kisses ANDY<br />
WARHOL, EL 5-9941.” Gave away the bride at The Mod Wedd<strong>in</strong>g at the Detroit, Michigan<br />
State Fair Grounds Coliseum. The event featured an Explod<strong>in</strong>g Plastic Inevitable<br />
performance. Warhol and his Superstars began to frequent the back room of the notorious<br />
bar-restaurant Max’s Kansas City on Union Square. Invited to author Truman Capote’s
“Black and White Dance,” referred to as “the party of the decade.”<br />
1967<br />
Made Self-Portrait pa<strong>in</strong>t<strong>in</strong>gs, which were <strong>in</strong>cluded <strong>in</strong> the United States Pavilion at Expo ‘67<br />
<strong>in</strong> Montreal. Made the films Bike Boy, I a Man, and The Nude Restaurant. Designed the<br />
poster for the fifth New York Film Festival. Two Warhol books were published: Andy<br />
Warhol’s Index (Book) and Screen Tests/A Diary, a collaboration between Warhol and<br />
Gerard Malanga. The FBI reported on Warhol’s activities dur<strong>in</strong>g location shoot<strong>in</strong>g <strong>in</strong> Oracle,<br />
Arizona for his film Lonesome Cowboys. On the same trip, location footage was shot <strong>in</strong> La<br />
Jolla, California for San Diego Surf. Warhol gave a college lecture tour with Allen Midgette<br />
impersonat<strong>in</strong>g him for several engagements. Met Frederick W. Hughes, who became a<br />
close associate and Warhol’s exclusive agent and bus<strong>in</strong>ess manager. Joe Dallesandro,<br />
Candy Darl<strong>in</strong>g, and Viva became Superstars.<br />
1968<br />
In January, Warhol moved his studio to a white-walled office space on the 6th floor of 33<br />
Union Square West. In February, Malanga was nearly imprisoned for forg<strong>in</strong>g Warhol<br />
pa<strong>in</strong>t<strong>in</strong>gs <strong>in</strong> Rome. On June 3, Valerie Solanas, who appeared <strong>in</strong> Warhol’s film I, a Man and<br />
was the founder and sole member of S.C.U.M. (Society for Cutt<strong>in</strong>g Up Men), shot Warhol<br />
<strong>in</strong> his studio. Produced the film Flesh, directed by Paul Morrissey, and made Blue Movie.<br />
Warhol began to take a less active role <strong>in</strong> filmmak<strong>in</strong>g. The Schrafft’s restaurant cha<strong>in</strong> hired<br />
Warhol to create a television advertisement for The Underground Sundae. a: a novel, a<br />
transcription of Warhol’s tape record<strong>in</strong>gs featur<strong>in</strong>g Ond<strong>in</strong>e, was published by Grove Press.<br />
The artist’s Silver Clouds were used as the set for Merce Cunn<strong>in</strong>gham’s dance Ra<strong>in</strong>Forest.<br />
A retrospective of Warhol’s work was held at the Moderna Museet, Stockholm, and<br />
traveled throughout Scand<strong>in</strong>avia. Warhol’s work was <strong>in</strong>cluded <strong>in</strong> “Documenta 4” <strong>in</strong> Kassel,<br />
Germany. Jed Johnson was hired as an assistant. Soon after, he began liv<strong>in</strong>g with Warhol<br />
and his mother.<br />
1969<br />
Curated “Raid the Icebox I with Andy Warhol,” a selection from the storage rooms of the<br />
Museum of Art at the Rhode Island School of Design. Produced the film Trash, directed by<br />
Paul Morrissey. The first issue of Interview magaz<strong>in</strong>e was published. Included <strong>in</strong> the<br />
Metropolitan Museum of Art’s “New York Pa<strong>in</strong>t<strong>in</strong>g and Sculpture: 1940–1970.” V<strong>in</strong>cent<br />
Fremont began to work for Warhol. He became a close associate on video and television<br />
projects, and eventually became his executive manager.<br />
1970<br />
Warhol’s production of commissioned portraits <strong>in</strong>creased <strong>in</strong> the early 1970s. Most were<br />
based on his Polaroid photographs of sitters, <strong>in</strong>clud<strong>in</strong>g collectors, friends, and celebrities.<br />
Created the Ra<strong>in</strong> Mach<strong>in</strong>e, an <strong>in</strong>stallation that <strong>in</strong>corporated a water shower and 3-D<br />
lenticular pr<strong>in</strong>ts of flowers, <strong>in</strong> connection with the Los Angeles County Museum of Art’s Art<br />
and Technology Program. The Ra<strong>in</strong> Mach<strong>in</strong>e was exhibited <strong>in</strong> the United States Pavilion at<br />
Expo ‘70 <strong>in</strong> Osaka, Japan. Acquired a portable video camera and began to work regularly<br />
with video. A major retrospective of Warhol’s work was held at the Pasadena Art Museum.<br />
The exhibition traveled to Chicago, E<strong>in</strong>dhoven, Paris, London, and New York. The first<br />
monograph on Warhol was published, written by art historian Ra<strong>in</strong>er Crone. Bob Colacello<br />
began to work for Interview. He eventually became the magaz<strong>in</strong>e’s executive editor.<br />
1971
With V<strong>in</strong>cent Fremont and Michael Netter, Warhol began Factory Diaries, a series of<br />
videotaped record<strong>in</strong>gs of life at the studio. Designed the album cover of the Roll<strong>in</strong>g Stones’<br />
Sticky F<strong>in</strong>gers <strong>in</strong> collaboration with Craig Braun. The cover, a male torso <strong>in</strong> jeans with a<br />
function<strong>in</strong>g zipper, was nom<strong>in</strong>ated for a Grammy Award. Warhol’s play Pork, based on his<br />
tape record<strong>in</strong>gs, was performed <strong>in</strong> London and New York. Warhol and Paul Morrissey<br />
acquired a twenty-acre compound <strong>in</strong> Montauk, Long Island. Lee Radziwill and other friends<br />
spent much time there.<br />
1972<br />
Began Mao pa<strong>in</strong>t<strong>in</strong>gs, draw<strong>in</strong>gs, and pr<strong>in</strong>ts. After publish<strong>in</strong>g his pr<strong>in</strong>t Vote McGovern for a<br />
presidential candidate, the Internal Revenue Service audited Warhol; he was audited<br />
annually until his death. Produced the films Women <strong>in</strong> Revolt! and Heat, directed by Paul<br />
Morrissey. Removed the films he had directed from circulation. Warhol’s mother died <strong>in</strong><br />
Pittsburgh. She had returned there from New York <strong>in</strong> 1971.<br />
1973<br />
Made the videos Vivian’s Girls and Phoney, directed with V<strong>in</strong>cent Fremont. Appeared <strong>in</strong> the<br />
film The Driver’s Seat with Elizabeth Taylor. Ronnie Cutrone became Warhol’s studio<br />
assistant <strong>in</strong> 1973 or 1974; he had previously danced with the EPI.<br />
1974<br />
Began assembl<strong>in</strong>g Time Capsules <strong>in</strong> standard-sized boxes. This collection of objects and<br />
ephemera from his entire life eventually numbered more than 600 boxes, and <strong>in</strong>cluded<br />
antiques and works of art. Co-produced the films Andy Warhol’s Dracula and Andy<br />
Warhol’s Frankenste<strong>in</strong> (<strong>in</strong> 3-D), directed by Paul Morrissey. Maosexhibited at the Musée<br />
Galliera, Paris, hung on Warhol’s Mao wallpaper. Moved the studio to 860 Broadway, which<br />
became known as “the office.” Acquired a townhouse at 57 East 66th Street. Jed Johnson<br />
decorated the house, which was filled with art and collectibles.<br />
1975<br />
Made Ladies and Gentlemen pa<strong>in</strong>t<strong>in</strong>gs, draw<strong>in</strong>gs, and pr<strong>in</strong>ts, depict<strong>in</strong>g transvestites. Made<br />
the video Fight, co-directed with V<strong>in</strong>cent Fremont. THE Philosophy of Andy Warhol (From<br />
A to B and Back Aga<strong>in</strong>)was published by Harcourt Brace Jovanovich. Produced the musical<br />
Man on the Moon, with book, music, and lyrics by John Phillips, directed by Paul Morrissey.<br />
1976<br />
Made Skull pa<strong>in</strong>t<strong>in</strong>gs, draw<strong>in</strong>gs, and pr<strong>in</strong>ts and began Hammer and Sickles. Produced the<br />
film Bad, directed by Jed Johnson. Began dictat<strong>in</strong>g his diary to Pat Hackett. It was<br />
published posthumously and became a bestseller. A retrospective of Warhol’s draw<strong>in</strong>gs<br />
was held at the Württembergischer Kunstvere<strong>in</strong>, Stuttgart.<br />
1977<br />
Made Torso pa<strong>in</strong>t<strong>in</strong>gs and draw<strong>in</strong>gs. “Andy Warhol’s ‘Folk and Funk,’” an exhibition of<br />
Warhol’s folk art collection, was held at the Museum of American Folk Art, New York.<br />
Began to frequent the nightclub Studio 54 with friends Halston, Bianca Jagger, and Liza<br />
M<strong>in</strong>nelli.<br />
1978<br />
Made Self-Portraits with skulls, Shadows, and Oxidation pa<strong>in</strong>t<strong>in</strong>gs. A retrospective of<br />
Warhol’s work held at the Kunsthaus, Zurich.
1979<br />
Began to produce the ten-episode video program Fashion, directed by Don Munroe. Andy<br />
Warhol’s Exposures, with photographs by Warhol and text co-written with Bob Colacello,<br />
published by Andy Warhol Books/Grosset and Dunlap. At the request of BMW, Warhol<br />
handpa<strong>in</strong>ts an M1 rac<strong>in</strong>g car for the 24-hour Le Mans race. Warhol’s Shadows pa<strong>in</strong>t<strong>in</strong>gs<br />
were exhibited at the He<strong>in</strong>er Friedrich Gallery, New York. “Andy Warhol: Portraits of the<br />
70s” was presented at the Whitney Museum of American Art, New York.<br />
1980<br />
Developed Andy Warhol’s T.V., directed by Don Munroe. POPism: The Warhol ‘60s, by<br />
Warhol and Pat Hackett, published by Harcourt Brace Jovanovich. Warhol’s photographs<br />
exhibited at the Museum Ludwig, Cologne, and the Stedelijk Museum, Amsterdam. A life<br />
mask of Warhol is made for a robot that is <strong>in</strong>tended for an unrealized theater project,<br />
conceived by Peter Sellars and Lewis Allen. Jay Shriver became Warhol’s studio assistant.<br />
In Vatican City, Warhol and Fred Hughes briefly met Pope John Paul II.<br />
1981<br />
Made Dollar Signs, Knives, Crosses, and Guns works. Produced and starred <strong>in</strong> three onem<strong>in</strong>ute<br />
episodes of Andy Warhol’s T.V., directed by Don Munroe for the television program<br />
“Saturday Night Live.” Began to be represented by the Zoli model<strong>in</strong>g agency.<br />
1982<br />
The Castelli Gallery exhibited Warhol’s Dollar Sign pa<strong>in</strong>t<strong>in</strong>gs. An exhibition of works by<br />
Joseph Beuys, Robert Rauschenberg, Cy Twombly, and Warhol shown at the<br />
Nationalgalerie, Berl<strong>in</strong>. Warhol’s Zeitgeist pa<strong>in</strong>t<strong>in</strong>gs shown <strong>in</strong> the group exhibition<br />
“Zeitgeist” at the Mart<strong>in</strong>-Gropius-Bau, Berl<strong>in</strong>. Traveled to Hong Kong and Beij<strong>in</strong>g with Fred<br />
Hughes and photographer Christopher Makos.<br />
1983<br />
Warhol, Jean-Michel Basquiat, and Francesco Clemente began collaborat<strong>in</strong>g on pa<strong>in</strong>t<strong>in</strong>gs.<br />
Warhol and Basquiat became close friends and worked together <strong>in</strong>to 1985. Dur<strong>in</strong>g this<br />
period, Warhol began a series of works, many of them hand-pa<strong>in</strong>ted, based on<br />
advertisements, commercial imagery, and illustrations. Designed the official poster for the<br />
Brooklyn Bridge Centennial. Appeared <strong>in</strong> a Japanese television commercial for TDK.<br />
1984<br />
Pa<strong>in</strong>t<strong>in</strong>gs for Childrenexhibition at Bruno Bischofberger Gallery, Zurich. Small pa<strong>in</strong>t<strong>in</strong>gs of<br />
toys were hung at child’s eyelevel, on Fish Wallpaper. Made Rorschach pa<strong>in</strong>t<strong>in</strong>gs. Made a<br />
music video for The Cars’ “Hello Aga<strong>in</strong>,” with Don Munroe. The video also featured Warhol.<br />
“Collaborations: Jean-Michel Basquiat, Francesco Clemente, Andy Warhol” exhibited at the<br />
Bruno Bischofberger Gallery, Zurich. Moved his studio and Interview magaz<strong>in</strong>e to a former<br />
Consolidated Edison build<strong>in</strong>g at 22 East 33rd Street.<br />
1985<br />
Made Absolut Vodka pa<strong>in</strong>t<strong>in</strong>gs, which were used <strong>in</strong> “Absolut Warhol” advertisements, the<br />
first <strong>in</strong> the series created by artists. Exhibited his Invisible Sculpture, consist<strong>in</strong>g of a<br />
pedestal, a wall label, and Warhol himself <strong>in</strong> a showcase, at the nightclub Area. An earlier<br />
version consisted of motion detectors that set off a cacophony of alarms. Andy Warhol’s<br />
Fifteen M<strong>in</strong>utes, directed by Don Munroe, aired on MTV from 1985 to 1987. America, with<br />
photographs and text by Warhol, was published by Harper and Row. Appeared as a guest
star <strong>in</strong> the 200th episode of the television program “The Love Boat,” and <strong>in</strong> a television<br />
commercial for Diet Coke.<br />
1986<br />
Made Last Supper and Camouflage pa<strong>in</strong>t<strong>in</strong>gs. Made Self-Portrait pa<strong>in</strong>t<strong>in</strong>gs, which were<br />
exhibited at the Anthony d’Offay Gallery, London. Oxidationpa<strong>in</strong>t<strong>in</strong>gs shown at Gagosian<br />
Gallery, New York. Optioned film and television rights to Tama Janowitz’s book Slaves of<br />
New York.<br />
1987<br />
Sewn Photographsshown at Robert Miller Gallery, New York. Last Supperpa<strong>in</strong>t<strong>in</strong>gs<br />
exhibited at the Palazzo delle Stell<strong>in</strong>e, Milan. After suffer<strong>in</strong>g acute pa<strong>in</strong> for several days,<br />
Warhol was admitted to New York Hospital for gallbladder surgery. The operation was<br />
successful, but complications dur<strong>in</strong>g recovery caused his death on February 22. He was<br />
buried near his parents <strong>in</strong> a suburban Pittsburgh cemetery.
Bijlage: De Wiener Werkstätte<br />
In 1903 besloten een groepje kunstenaars en ambachtslieden uit Wenen, de hoofdstad<br />
van Oostenrijk, samen te gaan werken. Ze richtten de Wiener Werkstätte of de ‘Weense<br />
werkplaatsen’ op. Josef Hoffmann en Koloman Moser waren de leiders van de groep.<br />
In de Wiener Werkstäte werkten de<br />
ambachtslieden en kunstenaars samen <strong>in</strong><br />
gezamenlijke ateliers. Ze maakten praktische<br />
d<strong>in</strong>gen of gebruiks<strong>voor</strong>werpen die ook mooi<br />
waren: meubels, kledij, keukengerei,<br />
haarkammen, … Alles moest mooi zijn!<br />
Omr<strong>in</strong>gd zijn door mooie d<strong>in</strong>gen maakt het<br />
leven immers aangenamer. Ze bouwden<br />
huizen en paleizen waar<strong>in</strong> alles wat je zag<br />
heel erg mooi was.<br />
De <strong>voor</strong>werpen die <strong>in</strong> de vele Weense ateliers gemaakt werden, hadden allemaal<br />
eenzelfde en zeer specifieke stijl. Deze stijl werd door iedereen meteen herkend. Op elk<br />
<strong>voor</strong>werp uit de ateliers stond ook het logo van de Wiener Werkstätte.<br />
De alledaagse d<strong>in</strong>gen uit de Weense ateliers werden met de hand gemaakt, niet <strong>in</strong> een<br />
fabriek. Dat vroeg veel tijd. Ze werden ook vervaardigd uit kostbare materialen. Daarom<br />
waren de Wiener Werkstätte spullen heel erg duur. Enkel rijke mensen konden ze betalen.<br />
De kunstenaars en ambachtslieden vonden dat iedereen recht had op mooie d<strong>in</strong>gen, maar<br />
toch kwamen de mooie <strong>voor</strong>werpen enkel bij rijke mensen terecht.<br />
Invloeden<br />
A) De Industriële Revolutie<br />
De Wiener Werkstätte werden opgericht <strong>in</strong> een tijd waar veel fabrieken werden gebouwd.<br />
De mach<strong>in</strong>es <strong>in</strong> de fabrieken zorgden er<strong>voor</strong> dat d<strong>in</strong>gen heel snel gemaakt konden<br />
worden. Ambachtslieden die alles met de hand maakten, hadden geen werk meer. Ateliers<br />
werden gesloten.<br />
De arbeiders <strong>in</strong> de fabrieken werkten <strong>in</strong> zeer slechte omstandigheden. De mach<strong>in</strong>es waren<br />
gevaarlijk en ongezond. <strong>Het</strong> werk was bovendien zeer eentonig.<br />
De fabrieken werden opgericht <strong>in</strong> de steden. Heel veel mensen trokken van het platteland<br />
naar de stad. De steden werden alsmaar groter. De arbeiders woonden er <strong>in</strong> kle<strong>in</strong>e<br />
huisjes. Er waren heel erg grote verschillen tussen de arbeidersklasse en de leden van de<br />
burgerij, die eigenaars van de fabrieken waren. Er was een grote kloof tussen armen en<br />
rijken.<br />
B) Arts & Crafts <strong>in</strong> Engeland<br />
Engeland was het eerste land <strong>in</strong> Europa waar veel fabrieken werden gebouwd. De<br />
kunstenaar William Morris vond dit maar niks. Hij vond de d<strong>in</strong>gen die ze <strong>in</strong> de fabrieken
maakten niet mooi. De arbeiders werden er slecht behandeld. Hij wou dat alles opnieuw <strong>in</strong><br />
ateliers gemaakt werd, door kundige ambachtslieden <strong>in</strong> samenwerk<strong>in</strong>g met talentvolle<br />
kunstenaars. Samen zouden ze mooie d<strong>in</strong>gen maken <strong>in</strong> goede omstandigheden. Artiesten<br />
en ambachtslieden, oftewel de Arts & Crafts, sloegen de handen <strong>in</strong> elkaar. Enkele<br />
<strong>voor</strong>beelden van hun gezamenlijke kunst:<br />
De kunstenaars maakten ontwerpen <strong>voor</strong> de <strong>voor</strong>werpen die ze wilden laten maken. Een<br />
ontwerp is een teken<strong>in</strong>g met de juiste afmet<strong>in</strong>gen, materialen en kleuren waar<strong>in</strong> het<br />
<strong>voor</strong>werp moest gemaakt worden. De ambachtslieden voerden dit ontwerp uit.<br />
De Wiener Werkstätte namen deze ideëen en werkmethode over. De stijl van de<br />
<strong>voor</strong>werpen uit de Weense ateliers is echter helemaal anders dan deze van de Arts &<br />
Crafts – beweg<strong>in</strong>g.<br />
De Stijl van de Wiener Werkstätte<br />
Josef Hoffmann en de anderen hielden van de simpele schoonheid van geometrische<br />
figuren. Ze gebruikten heel vaak geometrische figuren als het vierkant, de cirkel, de<br />
kubus, … <strong>in</strong> hun ontwerpen. De kunstenaars van de Wiener Werkstätte werkten niet alleen<br />
met strenge geometrische figuren, ze versierden hun <strong>voor</strong>werpen ook graag met<br />
krullende en gebogen lijnen.<br />
Ze hebben een bijzondere vorm en hebben een mooie versier<strong>in</strong>g.
In de Wiener Werkstätte werden allerlei stoffen gemaakt om huizen mooi te decoreren,<br />
zoals meubel- en gordijnstoffen.
<strong>Het</strong> <strong>Huis</strong> <strong>Stoclet</strong> <strong>in</strong> <strong>Brussel</strong><br />
In <strong>Brussel</strong> staat er een groot huis dat gemaakt is door de kunstenaars en ambachtslieden<br />
van de Wiener Werkstätte. <strong>Het</strong> huis heet ‘het huis <strong>Stoclet</strong>’.<br />
Josef Hoffmann en zijn collega’s ontwierpen elk kle<strong>in</strong>ste detail van het huis: de sleutels en<br />
sleutelgaten, de glazen, de bloemenvazen, de tu<strong>in</strong>, de tafels, stoelen, kasten, kapstokjes,<br />
bedden, lakens, … Ze ontwierpen zelfs kleren <strong>voor</strong> Adolphe en zijn vrouw Suzanne. Elk<br />
<strong>voor</strong>werp had zijn plekje en was speciaal <strong>voor</strong> die plek <strong>in</strong> het huis gemaakt. Er mocht dus<br />
niets van plaats veranderd worden.