Curators: Nina Diel & Adam Łuczak
Concept by Frank Havermans
Barn raising - Contemporary couple truss
“Before architecture in its current form developed there was only need for shelter against the elements. When men changed his nomadic existence for a settled life there became need for bigger spaces like barns and farmhouses, where they lived with their life stock. This clear way of life in agricultural areas existed for ages and ages. In some parts of the world people still live like this. Through the ages all over the world rural construction forms are developed. The typology is partly in accordance, but depending on local conditions, available materials and techniques there are also a lot of differences to discover. This evoked in beautiful range of rural architecture. This rural architecture I consider as the base of contemporary architecture. With the emergence of the bio industry, the old model of being specific, and the self sufficient way of life where tradition was the centre, became under pressure. In this new era there is a focus on scaling. Outdated farms are modernized. This resulted in a totally different culture landscape where old building and construction skills are lost out of sight. The old farmhouses and barns are often only considered as a romantic memory from the past. However a lot can be learned by study old ways of building. It has been taking ages to fine tune these techniques so their must be something logic about them.
For this workshop we are going to analyse construction methods from local rural buildings in the landscape. Then we will translate a typical way construction in a contemporary variant making use of a modern building material: construction plywood. This will result in a series truss frames, which will be placed ‘naked’ in the landscape. Together we will raise the trusses and experience the feeling of barn raising. The frames shall not function to hold up a roof, but they emphasizes on an autonomous way on constructions that normally are hidden inside the barns and farmhouses. Studying historical constructions can be a great inspiration for making contemporary variants.”
According to the Dutch artist, we have to look for the bases of contemporary architecture in rural architecture. We were searching in the library of the hosts of Csórompuszta, and were looking at the structure of houses in the area. We chose two typical elements: the chimney and the frames of the houses. We reflected to these with an abstract installation. The Barny is an unusual building: it is made of three frames, and has no walls. It is in the middle of the field and the beautiful specialties of the area are recognizable in the installation. We wanted to know how can we present our heritage in a playful, modern way by using methods of contemporary architecture.
photo: Márton Kőműves
Concept by Suzana Milinovic and Rufus van den Ban
“Sometimes things are very simple. To escape from work or other daily concerns, we go to a place called bar. Especially a bar can feel as a tiny corner at the end of the world; a confined space shared with its inhabitants. So we propose a really small bar, perhaps even the smallest ever. A bar designed around the bodies of a certain number of people that allows only very little movement without accidentally touching your neighbour. It creates those situations in public spaces which can be awkward and pleasant at the same time: you hear words which are not meant for your ears, feel elbows you didn’t expect to feel. Before you know it, everybody is involved in the same crazy conversation. This place is too small not to get involved! The idea is to, in a way, mould the structure around a number of bodies to allow space for people around the bar, under the bar, on top of the bar, space for a very small dance floor and, of course, some space for the bartender. During the building process we decide how to shape the building in order to invite happy accidents and clever solutions. Perhaps we decide to use left over material from other teams or unprocessed natural wood. This proposal is not a finished design! Its character can be defined by ‘live action detailing’ that happens, or is thought of, at the spot. We want the lively act of building to be a visible part of the bar, created collectively, not by one individual. In this sense wood is the perfect material; easy to handle and process, allowing improvisation. The proposition is rather old fashioned. It deals with our bodily presence in space, which is essential to our being in the world, and with the fact that we are in the world with others, we can only define ourselves in context of the others. Our proposal is a collective space that confines real closeness in contrast to the ubiquitous social media of Facebook and Linkedin.”
photo: Donát Kékesi, Suzana Milinovic and Márton Kőműves
Located in the heart of Budapest and created for the 2011 autumn / winter season, the new Nanushka retail space aims to emphasis the brand’s core values and contrast the sometimes overwhelming racket of the urban experience. The young Hungarian fashion designer Sandra Sandor handpicked a team of enthusiastic graduates after posting an ad in several design schools. The selected architecture students, namely Daniel Balo, Zsofia Dobos, Judit Emese Konopas, Dora Medveczky and Noemi Varga, arrived to the team from separate universities and different classes. Working together for the first time, they had no more than three short weeks to finish the project. Quick and creative solutions had to be found to complete the task within the short deadline. However, they faced other constraints: they had to come up with a design that would leave the interior unharmed (only minor drilling was permitted) and also had to work with a relatively low budget. Also, the retail space in question had an unusually elongated shape. These were the circumstances under which they would attempt to create a natural, warm interior that would be in harmony with the values of the Nanushka brand. As inspiration for their design they used the wilderness and elements from classical wedding tents and barn weddings. Accordingly, they gathered together raw materials such as cotton, linen, firewood and rusted steel for the design. First they created a rigging system for the 250 square meter canvas that would drape the interior by pulling cable wires below the ceiling. Running from front to back they were able to hoist the canvas into the air and let it fall and flow in a way that basically wrapped the entire retail space from the inside. They then sliced firewood into little circles and laid them out to create flooring. Small display stands were built from logs of wood that sprouted from the ground. Linen poufs and Ballon Lamps sharing the same cylinder shape strengthened the organic flow of the space, while the strict, geometric forms of the counter and fitting rooms, as well as the rusted steel racks created a firm counterpoint and a calm balance. Contrasts were also created with the choice of materials through the combination of rusty, rough, smooth and soft surfaces, all soothing variations of tranquil, clean, quiet white. The use of these elements and materials was highly eco-friendly as their recycling was actually the basis of the entire design concept.
Project information: Project: Nanushka Beta Store Location: Fashion Street, Budapest, Hungary Client: Sandra Sandor - Nanushka Design: Daniel Balo, Zsofi Dobos, Judit Emese Konopas, Dora Medveczky, Noemi Varga Construction: Tamas Lindwurm - Honti Kft. Lamps: Ballon Lamp Hungary Photo: Tamas Bujnovszky
The project in numbers: Gross area: 80 m2 Design and construction period: 3 weeks Lasting: November 2011 – February 2012 Canvas for the tent installation: 250 m2 Fire wood: 5 m3 Budget: 2000 €