11 / 2015

STANDARD PRIMITIVES
Non-standard projections and the willing suspension of disbelief
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sp1_web Exhibition View



sp2_web Exhibition View



sp3_web Exhibition View



sp12_web Digital Study - 4243 x 6000 Pixel










06 / 2015

WIEN MUSEUM NEU
Competition Entry
by OpenFields and Christian Tonko
more wmn1_web Schematic rendering of the new tower in front of the existing building
wmn2_web Elevation Karlskirche



wmn5_web Section BB





wmn8_web Siteplan 1:500







11 / 2014

CAMERA LUCIDA
A studio for drawing, painting and medium sized sculpture
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cmrlcd.jpg When approaching it is possible to see through the building


cmrlcd.jpg The original motive of a small factory - a box with a single shed roof - is perceivable


cmrlcd.jpg To the SW the building opens towards the neighbouring residential building


cmrlcd.jpg The lower level is for painting and sculpture while the upper level is for drawing and small watercolours


cmrlcd.jpg The studio receives a great amount of daylight through the tilted glazing facing SE


Photos by EDUARD HUEBER









Earlier








Standard Primitives refers to simple geometric objects such as a sphere, a cube or a cylinder. In digital modelling software these elementary geometries are often used as basic matter from which much more complex models are being developed.
In this case the objects are being transformed through non-standard projections. For example a sphere is being dissolved into a certain amount of points with a brightness property. These points are then not linearly projected onto the image plane but are projected twice via a curved surface. The result are bent geometries some of which resemble celestial bodies floating through space. The surfaces of these bodies show intricate details of elevation and depression.
In the exhibition one of these bodies is installed as a free-standing plane with small circular perforations each stemming from one original point of the original object. Thus the installation is literally composed of filtered light just as a stained glassed window in a church.
The affinity of the visual language of religious imagery and the depiction of celestial bodies in science fiction movies becomes apparent. Images of unreachable stars and planets in the infinity of space act similar to religious icons in inspiring awe and overwhelming the viewer. To fully engage with either religion or science fiction it is necessary to find what Samuel Taylor Coleridge called a willing suspension of disbelief. It is necessary to believe.


Standard Primitives was on display at the Silver Linings Exhibition curated by EyeTry.






























































































































































































































































The Wien Museum is located at the edge of Karlsplatz the biggest open square within the historic Vienna city fabric. It its surrounded by remarkable historic architecture most notably the Karlskirche which dominates the eastern part of the square. Karlsplatz is a chaotic, unplanned space with a rich but turbulent history and its potential as a valuable public space of immense quality has only been discovered in recent years.
Historically the square is a leftover of the Glacis - the open space between city walls and the suburbs. Even today we understand this intermediate condition as a public space where various pavilions house different recreational functions. In that sense we propose the addition of a new pavilion which stands freely within the square and is elevated so the park landscape remains uninterrupted.
Our concept divides the new museum complex into 3 parts: the existing building, the new floating tower and the subterranean connection level. The existing building houses the permanent exhibition as well as the museum cafe, the tower contains temporary exhibition spaces and public studios and the connection level contains the museum lobby as well as the large temporary exhibition space.
Wide staircases continue the Karlsplatz landscape into the lower connection level and lead visitors towards the main entrances passing the public heart of the building - the event space underneath the floating tower - which is used independently from museum opening hours and in summer is being extended to the outside becoming a stage for the amphitheatre.
Circulation through the building is flexible and can be experienced in many ways. From the lobby all parts of the exhibition as well as other public functions are directly and independently accessible. At the same time it is possible to move through the entire building in a closed loop. The most spectacular view of the Karlskirche from the rooftop bar is always open to the entire public.









































































































Project Description. This small studio for drawing, painting and sculpture acts as a visual device itself by bidirectionally framing its surroundings.
To the southeast a great amount of daylight enters through the tilted glazing. To block direct sun if desired and to enable the modulation of light and climatic conditions exterior screens are deployed. To the northwest a system of frames is installed which enable bronze sculptures to be suspended in front of the glass and in direct sight of the working artist. In that spot the bronze sculptures receive their natural patina while being staged as a motive of reflection and confrontation for the artist.
The building features two separate levels which serve different functions. The upper level is designed to be a workplace where most of the sketches and small water colours are done while on the lower level medium sized canvases and small sculptures will be produced.
The semi-industrial character of the project stems from the reference to the typology of the shed roof factory. Here this typology is being reduced to its simplest case - a single box with a single skylight.
The use of raw and untreated materials contributes to the character of a workshop. The facade panels are made from weathering steel while the interior surfaces consist in raw concrete, raw steel and untreated oak.
The final configuration of the project remains determined by site conditions as it is fitted into the plot boundaries while negotiating a desired minimal disturbance of the existing residential building, height restriction and the hillside situation with certain requirements of floor area and ceiling height.
On an underlying conceptual level the design is inspired by an ancient optical device - the camera lucida. On the one hand it is very literally a bright chamber - constructed to achieve good light conditions which can be modulated to desired levels. At the same time the studio itself acts as an optical framing device similar to the original function of the camera lucida as a drawing aid.