Early this month at Design Miami/, Olson Kundig Architects celebrated the opening of “38 Beams,” a temporary collectors lounge named after the thirty-eight salvaged glulam beams that made up the structure. Originally milled in the 1950s, the Northwestern Douglas fir beams were once used to construct a Los Angeles building before being repurposed.
Approximately 15×30 inches around and up to 30 feet in length, 38 Beams formed a 2,400-square-foot lounge with an open lattice-work stacked 15-feet-high. The focal point of the space was a 28-foot Perrier-Jouët champagne bar lit by a chandelier of one hundred suspended light tubes designed by LILIENTHAL l ZAMORA.
More about the structure and images, after the break.
Formlessfinder of New York City has a vision “to liberate architecture from the constraints of form.” Samuel Medina of Metropolis Magazine recently interviewed the Princeton duo on contemporary architectural practice – fittingly naming them “Formal Renegades.”
“We like architecture,” says Garrett Ricciardi, with real sincerity. “We want to save architecture.” But from what? Ricciardi is one half of New York–based formlessfinder, the experimental—you might say radical—architecture firm he founded with Julian Rose in 2011, just after the pair completed a joint thesis at Princeton University. Their project, which laid out the blueprint for Ricciardi and Rose’s subsequent collaborations, advanced a daring proposition: to liberate architecture from the constraints of form.
“The basic idea of the formless is about freeing up architecture to make it about what we want it to be about,” Rose says. “The idea is that form has sort of gotten in the way,” he adds, before checking off a laundry list of offenders: parametricism, digital fabrication, blobs, minimalism. Where form has “always served to limit and control,” the formless, as the architects have come to define it, is subversive by nature. It’s an operation rife with uncertainty, producing “messy, equivocal, and, most importantly, generative” results.
La Maison au Bord de L’Eau, an unrealized beach house in Miami designed by architect, designer, planner and photographer Charlotte Perriand, has been built by Louis Vuitton for a Design Miami 2013 satellite exhibition. Designed in 1934, the house was first conceived for a design contest held by L’architecture d’aujourd’hui magazine with the aim of creating a simple, economical form of holiday lodging for the mass market. After winning second prize it was never built but, eight decades later, “Perriand’s studies prove quite contemporary in light of the advancements in wooden architecture.”
From the architects. Formlessfinder’s Tent Pile brings an intensely architectural intervention to Design Miami/, inventing a new building typology to provide shade, seating, cool air, and a space to play for the city’s public. The design practice, co-founded by Julian Rose and Garrett Ricciardi in 2010, approaches new projects with an interest in the specifics of geography — closely examining the spatial, social, and physical conditions of the location with which their structure will interact. They prioritize the use of available materials, committing to deploy them in ways that allow for reuse, an approach that produces what they refer to as “an architecture that can go from nothing to something and back again.”
Learn more after the break…
Formlessfinder, the New York-based architects, designers and outside-the-box thinkers won this year’s commission to build the entrance to Design Miami/. Tent Pile is a balancing act of aluminium and sand, the latter is often seen as an obstacle to overcome in architecture rather than the solution. But that’s the way these guys roll.
Each December, Design Miami/ commissions early-career architects to build a designed environment for the fair’s entrance as part of its biannual Design Commissions program. This year’s winning proposal, dubbed “Tent Pile,” was designed by the New York-based architectural practice formlessfinder. Its design harnesses the properties of sand and aluminum to create shade, seating, cool air and a space to play for Miami‘s public.
Nearly 50 years have passed since his death, but Le Corbusier can still make waves in the design world.
Corbu has become the talk of the Design Miami showrooms. Not only has a 1:1 model of Le Corbusier’s 1952 seaside villa, the Cabanon, been one of the most popular exhibits at the show (by Italian furniture company Poltrona Frau and the Le Corbusier Foundation), but another Corbu exhibit has also been one of the most hotly-contested.
Event-goers have cried foul at the Galerie Patrick Seguin, a gallery that sold chairs, tables, and sofas from Corbu’s government complex in Chandigarh (the Indian city Corbu helped design and plan) as part of its exhibition. While the gallery claims all the furniture (designed by Corbu and his cousin Pierre Jeanneret) had been neglected in India and now rescued, scholars are less than pleased that the furniture pieces have been removed from their intended buildings. As one scholar, Jean-Louis Cohen, an architectural historian and a curator for MOMA, told Architecture Record, “I’m revolted.”
Story via Architecture Record.
London-based architect David Adjaye was selected for the 2011 Designer of the Year Award by Design Miami – a global forum for design that highlights influential collectors, gallerists, designers, curators and critics from around the world, presenting annual fairs in Miami, USA and Basel, Switzerland. Design Miami praised Adjaye for his “ingenious use of materials and unique ability to showcase light coupled with his democratized approach to the architectural process.”
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