#tristan kobler

[ringvorlesungenszenografie]

Ringvorlesung & Master-Plenum // MITTWOCH // 04.07.18 ab 18:00 Uhr // Aula FB Design & SzenoPro / Tristan Kobler | Vom Kontext zur Kontur

Die Arbeitsweise des Architekten und Ausstellungsmachers Tristan Kobler verbindet streng analytische und frei assoziative Aspekte. Auf der einen Seite geht er strategisch vor: Der Kontext der zukünftigen Ausstellung wird akribisch studiert. Welche zeitlichen und örtlichen Rahmenbedingungen findet er vor? Welche „Kontaminierung“ hat stattgefunden, inwiefern ist der Ort vorbelastet, inwiefern positiv und inwiefern negativ besetzt? Das Thema wird ebenfalls durchleuchtet. Weshalb wird dieses Thema aufgegriffen und wie positioniert er sich dazu? Welche Message will die Ausstellung dazu vermitteln und welche die Gestaltung? Auf der anderen Seite lässt sich Tristan Kobler intuitiv leiten: Zufällige Situationen prägen die Gestaltung mit. Objekte oder Bilder, die ihm während der Projektphase im Alltag begegnen, fließen in die Arbeit ein. Gemäß seiner Auffassung gibt es keinen objektiven Blick; deshalb lässt er sich bewusst auch von seinen persönlichen Erfahrungen leiten. Ausstellungen sind entsprechend immer auch subjektive Werke der KuratorInnen und der DesignerInnen.

MASTER-PLENUM

Im Anschluss findet das letzte Master-Plenum des SoSe 2018 im SzenoPro statt um über die laufenden Masterabschlussarbeiten mit möglichst allen Betreuer*innen zu besprechen, unabhängig vom jeweiligen Stand - kurz vor dem Ende, gerade fertig oder noch in der Ideen- oder Konzeptionsphase. Auch andere Projekte können gerne in in lockerer Runde bei gemeinsamen kochen und diskutieren präsentiert werden. 

Die Organisation für das kulinarische Wohl beim Master-Plenum liegt - wie üblich - bei allen Teilnehmern, d.h. jeder bringt etwas mehr mit als sie / er zum satt werden benötigt und es wird geteilt. Damit wir schnell in die Gänge kommen sollte sich das Zubereiten nicht zu aufwendig gestalten (wir können die SzenoKüche verwenden). Das Master Plenum zählt nicht als RV.

[sushilize]

// 10 // Avian Excreta

Whilest working in Sicli with Tristan Kobler around urban contemporary archeology, i found beauty in one of the most undesirable signs of city life, namely bird excrement. 

Creating a jewelery line, exclusively inspired by the shapes of excrement found around Sicli, highlights the beauty of the shape without being distracted by the nature of the material. The jewelery is made out of polymer clay. Each piece is unique.

[architectnews]

Li18.Berlin Building, Lindower Strasse

Li18.Berlin Lindower Strasse, German Capital Tower Building, Residential Property Photos

Li18.Berlin Building on Lindower Strasse

4 October 2021

Design: Holzer Kobler Architekturen with zweikant architekturen

Location: Lindower Strasse, Berlin, Germany

Photos by Jan Bitter

Li18.Berlin Building News

The project on Lindower Strasse in Berlin, designed by Holzer Kobler Architekturen Zurich/Berlin in cooperation with zweikant architekturen (Cologne), is based on the contemporary aspiration of planning and implementing architecture in a sustainable and context-related manner.

With new residential and commercial units, existing commercial courtyards in the Berlin district of Wedding were repurposed and expanded, using timber hybrid construction methods.

A new seven-storey, tower-like building has been sympathetically built on the vacant lot and completes the typical urban Berlin block structure in a harmonic way. The “tower” is aesthetically connected with the new pavilion-like roof extension on top of the adjacent historic industrial building.

Due to the colour coated wood façade, the new building and roof extension produce a formal and subtly embedded unit. The buildings communicate equally with the existing building and the surroundings, accentuated by large format window openings. At the same time, the ensemble acts as a significant landmark.

Li18.Berlin – Building Information

Type: Densification and new construction | Commercial and residential units Architecture: Holzer Kobler Architekturen, zweikant architekturen Client: Lindower Straße 18 GmbH

Interior design: Holzer Kobler Architekturen, zweikant architekturen and schöningmosca Architekten Site management: Fuks & Wagner, Berlin Structual design: assmann beraten + planen, Berlin Timber construction: Mohrmann Bau GmbH, Wittstock/Dosse Fire protection: brandschutz plus GmbH, Berlin Building physics: knp.bauphysik, Köln Light Design: Lichtvision Design Berlin Landscape architecture: Nolte Gehrke, Berlin Completion: October 2020

Photography © Jan Bitter

Plans © Holzer Kobler Architekturen

Holzer Kobler Architekturen

Holzer Kobler Architekturen was established in Zurich in 2004 by Prof. Barbara Holzer and Prof. Tristan Kobler. Today, the studio operates internationally out of Zurich, Berlin, Cologne and Nyon and covers a wide spectrum of competences including urban planning and architecture, scenography and design. A multidisciplinary team made up of architects, designers, graphic artists and curators define its specific orientation in close collaboration with public and private sectors as well as a broad network that encompasses industry, science, art and culture.

The work of Holzer Kobler Architekturen focuses on programmatic innovation, aesthetic identity and the characteristics of context in their handling of archi¬tecture and space. The concept of Architekturen (architectures) can therefore be understood as an opening and extension of spaces for thinking as well as various other activities in architecture.

Artistic integrity, cultural and social values as well as sustainable developments within constantly changing demands regarding habitational and working environments are fundamental to all projects, from masterplanning to detail design. Instead of an easily recognizable form of articulation, the distinguishing feature of every project is its distinctiveness. The result is a trove of novel ideas reflected in the large number of unique creations.

Holzer Kobler Architekturen

Li18.Berlin Buildings images / information received 041021 from Holzer Kobler Architekturen

Location: Lindower Strasse, Berlin, Germany, western Europe

Berlin Architecture

Contemporary Architecture in the German Capital City

Berlin Architecture Designs – chronological list

Berlin Architecture News

Berlin Architectural Tours

New Berlin Buildings

Modern Architectural Designs in the German Capital – Selection

EMBASSY, opposite Koellnischer Park, Mitte Design: TCHOBAN VOSS Architekten photograph © Roland Halbe EMBASSY Berlin Buildings

Cube Berlin, Washington Platz Design: 3XN, Architects, Denmark photo © Adam Mørk Cube Berlin Building

Wave Apartments, Stralauer Allee 13/14 Architects: GRAFT Gesellschaft von Architekten mbH photograph © BTTR GmbH Wave Apartments

Berlin Architecture

Important Berlin Buildings

Jewish Museum Berlin building Design: Daniel Libeskind Architect Jewish Museum Berlin

Neues Museum Design: David Chipperfield Architects Neues Museum

Berlin National Gallery Design: Mies van der Rohe Architect National gallery building

Berlin Architects

Holzer Kobler Architects

Comments / photos for the Li18.Berlin Buildings design by Holzer Kobler Architekturen page welcome

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[design-china]

Conversation: BIDT 2011

Beijing International Design Triennial (BIDT) curators, Tristan Kobler, Barbara Holzer and Li Degeng, came together earlier this year to discuss "Good Design" in China: how design is currently perceived here, what it can become, and whether China is ready to consider "design" and "culture" hand-in-hand. Here's what they had to say on the matter.

Design China (DC): What does “Good Design” mean (to you)?

Tristan Kobler (TK): "Good Design" is not only about aesthetics, but also a consideration of culture. The definition of "Good Design" has definitely changed over the past few years, and people are now asking many more questions. Is it good in terms of how it has been produced? Is it environmentally friendly or sustainable? When we design now, we think about social participation, as well as the future.

Li Degeng (LD): Although "Good Design" can be different things, to me it is fundamentally about sharing knowledge. In our exhibition, we've tried to curate design pieces that are relatable to Chinese culture and daily life.

DC: What role do you think "responsible design" should play?

Barbara Holzer (BH): I think designers need to start asking themselves how they can make good design accessible to others. It doesn’t necessarily have to be expensive or luxurious, but depends on being creative with our current means – possessing the skill to see things and to use this quality to bring about transformation. I believe, for instance, that recycling is a key element of "Good Design". We should analyse what is already around us – reuse, alter and appropriate to achieve an improved design. How many times can one design be copied?

TK: What is also interesting is the rise of DIY culture. There is a lot more emphasis on self-creation now, rather than depending on mass-production. Designers are focusing less on "perfect design" and exploring self-making to create unique pieces.

DC: A large portion of your exhibition looks at reviving old traditions and techniques for contemporary design. Have you looked at cultural examples of this in Beijing or China?

LD: Yes, we have a project that focuses on cultural heritage and hutongs…

BH: I have found that intermarriage of culture happens all the time in Beijing, often combined with traditional values. We hope to create a new reading of culture.

LD: Over the last 20 years, Beijing has become an international city, yet many contradictions can be found here. It is also constantly evolving. In these changes, there is dynamism – energy. Beijing's conflicts are probably one of the most charming aspects of the city.

TK: Yes, tension can bring great energy to a city.

BH: But I don't think it is the same energy found in European cities [now]. Back in 1992, the energy in Berlin was amazing. This was at a time when the city had to reinvent itself, and Beijing reminds me of that a little. It's dramatic and exciting here.

LD: I think China has reached a point where we have to learn to respect rather than worship tradition. We should use Chinese tradition to mould and shape the future.

TK: I think the term "tradition" is too loose. We're not referring to "tradition" in the tourist sense, but when it becomes a living culture. Then it gets really interesting.

DC: Do you think Beijing is ready for "Good Design"?

LD: The current problem we have in China is that it is too easy to get into design colleges. To practice "Good Design", we need intellectuals that view design as a marriage to culture. Too many people here think of design as a purely technical subject.

BH: We have to consider how we can sensitise people to "Good Design". Rather than starting with form, there needs to be a story that people can relate to – a context.

TK: When we start to discuss "responsibility", we need to ask questions like "What is required in ordered to live?" Can we, for example, live without iPads and mobile phones? We need to look at our current education systems and start altering them accordingly – teach younger generations to question the codes of living. By questioning how we live and what societal values we teach [our children], we facilitate dialogue about change.

LD: At the moment we are discussing "Good Design", but design can also be bad. The current state of design in China illustrates this; for example, right now there is a huge market here for Louis Vuitton. I have seen instances where women earning between 3,000-4,000 RMB a month aspire to buy 20,000 RMB Louis Vuitton handbags.

TK: And this is where re-education comes in. Design is symbolic in this sense, as you're buying a status. You are either excluded or included in a specific social group according to this status. It's all psychological, but what it does show is that design can be a mirror of society. Now, in Europe, most people have the capacity to buy a Louis Vuitton bag if they wanted to. It has become less of a status symbol as a result. People are increasingly looking towards one-off designs that breathe individualism and exclusivity now.

DC: What do you hope to achieve via your exhibition?

TK: Our exhibition - Good Guys - is almost like an umbrella that encompasses the other four BIDT exhibitions taking place. We are considering the theme, "Good Design", as a whole rather than focus on one particular aspect of it. Almost like an overview. I guess our intention is for each viewer to seek his/her own definition of "Good Design".

LD: I actually disagree! Our exhibition is taking place in the National Museum where many people wander aimlessly. I think it may be difficult for visitors unfamiliar with design to formulate their own understanding of the theme, but at least they will start thinking about it! As I mentioned earlier, one of our aims is to exhibit design that is connected to daily [Chinese] life. As a curator, I want to facilitate discussion and illustrate that design is not only about top-end luxury, as most here perceive it to be, but that it can be more than that. It can be invisible and/or integrated into daily rituals: design can be accessible to the masses.

BH: I would like to slow people down – to make them concentrate, and give them time to reflect. Exhibitions for us are like experiments: we never know what will be achieved, but at least we can try!

Originally compiled for Notes on Design; edited by Kate Andrews.