BIK ARE BEK Portfolio Bika Rebek 2004-2012
THANK YOU IN GRAPHIC ORDER
Johan Tali Greg Lynn Julcsi Futo Matt Choot Sven Fuchs David Boira Hani Rashid Stefan Ritter Kadri Kerge Siim Tuksam Roshi Porkar Peter A Vikar Ursula Rebek Helena Rebek Maja Ozvaldic Zoe Coombes Brennan Buck Dominika Oya Valentina Soana Adebayo Babajide Damjan Minovski Katharina Sporrer Lise Anne Couture Christoph Kumpusch
PREAMBLE
To create a visual anthology of my work during the last eight years I decided to use six associative terms that resonate with the wide range of topics the projects have been revolving around. The words are quite generic and sometimes split into parts to create multiple levels of meaning. In that sense they should not be seen as sharp thematic delineations but rather as loose pools of associations. Each of the projects has a main tendency that makes it fall into place but it could also swim in several other pools as well. By deciding that a project becomes part of a particular group it starts to be looked at through the lens of that particular set of associations.
Rearranging projects in that way produced unexpected adjacencies and a new way for me to look at and compare them, as projects from different times and context would for k_\ Ñijk k`d\ jkXe[ e\ok kf \XZ_ fk_\i YXj\[ on this matrix. This approach is inspired and based on Sylvia Lavins ‘Crib Sheets’ [1] and half of the words also overlap with her ‘architectural buzzwords’. Volume, Happening and Objects are categories that are not present in her book. Each of this six chapters holds three to four projects and can be taken out as a separate unit in the form of a small booklet. This way the work can be sampled and looked at in random order, as the groups matter but not their sequence.
BIKA REBEK 20 Thompson Street 5C 10013, New York, NY
BIK. ARE. BEK PUBLICATIONS BITS AND PIECES TIMELINE NOTES
VOLU . METRIC PANAMA SUPERCHARGE KEELUNG DIE NEUE ANGEWANDTE FUNGiCULTURE
SUR . FACE FACTOREEF HOUSE IN RIO GRAFT
OBJ . ECT SELTANICA CHILLER LECTUTOPIA
MATTER . IAL TRANSLUCENT SMOLTEN MIRROR ASYMPTOTE INTERIORS
HAPPY . NING STIP SHOES TECHNICOLOR BLOOM
COMM . UNITY SPACE COLONY LIQUIFY SOLTA ISLAND
SELECTED
PUB LIC ATI ONS
Visual Catalog, SpringerWienNewYork, 2010
ORIS No.56, Zagreb, 2007
ONLINE PUBLICATIONS THE NEW YORK TIMES HUFFINGTON POST THE GUARDIAN EVOLO DEZEEN SUCKERPUNCHDAILY FASTCODESIGN ANNOBOOKS
The Ultimate Bed For Fighting Couples LECT-UTOPIA CAN BE SPLIT APART, PUT BACK TOGETHER AGAIN, AND RECONFIGURED COUNTLESS OTHER WAYS TO ACCOMMODATE THE MOST ANTAGONISTIC COUPLES Jf pfl _X[ X Ñ^_k% @] pfl c`m\[ `e X efidXc$j`q\[ _flj\# you’d passive-aggressively curl up in bed, and your partner would get the hint to go sleep on the couch. But what if you live in a studio? Or your roommate’s freeloading friend already claimed the couch? Enter LECT-UTOPIA, a conceptual bed that can be split apart, put back kf^\k_\i X^X`e# Xe[ i\ZfeÑ^li\[ Zflekc\jj fk_\i nXpj kf accommodate even the most antagonistic couples. “In our fast moving lives the bed has become the last place to rest and it usually is the biggest and heavi-
est piece of furniture in our apartments,” designer Bika I\Y\b# Xe XiZ_`k\Zk Xk k_\ Ñid 8jpdgkfk\# jXpj% Å@ejk\X[ of looking at the bed as a default blank canvas, this proposal suggests a bed-scape for a multitude of uses.” In Rebek’s vision, Lectutopia would feature two blob-like mattresses that could be variously combined with eight different blob-like modules. The modules would include cushions, breakfast tables, bed stands, and storage units that could convert into seating when detached from the mattresses. Lectutopia is only a concept, so it isn’t clear what the modules would be made out of. But to judge by the renderings, they’d be pretty soft--soft enough, let’s hope, to double as a pillow in which to scream.
Lect-Utopia: Designer Bed Solution For Fighting Couples How many times have you craved your own bed? Whether he’s snoring, the room’s far too hot or the sleep fairies simply won’t come, sometimes we’d all kill to kick our partner out of bed just to enjoy the bliss of sleeping solitude. Well, a recent entrant to the NWW design may have the solution. The Lect-Utopia is a conceptual bed that can be split XgXik# glk YXZb kf^\k_\i X^X`e# Xe[ i\ZfeÑ^li\[ Zflekless other wyas to accommodate even the most antagonistic couples, according to Fastcodesign. As just one of the nominees for the Austrian furniture company Neue N`\e\i N\ibjk kk\Èj Ñijk$\m\i [\j`^e XnXi[j# `kÈj lg against stiff interiors competition from innovative chairs, tables and lights. Design lovers can vote for their favourite submissions or just wait for the winner to be announced September 28, during Vienna Design Week. Neue Wiener Werkstätte are looking for “innovative designs in the area of interior design... at a high level, irrespective of commercial purposes”.
Do you think its search for new trends, has hit on a winner? According to the designer’s website the Lect-Utopia `j i\ZfeÑ^liXYc\ Y\[ ]fi [i\Xd`e^# i\X[`e^# cfm`e^# \Xking, procrastinating, watching movies, chilling, thinking and sometimes also sleeping. “In our fast moving lives the bed has become the last place to rest and it usually is the biggest and heaviest piece of furniture in our apartments. Instead of looking at the bed as a default blank canvas, this proposal suggests a bed-scape for a multitude of uses. “Two mattresses can be combined in different ways with eight different modules. The modules form giant pillows, breakfast tables, bed stands, storage units or they can become individual seating elements when detached from the mattress. Those elements can be freely chosen by the user from a catalog, creating a fully customized unit.” The website states that the label Lectutopia come ‘lectus’ meaning bed and ‘topia’ meaning landscape.
Panama Supercharge is a Dialogue of Mass, Surfaces, Patterns, and Transparency The project is part of an architectural research carried out at the University of Applied Arts in Vienna. It engages in a creative dialogue with notions of mass, developable surfaces, patterns and transparency. Designed by Bika Rebek, under the guidance of Gregg Lynn, this Final Thesis project explores the threshold between industrial structures and nature. While waiting for their cruise ship to pass the lock, the visitors of the Panama Canal are kept exposed to the exuberant diversities of the area through biomimicry of the metal-sheet envelope and heavy masses of concrete. The eXiiXk`m\ f] k_\ fi^Xe`Z Òfn `j ]i\\ ]ifd `ek\iilgk`fe% @estead of juxtaposing the visual abundance of the natu-
ral surroundings with restrained imagery of the waiting room, the design introduces visitors to a range of ambiences. Moving through spaces with different identities and climate zones, they encounter planthouses, aquariums and exhibitions, conceived with the purpose of elaborating on the richness of the area surrounding the Panama Canal. One side allows for spectacular views onto the water lock, while on the other side visitors take a walk into the jungle canopy. The fragility of the façade mimics k_\ [\ej\ ale^c\ ki\\kfgj# Xccfn`e^ eXkliXc c`^_k`e^ kf Ñcter through the interior and blur the line between spaces. The new building for visitors seems to emerge from the jungle and encompass the locks, reclaiming its territory.
EXHIBITION TIDBITS
Seltanica for Cmmnwlth. ICFF Group Show: No Frontier, Mondo Cane, NYC 2012
High Resolution, Installation Design for Brennan Buck, Frankfurt,2008
Smolten Mirror for Cmmnwlth. Mattermade Collections, Matter, NYC 2011
BITS AND PIECES
3D modeling and milling for designer Philip Aduatz 2009-2010
Milling Greg Lynn’s ‘Secret Table’ for the Formless Furniture exhibition at the Museum of Applied Arts in Vienna 2009
Tension, Model for Competition with Siim Tuksam, Vienna 2012
Boffo fashion competition, NYC 2011
Concrete furniture for Stadthalle, Vienna 2009
TIMELINE NEW YORK CITY USA 2011 Architecture Masters
LONDON UK
BERLIN GERMANY
2004 High school Graduation
KINGSTON JAMAICA
VIENNA AUSTRIA
LJUBLJANA SLOVENIA
1986
EUROPE
CARRIBEAN
USA
NOTES [1] Sylvia Lavin, Crib Sheets, (New York: The Monacelli Press, 2005) [2] Peter Sloterdijk: Bubbles: Spheres I (Los Angeles, Semiotext(e), 2011), 12 [3] Neil Denari Crib Sheets, (New York: The Monacelli Press, 2005) [4] Antonio Torres, Michael Loverich, The Bittertang Mind: Babies (bittertang.com, 2012) [5]Madonna, Like a Virgin (Sire Records, 1984) [6] Bruce Sterling, ‘Literary Freeware: Not for Commercial Use,� lecture, Rice Design Alliance, March 2, 1994 [7] translated from German, Robert Pfaller, Wofur es sich zu leben lohnt (Frankfurt am Main, S. Fischer Verlag, 2011) [8] Sylvia Lavin, Crib Sheets, (New York: The Monacelli Press, 2005)
Rendering credits ©L-Luxigon ©V-Visual Arch ©M-Damjan Minovski
PORT FOLIO
VOLU Â METRIC Â I will only remain on the trail of Platonic references in the sense that I will develop, more obstinately than ususal, the hypothesis that love stories are stories of form, and that every act of solidarity is an act of sphere formation, that is to say the creation of an interior. [2]
Peter Sloterdijk, Spheres
VOLUMETRIC
STUDIO LYNN
DIPLOMA VISITOR CENTER AND GREENHOUSE PANAMA 2011
“Panama Supercharge� is an architectural dialogue between mass and fragility, expressed as thin patterned developable surfaces out of metal sheets and heavy masses out of raw concrete. The building is adjacent to the new pair of locks at the Panama Canal, creating an environment for cruise ship passengers to pass the time while they are waiting for their ship to be taken through the lock. In the fastest scenario visitors move through a condensed display of the astonishing biodiversity of Panama in only one hour, experiencing highly varied, densely packed atmospheres. Through shading tecniques and different material properties of metal an d concrete the different climate zoneas in the planthouses, aquariums and exhibitions are achieved by natural ventilation. The central space houses the main shows and bistros serving local specialties. One side allows for spectacular views onto the water lock, on the other side visitors take a walk into the jungle canopy. The building becomes a threshold between an industrial structure and nature.
GRADUATE ARCHITECTURE AWARD FINALIST
WINNER 2011 LONDON AT ANNOBOOKS
VOLUMETRIC
VOLUMETRIC
FLOOR PLAN LEVEL 3
GREENHOUSE INTERIOR
20m
VOLUMETRIC
SECTION THROUGH MAIN HALL AND GREENHOUSE
20m
VOLUMETRIC
PHYSICAL MODEL 1;100
VIEW FROM UNDERNEATH
VOLUMETRIC
PLAN DETAIL
VOLUMETRIC
LONG SECTION
AERIAL VIEW
20m
VOLUMETRIC
PHYSICAL MODEL 1;2000
PHYSICAL MODEL 1;500
VOLUMETRIC
VOLUMETRIC
VOLUMETRIC
ASYMPTOTE ARCHITECTURE DESIGNER PORT TERMINAL TAIWAN 2012
The Keelung Port Terminal is designed as an Icon of change for the industrial port of Keelung, a small industrial port town just an hour from the metropolitan area of Taipei. Asymptote’s proposal is based on integration of public life throughout the day. A large covered area in the center of the building provides protection from the common and heavy rains in this area- Keelung has extremely high precipitation. At night the area under the commercial part is activated and turns into a night market- a traditional and favourite taiwanese pastime. When the terminal is not active the promenade along the water opens up. The idea of involving the public continues on the interior where a large ramp is spiraling up and around an interior atrium. The atrium is visually connected to the tower element through a continuous glas element. The tower houses all administrative parts of the port authority and a new destination rooftop restaurant for the city of Keelung. I was responsible for designing and 3d modeling the overall massing and all exterior surfaces of the project as well as overseeing and art directing all renderings.
2ND PRIZE INTERNATIONAL COMPTITION
VOLUMETRIC
VOLUMETRIC
WATERFRONT ELEVATION
AERIAL OVERVIEW
20m
©V
VOLUMETRIC
APPROACH FROM THE HARBOR
©L
VOLUMETRIC
FLOOR PLAN 2nd LEVEL
INTERIOR RAMP
20m
©M
VOLUMETRIC
ATRIUM AT NIGHT
CANOPY AT NIGHT
©L
©L
VOLUMETRIC
STUDIO WOLF PRIX
SECOND YEAR REDESIGN FOR THE UNIVERSITY OF APPLIED ARTS VIENNA 2005
A museum and an University for Applied Arts - the aim of this project is mixing these and creating a hybrid, symbiotic atmosphere. It is an advantage for visitors and students to combine two typologies in one building - students can show their works to the public and the visitors have access to parts of the university and can meet emerging artists at work. The studios are open, interconnected spaces.
VOLUMETRIC
THE NEW ANGEWANDTE
VOLUMETRIC
PERSPECTIVE
COURTYARD VIEW
VOLUMETRIC
PLAN LEVEL 7
COURTYARD
20m
VOLUMETRIC
STUDIO LYNN
9. SEMESTER MUSHROOM GROWING FACILITY SOUTHERN FRANCE 2010
FUNgiCULTURE is a mushroom growing facility located in southern =iXeZ\% K_\ XiZ_`k\ZkliXc XdY`k`fe `j kf i\[\Ñe\ k_\ i\cXk`fej_`g Y\tween mass and void by means of a contemporary surface language. The site is located on the countryside, close to the “Les Salines Royales”, a salt processing plant. Visitors and workers get to this area mostly by car; they can drive directly onto the site and park underneath the building. For pedestrians a ramp is leading from the street to the outdoor space. The architecture is perceived as an object in the landscape. The outdoor room underneath the buidling becomes a market place and a meeting spot for the local community. From there visitors already catch glimpses of the production area. There are two distinct spatial qualities on the inside; on the one hand the open, colorful space for visitors and workers and on the other hand the cavernous rooms where the fungi are grown.The growing rooms rest on the ground emphasizing their weight, while the inhabited areas are elevated, allowing for views and creating the sheltered outdoor space underneath. The exterior is connected to the central inhabitable space through deep cuts that reveal the depth of the massive architecture. The visitor zone is colored bright red, creating a vivid atmosphere for a cafe and a small shop. The yellow area in the middle is for production and packaging of the harvested mushrooms. Deep openings formed by cuts radically frame the surrounding landscape. In the back the hues turn blue to create a calm environment for research and administrak`fe f]ÑZ\j% K_\ Zfcfij Yc\e[ `ekf \XZ_ fk_\i# \dg_Xj`q`e^ k_\ Yclii\[ programmatic transitions. The poche spaces contain one main growing room and two smaller ones for testing and experimentation, smaller cavities are used as restrooms and staff changing rooms. By reexamining the classic architectural themes of mass to void and interior to exterior relationships, FUNgiCULTURE creates a new kind of atmospheric industrial architecture.
FEATURED STUDIO LYNN PROJECT FEATURED ON STUDIOPLEX
VOLUMETRIC
FUNGICULTURE
FUNGI CULTURE
VOLUMETRIC
CROSS SECTION
PLAN LEVEL 3
10m
10m
VOLUMETRIC
GHOSTED VIEW
AERIAL PERSPECTIVE
VOLUMETRIC
PHYSICAL MODEL
MODEL STRUCTURE
VOLUMETRIC
PHYSICAL MODEL
PERSPECTIVE
VOLUMETRIC
PANAMA SUPERCHARGE KEELUNG DIE NEUE ANGEWANDTE FUNGiCULTURE Volume is the quantity of three-dimensional space enclosed by some closed boundary. Mfcld\ `j \jj\ek`Xc kf X [\Ñe`k`fe f] XiZ_`k\Zkli\ Xe[ it is the only one of the six terms that is exclusive to the discipline in the sense that it inherently describes an interiority. 8 [`]]\i\ek nXp kf [\Ñe\ `ek\i`fi`kp nflc[ Y\ Xj k_\ space enclosed between the human and the architectural body. In most cases the human body is pliable, curvilinear and constantly changing, while the architectural body is stiff, orthogonal and static. Although we are used to this dichotomy and there are certainly many practical arguments supporting it, I am interested into the potentials and spatial implications of the dynamic and curvilinear language of organic bodies. All four projects in this section are representative of that i\j\XiZ_ Xk [`]]\i\ek jkX^\j% K_\p Xcc j_Xi\ Xe X]Ñe`kp towards complex curvilinear geometries and notions of jgXk`Xc Zfek`el`kp% @ek\i`fi [`m`j`fej Xi\ [\Ñe\[ Yp mfclmetric changes rather than abrupt physical boundaries j_Xigcp j\gXiXk`e^ iffdj% K_`j i\jlckj `e Òfn`e^ jgXZ\j n`k_ le[\Ñe\[ Xi\Xj ]fi jgfekXe\flj fZZlgXk`fej leading seamlessly from one volume to the next. The aspect that distinguishes architectural volumes from mere objects is the question of perforation and patterning. The architectural nature of the project is deÑe\[ n_\e X i\cXk`fej_`g Y\kn\\e flkj`[\ Xe[ `ej`[\ is established and the volume becomes inhabitable. In that sense the earliest project in this portfolio is the purest example of an architectural volume. It creates
bubbles to describe spaces of activity and the openings Xi\ [\Ñe\[ Yp Zlk$flkj% The most recent project in contrast - Keelung Port Terminal Competition- is a single shell, encompassing different types of program within one volume. However it ]\Xkli\j X jg\Z`Xc b`e[ f] [\Ò\Zk`fe $ `k ]fc[j YXZb lekf itself to create an intermediate condition that is neither inside nor outside. My thesis project Panama Supercharge poses a different question - at what point will jgXZ\ Z\Xj\ kf Y\ [\Ñe\[ Yp mfcld\ Xe[ klie `ekf d\i\ structure? And if the jungle is intentionally allowed to overgrow the structure, when does it turn into nature? The volume starts to intertwine with its surroundings. CXjkcp =le^`Zlckli\ [\Ñe\j X j\Zfe[ fi[\i f] mfcld\$ the poché- which is the space between the outer and inner architectural surface. This space becomes so thick in certain areas that it houses parts of the program. Because of the massivity of the poché the interior spatial arrangement is disparate from its exterior appearance. @k `j fYm`flj k_Xk Xcc f] k_\j\ gifa\Zkj Xi\ jkife^cp `eÒlenced by the logic of modeling software which encourages the creation of closed solids. It makes the 3d model dfi\ \]ÑZ`\ek# Zc\Xe\i Xe[ \Xj`\i kf Yi`e^ `ekf k_\ i\Xc world by means of 3d printing, laser cutting or milling. The advantage of this kind of modeling is that the designer is intuitively not thinking anymore in categories f] Òffi gcXk\j# nXccj fi Z\`c`e^j# Ylk `e Xe lei\jki`Zk\[ volumetric way.
SURFACE
SUR Â FACE Whether superflat, topological, faceted, illusionistic, or dematerialized, surfaces are like fly paper: they are designed to pick up codes, concepts or performances with ease. [3] Neil Denari
SURFACE
STUDIO LYNN
WITH JULCSI FUTO AND STEFAN RITTER 6. SEMESTER BOAT FACTORY CROATIA 2009
K_\ YfXk ]XZkfip `j [\Ñe\[ Yp X cXi^\ jZXc\ jdffk_cp le[lcXk`e^ iff] _\c[ Yp Xe `eki`ZXk\ jk\\c kiljj jkilZkli\% @k Zfm\ij X j`e^c\ jgXZ\ gXik`k`fe\[ fecp Yp jkilZkliXc \c\d\ekj% K_\ gifd\eX[\ fe k_\ iff] Zi\Xk\j Xe XkkiXZk`m\ glYc`Z ^ifle[ ]fi k_\ kfli`jk`Z kfne :i\j% N_\e jkifcc`e^ Xcfe^ m`j`kfij ZXe ^c`dgj\ `ej`[\ k_\ Y`^ _Xcc Xe[ nXkZ_ _fn k_\ pXZ_kj Xi\ gif[lZ\[%
PUBLISHED IN ORIS MAGAZINE
PUBLISHED ON DEZEEN
SURFACE
SURFACE
ELEVATION
SECTION
COLUMN DETAIL
SURFACE
INTERIOR
AERIAL PERSEPECTIVE
SURFACE
EXPLODED VIEW OF THE ROOF
COLUMN DETAIL
SURFACE
CEILING DETAIL
AERIAL PERSEPECTIVE
SURFACE
ASYMPTOTE DESIGNER PRIVATE RESIDENCE RIO DE JANEIRO 2011
K_\ :_fi ?flj\ `j X j`e^c\ ]Xd`cp _flj\ `e I`f [X AXe\`if# Zcfj\ kf :fgXZXYXeX Y\XZ_%
SURFACE
CHOR RESIDENCE
SURFACE
PLAN SECOND LEVEL
COURTYARD PERSPECTIVE
('d
SURFACE
SECTION
('d
SURFACE
COURTYARD STUDIES
PHYSICAL MODEL
SURFACE
PHYSICAL MODELS
SURFACE
GRAFT ARCHITECTS DESIGNER HINES APARTMENTS ?FLJ< BF:? BERLIN 2007/2008
=fi ?`e\j 8ggXikd\ekj 9\ic`e n\ \ogcfi\[ X cXe^lX^\ f] [ipnXcc ZfejkilZk`fej Xe[ X d\k_f[ f] Zlkflkj# k_Xk j\Xdc\jjcp `ek\^iXk\ j\Xk`e^# Y\[j Xe[ b`kZ_\eZflek\ij% ?Xlj BfZ_ `j X j`e^c\ ]Xd`cp _flj\ ]fi X pfle^ [fZkfi Xe[ _`j n`]\ fe k_\ flkjb`ikj f] 9\ic`e% N_`c\ @ nXj nfib`e^ fe k_\ gifa\Zk ZfejkilZk`fe _X[ Xci\X[p Y\^le# jf @ _\cg\[ [\j`^e`e^ Xe[ [iXn`e^ [\kX`cj Xe[ dX[\ `ek\i`fi [\j`^e Xe[ ^Xi[\e gifgfjXcj%
SURFACE
GRAFT INTERIORS
SURFACE
INTERIOR RENDER STUDIES
SURFACE
INTERIOR RENDER STUDIES
SURFACE
INTERIOR PERSPECTIVE
INTERIOR PHOTOGRAPH
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INTERIOR PERSPECTIVE
INTERIOR PHOTOGRAPH
SURFACE
FACTOREEF HOUSE IN RIO GRAFT INTERIORS
J`eZ\ k_\ 0'j `k _Xj Y\\e Zfddfe Xdfe^jk [`^`kXc [\j`^e\ij kf gi`m`c\^\ k_\ j\ej\ f] j`^_k fecp% K_`j i\[lZk`fe`jk XggifXZ_ _Xj c\[ kf XYjkiXZk Xe[ [`j\dYf[`\[# k_fl^_ m`jlXccp \olY\iXek ]fidXc \og\i`d\ekj% Dfi\ i\Z\ekcp n`k_ `eZi\Xj\[ Zfdglk`e^ gfn\i Xefk_\i j\ej\ _Xj Y\\e Yifl^_k `ekf gcXp$ k_\ j\ej\ f] kflZ_% N_`c\ `k `j jk`cc [`]ÑZlck kf j`dlcXk\ jd\cc Xe[ kXjk\ `e X k_i\\ [`d\ej`feXc df[\c# hlXc`k`\j c`b\ jf]ke\jj Xe[ _X`i`e\jj ZXe Y\ m`jlXccp hl`k\ \Xj`cp i\gi\j\ek\[# c`b\ dfjk i\Z\ekcp n`k_ k_\ jZlcgk`e^ jf]knXi\ Çdl[YfoÈ fi n`k_ g_pj`ZXc j`dlcXk`fe jf]knXi\ c`b\ ÇbXe^XiffÈ ]fi I_`ef K_\i\ `j X e\n ^\e\iXk`fe f] XiZ_`k\Zkj kiX`e\[ kf Y\ \oki\d\cp ^ff[ Xk Y\`e^ gif]fle[cp jlg\iÑZ`Xc# d\Xe`e^ k_\p _Xm\ Y\Zfd\ jfg_`jk`ZXk\[ Xk i\gi\j\ekXk`fe Xe[ [\j`^e`e^ ]XjZ`eXk`e^ jli]XZ\j% K_\ gifa\Zkj `e k_`j Z_Xgk\i Xcc _Xm\ Zfddfe k_Xk k_\p Xi\ jkXik`e^ ]ifd X j`e^c\ Zfek`elflj ÒXk jli]XZ\ k_Xk `j k_\e Y\`e^ [\]fid\[ Yp cfZXc `eÒl\eZ\j% K_`j `j ]le[Xd\ekXccp [`]]\i\ek ]ifd X Yfkkfd lg XggifXZ_# n_`Z_ nflc[ `dgcp X jli]XZ\ dX[\ flk f] dXep jdXcc gXikj k_Xk ÒfZb kf^\k_\i kf ]fid Xe \eZcfjli\% @k iXk_\i Z_Xdg`-
fej k_\ `[\X f] le`kp Xe[ Zfcc\Zk`m\ Xj `k Zfm\ij \m\ipfe\ n_`c\ Xccfn`e^ ]fi `e[`m`[lXc Zljkfd`qXk`fe n`k_`e X c`d`k\[ j\k f] ilc\j% N_`c\ k_\ :_fi _flj\ `j Xe jkiX`^_k]finXi[ \oXdgc\ f] k_Xk jkiXk\^p [`jk`cc\[ `ekf X j`e^c\ ]Xd`cp _flj\# =XZkfi\\] gi\j\ekj X dfi\ Zfdgc\o mXi`Xk`fe% K_\ jli]XZ\ _Xj kf XZZfddf[Xk\ liYXe Zfej`[\iXk`fej# Yl`c[`e^j jpjk\dj Xe[ mXi`\[ jgXk`Xc i\hl`i\d\ekj% K_\ XgXikd\ekj [\j`^e\[ ]fi >iX]k 8iZ_`k\Zkj Xcjf jkXik ]ifd X j`dgc\ gi\d`j\$ k_\ nXccj Xi\ ki\Xk\[ Xj jli]XZ\j k_Xk Xi\ jc`Z\[ Xe[ Zlk kf Zi\Xk\ j\Xk`e^j# j_\cm\j fi b`kZ_\ej% J`d`cXi kf k_\ gifa\Zkj `e k_\ mfcld\ki`Z j\Zk`fe k_\ [\j`^e `j _\Xm`cp `e]fid\[ Yp jf]knXi\$ k_\ jli]XZ\j Y\^`e ]ifd X j`dgc\ jhlXi\ k_Xk ^\kj [\]fid\[ Xe[ dXe`glcXk\[ `e dXe`]fc[ nXpj% 8e X[mXekX^\ f] [`^`kXc df[\c`e^ _\i\ `kj k_Xk k_`j gifZ\jj ZXe ^\k `eÑe`k\cp i\Ñe\[# n_`c\ X g_pj`ZXc df[\c XcnXpj jkXpj Xk `kj XZklXc i\jfclk`fe% K_\ `eÑe`k\cp k_`e Xe[ \e[c\jjcp Ò\o`Yc\ jli]XZ\j f] k_\ [`^`kXc jgXZ\ Xccfn ]fi [i\Xd`e^ Y\pfe[ dXk\i`Xc`kp Ylk n\ fecp jZiXkZ_ k_\ jli]XZ\ `] n\ [f efk k_`eb XYflk k_\ kXZk`c\ [`d\ej`fej Xj n\cc%
OBJECT
OBJ ECT When piled on top of each other babies often are absorbed into clouds creating writhing masses of particulate and bodies. We are interested in this combination as well as how various baby characteristics such as morphology, pudginess, coloration, wrinkling and undeveloped movement affect form and how this influences interiors.[4] The Bittertang Mind
OBJECT
CMMNLWTH DESIGNER NEW YORK CITY 2011
The Seltanica is a production light we originally developed for Wright Auction and Volume Gallery of Chicago. It appeared in their fall contemporary exhibit, ‘Truth in Form, Reason For Being’. It is a suspension lamp, cast in white Gypsum. Modeled via software generally used for the replication of animal skins and other such intricate surfaces, the piece is ultimately cast into a material that has over 5,000 years of useWhite Gypsum. This attempt to relate the contemporary to the historical is common to most of our work. Another way of thinking of this lamp is as a fusion of industrial simplicity with something more messy. While the minimal elegance of the lamp’s cool exterior thrives on simplicity, k_\ `ek\i`fiÈj iljk`ZXk\[ nXccj$ Ò\\Zp Xe[ j_X^^p \efl^_ kf cffj\ Xcc j\ej\ f] _Xi[ \[^\# i\X[ Xj X gcldg jgXZ\ Ñcc\[ n`k_ Yfk_ j_X[fn Xe[ light. While the lamp maintains industrial characteristics that allow it kf Y\ i\gc`ZXk\[ n`k_ gi\Z`j`fe# X[ `eÑe`kld# k_\ `ek\i`fi jli]XZ\j Xi\ efk n_Xk n\ dfjk f]k\e XjjfZ`Xk\ n`k_ k_\ dXZ_`e`Z$ k_Xk `j# j`dgc`Ñ\[# `[\Xc`q\[# df[lc\j% IXk_\i# k_\ k_`Zb\e\[ `ek\i`fi `j Ñcc\[ n`k_ mXi`\^Xk\[# erotically charged fats and folds deforming the light and shadow of a warm incandescent bulb. Text by Cmmnwlth
PUBLISHED IN T MAGAZINE
EXHIBITED AT AT MONDO CANE ‘NO FRONTIER’ SHOW
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SELTANICA COAT HOOK
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FAMILY REBEK BABAJIDE COMMISION VIENNA 2008
The design of this chaise lounge responds to the geometry of the stair and transforms smoothly into a side table while providing comfortable resting in different positions.
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WIENER WERKSTAETTE COMPETITION CONCEPT 2012
C<:K$LKFG@8 `j X i\ZfeĂ&#x2018;^liXYc\ Y\[ ]fi [i\Xd`e^# i\X[`e^# cfm`e^# \Xk`e^# procrastinating, watching movies, chilling, thinking and sometimes also sleeping. In our fast moving lives the bed has become the last place to rest and it usually is the biggest and heaviest piece of furniture in our apartments. Instead of looking at the bed as a default blank canvas, this proposal suggests a bedscape for a multitude of uses. Two mattresses can be combined in different ways with eight different modules. The modules form giant pillows, breakfast tables, bed stands, storage units or they can become individual seating elements when detached from the mattress. Those elements can be freely chosen by the user from a catalog, creating a fully customized unit. Lectutopia (from; lectus-bed and topia- landscape) adjusts to different living and relationship situations and creates a unique identity for your bedroom.
PUBLISHED IN THE HUFFINGTON POST
PUBLISHED IN THE GUARDIAN FEATURED ON FAST CO DESIGN
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CHILLER SELTANICA LECTUTOPIA
A design object operates under a different set of rules than a work of architecture. When we talk about archik\Zkli\ Y\`e^ fYa\Zk$c`b\ n\ d\Xe jg\Z`ÑZ gifg\ik`\j of objects that can be applied to architecture, like iconicity and functionality. Yet when architects are asked to design something smaller than a house they often Yi`e^ Xjg\Zkj f] k_\ Yl`c[`e^ `e[ljkip `ekf X Ñ\c[ k_Xk operates on a much smaller scale. When they bring Zfdgc\o`kp# XdY`^lflje\jj# Ò\o`Y`c`kp Xe[ X Z\ikX`e level of software knowledge into the design world an interesting cross pollination between the disciplines
happens. On the other hand working with smaller objects allows the architect to experiment with technologies that are not yet available or too costly on a bigger scale. A pertinent question when designing an object are the qualities that will make it desirable. For a precious piece like the Seltanica that should ideally last for generations craftsmanship and materiality are surely important factors. Even though the 3d print and the casting are geometrically almost identical the materiality makes all the difference in the perception of value.
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MATTER IAL Virtual Reality offers unique design opportunities, because virtual reality has not material constraints... Virtual environments, therefore, can absorb infinite amounts of manpower, infinite amounts of design ingenuity. [6] Bruce Sterling
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STUDIO LYNN 7. SEMESTER PUBLIC SAVINGS BANK GENEVA 2008
Translucent turns the idea of a bank up-side down. Instead of locking the valuablue goods behind steelen heavy doors they make it secure by making it extremely visible.
The public savings bank is organised like a gothic church, with a vast, vertically dominated hall in the center framed by successive spatial layers. The two sides are symmetrical but are perceived differently because of varying degrees of transparency. Building systems and structure are integrated into the facades, dissappearing into the depth and creating a Zfdgc\o [`Xg_Xeflj nXcc% J\\d`e^cp Ă&#x2019;fXk`e^ YlYYc\j ZfekX`e k_\ mXlck and conference rooms.
PUBLISHED ON NOTCOT
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CMMNLWTH DESIGNER NEW YORK CITY 2011
Poured as a solid block of silicon Bronze, the Smolten Mirrors are hand_\c[# i\Ò\Zk`m\ jli]XZ\j k_Xk ]lj\ c`kk\i\[# `eki`ZXk\ ]fid n`k_ gi\Z`j\cp polished planes. Giving in to neither an ordered sense of digital formalism, nor the gestural markings common to hand-crafted objects, the ÇJdfck\ejÈ eXm`^Xk\ X Ñe\ c`e\ Y\kn\\e knf kiX[`k`fej% Text by cmmnwlth
ON DISPLAY AT MATTER, NYC
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DESIGNER COMPETITION FOR THE UNIVERSITY OF APPLIED ARTS VELO TOWER INTERIORS VIENNA 2012
The interiors for the University of applied are like a giant caleidoscope, creating a intermediay space between the exisiting school and the new building. The gap between the buildings is connected through many smallbridges, that allow to display and to hide, to observe and to be seen.
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TRANSLUCENT SMOLTEN MIRROR ASYMPTOTE INTERIORS
K_\i\ `j ef `ejkXek ^iXk`ÑZXk`fe `e XiZ_`k\Zture- we are always working with placeholders for actual materials, always representations of a future reality. This is frustrating when compared to creative professions like design or fashion that in most cases have a cyZc\ ]ifd `[\X kf ÑeXc gif[lZk f] X ]\n dfek_j compared to years or even decades in architecture, However it also fosters abstract and speculative thinking and design processes and a great culture of representational technique. In some cases the representation becomes more important than the actual act of build`e^$ jfd\k`d\j n`k_ X jkife^ `eÒl\eZ\ fe k_\ profession overall, as with Lebbeus Woods. With a newer generation though, there is another layer of abstraction- the digital space that replaces drawing and physical modeling. While digital models simulate the reality of the built environment much more realistic (for example within interiors in a three dimensional
model it is possible to see the space without distortion - how it would be seen in full scalewhereas a physical model that is to scale will always appear under a completely distorted focal point to the eye) they bring us are even a step further away from materiality, When comparing the weight and meaning of a rendering to a physical model the virtual production becomes insubstantial and ephemeral. The moment a physical manifestation is produced the more real and valuable the design becomes.The smolten mirror is cast out of bronze- meaning that it is an object that is most likely going to exist longer on this planet than us or even our grandchildren, as it can only be melted by temperatures higher than 1,700 °F. Instead of architecture consisting of ‘magic white stuff’ there is a resurgent ambition- at least on the second level of representation which is the scale of models- to experiment with and use material as essential part of the design process.
Cause we are living in a material world And I am a material girl You know that we are living in a material world And I am a material girl [5} Madonna
HAPPY NING Life that will not risk life will inevitably begin to resemble death. [7] Robert Pfaller
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with Damjan Minovski, Matt Choot, Sonya, Gustav Kalm, Maja Ozvaldic and everyone who came to the events and made it happen INSTALLATION 2012
stip- (Latin: compress, compressed, to press together, to pack; related to: stalk, log, stock, trunk of a tree) STIP is a collaboratively developed installation during the summer 2012 `e E\n Pfib :`kp% K_\ fm\i Ă&#x2018;m\ d\k\ij kXcc c`^_kn\`^_k jkilZkli\ `j Xjsembled out of ropes and pipe insulation. Over the summer several events were held where Stip was slowly growing, becoming denser and more compressed over time. A simple framenfib f] k\ej`fe\[ ifg\j Y\kn\\e Ă&#x2019;ffi Xe[ j\Zfe[ c\m\c nXj k_\ gf`ek f] departure. Participants were given no instructions, they could play and experiment with about two hundred pipes and cable binders available at the events. A pliable, soft and erratic structure emerged that creates a nest-like envelope and protected space on the rooftop. The installation questions the top-down design and digital methodologies of contemporary architecture practice. Curated and edited by a tech-savvy crowd, this is an analogue interpretation of digitally grown sensibilities.
PUBLISHED ON SUCKERPUNCHDAILY
STIP
ANGEWANDTE FASHION WITH ROSHI PORKAR 2009/2010
We developed the collection based on the New York Band Hercules and Love Affair, inspired by 80s, dark leather, snake skin and heavy winter materials. The overall topic was constraining existing body parts and adding foreign immobile parts to the body, creating a stiff and constrained feeling for the collection. The shoes and accessories reinforce that atmosphere.
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BRENNAN BUCK with Rob Henderson INSTALLATION VIENNA 2007
Technicolor Bloom is an installation of layered spaces and surfaces blossoming with pattern and color. The form, pattern and color were digitally designed and then constructed with cnc-fabrication technology in i\Xc jZXc\% K_\ jkilZkli\ nXj Yl`ck ]ifd (+'' le`hl\cp Zlk# ÒXk gcpnff[ panels. For the development of the pattern a vast array of tesselation jkl[`\j nXj gif[lZ\[% ;`]]\i\eZ\j f] [\ej`kp `e k_\ ÑeXc gXkk\ie n\i\ controled by manually adding vertices and double edges to the underlying simpler geometry.
FEIDAD MERIT AWARD 2007
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STIP FASHION SHOW ANGEWANDTE TECHNICOLOR BLOOM
What can be done to engage the public and create a positive feedback loop between designer and consumers or architects and users? There are many complex answers to this simple question but I am particularly interested in the idea of involving people into events and performative acts that are related to architecture in direct or indirect ways. This can be done through installations, parties or any kind of activities that people like to do. Stip is an experimental project in this vein. Another way to â&#x20AC;&#x2DC;cross overâ&#x20AC;&#x2122; is to immerse oneself in other creative disciplines- like the semester I spent in the fashion department under Bernhard Wilhelm at the University of Applied Arts. It was astonishing how different the approaches and work methods of a very related design discipline are. Another project that was done in school outside of the regular studio environment was the full scale installation Technicolor Bloom. Its original location was in the interior courtyard of the school, engaging passersby with a spatial intervention.
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COMM UNITY At its best, â&#x20AC;&#x153;communityâ&#x20AC;? signifies a self-organizing system and a self-determining, volatile kind of negotiation. [8] Michael Bell
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STUDIO LYNN 6.SEMESTER OUTER SPACE 2007
This project explores the unusual conditions in outer space, like weightc\jje\j Xe[ X [`]]\i\ek j\ej\ f] jZXc\% K_\ ÒfiXc X\jk_\k`Zj ZfdY`e\[ n`k_ Zfc[ dXk\i`Xcj jlZ_ Xj ifl^_ d\kXc XjjfZ`Xk\[ n`k_ jgXZ\ZiX]kj ^`m\ jkife^ `[\ek`kp Xe[ Xkdfjg_\i\ kf k_\ gifa\Zk% K_ifl^_ X d\k_f[ f] YiXeZ_`e^ X ^ifnk_ gifZ\jj nXj j`dlcXk\[ Xjjld`e^ k_Xk X jgXZ\ Zfcfep nflc[ e\\[ kf Y\ ZXgXYc\ f] \ogXe[`e^ Xj e\\[\[% K_\ \oki\d\ difference of scale creates two distinct spatial qualities; that of the huge `ee\i jgXZ\ n_`Z_ Xccfnj g\fgc\ kf ÒfXk n\`^_kc\jjcp Y\ZXlj\ f] q\if ^iXm`kp Xe[ k_\ Ñe\cp Xik`ZlcXk\[ flk\i le`kj%
FEATURED ON SPACECOLLECTIVE.ORG
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STUDIO LYNN
WITH KRISZTINA NAGY AND SUSANNA ERNST 8. SEMESTER CAMPUS MASTERPLAN UK 209
K_\ gifa\Zk \ogcfi\j m`jZflj Xe[ Òl`[ cXe^lX^\j% ;`]]\i\ek j`dlcXk`fe k\Ze`hl\j n\i\ lj\[ kf Zi\Xk\ \]]\Zkj fe gi\[\Ñe\[ gi`d`k`m\j# cXe[scapes and interiors.
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MILLED SURFACE 567&+'5
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STUDIO RHE JUNIOR DESIGNER RESORT MASTERPLAN SOLTA ISLAND, CROATIA 2009
=fi I`Z_Xi[ ?pn\cc <mXej 8iZ_`k\Zkj @ nfib\[ fe k_\ dXjk\igcXe f] k_\ :ifXk`Xe @jcXe[ JfckX fe X dlck`kl[\ f] jZXc\j# iXe^`e^ ]ifd k_\ ;\j`^e f] X jdXcc i\j`[\ek`Xc m`ccX kf X Zfe]\i\eZ\ Z\ek\i Xe[ k_\ dXjk\igcXee`e^ f] k_\ \ek`i\ Zfdgc\o% @ nXj i\jgfej`Yc\ ]fi [iXn`e^# i\e[\i`e^ Xe[ *[ df[\c`e^ Xe[ gi\gXi`e^ Xcc k_\ Ñc\j ]fi k_\ g_pj`ZXc df[\c Yl`c[`e^ [\gXikd\ek#
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SPACE COLONY LIQUIFY SOLTA ISLAND MASTERPLAN