View Full Version : Kivik Start - Snøhetta + Tom Sandberg
Kivik Art Centre (http://www.kivikart.se/) is a newly established art museum in Kivik, Sweden.
Snøhetta (http://www.snohetta.com) was approached by Sune Nordgren with the idea of creating an art pavillion together with an artist as a start-up project for the new art institution. We chose norwegian photographer Tom Sandberg (http://www.anhava.com/exhibitions/sandberg/index.html) to collaborate on the design.
The result of this collaboration is a series of pavilions that blur the borders between architecture and art set in the mystical landscape of kivik.
Project team for Snøhetta: Jim Dodson, Mikael Pedersen, Kjetil Thorsen
The site for the project is Bergdala Gård, a farm near the Stenshuvud National Park just outside of Kivik on the southeastern coast of Sweden. Kivik is an area of historical interest which contains a number of interesting archeological sites such as the kings tomb, ale's stones, and bronze age engravings.
Entrance to the site is along the tree lined alley from the road. The main visitor parking will be at the existing farmhouse where there will be a cafe.
Further access to the site will be on foot where the visitor can explore the site and experience the 5 interventions.
The project consists of 5 pre-cast concrete structures placed in the landscape.
1 x Exhibition space - made of 5 3x5 meter rectangular concrete tubes with a clear glass enclosure at one end, and two sliding glass doors at the other. Roof lights in the form of a curcular holes taken from the raster pattern of a Tom Sandberg image provide light in the room. This is the largest pavillion and is designed to be used as a flexible exhibition space.
2 x Photo boxes - a 2.5 x 2.5 x 2.5 meter cube open on two sides. The one side is enclosed by a 2.5 x 2.5 meter glass plate with a silkscreen print of a Tom Sandberg photograph. The opposite side is a black neoprene covering with a vertical central opening.
2 x Viewfinders - the same 2.5 x 2.5 x 2.5 concrete unit as the photo boxes, but open at both sides. Placed in the landscape to frame a chosen view.
Walking from the farmhouse, the first intervention the visitor encounters is a viewfinder placed at the end of an open field with cattle. This field is not open to the public, so the first object serves as a teaser, visible only from the road as you continue into the site.
The trail continues past the field and into a more wooded area. As the first viewfinder goes out of sight the mothership becomes visible nestled among the trees on the left at the top of the rise.
The mothership is approached from along the small road, placed just inside of an existing stone fence with views out to a field that will be planted with wildflowers.
The dappled light of the trees is further filtered by the glass covered openings in the roof.
In a bend at the end of the wildflower meadow the two photoboxes are placed facing each other on opposite sides of the road.
The black neoprene covering at the back darkens the interior of the cube, making the glass reflect the nature around it from the outside.
After entering the cube the image will become clear. The black ceramic silkscreen burned onto the glass will read as a photograph, and up close you can look through the screen to the nature beyond (and the photo box opposite).
Photo: Tom Sandberg
Details of silkscreen patterns on laminated glass. The silkscreen will be laminated in between 2 x 10mm glass plates.
The final viewfinder will be placed at the edge of the site in a field of grain.
Kivik Start - Snøhetta + Tom Sandberg opens July 7, 2007
What should we say? Do you want comments? or are you just showing?
Personally I didn't undestand much of this thread. What is the "mother ship"? what is the idea? What is the point of the Tom Sandberg print? Is that the extent of this "collaboration"?
spadestick
20-05-2007, 18:30
looks like art to me, nice, but does it serve humanity?
Jimmern, I like the modest approach of the whole design towards the landscape. The boxes add to the mystique of the landscape rather than disturbing it.
Will there be any traces if the installation is taken away?
I think walking the area will be more interesting now than without the installation, which should be the point i guess.
The framing idea is interesting. I'ld like to see more pictures once the frames are 'filled in'. Why did you choose to alter the landscape rather than framing existing parts?
What is the point of the Tom Sandberg print? Is that the extent of this "collaboration"?
That's indeed not at all clear. I can see how the framing idea relates to photography, but for the rest it looks like you just took his existing work to have something on display, rather than create something together. Was that the intention? Will there be other artists exhibiting in the boxes? Or is his art a fundamental part of the work?
looks like art to me, nice, but does it serve humanity?
The whole art dilemma in one quote. Can I nominate it for quote of the day? :D :craqueur:
What should we say? Do you want comments? or are you just showing?
I figured I would share the project with the rest of you now that it has been made public by the client - I reckon this is the point of the "Real Projects" thread. It's been good fun working on this project of about 60m2 parallell to the Ras Al-Khaimah project posted previously (http://www.pushpullbar.com/forums/showthread.php?t=5233) which is over 270,000. Comments or thoughts would be interesting if anyone feels for it. Thanks Pitrak for your comments, I think I think you are on the right track.
What is the point of the Tom Sandberg print? Is that the extent of this "collaboration"?
The project has been a collaboration from day one - concept, design, materials, and placement on site have all been done in design workshops together with Tom. Our goal was to create a series of objects in the landscape that related to the act of photography. We wanted to make something that was so simple and understated that it could almost not be called architecture. The photo-boxes are specific art objects, the larger 'mothership' is ultimately a more flexible space that can in future be used for other exhibitions. For the opening this year it will house Tom Sandberg images (meeting tomorrow to discuss which, and how to display). The empty frames extend the project further out into the landscape and are open for the visitors own experiences and interpretations.
Tom Sandberg has worked with silkscreen images on glass previously, and seeing some of these pieces in his studio was the initial inspiration for the photo boxes. The final prints for this project are to be custom printed by Franz Meyer of Munich (http://www.mayer-of-munich.com/) and the printscreen is fine-tuned to the grey of the concrete. We think experience of sliding into the photobox and experiencing the 2.5m x 2.5m photo from within will be an intense and intimate experience. Something quite different from seeing large format prints in a museum environment.
Having seen the site (it is amazingly beautiful) we wanted to use our project to create a wandering that enhances the visitors experience of the site by inviting them to explore off the beaten path. Originally there were three architect/artist groups invited to participate. The other two were David Chipperfield / Antony Gormely and David Adjae and Anish Kapoor. For a number of reasons only the Snøhetta/Sandberg project will be realized this year, but I hope that the others will come over time.
The fact that each element weighs between 12-15 tons challenges the typical material issues and flimsy feeling of 'temporary' pavilions. Each element will be placed in the landscape on a simple base with minimal foundations. We were on site one week ago to stake out placement of the elements, which can be lifted away by crane and the foundations removed when/if they decide to move them.
The very diagrammatic images with white frames show the actual final placement (made in keynote an hour before the press conference), whereas the 3D compositions were made before final placements were chosen, but they still illustrate the feeling we are looking for.
Does it serve humanity?
If the project enhances someone's experience or gives them a lasting memory then I would say we have done our job well.
spadestick
20-05-2007, 20:32
well I hope it is a permanent fixture that we can all one day go visit. That's my gripe with a lot of art nowadays - too transient to be meaningful, and a lot of it is simply just for the sake of art itself, no higher purpose, no place for permanence, and frankly if it is to be torn down in a couple of months, I see no point, no meaning. At least movies are made into DVDs.
A legacy that lasts is better than a wist of smoke blown by the wind.
A legacy that lasts is better than a wist of smoke blown by the wind.
This seems like a quick rationalisation. What is of importance is quality, not quantity, in space or time.
Thoughtful project. Thanks for sharing.
I figured I would share the project with the rest of you now that it has been made public by the client - I reckon this is the point of the "Real Projects" thread.
I'm very happy that you are sharing the project. Sorry didn't mean to imply otherwise.
Having seen the site (it is amazingly beautiful) we wanted to use our project to create a wandering that enhances the visitors experience of the site by inviting them to explore off the beaten path.
I just read a review of the Snohetta/Olafur Elliasson installation at the Serpentine this year (as seen on this thread (http://www.pushpullbar.com/forums/showthread.php?t=6042)). In it Eliasson talked about the problem of representation for an essentially experiential project; that the project gets judged on the basis of an image, published, rather than the experience of it. Sounds like that is a similar issue with this project. :wondering
primocordara
21-05-2007, 13:19
Thanks for a wonderfull post.
I find this kind of "conceptual" (for lack of a better word) architecture the most difficult to face.
I particularly like the idea of photography as "framing the landscape", or of a subjective point of view by a particular photographer.
These pavilions resemble to me like a methaphor of what a photographer tries to acheive, ie capturing a moment and place, adding his subjective perception to it.
Am I right in this interpretation? how does the work of Tom Sandberg relate to the "frames" and the exhibition?
jparchitectus
21-05-2007, 14:52
I posted yesterday on this while it was being posted. I then deleted it to not interupt the presentation. I must say I was blown away by the simplistic yet genius interaction with the natural environment. I am amazed at how these 'simple' forms and the the clean treatment of materials have transformed the natural environment. SO WELL!
Archjake
21-05-2007, 18:10
How was the scale and proportion of these viewfinders developed?
They seem to act more as a viewfinder / frame from a greater distance away, but at this size a visitor will not sense the box as framing a view at a close distance, or within the viewfinder. Was there any thought as to framing views when a visitor was in the box, or was the intent to focus the visitor to separate pieces of art?
My sense is that the silk screened glass also be more powerful from a distance, and like what was stated from up close it will almost be invisible like looking through a window.
In the Exhibition space you had mentioned sliding glass doors at the ends. How is this detailed? This seems awfully important and could make or break the space or how it acts like a viewfinder. Or perhaps it isn't intended to act like the others.
imasayer
21-05-2007, 21:54
The fact that each element weighs between 12-15 tons challenges the typical material issues and flimsy feeling of 'temporary' pavilions. Each element will be placed in the landscape on a simple base with minimal foundations. We were on site one week ago to stake out placement of the elements, which can be lifted away by crane and the foundations removed when/if they decide to move them.
If they do decide to move them, can I have one for my back yard? :D
Seriously though, this is a beautiful little project. Interesting how the object/context relationship changes as you approach then enter the view box.
Ross Millaney
21-05-2007, 23:27
Great little project!Please can you show us more though-tectonics and details and how everything was constructed!Snohetta gave a master class in my college a few months back-I found it really interesting!Thanks for sharing!
Thanks for the positive response.
How was the scale and proportion of these viewfinders developed?
Originally we looked at 'off the shelf' precast concrete elements. We based the sizes on catalog elements used for vertical well shafts and had a producer lined up, but unfortunately they were unable to meet the short delivery time we needed for the project. Another concrete element producer was contacted and we tried to keep the concrete as simple and clean as possible. The 2.5 x 2.5 boxes are scaled by the largest possible size of glass we could get produced in one piece. 2.5 x 2.5m is the max size for silkscreen directly on hardened and laminated glass in one piece. Meyer of Munich can actually silkscreen on 3x6m glass, but can't laminate at that size.
If they do decide to move them, can I have one for my back yard?
Not unless you put it in your FRONT yard. Actually the elements may be for sale after the summer, and the possibility of producing 2 more has also been discussed. It's 'art', so how deep are your pockets? I don't think 15 ton photo boxes sell all that cheap.
Update: The final large concrete piece will be poured in 2 days, all the other elements are finished. I will of course post images from the actual pieces on-site once they are in place.
wegofaster
22-05-2007, 03:01
An intellectual piece of artwork which seems to be carefully planned and resourcefully critiqued prior to encroaching nature with their installation. I would enjoy seeing it one day, and even better witnessing the installation process. How do you plan on not impacting their environment when they are brining in these heavy portals?
I noticed you have an office here in Austin Texas? I would very much enjoy seeing more on the project. If you’re ever in the area, drop me a line.
drummond
22-05-2007, 23:01
I love the idea, but I'm disapointed with the result, at least from the graphics you have presented here.
The words you are using with the exception of The Mothership, all entice me to look forward to an example of one of the beautiful views you have emphasised throughout your presentation, but the framed "views" you are actually shown are quite mundane in the bigger scheme of things. The view of the bottom of a tree trunk and the view of mostly ground from the enclosed space, all do nothing for me.
Have I misunderstood the goal in that the actual view is not important, but instead the idea that views exist is the point?.....Making the chosen views mundane therefore encourages you to seek out the real views? If this is in fact the case I think I disagree with the concept, so either way I can't get onboard with the execution part.
I still love the idea, but I think I've got a different idea to the one you have demonstrated.
Here is a photo from the site showing a sample of the silkscreened glass in front of a dark surface (my jacket) to simulate the effect of the dark interior of the box with black neoprene door. You can clearly see how the glass acts as a mirror with the dark surface behind it.
#6 and #8 are good views, #7's view doesnt appeal to me, it seems very dull and boring compared to views 6 and 8,
having said that i find this project very interesting, im surprised how well the simple forms blend into the scenery, especially in the views across the field.
Same glass sample closeup as if you were looking out from the inside - (focus on the glass itself). It's hard to get the raster patterns on images like this without the fresnell effect. You don't get the whole effect of the image with such a small sample.
View from the 'inside' again, this time with the focus on the landscape beyond. When you do the same thing with your eyes you can unfocus the image and see through it. The double-image and experience of the picture as a whole and a series of raster dots will open for a number of different interpretations of the view.
nancyboy
24-05-2007, 16:58
Jimmern, firstly thankyou for your post the ideas you have shown here are sublime and beautifully restrained. I have a very strong interest myself in ideas of framing and connecting both visually and spatially so the achievment here in communicating this is commendable. Thank you again.
nancyboy
24-05-2007, 17:08
I love the idea, but I'm disapointed with the result, at least from the graphics you have presented here.
The words you are using with the exception of The Mothership, all entice me to look forward to an example of one of the beautiful views you have emphasised throughout your presentation, but the framed "views" you are actually shown are quite mundane in the bigger scheme of things. The view of the bottom of a tree trunk and the view of mostly ground from the enclosed space, all do nothing for me.
Have I misunderstood the goal in that the actual view is not important, but instead the idea that views exist is the point?.....Making the chosen views mundane therefore encourages you to seek out the real views? If this is in fact the case I think I disagree with the concept, so either way I can't get onboard with the execution part.
I still love the idea, but I think I've got a different idea to the one you have demonstrated.
a view does not need to be fully revealed in fact it is the very nature of framing a part of what you refer to as mundane that makes this work beautiful. I feel you have not understood the intent of the work, having said that it is the type of work that must be experienced to fully understand the subtle qualities.:)
channing
24-05-2007, 18:43
a view does not need to be fully revealed in fact it is the very nature of framing a part of what you refer to as mundane that makes this work beautiful. I feel you have not understood the intent of the work, having said that it is the type of work that must be experienced to fully understand the subtle qualities.:)
agreed.!
the work--and this is not a critique at all--at least in product if not idea, seems decendent of, or inspired by, some of the work of donald judd in marfa, texas. just a thought.
nice project.
it seems that something like blurring architecture...brilliant boys just brilliant!:not worth:not worth:not worth
snohetta is a awesome firm, they gave a lecture at my school about a year or so ago and showed projects like the library of alexandria and the opera house where you can walk down to the water.
Freshly rendered image of the 'mothership' in position. This one shows (barely) the two images that will be displayed in this space.
The first elements arrive on site this week, and the glass silkscreens are under production in Germany.
I love this project. great thinking as well as realization. love the fact that it's not just visual, but it has a greater idea behind it. actually, visually it's very modest.
blueprint
13-06-2007, 17:23
I love the idea behind it. very soft and blend with the nature surrounding.
perhaps , the diagram and concept how you explore he site and get the mass would be great .
thanks for sharing
renjiandaai
22-06-2007, 09:44
:D:PI love the idea behind it. very soft and blend with the nature surrounding.
perhaps , the diagram and concept how you explore he site and get the mass would be great .
thanks for sharing
i think it's so cool ,have a good time ,have good holiday ,i just say i like it
Here are a few images of the installation of the boxes on-site (a week or so old now). Only two weeks until the opening now (July 7). All the boxes are in place, mounting of the glass and neoprene still in progress.
One of the photo-boxes in the woods.
3 of 5 elements of the mothership in place. The circular openings in the roof will be bored on-site once they are all connected. We originally wanted to cast the holes, but there were concerns about lifting and transport with the holes in place. Now the holes will be bored from below in order to make the cleanest possible hole towards the inside. Circular glass plates that are 100mm larger in diameter than the holes will be mounted in silicone on top.
In the rendering in post 39 (http://www.pushpullbar.com/forums/showpost.php?p=90117&postcount=39) I desaturated the inside to make it less green because I thought it was a bit over the top, but in fact maxwell had it right all along.
One more week until the opening on July 7.
Fresh image showing the skylights in the mothership. Glass entrance doors and other glass are still being installed.
The image here (and other site construction photos) are taken by Bengt Nilsson of BN Konsult (http://www.bnkonsult.se/start_eng.htm) who is in charge of the construction and is doing a fantastic job of getting everything in place on a very tight schedule.
Ross Millaney
01-07-2007, 18:11
Absolutely fantastic-I really love the green coloured radiosity in the larger box!Great work-I look forward to seeing the glazing in place!
sanders27
08-07-2007, 17:19
what a fantastic design! the object has a great sense of being within the chosen location i cant wait to see the finished artwork. sanders
Despite massive flooding in southern sweden this weekend, over 500 people turned up for the public opening of Kivik Start on Saturday. The project has been reviewed positively in a number of swedish newspapers and a few articles are forthcoming in the international architectural magazine press.
As far as I have heard the project has received positive reviews and comments from pretty much everyone who has experienced it. I was personally very pleased with the final results and the experience of the opening.
I managed to get a few pictures while setting up on wednesday before it started pouring at the opening, but it was also great to see how different the experience was under different lighting conditions. The concrete in direct sunlight was extremely white, and in the rain it was a lovely dark grey and the water gave the surfaces and the trees a mystical shine. If anything the rain underscored the fact that the project was about the experiencing nature as well as art.
Here are a series of my photos from final setup and the opening.
The Cows really love the first viewfinder.
Viewfinder one from further along on the path.
Approach to the "Mothership".
(This bears a remarkable resemblance to the rendered view in post 39 if I do say so myself ;)) (http://www.pushpullbar.com/forums/showpost.php?p=90117&postcount=39)
Same view later that day in-between rainshowers. The light inside was constantly changing, and even under fairly dark conditions the skylights kept the interior well lit.
inside the mothership with view to field beyond
the holes were all drilled from below to make very precise openings
dappled light from the leaves on the trees, and holes in the roof
In the rain water cascades down both sides of the glass like a waterfall. The end-wall glass is bolted to the concrete, but unsealed for ventilation.
The two photo-boxes face each other across a bend in the road
The image on the glass changes depending on the angle and lighting. In this image the inverted shadow-head is just barely visible
detail of silkscreen from inside, focus on silkscreen
same view, focus on background (taken during mounting of the second glass plate -- the final printed glass plates arrived the day before the opening!)
Final viewfinder in the wheat field in the rain - the concrete looks completely different when wet compared to the stark white of the first images.
That is all for now, hope that wasn't too many images.
primocordara
09-07-2007, 01:14
not at all! keep them coming. Can we get a glimpse of the images to be displayed?
I absolutely love the box with the drilled holes (though still don't understand why its called the "mother ship"). It's absolutely amazing: the red dots where the rebar was cut and the finished polished concrete looks fantastic (the contractor should get some glory for drilling upside down!). I also love the effect of the light through the holes, the photos looking up to the trees and can see it's great in the rain!
But I still don't really like the main idea of the project - the "framed views". I find that quite predictable and actually not the most interesting part of the installation you've made - which is actually the siting of one box and the qualities of it.
My opinion is that often architects, who are used to so many constraints and practical considerations, don't deal well with a loose, free, artistic hand. Critiqing from the standpoint of an architect this is a great project and you should be proud considering the timetable too but I think from a sculptors point of view it might not be considered so amazing :wondering
(This bears a remarkable resemblance to the rendered view in post 39 if I do say so myself ;)) (http://www.pushpullbar.com/forums/showpost.php?p=90117&postcount=39)
That's absolutely true.
:craqueur:
Antonoff
09-07-2007, 23:14
Great images! Can´t wait to get some more!
Can I ask for more info on some of the technical aspects of the project:
Was there any concern about or limitations in the spacing of the drilled holes in the concrete?
Did the engineer increase the reebar quantity to allow for cutting some of them?
(Am I right in thinking that the mothership was specially cast while the others were off-the-shelf?)
What is the detail of the glazing?
What is the detail over the holes in the roof? (I'm guessing domed perspex and silcon?) any pictures?
Thanks
Here is another image taken at the opening by my colleague Thomas. His 12mm lens makes it a lot easier to get an impression of the inside of one of the photo boxes. The other box in the background beyond has an inverted version of the same image. Still rather hard to capture on film, but this is the best image I've seen so far. It was pouring rain outside at the time. (No photoshop on this image btw)
View from inside the other photo box. (Also by Thomas)
Was there any concern about or limitations in the spacing of the drilled holes in the concrete?
Did the engineer increase the reebar quantity to allow for cutting some of them?
(Am I right in thinking that the mothership was specially cast while the others were off-the-shelf?)
What is the detail of the glazing?
What is the detail over the holes in the roof? (I'm guessing domed perspex and silcon?) any pictures?
Due to the weight of the boxes (15 tons!) there were some constraints, mostly related to lifting and transport. The boxes were given extra reinforcement in a zone between the lights. There are a few straight lines there. Other general reinforcement was laid out and cut through when boring the holes. We originally wanted to have the holes in the formwork, but there were concerns about strength under transport and edge quality. Cutting the holes after installation gave us the best results for both.
The skylights are round laminated and hardened glass covers set in silicone that are 100mm larger than the holes themselves, no perspex here! There are 5 sizes of hole/glass used to make the pattern, which is actually a very small section of a silkscreen pattern created from another Tom Sandberg image. Detail image attached, taken by Mikael Pedersen
End-wall glazing and the 2.5 x 2.5 meter silkscreened images are resting on a steel plate and fixed (bolted) to the concrete using Dorma Constructor fixings (painted black for the photo-boxes, see post #74)
Now we're getting to see this work in its full dimension and the way these artificial boxes relate with the natural surroundings seems really interesting. Lots of great pictures. I particularly like the one with the light coming in through the circular skylights in the mothership (?!), hitting the ground and being reflected in the outside view you have through the glass.
However, I would like to know more about how you expect this to age. Did you consider how the rebars would react being exposed in the circular openings? Steel can start rusting pretty bad and crack the concrete... and the rainwater running down the glass and dripping inside the boxes, what effect do you expect from this?
One last image - the inside of the mothership showing the photo mounted in place. (foto:Thomas)
...I would like to know more about how you expect this to age. Did you consider how the rebars would react being exposed in the circular openings? Steel can start rusting pretty bad and crack the concrete... and the rainwater running down the glass and dripping inside the boxes, what effect do you expect from this?
Despite their mass, the design brief was for temporary pavillions, with only a 3 month life-span (july-sept). That said, they are very robust constructions and we would like to think that they will survive a great deal longer, be it here, or somewhere else.
I personally can think of nothing better than the outsides being covered in moss, leaves, and twigs over time, much in the tradition of a folly, except that it can age on it's own, not accellerated. The concrete is water-proof 150mm thick, and the roof of the mothership was amazingly drip free even in the record breaking rains of last week. The water pouring down both sides of the end-wall glass was beautiful, and somehow enhanced the raw feeling of being outdoors. We have discussed painting the exposed re-bar with a clear coating, but have not done so as of yet, as far as I know.
(one more of Thomas' images, the water giving it an aged look already, and looking very much like this rendered view (http://www.pushpullbar.com/forums/showpost.php?p=88691&postcount=14), only fatter from the 12mm lens).
Despite their mass, the design brief was for temporary pavillions, with only a 3 month life-span (july-sept).
Sorry, I missed this. I thought this would be a permanent installation. Obviously I agree with you that the whole aging effect you get in such a short time span will look great. It could easily have a much longer life without the aging aspects ever becoming an issue.
samantha
03-08-2007, 14:20
Hei Jimmern!
I really like your design. thanks for sharing it with us :)
Ha en fortsatt fin dag!
My former colleague (and co-designer of the project) Mikael sent me this link yesterday - a great Flickr set of Kivik taken in May this year. Looks like it has aged well. With the growies and debris here and there it's really starting to become a part of the landscape.
Kudos to Aiert for sharing these great photos : Kivik-eco prismak (http://www.flickr.com/photos/aiert/sets/72157605052486183/) . There's even a link to this thread on PPB from the set.
This summer a new pavillion by David Chipperfield and Antony Gormely will be added to the collection (the foundations of which you can see in a few of the pictures). The photo-boxes will be sold and moved at some point during the summer, but I'm still not sure where they will end up.
redstone
03-06-2008, 15:14
Interesting project! What's the main concept behind this? :cool:
Very nive work, simple and cool!!! do you have any detail (draw) of the skylight system?
tks from brazil....
A really nice set of pictures, thanks for the link!
It's a shame that it's to be dismantled so soon, or is it just the photo boxes?
do you have any detail (draw) of the skylight system?
In the images in posts 71 and 56 you can pretty much see all the details for the skylights. They were simply drilled from below with a circular concrete saw (3 different radiuses were used for the pattern). Afterwards a round piece of circular laminated (2 layers) and hardened glass was laid in a bed of silicone. Doesn`t get much simpler than that.
It's a shame that it's to be dismantled so soon, or is it just the photo boxes?
The mothership (with skylights) and the two open frames will remain for some time to come, but the two photo-boxes will be taken somewhere else and set up, not sure where yet. I heard rumors that they had been moved to Malmø and I dragged PPB members Kristen and Mikael around in a park there for 30 minutes or so looking for them while we were in town on other business... Oh well, it was a nice park anyway.
paguthrie
23-07-2008, 11:59
Well they were still at their original site 2 weeks ago!
Here is a flickr set of photos I took when I was there:
http://www.flickr.com/photos/pg/sets/72157606290545004/
paguthrie
23-07-2008, 12:01
I should add that I thought it was a really beautiful project and enjoyed it immensely, which hopefully comes out in the photos.
paguthrie
23-07-2008, 17:21
One of the photos I took was a 6 exposure HDR fisheye shot in the 'mothership' as I thought it would be a fun environment to use as a sort of virtual set.
Here: http://www.flickr.com/photos/pg/tags/kivikmashup/ you can see the results of a kind of architectural mash-up between Snøhetta and Paulo Mendes da Rocha's 'paulistano' chairs!
I can upload the rest to ppb, but not even sure if I should do it in this thread.
They are all made using the HDR image as a vray skydome, with the 4 chairs, a plane and a vray camera
Great images Peter -- and sweet fisheye HDR! Kudos!
paguthrie
24-07-2008, 10:31
same render, closeup
paguthrie
24-07-2008, 10:35
another view
paguthrie
24-07-2008, 10:48
closeup
paguthrie
24-07-2008, 10:49
last one!
paguthrie
24-07-2008, 11:10
one of the fisheye exposures
I recently received some images of Antony Gormley's exhibition inside the Snøhetta mothership at Kivik.
In addition to the new Chipperfield/Gormley concrete sculpture (http://www.pushpullbar.com/forums/showthread.php?t=8957&highlight=kivik) there is also a scuplture in steel(?) by Gormley which I think suits the room and surroundings amazingly well!
Peter, you were there a few weeks too early!
Photos by Gerry Johansson
more photos by Gerry Johansson
the first picture with the man u have posted, is i think essential for the relation between the man in the box, the box, and the suroundings. very very nice photo!
and i like the sculpture, i think it is a important part of the "pavilion" or mothership how u call it! but is it going to be removed, or will it stay there forever?
These photos gave me chills the first time I saw them - I think the choice of sculpture, the forms, and the setting all interact amazingly.
As far as I know the 'mothership' and the two empty concrete cubes will remain on site for the forseeable future, along with the new Chipperfield/Gormley (http://www.pushpullbar.com/forums/showthread.php?p=126918#post126918) installation. The photo-boxes with the glass prints by Tom Sandberg are to be moved, but are still on site I believe. Hopefully Kivik Art will continue the trend and add something new to their collection next year as well.
ThiagoBeck
25-08-2008, 06:46
Awesome project!!! It's very nice to see they have aged, and the relations between form, use and nature! KUDOS!
It's fantastic. All it's in perfect harmony, the sculpture, the surroundings, the architecture, all.
That sculpture fits so well...mmml... the beauty of the art. Thanks for posting food for the soul.
Heisann,
jeg syntes dette var meget bra.. unskyld hvis jeg skriver noen ord feil.. det har vârt lenge siden sist jeg snakket norsk..
.. All in all you guys are fantastic.. Saw your Opera project in the latest Byggekunst..(Arkitekturen).. great job..
Snakkes da..
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