Haus-Rucker-Co, Oase No. 7 (1972), in Kassel. Image courtesy Ortner & Ortner Baukunst. 

With an emphasis on the ‘perceptual realm’, Haus-Rucker-Co created designs for inflatable structures, prosthetic devices and public space interventions that aimed to distort the spaces they were housed in.

Oase Nr. 7, was a personal oasis with a diameter of 8 metres protruded from the façade of the Museum Fridericianums during the 1972 Documenta.


This is one of the movable domes that projected Fuller, that could be set up by helicopter. (Removable structures and light materials; José Miguel Reyes)

Ésta es una de las cúpulas trasnportables que diseñó Fuller, fácilmente instalable mediante un helicóptero. (Estructuras desmontables y materiales ligeros; José Miguel Reyes)


UMWELT - Ambient 30 | 60. Santiago, Chile. 2014

La histórica relación del YAP como complemento a programas culturales (PS1, M100, MAXXI, Istanbul Modern) y el  hecho de que el pasado año, YAP Santiago haya cambiado de contexto, desde un centro cultural a un parque público permite repensar nuevas oportunidades y perspectivas para el proyecto.

En este nuevo escenario, el proyecto tiene la voluntad explicita de transformarse en una oportunidad para insertar un programa cultural en el parque a partir de su propia condición temporal y eventual. Complementando y retomando de paso el carácter de agente cultural del YAP a la vez que crear un espacio acondicionado climática y programáticamente abierto a un público diverso y amplio.

Para la intervención se plantea un proyecto con una doble condición:

Por un lado, capaz de generar un acondicionamiento ambiental por medio de sombras, humedad y agua a través de técnicas agrícolas, y por el otro, contener la acumulación de obras de arte, instalaciones y eventos.


This building was designed as a system where the people who lived in the dwellings could make spatial changes quickly and easily, according to the available technologies. This allowed the building to have a high spatial flexibility. Everything was constructed with standard compatible components and after being displayed at CONSTRUCTEC 04, it was dismantled and recycled, using all parts in other buildings.

Este edificio fue diseñado como un sistema donde sus habitantes pudiesen realizar cambios espaciales con rapidez y facilidad, de acuerdo a las técnicas disponibles. Esto permitía que el edificio tuviese una alta flexibilidad espacial. Todo fue construido con sistemas de componentes compatibles y tras ser expuesto en CONSTRUTEC 04, se desmanteló y recicló, utilizando las piezas en otros edificios.


Nir Evron, “Threshold” series, 2015

Threshold (frame no. 10), 2015
Threshold (frame no. 14), 2015
Threshold (frame no. 22), 2015
Threshold (frame no. 18), 2015
Threshold (frame no. 34), 2015
Threshold (frame no. 23), 2015
Threshold (frame no. 24), 2015

Pigment ink-jet print on archival paper. Courtesy the artist and Chelouche Gallery for Contemporary Art, Tel Aviv.

“Threshold” in “The Great Ephemeral” is a series of double-exposure images that Niv Evron made by capturing different views of individual apartments within Rawabi, a planned city currently being built in Palestine. Evron became fascinated with Rawabi after identifying, in his own words, the “placelessness” of its marketing, architecture, and interiors; devoid of any cultural references to Palestinian architecture or history, its condominiums could be designed for those aspiring to a middle-class life anywhere in the world. In a sense, Rawabi sheds light on the existence of a homogenous, global middle class that seeks to both literally and ideologically buy into the lifestyle’s properties. These photographs complement a 16mm film titled Endurance (2014), which was shot inside different Rawabi apartments.


Timber-lined music rooms | Music Expo by Adept

Adept was asked to refurbish the exhibition spaces of The Danish Music Museum, adding four practice rooms specifically tailored to different instrument groups, as well new display cases for a collection of historic instruments dating from the Bronze Age to the present day.

“The design alternates between glass showcases making the instruments seemingly float in the air and open tableaus showing larger instruments,” said the team.

Adept se le pidió que renovar los espacios expositivos de El Museo de la Música de Dinamarca, añadiendo cuatro salas de ensayo adaptados específicamente a los diferentes grupos de instrumentos, así nuevas vitrinas para una colección de instrumentos históricos que datan de la Edad del Bronce hasta nuestros días.

“El diseño alterna entre vitrinas de vidrio que hacen los instrumentos aparentemente flotan en el aire y retablos abiertos mostrando los instrumentos más grandes”, dijo el equipo.

Summer School 2015 is on! 

This year, we are going to explore the picturesque and the utilitarian green areas both within and around Cesis. What does a modern day Arcadia entail? Does it accommodate urban agriculture, water management, wildlife reintroduction, ecotourism, well–being of the body and the mind?

At RTU International Summer School, everything is real: the town’s engagement and support, the site with its conditions, building materials and tools, work and its outcome, which is immediately tested by the public. In these two weeks the participants can accomplish and learn more than in a whole semester, working side by side with young, dedicated tutors each day. This is a Summer School that always exceeds expectations.

Applications are open until May 3, 2015. Everything you want to know — rtusummerschool.lv

- Programme director Evelina & Managing director Toms


This installation was made entirely from donated, free and recycled materials. Reused shipping pallets, recycled nails, old school furniture and donated wood scraps were used to construct this organic 120-seat temporary auditorium (Shelter Architectural Design; María Asunción Delgado).

Esta instalación fue hecha completamente a partir de materiales donados, gratuitos y reciclados. Palets de barcos reutilizados, clavos reciclados, mobiliario antiguo de colegios y trozos de madera donados fueron los materiales empleados para levantar este auditorio temporal de 120 localidades (Arquitectura del Refugio; María Asunción Delgado).