The Kremer Museum is the first Hi-Definition VR museum of its kind! It houses 74 Masterpieces of its magnificent collection in a stunning realistic quality.
The design of The Kremer Museum walks a fine balance between the conventions of physical space and the unlimited possibilities of the virtual realm.
Central to the experience of the Museum is its magnificent collection. Without a hierarchy, all the Masterpieces are exhibited in a continuous Ring of Galleries, all facing the visitor as one enters its monumental space.
The design of the space is an allegory of the scientific and artistic vigor of the Golden Age. The center stage of the museum is a dramatic celestial sphere featuring a vaulted ceiling with a painted Dutch sky, a trademark of the Dutch Masters. The dome’s exoskeletal structure is a reference to the era’s astronomical and scientific instruments and reveals the universal context of the space in which it is suspended.
Five radial bridges are floating in a void and lead the way to the Ring of Galleries. The organizational concept of the ring gallery allows for multiple layers of concentric rings, providing flexibility and infinite expansion of the museum as its collection grows.
Beyond its design, the significance of the Museum is that it can offer a low threshold to expose art to global citizens who cannot afford a ticket to the Louvre. It grants an opportunity to students around the world to experience a 400 year old Masterpiece, learn about the artwork, the artists and their peers, and even to curate their own show.
Still, even for those who are able to visit the great museums of the world, this VR museum offers an extra level of intimacy by allowing the visitor to get up close and personal with the paintings. Van Lierop opted to suspend the artwork away from the walls, allowing the visitor to circle them and experience the back of the paintings as well.
"Viewing the back of these old paintings is like looking into its passport where one discovers its journey through marks over time, personal notes, stamps, or even scars. It's a very intimate experience that would get you in trouble at the Louvre."
Blendt House is a private villa in Lommel, Belgium, that has been tailored to fit the needs of a young and energetic family of 7. Situated on a long and narrow plot, Blendt House enhances the site's stretched properties with its fairly closed sides for privacy and opens up in the longitudinal directions like a visor.
The rear structure of the house ties the interior family room and outdoor terrace space together and frames the extents of the backyard, while the front facade provides privacy where needed, peeking out into the neighborhood from a higher level.
The right corner of the house is lifted up for a ramp to lead down into the fully finished basement level that houses a sound studio, wine cellar and car garage, complete with Tesla charging station.
Behind the upward movement of this lifted corner lies the staircase leading up into a generous atrium space that captures the varies moods of the day and to serve as a mental transition space between the intimate sleeping quarters upstairs and the spacious open living areas below.
Photo: Luc Daelemans
Photo: Luc Daelemans
Photo: Luc Daelemans
Photo: Luc Daelemans
Photo: Luc Daelemans
Photo: Luc Daelemans
Photo: Luc Daelemans
In collaboration with David Philipsen
Temporary sustainable structure for Stylos, the independent study association of the Faculty of Architecture at the TU Delft, The Netherlands.
Its theme ‘temporariness’ has not been interpreted as a nomadic, transitory condition, but as a temporary phase in the process of constructing. The building being covered with scaffolding; embracing the genesis of a piece of architecture. Its process ongoing.
The philosophy of total assemblage and the re- use of materials has been carried throughout the entire design. For this, ScafFold001 was awarded with the status ‘IFD Demonstration Project 2001’ *) by the Dutch Ministry of Housing, Spatial Planning and Environment and the Dutch Ministry of Economic Affairs.
*) Industrial, Flexible and Demountable building
Built by and for students of the Faculty of Architecture, the pavilion was entirely financed by corporate funding.
Sadly, only 3 years into its existence, the pavilion was completely burned down to the ground by arson, leaving not a single element reusable.
The only solace came from Aaron Betsky's manifesto, stating that 'Architecture Must Burn"...
Architales took on the challenge to translate New York-Berlin based conceptual artist Warren Neidich's concept of a machine of cultural exchange into an interactive architectural object.
Architectural concept - Telescopic Space
NAeR is a traveling object. The first condition of the piece is being an enclosed box, serving to protect its content while traveling. Once at its location the box will open along a linear, telescopic path to reveal its inner second skin, a lightweight tensile tissue, which allows the piece to explore and absorb its context and to create a flexible space.
The box’s skin is matte black as to indicate its absorbing quality and expressing the wear and tear ‘scars’ and other traveling marks as a mapping of its itinerary; a journal as long term memory.
The tissue acts as a silver screen to reflect its content of constant change; influenced by visitors and users, serving as its short term memory .
The tissue will run as a band through the whole piece linking the various sorts of media/fields of knowledge within the reading room.
Concept Introduction by Warren Neidich:
Neuro-aesthetics describes a machine or mechanism that increases the flow between distributed and developing fields of knowledge which are directly or indirectly related such as architecture, cognitive neuroscience, philosophy of mind, media studies, cultural studies and art history, just to name a few. These fields are in parallel and distributed in the sense that research centers for them are contained in specialized libraries and universities where they are growing and developing independently.
Generally speaking they are developing in parallel on their own creating their own genealogy and discourse and the flow of information is limited by their separate histories, practitioners, methods of distribution, linguistic and semantic codes, context of associations and tools that operate upon and with specific active sites singular to their domains.
Neuro-aesthetics attempts to unbridle this specificity to incite interaction and exchange. The Neuro-aesthetic Reading Room is one such mechanism that creates an atmosphere and social context for this exchange to occur.
The reading room is meant to travel. It is in fact contained in a crate within which it resides ready to emerge upon reaching its attended destinations which most of the time will be in art related spaces such as museums, galleries and so called alternative spaces.
When the reading room arrives at its destination the contents of the crate will be unloaded or unsprung. As the case opens it unfolds into a series of library cabinets with content viewing apparatti, chairs, tables, walls, projections, etc.
As the name suggests the reading room is a place to view, read and ponder books, art publications, films, videos about neuro-aesthetics. As the room travels to other places its library will grow and reflect the local (heterogeneous) cultures and be a place of cultural exchange. Thus the reading room grows into a Cultural Being.
In collaboration with artist Nancy Hwang
The instinct for cleanliness is primal. Beyond the practical benefits to our physical well-being (as in the prevention of illness), a shower is immensely restorative, nurturing also our mental and emotional welfare.
As a daily ritual, a shower might be easily taken for granted, but to a weary backpacker or an enduring denizen of the streets, the advantages/goodness of a comfortable shower might be rightfully cherished.
Inequalities in access exist both globally and within footsteps of our front doors. The politics of water now seem deeper than our oceans and courses through the webbed layers of our lives. With increasing awareness and concern over Earth’s resources, bottlers of potable water are finally facing some scrutiny for pumping and profiteering. While hot tubs in stretch-Hummer limos demonstrate one extreme, long showers at high water pressures are luxuries enjoyed by large numbers without very much thought.
SHOWER illustrates the often overlooked virtues of a shower. For use by one person at a time, our public SHOWER services a very basic yet specific need. The experience of SHOWER emphasizes a simple quality (precisely to renew our appreciation), yet its design makes full use of energy saving and resource renewing features, aspects that could/should be incorporated into showers everywhere.
As an emblem, SHOWER monitors and displays each user’s water consumption, providing provocative data for both users and onlookers. SHOWER encourages audiences to treasure and be informed about water as a truly priceless resource, and to actively seek better solutions for our usage so we can enjoy showers well into the future.
Readily adaptable to various indoor and outdoor sites, we made SHOWER a mobile structure. Although partly dependent on the existing facilities at each location, SHOWER functions at high levels of self-sustainability through the use of natural resources such as solar heat, rainwater, photovoltaic (PV) cell generated electricity, and even human energy (i.e., body heat), as a public-activated intervention.
People waiting, passively wasting their energy, can now actively partake in using that energy to pre-heat the water to body temperature. Simply sitting on the Radiator Bench while passing time will reduce the amount of energy needed to bring water up to desired shower temperature. The Radiator Bench is made of standard plumbing pipe and will easily absorb the body heat of a seated person.
More on sustainability
Even when situated indoors, the PV panels on top of SHOWER are able to generate electricity as the amount of illumination inside modern glass buildings compares to natural outdoor light. With the use of light-permeable fabric, no additional light within the structure is needed.
Echoing New York City’s water towers, SHOWER’S water tank is positioned above the structure to bring water pressure to the system.
Because its potential as a traveling piece, SHOWER implements telescopic space, maximizing its compactability as cargo.
CONCEPT BLOOM! is a bed of organic Street Flowers which flourishes on the soil of urban activity. It captures the lively spirit of a street fest and invites the passerby into an engaging interaction between vendors, performers and exhibitions. Its iconic appearance of organic shapes, colors and materials make the vertical bells stand out amidst the monotonous streetscape. Whether a self standing object or a series of modular configurations, the twisted, triangular shape of the Street Flowers remains dynamic and attracts the eye from afar. At nighttime, BLOOM! transforms into a string of lights that invites curiosity and draws the public towards an enticing venue for entertainment. BLOOM! not only reinvents the typical street fair tent but also brings poetry to the Bowery streetscape.
UNTAPPED CAPITAL The design is based on the untapped capital of the indigenous wood structures that once dotted Mannahatta. The efficient use of natural materials and simplicity of structure became the inspiration for blooming tents. BLOOM! uses a minimal structure with three poles tied together, creatingmaximal space for minimal effort. Also the cover is made out of natural canvas and dyes which is similar to the natural coverage of the indigenous Mannahatta structures. Even water is used for structural purposes, showing the conscientious use of materials in the BLOOM! tents to minimize the impact on the environment.
STRUCTURE A fundamental component of the BLOOM! concept is the easy production, installation and modulation of the tents. The tripod structure achieves this goal with three vertical poles tied together. A canvas fabric is draped over the structure like a sleeve and held in tension by a triangle at the bottom filled with water. Structural analysis showed that water in the bottom functions as a weight that holds the fabric in tension and provides additional stability. Form-finding software provided the optimal shape for the fabric in tension. The development and production of the tents is expected to take 8 weeks and can be installed with a speed of one tent per hour. Thanks to its triangular shape in plan, BLOOM! tents are modular and easy to manipulate into various bouquet types, with options varying from straight lines to round configurations for larger events.