OOSTERHUIS ASSOCIATES

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Exhibition
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(NL)

Kas Oosterhuis (*1951)

 

 

 
Presentation
       
 
     
Oosterhuis' radical stance sees in "the artificial mass" we have created an "extension of ecological nature". This observation enables an architectural conception which needs not choose between "the natural" and "the synthetic" it is simply a component belonging to a global system. The process adopted by Oosterhuis reflects the genetic process, and the drawing's evolution is directed by genes enabling him to define his information codes. The Salt Water Pavilion excludes choosing any straightforward geometric approach, thought of as arbitrary by Oosterhuis. The project is conceived like a "unicellular organism" in which the individual bears the information. Associated with Nox' Fresh Water Pavilion project, the Salt Water Pavilion is an organic continuum. The singularity and autonomy proclaimed by the buildings serves as an introduction, along with a final pavilion devoted to the internet, to a reactive and cognitive architecture that simultaneously transmutes itself and reacts to solicitations like an "expert system" it is an authentically interactive architecture that multiplies its functions and enjoys open flexibility.
   
       
       
       
     
         
 
       
 
Exhibition
       
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OOSTERHUIS ASSOCIATES
   
           
     

We are physically situated under a common denominator with quarks, planets, ideas, language, programmes, radiation and light as the numerators. We are part of a vast information flow. We are information ourselves, and we swim about in abundant information. Life could be the power to direct the flow of information. The very notion of life seems to be the very opposite of entropy. Building projects - architecture - are like placing an attractor into the future. All information will head towards that attractor from then on. This particular stream of information is thus energized and vectorized. (…) Since the question we are discussing here has enormous implications far beyond architecture I suggest for the moment that I comfort myself with the notion that people are intermediate bodies - among many - absorbing data from a redundant stream of life (information) and excreting them again in modified form. When we make a film of, for example, a house and speed it up a thousand times (the Koyaanisqatsi effect) the house is acting like a living body. It absorbs all kinds of material, including a liquid stream of humans, pulsating in and out.(…) Ecological balance also includes people going in and out, and data being imported and exported, information flowing towards it (feeding), through it (digesting) and away from it (excreting). In the end it does not matter if we call this evolution, proto-evolution, co-evolution or exo-evolution. The most important thing is how we make things work, how we will involve ourselves in building greater complexities of meaning and establishing an increased exchange of information between human body and building body.
We design the way we look into the universe, we design the way we transport ourselves over great distances, and we design the way we transport data. All new designs, which are contributing to the further development of tools and extensions, are information enhancers. These designed objects and networks contain ever-growing amounts of data. Where does this affect our own work? In what way are we contributing to the global enhancement of information content? One of the first questions, which have to be answered, could well be : does our complex splined architecture (Saltwaterpavilion) have a bigger impact on the evolution of the new life forms than traditional architecture does? Or stated otherwise, is the very act of building responsible for the enhancement of information content, or is it the complexity of the proposed building scheme that determines the value of the information-index? (…)
It is theoretically possible though that we might be inefficient in processing vast amounts of data and as a result contributing less than we would expect to do. But I think - comparing our work to that of other offices - that we have realized greater complexity, both in the physical volume as well as in its behaviour, within the same stretch of time. That must inevitably mean that the information content per volume and per amount of time has been raised.
Kas Oosterhuis

   
       
     
     
     
           
     
Saltwater Pavilion, Neeltze Jans, Hollande, 1997
   
           
     

The form gene underlying the saltwater pavilion's shape is an octogonal, faceted ellips which gradually transmogrifies into a guadrilateral along a three-dimensional curved path. Along that path the volume is first pumped up and then deflated again to form the sharply cut nose. The body juts out a whopping 12 metres over the inland sea of the Oosterschelde. The saltwater pavilion is also a sculpture which is fashioned in accordance with its own laws and rules and for reasons that other people can never quite fathom. Because of this self-sufficiency of form as interpreted by the independent observer, the salt-water pavilion is suddenly and simultaneously a hundred different things: a stranded whale, a late Brancusi, a paramecium, a sea cucumber, a submarine, a lemniscate, a speedboat, a tadpole (with silver tail), a solidified droplet, a wave, a stealth bomber.

   
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Trans-Ports 2001 - Rotterdam, Hollande, 1999
   
           
     

This project wich will be realized in Rotterdam is a building devoted to new technologies. It appears as a unicellular organsime, a pure envelope wich never stops to transform itself according to the intensity of the communication flows. The architecture became in this an active structure wich mute in a real time through the absorption of data given by a game ("Real Time Evolution Game") on a web site. The visitors will walk in an interior space, in perpetual transformation, modulated by screen projections of woods. The orthogonal space is forsaken to surfaces undulations which, as a kind of carpet, never stop to fold themselves to abolish any partition between the ground and the walls, between the ceiling and the openings.

   
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Garbage Transferation Elhorst/Vloedbelt, Zenderen, Hollande,
1995
   
           
     

Usually the different functions of this kind of program (hall, office building, purification plant) are scattered over the site. But here, all the separate building elements were put together to form one large building body composed of a head, a trunk and a tail. The intelligent head houses the weigher's office, the computers, the network, the brains. The actual processing of the garbage takes place in the trunk, the large covered space where it's digested. Finally, the filter unit is set in the tail-part of the building body. The succession of body sections adjusts itself flexibly to the volume and character of the functions. The body reaches its greatest volume at the centre of the trunk; towards the head it narrows to become slender and compact. The shaped container is inspired by the development in the growth of biological bodies, which display fluid transitions between the different body parts. Industrial bodies like cars and ships display this same quality.

   
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Resources
       
 
 
Internet links
       
         
           
 
Biography
       
     
OOSTERHUISASSOCIATES.
Kas Oosterhuis (1951)
1970 / 79 - Etudie l'architecture à la Technical University de Delft.
1987 / 88 - Réside au Studio Theo Van Doesburg, Meudon, France.

1989 - Fonde Kas Oosterhuis Architekten, Rotterdam, Hollande.
1994 - Crée avec Ilona Lénard et Menno Rubbens la Fondation Attila.
1997 - Fonde Oosterhuisassociates, Rotterdam, Hollande ; "Gold Award for Innovative Recreational Projects / Saltwaterpavilion".
1998 - "Zeeuwse Architecture Prize / Saltwaterpavilion"

Principaux projets et réalisations :
1998 - "Villa urbaine" Rotterdam (réal.) ; "56 Maisons" Utrecht (réal.) ; "64 ponts" (projet) ; "Cockpit dans une barrière acoustique" (projet) ; "Intelligent Sculpture paraSCAPE" avec Ilona Lénard (réal.).
1997 - "Saltwaterpavilion" Neeltje, Zeland (réal.) ; "Music sculpture" avec Ilona Lénard, Oldemark (réal.) ; Urban Planning Study, Zoetermeer (projet) ; "Saltwater LIVE immersive virtual reality" Waterpavilion, Neeltje (réal.).
1996 - "Attractor Game" (planning) Reitdiep, Groningen (projet) ; "Town hall" Kampen (2eme prix).
1995 - "Garbage transfer station" Elhorst / Vloedbelt, Zenderen (réal.) ; 55 Maisons, Zonland, Groningen.
1994 - "34 Maisons dont 8 maisons à patio" De Hunze, Groningen.
1993 - "Wintergarten housing" Kattenbroek Amersfoort.
1992 - "City fruitful" avec 4E, Dordrecht (projet) ; "Drive-in patio housing" La Haye (réal.)

Expositions récentes :
1998 - "Polynuclear landscape" avec Ilona Lénard, Almere.
1997 - "ParaSITE" avec Attila - Tour Européen - Rotterdam, Helsinski, Graz...
1994 - "Sculpture City Exhibition" avec Attila, Galerie Ram, Rotterdam.
1993 - "L,v" avec Ilona Lénard, Arnhem.
Conférences récentes
1998 - Getty Research Centre, Los Angeles, "Realtime behaviour of synthetic bodies".
1997 - Architectural Association, Londres, "Parametric behaviour" ; Geelong, Australie, Morphe conference, "Building Bodies" ; Design Institute, "Building Bodies in Time" ; Académie d'Architecture, Rotterdam, "Attractor Game".