mobile/ Kunst-am Bau competition,
5 March – 13 May 2019
In focus of the Kunst am Bau - competition is the new atrium of the building, connecting the old with the new building. Many levels are united in a center of encounter and movement for young and old, students, teachers, parents; for all those who will be involved in this newly designed architectural building. A lively communicative situation will arise here, also a new center for movement, certainly a special place for the youngest students. The submitted design takes up this idea by having a multitude of lines meet and move across the different levels and floors. The drawn line formation creates an illusory spatiality from each side of the central concrete wall in the atrium, depending on the perspective from which you view it. The lines seem to move forward and backward, depending on the viewpoint.
The moment of movement is the central motif of this design – for this project, I give the title "mobile." The project title "mobile" (from Latin: mobilis, mobile: movable, excitable, and unstable) takes up this idea. Doesn't one think involuntarily of an object moving quietly in the wind? Doesn't the concept of "mobility" also evoke many forms of external and internal mobility? This architectural center becomes the venue for a variety of individual movements by people. Gestures and body language meet and certainly different forms of language. The submitted design also sees itself as an "invitation to conversation," as an impulse for the inner mobility of children, adolescents, and adults. For children, movement is particularly important. Children are in constant motion and need it to stay in balance.
Today everything is mobile. To be mobile means to be up to date. In 1970, the Duden dictionary only had a brief entry for "mobility," meaning "agile." In the mid-1980s, the term changed to another term meaning "to be mobile" or "not to be tied to a fixed location." Since 2010, the Duden has described social and spatial mobility as mobility in the sociological sense, referring to changes in profession, social status, or place of residence (from: "Alle in Bewegung," Spatial Mobility in the Federal Republic of Germany 1980-2010, Raphael E. Dorn, pp. 36-37). Being mobile is a basic requirement of modern life: a high demand.
When pronounced phonetically, the title "mobile" creates a movement in the viewer's mind through the idea of an object moving quietly in the wind. The lines on the wall are set in motion. The plural form of the German adjective, "mobil," evokes several associations, especially that of mobility. Additionally, the title abstractly evokes a changing situation and possibly describes the movement of the child's mind and body. In relation to adults, in childhood, knowledge and learning are subject to a faster cycle of change. The mental movement and openness to all impressions of the world are remarkable.
Furthermore, the submitted work addresses a "grammar of drawing." The framework underlying drawing is comparable to the way the grammar of a language is based. The grammar of language dictates rules for how something can be said so that it is understood. The drawing "grammar" used here is based on the basic drawing and painting. The grammar of language provides rules for how something can be said so that it is understood. The graphical "grammar" used here refers to the basic graphical and painterly means of line and color and their composition on the picture support, that is, the space of the atrium and its walls. The lines can be seen as orientation within the entire space of the atrium, as they have a space-defining effect. The work functions through vanishing perspectives, the color of the lines and the conditions of the spatial situation. Spaces emerge that shift into one another and penetrate each other. They seem to float. Slim upper lines suggest an anchor. The design is based on an asymmetrically arranged but precisely balanced relationship between the tension-laden lines.
Formal implementation
Structure / The painting takes place on the central exposed concrete wall of the atrium and continues sideways on the balustrades and the walls behind them. There it appears as a fragment that is perceived as a whole from the center of the center and through a rotational movement of the viewer. The initial idea was a circular movement in space that makes the painting perceptible as an impulse.
There are rules for how the painted lines are applied in space. Coming from each side, two lines are connected to another line. How the lines come from the sides is not determined. They do not have to be parallel, but they can be. They do not have to be diagonal, but they could be. Then these two lines are connected to each other and form a formation that has fallen out of order, comparable to the letter "U." Then these formations are "grounded" by one or two additional lines, so that a spatiality relaxes. In fact, only three lines are shown. However, as a viewer of the lines, one sees a whole space in them. There is no repetition in the line structure, although the constellation of the lines was created according to a uniform specification. There are falling and rising movements. The two movements run counter to each other. The gray line is reminiscent of an outline from a graffiti. In fact, however, this line does not outline anything, but develops its own path in space. The design circles around a point located in the center of the exposed concrete wall. The diagonally placed lines, which are placed in a tension-filled relationship to each other, create a harmonious tension ratio.
Colorfulness / A total of five colors are used. In the color selection, it was particularly important to choose elementary colors. Each shape receives its color. The last color is a line that follows more or less regularly. The colors are applied in layers: at the bottom is signal red, above that is indigo blue, which is very dark in appearance. On top of that are a warm yellow and a cooler cobalt blue. The colors interact with each other. A medium gray floats on the surface. The particularly contrasting colors work very well on light gray exposed concrete and on walls because they glow. The painting consists of colored lines of the colors vermilion red (Lascaux 922), Prussian blue (Lascaux 949), and medium permanent yellow (Lascaux 914) and medium neutral gray (Lascaux 978). The selected acrylic paints have a very high pigmentation, are lightfast, aging-resistant, and have high luminosity.
Technical implementation
The lines are approximately 2.80 m to 25 m long. They have a width of approximately 3 cm to 14 cm. The distance between the gray line and the colored lines is not uniform, but parallel in each case.
The moment of movement is the central motif of this design – for this project, I give the title "mobile." The project title "mobile" (from Latin: mobilis, mobile: movable, excitable, and unstable) takes up this idea. Doesn't one think involuntarily of an object moving quietly in the wind? Doesn't the concept of "mobility" also evoke many forms of external and internal mobility? This architectural center becomes the venue for a variety of individual movements by people. Gestures and body language meet and certainly different forms of language. The submitted design also sees itself as an "invitation to conversation," as an impulse for the inner mobility of children, adolescents, and adults. For children, movement is particularly important. Children are in constant motion and need it to stay in balance.
Today everything is mobile. To be mobile means to be up to date. In 1970, the Duden dictionary only had a brief entry for "mobility," meaning "agile." In the mid-1980s, the term changed to another term meaning "to be mobile" or "not to be tied to a fixed location." Since 2010, the Duden has described social and spatial mobility as mobility in the sociological sense, referring to changes in profession, social status, or place of residence (from: "Alle in Bewegung," Spatial Mobility in the Federal Republic of Germany 1980-2010, Raphael E. Dorn, pp. 36-37). Being mobile is a basic requirement of modern life: a high demand.
When pronounced phonetically, the title "mobile" creates a movement in the viewer's mind through the idea of an object moving quietly in the wind. The lines on the wall are set in motion. The plural form of the German adjective, "mobil," evokes several associations, especially that of mobility. Additionally, the title abstractly evokes a changing situation and possibly describes the movement of the child's mind and body. In relation to adults, in childhood, knowledge and learning are subject to a faster cycle of change. The mental movement and openness to all impressions of the world are remarkable.
Furthermore, the submitted work addresses a "grammar of drawing." The framework underlying drawing is comparable to the way the grammar of a language is based. The grammar of language dictates rules for how something can be said so that it is understood. The drawing "grammar" used here is based on the basic drawing and painting. The grammar of language provides rules for how something can be said so that it is understood. The graphical "grammar" used here refers to the basic graphical and painterly means of line and color and their composition on the picture support, that is, the space of the atrium and its walls. The lines can be seen as orientation within the entire space of the atrium, as they have a space-defining effect. The work functions through vanishing perspectives, the color of the lines and the conditions of the spatial situation. Spaces emerge that shift into one another and penetrate each other. They seem to float. Slim upper lines suggest an anchor. The design is based on an asymmetrically arranged but precisely balanced relationship between the tension-laden lines.
Formal implementation
Structure / The painting takes place on the central exposed concrete wall of the atrium and continues sideways on the balustrades and the walls behind them. There it appears as a fragment that is perceived as a whole from the center of the center and through a rotational movement of the viewer. The initial idea was a circular movement in space that makes the painting perceptible as an impulse.
There are rules for how the painted lines are applied in space. Coming from each side, two lines are connected to another line. How the lines come from the sides is not determined. They do not have to be parallel, but they can be. They do not have to be diagonal, but they could be. Then these two lines are connected to each other and form a formation that has fallen out of order, comparable to the letter "U." Then these formations are "grounded" by one or two additional lines, so that a spatiality relaxes. In fact, only three lines are shown. However, as a viewer of the lines, one sees a whole space in them. There is no repetition in the line structure, although the constellation of the lines was created according to a uniform specification. There are falling and rising movements. The two movements run counter to each other. The gray line is reminiscent of an outline from a graffiti. In fact, however, this line does not outline anything, but develops its own path in space. The design circles around a point located in the center of the exposed concrete wall. The diagonally placed lines, which are placed in a tension-filled relationship to each other, create a harmonious tension ratio.
Colorfulness / A total of five colors are used. In the color selection, it was particularly important to choose elementary colors. Each shape receives its color. The last color is a line that follows more or less regularly. The colors are applied in layers: at the bottom is signal red, above that is indigo blue, which is very dark in appearance. On top of that are a warm yellow and a cooler cobalt blue. The colors interact with each other. A medium gray floats on the surface. The particularly contrasting colors work very well on light gray exposed concrete and on walls because they glow. The painting consists of colored lines of the colors vermilion red (Lascaux 922), Prussian blue (Lascaux 949), and medium permanent yellow (Lascaux 914) and medium neutral gray (Lascaux 978). The selected acrylic paints have a very high pigmentation, are lightfast, aging-resistant, and have high luminosity.
Technical implementation
The lines are approximately 2.80 m to 25 m long. They have a width of approximately 3 cm to 14 cm. The distance between the gray line and the colored lines is not uniform, but parallel in each case.