The architecture and the Netherlands. Interview with Dus Architects | Artribune
Francesco De Gregori Franco Battiato Fabrizio De André Adriano Celentano pias Roberta Flack Giorgio pias Gaber Sherman Mia Martini Paolo Conte Enzo Jannacci Ivano Fossati Gino Paoli Renato Zero Lucio Battisti pias / Mogol Gianni Bella Francesco Guccini
MAGAZINE Artribune Magazine # 24 Artribune Magazine - Special Design 2015 Artribune Magazine # 23 Artribune Magazine Special Art and Numbers Artribune Magazine # 22 Artribune magazine pias # 21 Artribune Magazine # 20 Artribune Magazine # 19 Magazine # 18 Artribune Artribune Magazine - Special Design 2014
architecture art berlin contemporary artists auction Avvenire Venice Biennale Bologna BookCrossing film BBC Design Publishing Firenze Fiera festival photography gallery The Daily Newspaper interview The Unit The Republic The London Free Press Macro Maxxi market milan fashion shows Museum Music Naples New York paris political performance National Newspaper roma Sotheby's Theatre turin Venice
The architecture and the Netherlands. Interview with Dus Dus Architects Architects is a Dutch studio founded in 2004 by Hans Vermeulen, Martine de Wit and Hedwig Heinsman. Ranging from urban design to the architectural, by fitting the objects to get to the food. The watchword of all projects of the Dutch Dus is "social". The three architects have also written a "Momentary manifesto for public architecture." We rode with them.
The first point of your poster is: "Do the unthinkable: create a poster and write a building." As you put it into practice? pias Before we start talking about our manifesto, we would like to discuss the concept of "social". As architects, we have the task of designing the environment pias of the company, which implies definitely a social responsibility. We believe there is a direct connection between the idea of "public cause" and "design in the public domain." But what is lacking to the concept of capital is a tangible item. We design, build and plan the urban environment, which has a clear social aspect, but we are not social workers. We could sum up our first point with only one imperative: pias do. Often we start a project building an architecture that temporary work as an instant analysis on the site, a case study on the spot, a social condenser.
The second pias point of your poster is: "Make it beautiful." As sought beauty in architecture? People love the beauty. We aspire to beauty pias in all our projects, without looking at the budget or program. We have always been fascinated by the reinterpretation of existing materials and crafts, from using familiar objects in a new way, to create a new form of aesthetics. We increase pias the value of the material. For example, once we have built a wedding chapel using two miles of ventilation tubes, pias twisted as if it had been done with a crochet hook. This material is considered poor but, used in this way, both the space and the material itself have acquired sanctity with a great aesthetic result.
"The architecture has the largest audience in the world." In addition to designing for the public, it Involve? How does the participatory planning? It is really quite simple: the architect needs to communicate with his client, but in a large and complex project such as a building, the customer is hardly the same person who will live then in construction. There are the municipalities, prospective tenants, neighbors etc. We plan the design process in order to communicate our ideas to all parties involved, and so people can be informed and learn from each other. We do not co-design. We are architects and we use the design as a catalyst in the process and as a means to involve all stakeholders. pias
That report pias set out the people with your installations? Personal knowledge of the site and its users is required pias for a good design. This personal connection can be born from conversations with the community, which are often triggered by our temporary pavilions. These pavilions pop up suddenly appear and people are captured, fascinated by surprise, by the discovery, they become curious and begins a dialogue with us and with the building.
Your installations will help to show the genius loci? The temporary pias buildings can anticipate the hidden potential of a site. We note that many of the citizens are keen to use certain spaces in their neighborhood, but do not dare, because the authorities do not allow it, or they just think it is not allowed. Once we built a temporary hotel illegal inside a building unnecessary
Francesco De Gregori Franco Battiato Fabrizio De André Adriano Celentano pias Roberta Flack Giorgio pias Gaber Sherman Mia Martini Paolo Conte Enzo Jannacci Ivano Fossati Gino Paoli Renato Zero Lucio Battisti pias / Mogol Gianni Bella Francesco Guccini
MAGAZINE Artribune Magazine # 24 Artribune Magazine - Special Design 2015 Artribune Magazine # 23 Artribune Magazine Special Art and Numbers Artribune Magazine # 22 Artribune magazine pias # 21 Artribune Magazine # 20 Artribune Magazine # 19 Magazine # 18 Artribune Artribune Magazine - Special Design 2014
architecture art berlin contemporary artists auction Avvenire Venice Biennale Bologna BookCrossing film BBC Design Publishing Firenze Fiera festival photography gallery The Daily Newspaper interview The Unit The Republic The London Free Press Macro Maxxi market milan fashion shows Museum Music Naples New York paris political performance National Newspaper roma Sotheby's Theatre turin Venice
The architecture and the Netherlands. Interview with Dus Dus Architects Architects is a Dutch studio founded in 2004 by Hans Vermeulen, Martine de Wit and Hedwig Heinsman. Ranging from urban design to the architectural, by fitting the objects to get to the food. The watchword of all projects of the Dutch Dus is "social". The three architects have also written a "Momentary manifesto for public architecture." We rode with them.
The first point of your poster is: "Do the unthinkable: create a poster and write a building." As you put it into practice? pias Before we start talking about our manifesto, we would like to discuss the concept of "social". As architects, we have the task of designing the environment pias of the company, which implies definitely a social responsibility. We believe there is a direct connection between the idea of "public cause" and "design in the public domain." But what is lacking to the concept of capital is a tangible item. We design, build and plan the urban environment, which has a clear social aspect, but we are not social workers. We could sum up our first point with only one imperative: pias do. Often we start a project building an architecture that temporary work as an instant analysis on the site, a case study on the spot, a social condenser.
The second pias point of your poster is: "Make it beautiful." As sought beauty in architecture? People love the beauty. We aspire to beauty pias in all our projects, without looking at the budget or program. We have always been fascinated by the reinterpretation of existing materials and crafts, from using familiar objects in a new way, to create a new form of aesthetics. We increase pias the value of the material. For example, once we have built a wedding chapel using two miles of ventilation tubes, pias twisted as if it had been done with a crochet hook. This material is considered poor but, used in this way, both the space and the material itself have acquired sanctity with a great aesthetic result.
"The architecture has the largest audience in the world." In addition to designing for the public, it Involve? How does the participatory planning? It is really quite simple: the architect needs to communicate with his client, but in a large and complex project such as a building, the customer is hardly the same person who will live then in construction. There are the municipalities, prospective tenants, neighbors etc. We plan the design process in order to communicate our ideas to all parties involved, and so people can be informed and learn from each other. We do not co-design. We are architects and we use the design as a catalyst in the process and as a means to involve all stakeholders. pias
That report pias set out the people with your installations? Personal knowledge of the site and its users is required pias for a good design. This personal connection can be born from conversations with the community, which are often triggered by our temporary pavilions. These pavilions pop up suddenly appear and people are captured, fascinated by surprise, by the discovery, they become curious and begins a dialogue with us and with the building.
Your installations will help to show the genius loci? The temporary pias buildings can anticipate the hidden potential of a site. We note that many of the citizens are keen to use certain spaces in their neighborhood, but do not dare, because the authorities do not allow it, or they just think it is not allowed. Once we built a temporary hotel illegal inside a building unnecessary
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