Lars Lerup's conceptual explorations as a designer and thinker have been inspired by philosophers and artists from Foucault to Beckett. Lerup's furniture designs elude consumer culture. They conform neither to what is commonly understood as useful nor to what is typically regarded as necessary. They question the assumed functions of furniture and, at the same time, their assigned place in space. His pieces interrogate their roles and positions and introduce a disturbing or at least disconcerting note to conventional floor plans. This autobiography of a design project is about rendering visible the consumerism that is driving the current economically motivated expansion of our cities, and dealing with the consequences for the environment and society.
Lars Lerup's conceptual explorations as a designer and thinker have been inspired by philosophers and artists from Foucault to Beckett. Lerup's furniture designs elude consumer culture. They conform neither to what is commonly understood as useful nor to what is typically regarded as necessary. They question the assumed functions of furniture and, at the same time, their assigned place in space. His pieces interrogate their roles and positions and introduce a disturbing or at least disconcerting note to conventional floor plans. This autobiography of a design project is about rendering visible the consumerism that is driving the current economically motivated expansion of our cities, and dealing with the consequences for the environment and society.
The Luxor is a significant milestone in the Suvre of Bolles + Wilson. As a major public building it pursues themes first tested in the 1993 new city library in Münster: a characteristic plan form, an intervention that redefines its context, and a synthesis of the abstract with a spatial warmth, an ambience that communicates directly and subliminally to a wide audience base. The architecture of this German/Australian duo does not fit easily into conventional architectural genres. Smallness, intimacy, and precise details characterise their work, just like an increasing number of urban interventions that have made a major impact on cities like Hengelo, The Hague or Magdeburg. The design of the Luxor Theatre, the process of its realisation, Bolles + Wilson's surrounding urban fields and, most importantly, the internal life in the building engendered by the architecture are fully presented in this book.
Postscript by Peter EisenmanIn the three house projects drawn and described here, Lars Lerup makes "planned assaults" on both architectural dogma and social convention as they are represented by the single-family house, its site, and its program, real or imaginary. His subjects are a suburban house in California, a Parisian house where a visitor awaits his lover, and a country retreat in Texas for an independent woman. Lerup makes his assault on the house as figure, as plan, and as "family narrative" - a set of conventions in which, he writes, "architecture has no place." For each project he establishes a balanced "tripartite figure" - a place or space for architecture flanked by two smaller structures, each a child's drawing of a house - only to disrupt and animate it through an engineered collision of house and architecture. By a series of transformations derived in part from Le Corbusier's notion of the architectural promenade, Lerup makes, in each case, a new house: the Nofamily House, Love/House, and Texas Zero. But if Le Corbusier's houses were conceived as machines for dwelling, Lerup's are, in Peter Eisenman's words, "dream machines." His devices are Dadaist traps, displacements and rotations, shifts and leans among building elements. His inspirations are not only architectural but poetic, philosophical, and psychoanalytic. His creations invite the dweller or the beholder momentarily to leave behind the patterns of everyday existence, to enter the imaginative world of architecture. Lerup's enchanting drawings - 38 reproduced in color and 38 in black and white - constitute their own discourse. Drawing and explication are presented as a synthesis in which each forms its own"text." Eisenman's postscript deals critically with Lerup's work in the context of current architectural thought and practice. Lars Lerup is an architect and a faculty member of the Department of Architecture, University of California, Berkeley. His work has been widely exhibited and his drawings are included in private collections and in the collections of the CCA. Lerup's first published house project was "Villa Prima Facie (1978). He is also the author of "Building the Unfinished: Architecture and Human Action (1977). "Planned Assaults is a publication of the Centre Canadien d'Architecture/Canadian Centre for Architecture. Distributed by The MIT Press.
The Luxor is a significant milestone in the Suvre of Bolles + Wilson. As a major public building it pursues themes first tested in the 1993 new city library in Münster: a characteristic plan form, an intervention that redefines its context, and a synthesis of the abstract with a spatial warmth, an ambience that communicates directly and subliminally to a wide audience base. The architecture of this German/Australian duo does not fit easily into conventional architectural genres. Smallness, intimacy, and precise details characterise their work, just like an increasing number of urban interventions that have made a major impact on cities like Hengelo, The Hague or Magdeburg. The design of the Luxor Theatre, the process of its realisation, Bolles + Wilson's surrounding urban fields and, most importantly, the internal life in the building engendered by the architecture are fully presented in this book.
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