City Architect

City Architect
City Architect

Video: City Architect

Video: City Architect
Video: Архитектор: Париж - свежий опыт строительства нового города в центре Парижа 2024, March
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The intrigue of the exhibition lies in the fact that it is in no way possible to classify Yarmund as one of the direction of "Scandinavian architecture" - even in the broadest sense of this term. Her work is distinguished not only (and not so much) by attention to material and landscape, and her buildings are often bright than restrained; rarely for her is the use of wood, which plays such an important role in the architecture of Northern Europe - both traditional and modern.

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Палата мер и весов в Челлере
Палата мер и весов в Челлере
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On the other hand, Yarmund's work lacks the free play with the form characteristic of such compatriots as Hjetil Thorsen of Snohetta and the young architects of Space Group and Various Architects. All of her projects bear the stamp of extraordinary talent, but at the same time they leave a feeling of non-Scandinavian architecture, maybe even not northern at all - although, of course, very European. The boldness and originality of the solutions does not overshadow the key source of inspiration for Christine Yarmund - the creativity of the masters of the Modern movement. At the same time, the evolution of samples is clearly traced - from the "classic" pre-war modernism of the complex of the Norwegian Chamber of Weights and Measures in Cheller (1997) or the Benterüd school in Skorer (1999) to the high school in Rocholt (2004), cleverly combining the influence of Mies van der Rohe (the glass pavilion raised to the platform with a roof overhang resembles the Crown Hall or the New National Gallery) and Le Corbusier (the cone-shaped ends of the auditoriums protrude from above from a rectangular volume - as in the Assembly building in Chandigarh).

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Probably, the reliance on the Modern movement, and also, according to Yarmund herself, in its "urban" origin hides the reason for the specific - detached - interaction of its buildings with the landscape: they take into account its features, but at the same time remain self-sufficient (again, uncharacteristic for "Typical" Scandinavian architecture trait).

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It is important to note that Yarmund's works are very far from any secondary nature and associated boredom; the architect does not seek solace in the past, but actively interacts with the present. A striking example is the Nydalen metro station in Oslo (2003), where from the ground pavilion, a dynamic composition of basalt and red glass planes, the “Tunnel of Light” with escalators leads to the trains: this multimedia object is formed of color-changing lamps and musical accompaniment, composed of the sounds of the city.

It is the city that is the ideal environment for Yarmund to work: the best of the buildings presented at the exhibition were created for her for the capital of Norway.

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The headquarters of Bank Fokus (2005) faces the square with a relief facade made of glass panels with wooden inserts, and the adjacent street is faced with a basalt plane, enlivened by three strips of glazing protruding from it. The so-called "Treasury", the building of the tax office in a suburb of Oslo (2007), with its horizontally displaced "layers" sets the dynamics of the surrounding space, without violating the existing context.

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Also in the city is the last in chronology of the works of Christine Yarmund presented at the exhibition: the building of the Norwegian Embassy in Nepal, located in Kathmandu, is focused on the determining factor for this country - the Himalayas. The one-story volume of local oil shale is equipped with a mezzanine with an ambassador's office; its glazing panels are arranged in a zigzag manner, which at the same time resembles the outlines of a mountain ridge and creates the visual center of the main facade.

Штаб-квартира банка Fokus. Фото © Arnout Fonck
Штаб-квартира банка Fokus. Фото © Arnout Fonck
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Among the works shown in Moscow, only one is related to interior design, although this area of activity is important for Yarmund. A small cafe, more precisely, a glass kiosk-showcase for the cafe of the National Gallery in Oslo (2002) anticipates the architect's successful experience in creating

museum expositions. Set against the backdrop of beautiful nymphs - replicas of Jean Goujon's reliefs for The Fountain of the Innocents, this structure resembles a traditional showcase for exhibits, but an amusing contradiction creates a frivolous atmosphere: instead of works of art, various foods are displayed there.

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As for the exposition of Christine Yarmund's works in Moscow, its design is a typical design of a traveling exhibition, which serves primarily to educate and inform the public, rather than "representative" functions. Lightweight metal structures with photographs, drawings and explanatory texts attached to them are supplemented with models and plastic panels that give an idea of the color and texture of the materials used. Unfortunately, the hall allocated for the exhibition in the "PROEKT_FABRIKA" complex is too small for it, therefore it is difficult to truly appreciate large-format photographs, and the logic of the arrangement of images is sometimes violated due to lack of space. These unpleasant details, however, do not take away the main thing from the exhibition: this rich story about the works of the original architect can serve as food for thought, but it is also interesting in itself, as any essay on creative searches - and finds - is interesting.

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