yona friedman

architekt, städteplaner, theoretiker, geb. 1923 in budapest, lebt in paris

friedman stellt sich als architekt und planer in opposition zur modernistischen / funktionalistischen auffassung, wie sie von den CIAM-mitgliedern vertreten wurde, und propagiert fragil vernetzte strukturen. seine konzepte konkretisieren sich in skulpturalen modellen, die aus reste-artigen materialien gefertigt sind (holzklötzchen, wellpappe, drähte, schnüre usw.). in diese netzstrukturen eingewebt werden vielfach zeichen, die wiederum von ihm entwickelten pictogramm-systemen entspringen. so wie henri levebvre in „the production of space“ in theoretischer hinsicht, denkt friedman visuell den raum radikal als durch performanz gebildet. in seinem manifest von 1958 beschreibt er eine mobile architektur die nicht die gebäude, sondern die bewohnerInnen betrifft, und in der “dwelling is decided on by the occupant” durch “infrastructures that are neither determined nor determining”.

 

weitere informationen:
http://www.portikus.de/exhibition_152.html?&L=1
Yona Friedman, Structures serving the unpredictable, NaiPublishers, Rotterdam
 

 

 

urban carpet

 

pictograms

 

mobile architecture / friedman’s flat

exhibition views, portikus

 

 

Portikus
Exhibition 152
Yona Friedman

03/21/08 – 05/04/08

Yona Friedman is one of the most interesting and important theorists and utopians of architecture of our time. Born in Budapest in 1923, he has lived in Paris for many years. Friedman’s oeuvre comprises urban-planning models, theoretical writings, and animated films. His work has been prominently on view at a number of art biennials (Shanghai, Venice, and others) and at documenta 11, Kassel.
In 1958, Friedman published a manifesto, “L’Architecture Mobile”, that must simultaneously be considered the founding document of “Groupe d’étude d’architecture mobile (GEAM)”. During the same years, he developed important conceptions of city-spaces such as “La Ville Spatiale”. To this day, these visionary mega-structures, overarching existing cities, whose inhabitants were to be enabled to flexibly shape their spatial and social worlds, have been much-discussed classics of avant-garde urban planning, inspiring generations of architects and urban planners. The ideas behind these manifestos were visionary and far ahead of their time; the point of departure for Yona Friedman’s “Ville Spatiale” was his conviction that architecture’s task was merely to offer inhabitants a framework, a structure that they would be called upon to implement according to their own ideas. Not unlike Constant, who during the same years, the mid-50s, developed the defining traits of his New Babylon, Friedman regarded the progressive automation of industrial labor and the concomitant rise of recreation as a decisive social change that would render traditional urban structures obsolete. An immobile and elaborate conventional architecture was to be replaced by flexible and mobile structures.
Over the past decades, his creative work has resulted in innumerable drawings, models, and structural investigations of his visionary ideas. Friedman has worked using very simple means; paper, wire, packaging materials are the primary materials that give structure to his collages and models. The guiding principle is that his ideas be easy to handle and enable creative application. For the Portikus, Friedman, in collaboration with students and alumni/ae of the Städelschule, is developing a multi-part spatial installation that draws upon earlier structural models from his oeuvre. There is “Lamellar Technology”, a so-called “irregular structure,” wave-like bands molded out of paper or other pliable materials that can serve as a sort of diaphanous roof. Also on view will be a wall work that can be related back to Friedman’s contribution to the 2003 Venice biennial, “Rubbish is Beautiful”, where styrofoam packaging elements were composed to form a large-scale wall relief. The erratic variety of their surfaces creates the impression that the visitor is facing a model elevation of a utopian city. In conjunction with the exhibition, we will screen a series of 13 animated films from 1960 based on African fairy-tales; they have recently been restored.