Burning Man – festival, design, life concept?

Building design
Burning Man, 2015: New design for the 15 meter high Burning Man: wood with neon. Photo: via Wiki Commons

Burning Man, 2015: New design for the 15 meter high Burning Man: wood with neon. Photo: via Wiki Commons

Burning Man is now a world-famous festival in the Nevada desert for alternative lifestyles, temporary urban development and architecture, art, extreme clothing and intergenerational parties. The Burning Man design now includes an urban infrastructure with its own airport, hospital and a transportation system with collective art cars and bicycles for individual traffic. Cars must stay away from the festival and can only be used to get there.

One of the co-founders of the Burning Man Festival was the artist Larry Harvey (1948 – 2018). The Burning Man design was simple at the time of its founding in 1986: Harvey moved to Baker Beach on the shores of the Pacific Ocean in the northwest of San Francisco with around 20 friends, probably out of heartbreak. They partied so that Larry Harvey could forget his grief. Afterwards, the clique burned a wooden figure over two meters high and buried Larry Harvey’s grief with the ashes. Today, Burning Man is a professionally organized festival that attracts over 70,000 visitors from all over the world to Nevada in the USA. The ticket contingent is limited. Price per ticket? US$ 575 plus entertainment tax.

Burning Man takes place at the end of August and the beginning of September. The festival lasts nine days and ends on US Labor Day, the day of remembrance of the workers’ movement. This is always on the first Monday in September. The Burning Man Festival remained at Baker Beach until 1990. After that, it had to move. The number of visitors had grown steadily: from twenty participants in 1986, it had risen to over three hundred by 1989. The wooden doll, which was originally a larger-than-life 240 cm high, grew to 12 meters. The festival and the burning of the wooden figure on the beach near the town were now undesirable. In 1990, the festival organizers again erected a 12-metre-high wooden figure on Baker Beach, but it was no longer set on fire. A new location had been found for Burning Man. No one would feel disturbed there by parties, installations and a large fire: The Black Rock Desert. This desert is located in north-western Nevada on the lake bed of the prehistoric Lake Lahontan and covers an area of 30,044 km² – enough space to continue growing in the future.

The Burning Man Festival and Design first had to establish itself in the desert. From 1991 to 2000, the number of participants rose from a meagre 250 at the beginning to over 25,000 in 2000. The sculpture, which is traditionally transformed into a gigantic bonfire at the end of the festival, remained a constant 12 meters high during this time. In 1995, the temporary, once-a-year settlement in the middle of the desert was given the name “Black Rock City”. With an area of 18 square kilometers, it is the fourth largest city in Nevada for nine days. In 1998, the organizers introduced management structures and an orderly course was established. Cars and weapons were banned in “Black Rock City”, and the urbanized desert has had an airport since 2002. In 2003, the management issued a ban on dogs. Many “burners”, the festival participants, are barely clothed and enter pavilions and installations barefoot. Who wants to step in dog poo like that?

The City of Burning Man only exists for a few days. But during these days, you can do and get everything you need to live and, above all, chill out. In 2019, the year before the outbreak of Covid-19, the organizers counted over 78,000 participants. For around ten days, Black Rock City is a settlement that is slightly larger than Paderborn and slightly smaller than Wolfsburg in terms of population. However, it is more of a camp and nothing, apart from works of art and walk-in sculptural architecture, is built on high ground. The Burning Man design has an urban structure arranged radially around a center like Ebenezer Howard’s garden city – only due to its location, it is devoid of greenery.

The inhabitants of the temporary metropolis, the “burners”, stand for individuality, a peaceful, slightly hedonistic lifestyle with a penchant for neo-hippie style or imaginative costumes in a space age or queer look. Fun and liberal fun for all are also the purpose of the festival. The participants live like campers and cater for themselves. They also take care of their own waste disposal. Drinks are served at the artistically designed bars, sanitary facilities serve the entire giant community and a hospital is set up for medical care. Burning Man has a participatory and diverse character: the age groups, ethnicities and social groups are totally mixed. The negative side effects of many festivals and major events – violence, garbage and environmental pollution – are non-existent. The “burners” move through Black Rock City in art cars, the so-called “mutant vehicles”. This promotes community, communication and is more environmentally friendly than private transportation. This is only available for cyclists or pedestrians.

After nine days in Black Rock City, there are no traces of Burning Man in the desert. The city is completely dismantled and every “Burner” is obliged to take everything that belongs to them back with them. Because of its peaceful and liberal atmosphere, the Burning Man model has already been the subject of ethnographic studies and cultural studies research. It is understood as a utopian role model. The formation of community and identity as an alternative to the society “outside” is exemplary. In the “Black Rock City”, people are active, communicative and curious, imaginative and very tolerant for nine days. They then take this attitude to life out into the world.

POTREBBE INTERESSARTI ANCHE

“Tsuyoshi Tane: The Garden House” at the Vitra Design Museum

Building design
The exhibition "Tsuyoshi Tane: The Garden House" explains the construction and history of this special building on the Vitra Campus. Vitra / ATTA, Photo: Julien Lanoo

The exhibition "Tsuyoshi Tane: The Garden House" explains the construction and history of this special building on the Vitra Campus. Vitra / ATTA, Photo: Julien Lanoo

On November 18, 2023, the exhibition “Tsuyoshi Tane: The Garden House” will open in the Vitra Design Museum Gallery. It is dedicated to the recently built Tane Garden House on the Vitra Campus.

On November 18, 2023, the exhibition “Tsuyoshi Tane: The Garden House” will open in the Vitra Design Museum Gallery. It is dedicated to the recently built Tane Garden House on the Vitra Campus.

The Garden House by Japanese architect Tsuyoshi Tane is the latest building on the Vitra Campus and the first to be designed with the climate crisis in mind. The impetus for its construction came from Rolf Fehlbaum, Chairman Emeritus of Vitra, in 2020. In a letter to Tane, he explained that the Tane Garden House, together with the surrounding Oudolf Garden, should be the “first manifestation of a greater awareness of sustainability” on the Vitra Campus. It is important that the materials, working methods and usage methods used meet high ecological standards.

The Tane Garden House has a relatively small footprint of just 15 square meters and serves both as a lounge for the gardeners on the site and as a viewing platform for visitors to the campus. The platform offers an elevated view of the surrounding Oudolf Garden. The facility was developed in a trial-and-error process in which many different options were explored in search of the essence of the site.

The garden house is a typical example of Tsuyoshi Tane’s way of working. His projects are always preceded by intensive research into the local conditions. The exhibition in the Vitra Design Museum Gallery shows how the new building emerged from such research.

Like an archaeologist, Tane embarks on a kind of journey of discovery and searches for the essence of each place – he even describes this process as archaeology, the “archaeology of the future”. In doing so, he primarily explores the use of traditional materials and the regional craftsmanship in dealing with them. Tane also uses the term “above ground” to describe renewable products such as reeds or wood. This contrasts with “underground materials”, which are heavily overused raw materials. Although Tane was inspired by the historical buildings in the Swiss open-air museum Ballenberg to use the materials that make up the garden house, his own structure was built using regional production techniques and in collaboration with local craftsmen. The aim was to generate the smallest possible CO2 footprint overall.

The exhibition in the Vitra Design Museum Gallery presents, among other things, precisely these materials as components of the building: from the traditional thatched roof and the well trough made of logs to the binding and knotting techniques of ropes used for the staircase balustrade. Visitors will also find architectural models as well as models of individual building elements, drawings of the building and evidence of collaboration with local craftsmen. The entire development of the building can be traced on the basis of over a hundred models and mock-ups that have gone through several experimental stages. The exhibits show Tane’s intensive engagement with the typology of the building and his playful approach. The Tane Garden House is a building that represents an experimental study in contemporary and ecological construction. The exhibition consists exclusively of the materials used in the development process.

The exhibition is accompanied by the publication “Tane Garden House”. It conveys Tane’s unique architectural approach, his discussions and exchanges with craftsmen, builders and others involved in the process using statements and drawings, prototypes and sketches, models and materials.

The exhibition will open on November 18, 2023 and will run until April 21, 2024, inviting anyone interested to come and see for themselves.

Until recently, another interesting exhibition was on show at the Vitra Design Museum: Everything about “Garden Futures” here.

Art in shape – The stone in January 2025

Building design
Jo Kley's "Bull" is one of more than 100 sculptures that the freelance artist has created in Germany and 20 other countries around the world. Kley has been carving sculptures out of natural stone for around 25 years, using them to bring irrepressible energy into solid forms. Jo Kley regularly takes part in symposia and has created numerous works for public spaces. The artist lives and works in Kiel. © Bernd Perlbach

In the first issue of the new year, we invite you to rediscover the ancient excavation sites of Pompeii through the eyes of renowned architectural photographer HG Esch. He shows the city in unprecedented clarity. We will also be presenting impressive sculptures made of natural stone that artist Jo Kley has created in recent years and taking a closer look at the mandatory e-invoicing that will apply to companies from 2025.

Trade fair in Munich

Right at the beginning of the year, another trade fair is on the agenda: BAU 2025. It could be worth coming to Munich, because the program reads promisingly. The building of the future is right at the top of the trade fair organizers’ agenda. Companies from the natural stone, ceramics and tile sectors await you in Hall A4.

Pompeii from above

From page 6 onwards, we invite you to take a completely new look at the ancient excavation sites of Pompeii with us. Renowned architectural photographer HG Esch and his team have embarked on a literally “historic” journey, during which spectacular drone photos were taken. They show the structures of the ancient city with unprecedented clarity.

Award-winning sculptures

After breathtaking photographic art, from page 14 we show impressive sculptures made of natural stone that artist Jo Kley has created in recent years. He remains true to his original profession as a stonemason and stone sculptor. Kley has already given advice and support to the winners of the “DMH” and “Gute Form” competitions twice during a workshop. In this way, he is preparing the ground for the artists of tomorrow.

Maoi in Berlin

Our author Dr. Inge Pett found out for you how a moai from Easter Island ended up in Berlin’s Gardens of the World. The replica of such a huge sculpture made of tufa stone had literally been growing grass for 25 years. Find out what the Moai are all about from page 30 onwards.

Electronic invoices

From page 48, we turn our attention to a topic that may be on the minds of many of you: e-invoices. They will be mandatory from 2025. Our author Marian Behaneck explains what this means for companies and what details you should pay attention to when creating, receiving, processing and archiving electronic invoices.

We hope you enjoy reading STEIN!

Your STEIN editorial team Redaktion@stein-magazin.de

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In our last issue 12/24, we looked at bathroom construction. Read more about it here.