From July 23 to October 2, the space and sound sculpture SICHTUNG II will be on display in Munich’s Kreativquartier. It has the shape of a tower and is accessible.

From July 23 to October 2, 2019, the space and sound sculpture SICHTUNG II will be on display in Munich’s Kreativquartier. The artwork was created by Hildegard Rasthofer and Christian Neumaier. It is a temporary artistic installation that can be walked through inside.

The artists Hildegard Rasthofer and Christian Neumaier used over 70 tons of steel for their sculpture SICHTUNG II. The dimensions of the artwork, which consists of 13 cubes, are variable: in Munich, it towers over 32 meters high with a base area of 2.4 x 2.4 meters – but as soon as the sculpture changes location, its dimensions also change.

It is created anew each time it is erected, depending on the location and situation. Under the name SICHTUNG II, the sculpture takes the form of a tower. Viewers reach the top level, an open platform, via a three-flight staircase.

As SICHTUNG I, the artwork already stood in Reithofen in Upper Bavaria in 2018. Following the exhibition in Munich, SICHTUNG II will be dismantled and reassembled in the mSE Kunsthalle in Unterammergau as SICHTUNG III.

Hildegard Rasthofer is an architect. She designed the modular sculpture together with the metal sculptor and master blacksmith. In their work, the two artists deal with experimental architecture and plastic-sculptural design.

The sculpture can be viewed in Munich’s Kreativquartier. Access is only possible during the opening hours of the site, via Heßstrasse (at number 134).

Further information can be found here.

Sou Fujimoto is a great architectural dreamer. With his buildings, he repeatedly explores what is possible in architecture. With his contribution to the Architecture Biennale in Chicago, which bears the programmatic title “Architecture is Everywhere”, he once again puts our viewing habits to the test.

Sou Fujimoto is a great architectural dreamer. With his buildings, he constantly explores what is possible in architecture. It is often difficult to classify his buildings at all. The viewer rubs his eyes in amazement and wonders whether this is really a residential building or rather a spatial illusion. Even by Japanese standards, his buildings seem radical.

Yet Fujimoto is anything but the typical architectural egomaniac. He appears rather quiet and modest. With mischievous charm, poetic lightness and a dash of naivety, he revolutionized architecture in passing.

With his contribution to the Architecture Biennale in Chicago, which bears the programmatic title “Architecture is Everywhere”, he is once again putting our viewing habits to the test. On small wooden panels, he transforms banal everyday objects such as table tennis balls, potato chips or staples into miniature architectures by artfully arranging them and placing miniature people next to them.

Each model is described with a sentence by the architect. For a simple kitchen sponge, whose structure he transforms into a residential building using three miniature people, he writes: “People live in bumps and nooks.”

Looking at his staple model, he asks himself: “A house like bookshelves? Or bookshelves like a house?”

A decapitated shuttlecock is declared a tower without further ado: “Gather towers to make new tower. Tower fades out and become the new tower. Tower becomes place, place becomes tower.”

He forms a floating architectural sculpture from six table tennis balls and writes: “Being enclose yet open. Individuality and continuity.”

And like every great revolutionary, Fujimoto also draws on the past by crossing the principles of Marcel Duchamp’s readymades with the structuralist architecture of the sixties and seventies and reinterpreting both in the present. It will be interesting to see what he dreams up for the future.