arch & krach    






mind the gap
collection 01
hotel interim
living metamorphosis
intermission
verrerie
traumhäuser des kollektivs?
dis/assemble
01/17
fermen-t-able
void
drushba
hotel national
forum 27
re-fulfilment centre
beyond demolition
gecekondu
idle water
was ist phase?
das wilde bauen
das ist doch gemein!
under the bridge
a (siegen) learning space
ivry’s pier
kandylakia
craftmanship campus
oberhammer
split
extraordinary standards
the collected building
fiktion
documentary of spaces
ko(r)nversion
embracing uncertainty
who cares?
zwischenhaus
concrete operations
triemli+128
house of desires
leipziger allerlei
parasite
zeitdokument
data center
how many rooms you need?
anonynums sculture
rooms of curiosities
neues kösk
on what a shodow falls
post auto mobile
random access memories
panorama
umbau um umbau
kosmos der dinge
superparkmarkt
archifiktion
herberge am grimselpass
kraft und licht
wandelhalle nord
reconstruct häring
upcyclinghof
hybrid
big mix
atelierhaus
revitalisierung einer werft
bauteildepot
sml
faust III
bauteil bahnhof
arch
krach
arch
arch
arch
arch
arch
arch
arch
krach
arch
arch
arch
arch
arch
arch
krach
arch
arch
arch
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arch
arch
arch
krach
arch
arch
krach
arch
arch
arch
krach
arch
arch
krach
arch
arch
arch
krach
arch
arch
arch
arch
arch
arch
arch
arch
krach
arch
arch
arch
arch
krach
arch
arch
arch
arch
arch
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arch
felix piel
jonathan burkard, christian sternhagen
andreas stanzel
cäcilia halbgewachs
fernando garrido carreras
killian paterson
aberle, klein, jakoby, grebe
meryl barthe, noémie perregaux-dielf
jonathan burkard
hannah ehre, marlene koßmann
léon bührer
gabriyel dari
olga cobuscean
pierre bomey
francis cheung
kimberly rahn,  toni bethäuser
joshua delissen
max bender
lucy wang
christian sternhagen
thilo preuß, clemens urban
kaya liffler, paula scheibke
matthias walbröl
getas, lambard, bomey
christian sternhagen
dardenne, leridee, correia, bomey kaya liffler, paula scheibke
anna schmitz
mathis bergmann, jonas könig
emily bardenz, finn gredel, kian matine leander lentner
marlene koßmann
dao le
jonathan burkard, marlene koßmann, pola machinska, felix schröder, liffler, scheibke,  sternhagen, kiparski, faixfinn marcelli
jonathan burkhard
lilly irmer, sophie kalwa
léopold parras
johannes zerfass
christian sternhagen, jonathan burkard yannic kohnen
maximilian gömann, paulina kirschke jakob naujack
hannah herrmann, cecelia vincent
lina etzkorn, lorena cirillo
vitus michel, levin arnold
lina etzkorn
lukas frenzel
eva beule, gerda callista, melissa enriquez, katharina glorius, franziska wilk, leander lentner, marlene koßmann
malte mittelstädt
jonah burgsteiner, klara schmidt
finn marcelli
marlene koßmann
felix piel
sebastian schaaf, ulrich kneisl, felix schröder, kaya liffler, paula scheibke
mathis bergmann
lina etzkorn
felix piel, fabian jäger
jonathan burkard, yannic kohnen
jonas könig, paul stockhausen
joshua delissen
jonathan burkard
dao le, christian sternhagen
mathis bergamnn, christian sternhagen christian sternhagen






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anonymous sculpture
Namur is the industrial heartland of Wallonia. Within Namur lies Recynam, an organisation that recovers and reuses building demolition waste in sustainable ways. Beside Recynam sits Carriere de Bossime, an abandoned limestone quarry and site of natural beauty now inhabited by wild boars. Our fieldwork across the province of Namur led to a fascination with the industrial sculptures and silos that pierce this hybrid landscape of industry and nature. 

Studying the work of Bernd and Hilla Becher, particularly the Anonymous Sculptures series, we began to dissect this fascination. Such industrial forms are intriguing as they are designed function first, aesthetics second (if at all). Our experience of them is also unique in that one can never go inside, or often know the function. They are inaccessible, usually viewed through the window of a passing car on the motorway. 

This project creates a new lens to experience an Anonymous Sculpture. Our structure retains the allure of this typology in that it does not allow people to go ‘in’, but it provides new perspectives to look up and look down. The monument also provides a platform for Recynam’s soil research programme, a small facility tucked away at the back of the site that stores soil excavations before analysing them for contaminates and finding suitable locations for redistribution. Learning from the Bechers, we understood a dialogue between frame and mass. Our intention was to design a dismountable structure that could be fully prefabricated; this elemental approach began with the repositioning of the existing interlocking concrete blocks on the site that store and separate soils. Above these walls sits, visibly distinct, a new timber frame with rammed earth blocks sandwiched between the platforms. The blocks, containing recycled concrete gravel from Recynam, are dry stacked between plywood sheathing boards, with steel tension cables holding them and the platforms in place.