PAPIER, Design-Center, Vienna, 1972
Hans Hollein’s 1972 exhibition “Papier” (www.hollein.com) at the Design-Center Vienna consisted of a dreamy interior forest of stripped wooden poles and reclaimed tree trunks. Divided along a centre line into natural or refined the installation was an elegant presentation of paper and wood as a structural materials.
PAPIER, Design-Center, Vienna, 1972
Born in Vienna in 1934, Hans Hollein is known as an architect, artist, teacher and designer. His first commission in Vienna was described in Architectural forum magazine, 1965, as “even smaller than most first commissions: a shop and showroom 12 feet wide for a candle maker." The Retti candleshop, and later commissions such as the Richard Feigen Gallery gained Hollein the reputation for "Architectural Faberge", a unique combination of “an architect’s sense of space with a goldsmith’s sense of craft to produce an exquisite ambiance” (Progressive Architecture, 1970).
Throughout his career, Hollein has approached projects with a wit and curiosity that combines new and old world traditions, materials and strategies. Hollein’s work deals not only with the architectural scale of buildings, but also the scale of the room, and the scale of the “object you feel and touch”. In his 1985 acceptance speech for the Pritzker Prize in architecture (www.pritzkerprize.com), Hollein elaborated on the scope of his artistic and architectural interventions, stating “Not only do I deal with eternity, with the permanent, but also with the ephemeral and the temporary.”
PAPIER, Design-Center, Vienna, 1972
Born in Vienna in 1934, Hans Hollein is known as an architect, artist, teacher and designer. His first commission in Vienna was described in Architectural forum magazine, 1965, as “even smaller than most first commissions: a shop and showroom 12 feet wide for a candle maker." The Retti candleshop, and later commissions such as the Richard Feigen Gallery gained Hollein the reputation for "Architectural Faberge", a unique combination of “an architect’s sense of space with a goldsmith’s sense of craft to produce an exquisite ambiance” (Progressive Architecture, 1970).
Throughout his career, Hollein has approached projects with a wit and curiosity that combines new and old world traditions, materials and strategies. Hollein’s work deals not only with the architectural scale of buildings, but also the scale of the room, and the scale of the “object you feel and touch”. In his 1985 acceptance speech for the Pritzker Prize in architecture (www.pritzkerprize.com), Hollein elaborated on the scope of his artistic and architectural interventions, stating “Not only do I deal with eternity, with the permanent, but also with the ephemeral and the temporary.”
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