For the Bonnefantenmuseum in Maastricht TvH created designs for an interactive “mosaic wall” and a number of collapsible furniture units.
The wall consists of magnetic tiles printed with imagery chosen out of the collection of the museum. The Bonnefantenmuseum has a world class array of baroque religious paintings, even if it’s main source of pride is its collection of medieval ecclesiastical art. These colorful paintings lend themselves well to colorful blow-ups of several meters high. However, the magnetic tiles are meant to be interchanged so that what once was 8 recognizable paintings becomes a new work created by visitors. Tiles of course can be assembled in endless new ways, but some possibilities are: arrange them by color, arrange them by detail, and of course arrange them in an attempt to recreate the original painting. Any result shows an exciting jigsaw puzzle.
The museum also needed flexible furniture, preferably collapsible, to fill a narrow hall between exhibition spaces. The main purpose of the space is to showcase the efforts of the museum’s youth outreach project. It needed to be fun, easy, affordable, new and flexible. TvH created a design that is made of simple flat-pack elements, printed with colors and patterns drawn from Aldo Rossi’s museum architecture, as well as visual motifs from the building (the famous Bonnefanten dome) and the collection (the Gothic arch.)
We were pleased with the design solutions as well as the quality of the renderings themselves.
So far only positive reviews for our big permanent installation “Dutch Delta Experience” in Zeeland. DeltaPark Neeltje Jans commissioned Todd van Hulzen and Studio Louter to create a large, dynamic visitor experience in their visitors’ center located on the great storm barrier accross the delta of Zeeland. Our answer was to create a filmed panorama of 270 degrees. Here we immerse the visitor in the dark world that was the disastrous night in February 1953 when a succession of dykes broke during a severe storm, thereafter permanently etching itself into the Dutch psyche. When one refers to the “flood disaster” we know they speak of 1953. Todd van Hulzen, as artistic director and de
signer, determined the size, shape, feeling and historical integrity of the whole. Studio Louter created the storyline and directed the filming and Sho Sho in Amsterdam created the digital animations.
First seen from the viewpoint of a child’s room as the storm gathers momentum, then from upon the sea-dyke as waters rush in and sweep away everything in their path. Finally we see the determination of the Dutch people to protect their country through heroic engineering and (heroic) unanimous cooperation.
In this video, in Dutch, you can get an idea of the elements of the experience.
The concept of the Panorama is actually quite old. We were inspired by the big Panorama Mesdag in the Hague, an original painted 12 meter high Panorama, following the rage in the late 19th century. At the time it was the closest you could come to an immersive artificial experience. What we add to the experience is the element of time. This means that our panorama contains a story that unfolds as you stand before it. WInds blow, shutters creak, children scream, waters lap at your feet.
We went through many phases to arrive at our end product, but we are quite satisfied. Thank you Neeltje Jans.
A short video of my father, Alvin Van Hulzen, winching up the whole timber girders that are going to make the raised floor of my future cabin in Klamath County, Oregon. The beams probably weigh about a ton each, being about 26 feet long and 16 inches in diameter (800cm x 40cm). Our makeshift crane, which was anchored pretty soundly with guy-wires still can be heard creaking under the compression. Rather unnerving, to be sure, but it all went well. Hats off to Dad’s enginering instincts.
It will come as no surprise that the “we” at T. van Hulzen design is often just myself. True, working in symbiosis with Studio Louter in Amsterdam means that with each project there’s a whole team involved doing production, content, multimedia, etc. But rarely do I get around to doing a project that is just for myself. That changed this past September and October when I started building my own ‘cabin in the woods’. More specifically, it’s to be a log cabin in Klamath County, Oregon, USA, on the edge of the pine forests surrounding Fourmile Flats, one of the great seasonal moorlands of the Southern Cascades. Fourmile Flats Ranch belongs —not incidentally— to my generous parents. Granting their children land is of course a sinister ploy to spend more time with them. In their defence, it’s a magical land, volcanic and densely forested at 1300 meters above sea level (4300 ft) on the eastern flank of the Cascade Range and bounded on all sides by National Forest and designated wilderness.
There is of course an architectural concept. I couldn’t just let it be a run of the mill log cabin. Call it designer’s pride. The idea is to build a structure on top of a raised platform. This fulfills a number of wishes. One is for it to be a proper wildlife viewing station, another is to have as little impact on the landscape as possible, then there’s the wish to be raised above the elements (flooding in spring and deep snow in winter) and lastly it’s meant to improve the view of iconic Mount McLoughlin in the near distance. To this end I still have to clear 15 acres of scrub pine forest and harvestable poplars (aspen and cottonwood.)
Phase one is to build the platform. When I left on November 2, we—my father and I— had achieved the minimum of what I had wanted. This involved harvesting my own materials, clearing the landscape of scrub and burn piles, quarrying some rock, setting foundations, building piers and hoisting the main girders. We also made some beginnings on milling our own planks and beams with an Alaska sawmill we had acquired. This allows one to mill on the spot on uneven terrain.
It is obviously a project in flux. The end designs have not been determined, and I am leaving it to some degree to the many variables that enter into the equation. In that sense it’s a very organic process. The joy is in the hard work and the extraction of ones own materials. And let’s not forget the euphoria that comes from camping in the great outdoors for 5 weeks on end, cutting firewood, clearing brush, stoking campfires and cooking rough.
This year’s edition of the Amsterdam Light Festival will include another work by Todd van Hulzen and Studio Louter. This year we’ve created a projection on the round surface of Renzo Piano’s NEMO Science Center, which people also call the “bow”, as in ship’s bow.
The objective was to make a sliding graphic for a beamer that projects through rolls of acetate, something like a cross between a conventional slide projector and a film roll. The result is an analog scrolling animation. We did the work on invitation from NEMO itself and were supplied with a projector from the vendor Pani. We were asked to make a design that was relevant somehow to the current exhibition “Wereld van Vormen”, an exhibit on the subject of mathematics and geometry. Since we were the ones to actually do the design of that show, it all just kind of fell into place. Although, not without due effort.
The concept is that the world can be broken down into mathematical elements and pure shapes. We’ve chosen to create an abstraction of the city, in particular a city like Amsterdam. There are some bridges and stepped gables, and at the end the buildings pull out of frame and reveal the piles upon which they are built.
See this fantastic time-lapse film of the festival. Our project is at 1:01.
It’s rare that I do any sculpture work anymore for film like I used to. But this particular assignment really appealed to me for reasons that have nothing to do with money: recreate the stern carvings of the royal flagship that Michiel De Ruyter seized and towed from Chatham during his great naval triumph over the English at the Raid of the Medway in 1667. It just seemed to historically interesting to ignore. The film in question is the Dutch production “Michiel de Ruyter” being filmed in Zeeland (the Dutch province) and the wharves of Lelystad. But the relevant scene concerns De Ruyter’s presentation of his trophy, the royal stern carvings, to the States General of the United Provinces, which was the republican government of the Netherlands at the time. This was being filmed in gothic city hall of Middelburg in Zeeland.
The original stern carvings, or “counter” as it’s officially called, are hanging in the Rijksmuseum in Amsterdam in a gallery devoted to the De Ruyter era. I had to scale it down a little bit for technical reasons (the original is 2½ x 3½ meters) but even making it out of high density polyurethane foam I still had an enormous challenge of volume. With an assistant Rik and some more of the great folks in the De Ruyter art department we managed to get the still wet project in just under the wire. It was heroic! And it looked beautiful in the (artificial) late afternoon light of the location in Middleburg.
Looking forward to viewing the film when it’s released.
With all the commotion around the opening of “Temporal Tower” we almost forgot that there was an Amsterdam tram (streetcar) of the GVB (Municipal Transport Company) about to roll out with our name on it. And sure enough, there she is. Dirk Bertels of Studio Louter and Todd van Hulzen worked together on the concept, which is part of the marketing and sponsorship between the GVB and the Amsterdam Light Festival. But Dirk did all of the actual hard work, Todd just stood back and watched and gave self-evident advice. What looks like a white sticker is actually light-reflective film that lights up when directly lit by traffic lights. We settled on light-reflective film after a long search for materials, from glow-in-the-dark to holographic foil. Now that it’s going to be on the rails, we are curious to see if it will make an impression. But our names are printed on it, and that’s what we’re the most proud of. On the rear is a section of illustration dedicated to the Temporal Tower. You can see the scaffolding. Let us know if you see it around.
We can’t describe how giddy and proud we are of our new big baby, the impressive reconstruction of the historic Haringpakkerstoren (Herring Packers’ Tower). Of course our tower is not made of masonry and wood, but of scaffolding, mesh, and most importantly, light. 30 meters high (100 feet), the tower, which we call “Temporal Tower” rises up along the quays of the old harbor of Amsterdam, adjacent to the Central Station and is lit by 36 LED arrays dispersed around the spire. The light is very gradually animated in something of a churning cycle of one color group. Each week we will change the color scheme and configuration. For more information on the history of this tower, the original of which was demolished in 1829, see some of the entries below. For now we just want to publish some of the most recent photo’s of this little giant. There are more to come, as the project is getting quite a lot of media attention. Continue reading →
Here are some pictures of our tower project in the making. The first step was agreeing on a budget and a technical design, which we ploddingly accomplished with our world-class international scaffolder StageCo. Then with the help of a crane, postponed several days due to a fierce storm, we hoisted the sections which we had built at street level into position. After that came the mesh wrap. We were already pretty charmed by the pictures of the tower with only scaffolding and no wrapping. Now the story is complete, but we secretly long for the purity of the scaffolding on its own. What do you thinnk?
And here is a video interview I did, explaining the concept in the early stages:
For our current project for the Amsterdam Light Festival we are recreating —after a fashion—one of the vanished renaissance clock-towers of Hendrick de Keyser: the Haringpakkerstoren. One of the foundation principles of the project is the knowledge that De Keyser is under-appreciated and deserves to be brought into the limelight, as it were. Never the less there is a decent amount of archival material available, either in the image-bank at the Amsterdam city archives (Beeldbank Stadsarchief) or in other archives around Europe. We’ve found detailed construction plans, paintings from various eras and biographical information on De Keyser himself. Here’s a collection of things we’ve found, mostly pertaining to the Haringpakkerstoren. Enjoy.
“American Light Artist” is what the national daily De Telegraaf called Todd van Hulzen. The newspaper is above all interested in the political aspect of the project, which touches on a sensitive subject for the city. In 2005 plans to rebuild the original Haringpakkerstoren (Herring packers tower) were scuttled when the monuments commission declared that the project was theoretically unsound (read: nostalgic) and possibly put the city’s eligibility in danger for its appellation as a UNESCO World Heritage site. This in spite of the fact that the funds to rebuild the tower had already been secured, and that it was a gift to the city from the Foundation Stadsherstel.
Former borough commissioner Guido Frankfurther said “Maak je borst maar nat”, which means, prepare yourself, referring to a lot of anticipated publicity.
A lot has happened in the last few months, and we’ve been missing the chance to update. One of the most significant things is the fact that Todd van Hulzen was selected, with Studio Louter, to produce their concept for the Amsterdam Light Festival. This is a new annual festival of light art in the capital and we’ve come up with a plan that was compelling enough that it came out on top of the jury’s selection list. It’s called Temporal Tower, and it’s both and homage to one of the vanished clock-towers of the Amsterdam architect Hendrik de Keyser, and also an exploration of the place of monuments in the public space. And of course it’s supposed to be a delight for the eye in the cold winter months.
While we work out the budget and negotiate with the city about its placement, we are fine-tuning our design for the tower. We are particularly working with a lighting technician and a scaffolding builder who are going to be those chiefly responsible for the construction and the impact.
These illustration show the only possible excuse to ever use the Comic Sans letterface: in a comic book! This was a proposal for a children’s line as part of a larger museum context. It was all about creating an adventure … Continue reading →