workshops with students of the G. Rietveld Academie and Academie van Bouwkunst, Amsterdam
& co-curatorial work with SlowLab and the Lloyd Hotel & Cultural Embassy
with the amazing work of
Satoki Kawano was inspired by the slow decay of the Lloyd building and its subtle shifts of materiality over time as visitors enter and leave it.
For her project SOLID PLATE, she created a collection of unfired clay plates that capture bits of food and color during the course of a meal. After the meal, these remnants are recycled together with the clay to make new plates, imbedded with material and memory, like the Lloyd.
Anna Navndrup Pedersen sought out privacy and intimate connections in Lloyd public spaces. Under the cover of night and/or during lulls in hotel activity, she secretly discovered and marked the surroundings, thereby appropriating and counting them as her 'personal space.'
She made a series of drawings as well as three films (presented as a 3-channel installation) that both investigate and demonstrate her actions.
INVISIBILITY, IMPERFECTION, METAMORPHOSE
As part of the form-study course at the Amsterdam Architecture Academy, Ania Sobiech created a sequence of pictures to represents her process of tracing history in the LLoyd Hotel. She started with searching for evidence from the past, finding most 'imperfections' in the corridors and the staircases of the building. Using latex, she captured the original shape and its surrounding (old and new traces). The resulting forms were then scanned, blown up and scaled down to achieve different perspectives for reading the imperfections. Overlapping pieces of latex gave depth to the images and allowed its metamorphosis to become visible.
Rietveld Architecture student Karoenja Woudenberg applied transparent tape to the different facades of the Lloyd building. The particles that subsequently adhered to each strip of tape are evidence of the diversity of material flows around this building and reveal long-term influences of wind, weather, urban planning and the repetitive movements of daily life.
Woudenberg explains: "My focus was on the cement joints in between the brickwork of the Lloyd. This was applied over more than ninety years ago and through time collected all sorts of dust, traces of it's past. These could be living forms; like fungi, algae or small insects. But as well traces of rust, metals, and other pollution. By enlarging my dust evidences 10 times I was able to show the multitude and beauty of the rich colors that I found in the Lloyd's facade."
Viewed together like a collection of laboratory specimins, the project challenges ut to consider the evolving physicality not only of this building, but of the neighborhood and the city over time.
Architecture students led by Marie Ilse Bourlanges and Elena Khurtova explored the Lloyd building as a capsule for stories, moments, events, and marks left by its inhabitants and visitors. They investigated the visible and invisible imprints of time in the building and its direct surroundings, imagining past, present and future scenarios for how people inhabit this place.
Jeanne d'Arc Umubano sought to capture the more personal, human side of this, imagining (through rubbings, tracings, new drawings) the emotional states that occupied the building over time. The resulting collection of prints give texture and depth to our understandings of Slow Lloyd.
Noelle Reijnhart Mulder was fascinated by the flow of people passing by and through the Lloyd building, connecting the outside and inside and thereby merging two seemingly isolated worlds. She mapped this with a series of drawings and later with lines of colored wool.
She explains her process: "I registered the flow with observational drawings from two different perspectives, outside and inside. The movements of people passing by and through (visitors, employees, neighbors) were captured during 12 intervals of 20 minutes, during day and night over 6 weeks. It became a set of drawings with a certain language forming a unique choreograph, specific for that moment in the Lloyd area. The lines and dots visualized the rhythm, the intensity of the movements coming through the Lloyd statue, as if the totality formed a partition of the movements of the Lloyd. After analyzing the flow when overlaying all drawings, different high density area’s where pointed out. It was a revealing and beautiful process. Be aware of your unique movements, how fluent is it? What is your flow about, does it flow freely? Follow your rhythm, resonate, enjoy it!"
MINUS ONE TO MINUS FIVE STAR HOTEL
Gijsbert Worst conducted a Slowing experiment about the creative affordances of 'limitations.'
In the context of the Lloyd Hotel, where guests can choose rooms ranging from one to five stars, he posed the question: "To what extent is luxury or privacy an important criteria for your time here? How much do you need and how far will you go to create the basic elements of your stay?"
Worst's 'minus star' system for the hotel liberates the guest in offering 'the opposite of service,' where guests have to actively take care of themselves. Worst tried out the hotel services he imagined, spending the night in a hammock in open spaces and adjusting public lighting to suit his tastes in ambience.
His concept was inspired by the Lloyd's earlier incarnation as a juvenile detention center for boys. He learned from former prison caretaker Ton Mars about a variety of creative techniques performed by the resident boys to preserve their sanity and survival. These included attempts to copy keys, hacking everyday objects for smuggling in saws, and generally coming up with escape schemes.
Geert-Jan Wisse found tiny traces of former times and uses scattered around the Lloyd. Not hidden, nor emphasized, but merely left over. His project shown here celebrated these residual treasures: their detail, subtleness and tactility.
and many other works to see on SlowLloyd / SlowLab
Special Thanks to
Carolyn F. Strauss – founder of SlowLab