Urban Fictions, 1967
Cities that beat like a heart.
Cities that fly like breath.
Like all urban projects of the 1960s, Coop Himmelb(l)au’s cities were merely suspected, simply reality exposed — like New York, because they had not seen it with their own eyes: the “dissected metropolis of the world.”
The vertical city, the subterranean one, the bundled transportation transformers, the mobility of life, technology — all of that is and was real in New York.
The dream that was added was poetry: “The city pulses like a heart; the city flies like breath.” And an expanded sense of life fills these imaginary cities.
Others have confused this poetry of the city with utopia.
Villa Rosa, 1968
PNEUMATIC LIVING UNIT: PROTOTYPE
Design ideas for an architecture that is as variable as a cloud. Pneumatic construction permits changes in volume due to a new building element: air. And the new forms influence — supported through projections of color, sound, and fragrance — the quality of experience within the spaces.
The pneumatic prototype is composed of three spaces.
The pulsating space with the revolving bed, projections, and sound programs. Appropriate fragrances to accompany the changing audiovisual program are blown in through the ventilation system.
The pneumatic, transformable space: eight inflatable balloons vary the size of the unit’s space from minimum to maximum volumes.
The space in the suitcase — the mobile space. From a helmet-shaped suitcase, one can inflate an air-conditioned shell, complete with bed.
The White Suit, 1969
For Coop Himmelb(l)au, working with media was, at that time, already important, even crucial. Because the transmission of media to the screen can only be perceived as a “cold information system,” the information was supposed to become more alive, and more stimuli should be transmitted — not just for the eyes but for all the senses: smell, hearing, and touch. In the helmet of the The White Suit were two projections: a pornographic film and an accident scene. In a matter of seconds, one saw a crash, while the smell of blood from an operation was “played back” through a supply pipe; at the same time, the vest of the suit pressed on the wearer’s kidneys. During the porno film, perfume was played back — “olfactory eroticism”— and the vest caressed “partially.” Much as with the Astro Balloon, the idea could only be realized in a very simple way with the technology available at the time — for example, with film projections— but could be demonstrated very successfully at the Venice Biennale in 2008 as Astro Balloon 1969 Revisited.
The Cloud, 1968
The Cloud is an organism for living.
The structure is mobile, the space can be modified.
The building materials are air and dynamics.
(Technique is a means to an end but not an end in itself. Architecture is content, not shell.)
The Cloud was designed for the study “Living forms for the future” and was planned as a realization for the Documenta V. It was thoroughly developed down to the smallest detail in terms of concrete form and structure.
Soul Flipper, 1969
Facial expressions, the facade of a person’s moods are „objectivated” within the pillar. Smiles are translated into bright, happy colours, a sad expression turns the pillar blue. The sound program corresponds to the colours.
Hard Space, 1970
Through the heartbeat of 3 people, 60 explosions were released.
The explosives were laid out in 2 km long lines across the field.
For the duration of 20 heartbeats, a “space” is created.
Soft Space, 1970
Duration: 10 minutes, Universitätsstraße, Vienna
Space made in foam.
1.200 m³ foam per minute.
Restless Sphere – Basel Contact, 1971
A demonstration showing the possibilities of pneumatic construction.
The person walking within it makes the sphere move.
Diameter 4 m.
Coop Himmelb(l)au’s Restless Sphere action was intended to demonstrate the possibilities of pneumatic constructions. A pneumatic sphere four meters in diameter, a transparent habitat, was at the same time a means of transportation with which they demonstratively rolled through Basel’s old town for a day.
The House with Flying Roof, 1973
The object was realized together with students as part of a seminar at the Architectural Association, School of Architecture, London. The goal was to present architecture as an action and as a process. The simulation of the flying roof was the intellectual premise for the architectural changes and destructions inside the house – for example, grass began to grow in the unprotected rooms, and the rain turned into a waterfall through the perforated floors.
The action was carried out in a run-down London neighborhood and – at least for a time – thwarted plans to demolish the entire neighborhood.