On 05, Oct 2016 | In Installations | By Regina
color concept and wallpainting
Emanuel-Felke secondary school, Bad Sobernheim
Physical and intellectual growth largely takes place in the school environment. The body’s ability to generate self-healing powers is a prerequisite for healthy growth. The natural elements of light, air, water, and clay are the points of departure for the mural “Forces of Nature”.
The ideas and healing practices of Emanuel Felke, after whom the school in Bad Sobernheim has been named and who is considered to be the father of complex-homeopathy, are the foundation of today’s alternative and natural medicine: A regimen of light and air cures plus water and clay baths, will activate the body’s self-healing powers and promote the development of strong growth.
“Forces of Nature” involves an integrated color concept for all of the schoolrooms and for the four murals which are positioned on each story. In order to give the entire space clarity the vertical front wall of the stairwell on each story is painted a strong green representing the color of growth in nature. Four motifs of nature are painted onto the vibrantly colored walls. In the basement there is a pile of brown clay, while on the first floor the appearance of water is created in shades of blue. On the second floor, white air bubbles rise upward towards the third floor where warm yellow light points radiate from the ceiling. The paintings provide each level of the building with its own individual face and spatial orientation.
The design of “Forces of Nature” visualizes Emanuel Felke’s naturopathic heritage and makes it possible to experience the interaction between clay, water, air, and light spatially.
On 05, Jun 2016 | In Installations | By Regina
sculpture, university Bayreuth
Invitation for a Competition 2016
The elevation facing the laboratory and practice building provides wide outlooks, the research undertaken within the building, provides insights. The design “Outlooks and Insights” illustrates the relationship of these views.
A funnel serves as an image for the concentration of power and of scientific insight, perceived as a megaphone or a siren horn, it also suggests expansive radiance, transmission, and communication. Three variations of this image respond to the urban construction in terms of number and orientation. With their apertures they invite, drawing the view towards themselves and suggesting a suction effect by means of their inclined form and strong/intense color. The funnels are placed on the upper area of the elevation, utilizing a heightening of perspective from the road level.
Thus the main entrance especially draws the eye and can be seen from afar, including at nighttime when its colored surfaces are illuminated. Innumerable intensely colored circular overlays provide a sense of depth between the painted lines. Resembling colorful cable conduits, they exemplify energy transmission, thought processes, and the interconnection between diverse research disciplines. The sculpture “Outlooks and Insights” lives from the tension between its clear language of form and its vivid, multilayered painting.
On 04, Jun 2016 | In Installations | By Regina
sculpture, university Landau
The university is a place of teaching, learning, and investigative research. In all areas of study both students and teachers pursue their own focus of study along with their goals and individual paths within the campus.
The theme for the sculpture’s design is the idea of the “red thread”. Searching and finding in scientific study finds its expression in a sign at the entrance that can be seen from afar. A red thread hangs freely from the steel girder construction.
From the city the route to the campus leads directly to the sculpture which even from a distance by means of the striking ‘red thread’ signaling color marks the “gateway of the campus”.
The seeming lightness of the sculpture with its vertical and horizontal components reflecting the levels of attainment obtained during the course of study, belies the reality of its sturdiness and in this context differentiates itself from the solid construction of the surrounding structures, thereby creating a powerful tension.
On 03, Jun 2016 | In Installations | By Regina
wallpainting (foyer and staircase), University Freising
Internationales Getränkewissenschaftliches Zentrum Weihnestephan iGZW
Invitation for a Competition 2016
An important field of research for the of the iGZW is in the science of brewing beer. The principal ingredient of all drinks is water, and in the brewing of beer, yeast as a leavening agent, hops, and malt are also required. The core idea of the design “flow – ferment – mature” is to correlate elements of the drink on the one hand and aspects of scientific work on the other.
flow – Without water there would be nothing to drink – Without a calm flow of thought, scientific work is not possible.
Visitors entering the foyer are received into an area in which the azure background consisting of slightly curved color stripes of varying widths appears to have the spatial depth of water and communicates a calm expanse which further addresses the concentration needed for undertaking of scientific work.
ferment – No beer without yeast –
No science without progressive ideas.
Beer needs yeast as an agent of element of fermentation. Sustained, initiating ideas impel innovative scientific research. Circular surfaces scatter, varying in size and hues of yellow, sparkling across the surfaces of the walls, depicting microscopic cellular structures of multilevel fermentation.
mature – No beer without ripe grain –
No scientific knowledge without maturing.
The process of brewing beer requires the growth and maturation of grain, just as scientific work requires accumulated knowledge to obtain mature results. Here, the germinating grain is represented by a multitude of freely running green vertical lines that suggest the appearance of gradual movement.
The design “flow – ferment – mature” reflects the horizontal movement of visitors within the foyer and of the ascending movement on the two lateral staircases which extend through three stories. An overall appreciation of the artwork is accomplished by means of physical and intellectual activity and an unobstructed spatial orientation. The scientific images give emphasis to the identification of users with their building.
On 02, Jun 2016 | In Installations | By Regina
Installation, college of higher education, Cologne
Fachhochschule für öffentliche Verwaltung Köln
Invitation for a Competition: Second Prize
The Fachhochschule für öffentliche Verwaltung [Academy of Public Administration] in Cologne has a new building. Here students in the fields of administration and police work are taught via a dual study model which encompasses a tight integration of theory and practice. The point of departure between study and simultaneous professional activity is represented by the design for “Change of View”.
Vertical metal profiles represent the student body. Adjoining each other they accompany the students’ steps. The action of walking is affirmed by a gently undulating horizontal conclusion. The selected colors complement each other, vertical lacquered on one side in hues of red, and on the other in hues of green, however, the perception received is of a single surface in which the red and green color worlds merge.
When walking, the individual colored stripes on the surface appear to dissolve into each other. From the perspective of the visitors varying densities are perceived depending on each individual’s correlation to the installation and thereby reflects a view altered through learning and professional experience. The design “Change of View” is a concrete experience based on the realization that each individual’s viewpoint depends upon their respective point of view and level of knowledge. The experience of both entering the academy and the ultimate departure are visibly quite different.
On 16, Jun 2015 | In Installations | By Regina
Wallpainting, canteen primary school, Neustadt/Wied
realization summer 2015
assistance: Olivia Ockenfels
The elementary school in Neustadt/Wied has a new cafeteria reached via a bright, welcoming hallway with brilliant green vinyl flooring. Inside, windows open onto the view of the expansive, green, Wied Valley.
The elementary school is a place where children grow intellectually and physically. “…sprouting grass” has been chosen as an expression of this growth. Grass exemplifies gradual, yet rapid growth, freshness and a certain liveliness, “reaching toward the sky”. In an area of grass, each individual blade is as important as are all of the blades combined. In the elementary school these aspects receive an appropriate acknowledgment.
The over life-size, green blades of grass are personified by subtly shimmering latex colors. The children experience their surroundings amid bright and darker hued greens which create a deep image space connecting the interior space with the surrounding nature and in doing so, bring the exterior into the interior space. A background of sky is painted a delicate light blue providing a profound contrast with the “…sprouting grass”.
On 26, Feb 2015 | In Installations | By Regina
sculpture, youth hostel, Leutesdorf / Rhein
Invitation for a Competition: First Prize
Metallbaufirma Rewesta, Düren
Situated directly on a bank of the river Rhine is the new youth hostel Leutesdorf. In its entrance area, a significant sculpture with the theme “youth hostels connect and establish community” is to be developed and positioned above the ferroconcrete shaft of the exterior elevator. Because of the danger of flooding in the area the elevator has been designed so that in such an event to rise automatically. It is therefore imperative to allow for free airspace of up to two meters above the concrete railing. The commission has requested a prominently visible work that may also be seen from passing craft on the river Rhine.
Youth hostels are gathering places for families, children, and also convention attendees. They are places in which a wide range of people from a great variety of professions and occupations meet. The image of the campfire is a familiar and internationally known symbol of community. Sitting around a warming fire in the evening, singing together, telling stories, experiencing silence—is a tangible image for the connection among people, for the community in youth hostels.
The Rhine flows horizontally as a wide stream through its riverbed and immediately adjacent emerges the significant sculpture Campfire as a highly visible eye-catcher surging vertically towards the sky. Colorful, fiery, and bright the artwork marks the location of the new youth hostel.
80 mm diameter curved steel pipes of various lengths form the shape of a campfire above the elevator shaft, vertically extending the direction and form of the shaft. The fire lines come together, connect, and cross over each other above the free airspace, surging up into the sky. The steel lines per se represent a connecting community. In addition, the color of fire is simulated in bright color gradations from yellow through orange to red. In the darkness lighting from below and from the sides enhance the impression of the campfire.
The sculpture Campfire sets a distinct mark between monastery wall and main entrance and provides an attractive, vertical eye-catching landmark that is widely visible across the Rhine valley.
On 31, Jan 2015 | In Installations | By Regina
art for the halation of the new court
among the prison Stadelheim – Munich
Invitation for a Competition: First Prize
Fa. Regler GmbH, printmaker, Altenstadt/WN
Katharina Hochhaus, sculptor, Cologne
On the area of the Munich-Stadelheim prison a new building for the assembly hall of the Higher Regional Court (HRC) for high security legal proceedings will be constructed. An artistic decor has been commissioned for the adjacent atrium.
The new assembly hall is an elongated, two-story room. The one-story atrium extends from the front and forms the interface between three adjacent areas: the HRC assembly hall, the prison, and the public area. All three areas open onto the atrium through glass surfaces that extend to the ceiling. The atrium represents an empty space, a “cavern” on the ground floor lit only from above and is closed with a flat grid that is not to be walked upon. It is a concentrated, self-centered space, exclusively viewed from the outside. The atrium has no useful function, is not an emergency escape route, nor a passageway—it is simply a generosity of the architecture reflecting light and spatial relations.
The surrounding areas do have distinct functions: In the correctional facility prisoners are being detained, in the HRC assembly hall a search for truth is pursued and judgments are being passed, and the public can follow both in the public area. What is the meaning contained in the emptiness of the atrium? Does the emptiness provide a free space for thinking? What penetrates into this emptiness?
Comparing the empty atrium to a cave-like space in which one is unable to see the light source only its reflection, brings to mind Plato’s cave allegory. The idea here is: of passing through its empty space to transform the atrium walls into projection surfaces—of life, of reality, or apparent realities and the search for them. The atrium itself remains empty. The emptiness becomes a symbol for the search for the truth.
The longitudinal walls of the atrium become “projection surfaces”: Horizontally, the exposed concrete is covered with a dense web of multifold color lines that symbolize the aspects of life for reflection. The lush hues of color transform the light into shadowy lines that seem to describe the abundance of levels of experience, influences, and life events. As a bridge they stand for both the experience of the prisoners and the experience of the visitors. The horizontal orientation of the web of lines on the exposed concrete surface underlines the sightline and the connection of the “public area” with the “closed area”. Ultimately, the greatest possibly transparency between the closed and the open area is affirmed by leaving the narrow window sides open.
The glass surfaces of the assembly hall are extensively covered with a light white, calm, transparent veil. The still light-transparent glass surfaces overlay the view of the concrete wall of the atrium with a touch of white. Across the entire surface of the ten glass fields a structure of large curves has been drawn. From the courtroom and depending on one’s perspective, the free and curved movements of this “etched” drawing open up different vistas on the rear atrium wall. The closer one comes to the glass wall the clearer is the vista of the colorful accumulation of lines. The curved movements on the glass surfaces reflect aspects of the search for truth in the juridical process. From the perspective of the judges and at the beginning of the proceedings the complex contexts of the cases are still diffused, not yet comprehensible. The search for truth becomes clearer and more visible through closer investigation during the proceedings. In a pictorial sense only the search, the free “paths of thought” opens insight into the various levels of experience, events, developments, entanglements—here onto the colorful network of lines. In the language of Plato’s cave allegory the decoding of these shadow images is the goal, i.e., to find the idea of goodness, to recognize actual reality.
The conviction that our observation of things depends on various viewpoints and states of knowledge may also be experienced in the design. Since the visitor may move around and change position within the courtroom and depending on their closeness to the glass wall a more or less open vista appears in which different superimpositions and segments converge in their particular atrium line reflection. The idea that our look at things also depends on various viewpoints and states of knowledge can be experienced in the design. And the fact that the visitor moves around in the courtroom and changes position, provides more or less an open vista depending on how close they come to the glass wall and, at the same time, also depending on their location in the room different superimpositions and segments appear in their line reflection in the atrium
The artwork Light and Shadow in the atrium thematizes the simultaneity of depicted life colors ranging from bright to dark, and the search for this light and shadow that takes place in every criminal trial.
On 14, Nov 2014 | In Installations | By Regina
color concept with window design
Invitation for a Competition: First Prize
Johannes Rauland, painter, Koblenz
Fa. Regler GmbH, printmaker, Altenstadt/WN
Art-in-architecture has been commissioned to create the color scheme for the new annex to the day care center, kita, with an emphasis on the selection of colors for the entrance area, which will be appealing to children. The white, elongated structure of the new annex sits adjacent to the original kita building and lies parallel to the street. The sloping entrance area lies below street level and a porch fits into the façade as a separate structure. Large glass surfaces provide light and a feeling of openness in the white and gray foyer.
The kita is a place for children from one year old to preschool age where the children can grow, develop, and connect in groups, where friendships are formed, community is experienced, and respectful contact and fair interaction is practiced. What does a foyer need in order to receive the children in a friendly atmosphere in their everyday life? Two basic ideas characterize the design Group Circles: On the one hand the foyer is to be clearly structured by means of color, on the other hand, the theme “group formation and growth” is to be reflected in the space.
The entrance is highlighted by means of a robust red ‘entrance gate,’ which provides a clear orientation and furthermore establishes a connection to the red windows of the old building.
The group rooms of the new annex are positioned off the hallway like pearls thread on a string, this arrangement also establishes a connection to the old building. The hallway runs through the entire foyer forming its backbone while a continuous wall color is the calm connecting element, i.e., the “background” for the planned information wall, with a coat rack and a bulletin board for announcements, parent information, etc. A bright yellow-green as the complementary color to the red underlines the spatial juxtaposition to the entrance and harmoniously integrates the yellow door, while the yellow-green establishes a reference to the artistically decorated glass surface with its “group circles.”
The glass surfaces enable natural light to illuminate the ample foyer. This bright and friendly room is used as a playroom. Here each kita child has an opportunity to grow and develop within the group and the community. The glass surfaces serve as projection surfaces reflecting this growth: In the artistic design individual circles combine playfully reflecting the activities of the growing group. Overlaps, connections, and superimpositions serve to generate the theme of a multi-layered color play. The expansive green color space symbolizes continuous growth. The printed, transparent foil partially treated with white also provides safe visual protection in the visually open foyer. Flooded with color in the interior, the exterior view is characterized through white circles that continue the white of the plastered façade.
On 10, Nov 2014 | In Installations | By Regina
Digital ceiling design,
Secondary school, mensa, Bad Kreuznach
Invitation for a Competition: Second Prize
The new school canteen, the mensa, will be refurbished with an acoustic ceiling to maximize sound quality. White binders divide the ceiling into eight fields each subdivided into twenty square partial surfaces. Starting from the green food serving station, the ceiling rises obliquely towards the horizontally structured surface of the windows. Illumination to the mensa is provided by large disc-shaped pendant lighting fixtures distributed across the ceiling. Red-brown cladding sheets cover the exterior façade.
The acoustic ceiling will be covered with an artistic print design for which a digital draft has been developed which will include references to the architectonic color concept expanding the room in accordance with the school’s location.
Into the mensa—a quick break, meeting, eating, pausing—and out again. A mensa is a space of congregation, communication, connection, class breaks. The students enter, eat, and leave together. My idea gives form to this movement.
Sumptuous, calm loops trace the file of students during lunch break on the acoustic ceiling: the incoming, almost straight line describes the movement into the room towards the serving station. The line’s continuing circling movement represents sitting down, eating, and pausing, while the outgoing line leads out of the room. By means of free repetition in graduated colors a calm ceiling painting emerges.
The movements are drawn across the entire surface of the acoustic ceiling filling its space completely. The intense color overlap on the lower end of the ceiling along the counter of the serving station reflects the space in which the highest densification of the room takes place. The basic colors are matched with the green counter, the red-brown cladding sheets of the façade and are complemented by a connecting, friendly yellow-green. Each of these colors is repeated several times, their color intensity is gradated. This and the overlaps create color differentiation and enhance spatial depth. The loops created by the sweeping movement point towards the surface of the windows where a continuous free surface is maintained. The ceiling’s basic surface is painted sky-blue so that the entire ceiling surface is perceived as one continuous expanse that references the view of the sky while the curvilineal forms of the loops pick up the circular forms of the large pendant light fixtures.
The reduced line management represents the theme of movement and simultaneously generates an intended calming effect through its lush, warm color scheme, while simulating on the ceiling, the passage of the students through the mensa.
On 09, Nov 2014 | In Installations | By Regina
wallpainting multi-purpose hall, Dittelsheim-Heßloch
Katharina Hochhaus, sculptor, Cologne
A multipurpose hall for sports and cultural events will be built in the geographic center of the municipality of Dittelsheim-Heßloch in Rhine Hesse. The exterior facades and the exposed concrete surfaces in the foyer are available for art-in-architecture work. The community looks back on a long history. For centuries, both Dittelsheim and Heßloch have coexisted as two independently grown communities. Their integration took place in the late 1960s.
The basic idea for the design is referred to in the title: The painting visualizes the “connection” between the two districts of Dittelsheim-Heßloch. It refers to their specific situation and at the same time reflects the geographical location of the new hall between the two districts. While pursuing their activities, the citizens will connect with each other in the new hall. They will come together to celebrate, enjoy sports, and the making of music.
As a façade painting the “connection” of the design points out the location of the hall in the middle between the two communities: starting from two directions strong red paths consisting of a multitude of lines of various lengths run towards the entrance where this stream of lines spreads out as a gesture of invitation towards the entrance area where in the foyer, the pathways continue. On one hand, the red color on the floor is laid out like a “red carpet” into “a pathway”. On the other hand, the lines continue in beige across the walls as a web of interlinked structures. Through their very precise execution they deliberately distinguish themselves from the noisy, often very coarse exposed concrete. The color concept finds its optical completion at the curtain of the stage area. The visitors to the communal hall enter on respectively different paths, which nevertheless represent their living interaction and communal life.
On 02, Jul 2014 | In Installations | By Regina
Design for a facade,
fire station, Berlin-Pankow, 2014
Invitation for a Competition: First Prize
Jochen Schumacher, painter, Berlin
In the summer of 2014, the art-in-architecture work Schlauchreserve [Spare Hoses] on the façade of the new building of the fire station Berlin-Pankow was completed. Schlauchreserve [Spare Hoses] is the professional term for the reserve hoses representing the capacity considered sufficient to extinguish a fire in a given building. The artwork consists of two design areas: Order, structure, calmness, and repetition are represented in the entrance area while the chaos that has to be cleared is visualized on the lateral gable wall. The simultaneity of clear order in the face of situational incalculability, of disciplined calmness to swiftly combat chaos, represents the work of the fire department and is the basis for the design. The painting directs the view from the demanding everyday to the strength and resources of the firemen.
Clearly visible in the entrance, a yellow line folds onto a blue ground. As the necessary equipment is properly organized and stored in the fire engine making the most efficient use of all available space, the yellow line fills the entire surface of the wall like an orderly coiled hose, and in doing so presents a symbol of order, structure, and the calm demeanor of the fire department. Parallel to the street, the disorderly “pile of hoses” also reflects the direction of the movements of the cars, tramways, and pedestrians on the street.
Both the walls and the ceiling of the entire entrance area are painted light blue. This color choice makes direct reference to the extinguishing element water, while at the same time architectonically enhancing in accordance with the building volume as it projects into the rear area, the floating character of the middle volume. The entrance area is accentuated through the design and its friendly bright colors are an invitation to enter the building.
From the street the hose nozzle refers to the adjacent gable wall on which a playful way of reflecting the theme chaos unfolds. A succession of many hoses with slightly varying color hues symbolically representing their use and characteristic free movement is drawn. Another aspect of the design examines the daily challenges of the firemen whose responsibility is to immediately assess and act upon an emergency situation. Yet another is dedicated to team spirit: Many hoses function in unison; the success of the firefighter’s efforts is dependent upon their teamwork.
Photos: Regina Kochs
On 02, Jul 2013 | In Installations | By Regina
Competition, police station, Grafenau 2013
Art-in-architecture was commissioned for the central staircase in the new Police Inspection building (PI) Grafenau. The artwork with a connection to the area intends to enhance the sense of wellbeing. The compact new building is located above the town near the timberline of the Bavarian Forest National Park, which lies within the jurisdiction of the PI. The only elevated element in the new building is its central staircase of exposed concrete, which is characterized by a dominant formwork pattern, bright illumination, and a view through the windows of the natural world outside. From the ground floor one simultaneously looks onto the upper and lower stairways. Additionally, long narrow passages to each side of the flights of stairs expand the view affording an experience of the front wall in its entirety.
What is that characterizes the PI Grafenau? Foremost, is its proximity to the National Park. What meaning does the Bavarian Forest National Park have for the PI? It is both a place of recreation and, at the same time the headquarters of their jurisdiction.
The abstract image of a woodpile created from forty large, smooth circles painted in individual colors fills the entire front wall of the staircase. The design Woodpile picks up various aspects of the (PI) Grafenau. With the various-colored pieces of “lumber” and varying ‘tree sections’, the “woodpile” represents the multitude of tree varieties in the Bavarian Forest. The “woodpile” stands for a period of short recreation, a brief break during the constantly changing police work and is also a representation of work accomplished, a moment to catch one’s breath. The individual sizes and colors of the discs, further correspond to the acutely differing aspects of the various areas of police work. At the same time, the form of the circle stands for clarity and concentration, imperative features of police work. And finally, but certainly not of lesser importance, the forty sections represent the number of employees of the PI Grafenau.
The vertical design of the art-in-architecture across all stories supports the perception of the lavish height of the stairwell and landing. The warm, nuanced colors mediate between the black floor and the white ceiling. Furthermore, the smooth, colorful surfaces create a powerful, clear complement to the cool and robust appearance of the exposed concrete. All in all, form and color provide a comfortable space character.
On 02, Jan 2012 | In Installations | By Regina
Competition contribution, Bundesministerium für Bildung und Forschung, Berlin 2012
The surrounding exterior walls of the conference center in the new building of the Federal Ministry of Education and Research are to be designed artistically. The innermost space at the center of the building provides a view of the river Spree in addition to an overall view of its interior space.
The basic idea behind the design concept, is the term Black Box which has its roots in the language of the theater and symbolizes empty space, space to concentrate on the free word as exemplified in free and independent speech and innovative and open discourse. Free and independent thinking is the foundation for any successful education and research. The flow of thought is projected onto the exterior walls of the Black Box reflecting at the same time, the motif of the river Spree.
Black Box—Black surrounds all four walls of the conference center, clearly highlighting the volume so that the surrounding space appears larger and more extensive. The architectural idea of an innermost space within the overall space is picked up artistically and super-elevated. The conference room receives a distinctive face and provides a clear spatial orientation.
Flow of thought—The free flow of speech in the interior of the conference room is reflected on the exterior walls of the Black Box. Colorful bright lines move continually along the walls of the matte black volume. Their concentration in the interior is visibly condensed and projected towards the outside. At the same time, one experiences the illusion of a river, of the tributaries of the river Spree, which can be seen through the windows. The Black Box provides a free space for sensuous experience during the flow of thoughts.
On 19, May 2011 | In Installations | By Regina
Design for a facade,
German Research School for Simulation Sciences,
Research Center Jülich, 2011
Invitation for a Competition: First Prize
Ralf Eckhoff, painter+ designer, Leverkusen
A site-specific artwork was developed for the new building of the German Research School for Simulation Sciences (GRS), reflecting the work conducted there from the point of view of an artist. The surface of a two-storied wall of the exterior façade, which is to be re-designed, is interrupted by two small windows one lying above the other, the wall is framed by a bright orange wall-segment and a glass entrance.
Interconnectedness is the title of the basic concept of the artistic design: Studying at the GRS “interconnects” elite students from various disciplines and from all over the world. Highly motivated and focused, they cooperate in the development of complex thought models for simulations; this extensive network of shared programs is ultimately computed by one of the world’s largest, privately owned supercomputers.
The circle is the symbol for totality, for unity, for complexity – for utmost concentration. In Jülich, it symbolizes the coming together of students from all parts of the globe. Formally, the circle picks up on the curvature of the roof; it is truncated on one side and leads into the interior of the building. The circle has a calm, earthen basic color that enters into a natural symbiosis with the orange color of the wall on that side.
A web is inscribed in the circle. Trains of thought from various disciplines of the natural and engineering sciences are connected with each other at the GRS. The most diverse personalities from all corners of the world “interconnect” in the study of simulation. The web has no beginning and no end, it is a segment, is in the process of growing, is incomplete but permanently in creative development and expansion. For the lines the color green is adequate, it is the color of growth, the color of development.
The interconnections in the web visualize insights, results, and attempts at solutions within these interconnected trains of thought. As signals they are emphasized through bright colors. The study of simulation is the third main research element besides theory and experimentation and is therefore important and groundbreaking for the future of the sciences. This is visually illustrated through the energetic radiance with bright long-range visibility.
The design “Interconnectedness” reflects the interior life of the GRS on the building envelope, actually reverting it to the exterior and in this way supporting the presence of the study of simulation at the Research Center Jülich.
Photos: Research Center Jülich, detail: Regina Kochs
On 05, Nov 2012 | In Installations | By Regina
Wall Painting for a Stairway
Police Station, Ansbach, 2012
Invited Competition, First Prize
A forest clearing is a place of light, a disruption, providing the possibility for reorientation; it is a place of quiet and concentration. The artwork Clearances arrests the view “in the forest of police work” for an instance, disengaging from the functional space, creating a moment of balance, permitting orientation and identification. The wall piece consists of two design elements:
On the one hand, individual points have been distributed on the central, red wall of the stairway, charting the areas of competence of the Ansbach police station. For the employees, these markings are not just points in their work world but, at the same time, “clearings” representing the places were they live and have their “home.
On the other hand, extensive bands of stripes cover the walls of the stairway. As a motif from nature, these “clearances” in their work world connect the inner and the outer, reflecting focused concentration. The intended stress reduction with its deescalating impact is underlined by the use of the calming color green in the painting.
The “clearances” connect the architectural structure optically: horizontally by means of the repetitive motif and vertically via a design that encompasses several stories. Shift duty proceeds on the ground floor twenty-four hours a day, seven days a week; the green color inexorably attains the entire height of the room. On the upper floor, where police work takes place only during the day, the bunches of green that began growing below, terminated here. Despite their clear artistic interconnection, each floor of the Ansbach police station attains its distinctive appearance.
Photos: Bauamt Ansbach + Heike Fischer, Regina Kochs
On 18, Nov 2011 | In Installations | By Regina
Painted Foyer, Citizens’ Hall,
Halsenbach, Hunsrück, 2011
The community of Halsenbach is situated in the Hunsrück, near Emmelshausen. The Citizens’ Hall dating from the 1970s was remodeled and modernized in 2011. The renovation included a commission for a site-specific artwork for the space and its people – a wall painting in the foyer, on a support column and the surrounding wall surfaces. The Citizens’ Hall is an important communal meeting place for the citizens of Halsenbach; it also serves as a space for sports events and social activities.
The rural community of Halsenbach consists of four districts of which Halsenbach is the largest, followed by the smaller districts Ehr, Ehrerheide, and the Mermicherhof. The artistic concept is based on these four districts: Four slightly nuanced green color fields cover the freestanding support column in the hallway extending over the corners to fill its entire surface. Each color field encloses an orange ring representing the four communal districts according to their respective size. The choice of the color green refers to the natural rural environment. The support column in the center of the foyer therefore, becomes a symbol of a supportive community.
The “districts” double their size spreading out into the surrounding space and taking up the entire hall. Halsenbach as the largest of the districts is prominently represented on the main axis up to the entrance of the hall, enhancing its impression of predominance in the foyer. Visitors to the Citizens’ Hall “walk through” the four communal districts, finding themselves at the same time surrounded by the various green color fields.
Photos: Jörg Hempel / detail: Regina Kochs
On 19, May 2011 | In Installations | By Regina
Exhibition installation Wall Frieze,
In 2011 Galerie Hirtengasse in Nuremberg commissioned a site-specific work for its gallery space, which is situated slightly raised on a small street near Nuremberg’s old town. The space has two large display windows, its entrance door separating the two opens towards the city.
Paths pervade our lives, ceaselessly – everything flows, as do the pathways through Nuremberg, into the gallery, across its space, and out again or perhaps running past it. Viewers who enter the gallery from outside continue their paths within the gallery space where they find the lines of their pathways continuing on the wall. The physical movement into the space is replaced by the movement of the eyes along the flowing, painted movements on the walls. A red, horizontal wall frieze connects the windows, openings, protrusions, and angles of the room with each other. Lines that were left open reveal the white wall. The frieze continues above the gallery windows by means of red foil, thus insuring the lines’ continuous flow through the space, at the same time changing the view into the interior of the gallery. The lines, which cross each other above and below, appear intertwined and attain a spatial dimension, while at the same time running freely along the walls.
“Spectacular and powerful (the lines) slash through the space, regardless of windows and corners; liberated from the canvas they surround the viewer. A red ribbon is a breeding ground; a contrast that gives their color flow contours. They superimpose themselves upon each other in a horizontal rush – meandering without a definite goal. Where is their color, what is their history? It suddenly emerges from total non-being. Where the red ribbon releases them onto glass, we can see the world that lies beyond. The line is not defined by the color applied by Regina Kochs, no, the present, the actual reality of the street fills in the gaps and openings of the cut-outs, subordinates them under the non-existent. The artist abandons not only the canvas; she also refrains from a predetermined display. The interior and exterior are equivalent, they superimpose, inviting the viewer to enter the picture, just, like you – and I – did a few minutes ago.” (Excerpt from the opening speech: Katja Fischer)
On 18, May 2011 | In Installations | By Regina
Wall Painting for a Stairway,
Rhine Boat “MS-Fantasie”
The Deutsche Rheinschifffahrt Gesellschaft Köln-Düsseldorfer [Rhine River Navigation Society Cologne-Dusseldorf] is building a new boat: the “MS-Fantasie”. A commission for a wall painting on the main stairway in the interior clearly thematizing the relationship to river navigation was issued.
Water and boat are inseparably connected. The visitor on the boat senses, sees, and experiences the water up close. The design concept takes its theme from this close relationship and artistically transforms it into Water Lines. A blue water wall rises several stories. The color blue visualizes the element of water, sensuously conveying its immediacy. Like hulls, tapering towards their bows, the white and blue lines dance on the water; the higher the white “water lines” rise, the more they become concentrated, flowing up into the white firmament of the ceiling, creating an endless horizontal expanse.
Photos: Heike Fischer
On 11, Sep 2010 | In Installations | By admin
Design for the hallway,
Audio-drama Department of WDR,
An artistic design for the hallway was commissioned in the context of the spatial and optical remodeling of the production complex 6+7; it consisted in the development of a wall painting for the approximately 24 meter-long wall surface, which is interrupted by doors.
The core idea of the design for the hallway was to visualize the function of the sound studios located behind the wall of the hallway in which basically all the acoustics – the audio-drama is produced. In the form of artistically created, fine-particle frequency movement, sound is transported from the interior space into the hallway.
The architecture of the hallway is long and extremely narrow. In order to correspond visually to this circumstance, the concept of a large tranquil form stretching the entire length of the hallway was developed. Corresponding to variations in sound level and intensity the elongated oval represents an ideally balanced and expressive form. The voluminous drawing erases the heterogeneous nature of the wall surfaces, disrupted as they are by doors and connects each end of the hall optically.
Since the narrowness of the hallway dictates that the wall surfaces are always perceived in foreshortened perspective, the appearance of movement within the form is absolutely necessary. As one proceeds along the hallway, at certain points the oval appears to take on a different shape as the concentration and distribution of the lines changes and the character of each section of the wall thereby graphically depicts variations in the “sound” of the hallway.
Photos: Rainer Mader / detail: Regina Kochs
On 18, Apr 2009 | In Installations | By Regina
Galerie im Stapelhaus, Cologne, 2009
The invitation in 2009 to exhibit at the “Galerie im Stapelhaus” specified a request to create a site-specific temporary wall-piece. The Stapelhaus is located at a historical site directly on the Rhine between the waterside promenade and the narrow streets of the historic old city. It has a large longish exhibition space, which runs parallel to the river. The long window front opens onto the Rhine. Two walls divide the interior space of the gallery into three areas.
The proximity of the gallery to the Rhine, the space’s view of the river, and the awareness of almost annual threats of the high water are the basic element for the artistic concept: for the very first time, the obvious themes Rhine river and High Water have been realized in a painting in the exhibition space of the Stapelhaus.
The wall, which runs parallel to the Rhine side along the window front, represents a direct reference to the water and is therefore the ideal medium for the spatial work. The “water wall” strong and firmly positioned in the room radiates a massive powerful force. Flowing white lines subdivide the wall in a horizontal flow simulating the expansive and calm minimal movement of waves along the entire length of the wall, creating a light, gentle dynamic. On the lower part of the wall surface the spacing of the lines is loose, towards the middle of the wall they are more concentrated, while their spacing in the upper part of the wall surface is looser again. The calm design of the wall paintings upper border consists of an almost imperceptibly light swinging movement, which contrasts with the level of the high water far above the viewer’s head. Differently spaced lines give the wall an additionally disturbing physicality. In those parts where the lines are extremely dense, the eye begins to jump and is unable to differentiate the individual lines and creates an inescapable tension in the viewer. Only in direct proximity, literally “in the water”, is the eye able to trace individual lines.
In order to simulate “deep water”, the blue base has been painted over four times: two bright primer coats and two dark final coats create a delicately structured surface. Lighter and darker color nuances alternate, simulating the impression of various “water depths”.
Photos: Regina Kochs
On 18, Aug 2008 | In Installations | By Regina
Design of a Wall Painting for the Federal Ministry of Food, Agriculture, and Consumer Protection
Invited Competition, Third Prize
In 2008, the Federal Ministry of Food, Agriculture, and Consumer Protection in Berlin invited artists to submit entries for an art competition.
The front walls of four conference rooms (measuring 6.60 x 3.50–4.00 meter) situated on four floors one above the other were to be treated. The artistic idea was based on an overall concept referenced both the conference rooms and the Ministry of Agriculture: a “cross-section through the landscape.” Each room receives its individual character and is distinctively located on its respective floor. At the same time, the rooms are optically connected by means of a clear alignment with the other floors.
The idea of the cross-section through the landscape constitutes four visual spaces, which are stacked on top of each other: a root space, a plant space, a sky space, and a sunspace.
The color sequence of brown, green, blue, and yellow establishes a distinctly clear orientation. The free line as a simple, repetitive and recognizable element connects the stories with each other holding the artwork visibly together. Like guidance notes, the lines traverse the building – growing, connecting, zoning, structuring, passing through the conference rooms like trains of thought, pooling, continuing to flow, and radiating across the horizon of the individual small room. Lines and colors create intermediate spaces for roots, leaves, clouds, and rays – in every sense an expansive landscape.
On 18, May 2008 | In Installations | By Regina
Design of a Stone Circle
For the Ostrale, 2nd International Art Exhibition,
The Ostrale area of the capital of Saxony, Dresden, is situated in direct proximity to the historic old town. It connects expansive green areas on the Elb-peninsula designated for environmental conservation with the imposing, haunted halls of the Erlwein slaughterhouse ensemble dating from the turn of the 19th to 20th century. The fascinating location in the curve of the Elbe river and the contrasting architecture offer generous space for the annual international art exhibition: the Ostrale.
In 2008, eight Siloam walls were assembled in a stone circle. The three meters high and one meter wide cement steles found on location stood on their generous feet between the old buildings, spectacularly embedded in their street side section. The task was, to fortify the appearance of the “raw” stone circle and, at the same time, to create a contribution to the exhibition that could be permanently sustained at the site. The curator, Sabine Zimmermann, selected my entry for realization.
How can the artistic design integrate the circular arrangement of the steles? How can a relationship be established between the exterior space of the circle and its interior space without doing injustice to either one of the very different spatial situations? My idea is to connect the cement steles with a circulating wrapping, to bind them together, to encircle them and connect them firmly to each other. The idea for the interplay between interior and exterior space is linear and colorful reflection.
On the green ground, white lines wrap forcefully around the eight cement stones establishing the firm visual connection of the stone stele circle. The color green alludes to the plant component, while the colorful cement exterior walls contrast clearly with the bright surroundings. The precise painterly realization further distinguishes the site from the dilapidated buildings around it. Standing in front of the wrapped steles enables views of the interior space. From this vantage point both stele surfaces – the interior and the exterior – can be experienced and provide a sense of the entire space. The outer wrapping precisely reflects the interior, mirroring its color. Standing in the interior provides the experience of an exclusively floral, green, horizontal web of lines on white ground, which intensifies the concentration felt in the interior space.
The painterly, circulating densification is consistent throughout the arrangement of the steles. The site exudes a strong attraction and is, at the same time, imbued with an enormous inner concentration.
Photos: Regina Kochs
On 20, Aug 2005 | In Installations | By Regina
Wall Painting for a Hallway
KunstWerk, Cologne, 2005
In 2005, KunstWerk Cologne invited me to participate in the exhibition “drawn out” for which I developed a work that focused on the topic “drawing”. The hallway of approximately 35 meters in length selected for the site-specific work provided an extremely clear and strong perspective and an exciting ‘pulling’ effect. Collateral doors dissected one side of the hallway, juxtaposed by the calm, intact surface of the opposite wall.
The artistic concept intended to change the spatial perception through a generous wall painting that creates movement zones for the viewer who passes through the hallway and allows for a playful change, seducing the visitor into a new experience of the space.
A long, drawn-out drawing accompanying the hallway is applied to the entire continuous wall surface. The free-hand spiral lines become visible through the orange-colored interstitial spaces. With looping movements, which are sometimes narrow, sometimes wider, the visitor is lead along the narrow hallway, experiencing a sense of disconnectedness in his perception: as the irregular densifications and expansions distort the perspective of the room and dissolve the conventional distinct spatial suit. The room seems to follow a curvature, to warp. No longer sure of the space, the viewer can affirm the actual spatial situation only by observation and walking through the space. The viewer pauses, stops, continues to walk, his visual acuity disrupted by the changing rhythm of the buoyant wall drawing.
Photos: Regina Kochs
On 18, May 2005 | In Installations | By Regina
Wallpainting for the SK-Stiftung Kultur, Cologne 2005
The SK Stiftung Kultur, the biggest cultural foundation in North Rhine-Westphalia, Germany, has moved into new spaces in Cologne. For the first time in its history the foundation now owns a representative function hall for 200 visitors. This hall is very significant for the presentation of the foundation to the general public. It is located in the 2nd basement and is accessible through a spacious staircase and elevators.
The design task for the mural, developed by interior architect BeateWild and the building owner, is to facilitate the experience of the unique stair core and guide the movement of the visitor down to the function hall.
My idea was to emphasize the character of the core tower by means of a luminous signal colour and to clarify the passage to the function hall by a mural painting.
As a base colour I chose orange, an unequivocal signal colour. The mural’s base appears soft and homogeneous through use of matt paint. The wall painting consists of multiple ovals. The oval as a directional shape can take up movements and intensify them. The varying arrangement of the ovals ranges from a loose arrangement to a dense network. This variation lends the mural its dynamic character. The colour for the ovals is a strong Magenta. It contrasts with the base colour, and is at the same time similar enough in tone to produce an impression of overall uniformity and evenness. In addition the Magenta material is shiny and pasty so as to give the texture a slight plasticity and a tactile quality.
The signal colour attracts the attention of the visitors, pulling them towards the basement and function hall. The tower as a monolithic shape becomes recognizable. It clearly differentiates itself from the surrounding walls as an independent architectural body.
The wall drawing is an image of the activity in the stairwell. The different functions of the varying levels affect their frequency of use: few people on the ground floor, some in the first basement library and larger gatherings in the second basement. The mural’s pattern intensifies accordingly: while still loose on the ground floor level it condenses into a tight network in the second basement where the function hall is located. Every level receives its own identity. A unique sense of orientation is created.
The interplay between the matt base colour and the glossy oval drawings echoes the movement of the visitors: with every change of location the incidence of light on the shining, reflective ovals changes and so does the perception of the mural drawing. From the cloakroom, the framing effect of the door opening, suggesting an almost baroque spatial sequence, draws the visitor back towards the stair core. The recognition value of the oval pattern again creates a unique sense of spatial orientation.
Photos: Heike Fern / Regina Kochs
On 18, Jan 2005 | In Installations | By Regina
Wallpainting for the Karl Ernst Osthaus Museum, Hagen 2005
Every two years the Museum of Hagen, Germany, organises an art competition in memory of Karl Ernst Osthaus (one of its founding members). The task is to develop a piece of art that specifically corresponds with the central hall of the museum.
The museum’s main hall, designed in the 1970s, appears as a heterogeneous space with different wall heights (low and high spatial zones), with openings at different heights and with irregular lighting levels. Its spatial experience is possible from different levels and directions. There are multiple layers of viewing angles. The dark coloured floor contrasts sharply with the bright walls.
My idea was to bring a dominant and homogeneous element into the space. This element creates a focused concentration that contrasts with the heterogeneous character of the space. The piece of art generates a spatial situation in which tranquillity and movement are equally present.
My proposal uses the space itself as a bearer for the piece of art. The dominant element is a contiguous mural painting on the entire wall surface, expanding like a river and encompassing the entire space like a ribbon.
The hall itself remains empty.
The floor’s continuous, dark surface remains undisturbed thus preserving the feeling of openness.
The painting consists of a clear, simple pattern. It is based on the repeated use of a single soft shape that contrasts with the architectural heterogeneity and severity. The painting uses only one colour, a luminous red. The simple, reduced pattern appears nevertheless lively and fluid. It floats over the walls and enters into dialogue with the openings and irregularities of the walls.
The formal arrangement of the painting is generated by a stamp-based technique, and achieves, through the use of a glossy colour, a series of lively reflections.
Overall, the mural painting creates an atmosphere of “undulating calmness” and a focus towards the centre of the space.
On 04, Jan 2005 | In Installations | By Regina
Draft for an exhibition hall, Cologne 2005
The “KunstWerk” in Cologne offers a generous and well-proportioned exhibition hall. This clear arrangement is supported by four bare and striking pillars. They support the hall not only statically, but also create unequivocal zones.
The draft of “net-pillars” resulted within the frame of the exhibition “ausgezeichnet”. Playfully the four pillars (80/60,5 cm) are distinguished in their gravity and volume. Affectionately their character of inflexibility is “enveloped” with a moved, colored net, in which the pillars are wrapped up. A net of circles and loops, with free irregularities, a happiness and ease communicates with the severity of the pillars and creates a quite unconventional symbiosis. This simultaneousness produces the attractive tension of the work.