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"Inspired by Space and Nature" The Sunday Standard Magazine, New Delhi, 29.10.12
"Indian textiles inspired German designer" The Times of india, New Delhi, 29.10.12
"Interview with Markus Heinsdorff, Indo-German Urban Mela"Germany-and-India.com, Infinite Opportunities, 22.10.12
Indian concept, German creation The Hindu, Arts / Art, New Delhi, 22.10.12
German urban designer on Indian citiesThe Times of India, Ians, 22.10.12
Indian cities should merge old and new: German urban designerThe Financial World, 22.10.12 Shana Maria Verghis, "Crystallising ideas"PIONEER, 20.10.12
German artist, designer Markus Heinsdorff recreates ‘desi’ designs infrawindow.com, Architectural News, 16.10.12
Nasrin Modak, "Spaces That Travel"Volume 20, Issue 5. May, 2012
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Interview with Markus Heinsdorff
Markus Heinsdorff during the construction of the pavilions at the Indo-German Urban Mela | © Manoj Patil
The work of architect and installation artist Markus Heinsdorff is characterized by his artistic exploration of spaces andnature.
During his travels around the world, he continually seeks ways to incorporate the potential and possibilities of natureinto his design.
Trained as a goldsmith and sculptor in Southern Germany, Markus Heinsdorff has become an internationally acclaimedartist, winning several awards for his works that link design, art and architecture, together with technical innovations.
Since 1997, he has focused much of his work on bamboo. For the three-year event series ‘Germany and China –Moving ahead together’, Markus Heinsdorff designed numerous bamboo pavillions that were showcased in severalmajor cities around China, culminating in the German-Chinese House for the Expo Shanghai 2010.
Now the designer of the multifaceted pavilions for the Indo-German Urban Mela, part of the event series "Germany andIndia 2011-2012: Infinite Opportunities", he speaks about the methods defining his work for the project -- thecombination of fragile membranes, sturdy steel and Indian motifs.
What would you say is the central theme of your work? Has being in India and observing architectural designhere affected your approach in any way?
The focus of my creations is working with urban spaces. The unique approach lies in identifying the architecturalelement in nature and enhancing it. While I’ve used membranes in my work before, this will be the first time that Indianfabric will be a prominent feature in the construction.
The “Indo-German Urban Mela” is the highlight of the year of Germany in India and it is interesting that the tour is alsoabout mobile architecture in a sense. We will be moving with the tour from city to city and setting up a space in theheart of each one. It will be a space wherein we would like visitors to experience these structures. It will be like a littlecity-space that plays with the existing skyline of the urban landscape and challenges them to change their perspectiveon it. It will be like a mirror to reflect on Indian architecture as it exists.
The objective of my design for these pavilions has been to retain the traditional aspects of Indian design and mouldthem into sustainable architectural solutions. Steel and membrane are the physical components of my work, while thesculptural motifs are part of the guiding principles. Technology is not limited to machines. The intricacy and rigour thatgo into weaving fabric, as I see it in India is also in that sense – high technology and this is part of my architecturalconstruct as well.
While India’s art and architectural history is rich in its use of colourful and precious stones – a striking element ofnature, the hand-crafted nature of most of the motifs are also phenomenal! Bringing it all together to be a part ofGerman architectural techniques was an intense process of research and selection.
Interesting, indeed, is how you talk of mobile architecture in the Indian context. Is there anything that caught
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22.10.12 11:36Interview with Markus Heinsdorff - Germany and India 2011-2012: Infinite Opportunities
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Indo-German Urban MelaThe Events, the Pavilions and the Square
Indo-German Urban Mela – PavilionsTextile Structures of the Future by Markus Heinsdorff
your fancy in particular about this aspect?
I had been fascinated with how Indians use tent structures for a lot of ceremonies in India. It is a legacy that hasinspired my design. The project “Germany and India 2011-2012: Infinite Opportunities” has “StadtRäume –CitySpaces” as a central theme. One of the chief concerns of this theme is envisioning how our cities will appear in thenear future. We think of making our cities better and in this light, it is wonderful that two countries are coming togetherto experiment in architectural design that is sustainable and environment-friendly.
Things have changed over the centuries, but there’s a lot we can retain from traditional methods and materials ofconstruction, and my endeavour has been to use these in sustainable ways. I have tried to reflect this synthesis ofideas in my design for the pavilions.
Speaking of experimentation, you combine different methods and materials in your creations. What ideas doyou draw from?
Both Indian and German cultures have a focal point and strengths. Colour and shapes from Indian architectural designcould meet the planning-oriented German architecture. The construction for this project is mobile, it uses traditionalfabric and of course, elements from both the cultures.
When I approached a design plan for the Urban Mela pavilions, something amusing caught my attention. This project isabout temporary architecture, it is about creating an environment of experimentation and bridging the differentelements.
An interesting element I observed is that the elephant has a very strong presence in Indian ceremonies. It is a symbolof mobility. To me, the saddle of on an elephant’s back appears to be a house that’s on the move. In that sense, it’s aspace that’s moving from place to another. It’s nomadic in nature. It’s mobile. It’s a simple design element but standsfor so much. Coaches too, in a way are a mobile and liveable space. They are already part of the culture, they arelightweight too.
Drawing from what already exists; the materials used range from jute, rice-straw, concrete and a varying, flexiblemembrane. Some of these materials are quite cost-effective and environment –friendly. I also see this as a potential foruniversities and corporations to test and experiment with traditional architecture and explore the construction as asustainable option.
As the appearance of cities is changing, I have approached my design with three considerations – utilizing space, thestructure of real buildings in the city and of course, all the research I’ve undertaken on Indian materials. Hopefully, thelook and feel of these pavilions will get the visitors thinking about innovations in traditional architectural designs.
In the construction of the pavilions, how do the materials you select combine to form a single structure?
What we’re attempting is not so much a fusion, but simply bringing elements from both cultures into the same space.The idea is to engage dialogue between the two countries in the context of design and architecture. The pavilions inthe Urban Mela will hopefully confront local visitors to reflect on their own design culture and be reminded of therichness that already prevails.
In one type of the pavilions, I’ve used a wire frame for the roof, supported by lightweight columns. The façade istranslucent, with no windows and natural light streaming in. The walls are double-layered, so as to allow cooling andalso to protect from rains. Overall, the design of the pavilions allows for the light to be dimensional and the constructionto appear somewhat structural.
The idea is to share the knowledge on architecture and space between the two countries. India has many megacities,but there is a sizeable difference in population when the two countries are compared. In theory, Germany has manysolutions in urbanization and city-planning and India is an ideal ground to try out some of these solutions because ithas a number of metropolitan cities with a growing population. This is also an opportunity for innovators from Germanyto apply and experiment with some of the solutions and learnings in the context of City Planning. Thus, there can bemore of a discourse between the two cultures, than a mixture. It is a mutually beneficial platform for both the countries,learning from each other.
On a lighter note, you began as a goldsmith quite early on. Now, you’re also trying to experiment withmembranes. It must be quite an experience using these mediums in different ways.
I used to work as a goldsmith when I was very young and even started a school to impart the technique, but mygrandmother being a fabric producer, my affinity for membranes became evident quite early on. Two of my auntsworked as weavers too and I had a wonderful time watching them work on chairs, carpets and other things.
When I arrived in India, it was delightful to see that fabric was so crucial to the culture. The gemstone shapes for thepavilions are a reminder and celebration of the colour and vibrancy of Indian art and design. It has been an experimentfrom the very start and that is the driving force.
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Born in 1954 Steinkirchen near Munich,(Germany). After training as a goldsmith hestudied sculpturing from 1976 to 1981 at the"Akademie für Bildende Kunst" (Fine ArtAcademy) in Munich. Since then his works havebeen exhibited in numerous countries, for ex. Italy,France, Spain, Thailand, Indonesia, China,Taiwan, Ecuador and USA.
Since 2007, he is the Guest Professor at theSoutheast University in Nanjing and at the Facultyof Architecture in Chongqing (China). Hiscreations include temporary as well as permanentinstallations, which engage themselves withplaces and constructions in open spaces and alsowith architectural themes.
Over the past 10 years, Heinsdorff was intensivelyinvolved with Asiatic cultures and nature themeslike the sustainable material bamboo. Heinsdorff isalso working on an assignment for the ForeignMinistry since 2007 and had developed 22pavilions as art and exhibition areas and oneBamboo pavilion with his ingeniously developedconstruction system for the Expo 2010 inShanghai.
To visit his website, CLICK HERE
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The landscape of Indian cities presentscountless possibilities that make it rife fordesign-related experiments by combining theold and the new for sustainable development,says leading German installation artist andurban designer Markus Heinsdorff.
Heinsdorff has designed the pavilions for theOct 27-Nov4 Indo-German Urban Mela in thecapital under a bilateral initiative, "Germanyand India 2011-2012: Infinite Opportunities".
The exposition, dedicated to city spaces, will tryto address the challenges posed by the pace of change in German and Indian cities over nine daysin the Indraprastha Park.
Analysing the landscape of Indian cities, the artist said: "Many of the solutions lie in thearchitecture of urban India quite naturally."
"For instance, in the green areas in Delhi the trees lined up on streets cast shadows. They help tokeep the air clean and cool. The design solutions in Delhi have to be specific to the needs of thecity," Heinsdorff said in an interview.
"In a sense, Delhi has its own unique architectural face and this face needs to be preserved andnot lost or replaced. Delhi has so much going for it already in its layouts and planning that thereis no need to imbibe too much from other parts of the world. It is the uniqueness that works forthe space in Delhi," he said.
"Underground trains, subways, trams and electronic buses help reduce the volume of traffic to agreat extent. In India, there is the great legacy of bicycles and cycle rickshaws which are not onlyenergy-efficient, they do not add to the pollution, but save a lot of unwanted traffic. This issomething that even Europeans are adopting now," he said.
Citing an instance of an intelligent climate solution, the artist said when there was no electricityin India, natural cooling systems were used.
"All in all, merging the old and the new is possible by paying attention to the uniqueness of spaceand design methods of the city," he said.
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Heinsdorff said the pavilions he has designed for the Urban Mela, which is the highlight of theYear of Germany in India, form a little village within cities inspired by Indian gemstones -shimmering with light, space and the grandeur of Indian wedding venues.
"It will be like a mirror to reflect on Indian architecture as it exists. I want to retain thetraditional aspects of Indian design and mould them into sustainable architectural solutions,"Heinsdorff said.
Steel and textile membrane are the physical components of Heinsdorff's work, while "sculpturalmotifs are part of the guiding principles". "Technology is not limited to machines. The intricacyand rigour that go into weaving fabric, as I see it in India, is also in that sense high technologyand this is part of my architectural construct as well in India," he said.
"In theory, Germany and India can be ideal partners for each other in urbanisation and city-planning areas and find common solutions for future challenges. . Thus, there can be more of adiscourse between the two cultures, than a mixture. It is a mutually beneficial platform for boththe countries, learning from each other," Heinsdorff said.
He said all new methods and practices draw from tradition. "In keeping with the intelligent useof traditional space and resources, we must now look at intelligent housing that uses energy in anefficient way, combining old methods with current energy supplies".
"India is known as a country of rich textiles and lightweight materials and using them formodern architecture, which is also low-cost, is something I will be researching extensively inIndian and German universities," he said.
"Energy and spaces will combine to minimise pollution levels," Heinsdorff observed, summingup the cityscape of the future.
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22.10.12 11:22German artist, designer Markus Heinsdorff recreates 'desi' designs - Architectural News | Architectural News
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German artist, designer Markus Heinsdorffrecreates ‘desi’ designsPosted by infraeditor on Oct 16, 2012 in News | 0 comments
The tamboos that nomadic tribes erect and the pandalsthat Indians build for various events, celebrations and festivities, inspired German artist and designerMarkus Heinsdorff to innovate and turn them into gem like pavilions.
Flexible, dismountable, yet sturdy and made from traditional desi fabric, these have travelled across thecountry for the Indo-German Urban Melas in various cities as part of the event series ‘Germany and India2011-2012: Infinite Opportunities’.
“The focus of my creations is working with urban spaces. The unique approach lies in identifying thearchitectural element in nature and enhancing it. While I’ve used membranes in my work before, this isthe first time that Indian fabric is a prominent feature in the construction,” says the designer, who hadused bamboo when designing a German-Chinese House for the Expo Shanghai 2010.
“The objective of my design for these pavilions has been to retain the traditional aspects of Indian designand mould them into sustainable architectural solutions. Steel and membrane are the physical componentsof my work, while the sculptural motifs are part of the guiding principles. Technology is not limited tomachines. The intricacy and rigour that go into weaving fabric, as I see it in India, is also in that sensehigh technology and this is part of my architectural construct as well,” he says.
The pavilions can be seen at Delhi’s Indraprastha Millennium Park from October 27 to November 4,2012. The Urban Mela will be open from 10 am to 10 pm daily.
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12.11.12 06:33Life | Spaces That Travel
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Spaces That TravelText by Nasrin ModakPublished: Volume 20, Issue 5, May, 2012
Installation artist Markus Heinsdorff has realised thatfabric can be used for so much more than garments. Oneof them being buildings. On his recent trip to India, heinforms Nasrin Modak that it wouldn’t be a bad idea to beable to change the structure of homes with the changingseasons!
In the street adjacent to the Cross Maidan grounds in downtown Mumbai, the majestic crimson andwhite structures formed a backdrop to Churchgate Station and the almost-setting sun. Two hours later,the structures were lit up in a striking array of colours. Yellow. Purple. Blue. These pavillions were apart of the Indo-German Mela conceptualised by renowned international artist Markus Heinsdorff. Iknew that name. I had seen the images of his bamboo structures at the Expo 2010 on an email sentby a friend from Shanghai.
Some days later, awaiting me and a photographer at a downtown hotel’s lobby was this over six-feet-tall, powerfully-built man who apparently could barely stand the city’s humidity. He was sweatingprofusely. He apologised, “I am sorry, I am not used to your weather. But don’t go by this shirt, I havea spare one for your shoot!
Heinsdorff got working on the mela project a year ago when German officials invited him to design thepavillions. “After Expo 2010 in China, India was a natural progression. They didn’t give me much timebut I am glad I was given the opportunity. Before starting work, I went to the Indian library in Germanyto study Indian fashion, design and history. Exquisite. India is so colourful. It’s a pleasure to dosomething like this here for my country.”
During his research, Heinsdorff stumbled upon an image of an elephant with an extremely ornatecaparison. “I was fascinated by the sheer sight of it. Even more when I learnt that the elements usedto decorate the saddle of an elephant can actually fill an entire cricket ground. I was spellbound.Ceremonies and processions I had known of but this was something else. I decided to use caparisonas the leitmotif of the theme.”
The idea was to create a mobile space that could travel throughout India with the mela. “The thoughtbehind mobile space is that we can go from A to B and while the concept of animal, nature, designand display already exists, the idea was to make it relevant to our time.” Heinsdorff decided to makemodern and hi-tech gemstone-shaped structures taking their hues from rubies and corals. They weremanufactured in India. “Call them tents if you want. Anyway tents are a big part of your tradition – thetents in the deserts or marriage tents – they are lovely. I love to use new ideas to shock people a littlebit and make them say…oh boy…what happened here! In a good way, of course.”
Heinsdorff constantly thinks of ways to save energy so that we can handle the future better. “Mosturban cities are a replica of one another. But when I look outside the window of my hotel room inMumbai, I am glad I am not looking at a city that’s too metropolitan. I am able to recognise it. It’s thesame with Delhi and Kolkata - I see glimpses of Asia in them. Besides the style of architecture, the air,the clouds, the birds are all so unique to the city. They tell me that I am not in Shanghai.”
Conducting workshops in several Asian cities, Heinsdorff feels that pollution is the ugliest part of thesetowns and that several old buildings are losing their faces. “Find your own style, out of your ownculture. Don’t copy. If you look at modern cities in China, they build high-rise buildings overnight. It’s
scary. It’s important to do things slowly. India is starting now. Things are getting better. The way forthe future is being made now. It’s the best time to introspect on how we need to design the future in away that’s human and environment-friendly. No one likes to stay in slums in sub-human conditions. Noone wants to open their windows to find a thousand cars increasing noise and air pollution.”
For him, Mumbai is like a living body with a mix of good and ugly structures and some great publicspaces but ask him what he thinks of the city’s public art and he replies with a straight face, “Public
12.11.12 06:33Life | Spaces That Travel
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spaces but ask him what he thinks of the city’s public art and he replies with a straight face, “Publicart? In Mumbai? Where’s that?” There’s silence. Then he quickly responds, “Public art is used fordecoration but I don’t miss it in this city. Your public art is your people. One day I have a taxi driverwho is a Muslim, the other day there is someone from another part of the country, someday there is alocal – it’s so colourful and ethnic.”
Heinsdorff rues that most architects worry about projects being cost-efficient without thinking abouthow environment-efficient they are. “It’s a pity but it’s a worldwide problem and we have to work onthis.” When he designs a space he designs it for two phases – one for the day time, one for the night.“In the day, you feel there is an extremely modern structure that’s adding drama to the skyline of thecity. By night, the lights make these structures look like scenery from a countryside. Like a movie.”
As we step out of the hotel to cross the street over to the maidan for the shoot, Heinsdorff is fearlessof the oncoming traffic. He is not claustrophobic about crowds. He daringly crosses over the street, notusing the zebra crossing, just like us. In the last one year, he has travelled several times in and out ofthe country and has fallen in love with Mumbai and the Indian naan. “It is one of the few countriesworldwide that has such a wide variety of architecture. I would love to do a portrait of the city.”
As the photographer prepares for the shot, Heinsdorff presents a favourite idea of his, that we shouldbe able to change the structure of our homes as we change our wardrobes! “Why can’t we take ourhome with us? Fabrics give us the possibility to do something like this.”
His affinity for textiles comes from his grandmother who was a weaving master. “It was a huge part ofmy upbringing. I truly feel there is so much more that we can do with fabric and space. Thinklightweight homes or moving holiday homes, like in the desert. It’s such a sustainable way of doing it.It’s a nice bridge between fashion and space. Maybe it’s the form for architecture in the future. Andmaybe it’s a long experiment...but then, I’m in a good mood right now, so let’s get going on this,” hesays, striking a confident pose against the crimson-striped pavilion that he has so artfully created.