Icons at Risk
Registration and Program IH Conference 15-18 May
Terence Riley -KEYNOTE SPEAKER- on Philip Johnson
Toshiko Kinoshita on Japanese Modern Heritage Houses
Hilary Lewis on Philip Johnson and his Glass House
Amanda Nelson on Building Donor Relationships
William D. Earls on the Harvard Five in New Canaan
Anne Mette Rahbæk on Philanthropic Investments and Preservation
Peter McMahon on Saving Modern Houses on Cape Cod
New era for Villa E-1027 and Cap Moderne
Restoring the past: The Diego Rivera and Frida Kahlo Home Studio
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Latin America Special – Focus on Mexico
De Stijl in Drachten
Preserving the Nancarrow House-Studio
Meet the Friends - Nanne de Ru
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Iconic Houses Lecture Tour - The Weizmann House
Jan de Jong’s House is Latest Hendrick de Keyser Acquisition
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In Berlin’s Modernist Network
Rietveld-Schröder House Celebrates De Stijl Anniversary
Meet Our New Foundation Board Members
Virtual Tour of a Papaverhof Home in 3D
Getty Grant for Villa E-1027
11 Le Corbusier Homes now on Unesco World Heritage List
At home with Le Corbusier
Our Badge of Honour
Wright Plus 2016 Walk
Casa Batlló's innovative Video Guide
Documentary La Ricarda
Richard Hutten at the Sonneveld House
Rent a house designed by Gerrit Rietveld
Barragán House on Screen
Gesamtkunstwerk – An Icon on the Move
Maurice Drue Parrish named Executive Director of Farnsworth House
Triennale der Moderne 27 September - 13 October 2013
Prestigious Art Nouveau mansions in Brussels open
September 14 + 15: Heritage Days in Paris
June's New Arrivals: Museum Apartments
Iconic Houses is now on Twitter and Facebook
Corbu’s Cabanon: Reconstruction and Lecture
Projekt Mies In Krefeld: Life-sized model of the Krefeld Clubhouse
New arrivals: Spain special
MAMO: Le Corbu’s ‘Park in the Sky’ open 12 June
Annual Wright Architectural Housewalk: 18 May
Frank Lloyd Wright Homes on Screen
Message from the Editor
Neutra’s House on Screen
Melnikov House on Screen
Iconic Houses in the media
Message from the Editor
Eileen Gray House on Screen
Zofia and Oskar Hansen’s House in Szumin
By Aleksandra Kędziorek. Polish curator Aleksandra Kędziorek is an art historian, associate curator and project coordinator at the Museum of Modern Art in Warsaw.
‘Philosophy is better promoted through space than through a philosophical book,’ Oskar Hansen (1922-2005) used to say. This remark by the Polish architect, artist and theorist seems to be the best available summary of his own summerhouse in Szumin. In 1968, Hansen, his wife Zofia (1924-2013), also an architect, and two sons, Igor and Alvar, arrived in a small village in a picturesque area near an oxbow lake of the River Bug in central Poland. After falling in love with its landscape, they started to build their summer residence there. An unobtrusive wooden house with a pitched roof became the incarnation of Open Form, the theory with which Oskar and Zofia Hansen tried to revolutionize the building industry of socialist Poland.
Towards Open Form Architecture
Oskar Hansen never thought of their work as that of future icons. As a member of Team 10, a group formed by young architects rejecting CIAM’s concept of architecture as a ‘machine for living,’ he considered his own task to be the creation of architectural frames, which could be filled by the everyday events of their users. Open Form, first presented at the CIAM congress in Otterlo in 1959, stood in opposition to the perfectly finished buildings which stood as monuments to their designers. Instead, it focused on guaranteeing the user his individual expression, even within prefabricated mass housing. In order to realise those ambitions within the socialist state, the Hansens experimented by surveying the future inhabitants of their housing estates, despite much of their efforts being wasted because of a maldistribution of flats and socialist building industry shortcomings.
Their ideas found more productive expression in exhibition design, which at that time – as the socialist government wanted to create a modern image of Poland abroad – was an area that allowed for greater artistic freedom. Modular pavilions for international fairs in Izmir and São Paulo designed by Oskar Hansen with Lech Tomaszewski, a Polish engineer, were supposed to create a ‘perceptive background,’ exposing the exhibited objects and passing visitors. The Hansens also wanted to guarantee the participation of users in art-related projects and let them decide on the shape of the buildings themselves, as in the competition entry for the Museum of Modern Art in Skopje, where an umbrella-shaped hall of temporary exhibitions could be folded and unfolded by the curators, depending on changing needs.
Although most of their projects exist only on paper, a visit to the Hansens’ home in Szumin can give us an idea of how the world might have looked when organised according to their theory of Open Form. Contrary to most iconic houses, where it is the architecture that plays the first fiddle, the house in Szumin only becomes alive with the interaction of people.
Starting with a bench that invites passers by to sit down for a while and meet the inhabitants, enabling dwellers not to forget about its context, the house provides users with multiple stimuli in order to form an active attitude toward their surroundings. Engaging all their senses – first and foremost, sight, hearing and touch – and playing with their habits by blurring the boundaries between inside and outside, the house encourages a more conscious reception of space. The framing windows, which offer different views depending on the position of the viewer, indicate the importance of the body’s presence in architecture, while the openings exposing other inhabitants’ activities enhance its social character. At the same time, tools like a longitudinal table with a colourful top which can be utilised individually and instruments with movable panels used by Oskar Hansen in his teaching at the Warsaw Academy of Fine Arts, through which an individual can select their own view, open the architecture to individual expression and subjective decision making.
Designed in strict connection with the landscape and climate, the house draws the users attention to nature. The grey and even surface of the roof and colourful boards located in the surrounding garden form backgrounds exposing blossoming flowers and trees in the orchard. A steel structure designed for the Venice Art Biennale in 1977 serves as support for a grapevine and as the basis for a wooden dovecote, which Zofia Hansen, only partly joking, quoted as the best architectural piece of her husband. Every detail in this house, designed with care and respect for nature, helps the users to benefit from the richness of the surrounding world.
The House Reopened
Thanks to the generosity and hospitality of the Hansen family, the Museum of Modern Art in Warsaw opened the house of Zofia and Oskar Hansen in May 2014 to the public. Visits of the Hansen’s’ House are by appointment only (more information available on www.artmuseum.pl). To coincide with this occasion, the house became the first Polish member of the Iconic Houses Network. The opening of the house was accompanied by the release of a bilingual publication dedicated to Szumin’s architecture with photos by the renowned Polish photographer, Jan Smaga. The House as an Open Form. The Hansens’ Summer Residence in Szumin was released by the Museum of Modern Art in Warsaw and Karakter Publishers in May 2014 and is distributed internationally by the University of Chicago Press.
Publication date 22 September 2016