While trying to understand contemporary society through the built environment, I became interested in the physical shadow of what Rosalind Krauss calls ‘the Grid’ (that ‘turns its back on nature’). The project ‘Engineering Hope’ is an exploration of expressions given to imaginations with an abstract point of reference: the model. In this project, I investigate the seductive quality of the model in urban planning, the limits of the model as tool and the actual neighborhoods that became a physical version of its original simplified and functional point of reference.
The striking resemblance between the architect-template and the building across my studio, brought me to explore how the two dimensional forms relate to the three dimensional. The façade became both the template and the grid, detached from the interior. Stripped of most of the ornamentation, space lost dimensionality and forms became flat. The façade turned into a pattern made out of the forms of the template, repeated infinitely.
I designed an impossible building of which the prefab building-parts are made of plaster. Situated in a wooden frame, the nine planes on the wall together form the blueprint for the model. The plaster parts fall apart if one would attempt to remove them in order to built the model; one can only imagine the model, like utopia. Before ever built, the model is already decaying in its frame. A constant shift in scale and time takes place. At one point the wooden frame becomes a composition, a grid seen from above in which the plaster facade becomes the footprint of a demolished housing project that once was there. Sometimes the forms lose any relation to the building. They become hieroglyphics, they become the motherboard of a computer, it becomes an artefact.
Lillian Kreutzberger (b. 1984, the Netherlands) received a BFA at the Royal Academy of Art, the Hague (2007) and was a recent Fulbright scholar at Parsons (MFA). Her work was exhibited in the Gemeente Museum and the Royal Palace, the Netherlands, and the Dutch Pavilion at the World Expo Shanghai. She was nominated for the Royal Prize for Painting and won the Buning Brongers Painting Prize.