#baumagazine

Architectural Symbolism: The Lipstick Metaphor in Bau Magazine

The Lipstick Building, also known as 885 Third Avenue, stands as a striking testament to the convergence of architecture and symbolism. Designed by John Burgee and Philip Johnson, it embodies the bold assertion made by architect Hans Hollein in the 1968 issue of Bau magazine: "Everything is Architecture." Inspired by the lipstick's form, this building's elliptical massing and vibrant red hue challenge conventional architectural norms, inviting interpretation beyond mere functionality.

Similarly, Claes Oldenburg's sculpture, Lipstick (Ascending) on Caterpillar Tracks, installed at Yale University in 1969, serves as a poignant commentary on war and gender. Depicting a bullet of lipstick atop tank treads, it symbolizes the intersection of violence and femininity, challenging traditional notions of power and authority.

Hollein's choice to feature lipstick in an architecture magazine reflects a broader cultural fascination with symbols of femininity and sexuality. The lipstick, traditionally associated with notions of beauty and allure, becomes a metaphor for architectural expression, blurring the boundaries between art and built environment.

Moreover, the imagery of lipstick penetrates deeply into discussions of gender and sexuality within architecture. It prompts critical reflection on the representation of women in the built environment and the role of gender in architectural discourse. By juxtaposing the lipstick's phallic connotations with its softer, malleable form, Hollein's imagery subverts traditional gender roles, challenging viewers to reconsider their perceptions of space and identity.

Furthermore, the global influence of this metaphor extends beyond architecture, permeating popular culture and societal norms. The lipstick, as a symbol of femininity and empowerment, transcends geographical boundaries, shaping perceptions of beauty and self-expression worldwide.

Whimsical Metaphors: Hans Hollein's Architectural Collages

The Vienna-based architectural magazine Bau: Magazine for Architecture and Urban Planning, during its transformative period between 1965 and 1970, represented a radical departure from conventional architectural discourse. Under the editorial leadership of influential figures like Hans Hollein, Walter Pichler, Günther Feuerstein, and Oswald Oberhuber, Bau became a platform for avant-garde ideas that transcended the boundaries of traditional architecture, delving into the realms of art and politics.

In the groundbreaking 1968 issue of Bau, Hans Hollein provocatively declared "Everything is Architecture," challenging the rigid confines of pre-war modernist architecture. This bold assertion sparked a paradigm shift, urging architects to reconsider their role in society and embrace a more holistic approach to design.

The magazine itself was a departure from the norm, resembling a glossy fashion publication rather than a conventional architectural journal. Its creative use of advertising and vibrant imagery, drawn from a diverse range of sources including art, urbanism, and popular culture, set it apart from its contemporaries.

One of Hollein's most iconic collages, depicting a traditional city juxtaposed with a towering high-rise made of Swiss cheese, epitomized this innovative spirit. In a contemporary reinterpretation, the Swiss cheese high-rise transforms into a square bar of Ritter Sport chocolate, with its corner playfully deconstructed and scattered throughout the city at a smaller scale.

The metaphorical link between modern architecture and Swiss holey cheese, and its whimsical replacement with chocolate, serves as a humorous commentary on our cultural predicament. It highlights the absurdity of rigid architectural conventions and celebrates the potential for creativity and playfulness in the built environment.

Today, as we navigate a world dominated by technological giants like Uber and Amazon, Hollein's assertion that "Everything is Architecture" takes on new meaning. Contemporary art and architecture have the power to comment on and critique our evolving cultural landscape, challenging us to rethink our assumptions and embrace innovation and diversity in all its forms.