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</ref> She studied at Art School in London and in Groningen. Her work is an intersection of the professions of Architecture, Interior Architecture, Textile Design and Urban Architecture.
</ref> She studied at Art School in London and in Groningen. Her work is an intersection of the professions of Architecture, Interior Architecture, Textile Design and Urban Architecture.
==Career==
==Career==
===Stedelijk Museum===


In 1978, Blaisse started working at the museum of modern art in Amsterdam, the [[Stedelijk Museum]]. Until 1987, she worked as assistant conservator and as curator at the museum.
'''Curriculum Vitae'''
===Freelance===


After that, she started a career as freelancer. In that period she worked on a landscape project at Museumpark Rotterdam, together with [[Yves Brunier]]. <ref> Rijksbureau van de kunsten. </ref> Also, she worked on the interior for the [[Nederlands Dans Theater]] in The Hague and designed exhibitions for [[OMA]]{{dn|date=November 2014}} at Basel and Rotterdam. <ref>Blaisse 2006, p.495. </ref>
Petra Blaisse (London, 1955) started her career in 1978 at the Stedelijk Museum in Amsterdam, in the Department of Applied Arts, where she worked until 1986.
⚫
===Inside Outside===


In 1991, Blaisse founded the Amsterdam based studio [[Inside Outside (Petra Blaisse)|Inside Outside]]. <ref>Blaisse 2006, p.498.</ref> With a team of about ten members, the office constitutes part of large-scale projects as, for example, Kunsthal Rotterdam (1994), Prada Epicenter New York (2001), H-Project Seoul (2004), [[Casa da musica]] Porto (2005), [[Mercedes Benz Museum]] Stuttgart (2006), Prison Gardens Belgium (2010) and the Dutch Pavilion of the [[Architecture Biennale Venice]] (2012). For a number of projects Blaisse collaborated with architects and designers, including [[Rem Koolhaas]], [[Irma Boom]] and [[SANAA]]. <ref>Blaisse 2006, p.491-95.</ref><ref>Blaisse 2014.</ref>
1986 onwards, she worked as freelance exhibition designer and won distinction for her installations of architectural works and design. Best described as ‘physical experiences’ (other than works on display in the classic sense), the exhibits were staged as walks through a series of changing environments with varying light and sound effects, collaged walls, billowing curtains and forests transparent columns. Gradually her use of soft materials, colour, light and sound as manipulative means made that her interest turned to architecture in general and the use of textiles and curtains in particular.


==Field of work==
In 1991, she founded Inside Outside. Working both inside and outside, using curtains and plantings as her major tools, Blaisse grew more and more fascinated by the element of time, the effects of movement and change. She worked alone or in collaboration with other designers and architects in a multitude of creative areas, including interior, landscape and exhibition design.
The work of Petra Blaisse covers a very broad range of activities within the fields of architecture, interior design, textile design, exhibition design and landscape architecture. In her studio Inside Outside the team includes professionals such as a fashion designer, a landscape architect, a cultural anthropolog, an architect and a theatre historian. <ref>Vanderstraeten 2014, p.48.</ref>Giving an idea of her wide ranged projects, a recent design is for example a scenography for a performance of Calliope Tsoupaki.<ref>Blaisse 2014.</ref>


===Inside and Outside===
In the winter of 1998 Blaisse found a studio and started to invite specialist of various disciplines to work with her. Currently the team consists of about ten people of different professions and nationalities. The Inside Outside team has commissions all over the world. Their projects, often commissioned or initiated by architects, vary in scale and complexity from small scale interventions - such as curtains or carpets, roof or patio gardens for private houses - to large scale work – such as interior advisory and specific designs for cultural or commercial buildings, public parks and entire landscape master plans.
Related to the name of Blaisses’ studio ‘Inside Outside’, her projects are covering the interior and the exterior space. Starting her career with working in a museum she got interested in designing exhibitions. In the years of working freelance she got more involved in the exhibition space and his relationship with the surrounding space and the exterior. <ref>Stedelijk Museum 2012.</ref> It is characteristic for Blaisses’ work that the interior and the exterior space join each other within a fluent transition. <ref>Van der Straten 2014, p.49.</ref> This explaines her wide ranged projects between private interior space and urban exterior space. Blaisse considers each project as a part of a more complex entirety and she aimed to include every part into the designing process.

Blaisse has lectured and taught extensively in Europe, Asia and the United States. Her work has been included in numerous design and architecture exhibits internationally.
⚫
===Textiles and curtains===
Just recently Inside Outside installed the Dutch contribution to the 13th Architecture Biennale in Venice.
In 2000 a solo exhibition on Inside Outside’s work was organized at the Storefront for Art and Architecture in Soho, New York, for which Dutch graphic designer Irma Boom created Blaisse’s first publication, the Movements, 25% catalogue. In that same year Inside Outside won the 1st prize for the Downsview Park design in collaboration with Bruce Mau, Rem Koolhaas and Olson Warland Architects.
In 2004, Inside Outside won 1st Prize for the Giardini di Porta Nuova park design named “Biblioteca degli Alberi’ in Milan,
for which the Definitive Design has just been officially approved and tendered. Construction is due in 2015.

The first monograph on the work of Petra Blaisse / Inside Outside has been published February 2007 by NAi Publishers, Rotterdam and was reprinted by The Monacelli Press, a division of Random House Inc. New York, in October 2009.

In 2012 the studio installed a 200m2 woolen tapestry in the Stedelijk Museum Amsterdam’s entrance hall and restaurant. In that same year the booklet ‘Movements, 25%’ was re-printed and officially published for the first time by Architectura & Natura Publishers, Amsterdam – combined with a DVD with films by Frans Parthesius of a selection of IO works and wrapped in a transparent fleece by the hand of Irma Boom.

Currently Inside Outside is working on numerous interior and landscape projects in Europe, Asia and the United States. Please have a look at our website for more information: www.insideoutside.nl

⚫
==Inside Outside==

'''Inside Outside general work method'''

Inside Outside is a design firm that addresses both the interior and exterior space, working on commissions of small to very large scale, within the Netherlands and internationally. Our work continuously anticipates various aspects of a project - from meaning to use, cultural or social expectation and the economic and political context in which a project evolves. We begin by researching, develop a Concept design and a Preliminary design, work through Design Development, advise and control esthetics during Tender and Construction Phase.
Inside Outside has a long history of professional collaboration with International architects and engineers, and this act of working together has mutually enriched our joint projects globally. In its broa-dest sense; our research, designs and Landscape Masterplans involve professionals that operate with a similar mentality and approach regardless of discipline, location or cultural history. During a landscape commission we often invite specialists into our team for a better understanding of local conditions, traditions and technical possibilities, enriching the outcome by intense interdisciplinary exchange and perpetual learning.

Design vision - Landscape as strategic tool
The scale of urban design offers us the opportunity to work with the landscape as a means to bridge boundaries; to open or connect areas and urban structures; and to communicate the political, social, educational and economic goals of a city.
Public spaces provide freedom for people to move, play, interact, enjoy, work out and relax - but, more than offering these recreational services, it must also create income and employment, solve infrastructural, environmental, social and psychological imperatives.

Trajectories
IO is interested in the psychology of the public on a human level – How is one feeling and experiencing the space, how do people behave, feel, walk, see…. We introduce movement through texture, light, sound, color and the orchestration of trajectories; we manipulate floors, walls, ceilings and furniture in new ways, and we create new surroundings with inserted objects, layers or plantings that trigger movement or move through space and time themselves. We bring invisible or unused spaces to attention - make them part of the story, part of the trajectory…
Interior Exterior
Inside Outside is committed to exploring the connection between interior and exterior space; and the experience of space itself. Both inside and outside we create spaces that are flexible, adaptable and at times temporary. This provisional quality is what the public responds to and what we try to defend. Therefore, the end result tends to be soft or suggest softness; an implementation of objects or finishes that transmit or filter light, create shade or introduce darkness; that influence the acoustics and the viewers’ perception of a space; that respond to every change of context, private or public; and that take environmental issues into consideration wherever possible.
In the end, our projects link, widen, limit, open up, divide or multiply space, influencing its atmosphere with a multitude of physical effects.
The aesthetic and technical quality of the designs (curtains, floor, ceilings, walls, gardens, parks, landscapes) are closely related to the architectural context and atmosphere; melting into, complementing or challenging the architecture or the architectural environment. Taking care, at the same time, that they service the users in the best possible way.

Inside Outside takes its motivation from the combination of needs that are inherent to exterior and interior designs. The soft, absorbent requests of inside spaces are traditionally in direct opposition to the hard, durable requirements of public space. This dichotomy becomes the inspiration which leads us to begin a project, at any scale

⚫
==Textiles and curtains==


Blaisse works lots of times with a broad range of textiles; designing curtains, carpets, wallcovering and other flexible objects. This objects appropriate to the fluent line between interior and exterior, creating an surface with an open fassade. For some projects she used transparent textiles like in ‘Invisible Presence’, a dividing material for the Glass Pavilion at Toledo Museum of Art. <ref>Blaisse 2014, pp. 406-15.</ref> At the one hand, the material creates secureness; at the other hand, it let a few light and sound cross the line between the inside and the outside. Also most of Blaisses’ installations are mobile in that way they could be opened and closed if wanted. <ref>Blaisse 2014.</ref>
Blaisse works lots of times with a broad range of textiles; designing curtains, carpets, wallcovering and other flexible objects. This objects appropriate to the fluent line between interior and exterior, creating an surface with an open fassade. For some projects she used transparent textiles like in ‘Invisible Presence’, a dividing material for the Glass Pavilion at Toledo Museum of Art. <ref>Blaisse 2014, pp. 406-15.</ref> At the one hand, the material creates secureness; at the other hand, it let a few light and sound cross the line between the inside and the outside. Also most of Blaisses’ installations are mobile in that way they could be opened and closed if wanted. <ref>Blaisse 2014.</ref>


==Garden and Landscape==
===Garden and landscape===

'''Landscape as strategic tool'''
The scale of urban design offers us the opportunity to work with the landscape as a means to bridge boundaries; to open or connect areas and urban structures; and to communicate the political, social, educational and economic goals of a city.
Public spaces provide freedom for people to move, play, interact, enjoy, work out and relax - but, more than offering these recreational services, it must also create income and employment, solve infrastructural, environmental, social and psychological imperatives.

'''Trajectories'''
IO is interested in the psychology of the public on a human level – How is one feeling and experiencing the space, how do people behave, feel, walk, see…. We introduce movement through texture, light, sound, color and the orchestration of trajectories; we manipulate floors, walls, ceilings and furniture in new ways, and we create new surroundings with inserted objects, layers or plantings that trigger movement or move through space and time themselves. We bring invisible or unused spaces to attention - make them part of the story, part of the trajectory…

'''Interior Exterior'''
Inside Outside is committed to exploring the connection between interior and exterior space; and the experience of space itself. Both inside and outside we create spaces that are flexible, adaptable and at times temporary. This provisional quality is what the public responds to and what we try to defend. Therefore, the end result tends to be soft or suggest softness; an implementation of objects or finishes that transmit or filter light, create shade or introduce darkness; that influence the acoustics and the viewers’ perception of a space; that respond to every change of context, private or public; and that take environmental issues into consideration wherever possible.
In the end, our projects link, widen, limit, open up, divide or multiply space, influencing its atmosphere with a multitude of physical effects.

'''Topography'''
The understanding of terrain is critical for a number of reasons. In terms of environmental quality and hydrology, understanding the topography of an area offers insight into drainage characteristics, wind and water movement, and subsequently can impact climate and water quality. By designing specific moments of topography, sheltered – or cooled - environments can be created which add character while cooling, warming and irrigating adjacent green spaces without relying on artificial tools or forms of irrigation.

'''Vegetation and phasing'''
The landscape design should be flexible enough to react to the changing site conditions which will be determined by the phasing strategies of the architects and developers. Planting concepts will consider these phases, as well as the diversity of soils, microclimates, level of exposures and the given above or below ground (structural or natural) limitations. As a result, the suggested gardens and species want to adapt to the shifting situations of the first years, until they can settle and develop further.

'''Recycling of building waste'''
To succeed making a sustainable landscape structure, the integration of native/suitable vegetation, recycling strategies, re-use of water and introduction of stimulant economy are crucial topics. A positive result of implementing a sustainable approach to the Masterplan is the low cost and self-supporting system in a long term perspective.

'''Water recycling'''
As water is becoming one of the most urgent issues globally, the combination of new technical solutions for water management with aesthetical design concerns has become an active field of exploration.
Strategies for rainwater harvesting, capturing and cleaning the building’s runoff water and re-cycling grey water – and possibly black water – are topics that Inside Outside keeps addressing. The storage and re-use of waste water as well as rain water for local agriculture, irrigation of public spaces in dry season and domestic usage is a goal to be achieved in the overall proposal for the site green structure.
The integration of water storage elements and water treatment plants into the public space can be made into an interesting addition to the overall experience of a place: a visual and/or acoustic illustration of how to copy natural filtering systems with modern technology; or with hand-crafted structures. The same can be said of the further use of the filtered & cleaned water: it can be applied for the cleaning of public spaces and for domestic use like the flushing of toilets; but it will also be used for the irrigation of the landscape, and here the sprinkler systems can add to the garden’s aesthetic, acoustic and climatic atmosphere. The introduction of green roofs and terraces enhances the absorption of water in the urban setting, introducing a natural cooling device and a welcome shelter for birds and insects.
In this manner of thinking we do not only set a goal for the site’s green spaces in the overall proposal; but we turn necessities into attractive ingredients that will strengthen the overall Master Plan’s intentions.


In her early freelancing period Blaisse already designed landscape project as Museumpark Rotterdam. For the urban landscape complex Giardini di Porta Nuova, Milan, Italy, she was awarded in 2004. In this large-scaled project, the use of paths is an essential tool for structuring the urban landscape. <ref>Blaisse 2006, p. 132 and 250-51.</ref> In 1999, Blaisse designed the exterior space for a prison. Within the strict regulations, she makes use of path with organic forms and reflections in the windows to create the idea of more space and of endlessness. <ref>Blaisse 2006, pp. 250-79.</ref>
'''Biodiversity'''
With the landscape design we aspire to create a habitat for certain local species to settle, even in very dense urban areas. The use of native vegetation will allow for an increasing floral richness throughout time and attract native fauna. An “urban” ecological niche can be created.
Complex living systems and communities coexist increasing the resilience of the natural elements, while facing current ecological changes. Stimulating biodiversity in this way can make any site an exemplary project for a country.


===Technology and history===
===Technology and history===

Revision as of 19:30, 9 June 2015

Petra Blaisse was born in 1955 in London, UK. [1] She studied at Art School in London and in Groningen. Her work is an intersection of the professions of Architecture, Interior Architecture, Textile Design and Urban Architecture.

Career

Stedelijk Museum

In 1978, Blaisse started working at the museum of modern art in Amsterdam, the Stedelijk Museum. Until 1987, she worked as assistant conservator and as curator at the museum.

Freelance

After that, she started a career as freelancer. In that period she worked on a landscape project at Museumpark Rotterdam, together with Yves Brunier. [2] Also, she worked on the interior for the Nederlands Dans Theater in The Hague and designed exhibitions for OMA[disambiguation needed] at Basel and Rotterdam. [3]

Inside Outside

In 1991, Blaisse founded the Amsterdam based studio Inside Outside. [4] With a team of about ten members, the office constitutes part of large-scale projects as, for example, Kunsthal Rotterdam (1994), Prada Epicenter New York (2001), H-Project Seoul (2004), Casa da musica Porto (2005), Mercedes Benz Museum Stuttgart (2006), Prison Gardens Belgium (2010) and the Dutch Pavilion of the Architecture Biennale Venice (2012). For a number of projects Blaisse collaborated with architects and designers, including Rem Koolhaas, Irma Boom and SANAA. [5][6]

Field of work

The work of Petra Blaisse covers a very broad range of activities within the fields of architecture, interior design, textile design, exhibition design and landscape architecture. In her studio Inside Outside the team includes professionals such as a fashion designer, a landscape architect, a cultural anthropolog, an architect and a theatre historian. [7]Giving an idea of her wide ranged projects, a recent design is for example a scenography for a performance of Calliope Tsoupaki.[8]

Inside and Outside

Related to the name of Blaisses’ studio ‘Inside Outside’, her projects are covering the interior and the exterior space. Starting her career with working in a museum she got interested in designing exhibitions. In the years of working freelance she got more involved in the exhibition space and his relationship with the surrounding space and the exterior. [9] It is characteristic for Blaisses’ work that the interior and the exterior space join each other within a fluent transition. [10] This explaines her wide ranged projects between private interior space and urban exterior space. Blaisse considers each project as a part of a more complex entirety and she aimed to include every part into the designing process.

Textiles and curtains

Blaisse works lots of times with a broad range of textiles; designing curtains, carpets, wallcovering and other flexible objects. This objects appropriate to the fluent line between interior and exterior, creating an surface with an open fassade. For some projects she used transparent textiles like in ‘Invisible Presence’, a dividing material for the Glass Pavilion at Toledo Museum of Art. [11] At the one hand, the material creates secureness; at the other hand, it let a few light and sound cross the line between the inside and the outside. Also most of Blaisses’ installations are mobile in that way they could be opened and closed if wanted. [12]

Garden and landscape

In her early freelancing period Blaisse already designed landscape project as Museumpark Rotterdam. For the urban landscape complex Giardini di Porta Nuova, Milan, Italy, she was awarded in 2004. In this large-scaled project, the use of paths is an essential tool for structuring the urban landscape. [13] In 1999, Blaisse designed the exterior space for a prison. Within the strict regulations, she makes use of path with organic forms and reflections in the windows to create the idea of more space and of endlessness. [14]

Technology and history

Blaisses’ projects are custom made solutions on a technical high level that Blaisse developed in collaboration with technical constructors and engineers. [15] As well, her work often refers to the history of the culture, the material and the place. A recent project is the wall covering for the Stedelijk Museum in Amsterdam as a result of intensive historical research. [16] Based on a 17century Gobelin this carpet is manufactured in a highly technologically manner of weaving, developed in colloberation with extern experts. The pattern itself refers to plants, which had grown at the same place 300 years ago. By developing weaving, stitching and sewing, Blaisse also brings new life to historic techniques and materials and makes them very useful as part of contemporary architecture. [17]

Projects

Petra Blaisse designed a wide number of projects. The projects below she highlights by herself. [18] Some highlights of interiors and exhibition projects are:

Finishes and curtains for the Casa da Música in Porto, Portugal (1999-2005)

Carpets and interior finishes for the Seattle Central Library, U.S.A. (2000-2004)

Restoration project for the Hackney Empire Theatre in London, UK (2000-2005)

Curtains for the Haus der kunst in Munich, Germany (2004-2007)

Auditorium and AAP Forum curtains, Cornell University Ithaca, New York (2007-2011)

Two curtains for the Chazen Museum of Art in Wisconsin, U.S.A. (2008-2011)

15 curtains for Dutch army officers’ apartments of the Kromhout Kazerne in Utrecht,NL (2009-2011)

Acoustic and view filtering curtain for the lobby of Rothschild Bank in London, UK (2009-2011)

Exhibition “Snapshot”, designed for the Van Gogh Museum in Amsterdam,NL(2010-2011)

Revisit of 8 curtains and 2 carpets in Villa Floirac in Bordeaux, France (2011-2012)

Tapestry Damast 200m2, developed in collaboration with carpet manufacturer Desso Stedelijk Museum in Amsterdam (2011-2012)

Biennale in Venice (2012) with our installation “RE-SET, new wings for architecture “. (2011-2012)

Some highlights of Landscape projects are:

Gardens for the Seattle Central Library (2000-2004)

Landscape for Villa Floirac in Bordeaux, France (2000-2005) ‘GiardinidiPortaNuova’landscapecompetitionforwhichInsideOutsideanda multidisciplinary team won the first prize with their entry ‘Biblioteca degli Alberi’ in 2004. The new urban park for the center of Milan, will begin construction in 2013. (2004-ongoing)

Landscape master plan for the transformation of a former waterfront in Riga, Lativia (2006)

Landscape design for the Taipei Performing Arts Center (Taiwan) is expected to start this year (2010-ongoing)

Landscape master plan competition (together with OMA) for the West Kowloon Cultural District in Hong Kong for which we were runners up (2011)

Landscape for the Roeterseiland Campus of the University of Amsterdam,NL

Design of gardens for office headquarters in Beijing, China (2011-ongoing)

Landscape master Plan for Lexington city in Kentucky (2011-2013)

Landscape design for the Walker Art Center in collaboration with AiWeiWei, Minneapolis, USA (2011-ongoing)

References

  1. ^ Rijksbureau van de kunsten.
  2. ^ Rijksbureau van de kunsten.
  3. ^ Blaisse 2006, p.495.
  4. ^ Blaisse 2006, p.498.
  5. ^ Blaisse 2006, p.491-95.
  6. ^ Blaisse 2014.
  7. ^ Vanderstraeten 2014, p.48.
  8. ^ Blaisse 2014.
  9. ^ Stedelijk Museum 2012.
  10. ^ Van der Straten 2014, p.49.
  11. ^ Blaisse 2014, pp. 406-15.
  12. ^ Blaisse 2014.
  13. ^ Blaisse 2006, p. 132 and 250-51.
  14. ^ Blaisse 2006, pp. 250-79.
  15. ^ Blaisse 2006, p.492-91..
  16. ^ Stedelijk Museum 2012.
  17. ^ Van den Heuvel 1997, p.3 and 15.
  18. ^ Blaisse 2014.

Literature

Blaisse, Petra, at: InsideOutside, 2014 <http://www.insideoutside.nl> [October 14, 2014].

Blaisse, Petra, Shifting Position, 2011, Lecture at Harvard University <http://www.gsd.harvard.edu/#/media/petra-blaisse-shifting-position.html> [October 12, 2014].

Blaisse, Petra, Inside Outside, Rotterdam (NAI) 2006.

Rijksbureau van de kunsten, 2002, <https://www.rkd.nl/explore/artists/215505> [October 14, 2014].

Stedelijk Museum, Tapestry InsideOutside, 2012,<http://www.captainvideo.nl/musea-experience/arttube/> [October 12, 2014].

Van den Heuvel, Dirk, Inside-outside, in: OASE (1997) 47, pp. 2-19.

Vanderstraeten, Margot, Ruimte wonder, in: De Morgen (Belgium) April 2014, pp. 48-56.


https://rkd.nl/explore/artists/215505

http://www.margotvanderstraeten.com/margot-vanderstraeten-interviewt-petra-blaisse/

http://www.captainvideo.nl/musea-experience/arttube/

http://www.gsd.harvard.edu/#/media/petra-blaisse-shifting-position.html


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