Beginning this week, and lasting for only sixteen days, visitors to the Italian Lake Iseo can "walk on water." The Floating Piers is the work of Christo and Jeanne-Claude, based on an idea first conceived in 1970. Built using 100,000 square meters of shimmering yellow fabric, carried by a modular floating dock system of 220,000 high-density polyethylene cubes, the installation—which sits just above water level—undulates with the movement of the lake.
According to Italian news source, Leggo, two people were "seriously injured" and the installation was "evacuated" on its opening day due to the quantity of visitors and inclement weather conditions.
Those who experience The Floating Piers will feel like they are walking on water – or perhaps the back of a whale.
In a short film exploring some of the National Participations at this year's Venice Biennale, Monocle Films take a considered look at how different countries have responded to the Biennale theme, Reporting From the Front in both explicit and more indirect ways. Visiting the Austrian Pavilion, the Nordic Pavilion, the Turkish Pavilion, the British Pavilion, the Irish Pavilion, the Australian Pavilion and the Romanian Pavilion, the film studies what discourses are being waged in the compressed geo-political world of the Giardini di Biennale.
Milan studio Piuarch unveiled their design for the new Latteria Sociale Valtellina cooperative dairy in the Italian Alps. The competition, commissioned by the Latteria, sought to renovate the old building and expand it to include a sales outlet, restaurant, conference room and small museum. Piuarch's winning design builds on the economic and historic context of the area and surrounding landscape.
As part of ArchDaily's coverage of the 2016 Venice Biennale, we are presenting a series of articles written by the curators of the exhibitions and installations on show.
Britain is suffering from a terrible housing crisis – one that is an incredibly predictable outcome of decades of neoliberal economic policy. The Chilean architect Alejandro Aravena has become well-known for building “half a house” – only completing core infrastructure in social housing, then encouraging residents to finish the other half with their own money over time. In effect, the first generation get a significantly cheaper home, but once the house has been doubled it could be sold at market rate. The discount, and profit, only applies to the original owners.
The city of Venice has been caught in a tug of war between progress and traditionalism for many years, and particularly since the construction of a railroad viaduct in 1846 linked the island city to the Italian mainland for the first time in its history. Over a century later, the Venetian government commissioned Louis Kahn to design a new Palazzo dei Congressi for the city; his proposal, while paying respect to the histories of both the Republic of Venice and a unified Italy, could not escape similar controversy.
"Scrutinizing the horizon and looking for a new perspective" is what Alejandro Aravena has encouraged in the 2016 Venice Biennale, Reporting From the Front. "[He] has staged one of the most socially charged Biennales," Gillian Dobias reports, by "exploring the different ways that design can add value." In this, the first of two film reportages from the Biennale, Monocle talks to Aravena about his hopes for stimulating the debate on improving quality of life in the built environment, and tour the Central Pavilion and the Arsenale to uncover what's on show.
There is an enormous intensity of information, knowledge and ideas on display at this year's Venice Architecture Biennale, Reporting From the Front. With all the Executive Editors and Editors-in-Chief of ArchDaily's platforms in English, Spanish and (Brazilian) Portuguese in Venice for the opening of the 2016 Venice Architecture Biennale—plus co-founder David Basulto and European Editor-at-Large James Taylor-Foster, who curated this year's Nordic Pavilion—we've pooled together twelve of our initial favourite exhibitions and must-see shows.
http://www.archdaily.com/788809/12-things-you-need-to-see-at-the-2016-venice-biennale-reporting-from-the-front-selection-oneAD Editorial Team
As a part of BAITASI Remade, Beijing Huarong Jinying Investment & Development Co., Ltd. and World Architecture Magazine will hold an international design competition to improve the BAITASI neighbourhood in Beijing.
With the opening of the 2016 Venice Architecture Biennale almost upon us, architects, curators and artists have already started to migrate to the city to unlock pavilion doors and sweep out the past six months of hibernation from the previous biennale season. This year, however, one pavilion has confirmed that it will remain closed – the Canadian Pavilion will not be opening its doors. Closure of the space has been attributed to a much-needed renovation, which has been mentioned by those who have exhibited in the space, specifically Shary Boyle at the 2012 Venice Art Biennale. Nevertheless, there are whispers that the political nature of this year’s entry may have been another reason to keep the pavilion shut. That said, Canada will be present by staking claim in the Giardini with a provocative installation entitled Extraction.
It’s LIQUID Group, in collaboration with International ArtExpo, is selecting all interesting video art and performance art works, architectural and design’s projects to include in the next 2016 festival. During the event an amazing programme of video art screenings, live performances, architectural, design projects and installation/sculpture will be presented. Artists, filmmakers, video makers, associate groups and studios, performers, architects and designers are invited to submit their works of video art, performance art, installation/sculpture and their architectural and design projects.
why? Today we are in the midst of a paradox: although fast, web-based media seems to threaten the very existence of slow architecture media, the amount of p.o.p. magazines has increased in the last few years. Furthermore, and discarding arguments about fast consumption of information, some editorial projects aimed at a slow and attentive audience have managed to succeed in the middle of a huge flow of information. It seems that once the novelty of fast media has decreased, p.o.p. architecture magazines have regained the space they once had. However, are they the same kind of magazines we once knew? How can we explain the fact that an old format may stay alive against all odds? Is it stubbornness, nostalgia, or is it something else? The reasons behind this paradox are what we would like to discuss and explore in this session.
An installation of nearly 100 books in the James Stirling-designed Book Pavilion at the Venice Biennale serves as a collection of documents that asks us to consider how climate intersects with architectural ideas.
The organising committee behind the Pavilion of China at the 2016 Venice Biennale (the China International Exhibition Agency) have revealed that the exhibition will be entitled Back to the Ignored Front, themed around "things and designs that embody traditions of the past and have a lasting presence." Based on the premise that Chinese architecture has been pioneering in the nation’s modernization for the last three decades the show, which will be on display in the Arsenale, intends to tackle how these "developments generally focus only on the new ‘futuristic’ frontier." 'Spectacular’ buildings and cities are, in their words, "erected one after another, seldom taking a glance at the things passed by – ancient traditions and daily lives."