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ArchDaily at the Venice Biennale 2012

Copyright: La Biennale di Venezia
Copyright: La Biennale di Venezia
CANCHA - Chilean Soilscapes, the Chile exhibit at the Arsenale. Co curated by Pilar Pinchart and Bernardo Valdes
CANCHA - Chilean Soilscapes, the Chile exhibit at the Arsenale. Co curated by Pilar Pinchart and Bernardo Valdes

During these days we’ve had the opportunity to visit and photograph several of the national pavilions and individual exhibits, and interview their curators. This coverage will start to be featured at ArchDaily in our dedicated page starting today. You can also follow us in real time in Facebook, Twitter and Instagram (@archdaily), where we have already uploaded part of our coverage. Please forward any comments, requests for meetings or  information related to the Biennale to editor@archdaily.com or using our contact form. More photos after the break.

Tube Pavilion / Megabudka

Courtesy of Megabudka
Courtesy of Megabudka

Designed by Megabudka for Sretenka Design Week in Moscow, the key aim of the Tube Pavilion is to demonstrate how a space can be completely transformed with simple means. Created using one hundred lighting, or mirror tubes, at such a density of supports, the roof structure can be reduced to a minimum. If a mirror surface is used in combination with numerous tubes and a thin roof structure, a very interesting effect is created. More images and architects’ description after the break.

Diane Middlebrook Memorial Building / CCS Architecture

Courtesy of CCS Architecture
Courtesy of CCS Architecture

Architects: CCS Architecture Location: California, USA Project Area: 280 sqm Photographs: Courtesy of CCS Architecture

Courtesy of CCS Architecture
Courtesy of CCS Architecture
Courtesy of CCS Architecture
Courtesy of CCS Architecture
Courtesy of CCS Architecture
Courtesy of CCS Architecture
Courtesy of CCS Architecture
Courtesy of CCS Architecture

Facebook + Frank Gehry

Frank Gehry/Gehry Partners via Bloomberg
Frank Gehry/Gehry Partners via Bloomberg

As we shared earlier, the world’s 28-year old creative technological master will team with 83-year-old starachitect for Facebook’s newest addition to their Menlo Park campus.   The two, although worlds apart in terms of forte, find common ground in the never ending creative process, and the desire to continually push boundaries of the expected and the ordinary.  As we noted in our previous piece, the building will offer a equalized sense of status – no private cubicles or showy corner offices – and encourage a collaborative work environment, admix a warm splash of colors, textures and natural lighting. Gone from the building will be Gehry’s flashy ways of manipulating sheets of metal, and the resulting superfluous sense of affluence often emitted from these grand structures.  Rather, Gehry’s work for Facebook will offer an ”equalizier”, a massive one story warehouse measuring 420,000 sqf, to house the company’s future 2,800 engineers with the underlying intention of fostering a comfortable environment to allow Facebook to keep getting better. More about the newest headquarters after the break. 

House V / I + GC [arquitectura]

© Walter Salcedo
© Walter Salcedo

This is a fluent volume that breaks away from the ground towards the front, moving down as it turns until it leans fully backwards. This work projects a sense of movement, of a compact mass that has been stretched until it reached its present shape. This is highlighted by the longitudinal windows and the split levels on the top of the facades.

Architects: I + GC Location: Funes, Argentina Design Team: Matías Blas Imbern, Agustina González Cid Project Year: 2011 Photographs: Walter Salcedo

© Walter Salcedo
© Walter Salcedo
© Walter Salcedo
© Walter Salcedo
© Walter Salcedo
© Walter Salcedo
© Walter Salcedo
© Walter Salcedo

Campus 54 / Pelletier de Fontenay

Courtesy of Pelletier de Fontenay
Courtesy of Pelletier de Fontenay

The Campus 54 office building, designed by Pelletier de Fontenay, aims to create a setting where spaces for leisure, stimulation, relaxation, health, nature and ad hoc encounters would seamlessly blend into the work spaces. At the heart of this project is the notion of the campus. Planned as a multi-tenant office complex for over 4000 employees, the first challenge was to keep an intimate, personal feeling within such a large building. The strategy was to use the scale of the project as an opportunity to create the complexity and variety desired. More images and architects’ description after the break.

Video: Time Lapse of Ron Arad's 720 Degrees Installation

On view in the Israel Museum’s Billy Rose Art Garden through September 5, the 720° installation, designed by internationally renowned Israeli artist, architect, and designer Ron Arad, is of monumental proportions. Composed of 5,600 silicon rods suspended from a height of eight meters to form a perfect circle 25 meters in diameter, the silicon cords serve as an empty digital canvas on which works by prominent video artists from Israel and around the world – among them Mat Collishaw, Ori Gersht, Christian Marclay, and David Shrigley – are being screened each evening. Above is a time lapse video of the installation courtesy of Ram Matz, Jerusalem Season of Culture. For more information, please visit here.

The Drexel University Daskalakis Athletic Center / Sasaki Associates

  • Architects: Sasaki Associates
  • Location: Philadelphia, PA
  • Design Team: David Dymecki, Pablo Savid-Buteler, Nancy Freedman, Gerry Gutierrez, Sal Canciello, Dan Dwyer, Mette Aamodt, Elke Berger, Mark Delaney
  • Gross Square Feet: 85,900 sqm
  • Client: Drexel University
  • Area: 0.0 sqm
  • Project Year: 2010
  • Photographs: Halkin Photography, Robert Benson

© Halkin Photography © Robert Benson © Halkin Photography © Halkin Photography

In The Middle Of The Village / STEINMETZDEMEYER Architectes Urbanistes

© C. Weber © C. Weber © C. Weber © C. Weber

Wuxi Grand Theatre / PES-Architects

© Jussi Tiainen © Jussi Tiainen © Jussi Tiainen © Jussi Tiainen

ASH House / I.R.A.

  • Architects: International Royal Architecture
  • Location: Hokkaido, Japan
  • Design Team: Akinori Kasegai , Daisuke Tsunakawa
  • Collaborators: Hideyuki Hagiuda
  • Project Year: 2010
  • Photographs: Courtesy of I.R.A.

Courtesy of I.R.A. Courtesy of I.R.A. Courtesy of I.R.A. Courtesy of I.R.A.

CB71 / La Proyectería

  • Architects: La Proyectería
  • Location: México City, Mexico
  • Project Leader: Alejandra Elizarrarás, Marisol Quevedo
  • Project Team: Miguel Guzmán
  • Engineers: Manuel Hernández Rivera
  • Construction Team: La Proyectería
  • Area: 1500.0 sqm
  • Project Year: 2012
  • Photographs: Iván de la Cruz

© Iván de la Cruz © Iván de la Cruz © Iván de la Cruz © Iván de la Cruz

Hamburg-Harburg Technical University Extension / gmp Architekten

  • Architects: gmp Architekten
  • Location: Hamburg, Germany
  • Architect In Charge: Jan Stolte, Tilmann Jarmer
  • Design Team: Martina Klostermann, Inga Kläschen, Michèle Watenphul, Bastian Scholz, Jared Steinmann, Mark Botko, Alisa von Gerkan, Knut Maass
  • Gross Floor Area: 10,169
  • Area: 0.0 sqm
  • Project Year: 2012
  • Photographs: Heiner Leiska

© Heiner Leiska © Heiner Leiska © Heiner Leiska © Heiner Leiska

Robinson-School Linz / Schneider & Lengauer

  • Architects: Schneider & Lengauer
  • Location: primary school 49, Kaltenhauserstraße, 4040 Linz
  • Building Site Area: 5,269 sqm
  • Gross Floor Area: 3,472 sqm
  • Volume: 12,994 sqm
  • Client: Immobilien Linz GmbH & Co KEG
  • Area: 0.0 sqm
  • Project Year: 2010
  • Photographs: Kurt Hoerbst

© Kurt Hoerbst © Kurt Hoerbst © Kurt Hoerbst © Kurt Hoerbst

Tokyo Fashion Museum Proposal / MUS Architects

Designed by MUS Architects, their proposal for the Tokyo Fashion Museum was recently named the winner of the World Architecture Awards 20+10+X. The whole structure of the building, from the entry yard to the top of the tower has been wound with a homogenic lether relating to the basic fabric of every fashion designer and constituting the base of every collection. Fibers of the fashion museum are lead in two rows – one layer of fiber winds around the building clockwise, the other one counter-closkwise thus resulting in a kind of a plaiting. Due to the small dimensions of the parcel being located in the intensely urbanized city tissue of Tokyo, the wide program of the fashion museum has been set up vertically on 22 levels (19 of which above the ground level). The result is a functional ‘pile’ of layers – ‘program squares’. More images and architects’ description after the break.

House KE12 / SoHo Architektur

© Rainer Retzlaff
© Rainer Retzlaff

Architects: SoHo Architektur Location: Memmingen, Germany Design Team: Alexander Nägele Project Year: 2010 Photographs: Rainer Retzlaff

© Rainer Retzlaff
© Rainer Retzlaff
© Rainer Retzlaff
© Rainer Retzlaff
© Rainer Retzlaff
© Rainer Retzlaff
© Rainer Retzlaff
© Rainer Retzlaff

Venice Biennale 2012: FAT presents ‘The Museum of Copying’

Invited by David Chipperfield, director of the 2012 Venice Architecture Biennale, FAT has contributed an exhibition to the Arsenale titled The Museum of Copying. Responding to the curator’s theme of “Common Ground”, The Museum of Copying explores the idea of the copy in architecture as an important, positive and often surreal phenomenon. The exhibit will be centered around FAT’s installation, “The Villa Rotunda Redux” – a five meter high facsimile of Palladio’s Villa Rotunda that explores the Villa as both a subject and object of architectural copying. Sam Jacob, a director of FAT said: “There is a history of copies of the Villa Rotunda that have been important staging posts for architectural culture. We hope to extend this history and explore how copying something is, strangely, a way of inventing new forms of architecture. It also seems sweet to return a bastardised form of the Villa to its original home in the Venito.” Alongside this, the London-based practice will also present San Rocco’s “The Book of Copies”, an investigative look into four architectural doppelgängers (remember this fake Austrian village in China?) , and Ines Weizman’s “Repeat Yourself”. Continue after the break to learn more.

Venice Biennale 2012: Estonian exhibition looks into the fate of Linnahall

The Estonian exhibition for the 2012 Venice Architecture Biennale investigates the relationship between time and space by discovering how venues once important have been abandoned and how these tendencies may carry on today and in the future. The exhibition poses a question as its title: “How long is the life of a building?”. The answer is sought based on the example of Linnahall – a dignified Modernist legacy in the heart of Tallinn that only a few decades ago was a renowned and requisite construction, yet is closed today. What’s happening to Linnahall speaks volumes in a more general context as well – similar tendencies are becoming prominent everywhere in the world where multitudes of architectural masterpieces less than 50 years old stand unused. Continue after the break to learn more.