This year’s Croatian pavilion at the 13th International Venice Architecture Exhibition presents different struggles currently taking place in various Croatian cities. The exhibition, Unmediated Democracy demands Unmediated Space, interprets the topic of common ground by directly asking the protagonists of those collective conflicts how they imagine a common future across and beyond market or state, private or public mediation. The “desires, constrains and potentials expressed in these sites of conflict” are a part of the wider wave of international protests that are demanding a real direct and unmediated democracy. The demands, gathered on the ground through a series of investigative interviews, form the basis for a possible planning strategy, while their resistance tactics become patterns that could shape a common territory.
The Croatian pavilion focuses on how these demands could allow us to imagine the configuration of possible unmediated spaces. It is organized around three sections: Context, Map and Devices.
Continue reading for more details.
We visited “Migrating Landscapes”, the installation at the Canada pavilion for the 13th Venice Biennale. This exhibit has been organized and curated by Winnipeg- based 5468796 Architecture and Jae-Sung Chon, who joined together for this project to form the Migrating Landscapes Organizer (MLO). MLO invited, through a national competition, young Canadian architects and designers from a wide range of cultural and educational backgrounds to create scale models of ‘dwellings’ and accompanying videos that draw on cultural memories.
The installation uses pieces of unfinished wood in different sizes, a wooden landscape, where each of the participants “fit” their projects and a panel with a short video. A mix between the roughness of the wood, and the precision you can achieve with this material. My favorite? The Pickle House.
You can find more details about this exhibit in our previous article. More photos by ArchDaily after the break, and soon an interview with the curators!
The life of a city-funded project is a tumultuous one. After winning a design competition early this year and receiving public support to move forward, Diller, Scofidio + Renfro’s “Granite Web” design for the redevelopment of the nineteenth-century Terrace Gardens in Aberdeen, Scotland was recently rejected by the city council in a 22-20 vote. The project promised to bring a revived pulse to the heart of the city centre with a public space that would bring a year-round civic garden onto the “unattractive” Denburn dual carriageway and railway line.
More after the break.
I’m writing this post from Venezia, Italy, where ArchDaily has been for the past few days and will stay the whole week covering one of the most important architecture events: The 13th Biennale di Venezia.
This year the Architecture Biennale is directed by British architect David Chipperfield, who under the title Common Ground looks at the meanings of the spaces made by buildings: the political, social, and public realms of which architecture is a part.
The title ‘Common Ground’ also has a strong connotation of the ground between buildings, the spaces of the city. I want projects in the Biennale to look seriously at the meanings of the spaces made by buildings: the political, social, and public realms of which architecture is a part. I do not want to lose the subject of architecture in a morass of sociological, psychological or artistic speculation, but to try to develop the understanding of the distinct contribution that architecture can make in defining the common ground of the city.
The list of participants in this version of the Biennale include world renowned architects like Peter Zumthor, Zaha Hadid, Jean Nouvel, OMA, Alejandro Aravena, Alvaro Siza, Eduardo Soto de Moura, Paulo Mendes da Rocha, and Norman Foster, among others on a list of 200 offices.
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 firstname.lastname@example.org or using our contact form.
More photos after the break.
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.
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.
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.
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.
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.
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
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.
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.