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Laurian Ghinitoiu

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Spotlight: Santiago Calatrava

07:00 - 28 July, 2016
Spotlight: Santiago Calatrava, The Quadracci Pavilion at Milwaukee Art Museum. Used under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>Creative Commons</a>. Image © <a href='https://www.flickr.com/photos/bvincent/18091164/'>Flickr user bvincent</a> licensed under <a href='https://creativecommons.org/licenses/by-nd/2.0/'>CC BY-ND 2.0</a>
The Quadracci Pavilion at Milwaukee Art Museum. Used under Creative Commons. Image © Flickr user bvincent licensed under CC BY-ND 2.0

Known for his daring neo-futurist sculptural buildings and over 50 bridges worldwide, Santiago Calatrava (born July 28, 1951) is one of the most celebrated and controversial architects working today. Trained as both an architect and structural engineer, Calatrava has been lauded throughout his career for his work that seems to defy physical laws and imbues a sense of motion into still objects.

Bart Lootsma Dissects, Unpicks and Evaluates the 2016 Venice Biennale

04:00 - 27 July, 2016
Bart Lootsma Dissects, Unpicks and Evaluates the 2016 Venice Biennale, One installation of the Central Pavilion, curated by Alejandro Aravena. Image © Laurian Ghinitoiu
One installation of the Central Pavilion, curated by Alejandro Aravena. Image © Laurian Ghinitoiu

In two lectures delivered by Bart Lootsma, Professor and Head of Institute for Architectural Theory and History at the University of Innsbruck, the 2016 Venice Biennale—Reporting From the Front—is dissected, unpicked and evaluated through the national participations (pavilions) and Alejandro Aravena's central exhibitions. Lootsma, who has broadcast the lectures as publicly available resources on architecturaltheory.eu, is the co-curator of the 2016 Pavilion of Montenegro.

AD Classics: New Museum / SANAA

04:00 - 22 July, 2016
AD Classics: New Museum / SANAA, © Laurian Ghinitoiu
© Laurian Ghinitoiu

The New Museum is the product of a daring vision to establish a radical, politicized center for contemporary art in New York City. With the aim of distinguishing itself from the city’s existing art institutions through a focus on emerging artists, the museum’s name embodies its pioneering spirit. Over the two decades following its foundation in 1977, it gained a strong reputation for its bold artistic program, and eventually outgrew its inconspicuous home in a SoHo loft. Keen to establish a visual presence and to reach a wider audience, in 2003 the Japanese architectural firm SANAA was commissioned to design a dedicated home for the museum. The resulting structure, a stack of rectilinear boxes which tower over the Bowery, would be the first and, thus far, the only purpose-built contemporary art museum in New York City.[1]

© Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu +30

Video: Speculative Detroit – The Architectural Imagination at the 2016 Venice Biennale

04:00 - 11 July, 2016

In this interview, presented in collaboration with PLANE—SITE, Cynthia Davidson and Monica Ponce de Leon—curators of the US Pavilion at the 2016 Venice Biennale—explain why the United States' contribution to the 2016 Venice Biennale has brought together "visionary" American architectural practices to speculatively address the future of the city of Detroit. They argue that these projects have "far-reaching applications for cities around the world."

Incidental Space: Inside the Swiss Pavilion at the 2016 Venice Biennale

04:00 - 7 July, 2016
Incidental Space: Inside the Swiss Pavilion at the 2016 Venice Biennale, «Incidental Space»  A project by Christian Kerez / curated by Sandra Oehy. Image © Laurian Ghinitoiu
«Incidental Space» A project by Christian Kerez / curated by Sandra Oehy. Image © Laurian Ghinitoiu

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.

All architecture is exhibitionist. Exhibitions are not simply sites for the display of architecture, they are sites for the incubations of new forms of architecture and new ways of thinking about architecture. [1] – Beatriz Colomina

An architecture biennale can be more than a place to simply represent and celebrate the status quo in architectural production. The Biennale’s state of exception and its spatial distance from where people normally work open up a space for examining and critically questioning the conditions of everyday work and production. Although, technologically speaking, more is possible today than ever before, in recent years architects’ creative latitude has been greatly reined in by an enormous—and growing—burden of rules and regulations. Against this background, the architectural exhibition is becoming an ever more relevant medium for a critical practice of architecture. Understood in these terms, an exhibition is no longer just a place for representing architecture ex post facto, as it is still often treated today. Instead, the fact of the exhibition space’s autonomy, and its distance from the “real” world of public and private architecture, has a potential that is increasingly being recognized and put to use. Exhibitions are becoming a place for researching and producing an experimental and critical architectural practice: a place not for the presentation of finished products, but for the production of content. The simultaneous limitations and license to experiment lent by the exhibition space focuses the object of research, allowing for the emergence of new insights, interpretations, and meanings. This calls into question the supposed boundary between architecture and the exhibition. Inquiry becomes a form of display.

Our Amazon Frontline: Inside Perú's Pavilion at the 2016 Venice Biennale

04:00 - 6 July, 2016
Our Amazon Frontline: Inside Perú's Pavilion at the 2016 Venice Biennale, Our Amazon Frontline / Pabellón de Perú en la Bienal de Venecia 2016. Image © Laurian Ghinitoiu
Our Amazon Frontline / Pabellón de Perú en la Bienal de Venecia 2016. Image © Laurian Ghinitoiu

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.

The Amazon rainforest is our common frontline: constant battles are being fought to preserve the greatest source of biodiversity, oxygen production and climate regulation of the planet.

The Amazon is also the battlefront between the ancestral vision of its inhabitants and the modern vision that western society has over this territory. If we were to learn from the indigenous knowledge, now endangered by hegemonic “western civilization”, we would open an unforeseen insight about medicine, nutrition, and the sustainable production of the rainforest. The dissolution of this last frontline would have global implications and it would even change the way we see our world.

Our Amazon Frontline / Pabellón de Perú en la Bienal de Venecia 2016. Image © Laurian Ghinitoiu Our Amazon Frontline / Pabellón de Perú en la Bienal de Venecia 2016. Image © Laurian Ghinitoiu Our Amazon Frontline / Pabellón de Perú en la Bienal de Venecia 2016. Image © Laurian Ghinitoiu Our Amazon Frontline / Pabellón de Perú en la Bienal de Venecia 2016. Image © Laurian Ghinitoiu +14

Video: Designing Through Time – Home Economics at the 2016 Venice Biennale

04:00 - 5 July, 2016

In this interview, presented in collaboration with PLANE—SITE, Jack Self—co-curator of the British Pavilion at the 2016 Venice Biennale—reveals how the frontline of architecture in Britain today is not just a housing crisis, but "a crisis of the home." In provocatively presenting "the banal," Self reveals why the British participation at the 2016 Venice Biennale proposes five new models for domestic life, each curated through time of domestic occupancy, alongside how it seeks to address the ways in which we might live in the future.

To Live Is To Be Slowly Born: Kashef Chowdhury/URBANA's Contribution to the 2016 Venice Biennale

04:00 - 4 July, 2016
To Live Is To Be Slowly Born: Kashef Chowdhury/URBANA's Contribution to the 2016 Venice Biennale, © Laurian Ghinitoiu
© Laurian Ghinitoiu

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.

The title relates to the processes of architecture, which can be slow to come to fruition and therefore one also refers to architecture and patience, and to the meaningful sustained existence of buildings in their fragile environments.

The installation is a glass labyrinth, which one crosses to reach an internal landscape. The glass is clear – therefore it is an alternate take on the architectural manifestation of the 'labyrinth': an age-old space of intrigue and discovery. It refers to the idea that although one is sure of one’s intentions - has a clear vision - the path to achieving that may not be straightforward but rather quite 'labyrinthine', in the economies and climatic zones that the architect operates in. That is, one can see clearly but cannot progress easily.

© Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu +14

Modern as Metaphor: Where the Tate Stands in a Post-Brexit World

09:30 - 1 July, 2016
Modern as Metaphor: Where the Tate Stands in a Post-Brexit World, © Laurian Ghinitoiu
© Laurian Ghinitoiu

Architects in the United Kingdom have been subjected to a month of monumental highs and lows. After Herzog & de Meuron’s Tate Modern extension (known as Switch House) opened Friday, June 17, the following Thursday, June 23, the country proclaimed its (ill-planned) desire to leave the European Union. It would be easy to see the two events as separate, with no obvious overlap. But in fact the Tate seems to have an odd symbiosis with the Brexit decision - if in no other way than by promoting a vision emphatically against it.

Making Heimat: Inside Germany's Pavilion for the 2016 Venice Biennale

04:00 - 1 July, 2016
Making Heimat: Inside Germany's Pavilion for the 2016 Venice Biennale, © Laurian Ghinitoiu
© Laurian Ghinitoiu

"Making Heimat. Germany, Arrival Country" is a response to the fact that over a million refugees arrived in Germany during 2015. The expectations for 2016 are similar. The need for housing is urgent, but just as urgent is the need for new ideas and reliable approaches to integration. The exhibition therefore consists of three parts: the first part surveys physical refugee shelters - the actual solutions that have been built to cope with the acute need. The second part seeks to define the conditions that must be present in an Arrival City in order to turn refugees into immigrants. The third part of the exhibition is the spatial design concept of the German Pavilion, which will make a statement about the contemporary political situation. Something Fantastic will plan and stage the architectural presentation and graphic design. 

© Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu +21

Round-Up: The Serpentine Pavilion Through the Years

10:30 - 28 June, 2016
Round-Up: The Serpentine Pavilion Through the Years

Lasting for close to two decades now, the annual Serpentine Gallery Pavilion Exhibition has become one of the most anticipated architectural events in London and for the global architecture community. With this year’s edition featuring not just one pavilion but four additional “summer houses,” the program shows no sign of slowing down. Each of the previous sixteen pavilions have been thought-provoking, leaving an indelible mark and strong message to the architectural community. And even though each of the past pavilions are removed from the site after their short summer stints to occupy far-flung private estates, they continue to be shared through photographs, and in architectural lectures. With the launch of the 16th Pavilion this month, we take a look back at all the previous pavilions and their significance to the architecturally-minded public. 

Serpentine Pavilion 2013. Image © Neil MacWilliams Serpentine Pavilion 2000. Image © Hélène Binet Serpentine Pavilion 2006. Image © John Offenbach Serpentine Pavilion 2015. Image © © Iwan Baan +34

Critical Round-Up: Did Aravena's 2016 Venice Biennale Achieve its Lofty Goals?

10:30 - 27 June, 2016
Critical Round-Up: Did Aravena's 2016 Venice Biennale Achieve its Lofty Goals?, The "Reporting the Front" exhibition/ curated by Alejandro Aravena at the 2016 Venice Biennale. Image © Laurian Ghinitoiu
The "Reporting the Front" exhibition/ curated by Alejandro Aravena at the 2016 Venice Biennale. Image © Laurian Ghinitoiu

The XV International Architecture Exhibition at the Venice Biennale opened its doors last month. Under the directorship of Chilean Pritzker Prize-winner Alejandro Aravena, “Reporting the front” asked architects to go beyond “business as usual” and investigate concealed built environments – conflict zones and urban slums, as well as locations suffering from housing shortage, migrations and environmental disasters. Clearly, the aim of this Biennale is to open the profession to new fields of engagement and share knowledge on how to improve people’s quality of life.

This stance that has been highly criticized by Patrik Schumacher, director of Zaha Hadid Architectswho believes that architects “are not equipped to [address these issues]. It’s not the best value for our expertise.” But is this a view shared by the rest of the design world and its critics? What are the limits and benefits of this “humanitarian architecture”? Read on to find out critics’ comments.

The "Reporting the Front" exhibition/ curated by Alejandro Aravena at the 2016 Venice Biennale. Image © Laurian Ghinitoiu Gabinete de Arquitectura at the 2016 Venice Biennale. Image © Laurian Ghinitoiu NLÉ's Makoko Floating School at the 2016 Venice Biennale. Image © Laurian Ghinitoiu "OUR AMAZON FRONTLINE" / curated by Sandra Barclay and Jean Pierre Crousse. Peruvian Pavilion at the 2016 Venice Biennale. Image © Laurian Ghinitoiu +6

Video: Ascend the Ziggurat in the Nordic Pavilion at the 2016 Venice Biennale

04:00 - 27 June, 2016

In this film, Jesús Granada visits the Nordic Pavilion, “In Therapy”, at the 2016 Venice Biennale. The video presents a series of measured stills in 4K resolution which introduce the central installation of the exhibition—a stepped pyramid, or ziggurat—and its series of reflective "rooms without walls." The pavilion itself, which was completed in 1969, was designed by Sverre Fehn to partially reflect and concretize certain ideas about Nordic society and its architecture – including a sense of openness. This year, therefore, the pavilion has been orchestrated as an extension of the public space of the Giardini.

Monocle 24's 'Section D' Reports from 2016 Venice Biennale

04:00 - 24 June, 2016

In the latest edition of Section DMonocle 24's weekly review of design, architecture and craft, Chiara Rimella reports from the Veneto in northern Italy for a report on the best at the 15th International Architecture Biennale – La Biennale di Venezia. Covering Aravena's central exhibitions, Reporting From the Front, and the designers and curators of the 61 national pavilions, the show seeks to understand how architecture can tackle some of the pressing social and political concerns of our time.

Video: Living with History in the Russian Pavilion of the 2016 Venice Biennale

15:30 - 21 June, 2016

In his latest video, Jesús Granada visits the Russian Pavilion, “VDNh”, at the 2016 Venice Biennale. In the clip, viewers are introduced to the pavilion’s curator, Sergey Kuznetsov, who explains that “VDNh” is an acronym for a large area of Moscow known as Vystavka Dostizheniy Narodnogo Khozyaystva or Exhibition of Achievements of National Economy. Kuznetsov describes the territory as “[an] advertisement for the Soviet Union lifestyle…[meant] to meld lots of people and one nation."

Inside "The Baltic Pavilion" at the 2016 Venice Biennale

07:00 - 20 June, 2016
Inside "The Baltic Pavilion" at the 2016 Venice Biennale, © Laurian Ghinitoiu
© Laurian Ghinitoiu

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.

Architecture deals not only with form. It is about data and material flows, the organization of resources, the mobilization of capacities; it organizes not only static things, but it is also a design of processes. It would be great to understand architecture as an agent with which to communicate processes of material space for the public in a coherent way. Architecture has great tools to present and explain assemblies in sections – plans, maps; architects are capable of processing quite complex flows of information.

© Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu +13

A Floating Timber Pavilion Takes Center Stage at Manifesta 11 in Zurich

06:00 - 20 June, 2016
A Floating Timber Pavilion Takes Center Stage at Manifesta 11 in Zurich, © Laurian Ghinitoiu
© Laurian Ghinitoiu

On June 11th, the European Biennial of Contemporary Art, also known as Manifestabegan its 100-day stint in this edition's host city, Zurich, Switzerland. The festival's center-piece is a timber raft floating on Lake Zurich, known as the Pavilion of Reflections. The temporary structure was designed and realized by Studio Tom Emerson and a team of thirty students from ETH Zurich. Constructed primarily of timber, Christian Jankowski, curator of Manifesta 11, describes the exhibit “as a floating multi-functional platform with a giant LED screen, a stand for spectators, a swimming pool and a bar.”

© Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu +14

Gallery: Wolfgang Buttress' Relocated Expo Pavilion, The Hive, Photographed by Laurian Ghinitoiu

06:30 - 19 June, 2016
Gallery: Wolfgang Buttress' Relocated Expo Pavilion, The Hive, Photographed by Laurian Ghinitoiu, © Laurian Ghinitoiu
© Laurian Ghinitoiu

Wolfgang Buttress’ The Hive, a Gold Medal-winning UK Pavilion originally built for the 2015 Milan Expo, has been relocated to the Kew botanical gardens in central London. The striking (and photogenic) "beehive" was designed by the British practice to provide visitors with a glimpse into the life of a working bee; its 169,300 individual aluminium components—reaching 17-meters tall and fitted with hundreds of LED lights—created a multi-sensory experience that shed light on the importance of the pollinator. Following its relocation, photographer Laurian Ghinitoiu has turned his lens to this installation and its new home.

© Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu +23