Moderator: Louise Braverman, FAIA
Panel: Cynthia Davidson, James Biber, FAIA, Max Levy, FAIA
Often the first reaction to Venice is one of feeling overwhelmed by the astonishing beauty of her existence. Yet if we dig a bit deeper inherent contradictions begin to appear. How do we make rational sense of a city that floats on water? What are the features that contribute to our incredulity, and what can we learn from them? From the original muddy wilderness of the 5th century to a beguiling built environment, Venice remains 1,500 years later, a provocative paradox of visceral and visual inspiration.
Moderator: Louise Braverman, FAIA
It’s LIQUID Group, in collaboration with Ca’ Zanardi, is pleased to announce the open call for ANIMA MUNDI 2017, the International Art Festival. ANIMA MUNDI festival, curated by Luca Curci and Andrea Chinellato, will be presented in Venice at Palazzo Ca’ Zanardi and other prestigious venues and historical buildings, in the months between May and November 2017, in the same period of the 57th Venice Art Biennale, titled VIVA ARTE VIVA, curated by Christine Macel and organized by La Biennale di Venezia, chaired by Paolo Baratta, hosted at the Giardini and the Arsenale venues.
We are pleased to announce a new content partnership between ArchDaily and Columbia University's Graduate School of Architecture, Planning and Preservation (GSAPP) in New York City.
GSAPP Conversations is a podcast series designed to offer a window onto the expanding field of contemporary architectural practice. Each episode pivots around discussions on current projects, research, and obsessions of a diverse group of invited guests at Columbia, from both emerging and well-established practices. Usually hosted by the Dean of the GSAPP, Amale Andraos, the conversations also feature the school’s influential faculty and alumni and give students the opportunity to engage architects on issues of concern to the next generation.
Aerial Futures, Grounded Visions: Shaping the Airport Terminal of Tomorrow was a two-day symposium held in October 2016 as part of the European Cultural Center's collateral event at the 2016 Venice Biennale. It encouraged discussion about the future of air travel from the perspectives of architecture, design, technology, culture and user experience. The event featured presentations and discussions by the likes of airport architect Curtis Fentress, Nelly Ben Yahoun, Donald Albrecht, Director of the Museum of the City of New York; Anna Gasco, post-doctoral researcher at the ETH-Future Cities Laboratory in Singapore; Jonathan Ledgard, co-founder of the Droneport Project; and Ashok Raiji, Principal at Arup New York.
“When you read Love in the Time of Cholera you come to realize the magic realism of South America.” Yvonne Farrell, Shelley McNamara and I were in a corner of the Barbican Centre’s sprawling, shallow atrium talking about the subject of their most recent accolade, the Royal Institute of British Architects inaugural International Prize, awarded that previous evening. That same night the two Irish architects, who founded their practice in Dublin in the 1970s, also delivered a lecture on the Universidad de Ingeniería and Tecnologia (UTEC)—their “modern-day Machu Picchu” in Lima—to a packed audience in London’s Portland Place.
Farrell and McNamara, who together lead a team of twenty-five as Grafton Architects, are both powerful thinkers, considered conversationalists and unobtrusively groundbreaking designers. For a practice so compact, their international portfolio is exceptionally broad. The first phase of the UTEC in the Peruvian capital, which began following an international competition in 2011, represents the farthest territory the practice have geographically occupied. The project is, in their words, a “man-made cliff” between the Pacific and the mountains – on one side a cascading garden, and on the other a “shoulder” to the city cast from bare concrete.
“Will you look at that? St. Mark’s Square is flooded!” An Australian day tripper is astonished. “This place is actually sinking,” her friend casually exclaims. They, like so many I’ve overheard on the vaporetti, are convinced that the Venetian islands exist on a precipice between the fragility of their current condition and nothing short of imminent submersion. With catastrophe always around the corner a short break in Venice is more of an extreme adventure trip than a European city-break. If it were true, that is.
This week the 2016 Venice Architecture Biennale—Reporting From the Front—will close. Six months have passed and hundreds of thousands of architects, urbanists, designers and tourists have perused both the National Participations (of which more were represented this year than ever before) and the central exhibition curated by Alejandro Aravena – the first South American to direct the most prestigious event on the architectural calendar. ArchDaily has compiled our most extensive coverage of the event and, as the 15th incarnation of Biennale shuts its gates for the last time, our collection of articles, interviews and publication excerpts remains permanently accessible.
The Danish Pavilion at the 2016 Venice Biennale, curated by Boris Brorman Jensen and Kristoffer Lindhardt Weiss, is dense with models – "a wunderkammer of architectural prototypes." The exhibition, which attempts to present new insights into how contemporary Danish architecture has been influenced by critics of Modernism (the "Modern approach"), features Jan Gehl—a famed Danish architect and urbanist renowned for his focus on improving the quality of urban life—as its standard bearer. In this exclusive film, shared by the curators, Gehl puts forward his position.
The role of the Curator requires a comprehensive and multifaceted training that allows them to move in different contexts and platforms. The contemporary Curator investigates and identifies relevant issues and their relationships to, then, launch through exhibitions a narrative capable of catching the audience’s interest. A Curator’s work, therefore, encourages reflection and promotes new ways of perceiving and understanding architecture and design. The Master in Curatorship of Architecture and Design at IUAV (Venice, Italy) aims to train professionals capable of developing curatorial projects with a solid foundation in theory and critical thinking, coupled with a strong knowledge of strategies in exhibition making.
Magnitude 6.6 Earthquake Strikes Central Italy; Borromini's "La Sapienza" Among Structures Damaged in Rome
Following an earthquake measuring 6.6 on the Richter Scale that struck central Italy this morning at 7:40 a.m. local time—the fourth to hit this part of the country in three months—a number of structures have collapsed entirely or been severely damaged. While no deaths have been reported at this time, the BBC suggests that twenty people have been injured.
This latest tragedy follows an earthquake measuring 6.2 on the Richter Scale which hit a nearby region in August of this year, killing 300 and causing widespread devastation to towns and villages. It is being suggested that the evacuation of buildings that were deemed vulnerable to the ongoing seismic activity in the region last week may have saved lives.
EXPO CHICAGO and Zuecca Project Space Present
EXPO VIDEO: Invisible Cities at Spazio Ridotto (Oct. 24–Nov. 25, 2016)
EXPO CHICAGO and Zuecca Project Space collaborate to present a satellite iteration of the EXPO VIDEO program, highlighting a selection of dynamic and cutting-edge film, video, and new media works by artists selected from EXPO CHICAGO 2016 Exhibitors at Spazio Ridotto in Venice, Italy. The programmatic partnership between the exposition and the satellite location extend on a programmatic partnership presented with the Italian Cultural Institute in Chicago.
Part of the Venice Architecture Biennale 2016’s Collateral Events, Branding Islands Making Nations: On Intangible Assets and Value Propositions in Spatial Practice is a public program and case study competition, drawing attention to the application of political power in spatial practice. Intended to open the discourse on added value in design, Branding Islands Making Nations expands upon the 15th International Architecture Exhibition’s call to arms by inviting an extended field of spatial practitioners to Venice. Consultants and communication designers, marketing and advertising experts will gather to speculate on the role of branding in the making of a place.
In the canon of great Dutch architects sit a number of renowned practitioners, from Berlage to Van Berkel. Based on influence alone, Rem Koolhaas—the grandson of architect Dirk Roosenburg and son of author and thinker Anton Koolhaas—stands above all others and has, over the course of a career spanning four decades, sought to redefine the role of the architect from a regional autarch to a globally-active shaper of worlds – be they real or imagined. A new film conceived and produced by Tomas Koolhaas, the LA-based son of its eponymous protagonist, attempts to biographically represent the work of OMA by “expos[ing] the human experience of [its] architecture through dynamic film.” No tall order.
Update: We've added a video, presented by PLANE-SITE, about the exhibition, featuring quotes from Carla Bechelli.
Carla Bechelli Arquitectos has created an exhibition of its multiple-residence project, Las Piedras Villas & Houses, a 2015 recipient of an International Property Award, which is currently on display at the 2016 Venice Biennale, at Palazzo Bembo.
Located in the suburbs of Buenos Aires in Argentina, the project consists of a series of small-scale buildings around a central lake intended to create a dialogue with the single-family housing in the surrounding neighborhood.
In late August, the Flanders Architecture Institute will organise Encounters in Optimism: Utopia in a Finite World, an interactive programme of lectures, debates and workshops that will take place in various national pavilions at the Venice Architecture Biennale. The overarching theme is "the architectural utopia in a finite world."
Together with The British Council, the Deutsches Architekturmuseum and the Creative Industries Fund NL, the Flanders Architecture Institute has put together a programme for architects, students and the general public to reflect on how architecture can redefine the city. The economic climate and the idea of utopia are the main topics in these discussions.
Le Corbusier made an indelible mark on Modernist architecture when he declared “une maison est une machine-à-habiter” (“a house is a machine for living”). His belief that architecture should be as efficient as machinery resulted in such proposals such as the Plan Voisin, a proposal to transform the Second Empire boulevards of Paris into a series of cruciform skyscrapers rising from a grid of freeways and open parks. Not all of Le Corbusier’s concepts, however, were geared toward such radical urban transformation. His 1965 proposal for a hospital in Venice, Italy, was notable in its attempt at seeking aesthetic harmony with its unique surroundings: an attempt not to eradicate history, but to translate it.
In May 2016, the After Belonging Agency discussed the theme of the forthcoming Oslo Architecture Triennale—entitled After Belonging: a Triennale In-Residence, On Residence, and the Ways We Stay In-Transit—as part of In Therapy, the exhibition of the Nordic Pavilion at the 2016 Venice Biennale. The hour-long discussion, which also includes presentations by Shumi Bose and Füsun Türetken, begins with an in-depth description of how the Triennale intends to focus on the future challenges of migration by investigating how cities and architecture can react to large groups of people moving and resettling.
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.