Inspired by the 13th International Architecture Exhibition‘s theme Common Ground, Peter Eisenman has formed a team to revisit, examine and reimagine Giovanni Battista Piranesi’s 1762 folio collection of etchings, Campo Marzio dell’antica Roma. Derived from years of fieldwork spent measuring the remains of ancient Roman buildings, these six etchings depict Piranesi’s fantastical vision of what ancient Rome might have looked like and represent a landmark in the shift from a traditionalist, antiquarian view of history to the scientific, archaeological view.
This year’s 13th Venice Architecture Biennale provided the backdrop to the British Pavilion’s Venice Takeaway exhibition. Commissioned by the British Council and curated by Vanessa Norwood and Vicky Richardson, Venice Takeaway responds to Biennale director David Chipperfield’s theme of Common Ground. The project began in April this year when ten teams went to ten countries to gather ideas to change British architecture. Crane.tv interviewed the ten teams, including Aberrant Architecture and Smout Allen, to hear about their findings and their proposals for the future of British architecture. The exhibition will run in Venice until 25 November 2013 before relocating to London where it will be housed at RIBA from 25 February-27 April 2012.
From the curator Fang Zhenning:
Hot on the heels of the Jencks Award, yet another accolade is rumored to be coming Rem Koolhaas‘ way. The claims are flying about the twitterverse: OMA’s Koolhaas will be the next Director of the Venice Biennale.
Cancha is a pre-hispanic Quechuan word that indicates a void that enables connections with our ground as well as among people. In urban terms, it is similar to the Spanish Plaza Mayor – the word is used in South America to designate an open space where the harvest is measured and distributed. Cancha is also the field for the ancient game of Palín, traditional of the Chilean Mapuches. Then, Cancha is the word used to comprehend the Chilean Ground, a common ground, which is not urban but territorial.
An installation highly commented by the visitors of the Vernissage of the Biennale. The Magnet and the Bomb presents two projects from the Chile based practice Elemental, lead by Alejandro Aravena. These projects are urban interventions that were required for specific social issues, that have required a common ground between several stakeholders. A ticking clock bomb counts down at the entrance of the exhibit, that will last the 100 days fo the Biennale, around the same time that both these projects took.
To celebrate the 50th anniversary of the Nordic Pavilion designed by Pritzker laureate Sverr Fehn in 1962, “Light Houses: On the Nordic Common Ground” invites 32 architects from Finland, Sweden and Norway born in that year to present a model of a conceptual house that reflects their philosophy. The models not only offer a visual proposal, but some also include smells, sounds or tactile experiences.
Contemporary Nordic architectural culture offers both exemplary approaches and significant constructed works addressing these challenging circumstances. The classic hallmarks of Nordic architecture – simplified form, frugal use of materials and sensitive treatment of daylight and the natural setting – embody the basic principles of responsible, sustainable architecture.
News from the 2012 Venice Biennale: Japanese architect Kazuyo Sejima has been appointed as the first architecture mentor for the Rolex Mentor and Protégé Initiative – a unique program that pairs major artists with young talents. Recognized as “one of the most important creative disciplines”, architecture has added as the seventh category in the Rolex’s global philanthropy program, which already includes literature, music, visual arts, dance, film and theatre.
Kazuyo Sejima is expected to announce her protégé in the Fall. She and the young architect will collaborate for a year on the international project Home For All, which she established with other leading Japanese architects – Toyo Ito, Riken Yamamoto, Hiroshi Naito and Kengo Kuma – in response to the 2011 housing crisis caused by Japan’s devastating tsunami.
The idea will be to design community meeting spaces for people who are living in emergency accommodation. Continue after the break to learn more.
A few minutes ago we attended to the awards ceremony at the Biennale, after which it opened officially to the public (until Nov 25th).
Venezuela’s participation at the 13th Venice Biennale is presented through a series of reflections about the urban situation – the city of the 21st century.
La ciudad socializante vs la ciudad alienante is aimed for the general audience, not just the architects, presenting a series of graphic-chromatic notes and sketches by Domenico Silvestro, who was very kind and showed us the pavilion. You can see him on the photos below.
In the exteriors of the Arsenale we found Radix, the installation designed by Portuguese office Aires Mateus (Francisco and Manuel Aires Mateus), an elegant contemporary response to the architectural setting of the Biennale.
The installation recognises the nearby docks of the Arsenale designed by Jacopo Sansovino between 1568 and 1573, which is flanked by arched walkways that inspire this structure. Radix is an arch supported on three points with the fourth corner hanging over the water, turning the otherwise massive steel structure into a lightweight balanced volume.
More pictures after the break.
Curated by Toshiko Mori. All architecture must inevitably contend with history and gravity. These two forces are both fundamental and universal; to confront them is accordingly not only to take the crucial step in any attempt to reinvent the contemporary language of architect but to connect to a vast lineage of historical precedents, creating a platform for developing the discipline’s future as well as reflecting on its past. In Toshiko Mori’s case a series of dialogues with five American masters transpired from projects that required her to work next to, in addition to, or in reference to their creations.
For over a century, the Venice Biennale (La Biennale di Venezia) has been one of the most prestigious cultural institutions in the world. The avant-garde institution has remained at the forefront in the research and promotion of new artistic trends, while leading international events in the field of contemporary arts that are amongst the most important of their kind. Over the past thirty years, the Biennale has given growing importance to the Architecture Exhibition, which is still a young component of the Biennale considering that its first exhibition was held in 1975. Today, the Venice Biennale captures a multitude of interest from around the globe and attracts over 370,000 international visitors.
Before the festivities of the 13th Venice Architecture Biennale begin tomorrow, read up on the origin of this highly acclaimed international exhibition.
A timeline history of the Venice Architecture Biennale:
Dealing with existing infrastructure has become the most important task facing German architects today. The greatest, most problematic challenge that lies ahead is the downsizing and conversion of postwar buildings, erected from 1950s to the 1970s, which are described as “too unsuitable, too slipshod, too inefficient to serve as housing in the future”. A complete reevaluation of not only of the structures themselves but also the social and historical implications of their unbuilt energy and resources is necessary in order to improve the urban fabric and achieve climatic goals.
The Danish Pavilion for the 2012 Venice Biennale will feature a collaboration between Greenlandic and Danish Architects called “Possible Greenland”. The exhibition will address the current development of the Arctic Region as Greenland undergoes a shift towards political independence and business development in the midst of dramatic climate changes. “Possible Greenland” attempts to look optimistically at the climate changes that are causing ice melts throughout Greenland. The shifting planes result in the exposure of vast mineral resources that can kickstart new industries and allow new urban cultures to emerge.
The pavilion aspires to shed new light onto the status of Korean Architecture allowing the outside world to acquire a deeper and more in-depth understanding of what is currently relevant in the field of architecture in the country. “Walk in Architecture” expresses an idea and at the same time its paradox; it treats architecture as a place or a subject, like “Walk in Venice” or “Walk in a forest”. Walk is a collective action which combines associations: when you walk you think, you meditate, you observe, you dream, you wonder.
The exhibit is is supported by thin wooden supports, holding drawings, diagrams and video displays. Great examples from a country where pedestrians are taking more space than cars. This takes place at the Korean Pavilion at the Giardini, designed by Seok Chul Kim and Franco Mancuso in 1995.
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.
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.