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.
Dream of Venice Architecture, the second in a series by Bella Figura Publications, has brought together a collection of contemporary architects and architectural writers to share their personal experiences of La Serenissima: the great Italian city of Venice. "Water runs through her veins," Editor JoAnn Locktov writes. "Bridges, palaces, churches – every structure is a testament to the resiliency of imagination."
In an exclusive half-hour interview with Alejandro Aravena, Monocle's Josh Fehnert questions the recent Pritzker Prize-laureate on Chilean architecture and urbanism, why he considers simple design as the key to alleviating the world's biggest woes, and the conception and ultimate result of his 15th International Architecture Exhibition – La Biennale di Venezia.
It’s LIQUID Group is selecting all interesting photo, painting, design/architecture projects, video-art, installation/sculpture and performance art works to include in the next exhibition. FUTURE LANDSCAPES, International Art and Architecture Festival, is the third event of BORDERS Festival that will be hosted in Venice, Palazzo Ca’ Zanardi and Venice Art House Gallery, from October 06 to November 27, 2016 during the period of Venice Biennale.
Video: Daily Life, Daily Tao – Jingyu Liang Discusses the Chinese Pavilion at the 2016 Venice Biennale
In this interview, curator Jingyu Liang of Approach Architecture Studio discusses the concept behind "Daily Design, Daily Tao – Back to the Ignored Front," the theme of the Chinese Pavilion at the 2016 Venice Biennale. Responding to 2016 Biennale director Alejandro Aravena's overall theme of "Reporting From the Front," the pavilion takes an introspective look at China's own architectural front, and the impact that the country's ongoing development boom has had on Chinese architecture.
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."
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.
Volume #48: The Research Turn contains the exhibition catalogue for BLUE: The Architecture of UN Peacekeeping, the Dutch entry at the 15th International Architecture Exhibition, la Biennale di Venezia, by Malkit Shoshan. BLUE focuses on the most prominent footprint of the United Nations’ peacekeeping operations: the compound.
After the collapse of the Soviet Union and increasingly since 9/11 and the ‘War on Terror’, warfare has moved into the city. While the wars of the 20th century were largely between nations, fighting over territorial sovereignty and along disputed borders, the wars of the 21st century have been internal and borderless. Today’s wars are being fought between large multinational coalitions of security regimes and insurgent networks. It’s not just war that has moved to the city though: the entire security apparatus has moved with them too, including its peacekeepers and their entire infrastructure. Today, United Nations (UN) peacekeeping operations are taking place in hundreds of cities around the world and at a large scale.
In the latest edition of Section D, Monocle 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.
In a short film exploring some of the National Participations at this year's Venice Biennale, Monocle Films take a considered look at how different countries have responded to the Biennale theme, Reporting From the Front in both explicit and more indirect ways. Visiting the Austrian Pavilion, the Nordic Pavilion, the Turkish Pavilion, the British Pavilion, the Irish Pavilion, the Australian Pavilion and the Romanian Pavilion, the film studies what discourses are being waged in the compressed geo-political world of the Giardini di Biennale.
Riccardo De Cal presents his exhibition Into the Labyrinth at Fondazione Querini Stampalia in Venice, Italy. The exhibition will include 20 photographs, primarily selected from De Cal's new publication Dream of Venice Architecture. Inspired by novelist Jorge Luis Borges's statement that the maze, "is a building built to confuse people," De Cal has created an interior environment of metal armatures, audio recordings and photography. Designed by Melissa Siben, the exhibit is a modern three-dimensional representation of the labyrinthine structure of the city of Venice.
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.
Britain is suffering from a terrible housing crisis – one that is an incredibly predictable outcome of decades of neoliberal economic policy. The Chilean architect Alejandro Aravena has become well-known for building “half a house” – only completing core infrastructure in social housing, then encouraging residents to finish the other half with their own money over time. In effect, the first generation get a significantly cheaper home, but once the house has been doubled it could be sold at market rate. The discount, and profit, only applies to the original owners.
The city of Venice has been caught in a tug of war between progress and traditionalism for many years, and particularly since the construction of a railroad viaduct in 1846 linked the island city to the Italian mainland for the first time in its history. Over a century later, the Venetian government commissioned Louis Kahn to design a new Palazzo dei Congressi for the city; his proposal, while paying respect to the histories of both the Republic of Venice and a unified Italy, could not escape similar controversy.