One of the few incontrovertible truths to emerge from the 16th International Architecture Exhibition, which opened in Venice on May 26 and runs through November 25, is that sensitivity and skill in making architecture do not necessarily transfer to the work of organizing an architecture exhibition.
As La Biennale prepares to open to the public this Saturday May 26, PLANE—SITE spoke to curators Yvonne Farrell and Shelley McNamara about this edition’s theme, Freespace. They move beyond architecture as an object, instead imagining Freespace as an invitation to think about architecture as a space of opportunities. Literally and metaphorically, Freespace presents environments of generosity, accessibility and freedom and celebrates the rich civic experiences that they create.
https://www.archdaily.com/895066/curators-yvonne-farrell-and-shelley-mcnamara-provide-insight-into-the-theme-of-the-2018-venice-biennaleAD Editorial Team
The jury will be responsible for awarding the Golden Lion for Best National Participation, the Golden Lion for Best Participant in the International ExhibitionFREESPACE, and the Silver Lion for a Promising Young Participant in the International ExhibitionFREESPACE. They will also have the opportunity to award one special mention to National Participations and two special mentions to the participants in the International Exhibition.
https://www.archdaily.com/894353/jury-members-for-the-2018-venice-biennale-announcedNiall Patrick Walsh
Farrell and McNamara established Grafton Architects in 1978. They have held the Kenzo Tange Chair at Harvard GSD and the Louis Kahn Chair at Yale University. The pair has also been invited as visiting teachers at EPFL in Lausanne and the Accademia d'Archittettura, in Mendrisio, where they were appointed as teachers in 2013, in addition to visiting several other universities worldwide for lectures and crits.
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.