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People meet in Architecture Biennale Architettura 2010 Exhibition
Fondazione La Biennale di Venezia President Paolo Baratta Board Giorgio Orsoni, vicepresident Giuliano da Empoli Amerigo Restucci Luca Zaia Audit Committee Marco Costantini, president Marco Aldo Amoruso Stefania Bortoletti Silvana Bellan, substitute member General Manager Andrea Del Mercato Director of Architecture Section Kazuyo Sejima
Sandra Kassenaar and Min Oh Exhibition photography Dean Kaufman La Biennale di Venezia and its collaborators for the 12th International Architecture Exhibition: Giovanni Alberti Francesco Amoresano Agnese Antonini Chiara Giuseppina Attore Chiara Augliera Valentina Baldessari Pietro Barbini Cinzia Bernardi Marina Bertaggia Angela Bianco Massimiliano Bigarello Nicola Bon Andrea Bonaldo Caterina Boniollo Valentina Borsato Angelo Boscolo Francesca Bovo Joern Rudolf Brandmeyer Silvia Bruni Emanuela Caldirola Michela Campagnolo Giulio Cantagalli Claudia Capodiferro Graziano Carrer Caterina Castellani Antonio Cataldo Maria Elena Cazzaro Gerardo Cejas Maurizio Celoni Marzia Cervellin Gianpaolo Cimarosti Maria Cristina Cinti Federica Colella Annamaria Colonna Enrico Contestabile Maria Cristiana Costanzo Luigi Cuciniello Giacinta Dalla Pietà Erica De Luigi Lucia De Manincor Francesco di Cesare Alvise Draghi Giovanni Drudi Alessandra Durand De La Penne Monica Fabbro Davide Ferrante Elena Ferro Marcella Fiori Roberta Fontanin Cristiano Frizzele Giuliana Fusco Bruna Gabbiato Silvia Gatto Matteo Giannasi Jessica Giassi Andrea Goffo Cristina Graziussi Stefania Guerra Antonio Ibba Laura Lamborghini Arianna Laurenzi Michela Lazzarin Maria Cristina Lion Savino Liuzzi Manuela Lucà Dazio Paolo Lughi Enzo Magris Francesca Manea Giada Manfrin Michele Mangione Vera Mantengoli Stefano Marchiante Michela Mason Pina Maugeri Elisa Meggiato Silvia Menegazzi Alessandro Mezzalira Elisa Miorin Elisabetta Mistri Sandra Montagner Francesca Montorio Nicola Monaco Veronica Mozzetti-Monterumici Piero Novello Carlotta Olivetto Massimo Ongaro Fabio Pacifico Emanuela Padoan Elisabetta Parmesan Paola Pavan Eva Peccenini Manuela Pellicciolli Daniela Persi Maddalena Pietragnoli Marta Plevani Antonietta Possamai Lucio Ramelli Luigi Ricciari Maya Romanelli Roberto Rosolen Silvia Rossetti Debora Rossi Ilaria Ruggiero Delia Sadi Micol Saleri Sara Salmaso Adriana Rosaria Scalise Cristiana Scavone Michele Schiavon Paolo Scibelli Elena Seghetti Antonella Sfriso Tommaso Speretta Nadia Spirito Michela Stancescu Fiorella Tagliapietra Sandro Tolin Elena Tondello Giulia Tosetto Lucia Toso Maurizio Urso Giorgio Vergombello Leonardo Viale Sara Vianello Alessia Viviani Francesco Zanon Leandro Zennaro Gloria Zerbinati Jasna Zoranovic Giorgio Zucchiatti Rossella Zulian .12th International Architecture Exhibition Director Kazuyo Sejima Artistic Advisors Yuko Hasegawa Ryue Nishizawa Collaborators Sam Chermayeff Jack Hogan Satoshi Ikeda Graphic design Mevis & Van Deursen in collaboration with Tomas Celizna Layout Tomas Celizna.
Azienda Agricola Il Follo .Thanks to Cleary Gottlieb Steen & Hamilton LLP. United Colors of Benetton. Adecco.
In her simple presentation she speaks of the design process as a study to identify the functions and uses of the spaces involved. Groups from Italian universities and from a certain number of foreign universities in various parts of the world. precisely as the art of building spaces in which man as individual and community may realize his ideals and establish his society. in architecture as art that helps build the res publica . but not only: also to departments of engineering. which takes part in the exhibition with the Italian Pavilion (this year curated by Luca Molinari) in its renewed dimension. Partly for this reason we asked the directors of past editions of La Biennale Architecture to come back for one full day to talk to us and our visitors on their choice of subject. which leads to perceiving and considering new possibilities that differ from the everyday and the usual. Pessimism because of the little faith that seemed placed in the architecture of buildings before the immense. design and communication. The aim is to make La Biennale a place where a small part of the universities’ research and study curriculum systematically takes place. An architecture exhibition can help by using its own language. We wrote to architecture departments. offering the chance to plan organized visits (for students and teachers). The exhibition design is consistent with her premises: it is centered on an alternation of models and views that see the exhibition space as one to be interpreted and used. in open seminars where reference will certainly be made to “their” Biennale. it seems that there is a prevailing use of architecture as art for self representation and self celebration (of economic power. to all who contributed to its realization and to those who have allowed us to maintain its high quality. whether private or public. suggested by the utmost attention to man. This is not only documentation but also visual excitement. It is more than ever hoped that a more articulate and effective clientele may develop. partners in the SANAA studio. from Great Britain to Georgia. ending with a seminar. Joyful because it envisaged the application of widespread creativity. which can thus live again in the memory and in current reflection as still vibrant experiences. We have already signed 27 protocols and are about to finalize others. each in their own dedicated space. of political prestige). but that are part of our condition as men and society. the spaces in which we recognize ourselves. the individual and the community. capable of personalizing them and thus able to recompose a perceptible relationship between the space. impersonal urban spaces now compromised by the increasing urban sprawl. mobilizing designers. will be here. nature and the quality of social life. the spaces in which we live and organize our civilization. to our sponsors. sociology. of distilling feelings rather than seeking effects. These different experiences can enlighten us on the direction to follow in future. and the history of past exhibitions may already be an object of reflection in itself. In observing the dominant trends of recent years. and have received very positive replies. And the great progress made in design and construction technologies has often been used to this end. With Kazuyo Sejima we go back to a more serene faith in architecture. the spaces we possess without being owners of them. along with a need for advertising communication rather than any desire to interpret modern society and the ideals it can imagine and propose. by happy coincidence they were this year awarded the Pritzker Architecture Prize.12 Paolo Baratta Biennale Architettura 2010 13 Paolo Baratta Exhibition La Biennale is interested in architectural research in the present. . primarily the Ministry of Culture. I end this note with my thanks to all those who have worked on this exhibition. The apparently lower number of participants. In complying with our rule that there be only one curator. This year’s exhibition is the twelfth. is then intended to indicate to the visitor the advisability of stopping rather than hurrying. to then establish the connections that must link the various parts through transparencies or diaphragms (physical and psychological). it is precisely in the res publica that man crowns his own efforts to construct his society. People meet in Architecture also means that we become people in architecture. Ryue Nishizawa accepted the role of Kazuyo Sejima’s artistic consultant. artists and creators of images to give recognizable signs to the spaces. We then set out on a new experience by initiating a direct relationship with Italian and foreign universities. from which demands and requests of architecture that currently seem muted or ignored may emerge. Aaron Betsky’s 2008 exhibition was characterized by a kind of joyful pessimism.
The Palazzo delle Esposizioni largely consists of white rooms with varying proportions. in collaboration with Tetsuo Kondo. Yuko Hasegawa + Ryue Nishizawa for their advice and all of the SANAA staff responsible for La Biennale including Sam Chermayeff. Thus. the wall textures are different due to erosions over time and some rooms have additional white walls. HyundaiCard for its financial support of technical equipment. forming relationships indirectly as through the internet. Each exhibition space is its own new site and each participant is making a new project within a unique architectural context. In the Arsenale. expressing new ways of living. drawings and other objects must take the place of buildings. but the work is very diverse. people. A small change in the room transforms the cloud and the environment. Architecture has always been a reflection of the collective consciousness. The sizes of the rooms vary. As well as being an exhibition object. Matthias Schuler of Transsolar. Likewise. Rolex for their support. . each of whom propose a different relationship between architecture and people. it will also be an actual built form used as a lecture hall and a café. all rooms are quite distinct from each other. This is because “space” is not solely designed by architects but rather that built forms are realized through collaborations with other professionals. This exhibition allows people to acknowledge various ideas from diverse backgrounds and will reflect the present. This piece was created after the recent earthquake in Chile and is proposed as a prototype for an idealistic social space in the future—where individuals can find their own space of retreat. about an architecture created by different approaches. I feel it is part of our profession to use “space” as a medium to express our thoughts. has proposed a cloud. We have also invited many other architects to study their own work in films that we will show in an attempt to explore how people within space make the space itself. We hope that this show will be an experience of architectural possibilities. It is dynamic architecture that can re-shape itself in response to any condition. and for people to relate to themselves.14 Kazuyo Sejima Biennale Architettura 2010 15 Kazuyo Sejima Exhibition The 2010 edition of La Biennale is an exhibition about finding architecture. Jack Hogan and Satoshi Ikeda.p. which speaks about how we perceive space. visitors are important collaborators. cultures and economies have never been as connected as they are today. Permasteelisa for accomodating the students. for their support of the film project. Due to advances in technology. making it possible for everyone to find their own approach. People can experience the co-existence of a surreal architectural place and ordinary everyday activities. all of the supporters mentioned on the individual participant pages. we have started to connect with other people in a completely different way. demonstrating their position through the mediation of space. La Biennale for its great enthusiasm and guidance. We believe that the existence of these impressions will become far more influential in our future. The Palazzo delle Esposizioni and Arsenale are treated similarly. Each participant is given his or her own space and acts as his or her own curator. the Naoshima Fukutake Art Museum Foundation for their support. the users of a building play a large role. in the Venice Biennale. An architecture exhibition is a challenging concept as actual buildings cannot be exhibited—models. Our new perceptions of life arise from this changing society and develop according to which region. All of the participants show their understanding of and response to the theme. for example. to reconsider the potential of architecture in contemporary society. culture or city they are from. This exhibition selection criterion has identified architects. a physical encapsulation of the evolving lifestyles. R&Sie(n) have an installation that relates to human cycles through a lighting project. Sony Corporation / Italia S. It is a backdrop for people to relate to architecture. In this new intangible world I believe that architecture occupies a unique and important place. We would like to thank all of the participants for their efforts. As an architect. for architecture to relate to people. This installation illustrates the mutability of space. Smiljan Radic and Marcela Correa are exhibiting a large stone which has a space carved out big enough for just one person. artists and engineers. both opened up to natural light. Visitors can react in very different ways towards each installation. which in itself encapsulates future potential.A. In this way the atmosphere of the exhibition will be reached through multiple viewpoints rather than through a single orientation. they determine both the practicality of a building and have a chance to join in the creative process. We hope that people can compose their own relationship with architecture. The twenty-first century has begun and many things have changed. It is an installation that forces people into a new reading and experience of space. raumlaborberlin has made a temporary space like a soft balloon.
16 Kazuyo Sejima Biennale Architettura 2010 17 Kazuyo Sejima Exhibition .
Architects Andrés Jaque Arquitectos Christian Kerez Luisa Lambri Walter Niedermayr Noero Wolff Architects Hans Ulrich Obrist OFFICE Kersten Geers David Van Severen + Bas Princen Valerio Olgiati OMA .ishigami+associates Toyo Ito & Associates.labiennale.org ISBN 978-88-317-XXXX . emotion and fluidity of the architctural program Eve Blau Agency in Atmosphere 326 328 Index 335 345 Wim Wenders Cerith Wyn Evans Biographies of Exhibitors Exhibited Works 38 Exhibition 48 54 58 64 70 78 86 92 100 104 106 112 120 126 136 142 144 150 158 166 172 178 184 190 198 206 210 214 222 226 232 234 240 248 252 260 266 272 278 282 288 294 302 318 Aires Mateus e associados Amateur Architecture Studio AMID.pagina srl Essays 23 28 Maurizio Lazzarato Capitalisme et production de subjectivité Yuko Hasegawa The sensibility.Office for Metropolitan Architecture OpenSimSim Piet Oudolf Pezo von Ellirichshausen Architects Renzo Piano Building Workshop Mark Pimlott + Tony Fretton Architects Cedric Price Smiljan Radic + Marcela Correa raumlaborberlin R&Sie(n) Tom Sachs selgascano Studio Mumbai Architects Fiona Tan + Kazuyo Sejima & Associates + Office of Ryue Nishizawa Transsolar & Tetsuo Kondo Architects © 2010 Fondazione La Biennale di Venezia Ca’ Giustinian San Marco 1364/a 30124 Venezia www.cero9 Aranda\Lasch with Island Planning Corporation ARU/Architecture Research Unit Atelier Bow-Wow Berger&Berger Lina Bo Bardi Studio Andrea Branzi Janet Cardiff Caruso St. John + Thomas Demand Aldo Cibic dePaor architects architecten de vylder vinck taillieu Do ho Suh + Suh Architects (Eulho Suh and KyungEn Kim) Peter Ebner and friends Olafur Eliasson Sou Fujimoto Architects Anton García-Abril & Ensamble Studio junya.18 Biennale Architettura 2010 19 Contents Exhibition Catalogue production Marsilio Editori General coordination Martina Mian Editing coordination Clara Pagnacco Technical coordination Pier Giorgio Canale Lorenzo Pieresca Translations Giacomo Caruso Adelaide Cioni Floriana Pagano Flavia Pesci Viviana Tonon Editing in.
and these have a fundamental role given that the mutation of subjectivity is primarily non-discursive. affects. What is meant by “production of subjectivity” or “subjectification process”? The production of subjectivity puts everything but solely linguistic performances into play: ethological.and inter-subjective relations. technological. none of which can be reduced to the semiotics of language. The technical.” Technical (computer. elaborated and manufactured in the same way as a motor car. existential territories. Subjectivity is a “key good. as phenomenology and psychoanalysis would like. The collective unfolds both beyond the individual in an extrapersonal dimension (mechanical. as sociology would have it. economic. there is actually never an . The old reactionary subjectifications like “nationalism” or revolutionary subjectifications such as the “working class” no longer attract subjectivity. for it conditions and comes into the production of all other goods. In economic production. but also on unconscious illusions. It is also the first and most important of capitalist productions. etc. subjectivity is the product of a mass industry linked at a planetary level. This non-human part of subjectivity cannot be reduced to intra. economic. The processes of subjectification or semiotization are not centered on individual agents nor on collective (intersubjective) agents. intra-subjective instances.22 Biennale Architettura 2010 23 Maurizio Lazzarato Capitalisme et production de subjectivité Exhibition In contemporary capitalism. and media) and social systems modulate and format subjectivity. it is not however a question of a critical policy. and other systems) and prior to the person (preverbal intensities that reveal a logic of affects and mechanical intensities). one always works and produces within a collective concatenation and for a collective concatenation. “to pulsions. acting not only on memory and sensitivity. or a washing machine. The crisis we have been experiencing for forty years. aesthetic. but the collective does not include other than individuals and elements of human subjectivity. semiotic. the student. the user. Nor can subjectivity be reduced. and a prostration of subjectivity. In capitalism. is a crisis of the production of subjectivity. physical dimensions. social. economic. prior to being a political crisis.” whose “nature” is combined. and immaterial worlds. in social production (by the unemployed. spectral. The production of subjectivity is a collective process. because if capitalist society can adapt to passiveness. and inter-subjective relations. This defect of subjectification has asymmetrical consequences. electricity.). and political processes unraveling after the first oil crisis do not find intermediaries of subjectification. demotivation. prior to being an economic crisis. mass media. in communicational production.
not the environment) makes the concatenation. its time is that of the event and its meaning that of the creation of something new in a radically democratic framework.” consisting of semiotic systems and systems of action and passions.” . pathways and territories. and also from the human being. capable of analytically and pragmatically assuming the contemporary production of subjectivity. Guattari’s “aesthetic paradigm” and Foucault’s “aesthetic of existence.” This is the importance Guattari gives the function of architecture and the architect. it is never an individual who thinks. because it is necessary to enter into and operate in the field of a subjective economy. of technologies (books. not even a collection of individuals (intersubjectivity) that works. he must analyze the relations of individual and collective corporeality [. In the same way. it is not dependent on them. and along with numerous other social and cultural actors. He refuses to grant human subjectivity an “existential statute of exception” and asks us to consider that other instances exist that are different from that of the consciousness.24 Maurizio Lazzarato Capitalisme et production de subjectivité Biennale Architettura 2010 25 Maurizio Lazzarato Capitalisme et production de subjectivité Exhibition individual. but at the same time it can also be sustained by concatenations of space. material. This leads not to cognitive. of sources of funding controlled by public and private policies. produces. but also crossed by forces of territorialization and deterritorialization. linguistic. it is defeated by lines of deterritorialization that open it up to other concatenations or to a “future land. body.. constructing exit and return pathways. social life.). communicates. practicing vagabondage and fabricating an “in itself” and an “own house. by plastic architectural concatenations. or any other cosmic concatenation.” The production of subjectivity implies at the same time tracing the material and symbolic outlines of territories and inventing lines of escape. So.” The rules of the production of self are not those written and prescribed by the systems of power. to living and material concatenations. Félix Guattari sees no reason to reject the existence of the equivalent of a subjectivity. producing the otherness of an “other life” and of “another world” (Foucault). but the “optional” and procedural ones that are invented establishing sensitive territories (Guattari).. of self-positioning that. language. rather. That which Marx and the classical economists defined as “production” tends to be identified with the “production of subjectivity. noted that the production of subjectivity and the relationship in itself are “the” contemporary political problems. The “relationship in itself” (Foucault). he could constitute an essential link within the multiheaded concatenation of enunciation. etc. art and execution. etc.”1 These productions no longer have political economy as a model. in the same way in which one can no longer consider the power of enunciation as being exclusive to man and his subjectivity. in order to chart the components that come into a process of subjectification. museums. If the subjective dimension derives from the relationships of power and of knowledge. imaginary. places. it is first necessary to detach subjectivity from the subject. or political paradigms in the classical sense of the term. ideas. Foucault and Guattari. of a “non human in itself” (which he will call “protosubjectivity”) and a power of enunciation (which he will call “protoenunciation”). electronic networks. from the relationships of power and of knowledge.). in the dual sense of breaking out and changing direction. from the individual. derives. removing itself from power and knowledge places and constitutes the condition of the invention and creation of “free men. but to aesthetic tools and paradigms. The relationships of power and of knowledge are doubled by a force of self-assignation. that are linked in a new territorialness that is existential. On this basis. space. and language of the identified subject that can act as vectors of subjectification or as sources of enunciation. but would propose being also the revealer of virtual desires for space. An individual immersed in traditions of thinking or in aesthetic practices struggling with a circulation of signs. a group of individuals. theaters. Why is completion of the production of subjectivity aesthetic-political? In the 1980s. Each person in his own way discovers a new dimension that cannot be reduced to relationships of power and of knowledge. it is never an individual who creates.. The territory (not the space.. etc. The territory is fabricated through elements related to time. “As the architect would no longer have the sole objective of being the artist of constructed forms. and works that force him or her to think and create. as power of self-positioning and existential assertion (Guattari). At precisely the time the concatenation is territorialized. libraries.. but an individual in a network of institutions (schools. Subjectivity can be distinct for an individual. and mythical. Its references are.] an analyst of certain specific functions of subjectification. sensitivity. following different directions.] become an artist and a craftsman of past sensitive and relational experiences [.
“L’énonciation architecturale. but in the fact that it activates. meaning. relations appear that were impossible before. competition. the attainment of the heterogeneity of voices and of verbal and nonverbal semiotics.). or knowledge.” in Cartographies schizoanalytiques . social. when. captures. prior to having an aesthetic sense. but the power to act in a concatenation. it is necessary that the production processes do not refer to any outside authority or power (economic. direction.” or an “economy of desire. The “work” (which may be “artistic. and expression to this emergence.” political. a simple libidinal energy. By desire we do not mean a simple pulsing. the rules.26 Maurizio Lazzarato Capitalisme et production de subjectivité Biennale Architettura 2010 27 Maurizio Lazzarato Capitalisme et production de subjectivité Exhibition But in no case must the “aesthetic paradigm” or the “aesthetic of existence” mean or lead to an aestheticization of the social. Desire thus means acting far from equilibrium. that is. a function.” but to a practice able to return to the point of the emergence of subjectivity and to start from the break with the dominant meanings of which we are prisoner. Paris: Galilée. Secondly. and the regulations are produced inside and by the process itself. If Guattari refers to art. The process does not have a preliminary model of subjectivity and function to which to conform. human and nonhuman. What. The driving forces of these dynamics cannot be needs as in social theory. nor interests as in economic theory. but the concatenations in which and for which the person or the thing exist. and also the means of expression and the contents. desire always means acting in and for a collective or a multiplicity. that take part in its constitution. in specialization. a social utility. political action. to open a process that gives consistency. To make a radical democracy of subjectification real. he does so not referring to the technique of producing objects or works. The subjects and the objects. the practices of constitution. 1989. the putting back into permanent question the identity of the object and of the subject. One never desires a person or a thing. . able to produce its own rules and its own existential coordinates. One has desire only when there is a possible. The source of capitalism’s productivity lies not primarily in the division of labor. Desire always means constructing a concatenation. or religious). Thirdly. One does not desire someone or something. starting from the break of previous balances. but the worlds and possibles that they enfold. and exploits an “economy of the possible. then. like certain aesthetic experiences. a proliferation of possibles. that is. but desire. involves three kinds of problem that concern the social action. The production of subjectivity. p. there is procedural creativity. political. Our epoch imposes new tasks on us. or of “passively represented images. are the conditions of a break at a time when the production of subjectivity is the first and most important capitalist production? What are the specific tools for producing subjectivity to avoid its industrial and mass-produced manufacture by companies and the State? What is the model and what are the methods of organization for a process of subjectification that must arrange the microphysics of power with the macropolitical dimension? 1 Félix Guattari. 291.” The strength of capitalism lies in the fact that it has integrated something of the function of desire into its own function. must document and show the process of selfproduction that constitutes it. etc. it is a process of self-production. and something new: the polyphony of enunciation. Desire means constructing the concatenation that explains the possibles and the worlds that a thing or a person enfold.
1 In the context of the synergizing of this diversity of perception and diversity of intellect. Here. Once could also describe this as the creation of “space” in the context of “relations” to which the self belongs or that are continually creating the self. Here. Modern planning theory has condensed the various diverse and complex actions of humans into the simple and abstract concept of “functions” and matched them with particular spaces in an attempt to logically derive space from actions. The complex factors that need to be considered in creating an ar- . physical and virtual. necessitating alterations to the architectural program. such as those between inside and outside. the main factors giving contemporary society its fluidity are the various aspects of the various accompanying actions that have until now been abstracted. The walls (boundaries) defining the relations of completed architectural programs. architecture (manmade) and environment (natural). the concept of the individual and that of the collective need to coexist. when individuals have distinctiveness on the Internet on account of their electronic signature yet create temporary solidarity within networks. 2 The theme of this exhibition. it is a space where these complex relationship form layers. Media are used differently in new formats on a daily basis. traditional ideologies and ideas cease to function. Architecture was replaced by a simple spatial schema in the form of the combination of spaces corresponding to each of these functions. for example. As noted by Maurizio Lazzarato. that encourage these effects. II. changing the functions of places where people gather. but as an eventlike relation between “possible worlds” turns the traditional viewpoint on its head. As. What is important here is a plurality (diversity) of perception and a plurality (diversity) of intellectuality. Rather. which are incompatible with “planning. and in a post-theory age the power of practice and of actuality/events increases. This change is influenced to an unprecedented degree by media and information. but anticipating these completely is impossible. such as movie theaters. this concept of “architecture” embraces not only buildings but also the acts of creating all manner of spaces. need to be dissolved or the boundaries made more flexible and fluid.28 Yuko Hasegawa The sensibility. will we be able to foresee the necessary functions derived from the complex and diverse actual activities of individuals and incorporate these into the program? This is possible to a certain extent. Modern planning theory was predicated on the work of cutting and dividing the pure. such as how we should view humans as part of nature and the world. conference venues and universities. The intellectuality of the post-theory age Biennale Architettura 2010 29 Yuko Hasegawa The sensibility. People meet in Architecture. nature and the information environment. what can we actually rely on? One important factor in the process whereby the experiences of each individual are crystallized into bodymind or new rationality is collective knowledge premised on the networking and sharing of information. including art. the shared magnetic field is neither the traditional local community nor a historical relationship with the land. That is to say. At a time when there are no conventional norms. “bodymind” is an important key concept. The merging and reorganization of architectural programs is now essential. emotion and fluidity of the architectural program Exhibition The environment surrounding us is changing. Things that rewrite the architectural program Modern architecture has traditionally used machines as a metaphor in considering architecture in accordance with the concept of planning. is an attempt to reconsider the traditional concept of “architecture” by looking at the possibilities of the new order or the creative programs that emerge when people gather and relate to each other within this space. ordered internal world from the chaotic external world and on the act of leaving a clear boundary between the internal and the external. and the body along with its movement produces itself in accordance with the rules of the space. emotion and fluidity of the architectural program I. Of course. Lazzarato’s argument that the relation between self and other should be understood neither as a relation between sub- ject and object nor as a relation between subjects. not only architecture has to change. and life in society in general are also changing. public and private. if we pursue studies of social circumstances.” The networked society has dismantled not only regional boundaries but also information media boundaries. Culture in general. This is because this intellectuality is formed in the context of the constant self-knowledge that we are part of the world. New questions arise. including representational spaces. or in other words the cooperation of minds. However. Here. the Internet not only molds public opinion and brings about similar judgments but has become an important mechanism in creating collective perceptual forms and giving rise to forms that express and organize a collective intellect. or in concrete terms where one can get a real sense—physically or pseudo-physically (virtually)—that one is together with others. The body and the expansion of its energy produce the space. and in the midst of complex networks. Well then. “Experience” and “space” that incite latent sensibilities and knowledge are required in order to enhance bodymind.
a use of glass that shows film-like. he also considers rhythms. but an evolved transparency. which practices an extraordinarily rich life. A moving. .” Later. a layout that baffles users and at the same time provides them free choice. Bo Bardi was inspired by “the Brazilian people who have freedom of movement. what attracts them is not the transparency of Modern architecture. with a mental picture of a river and people playing alongside it. fluid sensibility. Her interpretation of its corporeality can be inferred from the following comments she made upon observing Japanese architecture during her visit to Japan.” “smell” and “hearing. Henri Lefebvre’s statement. The translation into practice of Lefebvre’s declaration that “the user’s space is lived—not represented (or conceived)” is aided by abundant site surveys and countless studies. To the extent that they reflect such virtual space consciousness. but as a device for drawing out new behavior in people walking within these spaces. emotion and fluidity of the architectural program Biennale Architettura 2010 31 Yuko Hasegawa The sensibility. The role of architects living in the present is to live among these people and make clear to them the extent to which their own spaces can suggest new ways of living. When compared with the abstract space of experts (architects. Sejima responded to the sheer weight of the cosmology of architecture (which left her more or less nonplussed) by wondering if it might not be possible to also achieve through architecture the gentle floating sensation of wearing a skirt. and the curvilinear not as a sculptural form. which is to say. but reflecting this in the geometry and abstraction process of architecture is no easy matter. EPFL. the space of the everyday activities of users is a concrete one. She imagined what kinds of activities would unfold in this space. interfaces and media.30 Yuko Hasegawa The sensibility. Her medium is her own body. planners). she “bricolaged” and rediscovered such concepts as Modernism and functionality. This co-existence is also found in Brazil. In the 1950s and 1960s. multilayered reflections. As Toyo Ito has also pointed out. The “diverse intellectuality” of architects interpreting and abstracting the “diverse perception” of users—perhaps relations between users and architects could also be transposed in the same way. She began her drawings for the SESC Pompéia arts center. and of SANAA. 4 Non-visual tendencies are a feature of the architecture of Kazuyo Sejima. “In Eastern civilizations such as those of Japan and China. The architect’s body is unique given the one-time-only nature of life.” 3 is clearly a statement of fact.” “hollow” or “a fictional dream with no foundation. While observing and reflecting directly the circumstances in Brazil and the lives of the Brazilian people. there is a co-existence between a cultural ‘stance’ of the body (the body as ‘spirit’) and the physical act. while following in the tradition of rationalism and Le Corbusier’s functionalism. subjective. So where is the methodology or key leading to architecture that embraces the possibilities of “relational architecture” and “creative programs?” It is thought-provoking that Lefebvre expresses the restoration of the body in terms of the restoration of sensory-sensual space.”7 Through both her architectural and artistic programs. using nature as a metaphor to portray the atmosphere of the surroundings rather than the building itself. Sejima observes intuitively the times in which she lives and diagrammatizes them directly without passing through the detours of existing conventional architectural concepts. etc. These suggestions reflect unchanged the richness and circumstances of the lives of the architects concerned. At the beginning of her career. and calls for the restoration of space for the “non-visual” in the form of “speech. her post-ideological bodymind. they do attract people (many of whom drop in for no particular purpose). and began incorporating actions and events into a new architectural program.”6 something not enjoyed by people in the West. filled with android-like people. although on an unconscious level it is connected to the world. For example. SANAA’s architectural spaces are often described as “lacking texture or flavor. “The user’s space is lived—not represented (or conceived). Lina Bo Bardi could be described as one of Sejima’s precursors. 5 Non-visuality could be described as a new dimension of reality mediated through consciousness. unsettles and suspends the judgment of the viewer while ensuring meaning is constantly fluid and not fixed to one place. of which she was also the artistic director. interpretations of the results. yet at the same time it has a mysterious strength that confuses. Bo Bardi sought to draw out the latent sensibilities and intellectuality of the masses. and bricolage-like methods that involve scouring and applying freely and non-hierarchically data and methodologies from the past.) are liked or not. Kanazawa. Much of this reality is created by means of perception via different receptors. urbanists. the freedom to be rid of institutions.” There is a large discrepancy here between different concepts of what it is that makes something “human.” “the voice. emotion and fluidity of the architectural program Exhibition chitectural program in the form of the existence of people and users have always been viewed as a hazy image. SANAA’s architecture has a non-visual ambiguity that in visual terms approaches dissolution.” That there are many “users” who feel SANAA’s buildings are relaxed. human spaces that liberate their consciousness is probably clear from the fact that regardless of whether the buildings themselves (21st Century Museum of Contemporary Art.
His work for this exhibition. Niedermayr is known for his series focusing on ski fields and hospital interiors. According to Lambri. the freedom with which the viewer can read the results is increased. or the unique sense of materiality in which space seems to diffuse into minute particles. which focuses on public spaces in the Islam world. The politics of the move from photographs to video. Of course. seeks to distance himself from his own subjective and discover and probe that which emerges from the photographic plane. recordings) have greater potential than icons (images) or symbols (meanings/words) to convey the richest aspects of contemporary society. could be described as a method of awakening in the bodies of Sejima and the members of her team. In his “Museum” series. the same could be said of a photo taken in an art museum by someone with a camera phone who tries to photograph a painting but ends up with people in the frame. architectural exhibitions have also been a process whereby photography and architecture are put into the context of modern art. This reflects the current state of affairs in which index-like things (traces. III. also features people abstracted as incidental details. too.” The photographs of cities shot from the perspective of urban anthropological typologies were relatively dry. serving as a dummy “lived” space. and on which of these experiences is the most memorable. which epitomizes the concept of this exhibition. Frankly speaking. In his architectural photographs of SANAA’s work. A sense of unreality and floating emerges as a result of this process of abstraction. but nearly all of his works feature compositions with white backgrounds or spaces over which various tools and people engaged in various activities are scattered in the form of colorful. She has concentrated on photographing minimalist buildings with distinctive openings by the likes of Mies van der Rohe and Oscar Niemeyer. she decides which part of a building to take as her subject matter based on her experiences inside the space. the “International Exhibition of Modern Architecture. The sense of immateriality of his photographs. who was influenced by Bernd and Hilla Becher’s typologies. Since then. which helped her regain her bearings when she became unsure of her location. Luisa Lambri is known for her minimalist style and selective framing. Each of these parts could be described as an index of the building concerned. Her photographs at this exhibition take as their subjects Niemeyer’s . for example. he calls to mind not a hard nothingness but something non-visual. The photographs capture both the composition of the works and the emotions and reactions of the people. In the 21st Century Museum of Contemporary Art. refined as a result of Lambri’s abstraction of her own experiences. which is neutral and has no sense of distance. The presence and actions of the people surface symbolically in the white space. Based on the premise that modern architecture is machinery. a sense that they are participants in the architectural spatial experience. Struth. According to Struth.” and established its Department of Architecture and Design headed by Philip Johnson. Focusing mainly on building exteriors. the Museum of Modern Art in New York held its first ever architectural exhibition. Kanazawa. Here. from symbols to the expression of “actions with multiple meanings” In 1932. a conceptual program as a set of diagrams is dropped into the living space. can be viewed as a continuation of the “Museum” series. Looking at it a different way. This exhibition features two other artists who have contributed photographic works: Luisa Lambri and Walter Niedermayr. Those that do have been the works not of architectural photographers. structures and forms. but rather the conceptual photographic works of contemporary artists. people were absent from almost all of these photographs. by incorporating into the photographs the paintings as well as the positioning of the people the old paintings “come to life” in the present. and few of them captured at a conscious level the relationship between architectural space and people. But the aim of such photographs was usually to record events that took place at the building concerned. is well suited to representing shared conscious space. Thomas Struth’s Pantheon . This is because by rendering the space translucently in the form of particles.” If photographs are stripped of subjectivity and the details captured uniformly with a deep focus. Niedermayr’s approach of seeking to panoramically capture the movement and atmosphere of the interior space is accompanied by a feeling of translucency and a floating sensation. images captured using the device of photography have been used with the aim of presenting the norms and universality of deterministic modernism. He calls the street scenes that are captured by removing his subjectivity “unconscious places. she focused on the windows between the galleries and the corridors. Because in this sense the photographs have no “subject. for example. indeterminately shaped incidental details.32 Yuko Hasegawa The sensibility. The world is portrayed more realistically when it is represented not by a single painting (an icon) but by fragmentary images (an index) sent by mobile phone. Struth sought to depict the trembling of “emotions” and “sensibilities” by capturing together with the famous works on display the people gazing intently at them. some of the photographs did capture architecture and people. the consciousness shared within the space concerned is captured as an event within that space. emotion and fluidity of the architectural program Exhibition The numerous study models that are built to help the designers imagine at the design stage living in the space and that are a hallmark of SANAA. emotion and fluidity of the architectural program Biennale Architettura 2010 33 Yuko Hasegawa The sensibility.
various films and videos have been made on the theme of architecture as documents of architecture in the form of movie sets and of the relationship between architects and architecture. I have already touched on the sense of participation aroused during the study process by the physicality of models. with space viewed as an internal representation of the people who inhabit it. structures. and its users.) is most central to the representation. Claude Lévi-Strauss comments as follows on the role of models: “The choice of one solution involves a modification of the result to which another solution would have led. Demand appropriated this image of the building in the media for a proposal that involved the actual reconstruction of the restaurant beneath a road bridge in Switzerland. removing their spectacularity. One could say that this dialogue appeals not so much to the sense of hearing but to the depth of our consciousness. His works are an example of the “mediafication” of architecture through its transformation into another medium. Such an approach contributes to enriching the “representation of space. At this exhibition. He is thereby transformed into an active participant without even being aware of it. In The Savage Mind . upload.” 9 Full-scale (1:1) models are often presented as detail mockups. various levels of models are presented. the videos that anyone can shoot. from rigid structural models (Christian Kerez) and dioramas with an emphasis on miniature people and scenery (Aldo Cibic) to objet-like models that represent concepts metaphorically (Smiljan Radic) and models that present parts of projects in full-scale. the façade design was appropriated as a symbol of resistance. the building with a tiny restaurant on the ground floor that was the last building to remain standing in opposition to the forced demolitions as part of Chongqing’s urban redevelopment. all the surfaces. both of whom worked in collaboration with architects. Models and mockups as representations of architecture Models represent both developing thought processes and samples of parallel possibilities. Wim Wenders focuses on the relationship that is in the process of forming between a new experimental architectural space. the tropical garden at Renzo Piano’s Menil House. visible through a wall of fogged glass. Unique among them are the full-scale mock-ups created by artist Do Ho Suh and Thomas Demand. a different approach to that of these existing films and videos is presented. structure. for example. mostly students of EPFL. The thoughts of the students in the space can be heard as if we were listening to a vast choir of voices. and a vertical garden in a courtyard at SANAA’s 21st Century Museum of Contemporary Art. Here. The presentation of actual buildings was common in the early days of architectural exhibitions. Since the days of Le Corbusier.34 Yuko Hasegawa The sensibility. mellow experiences of these boundaries become Lambri’s representation of these architectural spaces. and the observer is in effect presented with the general picture of these permutations at the same time as the particular solution offered. an index of lived space. These models all imagine actual structures. In the sense that they serve as an image of the world being streamed online. where Lambri photographed fragments of the dense tropical planting visible through the gaps between the exterior ceiling and the thin columns supporting it. Her ambiguous. as a result of which it loses a certain inherent reality but at the same time gains strong impact in the context of the new medium. Kanazawa. however. In Demand’s works. . etc. message. At this exhibition. Architecture or interior space takes on a feel usually associated with another sense. Demand was inspired by the powerful image of defiance of the so-called Nail House. interiors and so on are reduced to the homogeneous smooth textures of paper. emotion and fluidity of the architectural program Biennale Architettura 2010 35 Yuko Hasegawa The sensibility. but their form differs depending on what (program.” The boundaries are loosely defined. and publish could be described as an even more vivid index. Here I will discuss models presented to an audience as representations. captured on film shot by the participating architects themselves. Their aim is to capture the new representations that are discovered as a result of living in these spaces.” 8 Fiona Tan takes memories and spaces that amass new memories as her theme in a work inspired by her encounter with the new architecture (the Inujima House Project) that arose on the island of Inujima as the old women who live there continued to go about their daily life. the Rolex Learning Center in Lausanne. In turn. these works form an index-like visual record of the relationship between the users. and those who have an ear for it can hear it talk to them directly. and the buildings the architects designed. the building itself is communicating with the users. IV. the multiple fragments forming a single installation (R&Sie(n)). between architectural space and “nature. emotion and fluidity of the architectural program Exhibition Casa das Canoas. Together. The theme of these photographs is the relationship between the geometry of modern architecture and the organic energy of the greenery designed to define its boundaries. news of which was disseminated around the world via the Internet. with nature permeating the space and the space permeating nature. All of the scenes are representations of an emerging architectural program.
YouTube. The Production of Space . 316.: La production de l’espace . by John and Doreen Weightman.. p. 1962). Oxford: Blackwell Publishers.: La pensée sauvage . in a+u Architecture and Cities . 2000. It is removed from the context of universal design and placed on the same level as contemporary pop icons such as McDonalds and Hello Kitty. 1. by Donald Nicholson-Smith.. 4 Ibidem . trans. it is probably Matthias Schuler’s Cloud. 56. This 1:1 scale reflection is in fact a composite relief of two other façades—that of the traditional Korean hanok in which Do-ho and Eulho Suh grew up and that of a typical Venetian villa—blurring the boundaries between the place with which the artist identifies and the place he now is. and the creation of new knowledge could be called “architecture. The Savage Mind (or. who views Le Corbusier as a popular icon of Modernism. human intervention. p. 24. models stir the imagination of viewers through slight shifts in meaning. Blueprint . Blurring Architecture . the Cloud expresses the concept of this exhibition in a more marginal. emphasizes the iconic nature of his work by reproducing it in the form of a minimalist model made from monochrome resin. ed. Through this appropriation and placement. cit. This mechanism. February 1999. the technological intervention of the engineers of this “architecture” (program control and network engineering) has begun to be matched by an opposing emotional. trans. 2008. . 341. Kyoto: Rakuhoku Shuppan Publishers. 1974). individuals can clearly demonstrate their presence. emotion and fluidity of the architectural program Exhibition Do-ho Suh + Suh Architects’ installation. By occasionally climbing the stairs and thrusting themselves above the clouds. comprises a fullscale. too.36 Yuko Hasegawa The sensibility. trans. La politica dell’evento (or. On account of the handwork and bricolage-like methods involved. p. ed. p. The state of affairs in which social networking sites such as Google. São Paulo. but is also a metaphor for the paradigm known as cloud computing. p. In other words. 1991. 1968. Conclusion. Architecture is used as metaphor in many places. p. Lina Bo Bardi “SESC Pompeia Leisure and Culture Centre. p. Italian ed. 8. Brazil 1977”. The Production of Space (or. Like Janet Cardiff’s polyphonic sound work. by Mahoro Murasawa and Tomonori Nakakura.” V.” the contents are invisible and are of no particular concern.” is also a metaphor for the co-creation and collaboration that emerges in the field of consciousness of people who share places/space. 3 Henri Lefebvre. Chicago: University of Chicago Press. Translated from the Japanese edition of Maurizio Lazzarato. vol.: Soveria Mannelli: Rubbettino Editore. This project represents not only a cloud as a natural phenomenon. Here one can find space that transcends representation. Emotion and sensibility form a cloud of consciousness that drifts across and fills the space. Into the clouds If this exhibition points to one form that reflects the age in which we live. 6. although actual software and hardware exist in a “cloud. emotion and fluidity of the architectural program Biennale Architettura 2010 37 Yuko Hasegawa The sensibility. Ibidem . 40. 7 Ibidem . more indirect and diffuse. Tokyo: Seidosha Inc. 362. fabric façade of Do-ho Suh’s New York townhouse. This is another way in which architecture is “lived. which enables users to request solutions from an unspecified large number of participants in a “cloud. 9. 2. Le Corbusier’s architecture is recycled as contemporary information. and Japan’s Nico Nico Douga and Pixiv have become platforms not only for individual creativity but also for anonymous group creativity. The image is of servers that exist in a network being able to access the services provided by the servers concerned without any of them being aware of it. p. 363. Tom Sachs. 5 Translated from the Japanese edition of Toyo Ito. 229.” Here. Henri Lefebvre. reflecting in the floor above which it floats. 379. Claude Levi-Strauss. 2004). an archetype of an everchanging architecture. giving it new life/meaning. yet impactful way.
and scale from the physical object ultimately being produced. Architecture. Architectural design occurs at a huge remove from the materiality and scale of the built work. and reception. is conceived as situated at the intersection of the material and the virtual. is a fundamental condition of architectural conception. recognition. At every stage.” Sejima has said. and how the structures themselves perform once they are built. is carefully chosen. adapting to. sponsors a very particular kind of physically embodied engagement—it has social and political agency—it is where people meet. to how they are fabricated. “In a time when people increasingly communicate through different media in a non-physical environment. and interacting with equally dynamic and mutable physical. introduce a new element of unpredictability that destabilizes the critical relationship between conception and production in architecture. and technological. changes in techniques of visualization.38 Biennale Architettura 2010 39 Eve Blau Agency in Atmosphere Exhibition People meet in Architecture. even engagement. or an ontological condition of architecture? Or is it axiological? The verb. but so far. Innovative technologies not only provide new tools for design. Current parametric and algorithmic modeling processes that seek to combine indeterminacy with control directly engage the issue of uncertainty. . they also open up a vast new field of possibilities for exploring and imagining architectural form and space. people “meet” in architecture. material. as fundamentally mutable. social. They make it possible to produce works of dazzling morphological complexity with relatively simple procedures. they do not bridge the gap between innovative design and production processes. At the same time. Mediation. they open up a space of uncertainty at the center of the design process itself. they connect. Architecture today (as at other moments when technical innovation and especially new techniques of visualization have been critical factors in design. production. one might infer. one senses. in the 1920s. the process of conceiving and producing architecture is mediated. they engage with one another in a particular way. Parametric design processes are a rich and exciting field of formal research. “it is the responsibility of the architect to create actual spaces for physical and direct communication between people. for example). Consequently. So. The statement is at once deceptively simple and infinitely suggestive. as for example when new technologies become available to architecture.” Why is this a critical position for architecture today? Architectural practice has been radically transformed by new technologies of visualization and communication—from the way in which buildings are designed. continuously negotiating. one could say. To meet is to come together and interact in a certain way—a way that involves connection. Is it a declaration of fact or of potentiality? A description of action or circumstance? Is it an observation or a directive? Does it describe an event specific in place and time. Architects always work in some other medium.
visual effects. urban planners. The inclusiveness of 12th Architecture Biennale is clearly not about disciplinary dissolution or the blurring of boundaries. I think that architecture must have some sort of relationship with such a society. One relates to the surroundings of the building and the other has to do with space. This is why the theme People Meet in Architecture is important for architecture today—especially if we take it as a call to reflect on the cultural significance. in other words. it needs to do so “in its own terms. and a call to posit architecture’s agency in the media-dominated world of the early Twenty-first century. poets. fabric. is to be found. It is a form of knowledge that is particular to architecture itself. filmmakers. not to resolve them. sound. and the ways in which they are experienced. It is through those practices and by “exposing what is present” (to borrow Walter Benjamin’s words) that it can “generate new understanding” and enter into the processes of society’s transformation. landscape and urban designers. conceived space. Lefebvre’s theory of the production of space provides a useful framework for understanding the instrumental agenda of the Biennale and its operative concept: “atmosphere. People Meet in Architecture. Throughout the exhibition the worlds of information and experience collide. and our ability to act in it. This is where the criticality and disciplinary relevance of the theme.” “Atmosphere. it would seem to be a summons for architecture to engage directly with the “cultural smoothness” of the information society—to engage the cultural implications of the world of information. that produces “an other space”—a new condition. vegetation.” Space. to engage and proliferate those contradictions. “atmosphere” has many meanings. It is the role of architecture. The new and emerging technologies of communication and information transfer continue to widen the cognitive gap between modes of “knowing” the world—between information and experience—and to multiply their contradictions. I don’t know what type of answer there might be…” It seems clear that if architecture is to engage the media environment as a framework for experimental design practices. or ecologists. organizational logic. “Atmosphere” actualizes difference. The process of engagement and transformation entailed in the . flexible and porous boundaries. and images (still and moving) that reveal both the complex subjectivity of perception and the intersubjectivity of experience that is shared—in the spaces of architecture as it is in the context of the exhibition itself. can produce new social and political meanings within the terms of its own practices.” and stake out a “position towards new social and natural environments. technological. water vapor. The interdependency of space and time are explored through projection.40 Eve Blau Agency in Atmosphere Biennale Architettura 2010 41 Eve Blau Agency in Atmosphere Exhibition environments. but that also changes the way in which we understand our world. connection. qualities of boundary. It can be understood in terms of the socio-spatial dialectic described by Henri Lefebvre as the “production of space. not just the formal possibilities. climate engineers. refraction. filmmakers. a working studio in Mumbai is airlifted to Venice. curators. and multiply their contradictions. practices. But most of all. and programmatic density of a work. They elaborate: “Atmosphere has two meanings for us. The past takes its place with the present and reminds us of the dreams of different times and alternative futures. Sejima herself has said that “Although informa- tion society is invisible. is a concrete abstraction with material consequences.” Like so many of SANAA’s favorite descriptors. intersect. on collaboration. is not a “thing. It is critical if we take seriously the challenge to consider how architecture might “clarify new values. and lived space. on the generation of new forms of practice and formats for architectural knowledge. The other… exists before the building is constructed. “Atmosphere” actualizes architecture’s agency. One… does not exist before the building is constructed. It is not a call for architects to become artists. Many of the projects are collaborative and staged as controlled experiments—a cloud is generated. photographers. in other words. Its social production is negotiated in terms of a “three part dialectic” (une dialectique de triplicité) between perceived space.” Space here is neither an object nor a subject. Time is given substance through stop frame photography and stroboscopic light. critics.” Architecture needs to engage its own codes. but rather “a social reality… a set of relations and forms. Architecture. video and media artists. reflection. movement.” in other words.” So. space is shaped with light. how does the Biennale respond to its own theme and challenge? It does so principally by assembling architects as well as climate engineers. emphasis is on architecture’s cultural milieus. It can describe relations between inside and outside. It can pertain to the physical properties. of its extraterritorial spatial and economic logics. The emphasis is on experiment. It is an emergence that arises out of a multiplicity of interactions between the built object and its physical and social environments. The operative concept in this notion of architectural agency is a kind of engagement that entails reciprocity. and history to stake out a position that is critical in relation to the physical. Instead. that is dialogic and does not move towards resolution but instead continuously establishes meaningful contact with and connection to alterity.” but a “condition” that is both negotiated and durational. and social dynamics. and cultural conditions of its making. light and air. scalar relations. this Biennale suggests. and fabric designers—whose practices constitute a broad conception of the disciplinary milieus of contemporary architectural culture. of the new media and global networks and the social environments they create.
but the launching pad is solidly anchored to the ground…” Whereas for the avant-gardes.”) In this schema. to Aranda\Lasch and Atelier Bow-Wow.42 Eve Blau Agency in Atmosphere Biennale Architettura 2010 43 Eve Blau Agency in Atmosphere Exhibition creation of “atmosphere” can be related to the process. Experimentation is about discovery. Whether conceived as “counterpoint. Agency conceived in terms of “atmosphere” likewise links design to responsibility. Tafuri suggests. The architectural design reveals itself in time and is given its ‘wholeness’ through the relationship with the people who . Many of the projects included in the Biennale—from Rem Koolhaas’s ahistorical conceptualization of preservation. They are.” “immanence. “Atmosphere” puts a distance between the work and its author that opens the work to experience. and SANAA. Herzog & de Meuron.” a process by which some latency (physical. [The designer] cannot possibly grasp the ‘whole’ by completing the physical building. entailed in the concept of “atmosphere. but is always working on something that already exists—even if only as an issue. This is not insignificant. Manfredo Tafuri claimed that “experimentalism is… constantly taking apart. For all the emphasis on the physical instantiation of architectural ideas. in architecture just as in science.” it nevertheless implies a position that is critical in terms of its social and ethical commitments. from OMA. phenomenal) is rendered explicit through engagement. “the problem of checking the effects on the public has little importance. it is not enough to launch the experiments: one has to examine and then act on the results (the “atmospheres”) they produce if the experiments are to generate new knowledge. a process that never begins from scratch. non-oppositional stance of “the post-critical” and its antidialectical terms of engagement. into. [The] real task [of experimentation] is not subversion but widening.” Commitment to experimentalism is one of the distinguishing features of a number of contemporary practices. and Francois Roche’s experiments with bodies moving in light—speak to this conception of design as encompassing both the natural and built environment. as intervention and interpretation. to test a hypothesis. It also relates to what Mies van der Rohe called the betonte Leere (emphatic emptiness) of his houses of the 1920s—the performativity of the architecture. The method of work they employ involves the generation of hundreds of physical and digital models in the process of developing the design of any project. experimentation is an operation carried out under controlled conditions in order to discover something unknown. For Bruno Latour. its openness to experience and disparate acts of inhabitation and use—that make the architecture itself ever-present. It is a protocol adopted in uncertainty. the process actually has much more in common with the experimental methods of scientific investigation than it has with avantgarde art practices. Schuler’s project actualizes the very notion of “atmosphere” as a negotiated condition by translating the terms of engagement of the exhibition itself from binary subject-object relations to the multiply diffuse terms of environment. and penetrated by Tetsuo Kondo’s elegant ramp. ecology. This position has little in common with the affect-driven. Latour notes. This process is often seen as aligning this work with “art” rather than architecture practices. bounded space. and shifts its boundaries and position in response to human action. As Otto Wagner. including nature. (“The most intelligent designers. But. contradicting. and over the Cloud itself—to experience it simultaneously as dense vapor. or law. the Viennese architect of the fin-de-siècle put it a century ago: the built work of architecture produces “effects” that “frequently act like a revelation to the creator of such works. At the same time. To collaborate in the production of architecture is to assume responsibility both for shaping our understanding of the world and for intervening in its ecologies.” the generation of a “third” or “other” condition is predicated on the “actuality” of the built work of architecture in physical space. immanent. and apparent resistance to theorization. design itself has a very particular kind of agency. Diller Scofidio + Renfro. Sloterdijk’s concept of explicitation offers a means of conceptualizing design in terms of action. But none speaks more directly to this claim than Matthias Schuler and Transsolar’s Cloudscapes .” But. but to climb under. as it were. the Cloud makes it possible for visitors not only to feel its moisture and heat on their skin. and hybrid networks. Rather than “objects. In science. Yuko Hasegawa has described it as “simply want[ing] to place the architecture and observe what will happen.” a new form of experience. Everything. Generated in the spaces of the Arsenale. mutates. has to be (and is continuously being) designed and redesigned. which the German philosopher Peter Sloterdijk describes as “explicitation.” or “atmosphere. social. Latour claims. and provoking… Its innovations can be bravely launched towards the unknown. or a problem.” it produces “practices” of innovation.” it generates “projects. the counterpoint of the architecture. it produces its own knowledge beyond the projections of the hypothesis. In architecture. on effect. the openness to experience and the experimentalism inherent in the concept of “atmosphere” is also antithetical to the determinism implicit in the negative-dialectics of “critical architecture. that allows the user to enter into the process of production of the architecture. never start from a tabula rasa . to Piet Oudolf’s landscape. The built work in this formulation has its own agency.” What Wagner conceived as the counterpoint of architecture—its capacity to produce its own form of knowledge—corresponds to SANAA’s conception of the cognitive instrumentality of architecture to generate “atmosphere. and tactile form that moves. putting together. rather than predicting and planning what effect it will have on the surrounding environment.
While focusing on the particular conditions of site. . Economically. organization to structure. This is architecture conceived in the active terms of communication. in other words.” and “to examine how people within space make the space itself” through a broad range of media and design practices. This can be manifested with an architecture grounded in its use by people. The contradictions that proliferate in the ongoing process of exploration are what Tafuri identified as the “widening” capacity of experimental architectural practices that combine control with indeterminacy and open-endedness. materials.” But all are oriented around the proposition that “each relationship has its roots in actuality. remains an open question. The political implications are equally unclear. The media environment. as a society can create architecture in which people meet. surface to volume. edge to boundary. landscape. city. program. physical space. whether the decentralized explosion of user-generated content signals (as some claim) a re-energizing of the Habermassian public sphere and/or the end of privacy. and interaction—that finds the global in the local and seeks the collective in the personal. and structure. So too in the spaces of the Arsenale and Palazzo dell Esposizioni: “Very broadly. and territory. interior to exterior— as well as for recalibrating scalar relationships between building. including architectural culture. In this context the challenge to architecture and its users to rethink categories. Each new problem is the occasion for rethinking fundamental architectonic relationships—of part to part. part to whole. is all the more urgent. In this. openness of closure. materials to techniques. however. but the ultimate ecological impact on the media ecosystem is unknown. There is a politics to this call to promote “a new disparate freedom that is inherent in contemporary culture.” to “speak to how we perceive space. and to “imagine ideas that have far reaching effects. the process by which we design can be brought to bear on the contemporary and future architectural discussion… we can select and arrange works such that they are understood as they ‘are’ rather than as representations. exploring action-based logics for organizing space that give their users the agency to inhabit them as they wish.” It is a call to action and reflection on the ways in which we. Each condition seems to contain its opposite latent within it: transparency of opacity.44 Eve Blau Agency in Atmosphere Biennale Architettura 2010 45 Eve Blau Agency in Atmosphere Exhibition use the building and the surrounding environment. the 12th Architecture Biennale engages the cultural implications of the profound shift that is occurring in what media theorists call the current media ecosystem. the work as such only really begins to exist fully once it enters the world of lived experience. flexible environments. we are told. it engages with the larger cultural and economic conditions of its making—the smoothness and connectivity of the world of information—inventing new hierarchies that produce hybrid. is in the process of radical change—from a system in which the traffic in ideas and cultural products moves in one direction (from broadcaster to consumer) to a system that is multidirectional and in which users are active producers. New complex relationships are emerging between old and new media.” implicit in the Biennale theme. information flow. physical and virtual environments. independence of connection. does not end with the design and construction of the work. regularity of flexibility.” The collective challenge is to “instigate relationships with people. light to space.” Situated at the point of intersection between the material and the social—where the objective and subjective meet—“atmosphere” is both highly unstable and continuously transforming the conditions of its own making. it would seem that we are witnessing a radical shift in the means of cultural production. The particular solution always seems to suggest other viable options. “The atmosphere of the exhibition” is a collective work produced “through multiple view points rather than a single orientation.” The experiment. to generate new hierarchies. Instead. clarity of obscurity.
Aires Mateus e associados Voids
Biennale Architettura 2010
Aires Mateus e associados Voids
Space is a void, a pocket of air that must be contained to define a limit. This precision coincides with an indispensable existence around it which grants identity. To design spaces is to design the possibilities of life, with limits made material. Space is defined by form, texture, color, temperature, smell, and light. Also as a void, a mental process of control over construction where space is at the core: adding subtraction, building excavation. It shifts the center of experience from form to life. At the forefront, space: nearly autonomous, nearly absolute.
Team: Francisco and Manuel Aires Mateus Jorge P Silva, Anna Bacchetta, Josep Pons, Alice Dolzani Construções, Antonio Martins Sampaio, Lisboa With the additional support of: Fundação EDP, DGArtes
Aires Mateus e associados, Santa Marta Lighthouse Museum in Cascais, 2001-2007. Photo FG+SG
Aires Mateus e associados, Santa Marta Lighthouse Museum in Cascais, 2001-2007. Photo FG+SG
Aires Mateus e associados Voids
Biennale Architettura 2010
Aires Mateus e associados Voids
Aires Mateus e associados, House in Coruche, diagram of closed spaces, ground floor plan, roof top, façade and section, 2005
Aires Mateus e associados, House in Coruche, diagram of closed spaces, ground floor plan, roof top, façade and section, 2005
Aires Mateus e associados, House in Coruche, diagram of closed spaces, ground floor plan, roof top, façade and section, 2005
Aires Mateus e associados Voids
Biennale Architettura 2010
Aires Mateus e associados Voids
Photo Dean Kaufman
1to4 scale construction experiment. Photo Lu Wenyu . with five levers. Photo Lu Wenyu TxT oVEr IMAGE BoTH EnG AnD ITA Amateur Architecture Studio. I intend to measure the dome after its decay to check the position of the sticks and construct it again in the exhibition. The structure can be completed within one day if twenty people work together and the materials have been prepared well. in which case. the height will be 3. Factory-produced bamboo sticks and the rough pine wood used in packing boxes at Venice port are used. the simplest construction principles. Decay of a Dome . the base might easily decay and twist. Before the construction in Venice. It contains the fewest kinds of components possible. looking up from the bottom of the model. the shape of which is similar to the dome of western buildings. the height could be as high as five meters with a width of eight meters. but is able to hold weight. It does not need a base. I want to invite people to participate in the construction at a chosen site in my city. The rational construction becomes a nastic construction. it is therefore also easy to move. Decay of a Dome . with a section of eight by eighty centimeters and length of two meters. The construction will need many hands to participate. As an architect with a philosophical Tao background. It is a structure without connections. as fast as construction speed in China now. I am interested in the relationship between decay and adaption. But its construction principle is very like traditional Chinese buildings.5 meters. It will be both quickly constructed and dismantled. Vito Bertin. it uses only one kind of stick with the same section. The most interesting point of the work is that it will change its shape as its height increases. as if floating in the sky. so the construction won’t cause damage to the ground. The height will then be reduced to four meters and kept stable. It is similar to the decay of buildings through time. a status close to nature. It turns out to be a dome space. If the diameter of the structure is seven meters. 2010. 2010 Amateur Architecture Studio. 2010. It follows only one principle. To construct a ten-meter-long.54 Amateur Architecture Studio Decay of a Dome Biennale Architettura 2010 55 Amateur Architecture Studio Decay of a Dome Exhibition I intend to apply a very light structure. Lu WenYu Amateur Architecture Studio. If constructed with seven levers. even those who know little about architecture shall participate. a group of people to assemble. The process could be recorded and be part of the exhibition. I name the work Decay of a Dome. Decay of a Dome . eight-meter-wide and four-meter-high dome will require about 140 wooden sticks. Team: Wang Shu.
2003-2006. Photo Lu Wenyu Amateur Architecture Studio. Decay of a Dome . Vertical courtyard apartment. ningBo History Museum. 2010 . 2010 Amateur Architecture Studio. 2001-2003. Photo Lu Wenyu Amateur Architecture Studio.56 Amateur Architecture Studio Decay of a Dome Biennale Architettura 2010 57 Amateur Architecture Studio Decay of a Dome Exhibition Amateur Architecture Studio. Decay of a Dome .
and a triple cross-ventilated membrane stretched across the metal structure. It alludes to the beauty. and its material. Palacio del Cerezo en Flor. using its scale to establish a point of reference in it. depending on the curvature of the surface. Manu Jimenez. Its renowned high quality stalk-free fruit grows on terraces. its volume. feeding light and views of the valley into this camera obscura . the Jerte cherry crop has become a tourist attraction when the blossom becomes a natural spectacle that briefly transforms the landscape. thickening and forming large open vessels that reinforce the surface on the edge of the apertures. its position. drawing throngs of visitors who form traffic jams amongst flowering cherry trees. which practically cover the whole area. Alex Muiño. Valle del Jerte Biennale Architettura 2010 59 AMID. S. bathed in red paint on the inside. Palacio del Cerezo en Flor.L.58 AMID. Luis Cabrejas Guijarro. (Construction Company). Eva Urquijo ortiz. In recent years. Its cladding is a continuous three-layer membrane that adapts to the initial geometry using differently sized tessellates. Valle del Jerte (Spain). defined by stone walls that span the width of a single tree. Team: Cristina Díaz Moreno.cero9. KAnTrILA. and evanescence of the cherry blossom and the festivities that have emerged around it. a building that can remain closed for months. Jorge Saz Semolino. an assertive building that does not forgo a relationship with the entire valley. the steel and mixed membrane shell. Photomontage . fragility. 2010. a surreal. Margarita Martínez.cero9. The shell is a three-dimensional structure made of slender interwoven steel components that behaves like a dome. BoMA (Structural Management). These large-format items. José Quintanar Iniesta. Paula García-Masedo Client: Junta de Extremadura. 2010 AMID. A continuous blanket of white flowers covers the valley in early spring. dream-like landscape. For the Cherry Blossom Festival. a building that forges an intense bond with the landscape through its presence. are suspended from the space. the basement. The lightweight roof is composed of a crinoline fabric with slender steel rods in rhomboidal patterns. the surface turns back towards the interior. Efrén García Grinda. Diagonal 80 (Digital Printing) and IASo (Membrane Consulting) AMID. A hybrid between a cave drilled with big holes where light enters in the midst of the flowering cherry trees and an interior space defined by its structure and light.cero9 Palacio del Cerezo en Flor. arranged in a strangely continuous way. Mireia Luzárraga. and the concrete ramps and stairs. Valle del Jerte (Spain).cero9 Palacio del Cerezo en Flor. The tessellation geometry is warped by the inclusion of these discontinuities until variable patterns appear. Consejería de Cultura y Turismo With the additional support of: State Corporation for Spanish Cultural Action Abroad (SEACEx). The building space is defined by a family of five elements: the concrete ambulatory ring. we propose the construction of a modern chapel. At the points of discontinuity. Valle del Jerte Exhibition The main feature of the Jerte Valley is its single-species cherry orchards.
Valle del Jerte (Spain).cero9 Palacio del Cerezo en Flor. 2010 AMID.cero9. Palacio del Cerezo en Flor. Valle del Jerte (Spain). Palacio del Cerezo en Flor. 2010.cero9 Palacio del Cerezo en Flor.cero9. internal view of the main model. Palacio del Cerezo en Flor. 2010 .cero9. Valle del Jerte Biennale Architettura 2010 61 AMID.60 AMID. Valle del Jerte (Spain). Photomontage AMID. Valle del Jerte Exhibition AMID.
Valle del Jerte Exhibition AMID.cero9 Palacio del Cerezo en Flor. 2006-2009.cero9. 2006-2009.cero9 Palacio del Cerezo en Flor. nave Industrial para Diagonal 80 .cero9.62 AMID. nave Industrial para Diagonal 80 . Valle del Jerte Biennale Architettura 2010 63 AMID. Photo Ignacio Bisbal . Photo Ignacio Bisbal AMID.
Thyssen-Bornemisza Art Contemporary. hybridize. aperiodic. the process of building architecture is a rehearsal for how matter in the universe assembles itself. Benjamin Aranda. It is possible to imagine both crystal structures and architecture structures as modulated assemblies where simple low-level rules and unfolding symmetries determine large scale organizations. In other words. Maria Anna Kowalska. The energy storage potential in crystals (periodic. and chaotic) is vast and differentiated. Justin Pasternak. the particularities of a design project share something with the nuances of any rock. Lindsey Wikstrom. Spencer Woodward With the additional support of: Fendi. Both become specific not just from the rules embedded within it that direct its growth but also through external pressures that curb this growth. There is no more vital and organizing force for architecture than the productive dis-symmetries of crystallographic structure. nathan Browning Project Team: Michael Fimbres. Arizona State University – School of Architecture + Landscape Architecture Aranda\Lasch. Also. our current era of assembly is the age of the crystal. Chris Lasch. shaped by circumstance.64 Aranda\Lasch with Island Planning Corporation Modern Primitives Biennale Architettura 2010 65 Aranda\Lasch with Island Planning Corporation Modern Primitives Exhibition Architecture is Best organized from Crystals At every moment. Modern Primitives . 2010 Aranda\Lasch. 2010 Aranda\Lasch. Johnson Trading Gallery. Modern Primitives . Modern Primitives . or otherwise change pattern. our own designs at Aranda\Lasch tend towards crystallographic constructions of space. This language of modularity has useful affinities to architecture at large since it describes the ways solid-state matter (like a metal or a diamond) is structured. synthesize. 2010 . crystals are specific. Modern Primitives . using its language of lattices and cells to describe growth. Brian Lee. Computation itself is siphoned through the crystals of silicon chips. they each carry a shadow of the universal tucked into their idiosyncrasies. causing it to react. rishi Sapra. 2010 Aranda\Lasch. Matt Ihms.
66 Aranda\Lasch with Island Planning Corporation Modern Primitives Biennale Architettura 2010 67 Aranda\Lasch with Island Planning Corporation Modern Primitives Exhibition Photo Dean Kaufman .
2007. 2008. Photo Johnson Trading Gallery . Grotto. Photo noah Kalina Aranda\Lasch. 2005 Aranda\Lasch.68 Aranda\Lasch with Island Planning Corporation Modern Primitives Biennale Architettura 2010 69 Aranda\Lasch with Island Planning Corporation Modern Primitives Exhibition Aranda\Lasch. Fauteuil . Quasiconsole .
London School of Economics. Davis Langdon & Seah Korea Co. London School of Economics. Minsun Kang. The quality of the public realm sets the standard of civility of the city and raises the design ambition of the citizens. In the interest of the feasibility of land reclamation. Diverse functions are situated close to each other. London Metropolitan University (Florian Beigel. neutral. Studies of viewing distances and proportions of the water bodies in Cadiz. University of Kassel. business parks. Semyung University. with the artificiality of the proposed new islands will generate a poetic landscape. Ltd). the central lagoon. 2008 . Video Animation (Tapio Snellman. Korea Biennale Architettura 2010 71 ArU/Architecture research Unit Saemangeum Island City. Urban Design Institute of Korea Bumsuk Chung – ArU. Christian rehtanz. The idea is to make the city as a whole an attractive destination for newcomers and visitors. this means high quality water spaces in the city. Jiehwoo Seung. Werner Jager. Christian Grou. Saemangeum Island City. and mountains. The City University. Kang Woon-gu) Clients: Jeollabukdo Provincial Government. Thomas Gantner. Max Lee. Jonathan Connolly). overlooking the Airport City. renewable Energies (Helmut Mueller. London). the natural archipelago of rocky islands along the sea wall. Jürgen Schmid. Fran Tonkiss. Saemangeum Island City. The experience of being on an island and close to water is an important urban design generator. Saemangeum Task Force of the Central Government of South Korea. Mat Santamouris. Korea Exhibition Saemangeum Island City is a phased plan of eight new islands. Architecture research Unit. Venice installation (Barry McCann. such as bed-towns. Eung-Jik Lee. Qingwei Ma. to be built on reclaimed land along the southwest coastline of the Yellow Sea in the Province of Jeollabukdo. national and Kapodestrian University of Athens. Bumsuk Chung. and the former tidal sea shores at Saemangeum. City of Civility The aim is to provide a framework of good public spaces in the city. agriculture in the city. Michel’Angelo Ziccarelli). and Venice helped us to make judgments about the experience one will have of the water spaces between islands. Hydro Building Systems. Philip Christou. the archipelago of Stockholm. Sina Zekavat. tourists visiting the tulip fields. In Saemangeum. Steve Blunt. Joshua Williams) Collaborators: Economic and Cost (Athar Hussain. So Jung Min. London. James Firman. under the direction of South Korean President Lee Myung-bak. and it reduces the wastefulness of daily commuting between zones in the city. Dense urban districts where people live and work will coexist with the beauty of the open landscape of farm fields. 2008 nicola read – ArU. The relationship of the beauty of the mountains to the south. AbuBakr S Bahaj. Chris Drummond. South Korea. nicola read. ArU Students (Minji Baik. Kalle Soderman. Thomas Bates. University of Dortmund. lakes.70 ArU/Architecture research Unit Saemangeum Island City. This increases the potential for adaptability and change in the economy. The proposal is like a collage and translation of well proven and adaptable city structures from around the world. Alexander Bank. Environment (Jonathan Cook. the islands have been shaped to the lakebed topography. compatibility permitting. Dortmund University). Alexander Gore. Southampton University. City of Coexistence We have tried to reduce the need for single functional zones in the city. or self-contained tourist resorts.
Saemangeum Island City. synthesis plan. Korea Biennale Architettura 2010 73 ArU/Architecture research Unit Saemangeum Island City. drawing. Korea Exhibition ArU. 2008 .72 ArU/Architecture research Unit Saemangeum Island City.
Korea Biennale Architettura 2010 75 ArU/Architecture research Unit Saemangeum Island City.74 ArU/Architecture research Unit Saemangeum Island City. Korea Exhibition Photo Dean Kaufman .
Korea. Paju Book City. 2008 ArU. Apartment in Clerkenwell. 1999. Korea Exhibition Philip Christou – ArU. London. Photo Jonathan Lovekin Philip Christou – ArU.76 ArU/Architecture research Unit Saemangeum Island City. view of the Harbour City towards the new Sea Port and the Gogunsan archipelago of islands beyond. Positive People Publishing House. Korea Biennale Architettura 2010 77 ArU/Architecture research Unit Saemangeum Island City. YoulHwaDang Publishing House. Saemangeum Island City. interior of the rare Book Library. 2007 . Korea. Paju Book City. Photo Helene Binet ArU. 2009.
Atelier Bow-Wow House Behaviorology
Biennale Architettura 2010
Atelier Bow-Wow House Behaviorology
The architectural language of Atelier Bow-Wow’s work developed as a result of the dialog between the client’s lifestyle and site conditions. Gae House is for a writer and housewife. They spend most of their time at home and wanted a vertical connection between their own private but open spaces over different levels. House Tower is a house for the manager of an import stationary store and his wife who works in a fashion house. They have a beautiful collection of clothes, records, and books. nora House is for a married couple with two children. They required a kitchen, garden, and natural ventilation. Sway House is for an art director and illustrator who were waiting for their baby to be born. They wanted a small music room for the husband and a studio for the wife, as well as an outdoor bath. Ikushima Liberary is a house for a journalist couple and their three children. They had a large collection of books and wanted a house that is generous in the sense of being able to invite their neighbors in. House & Atelier Bow-Wow is a house and architectural studio. It has nine split levels to create flexible spaces for different activities and uses. Tread Machiya is a house for a banker, housewife, and their two children. The kitchen is the center of the house, acting like the master’s quarters of a ship to care for the family. Bokutei is a house for an editor, housewife, and their two children. They have a plan to eventually transform it to a guesthouse, curry shop stand, and performance space for their artist friends. Tower Machiya is a house for a man, wife and two children. The man’s dream is to become a tea master in the future. The entire house is a series of small living spaces that act as the approach to the tearoom on the top floor. Double Chimney is a villa project by an investor company in Karuizawa. We wanted the clients for this house to be the wind and the heat. Crane House is a villa for a married couple. They wanted a radiant space to escape their weekly urban lives and unwind in the surrounding forest. Pony Garden is a house for a woman whose dream is to live with a pony after retirement. The project is mostly a garden for the pony, where they can spend all their time together.≠Yoshiharu Tsukamoto, Momoyo Kaijima
Team: Yoshiharu Tsukamoto, Momoyo Kaijima Takahiko Kurabayashi, Shinpei Tazaki, Yoshiko Iwasaki, oak Structural Design office, Kudo Komuten
Atelier Bow-Wow, Ikushima Library, interior, Kokubunji, Tokyo, 2008
Atelier Bow-Wow House Behaviorology
Biennale Architettura 2010
Atelier Bow-Wow House Behaviorology
Atelier Bow-Wow, Tread Machiya, section perspective drawing, Meguro, 2008
Atelier Bow-Wow, Bokutei, Sumida-ku, 2008
Atelier Bow-Wow, House Tower, Shinagawa, 2006
Atelier Bow-Wow, Double Chimney, Karuizawa-nagano, 2008
Atelier Bow-Wow, nora House, Sendai, 2008
Atelier Bow-Wow House Behaviorology
Biennale Architettura 2010
Atelier Bow-Wow House Behaviorology
Atelier Bow-Wow, nora House, interior, Sendai, 2008. Photo Hiroyasu Sakaguchi A to Z
Atelier Bow-Wow, Double Chimney, Karuizawa-nagano, 2008. Photo Hiroyasu Sakaguchi A to Z
Atelier Bow Wow, Tower Machiya, façade from street, Shinjuku-ku, Tokyo, 2010. Courtesy The Artist
Atelier Bow-Wow, Pony Garden, Sagamihara, Kanagawa, 2008. Photo Hiroyasu Sakaguchi A to Z
House & Atelier Bow-Wow, interior, Tokyo, 2008. Photo Hiroyasu Sakaguchi A to Z Atelier Bow-Wow, Gae House, interior, Setagaya, 2003. Photo Hiroyasu Sakaguchi A to Z
84 Atelier Bow-Wow House Behaviorology Biennale Architettura 2010 85 Atelier Bow-Wow House Behaviorology Exhibition Photo Dean Kaufman .
our project focuses on dissolving an architectural object into a fictional system. It is a solid piece of architecture and creates a new interior environment formed through the transformation of existing acoustic effects in basic theater design. With this project we assert the autonomy of the object’s own architecture as being more than just a link or an interface between the spectator and the projected works. The selection of works does not necessarily focus on a “theme. Daniela Zyman. our display attempts to simultaneously question architectural models of representation: the movie and theater auditorium. Courtesy robert Cantarella Berger&Berger. Courtesy robert Cantarella. JeanMarc Séré-Charlet. the prefabricated theater resembles a selected array of pieces—films. rather. ça va. DCTP Info & Archiv our warmest thanks to all the artists presenting their films in our movie theater Thanks to: robert Cantarella. The space sketches out an ulterior behavioral and participatory relationship to the public. a prefabricated movie theater is the creation of a unique space dedicated to the meeting of films and their audience. The piece is an architectural structure that operates through the definition of an interior space as it modifies the exterior. Brent Klinkum. Fabricated from Alucobond sheets (aluminum sandwich trapping a polymer core.86 Berger&Berger ça va. then bolted together. The morphology of this inhabitable set obeys the rules and physical deformations of acoustic compositions. a prefabricated movie theater. Galerie Chantal Crousel. Enrico Fontanari. Today. Alexandra Baudelot. this public alcove is an envelope placed within another. Service Culturel de l’Ambassade de France à rome.” but instead offers “moments. CULTUrESFrAnCE. With characteristics similar to a primitive cave. Alain resnais and Ciné Mag Bodard. Marion Tharaud. 2006. ça va. By putting into action this conceptual apparatus. Théâtre Dijon Bourgogne. a prefabricated movie theater Exhibition ça va. a prefabricated movie theater. Thyssen-Bornemisza Art Contemporary. Lux. core uses of a constructed object. Stefano Coletto. Sandrine Mini. a prefabricated movie theater Biennale Architettura 2010 87 Berger&Berger ça va.” “Pieces” question the notion of space. ThyssenKrupp Elevator. 2006. 2006. Image © Guillaume Ziccarelli Berger&Berger. here manipulated with careful craftsmanship). this movie theater has frontal tiers with a small stage and fixed projection screen. The pre-established rule for the design arrangement is to avoid putting two partitions parallel to each other. Steven Hearn. Alain Bessaudou. An installation that asserts the vivid resonance of the “container” or the theater just as much as the “contents” or the visual and sound elements. Berger / Cyrille Berger) Construction Team: Pyrrhus Conception Technical Manager: François Gaultier-Lafaye With the additional support of: Caterina Tognon Arte Contemporanea . Monitor. Conception: Berger&Berger (Laurent P. sound installations—created by artists invited by Berger&Berger. Ministry of Culture and Communication. Christiane Gaultier-Lafaye. a prefabricated movie theater. fictional narrative. architecture. Federica Zama Berger&Berger.Venice. Gabriele Pimpini. Eric Troussicot. Francesca Von Habsburg. it imposes itself as the pure presence of a visual and acoustic environment. a prefabricated movie theater. Le Troisième Pôle. Gérard-Julien Salvy. originally proposed in the framework of a play by Philippe Minyana and directed by robert Cantarella at the Dijon Theater. and time. and the museum gallery. ça va. videos. A temporary movie theater then resulted from protocols that determine an audience’s behavior and can lead to a viewer experience that goes beyond the basic. Courtesy robert Cantarella . ça va. 2006. An unprecedented environment is formed by selecting the minimum necessary volume for an audience of eighty. the plates are grooved for folding. Emmanuel Lefrant. Caterina Tognon. Courtesy robert Cantarella Berger&Berger. Massimo Saidel. Chloé Colpé. Françis rambert.
ça va. 2006. 2006. ça va. Courtesy robert Cantarella. a prefabricated movie theater Biennale Architettura 2010 89 Berger&Berger ça va. 2006. Image © Guillaume Ziccarelli . a prefabricated movie theater. a prefabricated movie theater Exhibition Berger&Berger. a prefabricated movie theater. Courtesy robert Cantarella.88 Berger&Berger ça va. Image © Guillaume Ziccarelli Berger&Berger. Courtesy robert Cantarella. a prefabricated movie theater. ça va. Image © Guillaume Ziccarelli Berger&Berger.
540 × 540 × 250 cm. Dr Jekyll & Mr Mouse . Courtesy the Artists. electric cables. île de Vassivière. mobile art museum. white fluorescent tubes. Artists’ residence and extension of the international art and landscape center. 2008. Beaumont du Lac. Image © Guillaume Ziccarelli Berger&Berger + Thomas raynaud Architecte. Courtesy the Artists. 2011 (year of project 2008). a prefabricated movie theater Biennale Architettura 2010 91 Berger&Berger ça va. 2009. notus Loci . Centre Pompidou Mobile . mobile art museum. Courtesy the Artists. plexiglas. Image © Berger&Berger + BuildingBuilding . Steel. a prefabricated movie theater Exhibition Berger&Berger. Centre Pompidou Mobile . France.90 Berger&Berger ça va. 2009. Image © Berger&Berger + BuildingBuilding Berger&Berger + BuildingBuilding. Image © Berger&Berger + BuildingBuilding Berger&Berger + BuildingBuilding. Courtesy CEnT QUATrE.
Coleçao nelson Kon. Marcia Benevento Lina Bo Bardi. wooden masts present in festivals in Brazil. the drawings are accompanied by plenty of writings that make the architecture a narrative of life that will unfold there. She exhibits the artworks at MASP in transparent supports and walls to bring them closer to the visitors and incorporate the artworks into city life. according to her. She prefers to follow the design of Le Corbusier.M. which brought the geometry of great forms to a human scale. and furniture. but its spontaneity. However. Courtesy Instituto Lina Bo e P. Lina Bo Bardi makes use of her experience with the Italian architect Gio Ponti. renato Anelli organization: Instituto Lina Bo e P. and even vegetation. as if they were checking whether the projected forms may contribute to people’s lives. They are reminders to herself of how certain aspects of the project should be developed throughout the design and construction. but the result of design strategies. The apparently simple and deliberately unadorned line is opposed to the virtuoso drawing that. those are drawings that have something childish. the huge slab of the span of the Museum or in the restored historic houses in Bahia. They function as classical ornamentation. stifles the image and overlaps the idea. people talking among animals. not in the sense of a child’s naivety. construction details. As in this architect’s projects. Capiaus: Pau-a-pique . Bardi. as is usual in architecture. Bardi Collection . native plants.M. with the clean line she calls intellectual drawing.Mostra Caipiras. Attitudes laden with political density that are rare in contemporary cultural practice. There is something of the decorative arts in her furniture design. These works stand out by combining a strong urban presence and a warm welcome to people in their daily life.4 × 15. Lina reproduces African constructions and decorations in Benin House (a center for highlighting the culture of the main ethnic group of former slaves in Bahia) exactly where they were tortured up to the end of slavery. These are not mere illustrations showing the project. However. The drawings gathered here show that this feature is not accidental. In these drawings. In them we see the great forms heavily populated by children playing.M. breaking with separation between erudite and popular culture. 21. Bardi Courtesy: Instituto Lina Bo e P. They appear right in the moment of conception.92 Lina Bo Bardi Biennale Architettura 2010 93 Lina Bo Bardi Exhibition Lina Bo Bardi brings to the People meet in Architecture exhibition some of her most successful projects in creating places for everyday life. visual communication. objects. She pays tribute to Yves Klein and Mayakovski in designing forests of tallow-wood. she acknowledges that this approach is not a problem of scale but of culture. Hydrographics and pastels on paper. SESC Pompéia . Situations taking place under the old factory converted into a leisure center.4. artworks.
1965. 1981. SESC . Bardi Collection Lina Bo Bardi. Watercolor. 1987.Mostra Caipiras. MASP . Bardi Collection Lina Bo Bardi.2.4 cm. study of façade on the Avenida Paulista. Watercolor. Watercolor.Museu de Arte de São Paulo .M.7 × 58. 56. hydrographics and graphite on paper. rollerball pen and Indian ink on paper. 19. Bardi Collection . Courtesy Instituto Lina Bo e P. sketches of details of the staircase and column in reinforced concrete. Courtesy Instituto Lina Bo e P. graphite and Indian ink on paper.9 × 57. Collage. 38.9 cm.8 × 99.M.94 Lina Bo Bardi Biennale Architettura 2010 95 Lina Bo Bardi Exhibition Lina Bo Bardi.M. Courtesy Instituto Lina Bo e P. Capiaus: Pau-a-pique . SESC Pompéia . Casa do Benin na Bahia .Fábrica da Pompéia .7 cm. Bardi Collection Lina Bo Bardi.M. rollerball pen and hydrographics on paper. 32. Courtesy Instituto Lina Bo e P. Perspective of the restaurant.1 × 27.
Photo Divulgation Itamar Miranda. São Paulo. Instituto Lina Bo e P. Concert at Belvedere.M. Bardi. 1992. Brasil .96 Lina Bo Bardi Biennale Architettura 2010 97 Lina Bo Bardi Exhibition Museo de Arte de São Paulo-MASP. 1957-1968.
98 Lina Bo Bardi Biennale Architettura 2010 99 Lina Bo Bardi Exhibition Photo Dean Kaufman .
Seventh recommendation: Consider the city as being “microconditioned all-full”. and replanned. leisure. production. Third recommendation: Consider the city as a place of “cosmic hospitality”. Eighth recommendation: Consider the big transformations as the “result of micro operations”. creating an integrated district without functional specializations. free of any external image”. with all its limits and contradictions. Fifth recommendation: Consider blurred and accessible confines and foundations. specialist types. Tenth recommendation: Consider the city as “living plankton”. It is not my intention to produce a unitary model of the modern “goods civilization” city. interpret the city as a “factory of life”. bodies. place of genome exchanges. or from pre-industrial culture. So the aim of a new Map of Athens is not the city of the Future. but have not yet been properly and globally interpreted.. Claudia raimondo. like Mohamed Yunus’s microcredit. 1995.” a “threshold” that separated it from a politically different world. Collaborators: Stefano Marzano. encourage “planetary coexistence” between man and animals. Second recommendation: Consider the city as a “personal computer every twenty square meters”. bridges. flows of sperm. from the agricultural world. movement. births. incomplete. create areas similar to “functionoids” that can host every activity in every place. still too bound to the centrality of architecture. ambiguous form. Friedman Benda (new York). avoid rigid and definitive solutions and favor reversible. A city that corresponds to our “reformist society. Dario Valenti. Attu Studio. the sacred. we live in a world “that no longer has an exterior”.” a “boundary. services. but a “sensorial. FrAC Centre (orléans). Lapo Lani. cities that are less anthropocentric and more open to biodiversity. Dante Donegani. public and private disappears. Fourth recommendation: Consider new models of “weak urbanization”.” theoretical models that try to interpret the social and functional conditions of the Twenty-first century. non definitive. before existing in reality: mind and psyche are the only possible territories for a refounding of architecture. immaterial” reality. replacement. armored perimeters. imperfect systems that allow the urban space to be constantly adapted to new unexpected and unplanned activities. where technology and the sacred are a single thing. A city that must be constantly “rethought. An “opaque. experiential. Bartolini-Fiamminghi Architetti.100 Studio Andrea Branzi Per una nuova Carta di Atene Biennale Architettura 2010 101 Studio Andrea Branzi Per una nuova Carta di Atene Exhibition In recent years my work has been mainly concentrated on the search for new “weak models of urbanization. ninth recommendation: Consider the city as a “genetic laboratory”. create organisms with an uncertain perimeter. These limits have now gone and. Agronica . Jimmy Gelli Collection: Centre Pompidou (Paris) Musée national d’Art Moderne/ Centre de Création Industielle. in constant transformation. Haruhiko Endo.” free of any unitary reference model. interpret the city as a place where architecture is not a “visual” presence. creating conditions of widespread and reversible livability. but was a useful mental model for interpreting the “industrial city”—a city consisting of specialized zoning (residential.a. living and dead. Metalvetro s. Daniele Macchi. but rather the city of the Present. old city centers) serving a single specialized function. – Milano.” in search of temporary balances. Anna Serena Vitale. an “infinite” that must exist in our mind.p. as the philosophers say. Sixth recommendation: Design “light. Tamar Ben David. people. Antonio Petrillo. as in the Indian metropoli. sexual experiences. Giovanni Lauda. Metea With the additional support of: omnidecor s. readapted. traffic. hybrid semi-urban and semi-agricultural places. changing function in real time. development of one’s own gene. though each maintaining its own autonomy. Afterpixel. cities of humans.l. and new rules to positively manage its own permanent state of crisis. So it is a world where the category of the “infinite” (as Erwin Panofsky wrote) is the only possible symbolic form. imagine permeable districts between city and country. tools. that must every day produce new laws. avoid the identification of form and function. The Twentieth-century city always assumed the presence of a “perimeter. connections with non rigid. productive and hospitable areas that follow the changing of the seasons and climate. interpret the city as a “bio-technological” system. Giovanni De Francesco. technology and divinities. and deaths. rigid systems. Centre Pompidou Collection (Paris) TxT oVEr IMAGE BoTH EnG AnD ITA . goods. removable logistical systems that leave no trace on the ground and adapt to the change of local needs over Studio Andrea Branzi. Le Corbusier’s Map of Athens of 1933 was never implemented. build roads. interpret urban quality as the result of the semiosphere made up of domestic objects. Giacomo Miola. Vetreria Dal Bo’ First recommendation: Consider the city as a “high-tech favelas”. an anthropological area in constant renewal. time. These conditions are profoundly different from those of the previous century. new statutes. but rather to make a contribution to its different interpretation. and human beauty. Alberto Tradati. where capitalism and socialism co-exist. reversible infrastructure”. Bianca Vezzi. Galerie Italienne (Paris). a globalized world where states are ever weaker and society has become a “multitude”. temporary. you have to go into the domestic economies and interstices of everyday life.r. a world where architecture and agriculture merge. a place of computer relations and virtual economies. in our psyche. within an urban fabric where the difference between interior and exterior. Ernesto Bartolini. separated like the teeth of a gear. that produces economy and culture as a spontaneous effect of its own expansive energy.
Friedman Benda Collection (new York) Studio Andrea Branzi. Friedman Benda Collection (new York) . Forest of Architecture .102 Studio Andrea Branzi Per una nuova Carta di Atene Biennale Architettura 2010 103 Studio Andrea Branzi Per una nuova Carta di Atene Exhibition Studio Andrea Branzi. 1995. 2005. Agronica . Centre Pompidou Collection (Paris) Studio Andrea Branzi. Architecture-Agricolture . 2008. FrAC Centre Collection (orléans) Studio Andrea Branzi. residential agriculture . 2007.
Janet Cardiff The Forty Part Motet
Biennale Architettura 2010
Janet Cardiff The Forty Part Motet
Janet Cardiff presents an audio work, The Forty-Part Motet based on the renaissance choral music Spem in Alium by Thomas Tallis (1514-1585). Forty separately recorded voices are played back through forty speakers strategically placed throughout the space. “While listening to a concert you are normally seated in front of the choir, in traditional audience position. With this piece, I want the audience to be able to experience a piece of music from the viewpoint of the singers. Every performer hears a unique mix of the piece of music. Enabling the audience to move throughout the space allows them to be intimately connected with the voices. It also reveals the piece of music as a changing construct. I am also interested in how sound may physically construct a space in a sculptural way and how a viewer may choose a path through this physical yet virtual space.” Thomas Tallis was the most influential English composer of his generation and is one of the most popular renaissance composers of today. He served as an organist to four English monarchs—Henry VIII, Edward VI, Mary, and Elizabeth—as a gentleman of the Chapel royal. one of his greatest works was this composition for forty parts—eight choirs of five voices. It is suggested that this was written on the occasion of the fortieth birthday of Queen Elizabeth I in 1573 to emphasize humility in the context of her suppression of the Catholic faith. “I placed the speakers around the room in an oval so that the listener would be able to really feel the sculptural construction of the piece by Tallis. You can hear the sound move from one choir to another, jumping back and forth, echoing each other and then experience the overwhelming feeling as the sound waves hit you when all of the singers are singing.”
A re-working of Spem in Alium nunquam habui (Thomas Tallis, 1573) Performed by: Salisbury Cathedral Choir recording and Postproduction: SoundMoves Editing: George Bures Miller Production: Field Art Projects The Forty Part Motet by Janet Cardiff was originally produced by Field Art Projects with: Arts Council of England, Canada House, the Salisbury Festival and Salisbury Cathedral Choir, BALTIC Gateshead, The new Art Gallery Walsall, noW Festival nottingham Cardiff Miller Studio, The Forty Part Motet , choir recording, 2001. Photo Hugo Gledinning
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Cardiff Miller Studio, Telephone / Time , installation view, 2004. Photo Jens Ziehe
Cardiff Miller Studio, The Forty Part Motet , 2001. Courtesy the Fondation d’entreprise Hermès, 2009. Photo Atsushi nakamichi / nacása & Partners Inc.
Caruso St. John + Thomas Demand nagelhaus, Project for Escher-Wyss-Platz, Zurich
Biennale Architettura 2010
Caruso St. John + Thomas Demand nagelhaus, Project for Escher-Wyss-Platz, Zurich
Some houses stay, some houses go, some pop-up somewhere else While houses get torn down day in and day out in China, none are as famous as the house that disappeared in the Chinese city of Chongqing in April 2007. Wu Ping and Yang Wu, the owners of the building, which was home to a minute restaurant on the ground floor, fought for three years against the joined forces of the construction company, investors, and Party functionaries. They battled the plan that envisaged erecting a shopping mall where the house stood, even though, by then, all the other buildings in the immediate vicinity had already been torn down. only their house was left standing, because they so stubbornly refused to move. During this time, thousands of people, be they simply passers-by, demonstrators or journalists, stared down into the huge hole that had been torn into the heart of the Chinese metropolis of Chongqing and out of which rose, like a single tooth, the house owned by Mrs. Wu and Mr. Yang—a sight that was spectacular simply because it was still there. Wu and Yang refused to budge an inch, though they were put under pressure, as is usual in China. The earth around them was excavated to precipitous depths and it soon became impossible to keep their restaurant open. But Mrs. Wu would not yield, and instead informed the international press and gave interviews, while Mr. Yang, a former boxer, also remained in his house although the bulldozers dug ever deeper around him. Then, much to the applause of the crowds, he took to the roof of his property, which now resembled an island more than a house, and waved the Chinese flag in anger, as if he had just conquered an important piece of land in the battle with the armies of the Shopping King. The local censors were unable to maintain their prohibition of coverage of the so-called nail House; the Internet carried countless videos and reports, and Wu and Yang became stars of civil disobedience, with many people assembling to demonstrate against the demolition. When it appeared in newspaper caricatures, it was clear that the house had become an icon. For three years the house stood, degraded by the construction planning department to the status of a barren tower, in the midst of the huge hole—a somber metaphor of new China gaping in the middle of the city. Then, in April 2007, Wu and Yang finally gave in and their house was torn down.
Here the story could have come to an end. Instead it now continues in Switzerland, in Escher Wyss Platz, a corner of Zurich West that is not exactly the epitome of casual Alpine comfort. The architect Caruso St. John and the artist Thomas Demand won the competition to redesign the square in 2008. They seek to reconstruct the demolished Chinese house beneath a road bridge, where it will be home to a 24hour restaurant that the creators believe will bring life to a square otherwise lacking in vibrancy.
Caruso St. John + Thomas Demand, nagelhaus, project for EscherWyss-Platz, Zürich. © Martin Mörck, Denmark 2010. © Thomas Demand, by SIAE 2010
With this project, Demand has taken his reconstruction strategy and transposed it from the world of art into the domain of architecture. His photographs of life-size paper models function like the cool storage rooms of memory built around an aesthetics of retroaction and record, yet they preserve shapes—and this is exactly what the resurrected house from China will do. normally, it is old houses that get covered by new interstate flyovers; the reconstructed edifice, grafted onto the urban space under the bridge, up-ends the temporal layers, the city’s sedimentary strata, and their spatio-temporal narration. The house that disappeared juts out of the ground and into the present like the materializing memories in the film Solaris . In Africa, structures built under existing flyovers are more common—as in Lagos, for instance, where, under the concrete columns that support the ring-road flyovers, traders and cookshops have since found a niche for themselves where they supply provisions to drivers stuck in an endless gridlock. In this way, an overhead road construction, which essentially cuts right through city life, spawns a new form of microurbanity.
Caruso St. John + Thomas Demand, nagelhaus, project for Escher-Wyss-Platz, Zürich. © Martin Mörck, Denmark 2010. © Thomas Demand, by SIAE 2010
Caruso St. John + Thomas Demand, nagelhaus, project for Escher-Wyss-Platz, Zürich. © Martin Mörck, Denmark 2010. © Thomas Demand, by SIAE 2010
Caruso St. John + Thomas Demand nagelhaus, Project for Escher-Wyss-Platz, Zurich
Biennale Architettura 2010
Caruso St. John + Thomas Demand nagelhaus, Project for Escher-Wyss-Platz, Zurich
The rebirth of the demolished Chinese house also takes up a classical European tradition dating from the Enlightenment, namely that of the Chinese Pavilion. Since the mid-Eighteenth century, such structures started popping up in parks, such as those at Broughton House, Kew Gardens, Wörlitzer Park, and in Sanssouci in Potsdam, where Frederick the Great had a “‘Chinese house”’ built. The act was also a political statement: European travelers had painted a picture of China as a peaceful society that nurtured a lighter and more playful lifestyle; in military-agricultural Prussia, the Chinese Pavilion bore the promise of a more cosmopolitan and liberal society. The architecture was decorated by chinoiserie and, in the castle gardens, sealed away from the surroundings, it offered a window onto a different world. Even in Switzerland, some of the more philanthropically-minded citizens had Chinese pavilions erected as a sign of their ties to such a culture and their knowledge of the world; among them was shoe manufacturer Carl Franz Bally, who built a Chinese Pavilion in Bally Park in Schönenwerd. Caruso St. John and Demand’s nail House falls into this tradition, too, though instead of courtly Chinese architecture it takes as its role model a type of building that stands for a combative understanding of democracy. Caruso St. John and Demand’s reconstructed house will stand not only as a monument to bourgeois obduracy, but will also be a social experiment that tries to see how migrating forms can bring new life into an urban setting. The Chinese House immigrates to Switzerland and turns the dead square into a place where you can eat round the clock, something that is fairly rare in Zurich. The City Council has approved the project which can be read as a staunch politicoaesthetic statement in a country that, if one considers the prohibition on minarets, is currently ill at ease with its immigrant population. The nail House is also an image for the enervating influence of forms and rituals that have likewise entered the country from the outside. But Switzerland would not be Switzerland if the project were to proceed smoothly. Popular referendums on art are not generally held in other countries, and for good reason. If either the construction of the Eiffel Tower or the design of the republican pavilion depended on approval by plebiscite, then Paris would lack a landmark and Picasso would not have painted Guernica the way he did. In Switzerland, with its zest for grassroots democracy, there have been fewer concerns in this regard, which is why the fortune of the nail House project now hangs on the outcome of a plebiscite. The right-wing populist SVP, boosted by the recene referendum forbidding minarets, has found its next cause célèbre. The construction costs, it argues, are “three to four times higher” than those for a normal kiosk, and it claims the project is a “fiasco” in urban design, artistic, and financial terms. The party has obtained the requisite number of signatures to force e referendum and the matter will be put ttevoters in September. one of the ironic twists to this story is that the house has triggered fundamentally different demonstrations in two very different corners of the world. In the authoritarian big-brother state of China, the demonstrators protested against its demolition, whind in Switzerland, with its tradition of grassroots democracy, they protest against its reconstruction. Text by niklas Maak © Frankfurter Allgemeine Zeitung
Georg Ackermann GmbH, Wiesenbronn, Germany City of Zurich, Switzerland Lichtblick Bühnentechnik GmbH, Hohen neuendorf, Germany oberflächenwelt, Berlin, Germany Illustrations by Martin Mörck, Denmark
Caruso St. John + Thomas Demand, nagelhaus, project for Escher-Wyss-Platz, Zurich. © Martin Mörck, Denmark 2010. © Thomas Demand, by SIAE 2010
© Thomas Demand. John + Thomas Demand. by SIAE 2010 Caruso St.110 Caruso St. © nic Tenwiggenhorn. John + Thomas Demand. Project for Escher-Wyss-Platz. by SIAE 2010 . Berlin. by SIAE 2010 Caruso St. © Thomas Demand. Project for Escher-Wyss-Platz. Zurich Exhibition Caruso St. Paris 2000. Fondation Cartier pour l’art contemporain. Paris 2000. 2009-2010. John + Thomas Demand. © André Morin. Fondation Cartier pour l’art contemporain. Zurich Biennale Architettura 2010 111 Caruso St. neue nationalgalerie. © André Morin. John + Thomas Demand nagelhaus. © Thomas Demand. John + Thomas Demand nagelhaus.
Isabella Falchi. Ilenia Fossati. Martina Facci. the country goes to the city An hour from Shanghai. Valeria Adani. near the northern bypass. SUPErBAZAAr A place in which to live. Lavinia xausa Graphics: Elena xausa Sketches: Chuck Felton Photos: Matteo Cibic and Dario Freguia Energy Concept: Cremonesi Consulenze (renato Cremonesi. Carolina Chini. 2010. About one thousand people work there. Mattia Bianchi. Unicredit Aldo Cibic. Francesco D’onghia. Lucia Pongolini. Paolo Ceresato. where this foreign community finds space to integrate and become a resource for the district. retaining the agriculture.U. Gemmo spa. roberta Bacco. sell. meet. A complex of small. Gruppo rubner. A young group working on innovative new technology start-ups occupying a large area of farmland surrounded by water to allow about 250 young people to live and work there. buy. Carlo Cremonesi) With the additional support of: Buderus spa. Luigi Fumagalli. Marazzi Group. This is an opportunity to invent a new public space to host activities relating to life in the area. Michele novello. A group of buildings raised above the streets creates a perpendicular mesh that floats over the countryside. new polarities . Dario Freguia. Anna Maria Stefani. Diana rizzoli. a large rural area is squeezed in between an expanding industrial area and a new city. Francesca Fezzi. Gruppo Autogrill. Federica Gramegna. Alice Cillara. Melisa Indra. Andrea Fornari. Alessandro Frigerio. Mariano Zanon. general view. Daniela Ventura. trade on the outskirts of Milan. Caterina rosa. rUrAL UrBAnISM The city goes to the country. Silvia Conz. A CAMPUS AMonG THE FIELDS Venice agri-techno valley The Venice lagoon offers incredible landscapes and biodiversity. They are intended for students and non-E. Silvia redaelli. Stefano Zerbato. a good number of whom are young creatives from all over the world. Stefano Chilese. Sport and show. Andrea Argentieri. Corradi spa. The idea is to create a rural park inhabited with low density housing. Collaborators: Chuck Felton. 2010 . a new underground station that crosses the rail link is being built. Dainese. self-sufficient in terms of energy and food. Franca Bosia Models made by: 1a100 (Luca Stalla. Drawing Aldo Cibic.112 Aldo Cibic Biennale Architettura 2010 rethinking Happiness: new realities for changing lifestyles 113 Aldo Cibic Exhibition rethinking Happiness: new realities for changing lifestyles nEW CoMMUnITIES. Martin Bickler. Laura Cremonesi. This leads to the possibility of developing a new model of campus. nationals. Susana Chae. new communities. A new district is created in the center. Antonio Prinzo. nEW PoLArITIES How a small center becomes a big center An international company moves its headquarters to the industrial area of a town at the foot of the Alps. De Carlo Infissi spa. Andrea Finezzo. riccardo rossi) With the collaboration of: Maya Brittain. Tommaso Corà. Giovanni Corà. low cost homes and work spaces develops above the porticoes.
Magic Square . 2010 Aldo Cibic. general view. A campus among the fields . The market square in the suburbs . 2010 Aldo Cibic. 2010 Aldo Cibic.114 Aldo Cibic Biennale Architettura 2010 rethinking Happiness: new realities for changing lifestyles 115 Aldo Cibic Exhibition rethinking Happiness: new realities for changing lifestyles Aldo Cibic. 2010 . Public gardens . rural urbanism . 2010 Chuck Felton. the public square.
116 Aldo Cibic Biennale Architettura 2010 rethinking Happiness: new realities for changing lifestyles 117 Aldo Cibic Exhibition rethinking Happiness: new realities for changing lifestyles Photo Dean Kaufman .
118 Aldo Cibic Biennale Architettura 2010 rethinking Happiness: new realities for changing lifestyles 119 Aldo Cibic Exhibition rethinking Happiness: new realities for changing lifestyles Aldo Cibic. 2010 Aldo Cibic. elements of the design. rethinking Happiness. Un campus tra i Campi . rethinking Happiness. 2010 Aldo Cibic. rural urbanism . nuove comunità nuove polarità . 2010 Aldo Cibic. 2010 Aldo Cibic. rethinking Happiness. rethinking Happiness. Un campus tra i Campi . 2010 . Un campus tra i Campi .
ray Cullen. Jimi Shields. Beneath the transoms. Simon Walker. It is detached with villa aspects. even though I am incapable of identifying them. At the half landing. Jason Ellis. (figure 3) A square plan is an economical speculation beyond the vernacular.” (figure 10) (A. Kvadrat With the additional support of: Culture Ireland Thanks to: nathalie Weadick. Paul Bradley.120 dePaor architects 4am Biennale Architettura 2010 121 dePaor architects 4am Exhibition Title: 4am (figure 1) “From this point on I came to regard architecture as the instrument which permits the unfolding of a thing. which is difficult to extend. the pleated 600-thread-count linen closets the lambs wool treads of the house at 4am. nothing happens. (figure 5) reduced continuity between inside and outside multiplies the encounter between here and there. Giacometti. impressions. Peter Maybury Berengo Studio. (figure 15) “The wardrobe is filled with linen There are even moonbeams which I can unfold. which ascends to descend at the fire escape of the Palace. Breton. (figure 9) “Transformed and displaced images. A cut pyramid roof denies the gable and the small politics of front and back. occurrences that have moved me deeply (often without my knowing it). and sides implicate cupboard and doorway to cross-ventilate between the cast concave corners. forms that I sense are closely associated with me.846-square-foot house is cornered between a two-storey semidetached garden city plan and a ring road at the foot of the Dublin mountains. Fragrances of Ireland. (figure 14) The planed and lavendered 2” × 4” softwood cribbage is glued and screwed at 400-milimeter centers.” (figure 16) (A. A Scientific Autobiography) The square footprint casts the shadow of Adam’s house in Paradise. The thresholds of front. (figure 7) (figure 8) A 1. which makes them all the more troubling to me. (figure 12) (figure 13) At 4am the air duct fouls the upholstered dogleg staircase. rossi. The Palace at 4 am) The section of the house at Pine Valley Park projects a softwood servant carcass insinuated within the colonnade of the Corderia. the found brick columns as giant terracotta rainwater goods. back.” (figure 2) (A. John Casey figure 2 figure 4 figure 5 figure 6 . Judith Devlin. (figure 4) The approach is either oblique or flat and dictates the site. Maria Vlahos. (figure 11) figure 1 figure 3 4am is staged between hylo and hedra. Annette nugent. (figure 6) The tactic and strategy of servant and served plot the room plan. revolver aux cheveux blancs) Collaborators: Anna Hofheinz. a shade and a stone after Dürer’s Melancholia I of 1514.
122 dePaor architects 4am Biennale Architettura 2010 123 dePaor architects 4am Exhibition figure 7 figure 8 figure 13 figure 14 figure 10 figure 9 figure 15 figure 16 figure 11 figure 12 .
124 dePaor architects 4pm Biennale Architettura 2010 125 dePaor architects 4pm Exhibition Photo Dean Kaufman .
Katrien Vandermarliere. DExIA. Luca Molinari. specifically. revisiting as the ultimate meeting. Still today it is a daily manual in the office. By paper and by the drawing people meet architecture. but also specific to drawing and deciding on every last detail. It seems that it was this specific project that made the curators decide to invite us to this biennale. ordos 100 . The title 7 houses for 1 house says in one sentence what the concept is about: at that time we rescaled the issue of a 1000-square-meter dwelling towards a more feasible scale—at least for us—of seven times a house of about 150 square meters. olivier Goethals. People meet again. Jeroen Musch (nL). ABET LAMInATI. and again and again. revisiting as the ultimate meeting. Inge Vinck. ordos. Architecture makes people meet. A house. architecten de vylder vinck taillieu. The original ordos 100 plot # 001 id 096 was developed by jan de vylder architecten—Jan De Vylder and Inge Vinck. The second “revisited” points to what people do: meet in architecture by revisiting places. Johnny Maris. Inge Vinck. As the act of architecture. Gosia olchowska. VAi Vlaams Architectuurinstituut / Flemish Architectural Institute. Seven different media will guarantee the complete perception of the project. spaces. The act of revisiting as the act of meeting. People meet in architecture. a space. the idea that this project has become a reference in our practice today. Meeting seen as “making a place. It seems that this project merged with the theme People meet in Architecture. To be inspired by. Karolien Verstraeten. And. roose&Ternier meubeatelier / forniture atelier. Team: Jan De Vylder. Jeroen Musch (nL) Thanks to: Jerry Aerts. Jessica Langerock Frank Ternier With the additional support of: deSingel internationale Kunstcampus / international arts campus Antewerp Belgium. Tony Fretton. The development became real ongoing research and debate on how we wanted to develop projects as such. It points to an attitude. Dawid Strebicki. Indra Janda. but also the drawings—the drawings. ordos 100 The last or perhaps first “revisited” points specifically towards the aspect of drawing. and we took it as the starting point—the point for presenting our work or attitude at the Biennale. A house.” A scale we can feel. together with the models. We started from the concept of the “house. our house. Jo Taillieu. The “revisited” concept points to several ideas. Hui Ping Foo. The drawing is the medium where architecture starts. and Jo Taillieu. A place. Lauren Dierickx. or to oppose.” Defining a space. China. the technical or construction drawings. People meet in the drawing. The interest was not only in the design. a place. A dream. First. Frank Ternier. CAnon. We appreciate this point of view. the drawing is also the ultimate place where you can meet the project. revisiting space. Stefan Delombaerde. To look at. Makes people revisit each other. A drawing. all the collaborators of architecten de vylder vinck taillieu and especially Gosia olchowska TESTo EnG TroPPo LUnGo DI 1 rIGA architecten de vylder vinck taillieu. The actual project 7 houses for 1 house is presented by architecten de vylder vinck taillieu—Jan De Vylder. Kazuyo Sejima pointed to our proposal for the ordos 100 project—a project initiated by Herzog and deMeuron and led by Ai Weiwei in 2008—in Inner Mongolia. a house. buildings.126 architecten de vylder vinck taillieu 7 houses for 1 house / the ordos 100 project revisited / ordos 100 # 001 id 096 Biennale Architettura 2010 127 architecten de vylder vinck taillieu 7 houses for 1 house / the ordos 100 project revisited / ordos 100 # 001 id 096 Exhibition In our first communication. Moritz Kung. houses.
ordos 100 . ordos 100 architecten de vylder vinck taillieu. ordos 100 architecten de vylder vinck taillieu.128 architecten de vylder vinck taillieu 7 houses for 1 house / the ordos 100 project revisited / ordos 100 # 001 id 096 Biennale Architettura 2010 129 architecten de vylder vinck taillieu 7 houses for 1 house / the ordos 100 project revisited / ordos 100 # 001 id 096 Exhibition architecten de vylder vinck taillieu.
130 architecten de vylder vinck taillieu 7 houses for 1 house / the ordos 100 project revisited / ordos 100 # 001 id 096 Biennale Architettura 2010 131 architecten de vylder vinck taillieu 7 houses for 1 house / the ordos 100 project revisited / ordos 100 # 001 id 096 Exhibition Photo Dean Kaufman .
leeuw saint-pierre architecten de vylder vinck taillieu.132 architecten de vylder vinck taillieu 7 houses for 1 house / the ordos 100 project revisited / ordos 100 # 001 id 096 Biennale Architettura 2010 133 architecten de vylder vinck taillieu 7 houses for 1 house / the ordos 100 project revisited / ordos 100 # 001 id 096 Exhibition architecten de vylder vinck taillieu. leeuw saint-pierre architecten de vylder vinck taillieu. iota . kongo architecten de vylder vinck taillieu. leeuw saint-pierre architecten de vylder vinck taillieu.
© Filip Dujardin. by SIAE 2010 architecten de vylder vinck taillieu. by SIAE 2010 . © Filip Dujardin.134 architecten de vylder vinck taillieu 7 houses for 1 house / the ordos 100 project revisited / ordos 100 # 001 id 096 Biennale Architettura 2010 135 architecten de vylder vinck taillieu 7 houses for 1 house / the ordos 100 project revisited / ordos 100 # 001 id 096 Exhibition architecten de vylder vinck taillieu. HeL . HeL .
The image is a compilation of a section of the artist’s original Korean home. present. 348 West 22nd Street. From this cobalt blue “ceiling. the viewer then finds himself standing on what appears to be the building’s shadow. between art and architecture. nY10011. hand-stitched. A. Apt. Direct Dimensions Inc. Thus. and a typical Venetian villa façade. Beyond the entry. the townhouse hovers above the viewer. Yoojin Han. between where one once was. global society. by creating a hard. 2010. exploring their notions of home. Sunyoung Co. now is. and future silhouette. twice-removed. This full-scale floor installation is comprised of CnC routed High Pressure Laminate panels upon which viewers are able to walk. Seokji Jean Whail System (Gyeonggi-do. and its past. new York. Do ho Suh – Fabric Installation Collaborators: Arthur Henoch. new York Do ho Suh. and soon will be.7 meter tall. Do ho and Eulho Suh (Suh Architects). Do ho Suh’s work is a full-scale (1:1 scale) 12. ephemeral architectural façade. ArT (Seoul. Beginning with artist Do ho Suh’s current new York address.Floor Installation Collaborators: Shani Cho.136 Do ho Suh + Suh Architects (Eulho Suh and KyungEn Kim) Blueprint Biennale Architettura 2010 137 Do ho Suh + Suh Architects (Eulho Suh and KyungEn Kim) Blueprint Exhibition Blueprint is a dialogue between an artist’s home. If suspended horizontally. USA. translucent fabric façade of the new York townhouse where he presently resides. Korea). the viewer is invited to enter this dream-like drapery building through an entry on the ground floor. © the Artist . they adopt characteristics of one another to emerge as a new composite shadow that reflects three different homes at once. this collaboration questions the boundary between “real” and reflection.” a front stair extends down to the floor where Suh Architects’ “reflection” begins. (Gyeonggi-do. the artist continues to explore the notion of home in a nomadic. Korea) With the additional support of: Lehmann Maupin Gallery. Jihyeun Byeon. If suspended vertically. the collaboration with Suh Architects re-envisions the hanok in which they grew up together as it arrives in Venice. As part of a series of works recreating the buildings in which he has lived. Italy. an ephemeral blueprint floating in from new York. This dialogue began with two brothers. his present new York home’s façade. USA . Korea) Suh Architects (Eulho Suh + KyungEn Kim) . physical imagined “shadow” that is a reflection of a soft. These three building façades do not merely overlap.
© the Artist Do ho Suh. 348 West 22nd Street. A. new York. USA . Apt. © the Artist Suh Architects (Eulho Suh + KyungEn Kim).138 Do ho Suh + Suh Architects (Eulho Suh and KyungEn Kim) Blueprint Biennale Architettura 2010 139 Do ho Suh + Suh Architects (Eulho Suh and KyungEn Kim) Blueprint Exhibition Do ho Suh. Blueprint . 2008. 2010. 2010. © the Artist .. nY10011. Staircase-V.
140 Do ho Suh + Suh Architects (Eulho Suh e KyungEn Kim) Blueprint Biennale Architettura 2010 141 Do ho Suh + Suh Architects (Eulho Suh e KyungEn Kim) Blueprint Exhibition Photo Dean Kaufman .
inviting you to gaze at the sea. In the Baroque period the plasticity was endlessly multiplied: enormous painted ceilings opened up onto a heavenly scene populated by ranks of saints or gods. according to whether the building was sacred or profane. In the end the discourse still wavers between these two.V. Luis D. The first building ever made with translucent concrete is the ICA headquarters of our offices in Mexico city. Translucent concrete with steel reinforcing makes the lines of strength in the structure directly visible.. roberto Sánchez Cortina. The piece of translucent concrete displayed in the Venice lagoon is intended to show that there are aspects that are always new that can be radically modified by architecture. Enjoy this view! Michael Eichner. even if it seems that we have long left them both behind. If you don’t genuinely trip up. vegetal and then once again geometrical. similar to Plexiglas. From that time on the building itself was exalted.A. Peter Ebner and friends. Javier Sanchez. or the cruise ship towed menacingly towards the city. Gianluca Andreoletti. Sergio Barrios Production: Concretos Translúcidos S. Gerardo Fonseca. perfect beauty then became the result of pure logic. Virginie Vernis de Velasco Engineering: Fernando Valdivia. the first question to ask concerns the best way to represent the interior of a structure in reinforced concrete. you will pass by without even noticing them. These fantastic structures symbolizing the heavenly vault have never supported any weight. Construction engineering wiped out this connection between the here and now and the beyond. de C. Without drawing our attention.A. which in the case of the concrete shaft is intended as a decorative motif. The visualization of the interior life of a building in reinforced concrete invalidates traditional logic and the load bearing structure is at the same time also decoration.V. the passing ferries. de C. With the support of: Hewlett Packard Peter Ebner and friends. The structures contained in them were extremely elaborate. and beauty was no longer only the good but much more: it was truth. the oblong shaft rests on two small plinths that keep it suspended above the ground. Translucent concrete represents a revolution that is only now beginning to be put to the test in architecture. The front end of the eightmeter-long piece extends over the stone bank without supports or parapets. related to the configuration of the forces of traction. as in an x-ray in which the limbs become transparent.I. with wooden trusses and sophisticated hanging constructions that acted as a ground for this perfect illusionism. rodrigo Langarica. the motorboats that ply the waters of the lagoon. This is not a new material. Michael Schwarz. Translucent Concrete The translucent concrete element in the new garden designed by Piet oudolf at the Arsenale seems like a simple piece of urban furnishing. Claudio Valentino Design team: Javier Sánchez Mariana Paz. Sistach. we see the skeleton of steel reinforcing. For the first time. what is really astonishing is the material with which it is made: a transparent material. Moveable ribbed vaults. almost as if a stone ready to trip us up. due to the mechanics of forces. 2010 Being translucent concrete. opaque but hard as concrete. 2010 . Fermín Beltrán robles Tranacer S. Franziska Ullmann. enjoy the view.P. but a completely new interpretation of an already known material.142 Peter Ebner and friends enjoy the view Biennale Architettura 2010 143 Peter Ebner and friends enjoy the view Exhibition The Gothic turned the building into decoration. because in fact it is concrete. enjoy the view. Indeed. extend luxuriantly over late Gothic ceilings.
© 2010 olafur Eliasson . Habitual coordinates such as subject and object. pump. Water. strobe light. Water. in a jolt. © 2010 olafur Eliasson olafur Eliasson. gravity and antigravity with which we normally navigate are freed up. pump. hoses. This feeling of reconstituting our way of experiencing the world can happen suddenly. but the part of now that is a void. dimensions variable. 2010. This void seems static.” With the additional support of: Kvadrat olafur Eliasson. To quote my friend otto rössler: “How long does it take an astronaut to get out of a black hole? About a day.144 olafur Eliasson Your split second house Biennale Architettura 2010 145 olafur Eliasson Your split second house Exhibition A split second is the space between two seconds. as if it doesn’t occupy a graspable period of time. In it. 2010. frozen in time. But for people who are not in the hole. but only realize afterwards that we have lived through one. inside and outside. dimensions variable. the astronaut takes forever. What might change is the way we relate to it. hoses. Tests for Your split second house . strobe light. Tests for Your split second house . We do not feel the split second. the gap between past and future. only very few people know this. nothing changes. not just now.
146 olafur Eliasson Your split second house Biennale Architettura 2010 147 olafur Eliasson Your split second house Exhibition Photo Dean Kaufman .
Mikroskop . Photo Keizo Kioku . neugerriemschneider (Berlin) and Tanya Bonakdar Gallery (new York). Photo Studio olafur Eliasson. room for one color. Courtesy the Artist. Your blind movement. 2010. 1997. 2010. Courtesy the Artist.148 olafur Eliasson Your split second house Biennale Architettura 2010 149 olafur Eliasson Your split second house Exhibition olafur Eliasson. Courtesy the Artist. neugerriemschneider (Berlin) and Tanya Bonakdar Gallery (new York). © 2010 the Artist olafur Eliasson. Photo Maria del Pilar Garcia Ayensa olafur Eliasson. neugerriemschneider (Berlin) and Tanya Bonakdar Gallery (new York).
lightings. indefiniteness. and order live together in one building. France The building is composed of slabs layered at 350-mm intervals. openings. uncomfortable. France.” This idea was not to create a functional machine but rather a more fundamental “place for living. 700mm (350*2) is the height of desks. This house can be said to be inconvenient. We believe that this project envisages a new prototypical mode of living. at Château La Coste in Aix Provence . now. and from the relationship between parts. is it possible to “design” such inconvenience. at Château La Coste in Aix Provence. However. or a cave. 350mm is the height of chairs. such as impractical. 151 Sou Fujimoto Architects Exhibition Primitive Future House – Study for the pavilion for the works by W. desks. By using this method. imperfectness. This succession of such different levels creates a variety of places. © the Artists Sou Fujimoto Architects. shelves. It is about 1/10 of the conventional story height.150 Sou Fujimoto Architects Biennale Architettura 2010 Primitive Future House – Study for the pavilion for the works by W. the word “place” may also be replaced by “prompt” or “key. France . Stylplex S. 2010. France TxT oVEr IMAGE BoTH EnG AnD ITA Sou Fujimoto Architects. The most complicated and ambiguous thing is the simplest. inconvenience does not have any negative connotations. Here. and structure. in this project. not overall order.S. We think that inconveniences can prompt multiple human activities.C. 350mm is based on the size of human activities. For example.S. With the support of: Patrick McKillen. stairs. roofs. floors. Then we can make ambiguity. at Château La Coste in Aix Provence. similar to the relationship between nature and man.S. gardens. which is new simplicity. we design architecture from local order. 350mm (the intervals of the slabs) serves as the local order. at Château La Coste in Aix Provence. As they seek out functions for these places by instinct. a nest. 175mm (350/2) is the height of the steps of stairs.” Within this context. the inhabitants manage to dwell in this topography called a “house. Primitive Future House – Study for the pavilion for the works by W. © the Artists . The new relationship between architecture and the human body is born there. we tried a “relationship between Parts” method. or ill-equipped.n. Jun Sato Structural Engineers.” This is a primitive place like a cloud. and unexpected surprise? For this purpose. Tim Power Architects. These slabs can be used as chairs.S. 2010. Primitive Future House – Study for the pavilion for the works by W. 350mm is the new module of architecture.
152 Sou Fujimoto Architects Biennale Architettura 2010 Primitive Future House – Study for the pavilion for the works by W.S. at Château La Coste in Aix Provence.S. France Photo Dean Kaufman . France 153 Sou Fujimoto Architects Exhibition Primitive Future House – Study for the pavilion for the works by W. at Château La Coste in Aix Provence.
Final Wooden House. France Sou Fujimoto Architects. Tokyo.S. France 155 Sou Fujimoto Architects Exhibition Primitive Future House – Study for the pavilion for the works by W.154 Sou Fujimoto Architects Biennale Architettura 2010 Primitive Future House – Study for the pavilion for the works by W. at Château La Coste in Aix Provence. 2008. Tokyo Apartment. © the Artists . 2010. at Château La Coste in Aix Provence.S. © the Artists Sou Fujimoto Architects.
Japan. Children’s Center for Psychiatric rehabilitation. 2008. oita. at Château La Coste in Aix Provence.S. Japan. House n. Photo Iwan Baan Sou Fujimoto Architects. at Château La Coste in Aix Provence. 2008. France 157 Sou Fujimoto Architects Exhibition Primitive Future House – Study for the pavilion for the works by W. France Sou Fujimoto Architects. oita. Hokkaido. Japan. House n.156 Biennale Architettura 2010 Sou Fujimoto Architects Primitive Future House – Study for the pavilion for the works by W. Photo Iwan Baan . © the Artists Sou Fujimoto Architects.S.
Juan ruiz. 2008 (year of project 2005). ricardo Sanz. which results in a new and disturbing reading of the Arsenale space. on the clear structure of the building. Hemeroscopium House. Video of Hemeroscopium House: Ensamble Studio Video of The Truffle: Esteban Iglesias Francheteau Video of Linkcity: Esteban Iglesias Francheteau. affecting its verticality. This is where gravity. State Corporation for Spanish Cultural Action Abroad (SEACEx) Anton García-Abril & Ensamble Studio.158 Anton García-Abril & Ensamble Studio Balancing Act Biennale Architettura 2010 159 Anton García-Abril & Ensamble Studio Balancing Act Exhibition Balancing Act is a play of balance. where the diverse technique is the way of achieving the polyphonic object. The new forces incorporated into this space play with this rhythm creating a new order. Photo roland Halbe . face the harmony of the Arsenale space. And the primary space now plays with the actions we have caused. creating a complex compositional sequence. This architectural structure is the basis for the Balancing Act installation. Contrapuntal structures. and in which the dissonant balance of the Balancing Act is just one chord. the interference caused by generating a diagonal incision cuts on the bias the previous line marked by the old structure. predominantly horizontal. like notes to a new tonal chord in perfect balance. breaking its scale. Débora Mesa. developed and carried in intervals. order. Madrid. Tomaso Boano. which operate as a reagent to modify the original space. different voices occur around that theme. Alba Cortes. and the intervals displayed in the space by the sequence of columns receive the insertion of new elements. and harmony of the itinerary that. after the appearance of the original space. This tense and unstable dissonance generates intense friction. continues through the linearity of the building to receive other voices.” in which different spaces follow one another. The structural columns supporting the weight of the building provide the “tempo” of the visit. Two structural lines in the longitudinal space of the Arsenale buildings. Las rozas. where. The harmony between the two now contiguous structures forms a space from the two systems that meet. This is how we play with balance. from our perspective. using the gravitational actions that the structures generate. Artemio Fochs navarro Video of Tower of Music: Ensamble Studio Models: Ensamble Studio Collaborators: Javier Cuesta. an architectural “fugue. Federico Letizia With the additional support of: Positive City Foundation. We have understood the whole Arsenale as a theme of multiple counterpoint. which transmits its load in the building. Spain. a composition in which several voices sound at the same time. combines and reacts with the new structure. with the forces of the space. face and compare each other. And the aerial balancing act that invokes spatial conditions which were absent in the previous space thus accentuates the consonance.
160 Anton García-Abril & Ensamble Studio Balancing Act Biennale Architettura 2010 161 Anton García-Abril & Ensamble Studio Balancing Act Exhibition Photo Dean Kaufman .
Photo roland Halbe . The Truffle. Spain. 2010 (year of project 2006). Photo roland Halbe Anton García-Abril & Ensamble Studio. Costa da Morte. Costa da Morte. The Truffle. Spain. 2010 (year of project 2006).162 Anton García-Abril & Ensamble Studio Balancing Act Biennale Architettura 2010 163 Anton García-Abril & Ensamble Studio Balancing Act Exhibition Anton García-Abril & Ensamble Studio.
2010 (year of project 2006). 2010. Wo-Ho. The Truffle . Photo Ensamble Studio Anton García-Abril & Ensamble Studio. Photo Ensamble Studio Anton García-Abril & Ensamble Studio. Wo-Ho. Costa da Morte. Photo Ensamble Studio Anton García-Abril & Ensamble Studio. Photo Ensamble Studio Anton García-Abril & Ensamble Studio. Photo Ensamble Studio . The Truffle . Wo-Ho. 2010. Wo-Ho.164 Anton García-Abril & Ensamble Studio Balancing Act Biennale Architettura 2010 165 Anton García-Abril & Ensamble Studio Balancing Act Exhibition Anton García-Abril & Ensamble Studio. 2010. Costa da Morte. 2010 (year of project 2006). Photo Ensamble Studio Anton García-Abril & Ensamble Studio. Spain. 2010. Spain.
Thus a structure of architectural scale emerges as an aggregate of things so small in scale as to deviate enormously from the usual scale of architecture. may succeed in creating a new world unlike anything we have ever seen before. The components would be superfine beams and columns and bracing. Architecture as air: study for château la coste . This will require thinking of architecture as air—all around us.ishigami+associates Architecture as air: study for château la coste Exhibition Architecture’s ability to produce transparency may be limited by the same massive. lies in eliminating the boundaries between space and structure.ishigami+associates. they in fact deviate entirely from that scale. failing to manifest as a visual image. or an actual construction. model photo. instead perceiving the massive agglomeration of tiny structures itself as a transparent space.ishigami+associates Architecture as air: study for château la coste Biennale Architettura 2010 167 junya. a void. The aim here is to arrive at a new type of transparency that goes beyond concepts such as lightness and weight by infinitely weakening and diluting these boundaries that give buildings their form. Mixed media.ishigami+associates. The object here is to move beyond the unrefined opacity of structures in pursuit of a new architectural transparency. Architecture as air: study for château la coste . infinitely see-through. perspective drawing. Mixed media. the structure is of a scale enabling it to be viewed as a model. ErCo Lightning Company junya. we were to think of a building as an aggregate of minute parts—like air? This is a full-scale study for a building planned for somewhere in Europe. designed specifically for the purpose and fabricated to a scale so small as to make them almost impossible to perceive at first glance. Within it is revealed something transparent. atoms and subatomic particles—in turn. infinitely full. indeterminate contours rather than structures supporting the building in defiance of gravity. molecules such as oxygen and nitrogen and vapor. a “structure” has substance and density. These supremely delicate elements.ishigami+associates. is air.166 junya. endlessly spreading. in all its transparency? An aggregate of unique structures. in actual fact. Mixed media. The key. Far smaller than anything on an everyday scale. I believe. all collections of minute structures themselves. Courtesy the Artists junya. As a result we are unable to actually sense that anything is there. would dissolve into transparent space to form blurred. Courtesy the Artists . “Space” is light and empty. view from far to closer. filling space as it goes. Collaborator: Jun Sato Structural Engineer With the support of: Patrick McKillen. This construction. Courtesy the Artists junya. for instance. Architecture as air: study for château la coste . possessed of a mysterious atmosphere. But what. solid structures that give a building its very shape. Approximately fourteen meters in depth. But what if. invisible to the naked eye. The aim is to identify just what that something is. This study would attempt to bring a new transparency to architecture. and four meters high. four meters across.
junya.ishigami+associates Architecture as air: study for château la coste
Biennale Architettura 2010
junya.ishigami+associates Architecture as air: study for château la coste
junya.ishigami+associates, balloon , 2007. Photo the Artists
junya.ishigami+associates, balloon , 2007. Photo the Artists
junya.ishigami+associates Architecture as air: study for château la coste
Biennale Architettura 2010
junya.ishigami+associates Architecture as air: study for château la coste
junya.ishigami+associates, Kanagawa Institute of Technology KAIT Workshop, Kanagawa, Japan, 2008. Photo the Artists
junya.ishigami+associates, ralph Sobel Architect, Yohji Yamamoto Gansevoort Street store, new York. 2008. Photo junya. ishigami+associates junya.ishigami+associates, ralph Sobel Architect, Yohji Yamamoto Gansevoort Street store, new York, 2008. Photo junya. ishigami+associates
junya.ishigami+associates, ralph Sobel Architect, Yohji Yamamoto Gansevoort Street store, new York, 2008. Photo junya. ishigami+associates junya.ishigami+associates, Venice Biennale: architecture exhibition 2008 japanese pavilion, Venice, Italy, 2008. Courtesy Gallery Koyanagi. Photo the Artists
Toyo Ito & Associates, Architects Taichung Metropolitan opera House
Biennale Architettura 2010
Toyo Ito & Associates, Architects Taichung Metropolitan opera House
Design Process of the Taichung Metropolitan opera House At the 12th International Architecture Exhibition, we are delighted to present the design process of our Taichung Metropolitan opera House project in Taiwan. This complex, including theaters and commercial facilities, will be an international hub of performing arts. our proposal won first prize at the international competition in 2005, and this project is under construction towards its realization. The project site is located within the redevelopment district that is to become the core of Taichung City. The project consists of a 2,013-seat Grand Theater suitable for full-scale performances, an 800-seat Playhouse and a 200-seat Black Box along with shops, restaurants, and a public park surrounding the building. The concept of the “emerging grid” is a structural system that constitutes the project’s entirety. It is a horizontally and vertically continuous network of tubes, originally proposed for a concert hall competition held in Ghent, Belgium, in 2004. We presented this system once again at the competition for this opera house, and we were able to develop and lead it towards realization. The “emerging grid” is not only a structural network but also enables flexible plans that correspond to various conditions related to the programs. The system creates a rich interior space resembling a continuum of caves. Extending this network pattern further unto the park outside, a unified harmony is obtained between the opera house and the surrounding environment such as walkways, water, and green network. We hereby present our process of struggle during the realization of the project.
Collaborators: Da-Ju Architects & Associates Arup Evergreen Consulting Engineering Inc., Kankyo Engineering Inc., Takenaka Corporation, I.S. Lin & Associates Consulting Engineers, Harder Engineering & Construction Inc., nagata Acoustics Inc., national Taiwan University of Sience and Technology, Shozo Motosugi, Bears Engineering Co. Ltd., Lighting Company Akarigumi, Izumi okayasu Lighting Design, Lead Dao Technology and Engineering Ltd., old Former Landscape Architecture Co., Fujie Kazuko Atelier The Taichung Metropolitan opera House is built by the Taichung City Government, republic of China (Taiwan) With the additional support of: Akamura Corporation
Toyo Ito & Associates, Architects, Taichung Metropolitan opera House, Black Box and Landscape, 2010. © kuramochi+oguma
Architects Taichung Metropolitan opera House Biennale Architettura 2010 175 Toyo Ito & Associates. Architects. south façade. 2010 . Taichung Metropolitan opera House.174 Toyo Ito & Associates. using a smoothing algorithm. Taichung Metropolitan opera House. Architects. 2010 Toyo Ito & Associates. Architects Taichung Metropolitan opera House Exhibition Toyo Ito & Associates. 2010. seneration of a complex surface from simple “crude mesh”. Architects. first floor plan. © kuramochi+oguma Toyo Ito & Associates. Taichung Metropolitan opera House.
Taichung Metropolitan opera House. Taichung Metropolitan opera House. Architects Taichung Metropolitan opera House Biennale Architettura 2010 177 Toyo Ito & Associates. café and restaurant on the first floor. 2010. 2010 Toyo Ito & Associates. © kuramochi+oguma Toyo Ito & Associates. Taichung Metropolitan opera House. longitudinal section. Architects. Architects. event space lounge on the fifth floor.176 Toyo Ito & Associates. Architects Taichung Metropolitan opera House Exhibition Toyo Ito & Associates. 2010 Toyo Ito & Associates. roof garden. Architects. Taichung Metropolitan opera House. Architects. 201 .
By committing ourselves with efficient energy or unsustainable expenditure we install ourselves both individually and as collectives as members of the public. UEM. What are the politics of design that emerge from opening the black box of expanded multilocated homes? That is the question architecture can build up. We are bubbled-foam-homes dwellers. which could be detailed in three questions: 1. Ángela Bailén López. Mehrdad nazemi. A flat shared by five people with personal daily options. Sizhou Yang. Walter Cuccuru Graphic Design: María Jaque Development team: Patricia Acosta Morales. There are no agorae any more. but we remain mainly blind to it. MUSAC. MATADEro-Madrid. Adeline ruiz. Democratic Sponge . Fray Foam Home comes from the detailed study of the dependencies and polemics that take place in a specific flat in Madrid’s Calle del Pez. We no longer go out to emerge as citizens. Diana Calvache Martínez. Silvia rodríguez With the additional support of: State Corporation for Spanish Cultural Action Abroad (SEACEx). Fray Foam Home . Imagen Subliminal Andrés Jaque Arquitectos. What becomes visible. 2005. Lotions to prevent its aging make our skin inhabit labs where they are tested on mice. A local interior design for global occupancies. Courtesy and © the Artists Andrés Jaque Arquitectos. Washing our skin activates shared contracts with water and infrastructures. Photo Miguel de Guzmán . There is no outside and inside. Fundación Mies van der rohe. Madrid. Spain. and accountable. Carolina Silvana Vaca Manjarres. but an atmosphere of collective controversies in which we can take decisions. Museo de Arte Contemporáneo de Castilla León.” But it can also be a time for the architecture of daily realities to become compulsory pass points for the polemics in which it is constructed. 2010. What if consumption and productive locations could be experienced simultaneously? Could we produce a notion of relational beauty.178 Andrés Jaque Arquitectos Fray Foam Home Biennale Architettura 2010 179 Andrés Jaque Arquitectos Fray Foam Home Exhibition Even the most intimate and personal action happens in shared multiple locations. The installation is an approach to the restitution of the distant contextual fragments and public polemics in which their daily lives are installed. What if we try to build with resilience and redundancy rather than with zoning and spatial specialization? Could a sensitivity to forecasting and optimizing be replaced by one of risk management and adaptability? 3. Universidad Europea de Madrid. Ministry of Housing. critical. What if conflict could be politically managed? Could the management of difference and controversies be taken to daily life? Could we transform the material architectural devices that mediate in our social installation move from a territorial antagonism to a foam-like agonism? Architecture is often the device to promote territorial distribution in order to ensure realms of “Sweet Local Calm. Coordinators: Alejandro Sajgalik. We live in “Parliament Homes” ruled by confrontation. closer to “parliaments” than to “white boxes”? 2.
restitution of the Spread-in-the-World rooms from a Specific Home (Fray Foam Home). Photo Miguel de Guzmán Andrés Jaque Arquitectos. San José. Courtesy and © the Artists . 2003. 2010. Photo Miguel de Guzmán Andrés Jaque Arquitectos. Stavanger. Ibiza. House in never never Land . 2009. Mouse City.180 Andrés Jaque Arquitectos Fray Foam Home Biennale Architettura 2010 181 Andrés Jaque Arquitectos Fray Foam Home Exhibition Andrés Jaque Arquitectos.
182 Andrés Jaque Arquitectos Fray Foam Home Biennale Architettura 2010 183 Andrés Jaque Arquitectos Fray Foam Home Exhibition photo Kaufmann Photo Dean Kaufman .
The transient nature of these films allows people to meet in architecture. The structural models shown in this exhibition are the very same ones shown by the films. only become manifest when in motion. That is why a filmic rendering from the fleeting perspective of a user or visitor immediately suggests itself. Marc Leschelier Thanks to: Arno Ritter Technical exhibition preparation: Magenbitter.184 Christian Kerez Some Structural Models and Pictures Biennale Architettura 2010 185 Christian Kerez Some Structural Models and Pictures Exhibition We are not interested in architecture’s submitting itself to or expressing daily use. self-sufficient architecture. or rather its characteristics. architecture that keeps fading into the background. these structural models turn into abstract sculptures. which holds its own against any unforeseen or unplanned everyday use. Zürich. Photo Walter Mair Christian Kerez. Zürich. 2002-2009. 2002-2009. Petter Krag. The individual images themselves may be casual. Schoolhouse Leutschenbach. they received their actual shape and compelling nature only through a confrontation with everyday demands. which all equally reflect the same space. imprecise. The architectural space we are interested in. Movie stills . Catherine Dumont d’Ayot. but the very diversity of all these pictures combined reflects the essential qualities of an architectural space. The cinematic image is made up of hundreds or thousands of images. Takaaki Kikumoto. Without the filmic. Raphael Jans. 1:10 steel model. fuzzy. Innsbruck With the additional support of: Bundesamt für Kultur BAK. but in strict. every detail is a fragment of a greater whole. and often even accidental. However. Holcim (Schweiz) AG Christian Kerez. The rigor and clarity of the building structure combine a variety of uses and demands into an indissoluble conceptual unity. Every room. Michael Haller. Bernardo Menezes. Team: Christian Kerez. interior perspective. Schoolhouse Leutschenbach.
1:33 model. Swiss Re Headquarters. Holcim Competence Centre. Photo the Artist Christian Kerez. Swiss Re Headquarters. Photo the Artist Christian Kerez. Movie stills. 2008. Movie stills. 2008.186 Christian Kerez Some Structural Models and Pictures Biennale Architettura 2010 187 Christian Kerez Some Structural Models and Pictures Exhibition Christian Kerez. Video the Artist . 2008. 1:33 model. Holcim Competence Center. 2008. Video the Artist Christian Kerez.
1:33 model. Movie stills.188 Christian Kerez Some Structural Models and Pictures Biennale Architettura 2010 189 Christian Kerez Some Structural Models and Pictures Exhibition Christian Kerez. Photo the Artist Christian Kerez. Warsaw. Warsaw. 2007-2014. Video the Artist Photo Dean Kaufman . Museum of Modern Arts. 2007-2014. Museum of Modern Arts.
Tokyo With the additional support of: Hiroshi Sugimoto and Atsuko Koyanagi Luisa Lambri. #01) . Ed. Laserchrome print. Thomas Dane (London). Untitled (Menil House. Amsterdam. 104 × 130 cm. The changes of light and weather became as important to the images as any other aspect of the architecture and shaped my perception of the house. It is about being there. 2002. Galerie Paul Andriesse. The photographs evoke all the photographs I have taken in the past.190 Luisa Lambri Biennale Architettura 2010 191 Luisa Lambri Exhibition I photographed Menil House in Houston during a storm. Studio Guenzani (Milan). Luhring Augustine (New York). focusing on the relationship between architecture and its surroundings. London. Produced by the Menil Collection (Houston). Thanks to: Thomas Dane Gallery. Galeria Luisa Strina (Sao Paulo) . So the work is not about a specific house or a photograph of it. and all the other places in which I have been. Gallery Koyanagi (Tokyo). Courtesy Galerie Paul Andriesse (Amsterdam). I looked for or found such conditions again in other houses and places. Gallery Koyanagi. I then continued to explore natural conditions while working in the Casa das Canoas in Rio de Janeiro. Marc Foxx (Los Angeles). 5 + 1 AP.
Laserchrome print. Laserchrome print. London. 5 + 1 AP. 2003. Ed. Untitled (Casa das Canoas. Untitled (Casa das Canoas. #01) . Image 2 of 2 . 5 + 1 AP. London.192 Luisa Lambri Biennale Architettura 2010 193 Luisa Lambri Exhibition Luisa Lambri. Image 1 of 2 Luisa Lambri. Courtesy Thomas Dane Gallery. 99 × 115 cm. 99 × 115 cm. Ed. 2003. #02) . Courtesy Thomas Dane Gallery.
Ed. Untitled (Casa das Canoas. Untitled (Casa de Vidro. 2003. 42 × 48 cm. Laserchrome print. 5 + 1 AP.194 Luisa Lambri Biennale Architettura 2010 195 Luisa Lambri Exhibition Luisa Lambri. Image 2 of 2 Luisa Lambri. Galeria Luisa Strina (Sao Paulo) . Courtesy of Luhring Augustine (New York). 2003. Laserchrome print. Ed. Thomas Dane (London). Courtesy Thomas Dane Gallery. Studio Guenzani (Milan). Marc Foxx (Los Angeles). Gallery Koyanagi (Tokyo). 5 + 1 AP. #02) . London. #13) . 99 × 115 cm.
Studio Guenzani (Milan). Thomas Dane (London). 5 + 1 AP.7 × 74 cm. #03) . 98 × 79. Untitled (Sheats-Goldstein House. Untitled (21st Century Museum of Contemporary Art.196 Luisa Lambri Biennale Architettura 2010 197 Luisa Lambri Exhibition Luisa Lambri. 2004. Courtesy Hiroshi Sugimoto. Laserchrome print. Atsuko Koyanagi Luisa Lambri. 2007. Courtesy of Luhring Augustine (New York). Laserchrome print. Ed. # 06) .5 cm. 63. Gallery Koyanagi (Tokyo). Ed 5 + 1 AP. Galeria Luisa Strina (Sao Paulo) . Marc Foxx (Los Angeles).
198 Walter Niedermayr Recollection 2005-2008 Biennale Architettura 2010 199 Walter Niedermayr Recollection 2005-2008 Exhibition Establishing a dialogue between the Iranian urban landscape. particularly in the periphery of the urban landscapes. It makes reference to social processes. Galleria Suzy Shammah. which arose after the Islamic revolution of 1979 and is largely influenced by Western architecture. or the impact of Eastern and Western cultural conceptions (intentions and consequences) and the imposition of the latter with a gradual relative abandoning of the local cultural and architectural tradition and history. which at a political level are considered unwelcome. despite the changes incurred following the historic events and influences of different cultural periods. it is aimed at revealing the media representation and fostering and clarifying perception. Islamic doctrine and Western influences. The question is also raised as to how it can come about that. Abteilung deutsche Kultur Thanks to: Galerie Nordenhake. In this relationship between the history of its own culture. but this richness is no longer easily drawn on in the contemporary cultural debate. also taking into account the collective dimension. Milan Photo Dean Kaufman . Is there any chance of finding connections between past and present in the current debate on culture and architecture in Iranian society? From this point of view it seems essential to also make reference to the ambiguity of the emerging urban landscapes. showing unstable systems in open and enclosed spaces and thus referring to social and political situations. The work alternates between the fine appearance of a so-called reality and the reality of the image. a country was able to develop different architectural languages and consider them a cultural asset. the Western image predominates. With the support of: Autonome Provinz Bozen / Südtirol. and the historic sites and cultural places of ancient Persia is the central interest of my work. Berlin / Stockholm.
253 × 845 × 4 cm. Courtesy Galerie Nordenhake. Berlin / Stockholm and Galleria Suzy Shammah. Iran 124/2006 . digitial print. Quadriptych.200 Walter Niedermayr Recollection 2005-2008 Biennale Architettura 2010 201 Walter Niedermayr Recollection 2005-2008 Exhibition Walter Niedermayr. Milan . Shiraz. acryl on canvas.
202 Walter Niedermayr Recollection 2005-2008 Biennale Architettura 2010 203 Walter Niedermayr Recollection 2005-2008 Exhibition Walter Niedermayr. Berlin / Stockholm and Galleria Suzy Shammah. Isfahan. Diptych. Iran 176/2008 . Courtesy Galerie Nordenhake. 160 × 421 × 4 cm. acryl on canvas. Milan . digitial print.
Milan . Courtesy Galerie Nordenhake. Isfahan. digitial print. 160 × 421 × 4 cm. acryl on canvas. Berlin / Stockholm and Galleria Suzy Shammah. Iran 107/2006 . Diptych.204 Walter Niedermayr Recollection 2005-2008 Biennale Architettura 2010 205 Walter Niedermayr Recollection 2005-2008 Exhibition Walter Niedermayr.
Project architect (Heinrich Wolff). that Noero Wolff Architects have worked on over the past decade are presented here. and political processes. Robert McGiven) Inkwenkwezi Secondary School: Client (Department of Transport and Public Works of the Provincial Government of the Western Cape). houses are converted into shops and are differentiated from residential buildings by colorful painted signage. Each of these schools contains key spaces designed to enhance human interaction by accommodating divergent activities in the same place. A series of small interventions takes spaces that have lost their potency or purpose and adds specialized classrooms (IT classroom and library) that will advance the school’s ability to deliver first class education. Jo Noero. Du Noon. These interventions add vitality to the existing fabric of the school. Kylie Richards. A new architecture is generated out of an engagement with the familiar world. with no other formal public buildings. The possible uses of these spaces are influenced by the time of day. the season. Mias de Vries. has a central space that mimics the spatial undulation of the informal settlements around it. Du Noon. The school is pushed against the street edge to continue the tight urban world and to invite interaction through a series of trading hatches and benches. representational. built by the provincial government. Inkwenkwezi Secondary School. the age and activity level of the children. Team (Jo Noero. The Usasazo Secondary School (2003). Architects (Noero Wolff Architects). By their nature. Photo Iwan Baan Noero Wolff Architects with Sonja Spamer Architects. Cape Town. Architects (Noero Wolff Architects). Team (Heinrich Wolff. Robert McGiven) Saint Cyprians School: Client (Saint Cyprians School). these projects share common architectural concerns. This local device signifying public use was adopted as the basis of signage (“Inkwenkwezi” means “the morning star”) and surface articulation for the school. South Africa. Cape Town. Architects (Noero Wolff Architects in association with Sonja Spamer Architects). Project architect (Jo Noero).206 Noero Wolff Architects Strangeness and familiarity Biennale Architettura 2010 207 Noero Wolff Architects Strangeness and familiarity Exhibition Three schools in Cape Town. Saint Cyprians School (2009) is a private school close to the center of Cape Town. Team (Sonja Spamer. Project architect (Heinrich Wolff). The school protects its users from the strong directional wind with a series of L-shaped blocks. Inkwenkwezi Secondary School. Photo Iwan Baan . 2007. Nadia Tromp. The proposed architectural corollary of this empowerment objective has been architecture that participates in local spatial. Robert McGiven) Noero Wolff Architects with Sonja Spamer Architects. Since political freedom does not automatically lead to the removal of the deprivations of the past. educational facilities aim to empower the individual to have greater participation in economic. In this residential area. urgent questions have had to be asked about the role of architecture in a free society. In spite of their contrasting socioeconomic circumstances. The Inkwenkwezi Secondary School (2007) was also built by the provincial government. and building practices whilst representing optimism for a better future. Sushma Patel. cultural. The area around the school is so densely populated that the streets become the living rooms of the houses. Joel Ketsekile. 2007. as well as income generating activities and events in adjacent spaces. Korine Stegman. Jo Noero and Heinrich Wolff Film: Dave Southwood with Noero Wolff Architects Usasazo Secondary School: Client (Department of Transport and Public Works of the Provincial Government of the Western Cape). With the dawn of democracy in South Africa in 1994. architecture must play a role in facilitating and expressing freedom.
Drawing Heinrich Wolff Noero Wolff Architects. 2007. Du Noon. Du Noon.208 Noero Wolff Architects Strangeness and familiarity Biennale Architettura 2010 209 Noero Wolff Architects Strangeness and familiarity Exhibition Noero Wolff Architects with Sonja Spamer Architects. Khayelitsha. Usasazo Secondary School. Cape Town. Inkwenkwezi Secondary School. Photo Dave Southwood Noero Wolff Architects with Sonja Spamer Architects. central space. Cape Town. Cape Town. 2003. Photo Iwan Baan . Inkwenkwezi Secondary School. 2007.
are perishable and disintegrate. the making of an individual interview into a poem would be an interesting achievement. Miranda Giardino di Lollo. Doreen Massey. ForYourArt. Sally Tallant. Eliot. Janis Minton. Felicity D. Ant Genn. Georg Schoellhammer. Tom McCarthy. 2006 Serpentine 24-Hour Interview Marathon Exhibition Twenty or so years ago. Eleanor Bron. Research Coordinator: Yun Jie Chung. Phil Tinari. Eyal Weizman. Peter Saville. The fruit of this enlightened desire to preserve is evident in HUO’s many hours of interviews with the visionary architect Cedric Price and the many visits with Rem Koolhaas to Japan to document the aging Metabolism architects. HUO has reconfigured the genre of the Interview. Ron Arad. Brian Eno. when I first met Hans Ulrich Obrist (I always think of him as HUO) in Zurich. David Adjaye. Roman Berka. Miriam Waltz and Sarah Williams . with its life and memory of the past. radicalizing the conventional idea of its meter and rhyme. has a yet unrealized dream “to one day curate a large scale exhibition of unrealized projects. Pasadena Arts Council TESTO ENG TROPPO LUNGO DI 2 RIGHE 2006 Serpentine 24-Hour Interview Marathon To explore the topology of the city from the inside Rem Koolhaas and Hans Ulrich Obrist interviewed leading figures in contemporary culture continuously over 24 hours in the Serpentine Gallery Pavilion designed by Koolhaas. but because I felt he was embarking on making a new form of poetry. Tayeb Saleh. Research Assistant: Alexandra Weeks Organized by: Institute of the 21st Century With the additional support of: HyundaiCard. Gustav Metzger. Gautam Malkani. gather up the individual voices—the individual poems. Tapes. Fabrizio Gallanti. how. Charles Jencks. Paul Elliman. Iain Sinclair. delicate net holding up for now—and who knows for how long—the value of an otherwise lost past. Denise Scott Brown. voices fade. Joseph Varet. Yinka Shonibare. Jonathan Glancey. where. In time. Kayoko Ota. Institute of the 21st Century. Learn from the master. His interviews. Frederic Tuten. himself. nextmaruni. etc”—a host of proposals for yet unrealized projects. where now the circumference of his interviews has widened globally and planes and their airports are his hosts. Wall of Names. Isabela Mora. had set out on his own to record that which he feared would one day vanish or get lost. Dan Nadel. Stuart Comer. John. Ryan Gander. Thanks to: the Serpentine Gallery Interviews with: Abake. who. which is to say. Zaha Hadid. of art. HUO’s tapes are a strained. without funding and without institutional support or commissions from art magazines or journals. Jude Kelly. the sheer volume and the international scope of the interviews HUO has done over the past two decades. which is our present inheritance. Vit Havranek. I hope it will be apparent that the NOW INTERVIEWS are not just an exciting event at the 12th International Architecture Exhibition in the present but a gateway to understanding and supporting HUO’s amazing and vital project. in 2000. Patrick Keiller. our future. Squarepusher. A book of such interviews would be like an anthology of poems by various poets with varying degrees of interest. censored projects. such as the ones HUO used in his earlier interviews years ago and still sometimes uses. To paraphrase T. S. Marina Warner. not only one with its cultural roots in the heritage of one nation. but a vital global epic: a unified and culturally unifying poem. Tony Elliott. Project Manager: Justin Conner. These voices are not just autobiographical. Milan Rai. Isaac Julien. Bice Curiger. Damien Hirst. Richard Wentworth. forgotten in the greater. Annapaola Passarini. Marcus du Sautoy. Markus Miessen. Mark Cousins. nextmaruni. ‘It doesn’t get any better than this. Ken Loach. Hanif Kureishi. Shumon Basar. As Douglas Coupland wrote in his Introduction to Interviews Volume 2: “We could have done one interview together and I’d never have to do another interview again. Pedro Ferreira. Scott. the very material—the tapes—on which those voices have found sanctuary. Joseph Grima. The Kayne Foundation. these interviews may well be the fragments we have shorn against our ruin. and when—transforming it into artifact. too. he reminded me of Rimbaud. Hu Fang. William Sherak. Eric Hobsbawm. Perhaps all his rush to travel and his urgency to do more and more interviews in recent years is explained by HUO’s desire to preserve traces of intelligence from past decades or testimonies of those living in the century past. Tariq Ali. Gianluigi Ricuperati. those whose words have not yet been recorded and who might fall away into undeserved oblivion. Sarah Herda. Anat Ben David. I was amazed that this then very young man. will open the way to recognize the importance of HUO’s work in assuring us of that future. Olivia Plender. Scott Lash. Ou Ning. more seemingly relevant cultural dialogue of the moment. Michael Clark.’” As I say little has changed.000 hours of them since he began. Tim Newburn. Jane & Louise Wilson. Kevin Conroy Scott. Russell Haswell. Roger Hiorns. Thanks to: Sara Adelman. The 24-Hour Marathon in 2006 launched the annual Serpentine Marathon series. Alessio Ascari. but so. distilling the mass of prose information with its disparate themes and motifs—and with the usual. And soon they will be as mute and dead as many of the people whose voices they have long held in their very fragile keep. Sophie Fiennes. The Serpentine Gallery Pavilion commission was conceived by Serpentine Gallery Director. Doris Lessing. partially realized projects. Potter. Julia Peyton-Jones.210 Hans Ulrich Obrist NOW INTERVIEWS. LG. Brenda R. Adrian Notz. LG. Producer: Karen Constine. like poems. Production Coordinator: Maggie Kayne. Richard Hamilton. and our cultural legacy for the future. Thus. But the aggregate. Julia Peyton-Jones. Wall of Names. Do not these hopes and dreams form a matrix of art and architectural history? Are not these dreams and hopes part of our inheritance in the future? These conversations bear seeds wait- ing for the opportunity to one day flower. Heather Lindsey. Giles Deacon. focus and synthesize thought into its greatest point of energy and beauty. Little has changed—except that he now also devotes himself and interweaves this passion with his full time curatorial work—in HUO’s mission and in his way of getting to the core and heart of the person being interviewed. Gilbert & George.” Preservation of these interviews on tapes is a hedge against an amnesiac future. Sir Kenneth Adam. Manuella Vaney. Dame Marjorie Scardino. Tim O’Toole. except that in earlier days HUO sped from city to city in Europe on trains and dwelled in their stations. Julia Peyton-Jones. His interviews were and remain his divine passion: he has done nearly 2. poetic utopian dream constructs. Enrique Juncosa. Hussein Chalayan. Michael Baxandall. In itself. the first project organized by the Institute of the 21st Century. Susan Hiller. How many actual hours is he ever on terra firma? Rimbaud transformed his genre. Cerith Wyn Evans With the additional support of: HyundaiCard. Not only because he was roughly the teenage poet’s age when he and I met. historical documents but have embedded within them—as HUO has said “lost projects. HUO. Michael Moorcock. like Orlando Furioso or El Cid or La Chanson de Roland . Christian Posthofen. Chantal Mouffe. Matthias Lilienthal. the fabric. Karen Marta NOW INTERVIEWS Interviews by Hans Ulrich Obrist with the participants of the 12th International Architecture Exhibition Wall of Names The over 850 names listed on the wall are a brief selection of those interviewed by Hans Ulrich Obrist over the past twenty years Exhibition curated by Hans Ulrich Obrist and Karen Marta Project Director: Bettina Korek. I came to see how true my feeling was. Caruso St. People die. Mary Midgley. Peter Cook. 2006 Serpentine 24-Hour Interview Marathon Biennale Architettura 2010 211 Hans Ulrich Obrist NOW INTERVIEWS. I’d simply send people a photocopy of our interview and declare. Nicola Lees. I hope this exhibition. to form a MasterPoem. Lorraine Two. a poem of idea and emotion. Coris Evans. Katrin Dod. whose voices would have otherwise been lost or fade away and have important things to say to us today.
installation design by SANAA. Serpentine Gallery Pavilion 2006. from Serpentine Gallery Post-Marathon . Wall of Names. designed by Rem Koolhaas and Cecil Balmond with Arup. © Marco Anelli 2009 .212 Hans Ulrich Obrist NOW INTERVIEWS. 2010 Hans Ulrich Obrist . 13-14 October 2006. London. Photo Declan O’Neill NOW INTERVIEWS project. 2006 Serpentine 24-Hour Interview Marathon Biennale Architettura 2010 213 Hans Ulrich Obrist NOW INTERVIEWS. 2006 Serpentine 24-Hour Interview Marathon Exhibition Gilbert & George . Wall of Names.
and perpendicular openings draw lines and impose borders. are not considered enemies. large squares. It has to fail. these constructions include their own fantastic failure. and that might as well be called human life. This division. the opposite is true. as an invitation to all kinds of people. 7 rooms 21 Perspectives . A perspective is only real if it shows both the independent ambition of architecture and the autonomous reaction of all that is not architecture. in a grandiose way. The photographs taken by Bas Princen show existing forms of anonymous space and architecture. Michael Langeder. Bonar Technical Fabrics. artifacts. 2010 . they could be called perspectives. Steven Bosmans. Rather. however. as both sorts of perspectives simply want to show places where people can exist by being confronted with their own existence. They need each other in order to exist. Groep Kordekor Belgium. Boss Paints. Interior Foundation BE OFFICE Kersten Geers David Van Severen+Bas Princen. and the sky—but also human beings. books. is false. 7 rooms 21 Perspectives . debris. and they can only be real and meaningful if they are granted to be what they are. or chaos and architecture. and legibility to the world in general and to one place in particular. Christophe Van Gerrewey Collaborators: OFFICE Kersten Geers David Van Severen (Jan Lenaerts. but they do constitute our contemporary reality. Nevertheless. water surfaces. And that is exactly the essence of architecture. 2010 OFFICE Kersten Geers David Van Severen+Bas Princen. Christophe Van Gerrewey. they seem to move in opposite directions: the perspectives of Princen long for authorship and particularity. At the same time. Referring to the title of this project. The means with which these perspectives and these forms of architecture are made show a striking resemblance. some images are more real than others. In this sense. everybody knows that images do not represent the truth. Visiting this exhibition is like enacting this fundamental process. and activities. the perspectives of OFFICE want to shed their artifice as a layer of skin. and furniture—impose themselves as messengers and signs of the endless warehouse of our globalized world. Inga Karen Traustadottir). constructed and clear—they can become perspectives only in confrontation to the mind and the body of the visitor. Adeline de Vrij. the images made by OFFICE Kersten Geers David Van Severen are fictitious views of their architecture designs.214 OFFICE Kersten Geers David Van Severen + Bas Princen 7 rooms 21 Perspectives Biennale Architettura 2010 215 OFFICE Kersten Geers David Van Severen + Bas Princen 7 rooms 21 Perspectives Exhibition At the beginning of the Twenty-first century. Massive walls. The perspectives by OFFICE Kersten Geers David Van Severen and Bas Princen reintroduce architecture as what it has been since the advent of mankind: a brave and necessary attempt to impose order. plane roofs. cars. Bert Rogiers. Here are twentyone images that are authored. structure. rubble. Joris Kritis With the support of: The Obayashi Foundation. eyes on media. Trees. clouds. high columns. What is important here is that nature and culture. things.
216 OFFICE Kersten Geers David Van Severen + Bas Princen 7 rooms 21 Perspectives Biennale Architettura 2010 217 OFFICE Kersten Geers David Van Severen + Bas Princen 7 rooms 21 Perspectives Exhibition Bas Princen. 140 x 171 x 0. 2005. Inkjet print on painted aluminium plate.5 cm. Inkjet print on painted aluminium plate. The Hague OFFICE Kersten Geers David Van Severen.5 cm. Botanic garden (Xiamen) . South-Korea-Collage. Courtesy van Kranendonk Gallery. 85 x 116 x 0. A grammar for the city. Courtesy the Artists . view from the mountain . 2009.
Pavilion II (Venice.5 cm. 2005.218 OFFICE Kersten Geers David Van Severen + Bas Princen 7 rooms 21 Perspectives Biennale Architettura 2010 219 OFFICE Kersten Geers David Van Severen + Bas Princen 7 rooms 21 Perspectives Exhibition OFFICE Kersten Geers David Van Severen. The Hague Bas Princen. 2008. Inkjet print on painted aluminium plate.5 cm. Reservoir (Concrete Rundown) . Office KGDVS) . MEX-USA-Collage. 2005.5 cm. 2005. Courtesy van Kranendonk Gallery. Inkjet print on painted aluminium plate. The Hague Bas Princen. 85 x 116 x 0. . Inkjet print on painted aluminium plate. Ringroad (Houston) . Courtesy the Artists Bas Princen. 140 x 171 x 0. Border crossing. view from the ground . Courtesy van Kranendonk Gallery. 140 x 171 x 0.
220 OFFICE Kersten Geers David Van Severen + Bas Princen 7 rooms 21 Perspectives Biennale Architettura 2010 221 OFFICE Kersten Geers David Van Severen + Bas Princen 7 rooms 21 Perspectives Exhibition Photo Dean Kaufman .
David Bellasi. Valerio Olgiati is convinced that it is possible. The building simply seems to spring out of the ground. Russia. Zurich) and subsequently in Mendrisio. Olgiati. totally isolated and without context. the demand to contextualize has become inevitably compulsive. Valerio Olgiati is convinced that it is possible to make architecture that is not primarily contextual. to design buildings based on ideas reflecting the cultural intelligence of modern times. 2008. Tamara Olgiati National Palace Museum Architect: Valerio Olgiati Collaborators: Aldo Duelli. The model of the Perm Museum XXI is presented at the Biennale. Over the past twenty years or more. or functional demands. Michael Umbricht The Yellow House Architect: Valerio Olgiati Collaborators: Iris Dätwyler. together with images of four other important buildings and projects. Further examples are Swiss barns. Perm. Section. or even necessary. and principally in projects that are based on attitudes and positions of moral origin. Archive Olgiati . Nikolai Müller. which are wonderful buildings and almost all. technical. Perm. Karen Wassung. Mario Beeli Client: Linard Bardill Perm Museum XXI. London. Perm Museum XXI. noncontextual. Temples or churches can be taken as historical examples. Sven Richter. Aldo Duelli. and that this idea or concept basically has nothing to do with context. 2008. thinks that architecture can be developed out of an idea. Perm. without exception. Russia. Christoph Junk. Perm Museum XXI Architect: Valerio Olgiati Collaborators: Fabrizio Ballabio. 2008 Atelier Bardill Architect: Valerio Olgiati Collaborators: Nathan Ghiringhelli. These buildings are born from an idea that does not respond to contextual. The model shows no context to the physical environment. Raphael Zuber Client: Community of Flims Valerio Olgiati. Russia. all shown at the same comparable scale of 1:33. Archive Olgiati Perm Museum XXI. and Porto. particularly in the German-speaking parts of Europe. however. a concept. It is shown with visible foundations.222 Valerio Olgiati Onement Biennale Architettura 2010 223 Valerio Olgiati Onement Exhibition The work presented at the 12th International Architecture Exhibition is part of a monographic exhibition on the work of Valerio Olgiati which was first shown approximately one year ago at the ETH in Zurich (Federal Institute of Technology. Pascal Flammer. Pascal Flammer. Floor plan (5th floor). Nathan Ghiringhelli. like uprooted trees. The essence of the original exhibition is constituted by several white models. economic.
The Yellow House. Flims. Switzerland 1996 . Flims. Visitor Center Swiss National Parc. Zernez.224 Valerio Olgiati Onement Biennale Architettura 2010 225 Valerio Olgiati Onement Exhibition Valerio Olgiati. The Lake Cauma Project. Switzerland 2008 Valerio Olgiati. 1995-1999 Valerio Olgiati. Switzerland.
Benetton Office for Metropolitan Architecture. Bijlmermeer. Preservation . is a timeline of OMA projects. the “black hole” of preservation. OMA Team: Rem Koolhaas. Amsterdam.Office for Metropolitan Architecture Preservation Biennale Architettura 2010 227 OMA . is the core of our argument. 1986  Office for Metropolitan Architecture. Our second key argument concerns the notion of thinning: as more and more territory falls under the protection of preservation—about 4% of the earth’s surface now cannot be touched—and the time lag between construction and preservation becomes ever smaller. each with a distinct character and function. the preservation of the future: the shift from retroactive to prescriptive preservation. The “black hole. Amelia McPhee. nostalgia vs. sometimes even as a retroactive realization. The second room is a manifesto in space featuring critical preservation stories of the Twentieth and Twenty-first centuries. Ippolito Pestellini Laparelli. Lawrence Siu. James Westcott Thanks to: Haus der Kunst. The final display. The first room is a vestibule featuring a range of OMA projects engaging with preservation. Miriam Roure. Preservation . By the end of the Biennale. 1990  . Grande Axe La Defense. thinning is one of the most urgent phenomena related to preservation. often liberating what has been preserved from a frozen condition. and even relics—including chairs and doorknobs from Munich’s Haus der Kunst (an OMA preservation project in 2008). the arbitrary morality of what is preserved and what is not. Petersburg will be displayed through photographs. Projects ranging from the Dutch Parliament to the China National Museum.” occupying the central band and a screen on a wall. spanning the 35 years of its practice. preservation and depletion will be evident in the exhibition itself. Simon Pennec. Andrew Lin. Munich With the additional support of: HyundaiCard The Netherlands Architecture Fund. many crucial but politically unpopular or impractical buildings of the second half of the Twentieth century remain subject to erasure or neglect. memory. Each project comes on a postcard that visitors can peel off the wall and take home. In cities and in the countryside. historical documents. While our sense of duty towards history (and our nostalgia) grows exponentially—increasingly. at the back of the second room. the intensity of our use of land and our ability to inhabit architecture declines. “everything” must be preserved—actual knowledge and the depth of our memory diminishes. and finally.226 OMA . the Libyan desert and the Hermitage in St. Kayoko Ota. Paris. which have given new definitions to the idea of preservation.Office for Metropolitan Architecture Preservation Exhibition The exhibition occupies a suite of two rooms. As a result. These are organized in five thematic “bands” that form various trajectories through the room: the increasing territorial claims of preservation.
project on the city. Preservation . Preservation . Haus der Kunst. Lagos. Lybia. 1998 [rapid growth of the ’60s and ’70s] . Wahad Vision. Preservation . Germany. 2006  Office for Metropolitan Architecture. 2010 Office for Metropolitan Architecture. Zollverein Kohlenwasche.Office for Metropolitan Architecture Preservation Biennale Architettura 2010 229 OMA . Nigeria. Essen.Office for Metropolitan Architecture Preservation Exhibition The Image of Europe . Germany. Munich. 2004 Office for Metropolitan Architecture.228 OMA .
Preservation . Airport. 2000 / Kloten Airport.Office for Metropolitan Architecture Preservation Exhibition Office for Metropolitan Architecture.230 OMA . London. Preservation . Bordeaux. 1998 Office for Metropolitan Architecture. 1995  . Riga. Preservation . Latvia. Tate Modern. Riga Contemporary Art Museum. 2006  Office for Metropolitan Architecture. Maison à Bordeaux. UK. 1994  Office for Metropolitan Architecture.Office for Metropolitan Architecture Preservation Biennale Architettura 2010 231 OMA . Zürich. Preservation .
The design process and realization of architecture are defined in a contemporary way: an interested community such as architects. Could architecture and urbanism also benefit from these ideas? Ninety-eight per cent of the worldwide house building market (residential) is not designed and built by architects. designers. London.net Exhibition Open source is changing many aspects of our everyday life. Moscow. MONOCHROME. HHD_FUN. Berlin. Rosbeh Ghobarkar Collaborators: ACCONCI STUDIO. London.net .prospective home owners . Open Source Design Process.NET Open source architecture is a community driven platform that enhances the architectural design and building process.manufacturers . OpenSource will gain credibility as well as market shares for the architectural community. OPEN SOURCE ARCHITECTURE—OPENSIMSIM.. London/Oslo. DRUPAL.engineers and scientists A work in progress version of the online platform OPENSIMSIM.net Biennale Architettura 2010 233 OpenSimSim OpenSimSim.232 OpenSimSim OpenSimSim. climate specialists.NET will be presented to a broader audience as a physical installation. Los Angeles + Cairo. We use open source software such as OpenOffice to write letters and make presentations. NATALIA FENTISOVA. Ljubljiana. DIA DESSAU. Kyoto. Daniel Dendra. engineers. Berlin + New York. Open source architecture deals with widerange. 2010 . Den Haag. Berlin. Fifteen open source designs by international design studios of what is called an intelligent living pod will be featured and visitors can interact with the sustainable design process and meet the design community. NOUS GALLERY. TATIANA BILBAO S. Peter Ruge. Beijing. We use open source tools such as Wikipedia for researching information and gaining knowledge. We are shifting from a corporation owned consumer world to a community driven participation system where people enjoy contributing their knowledge and time to the wider public free. innovative. London. An augmented reality installation will demonstrate the ideas and possibilities of OpenSource for architecture and design. JUNE14. AU STUDIO. OpenSimSim. IxDS. anOtherArchitect. New York.architects . Berlin + Moscow. Haptic Architects/StokkeAustad. CREATE BERLIN. and sustainable housing concepts. and manufacturers are putting their input and feedback into the design. JUMP STUDIOS. SCHOOL ARCHITECTURE. Mexico Thanks to: AEDES NETWORK CAMPUS. The key players in the process are: . STRELKA INSTITUTE. LOOM. TRANSSOLAR. Stuttgart anOtherArchitect. It provides user generated content including scripting tools and with it valuable knowledge. NAGA STUDIO ARCHITECTURE. BFR LAB. home owners.C. Cologne + Langenthal. IMAGINE ENVELOPE bv.
Il Giardino delle Vergini . rough “meadow” under existing trees where you can enjoy the flower and plant borders from a little distance. sketch. 2010 Piet Oudolf. zoom. Il Giardino delle Vergini . sketch. partly a wilderness and covered by a canopy of large plane trees. as an introduction to the following areas. Venice. 2010 . A path invites people to move through the garden. but in the middle of this a new garden will be created with an atmosphere that reminds you of nature in its most ideal form (as in a dream). sketch. Il Giardino delle Vergini . Kina Bergdahl With the additional support of: the Netherlands Architecture Fund Piet Oudolf. Most plants are attractive even in decay or as skeletons in winter. Landscape architects: Climmy Schneider. 2010 Piet Oudolf. where the garden will be situated. sit. The plants are chosen for their late flowering. Venice. there is a slightly wild. will become a destination and a place to stay during the visit to the Biennale. some from the early Fourteenth century. Il Giardino delle Vergini . Part of this wilderness will remain. Venice. surround the Giardino delle Vergini. Venice. or simply hang out for a while. or autumnal color. It is wide and therefore invites us to stop. The space. 2010 Piet Oudolf. At the end. texture. structure.234 Piet Oudolf Il Giardino delle Vergini Biennale Architettura 2010 235 Piet Oudolf Il Giardino delle Vergini Exhibition Beautiful buildings hidden between shipyards and naval depots. The emphasis is on late summer and autumnal abundance.
236 Piet Oudolf Il Giardino delle Vergini Biennale Architettura 2010 237 Piet Oudolf Il Giardino delle Vergini Exhibition Photo Dean Kaufman .
High Line.238 Piet Oudolf Il Giardino delle Vergini Biennale Architettura 2010 239 Piet Oudolf Il Giardino delle Vergini Exhibition Piet Oudolf. New York . Photo the Artist Piet Oudolf. New York. Photo the Artist Piet Oudolf. Project for High Line. New York. The Battery.
The other half is what could be called the antifitness property of a building. there is an eternal tension between context and object. There is no possible canon. with more or less integrity. as Borges said. of declining the expected associations. when dealing with an unstable and informal environment. not the building. But that is half of the idea. economic. Today. or at least the minimum that an architect should aspire to do. 2005. Photo Cristóbal Palma MANCA . Collaborators: Cristobal Palma. or topography) is in itself a commonplace. up to the extent of producing a sort of uncomfortable situation in a given moment. An isolated building is a singular entity. from its anecdotal dramas. the capacity of an object of replying. Eleonora Bassi. Fosc House.Steel & Metal Constructions Pezo von Ellrichshausen Architects. it appears problematic to trace a project as an autonomous figure. It is a piece. Since a building is inevitably placed in a particular and unrepeatable location. the problems (social. Dany Berzceller. no fixed measure. half of the promises of an architectural statement. to willingly base the integrity of a building in those common places (such as orientation. That context is anywhere.240 Pezo von Ellirichshausen Architects Detached Biennale Architettura 2010 241 Pezo von Ellirichshausen Architects Detached Exhibition In Architecture. an architectural object could be separated from its location. access. in its inner formal structure. a device that resists. In its unitary conclusiveness. architectural practice is faced as a mere fitness activity. or technical) of the context that supports it. to select as a personal option what is imposed as an inevitable condition. Its efficiency is determined by its accidents. It is no more than a tautological exercise. Therefore. considering the widespread scarcity of resources. It is an irony. Considering this physical inevitability. cultural. a building. it establishes a limited set of specific relationships with it. could also be understood as an independent logical grammar. However. a project is meant to be a flexible machine. instrumentally required for political or commercial purposes. Coliumo. Bernhard Maurer With the additional support of: SOTTAS SA . a continuous negotiation. views. interior view. To explain a building as an answer to a place is to explain the place. In this lack of autonomy. Chile. an unpredictable contest to articulate a new program with an existing place. This is the objectual aura of the piece.
Coliumo. Photo Cristóbal Palma Pezo von Ellrichshausen Architects. Chile. Poli House. 2005. Coliumo.242 Pezo von Ellirichshausen Architects Detached Biennale Architettura 2010 243 Pezo von Ellirichshausen Architects Detached Exhibition MISSING CAPTION! Pezo von Ellrichshausen Architects. Chile. Poli House. exterior distant view. exterior view. 2005. Photo Cristóbal Palma .
drawing. Poli House. Poli House. Chile. 2005 Pezo von Ellrichshausen Architects. Poli House. 2005 . interior view. drawing.244 Pezo von Ellirichshausen Architects Detached Biennale Architettura 2010 245 Pezo von Ellirichshausen Architects Detached Exhibition Pezo von Ellrichshausen Architects. drawing. 2005. Photo Cristóbal Palma Pezo von Ellrichshausen Architects. Coliumo. 2005 Pezo von Ellrichshausen Architects. Poli House.
Chile 2009. Fosc House.246 Pezo von Ellirichshausen Architects Detached Biennale Architettura 2010 247 Pezo von Ellirichshausen Architects Detached Exhibition MISSING CAPTION! Pezo von Ellrichshausen Architects. exterior view. San Pedro. Photo Cristóbal Palma MISSING CAPTION! .
C. New York. 2000-2007. In collaboration with FXFowle Architects. is not the places but “the people that meet in architecture. © and Photo Michel Denancé Renzo Piano Building Workshop.” The same pictures will be displayed on big panels in the Giardini and the Arsenale. The New York Times Building.” Going beyond the institutional confines of the Biennale. RPBW takes some of its buildings among the Venetian calli and canals by affixing images of “inhabited architecture. Renovation and expansion of the Morgan Library.248 Renzo Piano Building Workshop Biennale Architettura 2010 People meet in Architecture .RPBW selected projects People meet in Architecture is a title that well describes the architect’s art. some by famous photographers. Chiara Casazza Renzo Piano Building Workshop. Renzo Piano with Stefania Canta. P.” The focus of the photos. This is why Renzo Piano and the Building Workshop wanted to be present with an installation that would document the effort to design spaces “for people. New York.RPBW selected projects 249 Renzo Piano Building Workshop Exhibition People meet in Architecture . In collaboration with Beyer Blinder Belle LLP (New York). (New York). © and Photo Michel Denancé . 2000-2006. Marco Profumo.
© RPBW. Italy. by SIAE 2010 Renzo Piano Building Workshop.RPBW selected projects Renzo Piano Building Workshop. Bern. Padre Pio Pilgrimage Church. architects (Bern). 1999-2005. San Giovanni Rotondo. © and Photo Michel Denancé .RPBW selected projects 251 Renzo Piano Building Workshop Exhibition People meet in Architecture . Zentrum Paul Klee. In collaboration with ARB. 1991-2004.250 Renzo Piano Building Workshop Biennale Architettura 2010 People meet in Architecture . © Enrico Cano.
its tiny pool casting rippling light high onto the walls. one turns. Photo Hélène Binet . another place and the image of another in the sylvan glow: one’s reflection. its movement. The ghost reverts to being a rack of shelves. Next to the desk. a trompe l’oeil enfilade of unmade pictures. an overgrown doll’s house that one can fill with one’s dreams. outward. The place is at first very much like a piazza. monumental piazza. another opening. past the furniture. its fantasy. From the main entrance. the loggia a baldacchino. Aberystwyth. With the additional support of: Derek Lam. a great pile stands in an opposite corner. An image of swaying tree branches at dusk shimmers upon the wall like a window onto another place. Jan Schlottmann Thanks to: Pietro Valle Mark Pimlott. its interior an empty lounge awaiting guests. its lights. Different interpretations of where one is or what things are—or how one might be (public. is parked in front of a loggia or monumental staircase. stands next to them: an abandoned piece of furniture. redolent of Venetian palazzi . a world beyond. and the piazza briefly assumes the guise of a chapel.252 Mark Pimlott + Tony Fretton Architects Piazzasalone Biennale Architettura 2010 253 Mark Pimlott + Tony Fretton Architects Piazzasalone Exhibition In a great chamber crowded by classical columns. One looks back through the loggia to all the figures one has seen. The place and the objects within at once recall a small. A desk sitting in a pool of its own light is an intimate refuge turned to the wall. again. festooned with lights. 2003. Caught in the car’s headlights. a private interior. Tall. stands by. and returns to the piazza. or building. naturally. though the presence of objects of inconsistent scale lends it an ambiguous character that is reinforced as one moves through it. La scala . crowned with a dark void suggesting the nocturnal sky and enclosed by 6. empty stretchers stacked on top of each other in another corner sketch a succession of illusory interiors. we have made a place whose character shifts from the urban to the domestic. A diminutive font is caught in a beam of light. to see the city. the city. one happens upon a street scene. like a stack of shelves. a ghost of a building as though viewed from a distance. and a salone grande. The space is now a room. waiting. Then. private)—depend on one’s point of arrival. A car. reminiscent of the play of the lagoon. A secretaire . One sees an interior receding behind one’s own image. A pale object.5-meter-high masonry walls.
254 Mark Pimlott + Tony Fretton Architects Piazzasalone Biennale Architettura 2010 255 Mark Pimlott + Tony Fretton Architects Piazzasalone Exhibition Photo Dean Kaufman .
London. Birmingham. 2000. 2003. Photo the Artist Tony Fretton Architects. Photo Mark Pimlott . Aberystwyth. Photo Hélène Binet Mark Pimlott. Red House. Guinguette. La scala .256 Mark Pimlott + Tony Fretton Architects Piazzasalone Biennale Architettura 2010 257 Mark Pimlott + Tony Fretton Architects Piazzasalone Exhibition Mark Pimlott. 2001.
Drawing courtesy of Mark Pimlott Mark Pimlott + Tony Fretton Architects. Piazzasalone . 2010. 2010. Pencil and permanent marker on paper. 19 × 25 cm. first project. definitive project. Piazzasalone . Piazzasalone .258 Mark Pimlott + Tony Fretton Architects Piazzasalone Biennale Architettura 2010 259 Mark Pimlott + Tony Fretton Architects Piazzasalone Exhibition Mark Pimlott and Tony Fretton. 2010. Drawing courtesy of Mark Pimlott Mark Pimlott and Tony Fretton. Piazzasalone . 2010. Pencil and permanent marker on paper. Mark Pimlott and Tony Fretton. definitive project. 19 × 25 cm. Drawing courtesy of Mark Pimlott . Pencil on paper. 19 × 25 cm Drawing courtesy of Mark Pimlott. 19 × 25 cm. Pencil on paper. definitive project.
and the more personal dialogue presented in his sketchbooks were all critical in developing his design thinking on the themes of participation. to stimulate new patterns of urban movement in London. a university on the move. Stella-Sophie Seroglou. Tom Cairnes. thinker. alongside breadth. Agnes b. Pidgeon Digital. Samantha Hardingham *a CP favorite—he held sixteen copies in his library at home. sir. and Wilfried Kühn Student researchers: Kilian Fabich. Hochschule für Gestaltung Karlsruhe. His work has had a great impact on young architects as well as on generations of artists. length. The Canadian Centre for Architecture. Pickwick. strangers and himself. has earned him heroic status with seminal works including the Fun Palace (1961-1974). His major themes are those of time and movement. Price’s conviction that buildings should be flexible enough to allow the occupier to adapt the building to serve the needs of the moment reflects his own belief that time. “which changes its form as the wind-load varies over time”—demonstrates Price’s opposition to permanence and his discussions on change. sir?” “An observer of human nature. indeterminacy. The Pickwick Papers or The Posthumous Papers of the Pickwick Club (1836-1837). Francis Picabia claimed that our head is round so that thinking can change directions—thus. The Architectural Association Photo Library. and Ulrich Steinberg huoarchive. Pasadena Arts Council A special thanks to: Eleanor Bron. He had an independence of mind the likes of which can only come from a fondness for humans and a fascination for human nature. Peter Weibel. Jack Price—“dignifying life generally. or urban triggers. who continue to be inspired and influenced by his ideas. rather than on finished buildings. supervised by Armin Linke.de With the additional support of: Institute of the 21st Century (Karen Marta.” said Mr. engaging with the media as a means of initiating discussion. Richard Hamilton. . Montreal. in discussions with students. In this respect.* Cedric Price was an architect. and height.. the role of the many rich collaborations over his lifetime. Rita Donagh “Philosopher. conversations and talks amongst audiences. He worked tirelessly to invest his architecture with the ambition of—in the words of his uncle.hfg-karlsruhe.” For Price. Bettina Korek. Justin Conner. colleagues.260 Cedric Price VENIC VENIC Biennale Architettura 2010 261 Cedric Price VENIC VENIC Exhibition A project curated by Hans Ulrich Obrist and Samantha Hardingham Cedric Price (1934-2003) has been one of architecture’s most influential figures since the founding of his office in London in 1960. a series of short life structures. Markus Miessen. Hans Ulrich Obrist The project incorporates An online project conceived at the department for Exhibition Design and Curatorial Practice at the Hochschule für Gestaltung Karlsruhe (HfG). an interdisciplinary multi-purpose complex for theater and for cultural projects. Price’s projects—over 250 of them in all—consistently push against the traditional physical limits of architectural space. One of the central features of his thinking and his work—as manifest in the kinetic Snowdon Aviary at the London Zoo (1964). and Magnet (1999). with one copy especially reserved for traveling. His focus on time-based urban interventions. and above all an Englishman of extraordinary generosity towards his subject. is the fourth dimension of design. The films and drawings that appear in the exhibition present Price doing what he did best over a period of forty years—constantly challenging our understanding of what architecture might be. Charles Dickens. and delight. Director). the moral and ethical principles implied in any design speculation are privileged over and above variations on the arte-factual by-product. Potteries Thinkbelt (1964). anticipation.
Germany. Courtesy The Architectural Association. tagged according to specific key words. Autumn Gets Me Badly (1989). The research group at the HfG has produced hundreds of individually edited video clips. delivered at the Architectural Association on the 6th of November. Video transfer to DVD. Video transfer to DVD. Screen shots taken from the video recording of a talk in five parts by Cedric Price. London Cedric Price. The video-material is primarily of Obrist interviewing Cedric Price in his London office from 1998-2003. Screen shots taken from the video recording of a talk in five parts by Cedric Price. Autumn Gets Me Badly (1989). which can be used to generate a live. that attempts to turn Hans Ulrich Obrist’s archive into a productive tool generating a set of (spatial/content) structures that produce new works from the archived material. ongoing research at Hochschule für Gestaltung Karlsruhe (HfG). 1989. Courtesy The Architectural Association. delivered at the Architectural Association on the 6th of November. Fifteen hours of recorded conversations with Cedric Price were isolated in order to generate new content. London Cedric Price. Armin Linke and Markus Miessen Cedric Price. delivered at the Architectural Association on the 6th of November. Autumn Gets Me Badly (1989). Video transfer to DVD. albeit fictional. Screen shots taken from the video recording of a talk in five parts by Cedric Price. 1989.262 Cedric Price VENIC VENIC Biennale Architettura 2010 263 Cedric Price VENIC VENIC Exhibition This project is part of broader. 101’. The situation generated a process that Cedric Price employed throughout his working life: a continuous self-critique of the modes of operation and production of a designer. conversation with the architect. Courtesy The Architectural Association. 1989. 101’. The website creates the possibility of a virtual conversation between Cedric Price and the user. London . 101’.
36. DR1995:0188:001:016. Black and red ink reprographic copy on wove paper.28.2 x 59.10. Fun Palace: Promotional brochure . 9 x 9 cm. Montréal Cedric Price. Centre Canadien d’Architecture/Canadian Centre for Architecture Collection. 1964.264 Cedric Price VENIC VENIC Biennale Architettura 2010 265 Cedric Price VENIC VENIC Exhibition Cedric Price and Joan Littlewood.sketchbook. London Cedric Price. Cedric Price fonds.5 cm.8 cm. Ink pen on paper .70 .sketchbook. Pages from the sketchbooks of Cedric Price (1952). London . Ink pen on paper . Pages from the sketchbooks of Cedric Price (27.06.74). Courtesy The Cedric Price Estate. Courtesy The Cedric Price Estate. 7 x 11.
The Boy Hidden in a Fish . The Boy Hidden in a Fish . an aroma that can be sensed by the public when inside. in which the boy hidden in a fish tries to avoid the searching eyes of the princess who observes everything through her tower’s twelve windows. Gerardo Rojas. we decided to rebuild a future that is protected. Marcelino Lopez. image of the project. Collaborators: Juan Araya. It is built simply by hollowing out a granite boulder using industrial technology and then partially covering the interior with raw wood. Juan Castillo With the additional support of: HORM (Italy). Once hollowed. The Little Sea Hare.266 Smiljan Radic + Marcela Correa The Boy Hidden in a Fish Biennale Architettura 2010 267 Smiljan Radic + Marcela Correa The Boy Hidden in a Fish Exhibition After the earthquake of February 27. perfumed. The etching shows a scene from the Brothers Grimm tale. This refuge is simply one example of a protected interior that could be used to sleep if we want. 2010 . just as a homeless person would. and peaceful. by the visitors to the exhibition People meet in Architecture. in Chile. The wooden covering is made of cedar which we have chosen for its soft scent. The size of the boulder is 310 × 152 × 540 centimeters and the initial weight is nineteen tons. 2010. HITEK (Chile) Smiljan Radic + Marcela Correa. reproducing the sense behind the dry lines of the David Hockney etching. its weight will decrease to eight tons.
image of the project. stone view completed. The Boy Hidden in a Fish . 2010 Smiljan Radic + Marcela Correa. 2010 .268 Smiljan Radic + Marcela Correa The Boy Hidden in a Fish Biennale Architettura 2010 269 Smiljan Radic + Marcela Correa The Boy Hidden in a Fish Exhibition Smiljan Radic + Marcela Correa. 2010 Smiljan Radic + Marcela Correa. The Boy Hidden in a Fish . image of the project. The Boy Hidden in a Fish .
Photo Erieta Attali Smiljan Radic. 1997. 1997. Room. Photo Cristobal Palma Smiljan Radic + Marcela Correa. Fonola House. Photo Gonzalo Puga Smiljan Radic. Photo the Artist .270 Smiljan Radic + Marcela Correa The Boy Hidden in a Fish Biennale Architettura 2010 271 Smiljan Radic + Marcela Correa The Boy Hidden in a Fish Exhibition Smiljan Radic. 2005. 2009. Pite House. Room.
concert hall. relax. Public buildings. The modules can be assembled into chairs. A process of learning by doing. ballroom. which are developed for easy assembly. Kitchen Monument has traveled across many sites in Europe and has accommodated multiple purposes. new geometries for furniture. A set of several flight cases can be assembled as two workbenches. The Generator Exhibition Instant urbanism In many of their projects. participatory building practices in public space. squares. A chair is the archetype of furniture. The Generator is an experimental building laboratory for instant. Establishing temporary communities is one tool for creating a surrogate notion of a city divorced from the capitalist logic of use-value and profitability. or abandoned spaces. different assemblage points. forgotten areas. Marella Diamantini. nora systems GmbH raumlaborberlin and Plastique Fantastique. Armin Fucks. Andrew Plucinski. Marco Canevacci. transforming each site into a collective space through an inflatable mantle. The hardware is a workstation designed for mobility. cinema. hideouts. Domus. Kitchen Monument is one of many mobile structures developed by raumlabor in collaboration with Plastique Fantastique to create instant communities in different urban situations. Annamaria Piccinini. and our own world with pieces of furniture was our utmost pleasure. Manuel Coletto. The Generator (Frauke Gerstenberg. dormitory. as well as walls and shelters. They explore what remains of collective ideals and ways to overcome today’s harsh conditions of economic competition. fostered through cooperation and self-empowerment. Lucia Pasquali. and lightweight construction buildings. With The Generator it is endowed with a further function: the “stacking chair” becomes an assembly part to construct spaces. tables. One of raumlabor’s motivations is to engender alternative practices within the city. Photo Marco Canevacci The Venetian Chair is a remembrance of childhood. The software is a set of construction plans and instructions for modules. 2006. and shelves. raumlaborberlin and Plastique Fantastique. when building fortresses. an object that assists us as we work. 2006. The Generator consists of two components: hardware and software. This zinc-sheet-clad sculpture can be installed within public spaces. as well as new use possibilities and multiple programs for people to meet and interact in public. Marco Canevacci. The construction methods will be constantly tested and improved. Photo Rainer Schlautmann . Collaborators: Kitchen Monument (Plastique Fantastique-Marco Canevacci Manfred Eccli). they detect unused potential and open new perspectives for new spheres of activity. and steam bath. Graduate School of Design . Kitchen Monument . including banquet hall. Duisburg. Roberta Aralla. boxing arena. Paolo Ruoro. conference room. Camilla Minini. or derelict buildings are their field of action. Anna Francesca Triboli) With the additional support of: Zumtobel. The team will record and reuse all possible mutations of the system and incorporate them into a growing structure. Through specific architectural and programmatic interventions. Duisburg. Lucas Fink. Francesco Vedovato.272 raumlaborberlin Kitchen Monument. The Generator Biennale Architettura 2010 273 raumlaborberlin Kitchen Monument. or gather for a meal or discussion. They contain all the necessary tools for eight people to work on site using simple wooden slats and plywood as building materials.Harvard University. Central issues of the research include construction principles. The participants can transform the modules accidentally or intentionally. raumlabor focuses on activation of the public realm. Kitchen Monument .
Photo raumlaborberlin raumlaborberlin. 2010. The Generator Biennale Architettura 2010 275 raumlaborberlin Kitchen Monument. Kitchen Monument . Chaise Bordelaise . The Generator Exhibition raumlaborberlin and Plastique Fantastique.274 raumlaborberlin Kitchen Monument. The Knot . Marco Canevacci. Photo raumlabor Markus Bader. Jakub Szreder. Photo the Artist . Oliver Baurhenn. 2009. Liverpool. Raluca Voinea. 2008.
Tempelhof Airport . since 2006 .276 raumlaborberlin Kitchen Monument. The Generator Biennale Architettura 2010 277 raumlaborberlin Kitchen Monument. The Generator Exhibition raumlaborberlin.
This research laboratory is intended to analyze human beings’ physiological and ocular adaptation to the dark. UV detector component second version . C). It’s neither comfortable nor pleasing. At the end of the journey. This lab is aimed at the moon when it’s above the horizon. Gabriel Blue Cira. Jean-Michel Castagné. The meeting point is not pretending to be safety. in order to be able to reduce urban light pollution. report on solar activity. But it’s also a fragment of the design of thebuildingwhichneverdies commissioned by the Zumtobel Group for its Thorn subsidiary. by the after glowing ghost. The fence simultaneously protects those who are still there. But at night this lab restores the light intensity of daytime by discharging UV sensor units located on all the exterior surfaces. “I remember the inaccessible zone and the room where wishes are granted in the Tarkovsky movie Stalker . Melissa Millot Production: Stephane Rivoal. It means crossing a heterotopic space where the passage itself is the only way to define yourself in relation to what’s already there. seeking to transgress the forbidden. Assembling Ufacto With the additional support of: Zumtobel.com/biennale010. or even confronting your own repulsion at negotiating unfamiliar surroundings. Kiuchi Toshikatsu Collaborators: Stephan Henrich. looms this Room of Wishes. Stephanie Lavaux. Materialise / 3D print / Belgium. Sina Momtaz. its degree of danger according to its variations of intensity and specific nature (UV—A. Alessandra Vassallo. an architectural Marker of the mutation of our environment and occurs as a signal of UV human pathologies. The level of UV which has crossed the Ozone layer is only revealed with a gap of time. This building is a nocturnal observatory pivoting on itself. Benoit Lalloz. It means daring to risk the unknown together. Sandra Meireis. where architecture is precisely the meeting point…” R&Sie(n)’s apparatus is something similar. to take advantage of the one-lux minimum moonlight and even amplify it. Meeting doesn’t mean plunging into a masked carnival. This involves consideration of risk and a determination of whether or not to go through with it. M/M. a place you enter after crossing a territory where the gods clashed with humanity—we still don’t know who won that battle. populated on all its outdoor surfaces. attract and repulse you. and those who dare venture in without knowing how to make use of what they may find there. touching something which could simultaneously intrigue. CNC Prototyper Tecmolde. Liza Langard. as if in a ceremony meant exclusively for a sum of individualities. The truce is unstable. about whom we know nothing. inter canem et lupum … Team: François Roche. Tecmolde / CNC production / Spain www. Sebastien Szczyrk.278 R&Sie(n) Isobiot®ope / thebuildingwhichneverdies Biennale Architettura 2010 279 R&Sie(n) Isobiot®ope / thebuildingwhichneverdies Exhibition Meeting someone means facing the unknown. Gorka Arrizabalaga. UV detector component draft version R&Sie(n). the strange. Nothing can be discerned but sweat and silence. Thus their phosphorescent components (Isobiot®opic oxide pigment). Thyssen-Bornemisza Art Contemporary / Vienna / Austria. The components’ afterglow is a detector. after people are plugged into the shadows of the day.new-territories. in the death of the sunset. amid the humid dilapidation. like climbers roped together. or huddling in a dark room. B.htm R&Sie(n). Hamish Rhodes. Ulrike Marie Steen. Gaetan Robillard.
Biennale apparatus . Isobiot®ope R&Sie(n).280 R&Sie(n) Isobiot®ope / thebuildingwhichneverdies Biennale Architettura 2010 281 R&Sie(n) Isobiot®ope / thebuildingwhichneverdies Exhibition R&Sie(n). thethingwhichnecrose . 2009 R&Sie(n).
Galerie Thaddaeus Ropac Tom Sachs. Oksana Todorova. The Radiant City. With Yamasaki’s compromised plan for Pruitt-Igoe based on radiant city. The McDonald’s drive-thru. 2010 . B Side . was completed in 1952. Van Neistat. Le Corbusier presented his radiant city towers as an armor-capped defense against the new German threat of aerial attack. Daniel Gatenio With the additional support of: Sperone Westwater. imperialism. Jason Kotara. It was built to alleviate a severe postwar housing shortage. one would experience the world’s most important drive-thru restaurant. Le Corbusier’s most influential late work and his first significant postwar structure. Pat McCarthy. Casey Neistat. and Berlin. Daniel Akselrad. twelve-story apartment block for 1. Unité represents both the potential for solving the world’s housing crisis through technology. is the late-modern counterpart of the mass housing schemes of the 1920s. Untitled. Sachs has included four related works. Designed around the turning radius of the front-wheel-drive Citroen Traction Avant automobile. In the 1920s. Nick Doyle. Although built as a prototype for mass production—Corbusier envisioned 1. Chris Beeston.600 people. Unité Façade. Baldwin Gallery. Sarah Vasil. is the most ubiquitous automobile-influenced building. we trace an arc of aerial terror through modern history that links greed. consider Minoru Yamasaki. Marley Lohr.282 Tom Sachs Biennale Architettura 2010 283 Tom Sachs Exhibition Tom Sachs’s exhibition focuses on Le Corbusier. B Side. Erik Brandt. designed to provide burgers and fries to America’s increasingly mobile fast-food consumers. whose legacy represents the successes and failures of modernism—both the potential for solving the world’s housing crisis with technology and the mismanagement of projects that incubated poverty. 2001 Tom Sachs. Bohen Foundation Thanks to: Vanhaerents Art Collection. Care Taker and Unité Façade. His two most significant buildings—destroyed for political reasons—are Pruitt-Igoe (1955-1972) and the World Trade Center (1973-2001). who is the success and who is the failure? Who is the winner and who is the loser? Also. Deutsche Guggenheim. Kai Williams. Alex Chohlas-Wood. the Unité d’Habitation in Marseilles. Firminy. Unité d’Habitation . In comparing Ray Krock to Le Corbusier. Iris Jaffe. Evan Murphy. John Furgason. Parading the successes and failures of modernism. a massive. and economic mismanagement resulting in project failure and continued suffering and poverty. Driving through McBusier. The buildings’ raised feet also allow the new poison gas to dissipate. Only the Marseilles Unité stands uncompromised.000 Unités—just three other bastardized versions were completed: Nantes-Reze. perhaps Le Corbusier’s most infamous disciple. and retribution. Collaborators: Gordon Millsaps. Le Corbusier’s Villa Savoye is the first significant residential building to incorporate the automobile into its architecture.
The Radiant City.284 Tom Sachs Biennale Architettura 2010 285 Tom Sachs Exhibition Tom Sachs. 2010 .
286 Tom Sachs Biennale Architettura 2010 287 Tom Sachs Exhibition Tom Sachs. The Radiant City. 2010 .
but on the contrary we had to remove it all. Although the material seemed ideal for the project—thin plastic sheets that. and we are interested in working with the habitual. for the blind. better yet. Collaborators: Jose María Lastra.288 selgascano vacuum pack-ing (on room 25) Biennale Architettura 2010 289 selgascano vacuum pack-ing (on room 25) Exhibition vacuum pack-ing (sotto-vuoto) is a title that defines this project for the Biennale as well as describing the work produced in the studio so far. The project was enriched when we had to adapt and curve the vacuum forms to the small size of Room 25 (we subtitled this On room 25) and place them in the presence of a window and its reflections. moreover. the objects would end up moving and falling and. This would ease the transportation and would fix the small objects to the desirable position. We try to work with vacuum and void. This is why we interpreted the proposition of SANAA of moving to the Biennale all the objects. models. All this packaging work has triggered the investigation of new materials and effects. State Corporation for Spanish Cultural Action Abroad (SEACEX). so this project ended up being the start of a future one. the ordinary. We started with small floating inflatable capsules. some of which were delicate and some big. or. At lunchtime we saw it clearly… instead of adding we had to remove. Gilberto Ruiz Lopez With the additional support of: Lastra & Zorrilla. These capsules would exhibit the pieces out of the public’s reach.” And we are forcing ourselves to do it with as little material as possible. Polimertecnic Photo Dean Kaufman . where a sign will read: “please touch”. But soon we realized they were unstable. producing a common vacuum packing. the vulgar. We didn’t have to add air. well-folded. would fit in any suitcase—we had to use it in another way. constant themes can be found in our work. the transparency and reflections of both the window and vacuum forms that together produce a dance of mirages over the room wrapped in 3M mirror paper. and pieces from projects that we keep collecting and accumulating on the shelves of our studio as a mere “packing-moving-exhibiting. We play with the little space. and its transparency. as usual. The project was reduced to the technical task of vacuum packing objects. they occupied space. Jeong Woo. the window. And finally comes the most interesting virtue of this montage for us: the tactile. we use as little material as possible. Although we like to live with inconstancy and the unstable. This implies working with the lightest and cheapest material—air. making its transportation unviable. 3M. This is a work made to be touched.
Madrid. Photo Iwan Baan selgascano. Office in the Wood.290 selgascano vacuum pack-ing (on room 25) Biennale Architettura 2010 291 selgascano vacuum pack-ing (on room 25) Exhibition selgascano. Madrid. Photo Iwan Baan . 2008. Silicon House. 2006.
Auditorium and Congress Center. Vacuum Pack-ing (On room 25) . Cartagena. Police Headquaters. Spain selgascano. Spain selgascano. Plasencia. Spain selgascano. Plasencia. Merida. detail of Auditorium and Congress Center. Spain selgascano. Spain . Police Headquaters. Merida. Badajoz. Spain selgascano. Congress Center. Badajoz. Congress Center. Spain selgascano. Spain selgascano.292 selgascano vacuum pack-ing (on room 25) Biennale Architettura 2010 293 selgascano vacuum pack-ing (on room 25) Exhibition selgascano. Auditorium and Congress Center. Spain selgascano. Vacuum Pack-ing (On room 25) . Merida. Auditorium. detail of Cartagena Auditorium selgascano. Vacuum Pack-ing (On room 25) . Vacuum Pack-ing (On room 25) . Spain selgascano. Plasencia. detail of Police Headquaters. detail of Congress Center in Badajoz.
Pandurang Gharat. Here projects are developed through careful consideration of place and a practice that draws from traditional skills. Samuel Barclay. 2010. Leti. Punamchand Suthar. shifting of stone. India. Uttaranchal. Work-Place is an environment created from an iterative process. local building techniques. framing model. Team: Studio Bijoy Jain. between idea and reality. Kharta Ram. Work-Place . these architectural studies are vital tools that enable us to look at the complexity of relationships within each project and to respond and adapt freely through the practice of making. Bhaskar Raut. There are many sources of inspiration: one only has to observe closely. Nagaon. 2007. India. Bhaira Ram. Work-Place . where ideas are explored through the production of large scale mock-ups. existing as part and whole. Maharashtra. Kate Dineen. © and Photo the Artists Studio Mumbai Architects. They are ambiguous. Chanana Ram. Inspired by observation of real life conditions. 2006. models. and drawings. Our endeavor is to show the genuine possibility in creating buildings that emerge through a process of collective dialog. Bhuraram. Nagaon. material studies. Studio Workshop. Work-Place . Michael Anastassiades.294 Studio Mumbai Architects Work-Place Biennale Architettura 2010 295 Studio Mumbai Architects Work-Place Exhibition Our immediate environment is a space that we subconsciously create and inhabit. We can make this space very familiar or we can expose ourselves to unfamiliar elements that provoke our response and reevaluation. © and Photo the Artists . but first we need to understand why things are a certain way. Samir Raut Studio Mumbai Architects. Maharashtra. and an ingenuity arising from limited resources. Jeevaram Suthar. intimacy. India. © and Photo the Artists Studio Mumbai Architects. and modesty. sketches. materials. Sawai Ram. It is possible to have set ideas of what architecture should be. Bhanwar Lal. a face-to-face sharing of knowledge through imagination.
Tara House. carpenter sketches. 2005. Nagaon. Maharashtra. India. well construction. India. Maharashtra. Kashid.296 Studio Mumbai Architects Work-Place Biennale Architettura 2010 297 Studio Mumbai Architects Work-Place Exhibition Studio Mumbai Architects. Maharashtra. © and Photo the Artists Studio Mumbai Architects. well construction. Kashid. 2009-10. Tara House. 2005. India. Work-Place . © and Photo the Artists . © and Photo the Artists Studio Mumbai Architects.
298 Studio Mumbai Architects Work-Place Biennale Architettura 2010 299 Studio Mumbai Architects Work-Place Exhibition Photo Dean Kaufman Photo Dean Kaufman .
300 Studio Mumbai Architects Work-Place Biennale Architettura 2010 301 Studio Mumbai Architects Work-Place Exhibition Photo Dean Kaufman Photo Dean Kaufman .
Cloud Island I . Kojiro Shibata.302 Fiona Tan + Kazuyo Sejima & Associates + Office of Ryue Nishizawa Cloud Island I (Fiona Tan) Biennale Architettura 2010 303 Fiona Tan + Kazuyo Sejima & Associates + Office of Ryue Nishizawa Cloud Island I (Fiona Tan) Exhibition Fiona Tan with Toshiyuki Abe. Japan Courtesy the artist. Masakazu Uchida (Inujima Art Project). Cloud Island I . Hiroshi Kagayama. 2010 Fiona Tan. Takafumi Shimooka. Tokyo © Fiona Tan. Wako Works of Art. Senji Nakayama. Kinue Inoue. Kazuyo Seijma. Kiyoshi Wako. Chikako Watanabe Filmed on location on Inujima and Teshima. London Commissioned by: the Naoshima Fukutake Art Museum Foundation Funded by: Naoshima Fukutake Art Museum Foundation and Wako Works of Art. Lodewijk van Olffen Grading: Wouter Suyderhoud Produced by: Fiona Tan With thanks to: All the inhabitants of Inujima and Toshiyuki Abe. Ryue Nishizawa. Yuko Hasegawa. Kazuo Miura. Amsterdam. Amsterdam. 2010 . Shosho. Mao Nagakura Helicopter Pilot: Toshihiko Sasae Catering: Sakae Ikeda Artist’s Assistant: Letizia Colella Edited by: Gys Zevenbergen Sound Design: Hugo Dijkstal Postproduction: Filmmore. 2010 With the additional support of: Mondriaan Foundation. Michiko Shibata. Amsterdam Fiona Tan. Hiromitsu Tokumori (Ohmoto Group). Tokyo and Frith Street Gallery. Chieko Tsugita Written and Directed by: Fiona Tan Production Manager: Marty de Jong Director of Photography: Erik van Empel Sound Engineer: Mark Wessner Research: Renna Okubo Production Assistants: Renna Okubo.
2010 Fiona Tan. Rise & Fall .304 Fiona Tan + Kazuyo Sejima & Associates + Office of Ryue Nishizawa Cloud Island I (Fiona Tan) Biennale Architettura 2010 305 Fiona Tan + Kazuyo Sejima & Associates + Office of Ryue Nishizawa Cloud Island I (Fiona Tan) Exhibition Fiona Tan. London . Courtesy the Artist and Frith Street Gallery. 2008. Disorient . 2009. Cloud Island I . London Fiona Tan. Courtesy the Artist and Frith Street Gallery.
306 Fiona Tan + Kazuyo Sejima & Associates + Office of Ryue Nishizawa Cloud Island I (Fiona Tan) Biennale Architettura 2010 307 Fiona Tan + Kazuyo Sejima & Associates + Office of Ryue Nishizawa Cloud Island I (Fiona Tan) Exhibition Photo Dean Kaufman .
the trees and the flowers. 2010.. It was once renowned for its granite production. Takashi Suo. on which there is a village. We selected sites within valleys formed by the undulating hills. we could understand the characteristics specific to each location.308 Fiona Tan + Kazuyo Sejima & Associates Biennale Architettura 2010 + Office of Ryue Nishizawa Inujima Art house project (Kazuyo Sejima & Associates) There is a tiny island called Inujima in the Seto Inland Sea. Our project creates a series of independent gallery spaces among the houses and trees. in others new light structures evolved. In places where the traditional wood structures could be reutilized they were transformed. By studying in many media and with models at varying scales. Walking through the village people can find a series of galleries: wood. routes and visual sequences that the island offers. sites high above with a view over the sea. sky and sea appear as art. the landscape as a whole and the life of the village as it flows through. 2010 Kazuyo Sejima & Associates. Nature. LTD Client: Naoshima Fukutake Art Museum Foundation 309 Fiona Tan + Kazuyo Sejima & Associates Exhibition + Office of Ryue Nishizawa Inujima Art house project (Kazuyo Sejima & Associates) MAP SMALLER BUT DON’T CROP IT Kazuyo Sejima & Associates. Naoko Kawachi. every one communicating with its immediate nature. As you approach and pass through each space the art displayed melts into its environment. Transparent surfaces dissolve and the landscape. It is from this process that shapes. aluminum. sizes and materiality emerged for each gallery space. Atelier Shimamura Mechanical engineers: Scientific Air-Conditioning Institute Planting: Akaruiheya Inc. sites within the houses. acrylic and granite appear and disappear with the changing levels of the terrain. Photo Iwan Baan . changing colors and an ephemeral relationship between village. Visiting Inujima regularly we could trace the seasons and become accustomed to the distances. Project Team: Kazuyo Sejima. Each season revealed different views. Yoshitaka Tanase. Takayuki Furuya Art Director: Yuko Hasegawa Structural engineers: Sasaki Structural Consultants. existing houses and scattered galleries become the framework of the island and it is transformed into a new landscape: a landscape that visitors and local people are invited to inhabit together. then its soft hills and rich nature lay quiet. Inujima Art House project. Inujima Art House project. General Contractor: Ohmoto Gumi Co. Our desire is to create an environment where the village itself is a museum.
Photo Iwan Baan Installation for Comme des Garçons. Installation in the Mies van der Rohe Pavilion. Photo Kazuyo Sejima & Associates . Photo Iwan Baan Kazuyo Sejima & Associates. Photo SANAA and Kazuyo Sejima & Associates Kazuyo Sejima & Associates. 2008. 2009. Inujima Art House project. Inujima Art House project.310 Fiona Tan + Kazuyo Sejima & Associates Biennale Architettura 2010 + Office of Ryue Nishizawa Inujima Art house project (Kazuyo Sejima & Associates) 311 Fiona Tan + Kazuyo Sejima & Associates Exhibition + Office of Ryue Nishizawa Inujima Art house project (Kazuyo Sejima & Associates) Kazuyo Sejima & Associates. SANAA. 2010. 2010.
with its gentle curves. Photo Office of Ryue Nishizawa / July 2010 . Teshima Art Museum. section. 2010. What we envisioned for the site is an architectural form that resembles a drop of water. There are also a number of holes in the shell through which natural light and glimpses of natural scenery are introduced into the space. Project team: Ryue Nishizawa. The thin concrete shell extends upward some 60 meters at its highest point creating a large.312 Fiona Tan + Kazuyo Sejima & Associates + Office of Ryue Nishizawa Teshima Art Museum (Office of Ryue Nishizawa) Biennale Architettura 2010 313 Fiona Tan + Kazuyo Sejima & Associates + Office of Ryue Nishizawa Teshima Art Museum (Office of Ryue Nishizawa) Exhibition Upon completion the museum we are currently designing for Teshima (an island in the Seto Inland Sea) will provide a simple functional space for a collection of work on permanent display. Teshima Art Museum. and to realize a single unit comprising all these elements. plan 2010 Office of Ryue Nishizawa. Photo Office of Ryue Nishizawa / July 2010 Office of Ryue Nishizawa. single room space. contains zero commercial buildings or private residences. Teshima Art Museum. As the terrain is richly contoured we imagined that this form. The interior is distinguished by an organic space that resembles a horizon—stretching out like a drop of water on a sheet of paper. would snugly blend into the surroundings whilst simultaneously forming an architectural space. Teshima Art Museum. Yusuke Ohi Artist: Rei Naito Structural engineer: Sasaki Structural Consultants Mechanical engineer: Kajima Corporation General contractors: Kajima Corporation Client: Naoshima Fukutake Art Museum Foundation Expected completion October 2010 Office of Ryue Nishizawa. In this project rather than simply creating an art museum we set out to create a fusion between the environment and the building. 2010. organic. The site is located on a low range of hills that looks out onto the ocean. the exterior is imbued with a presence of form that is similar to a landscape element such as a hill or slope. between art and architecture. 2010 Office of Ryue Nishizawa. in which rice paddies lie side by side amongst untouched nature. By significantly reducing the height of the ceiling compared with that of normal shell structures. This beautiful environment.
House A. 2006. Photo Ken’ichi Suzuki Office of Ryue Nishizawa. 2010. House A. 2006. House A.314 Fiona Tan + Kazuyo Sejima & Associates + Office of Ryue Nishizawa Teshima Art Museum (Office of Ryue Nishizawa) Biennale Architettura 2010 315 Fiona Tan + Kazuyo Sejima & Associates + Office of Ryue Nishizawa Teshima Art Museum (Office of Ryue Nishizawa) Exhibition Office of Ryue Nishizawa. Teshima Art Museum. Photo Ken’ichi Suzuki Office of Ryue Nishizawa. 2010. Photo Ken’ichi Suzuki / July 2010 Office of Ryue Nishizawa. 2006. Teshima Art Museum. Photo Ken’ichi Suzuki Office of Ryue Nishizawa. Photo Office of Ryue Nishizawa / May 2010 .
316 Fiona Tan + Kazuyo Sejima & Associates Biennale Architettura 2010 + Office of Ryue Nishizawa Inujima Art house project (Kazuyo Sejima & Associates) 317 Fiona Tan + Kazuyo Sejima & Associates + Office of Ryue Nishizawa Teshima Art Museum (Office of Ryue Nishizawa) Exhibition Photo Dean Kaufman Photo Dean Kaufman .
Transsolar: Nadir Abdessemed. within. and above floating in the center of the Arsenale. The scene is set underneath an artificial sky where the cloud can be touched and felt as different micro-climatic conditions coincide. The path winds through the Cloudscapes appearing and disappearing. Schiico Germany. Transsolar and Tetsuo Kondo Architects create Cloudscapes where visitors can experience a real cloud from below. Clouds find balance within stable equilibria and naturally sustain themselves. Simply. embodying and releasing solar energy. carrying water— the source of life—from the oceans to the land.. Cloudscapes . temperature.3 meter high ramp that allows visitors to sit above the cloud. The ability to touch. Yoshiyuki Hiraiwa SASP DIA Dessau With the additional support of: Extenzo France. condensation droplets floating in the space and condensation seeds. The structure consists of a 4. Anja Thierfelder anOtherArchitect: Daniel Dendra Tetsuo Kondo Architects: Tetsuo Kondo. Timur Khanachet. Martin Professional Denmark. and walk through the clouds is a notion drawn from many of our fantasies. Thomas Auer. My Book Service Inc. The scene is set underneath an artificial sky. and it can be felt as different microclimatic conditions coincide. Sometimes people only see the other people across the cloud while the path is obscured. the structure leans on the existing Arsenale columns. Eric Baczuk. and humidity. Visitors find a path that is akin the normal experience of walking through a garden. They are the visible part of the terrestrial water cycle. Gazing out of airplane windows. high above the earth. feel. separating the spaces by the light filter effect.318 Transsolar & Tetsuo Kondo Architects Cloudscapes Biennale Architettura 2010 319 Transsolar & Tetsuo Kondo Architects Cloudscapes Exhibition Clouds are important elements of our atmosphere. The cloud can be touched. The cloud is always changing so the experience of the path is also dynamic. Courtesy Sasaki and Partners Photo Dean Kaufman . Matthias Schuler. 2010. Volkmar Bleicher. framing outdoor space and filtering sunlight. we often daydream of what it might be like to live in this ethereal world of fluffy vapor. Stefan Holst. Mitsuru Maekita Structural engineer: Sasaki and Partners: Mutsuro Sasaki. The atmospheres above and below the cloud have different qualities of light. surutokoro TXT OVER IMAGE BOTH ENG AD ITA Transsolar KlimaEngineering & Tetsuo Kondo Architecs. Roschmann Group Germany. The cloud is based on the physical phenomenon of saturated air. when people are changing the cloud e meeting each other.
2010. Courtesy Tetsuo Kondo Architecs . Cloudscapes . Cloudscapes . 2010. 2010.320 Transsolar & Tetsuo Kondo Architects Cloudscapes Biennale Architettura 2010 321 Transsolar & Tetsuo Kondo Architects Cloudscapes Exhibition Tetsuo Kondo Architecs. 2001 Transsolar KlimaEngineering & Tetsuo Kondo Architecs. Cloudscapes . Mirror. Foto Frank Ocker Transsolar KlimaEngineering & Tetsuo Kondo Architecs. Photo Transsolar KlimaEngineering Transsolar KlimaEngineering & Tetsuo Kondo Architecs.
322 Transsolar & Tetsuo Kondo Architects Cloudscapes Biennale Architettura 2010 323 Transsolar & Tetsuo Kondo Architects Cloudscapes Exhibition Photo Dean Kaufman .
324 Transsolar & Tetsuo Kondo Architects Cloudscapes Biennale Architettura 2010 325 Transsolar & Tetsuo Kondo Architects Cloudscapes Exhibition Photo Dean Kaufman .
clinging to the past or reaching out to the future. to experience and to listen. ambitious and lazy. München. to be of service. Don’t get me wrong: this is not a metaphor. Music: Thom Hanreich. for once. fat and skinny. rich and poor. Key Grip: Jean Chesneau. With the support of: Rolex © Neue Road Movies 2010 Rolex Learning Center / EPFL SANAA . Others would speak like the Financial Times. Editing Assistant: Maxine Goedicke. yet others would praise God. Buildings are like people. ugly and beautiful. Old and young.326 Wim Wenders If Buildings Could Talk… Biennale Architettura 2010 327 Wim Wenders If Buildings Could Talk… Exhibition If Buildings Could Talk. Buildings. or Allah. Some rather listen carefully first.. male and female.. . Post-produced by: Cinepostproduction. Some really WANT a constant dialogue with us. Of course.. in the best sense of the word. Editor: Toni Froschhammer. Photography: Donata Wenders Shot on location at the Rolex Learning Center of the Ecole Polytechnique Fédérale Lausanne Produced by: Neue Road Movies. Production Coordinators: Michael Mitchell.. in fact. Some would just whisper. Some are plain dead and don’t speak anymore. they exist in there) are eager to welcome you. like people. duration: 12 min Director: Wim Wenders. The building you will encounter is a particularly gentle and friendly one. Producer: Erwin M.. It’s an invitation to wander around. Buildings DO speak to us! They have messages. That’s why our film is in 3D. reading. scribbled by © Wim Wenders . some of them would sound like Shakespeare. Post-production Supervisor: Jan Fröhlich. some less and some not at all. and communicating. Berlin. while others would modestly mumble a few words and really have nothing to say. to help. Time Lapses Assistant: Murielle Gerber. a 3D video installation by Wim Wenders. Grip: Patrick Chizalet. and to be. made for learning. Sound: Ansgar Frerich. a meeting place. some would loudly sing their own praises. Its hills and valleys (yes. are subject to time and exist in a three-dimensional world. And you have probably noticed: Some of them like us a lot. Stereographer Postproduction: Daniele Siragusano. Stereographer: Alain Derobe. Francesca Hecht Stereographer Time Lapses and Second Unit: Josephine Derobe. Photo 2010 by © Hisao Suzuki. Schmidt 1st Assistant Director: Heidi Frankl. First Assistant Camera / DIT: Thierry Pouffary.. Director of Photography: Jörg Widmer.
namely SUBTITLE (with all its associative compressions and frictions of syntax rubbing up against syntax). Taka Ishii Gallery. The text is a quotation from The Changing Light at Sandover. Collaborators: Pascale Berthier. a poem by James Merrill emerging from sessions at the Ouija board with his partner David Jackson and published in 1982. or surtitle. The plexi-glass cover… Courtesy Galerie Neu. Vienna With the additional support of: White Cube.—the intuition of space—the words hang in the air. Courtesy Galerie Buchholz Cerith Wyn Evans. London Cerith Wyn Evans. hermeneutic talisman “spelling-out” the scene. The excerpt cites an episode describing a scene from a “lost novel” in which the author prevaricates regarding a character… protagonist Joanna is found lost in reverie Whilst smoking a cigarette on an airplane …suspended. 2009. 2008 . Sam Chermayeff. Jack Hogan. A text is being staged. Rinsed with mecury… .” if you like… “occasioning” a scene. NEONline.328 Cerith Wyn Evans Joanna (Chapter One…) Biennale Architettura 2010 329 Cerith Wyn Evans Joanna (Chapter One…) Exhibition The work is a text fabricated from white neon letters supported on a metal framework suspended from the ceiling… a construction “apparatus. Tokyo Project development and realization: Dusty Sprengnagel. Redolent of cinematography’s support to the interrealm of language “through” language.
330 Cerith Wyn Evans Joanna (Chapter One…) Biennale Architettura 2010 331 Cerith Wyn Evans Joanna (Chapter One…) Exhibition Photo Dean Kaufman .
From 2007 to 2009 they had a period of residence at one of the Centquatre studios in Paris. built especially for restricted urban spaces. a prize awarded by the French Ministry of Culture. The studio’s design research is based on the chromatic and creative element. the IntermediaePrado Art Center of Madrid (2006). architecture. having participated in the Liverpool Biennale in 2008. the Mori Art Museum. and the New National Museum in Berlin. only superficially related to international “minimalism. the Museo del Faro in Cascais (2003). such as Casa ad Alenquer (2001). Bo Bardi was constantly inspired by an enthusiasm for experimentation in which political commitment and professional work were inseparable.bow-wow. The studio designed and built the temporary architecture for Design Miami 08 and 09 to house the works on show. placed together and at different angles. once again following collaborative work with T-BA21 and Matthew Ritchie. The most significant projects completed by ARU include the Half Moon Theatre in London (1979-1985). In 2009. In 2008. The most significant works carried out by Aires Mateus e associados include numerous private homes. while recognizing its main raison d’être in mass. the Rectorado de la Universidade Nova (2001).aru. are two French brothers who have worked together under the name Berger&Berger since 2005. In the course of her intense professional career. Spain (2010). including the Palacio del Cerezo en Flor in the Jerte Valley. and installations after carefully studying the material using virtual technology. the International Architecture Exhibition in Venice in 2008. The aim was to identify design ideas for turning the Venice lagoon into a “park” that the city could reappropriate as a landscape integrated into the surrounding district.335 Architects Index Exhibition Aires Mateus e associados 48 The Aires Mateus e associados architecture studio was set up in 1988 in Lisbon by brothers Manuel Aires Mateus (Lisbon. the Tokyo City Opera Gallery. ARU was set up to study space and its endless potential. Their buildings are often of composite. the Edifícios de Escritórios (2008). In this period they worked on a design for single-family housing called A Paradise Island is a Man-made Show. Atelier Bow-Wow’s research is based on the study of space and its uses and functions within urban environments. Spain. Cáceres. A competitive and restless designer. she became intensely involved in publishing in Milan. This is a multifunctional installationstructure inspired by the interaction between art. Berger&Berger and Thomas Raynaud won the competition held to mark the tenth anniversary of the international architecture magazine 2G . European capital of culture in 2010. design. the head offices of the Giner de los Rios Foundation in Madrid. the Walker Art Center.com Aranda\Lasch 64 Aranda\Lasch is a design studio based in New York that focuses on experimental research applied to architecture and design. as well as public works such as the Residencia de estudiantes de la Universidade de Coimbra (1999). a community of artists and creatives who work together in the Seoul area. and science. Lina Bo Bardi (Rome 1914–San Paolo 1992) worked in architecture. Díaz Moreno and García Grinda have taught architecture at the ETSAM—Escuela Superior de Arquitectura di Madrid since 1998 and in the master’s course at the Architectural Association School of Architecture in London. www.uk Apart from designing numerous buildings. frequently offering new composite proposals and ideas that take on new functions and meanings rather than meeting specified needs.cero9. 1963) and Francisco Aires Mateus (Lisbon. an upgrading plan for a former military area in Berlin. along with the Arup Agu studio. In 2008. printers and writers. intended rather to adapt to the use the inhabitants wish to put them to. then exhibited at the Seville Biennale. ARU was one of the groups chosen for the Saemangeum Island City project. and by making an expert choice and treatment of the materials. and the Made-Endesa Offices in Medina del Campo (2002). publishing. the Museo de Arquitectura (2006). Casa en el litoral de Alentejo (2003). They specialize in design and architectural design.” is based on a study of space and material that. In May 2010. AMID. Lichterfelde Sud (1998). as well as in collective exhibitions in galleries and museums such as the Hayward Gallery. where she was . and some parts of the Heyri Art Valley (2004). The studio has also presented its designs at various monographic exhibitions. Atelier Bow-Wow held its first solo exhibition in the USA at REDCAT—Roy and Edna Disney/CalArts Theater in Los Angeles—where it presented its research on the Case Study House. 1964). Paju Book City in Seoul (1999). respectively architect and visual artist. aims at eliminating gravity in order to assert lightness through its substantial dematerialization. and urban areas.com AMID.com ARU/Architecture Research Unit 70 Architecture Research Unit (ARU) is a research workshop based in the Department of Architecture and Spatial Design at London Metropolitan University and directed by Professor Florian Beigel. an enormous city to be built on the southeast coast of South Korea in a vast area reclaimed from the sea. the studio worked with artist Matthew Ritchie and Thyssen-Bornemisza Art Contemporary (T-BA21) of Vienna on the first “anti-pavilion” for the Venice Biennale. cosmology. set design. including the exhibition organized by the Spanish Ministry of Labor in 1999. including stone and marble. a building complex for publishers.ac. Set up in 2003 by Benjamin Aranda (1973) and Chris Lasch (1972). Aranda\Lasch created The Morning Line in Istanbul.arandalash. and Casa Brejos de Azeitão (2003). Bishopsfield Harlow in Essex (1994). Aranda\Lasch designs are often inspired by molecular structure in their symmetrical and modular forms. museography. www. and the Almedina bookshops (20002002). and teaching. This is done both by playing on the contrast between solids and spaces. www. their distinguishing style is the frequent use of modular elements.berger-berger. the studio designs highly innovative buildings. After graduating in architecture in Rome in 1939. The relationship between the interior and exterior of a building and appreciation of the “potential” of the spaces are the starting points in the processes of upgrading buildings. In March 2008. a project for the regeneration and modernization of a public building complex of the 1960s. Berger&Berger received the prestigious Nouveaux albums des jeunes architectes. and seem to derive from an assembly of geometrical forms.cero9 54 Cristina Díaz Moreno (1971) and Efrén García Grinda (1966) were both born in Madrid. mathematics. music. landscapes.airesmateus. The finished project involved the construction of a range of microhouses conceived as living spaces but with no set functions.londonmet.com Lina Bo Bardi 92 Atelier Bow-Wow 78 The Atelier Bow-Wow architecture studio was set up in Tokyo in 1992 by Yoshiharu Tsukamoto (1965) and Momoyo Kaijima (1969). a multifunctional space divided into different areas for artistic creation and various other activities. www. www. In January 2008.jp Berger&Berger 86 Cyrille Berger (1975) and Laurent P.cero9 architecture studio in 1997. the Centro Cultural de Sines (2000). Berger (1972). objects. Atelier Bow-Wow also takes part in large exhibitions and international biennales. and the San Paolo Biennale in Brazil in 2007. www. Bow-Wow coined the definition “Pet Architecture. The studio also produces short films and video installations under the name terraswarm. The architecture of Aires Mateus.cero9 has won various Spanish and international prizes and completed numerous projects.” which refers to a type of architectural structure that is small but highly functional. the contemporary interpretation of a postwar residential program based on the principles of reuse and energy saving. irregular volumes. where they set up the AMID. cinema.
but a process of articulate design. Seattle. until 1992. who lives and works in Rome and Bologna. audio. After the war. who lives and works in Dubai. Interflex. He has exhibited at numerous galleries and museums around the world. Platea dell’umanità . It is a composite organization that by choice and vocation works on different kinds of design including architecture. He has been teaching at Sint-Lucas University and the School for Science and Art of Brussels since 2005. 1965). Some examples are the interior designs for the Arumjigi Culture Keepers (2003) and the Shinsegae Centum City Culture (2008-2009) in Korea. She then moved to Salvador de Bahia.1 Contemporary Art Center in New York. a spectacular artificial sun that attracted more than a million visitors. along with the Brick House in London. Born in Seoul. English Heritage. The result is an environment of exchange that provides stimulus and energy and is aimed at producing solid. www. the Quay Arts Centre for Visual and Performing Arts in Newport. studying and investigating the concept of space. New York. He is one of the most significant exponents of contemporary architectural culture. stimulating questions and reflections on how the world is conceived. In 2009. and Chuck Felton (New York. In the course of his career he has often worked with other architects and artists. In 2000. 1968). reflections. 1958). interiors. as is now normal in film production. Belgium. and political ideology. the photographer Thomas Demand lives and works in Berlin. The current members of the Peter Ebner and friends group are Michael Eichner (Germany. the International Summer Academy of Fine Arts in Salzburg and the Graduate School of Design at Harvard in Boston. and is also guest lecturer at TU Delft (University of Technology) in Holland. and then became project director in the Stéphane Beel studio.com Sou Fujimoto 150 Sou Fujimoto was born in Hokkaido. Javier Sanchez (Mexico. where she completed various designs in her final years. www.suharchitects. 1962) and Peter St. Japan. and Seoul National University. to draw up a strategic master plan for the A13 motorway. an internationally renowned visionary avant-garde group set up in Florence that at the end of the Twentieth century produced a rich range of designs for clothing. Twergi by Alessi. along with renovation of the KIA Motors Sports Center (2006).com Thomas Demand 106 Born in Munich in 1964. Its most important work includes the extension of the Stedelijk Museum voor Actuele Kunst and the cultural center in Ledeberg. in a more absolute sense.cibicpartners. Salzburg and Munich. which carries out artistic experiments and works on architectural design. Cincinnati (2003). He is full professor and dean of the degree course in the Faculty of Interiors and Design at Milan Polytechnic. Cassina. the new offices for the Het Toneelhuis theatre company. the Vancouver Art Gallery (2005).olafureliasson. video. The simple forms he favors are arranged in numerous ramifications or recomposed in a meticulously orchestrated spatial order. Andrea Branzi 100 Born in Florence in 1938. Alessi. and has written several books on the history and theory of design. The relationship between art. Tom dePaor was awarded the YAYA (Young Architect of the Year Award). John 106 Adam Caruso (Canada. Jan De Vylder Architecten won the European Union Prize for Contemporary Architecture Mies Van der Rohe Award in 2009 and was appointed to curate Interieur 2010. and urban visions at a district level. and the P.com Do ho Suh + Suh Architects (Eulho Suh and KyungEn Kim) 136 Eulho Suh set up the Suh Architects studio in Seoul. Bo Bardi focused mainly on set designs for theater and cinema and the organization of large exhibitions.de Tom dePaor 120 Born in London in 1967.jandevylderarchitecten. the N House (2001). avoiding the ever increasing trend in contemporary architecture towards specialization in specific sectors. Oakville. he has curated many exhibitions in Italy and abroad. architecture. Eliasson’s fascinating poetics. Other designs followed. lights. Fondazione Prada in Milan (2007). always of spaces or buildings used for exhibitions. who lives and works in Vienna and Stuttgart. entitled Nationalgalerie . New York (2004). From 1977 to 1986. completed in 1992. the Arts Council of England. Starting from this conviction. 1958) constitute the design nucleus that is flanked by specific work groups for various projects. and especially mirrors. In . exhibiting in numerous galleries. 1955). Tom dePaor lives and works in Dublin. In May 2010. and the Fuglsang Kunstmuseum in Denmark. and shadows resulting from the expert and closely studied use of colored filters. including the Hara Museum of Contemporary Art (Tokyo). After an initial period working mainly on museum and exhibition spaces. In 2001. the Miami Art Museum (2007).com Caruso St. Korea. she and her husband Pietro Maria Bardi moved to Brazil. Artemide. Suh Architects’ designs combine function and aesthetics and range from buildings to graphic consultancy and genuine artistic works. the Art Gallery of Ontario (2002). His most important exhibitions have been at the Seattle Art Museum. Peter Ebner lives and works in Vienna.S. www. the Kunstmuseum in Wolfsburg. John (UK. and the Serpentine Gallery Pavilion in 2007.com Since 1993. Do ho Suh represented Korea at the 49th International Art Exhibition in Venice in 2001. Cibic&Partners’ work develops in two directions: a design section focuses on architecture and large interiors. inspired by natural elements such as water and light. with a multimedia installation entitled Paradise Institute . In 2004. Eliasson represented Denmark at the 50th Venice Biennale. Franziska Ullmann (Austria. and Oakville Galleries. and space. She set up and designed various museums. designed in London. small errors in structuring the image can be found. Eliasson has taken part in numerous public art projects. the National Gallery of Canada (2002). director of Architectural Design & Interiors at the Technical University of Delft in Holland and. where they settled permanently.336 Architects Index Biennale Architettura 2010 337 Architects Index Exhibition one of the founders of the Movimento di Studi per l’Architettura. in 2005. opened a studio with Trice Hofkens in 2000. DePaor consid- ers individuals and their emotions the hub of his design choices and. the Museum Boijmans van Beuningen (Rotterdam). built in Walsall in 2000. Demand attended the Fine Arts Academy in Munich and. politics.depaor. and history. completing them. Up & Up. in 2006. he works with companies such as Acerbis. Tony Fretton was born in London where he opened an architecture studio under his own name in 1982. He studied architecture in the faculty of engineering at Tokyo University. sculpture. 1959) set up a studio under their own names in London in 1990. which is never considered as a mere provision of services. In 2003. one of the most significant buildings for art. 1967). he was awarded an honorary degree in Industrial Design by the Faculty of Architecture at La Sapienza University. Ontario (2000). creating buildings of great emotional and evocative power. He works with numerous international design partners that differ according to the commission received. Caruso St. During his training and professional career he worked with sculpture. In the sphere of industrial design. Claudio Valentino (UK. and in 2000 set up the Sou Fujimoto Architects Studio and began specializing in the study and experimentation of detached and terrace houses. Downing College in Cambridge (2001-2009) and the Brick House in London (2001-2005).thomasdemand. the Victoria & Albert Museum. 1957) lives and works in Canada and Berlin usually in partnership with George Bures Miller (Vegreville. and appointments as visiting critic at various universities including the Rhode Island School of Design. the Art Academy in Düsseldorf. The studio changed its name to architecten de vylden vinck taillieu with the arrival of Jo Tailleu (1971). which was turned into a social center. of architecture. Its recently built designs include the Chiswick House Cafe in London (2010). Tom dePaor designed the visitors’ center for the former Royal Gunpowder Mills in Ballincollig in the country of Cork in 1991. Demand’s creative process does not include any computer enhancement. Demand represented Germany at the San Paolo Biennale and. 1969). In 2003. the University of Southern California. creating an ambiguity that makes the observer reflect on the simulation created by the artist. www. 1960). who lives and works in Mexico City. the Belgian Design Biennale. the US.com architecten de vylder vinck taillieu 126 Jan De Vylder (1968) and Inge Vinck (1973) set up the Jan De Vylder Architecten studio in 2008 in Gand. architecture. an innovative rural settlement proposal. and a residential and multifunctional complex in Antwerp. her home. John’s main principle is to include among their built work a vast and heterogeneous range of designs. the source of inspiration for architects such as Isozaki. he presented his latest personal exhibition at the Museo Boijmans Van Beuningen in Rotterdam. In 1996. she built her first work in San Paolo: the Casa de Vidro. From that time on. Branzi cofounded the Domus Academy in Milan (1983).com Olafur Eliasson 144 Olafur Eliasson was born in Copenhagen in 1967 and educated at the Danish Royal Academy of Arts. Hampshire (1996). John became a candidate for the prestigious Stirling Prize. and show built inside the Canadian pavilion and presented as a “film house” for eighteen people. he set up the Institut für Raumexperimente. and Fundación Telefónica in Madrid (2008). sound.com Aldo Cibic 112 The Cibic&Partners studio was set up in Milan in 1989. is obtained by the play of light. Colombia and European countries. He has won numerous prizes. and the Kemper Museum of Contemporary Art in Kansas City. the Città degli Orti (2008). London. He has held numerous workshops in Japan. Cardiff and Bures Miller have exhibited in numerous art galleries including the Art Gallery of Alberta (2010). the staging of the 10th International Architecture Exhibition in Venice (2006). the dePaor architects studio was commissioned by the Dagenham council. Do ho Suh has always sought to focus on the dialectical relationship between the individual and mass society and the interactions between people and space in his installations. both in Gand. including the Museo d’Arte a São Vicente (1952) and Masp—Museo d’Arte di San Paolo (1957-1968).andreabranzi. design. he originally resolves aesthetic and practical spatial problems. In 1951. the Whitney Museum of American Art. Tony Fretton is professor and visiting professor at many international universities. while CibicWorkshop works with schools on design and research into the development of new types of design. including Green River. Luhring Augustine. Rome. The studio’s current clients include Tate Britain. www. www. but is based on the construction of genuine installations that precisely reproduce what has been reported by the television news or shown in vintage photos. the Contemporary Arts Center. post-modern philosophy. and Tschumi. at the ETH in Zurich. where he continued his studies at the Rhode Island School of Design and Yale University. Branzi was part of Archizoom Associati. KyungEn Kim is manager of the design area at Suh Architects. enriching them. Unitalia. for which. He also teaches at Roma Tre University. The studio is directed by four partners—Aldo Cibic (Schio. who lives and works in Munich and Moscow. The first project that brought the studio to international attention was the New Art Gallery.it Janet Cardiff 104 The Canadian artists Janet Cardiff (Brussels. In the same year. which toured various cities between 1998 and 2001. a project on places and people. The works are often devised for architectural spaces. He has exhibited in the most prestigious museums. he was commissioned by the Department of Foreign Affairs to design N3 . and often communicate complex and contradictory information that disturbs the observer’s perception. and since 2009 has taught at the UCLA. Korea. Suh continued his studies at a theoretical and practical level working with Morphosis Architects and Pederson Fox in New York. and multimedia. including the Casa do Benin and the refurbishing of the Ladeira da Misericordia. in 1971. www. the first international post-graduate design school. the architect and designer Andrea Branzi has lived and worked in Milan since 1973. After studying at Seoul National University and completing his military service in the South Korean army. or drawing attention to the context in which they are presented. Her projects are the result of an unconventional combination of images. the studio added to its experience and design expertise by expanding into the public and private sphere. The work of Peter Ebner and friends is based on the conviction that individual needs and choices are of primary importance rather than the influence of fashions and trends. in 1962. Do ho Suh lives and works in New York.tonyfretton. and in 1987 was awarded the Compasso d’Oro for career achievement. London. took part in the Irish collective exhibition. 1950). the Irish Pavilion for the 7th International Architecture Exhibition in Venice and. Alberta. From 1987 to 1989. Pioneer. From 1964 to 1974. and Microrealities (2004). www. Michael Schwarz (Germany. Koolhaas. 1967). six years later.ebnerandfriends.cardiffmiller. attended Goldsmiths College at the University of London. Branzi’s design practice is to constantly seek out connections with the different manifestations of culture: from figurative art to communication. Gianluca Andreoletti (Italy. Cardiff and Bures Miller represented Canada at the Venice Biennale directed by Harald Szeeman. built in 2006. and in the same year installed one of his most well known works at the Tate Modern in London: the Weather Project . Ebner taught residential building at the Technische Universität in Munich from 2003 to 2009. One of his first residential designs. the Fruitmarket Gallery in Edinburgh (2008). In the early 1970s. The work was a hybrid of installation. in which use of the space given over to art is quite exemplary.net Tony Fretton 252 Peter Ebner 142 Born in Austria in 1968. and Emma O’Neill. Ontario. while Antonella Spiezio (Torre Orsaia. she was involved mainly in designing public buildings. which presents a new way of living in a serene balance between man and nature. innovative designs. such as Eilis O’Connell. in 2010. De Vylder studied architecture at Sint-Lucas University in Gand. In the course of his professional career. the San Francisco Museum of Modern Art. on the Isle of Wight (1998). opened in 2008 and awarded the prestigious Stirling Prize Building of the Year in 2009. until 1994. Caruso St. SBB-Swiss National Railways and the Gagosian Gallery. the Serpentine Gallery. Lapis. she devoted her time to a project to save the Pompéia factory in San Paolo. Dominic Stevens. the New Center for Contemporary Art in Nottingham (2009). is a surprising building with absolute permeability between interior and exterior. driven by the desire to foster the creation of an authentic Brazilian culture that would value its own roots. recognitions.carusostjohn. he had a period of residence at the Cité internationale des arts in Paris and subsequently. However. he moved to the USA. The studio’s most recent designs include More with Less (2009). With the latter. In 2008. who lives and works in Rome. and Zanotta. www. One of the first designs produced by the studio was Lisson Gallery in London. after a period of university teaching. again at the Biennale. 1966) runs the strategic center responsible for organizing and managing human and financial resources. he held a large retrospective exhibition at the Museum of Modern Art in New York. where he set up his studio under his own name in 1991. and culture is best expressed in the video series Walk . such as the ArtSway Centre for Visual Arts in Sway. After gaining a research doctorate from the Harvard School of Design. including the Serpentine Gallery in London (2006). available on her website. Luigi Marchetti (Livorno. on close observation of his works. www. www. he has lived and worked in Berlin where he set up Studio Olafur Eliasson. and then approached architecture. The main subjects portrayed in his photos are three-dimensional models of rooms and places that are famous because of their connection to news stories.
Noero Wolff Architects 206 Noero Wolff Architects was founded in 1998 in Cape Town. and others under way such as the upgrading of North Beach and the Red Location cultural center. he opened his own studio in Zurich. He studied in Madrid and Hamburg. the Towada Museum in Aomori. This minimalist wooden house has been designed so that the internal and external spaces merge completely: a series of gardens. the Lyons Biennale (2007). and in 2002 was awarded the Leone d’Oro for his career at the 8th International Architecture Exhibition in Venice. junya. he took part in Manifesta7 in Trentino and also presented Bildraum . the magazine Wallpaper awarded him the Design Award. OFFICE – Kersten Geers David Van Severen 214 Architects Kersten Geers (Gand. Obrist co-curated Il Tempo del Postino with Philippe Parreno for the Manchester International Festival. and Final Wooden House. Democratic Sponge in Madrid (2005). From 2005 to 2006 he was Visiting Professor at the Ecole Polytechnique Federale of Lausanne. built with the Swiss couple Morger & Degelo. and the Mediateca in Sendai (2001). www. the Cervantes Theatre in Mexico City and the Tower of Music in Valencia. House O. Tokyo. the T Hall in Taisha (1999). some hanging. Hatlehol Church in Ålesund. After studying at the Federal Polytechnic in Zurich. Japan. large museums. San Paolo. he was invited to be a member of the jury for the same AR Awards. and rest homes. He uses photography as a medium to create fractures. www. The subjects portrayed are united by a sense of latent oppression and apprehension. In that year. Paola Pivi.jp Toyo Ito 172 Toyo Ito was born in Seoul in 1941 and graduated from the Department of Architecture at Tokyo University in 1965. made entirely of shiny. He graduated in architecture at Yokohama National University in 1990 before joining the Kazuyo Sejima & Associates studio. and now lives and works in Tokyo. Kerez considers architecture the result of an ongoing study of space and a linked pathway that generates continuous alternatives and themes. shared with Monica Bonvicini. the Baltimore Museum of Art. Kanagawa.walterniedermayr. Brazil. The museums and galleries that have recently staged her solo exhibitions include the Museum of Contemporary Art. since 1993. including Stéphane Beel Architects in Gand and Xaveer De Geyter Architects in Brussels. In 2008. which investigates urban phenomena in search of possible solutions. In 2008. he designed the Japanese pavilion for the 11th International Architecture Exhibition in Venice. Electrolux. In 2008. abandoned buildings. He initially became known for his conception of residential buildings before moving on to public projects. transparent Perspex. lives and works in Zurich. he won the international competition for the new Warsaw Museum of Modern Art.338 Architects Index Biennale Architettura 2010 339 Architects Index Exhibition 2005. the Kanagawa Institute of Technology (2008). and Ichikawa. One of these is drop . Van Severen has taught at the Amsterdam Academy. His studio has designed public and private buildings.com Ryue Nishizawa 302 Ryue Nishizawa was born in the prefecture of Kanagawa. and the Eschenbach (2003) and Leutschenbach (2009) school buildings in Zurich. Nishizawa has been associate professor at Yokohama University since 2001. at the Delft University of Technology. the Galerie Nordenhake in Berlin (2007). In 2007. Amsterdam. where he lives and works. such as motorways. In the course of his career Kerez has exhibited all over the world. 1975) and David Van Severen (Gand. and the Architectural Record Design Vanguard Prize in 2005. www. Japan. and in the same year was awarded the Iakov Chernikhov Prize 2008 in Moscow. In 1995 he set up the SANAA studio with Kazuyo Sejima. installations and furnishing items. Unifor. Take Me. www. a kind of lens-table. and was curator for the Artpace residences in Texas. In 2008. Noero’s direct experience. Fujimoto published Primitive Future . at the Arnhem Academy. Spain. Cities on the Move (1997-1998 Vienna and Bordeaux). he was awarded the prestigious Pritzker Architecture Prize. the apartments in Forsterstrasse (2003). consisting of a team of associates who work mainly on studying possible architectural applications for new conceptual and structural research. Bruna Esposito. psychiatric hospitals. One of his most well known designs. and set up the Andrés Jaque Arquitectos studio in Madrid in 2000. The Office of Ryue Nishizawa has designed the Naoshima Museum in Kagawa. from 1999 to 2006 and set up Tetsuo Kondo Architects in 2006. a mirror that reflects only frontal images and seems blurred if looked at from the sides. His public commissions from 1986 on show that his designs are based on an original and innovative approach to architecture that combines the physical and virtual worlds. and numerous homes in Gunma. Luisa Lambri began exhibiting regularly in 1995. at Gand University. he initially worked with the SANAA studio. and the Museion in Bolzano (2004). and some parts of the Handelsbeurs Concert Hall in Gand. www. Tokyo. considering it a point of meeting and exchange between individuals and community. from New York to Paris and Shanghai. www. the works for the municipality of Nelson Mandela Bay. ishigami+associates. 1978) set up Office Kersten Geers David Van Severen in 2002. After his academic studies. Architects. This is evident in his first building.jnyi. and the USA. Guma (2005). and Rotaliana. His architectural language. The studio’s work ranges from studying the essence of the material to creating architectural spaces and compositions marked by their essential compositional nature.toyo-ito. the Ojala Awareness Club in Madrid (2005). which he won for three years running. made by applying a special film to the glass. where he has taught at the ETH since 2001. Since 1995 Van Severen has designed numerous objects. creating the basis for a new mobile concept of inhabiting urban spaces. 7/2 House. the Van Alen Institute awarded him the New York Prize Senior Fellowship for 20072008. Belgium (2006). and from 2005 to 2008 was Visiting Professor at Princeton University. prisons. Horm. 1st Moscow Biennale (2005).com Hans Ulrich Obrist 210 Hans Ulrich Obrist was born in Zurich in 1968 and lives and works in London. Apart from this studio. The designs that have garnered Kerez critical acclaim are the Vaduz Art Museum in the principality of Liechtenstein (2000). for which the studio was made a candidate for the European Award Mies van der Rohe and a finalist for the Bienal Española de Arquitectura y Urbanismo Prize . Paris). and social and cultural centers. He then worked at Sejima & Associates. Chiba (2007). a light. Buildings currently in progress are the Reader’s House in Madrid. In 2008. and art director for Domus. including the Casa Sacerdotal Diocesana in Plasencia (2000-2004). Since 1991. which have gained appreciation and recognition in Japan and elsewhere. Its built works include the offices of the Society of Authors and Publishers in Santiago de Compostela (2004-2007). Jaque directs the Office for Innovation Policies and is visiting professor at various international universities. In 2007. then devoted himself to architecture photography. Baltimore. together with Kazuyo Sejima. International curator of the Programme Migrateurs at the Musée d’Art Moderne de la Ville in Paris. In 2010. SANAA. especially if linked to the land and the communities that inhabit it. a former anti-Apartheid activist who has long worked in close contact with the black community of South Africa. through which he gives his buildings an intentionally sculptural style. the Robert Miller Gallery in New York (2006). a body of photographs resulting from six years spent studying the work of the Japanese architects Kazuyo Sejima and Ryue Nishiwaza (SANAA).ensamble. when Heinrich Wolff joined the studio set up by Jo Noero in 1985. In the same year. and his work and research redefine the confines between art and architecture. The buildings designed by Nishizawa are distinguished by their essential. Many of her works appear in the public collections of major international institutions and foundations. steeped in a sense of memory and desire. minimalist design. he won the JIA (Japan Institute of Architects) prize and the highest recognition at the World Architecture Festival. and Gallery Koyanagi. lives and works in Milan. which in 2005 won the Dionisio Hernandez Gil prize. In 2009 García Abril set up the Positive City Foundation. an old abandoned seminary converted into a multi-functional building. The work of the Noero Wolff studio is based on the conviction that architecture can be a means of resisting oppression and a vehicle of social change.ch Tetsuo Kondo 318 Tetsuo Kondo was born in the prefecture of Ehime. simply recalling something minimal. the Paul Andriesse Gallery. The most significant are Inkwenkwezi Secondary School (2007) and St Cyprians School (still under construction) in Cape Town and.tetsuokondo. I’m Yours (1995. are accessed from every room. Uncertain States of America (2005. and in 1997 opened The Office of Ryue Nishizawa. the Belgian pavilion After the Party at the 11th International Architecture Exhibition in Venice. In 2008 he presented his Mirror project. Teddy House in Vigo (2005-2006). then in 2004 set up his own firm. abstract.com Valerio Olgiati 222 Valerio Olgiati was born in Switzerland in 1958 and lives and works in Flims. Niedermayr has held solo exhibitions and participated in collective exhibitions at the Kunsthalle Schirn in Frankfurt (2008). but then changed to Toyo Ito & Associates. Japan. writers. House in Never Never Land in Ibiza (20062007). in 1966. the Luisa Strina Gallery. including the T House. Italy. In April 2010. London. Niedermayr’s research won international acclaim at the start of the 1990s when he devoted himself to photographs of Alpine landscapes on large panels. Japan. Noero Wolff’s projects include individual houses. In 2009. London. Life/Live (1996. in 1975 and attended the Nagoya Institute of Technology. South Africa. Such a position is also behind their decision to involve the local inhabitants in the planning stages and to share their development with them. born in Cantù (Como) in 1969. the Hemeroscopium House in Madrid (2008) and the Museum of America in Salamanca. House with Gardens in Kanagawa.co. the O Dome in Odate (1997). in the “Private House” section. schools. Japan (2005). He has received prestigious awards such as the TOKYO Society of Architects and Building Engineers Residential Architecture Award in 2008 and the Grand prix at the Chair design competition Landscape with Chair in 2009. Toyo Ito teaches at various international universities (including Columbia University in New York and the University of North London).sou-fujimoto. His work is distinguished by constant formal and structural research. Nuit Blanche (1999. mainly in Spain. His preferred tools are models: molding them and constantly questioning the results. curators. he presented two designs made for the Italian company Living Divani at Design Week in Milan.noerowolff.info Junya Ishigami 166 The Japanese architect Junya Ishigami was born in Kanagawa in 1974 and attended Tokyo University. he has curated or cocurated more than two hundred international exhibitions. She studies the relationship between architecture and emotional states in her photographic work. especially. Cleto Munari. then in 1999 she was awarded the Leone d’Oro at the 48th International Contemporary Art Exhibition in Venice for the best national participation in the Italian Pavilion. Venezuela. Manifesta 1 (1996) . Olgiati lived . The formal and experimental qualities that Lambri celebrates in contemporary architecture. He has designed objects and furniture for Alessi Driade. Ensamble studio has won numerous prizes and recognitions. to dismantle reality and analyze it in depth. Kersten Geers worked with the two Rotterdam studios Maxwan Architects and Urbanists and Neutelings Riedijk Architects. Recent designs produced by Office Kersten Geers David Van Severen include the Kortrijk Xpo exhibition complex in Kortrijk. He began his architectural career in 1971. designed to give the visual effect of a lens that distorts whatever is around it. Norway (2009). He currently teaches at Gand University and is a visiting professor at the Architecture Academy in Mendrisio. and. Peace Foam City in Ceuta (2005). He then shifted his attention to places often ignored and sidelined. linear. In 1996 he was awarded the Spanish Academy Research Prize in Rome and in 2000 set up the Ensamble studio.officekgdvs. an avantgarde building still under way. the Thomas Dane Gallery. www. especially. www. Antón García Abril studied at the Madrid Architecture Polytechnic (ETSAM) and graduated in 1995. is interviewing. director of International Projects at the Serpentine Gallery. the architecture best-seller of the year. Her education and research has taken place in Finland. The interiors she portrays interpret rather than document the spaces represented.net Christian Kerez 184 The architect Christian Kerez. Obrist has been active on the art scene since the early 1990s. include reflection and dematerialization. www. along with the Top Prize in 2006. After graduating in 2000. Another activity he has devoted himself to over the course of his career. Belgium (2008-2009). which was awarded the Grande Area prize in 2006. some completed. Ishigami’s language is notably ephemeral and transparent. Hokkaido (2006). His main projects are the Wind Tower in Yokohama (1986). The surrounding space seems to merge into the façade of glass. Belgium. currently. designed almost to disappear. Kerez incessantly explores numerous design possibilities. Kumamoto (2007). Oslo) . such as the Red Location Museum in New Brighton (2005) dedicated to the victims of Apartheid. dates from 2007. the object of her most recent research. and Grazia Toderi. and China Power Station (2008. He has now conducted hundreds of interviews with artists. The main aim of his artistic research is to explore the microclimates of our frenetic contemporary culture and of the relationship between man and environment. including The Rice Design Alliance Prize for emerging architects in 2009. Serpentine Gallery).jp Luisa Lambri 190 The artist Luisa Lambri. He concentrates mainly on the role played by architecture in creating and molding society. has had a profound influence on the studio’s planning choices. Walter Niedermayr 198 The photographer Walter Niedermayr was born in 1952 in Bolzano. opacity and transparency. Helsinki). Indeed. Serpentine Gallery). Japan (2005). and non-specific. the other is family chairs . including Do it. intimacy and expansiveness. England. ethereal structure. Belgium. He has worked with various other studios since 2004. professor at the IUAV of Venice.kerez.com Anton García-Abril 158 Born in Madrid in 1969. setting up a studio he originally called Urban Robot (URBOT). Los Angeles.andresjaque. Fujimoto has had many designs built. he won acclaim by winning the prestigious international AR—Architectural Review Award in the “Young Architects” category. the Tupper Home housing prototype in Madrid (2006-2007). a series of chairs in different sizes in an ironic and distorted review of an archetype. Both studied architecture and town planning at Gand University and at the Esquela Tecnica Superior de Arquitectura in Madrid. the Galleria Suzy Shammah in Milan (2005). in 1979. the Yatsuhiro Museum (1991). www. is both innovative and radical. he co-curated the Yokohama Triennale and Indian Highway at the Serpentine Gallery. which he continues to practice. In 1993. and composers in what is a kind of endless conversation that itself has become a form of art and is published in separate installations in The Conversation Series (2006-). which clearly demonstrate the implications of his formal research and introduce new naturalist elements. at the Berlage Institute in Rotterdam and. After his studies at the Federal Polytechnic in Zurich.jp Andrés Jaque 178 Andrés Jaque was born in Spain in 1971. born in 1962 in Maracaibo. Kerez worked with the architect Rudolf Fontana from 1991 to 1993. and the system of openings to the outside makes the sky and surrounding forest visible from several points.
and the Deutsche Guggenheim in Berlin (2003). silence and intimacy. London (2007). Andrea Hofmann.r. the Copper House 2 in Talca (2004-2005) and the Pite House in Papudo (2003-2005). Sachs has had solo exhibitions at the Site Santa Fe (1999) in New Mexico. Piet Oudolf 234 Piet Oudolf was born in 1944 in Haarlem. Sweden. In 2001. sociologists. Antwerp. He joined the artist in residence programs at the MAK Centre. which makes their work seem fragile and delicate.raumlabor. among others. made by using only poliplat and glue. He graduated from the Milan Polytechnic and began his design work in 1964 with a series of experimental studies on spatial structures. One of Oudolf’s characteristics as a garden designer is his originality in the precise choice of plants. restore the sense of endless transformation. based on the shape of the leaves. Both works are united by the structuring of potential organizational processes that can be altered by interaction with the user and wide use of the most advanced technology. Daniel Dendra lives and works in Moscow and Berlin. Today they are working on projects such as the Aviation Museum in Krakow. where he lives and works. They include the Mestizo Restaurant in Concepción (2005-2007). with whom he founded Pysall Ruge Architects. the two cities where he set up anOtherArchitect in 2007. Price was one of the five finalists in the competition for the International Foundation of the Canadian Center of Architecture organized in New York on the new conception of the city. Fifteen international design studios started a collaborative design process focused on a common topic in July 2010. stemmed from the idea of creating a transdisciplinary structure. analysis. Cornell University (Ithaca. and the Indigo Hotel in Santiago. www. suggesting a rethink of the relationship between man and society. he was chosen to build the Board of Trustees Library in Seattle and. He considered architecture not as a way of conditioning man.com Tom Sachs 282 The artist Tom Sachs was born in New York in 1966. and received the Royal Gold Medal from the Royal Institute of British Architects in 2004.S. He graduated with distinction from the Design Academy Eindhoven in 1999 and received a Master of Excellence in Architecture from the Berlage Institute. Their research centers on the concept of genetic architecture and all the transverse readings it allows. the civic district in Concepción. 2002). Olgiati has won various prizes and recognitions.rpbw. Chile: Lleno de Aire (2007). 1966). and Materials. and Hatje Cantz. Spain (2009-2010).markpimlott. 2003). which often involve professionals from other sectors. and has made numerous videos. the plan for a sustainable city in China and the LTD_1 office building in Hamburg. and at the Venice Biennale in 2004 and 2006. NY. exploring new strategies for city regeneration. His design methodology is marked by a total adhesion to the logic of constant renewal that typifies modernization. Rotterdam in 2002. his designs have won the prize for the best Swiss architecture four times. the Cité Internationale in Lyons (1991). Five by Five: Contemporary Artists on Contemporary Art at the Whitney Museum of American Art in New York (2002). After graduating in architecture. Piano has received numerous recognitions over the course of his career and several exhibitions have been dedicated to his work.K.net R&Sie(n) 278 The associates of R&Sie(n) are François Roche (Paris. Fonds BKVB. 1934-London.oudolf. was awarded the Pritzker Architecture Prize. Holland. Germany. and created his own nursery alongside his home in 1992 in order to study new varieties of perennials. In 1999. 1965) and sculptor Marcela Correa (Chile. Price set up the Cedric Price Architects studio in London in 1960 and worked mainly on university buildings. The key publication considered most representative of Koolhaas’s thinking is New York Delirium: A Retroactive Manifesto for Manhattan (1978). Pezo and von Ellrichshausen both teach at Talca University and are visiting critics at the AAP—College of Architecture. with a creative team made up of Toshikatsu Kiuchi. This is a multidisciplinary platform for digital design that works mainly on studying sustainable strategies and connections between virtual networks and real town planning processes. Italy (2007). which revolutionized the reading of contemporary cities. with which he has worked on numerous projects. in 1958. which is that of the transformation and regeneration of our planet’s material. he was awarded the third Austrian Frederick Kiesler Prize for Architecture and the Arts. turned back to a starting nucleus. 2001). never built. arising out of a combination of the performance of sophisticated machines with generative formal procedures. www. Xiamen in 2007. as if the creative process were not entirely finished. They are distinguished by absolute discretion. This was followed by intensive design work focusing on the use of avant-garde materials and technology and supported by the Renzo Piano Building Workshop. Renzo Piano and Rem Koolhaas. with whom he won the competition to build the Centre Pompidou in Paris. He won the 2003 Praemium Imperiale. designed with Marcela Correa. the Parco della Musica in Rome (1994-2002). the flowers. New York (2003). www. Koolhaas trained as a journalist and cinema scriptwriter in Holland. The design was shared and commented on by all design teams. Markus Bader.0 community can actively participate in the design process through a commenting and sharing interface on the internet. “La Casa Gialla” museum in Flims (1999). and London (2002-2010).A. After graduating in architecture in 1989 at the Pontificia Universidad Católica de Chile. Olgiati has been an honorary member of the Royal Institute of British Architects in London since 2009. Greece. Los Angeles. The work of R&Sie(n) is distinguished on the one hand by a strong visionary tension. Their most significant designs include I’ve Heard About (2006-2009). and the U. along with interactive works such as the balloons–soap bubbles used for Soap Opera . the Visitor Center in the Swiss National Park (Zernez.com Pezo von Ellrichshausen Architects 240 Mauricio Pezo (Chile. www.new-territories. My Reality: Contemporary Art and the Culture of Japanese Animation at the Des Moines Art Center. Their designs include the conversion of urban spaces. Aurora Place in Sydney (1996). A common element in all the artist’s works is his preference for leaving visible signs of his work on the materials. the master plan for a business park at the new Berlin international airport. Peter Ruge and Rosbeh Ghobarkar. In 1971 he set up the Piano & Rogers studio in London with Richard Rogers. in 2010. US (2001). Between 2001 and 2002. The web 2.cl Renzo Piano 248 Born in Genoa in 1937. Pimlott concentrates his studies on places. Noteworthy among Marcela Correa’s most recent solo exhibitions are those in Santiago. He has created public installations in Birmingham (2000). www. an installation commissioned by the city of Poznan in Poland (2009-2010). raumlaborberlin is a team of eight architects—Francesco Apuzzo. 2003). Art & Planning. His most important designs include Paspels school (Paspels. 1976) set up the Pezo von Ellrichshausen Architects studio in 2001 in Buenos Aires and are currently working in Concepción. Cien House in Concepción. He uses photography as a means of observa- tion. 2003) was one of the most visionary postwar English architects and theoreticians.pezo. and the installation Futures Exchange .com Mark Pimlott 252 Born in Montreal. He has published four books on his work. awarded by the Japan Art Association. the Telecom Tower (1997) in Rotterdam and the California Academy of Sciences in San Francisco (2000-2008). Piano designs buildings and urban complexes all over the world: Osaka airport (1988). Christof Mayer. Battery Park (New York. www. 1961) and Stéphanie Lavaux (Saint-Denis. architecture. The studio’s designs include Solo House in Creats.olgiati. USA. at the Rotterdam Architecture Biennale in 2009. such as the Eichbaum underground station (between Essen and Mülheim) turned into an opera theatre (2009). 1998). and on the other by the immediate practical applications that. Benjamin Foerster-Baldenius. Spidernetthewood . alongside buildings designed by Mies van der Rohe. Smiljan Radic + Marcela Correa 266 The architect Smiljan Radic (Chile. often built in isolated places. Spain (2009). objects and installations defined as “fetish relational objects” such as the Chaise bordelaise (2009) and The Endless City. raumlaborberlin 272 Set up in Berlin in 1999. Genoa and New York.tomsachs. 1973) and Sofia von Ellrichshausen (Argentina. the following year. the unusual home of Amy and Judith Barak (Sommières. Norfolk (UK).10 festival in Berlin (2010). Jan Liesegang. Canada. attending the Istituto Universitario di Architettura di Venezia and subsequently working in Athens.340 Architects Index Biennale Architettura 2010 341 Architects Index Exhibition and worked for some years in Los Angeles. he built the Prada stores in New York. Matthias Rick and Axel Timm. He has held the chair previously held by Kenzo Tange at Harvard University in Cambridge. Iowa. the latest being Five Cities Portfolio published by SUN. Narratives: Work by Six Contemporary Artists at the Albright-Knox Art Gallery in Buffalo. Sachs creates sculptures. The former. and his various versions of Apollo 11 and the bridge of the warship USS Enterprise are particularly significant.net OMA – Office for Metropolitan Architecture 226 Rem Koolhaas was born in 1944 in Rotterdam. Des Moines. In 1996 he opened his own studio in Zurich and in 2008 in Flims (Switzerland). Raumlaborberlin’s experimental designs also extend to research. the Bohen Foundation in New York (2002). Aberystwyth (2003). He has received several grants for his work from the Foundation for Visual Arts. and the relationship between the individual and the urban environment. Their installations often represent spaces that invite reflection and meditation. and San Francisco. space and light. www.0 community. he set up the OMA studio (Office for Metropolitan Architecture) in London. a musician’s home in Scharans (2007) and the Cantina Carnasciale in Mercantale. Renzo Piano lives and works in Genoa and Paris. He is a landscape architect who is internationally renowned for the design of gardens for private homes and offices in Holland. Radic continued his studies in Italy. the Atelier Bardill. designed with Eduardo Castillo and Ricardo Serpell (2000-2007). and Stephan Henrich. In 2006 he was awarded the Prix de Rome for Architecture in the Netherlands Basis Prize for his work with Milica Topalovic. Chile (2008). Metaphors. and performance. The houses in particular. the Museum of Science and Technology in Amsterdam (1992). Campana (2005). His reproduction of Le Corbusier’s Unité d’Habitation. subsequently collected and published in S. In 1974. Since 1993 Peter Ruge has been working with Justus Pysall. His work has been exhibited at the Storefront for Art and Architecture. but as a means of improving his possibilities by studying the flexibility of spaces and mobility. He also worked with the engineer Peter Rice from the 1970s to the 1990s.XL (1994). He is an artist and designer who works mainly with photography and video. In 1999. Pottersfield . and the Millennium Garden (Chicago. the Pensthorpe Waterfowl Trust park created in 2000 and updated in 2009 in Fakenham.org Kazuyo Sejima 308 . presented in Essen on the occasion of the Ruhr European Cultural Capital (2010). Price proposed siting mobile architectural structures in decommissioned industrial areas. His most recent projects include The High Line park in New York (2009). a kind of modular pavilion built for the transmediale. Sachs flanks this work with subjects drawn from popular culture and commercial brands such as Hello Kitty and McDonald’s. that cite famous elements and historic buildings or reproduce the principle modern icons. Los Angeles in 2005 and at the CEAC. enriching Dutch formalism with a more naturalist approach. Netherlands) is an artist who lives and works in Rotterdam. Chile. the horizon and gravity. In 2004 he was awarded the prestigious Charlotte Köhler Prize for young artists and architects in the Netherlands. The studio designs numerous houses and hotels in which the buildings are distinguished by a high level of functional and spatial organization. since autumn 2009.com Cedric Price 260 Cedric Price (Stone. Oudolf has been awarded various prizes and received much recognition. and local experts. His most famous designs are undoubtedly the Fun Palace (1961) and the Potteries Thinkbelt (1964). then studied architecture from the end of the 1960s in London and New York. Rosbeh Ghobarkar is the creative director of LOOM. which since 1981 has brought together his offices in Paris. OpenSimSim is supported and developed by anOtherArchitect: Daniel Dendra. the redesign of Postdamer Platz in Berlin (1992). including the Dalecarlica Award from the Swedish Park Commissioners in 2009 for his contribution to the development and improvement of Swedish parks and. and Barakhouse . the R15 Building in Saragozza. Olzweg . A book and exhibition on his recent work will be presented in spring 2011 in association with De Singel. awarded by the Hochparterre magazine and the television program 10 vor 10 . public art.ui-pro. Amsterdam (2009). In 1998. 1963) live and work in Santiago. the group center their research on themes relating to contemporary architecture and town planning. he was nominated best Chilean architect under 35 by the Colegio de Arquitectos de Chile (Chile’s architects association). in 2010. creating the Atelier Piano & Rice. Agårdsföreningen park in Göteborg (Sweden. an exhibition in which they presented their urban research designs for a new biomorphic residential solution. He has also taken part in the collective exhibitions Icons: Modern Design and the Haunting Quality of Everyday Objects at the Museum of Modern Art in San Francisco (1997). He has been full professor at the Architecture Academy in Mendrisio since 2002. such as engineers. NY). a full-service digital brand management agency founded in Berlin in 2001 that provides high-end internet applications. a small park on the banks of the Thames. Pezo von Ellrichshausen Architects has received considerable recognition in Chile and Europe and in 2008 curated the Chilean exhibition at the 11th International Architecture Exhibition in Venice. recognition for his work as a landscape designer from the APLD—the Association of Professional Landscape Designers. a residential building complex in Zugo (2007). Chile. a device for the “creation of new spaces” presented at the 10th International Architecture Exhibition in Venice (2006). which has influenced many architects. including the German Architecture Prize Appreciation Honor (1993). In the latter. Bas Princen 214 Bas Princen (1975. are systems for meditation on the landscape and nature.L. a holiday home in the Nîmes countryside (2007). Most of Radic’s designs are for buildings in Chile. and Punta Seca (2003) at the Galería Animal. In 2002. Starting from an analysis of the rapid and at times unrestricted development of the city after the fall of the Berlin wall. France. the Paul Klee Centre in Berne (1999-2005). Mark Pimlott lives and works in London and the Hague. and the structure of the stems. Chile (2008-2010). www.M.oma. www. to a central motive. 2007). where he lives and works. through the use of mechanical or natural processes. and reflection of the subject portrayed. he was selected to design a new Campus Center at the Illinois Institute of Technology in Chicago. Oudolf is the founder of the New Perennial or New Wave Planting movement to foster an appreciation of plants starting from their structural characteristics. the U. Using various materials and drawing on numerous engineering principles. Design and Architecture.eu OpenSimSim 232 OpenSimSim is a new open source design network that is developing architectural design with the help of the web 2. including Richard Rogers. He designed the interiors for the Red House in London (from 1999) and the Puck restaurant in the Hague (2007). He has spent decades reflecting on the founding principles of contemporary design. Benoit Durandin.
The best example of their design thinking is undoubtedly their own studio. her mainly photographic and video works reflect her complex personal history: nomadic. Kerala). Wyn Evans has taken part in important exhibitions in museums and institutional spaces. Kochin. which remain central to all his work. Palmyra House (2007. India. and public buildings and spaces. the Centre Georges Pompidou in Paris. Wang Shu is also involved in a range of research projects. All aspects and stages of design are carefully monitored so that every decision is assessed from a thermodynamic and physical point of view. highlighting his preference for an entirely spontaneous order. and graduated at Washington University in St. Maharashtra). Leti. winning the prize for the best director at the Festival of Cannes. Born in Madrid in 1965.com Wang Shu 54 Wang Shu (1963) lives and works in Hangzhou. Wenders directed Hammet in 1983 in the US. acoustics. Wenders directed the original mystery film The Million Dollar Hotel . such as exposure along the east-west axis. Maharashtra). and communication. So Close! (1993).wim-wenders. immediate.com Studio Mumbai Architects 294 Bijoy Jain was born in 1965 in Mumbai. the Serpentine Pavilion in London (2009). France (2007). with a preference for lighting elements. the headquarters of the PSD Bank in Freiberg. Starting from this idea. In 2006. devising his own particular language that is a personal expressive combination of image and music. the Centre Georges Pompidou in Paris (2004). Oxford University’s gallery. transparent building made with contemporary materials that recall its site. and the Wenzheng College Library in Suzhou (1999-2000). Transsolar’s designs include the upgrading of the Place de la République in Paris (2009). Utsav House (2008. and ways of thinking.342 Architects Index Biennale Architettura 2010 343 Architects Index Exhibition Kazuyo Sejima was born in the prefecture of Ibaraki. She represented Holland at the 53rd International Art Exhibition in Venice in 2009 with her project Disorient . the Museum of Contemporary Art in Ningbo (2002-2005). which have been the object of numerous exhibitions. such as the Museum of Fine Arts in Boston (2004). produced by Francis Ford Coppola and the following year Paris. Jain became aware of how much Indian architecture was becoming more and more obviously similar to that of the West. Selgas and Cano graduated in 1992 at the Escuela Tecnica Superior de Arquitectura in Madrid. Nandgaon. She graduated in architecture at the Japan Woman’s University in 1981 and began working in the studio of Toyo Ito. In 2010 Sejima and Ryue Nishizawa were awarded the prestigious Pritzker Architecture Prize in New York . Transsolar surpasses the limited idea of conserving energy and combines efficiency and ecology for the well being of the individual. in 1945. Wenders moved to directing in the 1970s. Spain. After attending film courses in Munich and having worked as a critic on some cinema magazines.com Fiona Tan 312 Born in 1966 in Pekan Baru. Bandra. Indonesia. in 1956. . Shanghai. a structure in the form of a tunnel roofed by a transparent window in acrylic plastic. In 1987 she opened her own studio in Tokyo and in 1995 set up SANAA with Ryue Nishizawa. Fiona Tan lives and works in Amsterdam. artists. House on Pali Hill (2008. José Selgas subsequently worked in Naples with Francesco Venezia. USA. the New Museum in New York. This Tokyo firm has designed some of the most innovative architecture built around the world in recent years: the New Museum of Contemporary Art in New York (2007). and the Adidas Factory Outlet in Herzogenaurach. including the campus at Hangzhou. inside a historic fortified bastion. Munich. and dialogue with the outdoor space and nature. and the Harbor Hart Museum in Ningbo. and in 1991 opened the Bijoy Jain + Associates studio in Mumbai. www. An emblematic artist. the firm works on regenerating spaces and the design of domestic. which won the Silver Bear at the Festival of Berlin. currently being built. After completing his education. www. and Leti 360 Resort (2007. In 1987 he made Wings of Desire . His artistic pathway changed direction in the early 1990s when he began exploring new themes related to language. France. air quality. www. a collective that interprets the Indian landscape as a resource. whose research is concentrated on the design of buildings with a high level of comfort and technology and a low environmental impact. selgascano 288 The associates of the Madrid-based selgascano architects studio are José Selgas and Lucía Cano. His design philosophy is based on the desire to pursue a genuine. Modern Art Oxford. the Dolce Vita Tejo shopping center in Lisbon (2009). and Indian tradesmen who work in close contact during all stages of the project. the Tate Modern in London. the Yokohama Biennale (2008). Jain set up Mumbai Studio in 2005.fionatan. So their works embody many principles of sustainable architecture. the central station in Strasburg. www.studiomumbai. perception.com Cerith Wyn Evans 328 Born in Llanelli. such as Japanese gestural calligraphy. but on the emulation of Western production. Most of Wang Shu’s designs have been built in China. points of view.transsolar. the Christian Dior Building in Omotesando (Tokyo 2004) and the 21st Century Museum of Contemporary Art in Kanazawa (2004). and at Biennali in Istanbul. Berlin. and Venice. thanks also to her skilful and elegant use of technology. a visually recorded immersion in memory (subjective and collective) that is then artistically recontextualised in a modern creative apparatus. The selgascano studio’s design research is based mainly on analyzing the environmental impact of the buildings. Wales. The reflective approach to building is a fundamentally important element to him. Other important designs are the Rolex Learning Center at the Ecole Polytechnique Fédérale in Lausanne (2010) and the new premises of the Louvre Museum in Lens. graffiti. On the basis of these principles and in association with other architectural offices. which won the Palma d’Oro at the Festival of Cannes. During his time in the USA. By favoring elements like light and natural ventilation. She has taken part in solo and collective exhibitions at the Museum of Contemporary Art in Chicago. Japan. using craftsmen. After some short films. The spaces and functions are entirely underground and the shell and framing are characterized by plastic materials. Maharashtra). recovering local traditions and materials. in 1990. and natural approach to architecture. and mutation. and uses a vast range of supports. She studied at the Gerrit Rietveld Academie and the Rijksakademie van Beeldende Kunsten in Amsterdam. and 2009). which won the Leone d’Oro at the 9th International Architecture Exhibition in Venice in 2004. a changeable. the Bawag Foundation in Vienna (2005). Her look is distinguished by a surprising expressive richness resulting from the idea of travel. the studio designed the futuristic Manuel Rojas conference center in Badajoz. he founded the Amateur Architecture Studio with Lu Wenyu in 1997. school. Julio Cano Lasso. Trinity Guest House (2008. Louis.” reserves of possible meanings that can reveal irrational thoughts. the Venice Biennale (1995. and sculpture. use of materials obtained from waste recycling. Considered one of the most innovative of contemporary architects. In 2005 he returned to the US to film Don’t Come Knocking and in 2007 made Palermo Shooting in Germany and Italy. Texas . dense with significant factors. he began working as a filmmaker and director’s assistant to Derek Jarman.selgascano. Satirje. He worked in Los Angeles with Richard Meier from 1989 to 1991. fragmentary film that was to have a sequel in Faraway. 2003. After The End of Violence (1997) and Buena Vista Social Club (1998). Wim Wenders 326 Ernst Wilheim Wenders was born in Dusseldorf. forgetting its roots. she conceives architecture as being completely detached from tradition and her designs show a constant tension towards research. Wyn Evans mixes different artistic languages and techniques to make his installations. After graduating from the Royal College of Art in London in 1984. Germany (2003). in line with the minimalist geometries of contemporary Japanese architecture. which won the international critics prize at the Venice Film Festival. Germany (2006–2007). moving. but also the interaction of the buildings with the urban fabric in which they are placed.nl Transsolar 318 Transsolar is an environmental engineering firm based in Stuttgart. in 1958. China. the Institute of Contemporary Arts in London (2006). The studio’s recently built designs in various parts of India include Belavali House (2008. His analysis does not focus on the quality of the buildings. Germany. entirely immersed in the countryside near Madrid. and influenced by different cultures. while Lucía Cano specialized in the studio of her father. the Wenzheng Library at Sozhou University. and in 1991 directed Until the End of the World . Holland. Cerith Wyn Evans lives and works in London. and temperature. and include the campus of the China Academy of Art in Hangzhou (2002-2007). one of the most sensitive leaders of Spanish modernism. the Istanbul Biennale (2005). He considers his works to be “catalyzers. including polyester and fiberglass. Maharashtra). www. Uttaranchal). The nucleus of her poetics lies in the profound elaboration of memory. and New York. and the Mori Art Museum in Tokyo (2009). In 1995 Wenders directed Beyond the Clouds with Michelangelo Antonioni. a complex. Belavali. The guidelines for Wang Shu’s design choices include the central place of the individual and humanity in architectural research and the appreciation of simple manual work instead of technology.
watercolor. Brasil Exposição Caipiras. Courtesy Instituto Lina Bo e P.8 × 31 cm. 1984 . collage. Brasil SESC .5 cm. Bardi. Courtesy Instituto Lina Bo e P. Brasil Exposição Caipiras. collage. 1984 . rollerball pen and hydrographics on paper. study for the outdoor area’s walls.4. Bardi. São Paulo. Consejería de Cultura y Turismo Aranda\Lasch with Island Planning Corporation SESC . Brasil SESC . SESC Pompéia. Courtesy Instituto Lina Bo e P. 85. 32. heliographic and graphite on paper. rollerball pen on paper. guache and graphite on paper. 2010.1 cm. Johnson Trading Gallery ARU/Architecture Research Unit. Bardi.Fábrica da Pompéia. rollerball pen on paper. Courtesy Wang Shu AMID. collage. 21.Fábrica da Pompéia. 19 house models. Bardi. 19571968 .4 cm. Bardi. 31.5 × 97. graphite and China ink on paper. watercolor.4 × 21. Courtesy Instituto Lina Bo e P. hydrographics.M. São Paulo. Brasil Museu de Arte de São Paulo MASP.3 cm. Wooden structure.5 × 49.M.M. graphite and China ink on paper. rollerball pen and collage on paper. rollerball pen and hydrographics on paper. Bardi.M. exhibition. studies for the masters. SESC Pompéia.6 cm. São Paulo. Capiaus: Paua-pique exhibition.Fábrica da Pompéia. Capiaus: Pau-a-pique. SESC Pompéia. São Paulo. Courtesy Instituto Lina Bo e P. Capiaus: Pau-a-pique.Fábrica da Pompéia. Bardi. scale 1:20 Berger&Berger / Laurent P.9 cm. 70.3 × 37. Hard-coated EPS foam. SESC Pompéia. studies for the masters.cero9 Palacio del Cerezo en Flor.4 cm. hydrographics and pastels on paper. 1977. Brasil SESC . SESC Pompéia. rollerball pen. 57. Capiaus: Pau-a-pique. heliography and graphite on paper.M. Berger + Cyrille Berger ça va. 1977. São Paulo. sketch of the works’ stand. São Paulo.Fábrica da Pompéia. Brasil SESC . studies for the masters.8 × 40. São Paulo. São Paulo. São Paulo. Bardi. São Paulo. SESC Pompéia.Fábrica da Pompéia. Courtesy Instituto Lina Bo e P.Fábrica da Pompéia. Capiaus: Pau-a-pique. collage. Capiaus: Paua-pique exhibition. study of the carts. watercolor and graphite on paper. Bardi.studio Aires Mateus. Bardi. Caipiras.3 cm.Fábrica da Pompéia. Brasil SESC . hydrographics. Bardi. rollerball pen.M. rollerball pen. guache and graphite on paper. 2010. rollerball pen. watercolor. Brasil Exposição Caipiras. Courtesy Instituto Lina Bo e P. São Paulo. Bardi.2 × 38. 21. Brasil Museu de Arte de São Paulo MASP. study of the pergola and dressing of outdoor area’s walls. watercolor.4 × 21. study for the boundary wall. heliography. 111 × 79.7 cm. Caipiras. 58. SESC Pompéia.4 × 32. Brasil SESC . São Paulo. 21.M.Fábrica da Pompéia.Fábrica da Pompéia. SESC Pompéia. Brasil SESC .M. Brasil Exposição Caipiras. Bardi.M. study for the solarium’s furnishings. SESC Pompéia. perspective of the sporting center’s stair. Bardi. watercolor.M. rollerball pen and China ink on paper. watercolor. São Paulo. São Paulo. Courtesy Instituto Lina Bo e P.M. study of the signs for gyms. São Paulo. Inkjet print on Korean rice hanji paper. studio of the great wall and wastewaters’ river. laser cut card model on mdf substrate.5 × 15. 1977. hydrographics. São Paulo.5 cm. Bardi. mirror. a prefabricated movie theater. watercolor on heliographic paper. studies for the masters. SESC Pompéia. Courtesy Robert Cantarella Lina Bo Bardi Sesc Pompéia . landscape study of the sheds for recreational activities.8 cm. 2006. Capiaus: Paua-pique exhibition. Capiaus: Paua-pique exhibition.5 cm. Bardi. 110 × 75 × 60 cm. 1984 . Brasil SESC . Courtesy Instituto Lina Bo e P. rollerball pen and hydrographics on paper. Bardi. SESC Pompéia. Courtesy Instituto Lina Bo e P. 1977. São Paulo. study of the general plan. Courtesy Instituto Lina Bo e P. Valle del Jerte (Spain).4 × 35. study of the façade on Avenida Paulista. collage. SESC . Courtesy Instituto Lina Bo e P. MASP. White lacquered wood fiber panels. 1977. Capiaus: Paua-pique . 2008. 69. studies for the masters. 1977. plan of the internal streets with planting’s indications. hydrographics and pastels on paper.6 × 33 cm.5 cm. graphite and China ink on paper. 2010. Bardi. scale 1:50 MASP 7 de Abril . Brasil SESC . 1977. São Paulo.M. Courtesy Instituto Lina Bo e P. 1984 . Bardi. Courtesy Instituto Lina Bo e P. SESC Pompéia. watercolor.6 cm. SESC Pompéia. hydrographics and graphite on paper. watercolor. Brasil SESC . Bardi. hydrographics. Caipiras. Brasil SESC .M. MASP.347 Exhibited Works Exhibition Aires Mateus Francisco and Manuel Aires Mateus . Courtesy Instituto Lina Bo e P. guache.2 × 55 cm.3 × 50 cm.M. 99. hydrographics and graphite on paper.Fábrica da Pompéia.Fábrica da Pompéia. 165.4 × 15. visual communication for the restaurant and workshops.5 cm. Model for movie theater (audience 80 people) for the performance ça va by Philippe Minyana. 1977. Brasil SESC . 1977. SESC Pompéia. São Paulo. Brasil Modern Primitives .M. study of the waste-water river’s covering. watercolor and rollerball pen on paper. Bardi. Courtesy Instituto Lina Bo e P. 20. Capiaus: Pau-a-pique. Bardi.M. Courtesy Instituto Lina Bo e P. Courtesy Instituto Lina Bo e P. perspective of the theater. Metropolitan University Saemangeum Island City. Capiaus: Paua-pique exhibition. hydrographics.7 × 56. 70 × 50 cm. 1977. Courtesy Instituto Lina Bo e P. graphite and pastels on paper. Hand-made paper model. rollerball pen. T-B A 21. Courtesy Aires Mateus Amateur Architecture Studio Pompéia.Fábrica da Pompéia. SESC Pompéia. São Paulo. Korea. Brasil SESC . 1977. graphite and collage on paper. Brasil SESC . Courtesy Instituto Lina Bo e P. 2010. Bardi. 1977. 1977.7 × 19 cm. 45 × 67 cm. SESC Pompéia.M.M. 1977.Fábrica da Pompéia. rollerball pen and hydrographic on paper. 2010.9 × 21. Brasil Decay of a Dome . Brasil SESC . SESC Pompéia. São Paulo. São Paulo.5 × 21. Brasil Exposição Caipiras. watercolor. 1977. 1977.M. hydrographics and graphite on paper. SESC Pompéia. 57. 26.M. 29. SESC Pompéia. Educational exhibition. SESC Pompéia.M. São Paulo. Caipiras. 19571968 .Fábrica da Pompéia. 15.5 × 21. perspective of the restaurant.M.Fábrica da Pompéia. Caipiras. watercolor.M. Courtesy Instituto Lina Bo e P.M. SESC Pompéia. 1977. Pink glossy card board. Courtesy Instituto Lina Bo e P. Caipiras. Brasil SESC . Brasil Exposição Caipiras. watercolor. São Paulo. 1984 . Bardi. inkjet prints Atelier Bow-Wow House Behaviorology. 1230 × 1070 × 445 cm. watercolor. watercolor.6 cm.M. visual comunication. 1984 . Brasil SESC . visual communication. 31. Bardi. Bardi. swimming pool of the sporting center. graphite and collage on paper. 31. study for the placard. SESC Pompéia. São Paulo.M. Courtesy Instituto Lina Bo e P. VOIDS . perspective study. hydrographics on paper. Courtesy Instituto Lina Bo e P. SESC Pompéia.Fábrica da Pompéia. São Paulo. rollerball pen.M. lunch at the SESC Pompéia Restaurant. 1977. Client Junta de Extremadura. Courtesy Instituto Lina Bo e P. Courtesy Instituto Lina Bo e P. Courtesy Aranda\Lasch. Courtesy Instituto Lina Bo e P.Fábrica da Pompéia. São Paulo. 900 × 900 × 160 cm. Capiaus: Pau-a-pique. 31. Bardi.6 x 21. 49.
Collage. 2010. view of the deck and the sporting center.Fábrica da Pompéia. Ed.8 × 26 cm. 1987.Fábrica da Pompéia. Brasil Nelson Kon. Casa do Benin.CADMASP02 Museu de Arte de São Paulo MASP. Courtesy the Artists 4am . a) . 25. Courtesy Toyo Ito Associate’s. 4 models. 19. at Château La Coste in Aix-en-Provence. 17.2 cm. Bardi. Brasil SESC . digitial print. strobe light. MASP. 19571968 . Water. amplifiers. Belgium. b/w photograph. 1977.M. 18. Mille Giocattoli exhibition. Courtesy Galerie Paul Andriesse. acryl on canvas. 5 + 1 AP. Picture Gallery. Courtesy Instituto Lina Bo e P. Courtesy Instituto Lina Bo e P. SESC Pompéia. 1987. Installation with models. between the locker rooms and gyms. Laserchrome print. Courtesy Instituto Lina Bo e P.CADMASP03 Museu de Arte de São Paulo MASP.M. 40 loud speakers mounted on stands. São Paulo. presentation panels for process and for competition. Study models.M. 2002. 1987. Bardi. paintings’ bearing in reinforced concrete and glass.M.4 × 52 cm. Architects Andrés Jaque Arquitects Per una Nuova Carta di Atene . São Paulo. 99 × 115 cm each. Bardi. Study for the pavilion for the works by W. São Paulo. Courtesy Instituto Lina Bo e P. studies of the whole complex.1 cm. 1977.3 cm. Courtesy Thomas Dane Gallery. 1977.9 × 85 cm each. color photograph. Circo Piolin. SESC Pompéia. 300 × 300 × 273 cm Antón Garcia-Abril & Ensamble Studio Balancing Act . 19571968 . 3 laserchrome prints. dia Do-ho Suh Untitled (Menil House. 19571968 . Brasil SESC . Mixed media.Planta do térreo . b/w photograph. São Paulo. São Paulo. 1977. 2010.Fábrica da Pompéia. 5 + 1 AP. 40 × 27 cm. the pavilion for activities and meeting point. South-Korea . 85 × 116 × 0.Fábrica da Pompéia. Courtesy Instituto Lina Bo e P. Coleção Nelson Kon Museu de Arte de São Paulo MASP.8 cm. 1987 . 19571968 . Courtesy Toyo Ito Associate’s.Plantas do nível -9. painting.Fábrica da Pompéia. Produced by the Menil Collection.M. 24. Courtesy Instituto Lina Bo e P. 2010. Courtesy Hiroshi Sugimoto. 49. Bardi.9 × 19. CAD . aerial view of the Avenida 9 de Julho. Courtesy Instituto Lina Bo e P. 25. view of the “Cascata di Xangô”.M.M.8 cm.9 × 17. Bardi. 40 × 37. brick / originals. Bardi. Design in Brasile exhibition. Houston. MASP.4 × 18. Laserchrome print. Kortrijk . 19571968 . 85 × 116 × 0. Orléans. Bardi. 25.4 cm. Houston. CAD .5 cm. São Paulo. playback computer. Berlin. São Paulo. dimensions variable.1 × 18.Fábrica da Pompéia. 24 × 18.Lina Bo Bardi . São Paulo.M. Ceuta . 3 laserchrome prints. 1957- Blueprint . #02) . Brasil Casa do Benin na Bahia. general view. Courtesy Instituto Lina Bo e P.2 cm. watercolor. 1977. video NTSC. São Paulo. Diverse technics and media: drawing. 104 × 130 cm.Fábrica da Pompéia. Courtesy the Artits Cité Refuge.M. color photograph.M. Courtesy Instituto Lina Bo e P. São Paulo. interior perspective of the exhibition. Courtesy Instituto Lina Bo e P. #01. 40 × 28. 33. #02) . Architects Forum for Music. 1977. video. Set of objects on hanging wire structure. Brasil Museu de Arte de São Paulo MASP.2 × 99. 19571968 . 19571968 .4 × 18 cm. digitial print. saturday at the “fábrica”: popular characters for children. window of the sporting center. Courtesy Instituto Lina Bo e P. models). Bardi.5 cm. acryl on canvas. Courtesy Instituto Lina Bo e P. Laserchrome print. b/w photograph. SESC Pompéia. 160 × 421 × 4 cm. saturday at the “fábrica”: collective gymnastics for children. DVD Documentary Fábrica da Pompéia (French subtitles). color photograph. view from the mountain . SESC Pompéia . 2003. 1977 . view of the open space.Fábrica da Pompéia.M. Belvedere.2 × 25 cm. detailed models. Mille Giocattoli exhibition. São Paulo. Brasil Casa do Benin na Bahia. Ed.Planta do nível +14. São Paulo. 35 × 35 cm.1 × 42. glass. Various media (film. Diptych. Brasil SESC . 1977. São Paulo.2 cm. São Paulo. Courtesy Instituto Lina Bo e P. 30 x 24. São Paulo. São Paulo. 74 × 63. accordion player. Courtesy Galerie Nordenhake Berlin / Stockholm + Galleria Suzy Shammah Noero Wolff Architects Architecture as air: study for chateau la coste . color photograph.M. São Paulo. #07. hydrographics. b/w photograph.9 × 50.50 . SESC Pompéia. Bardi.segundo pavimento e sotão . Courtesy dePaor architects architecten de vylder vinck taillieu 7 houses for 1 house / the ordos 100 project revisited / ordos 100 # 001 id 096 . 104 × 130 cm each.Museu de Arte de São Paulo MASP . Inkjet print on white coated aluminium plate. limestone. 19571968 .Fábrica da Pompéia. b/w photograph. Bardi. 85 × 116 × 0. 1977.3 × 23 cm. restaurant and garden. Brasil Museu de Arte de São Paulo MASP. 1987.Museu de Arte de São Paulo MASP .Fábrica da Pompéia. Tanya Bonkadar Gallery. pump. Courtesy Thomas Dane Gallery. Courtesy Coleção Marcia Benevento Casa do Benin na Bahia. 25 × 20 cm. São Paulo. Casa do Benin na Bahia. Brasil SESC . 25. 2007. Bardi. video NTSC. Library: open spaces vs closed spaces. visitors. Brasil SESC . acryl on canvas. video NTSC.Lina Bo Bardi . Mille Giocattoli exhibition. 19571968 . 2003. color photograph. Courtesy the Artits A grammar for the city. 2005.Lina Bo Bardi . DVD 1968 . 1977.Casa do Benin .7 cm. Brasil Museu de Arte de São Paulo MASP. color photograph.M. 18.1 cm. São Paulo. 1977. 19571968 .Collage. Brasil SESC .M. 1977. b/w photograph. Bardi. 2010.5 cm.CADMASP02a Andrea Branzi Peter Ebner and friends Enjoy the view. b/w photograph. #13) . Bardi. Bob Wolfenson exhibition. prints. Courtesy Instituto Lina Bo e P. 99 × 115 cm each. 1977.S. 2005. meeting-point area.8 × 32.3 cm. Ed. Bardi.Fábrica da Pompéia. SESC Pompéia. Bardi. Taichung. digital printing).Casa do Benin . London Walter Niedermayr Primitive Future House . 24 × 18 cm. Brasil SESC . view from the sea . view to the city.Plantas do nível 0. neugerriemschneider.Lina Bo Bardi .Museu de Arte de São Paulo MASP . #10. Courtesy Instituto Lina Bo e P. 23. Berlin Sou Fujimoto Architects Untitled (21st Century Museum of Contemporary Art.M. 2007. Ceuta . musical performance.M. 120 × 800 × 35 cm Olafur Eliasson laserchrome prints.5 cm. SESC Pompéia. Nelson Kon Collection Documentary Lina Bo Bardi (Portuguese audio/Italian subtitles).1 cm. color photograph. Structural models.M. SESC Pompéia. hydrographics and graphit on paper. 73. SESC Pompéia. SESC Pompéia.M.1 cm. Caipiras. Courtesy The Institute of the 21st Century and The Serpentine Gallery OFFICE Kersten Geers David Van Severen Fray Foam Home . paintings’ bearing in reinforced concrete and glass. Dance and Visual Culture. Atsuko Koyanagi Untitled (21st Century Museum of Contemporary Art. b/w photograph. study models.Collage.2 × 52. 35 × 25 cm. Picture Gallery. paintings’ bearing in reinforced concrete and glass. color photograph.2 cm. view from the mountain . Inkjet print on white coated aluminium plate. 35. Iran 124/2006 .2 × 24. 2002. Bardi. Picture Gallery.1 × 20. A re-working of Spem in Alium Nunquam habui 1573 by Thomas Tallis. loop with 11 min. Bardi. guache and graphite on paper. Videos Wall of Names .CADMASP01 Museu de Arte de São Paulo MASP. MASP. 19571968 . Produced by the Menil Collection. 56 × 37 cm.M. 73. Paris. Bardi.7 cm. Courtesy Instituto Lina Bo e P. Bardi. Courtesy Instituto Lina Bo e P. 38. 2004. Courtesy Instituto Lina Bo e P. São Paulo.5 cm. view from the south .Museu de Arte de São Paulo MASP . South-Korea . visitors.M. b/w photograph.Fábrica da Pompéia. #04) .M. 25.40 .Collage.M. MASP. lavendered softwood. Brasil Museu de Arte de São Paulo MASP.M. linen. b/w photograph. Bardi.5 cm. Bardi. Courtesy Galerie Nordenhake Berlin / Stockholm + Galleria Suzy Shammah Milan Isfahan. Courtesy the Artists Hans Ulrich Obrist The Forty Part Motet . SESC Pompéia. 1987. color photograph. scale 1:5. FRAC Centre Collection. Inkjet print on white coated aluminium plate. Bardi. Brasil SESC . São Paulo. São Paulo. 74 × 63. aerial view.2 × 24. Courtesy Instituto Lina Bo e P. Bardi. Prototype. rollerball pen and hydrographics on paper.Fábrica da Pompéia. São Paulo. São Paulo. São Paulo. Paris. 2010.1 cm. color photograph. Courtesy the Artits Villa Voka. Amsterdam Untitled (Menil Collection. 85 × 116 × 0. 1977. London Untitled (Casa das Canoas.1 × 25. Photo pb Museu de Arte de São Paulo MASP. 1977. Courtesy Instituto Lina Bo e P. 2010. 1977.Lina Bo Bardi . color photograph. Bardi. Brasil SESC . Courtesy Instituto Lina Bo e P. MASP.9 cm.7 cm. 2 beams 1620 and 2100 × 100 × 240 cm) junya.00 e do nível +8. Galerie italienne. hoses.ishigami+associates Shiraz.M.9 × 23. Nylon fabric and CNC milled high pressure laminate panels.M.M. São Paulo. Inkjet print on painted aluminium plate. MASP. color photograph. Bardi. Courtesy Instituto Lina Bo e P. wood. color photograph. MASP. Brasil Casa do Benin na Bahia. Musée national d’art moderne / Centre de création industrielle. the pavilion for activities and meeting point. heliography and guache on paper.Lina Bo Bardi . Bardi. Diptych.1 cm. SESC Pompéia. Courtesy Instituto Lina Bo e P. 2” × 4” planed.M. São Paulo. Brasil SESC . 100. Brasil SESC . 85 × 116 × 0. detail sketches of the reinforced concrete stair and column. SESC Pompéia. 1977. DVD Documentary LAAT OP DE AVOND (Dutch audio). aerial view of the complex restored in 2002.M.Fábrica da Pompéia.SESC Fábrica da Pompéia . #03) .3 × 17. Capiaus: Pau-a-pique exhibition. color photograph. photos.5 × 42. plasticine. 4 models. Benin handcraft exhibition on the ground floor.M.Fábrica da Pompéia. color photograph. Pinocchio exhibition. 2 laserchrome prints. SESC Pompéia. CAD CADBENI02. Brasil Museu de Arte de São Paulo MASP. 2003. #03) . Brasil SESC . #12. rollerball pen. SESC Pompéia. color photograph. 45’. Brasil SESC . CAD CADBENI01 Casa do Benin na Bahia. Courtesy Galerie Nordenhake Berlin / Stockholm + Galleria Suzy Shammah Milan Isfahan. b/w photograph.Fábrica da Pompéia. 24 × 18. projected reinforced concrete platforms. Courtesy the Artist. videos Luisa Lambri Cité Refuge. Brasil SESC .7 cm. of intermission Aldo Cibic NOW INTERVIEWS . Various medias (film. sung by Salisbury Cathedral Choir. Bardi. 2001. São Paulo.60 cm.M. watercolor.Fábrica da Pompéia. 2010. France. fishing in the Rio San Francisco. 19571968 . Poured-in translucent concrete. SESC Pompéia. SESC Pompéia. Bardi. Courtesy Instituto Lina Bo e P. 1987 . wool.5 cm.Corte BB . 27. 5 + 1 AP. Taiwan. São Paulo.7 cm. Courtesy Galerie Paul Andriesse.M. 1977.40 . Iran 107/2006 .M. 49’53”. model. watercolor. b/w photograph. Iran 176/2008 . 2010.4 × 18. Courtesy Instituto Lina Bo e P. São Paulo. digitial print. MASP. color photograph. MASP. Bardi. 800 × 40 × 280 cm. São Paulo. 24. modelling / paper.CADSESC01 Casa do Benin na Bahia. Bardi. 1987. 48. Bardi.9 cm. MASP. of music and 3 min. CAD CADMASP04 SESC . Brasil Museu de Arte de São Paulo MASP. Courtesy Instituto Lina Bo e P. MASP. Brasil Casa do Benin na Bahia. 30. 19571968 .Lina Bo Bardi . placed in an oval.9 × 12. 160 × 421 × 4 cm. 45.Fábrica da Pompéia. #02. b/w photograph. Courtesy Thomas Dane Gallery.M. São Paulo.2 cm. Brasil Museu de Arte de São Paulo MASP. 2009.Collage. 5 + 1 AP. Courtesy Instituto Lina Bo e P. Courtesy the Artist Cristian Kerez Rethinking Happiness . New York. Bardi. Brasil SESC . #01. 1987. 48 × 34.50 e do nível -4. 5 + 1 AP. MASP.5 cm. Brasil SESC . 1985 . 31. Inkjet print on white coated aluminium plate. Brasil Casa do Benin na Bahia. graphics and text on a wall dePaor Some Structural Models and Pictures . 2004. 85. equilibrium structure (expanded polyestyrene model. Archtects + Andrea Branzi Architetto Taichung Metropolitan Opera House.Plantas do primeiro pavimento. SESC Pompéia. Courtesy Instituto Lina Bo e P. Courtesy Instituto Lina Bo e P. b/w photograph. Ed. Ed. at the end the pathway. Courtesy Instituto Lina Bo e P. Courtesy Instituto Lina Bo e P.1 × 20.1 × 24 cm.M. 19571968 . 5 + 1 AP. São Paulo. drawings. video. color photograph. Atsuko Koyanagi Untitled (Casa de Balle.348 Exhibited Works Biennale Architettura 2010 349 Exhibited Works Exhibition Exposição Entreato para Crianças. view of the Rio San Francisco. 24. Brasil SESC . Brasil Museu de Arte de São Paulo MASP. Courtesy the Artits A grammar for the city.1 cm. 2 Museu de Arte de São Paulo MASP. 400 × 380 cm. Quadriptych. Courtesy Hiroshi Sugimoto. Duration: 14 min. CAD . Brasil SESC . São Paulo.4 cm. Ghent. study of the side façade. Courtesy the Artists Toyo Ito & Associates. b/w photograph.Fábrica da Pompéia. Courtesy Instituto Lina Bo e P. view of the Avenida Paulista. Wall text The Serpentine Gallery 2006 24-Hour Interview Marathon . SESC Pompéia. b/w photograph. Ed. Bardi. Courtesy Centre Pompidou.1 × 18. Courtesy Instituto Lina Bo e P. 455 × 405 × 510 cm. Metea srl Janet Cardiff Strangeness and familiarity. Mille Giocattoli exhibition. CAD . b/w photograph. Videos. Nelson Leirner exhibition. Courtesy Coleção Nelson Kon SESC .Fábrica da Pompéia. 1977. 253 × 845 × 4 cm. 19571968 . 1977. Restaurant. 73. CAD . Brasil Museu de Arte de São Paulo MASP. presentation panels. 2010. Amsterdam Untitled (Casa das Canoas. aerial view of the complex. Courtesy Instituto Lina Bo e P. Bardi.5 × 34. 20. stair/ramp. 5 + 1 AP.Planta do Complexo . Brasil Museu de Arte de São Paulo MASP. Courtesy the Artist . Acrylic/ plexiglas model. Ed. Friedman Benda Collection. cardboard. SESC Pompéia. London Your split second house .
France. 2 pieces 450 × 20 × 450 cm each. World Microfilms Publications Ltd. Padre Pio Pilgrimage Church . 140 × 176 × 0. Berin . view from the ground . mock up. 140 × 171 × 0. filmed on location Inujima and Teshima. Inkjet on painted aluminium. MEX-USA . Mixed media. plywood. 85 × 116 × 0. 2010. 2005. Switzerland. Courtesy R&Sie(n) Architects / Paris Tom Sachs Piazzasalone . Courtesy the Artist La Guerre Aeriene . painted sheet metal. plexiglass.5 cm. 2010. 5.. Courtesy Caruso St. Inkjet on painted aluminium. 2005. Courtesy the Artists OFFICE Kersten Geers David Van Severen + Bas Princen Installation with pictures Valerio Olgiati Perm Museum XXI. The Hague Reservoir (Concrete Rundown) . Pidgeon Digital. 140 × 171 × 0.5 cm. 40 kg each. foamcore. 2 channel HD installation. 2008. Photo Michel Denancé. 20022007.5 cm. 2005. sketches. 2005. Courtesy the Artist Nutsy’s Learning Station .00 × 1. Sculpture. 2004.5 cm. Inkjet print on white coated aluminium plate. Wood. © Neue Road Movies 2010 Cerith Wyn Evans Joanna (Chapter One…) sat in the plan . 2010. 2001. 2005. © Charles Martin The Boy Hidden in a Fish . Zentrum Paul Klee . Paper. Courtesy the Artists 25Rooms. and Frith Street Gallery. Cortesy Lastra & Zorrilla Caruso St. Commissioned by Naoshima Fukutake Art Museum Foundation Kazuyo Sejima + Ryue Nishizawa Inushima Art House project. steel.40 × 3. Russia. London. 2002. London Ringroad (Findeq / Ceuta) . The Hague Botanic garden (Xiamen) . Ordos . The Hague Smiljan Radic + Marcela Correa Preservation . Courtesy the Artist Le Modulor. 140 × 171 × 0. Courtesy the Artists 25Rooms. 2001. The Hague Grid II .5 cm. Munich. San Giovanni Rotondo (Foggia). wood. Zürich. internal view room -2 . 140 × 171 × 0. Courtesy van Kranendonk Gallery. forex National Palace Museum. 2009. Sharpie.80 m approx. Italy. The Hague Superiour court . 2010. Inkjet on painted aluminium. 2003. Flims.5 cm. Ordos . Courtesy van Kranendonk Gallery. 30 × 30 × 40 cm Renzo Piano Building Workshop Work-place . material relics. Inkjet on painted aluminium. Brussels Care Taker.. Arsenale Pezo von Ellrichshausen Architects Detached . 2002. plywood.5 cm. 2010. hardware. 85 × 116 × 0.Collage. 140 × 171 × 0. Inkjet on painted aluminium.5 cm. Courtesy the Artist and White Cube. 2010. Synthetic polymer paint on wood panel. photographic documentation. Paris/Salzburg selgascano VENIC VENIC . 2000. 2010 The Generator. Courtesy the Artists 25Rooms. hardware. 2004. Japan..5 cm. Courtesy Studio Mumbai Architects Fiona Tan Cloud Island I. 85 × 116 × 0.5 cm.350 Exhibited Works Biennale Architettura 2010 351 Exhibited Works Exhibition Border crossing. Courtesy the Artist Untitled / Unite Façade .net . Switzerland. Ink on paper on hinged plywood. Courtesy Vanhaerents Art Collection. London. Inkjet print on white coated aluminium plate. 2010. 2009. internal view room 0 .5 cm.Collage. . Courtesy van Kranendonk Gallery. Perm. 85 × 116×x 0. 2010. An on-line project conceived at the department for Exhibition Design and Curatorial Practice at the Hochschule für Gestaltung Karlsruhe (HfG) Bas Princen Cloudscapes . 19951999. Installation with tagged interviews. Photo Michel Denancé. 800 m² artificial cloud (produced live at the Arsenale) with ramp/ stairs to go into and through cloud Wim Wenders If Buildings Could Talk. Inkjet on painted aluminium. resin. Steel. Courtesy the Artist Unite Drawing . 8 tons approx . 2007. Sculpture. 85 × 116 × 0. 2046 × 1393 × 650 cm overall Cedric Price Mc Busier.Collage. 2010. Mixed media installation. 2010. Mixed media installation. 2008. Courtesy the Artist Ringroad (Houston) . Inkjet print on white coated aluminium plate. plywood. © Michel Denancé 1991-2004. New York. hardware. Courtesy the Artist Deluxe Racing Kit .Collage. Granite stone and cedro wood. Inkjet on painted aluminium. Screen presentation Atelier Bardill. Synthetic polymer paint on plywood.hfg-karlsruhe. Bern. Screen presentation OMA – Office for Metropolitan Architecture 2000-2006. John / Thomas Demand Nagel Haus. 2008. Courtesy the Artist La Ville Radieuse . USA.Collage. Inkjet on painted aluminium. The Hague Pavilion (Office) . Courtesy the Artist The Open Hand . 2010. Inkjet on painted aluminium. Courtesy the Artists University Library. White pvc. 2 backlight photographs (600 × 10 × 300 cm) and 2 concrete scale models. 140 × 171 × 0. Courtesy the Artist The Radiant City. Courtesy van Kranendonk Gallery. Screen presentation The Yellow House. 2010. 140 × 171 × 0. Mixed media installation. internal view room -1. Cortesy Galerie Thaddaeus Ropac. Courtesy the Artist Garden Pavilion (Office) . 2008. London. Project for the Venice 1971-1977.de. Courtesy van Kranendonk Gallery. An exhibition curated by Hans Ulrich Obrist and Samantha Hardingham. 2010. Synthetic polymer paint. The Architectural Association Photo Library. Taiwan. 3D video installation. Photo Charles Martin. 2010. Hans Ulrich Obrist huoarchive. Neon text on structure. 2010. Inkjet print on white coated aluminium plate. 2008. chain. 140 × 171 × 0. Tokyo. milled wooden panels. © Michel Denancé Mark Pimlott + Tony Fretton Architects raumlaborberlin Kitchenmonument . 2010 R&Sie(n) Architecture Biennale 2010. Renovation and expansion of the Morgan Library. Courtesy van Kranendonk Gallery. Project for Escher-Wyss-Platz. 2010 Teshima Art Museum. Venice. Courtesy the Artist Modular Man . Scharans. MEX-USA . view from the air. Courtesy Eleanor Bron c/o Cedric Price Estate. Centre Georges Pompidou . Furniture and ornament from Haus der Kunst. asphalt. video. coned barrier. Paris. 2008. Inkjet print on white coated aluminium plate. 2010. 2010. 2 channel HD installation. Photo Michel Denancé. Courtesy the Artist. 2010.5 cm. nutsy’s book. Courtesy van Kranendonk Gallery. pen. hardware. Vacuum. Video installation. Switzerland. museum glass. Courtesy the Artists Border crossing. archived documents.Collage. Steel. Design and planting plan site specific for the Giardino delle Vergini. Ordos . Wako Works of Art. view from the street . Courtesy the Artist The Radiant City.5 cm. Pyrography on reconstituted Ikea forniture. synthetic polymer paint. Interactive models with augmented reality installation Piet Oudolf vacuum pack-ing (on room 25) . John / Thomas Demand Studio Mumbai Architects Il Giardino delle Vergini . © Michel Denancé 1999-2005.5 cm. publications and research Opensimsim Opensimsim. 2010. 2010.5 cm. Inkjet print on white coated aluminium plate. The Hague Domino II (Xiamen) . Installation with models and drawings Transsolar KlimaEngineering + Tetsuo Kondo Architects Isobiot®ope / The Building which never dies . 2010. 85 × 116 × 0.
mechanical. in Venice No part of this book my be reproduced. or otherwise. photocopying. or transmitted in any form or by the means.. San Martino Buonalbergo (Verona) Printed by Grafiche SIZ s.p. recording. without prior consent of the publisher edition year 10 9 8 7 6 5 4 3 2 1 2010 2011 2012 2013 2014 . stored in a retrieval system. Campagnola di Zevio (Verona) for Marsilio Editori® s.p.a.a.Photolithography Fotolito Veneta.. electronic.
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