Monday, June 25, 2018

Venice - Giardini: Central Pavilion - 16th International Architecture Biennale - Freespace

 
Giardini – Padiglione Centrale
16th International Architecture Biennale
Freespace
“The
 free space inside and 
the free space outside: architecture mediates between the two.”
Yvonne Farrell, Shelley McNamara
curators
At the Giardini in the Padiglione Centrale, and at the Arsenale, the 16th International Architecture Biennale 2018, with the title Freespace is curated by Yvonne Farrell and Shelley McNamara, until November 25. 71 architects from all over the world respond to the curators Manifesto, in order to reveal - to lay bare - the Freespace ingredient embedded in their work. The loose way of moving through the Padiglione Centrale reflects the fact that time is not linear within the tradition of architecture. Unexpected adjacencies connect the archaic with the contemporary a theme embodied in the Freespace Manifesto. Works by architects of previous generations are represented here by living architects in order to highlight their critical relevance today. Works by contemporary practitioners show how they interpret and draw strength from the work of others. A number of participants share their imagined or built propositions for an optimistic future. In these rooms architects from around the world show work, which connects time, place and culture.

“We are interested collectively in the possibility of using design to make the day-to-day richer, more joyful and more various, to enable the city to accommodate a wider variety of needs and ways of living, to be more malleable and support different needs and meanings.”
Assemble 
Assemble – London – U.K.
The Factory Floor -
with Granby Workshop
Jane Issler, Hall, Mathew Leung, Alice Edgerley, Adam Willis, Fran Edgerley, Amica Dall, Giles Smith, James Binning, Paloma Strelitz, Lewis Jones, Joseph Halligan, Louis Schulz, Maria Lisogorskaya, Karim Khelil and Anthony Engi Meacock.

 
Close Encounter – Architecture Revisited
Taka Architects
- Dublin – Ireland
Rogelio Salmona  
Centro Comunal y Recreativo Nueva Santa Fe Rogelio Salmona

 

“A building is not a product, it’s a place for people, for living, for society, for ‘leisuring’.”
Odile Decq
from an interview on Cladglobal.com - 2018
Studio Odile Decq – Paris – France
Phantom’s Phantom


“Thinking about daylight and artificial light I have to admit that daylight, the light on things, is so moving to me that I feel almost a spiritual quality. When the sun comes up in the morning – which I always and so marvelous, absolutely fantastic the way it comes back every morning – and casts its light on things, it doesn’t feel as if it quite belongs in this world.”
Peter Zumthor
from www.arcspace.com - 2012
Atelier Peter Zumthor – Haldenstein - Switzerland
Dreams and Promises – Models of Atelier Peter Zumthor


 “Professional architects, urbanists and designers will need to move beyond good intentions and develop concrete approaches to the challenges of cities today.”
 
Kieran Long
Kieran Long, Johan Orn, James Taylor-Foster with ArkDes
Stockholm – Sweden

Freestanding

 
Kieran Long, James Taylor-Foster and Johan Orn


Mikael Olsson - Ressurection Chapel
Woodland Cemetery - Stockholm – 2017


Freespace in Place
Four Unrealized Modern Architectural Designs for Venice

Frank
Lloyd Wright
Masieri Memorial Foundation – Venice – Italy – 1953


Freespace in Place
Four Unrealized Modern Architectural Designs for Venice

Louis I. Khan
Palazzo dei Congressi – Venice – Italy – 1968-73


Freespace in Place
Four Unrealized Modern Architectural Designs for Venice

Isamu Noguchi
Park at Jesolo – Italy 1970-76


Freespace in Place
Four Unrealized Modern Architectural Designs for Venice

Le Corbusier
Venice Hospital – Venice – Italy – 1963-65

 

“I hate the term “socially conscious”, somehow it implies that all of the other work that you’re doing is not. I do think you can describe the work as “socially motivated”.”
Michael Maltzan
Michael Maltzan Architecture Los Angeles – U.S.A.
Star Apartments


“I would like the architecture professionals to show they are not self-absorbed. I want them to show how important participation is to architecture.”
David Chipperfield
from an interview on «the BAG-Biennale Architecture Guide – 2012
 David Chipperfield Architects - G.B. Germany Italy
People’s Republic of China
Beyond Purpose 
The Museum Island – Berlin


Karl Friedrich Schinkel – Altes Museum – Berlin – 1829

 
 “In our work we try to avoid giving the impression of a “corporate identity”.
For us, architecture is still about everyday life.”
Architecten de Vylder Vinck Taillieu

Architecten de Vylder Vinck Taillieu – Ghent – Belgium
Jan de Vylder, Inge Vinck, Jo Taillieu

Silver Lion to a promising young participant in the 16th Architecture Biennale Exhibition Freespace
Unless Ever People - Caritas For Freespace


 
Wood has a certain sensuousness that is comparable to that of rough concrete. And rough concrete picks up the wood imprint, which is used for the shuttering. We like to use both materials in conjunction with each other because of this relationship.”
Burkhalter Sumi Architekten
Burkhalter Sumi Architekten
– Zurich - Switzerland
Marianne Burkhalter, Christian Sumi
with Konrad Wachsmann The Grapevine Structure

All quotes courtesy - the BAG-Biennale Architettura Guide
www.venezianews.it











 









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Tuesday, June 19, 2018

Venice - Not Only Biennale – Ca Corner della Regina – Fondazione Prada – Machines a Penser – Exhibition - Party

  Photograph -  Mattia Balsamini
 - Courtesy Fondazione Prada
Not Only Biennale – Exhibition
Ca Corner della Regina – Fondazione Prada

Machines a Penser – Preview Party
At the Fondazione Prada the exhibition Machines a Penser, curated by Dieter Roelstraete, until November 25, explores the correlation between conditions of exile, escape and retreat and physical or mental places which favor reflection, thought and intellectual production.  Machines a Penser focuses on three major philosophers of the 20th century: Theodor W. Adorno (1903-1969), Martin Heidegger (1889-1976) and Ludwig Wittgenstein (1889-1951). The latter two shared a life-long need for intellectual isolation: Heidegger spent long periods of his life in a secluded hut in the village of Todtnauberg in the Black Forest in Germany, whilst Wittgenstein retreated on several occasions to a small mountain cabin situated in a fjord in Skjolden, Norway. Adorno, on the other hand, was forced into exile from his native Germany during by the Nazi regime, first to Oxford and then to Los Angeles, where he wrote Minima Moralia, a collection of aphorisms that also reflects on the fate of forced emigration. These reflections inspired the installation conceived by the Scottish artist and poet Ian Hamilton Finlay in 1987 titled Adorno’s Hut, a centerpiece of the exhibition alongside architectural reconstructions of the actual huts of Heidegger and Wittgenstein.
  
 “…these were the places where our protagonists hatched out their deepest thoughts. Isolation, whether chosen or imposed, appears to have inspired them decisively—and over the years their huts have proven to be an inexhaustible source of inspiration in turn for generations of artists, attracted to the fantasy of withdrawal as articulated in its most elemental architectural form.
Dieter Roelstraete
curator

Adorno’s exile is recalled through a large-scale reproduction of a photograph by Patrick Lakey showcasing the interior of Villa Aurora in Los Angeles. The fate of forced retreat is explored through the work of artists such as Susan Philipsz; Ewan Telford; Patrick Lakey; Anselm Keifer, Alexander Kluge. The exhibition takes place on the ground floor and on the first floor of the 18th century palazzo, creating an immersive journey that deepens our understanding of these three philosophers and the relationship between philosophy, art and architecture. 
Patrick Lakey - Photographs

Cesare Cunaccia
   
Cecilia Matteucci
 
Roberto De Feo
Anselm Keifer – Hirnhauslein (fur Alexander)
- 2017
   
Machines a Penser - Martin Heidegger
Martin Heidegger’s Black Forest cabin is evoked through a remake that contains, among other works, a series of personal photographs by the photo-journalist Digne Meller-Marcovicz and a set of ceramic pieces by Jan Bontjes van Beek. Contemporary work by artists such as Giulio Paolini, Sophie Nys, Inigo Manglano-Ovalle and Paolo Chiasera chart the long shadow cast by Heidegger’s thought across philosophies of building, dwelling and belonging.
 
Emiliano Salci and Britt Moran

   
Marie-Rose Kahane and Aud Cuniberti
 
Donata Grimani and Caterina Napoleone
  Photograph -  Mattia Balsamini
 - Courtesy Fondazione Prada
Machines a Penser - Ludwig Wittgenstein
Inside the reconstruction of Ludwig Wittgenstein’s small house in Skjolden, Norway, the viewer encounters Head of a Girl (1925-1928), the only artwork known to have been made by the Austro-British philosopher, shown here alongside his personal belongings. Wittgenstein’s self-imposed exile and lifelong quest for philosophical peace of mind form the subject of artworks created by a Norwegian artist collective comprised of Sebastian Makonnen Kjolaas, Marianne Bredesen and Siri Hjorth; Jeremy Millar; and Guy Moreton. A newly commissioned work by Leonor Antunes and a sculpture by Mark Manders are also featured in the exhibition.
 Photograph -  Mattia Balsamini
 - Courtesy Fondazione Prada
   
Marianne Bredesen, Sebastian Makonnen Kjolaas and Siri Hjorth
Preliminary Model of the Wittgenstein Monument 1:23
- 2018
 
Marianne Bredesen, Sebastian Makonnen Kjolaas and Siri Hjorth
 
Giovanni and Servane Giol with Isabella Capace Galeota

 
 Jerome Zieseniss and Matteo Corvino

Fabio Moretti, Roberta Rossi, Massimo Luca Barbero and Cinzia Giol
 Photograph -  Mattia Balsamini
 - Courtesy Fondazione Prada

Mark Manders – A Place Where My Thoughts Are Frozen Together -  2001
Lorcan O’Neill and Luca Cipelletti
 
 Gaby Wagner

Jean-Marie Degueldre and Alessandro Palwer


 
Studiolo – Northern Italy – c. 1480
Vue de Differentes Habitations de J.J. Rousseau – c. 1810

 
Ian Hamilton Finlay – Adorno’s Hut – 1986-87

Goshka Macuga - Heidegger – Adorno – Wittgenstein – 2018

Goshka Macuga designed three sculptures for the exhibition depicting the heads of the three philosophers, Mark Riley presents three dioramas and Gerhard Richter exhibits overpainted photographs of Engadin mountainscapes and sculpture Kugel III, evoking Friedrich Nietzsche’s thinking quarters in Sils-Maria where Thus Spoke Zarathustra was conceived.


Alessandra Zoppi and Elvire Mazzucco

   
Cristina Beltrami and Luca Bombassei




Astrid Welter and Giuseppe Barbieri
  Photograph -  Mattia Balsamini
 - Courtesy Fondazione Prada
 
Inigo Manglano-Ovalle – Schwarzwald – 2015
Giulio Paolini – L’Arte e Lo Spazio. Quattro Illustrazioni Per Martin Heidegger - 1983
 
Machines a Penser
The exhibition also includes a historical section focusing on Church, father Saint Jerome (347-419), famous for leading the life of an anchorite in the Syrian desert while translating the Bible into Latin. Renaissance paintings and prints dedicated to the iconography of the saint are exhibited alongside a Renaissance studiolo containing, among other items, first editions of Heidegger and Wittgenstein’s writings, its outer walls clad in a site-specific installation by the Scottish artist-poet Alec Finlay titled Hutopia (2018), featured above.
Bartolomeo Montagna – Saint Jerome in Bethlehem – 1505-10

 
The Grand Canal


















 








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