Venice: 12th Biennale of Architecture - Giardini:
TODAY'S FAVORITE PICKS - 27th August, 2010
Palazzo delle Esposizioni. Studio Andrea Branzi / Italia: Per una Nuova carta di Atene. Today we live in a world that ‘no longer has an exterior’, neither political nor geographical; a globalized world made up of the sum of numerous local and economic and environmental crises. An ‘infinite’ but not definitive world: without confines but free of all global image. A world made up of ‘many worlds”; opaque, polluted, where everything merges and expands; to survive it must ‘reform itself daily’ with new laws, new statues, new plans to manage its own ‘allied activities’ that are out of control. Every operation must be reversible, incomplete, elastic, because all that is ‘definitive’ is dangerous. An infinite world whose space is taken up by the bodies of ‘seven billion people’, by flows of ‘information’ and by an incalculable number of ‘goods’, that form integrated circles and vibrations that completely fill the urban scene. The only possible reform of the city must be sought in the ‘ interstitial spaces, in the domestic economies, in human relations; inside our minds.’
Above: La Citta Reale – 2010. Modello Teorico Della Civilita Merceologica.
Serbia Pavilion. The Lunch Boxes, balanced on a see-saw, were offered at the Serbia Pavilion. They resembled workman’s lunch boxes, inside, a sandwich a paper glass and a fake ice-cream.
Djoroje Balzamovic of "Skart".
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Great Britain - Pavilion. The Venetian reference deriving from John Ruskin’s book The Stones of Venice and influence that Frankenstein had in Great Britain on pubs and villas projects. The work turns around the strong relationship between focus, detail and strategy, as the writer did observing Venice. An exchange of collaboration and Venetian contents.
Ruskin’s Architectural Notebooks 1849-50. When Ruskin arrived in Venice in 1849 he bought a series of pocket notebooks in which to record notes and sketches of more than 200 buildings that he studied. Exhibited here are the actual notebooks.
N.B. a more extensive post on the Great Britain Pavilion will be featured in the Biennale special blog, in the near future.
N.B. a more extensive post on the Great Britain Pavilion will be featured in the Biennale special blog, in the near future.
Palazzo delle Esposizioni. Studio Andrea Branzi / Italia: Per una Nuova carta di Atene. Today we live in a world that ‘no longer has an exterior’, neither political nor geographical; a globalized world made up of the sum of numerous local and economic and environmental crises. An ‘infinite’ but not definitive world: without confines but free of all global image. A world made up of ‘many worlds”; opaque, polluted, where everything merges and expands; to survive it must ‘reform itself daily’ with new laws, new statues, new plans to manage its own ‘allied activities’ that are out of control. Every operation must be reversible, incomplete, elastic, because all that is ‘definitive’ is dangerous. An infinite world whose space is taken up by the bodies of ‘seven billion people’, by flows of ‘information’ and by an incalculable number of ‘goods’, that form integrated circles and vibrations that completely fill the urban scene. The only possible reform of the city must be sought in the ‘ interstitial spaces, in the domestic economies, in human relations; inside our minds.’
Above: La Citta Reale – 2010. Modello Teorico Della Civilita Merceologica.
Nicoletta and Andrea Branzi.
Palazzo delle Esposizioni. Andres Jaque Arquitectos / Spain. Fray Foam Home / 2010. Homes are arenas in which the political currently finds opportunities to happen. Fray Foam Home is the restitution of the fragmented spaces in which a specific home – with its comforts, supplies and fictions - is constructed. Sweet Homes are no longer apolitical spaces for familiarity, but distant-bubble-made-foams joined by conflict and fray. Distribution and uses of water, energy exploitation, rights for access to fiction, engagement with transgendered individual roles are the arenas in which societies get shaped. What does this home look like? That is what Fray Foam Home aims to approach.
A detail. A detail of Fray Foam Home by Andres Jaque Arquitectos.
Andres Jacque.
Serbia Pavilion. Seesaw Play-grow – Non Equilibrium Ground by “Skart” (rejection) (Djoroje Balzamovic, Dragan Protic, Goran Petrovic). See-saws, objects you usually find in children’s play-grounds, become an invitation to play and act, to meet people and open dialogues. Un-balanced and un-stable grounds become symbols of aggression. In the pavilion you are asked to fill in a questionnaire investigating the possibilities of relationships and which risks you are willing to run dealing with the unknown.
Serbia Pavilion. The Lunch Boxes, balanced on a see-saw, were offered at the Serbia Pavilion. They resembled workman’s lunch boxes, inside, a sandwich a paper glass and a fake ice-cream.
Djoroje Balzamovic of "Skart".
Dragan Protic of "Skart".
