Posts tagged with "giardini":
The so-called Croatian floating pavilion designed for this year’s Venice Biennale by the group of architects and professors—Sasa Begovic, Marko Dabrovic, Igor Franic, Tanja Grozdanic, Petar Miskovic, Leo Modrcin, Silvije Novak, Veljko Oluic, Helena Paver Njiric, Lea Pelivan, Toma Plejic, Goran Rako, Sasa Randic, Idis Turato, Pero Vukovic, Tonci Zarnic—who used a huge amount of Croatian taxpayers’ money to build it, was never exhibited there because it has collapsed infamously, like a melted custard pastry, on its way. In spite of the fact that irreparable damage was caused by the structural failure, nobody took responsibility for the biggest fiasco in the history of Croatian architecture.I was at the Venetian Giardini with several other journalists on the day the pavilion was meant to arrive, and we watched as the pavilion appeared in the hazy lagoon but never quite made it to the dockside, so in the spirit of Venice we settled in at the Giardini bar and enjoyed a spritz. In an email, one of the designers, Leo Modrcin, explained that “the Croatian pavilion was damaged during the transportation from Croatia to Venice. It required additional bracing for longer trips and exposure to the sea’s elements. The recommended removable scaffolding frame was not installed due to time and funding constraints. The lashing of the structure was executed by the towing company, but was obviously inadequate.” Obviously! But pavilions are by nature temporary and ephemeral, and this one at least looked great! We all know how important media images are to architecture, and it still remains one of my favorite pavilions in Venice.
The simple premise treats literally of the lives of buildings—birth/construction; inhabitation; aging; demolition—independent of, or at least seriously questioning, the staying power of any architectural intention. There’s a lyric video meandering through a 1971 country villa by the Irish Miesian Robin Walker with a Seamus Heaney voiceover reading from his poems about “poetic fossils”. Walker’s enviable flush lines and clean framing devises are generous enough to create spaces where steam condensing on a window seems as purposeful a part of the whole experience as the sleek steel faucet. Then there’s a brand new library in Waterford by McCullough Mulvin Architects shown on side-by-side monitors. In one, just upon completion—that favorite time of architects for photography sessions—the view is all about architecture and its precision volumes painstakingly related. In the other, it’s a room loaded for use, right down to the Harry Potter book carousels. The message that daily life obliterates many a fine architectural gesture is a healthy cautionary.
The Arsenale is scant on buildings you’d like to know more about but this tiny show offers up a few, including the Bocconi University in Milan by Grafton Architects. It’s Brutalist, but at the same time as layered as a casbah and obviously beloved by its day-to-day occupants. Look it up. And then on to the endgame of them all: ruins. Silent stills record the demolition of Maze/Long Kesh Prison, a detention center for members of the IRA and potent symbol of the Troubles, as it awaits its next life—probably not without ghosts—as a new national stadium. Seamus Heaney’s “poetic fossils,” indeed.
[Editor's Note: This post was written Sunday.]
It is two days before the opening of the Venice architecture Biennale and as commissioner of the United States pavilion I have been in Venice for a week mounting the exhibition. The Biennale opens on Wednesday for “important media” and the next three days for the rest of the press and anyone else that can find a ticket. This always sets up a huge scrum at the entrance to the grounds between the haves (those with passes) and the have-nots in the media.
But yesterday I was invited to the roof of the Peggy Guggenheim Collection to watch the Venice regatta . The regatta is supposed to be a race of gondolas but is really a great Sunday afternoon passeggiata of colorful boats paddling down the Grand Canal.
Back at the U.S. pavilion we are still not quite finished and I decide to walk around the biennale ‘giardini’ grounds to test the stress levels of other curators. Directly on axis with the U.S. pavilion somebody has constructed a nearly a 40 foot high solid steel building out of scaffolding floor slats. It’s just next to the Spanish pavilion but no one seems to be around to explain the amazing structure?
In the “Old Europe” corner of the giardini the Swiss pavilion will include a brick laying robot named R/O/B but he/she is still in a shipping container. The British curator Elias Woodman shows me through his pavilion which features housing designed by architects that Peter Cooks at dinner last night labeled "the Whisperers.” But Elias has created a fantastic catalog on the history of British Housing--compared with similar events in Europe. In the front of the Brit’s pavilion an enormous yellow steel pipe shoots out of the Russian pavilion and makes it way towards the west. It is apparently the creation of the Estonians who mean it to suggest the connection of oil or natural gas from Russia to the rest of Europe.
The Japanese have created a beautiful glass greenhouse in front of their pavilion but it must have cost as much to fabricate and build as the entire U.S. pavilion’s budget? Next to the ours is the most beautiful pavilion in the giardini--the Scandinavian, created by Pritzker winner Sverre Fehn.
Then lunch at Trattoria dai Tosi where a really good 4 course working mans lunch is 15 Euros--well that’s 12 Euros for Venetians and 15 for everyone else. You can try sitting in the far back of the hot Venetian dining rooms to get the better price but then 3 euros is a small price to pay for this perfect little spot.
Back to the Italian pavilion, curated by Aaron Betsky and EmilianoGondolfi, which is still nearly empty as I walk over the meet ‘Stalker’ Lorezo Romito.Lorenzo is creating an I Ching room to determine the future of architecture. I am supposed to be throwing the I Ching“to determine the future of American architecture.” But Lorenzo is nowhere to be seen, his room empty.
Walking through this enormous pavilion I run into Gondolfi who shows me around the few displays that are in construction. I did come across L.A. architects Benjamin Ball and Gaston Nogues, alums of last year's P.S. 1 summer pavilion, up on a scaffold carefully weaving draped string into an inverted baroque dome. The crew in the U.S. pavilion must be missing me, so I head back to the building in the center of the giardini. Back to work on Monday and then maybe a trip to the Arsenale.