Posts tagged with "Venice Architecture Biennale":
Farrell and McNamara continued, adding that the Biennale will showcase works of architecture—built and/or unbuilt—that exhibit "modulation, richness, and materiality of surface; the orchestration and sequencing of movement, revealing the embodied power and beauty of architecture." The pair also stated that they wish for the Biennale engage visitors emotionally and intellectually and to invoke discussion on architecture's contribution to humanity. In this sense, Farrell and McNamara's agenda is a riff on Alejandro Aravena's previously curated Reporting From the Front, which took a more hedonistic approach in addressing the overlap between architecture and global social issues. The Irish duo concluded their statement by saying:
- Freespace describes a generosity of spirit and a sense of humanity at the core of architecture's agenda, focusing on the quality of space itself.
- Freespace focuses on architecture’s ability to provide free and additional spatial gifts to those who use it and on its ability to address the unspoken wishes of strangers.
- Freespace celebrates architecture’s capacity to find additional and unexpected generosity in each project - even within the most private, defensive, exclusive or commercially restricted conditions.
- Freespace provides the opportunity to emphasise nature’s free gifts of light - sunlight and moonlight, air, gravity, materials—natural and man-made resources.
- Freespace encourages reviewing ways of thinking, new ways of seeing the world, of inventing solutions where architecture provides for the well being and dignity of each citizen of this fragile planet.
- Freespace can be a space for opportunity, a democratic space, un-programmed and free for uses not yet conceived. There is an exchange between people and buildings that happens, even if not intended or designed, so buildings themselves find ways of sharing and engaging with people over time, long after the architect has left the scene.
- Freespace encompasses freedom to imagine, the free space of time and memory, binding past, present and future together, building on inherited cultural layers, weaving the archaic with the contemporary.
We are interested in going beyond the visual, emphasizing the role of architecture in the choreography of daily life. We see the earth as Client. This brings with it long-lasting responsibilities. Architecture is the play of light, sun, shade, moon, air, wind, gravity in ways that reveal the mysteries of the world. All of these resources are free. It is examples of generosity and thoughtfulness in architecture throughout the world that will be celebrated in the 16th International Architecture Exhibition. We believe these qualities sustain the fundamental capacity of architecture to nurture and support meaningful contact between people and place. We focus our attention on these qualities because we consider that intrinsic to them are optimism and continuity. Architecture that embodies these qualities and does so with generosity and a desire for exchange is what we call Freespace. “A society grows great when old men plant trees whose shade they know they shall never sit in” - Greek Proverb.
BairBalliet uses novel spatial techniques to speculate on future Detroit development for the Venice Biennale
For this year’s U.S. Pavilion at the 15th Venice Architecture Biennale, 12 teams from across the country were selected to design speculative architecture for Detroit. Entitled the “Architectural Imagination,” the pavilion will focus on presenting urban ideas that could be used around the world. One of the offices chosen is the Columbus, Ohio- and Chicago-based BairBalliet. Comprised of Kelly Bair, an assistant professor at the University of Illinois at Chicago School of Architecture, and Kristy Balliet, an assistant professor at the Knowlton School of Architecture at the Ohio State University, BairBalliet was formed specifically for the biennale. Given a 26-acre site on Detroit’s west side along the Detroit River, near the Corktown neighborhood, BairBalliet set out to produce a project that would connect the neighborhood to the water.
Bair and Balliet also have their own practices, Central Standard Office and Balliet Studio, respectively. The new office has come to develop a larger project: “Originally we joined forces because we saw some similarities in our work, but I also think we have specific things that we work on individually. The more we worked together though, I found that some of Kristy’s work filled in where my project was lacking,” Bair said, also explaining how they were able to work while living in different cities. “We used the Chicago Biennial weekend as a launching point for the project. That weekend was our first of several in-person charrette weekends, filling in with daily conference calls and remote work sessions between visits.”
The duo used an unexpected digital medium to communicate during the initial design: “In the beginning we used GIFs as a means to prepare for collaborative design calls. These would build up a narrative and a visual attitude to which the other could react,” said Bair. The GIFs were collections of stills that were curated and timed to convey a sense of their thoughts about everything from site strategies to formal decisions. Bair and Balliet found that the flickering of animated drawings facilitated a way of seeing the project in which ideas could be combined and reconfigured into completely new strategies.
Part of the design process included meeting with local Detroiters about the chosen site’s future. The team was exposed to the visions of the Detroit Riverfront Conservancy, Projects Detroit Future City, and the Detroit Economic Growth Corporation as well as local neighborhood residents. What they took away was a sense of the site’s strong connection to the core of downtown and the evolving adjacent neighborhood as the riverfront continues to develop.
For the design, which will be revealed in Venice, nearby programs, including light-industrial, small-scale residential, and retail, are overlaid with leisure spaces as the project unfolds towards the river. Conceptually, BairBalliet thought of the project as a new port-of-call, a place that is never experienced the same way twice.
BairBalliet’s bas relief and site model, along with other visual media, will be unveiled at the Venice Biennale, opening May 28th. The U.S. Department of State selected the Taubman College of Architecture and Urban Planning at the University of Michigan to organize the exhibition of the United States Pavilion in the 2016 Venice Architecture Biennale. Cynthia Davidson and Monica Ponce de Leon are Co-Curators of the U.S. Pavilion.
[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.