ARCHITECTS

192 Pages·2014·34.7 MB·Spanish

TIME
SPACE
EXISTENCE
MADE IN EUROPE
TIME
SPACE
EXISTENCE
MADE IN EUROPE
LA bIENNALE DI vENEzIA 2014
PALAZZO BEMBO . PALAZZO MORA . PALAZZO MichiEL
COLOPHON CONTENTS
© 2014. texts by the authors TIME SPACE EXISTENCE 9 Stein HalvorSen 108 kriS yao | arteCH 202 rafael MaHdavi +
© Unless otherwise mentioned, photos by Global art affairs foundation Heri & Salli 110 peter Jay zweiG 204 JonatHan SHiMony 282
PALAzzO bEMbO 15
HlM arCHiteCtUre 112 Manifold deSiGn 284
allford Hall PALAzzO MORA 209
all rights reserved. no part of this publication may be reproduced, stored in praiSe of SHadowS 116 rodolpHe MertenS 286
MonaGHan MorriS 16 adept 210
in a retrieval system, or transmitted in any form or by any means, JérôMe JaCqMin 118 Min2 288
altro_StUdio 22 akMar 212
electronic, mechanical, photocopying, recording or otherwise, without eleena JaMil arCHiteCt 120 nMd | noMadaS 290
ed antHony 24 alleSwirdGUt 214
permission of the editor. leap + Mtq 124 parC arCHiteCteS 292
Baar-BaarenfelS 26 arCHiteCtUre proJeCt 216
GerHard lenz proJeCt 126 BUdi pradono 294
aleJandro BeaUtell 32 wannenMaCHer + Möller 218
print: Grafica veneta S.p.a., italy
leS arCHiteCteS faBG 128 SanJay pUri 296
HeinriCH BoBSt 34 arditti + rdt arCHiteCtS 220
edited by: Global art affairs foundation riCardo Bofill 36 aleSSandro lUpi 130 BekkerinG adaMS 222 rintala eGGertSSon 298
www.globalartaffairs.org JoSep ferrando BraMona 46 Mann & CapUa Mann 132 Beyond arCHiteCtUre 224 edUardo SoUto de MoUra 300
Ueli BraUen + MoB arCHiteCtS 134 MiCHael BUrCH 226 SSd arCHiteCtUre 308
published by: Global art affairs foundation doriS wälCHli 50 eMManUelle MoUreaUx 136 CaraMel 228 StUdio Mk27 310
distributed by: Cornerhouse publications, www.cornerhouse.org/books loUiSe BraverMan 52 new-territorieS 140 CariBBean SCHool of Carl fredrik SvenStedt 314
tUnCer ÇakMakli 54 edMUnd nG 142 arCHiteCtUre 230 terreforM one 316
C.f. MØller arCHiteCtS 60 niCkl & partner 146 CHanCe de Silva + SCanner 232 tUUli tiitola-MeSkanen 318
iSBn: 978-94-90784-15-7 waltraUt Cooper 66 nUMen | for USe 154 florenCia CoSta 234 alBerto torSello 320
enriCo daffonCHio 68 opta arqUiteCtoS 156 Mark dziewUlSki 250 UniverSity of tHe
de BlaCaM and MeaGHer 70 ortÚzar & GeBaUer + faBUloUS UrBan 252 pHilippineS diliMan 322
www.venice-exhibitions.org
eBner + SiMonetti & Stewart 158 JaiMe J. ferrer foréS 254 UnSanGdonG arCHiteCtS 326
www.palazzobembo.org
GreUtMann + Bolzern 72 lUCa Selva 160 norMan foSter 256 vitaliy & elena vaSilieva 328
www.palazzomora.org
etat arkitekter 74 SHatotto 164 antonio freileS 262 vertiCal BriGade 330
www.palazzomichiel.org
fraMe and eleMentS | SaMar SinGH JodHa 168 fUHriMann & HäCHler 264 waSSerfall MUntinG 332
toMoyUki UtSUMi 76 kirSti Sivén & aSko takala 170 liSBetH fUnCk 266 wta arCHiteCtUre+deSiGn 334
Ben GarCia Saxe 80 SUre arCHiteCtUre 174 david GUerra 268 zeSt arCHiteCtUre 336
General arCHiteCtUre 82 takaSaki MaSaHarU 176 frank HeereMa 270
MADE IN EUROPE 339
petra Gipp arkitektUr + peter tay StUdio 178 koHki HiranUMa 272
akane MoriyaMa 86 UniverSidad iBeroaMeriCana inSpiration 274 CAPTIONS 365
ernSt GiSelBreCHt 88 MexiCo City 182 riHo JaGoMäGi 276
gAAf TEAM 371
GM arCHiteCtS 92 UniverSity of HoUSton 184 keiko + ManaBU 278
GMp 94 wHite arkitekter 194 nilS koenninG 280 SPONSORS 379
TIME SPACE EXISTENCE
TIME SPACE EXISTENCE for many years and the primary subjects of all events organized by in 2010 our situation changed, when the three of us decided that the
our foundation. they are also the basis of our international best place to organize our next exhibition perSonal StrUCtUreS
contemporary art project perSonal StrUCtUreS. would be at the venice Biennale.
By karlyn de Jongh Similar to this 2014 architecture exhibition, perSonal S trUCtUreS we thought that we would only make one exhibition. “if we do it,
is an open platform for contemporary artists who are concerned then we try to do it right”, we said, and palazzo Bembo had the
with the concepts tiMe SpaCe exiStenCe within their work. while potential to fulfill our dreams: an excellent location, a beautiful
exhibiting mainly in asia, north america and europe, rene building with a rich history, and the potential for an incredible
rietmeyer met several other artists who were also working with exhibition space. there were some negative aspects: the rent was
tiMe SpaCe exiStenCe is not only the exhibition title of this official cultural background. who are we to judge what ‘good’ architecture
these subjects. these encounters meant it felt logical to bring very high and at the state where we found it, it was like a ruin that
part of the venice architecture Biennale at palazzo Bembo and is, with so little knowledge about these different cultures?
these artists together in an attempt to make these philosophical needed a lot of work to turn it into a suitable space for our exhibition.
palazzo Mora. we consider tiMe SpaCe exiStenCe to be the most
all activities of the Global art affairs foundation are executed on topics more en vogue in the world of contemporary art. Beginning to call the period that followed “challenging” is putting it very mildly.
fundamental concepts for mankind, no matter what your field of
the basis of direct contact with the participating artists and in 1999, rietmeyer contacted several artists and explained his
interest is. the wish to raise awareness about them and make these in the following months, we established a good relationship with the
architects. Most important for us is that the people we work with ideas to create a project with them, and by 2002 he had brought
subjects more accessible to a wider international audience lies at owner of palazzo Bembo and we formed an excellent operational
are sincere. the architects presented in this exhibition have been together a loose grouping of ‘young’ artists from different parts of
the basis of all events and publications organized and created by team, consisting mainly of students from the University of venice,
invited because we believe that they should be exposed to a wider the world.
the Globalartaffairs foundation, a non-profit foundation that was amongst whom was valeria romagnini. with such a great team, a
public, so the public has the opportunity to react to these
founded in 2002 by the dutch artist rene rietmeyer. flexible palazzo owner, a perfect location in venice and an excellent
Since 2002, we have so far organized 26 contemporary art
architectural ideas—whether we like their architecture or not. for
exhibition space, we decided to continue with ‘our’ palazzo.
exhibitions and six symposia in Japan, USa and different european
this exhibition, like all events organized by us, does not only show us, it is important that an architect shows a certain consistency in
our own point of view. this exhibition documents. it documents a his or her work and thoughts over an extended period of time. in countries. these events have been organized and financially a large art exhibition in 2013 and 2015 as part of the art Biennale
wide variety of perspectives from architects from six continents. By the case of young, upcoming architects, we have been looking for supported by our Globalartaffairs foundation. initially the seemed very well possible, but 2012 and 2014 looked much more
presenting the work and ideas of architects from diverse cultural promising people, with potential. for us it is about the people exhibitions were mainly focused on young, upcoming artists, but complicated. it was Manuela lucà-dazio and paolo Scibelli, the two
backgrounds and from different generations, we aim to trigger a themselves; we do not look for particular projects. and that is also over the years rietmeyer noticed that we also needed to present directors from la Biennale, who encouraged us to also organize an
discussion and raise awareness about our existence as human why we take as little influence as possible on the actual more established artists to amplify the impact we were making in exhibition during the 2012 architecture Biennale.
spreading awareness about tiMe SpaCe exiStenCe. the project
beings within time and space. presentations in our exhibitions. in general, we allow the architects at that time, our knowledge of architecture was basically limited to
grew and in 2005, Sarah Gold joined as an independent curator;
total freedom in both the conceptual and formal decisions that the works of just a few architects. the expression “less is more”, for
in this exhibition, the participating architects, through their own two years later i, karlyn, joined the team. in that year, 2007, we
inform what they would like to present: the statement they would our lives and our project, that since its beginning highlighted artists
distinct points of view, define the terms with which tiMe SpaCe started with a symposium cycle in amsterdam, new york, tokyo,
like to make and how their statement will be presented. who express themselves with the use of ‘minimalist characteristics’,
exiStenCe are being highlighted, and please note; the beauty is in and at the venice Biennale, as well as our first edition of PERSONAL
had always been very important.
the difference. of course, we as the Globalartaffairs foundation only since october 2011 have we, from the Globalartaffairs STRUCTURES: TIME SPACE EXISTENCE in which we published the
have selected these architects and therefore have a strong foundation, started to learn a little more about architecture. and symposium presentations and additional interviews. with only Before that moment in 2011, assuming that also architects are
influence on the composition of the different opinions that are until now, we have only organized two architecture exhibitions, the three of us at the time, our project was small in size and our sincerely concerned with tiMe SpaCe exiStenCe, there had been
presented in this exhibition. and of course, the choice of ‘only both as official parts of the venice Biennale (in 2012 and 2014). foundation depended solely on the sales of rietmeyer’s artwork. several instances where we thought of including architects such as
documenting’ is our choice and therefore shows our opinion. we Coming from the art world ourselves, we understand that we have this meant that only when we sold an installation of rietmeyer’s rem koolhaas and possibly other architects of whose existence we
state that everybody has a place in the continued development of very little knowledge about architecture. But exploring the Boxes could we take the next step. it grew organically, depending were not aware, into our project and inviting them to speak at our
a particular region and has to be considered in relation to their concepts of tiMe SpaCe exiStenCe have been central to our lives on the relatively little money that came in. symposia. especially for our symposium about SpaCe in the new
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Museum in new york in 2009, we were tempted to include architects, many interesting encounters. and frankly speaking, it was fantastic to evening and sometimes even australia and new zealand late at
but for various reasons at that time we decided not to. now we had see so many architects also deal with space, as well as existence and night) has not stopped until today. Several architects managed to
palazzo Bembo’s 1100 m2 of exhibition space ready to be used, but time in a very conscious and sincere way. they seemed to be very well find financial support from governmental institutions and all kinds
no insight into and no knowledge of architecture, and no contacts at aware that their structures often have an enormous impact on the of different sponsors to realize this exhibition at palazzo Bembo and
all. we had to start from scratch. way we humans experience our surroundings. architects influence palazzo Mora, covering almost 2000 m2 of exhibition space.
our daily existence and leave an impressive mark on the current time
an exhibition with a similar curatorial proposal as perSonal in april 2014, when our own exhibition was in its final stages, we
and often this ‘mark’ outlives the architects themselves.
StrUCtUreS was a logical choice: exhibiting architects from many were contacted by the european Commission and the Mies van
different countries with a combination of young, upcoming in 2013, our presence in venice greatly expanded. Besides o rganizing der rohe foundation from Barcelona, Spain. at the very last
architects and well-established ones. in the weeks thereafter, we a new art Biennale exhibition of our project perSonal S trUCtUreS, moment, they were looking for a space to host their exhibition
started looking for architects to contact. we learned more and more we hosted five other exhibitions during the 2013 venice art Biennale, Made in eUrope, in which they highlight the winners and finalists
about their field of work and selected several architects for various with which we earned some extra money to cover the losses of our of the european Union prize for Contemporary architecture, the
reasons: some for their concern about the environment, some for own exhibition and publications and whereby we had the Mies van der rohe award, of the past 25 years. although they had
their awareness of history, or for their innovative designs or opportunity to give many more young people a chance to get very little money to cover the expenses for the hosting of their
experiments with materials, and others for the sheer impressiveness involved in the world of art and architecture. exhibition, which would result in a serious financial loss for our
of their realized buildings. it was especially interesting for us to see foundation, we decided to go ahead with them and host the Mies
it was because of one of these exhibitions that we rented palazzo
how concerned most architects are about their surroundings, not van der rohe foundation in our palazzo Michiel. fortunately a
Mora, which became a challenging project in itself. the 2400 m2
only about using “green” materials or making the most out of a given good friend of ours, Mr Gerhard lenz, supported our foundation
palazzo had been empty for over 50 years. there was no water and
space, but also their desire to improve the world we live in, a practical to help cover part of these losses.
no electricity in the building and it was in an even worse state than
consciousness about the quality of life.
palazzo Bembo. after all permissions were arranged, we started its we organize these exhibitions, symposia and create these p ublications
from the first day on, valeria romagnini joined the organization. She renovation and turned the first floor into a quality exhibition space because we believe that by highlighting the concepts of tiMe SpaCe
and rene worked for several months day and night realizing the with the charm of a real venetian palazzo. exiStenCe, we can have a positive influence on other people, making
exhibition, which was very complex. organizing an event in venice them more aware about their existence as human beings within time
the challenge continued in august 2013. with our art Biennale
involves high costs that somehow need to be covered. fortunately and space. although also this year the exhibitions we organized have
exhibitions still ongoing, we already started the preparations for the
many of the exhibiting architects were themselves able to find put us under continuous financial pressure, we do consider them a
2014 architecture Biennale exhibition. we now had four palazzi to
sponsorship to cover the costs of their presentation and support our success. the sincere attempts by the architects participating in this
operate and a team of 30 young people, organizing the exhibitions
foundation in organizing its first architecture exhibition as an official 2014 venice Biennale exhibition to make their own statements about
and creating not too big of a financial disaster, needed time. rene
collateral event of the 2012 venice architecture Biennale. tiMe SpaCe exiStenCe—as well as seeing the honesty and will power
and valeria would again be responsible for the main organization,
of the people of the Mies van der rohe foundation to fight for their
the exhibition became an interesting mix of projects and people. but because of the huge challenge, they asked the assistance of
goals—stimulate us to continue our endeavours, however utopian
arata isozaki sat next to the young Colombian boys from altiplano; rachele de Stefano and Grazia Sechi. we searched for new
they may be. and although we know that we may still have a long way
artistic projects with ostrich eggs or falling quartz sand from Siesta architecture firms, and additionally we asked some of the architects
to go, the projects as such provide us with what we had been hoping
key next to the more classical presentations with models of houses, who exhibited with us in 2012 to join us once again. the process of
for: an exciting and interesting life.
villages and cities. we had over 60.000 visitors in three months. while countless telephone calls and emails throughout the day (starting
we hoped to have offered them a challenging dialogue, the e xhibition early in the morning with Japan and China, followed by india, turkey,
at least raised our own awareness about architecture and offered us europe and South africa, then Brazil, USa, Chile and Mexico in the
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PALAzzO bEMbO
ALLfORD HALL MONAgHAN MORRIS
By Simon allford
our practice, allford Hall Monaghan Morris, is an organisation architect. But paradoxically this shared suspicion of fashion and
whose defining purpose is the construction of ideas focused trends was allied to a seemingly contradictory interest in people.
around the making of architecture. But to us, then as now, an interest in the lives of people includes an
interest in the lives of architects!
our idea of collaborative practice was invented in academe. So in
real time our collaboration has lasted over thirty years. first as an So we enjoyed our professor’s tales of both his intellectual and social
idea in the Space within both our heads and those of our many engagement with aldo rossi and the city. our project The Fifth Man
fellow travellers; and then, on the occasions when we build, our was built around the idea that architecture was the product of
collaboration defines the Space of architecture. ours is a individual authors consumed by the common ground. our
collaboration founded on the idea that architecture can offer at conclusion was that the city was more important than the building,
least an existence, but potentially more to those who think, make the building more important than its many authors and that life was
and use it. it is a particular to and founded upon our relationship. more important than any artificial invention such as programme.
increasingly through time, as everyday life is ever more recorded as of course as together, with many others, we have designed and
history, architecture and architects have become indistinguishable. built many different buildings to different programmes for different
to the point now when that most horrific theory of celebrity clients in different countries these views have been tested, but
culture (if the two words can be combined without paradox) has never yet to destruction.
created the term ‘starchitects’. a reaction to his part in this mess no
we still discover, however assured we may have become, that the
doubt contributed to the director’s invention of the theme of this
architectural ‘author’ is not just our practice, but our client,
Biennale: fundamentals.
consultants, those we consult (both statutory and self-
proclaimed), those others with whom we engage and the place
and moment in time in which we are presented with the
when Jonathan Hall, paul Monaghan, peter Morris and i studied at
opportunity. the opportunity being to first think and then build
the Bartlett, london in the early nineteen eighties we were
or indeed, to decide not to build at all.
interested in both the aesthetic, technological and social history of
architecture and its authors. But also in the idea of a project’s life in So we are a product of our time. Steeped in history, pre and post
use, a life that existed beyond that envisaged by its author. this celebrity. engaged in paper from a distance by rossi and rowe but
was an early reaction to the then emerging idea of the cult of the also at close quarters in conversation with Cedric price. price was
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the london iconoclast who loved objects, ideas and paradox and generation and were dedicated to rebuilding a Brave new world,
whose legacy i can best summarise as the framing of the most focused on architecture over self-image. in their utopian world
critical question: if architecture is the answer what was the existence the pursuit of the cult of personality was to compromise
question? and this is a question we seek to ask of ourselves at the architecture’s potential.
beginning, during and at the ‘end’ of a project. particularly because,
it is for these reasons that we have chosen to present twelve very
it is all too easy to forget, that when a project comes to an end for
particular yet ‘anonymous’ architectures. each is photographed in
us, its life as a building is just beginning.
its current state. But the accompanying notes and sketchbooks
and of course the ‘anonymous’ architects of the past, forgotten reflect on the different architectures many histories of design and
now, were actually giants of their unrecorded day. we personally of designers; of construction and constructors; of inhabitants and
knew at least three of the considerable international talents and passers by; of freeholds and leases. a history and future of the
personalities that were published in oMa’s contribution to the financial, political and legal inventions that have always
last Biennale. commodified these (and all) architectures.
So ours is a tale of conversations and collaborations with other each reflects the impact of its predecessors and, ever increasingly,
infrastructures, architectures and architects, (known and retains fragments of the same. each project is the architecture of
unknown); and different ideas of use. of projects that have direct many hands and so exists somewhere between architectural
connections back to seventeenth and eighteenth century merzbau, palimpsest and collage. these twelve architectures, all
conditions. indeed we delight in the fact that we can engage with located in the ancient yet dynamic city of london, show that there
the architects from the past who have passed on projects from is another ‘fundamental’: that of a physical and cultural continuum.
the past. we can also explore these architects’ links as émigrés,
physically we build new footings on, through and over the
interlopers and establishment figures who passed through or
archaeologies that we find. we retain and rework fragments,
stopped in london.
facades and whole buildings assessing each on its pragmatic,
the architecture reflects tales of chance encounters and extended commercial, cultural, and aesthetic merits. So, just as a city is a
conversations. of how the ‘now anonymous’ but once revered, found yet ever changing whole, the architecture that we inherit
and the ‘still celebrated’ engaged with each other in discussion of becomes the found piece that engages us in discussion. a
the ‘fundamentals’, as we do today. from price to Stirling to discussion with the many histories of architecture, each of which
archigram; from yorke and Breuer and korn to yrM; from Banham reflects changing societies changing attitudes to changing
to Summerson to pevsner; from Chamberlin, powell & Bonn to architecture over time.
Bicknell and Hamilton.
So we realise now that we inherit academic architectural history in
these projects are a social history of overlapping engagements a collaged continuum very much as we inherit the footings. which
and conversations, in which we participate sometimes very is very much just as architects always have. the overwhelmingly
directly or through a network of degrees of connectivity. Many, if important fundamental is that the history of the globalisation of
not all, of these very particular personalities are of the post war architecture is an ancient essential history. one that continues, as
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always, to inform the very particular characteristics of very presented in an annotated visual record of our experience of
particular architectures in very specific places. in our case in making architecture in london in the twenty first century.
london where the history of architecture continues to be of
these related but different architectural histories, illustrated by a
making different architectures for a Unique City.
suite of twelve photographs, reflect the constant and continuous
as use is always uncertain and ultimately, in time, unknown, we importance of time, inherited ideas, occasional insights and the
continue to be intrigued by an architecture that offers an existence collective spirit on architecture. only those who pursue the
in Space over time. an architecture that is universally ‘of use’ but no concept of innovation for novelty value and their own vanity
more anonymous than the larger than life personalities and events would fail to recognise that the fundamental architectural
that called it into being. continuum is one of merzbau, palimpsest and collage: all three
constructed in the context of the recent past yet also rooted in the
So as architects designing now in london, and elsewhere around
memory of the distant past. an architectural history awaiting the
the world, we continue to be engaged in conversations about both
judgement of use.
an understood distant and more recent global architectural history.
it is clear to us that the trend towards globalisation in architecture
is no more a twentieth century tradition than architecture itself is.
Globalisation in architecture is at least a second Millennia tradition.
in england, since the building of the great romanesque, norman,
and Gothic Cathedrals, and no doubt before, as since, ‘national’
architecture has clearly reflected both local and international
influences. for those who we now call ‘architects’, who we once
referred to as ‘masons’, have forever travelled hopefully to new
locations in search of ideas and opportunity. in england this idea of a
continuum is demonstrated by the influence of the ‘Grand tour’ on
english architecture, where books, art, objects, ideas and architects
were imported and then made or re-made locally. one only has to
look more closely at the classical Holkham Hall to see its rustication,
columns and entablature are made of local norfolk brick!
So our contribution to this Biennale’s conversation is to use a
number of our current projects to respond to the theme of
‘fundamentals’. these demonstrate our contention that
globalisation has a long, noble tradition; that situation and place
has always localised the global and thus constructed what we now
look back on as ‘national’ architecture. all of which can be
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