Venice Biennal of Architecture 2010 Catalogue

12th International Architecture Exhibition

Marsilio

People meet in ArchitectureBiennale Architettura 2010

Exhibition

Fondazione La Biennale di Venezia

President

Paolo Baratta

Board

Giorgio Orsoni, vicepresident Giuliano da Empoli Amerigo Restucci Luca Zaia

Audit Committee

Marco Costantini, president Marco Aldo Amoruso Stefania Bortoletti Silvana Bellan, substitute member

General Manager

Andrea Del Mercato

Director of Architecture Section

Kazuyo Sejima

12th International Architecture Exhibition

Director

Kazuyo Sejima

Artistic Advisors

Yuko Hasegawa Ryue Nishizawa

Collaborators

Sam Chermayeff Jack Hogan Satoshi Ikeda

Graphic design

Mevis & Van Deursen in collaboration with Tomas Celizna

Layout

Tomas Celizna, Sandra Kassenaar and Min Oh

Exhibition photography

Dean Kaufman

La Biennale di Venezia and its collaborators for the 12th International Architecture Exhibition:

Giovanni Alberti Francesco Amoresano Agnese Antonini Chiara Giuseppina Attore Chiara Augliera Valentina Baldessari Pietro Barbini Cinzia Bernardi Marina Bertaggia Angela Bianco Massimiliano Bigarello Nicola Bon Andrea Bonaldo Caterina Boniollo Valentina Borsato Angelo Boscolo Francesca Bovo Joern Rudolf Brandmeyer Silvia Bruni Emanuela Caldirola Michela Campagnolo Giulio Cantagalli Claudia Capodiferro Graziano Carrer Caterina Castellani Antonio Cataldo Maria Elena Cazzaro Gerardo Cejas Maurizio Celoni Marzia Cervellin Gianpaolo Cimarosti Maria Cristina Cinti Federica Colella Annamaria Colonna Enrico Contestabile Maria Cristiana Costanzo Luigi Cuciniello Giacinta Dalla Pietà Erica De Luigi Lucia De Manincor Francesco di Cesare Alvise Draghi Giovanni Drudi Alessandra Durand De La Penne Monica Fabbro Davide Ferrante Elena Ferro Marcella Fiori Roberta Fontanin Cristiano Frizzele Giuliana Fusco Bruna Gabbiato Silvia Gatto Matteo Giannasi Jessica Giassi Andrea Goffo Cristina Graziussi Stefania Guerra Antonio Ibba Laura Lamborghini Arianna Laurenzi Michela Lazzarin Maria Cristina Lion Savino Liuzzi Manuela Lucà Dazio

Paolo Lughi Enzo Magris Francesca Manea Giada Manfrin Michele Mangione Vera Mantengoli Stefano Marchiante Michela Mason Pina Maugeri Elisa Meggiato Silvia Menegazzi Alessandro Mezzalira Elisa Miorin Elisabetta Mistri Sandra Montagner Francesca Montorio Nicola Monaco Veronica Mozzetti-Monterumici Piero Novello Carlotta Olivetto Massimo Ongaro Fabio Pacifico Emanuela Padoan Elisabetta Parmesan Paola Pavan Eva Peccenini Manuela Pellicciolli Daniela Persi Maddalena Pietragnoli Marta Plevani Antonietta Possamai Lucio Ramelli Luigi Ricciari Maya Romanelli Roberto Rosolen Silvia Rossetti Debora Rossi Ilaria Ruggiero Delia Sadi Micol Saleri Sara Salmaso Adriana Rosaria Scalise Cristiana Scavone Michele Schiavon Paolo Scibelli Elena Seghetti Antonella Sfriso Tommaso Speretta Nadia Spirito Michela Stancescu Fiorella Tagliapietra Sandro Tolin Elena Tondello Giulia Tosetto Lucia Toso Maurizio Urso Giorgio Vergombello Leonardo Viale Sara Vianello Alessia Viviani Francesco Zanon Leandro Zennaro Gloria Zerbinati Jasna Zoranovic Giorgio Zucchiatti Rossella Zulian

Thanks to Cleary Gottlieb Steen & Hamilton LLP, Adecco, United Colors of Benetton, Azienda Agricola Il Follo

12 13Biennale Architettura 2010 Exhibition

La Biennale is interested in architectural research in the present, in architecture as art that helps build the res publica, the spaces in which we live and organize our civilization, the spaces in which we recognize ourselves, the spaces we possess without being owners of them, but that are part of our condition as men and society.

In observing the dominant trends of recent years, it seems that there is a prevailing use of architecture as art for self representation and self celebration (of economic power, of political prestige), along with a need for advertising communication rather than any desire to inter-pret modern society and the ideals it can imagine and propose. And the great progress made in design and construction technologies has often been used to this end.

It is more than ever hoped that a more articulate and effective cli-entele may develop, whether private or public, from which demands and requests of architecture that currently seem muted or ignored may emerge.

An architecture exhibition can help by using its own language. This is not only documentation but also visual excitement, which leads to perceiving and considering new possibilities that differ from the everyday and the usual.

Aaron Betsky’s 2008 exhibition was characterized by a kind of joyful pessimism. Pessimism because of the little faith that seemed placed in the architecture of buildings before the immense, impersonal ur-ban spaces now compromised by the increasing urban sprawl. Joyful because it envisaged the application of widespread creativity, mobi-lizing designers, artists and creators of images to give recognizable signs to the spaces, capable of personalizing them and thus able to recompose a perceptible relationship between the space, the indi-vidual and the community.

With Kazuyo Sejima we go back to a more serene faith in architec-ture, precisely as the art of building spaces in which man as individ-ual and community may realize his ideals and establish his society.

In her simple presentation she speaks of the design process as a study to identify the functions and uses of the spaces involved, to then establish the connections that must link the various parts through transparencies or diaphragms (physical and psychological), suggested by the utmost attention to man, nature and the quality of social life.

The exhibition design is consistent with her premises: it is centered on an alternation of models and views that see the exhibition space as one to be interpreted and used. The apparently lower number of participants, each in their own dedicated space, is then intended to

Paolo Baratta

indicate to the visitor the advisability of stopping rather than hurry-ing, of distilling feelings rather than seeking effects.

People meet in Architecture also means that we become people in architecture; it is precisely in the res publica that man crowns his own efforts to construct his society.

In complying with our rule that there be only one curator, Ryue Nishizawa accepted the role of Kazuyo Sejima’s artistic consultant; partners in the SANAA studio, by happy coincidence they were this year awarded the Pritzker Architecture Prize.

This year’s exhibition is the twelfth, and the history of past exhibi-tions may already be an object of reflection in itself. These different experiences can enlighten us on the direction to follow in future.

Partly for this reason we asked the directors of past editions of La Biennale Architecture to come back for one full day to talk to us and our visitors on their choice of subject, in open seminars where refer-ence will certainly be made to “their” Biennale, which can thus live again in the memory and in current reflection as still vibrant experi-ences.

We then set out on a new experience by initiating a direct relation-ship with Italian and foreign universities, offering the chance to plan organized visits (for students and teachers), ending with a seminar. We wrote to architecture departments, but not only: also to depart-ments of engineering, sociology, design and communication, and have received very positive replies. We have already signed 27 protocols and are about to finalize others. Groups from Italian uni-versities and from a certain number of foreign universities in various parts of the world, from Great Britain to Georgia, will be here.

The aim is to make La Biennale a place where a small part of the universities’ research and study curriculum systematically takes place.

I end this note with my thanks to all those who have worked on this exhibition, to our sponsors, to all who contributed to its realization and to those who have allowed us to maintain its high quality, primar-ily the Ministry of Culture, which takes part in the exhibition with the Italian Pavilion (this year curated by Luca Molinari) in its renewed dimension.

Paolo Baratta

14 15Biennale Architettura 2010 ExhibitionKazuyo Sejima

The 2010 edition of La Biennale is an exhibition about finding archi-tecture; to reconsider the potential of architecture in contemporary society.

The twenty-first century has begun and many things have changed; people, cultures and economies have never been as connected as they are today. Due to advances in technology, we have started to connect with other people in a completely different way, forming relationships indirectly as through the internet. In this new intangible world I believe that architecture occupies a unique and important place.

Architecture has always been a reflection of the collective con-sciousness, a physical encapsulation of the evolving lifestyles. Our new perceptions of life arise from this changing society and develop according to which region, culture or city they are from. We believe that the existence of these impressions will become far more influ-ential in our future.

This exhibition allows people to acknowledge various ideas from diverse backgrounds and will reflect the present, which in itself en-capsulates future potential. We hope that this show will be an experi-ence of architectural possibilities; about an architecture created by different approaches, expressing new ways of living.

An architecture exhibition is a challenging concept as actual build-ings cannot be exhibited—models, drawings and other objects must take the place of buildings. As an architect, I feel it is part of our profession to use “space” as a medium to express our thoughts. Each participant is given his or her own space and acts as his or her own curator.

The Palazzo delle Esposizioni largely consists of white rooms with varying proportions. In the Arsenale, all rooms are quite distinct from each other. The sizes of the rooms vary, the wall textures are different due to erosions over time and some rooms have additional white walls. Each exhibition space is its own new site and each par-ticipant is making a new project within a unique architectural context. All of the participants show their understanding of and response to the theme, demonstrating their position through the mediation of space. In this way the atmosphere of the exhibition will be reached through multiple viewpoints rather than through a single orientation. It is a backdrop for people to relate to architecture, for architecture to relate to people, and for people to relate to themselves.

This exhibition selection criterion has identified architects, art-ists and engineers, each of whom propose a different relationship between architecture and people. This is because “space” is not solely designed by architects but rather that built forms are realized

Kazuyo Sejima

through collaborations with other professionals. Likewise, the users of a building play a large role; they determine both the practicality of a building and have a chance to join in the creative process. Thus, in the Venice Biennale, visitors are important collaborators.

Matthias Schuler of Transsolar, in collaboration with Tetsuo Kondo, for example, has proposed a cloud. It is an installation that forces people into a new reading and experience of space. A small change in the room transforms the cloud and the environment. This installa-tion illustrates the mutability of space.

raumlaborberlin has made a temporary space like a soft balloon. It is dynamic architecture that can re-shape itself in response to any condition. As well as being an exhibition object, it will also be an actual built form used as a lecture hall and a café. People can expe-rience the co-existence of a surreal architectural place and ordinary everyday activities.

Smiljan Radic and Marcela Correa are exhibiting a large stone which has a space carved out big enough for just one person. This piece was created after the recent earthquake in Chile and is proposed as a prototype for an idealistic social space in the future—where indi-viduals can find their own space of retreat.

R&Sie(n) have an installation that relates to human cycles through a lighting project, which speaks about how we perceive space.

We have also invited many other architects to study their own work in films that we will show in an attempt to explore how people within space make the space itself.

Visitors can react in very different ways towards each installation. The Palazzo delle Esposizioni and Arsenale are treated similarly, both opened up to natural light, but the work is very diverse, making it possible for everyone to find their own approach. We hope that people can compose their own relationship with architecture.

We would like to thank all of the participants for their efforts, La Biennale for its great enthusiasm and guidance, HyundaiCard for its financial support of technical equipment, Sony Corporation / Italia S.p.A. for their support of the film project, Permasteelisa for acco-modating the students, the Naoshima Fukutake Art Museum Foun-dation for their support, Rolex for their support, all of the supporters mentioned on the individual participant pages, Yuko Hasegawa + Ryue Nishizawa for their advice and all of the SANAA staff respon-sible for La Biennale including Sam Chermayeff, Jack Hogan and Satoshi Ikeda.

16 17Biennale Architettura 2010 ExhibitionKazuyo SejimaKazuyo Sejima

18 19Biennale Architettura 2010 ExhibitionContents

Essays

23 Maurizio Lazzarato Capitalisme et production de subjectivité28 Yuko Hasegawa The sensibility, emotion and fluidity of the architctural program38 Eve Blau Agency in Atmosphere

Exhibition

48 Aires Mateus e associados54 Amateur Architecture Studio58 AMID.cero964 Aranda\Lasch with Island Planning Corporation70 ARU/Architecture Research Unit78 Atelier Bow-Wow86 Berger&Berger92 Lina Bo Bardi100 Studio Andrea Branzi104 Janet Cardiff106 Caruso St. John + Thomas Demand112 Aldo Cibic120 dePaor architects126 architecten de vylder vinck taillieu136 Do ho Suh + Suh Architects (Eulho Suh and KyungEn Kim)142 Peter Ebner and friends144 Olafur Eliasson150 Sou Fujimoto Architects158 Anton García-Abril & Ensamble Studio166 junya.ishigami+associates172 Toyo Ito & Associates, Architects178 Andrés Jaque Arquitectos184 Christian Kerez190 Luisa Lambri198 Walter Niedermayr206 Noero Wolff Architects210 Hans Ulrich Obrist214 OFFICE Kersten Geers David Van Severen + Bas Princen222 Valerio Olgiati226 OMA - Office for Metropolitan Architecture232 OpenSimSim234 Piet Oudolf240 Pezo von Ellirichshausen Architects248 Renzo Piano Building Workshop252 Mark Pimlott + Tony Fretton Architects 260 Cedric Price266 Smiljan Radic + Marcela Correa272 raumlaborberlin278 R&Sie(n)282 Tom Sachs288 selgascano294 Studio Mumbai Architects302 Fiona Tan + Kazuyo Sejima & Associates + Office of Ryue Nishizawa318 Transsolar & Tetsuo Kondo Architects

326 Wim Wenders328 Cerith Wyn Evans

Index

335 Biographies of Exhibitors345 Exhibited Works

Catalogue production

Marsilio Editori

General coordination

Martina Mian

Editing coordination

Clara Pagnacco

Technical coordination

Pier Giorgio Canale Lorenzo Pieresca

Translations

Giacomo Caruso Adelaide Cioni Floriana Pagano Flavia Pesci Viviana Tonon

Editing

in.pagina srl

© 2010 Fondazione La Biennale di Venezia

Ca’ Giustinian San Marco 1364/a 30124 Venezia

www.labiennale.org

ISBN 978-88-317-XXXX

Essays


In contemporary capitalism, subjectivity is the product of a mass industry linked at a planetary level. It is also the first and most im-portant of capitalist productions, for it conditions and comes into the production of all other goods. Subjectivity is a “key good,” whose “nature” is combined, elaborated and manufactured in the same way as a motor car, electricity, or a washing machine.

The crisis we have been experiencing for forty years, prior to be-ing an economic crisis, prior to being a political crisis, is a crisis of the production of subjectivity. The technical, economic, and political processes unraveling after the first oil crisis do not find intermedi-aries of subjectification. The old reactionary subjectifications like “nationalism” or revolutionary subjectifications such as the “working class” no longer attract subjectivity. This defect of subjectification has asymmetrical consequences, because if capitalist society can adapt to passiveness, demotivation, and a prostration of subjectivity, it is not however a question of a critical policy.

What is meant by “production of subjectivity” or “subjectification process”?

The production of subjectivity puts everything but solely linguistic performances into play: ethological, spectral, semiotic, economic, aesthetic, physical dimensions, existential territories, and immaterial worlds, none of which can be reduced to the semiotics of language. Nor can subjectivity be reduced, as phenomenology and psycho-analysis would like, “to pulsions, affects, intra-subjective instances, and inter-subjective relations.” Technical (computer, mass media, and media) and social systems modulate and format subjectivity, acting not only on memory and sensitivity, but also on unconscious illusions. This non-human part of subjectivity cannot be reduced to intra- and inter-subjective relations, and these have a fundamental role given that the mutation of subjectivity is primarily non-discur-sive.

The processes of subjectification or semiotization are not centered on individual agents nor on collective (intersubjective) agents, as sociology would have it. The production of subjectivity is a collec-tive process, but the collective does not include other than individu-als and elements of human subjectivity. The collective unfolds both beyond the individual in an extrapersonal dimension (mechanical, economic, social, technological, and other systems) and prior to the person (preverbal intensities that reveal a logic of affects and me-chanical intensities).

In capitalism, one always works and produces within a collective concatenation and for a collective concatenation. In economic pro-duction, in social production (by the unemployed, the student, the user, etc.), in communicational production, there is actually never an

Maurizio LazzaratoCapitalisme et production de subjectivité


importance Guattari gives the function of architecture and the archi-tect.

“As the architect would no longer have the sole objective of being the artist of constructed forms, but would propose being also the revealer of virtual desires for space, places, pathways and territories, he must analyze the relations of individual and collective corporeality [...] become an artist and a craftsman of past sensitive and relational experiences [...] an analyst of certain specific functions of subjec-tification. On this basis, and along with numerous other social and cultural actors, he could constitute an essential link within the multi-headed concatenation of enunciation, capable of analytically and pragmatically assuming the contemporary production of subjectiv-ity.”1

These productions no longer have political economy as a model, because it is necessary to enter into and operate in the field of a subjective economy. Its references are, rather, art and execution, its time is that of the event and its meaning that of the creation of something new in a radically democratic framework.

Why is completion of the production of subjectivity aesthetic-politi-cal?

In the 1980s, Foucault and Guattari, following different directions, noted that the production of subjectivity and the relationship in itself are “the” contemporary political problems. Each person in his own way discovers a new dimension that cannot be reduced to re-lationships of power and of knowledge. The “relationship in itself” (Foucault), as power of self-positioning and existential assertion (Guattari), derives, in the dual sense of breaking out and changing direction, from the relationships of power and of knowledge. If the subjective dimension derives from the relationships of power and of knowledge, it is not dependent on them.

The relationships of power and of knowledge are doubled by a force of self-assignation, of self-positioning that, removing itself from power and knowledge places and constitutes the condition of the invention and creation of “free men.”

The rules of the production of self are not those written and pre-scribed by the systems of power, but the “optional” and procedural ones that are invented establishing sensitive territories (Guattari), producing the otherness of an “other life” and of “another world” (Foucault). This leads not to cognitive, linguistic, or political para-digms in the classical sense of the term, but to aesthetic tools and paradigms, Guattari’s “aesthetic paradigm” and Foucault’s “aesthetic of existence.”

individual, not even a collection of individuals (intersubjectivity) that works, communicates, produces.

In the same way, it is never an individual who thinks, it is never an individual who creates, but an individual in a network of institutions (schools, theaters, museums, etc.), of technologies (books, libraries, electronic networks, etc.), of sources of funding controlled by public and private policies. An individual immersed in traditions of thinking or in aesthetic practices struggling with a circulation of signs, ideas, and works that force him or her to think and create.

So, in order to chart the components that come into a process of subjectification, it is first necessary to detach subjectivity from the subject, from the individual, and also from the human being, in the same way in which one can no longer consider the power of enun-ciation as being exclusive to man and his subjectivity.

Félix Guattari sees no reason to reject the existence of the equiva-lent of a subjectivity, of a “non human in itself” (which he will call “protosubjectivity”) and a power of enunciation (which he will call “protoenunciation”), to living and material concatenations. He re-fuses to grant human subjectivity an “existential statute of exception” and asks us to consider that other instances exist that are differ-ent from that of the consciousness, sensitivity, and language of the identified subject that can act as vectors of subjectification or as sources of enunciation.

Subjectivity can be distinct for an individual, a group of individuals, but at the same time it can also be sustained by concatenations of space, by plastic architectural concatenations, or any other cosmic concatenation.

That which Marx and the classical economists defined as “produc-tion” tends to be identified with the “production of subjectivity,” con-sisting of semiotic systems and systems of action and passions, but also crossed by forces of territorialization and deterritorialization.

The territory (not the space, not the environment) makes the con-catenation. The territory is fabricated through elements related to time, body, social life, language, space, etc., that are linked in a new territorialness that is existential, material, imaginary, and mythical. At precisely the time the concatenation is territorialized, it is defeated by lines of deterritorialization that open it up to other concatenations or to a “future land.”

The production of subjectivity implies at the same time tracing the material and symbolic outlines of territories and inventing lines of escape, constructing exit and return pathways, practicing vagabond-age and fabricating an “in itself” and an “own house.” This is the




But in no case must the “aesthetic paradigm” or the “aesthetic of existence” mean or lead to an aestheticization of the social.

If Guattari refers to art, he does so not referring to the technique of producing objects or works, or of “passively represented images,” but to a practice able to return to the point of the emergence of subjectivity and to start from the break with the dominant meanings of which we are prisoner, to open a process that gives consistency, direction, meaning, and expression to this emergence. The produc-tion of subjectivity, like certain aesthetic experiences, involves three kinds of problem that concern the social action, political action, the practices of constitution, and something new: the polyphony of enunciation; that is, the attainment of the heterogeneity of voices and of verbal and nonverbal semiotics, human and nonhuman, that take part in its constitution. Secondly, there is procedural creativity; that is, the putting back into permanent question the identity of the object and of the subject. The process does not have a preliminary model of subjectivity and function to which to conform. Thirdly, it is a process of self-production, able to produce its own rules and its own existential coordinates.

The subjects and the objects, and also the means of expression and the contents, the rules, and the regulations are produced inside and by the process itself. To make a radical democracy of subjectifica-tion real, it is necessary that the production processes do not refer to any outside authority or power (economic, political, or religious). The “work” (which may be “artistic,” political, social, etc.), prior to having an aesthetic sense, a function, a social utility, must document and show the process of selfproduction that constitutes it.

The driving forces of these dynamics cannot be needs as in social theory, nor interests as in economic theory, but desire. By desire we do not mean a simple pulsing, a simple libidinal energy, but the power to act in a concatenation. Desire always means constructing a concatenation, desire always means acting in and for a collective or a multiplicity. One never desires a person or a thing, but the concat-enations in which and for which the person or the thing exist. One does not desire someone or something, but the worlds and pos-sibles that they enfold. Desire means constructing the concatenation that explains the possibles and the worlds that a thing or a person enfold.

One has desire only when there is a possible, a proliferation of possibles, when, starting from the break of previous balances, rela-tions appear that were impossible before. Desire thus means acting far from equilibrium. The source of capitalism’s productivity lies not primarily in the division of labor, in specialization, competition, or knowledge, but in the fact that it activates, captures, and exploits an “economy of the possible,” or an “economy of desire.” The strength

of capitalism lies in the fact that it has integrated something of the function of desire into its own function.

Our epoch imposes new tasks on us.

What, then, are the conditions of a break at a time when the produc-tion of subjectivity is the first and most important capitalist produc-tion? What are the specific tools for producing subjectivity to avoid its industrial and mass-produced manufacture by companies and the State? What is the model and what are the methods of organization for a process of subjectification that must arrange the microphysics of power with the macropolitical dimension?

1 Félix Guattari, “L’énonciation architecturale,” in Cartographies schizoanalytiques, Paris: Galilée, 1989, p. 291.



28 29Biennale Architettura 2010 ExhibitionYuko HasegawaThe sensibility, emotion and fluidity of the architectural program

ject and object nor as a relation between subjects, but as an event-like relation between “possible worlds” turns the traditional viewpoint on its head.2

The theme of this exhibition, People meet in Architecture, is an at-tempt to reconsider the traditional concept of “architecture” by look-ing at the possibilities of the new order or the creative programs that emerge when people gather and relate to each other within this space. That is to say, this concept of “architecture” embraces not only buildings but also the acts of creating all manner of spaces, including representational spaces, that encourage these effects.

II. Things that rewrite the architectural program

Modern architecture has traditionally used machines as a metaphor in considering architecture in accordance with the concept of plan-ning. Modern planning theory has condensed the various diverse and complex actions of humans into the simple and abstract concept of “functions” and matched them with particular spaces in an attempt to logically derive space from actions. Architecture was replaced by a simple spatial schema in the form of the combination of spaces corresponding to each of these functions. Modern planning theory was predicated on the work of cutting and dividing the pure, ordered internal world from the chaotic external world and on the act of leav-ing a clear boundary between the internal and the external. However, the main factors giving contemporary society its fluidity are the vari-ous aspects of the various accompanying actions that have until now been abstracted, which are incompatible with “planning.”

The networked society has dismantled not only regional boundaries but also information media boundaries. Media are used differently in new formats on a daily basis, changing the functions of places where people gather, such as movie theaters, conference venues and uni-versities. The merging and reorganization of architectural programs is now essential. The walls (boundaries) defining the relations of completed architectural programs, such as those between inside and outside, architecture (manmade) and environment (natural), public and private, physical and virtual, need to be dissolved or the boundaries made more flexible and fluid.

Well then, if we pursue studies of social circumstances, nature and the information environment, will we be able to foresee the neces-sary functions derived from the complex and diverse actual activities of individuals and incorporate these into the program?

This is possible to a certain extent, but anticipating these completely is impossible.

The complex factors that need to be considered in creating an ar-

I. The intellectuality of the post-theory age

The environment surrounding us is changing. This change is influ-enced to an unprecedented degree by media and information, ne-cessitating alterations to the architectural program.

Of course, not only architecture has to change. Culture in general, including art, and life in society in general are also changing.

New questions arise, such as how we should view humans as part of nature and the world, and in the midst of complex networks. Here, traditional ideologies and ideas cease to function, and in a post-the-ory age the power of practice and of actuality/events increases.

At a time when there are no conventional norms, what can we actu-ally rely on?

One important factor in the process whereby the experiences of each individual are crystallized into bodymind or new rationality is collective knowledge premised on the networking and sharing of information, or in other words the cooperation of minds. As noted by Maurizio Lazzarato, the Internet not only molds public opinion and brings about similar judgments but has become an important mechanism in creating collective perceptual forms and giving rise to forms that express and organize a collective intellect. What is impor-tant here is a plurality (diversity) of perception and a plurality (diver-sity) of intellectuality.1

In the context of the synergizing of this diversity of perception and diversity of intellect, “bodymind” is an important key concept. “Ex-perience” and “space” that incite latent sensibilities and knowledge are required in order to enhance bodymind. Here, the concept of the individual and that of the collective need to coexist. As, for example, when individuals have distinctiveness on the Internet on account of their electronic signature yet create temporary solidarity within networks. This is because this intellectuality is formed in the context of the constant self-knowledge that we are part of the world. Here, the shared magnetic field is neither the traditional local community nor a historical relationship with the land. Rather, it is a space where these complex relationship form layers, or in concrete terms where one can get a real sense—physically or pseudo-physically (virtu-ally)—that one is together with others. The body and the expansion of its energy produce the space, and the body along with its movement produces itself in accordance with the rules of the space.

Once could also describe this as the creation of “space” in the con-text of “relations” to which the self belongs or that are continually creating the self. Lazzarato’s argument that the relation between self and other should be understood neither as a relation between sub-

Yuko Hasegawa The sensibility, emotion and fluidity of the architectural program


of Contemporary Art, Kanazawa; EPFL; etc.) are liked or not, they do attract people (many of whom drop in for no particular purpose). For example, what attracts them is not the transparency of Modern architecture, but an evolved transparency, a use of glass that shows film-like, multilayered reflections; a layout that baffles users and at the same time provides them free choice; and the curvilinear not as a sculptural form, but as a device for drawing out new behavior in people walking within these spaces.

The role of architects living in the present is to live among these people and make clear to them the extent to which their own spaces can suggest new ways of living. These suggestions reflect unchanged the richness and circumstances of the lives of the ar-chitects concerned. The “diverse intellectuality” of architects inter-preting and abstracting the “diverse perception” of users—perhaps relations between users and architects could also be transposed in the same way.

Lina Bo Bardi could be described as one of Sejima’s precursors. In the 1950s and 1960s, while following in the tradition of rational-ism and Le Corbusier’s functionalism, Bo Bardi was inspired by “the Brazilian people who have freedom of movement, the freedom to be rid of institutions,”6 something not enjoyed by people in the West, and began incorporating actions and events into a new architectural program. While observing and reflecting directly the circumstances in Brazil and the lives of the Brazilian people, she “bricolaged” and rediscovered such concepts as Modernism and functionality. She began her drawings for the SESC Pompéia arts center, of which she was also the artistic director, with a mental picture of a river and people playing alongside it. She imagined what kinds of activities would unfold in this space, using nature as a metaphor to portray the atmosphere of the surroundings rather than the building itself. Her interpretation of its corporeality can be inferred from the following comments she made upon observing Japanese architecture during her visit to Japan. “In Eastern civilizations such as those of Japan and China, there is a co-existence between a cultural ‘stance’ of the body (the body as ‘spirit’) and the physical act. This co-existence is also found in Brazil.”7 Through both her architectural and artistic programs, Bo Bardi sought to draw out the latent sensibilities and intellectuality of the masses.

The architect’s body is unique given the one-time-only nature of life, although on an unconscious level it is connected to the world. The translation into practice of Lefebvre’s declaration that “the user’s space is lived—not represented (or conceived)” is aided by abundant site surveys and countless studies, interpretations of the results, and bricolage-like methods that involve scouring and applying freely and non-hierarchically data and methodologies from the past.

chitectural program in the form of the existence of people and users have always been viewed as a hazy image.

Henri Lefebvre’s statement, “The user’s space is lived—not repre-sented (or conceived). When compared with the abstract space of experts (architects, urbanists, planners), the space of the everyday activities of users is a concrete one, which is to say, subjective,”3 is clearly a statement of fact, but reflecting this in the geometry and abstraction process of architecture is no easy matter.

So where is the methodology or key leading to architecture that embraces the possibilities of “relational architecture” and “creative programs?”

It is thought-provoking that Lefebvre expresses the restoration of the body in terms of the restoration of sensory-sensual space, and calls for the restoration of space for the “non-visual” in the form of “speech,” “the voice,” “smell” and “hearing.” Later, he also considers rhythms.4

Non-visual tendencies are a feature of the architecture of Kazuyo Sejima, and of SANAA. SANAA’s architecture has a non-visual ambiguity that in visual terms approaches dissolution, yet at the same time it has a mysterious strength that confuses, unsettles and suspends the judgment of the viewer while ensuring meaning is constantly fluid and not fixed to one place. A moving, fluid sensibil-ity. At the beginning of her career, Sejima responded to the sheer weight of the cosmology of architecture (which left her more or less nonplussed) by wondering if it might not be possible to also achieve through architecture the gentle floating sensation of wearing a skirt. As Toyo Ito has also pointed out, Sejima observes intuitively the times in which she lives and diagrammatizes them directly without passing through the detours of existing conventional architectural concepts. Her medium is her own body, her post-ideological body-mind, which practices an extraordinarily rich life.5

Non-visuality could be described as a new dimension of reality mediated through consciousness. Much of this reality is created by means of perception via different receptors, interfaces and media. To the extent that they reflect such virtual space consciousness, SANAA’s architectural spaces are often described as “lacking tex-ture or flavor, filled with android-like people,” “hollow” or “a fictional dream with no foundation.”

There is a large discrepancy here between different concepts of what it is that makes something “human.” That there are many “us-ers” who feel SANAA’s buildings are relaxed, human spaces that liberate their consciousness is probably clear from the fact that re-gardless of whether the buildings themselves (21st Century Museum




the paintings as well as the positioning of the people the old paint-ings “come to life” in the present. Looking at it a different way, the consciousness shared within the space concerned is captured as an event within that space. Frankly speaking, the same could be said of a photo taken in an art museum by someone with a camera phone who tries to photograph a painting but ends up with people in the frame. The world is portrayed more realistically when it is represent-ed not by a single painting (an icon) but by fragmentary images (an index) sent by mobile phone.

This reflects the current state of affairs in which index-like things (traces, recordings) have greater potential than icons (images) or symbols (meanings/words) to convey the richest aspects of contem-porary society. This exhibition features two other artists who have contributed photographic works: Luisa Lambri and Walter Nieder-mayr. Niedermayr is known for his series focusing on ski fields and hospital interiors, but nearly all of his works feature compositions with white backgrounds or spaces over which various tools and people engaged in various activities are scattered in the form of colorful, indeterminately shaped incidental details. A sense of un-reality and floating emerges as a result of this process of abstrac-tion. The presence and actions of the people surface symbolically in the white space, which is neutral and has no sense of distance. In his architectural photographs of SANAA’s work, too, Niedermayr’s approach of seeking to panoramically capture the movement and atmosphere of the interior space is accompanied by a feeling of translucency and a floating sensation. The sense of immateriality of his photographs, or the unique sense of materiality in which space seems to diffuse into minute particles, is well suited to represent-ing shared conscious space. This is because by rendering the space translucently in the form of particles, he calls to mind not a hard nothingness but something non-visual. His work for this exhibition, which focuses on public spaces in the Islam world, also features people abstracted as incidental details.

Luisa Lambri is known for her minimalist style and selective framing. She has concentrated on photographing minimalist buildings with distinctive openings by the likes of Mies van der Rohe and Oscar Niemeyer. According to Lambri, she decides which part of a building to take as her subject matter based on her experiences inside the space, and on which of these experiences is the most memorable. In the 21st Century Museum of Contemporary Art, Kanazawa, for example, she focused on the windows between the galleries and the corridors, which helped her regain her bearings when she became unsure of her location. Each of these parts could be described as an index of the building concerned, refined as a result of Lambri’s ab-straction of her own experiences.

Her photographs at this exhibition take as their subjects Niemeyer’s

The numerous study models that are built to help the designers imagine at the design stage living in the space and that are a hall-mark of SANAA, for example, could be described as a method of awakening in the bodies of Sejima and the members of her team; a sense that they are participants in the architectural spatial experi-ence. Here, a conceptual program as a set of diagrams is dropped into the living space, serving as a dummy “lived” space.

III. The politics of the move from photographs to video, from symbols to the expression of “actions with multiple meanings”

In 1932, the Museum of Modern Art in New York held its first ever architectural exhibition, the “International Exhibition of Modern Ar-chitecture,” and established its Department of Architecture and Design headed by Philip Johnson. Since then, architectural exhibi-tions have also been a process whereby photography and architec-ture are put into the context of modern art. Based on the premise that modern architecture is machinery, images captured using the device of photography have been used with the aim of present-ing the norms and universality of deterministic modernism. Focus-ing mainly on building exteriors, structures and forms, people were absent from almost all of these photographs. Of course, some of the photographs did capture architecture and people. But the aim of such photographs was usually to record events that took place at the building concerned, and few of them captured at a conscious level the relationship between architectural space and people.

Those that do have been the works not of architectural photogra-phers, but rather the conceptual photographic works of contempo-rary artists.

Thomas Struth’s Pantheon, which epitomizes the concept of this exhibition, can be viewed as a continuation of the “Museum” series. Struth, who was influenced by Bernd and Hilla Becher’s typologies, seeks to distance himself from his own subjective and discover and probe that which emerges from the photographic plane. He calls the street scenes that are captured by removing his subjectivity “uncon-scious places.” If photographs are stripped of subjectivity and the details captured uniformly with a deep focus, the freedom with which the viewer can read the results is increased. Because in this sense the photographs have no “subject.”

The photographs of cities shot from the perspective of urban an-thropological typologies were relatively dry. In his “Museum” series, Struth sought to depict the trembling of “emotions” and “sensibili-ties” by capturing together with the famous works on display the people gazing intently at them. The photographs capture both the composition of the works and the emotions and reactions of the people. According to Struth, by incorporating into the photographs




IV. Models and mockups as representations of architecture

Models represent both developing thought processes and samples of parallel possibilities.

I have already touched on the sense of participation aroused during the study process by the physicality of models. Here I will discuss models presented to an audience as representations.

In The Savage Mind, Claude Lévi-Strauss comments as follows on the role of models: “The choice of one solution involves a modifica-tion of the result to which another solution would have led, and the observer is in effect presented with the general picture of these permutations at the same time as the particular solution offered. He is thereby transformed into an active participant without even being aware of it.”9

Full-scale (1:1) models are often presented as detail mockups. The presentation of actual buildings was common in the early days of architectural exhibitions.

At this exhibition, various levels of models are presented, from rigid structural models (Christian Kerez) and dioramas with an emphasis on miniature people and scenery (Aldo Cibic) to objet-like models that represent concepts metaphorically (Smiljan Radic) and models that present parts of projects in full-scale, the multiple fragments forming a single installation (R&Sie(n)). These models all imagine actual structures, but their form differs depending on what (pro-gram, structure, message, etc.) is most central to the representation. Unique among them are the full-scale mock-ups created by artist Do Ho Suh and Thomas Demand, both of whom worked in collaboration with architects.

In Demand’s works, all the surfaces, structures, interiors and so on are reduced to the homogeneous smooth textures of paper, remov-ing their spectacularity. His works are an example of the “mediafica-tion” of architecture through its transformation into another medium. Architecture or interior space takes on a feel usually associated with another sense, as a result of which it loses a certain inherent reality but at the same time gains strong impact in the context of the new medium. Demand was inspired by the powerful image of defiance of the so-called Nail House, the building with a tiny restaurant on the ground floor that was the last building to remain standing in opposi-tion to the forced demolitions as part of Chongqing’s urban rede-velopment, news of which was disseminated around the world via the Internet. Demand appropriated this image of the building in the media for a proposal that involved the actual reconstruction of the restaurant beneath a road bridge in Switzerland. Here, the façade design was appropriated as a symbol of resistance.

Casa das Canoas, where Lambri photographed fragments of the dense tropical planting visible through the gaps between the exte-rior ceiling and the thin columns supporting it, the tropical garden at Renzo Piano’s Menil House, visible through a wall of fogged glass, and a vertical garden in a courtyard at SANAA’s 21st Cen-tury Museum of Contemporary Art, Kanazawa. The theme of these photographs is the relationship between the geometry of modern architecture and the organic energy of the greenery designed to define its boundaries, between architectural space and “nature.” The boundaries are loosely defined, with nature permeating the space and the space permeating nature. Her ambiguous, mellow experi-ences of these boundaries become Lambri’s representation of these architectural spaces.

In the sense that they serve as an image of the world being streamed online, the videos that anyone can shoot, upload, and pub-lish could be described as an even more vivid index.

Since the days of Le Corbusier, various films and videos have been made on the theme of architecture as documents of architecture in the form of movie sets and of the relationship between architects and architecture, for example. At this exhibition, however, a different approach to that of these existing films and videos is presented, with space viewed as an internal representation of the people who inhabit it. Such an approach contributes to enriching the “representation of space.”8

Fiona Tan takes memories and spaces that amass new memories as her theme in a work inspired by her encounter with the new architec-ture (the Inujima House Project) that arose on the island of Inujima as the old women who live there continued to go about their daily life. Wim Wenders focuses on the relationship that is in the process of forming between a new experimental architectural space, the Ro-lex Learning Center in Lausanne, and its users, mostly students of EPFL. The thoughts of the students in the space can be heard as if we were listening to a vast choir of voices. In turn, the building itself is communicating with the users, and those who have an ear for it can hear it talk to them directly. One could say that this dialogue appeals not so much to the sense of hearing but to the depth of our consciousness.

Together, these works form an index-like visual record of the rela-tionship between the users, captured on film shot by the participat-ing architects themselves, and the buildings the architects designed. Their aim is to capture the new representations that are discovered as a result of living in these spaces. All of the scenes are repre-sentations of an emerging architectural program, an index of lived space.




diffuse, yet impactful way. Emotion and sensibility form a cloud of consciousness that drifts across and fills the space. Here one can find space that transcends representation, an archetype of an ever-changing architecture.

1. Translated from the Japanese edition of Maurizio Lazzarato, La politica dell’evento (or. Italian ed.: Soveria Mannelli: Rubbettino Editore, 2004), trans. by Mahoro Murasawa and Tomonori Nakakura, Kyoto: Rakuhoku Shuppan Publishers, 2008, p. 229.

2. Ibidem, p. 316.

3 Henri Lefebvre, The Production of Space (or. ed.: La production de l’espace, 1974), trans. by Donald Nicholson-Smith, Oxford: Blackwell Publishers, 1991, p. 362.

4 Ibidem, p. 363.

5 Translated from the Japanese edition of Toyo Ito, Blurring Architecture, Tokyo: Seidosha Inc., 2000, p. 379.

6. Lina Bo Bardi “SESC Pompeia Leisure and Culture Centre, São Paulo, Brazil 1977”, in a+u Architecture and Cities, vol. 341, February 1999, p. 56.

7 Ibidem.

8. Henri Lefebvre, The Production of Space, cit., p. 40.

9. Claude Levi-Strauss, The Savage Mind (or. ed.: La pensée sauvage, 1962), trans. by John and Doreen Weightman, Chicago: University of Chicago Press, 1968, p. 24.

Do-ho Suh + Suh Architects’ installation, Blueprint, comprises a full-scale, fabric façade of Do-ho Suh’s New York townhouse, reflecting in the floor above which it floats. This 1:1 scale reflection is in fact a composite relief of two other façades—that of the traditional Korean hanok in which Do-ho and Eulho Suh grew up and that of a typical Venetian villa—blurring the boundaries between the place with which the artist identifies and the place he now is.

Tom Sachs, who views Le Corbusier as a popular icon of Modern-ism, emphasizes the iconic nature of his work by reproducing it in the form of a minimalist model made from monochrome resin. It is removed from the context of universal design and placed on the same level as contemporary pop icons such as McDonalds and Hello Kitty, giving it new life/meaning. Through this appropriation and placement, Le Corbusier’s architecture is recycled as contem-porary information.

On account of the handwork and bricolage-like methods involved, models stir the imagination of viewers through slight shifts in mean-ing. This is another way in which architecture is “lived.”

V. Conclusion. Into the clouds

If this exhibition points to one form that reflects the age in which we live, it is probably Matthias Schuler’s Cloud. This project represents not only a cloud as a natural phenomenon, but is also a metaphor for the paradigm known as cloud computing. The image is of serv-ers that exist in a network being able to access the services pro-vided by the servers concerned without any of them being aware of it. In other words, although actual software and hardware exist in a “cloud,” the contents are invisible and are of no particular concern. This mechanism, which enables users to request solutions from an unspecified large number of participants in a “cloud,” is also a meta-phor for the co-creation and collaboration that emerges in the field of consciousness of people who share places/space. By occasion-ally climbing the stairs and thrusting themselves above the clouds, individuals can clearly demonstrate their presence.

Architecture is used as metaphor in many places. The state of af-fairs in which social networking sites such as Google, YouTube, and Japan’s Nico Nico Douga and Pixiv have become platforms not only for individual creativity but also for anonymous group creativity, and the creation of new knowledge could be called “architecture.” Here, too, the technological intervention of the engineers of this “architec-ture” (program control and network engineering) has begun to be matched by an opposing emotional, human intervention.

Like Janet Cardiff’s polyphonic sound work, the Cloud expresses the concept of this exhibition in a more marginal, more indirect and



38 39Biennale Architettura 2010 ExhibitionEve BlauAgency in Atmosphere

People meet in Architecture. The statement is at once deceptively simple and infinitely suggestive. Is it a declaration of fact or of poten-tiality? A description of action or circumstance? Is it an observation or a directive? Does it describe an event specific in place and time, or an ontological condition of architecture? Or is it axiological? The verb, one senses, is carefully chosen. To meet is to come together and interact in a certain way—a way that involves connection, recognition, even engagement. So, people “meet” in architecture, they engage with one another in a particular way; they connect. Architecture, one might infer, sponsors a very particular kind of physically embodied engage-ment—it has social and political agency—it is where people meet. “In a time when people increasingly communicate through different media in a non-physical environment,” Sejima has said, “it is the responsi-bility of the architect to create actual spaces for physical and direct communication between people.”

Why is this a critical position for architecture today? Architectural practice has been radically transformed by new technologies of visualization and communication—from the way in which buildings are designed, to how they are fabricated, and how the structures themselves perform once they are built. Innovative technologies not only provide new tools for design, they also open up a vast new field of possibilities for exploring and imagining architectural form and space. At the same time, they open up a space of uncertainty at the center of the design process itself. Architectural design occurs at a huge remove from the materiality and scale of the built work. Architects always work in some other medium, material, and scale from the physical object ultimately being produced. At every stage, the process of conceiving and producing architecture is mediated. Mediation, one could say, is a fundamental condition of architec-tural conception, production, and reception. Consequently, changes in techniques of visualization, as for example when new technolo-gies become available to architecture, introduce a new element of unpredictability that destabilizes the critical relationship between conception and production in architecture. Current parametric and algorithmic modeling processes that seek to combine indeterminacy with control directly engage the issue of uncertainty. They make it possible to produce works of dazzling morphological complexity with relatively simple procedures. Parametric design processes are a rich and exciting field of formal research, but so far, they do not bridge the gap between innovative design and production processes.

Architecture today (as at other moments when technical innovation and especially new techniques of visualization have been critical fac-tors in design, in the 1920s, for example), is conceived as situated at the intersection of the material and the virtual, as fundamentally mutable, continuously negotiating, adapting to, and interacting with equally dynamic and mutable physical, social, and technological,


tion society is invisible, I think that architecture must have some sort of relationship with such a society. I don’t know what type of answer there might be…”

It seems clear that if architecture is to engage the media environ-ment as a framework for experimental design practices, it needs to do so “in its own terms.” Architecture needs to engage its own codes, practices, and history to stake out a position that is critical in relation to the physical, technological, and cultural conditions of its making. Architecture, in other words, can produce new social and political meanings within the terms of its own practices. It is through those practices and by “exposing what is present” (to borrow Wal-ter Benjamin’s words) that it can “generate new understanding” and enter into the processes of society’s transformation.

The operative concept in this notion of architectural agency is a kind of engagement that entails reciprocity; that is dialogic and does not move towards resolution but instead continuously establishes mean-ingful contact with and connection to alterity. It can be understood in terms of the socio-spatial dialectic described by Henri Lefebvre as the “production of space.” Space here is neither an object nor a subject, but rather “a social reality… a set of relations and forms.” Space, in other words, is a concrete abstraction with material conse-quences. Its social production is negotiated in terms of a “three part dialectic” (une dialectique de triplicité) between perceived space, conceived space, and lived space, that produces “an other space”—a new condition. Lefebvre’s theory of the production of space provides a useful framework for understanding the instrumental agenda of the Biennale and its operative concept: “atmosphere.”

Like so many of SANAA’s favorite descriptors, “atmosphere” has many meanings. It can pertain to the physical properties, visual ef-fects, organizational logic, scalar relations, and programmatic den-sity of a work. It can describe relations between inside and outside, qualities of boundary, light and air, reflection, refraction, connection, and the ways in which they are experienced. They elaborate: “Atmo-sphere has two meanings for us. One relates to the surroundings of the building and the other has to do with space. One… does not exist before the building is constructed. The other… exists before the building is constructed.” “Atmosphere,” in other words, is not a “thing,” but a “condition” that is both negotiated and durational. It is an emergence that arises out of a multiplicity of interactions be-tween the built object and its physical and social environments. “At-mosphere” actualizes architecture’s agency. It is a form of knowledge that is particular to architecture itself, but that also changes the way in which we understand our world, and our ability to act in it. “Atmo-sphere” actualizes difference.

The process of engagement and transformation entailed in the

environments. The new and emerging technologies of communica-tion and information transfer continue to widen the cognitive gap between modes of “knowing” the world—between information and experience—and to multiply their contradictions.

This is why the theme People Meet in Architecture is important for architecture today—especially if we take it as a call to reflect on the cultural significance, not just the formal possibilities, of the new media and global networks and the social environments they cre-ate, and a call to posit architecture’s agency in the media-dominated world of the early Twenty-first century. It is critical if we take seri-ously the challenge to consider how architecture might “clarify new values,” and stake out a “position towards new social and natural environments.”

So, how does the Biennale respond to its own theme and challenge? It does so principally by assembling architects as well as climate en-gineers, video and media artists, poets, filmmakers, photographers, critics, landscape and urban designers, curators, and fabric design-ers—whose practices constitute a broad conception of the disciplin-ary milieus of contemporary architectural culture. Many of the proj-ects are collaborative and staged as controlled experiments—a cloud is generated, a working studio in Mumbai is airlifted to Venice, space is shaped with light, water vapor, sound, vegetation, fabric. Time is given substance through stop frame photography and stroboscopic light. The past takes its place with the present and reminds us of the dreams of different times and alternative futures. The interde-pendency of space and time are explored through projection, move-ment, and images (still and moving) that reveal both the complex subjectivity of perception and the intersubjectivity of experience that is shared—in the spaces of architecture as it is in the context of the exhibition itself. Throughout the exhibition the worlds of information and experience collide, intersect, and multiply their contradictions.

It is the role of architecture, this Biennale suggests, to engage and proliferate those contradictions, not to resolve them. The emphasis is on experiment, on collaboration, on the generation of new forms of practice and formats for architectural knowledge. But most of all, emphasis is on architecture’s cultural milieus. This is where the criticality and disciplinary relevance of the theme, People Meet in Architecture, is to be found. The inclusiveness of 12th Architecture Biennale is clearly not about disciplinary dissolution or the blurring of boundaries. It is not a call for architects to become artists, film-makers, climate engineers, urban planners, or ecologists. Instead, it would seem to be a summons for architecture to engage directly with the “cultural smoothness” of the information society—to engage the cultural implications of the world of information; of its extrater-ritorial spatial and economic logics, flexible and porous boundaries, and social dynamics. Sejima herself has said that “Although informa-

Eve Blau Agency in Atmosphere



Commitment to experimentalism is one of the distinguishing features of a number of contemporary practices, from OMA, Herzog & de Meuron, Diller Scofidio + Renfro, and SANAA, to Aranda\Lasch and Atelier Bow-Wow. The method of work they employ involves the generation of hundreds of physical and digital models in the process of developing the design of any project. This process is often seen as aligning this work with “art” rather than architecture practices. But, the process actually has much more in common with the ex-perimental methods of scientific investigation than it has with avant-garde art practices. In science, experimentation is an operation carried out under controlled conditions in order to discover some-thing unknown, to test a hypothesis, or law. It is a protocol adopted in uncertainty. Experimentation is about discovery.

In architecture, Manfredo Tafuri claimed that “experimentalism is… constantly taking apart, putting together, contradicting, and provok-ing… Its innovations can be bravely launched towards the unknown, but the launching pad is solidly anchored to the ground…” Whereas for the avant-gardes, Tafuri suggests, “the problem of checking the effects on the public has little importance. [The] real task [of ex-perimentation] is not subversion but widening.” But, in architecture just as in science, it is not enough to launch the experiments: one has to examine and then act on the results (the “atmospheres”) they produce if the experiments are to generate new knowledge. The built work in this formulation has its own agency; it produces its own knowledge beyond the projections of the hypothesis. As Otto Wag-ner, the Viennese architect of the fin-de-siècle put it a century ago: the built work of architecture produces “effects” that “frequently act like a revelation to the creator of such works. They are, as it were, the counterpoint of the architecture.” What Wagner conceived as the counterpoint of architecture—its capacity to produce its own form of knowledge—corresponds to SANAA’s conception of the cognitive instrumentality of architecture to generate “atmosphere,” a new form of experience. It also relates to what Mies van der Rohe called the betonte Leere (emphatic emptiness) of his houses of the 1920s—the performativity of the architecture, its openness to experience and disparate acts of inhabitation and use—that make the architecture itself ever-present, immanent.

Whether conceived as “counterpoint,” “immanence,” or “atmosphere,” the generation of a “third” or “other” condition is predicated on the “actuality” of the built work of architecture in physical space. Yuko Hasegawa has described it as “simply want[ing] to place the archi-tecture and observe what will happen, rather than predicting and planning what effect it will have on the surrounding environment. [The designer] cannot possibly grasp the ‘whole’ by completing the physical building. The architectural design reveals itself in time and is given its ‘wholeness’ through the relationship with the people who

creation of “atmosphere” can be related to the process, which the German philosopher Peter Sloterdijk describes as “explicitation,” a process by which some latency (physical, social, phenomenal) is rendered explicit through engagement. For Bruno Latour, Sloterdijk’s concept of explicitation offers a means of conceptualizing design in terms of action, as intervention and interpretation, a process that never begins from scratch, but is always working on something that already exists—even if only as an issue, or a problem. (“The most intelligent designers, Latour notes, never start from a tabula rasa.”) In this schema, design itself has a very particular kind of agency. Rather than “objects,” it generates “projects;” it produces “practices” of innovation. Everything, Latour claims, has to be (and is continu-ously being) designed and redesigned, including nature. To collabo-rate in the production of architecture is to assume responsibility both for shaping our understanding of the world and for intervening in its ecologies.

Many of the projects included in the Biennale—from Rem Koolhaas’s ahistorical conceptualization of preservation, to Piet Oudolf’s land-scape, and Francois Roche’s experiments with bodies moving in light—speak to this conception of design as encompassing both the natural and built environment. But none speaks more directly to this claim than Matthias Schuler and Transsolar’s Cloudscapes. Generat-ed in the spaces of the Arsenale, and penetrated by Tetsuo Kondo’s elegant ramp, the Cloud makes it possible for visitors not only to feel its moisture and heat on their skin, but to climb under, into, and over the Cloud itself—to experience it simultaneously as dense va-por, bounded space, and tactile form that moves, mutates, and shifts its boundaries and position in response to human action. Schuler’s project actualizes the very notion of “atmosphere” as a negotiated condition by translating the terms of engagement of the exhibition it-self from binary subject-object relations to the multiply diffuse terms of environment, ecology, and hybrid networks.

Agency conceived in terms of “atmosphere” likewise links design to responsibility. This is not insignificant. For all the emphasis on the physical instantiation of architectural ideas, on effect, and apparent resistance to theorization, entailed in the concept of “atmosphere,” it nevertheless implies a position that is critical in terms of its social and ethical commitments. This position has little in common with the affect-driven, non-oppositional stance of “the post-critical” and its antidialectical terms of engagement. “Atmosphere” puts a distance between the work and its author that opens the work to experience; that allows the user to enter into the process of production of the architecture. At the same time, the openness to experience and the experimentalism inherent in the concept of “atmosphere” is also antithetical to the determinism implicit in the negative-dialectics of “critical architecture.”




told, is in the process of radical change—from a system in which the traffic in ideas and cultural products moves in one direction (from broadcaster to consumer) to a system that is multidirectional and in which users are active producers.

New complex relationships are emerging between old and new media, physical and virtual environments; but the ultimate ecological impact on the media ecosystem is unknown. The political implica-tions are equally unclear; whether the decentralized explosion of user-generated content signals (as some claim) a re-energizing of the Habermassian public sphere and/or the end of privacy, remains an open question. Economically, however, it would seem that we are witnessing a radical shift in the means of cultural production, includ-ing architectural culture.

In this context the challenge to architecture and its users to rethink categories, to generate new hierarchies, and to “imagine ideas that have far reaching effects,” implicit in the Biennale theme, is all the more urgent. There is a politics to this call to promote “a new dispa-rate freedom that is inherent in contemporary culture.” It is a call to action and reflection on the ways in which we, as a society can cre-ate architecture in which people meet.

use the building and the surrounding environment.” The experiment, in other words, does not end with the design and construction of the work. Instead, the work as such only really begins to exist fully once it enters the world of lived experience.

So too in the spaces of the Arsenale and Palazzo dell Esposizioni: “Very broadly, the process by which we design can be brought to bear on the contemporary and future architectural discussion… we can select and arrange works such that they are understood as they ‘are’ rather than as representations. This can be manifested with an architecture grounded in its use by people.” The collective chal-lenge is to “instigate relationships with people;” to “speak to how we perceive space,” and “to examine how people within space make the space itself” through a broad range of media and design practices. “The atmosphere of the exhibition” is a collective work produced “through multiple view points rather than a single orientation.” But all are oriented around the proposition that “each relationship has its roots in actuality, physical space.”

Situated at the point of intersection between the material and the social—where the objective and subjective meet—“atmosphere” is both highly unstable and continuously transforming the conditions of its own making. The particular solution always seems to suggest other viable options. Each condition seems to contain its opposite latent within it: transparency of opacity, openness of closure, inde-pendence of connection, regularity of flexibility, clarity of obscurity. The contradictions that proliferate in the ongoing process of explo-ration are what Tafuri identified as the “widening” capacity of experi-mental architectural practices that combine control with indetermi-nacy and open-endedness. Each new problem is the occasion for rethinking fundamental architectonic relationships—of part to part, part to whole, organization to structure, materials to techniques, light to space, surface to volume, edge to boundary, interior to exterior—as well as for recalibrating scalar relationships between building, city, landscape, and territory.

This is architecture conceived in the active terms of communica-tion, information flow, and interaction—that finds the global in the local and seeks the collective in the personal. While focusing on the particular conditions of site, program, materials, and structure, it engages with the larger cultural and economic conditions of its mak-ing—the smoothness and connectivity of the world of information—in-venting new hierarchies that produce hybrid, flexible environments; exploring action-based logics for organizing space that give their users the agency to inhabit them as they wish.

In this, the 12th Architecture Biennale engages the cultural implica-tions of the profound shift that is occurring in what media theorists call the current media ecosystem. The media environment, we are



Exhibition


Space is a void, a pocket of air that must be contained to define a limit. This preci-sion coincides with an indispensable existence around it which grants identity. To design spaces is to design the possibilities of life, with limits made material. Space is defined by form, texture, color, temperature, smell, and light. Also as a void, a mental process of control over construction where space is at the core: adding sub-traction, building excavation. It shifts the center of experience from form to life. At the forefront, space: nearly autonomous, nearly absolute.

Team: Francisco and Manuel Aires Mateus Jorge P Silva, Anna Bacchetta, Josep Pons, Alice Dolzani Construções, Antonio Martins Sampaio, Lisboa

With the additional support of: Fundação EDP, DGArtes

Aires Mateus e associados Voids

Aires Mateus e associadosVoids

Aires Mateus e associados, Santa Marta Lighthouse Museum in Cascais, 2001-2007. Photo FG+SG

Aires Mateus e associados, Santa Marta Lighthouse Museum in Cascais, 2001-2007. Photo FG+SG


Aires Mateus e associados, House in Coruche, diagram of closed spaces, ground floor plan, roof top, façade and section, 2005










52 53Biennale Architettura 2010 ExhibitionAires Mateus e associados Voids


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TxT oVEr IMAGEBoTH EnG AnD ITA


I intend to apply a very light structure, the shape of which is similar to the dome of western buildings. But its construction principle is very like traditional Chinese buildings. It does not need a base, so the construction won’t cause damage to the ground. It contains the fewest kinds of components possible, the simplest construc-tion principles. It will be both quickly constructed and dismantled; it is therefore also easy to move. The construction will need many hands to participate; a group of people to assemble; even those who know little about architecture shall participate. Before the construction in Venice, I want to invite people to participate in the con-struction at a chosen site in my city. The process could be recorded and be part of the exhibition. The most interesting point of the work is that it will change its shape as its height increases. The rational construction becomes a nastic construction. I name the work Decay of a Dome.

It is a structure without connections, but is able to hold weight. It follows only one principle; it uses only one kind of stick with the same section. It turns out to be a dome space, as if floating in the sky.

Factory-produced bamboo sticks and the rough pine wood used in packing boxes at Venice port are used, with a section of eight by eighty centimeters and length of two meters. To construct a ten-meter-long, eight-meter-wide and four-meter-high dome will require about 140 wooden sticks.

If the diameter of the structure is seven meters, with five levers, the height will be 3.5 meters. If constructed with seven levers, the height could be as high as five meters with a width of eight meters, in which case, the base might easily decay and twist. The height will then be reduced to four meters and kept stable.

As an architect with a philosophical Tao background, I am interested in the rela-tionship between decay and adaption. It is similar to the decay of buildings through time, a status close to nature. I intend to measure the dome after its decay to check the position of the sticks and construct it again in the exhibition.

The structure can be completed within one day if twenty people work together and the materials have been prepared well, as fast as construction speed in China now.

Team: Wang Shu, Vito Bertin, Lu WenYu

Amateur Architecture Studio Decay of a Dome

Amateur Architecture StudioDecay of a Dome

Amateur Architecture Studio, Decay of a Dome, looking up from the bottom of the model, 2010. Photo Lu Wenyu

Amateur Architecture Studio, Decay of a Dome, 1to4 scale construction experiment, 2010. Photo Lu Wenyu

Amateur Architecture Studio, Decay of a Dome, 2010

56 57Biennale Architettura 2010 ExhibitionAmateur Architecture Studio Decay of a Dome

Amateur Architecture StudioDecay of a Dome



Amateur Architecture Studio, Vertical courtyard apartment, 2001-2003. Photo Lu Wenyu

Amateur Architecture Studio, ningBo History Museum, 2003-2006. Photo Lu Wenyu

58 59Biennale Architettura 2010 ExhibitionAMID.cero9Palacio del Cerezo en Flor, Valle del Jerte

AMID.cero9Palacio del Cerezo en Flor, Valle del Jerte

The main feature of the Jerte Valley is its single-species cherry orchards, which practically cover the whole area. Its renowned high quality stalk-free fruit grows on terraces, defined by stone walls that span the width of a single tree. In recent years, the Jerte cherry crop has become a tourist attraction when the blossom becomes a natural spectacle that briefly transforms the landscape. A continuous blanket of white flowers covers the valley in early spring, drawing throngs of visitors who form traffic jams amongst flowering cherry trees, a surreal, dream-like landscape. For the Cherry Blossom Festival, we propose the construction of a modern chapel; a building that forges an intense bond with the landscape through its presence, its position, its volume, and its material; an assertive building that does not forgo a relationship with the entire valley, using its scale to establish a point of reference in it. A hybrid between a cave drilled with big holes where light enters in the midst of the flowering cherry trees and an interior space defined by its structure and light; a building that can remain closed for months.

The building space is defined by a family of five elements: the concrete ambulatory ring, the steel and mixed membrane shell, the basement, and the concrete ramps and stairs.

The lightweight roof is composed of a crinoline fabric with slender steel rods in rhomboidal patterns, and a triple cross-ventilated membrane stretched across the metal structure. It alludes to the beauty, fragility, and evanescence of the cherry blossom and the festivities that have emerged around it.

The shell is a three-dimensional structure made of slender interwoven steel compo-nents that behaves like a dome. Its cladding is a continuous three-layer membrane that adapts to the initial geometry using differently sized tessellates, depending on the curvature of the surface.

The tessellation geometry is warped by the inclusion of these discontinuities until variable patterns appear, arranged in a strangely continuous way. At the points of discontinuity, the surface turns back towards the interior, thickening and forming large open vessels that reinforce the surface on the edge of the apertures. These large-format items, bathed in red paint on the inside, are suspended from the space, feeding light and views of the valley into this camera obscura.

Team: Cristina Díaz Moreno, Efrén García Grinda, Luis Cabrejas Guijarro, Jorge Saz Semolino, Eva Urquijo ortiz, José Quintanar Iniesta, Mireia Luzárraga, Alex Muiño, Margarita Martínez, Manu Jimenez, Paula García-Masedo

Client: Junta de Extremadura, Consejería de Cultura y Turismo

With the additional support of: State Corporation for Spanish Cultural Action Abroad (SEACEx), KAnTrILA, S.L. (Construction Company), BoMA (Structural Management), Diagonal 80 (Digital Printing) and IASo (Membrane Consulting)

AMID.cero9, Palacio del Cerezo en Flor, Valle del Jerte (Spain), 2010

AMID.cero9, Palacio del Cerezo en Flor, Valle del Jerte (Spain), 2010. Photomontage



AMID.cero9, Palacio del Cerezo en Flor, Valle del Jerte (Spain), internal view of the main model, 2010

AMID.cero9, Palacio del Cerezo en Flor, Valle del Jerte (Spain), 2010. Photomontage

AMID.cero9, Palacio del Cerezo en Flor, Valle del Jerte (Spain), 2010



AMID.cero9, nave Industrial para Diagonal 80, 2006-2009. Photo Ignacio Bisbal

AMID.cero9, nave Industrial para Diagonal 80, 2006-2009. Photo Ignacio Bisbal

64 65Biennale Architettura 2010 ExhibitionAranda\Lasch with Island Planning CorporationModern Primitives

Aranda\Lasch with Island Planning CorporationModern Primitives

Architecture is Best organized from Crystals

At every moment, the process of building architecture is a rehearsal for how matter in the universe assembles itself. our current era of assembly is the age of the crys-tal. The energy storage potential in crystals (periodic, aperiodic, and chaotic) is vast and differentiated. Computation itself is siphoned through the crystals of silicon chips. our own designs at Aranda\Lasch tend towards crystallographic construc-tions of space, using its language of lattices and cells to describe growth. This lan-guage of modularity has useful affinities to architecture at large since it describes the ways solid-state matter (like a metal or a diamond) is structured. It is possible to imagine both crystal structures and architecture structures as modulated assem-blies where simple low-level rules and unfolding symmetries determine large scale organizations. Also, the particularities of a design project share something with the nuances of any rock. Both become specific not just from the rules embedded within it that direct its growth but also through external pressures that curb this growth, causing it to react, hybridize, synthesize, or otherwise change pattern. In other words, crystals are specific, shaped by circumstance; they each carry a shadow of the universal tucked into their idiosyncrasies. There is no more vital and organizing force for architecture than the productive dis-symmetries of crystallographic struc-ture.

Benjamin Aranda, Chris Lasch, nathan Browning

Project Team: Michael Fimbres, Matt Ihms, Maria Anna Kowalska, Brian Lee, Justin Pasternak, rishi Sapra, Lindsey Wikstrom, Spencer Woodward

With the additional support of: Fendi, Thyssen-Bornemisza Art Contemporary, Johnson Trading Gallery, Arizona State University – School of Architecture + Landscape Architecture

Aranda\Lasch, Modern Primitives, 2010






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Aranda\Lasch, Quasiconsole, 2008. Photo Johnson Trading Gallery

Aranda\Lasch, Fauteuil, 2007. Photo noah Kalina

Aranda\Lasch, Grotto, 2005

70 71Biennale Architettura 2010 ExhibitionArU/Architecture research UnitSaemangeum Island City, Korea

Saemangeum Island City is a phased plan of eight new islands, to be built on reclaimed land along the southwest coastline of the Yellow Sea in the Province of Jeollabukdo, South Korea. In the interest of the feasibility of land reclamation, the islands have been shaped to the lakebed topography. The experience of being on an island and close to water is an important urban design generator. Studies of viewing distances and proportions of the water bodies in Cadiz, the archipelago of Stock-holm, and Venice helped us to make judgments about the experience one will have of the water spaces between islands. The relationship of the beauty of the moun-tains to the south, the natural archipelago of rocky islands along the sea wall, and the former tidal sea shores at Saemangeum, with the artificiality of the proposed new islands will generate a poetic landscape.

City of Civility

The aim is to provide a framework of good public spaces in the city. In Saemange-um, this means high quality water spaces in the city. The quality of the public realm sets the standard of civility of the city and raises the design ambition of the citizens. The proposal is like a collage and translation of well proven and adaptable city structures from around the world. The idea is to make the city as a whole an attrac-tive destination for newcomers and visitors.

City of Coexistence

We have tried to reduce the need for single functional zones in the city, such as bed-towns, business parks, or self-contained tourist resorts. Diverse functions are situated close to each other, compatibility permitting. This increases the potential for adaptability and change in the economy, and it reduces the wastefulness of daily commuting between zones in the city. Dense urban districts where people live and work will coexist with the beauty of the open landscape of farm fields, lakes, and mountains.

Architecture research Unit, London Metropolitan University (Florian Beigel, Philip Christou, Alexander Bank, Thomas Bates, Bumsuk Chung, Thomas Gantner, Alexander Gore, Kalle Soderman, Sina Zekavat, Jonathan Connolly); ArU Students (Minji Baik, Chris Drummond, Minsun Kang, So Jung Min, nicola read, Jiehwoo Seung, Joshua Williams)

Collaborators: Economic and Cost (Athar Hussain, London School of Economics; Fran Tonkiss, London School of Economics; Max Lee, Davis Langdon & Seah Korea Co. Ltd); Environment (Jonathan Cook; Qingwei Ma, The City University, London); renewable Energies (Helmut Mueller, University of Dortmund; AbuBakr S Bahaj, Southampton University; Werner Jager, Hydro Building Systems; Eung-Jik Lee, Semyung University; Mat Santamouris, national and Kapodestrian University of Athens; Jürgen Schmid, University of Kassel; Christian rehtanz, Dortmund University); Video Animation (Tapio Snellman, neutral, London; Christian Grou, Michel’Angelo Ziccarelli); Venice installation (Barry McCann, Steve Blunt, James Firman, Kang Woon-gu)

Clients: Jeollabukdo Provincial Government; Saemangeum Task Force of the Central Government of South Korea, under the direction of South Korean President Lee Myung-bak; Urban Design Institute of Korea

ArU/Architecture research UnitSaemangeum Island City, Korea

Bumsuk Chung – ArU, Saemangeum Island City, overlooking the Airport City, the central lagoon, 2008

nicola read – ArU, Saemangeum Island City, agriculture in the city, tourists visiting the tulip fields, 2008



ArU, Saemangeum Island City, synthesis plan, drawing, 2008



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ArU, YoulHwaDang Publishing House, interior of the rare Book Library, Paju Book City, Korea, 2009. Photo Jonathan Lovekin

ArU, Apartment in Clerkenwell, London, 1999. Photo Helene Binet

Philip Christou – ArU, Saemangeum Island City, view of the Harbour City towards the new Sea Port and the Gogunsan archipelago of islands beyond, 2008

Philip Christou – ArU, Positive People Publishing House, Paju Book City, Korea, 2007


The architectural language of Atelier Bow-Wow’s work developed as a result of the dialog between the client’s lifestyle and site conditions.

Gae House is for a writer and housewife. They spend most of their time at home and wanted a vertical connection between their own private but open spaces over differ-ent levels.

House Tower is a house for the manager of an import stationary store and his wife who works in a fashion house. They have a beautiful collection of clothes, records, and books.

nora House is for a married couple with two children. They required a kitchen, gar-den, and natural ventilation.

Sway House is for an art director and illustrator who were waiting for their baby to be born. They wanted a small music room for the husband and a studio for the wife, as well as an outdoor bath.

Ikushima Liberary is a house for a journalist couple and their three children. They had a large collection of books and wanted a house that is generous in the sense of being able to invite their neighbors in.

House & Atelier Bow-Wow is a house and architectural studio. It has nine split lev-els to create flexible spaces for different activities and uses.

Tread Machiya is a house for a banker, housewife, and their two children. The kitchen is the center of the house, acting like the master’s quarters of a ship to care for the family.

Bokutei is a house for an editor, housewife, and their two children. They have a plan to eventually transform it to a guesthouse, curry shop stand, and performance space for their artist friends.

Tower Machiya is a house for a man, wife and two children. The man’s dream is to become a tea master in the future. The entire house is a series of small living spaces that act as the approach to the tearoom on the top floor.

Double Chimney is a villa project by an investor company in Karuizawa. We wanted the clients for this house to be the wind and the heat.

Crane House is a villa for a married couple. They wanted a radiant space to escape their weekly urban lives and unwind in the surrounding forest.

Pony Garden is a house for a woman whose dream is to live with a pony after retire-ment. The project is mostly a garden for the pony, where they can spend all their time together.≠Yoshiharu Tsukamoto, Momoyo Kaijima

Team: Yoshiharu Tsukamoto, Momoyo Kaijima

Takahiko Kurabayashi, Shinpei Tazaki, Yoshiko Iwasaki, oak Structural Design office, Kudo Komuten

Atelier Bow-WowHouse Behaviorology

Atelier Bow-Wow House Behaviorology

Atelier Bow-Wow, Ikushima Library, interior, Kokubunji, Tokyo, 2008

80 81Biennale Architettura 2010 ExhibitionAtelier Bow-WowHouse Behaviorology


Atelier Bow-Wow, Tread Machiya, section perspective drawing, Meguro, 2008

Atelier Bow-Wow, Bokutei, Sumida-ku, 2008

Atelier Bow-Wow, Double Chimney, Karuizawa-nagano, 2008

Atelier Bow-Wow, House Tower, Shinagawa, 2006

Atelier Bow-Wow, nora House, Sendai, 2008



Atelier Bow Wow, Tower Machiya, façade from street, Shinjuku-ku, Tokyo, 2010. Courtesy The Artist

House & Atelier Bow-Wow, interior, Tokyo, 2008.Photo Hiroyasu Sakaguchi A to Z

Atelier Bow-Wow, Gae House, interior, Setagaya, 2003.Photo Hiroyasu Sakaguchi A to Z

Atelier Bow-Wow, nora House, interior, Sendai, 2008.Photo Hiroyasu Sakaguchi A to Z

Atelier Bow-Wow, Pony Garden, Sagamihara, Kanagawa, 2008. Photo Hiroyasu Sakaguchi A to Z

Atelier Bow-Wow, Double Chimney, Karuizawa-nagano, 2008. Photo Hiroyasu Sakaguchi A to Z



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86 87Biennale Architettura 2010 ExhibitionBerger&Berger ça va, a prefabricated movie theater

Berger&Bergerça va, a prefabricated movie theater

ça va, a prefabricated movie theater is the creation of a unique space dedicated to the meeting of films and their audience. originally proposed in the framework of a play by Philippe Minyana and directed by robert Cantarella at the Dijon Theater, this public alcove is an envelope placed within another. A temporary movie theater then resulted from protocols that determine an audience’s behavior and can lead to a viewer experience that goes beyond the basic, core uses of a constructed object. our project focuses on dissolving an architectural object into a fictional system.

An unprecedented environment is formed by selecting the minimum necessary volume for an audience of eighty. The morphology of this inhabitable set obeys the rules and physical deformations of acoustic compositions. The pre-established rule for the design arrangement is to avoid putting two partitions parallel to each other. Fabricated from Alucobond sheets (aluminum sandwich trapping a polymer core, here manipulated with careful craftsmanship), the plates are grooved for folding, then bolted together. With characteristics similar to a primitive cave, this movie the-ater has frontal tiers with a small stage and fixed projection screen.

By putting into action this conceptual apparatus, our display attempts to simultane-ously question architectural models of representation: the movie and theater audi-torium, and the museum gallery. The space sketches out an ulterior behavioral and participatory relationship to the public.

Today, the prefabricated theater resembles a selected array of pieces—films, vid-eos, sound installations—created by artists invited by Berger&Berger. The selection of works does not necessarily focus on a “theme,” but instead offers “moments.” “Pieces” question the notion of space, fictional narrative, architecture, and time.

With this project we assert the autonomy of the object’s own architecture as being more than just a link or an interface between the spectator and the projected works. rather, it imposes itself as the pure presence of a visual and acoustic environment. It is a solid piece of architecture and creates a new interior environment formed through the transformation of existing acoustic effects in basic theater design. The piece is an architectural structure that operates through the definition of an interior space as it modifies the exterior.

An installation that asserts the vivid resonance of the “container” or the theater just as much as the “contents” or the visual and sound elements.

Conception: Berger&Berger (Laurent P. Berger / Cyrille Berger)

Construction Team: Pyrrhus Conception

Technical Manager: François Gaultier-Lafaye

With the additional support of: Caterina Tognon Arte Contemporanea - Venice, Thyssen-Bornemisza Art Contemporary, ThyssenKrupp Elevator, CULTUrESFrAnCE, Ministry of Culture and Communication, Service Culturel de l’Ambassade de France à rome, Alain resnais and Ciné Mag Bodard, Lux, DCTP Info & Archiv

our warmest thanks to all the artists presenting their films in our movie theater

Thanks to: robert Cantarella, Caterina Tognon, Gabriele Pimpini, Francesca Von Habsburg, Daniela Zyman, Marion Tharaud, Alain Bessaudou, Théâtre Dijon Bourgogne, Monitor, Galerie Chantal Crousel, Le Troisième Pôle, Steven Hearn, Chloé Colpé, Brent Klinkum, Alexandra Baudelot, Christiane Gaultier-Lafaye, Massimo Saidel, Jean-Marc Séré-Charlet, Sandrine Mini, Stefano Coletto, Enrico Fontanari, Eric Troussicot, Gérard-Julien Salvy, Françis rambert, Emmanuel Lefrant, Federica Zama

Berger&Berger, ça va, a prefabricated movie theater, 2006. Courtesy robert Cantarella. Image © Guillaume Ziccarelli

Berger&Berger, ça va, a prefabricated movie theater, 2006. Courtesy robert Cantarella










Berger&Berger + BuildingBuilding, notus Loci, Artists’ residence and extension of the international art and landscape center, île de Vassivière, Beaumont du Lac, France, 2011 (year of project 2008). Courtesy the Artists. Image © Berger&Berger + BuildingBuilding

Berger&Berger, Dr Jekyll & Mr Mouse, 2008. Steel, electric cables, plexiglas, white fluorescent tubes, 540 × 540 × 250 cm. Courtesy CEnT QUATrE. Image © Guillaume Ziccarelli

Berger&Berger + BuildingBuilding, Centre Pompidou Mobile, mobile art museum, 2009. Courtesy the Artists. Image © Berger&Berger + BuildingBuilding

Berger&Berger + Thomas raynaud Architecte, Centre Pompidou Mobile, mobile art museum, 2009. Courtesy the Artists. Image © Berger&Berger + BuildingBuilding

92 93Biennale Architettura 2010 ExhibitionLina Bo Bardi Lina Bo Bardi

Lina Bo Bardi brings to the People meet in Architecture exhibition some of her most successful projects in creating places for everyday life. These works stand out by combining a strong urban presence and a warm welcome to people in their daily life.

The drawings gathered here show that this feature is not accidental, but the result of design strategies. In them we see the great forms heavily populated by children playing, people talking among animals, native plants, artworks, and furniture. Situ-ations taking place under the old factory converted into a leisure center, the huge slab of the span of the Museum or in the restored historic houses in Bahia.

These are not mere illustrations showing the project, as is usual in architecture. They appear right in the moment of conception, as if they were checking whether the projected forms may contribute to people’s lives.

In these drawings, Lina Bo Bardi makes use of her experience with the Italian ar-chitect Gio Ponti. As in this architect’s projects, the drawings are accompanied by plenty of writings that make the architecture a narrative of life that will unfold there. They are reminders to herself of how certain aspects of the project should be devel-oped throughout the design and construction.

The apparently simple and deliberately unadorned line is opposed to the virtuoso drawing that, according to her, stifles the image and overlaps the idea. She prefers to follow the design of Le Corbusier, with the clean line she calls intellectual draw-ing. However, those are drawings that have something childish, not in the sense of a child’s naivety, but its spontaneity.

There is something of the decorative arts in her furniture design, visual communica-tion, objects, construction details, and even vegetation. They function as classical ornamentation, which brought the geometry of great forms to a human scale. How-ever, she acknowledges that this approach is not a problem of scale but of culture.

She pays tribute to Yves Klein and Mayakovski in designing forests of tallow-wood, wooden masts present in festivals in Brazil, breaking with separation between eru-dite and popular culture.

She exhibits the artworks at MASP in transparent supports and walls to bring them closer to the visitors and incorporate the artworks into city life.

Lina reproduces African constructions and decorations in Benin House (a center for highlighting the culture of the main ethnic group of former slaves in Bahia) ex-actly where they were tortured up to the end of slavery.

Attitudes laden with political density that are rare in contemporary cultural practice.

renato Anelli

organization: Instituto Lina Bo e P.M. Bardi

Courtesy: Instituto Lina Bo e P.M. Bardi, Coleçao nelson Kon, Marcia Benevento

Lina Bo Bardi, SESC Pompéia - Mostra Caipiras, Capiaus: Pau-a-pique. Hydrographics and pastels on paper, 21.4 × 15.4. Courtesy Instituto Lina Bo e P.M. Bardi Collection


Lina Bo Bardi, SESC - Fábrica da Pompéia, Perspective of the restaurant, 1981. Watercolor, rollerball pen and Indian ink on paper, 38.9 × 57.2. Courtesy Instituto Lina Bo e P.M. Bardi Collection Lina Bo Bardi, MASP - Museu de Arte de São Paulo, study of façade on the Avenida Paulista, 1965.

Collage, graphite and Indian ink on paper, 56.8 × 99.7 cm. Courtesy Instituto Lina Bo e P.M. Bardi Collection

Lina Bo Bardi, SESC Pompéia - Mostra Caipiras, Capiaus: Pau-a-pique. Watercolor, hydrographics and graphite on paper, 32.7 × 58.4 cm. Courtesy Instituto Lina Bo e P.M. Bardi Collection

Lina Bo Bardi, Casa do Benin na Bahia, sketches of details of the staircase and column in reinforced concrete, 1987. Watercolor, rollerball pen and hydrographics on paper, 19.1 × 27.9 cm. Courtesy Instituto Lina Bo e P.M. Bardi Collection


Museo de Arte de São Paulo-MASP, 1957-1968. Concert at Belvedere, 1992. Photo Divulgation Itamar Miranda, Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil


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100 101Biennale Architettura 2010 ExhibitionStudio Andrea Branzi Per una nuova Carta di Atene

Studio Andrea BranziPer una nuova Carta di Atene

In recent years my work has been mainly concentrated on the search for new “weak models of urbanization,” theoretical models that try to interpret the social and func-tional conditions of the Twenty-first century. These conditions are profoundly differ-ent from those of the previous century, but have not yet been properly and globally interpreted.

It is not my intention to produce a unitary model of the modern “goods civilization” city, but rather to make a contribution to its different interpretation, still too bound to the centrality of architecture. Le Corbusier’s Map of Athens of 1933 was never implemented, but was a useful mental model for interpreting the “industrial city”—a city consisting of specialized zoning (residential, leisure, production, traffic, old city centers) serving a single specialized function, separated like the teeth of a gear, though each maintaining its own autonomy.

The Twentieth-century city always assumed the presence of a “perimeter,” a “bound-ary,” a “threshold” that separated it from a politically different world, from the agricultural world, or from pre-industrial culture. These limits have now gone and, as the philosophers say, we live in a world “that no longer has an exterior”; a globalized world where states are ever weaker and society has become a “multitude”; a world where architecture and agriculture merge, where capitalism and socialism co-exist, where technology and the sacred are a single thing.

So it is a world where the category of the “infinite” (as Erwin Panofsky wrote) is the only possible symbolic form. An “opaque, ambiguous form, free of any external im-age”; an “infinite” that must exist in our mind, in our psyche, before existing in reality: mind and psyche are the only possible territories for a refounding of architecture. So the aim of a new Map of Athens is not the city of the Future, but rather the city of the Present, with all its limits and contradictions. A city that must be constantly “rethought, readapted, and replanned,” in search of temporary balances. A city that corresponds to our “reformist society,” free of any unitary reference model, that must every day produce new laws, new statutes, and new rules to positively manage its own permanent state of crisis.

First recommendation: Consider the city as a “high-tech favelas”; avoid rigid and de-finitive solutions and favor reversible, incomplete, imperfect systems that allow the urban space to be constantly adapted to new unexpected and unplanned activities. Second recommendation: Consider the city as a “personal computer every twenty square meters”; avoid the identification of form and function, specialist types, rigid systems, armored perimeters; create areas similar to “functionoids” that can host every activity in every place, changing function in real time.

Third recommendation: Consider the city as a place of “cosmic hospitality”; encour-age “planetary coexistence” between man and animals, technology and divinities, living and dead, as in the Indian metropoli; cities that are less anthropocentric and more open to biodiversity, the sacred, and human beauty.

Fourth recommendation: Consider new models of “weak urbanization”; imagine per-meable districts between city and country, hybrid semi-urban and semi-agricultural places; productive and hospitable areas that follow the changing of the seasons and climate, creating conditions of widespread and reversible livability.

Fifth recommendation: Consider blurred and accessible confines and foundations; create organisms with an uncertain perimeter, within an urban fabric where the difference between interior and exterior, public and private disappears, creating an integrated district without functional specializations.

Sixth recommendation: Design “light, temporary, reversible infrastructure”; build roads, bridges, connections with non rigid, non definitive, removable logistical sys-tems that leave no trace on the ground and adapt to the change of local needs over

time.

Seventh recommendation: Consider the city as being “microconditioned all-full”; interpret the city as a place where architecture is not a “visual” presence, but a “sensorial, experiential, immaterial” reality; a place of computer relations and virtual economies; an anthropological area in constant renewal, movement, replacement.

Eighth recommendation: Consider the big transformations as the “result of micro operations”; interpret urban quality as the result of the semiosphere made up of domestic objects, tools, services, goods, people; like Mohamed Yunus’s microcredit, you have to go into the domestic economies and interstices of everyday life.

ninth recommendation: Consider the city as a “genetic laboratory”; interpret the city as a “factory of life”; place of genome exchanges, sexual experiences, development of one’s own gene; cities of humans, bodies, flows of sperm, births, and deaths.

Tenth recommendation: Consider the city as “living plankton”; interpret the city as a “bio-technological” system, in constant transformation, that produces economy and culture as a spontaneous effect of its own expansive energy.

Collaborators: Stefano Marzano, Dante Donegani, Giovanni Lauda, Antonio Petrillo, Claudia raimondo, Tamar Ben David, Afterpixel, Bartolini-Fiamminghi Architetti, Attu Studio, Giovanni De Francesco, Ernesto Bartolini, Lapo Lani, Daniele Macchi, Dario Valenti, Giacomo Miola, Alberto Tradati, Haruhiko Endo, Bianca Vezzi, Anna Serena Vitale, Jimmy Gelli

Collection: Centre Pompidou (Paris) Musée national d’Art Moderne/Centre de Création Industielle, FrAC Centre (orléans), Galerie Italienne (Paris), Friedman Benda (new York), Metea

With the additional support of: omnidecor s.p.a.; Metalvetro s.r.l. – Milano; Vetreria Dal Bo’

Studio Andrea Branzi, Agronica, 1995. Centre Pompidou Collection (Paris)

102 103Biennale Architettura 2010 ExhibitionStudio Andrea Branzi Per una nuova Carta di Atene

Studio Andrea Branzi Per una nuova Carta di Atene

Studio Andrea Branzi, residential agriculture, 2008. Friedman Benda Collection (new York)

Studio Andrea Branzi, Forest of Architecture, 2007. Friedman Benda Collection (new York)

Studio Andrea Branzi, Architecture-Agricolture, 2005. FrAC Centre Collection (orléans)

Studio Andrea Branzi, Agronica, 1995. Centre Pompidou Collection (Paris)



Cardiff Miller Studio, The Forty Part Motet, 2001. Courtesy the Fondation d’entreprise Hermès, 2009. Photo Atsushi nakamichi / nacása & Partners Inc.

Janet Cardiff presents an audio work, The Forty-Part Motet based on the renais-sance choral music Spem in Alium by Thomas Tallis (1514-1585). Forty sepa-rately recorded voices are played back through forty speakers strategically placed throughout the space.

“While listening to a concert you are normally seated in front of the choir, in tradi-tional audience position. With this piece, I want the audience to be able to experi-ence a piece of music from the viewpoint of the singers. Every performer hears a unique mix of the piece of music. Enabling the audience to move throughout the space allows them to be intimately connected with the voices. It also reveals the piece of music as a changing construct. I am also interested in how sound may physically construct a space in a sculptural way and how a viewer may choose a path through this physical yet virtual space.”

Thomas Tallis was the most influential English composer of his generation and is one of the most popular renaissance composers of today. He served as an organist to four English monarchs—Henry VIII, Edward VI, Mary, and Elizabeth—as a gentle-man of the Chapel royal. one of his greatest works was this composition for forty parts—eight choirs of five voices. It is suggested that this was written on the occa-sion of the fortieth birthday of Queen Elizabeth I in 1573 to emphasize humility in the context of her suppression of the Catholic faith.

“I placed the speakers around the room in an oval so that the listener would be able to really feel the sculptural construction of the piece by Tallis. You can hear the sound move from one choir to another, jumping back and forth, echoing each other and then experience the overwhelming feeling as the sound waves hit you when all of the singers are singing.”

A re-working of Spem in Alium nunquam habui (Thomas Tallis, 1573)

Performed by: Salisbury Cathedral Choir

recording and Postproduction: SoundMoves

Editing: George Bures Miller

Production: Field Art Projects

The Forty Part Motet by Janet Cardiff was originally produced by Field Art Projects with: Arts Council of England, Canada House, the Salisbury Festival and Salisbury Cathedral Choir, BALTIC Gateshead, The new Art Gallery Walsall, noW Festival nottingham

Janet Cardiff The Forty Part Motet

Janet CardiffThe Forty Part Motet

Cardiff Miller Studio, The Forty Part Motet, choir recording, 2001. Photo Hugo Gledinning

Cardiff Miller Studio, Telephone / Time, installation view, 2004. Photo Jens Ziehe


Some houses stay, some houses go, some pop-up somewhere else

While houses get torn down day in and day out in China, none are as famous as the house that disappeared in the Chinese city of Chongqing in April 2007. Wu Ping and Yang Wu, the owners of the building, which was home to a minute restaurant on the ground floor, fought for three years against the joined forces of the construction company, investors, and Party functionaries. They battled the plan that envisaged erecting a shopping mall where the house stood, even though, by then, all the other buildings in the immediate vicinity had already been torn down. only their house was left standing, because they so stubbornly refused to move. During this time, thou-sands of people, be they simply passers-by, demonstrators or journalists, stared down into the huge hole that had been torn into the heart of the Chinese metropolis of Chongqing and out of which rose, like a single tooth, the house owned by Mrs. Wu and Mr. Yang—a sight that was spectacular simply because it was still there.

Wu and Yang refused to budge an inch, though they were put under pressure, as is usual in China. The earth around them was excavated to precipitous depths and it soon became impossible to keep their restaurant open. But Mrs. Wu would not yield, and instead informed the international press and gave interviews, while Mr. Yang, a former boxer, also remained in his house although the bulldozers dug ever deeper around him. Then, much to the applause of the crowds, he took to the roof of his property, which now resembled an island more than a house, and waved the Chinese flag in anger, as if he had just conquered an important piece of land in the battle with the armies of the Shopping King. The local censors were unable to maintain their prohibition of coverage of the so-called nail House; the Internet car-ried countless videos and reports, and Wu and Yang became stars of civil disobedi-ence, with many people assembling to demonstrate against the demolition. When it appeared in newspaper caricatures, it was clear that the house had become an icon. For three years the house stood, degraded by the construction planning department to the status of a barren tower, in the midst of the huge hole—a somber metaphor of new China gaping in the middle of the city. Then, in April 2007, Wu and Yang finally gave in and their house was torn down.

Here the story could have come to an end. Instead it now continues in Switzerland, in Escher Wyss Platz, a corner of Zurich West that is not exactly the epitome of ca-sual Alpine comfort. The architect Caruso St. John and the artist Thomas Demand won the competition to redesign the square in 2008. They seek to reconstruct the demolished Chinese house beneath a road bridge, where it will be home to a 24-hour restaurant that the creators believe will bring life to a square otherwise lacking in vibrancy.

With this project, Demand has taken his reconstruction strategy and transposed it from the world of art into the domain of architecture. His photographs of life-size paper models function like the cool storage rooms of memory built around an aes-thetics of retroaction and record, yet they preserve shapes—and this is exactly what the resurrected house from China will do.

normally, it is old houses that get covered by new interstate flyovers; the recon-structed edifice, grafted onto the urban space under the bridge, up-ends the tem-poral layers, the city’s sedimentary strata, and their spatio-temporal narration. The house that disappeared juts out of the ground and into the present like the material-izing memories in the film Solaris.

In Africa, structures built under existing flyovers are more common—as in Lagos, for instance, where, under the concrete columns that support the ring-road flyovers, trad-ers and cookshops have since found a niche for themselves where they supply provi-sions to drivers stuck in an endless gridlock. In this way, an overhead road construc-tion, which essentially cuts right through city life, spawns a new form of microurbanity.

Caruso St. John + Thomas Demand nagelhaus, Project for Escher-Wyss-Platz, Zurich

Caruso St. John + Thomas Demandnagelhaus, Project for Escher-Wyss-Platz, Zurich

Caruso St. John + Thomas Demand, nagelhaus, project for Escher-Wyss-Platz, Zürich. © Martin Mörck, Denmark 2010. © Thomas Demand, by SIAE 2010



108 109Biennale Architettura 2010 ExhibitionCaruso St. John + Thomas Demand nagelhaus, Project for Escher-Wyss-Platz, Zurich


Caruso St. John + Thomas Demand, nagelhaus, project for Escher-Wyss-Platz, Zurich.© Martin Mörck, Denmark 2010. © Thomas Demand, by SIAE 2010

The rebirth of the demolished Chinese house also takes up a classical European tradition dating from the Enlightenment, namely that of the Chinese Pavilion. Since the mid-Eighteenth century, such structures started popping up in parks, such as those at Broughton House, Kew Gardens, Wörlitzer Park, and in Sanssouci in Potsdam, where Frederick the Great had a “‘Chinese house”’ built. The act was also a political statement: European travelers had painted a picture of China as a peace-ful society that nurtured a lighter and more playful lifestyle; in military-agricultural Prussia, the Chinese Pavilion bore the promise of a more cosmopolitan and liberal society. The architecture was decorated by chinoiserie and, in the castle gardens, sealed away from the surroundings, it offered a window onto a different world. Even in Switzerland, some of the more philanthropically-minded citizens had Chinese pavilions erected as a sign of their ties to such a culture and their knowledge of the world; among them was shoe manufacturer Carl Franz Bally, who built a Chinese Pavilion in Bally Park in Schönenwerd. Caruso St. John and Demand’s nail House falls into this tradition, too, though instead of courtly Chinese architecture it takes as its role model a type of building that stands for a combative understanding of democracy.

Caruso St. John and Demand’s reconstructed house will stand not only as a monu-ment to bourgeois obduracy, but will also be a social experiment that tries to see how migrating forms can bring new life into an urban setting. The Chinese House immigrates to Switzerland and turns the dead square into a place where you can eat round the clock, something that is fairly rare in Zurich.

The City Council has approved the project which can be read as a staunch politico-aesthetic statement in a country that, if one considers the prohibition on minarets, is currently ill at ease with its immigrant population. The nail House is also an image for the enervating influence of forms and rituals that have likewise entered the coun-try from the outside. But Switzerland would not be Switzerland if the project were to proceed smoothly. Popular referendums on art are not generally held in other countries, and for good reason. If either the construction of the Eiffel Tower or the design of the republican pavilion depended on approval by plebiscite, then Paris would lack a landmark and Picasso would not have painted Guernica the way he did. In Switzerland, with its zest for grassroots democracy, there have been fewer con-cerns in this regard, which is why the fortune of the nail House project now hangs on the outcome of a plebiscite. The right-wing populist SVP, boosted by the recene referendum forbidding minarets, has found its next cause célèbre. The construction costs, it argues, are “three to four times higher” than those for a normal kiosk, and it claims the project is a “fiasco” in urban design, artistic, and financial terms.

The party has obtained the requisite number of signatures to force e referendum and the matter will be put ttevoters in September. one of the ironic twists to this story is that the house has triggered fundamentally different demonstrations in two very different corners of the world. In the authoritarian big-brother state of China, the demonstrators protested against its demolition, whind in Switzerland, with its tradition of grassroots democracy, they protest against its reconstruction.

Text by niklas Maak © Frankfurter Allgemeine Zeitung

Georg Ackermann GmbH, Wiesenbronn, Germany

City of Zurich, Switzerland

Lichtblick Bühnentechnik GmbH, Hohen neuendorf, Germany

oberflächenwelt, Berlin, Germany

Illustrations by Martin Mörck, Denmark

110 111Biennale Architettura 2010 ExhibitionCaruso St. John + Thomas Demand nagelhaus, Project for Escher-Wyss-Platz, Zurich


Caruso St. John + Thomas Demand, neue nationalgalerie, Berlin, 2009-2010. © nic Tenwiggenhorn. © Thomas Demand, by SIAE 2010

Caruso St. John + Thomas Demand, Fondation Cartier pour l’art contemporain, Paris 2000. © André Morin. © Thomas Demand, by SIAE 2010

Caruso St. John + Thomas Demand, Fondation Cartier pour l’art contemporain, Paris 2000. © André Morin. © Thomas Demand, by SIAE 2010

112 113Biennale Architettura 2010 ExhibitionAldo Cibic rethinking Happiness: new realities for changing lifestyles

Aldo Cibicrethinking Happiness: new realities for changing lifestyles

nEW CoMMUnITIES, nEW PoLArITIES How a small center becomes a big center An international company moves its headquarters to the industrial area of a town at the foot of the Alps. About one thousand people work there, a good number of whom are young creatives from all over the world. A new district is created in the center, where this foreign community finds space to integrate and become a resource for the district.

A CAMPUS AMonG THE FIELDS Venice agri-techno valley The Venice lagoon offers incredible landscapes and biodiversity. A young group working on innovative new technology start-ups occupying a large area of farmland surrounded by water to allow about 250 young people to live and work there. This leads to the possibility of developing a new model of campus, self-sufficient in terms of energy and food.

SUPErBAZAAr A place in which to live, meet, buy, sell, trade on the outskirts of Milan, near the northern bypass, a new underground station that crosses the rail link is being built. This is an opportunity to invent a new public space to host activities relating to life in the area. A complex of small, low cost homes and work spaces develops above the porticoes. They are intended for students and non-E.U. nationals. rUrAL UrBAnISM The city goes to the country, the country goes to the city An hour from Shanghai, a large rural area is squeezed in between an expanding industrial area and a new city. The idea is to create a rural park inhabited with low density housing, retaining the agriculture. A group of buildings raised above the streets creates a perpendicular mesh that floats over the countryside.

Collaborators: Chuck Felton, Tommaso Corà, Luigi Fumagalli, Susana Chae, Dario Freguia, Silvia Conz, Andrea Argentieri, Carolina Chini, Caterina rosa, Daniela Ventura, Franca Bosia

Models made by: 1a100 (Luca Stalla, Francesca Fezzi, roberta Bacco, Mattia Bianchi, Martin Bickler, Alice Cillara, Isabella Falchi, Paolo Ceresato, riccardo rossi)

With the collaboration of: Maya Brittain, Mariano Zanon, Valeria Adani, Francesco D’onghia, Martina Facci, Ilenia Fossati, Alessandro Frigerio, Federica Gramegna, Melisa Indra, Michele novello, Lucia Pongolini, Antonio Prinzo, Silvia redaelli, Diana rizzoli, Anna Maria Stefani, Giovanni Corà, Lavinia xausa

Graphics: Elena xausa

Sketches: Chuck Felton

Photos: Matteo Cibic and Dario Freguia

Energy Concept: Cremonesi Consulenze (renato Cremonesi, Andrea Fornari, Stefano Zerbato, Stefano Chilese, Laura Cremonesi, Andrea Finezzo, Carlo Cremonesi)

With the additional support of: Buderus spa, Corradi spa, Dainese, De Carlo Infissi spa, Gemmo spa, Gruppo Autogrill, Gruppo rubner, Marazzi Group, Unicredit

Aldo Cibic, Sport and show, 2010. Drawing

Aldo Cibic, new communities, new polarities, general view, 2010



Aldo Cibic, A campus among the fields, the public square, 2010

Chuck Felton, Magic Square, 2010

Aldo Cibic, Public gardens, 2010

Aldo Cibic, rural urbanism, general view, 2010

Aldo Cibic, The market square in the suburbs, 2010



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Aldo Cibic, rural urbanism, elements of the design, 2010

Aldo Cibic rethinking Happiness: new realities for changing lifestyles


Aldo Cibic, rethinking Happiness, Un campus tra i Campi, 2010

Aldo Cibic, rethinking Happiness, nuove comunità nuove polarità, 2010




Title: 4am (figure 1)

“From this point on I came to regard architecture as the instrument which permits the unfolding of a thing.” (figure 2) (A. rossi, A Scientific Autobiography)

The square footprint casts the shadow of Adam’s house in Paradise. (figure 3)

A square plan is an economical speculation beyond the vernacular, which is difficult to extend. (figure 4)

The approach is either oblique or flat and dictates the site. A cut pyramid roof denies the gable and the small politics of front and back. (figure 5)

reduced continuity between inside and outside multiplies the encounter between here and there. (figure 6)

The tactic and strategy of servant and served plot the room plan. At the half landing, nothing happens. (figure 7)

(figure 8)

A 1,846-square-foot house is cornered between a two-storey semidetached garden city plan and a ring road at the foot of the Dublin mountains. It is detached with villa aspects. The thresholds of front, back, and sides implicate cupboard and doorway to cross-ventilate between the cast concave corners. (figure 9)

“Transformed and displaced images, impressions, occurrences that have moved me deeply (often without my knowing it), forms that I sense are closely associated with me, even though I am incapable of identifying them, which makes them all the more troubling to me.” (figure 10) (A. Giacometti, The Palace at 4 am)

The section of the house at Pine Valley Park projects a softwood servant carcass insinuated within the colonnade of the Corderia, the found brick columns as giant terracotta rainwater goods. (figure 11)

4am is staged between hylo and hedra, a shade and a stone after Dürer’s Melan-cholia I of 1514. (figure 12)

(figure 13)

At 4am the air duct fouls the upholstered dogleg staircase, which ascends to de-scend at the fire escape of the Palace. (figure 14)

The planed and lavendered 2” × 4” softwood cribbage is glued and screwed at 400-milimeter centers. Beneath the transoms, the pleated 600-thread-count linen closets the lambs wool treads of the house at 4am. (figure 15)

“The wardrobe is filled with linen There are even moonbeams which I can unfold.” (figure 16) (A. Breton, revolver aux cheveux blancs)

Collaborators: Anna Hofheinz, ray Cullen, Simon Walker, Jason Ellis, Judith Devlin, Jimi Shields, Maria Vlahos, Peter Maybury Berengo Studio, Fragrances of Ireland, Kvadrat

With the additional support of: Culture Ireland

Thanks to: nathalie Weadick, Annette nugent, Paul Bradley, John Casey

dePaor architects 4am

dePaor architects4am

figure 1

figure 3

figure 4 figure 5

figure 2

figure 6

122 123Biennale Architettura 2010 ExhibitiondePaor architects4am

dePaor architects4am

figure 7

figure 8

figure 10

figure 11

figure 12

figure 9

figure 13 figure 14

figure 15 figure 16

124 125Biennale Architettura 2010 ExhibitiondePaor architects4pm

dePaor architects4pm

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In our first communication, Kazuyo Sejima pointed to our proposal for the ordos 100 project—a project initiated by Herzog and deMeuron and led by Ai Weiwei in 2008—in Inner Mongolia, China. It seems that it was this specific project that made the curators decide to invite us to this biennale.

It seems that this project merged with the theme People meet in Architecture.The interest was not only in the design, but also the drawings—the drawings, togeth-er with the models. And, specifically, the technical or construction drawings.

We appreciate this point of view, and we took it as the starting point—the point for presenting our work or attitude at the Biennale.

The original ordos 100 plot # 001 id 096 was developed by jan de vylder architec-ten—Jan De Vylder and Inge Vinck.

The actual project 7 houses for 1 house is presented by architecten de vylder vinck taillieu—Jan De Vylder, Inge Vinck, and Jo Taillieu. The title 7 houses for 1 house says in one sentence what the concept is about: at that time we rescaled the issue of a 1000-square-meter dwelling towards a more feasible scale—at least for us—of seven times a house of about 150 square meters. We started from the concept of the “house.” A scale we can feel.

The “revisited” concept points to several ideas.

First, the idea that this project has become a reference in our practice today. The development became real ongoing research and debate on how we wanted to develop projects as such, but also specific to drawing and deciding on every last detail. It points to an attitude. Still today it is a daily manual in the office. To look at. To be inspired by. or to oppose.

The second “revisited” points to what people do: meet in architecture by revisiting places, houses, spaces, buildings. The act of revisiting as the act of meeting. As the act of architecture. Meeting seen as “making a place.” Defining a space. A house. ordos. our house.

The last or perhaps first “revisited” points specifically towards the aspect of draw-ing. The drawing is the medium where architecture starts; the drawing is also the ultimate place where you can meet the project, a space, a place, a house.

By paper and by the drawing people meet architecture. People meet in architecture. People meet in the drawing. revisiting as the ultimate meeting. revisiting as the ultimate meeting. People meet again, and again and again. Archi-tecture makes people meet. Makes people revisit each other. revisiting space. A place. A house. A drawing. A dream. Seven different media will guarantee the complete perception of the project.

Team: Jan De Vylder, Inge Vinck, Jo Taillieu, Gosia olchowska, Hui Ping Foo, Dawid Strebicki, olivier Goethals, Lauren Dierickx, Indra Janda, Karolien Verstraeten, Jessica Langerock

Frank Ternier

With the additional support of: deSingel internationale Kunstcampus / international arts campus Antewerp Belgium, VAi Vlaams Architectuurinstituut / Flemish Architectural Institute, roose&Ternier meubeatelier / forniture atelier, ABET LAMInATI, DExIA, CAnon, Jeroen Musch (nL)

Thanks to: Jerry Aerts, Stefan Delombaerde, Tony Fretton, Moritz Kung, Johnny Maris, Luca Molinari, Frank Ternier, Katrien Vandermarliere, Jeroen Musch (nL), all the collaborators of architecten de vylder vinck taillieu and especially Gosia olchowska

architecten de vylder vinck taillieu 7 houses for 1 house / the ordos 100 project revisited / ordos 100 # 001 id 096

architecten de vylder vinck taillieu7 houses for 1 house / the ordos 100 project revisited / ordos 100 # 001 id 096

architecten de vylder vinck taillieu, ordos 100


TESTo EnG TroPPo LUnGo DI

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128 129Biennale Architettura 2010 Exhibitionarchitecten de vylder vinck taillieu 7 houses for 1 house / the ordos 100 project revisited / ordos 100 # 001 id 096





130 131Biennale Architettura 2010 Exhibitionarchitecten de vylder vinck taillieu 7 houses for 1 house / the ordos 100 project revisited / ordos 100 # 001 id 096


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architecten de vylder vinck taillieu, leeuw saint-pierre



architecten de vylder vinck taillieu, iota

architecten de vylder vinck taillieu, kongo




architecten de vylder vinck taillieu, HeL. © Filip Dujardin, by SIAE 2010architecten de vylder vinck taillieu, HeL. © Filip Dujardin, by SIAE 2010



136 137Biennale Architettura 2010 ExhibitionDo ho Suh + Suh Architects (Eulho Suh and KyungEn Kim) Blueprint

Do ho Suh + Suh Architects (Eulho Suh and KyungEn Kim)Blueprint

Blueprint is a dialogue between an artist’s home, twice-removed, and its past, pres-ent, and future silhouette. This dialogue began with two brothers, Do ho and Eulho Suh (Suh Architects), exploring their notions of home. Beginning with artist Do ho Suh’s current new York address, the collaboration with Suh Architects re-envisions the hanok in which they grew up together as it arrives in Venice, Italy.

Do ho Suh’s work is a full-scale (1:1 scale) 12.7 meter tall, hand-stitched, translu-cent fabric façade of the new York townhouse where he presently resides. As part of a series of works recreating the buildings in which he has lived, the artist contin-ues to explore the notion of home in a nomadic, global society. If suspended verti-cally, the viewer is invited to enter this dream-like drapery building through an entry on the ground floor. Beyond the entry, the viewer then finds himself standing on what appears to be the building’s shadow. If suspended horizontally, the townhouse hovers above the viewer, an ephemeral blueprint floating in from new York.

From this cobalt blue “ceiling,” a front stair extends down to the floor where Suh Architects’ “reflection” begins. This full-scale floor installation is comprised of CnC routed High Pressure Laminate panels upon which viewers are able to walk. The image is a compilation of a section of the artist’s original Korean home, his present new York home’s façade, and a typical Venetian villa façade. These three building façades do not merely overlap; they adopt characteristics of one another to emerge as a new composite shadow that reflects three different homes at once.

Thus, by creating a hard, physical imagined “shadow” that is a reflection of a soft, ephemeral architectural façade, this collaboration questions the boundary between “real” and reflection, between art and architecture, between where one once was, now is, and soon will be.

Do ho Suh – Fabric Installation

Collaborators: Arthur Henoch, Direct Dimensions Inc. USA, ArT (Seoul, Korea)

Suh Architects (Eulho Suh + KyungEn Kim) - Floor Installation

Collaborators: Shani Cho, Jihyeun Byeon, Yoojin Han, Seokji Jean

Whail System (Gyeonggi-do, Korea); Sunyoung Co. (Gyeonggi-do, Korea)

With the additional support of: Lehmann Maupin Gallery, new York

Do ho Suh, 348 West 22nd Street, Apt. A, new York, nY10011, USA, 2010. © the Artist

138 139Biennale Architettura 2010 ExhibitionDo ho Suh + Suh Architects (Eulho Suh and KyungEn Kim) Blueprint

Do ho Suh + Suh Architects (Eulho Suh and KyungEn Kim) Blueprint

Suh Architects (Eulho Suh + KyungEn Kim), Blueprint, 2010..© the Artist

Do ho Suh, Staircase-V, 2008. © the Artist

Do ho Suh, 348 West 22nd Street, Apt. A, new York, nY10011, USA, 2010. © the Artist

140 141Biennale Architettura 2010 ExhibitionDo ho Suh + Suh Architects (Eulho Suh e KyungEn Kim) Blueprint

Do ho Suh + Suh Architects (Eulho Suh e KyungEn Kim) Blueprint

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142 143Biennale Architettura 2010 ExhibitionPeter Ebner and friends enjoy the view

Peter Ebner and friendsenjoy the view

The Gothic turned the building into decoration. Moveable ribbed vaults, vegetal and then once again geometrical, extend luxuriantly over late Gothic ceilings. These fantastic structures symbolizing the heavenly vault have never supported any weight. In the Baroque period the plasticity was endlessly multiplied: enormous painted ceilings opened up onto a heavenly scene populated by ranks of saints or gods, according to whether the building was sacred or profane. The structures contained in them were extremely elaborate, with wooden trusses and sophisticated hanging constructions that acted as a ground for this perfect illusionism. Construction engi-neering wiped out this connection between the here and now and the beyond. From that time on the building itself was exalted; perfect beauty then became the result of pure logic, due to the mechanics of forces, and beauty was no longer only the good but much more: it was truth. In the end the discourse still wavers between these two, even if it seems that we have long left them both behind.

Translucent Concrete

The translucent concrete element in the new garden designed by Piet oudolf at the Arsenale seems like a simple piece of urban furnishing. The front end of the eight-meter-long piece extends over the stone bank without supports or parapets, inviting you to gaze at the sea, the passing ferries, the motorboats that ply the waters of the lagoon, or the cruise ship towed menacingly towards the city.

Without drawing our attention, almost as if a stone ready to trip us up, the oblong shaft rests on two small plinths that keep it suspended above the ground. If you don’t genuinely trip up, you will pass by without even noticing them. Indeed, what is really astonishing is the material with which it is made: a transparent material, simi-lar to Plexiglas, opaque but hard as concrete, because in fact it is concrete.

This is not a new material, but a completely new interpretation of an already known material. Translucent concrete represents a revolution that is only now beginning to be put to the test in architecture. The first building ever made with translucent con-crete is the ICA headquarters of our offices in Mexico city. The piece of translucent concrete displayed in the Venice lagoon is intended to show that there are aspects that are always new that can be radically modified by architecture.

Being translucent concrete, the first question to ask concerns the best way to rep-resent the interior of a structure in reinforced concrete. For the first time, as in an x-ray in which the limbs become transparent, we see the skeleton of steel reinforc-ing, which in the case of the concrete shaft is intended as a decorative motif, related to the configuration of the forces of traction.

Translucent concrete with steel reinforcing makes the lines of strength in the struc-ture directly visible. The visualization of the interior life of a building in reinforced concrete invalidates traditional logic and the load bearing structure is at the same time also decoration. Enjoy this view!

Michael Eichner, Javier Sanchez, Michael Schwarz, Franziska Ullmann, Gianluca Andreoletti, Claudio Valentino

Design team: Javier Sánchez Mariana Paz, rodrigo Langarica, Gerardo Fonseca, Virginie Vernis de Velasco

Engineering: Fernando Valdivia, Sergio Barrios

Production: Concretos Translúcidos S.A.P.I. de C.V., roberto Sánchez Cortina, Luis D. Sistach, Fermín Beltrán robles Tranacer S.A. de C.V.

With the support of: Hewlett Packard

Peter Ebner and friends, enjoy the view, 2010

Peter Ebner and friends, enjoy the view, 2010

144 145Biennale Architettura 2010 Exhibitionolafur EliassonYour split second house

olafur EliassonYour split second house

A split second is the space between two seconds, the gap between past and future; not just now, but the part of now that is a void. This void seems static, frozen in time. In it, nothing changes. What might change is the way we relate to it. Habitual coordinates such as subject and object, inside and outside, gravity and antigrav-ity with which we normally navigate are freed up. This feeling of reconstituting our way of experiencing the world can happen suddenly, in a jolt, as if it doesn’t occupy a graspable period of time. We do not feel the split second, but only realize after-wards that we have lived through one.

To quote my friend otto rössler: “How long does it take an astronaut to get out of a black hole? About a day. But for people who are not in the hole, the astronaut takes forever. only very few people know this.”

With the additional support of: Kvadrat

olafur Eliasson, Tests for Your split second house, 2010. Water, hoses, pump, strobe light, dimensions variable. © 2010 olafur Eliasson

olafur Eliasson, Tests for Your split second house, 2010. Water, hoses, pump, strobe light, dimensions variable. © 2010 olafur Eliasson



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olafur Eliasson, Mikroskop, 2010. Courtesy the Artist, neugerriemschneider (Berlin) and Tanya Bonakdar Gallery (new York). Photo Maria del Pilar Garcia Ayensa

olafur Eliasson, room for one color, 1997. Courtesy the Artist, neugerriemschneider (Berlin) and Tanya Bonakdar Gallery (new York). Photo Keizo Kioku

olafur Eliasson, Your blind movement, 2010. Courtesy the Artist, neugerriemschneider (Berlin) and Tanya Bonakdar Gallery (new York). Photo Studio olafur Eliasson. © 2010 the Artist


150 151Biennale Architettura 2010 ExhibitionSou Fujimoto Architects Primitive Future House – Study for the pavilion for the works by W.S. at Château La Coste in Aix Provence, France

Sou Fujimoto ArchitectsPrimitive Future House – Study for the pavilion for the works by W.S. at Château La Coste in Aix Provence, France

The building is composed of slabs layered at 350-mm intervals. These slabs can be used as chairs, desks, floors, roofs, shelves, stairs, lightings, openings, gardens, and structure. 350mm is based on the size of human activities. For example, 350mm is the height of chairs, 700mm (350*2) is the height of desks, 175mm (350/2) is the height of the steps of stairs. This succession of such different levels creates a vari-ety of places. As they seek out functions for these places by instinct, the inhabitants manage to dwell in this topography called a “house.”

This idea was not to create a functional machine but rather a more fundamental “place for living.” Within this context, the word “place” may also be replaced by “prompt” or “key.” This is a primitive place like a cloud, a nest, or a cave. We believe that this project envisages a new prototypical mode of living.

This house can be said to be inconvenient. However, in this project, inconvenience does not have any negative connotations; such as impractical, uncomfortable, or ill-equipped. We think that inconveniences can prompt multiple human activities, similar to the relationship between nature and man.

now, is it possible to “design” such inconvenience, indefiniteness, and unexpected surprise? For this purpose, we tried a “relationship between Parts” method. By using this method, we design architecture from local order, not overall order, and from the relationship between parts. Then we can make ambiguity, imperfectness, and order live together in one building. The most complicated and ambiguous thing is the simplest, which is new simplicity. Here, 350mm (the intervals of the slabs) serves as the local order. 350mm is the new module of architecture. It is about 1/10 of the conventional story height. The new relationship between architecture and the human body is born there.

With the support of: Patrick McKillen, Tim Power Architects, Jun Sato Structural Engineers, Stylplex S.n.C.

Sou Fujimoto Architects, Primitive Future House – Study for the pavilion for the works by W.S. at Château La Coste in Aix Provence, France, 2010. © the Artists

Sou Fujimoto Architects, Primitive Future House – Study for the pavilion for the works by W.S. at Château La Coste in Aix Provence, France, 2010. © the Artists


Sou Fujimoto Architects Primitive Future House – Study for the pavilion for the works by W.S. at Château La Coste in Aix Provence, France

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Sou Fujimoto Architects, Final Wooden House, 2008. © the Artists

Sou Fujimoto Architects, Tokyo Apartment, Tokyo, 2010. © the Artists



Sou Fujimoto Architects, House n, oita, Japan, 2008. Photo Iwan Baan

Sou Fujimoto Architects, House n, oita, Japan, 2008. Photo Iwan Baan

Sou Fujimoto Architects, Children’s Center for Psychiatric rehabilitation, Hokkaido, Japan. © the Artists


Balancing Act is a play of balance. Two structural lines in the longitudinal space of the Arsenale buildings, which operate as a reagent to modify the original space. on the clear structure of the building, the interference caused by generating a diagonal incision cuts on the bias the previous line marked by the old structure. The harmony between the two now contiguous structures forms a space from the two systems that meet, face and compare each other. This is where gravity, which transmits its load in the building, combines and reacts with the new structure. And the primary space now plays with the actions we have caused. The structural columns sup-porting the weight of the building provide the “tempo” of the visit. The new forces incorporated into this space play with this rhythm creating a new order, breaking its scale. This architectural structure is the basis for the Balancing Act installation, a composition in which several voices sound at the same time, where the diverse technique is the way of achieving the polyphonic object. Contrapuntal structures, predominantly horizontal, face the harmony of the Arsenale space, affecting its verticality, and the intervals displayed in the space by the sequence of columns receive the insertion of new elements, like notes to a new tonal chord in perfect bal-ance. This tense and unstable dissonance generates intense friction, which results in a new and disturbing reading of the Arsenale space. This is how we play with balance, with the forces of the space, using the gravitational actions that the struc-tures generate. And the aerial balancing act that invokes spatial conditions which were absent in the previous space thus accentuates the consonance, order, and harmony of the itinerary that, from our perspective, continues through the linearity of the building to receive other voices. We have understood the whole Arsenale as a theme of multiple counterpoint, where, after the appearance of the original space, different voices occur around that theme, developed and carried in intervals, creat-ing a complex compositional sequence, an architectural “fugue,” in which different spaces follow one another, and in which the dissonant balance of the Balancing Act is just one chord.

Video of Hemeroscopium House: Ensamble Studio

Video of The Truffle: Esteban Iglesias Francheteau

Video of Linkcity: Esteban Iglesias Francheteau, Artemio Fochs navarro

Video of Tower of Music: Ensamble Studio

Models: Ensamble Studio

Collaborators: Javier Cuesta, Débora Mesa, ricardo Sanz, Alba Cortes, Juan ruiz, Tomaso Boano, Federico Letizia

With the additional support of: Positive City Foundation, State Corporation for Spanish Cultural Action Abroad (SEACEx)

Anton García-Abril & Ensamble Studio Balancing Act

Anton García-Abril & Ensamble StudioBalancing Act

Anton García-Abril & Ensamble Studio, Hemeroscopium House, Las rozas, Madrid, Spain, 2008 (year of project 2005). Photo roland Halbe

160 161Biennale Architettura 2010 ExhibitionAnton García-Abril & Ensamble Studio Balancing Act


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162 163Biennale Architettura 2010 ExhibitionAnton García-Abril & Ensamble Studio Balancing Act


Anton García-Abril & Ensamble Studio, The Truffle, Costa da Morte, Spain, 2010 (year of project 2006). Photo roland Halbe

Anton García-Abril & Ensamble Studio, The Truffle, Costa da Morte, Spain, 2010 (year of project 2006). Photo roland Halbe


Anton García-Abril & Ensamble Studio, Wo-Ho, 2010. Photo Ensamble Studio

Anton García-Abril & Ensamble Studio, The Truffle, Costa da Morte, Spain, 2010 (year of project 2006). Photo Ensamble Studio


Anton García-Abril & Ensamble Studio, The Truffle, Costa da Morte, Spain, 2010 (year of project 2006). Photo Ensamble Studio



Anton García-Abril & Ensamble Studio Balancing Act


166 167Biennale Architettura 2010 Exhibitionjunya.ishigami+associates Architecture as air: study for château la coste

junya.ishigami+associatesArchitecture as air: study for château la coste

Architecture’s ability to produce transparency may be limited by the same massive, solid structures that give a building its very shape.

The object here is to move beyond the unrefined opacity of structures in pursuit of a new architectural transparency.

The key, I believe, lies in eliminating the boundaries between space and structure.

“Space” is light and empty; a “structure” has substance and density. The aim here is to arrive at a new type of transparency that goes beyond concepts such as lightness and weight by infinitely weakening and diluting these boundaries that give buildings their form. This will require thinking of architecture as air—all around us, endlessly spreading, filling space as it goes.

But what, in actual fact, is air, in all its transparency? An aggregate of unique structures, molecules such as oxygen and nitrogen and vapor, atoms and subatomic particles—in turn, all collections of minute structures themselves, invisible to the na-ked eye. Far smaller than anything on an everyday scale, they in fact deviate entirely from that scale. As a result we are unable to actually sense that anything is there, instead perceiving the massive agglomeration of tiny structures itself as a transpar-ent space, a void.

But what if, for instance, we were to think of a building as an aggregate of minute parts—like air?

This is a full-scale study for a building planned for somewhere in Europe. Approxi-mately fourteen meters in depth, four meters across, and four meters high, the structure is of a scale enabling it to be viewed as a model, or an actual construction. The components would be superfine beams and columns and bracing, designed specifically for the purpose and fabricated to a scale so small as to make them almost impossible to perceive at first glance. These supremely delicate elements, failing to manifest as a visual image, would dissolve into transparent space to form blurred, indeterminate contours rather than structures supporting the building in defiance of gravity. Thus a structure of architectural scale emerges as an aggregate of things so small in scale as to deviate enormously from the usual scale of archi-tecture. Within it is revealed something transparent, possessed of a mysterious atmosphere. The aim is to identify just what that something is.

This study would attempt to bring a new transparency to architecture. This construc-tion, infinitely see-through, infinitely full, may succeed in creating a new world unlike anything we have ever seen before.

Collaborator: Jun Sato Structural Engineer

With the support of: Patrick McKillen; ErCo Lightning Company

junya.ishigami+associates, Architecture as air: study for château la coste, perspective drawing. Mixed media. Courtesy the Artists

junya.ishigami+associates, Architecture as air: study for château la coste, view from far to closer. Mixed media. Courtesy the Artists

junya.ishigami+associates, Architecture as air: study for château la coste, model photo. Mixed media. Courtesy the Artists


junya.ishigami+associates Architecture as air: study for château la coste

junya.ishigami+associates, balloon, 2007. Photo the Artists

junya.ishigami+associates, balloon, 2007. Photo the Artists


junya.ishigami+associates Architecture as air: study for château la coste

junya.ishigami+associates, Kanagawa Institute of Technology KAIT Workshop, Kanagawa, Japan, 2008. Photo the Artists

junya.ishigami+associates, ralph Sobel Architect, Yohji Yamamoto Gansevoort Street store, new York. 2008. Photo junya.ishigami+associates

junya.ishigami+associates, ralph Sobel Architect, Yohji Yamamoto Gansevoort Street store, new York, 2008. Photo junya.ishigami+associates

junya.ishigami+associates, Venice Biennale: architecture exhibition 2008 japanese pavilion, Venice, Italy, 2008. Courtesy Gallery Koyanagi. Photo the Artists

junya.ishigami+associates, ralph Sobel Architect, Yohji Yamamoto Gansevoort Street store, new York, 2008. Photo junya.ishigami+associates

172 173Biennale Architettura 2010 ExhibitionToyo Ito & Associates, Architects Taichung Metropolitan opera House

Toyo Ito & Associates, ArchitectsTaichung Metropolitan opera House

Design Process of the Taichung Metropolitan opera House At the 12th International Architecture Exhibition, we are delighted to present the design process of our Taichung Metropolitan opera House project in Taiwan.

This complex, including theaters and commercial facilities, will be an international hub of performing arts. our proposal won first prize at the international competition in 2005, and this project is under construction towards its realization.

The project site is located within the redevelopment district that is to become the core of Taichung City. The project consists of a 2,013-seat Grand Theater suit-able for full-scale performances, an 800-seat Playhouse and a 200-seat Black Box along with shops, restaurants, and a public park surrounding the building.

The concept of the “emerging grid” is a structural system that constitutes the proj-ect’s entirety. It is a horizontally and vertically continuous network of tubes, origi-nally proposed for a concert hall competition held in Ghent, Belgium, in 2004. We presented this system once again at the competition for this opera house, and we were able to develop and lead it towards realization. The “emerging grid” is not only a structural network but also enables flexible plans that correspond to various con-ditions related to the programs. The system creates a rich interior space resembling a continuum of caves. Extending this network pattern further unto the park outside, a unified harmony is obtained between the opera house and the surrounding envi-ronment such as walkways, water, and green network.

We hereby present our process of struggle during the realization of the project.

Collaborators: Da-Ju Architects & Associates Arup Evergreen Consulting Engineering Inc., Kankyo Engineering Inc., Takenaka Corporation, I.S. Lin & Associates Consulting Engineers, Harder Engineering & Construction Inc., nagata Acoustics Inc., national Taiwan University of Sience and Technology, Shozo Motosugi, Bears Engineering Co. Ltd., Lighting Company Akarigumi, Izumi okayasu Lighting Design, Lead Dao Technology and Engineering Ltd., old Former Landscape Architecture Co., Fujie Kazuko Atelier

The Taichung Metropolitan opera House is built by the Taichung City Government, republic of China (Taiwan)

With the additional support of: Akamura Corporation

Toyo Ito & Associates, Architects, Taichung Metropolitan opera House, Black Box and Landscape, 2010. © kuramochi+oguma



Toyo Ito & Associates, Architects, Taichung Metropolitan opera House, first floor plan, 2010

Toyo Ito & Associates, Architects, Taichung Metropolitan opera House, seneration of a complex surface from simple “crude mesh”, using a smoothing algorithm, 2010

Toyo Ito & Associates, Architects, Taichung Metropolitan opera House, south façade, 2010. © kuramochi+oguma



Toyo Ito & Associates, Architects, Taichung Metropolitan opera House, longitudinal section, 2010

Toyo Ito & Associates, Architects, Taichung Metropolitan opera House, event space lounge on the fifth floor, 2010

Toyo Ito & Associates, Architects, Taichung Metropolitan opera House, café and restaurant on the first floor, 201

Toyo Ito & Associates, Architects, Taichung Metropolitan opera House, roof garden, 2010. © kuramochi+oguma

178 179Biennale Architettura 2010 ExhibitionAndrés Jaque Arquitectos Fray Foam Home

Andrés Jaque ArquitectosFray Foam Home

Even the most intimate and personal action happens in shared multiple locations. Washing our skin activates shared contracts with water and infrastructures. Lotions to prevent its aging make our skin inhabit labs where they are tested on mice. We are bubbled-foam-homes dwellers. There are no agorae any more, but an atmo-sphere of collective controversies in which we can take decisions. We no longer go out to emerge as citizens. There is no outside and inside. By committing ourselves with efficient energy or unsustainable expenditure we install ourselves both indi-vidually and as collectives as members of the public. We live in “Parliament Homes” ruled by confrontation, but we remain mainly blind to it.

Fray Foam Home comes from the detailed study of the dependencies and polem-ics that take place in a specific flat in Madrid’s Calle del Pez. A flat shared by five people with personal daily options. The installation is an approach to the restitution of the distant contextual fragments and public polemics in which their daily lives are installed. What becomes visible, critical, and accountable. What are the politics of design that emerge from opening the black box of expanded multilocated homes? That is the question architecture can build up. A local interior design for global oc-cupancies, which could be detailed in three questions:

1. What if consumption and productive locations could be experienced simultane-ously? Could we produce a notion of relational beauty, closer to “parliaments” than to “white boxes”?

2. What if we try to build with resilience and redundancy rather than with zoning and spatial specialization? Could a sensitivity to forecasting and optimizing be replaced by one of risk management and adaptability?

3. What if conflict could be politically managed? Could the management of dif-ference and controversies be taken to daily life? Could we transform the material architectural devices that mediate in our social installation move from a territorial antagonism to a foam-like agonism?

Architecture is often the device to promote territorial distribution in order to ensure realms of “Sweet Local Calm.” But it can also be a time for the architecture of daily realities to become compulsory pass points for the polemics in which it is con-structed.

Coordinators: Alejandro Sajgalik, Walter Cuccuru

Graphic Design: María Jaque

Development team: Patricia Acosta Morales, Ángela Bailén López, Diana Calvache Martínez, Mehrdad nazemi, Carolina Silvana Vaca Manjarres, Sizhou Yang, Adeline ruiz, Silvia rodríguez

With the additional support of: State Corporation for Spanish Cultural Action Abroad (SEACEx); UEM, Universidad Europea de Madrid; MATADEro-Madrid; MUSAC, Museo de Arte Contemporáneo de Castilla León; Ministry of Housing, Spain; Fundación Mies van der rohe; Imagen Subliminal

Andrés Jaque Arquitectos, Fray Foam Home, 2010. Courtesy and © the Artists

Andrés Jaque Arquitectos, Democratic Sponge, Madrid, 2005. Photo Miguel de Guzmán



Andrés Jaque Arquitectos, House in never never Land, San José, Ibiza, 2009. Photo Miguel de Guzmán

Andrés Jaque Arquitectos, Mouse City, Stavanger, 2003.Photo Miguel de Guzmán

Andrés Jaque Arquitectos, restitution of the Spread-in-the-World rooms from a Specific Home (Fray Foam Home), 2010. Courtesy and © the Artists

photo Kaufmann



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184 185Biennale Architettura 2010 ExhibitionChristian Kerez Some Structural Models and Pictures

Christian KerezSome Structural Models and Pictures

We are not interested in architecture’s submitting itself to or expressing daily use, but in strict, self-sufficient architecture, which holds its own against any unforeseen or unplanned everyday use. The rigor and clarity of the building structure combine a variety of uses and demands into an indissoluble conceptual unity. Every room, every detail is a fragment of a greater whole. The structural models shown in this exhibition are the very same ones shown by the films. Without the filmic, interior perspective, these structural models turn into abstract sculptures. However, they received their actual shape and compelling nature only through a confrontation with everyday demands.

The architectural space we are interested in, or rather its characteristics, only become manifest when in motion. That is why a filmic rendering from the fleeting perspective of a user or visitor immediately suggests itself. The cinematic image is made up of hundreds or thousands of images, which all equally reflect the same space. The individual images themselves may be casual, fuzzy, imprecise, and often even accidental, but the very diversity of all these pictures combined reflects the essential qualities of an architectural space. The transient nature of these films allows people to meet in architecture, architecture that keeps fading into the back-ground.

Team: Christian Kerez, Catherine Dumont d’Ayot, Raphael Jans, Petter Krag, Michael Haller, Takaaki Kikumoto, Bernardo Menezes, Marc Leschelier

Thanks to: Arno Ritter

Technical exhibition preparation: Magenbitter, Innsbruck

With the additional support of: Bundesamt für Kultur BAK; Holcim (Schweiz) AG

Christian Kerez, Schoolhouse Leutschenbach, Zürich, 2002-2009. 1:10 steel model. Photo Walter Mair

Christian Kerez, Schoolhouse Leutschenbach, Zürich, 2002-2009. Movie stills

186 187Biennale Architettura 2010 ExhibitionChristian Kerez Some Structural Models and Pictures

Christian KerezSome Structural Models and Pictures

Christian Kerez, Holcim Competence Centre, 2008. Movie stills. Video the Artist

Christian Kerez, Holcim Competence Center, 2008. 1:33 model. Photo the Artist Christian Kerez, Swiss Re Headquarters, 2008. 1:33 model. Photo the Artist

Christian Kerez, Swiss Re Headquarters, 2008. Movie stills. Video the Artist

188 189Biennale Architettura 2010 ExhibitionChristian KerezSome Structural Models and Pictures

Christian Kerez, Museum of Modern Arts, Warsaw, 2007-2014. 1:33 model. Photo the Artist

Christian Kerez, Museum of Modern Arts, Warsaw, 2007-2014. Movie stills. Video the Artist

Christian Kerez Some Structural Models and Pictures

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I photographed Menil House in Houston during a storm. The changes of light and weather became as important to the images as any other aspect of the architec-ture and shaped my perception of the house. I then continued to explore natural conditions while working in the Casa das Canoas in Rio de Janeiro, focusing on the relationship between architecture and its surroundings. I looked for or found such conditions again in other houses and places. The photographs evoke all the photo-graphs I have taken in the past, and all the other places in which I have been. So the work is not about a specific house or a photograph of it. It is about being there.

Thanks to: Thomas Dane Gallery, London; Galerie Paul Andriesse, Amsterdam; Gallery Koyanagi, Tokyo

With the additional support of: Hiroshi Sugimoto and Atsuko Koyanagi

Luisa Lambri Luisa Lambri

Luisa Lambri, Untitled (Menil House, #01), 2002. Laserchrome print, Ed. 5 + 1 AP, 104 × 130 cm. Produced by the Menil Collection (Houston). Courtesy Galerie Paul Andriesse (Amsterdam), Luhring Augustine (New York), Thomas Dane (London), Marc Foxx (Los Angeles), Studio Guenzani (Milan), Gallery Koyanagi (Tokyo), Galeria Luisa Strina (Sao Paulo)

192 193Biennale Architettura 2010 ExhibitionLuisa Lambri Luisa Lambri

Luisa Lambri, Untitled (Casa das Canoas, #01), 2003. Laserchrome print, Ed. 5 + 1 AP, 99 × 115 cm. Courtesy Thomas Dane Gallery, London. Image 1 of 2



Luisa Lambri, Untitled (Casa de Vidro, #02), 2003. Laserchrome print, Ed. 5 + 1 AP, 42 × 48 cm. Courtesy of Luhring Augustine (New York), Thomas Dane (London), Marc Foxx (Los Angeles), Studio Guenzani (Milan), Gallery Koyanagi (Tokyo), Galeria Luisa Strina (Sao Paulo)



Luisa Lambri, Untitled (21st Century Museum of Contemporary Art, #03), 2004. Laserchrome print, Ed. 5 + 1 AP, 63.7 × 74 cm. Courtesy Hiroshi Sugimoto, Atsuko Koyanagi

Luisa Lambri, Untitled (Sheats-Goldstein House, # 06), 2007. Laserchrome print, Ed 5 + 1 AP, 98 × 79.5 cm. Courtesy of Luhring Augustine (New York), Thomas Dane (London), Marc Foxx (Los Angeles), Studio Guenzani (Milan), Gallery Koyanagi (Tokyo), Galeria Luisa Strina (Sao Paulo)


Establishing a dialogue between the Iranian urban landscape, which arose after the Islamic revolution of 1979 and is largely influenced by Western architecture, and the historic sites and cultural places of ancient Persia is the central interest of my work. Is there any chance of finding connections between past and present in the current debate on culture and architecture in Iranian society?

From this point of view it seems essential to also make reference to the ambiguity of the emerging urban landscapes, or the impact of Eastern and Western cultural conceptions (intentions and consequences) and the imposition of the latter with a gradual relative abandoning of the local cultural and architectural tradition and history. The question is also raised as to how it can come about that, despite the changes incurred following the historic events and influences of different cultural periods, a country was able to develop different architectural languages and consid-er them a cultural asset, but this richness is no longer easily drawn on in the con-temporary cultural debate. In this relationship between the history of its own culture, Islamic doctrine and Western influences, which at a political level are considered unwelcome, the Western image predominates, particularly in the periphery of the urban landscapes.

The work alternates between the fine appearance of a so-called reality and the real-ity of the image; it is aimed at revealing the media representation and fostering and clarifying perception, also taking into account the collective dimension.

It makes reference to social processes, showing unstable systems in open and en-closed spaces and thus referring to social and political situations.

With the support of: Autonome Provinz Bozen / Südtirol, Abteilung deutsche Kultur

Thanks to: Galerie Nordenhake, Berlin / Stockholm; Galleria Suzy Shammah, Milan

Walter NiedermayrRecollection 2005-2008

Walter Niedermayr Recollection 2005-2008

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200 201Biennale Architettura 2010 ExhibitionWalter Niedermayr Recollection 2005-2008


Walter Niedermayr, Shiraz, Iran 124/2006. Quadriptych, digitial print, acryl on canvas, 253 × 845 × 4 cm. Courtesy Galerie Nordenhake, Berlin / Stockholm and Galleria Suzy Shammah, Milan



Walter Niedermayr, Isfahan, Iran 176/2008. Diptych, digitial print, acryl on canvas, 160 × 421 × 4 cm. Courtesy Galerie Nordenhake, Berlin / Stockholm and Galleria Suzy Shammah, Milan



Walter Niedermayr, Isfahan, Iran 107/2006. Diptych, digitial print, acryl on canvas, 160 × 421 × 4 cm. Courtesy Galerie Nordenhake, Berlin / Stockholm and Galleria Suzy Shammah, Milan

206 207Biennale Architettura 2010 ExhibitionNoero Wolff Architects Strangeness and familiarity

Noero Wolff ArchitectsStrangeness and familiarity

Three schools in Cape Town, South Africa, that Noero Wolff Architects have worked on over the past decade are presented here. In spite of their contrasting socioeco-nomic circumstances, these projects share common architectural concerns.

With the dawn of democracy in South Africa in 1994, urgent questions have had to be asked about the role of architecture in a free society. Since political freedom does not automatically lead to the removal of the deprivations of the past, archi-tecture must play a role in facilitating and expressing freedom. By their nature, educational facilities aim to empower the individual to have greater participation in economic, cultural, and political processes. The proposed architectural corollary of this empowerment objective has been architecture that participates in local spatial, representational, and building practices whilst representing optimism for a bet-ter future. A new architecture is generated out of an engagement with the familiar world.

The Usasazo Secondary School (2003), built by the provincial government, has a central space that mimics the spatial undulation of the informal settlements around it. The area around the school is so densely populated that the streets become the living rooms of the houses. The school is pushed against the street edge to contin-ue the tight urban world and to invite interaction through a series of trading hatches and benches. The school protects its users from the strong directional wind with a series of L-shaped blocks.

The Inkwenkwezi Secondary School (2007) was also built by the provincial gov-ernment. In this residential area, with no other formal public buildings, houses are converted into shops and are differentiated from residential buildings by colorful painted signage. This local device signifying public use was adopted as the basis of signage (“Inkwenkwezi” means “the morning star”) and surface articulation for the school.

Saint Cyprians School (2009) is a private school close to the center of Cape Town. A series of small interventions takes spaces that have lost their potency or purpose and adds specialized classrooms (IT classroom and library) that will advance the school’s ability to deliver first class education. These interventions add vitality to the existing fabric of the school.

Each of these schools contains key spaces designed to enhance human interac-tion by accommodating divergent activities in the same place. The possible uses of these spaces are influenced by the time of day, the season, the age and activity level of the children, as well as income generating activities and events in adjacent spaces.

Jo Noero and Heinrich Wolff

Film: Dave Southwood with Noero Wolff Architects

Usasazo Secondary School: Client (Department of Transport and Public Works of the Provincial Government of the Western Cape); Architects (Noero Wolff Architects); Project architect (Heinrich Wolff); Team (Jo Noero, Sushma Patel, Robert McGiven)

Inkwenkwezi Secondary School: Client (Department of Transport and Public Works of the Provincial Government of the Western Cape); Architects (Noero Wolff Architects in association with Sonja Spamer Architects); Project architect (Heinrich Wolff); Team (Sonja Spamer, Jo Noero, Joel Ketsekile, Nadia Tromp, Robert McGiven)

Saint Cyprians School: Client (Saint Cyprians School); Architects (Noero Wolff Architects); Project architect (Jo Noero); Team (Heinrich Wolff, Kylie Richards, Mias de Vries, Korine Stegman, Robert McGiven)

Noero Wolff Architects with Sonja Spamer Architects, Inkwenkwezi Secondary School, Du Noon, Cape Town, 2007. Photo Iwan Baan

Noero Wolff Architects with Sonja Spamer Architects, Inkwenkwezi Secondary School, Du Noon, Cape Town, 2007. Photo Iwan Baan

208 209Biennale Architettura 2010 ExhibitionNoero Wolff Architects Strangeness and familiarity

Noero Wolff ArchitectsStrangeness and familiarity

Noero Wolff Architects, Usasazo Secondary School, central space, Khayelitsha, Cape Town, 2003. Photo Iwan Baan

Noero Wolff Architects with Sonja Spamer Architects, Inkwenkwezi Secondary School, Du Noon, Cape Town, 2007. Photo Dave Southwood

Noero Wolff Architects with Sonja Spamer Architects, Inkwenkwezi Secondary School, Du Noon, Cape Town, 2007. Drawing Heinrich Wolff

210 211Biennale Architettura 2010 ExhibitionHans Ulrich Obrist NOW INTERVIEWS, Wall of Names, 2006 Serpentine 24-Hour Interview Marathon

Hans Ulrich ObristNOW INTERVIEWS, Wall of Names, 2006 Serpentine 24-Hour Interview Marathon

Twenty or so years ago, when I first met Hans Ulrich Obrist (I always think of him as HUO) in Zurich, he reminded me of Rimbaud. Not only because he was roughly the teenage poet’s age when he and I met, but because I felt he was embarking on making a new form of poetry, of art. In time, I came to see how true my feeling was. I was amazed that this then very young man, without funding and without institu-tional support or commissions from art magazines or journals, had set out on his own to record that which he feared would one day vanish or get lost, forgotten in the greater, more seemingly relevant cultural dialogue of the moment.

His interviews were and remain his divine passion: he has done nearly 2,000 hours of them since he began. Little has changed—except that he now also devotes him-self and interweaves this passion with his full time curatorial work—in HUO’s mis-sion and in his way of getting to the core and heart of the person being interviewed. As Douglas Coupland wrote in his Introduction to Interviews Volume 2: “We could have done one interview together and I’d never have to do another interview again. I’d simply send people a photocopy of our interview and declare, ‘It doesn’t get any better than this. Learn from the master.’”

As I say little has changed, except that in earlier days HUO sped from city to city in Europe on trains and dwelled in their stations, where now the circumference of his interviews has widened globally and planes and their airports are his hosts. How many actual hours is he ever on terra firma?

Rimbaud transformed his genre, radicalizing the conventional idea of its meter and rhyme; HUO has reconfigured the genre of the Interview, distilling the mass of prose information with its disparate themes and motifs—and with the usual, who, how, where, and when—transforming it into artifact, a poem of idea and emotion. His interviews, like poems, focus and synthesize thought into its greatest point of energy and beauty.

In itself, the making of an individual interview into a poem would be an interesting achievement. A book of such interviews would be like an anthology of poems by various poets with varying degrees of interest. But the aggregate, the sheer vol-ume and the international scope of the interviews HUO has done over the past two decades, gather up the individual voices—the individual poems, to form a Master-Poem, not only one with its cultural roots in the heritage of one nation, like Orlando Furioso or El Cid or La Chanson de Roland, but a vital global epic: a unified and culturally unifying poem, with its life and memory of the past, which is our present inheritance, and our cultural legacy for the future.

Perhaps all his rush to travel and his urgency to do more and more interviews in re-cent years is explained by HUO’s desire to preserve traces of intelligence from past decades or testimonies of those living in the century past, those whose words have not yet been recorded and who might fall away into undeserved oblivion. The fruit of this enlightened desire to preserve is evident in HUO’s many hours of interviews with the visionary architect Cedric Price and the many visits with Rem Koolhaas to Japan to document the aging Metabolism architects, whose voices would have oth-erwise been lost or fade away and have important things to say to us today.

People die, voices fade, but so, too, the fabric, the very material—the tapes—on which those voices have found sanctuary. Tapes, such as the ones HUO used in his earlier interviews years ago and still sometimes uses, are perishable and disinte-grate. And soon they will be as mute and dead as many of the people whose voices they have long held in their very fragile keep. These voices are not just autobio-graphical, historical documents but have embedded within them—as HUO has said “lost projects, poetic utopian dream constructs, partially realized projects, censored projects, etc”—a host of proposals for yet unrealized projects. Do not these hopes and dreams form a matrix of art and architectural history? Are not these dreams and hopes part of our inheritance in the future? These conversations bear seeds wait-

ing for the opportunity to one day flower. HUO, himself, has a yet unrealized dream “to one day curate a large scale exhibition of unrealized projects.” Preservation of these interviews on tapes is a hedge against an amnesiac future. HUO’s tapes are a strained, delicate net holding up for now—and who knows for how long—the value of an otherwise lost past, which is to say, our future.

I hope this exhibition, the first project organized by the Institute of the 21st Century, will open the way to recognize the importance of HUO’s work in assuring us of that future. Thus, I hope it will be apparent that the NOW INTERVIEWS are not just an ex-citing event at the 12th International Architecture Exhibition in the present but a gate-way to understanding and supporting HUO’s amazing and vital project. To paraphrase T. S. Eliot, these interviews may well be the fragments we have shorn against our ruin.

Karen Marta

NOW INTERVIEWSInterviews by Hans Ulrich Obrist with the participants of the 12th International Architecture Exhibition

Wall of Names The over 850 names listed on the wall are a brief selection of those interviewed by Hans Ulrich Obrist over the past twenty years

Exhibition curated by Hans Ulrich Obrist and Karen Marta

Project Director: Bettina Korek, Institute of the 21st Century; Producer: Karen Constine; Project Manager: Justin Conner; Production Coordinator: Maggie Kayne; Research Coordinator: Yun Jie Chung; Research Assistant: Alexandra Weeks

Organized by: Institute of the 21st Century

With the additional support of: HyundaiCard, LG, nextmaruni, The Kayne Foundation, Brenda R. Potter, ForYourArt, Pasadena Arts Council

2006 Serpentine 24-Hour Interview MarathonTo explore the topology of the city from the inside Rem Koolhaas and Hans Ulrich Obrist interviewed leading figures in contemporary culture continuously over 24 hours in the Serpentine Gallery Pavilion designed by Koolhaas. The 24-Hour Marathon in 2006 launched the annual Serpentine Marathon series. The Serpentine Gallery Pavilion commission was conceived by Serpentine Gallery Director, Julia Peyton-Jones, in 2000.

Thanks to: the Serpentine Gallery

Interviews with: Abake, Sir Kenneth Adam, David Adjaye, Tariq Ali, Ron Arad, Shumon Basar, Michael Baxandall, Anat Ben David, Eleanor Bron, Caruso St. John, Hussein Chalayan, Michael Clark, Peter Cook, Mark Cousins, Giles Deacon, Marcus du Sautoy, Paul Elliman, Tony Elliott, Brian Eno, Pedro Ferreira, Sophie Fiennes, Ryan Gander, Ant Genn, Gilbert & George, Jonathan Glancey, Zaha Hadid, Richard Hamilton, Russell Haswell, Susan Hiller, Roger Hiorns, Damien Hirst, Eric Hobsbawm, Charles Jencks, Isaac Julien, Patrick Keiller, Jude Kelly, Hanif Kureishi, Scott Lash, Doris Lessing, Ken Loach, Gautam Malkani, Doreen Massey, Tom McCarthy, Gustav Metzger, Mary Midgley, Markus Miessen, Michael Moorcock, Chantal Mouffe, Tim Newburn, Tim O’Toole, Julia Peyton-Jones, Olivia Plender, Milan Rai, Tayeb Saleh, Peter Saville, Dame Marjorie Scardino, Denise Scott Brown, Yinka Shonibare, Iain Sinclair, Squarepusher, Marina Warner, Eyal Weizman, Richard Wentworth, Jane & Louise Wilson, Cerith Wyn Evans

With the additional support of: HyundaiCard, LG, nextmaruni,

Thanks to: Sara Adelman, Alessio Ascari, Roman Berka, Stuart Comer, Bice Curiger, Katrin Dod, Coris Evans, Fabrizio Gallanti, Miranda Giardino di Lollo, Joseph Grima, Vit Havranek, Hu Fang, Sarah Herda, Enrique Juncosa, Nicola Lees, Matthias Lilienthal, Heather Lindsey, Janis Minton, Isabela Mora, Dan Nadel, Adrian Notz, Kayoko Ota, Ou Ning, Annapaola Passarini, Julia Peyton-Jones, Christian Posthofen, Gianluigi Ricuperati, Georg Schoellhammer, Felicity D. Scott, Kevin Conroy Scott, William Sherak, Sally Tallant, Phil Tinari, Frederic Tuten, Lorraine Two, Manuella Vaney, Joseph Varet, Miriam Waltz and Sarah Williams

TESTO ENG TROPPO LUNGO DI 2

RIGHE

212 213Biennale Architettura 2010 ExhibitionHans Ulrich Obrist NOW INTERVIEWS, Wall of Names, 2006 Serpentine 24-Hour Interview Marathon

Hans Ulrich ObristNOW INTERVIEWS, Wall of Names, 2006 Serpentine 24-Hour Interview Marathon

Gilbert & George, from Serpentine Gallery Post-Marathon, London, 13-14 October 2006. Serpentine Gallery Pavilion 2006, designed by Rem Koolhaas and Cecil Balmond with Arup. Photo Declan O’Neill

Hans Ulrich Obrist. © Marco Anelli 2009NOW INTERVIEWS project, installation design by SANAA, 2010

214 215Biennale Architettura 2010 ExhibitionOFFICE Kersten Geers David Van Severen + Bas Princen7 rooms 21 Perspectives

OFFICE Kersten Geers David Van Severen + Bas Princen7 rooms 21 Perspectives

At the beginning of the Twenty-first century, everybody knows that images do not represent the truth, but they do constitute our contemporary reality. Nevertheless, some images are more real than others. Referring to the title of this project, they could be called perspectives. The photographs taken by Bas Princen show existing forms of anonymous space and architecture; the images made by OFFICE Kersten Geers David Van Severen are fictitious views of their architecture designs. In this sense, they seem to move in opposite directions: the perspectives of Princen long for authorship and particular-ity; the perspectives of OFFICE want to shed their artifice as a layer of skin. This division, however, is false, as both sorts of perspectives simply want to show places where people can exist by being confronted with their own existence. The means with which these perspectives and these forms of architecture are made show a striking resemblance. What is important here is that nature and culture, or chaos and architecture, are not considered enemies. Rather, the opposite is true. Massive walls, high columns, plane roofs, large squares, and perpendicular openings draw lines and impose borders. Trees, debris, water surfaces, rubble, clouds, and the sky—but also human beings, cars, books, artifacts, and furniture—impose themselves as messengers and signs of the endless warehouse of our globalized world. They need each other in order to exist, and they can only be real and meaningful if they are granted to be what they are. The perspectives by OFFICE Kersten Geers David Van Severen and Bas Princen reintroduce architecture as what it has been since the advent of mankind: a brave and necessary attempt to impose order, structure, and legibility to the world in gen-eral and to one place in particular. At the same time, these constructions include their own fantastic failure. And that is exactly the essence of architecture. It has to fail, in a grandiose way, as an invitation to all kinds of people, things, and activities. A perspective is only real if it shows both the independent ambition of architecture and the autonomous reaction of all that is not architecture, and that might as well be called human life. Visiting this exhibition is like enacting this fundamental process. Here are twenty-one images that are authored, constructed and clear—they can become perspec-tives only in confrontation to the mind and the body of the visitor.

Christophe Van Gerrewey

Collaborators: OFFICE Kersten Geers David Van Severen (Jan Lenaerts, Adeline de Vrij, Steven Bosmans, Bert Rogiers, Michael Langeder, Inga Karen Traustadottir), Christophe Van Gerrewey, Joris Kritis

With the support of: The Obayashi Foundation, Groep Kordekor - Belgium, Boss Paints, Bonar Technical Fabrics, eyes on media, Interior Foundation BE

OFFICE Kersten Geers David Van Severen+Bas Princen, 7 rooms 21 Perspectives, 2010

OFFICE Kersten Geers David Van Severen+Bas Princen, 7 rooms 21 Perspectives, 2010



OFFICE Kersten Geers David Van Severen, A grammar for the city, South-Korea-Collage, view from the mountain, 2005. Inkjet print on painted aluminium plate, 85 x 116 x 0.5 cm. Courtesy the Artists

Bas Princen, Botanic garden (Xiamen), 2009. Inkjet print on painted aluminium plate, 140 x 171 x 0.5 cm. Courtesy van Kranendonk Gallery, The Hague



OFFICE Kersten Geers David Van Severen, Border crossing, MEX-USA-Collage, view from the ground, 2005. Inkjet print on painted aluminium plate, 85 x 116 x 0.5 cm. Courtesy the Artists

Bas Princen, Reservoir (Concrete Rundown), 2005. Inkjet print on painted aluminium plate, 140 x 171 x 0.5 cm. Courtesy van Kranendonk Gallery, The Hague

Bas Princen, Ringroad (Houston), 2005. Inkjet print on painted aluminium plate, 140 x 171 x 0.5 cm. Courtesy van Kranendonk Gallery, The Hague

Bas Princen, Pavilion II (Venice, Office KGDVS), 2008.



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222 223Biennale Architettura 2010 ExhibitionValerio Olgiati Onement

Valerio OlgiatiOnement

The work presented at the 12th International Architecture Exhibition is part of a monographic exhibition on the work of Valerio Olgiati which was first shown approx-imately one year ago at the ETH in Zurich (Federal Institute of Technology, Zurich) and subsequently in Mendrisio, London, and Porto.

The essence of the original exhibition is constituted by several white models, all shown at the same comparable scale of 1:33. The model of the Perm Museum XXI is presented at the Biennale, together with images of four other important buildings and projects.

The model shows no context to the physical environment. The building simply seems to spring out of the ground, like uprooted trees. It is shown with visible foundations, totally isolated and without context.

Valerio Olgiati is convinced that it is possible to make architecture that is not primarily contextual. Over the past twenty years or more, particularly in the Ger-man-speaking parts of Europe, the demand to contextualize has become inevitably compulsive, and principally in projects that are based on attitudes and positions of moral origin.

Olgiati, however, thinks that architecture can be developed out of an idea, a con-cept, and that this idea or concept basically has nothing to do with context.

Temples or churches can be taken as historical examples. Further examples are Swiss barns, which are wonderful buildings and almost all, without exception, non-contextual. These buildings are born from an idea that does not respond to contex-tual, economic, technical, or functional demands. Valerio Olgiati is convinced that it is possible, or even necessary, to design buildings based on ideas reflecting the cultural intelligence of modern times.

Perm Museum XXI

Architect: Valerio Olgiati

Collaborators: Fabrizio Ballabio, David Bellasi, Aldo Duelli, Nathan Ghiringhelli, Tamara Olgiati

National Palace Museum


Collaborators: Aldo Duelli, Pascal Flammer, Christoph Junk, Sven Richter, Michael Umbricht

The Yellow House


Collaborators: Iris Dätwyler, Pascal Flammer, Karen Wassung, Raphael Zuber

Client: Community of Flims

Atelier Bardill


Collaborators: Nathan Ghiringhelli, Nikolai Müller, Mario Beeli

Client: Linard Bardill

Valerio Olgiati, Perm Museum XXI, Perm, Russia, 2008

Perm Museum XXI, Perm, Russia, 2008. Section. Archive Olgiati

Perm Museum XXI, Perm, Russia, 2008. Floor plan (5th floor). Archive Olgiati

224 225Biennale Architettura 2010 ExhibitionValerio Olgiati Onement

Valerio OlgiatiOnement

Valerio Olgiati, The Yellow House. Flims, Switzerland, 1995-1999

Valerio Olgiati, Visitor Center Swiss National Parc, Zernez, Switzerland 2008

Valerio Olgiati, The Lake Cauma Project, Flims, Switzerland 1996

226 227Biennale Architettura 2010 ExhibitionOMA - Office for Metropolitan Architecture Preservation

OMA - Office for Metropolitan ArchitecturePreservation

The exhibition occupies a suite of two rooms, each with a distinct character and function. The first room is a vestibule featuring a range of OMA projects engaging with preservation, often liberating what has been preserved from a frozen condi-tion. Projects ranging from the Dutch Parliament to the China National Museum, the Libyan desert and the Hermitage in St. Petersburg will be displayed through photo-graphs, historical documents, and even relics—including chairs and doorknobs from Munich’s Haus der Kunst (an OMA preservation project in 2008).

The second room is a manifesto in space featuring critical preservation stories of the Twentieth and Twenty-first centuries. These are organized in five thematic “bands” that form various trajectories through the room: the increasing territorial claims of preservation; the arbitrary morality of what is preserved and what is not; nostalgia vs. memory; the preservation of the future: the shift from retroactive to prescriptive preservation; and finally, the “black hole” of preservation.

The “black hole,” occupying the central band and a screen on a wall, is the core of our argument. While our sense of duty towards history (and our nostalgia) grows ex-ponentially—increasingly, “everything” must be preserved—actual knowledge and the depth of our memory diminishes. As a result, many crucial but politically unpopular or impractical buildings of the second half of the Twentieth century remain subject to erasure or neglect.

Our second key argument concerns the notion of thinning: as more and more terri-tory falls under the protection of preservation—about 4% of the earth’s surface now cannot be touched—and the time lag between construction and preservation be-comes ever smaller, the intensity of our use of land and our ability to inhabit archi-tecture declines. In cities and in the countryside, thinning is one of the most urgent phenomena related to preservation.

The final display, at the back of the second room, is a timeline of OMA projects, spanning the 35 years of its practice, which have given new definitions to the idea of preservation, sometimes even as a retroactive realization. Each project comes on a postcard that visitors can peel off the wall and take home. By the end of the Bien-nale, preservation and depletion will be evident in the exhibition itself.

OMA

Team: Rem Koolhaas, Ippolito Pestellini Laparelli, Kayoko Ota, Miriam Roure, Amelia McPhee, Andrew Lin, Simon Pennec, Lawrence Siu, James Westcott

Thanks to: Haus der Kunst, Munich

With the additional support of: HyundaiCard The Netherlands Architecture Fund, Benetton

Office for Metropolitan Architecture, Preservation, Grande Axe La Defense, Paris, 1990 [1958]

Office for Metropolitan Architecture, Preservation, Bijlmermeer, Amsterdam, 1986 [1960]



Office for Metropolitan Architecture, Preservation, project on the city, Lagos, Nigeria, 1998 [rapid growth of the ’60s and ’70s]

Office for Metropolitan Architecture, Preservation, Wahad Vision, Lybia, 2010

The Image of Europe, Haus der Kunst, Munich, Germany, 2004

Office for Metropolitan Architecture, Preservation, Zollverein Kohlenwasche, Essen, Germany, 2006 [1932]



Office for Metropolitan Architecture, Preservation, Maison à Bordeaux, Bordeaux, 1998

Office for Metropolitan Architecture, Preservation, Airport, 2000 / Kloten Airport, Zürich, 1995 [1948]

Office for Metropolitan Architecture, Preservation, Riga Contemporary Art Museum, Riga, Latvia, 2006 [1904]

Office for Metropolitan Architecture, Preservation, Tate Modern, London, UK, 1994 [1947]


Open source is changing many aspects of our everyday life. We use open source tools such as Wikipedia for researching information and gaining knowledge. We use open source software such as OpenOffice to write letters and make presentations. We are shifting from a corporation owned consumer world to a community driven participation system where people enjoy contributing their knowledge and time to the wider public free. Could architecture and urbanism also benefit from these ideas? Ninety-eight per cent of the worldwide house building market (residential) is not designed and built by architects. OpenSource will gain credibility as well as market shares for the architectural com-munity.

OPEN SOURCE ARCHITECTURE—OPENSIMSIM.NET

Open source architecture is a community driven platform that enhances the archi-tectural design and building process. Open source architecture deals with wide-range, innovative, and sustainable housing concepts. It provides user generated content including scripting tools and with it valuable knowledge. The design process and realization of architecture are defined in a contemporary way: an interested community such as architects, engineers, climate specialists, home owners, designers, and manufacturers are putting their input and feedback into the design. The key players in the process are: - prospective home owners - architects - manufacturers - engineers and scientistsA work in progress version of the online platform OPENSIMSIM.NET will be pre-sented to a broader audience as a physical installation. An augmented reality instal-lation will demonstrate the ideas and possibilities of OpenSource for architecture and design. Fifteen open source designs by international design studios of what is called an intelligent living pod will be featured and visitors can interact with the sustainable design process and meet the design community.

Daniel Dendra, Peter Ruge, Rosbeh Ghobarkar

Collaborators: ACCONCI STUDIO, New York; anOtherArchitect, Berlin + Moscow; AU STUDIO, London; BFR LAB, Cologne + Langenthal; Haptic Architects/StokkeAustad, London/Oslo; HHD_FUN, Beijing; JUMP STUDIOS, London; JUNE14, Berlin + New York; SCHOOL ARCHITECTURE, Kyoto; MONOCHROME, Ljubljiana; NAGA STUDIO ARCHITECTURE, Los Angeles + Cairo; TATIANA BILBAO S.C., Mexico

Thanks to: AEDES NETWORK CAMPUS; CREATE BERLIN; DIA DESSAU; DRUPAL; IMAGINE ENVELOPE bv, Den Haag; IxDS, Berlin; LOOM, Berlin; NATALIA FENTISOVA; NOUS GALLERY, London; STRELKA INSTITUTE, Moscow; TRANSSOLAR, Stuttgart

OpenSimSim OpenSimSim.net

OpenSimSimOpenSimSim.net

anOtherArchitect, OpenSimSim.net, Open Source Design Process, 2010


Beautiful buildings hidden between shipyards and naval depots, some from the early Fourteenth century, surround the Giardino delle Vergini, where the garden will be situated. The space, partly a wilderness and covered by a canopy of large plane trees, will become a destination and a place to stay during the visit to the Biennale. Part of this wilderness will remain, but in the middle of this a new garden will be created with an atmosphere that reminds you of nature in its most ideal form (as in a dream). The emphasis is on late summer and autumnal abundance. The plants are chosen for their late flowering, structure, texture, or autumnal color. Most plants are attractive even in decay or as skeletons in winter. A path invites people to move through the garden. It is wide and therefore invites us to stop, sit, or simply hang out for a while. At the end, as an introduction to the following areas, there is a slightly wild, rough “meadow” under existing trees where you can enjoy the flower and plant borders from a little distance.

Landscape architects: Climmy Schneider, Kina Bergdahl

With the additional support of: the Netherlands Architecture Fund

Piet Oudolf Il Giardino delle Vergini

Piet OudolfIl Giardino delle Vergini

Piet Oudolf, Il Giardino delle Vergini, sketch, Venice, 2010



Piet Oudolf, Il Giardino delle Vergini, zoom, Venice, 2010

236 237Biennale Architettura 2010 ExhibitionPiet Oudolf Il Giardino delle Vergini


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238 239Biennale Architettura 2010 ExhibitionPiet Oudolf Il Giardino delle Vergini


Piet Oudolf, The Battery, New York. Photo the Artist

Piet Oudolf, High Line, New York. Photo the Artist

Piet Oudolf, Project for High Line, New York


In Architecture, there is an eternal tension between context and object. Since a building is inevitably placed in a particular and unrepeatable location, it establishes a limited set of specific relationships with it. Considering this physical inevitability, to willingly base the integrity of a building in those common places (such as ori-entation, views, access, or topography) is in itself a commonplace, or at least the minimum that an architect should aspire to do. To explain a building as an answer to a place is to explain the place, not the building. It is no more than a tautological exercise, instrumentally required for political or commercial purposes. However, a building, in its inner formal structure, could also be understood as an independent logical grammar. In its unitary conclusiveness, an architectural object could be separated from its location, from its anecdotal dramas. An isolated building is a sin-gular entity. It is a piece, a device that resists, with more or less integrity, the prob-lems (social, cultural, economic, or technical) of the context that supports it. Today, considering the widespread scarcity of resources, it appears problematic to trace a project as an autonomous figure. There is no possible canon, no fixed measure, when dealing with an unstable and informal environment. That context is anywhere. Therefore, a project is meant to be a flexible machine. Its efficiency is determined by its accidents. In this lack of autonomy, architectural practice is faced as a mere fit-ness activity, a continuous negotiation, an unpredictable contest to articulate a new program with an existing place. But that is half of the idea, half of the promises of an architectural statement. The other half is what could be called the antifitness prop-erty of a building. This is the objectual aura of the piece; the capacity of an object of replying, of declining the expected associations, up to the extent of producing a sort of uncomfortable situation in a given moment. It is an irony, as Borges said, to select as a personal option what is imposed as an inevitable condition.

Collaborators: Cristobal Palma, Dany Berzceller, Eleonora Bassi, Bernhard Maurer

With the additional support of: SOTTAS SA - Steel & Metal Constructions

Pezo von Ellirichshausen Architects Detached

Pezo von Ellirichshausen ArchitectsDetached

MANCA

Pezo von Ellrichshausen Architects, Fosc House, interior view, Coliumo, Chile, 2005. Photo Cristóbal Palma

242 243Biennale Architettura 2010 ExhibitionPezo von Ellirichshausen Architects Detached


Pezo von Ellrichshausen Architects, Poli House, exterior distant view, Coliumo, Chile, 2005. Photo Cristóbal Palma

Pezo von Ellrichshausen Architects, Poli House, exterior view, Coliumo, Chile, 2005. Photo Cristóbal Palma

MISSING CAPTION!



Pezo von Ellrichshausen Architects, Poli House, interior view, Coliumo, Chile, 2005. Photo Cristóbal Palma

Pezo von Ellrichshausen Architects, Poli House, drawing, 2005





MISSING CAPTION!

MISSING CAPTION!

Pezo von Ellrichshausen Architects, Fosc House, exterior view, San Pedro, Chile 2009. Photo Cristóbal Palma

248 249Biennale Architettura 2010 ExhibitionRenzo Piano Building Workshop People meet in Architecture - RPBW selected projects

Renzo Piano Building WorkshopPeople meet in Architecture - RPBW selected projects

People meet in Architecture is a title that well describes the architect’s art.This is why Renzo Piano and the Building Workshop wanted to be present with an installation that would document the effort to design spaces “for people.”

Going beyond the institutional confines of the Biennale, RPBW takes some of its buildings among the Venetian calli and canals by affixing images of “inhabited archi-tecture.”

The focus of the photos, some by famous photographers, is not the places but “the people that meet in architecture.”

The same pictures will be displayed on big panels in the Giardini and the Arsenale.

Renzo Piano with Stefania Canta, Marco Profumo, Chiara Casazza

Renzo Piano Building Workshop, The New York Times Building, New York, 2000-2007. In collaboration with FXFowle Architects, P.C. (New York). © and Photo Michel Denancé

Renzo Piano Building Workshop, Renovation and expansion of the Morgan Library, New York, 2000-2006. In collaboration with Beyer Blinder Belle LLP (New York). © and Photo Michel Denancé

250 251Biennale Architettura 2010 ExhibitionRenzo Piano Building Workshop People meet in Architecture - RPBW selected projects

Renzo Piano Building WorkshopPeople meet in Architecture - RPBW selected projects

Renzo Piano Building Workshop, Padre Pio Pilgrimage Church, San Giovanni Rotondo, Italy, 1991-2004. © RPBW. © Enrico Cano, by SIAE 2010

Renzo Piano Building Workshop, Zentrum Paul Klee, Bern, 1999-2005. In collaboration with ARB, architects (Bern). © and Photo Michel Denancé


In a great chamber crowded by classical columns, crowned with a dark void sug-gesting the nocturnal sky and enclosed by 6.5-meter-high masonry walls, we have made a place whose character shifts from the urban to the domestic. The place and the objects within at once recall a small, monumental piazza, and a salone grande, redolent of Venetian palazzi. Different interpretations of where one is or what things are—or how one might be (public, private)—depend on one’s point of arrival. From the main entrance, one happens upon a street scene, festooned with lights. A car, its interior an empty lounge awaiting guests, is parked in front of a loggia or monu-mental staircase. Caught in the car’s headlights, a great pile stands in an opposite corner, a ghost of a building as though viewed from a distance. The place is at first very much like a piazza, though the presence of objects of inconsistent scale lends it an ambiguous character that is reinforced as one moves through it. The ghost reverts to being a rack of shelves, and the piazza briefly assumes the guise of a chapel, the loggia a baldacchino. A diminutive font is caught in a beam of light, its tiny pool casting rippling light high onto the walls, reminiscent of the play of the la-goon. Tall, empty stretchers stacked on top of each other in another corner sketch a succession of illusory interiors, a trompe l’oeil enfilade of unmade pictures. A pale object, again, like a stack of shelves, stands next to them: an abandoned piece of furniture, an overgrown doll’s house that one can fill with one’s dreams. An image of swaying tree branches at dusk shimmers upon the wall like a window onto another place, a world beyond. The space is now a room, a private interior. A desk sitting in a pool of its own light is an intimate refuge turned to the wall. A secretaire, or building, stands by. Next to the desk, another opening, another place and the image of another in the sylvan glow: one’s reflection. One sees an interior receding behind one’s own image. Then, one turns, naturally, outward, past the furniture, to see the city, waiting. One looks back through the loggia to all the figures one has seen, and returns to the piazza, the city, its lights, its movement, its fantasy.

With the additional support of: Derek Lam, Jan Schlottmann

Thanks to: Pietro Valle

Mark Pimlott + Tony Fretton Architects Piazzasalone


Mark Pimlott, La scala, Aberystwyth, 2003. Photo Hélène Binet

254 255Biennale Architettura 2010 ExhibitionMark Pimlott + Tony Fretton Architects Piazzasalone


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256 257Biennale Architettura 2010 ExhibitionMark Pimlott + Tony Fretton Architects Piazzasalone


Mark Pimlott, La scala, Aberystwyth, 2003. Photo the Artist

Tony Fretton Architects, Red House, London, 2001. Photo Hélène Binet

Mark Pimlott, Guinguette, Birmingham, 2000. Photo Mark Pimlott


Mark Pimlott and Tony Fretton. Piazzasalone, definitive project, 2010. Pencil on paper, 19 × 25 cm. Drawing courtesy of Mark Pimlott

Mark Pimlott and Tony Fretton. Piazzasalone, definitive project, 2010. Pencil and permanent marker on paper, 19 × 25 cm. Drawing courtesy of Mark Pimlott

Mark Pimlott and Tony Fretton. Piazzasalone, definitive project, 2010. Pencil on paper, 19 × 25 cm. Drawing courtesy of Mark Pimlott



Mark Pimlott + Tony Fretton Architects. Piazzasalone, first project, 2010. Pencil and permanent marker on paper, 19 × 25 cm Drawing courtesy of Mark Pimlott.

260 261Biennale Architettura 2010 ExhibitionCedric Price VENIC VENIC

Cedric PriceVENIC VENICA project curated by Hans Ulrich Obrist and Samantha Hardingham

Cedric Price (1934-2003) has been one of architecture’s most influential figures since the founding of his office in London in 1960. His major themes are those of time and movement. His work has had a great impact on young architects as well as on generations of artists, who continue to be inspired and influenced by his ideas. One of the central features of his thinking and his work—as manifest in the kinetic Snowdon Aviary at the London Zoo (1964), “which changes its form as the wind-load varies over time”—demonstrates Price’s opposition to permanence and his discussions on change. Price’s projects—over 250 of them in all—consistently push against the traditional physical limits of architectural space. His focus on time-based urban interventions, rather than on finished buildings, has earned him heroic status with seminal works including the Fun Palace (1961-1974), an inter-disciplinary multi-purpose complex for theater and for cultural projects; Potteries Thinkbelt (1964), a university on the move; and Magnet (1999), a series of short life structures, or urban triggers, to stimulate new patterns of urban movement in London. Francis Picabia claimed that our head is round so that thinking can change directions—thus, Price’s conviction that buildings should be flexible enough to allow the occupier to adapt the building to serve the needs of the moment reflects his own belief that time, alongside breadth, length, and height, is the fourth dimension of design.

Hans Ulrich Obrist

The project incorporates

An online project conceived at the department for Exhibition Design and Curatorial Practice at the Hochschule für Gestaltung Karlsruhe (HfG), supervised by Armin Linke, Markus Miessen, and Wilfried Kühn

Student researchers: Kilian Fabich, Stella-Sophie Seroglou, and Ulrich Steinberg

huoarchive.hfg-karlsruhe.de

With the additional support of: Institute of the 21st Century (Karen Marta; Justin Conner; Bettina Korek, Director); Pasadena Arts Council

A special thanks to: Eleanor Bron; The Architectural Association Photo Library; The Canadian Centre for Architecture, Montreal; Peter Weibel, Hochschule für Gestaltung Karlsruhe; Pidgeon Digital; Tom Cairnes; Agnes b.; Richard Hamilton; Rita Donagh

“Philosopher, sir?”

“An observer of human nature, sir,” said Mr. Pickwick.

Charles Dickens, The Pickwick Papers or The Posthumous Papers of the Pickwick Club (1836-1837).*

Cedric Price was an architect, thinker, and above all an Englishman of extraordinary generosity towards his subject. He had an independence of mind the likes of which can only come from a fondness for humans and a fascination for human nature. He worked tirelessly to invest his architecture with the ambition of—in the words of his uncle, Jack Price—“dignifying life generally.” For Price, the moral and ethical prin-ciples implied in any design speculation are privileged over and above variations on the arte-factual by-product. In this respect, the role of the many rich collaborations over his lifetime, conversations and talks amongst audiences, engaging with the me-dia as a means of initiating discussion, and the more personal dialogue presented in his sketchbooks were all critical in developing his design thinking on the themes of participation, anticipation, indeterminacy, and delight. The films and drawings that appear in the exhibition present Price doing what he did best over a period of forty years—constantly challenging our understanding of what architecture might be, in discussions with students, colleagues, strangers and himself.

Samantha Hardingham

*a CP favorite—he held sixteen copies in his library at home, with one copy especially reserved for traveling.


Cedric PriceVENIC VENIC

Cedric Price, Autumn Gets Me Badly (1989), 101’, Screen shots taken from the video recording of a talk in five parts by Cedric Price, delivered at the Architectural Association on the 6th of November, 1989. Video transfer to DVD. Courtesy The Architectural Association, London



This project is part of broader, ongoing research at Hochschule für Gestaltung Karl-sruhe (HfG), Germany, that attempts to turn Hans Ulrich Obrist’s archive into a pro-ductive tool generating a set of (spatial/content) structures that produce new works from the archived material. Fifteen hours of recorded conversations with Cedric Price were isolated in order to generate new content. The video-material is primarily of Obrist interviewing Cedric Price in his London office from 1998-2003. The situ-ation generated a process that Cedric Price employed throughout his working life: a continuous self-critique of the modes of operation and production of a designer. The research group at the HfG has produced hundreds of individually edited video clips, tagged according to specific key words, which can be used to generate a live, albeit fictional, conversation with the architect. The website creates the possibility of a virtual conversation between Cedric Price and the user.

Armin Linke and Markus Miessen


Cedric PriceVENIC VENIC

Cedric Price, Pages from the sketchbooks of Cedric Price (27.10.70 - 28.06.74). Ink pen on paper - sketchbook, 7 x 11.5 cm. Courtesy The Cedric Price Estate, London

Cedric Price, Pages from the sketchbooks of Cedric Price (1952). Ink pen on paper - sketchbook, 9 x 9 cm. Courtesy The Cedric Price Estate, London

Cedric Price and Joan Littlewood, Fun Palace: Promotional brochure, 1964. Black and red ink reprographic copy on wove paper, 36,2 x 59,8 cm. DR1995:0188:001:016. Cedric Price fonds, Centre Canadien d’Architecture/Canadian Centre for Architecture Collection, Montréal


After the earthquake of February 27, 2010, in Chile, we decided to rebuild a future that is protected, perfumed, and peaceful, reproducing the sense behind the dry lines of the David Hockney etching, The Boy Hidden in a Fish.

The etching shows a scene from the Brothers Grimm tale, The Little Sea Hare, in which the boy hidden in a fish tries to avoid the searching eyes of the princess who observes everything through her tower’s twelve windows.

This refuge is simply one example of a protected interior that could be used to sleep if we want, just as a homeless person would, by the visitors to the exhibition People meet in Architecture. It is built simply by hollowing out a granite boulder us-ing industrial technology and then partially covering the interior with raw wood. The size of the boulder is 310 × 152 × 540 centimeters and the initial weight is nineteen tons. Once hollowed, its weight will decrease to eight tons. The wooden covering is made of cedar which we have chosen for its soft scent, an aroma that can be sensed by the public when inside.

Collaborators: Juan Araya, Marcelino Lopez, Gerardo Rojas, Juan Castillo

With the additional support of: HORM (Italy), HITEK (Chile)

Smiljan Radic + Marcela Correa The Boy Hidden in a Fish

Smiljan Radic + Marcela CorreaThe Boy Hidden in a Fish

Smiljan Radic + Marcela Correa, The Boy Hidden in a Fish, image of the project, 2010

268 269Biennale Architettura 2010 ExhibitionSmiljan Radic + Marcela Correa The Boy Hidden in a Fish




Smiljan Radic + Marcela Correa, The Boy Hidden in a Fish, stone view completed, 2010

270 271Biennale Architettura 2010 ExhibitionSmiljan Radic + Marcela Correa The Boy Hidden in a Fish


Smiljan Radic, Pite House, 2005. Photo Cristobal Palma

Smiljan Radic + Marcela Correa, Fonola House, 2009. Photo Gonzalo Puga

Smiljan Radic, Room, 1997. Photo the Artist

Smiljan Radic, Room, 1997. Photo Erieta Attali


Instant urbanism

In many of their projects, raumlabor focuses on activation of the public realm. Public buildings, squares, or abandoned spaces, forgotten areas, or derelict buildings are their field of action. Through specific architectural and programmatic interventions, they detect unused potential and open new perspectives for new spheres of activity.

One of raumlabor’s motivations is to engender alternative practices within the city, fostered through cooperation and self-empowerment. They explore what remains of collective ideals and ways to overcome today’s harsh conditions of economic com-petition. Establishing temporary communities is one tool for creating a surrogate notion of a city divorced from the capitalist logic of use-value and profitability.

Kitchen Monument is one of many mobile structures developed by raumlabor in collaboration with Plastique Fantastique to create instant communities in differ-ent urban situations. This zinc-sheet-clad sculpture can be installed within public spaces, transforming each site into a collective space through an inflatable mantle. Kitchen Monument has traveled across many sites in Europe and has accommo-dated multiple purposes, including banquet hall, conference room, cinema, concert hall, ballroom, dormitory, boxing arena, and steam bath.

The Generator is an experimental building laboratory for instant, participatory build-ing practices in public space. Central issues of the research include construction principles, different assemblage points, new geometries for furniture, and light-weight construction buildings, as well as new use possibilities and multiple pro-grams for people to meet and interact in public.

The Generator consists of two components: hardware and software.

The hardware is a workstation designed for mobility. A set of several flight cases can be assembled as two workbenches. They contain all the necessary tools for eight people to work on site using simple wooden slats and plywood as building materials.

The software is a set of construction plans and instructions for modules, which are developed for easy assembly. The construction methods will be constantly tested and improved. The modules can be assembled into chairs, tables, and shelves, as well as walls and shelters. The participants can transform the modules accidentally or intentionally. A process of learning by doing. The team will record and reuse all possible mutations of the system and incorporate them into a growing structure.

The Venetian Chair is a remembrance of childhood, when building fortresses, hide-outs, and our own world with pieces of furniture was our utmost pleasure. A chair is the archetype of furniture, an object that assists us as we work, relax, or gather for a meal or discussion. With The Generator it is endowed with a further function: the “stacking chair” becomes an assembly part to construct spaces.

Collaborators: Kitchen Monument (Plastique Fantastique-Marco Canevacci Manfred Eccli); The Generator (Frauke Gerstenberg, Lucia Pasquali, Andrew Plucinski, Lucas Fink, Armin Fucks, Annamaria Piccinini, Francesco Vedovato, Manuel Coletto, Roberta Aralla, Camilla Minini, Marella Diamantini, Paolo Ruoro, Anna Francesca Triboli)

With the additional support of: Zumtobel, Domus, Graduate School of Design - Harvard University, nora systems GmbH

raumlaborberlin Kitchen Monument, The Generator

raumlaborberlinKitchen Monument, The Generator

raumlaborberlin and Plastique Fantastique, Marco Canevacci, Kitchen Monument, Duisburg, 2006. Photo Marco Canevacci

raumlaborberlin and Plastique Fantastique, Marco Canevacci, Kitchen Monument, Duisburg, 2006. Photo Rainer Schlautmann

274 275Biennale Architettura 2010 Exhibitionraumlaborberlin Kitchen Monument, The Generator


Markus Bader, Oliver Baurhenn, Jakub Szreder, Raluca Voinea, The Knot, 2010. Photo raumlaborberlin

raumlaborberlin and Plastique Fantastique, Marco Canevacci, Kitchen Monument, Liverpool, 2008. Photo raumlabor

raumlaborberlin, Chaise Bordelaise, 2009. Photo the Artist


raumlaborberlin, Tempelhof Airport, since 2006




Meeting someone means facing the unknown, the strange, or even confronting your own repulsion at negotiating unfamiliar surroundings. It’s neither comfortable nor pleasing. It means crossing a heterotopic space where the passage itself is the only way to define yourself in relation to what’s already there. This involves consideration of risk and a determination of whether or not to go through with it. Meeting doesn’t mean plunging into a masked carnival, or huddling in a dark room, as if in a ceremo-ny meant exclusively for a sum of individualities. It means daring to risk the unknown together.

“I remember the inaccessible zone and the room where wishes are granted in the Tarkovsky movie Stalker; a place you enter after crossing a territory where the gods clashed with humanity—we still don’t know who won that battle. The truce is unsta-ble. Nothing can be discerned but sweat and silence, like climbers roped together, seeking to transgress the forbidden. The fence simultaneously protects those who are still there, about whom we know nothing, and those who dare venture in without knowing how to make use of what they may find there. At the end of the journey, amid the humid dilapidation, looms this Room of Wishes, where architecture is pre-cisely the meeting point…”

R&Sie(n)’s apparatus is something similar, touching something which could simulta-neously intrigue, attract and repulse you. The meeting point is not pretending to be safety. But it’s also a fragment of the design of thebuildingwhichneverdies commis-sioned by the Zumtobel Group for its Thorn subsidiary.

This building is a nocturnal observatory pivoting on itself. This research labora-tory is intended to analyze human beings’ physiological and ocular adaptation to the dark, in order to be able to reduce urban light pollution. This lab is aimed at the moon when it’s above the horizon, to take advantage of the one-lux minimum moon-light and even amplify it.

But at night this lab restores the light intensity of daytime by discharging UV sensor units located on all the exterior surfaces. Thus their phosphorescent components (Isobiot®opic oxide pigment), populated on all its outdoor surfaces, report on solar activity, its degree of danger according to its variations of intensity and specific nature (UV—A, B, C).

The components’ afterglow is a detector, an architectural Marker of the mutation of our environment and occurs as a signal of UV human pathologies. The level of UV which has crossed the Ozone layer is only revealed with a gap of time, after people are plugged into the shadows of the day, in the death of the sunset, by the after glowing ghost, inter canem et lupum…

Team: François Roche, Stephanie Lavaux, Kiuchi Toshikatsu

Collaborators: Stephan Henrich, M/M, Benoit Lalloz, Gaetan Robillard, Sebastien Szczyrk, Gorka Arrizabalaga, Jean-Michel Castagné, Gabriel Blue Cira, Sandra Meireis, Ulrike Marie Steen, Hamish Rhodes, Alessandra Vassallo, Sina Momtaz, Liza Langard, Melissa Millot

Production: Stephane Rivoal, CNC Prototyper Tecmolde, Assembling Ufacto

With the additional support of: Zumtobel, Thyssen-Bornemisza Art Contemporary / Vienna / Austria, Materialise / 3D print / Belgium, Tecmolde / CNC production / Spain

www.new-territories.com/biennale010.htm

R&Sie(n) Isobiot®ope / thebuildingwhichneverdies

R&Sie(n)Isobiot®ope / thebuildingwhichneverdies

R&Sie(n), UV detector component draft version

R&Sie(n), UV detector component second version

280 281Biennale Architettura 2010 ExhibitionR&Sie(n) Isobiot®ope / thebuildingwhichneverdies

R&Sie(n) Isobiot®ope / thebuildingwhichneverdies

R&Sie(n), Isobiot®ope

R&Sie(n), Biennale apparatus

R&Sie(n), thethingwhichnecrose, 2009

282 283Biennale Architettura 2010 ExhibitionTom Sachs

Tom Sachs

Tom Sachs’s exhibition focuses on Le Corbusier, whose legacy represents the successes and failures of modernism—both the potential for solving the world’s housing crisis with technology and the mismanagement of projects that incubated poverty. Le Corbusier’s most influential late work and his first significant postwar structure, the Unité d’Habitation in Marseilles, was completed in 1952. Sachs has included four related works, Care Taker and Unité Façade, B Side. Unité d’Habitation, a massive, twelve-story apartment block for 1,600 people, is the late-modern counterpart of the mass housing schemes of the 1920s. It was built to alleviate a severe postwar housing shortage. Although built as a prototype for mass production—Corbusier envisioned 1,000 Unités—just three other bastardized versions were completed: Nantes-Reze, Firminy, and Berlin. Only the Marseilles Unité stands uncompromised. Parading the successes and failures of modernism, Unité represents both the potential for solving the world’s housing crisis through technology, and economic mismanagement resulting in project failure and continued suffering and poverty. Driving through McBusier, one would experience the world’s most important drive-thru restaurant. Designed around the turning radius of the front-wheel-drive Citroen Traction Avant automobile, Le Corbusier’s Villa Savoye is the first significant residential building to incorporate the automobile into its architecture. The McDonald’s drive-thru, designed to provide burgers and fries to America’s increasingly mobile fast-food consumers, is the most ubiquitous automo-bile-influenced building. In comparing Ray Krock to Le Corbusier, who is the suc-cess and who is the failure? Who is the winner and who is the loser? Also, consider Minoru Yamasaki, perhaps Le Corbusier’s most infamous disciple. His two most significant buildings—destroyed for political reasons—are Pruitt-Igoe (1955-1972) and the World Trade Center (1973-2001). In the 1920s, Le Corbusier presented his radiant city towers as an armor-capped defense against the new German threat of aerial attack. The buildings’ raised feet also allow the new poison gas to dissi-pate. With Yamasaki’s compromised plan for Pruitt-Igoe based on radiant city, we trace an arc of aerial terror through modern history that links greed, imperialism, and retribution.

Collaborators: Gordon Millsaps, Oksana Todorova, Casey Neistat, Van Neistat, John Furgason, Kai Williams, Nick Doyle, Chris Beeston, Pat McCarthy, Erik Brandt, Iris Jaffe, Jason Kotara, Alex Chohlas-Wood, Sarah Vasil, Daniel Akselrad, Evan Murphy, Marley Lohr, Daniel Gatenio With the additional support of: Sperone Westwater, Baldwin Gallery, Deutsche Guggenheim, Bohen Foundation Thanks to: Vanhaerents Art Collection, Galerie Thaddaeus Ropac

Tom Sachs, Untitled, Unité Façade, B Side, 2001

Tom Sachs, The Radiant City, 2010


Tom Sachs



Tom Sachs



vacuum pack-ing (sotto-vuoto) is a title that defines this project for the Biennale as well as describing the work produced in the studio so far.

Although we like to live with inconstancy and the unstable, constant themes can be found in our work. We try to work with vacuum and void, we use as little material as possible, and we are interested in working with the habitual, the ordinary, or, better yet, the vulgar.

This is why we interpreted the proposition of SANAA of moving to the Biennale all the objects, models, and pieces from projects that we keep collecting and accumu-lating on the shelves of our studio as a mere “packing-moving-exhibiting.” And we are forcing ourselves to do it with as little material as possible. This implies working with the lightest and cheapest material—air.

We started with small floating inflatable capsules. These capsules would exhibit the pieces out of the public’s reach. But soon we realized they were unstable, the ob-jects would end up moving and falling and, moreover, they occupied space, making its transportation unviable. Although the material seemed ideal for the project—thin plastic sheets that, well-folded, would fit in any suitcase—we had to use it in another way.

At lunchtime we saw it clearly… instead of adding we had to remove, as usual. We didn’t have to add air, but on the contrary we had to remove it all, producing a com-mon vacuum packing. This would ease the transportation and would fix the small objects to the desirable position. The project was reduced to the technical task of vacuum packing objects, some of which were delicate and some big.

The project was enriched when we had to adapt and curve the vacuum forms to the small size of Room 25 (we subtitled this On room 25) and place them in the pres-ence of a window and its reflections. We play with the little space, the window, and its transparency; the transparency and reflections of both the window and vacuum forms that together produce a dance of mirages over the room wrapped in 3M mir-ror paper. All this packaging work has triggered the investigation of new materials and effects, so this project ended up being the start of a future one.

And finally comes the most interesting virtue of this montage for us: the tactile. This is a work made to be touched, for the blind, where a sign will read: “please touch”.

Collaborators: Jose María Lastra, Jeong Woo, Gilberto Ruiz Lopez

With the additional support of: Lastra & Zorrilla, State Corporation for Spanish Cultural Action Abroad (SEACEX), 3M, Polimertecnic

selgascanovacuum pack-ing (on room 25)

selgascano vacuum pack-ing (on room 25)

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290 291Biennale Architettura 2010 Exhibitionselgascano vacuum pack-ing (on room 25)


selgascano, Silicon House, Madrid, 2006. Photo Iwan Baan

selgascano, Office in the Wood, Madrid, 2008. Photo Iwan Baan

292 293Biennale Architettura 2010 Exhibitionselgascano vacuum pack-ing (on room 25)


selgascano, Auditorium and Congress Center, Plasencia, Spain

selgascano, Vacuum Pack-ing (On room 25), detail of Police Headquaters, Merida, Spain

selgascano, Police Headquaters, Merida, Spain

selgascano, Vacuum Pack-ing (On room 25), detail of Auditorium and Congress Center, Plasencia, Spain

selgascano, Police Headquaters, Merida, Spain

selgascano, Auditorium and Congress Center, Plasencia, Spain

selgascano, Vacuum Pack-ing (On room 25), detail of Cartagena Auditorium

selgascano, Congress Center, Badajoz, Spain

selgascano, Vacuum Pack-ing (On room 25), detail of Congress Center in Badajoz, Spain

selgascano, Auditorium, Cartagena, Spain

selgascano, Congress Center, Badajoz, Spain

294 295Biennale Architettura 2010 ExhibitionStudio Mumbai Architects Work-Place

Studio Mumbai ArchitectsWork-Place

Our immediate environment is a space that we subconsciously create and inhabit. We can make this space very familiar or we can expose ourselves to unfamiliar elements that provoke our response and reevaluation. There are many sources of inspiration: one only has to observe closely. It is possible to have set ideas of what architecture should be, but first we need to understand why things are a certain way. Work-Place is an environment created from an iterative process, where ideas are explored through the production of large scale mock-ups, models, material studies, sketches, and drawings. Here projects are developed through careful consideration of place and a practice that draws from traditional skills, local building techniques, materials, and an ingenuity arising from limited resources. Inspired by observation of real life conditions, these architectural studies are vital tools that enable us to look at the complexity of relationships within each project and to respond and adapt freely through the practice of making. They are ambigu-ous, existing as part and whole, between idea and reality. Our endeavor is to show the genuine possibility in creating buildings that emerge through a process of collective dialog, a face-to-face sharing of knowledge through imagination, intimacy, and modesty.

Team: Studio Bijoy Jain, Jeevaram Suthar, Samuel Barclay, Punamchand Suthar, Bhaskar Raut, Pandurang Gharat, Chanana Ram, Bhuraram, Bhanwar Lal, Kharta Ram, Bhaira Ram, Sawai Ram, Michael Anastassiades, Kate Dineen, Samir Raut

Studio Mumbai Architects, Work-Place, framing model, Nagaon, Maharashtra, India, 2006. © and Photo the Artists

Studio Mumbai Architects, Work-Place, Studio Workshop, Nagaon, Maharashtra, India, 2010. © and Photo the Artists

Studio Mumbai Architects, Work-Place, shifting of stone, Leti, Uttaranchal, India, 2007. © and Photo the Artists



Studio Mumbai Architects, Tara House, well construction, Kashid, Maharashtra, India, 2005. © and Photo the Artists

Studio Mumbai Architects, Tara House, well construction, Kashid, Maharashtra, India, 2005. © and Photo the Artists

Studio Mumbai Architects, Work-Place, carpenter sketches, Nagaon, Maharashtra, India, 2009-10. © and Photo the Artists



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302 303Biennale Architettura 2010 ExhibitionFiona Tan + Kazuyo Sejima & Associates + Office of Ryue NishizawaCloud Island I (Fiona Tan)

Fiona Tan + Kazuyo Sejima & Associates + Office of Ryue NishizawaCloud Island I (Fiona Tan)

Fiona Tan with Toshiyuki Abe, Kinue Inoue, Senji Nakayama, Kojiro Shibata, Michiko Shibata, Chieko Tsugita

Written and Directed by: Fiona Tan

Production Manager: Marty de Jong

Director of Photography: Erik van Empel

Sound Engineer: Mark Wessner

Research: Renna Okubo

Production Assistants: Renna Okubo, Mao Nagakura

Helicopter Pilot: Toshihiko Sasae

Catering: Sakae Ikeda

Artist’s Assistant: Letizia Colella

Edited by: Gys Zevenbergen

Sound Design: Hugo Dijkstal

Postproduction: Filmmore, Amsterdam; Shosho, Amsterdam; Lodewijk van Olffen

Grading: Wouter Suyderhoud

Produced by: Fiona Tan

With thanks to: All the inhabitants of Inujima and Toshiyuki Abe, Yuko Hasegawa, Hiroshi Kagayama, Kazuo Miura, Ryue Nishizawa, Kazuyo Seijma, Takafumi Shimooka, Hiromitsu Tokumori (Ohmoto Group), Masakazu Uchida (Inujima Art Project), Kiyoshi Wako, Chikako Watanabe

Filmed on location on Inujima and Teshima, Japan

Courtesy the artist, Wako Works of Art, Tokyo and Frith Street Gallery, London

Commissioned by: the Naoshima Fukutake Art Museum Foundation

Funded by: Naoshima Fukutake Art Museum Foundation and Wako Works of Art, Tokyo

© Fiona Tan, 2010

With the additional support of: Mondriaan Foundation, Amsterdam

Fiona Tan, Cloud Island I, 2010 Fiona Tan, Cloud Island I, 2010



Fiona Tan, Cloud Island I, 2010

Fiona Tan, Rise & Fall, 2009. Courtesy the Artist and Frith Street Gallery, London

Fiona Tan, Disorient, 2008. Courtesy the Artist and Frith Street Gallery, London



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MAP SMALLER BUT DON’T CROP IT

308 309Biennale Architettura 2010 ExhibitionFiona Tan + Kazuyo Sejima & Associates + Office of Ryue NishizawaInujima Art house project (Kazuyo Sejima & Associates)

Fiona Tan + Kazuyo Sejima & Associates + Office of Ryue NishizawaInujima Art house project (Kazuyo Sejima & Associates)

There is a tiny island called Inujima in the Seto Inland Sea, on which there is a village. It was once renowned for its granite production, then its soft hills and rich nature lay quiet. Our project creates a series of independent gallery spaces among the houses and trees.

Visiting Inujima regularly we could trace the seasons and become accustomed to the distances, routes and visual sequences that the island offers. Each season revealed different views, changing colors and an ephemeral relationship between village, the trees and the flowers. We selected sites within valleys formed by the undulating hills, sites within the houses, sites high above with a view over the sea. By studying in many media and with models at varying scales, we could understand the characteristics specific to each location. It is from this process that shapes, sizes and materiality emerged for each gallery space, every one communicating with its immediate nature, the landscape as a whole and the life of the village as it flows through. In places where the traditional wood structures could be reutilized they were transformed, in others new light structures evolved.

Walking through the village people can find a series of galleries: wood, aluminum, acrylic and granite appear and disappear with the changing levels of the terrain. As you approach and pass through each space the art displayed melts into its environ-ment. Transparent surfaces dissolve and the landscape, sky and sea appear as art.

Our desire is to create an environment where the village itself is a museum. Nature, existing houses and scattered galleries become the framework of the island and it is transformed into a new landscape: a landscape that visitors and local people are invited to inhabit together.

Project Team: Kazuyo Sejima, Yoshitaka Tanase, Takashi Suo, Naoko Kawachi, Takayuki Furuya

Art Director: Yuko Hasegawa

Structural engineers: Sasaki Structural Consultants, Atelier Shimamura

Mechanical engineers: Scientific Air-Conditioning Institute

Planting: Akaruiheya Inc.

General Contractor: Ohmoto Gumi Co., LTD

Client: Naoshima Fukutake Art Museum Foundation

Kazuyo Sejima & Associates, Inujima Art House project, 2010. Photo Iwan BaanKazuyo Sejima & Associates, Inujima Art House project, 2010

310 311Biennale Architettura 2010 ExhibitionFiona Tan + Kazuyo Sejima & Associates + Office of Ryue NishizawaInujima Art house project (Kazuyo Sejima & Associates)


Kazuyo Sejima & Associates, Inujima Art House project, 2010. Photo Iwan Baan

Kazuyo Sejima & Associates, Inujima Art House project, 2010. Photo Iwan Baan

Kazuyo Sejima & Associates, SANAA, Installation in the Mies van der Rohe Pavilion, 2008. Photo SANAA and Kazuyo Sejima & Associates

Installation for Comme des Garçons, 2009. Photo Kazuyo Sejima & Associates

312 313Biennale Architettura 2010 ExhibitionFiona Tan + Kazuyo Sejima & Associates + Office of Ryue NishizawaTeshima Art Museum (Office of Ryue Nishizawa)

Fiona Tan + Kazuyo Sejima & Associates + Office of Ryue NishizawaTeshima Art Museum (Office of Ryue Nishizawa)

Upon completion the museum we are currently designing for Teshima (an island in the Seto Inland Sea) will provide a simple functional space for a collection of work on permanent display. The site is located on a low range of hills that looks out onto the ocean. This beautiful environment, in which rice paddies lie side by side amongst untouched nature, contains zero commercial buildings or private residenc-es.

What we envisioned for the site is an architectural form that resembles a drop of water. As the terrain is richly contoured we imagined that this form, with its gentle curves, would snugly blend into the surroundings whilst simultaneously forming an architectural space. The thin concrete shell extends upward some 60 meters at its highest point creating a large, organic, single room space. By significantly reducing the height of the ceiling compared with that of normal shell structures, the exterior is imbued with a presence of form that is similar to a landscape element such as a hill or slope. The interior is distinguished by an organic space that resembles a hori-zon—stretching out like a drop of water on a sheet of paper. There are also a num-ber of holes in the shell through which natural light and glimpses of natural scenery are introduced into the space.

In this project rather than simply creating an art museum we set out to create a fu-sion between the environment and the building, between art and architecture, and to realize a single unit comprising all these elements.

Project team: Ryue Nishizawa, Yusuke Ohi

Artist: Rei Naito

Structural engineer: Sasaki Structural Consultants

Mechanical engineer: Kajima Corporation

General contractors: Kajima Corporation

Client: Naoshima Fukutake Art Museum Foundation

Expected completion October 2010

Office of Ryue Nishizawa, Teshima Art Museum, 2010.Photo Office of Ryue Nishizawa / July 2010

Office of Ryue Nishizawa, Teshima Art Museum, plan 2010

Office of Ryue Nishizawa, Teshima Art Museum, section, 2010

Office of Ryue Nishizawa, Teshima Art Museum, 2010. Photo Office of Ryue Nishizawa / July 2010


Fiona Tan + Kazuyo Sejima & Associates + Office of Ryue NishizawaTeshima Art Museum (Office of Ryue Nishizawa)

Office of Ryue Nishizawa, House A, 2006. Photo Ken’ichi Suzuki

Office of Ryue Nishizawa, Teshima Art Museum, 2010. Photo Office of Ryue Nishizawa / May 2010



Office of Ryue Nishizawa, Teshima Art Museum, 2010. Photo Ken’ichi Suzuki / July 2010



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TXT OVER IMAGE BOTH ENG AD ITA


Clouds are important elements of our atmosphere, framing outdoor space and filter-ing sunlight. They are the visible part of the terrestrial water cycle, carrying water—the source of life—from the oceans to the land. Clouds find balance within stable equilibria and naturally sustain themselves, embodying and releasing solar energy. The ability to touch, feel, and walk through the clouds is a notion drawn from many of our fantasies. Gazing out of airplane windows, high above the earth, we often daydream of what it might be like to live in this ethereal world of fluffy vapor.

Transsolar and Tetsuo Kondo Architects create Cloudscapes where visitors can experience a real cloud from below, within, and above floating in the center of the Arsenale. Visitors find a path that is akin the normal experience of walking through a garden. The path winds through the Cloudscapes appearing and disappearing. Sometimes people only see the other people across the cloud while the path is obscured. The structure consists of a 4.3 meter high ramp that allows visitors to sit above the cloud. Simply, the structure leans on the existing Arsenale columns. The cloud is always changing so the experience of the path is also dynamic.

The cloud is based on the physical phenomenon of saturated air, condensation droplets floating in the space and condensation seeds. The atmospheres above and below the cloud have different qualities of light, temperature, and humidity, sepa-rating the spaces by the light filter effect. The cloud can be touched, and it can be felt as different microclimatic conditions coincide. The scene is set underneath an artificial sky where the cloud can be touched and felt as different micro-climatic conditions coincide. The scene is set underneath an artificial sky, when people are changing the cloud e meeting each other.

Transsolar: Nadir Abdessemed, Thomas Auer, Eric Baczuk, Volkmar Bleicher, Stefan Holst, Timur Khanachet, Matthias Schuler, Anja Thierfelder anOtherArchitect: Daniel Dendra

Tetsuo Kondo Architects: Tetsuo Kondo, Mitsuru Maekita

Structural engineer: Sasaki and Partners: Mutsuro Sasaki, Yoshiyuki Hiraiwa SASP

DIA Dessau

With the additional support of: Extenzo France, Martin Professional Denmark, Roschmann Group Germany, Schiico Germany, My Book Service Inc., surutokoro

Transsolar & Tetsuo Kondo Architects Cloudscapes

Transsolar & Tetsuo Kondo ArchitectsCloudscapes

Transsolar KlimaEngineering & Tetsuo Kondo Architecs, Cloudscapes, 2010. Courtesy Sasaki and Partners

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320 321Biennale Architettura 2010 ExhibitionTranssolar & Tetsuo Kondo Architects Cloudscapes


Transsolar KlimaEngineering & Tetsuo Kondo Architecs, Cloudscapes, 2010. Foto Frank Ocker

Tetsuo Kondo Architecs, Mirror, 2001

Transsolar KlimaEngineering & Tetsuo Kondo Architecs, Cloudscapes, 2010. Courtesy Tetsuo Kondo Architecs

Transsolar KlimaEngineering & Tetsuo Kondo Architecs, Cloudscapes, 2010. Photo Transsolar KlimaEngineering



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326 327Biennale Architettura 2010 ExhibitionWim Wenders If Buildings Could Talk…

Wim WendersIf Buildings Could Talk…

If Buildings Could Talk...

... some of them would sound like Shakespeare. Others would speak like the Financial Times, yet others would praise God, or Allah. Some would just whisper, some would loudly sing their own praises, while others would modestly mumble a few words and really have nothing to say. Some are plain dead and don’t speak anymore...

Buildings are like people, in fact. Old and young, male and female, ugly and beautiful, fat and skinny, ambitious and lazy, rich and poor, clinging to the past or reaching out to the future.

Don’t get me wrong: this is not a metaphor. Buildings DO speak to us! They have messages. Of course. Some really WANT a constant dialogue with us. Some rather listen carefully first. And you have probably noticed: Some of them like us a lot, some less and some not at all.

Buildings, like people, are subject to time and exist in a three-dimensional world. That’s why our film is in 3D. It’s an invitation to wander around, to experience and to listen, for once.

The building you will encounter is a particularly gentle and friendly one, made for learning, reading, and communicating. Its hills and valleys (yes, they exist in there) are eager to welcome you, to help, to be of service, and to be, in the best sense of the word, a meeting place.

a 3D video installation by Wim Wenders, duration: 12 min

Director: Wim Wenders; Stereographer: Alain Derobe; Director of Photography: Jörg Widmer; Editor: Toni Froschhammer; Music: Thom Hanreich; Sound: Ansgar Frerich; Producer: Erwin M. Schmidt

1st Assistant Director: Heidi Frankl; Production Coordinators: Michael Mitchell, Francesca Hecht

Stereographer Time Lapses and Second Unit: Josephine Derobe; First Assistant Camera / DIT: Thierry Pouffary; Stereographer Post-production: Daniele Siragusano; Post-production Supervisor: Jan Fröhlich; Key Grip: Jean Chesneau; Grip: Patrick Chizalet; Time Lapses Assistant: Murielle Gerber; Editing Assistant: Maxine Goedicke; Photography: Donata Wenders

Shot on location at the Rolex Learning Center of the Ecole Polytechnique Fédérale Lausanne

Produced by: Neue Road Movies, Berlin; Post-produced by: Cinepostproduction, München; With the support of: Rolex

© Neue Road Movies 2010

Rolex Learning Center / EPFL SANAA. Photo 2010 by © Hisao Suzuki, scribbled by © Wim Wenders

328 329Biennale Architettura 2010 ExhibitionCerith Wyn Evans Joanna (Chapter One…)

Cerith Wyn EvansJoanna (Chapter One…)

The work is a text fabricated from white neon letters supported on a metal frame-work suspended from the ceiling… a construction “apparatus,” if you like… “occasion-ing” a scene. Redolent of cinematography’s support to the interrealm of language “through” language, namely SUBTITLE (with all its associative compressions and frictions of syntax rubbing up against syntax), or surtitle, hermeneutic talisman “spelling-out” the scene.

A text is being staged.

The text is a quotation from The Changing Light at Sandover, a poem by James Merrill emerging from sessions at the Ouija board with his partner David Jackson and published in 1982. The excerpt cites an episode describing a scene from a “lost novel” in which the author prevaricates regarding a character… protagonist Joanna is found lost in reverie Whilst smoking a cigarette on an airplane …suspended,—the intuition of space—the words hang in the air.

Collaborators: Pascale Berthier; Sam Chermayeff; Jack Hogan; Taka Ishii Gallery, Tokyo

Project development and realization: Dusty Sprengnagel, NEONline, Vienna

With the additional support of: White Cube, London

Cerith Wyn Evans, The plexi-glass cover… Courtesy Galerie Neu, 2008

Cerith Wyn Evans, Rinsed with mecury…, 2009. Courtesy Galerie Buchholz

330 331Biennale Architettura 2010 ExhibitionCerith Wyn Evans Joanna (Chapter One…)

Cerith Wyn Evans Joanna (Chapter One…)

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Biographies

335 ExhibitionArchitects Index

Aires Mateus e associados 48

The Aires Mateus e associados architecture studio was set up in 1988 in Lisbon by broth-ers Manuel Aires Mateus (Lisbon, 1963) and Francisco Aires Mateus (Lisbon, 1964). The architecture of Aires Mateus, only super-ficially related to international “minimalism,” is based on a study of space and material that, while recognizing its main raison d’être in mass, aims at eliminating gravity in order to assert lightness through its substantial dematerialization. This is done both by playing on the contrast between solids and spaces, and by making an expert choice and treatment of the materials, including stone and marble. The most sig-nificant works carried out by Aires Mateus e associados include numerous private homes, such as Casa ad Alenquer (2001), Casa en el litoral de Alentejo (2003), and Casa Brejos de Azeitão (2003), as well as public works such as the Residencia de estudiantes de la Universidade de Coimbra (1999), the Rec-torado de la Universidade Nova (2001), the Museo de Arquitectura (2006), the Edifícios de Escritórios (2008), the Centro Cultural de Sines (2000), the Museo del Faro in Cascais (2003), and the Almedina bookshops (2000-2002).

www.airesmateus.com

AMID.cero9 54

Cristina Díaz Moreno (1971) and Efrén García Grinda (1966) were both born in Madrid, Spain, where they set up the AMID.cero9 architecture studio in 1997. Their buildings are often of composite, irregular volumes, and seem to derive from an assembly of geo-metrical forms; their distinguishing style is the frequent use of modular elements, placed together and at different angles. The studio’s design research is based on the chromatic and creative element. Díaz Moreno and Gar-cía Grinda have taught architecture at the ETSAM—Escuela Superior de Arquitectura di Madrid since 1998 and in the master’s course at the Architectural Association School of Architecture in London. AMID.cero9 has won various Spanish and international prizes and completed numerous projects, including the Palacio del Cerezo en Flor in the Jerte Valley, Cáceres, Spain (2010), the head offices of the Giner de los Rios Foundation in Madrid, the Intermediae-Prado Art Center of Madrid (2006), and the Made-Endesa Offices in Medina del Campo (2002). The studio has also presented its designs at various monographic exhibitions, including the exhibition organized by the Spanish Ministry of Labor in 1999.

www.cero9.com

Aranda\Lasch 64

Aranda\Lasch is a design studio based in New York that focuses on experimental re-search applied to architecture and design. Set up in 2003 by Benjamin Aranda (1973) and

Chris Lasch (1972), the studio designs highly innovative buildings, objects, and installations after carefully studying the material using virtual technology. Aranda\Lasch designs are often inspired by molecular structure in their symmetrical and modular forms. In 2008, the studio worked with artist Mat-thew Ritchie and Thyssen-Bornemisza Art Contemporary (T-BA21) of Vienna on the first “anti-pavilion” for the Venice Biennale, then exhibited at the Seville Biennale. The studio designed and built the temporary architec-ture for Design Miami 08 and 09 to house the works on show. In May 2010, once again following collaborative work with T-BA21 and Matthew Ritchie, along with the Arup Agu studio, Aranda\Lasch created The Morning Line in Istanbul, European capital of culture in 2010. This is a multifunctional installation-structure inspired by the interaction between art, architecture, music, mathematics, cosmol-ogy, and science. The studio also produces short films and video installations under the name terraswarm.

www.arandalash.com

ARU/Architecture Research Unit 70

Architecture Research Unit (ARU) is a research workshop based in the Department of Architecture and Spatial Design at Lon-don Metropolitan University and directed by Professor Florian Beigel. ARU was set up to study space and its endless potential. The relationship between the interior and exterior of a building and appreciation of the “poten-tial” of the spaces are the starting points in the processes of upgrading buildings, land-scapes, and urban areas. The most significant projects completed by ARU include the Half Moon Theatre in London (1979-1985); Bishopsfield Harlow in Essex (1994), a project for the regeneration and modernization of a public building com-plex of the 1960s; Lichterfelde Sud (1998), an upgrading plan for a former military area in Berlin; Paju Book City in Seoul (1999), a building complex for publishers, printers and writers; and some parts of the Heyri Art Valley (2004), a community of artists and creatives who work together in the Seoul area. In 2008, ARU was one of the groups chosen for the Saemangeum Island City project, an enormous city to be built on the southeast coast of South Korea in a vast area reclaimed from the sea.

www.aru.londonmet.ac.uk

Atelier Bow-Wow 78

The Atelier Bow-Wow architecture studio was set up in Tokyo in 1992 by Yoshiharu Tsu-kamoto (1965) and Momoyo Kaijima (1969). Atelier Bow-Wow’s research is based on the study of space and its uses and functions within urban environments. Bow-Wow coined the definition “Pet Architecture,” which refers to a type of architectural structure that is small but highly functional, built especially for restricted urban spaces.

Apart from designing numerous buildings, Atelier Bow-Wow also takes part in large exhibitions and international biennales, hav-ing participated in the Liverpool Biennale in 2008, the International Architecture Exhibi-tion in Venice in 2008, and the San Paolo Biennale in Brazil in 2007, as well as in col-lective exhibitions in galleries and museums such as the Hayward Gallery, the Walker Art Center, the Mori Art Museum, the Tokyo City Opera Gallery, and the New National Museum in Berlin. In 2009, Atelier Bow-Wow held its first solo exhibition in the USA at REDCAT—Roy and Edna Disney/CalArts Theater in Los Ange-les—where it presented its research on the Case Study House, the contemporary inter-pretation of a postwar residential program based on the principles of reuse and energy saving.

www.bow-wow.jp

Berger&Berger 86

Cyrille Berger (1975) and Laurent P. Berger (1972), respectively architect and visual artist, are two French brothers who have worked together under the name Berger&Berger since 2005. They specialize in design and architectural design, frequently offering new composite proposals and ideas that take on new functions and meanings rather than meeting specified needs. From 2007 to 2009 they had a period of residence at one of the Centquatre studios in Paris, a multi-functional space divided into different areas for artistic creation and various other activi-ties. In this period they worked on a design for single-family housing called A Paradise Island is a Man-made Show. The finished project involved the construction of a range of microhouses conceived as living spaces but with no set functions, intended rather to adapt to the use the inhabitants wish to put them to. In January 2008, Berger&Berger and Thomas Raynaud won the competition held to mark the tenth anniversary of the international archi-tecture magazine 2G. The aim was to identify design ideas for turning the Venice lagoon into a “park” that the city could reappropriate as a landscape integrated into the surround-ing district. In March 2008, Berger&Berger received the prestigious Nouveaux albums des jeunes architectes, a prize awarded by the French Ministry of Culture.

www.berger-berger.com

Lina Bo Bardi 92

In the course of her intense professional career, Lina Bo Bardi (Rome 1914–San Paolo 1992) worked in architecture, design, set design, museography, cinema, publishing, and teaching. A competitive and restless designer, Bo Bardi was constantly inspired by an enthu-siasm for experimentation in which political commitment and professional work were inseparable. After graduating in architec-ture in Rome in 1939, she became intensely involved in publishing in Milan, where she was

336 337Biennale Architettura 2010Architects Index ExhibitionArchitects Index

one of the founders of the Movimento di Studi per l’Architettura. After the war, she and her husband Pietro Maria Bardi moved to Brazil, where they settled permanently. From that time on, she was involved mainly in designing public buildings, driven by the desire to foster the creation of an authentic Brazilian culture that would value its own roots. In 1951, she built her first work in San Paolo: the Casa de Vidro, her home. She set up and designed various museums, including the Museo d’Arte a São Vicente (1952) and Masp—Museo d’Arte di San Paolo (1957-1968). In the early 1970s, after a period of university teaching, Bo Bardi focused mainly on set designs for theater and cinema and the organization of large exhibitions. From 1977 to 1986, she devoted her time to a project to save the Pompéia factory in San Paolo, which was turned into a social center. She then moved to Salvador de Bahia, where she completed various designs in her final years, including the Casa do Benin and the refurbishing of the Ladeira da Misericordia.

Andrea Branzi 100

Born in Florence in 1938, the architect and designer Andrea Branzi has lived and worked in Milan since 1973. Branzi’s design practice is to constantly seek out connections with the different manifestations of culture: from figurative art to communication, post-modern philosophy, and political ideology. From 1964 to 1974, Branzi was part of Archizoom Associati, an internationally renowned visionary avant-garde group set up in Florence that at the end of the Twentieth century produced a rich range of designs for clothing, architecture, and urban visions at a district level, the source of inspiration for architects such as Isozaki, Koolhaas, and Tschumi. Branzi cofounded the Domus Acad-emy in Milan (1983), the first international post-graduate design school, and has written several books on the history and theory of design. In the course of his professional career, he has curated many exhibitions in Italy and abroad, and in 1987 was awarded the Com-passo d’Oro for career achievement. In the sphere of industrial design, he works with companies such as Acerbis, Alessi, Artemide, Cassina, Interflex, Lapis, Pioneer, Twergi by Alessi, Unitalia, Up & Up, and Zanotta. In 2008, he was awarded an honorary degree in Industrial Design by the Faculty of Architec-ture at La Sapienza University, Rome. He is full professor and dean of the degree course in the Faculty of Interiors and Design at Milan Polytechnic.

www.andreabranzi.it

Janet Cardiff 104

The Canadian artists Janet Cardiff (Brussels, Ontario, 1957) lives and works in Canada and Berlin usually in partnership with George Bures Miller (Vegreville, Alberta, 1960). Her projects are the result of an unconventional

combination of images, sound, and space, and often communicate complex and contradictory information that disturbs the observer’s per-ception, stimulating questions and reflections on how the world is conceived. The works are often devised for architectural spaces, completing them, enriching them, or drawing attention to the context in which they are pre-sented. The relationship between art, archi-tecture, and culture is best expressed in the video series Walk, available on her website. In 2001, Cardiff and Bures Miller represented Canada at the Venice Biennale directed by Harald Szeeman, Platea dell’umanità, with a multimedia installation entitled Paradise Institute. The work was a hybrid of installation, video, audio, sculpture, and show built inside the Canadian pavilion and presented as a “film house” for eighteen people. Cardiff and Bures Miller have exhibited in numerous art galleries including the Art Gallery of Alberta (2010), the Fruitmarket Gallery in Edinburgh (2008), the Miami Art Museum (2007), the Vancouver Art Gallery (2005), Luhring Au-gustine, New York (2004), the Contemporary Arts Center, Cincinnati (2003), the Art Gal-lery of Ontario (2002), the National Gallery of Canada (2002), and Oakville Galleries, Oakville, Ontario (2000).

www.cardiffmiller.com

Caruso St. John 106

Adam Caruso (Canada, 1962) and Peter St. John (UK, 1959) set up a studio under their own names in London in 1990. After an initial period working mainly on museum and exhibition spaces, the studio added to its experience and design expertise by expand-ing into the public and private sphere. Caruso St. John’s main principle is to include among their built work a vast and heterogeneous range of designs, avoiding the ever increasing trend in contemporary architecture towards specialization in specific sectors. The first project that brought the studio to interna-tional attention was the New Art Gallery, built in Walsall in 2000, for which, along with the Brick House in London, built in 2006, Caruso St. John became a candidate for the presti-gious Stirling Prize. The studio’s current cli-ents include Tate Britain, the Victoria & Albert Museum, English Heritage, the Arts Council of England, SBB-Swiss National Railways and the Gagosian Gallery. Its recently built designs include the Chiswick House Cafe in London (2010), the New Center for Contem-porary Art in Nottingham (2009), Downing College in Cambridge (2001-2009) and the Brick House in London (2001-2005).

www.carusostjohn.com

Aldo Cibic 112

The Cibic&Partners studio was set up in Milan in 1989. It is a composite organization that by choice and vocation works on different kinds of design including architecture, inte-riors, design, and multimedia. The studio is directed by four partners—Aldo Cibic (Schio,

1955), Luigi Marchetti (Livorno, 1967), and Chuck Felton (New York, 1958) constitute the design nucleus that is flanked by specific work groups for various projects, while An-tonella Spiezio (Torre Orsaia, 1966) runs the strategic center responsible for organizing and managing human and financial resources. The result is an environment of exchange that provides stimulus and energy and is aimed at producing solid, innovative designs. Cibic&Partners’ work develops in two direc-tions: a design section focuses on architec-ture and large interiors, while CibicWorkshop works with schools on design and research into the development of new types of design. The studio’s most recent designs include More with Less (2009), which presents a new way of living in a serene balance between man and nature, the Città degli Orti (2008), an innovative rural settlement proposal, the staging of the 10th International Architecture Exhibition in Venice (2006), and Microreali-ties (2004), a project on places and people.

www.cibicpartners.com

Thomas Demand 106

Born in Munich in 1964, the photographer Thomas Demand lives and works in Berlin. The main subjects portrayed in his photos are three-dimensional models of rooms and places that are famous because of their con-nection to news stories, politics, and history. Demand’s creative process does not include any computer enhancement, as is now normal in film production, but is based on the con-struction of genuine installations that precise-ly reproduce what has been reported by the television news or shown in vintage photos. However, on close observation of his works, small errors in structuring the image can be found, creating an ambiguity that makes the observer reflect on the simulation created by the artist. From 1987 to 1989, Demand attended the Fine Arts Academy in Munich and, until 1992, the Art Academy in Düsseldorf. In the same year, he had a period of residence at the Cité internationale des arts in Paris and subse-quently, until 1994, attended Goldsmiths College at the University of London. In 2004, Demand represented Germany at the San Paolo Biennale and, in 2005, he held a large retrospective exhibition at the Museum of Modern Art in New York. He has exhibited at numerous galleries and museums around the world, including the Serpentine Gallery in London (2006), Fondazione Prada in Milan (2007), and Fundación Telefónica in Madrid (2008). In May 2010, he presented his latest personal exhibition at the Museo Boijmans Van Beuningen in Rotterdam, entitled Natio-nalgalerie.

www.thomasdemand.de

Tom dePaor 120

Born in London in 1967, Tom dePaor lives and works in Dublin, where he set up his studio under his own name in 1991. DePaor consid-

ers individuals and their emotions the hub of his design choices and, in a more absolute sense, of architecture. Starting from this con-viction, he originally resolves aesthetic and practical spatial problems, creating buildings of great emotional and evocative power. In the course of his career he has often worked with other architects and artists, such as Eilis O’Connell, Dominic Stevens, and Emma O’Neill. With the latter, Tom dePaor designed the visitors’ center for the former Royal Gun-powder Mills in Ballincollig in the country of Cork in 1991. In 1996, the dePaor architects studio was commissioned by the Dagenham council, London, to draw up a strategic master plan for the A13 motorway. In 2000, he was commissioned by the Department of Foreign Affairs to design N3, the Irish Pavilion for the 7th International Architecture Exhibition in Venice and, six years later, took part in the Irish collective exhibition, again at the Bien-nale. In 2003, Tom dePaor was awarded the YAYA (Young Architect of the Year Award).

www.depaor.com

architecten de vylder vinck taillieu 126

Jan De Vylder (1968) and Inge Vinck (1973) set up the Jan De Vylder Architecten studio in 2008 in Gand, Belgium. De Vylder studied architecture at Sint-Lucas University in Gand, opened a studio with Trice Hofkens in 2000, and then became project director in the Sté-phane Beel studio. He has been teaching at Sint-Lucas University and the School for Sci-ence and Art of Brussels since 2005, and is also guest lecturer at TU Delft (University of Technology) in Holland. The studio changed its name to architecten de vylden vinck taillieu with the arrival of Jo Tailleu (1971). Its most important work includes the extension of the Stedelijk Museum voor Actuele Kunst and the cultural center in Ledeberg, both in Gand, the new offices for the Het Toneelhuis theatre company, and a residential and multifunctional complex in Antwerp. Jan De Vylder Architecten won the European Union Prize for Contemporary Architecture Mies Van der Rohe Award in 2009 and was appointed to curate Interieur 2010, the Bel-gian Design Biennale.

www.jandevylderarchitecten.com

Do ho Suh + Suh Architects (Eulho Suh and KyungEn Kim) 136

Eulho Suh set up the Suh Architects studio in Seoul, Korea, in 2006. After gaining a research doctorate from the Harvard School of Design, Suh continued his studies at a theoretical and practical level working with Morphosis Architects and Pederson Fox in New York. He has won numerous prizes, recognitions, and appointments as visiting critic at various universities including the Rhode Island School of Design, the University of Southern California, and Seoul National University. KyungEn Kim is manager of the design area at Suh Architects. During his training and professional career he worked

with sculpture, exhibiting in numerous galler-ies, and then approached architecture, study-ing and investigating the concept of space.Born in Seoul, Korea, in 1962, Do ho Suh lives and works in New York. After studying at Seoul National University and completing his military service in the South Korean army, he moved to the USA, where he continued his studies at the Rhode Island School of Design and Yale University. Do ho Suh has always sought to focus on the dialectical relationship between the individual and mass society and the interactions between people and space in his installations. Do ho Suh represented Korea at the 49th International Art Exhibition in Venice in 2001. His most important exhibi-tions have been at the Seattle Art Museum, Seattle, the Whitney Museum of American Art, New York, the Serpentine Gallery, Lon-don, and the Kemper Museum of Contempo-rary Art in Kansas City. Suh Architects’ designs combine function and aesthetics and range from buildings to graph-ic consultancy and genuine artistic works. Some examples are the interior designs for the Arumjigi Culture Keepers (2003) and the Shinsegae Centum City Culture (2008-2009) in Korea, along with renovation of the KIA Motors Sports Center (2006).

www.suharchitects.com

Peter Ebner 142

Born in Austria in 1968, Peter Ebner lives and works in Vienna, Salzburg and Munich. He works with numerous international design partners that differ according to the commis-sion received, which is never considered as a mere provision of services, but a process of articulate design. The work of Peter Ebner and friends is based on the conviction that in-dividual needs and choices are of primary im-portance rather than the influence of fashions and trends. Ebner taught residential building at the Technische Universität in Munich from 2003 to 2009, and since 2009 has taught at the UCLA. He also teaches at Roma Tre University, the International Summer Acad-emy of Fine Arts in Salzburg and the Gradu-ate School of Design at Harvard in Boston. He has held numerous workshops in Japan, the US, Colombia and European countries. The current members of the Peter Ebner and friends group are Michael Eichner (Germany, 1968), who lives and works in Munich and Moscow; Michael Schwarz (Germany, 1958), who lives and works in Dubai; Javier Sanchez (Mexico, 1969), who lives and works in Mexico City; Franziska Ullmann (Austria, 1950), who lives and works in Vienna and Stuttgart; Clau-dio Valentino (UK, 1967), who lives and works in Rome and Bologna; Gianluca Andreoletti (Italy, 1965), who lives and works in Rome.

www.ebnerandfriends.com

Olafur Eliasson 144

Olafur Eliasson was born in Copenhagen in 1967 and educated at the Danish Royal Acad-emy of Arts.

Since 1993, he has lived and worked in Berlin where he set up Studio Olafur Eliasson, which carries out artistic experiments and works on architectural design. Eliasson’s fascinating poetics, inspired by natural elements such as water and light, is obtained by the play of light, reflections, and shadows resulting from the expert and closely studied use of col-ored filters, lights, and especially mirrors. In 2003, Eliasson represented Denmark at the 50th Venice Biennale, and in the same year installed one of his most well known works at the Tate Modern in London: the Weather Project, a spectacular artificial sun that at-tracted more than a million visitors. He has exhibited in the most prestigious museums, including the Hara Museum of Contempo-rary Art (Tokyo), the Museum Boijmans van Beuningen (Rotterdam), the Kunstmuseum in Wolfsburg, the San Francisco Museum of Modern Art, and the P.S.1 Contemporary Art Center in New York. Eliasson has taken part in numerous public art projects, includ-ing Green River, which toured various cities between 1998 and 2001, and the Serpentine Gallery Pavilion in 2007, designed in London. In 2009, he set up the Institut für Raumex-perimente.

www.olafureliasson.net

Tony Fretton 252

Tony Fretton was born in London where he opened an architecture studio under his own name in 1982. He is one of the most signifi-cant exponents of contemporary architectural culture. One of the first designs produced by the studio was Lisson Gallery in London, completed in 1992, in which use of the space given over to art is quite exemplary. Other designs followed, always of spaces or build-ings used for exhibitions, such as the ArtSway Centre for Visual Arts in Sway, Hampshire (1996), the Quay Arts Centre for Visual and Performing Arts in Newport, on the Isle of Wight (1998), and the Fuglsang Kunstmuseum in Denmark, one of the most significant build-ings for art, opened in 2008 and awarded the prestigious Stirling Prize Building of the Year in 2009. Tony Fretton is professor and visiting professor at many international universities, director of Architectural Design & Interiors at the Technical University of Delft in Holland and, in 2010, at the ETH in Zurich.

www.tonyfretton.com

Sou Fujimoto 150

Sou Fujimoto was born in Hokkaido, Japan, in 1971. He studied architecture in the faculty of engineering at Tokyo University, and in 2000 set up the Sou Fujimoto Architects Studio and began specializing in the study and experi-mentation of detached and terrace houses. The simple forms he favors are arranged in numerous ramifications or recomposed in a meticulously orchestrated spatial order. One of his first residential designs, the N House (2001), is a surprising building with absolute permeability between interior and exterior. In


2005, he won acclaim by winning the presti-gious international AR—Architectural Review Award in the “Young Architects” category, which he won for three years running, along with the Top Prize in 2006. In 2008, he was invited to be a member of the jury for the same AR Awards. In that year, he won the JIA (Japan Institute of Architects) prize and the highest recognition at the World Architecture Festival, in the “Private House” section. In 2008, Fujimoto published Primitive Future, the architecture best-seller of the year. In 2009, the magazine Wallpaper awarded him the Design Award. Fujimoto has had many designs built, which have gained apprecia-tion and recognition in Japan and elsewhere, including the T House, Guma (2005), 7/2 House, Hokkaido (2006), House O, Chiba (2007), and Final Wooden House, Kumamoto (2007).

www.sou-fujimoto.com

Anton García-Abril 158

Born in Madrid in 1969, Antón García Abril studied at the Madrid Architecture Poly-technic (ETSAM) and graduated in 1995. In 1996 he was awarded the Spanish Academy Research Prize in Rome and in 2000 set up the Ensamble studio, consisting of a team of associates who work mainly on studying pos-sible architectural applications for new con-ceptual and structural research. The studio’s work ranges from studying the essence of the material to creating architectural spaces and compositions marked by their essential com-positional nature. Its built works include the offices of the Society of Authors and Publish-ers in Santiago de Compostela (2004-2007), the Hemeroscopium House in Madrid (2008) and the Museum of America in Salamanca. Buildings currently in progress are the Read-er’s House in Madrid, the Cervantes Theatre in Mexico City and the Tower of Music in Valencia. Ensamble studio has won numerous prizes and recognitions, including The Rice Design Alliance Prize for emerging architects in 2009, and the Architectural Record Design Vanguard Prize in 2005. In 2009 García Abril set up the Positive City Foundation, which investigates urban phenomena in search of possible solutions.

www.ensamble.info

Junya Ishigami 166

The Japanese architect Junya Ishigami was born in Kanagawa in 1974 and attended Tokyo University. After graduating in 2000, he initially worked with the SANAA studio, then in 2004 set up his own firm, junya.ishigami+associates. Ishigami’s language is notably ephemeral and transparent, and his work and research redefine the confines between art and architecture. This is evident in his first building, the Kanagawa Institute of Technology (2008), a light, ethereal structure, designed almost to disappear. The surround-ing space seems to merge into the façade of glass. In 2008, he designed the Japanese

pavilion for the 11th International Architecture Exhibition in Venice, and in the same year was awarded the Iakov Chernikhov Prize 2008 in Moscow. In April 2010, he presented two designs made for the Italian company Living Divani at Design Week in Milan. One of these is drop, a kind of lens-table, made entirely of shiny, transparent Perspex, designed to give the visual effect of a lens that distorts what-ever is around it; the other is family chairs, a series of chairs in different sizes in an ironic and distorted review of an archetype.

www.jnyi.jp

Toyo Ito 172

Toyo Ito was born in Seoul in 1941 and gradu-ated from the Department of Architecture at Tokyo University in 1965. He began his archi-tectural career in 1971, setting up a studio he originally called Urban Robot (URBOT), but then changed to Toyo Ito & Associates, Archi-tects, in 1979. He initially became known for his conception of residential buildings before moving on to public projects, creating the basis for a new mobile concept of inhabiting urban spaces. His public commissions from 1986 on show that his designs are based on an original and innovative approach to archi-tecture that combines the physical and virtual worlds. His main projects are the Wind Tower in Yokohama (1986), the Yatsuhiro Museum (1991), the T Hall in Taisha (1999), the O Dome in Odate (1997), and the Mediateca in Sendai (2001), which clearly demonstrate the implications of his formal research and introduce new naturalist elements. He has designed objects and furniture for Alessi Dri-ade, Electrolux, Horm, Cleto Munari, Unifor, and Rotaliana. Toyo Ito teaches at various international universities (including Columbia University in New York and the University of North Lon-don), and in 2002 was awarded the Leone d’Oro for his career at the 8th International Architecture Exhibition in Venice.

www.toyo-ito.co.jp

Andrés Jaque 178

Andrés Jaque was born in Spain in 1971. He studied in Madrid and Hamburg, and set up the Andrés Jaque Arquitectos studio in Madrid in 2000. He concentrates mainly on the role played by architecture in creating and molding society, considering it a point of meeting and exchange between individuals and community. Apart from this studio, Jaque directs the Office for Innovation Policies and is visiting professor at various international universities. His studio has designed public and private buildings, mainly in Spain, including the Casa Sacerdotal Diocesana in Plasencia (2000-2004), an old abandoned seminary converted into a multi-functional building, which in 2005 won the Dionisio Hernandez Gil prize; the Ojala Awareness Club in Madrid (2005), Peace Foam City in Ceuta (2005), Teddy House in Vigo (2005-2006), which

was awarded the Grande Area prize in 2006; House in Never Never Land in Ibiza (2006-2007), Democratic Sponge in Madrid (2005), the Tupper Home housing prototype in Madrid (2006-2007), for which the studio was made a candidate for the European Award Mies van der Rohe and a finalist for the Bienal Espa-ñola de Arquitectura y Urbanismo Prize.

www.andresjaque.net

Christian Kerez 184

The architect Christian Kerez, born in 1962 in Maracaibo, Venezuela, lives and works in Zurich. His work is distinguished by con-stant formal and structural research. Indeed, Kerez considers architecture the result of an ongoing study of space and a linked path-way that generates continuous alternatives and themes. His preferred tools are models: molding them and constantly questioning the results, Kerez incessantly explores numerous design possibilities. After his studies at the Federal Polytechnic in Zurich, Kerez worked with the architect Rudolf Fontana from 1991 to 1993, then devoted himself to architecture photography, which he continues to practice. In 1993, he opened his own studio in Zurich, where he has taught at the ETH since 2001. The designs that have garnered Kerez critical acclaim are the Vaduz Art Museum in the principality of Liechtenstein (2000), built with the Swiss couple Morger & Degelo, the apartments in Forsterstrasse (2003), and the Eschenbach (2003) and Leutschenbach (2009) school buildings in Zurich. In 2007, he won the international competition for the new Warsaw Museum of Modern Art, an avant-garde building still under way. In the course of his career Kerez has exhibited all over the world, from New York to Paris and Shanghai.

www.kerez.ch

Tetsuo Kondo 318

Tetsuo Kondo was born in the prefecture of Ehime, Japan, in 1975 and attended the Na-goya Institute of Technology. He then worked at Sejima & Associates, SANAA, from 1999 to 2006 and set up Tetsuo Kondo Architects in 2006. One of his most well known designs, House with Gardens in Kanagawa, Japan, dates from 2007. This minimalist wooden house has been designed so that the internal and external spaces merge completely: a se-ries of gardens, some hanging, are accessed from every room, and the system of openings to the outside makes the sky and surrounding forest visible from several points. In 2008 he presented his Mirror project, a mirror that re-flects only frontal images and seems blurred if looked at from the sides, made by applying a special film to the glass. He has received prestigious awards such as the TOKYO Society of Architects and Building Engineers Residential Architecture Award in 2008 and the Grand prix at the Chair design competi-tion Landscape with Chair in 2009.

www.tetsuokondo.jp

Luisa Lambri 190

The artist Luisa Lambri, born in Cantù (Como) in 1969, lives and works in Milan. She studies the relationship between architecture and emotional states in her photographic work. The interiors she portrays interpret rather than document the spaces represented, simply recalling something minimal, abstract, and non-specific, steeped in a sense of memory and desire. The formal and experi-mental qualities that Lambri celebrates in contemporary architecture, the object of her most recent research, include reflection and dematerialization, opacity and transparency, intimacy and expansiveness. Her education and research has taken place in Finland, Eng-land, Japan, Italy, and the USA. Luisa Lambri began exhibiting regularly in 1995, then in 1999 she was awarded the Leone d’Oro at the 48th International Contemporary Art Exhibi-tion in Venice for the best national participa-tion in the Italian Pavilion, shared with Monica Bonvicini, Bruna Esposito, Paola Pivi, and Grazia Toderi. Many of her works appear in the public col-lections of major international institutions and foundations. The museums and galleries that have recently staged her solo exhibitions include the Museum of Contemporary Art, Los Angeles, the Luisa Strina Gallery, San Paolo, Brazil, the Paul Andriesse Gallery, Am-sterdam, the Thomas Dane Gallery, London, the Baltimore Museum of Art, Baltimore, and Gallery Koyanagi, Tokyo.

Walter Niedermayr 198

The photographer Walter Niedermayr was born in 1952 in Bolzano, where he lives and works. The main aim of his artistic research is to explore the microclimates of our frenetic contemporary culture and of the relationship between man and environment. He uses pho-tography as a medium to create fractures, to dismantle reality and analyze it in depth. Nie-dermayr’s research won international acclaim at the start of the 1990s when he devoted himself to photographs of Alpine landscapes on large panels. He then shifted his attention to places often ignored and sidelined, such as motorways, abandoned buildings, and, especially, psychi-atric hospitals, prisons, and rest homes. The subjects portrayed are united by a sense of latent oppression and apprehension. In 2008, he took part in Manifesta7 in Trentino and also presented Bildraum, a body of photo-graphs resulting from six years spent studying the work of the Japanese architects Kazuyo Sejima and Ryue Nishiwaza (SANAA). Niedermayr has held solo exhibitions and participated in collective exhibitions at the Kunsthalle Schirn in Frankfurt (2008), the Galerie Nordenhake in Berlin (2007), the Robert Miller Gallery in New York (2006), the Galleria Suzy Shammah in Milan (2005), and the Museion in Bolzano (2004).

www.walterniedermayr.com

Ryue Nishizawa 302

Ryue Nishizawa was born in the prefecture of Kanagawa, Japan, in 1966, and now lives and works in Tokyo. He graduated in architecture at Yokohama National University in 1990 be-fore joining the Kazuyo Sejima & Associates studio. In 1995 he set up the SANAA studio with Kazuyo Sejima, and in 1997 opened The Office of Ryue Nishizawa. The buildings designed by Nishizawa are distinguished by their essential, linear, minimalist design. The Office of Ryue Nishizawa has designed the Naoshima Museum in Kagawa, Japan (2005), the Towada Museum in Aomori, Japan (2005), and numerous homes in Gunma, Tokyo, Kanagawa, and Ichikawa. Nishizawa has been associate professor at Yokohama University since 2001. From 2005 to 2006 he was Visiting Professor at the Ecole Polytech-nique Federale of Lausanne, and from 2005 to 2008 was Visiting Professor at Princeton University. In 2010, together with Kazuyo Se-jima, he was awarded the prestigious Pritzker Architecture Prize.

Noero Wolff Architects 206

Noero Wolff Architects was founded in 1998 in Cape Town, South Africa, when Heinrich Wolff joined the studio set up by Jo Noero in 1985. Noero’s direct experience, a former anti-Apartheid activist who has long worked in close contact with the black community of South Africa, has had a profound influence on the studio’s planning choices. The work of the Noero Wolff studio is based on the conviction that architecture can be a means of resisting oppression and a vehicle of social change, especially if linked to the land and the communities that inhabit it. Such a position is also behind their decision to involve the local inhabitants in the planning stages and to share their development with them. Noero Wolff’s projects include individual houses, large museums, schools, and social and cultural centers. The most significant are Inkwenkwezi Secondary School (2007) and St Cyprians School (still under construction) in Cape Town and, especially, the works for the municipality of Nelson Mandela Bay, some completed, such as the Red Location Museum in New Brighton (2005) dedicated to the vic-tims of Apartheid, and others under way such as the upgrading of North Beach and the Red Location cultural center.

www.noerowolff.com

Hans Ulrich Obrist 210

Hans Ulrich Obrist was born in Zurich in 1968 and lives and works in London. International curator of the Programme Migrateurs at the Musée d’Art Moderne de la Ville in Paris, di-rector of International Projects at the Serpen-tine Gallery, London, professor at the IUAV of Venice, and art director for Domus, Obrist has been active on the art scene since the early 1990s. Since 1991, he has curated or co-curated more than two hundred international exhibitions, including Do it, Take Me, I’m

Yours (1995, Serpentine Gallery), Life/Live (1996, Paris), Manifesta 1 (1996), Cities on the Move (1997-1998 Vienna and Bordeaux), Nuit Blanche (1999, Helsinki), Uncertain States of America (2005, Oslo), 1st Moscow Biennale (2005), the Lyons Biennale (2007), and China Power Station (2008, Serpentine Gallery). In 2007, Obrist co-curated Il Tempo del Postino with Philippe Parreno for the Manchester International Festival. In the same year, the Van Alen Institute awarded him the New York Prize Senior Fellowship for 2007-2008. In 2008, he co-curated the Yokohama Triennale and Indian Highway at the Serpen-tine Gallery, and was curator for the Artpace residences in Texas. Another activity he has devoted himself to over the course of his career, since 1993, is interviewing. He has now conducted hundreds of interviews with artists, writers, curators, and composers in what is a kind of endless conversation that itself has become a form of art and is published in separate installations in The Conversation Series (2006-).

OFFICE – Kersten Geers David Van Severen 214

Architects Kersten Geers (Gand, Belgium, 1975) and David Van Severen (Gand, Bel-gium, 1978) set up Office Kersten Geers David Van Severen in 2002. Both studied architecture and town planning at Gand Uni-versity and at the Esquela Tecnica Superior de Arquitectura in Madrid, Spain. Since 1995 Van Severen has designed numerous objects, installations and furnishing items. He has worked with various other studios since 2004, including Stéphane Beel Architects in Gand and Xaveer De Geyter Architects in Brussels. Van Severen has taught at the Amsterdam Academy, at the Delft University of Technol-ogy, at the Arnhem Academy, at the Berlage Institute in Rotterdam and, currently, at Gand University. After his academic studies, Ker-sten Geers worked with the two Rotterdam studios Maxwan Architects and Urbanists and Neutelings Riedijk Architects. He currently teaches at Gand University and is a visiting professor at the Architecture Academy in Mendrisio. Recent designs produced by Office Kersten Geers David Van Severen include the Kortrijk Xpo exhibition complex in Kortrijk, Belgium (2008-2009), Hatlehol Church in Ålesund, Norway (2009), the Belgian pavilion After the Party at the 11th International Architecture Exhibition in Venice, and some parts of the Handelsbeurs Concert Hall in Gand, Belgium (2006).

www.officekgdvs.com

Valerio Olgiati 222

Valerio Olgiati was born in Switzerland in 1958 and lives and works in Flims. His archi-tectural language, through which he gives his buildings an intentionally sculptural style, is both innovative and radical. After studying at the Federal Polytechnic in Zurich, Olgiati lived


and worked for some years in Los Angeles. In 1996 he opened his own studio in Zurich and in 2008 in Flims (Switzerland). He has been full professor at the Architecture Academy in Mendrisio since 2002. He has held the chair previously held by Kenzo Tange at Harvard University in Cambridge, USA, since autumn 2009. His most important designs include Paspels school (Paspels, 1998), “La Casa Gialla” museum in Flims (1999), the Visitor Center in the Swiss National Park (Zernez, 2002), a residential building complex in Zugo (2007), the Atelier Bardill, a musician’s home in Scharans (2007) and the Cantina Carnas-ciale in Mercantale, Italy (2007). Olgiati has won various prizes and recognitions, including the German Architecture Prize Appreciation Honor (1993); his designs have won the prize for the best Swiss architecture four times, awarded by the Hochparterre magazine and the television program 10 vor 10. Olgiati has been an honorary member of the Royal Institute of British Architects in London since 2009.

www.olgiati.net

OMA – Office for Metropolitan Architecture 226

Rem Koolhaas was born in 1944 in Rotter-dam, where he lives and works. He has spent decades reflecting on the founding principles of contemporary design. His design meth-odology is marked by a total adhesion to the logic of constant renewal that typifies mod-ernization. Koolhaas trained as a journalist and cinema scriptwriter in Holland, then studied archi-tecture from the end of the 1960s in London and New York. In 1974, he set up the OMA studio (Office for Metropolitan Architecture) in London, with which he has worked on numerous projects, subsequently collected and published in S,M,L,XL (1994). In 1998, he was selected to design a new Campus Center at the Illinois Institute of Technology in Chicago, alongside buildings designed by Mies van der Rohe. In 1999, he was chosen to build the Board of Trustees Library in Seattle and, the following year, was awarded the Pritz-ker Architecture Prize. Between 2001 and 2002, he built the Prada stores in New York, Los Angeles, and San Francisco. He won the 2003 Praemium Imperiale, awarded by the Japan Art Association, and received the Royal Gold Medal from the Royal Institute of Brit-ish Architects in 2004. The key publication considered most representative of Koolhaas’s thinking is New York Delirium: A Retroactive Manifesto for Manhattan (1978), which revolu-tionized the reading of contemporary cities.

www.oma.eu

OpenSimSim 232

OpenSimSim is a new open source design network that is developing architectural de-sign with the help of the web 2.0 community. Fifteen international design studios started a collaborative design process focused on

a common topic in July 2010. The design was shared and commented on by all design teams. The web 2.0 community can actively participate in the design process through a commenting and sharing interface on the internet. OpenSimSim is supported and de-veloped by anOtherArchitect: Daniel Dendra, Peter Ruge and Rosbeh Ghobarkar. Daniel Dendra lives and works in Moscow and Berlin, the two cities where he set up anOtherArchitect in 2007. This is a multidis-ciplinary platform for digital design that works mainly on studying sustainable strategies and connections between virtual networks and real town planning processes. Since 1993 Peter Ruge has been working with Justus Pysall, with whom he founded Pysall Ruge Architects. Today they are working on proj-ects such as the Aviation Museum in Krakow, the master plan for a business park at the new Berlin international airport, the plan for a sustainable city in China and the LTD_1 office building in Hamburg. Rosbeh Ghobarkar is the creative director of LOOM, a full-service digital brand manage-ment agency founded in Berlin in 2001 that provides high-end internet applications.

Piet Oudolf 234

Piet Oudolf was born in 1944 in Haarlem, Holland. He is a landscape architect who is internationally renowned for the design of gardens for private homes and offices in Holland, Germany, Sweden, the U.K. and the U.S.A. One of Oudolf’s characteristics as a garden designer is his originality in the precise choice of plants, based on the shape of the leaves, the flowers, and the structure of the stems, enriching Dutch formalism with a more naturalist approach. Oudolf is the founder of the New Perennial or New Wave Planting movement to foster an appreciation of plants starting from their structural characteristics, and created his own nursery alongside his home in 1992 in order to study new varieties of perennials. His most recent projects include The High Line park in New York (2009), Agårdsföreningen park in Göteborg (Sweden, 2007), the Pensthorpe Waterfowl Trust park created in 2000 and updated in 2009 in Fakenham, Norfolk (UK), Pottersfield, a small park on the banks of the Thames, London (2007), Battery Park (New York, 2003), and the Millennium Garden (Chi-cago, 2003). Oudolf has been awarded various prizes and received much recognition, including the Dalecarlica Award from the Swedish Park Commissioners in 2009 for his contribu-tion to the development and improvement of Swedish parks and, in 2010, recognition for his work as a landscape designer from the APLD—the Association of Professional Land-scape Designers.

www.oudolf.com

Pezo von Ellrichshausen Architects 240

Mauricio Pezo (Chile, 1973) and Sofia von

Ellrichshausen (Argentina, 1976) set up the Pezo von Ellrichshausen Architects studio in 2001 in Buenos Aires and are currently working in Concepción, Chile. The studio designs numerous houses and hotels in which the buildings are distinguished by a high level of functional and spatial organization. The houses in particular, often built in isolated places, are systems for meditation on the landscape and nature, the horizon and gravity, space and light, silence and intimacy. Pezo von Ellrichshausen Architects has received considerable recognition in Chile and Europe and in 2008 curated the Chilean exhibition at the 11th International Architecture Exhibition in Venice. The studio’s designs include Solo House in Creats, Spain (2009-2010), Cien House in Concepción, Chile (2008-2010), the R15 Building in Saragozza, Spain (2009), and the Indigo Hotel in Santiago, Chile (2008). Pezo and von Ellrichshausen both teach at Talca University and are visiting critics at the AAP—College of Architecture, Art & Planning, Cornell University (Ithaca, NY).

www.pezo.cl

Renzo Piano 248

Born in Genoa in 1937, Renzo Piano lives and works in Genoa and Paris. He graduated from the Milan Polytechnic and began his design work in 1964 with a series of experimental studies on spatial structures. In 1971 he set up the Piano & Rogers studio in London with Richard Rogers, with whom he won the competition to build the Centre Pompidou in Paris. He also worked with the engineer Peter Rice from the 1970s to the 1990s, creating the Atelier Piano & Rice. This was followed by intensive design work focusing on the use of avant-garde materials and technology and supported by the Renzo Piano Building Work-shop, which since 1981 has brought together his offices in Paris, Genoa and New York. Piano designs buildings and urban complexes all over the world: Osaka airport (1988), the Cité Internationale in Lyons (1991), the Muse-um of Science and Technology in Amsterdam (1992), the redesign of Postdamer Platz in Berlin (1992), the Parco della Musica in Rome (1994-2002), the Paul Klee Centre in Berne (1999-2005), Aurora Place in Sydney (1996), the Telecom Tower (1997) in Rotterdam and the California Academy of Sciences in San Francisco (2000-2008). Piano has received numerous recognitions over the course of his career and several exhibitions have been dedicated to his work.

www.rpbw.r.ui-pro.com

Mark Pimlott 252

Born in Montreal, Canada, in 1958, Mark Pim-lott lives and works in London and the Hague. He is an artist and designer who works mainly with photography and video. Pimlott concen-trates his studies on places, architecture, and the relationship between the individual and the urban environment. He uses photography as a means of observa-

tion, analysis, and reflection of the subject portrayed. He has created public installations in Birmingham (2000), Aberystwyth (2003), and London (2002-2010). He designed the interiors for the Red House in London (from 1999) and the Puck restaurant in the Hague (2007), and has made numerous videos.

www.markpimlott.com

Cedric Price 260

Cedric Price (Stone, 1934-London, 2003) was one of the most visionary postwar English architects and theoreticians. He considered architecture not as a way of conditioning man, but as a means of improving his pos-sibilities by studying the flexibility of spaces and mobility. After graduating in architecture, Price set up the Cedric Price Architects stu-dio in London in 1960 and worked mainly on university buildings. His most famous designs are undoubtedly the Fun Palace (1961) and the Potteries Thinkbelt (1964). The former, never built, stemmed from the idea of creat-ing a transdisciplinary structure, which has influenced many architects, including Richard Rogers, Renzo Piano and Rem Koolhaas. In the latter, Price proposed siting mobile architectural structures in decommissioned industrial areas. Both works are united by the structuring of potential organizational pro-cesses that can be altered by interaction with the user and wide use of the most advanced technology. In 1999, Price was one of the five finalists in the competition for the Interna-tional Foundation of the Canadian Center of Architecture organized in New York on the new conception of the city. In 2002, he was awarded the third Austrian Frederick Kiesler Prize for Architecture and the Arts.

Bas Princen 214

Bas Princen (1975, Netherlands) is an art-ist who lives and works in Rotterdam. He graduated with distinction from the Design Academy Eindhoven in 1999 and received a Master of Excellence in Architecture from the Berlage Institute, Rotterdam in 2002. His work has been exhibited at the Storefront for Art and Architecture, NY, in 2010, at the Rot-terdam Architecture Biennale in 2009, and at the Venice Biennale in 2004 and 2006, among others. He has published four books on his work; the latest being Five Cities Por-tfolio published by SUN, Amsterdam (2009). A book and exhibition on his recent work will be presented in spring 2011 in association with De Singel, Antwerp, and Hatje Cantz. He has received several grants for his work from the Foundation for Visual Arts, Design and Architecture, Fonds BKVB. In 2004 he was awarded the prestigious Charlotte Köhler Prize for young artists and architects in the Netherlands. In 2006 he was awarded the Prix de Rome for Architecture in the Netherlands Basis Prize for his work with Milica Topalovic. He joined the artist in residence programs at the MAK Centre, Los Angeles in 2005 and at the CEAC, Xiamen in

2007.

Smiljan Radic + Marcela Correa 266

The architect Smiljan Radic (Chile, 1965) and sculptor Marcela Correa (Chile, 1963) live and work in Santiago, Chile. They are distinguished by absolute discretion, which makes their work seem fragile and delicate. Their installations often represent spaces that invite reflection and meditation, suggesting a rethink of the relationship between man and society. After graduating in architecture in 1989 at the Pontificia Universidad Católica de Chile, Radic continued his studies in Italy, attending the Istituto Universitario di Architet-tura di Venezia and subsequently working in Athens, Greece. In 2001, he was nominated best Chilean architect under 35 by the Cole-gio de Arquitectos de Chile (Chile’s architects association). Most of Radic’s designs are for buildings in Chile. They include the Mestizo Restaurant in Concepción (2005-2007), designed with Marcela Correa, the civic district in Concepción, designed with Eduardo Castillo and Ricardo Serpell (2000-2007), the Copper House 2 in Talca (2004-2005) and the Pite House in Papudo (2003-2005). Noteworthy among Marcela Correa’s most recent solo exhibitions are those in Santiago, Chile: Lleno de Aire (2007), Campana (2005), and Punta Seca (2003) at the Galería Animal.

raumlaborberlin 272

Set up in Berlin in 1999, raumlaborberlin is a team of eight architects—Francesco Apuzzo, Markus Bader, Benjamin Foerster-Baldenius, Andrea Hofmann, Jan Liesegang, Christof Mayer, Matthias Rick and Axel Timm. Start-ing from an analysis of the rapid and at times unrestricted development of the city after the fall of the Berlin wall, the group center their research on themes relating to contemporary architecture and town planning, exploring new strategies for city regeneration. Raum-laborberlin’s experimental designs also extend to research, public art, and performance, which often involve professionals from other sectors, such as engineers, sociologists, and local experts. Their designs include the conversion of urban spaces, such as the Eich-baum underground station (between Essen and Mülheim) turned into an opera theatre (2009), objects and installations defined as “fetish relational objects” such as the Chai-se bordelaise (2009) and The Endless City, an installation commissioned by the city of Poznan in Poland (2009-2010), along with interactive works such as the balloons–soap bubbles used for Soap Opera, presented in Essen on the occasion of the Ruhr European Cultural Capital (2010), and the installation Futures Exchange, a kind of modular pavilion built for the transmediale.10 festival in Berlin (2010).

www.raumlabor.net

R&Sie(n) 278

The associates of R&Sie(n) are François

Roche (Paris, 1961) and Stéphanie Lavaux (Saint-Denis, 1966), with a creative team made up of Toshikatsu Kiuchi, Benoit Du-randin, and Stephan Henrich. Their research centers on the concept of genetic architec-ture and all the transverse readings it allows, turned back to a starting nucleus, to a central motive, which is that of the transformation and regeneration of our planet’s material. The work of R&Sie(n) is distinguished on the one hand by a strong visionary tension, aris-ing out of a combination of the performance of sophisticated machines with generative formal procedures, and on the other by the immediate practical applications that, through the use of mechanical or natural processes, restore the sense of endless transformation. Their most significant designs include I’ve Heard About (2006-2009), an exhibition in which they presented their urban research designs for a new biomorphic residential solu-tion, Spidernetthewood, a holiday home in the Nîmes countryside (2007), Olzweg, a device for the “creation of new spaces” presented at the 10th International Architecture Exhibi-tion in Venice (2006), and Barakhouse, the unusual home of Amy and Judith Barak (Som-mières, France, 2001).

www.new-territories.com

Tom Sachs 282

The artist Tom Sachs was born in New York in 1966, where he lives and works. Using various materials and drawing on numerous engineer-ing principles, Sachs creates sculptures, that cite famous elements and historic buildings or reproduce the principle modern icons. His reproduction of Le Corbusier’s Unité d’Habitation, made by using only poliplat and glue, and his various versions of Apollo 11 and the bridge of the warship USS Enterprise are particularly significant. Sachs flanks this work with subjects drawn from popular culture and commercial brands such as Hello Kitty and McDonald’s. A common element in all the artist’s works is his preference for leav-ing visible signs of his work on the materials, as if the creative process were not entirely finished. Sachs has had solo exhibitions at the Site Santa Fe (1999) in New Mexico, the Bohen Foundation in New York (2002), and the Deutsche Guggenheim in Berlin (2003). He has also taken part in the collective exhibi-tions Icons: Modern Design and the Haunting Quality of Everyday Objects at the Museum of Modern Art in San Francisco (1997), My Reality: Contemporary Art and the Culture of Japanese Animation at the Des Moines Art Center, Des Moines, Iowa, US (2001), Five by Five: Contemporary Artists on Contemporary Art at the Whitney Museum of American Art in New York (2002), and Materials, Meta-phors, Narratives: Work by Six Contemporary Artists at the Albright-Knox Art Gallery in Buffalo, New York (2003).

www.tomsachs.org

Kazuyo Sejima 308


Kazuyo Sejima was born in the prefecture of Ibaraki, Japan, in 1956. Considered one of the most innovative of contemporary archi-tects, she conceives architecture as being completely detached from tradition and her designs show a constant tension towards research, in line with the minimalist geom-etries of contemporary Japanese architec-ture. She graduated in architecture at the Japan Woman’s University in 1981 and began working in the studio of Toyo Ito. In 1987 she opened her own studio in Tokyo and in 1995 set up SANAA with Ryue Nishizawa. This Tokyo firm has designed some of the most in-novative architecture built around the world in recent years: the New Museum of Contempo-rary Art in New York (2007), the Serpentine Pavilion in London (2009), the Christian Dior Building in Omotesando (Tokyo 2004) and the 21st Century Museum of Contemporary Art in Kanazawa (2004), which won the Leone d’Oro at the 9th International Architecture Exhibition in Venice in 2004. Other important designs are the Rolex Learning Center at the Ecole Polytechnique Fédérale in Lausanne (2010) and the new premises of the Louvre Museum in Lens, France, currently being built. In 2010 Sejima and Ryue Nishizawa were awarded the prestigious Pritzker Archi-tecture Prize in New York.

selgascano 288

The associates of the Madrid-based selgas-cano architects studio are José Selgas and Lucía Cano. Born in Madrid in 1965, Selgas and Cano graduated in 1992 at the Escuela Tecnica Superior de Arquitectura in Madrid. José Selgas subsequently worked in Naples with Francesco Venezia, while Lucía Cano specialized in the studio of her father, Julio Cano Lasso, one of the most sensitive lead-ers of Spanish modernism. The selgascano studio’s design research is based mainly on analyzing the environmental impact of the buildings. So their works embody many principles of sustainable architecture, such as exposure along the east-west axis, use of materials obtained from waste recycling, in-cluding polyester and fiberglass, and dialogue with the outdoor space and nature. The best example of their design thinking is undoubt-edly their own studio, a structure in the form of a tunnel roofed by a transparent window in acrylic plastic, entirely immersed in the countryside near Madrid. In 2006, the studio designed the futuristic Manuel Rojas confer-ence center in Badajoz, Spain, a changeable, transparent building made with contemporary materials that recall its site, inside a historic fortified bastion. The spaces and functions are entirely underground and the shell and framing are characterized by plastic materials.

www.selgascano.com

Studio Mumbai Architects 294

Bijoy Jain was born in 1965 in Mumbai, India, and graduated at Washington University in St. Louis, USA, in 1990. He worked in Los

Angeles with Richard Meier from 1989 to 1991, and in 1991 opened the Bijoy Jain + Associates studio in Mumbai. During his time in the USA, Jain became aware of how much Indian architecture was becoming more and more obviously similar to that of the West, forgetting its roots. His analysis does not focus on the quality of the buildings, but on the emulation of Western production. Starting from this idea, Jain set up Mumbai Studio in 2005, a collective that interprets the Indian landscape as a resource, using craftsmen, artists, and Indian tradesmen who work in close contact during all stages of the project, recovering local traditions and materials. The studio’s recently built designs in various parts of India include Belavali House (2008, Bela-vali, Maharashtra), House on Pali Hill (2008, Bandra, Maharashtra), Utsav House (2008, Satirje, Maharashtra), Trinity Guest House (2008, Kochin, Kerala), Palmyra House (2007, Nandgaon, Maharashtra), and Leti 360 Resort (2007, Leti, Uttaranchal).

www.studiomumbai.com

Fiona Tan 312

Born in 1966 in Pekan Baru, Indonesia, Fiona Tan lives and works in Amsterdam, Holland. She studied at the Gerrit Rietveld Academie and the Rijksakademie van Beeldende Kun-sten in Amsterdam. An emblematic artist, her mainly photographic and video works reflect her complex personal history: nomadic, dense with significant factors, and influenced by different cultures, points of view, and ways of thinking. Her look is distinguished by a surprising expressive richness resulting from the idea of travel, moving, and mutation. The nucleus of her poetics lies in the profound elaboration of memory, a visually recorded immersion in memory (subjective and collec-tive) that is then artistically recontextualised in a modern creative apparatus, thanks also to her skilful and elegant use of technology. She represented Holland at the 53rd Inter-national Art Exhibition in Venice in 2009 with her project Disorient. She has taken part in solo and collective exhibitions at the Museum of Contemporary Art in Chicago, the New Museum in New York, Modern Art Oxford, Oxford University’s gallery, the Tate Modern in London, the Centre Georges Pompidou in Paris, and at Biennali in Istanbul, Shanghai, Berlin, and Venice.

www.fionatan.nl

Transsolar 318

Transsolar is an environmental engineering firm based in Stuttgart, Munich, and New York, whose research is concentrated on the design of buildings with a high level of com-fort and technology and a low environmental impact. All aspects and stages of design are carefully monitored so that every decision is assessed from a thermodynamic and physical point of view. By favoring elements like light and natural ventilation, acoustics, air quality, and temperature, but also the interaction of

the buildings with the urban fabric in which they are placed, Transsolar surpasses the lim-ited idea of conserving energy and combines efficiency and ecology for the well being of the individual. On the basis of these prin-ciples and in association with other architec-tural offices, the firm works on regenerating spaces and the design of domestic, school, and public buildings and spaces. Transsolar’s designs include the upgrading of the Place de la République in Paris (2009), the Dolce Vita Tejo shopping center in Lisbon (2009), the central station in Strasburg, France (2007), the headquarters of the PSD Bank in Frei-berg, Germany (2006–2007), and the Adidas Factory Outlet in Herzogenaurach, Germany (2003).

www.transsolar.com

Wang Shu 54

Wang Shu (1963) lives and works in Hang-zhou, China. After completing his education, he founded the Amateur Architecture Studio with Lu Wenyu in 1997. His design philosophy is based on the desire to pursue a genuine, immediate, and natural approach to archi-tecture, highlighting his preference for an entirely spontaneous order. The guidelines for Wang Shu’s design choices include the central place of the individual and humanity in architectural research and the appreciation of simple manual work instead of technol-ogy. The reflective approach to building is a fundamentally important element to him. Most of Wang Shu’s designs have been built in China, and include the campus of the China Academy of Art in Hangzhou (2002-2007), the Museum of Contemporary Art in Ningbo (2002-2005), and the Wenzheng College Library in Suzhou (1999-2000). Wang Shu is also involved in a range of research projects, including the campus at Hangzhou, the Wenzheng Library at Sozhou University, and the Harbor Hart Museum in Ningbo, which have been the object of numer-ous exhibitions.

Wim Wenders 326

Ernst Wilheim Wenders was born in Dussel-dorf, Germany, in 1945. After attending film courses in Munich and having worked as a critic on some cinema magazines, Wenders moved to directing in the 1970s, devising his own particular language that is a personal expressive combination of image and music. After some short films, Wenders directed Hammet in 1983 in the US, produced by Francis Ford Coppola and the following year Paris, Texas, which won the Palma d’Oro at the Festival of Cannes. In 1987 he made Wings of Desire, winning the prize for the best director at the Festival of Cannes, and in 1991 directed Until the End of the World, a complex, fragmentary film that was to have a sequel in Faraway, So Close! (1993). In 1995 Wenders directed Beyond the Clouds with Michelangelo Antonioni, which won the international critics prize at the Venice Film

Festival. After The End of Violence (1997) and Buena Vista Social Club (1998), Wenders directed the original mystery film The Million Dollar Hotel, which won the Silver Bear at the Festival of Berlin. In 2005 he returned to the US to film Don’t Come Knocking and in 2007 made Palermo Shooting in Germany and Italy.

www.wim-wenders.com

Cerith Wyn Evans 328

Born in Llanelli, Wales, in 1958, Cerith Wyn Evans lives and works in London. After gradu-ating from the Royal College of Art in London in 1984, he began working as a filmmaker and director’s assistant to Derek Jarman. His artistic pathway changed direction in the early 1990s when he began exploring new themes related to language, perception, and commu-nication, which remain central to all his work. Wyn Evans mixes different artistic languages and techniques to make his installations, such as Japanese gestural calligraphy, graffiti, and sculpture, and uses a vast range of sup-ports, with a preference for lighting elements. He considers his works to be “catalyzers,” reserves of possible meanings that can reveal irrational thoughts. Wyn Evans has taken part in important exhibitions in museums and insti-tutional spaces, such as the Museum of Fine Arts in Boston (2004), the Centre Georges Pompidou in Paris (2004), the Istanbul Bien-nale (2005), the Bawag Foundation in Vienna (2005), the Institute of Contemporary Arts in London (2006), the Yokohama Biennale (2008), the Venice Biennale (1995, 2003, and 2009), and the Mori Art Museum in Tokyo (2009).

Index

347 ExhibitionExhibited Works

Aires Mateus

Francisco and Manuel Aires Mateus - studio Aires Mateus, VOIDS, 2010. White lacquered wood fiber panels, 900 × 900 × 160 cm. Courtesy Aires Mateus

Amateur Architecture Studio

Decay of a Dome, 2010. Wooden structure. Courtesy Wang Shu

AMID.cero9

Palacio del Cerezo en Flor, Valle del Jerte (Spain), 2010. Pink glossy card board, mirror, 110 × 75 × 60 cm. Client Junta de Extremadura, Consejería de Cultura y Turismo

Aranda\Lasch with Island Planning Corporation

Modern Primitives, 2010. Hard-coated EPS foam. Courtesy Aranda\Lasch, T-B A 21, Johnson Trading Gallery

ARU/Architecture Research Unit, Metropolitan University

Saemangeum Island City, Korea, 2008. Inkjet print on Korean rice hanji paper, laser cut card model on mdf substrate, inkjet prints

Atelier Bow-Wow

House Behaviorology, 2010. 19 house models, scale 1:20

Berger&Berger / Laurent P. Berger + Cyrille Berger

ça va, a prefabricated movie theater, 2006. Model for movie theater (audience 80 people) for the performance ça va by Philippe Minyana, 1230 × 1070 × 445 cm. Courtesy Robert Cantarella

Lina Bo Bardi

Sesc Pompéia. Hand-made paper model, scale 1:50

MASP 7 de Abril, Educational exhibition, sketch of the works’ stand, rollerball pen on paper, 20.8 × 31 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

Museu de Arte de São Paulo MASP, 1957-1968, MASP, study of the façade on Avenida Paulista, collage, graphite and China ink on paper, 99.7 × 56.8 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

Museu de Arte de São Paulo MASP, 1957-1968, MASP, perspective study, collage, watercolor, graphite and China ink on paper, 85.2 × 55 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, perspective of the restaurant, watercolor and rollerball pen on paper, 32.9 × 21.5 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC

Pompéia, study for the solarium’s furnishings, watercolor, rollerball pen and China ink on paper, 26.8 × 40.6 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, visual comunication, study for the placard, collage, guache, graphite and China ink on paper, 45 × 67 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, swimming pool of the sporting center, collage, watercolor, rollerball pen and hydrographic on paper, 70.3 × 50 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, study for the boundary wall, watercolor and graphite on paper, 29.7 × 19 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, perspective of the theater, watercolor, rollerball pen and hydrographics on paper, 57.3 × 37.5 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, lunch at the SESC Pompéia Restaurant, rollerball pen on paper, 21.5 × 15.5 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, study of the waste-water river’s covering, watercolor, rollerball pen and hydrographics on paper, 21.6 × 33 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, visual communication, study of the signs for gyms, collage, watercolor, rollerball pen, hydrographics on paper, 69.5 × 49.5 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, study of the carts, watercolor, rollerball pen and hydrographics on paper, 70 × 50 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, perspective of the sporting center’s stair, watercolor, rollerball pen, hydrographics and graphite on paper. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, landscape study of the sheds for recreational activities, watercolor, hydrographics and graphite on paper, 57.2 × 38.9 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, study of the pergola and dressing of outdoor area’s walls, watercolor, rollerball pen, graphite and collage on paper, 31.6 x 21.6 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, study for the outdoor area’s walls, rollerball pen, graphite and collage on paper, 31.4 × 21.6 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, visual communication for the restaurant and workshops, watercolor, rollerball pen and collage on paper, 49.4 × 35.1 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, study of the general plan, watercolor, rollerball pen, hydrographics, graphite and pastels on paper, 111 × 79.5 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, studio of the great wall and waste-waters’ river, watercolor on heliographic paper, 31.5 × 21.3 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, plan of the internal streets with planting’s indications, rollerball pen, hydrographics, heliography, guache and graphite on paper, 165.5 × 97.3 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

Exposição Caipiras, Capiaus: Pau-a-pique, 1984, SESC Pompéia, Caipiras, Capiaus: Pau-a-pique exhibition, studies for the masters, hydrographics and pastels on paper, 15.4 × 21.4 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

Exposição Caipiras, Capiaus: Pau-a-pique, 1984, SESC Pompéia, Caipiras, Capiaus: Pau-a-pique exhibition, studies for the masters, hydrographics and pastels on paper. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

Exposição Caipiras, Capiaus: Pau-a-pique, 1984, SESC Pompéia, Caipiras, Capiaus: Pau-a-pique exhibition, studies for the masters, hydrographics, heliography and graphite on paper, 21.4 × 15.4. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

Exposição Caipiras, Capiaus: Pau-a-pique, 1984, SESC Pompéia, Caipiras, Capiaus: Pau-a-pique exhibition, studies for the masters, hydrographics, guache and graphite on paper. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

Exposição Caipiras, Capiaus: Pau-a-pique, 1984, SESC Pompéia, Caipiras, Capiaus: Pau-a-pique exhibition, studies for the masters, hydrographics, heliographic and graphite on paper, 31.5 × 21.4 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

Exposição Caipiras, Capiaus: Pau-a-pique, 1984, SESC Pompéia, Caipiras, Capiaus: Pau-a-pique, exhibition, watercolor, hydrographics and graphite on paper, 58.4 × 32.7 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

348 349Biennale Architettura 2010 ExhibitionExhibited Works Exhibited Works

Exposição Entreato para Crianças, 1985, SESC Pompéia, interior perspective of the exhibition, watercolor, hydrographics, rollerball pen, guache and graphite on paper, 35 × 25 cm. Courtesy Coleção Marcia Benevento

Casa do Benin na Bahia, 1987, Casa do Benin, detail sketches of the reinforced concrete stair and column, watercolor, rollerball pen and hydrographics on paper, 27.9 × 19.1 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

Casa do Benin na Bahia, 1987, studies of the whole complex, watercolor, hydrographics and graphit on paper, 56 × 37 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

Casa do Benin na Bahia, 1987, Restaurant, study of the side façade, heliography and guache on paper, 48.8 × 32.7 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, window of the sporting center, color photograph, 40 × 27 cm. Courtesy Coleção Nelson Kon

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, projected reinforced concrete platforms, between the locker rooms and gyms, color photograph, 49.9 × 50.4 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, view of the deck and the sporting center, color photograph, 85.2 × 99.9 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, aerial view of the complex, color photograph, 38.8 × 26 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, view of the Rio San Francisco, at the end the pathway, color photograph, 20.2 × 25 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, Library: open spaces vs closed spaces, color photograph, 25.4 × 18.1 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, the pavilion for activities and meeting point, b/w photograph, 24.4 × 18 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, the pavilion for activities and meeting point, b/w photograph, 24.1 × 18.2 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, saturday at the “fábrica”: collective gymnastics for children, color photograph, 19.2 × 24.1 cm. Courtesy Instituto Lina Bo e

P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, saturday at the “fábrica”: popular characters for children, b/w photograph, 24 × 18 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, meeting-point area, color photograph, 73.5 × 42.4 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, fishing in the Rio San Francisco, color photograph, 73.4 × 52 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, Caipiras, Capiaus: Pau-a-pique exhibition, accordion player, b/w photograph, 23.9 × 17.8 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, Design in Brasile exhibition, visitors, b/w photograph, 24 × 18.3 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, Pinocchio exhibition, color photograph, 25.3 × 17.9 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, Mille Giocattoli exhibition, b/w photograph, 24.1 × 18.2 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, Mille Giocattoli exhibition, visitors, b/w photograph, 18.2 × 24.1 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, Mille Giocattoli exhibition, general view, b/w photograph, 24 × 18.2 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

SESC - Fábrica da Pompéia, 1977, SESC Pompéia, Mille Giocattoli exhibition, color photograph, 25.4 × 18.1 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

Museu de Arte de São Paulo MASP, 1957-1968, MASP, view of the Avenida Paulista, b/w photograph, 18.9 × 12.5 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

Museu de Arte de São Paulo MASP, 1957-1968, MASP, Nelson Leirner exhibition, b/w photograph, 33.1 × 25.1 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

Museu de Arte de São Paulo MASP, 1957-1968, MASP, Circo Piolin, b/w photograph, 35.1 × 24 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

Museu de Arte de São Paulo MASP, 1957-1968, MASP, Belvedere, b/w photograph, 45.5 × 34.8 cm. Photo pb

Museu de Arte de São Paulo MASP, 1957-1968, MASP, aerial view of the Avenida 9 de Julho, color photograph, 35 × 35 cm. Coleção Nelson Kon

Museu de Arte de São Paulo MASP, 1957-1968, MASP, view of the open space, musical performance, color photograph, 48 × 34.7 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

Museu de Arte de São Paulo MASP, 1957-1968, MASP, stair/ramp, color photograph, 30.1 × 20.5 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

Museu de Arte de São Paulo MASP, 1957-1968, MASP, Picture Gallery, paintings’ bearing in reinforced concrete and glass, b/w photograph, 31.1 × 42.2 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil


Museu de Arte de São Paulo MASP, 1957-1968, MASP, aerial view, b/w photograph, 40 × 37.7 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

Museu de Arte de São Paulo MASP, 1957-1968, MASP, Bob Wolfenson exhibition, b/w photograph, 25 × 20 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil


Casa do Benin na Bahia, 1987, restaurant and garden, color photograph, 30 x 24.1 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

Casa do Benin na Bahia, 1987, view of the “Cascata di Xangô”, color photograph, 25.3 × 23 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

Casa do Benin na Bahia, 1987, Benin handcraft exhibition on the ground floor, color photograph, 25.1 × 20.2 cm. Courtesy Instituto Lina Bo e P.M. Bardi, São Paulo, Brasil

Nelson Kon, Casa do Benin na Bahia, 1987, aerial view of the complex restored in 2002, color photograph, 40 × 28.3 cm. Nelson Kon Collection

Documentary Lina Bo Bardi (Portuguese audio/Italian subtitles), video NTSC, 49’53”, DVD

Documentary Fábrica da Pompéia (French subtitles), video NTSC, DVD

Documentary LAAT OP DE AVOND (Dutch audio), video NTSC, 45’, DVD

Museu de Arte de São Paulo MASP, 1957-

1968 - Lina Bo Bardi - Museu de Arte de São Paulo MASP - Corte BB, CAD - CADMASP01

Museu de Arte de São Paulo MASP, 1957-1968 - Lina Bo Bardi - Museu de Arte de São Paulo MASP - Plantas do nível -9,50 e do nível -4,50, CAD - CADMASP02

Museu de Arte de São Paulo MASP, 1957-1968 - Lina Bo Bardi - Museu de Arte de São Paulo MASP - Plantas do nível 0,00 e do nível +8,40, CAD - CADMASP03

Museu de Arte de São Paulo MASP, 1957-1968 - Lina Bo Bardi - Museu de Arte de São Paulo MASP - Planta do nível +14,40, CAD - CADMASP04

SESC - Fábrica da Pompéia, 1977 - Lina Bo Bardi - SESC Fábrica da Pompéia - Planta do Complexo, CAD - CADSESC01

Casa do Benin na Bahia, 1987 - Lina Bo Bardi - Casa do Benin - Plantas do primeiro pavimento,segundo pavimento e sotão, CAD - CADBENI01

Casa do Benin na Bahia, 1987 - Lina Bo Bardi - Casa do Benin - Planta do térreo, CAD - CADBENI02, CAD - CADMASP02a

Andrea Branzi

Per una Nuova Carta di Atene, 2010. Installation with models. Courtesy Centre Pompidou, Paris, Musée national d’art moderne / Centre de création industrielle, FRAC Centre Collection, Orléans, Galerie italienne, Paris, Friedman Benda Collection, New York, Metea srl

Janet Cardiff

The Forty Part Motet, 2001. A re-working of Spem in Alium Nunquam habui 1573 by Thomas Tallis, sung by Salisbury Cathedral Choir. 40 loud speakers mounted on stands, placed in an oval, amplifiers, playback computer. Duration: 14 min. loop with 11 min. of music and 3 min. of intermission

Aldo Cibic

Rethinking Happiness, 2010. 4 models, photos, graphics and text on a wall

dePaor

4am, 2010. 2” × 4” planed, lavendered softwood, linen, wool, limestone, glass, 455 × 405 × 510 cm. Courtesy dePaor architects

architecten de vylder vinck taillieu

7 houses for 1 house / the ordos 100 project revisited / ordos 100 # 001 id 096. Diverse technics and media: drawing, painting, modelling / paper, cardboard, wood, plasticine, brick / originals, prints, dia

Do-ho Suh

Blueprint, 2010. Nylon fabric and CNC milled high pressure laminate panels. Courtesy the Artist

Peter Ebner and friends

Enjoy the view, 2010. Prototype. Poured-in translucent concrete, 120 × 800 × 35 cm

Olafur Eliasson

Your split second house, 2010. Water, hoses, pump, strobe light, dimensions variable. Courtesy the Artist; neugerriemschneider, Berlin; Tanya Bonkadar Gallery, Berlin

Sou Fujimoto Architects

Primitive Future House, 2010. Study for the pavilion for the works by W.S. at Château La Coste in Aix-en-Provence, France. Acrylic/plexiglas model, scale 1:5, 300 × 300 × 273 cm

Antón Garcia-Abril & Ensamble Studio

Balancing Act. Various media (film, models); equilibrium structure (expanded polyestyrene model, 2 beams 1620 and 2100 × 100 × 240 cm)

junya.ishigami+associates

Architecture as air: study for chateau la coste. Mixed media, 400 × 380 cm. Courtesy the Artists

Toyo Ito & Associates, Architects

Forum for Music, Dance and Visual Culture, Ghent, Belgium. Study models, presentation panels, video. Courtesy Toyo Ito Associate’s, Archtects + Andrea Branzi Architetto

Taichung Metropolitan Opera House, Taichung, Taiwan. Structural models, study models, detailed models; presentation panels for process and for competition; video. Courtesy Toyo Ito Associate’s, Architects

Andrés Jaque Arquitects

Fray Foam Home, 2010. Set of objects on hanging wire structure, 800 × 40 × 280 cm. Courtesy the Artist

Cristian Kerez

Some Structural Models and Pictures. 4 models, videos

Luisa Lambri

Untitled (Menil House, #07, #10, #04), 2002. 3 laserchrome prints, 104 × 130 cm each. Ed. 5 + 1 AP. Produced by the Menil Collection, Houston. Courtesy Galerie Paul Andriesse, Amsterdam

Untitled (Menil Collection, a), 2002. Laserchrome print, 104 × 130 cm. Ed. 5 + 1 AP. Produced by the Menil Collection, Houston. Courtesy Galerie Paul Andriesse, Amsterdam

Untitled (Casa das Canoas, #01, #02), 2003. 2 laserchrome prints, 99 × 115 cm each. Ed. 5 + 1 AP. Courtesy Thomas Dane Gallery, London

Untitled (Casa das Canoas, #12, #13), 2003. 2

laserchrome prints, 99 × 115 cm each. Ed. 5 + 1 AP. Courtesy Thomas Dane Gallery, London

Untitled (21st Century Museum of Contemporary Art, #02), 2004. Laserchrome print, 74 × 63.7 cm. Ed. 5 + 1 AP. Courtesy Hiroshi Sugimoto, Atsuko Koyanagi

Untitled (21st Century Museum of Contemporary Art, #03), 2004. Laserchrome print, 74 × 63.7 cm. Ed. 5 + 1 AP. Courtesy Hiroshi Sugimoto, Atsuko Koyanagi

Untitled (Casa de Balle, #01, #02, #03), 2003. 3 laserchrome prints, 73.9 × 85 cm each. Ed. 5 + 1 AP. Courtesy Thomas Dane Gallery, London

Walter Niedermayr

Shiraz, Iran 124/2006. Quadriptych, digitial print, acryl on canvas, 253 × 845 × 4 cm. Courtesy Galerie Nordenhake Berlin / Stockholm + Galleria Suzy Shammah Milan

Isfahan, Iran 107/2006. Diptych, digitial print, acryl on canvas, 160 × 421 × 4 cm. Courtesy Galerie Nordenhake Berlin / Stockholm + Galleria Suzy Shammah Milan

Isfahan, Iran 176/2008. Diptych, digitial print, acryl on canvas, 160 × 421 × 4 cm. Courtesy Galerie Nordenhake Berlin / Stockholm + Galleria Suzy Shammah

Noero Wolff Architects

Strangeness and familiarity. Various medias (film, model, drawings, digital printing). Courtesy the Artists

Hans Ulrich Obrist

NOW INTERVIEWS, 2010. Videos

Wall of Names. Wall text

The Serpentine Gallery 2006 24-Hour Interview Marathon. Videos. Courtesy The Institute of the 21st Century and The Serpentine Gallery

OFFICE Kersten Geers David Van Severen

Cité Refuge, Ceuta - Collage, view from the sea, 2007. Inkjet print on white coated aluminium plate, 85 × 116 × 0.5 cm. Courtesy the Artits

Cité Refuge, Ceuta - Collage, view from the mountain, 2007. Inkjet print on white coated aluminium plate, 85 × 116 × 0.5 cm. Courtesy the Artits

Villa Voka, Kortrijk - Collage, view from the south, 2009. Inkjet print on painted aluminium plate, 85 × 116 × 0.5 cm. Courtesy the Artits

A grammar for the city, South-Korea - Collage, view to the city, 2005. Inkjet print on white coated aluminium plate, 85 × 116 × 0.5 cm. Courtesy the Artits

A grammar for the city, South-Korea - Collage, view from the mountain, 2005. Inkjet print on white coated aluminium plate, 85 × 116 × 0.5 cm. Courtesy the Artists

350 351Biennale Architettura 2010 ExhibitionExhibited WorksExhibited Works

Border crossing, MEX-USA - Collage, view from the air, 2005. Inkjet print on white coated aluminium plate, 85 × 116 × 0.5 cm. Courtesy the Artists

Border crossing, MEX-USA - Collage, view from the ground, 2005. Inkjet print on white coated aluminium plate, 85 × 116 × 0.5 cm. Courtesy the Artists

University Library, Berin - Collage, view from the street, 2004. Inkjet print on white coated aluminium plate, 85 × 116 × 0.5 cm. Courtesy the Artists

25Rooms, Ordos - Collage, internal view room 0, 2008. Inkjet print on white coated aluminium plate, 85 × 116×x 0.5 cm. Courtesy the Artists

25Rooms, Ordos - Collage, internal view room -1, 2008. Inkjet print on white coated aluminium plate, 85 × 116 × 0.5 cm. Courtesy the Artists

25Rooms, Ordos - Collage, internal view room -2, 2008. Inkjet print on white coated aluminium plate, 85 × 116 × 0.5 cm. Courtesy the Artists

OFFICE Kersten Geers David Van Severen + Bas Princen

Installation with pictures

Valerio Olgiati

Perm Museum XXI, Perm, Russia, 2008. White pvc, forex

National Palace Museum, Taiwan, 2004. Screen presentation

The Yellow House, Flims, Switzerland, 1995-1999. Screen presentation

Atelier Bardill, Scharans, Switzerland, 2002-2007. Screen presentation

OMA – Office for Metropolitan Architecture

Preservation, 2010. Furniture and ornament from Haus der Kunst, Munich, material relics, photographic documentation, archived documents, publications and research

Opensimsim

Opensimsim.net, 2010. Interactive models with augmented reality installation

Piet Oudolf

Il Giardino delle Vergini, 2010. Design and planting plan site specific for the Giardino delle Vergini, Arsenale

Pezo von Ellrichshausen Architects

Detached, 2010. 2 backlight photographs (600 × 10 × 300 cm) and 2 concrete scale models, 30 × 30 × 40 cm

Renzo Piano Building Workshop

1971-1977, Centre Georges Pompidou, Paris, France. Photo Charles Martin. © Charles Martin

2000-2006, Renovation and expansion of the Morgan Library, New York, USA. Photo Michel Denancé. © Michel Denancé

1991-2004, Padre Pio Pilgrimage Church, San Giovanni Rotondo (Foggia), Italy. Photo Michel Denancé. © Michel Denancé

1999-2005, Zentrum Paul Klee, Bern, Switzerland. Photo Michel Denancé. © Michel Denancé

Mark Pimlott + Tony Fretton Architects

Piazzasalone, Venice, 2010. Mixed media installation, 2046 × 1393 × 650 cm overall

Cedric Price

VENIC VENIC, 2010. An exhibition curated by Hans Ulrich Obrist and Samantha Hardingham. Installation with tagged interviews, sketches, video. Courtesy Eleanor Bron c/o Cedric Price Estate; The Architectural Association Photo Library, London; Pidgeon Digital, World Microfilms Publications Ltd., London; Hans Ulrich Obrist

huoarchive.hfg-karlsruhe.de. An on-line project conceived at the department for Exhibition Design and Curatorial Practice at the Hochschule für Gestaltung Karlsruhe (HfG)

Bas Princen

Ringroad (Findeq / Ceuta), 2007. Inkjet on painted aluminium, 140 × 171 × 0.5 cm. Courtesy van Kranendonk Gallery, The Hague

Superiour court, 2005. Inkjet on painted aluminium, 140 × 171 × 0.5 cm. Courtesy van Kranendonk Gallery, The Hague

Botanic garden (Xiamen), 2009. Inkjet on painted aluminium, 140 × 171 × 0.5 cm. Courtesy van Kranendonk Gallery, The Hague

Pavilion (Office), 2008. Inkjet on painted aluminium, 140 × 171 × 0.5 cm. Courtesy the Artist

Garden Pavilion (Office), 2010. Inkjet on painted aluminium, 140 × 171 × 0.5 cm. Courtesy the Artist

Ringroad (Houston), 2005. Inkjet on painted aluminium, 140 × 171 × 0.5 cm. Courtesy van Kranendonk Gallery, The Hague

Reservoir (Concrete Rundown), 2005. Inkjet on painted aluminium, 140 × 171 × 0.5 cm. Courtesy van Kranendonk Gallery, The Hague

Domino II (Xiamen), 2009. Inkjet on painted aluminium, 140 × 171 × 0.5 cm. Courtesy van Kranendonk Gallery, The Hague

Grid II, 2008. Inkjet on painted aluminium, 140 × 176 × 0.5 cm. Courtesy van Kranendonk Gallery, The Hague

Smiljan Radic + Marcela Correa

The Boy Hidden in a Fish, 2010. Granite stone and cedro wood, 5.40 × 3.00 × 1.80 m approx; 8 tons approx

raumlaborberlin

Kitchenmonument, 2010

The Generator, 2010

R&Sie(n)

Isobiot®ope / The Building which never dies, 2010. Mixed media installation. Courtesy R&Sie(n) Architects / Paris

Tom Sachs

Mc Busier, 2002. Steel, wood, hardware, foamcore, plexiglass, asphalt. Courtesy Vanhaerents Art Collection, Brussels

Care Taker, 2002. Sculpture. Courtesy the Artist

Untitled / Unite Façade, 2001. Sculpture. Courtesy the Artist

Unite Drawing, 2003. Sharpie, painted sheet metal, plywood. Courtesy the Artist

Modular Man, 2001. Synthetic polymer paint on wood panel. Courtesy the Artist

La Ville Radieuse, 2010. Pyrography on reconstituted Ikea forniture. Courtesy the Artist

The Radiant City, 2010. Synthetic polymer paint on plywood. Courtesy the Artist

The Radiant City, 2010. Steel, synthetic polymer paint, plywood, hardware. Courtesy the Artist

Deluxe Racing Kit, 2010. Mixed media. Courtesy the Artist

Nutsy’s Learning Station, 2010. Synthetic polymer paint, plywood, hardware, chain, nutsy’s book. Courtesy the Artist

La Guerre Aeriene, 2010. Paper, pen, coned barrier, museum glass, hardware. Courtesy the Artist

The Open Hand, 2010. Wood, steel, resin. Courtesy the Artist

Le Modulor, 2000. Ink on paper on hinged plywood. Cortesy Galerie Thaddaeus Ropac, Paris/Salzburg

selgascano

vacuum pack-ing (on room 25), 2010. Vacuum. 2 pieces 450 × 20 × 450 cm each, 40 kg each. Cortesy Lastra & Zorrilla

Caruso St. John / Thomas Demand

Nagel Haus, Project for Escher-Wyss-Platz, Zürich. Video installation, mock up, milled wooden panels. Courtesy Caruso St. John / Thomas Demand

Studio Mumbai Architects

Work-place, 2010. Mixed media installation. Courtesy Studio Mumbai Architects

Fiona Tan

Cloud Island I, Project for the Venice

Architecture Biennale 2010. 2 channel HD installation, filmed on location Inujima and Teshima, Japan. Courtesy the Artist, Wako Works of Art, Tokyo, and Frith Street Gallery, London. Commissioned by Naoshima Fukutake Art Museum Foundation

Kazuyo Sejima + Ryue Nishizawa

Inushima Art House project, 2010

Teshima Art Museum, 2010. Installation with models and drawings

Transsolar KlimaEngineering + Tetsuo Kondo Architects

Cloudscapes, 2010. 800 m² artificial cloud (produced live at the Arsenale) with ramp/stairs to go into and through cloud

Wim Wenders

If Buildings Could Talk..., 3D video installation. © Neue Road Movies 2010

Cerith Wyn Evans

Joanna (Chapter One…) sat in the plan, 2010. Neon text on structure; 2 channel HD installation. Courtesy the Artist and White Cube, London

PhotolithographyFotolito Veneta, San Martino Buonalbergo (Verona)

Printed byGrafiche SIZ s.p.a., Campagnola di Zevio (Verona)for Marsilio Editori® s.p.a., in Venice

No part of this book my be reproduced, stored in a retrieval system, or transmitted in any form or by the means, electronic, mechanical, photocopying, recording, or otherwise, without prior consent of the publisher

edition

10 9 8 7 6 5 4 3 2 1

year

2010 2011 2012 2013 2014

Documents

Venice Biennal of Architecture 2010 Catalogue