Recycling is in construction now standard, or should be, of course, there must also show the Architecture Biennale of Venice, that it is on the cutting edge. How much waste is generated in the temporary installations of an exhibition, moreover, in the beautiful, empty shells of the centuries-old Arsenal and the other buildings for the entertainment of the former fleet of the Serenissima!
Single 10 000 square meters of plasterboard and fourteen kilometers metal rails were last time left, and place them to depart to a landfill, they are now the design of the entrance area to the arsenal: the gypsum boards along coated and very decorative canceled, a relief forming in front of the brick walls, and twisted and bent the metal rails, but in uniform length hanging from the ceiling. The visitor understands: In the following rooms not highly polished construction projects will be presented, but the everyday life of the building of material, craft and practical mind
Such common sense pervades all projects of 88 architects and architectural firms, the Artistic Director. the Biennale, the 48-year-old Chilean Alejandro Aravena, invited this time has. Now it has recourse to the basic conditions of the building, on allverfügbare materials and simple, traditional handling, on an architecture that is known in Anglo-Saxon as “vernacular” and must not reduce “traditional” in the German, last given at several biennials. You could say that’s the spirit.
Only Aravena whose eloquentester, thereby quite principled artist. His general theme “reports from the front” is rather one-dimensionally on the special problems of global migration – has been based and the resulting need ad hoc accommodation – by far not only of refugees. In fact, Aravena said the battles that must be fought everywhere, against defects in materials and shortage of money as well as the bureaucracy or profiteering, against everything that quality prevents understood to improve the ability to people’s lives.
A golden lion for the Spanish pavilion
at the opening on Saturday, the jury awarded the Spanish pavilion at the Golden Lion from “a selection of emerging architects whose work shows how to overcome creativity and dedication material constraints.”
Aravena has attracted with its social construction projects sensation, in which the excess of the user is in the foreground; but he is, what can be easily overlooked, excellent networks within the international architectural operation. Recently he was awarded with this year’s Pritzker Prize, the largest prize in his field, and also because he was the ideal candidate for the focused overdue rejuvenation long time deserved architecture Seniors award. Aravena, in personal styling unobtrusive but always exactly trendy, can unite opposites without being unprincipled, and so he just gets all around the table.
To be found because the he is responsible exhibition at 500 meter Arsenal and the nested Central pavilion in the Giardini not only expectable examples of good practice such as the recycling of architecture – also Pritzker prize laureate – Wang Shu. He created from the anthracite-colored bricks Chinese courtyard houses large cultural buildings.
One encounters here on the shell construction for self-completion by the German Bel Architects, presented at the IBA in Hamburg, or Luigi Snozzi reinterpretation of village identity in domestic Ticino. There are numerous lesser known buildings that have something specific to which it is to do Aravena; to the special construction, the local tradition to energy saving, durability and material savings anyway.
Furthermore, you can see reflections on transitory cities, impressive example of all twelve yearly Kumbh Mela festival in India Allahabad, the extends over 55 days a total of 100 million visitors counts and out of nowhere creates a functioning, urban to be named large settlement. The use of local materials owe the school buildings in remote villages of South Africa from Luyanda Mpahlwa as well as the construction of Studio Mumbai in the overpopulated capital of India. To demonstrate neglected techniques Biennale segment domes of thin bricks or even are constructed from one another shingled concrete panels to show the structural strength of such without complicated machines to be built of lightweight construction in several places.
There are suddenly Mongolian yurts, reminding us that all peoples live in temporary structures, and which are also, now placed permanently in the capital Ulan Bator because of the brachial possessed urbanization policy of the people’s Republic of China, on the dividing line of nomadic and sedentary.
this Biennale is a celebration of pragmatism
so there is much to marvel and learn in this Biennale. It is a celebration of pragmatism. As well as the great moguls of architecture fit seamlessly – Norman Foster with a hypermodern called drone Airport domed, David Chipperfield, with its shallow squat museum in the desert of Sudan, Renzo Piano, whose Building Workshop has always been compatible with all impulses of participation and discourse.
Jean Nouvel must show by his gigantic the Louvre Abu Dhabi, it is the “light rain” devised in cooperation with the hi-tech people of Transsolar wherein light through small openings in the vaulted ceiling, because of the typical local combination of dust and moisture as radiation is visible as on old photographs from colorful windowed cathedrals.
in contrast to the tightly composed leading exhibition national contributions do amazingly difficult. 65 countries participate, five of them for the first time – the group of participants is growing from time to time – and only 30 see the traditional site of the Giardini Square, still less in each its own pavilion. Here and there, there is then also built architecture seen in countless examples huddled in the pavilion of the Nordic countries, in examples of small architecture in modellbau love Japanese, impressive in Spain under the title “Unfinished” with buildings by the crisis that the totally overheated real estate sector today paralyzes.
Russia consumed once more by the architectural heritage of the Stalin era and polished the grounds of the “exhibition economic achievements” in Moscow. In the US the dilapidated heritage of the industrial age in impoverished Detroit is tackled. is recorded Really the issue of migration in Austria and especially in the German pavilion: that is, after the title of the successful book by the journalist Doug Sanders, striking decked brightly colored for “Arrival City”, the arrival city. Four openings curator Oliver Elser can break the German Architecture Museum in Frankfurt / Main in the walls; which need after the exhibition again be bricked up, but as long as is the Pavilion open 24 hours, no borders, almost like in real life. Architecture in the strict sense can be found in the form of shelters, as they provide cities and communities gradually as yet to his feet, and arched over everything from statistics to Neukölln or Offenbach am Main, the labor market and for immediate integration into the gray area around the Asia market of Lichtenberg .
“Good architecture creates something that goes beyond their own existence”
A silent contribution in the Giardini stands out precisely because he is so inconspicuous: the large tent of Western Sahara. The state does not exist. but well the problems of local, battered by colonial power requirements Region: Flight, migration, storage, spontaneous settlements; 160,000 Sahrawis, as the inhabitants are called, live in some cases for 40 years in such settlements that have formed very own designs and thereby give social systems such as school and education form. The boundaries of the respective concepts are fluid, and by the way is one of the key findings that mediates this Biennale: scissors just not all with the same brush. Between camp and slum between favela and Banlieue are worlds apart, and where some volatility ends and durability begins, is a matter of perspective.
“Good architecture creates something that goes beyond their own existence,” says at a location of the Biennale handbook, which presents all the exhibited projects in brief texts. This euphemism may be seen as another theme Aravena. The old Utopia of Modernity, to be able to change society for the better with architecture, lives with him further, though disillusioned by the former trust in technology and major projects.
At the opening, he got rid of the same yet the suspicion, to organize a humanitarian Biennale. It is sufficient to address the problem areas of today; their 14, from inequality to crime, he has listed in the catalog in a pencil sketch. Architecture should be appropriate, significant in relation to the problems identified.
It is difficult to ever again to present a fashion show superlative contruction in Venice to this, in all seriousness by no sauertöpfisch-didactic 15th Architecture Biennale , Real Estate Trade shows there are elsewhere.
Venice, Arsenale and Giardini, to 27 November. Catalog (2 vols.) From 70 €, Short Leash € 16. Information and extensive support program under www.labiennale.org.
No comments:
Post a Comment