Architect s Drawings A selection of sketches by world famous architects through history
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Using computer technology, the Asymptote created modular structures that teared the central perspective of the Corderie, letting each section spontaneously and simultaneously slide into the next one, as in a growing metamorphosis process. In particular, the second couple of architects is considered a pioneering team when it comes to anticipating many solutions which have become paradigmatic in the last years.
In the spaces of the Padiglione Italia, photographers and architects were invited to develop, through site-specific interventions and installation, the concept of metamorphosis, as well as its relation to space and architecture. The visitor could feel like personally experiencing the evolutions and the changes of the real world. Moreover, three different monographic exhibitions were set up, centered on two great masters of the past, Gladio Dieste and Ivan Leonidov, and on a contemporary one, Peter Eisenman.
The Italian section, curated by DARC, presented the shots of ten Italian photographers who cooperated with other architecture historians and critics on a research about the last 50 years of architecture in Italy. What will architecture be like in the future? This is the question the 8th International Architecture Exhibition, directed by Deyan Sudjic and titled Next, tried to answer. Sudjic is sure that today, thanks to sketches, models and new technologies, it is possible for us to foresee the architecture of the nearest future, with a limited margin of error.
At the same time, it is also possible to select the geographical areas that will host the most innovative projects in the future, even though there is nothing significant yet: Sudjic imagined a possible future scenario for China, where the most interesting creations could be realized. One of the key features of this Architecture Biennale is the attention paid to the materials: all the designers involved were invited to display not only drawings and plastic models, but also concrete materials such as bricks, glass, metal, in order to physically prove the impact they can have on architectural space.
One year after the Twin Towers bombing in New York, this exhibition highlighted a new interest for vertical expansion and for skyscrapers, which ultimately can reaffirm the modernity of nowadays cities. At the Giardini, the Italian section at the Padiglione Italia was centered on a series of projects, some of which realized by foreign architects too, aiming at requalifying some Italian areas, such as the intervention on the San Michele cemetery in Venice by David Chipperfield.
The USA Pavilion hosted a selection of shoots of September 11th, as well as suggestions for the restoration and the reconstruction of Ground Zero. As the title itself points out, it is essential for Fuksas to find a new way to relate to architecture, favoring the research of new ethical responses, rather than simply aesthetics, when developing a project. The Corderie, the Artiglierie, the empty spaces at the Arsenale up to the Vergini recovered by the Biennale presided by Paolo Baratta in , and used for Architecture for the first time and the Padiglione Italia, hosted a selection of architects, artists and photographers that had investigated metropolitan changes in the last years.
The megalopolis appears to be a sort of global magma, where cultural stereotypes, turistic and economic flows all live together along with urban decay situations, which are often ignored or understated. The spaces of the Padiglione Italia hosted the works of architects, artists and photographers that, through different practices and methods, have questioned the evolution of the metropolis, underlining the necessity o fan interdisciplinary approach to catch up with the challenges present times may hold. Sensori del futuro. Thanks to the attention paid to these unusual elements, such as communication systems and new technologies, architects can change key places in urban landscapes, challenging the traditional idea of urban space inherited from traditions.
Approximately seventy architects were invited to exhibit a significant project, to be a sort of personal testament. This is why, on this edition, the rooms of the Padiglione Italia were filled with the works of the major international architects, such as Frank O. The Italian section, curated by Marino Folin and set up at the Padiglione Italia with big scale projects and facades, was devoted to young architects between 30 and 40 years of age, displaying works that had to be no more than 5 years old.
A photographic exhibition, realized thanks to the joint collaboration between photographer Gabriele Basilico and architect Stefano Boeri and dedicated to the Italian landscape — both urban and natural-, was hosted there as well. In , the Golden Lion was instituted for the Architecture Biennale; and three great masters of the 20th century, Ignazio Gardella, Philip Johnson and Oscar Niemeyer were awarded the prize. Francesco Dal Co is appointed director of the Architecture Section in by the Administration Board presided by Paolo Portoghesi, in his second four-year mandate.
The fifth International Architecture Exhibition takes place in , resuming in its different sections the work and the activities promoted by Dal Co in the previous years. In this 5th Architecture Exhibition, Dal Co also stresses the importance of a confrontation between the Biennale and the Venetian territory, as the three different contest proclaimed under his direction from on testify; the themes on which they were centered were the restoration of the Padiglione Italia contest won by Francesco Cellini , the restoration of the Palazzo del Cinema at the Lido won by Rafael Moneo and the requalification of Piazzale Roma.
The Aliante installation by Massimo Scolari, allocated on the Fondamenta della Tana at the time, as an external sign for the schools of architecture exhibition, will be long-lived, as it is still displayed outside the IUAV buildings in Santa Marta, Venice. The fourth Architecture Biennale is organized one year after the previous one it breaks the two-year deadline once again and is dedicated to the work of a single architect, Hendrik Petrus Berlage Amsterdam, Director Aldo Rossi collects, for the first time in Europe, the corpus of all the designs of this Dutch master and organizes their display at Villa Farsetti in Santa Maria di Sala, on the Venetian mainland, underlining his will to make the Biennale institution interact with local territories.
Villa Farsetti, moreover, is the perfect response to the need of finding an alternative space for the exhibitions, given that the International Art Exhibition was opening in the same period. The constant attention he shows for History is one of the main reasons for the Biennale to devote its interest to him.
Keeping faithful to its criticism towards the Modernist movement and its rationalism, this edition, as the previous ones, is centered in the relationship that, according to Portoghesi and Rossi, contemporary architecture should keep with the past. The third edition of the Architecture Biennale takes place three years after the second one, and is directed by Aldo Rossi Portoghesi became President of the Biennale in the meantime. Its title, Progetto Venezia, resumes the two key concepts of the exhibition: the priority given to the moment of planning and the comparison with the Venetian landscape.
Aldo Rossi invites affirmed architects, but also young and less famous ones, to display their ideas and designs for the requalification or the transformation of specific areas of the lagoon town and its mainland. An international jury is appointed, with the aim of selecting the best projects.
In a city known for its antimodern character, where it is extremely difficult to create new architectural spaces, the challenge and the opportunity to reinvent urban sites given by Progetto Venezia is praised by many. Approximately participants from all over the world apply for the selection. The theme is extended to other areas of Veneto and Friuli as well as Venice itself. The theme that got much of the interest from participating architects is the invitation to re-design the Accademia Bridge on the Grand Canal.
The diversity of points of view collected at the Padiglione Italia at the Giardini, the significant participation among young people and all the energies mobilized by the third Architecture Biennale, testify the high profile quality level reached by is exhibitions. In the second Biennale di Architettura, Portoghesi proposes an overview on the Architecture in Islamic countries, from the aftermath of 2nd World War onward. Venice becomes an observation post from which to look at the architecture of those regions between India and Morocco, becoming once again a privileged crossroads and a gathering point between Western and Eastern countries, and foreseeing a burning issue for the years to come.
The attention for environmental contexts, the spiritual component and the basic social purpose of Islamic architecture is opposed to the coldness and self-referential elements of modernist standards. The exhibition presents a series of projects, both in the pipeline and fully realized, in which local traditions are combined with the most innovative construction technologies. Particular importance is paid to the works of Hassan Fahty, a prominent figure among Egyptian young designers.
Moreover, other monographic exhibitions were curated, all centered on other leading personalities who confronted with Islamic architecture, such as Fernand Pouillon and Louis Kahn, with a series of drawings destined to urban centers in India and Pakistan, and two projects by Le Corbusier for the city of Algeri and Chandigarth. In parallel, the second edition of the Architecture Biennale shows a series of restoring and requalification suggestions for ancient housing estates.
The leitmotiv of the 1st International Architecture Exhibition, directed by Paolo Portoghesi and titled La presenza del passato, is a consideration of the so-called Postmodernist movement. This school of thought questions the Modern, with its almost mythical consideration of future, technology and geometric forms.
Since present times do not seem able to offer anything new from the past, Postmodernism suggests a new synchronic vision of History, that ultimately becomes an infinite warehouse for images and suggestions, from which architects can freely draw shapes, styles and decorative elements. For the realisation of Strada Novissima, which opened a very lively debate on Postmodernism, becoming a symbol of the movement itself, big names were collected, among which we can find Frank O.
Thanks to this exhibition, the Biennale became an influential protagonist within international architectural debates since the very beginning, thanks to its ability to draw the most renowned and high profile tendencies to Venice. La presenza del passato also included three 20th century masters, Philip Johnson, Ignazio Gardella and Mario Ridolfi, who had the courage to follow alternative paths that differed from modernist dictates, a special section devoted to 73 young architects and a retrospect on Ernesto Basile.
In , the first steps towards an architecture exhibition were taken by La Biennale di Venezia, an enlargement so significant that it entailed the appointment of a new director for the Visual Arts section, Vittorio Gregotti, during the four-year presidency of Carlo Ripa di Meana It was in fact within the Visual Arts exhibition that the A proposito del Mulino Stucky exhibit at the Magazzini del Sale was organized by Vittorio Gregotti, followed by other architecture exhibitions in and In , the Architecture department finally became independent during the four-year presidency of Giuseppe Galasso , who appointed Paolo Portoghesi as director.
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