“Form follows Rule” exhibition at Architekturzentrum Wien

November 24, 2017

Who decides what our cities and buildings look like? Is it still the architects and city planners, or did the law take over long ago? The exhibition ‘Form follows Rule’ shines a spotlight on these regulations, without which nothing happens in architecture.

 

Would such a fantastic playground still be possible today? WIG 74, Kurpark Oberlaa Image: MA 42 – Wiener Stadtgärten

Would such a fantastic playground still be possible today? WIG 74, Kurpark Oberlaa Image: MA 42 – Wiener Stadtgärten

 

Who makes the rules, what do they tell us about our society, and were things really any better in the past? Clear and concrete, critical and, in some of the examples, even inadvertently comical, the Architekturzentrum Wien exhibition uncovers this otherwise invisible background to architecture and urban development. (more…)

“Craft becomes Modern. The Bauhaus in the Making” at Bauhaus Dessau Foundation

November 22, 2017

Craft becomes Modern. The Bauhaus in the Making is the first of the Bauhaus Dessau Foundation’s exhibitions for the 2019 centenary of the founding of the Bauhaus. Hammering, planing, sawing and weaving – it was pretty loud and dusty in the workshop wing of the School of Design, the Bauhaus Dessau. Although conceived as ‘laboratories for industry’, a great deal was still done by hand in the Dessau workshops.

 

Gunta Stölzl, Jacquardbehang „5 Chöre”, 1928 © St. Annen-Museum der Hansestadt Lübeck

Gunta Stölzl, Jacquardbehang „5 Chöre”, 1928 © St. Annen-Museum der Hansestadt Lübeck

 

The exhibition Craft becomes Modern. The Bauhaus in the Making tells the story of the workshops from the perspective of craft in the original setting, the weaving workshop in the Bauhaus building in Dessau. At the Bauhaus the relationships between art, applied art, industrial production and craft were discussed in more radical terms than elsewhere. And the backdrop to these domains, the economic and political situation in the Weimar Republic on which the school was dependent and in which it also aimed to actively intervene, had a far greater influence on the fate of this institution than any other. (more…)

“Neighbourhood. Where Alvaro meets Aldo” at Centro Cultural de Belém

November 21, 2017

The official Portuguese representation at the 15th Venice Architecture Biennale chose as its central theme Álvaro Siza’s remarkable work in the field of social housing, covering his projects undertaken in different contexts: Campo di Marte (Venice); Schlesisches Tor (Berlin); Schilderswijk West (The Hague); and Bairro da Bouça (Porto).

 

Álvaro Siza with local residents © Nicolò Galeazzi

Álvaro Siza with local residents © Nicolò Galeazzi

 

In all of these projects, he demonstrated his experience in terms of social participation, reflecting a democratic understanding of the city, citizenship and the collective memory, which also brought him closer to the thinking of his contemporary Aldo Rossi. Álvaro Siza’s projects have created genuine “neighbourhoods”, a central theme on the current European political agenda, in defence of a more inclusive and multicultural society. The exhibition also documents the architect’s return visits to the four neighbourhoods in 2016, where he was confronted with such phenomena as immigration, ghettoisation, touristification and the gentrification of cities.

(more…)

“Madrid a Medias. Free Urban Planning” at CentroCentro

November 19, 2017

Madrid, a medias is a new cycle of three exhibitions on the hopeful, welcoming and joyous city that has arisen during the last decade of crisis and indignation (2007-2017).

 

Celebración en El Campo-de-Cebada-del-primer-encuentro-TEDxMadrid-al-aire-libre-celebrado-en-2014-TEDxMadrid

Celebración en El Campo de Cebada del primer encuentro TEDxMadrid al aire libre celebrado en 2014 TEDxMadrid

 

The project shows the city that has sprung in urban gardens and social centres, in self-managed plots and neighbourhood spaces, social markets, and street parties. A half-finished city, created by many hands, open to new ideas, new hopes, and new collaborations and made with other materials and other resources. (more…)

“Revisiting Moneo’s Prado” celebrating the 10th anniversary of the museum’s extension

November 17, 2017

The Museo del Prado is celebrating the 10th anniversary of the largest extension in the history of the Museum – designed by Rafael Moneo – with a commemorative publication that includes a text by Jorge Fernández-Santos illustrated with a photographic essay by Joaquín Bérchez, and a summary of the contribution made by the extension to the overall modernisation of the Museum initiated at that time.

 

Moneo, Villanueva and Cabrero. Photograph taken from Room 516 of the Ritz Hotel, Madrid. © Joaquín Berchez. 2017

Moneo, Villanueva and Cabrero. Photograph taken from Room 516 of the Ritz Hotel, Madrid. © Joaquín Berchez. 2017

 

In addition, the Museum is presenting an exhibition of photographs by Joaquín Bérchez, a photographer, architectural historian and senior professor of art history at the Universidad de Valencia. To complete this celebration, the Prado is presenting ten, new 360-degree videos made with support from Samsung, a technological sponsor of the Prado. The videos show working areas in the extension that are not normally accessible to the public. (more…)

“Egypt Uncovered: Belzoni and the Tomb of Pharaoh Seti I” at Sir John Soane’s Museum

November 16, 2017

To coincide with the 200th anniversary of the discovery of the tomb of Pharaoh Seti I by the Egyptologist Giovanni Battista Belzoni (1778–1823), Sir John Soane’s Museum will present Egypt Uncovered: Belzoni and the Tomb of Pharaoh Seti I – a new exhibition revealing the story behind the Museum’s most treasured possession.

 

Joseph Michael Gandy, Architectural composition to show the comparative characteristics of thirteen selected styles of architecture, No Date. © The Trustees of Sir John Soane’s Museum

Joseph Michael Gandy, Architectural composition to show the comparative characteristics of thirteen selected styles of architecture, No Date. © The Trustees of Sir John Soane’s Museum

 

Known as ‘The Great Belzoni’, Giovanni Battista Belzoni was one of the most famous and pioneering explorers of his age, and played a crucial role in the development of Egyptology as a scientific discipline. A former circus strongman based in London, in 1815 Belzoni took up the role of engineer in Egypt, charged with the removal of large and heavy antiquities. (more…)

“An architecture of dialogue” exhibition by Atelier Arcau

November 15, 2017

In its forthcoming exhibition at Paris’ galerie d’architecture, atelier arcau will present its architectural philosophy and its approach centered round openness and dialogue. The exhibition, from November 2 to December 2, 2017, will explore the firm’s DNA through three sections highlighting major landmarks in the firm’s evolution, exploring both its history and what it could become tomorrow.

 

Immeuble Steelband, Vannes © Hervé Le Reste

Immeuble Steelband, Vannes © Hervé Le Reste

 

French architecture firm atelier arcau was founded in Vannes, on the shores of the Gulf of Morbihan, in 1979. Now one of the largest architecture firms on France’s Atlantic coast, atelier arcau’s attachment to its native Brittany has helped give it the strength to pursue its creative freedom. Run by architects Julien Veyron, Xavier Fraud and Marc Monnier, atelier arcau’s mission is to create unique spaces which are both modern and in harmony with their setting and the local culture. (more…)

Fundació Mies van der Rohe presents the intervention “mies missing materiality” by Anna & Eugeni Bach

November 14, 2017

The project turns the Pavilion into a mock-up, with all the surfaces clad with the same white material that shows the representative role of both the original work and its reconstruction. For 11 days, the Pavilion will turn into a 1:1 scale model of the longest-standing temporary pavilion in modern architecture.

 

"mies missing materiality" The Fundació Mies van der Rohe © Adrià Goula

“mies missing materiality” The Fundació Mies van der Rohe © Adrià Goula

 

The artistic intervention will turn the Mies van der Rohe Pavilion into a life-size mock-up and clad it with the same white material all over. On 8 November, the Pavilion will start to lose its materiality and gradually transform, on 16 November the intervention will open to the public, with the Pavilion completely white. At 1.30 pm, there will be a round table discussion with the project creators Anna and Eugeni Bach and the architects María Langarita and Carlos Quintáns based on the reflections of Juhani Pallasmaa. On 27 November, the intervention will close with a disassembly process.


 

Practical information

“mies missing materiality”
November 8 – November 28, 2017
Mies van der Rohe Pavilion
Av. de Francesc Ferrer i Guàrdia, 7, 08038 Barcelona
Spain

 


Fundació Mies van der Rohe periodically invites artists and architects to provoke new perspectives and thought through their interventions in the Pavilion, enhancing it as a space of inspiration and experimentation for the most innovative artistic and architectural production. Following SANAA, Jeff Wall, Ai Wei Wei, Enric Miralles, Andrés Jaque, Antoni Muntadas and others, this year the architects Anna and Eugeni Bach will take charge of transforming the Mies van der Rohe Pavilion with their project “mies missing materiality”.

 

"mies missing materiality" The Fundació Mies van der Rohe © Adrià Goula

“mies missing materiality” The Fundació Mies van der Rohe © Adrià Goula

"mies missing materiality" The Fundació Mies van der Rohe © Adrià Goula

“mies missing materiality” The Fundació Mies van der Rohe © Adrià Goula

 

8-11-2017 to 15-11-2017 dematerialisation
16-11-2017 opening with debate at 13:30h
16-11-2017 to 27-11-2017 pavilion dematerialised
27-11-2017 to 28-11-2017 disassembling proces

The renowned architect and academic Juhani Pallasmaa defined the intervention as “an extraordinary proposal that will evoke a lot of conversation: an exceptionally rich project in associations, memories, references and cross-references”.

On 8 November, the Pavilion will begin to lose its materiality and gradually turn into a mock-up through an assembly performance involving the placement of white vinyl. From a platform located on the Pavilion’s esplanade, visitors can watch the transformation process, which will culminate on 16 November, when it will be open to the public, completely in white. At 1.30 pm, the architects Anna and Eugeni Bach will talk about the importance of materiality with María Langarita (winner of the Emerging Architect special mention of the European Union Prize for Contemporary Architecture – Mies van der Rohe Award 2013) and Carlos Quintáns (winner of a Golden Lion in the Biennale di Venezia 2016) at a round table discussion open to all.

 

"mies missing materiality" The Fundació Mies van der Rohe © Adrià Goula

“mies missing materiality” The Fundació Mies van der Rohe © Adrià Goula

"mies missing materiality" The Fundació Mies van der Rohe © Adrià Goula

“mies missing materiality” The Fundació Mies van der Rohe © Adrià Goula

 

 

On 27 November, the intervention will close by removing the white vinyl that will have covered the Mies van der Rohe for a few days, restoring the materiality that belongs to it. In the words of the authors:

 

“Dressing the Mies van der Rohe Pavilion to strip it of all materiality. This simple act turns the Pavilion into a 1:1 scale mock-up, a representation of itself that opens the door to multiple interpretations about aspects like the value of the original, the role of the white surface as an image of modernity and the importance of materiality in the perception of space.

The Pavilion in Barcelona upon which we act is a reconstruction, a replica so faithful to the original that it is often difficult to remember its true nature. A building that should have been temporary was immortalised first by the written account of the modern movement and later by its own reconstruction.

Turning the Pavilion into a mock-up, with all the surfaces restricted to the same material, as white as it is indeterminate, reveals the building’s representative role—both that of the original, as a national symbol, and that of the replica, by representing the former. For a time, the Pavilion will be the longest-standing 1:1 scale mock-up of the replica of the temporary pavilion in modern architecture. Removing all materiality from the Pavilion also raises other interpretations related to the historiography of 20th-century architecture.

The Pavilion in Barcelona was enthroned as an icon of modernity at the ‘Modern Architecture’ exhibition at the MoMA in New York in 1932. The exhibition catalogue presents various buildings by architects like Mies van der Rohe, Le Corbusier, Neutra, Wright, Oud, Gropius and others through a selection of photographs and critical essays in which Philip Johnson and Henry-Russell Hitchcock indicate the homogenising criteria for combining all the works through the same lens. These include the white surface as an emblem of a new architecture, which appears as one of the most insistent.

To provide the Pavilion in Barcelona with that homogenising whiteness means to endow it with one of the defining features of modern historiography (not of modernity). Yet at the same time, it also involves stripping the Pavilion of its materiality and its unique characteristics—specifically the one that erected it as an icon of the modern movement.

The installation turns this paradox into an experience. It helps visitors to consider these ideas and many more through their own experience in a pavilion that will lose all trace of its materiality for a few days to assume all its representative potential”.


 

News source and text:  Mies van der Rohe Foundation
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SOS BRUTALISM Save the Concrete Monsters! at DAM Frankfurt

November 10, 2017

With “SOS BRUTALISM – Save the Concrete Monsters!” the DAM is presenting in collaboration with the Wüstenrot Foundation the first-ever global survey of the Brutalist architecture of the 1950s to 1970s. At the DAM, Brutalism is reexamined with unusually large-scale models and cast concrete miniatures.

 

London Borough of Camden Architect’s Department (Neave Brown): Alexandra and Ainsworth Estate, London, Great Britain, 1967–1979 Photo: Gili Merin 2017

London Borough of Camden Architect’s Department (Neave Brown): Alexandra and Ainsworth Estate, London, Great Britain, 1967–1979 Photo: Gili Merin 2017

 

For the first time Brutalist architecture of the 1950s–1970s is presented in a global survey. The term Brutalism does not come from the word “brutal”, but to “béton brut”, the French term for exposed concrete.  The exhibition features buildings from Japan, Brazil, the former Yugoslavia and Israel, as well as Great Britain, where Alison and Peter Smithson invented New Brutalism. (more…)

“Guy Rottier, Architecture Libre” within Biennial of Architecture of Orleans

November 10, 2017

This tribute exhibition will retrace Guy Rottier’s career and major projects, which are as many manifestos for an architecture that strays from the beaten track, like “tangible poetry” (Pierre Pinoncelli), always combining humour and wittiness with the ingenuity of technical solutions to bring genuine answers to issues faced by housing and to the needs of its users.

 

Guy Rottier's macrocephale architecture

Guy Rottier’s macrocephale architecture © Guy Rottier

 

For its first edition, the Biennial of Architecture of Orleans pays homage to one of the most original artistic and architectural figures of the second half of the 20th century: Guy Rottier. Bringing together more than one hundred and fifty drawings, photographs and models preserved by the Frac Center-Val de Loire, this exhibition is the largest retrospective ever devoted to the architect. (more…)