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1、From Spacelab to S.L.U.M.LAB : Architecture-less Architecture?Frank Kaltenbach The person responsible for the thematic organization of this years Architecture Biennate in Venice a huge show featuring 56 participating countries was Aaron Betsky, former head of the Netherlands Architecture Institute (
2、NAI) and director of the Cincinnati Art Museum. Building on the provocative thesis that “buildings are the tombs of architecture”, Betsky chose as his theme “Out There: Architecture Beyond Building”. For the exhibition, the architects were to be freed from the daily burdens of their profession so th
3、at they could develop as artists, discuss anew the essence of architecture, and find approaches to addressing the challenges of the future.1 2 1 Urban linkage via a cable railway in Caracas, Urban-Think Tank, Alfredo Brillembourg, Hubert Klumpner2 foumation Re formation: A Nomadic Garden, Barkow Lei
4、binger3 Lotus, Zaha Hadid Architects4 Protoyping the future: three houses for the subconscious, Asymptote Architecture5 The Changing Room, Couture of Architecture, UNStudioThe show in the Arsenale, the erstwhile rope-manufacturing centre for the Venetian navy, begins in fact with a time tunnel. Betw
5、een the convex curvatures of two projection screens, the newcomer finds himself in an interstellar world. To the accompaniment of the rousing Star Wars theme, the familiar starry sky is overlaid by growing fractal shapes until they eventually take over. The set is illustrated by simultaneously runni
6、ng scenes from Fritz Langs 1926 Metroplis to Stanley Kubicks 2001: A Space Odyssey. Thus primed by the visions and utopias of the past, the visitor is confronted with the futuristic design that the present has to offer: a metamorphosis of abstract objects in there variations (fig, 4) that design sta
7、rs Hani Rashid and Lise Anne Couture of Asymptote call Prototyping the future: three houses for the subconscious. They are aesthetic objects that question the formal idea of what we call a house. The outer-space angle is addressed next. In the interactive style of the 1960s, visitors slip under an a
8、stronauts helmet. They are prompted to grasp the control levers, whereupon their heartbeats become visible the capsule does one learn that the idea for this space capsule originated in 1969; it is a reconstruction of the Asteoballon by Coop Hmmelb(l)au. The message here might be that the dreams of y
9、esteryear are now finally coming to fruition.Like a sleek wild animal, the next installation looms in the visitors path. Eventually its spell draws him in close to touch the fine surface of yellow-gold metallic lacquer. Zaha Hadids furniture installation Lotus defies convention. It brings to mind lu
10、xury cars, or an unfolding lotus blossom (fig. 3).3 4 5Is the future of architecture the architecture the architecture of motion? Ben van Berkel and Caroline Bos take on the phenomenon of flowing space .Colored a neutral white, the loop of their Changing Room winds its way like a one-to-one scale pa
11、per model among the historic brick columns. The floor becomes wall becomes ceiling becomes floor again. This three-dimensional motion is intensified in the interior by video projections and by the flow of the visitors streaming through (fig. 5).On a screen Diller Scofidio + Renfro show scenes of a f
12、ilm taken from the vantage point of a Venetian gondola. Only the gondola is not on the Grand Canal at all, but rather in one of the reproduction Venices in the hotels of Las Vegas. The issue of the reproducibility of original locations raises the question of what the authenticity of a place such as
13、Venice really means.The aspect of impermanence and the infinite variety of possibilities are exemplified in the installation by Frank Barkow and Regine Leibinger. Their laser-cut stainless-steel pipes can be interpreted as abstract models of city high-rises, the arrangement of which is spontaneously
14、 altered by the viewers. It is a statement in favor of the use of digital technologies, not to generate images, but to escape the narrow confines of standardized construction materials (fig. 2),The Golden Lion for the Best Installation Project went to the digitally produced tables by Greg Lynn. Insp
15、ired in recycled plastic toy animals, then mirror-reversed, duplicated and formed a collage of then into a digital 3-D model. The computer cut the figures apart in 3-D and welded them together again as a conglomeration of interconnected plastic animals. The jarring yellow, purple and blue tables rep
16、resent a playful new approach to recycling and 3-D production.Fabrication is likewise featured in the Swiss pavilion at Giardini, where a robot-built wall winds around the supports like a slaloming skier. It exemplifies the high caliber of the Swiss architectural schools, where this application was
17、developed by Gramazio Kohler. Otherwise, the subject of digital architecture is not nearly as well represented as it was four years ago under Dejan Sudjics motto “Metropolises”. Likewise, a continuation of Kurt W. Forsters “Cityscapes” theme from the last Biennate, in which analytical stock-taking o
18、f the situation facing metropolises took centre stage, is only rudimentarily in evidence. Through S.L.U.M.Sustainable Living Urban ModelLAB, Alfredo Brillembourg and Hubert Klumpner of Urban-Think Tank succeeded in connecting the barrios of Caracas via a metro cable railway without sacrificing livin
19、g space to new road construction (fig. 1).Peter Ebner and seven Mexican firms made concrete suggestions for the reconsolidation of Mexico City in order to reduce the citys enormous commuter traffic volume. The Chilean firm Elemental was awarded the Silver Lion for a Promising Young Architect for a l
20、ow budget row house designed to grow with the family. The American pavilion is dedicated to the weaker segments of the population.Many of the projects and pavilions, however, either make statements that are hard to interpret, or are not very attractive on an emotion level. In contrast, the light ins
21、tallation 64 kW by Siegrun Appelt in the portico of the heat is keenly felt on ones body. The choreographed interruption of the illumination of the Brandenburg Gate in Berlin is meant to compensate for this deliberate “waste of energy” and make an appeal for the conservation of resources.Finally, Fr
22、ank Gehry was awarded a Golden Lion for Lifetime Achievement, and this despite-or perhaps because of-the fact that, in contrast to Aaron Betskys motto, he still believes in the power of architecture: “Im not interested in beautiful drawings or models. What interests me is the building.” He is not al
23、one in this. Well-made though somewhat dry presentations featuring photographs and British pavilions, among others, in which Tony Fretton, Sergison Bates, De Rijke Marsh Morgan, Witherford Watson Mann and Maccreanor Lavington display two residential building projects each.Denise Scott Browns speech
24、on “Building Homes in the 21st Century”, but especially the intense late-night cross-table debates of the Darkside Club, moderates by Paul Finch, Jeff Kipnis and Mirko Zandini during the opening days, exposed the rift between the representatives of a classical architecture as illustrated in the Bris
25、hi pavilion and the more experimental young generation, which derives its inspiration from dynamic processes rather than the history of construction.The Russian pavilion, where William Alsop,Norman Foster, David Adjaye, SOM, KpF, and Thomas Leeser, among others, have exhibits, is styled as a symboli
26、c chess match between Tussian and foreign architects. With Abundant, the Australians illustrate the astonishing variety of their architectural scene. The fresh yellow coloration that is continued out into the garden and around the exhibition of over 300 models does not become tiring.Retrospectives a
27、re dedicated to Josef Lackner in the Austrian pavilion, to Sverre Fehn in the Nordic pavilion, to Carlo Scarpa and Le Corbusier and, on the occasion of his 90th birthday, to Jorn Utzon in the Palazzo Franchetti. And what would Venice be without Andrea Palladio? The 500th anniversary of his birth is celebrated in the Villa Foscari La Malcontenta with Zaha Hadids sculpture Aura a lively gesture acknowledging the coexistence and mutual enrichment of classical architecture (Palladio) and the champions of parametric design (Zaha Hadid and Patrik Schumacher).
