Flames everywhere banner winged lion red and gold, symbol of the splendorous Venice, now permeated by the particular spirit that Alejandro Aravena wanted to give his curatorship for this International Fifteenth Architecture Biennale, which runs from 28 May to November 27th.
a seal breathes from installation conceived-with its partners elemental office for room access to the exhibition “Reporting from the front”, which serves overture for this highly anticipated show. “To perform this installation, no equipment was purchased, but tons disposed of the last biennial recycled,” Aravena said. Thus, the walls were covered with hundreds of carefully stacked volcanics fragmented aesthetic effect: “I have called the Travertine del Popolo” he jokes Aravena in perfect Italian and English. On that coating small screens in which conceptual and practical scope of the process of creating this sample are revealed, while the ceiling hang hundreds of profiles of twisted aluminum, dramatically lit were attached.
They allude perhaps these to the aluminum ladder to the German archaeologist Maria Reiche climbed to study the Nazca lines, whose photograph (Bruce Chatwin) is the picture of this biennial, and is also printed on all of Venice, from the airport to the stops vaporetti. This woman with her ladder to Aravena demonstrates that creativity can help resolve any goal, hard as it is, and that lack of resources is not an excuse for not doing architecture. “Also, simple materials we use in this facility in our introductory room, show that if we apply an interesting design, we do not need large investments to get results,” he says.
In this biennial dialogue it is built from the formal details and materials of the trade, to key aspects of his theory, combined with the needs and characteristics of users, from minimalist to the monumental, often they coexist, as the local becomes universal.
to conceive this curatorship, during the private interview that gives us, after the official tour with the accredited press, Aravena reveals that his work plan was no different from all projects addressing “changing paradigm is not reached with the answer before he understand the question of what is needed; for this reason, I argue that the architecture is very important balance between creativity and relevance, “he says. When he defined it, with his team began to investigate what projects in various parts of the world, they were helping to resolve the inequity, pollution, traffic or insecurity; among many issues affecting vulnerable populations for very different reasons and circumstances. The idea is not simply to meet their basic needs, but “cover the more intangible dimensions of the human condition,” he says.
At the same time, they began to contact architects whose projects already knew, “inviting them to share keys of his works, those that made the difference, “he adds. And finally, they began to review the portfolios of a list of architects “who systematically and consistently have demonstrated their ability to develop major projects, to check what they had on the boards” he says. The call includes other construction professionals, such as engineers or landscape architects, NGOs and politicians.
Multicultural, local and universal
Just the call that It makes Aravena has been very well received around the world, both by the press and the architects and the general public. A total of 88 foreign guests from 37 countries (including 50 first-time participants and almost a third are under 40 years), part of the international exhibition, which is deployed in the central pavilion of the Gardens biennial and in the buildings of the Arsenals, shipyards and gunsmiths old Venice. Among them are legends of contemporary architecture, such as the British Norman Foster, which exhibits a unique port for drones built in bricks: “It is highly sustainable, only requires an investment in high technology, but you can solve problems transporting objects in remote locations Africa, where there is no infrastructure, “explains Foster personally
Meanwhile, the Chinese Wang Shu Pritzker Prize carries a crusade to rescue the ancient techniques of construction popular in his country.; but for him is not a mere act of resistance, “the use of ancient techniques is sustainable from the point of social, cultural and environmental” he says. And Japan, SANAA, also Pritzker Prize (Kazuyo Sejima and Ryue Nishizawa), known for their subtlety, presents a delicate architectural project to rescue the Japanese island of Inujima abandonment.
However, there are dozens amazing proposals, such as the festival of Kumbh Mela in India, where they rise “Seven million ephemeral settlements” as the project is called. This festival every twelve years
is made and mobilized 19 million people for three months, research has team Rahul Mehrotra, known Indian architect, and can be applied to all migrant population. There are also proposals European dignify suburbs by French architects and German; tourism infrastructure in Portugal; . Buildings aesthetic design in Russia and Albania, as well as remarkable rescues buildings in brick, adobe and bamboo, and also numerous recycling initiatives
Special mention two projects: a large dome built only stone, without any glue or unifying element, made by a team of engineers from MIT and ETH, a Swiss university; and the grisly forensic experience architecture. “Evidence” is called the dawn shows presenting research led by Robert Jan van Pelt, to “interpret and recreate the architecture used in the gas chambers used by the Nazis to kill people,” he says.
also, a total of 65 countries presented their traditional national pavilions, some very sensitive, such as Western Sahara, a nation in exile which has, in conjunction with the Swiss architect Manuel Herz, their struggle for habitat, which evolved from the tents until adobe. Are moving to Ireland, showing the experience of a group of architects who built a center for patients suffering from Alzheimer’s, and Thailand, which deals with the reconstruction of nine schools after the earthquake of 2014. Meanwhile, Italy, “I Designing for the common good”, commissioned by Federica Galloni, very consistent with the curatorial proposal of the biennial, it presents interesting examples of social architecture.
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