What's Free About Free Space? Around the 2018 Venice Architecture Biennale – 039自由空间是什么?2018届威尼斯建筑双年展

City Report - 30 May 2018

What's Free About Free Space? Around the 2018 Venice Architecture Biennale

From Assemble’s marbled floor tiles to Peter Zumthor's mixed-media miniatures, Emily King reports from the main exhibition

By Emily King

The theme of this year’s Venice Architecture Biennale is ‘Freespace’. Three biennales ago, in 2012, it was ‘Common Ground’. While freedom might seem a more individualistic aim than commonality, the conceptual overlap is considerable. Perhaps this is not so surprising. Usually curated by architects themselves, Venice tends to be a place where the profession envisages itself as an ideal. For this year’s curatorial team – Yvonne Farrell and Shelley McNamara, of Dublin-based Grafton Architects – like that of David Chipperfield, curator of the 2012 edition, and a large number of their peers, the ideal that emerges is a profession driven by social purpose.

Farrell and McNamara made a point of approaching the exhibition ‘as architects’, a strategy that pays off in both its venues. Once through a rope curtain at the head of the Arsenale’s Corderie, visitors can see the full length 317-metre length of the building. Counted in a rule traced along the central corridor, this expanse creates calm in a space that most art-biennale curators have turned into movie-booth hell. Over in the Giardini’s main pavilion the pair have uncovered a window by Carlo Scarpa, a pair of interlocking circles looking onto a canal at a point deep into the building where an outside view comes as a significant relief.


What's Free About Free Space? Around the 2018 Venice Architecture Biennale - 039自由空间是什么?2018届威尼斯建筑双年展

6A Architects, The Natural History of Churchill College, 2018, installation view, ‘Freespace’, 16th Venice Architecture Biennale. Courtesy: La Biennale di Venezia; photograph: Francesco Galli 

In the Arsenale half of the exhibition, each studio has been given roughly the same amount of space and then, it appears, been allowed to get on with it. An obvious point, but still worth making: while an art exhibition contains the thing itself, an architecture show consists of representations. This might be less of a distraction for those inside the profession, viewers more familiar with latest modes of display, but I often found it hard to look past the various mises en scène. Chief among them, though fortunately not screened in dedicated cinemas, is film, movies that range across the spectrum of slickness: at one end, a ‘long-take’ on Diller Scofidio + Renfro’s medical centre at Columbia University; at the other, the artist Ben Rivers’s wilfully low-tech impression of 6A’s quad for Churchill College in Cambridge. The former has glossy medics stopping for impromptu chats in front of panoramic windows, the latter an unexplained snake winding through a student’s well-worn sneakers. 

The single suggestive object or installation, a staple of erstwhile architecture exhibitions, seems to have had its day. Toyo Ito offers a projection and beanbags, while SANAA coils some transparent Perspex, neither to much effect. Then there are the one-to-one models, effectively material samples, and the one-to-two models, which often take the form of climbing frames, including many a staircase to nowhere. Among the better of the large-scale installations comes from the Barcelona architects Flores & Prats, who illustrate their restoration of the performance space Sala Beckett with a structure that scoops light from one of the Corderie’s windows to create an illuminated puddle on the floor, an echo of a tactic they are using in the building itself. Likewise eye-catching is an adaptable love seat on skateboard wheels, a capricious prototype from Peter Salter and Fenella Collingridge.


What's Free About Free Space? Around the 2018 Venice Architecture Biennale - 039自由空间是什么?2018届威尼斯建筑双年展

Assemble, The Factory Floor, 2018, installation view, ‘Freespace’, 16th Venice Architecture Biennale. Courtesy: La Biennale di Venezia; photograph: Italo Rondinella


Over in the Giardini, the distinct galleries of the Italian Pavilion improve participants’s chances of making a statement. Among the most striking is that of the architecture collective Assemble, who have paved a domed room with marbled tiles made in the Liverpool-based Granby Workshop, a venture they founded in 2015 as part of the urban regeneration project that won them that year’s (controversial) Turner Prize. Toward the back of the building on a raised platform is a series of models from the Swiss virtuoso Peter Zumthor. Among the very few traditional models included in Farrell and McNamara’s exhibition, Zumthor’s multi-material miniatures are things of beauty in their own right. The curators also make room for history in this venue, including images of the truly fabulous lobbies, staircases and facades of the Milanese architect Luigi Caccia Dominioni, who died in 2016 at the age of 102. The winners of this year’s Silver Lion, the Belgian architects Jan de Vylder, Inge Vinck and Jo Taillieu, take a whole room to explain their light-touch rehabilitation of a 19th century psychiatric hospital. Reproduced at large scale and shown on a scaffold, photographs by Filip Dujardin show a rebuilt ruin that is at once romantic and practical.


What's Free About Free Space? Around the 2018 Venice Architecture Biennale - 039自由空间是什么?2018届威尼斯建筑双年展

Atelier Peter Zumthor, Dreams and Promises – Models of Atelier Peter Zumthor, 2018, installation view, ‘Freespace’, 16th Venice Artchitecture Biennale. Courtesy: La Biennale di Venezia; photograph: Italo Rondinella  

Among the recurring features of the ‘Freespace’ is the bench. With a significant proportion of the exhibiting architects appealing to visitors to sit down and take a moment, the Arsenale becomes something of a competition for contemplation. This bench bonanza exposes the exhibition’s most significant limitation: its apparent conflation of free space with open space. The exhibition’s lightest contribution comes from the curator of the 2016 Biennale, the Chilean architect Alejandro Aravena. In a paper manifesto taped to the wall – this from a practitioner who knows what it takes to install a show in Venice – Aravena proposes ‘Free Space’ should become ‘Free Space!’ and demands that public space should be the cause rather than the consequence of development. This begs a question: is it the role of architects to design the plazas they’re commissioned to, or should they be actively involved in generating space that is ‘free’ in a more meaningful sense?

Main image: architecten de vylder vinck taillieu, UNLESS EVER PEOPLE - CARITAS FOR FREESPACE, 2018, installation view, ‘Freespace’, 16th Venice Architecture Biennale. Courtesy: La Biennale di Venezia; photograph: Andrea Avezzù

Emily King

Emily King is a London-based writer and curator with a specialism in design.

City Report
Venice Architecture Biennale
Emily King
Peter Zumthor
David Chipperfield

城市报道- 2018年5月30日,关于自由空间的免费039?围绕2018届威尼斯建筑双年展从组装大理石地板砖到彼得·卒姆托的混合媒体缩影,Emily King从今年威尼斯拱门的主题Emily King The主题展上报告CiStudio双年展是“自由空间”。三两年前,在2012,这是“共同点”。虽然自由似乎比公共性更具个人主义的目的,但概念上的重叠却是相当大的。也许这并不令人惊讶。通常由建筑师自己策划,威尼斯往往是一个地方,该行业设想自己作为一个理想。对于今年的策展团队——Yvonne Farrell和Shelley McNamara,来自都柏林的格拉夫顿建筑师事务所——就像David Chipperfield的《2012版策展人》和他们的同龄人一样,出现的理想是由社会目的驱动的职业。法瑞尔和麦克纳马拉提出了一个“建筑师”的展览,这是一个在两个场馆都有回报的策略。一旦通过一个绳索帷幕在阿塞拜疆的科尔迪埃的头,游客可以看到全长317米长的建筑。在一条沿着中央走廊追踪的规则中,这片广阔的空间让大多数艺术双年展策展人变成了电影亭地狱。在贾尔迪尼的主要展馆里,这对夫妇发现了卡洛·斯卡帕的窗户,这是一对互锁的圆圈,在建筑物深处的一条运河上望去,外面的景色是一种明显的解脱。FGYA6A建筑,What's Free About Free Space? Around the 2018 Venice Architecture Biennale - 039自由空间是什么?2018届威尼斯建筑双年展 6A建筑师,丘吉尔学院自然史,2018,安装视图,“自由空间”,第十六威尼斯建筑双年展。阿森纳的一半展览,每个工作室已经给出了大致相同的空间,然后,似乎,可以继续下去。一个明显的点,但仍然值得做:一个艺术展览本身包含的东西,一个建筑展由表示。对于业内人士来说,这可能不是一个分心,观众更熟悉最新的显示模式,但我经常发现很难看穿各种各样的米塞斯。其中最重要的是,虽然没有在专门影院里放映,但电影、电影却跨越了一系列微妙的问题:一方面,哥伦比亚大学的迪勒ScFidio+ReFrro医学中心的“长镜头”;另一方面,艺术家Ben Rivers的低级技术印象。在剑桥丘吉尔学院6A的四分之一。前者有光亮的医务人员在全景窗前停止即兴聊天,后者则是一条无法解释的蛇蜿蜒穿过一个学生穿着的运动鞋。东洋伊藤提供投影和豆荚,而萨那线圈一些透明的有机玻璃,也没有太大的效果。然后是一对一的模型,有效的材料样本,以及一到两个模型,它们通常采用爬坡框架的形式,包括许多楼梯。在更好的大型设施中,来自巴塞罗那建筑师弗洛里斯和普拉茨,他们展示了他们恢复性能空间Sala Beckett的结构,从一个CordEdie的窗户中挖出光,在地板上创建一个发光的水坑,一个E。他们在建筑中使用的战术。同样引人注目的是滑板轮椅上的适应性座椅,Peter Salter和芬纳拉科林格里奇的反复无常的原型。IrAsCulsLe0841.JPG WPA6022602IMG组装,工厂地板,2018,安装视图,“自由空间”,第十六威尼斯建筑双年展。礼节:贾尔迪尼威尼斯双年展;照片:意大利伊塔洛·罗迪纳拉在意大利展厅展出的独特画廊,提高了参加者发表声明的机会。其中最引人注目的是建筑集体集合体,他们在利物浦的格兰比车间建造了一个大理石屋顶的穹顶房间,2015年成立的一个冒险项目作为城市重建项目的一部分,赢得了那一年(有争议的)特纳奖。在一个凸起的平台后面的建筑是一系列瑞士瑞士艺术家彼得·卒姆托的模型。在法瑞尔和麦克纳马拉展出的少数传统模型中,Zuthor的多材质微型模型本身就是美的东西。馆长们也为这个地方的历史腾出了空间,包括米兰建筑师Luigi Caccia Dominioni的真正华丽的大厅、楼梯和立面的照片,他于2016岁去世,享年102岁。今年的银狮奖得主,比利时建筑师Jan de Vylder、Inge Vinck和Jo Taillieu,为整个十九世纪精神病院提供了一个完整的房间来解释他们的轻触修复。大规模复制并展示在脚手架上,Filip Dujardin的照片展示了一个既浪漫又实用的重建废墟。IrasaTaleer-Puththul064.JPG WPA60260602IMG工作室彼得祖姆索尔,梦想和承诺-工作室模特彼得祖姆索尔,2018,安装视图,“自由空间”,第十六威尼斯艺术双年展。礼貌:威尼斯的双年展;照片:“自由空间”的重复特征是意大利板凳。有相当一部分参展建筑师呼吁游客坐下来休息片刻,阿萨尔变成了一个冥想的竞争对手。这张长椅展示了展览最重要的局限性:它与自由空间的明显融合。展览的最轻贡献来自2016届双年展的策展人智利建筑师Alejandro Aravena。在一张贴在墙上的纸质宣言——这是一个知道在威尼斯安装一个节目需要什么的实践者——阿拉文纳提出的“自由空间”应该成为“自由空间”!并且要求公共空间应该是原因而不是发展的结果。这就引出了一个问题:建筑师是否设计了他们委托的广场,或者他们应该积极参与创造一个更有意义的“自由空间”?主要形象:Velder-Vikk Taulue建筑,除非有人-自由空间的明爱,2018,安装视图,“自由空间”,第十六威尼斯建筑双年展。艾米丽国王艾米丽国王是一个伦敦的作家和策展人的专业设计。城市报告威尼斯建筑双年展建筑艾米丽国王组装彼得祖姆索萨纳6A戴维奇普菲尔德


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