Between glass curtain walls and art installations, birds just can’t catch a break. For their Venice Architecture Biennale project Pigeon Safari Swiss artist Julian Charrière and German photographer Julius von Bismark captured, airbrushed, then released the pigeons of St. Mark’s Square. The resulting rainbow-colored flock has caused Biennale-goers and tourists alike to do a double take. Charrière told the Italian newspaper Corriere della Sera, “Pigeons make up part of our urban landscape, but we view them as though they are an unrecognizable mass, whereas each one has its own identity.” While a newly teal pigeon may imagine itself a peacock, conservationists expressed concern that the birds’ unusual colors would deter mating.
It’s been a hot and highly stimulating few days at the Venice Biennale. David Chipperfield’s theme, “Common Ground,” which sought to establish connections across architecture culture, has proven surprising divisive. Some loved the elegant progression of projects in the Arsenale, which included everything from expressionist displays by Zaha Hadid, to neo-postmodern confections by FAT, to a hand built house by Anupama Kundoo, all of which managed to mingle thanks to Chipperfield’s tasteful curation.
Some formalists griped that the show was regressive, while more socially engaged architects thought it too estheticizing. Still, every Biennale must crown its winners. This year’s Golden Lion for the international exhibition went to Torre David/Gran Horizante by Urban-Think Tank (Alfredo Brillembourg and Herbert Klumpner) and Justin McGuirk, an investigation, featuring photography by Iwan Baan, of an informal community built in an abandoned, unfinished skyscraper in Caracas. The team created an bar inside the Arsenale which featured food, music, drinks, and neon lights to showcase their work and transform the atmosphere of the overall exhibition.
The Architect’s Newspaper is on the ground in Italy for the 2012 Venice Biennale. Here’s the second edition of a three-part series on the best of the Biennale, brought to you by The Architect’s Newspaperand Il Giornale Dell’Architettura. (View the first issue here.)
While we editors toil in a rainy New York City (and Chicago and LA), AN‘s outgoing executive editor Julie V. Iovine and incoming executive editor Alan G. Brake (and editor-in-chief William Menking, photographer) are dealing with their own challenges, like their daily commute to the Venice Biennale by boat. Thanks for sharing, guys!
Whether you’re in Venice this week or just checking in on the highlights from afar, stay up to date with AN‘s special coverage from the Venice Biennale. We posted the first of three editions published on the ground in Italy this morning and will have two more issues coming your way later this week. Ciao!
In a tightly contested decision, the City of Aberdeen, Scotland has decided not to move forward with a dramatic $222 million renovation of Union Terrace Gardens designed by Diller Scofidio + Renfro and OLIN. The 22 to 20 vote may have brushed aside the so-called “Granite Web,” but it did retain the principals behind the design for whatever future plans are built on the site, including better pedestrian access, a revamped city council chambers, and a new art gallery. Council Lead Councilor Barney Crockett said the project “never won the whole-hearted acceptance of the people of Aberdeen.” [Via World Architecture News.]
With the official grand opening of the Venice Biennale set for Wednesday, August 29, following a two-day preview, it’s time to start planning your visit with the only comprehensive guide to the Who, What, and Where of the Biennale. Download your own copy to keep on hand or look for the guide to be printed in the first issue of Guida alla Biennale di Architettura, a partnership between The Architect’s Newspaper and Il Giornale Dell’Architettura.
Before the 2012 Venice Biennale opens on August 29, Zaha Hadid Architects has released its own preview of the firm’s pavilion to be displayed at the Giardini and the Arsenale in Venice. The pavilion will be one of 66 projects in the 13th International Architecture Exhibition at the Biennale, entitled Common Ground.
Coincidentally, this video of legendary art critic Robert Hughes’s 1980s television series The Shock of the New was passed around the AN offices yesterday morning. We were saddened to hear of Hughes death at the age of 74 later that day. This television series and his role as chief art critic for Time magazine made him a fixture of the cultural world, and his opinionated, sometimes combative, no holds barred attitudes on art and architecture made him a lively and engaging writer and commentator. In describing Damien Hirst’s The Virgin Mother then on display at the Lever House in Manhattan, Hughes said, “Isn’t it a miracle what so much money and so little ability can produce. Just extraordinary.” And there you have it.