The spectacular Venetian Arsenale at this year’s Venice Architecture Biennale is devoted to the history of post-World War II architecture and urbanism. Italy, perhaps more than any country in the world, revels in its architecture and cityscape. It is still a place where architecture means more than simply building—it’s a knowledge for describing and thinking about the world. This, it turns out, is true even for its youngest designers who assembled in the arsenal on Sunday, June 8 for a discussion, “Towards a New Avant Garde.”
While most of the attendees at the recently opened Venice Biennale were thinking about the basic Elements of Architecture a younger generation of architects were concerned about something even more basic: how to earn a living. In a series of Arsenale round table talks called Stay Radical created by New York–based Superscript, young Italian architects talked about the difficulties of earning even the most basic living wage in their country devastated by recession and a historic system of wage depression. Meanwhile the New York group, The Architect’s Lobby took matters into their own hand and with megaphones held a protest just outside entrance to the Venetian Giardini (above).
At the 2014 Venice Architecture Biennale, Rem Koolhaas set the theme “Absorbing Modernity: 1914-2014″ for the national pavilions, and many countries took it up through the lens of domesticity. The Taiwanese American architect Jimenez Lai examined the spaces and rituals of Taiwanese life with his exhibition Township of Domestic Parts. Lai created “superfurniture,” overscaled, Memphis-inflected installations that interpreted ideas such as museum-like living rooms—part shrine, part show place, reserved only for guests. The result is a fantasy hangout space, which conjures up memories of childhood.
The Florentine architecture group Superstudio enjoyed the penultimate moment on the world architecture stage at the 1972 MoMA exhibition, The New Domestic Landscape. However, by the end of that decade with worldwide radical politics on the wane and postmodernism on the rise, the Florentines found their radicale arguments and practice marginalized and they began to move away from architecture towards other sorts of design initiatives. But before the group left the international stage, they created one last potent architectural statement: La Moglie di Lot and displayed it at the 1978 Venice Biennale of Art.
The 2014 Venice Architecture Biennale is a bit like walking into a giant research project. If the exhibition The Elements of Architecture is not necessary thrilling to the spirit it is at least full of ideas on the basics of construction. It is possible to walk through a dozen times and come away with new information and concepts. Here is a quick look at several of the ideas in this intellectual project masquerading as an exhibition.
It’s day two at the 2014 Venice Architecture Biennale and AN had a chance to run through Monditalia in the Venetian arsenal while workers and young architects were feverishly finishing their installations. Here is a selection of iPhone image of projects we saw on our whirlwind tour.
When Rem Koolhaas gave the 14th Venice Architecture Biennale the theme Fundamentals, he promised to create a research-based exhibition that would consider both the universal and place-specific aspects of the discipline. Serving as a counterweight to the multidisciplinary but single-country-focus of Monditalia, which fills the Arsenale at the Venice Biennale, the Central Pavilion in the Giardini is hosting The Elements of Architecture, which looks at the basic components of building around the world: the floor, walls, windows, stairs, elevators, etc. Based on a book of the same name, the exhibition juxtaposes the mundane and the cutting edge, building science with artistic interpretations, historical facts with speculative futures.
AN just had a quick Arsenale walkthrough of Radical Pedagogies: ACTION-REACTION-INTERACTION by creator and Princeton professor Beatriz Colomina. The Arsenale has been given over in this biennale to Monditalia, a single-theme exhibition with exhibits, events, and theatrical productions engaging Italian architecture with politics, economics, religion, technology, and industry. In this installation the other festivals of la Biennale di Venezia—film, dance, theatre, and music—will be mobilized through the architecture event to contribute to a comprehensive portrait of the host country.
AN is already in Venice preparing an edited list of the best of the 2014 Venice Architecture Biennale. The biennale in years past was confined to the spectacular Arsenale and the pavilion-filled giardini (some of the pavilions were designed by Carlo Scarpa), but one of the big changes in the past two biennials is the number of off-site events, pavilions, and installations that now participate in the architecture fair.
The board of the Venice Biennale announced today that Phyllis Lambert is the 2014 recipient of the Golden Lion for Lifetime Achievement for the 14th Architecture Biennale, Fundamentals. Best known for championing the selection of Mies van der Rohe to design the Seagram Building for her family and for founding the Canadian Centre for Architecture, Lambert has worked as an architect, author, curator, and advocate for contemporary architecture and historic preservation.