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14th International Architecture Exhibition Venice 2014 Rem Koolhaas Proposal: May 2013
Fundamentals Central Pavilion Elements of Architecture National Pavilions 1914–2014 Absorbing Modernity Arsenale Monditalia
x
x
The Arsenale as performance space...
An umbrella theme for the national pavilions: from national to universal...
Architecture, not architects...
Fundamentals
Rem Koolhaas May 2014
Together, these exhibitions and events perform an “audit” of architecture, asking: What do we have? How did we get here? What are our possibilities, and where do we go from here?
Monditalia – providing the staging in the Arsenale for the first collaboration between the Architecture and Dance, Theatre, Music Biennials and the Film Festival.
Absorbing Modernity – the national pavilions of the Giardini and elsewhere will share a single theme: stories of their national architectural from 1914 till 2014. To enhance the coherence between the national presentations, for the first time, there is an invitation to the pavilions to communicate with the director about the theme.
Elements of Architecture – a research-based exhibition in the Central Pavilion exploring the often overlooked but universally familiar elements of architecture: the floor, the door, the wall, the ceiling, the toilet...
consist of three main components:
The 2014 Venice Architecture Biennale – called Fundamentals – will
A new kind of Venice Architecture Biennale...
Central Pavilion Elements of Architecture
Elements of Architecture: What buildings are (still) made of Exhibition of work in progress by Harvard GSD students, Rotterdam, November 2012.
20m
75m
ROOF
ESCALATOR/ SCALAT C ELEVATOR LE LEVATO
HISTORY STORY ST TOR TO OR
INTRODUCTION NTROD N
INTERIOR/ INTER PARTITION WALL
EILING CEILING
68m
LOBBY LOB
CORRIDOR OR ORRID
STAIR STA
DOOR OOR OO O
ENVELOPE OPE OP P (FA (FAÇADE) (FAÇ
FLOOR
WINDOW
LIGHT
BALCONY ALCONY
Central Pavilion Elements of Architecture
HEARTH (CHIMNEY/HEATING) (CHIM CHI CHI EY/HEA EY/HE EY/H HE EA A
BATH (TOILET) H ((TOIL IL L
RAMP A
4
By looking at the evolution of architectural elements that are common to all cultures, fundamentals will avoid the Eurocentrism that still characterises architectural discourse.
Elements that used to be the speciality of architects – the ceiling and the window, but also even the façade – have become devices and ceded to more advanced technological domains. But despite the attempts of parametric architecture to merge formerly distinct categories like roof, wall, and window into a continuous architectural surface, the fundamental elements of architecture endure, albeit in sometimes radically different forms…
“Elements of Architecture” in the Central Pavilion will be an attempt to trace the history of architecture’s universally recognizable – though infinitely varied – basic elements. Each room will be devoted to an individual component (stair, door, window, floor, corridor etc.).
From the Renaissance onwards, the discourse on architecture was largely based on the definition and analysis of architectural elements. Alberti’s six elements (locality, area, compartition, wall, roof, and opening; 1452), Gottfried Semper’s four elements (hearth, roof, enclosure, mound; 1851) and Le Corbusier’s Five Points of Architecture (pilotis, free facade, open plan, long window, roof garden; 1928) were all, in varying degrees, efforts to analyse the history of buildings. But since the globalization of modern architecture in the second half of the 20th century, the possibility of an elemental systematization of architecture has been largely ignored.
A window is not a window is not a window any more. – after Gertrude Stein
Test for exhibtion-as-hanging-book, Rotterdam December, 2012
Central Pavilion Elements of Architecture
Elements of Architecture: What buildings are (still) made of Research by Harvard GSD students, Rotterdam, November 2012.
Based on Sanskrit descriptions, the Uttunga torana as depicted in The Torana In Indian And Southeast Asian Architecture by Parul Pandya Dhar, 2010
Depicted by Yao Chenzu following the Western practice of architectural treatises or building guides, written in 1929, published in 1959
62&/(
3,//$56+$)7
(&+,186
&$7(53,//$5/,.($5&
$3$5ú-,7$35&&+ú(Appr.) :HVW,QGLDQWH[W RQHRIWKH9ùVWXyùVWUDV LATE 12th - EARLY 13th CENTURY
$77,&3,//$5
/,17(/
0,1,$785(1,&+(6+5,1(6
INDIA 12th CENTURY
YINGZAO FAYUAN BOOK 2 Chinese treatise 1000 A.D.
*$7(+286(
%$77(1'225
/2:(5),//(7 )$6&,$ +($'6,//
1$0(3/$7(
833(5),//(7 )$6&,$
%877(5)/<522)7,/(
CHINA 1105 AD
The door in treatises: revealing the significance and architectural variations of the door across eras and regions...
Central Pavilion Elements of Architecture
3('(67$/
COLUMN
5867,&)$6&,$
FRIZE $5&+,75$9(
CORNICE
7+5(6+2/'
+($'
&$6,1*
6723
-$0%
528*+23(1,1*
“Doors and doorways provide access from the outside into the interior of a building as well as passage between interior spaces. Doorways should therefore be large enough to move through easily and accommodate the moving of furnishings and equipment. They should be located so that the patterns of movement they create between and within spaces are appropriate to the uses and activities housed by the spaces... From an exterior point of view, doors and windows are important compositional elements in the design of building facades. The manner in which they punctuate or divide exterior wall surfaces affects the massing, visual weight, scale, and articulation of the building form.”
%8,/',1*&216758&7,21,//8675$7(' United States Francis D. K. Ching, 2008
23(5$7,21
+$5':$5(
'225
UNITED STATES 2008
From Door: Stretched Threshold, by Beth Eckels in Elements of Architecture, Harvard GSD Rotterdam Studio 2012.
“The desire came into my mind to form in a visible design several gateways in the Rustic styles, but which were mixed with different Orders, that is, Tuscan, Doric, Ionic, Corinthian and Composite... And I advanced so far as to make a total of XXX, almost carried away by an architectural frenzy...for the common benefit not only of this fine Kingdom of France...but also for the benefit of all inhabited countries...”
7+((;75$25',1$5<%22.2)'2256 Italy Sebastiano Serlio, 1551
)$6&,$
),;(':22'
ITALY 1551
UK
International staircase guidelines.
IRELAND
NETHERLANDS
PERU
Staircase in Oscar Niemeyer’s Itamaray Palace, Brasilia, 1970...
Central Pavilion Elements of Architecture
...updated to current standards
USA
CHINA
From Stair: Dangerous and Endangered, by Jenny Hong in Elements of Architecture, Harvard GSD Rotterdam Studio 2012.
METERS
USA MAX. HEIGHT BETWEEN LANDINGS: 3.66 M (12’-0”)
NL MAX. HEIGHT BETWEEN LANDINGS: 4 M (13’-0 1/8”)
NL MAX. SLOPE BEFORE RAILING IS REQUIRED
2012
1952
2010
1926
1939
2003 2009
1995
1934
1932
1958
1909
1932
1912
1988
1964
1932
1958
1962
1930
1952
1932
1922 1956 1954
1960
1956
Construction / last modification of national pavilions
1952
1997
1953
2000
1984
National Pavilions 1914–2014: Absorbing Modernity
Each nation will, in its own way, illustrate how their country’s architecture absorbed modernity over the last 100 years. Is it still meaningful to talk about a Belgian architecture, a Swiss architecture, a Brazilian architecture...? The architecture of the pavilions themselves could play a crucial role in each exhibition.
Under the influence of wars, diverse political systems, different states of development, national and international architectural movements, various educational philosophies, individual architectural talents, networks, and technological developments, architectures that 100 years ago were identifiably “French” or “Indian” or “Chinese” have become seemingly interchangeable. National identity has been sacrificed to modernity.
“Absorbing Modernity” is an attempt to mobilize the individual histories of the nations represented at the biennale to create an overview of how, since 1914, the national characteristics of each country’s architecture have seemingly evolved into a single, global aesthetic.
CHINA
NETHERLANDS
JAPAN
GERMANY
FRANCE
INDONESIA
NATIONAL PAVILIONS - 1914
NIGERIA
MIDDLE EAST
SWITZERLAND
UNITED KINGDOM
RUSSIA
ITALY
CHINA
NETHERLANDS
JAPAN
GERMANY
FRANCE
INDONESIA
What happened in between? What remains of national styles today?
NATIONAL PAVILIONS - 2014
NIGERIA
MIDDLE EAST
SWITZERLAND
UNITED KINGDOM
RUSSIA
ITALY
As in the Arsenal of the Venetians Boils in the winter the tenacious pitch To smear their unsound vessels o’er again,
For sail they cannot; and instead thereof One makes his vessel new, and one recaulks The ribs of that which many a voyage has made;
One hammers at the prow, one at the stern, This one makes oars, and that one cordage twists, Another mends the mainsail and the mizzen
Quale ne l’arzanà de’ Viniziani bolle l’inverno la tenace pece a rimpalmare i legni lor non sani,
ché navicar non ponnoóin quella vece10 chi fa suo legno novo e chi ristoppa le coste a quel che più vïaggi fece;
chi ribatte da proda e chi da poppa; altri fa remi e altri volge sarte; chi terzeruolo e artimon rintoppaó
Dante, The Inferno, Canto xxi
...I beheld it marvellously dark.
e vidila mirabilmente oscura.
Arsenale Monditalia
Map of Italian Peninsula from the Tabula Peutingeriana (5th Century) superimposed on the Arsenale (1106-)...
Because the length of the Arsenale typically creates a sequence of individual episodes that typically do not connect to form a single narrative, we propose to dedicate it to a single theme – the state of Italy – and to mobilize fields not typically present in the architectural biennale to represent all aspects of Europe’s most crucial country in a form that comes close to entertainment, a Brechtian revue that will take place in a single Italy “set,” based on the Cinecitta tradition of theatrical transformation.
Arsenale Mondlitalia The Trauma of Italy, or Exodus Reversed
Arsenale Mondlitalia
Zhan Wang, Urban Landscapes,
Marco Paolini
Set design, Dante Ferretti
Lagos Business Angels, Rimini Prtokoll
Set design by Dante Ferretti
The Consequences of Love, Paolo Sorentino
Parsifal, Romeo Castelucci
On the Concept of the Face, Regarding the Son of God, Romeo Castelucci
Alighiero Boetti - Cartoline Astratte 1987, MADGRE
Inspirations for a theatrical colonization of the Arsenale...
Arsenale Mondlitalia Spoglitalia
Cinecitta, Rome
Cinecitta
Roberto Saviano
Vitta Mia, Emma Dante
Wunderkammer Forte, Ricci/Forte
Il Divo, Paolo Sorentino
The Divine Comedy, Socìetas Raffaello Sanzio
Dante Ferretti and Pasolini
Sergio Scena, Romeo Castelucci
It would be interesting to look at further development potential for the two biennale sites...
Biennale as urban site
?
?
Fundamentals Central Pavilion Elements of Architecture National Pavilions 1914–2014 Absorbing Modernity Arsenale Monditalia
x
x
The Arsenale as performance space...
An umbrella theme for the national pavilions: from national to universal...
Architecture, not architects...
Fundamentals
Rem Koolhaas May 2014
Together, these exhibitions and events perform an “audit” of architecture, asking: What do we have? How did we get here? What are our possibilities, and where do we go from here?
Monditalia – providing the staging in the Arsenale for the first collaboration between the Architecture and Dance, Theatre, Music Biennials and the Film Festival.
Absorbing Modernity – the national pavilions of the Giardini and elsewhere will share a single theme: stories of their national architectural from 1914 till 2014. To enhance the coherence between the national presentations, for the first time, there is an invitation to the pavilions to communicate with the director about the theme.
Elements of Architecture – a research-based exhibition in the Central Pavilion exploring the often overlooked but universally familiar elements of architecture: the floor, the door, the wall, the ceiling, the toilet...
consist of three main components:
The 2014 Venice Architecture Biennale – called Fundamentals – will
A new kind of Venice Architecture Biennale...
Central Pavilion Elements of Architecture
Elements of Architecture: What buildings are (still) made of Exhibition of work in progress by Harvard GSD students, Rotterdam, November 2012.
20m
75m
ROOF
ESCALATOR/ SCALAT C ELEVATOR LE LEVATO
HISTORY STORY ST TOR TO OR
INTRODUCTION NTROD N
INTERIOR/ INTER PARTITION WALL
EILING CEILING
68m
LOBBY LOB
CORRIDOR OR ORRID
STAIR STA
DOOR OOR OO O
ENVELOPE OPE OP P (FA (FAÇADE) (FAÇ
FLOOR
WINDOW
LIGHT
BALCONY ALCONY
Central Pavilion Elements of Architecture
HEARTH (CHIMNEY/HEATING) (CHIM CHI CHI EY/HEA EY/HE EY/H HE EA A
BATH (TOILET) H ((TOIL IL L
RAMP A
4
By looking at the evolution of architectural elements that are common to all cultures, fundamentals will avoid the Eurocentrism that still characterises architectural discourse.
Elements that used to be the speciality of architects – the ceiling and the window, but also even the façade – have become devices and ceded to more advanced technological domains. But despite the attempts of parametric architecture to merge formerly distinct categories like roof, wall, and window into a continuous architectural surface, the fundamental elements of architecture endure, albeit in sometimes radically different forms…
“Elements of Architecture” in the Central Pavilion will be an attempt to trace the history of architecture’s universally recognizable – though infinitely varied – basic elements. Each room will be devoted to an individual component (stair, door, window, floor, corridor etc.).
From the Renaissance onwards, the discourse on architecture was largely based on the definition and analysis of architectural elements. Alberti’s six elements (locality, area, compartition, wall, roof, and opening; 1452), Gottfried Semper’s four elements (hearth, roof, enclosure, mound; 1851) and Le Corbusier’s Five Points of Architecture (pilotis, free facade, open plan, long window, roof garden; 1928) were all, in varying degrees, efforts to analyse the history of buildings. But since the globalization of modern architecture in the second half of the 20th century, the possibility of an elemental systematization of architecture has been largely ignored.
A window is not a window is not a window any more. – after Gertrude Stein
Test for exhibtion-as-hanging-book, Rotterdam December, 2012
Central Pavilion Elements of Architecture
Elements of Architecture: What buildings are (still) made of Research by Harvard GSD students, Rotterdam, November 2012.
Based on Sanskrit descriptions, the Uttunga torana as depicted in The Torana In Indian And Southeast Asian Architecture by Parul Pandya Dhar, 2010
Depicted by Yao Chenzu following the Western practice of architectural treatises or building guides, written in 1929, published in 1959
62&/(
3,//$56+$)7
(&+,186
&$7(53,//$5/,.($5&
$3$5ú-,7$35&&+ú(Appr.) :HVW,QGLDQWH[W RQHRIWKH9ùVWXyùVWUDV LATE 12th - EARLY 13th CENTURY
$77,&3,//$5
/,17(/
0,1,$785(1,&+(6+5,1(6
INDIA 12th CENTURY
YINGZAO FAYUAN BOOK 2 Chinese treatise 1000 A.D.
*$7(+286(
%$77(1'225
/2:(5),//(7 )$6&,$ +($'6,//
1$0(3/$7(
833(5),//(7 )$6&,$
%877(5)/<522)7,/(
CHINA 1105 AD
The door in treatises: revealing the significance and architectural variations of the door across eras and regions...
Central Pavilion Elements of Architecture
3('(67$/
COLUMN
5867,&)$6&,$
FRIZE $5&+,75$9(
CORNICE
7+5(6+2/'
+($'
&$6,1*
6723
-$0%
528*+23(1,1*
“Doors and doorways provide access from the outside into the interior of a building as well as passage between interior spaces. Doorways should therefore be large enough to move through easily and accommodate the moving of furnishings and equipment. They should be located so that the patterns of movement they create between and within spaces are appropriate to the uses and activities housed by the spaces... From an exterior point of view, doors and windows are important compositional elements in the design of building facades. The manner in which they punctuate or divide exterior wall surfaces affects the massing, visual weight, scale, and articulation of the building form.”
%8,/',1*&216758&7,21,//8675$7(' United States Francis D. K. Ching, 2008
23(5$7,21
+$5':$5(
'225
UNITED STATES 2008
From Door: Stretched Threshold, by Beth Eckels in Elements of Architecture, Harvard GSD Rotterdam Studio 2012.
“The desire came into my mind to form in a visible design several gateways in the Rustic styles, but which were mixed with different Orders, that is, Tuscan, Doric, Ionic, Corinthian and Composite... And I advanced so far as to make a total of XXX, almost carried away by an architectural frenzy...for the common benefit not only of this fine Kingdom of France...but also for the benefit of all inhabited countries...”
7+((;75$25',1$5<%22.2)'2256 Italy Sebastiano Serlio, 1551
)$6&,$
),;(':22'
ITALY 1551
UK
International staircase guidelines.
IRELAND
NETHERLANDS
PERU
Staircase in Oscar Niemeyer’s Itamaray Palace, Brasilia, 1970...
Central Pavilion Elements of Architecture
...updated to current standards
USA
CHINA
From Stair: Dangerous and Endangered, by Jenny Hong in Elements of Architecture, Harvard GSD Rotterdam Studio 2012.
METERS
USA MAX. HEIGHT BETWEEN LANDINGS: 3.66 M (12’-0”)
NL MAX. HEIGHT BETWEEN LANDINGS: 4 M (13’-0 1/8”)
NL MAX. SLOPE BEFORE RAILING IS REQUIRED
2012
1952
2010
1926
1939
2003 2009
1995
1934
1932
1958
1909
1932
1912
1988
1964
1932
1958
1962
1930
1952
1932
1922 1956 1954
1960
1956
Construction / last modification of national pavilions
1952
1997
1953
2000
1984
National Pavilions 1914–2014: Absorbing Modernity
Each nation will, in its own way, illustrate how their country’s architecture absorbed modernity over the last 100 years. Is it still meaningful to talk about a Belgian architecture, a Swiss architecture, a Brazilian architecture...? The architecture of the pavilions themselves could play a crucial role in each exhibition.
Under the influence of wars, diverse political systems, different states of development, national and international architectural movements, various educational philosophies, individual architectural talents, networks, and technological developments, architectures that 100 years ago were identifiably “French” or “Indian” or “Chinese” have become seemingly interchangeable. National identity has been sacrificed to modernity.
“Absorbing Modernity” is an attempt to mobilize the individual histories of the nations represented at the biennale to create an overview of how, since 1914, the national characteristics of each country’s architecture have seemingly evolved into a single, global aesthetic.
CHINA
NETHERLANDS
JAPAN
GERMANY
FRANCE
INDONESIA
NATIONAL PAVILIONS - 1914
NIGERIA
MIDDLE EAST
SWITZERLAND
UNITED KINGDOM
RUSSIA
ITALY
CHINA
NETHERLANDS
JAPAN
GERMANY
FRANCE
INDONESIA
What happened in between? What remains of national styles today?
NATIONAL PAVILIONS - 2014
NIGERIA
MIDDLE EAST
SWITZERLAND
UNITED KINGDOM
RUSSIA
ITALY
As in the Arsenal of the Venetians Boils in the winter the tenacious pitch To smear their unsound vessels o’er again,
For sail they cannot; and instead thereof One makes his vessel new, and one recaulks The ribs of that which many a voyage has made;
One hammers at the prow, one at the stern, This one makes oars, and that one cordage twists, Another mends the mainsail and the mizzen
Quale ne l’arzanà de’ Viniziani bolle l’inverno la tenace pece a rimpalmare i legni lor non sani,
ché navicar non ponnoóin quella vece10 chi fa suo legno novo e chi ristoppa le coste a quel che più vïaggi fece;
chi ribatte da proda e chi da poppa; altri fa remi e altri volge sarte; chi terzeruolo e artimon rintoppaó
Dante, The Inferno, Canto xxi
...I beheld it marvellously dark.
e vidila mirabilmente oscura.
Arsenale Monditalia
Map of Italian Peninsula from the Tabula Peutingeriana (5th Century) superimposed on the Arsenale (1106-)...
Because the length of the Arsenale typically creates a sequence of individual episodes that typically do not connect to form a single narrative, we propose to dedicate it to a single theme – the state of Italy – and to mobilize fields not typically present in the architectural biennale to represent all aspects of Europe’s most crucial country in a form that comes close to entertainment, a Brechtian revue that will take place in a single Italy “set,” based on the Cinecitta tradition of theatrical transformation.
Arsenale Mondlitalia The Trauma of Italy, or Exodus Reversed
Arsenale Mondlitalia
Zhan Wang, Urban Landscapes,
Marco Paolini
Set design, Dante Ferretti
Lagos Business Angels, Rimini Prtokoll
Set design by Dante Ferretti
The Consequences of Love, Paolo Sorentino
Parsifal, Romeo Castelucci
On the Concept of the Face, Regarding the Son of God, Romeo Castelucci
Alighiero Boetti - Cartoline Astratte 1987, MADGRE
Inspirations for a theatrical colonization of the Arsenale...
Arsenale Mondlitalia Spoglitalia
Cinecitta, Rome
Cinecitta
Roberto Saviano
Vitta Mia, Emma Dante
Wunderkammer Forte, Ricci/Forte
Il Divo, Paolo Sorentino
The Divine Comedy, Socìetas Raffaello Sanzio
Dante Ferretti and Pasolini
Sergio Scena, Romeo Castelucci
It would be interesting to look at further development potential for the two biennale sites...
Biennale as urban site
?
?
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