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  COME VEDERE L'ARCHITETTURA CONTEMPORANEA HOW TO SEE CONTEMPORARY ARCHITECTURE
COME VEDERE L'ARCHITETTURA CONTEMPORANEA HOW TO SEE CONTEMPORARY ARCHITECTURE
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EXHIBITIONS AND EVENTS
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2006 - 2009
Ando Tadao  
Italy [Italia] Venice [Venezia]
Punta della Dogana, Tadao Ando, Venezia, Italy, Giudecca, Palazzo Grassi, DubrovnikTadao Ando. Venice. Punta della Dogana, Dubrovnik (Croatia), Hotel Excelsior, 16 / 18 march 2018
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An Eames Celebration, Weil-am-Rhein (Germany), Campus Vitra, 30 september 2017 / 25 february 2018
An Eames Celebration, Weil-am-Rhein (Germany), Campus Vitra, 30 september 2017 / 25 february 2018
Nanda Vigo, Arch/arcology, Roma, MAXXI Museo nazionale delle arti del XXI secolo, 2 / 25 february 2018

When Alcantara and MAXXI invited me to participate in the “Studio visit” project, the section of the museum’s archive that I first focussed my attention on was the vast collection of works by Aldo Rossi, a man who was also more poet than architect. I also found Maurizio Sacripanti’s work interesting, especially his project for the Italian Pavilion at Expo '70 in Osaka. But, once I had read the material about architect Paolo Soleri, it was obvious that his “discourse” would have to be widely referenced. And I’m not talking about the city of Arcosanti, constructed by hand by his architecture students, as much as I’m talking about his imaginative projects for the architectures of the future.

Stellar poetry for cosmic spaces at zero gravity. I don’t know what “prudery” drives everyone else to try and avoid the question, but I myself am convinced that it is this that will be the architecture of the future - always assuming that our “blue” planet can regenerate itself from the indiscriminate use of materials and the excessive exploitation to which we have lovelessly subjected it.

Since I was a little girl, reading Flash Gordon, I have dreamt of living in the cities of the planet Mongo, suspended in antigravity between the sky and the ground, and rediscovering, re-reading architect Paolo Soleri’s projects, like those that took up an extraordinary nine metres in the Archive, really piqued my interest and gave me real pleasure; even more so because they’re projects that you can only see on paper, never built.

All of this “triggered” a desire to develop them in 3D: in the centre of the room, a three-dimensional sculpture represents a design/project from the ‘60s, “Single Cantilever bridge”, now in the archives of the Soleri Foundation; while three open walls meet the viewer head on and show the 3D development of some designs/projects, always shown only as plans, standing out on black and stellar backgrounds.

I was able to realise this “dream” with the help of a precious and ductile material called Alcantara, which allowed me to create risky solutions in a soft and continuous style.

The title “Arch/Arcology” is a play on the development of Arcosanti’s architecture and its projects, and on an idea of the archaeology of the current architectures of the "city".

As a soundtrack I have chosen a selection of songs by Franco Battiato, perfectly “pitched” for Soleri’s work.

Nanda Vigo
The Groundscape Experience, Berlin, Aedes Architecture Forum, 27 january / 8 march 2018
There is a Planet, Milano, Triennale Design Museum, Galleria della Architettura, 15 september 2017 / 11 march 2018
Ettore Sottsass. Oltre il design, Parma (Italy), CSAC - Centro Studi e Archivio della Comunicazione, Abbazia di Valserena, 18 november 2017 / 8 april 2018
Fostering Society: Foster + Partners, Montréal, UQAM Centre de Design, 8 february / 15 april 2018Fostering Society, Foster + Partners, Montreal, UQAM Centre de Design
Josef Hoffmann - Otto Wagner. On the Use and Effect of Architecture, Brtnice (Czech Republic), Josef Hoffmann Museum, 24 may 2017 / 6 may 2018
Josef Hoffmann - Otto Wagner. On the Use and Effect of Architecture, Brtnice (Czech Republic), Josef Hoffmann Museum, 24 may 2017 / 6 may 2018
L’occhio magico di Carlo Mollino. Fotografie 1934-1973, Torino (Italy), Camera, Centro Italiano per la Fotografia, 18 january / 13 may 2018
Francesco Stocchi, Rem Koolhaas, (ed.), Sol LeWitt. Between the Lines, Milano, Fondazione Carriero, 17 november 2017 / 23 june 2018
Francesco Stocchi, Rem Koolhaas, (ed.), Sol LeWitt. Between the Lines, Milano, Fondazione Carriero, 17 november 2017 / 23 june 2018
Alvar Aalto (1898-1976). Architecte et designer finlandais, Paris, Cité de l'architecture et du patrimoine, 9 march / 1 july 2018
Gustav Peichl: 15 Bauten zum 90sten / 15 Buildings for His 90th, Vienna, MAK Österreichisches Museum für angewandte Kunst / Gegenwartskunst / Austrian Museum of Applied Arts / Contemporary Art, Kunstblättersaal, 22 march / 19 august 2018
David Chipperfield Architects Works 2018, Vicenza (Italy), Basilica Palladiana, 11 may / 2 september 2018
Jean Prouvé. Architecte des Jours Meilleurs / Architect for Better Days, Arles (France), LUMA, Grande Halle, Parc des Ateliers, 20 october 2017 / spring 2018

As part of its guest program, the LUMA Foundation, together with Paris-based Galerie Patrick Seguin, is pleased to announce JEAN PROUVÉ: Architect for Better Days, a major survey exhibition devoted to the innovative twentieth-century French designer of furniture and architecture. Comprising twelve prefabricated buildings created between 1939 and 1969, this exhibition features the largest number of Prouvé’s demountable construction systems ever assembled in a single location, and aims to revisit the functional side of his architecture, a focus that is as timely and relevant as ever in light of today’s housing and migratory crisis.

Following the installation of four houses at the Parc des Ateliers in Arles in May, the full exhibition opens October 20, 2017 and runs through spring 2018. That the structures are installed within and in close proximity to La Grande Halle – an exhibition venue wrought from a nineteenth-century foundry—is a fitting tribute to Prouvé’s training as an artisan metalworker.

Jean Prouvé (1901-1984), regarded today as one of the most enduring and important figures of twentieth-century design, approached the construction of furniture in the same way he constructed a house. In order to describe this balance of material integrity, innovative and economical construction, and elemental design, Le Corbusier designated Prouvé a constructeur. At once an architect and an engineer, the term encompasses the singularity of Prouvé’s elegant approach as well as his vital social motivation, manufacturing “brilliant solutions” for the modern era’s most urgent needs. Though Prouvé is today synonymous with the bent sheet-steel frames of his now-iconic furniture, his seminal contributions to modern architecture and his socially engaged praxis as constructeur –united the realms of industry, architecture, engineering and design– deserve far more attention than they have historically been afforded.

Prouvé’s social consciousness in design was forged at a young age, inherently tied to his conception and production of craft. He privileged collaboration, the integrity of material processes, and the ethical applications of industrial technologies across the five decades of his career. Early on, Prouvé’s experimental use of materials (specifically steel and, later, aluminum) led to collaborations with Robert Mallet-Stevens, and, with Pierre Jeanneret, Le Corbusier, and Charlotte Perriand, he became a founding member of UAM (1929).

Acutely aware of the shifting social and political landscape of his time, Prouvé adapted his construction system to the exigencies of his historical moment. His metal building systems used economical but durable construction materials that could easily be assembled, dismantled, transported, and modified. In the 1930s, Prouvé began to create prototypes and secure patents for portable building systems, or “demountable” houses.

The iterations featured in JEAN PROUVÉ: Architect for Better Days – including the small series of portable homes Prouvé produced in the late 1930s, prefabricated pressed steel and wood military barracks, temporary accommodations for refugees, and his final demountable prototype created for Ferembal, an industrial packing company near Nancy (1948)– each attest to the development and modification of the structures designed by Prouvé according to the demands of their time.

As he adapted his prefabricated systems to both civilian and military use, Prouvé was praised during the Second World War for his audacious designs, innovative construction techniques, economic yet quality use of materials, and combination of scientific and humanist design principles. Following his support of the French Resistance during the war, Prouvé was appointed interim mayor of Nancy in 1944, and later honored by the Ministry of Reconstruction and Urbanism for his contributions to reconstruction efforts (1947).

After relocating his workshop to Maxéville, in the outskirts of Nancy in 1947, Prouvé undertook his most concerted efforts to produce prefabricated housing units on a mass scale. Still Prouvé remained committed to meeting the needs of different segments of society after the war, especially to the improvement of housing, schools, and other domestic infrastructure. The simple harmony and structural core of Prouvé’s “La Maison Les Jours Meilleurs” (1956), commissioned by Emmaeus founder Abbé Pierre, perhaps best exemplifies Prouvé’s lifelong commitment to the application of industrialized architecture to social need.,

Though Prouvé aimed to produce houses on the scale of Citroën’s production of cars, the vast majority of his prefabricated building prototypes were never widely adopted during his lifetime. Nevertheless, the exhibition testifies to the abiding power of Prouvé’s architectural systems among subsequent generations of architects.

The exhibition will be accompanied by a survey publication produced by the LUMA Foundation in collaboration with Phaidon Press. The book features two newly commissioned essays by architect, critic, theorist and Dean Emeritus of Columbia University’s Graduate School of Architecture, Planning and Preservation, Prof. Mark Wigley, and Philippe Trétiack, a Paris-based architecture critic and author, and includes a wealth of historical and archival material on the twelve constructions exhibited at LUMA Arles, and Prouvé’s oeuvre in general.

Educational activities for middle-school, high-school and university students will be held in tandem with the exhibition. More information will be released on our website www.luma-arles.org.
Post Otto Wagner. Von der Postsparkasse zur Postmoderne / From the Postal Savings Bank to Post-Modernism, Vienna [Wien], MAK, 30 may / 30 september 2018
Meili, Peter, Berlin, Architektur Galerie Berlin, 7 september / 20 october 2018
Escher’s journey, Leeuwarden (Netherlands), Fries Museum, 28 april / 28 october 2018
 
 
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