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1815 - 1841
FrancescoBoffo  AvraamMelnikov  
Ukraine [Ukrajina] Odessa
Odessa Steps. La Scalinata Potëmkin fra cinema e architettura, Nuoro (Italy), MAN Museo d'Arte della Provincia di Nuoro, 3 march / 25 june 2023
Changing Our Footprint, Berlin (Germany), Aedes Architecture Forum, 4 february / 22 march 2023

Henning Larsen, Changing Our Footprint, Aedes Architecture Forum, BerlinA journey towards a new paradigm: Henning Larsen opens ‘Changing Our Footprint’, a provocative and explorative exhibition at Aedes Architecture Forum in Berlin.

Henning Larsen, Changing Our Footprint, Aedes Architecture Forum, BerlinRecognizing its responsibility to reduce the industry’s outsized environmental impact, global architecture practice, Henning Larsen is embarking on an ambitious journey.

Open at Aedes Architecture Forum until 22nd March 2023, ‘Changing Our Footprint’ is an exhibition that presents Henning Larsen’s small but scalable steps towards a desirable future through built projects, research, testing, and continuous learning.

With the theme of ‘rolling out the sketch paper’, Henning Larsen invites visitors to engage in a dialogue, asking difficult questions, collaborating to find better solutions, and continuously weighing the scope of impact.

“Henning Larsen is a company with a long history. We are founded on curiosity and a promise to share what we know with others. And so, this exhibition is our attempt to be transparent and open-source,” says Louis Becker, Global Design Principal, Henning Larsen.

Divided into ‘Share’ and ‘Explore’, the exhibition is designed to share knowledge and explore biobased materials and new tools in the architectural process. The exhibits, including projects, materials and learnings, are not meant to be the final answer but rather a response to the questions faced by the industry at this moment in time, continuing to evolve as new solutions are tested.

“As a company we are very experienced within architecture, but we are on a journey to develop our position, and this exhibition is an acceleration of change. For years we have worked full steam ahead focusing a lot on aesthetics, and now we are revisiting and rethinking the way we work. As sustainability becomes the main design driver, the buildings blocks of our industry are changing. But we still have much to learn, and unlearn, as we reshape our industry’s outsized environmental impact. Facing up to this footprint can be anxiety-provoking. But it also holds a wealth of opportunities. The perspective of opportunities has led us to embark upon the explorative and collaborative journey of changing our footprint,” says Louis Becker, Global Design Principal, Henning Larsen.

Henning Larsen, Changing Our Footprint, Aedes Architecture Forum, BerlinThe inspiration for the ‘Share’ room is ‘Unboxing Carbon’, an introductory course which provides knowledge and tools to calculate embodied CO2 for building materials. Stepping inside the carbon box allows the visitors to explore, sense and understand the materials used in the industry and their footprint. Visitors can take part in an ‘unboxing carbon’ workshop by laying out the materials on display from good to bad, a large table provides the setting for collaboration and discussion.

Henning Larsen, Changing Our Footprint, Aedes Architecture Forum, BerlinOther exhibits highlight building communities and projects which share resources, such as cities, nature, water, our communities and our common ‘raw material bank’.

Open-source information is prioritized throughout, Henning Larsen’s wood and bio-based material publication ‘Plant a Seed’ is on display and can be downloaded for free, as well as the Unboxing Carbon Catalogue that collects architectural materials and presents complex data from Environmental Product Declarations (EPDs) in a visually accessible and readily understandable way.

‘Explore’ considers the development and practical use of different biobased materials such as wood, straw, eelgrass, mycelium, reused bricks, low carbon concrete, and clay. Topics such as transformation, design for disassembly, 3d printing, acoustics and indoor climate are investigated in greater detail, and new digital tools are available to interact with, including the Urban DeCarb app, which can calculate and inform planners on carbon impact on an urban scale.

“Our hope for this exhibition is to open a discussion about a new aesthetic in our built environment, where we are more open to new expressions, surfaces and textures, we hold a curiousness and a willingness to explore how to avoid waste material and build sustainably. As well as celebrating coming back to the materials, the textures, the hands-on experiences through new digital tools and processes, which we thought would distance us from architecture.

Henning Larsen, Changing Our Footprint, Aedes Architecture Forum, BerlinWe exhibit projects of all scale from around the world. Many of the tools and methods we develop and test need testing in a small scale and ‘close to home’, but all our exhibited objects and ideas have the potential to be scaled up, which is an absolute necessity for its’ relevance for the field – and in most cases this scale-up is already underway.”
says Nina la Cour Sell, Design Director, Henning Larsen.

Henning Larsen, Changing Our Footprint, Aedes Architecture Forum, BerlinContinuing the conversation

Designed to advance the dialogue the exhibition is amplifying, Henning Larsen will host a series of panel debates at Aedes Architecture Forum from 22nd February to 14th March. Key experts and stakeholders will come together on stage to frame and debate the challenges, solutions and innovations on the topics of water management, adaptive reuse, biomass and timber construction.

The stage itself is a manifestation of Henning Larsen’s central ambition to create a space of accountability and learning. Built of various ready-to-use floor, wall and ceiling materials, the stage exhibits the materials by ranking them according to their Global Warming Potential, or the amount of carbon equivalents, associated with the production phases of their lifecycles.

photos Ⓒ Rasmus Hjortshøj - COAST
text edit by Henning Larsen Architects
Olafur Eliasson: Orizzonti tremanti, Rivoli, Torino (Italy), Castello di Rivoli Museo d’Arte Contemporanea, 3 november 2022 / 26 march 2023

Olafur Eliasson, Orizzonti tremanti, Torino, Castello di Rivoli, Museo d’Arte ContemporaneaDal 3 novembre 2022 al 26 marzo 2023 il Castello di Rivoli Museo d’Arte Contemporanea presenta la mostra Olafur Eliasson: Orizzonti tremanti a cura di Marcella Beccaria. L’artista trasforma la Manica Lunga del Castello di Rivoli presentando una nuova serie di sei opere d’arte immersive simili a dispositivi ottici dalla struttura a cuneo. All’interno di ciascuna installazione si vedono complesse forme fluide in movimento che attraversano uno spazio panoramico a 360 gradi, che appare più ampio di quanto fisicamente possibile. Si tratta di illusioni ottiche prodotte grazie a specchi e proiezioni di luce.

Dalla fine degli anni novanta, la pratica di Eliasson ha coniugato la memoria dell’incontro con la natura alle ampie diramazioni della scienza e del pensiero ecologico, proponendo opere che invitano alla partecipazione attiva di chi le incontra. Orizzonti tremanti presenta nuovi lavori che derivano dalle sperimentazioni condotte dall’artista nel suo studio a Berlino. Eliasson si è ispirato a strumenti scientifici di misurazione, considerando il ruolo ambivalente che essi hanno avuto nel corso della storia. Prodotte nel corso dell’ultimo anno, le nuove opere in mostra propongono una più stretta relazione tra corpo e mente, sottolineando il valore dell’esperienza soggettiva e sensoriale.

Nella Manica Lunga del Castello il percorso espositivo si apre con Navigation star for utopia (Stella di navigazione per l’utopia, 2022), opera luminosa sospesa che accoglie i visitatori. I suoi fasci di luce colorata attraversano l’ambiente e disegnano effetti luminosi, quasi suggerendo l’idea di uno strumento di orientamento per il futuro.

Segue la serie di opere che l’artista ha creato per lo spazio della Manica Lunga: Your curious kaleidorama (Il tuo caleidorama curioso), Your power kaleidorama (Il tuo caleidorama potente), Your self-reflective kaleidorama (Il tuo caleidorama autoriflessivo), Your hesitant kaleidorama (Il tuo caleidorama esitante), Your memory of the kaleidorama (La tua memoria del caleidorama) e Your living kaleidorama (Il tuo caleidorama vivente). Ciascuna è montata a parete e orientata con una diversa angolazione. I visitatori accedono alle strutture entrando dal basso o vi si affacciano direttamente per vedere proiezioni luminose di linee, forme e motivi. Queste sono generate in tempo reale utilizzando fasci di luce elettrica che si riflettono in bacini d’acqua oppure che attraversano un sistema di lenti. Eliasson chiama queste opere kaleidoramas, combinando le parole caleidoscopio e panorama.

“In un certo senso – afferma Eliasson – sono entrambi: usano l’effetto specchio del caleidoscopio per evocare spazi panoramici o paesaggistici che sembrano più grandi del luogo fisico in cui vengono mostrati, ambiente nel quale puoi stare. Aprono nuovi orizzonti grazie alle loro superfici specchianti, spalancando spazi in cui si incontrano onde, linee dell’orizzonte, riflessi, bande di luce diffratte nei colori dello spettro visibile, e le ombre moltiplicate, la tua e quella degli altri visitatori. Stando all’interno di questi caleidorama, ti potresti sentire come di fronte al tempo mentre si svolge. È un’opportunità per riconsiderare il tuo senso della proporzione e del tempo, come quando si vedono le immagini del telescopio per lo spazio profondo che provengono dai limiti della nostra immaginazione”.

In tutti i caleidorama, il pubblico osserva schemi complessi di forme in movimento che interagiscono per creare un ambiente visivo e spaziale in continua evoluzione. Le composizioni visive si intensificano e si attenuano in frequenza e ritmo – producendo onde lievi, ma anche tremori violenti – secondo il comportamento dell’acqua o l’influenza di strumenti ottici.

Il percorso espositivo culmina in Your non-human friend and navigator (Il tuo amico non umano e il navigatore, 2022), articolata in parti sospese e altre allestite a pavimento. Questa nuova opera è prodotta utilizzando due driftwood, tronchi trasportati dal mare, logorati dall’azione degli elementi. Eliasson li ha raccolti sulle spiagge dell’Islanda, dove spesso approdano resti di legname dopo aver percorso molti chilometri da paesi lontani. La presenza di una calamita orienta la parte sospesa dell’opera lungo l’asse nord-sud, mentre le sottili velature di acquerello applicate sul legno posato a pavimento rievocano l’azione dell’acqua e delle correnti marine che lo hanno sospinto per migliaia di chilometri.

“L’opera di Olafur Eliasson – afferma il Direttore del Museo Carolyn Christov-Bakargiev – contiene echi dell’Arte povera, in particolare di Giuseppe Penone, Pier Paolo Calzolari, Giovanni Anselmo e Marisa Merz. Attraverso la sua arte, il pensiero processuale ed ecologico degli anni sessanta si collega alla visione contemporanea mediante uno sviluppo organico”.

“Attraverso Orizzonti tremanti – dichiara il Capo Curatore e curatore della mostra Marcella Beccaria – Olafur Eliasson ci invita ad aprire il nostro sguardo oltre i confini del visibile, dalla vertigine dello spazio profondo all’emozione dell’incontro con noi stessi e i nostri paesaggi interiori. Coinvolgendo corpo e mente, le sue opere contribuiscono a rendere percepibile il ruolo di ciascuno nella produzione della realtà e nella costruzione di questo instabile presente”.

In occasione di Orizzonti tremanti, una speciale sala di lettura dedicata a Olafur Eliasson è aperta al pubblico negli spazi della Biblioteca e del CRRI del Castello di Rivoli. La sala raccoglie una selezione di quasi cento cataloghi monografici che coprono la produzione dell’artista, a partire dalle primissime mostre personali negli anni novanta fino al presente.

Olafur Eliasson ha esposto al Castello di Rivoli già nel 1999 in occasione della sua prima mostra museale fuori dalla nativa Scandinavia, e nel 2008 durante la seconda Triennale di Torino, quando ha realizzato The sun has no money. Le opere di entrambe le mostre fanno parte delle Collezioni del Castello di Rivoli.

In occasione di Orizzonti tremanti, l’installazione Your circumspection disclosed (La tua circospezione svelata), 1999, è allestita nel mezzanino della Manica Lunga, sala per la quale è stata originariamente ideata dall’artista. Nel corso della mostra, The sun has no money (Il sole non ha soldi), 2008, sarà ri-allestita nella sala a volta del XVIII secolo per la quale era stata inizialmente progettata da Eliasson.
Escher, Firenze (Italy), Spedale degli Innocenti, 20 october 2022 / 26 march 2023
Henry Moore in Florence, Firenze [Florence] (Italy), Piazza della Signoria, Sagrato dell’Abbazia di San Miniato al Monte, 16 september 2022 / 31 march 2023

Henry Moore in Florence, Firenze, Piazza Signoria, San Miniato al MonteA cinquant’anni di distanza dalla memorabile mostra al Forte Belvedere del 1972, Henry Moore torna a Firenze. Dopo le grandi esposizioni Henry Moore. Il Disegno dello scultore e Henry Moore in Toscana, entrambe ospitate presso il Museo Novecento nel 2021, la città rende omaggio al maestro inglese con un progetto realizzato grazie alla rinnovata collaborazione con la Henry Moore Foundation e la BIAF – Biennale Internazionale dell’Antiquariato di Firenze.

Henry Moore in Florence, Firenze, Piazza Signoria, San Miniato al MonteHenry Moore in Florence, curata da Sebastiano Barassi, Head of Collections and Programmes della Henry Moore Foundation e da Sergio Risaliti, Direttore del Museo Novecento, presenta due opere monumentali, rintracciate all’interno della grande produzione scultorea di Henry Moore (Castleford, 1898 – Perry Green 1986). Dal 16 settembre 2022 al 31 marzo 2023 Large Interior Form e Family Group saranno esposte rispettivamente in due luoghi simbolo della città: Piazza della Signoria ed eccezionalmente sul Sagrato dell’Abbazia di San Miniato al Monte, in dialogo con il patrimonio storico-artistico di Firenze. La mostra si aggiunge a quelle già realizzate negli anni precedenti che hanno visto l’arte contemporanea dialogare con i grandi monumenti di Piazza della Signoria, come quelle di Jan Fabre e Jeff Koons, Urs Fisher e Francesco Vezzoli. Una linea curatoriale che con coraggio ha cambiato radicalmente il rapporto tra Firenze e il linguaggio moderno, aprendo la strada a un rinnovamento di prospettive e la porta ad altre iniziative di carattere internazionale. La mostra sancisce anche una rinnovata collaborazione con la BIAF - Biennale Internazionale dell’Antiquariato di Firenze.

“A cinquant’anni dalla grande retrospettiva che la città dedicò al grande artista inglese al Forte di Belvedere, Moore continua a sorprenderci e noi continuiamo ad omaggiarlo e a trovare nuove idee per continuare a mostrare le sue opere” afferma Dario Nardella, Sindaco di Firenze. “Dopo quell’appuntamento epocale Moore è tornato in città più volte con varie e amate opere, l’ultima con l’esposizione del suo Guerriero con scudo a Palazzo Vecchio. Adesso lo incontreremo in varie parti della città, a partire dal suo cuore civico e simbolico quale è piazza della Signoria, fino a uno dei luoghi maggiormente rappresentativi della spiritualità come la Basilica di San Miniato al Monte. Una mostra che continua dunque quella ricerca di sperimentazione, congiunzione tra antico e contemporaneo, inserita in un racconto di una città viva e pulsante, ovviamente a partire dalla sua immane eredità secolare, e che ci farà riscoprire un legame con lo scultore mai sopito”.

“Henry Moore ‘torna’ a Firenze, con due opere monumentali ubicate in luoghi simbolo” aggiunge Alessia Bettini, Vicesindaca e Assessora alla Cultura. “Di nuovo possiamo ammirare il lavoro di uno scultore che con la nostra città ha sempre avuto un rapporto speciale, a partire dalla mostra al Forte Belvedere del 1972 che ha lasciato un segno indelebile nello scenario artistico nazionale e internazionale. Osservare i lavori di Moore in queste collocazioni così particolari, in un ‘dialogo’ con l’arte e l’architettura della nostra città, è un’esperienza unica e straordinaria”.

“La Fondazione Henry Moore è onorata di portare a Firenze due delle più note opere dello scultore nell’ambito delle celebrazioni del cinquantesimo anniversario della influente, e da lui amatissima, mostra al Forte Belvedere” dichiara Sebastiano Barassi, Head of Collections & Programmes della Henry Moore Foundation. “Firenze e la Toscana ebbero un ruolo fondamentale per Moore, tanto dal punto di vista artistico che da quello umano. La mostra del 1972 fu l’apogeo del suo amore per la città e per la sua arte, Michelangelo e Masaccio in particolare, e del suo stretto rapporto con il mondo artistico ed intellettuale toscano dell’epoca. Ci auguriamo che per Firenze ritrovare le opere di Moore in luoghi così significativi riaccenderà tra chi la visitò i ricordi della mostra del 1972 e inviterà nuove generazioni ad apprezzare l’arte di uno dei più grandi maestri della scultura moderna”.

“La Biennale con il Comune di Firenze, ha portato dal 2015 grandi artisti a Firenze, da Jeff Koons a Urs Fisher” spiega Fabrizio Moretti, Segretario Generale della BIAF – Biennale Internazionale dell’Antiquariato di Firenze. “Questo anno, il Museo Novecento, guidato da Sergio Risaliti, abbellirà piazza della Signoria con dei capolavori di Henry Moore, ricordando la grande mostra del 1972 del celebre artista inglese. Le contaminazioni di arte moderna/contemporanea, se fatte con criterio, sono un momento per riflettere e per capire”.

Henry Moore in Florence, Firenze, Piazza Signoria, San Miniato al MonteQuella tra Henry Moore e l’Italia è una relazione che si consolidò nell’arco dei decenni a partire dalla rivelazione giovanile dei maestri del Rinascimento italiano e dei primitivi toscani, passando per le partecipazioni alle Biennali di Venezia, il Gran Premio Internazionale per la Scultura del ’48, i soggiorni in Versilia dagli anni ’50 e le grandi mostre organizzate a Roma, Spoleto e Firenze negli anni ’60 e ’70, che ne consacrarono la fama agli occhi del pubblico nostrano.

Henry Moore in Florence, Firenze, Piazza Signoria, San Miniato al MonteIl viaggio studio compiuto nel 1925 tra la Francia, l’Italia e la Germania segnò l’inizio di questo lungo rapporto e rappresenterà per Moore una sorta di rivelazione: l’osservazione dal vivo dei capolavori dei maestri toscani del Trecento e del Quattrocento lo accompagneranno a lungo e guideranno la sua formazione artistica insieme allo studio della scultura primitivista ed extraeuropea scoperta al British Museum di Londra, delle avanguardie storiche, di Brancusi e Picasso.

Nelle due opere Family Group e Large Interior Form ricorrono due soggetti cari all’artista, che furono carattere distintivo di tutta la sua opera: la figura umana e l’esercizio della forma tra pieni e vuoti.

Henry Moore iniziò a sviluppare Family Group nel 1934, quando l'architetto Walter Gropius gli chiese di realizzare una scultura per una nuova scuola. L'opera fu completata solo dopo la seconda guerra mondiale, a cavallo tra il 1948-49, quando fu installata presso la Barclay School di Stevenage, in Inghilterra. Fu la prima scultura a grandezza naturale dell’artista ad essere fusa in bronzo. Nel dopoguerra, quando un'ondata di ricostruzione si impadronì della Gran Bretagna, a Moore fu chiesto di realizzare numerose sculture pubbliche. L’interesse per la figura umana, divenuto centrale in larga parte della sua produzione, fu maturato in seguito ai tragici eventi bellici che avevano sconvolto il mondo, con la volontà di contrastare gli effetti disumanizzanti della guerra. Family Group - ispirata metaforicamente dalla nascita nel 1946 dell'unica figlia dell'artista, Mary - ritrae un nucleo familiare idealizzato, in cui due adulti si rispecchiano l’uno nell’altro mentre l’infante, perno della composizione, li lega formando un nodo centrale. Oggi questo magnifico gruppo è accolto eccezionalmente in un luogo simbolo di Firenze, il Sagrato dell’Abbazia di San Miniato al Monte, che dall’alto domina la città.

Henry Moore in Florence, Firenze, Piazza Signoria, San Miniato al Monte“Oggi abbiamo il privilegio di accostare temporaneamente a quella mirabile Porta Coeli romanica che è San Miniato al Monte un’opera di Henry Moore, il celeberrimo Family Group, originariamente realizzato dall’artista per una scuola britannica” dichiara Padre Bernardo, Abate di San Miniato al Monte. “Questa volta, dunque, sono le forme squadrate con triplice taglio dell’architettura trinitaria della nostra facciata di marmo bianco e verde ad ospitare una bronzea rappresentazione di archetipale eloquenza della famiglia, «scuola di arricchimento umano», come la definisce, con saggia e ispirata intensità, il Concilio Vaticano II nella Gaudium et spes. Con un accorato auspicio: che questa meravigliosa scultura, così capace di celebrare con silenziosa efficacia l’intreccio generativo di quelle domestiche e delicate relazioni innervate dalla reciprocità, dalla fecondità e dalla fedeltà, propizi in tutti noi, col magistero della bellezza, l’intuizione che senza una vera scuola del dialogo, del desiderio e della pazienza le nuove generazioni troveranno sempre meno affidabili ragioni per sentirsi corresponsabili di un bene comune che non potrà non riguardare l’intera famiglia umana, quella che salendo su questa collina da ogni angolo del mondo troverà, presso la nostra basilica e fino alla prossima primavera, un dono e un’occasione in più per specchiarsi nella consapevolezza della propria dignità e della sua conseguente missione, ora più che mai davvero universale, di pace, di giustizia e di speranza”.

Pochi anni più tardi, Moore cominciò a lavorare su un altro tema, il contrasto tra il pieno e il vuoto. Con Large Interior Form (1953-54) l’artista indaga a livello formale le relazioni scultoree, presentando una forma entro l'altra. La scultura, infatti, vide la luce come "forma interna" di un’opera più grande, Large Upright Internal/External Form, dello stesso anno. Come faceva spesso, Moore prese una porzione di un'opera esistente e la usò come punto di partenza per sviluppare una nuova idea scultorea. La presenza di grandi forme aperte sottolinea la tridimensionalità organica, suggestione derivatagli da alcuni ciottoli trovati in riva al mare. La torsione e l'asimmetria della forma eretta ricordano il contrapposto della scultura classica, un'eco forse della grande influenza che l'arte rinascimentale ebbe su Moore nel corso della sua carriera. Ed è proprio con la grande tradizione scultorea fiorentina che dialoga, oggi, Large Interior Form, posta in un punto privilegiato di Piazza della Signoria a Firenze.

“Dopo la grande mostra dedicata a Henry Moore dal Museo Novecento nel 2021, continuiamo nella celebrazione di uno dei maggiori artisti del XX secolo, protagonista di una mostra indimenticabile al Forte Belvedere 50 anni orsono” dichiara Sergio Risaliti, Direttore del Museo Novecento. “Piazza della Signoria accoglie Large Interior Form, una scultura in bronzo di forme astratte che però innesca un dialogo assai sofisticato con i grandi monumenti della piazza, in particolare con il Ratto delle Sabine di Giambologna. Altresì è un fatto storico il legame precipuo di Moore con Michelangelo e con quelle forme serpentinate che furono un segno di riconoscimento delle sue più alate invenzioni. Eccezionalmente, poi, è stato collocato sul Sagrato di San Miniato al Monte il gruppo dedicato alla famiglia, Family Group appunto, uno dei temi più cari allo scultore inglese. E da questo Sagrato risuona un messaggio universale umanissimo che si carica di una tensione spirituale addossato alle forme pure di una delle chiese più belle al mondo. Ringrazio per questa accoglienza così preziosa Padre Bernardo, Abate dell’Abbazia di San Miniato. Ringrazio inoltre il Sindaco Dario Nardella e la Vicesindaca e Assessora alla Cultura Alessia Bettini con i quali abbiamo tessuto questo straordinario progetto”.
Ettore Sottsass. La parola, Milano (Italy), Triennale Milano, 20 january / 2 april 2023
Sergio Musmeci, inGenio, MAXXI, Ponte Tevere Tor di QuintoinGenio. Idee visionarie dall’Archivio di Sergio Musmeci, Roma [Rome] (Italy), MAXXI. Museo Nazionale delle Arti del XXI secolo, Centro Archivi Architettura, 1 october 2022 / 10 april 2023

Per innovare servono filosofi della scienza, gente che lavora con le idee
Sergio Musmeci

Sergio Musmeci, inGenio, MAXXI, Ponte sullo Stretto di Messina"inGenio. Idee visionarie dall’Archivio di Sergio Musmeci", è il focus dagli archivi del MAXXI Architettura che accompagna la mostra "Technoscape. L’architettura dell’ingegneria" e porta a scoprire i progetti, i disegni e i modelli avveniristici di Sergio Musmeci (1926 – 1981).
Musmeci era un ingegnere visionario, che i suoi colleghi ingegneri e architetti e i critici non esitavano a chiamare “un genio”. Al momento della scomparsa, il 5 marzo 1981, nel suo studio, sul suo tavolo, c’erano ancora tantissime idee originali da sviluppare.
Nel tempo, alcune visioni sono diventate realtà. Altre attendono ancora nuove generazioni di ingegneri capaci di farle uscire dal mondo della fantasia.

Musmeci era un progettista di architetture strutturali mai viste prima, un docente universitario chiarissimo per i suoi studenti, un teorico con grandi abilità matematiche capace di avventurarsi in campi pionieristici per la sua epoca. Nel suo archivio ci sono schizzi di opere ancora senza nome, appunti di conferenze piene di prospettive per il futuro, pagine di calcoli incompleti che accennano a nuove teorie per rifondare la statica. Alcuni disegni assomigliano a quelli delle “pop structures” dell’ultima generazione di archistar, idee che potremmo attribuire a Zaha Hadid, a Santiago Calatrava o ai giovani progettisti parametrici del nuovo millennio.

Il focus presenta alcuni tra i suoi progetti più visionari, in cui sperimenta forme “che non hanno ancora nome”: superfici pieghevoli come origami, intrecci di travi, membrane fluide, composizioni astratte di aste senza nodi. Un’attenzione particolare è dedicata ai suoi ponti che sovvertono le consuetudini. Le pile sono sagomate come uccelli in volo o come reti poligonali di aste, gli impalcati sono sinusoidi che avanzano, nel deserto come nell'acqua: sculture dal perfetto comportamento statico.
Tra questi, il progetto per il Ponte sullo Stretto di Messina e il celebre Ponte sul Basento a Potenza. Nel 1969 Musmeci vinse ex aequo il concorso pubblico di idee per l’attraversamento dello Stretto. Il grande modello lungo oltre 4 metri esposto in mostra in scala 1:1000 riproduce il rivoluzionario ponte di 3 km a campata unica, basato su una tensostruttura sospesa strallata che doveva contrastare la forte oscillazione dell’impalcato.
Una piccola sezione è dedicata invece al Ponte sul Basento, che la curatrice Tullia Iori definisce “il ponte più bello del mondo”: un guscio continuo equicompresso dichiarato monumento di interesse culturale già nel 2003 e protetto da vincolo. Il ponte è oggetto in questi mesi di un intervento di restauro conservativo a seguito del concorso di progettazione bandito dal Comune di Potenza nel 2020.

Che sia una fune con appesi dadi da bullone o il gigantesco intreccio di fili tesi del ponte sullo Stretto, per Musmeci il modello è fondamentale per verificare la validità della forma, soprattutto staticamente. Tra i materiali preferiti: le bolle di sapone, per studiare l’equi-tensione, e la gomma, che si può tirare forte ma poi anche misurare; e poi il plexiglas ma anche la semplice carta. In mostra, per la prima volta, sono esposti proprio i modelli di carta, restaurati dal MAXXI, sia del ponte semisommerso per il lago di Fogliano che ha una divertita sagoma sinusoidale, sia le composizioni spaziali di aste dalle geometrie impossibili con cui l’ingegnere geniale fantasticava per nuove forme delle costruzioni.
Ad accompagnare la visita, lo stesso Musmeci che racconta le sue opere e i suoi progetti in un’intervista audio registrata nel 1977.

  • Sergio Musmeci, inGenio, MAXXI, Ponte sul BasentoPonte sul Basento, Potenza;
  • Ponte sullo Stretto di Messina;
  • Modelli di studio per strutture spaziali ad aste antiprismatiche;
  • Ponte pedonale semisommerso a Fogliano (LT);
  • Teatro comunale dedicato a Gabriele D’Annunzio, Pescara;
  • Stabilimento Ursus, Cassino (FR);
  • Palazzo del Lavoro, Torino;
  • Monumento ai Mille, Marsala (TP);
  • Grattacielo elicoidale, New York (USA);
  • Ponte sul Tevere a Tor di Quinto, Roma;
  • Viadotto sul fiume Lao, Laino Borgo (CS);
  • Ponte a Shiraz (Iran);
  • Ponte a Marina di Classe, Ravenna;
  • Ponte sul fiume Astico a Chiuppano, Vicenza;
  • Cappella dei ferrovieri, Vicenza;
  • Palestra della Scuola nazionale di atletica leggera, Formia (FR);
  • Stabilimento Raffo, Pietrasanta (LU);
  • Palestra Coni, Frosinone;
  • Ristorante dello Stadio Olimpico del Nuoto, Roma;
  • Teatro Regio, Torino;
  • Auditorium, Bombay (India);
  • Chiesa di San Carlo, Vicenza;
  • Cinema Araldo, Roma;
  • Tempio Mariano, Trieste;
  • Chiesa di S. Alberto, Sarteano (SI);
  • Cappella del pontificio santuario, Pompei (NA);
  • Palazzo dello sport, Firenze;
  • Palazzo dell’aria e dello spazio, Parigi;
  • Strutture spaziali esposte in piazza San Salvatore in Lauro, Roma;
  • Copertura per l’area regia nel Foro Romano, Roma;
  • Copertura per un complesso sportivo, Vallo di Diano (SA);
  • Padiglione Oikos, Bologna;
  • Dattiloscritti e fogli di calcolo relativi alla Teoria del minimo strutturale.
Angelo Mangiarotti. Quando le strutture prendono forma / When Structures Take Shape, Milano (Italy), Triennale Milano, 27 january / 23 april 2023

Angelo Mangiarotti, Quando le strutture prendono forma, When Structures Take Shape, Triennale Milano, 2023 Angelo Mangiarotti. When Structures Take Shape is one of the most complete and comprehensive retrospectives ever devoted to the Milanese architect. It retraces 60-year of career with a wide selection of works, projects, documents and materials, many of which have never been exhibited before.

Stefano Boeri, president of Triennale Milano, explains that “For many years, Triennale Milano has been working on a project devoted to the great Italian masters of design, from Enzo Mari to Ettore Sottsass, to Achille Castiglioni and Pietro Lingeri. The latest is now Angelo Mangiarotti, an eclectic international personality who over the years carried out superb experiments in the fields of architecture, design, sculpture and infrastructure planning. The retrospective we are now putting on once again gives this key figure in the world of twentieth- century design his rightful place in history. We are particularly grateful to Renzo Piano for his participation in this important project – he himself studied under Mangiarotti and worked with him on the 14th International Exhibition in 1968, right here at Triennale.”

Angelo Mangiarotti, Quando le strutture prendono forma, When Structures Take Shape, Triennale Milano, 2023Marco Sammicheli, director of the Museo del Design Italiano of Triennale Milano, says: “Angelo Mangiarotti is a key figure in Italian design and architecture. Some of his designs – including the 4D piece (UniFor EMME3 /Molteni&C, 1966), the IN 301 armchair (Zanotta, 1969), and the Giogali chandelier (Vistosi, 1967) – are part of the permanent collection of the Triennale. This exhibition is a further step on a journey that began in October 2021, when a study day was organised on the centenary of Mangiarotti’s birth. The aim was to promote his work also with regard to the influence he exerted in Japan, the United States and in Europe.”

For Fulvio Irace, the curator of the show, “the exhibition at Triennale is the first opportunity we have had to reveal the great master’s truly complex nature. This has long been ignored in favour of his reputation as a builder who focused on the processes of material culture and on the techniques of prefabrication. While it is true that Mangiarotti reinvented the eternal archetype of the post and lintel, so to speak, using it throughout his career in an astonishing range of variations, it is equally true that – as the exhibition points out – his work contains a creative vein of great plastic and sculptural power, which places it in the domain of art as well as in that of architecture and design.”

Angelo Mangiarotti, Quando le strutture prendono forma, When Structures Take Shape, Triennale Milano, 2023Renzo Piano, who met Mangiarotti while at the Politecnico University of Milan and during work on the 14th Triennale (1968), has assisted in setting up this exhibition, as a way of paying homage to Mangiarotti’s precise way of interpreting the theme of space, which was one of the hallmarks of his work. The installation design created by Ottavio Di Blasi & Partners consists of a series of platforms that reflect the core themes of the exhibition – from node to joint, sculpture to assembly, abstraction to sensuality. Each table displays a series of study models, prototypes, completed works and fragments of work, showing the visitor the wealth and range of Mangiarotti’s experimentation and the workshop- like atmosphere of his studio.

The exhibition focuses on the way Mangiarotti approached each design problem as part of a much broader whole, in which experimentation, the characteristics of the material and its static functions went far beyond the laws of structure, involving experiments with materials such as concrete, marble and glass.

The exhibition starts in the large entrance corridor, with a timeline – inspired by the characteristic atmosphere of the architect’s studio – that runs along the left- hand wall. This long coloured wall bears a wealth of images and drawings of Mangiarotti's most important projects, and they are arranged in a way that illustrates his complex creative universe.

A large series of drawings by the architect form a picture gallery on the opposite wall, revealing his great artistic skill and the importance of drawing in his creative process. On entering the hall, the visitor is attracted by huge prints of enlarged photographs that pick out various details of his projects, both internal and external, and is drawn into a journey that illustrates the main themes of his incessant research. With no contrived divisions between disciplines, the visitor can thus observe the continuity that exists in some formal themes and how they are linked together and taken up at different times and on different scales, like recurring notes in a complex musical score. Original archival materials can be seen on the large panels, with documents, drawings, photos and models, while all around is a landscape in which sculptural presences rise up imperiously, revealing the deep artistic vein that was such a feature of his entire life.

In a special room it will also be possible to watch a video projection of Un Angelo su Milano: Mangiarotti e la città, specially created for the exhibition by Francesca Molteni, Muse Factory of Project.

Angelo Mangiarotti, Quando le strutture prendono forma, When Structures Take Shape, Triennale Milano, 2023The exhibition Angelo Mangiarotti: When Structures Take Shape offers an overview of the career of the great Milanese architect and designer, who became one of the leading lights in Italian design in the post-war period. One of a generation of creative minds – along with Magistretti, Caccia, Dominioni, Zanuso and others – who helped establish Italian architecture and design around the world, Mangiarotti put his name above all to the design of factories and industries, and to the solid rationality that is often a feature of this type of architecture. In his approach to industrial design, however, he always brought out the artistic talent of a great creative mind, and this exhibition is an opportunity to reveal the great complexity of his work. His reputation, which was more that of a builder, did not recognise this and failed to appreciate his ability to overcome the rigid canons of industrial design and the constraints of concrete.

One of Mangiarotti’s great merits was that he conferred a new level of dignity to the structure of the factory, at the time of Italy’s industrialisation during the economic boom, when the most active areas of production, such as those of the hinterland in Lombardy and Veneto were teeming with “boxes” and industrial sheds. His projects managed to give lustre to the reputation of this type of building, turning them almost into monuments to labour, for they took into account the needs of those who worked there as well as respecting the surrounding landscape. Mangiarotti’s factories became extremely important examples of Italy’s civil construction. They acquired the connotations of the Greek temples that inspired his neat compositions of pillar and post construction with their alternation of imposing columns and pediments, as we see in the Splugen Brau warehouse in Mestre, the SIAG factories in the province of Caserta and in the ELMAG plant in Lissone.

Angelo Mangiarotti, Quando le strutture prendono forma, When Structures Take Shape, Triennale Milano, 2023A distinctive and essential feature of Angelo Mangiarotti’s work, which the exhibition focuses on, is also that of prefabrication, a process that the great architect and designer approached in a manner that was totally innovative at the time. Viewing architecture as a free system in which structures can give different shapes and forms to each other in multiple ways – the concept that gives this exhibition its title – Mangiarotti made great use of prefabricated elements that were then assembled on site. The technique, which was not always seen favourably by his contemporaries, concealed a huge dose of creativity behind the apparently monotonous repetition of his construction systems. This led Mangiarotti to design even screws and bolts, and have them patented, to ensure the success of his projects, combining the small scale of design with the grand scale of architecture. In his case, prefabrication was thus anything but synonymous with laziness, but rather an incentive to experiment and to create extempore systems, paving the way for a real form of participatory architecture.

Angelo Mangiarotti, Quando le strutture prendono forma, When Structures Take Shape, Triennale Milano, 2023Prefabrication was also a means for bringing about a veritable revolution in the field of design. In his infinite ways of assembling the elements, Mangiarotti found a way of freeing architecture from all its formal excesses, creating almost the ideal of the anonymous architect, an example of restrained Milanese pragmatism. He wanted his projects to act as a stimulus for future generations, for a creative form of reproduction, in a sort of crowdsourcing before its time, handing down to future architects a work method and a series of processes that could be reformulated to meet local needs and fit local contexts rather than appear as the work of some unattainable star.

The overview of Angelo Mangiarotti’s work that we see in the exhibition also devotes much space to the organic approach that was a feature of his work. Objects designed by him, such as the Lesbo lamp and the Secticon clock, reveal another, possibly less known, aspect of Mangiarotti, with their flowing, rounded shapes that can also be seen in his design of buildings. Examples of this can be seen in the pavilion designed for the Triennale in 1968, the design for the Alfa Romeo wind tunnel and the one for the stadium in Catania, as well as the residential complexes in Via Gavirate in San Siro, which he built with Bruno Morassutti – “homes for modern newly-weds”, as the Corriere della Sera put it in 1959.

In all these projects, we can see how the grandeur of the Greek temple is abandoned in favour of forms and techniques that were being tried out in those years, moving in a quite opposite direction, and once again highlighting Angelo Mangiarotti’s great versatility.

He was a master who never stopped studying and learning, not even when, as an exile in Switzerland after the Republic of Salò was declared, he was building the future together with a generation of intellectuals and artists while the war raged on all around. He was a creative mind whose work is permeated by an artistic vein of great plastic and sculptural power, rightfully placing him in the domain of art as well as in that of architecture and design.

Photos by Melania Dalle Grave, DSL Studio
Courtesy of Triennale Milano
I do You, Berlin (Germany), Neue Nationalgalerie, 25 november 2022 / 30 aprile 2023
Aldo Rossi. Insulae, Berlin (Germany), Tchoban Foundation. Museum für Architekturzeichnung / Museum for Architectural Drawing, 4 february / 14 may 2023
Zvi Hecker: Entwürfe für die Berliner Mitte / Designs for the Center of Berlin, Berlin (Germany), Mitte Museum Berlin, 25 november 2022 / 4 june 2023
Ai Weiwei, Making Sense, The Design Museum, London, 2023Ai Weiwei: Making Sense, London (United Kingdom), The Design Museum, 7 april / 30 july 2023

Ai Weiwei is one of the most significant and recognised artists working today. Known around the world for his powerful art and activism, Ai does not differentiate between disciplines: his practice glides across art, architecture, design, film, collecting and curating. This major new exhibition, developed in collaboration with Ai Weiwei, will be the first to present his work as a commentary on design and what it reveals about our changing values. Through his engagement with material culture, Ai explores the tension between past and present, hand and machine, precious and worthless, construction and destruction.   

The exhibition draws on Ai’s fascination with historical Chinese artefacts, placing their traditional craftsmanship in dialogue with the more recent history of demolition and urban development in China. The result is a meditation on value – on histories and skills that have been ignored or erased. The exhibition will see some of Ai’s most important works displayed alongside collections of objects that have never been seen, and new commissions made for the exhibition. Not only is this Ai’s personal commentary on design, it is also a major opportunity for visitors to see his work through a new lens.

Ai Weiwei, Making Sense, London, The Design Museum, Water Lilies, MonetThe Design Museum unveils a major new work by celebrated global artist Ai Weiwei.

Constructed entirely of Lego, the work is a recreation of one the most famous paintings by French Impressionist Claude Monet. It is the largest Lego artwork Ai Weiwei has ever made.

Titled Water Lilies #1, the work is over 15m in length and will span the entire length of one of the walls in the Design Museum gallery. It is made from nearly 650,000 studs of Lego bricks, in 22 colours.

This vast new work will be seen in public for the very first time when the exhibition Ai Weiwei: Making Sense opens on Friday 7 April. It is his biggest UK show in eight years.

Water Lilies #1 recreates Monet’s famous painting, Water Lilies (1914 — 26), a monumental tryptich which is currently in the collection of the Museum of Modern Art in New York.

In the original painting, Monet depicts one of the lily ponds in the gardens of his home in Giverny near Paris. It is an image that has become world-famous for its depiction of nature’s tranquil beauty. However, the pond and gardens were a man-made construct, designed and created by Monet himself at the turn of the 20th century. He had the nearby river Epte partially diverted in order to create this idealised landscape.

Ai Weiwei, Making Sense, London, The Design Museum, Water Lilies, MonetBy recreating this famous scene, Ai Weiwei challenges our ideas of reality and beauty. The new image has been constructed out of Lego bricks to strip away Monet’s brushstrokes in favour of a depersonalised language of industrial parts and colours. These pixel-like blocks suggest contemporary digital technologies which are central to modern life, and in reference to how art is often disseminated in the contemporary world. Challenging viewers further, included on the right-hand side of Ai’s version is a dark portal, which is the door to the underground dugout in Xinjiang province where Ai and his father, Ai Qing, lived in forced exile in the 1960s. Their hellish desert home punctures the watery paradise.

Ai Weiwei has been using Lego bricks in his work since 2014, when he used them to produce portraits of political prisoners. But Water Lilies #1 is his largest ever creation in this medium.

Water Lilies #1 will be seen alongside another major new Lego artwork by Ai Weiwei, which is also making its international debut at the Design Museum. First announced in January, Untitled (Lego Incident) is part of a series of five expansive ‘fields’ where hundreds of thousands of objects will be laid out on the gallery floor. In this field, visitors will see thousands of Lego blocks which were all donated to the artist by members of public from around the world, in response to Lego briefly refusing to sell their products to him in 2014. These donated bricks are presented at the Design Museum for the first time as a fully-formed artwork.

Ai Weiwei: Making Sense will be the artist’s very first exhibition to focus on design and architecture. It sees Ai using design and the history of making as a lens through which to consider what we value.

Other highlights of the exhibition inlcude dozens of objects and artworks from throughout Ai Weiwei’s career that explore the tensions between past and present, hand and machine, precious and worthless, construction and destruction, such as his Han dynasty urn emblazoned with a Coca-Cola logo, which epitomises these clashes.

A number of examples of Ai’s ‘ordinary’ objects, where he has transformed something useful into something useless but valuable will also be shown. These include a worker’s hard hat cast in glass which becomes at once strong and fragile, and a sculpture of an iPhone that has been cut out of a jade axe-head.

Large-scale Ai Weiwei works will also be installed outside of the exhibition gallery, in the museum’s free-to-enter spaces as well as outside the building.

Justin McGuirk, Chief Curator at the Design Museum and curator of Ai Weiwei: Making Sense said: “Several of the works in this exhibition capture the destruction of urban development in China over the last two decades. With Water Lilies #1 Ai Weiwei presents us with an alternate vision – a garden paradise. On the one hand he has personalised it by inserting the door of his desert childhood home, and on the other he has depersonalised it by using an industrial language of modular Lego blocks. This is a monumental, complex and powerful work and we are proud to be the first museum to show it.”

Ai Weiwei said "Our world is complex and collapsing towards an unpredictable future. It's crucial for individuals to find a personalized language to express their experience of these challenging conditions. Personalized expression arises from identifying with history and memories while creating a new language and narrative. Without a personal narrative, artistic narration loses its quality. In Water Lilies #1 I integrate Monet's Impressionist painting, reminiscent of Zenism in the East, and concrete experiences of my father and me into a digitized and pixelated language. Toy bricks as the material, with their qualities of solidity and potential for deconstruction, reflect the attributes of language in our rapidly developing era where human consciousness is constantly dividing."

Ai Weiwei, Making Sense, London, The Design Museum, Water Lilies, Monet
Norman Foster, Paris [France], Centre Pompidou (Galerie 1, level 6), 10 may / 7 august 2023

Norman Foster, Paris, Centre Pompidou, 2023, Viaduc MillauCovering nearly two thousand two hundred square metres, the Centre Pompidou’s retrospective exhibition dedicated to Norman Foster in Galerie 1 reviews the different periods in the architect’s work and highlights his cutting-edge creations, such as the headquarters of the Hongkong and Shanghai Banking Corporation (Hong Kong, 1979-1986), the Carré d’Art (Nîmes, 1984-1993), Hong Kong International Airport (1992-1998) and Apple Park (Cupertino, United States, 2009-2017).

The scenography of the exhibition was designed by Norman Foster and executed in collaboration with Foster + Partners and the Norman Foster Foundation.

The layout unfolds in the course of seven themes, Nature and Urbanity; Skin and Bones; Vertical City; History and Tradition; Planning and Place; Networks and Mobility and Future. Drawings, sketches, original scale models and dioramas, along with many videos, enable visitors to discover around 130 major projects. Welcoming visitors at the entrance to the exhibition, a drawing gallery showcases items never seen before in France, consisting of drawings, sketchbooks, sketches and photographs taken by the architect.

Because they constitute Norman Foster's sources of inspiration and resonate with his architecture, works by Fernand Léger, Constantin Brancusi, Umberto Boccioni and Ai Wei Wei are also presented in the exhibition, along with industrial creations, a glider and automobiles.

Any encounter with the work of architect Norman Foster immediately conjures up what seems to be his most striking projects, those that are synonymous with the image of a city, a region or, more simply, have changed the shape of a site or the configuration of a location or a square.

Large airports, transport networks, tall buildings, the headquarters of large companies, public buildings, major structures, urban development programmes, museums... with several hundred projects studied or completed throughout the world, Norman Foster has engaged with the full complexity of the organisation of great industrial societies.

The Centre Pompidou dedicates a major retrospective exhibition to the British architect in the very building that was among the first manifestations of the " High Tech " architectural trend of which Norman Foster is considered to be a leader. Foster founded the Team 4 agency in London in 1963 with Wendy Cheesman and Richard Rogers who, along with Renzo Piano, would be the architect of the Centre Pompidou in 1977. In 1967 Foster founded his Foster Associates practice, which became Foster and Partners in 1992.

Norman Foster imposed the image of a practice that has preserved its identity as a global agency always open to research and innovation, and which integrates all technical, economic, social and environmental dimensions in its projects. A broader understanding of the concept of environment as including nature and the whole biosphere is a central preoccupation in his work. He identifies high technology with a technosphere that monitors the destructive effects of the industrial world with an economy that is compatible with life on earth.

This global concept combining the deployment of technologies with a comprehension of the concept of environment is founded on the work of Richard Buckminster Fuller, the American architect with whom Foster worked on various projects. Thus, as early as the 1960s and 1970s, at a time when industrial society was waking up to environmental challenges, Norman Foster participated in the emergence of the ecological movement and its development in the course of more contemporary projects.
Tham & Videgård. On: Architecture, Stockholm (Sweden), ArkDes, 11 november 2022 / 27 august 2023
Dan Graham. Sonic Youth Pavilion. Feat. ZeLIG, Bolzano / Bozen (Italy), Museion, 17 march / 3 september 2023

Dan Graham, Sonic Youth Pavilion, Museion, Bozen, BolzanoThe installation that is simultaneously a sculpture, an architectural element and an exhibition, was conceived and created by the artist in 2008 specifically for Museion, as an integral part of the exhibition “SONIC YOUTH etc.: SENSATIONAL FIX”. The space conceived by Graham, now positioned on the ground floor of Museion, is a pavilion structure made of semi-reflective glass and mirrors with perforated stainless-steel walls. Visitors can enter this permeable environment and can observe the outside world while being observed themselves.

Dan Graham, Sonic Youth Pavilion, Museion, Bozen, BolzanoThe pavilion, which belongs to the museum collection is a one-off creation, designed by the artist to be not only a piece of architecture but also a display space for multimedia material. It contains several video stations that the visitor can interact with.

During the exhibition, the work will house two separate moments in the Passage program, designed to analyze the medium of video as an all-round tool of artistic investigation.

The first moment (17.03 – 04.06) entitled My Bolzano. Views of the City is dedicated to a collaboration project between Museion and ZeLIG - the School for Documentary, Television and New Media in Bolzano. Inside the pavilion, four video stations house the first documentary exercises of first-year students that focus on the city and its inhabitants as well as the development of a personal creative style. In this way, the pavilion becomes a kind of window onto the activity of the institute and on the first processes of vision and storytelling through video.

My Bolzano, the title of these productions, recounts an intimate and young relationship with the city and the medium of the camera. Housed inside Dan Graham’s work, these different views establish a symbolic conversation with the urban spaces that can be seen through the transparency of the pavilion and the architecture of the museum itself.

The second moment, titled Time Frame (09.06 – 03.09) and curated by the Turin-based writer and curator Saim Demircan, is dedicated to artists who have experimented with film and video as a means to document exhibitions. Whether developing specific filming techniques or editing footage, these structural, collaborative and subjective approaches sit midway between artwork and document.
Herzog & de Meuron, London (United Kingdom), Royal Academy of Arts, 14 july / 15 october 2023
gmp, von Gerkan Marg und Partner, UMBAU, Nonstop Transformation, Venezia, 2023
UMBAU. Nonstop Transformation, Venezia [Italy], Salone Verde, 19 may / 26 november 2023

UMBAU (conversion) means continuous transformation of existing structures. To achieve the today`s climate goals, UMBAU must move from exception to rule. The exhibition contributes by discussing seven projects by gmp as precise case studies of conversion practices from the 21st century dealing with the architectural heritage of the Moderne movement.

What the projects have in common is a conceptual approach to UMBAU that takes its point of departure in the precise exploration of the existing and continues and develops the old as an architectural evolution. Practice shows that UMBAU must also integrate new settings, superimpositions, and even productive destruction. UMBAU is not unique, but continues into future as a nonstop transformation, as a collaboration spanning generations.
Josef Hoffmann: Beyond Beauty and Modernity, Brussels [Bruxelles] (Belgium/Belgique/België), RMAH Royal Museums of Art and History, 6 october 2023 / 14 april 2024
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