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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
BUILDINGS
 
1956 - 1959
Frank LloydWright  
United States Elkins Park
Andrew Pielage (photo), Sacred Spaces, Elkins Park PA, Beth Sholom Synagogue,19 september 2021 / 17 january 2022


2005 - 2015
Franco MariaRicci  Pier CarloBontempi  
Italy [Italia] Fontanellato
Umberto Eco, Franco Maria Ricc,. Labirinti, Storia di un segno, Labirinto della Masone, ParmaUmberto Eco, Franco Maria Ricci. Labirinti. Storia di un segno, Casalbarbato, Parma (Italy), Labirinto della Masone, 22 may 2021 / 20 march 2022
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ARCHITECTS
 
Aldo Rossi, Kresby a projekty, Bratislava, Slovakia, Sídelná budova SNMAldo Rossi. Kresby a projekty, Bratislava (Slovakia), Sídelná budova SNM, 25 june / 5 december 2021
Miralles. To be continued..., Barcelona (Spain), Fundación Enric Miralles, 15 april / 23 december 2021
Eames Office: 80 years of design, Tokyo, Isetan The Space, 5 november 2021 / 5 january 2022
Eames Office: 80 years of design, Tokyo, Isetan The Space, 5 november 2021 / 5 january 2022
Double Jeu, Paris (France), Galerie 8+4, 19 november 2021 / 8 january 2022
Draw love build. L'architettura di Sauerbruch Hutton, Venezia Mestre (Italy), M9 - Museo del ’900, 3 september 2021 / 9 january 2022
Kaikki ja ei mitään. Arkkitehdit Kaija + Heikki Siren / Everything and Nothing. Architects Kaija + Heikki Siren, Espoo (Finland), KAMU. Espoon kaupunginmuseo / Espoo City Museum, 23 october 2020 / 9 january 2022
Kaikki ja ei mitään. Arkkitehdit Kaija + Heikki Siren / Everything and Nothing. Architects Kaija + Heikki Siren, Espoo (Finland), KAMU. Espoon kaupunginmuseo / Espoo City Museum, 23 october 2020 / 9 january 2022
Manuelle Gautrand Architecture, Firminy-Vert (France), Église Saint-Pierre (Site Le Corbusier), 18 june 2021 / 16 january 2022
Andrew Pielage (photo), Sacred Spaces, Elkins Park PA, Beth Sholom Synagogue,19 september 2021 / 17 january 2022


Jeff Koons, Shine, Firenze, Palazzo Strozzi, FlorenceShine, Firenze (Italy), Palazzo Strozzi, 2 october 2021/30 january 2022
Pier Luigi Nervi. Maître Concepteur/Batisseur / Master Designer-Builder, Centre de design de l’Université du Québec, Montréal (Canada), 24 november 2021 / 22 february 2022

Pier Luigi Nervi. Maître Concepteur Batisseur, Master Designer Builder, Orbetello Hangars, Centre Design, Montréal, CanadaWorking toward the synthesis of art and construction science, art historian Nikolaus Pevsner described Nervi as "the most brilliant artist in reinforced concrete of our time." Constructed around the globe, Nervi’s buildings belong to a spectacular period of structural and architectural innovation and symbolize the achievements of Italian engineering in the aftermath of World War II. Nervi designed and built iconic structures such as the Small Sport Palace (1958) for the Olympic Games in Rome, the Labour Palace in Turin (1960), and the Pirelli Tower in Milan (1960) with the architect Gio Ponti. Another of Nervi’s major projects, one that directly connects the engineer to Montreal, is the Place Victoria Tower (1964), designed in collaboration with the architect Luigi Moretti.

Pier Luigi Nervi. Maître Concepteur Batisseur, Master Designer Builder, Centre Design, Montréal, Québec, CanadaAn exhibition in two parts
Entitled Pier Luigi Nervi: Master Designer / Builder, the Centre de Design presents a two-part exhibition. The first is an adapted version of the traveling exhibition Pier Luigi Nervi – Architecture as Challenge, curated by Cristiana Chiorino, and presented for the first time in Brussels in 2010. The exhibition examines the long career of the engineer, from the 1920s through to the 1970s. It is the product of a multidimensional research project that brought together a large team of researchers with the goal of retracing the various contributions of Nervi's work. The result is a complex historical fresco in which Nervi's revolutionary building techniques are closely linked to post-war Italy and international social and political developments, coupled with an exploration of the rich cultural and scientific relationships in which Nervi evolved.

The second part of the exhibition is a presentation conceived and curated by Carlo Carbone and Réjean Legault, professors at UQAM École de design. Sistema Nervi focuses on five little-known experimental projects that were carried out using three central elements of Nervi’s production system: the material, the mold, and repetition. The combination of these elements led to the invention of a composite material: ferrocement. The use of ferrocement opened the way for the development of the tavellone—the formwork that was at the basis of Nervi’s brilliant shells and domes—which remains without a doubt the engineer’s most significant contribution to the constructive culture of reinforced concrete. Bringing together historic photographs, models by UQAM students, and analysis of the five Nervi projects, this presentation underscores the engineer’s atypical approach to design in the production of the built environment.
Helmut Jahn, Life + Architecture, Chicago, CAC, Chicago Architecture CenterHelmut Jahn: Life + Architecture, Chicago, Chicago Architecture Center, 23 july / 24 october 2021 28 february 2022

HELMUT JAHN: LIFE + ARCHITECTURE, a career design retrospective of Helmut Jahn’s innovative work that has left an enduring legacy around the world and in his adopted home of Chicago. The exhibit, organized after Jahn’s death in May, include numerous scale models of Jahn’s pathbreaking designs throughout his career.

Helmut Jahn, Life + Architecture, Chicago, CAC, Chicago Architecture Center“Helmut Jahn and Chicago were made for one another,” said Lynn Osmond, President and CEO of the CAC. “Helmut’s larger-than-life persona and his inventive and surprisingly original buildings remade Chicago in the 1980s. His brash designs and relentless pursuit of excellence invigorated Chicago, helping the architectural community move confidently beyond mid-century modernism. Helmut was, in turn, embraced by ‘the city of big shoulders.’”

HELMUT JAHN: LIFE + ARCHITECTURE include personal and professional items generously loaned by Helmut Jahn’s family and firm. Visitors to CAC’s Skyscraper Gallery will see scale models of some of Jahn’s most recent designs, including 1000M (Chicago) and Pritzker Military Archives (Somers, Wisconsin) currently under construction. Visitors will also see scale models of buildings designed at key points in Jahn’s career, including Post Tower (Bonn, 2002), Sony Center (Berlin, 2000) and the James R. Thompson Center (Chicago, 1985). Together, these buildings, represented by scale models in the exhibit, introduce visitors to Jahn’s enduring design legacy.

“Helmut was a great mentor.” said Tom Lee, Principal, Eastman Lee Architects. “He had a profound influence on me and my career and that of so many other architects in the city and around the world.”

The Thompson Center, an example of innovative post-modern design, is in the news as it is currently to be sold by the State of Illinois without protection for its historic design. A nomination to the National Register of Historic Places seeks historic tax credits for incentivizing adaptive reuse, but this process is still ongoing. To support a debate on the future of The Thompson Center, the CAC and the Chicago Architectural Club created the James R. Thompson Center Design Competition that challenges architects to envision a new future for Jahn’s post-modern masterpiece. The winning designs will be exhibited at the CAC in late summer.

“With a burst of shattering, curving and bulging glass in a rainbow of colors, Helmut Jahn danced onto the international architecture scene in the 1980s, translating the discipline of Chicago Modernism into new programs and forms while melting and fragmenting its grids into a post-disco delight of shaped buildings,” said Aaron Betsky, Director of the School of Architecture + Design at Virginia Tech. “We better save the Thompson Center, which is not only one of his greatest designs, but one of the few true celebrations of government as a public good.”


Umberto Eco, Franco Maria Ricc,. Labirinti, Storia di un segno, Labirinto della Masone, ParmaUmberto Eco, Franco Maria Ricci. Labirinti. Storia di un segno, Casalbarbato, Parma (Italy), Labirinto della Masone, 22 may 2021 / 20 march 2022
Josef Hoffman - Otto Prutscher, Brtnice (Czech Republic), Josef Hoffmann Museum, 1 july / 31 march 2022

Josef Hoffman, Otto Prutscher, Brtnice, Czech Republic, Josef Hoffmann MuseumThe 2019 annual exhibition in the Josef Hoffmann Museum in Brtnice, a joint exhibition of the Moravian Gallery, Brno, and the MAK, Vienna, is dedicated to Josef Hoffmann’s (1870–1956) association with Otto Prutscher (1880–1949). Like Hoffmann an architect and designer, Prutscher was master of all materials used in the applied arts. He was an exhibition designer, a teacher, and a member of the most important reform movements in art from the Secession to the Wiener Werkstätte and the Werkbund. On the occasion of the 70th anni- versary of Otto Prutscher’s death this year, the exhibition highlights the importance of his work for the development of Viennese Modernism.

Josef Hoffman, Otto Prutscher, Brtnice, Czech Republic, Josef Hoffmann MuseumStarting in the 1980s—together with the protagonists of the “Vienna Style” around 1900— Otto Prutscher started to gain wider recognition. Similar to Josef Hoffmann, the first comprehensive studies of whose works appeared in Italy after the Second World War, in Otto Prutscher’s case it was the Italian architectural journal Metamorfosi that, in 1994, issued his “Unpublished works from archives in Como and Vienna”.

Ten years younger than Josef Hoffmann and Adolf Loos, Otto Prutscher belonged to the first generation of Vienna Arts and Crafts School students to benefit from the curricular reforms directed by Felician von Mayrbach and from the teaching of young professors such as Josef Hoffmann and Koloman Moser. Prutscher mastered a range of materials in his father’s cabinetmaking workshop, as well as as in bricklaying and carpentry apprenticeships, completed in the summer vacations.

After his acceptance at the the Vienna Arts and Crafts School in 1897, Prutscher took a course with Willibald Schulmeister in ornamental drawing, and later for two semesters a specialist class in architecture with Josef Hoffmann. The training he received from the secessionist architect Hoffmann and the premodern painter Matsch was to leave its mark on Prutscher’s designs and completed works—in terms of both the graphic quality of his designs and his orientation towards current trends in architecture. From 1907 Prutscher began to work for the Wiener Werkstätte, and from 1909 he taught, like Hoffmann, at the Arts and Crafts School.

Hoffmann worked with Prutscher for decades on projects such as the Vienna Kunstschau of 1908 and the Cologne Werkbund exhibition of 1914, sharing with him an unbounded creative drive. Today Prutscher’s recorded oeuvre includes over 50 buildings (villas, apartment houses, and portals), nearly 50 exhibitions organized and designed alone or with others, some 170 installations, over 300 designs for installations, and over 200 suites and individual pieces of furniture.

Prutscher’s designs were implemented by more than 200 enterprises, principally the Wiener Werkstätte but also important manufactories such as Backhausen, Klinkosch, Augarten, Meyr’s Neffe, Schappel and Melzer & Neuhardt, and the Deutsche Werkstätten in Dresden. In addition he was artistic advisor to Thonet, Loetz Witwe, and Wienerberger. Twenty years after the first monograph on and exhibition of his work (Otto Prutscher. 1880–1949. Architektur, Interieur, Design [Otto Perutscher, 1880–1949: Architecture, Interior, Design], University of Applied Arts Vienna, 1997), the exhibition JOSEF HOFFMANN – OTTO PRUTSCHER discusses Prutscher’s complex achievement against the background of Hoffmann’s oeuvre. Both spatially and thematically, it is a continuation of the permanent exhibition JOSEF HOFFMANN: Inspirations, that since 2009 has been tracing the roots Hoffmann’s artistic inspiration in his birthplace Brtnice. Starting on 20 November 2019, the MAK will be presenting a comprehensive solo exhibition: OTTO PRUTSCHER. Allgestalter der Wiener Moderne [Otto Prutscher: Universal Designer of Viennese Modernism].
Ettore Sottsass. Struttura e colore, Milano (Italy), Triennale Milano, 3 december 2021 / 10 april 2022
Keith Haring, Pisa, Palazzo Blu, 2021, 2022Keith Haring, Pisa (Italy), Palazzo Blu, 12 november 2021 / 17 april 2022
Josef Hoffmann, Progress by Beauty, Vienna, Wien, MAK, AustriaJosef Hoffmann: Fortschritt durch Schönheit / Progress Through Beauty, Vienna [Wien], MAK - Österreichisches Museum für angewandte Kunst - Gegenwartskunst / Austrian Museum of Applied Arts / Contemporary Art, MAK Exhibition Hall, 15 december 2021 / 19 june 2022


To celebrate his 150th birthday the MAK is honoring the architect, designer, teacher, exhibition organizer, and cofounder of the Wiener Werkstätte Josef Hoffmann (1870– 1956) with the most comprehensive retrospective of his entire oeuvre ever shown. Hoffmann cultivated an exemplary modern lifestyle model and focused on aesthetics and beauty as the central parameters of modern design. The exhibition JOSEF HOFFMANN: Progress Through Beauty revisits every facet of the almost 60-year creative output produced by this influential global pioneer in architecture and design around 1900 and enriches the systematic research into and dissemination of his legacy.

Josef Hoffmann, Progress by Beauty, Vienna, Wien, MAK, AustriaWith an initially puristic design vocabulary, Josef Hoffmann carved out his position as one of the protagonists of Viennese Modernism. His ideal of the Gesamtkunstwerk—or total work of art—and his outstanding buildings like Stoclet House in Brussels (1905– 1911), now a UNESCO World Heritage Site, left a mark on the architectural and artistic landscape both nationally and internationally. Although this all-round designer has featured in every important exhibition on Viennese Modernism, only sections of his oeuvre have been analyzed in full.

To mark this year’s anniversary the exhibition’s team of curators—Matthias Boeckl, Rainald Franz, and Christian Witt-Dörring—set themselves the task of closing the gaps that still exist in the research by using at times unknown sources and by updating his catalogue raisonné. According to the curators, the perception of Hoffmann’s creative work as an architect and designer is incomplete in terms of the sources used, oversimplified in terms of design aspects, and limited in terms of his geographical and historical sphere of influence.

In 20 chapters and with over 800 exhibits, the exhibition JOSEF HOFFMANN: Progress Through Beauty introduces visitors to his prodigious lifework, which covers every single aspect of daily life, including architecture, interior design, fashion, and practical objects. Originally from a wealthy middle-class family in Brtnice, now in the Czech Republic, Hoffmann lived through five different political regimes, from the Habsburg Monarchy to the Second Austrian Republic. He was considered a creator of taste and identity and lived an exemplary modern lifestyle as a teacher of many years, as an influential designer in the decorative arts, and as cofounder of the Vienna Secession, the Wiener Werkstätte, and the Werkbund. In his groundbreaking mindset he united an artistically ambitious architectural approach with an artisanally inspired product culture.

Josef Hoffmann, Progress by Beauty, Vienna, Wien, MAK, AustriaThe exhibition covers every stage of his life from his youth and studies at the Academy of Fine Arts Vienna to his death in 1956. The focus of the exhibition is his work’s lasting impact on architecture, the decorative arts, and design, starting with his most prominent projects and buildings: Sanatorium Westend in Purkersdorf (1904/05), Stoclet House in Brussels (1905–1911), the Kunstschau in Vienna (1908), the Austrian pavilion for the Werkbund exhibition in Cologne (1914), the pavilion for the International Exposition of Modern Decorative and Industrial Arts in Paris (1925), the Werkbundsiedlung [Werkbund Estate] in Vienna (1931), and the pavilion for the Venice Biennale (1934). A multimedia timeline guides visitors through Hoffmann’s life and draws attention to forgotten projects and texts.

A reconstruction of the Boudoir d’une grande vedette [Boudoir for a Big Star] (1937), designed by Josef Hoffmann for the Paris World’s Fair, makes it possible to instantly experience Hoffmann’s sense of space. Furnishings like furniture and light fixtures for Árpád Lengyel’s villa in Bratislava (1929) will be on public display for the very first time, as will other never-before-seen furnishings from the villa for Sonja Knips (1924) and a variety of Josef Hoffmann’s designs that were previously hidden in archives like that of the company J. & L. Lobmeyr.

With this exhibition and its accompanying catalog, the MAK is helping to paint a much richer and more detailed picture of Josef Hoffmann as a creator and teacher and to show his role—from Modernism to the present day—in a different light. As a competence center of Viennese Modernism, the MAK is home to the world’s most comprehensive holdings of furniture, objects, and designs by Hoffmann. The MAK and the Moravian Gallery in Brno run a joint branch in the house where Josef Hoffmann was born in Brtnice, Czech Republic.



December 2020

Josef Hoffmann, Progress by Beauty, Vienna, Wien, MAK, AustriaOriginally intended to open in December 2020 to coincide with Josef Hoffmann’s 150th birthday, the exhibition JOSEF HOFFMANN: Progress Through Beauty has been post- poned for one year. The most comprehensive retrospective ever mounted on the lifework of Josef Hoffmann (1870–1956) will now be on display in the MAK Exhibition Hall from 15 December 2021 to 19 June 2022. In 20 chapters and with over 800 exhibits, the team of curators—Matthias Boeckl, Rainald Franz, and Christian Witt-Dörring—aims to revisit the entire 60-year oeuvre of this architect, designer, teacher, exhibition organizer, and cofounder of the Wiener Werkstätte. In light of the show’s conceptual and organizational dimensions and associated expense, the MAK is hoping for considerably more favorable circumstances come the opening of the exhibition late next year in order to have the broadest possible impact—not only within Austria, but also internationally.

Josef Hoffmann, Progress by Beauty, Vienna, Wien, MAK, AustriaThese challenging times during the pandemic have significantly impeded the presentation of rarely shown objects from international collections, which are able to spotlight new facets of Josef Hoffmann’s oeuvre. Furthermore, the later opening date for the exhibition makes it possible to extend the duration of this MAK project: instead of being on display for four months as originally planned, the exhibition can now be shown for half a year.

Initial insights into the exhibition JOSEF HOFFMANN: Progress Through Beauty are afforded by a discussion event to be held at the MAK on Josef Hoffmann’s 150th birthday, 15 December 2020.

The publication to accompany the exhibition, entitled JOSEF HOFFMANN 1870–1956: Progress Through Beauty. The Guide to His Oeuvre, edited by Christoph Thun- Hohenstein, Matthias Boeckl, Rainald Franz, and Christian Witt-Dörring, will be released as a German and an English edition in spring 2021 by the Birkhäuser Verlag, Basel. In 40 essays renowned international experts analyze Hoffmann’s most important buildings, interiors, and exhibitions, as well as decorative art designs and objects. Drawing on the latest research, the guide conveys the multimedia approach and wide-ranging international reception of Hoffmann’s artistic vision and is set to become a new standard reference work on Viennese Modernism in an international context.
Olafur Eliasson, Firenze (Italy), Palazzo Strozzi, 22 september 2022 / 29 january 2023
 
 
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