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EXHIBITIONS AND EVENTS
Louis I. Kahn
Architettura, silenzio e luce. Louis Kahn nelle fotografie di Roberto Schezen / Architecture, silence and light. Louis Kahn in the Photographs by Roberto Schezen
MAXXI Museo nazionale delle arti del XXI secolo
, Centro Archivi MAXXI Architettura, 18 december 2019 / 2 june 2020
, Trieste (Italy), Salone degli Incanti, 18 december 2019 / 7 june 2020
Álvaro Siza. Viagem sem Programa. Disegni e Ritratti
, Cervia (Italy), Magazzino del Sale Torre, 6 /
22 march 2020
7 june 2020
Álvaro Siza. Viagem sem Programa. Disegni e Ritratti
, Siena (Italy), Santa Maria della Scala, 6 june / 6 october 2019
The travelling exhibition “Álvaro Siza. Viagem sem Programa” opened in Siena on June 6th. It’s curated by Greta Ruffino and Raul Betti and organized by the Municipality of Siena and ProViaggiArchitettura. The exhibition was a side event of the 13th International Architecture Exhibition - La Biennale di Venezia. Previously shown in the cities of Lisbon (2018), Reggio Emilia (2017) Dubrovnik and Zagreb (2013), it is now on display at Santa Maria della Scala until 8 September.
The exhibition includes portraits and travel drawings – created over a period of more than 60 years by the architect Siza who personally chose them – a video-documentary and unpublished contents presented on this particular occasion.
The project originated from the many meetings that the two curators had with Álvaro Siza at his studio in Porto. In addition to highlighting his extraordinary eidetic memory, it narrates his activity as an architect and chiefly the personal side of his life. Beginning with drawings made by Siza during his youth, then the frequent trips to Italy and abroad, the most recent dinners with friends, and relaxing moments free from the burden of work. The narrative is broadened with memories, meetings, ironic notes and views pertaining to that extraordinary "journey without a plan", which is life itself. Hence the creation of a unique, unpublished project, firstly through the digital restoration of the drawings that retrieve the traits and marks of each sketch and then return it to paper – via typo ink print technique with one-ff plate (prints personally authenticated by Siza - 53 works, 1/1 copy) – in order to reveal his technical growth and sensitivity in perceiving reality.
In Siena – a city studied and depicted in his notebooks – Álvaro Siza’s drawings interact with the evocative atmosphere of the Magazzini della Corticella inside Santa Maria della Scala thanks to the installation set up by Dumbo Design Studio in cooperation with Graniti Fiandre (formerly ADI Design Index Selection 2018 in the Exhibition Design category for the show at FAB - Fiandre Architectural Bureau in 2017) which includes varied areas and accompanies visitors on a tour that reveals the most intimate and personal aspect of human nature incorporated with design culture.
Large lecterns – with ceramic-based surfaces and structures designed purposely for this exhibition – present the works of the Portuguese architect and create a highly intimate and welcoming atmosphere. The exhibition also includes two video installations: the interview carried out by the curators in Siza's studio with a background of particularly significant areas of Porto and Lisbon (presented at the Milan Design Film Festival in 2017) and Atelier XYZ’s video-installation that virtually leads the viewer to the shores of the Atlantic Ocean with a view point from the Boa Nova Casa da Cha restaurant (designed by Siza 1958/1963), amid the rock formations of Leça de Palmeira. The exhibition dedicated to Álvaro Siza's drawings also proposes – as already presented in other showings – a wide selection of photographs (here in small analog video frames) chosen from the hundreds of shots taken over the years by the two curators and friends and enthusiasts that narrate the origin of the project to the present and the countless contacts generated, which often go far beyond professional activities.
Álvaro Siza. Viagem sem Programa. Maio em Lisboa
, Lisbon [Lisboa], Atelier Aires Mateus, 1 / 31 may 2018
Álvaro Siza. Viagem sem Programa
, FAB Castellarano, Reggio Emilia (Italy), 9 june / 7 july 2017
Álvaro Siza. Viagem sem Programa. The Croatian Experience
, Dubrovnik (Croatia), Galerija Umjetnička (Museum of Modern and Contemporary Art), 26 april / 26 may 2013
Álvaro Siza. Viagem sem Programa
, Venezia, Fondazione Querini Stampalia, 29 august / 11 november 2012 [
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O V/nosso futuro é agora / Y/our future is now
, Porto (Portugal),
Fundação de Serralves / The Serralves Museum of Contemporary Art
, 31 july 2019 / 14 june 2020
Olafur Eliasson. In real life
Guggenheim Museum Bilbao
, 14 february / 21 june 2020
, Turbine Hall, 11 july / 5 january 2020
Balkrishna Doshi. Architektur für den Menschen / Architecture for the People
Vienna [Wien] (Austria), Architekturzentrum Wien, 26 march / 29 june 2020
Pinakothek der Moderne, Munich [München] (Germany), 17 october 2019 / 19 january 2020
Vitra Design Museum
, 30 march / 8 september 2019
With the exhibition »Balkrishna Doshi: Architecture for the People« (30 March to 8 September 2019), Vitra Design Museum presents the first international retrospective about the 2018 Pritzker Prize laureate Balkrishna Doshi (born 1927, Pune, India) outside of Asia. The renowned architect and urban planner is one of the few pioneers of modern architecture in his home country and the first Indian architect to receive the prestigious award. During over 60 years of practice, Doshi has realized a wide range of projects, adopting principles of modern architecture and adapting them to local culture, traditions, resources, and nature. The exhibition will present numerous significant projects realized between 1958 and 2014, ranging in scale from entire cities and town planning projects to academic campuses as well as cultural institutions and public administrative offices, from private residences to interiors. Among these works are pioneering buildings like the Indian Institute of Management (1977, 1992), Doshi’s architectural studio Sangath (1980), and the famous low-cost housing project Aranya (1989). Exhibits will include a wealth of original works such as drawings, models, and art works from Doshi’s archive and studio, but also photography, film footage and several full-scale installations. An extensive timeline will give an overview of the architect’s career from 1947 until today, attesting to his close relationships with other influential architects and thought leaders such as Le Corbusier and Christopher Alexander.
The exhibition »Balkrishna Doshi: Architecture for the People« will open Doshi’s work to a global audience and show how the architect’s work has redefined modern Indian architecture as well as shaped new generations of architects. Therefore, the retrospective does not only offer an overview of Doshi’s architectural work, but also reflect on its underlying ideals and social context. Doshi’s humanist philosophy was shaped by his Indian roots as well as his western education and the rapidly changing context of Indian society since the early 1950s. His architectural vocabulary, which is both poetic and functional, was strongly influenced by what he learned from Le Corbusier, with whom he collaborated on the design of the Indian city of Chandigarh and on other projects, and from his experiences with Louis Kahn, who conceived the design for the Institute of Management. Reaching beyond these early models, Doshi developed an approach that oscillates between industrialism and primitivism, between modern architecture and traditional form. His practice is based on ideas of sustainability and aims to root architecture in a larger context of culture and environment as well as social, ethical, and religious beliefs.
The retrospective follows four main themes, beginning with a look at Doshi’s educational buildings. A key project here is the campus of the »Centre for Environmental Planning and Technology« (CEPT) in Ahmedabad, on which Doshi has realized some of his most significant buildings over a period of 40 years. In 1968, Doshi established the »School of Architecture«, a multi-disciplinary institution grounded in the belief that education is nourished by interdisciplinary interactions. To foster exchange and dialogue among students and faculty alike, Doshi designed the building as a free-flowing space without compartmentalization or segregation. Both through its buildings and its teachings, the school has changed the face of architectural education in India; it has also become one of the country’s most important centres for urban planning. While the School of Architecture is raised above the ground on top of an old brick kiln that greatly influenced its plan and layout, the art gallery »Amdavad Ni Gufa« (1994) on the same campus is half-buried in the ground – »gufa« is Gujarati for cave – to solve issues arising from the local climate. While its structure of different- sized mounds integrated into the natural landscape is based on computer-aided design, the construction was carried out by unskilled workers using waste products and simple hand tools.
The exhibition’s second section focuses on home and identity and examines the power of architecture to bring about social change. Inspired by Mahatma Gandhi, Doshi developed new approaches to social and experimental housing based on participation and the possibility to adapt to the users’ changing needs and requirements, as seen in such outstanding examples as the »Housing Development for the Life Insurance Corporation of India« (LIC), known locally as »Bima Nagar«, in Ahmedabad (1973) and »Aranya Low Cost Housing« (1989) in Indore. Aranya was built as a model project and today accommodates over 80,000 individuals. A modular system allows the inhabitants to customise their homes and adapt them to their needs, their personal preferences, and their economic possibilities. The project was predicated on a »sites and services« approach, in which electricity, water, and sewer services were provided, but the houses were built minimally as a service core that each family could extend. An example for Doshi’s residential planning on a smaller scale is his own house, called »Kamala House« (1963). This generous yet economical building with a cross-shaped floor plan maximizes lighting throughout all spaces, while insulated brick walls trap and minimise the summer heat.
The third section revolves around the many institutions Doshi has participated in building during the last 60 years. An important example for this is the »Indian Institute of Management« (IIM) in Bangalore (1977, 1992). The large campus of this institution was built over a period of 20 years in a process that involved numerous additions and alterations. Its courtyards are designed as large gardens, its corridors perceived as interactive nodes of spontaneous communication, while both extend the learning spaces. Pergolas and cut-outs within corridors fringed with greenery transform space through the changing light they receives during the day. With its fascinating architectural conception, the Indian Institute of Management has become an important think tank contributing to India’s emergence as an economic power over the last decades. Another milestone in Balkrishna Doshi’s institutional architecture is his own studio »Sangath« in Ahmedabad (1980). Memories of his childhood home and of Le Corbusier’s studio in Paris are fused in this building’s vocabulary of spaces. »Sangath« means »moving together« in Gujarati, and today three generations of Doshi’s family work here side by side. As with all of his buildings, landscape, climate, and purpose are an integral part of his design. Overnight the studio space can be converted into a concert hall or a lecture hall. Surrounded by Ahmedabad’s new high-rises and the elevated metro line, Sangath stands as an oasis within the bustling city.
The final section of the exhibition is dedicated to Doshi’s large-scale town planning projects, exemplified by the masterplan and urban design guidelines for Vidhyadhar Nagar (1984), a residential development for 150,000 dwellings located in the outskirts of Jaipur in Rajasthan in northern India. Conceived as an energy-conscious city on a 350-hectare site, it is inspired by the old walled city of Jaipur. An amalgamation of ancient town planning principles, contemporary needs, and contextual realities, the city and its infrastructure were designed to serve the needs of up to 400,000 inhabitants. The social amenities such as schools, health centres, and playgrounds were planned along the linear open space forming the central activity spine. Natural stone, overhangs, and balconies not only helped improve the micro-climate but also recreated the visual experience of the local traditional architecture.
Countryside, The Future
, New York (USA),
Solomon R. Guggenheim Museum
, Rotunda, 20 february / 14 august 2020
Domus Aurea. Martino Gamper, Francesco Vezzoli e le ceramiche di Gió Ponti
, Prato (Italy),
, 5 april / 30 august 2020
Eduardo Souto de Moura
Souto de Moura. Memória, Projectos, Obras / Memory, Projects, Works
, Matosinhos (Portugal), Casa da Arquitectura, Centro Português de Arquitectura,18 october 2019 / 6 september 2020
Richard Neutra. Wohnhäuser für Kalifornien / California Living
, Vienna [Wien], Wien Museum MUSA, 13 february / 20 september 2020
Gio Ponti. Amare l'Architettura
MAXXI Museo nazionale delle arti del XXI secolo
, 27 november 2019 /
13 april 2020
27 september 2020
Architect, designer, art director, writer, poet and critic, Gio Ponti was an allround artist who traversed much of the 20th century, profoundly influencing the taste of his time, responding to its most significant demands and anticipating many of the themes of contemporary architecture.
40 years on from his passing, MAXXI, the National Museum of XXI Century Arts, is devoting a major retrospective to this exceptional figure. The exhibition examines and presents his multi-faceted career, starting with an account of his architecture, a unique and original synthesis of tradition and modernity, history and progress, elite culture and quotidian existence.
The exhibition title, GIO PONTI. Amare l’architettura (Loving architecture) echoes that of his best-known book, Amate l’architettura (In praise of architecture). Curated by Maristella Casciato (Senior curator of Architectural Collections at the Getty Research Institute in Los Angeles) and Fulvio Irace (architecture critic and historian) with Margherita Guccione (Director, MAXXI Architettura), Salvatore Licitra (Gio Ponti Archives, Director) and Francesca Zanella (CSAC, President), the show will be hosted in MAXXI’s stunning Gallery 5 from 27 November 2019 to 13 April 2020 and has been produced by MAXXI in collaboration with CSAC - Centro studi e archivio della communicazione of the University of Parma, which conserves Gio Ponti’s professional archive, and the Gio Ponti Archives.
For Giovanna Melandri, President of the Fondazione MAXXI, “Celebrating the greatness of Gio Ponti signifies immersing ourselves in a legacy that is peerless in terms of versatility, talent and application. Private buildings and public commissions, companies and places of study, objects of everyday use, office and naval furnishings, cathedrals and museums alternate within research that was never dogmatic or ideological, in which there was dialogue between classicism and modernity, the natural landscape and the urban horizon, the social vocation of space and the safeguarding of beauty.” As Margherita Guccione, Director of MAXXI Architettura says, “Neither classical nor modern, the work of Gio Ponti was unique in the history of Italian 20th century architecture, a century the architect spanned almost in its entirety, ranging from the design of objects of everyday use to the invention of spatial configurations for the modern home and the creation of complex projects embedded within the urban context, maintaining architecture, setting and saving grace of our lives, as the fixed core of his research.
The exhibition is the fruit of painstaking research that has aimed to update our understanding of the figure of Ponti the architect, highlighting a number of the guiding issues underlying his long career and his extraordinary ability to foreshadow the spaces and concepts of contemporary architectural practice. His aspiration towards verticality and lightness through the dematerialization of facades, his conception of a green city in which nature returns to playing a key role in the agenda of planning and architecture, as well as designing flexible domestic spaces, capable of adapting to the demands of their users, are without doubt themes that, over half a century ago, anticipated with unique clarity the concerns of the present-day.
Raimund Abraham: Angles and Angels. Drawings Models Prototypes
, Vienna [Wien], MAK - Österreichisches Museum für angewandte Kunst - Gegenwartskunst / Austrian Museum of Applied Arts / Contemporary Art, MAK Works on Paper Room, [
25 march / 19 july 2020
] 16 june / 18 october 2020
In the solo exhibition RAIMUND ABRAHAM: Angles and Angels. Drawings Models Prototypes, the MAK presents works by the Austrian-American architect Raimund Abraham (1933–2010). Abraham developed his oeuvre through a close interweaving of art, philosophy, literature, and film. Starting out from the drawing as paradigmatic of his creative vision, the exhibition presents some 50 sketches, collages, models, furniture prototypes, and designs—for both realized and unrealized projects—that explore the dynamics of individual and sociopolitical challenges faced by his age.
Raimund Abraham saw himself much more as a theoretician than as a practicing architect. His manifesto EYES DIGGING (2001) makes clear his explorative approach to architecture, as well as the significance of visionary writers such as Stéphane Mallarmé, James Joyce, Ludwig Wittgenstein, and Arnold Schönberg for his experimental work in architecture. His elementary, minimalist designs were influenced by archetypical and neo-futuristic primary forms.
In 1967/68, the trio Raimund Abraham, Hans Hollein, and Walter Pichler staged the exhibition Architectural Fantasies: Drawings from the Collection in the MoMA—the Museum of Modern Art in New York—in which Abraham presented works on issues such as utopia, the city, and the environment. In the early sixties, Abraham also explored the origins of building culture and in his 1963 book Elementare Architektur [Elementary Architecture] he analyzed agricultural buildings in the Alpine region. In exploring the basic axioms of architecture, he sought to delineate an elementary constructional grammar.
Raimund Abraham’s extensive graphic work is the focus of the exhibition. At the beginning of the sixties, he created sketches and collages for visionary rooms, buildings, and utopian city models, exemplified in a wide range of exhibits. The geometrical forms of the colored collage Ohne Titel [Untitled] from the sixties, for instance—with their evocations of earth, water, and air—suggest a futuristic landscape.
Megabridge (1964), Continuous Building Project (1967), Universal House (1967), and Moon Crater City (1967) exemplify Abraham’s studies on “linear cities.” They describe architectonic environments related to the classicistic revolutionary architecture and manifestos of the sixties—to space exploration and the modular designs of the British architecture collective ARCHIGRAM (1963–1974). The ideas in these projects were further developed by Abraham in the unrealized 1991 Kugel-Projekt [Sphere Project] for the MAK Terrace Plateau in the Museum Garden.
Raimund Abraham networked both nationally and internationally with artists, artchitects, and movie makers, including Herrmann Nitsch, Dieter Roth, Peter Kubelka, Walter Pichler, Hans Hollein, Vito Acconci, Peter Eisenman, and Lebbeus Woods, as well as movie director Jonas Mekas. Mekas created a six-hour homage to Abraham in his 2013 Scenes from the Life of Raimund Abraham, that will be shown as part of the exhibition’s supporting program on 31 Mar, 11 Apr, 2 Jun, and 4 Jul 2020 in the MAK Lecture Hall.
A fine example of Raimund Abraham’s playful approach to geometry, arithmetic, and proportion is his unrealized project House for Euklid (1983), in which architecture is grasped as movement and mechanism, giving form to kinetic space and the potential dormant in infinity. Abraham demonstrated the power of political symbolism in architecture in his 1981/82 sketch Kirche an der Berliner Mauer [Church on the Berlin Wall]. This unrealized project may be read as symbolizing the social unity of Germany and Europe.
Raimund Abraham’s major work, the spectacular new building for the Austrian Cultural Forum in New York dating from 2002, is one of the most significant contributions to contemporary architecture in Manhattan. Christoph Thun-Hohenstein, from September 1999 to August 2007 Director of the
Austrian Cultural Forum
—an institution founded by private initiative in 1942 as a center of resistance to the National-Socialist regime—accompanied the completion and opening of the new building and was responsible for the Forum’s program until 2007. Abraham, who trenchantly described the skyscraper as a “guillotine,” broke up the monotony of the slender 84 meter high and 7.5 meter wide building with staggered façade elements and a surreal interplay of glass, aluminum, and zinc surfaces.
As one of his late works, Raimund Abraham planned the posthumously completed Haus für Musiker [House for Musicians] (1996–2010) as part of the Hombroich Museum Island project on the site of the former NATO missile base in Neuss, Germany. “The structure is not a building but a city for four inhabitants. The basic idea behind the structure is determined by an equilateral triangle. Triangle and circle form the focus. When architecture approaches sculpture, you get art,” said Abraham of one of his last designs.
The exhibits in RAIMUND ABRAHAM: Angles and Angels. Drawings Models Prototypes originate for the most part from the archive of Una Abraham, as well as from the collection of the Architekturzentrum Wien and the MAK Contemporary Art Collection.
15 Years of the Josef Hoffmann Museum
, Brtnice (Czech Republic), Josef Hoffmann Museum, 18 may / 1 november 2020
Juan Navarro Baldeweg
Juan Navarro Baldeweg. Architettura, Pittura, Scultura. In un campo di energia e processo
, Brescia (Italy), Museo di Santa Giulia, 26 june 2020 / 10 january 2021
Lina Bo Bardi
Lina Bo Bardi. A Marvellous Entanglement
, Roma (Italy),
MAXXI Museo nazionale delle arti del XXI secolo
27 may / 4 october 2020
24 september 2020 / 17 january 2021
Adolf Loos: Private Houses
, Vienna [Wien], MAK - Österreichisches Museum für angewandte Kunst - Gegenwartskunst / Austrian Museum of Applied Arts / Contemporary Art, MAK Permanent Collection Contemporary Art, 18 november 2020 / 14 march 2021
Josef Hoffman - Otto Prutscher
, Brtnice (Czech Republic), Josef Hoffmann Museum, 1 july / 18 april 2021
The 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.
Starting 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].
Josef Hoffmann: Progress by Beauty
, Vienna [Wien], MAK - Österreichisches Museum für angewandte Kunst - Gegenwartskunst / Austrian Museum of Applied Arts / Contemporary Art, MAK Exhibition Hall, 10 december 2020 / 18 april 2021
Aldo Rossi. L’architetto e le città / The Architect and the Cities
, Roma (Italy),
MAXXI Museo nazionale delle arti del XXI secolo
, 16 december 2020 / 29 august 2021
OFFENE RÄUME / PUBLIC SPACES. BORIS PODRECCA
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2G 41 EDUARDO ARROYO
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COLLIDOSCOPE. A CLASH OF STYLES
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