Green(d), For Lack of a Better Word, Is Good. Beyond marketing campaigns and good intentions, it is time to look at the greening of America's businesses from the long-standing perspective of supply and demand.
From the "spirit of geometry" to "the spirit of subtlety"E.D.: For artists, exhibitions are essential steps in their careers. Is it the same for architects?
Frederic Migayrou + Luis Fernandez-Galiano, June 16, 2008
Frederic Migayrou + Luis Fernandez-Galiano, June 16, 2008
Dominique Perrault: It’s very different. For architects, exhibitions are not the sine qua non of professional activity, they’re not any kind of necessary seal of approval. Let’s say that for an architect an exhibition forces one to define the past, to organise the future. What’s interesting for me it is that the Centre Pompidou, who decided to program this exhibition, didn’t want it to be a first show or a retrospective. It’s more of a freeze-frame on an ongoing development.
E.D.: How do you think of it? A chronological presentation, a tour - from one building to another, one country to another - a manifesto, a narrative?
D.P.: None of those things, really. Frédéric Migayrou, curator of the exhibition, would like to present more of a survey than a chronology, a tour or a manifesto. In fact, the intention here is much more dialectical than narrative. And this dialectical ambition in fact finds expression right at the beginning of the exhibition, in the juxtaposition of the Bibliothèque Nationale de France and the New Mariinsky Theatre in Saint Petersburg. For more than ten years now the BNF has overshadowed and obscured all the other work we’ve done, whether in France or abroad. In the design of the exhibition, the BNF takes it place like an epigraph on the first page of a book. While the chosen phrase expresses or illuminates the author’s approach, it doesn’t and can’t replace the whole of the text. In addition, this juxtaposition of the Library and the Theatre also testifies to our intention not to content ourselves with mere style, to restrict ourselves to a single vocabulary. And in terms of chronology, the exhibition isn’t limited to 1997 either, but evokes a wealth of other significant dates.
E.D.: An exhibition does nonetheless imply a path through it, from one thing to another. However fragmented or even illogical this might be, how have you tried to organise it?
D.P.: First of all there’s the place of the exhibition within the building as a whole. The space gives onto the street on three sides. So I wanted it to be possible to take the measure of things even from outside. Then, inside, there isn’t a logic of progression but a logic of place. And just as if this were a specific space, that has to be entered, I wanted to create a sort of vestibule, a kind of filter. The visitor navigates through screens of the metal mesh that is central to my architecture. These aren’t authoritative, impenetrable, separating walls. What they do is create permeability, interrelationship. So from the beginning there’s an abolition of enclosure in favour of transition, motion. And you rediscover this same metal mesh, this same technology, being deployed to break the far wall into nine sections, used to screen the 13 films that Richard Copans has made about different individual projects. A way of discovering real architecture, as it lived in construction and as it is experienced by users. In addition, this 32-metre-long wall with its nine 3 x 2 metre screens is clearly visible from the outside, because the whole exhibition is designed as a low-level display.
E.D.: What are the fundamental principles of the design?
D.P.: It’s based on four key elements. There are the metal mesh and the screens that I’ve just talked about. In addition to these there’s a series of large, low tables in a staggered arrangement across the whole gallery space. On these tables, drawings, models and materials are displayed alongside each other, and there are also screens showing other films, this time on different themes. Each table may present a single project, or a number grouped together by strategy or concept or technique, or indeed by contrast. Once again, these groupings are determined not by chronology or form, but by what I call a relational logic. And then, on each of the 20 tables there’s a big, one-metre-square, double-sided light-box showing the sites in question, so that visitors can grasp the urban context, the natural environment, the geographical reality. And I want to insist again, that although everything is properly dated, to mark the temporal relationships, there is nothing chronological in the organization.
E.D.: What would you say are the high points, the key points of the exhibition?
D.P.: Obviously the confrontation at the very beginning between the Bibliothèque Nationale de France and the New Mariinsky Theatre is one of them. Some will see in this an opposition between an uncompromising rigour and a kind of Baroque. And all the way through one encounters other confrontations, other oppositions. But things are never as simple or as clear as one thinks. What is at issue is a dialectical relationship to architecture and its meaning, to its symbolism and its reality, to its essential nature as the agent of a continuous territorial transformation, remaking the urban fabric and unsettling our perceptions. That’s one way of saying that the geographical aspect of architecture has overtaken the historical. Additionally, this series of confrontations is a way of showing that architectural expression is not necessarily a matter of a single style, that the role of an architect is not to put his stamp on a project, to impose his own style, but to take account of the complexity and specificity of each situation. Hence the attempt to bring out a conceptual rather than an aesthetic logic.
E.D.: So rather than a mere survey, for you this exhibition is an opportunity to express a style of thinking, a way of working?
D.P.: Absolutely. All the more so in that the exhibition was commissioned, designed and realized in a very short time. And there’s a fundamental correspondence, at some level, between this extreme condensation of space-time and our normal way of working. Within the firm, there is no hierarchy of registers, disciplines, materials... Everything happens simultaneously, synchronically. We know that in architecture lead-times are long and that the life of a building is projected far into the future, but speed is what drives the design process. We are always in movement, engaged in research and experiment on topics that may be clearly articulated or still in some sense unconscious. Our activity, our ongoing work has no discrete beginning or end. At bottom, what we are trying to get across in this exhibition is that architecture is not an object, or a collection of objects, but a substance. And this substance we define and form with the tools that are the very heart and body of this exhibition. In fact, rather than beautiful images or objects, striking photographs or models, we wanted to show, to make visible and understandable, the tools and the methods of our everyday work, to capture the essence of urban and architectural design - as practiced by us, at any rate.
- The Vitra Campus, Architectural views
- Last Call for Planet Earth, Reflexions by Archi-World®
- Ieoh Ming Pei, An exceptional Architect
- The Shell House, Kotaro Ide, The Japanese Ecologist...
- I remember you Oscar Niemeyer., The Last Modernist...
- The Farnsworth House, Mies van der Rohe: LESS IS MORE
- Zaha Hadid, Goodbye Ms. Zaha Hadid. 31 October 1950 - 31 March 2016
- Yabu Pushelberg, Le Printemps Haussmann + Luxury and Accessories
- The R.R. House, How Nature influences the architecture - Vinicius Andrade + Marcelo Morettin
- Palimpsest and Emotion, The Cultural spaces
- The Mikou Design Studio, Twenty things about Salwa & Selma Mikou
- Piero Lissoni, Goddess is in the details…
- The Canadian Epicurian, Arthur C. Erickson, The Lonely Star...
- David Adjaye, Urban Africa – A photographic journey
- The Three Mobile House, Slow Architecture with Hangar Design Group
- Tadao Ando, the Master..., La Fabrica
- The Dodler Grand Hotel, By Norman Foster & Partners
- The Seifert House, The Architecture at its purest
- Nigel Coates, Body as a metaphor of architecture...
- Mexico City, Architecture + Design in 7 motions
- Palazzo Orlandi, Photographic talks with Sabrina Bignami
- The XS House, Designed by Kim + Schenk - UNI
- The Ong & Ong House, 55 Blair Road in Singapore
- Tea House, Green vision by A1 Architects
- Palomba Serafini Associati, Creative requirements and regulatory
- Cino Zucchi, Freedom and Determinism
- Sou Fujimoto, Represent the intangible between the cave and the nest
- The VHM, Axis Viana Business & SPA Hotel
- Drift Bay House, Kerr Ritchie Architects
- Tropical Homes, The Eastern Caribbean’s Architecture
- Ayaspasa House in Istanbul, Seyhan Özdemir + Sefer Çaglar: Two Creative People
- Oslo Opera House, Dance with the artforms
- Sir Richard Rogers, Views & Architecture
- Paris Eight Project, Concept by ASAA
- Stephan Jaklitsch, Habits + Patterns + Algorithms 1998-2008
- Total Housing, New book by Actar
- Adam D. Tihany, Hospitality urban design
- The Qual Hill House, Bates Masi Architects
- CEBRA, Fuglsang Cuts
- Marcio Kogan, The Osler House
- Pezo von Ellrichshausen Architects, Fosc House
- The Architecture of Humeurs, New modes of architectural structuring and transaction
- Kristy Krone, The Apiary Project
- Bug Dome by The WEAK!, Marco Casagrande + Hsieh Ying-chun + Roan Ching-yueh
- Olivier Bourgeois, Trop de Bleu by In Progress Architecture
- The Design Firm, Satish Nayak Residence
- Pieta-Linda Auttila, WISA Wooden Design Hotel
- Zecc Architecten, Church of living
- Field Chapel in Boedigheim, Students of the College of Architecture at the Illinois Institute of Technology
- Pierluigi Piu, OLIVOMARE + OLIVINO
- Herzog & de Meuron, The duet of sublime and the picturesque one
- Tadao Ando, The most mystic architect in Japan
- Eero Saarinen, Back to the Future...
- Compartment House, Silent Light with Ario Danar…
- Foster + Partners, Working with History
- Civic Center in Saint-Germain en Laye, Simplicity Philippe Harden...
- Tadao Ando, Punta della Dogana
- 40_R Laneway House, Superkül Architects
- Sander Architects, Residence for a Sculptor
- Skylab Architecture, NORTH advertising agency
- AXEL SCHOENERT, Detox Hotel
- The Time of the boutiques, From booth to eBay
- FIFA : The splendour continues!, 27th International festival of films on art
- Dorte Mandrup + Cebra, Youth Recreation & Culture Center
- LIJO RENY architects, Dr. Cijo Jos and Dr. Thushara Cijo Residence
- Laure Tixier, Plaid Houses
- Quebec_2009 Architecture, Finalists for Awards of Excellence
- JVA, Triangle House
- Dolbeau-Mistassini Theatre, Theatrical setup of contemporary architecture
- GeneroCity, Out There: Architecture beyond Building
- MOS, Floating House
- WOMEN OF THE YEAR, 2008 Remarkable women
- LAVA - Laboratory for Visionary Architecture, Green Void
- Helen Zille, Twelve things you should know about Helen Zille, Mayor of Cape Town…
- Alessandro Mendini, The pantheistic of vision
- Sou Fujimoto, Children’s Center for Psychiatric Rehabilitation
- Juvet Landscape Hotel, Do not disturb, birds are sleeping…
- Cyrille Druart, I-WAY
- Parasite Studio, White Apartment
- Coll-Barreu Arquitectos, Basque Health Department Headquarters in Bilbao
- Dupli.Casa House, Purity with J.MAYER H. Architects
- Hotel Habita Monterrey, Serenity in Mexico
- FARO Architecten BV, Experimental Home in Ijburg
- Aldo Cibic, Not an Archistar…
- Chapultepec Space, Design with at103
- EVERLAND HOTEL, Room with a view
- Presenhuber House, Zen attitude and austerity by AFGH
- Sanitas Per Aquam, Technical and aesthetic requirements of wellness facilities
- Carabanchel Housing, Dosmasuno Arquitectos
- Amalia House, Tribute to the nature
- Donna Karan, The color of Zen
- Jardins de Métis 2008, Coloured Reflections
- Christophe Dugied, Noctilus
- Opus Hotel, An oasis in Vancouver
- Claudio Silvestrin, Tridimensionality of modern architecture
- Alberto Mozó, BIP Computers Building
- The 2008 Governor General's Medals in Architecture, And the winners are…
- Maurice Nio, The Language of Architecture
- Design + Comfort space at Montréal -Trudeau, Aéroports de Montréal Lounge + International Finger
- Cadaval & Solà-Morales, The TDA house
- USEK - Kaslik, Lebanon, Student Housing
- Yuji Nakae, Akiyoshi Takagi + Hirofumi Ohno, NE Apartments
- Jean Nouvel, I believe the architect is a man who says something
- Terunobu Fujimori, Le gardien des traditions
- Zaha Hadid, Mobile Art: Chanel Contemporary Art Container
- Contemporary Jewish Museum, Conversation avec Daniel Libeskind in San Francisco
- Julius Shulman, All began just by chance
- Urbanopolis, What is the future of our urban planet?
- PAALMA, (Premio Artista + Architetto La Marrana Arte Ambientale)
- Yasuhiro Yamashita - Atelier Tekuto, Parabola House, visite guidée
- Indigo Hotel, A Boutique designed by Sebastian Irarrazaval
- Le Corbusier, The Art of Architecture
- S(E)OUL SCAPE, Towards a New Urbanity in Korea
- Jo Crepain, Anterwerpen in my mind
- Daniel Libeskind, Architecture is a communication art
- Moscow, Design and Architecture in 9 motions
- 20 Creative People/Architecture, Who are changing your world - 2008
- Charlotte Skene Catling, The Dairy House
- Bjarke Ingels, Twenty things you should know about BIG...
- Ørestad College, Ørestad, Copenhagen, Denmark
- Jürgen Mayer H., An der Alster 1 Building
- Toronto, Urban Design Awards
- Archizoom Associati, From the pop wave to the neutral surface
- MOSCOPOLIS, Eleven Musketeers + one city: Moscow
- Michel Rojkind, The rocker of mecixan architecture
- Kengo Kuma, Afternoon with an ecologist and poet architect
- 1973: Sorry, Out of Gas, Exploration of the architectural response to the 1973 oil crisis
- Zaha Hadid, Opus in Dubai, The sky is not the limit
- BEIJING, China’s new revolution
- As Antonio Gaudi as it gets, An archi-tour of Barcelona, where the street corners are all curves.
- The Atelier Bow-Wow, Momoyo Kaijima + Yoshiharu Tsukamoto
- The Island Machines, An Urban Dimension
- Eva Harlou, Twenty things you should know about Eva Harlou...
- Liu Tong Yu, Private House in Taipei
- Recipients of 2007 Awards of Excellence of RAIC, The Royal Architectural Institute of Canada have announced the recipients of the 2007 RAIC Awards of Excellence.
- Kazuyo Sejima + Ryue Nishizawa - SANAA, New generation of architects who designs the new Japan.
- JARDINS DE MÉTIS, From the barely audible to the highly melodic sound resonates in the contemporary garden
- Alter Architecture, Here, there & differently
- The Kitchen, a way of life, From shadow to light
- Berlin, Back on Track, The Berlin Hauptbahnhof
- Twenty things you should know about Nuno Grande & Pedro Gadanho..., Orange House - Casa em Carreço
- Which architecture plan for Quebec in this century?, OAQ Competition Finalists
- The urban oasis, Timeless Spaces
- Toyo Ito, Portrait
- 2006 Personality of the Year: Zaha Hadid, Zaha Hadid: the First woman architect to receive the Pritzker Architecture Prize
- Things you should know about Franklin Azzi..., ...in 13 questions
- Saucier + Perrote, 2006 Governor General’s Medals in Architecture for The Perimeter Institute for Theoretical physics
- A new standard housing of Japan, Special feature
- Frank Gehry + LVMH, same vision
- Frank Gehry, The magician
- Oscar Niemeyer, Joyous Curves
- The Nomadic Museum, An Arche of Paper
- Paul Laurendeau, A photography diary
- Michel A. Laflamme, A restrained architect
- Buenos Aires, Berlin, Montréal, 3 UNESCO Design Cities
- Which architecture plan for Quebec in this century?, List of Finalists
- Architecture Home
Lululemon Outlet Five Fingers Shoes ray ban sunglasses Oakley Sunglasses Sale Cheap Michael Kors Michael Kors Outlet Canada Lululemon Canada Sale MK Outlet Tiffany and Co Lululemon Yoga Clothing Will Make You Moving Freely Nike Air Max 2013 Plus spy+ Vibram Five Fingers Sale