ARCH+ features 14: Architekturbiennale Venedig 2012 – Swiss Pavilion
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| Anzahl der Teile | 101 | |
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| Lizenz | CC-Namensnennung - keine kommerzielle Nutzung 3.0 Unported: Sie dürfen das Werk bzw. den Inhalt zu jedem legalen und nicht-kommerziellen Zweck nutzen, verändern und in unveränderter oder veränderter Form vervielfältigen, verbreiten und öffentlich zugänglich machen, sofern Sie den Namen des Autors/Rechteinhabers in der von ihm festgelegten Weise nennen. | |
| Identifikatoren | 10.5446/54019 (DOI) | |
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Inhaltliche Metadaten
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ARCH+ features20 / 101
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00:00
BahnhofVorlesung/KonferenzBesprechung/Interview
01:20
Besprechung/Interview
02:46
FassadeGebäudeInnenraum
03:11
Stadt
03:44
Giacometti, BrunoBesprechung/Interview
07:59
Vorlesung/KonferenzBesprechung/Interview
08:27
InnenraumBesprechung/Interview
11:11
Besprechung/Interview
15:40
Besprechung/Interview
18:18
InnenraumBesprechung/Interview
18:56
Besprechung/Interview
19:24
StadtFassade
19:49
Neue österreichische Tunnelbauweise
20:59
Besprechung/Interview
24:08
Innenraum
24:30
Besprechung/Interview
25:41
Stadt
Transkript: Deutsch(automatisch erzeugt)
00:08
Hello, warm welcome also for me. I won't repeat everything what Nikolaus Nikunat has said. I just want to remember the setting we are trying to do today.
00:26
We have invited Mok Petsit and Erika Obermeer and Konstantin Jurtic to make a guided tour through the Swiss pavilion.
00:41
And vice versa it's Miroslav Schick who is guiding through the German pavilion. It's a kind of analog guided tour if you want to say. In reference to the analog architecture which Miroslav Schick has coined.
01:01
It's a kind of trying to make a dialogue between the two. I would like to invite you to follow us through the rooms. We have a mobile station here and without further ado I give it to Mok. Thank you Mok.
01:21
I have to say in the beginning that we also have made a very interesting interview with Miroslav for our catalogue. Because we saw from the beginning that there are very interesting connections between our theme and his work.
01:46
I was very much surprised that also in realizing these pavilions there are some really nice parallels.
02:02
For the first thing which comes to mind you see these light bulbs there as a guidance system. We also use light bulbs as a guidance system which is kind of an obvious parallel. But still you see also a bit different approach.
02:20
Ours is more rough and also our pavilion maybe is more on the heavy side. This pavilion is very sensitive. What first really comes to my mind if I go through this here is I've never seen this pavilion like this before.
02:46
It really looks like, when was it built, 1950s, late 50s. Really it feels like in its original state. Somebody must have done something with it.
03:04
It comes out that actually Miroslav and his team kind of renovated this building for this exposition. And the way it's done, it's absolutely invisible.
03:21
You see nothing new. You see very sensitive surfaces. And also this kind of light bulbs used here and the way they are used is kind of out of the same thinking. The same, I only have the German word, zartheit, which comes from this building,
03:51
which also is the expression of this building from Bruno Giacometti. And so I think this is a very important achievement and very in the same thinking which we have
04:06
that first of all, if you do an exposition like this here, you kind of care for the building or the surrounding where you do this. You treat this in a very sensitive way and you've done this very, very beautifully.
04:26
And I think this will stay, I hope this will stay for a longer period. Also, as you can see, the way to work with these curtains is also totally fitting like from this time.
04:46
I come to the other similarities. What you really went not only into an exposition, I'm a bit talked over as you might notice,
05:07
it's also an act of deep thinking. It's kind of an opportunity to deepen the architectural discussion while working together with other offices and kind of exploring,
05:26
giving the place to explore architecture, which is made here with this table. First I have to say that also Miroslav Schick did not take this opportunity
05:41
to show his, for a long time I think, underestimated work. But he took the opportunity to work out similarities with other architects. So he worked together with Knapkewitz Fickert and Milan Maranta on this exhibition
06:04
and even created a common ensemble, as the title of this exhibition is, with these architects. But this already starts there on this table where you see the built work of these three offices
06:24
and finally also a very nice book about your work, which I missed for a long time, where you really can see this deep quality of this work on how tradition
06:43
or the surroundings or anything can inspire architecture and change it, change today's architecture to something that is not just new, that is also bearing everything inside and gets so much deeper layers.
07:08
So it's very nice. I don't know whether this was for this exhibition, but it's very nice that such a book is available now. So the thinking is you can study this built work around this table
07:27
and then you pass through a little room where there are lots of references. You will see it's very different things like everyday street pictures,
07:47
tape tapestries, anything which really in some way inspired one of these offices. I think it's from the three offices.
08:01
And so it's also kind of a common ground where the architecture is growing out. So this gives you kind of the feeling of the connection to other cultural things, to the whole world, which is kind of flowing into these buildings,
08:22
which you see then in the last big space where you are surrounded by a big ensemble, which was artificially created out of single projects by these three offices.
08:42
And it's not like this that one side is of this office, one side of that office. It's all mixed and it all goes so well together because every single project bears these different layers already inside.
09:00
It's not the single expression standing free, but it's always meant as part of an ensemble. But giving something more into a known context,
09:20
taking this context and adding something new. And it's very interesting how all these projects now go so well together from three different offices, from different times, from different regions. But I think this is a bit also a similarity to our exhibition.
09:44
It's kind of the same spirit inside which connects all this. And it's very nice to see also how generous, especially, and how open and light all this is shown to us.
10:03
So I think this is about it what I could say about this. I would say you, Konstantin... I will take our vote from Muck just to make a relatively short statement.
10:25
None of this was rehearsed. Muck said something which I want to pick up on and it's the only part of the exhibition that I really feel able to comment on. And it's that little space with the many images, the reference images from the three offices.
10:43
You called it a common ground and I think this is a nice thought. It is actually something very intimate, something very personal and subjective to start with. Pictures that probably all of us, we collect, the favourite images.
11:02
They're almost, they're like, they're precious to us. And somehow, that's why I would call them intimate, but suddenly we share them with others. This is quite common today, probably much more common today
11:20
than it ever was before, because there are blogs on the Internet where many people share all of these beautiful images, which if I think back to the start of my own career, this is 20 years ago, finding these images was so difficult. And so any one of these pictures you could find in books,
11:41
they would be treasures to keep. And there was no forum for showing them. Jasper Morrison did his world slideshow, later became The World Without Words, which was this kind of thing, revealing to a public the kind of personal references. And now you can see it, even in the arsenal,
12:02
there's a table of images. And it's something I find intriguing, almost a little bit voyeuristic. We enter a very private space of someone who shows us the things of interest,
12:20
but of course there's a value to put them out on the common ground and make them available to others. I think it's difficult to... there's no valuation. And I think even in terms of inspiration, if we say, for a creative person these images are inspiration.
12:42
I don't think inspiration is this kind of one-to-one direct inspiration. I've seen this picture, I'm using it in my work. I think the kind of process of how these images work, how they inform a body of work, is much more complex.
13:04
In order to kind of make a bridge to our own pavilion, to the German pavilion, here we are seeing images which are found pictures, a lot of them historical references. Images that show something that become common knowledge.
13:24
In the German pavilion I think we have, and in particular Erika Obermeier, the photographer of the images, we have created images. And this I think is another way of practice
13:41
and a very important one. I think for me, even though whenever we find image banks like this, even though it is precious, I always feel slightly uneasy about this. Particularly because there are so many of these and we've become so lazy, kind of copy-paste using images,
14:00
referential material and so on. And we've almost forgotten creating our own images. So these images that are here as historical references at the time of what they show was very original work. That for sure relates to something else, but a lot of these are historical, so they were of a different time when this kind of copy-paste
14:24
and using and posting of images wasn't existent. I think that Erika in the German pavilion succeeded in creating completely new images of existing things, but creating new points of view, Vistas.
14:41
And I think that's a great value and something that we shouldn't forget, that it is still possible. We don't live in a world where we are just reproducing stuff. We are living in a world where we can produce stuff so much more and better and with tools that we never had before.
15:02
So let's create new. Erika, do you want to say something maybe? She prefers to do it in the space, in the third, in the big space.
15:43
There are many, many of you who haven't seen the exhibition, so it's a good chance to go inside the room, the main hall here, because we have roughly 80, but I think they just got lost of Italian architects from Milano,
16:02
who just arrived today, and welcome you there. And it's a good thing to go inside the exhibition and to talk about it after we've talked, just for the concert. So, Erika, it's your turn.
16:26
Before I start talking, I wanted to ask you something. I've been visiting the space a few times, and we are in a space with not just vistas, but a panorama,
16:40
which is 360 degrees surrounding us, and it's a very beautiful space, but I was asking myself how much were you interested in working with the space itself, or was it for you just more like a wall decoration in a beautiful space, adding to the space,
17:00
not adding to the space, just more like a wall painting, fresco? No, for me it's an urgent question, because I'm very much interested in space in my own work,
17:24
and these are constructed images, and I construct my image from another point of view, and before I want to react to what we see here, this was for me an urgent question too. If you don't want to answer it... Maybe I didn't understand what you are asking.
17:45
Do you have a question? How could I make it more clear? I was asking, did you work with the space, or did you just use the wall as a surface to put the image on? Both. I used both. This is an intellectual rhetorical question.
18:02
Of course I was using the walls for fresco. That's the old fashion, not modern way. And for me, as not modernist, it's the only way you can work with the space. That's the answer. Okay, thank you.
18:21
But only a modernist can put such a question. Okay. Now I know where I can start from. Thank you very much. As a photographer myself, I'm very much interested in space and relations in space.
18:43
And those relations in space can happen on many levels. They can happen on a physical level, on a social level, on an object level, on an architectural level. There are many things working together. And from that point of view, my images emerge more from observation and less from construction.
19:06
And though I like these images and the space as it works here very much, I find it difficult for me myself to find a way in the images. What I see is an ensemble of objects.
19:24
And to a certain point for me it becomes very decorative. And I'm not saying this in a judgmental way. It's really looking very good. And there's a very special atmosphere. And I know you work from the 80s. I have been at the ETH in the 80s.
19:43
So there is an assistant. No, it was the 90s. And I remember how dominant you were as a professor. I mean, I was a very visual person. And how all those beautiful images were hanging around there all the time. And it was really... I mean, it was just interesting in the work because of...
20:02
Not just, but I became interested in the work because of the images. And it was for me very interesting to see how you here shifted or moved away from the drawings to the more photographic approach, which is a more contemporary approach and still managed to find a way of abstraction,
20:24
which is more in the direction of drawing. And I have another question. Who designed the images as they are there? Did the architects do that or did you do that from the ensemble?
20:41
Or did you assign someone to make this collage? I mean, I would use the word collage in this context. About 20% of all the things are drawings. And 80% are photographic construct buildings.
21:07
Secondly, the technique used is some kind of mixture because it's analogous to... We put emulsion like that on the wall.
21:24
You see the handwriting. It's not glued, it's not paper. It's just when it was black box, we make a projection five by five in the night. We are in Italy, 30 degrees. So we had two climatization outside,
21:42
putting it to 18 degrees. And then when the emulsion was fixed, there was the projection, we fixed it, we watered it. And we thought five by five. So it's 12 times, so we are in 40 days, we are at home. And we have been here six weeks.
22:02
Because it is painted, it's really painted. So whoever worked on this wall before us, like if you have a Sgrafico or Fresco, you first have to close the wall. So die Poren schließen. If you don't do it,
22:20
then any chemical stuff in the wall will come out. And we didn't know it because there was Hirsch Horne, this crazy artist here before. And he used American 3M Scotch on the wall. Wherever there is American line,
22:42
it destroyed our pictures. Nothing against US, but it really was chemical stuff. So we had to pull all the pictures down, start again, make a new paint, and so on. But it's analogous method still.
23:02
And you see it a little bit now, still. Thank you. This is very interesting. I was also very much interested to find out how you made this visible here in this space. But the question I was asking before was more in the sense of the composition of the project itself,
23:22
because there isn't a very obvious composition. Is this by your hands? Did you do that? Yes. It's a product of empirical process after seven months. We have worked seven months
23:40
until I got figured in Gnabkiewicz, this crazy Polish architect, and these Mila Maranta and myself to get it together. It took us seven months. You don't want to see the first perspective. It was terrible. It never worked. The skyline never worked, whatever.
24:00
So the result is not a rational process, but we just work like an artist to put it together. Where is which building, how it can work? There are some cutting lines that are not yet so perfect. Probably even the line down is a little bit different. But it's the black and white and the techniques
24:24
which will put it better together. But it's our work. Thank you very much. For the moment, I myself have not any more to add to this ensemble here. Is this okay for you?
24:41
I would say we were planning 30 minutes. I think we're quite off this time. But I would like to say that it's so interesting when you say it's also such this experiment, you would say why has it to be like this?
25:02
But if you now look at it, you really feel this kind of even tactic quality which you don't understand, which you would have never been able to produce otherwise. So it's worth it. Thank you.
25:21
We'd like to go to the German program, which is Achill. And afterwards we will have the opportunity to ask questions to both teams. So please follow us to the German team and listen to Shakespeare's interpretation of the coming. Thank you.
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