DESIGN NAME: Straub Experience
PRIMARY FUNCTION: Art Pavilion
INSPIRATION: The Straub Pavilion, located inside the spaces of Codice Italia, is the extreme extension of the exhibition curated by Vincenzo Trione for the italian pavilion on the occasion of the 56th International Art Exhibition of the Venice Biennale. The exhibition seamlessly positions itself within the guidelines set by the director Okwui Enwezor: memory, identity values, historical heritage, openness to the future
UNIQUE PROPERTIES / PROJECT DESCRIPTION: The visitor, once in the pavilion, finds himself in a secret place, that embraces the small cinema, designed to host sounds and images, where he can intimately listen and see something that is not explicitly manifest in the movie. Here the auditory dimension, given by the use of headphones held up by three shelves, offers dialogues from the film, interrupted and punctuated by recordings of Rome's streets in 1972
OPERATION / FLOW / INTERACTION: The project, final landing of the Codice Italia exhibition, sees the visitor in the green of Vergini Garden coming across a white and solitary structure: an experience of Jean-Marie Straub's work which evolves and is realised in the crossing of the pavilion itself. The whole catalogue of his works past and present are gathered in one constellation, where the past finds its modernity and the present a new completeness. For the first time at an art Biennale, an installation of the French director is presented, built on three different elements: image, sound and work materials. These elements guide and punctuate the space and the crossing time of the pavilion.
PROJECT DURATION AND LOCATION: The project started in May 2015 in Venice and finished in November 2015 in Venice.
FITS BEST INTO CATEGORY: Architecture, Building and Structure Design
|
PRODUCTION / REALIZATION TECHNOLOGY: The technology used in the construction of the pavilion is made of above ground structures and laminated wood for the foundations, vertically by truss beams while the side-walls and the inner partitions are made of prefabricated panels supported by aluminium profiles.
SPECIFICATIONS / TECHNICAL PROPERTIES: 11000 mm x 9000 mm x 5000 mm
TAGS: Architecture, Design, Pavilion, Biennale di Venezia, Movie, Cinema, Jean-Marie Straub
RESEARCH ABSTRACT: The Straub Pavilion is made of a shell and an inner heart conceived as a small cinema room, where the work of the French director takes place. This space is enveloped by two side corridors in which documentary pictures, sounds and interpretations of the movie ,based on the unfinished Bertolt Brecht’s novel, find room.
CHALLENGE: The most demanding challenge has been dealing with the context and particularly with the Souto de Moura's and Alvaro Siza's pavilions located in the Vergini Garden. For the 2012 Architecture Biennale, in fact, Eduardo Souto de Moura and Alvaro Siza have each been invited to design a pavilion in those spaces. Souto de Moura placed his building on the edge of the docks, close to the water. Siza built it into an inner space. Moura's work creates a gateway; opens itself while looking towards the outside through the water, Siza's one, instead, evokes the intimate corporeal scale of Venice's streets, underlining a new vocation for the ground. The one introverted, the other extroverted. The common notion is the pure dialog with the context. The Straub Pavilion was designed and built three years later and, unlike the previous two, has a reason to exist, a precise function: the representation of the great French filmmaker's work. The new Pavilion, in its conception, can't do without looking at the two Portuguese architect's constructions, catching the dialogic spirit with the great landmarks present in the context. So the three pavilions: Percorso by Siza, Window by Souto de Moura e Straub by Frascino, are accessory to the city of Venice: the first two look at the arsenal towers and the last at the tower of San Pietro di Castello cathedral.
ADDED DATE: 2021-09-29 18:18:04
TEAM MEMBERS (2) : Arianna Marchesani and Giovanna D’Alessandro
IMAGE CREDITS: Fulvio Ambrosio
|