Architect 2014-07.pdf

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60 CENTER ARCHITECT THE AIA MAGAZINE JULY 2014 CRITIQUE THE CULT OF KOOLHAAS REM KOOLHAAS’S OWN EXHIBITIONS AT THE 14TH INTERNATIONAL ARCHITECTURE EXHIBITION AT THE VENICE BIENNALE MAY HAVE MISSED THE MARK, BUT HIS INFLUENCE AS CHIEF CURATOR BROUGHT OUT THE BEST IN THE NATIONAL PAVILIONS. WWW.ARCHITECTMAGAZINE.COM Visitors arrive at the Arsenale in Venice for the 14th International Architecture Exhibition, curated by Rem Koolhaas. Exhibits are housed not only in the Arsenale, which is the city’s former shipyards, but also in the national pavilions and Central Pavilion in the nearby Giardini park. Text by Ian Volner “REM IS LIKE a great journalist of architecture,” said Ricardo Bofill Jr., sitting downstairs in Venice’s Palazzo Bembo on the third day of the 2014 Architecture Biennale. Two flights up, the peripheral exhibition “Time Space Existence” included a sampling of recent work from Bofill’s (and his famous father’s) eponymous office in Barcelona, Spain, alongside a surprisingly vast array of installations from firms around the world. The Bofills have seen more than their fair share of Biennales— including the seminal 1980 “Strada Novissima” show, in which the elder designer played an important role—and for Bofill the Younger, the 2014 installment seemed like it could mark yet another key inflection point for the field, a credit to curator Rem Koolhaas, Hon. FAIA, and his ability to weave history and design into a compelling narrative—ostensibly unified by his title,“Fundamentals. “For Rem, it all comes back to telling a story,” Bofill says. But what exactly Koolhaas thinks the next chapter in that story is meant to be was difficult to discern, at least judging from his particular contributions to the current Biennale. The Bembo show (organized by the independent Global Art Affairs Foundation) was altogether a more comprehensive view of contemporary practice than either Koolhaas’s technically minded “Elements of Architecture” exhibition at the Central Pavilion or his “Monditalia” show at the Arsenale. In many ways, the leading man in the Biennale drama appeared to have departed from his own script. The emerging consensus during the preview (consensuses during the Biennale having a tendency to fade in and out somewhat) was that the real action was taking place in the national pavilions. Clogging the paths and courtyards of the Giardini, Prosecco-tippling design fans flocked to see the opening the Belgian Pavilion (a spare, cerebral investigation of interior space), RUY TEIXEIRA
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