Venice Architecture Biennale explores how we will live in the future
It’s a simple question: how will we live together in the future?
But there are few simple answers to be found among the 46 national pavilions that make up the largest architectural event in the world.
This is in part because the issues presented at the show: climate change, capitalism and inequality, sexism and racism are all complex and interconnected.
And the curator of the Biennale also links them to the current pandemic.
“The question of how are we going to live together has been asked because of climate change, because of deep political polarization, because of the growing inequality issues around the world. These are the causes of the pandemic and this are the reasons why we ask this question, “Hashim Said Sarkis.
After working and living together, Sarkis believes that one of the important lessons of the pandemic is to survive together.
“The need to rethink the notion of the common good, including public health, is in my opinion a profound lesson that we must learn from the pandemic. And architecture is helping to shape public health, ”he says.
“Hospital of the Future” is a particularly timely facility for this era of coronavirus.
He questions the role of healthcare facilities and their future, arguing that there is growing evidence that the Western model of healthcare may have reached its limits.
Ireland’s pavilion, titled “Entanglement,” criticizes the country’s power-hungry data economy.
“The data center industry in Ireland by 2027 will consume about a third of all electricity in Ireland. So this project is to say that the cloud is a mining process that requires incredible amounts of electricity which is usually harvested or built from fossil fuels, “said Co-Commissioner Donal Lally.
Spain’s “Uncertainty” pavilion creates a deceptive feeling of happiness and light from hanging pieces of paper – but it’s really about the abuse of migrants.
“The project pays tribute to the situation of people who find themselves in an illegal situation, they are simply called illegals. They are not criminals but they are treated as such. They are people fleeing terrible situations,” he said. declared Sofía Piñero, his co-curator.
Germany presents us with what appears to be a grim dystopia – it’s 2038 when the spaces have completely emptied, and only QR codes can give us definition.
But the Conservatives gave it the title “The New Serenity”. They present visitors with a series of films that tell the stories of a better world using the knowledge and visions of a team of international experts in architecture, art, ecology, economics, philosophy, politics, science and technology.
More colorful projects such as “Museo Aero Solar” have made their way to the main pavilion.
Made in Buenos Aires, this balloon is part of a growing collection of “floating museums”, which invite everyone to reduce, reuse and recycle.
And other projects like “Resurrecting the Sublime” ask visitors to step inside a glass box and use all of their senses to spot an extinct flower, lost to colonial activity in Hawaii: the Hibiscadelphus Wilderianus Rock.
Some projects, like “City to Dust”, are a direct response to what Venice went through during the lockdown: the beauty of the empty city has become visible again due to the lack of large groups of visitors.
He wants people to think about the future of tourism in Venice, as every step tourists – and even visitors to the Biennale – take could potentially slowly destroy the place.
Visitors are encouraged to browse the brittle terrazzo tiles to understand their role in the dynamics of Venice and its tourists.
The 17th edition of the Biennale is open to the public until November 21, 2021.