Biennale di Venezia 2002

The 8th International Exhibition of Architecture of the Biennale di Venezia is concerned with a time in history that promises great transformations. One century having come to an end and with the start of a new one, we have the intuition that we are living a "limit" moment, a frontier between the end of one way of thinking and the start of a new way of facing up to reality.

From the point of view of architecture, it has been decided to respond to this new situation and, for this, it is necessary to start a period of reflection that will allow habitable space to be reformulated with new parameters that will require an important degree of commitment and efficiency.

The opportunity of the announcement of the Venetian meeting and the content of the subject matter concerning the Spanish Pavilion to be approached from a point of view that seeks and takes a look towards the inner world of those Spanish architects who, through their age and talents as investigators, are those intended to construct the "next spaces" capable of defining and inaugurating a new era. The intention is that their INTERNAL LANDSCAPES should emerge, showing the core that generates the energy and thought that will make the appearance of their future architectural work possible.

As a strategy that triggers the exhibition and which allows reflection on these hidden energies or those in the process of being formed, it has been decided that the group of architects selected should have a wide impact with the enigmatic and provocative work of the "Garden of Lusts" by BOSCH, a work capable de exceeding its pictorial dimension to transport us to a timeless world beyond reality, plagued with disturbing spaces.

The group of architects has been structured into sixteen teams that will work on specific support, which has been established as the digital image format on DVD.

This is intended to move the authors from their normal work format based on drawing and models, taking them to a new situation prone to the experimental adventures intended from the approaches of the commission.

The intervention suggested for introducing the visitor to the Garden of Lusts is based on a stratified schematic on three horizontal planes into which the entire exhibition is condensed. With the idea of achieving absolute perception of the horizontal space of the exhibition, all the vertical faces are covered in dark tones in order to disappear and dissolve into the depths of the scene.

The floor plan for the exhibition, as a whole, is a photographic reproduction of the picture of the Garden of Lusts, on which are floating slightly elevated in it and in a horizontal position, flat plasma screens that will each show an image, a proposal of a team selected.

The third horizontal plane, that completes the exhibition space, is the ceiling of the rooms, raised four metres above the floor plan. The plan will be illuminated and made of taut plastic material that will operate as a reflector for a series of luminaries located on its upper face. It is intended to produce strong lighting for the exhibition, but understood to be flat, without any shadow, homogenous.

The "plane" exhibition operation, described as an assembly strategy, is intended to express the insertion of proposals, continuously introduced and projected on the horizontal, flat screens, as other voids or perforations analogous to those drawn by BOSCH.

The intended absence of shadow contrasts in the exhibition seeks to place the spectator like one other figure in the painting who wanders without projecting his shadow from screen to screen, from hole to hole, where the light, the image represented and projected, are a mirror reflection of the other mirror that is the Garden of Lusts.

The 8th International Exhibition of Architecture of the Biennale di Venezia is concerned with a time in history that promises great transformations. One century having come to an end and with the start of a new one, we have the intuition that we are living a "limit" moment, a frontier between the end of one way of thinking and the start of a new way of facing up to reality.

From the point of view of architecture, it has been decided to respond to this new situation and, for this, it is necessary to start a period of reflection that will allow habitable space to be reformulated with new parameters that will require an important degree of commitment and efficiency.

The opportunity of the announcement of the Venetian meeting and the content of the subject matter concerning the Spanish Pavilion to be approached from a point of view that seeks and takes a look towards the inner world of those Spanish architects who, through their age and talents as investigators, are those intended to construct the "next spaces" capable of defining and inaugurating a new era. The intention is that their INTERNAL LANDSCAPES should emerge, showing the core that generates the energy and thought that will make the appearance of their future architectural work possible.

As a strategy that triggers the exhibition and which allows reflection on these hidden energies or those in the process of being formed, it has been decided that the group of architects selected should have a wide impact with the enigmatic and provocative work of the "Garden of Lusts" by BOSCH, a work capable de exceeding its pictorial dimension to transport us to a timeless world beyond reality, plagued with disturbing spaces.

The group of architects has been structured into sixteen teams that will work on specific support, which has been established as the digital image format on DVD.

This is intended to move the authors from their normal work format based on drawing and models, taking them to a new situation prone to the experimental adventures intended from the approaches of the commission.

The intervention suggested for introducing the visitor to the Garden of Lusts is based on a stratified schematic on three horizontal planes into which the entire exhibition is condensed. With the idea of achieving absolute perception of the horizontal space of the exhibition, all the vertical faces are covered in dark tones in order to disappear and dissolve into the depths of the scene.

The floor plan for the exhibition, as a whole, is a photographic reproduction of the picture of the Garden of Lusts, on which are floating slightly elevated in it and in a horizontal position, flat plasma screens that will each show an image, a proposal of a team selected.

The third horizontal plane, that completes the exhibition space, is the ceiling of the rooms, raised four metres above the floor plan. The plan will be illuminated and made of taut plastic material that will operate as a reflector for a series of luminaries located on its upper face. It is intended to produce strong lighting for the exhibition, but understood to be flat, without any shadow, homogenous.

The "plane" exhibition operation, described as an assembly strategy, is intended to express the insertion of proposals, continuously introduced and projected on the horizontal, flat screens, as other voids or perforations analogous to those drawn by BOSCH.

The intended absence of shadow contrasts in the exhibition seeks to place the spectator like one other figure in the painting who wanders without projecting his shadow from screen to screen, from hole to hole, where the light, the image represented and projected, are a mirror reflection of the other mirror that is the Garden of Lusts.

The 8th International Exhibition of Architecture of the Biennale di Venezia is concerned with a time in history that promises great transformations. One century having come to an end and with the start of a new one, we have the intuition that we are living a "limit" moment, a frontier between the end of one way of thinking and the start of a new way of facing up to reality.

From the point of view of architecture, it has been decided to respond to this new situation and, for this, it is necessary to start a period of reflection that will allow habitable space to be reformulated with new parameters that will require an important degree of commitment and efficiency.

The opportunity of the announcement of the Venetian meeting and the content of the subject matter concerning the Spanish Pavilion to be approached from a point of view that seeks and takes a look towards the inner world of those Spanish architects who, through their age and talents as investigators, are those intended to construct the "next spaces" capable of defining and inaugurating a new era. The intention is that their INTERNAL LANDSCAPES should emerge, showing the core that generates the energy and thought that will make the appearance of their future architectural work possible.

As a strategy that triggers the exhibition and which allows reflection on these hidden energies or those in the process of being formed, it has been decided that the group of architects selected should have a wide impact with the enigmatic and provocative work of the "Garden of Lusts" by BOSCH, a work capable de exceeding its pictorial dimension to transport us to a timeless world beyond reality, plagued with disturbing spaces.

The group of architects has been structured into sixteen teams that will work on specific support, which has been established as the digital image format on DVD.

This is intended to move the authors from their normal work format based on drawing and models, taking them to a new situation prone to the experimental adventures intended from the approaches of the commission.

The intervention suggested for introducing the visitor to the Garden of Lusts is based on a stratified schematic on three horizontal planes into which the entire exhibition is condensed. With the idea of achieving absolute perception of the horizontal space of the exhibition, all the vertical faces are covered in dark tones in order to disappear and dissolve into the depths of the scene.

The floor plan for the exhibition, as a whole, is a photographic reproduction of the picture of the Garden of Lusts, on which are floating slightly elevated in it and in a horizontal position, flat plasma screens that will each show an image, a proposal of a team selected.

The third horizontal plane, that completes the exhibition space, is the ceiling of the rooms, raised four metres above the floor plan. The plan will be illuminated and made of taut plastic material that will operate as a reflector for a series of luminaries located on its upper face. It is intended to produce strong lighting for the exhibition, but understood to be flat, without any shadow, homogenous.

The "plane" exhibition operation, described as an assembly strategy, is intended to express the insertion of proposals, continuously introduced and projected on the horizontal, flat screens, as other voids or perforations analogous to those drawn by BOSCH.

The intended absence of shadow contrasts in the exhibition seeks to place the spectator like one other figure in the painting who wanders without projecting his shadow from screen to screen, from hole to hole, where the light, the image represented and projected, are a mirror reflection of the other mirror that is the Garden of Lusts.

La Bienal de Venecia en su 8ª Muestra Internacional de Arquitectura se encuentra con un tiempo histórico que anuncia fuertes transformaciones.

Agotado un siglo e inaugurando el siguiente intuímos que estamos viviendo un momento “límite”, frontera entre el final de una manera de pensar y el comienzo de una nueva forma de abordar la realidad.

Desde la arquitectura ha de plantearse responder a esta nueva situación, y para ello hay que inaugurar un periodo de reflexión que permita reformular el espacio del habitar con nuevos parámetros que exigirán un importante grado de compromiso y eficacia.

La oportunidad de la convocatoria veneciana permite abordar el contenido temático del Pabellón de España desde un eje vertebrador que busque y realice una mirada hacia el el mundo interno de aquellos arquitectos españoles que por edad y talante investigador son los destinados a construir las “próximas arquitecturas” que materializaran los “próximos espacios” capaces de definir e inaugurar un tiempo nuevo.

Como objetivo se pretende hacer aflorar aquello que se está produciendo en la intimidad de los laboratorios privados de estos arquitectos, sus PAISAJES INTERNOS, mostrar el núcleo generador de la energía y pensamiento que hará posible la aparición de sus futuras arquitecturas.

La proximidad con el futuro que se anuncia, hace pensar que se avecinan diferentes maneras de entender el habitar, con su incorporación a otros lugares inusuales, impredecibles o ignorados y que desde la diversidad ponen en cuestión aspectos como la escala, los materiales, las funciones ó los sistemas de construcción.

Como estrategia desencadenante de la exposición que permita reflejar esas energías ocultas o en proceso de formulación, se ha elegido el poner en resonancia a el conjunto de arquitectos seleccionados con la enigmática y provocadora obra del “Jardín de las Delicias” del BOSCO.

El “Jardín de las Delicias”, perteneciente al Museo de El Prado, es una obra capáz de superar su dimensión pictórica para transportarnos a un mundo atemporal más allá de la realidad, plagado de inquietantes espacios soñados.

En una atmósfera sin sombras, las figuras y objetos se mueven en una dinámica espiral que los hace flotar sobre un plano, entendido como placas o fragmentos de un suelo que se desvanece sobre un mundo inferior fluido, anuncio de un posible naufragio.

El BOSCO parece querer expresar el instante “limite” donde se agota una realidad y se avecina otra. La continua aparición de agujeros que taladran el plano real del suelo anuncian la llegada del último día y el comienzo de la eternidad.

Es fácil establecer analogías entre el “Jardín de las Delicias” y la percepción de la situación actual que hemos realizado. Pero lo verdaderamente interesante es observar la estrategia que utiliza El BOSCO para hacernos percibir el instante preciso donde toda la obra alcanza sentido.

Sobre un plano abstracto se van posando una infinitud de escenas que en diversas escalas y configuraciones narrar un ESPACIO HABITADO pero entendido desde un mundo surreal. Aparecen o se sugieren diversos modos de habitar nuevos o inesperados lugares: La “casa manzana”, la “casa paraguas”, la “casa burbuja”, la “casa ventana”,..... . De igual forma estos irónicos “espacios domésticos” se van deslizando o posicionando sobre sorprendentes orificios, plataformas, huecos, perforaciones, animales, torres...

En el pabellón español se plantea operar de forma similar al “Jardín de las Delicias”. Partiendo de la definición de un primer espacio, el de la exposición, pensado con el objetivo de situarnos dentro de la obra del BOSCO, se incorporaran a continuación, y dentro de él, unas realizaciones arquitectónicas de los arquitectos seleccionados generadas para la muestra, siendo concebidas a partir de la interpretación de conceptos o espacios sugeridos en la obra pictórica.

PRIZES

SELECTED CURATOR
2002

8ª Mostra Internazionale d´Archittetura. Spanish Pavilion. Venecia. Italia. 2002
BIENNIAL EXHIBITION IN VENICE 2002. Eighth International Architecture Exhibition: NEXT.
The Spanish Pavilion was organised by the Ministry of Public Works and the Ministry of Foreign Affairs.

PUBLICATIONS

ACCIONES
Aranguren & Gallegos Works. 1995-2004.
2004

Edit: Editorial Rueda, S.L.
ISBN: 84 - 7207 - 145 - 6.
Legal Deposit: M - 54879 - 2004
Complete work monographic 250 pages.
P.p.: 234, 235.
“Selection of Works by Aranguren&Gallegos”.

PAISAJES INTERNOS. PABELLÓN DE ESPAÑA. 8ª MOSTRA DI ARCHITETTURA BIENNALE DI VENECIA 2002.
2002

Edit: Ministerio de Asuntos Exteriores, Ministerio de Fomento y Editorial Rueda, S.L. (Madrid, Spain)
ISBN: 84 - 7207 - 133 - 2. D.
Legal Deposit: M - 36517 - 2002
P.p.: 3, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48 y 49.
“On the Aranguren&Gallegos design and commissary realized in La Biennale de Venezia”.

BIENNALE DI VENECIA 2002: 8ª MOSTRA INTERNAZIONALE DI ARCHITETTURA: NEXT. 2002

Edit: Biennale di Venezia. (Venice, Italy)
ISBN: 0 - 8478 - 2521 - 3.
P.p.:124 and125.
“On Spain Pavilion, being Aranguren&Gallegos curators and authors of its design”.

ARQUITECTURA VIVA. Nº 84.
May/June, 2002

Edit: Arquitectura Viva, S.A. (Madrid, Spain)
ISSN: 0214 - 1256.
Legal Deposit: 17.043/1988
P.p.: 17
“On the Biennale di Venezia 2002: 8ª Mostra internazionale di Architettura, Next and Spain Pavilion, being Aranguren&Gallegos curators and authors of their design”.

MENHIR. Nº 11
May 2003

Edit: Editorial Company, (Bilbao, Spain)
ISSN: 1577 - 6344.
Legal Deposit: BI - 551 - 2001
P.p.: Front, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56 and 57.
“On the Biennale di Venezia 2002: 8ª Mostra internazionale di Architettura, Next and Spain Pavilion, being Aranguren&Gallegos curators and authors of their design”.

PREMIOS

SELECCIONADO COMISARIO
2002

8ª Mostra Internazionale d´Archittetura. Pabellón de España. Venecia. Italia. 2002
BIENAL DE VENECIA 2002. Octava Exposición Internacional de Arquitectura: NEXT.
Organiza el Pabellón Español el Ministerio de Fomento y el Ministerio de Asuntos Exteriores.

PUBLICACIONES

ACCIONES
Aranguren & Gallegos Works. 1995-2004.
2004

Edita: Editorial Rueda, S.L.
ISBN: 84 - 7207 - 145 - 6.
D.Legal: M - 54879 - 2004
Obra completa monográfica de 250 páginas
Páginas: 234, 235.
“Recoge una selección de obras realizadas por Aranguren & Gallegos ”.

PAISAJES INTERNOS. PABELLÓN DE ESPAÑA. 8ª MOSTRA DI ARCHITETTURA BIENNALE DI VENECIA 2002.
2002

Edita: Ministerio de Asuntos Exteriores, Ministerio de Fomento y Editorial Rueda, S.L. (Madrid, España)
ISBN: 84 - 7207 - 133 - 2. D.Legal: M - 36517 - 2002
Páginas 3, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48 y 49.
“Sobre el diseño y comisariado realizado por Aranguren & Gallegos como Comisarios de España en la Biennale de Venecia”.

BIENNALE DI VENECIA 2002: 8ª MOSTRA INTERNAZIONALE DI ARCHITETTURA: NEXT. 2002

Edita: Biennale di Venecia. (Venecia, Italia)
ISBN: 0 - 8478 - 2521 - 3.
Páginas 124 y 125.
“Sobre el Pabellón de España, siendo comisarios Aranguren & Gallegos así como autores de su diseño”.

ARQUITECTURA VIVA. Nº 84.
Mayo/Junio, 2002

Edita: Arquitectura Viva, S.A. (Madrid, España)
ISSN: 0214 - 1256. D.Legal: 17.043/1988.
Página 17
“Sobre la Biennale di Venecia 2002: 8ª Mostra internazionale di Architettura: Next y el Pabellón de España, siendo comisarios Aranguren & Gallegos así como autores de su diseño”.

MENHIR. Nº 11
Mayo 2003

Edita: Editorial Company, (Bilbao, España)
ISSN: 1577 - 6344.
D. Legal: BI - 551 - 2001
Páginas Portada, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56 y 57.
“Sobre la Biennale di Venecia 2002: 8ª Mostra internazionale di Architettura: Next y el Pabellón de España, siendo comisarios Aranguren & Gallegos así como autores de su diseño”.