2012 ___
CRITICAL DIALOGUES
Critical Dialogues showcased projects from four Scottish practices – DO Architecture, GRAS, Pidgin Perfect and Stone Opera – that responded to the Biennale’s theme ‘Common Ground’ by organising a week-long sequence of activities that engaged with overlooked and marginalised places and social organisations. Exploring the social role of the architect and the creative boundaries of architecture, each practice developed methods that are adaptable and playful, so that any one of the projects could be transferred and repeated in other locations. Critical Dialogues was the winner of the Royal Scottish Academy (RSA) Medal for Architecture in 2012. An exhibition curated by Architecture and Design Scotland at The Lighthouse in 2013 featured not only highlights of the work conducted in Venice but also similar activities carried out in Scotland. Credits: Venice Project Director: Jonathan Charley Graphic Design: Graphical House Photography in Venice: Gilmar Ribeiro
DERIVA VENEZIANA DO Architecture Venetian Drift explored the working life and periphery of the city through photographs and film footage shot remotely from a low-flying red helium balloon. The still and moving footage was edited into a film that takes the viewer on a previously unseen journey through the city, illuminating the often invisible and unseen activities that make up urban life and keep the city functioning.
DERIVA VENEZIANA DO Architects film Running time: 3.45 mins
Practice reflection since 2012 Our participation in the 2012 Biennale provided us with an opportunity to observe and record a very brief and unique moment in time where the process of moving and observing from the air was to be enjoyed by both viewer and viewed. Since our return we have carried out further experiments using this technique to engage with young people and communities in Glasgow, the Isle of Harris, Inverness and Inveraray, encouraging enquiry and understanding about the notions of place and community.
Image: Gilmar Ribeiro
DERIVA VENEZIANA DO Architecture Venetian Drift explored the working life and periphery of the city through photographs and film footage shot remotely from a low-flying red helium balloon. The still and moving footage was edited into a film that takes the viewer on a previously unseen journey through the city, illuminating the often invisible and unseen activities that make up urban life and keep the city functioning.
DERIVA VENEZIANA DO Architects film Running time: 3.45 mins
Practice reflection since 2012 Our participation in the 2012 Biennale provided us with an opportunity to observe and record a very brief and unique moment in time where the process of moving and observing from the air was to be enjoyed by both viewer and viewed. Since our return we have carried out further experiments using this technique to engage with young people and communities in Glasgow, the Isle of Harris, Inverness and Inveraray, encouraging enquiry and understanding about the notions of place and community.
Image: Gilmar Ribeiro
BANCHETTO: ‘A Play in Three Acts’ Pidgin Perfect ‘Two worlds, Castello Alto-Basso and Architecture’s Elite, in fair Venice, where we lay our scene, will meet on common ground, the via Garibaldi, and share together in the universal experience of eating.’ Every other year we see the world’s architecture elite descend on Venice for the Biennale, concentrated between two hubs, the Arsenale and Giardini. But what do the communities existing within its midst make of it all? Inspired by the classical structure of a ‘play in three acts’, Banchetto invited local residents on a tour of the Giardini; then a magical theatrical evening consisting an open-air dinner, speeches and spontaneous song; ending finally in a party for the project team and local residents. The collaborative process engaged local partners the Gervasuti Foundation, and involved working with designers Bespoke Atelier and the public to co-create the Banchetto Pattern adorning the banquet setting.
BANCHETTO: ‘A Play in Three Acts’ Pidgin Perfect film Running time: 3.00 mins
Practice reflection since 2012 In producing Banchetto, Pidgin Perfect realised an ability as a creative studio and ‘spacial agent’ to unite communities, thinkers and decision-makers around questions of collective space within the city. Banchetto’s success showcased Pidgin Perfect’s ability to foster creative collaborations, bring people together and engage the public imaginatively, highlighting to us the beauty in celebrating the everyday. These we believe are universal skills, essential to the creation of meaningful, vibrant, loved and truly democratic architecture, that can be seen running through subsequent projects – Girl Walk // All Day, temporary cinema (2013); The Pollokshaws Compass, public realm work (2014); PULSE, temporary and permanent artworks on the Commonwealth route for Velocity (2014) – all of which demonstrate these core principles in how we continue to work.
Image: Gilmar Ribeiro
BANCHETTO: ‘A Play in Three Acts’ Pidgin Perfect ‘Two worlds, Castello Alto-Basso and Architecture’s Elite, in fair Venice, where we lay our scene, will meet on common ground, the via Garibaldi, and share together in the universal experience of eating.’ Every other year we see the world’s architecture elite descend on Venice for the Biennale, concentrated between two hubs, the Arsenale and Giardini. But what do the communities existing within its midst make of it all? Inspired by the classical structure of a ‘play in three acts’, Banchetto invited local residents on a tour of the Giardini; then a magical theatrical evening consisting an open-air dinner, speeches and spontaneous song; ending finally in a party for the project team and local residents. The collaborative process engaged local partners the Gervasuti Foundation, and involved working with designers Bespoke Atelier and the public to co-create the Banchetto Pattern adorning the banquet setting.
BANCHETTO: ‘A Play in Three Acts’ Pidgin Perfect film Running time: 3.00 mins
Practice reflection since 2012 In producing Banchetto, Pidgin Perfect realised an ability as a creative studio and ‘spacial agent’ to unite communities, thinkers and decision-makers around questions of collective space within the city. Banchetto’s success showcased Pidgin Perfect’s ability to foster creative collaborations, bring people together and engage the public imaginatively, highlighting to us the beauty in celebrating the everyday. These we believe are universal skills, essential to the creation of meaningful, vibrant, loved and truly democratic architecture, that can be seen running through subsequent projects – Girl Walk // All Day, temporary cinema (2013); The Pollokshaws Compass, public realm work (2014); PULSE, temporary and permanent artworks on the Commonwealth route for Velocity (2014) – all of which demonstrate these core principles in how we continue to work.
Image: Gilmar Ribeiro
GALLERIA TEMPORANEA GRAS Architects The Transient Gallery focused attention on the historic wellheads located throughout Venice and which were for centuries the only source of fresh drinking water in the city. Often richly embellished with cultural and political motifs, these were an important meeting point where Venetians would exchange stories, gossip and news on a daily basis. The project celebrated these threatened artefacts in a gallery-like environment at the heart of the communities they once served.
GALLERIA TEMPORANEA GRAS Architects film Running time: 3.40 mins
Practice reflection since 2012 GRAS’s involvement in the Critical Dialogues has created a number of excellent opportunities. Upon returning from Venice, the Transient Gallery continued its role in celebrating overlooked historical artefacts at a range of locations throughout Scotland and was later awarded a special commendation at the AJ Small Projects Award 2013. The practice has been invited to give a series of lectures about the project: at the Glasgow School of Art and the University of Strathclyde, at the British Design Days in Moscow and at the Horizonte lecture series at the Bauhaus University, Weimar. Moreover, the project has, indirectly, led to involvement in the Maker Library Network and consequential collaborations with other makers and designers in the UK and South Africa, recently at Africa Utopia and 100% Design. All of these subsequent events have allowed the continuation of critical dialogues concerning a range of disciplines and locations, a key goal of the project from the outset.
Image: Gilmar Ribeiro
GALLERIA TEMPORANEA GRAS Architects The Transient Gallery focused attention on the historic wellheads located throughout Venice and which were for centuries the only source of fresh drinking water in the city. Often richly embellished with cultural and political motifs, these were an important meeting point where Venetians would exchange stories, gossip and news on a daily basis. The project celebrated these threatened artefacts in a gallery-like environment at the heart of the communities they once served.
GALLERIA TEMPORANEA GRAS Architects film Running time: 3.40 mins
Practice reflection since 2012 GRAS’s involvement in the Critical Dialogues has created a number of excellent opportunities. Upon returning from Venice, the Transient Gallery continued its role in celebrating overlooked historical artefacts at a range of locations throughout Scotland and was later awarded a special commendation at the AJ Small Projects Award 2013. The practice has been invited to give a series of lectures about the project: at the Glasgow School of Art and the University of Strathclyde, at the British Design Days in Moscow and at the Horizonte lecture series at the Bauhaus University, Weimar. Moreover, the project has, indirectly, led to involvement in the Maker Library Network and consequential collaborations with other makers and designers in the UK and South Africa, recently at Africa Utopia and 100% Design. All of these subsequent events have allowed the continuation of critical dialogues concerning a range of disciplines and locations, a key goal of the project from the outset.
Image: Gilmar Ribeiro
LUDOARCHITECA Stone Opera ‘Let’s play architecture’ Ludoteca loosely translates as a ground or place for play. Stone Opera asked the children and young members of a local Venetian Ludoteca to take part in their own minibiennale or ‘Ludoarchiteca’ and become builders and architects for the day. Stone Opera developed a life-size architectural toolkit of cardboard building blocks, allowing children to explore and discover the basic language of architecture.
LUDOARCHITECA Stone Opera film Running time: 2.55 mins
Practice reflection since 2012 The exposure in Venice has put Stone Opera on the map and has given us the opportunity to meet new people and make new connections in Scotland, Europe and beyond. The whole set of large cardboard building blocks was produced again in Glasgow in March 2013 as an introduction to all the changes happening in the East End of the city for the 2014 Commonwealth Games. We now have initiated research to see how building blocks can be used in the school curriculum. The building blocks have become one of our trademarks and we still use them, large or small, to let people play with architecture.
Image: Gilmar Ribeiro
LUDOARCHITECA Stone Opera ‘Let’s play architecture’ Ludoteca loosely translates as a ground or place for play. Stone Opera asked the children and young members of a local Venetian Ludoteca to take part in their own minibiennale or ‘Ludoarchiteca’ and become builders and architects for the day. Stone Opera developed a life-size architectural toolkit of cardboard building blocks, allowing children to explore and discover the basic language of architecture.
LUDOARCHITECA Stone Opera film Running time: 2.55 mins
Practice reflection since 2012 The exposure in Venice has put Stone Opera on the map and has given us the opportunity to meet new people and make new connections in Scotland, Europe and beyond. The whole set of large cardboard building blocks was produced again in Glasgow in March 2013 as an introduction to all the changes happening in the East End of the city for the 2014 Commonwealth Games. We now have initiated research to see how building blocks can be used in the school curriculum. The building blocks have become one of our trademarks and we still use them, large or small, to let people play with architecture.
Image: Gilmar Ribeiro