CROMA PACO DÍAZ 1165045
STUDIO 08
TRIPLICATE
STIRLING AT CA’ CORNER DELLA REGINA
STUDIO LEADERS: SCOTT WOODS & KIM Võ SPECIAL ADVISOR: ARMATURE GLOBALE (LUIGI ALBERTO CIPPINI & ALEXEI HADDAD)
STUDENT: EDUARDO FRANCISCO DÍAZ LÓPEZ
1165045
TABLE OF CONTENTS
Wayfinding Plans................................................................. 1 Prologue............................................................................. 11 Q&A................................................................................... 13 Material.............................................................................. 17 Works................................................................................. 21 Critics Review..................................................................... 42 Index.................................................................................. 43 Notes.................................................................................. 51 Knowledge Bank................................................................ 73
wayfinding plans
GROUND FLOOR 1
2
FIRST FLOOR 3
4
SECOND FLOOR 5
6
THIRD FLOOR 7
8
FOURTH FLOOR 9
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prologue James Stirling, a character of postmodernism, tries with his architecture to display a work that was itself narrative and figurative, but at the same time, abstract in its forms and technologically advanced; This is how he manages to speak out against the already very repeated modern architecture and its inability to evolve. Its combination of canonical forms of the modern movement, with some elements taken from the industrial movement, makes me reflect on the way to combine these elements when it was a question of a less functional and more experimental building: a museum. Perhaps this gives his museums a unique typology in his time, producing alterations, cuts and additions to the complex formal repertoire, thus forming something similar to a cubist composition. How to interpret these ideas and incorporate them as a new museum proposal, to an existing museum in Venice? Ca 'Corner della Regina imposing on the Grand Canal of Venice, lends its architecture to a conjunction of objects with the museum architecture of Stirling, to develop a new museum architecture for itself, which proposes a new alternative in the history of the exhibition of 'Stop Painting' by Peter Fischli, motivating a new discourse based on the coexistence of this new architecture and the same exhibition. 11
In this sense, the conjunction of the architecture of Stirling and the architecture of Ca 'Corner della Regina, present a new proposal to experience the museum through CROMA, an analogy of the crisis that painting is experiencing today (as mentioned Mark Godfrey in his essay on the exhibition), which began in a way because there were apparently new, more attractive technological paths for art.
CROMA, a museological phenomenon that aims to
put the user in crisis, takes the most figurative and abstract elements of Stirling's architecture, and takes you along these supposed technological paths and puts the user in this crisis that painting suffers according to Fischili, opening up the question about who is then the main actor on this green screen: the people, the exhibition or the museum?
CROMA
then takes you to unique moments to discover if painting is really in crisis, or if we are. Paco Díaz, 2021.
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q&a On Stirling (Archive) 1. What did you find most challenging when working with Stirling's material from the CCA archive? The most challenging thing was choosing the elements that would help me to form my own objects in conjunction with the Ca ’Corner della Regina building, as there is a lot to choose from in the CCA archive. Undo perhaps elements that function as a whole to take one of its parts and, above all, understand its essence as a single object. 2. Do you think Stirling is still relevant for contemporary discourse? If yes, why? If no, why? Yes, I think that even now it has more relevance than in his time since now we can understand his speech with a perspective looking backwards; his non-conformist architecture now regains a greater sense and it can be said that he continues to propose, through the interpretation of his projects, an interesting discourse today.
On Museum 3. What are the challenges of thinking the museum beyond a container for art? What is exhibited and what does the exhibiting in your museum project? Is it that simple? The biggest challenges I think is how the exhibition is conceived and how it coexists with the museum, that is, is the museum more striking than the exhibition, or is the exhibition the protagonist and the museum only the container? There must be an interpretation so that both parties can be lived without stealing prominence from each other. The architecture of the museum can then help the same exhibition to be better interpreted without overshadowing the building. What is exhibited? A critique of the crisis that painting is currently experiencing is exhibited, where the architectural intervention alludes to the same problem, helping to understand the most critical point of the exhibition. 13
4. What are the challenges you have encountered when working with the Ca 'Corner building? E.g. the Venetian context, the architectural ornamentation. the spatial structure, etc. How did that challenge inform your approach to the museum? One of the greatest challenges of the museum was to understand that it was not always conceived as a museum, so its reading as such is not clear at first, so it was a challenge to grant the most characteristic of a museum, as a clearer route , arranged spaces of a museum, etc. The ornamentation of the museum was also a challenge, but at the same time a practical solution to the intervention, such was the case of the frescoes on the second floor, where the architectural intervention and the exhibition respond to this museum's own ornament. The important thing is then to know how to coexist with what exists, highlighting the most important of the building and using it in favor, both for the architectural intervention and for the exhibition.
On Exhibition 5. Considering the role of technology in exhibition design, is this a concern for your design? If so, in what capacity? Yes and no. Yes because I am using technology to emphasize certain moments of the exhibition, with lights, in addition to the way of moving the user vertically is motorized, changing the traditional way that the building had to move the user, creating a new perspective and a new way of living the museum, and above all, giving the user a certain power to move freely through the spaces. And at the same time no, because once inside the rooms, mobility depends entirely on us, even going through narrow places and lowering the body to continue moving space, we now return to the most precarious and even remembering the uncomfortable, all that to the opposite that technology offers. 6. Does this idea of exhibition or display technology change your conception of museum architecture? Yes, because through technology we can increase intentions and create unique moments that would not be achieved without these technological approaches. Tech museums offer unique sensory experiences that can hardly be achieved with basic elements.
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On (the) Future 7. How would you describe an architecture that exists solely inside the museum? How is that architecture different to architecture that exists outside the museum? An architecture that lives only inside the museum is possible, but I think I would describe it as selfish. Architecture always depends in a certain way on its context and responds accordingly. An architecture connected with the exterior is more complete since it considers factors that can help to develop the interior with a more developed sense. 8. Has your project for a museum changed your position or attitude to architecture more generally? If yes, how? Yes, because now I think more about the true content of the project, in the background of the project more than in the forms, that I can create unique moments and experiences through architecture and technology, in addition to the development of simple objects that later became in spaces, and how they evolved considering their interior and exterior context.
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material
CCA – Canadian Centre for Architecture
Palazzo Citterio - Brera Museum 17
CCA – Canadian Centre for Architecture
Clore Gallery and Tate Gallery New Museums 18
CCA – Canadian Centre for Architecture
Clore Gallery and Tate Gallery New Museums
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CCA – Canadian Centre for Architecture
State Gallery Addition and New Chamber Theatre Competition and Construction 20
works TRIPLICATE
STIRLING AT CA’ CORNER DELLA REGINA The project starts from the conjunction of the Stirling architecture and the architecture of the Ca ’Corner della Regina building. A new museum architecture is created where CROMA arises, which 'swallows' the user who arrives through the Grand Canal and finds a green screen in the form of a route that changes its dimensions according to the museum and once inside, spits you out to the patio where you will have to choose one of the four paths to go randomly. Four vertical black roads on the outside that take you to a different destination; one inside is of intense colors that take you to the color exhibition; another is black and white which takes you to the monochrome exhibition; another is green that takes you to new 'green screens' of experimentation; the last one, instead of colors, has messages written on its internal faces, as if it were shouting something, some message; this one takes you to the historical exhibit. CROMA responds to the details of the museum and changes its form and use depending on the museum architecture that is presented to it. 21
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CROMA AT THE GRAND CANAL 23
4 ROADS, 4 DESTINATIONS 24
B
C
2 1 EXHIBITION SPACE
3
A
5 4
SOUVENIRS / BOOK SHOP
SOUVENIRS / BOOK SHOP
EXIT
B'
C'
GROUND
1:200
CONTEMPORARY ART EXHIBITION When the user arrives at the building, they can enter for free and even climb the stairs and return. The system will have an instruction manual at the entrance where it is indicated that once you go down the CROMA 'slide' and it 'spits' you out again, you will now find the ticket office and you can start to go up randomly through the four elevators. 25
1
2
D
BACK OF HOUSE
BACK OF HOUSE OFFICE
TICKET OFFICE
LIFT L2
LIFT L1
6
STAFF TOILETS
LIFT L3
ENTRANCE
A'
LIFT L4
EXIT
PUBLIC TOILETS SERVICE LIFT
MACHINE ROOM BACK OF HOUSE
BACK OF HOUSE
D'
0
1
2
5
10
20
D FLOOR
0 @ A12
2
3
4
5
6
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B
INTERACTIVE ART SPACE
A
WAREHOUSE
INTERACTIVE ART SPACE
1
INTERACTIVE ART SPACE
WAREHOUSE
B'
INTERACTIVE EXHIBITION
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C
C'
D
BACK OF HOUSE
BACK OF HOUSE
LIFT L3
LIFT L2
LIFT L1
A'
LIFT L4
LIFT
BACK OF HOUSE
BACK OF HOUSE
BACK OF HOUSE
D'
0
1
2
5
10
20
FIRST FLOOR 1:200 @ A12
1
28
B
C
7 8 5
6
A
15 MONOCHROME EXHIBITION
10
9
B'
C'
SECOND FLOOR 1:200 @ A12
MONOCHROME EXHIBITION
2
1
29
3
6
4
5
7
8
D
2
3
4 1
LIFT L2
LIFT L1
A'
11
LIFT
13 14
BACK OF HOUSE
12
D'
0
1
2
5
10
10
9
11
20
12
13
14
15
30
B
C
4
5
6
A
COLOR EXHIBITION
7
B'
8
9
C'
THIRD FLOOR 1:200 @ A12
COLOR EXHIBITION
1
31
2
3
4
5
6
D
2
1 13
3
LIFT L3
A'
LIFT
10
12 BACK OF HOUSE
11
D'
0
1
2
5
10
20
R
12
10
7
8
9
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13
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B
C
3
6
A
5
2
B'
C'
FOURTH F
1:200 @ A
HISTORICAL EXHIBITION
1
33
2
3
4
D
7
A'
LIFT L4
4 BACK OF HOUSE
1
D'
0
1
2
5
10
20
FLOOR
A12
5
6
7
34
COLOR FOR DISCOLORED 35
BLACK AND WHITE ON COLOR 36
LIGHT, CROMA, ACTION! 37
OBJECT 2
SECTION B-B' 1:200 @ A1
0
1
2
5
10
20
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critics review By Lincoln Perdrisat
There’s a particular nature to ‘CROMA’ that could be described as a system within a system. The original programmatic function of Ca’ Corner Della Regina competes and conforms to a new order that is imposed upon it. A series of clean smooth tunnels now make up the majority of the internal fabric of the historic palazzo. Perhaps a new central nervous system that performs like veins, pumping and circulating life throughout. Reminiscent of James Stirling’s technological approach to circulation; these tubes (or tunnel-like) interventions strictly define a user’s interactions and perceptions of space whilst moving through the museum creating ultimatums of confinement and obstruction in undertaking passage. The building becomes a machine for a sensorial experience. One can only imagine experiencing the phenomenological atmospheres that exist throughout CROMA; the sound would radiate and echo throughout the vascular passages; voices, footsteps, the humming of electric elevators continuously distributing users on the next step of their venture. Of course, the architecture speaks great volumes, but this sensory environment is enhanced with the detail of the curator’s eye. 41
Monochromatic works of painted and jotted scripture line the first noble floor enhancing the visual vibrancy of the new intervention in stark contrast. Like mad scribbles of rushed manic thoughts across the wall, the curation of this exhibition reflects the physical process of encountering this structure; that is that its disorienting nature of highs, lows, undulations, and crawl spaces are that of a ‘fun palace’, or can be likened to the inside of a frenzied Ryan Trecartin film. All these experiences take place in front of the ‘CROMA’ (green screen); the reality of the project isn’t realised through CGI effects from a two-dimensional screen, but it is the screen itself that wraps around the user, jostling with Ca’ Corner, turning the artworks that hang in front into the new performers and actresses of the exhibition. The same arrangement can be given to the curation a floor above, however, the narrative for this exhibition is different. Complimentary warm tones of oranges and soft browns give a delicate and gentler air. Here the work isn’t visually thrust upon a viewer, but rather these works aligned with their architectural programmer force a viewer to slow down and stop. Again, here artworks are curated in conjunction with the new green snaking intervention. Croma exists as the new system, that of process and perception. It functions as a machine of creating and viewing experiences; a fun palace for art.
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index
PHASE ONE - THE OBJECTS 43
Object 1
KEEP DOWN 44
Object 2
SERIAL PORTAL 45
Object 3
TRANSFERABLE CUBE 46
PHASE TWO - MUSEUM 47
Object 1
AT CA’ CORNER DELLA REGINA 48
Object 2
AT CA’ CORNER DELLA REGINA 49
Object 3
AT CA’ CORNER DELLA REGINA 50
notes
51
PROCESS DOCUMENTATION 52
53
Step I
JAMES STIRLING MUSEUM ARCHITECTURE 54
Step II
OBJECTS: JAMES STIRLING + CA’ CORNER DELLA REGINA 55
OBJECT 1 56
57
SECTION D-D' 1:200 @ A1
OBJECT 2 58
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OBJECT 3 60
Step III
REINSERTING OBJECTS TO CA’ CORNER DELLA REGINA 61
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Step IV
CONCEPT: CROMA 63
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“Was the recurring ghost telling the story of the end of painting a phantom problem? And if yes, can phantoms be real?” - Peter Fischli Step V
EXHIBITION: STOP PAINTING 69
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“Stop Painting” is an exhibition conceived by artist Peter Fischli. Described by him as “a kaleidoscope of repudiated gestures”, the project explores a series of specific ruptures within the history of painting in the last 150 years, intertwined with the emergence of new social factors and cultural values. The exhibition also intends to understand if the current digital revolution can also cause a new crisis of painting or, on the contrary, contribute to its renewal. Fischli identified five radical ruptures caused by technological and social changes that marked artistic paradigm shifts through rejection and reinvention of painting.
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knowledge bank
1. GREEN LIGHT CORRIDOR The Guggenheim Museums and Foundation
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30/10/21 20:53
https://www.guggenheim.org/artwork/3166
Green Light Corridor | The Guggenheim Museums and Foundation
1/5
74
30/10/21 20:53
https://www.guggenheim.org/artwork/3166
75
Green Light Corridor | The Guggenheim Museums and Foundation
2/5
30/10/21 20:53
https://www.guggenheim.org/artwork/3166
Green Light Corridor | The Guggenheim Museums and Foundation
3/5
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2. STOP PAINTING BOOK Fondazione Prada 77
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3. MEMORIA EN EL TRABAJO DE MIKE KELLEY [MEMORY ON THE WORK OF MIKE KELLEY]
Laura López Panigua, Doctoral Thesis
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CROMA 96