'CECIL BALMOND IN-SITE'
12 JUN a 10 SET 2010
Casa da Arquitectura, Matosinhos
(entrada livre)
horário
Terça a Sábado | 10h-12h30 15h-18h30
morada
Rua Roberto Ivens 582, Matosinhos
contacto
222 404 663 | 933 301 623 | info@casadaarquitectura.pt
CECIL BALMONDSYNOPSIS
Open Source credits invention without bounds. The informal with its focus on local juxtaposition hybrid allows probability to become serial possibility. Run by algorithm and rigorous search, the so called random is the source.
BIO
Cecil Balmond is involved with art, architecture and structural design. His work engages through the powers of pattern, technology, rhythm and music. Balmond’s experimental and algorithmic methods open up a rich, uncharted territory for design.
Born in Sri Lanka, Cecil studied advanced structures at Imperial College, London, before working at Arup and joining the board in 1998.
In 2000 he set up special unit AGU (Advanced Geometry Unit) while deputy chairman at Arup. The group, under Cecil’s creative direction, has designed some of the world’s most famous buildings, including the Metz Centre Pompidou with Shigeru Ban and CCTV tower with Rem Koolhaas. It has also been the creative force behind London’s high-profile Serpentine Pavilion programme.
Balmond is currently the founding director of NSO (Non-Linear Systems’ Organization,) a material and structural research initiative at the University of Pennsylvania School of Design, where he also holds the Paul Philippe Cret chair as Professor of Architecture. He is the author of Number 9 (1998) Element (2007) and informal (2002), which won him the Sir Banister Fletcher prize for best book of the year on architecture.
Balmond’s work has been presented in a number of critically acclaimed international exhibitions including the ground-breaking Frontiers of Architecture at the Louisiana Museum of Modern Art in Denmark (2008).
HANS-ULRICH OBRISTSYNOPSIS
Interview with Cecil Balmond by Hans-Ulrich Obrist.
BIO
Co-Director of Exhibitions and Programmes and Director of International Projects, Serpentine Gallery, London
Hans Ulrich Obrist was born in Zurich in May 1968. He became Co-director of Exhibitions and Programmes and Director of International Projects at the Serpentine Gallery in April 2006, joining Julia Peyton-Jones, the Serpentine Gallery Director. Prior to this he was Curator of the Musée d’Art moderne de la Ville de Paris since 2000, as well as curator of museum in progress, Vienna, from 1993 to 2000. Obrist has curated and co-curated over 200 solo and group exhibitions and biennales internationally since 1991, including: World Soup, 1991; do it, 1994; Take Me, I’m Yours, 1995; Manifesta 1, 1996; Laboratorium, 1999; Cities on the Move, 1997; Live/Life, 1996; Nuit Blanche, 1998; 1st Berlin Biennale, 1998; Utopia Station, 2003; 2nd Guangzhou Triennale, 2005; Dakar Biennale, 2004; 1st & 2nd Moscow Biennale, 2005 and 2007; Lyon Biennale, 2007; and Yokohama Triennale, 2008.
In 2007, Hans Ulrich co-curated Il Tempo del Postino with Philippe Parreno for the Manchester International Festival, also presented at Art Basel, 2009, organised by Fondation Beyeler and Theater Basel. In the same year, the Van Alen Institute awarded him the New York Prize Senior Fellowship for 2007-2008. In 2008 he curated Everstill at the Lorca House in Granada.
The Marathon series of public events was conceived by Hans Ulrich Obrist in Stuttgart in 2005. The first in the Serpentine series, the Interview Marathon in 2006, involved interviews with leading figures in contemporary culture over 24 hours, conducted by Obrist and architect Rem Koolhaas. This was followed by the Experiment Marathon, conceived by Obrist and artist Olafur Eliasson in 2007, which included 50 experiments by speakers across both arts and science, the Manifesto Marathon in 2008 and the Poetry Marathon in 2009.
In 2009 he was made an Honorary Fellow of the Royal Institute of British Architects (RIBA).
Recent publications include A Brief History of Curating, JPP Ringier; Gerhard Richter Text, Verlag der Buchhandlung Walther König/Thames & Hudson, The Pen is the Sister of the Brush, Maria Lassnig, Steidl; Gerhard Richter Obrist, Verlag der Buchhandlung Walther König; Ai Wei Wei, Ways Beyond Art, Ivory Press; Susan Hefuna Pars Pro Toto II, Kehrer; Hans-Peter Feldmann, Interview, Verlag der Buchhandlung Walther König; The Conversation Series, volumes 1-20, Verlag der Buchhandlung Walther König: Robert Crumb, John Chamberlain, Konrad Klapheck/Hans Peter Feldmann, Rem Koolhaas, Rosemarie Trockel, Wolfgang Tillmans, Yona Friedman, Zaha Hadid, Gilbert and George, Thomas Demand, Nancy Spero, Dominique Gonzalez-Foerster, Olafur Eliasson, Philippe Parreno, Enzo Mari, Gustav Metzger, Yoko Ono, John Baldassari, Christian Boltanski and Rirkrit Tiravanija.
Obrist is contributing editor of Abitare Magazine, Artforum and Paradis Magazine.
TOMÁS SARACENOSYNOPSIS
From:
Rodrigo Alonso, Valeria González, Julio Sánchez,
Arte contemporáneo argentino, 2008
The projects undertaken by Tomás Saraceno defy the traditional notion of space, time, gravity, consciousness and perception, as seen in his architectural proposals, whether of a social or community nature, depicting a utopian and participating nature. The sky and the land are interchanged in his installations, the gardens float and the persons fulfill their much longed for desire of flying. Inspired by his interest in introducing changes in the manner of living and experimenting reality, each one of his pieces is an invitation to ponder on alternative ways to know, feel and interact with other people. At the same time Saraceno appeals to the creativeness of the viewers, involving them in situations and actions which demand their ingenuity, their participation and responsibility. His projects also propitiate interrelations and propose an interdependence between spaces, where the focus is on emphasizing the ecological aspect not only of the rural environments but also of the social ones. To a certain extent, his work indicates that the capacity to transform the world is always feasible for those willing to collaborate with its design and construction. The work of Tomás Saraceno is perhaps the set of tools that we were missing.
BIO
1973 Born San Miguel de Tucumán – Argentina
Lives and works between and beyond the planet earth.
SANFORD KWINTERSYNOPSIS
Much of the beauty and mystery of African materials and forms derives from curious ways that its patterns are regulated, from the largely inaccessible but very strict logic that controls the way patterns are generated, how they interact and especially, how they communicate with one another and with the social actors that use them. Rhythmic unfolding and the rules that govern improvisation, even if unexpressed in the works themselves, are salient features that determine how new actors and new information are to be integrated into an existing system. Since improvisation and especially the effect of "coolness" are primary values, aesthetic and formal practice is essentially geared more than anything else to openness, flexibility and continual transformation. Indeed, the aesthetics of plasticity and modification are its goals, and the key feature that is sought, or listened for, in the works.
BIO
Sanford Kwinter is a New York-based writer, widely-known architectural theorist, and co-founder of the influential Zone Books publishers. Kwinter currently serves as Professor of Theory and Criticism at the Harvard University Graduate School of Design. Kwinter earned his PhD in comparative literature from Columbia University. Over the past twenty years, his publications have pioneered new ideas in art, architecture, science and the humanities. He has written widely on philosophical issues of design, architecture, and urbanism, and was a member of the series of conferences and publications convened by ANY (magazine) between 1991 and 2000.
RON EGLASHSYNOPSIS
Open Architecture: Inspirations from Indigenous Settlements
All open systems are based on recursion. Recursion is also a strong theme in African design; particularly in the case of architecture. We will briefly survey some examples of fractal structure in African architecture, discuss the role of recursive cultural concepts that underlie these fractals, and show its links to the move toward architecture that is more firmly grounded in social justice and sustainability.
(to experiment)
BIO
Ron Eglash is a cyberneticist, university professor and author with work in the area of ethno-mathematics, studying the various relationships between mathematics and culture. His research is based on the use of fractal patterns in African architecture, art, religion and relations between indigenous cultures and modern technology. Formed in cybernetics, he has a Ph.D. in History of Consciousness from the University of California.
BIO
Ron Eglash is a cyberneticist, university professor and author with work in the area of ethno-mathematics, studying the various relationships between mathematics and culture. His research is based on the use of fractal patterns in African architecture, art, religion and relations between indigenous cultures and modern technology. Formed in cybernetics, he has a Ph.D. in History of Consciousness from the University of California.
ANTÓNIO ADÃO DA FONSECASYNOPSIS
Structure, architecture and aesthetics
Be it building or bridge, and regardless of equipment or decorative elements to be added, the definition of the structure signifies an architectonic form is created. Evidently, equilibrium and resistance govern the structure, but the resulting structure articulates an architectonic concept; and there is no doubt that the aesthetic value of that structure refers to its architectonic form.
The design process of a building or bridge is the development of a manifold course of decisions and options aiming at a multi-objective optimization. Talent in design is displayed in the weight given to each factor and in the definition of the multi-objective optimization criterion, but art comes in the quite irrational and subjective synthesis of so many factors and objectives.
Structural Engineers are good at weighing the design factors and at balancing the optimization multi-objectives but fill uncomfortable at the irrational and subjective parts of the synthesis. On the contrary, Architects are very able at the irrational and subjective parts of the synthesis and understand better dimensions and proportions in space. Moreover, since Architects know little of the structural designing factors, they feel free at a more speculative design approach.
But aesthetics synthesizes a variety of factors, most of them subjective in nature. Thus, aesthetics can be neither a design factor nor an explicit component in the design multi-purpose objective of building or bridge.
BIO
António Adão da Fonseca is a civil engineer specialized in complex structures, having designed several singular bridges and buildings. He graduated from Faculty of Engineering of Porto University (FEUP) and got his Ph.D. in Structural Engineering from Imperial College of Science and Technology, University of London. He is currently Professor at FEUP and Visiting Professor at Faculty of Architecture of Autonomous University of Lisbon (UAL). Between 1995 and 1998 was President of the College of Civil Engineers in the Portuguese Institute of Engineers. Between 1998 and 2002 was President of the European Council of Civil Engineers. In 2004-2005 was member of the Advisory Council of IPPAR - Portuguese Institute of Architectural Heritage.
António Adão da Fonseca has worked in several projects with Cecil Balmond, namely the Lisbon EXPO’1998 Pavilion of the Seas with Architect Carrilho da Graça, Casa da Musica with Architect Rem Koolhaas, Hannover EXPO’2000 Pavilion of Portugal and Serpentine Gallery Pavilion 2005 with Architects Álvaro Siza and Souto de Moura, and Pedro and Ines Footbridge.
RUBEDOSYNOPSIS
The performance «Harmonographic Sound Structures» addresses analogies between architecture, music and mathematics through the concept of number, rhythm, structure, complexity and synaesthesia.
Using their technique of harmonography, Rubedo designed a digital interface that allows to connect narrative with live sound and film, in real-time.
Exploring sound in space through combination of musical phrases, visual sequences and live improvisation, challenges conventions of composing and performing.
The method of chance connectivity introduces an observer-dependent space to composition. Structures of sound and space become unpredictable: they are shaped in real-time by both material and nonmaterial elements, as well as user interaction.
Like contemporary architecture that engages multiple senses, disciplines and media, this new piece invites an experience that is dynamic and open-ended.
BIO
Rubedo are a London-based practice exploring the relations between aesthetics, complex geometry, acoustics and synaesthesia through performance, installation and artefact.
The work integrates sound, space, moving image and narrative using customised digital and analogue tools, and trans-disciplinary methods.
Rubedo have recently featured at the Royal Academy of Arts, Royal Festival Hall, Venice Biennale, Beijing Biennale of Architecture, Critic’s Selection at Cannes International Film Festival and the World Architecture Festival.
Founded by Laurent-Paul Robert and Dr Vesna Petresin Robert, FRSA, combining their experience in art, music, architecture, visual theory, film, games, education, psychology, engineering and IT development allows Rubedo to also operate as a think-tank providing creative solutions.
Their research and development in adaptive environments, parametric modeling, digital manufacturing and bionic design has contributed to patents and projects including Ebbsfleet Landmark, Serpentine Gallery Pavilions, award-winning Hollywood films and the first non-commercial satellite.
Rubedo have been closely collaborating with Cecil Balmond.
OVERWORLDSYNOPSIS
to Cecil Balmond, Untitled #1.
a video conceived by
Delphine Costedoat & Pier Fossey (PETERS ISFI), Overworld.
The inspiration for this video is a playful allusion to a magical moment Pier and I spent in the company of Cecil Balmond in his offices at AGU in July 2009. It shares that magic with the spectator in real time in the light both of Cecil’s research and our own explorations. Since 2003, Cecil has led us, ever more steadily, ever more actively, ever more progressively, towards a new level of meaning. A meaning we seek always with passion and at times despair. Thanks to the thin red line running through the roof space of Hall 2 of the Kunsthal, Rotterdam, thanks to the protean irreverence of this inspired chameleon, to Cecil’s informal aesthetics, thanks to the poetry and grace of his work, to his speculations, his achievements, his written works, his spoken words, thanks to our exchanges and conversations, we hope to continue working with him, fighting to reverse the rate of Disaugmented Reality in our world. This video is a modest expression of our heartfelt respect and profound recognition of who he is, of what he does, and of how he is in this world.
BIO
Overworld is an association ‘loi 1901’, established in August 2007. It aims at promoting architectural creation and protecting existing buildings. Its activities also extend to the world of urban design and landscaping, irrespective of geographical limits.
Within Overworld, active groups explore the stimulating crossovers and areas of meaningful exchange between architecture and the worlds of plastic design, photography, cinema and multimedia imagery, and also probe the questions inevitably raised by creative processes of all kinds, investigating and questioning them through innovative forms of experimentation.
Overworld has a number of different hats - publishing house, stage director of exhibitions, a place for communion and shared experiences and cultural mediator seeking contact with a maximum number of publics, to the exclusion of none.
Its principal partners are architects. All those involved in creative processes also welcome.
Delphine Costedoat, art historian and architecture critic, lecturer at Bordeaux University and Bordeaux School of Architecture and Landscape Design. She has enjoyed a wealth of professional experience with arc en rêve centre d’architecture for whom she has worked in partnership since 2003, and has published numerous books within her specialist field.
Pier Fossey, plurimedia specialist, internet site designer, videast, graphic designer, has worked as a consultant with the Bordeaux department of urban design since 2004, and with Cap-Sciences, Bordeaux, since 2009. He has been the creative spirit behind a wide range of installations of international significance, such as those designed and created for arc en rêve centre d’architecture since 1999, exhibitions on the work of Lacaton & Vassal at the AA School of Architecture in London (2004) and the Villa de Noailles (2006), Agora, the architecture, urban design and creative design biennial of the City of Bordeaux (2006) or the recent French pavilion for the Venice architecture biennial (2008).
Delphine Costedoat and Pier Fossey (PETERS ISFI) founded Overworld in 2007, and created ACT!, an architecture and art review with attitude, trilingual (French, English, Russian) whom the 1st issue is to be published in December.
