From Space Lab to SlumLab - Architecture without Architecture?
Aaron Betsky selected the motto "Out There - Architecture Beyond Building" in an attempt to briefly free architects of their burdens, allowing them to blossom as artists, discuss the essence of architecture anew and come up with novel approaches to solutions for the future. The show begins with a tunnel through time. Arriving between two convex screens, one finds oneself in an inter-galactic realm where, to the Star Wars soundtrack, fractal surfaces expand and numerous film sequences run simultaneously. Prepped with visions and utopias of the past, visitors encounter the futuristic design of today, such as Asymptote's metamorphosis of abstract solids calling our formal conception of "house" into question. But what about space? Just grasp the controls of the Astroballon - a concept by Coop Himmelb(l)au (1969) - donning a Plexiglas dome not unlike a space-man's headgear and your heartbeat appears on the LED display. Is the message that our dreams from yesteryear can finally be realized? Motion is the next theme. In one example, UN Studio's Changing Room deals with flowing space by overlaying the white loop with video projections. Barkow Leibinger addresses ephemerality and limitless possibilities. Their stainless-steel pipes can be read as an abstract model of a city of skyscrapers. Visitors may arrange them at will: a statement on the use of digital technologies, not to generate images, but to overcome the strictures of standardized products. A meandering wall erected by a robot showcases Swiss architecture schools - where Gramazio Kohler developed this technology. But digital architecture is less present than under Dejan Sudjic (2004). And when ideas relating to Kurt W. Forster's Cityscapes (2006) - which featured an analytical inventory of the situation in metropolises - turn up, they are tenuous at best. Many projects and pavil-ions are difficult to compehend without explanation or are unable to connect emotionally with viewers. Frank Gehry, recipient of the Golden Lion, still believes in the power of architecture, and, as demonstrated, e.g., in the British, Spanish, French, Australian, Finnish and Canadian pavilions, he has plenty of company.
