Context or No Context?

Context or No Context?

by Sarah Wilson

Unexpected and perhaps unintended symbolism in Biennale exhibits

       Our visit to David Chipperfield’s ‘Common Ground’ architecture exhibition at La Biennale di Venezia was educating in a number of ways. We saw countless models, photos, displays, and constructions, all exploring and probing at the edges of what defines architecture. There was an enormous range of materiality, form, method, function, use of lighting, and use of display; all of these meshed in each exhibit to create different experiences for the individual visitor, whether it was bending down to examine a tiny model on a stand or climbing through a full-scale structure. While I expected to see incredible things, I was surprised at almost every turn, but these surprises could be chalked up to more than just initial appearances. The most memorable thing about the Biennale, for me, was the apparent symbolism I encountered in the presentation and materiality of several of the exhibits, however intentional or unintentional.

I will make a note here early on that I have a terrible memory for titles and names, and must rely on my own photos and what other recollections I do have. The fact remains that the impressions these exhibits stirred make for the best memories, and so it is these that I will write on. One of the earlier impressions I recall comes from this large-scale quartered neoclassical building which, in retrospect, bears a remarkable resemblance to Palladio’s Villa Rotunda. The model seems to be study of symmetry how the interior may reflect the exterior; in fact, the exterior quarter on the right appears to have been formed from a mold cut into the interior quarter on the left. This exacting construction may allude to the importance of the inside of a piece having connection to the outside, and that one cannot exist without the other. This symbolism of the molding process lends itself to an interesting expression of the construction process.

Browsing through my photos, I came across this other lightweight but memorable piece. If memory serves me correctly, these dark strands that both hang downwards and grow upwards were shaped and welded from pieces of metal. I remember this one well because of the stark contrast between the organic appearance of these strands and the very non-organic material they were created from. I would have loved to see this exhibit placed in a field of grass; it seems to be asking the question of how modern construction materials can be used to aid construction in blending in with the natural environment. It’s an interesting query, certainly, especially represented in this manner. It’s almost as if this shell of a house was made from the shadows of vines and grasses, an evanescent construction that fades impalpably into the land. Needless to say, this was one of my favorites.

Again, I wish I could remember the names and creators of these pieces, especially this one. It likely represented something entirely different than the impression I recall getting from it, but then again, taking a second look at a model without knowing its original purpose can be helpful in its own way; in this manner, the second and new impression can divulge a different bit of knowledge that may not have been accessible when one is lead in the direction the creator originally intended you to follow. For example, these carved blocks of translucent material, injected with different colors placed amidst smaller white blocks that literally pale in comparison, may have simply represented an architect’s city plan for new installations amongst old ones. My impression, on the other hand, is less direct (as usual). This exhibit leads me to ponder the juxtaposition of color and fluidity amongst stark regularity. I wonder if it could symbolize the greatest desire of most artists: to break free of the norm and laugh in the face of monotony. For an architect, it could be the wish to ignore the confines of context, and instead create something wild and unfitting, for its own sake.

                

 Sometimes it’s more appropriate to keep in mind the context which the creator gives you in order to better shape your impressions and thoughts into the ones the creator was hoping to inspire. Other times, it’s not so bad to ignore the plaque next to the model and formulate your own conclusions. Even unintended symbolism should occasionally be given importance, for not every citizen immediately recognizes a building’s architect, its style, its purpose. One must keep in mind those other minds that are uninformed, for they can see something very different than one intends, but that something can be just as beautiful.