ARCHITECTS: cero9 (Cristina Díaz Moreno + Efrén García Grinda)
ALIAS: TRP
YEAR: 2002
PROJECT: Forms of Energy. La Biennale di Venezia
LOCATION: Venice Lagoon (Italy)
COLLABORATORS: Luis Cabrejas, Íñigo González-Haba, Aritz González
If the industrial production society era had an aesthetics based on simplicity, repetition or the assembly of additive systems, for our era we would like to propose an architecture that is not concerned with its apparent figure, is characterised by a certain incorporeal. An architecture of energy in which the visible form is simply the materialization of environments through mere energy dissipation. A building is no longer more than the material form adopted by a particular energy configuration: a system that exchanges energy with the medium in different ways. A complex thermodynamic system that works through cold or heat, out of order or disorder, with differences or homogeneity and which also evolves over time. A set of relationships and exchanges in which the inversion of the arrow of entropy has a local place.
So we would be moved from the architecture that, in the post-war period, worked with energy through organising matter into configurations of the same energy (Fuller, Otto), to systems in which what is of interest is a dynamic vision, to which is added the variable of time. Systems regulated by processes of exchanging energy with exterior; that dissipate, consume and capture energy: in short, to organizations undetermined in time.
Let’s imagine a technical system that, through the capture and emission of energy, induces spatial, environmental and visual effects. What we understand by space becomes a set of perceptions linked to environmental effects generated through the management of various forms of energy. Thus, architects become genuine specialists in special effects, linked now to a sense of expanded perception.
Architecture becomes an artificial atmospherics system on a reduced scale. With its unstable equilibriums, its transitory states, its complex internal relationships and associated visual effects. Everything technically induced: artificial atmospherics effects.
Venice is a city that is slowly dying, absolutely suffocated by tourism. A city that is visited by more than ten million people a year, although the population is fewer than forty thousand people.
The sweet water lagoon connected to the sea where Venice is placed has been progressively altered by a process of change in the level of salinity due to the enlargement of its channels.
Then the target would be to reactivate the city from its public condition, avoiding a sterilization of the urban tissue produced by the industry of tourism and biological changes, and accelerated by the creation of an appropriated habitat for the changes in the level of salt in the water.
Our proposal tense the city towards the exterior borders of Venice trying to balance all the activities around the big channel. The aim is to extend the city by means of working in the exterior limits: to enlarge the city without adding an only cubic meter of sand.
Therefore, we propose to deploy and install a system of objects through the lagoon. Each one works capturing and emitting energy. The pieces mainly work in two directions, on one hand, they reactivate public space through energy and production of private use spaces, and on the other hand, they try to reclaim, from the biological point of view, the lagoon through micro organism cultures.
So we would be moved from the architecture that, in the post-war period, worked with energy through organising matter into configurations of the same energy (Fuller, Otto), to systems in which what is of interest is a dynamic vision, to which is added the variable of time. Systems regulated by processes of exchanging energy with exterior; that dissipate, consume and capture energy: in short, to organizations undetermined in time.
Let’s imagine a technical system that, through the capture and emission of energy, induces spatial, environmental and visual effects. What we understand by space becomes a set of perceptions linked to environmental effects generated through the management of various forms of energy. Thus, architects become genuine specialists in special effects, linked now to a sense of expanded perception.
Architecture becomes an artificial atmospherics system on a reduced scale. With its unstable equilibriums, its transitory states, its complex internal relationships and associated visual effects. Everything technically induced: artificial atmospherics effects.
Venice is a city that is slowly dying, absolutely suffocated by tourism. A city that is visited by more than ten million people a year, although the population is fewer than forty thousand people.
The sweet water lagoon connected to the sea where Venice is placed has been progressively altered by a process of change in the level of salinity due to the enlargement of its channels.
Then the target would be to reactivate the city from its public condition, avoiding a sterilization of the urban tissue produced by the industry of tourism and biological changes, and accelerated by the creation of an appropriated habitat for the changes in the level of salt in the water.
Our proposal tense the city towards the exterior borders of Venice trying to balance all the activities around the big channel. The aim is to extend the city by means of working in the exterior limits: to enlarge the city without adding an only cubic meter of sand.
Therefore, we propose to deploy and install a system of objects through the lagoon. Each one works capturing and emitting energy. The pieces mainly work in two directions, on one hand, they reactivate public space through energy and production of private use spaces, and on the other hand, they try to reclaim, from the biological point of view, the lagoon through micro organism cultures.
DDseries
