Tales of Venice
Venice is famous for a lot of things, probably mostly for having a lot of water and being really really old. But if you’re into architecture or design you probably know if for the Venice Biennale and the maze of old buildings holding cool new ideas. We’ve had the privilege of getting close to the architecture biennale through working on two publications that have come out of the UAE pavilion, but 2023 was all about going and soaking in those new ideas.
It’s impossible to not come away inspired.
The sheer amount of phenomenal content framing groundbreaking ideas and research, the brilliance of the different exhibitions that communicate those ideas, the ideas themselves, the art and the charm of seeing it all while experiencing Venice, is a lot.
Here’s what our team took away from the 2023 Venice Architecture Biennale.
Muge O:
On the recycling of years: I was comparing this year’s biennale to previous ones, trying to see what was done differently, what new things were brought. Some Pavilions didn’t bring anything new at all, and that was their statement. They brought recycled stuff or leftovers from previous years and let people make things with them. It got me thinking. Is this going to be the future trajectory? Can we afford to make new things?
On working the space: The common exhibition was the most impactful, as always. It’s not limited to a single country. And the space design, the placement, flow of narrative… It’s nothing I haven’t seen before, but to go there from my work environment was so satisfying. It’s just a relief, to be like, “yes, this is exactly where this text should be and this light wouldn’t work anywhere else.” For example, the way they divided the different rooms using butchery-like transparent curtains, and so each time you enter a new space it’s like you’ve cleansed your palate. The transition itself creates a feeling. The different themes wouldn’t flow without that.
On inspiration for home: I mostly focused on the structures, so that’s what stayed with me after I left. At Slash we have our exhibition structures that are usually standalone text or visuals or mock-ups, but then it’s not very site specific. One thing the Pavilions did incredibly well was mix different media. They had models, text, images, video screens, and all of it came together. I’d like to implement more of that variety in our work.
Bernardo R:
On inspiration spaces: The German Pavilion is one place I wish I could bring back to Abu Dhabi. Creating a communal workshop space that stores scraps, is open and accessible, offers courses and masterclasses. Being able to step in and build, say, a chair out of waste.
On his favourite Pavilions: British Pavilion and their narrative through music. Looking at diaspora and their traditions, made me think of Portugal and the diverse cultural fabric there.
Spanish Pavilion: I really want to find the type/font they used. As a type freak, this was the one place I felt genuinely intrigued by. They took a Serif font, which is a very classical form, and made it funky. They stretched it out, expanded certain forms. It intrigued me because I would never have done it myself - it feels like breaking a rule of balance, but the Spanish Pavilion did it so well.
On deeper research: When I’m doing research, I don’t usually look into where a particular designer is from, I’ll just note down the name. Seeing the designs in the national pavilions, I think I want to take designers’ backgrounds into consideration.
Anna M:
On “but, where are you from?: ”The British Pavilion was amazing for its immersive soundtrack and powerful videos. I really enjoyed looking at how diaspora communities in the UK influenced and continue to influence urban culture and architecture. The focus on traditions and rituals reminded me a lot of my own family’s belonging to the Greek diaspora, despite living in Australia.
On the power of gathering: Spanish Pavilion - inspiring typography and an energizing atmosphere. People (presumably designers) gathering to discuss work and ideas, holding workshops. It was design evolution in action.
On inspiration for home: I was really impressed by the clever use of space - there was a tabletop in the Dutch Pavilion with huge sheets of text. At the end of the table they attached a triangular support piece and created a slope to connect the table top to the floor, so the text would flow continuously. It’s something I would like to incorporate in our exhibitions (simple additions).
Aimee S:
On art that breathes: The Bulgarian Pavilion was a moving confrontation. The space showed images of old Soviet school buildings around the country that are no longer used and left for decay. The photos were printed on this curtain that was flowing with the breeze, so it felt like the room was inhaling and exhaling in itself. I couldn’t stop thinking about that “breathing”.
On the depth of storytelling: I felt inspired by the three-dimensional storytelling through so many of the installations and the way that spaces told narratives. I did installation art early in my practice, so I have always respected the skill of “leading” stories. I hope I can bring some of that back to my practice. To see the big picture and what is needed to bring someone through so that they can read - not words - but read the space and feel the message viscerally.
The Scottish Pavilion made me think about the future, even if focused on the past. They had these beautiful works about the wilds, the idyllic “untouched” lands in Scotland, whether they still exist and for how long. They also drew links between language and landscapes - there was a wall of Gaelic words that have very conceptual meanings but are sadly in the process of being lost, so it was their way of honoring it.
Patricia G:
On expectations: The expectation was to see architecture, tangible models, techniques, but it became clear right after the first walk that the tangible is not the focus. I can’t say there was a single location or work that made an impact on me, but the environment did. It was really really nice to walk around the streets that all house surprises, moving through spaces that are so well designed that you are completely immersed, it’s just walking and looking and being surrounded by great, great design. And learning from the content.
On the art of being surprised: The biennale was full of surprises. Surprise no. 1: wandering into a beautiful garden to relax, and finding films on the Peruvian native people, how people from the city are trying to educate them even when they live in rural areas, but trying to create a curriculum that educates, but helps them preserve their traditions, empowers them to honor their roots. Surprise no. 2: walking through a worn down garage door by the port and seeing old, old walls and these beautiful modern exhibitions in the middle, video pieces, really future-oriented things. Surprise no. 3: peeking through an open door on the street into just a regular living room, and the resident girl tells us that it is the Finnish pavilion. She invited us inside, we talked, she told us how she’s trying to rent back in Finland, even asking us for advice… There’s almost nothing related to architecture except that she lives in that pavilion building for the biennale, and the concept of course. Many many surprises, impossible to isolate by themselves.
I brought home an architecture book by ZAO, which is also full of surprises. Their style is really minimal, using only wood and concrete and simple shapes, but they build designs with big impact, like small libraries for kids in rural China.
Nuno P.
On levels of impact: At different stages, different distances from the Biennale, you have different feels of what might have been impactful. When you’re discovering the spaces, there is an initial excitement. Then the excitement delutes, but some things, later on, three or four weeks later, start to emerge. There’s an initial thrill, but once you’re out, there’s a bug left in your head. It starts to grow, and with time becomes something bigger.
On bringing designs to life: In the main venue there was work by ZAO, a Chinese architecture studio. There was a display of maybe eight to twelve models, which were done with wood, cork, and a bit of metal where needed. So immediately, you feel it was made with care, not simply 3D printed. They were cool by themselves, but seemed like ambitious visions. But then I noticed a book, and there were photos of all these models in full scale, executed and completed.
On future collaborations: In the final projects they also used simple materials, all locally sourced. One of the projects was a children’s library in Hutong, Beijing. A small cluttered residential courtyard was transformed into an educational space, and a playground. They kept the old makeshift structures that residents had constructed in the courtyard to use as kitchens, and they preserved an old tree in the center, but inside those stone structures they inserted plywood and totally improved the space.
The bug in my head, after seeing ZAO’s work, was how I could invite the architects to Slash. There is a lot of overlap with our work, like the simple, locally soured materials. But you also see the research behind the design. It feels thought out. How can you marry strategy and design in a way that feels organic and purposeful? I want to somehow invite the studio here, or take our team to the Biennale next time.
On inspiration for home: Problem solving design - whether it’s working with old hardly functioning systems and transforming them for social good, like the ZAO library, or making use of AC water. Kuwait had an installation where they collected water that condensates under AC’s just because of the temperature differences. That happens in UAE too. What if we grab that water, what problems can we address if we use it?
Joana A:
On designing interesting spaces: Materiality and narrative through space design. In the main pavilion, having blocks and curtains that guide the path without signage, having materials that are opaque so they stop you, then others that are transparent so you feel you can pass right through.
Textile dividers (graphic design + space design + physical narrative story). Inspired by the use of design both for practicality (dividing up a uniform space), creating an atmosphere (the prints), and the additional narrative dimension added.
On inspiration for home: The structures for design don’t always have to be perfect. As long as the content is good, the display itself doesn’t have to be ground breaking. It can be simple, as long as it supports the message.
