Articles published by: Nickname

art installation by Radu Comşa
17 Cct – 15 Nov 2008, Museum of Romanian Peasant, Bucharest

The Hyperlocked installation was designed to function as a support to introduce the Hiperbolism in circulation, which could define an architectural trend at the end of the 20th century and featuring an exhaustive use of succession of spherical and hyperbolical surfaces.

exhibition
18.10. – 18.11. 2007, met-room Gallery, Barcelona

An exhibition of Bucharest architecture presented in Barcelona. Apparently, our capital is a colage of fragments, a place of colission of architectures and identities; actually, an incredible laboratory of modernity.

exhibition in Basel and Bucharest

The interactive project representing Romania at the 10th edition of the Venice Biennale in 2006, where it had 50,000 visitors and 3,500 active participants, was presented in 2007 to the Basel audience (in November, at the Swiss Museum of Architecture, under a great festival dedicated to Romania, Culturescapes) and in Bucharest (June 2007, Dalles Hall).

Starting from the fragmentary character of the Romanian reality, the exhibition presented nine basic types: energies and potentials, public space, housing models (dream house), social segregation (gentrification as opposed to extreme poverty), environmental issues, monuments and heritage, the city, the village and, finally, the planning. Alternative approaches were also presented – democratic urban planning, responsible architecture, social projects – which try to balance global trends.

The Zeppelin team organized the 2004-2010 editions of the Bucharest Architecture Biennale, which travelled in 10 cities in the country later on, the competition-exhibitions of the most valuable Romanian works of architecture. During the 7 (2044-2011) years when the zeppelin team built the identity and the programme of the biennale, the number of entries in the competition, the visitors of exhibitions and the international exposure of the Romanian architecture production were constantly growing.

exhibition of Japanese contemporary architecture
8 November 2006 – 30 January 2007, National Museum of Contemporary Art, Bucharest

Sensai, the word providing the title of the exhibition, a typical Japanese concept which could be translated as beauty, delicacy, subtlety, sophistication. It means human touch, delicate approach, craftsmanship and is, in a way, opposed to technology and industrial elements.

exhibition of Japanese contemporary architecture
8 November 2006 – 8 January 2007, National Museum of Contemporary Art, Bucharest

The exhibition presented a particular way of relating to tradition, reflected by the current Japanese architecture. The continuity is not about the perpetuation of a “Japanese style”, but one could notice that Japanese architects are rather inclined to look for ideas, concepts, background at the bottom of traditional architecture, rather than typologies or models.

exhibition of contemporary Japanese architecture
curators: Cosmina Goagea and Atsuro Osada
16 June – 7 July 2005, National Museum of Contemporary Art, Bucharest

Three young architects under 40: Kumiko Inui – one of the most talented promising architects, Naoyuki Nagata – outstanding in house design and Tomio Mabuchi – a very discreet architect so far, member of an entreprenorial team with over 10,000 people.

screening of a film produced by Neutral ((UK)
15 and 16 September 2005, Revolution Square, Bucharest

An experimental film about the contemporary city seen as a global entity, creation of the British group, Neutral. Images shot in two different cities, London and Bombay, are combined, mixed or superimposed, common places are explored, placed in contradiction or highlighted, deliberately avoiding geographical sources and outlining a weird experience of modern living.

photography exhibition
1 – 16 September 2005, Mincu House, headquarters of the Romanian Order of Architects, Bucharest

Its photos, apparently colages or easily digitally completed special effects, are made with a 35 mm single-use camera, chap, easile changed, so that a a set of images, usually three, can be mixed up. By disconnecting the automatic mechanism adjusting the diaphragm and the movement of the film, Ferrary controls manually the exposure time and may connect between them the different perspectives, covering the already exposed film surface.