One more example is the adiglione del iappone by Tadao Ando for Seville Expo, a big canopy whose provisional essence is revealed by the realization process from set-up through dismantlement to reconstruction. The frame canopies of the erman a ilion at ontreal orld xpo by Frei Otto as well as the later project at London Serpentine aller by Zaha Hadid seem to revive the tent icon like the concrete shell of Brussels adiglione ilip by Le Cor- busier.
Far from the manifesto intentions recognizable in the project for the prit No - ea at Paris World Expo in , Brussels Pavilion is a multidisciplinary work involving the musician and mathematician annis ena is, the film director hilippe gostini, and the composer Edgar Varese. A hypertechnological object whose space becomes a hypertextual environment of acoustic-visual experience, a cocooning theatre of sounds and lights.
The stereometric volumes show sense of measure and classicism without veering into eoclassical affectation in spite of the clear cut linearit characterizing the surfaces. Many examples of Pavilions conceived as classical monuments have appeared down the centuries, from the trian a ilion osef offmann at ologne er nd to the more recent ort gal a ilion by Alvaro Siza at Lisbon Expo From Art Space to Technological Temporary Installation Due to its ephemeral essence the Pavilion is a peculiar and atypical structure in the realm of architecture that, tending to satisfy its everlasting intimate need to defy time, adopts it as a space for incessant experimentation and regeneration.
With its innate provisional essence it is the concretization of an idea which is still in-em- bryo t o g t. From this standpoint it can be seen as an acid test ith a ver strong s m olic signifi- cance.
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Besides, the fast realization of Pavilions and stands turns the ephemeral dimension into aesthetical category facilitating the comprehension of the installation-art-architecture nexus in which art, as Germano Celant  says, becomes not only fading out vision but also medium between space and object. The latter one should be exhibited rather than represented.
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The Pavilion synthesizes the ambivalence between architecture and art as well as their controversial relation. Therefore, on one hand exhibition spaces and muse- ums invite to re ect hile on the other hand the sho an eternal con ict stirring intense debate as evident in the works of many artists and architects. Ghery, Cesar Pelli at the symposium on the Relation ip et een rt and rc itect re in Santa Monica , mark a radical change going beyond the pictorial aspects towards a symbiosis with the architectural shell.
With those words Daniel Buren starts the same process of spatial dynamism of art as the one in Neoplasticist view opting for art and architecture blend in lan. On the other hand Donald Judd in the text Speci c ect dated stated that the painted surface has an illusionistic nature and drives to make simple tridimensional objects organized in modular and spatial sequences.
Also Jannis Kounellis moves beyond the bidimensional boundaries around space rethink- ing oors, alls, and indo as if the ere t eatrical ca itie while Graham builds two pavilions for Kassel oc menta 7 setting two glass cubes in a wood as outdoor provisional shelters. In Concetti Spa iali Spatial Concepts by Lucio Fontana, the canvas expands from its symmetric box-like dimension experiencing a dynamic and multidirectional development clearly visible in his m ienti Spa iali Spatial Environments , including the one for Milan Triennale where a muddle of metre neon lamp encloses a visitable space, and m iente o ale ianco Oval White Environment for Venice iennale on which Carlo Scarpa worked too.
Surely the contribution made by Claes Oldenburg and Robert Venturi, whose views postulates a relation between mass sensitivity and the object as a consumeristic product on city scale, must be kept into account. Complex- it and Contradiction in rc itect re and earning rom a Vega highlight the pop aspect: ev- eryday life icon enters the architectural culture world.
Architecture has increasingly lost interest in matter until today production opting for per- ishable ort li ed o ect , such as billboards in our cities, suggesting a sense of degrad- ability. Therefore, the design is absolutely temporary in a negative perspective.
The Teatro del mondo heatre of the orld ldo ossi seems unaffected this fashion, being an enigmatic and mesmerizing object and interpreting the ephemeral dimension not so much as a result of performative action as rather the celebration of a dumb classicism. The excess of shape dissolves in a more fuzzy and mutable nature. Croatia a ilion for Venice iennale in features the same space design.
Built on an existing barge by assembling forty layers of overlapping arc-welded net sheets it forms a solid he different shapes of the levels generate e hi it spaces as gaps in the muddle of lines that, invisible from a distance, can be increasingly made out unvealing their varied density, transparencies, and perspective directrices with unusual and unexpected visual and spatial effects In the latest world expositions the strong intention to realize mesmerizing structures is consistent with the concept of architectural works as shells with a relational and commu- nicative function.
The project drawn up by the Dutch architects MVRDV envisages a big technological struc- ture with a lake and an island, a cutting-edge system of windmills for power production; a theater—auditorium protected from air by water walls connected to the system to collect rain ater a forest of t elve metre trees and a garden on the ground oor Unlikely , the pavilion designed by Shigeru Ban in Hannover is made of cardboard tubes and fabric strings and with its three domes is the biggest recycled paper structure Conceived more as emblem of the nation than exhibition space, it is an example of rep- resentativity through traction, the tectonic essentiality.
A U-shaped enclosure includes the oating void under a roof he horizontal plane slightl elevated sho s a composition of horizontal and vertical planes, hich are either transparent, or opaque and re ective in a projection game with the eight cruciform columns like in a classical peristyle starting a dynamic interaction between tectonic meaning and abstract form.
It seems as if the pillar does not hold the roof; two intersected planes are adjacent to the horizontal plane of the hovering roof which hides any beams and framework. Outdoors are the Ro- man travertine oor and ac ground, the olive green mar le rapping the court, the rectangular black-clad pool; indoors, a grey crystal screen, double partition of laminated glass and onyx slab, transparent green diaphragm in the atrium.
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A plane protrudes under the roof conquering the void to penetrate the square nucleus on the left that is generated by freely spaced planes too. The ephemeral condition did not jeopardize the eternal value of the German Pavilion in the history of architecture.
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In fact each form derives from its own possibility of application and the construction process for which each material is suitable. Reproducing a tac o ood, here consisting of an assembly of Scottish pine and larch, Zumthor bestows on the material, with its vivid and mutable nature, a strong expressive potential. The space is organized round an outdoor pathway by means of a system of septums realized as a seamless system of wooden beams with the same shape, superimposed and alternating with strips. Like in a music score the parallel walls delimit narrow corridors forming a minimal maze meant to interact with the visitors.
A matter-of-fact approach to construction is shown by the accurate use of materials as well as the suitability to the place and use of the Pavilion that is completely recyclable and ready to be dismantled at the end of the exhibition. Wood, fabric, and sand accompany the visitors through up-and-over doors along multiple routes to the garden.
The theme of the enclosure intertwines with sensory perceptions and emotions emphasizing their own role in the experience of architecture. The space for contemplation seems to be unveiled to the visitors going from the dark, ab- stract, and gloom interior to the garden ith its glo of light and o ers, magic place for a slowdown, a break, a pause in daily routine. Gregory, Teorie di arc itett ra contem- poranea, Carrocci editore, Rome Loos, a rin ip der e leid g, Related Papers.
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