Naomi Shibata (Editor)

Born in 1975 in Nagoya, Japan. Naomi Shibata is an editor. After graduating from Musashino Art University’s Department of Architecture, she joined the editorial team of architecture magazine A+U from 1999 to 2006. From 2006 to 2007, she worked at thonik, a graphic design office based in the Netherlands, through the Ministry of Cultural Affairs’ Program of Overseas Study for Upcoming Artists. Since then, she has worked on editorial design and curation both inside and outside of Japan. From 2010 to 2015, she managed communications for Sendai School of Design (a joint partnership between Tohoku University and City of Sendai). She also served as Assistant Curator for Aichi Triennale 2013. In 2015, she completed a research residency on exhibition facilities in relation to architecture at the Cité internationale des arts. She served as Exhibition Coordinator for YKK AP’s Windowology 10th Anniversary Exhibition: The World Through the Window in 2017.
www.naomishibata.com

September 7, 2018

Looking at Freespace through the Windows, Part 1

The 16th Venice Architecture Biennale is currently open from Saturday, May 26 to Sunday, November 25, 2018 in Venice, Italy. Appointed Directors Yvonne Farrell and Shelley McNamara, who head Grafton Architects based in Dublin, Ireland, selected Freespace as its overarching theme.

Grafton Architects have designed many buildings of a highly public nature, starting with university facilities such as Universita Luigi Bocconiʼs School of Economics, UTEC Limaʼs university campus, and Université Toulouse 1 Capitoleʼs School of Economics, which is currently under construction. They won the Silver Lion at the 13th Venice Architecture Biennale for Architecture as New Geography, which exhibited a practice viewing architecture as a “built geography” that takes part in restructuring the landscape, and centers on dialogues with geographical and cultural characteristics particular to the site as their starting points.

For the Biennale, they hope to unravel the diversity, specificity, and trends within architecture by having the national pavilions and participating architects present their own ideas on Freespace.

Of the many exhibited projects, we will introduce works related to windows; perhaps the national pavilions or exhibits themselves can be thought of as windows into their respective “freespaces.”

 

Central Pavilion

As the title The facade is the window to the soul of architecture indicates, the central pavilion presents an antithesis to the fact that the facade has long been excluded from architectural discourse. It is a statement that rings all the more true when backed by Caruso St John Architectsʼ years of experience. Elevations of their architectural work, as well as photographs of facades that have influenced the architects (Photo by Philip Heckhausen), are displayed one above another on the wall. The exhibition gives a glimpse into Caruso St John Architectsʼ beliefs and architectural methodology, which pay respect to history and arrive at designs that blend with the existing surrounding architecture.

For example, an elevation of Newport Street Gallery, which was completed in London in 2015 and is known as the gallery where artist Damien Hirst displays his personal art collection, is shown above photographs of Via Daniele Manin in Milan and Newport Street in London. At Newport Street Gallery, two newly constructed contemporary buildings at either end flank three Victorian buildings that were built as carpentry and scenery workshops in 1913, during the golden age of theatre. These new buildings are also made with a hard, pale red brick that characterizes Victorian architecture (1837-1901) and connects the facades together. The five buildings maintain both their unique qualities and similarities, and together they create a striking impression as a city block.

The architecture of Victorian warehouses (1837 – 1901) also symbolizes the height of the UKʼs economic development during the Industrial Revolution; Caruso St John Architects says, “Good buildings…can accommodate new uses over time, and while programme can be fleeting, it is the physical presence and the image of these buildings that underpin the formation of great cities..”