20 May 2011 > 21 August 2011

Nature/02 West 8

Nature/02 West 8

4 exhibitions/installations
01 Francesco Venezia 25 February-30 April 2011
02 West 8 20 May-21 August 2011
03 Campo Baeza 9 September-30 October 2011
04 UNStudio November 2011-January 2012
The cycle of exhibitions/installations through which MAXXI Architettura is exploring a diverse interpretation of the concept of monographic exhibitions is continuing.
A comparative method has been adopted to recount the most advanced strands of contemporary architecture and the different approaches and responses to the great themes characterising our era.? The four modest exhibitions with their agile theoretical and display configuration, staged in a strict temporal sequence in the same area of the museum but by different curators are to be seen as four distinct chapters in a single story, or rather a single overview of the complex geography of the contemporary architectural world.
Within the ambit of the individual installations, the four guest architects will on the one hand have the opportunity to create a specific space, capable of representing themselves and their relationship with the theme Nature and on the other to exhibit one or more of their projects with a focus on the theme.

The second chapter in the cycle is the exhibition by West 8, a group of Dutch architects, planners and landscape designers taking its name from a strong North Sea wind that in Rotterdam, the home of the group’s main studio, is together with the sea one of the most characterisic elements of the environmental context. Their designs in fact highlight man’s primordial need for contact with nature, albeit in the knowledge that nature is not necessarily better than the artificial.

West 8, Botanic Bridge Gwangju, 2001, Gwangju, South Korea

From the conversation between Adriaan Geuze with Alessandro d’Onofrio, published in the catalogue

For the exhibition design we were inspired by the unbelievable quality of the skylights in the museum. The Stolen Paradise underlines the pleasure provided by qualities of light, capturing and shaping that light with white transparent tree silhouettes, whose shadow and layers and gentle movement create an atmosphere that is really fantastic. Of course, these silhouettes together with the steel tree stumps in the courtyard literally state The Stolen Paradise paradigm. Above all, this installation is light, friendly and sensual – it is not grotesque.
For the presentation of our works we selected these projects because they all share a specific spirit of poetic narrative, and of recreated nature as a context for what we think of as humankind’s second nature. This will be made visible through abstract models of specific features of the projects, and cartoonish posters – like caricatures, or portraits of the projects.

Adriaan Geuze