DETAILSARCHITECTURESEEN IN SECTION the

formwork

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DETAILS. Architecture seen in sectionwww.detailsinsection.org

A PROJECT BYMarco Pogacnik, DACC, Università IUAV di Venezia

SCIENTIFIC CURATORSMarco Pogacnik, Università IUAV di VeneziaOrsina Simona Pierini, DAStU, Politecnico di Milano

RESEARCH TEAMMarco Pogacnik, Università IUAV di VeneziaOrsina Simona Pierini, DAStU, Politecnico di Milano Andrea Ambroso, Università IUAV di VeneziaAlberto Franchini, Università IUAV di VeneziaMauro Sullam, DAStU, Politecnico di Milano 

GRAPHIC DESIGN & WEBSITE: Mauro SullamVIDEO: Stefano Zara, Valeria Cusinato 

CONTRIBUTORSDaniel Battistella, Pieve di CadoreMarco Capitanio, Zürich/TokyoFrancesca Castanò, IDeAS II, Università degli Studi di NapoliSofia Colabella, co-founder of Gridshell.it, Università degli Studi di NapoliEdoarda De Ponti, Studio GardellaRaphaël Fabbri, ENSA Paris-BellevilleGuy Lambert, IPRAUS, ENSA Paris-BellevilleMarianna Nigra, Politecnico di TorinoVictor Olmos, ETSAM, Universidad Politécnica de MadridAlberto Pugnale, University of MelbourneManuel Santin e Fabio Minello, Permasteelisa GroupLuka Skansi, University of RijekaAnnalisa Viati, AAM Mendrisio

“THE FORMWORK” is an association established by professors and PhD candidates with diverse academic backgrounds (history, architectural design, technology, preservation) working at the IUAV University in Venice and at Milan Politecnico. Through the exhibition Details. Architecture seen in section, the association aims to promote a collective project dedicated to the architectural detail.

/ A PROJECT BY: THE FORMWORK CULTURAL ASSOCIATION

The Formwork. Cultural associationCannaregio 638, 30121 Venezia.

info@theformwork.orgwww.theformwork.org

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The “Details” research

4 The project4 The exhibition

4 Online atlas

The exhibition

6 Exhibits 6 8 Assembly system

10 Past exhibtions and events12 Agreement for the hosting institution

Cost of the exhibition

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THE “DETAILS” RESEARCH

The research stems from different sources, ranging from history of art (see the seminal book by Daniel Arasse, Le Détail, 1992) to architectural theory (Edward Ford, The Architectural Detail, 2011). Within the context of visual studies, the project investigates, through a series of case-studies, the notion of detail in order to unravel its double significance, which is at the same time constructive and formal-expressive.The research analyses examples from post-WWII architecture, with a specific focus on the transformations occurred after the introduction of new forms of construction (the frame) and new building materials (reinforced concrete, steel, glass). For example, the wall is considered in the progressive loss of its monolithic substance, and therefore of its static and physical structure, which can only be understood by means of

a section; a section revealed by the classical tectonic sequence – base, building envelope and eaves/roof.The research project aims to demonstrate that a section can provide crucial insight into the complexity of the architectural artefact, since it allows the simultaneous perception of materiality and form, of building envelope and interior spaces. From this point of view, the section acquires an iconic character.Rather than analysing each element of the architectural vocabulary (e.g. door, window, roof ) as a separate and absolute object, the exhibition tries to focus on the interplay between them: how is the façade joined with the roof, how is the window inserted into the wall? The focus on details emphasises the relationship between different architectural elements and investigates the links between architectural composition and tectonic syntax.

/ THE PROJECT

The emblematic character of the section is highlighted through a series of panels, divided into three major thematic groups: Elements, Masters and Offices.The first group of panels illustrates examples by taking a historical outlook on works by great masters (Mies, Perret, Scarpa, De La Sota, Utzon, etc.);The second group of panels outlines the theoretical framework of our research. The detail is represented in its different expressive instances: the detail as decoration, as punctum, as joint/Junktur and as a no-detail. Depending on the compositional strategies deployed by the architect, the detail can result in different expressive

outcomes: it can be isolated (punctum), it can be a part of a wider structural system (joint, Junktur), it can be reduced to a minimum until it disappears (no-detail) or it can be emphasized in its expressive nature, thus becoming mere decoration.The third group consists of about 60 panels dedicated to a single contemporary architect or architectural firm asked to make a statement about their conception and usage of detail in their professional activity. The exhibits also include videos and a booklet which contains a broader selection of drawings.

/ THE EXHIBITION

/ ONLINE ATLAS : WWW.DETAILSINSECTION.ORGOur website provides updates on our future events and offers a large database with an online atlas of panels, publications and videos. The online atlas, organised into the same three categories as the exhibition – ELEMENTS AND ISSUES, MASTERS and CONTEMPORARY ARCHITECTS

– has been designed as a virtual archive. Each panel is provided in low-resolution together with its written contents in plain text format. All the essays and articles that we have published about the subject are available in the “Publications” section.

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THE “DETAILS” RESEARCH

The design of the base, the positions of string cour-ses, the handling of the building corner, the crowning cornice are all elements that structure our perception of a building. “Man sees architecture with his eyes that are 170 cm from the ground.” We cannot consi-der other aims than those which can be made con-crete in images and these images should materialize in a specific place and under a true sky.

Traditional design composition and proportioning rules have lost their founding value in the course of the 20th century. The facade, intended as the main plane defining the location of the building in relation to the observer, has been gradually missed. Well be-fore the development of parametric design, the intro-duction of complex geometries such as paraboloids, induced Xenakis to see in the Philips Pavilion the en-sign of a new kind of architecture. No longer volumes shaped by intersecting planes but rather the prolife-ration of logarithmic functions.

However the building silhouette, the line separating it from the emptiness of the sky, remains a composi-tional theme that human eye can hardly relinquish. The architecture of the late 20th century provides us with an extensive evidence of this. From the Greek design of the cornice crowning Farnsworth House to the buildings of Elwood where an I-beam is used as crowning cornice, building base and pillar, thus for-ming a frame which is unconcerned with the old rules of a building having top, bottom, front and rear. The roof slope does not emerge on the facade, not even in the contracted form of rain gutter; the plasticity of the cornice becomes the void between the two wings of the I-beam. The non-tectonic choice of Elwood be-comes a barbarism confirmed by the crude corner so-lution.

The elegant, mannerist cornice by Vacchini, located 20 meters above the ground, as well as the original frieze by Herzog & de Meuron are - next to no-detail - other possible variations of a theme full of unpredic-table developments.

The CorniceElements

Cristian Visintin Richard Levene (ed.), El Croquis n. 84, 1997

Herzog & De Meuron, Ricola StorageLaufen (Switzerland), 1986-87

0

The building in Laufen has a very specific function: storing Ricola’s herbal pastilles. Herzog & de Meuron made a building envelope for the large metal storage container to protect the pastilles from the sub-stantial variations in temperature in the Swiss Jura.The architecture is a large and simple rectangular volume placed next to a rock formation, the building is a remnant of an old quarry. Their approach, our perception changed and the building is revealed laye-red in many parts, with every element structurally placed and follo-wing their attribute as industrial elements. Close inspection continued to instigate human senses and the structural weaving of wood planks progressed in proportion from bottom to top, emphasizing the idea of visual compression.

scale 1:5

25 cm

The aim of Macconi project, that is a commercial building, is particu-larly concentrated in the pursuit of formal definition of the elements in view that make visible the outer steel frame. They are visible in addi-tion to the closures themselves, also the structures as key elements of the overall architectural design. Together, closures and structures, im-plement a dimensional warp articulated by horizontal and vertical lines that reveal (as aesthetic qualification) the technical implications of the production and assembly of each component. The technical knowledge become “the mean that makes possible the formation of the project idea.” The technique becomes the element that structures the creative act.

Roberto Masiero, Livio Vacchini: opere e progetti, 1999Ruben Camponogara

Livio Vacchini, Macconi buildingLugano (Switzerland), 1975

green granite board

0 25 cm

+4,20

+0,20

scale 1:5

office

shop

storage

Craig Ellwood, Rosen HouseBrentwood, Los Angeles (USA), 1961-63

The house, which is near Los Angeles, is intended for a family of five. the bedrooms, bathrooms and areas of greatest privacy are set away from the entrance along the west wall. The generous living areas are arranged on the other three sides. Flanking one side is a swimming pool and a garage. But this is subordinate to the house; it is sunken. The house itself is a study in symmetry and formal geometry. The plan is four square. It is divided into nine lesser squares, each made up of eight modules of 3ft 4in, with the centre one left open as an atrium. Stair-ways from the garden, placed in the centre of each of the facades, like that in the main entrance facade, serve to emphasize this focus on the void that lies at the centre. Absolutely, the architecture has been con-trived to skirt and flank and hover above the nature that is around it.

flashing roofing

acoustical plaster

aluminium stopmasonite panel

charcoal ceramic bricks

4.5

17.5

8.3

307.

65

7.6

30

15

Federico Munaretto Architectural Digest, marzo, 1965

0 50cm25cm

scale 1:5

residence

290

inte

rnal

hei

ght

34.

521

.58

1.5

38.5

7.5

51

525

51.5

5.5

1.5

20

ceiling assemblage hanger

plies of felt roofing

ply vapor seal membrane

cork board

curtain track

travertine floor slabmortar bed

L. Mies van der Rohe, Farnsworth HousePlano, Illinois (USA), 1951

0 25 cm

open space

scale 1:5

Thomas Da Rios Lohan Dirk (ed.), GA detail: Mies van der Rohe, Farnsworth House, 2000

The Farnsworth House is one of the most significant project of Ludwig Mies van der Rohe. Equal in importance to monuments, this house is perhaps the fullest expression of modernist ideals and it embodies the aesthetic culmination in architect’s experiment with this type of buil-ding. Every physical element has been distilled to its irreducible essence and objects have been virtually abolished in a puritanical vision of sim-plified result of thirty years of work. The house represents the ultimate refinement of architect’s minimalist expression of structure and space, raised above the ground, is composed of three strong, horizontal steel forms - terrace, floor and roof - attached to attenuated, steel flange columns. The building is enclosed by great panes of glass that redefine character of the boundary between shelter and that which is outside.

fiber cement plate

galvanium platet=1.2 SOP

steel angle: 100x75

soft�t: silica calcium board t10

19.8

150450

2640

20402040

100

200

155 147

340

1/100

glued cha� sheet t20

asphalt coating

crushed stone　

plywood t24

silica calcium board t8

asphalt rou�ng

external cladding:tu� stone (re-use of exhisting material)

steel plate t =6　

hollow section

polycarbonate sheet t40

3020

383.

2

5040

Max.CH

=2721

100 10020 20

302

170

bonderized steel sheet t=1.6

gravel

mirror-�nishing RC

structural plywood t=12

calcium silicate sheet t=8x2

downpipe:SUS HLφ105

galvannealed drift pin:St φ10x60

galvannealed plate:St 9x55x274

galvannealed base plate:St 16x80x160

Shrinkage-compensating mortar

100

250

500500

20

180

608

8

607090

190

274

�oat glass t4

2020

12

Cidori-Goshi

80

530

7070

40

6416

30

30 30

2016

2013

030

roof: galvalume steel sheett=0.4

roof: galvalume steel sheet

t=0.4

wooden louver:

joinery ceder

t=15~90/w300

double glazing

Low-E glass

steel panel

louver door

louver door

silica calcium board t=12

367

300

Conference Room

ConferenceRoom

MachineSpace

terrace meeting room

handrail:galvanized steel �at bar 12x40

1100

1567.2

500

1733.2

194

300

300

300

shop

cork �ooring t40structural plywood t12glass wool 24ksound insulation�oor panel 16

fancy plywood 60x180

232

65

45

607070

2270

180

180

250

382

900

70

70.2

234

200

60

98

650.9

170

100.1

209

216 214

235

42.4

We want to create a façade that feels like animal skin. The skin of living things has thickness. The thickness balances environmental differences between the inside and the outside of the body. And this thickness is gained from accumulated layers. In my view, façade of architecture can be thick with the existence of layers, therefore must be much thicker and more stratified. Accumulated layers show that the exterior changes gradually towards the interior – outdoor to indoor.By being layered, the skin could become a structure to support architecture. The skin of sea cucumber is a great reference for this. Their bone is not located at the center of the body. It is broken into pieces and tucked into the skin. In my design also, bone is often scattered into the skin and the two elements are indistinguishable. As the result, such skin with thickness becomes soft and warm. Stroking it is so relaxing – like when you caress your sweetheart.

This is architecture that originates from the system of Cidori, an old Japanese toy. Cidori is an assembly of wood sticks with joints having unique shape, which can be extended merely by twisting the sticks, without any nails or metal fittings. The tradition of this toy has been passed on in Hida Takayama, a small town in a mountain, where many skilled craftsmen still exist. Cidori has a wood 12 mm square as its element, which for this building was transformed into different sizes. Parts are 60mm×60mm×200cm or 60mm×60mm×400cm, and form a grid of 50cm square. This cubic grid also becomes the grid on its own for the showcase in the museum. Jun Sato, structural engineer for the project, conducted a compressive and flexure test to check the strength of this system, and verified that even the device of a toy could be adapted to ‘big’ buildings. This architecture shows the possibility of creating a universe by combining small units like toys with your own hands. We worked on the project in the hope that the era of machine-made architectures would be over, and human beings would build them again by themselves.

In the corner premise of just 326m2 across Kaminari-mon Gate, the building was required to accommodate plural programs such as tourist information center, conference room, multi-purpose hall and an exhibition space. The center extends Asakusa’s lively neighborhood vertically and piles up roofs that wrap different activities underneath, creating a “new section” which had not existed in conventional layered architecture. Equipments are stored in the diagonally shaped spaces born between the roof and the floor, and by this treatment we could secure large air volume despite its just average height for high-and medium-rise buildings. Furthermore, the roofs not only divide the structure into 8 one-storied houses but also determine the role of each floor. First and second floor has an atrium and in-door stairs, creating a sequence from which you can feel the slope of the two roofs. On 6th floor, taking advantage of the slanted roof, we were able to set up a terraced floor with which the entire room can function as a theater. As angles of the roofs inclined toward Kaminari-mon and the heights from the ground vary from floor to floor, each floor relates differently to the outside, giving a unique character to each space.

This shop, specialized in selling pineapple cake (popular sweet in Tai-wan), is in the shape of a bamboo basket. It is built on a joint system called “Jiigoku-Gumi,” traditional method used in Japanese wooden architecture (often observed in Shoji: vertical and cross pieces in the same width are entwined in each other to form a muntin grid). Nor-mally the two pieces intersect in two dimensions, but here they are combined in 30 degrees in 3 dimensions (or in cubic), which came into a structure like a cloud. With this idea, the section size of each wood piece was reduced to as thin as 60mm×60mm. As the building is lo-cated in middle of the residential area in Aoyama, we wanted to give some soft and subtle atmosphere to it, which is completely different from a concrete box. We expect that the street and the architecture could be in good chemistry

A project to create a new station plaza that would play a leading role in the community activities, centered round an old storehouse, an Oya stone masonry, which was to be preserved.Debris of Oya stone from the storehouse are reused and combined with steel plates arranged diagonally in order to create attempts to achieve transparency by making the most of the material’s texture.

Kengo Kuma & AssociatesExterior Wall with Thickness

Sunny Hills OmotesandoTokyo (J) 2013

Asakusa Culture Tourist Information CenterTokyo (J) 2012

GC Prostho Museum Research CenterAichi (J) 2010

Chokkura PlazaTochigi (J) 2006

ELEMENTS

& ISSUES

MASTERS

CONTEMPORARY

ARCHITECTS

The narrow building is developed in height, expressing the verticality through slits in the apartment plans layout and in the choice of narrow vertical windows.The wooden window frames span from floor to ceiling and are divided in three parts with a fixed one at the bottom. On the exterior there is a sliding shutter system.Windows, inserted between the roof beams, illuminate the attic. The ventilation of closets and cellar is obtained by inserting perforated elements in the exterior cladding. Exterior walls are clad with square brown clinker tiles.The building has roof beams placed transversely and tied by a waterproofed reinforced concrete slab.

The idea of stacking villas on each floor is strongly expressed by the horizontal slabs that run on the garden façade. On every floor the recessed windows and two bow-windows made of steel are not vertically aligned and express the different interior structure of the flats, two on each floor. The penthouse flats have two levels, with the upper one lit from terraces carved from the inclined roof. The walls are clad with clinker tiles where waterproofing is needed otherwise by rose colored plaster. Metal balustrades are fixed to the terraces’ stone floor where the eaves flashing system collects the water to the two rain pipes, marking the edges of the main front. The image of the full length sloping roof retains the freedom of movement expressed in the front toward the garden.

Ignazio GardellaEdges & mouldings

Between 1947 and 1953, Ignazio Gardella realized a series of residential buildings, where the crowning theme is expressed through variations on forms, elements and construction details. The house for Borsalino’s employees in Alessandria, the Tognella House, also known as “Casa al Parco” and the house in Via Marchiondi in Milan, present three alternative solutions to the parting of building and sky.

The Borsalino House is a flat roofed building accentuating its rationalist character but presenting also a deep shadow at the roof edge which recalls a classical cornice overhang; on the contrary the building edge of the Tognella House is attenuated and hovering in the air: the result is the famous and delicate “halo”, recently lost in the renovation of the building. In the case of the House in Via Marchiondi, the modern flat roof is definitely abandoned in favor of a more ancient pitched one, although modeled by loggias and terraces that accentuate the freedom of the internal spaces. The expressive power of the building arises from the opposition between “heavy” and “light”: cantilevered floor slabs project southwards towards the garden from the rear part of the building clad in clinker, they are horizontal lines above which the window frames keep their own rhythm. The lightness of the façade contrasts with the heavier mass of the volume behind, this is obtained by working on the type of moulding that completes the slab edges; this details is both a technical element enclosing the gutter as well as visually diminishing the thickness of the slab.

In the Padiglione di Arte Contemporanea Gardella carries the same idea into a public building: the sequence of spaces, compressed in the interior and expanding towards the garden, is expressed by a separate element which defines the edge, creating a heavy shadow contrasting the flatness and the baldness of the façade.

Orsina Simona Pierini with Mauro Sullam, Teodora Yordanova and Lorenzo Micucci.

PAC (Gallery of Contemporary Art)Milano (IT), 1951-1953

The Gallery is formed by one main volume which hosts three different spaces, articulated by the changes of the floor levels and by an integrated system of skylights. On the garden façade, the glazing has been inserted between the columns and protective iron grates can roll in front of the windows with a counterweight system. The facade is externally clad with glazed ceramic tiles in a plum color. The building is characterized by a steel frame and wired glass slabs, underneath which horizontal double-layer aluminum slats modulate the light in the space below.

Residential Building in Via MarchiondiMilano (IT), 1951-1953

House for the Borsalino’s employeesAlessandria (IT), 1950-1952

0

0 00

scale 1:20

scale 1:20 scale 1:20scale 1:50

100cm

100cm 100cm250cm

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THE EXHIBITION

// BOARDS: ELEMENTS & ISSUES

The corniceString courses and mouldingsThe claddingThe glass skinThe curtain wallTimber constructionItaly after World War II – Part IItaly after World War II – Part IIItaly after World War II – Part IIIItalian Alpine ArchitectureThe use of precast concrete as structure and skinUltra High Performance Fibre-Reinforced Concrete

// BOARDS: MASTERS

Ignazio Gardella – Edges & mouldingsSteven Holl Architects + Guy Nordenson & Associates – About hollows and gridsToyo Ito – Architecture, Structure, MaterialMies van der Rohe – Corner and mullion solutionsMies van der Rohe – Tugendhat house, Brno, 1928-30Luigi Moretti and the ColumnAuguste Perret – Structure and claddingsSANAA – The Detail and the LegislationFrancisco Javier Sáenz de Oíza – Banco de Bilbao, Ma-dridCarlo Scarpa – Technique and AntiquityAlejandro de la Sota – Gimnasio Maravillas, MadridJørn Utzon, Sydney Opera House – The Tile and the Glass FacadeMarco Zanuso – 6 pillars / part IMarco Zanuso – 6 pillars / part II

// BOARDS: CONTEMPORARY OFFICES

Wiel Arets Architects, Amsterdam/Maastricht/ZürichARTEC Architekten - Bettina Götz and Richard Manahl, WienBarkow Leibinger, BerlinGiulio Barazzetta + SBG Architetti, MilanoBevk Perovic arhitekti, LjubljanaBruno Fioretti Marquez Architekten, BerlinBurkhalter Sumi Architekten, Zürich

/ EXHIBITS

C+S Architects, VeneziaAntonio Citterio Patricia Viel and Partners, MilanoConzett Bronzini Gartmann, ChurHermann Czech, WienElasticospa+3, Chieri/BudoiaPascal Flammer, BalsthalMassimo Fortis e Simona Pierini, MilanoGigon-Guyer Architekten, ZürichGrafton Architects, DublinHC, ShanghaiEstudio Herreros, MadridHild und K Architekten, MünchenKahlfeldt Architekten, BerlinKokaistudios, ShanghaiKengo Kuma and Associates, TokyoLabics, RomaLAN, ParisLaps Architecture, ParisLinazasoro & Sánchez Arquitectura, MadridLudloff+Ludloff Architekten, BerlinPeter Märkli, ZürichDick van Gameren - Mecanoo, DelftMiller & Maranta, BaselNavarro Baldeweg Asociados, MadridOAB, BarcelonaOBR, Milano/Genova/London/MumbaiPark Associati, MilanoDominique Perrault Architecture, ParisPériphériques - Marin+Trottin+Jumeau, ParisEstudio Carme Pinós, BarcelonaBoris Podrecca Architekten, WienRiegler Riewe Architekten, GrazSAM Architekten, ZürichBrigitte Shim + Howard Sutcliffe, TorontoWerner Sobek, StuttgartStaufer+Hasler, FrauenfeldStoffel Schneider Architekten, Zürich/WeinfeldenTakaharu + Yui Tezuka Architects, TokyoEmilio Tuñón Architects, MadridStudio Valle architetti associati, UdineWalt + Galmarini, ZürichWitherford Watson Mann Architects, LondonCZA Cino Zucchi Architetti, Milano

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// BOOKLET

This section contains interviews made by the curators to contemporary architects (among others to Toyo Ito and Kengo Kuma). The interviews focus on the role that these architects attribute to details in their projects.

// VIDEOS

The booklet contains a selection of the details chosen by contemporary architects and masters featured in the panels, drawn by students from Iuav and PoliMi. The details are printed in a large format, which allows to feature 1:10-1:20 scale reproductions (panel scale). During the time of the exhibition, the booklet provides a useful tool for students and researchers who want to focus on the construction and redraw the sections presented.

THE EXHIBITION

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/ ASSEMBLY SYSTEM

The panels are provided with a fixing system already tested in the previous exhibitions. Panels are fixed to the ceiling and can be placed against a wall (PHOTO 1) or suspended (PHOTO 2).The fixing system is made up of 2 wood listels (horizontal current: section 3 x 1,5 cm, length 200 cm) to stiff horizontally the forex panels (thickness 3 mm) and of two ropes passing through the listels.The listels are fixed to the panels with little pieces of double-sided tape and 4 metal clips (width 50 mm) (PHOTO 3) and the two ropes can be anchored directly to the ceiling with the aid of some hooks, clamps or rings (PHOTO 2) or to an already existing hanging system (PHOTO 3 - 4).The panels can be hung in 4 ways: on the wall or in the space, on a single row or superimposed. Depending on the characteristics of the space and the scientific program, it is possible to choose the panels for the exhibition among the following 3 groups: offices (51 panels), masters (14 panels) and elements (12 panels). As a whole we have 77 panels (possibly more in the future), all of the same size: 107 X 213,5 cm. All panels and pictures from previous exhibitions can be viewed on our website.

THE EXHIBITION

// DESCRIPTION

1

2

3

4

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THE EXHIBITION

// ASSEMBLY POSSIBILITIES

A TITLE AND SUBTITLE / B STATEMENT / C SECTION SCALED 1:10 OR 1:20 / D PROJECT DESCRIPTION + PHOTOS

A

B

C

D

213,5 cm

107

cm

// BOARD EXAMPLE

A PANEL / B 2 X WOOD LISTELS / C 4 X CLIPS / D 2 X ROPES

AB

D

ON THE WALL IN THE SPACE

C

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/ PAST EXHIBITIONS AND EVENTS

VENICE 8-10 JULY 2014EXHIBITION AT BIENNALE SESSIONS

VENICE 24 NOV. - 12 DEC. 2014EXHIBITION AT IUAV UNIVERSITY

Closing seminar with:Prof. Arch. Pierre Alain Croset

Arch. Francesco Pagliari, “The Plan”Ing. Olindo de Luca, Permasteelisa

Opening seminar with:Prof. Arch. Donatella FiorettiProf. Arch. Christian Sumi

Arch. Pietro ValleArch. Marianna NigraManuel Santin e Fabio Minello

THE EXHIBITIONTHE EXHIBITION

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THE EXHIBITION

MILAN 24 NOV. - 12 DEC. 2014EXHIBITION AT POLITECNICO

PARIS 5-27 NOVEMBER 2015EXHIBITION ENSA BELLEVILLE

Opening lectures with:Prof. Arch. Yvonne Farrell

Prof. Arch. Peter MärkliChristian Schittich, “Detail”

Opening lecture with:Prof. Françoise Fromonot

Prof. Arch. Frank BarkowProf. Orsina Simona Pierini

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/ AGREEMENT FOR THE HOSTING INSTITUTION

THE EXHIBITION

The exhibition Details. Architecture seen in section is property of IUAV University of Venice and the association “THE FORMWORK” is responsible for the correct use and preservation of all its materials. The association makes available all the necessary materials for the exhibition Details. Architecture seen in section: a selection of panels, the hanging system, videos and explanation boards. The hanging and dismantling of the exhibition will take place under the supervision of the assistants of the DETAILS team.

The concept, the selection of panels, the layout of the exhibition, the didactic and cultural programs (seminars, lectures, etc) will be scheduled together with the hosting institution and the scientific curators.

Borrowed materials (digital data, videos, prints, etc.) cannot be used for other purposes and in other contexts, except for the planned exhibition, without the authorization of the scientific curators.

The panels of the exhibition have to be returned in the original state and should therefore not be perforated, cut, modified or damaged. In case of damage, the cost of reprinting will be charged to the hosting institution.

The amount charged by the hosting institution includes:1. Delivery inside Europe of the exhibition materials from and back to Venice. The delivery includes two wooden boxes 120 cm x 230 cm x 50 cm for a total weight of 130 kg per box;2. Travel and accommodation for the people assisting the hanging and dismantling of the exhibition;3. The cost of additional panels (didactic panels, etc.). These new panels will integrate the exhibition and will be property of Venice IUAV University;4. graphic design for flyers and posters provided by “THE FORMWORK”;5. Insurance coverage.

The hosting Institution will provide a logistic support for all the phases of mounting, including a team of 6 students and all necessary tools (ladder, electricity, drill, etc,).

The scientific curators of the project, Prof. Marco Pogacnik and prof. Orsina Simona Pierini are invited for the opening of the exhibition. Their travel expenses, accommodations and meals will be refunded by the hosting institution.