Before I can relieve Venice from its old architecture, I will first have to relieve it of the master architects. Hence, the OMA Supercruise Ship, designed to cast anchor near the biennale and lure the architects onto a ship they will never return from. Once the cruise ship is full, it will disappear into the Bermuda Triangle of Idiosyncratic Design and never be heard of again, leaving us regular architects free to do as we please.
After tremendous success of House of Industry in Kiev, Leonidov was asked to build similar “idea-tanks” in other cites. Unfortunately, he wasn’t able to go though with the plan because of the war, however he did create collages imagining the future. This particular one was for Leningrad (aka St. Petersburg).
In 1921 Rochenko stated “I reduced painting to it’s logical conclusion and exhibited three canvases: red, blue and yellow. I affirmed: it’s all over.” He continued stabbing art with his collages however, Duchamp did one better he killed art with a fountain.
The Re-Con stage was designed to be viewed straight-on. Like Yamasaki with his monograph, it was arranged in a specific way to exhibit the argument. Similarly presentation drawings and models are often controlled to show the client exactly what the architect wants them to see. Here are a selection of images exploring the stage from views that the audience were never meant to see:
1. The Short-Section
In the short-section everything that can be seen front-on is obscured, obliterating the argument. A series of void spaces come to light. When viewed straight on the void is representing everything that the drawing board is obscuring (“Reality”). The image of this in the imagination is extremely powerful, making it quite surreal that in our immediate reality it is just a void space.
2. Plan View (the anti-yamasaki view)
The ruined plinths take centre stage. Yamasaki would not have liked us to see this one!
3. Window Cleaner View
Looking into the plinth it becomes immediately clear that we are on the plinth – in a sense the script plays backwards. The ruined buildings are not visible, but the disengagement between architecture and public (or Reality) is evident.