La Tour Eiffel – Paris is an old romantic man. Two things distinguish him as french: a baguette under the arm and a revolutionary spirit in the chest. A bit Bohemian, a bit Jacobin, but with one motto: liberté, egualité, fraternité. Like all men – or all lovers I should say – he has two weaknesses: absinth and women. But it is known that every Casanova has one true love. Paris’ everlasting one is a lanky old lady with an iron soul.
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Rolex Learning Centre. SANAA
photos: Jian Yong Khoo
The Rolex Learning Centre sprawls itself across a vast expanse of the EPFL campus, its striking undulations reminiscent of the nearby alps. The interior is a visual delight where artificial hills and valleys replace traditional partitions – prompting different kinds of occupation and spatial interactions.
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Palazzo del Lavoro – The building stood before us imposing and abandoned. A broken glass and multiple graffiti were evidence that many before us had violated its solitude. Right through a smashed window we penetrated into the concrete soul of the building. Here, an infinite space opened in front of us: a basilica of our time, a cathedral of architecture with no god or religion, a modern days’ ruin.
Architecture is art, and in art lies its completeness. In Central Saint Martins College of Art and Design, designed by Stanton Williams Architects, the two disciplines work one in function to the other. The building is like a Rubik’s cube in which all faces have the same colour: the solutions are endless and they all work.
Parrish Art Museum, designed by Herzog & de Meuron sits in isolation among the meadows – its crisp simple form stands in contrast to the surrounding natural landscape.
When the Milanese gallerist Massimo De Carlo gets taped on the wall and morphs into the artwork… are we human or are we art?