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RICHARD ROGERS + ARCHITECTS
From the House to the City
24 aprile – 25 agosto
Design Museum - London

Richard Rogers with its modern, functional design and the numerous collaborations with the greatest architects of the twentieth century has left a deep mark in the history of British and world economy. At the Design Museum are on display his designs on paper and model, sometimes made, sometimes not, of buildings and architectural complexes, gathered around a range of issues: Public, Systems, Transparent, legible, Urban, Lightweight, Green. The result is an exhibition of dynamic, interactive and fun, even for non-experts.

The first proposal is to be the House Zip Up (1968-71), a prefabricated house in the shape of parallelepiped, quick to assemble with walls made of panels commonly used for the mini-truck (and therefore already produced for the general market) and with the same draft-proof windows that normally would go to the buses.
Richard Rogers and his wife wanted to get on a home that could easily be changed and that could adapt with the times and minimal cost, to the changing needs of its inhabitants. Given the abolition of fixed walls in favor of floating panels, the house could be bought in kit form, with the ability to add modules to existing. In addition to being innovative and functional, this project renewed dialogue between man and the environment because it was not the Zip House needs foundation but resting on supports of iron, could be built in the dreams of each niche.

At the end of the sixties began with Renzo Piano began a collaboration that will lead to the establishment of a Piano & Rogers "and the construction of what has been called the manifesto of high-tech, Centre Georges Pompidou in Paris [in the exhibition section to the Public]. Born from scratch on site parking, the Centre intends to redevelop an area rarely lived in the city itself as an innovative cultural institution, dedicated to modern art but host a video library and a library of music, design and cinema.

area of \u200b\u200bthe exhibition is called Lightweight presented the draft of another colossal work has become a symbol of another capital: the Millennium Dome in London. With this project, Rogers did not intend to build a building that was almost bending over, but his plan to mobility and the "temporary nature" of life in the Third Millennium Dome has made his mind to the lightness, economy and speed of construction thus ensuring their survival for only 25 years. The monumental resistance becomes obsolete over time while the grandeur takes cheap clothes, and even in architecture, the time shortened e precari del capitalismo di oggi.


Not to miss: lo Shangai Masterplan, progettato per un concorso per la riqualificazione della zona Lu Jia Zui di Shangai e presente al Design Museum come un modellino le cui differenzi aree si illuminanto seguendo il movimento del sole. Nelle ore mattutine si colorano gli uffici, nel pomeriggio i negozi, poi i parchi, la sera i ristoranti e la notte le abitazioni, il tutto in pieno rispetto di ambiente e sostenibilità. Non si vede la malavita..

Quando
dal 24 aprile al 25 agosto 2008

Dove
Design Museum
London

Admission
£10

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THE AMERICAN SCENE
fino al 7 settembre 2008
British Museum

L’aria di cambiamenti sociali, politici e culturali che ha percorso l'America del Novecento si lascia respirare e rivivere attraverso prints of the greatest engravers of the American century, beginning with John Sloan and the Ashcan School in New York and ending with the abstract expressionism of Jackson Pollock. E 'urban realism Sloan opened the exhibition with a series of prints on a forgotten New York, on weekends when the roofs of the skyscrapers crowding of tenants who, lying on sheets and blankets, sunbathing ( Sunbathes on the Roof, Roofs, Summer Night, 1906).

common buildings, those who do not deign to look on the way to work, become the subject of many prints of Lawrence Kaupferman. The reversal of perspective is curious. The buildings and buildings ignored day after day are the protagonists of prints Kaupferman regaining solid solemnity to what was already there before I was born and there will be again when you have finished your time on earth. The human presence is rare in his work and, on the edge of the stage, are never anything more than the extras ( Boston Street).

The recordings of Edward Hopper and Martin Lewis have a different point of view and still want to recreate the thread of tension that surrounds the subject for a moment just before or after the occurrence of an event. The psychological insight, the disturbance, shall be made through a skilful use of light and contrasts between areas of complete darkness and other brightly lit. (M. Lewis, Little Penthouse , 1931)

And then modernism, the Depression, industrialization, World War II. Bringing about America. More and more people leave the big city to find livelihoods in rural areas. Thomas Hart Bentos, a teacher of Jackson Pollock, documents this time putting his art in the service of important social issues. Unemployment on the rise vertigionosa, the laborers who, after finishing distances of miles and miles looking for work fell exhausted, in the cold nights in the camps without shelter.

Adolf Dehn offers an image of America in the Thirties still different. E 'America, who plays jazz and dancing broke out and the premises of Haarlem. Couples of color are found in places where you play this new music genre that takes itself far echo of a distant, melancholy hard everyday but also the lightness of a smiling dance with knees bent, as in The Swing dance bands .

not to miss: the glamor of Martin Lewis immortalizes one morning in one of the main streets of London, probably in Oxford Street which, lit by the rising sun, a small army of women elegant nei loro cappotti dai colli di pelliccia cammina velocemente verso i department store dove lavorano. ( Quarter of Nine, Saturday’s children , 1929).

Quando
fino al 7 settembre 2008

Dove
British Museum
London

Admission
Free