the operator speaking

1907 Belgium (Léon Sneyens)

1909 Hungary (Géza Rintel Maróti)

1909 Germany (Daniele Donghi) demolished and rebuilt in 1938 (Ernst Haiger)

1909 Great Britain (Edwin Alfred Rickards)

1912 France (Umberto Bellotto)

1912 Netherlands (Gustav Ferdinand Boberg) demolished and rebuilt in 1953 (Gerrit Thomas Rietveld)

1914 Russia (Aleksej V. Scusev)

1922 Spain (Javier De Luque) with facade renovated in 1952 by Joaquin Vaquero Palacios

1926 Czech Republic and Slovak Republic (Otakar Novotny)

1930 United States of America (Chester Holmes Aldrich and William Adams Delano)

1932 Denmark (Carl Brummer) expanded in 1958 by Peter Koch

1932 Venice Pavilion (Brenno del Giudice), expanded in 1938

1934 Austria (Josef Hoffmann)

1934 Greece (M. Papandreou - B. Del Giudice)

1952 Israel (Zeev Rechter)

1952 Switzerland (Bruno Giacometti)

1954 Venezuela (Carlo Scarpa)

1956 Japan (Takamasa Yoshizaka)

1956 Finland (Hall Alvar Aalto)

1958 Canada (BBPR Group, Gian Luigi Banfi, Ludovico Barbiano of Belgiojoso, Enrico Peressutti, Ernesto Nathan Rogers)

1960 Uruguay

1962 Nordic Countries: Sweden, Norway, Finland (Sverre Fehn)

1964 Brazil (Amerigo Marchesin)

1987 Australia (Philip Cox), rebuilt in 2015 (J.Denton, B.Corker, B.Marshall)

1995 Korea (Seok Chul Kim and Franco Mancuso)

this is the operator speaking
i am the ears and voice
since i’m on board
i’ve been carefully recording the concerns
that rose during our gatherings
first, a wonder:
i Giardini are no women’s land
in this regard
we have wanted to do something BOLD
so we brought in the equation an architect who speaks to us
and a pavilion we believe is exemplary and daring
we do something BOLD
by bringing in Lisbeth Sachs and her pavilion
in order to face it’s contemporary
then, what does it make of us ?
we, the builders, who have to inhabit the site of construction
rather than a gesture of exhibition
isn’t it about exercising hospitality?
making space
« Endgültige Form wird von der Architektin am Bau bestimmt »
in order for our collective voices to be heard and our bodies to resonate,
an action of equivalence is necessary to counterbalance the weight of history
facts inform our endeavor,
yet we won’t let them have the final word
instead, we invite you to listen
all those unheard voices
that is, what we engage ourselves to record
a matter of sampling
imagine the sound of a construction work
surely you remember the sound of a market place
those records,
are like teleportation tools
they bring along a whole range of affective memories attached to different senses, like smells
isn’t that the closest form of immediacy ?
the medium of sound allows much more
to open a conversation,
within ourselves first,
as the relation to field recording is an intimate practice
and an open ended one
we owe it to our idea
to be consequent in the act of imagination,
which is an ethic of material rigor and response-ability
if we do our job correctly,
putting in the center both
the experience and the experimentation
an atmosphere of alliance will take place
field recording is also an inclusive practice
sounds from afar and here,
now and then
intermingle,
time and space
intertwine
listener and producer are almost on equal footing
embedded in the material flows
the act of recording is a performative one
which we’ll carry with us
while the construction undergoes as planned.
« Endgültige Form wird von der Architektin am Bau bestimmt. »
Der Bau, bestimmen wir
what records carry such meaning ?
is it about building or is it also an opportunity to gather, together, to be ?
what’s the emergency to build if not to contribute to a life-sustaining web
to stay alive
« staying alive »