The centre piece was Stadium of Close Looking, a 1:10 timber model of the Olympic Stadium repurposed as a drawing studio flanked by two explorations of fragile ecologies Venetian collaborators - a pairing of a record of the neighborhood that surrounds the Giardini with pages from Ruskin’s notebooks and a fragment of live salt marsh fed by lagoon water. Each had their own post-Biennale afterlife, the salt marsh relocated by the entrance to the Giardini and the timber fragment of stadium ready to be moved for public use.
“Villa Frankenstein shifts our perception of Venice as a historic backdrop to the Biennale, to one of a dynamic participant. muf has introduces many new collaborators to the British Pavilion including the schools of Venice, the scientific community, community activists, historians and artists. By emphasising the importance of close looking and observation, which takes many different forms, muf demonstrates an alternative approach to architecture based understanding what we already have.”
muf was invited to ‘take advantage of The British Pavilion.’
The pavilion hosted local preoccupations which in turn were a means to reflect on similar issues from the UK.
Villa Frankenstein (a two way traffic of ideas)
Uk Pavilion Venice Biennale 2010 - authored by muf.
Venice Biennale 2010
British Pavilion, Venice Architecture Biennale 2010