Hello. Hello how are you? Good thank you.
So what’s the special thing about this pavilion this year? Well this
pavilion I had a chance to do an installation of my work. 101 drawings,
projected on glass with light and music and it’s an affirmation that the
foundation of architecture is not columns doors and windows, it’s the
drawing and it’s a research. It’s a search through the
objective means, and on a private reverie, but no material form. Which is the
drawing itself, which of course has been such a grand tradition in architecture
that’s how I’ve developed all my work. Whether it was micro Mecca’s chamber
works, the machines I built here for the Biennale many years ago, to me that is the
core of architecture, the fantasy, the spirit and the true core of dreams.
And this Biennale has also got a very big focus on education and students. How much do you think the Biennale is also important for students and for education?
So students should come over here and learn something about architecture?
That’s the key students are the most important, as the new generation of architects, but you
know Biennales should not be about information it should be about ideas
because that’s what architectures about it’s about the poetry and ideas, and a
spiritual says look Mies van der Rohe had on his desk only one book which was
Thomas Aquinas a book about the divinity. So yes there is something divine and
mysterious about the act of drawing and since all architecture comes from such
an act, we should also focus the students on what I believe is really important
for education. I wanted to add that I had the good
fortune to work with the students at the University of Venice, architecture
students, who also contributed to this work with their own reflection on both
the idea of the Sala and Babylon and it’s connection to Venice because both
of them are concerning the world. What is happening in Venice and also the
connection of Venice to the imagination of architecture. And last question do you
have any good advice for students of today around the world? Absolutely since
I also continue to be a student, you always have to do something risky, you
have to put yourself in danger, you have to not just follow the trends because
they’re always leading to a dead end. You have to kind of forge a path, which might be a path that is critical, might be criticised by others, might be a lonely
pet not a big highway of success but but a lonesome path, but to me that is really
the art of architecture and let’s not forget it. It’s an art, it’s a civic art
but it’s an art. Perfect, thank you very much Thank you. All the best to you.