The July-August issue of Domus focuses on erased histories, suppressed memories and the role of architecture in the construction of new identities. Toshiko Mori, in her Editorial, writes about the variety and plurality of memories as the basis of civilization. “Memory is a cultural material and is subject to the understandings and perceptions of an era. Our contemporary moment is struggling with an upside-down state of redefinition. We build up and destroy our perceptions of history as we continue to construct them from our mercurial memories.”
Beginning in the Archive section, Ken Tadashi Oshima traces the troubled history of Frank Lloyd Wright’s Imperial Hotel 100 years after its opening, of which memories, images, and the continuities of its material form remain. Next, Mori dialogues with architect Tsuyoshi Tane. His research “Archaeology of the Future” is based on a close confrontation with the existing, geared toward projecting architecture into the future: his interventions aspire to become embodiments of the memory of the site.
Domus 1081 is on newsstands, an issue dedicated to memory
The July-August magazine focuses on the role of architecture in the construction of new identities. Browse the gallery to discover the contents of the magazine.
Text Toshiko Mori
Text Ken Tadashi Oshima
Text Toshiko Mori
Text David Imber and Mika Yoshida
Text Jorge Otero-Pailos
Text Toshiko Mori
Text Toshiko Mori
Text Andrew Holder
Text Katie Stout
Text Toshiko Mori
Text Toshiko Mori
Text Toshiko Mori
Text Farrokh Derakhshani
Text Vittorio Magnago Lampugnani
Text Toshiko Mori
Text Florian Idenburg, Hannah Lewi, Charles Burke
Text Toshiko Mori
Text David Chipperfield
Text Walter Mariotti
Text Alessandro Scarano
Text Alessandro Benetti
Text Giulia Ricci
Text Walter Mariotti
Photo Candida Höfer, Neue Nationalgalerie Berlin IX 2021 © Candida Höfer/VG Bild-Kunst, Bonn 2021
View Article details
- La redazione di Domus
- 11 July 2023
Continuing with the Essays, David Imber and Mika Yoshida recount the experience of the Design Museum Japan, unveiled in 2022 to give substance to the cultural awareness of ancestral knowledge through a selection of everyday objects entrusted to a group of creatives. Spanish-American artist and preservationist Jorge Otero-Pailos, on the other hand, writes about sculptures made using the remains of the fence that surrounded the U.S. Embassy in Oslo, now public expressions of dissent. Manuel Herz recounts the experience of confronting the same synagogue typology through three different projects: the contexts and memory associated with them were decisive concerning the outcomes. Andrew Holder writes about the Asambasilika in Osterhofen, Bavaria, which can be read as a manifesto of free composition: of presence, memory, and visions of what could be.
For Design, Katie Stout illustrates her creative process focused on the space between memory and reality: furniture and domestic objects take shape by combining waste and heterogeneous materials.
In the Architecture section, Mori interviews Canadian architect Todd Saunders, who lives and works in Norway, who talks about his idea of memory through three projects deeply rooted in the landscape and culture of places. Tiantian Xu heads the firm DNA_Design and Architecture and talks about a project to revitalize an old rural typology that promises to activate new economies. We move on to the design of a floating building, through which Jon Lott worked on the trauma of abandoned structures and continued exploring “urban outsiders,” installations that exploit the balloon frame. Farrokh Derakhshani recounts the work of Atelier Salima Naji, focused on a multidisciplinary approach that enhances heritage and local communities, offering an alternative model of development in rural areas. To finish, Vittorio Magnago Lampugnani analyzes the bold and ambitious program of Lesley Lokko, who brings to the 18th. Venice International Architecture Exhibition the hot topic of the moment, but lacking in purposeful approaches. A lack that makes one wonder about the meaning and usefulness of the Biennale and the role of architecture.
Next in the Art pages, Toshiko Mori interviews U.S. artist Kehinde Wiley, whose works relocate memory in the present time and cast new light on the idea of the past. “From behind this door, Wiley paints a bold future, positioning black and brown people to leap beyond prejudice, neglect and dismissal, using memory as a powerful tool that recalibrates old structures to build new futures.”
This month’s Diario, with the usual pages devoted to current events, is opened by the Italian Journey section, where Editorial Director Walter Mariotti recounts another leg of the yearlong journey along the peninsula. This time we stop on the Via Emilia, a metaphor for Italy in the postwar years, now holding together the imagery of some 20 cities, which could very well be a regional megacity. Alessandro Scarano narrates the new installment of Bottega Veneta’s “The Square,” held in Lina Bo Bardi’s iconic Casa de Vidro. Alessandro Benetti describes the Milan residence designed by Tommaso Fantoni with his TomoArchitects studio as characterized by choice of materials-walnut and oak woods, steel, and leather and the fluid spaces. For the Points of View section, Giulia Ricci discusses the word ‘gentrification’ with Sharon Zukin and Lucia Tozzi. It has become increasingly popular in recent decades, eventually encompassing a range of phenomena in cities worldwide. What are they, and what urban impact do they have?
In the editorial of Domus 1081, guest editor 2023 introduces an issue focused on erased histories, suppressed memories and the role of architecture in the construction of new identities.
A century after its inauguration, we retrace the troubled history of Frank Lloyd Wright’s Imperial Hotel, which reaches us today through memories, images and the continuity of its material form.
Based on a profound engagement with the existing, Tsuyoshi Tane’s approach seeks to project architecture into the future, with interventions that aspire to embody the memory of the site.
First presented in 2022 to give substance to the cultural awareness of ancestral knowledge through a selection of everyday objects chosen by a group of creatives, the Japanese Design Museum is preparing to tour the world.
Using the remains of the fence that surrounded the U.S. Embassy in Oslo, which was demolished because it was considered of no value, the Spanish artist’ sculptures become public expressions of dissent.
With his large projections in public spaces, the Polish artist animates statues and triumphal arches to connect them to our time, giving political and contemporary relevance to the memory of war.
The studio has addressed the same typology with three different projects. The contexts and their associated memories have been instrumental in determining the outcomes.
Through operations of addition or subtraction, architecture can bring us closer to the authenticity of facts. In this sense, the Asambasilika at Osterhofen, Bavaria, can be read as a manifesto of the free composition of presence, memory and visions of what might be.
The space between memory and reality underlies the practice of the American artist and designer. Furniture and domestic objects take shape by combining trash and heterogeneous materials.
Canadian architect Todd Saunders, who lives and works in Norway, describes his idea of memory through three projects deeply rooted in the landscape and culture of their locations.
In Fujian province, the studio of Tiantian Xu is working on a project to revitalise an ancient rural typology that promises to activate new economies.
With the floating building, Jon Lott worked on the urban trauma of abandoned structures and continueed his exploration of “urban strangers”, installations that employ balloon frame construction.
The Moroccan architect’s work is based on a multidisciplinary approach that enhances local heritage and communities, offering an alternative model for the development of rural areas.
Lesley Lokko’s bold and ambitious programme brings the grand themes of the moment to the 18th International Architecture Exhibition in Venice, but it lacks proactive approaches. A scarcity that prompts reflection on the meaning and usefulness of the Biennale and the role of architecture.
The American artist’s portraits relocate memory into the present tense and cast a new light on our assumptions of the past.
A metaphor for Italy in the post-war years, today the Via Emilia holds together the imagery of some 20 cities, which could well be a regional megacity.
After Dubai and Tokyo, Bottega Veneta chose to set the new edition of “The Square”, curated by Mari Stockler, in the iconic villa of Lina Bo Bardi.
The Milanese residence designed by Tommaso Fantoni with his TomoArchitects studio stands out with its choice of materials – walnut, oak, steel and leather – and its fluid spaces.
In recent decades, the word “gentrification” has become increasingly popular, and has ended up encompassing a range of phenomena occurring in cities worldwide. What are they and what are their urban impacts? We asked Sharon Zukin and Lucia Tozzi.
In closing in Editorial Director tells us about the cultural legacy of Murray Bookchin, author of The Ecology of Freedom, a seminal essay that, many years before the emergency, addressed the ecological issue, but in a different key from the Luddite, catastrophist, and politically correct vulgate that would take hold.