This is not to say that the radical architecture Galilee is interested in represents a bland, globally homogenous vision. She now runs The World Around, a platform for three-dimensional design focused on the expertise of artists and activists to solve social and environmental issues. Her career shows a commitment to widening and democratising discussions and definitions of architectural practice that matches this aim, in particular her work from 2014 to 2019 as a curator at the Metropolitan Museum of Art, New York, where she initiated In Our Time: A Year of Architecture in a Day, an annual conference presenting the developments in the discipline. “If it’s a reaction to modernism then that puts modernism at the centre, and that’s something I’m trying to step away from to decolonise my thinking … Central Europe doesn’t need to be so present in the discourse.” But don’t call the work in her book modernist, Galilee warns (or post-modernist, or anti-modernist). There are western precedents for Galilee’s radically expanded understanding of design, from the counter-cultural firms of the 1960s – Archigram, Ant Farm – to the intermedia ethos of 1910s-1920s Constructivism. What binds these endeavours together, Galilee suggests, is their creative or critical intervention into the physical and sensory world, or our perception of it. “It’s provocative to think that all of these myriad disciplines have architectural agency, but they all represent different ways of working with space,” she says. “You could also call it ‘radical ways of thinking about architecture’”, she notes, a necessary qualification, given that, under Galilee’s stewardship, “architecture” incorporates everything from game design to community activism, inhabitants including insects and data. The Plasencia Auditorium is one of 79 projects selected by Galilee for Radical Architecture of the Future, which maps out a bold route forward.
Of the building’s 86,000-square-foot volume, only 4,300 feet touch the ground, whilst the translucent “skin” – made of the durable, air-filled plastic ETFE – is self-cleaning and easy to install, barely adding any weight to construction and offer- ing up to 45 per cent reductions in solar heat gain. 1982) de- scribes the building as “part chrysalis, part meteorite – an extraordinary luminous centre designed by wrapping all of the functions of a theatre, a dance hall, an exhibition space and conference auditoriums into a tight ball.” Created by Spanish firm SelgasCano, the Plasencia Auditorium was designed to make as small a footprint as possible in every sense.
It emerges from the surroundings whilst look- ing completely alien to them, making such light contact with the ground that it seems it could take off any moment.Īrchitecture critic and curator Beatrice Galilee (b. It sits like an extra- terrestrial landing capsule – a strange geomorphic play on the landscape.
Blueprint architecture magazine Patch#
On a patch of scrubby hillside in western Spain is the Plasencia Auditorium and Conference Center. Today’s creative architects aren’t just designing buildings, they’re working across various disciplines to grapple with ecological responsibility.
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