"Utopia, extropia, atopia, utopies réalisables, dystopia, and more … I need them all, a place and a non-place … I encounter the possible impossibilities every night in my dreams, the best possible scenarios and nightmares, as well—necessary states … But I also wake up, at least I hope so sometimes … Utopian dreams drive us towards the impossible. Jules Verne commented that “all that is impossible remains to be achieved.” If we don’t set our aims high, how do we expect to move forward? … Utopia needs to include everyone and everything, and we all need the courage to dream, to share the responsibility of not only one, but many possible futures. The arts, as with any other discipline, can play a role in this, within a network of correlations and interrelated ecosystems of where I, you, we live. Once we wish for something, everything else can be achieved. The problem lies in stimulating these wishes. Many ideas are in a latent state, needing to be translated, interpreted … but nothing is more real than our engagement in a dialogue.."
Tomás Saraceno’s (b.1973, Argentina) oeuvre could be seen as an ongoing research, informed by the worlds of art, architecture, natural sciences, astrophysics and engineering; his floating sculptures, community projects and interactive installations propose and explore new, sustainable ways of inhabiting and sensing the environment. Aerocene, an open-source community project for artistic and scientific exploration initiated from Saraceno’s vision, becomes buoyant only by the heat of the Sun and infrared radiation from the surface of Earth.
In 2015, Saraceno achieved the world record for the first and longest certified fully-solar manned flight. During the past decade, he has initiated collaborations with renowned scientific institutions, including the Massachusetts Institute of Technology, Max Planck Institute, the Nanyang Technological University of Singapore, and the Natural History Museum London.
He was the first person to scan, reconstruct and reimagine spiders’ weaved spatial habitats, and possesses the only three-dimensional spider web collection to existence. Saraceno lectures in institutions worldwide, and directed the Institute of Architecture-related Art (IAK) at Braunschweig University of Technology, Germany (2014–2016). He has held residencies at Centre National d’Études Spatiales (2014–2015), MIT Center for Art, Science & Technology (2012–ongoing) and Atelier Calder (2010), among others. In 2009, Saraceno attended the International Space Studies Program at NASA Ames. The same year he presented a major installation at the 53rd Venice Biennale, and was later awarded the prestigious Calder Prize. His work has been widely exhibited internationally in solo and group exhibitions such as Aerocene, at Solutions COP21, Grand Palais, Paris; Arachnid Orchestra. Jam Sessions, at NTU Centre for Contemporary Art Singapore; Becoming Aerosolar, at 21er Haus, Belvedere, Vienna (all 2015); In orbit, at Kunstsammlung Nordrhein- Westfalen K21, Düsseldorf (2013–ongoing); On the Roof: Cloud City, at The Metropolitan Museum of Art, New York (2012); Cloud Cities, at Hamburger Bahnhof, Berlin (2011–12), amongst others. Saraceno’s work is included in the collections of The Museum of Modern Art, New York; SFMOMA, San Francisco; Walker Art Center, Minneapolis; Nationalgalerie, Staatliche Museen zu Berlin, Berlin; among others. Saraceno lives and works in and beyond the planet Earth.
Visit the Website: http://tomassaraceno.com
ELS Architecture and Urban Design - For 50 years we have designed extraordinary buildings and spaces.
We have always believed in the interdependency of architecture and urban design.
All of our projects, from downtown to exurbia, are about bringing people together. We often find a forgotten space or area and turn it into the place people remember—the public realm. Our roots are in Berkeley. We are informal yet rigorous, democratic yet decisive. We create places that endure for generations.
Insight and respect
At our Berkeley-based architecture and urban design studio, we focus on the entire spectrum of public places. Insight and respect are the foundation of our work.
We begin a rigorous design process by paying close attention to our clients’ aspirations and needs and to those of their audiences. Integrating our expertise across multiple disciplines with sound business practices and stewardship for the natural environment, our programs result in high architectural and environmental value, while responding to and enlivening the existing surroundings.
As architects and urban designers we translate the joy of human connection into a place that lives.
Visit the Website: www.elsarch.com
The Club de Pescadores (Spanish: Fisherman's Club) is situated on the banks of the Río de la Plata in Costanera Norte Avenue, Buenos Aires, Argentina.
The Club was founded in 1903 on an old pier built by a French company who used to tie up their coal boats there and discharge the coal into railway wagons waiting alongside. Some time later, when this activity had ceased and the condition of the pier had deteriorated, the fishermen who met there to practice their sport, decided to carry out repairs to the pier and to build a small shelter where they could store their belongings. On 10 August 1905 a violent storm on the river destroyed the pier. Despite this, club members were not put off and later continued their activities which by now included the organisation of regular fishing competitions.
In 1926 a plan was initiated to construct a new pier with a building on it to house the social activities of the club. This received presidential consent in 1928 and construction of the pier was completed in 1930. The building on the pier, still in existence today, was designed by José N. Quartino and officially opened on 16 January 1937 in the presence the Argentina president General Agustín P. Justo.
Declared a national historic monument in 2001, the building has become an icon of the city of Buenos Aires.