|Titre :||Behind the green door : a critical look at sustainable architecture through 600 objects|
|Auteurs :||Oslo architecture Triennale (5; 2013; Oslo), Auteur Lionel Devlieger, Editeur scientifique Design og arkitektur Norge (Oslo), Editeur scientifique Rotor deconstruction consulting (Anderlecht), Editeur scientifique|
|Editeur :||Oslo : Oslo Architecture Triennale|
|Année de publication :||2014|
|Présentation physique :||364 p.ill.24 cm|
|Accompagnement :||1 jaquette|
|Mots clés :||
Design architectural -- Aspect environnemental
Fonds Pierres et marbres de Wallonie
|Note générale :||Publié suite à l'exposition "Behind the green door : architecture and the desire for sustainability" organisée par Rotor et The foundation for design and architecture in Norway du 19 septembre au 1e décembre 2013 à l'occasion de l'Oslo architecture Triennale 2013|
As a starting point for the main exhibition, we looked at a broad variety of building projects that claim to be sustainable. Rather than starting from our own assumption as to what is to be considered sustainable, and then try[...]
As a starting point for the main exhibition, we looked at a broad variety of building projects that claim to be sustainable. Rather than starting from our own assumption as to what is to be considered sustainable, and then trying to find good examples to illustrate our point, we have chosen to document what others call ‘sustainable’.
To talk about these projects, we did some reverse archaeology. We collected significant fragments and relics that bear testimony of the environmental aspirations. A digital render, façade study model, software package, promotional leaflet, material sample, mock-up, quote... our collection of physical and digital objects quickly grew into an impressive quantity of materials, which we narrowed down to 600 pieces. Each of these is presented as an original artefact, accompanied by short, factual captions that help the visitor to understand the context it was taken from.
Some of the exhibits assume that large scale action is the way forward, others stick to acupunctural interventions. Some advocate technological innovation, others hinge on changes in consumption patterns. Some are rural, others are urban. Some intervene heavily in the built environment, others refrain from doing so. The selection we’ve made, however subjective and arbitrary, was deliberate in its intention to be diverse. We have allowed ourselves to be liberal about what constitutes the boundaries of the field of architecture. The exhibition includes product design, graphic design, urban planning, engineering as well as many other disciplines in its purview.
The exhibition is open-ended. Visitors are not offered a single narrative that ties everything together. There is no imposed sequence, not one overarching perspective from which to look at things, not one conclusion to be drawn. The exhibition doesn’t want to convince the visitor to live his or her life more sustainably but instead wants to show how the concept of sustainability operates as a powerful agent of change in today’s world.
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|Fonds Pierres et marbres de Wallonie|