BURRASCA
Burrasca is an independent bookazine about Architecture research.
Every issue as an unique theme, layout and poster. Besides conventional articles, we encourage the submission of any kind of inventive material: photo-essays, graphics, illustrations or projects.
Contributions are collected by a call for submissions. Burrasca’s intent is then to make emerging relationships appear. What we publish is the result of 1 year research on the theme widen trough the contribution of selected experts. We give a great importance to illustration, which is in our thoughts a powerful means able to communicate Architecture to a wide audience.
Burrasca was born in 2013 by a group of sixteen architecture students and is based in Genova. As a cultural association, we focus on thinking and realizing different activities beyond that bookazine: exhibitions and other editorial and graphic projects.
This association, created as a sort of think tank, aims to be a platform of discussion by which we want to propose reflections, information and activities about Architecture under a large range of meanings. Our goal is to expand architectural culture and to push forward the limits of the discipline in its different forms.
n. 2 - Biennali
Since the Biennale was born in 1895 a lot of institutions have inherited its name due to its wide success; The first Architecture Biennale, for example, was opened in Venice in 1980 radically affecting Architecture’s means of communication. Over the years, “Biennial” has been used in referring to a vast landscape of different frequent exhibitions.
In this issue, we reflect on the role of the biennial as critical public event and the curatorial responsibility it requires in two interviews: one with Paolo Portoghesi and the other with Joseph Grima. Starting from these interviews, Burrasca attempt is to highlight the latent dichotomy that seems to emerge among other contributions: some looking at the past others at the future, some more reflective others rather descriptive…
Burrasca’s interest is to test biennials’ ability to be an experimental tool having ever changing contours and representing a site for critical experimentation as a vital alternative to museums and other institutions or, otherwise, if the biennial has become just a fashionable and mundane event with no particular content.
In this issue, we reflect on the role of the biennial as critical public event and the curatorial responsibility it requires in two interviews: one with Paolo Portoghesi and the other with Joseph Grima. Starting from these interviews, Burrasca attempt is to highlight the latent dichotomy that seems to emerge among other contributions: some looking at the past others at the future, some more reflective others rather descriptive…
Burrasca’s interest is to test biennials’ ability to be an experimental tool having ever changing contours and representing a site for critical experimentation as a vital alternative to museums and other institutions or, otherwise, if the biennial has become just a fashionable and mundane event with no particular content.
