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Sonnets in Babylon

On the 14th international architecture exhibition, the Venice pavilion hosted ‘Sonnets in Babylon’ an installation by Daniel Libeskind at the Venice Pavilion in Venice Biennial, Italy.  Some 100 exhibited drawings by Libeskind, created by hand from pen and sepia-toned washes of coffee, comprised the principal element of the pavilion.  The series were screen-printed by Lasvit. The architectural glass-maker, used a ceramic process on large-scale glass panels, and arranged them around the curved wall of the pavilion.   Libeskind used state of the art technology and ribbons of aluminum panels,  fixed with discreet LED lights.   Libeskind created a spectacular luminous wall of light and transparency 

The drawings of Libeskind depict explosive uncoupling's of ambiguous forms, futuristic cities, mechanical parts, and parts of the human body.  Libeskind extends these forms into the room environment through the diaphanous layering of glass, creating a continuous landscape.

Visitors first approaching the pavilion (situated in the Giardini della Biennale di Venezia)  encounter a 5.5 meter high (18 feet) sculpture of a skewed axis form finished in the brown ultra-compact surfacing material Dekton, by Cosentino.  The geometric form relates to the development of the axis as a fundamental architectural drawing.  Libeskind  explores this technical mark in all his major drawing works, starting with Microme gas, continuing with Chamber works,  following  Sonnets of Babylon.  The sculptural “X”  serves as the starting point, a virtual beginning, a line that runs through the sonnets and anchors, exploding into collapsing worlds.

















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