© Fat Fashion Architecture Taste . Published on September 05, 2012.

For some time FAT has been interested in the idea of the copy in architecture. The copy is a foundation of architectural culture, evidenced for example by the influence of the Grand Tour on the creation of the English Baroque. Copying are repetition is also embedded in the way architecture is produced, in modularity of components and the keystrokes of digital drawing. Yet the copy also threatens fundamental disciplinary concerns of originality, authorship and authenticity. It’s the schizophrenic nature of the copy as the discipline’s perfect and evil twin at once fundamental to architecture and its nemesis that fascinates us.

© Fat Fashion Architecture Taste . Published on September 05, 2012.

Titled ‘The Museum of Copying’ our project presents a series of projects that investigate the complicated relationship between architecture and copying.

© Fat Fashion Architecture Taste . Published on September 05, 2012.

Centrally placed in the Arsenale is FATs large scale facsimile of Palladio’s Villa Rotunda titled Villa Rotunda Redux. The Villa Rotunda is perhaps the Ur example of the architectural copy. It is a building composed out of copies – an assemblage of temple and Pantheon, arranged to produce a radically new architectural typology. It has been the subject of multiple exercises in replication across time and space, from Chiswick House (London), through Monticello (Charlottesville) to contemporary examples including Beit Falasteen in the Palestinian Territories. As both subject and object, the Villa Rotunda presents us with an unfolding narrative of architectural copying. On the occasion of the Venice Biennale, we feel it appropriate to return a version of the Rotunda back to Venice in a state resonant with the condition of the copy that Palladio helped to propagate.

© Fat Fashion Architecture Taste . Published on September 05, 2012.

The facsimile is fabricated by a process that places reproduction and repetition at its core. A quarter section of the Villa was produced by CNCing a large scale mould. From this, a cast was taken by spraying into the mould with polyurethane foam. The cast and mould are arranged as an installation, displaying the process of fabrication as well as the qualities of positive and negative, of interior and exterior and the abstractions and fidelities of the original Villa, set one against the other.

© Fat Fashion Architecture Taste . Published on September 05, 2012.

Alongside this, FAT have curated four parallel projects. Architectural Doppelgängers explores examples of buildings that might otherwise be described as copies, fakes or replicas. Here, the original and double are presented side by side and the unusual stories that motivate the copy are drawn out. www.fashionarchitecturetaste.com

© Fat Fashion Architecture Taste . Published on September 05, 2012.

Ines Weizman explores the relationship of copyright to architecture in “Repeat Yourself”: Loos, Law and the Culture of the Copy. As Loos’ copyright passed into public domain 75 years after his death. Weizman recalls his architectural imperative to “repeat yourself”. The installation examines the place of copyright in architecture by proposing the construction of a facsimile of Loos’ unbuilt House Baker (1928) together with a reconstruction of the legal disputes around the ownership of Loos’ archive and work.

© Fat Fashion Architecture Taste . Published on September 05, 2012.

Italian group, San Rocco present The Book of Copies that addresses the idea of influence and recalls 18th century pattern books. The project comprises a library of volumes prepared by invited architects each of whom have assembled photocopies relating to a thematic building typology laid out as loose leaf fiches. Readers assemble their own version of the Book of Copies by selecting pages from this library and photocopying these photocopies. www.sanrocco.info

© Fat Fashion Architecture Taste . Published on September 05, 2012.

FAT’s Museum of Copying explores the idea of the copy in relation to the Biennale theme of Common Ground, arguing that copying is a force that creates common architectural language and is simultaneously the site within which radical reinvention occurs.

© Fat Fashion Architecture Taste . Published on September 05, 2012.

With many thanks for their generous support: Graham Foundation for Advanced Studies in the Fine Arts, Architectural Association, Marchday, Elise Jaffe + Jeffrey Brown, Veneta Duplicatori.

© Fat Fashion Architecture Taste . Published on September 05, 2012.

© Fat Fashion Architecture Taste . Published on September 05, 2012.

© Fat Fashion Architecture Taste . Published on September 05, 2012.

© Fat Fashion Architecture Taste . Published on September 05, 2012.