rolex & architecture

rolex.com press release

ROLEX SUPPORTS Wishing to highlight architecture’s about rolex AN UNRIVALLED REPUTATION ARCHITECTURAL PROGRESS “generosity of spirit and sense of humanity” FOR QUALITY AND EXPERTISE AS EXCLUSIVE PARTNER and focus on the quality of space, the direc- Rolex, a Swiss watch manufacture headquar- AND TIMEPIECE OF tors of the Biennale Architettura 2018, Yvonne tered in Geneva, is recognized the world over for its THE 16TH INTERNATIONAL Farrell and Shelley McNamara, of Dublin expertise and the quality of its products. Its Oyster ARCHITECTURE EXHIBITION practice Grafton Architects, have selected and Cellini watches, all certified as Superlative OF LA BIENNALE DI VENEZIA “Freespace” as the exhibition’s theme. Chronometers for their precision, performance A new pavilion in the Giardini also marks and reliability, are symbols of excellence, elegance and prestige. Founded by Hans Wilsdorf in 1905, the company’s participation in the event. the brand pioneered the development of the wrist- Venice, 24 May 2018 – As part of its The Rolex Pavilion’s foundation is offset by a watch and is at the origin of numerous major commitment to fostering the best use of new transparent structure with a faceted watchmaking innovations, such as the Oyster, the first waterproof wristwatch, launched in 1926, space and technical innovation, Rolex is surface that recalls the elegant, fluted bezel and the Perpetual rotor self-winding mechanism exclusive Partner and Timepiece of the of the Oyster Perpetual Day-Date. invented in 1931. Rolex has registered over 16th International Architecture Exhibition of A feature of the Rolex presentation 400 patents in the course of its history. A truly inte- La Biennale di Venezia. This is the third time will be an exhibit in the pavilion of the work grated and independent manufacturing company, Rolex designs, develops and produces in-house all since 2014 that Rolex has supported the of eminent British architect Sir David the essential components of its watches, from the world’s leading forum for architectural Chipperfield and Simon Kretz, his protégé casting of the gold alloys to the machining, crafting, progress, which forms part of the company’s in the Rolex Mentor and Protégé Arts assembly and finishing of the movement, case, dial and bracelet. Through philanthropic programmes long-standing goal to contribute to society. Initiative in 2016 – 2017. This philanthropic and a broad palette of sponsorship activities, “We are delighted to once again be programme was launched in 2002 to Rolex is also actively involved in supporting the involved with the Biennale Architettura, as it contribute to global arts. arts, sports and exploration, and encourages the spirit of enterprise, as well as the conservation showcases the thinking and work of the Other distinguished architects – Álvaro of natural environments. architectural leaders of the 21st century,” said Siza, and – Arnaud Boetsch, Director of Communication have also served as mentors for promising & Image at Rolex SA. “Rolex’s dedication to young practitioners through this initiative FOR MORE INFORMATION, precision, high-performance and aesthetics that invests in the future of architecture. PLEASE CONTACT: links the company to world-class architec- The mentor for 2018 – 2019 is British architect Virginie Chevailler ture. In watchmaking, as in architecture, Sir David Adjaye. Rolex SA – Press & Public Relations [email protected] excellence in design creates the perfect The Biennale Architettura 2018 runs T: +41 (0)22 302 26 19 expression of form and function.” from 26 May to 25 November. rolex.com In supporting architecture, Rolex adheres to the desire to rethink space Rolex’s appreciation of architecture mirrors the and strive processes of imagination, technical innovation and the best a natural for technical use of form and space that have been of critical importance innovation. to the design of the company’s remarkable timepieces since 1905. connection Design excellence is paramount in both architecture and watchmaking, which makes Rolex’s status as the exclusive Partner and Timepiece of the 16th International Architecture Exhibition of La Biennale di Venezia all the more relevant. Held between 26 May and 25 November 2018, this is the third time since 2014 that Rolex has supported the world’s biggest and most important forum for architec- tural progress and debate, which contributes to building better living and working environments across the world. The theme of this year’s exhibition, “Freespace”, was set by the Biennale Architettura’s directors, and Shelley McNamara of the Dublin-based practice, Grafton Architects. According to their manifesto, the exhibition will highlight the most inspiring examples of architecture’s “generosity of spirit and sense of humanity”, and do so by focusing on the human qualities and meanings of space. Arnaud Boetsch, Director of Communication & Image at Rolex SA, said: “We are very enthusiastic about this year’s theme that is based on a deep sense of humanity and an emphasis on how architecture contributes to the quality of daily life. Contributing to society is important for Rolex, which has always held a fundamental belief in the power and dignity of individuals to achieve great things, including great architecture.”

‒ 2 ‒ ‒ 3 ‒ Rolex’s connection with outstanding architecture started 60 years ago when the company began to develop Working with relationships with some of the world’s most acclaimed architects to design buildings in Switzerland, the United States and Japan. inspirational They include the Pritzker Prize winner, Kazuyo Sejima, co-principal of the Japanese practice, SANAA, which was commissioned by EPFL (Ecole polytechnique fédérale de Lausanne) to design the inspirational Rolex Learning architects Center. The great Japanese architects, and Kengo Kuma, designed Rolex service and sales centres in Tokyo and Dallas, respectively; and one of the giants of postmodern architecture, the late American architect Michael Graves, designed Rolex’s Watch Technicum in Pennsylvania.

‒ 4 ‒ ‒ 5 ‒ The “Freespace” theme of the Biennale Architettura In Kuma’s case, an essential aim is to avoid designing 2018 is of fundamental interest to architects such as rigidly demarcated spaces. “Nature is an essential element Qualities Kazuyo Sejima and Kengo Kuma. in our architecture,” he said. “Thus, for us, interiors and Sejima’s characteristically transparent and internally exteriors are part of the same spectrum. Separating the uncluttered architecture arises from her very early interest two is not good for the human spirit, and spatial continuity of space in the qualities of different kinds of space. One of the first is absolutely important.” His new office building for Rolex buildings that influenced her approach to design was the in Dallas, which will be officially opened later this year, Sky House, by Kiyonori Kikutake. She first saw it in small has benefited from this approach with its striking use of photographs when she was a child, and rediscovered it in “twisting” external terraces and gapped boards in internal a book at her university – “It was lifted in the sky, with the spaces, which create a sense of lightness. wonder of space, but also very beautiful and very modern,” Kuma’s most influential early experience of architec­ she recalled. tural space came when his father took him to the 1964 “When I started my own architectural practice, I began Tokyo Olympics Gymnasium designed by Kenz Tange: to think about what kind of space I liked to make – and it was “It was such an impressive space, that I decided I wanted kind of a park,” she explained. “In Japan, in a park, each to become an architect there and then!” group of people, each person, has different aims. Some Kuma is particularly well known for the way he creates people have a rest, some people are dancing, some people innovative relationships between space, the materials he are in a group, or sometimes they are alone; and every age uses, and highly crafted details. “When I started is so different. He tries to create what he describes as “a sense my own architectural “Each person has their own way of how to spend their of wonder and imagination, and a real care for human practice, I began time there,” she added. “But at the same time, people can presence in craftsmanship. During our design process, feel some sense of community and of sharing the space we test our ideas with models and full-sized partial material to think about what together. Without talking. This is the ideal I have. I think tests in order to understand what we might be able to kind of space I liked it’s important that buildings also have this type of space.” achieve. It’s a rewarding exploration.” to make — and it was kind of a park.”

Kazuyo Sejima

‒ 6 ‒ ‒ 7 ‒ THE LITITZ WATCH TECHNICUm, Rolex’s watchmaking school in Pennsylvania, was designed by the late architect Michael Graves who received a number of awards for his contribution to American architectural culture.

HIS DESIGN FOR THE BUILDING was inspired by the local, rural culture that was handed down from the Swiss and German immigrants who settled in Pennsylvania during the 17th and 18th centuries.

‒ 8 ‒ ‒ 9 ‒ ROLEX PLAYED A MAJOR PART IN THE CREATION OF SWITZERLAND’S ACCLAIMED ROLEX LEARNING CENTER F O R EPFL (ÉCOLE POLYTECHNIQUE FÉDÉRALE DE LAUSANNE). DESIGNED BY KAZUYO SEJIMA AND OF THE CELEBRATED JAPANESE PRACTICE SANAA, IT WAS OPENED IN 2010.

‒ 10 ‒ ‒ 11 ‒ The adventurous and environmentally sophisticated design for Rolex’s new building in Dallas, Texas, is typical of Japanese architect Kengo Kuma’s work. His international reputation is based on his mastery of highly original connections between buildings, sites and nature.

‒ 12 ‒ LIKE KAZUYO SEJIMA, KENGO KUMA HAS A CONNECTION TO EPFL I N LAUSANNE. HE DESIGNED THE CAMPUS’S ARTLAB, WHICH IS DEDICATED TO THE INTERSECTION OF SCIENCE AND THE ARTS. ROLEX SPONSORED An “Nature is exhibition space IN THE BUILDING, WHICH OPENED an essential IN NOVEMBER 2016. element in our architecture.”

KENGO KUMA

‒ 14 ‒ ‒ 15 ‒ The creative connection between architecture and the design of Rolex timepieces is captured in the new The Rolex Rolex Pavilion, constructed to celebrate the 16th edition of the International Architecture Exhibition. The pavilion’s flat roof and end walls give rise to a large, lightweight structure, Pavilion whose long walls are formed with angular pleats of bronze, anodized metal and glass. And the inspiration for them? The uniquely fluted bezel of an Oyster Perpetual Day-Date watch, which has been an iconic timepiece since its first appearance in 1945. The pavilion features the work of eminent British architect Sir David Chipperfield and his Swiss protégé, Simon Kretz, who spent a year in 2016 – 2017 collaborating through the Rolex Mentor and Protégé Arts Initiative. Chipperfield and Kretz’s successful partnership resulted in a book: On Planning – A Thought Experiment. Published with support from Rolex and ETH Zurich (Swiss Federal Institute of Technology), the book explores how more holistic approaches to urban development can create cities that promote the well-being of their citizens through greater inclusiveness and innovative thinking – the same thinking that has driven Rolex for more than a century.

‒ 16 ‒ ‒ 17 ‒ How is a city made? Who shapes it? How is its future Rethinking determined? How democratic is it? And, most importantly, what can we do to make the planning process better? the best use These are the questions at the heart of the collaboration between Chipperfield and Kretz. of space Instead of working on a building together, the two architects decided on a theoretical project which researched the way that space in the city is moulded by the process of planning over many years. Using the example of a real, controversial site in London – the Bishopsgate Goodsyard in Shoreditch – a former freight depot on the borders of the City of London and the rapidly evolving East End, the two architects have attempted to analyze the complexities of the forces involved with planning – economic, political and social – that shape the city. Over a year of discussion, drawing, writing and teaching, they studied the physical, social and regulatory contexts, and the intricacies of the planning process. Their questions, ideas and conclusions are embodied in their new book. Their aim was to synthesize the best elements of planning from European cities into a theoretical proposal for a more humane, more inclusive and more sophisticated system. Architecture is a notoriously slow process. Planning, however, is in a different league of slowness. The effects Sir David Chipperfield, Rolex mentor in architecture of change and construction in cities can take a decade, or 2016–2017, with his Swiss even a generation, to reveal their effects. protégé Simon Kretz.

‒ 18 ‒ ‒ 19 ‒ Simon Kretz (CENTRE) visited the site of the Bishopsgate goodsyard in Shoreditch, London.

“Planning,” the authors write, “can be understood as the generator of the city’s urban code… the script for its development, while architecture focuses rather on the city’s form, its physical and social manifestation.” Chipperfield and Kretz wanted to move away from the people traditionally blamed for poor city design: the “conventionally blamed culprits of greedy developers, talentless architects, lazy planners and obstructive commu- nities”, and focus instead on the process. The current planning regime, the results of which are very visible in London’s spiky skyline, has become, accord- ing to Chipperfield, dysfunctional. “The dismantling of the planning system,” he writes, “the distrust of profes- sional advice, and the withdrawal of resources from planning authorities have placed the initiative in the hands of the investors.” The system now appears to be driven almost entirely by the motivation for the developers to make money rather than for the long-term future of the city or the citizens. Yet, ironically, it does not even serve the developers well. Instead, the current set-up encourages developers to Architecture is maximize their plots by overbuilding – constructing dense a notoriously slow and tall buildings with little regard for public space, civic amenity or the coherence of the city and its skyline. This process. Planning, is then compounded by a planning system that is cumber- however, is in a some and unpredictable, often leading to huge delays and different league leaving the complex urban issues to private developers of slowness. rather than experienced city planners.

‒ 20 ‒ ‒ 21 ‒ Surprisingly, a major urban project like the Bishopsgate Goodsyard in London can take longer to develop than a similar railway lands site in Zurich. In that city, the more consultative and rigorous planning regime in which devel- opers, rather than councils, are required to finance the city’s planning process as part of their costs, apparently creates a more delay-prone situation and one geared against the developer. But, in fact, the clarity and intensive input by experts, who bring their experience and skill to the process, make for a smoother and more predictable outcome – one in which it is not just the developer who profits, but the city as a whole. One of the key findings in this year-long collaboration between mentor and protégé has been the confirmation of the value of creating alternative models of development as so-called “thought-experiments” to stimulate discussions about the designs with local communities, stakeholders and the broader city beyond Shoreditch. The results of a “thought-experiment” about the Bishopsgate Goodsyard site are displayed in the Rolex Pavilion in a series of nine striking models made by students at the Department of Architecture ETH Zurich, where Kretz teaches. They were asked by Kretz to join his conversation with Chipperfield about the best use of space by developing options for the site – the megablock, the courtyard building, the linear park, the market and so on. Each study amplifies the understanding of the various

‒ 22 ‒ ‒ 23 ‒ aspects and atmospheres of the neighbourhood and the complex collisions of architecture, community and character that make this part of London so rich and unpredictable. These models produced by the students are very different from the traditional “starchitect” proposals asso- ciated with some of today’s high-profile practitioners. They are not the instantly recognizable icons in which archi- tecture is reduced to a three-dimensional logo to act as a marketing tool for the developers. In fact, the escape from that style of architecture is one of the authors’ concerns here. “Often,” they write, “development projects are stand-alone enclaves with spectacular architecture that consume urbanity without providing it. In these contexts, architects have become increasingly marginalized and complicit in the system, and a kind of caricature – the starchitect – has become the emblem of the profession.” Planning in London, Chipperfield and Kretz suggest, is damagingly understood as an obstacle to be overcome. And here lies the misconception. Planning, they note, needs to be understood as an opportunity, a unifying process in which the various interests in the city are brought together in a common forum and through which they can, together, create a better city.

‒ 24 ‒ ‒ 25 ‒ They write that planning should be interpreted as “PLANNING AND THE WAY one of the investments in the development of a city. Under- PLANNING PROCESSES ARE resourcing and neglect of planning produces a city from ORCHESTRATED HAVE A which residents feel increasingly disengaged and disem- powered, as if it was something that was happening PROFOUND INFLUENCE ON to them. THE PHYSICAL AND SOCIAL “Urbanization,” Chipperfield and Kretz say, “seems FORM OF CITIES, OF HOW inevitable.” The real estate industry, a seemingly insatiable WE LIVE AND PERCEIVE OUR demand and the need for growth see to that. But DAILY ENVIRONMENT.” the architects distinguish another feature here. There is “urbanization” but there is also “urbanity”, which is about SIMON KRETZ the quality of everyday life in the city. It is about the engage- ment of its citizens in its making, about avoiding the alienation that can come from living in a huge metropolis. “Urbanity,” they say, “is a very fragile quality that needs to be cultivated.” The fruit of this remarkable collaboration is precisely that nuanced understanding of the complex conditions of the city. It is about the city as a common good, a shared project. The city is culture, and culture, as its very name suggests, needs cultivation. Rolex welcomes the opportunity to help nurture this conversation and the idea of the city as more than just an economic entity, but one that functions for the Simon Kretz’s students common good. at ETH Zurich (Swiss Federal Institute of Technology) created alternative models of development for the Bishopsgate goodsyard.

‒ 26 ‒ ‒ 27 ‒ The Rolex Mentor and Protégé Arts Initiative is one Mentoring of Rolex’s two international philanthropic programmes. Kazuyo Sejima with Complementing the more than 40 year-old Rolex Awards her protégé Yang Zhao young (far right) from China. for Enterprise, it was set up in 2002 to make a contribution In 2012–2013 Sejima to global arts. The programme seeks out gifted young asked him to design architects a communal gathering artists in seven disciplines and brings them together with place that was part of Home-for-All, great masters for a period of creative collaboration in a one- a project created by to-one mentoring relationship. The disciplines include Japanese architects after the 2011 tsunami. dance, film, literature, music, theatre, visual arts and archi- tecture, which became a distinct discipline in 2012. So far Álvaro Siza (Portugal), Kazuyo Sejima (Japan), Peter Zumthor (Switzerland) and Sir David Chipperfield (United Kingdom) have taken part as mentors, choosing talented young practitioners from all over the world. Recently, Rolex increased the possible period of mentoring to two years across all the disciplines. Protégés comment that the experience has an enormous impact on their lives, liberating them in their thinking about their work, boosting both their confidence and international profiles.

‒ 28 ‒ ‒ 29 ‒ Gloria Cabral from Paraguay spent several months in 2014-2015 working with Peter Zumthor and his team in Haldenstein, Switzerland, where she immersed herself in his architectural principles and worked on a design for a tea Álvaro siza & chapel in Seoul. As Sahel Al Hiyari part of Gabinete de “My year with Álvaro Arquitectura, she was Siza [2002–2003] the joint winner of has had a powerful the Golden Lion Award influence on my for Best Participant work,” says Sahel at the Biennale Al HIYARI, A JORDANIAN Architettura 2016. ARCHITECT. I still draw inspiration from our many discussions. Siza’s designs have a supreme sense of place and context. They mix beauty and intelligence, are practical but never formulaic.”

‒ 30 ‒ ‒ 31 ‒ In February, Rolex announced the mentoring pair Architecture in architecture for 2018 – 2019. They are Ghanaian- British architect Sir David Adjaye and his protégée mentor Mariam Kamara, from Niger. Sir David is renowned for major commissions and protégée worldwide, including the Smithsonian Institution’s National “Architecture Museum of African American History and Culture, in for 2018–2019 Washington DC, and the Moscow School of Management is an art form that SKOLKOVO. Recognized as a leading architect of his requires time and generation, his studio, Adjaye Associates, has offices in deep, long thought London, New York and Accra with completed projects in and deep experience. the United States, United Kingdom, Europe, Africa, Asia and It is inextricably the Middle East. Renowned for the use of eclectic material and a rich colour palette, his studio creates buildings that connected to time in differ in form and style, and reference a wide cultural range. the sense that it is Kamara was selected by Sir David after an international a long form in terms search by a panel of architects identified young architects of its gestation, worldwide who would benefit most from a partnership its training, and in with him. terms of becoming She is committed to designing spaces and structures that respond to the needs of people in her homeland, good at it.” and beyond. In 2015, she founded and became Principal SIR DAVID ADJAYE of atelier masōmī, leading projects in Niger while based in Rhode Island in the United States, where she also serves as Adjunct Associate Professor of Urban Design at Brown University.

‒ 32 ‒ ‒ 33 ‒ SIR DAVID ADJAYE’S AWARD-WINNING DESIGN FOR THE SMITHSONIAN INSITUTION’S National Museum of African American History and Culture.

MARIAM KAMARA’S DESIGN (RIGHT) FOR A HOUSING DEVELOPMENT IN NIAMEY, NIGER.

‒ 34 ‒ “I have been very focused on creating spaces that serve communities, dignify them, while using simple affordable materials.”

mariam kamara

Mariam Kamara wa s selected by Sir David adjaye after an international search by a Rolex-designated nominating panel identified young architects who would benefit most from a COLLABORATION with him.

A young architect from Niger, she will work with Sir David on the design of a public space in Niamey, the capital of Niger, which will serve as a cultural centre or an arts institution.

‒ 36 ‒ ‒ 37 ‒ Rolex, a Swiss watch manufacture headquartered in Geneva, is recognized the world over for its expertise about rolex and the quality of its products. Its Oyster and Cellini watches, all certified as Superlative Chronometers for their precision, performance and reliability, are symbols of excellence, elegance and prestige. Founded by Hans Wilsdorf in 1905, the brand pioneered the develop- ment of the wristwatch and is at the origin of numerous major watchmaking innovations, such as the Oyster, the first waterproof wristwatch, launched in 1926, and the Perpetual rotor self-winding mechanism invented in 1931. Rolex has registered over 400 patents in the course of its history. A truly integrated and independent manufacturing company, Rolex designs, develops and produces in-house all the essential components of its watches, from the cast- ing of the gold alloys to the machining, crafting, assembly and finishing of the movement, case, dial and bracelet. Through philanthropic programmes and a broad palette of sponsorship activities, Rolex is also actively involved in supporting the arts, sports and exploration, and encour- ages the spirit of enterprise, as well as the conservation of natural environments.

An unrivalled reputation for quality and expertise HANS WILSDORF (RIGHT) FOUNDED ROLEX IN 1905.

‒ 38 ‒ ‒ 39 ‒ Credits: Getty Images/Chris Felver p.8; Rolex/Herman Mayer p.8-9; Julien Lanoo p.10-11; Brigitte Lacombe for Rolex p.11; Rolex/Cédric Widmer pp.12, 13, 14; Junya Okada p.14; EPFL/Michel Denancé p.15; Rolex/Tina Ruisinger pp.19, 21, 22, 23, 36; Simon Kretz and David Chipperfield p.20; Institute for Urban Design, ETH Zürich pp.24-25, 27; Rolex/Hideki Shiozawa p.29; Rolex/Tomas Bertelsen p.30; Rolex/Marc Latzel p.31; Alan Karchmer p.34; united4design p.35; Rolex p.39.