Anna Heringer has to wash her hands before she takes a phone call in Venice because she is in the midst of constructing an installation there with 25 tons of mud. To come up with the form for her project, which she is crafting for the main exhibition of the Venice Architecture Biennale (and of which she cannot reveal details), Heringer has been doing what she likes to call “claystorming”—shaping a hunk of clay until it “feels right.”
Heringer, a German architect whose practice is based in Laufen, talks a great deal about following her impulses, something she says that she lost as a student, when she felt pressured to make even the simplest sketch perfect. “I was coming from an emotional place, and it was not appreciated. And now what I’m using is common sense and intuition.”
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