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XII International Architecture Biennale of São Paulo

[ ]CIVILIZATION 1

XII International Architecture Biennale of São Paulo


[DE]CIVILIZATION [NEO]CIVILIZATION [TRANS]CIVILIZATION [PROTO]CIVILIZATION [PRE]CIVILIZATION [RE]CIVILIZATION [POST]CIVILIZATION [RETRO]CIVILIZATION [ANTI]CIVILIZATION [ ]CIVILIZATION

SUMMARY OF THE CURATORIAL PROPOSAL

2

Whose city is this? Whose country is this? Whose house is this? Why does a certain region belong to a certain people? Modern western culture defines “to civilize” as a synonym of “to possess”. Centenary are the territories’ colonization processes and its inhabitant’s indoctrination. In the process, many cultures were erased, populations were removed, landscapes were completely transformed. What marks do such civilization standards leave in the cities and their buildings? What are the particularities of the kind of architecture that emerges as a result of imported values? What resists domination? These are the questions presented to the 12th São Paulo International Architecture Biennale. This is a study of the meanings contained in the term ‘civilization’. The figure of the immigrant is central nowadays. The virtues of cultural polyphony must be acknowledged. And it is necessary to establish that immigration and multiculturalism are São Paulo’s historical foundations, a great metropolis as exemplary in its diversity as in its inequality. How can we digest our colonial past and create new processes of interaction? In the midst of a migratory flux, architecture emerges both as a place for analysis of global crises and as a field of dialogue and coexistence. XII International Architecture Biennale of São Paulo


CURATORIAL AXES THE NATIVE AND THE MODERN

“It is a deliberate act of possession, in the sense of exploration, in accordance with colonial tradition.” Lucio Costa1

1 COSTA, Lucio. Memória Descritiva do Plano Piloto. In.: Registro de uma vivência. São Paulo: Empresa das Artes, 1995. p.283.

IMMIGRANTS

This revealing sentence is part of Brazilian architecture’s most important text: The Descriptive Memory of the Pilot Plan, the proposal that made Lucio Costa the author of the great modern urban national project - the construction of Brazil’s new capital, Brasília. Since the Age of Discovery (and the discovery of Brazil), modernity has been intimately connected with taking possession, colonizing areas, transforming landscapes, educating the “barbarians”, taming peoples and “civilizing” them. Paradoxically, maybe out of guilt, the modern individual holds interest for “the other”, for the “primitive”, for the native. However, Paulo Tavares observed in the piece De-Habitat, that the objects presented as “indigenous art” in “Habitat”, a magazine edited by the Bardi couple, are alienated from their political context, since they were “collected” from peoples who at that time suffered a violent occupation of their territories. It is important, therefore, to discuss the relationship between the notions of modernity and the maintenance of what is “native” in Brazil’s own cultural formation.

“When people, with or without children, enter our Country, they must be told to leave without our Country being forced to endure a long and costly trial. Tell the people ‘OUT’ and they must leave, just as they would if they were standing on your front lawn.” tweet from Donald Trump on 5th july 2018 In an era of intense migratory flows and economic and cultural exchanges, a wave of populist discourses spreads fear of “the foreigner”. When boundaries between public and private become blurred, some demand the protection for what they consider to be theirs. The best counterpoint is the history of São Paulo itself. A city of arrivals and departures, built by those who came from afar and settled here, a narrative not without conflicts, but with virtues derived from multiculturalism. From São Paulo’s case, it is interesting to retroactively investigate global-colonial stories. To observe how colonial patterns shape the construction of cities. To analyze how import and export of values play out in the architecture itself. What is it that remains from the immigrant’s original culture? How does the place of arrival transform the immigrant? With the global migratory crisis, what vocabulary will it take to embrace cultural polyphony, collaborate with the other and decolonize our practices?

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XII International Architecture Biennale of São Paulo


AFROBRASIL 2 BO BARDI, Lina. Curumirim.

In.: FERRAZ, Marcelo. Lina Bo Bardi. São Paulo: Instituto Lina Bo e P. M. Bardi, 1993. p.203.

ERASURES AND CONTINUITIES 3 BERMAN, Marshall. Tudo que

“Architecture is deeply connected with experience, as architecture is everything. The West is on the verge of a total overhaul. I think Brazil is not part of the West. It is Africa.” Lina Bo Bardi2 In “Five years among whites”, immigrant architect Lina Bo Bardi’s text about the first time she lived in the northeastern state of Bahia, she observed how Brazilian culture is intrinsically shaped by the millions of africans who came enslaved to Brazil. She observes how the Brazilian people are the result of a different kind of interaction compared to the Europe that she had left in the post-war period. French photographer and ethnologist Pierre Verger wrote the book “Flow and Reflux” about how bahian society is deeply shaped by what the afro-descendant people brought. He also looks at Benin and observes, much because of the slaves who returned to their continent, that religious and cultural manifestations are similar on both sides of the Atlantic - one can see buildings in this African region that could very well be in northeastern Brazil. After having trafficked millions of people from Africa, Brazil abolished slavery, but never made enough effort to create equity between blacks and whites. Today, with the increase of migratory flows, Brazil has a new encounter with Africa. How are we to digest our colonial past and create new processes of interaction?

“To be modern is to find ourselves in an environment that promises adventure, power, joy, growth, self-transformation and transformation of things around us - but at the same time it threatens to destroy everything we have, everything we know, everything we are.” Marshall Berman3

é sólido se desmancha no ar. São Paulo: Companhia das Letras, 2007. p.24.

4

The paradox of modernity is that the notion of progress goes hand in hand with the destruction of what already exists. In the processes of urbanization - or territorial possession - from the colonial period to the present day, people are forcibly removed and landscapes are brutally transformed, or even erased. Faustic hydroelectric dams are built on natural sanctuaries. The Amazon is deforested by agribusiness. Violent conflicts between ruralists and indigenous groups erupt. What stories were (and still are) made invisible in the expansion of the socalled “economically productive areas”? What architectures have disappeared? For example, do we know the diversity of indigenous heritage, their forms of land occupation and soil management? How could informal settlements and favelas be structured with projects that are sensitive to their local identity, rather than having normative standards that impose displacements and emotional disruptions? How do architects contribute to the colonization of the landscape today? What kind of continuity and cultural accumulation is possible while there are constant erasures?

XII International Architecture Biennale of São Paulo


PROGRAMME PLACES

CENTRALIZATION AND IRRADIATION

Obs.1. It is important to note that this is a suggested list. A guideline to choose venues. The use of such places requires negotiation

This proposal seeks to establish a spatial framework in the city of São Paulo and investigate the specificities of public, private and common concepts in this metropolis. The proposed programme constitutes a network of activated spaces, which add new layers of uses, paths and interrelations to the existing complex relationship between architecture and the city. The XII International Architecture Biennale of São Paulo needs a clear center. A place where visitors can easily recognize the event. Seeing such characteristics in Avenida Paulista, this curatorial team will seek to make this avenue the central axis of the Biennale. At the heart of the roads and public transport network of São Paulo, Paulista Avenue was chosen due to its cultural venues of great architectural value. This will prove to be an excellent strategy to make feasible the events of this Biennale, since these venues offer infrastructure, human resources and media teams. As they already have a regular audience, the scope of the Biennale is increased, attracting a non-specialized audience, and broadening the interaction between the architectural debate and the society. The intention is also to activate the interface between the avenue and the buildings, temporarily occupying available private spaces, such as stores and offices. On Sundays, when the avenue is closed off for cars and open only for pedestrians, it is possible that the activities will expand to the public space os the road itself. From the beginning, we make it clear that we will not try to restrict the Biennale to the avenue. Avenida Paulista will be the center from which the Biennale irradiates throughout the city.

with each of the institutions.

center

irradiations

Masp Fiesp Japan House IMS Paulista Conjunto Nacional Private properties available (to be chosen)

In order to create a more complex network of urban activations, places in other regions will be selected for the Biennale’s activities.

Obs.2. In order to be part of this network of spaces it is enough to have an exhibition display in a place. It is not necessary to provide a room. This proposal is flexible to the options offered by each institution. Obs.3. The buildings listed may participate in a temporary event for a day or a week.

ARCHITECTOUR

EVENTS

Sesc Pompéia Sesc 24 de Maio Teatro Oficina Copan Casa de Vidro Museu Afro-Brasileiro IAB Casa do Povo Mube Ocupação Nove de Julho Teatro de Contêiner Casa Plana

Thinking about the visiting public of São Paulo and from other places, this proposal intends to create a touristic-architectural circuit to its programming, optimizing the time of those who want to know more about the city and the content of the Biennale.

This proposal prioritizes the activation of spaces by means of uses, aiming to leave a minimum material trace and maximum immaterial impact for the participants.

ACTIVATIONS

Activations are proposals to occupy the spaces selected for a Biennale. Activations have a completely open format: they can be performances, events, debates, conversations, artistic interventions (within the available budget).

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XII International Architecture Biennale of São Paulo


Activations must be self-managed. Activations search for imaginative uses of spaces. Activations make architects think about spaces through the program; transform spaces without destroying them; bring new layers and articulations to the existing spaces of the cities. Activations seek to promote encounters and collective transformations of subjectivity. Activations aim to save materials and to obtain propositional precision. Activations must dialogue with non-specialized audiences. Activations will be commissioned by the curators and also selected through open calls.

EXHIBITIONS

Exhibitions are one-off events, with, at most, one exhibition per selected building. Exhibitions have a central exhibit, with the main curatorial content detailed in the first pages of this proposal. That is, it is a statement exposition that presents the structuring issues of this Biennale. Exhibitions will be small shows with in-depth research, going deep into specific aspects derived from the themes of the curatorial proposal. Exhibitions seek to discover movements that retroactively review civilizational standards within consolidated cities. Exhibitions have a special interest in human settlements structured by collective uses. Exhibitions include a photo exhibition at IMS Paulista selected by an open call (to be negotiated). Exhibitions will be commissioned by the curators and also selected through open calls.

DISPLAYS

Displays are iconic objects that identify the presence of the Biennale in the city. Displays are present in all spaces occupied by the Biennale, and also in other places as a way of publicizing the programme. Displays are organized in modules and can have different sizes when brought together. Displays will be designed by the curatorial team, acting as urban furniture and publicity, so as to be connected to existing urban structures. Displays contain a brief informative exhibit about the space where it is located for architectural projects of relevance or sites of historical importance to the city. Displays may contain small utilities, such as a seat, a power plug, a public wi-fi, the programme of the Biennale and other possibilities according to the necessities of that particular spot.

LECTURES AND DEBATES

Lectures and Debates will be frequent activations in the spaces of the Biennale. Lectures and Debates will be the basis for the workshops promoted during the Biennale, fostering the development of these practices from the experience of the speakers. One Biennale opening seminar about civilization concepts. Some names of interest to this opening are: Eyal Weizman (Forensic Architecture), Paulo Tavares (Forensic Architecture and AgĂŞncia AutonĂ´ma), Suely Rolnik, Anooradha Iyer Siddiqi, Angela Davies, Elena Barthel and Andrew Freear (Rural Studio), The Otolith Group, Kader Attia and La Colonie, Nabil Canaan (Station Beirut). Four seminars organized according to the four curatorial themes: The native and the modern; Immigrants; Afrobrasil; Erasures and Continuities. Four Design and Research Debates will take place following the four curatorial themes mentioned above in order to open the discussion to architects and groups who are engaged in these issues. Here we want to create an interface with the academy: researchers can expose their studies in progress. For each module, there will be an open call that will select three participants, totaling twelve.

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XII International Architecture Biennale of SĂŁo Paulo


WORKSHOPS

Workshops will be promoted in order to create a practical laboratory aligned with the issues raised by the curatorial proposal. Workshops will be immersive experiences, which will take place throughout the Biennale, in the buildings mentioned. The works will be presented in events open to the public during the process. Three Design and Building Workshops will be promoted. Architects-tutors should send in preliminary project strategies to be selected and then developed in participants’ collective. Such workshops will be led by architects who have construction experience with emphasis on the building processes. Seeking high architectural inventiveness with minimal resources, they will construct permanent interventions in urban spaces (to be negotiated with City Hall) and in public or residential buildings that demand community improvements. Two Magazine Workshops will be organized in order to stimulate discursive practice, textual reflection, criticism, narrative and fiction in the field of architecture. These workshops will seek to understand how and what types of dialogue architects can establish with the population. The magazine will be printed and also made available online at the end of the Biennale. Workshops will have their tutors partially commissioned by curators or selected through open calls. Participants will be selected exclusively through open calls.

VIDEOART AND FILM FESTIVAL

Videoart and Film Festival will have a guest curator. It will take place in public spaces and will discuss the themes suggested in the curatorial proposal. We want to explore movies produced in the southern hemisphere, with narratives that involve the decolonization of the landscape.

OPEN CALLS

7

Open calls aim to set up an inclusive, diverse, transparent and pluralistic Biennale. The curatorship will be aware of the participatory identities, to affirmative policies, and representations of the diversity (black; feminist; LGBTQ +; indigenous movements). The open calls’ presentation will seek to reach these groups, because we believe that democracy can only operate through these representations. The projects committee aims to establish the parameters of the Biennale, together with groups whose research and practices are close to the proposal. Open calls will have an independent and predefined jury Open calls will be announced nine to six months before the opening of the Biennale. Open calls will be promoted as specified above for Exhibitions, Activations, Lectures and Debates, Workshops. Open calls will have all of its steps published on the Biennale website. Rejected projects will also be posted on the site.

XII International Architecture Biennale of São Paulo


EVENTS MAP

1. Av. Paulista 2. Copan / Casa Plana 3. Sesc Pompéia 4. Museu Afro-Brasileiro 5. Ocupação Nove de Julho 6. Casa de Vidro

3

7. Casa do Povo 8. Mube 9. Teatro Oficina 10. Sesc 24 de Maio 11. IAB 12. Teatro de Contêiner

7 12 11

10 2 5 9

1

8

4

6

8

XII International Architecture Biennale of São Paulo


WORKFLOW SCHEDULE PHASE I PRE-PRODUCTION

August 2018 to June 2019

PHASE II PRODUCTION

July 2019 to August 2019

PHASE III BIENNALE

September 2019 to December 2019

•  Preliminary budget check •  Adjustment and detailing of the curatorial project •  Funding and partnership development •  Development of open calls •  Development of general production strategy •  Project settings of activation proposals, exhibitions, displays, lectures/debates, videoart and film festival •  Adjustments and visual communication design layouts of the biennale •  Development of the graphic design identity •  Detailing of audiovisual technical requirements / technical preparation •  Content research development •  Final presentation of the scenographic, digital and expographic executive projects for approval •  Open calls’ launch

•  Final discrimination of services to be provided and contracting services for physical design, lighting design, visual communication, graphic design and execution of other projects •  Selection of the open calls’ winners •  Preparation of media kits: photos and releases •  Preparation and delivery of final texts •  Preparation of activation / exhibition spaces / workshops / displays / videoart and film festival: panels, exhibition furniture, supports, technical needs etc. •  Finalization and delivery of digital material •  Installation on cultural venues •  Installation of displays

•  Opening •  Exhibitions maintenance •  Events: workshops, lectures, videoart and festival, activations

PHASE IV – END OF THE BIENNALE

•  Accountability •  Organization of disclosure material and catalogue •  Final report delivery

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XII International Architecture Biennale of São Paulo

December 2019


FINANCIAL-PHYSICAL SCHEDULE VERSION 1 Financial-physical schedule BIA_2019  Version 1 R$ 800.000,00 item

description

quantity

unit

amount of units

unitary value

total item

1. CURATORIAL TEAM Curators - Ana Altberg, Francesco Perrotta-Bosch and Giacomo Pirazzoli

Professional

3

Month

8

R$4.000,00

R$96.000,00

Designers - Nina Farkas/Felipe Sabatini

Professional

2

Month

6

R$4.000,00

R$48.000,00

Producer - Paula Marujo

Professional

1

Month

6

R$6.000,00

R$36.000,00

Budget

1

Budget

1

R$6.000,00

R$6.000,00

Professional

3

Month

4

R$2.000,00

R$24.000,00

10

R$300,00

R$6.000,00

Jury open calls Assistant curators - to be defined

TOTAL CURATORIAL TEAM  R$210.000,00 2. TEAM TRAVELS Tickets curatorial team - Rio/São Paulo

Professional

2

Tickets

TOTAL TEAM TRAVELS R$6.000,00 3. DIGITAL MEDIA Website programmer

Professional

1

Fee

1

R$10.000,00

R$10.000,00

Website maintanance

Professional

1

Month

10

R$500,00

R$5.000,00

TOTAL DIGITAL MEDIA R$15.000,00 4. VISUAL COMMUNICATION DIGITAL Graphic design

Professional

1

Service

1

R$5.000,00

R$5.000,00

Posters

Material

0

Impression

0

R$0,00

R$0,00

Totens

Material

0

Impression

0

R$0,00

R$0,00

Programme

Material

0

Impression

0

R$0,00

R$0,00

Catalog

Material

0

Impression

0

R$0,00

R$0,00

Revision

Professional

1

Service

1

R$2.000,00

R$2.000,00

Translation

Professional

1

Service

1

R$3.000,00

R$3.000,00

Photography

Professional

1

Fee

1

R$2.600,00

R$2.600,00

Video

Professional

1

Fee

1

R$3.700,00

R$3.700,00

1

R$15.000,00

R$90.000,00

TOTAL VISUAL COMMUNICATION DIGITAL R$16.300,00 5. ACTIVATIONS Activations - commissioned and open calls

Event

6

Budget

TOTAL ACTIVATIONS R$90.000,00 6. EXHIBITIONS Central exhibition

Event

1

Budget

1

R$80.000,00

R$80.000,00

Photography exhibition ims

Event

1

Budget

1

R$60.000,00

R$60.000,00

Open calls exhibition

Event

3

Budget

1

R$48.000,00

R$144.000,00

TOTAL EXHIBITIONS R$284.000,00

10

XII International Architecture Biennale of São Paulo


7. DISPLAY Display - design, built, graphic design, etc

displays

15

budget

1

R$3.000,00

R$45.000,00

TOTAL DISPLAY R$45.000,00 8. LECTURES AND DEBATES Speakers fee

Professional

12

Fee

1

R$1.000,00

R$12.000,00

Per diem international speakers

Professional

4

Daily rate

2

R$100,00

R$800,00

International tickets

Professional

4

Tickets

1

R$3.500,00

R$14.000,00

International speakers accommodations

Professional

4

Daily rate

3

R$300,00

R$3.600,00

Per diem national speakers

Professional

8

Daily rate

1

R$100,00

R$800,00

National tickets

Professional

4

Tickets

1

R$450,00

R$1.800,00

National speakers accommodations

Professional

4

Daily rate

3

R$300,00

R$3.600,00

Equipments rent - projector, screen, microphone, etc.

Budget

1

Event

4

R$1.000,00

R$4.000,00

Audiovisual technician

Professional

1

Event

4

R$500,00

R$2.000,00

Simultaneous translation

Professional

1

Event

4

R$1.000,00

R$4.000,00

Budget

1

Event

4

R$2.300,00

R$9.200,00

Simultaneous translation equipment rent

TOTAL LECTURES AND DEBATES R$55.800,00 9. WORKSHOPS Fee invited tutors

Professional

5

Fee

1

R$1.000,00

R$5.000,00

Construction budget

Workshops

3

Budget

1

R$10.000,00

R$30.000,00

Ticket for national tutors

Professional

3

Tickets

1

R$400,00

R$1.200,00

Tutors accommodations

Professional

3

Daily rate

3

R$300,00

R$2.700,00

Meal

3

Budget

1

R$500,00

R$1.500,00

Lunch for the workshop team

TOTAL WORKSHOPS R$40.400,00 10. VIDEOART AND FILM FESTIVAL Festival curatorship Equipments rent - projector, screen, sound etc. Audiovisual technician

Professional

1

Fee

1

R$4.000,00

R$4.000,00

Budget

1

Budget

1

R$15.000,00

R$15.000,00

Professional

1

Budget

1

R$2.000,00

R$2.000,00

TOTAL VIDEOART AND FILM FESTIVAL R$21.000,00 11. PRESS OFFICE Press office Social media posts fee

Professional

1

Service

1

R$8.000,00

R$8.000,00

Service

1

Budget

1

R$1.500,00

R$1.500,00

1

R$7.000,00

R$7.000,00

TOTAL PRESS OFFICE R$9.500,00 12. GOVERNMENTAL AUTHORIZATIONS Approvals, licenses, permits

Budget

1

Budget

TOTAL GOVERNMENTAL AUTHORIZATIONS R$7.000,00

TOTAL COST R$800.000,00

11

XII International Architecture Biennale of São Paulo


FINANCIAL-PHYSICAL SCHEDULE VERSION 2

This second budget is a reference for an ideal scenario for the 12th International Architecture Biennale of SĂŁo Paulo, as far as it would be able to realize the fundraising plan, aiming to carry out more activations, reach a larger audience, and producing an even more interesting and complete event. In this case, the curatorial team commits itself to seek external partnerships, always working together with the IAB directory. The plan consists on approximating institutions, with a historical of partnerships, whose interests are close to those of the IAB and the Architecture Biennale, as the case of Sesc-SP. As confirmed partners, the project already has the support of several national and international groups as Assemble (London), Guiding-architects (www.guiding-architects.com), Saracvra (Rio de Janeiro), MAPA (Montevideo e Porto Alegre) e Traumnouvelle + Wai Think Tank (Brussels). In addition, the proposal also includes establishing relationships to carry out actions in the Masp, Fiesp, Japan House, IMS Paulista, Conjunto Nacional, Teatro Oficina, Copan, Casa de Vidro, Museu Afro-Brasileiro, Casa do Povo, Mube. It is also proposed the inclusion of the project in public funding programs and search for national and international supporters as Pro Helvetia, Instituto Goethe and others. Anyway, we clarify that the project is achievable within the budget of R$800,000.00, as it is demanded in the open call.

12

XII International Architecture Biennale of SĂŁo Paulo


Financial-physical schedule BIA_2019  Version 2 Projection R$ 1.647.500,00 item

description

quantity

unit

amount of units

unitary value

total item

1. CURATORIAL TEAM Curators - Ana Altberg, Francesco Perrotta-Bosch and Giacomo Pirazzoli

Professional

3

Month

14

R$4.000,00

R$168.000,00

Designers - Nina Farkas/Felipe Sabatini

Professional

2

Month

10

R$4.000,00

R$80.000,00

Architecture (expography designer) to be defined

Professional

1

Month

6

R$5.000,00

R$30.000,00

Producer - Paula Marujo

Professional

1

Month

6

R$6.000,00

R$36.000,00

Content advisors - to be defined

Professional

5

Fee

1

R$5.000,00

R$25.000,00

Budget

1

Budget

1

R$12.000,00

R$12.000,00

Professional

6

Month

8

R$2.000,00

R$96.000,00

10

R$300,00

R$6.000,00

Jury open calls Assistant curators - to be defined

TOTAL CURATORIAL TEAM  R$447.000,00 2. TEAM TRAVELS Tickets curatorial team - Rio/São Paulo

Professional

2

Tickets

TOTAL TEAM TRAVELS R$6.000,00 3. DIGITAL MEDIA Website programmer

Professional

1

Fee

1

R$10.000,00

R$10.000,00

Website maintanance

Professional

1

Month

10

R$500,00

R$5.000,00

TOTAL DIGITAL MEDIA  R$15.000,00 4. VISUAL COMMUNICATION DIGITAL AND PRINTED Graphic design

Professional

1

Service

1

R$5.000,00

R$5.000,00

Printed catalog

Material

1

Impression

2000

R$35,00

R$70.000,00

Printed poster

Material

1

Impression

500

R$5,00

R$2.500,00

Printed flyer/folder programme

Material

1

Impression

10000

R$0,45

R$4.500,00

Digital catalog

Material

0

Impression

0

R$0,00

R$0,00

Digital poster

Material

0

Impression

0

R$0,00

R$0,00

Digital programme

Material

0

Impression

0

R$0,00

R$0,00

Revision

Professional

1

Service

1

R$3.000,00

R$3.000,00

Translation

Professional

1

Service

1

R$4.000,00

R$4.000,00

Photography

Professional

1

Fee

1

R$5.000,00

R$5.000,00

Video

Professional

1

Fee

1

R$8.000,00

R$8.000,00

TOTAL VISUAL COMMUNICATION DIGITAL AND PRINTED R$102.000,00 5. ACTIVATIONS Activations - commissioned

Event

6

Budget

1

R$25.000,00

R$150.000,00

Activations - open calls

Event

9

Budget

1

R$10.000,00

R$90.000,00

TOTAL ACTIVATIONS R$240.000,00 6. EXHIBITIONS Central exhibition

Event

1

Budget

1

R$120.000,00

R$120.000,00

Photography exhibition ims

Event

1

Budget

1

R$80.000,00

R$80.000,00

Open calls exhibition

Event

3

Budget

1

R$80.000,00

R$240.000,00

TOTAL EXHIBITIONS R$440.000,00

13

XII International Architecture Biennale of São Paulo


7. DISPLAY Display - design, built, graphic design, etc

Display

50

Budget

1

R$3.000,00

R$150.000,00

TOTAL DISPLAY R$150.000,00 8. LECTURES AND DEBATES Speakers fee

Professional

12

Fee

1

R$2.000,00

R$24.000,00

Per diem international speakers

Professional

4

Daily rate

2

R$100,00

R$800,00

International tickets

Professional

4

Tickets

1

R$4.000,00

R$16.000,00

International speakers accommodations

Professional

4

Daily rate

3

R$300,00

R$3.600,00

Per diem national speakers

Professional

8

Daily rate

1

R$100,00

R$800,00

National tickets

Professional

4

Tickets

1

R$500,00

R$2.000,00

National speakers accommodations

Professional

4

Daily rate

3

R$300,00

R$3.600,00

Equipments rent - projector, screen, microphone, etc.

Budget

1

Event

4

R$2.000,00

R$8.000,00

Audiovisual technician

Professional

1

Event

4

R$500,00

R$2.000,00

Simultaneous translation

Professional

1

Event

4

R$1.000,00

R$4.000,00

Simultaneous translation equipment rent

Budget

1

Event

4

R$2.500,00

R$10.000,00

TOTAL LECTURES AND DEBATES R$74.800,00 9. WORKSHOPS Fee invited tutors

Professional

5

Fee

1

R$4.000,00

R$20.000,00

Construction budget

Workshops

3

Budget

1

R$20.000,00

R$60.000,00

Ticket for national tutors

Professional

3

Tickets

1

R$500,00

R$1.500,00

Tutors accommodations

Professional

3

Daily rate

3

R$300,00

R$2.700,00

Meal

3

Budget

1

R$500,00

R$1.500,00

Lunch for the workshop team

TOTAL WORKSHOPS R$85.700,00 10. VIDEOART AND FILM FESTIVAL Festival curatorship Equipments rent - projector, screen, sound etc. Audiovisual technician

Professional

1

Fee

1

R$8.000,00

R$8.000,00

Budget

1

Budget

1

R$50.000,00

R$50.000,00

Professional

1

Budget

1

R$3.000,00

R$3.000,00

TOTAL VIDEOART AND FILM FESTIVAL R$61.000,00 11. PRESS OFFICE Press office

Professional

1

Service

1

R$15.000,00

R$15.000,00

Clipping

Service

1

Budget

1

R$1.500,00

R$1.500,00

Social media posts fee

Service

1

Budget

1

R$1.500,00

R$1.500,00

1

R$8.000,00

R$8.000,00

TOTAL PRESS OFFICE R$18.000,00 12. GOVERNMENTAL AUTHORIZATIONS Approvals, licenses, permits

Budget

1

Budget

TOTAL GOVERNMENTAL AUTHORIZATIONS R$8.000,00

TOTAL COST R$1.647.500,00

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XII International Architecture Biennale of São Paulo


ORGANIZATIONAL STRUCTURE OF THE TEAM

CURATORIAL TEAM CURATORSHIP

Ana Altberg, curator Francesco Perrotta-Bosch, curator Giacomo Pirazzoli, curator To be defined, assistant curator 1 To be defined, assistant curator 2 To be defined, assistant curator 3 To be defined, assistant curator 4

GRAPHIC DESIGN

Felipe Sabatini, designer Nina Farkas, designer

PRODUCTION

Paula Marujo, producer To be defined, assistant producer 1 To be defined, assistant producer 2

PARTNERSHIPS CONTENT CONSULTING

Catarina Duncan (Pro-Helvetia, Switzerland), content advisor Laura Belik (Berkeley University, USA), content advisor To be defined, content advisor 3 To be defined, content advisor 4 To be defined, content advisor 5 The partners listed below will participate in the development of Exhibitions, Activations, Lectures and Debates, Workshops, Architect-tour:

PARTNERS

Confirmed Partners

Ana Araujo (Architectural Association, England) Assemble (England) ENTRE (Rio de Janeiro) Fabrizio Gallanti (McGill University, Canada) Guiding-architects (www. insight-architecture.com) Jorn Konijn (Stroom Den Haag, Netherlands) Luiza Franco (Brazil) MAPA (Uruguay and Brazil) Rural Studio (USA)

Saracvra (Rio de Janeiro) Traumnouvelle + Wai Think Tank (Belgium) Yadhira Alvarez, Pablo Moreira (Bienal de Quito, Ecuador) Zeuler Lima (Saint Louis University, USA)

Partners to be confirmed

Canadian Center of Architecture - CCA (Canada) Instituto Goethe (Germany) Istituto Italiano di Cultura (Italy) Keeping it modern – Getty Foundation (USA) Pro-Helvetia (Switzerland) NAI - Netherlands Architecture Institute (Netherlands) San Rocco (Italy)

ACADEMIC PARTNERSHIPS

There will be an effort on the part of the curatorial team to include the workshops and debates within the activities of Architecture Universities of São Paulo and other cities of Brazil, in order to allow greater participation of the students.

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XII International Architecture Biennale of São Paulo


TEAM MEMBERS CURRICULUM

Ana Altberg is an architect. She graduated from Pontifical Catholic University of Rio de Janeiro, and is a member of the Entre, an architecture research collective based in Rio. With it, she participated in the X São Paulo Architecture Bienniale in 2013, promoting public interviews; and also of the XVI Venice Architecture Biennale, collaborating with 12 interviews for the brazilian pavilion “Muros de Ar” in 2018. At the moment she coordinates a publication of the collective, contemplated by a cultural sponsorship of CAU-RJ. She worked in the urban design office l’AUC Paris, where she participated in the curatorial project of the AGORA Bordeux Architecture Biennale in 2010. She worked as assistant of the Olympic Park Coordination in the Municipal Olympic Company of Rio de Janeiro, in 2013. He worked as assistant of the Education , Research and Social Action Coordination of Instituto Moreira Salles in 2014. She participated in the art project Permanencies and Destructions II, organizing the workshops for the Love Stairs construction in the favela Complexo do Alemão, in partnership with the Instituto Roízes em Movimento - a Designing Respect Award project in 2016. She directed the short film Nocturnal Ground Memory, about urban fishermen, selected for the Tehran Film Festival 2016. Today she develops architectural and set design projects in Rio de Janeiro. Francesco Perrotta Bosch is an architect, essayist and curator. He graduated as an architect at the Pontifical Catholic University of Rio de Janeiro and he has a master’s degree at the University of São Paulo with a dissertation titled “Formlesses”. In 2013 he was awarded the Instituto Moreira Salles’ Serrote prize for his essay ‘The Architecture of Intervals’, which looks at the indeterminacy of Lina Bo Bardi’s Museu de Arte de São Paulo (MASP) and the work of John Cage. He coordinated the team in charge of research and assembly of the Brazilian Architectural Collection from Casa de Arquitetura in Portugal, 2017. He was curatorial assistant of the Brazilian Pavilion at the 2016 Venice Biennale, and co-curator of the exhibitions “Housing Project” and “Fight. Squat. Resist” of Columbia University Studio X Rio de Janeiro. He was assistant editor of Vitruvius website and researcher of the 10th São Paulo International Architecture Biennale, in 2013. He worked at architectural offices as SIAA (São Paulo, 2010-2013) and Christian de Portzamparc (Paris, 2011). He is also co-author of Entre: Entrevistas com Arquitetos (Viana & Mosley, 2012). He has essays published in Architectural Design and Architectural Review (England), PLOT and Summa+ (Argentina), Piauí, Folha de S.Paulo, Estado de São Paulo, AU, ProjetoDesign, Monolito (Brazil). He is a member of the architectural jury of the Art Critics São Paulo Association (APCA). Giacomo Pirazzoli is an architect. He graduated from Università di Firenze and has PhD in Architecture and Urbanism from Università di Roma La Sapienza, with research made on Fondation Le Corbusier and European Union scholarship with Christian de Portzamparc office, in Paris. Since 2000, he is a Professor in Università di Firenze, in the architectonic courses of Design and Museum Expography. He is a member of the Doctoral School of the Department of Architecture and Coordinator of theiCad-International Master Course on Architectural Design. He was a guest teacher at ENSAM-Montpellier (France), University of Applied Sciences of Munich (Germany), Curtin University in Perth (Australia), and on FAUMackenzie in São Paulo. He was an advisor to the Architect’s Council of Europe in Brussels, President of the Academy of Fine Arts in Florence and Counselor of the Stibbert-Firenze Museum He is the founder of CrossingLab think-tank, produced and implemented researchs: “Site Specific Museums” and “GreenUP - a Smart City”, on Europe, USA and China. Since 1993, he has been working professionally in expography and museums, sustainable architecture with works built, published and awarded in Italy and other countries.

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XII International Architecture Biennale of São Paulo


Felipe Sabatini is a graphic designer. He graduated from ESPM-SP, was part of the group of Brazilian designers who, in 2014, participated in the ‘International Poster Exhibition’, promoted by Alliance Graphique Internationale (AGI). He has works selected by the Brazilian House Museum, the Brazilian Biennale of Graphic Design and Latin American Design. He worked as assistant from Kiko Farkas and Celso Longo+Daniel Trench (cldt). During this period he was involved in the communication development of the 10th São Paulo International Architecture Biennale. Since 2016 he leds ésse design, a São Paulo studio that designs graphic and digital projects focused on the cultural environment. Nina Farkas is a graphic designer. She graduated as an architect in Escola da Cidade (SP). She collaborated with the design studios of Celso Longo and Daniel Trench, Julia Masagão and Elisa Randow, participating in several cultural projects such as the exhibitions The Drawing’s Skin and Thickness (SESC SP), German Lorca ( SESC SP), Scene Drawings (SESC SP) and Pau-Brazyl Louvre Museum. Invited by Celso Longo, she participated in the international AGI posters exhibition in São Paulo in 2014. She worked as the designer of the Municipal Theater of São Paulo from 2017-2018, developing the institution’s programme graphic projects, such as the opera seasons, the city ballet and city choir. Since the beginning of 2018, she collaborates with RegularSwitch design studio in São Paulo, developing projects of visual identity, expographic identity and editorials. Paula Marujo Ibrahim is a cultural producer. She graduated in International Relations at the Pontifical Catholic University of São Paulo. Since 2014, she works in several segments of the cultural market, mainly in the development and management of projects focused on visual arts. She has coordinated teams at more than 15 national and international exhibitions, such as “Frestas - Trienal de Artes” idealized by Sesc-SP, the newly opened Farol Santander, “Ex Africa” and “Zeitgeist: Arte da Nova Berlim” at CCBB-Belo Horizonte, Rio de Janeiro, São Paulo and Brasília. She also worked on the production of the Museu do Amanhã opening film and the 2016 Olympics, both in Rio de Janeiro. She was a guest producer at the Singapore International Festival of Arts (SIFA), where she coordinated a team and trained a group of artists for Standard Time performance of Mark Formanek as part of the O.P.E.N. Festival, among other exhibitions and projects in the cultural field.

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XII International Architecture Biennale of São Paulo


DISCLOSURE AND COMMUNICATION PLAN

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The Biennale’s disclosure and communication plan operates through the overlapping of two networks: the physical and the digital one. The physical network is structured from the main core - the Avenida Paulista - through the displays-object-icons, that communicate the existence of the 12th International Architecture Biennale to the city. The Avenida Paulista and its buildings as the central axis for the Biennale enable multiple possibilities for a large-scale disclosure with simple resources. Such as projections on the building’s façades, marking a night signaling, using panels in the central bicycle path between the two main lanes. Besides that, the displays work as modules, so they can be use individualy or grouped. This flexibility allows the displays to be sensitive to the needs of each space they are located in, either in an internal environment (exhibition spaces, cultural centers) or in an external environment (streets, squares, public furniture). The displays used for the Biennale communication will have a double-function: promoting its programme and engage the public by having an active role in urban space. The displays dismisses printing itens as posters, programming, etc, because the Biennale’s communication is printed or attatched to them. Therefore, they are also a strategy to reduce costs and materials, then being more sustainable. Also part of the commucation plan is using the Academic Centers of Architecture Universities as a forum for the Biennale, by promoting lectures, workshops, academic researches presentations, etc. The curators will open a space of debate for students, professors and researchers in the fileds related to this proposal. The digital network is structured in two different ways: the first is focused in social networks (facebook and instagram) that are divided into two phases. At first, before the opening of the Bienniale, the posts are directed to promote it, inviting and amplifying the social reach of the proposal. In a second moment, the posts aim to promote specific events that happen within the programme, reaching different publics that can be interested in the topics addressed in these actions. Also part of the virtual proposal is the cataloging of the events promoted by the Biennale. Properly registered (with video and audio recording), the actions will be available, in a second moment, opened source access through a hotsite and the official Biennale channels. This production will also be available in the catalog of the event, produced in physical and digital form. This digital network will be considerably increased by the cultural instituitions’ network of the buildings the Biennale will occupy. Their media resources newsletter, social media pages, etc - will also promote Biennale’s events bringing a broader and diversified audience. These guidelines demonstrate that it is a fundamental interest of this proposal to dialogue with different interdisciplinary fields, civil society movements and identity groups - especially minorities and marginalized groups -, promoting an environment rich in exchange and collective construction of knowledge.

XII International Architecture Biennale of São Paulo


DISPLAY VISUAL REFERENCES

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1 Marius Holtmon, Mette Landsem and Madeleine Skjelland Eriksen 2 Lance Wyman, Beatrice Colle, Jose Luis Ortiz and Jan Stornfeld 3 Unknown author 4 Mark Reigelman 5 Adrian Blanc 6 Guy Architecte

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7 Alphabeticalstudio 8 No Studio 9 Augusto Serquiz

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XII International Architecture Biennale of São Paulo

Profile for XII BIA

Proposal 29  

Proposal 29  

Profile for xiibia
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