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Imagen Subliminal nos propone una nueva mirada de UNFINISHED, el León de Oro español en la XV Bienal de Venecia

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Imagen Subliminal nos invita a recorrer ‘UNFINISHED’, el pabellón español ganador del León de Oro para la Mejor Participación Nacional en la Bienal de Venecia 2016. El jurado destacó la “concisa selección de arquitectos emergentes, cuyo trabajo muestra cómo la creatividad y el compromiso pueden trascender las limitaciones materiales” de Carlos Quintáns e Iñaqui Carnicero.

España es uno de los países donde la práctica de la arquitectura ha sido más afectada por la crisis económica del 2008. Se llegó a construir un gran número de edificios en un corto periodo te tiempo sin cuestionamiento si estos proyectos eran necesarios o válidos. Como resultado, muchos edificios por todo el territorio español quedaron inconclusos o cayeron en el abandono poco después de su inauguración. Esta exposición pretende dirigir la atención a los procesos más que a los resultados, en un intento de descubrir las estrategias de diseño generados por una visión optimista del entorno construido.

Conoce más del trabajo audiovisual de Imagen Subliminal en los siguientes proyectos:

La Razon newspaper interviewing Iñaqui Carnicero

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«Unfinished». Una palabra «llena de esperanza» para Carnicero. «Lo inacabado está abierto a nuevas posibilidades», continúa.

Ahí comenzó el camino de este arquitecto, junto a Carlos Quintáns, hacia la Bienal de este año. El chileno Alejandro Aravena, como comisario principal, había propuesto a los participantes desarrollar un problema de su país en el festival. Tras días dándole vueltas, decidieron que no era cuestión de señalar con el dedo a un punto, sino que había que vincularlo con un tema determinado. Y así surgió el pabellón de España. Resultado: un éxito, del que ahora disfruta con unos días de «tranquilidad». Dieciséis años hacía que ningún español recogía el León de Oro de Arquitectura en Venecia a la Mejor Participación Nacional. Desde Alberto Campo Baeza. Dos escenarios muy diferentes, en lo que a la situación del sector se refiere, y dos momentos que Iñaqui Carnicero ha vivido de cerca.

–Sí, absolutamente distintos.

–Recoge ahora parte de los frutos de aquello.
–En ese año acababa de terminar la carrera y participé gracias a un concurso que habíamos ganado y porque Alberto Campo nos invitó. Entonces, terminabas la carrera y el panorama te ofrecía la posibilidad de comenzar a trabajar, ir a hacer proyectos y construir. Era tremendamente interesante. Ahora sucede todo lo contrario.

–¿En qué consistió?

–En realizar el edificio politécnico del CEU. Pero ya digo que en 2000 era posible recibir un encargo tan importante apenas recién titulado.

–Y 16 años después le ha tocado hablar de los problemas derivados de aquel «boom» inmobiliario.

–Sí, Alejandro Aravena planteó que cada país compartiera una problemática local y contar cómo la arquitectura le ha hecho frente. Me ha parecido bastante interesante el planteamiento, porque visitando toda la Bienal se consigue una perspectiva de los distintos obstáculos que hay en el mundo para aprender de ellos. Quizá sirva para adelantarnos a lo que puede pasar dentro de unos años o para ayudar a otras economías que ahora van bien.

Iñaqui Carnicero y Carlos Quintáns quisieron contar en «Unfinished» uno de los mayores problemas que se han visto por estas tierras en los últimos años: la burbuja inmobiliaria. Mostrarla sin decir nombres, «que los hay». Obras abandonadas. Pero esto consistía en algo más cercano a la labor social. En mirar hacia delante. Echando la vista atrás para no repetir. Para nada más. Dar soluciones en equipo –como aprendiera en sus orígenes jugando al baloncesto en el Ramiro de Maeztu hace 43 años; hagan cábalas con qué político coincidió dentro y fuera de la cancha entonces, y con el que comparte quedadas ahora–. Defendiendo el interés del proceso frente al resultado. Estructuras y materiales normalmente ocultos, pensados para no ser vistos y ahora mostrados al desnudo por el objetivo de siete fotógrafos que componen otros tantos reportajes. En los laterales del pabellón estaba el grupo de las 55 soluciones arquitectónicas propuestas por jóvenes españoles. Más que suficiente para hacerse con el León por una «selección cuidadosa que demuestra cómo el compromiso y la creatividad pueden superar los límites materiales y el contexto», defendió el jurado internacional de la Bienal en la entrega del premio. Para Carnicero, todavía con los pelos de punta cuando piensa en el León veneciano, es el resultado de «querer denunciar esto de una manera positiva y buscando la posibilidad de completar el trabajo de otro».

–Sin crítica política.

–Nada, y sin buscar culpables.

–Se trata de un servicio a la sociedad.

–Exacto. Trasmitir el mensaje de que desde el ingenio somos capaces de coger una realidad ya existente y completarla hasta darle un sentido.

–De todas formas, esto no es un virus únicamente español, como dijeron los ministros de Chile, Bélgica y Francia que les visitaron.

–Sí. Estaban muy interesados. Fue una sorpresa y un acto de generosidad de los otros comisarios, que no se centraron en defender sólo sus pabellones, sino que decidieron venir y hablarles de la temática que planteábamos y cómo resultaba relevante al enlazarlo con temas que estaban pasando en esos países.

–¿Algún ministro español se acercó por allí?

–No, tuvimos la mala suerte de que se jugó la final de la Champions y la representación política decidió ver el fútbol.

–Las crisis agudiza el talento. En esta ocasión, ¿cómo le ha influido?

–Llevamos mucho tiempo en España quejándonos y peleándonos, pero nos parecía interesante compartir y contar lo que la gente ha hecho a raíz de la crisis económica. Resultados de cómo el ingenio se ha afinado y las soluciones que han traído una nueva manera de responder a la arquitectura muy distinta a la de hace años. Y absolutamente exitosa.

Un carácter que Carnicero ha curtido en EE UU. Sí, es uno más de los españoles que ha tenido que emigrar para seguir adelante. Se fue para un año y ya lleva cuatro como profesor en la Universidad de Cornell. Él no lo ve como una huida, sino como una experiencia enriquecedora que con el tiempo repercute en tu propio país: «Ahora veo que la gente tiene bastantes razones para quejarse, pero más allá de quedarse ahí, lo que hay que hacer es un esfuerzo por ver de qué manera se es capaz de mejorar la situación». De allí vuelve con la envidia del «valor que le dan a las cosas, con independencia de las ideologías. No como aquí, donde tenemos una mentalidad más futbolera». O conmigo o contra mí.

–¿Sorprende a la gente que un arquitecto le pueda ayudar?

–Hay muchas maneras de hacerlo. Tal vez el mensaje que se ha lanzado de una arquitectura social es peligroso y lo usan con fines propagandísticos. Por eso prefiero hablar de la responsable: la que encuentra equilibrios entre los medios y los resultados. Un buen ejemplo de ello es donde estamos –Matadero–. En este caso el arquitecto no es un diseñador que introduce edificios nuevos, sino alguien que continúa el trabajo de otro y entra en diálogo con el pasado. Es bonito que tu trabajo sea capaz de poner en valor la historia de un sitio y proponga nociones nuevas para activarlo.

–¿Cómo puede conectar la arquitectura con la sociedad?

–Es importante que los que trabajamos en ella hagamos un esfuerzo por relacionarnos mejor, presentarnos como gente capaz de resolver problemas y no como artistas interesados en nuestras propias firmas y diseños. El potencial que tenemos es tremendo. Hay proyectos a gran escala, pero también a pequeña. En eso hemos fallado durante los últimos años: en no mostrarnos como profesionales capaces de mejorar las condiciones en las que vivimos, sino como como estrellas.

–¿Se ha sido pretencioso?

–Durante el «boom» hubo una inversión muy grande.

–Se hizo de todo…

–Se promovieron muchos edificios públicos y se generó un escenario tremendamente interesante porque era fácil acceder para jóvenes. Desde el punto de vista arquitectónico fue muy interesante. El MoMA nos puso en la élite mundial de la arquitectura por la variedad de soluciones que se ofrecieron.

–No todos fueron burradas de gasto millonario.

–De esas hubo también muchas: teatros desproporcionados, palacios de congresos sin sentido, aeropuertos innecesarios… Con el tiempo se ha visto que bastantes de estas cosas eran innecesarias y que el presupuesto, más que ayudar, hizo recargar de elementos innecesarios.

–¿Ha quedado Calatrava como el gran exponente de lo que habla?

–No me avergüenza decirlo: para mí, es un arquitecto que ha hecho mucho daño a la hora de presentar lo que es esta profesión a la sociedad. Mi madre me dice que le encanta y yo me peleo todos los días por convencerla de que no es un buen arquitecto.

–Tiene muchos diseños espectaculares.

–Es muy espectacular y se puede pensar que sus proyectos son innovadores y distintos, pero la arquitectura no es sólo eso. Requiere inversiones muy fuertes. Ahora, con el tiempo, se está demostrando el fracaso que fue en ciudades como Venecia, donde se propone un puente en el que la gente se resbala, Nueva York, con una salida de metro con el presupuesto doble del inicial que se barajó, y Valencia y sus edificios en ruinas.

–Más los gastos disparados…

–También. No hemos sido conscientes del gran esfuerzo que costaba realizar esos edificios por el beneficio que la ciudad recibía a lo largo del tiempo, pero si todo está en ruinas es que algo ha fallado.

 

Archinet: Previewing the 2016 Venice Biennale: Spain’s “Unfinished”

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Iñaqui Carnicero, co-curator of Spain's pavilion at the 2016 Venice Biennale. Image courtesy of Iñaqui Carnicero.

Iñaqui Carnicero, co-curator of Spain’s pavilion at the 2016 Venice Biennale. Image courtesy of Iñaqui Carnicero.

Iñaqui Carnicero, principal of RICA Studio, has been selected along with Carlos Quintáns to co-curate the Spanish Pavilion at the 2016 Architecture Biennale in Venice, “Reporting from the Front”. Iñaqui is active both in the academic field and in professional practice, which he combines to push the limits of architectural explorations.

Based between Madrid and New York, RICA Studio works on a wide range of projects ranging from social housing to museum design. Their work focuses on identifying design opportunities that arise from project constraints, to devise creative architectural solutions. Notable projects include Hangar 16 (Madrid), a former slaughterhouse renovated and transformed into a cultural center, Pitch House (Las Rozas, Spain), and Social Housing in Vallecas, a contemporary take on traditional Spanish architectural elements.

Iñaqui is currently a visiting assistant professor of architecture at Cornell University, and has previously taught at the Polytechnic University of Madrid. He has also lectured around in the US, China, Latin America, Europe, and more recently in India, as part of the “Taking Design to the Masses” symposium. His PhD research, which included a research fellowship at the Spanish Academy in Rome, revolves around the explorations on the perception of size in architecture, developed by Louis Kahn and Robert Venturi. The research has been recently published as Louis Kahn and Robert Venturi: Coincidences. From Gianicolo to Chestnut Hill.

Pitch House, elevation (Herrera del Duque, Spain). Image courtesy of Iñaqui Carnicero.

Pitch House, elevation (Herrera del Duque, Spain). Image courtesy of Iñaqui Carnicero.

I spoke to Iñaqui about his role curating the Spanish Pavilion at the 2016 Architecture Biennale in Venice, discussing how his experience through changing economic realities in his country have shaped the way in which he addresses arising architectural challenges.

You started your career working in Spain as a young architect, in what you cite as the topography of profit (as coined by Julia Schulz-Dornburg). What came out of your work in that era, especially in terms of your theoretical understanding of architecture?

When I first started practicing I had the opportunity to participate in numerous architecture competitions throughout the entire Spanish territory. Their varied nature and short initial scope thus allowed me to explore very different sites and programs, ranging from public buildings to social housing. Moreover, being fortunate to win some of these competitions enabled me to build some of my early designs, understanding all of their implications early on.the lack of constraints—or resistance—during the design process allowed for a certain degree of subjectivity on the design decisions I made.

Back then I was far more interested in learning from the logic of construction techniques, rather than focusing on any kind of architectural theory. Budget was not a problem in that time, and the lack of constraints—or resistance—during the design process allowed for a certain degree of subjectivity on the design decisions I made. However, the projects that I have developed later on, especially those developed during the period of economic recession, have turned out to be far more interesting in how they work around constraints… and they inevitably draw more attention from the greater public.

Pitch House, interior (Herrera del Duque, Spain). Image courtesy of Iñaqui Carnicero.

Pitch House, interior (Herrera del Duque, Spain). Image courtesy of Iñaqui Carnicero.

One noticeable quality about your work is how you have interiorized time as an element of design, and how your work revolves around the beauty of evolution. Restoring, reusing, adapting, transforming… how does time play into the contemporary discourse of architecture?

I spent a year as a fellow at the Spanish Academy in Rome as part of my PhD research. There I realized that the timeless beauty of the city was deeply connected to the fact that some of the most amazing buildings have survived over the years, adapting to the needs of society at different points in time. I also realized that the city has been built, destroyed and built back up again always reusing the same materials—a fascinating concept when you think about how restoration can transform the nature of a city with essentially the same components it had before. It is also fascinating to see that even today you can still read the presence of time in these constructions, which prevails over the imprint of individual authors.

Social Housing in Vallecas (Madrid, Spain). Image courtesy of Iñaqui Carnicero.

Social Housing in Vallecas (Madrid, Spain). Image courtesy of Iñaqui Carnicero.

The 2016 Venice Biennale, Reporting from the Front, explores work that can “improve the quality of the built environment and consequently people’s quality of life.” Your proposal for the Spanish Pavilion, “Unfinished”, takes reporting as quite a literal endeavor. Could you tell us more about your approach, and how time comes in again as a pivotal element of the Pavilion?

Alejandro Aravena is inviting the curators from every country with representation at the Biennale to share what we think has been the major issue that Architecture has faced in the past few years. The idea behind this is essentially to give visitors a wider perspective on the major issues affecting different cultures and communities around the world through the issues exposed in each pavilion. Aravena’s proposal calls for a reflection on the mistakes we have made in the past in order to share solutions that may allow other countries to anticipate and avoid similar situations. The Biennale in that way becomes a vehicle for knowledge sharing, one that can help address issues shared across different contexts.The exhibition thus draws attention to these unfinished architectures in order to discover the virtues that can become design strategies.

At the Spanish Pavilion we want to share what we think has been the major issue for architecture in our country after the last period of economic growth, when construction was the main driving force of our economy. The current reality reveals the built presence and the unfinished remains of what was once the largest construction enterprise in Spanish history. This legacy leaves behind a difficult situation where we must think about how to deal with large volumes that are not consolidated and often partially constructed. “Unfinished” seeks to serve as a reflection of the architectures born out of the resignation to respond to certain aspects. The exhibition thus draws attention to these unfinished architectures in order to discover the virtues that can become design strategies. Recognizing this as a collective process, the Pavilion will promote creative speculation about how to subvert the past condition into a positive contemporary action. It will invite the public to actively explore different projects and think about them not as ruins but as potential tools for change.

Hangar 16, Matadero (Madrid, Spain). Image courtesy of Iñaqui Carnicero.

Hangar 16, Matadero (Madrid, Spain). Image courtesy of Iñaqui Carnicero.

Hangar 16, Matadero (Madrid, Spain). Image courtesy of Iñaqui Carnicero.

Hangar 16, Matadero (Madrid, Spain). Image courtesy of Iñaqui Carnicero.

Alejandro Aravena, 2016 Pritzker Laureate and curator of the 2016 Venice Biennale, has invited architects “whose work is winning battles on the frontier, any kind of frontier.” In addition to having a website and blog, you propose the use of QR codes and GIFs for the Spanish Pavilion. What role does technology play in fighting those battles and overcoming the increasingly complex challenges that architecture faces today?

As we discussed earlier, the main objective of the Spanish Pavilion is to reflect on Spain’s unfinished architectures to stimulate a discussion around how to move from a discourse of past ruins to one of future opportunities. In this context, the role of these technologies is basically to index the information so that any person around the world can access it, not just those people who can afford to travel to Venice. It democratizes the process of building solutions, and expands the reach of the Pavilion, reflecting on the nature of our interconnected world.The real challenge is to raise one question vital to our time, one that can help us move in the right direction.

The “Unfinished” website seeks to incorporate the information collected from this research and make it available to everyone. Someone outside Venice can access the project via the web, whereas someone physically at the Biennale can use the QR codes to engage in the live global discussions that the Pavilion brings up. Similarly, the GIF format is crucial in incorporating time as an element essential to explaining particular projects. It enables the audience—both in and out of Venice—to intimately relate to the relevant projects, enhancing the discussion around transformation beyond purely static images. Altogether, the use of multimedia reinforces the notion of a democratic approach to devising creative solutions for our “unfinished architectures”, and plays into the theme of the Biennale by reporting to an audience beyond that which is physically present.

Renovation of an Arab Tower (Riba de Saelices, Guadalajara, Spain). Image courtesy of Iñaqui Carnicero.

Renovation of an Arab Tower (Riba de Saelices, Guadalajara, Spain). Image courtesy of Iñaqui Carnicero.

Renovation of an Arab Tower (Riba de Saelices, Guadalajara, Spain). Image courtesy of Iñaqui Carnicero.

Renovation of an Arab Tower (Riba de Saelices, Guadalajara, Spain). Image courtesy of Iñaqui Carnicero.

Your role in the Biennale will be more of a curatorial one, where you and Carlos Quintáns co-curate the work of other Spanish architects. As its name, “Unfinished”, suggests, the platform will evolve throughout the duration of the exhibit to showcase work that is, in one way or another, a work-in-progress. What are your criteria for selecting which projects to display, and how does it plan to address Aravena’s social focus for the Biennale?

We think that the challenge of curating one national pavilion at the Biennale transcends beyond exhibiting the work of 10 brilliant Spanish architects. The real challenge is to raise one question vital to our time, one that can help us move in the right direction. In that spirit the exhibition will showcase the work of 60 selected architects from the Spanish context, displaying interventions related to our chosen topic. In addition, “Unfinished” will launch a series of lectures and events running in parallel throughout the summer to enrich the conversation and add a greater perspective to it. As I’ve said, we want to broaden our audience and really enhance the discussion to maximize its impact.

Hangar 16, Matadero (Madrid, Spain). Image courtesy of Iñaqui Carnicero.

Hangar 16, Matadero (Madrid, Spain). Image courtesy of Iñaqui Carnicero.

Your Pavilion proposal quoted Robert Venturi in saying that “architects are highly selective in determining which problems they want to solve.” What then do you see as the most pressing problem that architects should strive to solve? Do you believe that focusing on social problems can (or should) be the architect’s responsibility?

Actually, that is Venturi quoting Paul Rudolph and referring to the Farnsworth House. The radical nature of that house is related to the fact that it does not respond to specific architectural problems such as privacy, energy saving, etc. In order to reverse the negative condition (and connotation) of the abandoned constructions in the Iberian Peninsula, we wanted to promote a positive architectural action that has to do with reducing the common problems that our discipline has historically dealt with. By removing one aspect from the equation we have incorporated a constraint in the design process which produces interesting results.It brings out the power of the unfinished, and highlights the importance of exploring how to target these works rather than dismissing them as elements of a lost past.

To give you an example, we have launched a Call for Projects that looks for interventions without the traditional factors of our discipline such as site, structure, cladding, material, new space, or urban regulations. In a very short time, we have received more than 500 projects that display really unexpected and interesting solutions. This idea relates to our interest in testing the limits of design, as well as demonstrating the amount of architecture that needs to be produced from scratch nowadays. It brings out the power of the unfinished, and highlights the importance of exploring how to target these works rather than dismissing them as elements of a lost past.

I think design is an extraordinarily powerful tool that we have been trained to use in all kinds of economic and social contexts. The great thing about focusing on social problems however, is the very real possibility of improving the living conditions of the less privileged groups in our society. It is exciting to think about the huge impact we can have by means of very limited and contained moves.

Renovation of an Arab Tower (Riba de Saelices, Guadalajara, Spain). Image courtesy of Iñaqui Carnicero.

Renovation of an Arab Tower (Riba de Saelices, Guadalajara, Spain). Image courtesy of Iñaqui Carnicero.

Divisare: 15 Biennale di Venezia. Spanish Pavilion

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Curated by Iñaqui Carnicero and Carlos Quintáns.

Project winner of the Golden Lion for Best National Participation.
For a concisely curated selection of emerging architects whose work shows how creativity and commitment can transcend material constraints.

Fernando Maquieira

Spain is one of the countries where the practice of architecture has been most affected by the economic crisis. There are few places on earth where such large numbers of buildings were built in such a short period of time. The lack of reflection over whether these projects were necessary or valid resulted in the subsequent abandonment of many buildings when their completion or maintenance was discovered not to be economically viable. Their appearance throughout Spanish territories has generated a collection of unfinished buildings where the factor of time was eliminated from the formula for making architecture. Using photography as a filter to portray this reality, the Pavilion’s central space represents the optimistic view of those who have fought back against this recent past,understanding these inherited constructions as an opportunity.

RICA* Studio

The ¨Unfinished¨ exhibition, presented in the Spanish pavilion at the Biennale, seeks to direct attention to processes more than results in an attempt to discover design strategies generated by an optimistic view of the constructed environment. The exhibition gathers examples of architecture produced during the past few years, born out of renunciation and economy of means, designed to evolve and adapt to future necessities and trusting in the beauty conferred by the passage of time. These projects have understood the lessons of the recent past and consider architecture to be something unfinished, in a constant state of evolution and truly in the service of humanity. The current moment of uncertainty in our profession makes its consideration here especially relevant.

Fernando Maquieira

Fernando Maquieira

Fernando Maquieira

Fernando Maquieira

Fernando Maquieira

Fernando Maquieira

Fernando Maquieira

Fernando Maquieira

Fernando Maquieira

Andrea Avezzù

Archdaily: Venice Biennale 2016 Winners

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Venice Biennale 2016 Winners: Spain, Japan, Peru, NLÉ & Gabinete de Arquitectura , UNFINISHED / curated by Carlos Quintáns & Iñaqui Carnicero. Spanish Pavilion at the 2016 Venice Biennale. Image © Laurian Ghinitoiu
UNFINISHED / curated by Carlos Quintáns & Iñaqui Carnicero. Spanish Pavilion at the 2016 Venice Biennale. Image © Laurian Ghinitoiu

Alejandro Aravena and the jury for the 15th International Architecture Exhibition at La Biennale di Venezia have just announced the winning participations.

The Golden Lion for Best National Participation went to Spain for UNFINISHED. The jury cited Carlos Quintáns & Iñaqui Carnicero’s “concisely curated selection of emerging architects whose work shows how creativity and commitment can transcend material constraints.”

Gabinete de Arquitectura. Image © Pola MoraNLÉ accepts their Silver Lion for a Promising Young Participant in the International Exhibition "Reporting from the Front". Image © Pola MoraPaulo Mendes da Rocha receives his Golden Lion for Lifetime Achievement. Image © Pola MoraIñaqui Carnicero & Carlos Quintáns with their Golden Lion.. Image © Pola Mora+15

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Gabinete de Arquitectura. Image © Laurian Ghinitoiu

Gabinete de Arquitectura. Image © Laurian Ghinitoiu

The Golden Lion for Best Participant in the International Exhibition, Reporting From the Front, went to Gabinete de Arquitectura. The award was granted to Solano Benítez, Gloria Cabral, and Solanito Benítez (all from Paraguay) for “harnessing simple materials, structural ingenuity and unskilled labour to bring architecture to underserved communities.”

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NLÉ's Makoko Floating School at the 2016 Venice Biennale. Image © Laurian Ghinitoiu

NLÉ’s Makoko Floating School at the 2016 Venice Biennale. Image © Laurian Ghinitoiu

NLÉ received the Silver Lion for a Promising Young Participant in the International Exhibition Reporting From the Front for his Makoko Floating School. The jury cited, “a powerful demonstration, be it in Lagos or in Venice, that architecture, at once iconic and pragmatic, can amplify the importance of education.”

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"OUR AMAZON FRONTLINE" / curated by Sandra Barclay and Jean Pierre Crousse. Peruvian Pavilion at the 2016 Venice Biennale. Image © Laurian Ghinitoiu

“OUR AMAZON FRONTLINE” / curated by Sandra Barclay and Jean Pierre Crousse. Peruvian Pavilion at the 2016 Venice Biennale. Image © Laurian Ghinitoiu

Japan and Peru took home the Special Mention in the National Participations category. For Japan, the jury particularly appreciated “the poetry of compactness to alternative forms of collective living in a dense urban space.” They congratulated Peru for bringing architecture to a remote corner of the world, making it both a venue for learning as well as a means for preserving the culture of the Amazon.

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en : art of nexus / curated by Yoshiyuki Yamana. Japanese Pavilion at the 2016 Venice Biennale. Image © Laurian Ghinitoiu

en : art of nexus / curated by Yoshiyuki Yamana. Japanese Pavilion at the 2016 Venice Biennale. Image © Laurian Ghinitoiu

Maria Giuseppina Grasso Cannizzo of Italy received Special Mention for her contribution to Reporting From the Front, which demonstrated “perseverance in using the rigours of her discipline to elevate the everyday into timeless works of architecture.”

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Paulo Mendes da Rocha, winner of Lifetime Achievement Award at the 2016 Venice Biennale. Image © Lito Mendes da Rocha

Paulo Mendes da Rocha, winner of Lifetime Achievement Award at the 2016 Venice Biennale. Image © Lito Mendes da Rocha

As it was announced in May, Paulo Mendes da Rocha received the Golden Lion for Lifetime Achievement.