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第11届圣保罗双年展看懂了吗?Marcos L. Rosa为你独家解析第1张图片

Observatory at Praça das Artes. Image © FLAGRANTE / Romullo Fontenelle

Marcos L. Rosa浅谈圣保罗建筑双年展的地位与重要性
Marcos L. Rosa Discusses The Place and Importance of Sao Paulo's Architecture Biennial

由专筑网李韧,曹逸希编译

经过4个月的活动与展出,第十一届圣保罗建筑双年展已经于1月底落下帷幕。本次展览的形式较为分散,与以往的双年展所不同的是,这届双年展在全球多个城市开展了约80个活动项目,其中有4次主要的展览和研究工作,各项作品由活动管理人员从全球各地收集并展出。

ArchDaily巴西分部对本次活动进行了跟进,并且对建筑师Marcos L. Rosa就这次双年展进行了采访与探讨,讨论了本次活动展览的核心内容与形式的构思。

ArchDaily:在全球有很多关于建筑双年展的探讨,那么就本次活动来说,其目的是什么?并且在策划过程中团队是否有就相关事项作出假设?受众群体又是哪些人?

Marcos L. Rosa:第十一届双年展的主题“In Project”主要目的是探讨建筑的场所与位置,同时也是建筑双年展的地点。我们认为,建筑双年展为人们提供了一个谈论城市空间的契机,同时我们也能共同吸取社会其他方面的发展经验,这不仅仅只局限于建筑方面,各行各业都对城市的发展做出了贡献。

After four months of activities and exhibitions, the 11th Sao Paulo Architecture Biennial has closed at the end of January. Characterized by a decentralized approach - perhaps more than any other Biennial in the world - the eleventh edition of the event had more than 80 actions in different places of the city, articulated by four main exhibitions and an Observatory, which besides gathering works produced by agents from different regions of Brazil and the world, serves as a file and legacy of the Biennial.
Archdaily Brasil conducted an interview with the content director of this edition of the event, architect Marcos L. Rosa, on the main discussions raised at this Biennial, its multidisciplinary focus and the decentralized aspect of activities and exhibitions.

ArchDaily: There are lots of discussion around the world about what is the purpose of an Architecture Biennial. For the team of this edition, how is this purpose set? What are the assumptions of making an event of this relevance and who is the public?
Marcos L. Rosa: The title of the 11th Biennial - In Project - proposes to discuss the place of architecture, and also the place of the Architecture Biennial. We think that the Architecture Biennial offers us an opportunity to discuss urban space and its experience together with several other agents (not architects) who participate in the construction of the city, of its spaces, since they are the ones who experience them.

第11届圣保罗双年展看懂了吗?Marcos L. Rosa为你独家解析第2张图片

Exhibition Utilidade Pública, at Vila Itororó. Image © FLAGRANTE / Romullo Fontenelle

我们的主要目标是通过建筑师与城市其他相关专业的合作来更好地了解城市中所发生的各种可能性。这很有意义,尤其是对于那些并没有经过严谨规划的城市来说意义尤为显著。这似乎让人们首次意识到建筑实践与其他城市相关专业的工作成果,同时这也能够帮助我们理解并且定位这些工作对于建筑项目的影响与作用,另外,同样至关重要的是,这也能让人们关注到一些不那么传统的建筑项目,因为它揭开了城市中的更多可能性与机遇。

Our main goal in this edition of the event was to try to understand possible forms of action in the cities accomplished by the architect together with other actors, in order to identify how the architect can collaborate in the qualification of space and urban life. This makes sense especially in a city mostly built without the participation of architects. It seemed fundamental to us first to recognize practices and the place of speech of agents who work in urban coproduction in order to understand and situate forms of contribution of architecture; also, it was essential to give visibility to less traditional architecture practices that unveil possibilities of action and opportunities in cities.

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Action "Fronteira Livre". © Lauro Rocha / Goma Oficina

这种方法体现了我们似乎更愿意谈论建筑设计,探讨其中的挑战与意义。人们可以在建筑双年展中拥有更多的开放式思维,去质疑并且重新思考我们的行为方式,以及其他可行的途径与灵感。

This approach reveals our willingness to talk about possible architectural designs, posing the challenge of discussing what they can be and mean. The Architecture Biennial is a place where one can find openness and freedom to question and rethink our way of acting, presenting alternatives, reflection and inspiration.

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Exhibition Imaginário da Cidade, at Sesc Parque Dom Pedro II. Image © FLAGRANTE / Romullo Fontenelle

为了做到这一点,策划人在第十一届圣保罗建筑双年展中提出,在一定的时间间隔中,将本次事项当做一个永久的实验平台,这样的话,整个建筑双年展自身就是一个开放思维的研究过程,其中包含有在这个领域中的一系列行为活动,并将它们展示于公众,这些活动并不是专门为了双年展而设立,而是那些已经在城市中发展实施的项目,只是它们的过程通过双年展来展示出来。活动的结构可能以不同的形式展现,并且表达出最终的研究成果。在这些实践的目录中,我们要求它们必须开放,并且还有深入发展的余地,这能表明许多建筑师在城市发展过程中的合作成果。

In order to do so, the 11th São Paulo Architecture Biennial proposed to reset the event as a permanent research platform within the time interval that it is configured. As such, it presents itself as a process of research and open construction that are concluded in a series of actions in the territory, articulated to an exhibition. These actions, instead of events created specifically for the Biennial, are moments and situations deployed of projects and initiatives that, for the most part, are already being developed in the city. This process is followed by the exhibition of the Biennial. It presents itself as a series of files in different formats that reveal the results of the research developed, added to the contributions received through four open calls. As in an inventory of practices, we present a glossary, necessarily open and not finished, that illustrates many fronts of the architect's performance in the city's co-production, along with other agents.

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Observatory at Praça das Artes. Image © FLAGRANTE / Romullo Fontenelle

AD:对于圣保罗双年展在世界背景下的重要作用,你是怎么理解的?为什么国际建筑师需要关注到圣保罗这座城市呢?

MR:建筑双年展在世界各地举办,有着不同的表现形式和思路。这是因为每个国家都会强调自己独有的地域特征。因此,我们认为圣保罗建筑双年展,除了是一个单纯的国际性展览,也是在表达巴西未来以及现在所面临的挑战,这与整个世界都密切相关。

AD: How do you see the importance of the São Paulo Biennial in the world context? Why should international architecture look at São Paulo today?
MR: Architecture biennials from all over the world have very different content displays and lines of thought of their own. This is what strengthens them as both localized and international events. Historically, we can say that the São Paulo Architecture Biennial, besides being an international exhibition, has established itself as a space to talk about the challenges faced in Brazil, which are also relevant to the world, within an international context.

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Biennial's Library, at Biblioteca Mário de Andrade. Image © FLAGRANTE / Romullo Fontenelle

第十一届双年展重新强调了地域性,并根据自身的思路展开了国际讨论。由于本次双年展在圣保罗举办,这也促进了国际之间的交流以及展览的定位,来自世界各地的项目都在这里呈现,让人们更多地看到来自不同背景下的城市发展的思路与结果。这也是本次双年展所带有的国际视角。

The 11th Biennial reaffirms the commitment to speak about its territory, articulating an international discussion based on its own references. The actions, carried out in São Paulo, promote international exchanges and are articulated to the exhibition, where projects from around the world are presented, having as and references of urban thoughts nurtured in the local sphere. This is how it is affirmed in the international perspective, among many other biennials.

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Action "Intervenção temporária em Santana". Foto: cortesia do ITDP

从这个逻辑来说,威尼斯双年展也许带有更多的主观色彩,因为其呈现的更多是在传统背景下的国际项目,而鹿特丹双年展则通过寻找转变特定区域的机会来探索建筑工作的形式,另外,芝加哥双年展则更加注重来自传统背景下的建筑,以及北半球的建筑作品,厄瓜多尔双年展却更为强调其自身以及周边国家的传统建筑,并对地域建筑产生了深远的影响。因此,本次双年展所采取的这种方法超越了过去的常见模式,为大众呈现出连续性与创新性。这也是他们在国际视角中为世界所呈现的独特思路。


Following this reasoning, the Venice Biennale may be the one that brings more auctorial proposals that are present in an international discourse disseminated among traditional institutions; the Rotterdam Biennale has been exploring the format of studios by looking for opportunities to transform specific areas; that of Chicago seems to focus on architecture from a more traditional understanding and focus on contributions (mainly) from the northern hemisphere; that of Ecuador appears to emphasize local architecture and neighboring countries, fostering a reflection on regional production. It is a series of approaches that have all surpassed the model of project fairs so common in the past, presenting consistent positions for their continuity and innovation. This is how they present themselves to the world in this international perspective.

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Exhibition Devires do Brasil, at Praça das Artes. Image © FLAGRANTE / Romullo Fontenelle

圣保罗双年展的目的也表明了从本土到国际的科研探讨,我们将双年展当做一个科研平台,我们称之为“双年展研究所(Biennial Observatory)”。这次研究为城市中建筑师以及非建筑师的行为提供了诸多参考与案例。这是对于听说、研究、合作、参与、参与性实践行为、临时作品、工艺、摄影、描图、社会制图、能动性、原型设计、宣言,以及其他诸多方面的共同探讨。这一过程通过双年展的展览呈现给大众。

第十一届双年展并不是单纯的展览,也是研究与交流的过程,是城市范围内的一系列活动。

In our case, aiming to articulate the discussions from here to the international discussion, we set up the biennial as a research platform, and created what we call the Biennial Observatory. The Observatory results in an archive of references, cases, examples of ways of acting of architects and not architects in the cities. It is in the observatory that we identify practices of listening, observation, collaboration, participation, participative experimental action, temporary marking, craftsmanship, corpography, mapping, denunciation, social cartography, activism, prototyping, manifesto, among many others. And this compilation appears in the exhibition of the Biennial, that takes place in a network of spaces and partner programs.
The 11th Biennial is not only an exhibition, it is a process of research and exchange and it is a continuous schedule of actions throughout the city.

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Big Urban Walk with Martin Kohler

我们提出的美好愿景是贯穿整座城市的行为措施,一个个事件接二连三地发生。从这个角度来讲,我们可以说双年展更接地气,它以不同的活动方式来呈现出更优先的发展成果,而不是单纯地把目标放在一场展览上。这种观点具有一定的地域性,它能反映出公众对于城市建筑的需求,另外,这种观点也具有全球性,它也能呈现出各项组织与行为的创新性地域形式,但这与全球范围内的现代方式有些不同,因为它也与城市中的其他项目息息相关。这样的反思让我们对于其他所可能的方向、交流、知识的交互打开了一扇大门。

The best image of what we propose is that of a constellation of actions, or of light bulbs spread across the territory, that are turned on one by one. In this sense, we can say that the Biennial is much more situation than spectacle, and it privileges in its format the active experience, through its activities, without focusing exclusively on a great exhibition. This perspective postulates a relevant action in the local sphere, since it reflects on the public utility of the architecture for our cities, and also in the international sphere, since it presents innovative local forms of organization and action, sometimes distant from the modern precepts generally applied worldwide and that may also be relevant to discuss other realities. This reflection opens space for us to think about other possible directions, exchanges and transfer of knowledge.

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Action "π (pi) microtopia= 1km". Photo: Cortesy of the authors

AD:我们假设,第十一届双年展的目的是讨论发展过程,这不仅仅是指那些已经拥有一定规章制度的事项,也包含那些更为广泛的跨学科设计体验。那么,我们是否能在这些经验中找到共同特征?这些共同特征又是如何影响着我们的日常城市生活呢?

MR:双年展的主题“In Project”代表了建设项目与集体合作活动。这个标题来自于我们对于讨论建设项目的各种可能性的渴望,“In Project”也代表着一种挑战与暗喻,是为了扩大建筑行为的前瞻性思想。建筑项目的前景探索是在与其他学科的合作过程中所实现的。

AD: As an assumption, the 11th Biennial intends to discuss processes. Not those that are already institutionalized, but those that experience design issues in a broader and interdisciplinary sense. Are there possibilities of identifying common characteristics among these experiences, that were raised and proposed? How can these common characteristics influence urban everyday life?
MR: "In Project" suggests an event in construction, in a collaborative and collective way. The title comes from our desire to talk about possible architectural projects, launching as a challenge the discussion of what "In Project"  can be and mean, in order to expand the fronts of the architect's action. The exploration of this imagery of the architecture project was materialized in a process of learning along with other disciplines and knowledge.

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Last moments of the Big Urban Walk with Martin Kohler in September. Image © DiCampana Foto Coletivo

讨论到过程所代表的协商方式,关乎失败与成果、尝试与犯错,这是一个学习的场所。我们并没有对完美的图像特别感兴趣,这只是片刻的辉煌,真正吸引我们的是其背后的复杂性。通常来说,当人们在进行实践工作时,设计过程往往被简化,然后将过程的复杂性大幅度削弱,或者说是人们没有找到合适的空间来发挥想象。这正是一个巨大的挑战。我们所发布的双年展项目就带有这样的实践性方法,我们想要承担并且面对这一复杂过程所带来的困难与挑战。

至于你的另一个问题,第一个共同点已被找到,即强调这个复杂的过程,也许对许多合作的建筑师来说,这一过程显得不那么重要,该过程包含有诸多要素,它能够通过来自特定理念的合作形式而对城市发展产生影响,而不是将设计自身孤立起来。艺术家或是大师在工作室的形象常常能通过由上自下的设计方法来反应并且解决世界上存在的设计问题问题,这有时有些超脱现实,这与我们本次双年展所希望展现的内容存在差距。

Talking about the process implies talking about ways to negotiate, about failure and success, trial and error; it's a place of learning. We are not so much interested in merely beautiful images, which are nothing more than records of moments, but for all the complexity behind them. Often, when put into practice, the designs tend to be simplified and to have their complexity flattened or attenuated, or it does not find space to observe and develop. It is a great challenge, no doubt. We launched this Biennial project with the goal to talk about this experimental approach, thus accepting and facing the difficulties and challenges of such a complex process.
Coming to your other question, the first common point that has been found, or that must be emphasized in this process, is probably the humility that collaborative processes demand from the architect, in understanding that its role consists of impacting urban development by finding forms of collaboration from its specific knowledge, rather than by postulating itself as the technician who predefines the solitary and disconnected design isolated in his office, in a solitary way, disconnected of the world and from our experience as a citizen. The image of the demiurge artist in his office, or that of the hero-architect, responsible for healing the world's problems with a top down approach in design, which is often detached of everyday reality is something we distance ourselves from in this Biennial.

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Satellite Module. Image © FLAGRANTE / Romullo Fontenelle

在圣保罗双年展中,共计有五十多个项目参与活动,通过多学科之间的联系,呈现出城市建设的日常状态,让人们学习到更多的知识。其中最为普遍,却也最重要的一个要点是那些负责在城市建设中采取不同策略的人们,以及那些文化产品的负责人、城市功能与发展经验的先驱者们。在许多情况下,建筑师并不是某个行为的主角,也不是方案提出者,他们只是一个忠实的阅读、倾听、制图、叙述,以及热衷于一些有效的建筑策略形式的群体。另外,合作者与参与者的不同程度(主要指工作强度与形式)让我们不禁思考建筑师能够通过合作,并且以一种基于实际而非空想的方式来完成项目的可能性。

The more than 50 actions participating in these Biennials point to possibilities to appreciate and learn from other knowledge, in connection with other disciplines, present and applied daily in the construction of cities. A common and important point that we value here is the place of speech of those who are responsible for diverse initiatives in the construction of cities, as well as agents involved in cultural production, responsible for the transformation in urban uses and experience. In many cases, the architect is not the protagonist of the action, nor is the one who presents solutions beforehand. He/she is the one who values reading, listening, mapping, narratives, as well as more propositional forms of action that involve effective construction. It is also worth mentioning that, in the latter case, these are distinct levels of collaboration and participation (in terms of their intensity and format) that lead us to think about many possibilities of the work done by the architect together with the collective, in a practical and objective way, based on actual practices rather than a utopian project.

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Action "Encruzilhada". Photo: Cortesy of the authors

在这样的观点下,许多项目的共同点是给予那些并没有针对城市规划而产生激烈争论的团队发言权力。例如在我们的官方项目中,关于城市性别问题的讨论试图考虑在不同方面该如何为城市公平化做出贡献,这些在城市设计的过程中就极少出现。

Within this perspective, something common among many projects is a claim on the right and place of speech of groups that traditionally did not take place in the debate about the city planning. For instance, in our official program, the discussion about the gender issue in the city sought to think about ways to contribute to a more equitable city in this and other aspects, which are rarely addressed in urban design.

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Exhibition Utilidade Pública, at Vila Itororó. Image © FLAGRANTE / Romullo Fontenelle

在这些实际项目中,我们意识到人们对于参与空间建设的决策和思考的迫切渴望,同时他们也以自己的方式加入其中。他们改变了城市生活的体验,这是合理的需求,也是在对微观空间的政治干预形式,这些需求与形式以直接行动力为基础。这样的事实表明了使用者对于参与城市设计的迫切需求,同时也事关日常城市生活,让人们直接或间接地参与城市设计。

这便是居住在城市里的重要意义。

In all these practices we perceive an increasing desire of people to participate in the decisions and direct construction of spaces, but also in the forms of their use and occupation. They transform the experience of urban life. It is about a legitimate demand and a form of political action in the micro scale of space, based on direct action, 'hands on'. This fact postulates to the architect specific and urgent demands on a design that is in tune with its user, sensitive to the daily and urban life, but also designed with their participation, which can occur in a number of ways.
It is about dwelling on what it means to actually 'inhabit' our cities!

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Action "Parque Aquático". Photo: Cortesy of the authors

当前城市的发展跟随国际趋势,但基于这种迫切性,每个城市发展都会有一些的特殊问题,例如使用者的不满、资源的长期匮乏、城市设计过程中不同文化的碰撞、场所的转变等等,以及对于项目中还未预见的空间使用的创新性、灵活性和熟悉度。

This is an urban condition which, we might say, may follow an international tendency, but finds here very peculiar conditions of development, based on urgency, the action resulting from resistance movements, the frequent lack of resources destined to the qualification, and the valorization of urban culture, as well as the opportunities offered by the inclusion of different knowledge (from cooking to biology) in urban design, in the transformation of places, by means of creativity, resilience, tolerance regarding the use and occupation in spaces where activities had not been foreseen by the project, etc.

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Exhibition Imaginário da Cidade, at Sesc Parque Dom Pedro II. Image © FLAGRANTE / Romullo Fontenelle

当我们靠近这些人物时,亦或是在质疑自己的角色和行为方式的过程中,我们能够学习到许多新知识,同时依赖于许多其他学科理念和经验,这些都可以理解为是建设项目的新形式。

As we approach these actors, there is extensive learning and we may grow a lot as architects when questioning our role and ways of acting, relying on other knowledge and experiences, often spatialized in forms of occupation that can be understood as test constructs and pilot projects.

AD:第十一届双年展呈现出了与往期展览模式不尽相同的形式,例如其中并没有设置展示主体。在日常城市问题中,这些主要的活动遍布城市的各个角落。那么这种态度的背后是什么样的理念呢?主办方对此抱有什么样的期待?

MR:例如在圣保罗,那些参与城市建设与发展的参与者的行为方式与策略的特点其实非常明显,毫无疑问,这个问题目前相当迫切。另外,同样迫切的是应当让建筑接触到更广泛的大众。我们在和谁沟通?我们想要和谁沟通?从这样的沟通中我们能够获得什么样的契机来为城市的发展做出贡献?这些都是我们一开始所思考的问题,目的是打开这一话题,引发人们的思考与讨论。

AD: The 11th Biennial presents a format that differs from past editions in which the exhibition module does not configure its main body. The main activities happen all over the city, in the face of everyday urban problems. What were the decisions behind this attitude and what were the expectations?
MR: The valorization of the actions and forms of action of those who participate in the urban construction and production in a city like São Paulo could be something absolutely obvious within our discipline and there's no doubt that it has become something urgent to do. In addition, it is also urgent to approach the architecture to a wider audience. Whom are we talking to? With whom do we want (and can) to talk to? What opportunities can be created from new dialogues so that we can find other ways to contribute to the lived space of our cities? These were some of the points and issues that guided us from the beginning, seeking to create this opening, to open space for this dialogue.

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Biennial's Library, at Biblioteca Mário de Andrade. Image © FLAGRANTE / Romullo Fontenelle

在某种程度上,我们认为不应当设置传统的展览形式。这是因为我们注重过程,注重把双年展带给整座城市,同时注重表达不同形式的建筑项目,并激发人们对于建筑的思考。

最后,我们认为,充分表达那些“双年展研究所”所展示项目的行为过程至关重要,同时我们也把这作为本次展览的主要目的。展览展示了对于生活的记录,这也很好地说明了空间只是我们工作生活的场所这一理念,这一理念甚至能改变人们对于生活空间的体验与感受。

At some point we even considered not to include a traditional exhibition. This is because we wanted to focus on the process, to take the Biennial to the city, to unveil diverse forms of practices in the space and to reflect with generosity on many architectures found in the city.
Finally, we decided that it would be important to hold an exhibition with the purpose of articulating the actions to an archive that resulted from the research carried out in the Biennial’s Observatory. The exhibitions present registers of moments, of 'lived contents', aligned with the notion that the space only becomes a place when it’s a lived space, a notion that transforms the experience and the perception about it.

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Action "Lugares em relação". © Luiza Strauss

另外,展览空间的选择也遵循着普遍标准。这个空间必须与城市相关联,我们一直在避免选用那些过于封闭的方盒子,并且努力让展览流线贯穿整座城市的中心部分,这样不仅能够吸引成千上万的观赏者,更重要的是将这些建筑师一般不轻易暴露的建设过程公开给大众。我们甚至还创建了“双年展卫星系统( Biennial Satellite)”,这是一个带有轮子的小设备,通过它能够将双年展盛典带给整座城市的人们,它支持多个项目,同时也支持一系列的改变,除此之外,它还能保留下许多影像资料,并且标记出各个项目的地理位置。另外,我们还以两种方式保留了传统理念,即与大众共享的知识系统,以及不同程度的设计发展与空间转变。其中的一个例子便是“双年展研究所”,它与大众分享了诸多实际案例,其中包含有超过200个当前建筑设计发展过程的主要内容,这些内容将保留于城市档案馆之中,同时也成为圣保罗Mario de Andrade市政图书馆的永久收藏。另外,双年展也包含有诸多国际项目,通过这些项目也将开展关于居住建筑的改造以及其他类似项目的工作坊,同时也生成了一个地图网络,通过目录,人们可以清楚地了解到城市的各项行动措施,让圣保罗的城市干预行为更加透明。

In addition, the choice of exhibition spaces followed some common criteria. The spaces had to be connected to the city in a fluid way; we tried to avoid enclosed spaces and the white cube and sought to articulate a walking path through the central part of the city, which receives millions of people daily travelling downtown, aiming to expose itself to an audience that often has no connection with the architects' discussions. We also created the Biennial Satellite, a small module on wheels that allows the Biennial to travel through the city. It is a support for the accomplishment of many actions, and also for a series of exchanges; besides, it presents the documentation of the processes in photographic essays. It marks physically the geographic expansion proposed by the event.  Besides that, we have proposed and left a legacy, in two ways: the production of knowledge, to be shared with the public, and the actual transformation of spaces and development of designs at many levels. Examples of this process are the Observatory, to be shared with the public very soon, the documentation of this process and the library, with over 200 titles that reflect on a current moment of production in architectural design that has became part of the City Archive and will be permanently available as part of the Municipal Library Mario de Andrade, in São Paulo. For instance, this Biennial has also initiated international projects such as Ooze’s Architect’s água Paulista and equipped the Carpentry 9 de Julho, at a central Occupation, which led to several workshops that focus in a resident-led retrofit of that building, among many other projects. It has also created a map, to be released in its Catalogue, which unveils actions throughout the city, giving visibility to a multi-layered action in São Paulo.

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Flags pointing Praça das Artes as venue of the Exhibition Devires do Brasil and the Observatory . Image © FLAGRANTE / Romullo Fontenelle

AD:考虑到巴西及其全球背景和文化传统,你认为下一届双年展的举办有哪些要点?

MR:我认为下一届的双年展最好能够继续将重点关注于我们的场所、城市,为我们的实际生活真正做出贡献。对我来说,项目的连续发展至关重要,因为这是一个极具代表性的盛事。

AD: Thinking about the Brazilian and international context and also about the legacy proposed by this edition, with what issues should the next edition of the Biennial work, in your opinion?
MR: I would be happy to see the next Biennial continue to focus on our territory, on our cities, to be internationally connected and contribute to our reality. It seems important to me that a coherent project, in this sense, be developed, due to the representativeness of the event.

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11th Sao Paulo Architecture Biennial Team. Image © FLAGRANTE / Romullo Fontenelle

同样的,我也认为建筑双年展的策划团队应当集思广益,拥有开放的思维方式,只要感兴趣的相关人士都可以参与。但我不能直接定义下一届双年展的主题,不仅仅因为这是一项很有趣的盛典,它也是许多建筑问题的实际反映,以及一些问题的改进方式。主题和方法其实有很多,最重要的是倾听、沟通,以及探讨。

I also think it would be beneficial to the Architecture Biennial to propose an open call and adopt an open process to choose the curatorial team, so anyone interested in participating could apply. But I would not dare to define issues or themes, not least because the most interesting of the Biennial, as an event, is, in fact, the transformation of its reflections from many contributions, as well as a refinement with current issues. There are many themes and approaches and it is important to listen, establish dialogues and recognize the contributions of many voices.

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Exhibition Devires do Brasil, at Praça das Artes. Image © FLAGRANTE / Romullo Fontenelle

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Exhibition Devires do Brasil, at Praça das Artes. Image © FLAGRANTE / Romullo Fontenelle

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Exhibition Devires do Brasil, at Praça das Artes. Image © FLAGRANTE / Romullo Fontenelle

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Exhibition Devires do Brasil, at Praça das Artes. Image © FLAGRANTE / Romullo Fontenelle

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Exhibition Devires do Brasil, at Praça das Artes. Image © FLAGRANTE / Romullo Fontenelle

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Flags pointing Praça das Artes as venue of the Exhibition Devires do Brasil and the Observatory . Image © FLAGRANTE / Romullo Fontenelle

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Exhibition Utilidade Pública, at Vila Itororó. Image © FLAGRANTE / Romullo Fontenelle

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Exhibition Utilidade Pública, at Vila Itororó. Image © FLAGRANTE / Romullo Fontenelle

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Exhibition Utilidade Pública, at Vila Itororó. Image © FLAGRANTE / Romullo Fontenelle

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Exhibition Utilidade Pública, at Vila Itororó. Image © FLAGRANTE / Romullo Fontenelle

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Exhibition Utilidade Pública, at Vila Itororó. Image © FLAGRANTE / Romullo Fontenelle

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Exhibition Utilidade Pública, at Vila Itororó. Image © FLAGRANTE / Romullo Fontenelle

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Exhibition Utilidade Pública, at Vila Itororó. Image © FLAGRANTE / Romullo Fontenelle

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Exhibition Utilidade Pública, at Vila Itororó. Image © FLAGRANTE / Romullo Fontenelle

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Exhibition Utilidade Pública, at Vila Itororó. Image © FLAGRANTE / Romullo Fontenelle

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Exhibition Utilidade Pública, at Vila Itororó. Image © FLAGRANTE / Romullo Fontenelle

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Exhibition Imaginário da Cidade, at Sesc Parque Dom Pedro II. Image © FLAGRANTE / Romullo Fontenelle

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Exhibition Imaginário da Cidade, at Sesc Parque Dom Pedro II. Image © FLAGRANTE / Romullo Fontenelle

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Exhibition Imaginário da Cidade, at Sesc Parque Dom Pedro II. Image © FLAGRANTE / Romullo Fontenelle

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Exhibition Imaginário da Cidade, at Sesc Parque Dom Pedro II. Image © FLAGRANTE / Romullo Fontenelle

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Exhibition Imaginário da Cidade, at Sesc Parque Dom Pedro II. Image © FLAGRANTE / Romullo Fontenelle

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Exhibition Imaginário da Cidade, at Sesc Parque Dom Pedro II. Image © FLAGRANTE / Romullo Fontenelle

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Exhibition Imaginário da Cidade, at Sesc Parque Dom Pedro II. Image © FLAGRANTE / Romullo Fontenelle

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Exhibition Imaginário da Cidade, at Sesc Parque Dom Pedro II. Image © FLAGRANTE / Romullo Fontenelle

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Exhibition Imaginário da Cidade, at Sesc Parque Dom Pedro II. Image © FLAGRANTE / Romullo Fontenelle

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Exhibition Imaginário da Cidade, at Sesc Parque Dom Pedro II. Image © FLAGRANTE / Romullo Fontenelle

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Satellite Module. Image © FLAGRANTE / Romullo Fontenelle

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Biennial's Library, at Biblioteca Mário de Andrade. Image © FLAGRANTE / Romullo Fontenelle

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Biennial's Library, at Biblioteca Mário de Andrade. Image © FLAGRANTE / Romullo Fontenelle

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Biennial's Library, at Biblioteca Mário de Andrade. Image © FLAGRANTE / Romullo Fontenelle

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Biennial's Library, at Biblioteca Mário de Andrade. Image © FLAGRANTE / Romullo Fontenelle

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Biennial's Library, at Biblioteca Mário de Andrade. Image © FLAGRANTE / Romullo Fontenelle

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Biennial's Library, at Biblioteca Mário de Andrade. Image © FLAGRANTE / Romullo Fontenelle

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Biennial's Library, at Biblioteca Mário de Andrade. Image © FLAGRANTE / Romullo Fontenelle

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Biennial's Library, at Biblioteca Mário de Andrade. Image © FLAGRANTE / Romullo Fontenelle

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Biennial's Library, at Biblioteca Mário de Andrade. Image © FLAGRANTE / Romullo Fontenelle

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Biennial's Library, at Biblioteca Mário de Andrade. Image © FLAGRANTE / Romullo Fontenelle

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Biennial's Library, at Biblioteca Mário de Andrade. Image © FLAGRANTE / Romullo Fontenelle

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Biennial's Library, at Biblioteca Mário de Andrade. Image © FLAGRANTE / Romullo Fontenelle

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Action "Errata" do projeto Situ. © Filipe Berndt

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Action "Perceba-se (puder)". Foto: cortesia dos autores

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Urban Walk. © Fotocoletivo DiCampana / José Cícero da Silva

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Action "água Paulista". © Fotocoletivo DiCampana / Wesley Tadeu

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Ocupação 9 de Julho, venue of some exhibitions and actions. © Luiza Strauss

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Action "Passeio Sonoro". © Luiza Strauss

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Base móvel at Casa do Povo. Photo: Cortesy of the authors

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Exhibition "Cumbica" at Casa do Povo. Photo: Cortesy of the authors

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Linn da Quebrada at the Biennial opening party. © Fotocoletivo DiCampana / Gsé Silva


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