{"id":558,"date":"2025-01-22T17:57:26","date_gmt":"2025-01-22T17:57:26","guid":{"rendered":"https:\/\/estudioqo.ar\/?page_id=558"},"modified":"2025-04-15T23:07:53","modified_gmt":"2025-04-15T23:07:53","slug":"procesos","status":"publish","type":"page","link":"https:\/\/estudioqo.ar\/eng\/procesos\/","title":{"rendered":"PROCESOS"},"content":{"rendered":"

Competition, 2025 \/ Venice, Italy<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

The 19th Venice Biennale invites us to reflect on the multiple types of intelligence gathered around the production of architecture. Rather than focusing on finished products, this proposal is an observation of architectural processes, drawing attention to that multiplicity of intelligences. On one hand, the pavilion will center on the process of brick-making, a building element found throughout Argentina. On the other, the selected works will be exhibited through materials generated during their design processes (sketches, annotated plans, hand-drawn details, screenshots, etc.).<\/p>\n\n\n\n

\"\"<\/figure>
\n

The Installation<\/strong><\/p>\n\n\n\n

Carlo Ratti\u2019s curatorial statement invites us to explore \u201ca definition of\u201cintelligence\u201d as an ability to adapt to the environment with limited resources, knowledge, or power\u201d. Taking this into consideration, our proposal focuses on the brick as a constructive element present across the entire Argentine territory. The brick is a display of an ancestral wisdom (once forgotten, now slowly and necessarily recovered): the act of building with largely availiable, local resources ofered by any given land or region.<\/p>\n\n\n\n

Argentina\u2014vast in its extension, landscapes, and climates\u2014is largely unified by the availability of earth. By choosing the brick as the object of reflection, we emphasize this natural <\/em>intelligence: the ability to build with what is at hand, understanding the logic and limitations of local resources. The artificial<\/em> logic of the process lies in the Cartesian operation of standardization and geometric regularity that makes any masonry unit practical. At the same time, brick-making is always a collective <\/em>process\u2014typically familial or community-based\u2014gathering efforts around a production that is both systematic and artisanal.<\/p>\n\n\n\n

During the Biennale, the Argentine Pavilion will become a brickyard\u2014a space filled with raw, unfired bricks laid on the ground to dry. In doing so, the process is suspended at a crucial moment, since the drying stage directly impacts the final quality of the product. The material remains in a state of pure potential and pure fragility.<\/p>\n\n\n\n

The bricks will be shaped using five different molds brought from Argentina\u2014serving as a reminder of the diversity and heterogeneity of their origins\u2014and arranged to define circulation paths and spaces for the exhibition, workshops, and talks. Throughout the pavilion, a series of wooden stools will be placed, similar to those typically built on construction sites using leftover materials. These can be used to sit and observe the exhibit or rearranged to accommodate the diverse activities taking place.<\/p>\n<\/div><\/div>\n\n\n\n

\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\n

Curatorial Approach<\/strong><\/p>\n\n\n\n

The curatorial strategy presents a non-linear reconstruction of the design processes behind the selected works, choosing examples notable for their ingenuity in construction, resourcefulness, or use of brick. This approach allows the intelligence of Argentine architecture to unfold in full dimension through sketches, 3D models, annotated plans, or screenshots. Architects will be encouraged to share materials that reveal how their projects were conceived, including subtle variations, discarded ideas, or abandoned paths. Additionally, the inclusion of historical references\u2014consciously or unconsciously related to the works\u2014will be encouraged, as well as connections to popular culture: anonymous, authorless constructions that generously offer their ingenuity throughout the territory.<\/p>\n\n\n\n

The exhibition will be mounted on phenolic plywood boards, cut and modulated to maximize material efficiency. These boards will be placed within the areas outlined by the raw bricks. As if they were canvases turned backward, the smooth side will face the wall, exposing their structure and revealing the \"behind the scenes\" of the selected works. The materials will be affixed to these panels, printed on standardized sheets to facilitate production. Shifting the focus away from finished products, the exhibition will explore the resources mobilized during the design process, creating a map of possible worlds which, as Ratti notes in his message to participating countries, shows that \u201cwhile some ideas are destined to fail, others may point us toward redemption.\u201d<\/p>\n\n\n\n

Finally, Argentina\u2019s contribution to Ratti\u2019s theme\u2014\"one place, one solution\"\u2014will be the multiplicity of solutions discovered daily by architects and builders: the ingenuity of making use of whatever is at hand<\/p>\n<\/div>

\"\"<\/figure><\/div>\n\n\n\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

<\/p>\n\n\n\n

QO<\/strong>
Project<\/p>\n\n\n\n

Collaborators<\/strong>
Valentina Arroyo
Emilio Farias
Santiago Ghione<\/p>\n\n\n\n

Project<\/strong>
“Procesos”<\/p>\n\n\n\n

Competition<\/strong>
Entry<\/p>\n\n\n\n

Location<\/strong>
Venice, Italy<\/p>\n\n\n\n

Year<\/strong>
2024<\/p>","protected":false},"excerpt":{"rendered":"

Concurso, 2025 \/ Venecia, Italia La 19\u00b0 convocatoria a la Bienal de Venecia presenta una invitaci\u00f3n a reflexionar en torno a las m\u00faltiples clases de inteligencia que la arquitectura re\u00fane. En lugar de considerar productos, la propuesta decide detenerse a observar sus procesos, dirigiendo as\u00ed la atenci\u00f3n a esa multiplicidad de inteligencias. Por un lado, […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-558","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/estudioqo.ar\/eng\/wp-json\/wp\/v2\/pages\/558","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/estudioqo.ar\/eng\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/estudioqo.ar\/eng\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/estudioqo.ar\/eng\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/estudioqo.ar\/eng\/wp-json\/wp\/v2\/comments?post=558"}],"version-history":[{"count":7,"href":"https:\/\/estudioqo.ar\/eng\/wp-json\/wp\/v2\/pages\/558\/revisions"}],"predecessor-version":[{"id":936,"href":"https:\/\/estudioqo.ar\/eng\/wp-json\/wp\/v2\/pages\/558\/revisions\/936"}],"wp:attachment":[{"href":"https:\/\/estudioqo.ar\/eng\/wp-json\/wp\/v2\/media?parent=558"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}