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| WELCOME: |
ARQUITECTUM , an enterprise dedicated to the development of architectural contests, is pleased to welcome all architects from around the world to the International Architectural Competition “VENICE 2006” , which will take place from April of this year until October of 2006.
This document includes information on how to register as well as the procedures to follow in order to participate in it. As principal consultant to the competition I will be glad to answer any inquiries. Please send your questions and concerns about the competition to the following email address: venecia2006@arquitectum.com .
On behalf of ARQUITECTUM we welcome and wish good luck to all the participating architects.
Silvia Telaya , Architect
General Advisor
“VENICE 2006” Contest
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| INTRODUCTION: |
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ARQUITECTUM is the first international institution dedicated to the organization of architectural competitions open to all professionals worldwide which allow their work to be known in architectural circles (institutional, editorial and governmental) around the world.
We have been organizing Landscaping Contests in important places such as MACHU PICCHU , NAZCA and CHAN CHAN.
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For our 1st Urban Contest we hope to go much further: we hope to effectively bring the contest's winning architect that their project becomes part of the valuable studies that a city takes into consideration. On this occasion we have managed to get an authority of Venice, the architect Roberto D'Agostino, president of the Sociedad Arsenale Spa (Urban Strategic Project Development) - principal shareholder of the Venice Municipality- to check the winning proposal so it may be incorporated to the city planning studies .
In that way, the exhibition and awards ceremony itself will take place in Venice , at the IUAV - Istituto Universitario di Architettura di Venezia , so that it can be appreciated by all architects, authorities, academicians, as well as tourists and citizens of Venice . |
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| THE CHALLENGE: |
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The competition's challenge is to create a typical symbol – in this case, a bridge – of the structure of a city that has great historic value – in this case, Venice – which involves a new kind of use - in this case, a museum. This new element should “speak” of its own small urban universe while at the same time it should “celebrate” the city, whether by association or disassociation.
ARQUITECTUM 's initiative to organize this urban competition is -unlike our previous landscaping competitions where the idea was for the designs to “accompany” the surrounding archaeological scenery- to “alter” a very compromise urban structure.
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For this competition, the project must insert itself into the existent complex tissue.
The structure could be a contextual object without necessarily being harmonic; friendly but not necessarily repetitive; and monumental but not necessarily competitive. In sum: it should look as if the structure, through its close rapport with Venice , had always been there, serene and poised.
Nevertheless, since this is a contest of ideas, competitors will be able to submit proposals that are absolutely experimental in scope. This scope may cover a broad range: from the subordination of the architectural object to the urban context, to the creation of an icon with a new and defying language. All within the emphatic demonstration of a creative idea process, as well as the definition of an integral architectural image. Each architect's vision will demonstrate how through integrating and holistic criteria (whether through mimesis or contrast) a place can be transformed, celebrating it architecturally while discovering its poetic qualities without interfering with its urban or artificial beauty.
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COMPETITION OBJECTIVES:
The following are the objectives of the “VENICE 2006” competition:
• Make a worldwide Architectural Ideas Summons which will help select the most appropriate bridge for the entrance to the city of Venice.
• Collect the Ideas which are best related to urban awareness, and are at the same time able to enhance a historic context of great importance.
• Promote the discussion of ideas related to intervention projects on cultural heritage, historic centers or consolidated urban contexts.
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ACKNOWLEDGEMENTS:
ARQUITECTUM would like to thank the generous assistance of the companies involved in the promotion, sponsorship and publicity of the “ VENICE 2006 ” contest; especially the IUAV - Istituto Universitario di Architettura di Venecia , for providing us their facilities for the physical exhibition of the event in the City of Venice, and the organizers of the “Venice Architectural Biennial” for allowing us to provide to our contestants the valuable material that corresponds to the intervention on the “ La Academia ” bridge, document belonging to the Venice Architectural Biennial of 1985.
Above all we would like to thank the invaluable assistance of the president of the jury, Architect Gustavo Carabajal , without whose valuable cooperation it would have been impossible to carry out this competition.
Likewise, we would like to thank Ms. Elena Comai for her participation. She provided us with much of the graphic material that, thanks to her generous contribution, we make available to our contestants. |
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| THE BRIDGE-MUSEUM: |
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The “Bridge-Museum” to be designed is meant to be part of the efforts that are taking place nowadays in many cities around the world as “fusion projects”, in which an attempt is made to renovate the organizational configuration of an area –neighborhood, sector or center fallen into disuse or that has not grown at the same pace as others – through the implementation of new uses, in order to make it more dynamic. This is why this Bridge-Museum tries to revitalize an important area of Venice (the entry into the city from the most important side of the “Great Channel”) while it proposes a new facade that can be seen from the east and which serves as an entry portal from which one can appreciate the beginning of the enormous zigzagging facade created by the inverted “s” that is formed by the “Great Channel”.
At the same time it aims to reinforce the existing route that connects many streets that link together to create a virtual axis that unites (from the southwest to the northeast) the entire central area of the neighborhood ( sistieri ) of San Marcos, passing through the Francesco Morosini square (or campo ), the Campo San Angelo, the Campo Manin, the Campo San Salvador, to end after crossing the “Rialto” Bridge, at the great Campo San Giacomo.
In this way the new route would include a walk through the different monuments already in place, leaving the Contemporary Museum for the end of the route, turning the route into the experience of beginning at one milestone (the Rialto Bridge ) to end at another: the new “Museum-Bridge” of La Academia.
The idea of locating a complementary program in the bridge gives the city the possibility of using it in a more dynamic way. One which makes travel from one side to the other not just an interesting spatial experience, but also one that has a cultural and living function that invites people to stop, be and stay inside a contemporary architectural structure which reflects upon the history – past and future – of the city of Venice.
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Another objective of this “Museum-Bridge” is that the city's users may experiment travel over the Channel as an experience that is not ephemeral or transitory (as it is now), but as a way to enter – at a different scale- into the very history of Venice, expressed through its buildings and palaces.
The Project must therefore create an avant-garde awareness regarding urban renewal, planned recycling, and intervention in important historic heritage sites. This project, as we mentioned before, will become part of the public initiative of the Commune of Venice for the integrated development of the city towards the future.
NOTE : For further information about the “ La Academia ” bridge and about the diverse projects that have been made for “The 1985 Venice Biennale”, we recommend that you download “The academy bridge” from our download area in the upper left corner of this page.
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PLAN AND USES:
The “Museum” will have a basic plan that will occupy a built area no greater than 1,000 mts2 (one thousand square meters).
Within this plan the following spaces will be developed:
• Hall de Ingreso: • an area of 50 mts2 ( 10,700 square feet ) that will include a reception desk or booth for a security guard (including a metal detector at the entry point). This area will be next to the restrooms.
Administration: 75 mts2 ( 807 square feet ) in which the following areas must be located:
• Administrator's office with space for a secretary
• 2 offices for permanent employees
• 1 single restroom for men
• 1 single restroom for women
• An area for making photocopies
• Permanent Exhibit Hall: an area of 150 mts2 ( 1625 square feet ) where models of Venice 's most representative buildings will be on display.
• Temporary Exhibit Hall 1: an area of 50 mts2 ( 538 square feet ) where models and plans for new projects in venice will be on display.
• Temporary Exhibit Hall 2: an area of 50 mts2 ( 538 square feet ) where historic plans of all projects built in Venice will be on display.
• General storage: An area of 50 mts2 ( 538 square feet ) where models and plans of temporary exhibits will be stored.
• Maintenance storage: 2 storage areas of 12.5 mts2 ( 135 square feet ) each in which all tools, utensils and all elements necessary to mount an exhibit will be stored.
• Plan collections room: An area of 150 mts2 ( 1625 square feet ) divided into:
• A customer service area: A 2 meter ( 6.6 feet ) long counter where specialized academic researchers can be assisted.
• An area where specialized academic researchers can work: an area with 8 drawing boards or tables on which to place the plans being studied.
• 1 storage area: a place to keep the plans that can be studied by specialized academic researchers.
• Drafting and modeling: an area of 50 mts2 ( 538 square feet ) for making, fixing and maintaining models.
• Restrooms: 2 restrooms of 25 mts2 ( 279 square feet ) each (1 for men and 1 for women). Each restroom will have the following fixtures:
Men: 5 urinals, 3 toilets in booths, 5 sinks.
Women: 6 toilets in booths, 5 sinks.
• Cafeteria: an area of 100 mts2 ( 1076 square feet ) where to place 10 four-person tables and a small service area to be used by a food-to-go concessionary.
• Circulation areas and walls: 25% of the total area.
SUMMARY AND ORGANIZATION:
PUBLIC AREAS :
• Entry Hallway: 50 square meters ( 538 square feet )
• Permanent Exhibit Hall: 150 square meters ( 1625 square feet )
• Temporary Exhibit Hall 1 : 50 square meters ( 538 square feet )
• Temporary Exhibit Hall 2: 50 square meters ( 538 square feet )
• Restrooms: 50 square meters ( 538 square feet )
• Cafeteria: 100 square meters ( 1076 square feet )
SEMIPUBLIC AREAS (OR RESTRICTED):
• Administration: 75 square meters ( 807 square feet )
• Plan collections room: 150 square meters ( 1625 square feet )
PRIVATE AREAS (OR SERVICE):
• Drafting and modeling: 50 square meters ( 538 square feet )
• General storage: 50 square meters ( 538 square feet )
• Maintenance storage: 25 square meters ( 279 square feet )
PARTIAL: 800 square meters
• Circulation areas and walls: ( 25% of the total area ): 200 square meters ( 2152 square feet )
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MUSEUM'S TOTAL AREA: 1,000.00 mts2 ( 10,763 square feet )
NOTES:
• This area only includes the Museum plan only (any roofed area of the public pedestrian walkway is not included).
• Up to 10% over the total built area of the museum will be tolerated. |
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BASIC ORGANIZATION:
• The Public Areas will have open access to all visitors.
• The Semipublic Areas will only be accessed through a gate, corridor or hallway (these areas will be considered part of the “ Circulation areas and walls” item) which will be controlled through a video camera security system by the guard at the reception desk.
• The Private Areas will only be open to those people who have presented the appropriate credentials at the Administration. A corridor or axis from this place (these areas will be considered part of the “ Circulation areas and walls” item) will connect with the private areas
NOTES:
• In addition there must be a service entrance for the administrative and maintenance personnel that can be used, eventually, as an escape exit, or to allow handicapped people to get to the city's other shore by crossing through the Museum.
• Visitors to the Museum must be able to see the 3 Exhibit Halls in a consecutive manner (they can be connected or joined through a corridor). The Museum must be arranged in such a way that upon visiting the last Hall the visitor then arrives at the Entry Hallway (through a corridor, ramp or stairway) without having to necessarily pass through all of the Halls again.
The Administration must have direct access from the Entry Hallway. |
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DESIGN PARAMETERS :
• Spatial Organization: the Museum's plan can be organized in such a way that it is located on, over, or to the sides of the pedestrian axis, and depending on each proposal it may be located at the beginning, end, or all along the path (lengthwise), as long as it does not force pedestrians trying to go across to enter the Museum obligatorily.
• Artificial and Natural Lighting : the Exhibit Halls must have indirect natural light, while the cafeteria must have direct natural light. The other areas may do without natural light and have only artificial lighting.
• Views : Only the Cafeteria must obligatorily have some views of the Canal.
• Levels and Heights: The Bridge-Museum will have a maximum height of 15 meters ( 50 feet ) above the sidewalk level so that it won't be taller than the surrounding buildings and at its center it must have a minimum height of 7 meters ( 23 feet ) above the Channel level, so that it permits the free flow of the gondolas and other vessels that navigate over it. ( see SITE PLAN in the download area ).
• Transparency : the Bridge must be the least massive possible so that it keeps its character as entry “portal” to the “ Grand Canal ”. This transparency can be obtained either through the use of chosen materials (example: steel, wood and glass) or through the strategic location of the volumes that will contain the Museum's spaces.
• Pedestrian flow and transit :
The Bridge must allow the free flow of pedestrians from one sector to the other of the city, keeping the idea of “street” or way, establishing a constant width that must be at least 5 meters ( 16 feet ) wide.
• Museum access : Entry to the Museum may be located somewhere along the bridge's route. If this is the case, an elevator or internal electric ramp must be installed, which must begin at one of the shores and end at the Entry Hallway, so that handicapped people can make the Bridge's climbing and descending path (within the Museum), in order to cross from one of the shores to the other.
• Circulation : the Museum's internal circulation must be arranged in such a way that a handicapped person can access all its Public and Semipublic Areas.
• Air Ventilation: Some kind of forced ventilation, any alternative (ecological) or a solar cells system could be considered in order to the reduce the energetic expense in conditioned the air inside the Museum. Nevertheless, it is not an obligatory requirement to propose such solutions since this is a project draft and it can be subjected to technical adjustments at a later date should it become a reality in the future. |
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SPECIAL CONDITIONS:
Conservation Criteria and Historic Cities Charter: consideration must be taken for stipulations in any documents or historic city charters. The basic concept must be to maintain harmony with the context and with the specific place where the intervention is to take place. Enjoyment of the architectural beauty of the City constitutes the starting basic premise. This must not only be preserved but also must be the main reference point for the project: the architecture must be created starting from the exquisite scale of the city, the intense reflection on the project's typology, as well as the research about the transcendence that the architectural object will have at the designated location.
Materials: S ince it is an urban center, there are no restrictions as to the use of any materials since all of them can be easily transported. Preferably, we recommend that you select materials that are appropriate to the context, the history of the city, as well as the image that a Museum of this kind must project.
Structure: Even though the structure must possess an integrated architectural solution (given that it is a bridge spanning a certain distance over the Canal), it does not necessarily have to solve the detail of the parts or the technical analysis. In any case, it is obvious that the entire structure must work in a coherent manner, trying to transfer its loads to the supports either through its various parts, or directly following the catenary curve that is established by the rise and fall of the bridge's virtual arc.
Rains: Rainfall must be controlled not necessarily through the employment of slanted coverings but it must have some basic drainage system that leads the rainwater towards the Canal.
Water and electricity: the electric, water and sewer systems of the city of Venice will be used.
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BIBLIOGRAPHY :
Since this is a project that is sui generis in its kind, the functioning of the Museum may provide original solutions that escape the scope of previous models, norms or stereotypes, but, since this is a contest that involves the possibility that the proposal will be constructed, it is recommended that you review a basic bibliography on museum design around the world.
These are the main points to keep in mind for the design of the Museum:
• Optimal conditions for visitor routes, operations and functionality.
• Excellent quality and definition of the museographic space.
• Exploration of spatial sensations those are compatible with the public and private use of the building. |
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EXCEPTIONS :
ARQUITECTUM considers that “Idea” Contests are an excellent field for experimentation, discussion and architectural speculation. In this sense our parameters are always fairly open, flexible and, in a way, referential. Given that our interest is to motivate architects to give their “point of view”, often said vision may involve the very subversion of the rules defined by the contest. In other words, each architect is free to explore how far they can overlook – or even break – the rules, of course risking disqualification in the attempt. |
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| HISTORY OF VENICE: |
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The origins of the city on 117 islands and islets on the Lido , lagoon protected by a sand bank, go back to the V century. Back then, some of the inhabitants of the Veneto and Aquileya regions, harassed by the Huns (476) and by the Lombards (568), took refuge in these swamplands. The inhabitants of the lagoon survived through fishing and the extraction of salt. They owed allegiance to the exarch of Ravenna and were a dependency of the Byzantine Empire . In 697 they took advantage o fthe exarch's weakness and elected Anafesto as Dux for life. Commercial activities begin amongst which were included slave trade, prohibited by the Papacy but tolerated beause of its great benefits. In 810 Charlemagne sends his son to take over Venice but his ships withdraw after they encounter the navigational obstacles of the area.
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The trading spirit:
This was the essential element of Venice and the merchants were the force leading the state. In this way the rich patrician families were the ones that introduced a republican form of government that did not exist in any other Italian city-state of the Middle Ages. They were determined not to be ruled by anyone, especially when it did not serve their financial interests, and continual bloody rebellions rose up. During one insurrection against the doge Pietro Candiano IV, in 976, a fire destroyed the city center, including the doge's palace, with the city's archives, and the first church of San Marcos . The hereditary rule of the doges, as practiced in the first centuries, was weakened gradually to preserve internal peace.
The doge's powers were deliberately limited and a state control apparatus developed alongside. Members were recruited from within the great families and they looked after their own interests. From 1172 its most important entity was the Great Council, the Maggior Consiglio, which also elected the doge. This council expanded the number of members, going from 35 to almost 2,000. With the Closure of the Great Council (1297), the positions in the Council became hereditary. The names of the noble families with rights to a position were entered in the Golden Book. The Signoria, the heads of government, were the doge, his six councilors, the Consiglieri, and three speakers of the Quaranta, the 40 members of the Supreme Court. The basic principle of this patrician oligarchy, the Venetian Republic , was to reduce the number of governmental posts so that a more complete control could be possible. The notable Council of the Ten, similar organization to a secret state police, was introduced for the first time in 1310 in reaction to the Bajamonte Tiepolo insurrection against the Closure of the Great Council. Another attempt at a coup d'etat, led by the doge himself, was discovered by the Diecia (1355). Marin Faliero had tried to take power from the privileged patrician families of the Great Council.
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The spice trade:
Venetians lacked enough land for intensive farming. The use of spices that soldiers and pilgrims had learned from the Orient was transferred later to the kitchens of the common folk. Venetians controlled this trade until the XVI century. At the beginning of the XV century the spice trade moved 540,000 ducats annually. In the beginning the merchandise from the Orient arrived in Venice in Byzantine ships, but soon the Venetians built their own ships. At the beginning of the XV century 3,000 merchant ships navigated under the Venetian flag, most of them dedicated to coastal trading and fishing. Overseas trading was covered by around 300 ships that traveled on their own or in heavily armed convoys that the state organized through the Mude. The municipal trading ventures were safer and the Serenisima charged high prices for cargo in the galleys and for protection in the convoys. The private owners that traveled without protection obtained great benefits out of their facing risk. |
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Personal risk in business was reduced by forming a company, la colleganza . As a general rule this was carried out between two merchants; one remained in Venice and placed three fourths of the capital and the remaining fourth was contributed by the one traveling. The most common route that the mude or convoys followed went from England to Tana and Trebisonda, in the Black Sea . The country with which Venice traded most often was Egypt . Other important ports were Beirut and Byzantium . In all great cities the Venetians has commercial establishments where they established their business and exerted considerable political influence in many countries. Even though the slave trade had been prohibited officially sine the IX century, it was a good source of income. Slaves were obtained mainly in Tana. The sale of Circassians and Georgians, of Greek Orthodox faith, and resale in Egypt and North Africa , did not affect people's conscience since they did not belong to the Catholic Church. Pagan slave trade was not prohibited. Towards the middle of the XV century Venice organized four great fleets annually escorted by armed galleys.
1. The Black Sea route that, after reaching Constantinople, parted in two: one went to Crimea, the Sea of Azov, and navigated the Don to tara , point of arrival of Mongolian and Russian caravans. The second went to Sinope and Trebisond.
2. The route to Palestine and Syria via Morea, Crete and Cyprus .
3. The route to Egypt where spices arrived through the Red Sea .
4. The longest route of Northern Europe, with stops at Sicily, Malta, Tripoli, Tunis, Algiers, Oran, Tangiers, Lisbon, Bourdeaux, La Rochelle , Bourgneuf, Bruges, Antwerp, London and, on the return trip, stops in Spanish, Provencal and Italian ports.
The Gaguiana, a sunken ship found off the coast of Yugoslavia in 1967, according to the insurance records, was heading towards the rient in 1583, containing 2,000 Murano crystal objects, copper jewelry, apricots, English wool textiles, artistic pottery pieces, gold, silver and precious stones. The taking of Byzantium by the Turks, the routes Portugal discovered through Henry the Navigator's initiative (1415-1461) and Columbus ' discovery were great setbacks for Venetian trade.
Relations with the Turks:
The Ottomans were recuperating their strength in 1400, after the blow received by the elder Mongol conqueror Tamerlane. A complex relationship full of conflicting interests took place since the Turks depend on Venice as only access route to European markets. To ensure maritime traffic and trade Venice began an appeasement policy with Istanbul . The Venetian ambassador before the Sublime Door enjoyed exclusive privileges. Venice erected massive fortresses in Corfu, Candia (Crete), Cyprus , continental Greece and Dalmatia . From 1545 the Venetian galleys were reinforced with a crew of armed galley slaves. The most powerful armed ships, the galeasse or large galleys, were equipped with cannons on both sides above the row line. The plague of 1630 eliminated one third of the population and the Habsburgs were pushing the port of Trieste against Venetian interests. In mid 1645 the Turkish fleet disembarks at Crete , which was lost definitely in 1669. The peace of Passowitz (1718) Venice was forced to abandon Morea (Peloponesus) and its last possessions in the Aegean .
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Years of splendor and power:
Venice finally became a trading metropolis with control over the seas. The city was consecrated to Saint Mark in 827 when the remains of the apostle were taken there from Alexandria . The dux Enrico Dandolo took Constantinople in 1204. In the Xv century, Venice was the center of world trade and the greatest port city in the world with 200,000 inhabitants. The palaces, built following oriental custom, were ever more luxurious. New palaces were built, decorated by artists such as Tintoretto, Veronese, Titian, and Giorgione. The city of 150 canals and 400 bridges had reached its height. Decadence began when the Turks took Constantinople from them.
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THE SITE :
The files “ SITE PHOTOS ” and “ SITE PLAN ” in the downloads area
• Country: Italy
• Region: Veneto
• Province: Venice (VE)
• Latitude: 45° 26‘ North
• Longitude: 12° 19‘ East
• Altitude: 0 m .a.s.l.
• Surface area: 412 km²
• Population:
- Total: 266.181
- Density: 646 people/km²
• Sunrise : 7:31 AM GMT -5
• Sunset: 17:18 PM GMT -5
• Climate: Venice has a Mediterranean climate. Winter is mild and summer warm. Generally the weather is warm from May to September. The warmest months are July and August. The median temperatures in winter range from 5º to 15ºC and in summer from 25º to 35ºC .
• Humidity: 66%
• Winds: (variable direction) 2 kph
• Visibility: 10 km
• Rainfall is 1 meter per year. |
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AVAILABLE FILES :
For a better understanding of the area to be intervened and the context in which the project will take place, you can download for free the files from our next “DOWNLOADS AREA”:
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SPECIFIC OBJECTIVES :
Specific objectives of the contest are:
• Location and placement of the Bridge-Museum within the planned site.
• The layout plan of areas and activities established.
• Definition of access points, routes and circulation pathways (internal and external) of the project.
• The image and its relation to the entrance to the City, the immediate surroundings as well as interaction with the city of Venice .
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COMPETITION STRUCTURE :
This is a one-stage competition that seeks to identify the proposal that is most appropriate and consistent with the general and specific objectives of this contest. |
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CONDITIONS FOR PARTICIPATION (ELEGIBILITY) :
The competition is open to all architects around the world that have satisfactorily completed their studies to become architects and have a degree that certifies them as such (as well as any team or professional office that has at least one architect that meets this requirement).
NOTES:
• By example, if you have an advanced architectural degree (Master of Architecture) from any University, you work in an architectural office and I you're a professional designer but you don't have professional license; you are eligible to participate .
The winner architect will eventually have to validate his title in Italy in order to perform the definitive project so he must have an “academic” (University or College) diploma that confirms that he has already finished the architecture profession. |
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REGISTRATION PROCESS :
Entrants are required to officially register in the VENICE 2006 contest before their proposals can be accepted. There are two ways to register:
- Online Registration: Entrants can register online, paying via the secure payment systems of the following credit cards: VISA, MASTERCARD, DINERS CLUB and AMERICAN EXPRESS. They will receive a registry number which must later be attached to the proposals submitted, following the instructions further below.
- Offline Registration : Entrants can register offline, via postal mail, e-mail or fax. Payments options include personal check, money order, or account to account transfer payment. To register offline, fill a registration form and e-mail or fax it with a copy (scanned or printed) of the confirmation of payment to the ARQUITECTUM account (as indicated on the form). We will immediately send a confirmation of registration as well as your number as officially registered participant in VENICE 2006 . This number, as well as your personal or team data must be included in the envelope containing the submitted proposal printing, as is instructed in the section “ Submission Requirements ”.
The registration form must be received no later than April 27 th 2006 for the “ early registries ”, and no later than June 30 th 2006 for “ late registries ”. To register using this method, go to “ Offline Registration ” in the upper left corner of this page.
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AWARDS :
Awards will be as follows:
1st PRIZE:
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Two airplane tickets to Venice to attend the awards ceremony and VENICE 2006 contest exhibit to take place at the Architecture School of the University IUAV - Istituto Universitario di Architettura di Venezia, in October of 2006.
- Lodging for two nights in Venice
- 2 entrance tickets to attend the “ Venice Architecture Biennale”
- Private meeting with Roberto D'Agostino, president of the Arsenale Society SPA (Urban Strategic Project Development) - principal shareholder of the Venice Municipality- in order to expose the project.
- Exclusive issue that the European magazine “ Design Magazine ” ( www.designmagazine.it ) will dedicate to the VENICE 2006 Contest, and particularly to the winning project, as well as complete coverage of the background and works of the winning architect(s).
- Exclusive issue that the Latin American design magazine “ENTRE RAYAS” ( www.entrerayas.com ) will dedicate to the VENICE 2006 Contest, and particularly to the winning project, as well as complete coverage of the background and works of the winning architect(s).
- Issue that the architecture magazine “ARKINKA” ( www.arkinka.com.pe ) will dedicate to the VENICE 2006 Contest during the year.
- Appearance in the Spanish competition magazine “FUTURE” ( www.arqfuture.com ) in a 2006 year issue
2nd PRIZE:
- US $ 1,000 (ONE THOUSAND AMERICAN DOLLARS)
- Annual membership to ARQUITECTUM, which entitles you to participate for free in all the International Contests and all the events that we organize for an entire year, as well as the promotion of your work amongst various clients that come to seek advise from architects and members of our institution.
3rd PRIZE:
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Annual membership to ARQUITECTUM , which entitles you to participate for free in all the International Contests and all the events that we organize for an entire year, as well as the promotion of your work amongst various clients that come to seek advise from architects and members of our institution.
HONORABLE MENTIONS
- 1st MENTION :
Utopian project
- 2nd MENTION: Poetic project
- 3rd MENTION:
Historical project
- 4th MENTION: Technologic project
- 5th MENTION: Contextual project
- 6th MENTION: Conservative project
- 7th MENTION: Minimalist project
- 8th MENTION: Institutional project
- 9th MENTION: Virtual project
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FEE:
Early Registration : From April 1st until
April 27th: US $ 100
Late Registration : From April 28th to
June 30th: US $ 150
NOTAS:
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Each architect and each participant will receive in exchange for these costs, should they be given an award, an official diploma that will certify their participation and rank in the contest.
- The competitors must pay the corresponding fee within the corresponding dates. In other words, although they may have registered “Offline” before
April 27th, if they make the payment after this date, they must pay the “late registry” fee.
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he complete list of participants must appear in the final list that is sent in with the proposal.
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SUBMISSION REQUIREMENTS:
Participants must deliver their proposals via internet. These must be in the form of one (1) digital image that can be displayed and viewed comfortably in an horizontal format of a computer screen .
In addition you must send in the same image in physical form to the postal address indicated further below.
The presentation technique is absolutely free, up to the project developer's discretion (for example they can be free hand illustrations, photo montages, collages, computerized three dimensional views, etc.), nevertheless we recommend you include in the image the following information: • Ground Views
• Sections
• Elevations
• Sketches or perspectives
The presentation should document clearly the participant's approach to the project. Ideas about the organization, materials, site planning, and image design should be included if considered relevant.
Somewhere on the image you must include an area chart by level , as well as the total area of the project. Any other verbal (or numerical) description must be presented only in English or Spanish and must be incorporated into the graphic presentation of the project.
Written additional explanatory text outside of the graphic presentation will not be allowed.
The presentations must be easily understood and must be described in terms that are intelligible, clear and easy to interpret.
NOTES:
- No physical models will be accepted. However, photographs of such models or computer renderings of three dimensional models may be incorporated into the presentation.
- None of the presentations can be submitted with any mark, logo, insignia, or any other element that may identify their author, except for the REGISTRATION NUMBER (for example, 108) which must appear in the upper right side of the image or panel.
The submission physical requirements will be:
1. - The image: Participants must send their proposal via internet to our official email address venecia2006@arquitectum.com , before July 17 th . This must consist of a digital image of the following characteristics:
Digital format: Jpg
Size: up to 750 KB
Mode: RGB
Resolution: 120 dpi
Dimensions: Rectangular format of 1500 x 1000 pixels in order to be able to display and view it comfortably in a computer screen. The image file must be named using the registry number (for example: 108.jpg).
2. - The print : The previously mentioned image must also be printed in A-3 format (42 cms. x 29.7 cms. or 16.5 inches x 11.7 inches ) and sent before July 24 th to the postal address indicated below, placed in an envelope as mentioned next.
3.- The signed rules: This text, printed and signed with a “check” on each page and with the complete signature of the architect in charge (or team leader) in the lower portion of the document.
4. - The envelope : in a sealed envelope place the image mentioned above (folded in two), the signed rules, as well as all of the personal data of the participant(s) (full name, address and telephone) with a copy of ARQUITECTUM's welcome letter (which includes the registry number) obtained during the inscription process in the VENICE 2006 competition. NOTES:
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Competitors may present as many proposals as they want and rules they purchase as each entry must have its own registry number.
- The attached envelope will only have the corresponding registry number, the signed rules, the personal data of the participants and the printed image in A-3 format (42 cms. x 29.7 cms. or 16.5 inches x 11.7 inches ) .
Please address packages to:
ARQUITECTUM-Venezia
Santa Croce 2333
30135
Venezia
ITALIA |
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CONFIRMATION:
Each participant must configure their email program so as to receive a confirmation of receipt of their digital image. This image must be delivered to venecia2006@arquitectum.com .
NOTAS:
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In order to evaluate the proposals, both images must be received.
- Due to internal regulations at ARQUITECTUM , which maintain the anonymity of participants, we will not send personal electronic confirmations , so we recommend all contestants send their proposals from a configured email program (such as Outlook Express, Microsoft Outlook or any other) that permits “electronic confirmations”.
- We will not send confirmations for the arrival of the physical images.
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SCHEDULE:
• CONTEST ANNOUNCEMENT: March 1 st , 2006
• CONTEST BEGINS: April 1 st , 2006
• ACCEPTANCE OF QUERIES DEADLINE: until April 30 th , 2006
• QUERY RESPONSES POSTED: May 15 th , 2006
• EARLY REGISTRATION until April 27 th , 2006
• REGISTRATION DEADLINE: June 30 th , 2006
• PROPOSAL SUBMISSIONS DEADLINE: July 17th , 2006
• JURY EVALUATIONS: July 24 th to August 24 th , 2006
• WINNERS ANNOUNCED: September 1 st , 2006
• EXHIBITION IN VENICE : October , 2006
• ONLINE EXHIBITION: October 1 st , 2006
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DEADLINES:
All proposals will be received via email - until July 17 th , 2006 , and via post mail at the offices of ARQUITECTUM-Venice (Santa Croce 2333- 30135 Venezia –ITALIA) - until July 24 th , 2006
NOTES:
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ARQUITECTUM is not responsible for fees and costs that may be involved in getting envelopes out of Italy 's postal customs, or for charges of any private parcel carrier. Each architect or team is responsible for making the necessary preliminary inquiries from their postal service provider in order to get an exact idea of costs and tariffs for their package
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The date that will be considered as delivery date of the packages will be the stamped date of arrival at the Italian Postal Customs Office. It is therefore recommended that the competitors consult with their postal carriers to estimate the length of time it takes for packages to travel from the country of origin.
- Competitors will be responsible for the arrival of their proposals before the deadlines established. No proposal arriving a day after the deadlines established will be accepted.
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QUESTIONS AND ANSWERS:
• Questions will be answered only for the architects registered in the competition.
• All inquiries regarding the inscription, the registry number or any point related to fees, payments or money transfers must be sent only to concursos@arquitectum.com , by April 30 th at the latest. The document that contains all of the inquiries with their corresponding answers, in English and Spanish, will appear published in ARQUITECTUM's website on May 15 th , 2006. It is therefore recommended that participants check periodically the website's updates.
• Technical questions regarding aspects of the rules that are not understood or related to the city of Venice must be sent only to venecia2006@arquitectum.com |
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JURY:
ARQUITECTUM has chosen as jury members the architects:
Representing The Venice Municipality:
Roberto D'Agostino, president of the Arsenale Society SPA (Urban Strategic Project Development) principal stockholder of the Venice Municipality ( ITALY ).
- UNESCO expert for Historic City problems
- EUROPE UNION for Latin-American countries (Mercosur)
- President of the “Società Arsenale di Venezia Spa” (2005)
- President of la AUDIS Society (Associazione per le Aree Urbane Dismesse) (since l998)
- Administrative advisor of COSES (Consorzio di Ricerche Economiche e Sociali) of Venice (2000/05)
- Advisor in Ambiental and Strategically Planning in Urban Projects and in Urban relationships for the Venice Municipality (2000/05)
- Urban advisor in Private Edification for the Venice Municipality (1993/2000)
Representing the IUAV - University Institute of Architecture of Venice
Gustavo Carabajal, architect: President of the Jury ( ITALY )
- Member of the Teaching College for the Doctorate di Ricerca in Architectural Composition (2005)
- Istituto Universitario di Architettura di Venezia (IUAV), Specialization Course in Architecture (CLASARCH – Indirizzo costruzione) (2004)
- “Piazza Manzini”, International Plaza and new shopping center and housing complex in the area of hotel Aquileia – Jesolo – Italy , in collaboration with architect Carlos Ferrater (2004)
- Proyecto Ejecutivo de restauración y reestructuración de la Iglesia de San Giovanni de Malta / Castello-Venezia, con la arquitecto Mariachiara Guazzieri, (2001)
- SMOM Venezia- Sovrano Militare Ordine di Malta, Executive Project and Direction of the Analysis Laboratory, Castello-Venezia. (with architect Mariachiara Guazzieri), (2000)
- Comissioner of Paraguay for the 7th Venice Architecture Biennial (2000)
- 4° International Architecture Show of the Sao Paulo-Brasil Biennial, selected project: Restructuring and expansion of the Ob-Gyn Clinic dell'Ospedale di S.Orsola-Malpighi de Bologna (1999)
Gianni Fabri , architect: ( ITALY )
- Scholar of urban phenomena and the relationship between architecture and the city. Has several publications in the subject matter, such as : “Vienna, città capitale del XIX secolo” ed. Officina, 1986 , “Architetture in luoghi limite” ed Cittàstudi, 1995 , " La Scuola Grande della Misericordia - Storia e progetto" ed. Skira, Milano , 2002, “Architettura e restauro” ed Il Prato, 2003 , and especially “Venezia: quale modernità. Idee per una città capitale” ed F. Angeli, Milano, 2004.
- Belongs to the Teaching College of the “Dottorato di Ricerca in Composizione Architettonica”, organization of the Architecture Department of the IUAV di Venezia e dalla Facoltà di Architettura (Bovisa) of the Milan Polytechnic.
- Promoter and Scientist in charge of the Masters program in “Project for a building of worship” organized in colaboration with the Università IUAV di Venezia (Architecture Department) and the Università degli Studi di Trento (Engineering Department).
Armando Dal Fabbro, architect: ( ITALY )
- Professor and researcher in the Dipartimento di Progettazione Architettonica, Corso di Laurea in Scienza dell'Architettura alla Università IUAV di Venezia.
- Visiting Professor from the Architecture Department at the University of Cordoba ( Argentina ) (1998)
- Visiting Professor of the “Institute of Architectural Design of the Krakow Polytechnic (1999)
- From 2001 he has been invited annually to the international conference at the Krakow Polytechnic with the theme: “Definition of Architectural Space”, and whose intervention and participation where preserved in the publication: “ International scientific conference of the Institute of Architectural Design of Cracow ” .
- Visiting professor at the Fachhochschule di Münster school ( Germania ) negli (2005).
- Has participated as guest teacher at the TEMPUS PHARE: PER UN'ARCHITETTURA DEL POLICENTRISMO program. Trans-European Program of Cooperation in Higher Education of the European Union, Triennio (1998).
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JUDGING PROCESS:
The judges will review and evaluate the proposals and choose the winners. The judges will base their decision on their own experience and on the information provided by the contestants which will come with the images submitted. Each jury member will review the proposals submitted.
ARQUITECTUM's General Advisor will insure that the development and follow up of the objectives of the contest are met. In case there is no consensus in the selection of winners or if there is a technical tie, he may participate in the voting in order to continue the evaluations until three winners are selected for the first three places according to the aforementioned Rules of the Contest. |
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EVALUATION CRITERIA:
Criteria for the evaluation of the project proposals will include:
• Originality of the proposal and quality of the architectural design.
• Coherence of the proposal with the challenge and rules (general and specific) of the Contest.
• Fulfillment of the area chart requested.
• Clarity of presentation.
The jury reserves the right to –exceptionally- award any project that – even if it does not fulfill some areas, parts of the program or heights stipulated in the rules for the VENICE 2006 Competition, or goes past them, if and only if, the overlooking, or breaking, of the norms is justified either by the substantial architectural contribution of the project to the issue, the place or any variable not specified in the Rules.
Nevertheless, let it be clear also that this assignment is specifically a Bridge (that serves to connect two parts of a city, allowing at the same time the passage of vessels under it) and also a Museum (that must hold an important collection of models and plans). This is the architectural design we are aiming for, one that could be built. This is why each architect is responsible for the liberties they legitimately take with their project, and it is their own decision as designer how much, absolutely or relatively, they circumscribe to the parameters enumerated above.
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ELIGIBILITY:
The competition is open to all architects around the world that have satisfactorily completed their studies to become architects (architecture studios that wish to participate must have at least one architect that qualifies since, in case the project becomes a reality, it will be necessary for said professional to validate their architecture license in Italy). |
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ANONIMITY:
ARQUITECTUM commits to the scrupulous protection of the integrity of this contest, throughout its duration, in the following manner:
The registry number is the only element with which each of the proposals received will be organized, processed and evaluated. For this effect the digital images will be sent and stored as registry numbers. The printed images will be classified according to their registry numbers, keeping the complementary information in a separate envelope, and only at the end of the evaluation will the jury know the names of the participants.
Besides the registry number- and as has been expressed in these rules' contents- no image may have any marking, logos, symbols or any sign that may identify the authors, save, as mentioned before, for the registry number which will be placed on the upper right side of the image.
Not meeting these requirements will result in immediate disqualification. |
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RETURNS:
• All the submitted materials will become property of ARQUITECTUM and will not be returned.
• The fees for inscription and registration are non-refundable.
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