Hello everyone, my name is Marcos Baraco, I'm an architect.

As you may have noticed, I need help from Tomas with the translation. I'm part of the Uruguayan imaginary team and my role in the team is to try to bring an interdisciplinary practice into it.

The area behind this talk is to present how was the process of designing the 2015 show of imaginary Uruguay.

Through some analysis, you can transcend the experience and contribute to better future experiences.

So my talk will analyze this process using three different dimensions that I hope everybody can use in the design and analysis of your own shows. These three dimensions of analysis will be the concepts and the objectives of imaginary that can be decodified by the country.

The other dimension of analysis will be the action of plants in the country.

The actions that were planned for every country. And the third one will be the resources that are available and are utilized in every case.

And this is a map that is already on the webpage that shows everywhere where an imaginary event has been executed.

Going back to the dimensions, this diagram tries to show what is the underlying meaning behind this approach.

And I want to make sure that I understand that the design project is the intersection between all these three categories.

And there is not a linear path that you traverse through this diagram, but everything comes together in a simultaneous way.

And to achieve that is very important that every subject, everybody works together wherever they come from.

Going back to the particular case of Uruguay, I want to talk about the specific actions that were taken in each and every dimension.

So in the concepts and objectives, our main idea was that it would be an open system with low uses of resources but with a high impact.

That it would create a fluid space. And it would promote the creation of relationships in every location.

When we talk about actions, we have different strategies.

We decided it would be a traveling exhibition that it would generate contacts in every location. We also had a web base to support it and a specific strategy of information diffusion or communication.

And the third hand, we have the resources that we subdivide in humans, money and time.

Sorry, this is my computer.

And the icon, what it tries to communicate is that this diagram is open and we can expand it and analyze it altogether.

This is a time diagram that tries to show how time happens and we can divide in three stages. One before the show, one during the show and one after the show.

And we can use the same categorization of actions, resources and objectives to analyze all these three moments independently of the general analysis.

Moment zero is a moment of construction, of intervention and of the work being done in

the field of implementation that contributes to the creation of content and relations for the general event. Moment zero is what happens before the exhibition.

It's a very powerful moment where we can, using these ideas, generate a strong relationship with the location where the exhibition is going to be put and to gather information that then we're going to apply in the following moments. El momento unos is el momento de fuerte muystra pero y de celebración pero y en el que se genera binculos un pogo más en mediatos.

M1 is the actual exhibition time where it's a very happy moment but also

is a moment where you generate relationships with the different actors that are more strong. Por último, tenemos momento intervention esta cidiente que es la indentar consolidar esos binculos y esas acciones, generalando la permanentia de las relaciones.

And then we have M2 which is what happens afterwards and is a time where we try to strengthen the relationships that were created and devise actions that can take this forward in the future. De la página de imaginary, empezamos a contribir el concepto general.

From the web page of imaginary, we started building the general concept. De una interpretación critical de esto conceptos que están en la plata forma, juntos a los rubos de trabajo y con las referencias de las speriencias anteriores.

Trying to, using these ideas that I presented, to analyze what we want to create and trying to leverage that using the information from previous exhibitions.

And from that we build our own concept for every location, for every exhibition that is shared to all the actors who are preparing the exhibition. Lo que vie a presentar ahora es la mí a trateja de presentación luego del trabajo,

a luego del trabajo en conjundo de definicion de conceptos, pero del dicenio de la muestra. So what I'm going to show now is what was my strategy to communicate the design of the exhibition to all the participants.

Eta aferon todas las diapositivas. These are all the slides. Or I'm going to show some more.

Conceptually I started from the derivative of the international situationist. That conceptualized a non-linear and ludic, playful traversing of the city.

On the other hand, we had the idea of creating a unique landscape using different geometries.

This is a schema of the different resources and time and spaces we have and how can we combine them depending on what's actually happening.

So going to the specific location of Montevideo, which was in this space that was shown yesterday by our teammates. We translated those ideas into a preliminary project so that we could work on it.

En el cual no solo se posicionaba en los modulos que eso portaba en los contenillos. Where we not only put the different modules that supported the exhibition. Si no que se perevisualizaba en algunos posibilas regoridos y trategia de relacionamiento con los contenillos de cas uno de los visitantes.

But we also visualized the different paths that the visitors could walk through and how would they relate to the different contents in the different modules. Ere importante el espacio entre los modulos y que vira lugar es de observación perifericos para poder contemplar el paisaje general.

So it was very important to design that space between the different modules and also to have places where people can look at the exhibition from the outside and get like a panoramic overview of it.

Pudiendo visitar cada uno de los modulos independentmente pero luego automando distancia y pudiendo reflectionar sobre la motran general desde una pausa un descanso. So like people who have both types of relationships with the show wants to go on a one-on-one

consumption of every module but also to have this oversight and trying to understand the whole configuration of the exhibition. Este es una maquita a 3D que también se usó para poder trabajar con el equipo. No como un projecto es arrados y no que se puede ir modificando con juntos.

This is our 3D model that we shared with all the team and not as a fixed design but something that was modified by everybody. Luego de la approbación del projecto se pasó rapidamente a la blanicha para poder concretar.

After the design was approved, we created these diagrams so that it could be built. Acada a comienza el momento de contruccion que esta garrado a negutas. This is the moment when we started actually building, which is full of anecdotes.

For example, taking all the specific components that were created in the public transport system.

Parceli responding to that original idea of low resources but high impact. This is the construction and verification of the design in location.

That's when they were tuning the contents for every module.

That's the night before.

But there was also this moment where we invited high school students that could come and work on specific places in every module and generate an appropriation of the exhibition. These activities were carried on during all the exhibitions.

And this is the moment that changed from moment zero before and moment one during the exhibition. This is the communication.

Same as yesterday. This is the opening day and these are the first visitors. And this is the actual exhibition working full of people.

Lastly, I want to show how we could create or comply with this idea that it would be a traveling exhibition. And this is an example of how I communicated with the mathematicians that had to carry and execute the exhibition in different places.

These are examples of possible instantiation of the exhibition in different future locations. For example, in the school of architecture in our university.

This is an example of the set up in the school of architecture where all the academic community work without being actually paid for it.

This is in one small city in Uruguay called Prentadres.

Lastly, I want to propose that everybody who has a show or who has had a show can use the

same concepts to analyze and to describe the things that you've done using the three dimensions of concepts, objectives and resources.

And with this we could create a general spreadsheet with reference images and everybody can establish or write down those three dimensions.

I'm open to questions. I hope this approach can be useful in your own experiences.

Thank you very much. Are there any questions? In English? Okay. Thank you. I'm impressed. I would have loved to have you at all the other exhibitions we were doing.

Looking at the traveling exhibition part, that's something that I experienced and survived myself. When I started with imaginary doing a traveling exhibition in Germany for the German year of mathematics, it was extremely complicated

to have an exhibition traveling, to pack it, to unpack it, to mount it, to unmount, to put it in a truck. A lot of things got lost, broke, whatever. Maybe you can give us a few more details on how you had this kind of open truck. How did you brief the people to properly pack it and unpack it and how did it work with the logistics?

The design had to be light and open. The design had to be light and open.

The design had to be light and open. The design had to be light and open.

The design had to be light and open. On the other hand, I had contacts with people who actually worked doing this, for example, for professional exhibitions.

And then I had a decision to make, and I wanted to create a specific piece for the audience to enjoy. So we had two design things. One was the actual design of the piece, of the module, but also

the design of the components and the design of how we would communicate to people how to ensemble those components. Kind of like a do-it-yourself catalog, IKEA style. That's my adding. Sorry, I'm not a translator.

Are there any other questions?

Is there a project to write this down in detail? Do you think this can be applied to other places?

Or it was just made for Uruguay and you're just sharing your experience here. Will there be like a paper support so other people can access to all the details and everything what you did? Or do you think that every exhibition should hire their own architect? Yes, I believe that the concept of the form of art can help to admit that these decisions are being made in this position perfectly.

But I also think it's interesting that as you said, you can use art as a critical form and reinterpret it to give context. Also, to not make any new ideas. I can only tell you that it's been made for me and also for other colleagues.

He thinks that it would be useful and it would be possible to have all these procedures and processes online, documented so that other people can use. But he thinks that it should be used in a critical way and it should be rethought and recreated responding to the realities of specific locations.

And that would allow new ideas to come and be integrated into the process. This is open for everybody but we can rethink it and improve it.

Thank you. Well, maybe if you have any more questions you could talk to them in our coffee break. So let's thank the speakers again.