Venice Architecture Film festival
  • Habitable Infrastructure: Science Fiction or the Future of the Countryside?
    Habitable Infrastructure: Science Fiction or the Future of the Countryside?

    By David Gak-Vassallo and Jeremie Mellul

  • Rodas
    Rodas

    By Manu Toro

  • Villa Froeschle
    Villa Froeschle

    By Josua Graf

  • Vertical Shadow
    Vertical Shadow

    By Felipe Elgueta and Ananke Pereira

  • NEXUM
    NEXUM

    By Flavia Mazzanti

  • As the first time
    As the first time

    By Zeca Day

  • Design Story: Lune De Sang
    Design Story: Lune De Sang

    By Sophie Hexter

  • EXELIOSIS ( Αtonement ) - Reconciliation with the nature.
    EXELIOSIS ( Αtonement ) - Reconciliation with the nature.

    By Pavlos Avagianos

  • just a car park
    just a car park

    By Joe Gilbert

  • Despot's Palace of Mystra
    Despot's Palace of Mystra

    By Ifigenia Dimitriou

  • Villas Pesqueras
    Villas Pesqueras

    By Claudia Crespo

  • Architecture on the Edge: Nishizawa House
    Architecture on the Edge: Nishizawa House

    By Mario Novas and Kate Kliwadenko

  • Letters from the Middle-Ground
    Letters from the Middle-Ground

    By Vitika Agarwal

  • I want to Breath Sweet Air
    I want to Breath Sweet Air

    By Pamela Falkenberg and Jack Cochran

  • Milano 20/21
    Milano 20/21

    By Maurizio Dalla Palma

  • Engelen, 23 augustus
    Engelen, 23 augustus

    By André Schreuders

  • 4.6 KM
    4.6 KM

    By Alexander Auris

  • An Ode to Apollo
    An Ode to Apollo

    By Matthew J Simpson

  • Inspired Architecture: Permanent Camping
    Inspired Architecture: Permanent Camping

    By Jim Lounsbury

  • Exterior Day (Esterno giorno)
    Exterior Day (Esterno giorno)

    By Giulia Magno

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The 2022 Edition: INHABITATS

“With the disappearance of a “mainstream” & therefore of an “avant-garde” in the arts, it has been noticed that all the more advanced & intense art-experiences have been recuperable almost instantly by the media, & thus are rendered into trash like all other trash in the ghostly world of commodities.” Hakim Bey, Immediatism, 1994.
Theme
“With the disappearance of a “mainstream” & therefore of an “avant-garde” in the arts, it has been noticed that all the more advanced & intense art-experiences have been recuperable almost instantly by the media, & thus are rendered into trash like all other trash in the ghostly world of commodities.” Hakim Bey, Immediatism, 1994.

The progressive dematerialization of the infrastructure that enables the satisfaction of individuals' desires leads to a random aggregation of individuals.
The concept of the city as a functional organism for production and the lives of workers-consumers-citizens loses its meaning, reflected in the granularization of information and the gathering of consensus around ephemeral and insubstantial ideal nuclei. If at one time we imagined (and realized) escape from the malaise of urban life with the confinement in enclaves of subjects selected on the basis of census, today it seems more realistic to us to imagine an immaterial society in which everyone, regardless of census, will be able to decide to aggregate, quickly and autonomously with those who, like him, seek the satisfaction of a specific desire, without requiring physical proximity.
We imagine an aggregation of desires that occurs spontaneously and transiently, each person having the extreme freedom to change and choose the form and place of residence by virtue of the guarantee of access to consumption and information. The concept of citizens' income, contextualized with the spread of granular information media, the commercial dominance of e-commerce, can help us understand the possibility of the concentration in the hands of a few individuals of the entire economic system and, conversely, the exclusion of the individual from the productive system and its downgrading to a producer of desires and consumerism.
We note the extreme cultural, ethnic, and ideological diversity of those who have access to consumption and information without having to move, have no ties of ownership, neighborhood, or familiarity with the place they live. Dormitory neighborhoods are half rented to people who will not spend their entire lives there, the other half are available for tourist rental, or are vacant. Historic centers ditto.
The randomness of work and its dematerialization induces mobility and thwarts the conventional city planning. The home no longer has its symbolic value. Neighbors no longer exist, affinities are sought in social media, crystallizing one's opinions based on personal and transient choices, choosing from the daily-me catalog.
The citizen is turned into an information-desire nucleus, no longer chasing a precise dwelling requirement rather the ephemeral and immediate satisfaction of desires. People look for their inhabitat as a basic functional device to fulfill few concrete functions, and choose tiktok to live and realize their identity, their faith, their hopes and their desires.

The competition will reward films that can depict the social, urban and (perhaps) architectural phenomena briefly imagined here.

Rules

ArchiTuned as organizer of the Venice Architecture Film Festival in collaboration with an external jury of experts and professionals of the architecture and cinema field, will create a selection of short films on architecture.
The third edition of the Venice Architecture Film Festival 2022, titled InHabitats, will screen the selected short films in Venice from 1st - 3rd September 2022.

1. Theme
“With the disappearance of a “mainstream” & therefore of an “avant-garde” in the arts, it has been noticed that all the more advanced & intense art-experiences have been recuperable almost instantly by the media, & thus are rendered into trash like all other trash in the ghostly world of commodities.” Hakim Bey, Immediatism, 1994.

The progressive dematerialization of the infrastructure that enables the satisfaction of individuals' desires leads to a random aggregation of individuals.
The concept of the city as a functional organism for production and the lives of workers-consumers-citizens loses its meaning, reflected in the granularization of information and the gathering of consensus around ephemeral and insubstantial ideal nuclei.

If at one time we imagined (and realized) escape from the malaise of urban life with the confinement in enclaves of subjects selected on the basis of census, today it seems more realistic to us to imagine an immaterial society in which everyone, regardless of census, will be able to decide to aggregate, quickly and autonomously with those who, like him, seek the satisfaction of a specific desire, without this requiring physical proximity.

We imagine a zoning of desires that occurs spontaneously and transiently, each person having the extreme freedom to change and choose the form and place of residence by virtue of the guarantee of access to consumption and information.
The concept of citizenship income, contextualized with the spread of granular information media, the commercial dominance of online distribution, can help us understand the possibility of the concentration in the hands of a few individuals of the entire economic system and, conversely, the exclusion of the individual from the productive system and its downgrading to a producer of desires and consumerism.

We have to note the extreme cultural, ethnic, and ideological diversity of those who have access to consumption and information without having to move, have no ties of ownership, neighborhood, or familiarity with the place they live.
Dormitory neighborhoods are half rented to people who will not spend their entire lives there, the other half are available for tourist rental, or are vacant. Historic centers ditto. The randomness of work and its dematerialization induces mobility and thwarts the conventional city planning. The home no longer has its symbolic value. Neighbors no longer exist, affinities are sought in social media, crystallizing one's opinions based on personal and transient choices, choosing from the daily-me catalog.
The citizen is turned into an information-desire nucleus, no longer chasing a precise dwelling requirement rather the ephemeral and immediate satisfaction of desires.
People look for their "inhabitat" as a basic functional device to fulfill few concrete functions, and choose tiktok to live and realize their identity, their faith, their hopes and their desires.

The competition will reward films that can depict the social, urban and (perhaps) architectural phenomena briefly imagined here.

key concepts:
● disintegration of society and increase of individualism
● privileging of personal desires and interests
● impotence of planning
● the house is no longer the point of arrival but an infrastructure for mobility and ephemeral aggregation
● the neighborhood is no longer a functional unit organic to the city as a productive organism
● Identification of new desires and needs that lead to community aggregation.
● TAZ Temporarily Autonomous Zones (as a general reference but in a degraded sense)
● transfiguration of places

2. Who
Participation is open to filmmakers, producers, and students above the age of 18 from all backgrounds and nationalities.
The following are excluded from participation: members of the jury (permanent or temporary), members of the board and those who were involved in the drafting of this open call.

3. What
All films should reflect the 2022 "InHabitats” edition and theme of the Venice Architecture Film Festival and address contemporary architecture in its broadest sense, as described in paragraph 1. THEME and have preferably a maximum length of 15 minutes.
All films will be considered but preferably those produced after 2016.
All films must be submitted by 31st July 2022, strictly in digital format and specifically in MP4 format with H.264 encoding. This will be the only accepted format.
All uploads must be accompanied by:
● director’s name
● production company
● three high resolution frames from the submitted entry in .jpg format at the maximum resolution available (minimum resolution 1920x1080 px)
● film abstract

4. Language
Films will be accepted with audio in any language. Nevertheless, if the language is neither Italian nor English, they must have English subtitles (.srt format).

5. How
To participate you must submit your video on platform www.filmfreeway.com
Registration will be open from 3rd June 2022 (0h00 CET) to 31st July 2022 (23h59 CET).
The list of the shortlisted films will be revealed on 20th August 2022. It will be published on the website www.venicearchitecturefilmfestival.com and communicated by email to the selected participants. The decision of the shortlisted films is indisputable.

6. Fee
There is a fee of 5 euros to pay for each film submitted. The fee payment will be possible via Paypal on filmfreeway platform. Please follow the instructions on filmfreeway.com

7. Copyrights
Participants declare that the film submitted is their own and that its public screening rights have not been transferred to third parties. Participants assume all liability for any claim or demand by third parties, administrative, judicial or of other nature, concerning intellectual property or screening rights of the submitted film. Film submission implies that participants hold all necessary rights to publicly screen the entered film and are authorized to enter the competition and as such to present their film at Venice Architecture Film Festival 3rd edition and hereby grant said rights to ArchiTuned, for both competition submission and the film screening at the Festival.

Regarding screening of the films submitted during Venice Architecture Film Festival, while ownership of the intellectual property of the work is guaranteed, there will be no screening fee.
Participants grant, free of charge, the screening and usage of their work for promotional purposes even in future editions of the Festival. They also grant access and usage of their films, free of charge, on all media platforms and in any form (print and online) including the websites www.venicearchitecturefilmfestival.com, www.veniceshortfilmfestival.com and www.archituned.com. This does not imply, in any form whatsoever, loss of copyright of the submitted film on behalf of the participant.

Screening of the entire film on the website www.venicearchitecturefilmfestival.com and on the website www.archituned.com is possible by prior arrangement between ArchiTuned and the Participant. Venice Architecture Film Festival and ArchiTuned therefore acquire exhibition and screening rights free of charge on any media and platform, while ownership of intellectual property of the work is guaranteed.

7. Jury Selection
A qualified jury of film and architecture film experts will select the winning film among the entries. The jury's decision cannot be disputed and is not admitted ex-aequo.
The award will be given to the registered author of the film.
Participation in the award ceremony is not compulsory.

8. Award
The winner of the Venice Architecture Film Festival 2022 - InHabitats will receive a special laurel as winner of the Festival 3rd edition. In addition the winner will receive 200 euros, all taxes included.
At the end of the competition, the authors of the selected films will receive a laurel of participation to the competition.
The first five films will be featured and presented in the programme of the Venice Architecture Film Festival.

9. Competition Calendar
Please register and submit the works from the first days to avoid unexpected delays.

Call for submissions 3rd June –31st August (24H00 CET) 2022
Selected finalist’s announcement 20th August 2022
Jury working time 21st August – 25th August 2022
Competition winner announcement 3rd September 2022

The winner will be contacted by email and will be announced on the website www.venicearchitecturefilmfestival.com.

10. Where
The first five films will be featured and presented in the programme of the Venice Architecture Film Festival at the same time as the Venice International Film Festival.
The films will be shown in an outdoor cinema, and for this reason Archituned and VAFF reserve the right to skip screenings in case of bad weather or rain, as well as unexpected events.

11. When
From the 1st September till 3rd September 2022, following the programme here below:

1st September 5th and 4th finalists
2nd September 3rd and 2nd finalists
3rd September Winner

12. Questions
For any questions please email: info@archituned.com

13. Privacy
For the purpose of promoting the Contest, personal data will be processed in accordance with Law 31/12/1996 No. 675 and EU Regulation No. 2016/679 of the European Parliament and of the Council of April 27, 2016 (in force in all European Union countries as of May 25, 2018) and according to subsequent amendments and additions. Data may be transferred outside the European Union, including to countries where the level of protection of personal data may be lower than that guaranteed by European legislation. However, such transfer will be in accordance with the standard contractual clauses approved by the European Commission in Decision No. 2010/87 / EC http://194.242.234.211/documents / 10160/10704/1767001.

14. Advice
Venice Architecture Film Festival and ArchiTuned will not be responsible for unexpected events that could impede or postpone the Festival and its activities, such as the screening of the films or the jury’s work.
By submitting your film to the Competition, you declare and attest that you have read, understood, and accepted these rules and guidelines.

The 2022 Edition: INHABITATS

“With the disappearance of a “mainstream” & therefore of an “avant-garde” in the arts, it has been noticed that all the more advanced & intense art-experiences have been recuperable almost instantly by the media, & thus are rendered into trash like all other trash in the ghostly world of commodities.” Hakim Bey, Immediatism, 1994.

At San Servolo Island

1st, 2nd, 3rd September 2022 From 7:30pm to 11:00pm

Image
Public transportation vaporetto
ACTV LINE 20

From San Zaccaria-B at:
6pm, 6:30pm, 7:00pm, 7:30pm

From Palazzo del Cinema (Lido) at:
6:35pm, 6:50pm, 7:00pm, 7:20pm

Back to Venice at:
10:00pm, 10:10pm, 10:30pm, 10:45pm, 11:00pm, 11:10pm, 11:30pm, 11:45pm, 0:00am, 0:10am, 0:30am, 0:45am, 1:00am

Back to Lido at:
10:10pm, 10:25pm, 10:40pm, 10:50pm,11:10pm, 11:25pm. 11:40pm, 11:50pm, 0:10am, 0:25am, 0:40am, 0.50am.
Theme
“With the disappearance of a “mainstream” & therefore of an “avant-garde” in the arts, it has been noticed that all the more advanced & intense art-experiences have been recuperable almost instantly by the media, & thus are rendered into trash like all other trash in the ghostly world of commodities.” Hakim Bey, Immediatism, 1994.

The progressive dematerialization of the infrastructure that enables the satisfaction of individuals' desires leads to a random aggregation of individuals.
The concept of the city as a functional organism for production and the lives of workers-consumers-citizens loses its meaning, reflected in the granularization of information and the gathering of consensus around ephemeral and insubstantial ideal nuclei. If at one time we imagined (and realized) escape from the malaise of urban life with the confinement in enclaves of subjects selected on the basis of census, today it seems more realistic to us to imagine an immaterial society in which everyone, regardless of census, will be able to decide to aggregate, quickly and autonomously with those who, like him, seek the satisfaction of a specific desire, without requiring physical proximity.
We imagine an aggregation of desires that occurs spontaneously and transiently, each person having the extreme freedom to change and choose the form and place of residence by virtue of the guarantee of access to consumption and information. The concept of citizens' income, contextualized with the spread of granular information media, the commercial dominance of e-commerce, can help us understand the possibility of the concentration in the hands of a few individuals of the entire economic system and, conversely, the exclusion of the individual from the productive system and its downgrading to a producer of desires and consumerism.
We note the extreme cultural, ethnic, and ideological diversity of those who have access to consumption and information without having to move, have no ties of ownership, neighborhood, or familiarity with the place they live. Dormitory neighborhoods are half rented to people who will not spend their entire lives there, the other half are available for tourist rental, or are vacant. Historic centers ditto.
The randomness of work and its dematerialization induces mobility and thwarts the conventional city planning. The home no longer has its symbolic value. Neighbors no longer exist, affinities are sought in social media, crystallizing one's opinions based on personal and transient choices, choosing from the daily-me catalog.
The citizen is turned into an information-desire nucleus, no longer chasing a precise dwelling requirement rather the ephemeral and immediate satisfaction of desires. People look for their inhabitat as a basic functional device to fulfill few concrete functions, and choose tiktok to live and realize their identity, their faith, their hopes and their desires.

The competition will reward films that can depict the social, urban and (perhaps) architectural phenomena briefly imagined here.

Rules

ArchiTuned as organizer of the Venice Architecture Film Festival in collaboration with an external jury of experts and professionals of the architecture and cinema field, will create a selection of short films on architecture.
The third edition of the Venice Architecture Film Festival 2022, titled InHabitats, will screen the selected short films in Venice from 1st - 3rd September 2022.

1. Theme
“With the disappearance of a “mainstream” & therefore of an “avant-garde” in the arts, it has been noticed that all the more advanced & intense art-experiences have been recuperable almost instantly by the media, & thus are rendered into trash like all other trash in the ghostly world of commodities.” Hakim Bey, Immediatism, 1994.

The progressive dematerialization of the infrastructure that enables the satisfaction of individuals' desires leads to a random aggregation of individuals.
The concept of the city as a functional organism for production and the lives of workers-consumers-citizens loses its meaning, reflected in the granularization of information and the gathering of consensus around ephemeral and insubstantial ideal nuclei.

If at one time we imagined (and realized) escape from the malaise of urban life with the confinement in enclaves of subjects selected on the basis of census, today it seems more realistic to us to imagine an immaterial society in which everyone, regardless of census, will be able to decide to aggregate, quickly and autonomously with those who, like him, seek the satisfaction of a specific desire, without this requiring physical proximity.

We imagine a zoning of desires that occurs spontaneously and transiently, each person having the extreme freedom to change and choose the form and place of residence by virtue of the guarantee of access to consumption and information.
The concept of citizenship income, contextualized with the spread of granular information media, the commercial dominance of online distribution, can help us understand the possibility of the concentration in the hands of a few individuals of the entire economic system and, conversely, the exclusion of the individual from the productive system and its downgrading to a producer of desires and consumerism.

We have to note the extreme cultural, ethnic, and ideological diversity of those who have access to consumption and information without having to move, have no ties of ownership, neighborhood, or familiarity with the place they live.
Dormitory neighborhoods are half rented to people who will not spend their entire lives there, the other half are available for tourist rental, or are vacant. Historic centers ditto. The randomness of work and its dematerialization induces mobility and thwarts the conventional city planning. The home no longer has its symbolic value. Neighbors no longer exist, affinities are sought in social media, crystallizing one's opinions based on personal and transient choices, choosing from the daily-me catalog.
The citizen is turned into an information-desire nucleus, no longer chasing a precise dwelling requirement rather the ephemeral and immediate satisfaction of desires.
People look for their "inhabitat" as a basic functional device to fulfill few concrete functions, and choose tiktok to live and realize their identity, their faith, their hopes and their desires.

The competition will reward films that can depict the social, urban and (perhaps) architectural phenomena briefly imagined here.

key concepts:
● disintegration of society and increase of individualism
● privileging of personal desires and interests
● impotence of planning
● the house is no longer the point of arrival but an infrastructure for mobility and ephemeral aggregation
● the neighborhood is no longer a functional unit organic to the city as a productive organism
● Identification of new desires and needs that lead to community aggregation.
● TAZ Temporarily Autonomous Zones (as a general reference but in a degraded sense)
● transfiguration of places

2. Who
Participation is open to filmmakers, producers, and students above the age of 18 from all backgrounds and nationalities.
The following are excluded from participation: members of the jury (permanent or temporary), members of the board and those who were involved in the drafting of this open call.

3. What
All films should reflect the 2022 "InHabitats” edition and theme of the Venice Architecture Film Festival and address contemporary architecture in its broadest sense, as described in paragraph 1. THEME and have preferably a maximum length of 15 minutes.
All films will be considered but preferably those produced after 2016.
All films must be submitted by 31st July 2022, strictly in digital format and specifically in MP4 format with H.264 encoding. This will be the only accepted format.
All uploads must be accompanied by:
● director’s name
● production company
● three high resolution frames from the submitted entry in .jpg format at the maximum resolution available (minimum resolution 1920x1080 px)
● film abstract

4. Language
Films will be accepted with audio in any language. Nevertheless, if the language is neither Italian nor English, they must have English subtitles (.srt format).

5. How
To participate you must submit your video on platform www.filmfreeway.com
Registration will be open from 3rd June 2022 (0h00 CET) to 31st July 2022 (23h59 CET).
The list of the shortlisted films will be revealed on 20th August 2022. It will be published on the website www.venicearchitecturefilmfestival.com and communicated by email to the selected participants. The decision of the shortlisted films is indisputable.

6. Fee
There is a fee of 5 euros to pay for each film submitted. The fee payment will be possible via Paypal on filmfreeway platform. Please follow the instructions on filmfreeway.com

7. Copyrights
Participants declare that the film submitted is their own and that its public screening rights have not been transferred to third parties. Participants assume all liability for any claim or demand by third parties, administrative, judicial or of other nature, concerning intellectual property or screening rights of the submitted film. Film submission implies that participants hold all necessary rights to publicly screen the entered film and are authorized to enter the competition and as such to present their film at Venice Architecture Film Festival 3rd edition and hereby grant said rights to ArchiTuned, for both competition submission and the film screening at the Festival.

Regarding screening of the films submitted during Venice Architecture Film Festival, while ownership of the intellectual property of the work is guaranteed, there will be no screening fee.
Participants grant, free of charge, the screening and usage of their work for promotional purposes even in future editions of the Festival. They also grant access and usage of their films, free of charge, on all media platforms and in any form (print and online) including the websites www.venicearchitecturefilmfestival.com, www.veniceshortfilmfestival.com and www.archituned.com. This does not imply, in any form whatsoever, loss of copyright of the submitted film on behalf of the participant.

Screening of the entire film on the website www.venicearchitecturefilmfestival.com and on the website www.archituned.com is possible by prior arrangement between ArchiTuned and the Participant. Venice Architecture Film Festival and ArchiTuned therefore acquire exhibition and screening rights free of charge on any media and platform, while ownership of intellectual property of the work is guaranteed.

7. Jury Selection
A qualified jury of film and architecture film experts will select the winning film among the entries. The jury's decision cannot be disputed and is not admitted ex-aequo.
The award will be given to the registered author of the film.
Participation in the award ceremony is not compulsory.

8. Award
The winner of the Venice Architecture Film Festival 2022 - InHabitats will receive a special laurel as winner of the Festival 3rd edition. In addition the winner will receive 200 euros, all taxes included.
At the end of the competition, the authors of the selected films will receive a laurel of participation to the competition.
The first five films will be featured and presented in the programme of the Venice Architecture Film Festival.

9. Competition Calendar
Please register and submit the works from the first days to avoid unexpected delays.

Call for submissions 3rd June –31st August (24H00 CET) 2022
Selected finalist’s announcement 20th August 2022
Jury working time 21st August – 25th August 2022
Competition winner announcement 3rd September 2022

The winner will be contacted by email and will be announced on the website www.venicearchitecturefilmfestival.com.

10. Where
The first five films will be featured and presented in the programme of the Venice Architecture Film Festival at the same time as the Venice International Film Festival.
The films will be shown in an outdoor cinema, and for this reason Archituned and VAFF reserve the right to skip screenings in case of bad weather or rain, as well as unexpected events.

11. When
From the 1st September till 3rd September 2022, following the programme here below:

1st September 5th and 4th finalists
2nd September 3rd and 2nd finalists
3rd September Winner

12. Questions
For any questions please email: info@archituned.com

13. Privacy
For the purpose of promoting the Contest, personal data will be processed in accordance with Law 31/12/1996 No. 675 and EU Regulation No. 2016/679 of the European Parliament and of the Council of April 27, 2016 (in force in all European Union countries as of May 25, 2018) and according to subsequent amendments and additions. Data may be transferred outside the European Union, including to countries where the level of protection of personal data may be lower than that guaranteed by European legislation. However, such transfer will be in accordance with the standard contractual clauses approved by the European Commission in Decision No. 2010/87 / EC http://194.242.234.211/documents / 10160/10704/1767001.

14. Advice
Venice Architecture Film Festival and ArchiTuned will not be responsible for unexpected events that could impede or postpone the Festival and its activities, such as the screening of the films or the jury’s work.
By submitting your film to the Competition, you declare and attest that you have read, understood, and accepted these rules and guidelines.

crazybit
unisve
ikra
generali
transport service venice
domus