MA THESIS by Justyna Choli

MA THESIS Justyna Choli

Interprofessional Approach to Organising / Designing a Successful Biennale by Justyna Choli

A thesis submitted in partial fulfillment of the requirements for the degree of

Master of Art in

Spatial Performance & Design Thesis Advisor: David McAlmont Thesis Committee: Theo Lorenz Tanja Siems Barbara Campbell-Lange Greer Crawley Mauricio Pauly

Architectural Association School of Architecture London 2016

ACKNOWLEDGEMETS This thesis is the last piece of work on my one-year journey at Architectural Association in London. Therefore, I would like to thank to very few important figures, without whom this venture would never happened; prof. Tadeusz Kosela, prof Marek Kordyaczny and prof. Beata GibaĹ&#x201A;a- Kapecka, who unfolded my sensitivity on light, form and space introducing a vocabulary of art and architecture. Next, I would like to acknowledge all the AA staff I met during my study. Special thanks to AAIS tutors that I had chance to work with, in particular Theo Lorenz and Tanja Siems for giving me that exceptional opportunity for experiencing this journey. I shall be forever grateful to Abraham Soria and Mauricio Pauly for expanding my audio-visual interests. Special thanks to Sepehr Malek for enabling me to became the AAAV team member. I would also like to thank my thesis advisor, David McAlmont and all thesis committee for constructive feedback. I also need to thank to my all family, friends and colleagues around the world who have supported me in those academic struggles, with a special mention to Karolina PotÄ&#x2122;bska and Suh-in Park. Finally, I would like to thank to my Parents for allowing me to realize my own dreams and to discover my own path. Thank you for your infinite loads of encouragement, faith and support throughout all of those years.

ABSTRACT

Cultural events such as biennials make a key contribution to the international art debate and provide multiple benefits to the local community, regional tourism and the local economy. Correspondingly, this paper formulates the thesis that the organisation of a biennale is a cross-disciplinary challenge adapting compound forms of management and juxtaposing various fields of practice with communication and creativity as the most significant determinants.

The following paper investigates the subject of biennale along with the most substantial question; how to organise a successful biennale. Based on conducted theoretical research and practical findings, this work illuminates how to incorporate the acquired scope of knowledge into professional practice. The central motive of this paper is to employ the creative potential and gathered knowledge in order to formulate an innovative strategy and management framework for the future events. The expected outcome of the research findings are to catalyse a set of feasible guidelines to be put into practice with regards to the following edition of the 5th International Biennial of Interior Architecture INAW 2018 in Krakow. Interprofessional approach, included into thesis title, refers to the permeability of various domains and fields of practice in terms of investigating organisational aspects of cultural events, such as biennials. This paper combines and overlaps diversity of terms ranging from management, finance, psychology, production, marketing, to the creative industry and more, while examining how creative collaboration on a management level can be organised and improved when various scientific and artistic domains influence each other. The literature review draws on pertinent texts ranging from biennialsâ&#x20AC;&#x2122; publications, Event Management studies, economy journals, existing strategies and theories on communication to creative collaboration and production literature. Simultaneously, it points out the gap in the existing literature and the need for further examination. Developed Methodology aims to direct and narrow that research process. A case study has been employed to analyse two examples of biennials of radically different scales, La Biennale in Venice and INAW Biennale in Krakow. The data in the study has been collected from both primary and secondary sources, including observations, online resources, the press and visual media. The data collection, embodying an interprofessional approach, includes personal communication, electronic correspondence, remarks from conferences, and a set of references to the websites, video and image materials, covering the subject from various perspectives. The research not only analyses two particular events in Venice and Krakow, but also considers other projects and practices of interdisciplinary character which are vital supporters of the research findings. The list of critical aspects has been formulated based on the Literature Review Chapter. It aims to cover the missing and practical issues referencing to the organisation of events. According to the devised methodology and research findings, this study advances an understanding of the processes, tools and conditions necessary to launch a large-scaled successful public event. Research findings allow the combining of knowledge on event management gained from the literature review, case study and research process, with my own experience and observations drawn from the professional practice and subject of interest.

LIST OF CONTENT ACKNOWLEDGEMENTS

ABSTRACT 06 1. INTRODUCTION

1.1. THESIS

1.2. SUBJECT SELECTION 13 1.3. PART I 14 1.4. PART II 14 1.5. EXPECTED OUTCOMES 15 1.6. PERSONAL SIGNIFICANCE 15 2. LITERATURE REVIEW 18 2.1. INTRODUCTION TO THE LITERATURE REVIEW CHAPTER

2.2. HOW TO ORGANISE A SUCCESFUL BIENNALE?

2.2.1. Success

2.2.2. Biennale 20 2.2.3. Limitations 2.2.4. Event Management

2.2.5. Section Conclusions

2.3. HOW TO ORGANISE AN EVENT?

2.3.1. Section Introduction

2.3.2.1. Management

2.3.2.2. Finance and Law

2.3.2.3. Marketing and Media

2.3.2.4. Preparation and Operation

2.3.3. Section Conclusions

2.3.2. Purpose, People and Place

9 2.4. HOW TO DESIGN A BIENNALE? 28 2.4.1. Section Introduction

1.4.1.1. Exhibition Design and Curatorship

1.4.1.2. Creativity

1.4.1.3. Collective Intelligence

1.4.1.4. Communication

2.4.2. Section Conclusions

2.5. CONCLUSIONS OF THE LITERATURE REVIEW CHAPTER

2.5.1. Summation of the chapter

2.5.2. Further direction of the research

3. METHODOLOGY

3.1. INTRODUCTION TO THE METHODOLOGY CHAPTER

3.1.1. Organisation of the chapter

3.1.2. Personal experience

3.1.3. Four perspectives

3.1.4. Interprofessional approach

3.2. APPLIED METHODOLOGY 41 3.2.1. Chosen methods

3.2.2. Sources

3.2.3. Research Process and Analysis

3.3. PRACTICAL IMPLICATIONS 42 1.1.1. Research Findings

1.1.2. Limitations

4. RESEARCH PROCESS AND ANALYSIS 44 4.1. INTRODUCTION TO THE RESEARCH PROCESS AND ANALYSIS CHAPTER

4.2. RESEARCH PROCESS 45 4.2.1. Introduction to the case study

4.2.2. Case study - La Biennale in Venice and INAW Biennial in Krakow 50 4.2.2.1. Purpose 4.2.2.2. People

4.2.2.3. Place

4.3. RESEARCH ANALYSIS – CONCLUSIONS

5. RESEARCH FINDINGS CHAPTER 63 5.1. ORGANISATION OF THE CHAPTER 65 5.2. PERSONAL CONTRIBUTION 65 5.3. FINDINGS COLLECTION – SET OF GUIDELINES

5.3.1. KEY 1: CREATIVITY

5.3.2. KEY 2: COMMUNICATION

5.3.3. F1: CURATOR

5.3.4. F2: PURPOSE

5.3.5. F3: PEOPLE

5.3.6. F4: PLACE 5.3.7. F5: AUDIENCE

5.3.8. F6: TRACE 5.3.9. F7: SCALE

69 73

5.4. CHAPTER CONCLUSIONS 74 6. CONCLUSIONS 76 6.1. SUMMARY OF THE PAPER

6.2. CRUCIAL FINDINGS 77 6.3. FURTHER IMPLICATIONS 78

BIBLIOGRAPHY

ANNEX A 92 ANNEX B 93

INTRODUCTION

Chapter

1.1. THESIS This paper considers the subject of a biennale along with its most significant, organisational and logistical aspects. Particularly, it investigates the biennale as a widely occurring phenomena in cultural, sociological and logistical contexts. The following argument aims to prove the statement that; the organisation of a biennale is a cross-disciplinary challenge adapting compound forms of management and juxtaposing various fields of practice with communication and creativity, as the most significant determinants. The conclusion to the above has been formulated based on my previous experience combined with years of studying preliminary literature research. 1.2. SUBJCECT SELECTION Throughout the past couple of years, the last three editions of the International Biennial of Interior Design INAW in Krakow and International Architecture Biennale in Venice have been occurring parallel to my academic education. This has enabled me to follow those events and to clarify my personal notions and observations, which eventually have evolved into the subject of my interest and the core motive of this thesis. Today, I can refer to both Biennials through multiple perspectives, such as organiser and volunteer, participant and guest, architect and artist, finally regular visitor and inquisitive observer. As a result, I would like to contribute to the Krakowâ&#x20AC;&#x2122;s Biennale by illuminating some aspects to be improved and drawing up the hypothetical direction of its development. Consequently, driven by my background in the arts and architecture based on the theoretical studies, as well as gathered experience in organising various events and performances, the following paper has a dual nature.

MA THESIS I Interprofessional Approach to Organising / Designing a Successful Biennale

1.3. PART I The first part of this thesis is dedicated to the theoretical considerations. Motivated by the first research question; how to organise/design a successful biennale, the 2.Literature Review aims to prove the validity of the stated thesis. As a result, the research question evolves a number of times along this chapter dividing it into 3 sections. The first question, introduces the vital definitions included into the thesis title and evaluates the existing publications associated with the subject revealing the existing literature gap. The second question, titled; how to organise an event, investigates the most valid organisational aspects based on event management studies. Finally addressing the question; what is the essence of organising a biennale, it directs the research into the field of curatorship and exhibition design. The third section, how to design a biennale, presents my personal juxtaposition of publications of related concepts and trends, while looking for the new key debates and confirmation of the formulated thesis.

1. Chapter I INTRODUCTION

1.4. PART II

Directed by the second research question, how to incorporate the acquired scope of knowledge into professional practice, the latter part of this thesis considers the practical implications. The main goal is to identify the existing problems and potential solutions in a case of Krakowâ&#x20AC;&#x2122;s Biennial. That reveals a need for conducting cross-disciplinary research. The 3.Methodology chapter defines its conditions and methods. Furthermore, it develops a pattern, based on the Literature Review chapter, and includes three defining parameters such as purpose, people and place. The 4.Research Process and Analysis by employing two case studies, investigates the model example, La Biennale in Venice, while looking for the potential problems and solutions for the INAW Biennale in Krakow. The data is gathered in the course of examining secondary, as well as primary sources. The collection is supported by a juxtaposition of selected visual documentation (photographs) and contains references to other festivals and events, mostly around Europe. According to the chosen methodology,

the 5.Research Findings, allow us to combine general knowledge from the various fields and sources such as literature, professional experience and practice, as well as my personal observations and conclusions in the course of formulating a list of recommendations for the INAW Biennale in Krakow. 1.5. EXPECTED OUTCOMES This study advances our understanding of processes, tools and conditions that are inevitable when launching a successful event. It allows us to juxtapose the theoretical knowledge with the professional practise, experience and personal notions of some individuals. The expected outcome of this paper strives to extend the theoretical understanding of the field and to imply a practical contribution into existing events leading to its expansion and development. The project aims to formulate a ready-to-imply set of guidelines based on the literature, research process and findings drawn from the diverse sources. Thus, what distinguishes this paper is an interprofessional character combining various media and approaches due to the profound examination of the subject, in theory as well as in practice. 1.6. PERSONAL SIGNIFICANCE This study is significant for three main reasons. Firstly, it has significantly enriched and widened my knowledge of fundamentals and trends ranging from management, finance, marketing, production, psychology, to creative industries and curating. Secondly, filling the gap in reference to the first research question, it provides a practical set of guidelines applicable to the following edition of INAW Biennale in Krakow. Finally, concluding and summarising my lifeâ&#x20AC;&#x2122;s experience and assembled observations, this project has created an exceptional opportunity to express my personal voice in the architectural debate, to expose my way of thinking and to include my designing skills and organisational intuition.

MA THESIS I Interprofessional Approach to Organising / Designing a Successful Biennale

I Part

LITERATURE REVIEW

Chapter

2.1. INTRODUCTION TO THE LITERATURE REVIEW CHAPTER The purpose of this chapter is to review the literature of the subject relating to the first research question; how to organise a successful biennale. The following chapter presents contemporary theories and concepts, which form the background for chapters 3, 4 and 5. This chapter consists of three main sections. Section 2.2 confirms that the organisation of a biennale is a compound process employing many disciplines and fields of study. It also determines a definition of the word success and biennale. Moreover, the section indicates key limitations for this study. While looking for particular denominators for success, the investigation introduces the field of the events management. Consequently, section 2.3 enumerates and discusses briefly the general components of the event based on the leading literature in the field. However, the scope of disciplines that this subject concerns is not able to be encompassed in this paper. This has triggered a re-definition of the research question. Finally, section 2.4. addresses the question; how to design a successful biennale, by juxtaposing some relevant concepts with contemporary approaches and trends. The last part of this chapter aims to confirm a stated thesis aim and illuminate a direction for further research. 2.2. HOW TO ORGANISE A SUCCESFUL BIENNALE? 2.2.1. Success ‘What is meant by success is ambiguous, and in most of this literature left undefined… Agreement with regard to relevancy and use of the various criteria, is, however, almost non-existent.’1 1 Grönhaug and Falkenberg, 1990, p.267.

MA THESIS I Interprofessional Approach to Organising / Designing a Successful Biennale

There have been few attempts in literature to articulate the principles of a success in theory and practice through various disciplines. The most widespread definition of a success comes from the business sector, and describes it as accomplishment of some explicit or implicit goals, usually evaluated through established criteria. In the business context, the most common indicators of a success are customer and employee satisfaction, quality management, product time delivery and financial performance. The evaluation of business performance usually is conducted through various surveys and analytical reports. However, despite of provided rating scales and specific numbers, the matter of success is subjective. The term remains immeasurable and contextual, since it does not represent any quantities or values and depends on an individual’s interpretation2.

There is an interesting resemblance between the word success and event, as might be seen in an etymological sense. The word success derives from Latin successus, Italian succedere and means come close after. While the word event originates in Latin eventus and denotes outcome, result, success. Further research indicates the roots in word evenire meaning come out, it happens, it turns out. This finding provides a conclusion that event is an occurrence, something that happens. Thus, there is no generally accepted definition of event,3 Getz (1997) defines it as temporary occurrences, either planned or unplanned.4 Although the definitions of success and event have similar roots, neither evaluation nor measurement of the event success is a purpose of this thesis. In the case of this study, the desired outcome is to establish the most decisive set of factors constituting the success, so the occurrence, of the event.

2. Chapter I LITERATURE REVIEW

2.2.2. Biennale

In reference to the research question, there is a need to establish the meaning of the term biennale. Historically, biennale (eng. biennial) has been used to describe an international exhibition / review occurring every two years, today commonly organised along with an international conference and series of collateral events. The Venice Biennale, also called La Biennale di Venezia, founded in 1895 is the oldest and one of the most prestigious, from which others elsewhere in the world are modelled5. The Biennale Foundation, which stands as the organisational body, is responsible for organising exhibitions and research in all related sectors such as contemporary art, architecture, cinema, dance, music, theatre. Each edition generates volumes of exhibition catalogues, post-conference publications, even the biographies of the curators. The Venice Biennale is a subject of great international and the press convergence. While the vast majority of articles, interviews, comments and reviews emphasise the importance of the curatorial work and disseminate the criticism on contemporary art state6, very few positions address the issue of organisation or event’s preparation.

2 Grönhaug and Falkenberg, 1990. 3 The first definition originates from Robert Jani in 1955. Jani defines it as ‘a special event is that which is different from a normal day of living‘. Jani, 1955; in Goldblatt, 2005, p.6.

4 Getz, 1997, p.4. 5 Basualdo, 2004. 6 Harper, 2016; Korody, 2016, Lusiardi, 2016; Novozhilova, 2014; Hill, 2014; Kimmelman, 2012.

2.2.3. Limitations The scrutiny of publications on biennale referring to the first research question points out clearly the literature gap. There is a relatively small body of literature concerning both, biennale and its organisational framework.8 As a result, the further investigation has been directed into the events management field of study. This caused a re-definition and consequently a generalisation of the research question. Based on the specialist literature and research9, to date, despite the many distinctions in event types (Fig. 1.0.), biennale has not been formally classified in a general terminology. Although, it is widely accepted and considered as an example of a cultural event, this classification is far from precise since ‘culture’ is wide ranging. Within the plethora of multiple definitions, it is impossible to reveal them all. However, as Yeoman et al. (2011) claim, ‘(culture) it ranges from high culture, such as the arts, to popular culture, which embrace diverse subjects such as football, music and television.’10 Specifying, in this thesis terms (cultural) event, venue and exhibition are used interchangeably and refer to biennale (called also biennial). Moreover, this paper analyses biennale also as a project, along with its specific features that need to be planned, managed and evaluated in order to deliver a successful event. As projects, events generally have fixed budgets, precise timelines and limited resources, including employees, suppliers, venues and volunteers, which broadly comprehends a discipline of the events management.

[Fig. 1.1.] Typology of events.

7 Koolhas, ed., 2014. 8 The art critic and biennials researcher, Carlos Basualdo (2004), mentions 20 titles concerning biennials, while only few of them expose some organisational aspects. 9 Mostly published by the International Journal of Event Management (formerly Festival Management and Event Tourism), retrieved form Getz, 2010. 10 Yeoman, 2004; cited in Raj, et al.,2009, p.32.

21 MA THESIS I Interprofessional Approach to Organising / Designing a Successful Biennale

Thus, for the average receivers of the Biennale the whole mise-en-scène remains underrated and totally unnoticed. To support this statement, there is a literature-based evidence in the form of after-Biennial catalogue. Fundamentals: 14th International Architecture Exhibition7 publication while listing the curators, contributors and sponsors, does not mention the personnel directly involved in the administrational, organisational and logistical side of the event. As far as attainment of that information goes it is possible, what makes it more difficult to reach is a monolingual version of the official Biennale’s website.

2.2.4. Event Management Event Management, as an interdisciplinary practice, derives from Tourism and Culture Management and Studies (Getz, 2008). This new domain, among others, incorporates elements and methods from the fields such as Management, Finance, Economy, Law, Marketing and Media Studies. It also involves domains such as Sociology, Political Science, Ecology, Anthropology, Production and more. It deeply analyses the structure and conditions of conducting the events of various scales. The vast range of disciplines makes the event management an enormously complex phenomenon. (Fig.2.1., Fig.2.2.).

[Fig.2.1.] A framework for understanding and creating knowledge about planned events.

2. Chapter I LITERATURE REVIEW

[Fig.2.2.] A unified model of special events management.

That fact justifies a variety of approaches to investigating the events along the fieldâ&#x20AC;&#x2122;s literature. Authors of the most leading titles analyse the organisation of the events in categories of compound projects (Raj et al., 2009), processes (Matthews, 2013; Goldblatt, 2011), experience (Berridge, 2007; Ziakas and Boukas, 2014), tourism (Getz, 2005, 2008), and business (Beech et al, 2014). Undeniably, events affect and influence highly touristic, transport, economy, politics, commercial, industrial and service sectors.11 However, despite a significant heterogeneity in terms of naming all the authors emphasize values and benefits coming from the organising cultural events.12 Foremost, the cultural events involve local and international community through enhancing mutual interactions, providing possibility to manifest own identity and cultural heritage and boosting opportunities for local businesses.13

11 Yeoman et al., 2011; Berridge, 2007; Raj et al., 2009; Getz, 2005, 2012; Goldblatt, 2011.

12 Yeoman et al., 2011; Raj et al., 2009. 13 Raj et al., 2009.

2.2.5. Section Conclusions

This section has defined the foremost important terms constituting the first research question, which are success and biennale. Moreover, it has illuminated the main aim of this chapter, which is an indication of the key determining factors on planning and delivering a successful event.

Although, the mutual dependencies and correlations between those, and many other related domains are unavoidable in terms of organising and delivering successful public events, each one works as a separate field of investigation. Consequently, the further examination of those fields not only stands as a minor objective for this argument, but also would not be able to be embraced fully in the volume of this paper. Still, the organisational constituents of biennale, as a successful event, have not been investigated. 2.3 HOW TO ORGANISE AN EVENT? 2.3.1. Section Introduction Putting aside the matter of a success, the following sub-sections provide a general overview into the structures of the event based on the leading literature of the field. Addressing the question of how to organise an event, the purpose of this section is to illuminate the foremost decisive factors. Drawing on the available publications, guidebooks and event planners, a vast majority of those titles have proved the similarity in the approach to presenting the organisational frameworks of the events, meant by organisation the contents, classifications, and despite marginal differences, a widely accepted terminology.14 Though, Yeoman et al. (2011) notice that there is no one standardised protocol, which could be applicable to all types of events since each one of them is different according to purpose, complexity, scale and number of people involved, they also pay attention to the need for detailed preparations. He claims that, “The characteristics of festivals and events are unique and as such, no one standard model of management fits all.” 15 Adding; “(…) therefore the need to plan these inputs is extremely important, if the event is to be successful”16. However, the following sub-sections review a model division of event organisation, adopted from Raj et al. (2009). Summarising the gathered and the various sources from the most essential aspects for events organising and planning, it comprises all of them into 4 categories, such as Management, Finance and Law, Marketing and Media, Preparation and Operation.

14 Williams, 2006; IRFU Advisory Handbook, 2008; Allen, 2005, 2009; Event Management, 2009; Beloviene et al, n.d.; Investing in creative industries, 2009. 15 Yeoman et al., 2011. p. XX. 16 Raj et al., 2009. p.100.

23 MA THESIS I Interprofessional Approach to Organising / Designing a Successful Biennale

Lack of relevant literature relating directly to biennale and its organisational aspects engendered a simplification of the research question, which directed a further investigation into the event management field. Moreover, the section above, has discussed biennale as a cultural event along with its associations to local and international audience, tourism, politics and the economic sector.

2.3.2. Purpose, People and Place According to Raj, Rashid and Walters (2009), the term event management can be defined as â&#x20AC;&#x2DC;the capability and control of the process of purpose, people and placeâ&#x20AC;&#x2122;.17 The above parameters are inherent constituents and inseparable factors of any event to be planned, designed, managed, controlled and executed. The purpose of the event is a foremost pivotal factor. It is organisersâ&#x20AC;&#x2122; responsibility to define the basic objectives, design a framework and assume a main goal. On this level, it is crucial to allocate and recruit appropriately skilled and qualified people to accomplish relevant delegated tasks. Team members, human resources, are responsible for virtual execution and delivery of the event. The place needs to be chosen adequately in accordance with the estimated number of visitors, event purpose, time, location, and transportation, as well as to technical and logistical site. (Fig. 2.0.)

2. Chapter I LITERATURE REVIEW

[Fig. 3.1.] Event objective components.

The success of cultural events including biennials depends on the awareness of the following dependencies between touristic, transport, economy, politics, commercial and service sectors. Foremost, the cultural events involve local and international community through enhancing mutual interactions, providing the possibility to manifest own identity and cultural heritage and boosting opportunities for local businesses.18 Despite a significant heterogeneity in terms of naming all the authors emphasising values and benefits coming from the organising cultural events.19 Consequently, it is worth stressing what distinguishes biennale on the background of other events. 17 Raj et al., 2009, p. 34. 18 Raj et al., 2009. 19 Yeoman et al., 2011; Berridge, 2007; Raj et al., 2009; Getz, 2005, 2012; Goldblatt, 2011.

2.3.2.1. Management

[Fig. 4.1.] ’Project Life Cycle’ . Fundamental framework of project management.

Many authors stress the importance of the figure of the curator in case of cultural events, since this person affects the quality of the exhibitions through a selection of invited artists and contributors, general theme and artistic values. Basualdo compares the role of the curator to the “event’s conceptual organiser.” Members of the team may operate on full-time, part-time, contractor, casual and voluntary basis. Human Resources Manager conducts a job analysis, delegation of tasks, job description, recruitment of sufficient number of people of adequate skills according to the event. As Raj et al. (2009) state, 20 Project Life Cycle, adopted from: Raj et al., 2009. Fundamental framework of project management. p.142, is characterised by 4 phases: 1) Concept and Initiation, that is establishing a management board, evaluating the need or opportunity of the product, facility or service, recognising a market gap, assessing the feasibility of the project, drawing a basic assumptions and guidelines of the project 2) Design and Development, planning the process, designing the experience and audience’s perception; managing time schedule and budget; interfering and adopting plans according to variable factors, problems, delays; assessing probable obstacles and alternative scenarios. 3) Implementation and Construction: monitoring and controlling projects execution; comparing the event’s objectives with reality; on site problem resolving. 4) Commissioning and Handover: evaluating the general performance; drawing conclusions and learning; gathering feedback; assessing the after effect; planning improvements; paying the bills, closing the venue; evaluating particular aspects: planning, controlling, managing, ideas developing, designing, implementing, executing and delivering.

25 MA THESIS I Interprofessional Approach to Organising / Designing a Successful Biennale

Many publications suggest formulating a framework of the management as a first step on the way to organising the event. Yeoman et al. (2011) indicate the importance of establishing a Management Board, also called Organisational Body. Event Director, also called Organiser, President, Project Manager, heads the team and is responsible for final decision making, supervising all processes and event delivery in terms of purpose, people and place. Managers, also called Co-ordinators, Co-organisers, who are next in the hierarchy, supervise the realisation of different divisions such as Human Resources, Finance, Marketing and Advertising, Production, Logistics etc. The management work involves various activities such as planning, designing, organising and conducting, more precisely described through phases of the Project Life Cycle20 requires recruitment of a large team of people.

“It includes defining the abilities, skills, and qualifications needed to perform it successfully”.21 Following Yeoman13, since each event is unique, it requires that events managers recruit varied personnel. The vast majority of the organisations can be characterised as the top-bottom structure. Despite of established hierarchy, many authors stress the importance of flexible functionality which allows to adapt to different situations and problem solution needs. As Raj et al. (2009) point out, (...) Functional flexibility allows employees who are multiskilled to perform various jobs and roles.22 Further understanding of process and tools applicable in event’s managing provide a scope of literature, research and studies. Since the Event Management, Project Management, and Human Resources Management are their own academic domains, more detailed examinations cannot be covered in this chapter.

2.3.2.2. Finance and Law

There is a large volume of published studies describing forms of events’ funding and legal issues. Thus this paragraph highlights only the most crucial. It has been well established that the organisation of events requires a business plan.23 The initial budget comes from public and private funding in various forms such as commission, foundation, investment, sponsorship, patronage, donations, grants etc. While planning, it is important to adjust to local authorities’ policies, schedule and funding.24 They not only endow the financial support, but also provide legal service for the event. Overlapping events might bring positive or negative impacts on audience attendance and granting financial support. An event can be profit or non-profit oriented. As Yeoman states; “Festivals and events have different levels of operating costs and they fall into both the not-for-profit and profit-making categories. The role of sponsorship is often an important one in defining their objectives.” 25

2. Chapter I LITERATURE REVIEW

Accountancy and financial aspects, especially in the case of large-scaled events, require the employment of highly skilled professional(s) with adequate experience on accountancy, fundraising, legal regulations, business strategies and economic market research in figures of Financial Manager, Advisors, and Accountants.26 Careful planning and budgeting, as a part of organisation, contribute vastly to successful event delivery.

2.3.1.3. Marketing and Media

Scientific literature since the mid-1990s has emphasised the role of the Marketing and Media in almost every domain of our life. A successful event needs to meet customers’ demands and fulfil a market’s niche.27 Marketing involves various processes ranging from conception, market research 21 Raj et al., 2009, p.65. 22 ibidem, p.65. 23 Yeoman et al., 2011; Raj et al., 2009; Beech et al., 2014. 24 Yeoman et al., 2011.

25 Yeoman et al., 2011, p. xx. 26 Raj et al., 2009. 27 Yeoman et al., 2011; Raj et al., 2009.

2.3.1.4. Preparation and Operation

Whereas Management, Marketing and Media receive enough scientific scrutiny, Preparation and Operation remains marginal and underestimated. The Event Producer and Logistic Manager are responsible for the realisation and execution of the final phases of the Project Life Cycle.29 The Producer is responsible for organising and managing all resources and execution as initially designed/planned. It concerns the matters such as planning, designing and involving adequately skilled people, communicating with administration of the place and local authorities, assuring insurance, Health & Safety policy, permissions and licensing, providing transport and accommodation, and other essential commodities and conditions on the way to preparing and organising a successful event. The Logistics Manager supervises developing a logistics system, controls and maintains all processes of project delivery. Mutual interdependencies facilitate constant consultations and coordination with Project, Financial, Marketing Manager and Producer. His range of responsibilities cover site planning, preparation of the venue space, design implementation and instalment, allocation of technical facilities such as generators, electricity, sound and light systems, other equipment, transportation of heavy elements, equipment and products to the venue and return, arrangement of storage space, operation of services such as gastronomy, commodities sell, toilet facilities, assuming the alternative scenarios in case of emergencies, changeable weather conditions, and other technical difficulties, delegation of tasks and technical staff management, general control and supervision over all remaining processes and actions throughout the whole duration of the event. At this point it is also worth considering what distinguishes biennale on the background of other events.

2.3.3. Section Conclusions

While looking for an answer on the question how to organise an event, this section undeniably testifies that organisation of the events is a compound process depending on many factors and relying on the expertise from many fields. In the same way, the section confirms the first part of the stated thesis that â&#x20AC;&#x2DC;the organisation of a biennale is a cross-disciplinary challenge adapting compound forms of management and juxtaposing various fields of practice (â&#x20AC;Ś)â&#x20AC;&#x2122;. According to the adapted system of the investigation, it can be assumed that the general success of the event depends on the 4 categories of organizational aspects and the quality of theirs performance. This section also has emphasised the purpose, people and place as decisive parameters while designing 28 Berridge, 2007; Getz, 2004. 29 Mair, Whitford, 2013.

27 MA THESIS I Interprofessional Approach to Organising / Designing a Successful Biennale

to implementation and evaluation. Advertising is a basic tool in communicating and gathering the audience. The variety of target groups requires applying miscellaneous forms of media and formats which involves proportional financial contribution determining the scale of the event. The Marketing Manager is responsible for press release, public relation, production of advertising materials such as flyers, posters, videos, branding and visual identification, bilingual policy or after-event publications. Media coverage influences the level of brand recognition and the prestige of the event. The latest trends such as VLOGs or social media profiles are currently perceived as a standard.28

the event’s objectives. However, based on the above theoretical investigation, it cannot be claimed which aspect is the most imperative, since all of them present the equal level of significance. While Management seems to be superior over others and determining the overall success of the event, none of the researchers states it clearly. Under those circumstances, it is essential to reconsider what distinguishes biennale on the background of others events and state the new research question. 2.4. HOW TO DESIGN A BIENNALE? 2.4.1. Section Introduction The purpose of this section is to present the unconventional when compared with the common event management literature, and juxtaposition of a wide-range of publications, concepts and terms while looking for key determinants of a organising successful biennale. The new research question, included in the section’s title, originates from my architectural background, while interprofessional selection of literature allowed me to combine my previous theoretical studies and research, which corresponds with the matter of concern. What is imperative for biennials is an international exhibition distinguishes it on the background of others. This raises the subject of curating and exhibition designing. Moreover, this section considers the event management, ipso facto a biennale organisation, as an example of collective intelligence phenomena. In the course of an in-depth investigation, communication and creativity have been extracted as the most decisive factors determining a successful biennale. This section significantly supports the thesis and testifies to its truthfulness.

2.4.1.1. Exhibition Design and Curatorship

2. Chapter I LITERATURE REVIEW

The core point of a biennale is it is a biannual international art exhibition, associated by the series of collateral events such as conferences, panel talks, installations and others. The ideological goals of biennials can vary, they all oscillate around international art debate, manifesting the cultural identity and heritage of local and international participants, which is emphasised, inter alia, Carlos Basualdo.30 Although, there is no single right answer about the significance of biennials,31 much research indicates the intrinsic influence of the ongoing process of globalisation.32 Among others, Althuler et al. (2013) state that; “(…) Grounded in global economic and geopolitical change, biennials become an increasingly important part of the international system of the artistic production and distribution. And out of this situation came new exhibition forms that expanded the notion of what an exhibition can be.”33 Undeniably, biennials, mostly as examples of collective exhibitions, present various forms of exhibitions with regards to the variety of expositional systems, ways of communicating the message and content, space adaptation and more, leaving a room for architects and exhibition designers. While the traditional exposition system remains vital for biennials, Enwezor (2002) notices that, ‘(…) In

30 Basualdo, 2004, in: Misiano and Zabel, 2004. p. 144; Enwezor, 2002, p.107;

31 Misiano and Zabel, 2004, p.93. 32 Altshuler et al., 2013; Enwezor, 2002, p.105; Misiano and Zabel, 2004, p.92; Basualdo, 2004, in: Misiano and Zabel, 2004. 33 Altshuler et al., 2013, p.24.

other words, mega-exhibitions require mega-objects.’34 With that statement argues Berridge (2007) emphasising the value of more sensual aspects of design, which are environment, ambience and a meaning of created experience.35

“Architects and designers are the most global of all creative people, (…).They are also amongst the most collaborative workers, cooperating not only amongst themselves but with a diverse bunch of people who otherwise might have little in common: clients, local planning and zoning authorities, structural engineers and interior designers.”36 Although the curatorship itself is a large domain, while looking for intersection points with the exhibition designer profession, also the curator is characterised by a great sense of creativity in terms of juxtaposing various concepts, looking for key problems and defining a meaning, purpose and direction of curatorial research. This has resulted in formalising the first key aspect while organising / designing a successful biennale.

2.4.1.2. Creativity

“Creativity is everywhere and nowhere – paradoxically when is accessible to all, it is nevertheless marked as a rare commodity.”37 Chris Bilton, 2007 It might seem that there is no direct, relationship between the organisation and creativity. However, Chris Bilton argues that, creativity is a resource that is increasingly important, and yet sometimes does not receive its recognition.38 Ubiquity of the term caused many researchers to conceive creativity as a wide phenomenon, applicable in any domain of life ranging from art, ecology, industry to the economy. In many cases the word ‘creative’ works as a prefix, where some domains incorporating it into their titles.39 In the economic filed, creativity became the key to unlocking competitive advantage of crowded market.40 Referring to the business, it not only helps to define a market gap, but also provides innovative ideas and an approach to determining the persistence of the enterprise in to34 Enwezor, 2002, p.104. 35 Berridge, 2007, p. 180.

36 Howkins, 2001, p.181. 37 Bilton, 2007, p. xi. 38 Bilton, 2007, p. 3. 39 As a result, we can distinguish: creative industries, creative economy, creative thinking, creative accountancy etc. 40 Bilton, 2007, p. xiii.

29 MA THESIS I Interprofessional Approach to Organising / Designing a Successful Biennale

Nevertheless, that drives this discussion into the curatorial field. Many authors stress the importance of the figure of the curator in case of cultural events, since this person affects the quality of the exhibitions through a selection of invited artists and contributors, general theme and message. Basualdo (2004) compares the role of the curator to the event’s conceptual organiser. While Howkins (2001) states even more, saying that architects and designers should design events. Moreover, he adds;

day’s changeable market.41 In the industrial sector, creativity is alike an engine for any technological advancement which drives the innovative solutions. In the management field, it refers to flexible and extraordinary forms of organisation adaptable to existing situations and shifting conditions.42 In Marketing, Advertising, and Media, creativity plays a key role in terms of outrunning the competition, developing the innovative forms of communication (visual language and content) and multiples forms of gaining the consumers’ attention.43 44 Naturally, creative skills are an innate part of the art-oriented professions such as artists, designers, writers, musicians, directors and so on. As a matter of fact, nowadays we can observe the emergence of a new discipline called the creative industry. Hartley (2007) evokes the following definition;

2. Chapter I LITERATURE REVIEW

“The idea of the CREATIVE INDUSTRIES seeks to describe the conceptual and primal convergence of the CREATIVE ARTS (individual talent) with CULTURAL INDUSTRIES (mass scale) in the context of NEW MEDIA TECHNOLOGIES (ICTs) within a NEW KNOWLEDGE ECONOMY, for the use of newly INTERACTIVE CITIZEN-CONSUMERS.”45

In the context of that definition, biennale could be considered exclusively as a product of the creative industry. In reference to biennale researchers and experts stress the importance of the creative approach in the design process of the event. Firstly, in reference to biennale, creativity concerns greatly the first phase of designing the event. The creative ideas and innovative approach of the event’s programme46; the variety of collateral events and list of collaborators, increase the attractiveness of the event, respectively its attendance. Visual identification and communication design, which also demand that creativity add to the authenticity of the event, creating its own identity on the market, as well as constituting a recognisable brand and the event’s prestige. In case of biennale, creativity refers also to the quality of the curatorship. However, in the most exposed way, creativity is visible in exhibition design, which has a power to convey the values and message established by the curator. Experts on the exhibitions field, urge employing innovative technologies and trends in the process of designing exhibition, in order to find a common language with the receivers. Additionally, innovative forms of the design increase the attractiveness of the events, influence on the visitors’ experience. Quality of the preparations despite of the budget, mostly depend on the architect’s imagination, ambitions and creativity, it can guarantee a high attendance, media coverage, and good material to promote the event in the future. Recalled here the literature proves that creativity is an interdisciplinary notion concerned as well with the management or economy as creative industries. 41 Beech et al., 2014, Yeoman et al., 2011. 42 Howkins, 2001; Bilton, 2007; Lerdahl, 2008. 43 Getz, 2012; Berridge, 2007; Masterman and Wood, 2005; Puttnam,D. in foreword to Bilton, 2007, pp. IX-X 44 As a good example of the creative approach to advertising and project found raising is Collapse. New piece by NMC is characterised by ecological promotional policy (no prints) and use of downloading platform, WeTransfer, as a bridge for sharing digital materials and supporting the project with donations. Renaud Wiser, dancer and choreographer at NMC, stated that creativity is an inherent constituent of profession and industry, especially in terms of designing a content and com-

ing up with the new ideas. (Retrieved from: Dzierzon, 2016; Wiser, 2016.) 45 Hartley, 2007, p. 5; emphases and parentheticals in original. 46 Finkel, 2006.

Undeniably, its further implications in the case of exhibition design, curatorial work and organising / designing a successful biennale conform to the validity of the stated thesis. 2.4.1.3. Biennale as an example of Collective Intelligence

Correspondingly, while section 2.3. through the investigation of 4 categorises of the event organisational model have not revealed a key factor determining a successful biennale, these paragraphs present a corresponding concept of considering the organisational / designing processes. This raises the introductory question, why biennale should be considered as an example of a Collective Intelligence. “Groups of individuals doing things collectively that seem intelligent “47 commonly are described as collective intelligence phenomena. Although, multiple definitions and theories of collective intelligence emerged, specialists instead of trying to define intelligence in a matter of its measurement, rather focus on the value of collaboration and cooperation which leads to achieving increased, variant goals, sometimes impossible individually. Pierre Levy (1997), the French philosopher and cultural theorist, defines it as a form of universally distributed intelligence, constantly enhanced, coordinated in real time, and resulting in the effective mobilization of the skills. Nevertheless, collaboration, cooperation and other forms of mutual symbiosis and dependencies play the key role in proper functioning of the group and realisation of assumed goals. Examining the forms of collective intelligence through several disciplines such as sociology, social psychology, economics, anthropology, communications, and political science, demonstrates a resemblance to the interdisciplinary character of the event management studies. The interdisciplinary field called ‘organisational behaviour’ examines the examples of collective intelligence among human structured forms of organisation. A group of researchers48 addressed the question: What are the necessary ingredients for collective intelligence to develop? By adopting the Star Model of Organisational Design49 they identified five categories of design choices that managers or other system designers can use to influence organisational work. Those are: Strategy, Structure, Processes, Rewards and People.

Strategy is decisive in terms of designing a collective intelligent system. It refers to the foremost basic notions: who, why, what and how, trying to embrace the variety of tasks concluded into a main goal, estimating the number of required people, and defining where the main objectives should be executed. It generates the creative ideas, describing overall objectives and goals, evaluating the scope of essential processes, and gathering a motivated group able to perform a series of tasks. The group’s effectiveness and coordination depends on the well-organised structure. The group’s structure, which means assignment of roles such as leadership among team members, should reflect the complexity and nature of the tasks. Among most central processes to group functioning, experts distinguish the following categories: Group’s Memory, Attention, Problem Solving and Decision Making, and Learning. According to Levy: ‘No one knows everything, everyone knows something,

47 Malone, Laubacher and Dellarocas, 2009. 48 Williams Woolley, A., Aggarwal, I., Malone, T.W., 2015. 49 Galbraith, 2002.

31 MA THESIS I Interprofessional Approach to Organising / Designing a Successful Biennale

all knowledge resides in humanity’50, collective memory and attention increase group’s credibility, effectiveness, and helps to eliminate errors. Problem solving and decision making ability to a great extent determines the effectiveness of the group and effects on successful accomplishment of the goals. Researchers noticed that the most common problem concerning decision making is a lack of relevant information and an inappropriate combination of them. In general, the term group learning, is defined as a set of changes in cognitions, routines or performance resulting in improvements of its outcomes. As a substantial term, which has not been mentioned in the previous sections, motivation, refers directly to the rewards aspect. Literature of the subject generally distinguishes two types of motivation: a most common extrinsic motivation, which is often a form of monetary incentive, and intrinsic motivation, which is derived from the internal satisfaction associated with work itself, and can refer to each level of the Maslow’s (1943) hierarchy of needs (Fig. 5.1.). Nevertheless, motivation is a leading factor which drives people to perform collaborative tasks and determines to a great extent a successful performance.

2. Chapter I LITERATURE REVIEW

[Fig.5.1.] Maslow’s hierarchy of needs. Adopted from Maslow 1943.

The selection of the right people remains vital not only in the case of Collective Intelligence, but also events management. The number of team members and diversity of theirs skills should respond with the scope of tasks and information flow. A number of research has confirmed that proper personal relations and positive, stress-free atmosphere positively influence the collaboration and increase group’s productivity and effectiveness.51 Within-group competition, the mutual mistrust provides an incomplete information flow and disconformity of initial preferences among team members. Moreover, Williams Woolley et al. (2015) stress, that any system needs all five of these elements if it is to exhibit collective intelligence. Nevertheless, when a group of people is bound to work collectively, all listed above elements are process Investigation of Collective Intelligence is a – communication. The emerged assumption is when the aim is to organise / design a successful biennale, communication is key in order to do that.

50 Pierre Levy, 1997, p.20.a 51 Patterson et al., 1997.

2.4.1.4. Communication

Since the previous section has pointed out the importance of communication in regulating all remaining processes and elements on the way of organisation and collaboration, this paragraph discusses it more widely. Theories on Communication have extensive roots in a wide range of fields to be applied. Miller (2005) says that: ‘Communication, then, is seen, as central to our everyday ideas about what makes life worth living.’52 Simultaneously, she adduces a long history of scholars’ and academics’ research on this field imbued with a variety of definitions respectively to the multitude of disciplines. The most basic example of communication system is a language. Formed on way of evolution, it is described as one of the most primal civilizational achievements, which classifies it automatically as an element of a culture. Language, undeniably testifies on identity, social status and sense of a group’s belonging.53 While some experts examine the language in terms of a process or system, Agha (2006) proves that language is more than a social action, an effective tool with which we formulate models of social life and conduct. He argues that language is more than a tool of shaping social relations, it is a phenomena that allows us to convey even the most abstract ideas. Referring to Miller, the wide ranges of disciplines where communication plays a great role includes also Management, Economy, Politics, Media, Marketing and Technology. The term of communication remains instrumental as a way of understanding the contemporary forms of collaboration, including collective intelligence, since it is a foremost basic process regulating all other elements. According to Levy (1997), the creation of collective intelligent systems is possible only through computerisation and digital communication technologies. Sophisticated systems of networking (or networked intelligence) are unequivocal with the emergence of digital tools without which, efficient and adroit coordination of the group would not be feasible. Nowadays, technological development and modern ways of communication offer a wide range of amendments dedicated to controlling, supervising and stimulating diverse processes highly accelerating the information flow.54 In other words, communication is an inevitable tool, which should be included permanently into general structure and inherently considered in terms of planning, organising and controlling various processes. 2.4.2. Section Conclusions This section examines the concepts of collective intelligence, communication and creativity based on a proposed juxtaposition of the literature in the context of delivering various projects, therein organising events. It also proves the relevance of those the three particular terms as the basic elements in the course of designing a successful biennale. Understanding an event as the creative project allows us to reveal its real essence. Each project, as well as biennale as any other event, requires an individually designed structure by the management defining all remaining processes. This part of the paper 52 Miller, 2005, p.2. 53 Agha, 2006. 54 While Lerdahl (2008), pp.13-58, lists many contemporary ways of communication and management tools such as shared documents, end-of-day reports, digital lists of tasks, interactive Gantt charts, video-conferences, applications and personalised designed systems, Malo and Blauth (2003) stress the importance of good personal communication among the team members, which affects proportionally on efficient human resources management and organisational success of the project. Outstanding personal skills help to understand individual needs and motivations, communicate existing problems solving them collectively, clearly articulate the ideas on the forum of the group and receive, process and understand a constructive feedback.

33 MA THESIS I Interprofessional Approach to Organising / Designing a Successful Biennale

testifies that events management bears the resemblance with collective intelligence. Presented and discussed set of factors formulating a collective intelligence correspond with widely accepted structure of the event organisation according to the most leading literature in the field. The conducted research catalyses a communication and creativity as the foremost important aspects in reference to a successful performance of collective intelligence.

2.5. CONCLUSIONS OF THE LITERATURE REVIEW CHAPTER 2.5.1. Summation of the chapter This chapter investigates the concept of biennale along its organisational aspects based on the chosen literature in reference to the stated thesis, navigated by the research questions. The first part of this chapter (section 2.2) reviewed existing literature on important concepts creating a solid background for this study. The extensive research of publications in relation to the first research question points out clearly the literature gap. This caused the simplification of the research question, how to organise an event, which introduces the second part of this chapter (section 2.3). Investigated literature on the events management defines organisation as a process along with three parameters determining its success, such as purpose, people and place. However, based on the most common organisational sections it is not stated clearly which aspect is the most important in organising a successful event. Finally, the third part of this chapter (section 2.4) referring to the more specific question, how to design Biennale, which narrows the field of the research. It introduces the concept of collective intelligence corresponding the structures and processes along organising various events. Analysing the importance of the communication and creativity as the most leading aspects determining the general success of a project. A further confirmation of the stated thesis aim is presented in the second part of this paper.

2. Chapter I LITERATURE REVIEW

2.5.2. Further direction of the research

The literature review gives an interesting insight into the subject of this paper generating a series of questions. Undeniably, presented studies represent a modest insight into the theoretical knowledge. Thus, it is important to revise those aspects in reference to organising a biennale in practice and investigating the main factors affecting on the eventâ&#x20AC;&#x2122;s success. Further investigation and conducting a research process advocates establishing a methodology directed by the second research question, how to incorporate the acquired knowledge into professional practice. The presented study undeniably has enriched my knowledge. The gathered materials and sources have allowed me to investigate a subject of my interests through the prism of many fields. Although, some of them are too broad to be embraced in further detail within the scope of this paper. Substantial deliberations on the culture, exhibition design and especially curatorship have had to be condensed, while dependencies between events, society, economy and finance have only been mentioned briefly while many sources and references have not been used. Though, the presented knowledge undeniably opens a discussion and initiates my further research into the related subjects in theory and practice.

II Part

METHODOLOGY

Chapter

3.1. INTRODUCTION TO THE METHODOLOGY CHAPTER

3.1.1. Organisation of the chapter

The main aim of this chapter is to provide a comprehensive account of the methods employed for conducting a profound investigation of a subject due to elaborating a set of findings of practical application, fulfilling the existing gap in the literature and proving the practical validity of the formulated thesis. The first part of this chapter illuminates the factors, which have influenced the shaping of this methodology. It concludes with my personal experience, four perspectives and interprofessional approach sections. Subsequently, the second part of this chapter clarifies the chosen methods, sources and the course of the research and analysis process. Finally, the last part points out the purpose of the research findings in reference to the second research question, how to incorporate the acquired scope of knowledge into professional practice, along with its major drawbacks and limitations.

3.1.2. Personal experience

One of the specifications of this paper is inclusion of my personal experience and notions. As mentioned before, the subject of this study is important for many reasons. My personal involvement, initial participation and final collaboration with INAW Biennale organisers, as well as previous organisational experience, aroused my profound interest in organising cultural events. Firstly, my personal experience, gained during BA and MA courses1, provided the solid background for the 1 BA in Interior Design (2011) at Jan Matejko Academy of Fine Arts in Krakow and MA in Spatial Performance & Design (2016 candidate) as a member of Architectural Association Interprofessional Studio (AAIS) at Architectural Association (AA) School of Architecture in London.

MA THESIS I Interprofessional Approach to Organising / Designing a Successful Biennale

theoretical research expressed in the selective literature review supported by the latest key debates, which I had a chance to exceed and sum up in the previous chapter. Secondly, numerous extracurricular activities2 enabled me to obtain a working knowledge in the field of organising art fairs, student festivals, performances and exhibitions, which helped me in performing various tasks and challenges while on the AAIS course. Finally, according to my backgrounds, this research analyses two examples of events that had a great impact on my development and accompanied me in the course of studying. Throughout the years, my interest in organising numerous activities has deepened and evolved, and eventually resulted in conceiving the idea of this paper. A selection of conclusions and observations, concluded mostly in chapters three and four, plays an important role in the case of this paper and inherently determines the module of methodology.

3.1.3. Four perspectives

3. Chapter I METHODOLOGY

In regard to the stated thesis and research questions, the three previous editions of Krakowâ&#x20AC;&#x2122;s and Venice Biennale, which I had a chance to visit or participate in personally, gained my special attention and became the subject of more detailed examination. Synthesising all my experience, I can refer to both events, not only from an architectural and artistic angle, but also from other perspectives, which I would like to employ for the purpose of the further research process. Firstly, as a student at the Academy of Fine Arts, I contributed to two previous editions of The International Biennial of Interior Architecture in Krakow as a contestant/participant and co-organiser/volunteer simultaneously. Secondly, in the last, i.e. fourth edition, as a member of AAIS team3 and a guest, I performed the role of a mediator/negotiator. Additionally, I follow architecture-oriented international events, not only in Venice Architectural Biennale but also London Architecture Festival or London Design Week, as a critical observer and visitor. Finally, and not without significance, there remains the perspective of an architect and artist, which provides an interesting insight into a subject and becomes highly valid with reference to the research question, how to design a successful Biennale, in terms of structuralising the organisation and designing/creating an experience. Henceforth, the selection of sources and materials presented in the following chapters has been motivated through the need of covering the subject of this investigation from the varied perspectives of organiser, participant, observer and architect/artist. Despite acquired, diverse perspectives, which work as my general points of reference, equally important is the interprofessional approach concluded in the AAIS curriculum.4 3.1.4. Interprofessional approach The interprofessional approach, included in the thesis title, derives from my background and acquired experience during my MA course at the Architectural Association interprofessional Studio. Balancing between architecture and other domains of art, the main aim of the AAIS studio is to launch a series of interdisciplinary projects/events. After collaborating with a group of professionals from 2 Representative functions in the academic structures of Studentsâ&#x20AC;&#x2122; Council and organiser of multiple initiatives such as art fairs and studentsâ&#x20AC;&#x2122; creativity festivals, and exhibitions. 3The curriculum of the AAIS programme assumes launching a series of interdisciplinary projects (performances, exhibitions,

interactively designed structure) engaging international preparation, logistic and handover of the various events, available at www.interprofessionals.net 4 Retrieved from www.interprofessionals.net.

varied fields of practice and experiencing permeability and mutual influences of those genres, the interprofessional approach, combing and juxtaposing miscellaneous elements and mediums, has also been implied in a case of this study in terms of investigating organisational aspects of cultural events such as biennials.

3.2. APPLIED METHODOLOGY

3.2.1. Chosen methods

Having analysed the wide range of available methods for investigating research questions, proving the thesis, and filling the existing literature gap, it has been decided that juxtaposition of primary and secondary sources gathered in the form of the case study and benchmarking method serve as the most efficient and comprehensive practice.5 The case study method through detailed description of a single case allows the drawing of conclusions ranging from the causes and results of its course, characteristics of the business model, to the technical, cultural, and social aspects. The purpose of the case study is to demonstrate the concept of worth copying, and potential mistakes to be avoided.6 While the benchmarking method, applicable mostly in management, compares the processes and practices of a company, those used in businesses are considered to be the best in the analysed field.7 Consequently, the case study employed in this paper assumes an investigation of two examples of biennials of radically different scales, La Biennale in Venice and INAW Biennale in Krakow, in the course of the last three editions. Subsequently, the benchmarking analysis serves as a foundation for drawing research findings and a set of guidelines contributing to the latter one.

3.2.2. Sources

The data is collected from secondary sources such as literature and biennale publications, online resources, press releases and visual media. Drawing on the Literature Review chapter, the gathered 5 Fifer, 1989; Yin, 2014. 6 Fifer, 1989. 7 Yin, 2014.

41 MA THESIS I Interprofessional Approach to Organising / Designing a Successful Biennale

Firstly, the Literature Review chapter has concluded a diversity of terms, ranging from management, finance, psychology, and production to marketing and more, enhanced by the introduction of collective intelligence and creative industry phenomena. Since the organisation of Biennale, it is a compound process, encouraged by the experimental approach preached by AAIS. I decided to investigate other cross-disciplinary projects and practices, balancing between varied domains such as architecture, movement, sound, new technologies and fashion. Assemblage of all available materials and sources has been enriched by primary source personal communication and correspondence with some individuals. AAIS practice proves that one can draw conclusions or useful information from any, even seemingly irrelevant, project or event. The results of the research process formed in this way entails the power to exceed an understanding of expected outcomes and results in refining unprecedented notions and solutions included in both Research Process and Analysis as well as the Research Findings chapter.

data aim to cover widely the most vital organisational aspects from the various perspectives. A comprehensive and profound picture of a case has been enhanced by primary source material, embracing representatives of all four perspectives, i.e. organiser/contributor, participant/guest, architect/ artist and critical observer/visitor, in reference to both biennials. However, when it was impossible, the primary source has been replaced by secondary source interview. All materials and references are cited in the collective Bibliography. Annex A concludes a list of figures and tables. Annex B lists all used images.

3.2.3. Research Process and Analysis

The Research Process and Analysis chapter opens a Table 1.0., including a mix of quantitative and qualitative data. That brief introduction directly illuminates the main characteristics and differences of both events, providing a good standpoint for further analysis. Consequently, the individual case study description covers more widely the features of, respectively, three former editions according to the established parameters, which are purpose, people and place. Conclusions drawn from the analysis of both events are presented in the form of benchmarking. The research process is supported by the adequate references and images. 3.3. PRACTICAL IMPLICATIONS

3.3.1. Research Findings

3. Chapter I METHODOLOGY

The Research Findings chapter is determined by the second research question, how to incorporate the acquired scope of knowledge into professional practice, at the same time revealing an interprofessional approach included in the thesis’ title. The Research Findings chapter is a collection of conclusions. They have been drawn up, based on the aspects highlighted in the Literature Chapter, and examined examples of research study, enhanced by various sources and pieces of evidence drawn from other events, domains and practices. The vast majority of this chapter distils a set of feasible, detailed guidelines for Krakow’s Biennial. Moreover, it also aims to confirm the validity of the stated thesis and interprofessional approach.

3.3.2. Limitations

Since any data collection is never precise, these research findings cannot work as scientific or referencing source for other works according to their empirical, not quantitive character. Potential problems with the project are potential technical issues, limited-time frame and lack of responsiveness from interviews with candidates. While, in the case of Krakow’s Biennial, a direct contact with organisers in order to get the answers on difficult questions was feasible, in the case of the Venetian one this was not entirely so. Surprisingly, according to the event’s scale and prestige, as well as the well-developed PR department, despite many trials and various forms of communication, many questions remained without answers.

RESEARCH PROCESS AND ANALYSIS

Chapter

4.1. INTRODUCTION TO THE RESEARCH PROCESS AND ANALYSIS CHAPTER

This chapter describes the data collection procedures and research analysis. As stated previously in the methodology chapter, the first section is dedicated to the case study investigating two examples of biennials. The second part presents a comparing of analysis applying a benchmarking method. Referring to both r esearch questions, this chapter aims to prove a validity of stated thesis, that organization of a Biennale is a cross-disciplinary challenge, determining compound forms of management and juxtaposing various fields of practice, whereas the most decisive factors are communication and creativity. The expected result of the research process is to formulate a background for detailed analysis of theoretical knowledge with a practice, provide good material for research findings and lead to drawing valid conclusions while looking for denominators of an eventual success. 4.2. RESEARCH PROCESS

4.2.1. Introduction to the case study

The following Table 1.0. juxtaposes two examples of biennials; La Biennale in Venice and INAW Biennale in Krakow. Data is collected from secondary sources, such as literature and publications on biennales, online resources, press releases and visual media. The basic information is gathered in the form of a table working as a tool for developing further analysis. According to the methodology pattern, selected information is analysed in the second part of this section through the following factors i.e. purpose, place and people. While two cases of biennials respectively show a diametrically different scale, organisational structure or method of findings, the following investigation aims to prove that both events can mutually inspire each other and exchange their notions on successful practices.

MA THESIS I Interprofessional Approach to Organising / Designing a Successful Biennale

VENICE

[Imag. 1.1., 1.2.]

KRAKOW

[Img. 2.1.] The offcial logotype of La Biennale di Venezia International Architecture Exhibition

Name of the event

La Biennale di Venezia: International Architecture Exhibition

International Biennial of Interior Architecture INAW in Krakow

City

Venice / Italy

Krakow / Poland

Year of the first edition

1980 in Architecture (1895 in Art)

2010

Location

Giardini, Arsenale, other locations

shifting locations around the city

Organiser (institution supervising)

The Biennale Foundation

Jan Matejko Academy of Fine Arts Faculty of Interior Design

Director (Organiser, Curator)

President: Paolo Baratta Curator: Alejandro Aravena (changing function)

Organisers: Dean of Interior Design Beata Gibala-Kapecka, prof. ASP Vice-dean of Interior Design Joanna Kubicz, prof. ASP (permanent function)

Date of the last edition

May 28th to November 27th 2016

March 7th to March 13th 2016

Number of participations 88 Participants selected for exhibition and 62 National Participations (countries exhibited in the pavilions)

Theme of the last edition (2016)

15TH REPORTING FROM THE FRONT

88 Participants selected for exhibition and 62 National Participations (countries exhibited in the pavilions) 4TH ENERGY / SELF(IE)/ SPACE

[Tab. 1.1.] The table above juxtaposes the basic information concerning two events.

[Img. 2.2.] The offcial logotype of INAW International Biennial of Interior Architeture in Krakow

Theme

14TH FUNDAMENTALS

3RD SPACE RE-LOADING

13TH COMMON GROUND

2ND CITIES â&#x20AC;&#x201C; GARDENS OF THE FUTURE

of the 2014 edition

Theme of the 2012 edition Website Form of the contest Form of the exhibition

www.labiennale.org contest between national pavilions and individual participants

Independent exhibitions within the national pavilions, one main curatorial exhibition of invited participants Form of the curatorship individual national curators and one, main curator nominated by the director inviting to collaboration other curators/architects/artists Collateral events Series of conferences and debates, case study competition, installations, collateral exhibitions, visiting programme

www.inaw.pl contest among submitted works collective exhibition of selected by curator projects curated exhibition of selected, individually submitted works Happening, Performance / Installation, International Conference, collateral exhibition apart the contest

4.2.2. Case study - La Biennale in Venice and INAW Biennial in Krakow 4.2.2.1. Purpose

The 15th International Architecture Exhibition titled REPORTING FROM THE FRONT has been directed by Alejandro Aravena and organised by La Biennale Foundation, chaired by Paolo Baratta. While Biennale in Venice focuses on global changes, the fourth INAW Biennale is not deprived of the local context. By interpreting this year’s theme, ENERGY/SELF(IE)/SPACE, Biennale’s organisers advocate to ‘find a solution for places nearby’1. It is worth pointing out that all previous editions stress the relations within a local community and the hosting city.2 In the case of Venice, only one proposal of the Special Project refers directly to Venice, specifically to Marghera Port. Although captured in the passive form of another exhibition, it makes no change for the city and locals. The Guardian’s critic and the Biennale’s observer, Rowan Moore states that, ‘(…)The biennale is therefore a series of suggestions as to what might be a good idea, rather than evidence of actions that work. ‘3 As can be seen in the table in both cases, the International Exhibition is accompanied by competition, conference and a series of collateral events. That undeniably brings a great contribution into international art, culture and architecture debate and promotion. La Biennale, as a leading centre of the field’s research, tries also to define the core motive and purpose of the architectural exhibition. Baratta states that, ‘(…) Presenting architecture in action is also one of the answers to the permanent questions raised by La Biennale; What is an architecture exhibition? And what should an architecture biennale be? In the Biennale Arte, which is the parent of the Biennale Architettura, the works are there in front of the visitors; with an architecture exhibition, the works are elsewhere. What should there be here?’4.

4. Chapter I RESEARCH PROCESS AND ANALYSIS

The International Exhibition concludes a wide range of representational and expositional forms and mostly includes practices such as exposition of architectural models, sketches, photographs and project presentation boards. There are also large-scale projects adapting/converting the entire volume of the given space. More and more architects, designers and curators use diversified tools and technological amendments, while still the most popular medium is video. Disappointingly, La Biennale, despite its enormous potential as the leading art, architecture, dance, music, cinema and theatre research centre, does not examine the mutual relationship and dependencies between those various domains of art5.

[Img. 3.1., 3.2.,3.3.] Models at Venice Biennale. The core point of each biennale is an Internaltional Exhibition and Competition organised along an International Conference and a series of collateral events. A collective exhibition of the models and presenting boards is the most common manner of presentation at an architectural biennale. 1 Retrieved from the Biennale’s invitation. 2 Ochman and Łapińska, 2016.

3 Moore, 2016. 4 Bratta, 2016. Retrieved from the official Biennale statement [online] 5 An exception was the exhibition Monditalia curated by Rem Koolhas in 2014.

[Img. 3.1., 3.2.,3.3.]

MA THESIS I Interprofessional Approach to Organising / Designing a Successful Biennale

[Img. 4.1., 4.2.,4.3.]

4. Chapter I RESEARCH PROCESS AND ANALYSIS

[Img. 4.1,4.2.,4.3.] Technological trends such as QR codes, VR (virtual reality) or videomapping are widely applicable by architects, designers and exhibitions’ curators for the purpose of the presentation. Disappointingly, La Biennale, despite its enormous potential as the leading art, architecture, dance, music, cinema and theatre research center, does not examine the mutual relationship and dependencies between those various domains of art. As exception was the exhibition Monditalia curated by Rem Koolhas in 2014.

[Img. 5.1.,5.2., 5.3.,5.4.] Music, film and contemporary dance at Monditalia exhibition in 2014. While the American architect Steven Holl claims that ‘architecture needs to be rekindled with the other arts’, a vast majority of architects show lack of interest and surprising ignorance towards investigating other domains of art.1 The subject took Koolhas (2014a, 2014b, 2014c) in his curatorial exhibition Monditalia2. As a comment for current state of Italy, he proposed a section of dance, movie and music performances along the main exhibition space3. However, the idea was not entirely successful, since overwhelming amount of cinematography and live-show content was unable to comprehend fully. The whole initiative has been commented more as a national review than a specifically designed and elaborated piece.4

1 Rosenfield, 2016; Holl and Lang, 2016; Shaw, 2015; Winston, 2014. 2 Lusiardi, 2014; Hill, 2014. 3 Spartaco in conversation with Laparelli, 2014. 4 Levine, 2014.

MA THESIS I Interprofessional Approach to Organising / Designing a Successful Biennale

[Img. 5.1.,5.2.,5.3.,5.4]

[Img 6.1.,6.2.] [Img 6.3.-6.9.]

[Img. 6.1. - 6.16.] The last 3 editions of INAW Biennale distinguish, apart from the main competition / exhibition and the research conference, a diversified programme of collateral events directed to the multiple 4. Chapter I RESEARCH PROCESS AND ANALYSIS

target groups.

Edition 2012 [Img. 6.1.,6.2.] involved not installations and a series of workshops dedicated to children, but also presented modern technologies such as VR. Edition 2014 [Img. 6.3.-6.9.] took place in the contemporary art gallery - Krakow’s Bunker of Art. The main theme, SPACE RE-LOADING, had a direct association to the space. The Biennale competition concerned the renovation of the space that exhibition has been hold. That year, Biennale collaborated with another initiative, audio-visual festival Patch_lab. As a result, students had a chance to participate in a series of workshops concerning videomapping and more. Edition 2016 [Img. 6.10.-6.16.] included various activities such as happening/city parade, urban game, collateral exhibitions, interactive installations, applications and more. As usual, Biennale employed the newest technology such as videomapping, kinetic sensors, and VR. More analog approach demonstrated a perfor-

mance/installation realised by the AAIS. Apart from performing ‘Res Extensa’, the AAIS had a chance to participate in the intenrational research conference and submit a collective article for after-biennial publication.

[Img 6.10.-6.16.]

[Img 7.1.,7.2.]

[Img. 7.1.,7.2.] (next page) RES EXTENSA. Performance by AAIS concerned building a relation within the existing architecture and conveying the notion of the space without physical boundaries.

RES EXTENSA Yi-jong gong-gan is a Korean term which refers to a mediating space rather than a specific place. It cannot be tangibly defined but can be cognized. It is constructed before, during or after a state of being; a space in between. This notion challenges human perceptions and identities; it peels their layers and exposes their fluidity. Presence, interactions and people shape our personality, our beliefs and expectations; Yi-jong gong-gan testifies that we are entangled in constantly shifting physical, virtual and social constructions. Malopolska garden of arts’ entrance hall / atrium is a transitional space, channeling and filtering the outside and the inside worlds; literally a threshold. The creative team from the Architectural Association Interprofessional Studio (AAIS) incorporates a synthesis of several mediums to render and constitute the atrium’s spatial configuration. AAIS interpret this year’s Biennale theme, Energy/Self(IE)/Space, by looking at the permeable character of the real and unreal. During the course of the event they activate and animate the space, weaving in four-dimensions, structure, choreography, live soundscape and projection. Morphing into an ever-evolving organism, the remaining structure will live on-site inviting the general public to perform within it.

4.2.2.2. People The widely developed administrative structure of La Biennale Foundation covers all those mentioned in the literature review functions, which in the case of the INAW Biennial human resources aspect is uncooperatively modest; thus, many functions are combined and distinguished by flexibility among responsibilities. According to gathered relations from participants, both events struggle with poor communication in terms of technical arrangements. The multiplicity of national representatives invited to Venice reflects on the global interest around La Biennale. That generates the numbers of visitors and media convergence, while the fourth edition of Krakow’s Biennial shows a small number of international participants and guests and, as a comparatively young event, needs to solicit for media exposure. However, the Venetian Biennale should pay more attention to the local communities, according to Baratta’s statement that architectural exhibitions should also be addressed and be understandable for ‘people from outside of the domain’6. Although both events assume a wide section of target groups, ranging from children, families, school and academic students, seniors, researchers and scholars, architects and professionals, the INAW Biennale distinguishes a wider collection of initiatives designed for the ‘active’ receivers. 7

[Img. 8.1.-8.4.]

4. Chapter I RESEARCH PROCESS AND ANALYSIS

Each INAW edition concludes a series of open workshops for children and adults. The combined forces of INAW and audio-visual festival Patch_lab resulted in interactive installations and videomapping projection during the Space Re-loading edition in 2014. Correspondingly, La Biennale in Venice expands the visiting programme and extends the time for the venue. This year, for the first time, La Biennale launched a ‘summer school’ dedicated to students with a series of workshops and talks. As a welcome improvement, there was a pilot information programme. A team of ‘Cultural Guides’ serves any help and information to the visitors within Giardini and Arsenale.

[Img 8.1.-8.5.] Individuals responsible for organising the Bienniale in Venice. (from the left) Curators of the previous editions: Alejandro Aravena (2016), Rem Koolhaas (2014), David Chipperfield (2012) and Paolo Baratta, President of La Biennale Foundation.

[Img 9.1.-9.2.] Aravena’s special project at Venice Biennale, Arsenale space (2016). Aravena’s special project pays attention on the environmental health and uses the recycled leftovers after the previous Biennale edition in 2014.

6 Baratta, 2010.

7 def. ‘passive receiver’ – exhibition visitor/guest; while ‘active receiver’ – participant one of the proposed event’s activities such as workshops, lectures, conferences, tutorials, interactive games and installations.

[Img. 4.1,4.2.,4.3.] Technological trends such as QR codes, VR (virtual reality) or videomapping are widely applicable by architects, designers and exhibitionsâ&#x20AC;&#x2122; curators for the purpose of the presentation. Disappointingly, La Biennale, despite its enormous potential as the leading art, architecture, dance, music, cinema and theatre research center, does not examine the mutual relationship and dependencies between those various domains of art. As exceptio

[Img. 9.1.,9.2.]

n was the exhibition Monditalia curated by Rem Koolhas in 2014.

4.2.2.3. Place

[Img 10.1.-10.4.]

Whereas Le Giardini and Arsenale, along with dozens of national pavilions, remain unchangeably the venue of La Biennale, still the increasing expanse of the event calls for the adoption of new locations scattered around and outside the city.8 Many critics argue that it is not feasible to explore the event’s area entirely, without spending a few days on long-distance trips and time-consuming commuting, which definitely concerns Venice Biennale.9 However, in the case of Venice, any effort is repaid by the picturesque views and scenery.

[Img 10.5.,10.6.]

4. Chapter I RESEARCH PROCESS AND ANALYSIS

[Img 10.1.-10.4.] National Pavilions in the picturesque ‘Le Giardini‘ at La Biennale di Venezia.

[Img. 10.5,10.6.] ‘Arsenale‘ exhibition space at La Biennale di Venezia.

8 Baratta, 2010. 9 Moore, 2014, 2016; Harper, 2016; Wainwright, 2016.

[Img 10.7.-10.10.] [Img. 10.7.-10.9.] Various locations of INAW Biennale: Academy of Fine Arts Main Building, Malopolska

Garden of Arts, Bunker of Art - Gallery of the Contemporary Art in Krakow.

[Img 10.11.-10.13.]

Surpassingly, a great number of the collateral events in Venice are additional exhibitions, whereas INAW’s programme, despite its significantly smaller scale, assumes a variety of actions, such as events/ parades, performances, installations, and videomapping projections, which take place around the city; attracting, interacting and gaining audience attention. However, a good practice distinguishes Venice Biennale in promoting the event with red banners along the most crowded track, le Grand Canale, as well as with Biennale’s stands/seats scattered around the urban tissue, vividly manifesting the presence of festival, guiding the way and providing additional seats and shelters.

[Img 10.10.-10.12.] La Biennale - forms of advertisement in Venice.

4.2.2.4. Personal notions and observations Apart from exhibitions, contests and collateral events, La Biennale is accompanied by a conference and academic visiting programme. That, undeniably, brings a great contribution into international art, culture and architecture debate. Unfortunately, as a result of a lack of given information and uncompleted bilingual policy on Biennale’s website, any further research on this matter is incomplete. In the course of our participation in INAW Biennale, the major drawback was a lack of specifically defined requirements towards technical settings and arrangements. In that aspect, INAW Biennale have not provided an indicated equipment, which resulted in a serious shortcoming in AAIS performance. Another notion concerns a poor quality of conference talks. While both events showed several issues in terms of technical and logistical preparations, still Krakow’s Biennial distinguishes better communication and information flow.

4.3. RESEARCH ANALYSIS – CONCLUSIONS

4. Chapter I RESEARCH PROCESS AND ANALYSIS

Despite the glaring differences between the scale and history of those two events, Biennale in Krakow should expand its volume through inviting more international participants, while Biennale in Venice could pay more attention to the local communities and the city of Venice, bringing a visible change. While both of the events need media coverage, La Biennale has it ensured by its prestige, whereas Biennale in Krakow needs to make more effort in order to mark its presence and attract visitors. However, the Venice Biennale should take an example from Krakow’s one with reference to ‘coming ahead’ to the social interactions via a diversified programme, including workshops and other forms of artistic expression. Creating the bonds with a local community refers to designing spaces and moments, i.e. via temporary installations and actions, which is a primal assumption of the architecture. Thus, Krakow’s Biennale should pay more attention to the virtual manifestation of its presence, and, additionally, through installing large-scale objects/installations and temporary designed spaces/environments.

RESEARCH FINDINGS

Chapter

5.1. ORGANISATION OF THE RESEARCH FINDINGS CHAPTER This chapter is motivated by the second research question; how to incorporate the acquired scope of knowledge into professional practice and the selection of organisational aspects highlighted in the previous chapters. Based on the literature review and examining two case studies, the following chapter formulates a set of recommendations in terms of organising/designing a successful biennale designed for INAW Biennial 2018. Each finding and guideline, is supported by relevant evidence or example from literature, the press, online retrieved information, video material or image, based on interview, personal communication, correspondence or observations. The following database stands as a subjective choice; thus, the set of indicators represents purely an empirical/holistic knowledge. Consequently, it cannot work as the scientific evidence or reference. 5.2. PERSONAL CONTRIBUTION Findings is a collection of my personal notions and conclusions based on conducted research and analysis on the literature of the subject, my own organisational and management experiences, personal development along the whole educational path, and finally cross-disciplinary observations on various events, projects and initiatives. This chapter has created the conditions to express my critical comments on organisation of both Venice and Krakow biennials. It concludes with my personal voice in the architectural and curating debate. Under those circumstances, this viewpoint is inevitably important in this argument.

MA THESIS I Interprofessional Approach to Organising / Designing a Successful Biennale

5.3. FINDINGS COLLECTION â&#x20AC;&#x201C; SET OF GUIDELINES

5.3.1. KEY 1: CREATIVITY

Stated in the thesis, consequently revealed fully, and proved in the second chapter, creativity is absolutely key for success in many domains and entrepreneurial initiatives. The creative approach is especially advisable in terms of choosing the main theme and formulating the basic event assumptions. On a collaborative level, it is substantial while searching for beneficial synergies, establishing new partnerships and applying for financial support. A creative organiser can innovatively approach the matters of purpose, people and place, efficiently solve a problem, and adequately recognise a market gap and business opportunities. Creative ideas boost the effectiveness of marketing and advertisement results, as well as trigger and attract potential sponsorships and patronages. In the case of Biennale, creativity plays a major role in structuralising the event programme, designing an exhibition, seeking for innovative and unprecedented ideas, and implementing new expositional systems and means of artistic expression. It is also applicable in curatorial work and theme approach.

5.3.2. KEY 2: COMMUNICATION

5. Chapter I RESEARCH FINDINGS

Communication remains absolutely essential in terms of supervising and stimulating all organisational and managing processes in the case of large-scale public events. Information flow works as a common denominator in embodying a successful strategy and performing a profitable collaboration. Outstanding personal skills help to understand individual needs and motivations, to communicate existing problems and solve them collectively, to clearly articulate the ideas on the forum of the group, finally to receive, process and understand a constructive feedback. Good communication among the team members impacts proportionally on efficient human resources management and the organisational success of the event. In order to ameliorate the event management processes, it is essential to employ modern technological tools and manage trends in way of communication. Public relation management is important in terms of communication with the potential receiver/consumer; thus, it cannot be neglected. Developing a common language and new ways of advertising and promoting the event, remains vital in terms of gathering the audience.

5.3.3. F1: CURATOR The importance of the curator profile has been already illuminated in the previous chapters. As shown by the case study, the choice of curator at Venice Biennale always entails wide criticism, and thereby press and media coverage. The figures of star architects attract large audiences and gather masses of students and architecture enthusiasts. However, in the case of INAW Biennial, it is strongly advisable to tell apart the organisational and curating functions, which can bring multiple benefits. Independent from organisers, a curatorial choice on collaborators and participants can positively influence the quality of the Biennaleâ&#x20AC;&#x2122;s Conference and contribute the initiatives along the collateral events lists. Consequently, that consists of establishing the prestige of the biennale, building up a general recognition of the event, and increasing the range of scale of the project.

5.3.4. F2: PURPOSE

Undeniably, INAW’s programme reveals an affluent diversity. Along the main contest exhibition and international conference, a variety of collateral events concludes initiatives such as digital and videomapping workshops, as a part of collaboration with Patch_LAB festival, installations, collateral exhibition, events and performance. However, instead of providing only suggestions of possible solutions, as in the case of Venice Biennale, the INAW programme has the potential to move forward. Since the local issues and the context of the place are inherently assigned to the foremost event’s assumptions, INAW Biennale could raise a discussion on one of the issues troubling the city. It could take action such as a petition or media attention or virtually build/provide, even temporarily, a solution for resolving the problem in the urban tissue, such as a new meeting place or a shelter. Alternatively, it can question and challenge the notion of what architectural biennial or exhibition can be and where is a place for the user in this ongoing debate. Perhaps it could have a form of a never-ending constructing process or crowdsourcing project, to which every visitor, mostly ‘outside of the architectural domain’ and usually excluded from ‘designing processes’ could contribute.

[Img. 10.1 and 10.2.] Kunlé Adeyemi docks Makoko Floating School at the Venice Biennale. [Img. 11.1 and 11.2.] Norman Foster ‘droneport’ prototype at the Arsenale in Venice. Two examples of projects ‘changing lifes’ of strong local and sociological context. Nigerian architect, Kunlé Adeyemi, has been awarded the Silver Lion for bringing his floating school to the Venice Biennale, as part of his ongoing research into building for flood-prone regions. Called as ‘the world’s smallest airport‘, a full-scale prototype of the ‘droneport’ seeks to create a network of similar facilities capable of delivering medical supplies and other necessities to inaccessible regions.

67 MA THESIS I Interprofessional Approach to Organising / Designing a Successful Biennale

[Img. 11.1 and 11.2.] Mauricio Pezo and Sofia von Ellrichshausen cylinders pavilion in the Venice Giardini. [Img. 12.1 and 12.2.] Aileen Sage Architects swimming pool inside Australia’s Biennale pavilion. Two examples of projects designed for people, dedicated to the mutual relations/interactions and perception of the space

5. Chapter I RESEARCH FINDINGS

5.3.5. F3: PEOPLE

INAW Biennial, as a comparatively young event, still works on its prestige and builds up its reputation on local, national and international arenas. That is ensured, not only by advertisement and publicity, but also through its impeccable reputation and positive experience drawn from the previous editions. In order to achieve a wider exposure, INAW’s organisers should initiate the collaboration of a greater number of institutions, including those only visiting as well as those contributing to the project. In the case of international contest and exhibition there is a need to extend the list of participatory countries; in fact to send the invitations to more academies, universities, and research foundations, and take extra care of the bilingual policy of all accessible materials. Moreover, in order to avoid organisational mistakes, technical omissions or disorganisation, which impact greatly on the events’ reputation, Biennale organisers need to ascertain that all indispensable functions, considered fully in the Literature Review chapter, have been covered by a sufficient number of people. 1

1 Functions such as: Co-organiser/Project Manager, Curator and assistance, Human Resources Manager, Public Relation

Manager, Producer, Logistic Manager, Technical Manager, On-a-site Supervisor, Visual Identification and Graphic Designer, Publication Editor and more.

[Img. 12.1 and 12.2.] This year, in the first edition of London Design Biennial organised by Somerset House took part 37 nationalities.

5.3.6. F4: PLACE

A case study, which is an example of Venice Biennale, has shown that in the case of a large-scale, collective exhibition, which is the main point of Biennale’s programme, even the presence of the curator cannot ensure a cohesion and clarity of presented works. However, Biennale is perceived as a whole, and the quality of exhibition largely affects its general representation. Experience and perception, as has been stated before, are substantial in terms of building brand recognition and establishing a net of permanent consumers. In the case of many events, such as Venice Biennale or the Krakow Film Music Festival, the atmosphere, in such a great, extended experience, is built by the environment. In both cases it is a post-industrial space2, enabling various architectural interactions and forms of adaptation enhancing the potential of the event. In fact, another recommendation for INAW Biennale, is to find a ‘refereeing’ place, inevitably associated with the Biennale’s presence, contributing to its recognition and enhancing its potential.

2 In case of La Biennale is an area of former Venice Arsenale, while Film Music Festival takes place in the former galvanizing hall in the active Krakow’s smelter.

MA THESIS I Interprofessional Approach to Organising / Designing a Successful Biennale

[Img. 13.1., 13.2., 13.3. and 13.4.] Arsenale: different stages of the ‚Reporting from the Front’ exhibition. The ambient of the former Arsenale interiors merges even the incoherent forms of exhibition and artistic expression

5. Chapter I RESEARCH FINDINGS

creating a consistent picture.

[Img. 14.1.] Krakow Music Festival at Mistral smelter, Galvanizing Hall. [Img. 14.2.] Colours of Ostrava music festival at post-industrial complex at Dolní Vítkovice. [Img. 14.3. and 14.4.] Łódź Design Week occupying post-industrial

spaces converted into Art_Inkubator. Examples of events occupying post-industial spaces, which creates a sense of a coherent experience.

[Img. 14.5., 14.6. , 14.7. and 14.8.] OFF music festival in Katowice â&#x20AC;&#x153;3 Lakes Valley Parkâ&#x20AC;?. Also open-air spaces have enormous potential. OFF music festival is taking place on the area of landscaped park, which highly affects the

general perception of the music and boosts the positive association between the event (occasion) and the place.

5.3.7. F5: AUDIENCE

Audience attendance is an important denominator of each public initiative, very often determining the general success of the project. Frequency is the most common factor while evaluating the event scale, advertising and media exposure. How fundamental this aspect is, the AAIS had a chance to find out at first hand. That is why it is advisable to direct this job to a professional PR company. However, each respective event has its own visual identification, shaping and contributing to the brand recognition. Logo, posters, publications, or the event website, are not sufficient. The most common method of communication for the greatest exposure is offered by social media. Updating posts and live-streaming news from the event site boost audience curiosity and expectations. In the case of a largely developed collateral events programme, there is a need of adroit and clear navigation, especially for foreign guests. An interesting idea seen online is that of VLOGs and interviews, as well as especially designed applications. They are incredibly useful in allowing tracking of favourite events, organising daytime and visits, sending reminders, navigating around the city, or even quickly forwarding a feedback to event organisers.

MA THESIS I Interprofessional Approach to Organising / Designing a Successful Biennale

[Img. 15.5., 15.6. , 15.7. and 15.8.] INAW Biennial visual identification and branding: Logo, Poster, Banner and official Facebook profile. Well-designed visual identification, social media profile and marketing gadgets, widely

5. Chapter I RESEARCH FINDINGS

considered as a standard, helps to contact reach out to the consumers.

[Img. 15.9., 15.10.] OFF plus camera festival launches daily VLOGS, interviews and updating reports/posts form various locations in Krakow throughout the entire course of the festival, while London Architecture Festival in collaboration with London Architecture Diary elaborated an efficient and clear way of navigating the visitors and planning the visits.

5.3.8. F6: TRACE

In the course of organising various interdisciplinary events with AAIS, many organisational issues have emerged. As a matter of fact, one of them oscillates around the matter of leaving the trace, marking the space and manifesting the presence. As a good practice, INAW Biennale already has employed the video mapping projections, which is a widely adopted means of expression, exposition and conveying the content/information, and is also used at Venice Biennale. It works as a temporary, low-cost and non-invasive intervention into space. There is also a common practice that during the festival time, various banners and stands appear in the urban tissue. In my opinion, INAW Biennale should more widely manifest its presence, whether by virtual or physical signs. This is especially so, when considering a strong relationship between Bienniale and the local context of a Krakow city.

[Img. 16.1.,16.2.,16.3.] Videomapping projection at Bunkier of Art gallery of contemporary art in Krakow during the 3rd International Biennial of Interior Design INAW 2014. [Img. 16.4,16.5.,16.6] Videomapping on the Bunker of Art galleryâ&#x20AC;&#x2122;s facade or INcident, happening/parade worked as good examples of non-invasive temporary ingeneration and attention grabbers for advertising purposes. Another example of positive practice demonstrates La Biennale. Scattered around the city urban furniture /benches in biennaleâ&#x20AC;&#x2122;s colour, [Img.10.12] provide additional seats in the most crowded areas such as railway station, promote and manifest the present of the festival, which is innately assigned to Venice, concluding maps work as orientation/navigation points and provide insight to Biennale programme.

5.3.8. F7: SCALE

Noticeably, INAW Biennial not only thrives to expand and develop but also to permanently enrol into Krakowâ&#x20AC;&#x2122;s events calendar. As mentioned in the Literature Review chapter, event time and date have a significant importance; hence event overlapping might bring positive as well as negative outcomes. Thus, INAW Biennial has some good experience while collaborating with Patch_lab, an audio-visual festival. Moreover, another partnership could bring beneficial results. Krakow Festival Office is an institution supervising and co-ordinating all the biggest initiatives in the city. Furthermore, it helps to develop numerous cultural events through additional promotion and designing a calendar, which provides a fluid audience and visitor flow between multiple urban events in the area.

73 MA THESIS I Interprofessional Approach to Organising / Designing a Successful Biennale

[Img. 17.1] Opener Music Festival, one of the greatest music festivals in Poland, and Gdynia Design Days [Img. 17.2,17.3.,] are two type of events, which dates of duration overlap. In that way, the biggest commercial venue generates an audience for the later. Remarkably is a fact, that Gdynia is located on the North of the Poland, so music festival is becoming a good reason to take an effort of journey. For all design-enthusiasts Gdynia Design Weeks becomes another destination after the week of concerts.

[Img. 17.4 .] Krakow Festival Office, org. Krakowskie Biuro Festiwalowe, it is the NGO institution co-organising events in Krakow such as International Festival of Independent Cinema Off Plus Camera, Film Music Festival, Sacrum Profanum and more. KBF is also responsible for setting up a Krakow’s events calendar.

5. Chapter I RESEARCH FINDINGS

5.4. CONCLUSIONS OF THE RESEARCH FINDINGS CHAPTER

In-depth investigation of two examples of biennials, supported by the list of my own personal notions, has allowed me to clarify this modest list of recommendations designed in reference to the International Biennial of Interior Architecture INAW in Krakow. As the foremost key factors in organising/designing a successful biennale, this thesis defines creativity and communication, which has been already proved in the Literature Review chapter. The collection of more precise and direct indications for Biennale organisers recommends, inter alia, a definite division between the organiser/ co-founder and curator function. This is to continue developing an interdisciplinary programme and variety of collateral activities, extend invitations to many other countries and universities, to find a location corresponding with INAW Biennial’s needs, to employ any accessible form of marketing, advertisement and social communication in terms of promoting Biennale, to manifest its presence in the city by implementing designed elements in Krakow’s space, and finally to combine its potential with an organisation of great importance in order for it to expand and grow to a truly international rank.

CONCLUSIONS

Chapter

6.1. SUMMARY OF THE PAPER The presented thesis assumes that the organisation of a biennale is a cross-disciplinary challenge, adapting compound forms of management and juxtaposing various fields of practice with communication and creativity as the most significant determinants, which has been confirmed in the theoretical review of the proposed literature. An interprofessional approach has been revealed, not only in theory through the first research question, how to organise/ design a successful biennale, but also in practice. Indeed, the subject is multithreaded and compound, and therefore the second part of this study has an interdisciplinary character. Directed through the second research question, how to incorporate the acquired scope of knowledge into professional practice, originally developed, pioneering and individualised, the methodology has made it possible to conduct a cross-disciplinary research study and analysis in order to extract an innovative and unprecedented set of findings. 6.2. CRUCIAL FINDINGS A literary investigation through Biennialâ&#x20AC;&#x2122;s publications and event management resources, allowed me to apply my knowledge and previous studies on organisational behaviour, crowdsourcing and collective intelligence. The research process deepened my knowledge and understanding of process and aspects in the case of mega-exhibitions such as biennials. The case study erased my previous notions on INAW Biennale, and made me aware of how well designed it is, even in comparison with the great La Biennale. Krakowâ&#x20AC;&#x2122;s Biennial has a potential to grow and expand but there is a need for gathering feedback, analysing and putting into practice all recommendations and innovative ideas. The list of findings recommends a definite division between an organiser and a curator function. This is to keep developing an interdisciplinary programme and variety of collateral activities, extend

MA THESIS I Interprofessional Approach to Organising / Designing a Successful Biennale

invitations to many other countries and universities, to find a location corresponding with INAW Biennialâ&#x20AC;&#x2122;s needs, to employ any accessible form of marketing, advertisement and social communication in terms of promoting Biennale, to manifest its presence in the city by implementing designed elements in Krakowâ&#x20AC;&#x2122;s space, and, finally, to combine its potential with an organisation of great importance in order for it to expand and grow to a truly international rank.

6.3. FURTHER IMPLICATIONS

6. Chapter I CONCLUSIONS

Unconventionally juxtaposed and combined, seemingly contrasted or even opposed, sources and pieces of information have resulted in constructing an elaborated framework in reference to the following edition of The International Biennial of Interior Architecture in Krakow. As a matter of fact, the research outcome has a universal meaning and can be applied in the case of other events. Correspondingly, also a presented content might become valuable for diverse event organisers. Undoubtedly, this paper is a modest contribution to the ongoing discussions on organising cultural events such as biennials. However, it has allowed me to investigate insightfully a subject of my great interest. Notwithstanding the foregoing, this study has significantly enriched and widened my knowledge of fundamentals and trends in various domains such as management, finance, marketing, production, psychology, creative industries or curating. Finally, concluding and summarising my lifeâ&#x20AC;&#x2122;s experience and assembled observations, this project has created an exceptional opportunity to express my personal voice in the architectural debate inherently accompanying the Venice Biennale, as well as having revealed the possibility and need for further research on this subject.

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ANNEX ANNEXAA LIST OF FIGURES page 17 [Fig. 1.1.] Typology of events. adopted from: Raj et al., 2009. p.8. page 20 [Fig.2.1.] A framework for understanding and creating knowledge about planned events. adopted from: Getz, 2012. p.8. [Fig.2.2.] A unified model of special events management. adopted from: Yeoman et al., 2013. p.15. page 22 [Fig. 3.1.] Event objective components. adopted from: Raj et al., 2009. p.6. page 23 [Fig. 4.1.] Fundamental framework of project management. ’Project Life Cycle’ adopted from: Raj et al., 2009.p.142 page 30 [Fig.5.1.] Maslow’s hierarchy of needs. Adopted from: Maslow, 1943.

LIST OF TABLES page 46/47 [Tabl. 1.1.] The table juxtaposing the basic information concerning two events. based on the information retrived from: www.labiennale.org and www.inaw.pl

ANNEX B

LIST OF IMAGES

page 44 [Img. 1.1.]

D. De Lossy l gettyimages.com

page 45 [Img. 1.2.]

No_where_to_run l flog.pl

page 46 [Img. 2.2.]

retrieved from www.labiennale.org

page 47 [Img. 2.2.]

retrieved from www.inaw.pl

page 49 [Img. 3.1.]

J. Choli l private source

[Img. 3.2.]

courtesy of Hungarian Pavilion l archdaily.com

[Img. 3.3.]

D. Grandorg l arterritory.com

page 50 [Img. 4.1]

courtesy of Russian Pavilion l dezeen.com

[Img. 4.2]

S. Rida l

[Img. 4.3.]

ÂŠ 2016 ICRAVE l www.icrave.com

worldarchitecture.com

[Img. 5.1.,5.2.,5.3.,5.4] courtesy of OMA l domus.com

page 52/53 [Img. 6.1.-6.16.]

Wiadomosci ASP_74

page 54/55 [Img 7.1.,7.2.]

Theo Lorenz l AAIS

page 56 [Img. 8.1.-8.4.]

retrieved from www.labiennale.org

page 57 [Img. 9.1.,9.2.]

designboom ÂŠ l designboom.com

page 58 [Img. 10.1.-10.4.]

J. Choli l private source

[Img. 10.5,10.6.]

J. Choli l private source

page 59 [Img. 10.7.]

anon. l

bip.asp.krakow.pl

[Img. 10.8.]

Yawal l

muratorplus.pl

[Img. 10.9.]

G. Mart / Studio l magazynszum.pl

[Img. 10.10.-10.12.]

J. Choli l private source

page 64 [Img. 11.1.-11.3.]

L. Hayes l dezeen.com

[Img. 11.4,11.5.]

ÂŠ designboom l designboom.com

page 65 [Img. 11.6,11.7.]

courtesy of M. Pezo and S. von Ellrichshausen

[Img. 11.8-11.10.] B. Boardman l dezeen.com

dezeen.com

95 page 66 [Img. 12.1.]

retrieved from www.londondesignbiennale.com

page 67 [Img. 13.1.]

anon. l www.iaacblog.com

[Img. 13.2.]

courtesy of Arshid Moussavi l dezeen.com

[Img. 13.3.]

L. Ghinito l contessanally.blogspot.co.uk

[Img. 13.4.]

G. Cadiz l lifestyle.inquirer.net

[Img. 14.1.]

[Img. 14.2.]

W. Wandzel l muzycznykrakow.wordpress.com

[Img. 14.3,14.4.]

scraperka.pl

page 68 [Img. 14.5-14.8.]

J. Choli l private source

page 69 [Img. 15.5.-15.8]

retrieved from www.inaw.pl

[Img. 15.9.]

retrieved from www.offpluscamera.com

[Img. 15.10.]

retrieved from www.londonfestivalofarchitecture.org

and architecturediary.org/london

page 70 [Img. 16.1.,16.2.,16.3.]

J. Choli l private source

[Img. 16.4.-16.6.]

retrieved from Wiadomosci ASP_74

page 71 [Img. 17.1.]

M. Bielecki

l flickr.com

[Img. 7.2 17.3.]

[Img. 17.4.]

retrieved from www.biurofestiwalowe.pl