Gadanho has kept a high profile in the architectural field at large, with a regular presence in international conferences, juries and other consulting bodies. He was a consultant for the Rolex  Mentor-Protegé Arts Initiative 2013, the MacArthurs Fellows Program, and the Pew Fellowship Programs for 2014, among others.

Profiles on his work and curatorial projects have been published in magazines and online sites such as  New York Times, New York; Architecture d’Aujourd’Hui, Paris; ICON, London; DAMNo, Brussels; IndabaDesign, Cape Town, etc.

He is a Loeb Fellow from Harvard University. Currently, Gadanho is leading the Candidacy to European Capital of Culture 2027, for 19 towns in Portugal and Spain, at the border territory of Raia Central.

Pedro Gadanho Interview Topics

1. Education background –  From Portugal to the world, Education

2. As a Writer

3. Science Fiction and its impact on our reality

4. Architecture background – How do you see architecture now?

5. Present state of architecture: evolution over digital platforms

6. We are creating our own illusion of reality. How do you defend the blend?

7. Challenges of the art world

8. As a curator of MoMA and MAAT

9. Major achievements

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Pedro Gadanho Biography

Pedro Gadanho is a 2020 Loeb Fellow from the Harvard Graduate School of Design, where he developed multidisciplinary research on the environmental crisis and its impacts on architectural practice, leading to the upcoming publication of Climax Change! (Actar Publishers, 2021).

Gadanho holds an MA in art and architecture and is a PhD in architecture and mass media.  Until 2012, he was an Auxiliary Professor at the Faculty of Architecture of the University of Porto, in  Porto. Currently is a Guest Professor at the Beira Interior University.

From 2012 to 2016, he was the Curator of Contemporary Architecture in the Department of Architecture and Design at the Museum of Modern Art, New York. From 2015 to 2019, he was also the founding director of MAAT, the new Museum of Art Architecture and Technology, in Lisbon.

As a founding director of MAAT, he completed projects with major multi-media artists such as Apichapong Weerasethakul, Dominique Gonzalez-Foerster, Gary Hill, Tomás Saraceno, Bill Fontana, Tadashi  Kawamata, or Jesper Just. In between more than 50 exhibitions programmed over four years, he curated group shows such as Utopia/Dystopia, the multi-venue Eco-Visionaries, Art and Architecture  After the Anthropocene, and the film and video exhibition Tension & Conflict, Video Art after 2008. Under his leadership, the museum reached an audience of half a million visitors in its first year of activity.

While he joined MoMA, he curated a number of breakthrough exhibitions based on the Museum’s collections, including 9+1 Ways of Being Political, Cut’n’Paste, Conceptions of Space, and Endless  House. He curated two new major initiatives: Uneven Growth, Tactical Urbanisms for Expanding  Megacities, in collaboration with the Vienna Biennale, 2014, and A Japanese Constellation: Toyo Ito, SANAA and Beyond, 2016. At over 350.000 visitors, this group show was the most viewed architecture exhibition in the world during that year. He was also responsible for MoMA’s Young Architects Program, a  multi-partner initiative that continues to grow in relevance and scope, with two new international venues – in Istanbul, Turkey, and Seoul, Korea – added in 2013.

While at MoMA, Gadanho has kept a high profile in the architectural field at large, with a regular presence in international conferences, juries and other consulting bodies. He was a consultant for the Rolex  Mentor-Protegé Arts Initiative 2013, the MacArthurs Fellows Program, and the Pew Fellowship Programs for 2014. He was a jury member for the Bienal Colombiana de Arquitectura 2012, the European Union  Prize for Contemporary Architecture – Mies van der Rohe Award 2013, and the Harvard GSD Wheelright  Prize 2014.

Previously to joining MoMA, Pedro Gadanho was based in Lisbon and divided highly successful activities between architecture, teaching, writing and curating. He used all media available at any given moment to provoke critical thinking on the connections between architecture, city and contemporary culture.

Since 2012, he has given lectures at the ETH Zurich, Columbia University, Rice University and Penn State  University, as well as in cultural venues in Brazil, Italy, India, Kuwait, Poland, Taiwan and Japan. He participated in conferences such as The Future of the City salon, organized by the New Yorker; Think  Space conference, in Zagreb; Performing Architecture symposium, at Princeton University; and Exhibiting  Architecture symposium, at Yale University.

Besides contributing regularly to international magazines and books, he was the editor of the BEYOND,  Short Stories on the Post-Contemporary book series, in Amsterdam, and kept the Shrapnel  Contemporary blog. He published the monograph [Interiors 01/010] (Caleidoscópio) and the book  Architecture in Public (Dafne), which was a recipient of the FAD Prize for Thought and Criticism in 2012.

Between 2000 and 2003, he was a director and curator of ExperimentaDesign, the Lisbon Biennial. Since  1999, he is also the founding director of CUC, Centre for Contemporary Urban Culture, an organisation with which he co-organised the 1st International Conference on Architecture and Fiction, at the Calouste  Gulbenkian Foundation, Lisbon, in 2010.

Previous participation in international conferences included Alternate Currents, at Sheffield University,  and Tickle Your Catastrophe, at Ghent University. Beyond presentations included Harvard GSD, the  Architectural Association, the Rotterdam Biennale, and the Beyond Media Festival in Florence. He also participated in international panels on architectural curating and writing, including Archilife, Orleans, the  CCA or the Venice Architecture Biennale 2008.

As a free-lance curator, he led Metaflux, the Portuguese representation at the 2004 Architecture Venice  Biennale; Post.Rotterdam, for the European Culture Capital Porto 2001; Space Invaders, for the British  Council London; the 1000 Plateaux talk series for ExperimentaDesign, Lisbon; Influx, for Serralves  Contemporary Art Museum, Porto; Pancho Guedes, An Alternative Modernist, for the Swiss Architecture  Museum, Basel. He was also the chief-curator of the National Architecture Exhibition Habitar Portugal 06- 08 for the Portuguese Architects Guild, and Performance Architecture, a public space program for the  European Capital of Culture 2012, in Guimarães.

He has published articles on architectural curating internationally, including contributions for academic publications and for magazines such as Domus, Milano, or Abitare, Milano. His articles on curating as a  critical practice appeared in Oase, Rotterdam, ICAM Print, Vienna, or the Routledge publication  Architecture Beyond Criticism. He has co-authored two TV series and has directed a film documentary on African architect Pancho Guedes.

His architectural practice has been specifically dedicated to spatial recycling and has included exhibition designs such as Flexibility, for the Torino 2008 World Design Capital, gallery spaces such as the Ellipse  Foundation Art Centre, in Lisbon, Galeria Presença, in Porto, Transforma Headquarters, in Torres  Vedras, and experimental domestic architectures such as Baltasar House, the Orange House and the GMG House, all of them highly acclaimed and published worldwide.

Profiles on his work and curatorial projects have been published in magazines and online sites such as  New York Times, New York; Architecture d’Aujourd’Hui, Paris; ICON, London; DAMNo, Brussels;  IndabaDesign, Cape Town; Archiworld, Seoul; Coolhunter, New York; Architect’s Newspaper, New York;  Domus, Milano; Monocle, London.

Vision

Present state of architecture: evolution over digital platforms

“Architects are seen as powerful because they build structures that are powerful. But, they feel powerful because most of the things have been laid down upon. You have to lead very big team-engineers, and builders. Economic pressure to just respond in an effective way.

You might become a corporate architect, plainly using formula and responding in a mechanical way. In the art field, we split in two different ways: a smaller world by adding expanse by exhibitions, and the other expanded boundaries. But both are not talking to each other. So they are just split.”

As a curator at MoMA

“For me, it was my first 9-5 job, exciting to enter a high level organization: presenting arts in the best way possible. It was also an opportunity for a wider platform to reach many people. As a curator in the architecture and designs department I was in charge of initiating new projects. After 9 months, I did these exhibitions from political aspects. People do tend to look at architecture as a commercial production. It gave me a lot of feedback, but a cruel conception that political positions can never be threatened by architecture exhibitions.”

Pedro Gadanho Links And Sources

https://www.archdaily.com/tag/pedro-gadanho

https://loebfellowship.gsd.harvard.edu/fellows-alumni/fellows-search/pedrogadanho/

https://www.instagram.com/pedrogadanho/?hl=en

https://shrapnelcontemporary.wordpress.com/

https://www.resite.org/speakers/pedro-gadanho

https://pt.linkedin.com/in/pedrogadanho

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Hernaldo Turrillo

Hernaldo Turrillo is a writer and author specialised in innovation, AI, DLT, SMEs, trading, investing and new trends in technology and business. He has been working for ztudium group since 2017. He is the editor of openbusinesscouncil.org, tradersdna.com, hedgethink.com, and writes regularly for intelligenthq.com, socialmediacouncil.eu. Hernaldo was born in Spain and finally settled in London, United Kingdom, after a few years of personal growth. Hernaldo finished his Journalism bachelor degree in the University of Seville, Spain, and began working as reporter in the newspaper, Europa Sur, writing about Politics and Society. He also worked as community manager and marketing advisor in Los Barrios, Spain. Innovation, technology, politics and economy are his main interests, with special focus on new trends and ethical projects. He enjoys finding himself getting lost in words, explaining what he understands from the world and helping others. Besides a journalist, he is also a thinker and proactive in digital transformation strategies. Knowledge and ideas have no limits.

The post Pedro Gadanho – Architecture, Arts, Cities & Society – Former MoMA & MAAT Curator, Architect appeared first on OpenBusinessCouncil Directory.

You may not realize it, but your office’s design and decor can actually go a long way to affecting your employees’ motivation and productivity. A badly designed office can be a terrible work environment as moving around it could be highly inefficient. Not only that, though, but it could create a few hazards and might even encourage clutter.

Once you’ve sorted out your office’s layout, you then need to think about how it looks. Here are some tips from other successful entrepreneurs that should help you create a beautifully designed office that is great for your team’s productivity!

Use Bright Colors

First of all, think about the colors that you use within your office. Don’t go for ones that are too dark as these could be quite overbearing. They might even make your office feel a lot smaller than what it is as well. So, it’s best to go for crisp, bright colors that can help to open up the whole space. Try to keep the colors fairly neutral too so that they aren’t too overwhelming for any of your employees.

Support The Local Arts Community

To try to improve your company’s reputation with the local community, it’s a nice idea to support artists working in your region. You might want to buy a few artworks from a couple of local artists for your walls, for instance. Another nice idea is to hire a couple of artists to come into your office so that they can create a stylish mural for one of your office walls.

Keep Decor Features Tasteful

When you do choose other decor features to add to your office, it’s best to try to keep everything as tasteful as possible. This will help to add an air of sophistication to your office, which can help it seem extremely professional. Rather than some plain wall sconces, you might want to opt for some office acrylic wall art for example. It’s also best to keep these decor features to a minimum as adding too many could make your office look slightly cluttered and tacky.

Don’t Forget Mirrors

It’s really worth adding a few mirrors around your office. This is especially the case if your office is only fairly small, as these mirrors can help to create the illusion of space. Mirrors will also help fill the room with a lot more natural light. If you strategically place a mirror opposite a window, then sunlight will shine into the mirror and reflect around the rest of the office, helping to brighten it all up.

Use Dividers In Open-Plan Offices

It’s a good idea to add some dividers to open-plan areas in your office. They can help add a bit of privacy so that it doesn’t feel like your employers are all working on top of one another. Plus, creating sections with dividers will make the space feel a lot more spacious.

As you can see, there are plenty of great decor tips that you can use in your office. Let us know which ones you go with!

This is an article provided by our partners network. It might not necessarily reflect the views or opinions of our editorial team and management.
Contributed content

Hernaldo Turrillo

Hernaldo Turrillo is a writer and author specialised in innovation, AI, DLT, SMEs, trading, investing and new trends in technology and business. He has been working for ztudium group since 2017. He is the editor of openbusinesscouncil.org, tradersdna.com, hedgethink.com, and writes regularly for intelligenthq.com, socialmediacouncil.eu. Hernaldo was born in Spain and finally settled in London, United Kingdom, after a few years of personal growth. Hernaldo finished his Journalism bachelor degree in the University of Seville, Spain, and began working as reporter in the newspaper, Europa Sur, writing about Politics and Society. He also worked as community manager and marketing advisor in Los Barrios, Spain. Innovation, technology, politics and economy are his main interests, with special focus on new trends and ethical projects. He enjoys finding himself getting lost in words, explaining what he understands from the world and helping others. Besides a journalist, he is also a thinker and proactive in digital transformation strategies. Knowledge and ideas have no limits.

The post Office Decor Tips From Successful Entrepreneurs appeared first on OpenBusinessCouncil Directory.

Monetary rewards as necessary condition and signal for ethics and commitment

In my last post I talked about the importance of monetary and rewards and non-cash prices in social business as it attracts extrinsically motivated people and it shows the company’s attitude, recognition and commitment towards collaboration with external stakeholders. Attractive rewards signal that a business, company or organisation doesn’t want to exploit consumers but appreciates the effort that participants invest and the (potential) value that their submissions can create.

Social and Digital Co-creation experiences as sufficient condition

But everyone who has experience with co-creation projects knows that the key for a successful co-creation project lies in attracting and engaging intrinsically motivated people. Thus, if we want to increase the value for Co-Creators we first have to understand what motivates Co-Creators besides monetary rewards. What are their underlying intrinsic motives and what do they expect from co-creation initiatives in terms of the process and the outcomes.

I think Clay Shirky give some great insights into the role of intrinsic motivations on our behaviors. Clay Shirky has written a great book on “Cognitive surplus”.

And I think the phenomenon of “cognitive surplus” explains pretty good what is happening in social media and why consumers are willed to participate in co-creation. In his book Cognitive Surplus: Creativity and Generosity in a Connected Age and his TED Talk How cognitive surplus will change the world he is making the point that “people are now learning how to use more constructively the free time afforded to them since the 1940s for creative acts rather than consumptive ones, particularly with the advent of online tools that allow new forms of collaboration. But while social technologies enable creative activity, the underlying motives for work we do with our spare brain cycles aren’t fueled by external rewards but by intrinsic motivation—the joy of doing something for its own sake.”

The open source movement – with prominent examples like Wikipedia, linux or apache – is a great example that shows the power of intrinsic motivated people enabled and leveraged by social technologies. But why do consumers contribute to co-creation projects initiated by producers? In contrast to open source software where users immediately benefit from using their programmed code, consumers participating in virtual new product development will hardly ever be able to immediately benefit from using “their” innovation. If at all, the co-created products will be available on the market 6-12 months later at the earliest. Working on co-creation projects together with profit-oriented firms may further crowd-out voluntary participation. As motives depend on context, exploring who and why one engages in virtual cocreation projects initiated by producers is worthwhile.

Recent research from Johann Füller (CEO of HYVE and assistant professor at the University of Innsbruck) shows consumers’ motivations indeed determine their expectations towards the co-creation design. He highlights the differences between extrinsically and intrinsically motivated consumers as follows:

Proposed Impact of Motives on Expectations (Source: Füller 2010)

Results show that consumers engage in virtual co-creation for several reasons. He identifies six main co-creation motives:

• curiosity
• dissatisfaction with existing products
• intrinsic interest in innovation
• gain knowledge
• show ideas
• get monetary rewards

Cluster analysis further revealed that consumers differ in the motive structure that drives them to engage in virtual co-creation

• Reward oriented consumers (19,9%)
• Need driven consumers (26,3%)
• Curiosity-driven Consumers (27,8%)
• Intrinsically interested consumers (26%)

Cluster Means of the Four Different Consumer Types (Source: Füller 2010)

“The results indicate that, with the exception of reward-oriented consumers, monetary incentives are not as important for engagement in virtual co-creation. For participants, intangibles such as feedback or recognition as well as the interaction experience itself are amply rewarding. … Monetary rewards may be necessary, especially to avoid the impression that a successful company is ripping-off consumers’ creativity for free, but they are not sufficient if other incentive mechanism like feedback, recognition, or compelling experience are missing. The asserted legal rights should also be taken into consideration when determining the amount of the monetary compensation.”

As I said earlier and similar to Johann’s implication, I think monetary rewards are a very important aspect of co-creation in that case as it shows the company’s attitude, recognition and commitment towards collaboration with external stakeholders. Attractive rewards signal that the company doesn’t want to exploit consumers but appreciates the effort that participants invest and the (potential) value that their submissions can create. Nevertheless, if the intrinsic motives are not addressed and the interaction and resulting co-creation experience is not perceived as rewarding the project will fail. As I wrote in my prior post, I think rewards in terms of monetary and non-cash prices will become a more important factor that signals the ethics and commitment of the co-creation initiator (Necessary condition). But the commitment and quality of interaction between the participant and the brand will create a rewarding co-creation experience and valuable outcomes (Sufficient condition).

Implications:

• Different types of Co-Creators have different motives and expectations
• Extrinsic, monetary rewards are not the dominant driver of co-creation, but act as hygiene factor signaling the firm’s ethics and commitment towards co-creation (Necessary condition)
• Commitment and quality of interaction between the participant and the brand will create a rewarding co-creation experience and valuable outcomes (Sufficient condition)

Hernaldo Turrillo

Hernaldo Turrillo is a writer and author specialised in innovation, AI, DLT, SMEs, trading, investing and new trends in technology and business. He has been working for ztudium group since 2017. He is the editor of openbusinesscouncil.org, tradersdna.com, hedgethink.com, and writes regularly for intelligenthq.com, socialmediacouncil.eu. Hernaldo was born in Spain and finally settled in London, United Kingdom, after a few years of personal growth. Hernaldo finished his Journalism bachelor degree in the University of Seville, Spain, and began working as reporter in the newspaper, Europa Sur, writing about Politics and Society. He also worked as community manager and marketing advisor in Los Barrios, Spain. Innovation, technology, politics and economy are his main interests, with special focus on new trends and ethical projects. He enjoys finding himself getting lost in words, explaining what he understands from the world and helping others. Besides a journalist, he is also a thinker and proactive in digital transformation strategies. Knowledge and ideas have no limits.

The post What drives Co-creators beyond monetary rewards? appeared first on OpenBusinessCouncil Directory.