THE LIMAART MUSEUMNEW CONTEMPORARY ART WINGCOMPETITION BRIEF

PresidentJuan Carlos Verme

DirectorNatalia Majluf

General Manager Flavio Calda

Competition DirectorGary Leggett

Competition Staff Gabriela AquijeLaura Quijano

Museum Team Sharon Lerner Nelson Munares Claudia Sánchez Susy SanoSandra ScottoLuisa Yupa

Graphic Designvm&

Image (right)Nudos, 1973Jorge Eduardo Eielson

SCOPEThe Lima Art Museum (MALI) is launching an open competition for the design of its new contemporary art wing, which will include new gallery spaces, a library, classrooms, a café, storage, a public plaza, access to a future metro station and a landscape proposal for the park where the museum is located.

PROGRAM AREA 6,000 m2 (not including public plaza and landscape proposal)

PREREQUISITESEstablished architect who can demonstrate, through previous projects or the composition of his/her team, the capacity to take on a project of this scale and complexity. While the submission is anonymous, finalists will be asked to present their work before the Jury on July 8th, 2016.

PRIZESThree unranked finalists: 10,000 USD each

DESIGN FEEThe total building cost for the project is estimated at 12 – 15M USD (excluding taxes). The architectural fee is 8% of total construction costs. This percentage does not include consultants, specialists, exhibition design, or construction administration.

JURYKristin FeireissTeodoro FernándezGuy NordensonPaulo DamJuan Carlos Verme

General advisor: Chris Dercon

COMPETITION DEADLINEJune 30, 2016

WINNER ANNOUNCEDJuly 11, 2016

GENERAL INFORMATION

SPONSOR INSTITUTIONAL PARTNERS

Municipalidad de Lima

INTRODUCTION

THE MUSEUM/THE SITE

PROGRAM AND DESIGN GUIDELINES

COMPETITION GUIDELINES

COLLECTION HIGHLIGHTS

INTRODUCTION

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The Lima Art Museum (MALI) is pleased to announce the launch of an open competition for the design of its new contemporary art wing. The project will include a library, new gallery spaces, classrooms, offices, a café, a public plaza, access to a future metro station, and a landscape proposal for the park where the museum is located. Our goal is to establish the MALI as a new civic and cultural platform in the city, as well as a referent for future competitions regarding the design of public spaces in Lima.

The competition marks a critical moment in both the museum’s and the city’s development. On the one hand, the creation of a new wing housing the MALI’s contemporary art collection—a collection containing more than a thousand works currently in storage—will consolidate the museum as one of the most important art institutions in Latin America. On the other, the design of a public plaza, linked to a metro station and a park, represents a form of architectural competition (noticeably absent in Lima for the past thirty years) focused on the design of civic spaces. The museum becomes, in this way, a key player in the construction and development of the city’s public sphere, raising questions about the way art might be produced and exhibited in this context.

Starting in the early 2000s, Lima entered a period of unbridled development, favoring private needs over public interests. The city grew with little concern for the creation of public spaces or green areas, not to mention the near-total neglect of a public transportation system that could properly absorb a population of now nearly 10 million. It is only in the past few years that debates about the urgency of public spaces and public transportation have come to a head, laying bare the city’s shortcomings with respect to its own future.

In this light, the MALI’s design competition is not only an invitation to imagine a new museum but also—and perhaps more importantly—to reassess the role of the museum in the creation of a more livable and open city. The site’s location at the entrance of Lima’s historical center makes it a critical piece in the creation of a pedestrian corridor (as yet inexistent) linking the Exposition Park to the Rimac district, north of the city’s Central Square (see Fig. 17). For a city wanting in public spaces and green areas, a project of this kind might therefore become a springboard for future public projects.

Fig. 1

Aerial view of the Exposition Palace and Park, 2016.

THE MUSEUM / THE SITE

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The Museum

The MALI is a private, non-profit cultural organization devoted to the promotion of the visual arts in Peru. It houses the only representative survey collection of Peruvian art in the country, consisting of over seventeen thousand works. Its permanent collection includes pre-Columbian and Colonial objects as well as Republican and contemporary works.

The museum has been a critical player in the development of new research on Peruvian art history. Its education department contributes to the formation of thousands of students who seek to develop their artistic ability and broaden their knowledge of art theory and history. Likewise, the MALI has an active program of temporary exhibitions throughout the year, covering local and international artists. Past exhibitions have included Annie and Josef Albers, Francis Alÿs, Fernando Bryce, Martin Creed, Milagros de la Torre, Gordon Matta-Clark, Marcel Odenbach, Gerhard Richter, Thomas Struth and Wolfgang Tillmans, among others.

The museum recently opened its newly renovated galleries on the second floor of the Exposition Palace, showcasing some of the collection’s most important pieces (Fig. 5, 6).

These galleries survey almost 3,000 years of history, from pre-Columbian textiles and pottery, to mid-twentieth century painting. However, the museum’s contemporary art collection, numbering over a thousand works, is still largely kept in storage, making the design of a new wing all the more pressing.

The first floor of the museum houses three temporary exhibition galleries, a small library, a café, a museum shop, a small battery of offices, fourteen classrooms, a conservation workshop, and a storage room. The main entrance to the museum is set along the south-facing facade of the Exposition Palace, looking towards the park. There are also two lateral entrances, facing Av. Garcilaso de la Vega, which take visitors straight to the classrooms and café. The Museum receives an average of 12,000 visitors a month (some months receiving over 40,000).

Fig. 2

South facade of the museum and main entrance from the Exposition Park.

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Fig. 4

Temporary Exhibition (first floor)

Displaying Más lejos que Lima, 2009

Sandra Nakamura

Fig. 3

Interior courtyard

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Fig. 5

Second floor.

Permanent collection

Fig. 6

Second floor. Drawing gallery.

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Vestibule

Exhibitions

Library

Classrooms

Storage / Workshops

Offices

Precolumbian Art

Colonial Art

Silver Work

Photography

Republican Art

Modern Art

Prado Room

Drawing Gallery

Textiles

Fig. 7

Current program distribution

ConservationWorkshop

Auditorium

Cafe

Classrooms

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The Building and the Park

The MALI is housed in the 1872 Exposition Palace, located in the Exposition Park, at the entrance of Lima’s historic center. The building was the first in the region built especially to hold large-scale exhibitions. Antonio Leonardi, an Italian architect living in Lima at the time, designed the Italianate façade that wraps the building’s structure—a cast-iron system designed in France between 1870 and 1871. Leonardi, together with journalist Manuel Atanasio Fuentes, also designed the park, located on the former site of the Guadalupe Gate (one of ten gates along the city wall, torn down during the modernization campaigns of Jose Balta’s presidency in 1868). Besides the Exposition Palace, the park houses numerous structures, including the Moorish and Byzantine pavilions.

After the closing of the 1872 exhibition, the Exposition Palace was operated by the Society of Fine Arts until the War of the Pacific broke out in 1879. The building was then used as a Peruvian military hospital and later as a barracks for the Chilean occupation army. During the first half of the twen-tieth century, the Museum of National History (1906-1937) occupied the second floor of the Exposition Palace; the rest of the space was occupied by government offices.

In 1954, a group of entrepreneurs and intellectuals formed an association called the Patronato de las Artes with the objective of founding an art museum. In support of this initiative, the Municipality of Lima offered the Exposition

Palace as a venue for the future museum. With the help of UNESCO, architect Hans Asplund and the museum specialist Alfred Westholm submitted a proposal for the building. The initial restoration of the Exposition Palace, undertaken with support of the Peruvian and French governments, was inaugurated in 1957, on the occasion of a large French industrial and cultural exposition. The MALI’s permanent exhibition galleries were officially inaugurated on March 10th, 1961. President Manuel Prado donated, on behalf of the Prado and Peña Prado families, a body of work that today forms the basis of the museum’s permanent collection.

Fig. 8

Postcard. MALI Archive.

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Fig. 11

Second floor construction.

MALI Archive.

Fig. 9

Left. Moorish Pavilion.

Fig. 10

Right. Byzantine Pavilion.

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The Site

The project site is located within the Exposition Park, next to the Palace, at the corner of Paseo Colón and Av. Garcilaso de la Vega, two heavily trafficked avenues at the entrance of the city’s historic center. The Exposition Park and Paseo Colón fall within an area denominated “monumental space” by the Ministry of Culture, meaning that, as an urban conglomerate, it is protected by national heritage laws–—i.e., all building proposals within the area must be revised by the Ministry of Culture for approval (See Program and Design Guidelines).

The City of Lima gave the site to the MALI under a commodatum agreement, extended in 2014, granting the museum the right to use the space. A small amphitheater and scattered kiosks currently occupy the site. However, the design and use of this space is not well integrated to the rest of the park, making it an ideal site for the museum’s expansion. The site boundaries have been extended to the south in order to compensate for a necessary expropriation by the Metro Authority. Entrants are asked to distribute the program within this area as they see fit, as long as the existing amount of green space is not diminished.

To the north, crossing Paseo Colón, there is another park, the Juana Alarco de Dammert Park, which houses the Military Museum and the Italian Art Museum. Further north, on the site of the former Panopticon, sits the Civic Center, whose

first two levels were recently repurposed into an open-air shopping mall. Access to the Metropolitano’s Central Station (Lima’s north-south bus corridor) can be found nearby.

Besides the specific project site, the competition will address the relationship between the museum and the park. To this end, entrants are asked to submit a landscape proposal for the area shown in Fig. 18, hereafter referred to as the “extended site”. Some of the issues the park faces are the following:

• It only has two points of access; the perimeter is fenced-off from the street. • It has an excess of hard surfaces, causing the park to be intolerably warm during the summer. • There is no overarching vision or coherence in the planning or uses of the park. • There are too many isolated structures and buildings within the park. • Path widths do not always correspond to typical pedestrian flows and directions; some paths are too narrow, others, too wide. • Crossing from the Exposition Park to the Dammert Park is problematic. • Some areas are rarely used, like the Water Plaza to the east of the Exposition Place.

Fig. 12

Historical photograph of site. MALI Archive.

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Some structures in the Exposition Park are heritage sites that cannot be significantly altered, namely, the Exposition Palace, the Byzantine Pavilion, the Moorish Pavilion, and the Old Seismograph.

The southern edge of the Dammert Park should also be considered part of the extended site, at least with regards to the Metro station’s access. A seamless underground connection between the two parks is desirable. Access to the future Metro line will be located on the Paseo Colón side (on both sides of the avenue), next to the park’s northern entrance.

Entries should also include the MALI’s current entrance lobby, cafeteria, library and shop as part of the extended site (see Fig. 19). This is to ensure that the proposals consider how the new wing might relate to the museum’s entrance sequence.

A new entrance sequence might also be imagined from the Metro station exit. Lines 2 and 3 of the future Metro will both stop at this station, providing an underground link to Lima’s BRT system, the Metropolitano. Line 2 (and its airport link, Line 4) will provide connections to three universities and six educational institutions, totalling 35 stations along its route. The station that will serve the museum will be the most heavily-used station in the entire system (60,000 riders are expected to use it every day).

Fig. 13

Photograph of site, looking north.

While the exact design of the Metro station will not be determined until the end of 2016, the proposals should be flexible enough to accommodate minor changes during the design development stage. Construction of the station is slated to begin in 2018. The surface of the Metro’s expropriation (shown in Fig. 19) may be used for the plaza’s design.

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Fig. 14

Aerial view of site, looking south.

Fig. 15

Left. West facade of the Exposition Palace.

Fig. 16

Right. Site photograph, looking south.

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R I M A C

PLAZA DE ACHO

PLAZA MAYOR

PLAZA SAN MARTIN

PLAZA MANCO CAPAC

100 m 200 m

PARQUE UNIVERSITARIO

PASEO DE LOS HEROES NAVALES

EXPOSITION PARK

LINE 3 METRO STATION

LINE 2SITE BRT CENTRAL STATION (METROPOLITANO)

PLAZA BOLIVAR

PLAZA ITALIA

HISTORIC CENTER

MT

MT

M

MFig. 17

City Plan

JUANA LARCO DE DAMMERT PARK

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Fig. 18

Exposition Park and Dammert Park.

AV. 9 DE DICIEMBRE

(PASEO COLÓN)

AV. 28 DE JULIO

AV. PA

SEO

DE

LA R

EPÚ

BLIC

A

AV

. PASE

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A R

EP

ÚB

LIC

A

AV

. GA

RC

ILA

SO D

E L

A V

EG

A

3

2

1

5

4

12

14

13

6

9

8

10

12

15

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7

10 m 40 m

1. Museo de Arte Italiano

2. Museo de Militar

3. Museo de Arte de Lima (MALI)

4. Water plaza

5. Byzantine Pavilion

6. Moorish Pavilion

7. Ricardo Palma Memorial

8. Escuela Nacional de Arte Dramático

9. Amphitheater

10. Botanical Gardens

11. Chinese Fountain

12. Museo Metropolitano de Lima

13. Old Seismograph

14. Public Restrooms

15. Parking

SITE

EXTENDED SITE

19

3 4

2

1

AV. 9 DE DICIEMBRE (PASEO COLÓN)

AV

. GA

RC

ILA

SO D

E L

A V

EG

A

SITE

ENTRANCE / LOBBY (included in project scope)

MAIN ENTRANCE CLASSROOMS ENTRANCE

LOADING DOCKCAFE ENTRANCE

METRO STATION EXPROPRIATION

5 m 10 mFig. 19

Site plan

1

42

3

PROGRAM AND DESIGN GUIDELINES

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The new wing will be largely built below-grade, totaling approximately 6,000 m2. A quick area calculation shows that the building may fit in three floors. Entrants may distribute the program as they see fit, within the boundaries of the site in Fig. 19. For structural reasons, there will not be an underground connection between the Exposition Palace and the new wing.

Program

The following is a breakdown of the building’s program:

Galleries These must be contiguous, flexible spaces that allow for multiple configurations and multiple entrances. The large gallery should be able to be converted into smaller galleries with separate entrances. See Museum Exhibition Guidelines.

Library The library is projected to contain 40,000 books, 30,000 magazine issues, and more than 200 linear meters of documents. It should be divided in three areas:

• An administration/technical area, containing two separate offices, one for 2 people, the other for 3. • A public area, containing a general reading room and a closed reading/research space. • A storage area, containing the stacks. This area needs to be climate-controlled.

The current location of MALI’s library—freed up by the construction of the new wing—may be considered part of the design area (i.e., it may absorb some of the program defined in this brief or be converted into offices).

Plaza The plaza will provide access to the new wing, the Exposition Palace, and the Metro station. Entries may eliminate the perimeter fence and treat the sidewalk as part of the new plaza. However, the park—not the plaza—should be closed at night, so a fence system will need to be proposed as part of the new scheme. Any existing structures and vegetation within site boundaries may be altered or removed, as long as the number of trees and percentage of green area is not reduced.

Any new above-grade construction must be setback five meters from the Exposition Palace facade, according to national heritage laws. There is no official height limit for the new wing, however, any part of the building that goes over the height of the Exposition Palace’s plinth (70 cm), should consider how it frames, or positions itself relative to, the Palace’s west facade. The Ministry of Culture will revise the winning project to determine if the new wing significantly “blocks” the Palace’s facade. Since this process is entirely discretionary, we can only request that the proposals address this issue by showing how the design relates to the building’s facade.

Similarly, there is no specific building depth limit. Line 2 of the Metro will run at a depth of 23 m, while Line 3 will run at 30 m.

Access to the Metro station, where both lines will stop, has not been designed yet. The CAD file includes a tentative access location (provided by the Metro Authority), but

this should be designed as part of the building proposal. The entrance to the new metro station may, if deemed appropriate, exceed the current area set by the Metro Authority. However, since the station will increase the flow of pedestrians in the area, a certain distance from the museum’s lateral entrance is encouraged. The winning team will be required to work closely with the Metro Authority and construction company to ensure that the MALI’s new wing is well-integrated to the station’s design. A below-grade connection with Dammert Park is encouraged. This connection should be part of the station’s vestibule. The design of the plaza should also consider the possibility of displaying outdoor sculptures and architectural installations.

Landscape The landscape proposal should consider how the plaza relates to the rest of the park. It should aim to improve pedestrian movement and recreation throughout the park, providing more shaded green areas. Entrants are invited to propose a landscape plan for the area shown in Fig. 18, addressing some of the issues mentioned above (see The Site). A taxi and bus drop-off area may also be proposed along the park’s perimeter. Lanscape proposals may be focused on a programmatic reorganization of the park, and need not be excessively detailed. What the MALI is seeking is a long-term vision of the park that might be shared with the City of Lima in anticipation of the country’s bicentennial celebration in 2021.

Cafe and Gift Shop The current museum cafe and gift shop may be relocated or redesigned. An additional cafe/restaurant should be included in the new wing.

Classrooms These should be flexible enough to adapt to different configurations and subdivisions.

Storage Storage areas must have a minimum floor-to-ceiling height of 3.6 m and be climate-controlled. Natural lighting should be avoided. Doors must have a minimum dimension of 3.20 m (H) X 2.80 m (W). Since these spaces will be below-grade, the wall section must provide proper moisture-protection. A freight elevator connecting the storage area directly to the exhibition galleries is required.

Parking

The MALI currently uses the Exposition Park’s underground parking facility, in the southern sector of the park.

Building Specifications

Submissions should try to be energy and resource efficient in the operation of the building, as well as in the selection of building materials and finishes. Solutions for greywater reutilization and natural ventilation (where appropriate) are particularly encouraged. Lima’s relative humidity is very high. Average temperatures range from 12ºC/54ºF to 18ºC/64ºF (low) and 24ºC/75ºF to 28ºC/82ºF (high). Winters are cloudy, damp and cool. Summers are sunny, humid, and warm. High relative humidity produces morning fogs from December to April

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EDUCATIONInformation + waiting room8 classrooms (60 m2 each)8 classrooms (100 m2 each)Teacher’s roomStorageW.C + 5 showersW.C + 5 showers

STORAGECollection storageAdministration storageMuseography storageWoodshopElectric and metal shop

EQUIPMENTEquipment roomPower UnitPower Control Room

SUBTOTALCIRCULATION (15%)TOTAL

RECEPTIONFoyer (information + gift shop)W.C menW.C womenMultipurpose spaceCafe (tables + kitchen + bar)

GALLERIESPermanent Exhibition galleryVideo projection room

LIBRARYReading roomBook depositorySpecial collections Offices2 research cubicles (6 m2 each)

100 480 800

20 60

40 40

1,540

600 50

100 50 30

830

120 45 25

190

5,222 783

6,005 m2

250 30 30

150 150610

1,650 40

1,690

120

160 40 30 12

362

Fig. 20

Aerial view of Exposition Park and Palace

Fig. 21

Requested program areas

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• Galleries should have a minimum floor-to-ceiling height of 4 m. • Minimum dimension for doors: 3.20 m (H) x 2.80 m (W)• Avoid columns in the interior of the floor plate. • Controlled natural lighting is encouraged. However, direct sunlight on walls and floors should be avoided. • Wall section should be designed to avoid high indoor moisture levels. A 50-60% relative humidity is ideal. • Galleries should be climate-controlled to ensure a 19- 21˚C range. • Easily storable partitions may be proposed. • Walls along the perimeter should contain wiring and be fully accessible. • Illuminance levels should fall between 150-250 lux for gallery walls. • Gallery floors and walls should be drillable for the installation of artwork and partitions. • Each gallery should have an IT closet and outlets on the floor.

Recommended reading:

Barry Lord, Gail Dextor Lord and Lindsay Martin, eds. Manual of Museum Planning: Sustainable Space, Facilities and Operations. Altamira Press, Plymouth, UK: 2012.

and persistent low clouds and mist from May to November. Average rainfall is 6.4 mm a year, making it one of the driest capitals in the world. However, high water content in the air makes it a highly corrosive environment for non-galvanized metals. A lack of rain also means that building surfaces tend to accumulate dust and other particulates, which must be considered in the choice of exterior finishes.

Entries should also aim to be earthquake-resistant. Given that the building will be constructed below-grade, next to a metro tunnel, ground vibrations must be accounted for.Moreover, since the site is located at the intersection of two heavily-trafficked avenues, proposals should consider both air and noise pollution in their design (see Fig. 23).

Circulation

According to the Peruvian building code, the museum must have at least two staircases (emergency and otherwise), at a distance defined by the following criteria: measure the greatest distance, in a straight line, across the floorplate and divide by two. If the building has a fire sprinkler system, divide that distance by three (see Fig. 22) The minimum distance to an emergency exit is 45 m (without sprinklers) and 60 m (with sprinklers). Entrants are asked to design their floorplans with a fire sprinkler system.

The only accessibility requirement given by the National Building Code—besides having elevator access to all levels—is a 1 m2 space within the emergency stairwell (which should be designed as a fire-proof “safe zone”). This, however, is a minimum requirement and entrants are encouraged to make their designs fully accessible, regardless of physical ability.

Visitor circulation and artwork circulation should be completely separated. Storage areas should be closest to Door 3 of the Exposition Palace (see Fig. 19), which is where artwork coming from the conservation workshops will exit the building.

Museum Exhibition Guidelines

The following are some design guidelines and specifications for the gallery spaces:

x / 3

x / 2x

Fig. 22

Staircase distribution (National Building Code)

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Fig. 23

Site decibel readings. 12-1 PM on a regular weekday.

++

++

+++

+

+

94.8 dD

71.4 dD 88.5 dD

82.1 dD 85.1 dD 75.1 dD

64.2 dD

59.3 dD

75.5 dD

COMPETITION GUIDELINES

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This is an open, two-tiered international competition. The first leg of the competition is anonymous: entrants submit a proposal that is revised by an international jury (meeting in Lima) that selects three finalists. Two days after the selected entries are announced, the finalists give a presentation of their work before the Jury and a panel of museum representatives in Lima. The final decision will be made by the Jury after weighing in any comments that museum representatives may have regarding the viability of the chosen proposals.

Participation Prerequisites

Established architect who can demonstrate, through previous projects or the composition of his/her team, the capacity to take on a project of this scale and complexity.

Criteria for Selection

The following are MALI’s criteria for the evaluation of proposals. Jury members will weigh these as they see fit during the selection process:

Design What is the concept behind the building? What is the quality of the spaces created, both inside and outside the museum? How clearly does it propose a vision for the museum and the city’s future?

Relationship to context How well does the new wing fit into its context? Does it produce new relationships between the museum, the city and the park? How does the new building affect the visibility of the Exposition Palace’s facade? How does it relate to the new Metro station? Does the design address noise and air pollution? Is the project a key element in the proposed vision for the Exposition Park?

Flexibility Are gallery spaces flexible enough to adapt to different exhibition requirements? How well does the plaza adapt to different uses?

Maintenance Is the museum easy to maintain? Does the design consider maintenance costs?

Sustainability In what ways does the building minimize energy and water consumption? How does the design reflect an understanding of local weather conditions and broader environmental concerns?

Feasibility Does the design demonstrate a concern for local building industries, materials, costs, and capacities? Does it seem feasible to build in two years (all permits being secured)?

Language

Entries may be submitted in English or Spanish. Finalists may choose either language for their oral presentations (simultaneous translation will be provided).

Registration

Participants may register at:

http://concurso.mali.pe

Each team will name an appointed leader or representative. After registering, entrants will receive a unique registration number that will be used to identify the digital submission of their entries. Teams will also choose a “Team Name”. Registration will end on May 27th, 2016.

Teams and Partnerships

Partnerships between local and international offices are encouraged but not required. Collaborations will register under a single representative and team name. Consultants may be shared across different teams.

Deliverables

Entrants are required to submit a single digital 15 – 20 page document, A3 format (PDF, landscape), containing the following:

• Site plan 1:1000 (showing hard landscaping, green areas, parking, bicycle stations, etc.)• Ground floor 1:500 • Floor plans 1:250 (showing furniture)• Longitudinal section 1:250 (minimum of 1)• Transverse section 1:100 (minimum of 1) • Minimum of 2 views (one internal, one external). Maximum of 4. • Circulation diagram (visitors vs artworks) • Any additional diagrams to explain the proposal (landscape, water system, noise reduction strategies, gallery flexibility, plaza design, passive systems, etc.) • A 250 – 500 word description of the proposal, covering architectural concepts, the relationship to the site, landscape strategies, etc. • A physical model is optional (at a scale determined by the Entrant). Views may be based on model photographs.

The submission file should weigh no more than 10 Mb. The file should be named according to the following format: registration number_team name.pdf. The submitted document should contain the registration number on every page. No revisions or corrections will be allowed once the proposals are submitted.

Submissions and Final Presentations

Entries will be submitted on the competition website under “Submissions” on June 30, 2016, 11 PM (UTC-5), at the latest. No late submissions will be accepted. Finalists will be required to be in Lima for final presentations (a single member may represent each team). Travel fare, if needed, will be refunded by the museum up to $1,500 USD.

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Prizes and Fees

The three best entries will receive a prize of 10,000 USD each. These will not be ranked. If no entries are considered appropriate for use, the Jury may declare the competition unsuccessful, and no prizes will be distributed. The prize money will be paid 15 days after the finalists are announced. For the winning entry, payment will be discounted from the project’s architectural fees. In the event that the project does not get built, the prize money will still be paid in full. In addition to the finalists, 12 – 15 proposals may be selected, at the Jury’s discretion, for an exhibition at MALI.

Jury

The Jury is composed of three foreign and two national members:

1) Kristin Feireiss (DEU)2) Guy Nordenson (USA)3) Teodoro Fernández (CHL)4) Paulo Dam (PER)5) Juan Carlos Verme (PER)

Chris Dercon will join the Jury as a General Advisor. He will not be in Lima during final presentations. The museum director, Natalia Majluf, and the competition director, Gary Leggett, will be present at the Jury’s deliberation without a voting capacity. The Jury will assess the submissions based on the criteria outlined above (see Criteria for Selection). It will make its decision with a simple majority of votes.

The Jury may declare the competition unsuccessful, without any obligation of choosing any finalists, if the proposals do not meet the requirements, expectations or criteria described in this brief, or if the Jury decides, for whatever reason, that no proposals are worth pursuing. The Jury may also exclude or retroactively annul an entrant’s participation in the competition in the following cases:

1) The entry breaches the rules of anonymity.2) The entrant gives false information regarding background and experience.3) The entry breaches the rules of copyright (See Rules and Regulations).

Once the finalists are selected, and anonymity is lifted, the Jury will decide—based on the finalists’ presentations—whether or not the selected teams are qualified to embark on a project of such scale and complexity. The finalists who do not meet this expectation will be disqualified and ineligible to receive the prize.

The decision of the Jury is final; the competition organizers cannot change it. The Jury communicates its decision to the competition organizers, who will contact the finalists via e-mail and publish the results on the competition website. Feedback will only be provided to the finalists.

Project Budget and Architectural Fee

The total building cost for the project is estimated at 12 – 15M USD (excluding taxes). The architectural fee is 8% of total construction costs. This percentage does not include consultants, specialists, exhibition design, nor does it include Construction Administration.

Rules and Regulations

By submitting a proposal to the competition, each entrant warrants that (1) the proposal is his/her original work and he/she is the exclusive rightsholder of the proposal; (2) he/she has not entered into any contract or agreement that conflicts with his/her ability to enter into a legally binding agreement with the MALI; (3) he/she holds a professional degree in architecture and has the right to practice as an architect in his/her own country of residence; and (4) he/she has not committed or been found accountable for any breach of the law regarding his/her professional activity.

Entries (including the chosen Team Name) may not contain any reference to the authors or their places of work.

The museum reserves the right to reproduce all competition entries, strictly for exhibition and promotional purposes, without paying compensation to the authors. Any use will be properly credited to the respective authors. No employees of the museum, or family relations of the jurors, are eligible to participate. Likewise, no team members may have an active working relationship with the museum. If one of the finalists has a contractual agreement with one of the Jury members, said juror will abstain from voting during the final deliberation process, once anonymity is lifted. The Museum may effect changes in the competition brief, as well as in any part of the selection process, as long as such changes are properly justified and reported to the competition participants.

Contact and Questions

All questions should be sent to the following email address:

concurso@mali.pe

Last day for queries is May 27th, 2016. Questions and answers will be published on a weekly basis on the competition website. Only questions that are considered relevant to the brief and might inform or affect any design decisions made by the entrants will be published. Emails should not mention the team name or registration number. If applicants experience any technical issues with the website they may email the webmaster at webmaster@mali.pe.

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Fig. 24

Competition timelineLAUNCHMay 2nd

REGISTRATION DEADLINE and LAST DAY FOR QUERIES May 27th

June 30th

JURY MEETING

WINNER ANNOUNCED

DEADLINE

July 4-5th

FINALISTSANNOUNCEDJuly 5th

FINAL PRESENTATIONSJuly 8th

July 11th

COLLECTION HIGHLIGHTS

30

Gaia: El retorno de las luciérnagas, 1990Francisco MariottiMixed media, variable dimensions

31

Oh cultura. Serie Arte al Paso, 1980E.P.S. Huayco (Lima, 1980-1981)Silkscreen print100 x 69.5 cm

Funda del monumento Pizarro con motivo de muro inca, 2001Juan Javier SalazarPrinted cloth500 x 353 cm

32

Barrigas, 1979-1983Johanna HamannMetal, plaster and resin174 x 160 x 60 cm

El Eterno Retorno, 2012José Luis Martinat7-channel sound installation

33

Katatay (Temblar), 2002-2003 Alfredo MárquezMetal frame and digital print over lightbox280 x 275 x 150 cm

Huaco autorretrato, 2006Susana TorresPolychrome ceramics25 x 13 x 18 cm

34

Serie Proyecto Pozuzo, 2000-2004Edi HiroseGelatin silver print Series of 10, 28 x 53 cm. each

Exhaled Cocaine, 2008Cornelia Parker Incinerated cocaineVariable dimensions

35

Afiche de difusión de la Reforma Agraria, 1969-1972Jesús Ruiz DurandOffset print on paper98.6 x 70.2 cm

Balances/Tensiones, 2006Ishmael Randall Weeks Used tricycle, stones, cables, and metal227 x 436 x 293 cm aprox

36

Serie Retratos, 1987-1990Juan Enrique BedoyaGelatin silver print Series of 10, 25 x 20 cm each

Exposition Palace and “The Comet”

Postcard, 1901MALI Archive