Del 18 al 21 de septiembre, la ciudad condal celebra la 11ª edición de su gran cita con las galerías: 24 espacios, más de 50 artistas y un nuevo programa FLASH de muestras efímeras que invitan a mirar sin prisa… pero con fecha de caducidad. Barcelona

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An open international competition is being held to transform the central market area of Pazardzhik, Bulgaria (Deadline: 1 September) The ‘Pazardzhik Central Market Area’ competition – organised by OPTIMISTAS on behalf of the Municipality of Pazardzhik – seeks innovative urban and architectural solutions to revitalise the historic market zone which serves as a key commercial and social hub for the wider city centre. The competition invites participants to propose a new vision for one of the city’s most significant public spaces located a short distance from Mineral Baths Park, Saedinenie Square and a shopping centre. The project aims to deliver a contemporary, multifunctional public space that strengthens the identity and vibrancy of Pazardzhik. Competition site: Pazardzhik market, Bulgaria According to the brief: ‘This is a unique opportunity for creators from all over the world to contribute to the development of Pazardzhik’s central area with ideas that preserve cultural heritage and inspire future generations. ‘A chance is emerging for bold architectural and urban inspiration that will confidently combine history with modernity, creating a new recognisable face for the city. ‘The Municipality of Pazardzhik believes that responsibility towards the urban environment is a duty to both past and future generations. ‘The launch of this competition demonstrates our choice to plan thoughtfully, create carefully, and attract ideas with an open heart. The responsibility to preserve and develop the spirit of the city market is our mission and commitment to the city and its residents.’ Located 112km southeast of Sofia, Pazardzhik – named after the Turkish word for market – is a historic city on the banks of the Maritsa River with around 50,000 inhabitants. The latest contest comes less than a year after an international contest was held to upgrade the historic market square of Stara Zagora in Bulgaria. The latest competition calls for a new vision for Pazardzhik’s main market – reorganising trading spaces, improving pedestrian and cycling access, integrating greenery and relaxation zones, resolving vehicle and parking issues and ensuring accessibility. The contest site, located in the heart of Pazardzhik, is characterised by its historic market function, proximity to key civic and cultural institutions, and its potential to serve as a catalyst for broader urban regeneration. Designs will be expected to include covered and open market areas, modern amenities and multifunctional, year-round public space. The competition is open to all Bulgarian and international architects. The competition language is Bulgarian and submissions will be assessed anonymously by a yet-to-be-announced jury featuring seven international members. Submissions will be evaluated 25 per cent on urban concept, 25 per cent on functional solution, 20 per cent on innovation, 20 per cent on design and 10 per cent on project value. The overall winner – due to be announced on 17 September – will receive a €7,500 prize while a second prize of €5,000 and third prize of €2,500 will also be awarded. The winning team will also be invited to negotiate for an estimated €75,000 contract for further design development and the implementation of their proposal. How to apply Deadline: 1 September Competition funding source: Municipality of Pazardzhik Project funding source: Municipality of Pazardzhik Owner of site(s): Municipality of Pazardzhik Contact: pazardzhikmarket@competition.bgVisit the competition website for more information

The government has axed a scheme for upgrading energy efficiency in public sector buildings. The Public Sector Decarbonisation Scheme (PSDS) delivered more than £2.5bn in its first three phases for measures such as heat pumps, solar panels, insulation and double glazing, with further funding of nearly £1bn recently announced. But the Department for Energy Security and Net Zero (DESNZ) has told Building Design that the scheme has been dropped after the spending review, leaving uncertainty about how upgrades will be funded when the current phase expires in 2028. Source: UK Government/FlickrEd Miliband’s Department for Energy Security and Net Zero is responsible for the scheme The department said it would set out plans for the period after 2028 in due course. In a post on LinkedIn, Dave Welkin, director of sustainability at Gleeds, said he had waited for the release of the spending review with a “sense of trepidation” and was unable to find mention of public sector decarbonisation when Treasury documents were released. “I hoped because it was already committed in the Budget that its omission wasn’t ominous,” he wrote. Yesterday, he was told by Salix Finance, the non-departmental public body that delivers funding for the scheme, that it was no longer being funded. It comes after the withdrawal of funding for the Low Carbon Skills Fund (LCSF) in May. According to the government’s website, PSDS and LCSF were intended to support the reduction of emissions from public sector buildings by 75% by 2037, compared to a 2017 baseline. “Neither LCSF or PSDS were perfect by any means, but they did provide a vital source of funding for local authorities, hospitals, schools and many other public sector organisations to save energy, carbon and money,” Welkin said. “PSDS has helped replace failed heating systems in schools, keeping students warm. It’s replaced roofs on hospitals, helping patients recover from illness. It’s replaced windows in our prisons, improving security and stopping drugs getting behind bars.” However, responding to Welkin’s post, Steve Connolly, chief executive at Arriba Technologies, a low carbon heating and cooling firm, said that the scheme was being “mismanaged” with a small number of professional services firms “scooping up disproportionately large grants for their clients”. The fourth phase of the scheme was confirmed last September, with allocations confirmed only last month. This latest phase, which covers the financial years between 2025/26 and 2027/28, saw the distribution of £940m across the country. A DESNZ spokesperson said: “Our settlement is about investing in Britain’s renewal to create energy security, sprint to clean power by 2030, encourage investment, create jobs and bring down bills for good. “We will deliver £1bn in current allocations of the Public Sector Decarbonisation Scheme until 2028 and, through Great British Energy, have invested in new rooftop solar power and renewable schemes to lower energy bills for schools and hospitals across the UK. “We want to build on this progress by incentivising the public sector to decarbonise, so they can reap the benefits in lower bills and emissions, sharing best practice across government and exploring the use of repayable finance, where appropriate.” A government assessment of phase 3a and 3b projects identified a number of issues with the scheme, including delays and cost inflation, with more than a tenth being abandoned subsequent to grants being offered. Stakeholders interviewed for the report also identified “difficulties in obtaining skilled contractors and equipment”, especially air source heat pumps. The first come first served approach to awarding funding was also said to be “encouraging applicants to opt for more straightforward projects” and “potentially undermining the achievement of PSDS objective by restricting the opportunity for larger [and] more complex measures which may have delivered greater carbon reduction benefits”. But the consensus among stakeholders and industry representatives interviewed for the report was that the scheme was “currently key to sustaining the existing UK heat pump market” and that it was “seen as vital in enabling many public sector organisations to invest in heat decarbonisation”.

Cool Finds Archaeologists Stumble Onto Sprawling Ancient Roman Villa During Construction of a Road in France Located near Auxerre, the grand estate once possessed an exorbitant level of wealth, with thermal baths and heated floors Aerial view of the villa, with thermal baths at the bottom right, the garden and fountain in the center, and the agricultural fields expanding to the left Ch. Fouquin / INRAP In ancient times, all roads led to Rome—or so the saying goes. Nowadays, new roads can lead to Roman ruins. During construction on an alternative route to D606, a regional road just under two miles outside of Auxerre, in central France, salvage archaeologists unearthed a sprawling Roman villa complete with a stately garden, a fountain and an elaborate system of underfloor heating known as a hypocaust, according to a statement from the French National Institute for Preventive Archaeological Research (INRAP). While researchers have been aware of the ruins on the outskirts of the Gallo-Roman settlement of Autissiodorum (as Auxerre was once known) since the 19th century, previous excavations have been limited. The most recent dig, in 1966, found a 7,500-square-foot building with ten rooms and amenities that suggested its residents enjoyed great wealth and regional power. The site of Sainte-Nitasse, adjacent to a regional highway Ch. Fouquin / INRAP But until now, the true scale of the villa known as Sainte-Nitasse and its surrounding agricultural estates along the River Yonne was unclear. Archaeologists at INRAP have since discovered a 43,000-square-foot building thought to date to between the first and third centuries C.E. It suggests a previously unimagined level of grandeur. INRAP identifies the site as one of the “grand villas of Roman Gaul,” according to the statement. Grand villas are typified by their vast dimensions and sophisticated architectural style. They typically encompass both agricultural and residential portions, known in Latin as pars rustica and pars urbana, respectively. In the pars urbana, grand villas tend to feature stately construction materials like marble; extensive mosaics and frescoes; and amenities like private baths, fountains and gardens. So far, the excavations at Sainte-Nitasse have revealed all these features and more. The villa’s development is extensive. A 4,800-square-foot garden is enclosed by a fountain to the south and a water basin, or an ornamental pond, to the north. The hypocaust, an ancient system of central heating that circulated hot air beneath the floors of the house, signals a level of luxury atypical for rural estates in Roman Gaul. A section of the villa's hypocaust heating system, which circulated hot air beneath the floor Ch. Fouquin / INRAP “We can imagine it as an ‘aristocratic’ villa, belonging to someone with riches, responsibilities—perhaps municipal, given the proximity to Auxerre—a landowner who had staff on site,” Alexandre Burgevin, the archaeologist in charge of the excavations with INRAP, tells France Info’s Lisa Guyenne. Near the banks of the Yonne, a thermal bath site contains several pools where the landowner and his family bathed. On the other side of the garden, workers toiled in the fields of a massive agricultural estate. Aside from its size and amenities, the villa’s level of preservation also astounded archaeologists. “For a rural site, it’s quite exceptional,” Burgevin tells L’Yonne Républicaine’s Titouan Stücker. “You can walk on floors from the time period, circulate between rooms like the Gallo-Romans did.”Over time, Autissiodorum grew to become a major city along the Via Agrippa, eventually earning the honor of serving as a provincial Roman capital by the fourth century C.E. As Gaul began slipping away from the Roman Empire around the same time, the prominence of the city fluctuated. INRAP archaeologists speculate that the site was repurposed during medieval times, around the 13th century. Burgevin offers several explanations for why the site remained so well preserved in subsequent centuries. The humid conditions along the banks of the river might have prevented excess decay. Since this portion of the River Yonne wasn’t canalized until the 19th century, engineers may have already been aware of the presence of ruins. Or, perhaps the rubble of the villa created “bumpy,” intractable soil that was “not easy to pass over with a tractor,” he tells France Info. While the site will briefly open to the public on June 15 for European Archaeology Days, an annual event held at sites across the continent, excavations will continue until September, at which time construction on the road will resume. Much work is to be done, including filling in large gaps of the site’s chronology between the Roman and medieval eras. “We have well-built walls but few objects,” says Burgevin, per L’Yonne Républicaine. “It will be necessary to continue digging to understand better.” Get the latest stories in your inbox every weekday.

By TREVOR HOGG Images courtesy of Chocolate Tribe. Nosipho Maketo-van den Bragt, Owner and CEO, Chocolate Tribe After initially pursuing a career as an attorney, Nosipho Maketo-van den Bragt discovered her true calling was to apply her legal knowledge in a more artistic endeavor with her husband, Rob Van den Bragt, who had forged a career as a visual effects supervisor. The couple co-founded Chocolate Tribe, the Johannesburg and Cape Town-based visual effects and animation studio that has done work for Netflix, BBC, Disney and Voltage Pictures. “It was following my passion and my passion finding me,” observes Maketo-van den Bragt, Owner and CEO of Chocolate Tribe and Founder of AVIJOZI. “I grew up in Soweto, South Africa, and we had this old-fashioned television. I was always fascinated by how those people got in there to perform and entertain us. Living in the townships, you become the funnel for your parents’ aspirations and dreams. My dad was a judge’s registrar, so he was writing all of the court cases coming up for a judge. My dad would come home and tell us stories of what happened in court. I found this enthralling, funny and sometimes painful because it was about people’s lives. I did law and to some extent still practice it. My legal career and entertainment media careers merged because I fell in love with the storytelling aspect of it all. There are those who say that lawyers are failed actors!” Chocolate Tribe hosts what has become the annual AVIJOZI festival with Netflix. AVIJOZI is a two-day, free-access event in Johannesburg focused on Animation/Film, Visual Effects and Interactive Technology. This year’s AVIJOZI is scheduled for September 13-14 in Johannesburg. Photo: Casting Director and Actor Spaces Founder Ayanda Sithebe (center in black T-shirt) and friends at AVIJOZI 2024. A personal ambition was to find a way to merge married life into a professional partnership. “I never thought that a lawyer and a creative would work together,” admits Maketo-van den Bragt. “However, Rob and I had this great love for watching films together and music; entertainment was the core fabric of our relationship. That was my first gentle schooling into the visual effects and animation content development space. Starting the company was due to both of us being out of work. I had quit my job without any sort of plan B. I actually incorporated Chocolate Tribe as a company without knowing what we would do with it. As time went on, there was a project that we were asked to come to do. The relationship didn’t work out, so Rob and I decided, ‘Okay, it seems like we can do this on our own.’ I’ve read many books about visual effects and animation, and I still do. I attend a lot of festivals. I am connected with a lot of the guys who work in different visual effects spaces because it is all about understanding how it works and, from a business side, how can we leverage all of that information?” Chocolate Tribe provided VFX and post-production for Checkers supermarket’s “Planet” ad promoting environmental sustainability. The Chocolate Tribe team pushed photorealism for the ad, creating three fully CG creatures: a polar bear, orangutan and sea turtle. With a population of 1.5 billion, there is no shortage of consumers and content creators in Africa. “Nollywood is great because it shows us that even with minimal resources, you can create a whole movement and ecosystem,” Maketo-van den Bragt remarks. “Maybe the question around Nollywood is making sure that the caliber and quality of work is high end and speaks to a global audience. South Africa has the same dynamics. It’s a vibrant traditional film and animation industry that grows in leaps and bounds every year. More and more animation houses are being incorporated or started with CEOs or managing directors in their 20s. There’s also an eagerness to look for different stories which haven’t been told. Africa gives that opportunity to tell stories that ordinary people, for example, in America, have not heard or don’t know about. There’s a huge rise in animation, visual effects and content in general.” Rob van den Bragt served as Creative Supervisor and Nosipho Maketo-van den Bragt as Studio Executive for the “Surf Sangoma” episode of the Disney+ series Kizazi Moto: Generation Fire. Rob van den Bragt, CCO, and Nosipho Maketo-van den Bragt, CEO, Co-Founders of Chocolate Tribe, in an AVIJOZI planning meeting. Stella Gono, Software Developer, working on the Chocolate Tribe website. Family photo of the Maketos. Maketo-van de Bragt has two siblings. Film tax credits have contributed to The Woman King, Dredd, Safe House, Black Sails and Mission: Impossible – Final Reckoning shooting in South Africa. “People understand principal photography, but there is confusion about animation and visual effects,” Maketo-van den Bragt states. “Rebates pose a challenge because now you have to go above and beyond to explain what you are selling. It’s taken time for the government to realize this is a viable career.” The streamers have had a positive impact. “For the most part, Netflix localizes, and that’s been quite a big hit because it speaks to the demographics and local representation and uplifts talent within those geographical spaces. We did one of the shorts for Disney’s Kizazi Moto: Generation Fire, and there was huge global excitement to that kind of anthology coming from Africa. We’ve worked on a number of collaborations with the U.K., and often that melding of different partners creates a fusion of universality. We need to tell authentic stories, and that authenticity will be dictated by the voices in the writing room.” AVIJOZI was established to support the development of local talent in animation, visual effects, film production and gaming. “AVIJOZI stands for Animation Visual Effects Interactive in JOZI [nickname for Johannesburg],” Maketo-van den Bragt explains. “It is a conference as well as a festival. The conference part is where we have networking sessions, panel discussions and behind-the-scenes presentations to draw the curtain back and show what happens when people create avatars. We want to show the next generation that there is a way to do this magical craft. The festival part is people have film screenings and music as well. We’ve brought in gaming as an integral aspect, which attracts many young people because that’s something they do at an early age. Gaming has become the common sport. AVIJOVI is in its fourth year now. It started when I got irritated by people constantly complaining, ‘Nothing ever happens in Johannesburg in terms of animation and visual effects.’ Nobody wanted to do it. So, I said, ‘I’ll do it.’ I didn’t know what I was getting myself into, and four years later I have lots of gray hair!” Rob van den Bragt served as Animation Supervisor/Visual Effects Supervisor and Nosipho Maketo-van den Bragt as an Executive Producer on iNumber Number: Jozi Gold (2023) for Netflix. (Image courtesy of Chocolate Tribe and Netflix) Mentorship and internship programs have been established with various academic institutions, and while there are times when specific skills are being sought, like rigging, the field of view tends to be much wider. “What we are finding is that the people who have done other disciplines are much more vibrant,” Maketo-van den Bragt states. “Artists don’t always know how to communicate because it’s all in their heads. Sometimes, somebody with a different background can articulate that vision a bit better because they have those other skills. We also find with those who have gone to art school that the range within their artistry and craftsmanship has become a ‘thing.’ When you have mentally traveled where you have done other things, it allows you to be a more well-rounded artist because you can pull references from different walks of life and engage with different topics without being constrained to one thing. We look for people with a plethora of skills and diverse backgrounds. It’s a lot richer as a Chocolate Tribe. There are multiple flavors.” South African director/producer/cinematographer and drone cinemtography specialist FC Hamman, Founder of FC Hamman Films, at AVIJOZI 2024. There is a particular driving force when it comes to mentoring. “I want to be the mentor I hoped for,” Maketo-van den Bragt remarks. “I have silent mentors in that we didn’t formalize the relationship, but I knew they were my mentors because every time I would encounter an issue, I would be able to call them. One of the people who not only mentored but pushed me into different spaces is Jinko Gotoh, who is part of Women in Animation. She brought me into Women in Animation, and I had never mentored anybody. Here I was, sitting with six women who wanted to know how I was able to build up Chocolate Tribe. I didn’t know how to structure a presentation to tell them about the journey because I had been so focused on the journey. It’s a sense of grit and feeling that I cannot fail because I have a whole community that believes in me. Even when I felt my shoulders sagging, they would be there to say, ‘We need this. Keep it moving.’ This isn’t just about me. I have a whole stream of people who want this to work.” Netflix VFX Manager Ben Perry, who oversees Netflix’s VFX strategy across Africa, the Middle East and Europe, at AVIJOZI 2024. Netflix was a partner in AVIJOZI with Chocolate Tribe for three years. Zama Mfusi, Founder of IndiLang, and Isabelle Rorke, CEO of Dreamforge Creative and Deputy Chair of Animation SA, at AVIJOZI 2024. Numerous unknown factors had to be accounted for, which made predicting how the journey would unfold extremely difficult. “What it looks like and what I expected it to be, you don’t have the full sense of what it would lead to in this situation,” Maketo-van den Bragt states. “I can tell you that there have been moments of absolute joy where I was so excited we got this project or won that award. There are other moments where you feel completely lost and ask yourself, ‘Am I doing the right thing?’ The journey is to have the highs, lows and moments of confusion. I go through it and accept that not every day will be an award-winning day. For the most part, I love this journey. I wanted to be somewhere where there was a purpose. What has been a big highlight is when I’m signing a contract for new employees who are excited about being part of Chocolate Tribe. Also, when you get a new project and it’s exciting, especially from a service or visual effects perspective, we’re constantly looking for that dragon or big creature. It’s about being mesmerizing, epic and awesome.” Maketo-van den Bragt has two major career-defining ambitions. “Fostering the next generation of talent and making sure that they are ready to create these amazing stories properly – that is my life work, and relating the African narrative to let the world see the human aspect of who we are because for the longest time we’ve been written out of the stories and narratives.”