The Project of a Collective Line


The Project of a Collective Line: Santa Cruz in Bolivia is an agro-export region dominated by transnational corporations. Image Courtesy of USGS

The Project of a Collective Line: Santa Cruz in Bolivia is an agro-export region dominated by transnational corporations. Image Courtesy of USGS

The following article was first published by Volume Magazine in their 47th issue, The System*. You can read the Editorial of this issue, How Much Does Your System Weigh?, here.

In 2006 Venezuelan President Hugo Chávez, Brazilian President Lula da Silva and Argentinean President Néstor Kirchner proposed the construction of a gas pipeline connecting Venezuela to Brazil and Argentina, called the Gran Gasoduto del Sur. Although the project was never built, its path through the Amazon rainforest foregrounds the violent nature of resource extraction. At the same time, the project raised unique questions regarding the architecture of collective politics, particularly if understood in the context of the last fifteen years of political transformations throughout Latin America.

Neo-extractivism

We are now in the end of a fifteen-year cycle that has witnessed a ‘turn to the left’ in Latin America. We can see this in the elections of Hugo Chávez in Venezuela, Lula da Silva and Dilma Rouseff in Brasil, Evo Morales in Bolivia, Nestor and Cristina Kirchner in Argentina, Tabaré Vásquez and Pepe Mujica in Uruguay, Fernando Lugo in Paraguay and Rafael Correa in Ecuador. Most of these electoral victories emerged not only due to a discourse against colonial exploitation and post-colonial expropriation a feeling of injustice underlined in the book Open Veins of Latin America[1]—but also due to the continent’s submission in the eighties and nineties to the Washington Consensus and its policies of liberalization and free trade.[2] Against this, social movements and popular non-governmental organizations emerged during these decades as important political actors. Examples such as the popular uprising known as the Caracazo in Venezuela in 1989, the Zapatista struggles in Mexico in 1994, the prominence gained by the MST in Brazil from the mid-eighties,[3] the CONAIE in Ecuador and other indigenous organizations in Peru and Bolivia were instrumental both in resisting previously implemented economic and political models and in maintaining the struggle for a different form of politics alive.[4] These and many other social movements were part of broad coalitions without which governmental elections wouldn’t have been won. It is from within this context that sociologist Eduardo Gudynas coined the term neo-extractivism. The term refers to this wave of left-leaning or ‘progressive’ governments and how they have adopted interventionist policies around resource extraction, such as strengthening the role of the state, changing contractual arrangements with transnational investors, raising rents and taxation regimes, etc.[5] In so doing, governments like those of Kirchner and Chávez managed to wrest some degree of control over their sovereign territories away from transnational corporations and fund a series of re-distributive policies.

Venezuela was paradigmatic in this sense. In the eyes of the government elected in 1999 under the leadership of Hugo Chávez, oil would allow not only a radical break with the economic models of the 1990s, but the opportunity to implement a series of political shifts at multiple scales: from broad social programs to the re-structuring of the agricultural sector; from the upgrading of national infrastructure to the establishing of new global partnerships. As in many other global cases, underground resources were seen as the motor of development and a way to exit the condition of colonial dependency that Venezuela had been stuck in for so many years. But to do so it needed to create conditions to insulate itself from the constant political pressure and power of its main trading partner, the US. Contrary to previous governments, with Chávez, the availability of oil enabled the development of a ‘multi-polar’ geopolitical strategy and the development of—by way of financing—regional alliances and partnerships at the scale of the global South. Within this new frame Venezuela reinforced its position in OPEC, became a partner of MERCOSUR, participated in the creation of UNASUR, and created ALBA, an organization that promotes economic integration based on social welfare in response to the liberal policies of FTAA.[6] Important trading partners were found outside of Latin America too, such as Russia, Iran and China. Considering that these partnerships rely heavily on oil and gas trading, they can be seen as an extended map of oil’s ‘political affordances’. In this sense, the Chávez government’s establishment of PetroCaribe, PetroSur and PetroAndes was clearly directed towards cementing ties with the three main cultural areas that influence Venezuela – Caribbean, South American and Andean countries.

Gran Gasoducto del Sur

The Gran Gasoducto del Sur was a proposal first formalized at the XXIX MERCOSUR meeting in Montevideo on 9 December 2005. In this meeting, energy ministers from Venezuela, Argentina and Brazil signed a deal for the development of an 8000-15000km gas pipeline to connect the three countries. On the 19 January 2006, presidents Hugo Chávez, Nestor Kirchner and Lula da Silva approved the project and gave it its name in a meeting in Brasilia. The gigantic gas duct would connect Puerto Ordaz in Venezuela to Buenos Aires in Argentina. In addition to this, it would allow pipelines to be connected to other South American nations. This project was the most daring of all interventions in the political process of regional integration and economic sovereignty. The photo-op of a later encounter shows Chávez and Kirchner tracing a straight line through the Venezuelan and Brazilian rainforest and the Bolivian, Paraguayan and Argentinean plains. These lands are some of the most protected areas of the world, and the leaders were apparently indifferent to the environmental and indigenous concerns that would be raised by the implementation of such a project. The inherently modernist nature of such a gesture foregrounds what has been a key political dispute within the left in Latin America: on the one hand, a common political project of national and regional sovereignty based on resource nationalization and, on the other, massive social movements of landless peasants, indigenous populations and environmental activists, fighting back against the expansion of these very extractive economies. The sheer immensity of the very idea of the Gran Gasoducto del Sur project makes evident not only the dubious ecological impact of a political project based on resource extraction but also the differences between popular movements and progressive governments. It could be said that the tension between a modernizing desire to guarantee autonomy against neoliberal policies by way of resource extraction and the proposals for alternative (non-modern) forms of development brought forth by multiple social movements are an unresolved feature of every country in the area.


Argentinean President Néstor Kirchner and Venezuelan President Hugo Chávez plot the route of the Gran Gasoduto del Sur over a map of South America. Puerto Ordaz, Venezuela, 21 (November 2005). Image © Presidency of the Argentinean  Government

Argentinean President Néstor Kirchner and Venezuelan President Hugo Chávez plot the route of the Gran Gasoduto del Sur over a map of South America. Puerto Ordaz, Venezuela, 21 (November 2005). Image © Presidency of the Argentinean Government

The Gran Gasoducto del Sur project didn’t keep the image of the straight line that was drawn by Chávez and Kirchner. In its most advanced stage it connected key Brazilian cities such as Fortaleza and Brasilia (avoiding the Amazon rainforest) and from there to Montevideo in Uruguay and finally to Buenos Aires in Argentina. In the end the project was abandoned, partially due to indigenous and environmentalist protests, and partially due to Brazil’s state-owned oil company Petrobras backing out. In any case, its implicit construction of a ‘collective line’ can be read in two opposing ways:

As Venezuelan sociologist Maria del Pilar García-Guadilla notes, most of the institutions and intergovernmental partnerships of regional integration created by South American governments were thought of as mechanisms for their integration into the global economy and emphasized the need for trade liberalization amongst members.[7] For example, one of the common features to all these agreements was the support for the Initiative for Integration of Regional Infrastructure in South America (IIRSA). IIRSA’s aim was (and still is) the development of an infrastructural network of roads, dams, ferries, airports and fiber-optic cables throughout the South American continent, connecting the region’s major cities and logistic centers to facilitate economic growth. Implicit to IIRSA is the ‘favoring of flows over territories inhabited by peoples and nations’ as noticed among others by social movements theorist Raúl Zibechi.[8] Of course, by territories and nations, Zibechi was referring not to nation-states but to the inhabitants of the South American hinterlands and in particular to its indigenous peoples. Understood within the context of IIRSA, the mode of integration the Gran Gasoducto was part of is that of modernist spatial planning: a logistic carving of territory to facilitate the extraction and circulation of resources as motors of progress and development, from mining to hydrocarbons and forestry.

A Collective Line

At first sight the idea of the collective implicit in the Gran Gasoducto del Sur falls back on unfortunately well-known modernist paradigms. However, the proposal also pointed to an idea of a collective that is transversal to the peoples of Latin America. This idea can be traced back to Simon Bolívar and José de San Martín, the key military commanders of the independence wars against Spain, and their proposals of Pan-Hispanic unity. They ultimately failed to prevent the subdivision of Central and South America into multiple different countries, but the idea remained alive and was made famous by the words of Cuban poet José Marti and Argentinian writer Manuel Ugarte.[9] Comporting to this idea of a collective, one should remember that after Argentina’s dramatic financial crisis of 2002 it was Venezuela’s buying of restructured Argentine bonds that allowed Kirchner’s government to remain viable.[10] The gas duct connecting both countries would further cement such friendship – a possibility of Latin American solidarity that is evident in the image of the two presidents embarking on a megalomaniacal re-design of the continent by drawing on a map with a thick felt-tipped marker. But if this is the case, the power of the line was realized simply by tracing it on paper, simultaneously as a connection and as a rupture with the ‘no alternative’ TINA paradigms.[11] The line marked the possibility of a coming together between peoples and the possibility of inscribing a different politics in space. In starting with that line, that gesture, the project evidenced something very different from other IIRSA infrastructural projects: it was first and foremost moved by transformative politics and by a collective project.


The Great South American Pipeline. Image © Godofredo Pereira and Samaneh Moafi (2014)

The Great South American Pipeline. Image © Godofredo Pereira and Samaneh Moafi (2014)

In 2014 together with Samaneh Moafi I proposed to explore the key ideas of the Gran Gasoducto del Sur project in the context of an architectural design competition.[12] We named it the Great South American Pipeline. We understood Chávez and Kirchner’s idea as a continuous monument to Latin America’s struggles for emancipation and as a manifestation of solidarity between countries. Seen in this light it was a unique gesture. Our project consisted of foregrounding this gesture of both cutting and bringing together as an eminently architectural one. In spite of its name, our proposal didn’t limit itself to simply building the gas duct as originally planned. Instead, it suggested that the project should be radicalized to its furthest political and spatial consequences – to the point where the circulation of hydrocarbons acts in the spirit of the Venezuelan constitution, or, as Chávez would say, as ‘an instrument of liberation and cooperation.’ To be clear, if anything defined the tenure of Chávez as President it was the implementation of a redistributive politics – ‘sowing’ the money of oil to fund healthcare, literacy, housing, etc.[13] As in Brazil and Argentina, the social transformation and the fight against inequality in Venezuela was an extraction-based project. But in our view, that project needed to move beyond such a modernist position and take into account demands set by the social movements from whence this progressive wave of Latin American governments came to power; demands not only for social justice, education and healthcare, but also for indigenous rights, for other paradigms of development and for environmental protection against the extractive industries themselves.

We thus proposed to reconceive the Gran Gasoduto del Sur as a collective line at the scale of Latin America whose revenues would pave the way for projects aimed to move away from an extraction-based economy. In its first installment this could take the shape of a commons-protection-zone, a special jurisdiction established alongside the gas duct and any future expansion of it. This implies that in order to transport gas, the member country would have to refrain from extractive activities along the 1km-wide line (including agribusiness and forestry) and instead promote other modes of production. The transportation of gas would be limited to the time period necessary to pay for the development of the commons protection zone, after which it would be dismantled.

Our purpose was to avoid a simplistic opposition of resource-extraction vs. environmental concerns. Instead, we wondered if it was possible to take seriously the mythical Latin American project: the construction of a collective that both recognized and respected the perspectives of social movements and indigenous organizations, while at the same time being both able to balance the pre-existent extreme inequalities in South America and survive the economic pressures of international financial institutions. From here the project became a form of enquiry: along the line traced by Chávez and Kirchner are located some of the most disputed lands in South America, from which we identified five cases. The Orinoco Oil belt in Venezuela, which has already born witness to drastic environmental contamination by the oil industry; Rondônia in Brazil, whose forests have been devastated by accelerated urbanization and farming; Santa Cruz in Bolivia, where soybean plantations are forcing a massive deforestation and dispossession of indigenous communities; Chaco forest in Paraguay, whose unique biodiversity is being destroyed by large scale cattle herding; and Villa 31 in Argentina, a slum at the center of a dramatic dispute over urban regeneration and the rights to the city. Our initial project did not propose a design for each condition. Instead, we wanted to evidence the spatial and territorial realities within which a collective line would have to be imagined. For us the line was the beginning of a research project on the architecture of a possible solidarity between the peoples of Latin America.


Santa Cruz in Bolivia is an agro-export region dominated by transnational corporations. Since 1990 the area of cultivation in Santa Cruz expanded from around 400,000 hectares to more than two million hectares in 2011. This generates the loss of biodiversity and increasing water stress. Local indigenous peoples such as the Quechua and Aymara are also losing rights to ancestral lands. False-color composite enhancing deforestation areas. Landsat 8-OLI (March 2014). Image © Godofredo Pereira and Samaneh Moafi (2014)

Santa Cruz in Bolivia is an agro-export region dominated by transnational corporations. Since 1990 the area of cultivation in Santa Cruz expanded from around 400,000 hectares to more than two million hectares in 2011. This generates the loss of biodiversity and increasing water stress. Local indigenous peoples such as the Quechua and Aymara are also losing rights to ancestral lands. False-color composite enhancing deforestation areas. Landsat 8-OLI (March 2014). Image © Godofredo Pereira and Samaneh Moafi (2014)

The Architecture of Solidarity

The Gran Gasoducto del Sur project marks a period of radical political transformations in Latin America. For the first time a cohort of progressive left-wing parties were in power. Its heroic dimension is thus indiscernible from the horizons opened by these socio-political ruptures. Surely, the Gasoducto was a logistical project aimed at a mode of regional integration based on resource extraction and the circulation of capital. However, it was firstly a project of political and material transformation. Underlying the difference between an infrastructural and a political understanding of the pipeline proposal are two very different conceptions of territory. The first conceives of territory within the tradition of the sovereign nation-state: territory as a political technology for the management and administration of the state as a productive apparatus.[14] This notion of territory takes as its key object the management of circulation, be it of peoples and commodities. It is, at heart, a military and logistic enterprise; it is the project of IIRSA and of which, as many have argued, the Gran Gasoducto is part. The second conceives of territory as the project of Patria Grande or Nuestra America, of a projected collective identity that informed the transformative politics of ‘revolutionaries’ such as ‘Ché’ Guevara or Hugo Chávez. This is not a conception of territory as a clearly defined space, but as an assemblage permanently under construction. More precisely, it is a matter of territorializing – a semiotic practice that takes place through gestures, signs or sounds, through literature as well as spatial interventions.[15] In this sense the line traced by Chávez and Kirchner is a political gesture that in marking space territorializes a collective project.

But if the project of the Gran Gasoducto is of a collective, then the question is how can such collective encompass the perspectives of social movements and indigenous peoples? In its path across South America, the line traced by Chávez and Kirchner intercepted territories that are neither those of the nation-state’s fixed borders nor those of an imagined Pan-Hispanic union. It intercepted collective territories that don’t necessarily have physical limits or borders and that correspond to a multitude of particular modes of living and singular worldviews;[16] collective territories of which forests, stones and spirits are often part and the languages spoken are neither Spanish nor Portuguese. If there was something unique in the emergence of social movements as key political actors throughout Latin America it was the space conquered for alternative notions and practices of territory and the possibility of coexistence between radically different modes of living and conceiving the world. Despite the fact that most progressive governments have slowly returned to the old ways of extracting and plundering, it is still towards such a collective project that we should be aiming for. And as architects we cannot but ask ourselves what such a project could be.

References

[1] This book was given to Barack Obama by Hugo Chávez upon their first meeting. Eduardo H. Galeano, Open Veins of Latin America: Five Centuries of the Pillage of a Continent (London: Serpent’s Tail, 2009).
[2] This is an opinion on Latin American politics shared by many authors. See Raúl Zibechi, Territorios en resistencia. Cartografía política de las periferias urbanas latinoamericanas (Baladre, Zambra, Ecologistas en Acción y CGT, Málaga, 2012); Emir Sader, The New Mole: paths of the Latin American left (London, New York: Verso, 2011); Patrick S. Barret, Daniel Chavez, and César A. Rodríguez Garavito (eds.), The New Latin American Left: Utopia Reborn (London: Pluto Press, 2008).
[3] The Landless Workers Movement—in Portuguese Movimento dos Trabalhadores Sem Terra—emerged in 1984 in Brazil from a long history of landless peasants and small farmers struggles for the right to farm idle land and for justice in land distribution. [access]
[4] See Atilio A. Borón, Promises and Challenges: The Latin American left at the Start of the Twenty-First Century. In: ibid., Barret, Chavez, Rodríguez Garavito.
[5] Gudynas, Eduardo, 2009, Diez Tesis Urgentes Sobre El Nueveo Extractivismo: Contextos y demandas bajo el progresismo sudamericano actual. In: Extractivismo, Política y Sociedad (Quito: Centro Andino de Acción Popular, Centro Latinoamericano de Ecologia Social, 2009).
[6] ALBA is the acronym for the Bolivarian Alliance for the Peoples of Our America, or in Spanish the Alianza Bolivariana para los Pueblos de Nuestra América; The Free Trade Area of the Americas was an expansion of the North American Free Trade Agreement (NAFTA), perceived as a foreign policy tool of the US government. This was perceived to be the implementation mechanism of US policy.
[7] María del Pilar García-Guadilla, “Neo-extractivismo, Neo-rentismo y Movimientos Sociales en la Venezuela del Siglo XXI: conflictos, protestas y resistencia.” Conference paper presented at the XXXI International Congress of the Latin American Studies Association (LASA). Washington D.C.
[8] Raul Zibechi, “Interconexión sin integración: 15 años de IIRSA”, in Programa de Las Americas, September 23, 2015. [access]
[9] José Marti, ‘Nuestra America’, El Partido Liberal, March 5, 1892 (Mexico City); Manuel Urgarte, ‘Patria Grande’, (Barcelona: Internacional, 1922).
[10] Conrado Hornos, ‘Chávez keeps up South American energy diplomacy’, Reuters, August 8 2007. At [access] (accessed 13 February 2016).
[11] TINA is the acronym for There Is No Alternative, a slogan frequently used by Margaret Thatcher to argue for free market, free trade and labor deregulation.
[12] Think Space, Money. At: [access] (accessed 13 February 2016).
[13] In particular the government initiated the housing programme Misión Habitat, followed in 2011 by Gran Misión Vivienda Venezuela (GMVV). The purpose of this plan was to produce at least 500,000 new affordable houses per year, up to a target of 3 million residential units in the country by 2019.
[14] Stuart Elden, ‘Land, Terrain, Territory’, Progress in Human Geography, 34 (6), 2010, pp. 799–817.
[15] On territory see Gilles Deleuze and Félix Guattari, ‘1837: Of the Refrain’, in A Thousand Plateaus Capitalism and Schizophrenia (London: Continuum, 2008).
[16] For a discussion of the problem of territory in relation to peasant or indigenous worldviews see: Arturo Escobar, Territories of Difference: Place, Movements, Life, Redes (Durham: Duke University Press, 2008).

Introducing Volume #47: The System*
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Cloud Urbanism: Towards a Redistribution of Spatial Value
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This article was shared in collaboration with Volume Magazine. You can buy a copy of The System*, re-designed by Irma Boom and Julia Neller, here.

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C/Z House / SAMI-arquitectos


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG
  • Architects: SAMI-arquitectos
  • Location: S.Roque do Pico, Portugal
  • Architecture: Inês Vieira da Silva. Miguel Vieira /SAMI-arquitectos
  • Team: João do Vale Martins, Inês Martins, Daniel Mentech
  • Project Year: 2010
  • Photographs: Fernando Guerra | FG+SG


© Fernando Guerra | FG+SG


© Fernando Guerra | FG+SG


© Fernando Guerra | FG+SG


© Fernando Guerra | FG+SG

  • Structures: Engiaço-Construções Técnicas Lda
  • Electricity: Engiaço-Construções Técnicas Lda
  • Renewable Energy: Guilherme Carrilho da Graça – NaturalWorks – Engineering Consultants
  • Landscape: Victor Beiramar Diniz
  • Construction: Engiaço-Construções Técnicas Lda
  • Furniture: SAMI com Loja Nord

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

From the architect. This house intends to open up to the varied landscapes that can be seen from the highest point on the terrain.


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

From a set of separate volumes, following the adaptation of traditional architecture with the ground, the resulting areas between the four volumes and living spaces were designed. Its walls are a continuation of the exterior facades and only a few windows separate the outside and inside of the house.


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

Depending on the prevailing wind or the desired view, the house opens to diverse landscapes and its permeability and connection to the outside is total.


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

Plan

Plan

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

The massive dark wood volume becomes four separate volumes when the glass panes are open, allowing to extend the different spaces of the house.


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

We used a prefabrication system for the construction of the house, designed to obtain an A+ grade from the standpoint of energy efficiency.


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

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Neushoorn / DP6 architectuurstudio + 3TO architects


© Jonathan van Dijk

© Jonathan van Dijk


© Kristian Hoekman


© Jonathan van Dijk


© Kristian Hoekman


Neushoorn / DP6 architectuurstudio + 3TO architects

  • Technical Design : De Zwarte Hond, Groningen
  • Contractor : Hegeman Oost, Nijverdal
  • Consultants: Jansen Wesselink, Drachten Deerns Netherlands, Rijswijk Peutz, Haren Basalt, Nieuwegein Theateradvies, Amsterdam Stevens Van Dijck, Zoetermeer
  • Artist Impressions & Sketches: DP6 architecture studio
  • Client: Municipality of Leeuwarden

© Kristian Hoekman

© Kristian Hoekman

From the architect. Neushoorn (Rhinoceros) in Leeuwarden is a popular music venue and a school, all in one building. In collaboration with 3TO, DP6 architecture studio has designed a building that can take a bit of rough treatment while stimulating creativity. A dynamic building that fits into its urban context and delivers its function as a music venue and school.


© Kristian Hoekman

© Kristian Hoekman

Neushoorn is the cultural lynchpin of Leeuwarden, accommodating the eponymous pop music venue plus café as well as the Friesland College’s creative education branch, D’Drive. In its presence and material use, the building expresses the dynamics of these functions. Notable details in het building include salvaged parts of demolished buildings and samples of graffiti cut from repurposed brick walls.


© Jonathan van Dijk

© Jonathan van Dijk

Urban Context

The new Neushoorn complex is located at the corner of the old Ruiterskwartier and the Haniasteeg in the historic centre of Leeuwarden. The design builds on the original small-scale urban morphology with its winding streets and lanes. Architect Chris de Weijer (DP6 architecture studio): “It was quite a challenge, but we really wanted to preserve the old buildings and the atmosphere of the existing lanes while at the same time turning them into something new.” Sections of the existing premises at Ruiterskwartier 41 were retained and now form part of the main building. The main building was designed to be compact so room could be found at the rear of the premises to add a square to the historic Haniahof and create a public open space. De Weijer: “In this way the other side of Neushoorn also comes alive”.


Site Plan

Site Plan

 Dynamic Design

The design of Neushoorn provides for large-scale venues as well as more intimate areas, including two stages, a café, rehearsal rooms and cultural production facilities, as well as accommodation for workshops plus teaching rooms for D’Drive, the practical education branch of Friesland College.


© Kristian Hoekman

© Kristian Hoekman

Most of the main building at the corner of the Haniasteeg, Ruiterskwartier 41, was preserved, its ground floor accommodating the joint entrance lobby plus foyer and cloakroom. The stairs leading from the entrance lobby to the D’drive teaching facilities and the Neushoorn offices are covered by a glass roof that allows daylight to penetrate all the way into the building. Next to the existing building a new part was added, creating a ‘New Lane’ that separates and connects the two. This intermediate zone with the foyer and the study landscape establishes a clear functional link and at the same time makes for short routes to the theatres, studios, changing rooms, teaching facilities and offices. Project leader Kerstin Tresselt (DP6 architecture studio): “There is a real natural flow between the music venue and the school”. Some of the old buildings along the Schavernek have also been kept. Their facades, which have been given a slightly brighter colour scheme, hide the pop venue’s changing rooms and green room.


Ground Floor plan

Ground Floor plan

The concert venues themselves are located at the rear of the building so the facades could be kept transparent to allow passers-by to see straight into the building and observe the hustle and bustle inside. De Weijer: “The special thing about this venue is that it is also in use during the day. We wanted to make these dynamics visible, which is why the ground floor facade is backed by the pop café and the first floor features a dance and drama studio presented as a glass box”.


© Kristian Hoekman

© Kristian Hoekman

The use of materials includes existing and salvaged elements as well as a wealth of shapes and materials including glass, Corten steel and various types of wood. Some of the bricks from the demolished buildings were reused in the new facades. De Weijer: “As all the bits and pieces varied in size, there was no way we could end up with a smooth finish, so we opted for bare brickwork”.


Sections 01

Sections 01

Acoustics

The acoustics can make or break a music venue. A good sound is all that matters to users of a music stage, which is why the sound production functions of the building have been designed as free-standing ‘boxes’ that maximise sound insulation. Acoustics also played a major role in the choice of walls, with the angled wall forming a theme within the building, while the wall next to the main staircase doubles as an acoustic panel specially designed by DP6.





Artists, audience members and students alike love the new music venue. Neushoorn boss Jan Pier Brands: “The design has been kept a bit rough around the edges, and that works really well. Every night is party night, and the building oozes energy during the day as well”.


© Jonathan van Dijk

© Jonathan van Dijk

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Erpingham House / MSG Architecture


© John Madden

© John Madden


© John Madden


© John Madden


© John Madden


© John Madden


© John Madden

© John Madden

From the architect. Erpingham is a prototype house located in Hamilton Hill, 10 mins south of the port city of Fremantle, Western Australia. The brief was to create a compact, sustainable and easily replicable house form for Perth’s changing suburban environment. 


© John Madden

© John Madden

Common materials, lightweight construction and passive solar design minimise the short and long term costs of the building. This puts the project within the reach of most people, making it a financial and environmentally sustainable alternative to the project home market.


Plan 1

Plan 1

Particularly suited to the increasing density of Perth, Erpingham has a base floor area of 150m2 which is easily adapted to suit different site situations and different client needs. Efficient planning provides generous living and sleeping areas without wasted space.


© John Madden

© John Madden

3 bedrooms & 2 bathrooms (80m2) sit over a semi-open plan kitchen, living & dining space (70m2). 


Section

Section

Corridors, walls and nooks are configured to absorb storage and laundry requirements as well as the dog. A separate studio sits opposite the deck for work or play.


© John Madden

© John Madden

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ELEMENTAL Releases Plans of 4 Housing Projects for Open-Source Use





The 2016 Pritzker laureate Alejandro Aravena has announced that his firm, ELEMENTAL, has chosen to release four of their social housing designs to the public for open source use. Speaking in a panel discussion held by the Pritzker Prize earlier tonight titled Challenges Ahead for the Built Environment, Aravena spoke of the need to work together to tackle the challenge of rapid migration that is taking place all around the globe, a message closely tied to the theme of the upcoming Venice Biennale which Aravena is directing. In this spirit, DWGs of these four designs – which offer the basic elements of a house at a low budget and encourage the residents to expand into an adjacent space as they find the money to do so – will be available for architects worldwide to learn from.

The drawings, including plans, sections, elevations, site plans and details of the firm’s Quinta Monroy, Lo Barnechea, Monterrey and Villa Verde projects, are available to download from ELEMENTAL’s site here. In addition, the firm has produced a brief summary of the principles that underpin these projects. As stated on ELEMENTAL’s website: “Here you will find 4 examples, with four different designs that pursue the same goals and principles. From now on they are public knowledge, an open source that we hope will be able to rule out one more excuse for why markets and governments don’t move in this direction to tackle the challenge of massive rapid urbanization.”

To download the DWGs, visit ELEMENTAL’s website here and click on “Download 4 Projects’ Files Here.”

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The Waterfront Pavilion – Australian National Maritime Museum / FJMT Studio


© Brett Boardman

© Brett Boardman
  • Architects: FJMT Studio
  • Location: 2 Murray Street, Darling Harbour, NSW Australia
  • Area: 500.0 sqm
  • Project Year: 2015
  • Photographs: Brett Boardman


© Brett Boardman


© Brett Boardman


© Brett Boardman


© Brett Boardman

  • Practice Team: Richard Francis-Jones (Design Director), Jeff Morehen (Managing Director), Elizabeth Carpenter (Principal Architect), James Perry (Project Architect), Lilian Lau (Architect), John Perry (Engineer), Daniel Bourke (Designer), Joshua Heresford (Graduate Architect).
  • Consultant/Construction Team Members: Acoustic Studio (Acoustic), Warren Smith and Partners (Fire Services), Steensen Varming (Electrical/Lift, Mechanical Engineer), Taylor Thomson Whitting (Facade Engineer, Structural Engineer), Red Fire (Fire Engineer), Accessibility Solutions (Accessibility), Group DLA ( BCA), fjmt (Lead Consultant).
  • Principal Builder: Stephen Edwards Constructions Pty Ltd
  • Manufacturers: TBC

© Brett Boardman

© Brett Boardman

Anchored to the South wharf of Sydney’s Darling Harbour, The Action Stations at Waterside Pavilion, Australian National Museum was built to mark the centenary of World War I and commemorate 100 years of service by the Royal Australian Navy (RAN).  The purpose of this museum pavilion building is to create a transition experience for visitors from the waterfront dock onto the two navel vessels HAMS Vampire and HAMS Onslow. Built on a narrow existing wharf structure and to a tight budget the question was what should be the character of such a ‘building’ over the water of Darling Harbour and fitting tightly between two of the most significant Australian navel vessels.


Plan

Plan

The design seeks to bring the narratives of war to life and significantly enliven the visitors relationship with the vessels, waterfront and broader museum precinct. The articulated facade of the pavilion compliments the scale, form, colour of the vessels and the broader marine environment. The warship pavilion offers a dynamic, immersive experience and is an elegant, integrated addition to the Harbour precinct.


© Brett Boardman

© Brett Boardman

The suspended tube ‘hovering’ over the wharf, creates space at the wharf level to move around and experience the edge; where the vessels meet the water. The tube appears to ‘float’ in the air between the vessels floating in the water.This tube was then formally shaped and profiled in relation the natural movement of visitors from the dockside up into the building, through the portals and gangways onto the vessels. 


© Brett Boardman

© Brett Boardman

Plan

Plan

© Brett Boardman

© Brett Boardman

The pavilion is further shaped by the primary forms of the adjacent vessels themselves, the conning tower of the submarine and the bridge of the destroyer creating central formal distortions. These distortions are then transformed into large glazed portals that frame lateral views onto the vessels.


© Brett Boardman

© Brett Boardman

The interior of the Pavilion reflects elements of the interior of the navel vessels or an industrial shed; hardy, rough and adaptable. Sheet vinyl floors, insulted aluminium walls and industrial suspended fans. A lack of preciousness invites future change adaptation and evolution for future curators and visitors.


© Brett Boardman

© Brett Boardman

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Oriente 7 16 / Accidental


© Moritz Bernoully

© Moritz Bernoully
  • Architects: Accidental
  • Location: Calle 7 Ote. 16, Isidro Fabela, 14030 Ciudad de México, D.F., Mexico
  • Design Team: Susana Pantoja y Gerardo Galicia.
  • Area: 1131.0 sqm
  • Project Year: 2015
  • Photographs: Moritz Bernoully


© Moritz Bernoully


© Moritz Bernoully


© Moritz Bernoully


© Moritz Bernoully

  • Team: Antonio Espinoza, Iván Villegas, Daniel Almonte
  • Structure: Sergio Pérez, Víctor Manuel Esperón
  • Installations: Ernesto Plascencia

© Moritz Bernoully

© Moritz Bernoully

From the architect. Oriente 7 16 is the project of eight apartments, located in a cluttered urban environment that doesn’t have a consolidated urban image. We decided to bring the inside area to life with a colorful courtyard and a fresh and sunny atmosphere. This space is the heart of this project; an area for intimate, social and flexible meetings amongst the vegetation, which filters all views, giving more privacy to the apartments. 


Floor Plan

Floor Plan

The building is made up of two blocks, each with four levels, joined by a bridge-ladder. Each block has four apartments, one per level, of four different typologies: a one-bedroom apartment, one with a private patio, four with two bedrooms and two with a large additional terrace to enjoy the city. These terraces are the quietest areas of the whole space; ideal for being outdoors, reading, resting or hosting small parties or meetings.


© Moritz Bernoully

© Moritz Bernoully

All apartments are arranged east-to- west to keep them warm, fresh and illuminated throughout the day. All public areas face the main courtyard and have spacious terraces with planters, to create a vertical green environment from and to the courtyard.


© Moritz Bernoully

© Moritz Bernoully

A typical apartment has 65m2 plus 20m2 of terrace. It includes heights of 2.80m, large clearings, compact service areas, warm environments and color accents; we aim to maximize the size and freedom of these spaces. The terraces expand the interior spaces, and are different based on their location: the ones facing the main courtyard are larger, have more vegetation closer to the street and are emptier, and freer, towards the east.


© Moritz Bernoully

© Moritz Bernoully

The stairs that connect both blocks are an open walk through the courtyard. A walk that is only protected from the rain, and which you can take between stairs, breaks and vegetation. The city can be discovered through the virtual windows that frame the blocks; providing a panoramic view of the surroundings, with its reliefs, such as the Ajusco.


Section

Section

The building’s structure is made by two separate blocks over a box-shaped foundation at the basement level. Each block is a meticulous grid of gussets and light partition walls placed in a transverse direction. Homes like this are compact and efficient units that will allow for flexibility in the future, in face of a possible redistribution in the use of space, being able to use it even as a large open space.


© Moritz Bernoully

© Moritz Bernoully

We seek to complement our architecture with a piece of art that invites the users to an also emotional dialogue. For Oriente 7 16, the piece “Deseos” by Rachael Abrams, was designed exclusively for its lobby. The New York-based Californian artist created a piece of contemporary art that reinvents itself daily through the variety of interpretations that come from each person who interacts with it. Through 28 hand-painted canvases, it is the building’s own welcome message, and explores the way in which we communicate, reinvent ourselves and use language. It is a dream-like proposal as well as a message. 


© Moritz Bernoully

© Moritz Bernoully

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Thomas Heatherwick Wins Lifetime Achievement Award


Southern space looking north from Gansevoort Peninsul. Image © Pier55, Inc. and Heatherwick Studio, Renders by Luxigon

Southern space looking north from Gansevoort Peninsul. Image © Pier55, Inc. and Heatherwick Studio, Renders by Luxigon

Thomas Heatherwick has been selected to receive the Tribeca Film Festival’s (TFF) 2016 Lifetime Achievement Award. Part of the TFF’s seventh annual Tribeca Disruptive Innovation Awards (TDIA), the Lifetime Achievement Award will be presented to Heatherwick for his “dedication to bringing design, architecture and urban planning together in a single workspace at his own Heatherwick Studio.” He will be presented the award alongside Kenya Wildlife Service Chair and leading paleoanthropologist and conservationist Dr. Richard Leakey.

“The goal of the awards is to share insights into innovation to help solve the some of the world’s most intractable problems. Inspired by Harvard professor Clay Christensen’s ground-breaking theory of disruptive innovation, the Tribeca Disruptive Innovation Awards celebrate innovators who have broken the mold to significantly impact industries and business models in traditional and non-traditional domains, including media, healthcare, social justice, education, politics, sports and philanthropy,” says TDIA. 

“This year’s honorees are a diverse group whose achievements lead by example uniting communities that are offering new solutions to some of society’s most challenging issues,” adds Craig Hatkoff, TFF co-founder and chief curator for TDIA. “We are thrilled to celebrate Professor Christensen’s original theory and the new frontiers of innovation theory and application. Disruptors represent a new kind of billionaire – innovators who have the potential to help a billion people.” 

“Technology alone cannot solve the world’s most intractable problems. We must learn to crawl up inside and shine a light on what makes people tick,” said Christensen, “Each year’s crop of honorees help me refine and advance my thinking about disruptive innovation theory.”

Visit http://www.tribecadisruptiveinnovationawards.com for more information.

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Culunco House / AL BORDE


© Sebastián Coral

© Sebastián Coral


© Sebastián Coral


© Elaine González


© Sebastián Coral


© Sebastián Coral

  • Project Coordinator: Elaine González
  • Construction: Cristina Bravo
  • Furniture: Juan Subía, Felipe Donoso, Diego Benavides
  • Design: 2012 -2013

© Elaine González

© Elaine González

From the architect. Excavated Construction

Culunco is the name given to the paths situated in the middle of a dense vegetation, generally paths that were created for ancient villages of Latin America, like those of the Incas. This is as well the name that the architects from Al Borde chose for an excavated house in the middle of a sloping ground, surrounded by earth and trees in the Valley of Tumbaco, in Quito. The original project was composed of two houses, one of which was finally built, constructed with local materials. 


© Elaine González

© Elaine González

The starting point was an intense contact with the nature, although it was modified by the harmonious presence of the house. The orthogonal volume is composed of two programs divided by the stairs of the entrance but united by a same excavation, same construction system and same roof. On one side, buried, are organised two bedrooms that are opened on the living room and the kitchen; on the other side, a music studio and a workshop. The privacy necessary for the bathrooms and bedrooms is created by the implantation: the site itself protects the private uses, while the glass facade is used around the social area. 


© Melanie Kautz

© Melanie Kautz

Elevation

Elevation

© AL BORDE

© AL BORDE

The architectonic approximation is given by the climate, the costs and the simplified construction system. Tumbaco is situated 40 minutes from Quito and at 2600 meters above sea level. Its climate is warm and doesn’t need air conditioning, heating or any complex isolation systems. However it uses the sun as a source of heating. This context is why the architects chose glass for the whole perimeter of the house, the openings ensuring the ventilation. The thermal inertia produced by the buried part of the house allows an adequate thermal comfort. 






© AL BORDE

© AL BORDE

Diagram

Diagram

The structure resulted from a modular system of eucalyptus trunks of a same size and diameter, seated on a stone wall with varied inclinations. This forest of sticks supports the paraboloide deck made of plywood sheets painted in white, that are inclinated towards a same vanishing point. The whole floor is made of smooth concrete. 


© Sebastián Coral

© Sebastián Coral

The structural modulation and the selection of materials easily accessible and simple allowed the property to become the construction of the project. In Ecuador, eucalyptus trunks are one of the cheapest materials of construction, usually used for formworks or temporary housing. Walls made of stonework are less expensive and easier to produce than walls of concrete. The constructive simplicity didn’t prevent the architects of creating strategic spatial relationships that guarantee beauty and comfort in the Culunco House. 

Text by: Simone Sayegh, Published in AU Magazine (256), July 2015

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Sebastian Errazuriz Designs Audemars Piguet’s New Lounge at Art Basel Hong Kong


Courtesy of Sebastian Errazuriz Studio

Courtesy of Sebastian Errazuriz Studio

Chilean-born artist and designer Sebastian Errazuriz has designed Swiss watchmaking brand Audemars Piguet’s new lounge for Art Basel Hong Kong. “Taking inspiration from the ice formations and snowy winters of Audemars Piguet’s home in Le Brassus, Switzerland, the lounge will express the purity of nature and the passing of time,” says Errazuriz.

“With water and ice as its main thematic elements, the new stand will give form to the concept of ice cycle as a metaphor of time. Three key components will anchor Errazuriz’s design: the icicle as a beautiful form, accumulating over time; the water drop, seen as nature’s ticking pulse; and ripples in the water, symbolizing the forward movement of new life. The drips of the melting icicles resemble nature’s pulse, like the beating of a heart or a ticking clock.”


Courtesy of Sebastian Errazuriz Studio

Courtesy of Sebastian Errazuriz Studio

From the architect: Errazuriz’s innovative creations blur the boundaries between contemporary art, design and craft. In his Brooklyn studio, he creates exceptional masterpieces of furniture which are avidly sought after by collectors. His design objects and installations have been widely exhibited in museums. Focused on excellence, Errazuriz frequently mixes traditional artisan techniques with high-tech computer milling and 3D printing. The results are innovative, original designs created using only the finest materials, mirroring the values of technological mastery at the heart of Audemars Piguet’s watchmaking. 


Courtesy of Sebastian Errazuriz Studio

Courtesy of Sebastian Errazuriz Studio

The new lounge will seek to remind the viewer of a space of reflection. Showcasing exceptional visuals by photographer Dan Holdsworth named Continuous Topography, it will include a soundproof room enveloped with custom-designed panels adorned with patterns of icicles, stalactites, and stalagmites. The space functions as a private vault, with a chiming timepiece at its core. The façade of the lounge will include a striking ice tank, composed of illuminated acrylic rods which will flash to mimic the regular rhythm of a heartbeat. 


Courtesy of Sebastian Errazuriz Studio

Courtesy of Sebastian Errazuriz Studio

A selection of 10 intricately detailed open-worked watches, exquisite gem-set high jewellery watches, and pioneering minute-repeating wristwatches will be displayed in the lounge. Echoing Errazuriz’s diverse design practices, these three categories of watchmaking require the expertise and dedication of specialised craftsmen, each of them masters in their respective fields. The Haute Joaillerie Diamond Fury and Diamond Punk watches will be displayed within a one-of-a-kind showcase composed of mirror fragments, allowing the viewer to observe the iconic timepieces through a dazzling kaleidoscope effect.


Courtesy of Sebastian Errazuriz Studio

Courtesy of Sebastian Errazuriz Studio

Also during Art Basel in Hong Kong, Audemars Piguet will release The Art Projects of Audemars Piguet 2013- 2015, a 115-page book summarizing the company’s growing engagement with contemporary art. With an introductory essay surveying the intertwining history of fine watchmaking and art, the richly illustrated volume includes texts, interviews, and documentation about Audemars Piguet’s manifold partnerships in the visual art world and about the exceptional artistic projects undertaken with the patronage and active involvement of the brand in recent years.

Audemars Piguet became an official Associate Sponsor for Art Basel in 2013 and renewed its global partnership with a multi-year commitment in December 2015. Since 2015, the brand has presented innovative lounge concepts in the Collectors Lounge at all three Art Basel shows, inviting designers and artists to creatively interpret Audemars Piguet’s heritage and origins.


Courtesy of Sebastian Errazuriz Studio

Courtesy of Sebastian Errazuriz Studio

“I was humbled by the craftsmanship and ingenuity of the Audemars Piguet watchmakers in Le Brassus,” said Errazuriz. “The work they have been doing for almost two centuries is so incredible that any creative person who visits their installations will feel inspired to hold themselves to a higher standard of gravitas, beauty, and precision. The new lounge will hopefully become an experience for its visitors, managing to steal their attention and offering them a space to take a moment to think about time.” 


Courtesy of Sebastian Errazuriz Studio

Courtesy of Sebastian Errazuriz Studio

Following Art Basel in Hong Kong, the Audemars Piguet booth will travel to the Collectors Lounge at Art Basel in Basel 16 – 19 June 2016, and Art Basel in Miami Beach 1 – 4 December 2016. 

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