Olympic exclusion zone: the gentrification of a Rio favela

Residents of Babilônia complain they are being callously pushed out as the favela undergoes a rapid ‘upgrade’ ahead of this summer’s Olympics.

Jo Griffin, who has been working there, hears the inside story of Rio’s gentrification project.

rio

The Babilônia favela above Copacabana beach, one of Rio’s most desirable areas. Photograph: Mario Tama/Getty

“Look at that house,” says Nivia Bruno Ribeiro de Cajazeira, pointing to a small dwelling hidden by lush vegetation near the top of Babilônia hill, in the south zone of Rio de Janeiro. “All the homes in the favela used to be built like that, from pau-a-pique [wattle and daub containing bamboo].”

We have arrived at her own blue wooden house via a dirt path splattered with the red pulp of the jaca fruit, its terrace offering a glimpse of the distant sea. Outsiders rarely come to this part of the favela; to do so requires stepping so close to people’s homes that it can feel like an invasion.

Two theories explain why this favela – one of more than 1,000 informal settlements in Rio – is called Babilônia: some say it borrowed from a local brewery when it was founded at the end of the 19th century; others believe the area’s exceptional natural beauty evoked the Hanging Gardens of Babylon. Near the top of the green mountain where residents must lug food and supplies on foot, many people lack basic sanitation and nature still seems to hold sway.

For five generations, Ribeiro’s family has lived here, a short distance from the white sands of Leme beach. The favela has always been known for its tranquility, says Ribeiro, 38, who teaches computing. “For years, people used lanterns at home as we had no electricity. Being so near the sea we have many natural springs, where people would wash clothes. When I wake up, I am surrounded by birds in the trees.”

Now, as Babilônia undergoes rapid gentrification, Ribeiro is among the residents who are waiting to hear if they will be rehoused 40 miles away in Santa Cruz, in the west of Rio – a consequence of the city’s prize-winning Morar Carioca plan, introduced in 2010 to upgrade all favelas as part of the social legacy of the Olympics. In Babilônia, the plan provided for the removal of homes in three “risky” categories: those in Areas of Environmental Protection; those whose residents receive social rent and who have been rehoused; and homes in “areas of risk”, where rains can trigger landslides, such as Ribeiro’s.

blank

A view of the Babilônia favela from Rio’s popular Leme beach. Photograph: Bert Kohlgraf#70921/Flickr Vision

It is André Constantine, president of the residents’ association, who is taking their fight to the city. Fittingly, it seems, the concrete building housing his office is located just above the point where the paved road ends. From here, he mediates with the housing office, organises meetings to tell residents about their rights and dispenses advice to those who climb the stairs to his green door. When I visit, a small group of women are waiting in the shade outside the health post next door.

Constantine is angry that the city has not kept its initial pledge to rehouse all the residents in those categories into three eco-friendly new apartment blocks in Babilônia and the adjacent favela, Chapeau-Mangueira. The Morar Carioca plan,which has been criticised for not delivering on its original promises, led to a partial extension of the main road and improvements to the drainage system, but the money ran out before all three apartment buildings could be completed. Meanwhile, some residents still lack basic sewerage facilities, he points out.

Constantine is particularly enraged by what he says was a deliberate deception. “If this is an area of risk, why have they done nothing to make it safer? It was declared an area of risk six years ago and nothing has been done.” The “lie” of Morar Carioca goes to the heart of a wider cause that consumes him: the battle against the city’s “project” of gentrification, which he says is pushing poor, mainly black, residents out of favelas in desirable areas like the south zone, ahead of the Olympics. “We residents are paying a very high price for these mega-events,” he says.

Constantine entered politics following the murder in 2007 of his father, who was caught up in the drugs trade. After such a life-changing event, you might choose that or religion, he says. He read about political theory and today he is a militant leader of the rights movement Favela Não Se Cala (“the favela won’t shut up”). All over the city, he says, similar battles are being fought.

Constantine is in no doubt that the ultimate goal of the UPP pacification projectbegun in 2009 – whereby armed police seize control of and then occupy favelas controlled by drug gangs – is gentrification. “What people have to understand is that the UPP police are the protagonists for this process,” he says, referring to the tide of property speculation, that has led to inevitable “social cleansing”.

Tributes to Mandela and Gandhi on a wall of the Babilonia favela.

Tributes to Mandela and Gandhi on a wall of the Babilônia favela. Photograph: Mario Tama/Getty Images

Since the UPP project began, the price of buying or renting property in the favela has doubled, he says, pushing out tenants and preventing settlement by migrants from poorer areas of Brazil. “Someone from the north-east cannot come here and rent a place because it is too expensive now. It is only the middle classes who can afford to rent a place here now. Even foreigners are moving in to the community, and it is pushing the poverty to the edges [of the city].”

Nevertheless, the community looks as though parts of it are still being built with bare hands. Above his office, builders are hefting bags of cement on their shoulders up the hill. Below, at the UPP unit on the main road, armed police look on as foreign tourists trudge up to one of the hostels that has opened since pacification. While these new developments might look as modern as any building along the beachfront, there are concerns about construction methods and materials. Meanwhile, some residents at the top don’t even have toilets, he says. Human excrement is just hurled into the trees.

Ribeiro expresses frustration that the community now has to cater for tourists, who leave extra rubbish, for example. “We have so many problems here and we have to take care of tourists as well. It’s so difficult for us and tourists add to our problems. It makes me angry. We don’t even have a proper path to go up [the hill].”

While gentrification has led to new buildings and interest from outsiders, few visitors have left anything tangible for the residents, Ribeiro says. “These big architecture projects are not carried out in accordance with our reality. They don’t bring a school or health clinic, or install internet cables.”

The interest from outsiders is merely transient, she says. “I am tired of answering interviews, filling in surveys. Does all that leave anything solid behind? If people come here to do a film project, for example, why don’t they donate a camera?”

That gentrification has opened up the area and brought new income is evident from the crowd usually milling around Bar do David, one of several eateries at the entrance of Chapeau-Mangueira. The food has won awards and the bar is famous for the display of 200 varieties of cachaça (a spirit made from sugarcane juice). Most evenings, Brazilians and tourists alike climb the lower part of the hill to sit with a beer and watch the sun go down over the apartment blocks that drive a wedge between the favela and the beach. Nearby, a welder in orange overalls is mending a rickety metal cart with the word “lunch” scrawled on it.

A man performs yoga at the top of the Babilônia favela.

A man performs yoga at the top of the Babilônia favela. Photograph: Mario Tama/Getty Images

Bar owner David Bispo, 44, was struggling to make ends meet as a fisherman before opening his bar after pacification six years ago. But today he is on edge; after years of relative peace, there has been a rare explosion of violence between rival drug factions in the two favelas. Two nights ago, locals steered foreigners into his bar and drew the shutters. During a weekend of gunfire, two men died and a third was injured by a stray bullet while he was taking a bath at home. Locals say the gangs were goaded into the violence by others from their factions elsewhere in Rio.

Police cars are stationed at the favela entrance as a helicopter hovers overhead and a caveirão (the feared black armoured police vehicle) lumbers up the hill, sending residents and tourists from the centre to the edges of the road.

Bispo, a friendly host who chats in English to customers, says pacification has made many feel safer and enabled him to start a successful business, but he, too, is wary. “You see foreigners arriving and wanting to live here and start a business here in the favela, fleeing taxes elsewhere … this is a kind of cowardice.” He points out that such businesses invariably have an advantage over their rivals – the local residents.

Bar owner David Bispo

Bar owner David Bispo. Photograph: Christine Cellier

His father founded the first residents’ association in Chapeau-Mangueira and was involved in the luta, the struggle to remain in the favela under Brazil’s military dictatorship. Shouldn’t the benefits of the new era go to the “true deservers” he asks, whose ancestors fought for the community? Outsiders help businesses like his to thrive, but it irritates him, for example, that a foreign toddler has a place at the community nursery but there is no space left for a relative’s child.

For decades, state neglect forced a pace of progress that was slow and painful in Rio’s favelas, which – unlike many other informal settlements around the world – have a largely stable population. While some residents express satisfaction that state involvement has brought new income streams and improved security, there is anger that changes are imposed from outside, without consultation with residents.

Some residents talk about the golden era of the mutirão (an indigenous word meaning a group of people who work together to benefit all), when residents pooled resources to build their homes. Gentrification belongs to the more individualistic development of Rio that has characterised the run-up to the Games, they say.

To counter this trend, Pol DHuyvetter, a Belgian who has lived in Babilônia since 2012, launched solar power project RevoluSolar, empowering residents to become energy self-sufficient as electricity bills have risen. “I found out that Babilônia had been presented during Rio+20 summit as a pilot project on sustainable development. But I soon learned this had been a PR operation by the Rio host governments and some big companies,” he says.

A member of the Belgian renewable energy cooperative Ecopower, he “realised that a solar energy cooperative would be a perfect instrument for sustainable development with clear economic, social and environmental benefits”.

More

CERDÀ Y LA CIUDAD SIN CENTRO

LA ENCICLOPEDIA COMO LUGAR SIN CENTRO. PAXTON Y LA ARQUITECTURA SIN CENTRO. CERDÀ Y LA CIUDAD SIN CENTRO

Suscitaremos pocas dudas si afirmamos que la organización de un diccionario enciclopédico, en su esencia más fundamental, prescinde de un punto único de referencia. En rigor todos sus elementos, todas sus entradas son, a su vez, referencia y diferencia. La comprobación es inmediata: basta iniciar la lectura por cualquier página para ser llevados, de una definición a otra y sin solución de continuidad, a través del total de páginas que conforman el diccionario sin un orden establecido. Un viaje que, al límite, nos hace entrar en un bucle donde la única escapatoria se produce cuando se introduce, externamente, un nuevo vocablo, una nueva definición que de inmediato pierde su referencia en beneficio del sistema general. El orden es irrelevante. Sistematizar alfabéticamente las entradas no presupone ninguna ley de inteligibilidad.

A Diderot, junto a D’Alembert, debemos el moderno diccionario Encyclopédie ou Dictionnaire Raisonné des Sciences, des Arts et des Métiers, par une société de gens de lettres (1751); un titánico esfuerzo -cuyo origen se encuentra en la Cyclopaedia de Ephraim Chambers (1728)- por agrupar todos los saberes en 17 volúmenes de texto más 11 volúmenes de láminas donde a la colaboración colectiva e interdisciplinar en su producción se suma, por primera vez, un sistema de navegación que tiende a ser recorrido por azar o por curiosidad en lugar del habitual sistema lineal.

Cien años más tarde, en 1851, se celebra la primera Exposición Universal en Londres.The Great Exhibition of the Works of Industry of All Nations fue visitada por 6.039.000 de personas -Londres contaba con 2.300.000 habitantes. Hector Berlioz, compositor, designado por el Ministro de Agricultura y comercio francés para servir como representante de Francia y examinar los instrumentos musicales que allí se exhibían, describe así sus impresiones:

[…] This universal exhibition, the competition of all nations, and especially the vast Crystal Place where everything is exhibited, these are wonders which I will not attempt to describe to you. […]

Allí donde todo se expone, donde nada queda por mostrar, el visitante acaba por convertirse en un objeto más de exhibición, imposible de describir su entorno. Allí se exhibirá desde el primer inodoro con cisterna, el telégrafo eléctrico, microscopios, bombas de aire y barómetros, así como instrumentos musicales, de relojería, junto a elefantes vivos, cocodrilos, toda clase de pájaros, o una colección grandiosa de gallinas.

crystal_palace_-_interior

El Crystal Palace, de Joseph Paxton, será el diccionario enciclopédico construido; un lugar del que dirán, los arquitectos del momento, «no es arquitectura. No es extraño. Basta observar el primer proyecto publicado de lo que debería ser el edifico del Crystal Palace para constatar la estricta homogeneización a la que somete Paxton el proyecto, neutro contenedor de todo lo que allí deberá ser expuesto.

Teoría General de la Urbanización, y aplicación de sus principios y doctrinas a la Reforma y Ensanche de Barcelona, es un tratado de urbanística redactado por Ildefons Cerdà (1815-76) el año 1859, declarado de utilidad pública en mayo de 1860, y publicado en diciembre de 1863. Cerdà recoge, en el tratado, la urbanística como una ciencia.

Decir que se ocupa de la urbanística como una ciencia es decir que el procedimiento que sigue en el desarrollo de su tratado es científico: observa, estructura, razona, y deduce principios que pueden ser aplicados a otros casos.

Los dos gruesos volúmenes de la Teoría General de la Urbanización comprenden, tan sólo, la primera de las cuatro partes que tenía que desarrollar:

1ª, dedicada al análisis del hecho urbano en su esencia originaria y en su desarrollo histórico, como método para «hacer comprender y tocar, si así cabe decirlo, la causa primordial de ese malestar profundo que aflige a las sociedades modernas encerrada en las grandes ciudades»

2ª, consagrada a exponer «el sistema o teoría que debería aplicarse con provecho para extirpar el mal, teoría que consiste en la exposición de los principios generales cuya aplicación habría de conducirnos a una urbanización perfecta»

3ª, encargada de «reducir la rigidez de los principios teóricos a una conveniente elasticidad que los hiciese practicables, útiles y provechosos por medio de reglas prácticas»

4ª y última parte consistente en la aplicación, de todo ello, al caso de Barcelona.

pla-cerda_2

Guillem Carabí

Un método científico que Cerdà articula junto a la tradición en sus aproximaciones etimológicas para resolver la incorporación de cultismos con los que dotar de un nuevo lenguaje al proyecto que está por venir. Recuperar el uso de la voz urbs —vocablo con el que los latinos designaban la ciudad y término, a su vez, síncopa de urbum, arado—, para derivar de él urbanización y urbe, establece una relación nada casual entre la acción de arar un terreno con bueyes sagrados para señalar un recinto a ocupar, y la transformación de un campo libre en urbanizado.

More

CIUTATS OLÍMPIQUES: RIO I BARCELONA

TRANSFORMACIONS URBANES I LLEGAT

rio-h

Abans i despres de la trasnformacio urbana de la Praça Mauá.

En el marc del Congrés d’Arquitectura 2016, i amb el suport del Consolat de Brasil, avui 7 de juliol tindrà lloc al Pavelló Mies van der Rohe una taula rodona sobre les ciutats olímpiques de Rio de Janeiro i Barcelona, i les transformacions urbanes que hi han tingut lloc amb motiu dels Jocs Olímpics.

Es parlarà sobre els beneficis que uns Jocs Olímpics poden aportar al territori que els acull, tant a curt com a llarg termini, i de quina manera aquests potencials beneficis s’han de tenir en compte en la planificació de l’esdeveniment. Serà una posada en comú sobre l’experiència de com les dues ciutats han aprofitat les olimpíades per a millorar les condicions urbanes preexistents i que han permès desenvolupar zones obsoletes o inconnexes de les ciutats per a convertir-les en barris plens d’urbanitat i totalment en continuïtat amb llurs metròpolis.

Ara que fa quasi 25 anys de les Olimpíades de Barcelona, el seu llegat pel que fa a planejament i infraestructures urbanes es pot començar a valorar amb perspectiva. D’altra banda, s’analitzarà el cas de Rio de Janeiro, on tindran lloc les Olimpíades d’aquest any.

El format de la jornada serà una taula rodona amb tres ponents i un moderador. S’estima que cada un dels ponents s’exposi durant 15 minuts i, a continuació, s’obri el torn de paraula a la fila zero i al públic en general.

Els ponents que han estat convidats a la taula rodona són:
– moderador, Ignasi Riera, arquitecte d’ABR arquitectes, coautor del projecte d’obertura del front marítim d’Orla da Baía de Guanabara.
– Sergio Magalhaes, president de l’Institut d’Arquitectura de Brasil. Ideòleg juntament amb l’Ajuntament del procés de transformació urbana de Puerto Maravilha.
– Washington Fajardo, arquitecte i urbanista, President de l’Institut Rio de Patrimoni i Humanitat i del Consell Municipal de Protecció de Patrimoni Cultural.
– Joao Pedro Backheuser, arquitecte de B+ABR Arquitectura. Desenvolupadors de l’espai urba a Puerto Maravilha.

El moderador, Ignasi Riera, començarà amb una introducció sobre la connexió Rio-Barcelona: les olimpíades com a eina de transformació urbana. A continuació els ponents viatjaran des de la gran escala territorial al projecte local en detall, passant per l’escala de ciutat i la seva transformació general pels jocs.
Així doncs, en Sergio Magalhaes, de perfil acadèmic, parlarà de l’escala territorial, farà una explicació macro de la ciutat i tractarà un tema important que va venir de la seva mà: la recuperació de les àrees portuàries industrials. En Washington Fajardo, de perfil polític, posarà el focus en les intervencions fetes a la ciutat, des de la vessant de les infraestructures (lligant amb l’escala territorial) i des de les transformacions urbanes generals. Per acabar, en Joao Pedro Backheuser, de perfil tècnic, exposarà les actuacions al centre de la ciutat i al port, detallant tota la transformació del front de mar (que acabarà lligant amb Barcelona).

La primera fila estarà integrada per les persones que ocupen càrrecs institucionals a la ciutat de Barcelona i la Generalitat de Catalunya, el degà del Col·legi d’Arquitectes i altres personalitats del món de l’arquitectura i la ciutat de Barcelona. La sessió tindrà traducció simultània per a tots els assistents.

 

Inscripcions: Registre i inscripcions als actes del Congrés

Barcelona & Urbanism Walking Tour

Hi walkers!

Eixample.dret.i.esquerra_aire

Today we want to share with you a critique at Tripadvisor of which we are particularly proud.
This is what our walker Lily wrote after our BARCELONA & URBANISM walking tour with Miguel Angel.

Urbanizing the rural, ruralizing the urban.

”This tour is perfect for urbanists visiting Barcelona who want more than the typical tourist version of the city. I am a doctorate student in architecture and urban planning and had previously signed up for Gaudi walking tours in the city, but I highly recommend BAW over all others you will be able to find downtown.

I went on the Barcelona & Urbanism walk in early July 2016 with Miguel, and I left feeling like I could look at the city through a new lens. Miguel had deep insights about Barcelona’s urban fabric — from ancient times to modern times. We spoke at length about Cerda’s master plan of the city, and how it both has and has not been realized in present times. Many of our stops were in peaceful public courtyards and parks that tourists rarely see because they are not as well known, and the final stop included a beautiful panoramic view of the city from above. Miguel was also able to share some of his research materials with me afterward, which I will use to refer back to for much time to come!

Usually, walking tours are a form of broadcasting information from one person (a guide) to many (a group of people). However, this tour feels like a discussion, a conversation that allows for questions, shared observations and insights. It is one of the best decisions you will make in Barcelona if you go.”

And here are the notes she took during the walk…

Lily

Nice, right? Thanks a lot, Lily!

Come on guys, let’s and walk with us and enjoy the city!

Here you could see more reviews.

[btn text=”BOOK NOW” link=”http://www.barcelonarchitecturewalks.com/booking/” tcolor=”#ffffff” bcolor=”#000000″ thovercolor=”#dd3333″ bhovercolor=”#EEE” ]

 

 

Jørn Utzon’s saga with the Sydney Opera house coming to the big screen.

Utzon, The Man Behind the Opera House.

https://youtu.be/D-6nldpK3HU

We all know and we all love but what was behind the building of the Sydney Opera House? A new film tells us.

Entitled Utzon, the man behind the Opera House, the film will tell the story of the Danish architectJørn Utzon, who at only 38 years old and relatively unknown won the international competition to design an opera house in Bennelong, in Sydney in 1957.

In March, Australian television documentary devoted to Peter Hall, who replaced the architect Utzon in the direction of the building work, starring his son Will Hall. At the end of the interview she was done to Jan Utzon (son of Jørn) and both sons of architects staged a cordial relationship with a hug.

sydney_opera_house_02bn

It is now that we have learned that the Sydney Opera House will be part of the narrative basis of a new feature film. With the preliminary title of Utzon, the man behind the Opera House, will focus on the figure of the pioneer Danish architect who beat the conservative architecture Australia when he won the international competition to design a theater in Bennelong, Sydney.

It came as a celebrity in 1957 by the hand of the Prime Minister of New South Wales Joe Cahill, the Labor Party. However soon changed policies Robert Askin tables and seized power. Utzon bumped against infighting, jealousy and dueling power and corrupt budgetary constraints Askin´s govermment.

Utzon takes the decision to abandon the project in 1966, never to return, but would return 20 years later. He never got to see how the building was finished, but was declared as a World Heritage Site by Unesco in 2007, a year later die.
sydney_opera_house
After his departure several demonstrations called for his return, but the Australian government decides to work in the direction of Peter Hall that had spoken in favor of Utzon. Years later stated that only accepted the project after approval of Utzon. But decades later his son makes harsh criticism of the performance of the Danish architect as the foundation or structure.

In 1995 an exhibition was held with the original drawings of Utzon and the public could compare both proposals. Peter Hall could never overcome the criticism and would end up dying in 64 years ruined and homeless.

The film will be produced by Swedish-Australian Jan Marnell and Australian producers Marian Macgowan and Peter Herbert, with Danish executive producer Ole Søndberg (Girl with the Dragon Tattoo), Swedish executive producer Lars Weiss, and a screenplay from Petter Skavlan, who wrote the Oscar-nominated 2012 film Kon-Tiki.

More

 

50 anys de l’enderroc del barri de barraques del Somorrostro

Somorrostro: la historia de 2.400 barraques…

Es compleixen 50 anys d’un fet històric que mostra la forma en què les coses es feien durant els anys del franquisme. Va ser l’èxode forçat dels habitants del Somorrostro, un barri de barraques que havia existit durant gairebé un segle a la platja de Barcelona, amb l’excusa d’una exhibició militar a la que havia d’assistir el dictador Francisco Franco.

A finals de juny de 1966, gairebé sense avís previ, unes tres mil persones van ser traslladades a un polígon encara en construcció, el barri de Sant Roc a Badalona. Un barri que va néixer amb moltes mancances urbanístiques i on ha calgut un gran esforç d’inversió pública per intentar pal·liar problemes nascuts d’una difícil herència que es vol superar. Ara el mig segle de Sant Roc i la fi del Somorrostro es recorden amb exposicions i debats a Badalona i a Barcelona, i amb el testimoni dels antics veïns del Somorrostro.

Miguel Santiago relata: “Vaig néixer en un barri anomenat Somorrostro, als anys 50. Ara, el 2016, he tornat i està tan canviat que no reconec el lloc on vaig néixer. La gent gran diu que Franco havia de veure un desembarcament. I ell no volia veure, o no volien que veiés, les barraques que hi havia. I van donar l’ordre perquè desapareguessin. Van dir: “això no es pot veure, no podem enfocar això i que ho vegi el món”. Van donar l’ordre de desallotjament, i en 24 hores ens van fer fora. Vinga camions, i cap a Badalona.”

El 25 de juny de 1966 va començar l’enderroc del barri del Somorrostro, que havia existit a la platja durant gairebé un segle i que havia arribat a tenir 2.400 barraques i uns quinze mil habitants. Unes tres mil persones van ser desallotjades i unes 600 barraques van anar a terra. Sis dies més tard va començar el que es va anomenar la “Primera Semana Naval”, unes maniobres amb el gruix de la flota espanyola, amb un simulacre de desembarcament a la platja, a pocs metres d’on havia estat el barri.

Mercè Tatjer, catedràtica emèrita de Didàctica de les Ciències Socials de la UB: “L’enderroc del barri del Somorrostro tenia una excusa, la celebració de la “Semana Naval”, una exhibició militar del règim franquista a Barcelona. Però en paral·lel hi havia les intencions de l’alcaldia de Porcioles de transformar tota aquesta part del litoral en una àrea turística, d’alt estànding, que es va anomenar el Pla de la Ribera. Al darrere hi havia la primera especulació urbanística important dels anys de la postguerra.”

somorrostroidiagonalmar

Quan els van carregar als camions, molts veïns de les barraques del Somorrostro no sabien on els portaven. El destí era el barri de Sant Roc, a Badalona, encara en construcció. Faltaven pisos, i moltes de les famílies amb menys recursos van anar a parar a uns vells barracons construïts per acollir els damnificats per la riuada del 1962. Una provisionalitat que va durar molt temps.

Miguel Santiago: “Els que tenien les 3.000 pessetes d’aleshores van anar a pisos. Nosaltres vam haver d’anar a un barracó. I així vam passar un any i mig, fins que ens van donar els pisets del barri de Sant Roc. I aquí hem viscut aquests 50 anys.”

L’arribada sobtada de milers de persones procedents de barris de barraques va ser un sotrac a Badalona i hi va haver casos puntuals de rebuig. Com explica Miguel Santiago: “A nosaltres ens van arribar a negar l’entrada als cinemes. Pel fet de ser gitanos.”

Al barri de Sant Roc es van fer 154 blocs, en dues fases, Sant Roc Vell i Sant Roc Nou. La majoria de pisos eren molt petits. Com tots els polígons d’urgència del franquisme, Sant Roc va néixer amb moltes mancances urbanístiques i de serveis. Però per als exbarraquistes, gitanos i paios, el nou barri representava una gran millora.

Per a Luisa Lérida: “en aquell temps això era un palau, fins i tot com estava, ple de males herbes i de bassals d’aigua. Hi havia edificis en construcció, totxos i runa per tot arreu. Però per nosaltres era una meravella. Vaig perdre el meu barri del Somorrostro, però això era com un palau.”

De seguida el barri va quedar dividit per la construcció de l’autopista C-31, que el fragmenta en diverses zones. Una part dels blocs originaris tenien greus defectes de construcció i aluminosi. Després d’anys de mobilització veïnal, finalment el 1997 van començar les obres de remodelació. L’Incasòl, amb la col·laboració del ministeri de l’Habitatge i l’Ajuntament de Badalona, ha enderrocat 56 blocs amb un total de 918 habitatges, i s’han substituït per 32 edificis nous, amb pisos més grans. Encara queda pendent la substitució de sis blocs més. En la millora urbanística de Sant Roc s’hi han invertit 70 milions d’euros.

Però l’atur i els efectes de la crisi s’han notat amb força al barri. Com explica Miguel Santiago: “En qualitat d’habitatge hi hem guanyat, d’un pis de 45 metres a un de 72. Però en qualitat de supervivència hi hem perdut. Perquè la vida està molt difícil, no hi ha feina, no hi ha mitjans.”

Sant Roc està molt ben comunicat pel transport públic. I s’ha fet també una inversió important en equipaments. Hi ha molt espai públic, però no sempre en bon estat de conservació. I sovint apareixen problemes de convivència.

Luisa Lérida: “Està tot que fa pena, que també hi participem nosaltres, perquè no cuidem el nostre barri. Però tampoc venen els de l’Ajuntament a cuidar-lo, no hi venen a fer res.”

Sant Roc té més de 13.000 habitants. A la barreja inicial de paios i gitanos, el barri ha sumat una gran diversitat cultural que es reflecteix a l’institut, creat 4 anys després de néixer el barri. El repte és superar els dos problemes més grans, l’atur i l’absentisme escolar.

La directora de l’Institut Eugeni d’Ors, Cristina Steegman, creu que la situació millora: “Teníem molt absentisme, però ara cada vegada n’hi ha menys. Hi ha una gran feina darrere les famílies, perquè prenguin consciència que han de venir a l’institut perquè és el seu futur. Sant Roc és un barri amb molt futur.”

Més.

 

Enric Miralles: Igualada Cemetery

An earthwork that blends into the landscape.

cementiri

As part of a competition to replace an older cemetery, Enric Miralles and Carme Pinos envisioned a new type of cemetery that began to consider those that were laid to rest, as well as the families that still remained.  After 10 years of construction, the Igualada Cemetery, outside of Barcelona, Catalonia, Spain, was completed in 1994 as a place of reflection and memories.

blank

The Igualada Cemetery is a project that challenges the traditional notions of what makes a cemetery.  Miralles and Pinos conceptualized the poetic ideas of a cemetery for the visitors to begin to understand and accept the cycle of life as a link between the past, present, and future.

It’s understood by the architects to be a “city of the dead” where the dead and the living are brought closer together in spirit.  As much as the Igualada Cemetery is a place for those to be laid to rest, it is a place for those to come and reflect in the solitude and serenity of the Catalonian landscape.

Embedded in the Catalonian hills, the Igualada Cemetery is an earthwork that blends into the landscape as if it were a natural aspect of the land. The cemetery was designed as a tiered landscape that unfolds into the landscape as one continuous and fluid progression.

© Flickr User: Dharmesh

The main burial area is part of a lowered excavated part of the cemetery that is surrounded by gabion walls and the mausoleum-like burial plots, which obstructs the visitor’s vision from the surrounding context secluding them in an area where the sky is the only visible entity outside of the central burial area.  Unlike the first tier, the second tier of the cemetery has more traditional burial plots that are separated and spread out rather than the mausoleum-like burial plots below.

© Flickr User: Dharmesh

Also, on the second level, there is a chapel and monastery that remain unfinished; however, the unfinished aspects are not lacking, by any means, spatially rather they are void of definition and detail.  Yet, the lack of information and detailing compliments the overall sensations of the project where the spaces are open and void to retain the experiences of solitude and serenity.

As one enters the site, one confronts a set of cor-ten steel poles that double as gates to the cemetery – the poles are likened to the crosses at Calvary.  From the main entrance, there is a processional winding pathway that descends into the main burial area; the pathway is lined with concrete “loculi” – mausoleum burial plots – that wrap around the depressed space as a transition from tier to tier.

blank

The windy path is conceptualized as the river of life that moves from a wide open expanse in the Catalonian hills to a secluded memorial space excavated below the horizon.  The circulation through the cemetery adheres to a more processional effect that focuses less on the organization of the burial plots, but rather the experience.

The materials of the Igualada cemetery tie the project seamlessly back into the landscape.  Miralles employed earthy materials of concrete, stone, and wood into the project.  The gabion walls, the worn/aged concrete, and the wooden railroad ties embedded in the stone groundscape evoke the hard and rough landscape of the surrounding hills.  The earthy tones of the materials transform the architecture into a natural aesthetic creating the appearance that cemetery has long been part of the site.

© Flickr User: Dharmesh

The Igualada Cemetery is in a sense an organic architecture that integrates into the natural landscape as an extension of the Catalonian hills.  It is just as much a part of the landscape as the people that visit it. Even Miralles after his sudden death in 2000 is buried at the Igualada Cemetery, which in a sense completes the cycle of Miralles life: past, present, and future all clinging onto the Igualada Cemetery.

More

A Gaudí Guide to Barcelona

Born on June 25 Gaudí. Let’s celebrate with this compilation of some of his works in Barcelona.

When Catalan architect Antoni Gaudí (25 June 1852 – 10 June 1926) graduated from the Barcelona  Architecture School in 1878, the director of the school Elies Rogent reportedly declared: “Gentlemen, we are here today either in the presence of a genius or a madman!” [1] Well over a century later, this tension is still evident in Gaudí’s work; though he is widely regarded as a genius architect, his distinctive style stands as a singularity in architectural history – simultaneously awe-inspiring and bizarre, never fitting into any stylistic movement, and never adapted or emulated, except by those still working to complete his magnum opus, Barcelona’s famous Sagrada Família.

Although already an icon in architectural circles, “birthday boy” Antoni Gaudí may soon be receiving a new accolade: sainthood. Due to his renowned, unique style and tireless efforts on La Sagrada Família, Gaudi, potentially our first Patron Saint of Architects, will be beatified by Pope Francis within the next year.

It still seems a good moment to celebrate Gaudí and explore some of his most astounding works scattered throughout the city of Barcelona (seven of which are UNESCO World Heritage Sites). Discover some of our favourites.

Cascada Fountain

Cascada Fountain. Image Courtesy of http://www.lowcostholidays.com/

Designed by Josep Fontserè in 1881, with young Gaudí as his assistant, the Cascada Fountain, tucked into the northern corner of the Parc de la Ciutadella, draws inspiration from the Trevi Fountain in Rome. Two giant crab pincers act as stairs to a podium in the monument’s centre, where there is a sculpture of Venus inside an open clam.

Gaudí was still a student of architecture when he helped construct the Cascada. When construction was completed in 1888, the fountain was shown at the Barcelona World Exhibition.

Casa Vicens

Casa Vicens. Image Courtesy of http://www.lowcostholidays.com/  

The first of Gaudí’s significant commissions after he completed his degree, Casa Vicens was designed for ceramic factory owner Manuel Vicens.

Built between 1883 and 1888, the building highlights several influences, particularly a Moorish influence, which is evident in the rooftop towers. The trencadís façade is constructed of undressed stone, red bricks and coloured ceramic tiles in checkerboard and floral patterns, paying homage to the owner’s profession.

Although the design lacks the curved lines of his later works, the explosion of colour is heavily influenced by Arabic and eastern art, something that is echoed in many of his later designs.

Palau Güell

Palau Guell. Image Courtesy of http://www.lowcostholidays.com/

This palace residence of the Güell family has a distinctly sober façade, which is not immediately reflective of Gaudí’s other works.

The building is centred around a main room, designed for entertaining the Güell family’s high society guests, who entered the residence in horse-drawn carriages via iron front gates. These arched gates feature intricate forged iron-work resembling seaweed.

Animals were taken to the stable by a ramp within the room, whilst guests went upstairs to the receiving room. The ornate walls and ceilings here disguised viewing windows located high in the walls, allowing the homeowners the privilege of peeking at the guests so they could decide whether to adjust their attire before making their entrance.

The interior certainly compensates for the sombre exterior: a parabolic dome-shaped central hall with tiny holes in the ceiling allowed daylight to dapple the room with a planetarium-like effect.

Casa Milà  La Pedrera

Casa Mila. Image Courtesy of http://www.lowcostholidays.com/  

La Pedrera is one of Gaudí’s most well-known residential constructions and the last of his civil works. It was built between 1906 and 1912 and, despite an undulating stone façade and twisted iron balconies, which made it controversial at the time, was recognised as a World Heritage site in 1984.

Casa Milà is made up of two buildings, structured around two courtyards that offer light to the houses’ nine levels. The main floor was intended for the commissioning family, whilst the remainder was split into over 20 rental properties.

Casa Mila interior. Image Courtesy of http://www.lowcostholidays.com/

The exterior’s impressive mass of rippling limestone explores the irregularities of the natural world. Upon entering the building, this theme is again echoed. The columns and floors devoid of load bearing walls were also remarkable architectural innovations for the time.

Casa Mila rooftop. Image Courtesy of http://www.lowcostholidays.com/

The roof is spectacular, crowned with chimneys, skylights, exits and fans. The chimneys were coated in limestone, broken marble and glass, and were twisted to allow more smoke to escape. The view from the roof is also worth the nine flight climb.

Casa Batlló

Casa Batllo. Image Courtesy of http://www.lowcostholidays.com/

Another of Gaudí’s residential buildings, Casa Batlló, reconstructed in 1904 from a house built in the 1870s, was designed for the aristocrat Josep Batlló, who moved his family into the lower two floors before renting the remaining space as apartments.

The attention to detail is captivating: windows vary in size, dependent on the height of the floor from ground level, and the intricate exterior designs and colours are inspired by marine life. From a distance, the balconies and supporting pillows look like skulls and bones, adding to the naturalistic feel.

As with Casa Milà, the building was criticised during construction for its radical design; however, it was announced as one of Barcelona’s best three buildings by the city council in 1906 and is now on the UNESCO World Heritage list.

Parc Güell

A Gaudí Guide to Barcelona, Parc Guell. Image Courtesy of http://www.lowcostholidays.com/

This stunning garden complex on the hill of El Carmel was commissioned by Eusebi Güell and built between 1900 and 1914.

Although today part of the UNESCO list ,’Works of Antoni Gaudí,’ the park was originally an unsuccessful housing site intended to exploit the fresh air and city views. Only two of the planned 60 houses were erected; after no buyers came forward, Gaudí bought one and moved in with his family.

There are numerous architecturally fascinating aspects to explore: the columns shaped to simulate palm trees, rubble surfaced arches growing from the ground, a gazebo fashioned from twisted angle iron. However, the focal point of the park is the main terrace, due to its stunning views and surrounding mosaic benches.

La sagrada Familia

 La Sagrada Familia. Image Courtesy of http://www.lowcostholidays.com/

The spectacular Sagrada Família has been under construction for over a hundred years, since work began in 1882. Gaudí had an incredibly active role directing the construction of this magnificent Roman Catholic Church until his death in 1926, when only a quarter of the project was complete. Following the Spanish Civil War in 1936, much of his workshop, along with models and plans, were destroyed by Catalan anarchists. Thus, parts of the present design have been based on reconstructed versions and modern adaptations, causing controversy amongst many Catalan architects who argue that these alternative materials disregard Gaudí’s original proposal.

The exterior and interior designs are incredibly intricate, with themes drawn from phrases from the liturgy. The towers are decorated with words like ‘Excelsis’ and ‘Sanctus’ and the door is covered in biblical words written in various languages.

Construction has recently accelerated thanks to computer assisted design technology that allows the stone to be shaped off-site using a CNC milling machine. Prior to this, it was carved entirely by hand. Despite its incomplete state, the church has been recognised as a UNESCO World Heritage Site.

More

The Himmelb(l)au Project, IAAC Lecture Series.

Wolf D. Prix Closing Lecture

Wolf-DPrix

Wolf D. Prix is co-founder, Design Principal and CEO of COOP HIMMELB(L)AU. He studied architecture at the Vienna University of Technology, the Architectural Association of London as well as at the Southern California Institute of Architecture (SCI-Arc) in Los Angeles. Amongst others, Wolf D. Prix is a member of the Österreichische Bundeskammer der Architekten und Ingenieurkonsulenten, the Bund Deutscher Architekten, Germany (BDA), the Royal Institute of British Architects (RIBA), the Architectural Association Santa Clara, Cuba, and Fellow of the American Institute of Architecture (FAIA).

Wolf D. Prix received numerous awards including the Great Austrian State Award and the Austrian Decoration of Honor for Science and Art. He is permanent member of the Austrian Art Senate and the European Academy of Sciences and Arts as well as chairman of the Curia for Art since autumn 2014. Two Universities have conferred him the Doctorate Honoris Causa: The Universidad de Palermo, Buenos Aires, Argentina (2001) and the “Ion Mincu” University of Architecture and Urbanism, Bucharest, Romania (2014). In 2015 he was awarded an Honorary Diploma of the Architectural Association of London. Wolf D. Prix is counted among the originators of the deconstructivist architecture movement. COOP HIMMELB(L)AU had its international breakthrough with the invitation to the exhibition Deconstructivist Architecture at MoMA New York in 1988. Over the years Wolf D. Prix/ COOP HIMMELB(L)AU was awarded with numerous international architecture awards.

COOP HIMMELB(L)AU was founded in Vienna in 1968 and has since then been operating under the direction of CEO and design principal Wolf D. Prix in the fields of art, architecture, urban planning, and design. Another branch of the firm was opened in the United States in 1988 in Los Angeles. COOP HIMMELB(L)AU currently employs between 50 and 150 people from 19 different countries. In numerous countries the team has realized museums, concert halls, science and office buildings as well as residential buildings. Presently COOP HIMMELB(L)AU is working on various projects in Europe, Asia and the Middle East.

Please confirm your assistance to [email protected] as seating is limited.

Wednesday 29th of June 2016
CLOSING LECTURE
Wolf D. Prix
Coop Himmelb(l)au

The Himmelb(l)au Project

@ 18.30, IAAC Auditorium Open to the Public

18:30 // Doors Open
18:40 // Welcome – Areti Markopoulou, IAAC Academic Director
18:50 // Introduction – Hernán Díaz Alonso, SCI-Arc Director
19:00 // Lecture – Wolf D. Prix, Coop Himmelb(l)au Founding Director
20:30 // Exhibition Opening & Refreshments

 

ReGen Villages: el primer pueblo ‘autoabastecido’.

Holanda prepara ReGen Villages, la primera ciudad capaz de crear energía limpia y autoabastecerse para compensar el cambio climático.

ReGen-Villages

Un invernadero transformado en una residencia habitable capaz de producir alimentos y energía. O en otras palabras, la ciencia aplicada a la arquitectura de la vida cotidiana. Esta es la tarjeta de presentación del primer pueblo diseñado para reducir el impacto ambiental de las actividades humanas, en especial las basuras. Para autoabastecerse y gestionar el suministro de agua, en torno a una aldea de nuevo cuño que empezará a construirse este verano en la localidad holandesa de Almere, a 25 minutos de Ámsterdam. Diseñado por el estudio danés de arquitectura Effekt, el programa piloto de ReGen Villages contempla una primera entrega de 25 viviendas para 2017. Presididas por cristaleras rebosantes de los vegetales cultivados dentro, las fincas son casi una metáfora de la ansiada armonía con el entorno. Sobre todo teniendo en cuenta, que en el año 2050, la población mundial superará los 10.000 millones de habitantes.

Regen significa “regeneración”, y tanto la maqueta del proyecto como su versión animada en vídeo brindan la imagen de una luminosa ciudad en miniatura. A partir de 250.000 euros, y con una capacidad media para tres o cuatro personas (de 300 a 400 personas para un total de 100 hogares) las casas parecen transparentes por la profusión de cristal. Dentro, los cultivos en vertical de los invernaderos conviven con huertos, unidades de acuicultura y paneles solares

new_village

Con las torres de almacenaje de agua, granjas de animales, zonas de recreo y un aparcamiento para vehículos eléctricos. También hay un centro vecinal de reuniones, además de “espacios sociales”. Según los cálculos de Effekt, “una familia de tres personas necesitaría un área total de 639 metros cuadrados para valerse por sí misma. Una casa de tipo medio tiene 120 metros cuadrados, y a ello se añade un invernadero (40 m2); la acuicultura correspondiente (300 m2); un huerto de temporada (100 m2); la parte proporcional de la granja (25 m2); de los paneles solares (34 m2) y del agua acumulada (20 m2).

Las casas contarán con sus propios invernaderos.

Las casas contarán con sus propios invernaderos.

No se trata, de todos modos, de una ingenua vuelta a la naturaleza. Al contrario, aprovechando la tecnología actual y brindando el confort de la vida moderna, la comunidad en preparación pretende ser autosuficiente. Así lo ideó James Ehrlich, fundador de ReGen Villages, investigador de la universidad estadounidense de Stanford, y experto en aplicar tecnología y biodiversidad a la producción de alimentos.

Según sus datos, un 40% de la superficie del planeta se usa para producir nutrientes. Dicha actividad contribuye a la liberación de CO2(parte del culpable de los gases de efecto invernadero), la deforestación y el consumo indiscriminado de agua potable. Entretanto, tiramos el 30% de la comida, mientras una de cada siete personas pasa hambre.

“Aunque esperamos ubicar a las primeras familias, incluida la mía, en la primavera de 2017, la producción de alimento y el manejo de los desechos llevará algo más de tiempo. La idea original fue construir en Dinamarca, pero el Gobierno tenía una idea algo menos ecológica del proyecto. Entonces nos llamó el ayuntamiento de Almere, y vimos que Holanda es el lugar adecuado para el estreno mundial de ReGen Villages. Aquí fundaremos nuestra compañía como una entidad de la UE”, asegura Ehrlich.

Las maderas empleadas proceden de bosques sostenibles de Escandinavia. Al resto de los materiales se incorporará la tecnología más avanzada para aprovechar al máximo la energía durante el día, y a lo largo de las estaciones. El bucle cerrado de abastecimiento propuesto permitirá que los desechos orgánicos de sus habitantes se transformen en biogás, y en alimento para los animales.

A su vez, los excrementos del ganado serán utilizados como estiércol para fertilizar los cultivos. Cualquier residuo susceptible de ser convertido en abono (compost) alimentará luego a moscas soldado, sustento adecuado para los peces de los viveros. Las heces de éstos tampoco se perderán: sirven para fertilizar el sistema de acuicultura destinado a producir frutas y verduras. El agua de lluvia, por fin, será canalizada para el regadío. En Effekt lo resumen en cinco pilares: “hogares con energía positiva; alimentos cercanos y de cultivo sostenible; producción y almacenaje de electricidad; reciclado de agua y basuras, y autogestión de los grupos locales”.

De tener éxito, la mezcla de agricultura permanente (permacultura), de cultivo en un entorno aéreo sin hacer uso del suelo y pulverizando las raíces con una solución acuosa (aeroponía), y el uso de semillas orgánicas de alto rendimiento, será probada luego en Suecia, Noruega, Dinamarca y Alemania.

Durante la presentación del proyecto, Ehrlich, ha señalado que espera “redefinir el concepto de zona residencial con este ciclo de cultivo orgánico y reciclado de basuras; no se puede seguir creciendo, y urbanizando, como lo hemos hecho hasta ahora”. Por eso piensa ya en zonas superpobladas y de climas duros para seguir expandiéndose. India, y África subsahariana encabezan la lista.

More

Barcelona Architecture Walks on Summer

Hi Walkers, Summer has come!

 

Barcelona Architecture Walks2

From Barcelona Architecture Walks we’d like to remind you that we have our Summer tour program ready for you.

BARCELONA & THE URBANISM travel with us to the origins of the modern Barcelona.

BARCELONA & GAUDI a great start to discover the genius of Gaudí.

BARCELONA & THE SEA  discover Barcelona through its architecture.

BARCELONA & THE MARKET see Barcelona through the eyes of Enric Miralles.

BARCELONA & THE FUTURE CITY walk through the smart city looking for our future.

Whether you are visiting the city, or you live here, if you want to know and enjoy Barcelona in a different way , we have what you are looking for.

Walk with us and immerse yourself in a Barcelona that will not leave you indifferent.

Meet the spirit of the city that dazzles many visitors and that we’re in love with.

Even in August we continue to offer our tours BARCELONA & GAUDI,  BARCELONA & THE SEA,  BARCELONA & THE FUTURE CITY

Come and walk with us and live a refreshing experience!!!

 

Barcelona Architecture Walks1

And we remined you that we have received the TRIPADVISOR certificate of excellence 2016 !!!

Print_Logo_COE2016_es

 

El verano ha llegado!

Desde Barcelona Architecture Walks, os recordamos que tenemos listo nuestro programa de tours para todo el verano.

BARCELONA & THE URBANISM viaja con nosotros a los orígenes de la Barcelona moderna.

BARCELONA & GAUDI un buen comienzo para descubrir el genio de Gaudí.

BARCELONA & THE SEA  descubre Barcelona a través de su arquitectura.

BARCELONA & THE MARKET verás Barcelona a través de los ojos de Enric Miralles.

BARCELONA & THE FUTURE CITY caminaremos por la “smart city” en busca del futuro.

Tanto si estás de visita en la ciudad, como si vives en ella, si te apetece conocer y disfrutar Barcelona de una manera diferente, tenemos lo que estás buscando.

Ven a pasear con nosotros y sumérgete en una Barcelona que no te dejará indiferente.

Conoce el espiritu de la ciudad que a tantos visitantes encandila y que a nosotros nos tiene enamorados.

En Agosto continuaremos ofreciendo los tours BARCELONA & GAUDI,  BARCELONA & THE SEA,  BARCELONA & THE FUTURE CITY.

Ven a pasear con nosotros y vive una experiencia refrescante!!!

 

Barcelona Architecture Walks3

Y os recordamos que hemos obtenido el certificado de excelencia TRIPADVISOR  2016 !!!

 

[btn text=”BOOK NOW” link=”http://www.barcelonarchitecturewalks.com/booking/” tcolor=”#ffffff” bcolor=”#000000″ thovercolor=”#dd3333″ bhovercolor=”#EEE” ]

Barcelona and the Sea walking tour

Hi walkers!

barceloneta

We are very proud about this review left by one of the last Walkers about our BARCELONA & THE SEA  walking tour lead by Ricard…

Informative, fun, fantastic experience!

We originally booked the ‘Barcelona and the Market’ tour, but because the tour guide was not going to be in the country the day of our walk, they asked if we would like to switch tours and we were easily able to switch to the ‘Barcelona and the Sea’ tour. We went on the tour the morning of our first full day in Barcelona and I am so, so glad we did!! It was such a lovely and informative introduction to the city. My group of six walked for about 3 hours with Ricard all around the gothic quarter, Barcelonetta, and the waterfront. Everyone enjoyed and benefited from the tour, including 2 in the group who had been to Barcelona before. Ricard was extremely knowledgeable, entertaining, and obviously very passionate about design, history, and his city. He was even able to give us a local’s recommendations for places to eat and drink in the city during our trip (and every place we went was fabulous!). As a side note, and to contrast, we went with a different tour company to Sagrada Familia a few days later, and we just kept saying “I wish Ricard were here. This would be so much better if Ricard were doing this tour.” We really missed you Ricard! I couldn’t more highly recommend Barcelona Walking Tours to anyone and everyone visiting the city. If I ever get the chance to go back, I am absolutely going on another tour. I wish this group existed in every city!!

We love our Walkers!
More reviews 

Book here

Chile will build a Gaudí’s Project

Gaudí’s only Project outside of Spain.

gaudichile1

Model of the “Our Lady of Angels” Chapel. Image © Corporación Gaudí de Triana

Chile may soon be home to the only Antoni Gaudí-designed building located outside of Spain. Chile has confirmed the construction of the Gaudí Cultural and Spiritual Center in the city of Rancagua, which will include a chapel designed by the Catalán architect.

The project originated in 1922 through a series of letters exchanged between Gaudí and Chilean Franciscan Friar Angélico Aranda, who asked Gaudí to design a chapel for Chile. “I wish to implement an original work, very original, and I thought of you,” wrote Aranda to Gaudí, who by then was immersed in constructing his masterpiece, La Sagrada Familia.  Since 1996, Chile’s Corporación Gaudí de Triana has been working to make the design resulting from this conversation a reality.

Aranda had met Gaudí in Barcelona in 1909, and years later would write the architect asking him to design a chapel “as only you know how to do,” specifically a “porziuncola” or “place of forgiveness” dedicated to Saint Mary of the Angels.

“This project would serve as a spiritual fellowship between Spain and America,” Gaudí responded, just four years before his death. Gaudí offered Aranda the design of a chapel originally planned for the back section of the Sagrada Familia’s apse.

gaudichile2

Croquis of the Our Lady of Angels” Chapel. Image © Corporación Gaudí de Triana

According to Christian Matzner, the architect now in charge of the project in Chile, Gaudí’s design dates back to 1915 and was inspired by Spanish architect Luis Bonifacio’s work inside the Girona cathedral in Spain.

In one of his letters Gaudí included a croquis of the chapel’s original location in the Sagrada Familia, writing:

“I’m interested in some preliminary notes, like: location and site conditions: if the place where it is going to be located […] is an open area or if it will be located next to other buildings, and in that case what they are like. […] Another interesting note would be to know the intensity of the prevailing winds and if there are frequent cyclones.”

The current project is 1,250m2 overall, including both the porziuncola and the underground spaces. The chapel will stretch 30 meters above its 10 square meter base, and inside, the chapel will have a central altar and a subterranean crypt where the remains of Aranda will rest.

gaudichile3

Croquis of the Our Lady of Angels” Chapel. Image © Corporación Gaudí de Triana

With regards to the design, Matzner told press that it would form a “hyperboloid and symbolically represent the Assumption of the Virgin, where she rests in her bed and the angels, located on top of the pediment, shelter her during the ascension.”

With a budget of more than $7 million, the Gaudí Cultural and Spirtual Center will be 10,858m2, including the chapel, a cultural center, an arts schools, a cafeteria and a contemplation space open to all religions. Work on the project is expected to begin during the second half of 2016, with the project’s inauguration planned for 2017.

More

Christo and Jeanne-Claude’s Newest Project: Walking on Water

Floating Piers.

christo

The Project

For sixteen days – June 18 through July 3, 2016 (weather permitting) – Italy’s Lake Iseo is being reimagined. 100,000 square meters of shimmering yellow fabric, carried by a modular floating dock system of 220,000 high-density polyethylene cubes, undulate with the movement of the waves as The Floating Piers rise just above the surface of the water.

christo

The Experience

Visitors can experience this work of art by walking on it from Sulzano to Monte Isola and to the island of San Paolo, which is framed by The Floating Piers. The mountains surrounding the lake offer a bird’s-eye view of The Floating Piers,exposing unnoticed angles and altering perspectives.

Lake Iseo is located 100 kilometers east of Milan and 200 kilometers west of Venice. “Like all of our projects, The Floating Piers is absolutely free and accessible 24 hours a day, weather permitting,” said Christo. “There are no tickets, no openings, no reservations and no owners. The Floating Piers are an extension of the street and belong to everyone.”

blank

The Walkway

A 3-kilometer-long walkway was created as The Floating Piers extend across the water of Lake Iseo. The piers are 16 meters wide and approximately 35 centimeters high with sloping sides. The fabric continues along 2.5 kilometers of pedestrian streets in Sulzano and Peschiera Maraglio.

“Those who experience The Floating Piers will feel like they are walking on water – or perhaps the back of a whale,” said Christo. “The light and water will transform the bright yellow fabric to shades of red and gold throughout the sixteen days.”

blank

The Story

In the spring and summer of 2014, Christo, Vladimir Yavachev – Operations Director, Wolfgang Volz – Project Manager, and Josy Kraft – Registrar/Curator, scouted the lakes of Northern Italy. Along with Project Director Germano Celant, they found Lake Iseo to be the most inspiring location. Since that time they have worked alongside team members from around the world to realize The Floating Piers.

The Floating Piers was first conceived by Christo and Jeanne-Claude together in 1970. It is Christo’s first large-scale project since Christo and Jeanne-Claude realized The Gates in 2005, and since Jeanne-Claude passed away in 2009. As with all of Christo and Jeanne-Claude’s projects, The Floating Piers is funded entirely through the sale of Christo’s original works of art. After the 16-day exhibition, all components will be removed and industrially recycled.

Christo and Jeanne-Claude have a long history of creating projects in Italy: Wrapped Fountain and Wrapped Medieval Tower in Spoleto, 1968; Wrapped Monuments in Milan, 1970; and The Wall – Wrapped Roman Wall in Rome, 1973–74.

floating_piers_the_backstory.jpg

More

8 Architecture books to read this Summer

books 1

For the architecture-obsessed reader, it can sometimes be tough to keep up with the publishing world. With architecture-related interests spanning from photography to philosophy, new books are released at an alarming rate and it can be difficult to spot the good from the bad. Fortunately, the good folks at Metropolis Magazine are here to help. In this article, excerpted from their list of 50 Architecture and Design Books to Read, Metropolis editors select the top architecture titles to come out this year to give you a helping hand in rounding out your reading list.

Modern Forms: A Subjective Atlas of 20th-Century Architecture

books

Photographs by Nicolas Grospierre
Prestel, 224 pp.

It’s often forgotten just how widespread Modernist architecture became. It could be argued that the building style was in fact far more international than its earliest pioneers could have possibly dreamed. But the dream died in 1989 (sooner in the West), with the triumph of reactionary politics and the ugly architectural aesthetics it embraced. Swiss photographer Nicolas Grospierre traveled the globe in search of the remnants of the Modernist century, capturing both the ruin and the lived-in building.

A Japanese Constellation: Toyo Ito, SANAA, and Beyond

books 3

Written by Pedro Gadanho and Phoebe Springstubb
The Museum of Modern Art, New York, 256 pp

“What began as a spontaneous response to a fast-changing urban environment would soon prompt a return to avant-garde ideals in Japan,” writes curator Pedro Gadanho of the context from which Toyo Ito, the largest star in contemporary Japan’s architectural constellation, arose. Like the exhibition it’s based on this handsome catalogue traces a lineage of sorts from Ito to Kazuyo Sejima of SANAA fame to their shared progeny—Sou Fujimoto, Akihisa Hirata, and Junya Ishigami.

Building upon Building

books 31
Edited by Jantje Engels and Marius Grootveld
Nai010, 208 pp.

Now that the bad taste of Postmodernism has more or less worn off, it’s OK for architects to express their appreciation for history. This book, a catalogue of 45 building designs, is premised on that idea. Progressive European architects such as Anne Dessing and Bedaux de Brouwer were tasked with formulating a proposal for an addition to an existing historic building with the goal of assembling an architectural language expressive of “rooted values rather than indiscriminate forms.”

The Creative Architect: Inside the Great Midcentury Personality Study

books 5
Written by Pierluigi Serraino
The Monacelli Press, 248 pp.

This fascinating book investigates the long-thought-to-be-apocryphal 1958–59 psychological studies conducted on the nation’s top architects, including Eero Saarinen, Philip Johnson, and Louis Kahn. The examinations, held at the University of California, Berkeley, consisted of interviews and aptitude tests—several of which appear in the book. A ranking table found Richard Neutra to be the “most creative” among the architect subjects, but also placed Johnson in the top five. Which is to say, such metrics are hopelessly spotty.

Dark Space: Architecture, Representation, Black Identity

books 4
Written by Mario Gooden
Columbia Books on Architecture and the City, 128 pp.

“In several recent African American museums, the use of visual symbols to render cultural identity remains two-dimensional at best,” writes architect Mario Gooden in one of the five original essays that compose Dark Space. Gooden analyzes among other topics the form of institutions such as the National Civil Rights Museum in Memphis. In so doing, he questions, and reaffirms, architecture’s ability to critically convey black America’s rich culture.

Read more

×