Dearq 26: Cumulus - The Design After by Dearq

Suscripción

CUMULUS: THE DESIGN AFTER

3 Años ( 6 Ejemplares)

$200.000

dearq (Dearquitectura). Revista de Arquitectura / Journal of Architecture Universidad de los Andes. Colombia. Enero de 2020. pp. 1-208. ISSN 2011-3188 E-ISSN 2215-969X

dearq (Dearquitectura) Revista de Arquitectura / Journal of Architecture Universidad de los Andes ISSN 2011-3188. E-ISSN 2215-969X

dearq 26: THE DESING AFTER Enero de 2020 Alejandro Gaviria Uribe

Rector Universidad de los Andes

Rafael Hernando Barragán Romero Decano Facultad de Arquitectura y Diseño

Claudia Mejía Ortiz

Directora Departamento de Arquitectura

Este valor es en pesos colombianos, no incluye gastos de envio.

CUMULUS THE DESING AFTER

CUMULUS: THE DESIGN AFTER

dearq 26. CUMULUS: THE DESIGN AFTER Ilustración: Carolina Rojas

Movement and Place-making in a Monsoon Terrain* Deepta Sateesh Léa Klaue ’Patadesign: a pedagogical experiment on Design of Exception, Absurd Artifacts, and Imaginary Interfaces Isabella Brandalise, Henrique Eira Black Panther’s Utopian Project: The Innovative Potential of Fiction and Speculation by Non-Architects Fiona Kenney, Vaissnavi Shukl BioForm – learning at the intersection of science and design Damian Palin, Sam Russell, Ferdinand F. E. Kohle, Enda O’Dowd, S. Yeşim Tunali Flynn

  

COP $40.000 ISSN 2011-3188 E-ISSN 2215-969X Departamento de Arquitectura, Universidad de los Andes http://arquitectura.uniandes.edu.co

dearq@uniandes.edu.co

Enviando un correo electrónico a con los datos personales, Revista dearq se pondrá en contacto. O si le interesa la suscripción en línea, puede consultar nuestra pagina web:

dearq 26. CUMULUS: THE DESIGN AFTER Ilustración: Carolina Rojas

https://revistas.uniandes.edu.co/journal/dearq

Research Video: Audiovisual Ethnography and beyond

Bio-currencies: an alternative to Payments for Environmental Services (PES) Santiago De Francisco Vela, Miguel Navarro-Sanint, María Belén Castellanos Ramírez, Leidy Lorena Rodríguez Pinto, Catalina Ramírez Díaz Insights from a design-led inquiry about rural communities in Brazil Caio Werneck, Javier Guillot, Bruno Paschoal Artisans and Designers: Seeking Fairness within Capitalism and the Gig Economy Raphaële Chappe, Cynthia Lawson Jaramillo

Director

Lucas Ariza Parrado Editor

Juliana Pinto Omaña Melissa Ferro Beltrán Gestoras Editoriales

Cesar Peña Iguavita Daniel Huertas Nadal Editores invitados

Juan Camilo Giraldo Morales

Monitor

Adriana Páramo Urrea Diseño y diagramación

Jaimie Brzezinski

Corrección y traducción

Carolina Rojas Céspedes Imágenes de carátula y postales

Javegraf Impresión

Julia Nakanishi, Lola Sheppard (Thesis Supervisor), Jane Hutton (Thesis Committee) Photo-ethnography and Political Engagement: Studying performative subversions of public space Pablo Hermansen, Roberto Fernández Prototype of a self-sufficient biofabrication protocol for remote territories Aníbal Fuentes Palacios, Carolina Pacheco Glen, Adriana Cabrera Galindez, Alejandro Weiss Munchmeyer, María José Besoain Narvaez

Proyects The Project After Daniel H. Nadal NDSM Shipyard Fundación Kinetisch Noord/ Administradora: Eva de Klerk Kibera Hamlets School Selgas Cano Edificio jardín hospedero y nectarífero para mariposas de Cali HUSOS / Camilo García y Diego Barajas + Francisco Amaro (Biólogo) + Comunidad de habitantes del edificio Pabellón Macondo Manuel Villa Arquitectos + Oficina Informal (Antonio Yemail) Project Management: Laura Villegas, Santiago Caicedo, Andrés Burbano

Creation Aviario. Una mirada a la ilustración científica tradicional a partir de la puesta en escena de la muerte Carolina Rojas

N.o 26. Enero de 2020

https://revistas.uniandes.edu.co/journal/dearq

Revista de Arquitectura / Journal of Architecture. Universidad de los Andes

Presentation: Design and Utopia in the Age of Dystopias César Peña

Finding a New Commons: Architecture’s Role in Cultural Sustainability for Japan’s Shrinking Regions

dearq

Thematic Research

Camilo Salazar Ferro

dearq - Revista dearquitectura

Universidad de los Andes Departamento de Arquitectura Carrera 1 Este núm. 18A-70, bloque C, piso 4 Tel. +(571)332 4511 - 339 4949, ext. 2485 Bogotá, Colombia https://revistas.uniandes.edu.co/journal/dearq dearq@uniandes.edu.co ISSN 2011-3188. E-ISSN 2215-969X $40.000 pesos (Colombia) Ediciones Uniandes Edificio Barichara, torre B, oficina 1401 Tel. +(571)339 4949, ext. 2133 Bogotá, Colombia http://ediciones.uniandes.edu.co infeduni@uniandes.edu.co Distribución, ventas y suscripciones

Librería Universidad de los Andes http://libreria.uniandes.edu.co La libreria de la U - www.lalibreriadelau.com Librerías afiliadas a la red de distribución de Siglo del Hombre Editores - http://libreriasiglo.com/ Nota legal

Los contenidos publicados por la revista Dearq son de acceso abierto. La revista Dearq no realiza cobros o pagos a los autores por la evaluación, traducción o publicación de sus artículos. Todos los contenidos de la revista Dearq, a menos de que se indique lo contrario, están bajo la licencia de Creative Commons Attribution License* *Atribución: Esta licencia permite a otros distribuir, mezclar, retocar, y crear a partir de una obra propia, incluso con fines comerciales, siempre y cuando den crédito al autor por la creación original. Esta es la más flexible de las licencias ofrecidas. Se recomienda para la máxima difusión y utilización de los materiales licenciados. Universidad de los Andes | Vigilada Mineducación Reconocimiento como Universidad: Decreto 1297 del 30 de mayo de 1964. Reconocimiento personería jurídica: Resolución 28 del 23 de febrero de 1949 Minjusticia. Acreditación institucional de alta calidad, 10 años: Resolución 582 del 9 de enero del 2015, Mineducación

dearq (Dearquitectura) Revista de Arquitectura / Journal of Architecture Universidad de los Andes ISSN 2011-3188. E-ISSN 2215-969X

dearq 26: THE DESING AFTER Enero de 2020 Alejandro Gaviria Uribe

Rector Universidad de los Andes

Rafael Hernando Barragán Romero Decano Facultad de Arquitectura y Diseño

Claudia Mejía Ortiz

Directora Departamento de Arquitectura

Camilo Salazar Ferro Director

Lucas Ariza Parrado Editor

Juliana Pinto Omaña Melissa Ferro Beltrán Gestoras Editoriales

Cesar Peña Iguavita Daniel Huertas Nadal Editores invitados

Juan Camilo Giraldo Morales

Monitor

Adriana Páramo Urrea Diseño y diagramación

Jaimie Brzezinski

Corrección y traducción

Carolina Rojas Céspedes Imágenes de carátula y postales

Javegraf Impresión

dearq - Revista dearquitectura

dearq (Dearquitectura) created in 2007, is a serial open access journal. It is a semiannual publication with double-blind peer reviewed and indexed content, financed by the School of Architecture of Universidad de los Andes (Colombia). Its main objective is to be an academic platform for the publication and discussion of international research, analysis, opinion and critiques of architecture and city themes. Original and unpublished works are considered for publication in Spanish, English and Portuguese. It is aimed to researchers, professionals, students and other interested readers in architecture, city and related subjects.

This is an open access journal. All of its published content is freely available without charge to the user or his/her institution. Users are allowed to read, download, copy, distribute, print, search, or link to the full texts of the articles, or use them for any other lawful purpose, without asking prior permission from the publisher or the author. This is in accordance with the BOAI definition of open access. The structure of the Journal has seven sections, more specifically: The Presentation contextualizes and shapes the respective issue as well as it highlights the particular aspects that merit the reader’s attention. The Editorial is organized by the guest editors who introduce the issue’s thematic. The Thematic Research section meets a series of documents that addresses the issue’s main theme through the coverage of insights or results based on critical and/or analytical researches and perspectives. The Projects section presents a recent and meaningful selection of architectural works that illustrates and complements the issue’s theme. The Open Research section includes documents that present and develop researches or reflections addressing different themes from the main one The Creation section exhibits creative works which address spatial or urban topics through distinct disciplines from architecture.

dearq (Dearquitectura), creada en el 2007, es una revista seriada de acceso abierto y publicación semestral de contenidos arbitrados e indexados, financiada por el Departamento de Arquitectura de la Universidad de los Andes (Colombia). Su objetivo es contribuir a la difusión de investigaciones, reflexiones, análisis y opiniones críticas que sobre la arquitectura y la ciudad elabore la comunidad académica internacional. Se consideran para publicación trabajos originales e inéditos en español, inglés y portugués. Está dirigida a investigadores, profesionales, estudiantes y demás interesados en temáticas de la arquitectura, la ciudad y sus áreas afines.

El contenido publicado en dearq es de acceso abierto. Está disponible gratuitamente sin cargo para el usuario o su institución. Se permite a los usuarios leer, descargar, copiar, distribuir, imprimir, buscar o vincular a los textos completos de los artículos, o utilizarlos para cualquier otro propósito legal, sin pedir permiso previo del editor o autor. La declaración está de acuerdo con la definición de acceso abierto de la BOAI. La estructura editorial de la revista dearq se divide en siete secciones: La Presentación contextualiza el respectivo número, además de destacar aspectos particulares que merecen la atención de los lectores. La Editorial está a cargo de los editores invitados que introducen la temática del número. La sección Investigación Temática reúne un conjunto de documentos que abordan el tema específico del número mediante la exposición de avances o resultados de investigaciones con una perspectiva crítica y analítica. La sección Proyectos presenta una selección de obras arquitectónicas recientes y significativas, que ejemplifican y complementan el tema específico de cada número. La sección Investigación Abierta incluye documentos sobre investigaciones, reflexiones o perspectivas diferentes al tema central de cada número. La sección Creación expone trabajos creativos que desde disciplinas distintas a la arquitectura abordan temas de naturaleza espacial o urbana.

Indexation – Indexación dearq Journal of Architecture is currently available in the following directories and index services. La Revista dearq está incluida en los siguientes directorios, servicios de indexación y base de datos: •

Actualidad Iberoamericana, Centro de Información Tecnológica (Chile), desde 2011

•

ARLA - Asociación de Revistas Latinoamericanas de Arquitectura (Latinoamérica), desde 2012

•

Art & Architecture Complete. EBSCO Research Databases (Estados Unidos), desde 2007

•

Art & Architecture Source. EBSCO Research Databases (Estados Unidos), desde 2007

•

Art Abstracts (H.W. Wilson). EBSCO Research Databases (Estados Unidos), desde 2010

•

Art Full Text (H.W. Wilson). EBSCO Research Databases (Estados Unidos), desde 2008

•

Art Index (H.W. Wilson). EBSCO Research Databases (Estados Unidos), desde 2008

•

Avery Index to Architectural Periodicals & Avery Architectural and Fine Arts Library. Columbia University Libraries (Estados Unidos), desde 2010

•

ANVUR, Agenzia Nazionale di Valutazione del Sistema Universitario e della Ricerca (Italy), desde

•

CLASE, Citas Latinoamericanas en Ciencias Sociales y Humanidades (México), desde 2018

•

CINECA, Consultor Informático en Italia. Ministerio de Educación (Italia), desde 2017

•

DAAI, Design and Applied Arts Index. Proquest (Estados Unidos), desde 2011

•

DOAJ - Dictionary of Open Access Journals. Infrastructure Services for Open Access (Reino Unido),

2018

desde 2017 •

Dialnet - Difusión de Alertas en la Red. Universidad de La Rioja (España), desde 2007

•

EBSCO HOST (Estados Unidos), desde 2011

•

Electronic Journals Library. Uneserität Regensburg (Alemania), desde 2010

•

ESCI - Emerging Source Citation Index. Thomson Reuters (Estados Unidos), desde 2016

•

ERIHPLUS - European Reference Index for the Humanities and the Social Sciences (Noruega),

desde 2017 •

Gale Cengage, Database Title List (Estados Unidos), desde 2010

•

Google Académico, desde 2010

•

HAPI - Hispanic American Periodicals Index. University of Califonia (Estados Unidos), desde 2012

•

LATINDEX - Sistema Regional de Información en Línea Para Revistas Científicas de América Latina, el Caribe, España y Portugal (México), desde 2010

• LatinREV - Red Latinoamericana de Revistas Académicas en Ciencias Sociales y Humanidades. FLASCO (Argentina), desde 2018 •

MIAR - Information Matrix for the Analysis of Journals. Universitat de Barcelona (España), desde

2012 •

Ocenet - Editorial OCEANO (España), desde 2011

• Periódicos CAPES/MEC (Brasil), desde 2014 •

Redalyc - Red de Revistas Científicas de América Latina, el Caribe, España y Portugal. UAEM (México), desde 2011

•

REDIB - Red Iberoamericana de Innovación y Conocimiento Científico (España), desde 2010

•

ROAD - Directory of Open Access Scholarly Resources. ISSN International Centre (Francia), desde

2018 •

Socolar - CEPIEC - China Educational Publications Import and Export Corporation (China), desde 2010

•

Ulrich’s Periodicals Directory. Proquest (Estados Unidos), desde 2011

•

Urban Studies Abstract. EBSCO Research Databases (Estados Unidos), desde 2007

dearq 26. THE DESIGN AFTER

26 6

CUMULUS: THE DESIGN AFTER

Why Cumulus in an architecture journal?

88-99

Camilo Salazar, Director Revista Dearq Lucas Ariza, Editor Revista Dearq

Thematic Research 8-15

Presentation: Design and Utopia in the Age of Dystopias César Peña

16-27

Julia Nakanishi, Lola Sheppard (Thesis Supervisor), Jane Hutton (Thesis Committee) 100-109 Photo-ethnography and Political Engagement: Studying performative subversions of public space Pablo Hermansen, Roberto Fernández 110-118

Movement and Place-making in a Monsoon Terrain Research Video: Audiovisual Ethnography and beyond Léa Klaue

36-43

’Patadesign: a pedagogical experiment on Design of Exception, Absurd Artifacts, and Imaginary Interfaces

Proyects 120-127

Isabella Brandalise, Henrique Eira 44-51

Black Panther’s Utopian Project: The Innovative Potential of Fiction and Speculation by Non-Architects Fiona Kenney, Vaissnavi Shukl

52-59

BioForm – learning at the intersection of science and design Damian Palin, Sam Russell, Ferdinand F. E. Kohle, Enda O’Dowd, S. Yeşim Tunali Flynn

60-69

70-79

128-139

Raphaële Chappe, Cynthia Lawson Jaramillo

Kibera Hamlets School Selgas Cano

154-163

Edificio jardín hospedero y nectarífero para mariposas de Cali HUSOS / Camilo García y Diego Barajas + Francisco Amaro (Biólogo) + Comunidad de habitantes del edificio

164-175

Pabellón Macondo Manuel Villa Arquitectos + Oficina Informal (Antonio Yemail) Project Management: Laura Villegas, Santiago Caicedo, Andrés Burbano

Insights from a design-led inquiry about rural communities in Brazil Artisans and Designers: Seeking Fairness within Capitalism and the Gig Economy

NDSM Shipyard Fundación Kinetisch Noord/ Administradora: Eva de Klerk

140-153

Caio Werneck, Javier Guillot, Bruno Paschoal 80-87

The Project After Daniel H. Nadal

Prototype of a self-sufficient biofabrication protocol for remote territories Aníbal Fuentes Palacios, Carolina Pacheco Glen, Adriana Cabrera Galindez, Alejandro Weiss Munchmeyer, María José Besoain Narvaez

Deepta Sateesh 28-35

Finding a New Commons: Architecture’s Role in Cultural Sustainability for Japan’s Shrinking Regions

Creation 178-201

Aviario. Una mirada a la ilustración científica tradicional a partir de la puesta en escena de la muerte Carolina Rojas

Editorial. Camilo Salazar, Lucas Ariza [ 3 ]

Comité editorial Celia Esther Arredondo Zambrano Tecnológico de Monterrey, México

Denise Helena Silva Duarte Universidade de São Paulo, Brasil

José Canziani Amico Pontificia Universidad Católica del Perú, Perú

Rodolfo Manuel Barragán Delgado Tecnológico de Monterrey, México

Diego A. Rodríguez Lozano Tecnológico de Monterrey, México

Daniel Cardoso Llach Carnegie Mellon University, Estados Unidos

Pilar Chías Navarro Universidad de Alcalá de Henares, España

Raquel Franklin Unkind

La Revista dearq agradece la colaboración especial de las siguientes personas como árbitros de este número: Diego Alatorre Guzmán Universidad Nacional Autónoma de México Cristina Albornoz Universidad de los Andes Carolina Blanco Universidad de los Andes Giovanna Danies Turano Universidad de los Andes Gökçen Firdevs Yücel Caymaz İstanbul Aydin University Esteban García Bravo Purdue University Adriana Gómez Álzate Universidad de Caldas Alfredo Gutiérrez Borrero Universidad Jorge Tadeo Lozano Daniel Huertas Nadal Universidad de los Andes Rubén Jacob-Dazarola Universidad de Chile

Universidad Anáhuac México Norte, México

Darío Maldonado Universidad de los Andes

Francisco A. García Pérez

Eduardo Mazuera Universidad de los Andes

Escuela Técnica Superior de Arquitectura, España

Maarten Goossens Universidad de los Andes, Colombia

Felipe Hernández University of Cambridge, Reino Unido

Claudia Mejia Ortiz Universidad de los Andes, Colombia

Olimpia Niglio Soriente Pontificia Università Marianum, Italia

María Cecilia O’Byrne Universidad de los Andes, Colombia

Camilo Salazar Ferro Universidad de los Andes, Colombia

Marta Sequeira Universidade de Évora, Portugal

María Cristina Vélez Universidad Nacional de Colombia, Colombia

Catalina Mejía Moreno University of Brighton, Reino Unido

Deana McDonagh University of Illinois Juan Manuel Medina del Rio Universidad de los Andes G. Mauricio Mejia Arizona State University Javier Ricardo Mejia Sarmiento Universidad de los Andes Christiaan Job Nieman Universidad de los Andes Ignacio Nieto University Finis Terrae Zenaida Osorio Universidad Nacional de Colombia Shaohua Pan University of Lapland Carlos Peralta University of Brighton Everardo Reyes Université Paris 8 Eliana Sánchez-Aldana Universidad de los Andes Andrés Felipe Valderrama Pineda Aalborg University Julián Villegas University of Aizu Dan Xu Amsterdam University of Applied Sciences

Comité Científico Maristella Casciato Getty Research Institute, Italia

Ricardo Castro McGill University, Canadá

Sheila Walbe Ornstein Universidade de São Paulo, Brasil

Fernando Lara The University of Texas at Austin, Estados Unidos

Juan José Lahuerta Universitat Politècnica de Catalunya, España

Jorge Francisco Liernur Universidad Torcuato di Tella, Argentina

Hugo Mondragón López Universidad Católica de Chile, Chile

Ton Salvadó Cabré Universitat Politècnica de Catalunya, España

Tatiana Urrea Uyabán Universidad Nacional de Colombia, Colombia

NOTA: El Comité Editorial de la revista dearq establece la política editorial de esta y salvaguarda su cumplimiento; orienta el proceso editorial con la finalidad de garantizar la máxima calidad, en función de criterios establecidos por las bases de datos y sistemas de evaluación de revistas nacionales e internacionales; vela por el cumplimiento de las normas éticas de publicación conforme estándares internacionales y valida líneas estratégicas de interés para el lanzamiento de nuevos números, así como su agenda de publicación. El Comité Científico de la revista dearq contribuye en el medio académico nacional e internacional a la divulgación de la revista, sus números, convocatorias y eventos internacionales y además, establece vínculos con reconocidos investigadores y con otras instancias académicas e investigativas para la identificación de posibles colaboradores, como pares evaluadores, editores invitados y articulistas, entre otros.

dearq 26. THE DESIGN AFTER

26 6

CUMULUS: THE DESIGN AFTER

¿Por qué Cumulus en una revista de arquitectura?

88-99

Camilo Salazar, Director Revista Dearq Lucas Ariza, Editor Revista Dearq

Investigación temática 8-15

Presentación: Diseño y utopía en tiempos de distopía César Peña

16-27

Julia Nakanishi, Lola Sheppard (Thesis Supervisor), Jane Hutton (Thesis Committee) 100-109 Foto-etnografía y compromiso político: Estudio de las subversiones performativas del espacio público Pablo Hermansen, Roberto Fernández 110-118

Movimiento y creación de lugares en un terreno monzónico “Research video”: Etnografía audiovisual y más allá Léa Klaue

36-43

’Patadesign: un experimento pedagógico sobre el Diseño de Excepción, Artefactos Absurdos e Interfaces Imaginarias Isabella Brandalise, Henrique Eira

44-51

El proyecto utópico de Black Panther: El potencial innovador de la ficción y la especulación de los no arquitectos

Proyectos 120-127

BioForm – aprendiendo en la intersección entre ciencia y diseño

128-139

Bio-monedas: una alternativa a los Pagos por Servicios Ambientales (PSA)

140-153

154-163

80-87

Artesanos y diseñadores: en búsqueda de justicia en el capitalismo y la “Gig Economy”

Edificio jardín hospedero y nectarífero para mariposas de Cali HUSOS / Camilo García y Diego Barajas + Francisco Amaro (Biólogo) + Comunidad de habitantes del edificio

164-175

Pabellón Macondo Manuel Villa Arquitectos + Oficina Informal (Antonio Yemail) Dirección de proyecto: Laura Villegas, Santiago Caicedo y Andrés Burbano

Perspectivas de una investigación basada en el diseño de comunidades rurales en Brasil Caio Werneck, Javier Guillot, Bruno Paschoal

Kibera Hamlets School Selgas Cano

Santiago De Francisco Vela, Miguel Navarro-Sanint, María Belén Castellanos Ramírez, Leidy Lorena Rodríguez Pinto, Catalina Ramírez Díaz 70-79

NDSM Shipyard Fundación Kinetisch Noord/ Administradora: Eva de Klerk

Damian Palin, Sam Russell, Ferdinand F. E. Kohle, Enda O’Dowd, S. Yeşim Tunali Flynn 60-69

El proyecto después Daniel H. Nadal

Fiona Kenney, Vaissnavi Shukl 52-59

Prototipo de un protocolo de bio-fabricación autosuficiente para territorios remotos Aníbal Fuentes Palacios, Carolina Pacheco Glen, Adriana Cabrera Galindez, Alejandro Weiss Munchmeyer, María José Besoain Narvaez

Deepta Sateesh 28-35

Buscando nuevos bienes comunes: El papel de la arquitectura en la sostenibilidad cultural de las regiones decadentes de Japón

Creación 178-201

Aviario. Una mirada a la ilustración científica tradicional a partir de la puesta en escena de la muerte Carolina Rojas

Raphaële Chappe, Cynthia Lawson Jaramillo

Editorial. Camilo Salazar, Lucas Ariza [ 5 ]

dearq 26. CUMULUS: THE DESIGN AFTER

Cumulus es una organización que reúne a instituciones en torno al diseño, la educación y la investigación. Sus encuentros generan un entorno en donde se promueve el intercambio y la transferencia de conocimientos y mejores prácticas, tan útiles y necesarias en estos tiempos convulsionados. Aquí se crean redes y contactos que incitan a la cooperación y la innovación. El último de estos encuentros Cumulus se realizó el pasado mes de noviembre en la Universidad de los Andes en Bogotá y, más que un evento, se convirtió en un acontecimiento que invitó a diseñadores y arquitectos a pensar en su papel como creadores en Latinoamérica, territorio diverso y en permanente transformación. Aquí se discutieron numerosas situaciones provenientes de los cinco continentes y se propusieron perspectivas creativas y novedosas que ilustraron, no solo la compleja realidad actual, sino las múltiples alternativas posibles para mejorar sus condiciones en distintas partes del mundo. El tema central, “The Design After” (El Después del Diseño), fue una invitación a pensar en posiciones que incluyen una nueva visión de esta coyuntura actual que nos advierte cómo se agotan ciertas maneras de hacer. Es necesario reinventarse y reflexionar profundamente sobre lo que viene. Y la pregunta que estuvo en el aire de forma permanente guío las distintas presentaciones: ¿Han pensado los diseñadores en lo que sucederá después y cómo reaccionarán desde su rol? El diseño que hoy se necesita es transdiciplinar y plural; pensar el diseño desde aquí, implica posturas diferentes en donde la acción y la transición se convierten en partes de los procesos. Abordadas desde esta perspectiva, las disciplinas relacionadas con el diseño son obligadas a transcender sus límites y a cuestionar los principios sobre los que trabajan.

Es en este punto donde las propuestas presentadas en la conferencia se vuelven importantes para la arquitectura. La manera de acercarse a la realidad a partir de contemplar la mayor cantidad de factores posibles es algo fundamental. Hacernos conscientes de que en algunas ocasiones la solución o el planteamiento no viene de fuera, sino que se construye desde dentro con todos los que están involucrados en donde se interviene. Observar con cuidado lo que allí ya ocurre, registrar y comunicar ese conocimiento que puede encontrarse. Aprender de todo eso que ya está ahí y no necesita más que cuidarse y potenciarse. Oír las historias que guardan los secretos de todo eso que salta a los ojos. Trabajar desde y con las comunidades que cuentan esos relatos y que son protagonistas primeras de esos territorios. Darle cabida a la imaginación, a ciertos escenarios de ficción que potencian las condiciones de una realidad ávida de buenos deseos y esperanzas. Entender todo esto como un soporte idóneo para la integración de múltiples disciplinas que enriquecen procesos complejos. Hacer una inmersión en las distintas realidades en donde se trabaja. Estas son algunas de las acciones que fueron planteadas durante las tres jornadas de la conferencia y que, sin duda, invitan a arquitectos y diseñadores a ser más innovadores y creativos. En este sentido, darle cabida a un número sobre los desafíos y retos de “The Design After” (El Después del Diseño) en la revista Dearq, no sólo se nos antoja pertinente sino útil en la tarea de abrir a los arquitectos a otros puntos de vista y a relacionarnos profundamente con disciplinas tan diversas como las de los ponentes que nos visitaron: diseñadores, biólogos, artistas, administradores, ingenieros, médicos, trabajadores sociales, antropólogos, sociólogos, entre otros. Para la academia, estos encuentros se constituyen en “puntos de quiebre” que obligan a profesores e investigadores a cuestionar su papel como educadores y a pensar en distintas alternativas de enseñanza que incluyan la innovación, la imaginación y la creatividad como partes indispensables de los procesos al interior de los centros educativos.

[ 6 ] Enero de 2020. ISSN 2011-3188. E-ISSN 2215-969X. Bogotá, pp. 6-7. https://revistas.uniandes.edu.co/journal/dearq

dearq 26. THE DESIGN AFTER

Why Cumulus within an architectural journal? ¿Por qué Cumulus en una revista de arquitectura? Camilo Salazar Director Revista Dearq Lucas Ariza Editor Revista Dearq

Cumulus is a conference that brings together institutions involved in design, education, and research. These encounters generate an environment which promotes the exchange and transfer of knowledge and best practices that are extremely useful and necessary in these troubled times. Networks and contacts are created that stimulate cooperation and innovation. The most recent Cumulus conference was held last November at Universidad de los Andes in Bogota. More than just an event, it was a landmark that invited designers and architects to think about their role as creators in Latin America: a diverse land that is in permanent transformation. Many situations from the five continents were discussed. Creative and new perspectives were suggested that not only illustrate the complex current reality but also the many possible alternatives to improve conditions in different parts of the world. The central theme—The Design After—was an invitation to think about positions that have an innovative view of the current juncture and warns us about how certain ways of doing are over. We need to reinvent ourselves and profoundly reflect upon what is to come. The guideline question during the conference and paper presentations was the following: Have designers thought about what will happen next and how would they respond from their role? The type of design we need today is transdisciplinary and pluralistic. Thinking about design from this perspective implies different opinions for which action and transaction become part of the process. When they are approached from this perspective, the design-related disciplines are forced to transcend their limits and question the principles on which they are based. The presented proposals in the conference become important for architecture, through the fundamental action of approaching to reality, in order to contemplate as many factors as

possible. We should become aware that sometimes the solution or approach does not come from outside; instead, it is constructed from within those who are involved within the process. We should carefully observe, register and communicate the knowledge that is found within these realities, and lead to the understanding that all the discoveries should be recognized and empowered. We should listen to the stories that keep the secrets of everything that is evident. We should work within and with the communities who are the authors of these stories and protagonists of the territories. We should make room for imagining certain fictional scenarios that enhance the conditions of a reality that embraces good wishes and hopes. We should understand all this as the perfect foundation to integrate multiple disciplines that enrich complex processes. We should immerse ourselves in the diverse realities at the working places. These are just some of the actions that were considered during the three-day conference and that, without doubt, invite architects and designers to become more receptive, innovative and creative. Therefore, it seems both relevant and useful to dedicate a Dearq’s issue to the trials and challenges of The Design After. To expose to architects the different points of view and to profoundly connect with disciplines that are as diverse as those of the speakers who visited us, which included: design, biology, art, business administration, engineering, medicine, social work, anthropology, and sociology. For academia these meetings represent “breaking points” that challenges teachers researchers and students to question their role as educators and professionals, to reformulate their responses to a constantly changing and complex environment through educational alternatives that includes innovation, imagination and creativity -indispensable attributes for integral processes inside educational institutions.

Editorial. Camilo Salazar, Lucas Ariza [ 7 ]

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César Peña Guest Editor Universidad de los Andes, Colombia  cepena@uniandes.edu.co DOI: https://doi.org/10.18389/dearq26.2020.01

Besides being provocative, the almost apocalyptic tone of the Cumulus Bogotá 2019 Conference, The Design After, was also an invitation to connect the practice of contemporary design with other historical moments: particularly those when design was thought of as an agent of change in critical moments of society. An example of this is the diversity of reactions that led to changes in the economic, technological, productive, and social organization that were part of the industrial capitalist model between the 18th and 19th centuries. For instance, in England, reactions ranged from the implementation of political and developmental policies promoting the arts through taking critical positions because of the many problems in terms of labor and environment that were brought about by the new productive model. William Morris and John Ruskin were aware of the impact the industrial revolution had on the quality of life for both citizens and workers. Subsequently, they foresaw a solution to the crisis in the arts. On the other hand, Henry Cole and Prince Albert, promoted the celebration of industrial modernity through World Fairs and the inclusion of design as part of state political agendas (Raizman 2011, 61). Something similar happened in Germany, which, through both public and private initiatives, sought design to play a role in the processes of national construction, industrialization, and social reconstruction in the period immediately following the two great wars of the 20th century. Hermann and Anne Muthesius sought to make a contribution to the development of the nation based on an aesthetic quest that would harmonize industry with tradition while positioning Germany on the map of industrial progress (Pevsner 2011; Stratigakos 2003). In the post-war periods, both the Bauhaus and the Ülm school inspired a way of thinking in society based on the combination between a humanistic and material perspective while allowing the damaged social fabric during the conflict to be reconstructed. In France, over the course of several decades, the bird’s eye view of the city was combined with the detailed view of the domestic as a strategy to deal with the challenges and changes involved in adopting the modern. From 1853 onwards, the parameters for designing the city established the paradigmatic

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Design and Utopia in the Age of Dystopia

elements of modern cities after the renovation of Haussmann later on at the turn of the 20th century. The tenets of modern domestic life and consumption were also established through Art Nouveau and Art Deco (Raizman 2011, 120–161). Both discourses were echoed and effectively replicated in the United States. The Universal Exhibitions acted as consumption laboratories and were consolidated as scenarios to celebrate the emblematic American modernity, especially after the City Beautiful Movement and the Chicago Exhibition of 1893 (Gordon 2010; Rydell 1993). Since the first decades of the 20th century, and especially after WWI, many questions were posed after the evident flaws of industrial modernity. The Frankfurt School made many of the system's fissures evident, which gave rise to a line of critical thinking that looked at the modern with more and more suspicion. During the post-WWII period, the consolidation of the field of cultural studies in England and the United States also had a great impact, which once again called into question the basis of the hegemonic model and raised many questions based on the analysis of its cultural productions and systems of power. The discussion about race, gender, social class, national identities, the popular, and the vernacular opened a path to understanding what Buchanan and other authors have contemporarily called “wicked problems” (Buchanan 1992; Coyne 2005; Farrell & Hooker 2013). The term acquires special relevance in a globalized world where the theoretical framework of the center-periphery has become a dated way of understanding more complex relationships. Homi Bhabha (2006) identified the origin of many of these difficulties in historical problems that were never resolved, which is an idea that has been especially useful for understanding postcolonial contexts. Many of these problems that are derived from historical inheritance are the ones present-day design has to deal with to try and save the world, once again, from a debacle. Climate change; the sustainability of resources; the protection of biodiversity hotspots after centuries of environmental predation; the recognition of new and complex citizen identities; the value and omnipresence of the image and the design itself as a mediator of social and political processes; the

recognition of communities and ancestral knowledge already installed in the territories; and the need to rethink notions that were central to modern thinking such as productivity, efficiency and consumption are just a sample of the complex and profound challenges that contemporary design faces.

Cumulus Bogota, 2019: Five Foci to Think about the Future of Design In the quest to understand the contemporary role of design and its ability to redefine itself, less as a discipline and more as a philosophy that allows wicked problems to be faced, Cumulus Bogotá 2019 focused on five topics: 1) Sensing the City/Sensing the Rural the urban; 2) Somewhere, nowhere, anyone, everyone; 3) Counterculture; 4) Biodiversity; and 5) Fiction and de-innovation. The articles that are part of this special issue of Dearq, were selected according to these topics to try and provide the reader with an overview of each topic to help them understand the way they relate to conference’s main topic: The Design After. The first topic, Sensing the City/Sensing the Rural, invites the reader to rethink the often unbalanced relationship, between the city and the rural. Additionally, the term post-digital times is used as a provocation in the topic description to think about the role of technology in connecting both sites as well as a means of raising awareness of the importance of studying and connecting with communities. Both articles illustrating this theme, Insights from a Design-led Inquiry about Rural Communities in Brazil, and Finding a New Commons: Architecture's Role in Cultural Sustainability for Japan's Shrinking Regions, present case studies from different geographical contexts that offer options to rethink historical problems related to land distribution and run-down or abandoned architecture in times of demographic decline. The Brazilian case study exemplifies the use of high and low complexity technologies to conduct community driven-research through video, photography, and qualitative analysis software. The results aim for a political strategy to be defined that uses design for the old problem of land distribution in Brazil (Anderson & Hill 1986; Martins 2000; Straubhaar 2015; Veltmeyer 1993; Vergara-Camus 2009). The Japanese case runs parallel to the former in establishing the Editorial. Camilo Salazar, Lucas Ariza [ 9 ]

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notions of public infrastructure and land as communal assets as a starting point to propose their resignification and appropriation through a design practice based on qualitative research methodologies. The second topic, Nowhere, nowhere, anyone, everyone, sets its starting point around the boundaries of capitalism, proposing the combination of forces between social sciences and design as the main strategy in order to identify and generate parallel market opportunities and new ecosystems. This is formulated as an alternative to be able to understand complex realities derived from historical problems but also to produce renewed theoretical frameworks that allow value to be generated in scenarios where political structures and economic systems have historically proved to be useless or inexistent (Hutton & Pikety 2014). The articles Artisans and Designers: Seeking Fairness within Capitalism and the Gig Economy and, Movement and Place-Making in a Monsoon Terrain both represent the craving for historical social justice that is deeply ingrained in the formulation of this topic. The first article, presents contemporary craftsmanship as a global problem and as a practice still governed by pre-modern thinking and practices that frequently contradict the rationales of modern economy. The second one posits the importance of trying and find new ways to establish a more balanced relationship with ecosystems, which is particularly sensitive when talking about the so-called biodiversity hotspots. This article’s case study, the West Ghats, contemplates the options that design can offer to help understand the dynamics involved in living in a territory that, in this case, is always subjected to the unpredictable nature of the Monsoons. The third topic, Counterculture, inevitably refers to the 1960's as one of the historical moments when going against the establishment gave visibility to, until-then, overlooked and un-known subcultures. In this paper, the term counterculture was considered more a strategy than a cultural phenomenon. It was used to define a design scenario that would capitalize on the failures of the system, recognize the knowledge already installed in the territory, and produce alternative models of relationship with the environment. The first one of these articles, Research Video: Audiovisual Ethnography and Beyond, combines ethnographic

field-work in Bolivia that reflects on the production of scientific knowledge. One of the authors’ main premises is to look for a greater and wider scope and impact of their research through implementing qualitative research methodologies which advocate for the acceptance of what they call video-research as a valid academic production that is also accessible to non-academic audiences. The article Bio-currencies: an Alternative to Payments for Environmental Services, offers a glimpse at one of the many possible new ways for doing design research, once again using social science methods to approach the territory to identify ancestral practices such as bartering. This exercise allows contemporary societies to rethink strategies so as they can face an eventual breakdown of capitalism. The third article, Photo-ethnography and Political Engagement: Studying Performative Subversions of Public Space, reflects upon the urban landscape and the subcultures that are part of it. Through visual culture and discourse analysis methodologies, the authors reveal the importance of the performative dimension to establish a dialogue between the past and the present through photographs of cityscapes. The photographs of the LGBTQA+ community provide a framework to understand the contemporary dialogues that are taking place in Santiago de Chile between the hegemonic and the marginal. Biodiversity, as one of the main topics, was not just limited to its own boundaries but to a wide array of connected fields. The reference to biology in the field of design is not new, and it is possible to understand its centrality based on works from Da Vinci’s attempts on biomimicry to Theo Jansen’s contemporary walking sculptures. However, the scope of biology in the field of contemporary design goes far beyond form and function. Nowadays, it also deals with sustainability, climate change, and with the decentralization of an overarching user-centered design discourse that has taken place in recent years and been directed towards an ecosystem-driven design. The two articles covering this topic, Prototype of a Self-sufficient Biofabrication Protocol for Remote Territories and BioForm: Learning at the Intersection of Science and Design, are good examples of how to expand the boundaries and create a new way of looking at old problems existing between design, art, and science. The first presents an experience with the development of biomaterials

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from algae and mollusks in an extreme region of Chile that allowed the research team to reflect not only on the development of new compounds but also on the meaning of materiality itself in the process of connecting territory with community. The second, paper, which was based in Ireland, proposes a curriculum that allows scientists and designers and professors and students to take a stance and try to understand the other discipline while developing mixed skills. Both articles are developed using neologisms that refer to science fiction such as biohacking, biomaterials, bio-mimicry, and bio-fabrication, which account for a historical moment in the history of thought when it is possible to think about a new modernity that does not imply the same devastation caused by the industrial modernity. The fifth and final theme, Fiction and de-innovation, offers the possibility of understanding design as an act that allows being able to deal with the symbolic world as well as the practical one. This track also challenges the stability of dominant discourses on innovation to propose less trendy but more sustainable alternatives to add value to design processes. Through speculative thinking and ideation, the idea is to redefine the identity of a design practice that seems to have lost its track in the midst of a heyday of self-improvement discourses and senseless mottos. Similarly to 20th century movements such as Futurism, Constructivism, and Archigram, the topic Fiction and innovation situates technology and sci-fi-based utopias at the core of its speculative proposals. The article Black Panther’s Utopian Project: The Innovative Potential of Fiction and Speculation by Non-architects highlights the urban and architectural opportunities contained in the speculative world of video games and movies. Through the analysis of Black Panther, the film-makers highlight the little or almost zero visibility that marginal communities have had in the formulation of urban and architectural utopias. The paper identifies that the problem of lack of visibility in the landscape for these communities is not only a real historical problem and also that future formulations will most likely not take them into account. On the other hand, it highlights with great acuity the possibilities of equilibrium and social justice that are expressed visually through the point of view of the marginal. In Wakanda,

the fictional country where the film takes place, through the possibility of coining terms such as Afro-Aesthetics and AfroFuturism, the authors find a way to refer to techno-fiction universes created after new and more inclusive paradigms. Lastly, the article A Pedagogical Experiment on Design of Exception, Absurd, Artifacts, and Imaginary Interfaces, creates a theoretical framework of speculative design derived from Alfred Jarry’s pataphysics –or science of imaginary or even absurd solutions– to propose the term patadesign. Both terms, pataphysics and patadesign, have the underlying sense of the absurd, which is presented equally as a method and as a symbolic solution (Jarry, Edwards, & Melville 2001). In this sense of the absurd, it is inevitable to recall the classic cases of speculative design, Jacques Carelman's Catalog of objects, the aesthetic universes created by the surrealists, the absurdity of Marcel Duchamp’s artworks, and even the uncanny compositions by John Cage. When reality itself and corporate discourses are proximate to expire, creativity and absurdity can turn into a way-out and a safe space against the folly of normativity.

Final Thoughts There is no doubt that a significant portion of design history has been built within the boundaries of social utopias and consumer capitalism. Although most of the utopias have simply remained as beacons of design, their importance lies precisely in their ability to act as counterweight to consumerism, which is one of the greatest challenges contemporary design has to face. The utopia implied in the formulation of the Cumulus Conference 2019 once again places a good dose of expectation in technology, but it is still a 2019 utopia, meaning that the approach to technology is no longer overarching but nuanced and counter-balanced by critical theory. The role of designers, in this game of weights and counterweights, is closer to that of a philosopher who thinks about life through sensory experience. The power of this utopian designer no longer lies in his/ her ability to alienate themselves under the indifference of thoughtless, lonely professional practice but uses the conscious and cooperative practice of their transformative power of both matter, energy, and life itself. Editorial. Camilo Salazar, Lucas Ariza [ 11 ]

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El tono casi apocalíptico del título de la Conferencia de Cumulus Bogotá 2019, The Design After, además de provocativo invita a conectar la práctica del diseño contemporáneo con otros momentos históricos, particularmente, con aquellos en los que el diseño se pensó como agente de cambio en momentos críticos de la sociedad. Ejemplo de esto, lo constituye la diversidad de reacciones que suscitaron los cambios de modelo económico, tecnológico, productivo y de organización social que implicó el capitalismo industrial entre los siglos XVIII y XIX. En Inglaterra, por ejemplo, las reacciones abarcaron desde la dimensión política y de desarrollo de las artes y el diseño en el proyecto de construcción nacional hasta las posturas críticas derivadas de los evidentes problemas ambientales y laborales suscitados por el nuevo modelo productivo. William Morris y John Ruskin, conscientes del impacto de la revolución industrial en la calidad de vida tanto de ciudadanos como de obreros, formularon las bases para pensar posibles salidas a la crisis a través de las artes. Henry Cole y el príncipe Alberto por su parte, impulsaron la realización de eventos celebratorios de esa modernidad industrial e impulsaron la inclusión del diseño en la agenda política estatal (Raizman, 2011, p. 61). Algo similar sucedió en Alemania que, a través de iniciativas tanto públicas como privadas, buscó un papel para el diseño en los procesos de construcción nacional, de industrialización y de reconstrucción social en el período inmediatamente posterior a las dos grandes guerras del siglo XX. Hermann y Anne Muthesius buscaron hacer un aporte al desarrollo de la nación basados en una búsqueda estética que armonizara la industria con la tradición pero que, al mismo tiempo, les permitiera situar a Alemania en el mapa del progreso industrial (Pevsner, 2011; Stratigakos, 2003). En los períodos de posguerra, tanto la Bauhaus como la escuela de Ülm, plantearon una forma de pensar la sociedad a partir de una combinación entre una mirada humanista y material a la vez que permitiera reconstruir el tejido social averiado durante el conflicto. En Francia, durante el curso de varias décadas, se combinó la mirada macro sobre la ciudad con la mirada micro de lo doméstico como estrategia para lidiar con los retos y cambios que implicaba la adopción de lo moderno. A partir de 1853, el diseño de la ciudad estableció los elementos paradigmáticos de la ciudad moderna con la renovación de Haussmann y más adelante en el siglo XX, la esencia de la vida moderna doméstica y el consumo a través del Art Nouveau y el Art Déco en las primeras décadas del siglo XX (Raizman, 2011, pp. 120–161). Tanto el discurso sobre la ciudad como de la vida doméstica encontraron eco y fueron replicados con efectividad en Estados Unidos. Las Exposiciones Universales, se configuraron en especies de laboratorios

de urbanismo y consumo que se consolidaron como escenarios de celebración de la emblemática modernidad norteamericana a partir del City Beautiful Movement y de la Exposición de Chicago de 1893 (Gordon, 2010; Rydell, 1993). Los cuestionamientos sobre la falibilidad de la modernidad no son nuevos y ya desde las primeras décadas del siglo XX se empezó a cuestionar su viabilidad. La Escuela de Frankfurt hizo evidentes muchas de las fisuras del sistema y dio origen a una línea de pensamiento crítico que miró cada vez con más desconfianza lo moderno. En el período posterior a la Segunda Guerra Mundial, tuvo también un gran impacto la consolidación del campo de estudios culturales en Inglaterra y Estados Unidos, que puso en entredicho una vez más las bases del modelo hegemónico y planteó muchas preguntas a partir del análisis de sus producciones culturales y sistemas de poder. La discusión sobre raza, género, clase social, identidades nacionales, lo popular y lo vernáculo, abrieron un camino de entendimiento a lo que Buchanan y otros autores (Buchanan, 1992; Coyne, 2005; Farrell & Hooker, 2013) han denominado wicked problems o problemas perversos. El término adquiere especial relevancia en un mundo globalizado en donde la vieja noción de centro y periferia pierde completamente su vigencia y sentido. Homi Bhabha (2006) identificó el origen de muchas de estas dificultades en problemas históricos que nunca fueron resueltos, la cual es una idea que ha sido especialmente útil para entender contextos postcoloniales. Muchos de estos problemas representan las herencias históricas con las que el diseño actual tiene que lidiar y a partir de cuya reflexión, una vez más busca salvar al mundo de la debacle. El cambio climático; la sostenibilidad de los recursos; la protección de los hotspots de biodiversidad después de siglos de depredación ambiental; el reconocimiento de nuevas y complejas identidades ciudadanas; el valor y omnipresencia de la imagen y el diseño mismo como mediador de procesos sociales y políticos; el reconocimiento de comunidades y riquezas instaladas ancestralmente en los territorios; y la necesidad de repensar nociones que fueron centrales al pensamiento moderno como la productividad, la eficiencia y el consumo, son apenas una muestra de los complejos y profundos retos que enfrenta el diseño contemporáneo.

Cumulus Bogotá, 2019: Cinco perspectivas para pensar el diseño futuro En la búsqueda por comprender el papel contemporáneo del diseño y su capacidad de redefinirse a sí mismo, menos como disciplina

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Diseño y utopía en tiempos de distopía

y más como filosofía que permite enfrentarse a los wicked problems, Cumulus Bogotá 2019 se planteó alrededor de cinco ejes temáticos: 1) Sentir lo urbano, sentir lo rural; 2) En alguna parte, en ninguna parte, cualquiera, todos; 3) Contracultura; 4) Biodiversidad; 5) Ficción y deinnovación. Los artículos que hacen parte de este número especial de Dearq, se seleccionaron con el criterio de ofrecer a los lectores una mirada transversal de cada uno de los ejes y la forma en que conectan con la idea general de la conferencia sobre el diseño después. El primer eje temático, Sentir lo urbano, sentir lo rural, busca establecer las bases para la redefinición de la relación, muchas veces desbalanceada, entre el campo y la ciudad. La expresión tiempos post-digitales se plantea como una invitación a pensar el papel de la tecnología como puente para conectar campo y ciudad, pero sobre todo como medio de sensibilización, estudio y conexión con las comunidades. Los dos artículos que ilustran esta temática Insights from a Design-led Inquiry about Rural Communities in Brazil y Finding a New Commons: Architecture’s Role in Cultural Sustainability for Japan’s Shrinking Regions, presentan desde diferentes contextos geográficos, Brazil y Japón, estudios de caso que ofrecen opciones para repensar problemas históricos relacionados con la distribución de la tierra y con la arquitectura residual en tiempos de decrecimiento demográfico. El caso brasileño ejemplifica el uso de tecnologías de alta y baja complejidad para hacer una lectura de la comunidad por medio del uso de video, fotografía y software de análisis cualitativo para la definición de una estrategia política en donde el diseño se plantea como alternativa y complemento al viejo problema de distribución de tierras en Brasil (Anderson & Hill, 1986; Martins, 2000; Straubhaar, 2015; Veltmeyer, 1993; Vergara-Camus, 2009). El caso japonés es similar en tanto que establece como punto de partida las nociones de infraestructura pública y la tierra como bienes comunales y propone su resignifación y apropiación a través de un diseño basado en métodos cualitativos de investigación. El segundo eje, En alguna parte, en ninguna parte, cualquiera, todos, toma como punto de partida los escenarios de marginalización derivados del capitalismo y propone como estrategia principal la combinación de fuerzas entre ciencias sociales y diseño para identificar y generar oportunidades paralelas de mercado y nuevos ecosistemas. Esta fórmula se plantea para la comprensión de realidades complejas y problemas históricos, así como para pensar en posibles vías de acción en un escenario en donde las estructuras políticas y sistemas económicos se han revelado insuficientes (Hutton & Pikety, 2014). Los textos Artisans and Designers: Seeking Fairness within Capitalism and the Gig Economy y Movement and Place-Making in a Monsoon Terrain,

representan el espíritu de búsqueda de justicia social histórica, implícito en el eje temático. El primero, presenta la artesanía contemporánea como un problema global y al mismo tiempo, como una práctica todavía regida por raciocinios pre-modernos que escapan a las lógicas del mercado. El segundo, plantea un problema central del mundo contemporáneo sobre la imperiosa necesidad de encontrar nuevas formas de relacionarse con el ecosistema. Esto es particularmente sensible cuando se habla de los llamados hotspots de biodiversidad. Este artículo en particular toma como estudio de caso uno de estos sitios: los West Ghats, y se pregunta sobre las opciones que el diseño puede ofrecer para entender las dinámicas propias en la forma de habitar territorios. En este caso, de un territorio sometido al carácter siempre cambiante de los monzones. El tercer eje temático, Contracultura, inevitablemente remite a la década de los sesenta del siglo XX como uno de los momentos históricos en que la acción de ir en contra del establecimiento dio visibilidad a diferentes subculturas y expresiones artísticas. Como eje temático, el término contracultura se pensó más como estrategia que como fenómeno cultural, para definir un escenario de acción del diseño que capitalizara las fallas del sistema, reconociera los saberes ya instalados en el territorio y permitiera la producción de modelos alternos de relación con el entorno. El primer artículo de este eje temático, Research Video: Audiovisual Ethnography and Beyond, combina el trabajo etnográfico sobre territorio en Bolivia con una reflexión sobre la producción de conocimiento científico. La autora propone buscar un mayor alcance e impacto de sus productos de investigación a través de la investigación cualitativa y de lo que ella llama video-investigación como resultado válido de investigación para la comunidad académica y comunicable al público general. El artículo Bio-currencies: an Alternative to Payments for Environmental Services, ofrece un vistazo a los nuevos rumbos de la investigación en diseño y una vez más, haciendo uso de métodos de ciencias sociales, se acerca al territorio para identificar prácticas ancestrales como el trueque, que permitan al individuo y sociedades contemporáneas repensar los sistemas de intercambio ante un eventual fracaso del capitalismo. El tercer artículo, Photoethnography and Political Engagement: Studying Performative Subversions of Public Space, permite una reflexión sobre el paisaje urbano y las subculturas que lo componen. A través de metodologías de cultura visual y análisis de discurso, los autores revelan la importancia de la dimensión performativa del acto fotográfico, con el ánimo de establecer un diálogo entre el pasado y el presente del paisaje urbano, que bascula entre lo hegemónico y lo marginal, en este caso, de la comunidad gay de Santiago de Chile. Editorial. Camilo Salazar, Lucas Ariza [ 13 ]

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La presencia del eje de Biodiversidad, no estuvo limitada a sí mismo, sino que fue transversal a otros temas donde también resaltó su naturaleza interdisciplinar. La referencia a la biología en diseño no es nueva, lo cual se puede ver reflejado desde los intentos de biomímesis de Da Vinci hasta las esculturas caminantes contemporáneas de Theo Jansen. Sin embargo, la definición de este eje temático fue mucho más allá de las obvias referencias formales y funcionales para tratar problemas esenciales relacionados con la sostenibilidad, el cambio climático y para descentrar la noción de diseño centrado en el usuario hacia una noción de diseño centrado en el ecosistema. Los dos artículos de este eje, Prototype of a Self-sufficient Biofabrication Protocol for Remote Territories y BioForm: Learning at the Intersection of Science and Design, ilustran esa mirada ampliada y conjunta entre ciencia y diseño. El primero, presenta una experiencia con el desarrollo de biomateriales a partir de algas y moluscos en una región extrema de Chile que permitió al equipo de investigación reflexionar no solo sobre el desarrollo de nuevos compuestos sino sobre el significado de la materialidad misma en relación con el territorio y la comunidad. El segundo, se basa en una propuesta curricular en Irlanda que permite a científicos y diseñadores, tanto profesores como estudiantes, entender la perspectiva de la otra disciplina y asimismo desarrollar habilidades mixtas. Ambos artículos se desarrollan alrededor de neologismos que remiten a la ciencia ficción tales como biohacking, biomateriales, biomimética, biofabricación, que dan cuenta de un momento histórico en la historia del pensamiento, la ciencia y el diseño, donde es posible pensar en este tipo de escenarios, pero sin que necesariamente implique la misma devastación de la modernidad. El quinto y último eje temático, Ficción y de-innovación, tiene como base de su formulación la posibilidad que ofrece el diseño no solo de lidiar con el universo práctico sino con el simbólico. Plantea adicionalmente alternativas al discurso dominante de la innovación que hace parte de la esencia misma del paradigma moderno y que ha cobrado nueva vigencia en las últimas décadas. A través del pensamiento especulativo y la ideación, este eje temático busca redefinir la identidad de un diseño perdido en discursos de superación personal y emprendimientos innovadores. En una forma similar a movimientos del siglo XX como el futurismo, constructivismo, o Archigram, el eje temático Ficción y de-innovación sitúa a la tecnología y la ciencia ficción en el centro de su reflexión y propuestas especulativas. El artículo Black Panther’s Utopian Project: The Innovative Potential of Fiction and Speculation by Non-architects, pone de relieve las oportunidades urbanísticas y arquitectónicas contenidas en el mundo espe-

culativo de los videojuegos y las películas. A través de un análisis de la película Black Panther, los autores resaltan por un lado la poca o nula visibilidad que el imaginario de comunidades marginales ha tenido en la formulación de utopías urbanísticas y arquitectónicas. Es decir, identifica que el problema de la visibilidad en el paisaje no es solo un problema histórico real, sino que las formulaciones futuras tampoco tienen en cuenta a estas comunidades. Por otra parte, resalta con gran agudeza las posibilidades de equilibrio y justicia social expresada en lo visual, al incluir la mirada justamente desde esa marginalidad. En Wakanda, el país ficticio donde se desarrolla la película, los autores encuentran la posibilidad de acuñar términos como Afro-estética y Afrofuturismo, en referencia a universos futuros sensibles de tecno-ficción. En una línea similar al anterior, el artículo Patadesign: A Pedagogical Experiment on Design of Exception, Absurd, Artifacts, and Imaginary Interfaces, crea un marco teórico de diseño especulativo derivado de la patafísica –o ciencia de las soluciones imaginarias o del absurdo– de Alfred Jarry, para proponer el término patadesign. En los dos términos subyace la idea de un mundo paralelo donde el absurdo se presenta como método y solución simbólica (Jarry, Edwards, & Melville, 2001). En esta línea del absurdo, es inevitable recordar el clásico del diseño especulativo, Catalogue des objets introuvables de Jacques Carelman o los universos estéticos creados por los surrealistas o el absurdo de las obras de Marcel Duchamp e incluso las inquietantes piezas musicales de John Cage. Cuando la realidad y los discursos corporativos se agotan, la creatividad y el absurdo se constituyen como vía de escape y como espacio seguro contra la insensatez en la que frecuentemente se convierte la norma.

Reflexión final Un porcentaje significativo de la historia del diseño se ha construido entre los límites de las utopías sociales y el capitalismo consumista. Si bien la mayoría de los proyectos utópicos han quedado simplemente como referentes, su importancia radica justamente en su capacidad de actuar como contrapeso a la casi siempre desmedida actividad consumista que es tal vez el mayor de los problemas complejos y constantes a lo largo de su historia que el diseño enfrenta. La utopía planteada en Cumulus 2019, una vez más deposita en la tecnología una buena dosis de expectativa pero que al estar mediada por un marco de pensamiento formulado desde la teoría crítica, promete por lo menos preservar su misión como mecanismo de balance. Su papel en este juego de pesos y contrapesos, consiste en actuar como filósofo que piensa la vida

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a través de la materialidad y la forma en que articula procesos sociales. El poder de este diseñador utópico ya no reside en su capacidad para alienarse en la indiferencia de la práctica profesional irreflexiva y solitaria, sino en el ejercicio consciente y cooperativo de su poder transformador de la materia, la energía y de la vida misma.

References / Referencias 1. Anderson, Terry L., and Peter J. Hill. 1986. “Privatizing the Commons: Reply.” Southern Economic Journal, vol. 52, no. 4, International Journal of the Commons, p. 1165. 2. Bhabha, Homi K. 2006. “Race, Time and the Revision of Modernity.” The Post-Colonial Studies Reader, edited by Bill Ashcroft et al., 2nd ed., Routledge, pp. 219–23. 3. Buchanan, Richard. 1992. “Wicked Problems in Design Thinking.” Design Issues, vol. 8, no. 2, pp. 5–21. 4. Coyne, Richard. 2005. “Wicked Problems Revisited.” Design Studies, vol. 26, no. 1, pp. 5–17. 5. Farrell, Robert, and Cliff Hooker. 2013. “Design, Science and Wicked Problems.” Design Studies, vol. 34, no. 6, pp. 681–705. 6. Gordon, Eric. 2010. “The Urban Spectator: American Concept Cities from Kodak to Google.” Interfaces, Studies in Visual Culture, Dartmouth College Press; University Press of New England. 7. Hutton, Will, and Thomas Pikety. 2014. “Capitalism Simply Isn’t Working and Here Are the Reasons Why | Will Hutton | Opinion | The Guardian.” The Guardian, https://www.theguardian.com/commentisfree/2014/apr/12/capitalism-isnt-working-thomas-piketty.

8. Jarry, Alfred. 2001. et al. “Adventures in ‘Pataphysics.’” Collected Works of Alfred Jarry, Atlas. 9. Martins, Mônica Dias. 2000. “The MST Challenge to Neoliberalism.” Latin American Perspectives, vol. 27, no. 5, Sage Publications, pp. 33–45. 10. Pevsner, Nikolaus. 2011. Pioneers of Modern Design : From William Morris to Walter Gropius. New, Palazzo. 11. Raizman, David. 2011. History of Modern Design. Pearson Prentice Hall. 12. Rydell, Robert W. 1993. World of Fairs: The Century-of-Progress Expositions. University of Chicago Press. 13. Stratigakos, Despina. 2003. “Women and the Werkbund: Gender Politics and German Design Reform, 1907-14.” Journal of the Society of Architectural Historians, vol. 62, no. 4, pp. 490–511. 14. Straubhaar, Rolf. 2015. “Public Representations of the Collective Memory of Brazil’s Movimento Dos Trabalhadores Rurais Sem Terra.” Latin American Perspectives, vol. 42, no. 3, Sage Publications, pp. 107–19. 15. Veltmeyer, H. 1993. “The Landless Rural Workers Movement in Contemporary Brazil.” Labour, Capital & Society, vol. 26, no. 2, Latin American Studies Association, pp. 204–25. 16. Vergara-Camus, Leandro. 2009. “The Politics of the MST: Autonomous Rural Communities, the State, and Electoral Politics.” Latin American Perspectives, vol. 36, no. 4, Sage Publications, Inc., pp. 178–91.

Editorial. Camilo Salazar, Lucas Ariza [ 15 ]

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Movement and Place-making in a Monsoon Terrain* Movimiento y creación de lugares en un terreno monzónico Recieved: July 12, 2019. Accepted: September 24, 2019 DOI: https://doi.org/10.18389/dearq26.2020.02 Reflection paper

Abstract The territorialization of the Western Ghats, India, is an act of colonial power either by settled or marginalized particular peoples, practices, and ecologies, privileging a wet-dry binary and spatializing a monsoon landscape. The environment of the Western Ghats, in particular, has been politicized and polarized. Today, indigenous peoples and other ‘forest dwellers’ have been compromised through the inherited colonial framework; they are excluded by conservation action as is their knowledge that is based on dynamic everyday relationships with place. Efforts to be inclusive are fraught with inadequacies of colonial imaging and use the language that continue to objectify and spatialize nature and culture, which, in turn, propagates the wet-dry divide. The disciplining of the Western Ghats is perpetuated through environmental laws: from the Indian Forest Act, 1865, guarding the land for production, to the Forest Rights Act, 2006, which gives rights to forest dwellers to protect it. Despite these laws, conflicts over access to land and resources continue as the lives of these inhabitants and their relationship with the ground, or world, were never considered on their own terms. How can design unravel how these inhabitants lived prior to colonialism? There is the possibility that they understand place by moving, occupying, and temporally appropriating dynamic conditions of ‘wetness’ in their ordinary everyday lives. What can be assembled from existing clues, and from a new imagination, to design futures that correspond (Ingold 2011) to a changing environment? This paper will reveal the possibility of a local/ indigenous ‘wet ontology’ (Steinberg and Peters 2015) which privileges everyday practices across time and continually ‘makes home’ in this monsoon terrain. Keywords: colonialism, Western Ghats, environmentalism, design research, imagination.

Resumen La territorialización de los Ghats occidentales, en India, es un acto de poder colonial bien sea por asentamiento o por marginación de pueblos, prácticas y ecologías particulares, privilegiando una bipartición de lo húmedo y lo seco y espacializando un paisaje monzónico. El entorno de los Ghats occidentales, particularmente, ha sido politizado y polarizado. Actualmente, los pueblos indígenas y otros "habitantes del bosque" se han visto comprometidos por el marco colonial heredado; son excluidos, por acciones de conservación, al igual que su conocimiento el cual está basado en relaciones dinámicas y cotidianas con el lugar. Los esfuerzos por ser inclusivos están cargados con deficiencias del imaginario colonial, que usan el lenguaje para continuar la cosificación y espacialización de la naturaleza y la cultura, lo que a su vez, disemina la división entre lo húmedo y lo seco. La disciplina de los Ghats occidentales se perpetúa a través de leyes ambientales: desde la Ley de Bosques Indios de 1865, que protege la tierra para la producción, hasta la Ley de Derechos Forestales de 2006, que otorga derechos a los habitantes de los bosques para protegerla. A pesar de estas leyes, los conflictos por el acceso a la tierra y a los recursos continúan, ya que la vida de estos habitantes y su relación con la tierra, o el mundo, nunca fueron considerados en sus propios términos. ¿Cómo puede el diseño descifrar la forma en la que vivían estos habitantes antes del colonialismo? Existe la posibilidad de que comprendan el lugar moviéndose, ocupando y apropiándose temporalmente de las condiciones dinámicas de "humedad" en su vida cotidiana ordinaria. ¿Qué se puede ensamblar a partir de pistas existentes, y de una nueva imaginación, para diseñar futuros que correspondan a un entorno cambiante (Ingold, 2011)? Este trabajo revelará la posibilidad de una “ontología húmeda” local/indígena (Steinberg y Peters, 2015) que privilegia las prácticas cotidianas a lo largo del tiempo y que continuamente “encuentran su hogar” en este terreno monzónico. Palabras clave: Colonialismo, Ghats occidentales, ambientalismo, investigación en diseño, imaginación. *

This paper presents ongoing doctoral research work that is part of an unpublished thesis.

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Deepta Sateesh Manipal Academy of Higher Education. Manipal, Karnataka, India  deeptasateesh@gmail.com

Figure 1. Ridges and valleys. Calicut on the coast of Malabar Coast. Source: Forbes, 1813.

Introduction - Habitat of the Southwestern Ghats The Western Ghats region, one of the world’s ‘hottest’ hotspots of biodiversity and a UNESCO World Heritage site, is a diverse landscape mosaic stretching down most of the west coast of India from Gujarat to the southern-most tip of the subcontinent and beyond into Sri Lanka. It is nestled between the Arabian Sea and the Deccan Plateau. Ridges and valleys receive and carry rainwater to most of the subcontinent; rivers flow gently

eastwards and rapidly down the steeper western aspects of the mountains into the sea. This is a monsoon landscape where it rains six to eight months a year, and which is humid, damp, moist, and soaked: never completely dry. This moistureladen ground is the generator of rich cultural and natural diversity; a myriad of communities and practices that depend on rain; and a plethora of wildlife, vegetation, and minerals. Today, these landscape features are at the heart of the development-environment conflict. The use Movement and Place-making in a Monsoon Terrain. Deepta Sateesh [ 17 ]

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of this language of landforms can be traced back to colonial texts; but the roots of the image behind it are more difficult to unravel as they are embedded in visual articulations of geographic maps and object drawings. This lens, which today tends to be assumed by both sides of the conflicts in the Western Ghats, is a work of design—the outsider’s way of making sense of place dominates our understanding of the Ghats while the local way of knowing has not been considered at all. I speculate that this habitat of the Ghats has been constructed by a colonial intervention, the ubiquitous Mangalore Pattern Roofing Tile. The tile initiates an imaging of the Ghats as a landscape that drains rain off a surface, replacing the more local thatched roofs. Thatched roofs, made either from grasses from paddy fields or savannahs, or

from coconut leaves, had the ability to hold rain in depth within its complex and non-linear material structure. I explore these two different imaginations that allow us to see the imaging and language that each can initiate: how the Mangalore Tile perpetuates an imagination that is reductive, and how thatch generates an imagination that can hold complexity. Each stands apart from the other operationally, and, when engaged on the ground, this difference creates conflicts in the landscape. While the tile creates a wet-dry binary, local everyday practices are rooted in a particular understanding of dynamic shifting ecological processes of this monsoon landscape that continually appropriate and reappropriate conditions of

Figure 2. Map of the Western Ghats showing protected areas (Keystone Foundation, n.d.).

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wetness across time in the Ghats. This paper will reveal the design of habitat (fixed)—the dominant colonial inherited image together with the language used—and make speculations about local imaging and vocabulary as well as the design of bidaara (temporal).¹

Settlement and Surface - Constructing a Contentious Landscape Surface In 1864, the Basel Missionaries based in Mangalore, invented the Mangalore Pattern Roofing Tile (as stated in the 1865 Basel Mission Report, p. 30) and set up the first tile factory. Made from local clay found in the Netravati River, the tile was a

Figure 3. Typical Details of Mangalore Tile. Source: IS 654 (1992).

colonial intervention that was designed as a roofing element to keep the heavy monsoon rain out. Its design introduced a new language to the locals who were being converted and employed by the missionary factories: the vocabulary of ridge and valley that is associated with separating wet from dry through the construction of a surface (the tile surface). The tile created new kinds of employment, destabilized non-linear practices, and stilled the terrain (Sateesh 2017). As it did these, it supported and hardened the idea of settlement together with new colonial regulations surrounding settlement (Permanent and Forest Settlement), stilling people, practices, and places. This caused conflicts between citizens and government, humans and wildlife, practices and climate. The tile was a political intervention that solidified colonial frames by giving the locals a common language to read and act within these new colonial frames. The Mangalore Tile, through drawings, introduced a drainage imagination with the ridge catching rain to divert it on either side down towards the valleys, draining the roof, and moving water away from and off the roof along a smooth surface for efficient flow of water. The tile and its operations simultaneously separated wet and dry and, as it took over the habitat of the Ghats, it placed people indoors, out of the rain. The tile was designed to erase the monsoon from the everyday lives of local inhabitants.

Figure 4. Photograph, profile of a tiled roof, Bantwal, Karnataka, created September 2017. Source: Deepta Sateesh, 2017

Figure 5. Drawing: Tile ordering the landscape of the Ghats across scales. Assemblage of tile sections and landscape sections, created October 2017. Source: Deepta Sateesh, 2017.

1. Bidaara is a Halepyka term for hut. The Halepykas were traditionally an itinerant community that moved from place to place and spoke a hill dialect of Kannada in the Western Ghats. I speculate that bidaara is a conceptual term meaning home-making rather than “house” which is a spatial object.

Movement and Place-making in a Monsoon Terrain. Deepta Sateesh [ 19 ]

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Figure 6. Conceptual sketch of water running off the surface and of water seeping into the ground. Source: Deepta Sateesh, 2017. Figure 7. Photograph of Raman thatching his roof, Wayanad, India, May 2018. Source: Deepta Sateesh, 2018.

Thatch does not remove water, instead it allows it to seep, holding it within the complex meshwork of its fronds. Working as a gradient of wetness, thatch generates a threshold imagination that privileges porosity, not an impervious surface. The language of thatch is: hold and release (Sateesh 2017), seep and ooze (Cons 2017), horizon and depth. This language may be conceptually extrapolated into a material operation of the terrain, allowing one to see a “rain terrain” (da Cunha 2018) of the Southwestern Ghats. If tile exposes the idea of surface, I posit that thatch leads to seeing or experiencing depth and horizon, which begins to expose the experiential/practical frames, language, and imagery that may have existed prior to the colonial eye. Settlement The habitat of the Western Ghats is described using a language based on the tile and is fixed by geography, geology, botany, and economics: as can be seen in the Western Ghats Ecological Expert Panel (WGEEP) report (Gadgil et al. 2011). [ 20 ] Enero de 2020. ISSN 2011-3188. E-ISSN 2215-969X. Bogotá, pp 16-27. https://revistas.uniandes.edu.co/journal/dearq

This imaging of habitat, determined by measuring space, altitude, climate, slopes, vegetation, and soil types (Gadgil et al. 2011), is defined by boundaries that are embedded in the ideas of the Permanent and Forest Settlements. The act of settlement fixed space permanently (Powell 1892) and stilled this dynamic wet landscape in a moment of dryness, in a moment of scarcity, fixing it in a drawing of a map. The creation of a map, a visual representation of place, freezes this dynamic terrain in a moment when it is not raining, so that one can see what is there, from above, from afar, and plan. The map, a drawing of points and lines on a two-dimensional surface, allows the viewer to gaze at the world. During most of the nineteenth century, the British colonizers were surveying India to take control of resources through land settlement. Sir Thomas Munro introduced the Permanent Settlement of 1793 in the Southwestern Ghats from 1799 onwards; it was modified to respond to the more autonomous inhabitants at that time (Bradshaw 1906). This initiated multiple

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Figure 8. Image of 1897 Revenue Survey Map, Village in Kasargod, District Collector’s Office, Mangalore. Taken on 23 November 2016. Source: Deepta Sateesh, 2016.

HABITAT

BIDAARA

GAZE

ENGAGED IN PRACTICE

INDOOR/OUTDOOR

MAKING ´HOME´

STATIC

DYNAMIC/SHIFTING

SPATIAL

PRACTICE-TIME

CERTAINTY/PREDICTABLE

UNKNOWN/EMERGENT

RELIES ON SPACE

RELIES ON TIME

DISCIPLINARY AND SOCIAL CONSTRUCTS

DESIGN/RELATIONAL

Figure 9. Two different worlds or ontological frames. Source: Deepta Sateesh, 2016.

transformations across the terrain, people, and practices in the coming decades. New ideas of ownership, law, land management, and taxation were introduced, which caused multiple peasant revolts in Wayanad, Mangalore, and Coorg (Bhat 1998). These changes were designed to privilege surface, area, dryness, regularized time, a cashbased agricultural economy, and permanent buildings to live in: the setting up of systems that

contributed to the singular agenda of the colonial revenue-based administration. By the 1880s, many of these regions were settled, and had become either revenue or forest land. Surface and settlement created the habitat: the manifestation of a drainage imagination. This is distinct from a threshold imagination that constructs bidaara, privileging depth and movement.

Kumri Cultivation - Destructive versus Constructive In search of depth and movement, my research led to identifying and focusing on shifting cultivation, an ancient agricultural practice of the Western Ghats. Shifting cultivation has long been studied by experts and, in India, has been described as a practice carried out by itinerant communities who live in the forests of Northeast India and the Western Ghats. In the 1860s, colonial foresters were experimenting with scientific forestry in the Southwestern Ghats in order to produce more timber for railways and ship-building. As they Movement and Place-making in a Monsoon Terrain. Deepta Sateesh [ 21 ]

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surveyed the vegetated areas, they saw the habitat of the Western Ghats in disarray—existing primeval forests were being unscrupulously cut down by the local inhabitants. These areas were then left abandoned for many years, thatched mud houses were left to collapse, and the people continually disappeared and moved across the landscape (Cornish 1874). The Ghats was incomprehensible, unstable, unpredictable and unreliable. The task for the foresters was to order this mess—so that they could see it with clear eyes and clear skies—to make the forests productive and organize them in such a way so as they could be managed by setting up control mechanisms and hierarchies. Like thatch and the monsoon, shifting cultivation was not adequately understood and was written about in negative ways, particularly in the Kanara and Malabar regions, where it was traditionally called kumri and punam, respectively. Colonizers paid little attention to these communities as they saw them as vagrants: a nuisance. They recorded the practice of shifting cultivation as being wasteful. They recorded the timber that they valued being burnt (Brandis 1897; Cleghorn 1861), cultivation as being under-productive (Buchanan 1807), and the communities as being ‘heathen’ and devil-worshippers (Burnell 1894). However, the communities cut trees and set fire to a small patch of land to fertilize the soil to grow millets and access other edibles for their subsistence from the forests and other lands. Once the season was over, they would leave the site to regenerate itself by moving to another location and would only return a decade later, if at all. In 1865, India’s first Forest Act was passed to initiate the settlement of forests, and to ban shifting cultivation. Subsequently, in the Indian Forest Act of 1878, a number of other practices were also banned including setting fire to grassy areas, accessing firewood and edibles from the forest, grazing, hunting, and building homes. Colonial records show that when the forest surveyors arrived in the late 1880s to settle the forest and assign rights, since kumri was already banned in 1865, the communities could not claim these lands (Chandran 2019). The only things left to claim by the locals were the valleys, with thota (gardens) and gadde/vayal (rice fields) that were taxed based on productivity. The kan (sacred [ 22 ] Enero de 2020. ISSN 2011-3188. E-ISSN 2215-969X. Bogotá, pp 16-27. https://revistas.uniandes.edu.co/journal/dearq

grove) and kadu (forest) were annexed to government forests (reserved and protected) (Chandran, Rao, Gururaja, and Ramachandra 2010), betta (hill) lands were assigned only to collect leaf litter for manure (Buchy 1995), and bena/hakkal (savannah grasslands) were referred to as “wastelands”. Banning kumri cultivation enabled foresters to survey, assign rights, and claim rights to any unclaimed lands (Ribbentrop 1900). Historically, the treed areas were designated either as Reserved Forest or Protected Forest (Brandis 1875) while areas that seemed to be uncultivated or abandoned were seen as unproductive and uninhabited and marked as wastelands (Waste Lands Act 1863). These were then designated either to the Revenue Department or Forest Department. Along with banning local practices, the land typologies were either erased or transformed, primarily transferred to one of two categories—forest land or revenue land. Due to the lack of understanding the complexity of the local inhabitant and monsoon, these mobile communities were slowly forced to stop moving, or were left out of the new system. This was the hardening of a nature-culture divide in the Ghats.

Wetness, Depth, and Movement - Traversing the Terrain From the colonial engagement in the Ghats, two major concepts emerge as being marginalized: shifting cultivation which was banned through settlement and forest laws, and a gradient of wetness, removed from people’s everyday lives through the design of the tile and the idea of surface separating wet from dry. Both were marginalized through viewing the landscape of the Ghats from a distance and seeing it in a state of deterioration. In order to reveal a different onto logy, it is important to consider movement (rather than settlement) and depth (rather than wet-dry). It is possible that the local inhabitants valorized movement and depth, perhaps in correspondence (Ingold 2011) with each other across space and time, through operations of wetness, and seeping and oozing. I borrow from Fairhead and Leach (1996) as they suggest, in the case of Kissidougou, Guinea, that “if forest is considered to be ‘closer to nature’, for example, the assumption that use degrades contradicts the Kuranko expe-

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Figure 10. Field notes on types of rain, Raman’s interview, 17 January 2018. Source: Deepta Sateesh, 2018.

Figure 11. Section through Raman’s home. Source: Sateesh, Gupta, and Srivastava 2018.

rience that untouched land tends to be savanna, and that where one cultivates, trees multiply. Different ecologies— interacting soils, vegetation and so on—respond differently to use…” (Steinberg and Peters 2015, 13), and respond differently to wetness through movement. With these concepts, issues, and images, how can one see as a local, in a rain terrain (da Cunha, 2018)? The architect, planner, and conservationist must shed their view from above that they take for granted to be real and true, and see what is here and now on the ground in the environment, through wetness, and what is changing. Field research was carried out in Wayanad, Thirthahalli, and Kumta to understand the relationship between movement and wetness, particularly with communities who were shifting cultivators only one or two generations ago. Art and design methods were used to record stories and practices over time, through images, drawings, sound,

and videos. Here, design is an imaginative, speculative, and visionary process, and a heightened level of curiosity is required to explore what kind of framework determined the lives of these local inhabitants of the Ghats. What if, when imagining their world, they were viewed as constructive rather than destructive? From gathering and assembling all the things that were erased, banned, or converted, I can speculate that these things (including the things that were not marginalized) were all part of a different frame, one in which the gradient of wetness is visible across multiple places, and one that requires movement to correspond with, to continually make, and to maintain. Field recordings were made with the intention of blurring lines that divide boundaries: to find clues of this other world. From the fieldwork, I found that in many regions of the Southwestern Ghats, such as Kumta, Thirthahalli, and Wayanad, communities practiced Movement and Place-making in a Monsoon Terrain. Deepta Sateesh [ 23 ]

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Figure 12. Photograph assemblage: Shaping the terrain to hold wetness across thota, hakkal and gadde. Village headman’s house, Bangane, Kumta, Karnataka, May 2019. Source: Deepta Sateesh, 2019.

Figure 13. Blurring boundaries across house, thota, kadu. Visual synthesis of multiple practices of Thota, contrasted with its map, Thirthahalli, Karnataka. Source: “Edgy Lines”, DEL Laboratory, Deepta Sateesh and Shambhavi Singh (2016).

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kumri or punam and also grazed in the bena or hakkal, fetched fruits, honey, and firewood from the kadu and betta; water from the hole (stream) and keni (small temporal mud well); cultivated thota and gadde or vayal; and nurtured medicinal plants in the kan or kavu (Chandran 2019; Mahratti 2019). Their shelter, it can be imagined, was situated in the center of all these grounds of practices that may blur into each other—in a state of liminality: an anchor. The communities tended to each of these places with care, nurturing and nourishing them over time as they moved in correspondence with rain. Although the colonial foresters banned the practice that required more movement and restricted people’s access to certain conditions of wetness and porosity that were necessary for everyday life, traces of kumri can still be seen in settled terrains, where simple innovations are designed to hold water (bunds, trenches, terraces), and the home is still a threshold for the multiple practices across thota, vayal, hakkal, and kadu. These multiple practices extend beyond habitat boundaries, beyond the shelter, and depend on particular conditions relating to the ground, moisture, and humidity. This has led to rethinking these local words for landscape: they may be based on conditions of wetness, a relational quality that reimagines the Ghats as a threshold. Dwelling is an act of situating an anchor and generating trajectories of emergent practices that depend on wetness; as Illich writes, “the threshold is like the pivot of the space that dwelling creates” (2006). Each of these places may be seen as temporal, changing across seasons from more to less wet, like the operations of thatch. The monsoon terrain of the Ghats is an ocean of anchors across time, constructing a dynamic meshwork of movement (Ingold 2011) of materials and practices that correspond with rain.

Conclusion - Making Place, Making Home In Indian thought and philosophical writings, nature is represented in multiple modes, practices, and forms that are intertwined in the active engagement of the ordinary inhabitant. In texts, such as Sangam literature or fables and oral myths, nature is within culture, and descriptions of culture are interwoven through everyday practices drawn into nature (Baindur 2015). The idea of Movement and Place-making in a Monsoon Terrain. Deepta Sateesh [ 25 ]

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resilience is when (not where) nature and culture are synchronous with one another. Wetness is not everywhere but it is everyday, in the ordinary, and in the practice of the local inhabitant’s everyday life. Bidaara, another design (threshold) imagination, is the continual design of dwelling by movement across a gradient of wetness; movement that corresponds with rhythms of rain, working with a different non-linear understanding of time. While the tile and disciplines settled the landscape and local communities through spatialization, bidaara, derived from assembling and synthesizing qualitative data, reveals the possibility of the pre-colonial world of the local inhabitant on the ground of wetness: in a “rain terrain” (da Cunha, 2018). Design research here affords a non-linear understanding. It is geared towards inventing new categories and forms of data, strategizing new resilient futures. Design here is the process of describing what is (ontological) rather than constructing solutions to problems (epistemological).

References 1. Baindur, Meera. 2015. “Topocentric Views of Nature.” In Nature in Indian Philosophy. Pages 105118. New Delhi: Springer India. 2. Bhat, Shyam. 1998. South Kanara, 1799-1860: A Study in Colonial Administration and Regional Response. New Delhi: Mittal Publications. 3. Bradshaw, John. 1906. Rulers of India: Sir Thomas Munro and the British Settlement of the Madras Presidency. (William W. Hunter, Ed.) (Second Imp). Oxford: Clarendon Press. 4. Brandis, Dietrich. 1897. Indian Forestry. Woking: Oriental University Institute. 5. Brandis, Dietrich. 1875. Memorandum on the Forest Legislation proposed for British India, other than the Presidencies of Madras and Bombay. Simla: Government Press. 6. Buchanan, Francis. 1807. A Journey from Madras through the countries of Mysore, Canara and Malabar, Volume 3. London: Fort. Cadell and W. Davies. Accessed from the Internet Archive at https://archive.org/details/journeyfrommadra03hami. 7. Buchy, Marlene. 1995. “The British Colonial Forest Policy in South India, a Maladapted Policy?” Les Sciences Hors d’Occident Au XXe Siecle, 3(Nature et Environnement), 33–58.

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8. Bureau of Indian Standards. 1992. Clay Roofing Tiles, Mangalore Pattern – Specification (Third Revision). New Delhi: Published by the Bureau of Indian Standards. Accessed from the Internet Archive at https://archive.org/details/gov.in.is.654.1992. 9. Burnell, Arthur C. 1894. The Devil Worship of the Tuluvas. Bombay: Education Society’s Skam Press. 10. Chandran, M.D. Subhash, Interviewed by author (Deepta Sateesh). Kumta, Uttara Kannada, May 19, 2019. 11. Chandran, M. D. Subhash, G.R. Rao, K.V. Gururaja, and T.V. Ramachandra. 2010. “Ecology of the Swampy Relic Forests of Kathalekan from Central Western Ghats, India.” Bioremediation, Biodiversity and Bioavailability, 4(1), 54–68. 12. Chandran, M. D. Subhash. 1998. “Shifting cultivation, sacred groves and conflicts in colonial forest policy in the Western Ghats.” In Nature and the Orient: The environmental history of South and Southeast Asia, edited by R. H. Grove, V. Damodaran, and S. Sangwan, 674–707). Delhi: Oxford University Press. 13. Cornish, William R. 1874. Report on the Census of the Madras Presidency 1871, with Appendix containing the Results of the Census arranged in Standard Form prescribed by the Government of India, Vol. I. Madras: Government Gazette Press. 14. Cleghorn, Hugh. 1861. The Forests and Gardens of South India. London: W. H. Allen & Co. Accessed from the Internet Archive at https://archive.org/ details/cu31924003683673 15. Cons, Jason. 2017. “Seepage.” Society for Cultural Anthropology. Vol/ issue no/ pages. Retrieved from https://culanth.org/fieldsights/seepage. 16. Da Cunha, Dilip. 2018. "River Literacy and the Challenge of a Rain Terrain", in Critical Humanities from India: Contexts, Issues, Futures, edited by D. Venkat Rao. Pages 177-204. London, New York: Routledge, 2018. 17. Edgy Lines. (2017, May 20). Retrieved from https:// dellaboratory.wordpress.com/portfolio/edgylines/. 18. Fairhead, James, and Melissa Leach. 1996. Misreading the African Landscape – Society and Ecology in a Forest-Savannah Mosaic. Cambridge: Cambridge University Press. 19. Forbes, James. 1813. Oriental Memoirs: Selected and Abridged from a Series of Familiar Letters written during Seventeen Years Residence in India; including Observations on Parts of Africa and South America, and a Narrative of Occurrences in Four

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Indian Voyages. Volume I. London: White, Cochrane and Co. Accessed from the Internet Archive https://archive.org/details/illustrationstoo00forb/page/n64 20. Gadgil, Madhav, B.J. Krishnan, K.N. Ganeshaiah, V.S. Vijayan, Renee Borges, R. Sukumar, … G.V. Subrahmanyam. 2011. Report of the Western Ghats Ecology Expert Panel. The Ministry of Environment and Forests, Government of India. 21. Illich, Ivan. 2006. “Dwelling.” The Land. Issue 2, 39-41. 22. Indian Forest Act. 1865. “Act No. VII.” In A Collection of the Acts Passed by the Governor General of India in Council in the Year 1865. Calcutta: O. T. Cutter Military Orphan Press. Accessed from http:// legislative.gov.in/sites/default/files/legislative_references/1865.pdf.

Pennsylvania. https://casi.sas.upenn.edu/iit/deeptasateesh 32. Sateesh, Deepta, Falguni Gupta, and Akriti Srivastava. 2018. Sustainable Development Goals and Climate Resilient Strategies, Wayanad, Kerala – A Pilot Project. Bangalore: Karnataka. 33. Steinberg, Peter E., and Kimberley Peters. 2015. “Wet Ontologies, Fluid Spaces: Giving Depth to Volume through Oceanic Thinking.” Environment and Planning D: Society and Space, 33(2), 247–264. http://doi.org/10.1068/d14148p 34. The Waste Lands (Claims) Act, 1863. Accessed from http://theindianlawyer.in/statutesnbareacts/acts/ w5.html.

23. Indian Forest Act. 1878. “Act No. VII.” In A Collection of the Acts Passed by the Governor General of India in Council in the Year 1878. Calcutta: Office of the Superintendent of Government Printing. Accessed from http://legislative.gov.in/sites/default/files/ legislative_references/1878.pdf. 24. Ingold, Tim. 2011. Being Alive: Essays on Movement, Knowledge and Description. London and New York: Routledge. 25. IS 654. 1992: Clay Roofing Tiles, Mangalore Pattern-Specification (Third Revision). New Delhi: Bureau of Indian Standards. Accessed from the Internet Archive at https://archive.org/details/gov. in.is.654.1992/page/n5 26. Mahratti, S.S. Interviewed by author (Deepta Sateesh), Bangane, Uttara Kannada, May 21, 2019. 27. Powell, Baden. 1892. The Land Systems of British India, being a Manual of the Land-Tenures and of the Systems of Land-Revenue Administration Prevalent in the Several Provinces. Volume III. Delhi: Low Price Publications. 28. Raman, Cheruvayal. Interviewed by author (Deepta Sateesh), Mananthavady, Wayanad, January 17, 2018, 29. Report of the Basel Evangelical Missionary Society. 1865. Twenty-Sixth Report of the Basel Evangelical Mission in South West India (1866). Mangalore: Basel Mission Press. 30. Ribbentrop, Berthold. 1900. Forestry in British India. New Delhi: Indus Publishing Company. 31. Sateesh, Deepta. 2017. “India in Transition” In Tile Colonialism. Published online June 3, 2017. Center for the Advanced Studies on India, University of

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Research Video: Audiovisual Ethnography and beyond “Research video”: Etnografía audiovisual y más allá Recieved: July 14, 2019. Accepted: September 24, 2019 DOI: https://doi.org/10.18389/dearq26.2020.03 Reflection paper

Abstract "Research Video" is an interdisciplinary state funded research project (2017 - 2020, Switzerland) in the fields of design, artistic research, and visual anthropology; its aim is to explore the possibilities of video for science communication. The project aims to develop a new standard for scientific publication—comparable to scientific journal publications—through video annotation. In the history of scientific publication, text has been the main form of presenting research results. In our project we ask the question “Can research results be presented exclusively or mainly through video? If so, what would a standardized, internationally accepted format look like?” Through the development of a video annotation-tool and its application in two exemplary PhD theses, which are used as case studies, these questions are explored. This paper is going to present the author’s PhD project: her ethnographic fieldwork in Bolivia. It investigates child labor in a country where rates are high, but children’s help and lucrative activities have a cultural anchor. Through observation, video workshops, interviews and mixed methods, an audio-visual ethnography is created of people’s lives who had to start work at an age deemed too young by Western understanding. A series of short videos (the research data) reveals the voices of the child and youth workers who are the main actors of this research topic. Keywords: research video, scientific storytelling, visual anthropology, digital storytelling, childhood studies.

Resumen "Research Video" es un proyecto de investigación interdisciplinario financiado por el Estado (2017 - 2020, Suiza) en los campos del diseño, la investigación artística y la antropología visual. Su objetivo es explorar las posibilidades del vídeo para la comunicación científica. El proyecto busca desarrollar un nuevo estándar para la publicación científica -comparable con las publica-ciones de revistas científicas- a través de la anotación en vídeo. En la historia de la publicación científica, el texto ha sido la forma principal de presentar los resultados de la investigación. En nuestro proyecto nos preguntamos si los resultados de la investigación pueden ser presentados exclusiva o principalmente a través del vídeo. De ser así, ¿cómo sería el formato estandarizado y aceptado internacionalmente?" A través del desarrollo de una herramienta de anotación en vídeo y su aplicación en dos tesis doctorales, que se utilizan como casos de estudio, se exploran estas cuestiones. Este artículo presentará el proyecto de doctorado de la autora: su trabajo de campo etnográfico en Bolivia. Investiga el trabajo infantil en un país donde las tasas son altas, pero la ayuda infantil y las actividades lucrativas tienen un anclaje cultural. A través de la observación, talleres de ví-deo, entrevistas y métodos mixtos, se crea una etnografía audiovisual de la vida de las personas que tuvieron que empezar a trabajar a una edad considerada demasiado joven para el entendi-miento occidental. Una serie de videos cortos (los datos de la investigación) revela las voces de los niños, niñas y jóvenes trabajadores que son los principales actores de este tema de investigación. Palabras clave: "research video", narración científica, antropología visual, narración digital, estudios sobre la infancia.

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Léa Klaue Audiovisual Media, Zurich University of the Arts  lea.klaue@zhdk.ch

Doing Research with Video This paper is a presentation of the project RESEARCH VIDEO, which strives to combine the medium of video and scientific research on theoretical, practical, and technological levels. As experienced during the Zurich conference “The Art of Scientific Storytelling” in January 2019, a large group of scientists, scholars, and students from all educational institutions across Switzerland showed interest in the use of video to convey their findings and create scientific knowledge. At the same conference, an important number of artists, creatives, and designers were present and showed interest in working with science and scientists as part of their creative endeav-ors. Dr. Rafael E. Luna, a researcher of biochemical mechanisms of cancer at Harvard Medical School, explained in his presentation that scientists from all fields can use literary storytelling to convey their research findings. Scientific storytelling helps us to ask the right questions, and to answer them in a way science becomes more understandable. If we use evocative descriptions and structure the research process into a story, we might reach a wider audience and show more than the tip of the iceberg. Sophisticated “fancy” and obscure theoretical language intimidates the readers, especially those outside the discipline. It also prevents the scientific knowledge from being fully understood. If only Pierre Bourdieu had written his important yet highly intricate writings in more evocative language, many student’s headaches could have been saved; however, this should not sacrifice scientific righteousness.

Storytelling and evocative writing can be translated to video. In the past decades we have seen the emergence of web-documentaries and other non-linear storytelling forms that widen the possibilities of conveying knowledge through audiovisual expression. The RESEARCH VIDEO project finds itself exactly on this crossroads and looks into the possibilities of video publication in the social sciences and beyond. RESEARCH VIDEO is also the development of an online tool that enables videos to be annotated, such as annotation would be done on a scientific text (Lösel 2018). Motivation for this project came from the need to have tools to present research findings in the performative arts, artistic research, and other forms of practice-based research in an academic and scientific context. The goal is to set up a new standard for scientific publication through video that suits the needs of artis-tic and academic communities while bringing scientific content beyond the borders of experts.

The project consists of a multidisciplinary team: software developers, filmmakers, artists, scientists, and two PhD candidates who “write” their doctoral thesis through the use of annotated videos. One candidate focuses on the field of contemporary dance while the other focus on audio-visual ethnography in the field of social anthropology.¹ Marisa Godoy is a dance artist with over thirty years of professional experience. In her case study, she investigates collaborative creation processes in cooperation with various dance artists

1. The two PhD theses are being developed whilst this paper is being written. Both PhD outputs are expected to be finalized by the end of 2020.

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whose practices explore out-of-the-ordinary ‘modes of being’ that aim to foster an enhanced perception of self, other and environment. Her doctoral research is embedded, informed, and shaped by practice. Through the use of video and video-annotation with the RESEARCH VIDEO tool, she challenges traditional ways of reporting and analyzing data: a process that seeks to obtain new insights into knowledge transmission within the performing arts and artistic research fields. The other RESEARCH VIDEO case study is led by Léa Klaue, the author of the present article, which presents an audiovisual ethnography on the topic of independent child labor in Bolivia in the field of social anthropology. As the renowned anthropologist and storyteller Paul Stoller (2008, 118) calls it, the practice of ethnography is “weaving the world”. Our threads of yarn are the accounts, experiences, and the stories gathered from the people we encounter in the field. When these are woven together, a pat-tern appears. The pattern is the anthropological account of the world. In the following chapters I delineate how the RESEARCH VIDEO tool helps me to join the threads of audiovisual and textual material gathered during anthropological fieldwork in order to create a scientific and compelling pattern.

Audiovisual Ethnography on Child Labor in Bolivia Child labor is, in my opinion, a topic that is a perfect case to be tackled using audio-visual tools. This is not only because the topic is already widely documented—it is also misunderstood and misinterpreted in the mainstream media through communication from (functioning as advertisement for) NGOs—but also because the visibilityinvisibility interplay is inherent and can be deconstructed via montage. In fact, young people who start lucrative activity before it is legally accepted according to international standards are, in a metaphorical sense, the biggest and most invisible social group in Bolivian society.² Invisible because nobody really wants to

see them: neither the state which qualifies their lucrative activities as illegal and as one of the causes of perpetual poverty, nor the civilian population who use their services but discriminate against them. When I went to Bolivia for the first time in 2015 with the aim of audio-visually document-ing child labor, I wanted to create an image that differs from what can be seen in the West. In Western “developed countries” children’s work is often represented as forced labor and exploitation, while the children are seen as passive victims. I wanted to give voice to the children who were independent and free workers but still forced by their condition and family situation to earn money themselves in order to survive. I saw working children in every Bolivian city, at every street corner, selling chewing gum, cleaning windshields, and performing acrobatics at traffic lights. I found them in markets, pushing wheel-barrows with groceries, and helping salesladies. When I entered cemeteries, I didn’t see any adults working, there were only children: the youngest of whom were cleaning tombs and carrying holy water while the more experienced ones were playing instruments, singing, and praying for the dead. Through my investigations, I also learned about the invisible group of children and adoles-cents employed in private homes and in illegal sugar cane fields and copper mines. It is relatively easy to create this terrible picture about “poor working children” in Western minds, which is the trademark of most international NGOs. It enforces the perception of child labor as being problematic and destructive rather than presenting more reflected insights into this nuanced topic. As I dug into the field and grew solid relationships with active working children who were willing to let me enter their lives and portray them with the camera, I realized how complex and multidimensional the issue of children’s work is. I collected points of view, insights and aspects, reflections upon the reasons, the consequences,

2. The International Labour Organisation Convention No. 138 on the minimum age for admission to employment, which is set at minimum age of 14 years. https://www.ilo.org/dyn/normlex/en/f?p=NORMLEXPUB:12100:0::NO::P12100_ILO_CODE:C138 (consulted 23.05.2019)

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and the side effects of children’s work in a multitude of contexts.

Enrich, Enhance, Annotate using the RESEARCH VIDEO tool

What first interested me was the organizational incentive and power in functioning syndicates led by working children. They defend children’s right to work and demand recognition and protection by the State. The very fact that syndicates led by children exist, which can be considered as “prochild labor”, already turns upside down the preconceived ideas of the “poor child workers”.

The first finding I deduced after ordering my research data, and after producing my first documentary film about the topic,³ was that it was impossible to align the material into a linear documentary film without losing the scientific nuance.

To tackle this topic ethnographically, I had to give the young workers a means of expression. For the video-ethnography, I used participative and creative methods such as “Ethnofiction”, an experimental ethnographic genre created by Jean Rouch in the 1950s mixing performative acting and anthropological filmmaking. I conducted interviews, produced planned and spontaneous short fiction films with the children and teenagers as actors, directors, and storytellers and spent days simply being with them at home or work. The presence of the camera created a playful setting where young people had the opportunity to be creative and where storytelling would unfold and give me the threads with which I could weave an ethnography.

The data is intertwined. To give the ethnographic construct its fundament, I had to divide it into chapters that are connected but that can be read in any order. The video chapters are divided into different topics, people, and places, and they are connected to each other via references and annotations: the same as in a text. The edited video material is then enriched and enhanced in the RESEARCH VIDEO tool,⁴ where annotations are added to specific moments in the videos. Annotations appear on various tracks in the timeline of the video, and the tracks can be added and renamed according to the struc-ture of the annotations (Figures 1, 2, and 3). The annotations can be texts that explain what is hap-pening in any given situation as well as provide background information or simple keywords or tags.

Figure 1. The timeline of the research video prototype. http://rv.process.studio.

Figure 2. The tracks of the research video prototype. http://rv.process.studio.

3. “To work is to grow” 30’ ethnographic film, University of Tromsø, 2015 4. http://rv.process.studio

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Figure 3. The annotations in the research video prototype. http://rv.process.studio.

Figure 4. The layout of the Research Video prototype with ethnographic film material from Bolivia. http://rv.process.studio.

Figure 5. The layout of the Research Video prototype with ethnographic film material from Bolivia. http://rv.process.studio.

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References and hyperlinks to other videos and other documents can also be added in the annotations. The annotations appear on the right side of the video in the “inspector”. When the box “Current annotations only” is checked, the annotations only appear when the video reaches the moment at which they were placed on the timeline (Figures 4 and 5). The video can be paused and replayed at any time, which enables a smooth viewing, reading, re-viewing, and re-reading of video and text as one. The RESEARCH VIDEO tool enables the video to paint a more in depth picture by point-ing out the author’s intention thanks to the integration of text within the video. Video is a two-dimensional construct that represents our three-dimensional reality. To picture this three-dimensionality within the two-dimensional frame, we add montage, frame, contrast, focus, depths, and other effects (MacDougall 2006, 270). Using the RESEARCH VIDEO tool, I argue that the three-dimensionality can be enriched with reflexive and background information around the video material. Also, providing more elements to the whole construct activates the imagination of the reader/ viewer. In Colette Piault’s (2006, 371) words, video uses a “cinematic strategy”, which emerges from the dialectic movement between knowledge and imagination.

Research Film in the Social Sciences The tool ‘video’ has been used in scientific research since its invention. In fact, one of the first ever documentary films, Nanook of the North by Robert Flaherty in 1922, is also recognized as one of the first anthropological films. Robert Flaherty was an explorer, and through his attempt to produce a realistic (but staged) portrait of the inhabitants of the Arctic, he created a new genre. This was a genre that would later be used to represent life and society with a certain attempt for objectivity and analysis to converge. Anthropology and Social Sciences have used film and photographic representations to illustrate findings since these technologies have been available. However, these audiovisual means have

merely been used as illustrations accompanying text rather than as a research and publication medium themselves. The debate “text vs. film” has had a long history in anthropology and has been the leitmotif of the development of the field of visual anthropology in academia. Opinions have diverged, been reconciled, and have then diverged again. Nowadays, the field of visual anthropology and the ethnographic film genre are rooted in the academic discourse, and anthropological re-search with audiovisual means is conducted all around the globe. Despite this, few anthropology departments (or disciplines related to the humanities) allow their students to graduate exclusively with an audiovisual project instead of a written thesis. Graduation thesis projects that are created using audiovisual media often have to be accompanied by a written thesis in order to be accepted. There are still today only a few possible ways of publishing anthropological and ethnographic films in peer-reviewed journals in order to gain academic recognition. Audiovisual files are still seen as an illustrative accompaniment to traditional journal papers. Films produced in social science and research settings can be seen in anthropological, ethnographic, documentary, and other non-fiction film festivals. This helps to promote the genre and make its knowledge accessible to a wider public; however, festival screenings are still not seen as equivalent to journal publications. If we look more closely at the medium of video, despite its acceptance in the academic spectrum, it carries a multitude of advantages and disadvantages when used as the canvas of scientific research.

The Anthropologist with the Camera As an anthropologist working with people, the use of the video camera in research is both a gift and a curse. The curse involves the bulky gear and the technical skills as well as the attention video cameras can attract in certain settings. Sometimes the camera can impose preconceived ideas in people’s minds. Also, the discussions about the filming strategies and agreements require patience, adaptability, and pedagogy. Despite these challenges, the camera is mostly an asset because it can capture an unparalleled

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amount of data and depth in a very short time. Video captures a richness of detail, such as subtle bodily gestures, facial expressions, tone of voice, or embodied performances, all of which transcend textual descriptions in written anthropology (Suhr and Willerslev 2012, 4). Those ele-ments which Sarah Pink (2005, 277) calls “embodied metaphors” are sometimes impossible to count and identify and impossible to describe at the video level. Possible or not, one might be compelled to ask if we could not simply describe and quantify all these aspects with words. Is it possible to create the detail necessary to transform the meaning of these subtle nuances through text? Can one bring the subject to life on paper the way it can be done through film? Many scholars who have been disappointed by the use of visual tools argue that visual technologies are more a mimetic disposition, a “simulacrum of reality” (Hastrup 1992), which only captures features of social life that are visible (Suhr and Willerslev 2012). And it is the invisible, the meanings, and deep truth behind the visible that social scientific inquiry tries to uncover. Is it only reachable through textual construction? What is finally sought is the meaning through which analysis and theory can emerge. And the only way to create meaning is by using a certain narrative structure (Henley 2006, 377). There are many ways of creating a narrative: the choice of starting to film something in a certain moment with a certain frame and the following chronological alignment of the captured sequences is already a narrative choice. Depending the genre and style the film-makers want to produce, they will try to convey a more concrete meaning to the material through a careful montage when editing.⁵ The decision-making of which parts of the “captured reality” are kept or discarded and in which order they will appear in the video is what Paul Henley calls the “Guilty Secret of Ethnographic Film-Making”—a power that lies in the hands of the editor and the possibility of transforming reality through montage. This is a paradox which is often believed to be the ethnographic enterprise: an attempt to portray reality as untouched

as possible. Making an ethnographic film is not the same as holding a mirror up to the world, but rather entails the production of a representation of it; in the words of the documentary film-maker Dai Vaughan: “film is about something, whereas reality is not” (1985, 710). While the ethnographic video’s meaning is shaped by whoever made it, the viewers’ recep-tion underlines the final meaning. There are, in fact, a potentially infinite number of meanings that can be assigned to a work as there are infinite numbers of spectators or readers who could potentially receive the work differently (Henley 2006, 378). The act of viewing a video and processing it always involves a certain self-reflexivity. Cognition and thoughts are processed into an abstraction of the meaning understood. This is where theory lies within the film-making enterprise.

The Future of Publication In this paper, I have presented ways of exploring knowledge production through the conjunction of film-making and ethnographic practice. This has come with a new way of presenting research findings by doing more justice to the audiovisual material and to the people involved in the research. I believe that scientific findings can escape their ivory tower without losing scientific le-gitimacy. Video is an excellent tool to share knowledge about scientific relevant topics to the wider public. In recent years I have witnessed more research projects being conveyed through alternative and creative means other than the traditional peerreviewed journals, such as creative writing, novels, interactive websites, web-videos, podcasts, and films. Creative scientific pieces attract more attention and are definitely a means of the researcher having their research results read by a wider public. The reader-friendliness also appeals to a bigger variety of readers, even across disciplines. Mainstream media is also eager to welcome more thoroughly researched content such as scientific output, but there are still only few collaborations happening.

5. Except for the representatives of observational cinema genres (Grimshaw and Ravetz 2009).

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In the future, I assume scientists will increasingly embrace new media as the spreading of scientific knowledge becomes more relevant. As history has shown, it takes time until well-implemented academic structures such as journal publications change. Through experimenting and implementing prototypes such as the RESEARCH VIDEO tool within actual academic structures, crossing bridges between disciplines and communities might become more common; there may be more creative approaches towards the hard-dry sciences. The RESEARCH VIDEO project’s funds end in 2020, and three years of research and development are not enough for an endeavor of this size. The project has opened many possibilities and made ideas about audiovisual scientific publications more concrete. Besides its implementation, there are several further steps, including its evaluation within a wider variety of scientific disciplines, which remain to be taken.

References 1. Grimshaw, Anna, and Amanda Ravetz. 2009. Observational Cinema. Anthropology, Film, and the Exploration of Social Life. Bloomington and Indianapolis: Indiana University Press.

7. Piault, Colette. 2006. “The Construction and Specificity of an Ethnographic Film Project: Re-searching and Filming.” In Reflecting Visual Ethnography. Using the Camera in Anthropological Research, edited by M. Postma, and P. I. Crawford. Leiden and Højbjerg: CNWS Publications & Intervention Press. 8. Pink, Sarah. 2005. “Dirty Laundry. Everyday Practice, Sensory Engagement and the Constitution of Identity.” Social Anthropology, 3(3). Cambridge: Cambridge University Press. 9. Research Video Annotation Tool. 2019. “Process Studio, Vienna.” Available at: http://rv.process. studio 10. Stoller, Paul. 2008. The Power of the Between. An Anthropological Odyssey. Chicago & London: Chicago University Press. 11. Vaughan, Dai. 1985. “The Space Between Shots.” In Movies and Methods (II), edited by B. Nich-ols. Berkeley, Los Angeles, London: University of California Press. 12. Willerslev, Rune and Christian Suhr. 2012. “Can Film Show the Invisible? The Work of Montage in Ethnographic Filmmaking.” Current Anthropology, 53(3). Chicago: University of Chi-cago Press.

2. Hastrup, Kristen. 1992. “Anthropological Visions. Some Notes on Visual and Textual Authority.” In Film as Ethnography, edited by P. I. Crawford, and D. Turton. Manchester: Manchester University Press. 3. Henley, Paul. 2006. “Narratives. The Guilty Secret of Ethnographic Film-making?” In Reflecting Visual Ethnography. Using the Camera in Anthropological Research, edited by M. Post-ma, and P. I. Crawford. Leiden and Højbjerg: CNWS Publications & Intervention Press. 4. Lösel, Gunter. 2018. “Research Video. Annotated Videos as a Tool for the Publication of Artistic Research.” In: Artistic Research: Is There Some Method, edited by D. Jobertová, and A. Koubová. Prague: Academy of the Performing Arts. 5. Luna, Rafael E. 2013. The Art of Scientific Storytelling. Middletown DE: Amado International. 6. MacDougall, David. 2006. The Corporeal Image: Film, Ethnography, and the Senses. Princeton, NJ: Princeton University Press.

Research Video: Audiovisual Ethnography and beyond. Léa Klaue [ 35 ]

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’Patadesign: a pedagogical experiment on Design of Exception, Absurd Artifacts, and Imaginary Interfaces ’Patadesign: un experimento pedagógico sobre el Diseño de Excepción, Artefactos Absurdos e Interfaces Imaginarias Recieved: July 31, 2019. Accepted: September 24, 2019 DOI: https://doi.org/10.18389//dearq26.2020.04 Reflection paper

Abstract By combining ’Pataphysics with speculative critical design approaches, our goal is to present ’Patadesign: a pedagogical framework and thought experiment that can expand possibilities for design practices. Invented at the turn of the 20th century by French author Alfred Jarry, ’Pataphysics can be defined as the science of imaginary solutions and laws governing exceptions. The collection of ideas explored by pataphysicians worked as a critique of traditional science and its concepts of rationality and progress. So, what does a ’Patadesign practice look like? Can it challenge and redefine designerly ways of thinking and doing? We explored these questions in a class called ’Patadesign: Design of Exception, Absurd Artifacts, and Imaginary Interfaces, taught for three semesters as part of the undergraduate design program at the University of Brasilia. The course was an exception in the curriculum, which was organized mostly according to a modernist agenda. Inspired by the work of Jarry and various pataphysicians, we developed a non-exhaustive list of ’Patadesign principles, including Uselessness, Absurdity, Humor, Bureaucratization, Latency, Exception, Ambiguity, and Equivalence. The purpose was to offer imaginative and provocative counterpoints to traditional design methodologies that resonate with a speculative critical design approach. What kinds of conversations can we inspire through useless cartographies, ambiguous organizations, or poetic services? In this paper, we provide an overview of ’Pataphysics as well as Oulipo and their influence on the ’Patadesign framework. We then present and analyze some examples of student work. Finally, we discuss opportunities that ’Patadesign can bring to contemporary design. Keywords: 'Pataphysics, speculative design, critical design, pedagogical framework, imagination

Resumen Al combinar la ’Patafísica con los enfoques críticos de diseño especulativo, nuestro objetivo es presentar el ’Patadesign. Un marco pedagógico y un ejercicio mental que puede ampliar las posibilidades de las prácticas de diseño. Inventado a principios del Siglo XX por el autor francés Alfred Jarry, la ’Patafísica puede definirse como la ciencia de las soluciones imaginarias y las leyes que rigen las excepciones. La colección de ideas exploradas por los Patafísicos funcionó como una crítica a la ciencia tradicional y a sus conceptos de racionalidad y progreso. Entonces, ¿qué es una práctica de ’Patadesign? ¿Puede desafiar y redefinir las formas de pensar y hacer designerly? Estas preguntas las exploramos en una clase llamada ’Patadesign: Diseño de Excepción, Artefactos Absurdos e Interfaces Imaginarias, la cual fue dictada durante tres semestres como parte del programa de pregrado en diseño de la Universidad de Brasilia. El curso fue una excepción dentro del plan de estudios y se organizó, principalmente, de acuerdo con un programa modernista. Inspirados en el trabajo de Jarry y varios Patafísicos, desarrollamos una lista no exhaustiva de principios de ’Patadesign, incluyendo Inutilidad, Absurdo, Humor, Burocratización, Latencia, Excepción, Ambigüedad y Equivalencia. El propósito fue ofrecer contrapuntos imaginativos y provocativos a las metodologías de diseño tradicionales que hacen eco en un enfoque crítico del diseño especulativo. ¿Qué tipo de conversaciones podemos inspirar a través de cartografías inútiles, organizaciones ambiguas o servicios poéticos? En este trabajo, ofrecemos una visión general de la Patafísica, así como de Oulipo y su influencia en el marco del ’Patadesign. Seguidamente, presentamos y analizamos algunos ejemplos del trabajo de los estudiantes. Finalmente, discutimos las oportunidades que el ’Patadesign puede aportar al diseño contemporáneo. Palabras clave: Patafísica, diseño especulativo, diseño crítico, marco pedagógico, imaginación.

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Isabella Brandalise University of Brasilia, Brasil  isabrandalise@gmail.com

Henrique Eira University of Brasilia, Brasil  henriqueeira@gmail.com

Introduction In this article, our goal is to present the concept of ’Patadesign, proposed here as a combination of ’Pataphysics as an inspiration and speculative critical design as an approach to design teaching and practice. We start by offering a brief history of the field of ’Pataphysics, followed by an explanation of our definition of ’Patadesign and ’Patadesign Principles. We then move on to explain how we explored this idea in a class called ’Patadesign: Design of Exception, Absurd Artifacts, and Imaginary Interfaces, which was taught for three semesters as part of the undergraduate design program at the University of Brasilia. In this section we explain how the course was structured and present some examples of student work. The final section of this article includes the main learnings from this experience and a reflection on what design could be.

’Pataphysics in Paris. Hovering between the real and the imaginary, the College was structured with a minutious hierarchy, and its members studied many themes related to Jarry’s science: ranging from the esoteric and pseudo-scientific to innovative artistic experiments (Hugill 2015). Even though it never intended to become a movement like the 20th century “-isms”, the work produced by members of the College—especially among those studying and producing experimental literature—shared common interests and informed discussions around a collection of ideas. Groups such as the Oulipo (l'Ouvroir de Littérature Potentielle, roughly translated as Workshop of Potential Literature) held periodic meetings to discuss the group’s general ideas, methodology and work, wrote essays defending their ideology and approach to literature, and developed many practical experiments (Hugill 2015).

Invented between the transition from the 19th to 20th century by French author Alfred Jarry, ’Pataphysics can be defined as the science of imaginary solutions and of laws governing exceptions. It is the science of the particular, instead of the general rule, and describes a universe that is an alternative to the current one (Jarry 1996). Jarry’s ideas were somewhat influential in the early 1900s and it can be said that they had a strong impact in the development of European avant-garde movements such as Dadaism and Surrealism (Hugill 2015).

Created in the 1960s by mathematician François Le Lionnais and author Raymond Queneau, Oulipo investigated the relationship between mathematics and literary work. One of the group’s biggest realms of exploration was experimenting with the use of self-imposed constraints and how they could affect the work's conceptual and aesthetic results. An example of this is Georges Perec’s La Disparition (A Void in English), a novel entirely written without using the letter e, the most common vowel in French. It can be said that it was through the work of oulipian writers such as Queneau, Perec, and Calvino that many of the ideas around Alfred Jarry’s ’Pataphysics spread worldwide (Hugill 2015).

In the 1940s, ’Pataphysics once again returned to the foreground with the creation of the College of

In 1975, the College began its Occultation phase, in which it restrained from public manifestations,

’Pataphysics

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only returning to full activity in 2000 (Hugill 2015). After the creation of the College in 1948, other institutions also came into real-world existence, such as the London Institute of ’Pataphysics (UK) and the Longevo Instituto de Altos Estudios Patafísicos de Buenos Aires (Argentina).

’Patadesign Absurdity, Ambiguity, Bureaucratization, Equivalence, Exception, Humor, Latency, Uselessness. The methodology we developed at University of Brasilia to study ’Pataphysics and the impact it can have within the design field is through the investigation of what we call ’Patadesign Principles—even though we are aware of the contradictions of defining “capital P” principles for a science that intends to be as open as ’Pataphysics does. We found the exercise of defining principles useful, for it makes literary concepts more concrete and applied, and creates reference points to abstract ideas. They are also very helpful from a didactical point of view, since the list can help students create provocative projects. These principles were defined either by directly translating Jarry’s definition—Exception, for example—, or by Jarry’s or the College’s general approach to life—Ambiguity and Bureaucratization—, or by researching the literary work of Oulipo and other pataphysicians—with principles such as Humor. Our list of ’Patadesign Principles is not intended to be the ultimate, everlasting list. We believe there can and should be many other principles, but thus far we have selected the ones that could evoke provocative ideas for in-class exercises by offering productive counterpoints to modernist ideals of progress, clarity and universality, so ubiquitous and solidified in the teaching and practice of design in Brazil. In order to investigate the potentialities of a pataphysically-infused design practice (Rosenbak 2019), we looked at speculative design approaches. Speculative critical design (SCD) is a term coined by Anthony Dunne and Fiona Raby in their 2013 book Speculative Everything. The authors describe a particular way of using design not to solve problems and provide answers—the pragmatic and utilitarian role that has been tradition-

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ally assigned to the field—but to ask questions and generate debate. Speculative critical design is critical thought translated into materiality, it is about thinking with form other than with words (Dunne and Raby 2013). Many SCD projects are not intended to be produced or used; however, through their ambiguous existence and questions raised, they do offer an alternative to how things are. It is possible to connect these ideas to Escobar’s concept of a transition to the Pluriverse— a world filled with many other worlds (Escobar 2017), which leads to a conversation on decolonization and a Latin-American situated practice. The combination of ’Patadesign Principles and a speculative approach to design was intriguing. For instance, what kinds of (social, political, economic, cultural, environmental, technological, ethical) conversations can we raise through the creation of useless cartographies, poetic services, ambiguous organizations, or humorous branding? What could a ’Patadesign practice look like?

’Patadesign as pedagogical framework “Does not the word teaching imply usefulness or pretensions to usefulness? Does not the word usefulness imply seriousness? Does not the word seriousness imply antipataphysics? All these terms are equivalent (profound sensation).” (Sandomir 1948)

We explored these questions in a class called ’Patadesign: Design of Exception, Absurd Artifacts, and Imaginary Interfaces, which was taught for three semesters as part of the undergraduate design program at the University of Brasilia. The course was itself an exception in the curriculum, organized mostly according to a modernist agenda and aligned with how design schools have been historically structured in Brazil—based on the School of Ulm (Leite 2006). Embracing the contradictions of creating a course about a discipline that escapes definitions, and aware of the fact that “to understand pataphysics is to fail to understand pataphysics” (Hugill 2015), the course was mostly an opportunity to bring renewed energy to design conversations and practices through spiriform lenses. The goals of the course were to open space for creative extrapolation and experimentation; to explore new aesthetics

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Figure 1. Course advertisements.

and narratives; to practice critical thinking and discuss political, social and poetic implications of imagination and design processes; and to explore new paths of thinking and making design in the contemporary context. ’Patadesign was a weekly studio class with around fifteen students per semester. It was an elective course open to people from different backgrounds, and it mostly attracted students from departments such as Design, Visual Arts, Communication, Architecture, Music, and Social Sciences. The variety of disciplines in the room contributed to a rich discussion of the topic, as well as collaborations between students with different capabilities. In relation to content, students were exposed to the history, context, influence, possible definitions, and notable examples of ’Pataphysics; an introduction to the speculative critical design approach, its methods and some examples; and a discussion about the combination of ’Pataphysics and design through ’Patadesign and its Principles of thought and practice. The activities proposed were an inquiry into the science of the particular and consisted of a series of short experiments throughout the course as well as a longer group project starting in the middle of the semester. One of the short experiments was the creation of a cartography applying ’Patadesign Principles as conceptual guidance. We understand cartography here as a dynamic and subject process of

representation that goes beyond territorial issues and defined formats. As a warm-up, students had to create a cartography of the classroom using one randomly selected Principle. Second, they had to create a cartography of a fifteen-minute journey in the university’s main building using two Principles. Projects took varied directions and formats including audio, video, role playing, typography, and infographics. An example of a cartography guided by Absurdity and Latency was a project that used the first situation the student saw when he left the classroom as its starting point. There was someone smoking right outside the door, so the student decided to capture and map all instances of people smoking during his fifteen-minute walk in the main university corridor. His cartography was a simple visualization of those moments, where they happened, and how many people were involved. This visualization was printed on a translucent sheet of paper— in a clear reference to tobacco silk. To express ephemerality and the passage of time, he divided the map in three sections, filled them with tobacco and turned them into small cigarettes. According to the student, each cigarette takes around five minutes to be smoked, therefore, smoking the three cigarettes would complete his journey represented in the cartography. Another cartography—this time exploring Uselessness and Humor—portrayed the university corridor as a scratch card to find useless elements, previously mapped by the student. Elements were either very abundant and without

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Figure 2. A smoking cartography. Work by Luiz Felipe Machado.

Figure 3. A cartography of the useless. Work by Hiram Miller.

a clear use (e.g. cats) or very useful but very difficult to find (e.g. toilet paper); it was a humorous critique of poor infrastructural conditions and maintenance in public institutions. Winning involved finding three of the same image in a row. The winner gets to scratch the prize, which happens to be a symbol of clapping hands. No further explanation is provided. A second short experiment was the creation of an alliterative collection of three postal stamps, which are artifacts that represent bureaucracy and officiality. Students had to follow two main rules in the process: use thirty elements (attri[ 40 ]â&#x20AC;&#x192; Enero de 2020. ISSN 2011-3188. E-ISSN 2215-969X. BogotĂĄ, pp. 36-43. https://revistas.uniandes.edu.co/journal/dearq

butes, concepts, tools etc.) that started with a determined letter; and each stamp had to be made using a different process (handmade, digital, and photographic) yet remain cohesive as a collection. As a result of such restrictive, oulipian-inspired instructions, students found different tactics to develop their stamps and achieve interesting and unexpected outputs. Below is one illustrative example that exhaustively explored the letter B. The final project was the creation of a system of provocative artifacts in dialogue with a critical question. In groups of three, students explored current news and trends and their possible

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Figure 4. Example of an alliterative collection of stamps using the letter B. Work by Daniel de Oliveira.

macro-implications in terms of society, technology, economy, environment, and politics. Then, they identified a provocative instantiation (micro-level) in their scenario as their project frame. It consisted of a “what if” question, which informed the creation of artifacts as touchpoints to an imaginary reality as well as conversation starters for larger debates or reflections. They had to be aware of ’Patadesign Principles and processes when developing their artifacts and narratives. What if everyone was myopic? Exploring this provocation, a group of students imagined what would be the consequences if nearsightedness became mainstream in terms of geography, built environment, human relationships, and play. They developed devices to bring stars closer to

the human eye, souvenirs of temporary monuments, and in and out of focus games. Their objects challenged some of our current ideas about scale, orientation, proximity, and affection by shifting one single aspect of our perception, making the exception a rule. Another provocation was: What if people were highly flammable? Based on this, students shaped government propaganda to disseminate the fear of fire, subversive groups, and their objects of disobedience. They also made home decor and crafts involving community superstitions, beliefs, and protection items. They were curious about the socio-cultural implications of pushing the limits of official discourse towards a scenario of constant surveillance and anxiety.

Figure 5. Souvenirs of a myopic astronomy. Work by Raissa Studart and Ra Lenicio Filho. Figure 6. Ritual and embroidery amulets to protect the home against flames. Work by Kelvim Albuquerque, Jopes Cunha, and Paula Dias.

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Figure 7. Passport, poster, and ocular devices for migration. Work by Candice Botelho, Lucas Sertifa, and Antonio da Mata.

Figure 8. Students and instructors at the opening of the final exhibition.

A third example of a final project came from the question What if the human species had descended from birds? Expanding common understandings about scientific facts, the group created an alternative present that resulted from a speculative past with an evolutionary process in which “humans” descended from birds. Students represented new body shapes through ocular devices adapted to their new restrictions and affordances; migratory routes and geopolitical implications through passports and maps; and stereotypes and disagreements between people from different territories through popular card games and songs. Every semester ended with an open exhibit of students’ final projects. It was an opportunity to prompt a conversation with a broader audience and create conditions for interactions with the so-called real world. [ 42 ] Enero de 2020. ISSN 2011-3188. E-ISSN 2215-969X. Bogotá, pp. 36-43. https://revistas.uniandes.edu.co/journal/dearq

Main learnings and final considerations After three semesters teaching ’Patadesign, we can reflect on some of the main points that were learnt. First of all, turning critical thoughts about design into a pedagogical framework was itself a challenging exercise—how to provide structured content but keep it open ended? How to respect ’Pataphysics slippery nature, not oversimplifying a complex matter, but also not taking a joke too seriously? Weekly encounters with students allowed us to navigate these questions and slowly find an adequate tone, as well as its limits, both for theory and practice. Also, prompting a series of short exercises allowed us to iterate on instructions and conceptual frameworks, according to immediate learnings and feedback. After a short period,

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the exercises constituted a considerable body of work, making it possible to identify patterns and make broader analyses. The formulation of a collection of ’Patadesign Principles revealed itself as an adequate practicebased entry point to ’Pataphysics and worldmaking exercises. They encapsulate some of ’Pataphysics main attitudes and qualities without the intention of explaining them too much and also not shutting down new interpretation possibilities. In terms of practice, the idea is not to establish a fixed set of methods, but rather to offer equivalent, non-linear and concise orientations that shift common mindsets and understandings about possible identities of design. After each semester, we carried out a feedback session with students. We confirmed our hypothesis that the class was perceived as an exception in the curriculum, but we also learned that it informed students’ projects in other classes they were taking. Understanding ’Patadesign as a thought model—or even as a creative attitude—, students were able to add new layers of critical thinking and imaginative extrapolation to their design processes in a productive and complementary way. In a sense, the consecutive offer of the course created conditions for a community to emerge—people who were connected by their engagement with critical practices and a growing interest for exceptions.

consciously pataphysical or otherwise. When possibilities are opened and new practices are experienced, different ways of making and thinking about design can emerge.

References 1. Dunne, Anthony, and Fiona Raby. 2013. Speculative Everything: Design, Fiction, and Social Dreaming. Cambridge, MA: The MIT Press. 2. Hugill, Andrew. 2015. ’Pataphysics: A Useless Guide. Cambridge, MA: The MIT Press. 3. Jarry, Alfred. 1996. Exploits and Opinions of Dr. Faustroll, Pataphysician. Boston, MA: Exact Exchange. 4. Leite, João de Souza. 2006. “De costas para o Brasil: O ensino de um design internacionalista.” In O design gráfico brasileiro: anos 60, edited by Chico Homem de Melo, 252-283. Sao Paulo: Cosac Naify. 5. Rosenbak, Søren. 2018. The Science of Imagining Solutions. Umea: Umea University. 6. Sandomir, Irénée-Louis. 1948. “Inaugural Harangue.” In ’Pataphysics: A Useless Guide, by Andrew Hugill, 117-120. Cambridge: The MIT Press. 7. Tiberghien, Gilles. 2008. “( ).” In Revista USP, 77, 195-199.

However, an important point was that the class was not intended to be permanent on the design program. It was taught for three semesters as an elective course, and then entered its occultation phase, just like a parenthesis or a temporary unit of time, space, or thought in a given context. “At the same time, the parenthesis offers a place of endless wandering for thought. Not that it has an unlimited extent, but an infinite understanding.” (Tiberghien 2008. Authors’ own translation) The main purpose of the class was to open possibilities for students and for design itself. If it became too established, then it would lose its affiliation with the slipperiness of ’Pataphysics as well as with the strengths of that which is an event. Finally, our intention with documenting this pedagogical experience is to create a reference point for other alternatives, whether they are ’Patadesign: a pedagogical experiment on Design of Exception, Absurd Artifacts, and Imaginary Interfaces. Isabella Brandalise, Henrique Eira [ 43 ]

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Black Panther’s Utopian Project: The Innovative Potential of Fiction and Speculation by Non-Architects El proyecto utópico de Black Panther: El potencial innovador de la ficción y la especulación de los no arquitectos Recieved: July 14, 2019. Accepted: September 24, 2019 DOI: https://doi.org/10.18389//dearq26.2020.05 Reflection paper

Abstract From games to film to literature, images of utopia in media have been successful in generating fictional worlds with high aspirational values. The process of creation for these utopias is not unidirectional; unlike typical design methods, designing for fiction requires a cyclical approach wherein creators draw inspiration from the real world and, in turn, use them as the basis for their own process of innovation. The final product—‘fictional’ and ‘utopian’ in nature—then influences the field from which it drew inspiration. For architecture and urban design, the ideation of fictional utopias and futures facilitates place-making for and inclusion of groups of people who are often excluded or oppressed by the architectural project. The participation of non-architects in the creation of utopias generates ideas and learning for mainstream architecture and its adjacent fields. In this sense, the process of fiction creation mitigates exclusivity and eliminates architecture’s barriers to participation. Using Hannah Beachler’s fictional city of Wakanda for Black Panther (2018) as a case study, we argue that utopian ideation by non-architects has the potential to create immense possibilities for their design principles to be adapted into real life architectural projects. In our academic paper, we question: How does a production designer with a non-architectural background draw inspiration from Zaha Hadid’s futuristic buildings to create an utopian city at the intersection of tradition and technological innovation? Furthermore, what can architects borrow from a non-architect’s fiction? Finally, by way of its design process, how does fictional architectural ideation differ from intra-disciplinary speculation? Keywords: utopia, fictional architecture, speculative design, Hannah Beachler, Wakanda.

Resumen Desde los juegos hasta el cine y a la literatura, las imágenes de la utopía en los medios de comunicación han sido exitosas en la generación de mundos de ficción con altos valores aspiracionales. El proceso de creación de estas utopías no es unidireccional. A diferencia de los métodos típicos de diseño, el diseño para la ficción requiere un enfoque cíclico en el cual los creadores se inspiran en el mundo real y, a su vez, lo utilizan como base de su propio progreso de innovación. El producto final, ficticio y utópico en su naturaleza, entonces influye en el campo del que obtuvo la inspiración. En la arquitectura y el diseño urbano, la conceptualización de utopías y futuros ficticios facilita la creación de espacios por y para la inclusión de grupos de personas que a menudo están excluidos u oprimidos por el proyecto arquitectónico. La participación de los no arquitectos en la creación de utopías genera ideas y aprendizajes para la arquitectura convencional y sus campos adyacentes. En este sentido, el proceso de creación de ficción mitiga la exclusividad y elimina las barreras de participación en la arquitectura. Utilizando como caso de estudio Wakanda, la ciudad ficticia de Hannah Beachler para Black Panther (2018), argumentamos que la idea utópica de los no arquitectos tiene el potencial de crear inmensas posibilidades para que sus principios de diseño se adapten a proyectos arquitectónicos de la vida real. En nuestro ensayo académico nos preguntamos: ¿Cómo se inspira un diseñador de producción, sin formación arquitectónica, en los edificios futuristas de Zaha Hadid para crear una ciudad utópica que está en la intersección de la tradición y la innovación tecnológica? Más aun, ¿qué pueden aprender los arquitectos de la ficción creada por los no arquitectos? Finalmente, a través de su proceso de diseño, ¿en qué se diferencia la idea de una arquitectura ficticia a la de una especulación intradisciplinaria? Palabras clave: utopía, arquitectura ficticia, diseño especulativo, Hannah Beachler, Wakanda.

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Fiona Kenney Harvard University Graduate School of Design, Estados Unidos  fkenney@gsd.harvard.edu

Vaissnavi Shukl Harvard University Graduate School of Design, Estados Unidos  vaissnavi_shukl@gsd.harvard.edu

Introduction In 1922, Le Corbusier first presented plans for la Ville Radieuse, an urban masterplan for central Paris which represented an indisputable ideal of personal freedom (Montavon, Steemers, Cheng, and Compagnon 2006). Though never realized, it was published in 1933 in a book of the same name. He believed that well-ordered linearity was key: skyscrapers, housing blocks, and green space should be organized in long lines radiating out from the center. This arrangement would maximize public space while optimizing the density of living space. It was to be a utopia: executed through its architecture. As any utopia, by definition, involves the imagining of a societal ideal, it thus relies equally on architecture in order to become spatially and conceptually tangible. Architecture and design have long histories of enmeshment with utopian ideation—from Ledoux’s Royal Saltworks at Chaux to the City Beautiful movement—architecture is a demonstrated and crucial tool in speculating, generating, and enacting utopianism. It is this speculation, which already exists to some degree in any creative environment, that is central to the spatialization of utopia. Designing for fiction requires reflexivity: inspiration must, in a certain way, be drawn from an abstraction of real-world observation. We argue that the creative reimagination of existing worlds for utopian projects generates an opportunity for contribution to the design disciplines by way of speculation. But what of this speculation about creative works outside of architecture? We seek to investigate the heightened potential for this contribution

from creatives outside of design: when novelists set stories in fictional, utopian settings, or when filmmakers imagine their worlds’ sets. For architecture and urban design, the ideation of fictional utopias and futures facilitates placemaking for and inclusion of groups of people often excluded or oppressed by the architectural project. The participation of non-architects in the creation of utopias generates ideas and learning for mainstream architecture and its adjacent fields. In this sense, the process of fiction creation mitigates exclusivity and eliminates architecture’s barriers to participation. Through an analysis of Hannah Beachler’s portrayal of the fictional city of Wakanda in Black Panther (2018), we argue that utopian ideation by non-architects has the potential to create immense possibilities in terms of the adaption of their design principles in real life architectural projects. In our academic paper, we question: How does a production designer with a non-architectural background draw inspiration from the ‘architectural real’ to create a utopian city at the intersection of tradition and technological innovation? Furthermore, to what extent is this process of inspiration cyclical—what can architects borrow in return from the non-architect’s fiction? Finally, by means of its design process, how does fictional architectural ideation differ from intradisciplinary speculation? This paper is broadly organized into three sections: utopia or fiction versus architecture or reality, the example set by Beachler’s Wakanda, and the potential reinvention of design strategies informed by non-architects’ speculation. First, we

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investigate the historical relationship between architecture and utopian ideation and identify tensions between the real and the fictional. Second, we provide a case study of Hannah Beachler’s Wakanda, in which we identify design strategies that focus on social programming and highlight the importance of the real in the fictional when speculating. We, therefore, recursively consider the contributions made to the discipline of architecture by Beachler’s speculation. Lastly, we propose a speculative design model of the built environment that relies on creatives outside the discipline.

Development The Potential of Utopia Le Corbusier’s aim with the Ville Radieuse was a utopian reimagining of the city; Ledoux had no commission or site in mind when he designed his idealist Saltworks; Frank Lloyd Wright’s Broadacre City was a theoretical antagonism to what he saw as wrong with the move to suburbia. While hypothetical at the point of conception, each proposal was eventually borrowed from by designers to come. We are left, though, to wonder whether these projects, when actually realized, would really have executed the designer’s original intention. In Speculative Everything: Design, Fiction, and Social Dreaming (2013), Anthony Dunne and Fiona Raby, credited for popularizing critical and speculative design through their practice, state that the idea of utopia is far more interesting when used as a stimulus to keep idealism alive. It should be a reminder of the possibility of alternatives: somewhere to aim for rather than build. Setting aside for a moment the question of whether utopia can actually ever be attained, thinking of architecture as having utopian potential or a utopian dimension, enables a more productive way of considering how utopia could enrich architecture (Coleman 2014). In this way, utopian thinking becomes a process or framework rather than an aspirational final product. Grounding aspiration in speculative design strategies allows systemic barriers to be broken, possible futures to be imagined, and large-scale solutions to be considered for fundamental societal challenges. Coleman (2014) goes on to argue that literary works and architectural treatises strong-

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ly suggest architecture’s dimension of utopia. Those imagining specifically and solely for fiction are freed of the constraints that bind architects in real, built projects. Appropriating the Real In imagining their fictional worlds, various authors implicate themselves in what we are here calling a cyclical process of imagination. For example, Coleman believes that utopia’s vocation is to act upon reality (2014). Furthering that line of thought, Dunne and Raby (2013) present literary examples of speculative design thinking in their scholarly work. They argue that Margaret Atwood’s Oryx and Crake (2003) exemplifies the construction of a speculative design project: all her inventions are based on actual research subsequently extrapolated into imaginary but not far-fetched fictions. The research Atwood undertakes in imagining her fictional worlds involves understanding the real in order to reinterpret it. Architecture can also be used more literally to fuel fictional projects. Take Lebbeus Woods’ film credits: he is credited as the ‘conceptual architect’ of the film Alien 3 (1992) and as the ‘inspiration for the interrogation room’ in Twelve Monkeys (1995) (IMDB). In each case, Woods’ drawings were translated to film sets with varying degrees of similarity. The real facilitates the fictional—the designer appropriates and reimagines elements of their real, lived environments to develop fictional worlds. In this way, architecture—both built and hypothetical—provides the design lexicon with which those outside of it can play.

Analysis: Hannah Beachler’s Wakanda We believe that Wakanda, a fictional country, home to the Black Panther in the Marvel Comics Universe, is one of the most successful utopias due to its access to a far greater audience than any other film, and its role in generating a dialogue on good governance, heritage conservation, sustainable design, and ideal city planning. Our selection of Wakanda is determined not only by its general popularity but by its design process and architectural representation. Through this case study, we delve deeper into the design process of Hannah Beachler: production designer

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and creator of Wakanda. Born to an architect father and an interior designer mother, Beachler studied fashion design and film. Without any formal training in architecture, urban design, or city planning, she created Wakanda; thereby playing an elemental role in shaping a new discourse on what architects and planners can learn from fictional cities. Reconciling Tradition and Technology The case of Wakanda is remarkable not just for its architectural project, but also its social project. Though utopian in nature, it is not detached from its real-world socio-temporal context. Beachler actively recognizes a variety of contemporary issues and presents a critique of present-day problems, both social and spatial. The process of fictional innovation allows a designer to offer solutions to urban challenges by means of production design, ultimately represented through the agency of film. These issues range from sustainable transportation and clean energy to zoning, land use, and preservation of traditional crafts. Like many global metropolitan cities, transportation forms an integral part of Wakanda’s capital: the Golden City. The portrayal of the Golden City’s transit systems utilizes aspirational, futuristic technology—like magnetically levitating trains and cars powered by vibranium (an imaginary metal)—to solve urban mobility problems. The emphasis on sustainability and reliance on technology to represent an ideal future is a typical pursuit of the futuristic design process. Wakanda, however, stands out by integrating technology with tradition; its buses are technologically up-

graded and retrofitted while retaining their original character (Image 1). These buses, colloquially called trotros, exist today in several African countries. In a recent interview, Beachler (2018) says, “The Wakandans didn’t just chuck that idea [of the ‘trotro’ buses]... They took the bus, and said, ‘how do we make it so we’re not letting off emissions? How do we make it so it doesn’t flood the city?’ So we took the bus and kept tradition over technology.” The production design for Black Panther remains grounded in the past while looking optimistically towards the future—it does not replace the old with the new but finds alternative ways of reconciling both in order to create a new utopia. Though seemingly straightforward in applying technology to problem-solving, designers of Wakanda are cognizant of the repercussions of abruptly disposing objects and practices which have been an integral part of people’s lives. An attitude such as this can be extrapolated to better understand broader questions concerning public memory and nostalgia—always centered around the people. Human-centered Approach to Reprogramming of Buildings A human-centric approach is evident in Beachler’s (2018) design process. She confirms, “When I designed Wakanda, the first thing I researched were (the) people. Not the technology, the people.” Undertaking a rigorous ethnographic exercise, Beachler created a five hundred-page document called the ‘Wakanda Bible’. The Bible became a

Image 1: Streets of the Golden City bustling with new-age trotros as shops display traditional African baskets.

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cardinal charter for everything Wakanda; it described the people, their ancestry, language, clothing, traditions, and rituals as well as the city, its buildings and their functions. It served as a dictionary for all agencies involved in creating Wakanda—from the director and cinematographer to the costume designer and actors. Beachler’s anthropological approach peaks when human-centered programs turn into buildings that are well ingrained within the city fabric. The epitome of this design process is the creation of Records Hall in the Golden City. Located just outside the palace, the Records Hall is a repository that maintains records of an individual’s personal history and ancestry. It houses a function which ensures that a person is always able to trace back to her / his origins: where they came from, who their forefathers were. More than anything, the Records Hall safeguards the person’s identity so that the individual is always aware of their roots. On being probed about the necessity of such a building in the city, Beachler (2018) explains, “Being a Black American, you’re not African. Sometimes you’re not even American. You’re that hyphen. You’re in between and you don’t really have a place often [sic] … There’s an erasure… (Wakandans needed a Records Hall) because

Image 2: Zaha Hadid’s Wangjing SOHO in Beijing.

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they know everything about their past. It will never go away in this city and that was truly the most important thing to me because I don’t have that, but I could give it here in this fantastical world.” According to Toldson (2018), many conclude that Black progress is reserved for fiction; even then, the process of creating utopia gives agency to its designer to invent new, unprecedented building programs which make it possible to include groups and people who are otherwise excluded or oppressed by city planning and architecture in real life. Architecturally, Wakanda’s building program is not separate from its building form; it is equally important to examine the spatial (and visual) representation of Wakanda’s social project. Reappropriation of Contemporary Architecture In the pursuit of creating an Afro-futurist utopia, one that infuses African culture with technological advancements, Beachler draws inspiration from the real-world architecture of Zaha Hadid. The late British-Iraqi architect is known for rejecting orthogonal geometry in her work and using parametric design to create fluid spaces through curvilinear forms. “That’s what I wanted people to feel for the modern architecture in

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Image 3: Wakanda’s Golden City.

Black Panther—very voluptuous, very curvy, no hard edges and the spaces feel both very large and intimate at the same time,” Beachler (2018) says. Buildings in the Golden City have circular forms such that spaces within are devoid of any sharp edges; “every single space is a circle that helps calm and relax. It also represents this continual journey that we’re on—this life cycle of birth and death that has many representations on this continent.” Two of Hadid’s projects: the DDP Building in Seoul and the Wangjing SOHO in Beijing (Image 2), became the primary references for Beachler. Their influence is visible in the movie (Image 3). However, the choice of Zaha Hadid’s architecture as a primary influence for building-design in the Golden City is not only a matter of futuristic, utopian representation but also of cultural reappropriation towards building an Afro-futurist aesthetic. Beachler adopts Hadid’s forms but infuses them with traditional African elements: earthy tones on building exteriors, thatched roofs in houses made of mud and bamboo, and earthen streets lined with shops selling woven African straw baskets. Such design decisions ensure that architecture is not limited to form-making; that there is an emphasis on the importance of architectural gestures—regardless of how insignificant they may seem on the surface—which situate the project within a broader historical and socio-cultural context.

Conclusion When striving for progress—be it social, creative, or technological—speculative design provides the opportunity to enact and consider utopianism through its processes. Integrating a uto-

pian dimension into architectural ideation might be its most useful application. Having seen how unrealized, utopian grand plans such as the Ville Radieuse have had an impact on the discipline, it is now time to involve new genres of creatives and thinkers in the process of architecture if we are to effectively confront today’s pressing issues. The Afro-futurist movement, revived through Black Panther and derived from a combination of historical and contemporary references, is beginning to influence a new discourse on city planning and architecture—one where planners and architects are learning from those outside of their professions. Whether it is aspiring for transitfriendly, walkable cities without cars (Kuntzman 2018), or natural resource management (Sow and Sy 2018) and community organizing (Lessons from Wakanda: What Black Panther Raises for Black Organizing n.d.), there are plenty of lessons to be learned from Wakanda. Beachler was inspired by Zaha Hadid’s architecture; Zaha Hadid, in turn, was influenced by Constructivist architects, artists, and graphic designers. She drew references from the works of pioneers such as Kazimir Malevich, Vladimir Tatlin, Aleksander Rodchenko, and, particularly, Yakov Chernikhov, whose depiction of utopias through drawings is greatly recognized. With every iteration of ‘influenced’ utopia creation, there is a change: either in its architecture, city planning, governance, or social enterprise. The learning from and creation of fictional worlds is, therefore, cyclical: designers are influenced by the utopias they themselves once influenced. Production designers, screenwriters, and authors

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of fiction speculate based on what they have experienced. They reappropriate this experience to imagine new possibilities and solve what they perceive to be problems. Fictions, necessarily spatial, are thus inspired by architects. Fiction writers conceive built environments which, in return, influence the boundaries of architecture. The cyclical process of utopian ideation is dependent on each actor improvising while designing; while the nature of change driven by architects is more form-based, designers trained outside the conventional fields of architecture and urban planning are often able to instill a strong social program in their fictional worlds. The success of Wakanda relies on the intertwining of its social project with its architectural project; any attempt to divorce one from another would have lessened its impact. We argue that we, as architects, often find ourselves restricted by the large-scale spatial and urban challenges that the discipline necessarily presents; thus, we often turn to pragmatic solutions. Architecture has historically had to assert its independence from adjacent fields such as science, fine art, and engineering. However, the key to radical design innovation and societal problem solving may now lie at the collaborative intersections made real by works of fiction. “Wakanda Forever.”

References 1. Abdullah, Amatalraof, Ismail Ben Said, and Dilshan Remaz Ossen. 2016. “Zaha Hadid Strategy of Design.” Sains Humanika. 10.13140/RG.2.1.3940.0083. 2. AtlanticLIVE. 2018. Black Panther Production Designer Hannah Beachler at CityLab Detroit [Video file]. Retrieved from https://www.youtube.com/ watch?v=ABg5ogMey7I. 3. Black Panther. 2018. Retrieved (September 4) from https://www.netflix.com/watch/80201906?trackI d=13752289&tctx=0,0,898b24da-264f-45c1-9a6cdb9268f69514-50524262. 4. Coleman, Nathaniel. 2014. “The Problematic of Architecture and Utopia.” Utopian Studies, 25(1), 1-22. 5. Desowitz, Bill. 2018. “'Black Panther': Building Wakanda on Ryan Coogler's Vision of Identity and Unity.” Retrieved from https://www.indiewire. com/2018/12/black-panther-production-design-

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wakanda-ryan-coogler-oscars-1202026404/. 6. Dunne, Anthony. and Fiona Raby. 2013. Speculative Everything: Design, Fiction, and Social Dreaming. Cambridge, MA: The MIT Press. 7. Flatow, Nicole. 2018. “Why We Loved Wakanda's Golden City So Much.” Retrieved from https://www. citylab.com/life/2018/11/black-panther-wakandagolden-city-hannah-beachler-interview/574420/. 8. Hadid, Zaha. 2017. Reflections on Zaha Hadid (1950-2016). London: Serpentine Gallery. 9. Harvard GSD. 2018. Rouse Visiting Artist Lecture: Hannah Beachler with Jacqueline Stewart [Video file]. Retrieved from https://www.youtube.com/ watch?v=xAYzDzeZuG8. 10. IMDB. n.d. “Lebbeus Woods (1940-2012).” Retrieved from https://www.imdb.com/name/ nm0940680/?ref_=fn_al_nm_1. 11. Kuntzman, Gersh. 2018. “Another reason to love "Black Panther"? There are no cars in Wakanda.” Retrieved from https://www.newsweek.com/ black-panther-succeeds-urban-utopia-no-carswakanda-816212. 12. “Lessons from Wakanda: What Black Panther Raises for Black Organizing.” n.d. Higher Ground Change Strategies. Retrieved from https://highergroundstrategies.net/lessons-from-wakandawhat-black-panther-raises-for-black-organizing/. 13. Montavon, Marylène, Koen Steemers, Vicky Cheng, and Raphaël Compagnon. 2006. “‘La Ville Radieuse’ by Le Corbusier once again a case study.” Proceedings from PLEA ‘06: The 23rd Conference on Passive and Low Energy Architecture. Geneva, Switzerland. 14. Sow, Mariama, and Amadou Sy. 2018. “Lessons from Marvel's Black Panther: Natural resource management and increased openness in Africa.” Retrieved from https://www.brookings.edu/blog/ africa-in-focus/2018/02/23/lessons-from-marvelsblack-panther-natural-resource-managementand-regional-collaboration-in-africa/. 15. Tafuri, Manfredo. 1976. Architecture and Utopia: Design and Capitalist Development. Cambridge, MA: The MIT Press. 16. Toldson, Ivory A. 2018. “In Search of Wakanda: Lifting the Cloak of White Objectivity to Reveal a Powerful Black Nation Hidden in Plain Sight (Editor’s Commentary).” The Journal of Negro Education, 87(1), 1-3.

Wikipedia. 2019. Hannah Beachler. Retrieved from https://en.wikipedia.org/wiki/Hannah_Beachler.

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17. Yalcinkaya, Gunseli. 2019. “Black Panther film sets are influenced by Zaha Hadid, says designer.” Retrieved from https://www.dezeen.com/2018/03/01/ black-panther-film-designer-zaha-hadid/. 18. Zaha Hadid Architects. n.d. “Wangjing SOHO - Architecture - Zaha Hadid Architects.” Retrieved from https://www.zaha-hadid.com/architecture/ wangjing-soho/.

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BioForm – learning at the intersection of science and design BioForm – aprendiendo en la intersección entre ciencia y diseño Recieved: July 31, 2019. Accepted: September 24, 2019 DOI: https://doi.org/10.18389//dearq26.2020.06 Reflection paper

Abstract Our future designers have much to learn from the complex and highly functional systems found in nature. Creating design products that are not only human-centred but also in tune with the natural world requires our designers to be exposed to natural phenomena and scientific principles. To provide design students with a starting point, we have created BioForm: a bio-inspired design module run as part of the Product Design curricula at the National College of Art and Design (NCAD), Dublin, Ireland. The module is delivered by an interdisciplinary team of designers and scientists who expose students to biologically inspired theory and practice through a series of lectures, workshops and site visits, aimed at encouraging bio-inspiration in their design practice. The students, with their growing understanding of bio-inspiration, are then challenged to design a chair, which allows them to playfully explore form and function, and to consider its impact on their design. We hope that by encouraging bio-inspiration in students’ practice they produce designs that are innovative and more environmentally sustainable. This paper reflects on the BioForm project’s pedagogical approach, its impact on the student’s design practice and proposes further developments for the module. Keywords: bio-inspired design, biomimicry, product design, learning beyond the studio, design and science, cross-disciplinary team

Resumen Nuestros futuros diseñadores tienen mucho que aprender de los sistemas complejos y altamente funcionales que se encuentran en la naturaleza. Crear productos de diseño que no son solo antropocéntricos, sino también sintonizados con el mundo natural, requiere que nuestros diseñadores estén expuestos a los fenómenos naturales y a los principios científicos. Para proporcionar a los estudiantes de diseño un punto de partida, hemos creado BioForm: un módulo en diseño con una bio-inspiración, el cual forma parte del programa de Diseño de Producto del National College of Art and Design (NCAD), en Dublín, Irlanda. El módulo es dictado por un equipo interdisciplinario de diseñadores y científicos que exponen a los estudiantes a una teoría y práctica basada en la biología, a través de una serie de conferencias, talleres y visitas a sitios, con el objetivo de fomentar la inspiración biológica en su práctica de diseño. Los estudiantes, con su creciente comprensión sobre la bio-inspiración, son entonces desafiados a diseñar una silla, lo que les permite explorar la forma y la función lúdicamente, y considerar el impacto en su diseño. Esperamos que al fomentar la bio-inspiración en la práctica de los estudiantes, produzcan diseños innovadores y sostenibles desde el punto de vista medioambiental. Este trabajo analiza el enfoque pedagógico del proyecto BioForm, su impacto en la práctica de diseño del estudiante y la propuesta de futuros desarrollos para el módulo.. Palabras clave: diseño con bio-inspiración, biomímesis, diseño de producto, aprendizaje más allá del estudio, diseño y ciencia, equipo multidisciplinario.

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Damian Palin Cornell University, Estados Unidos Delft University of Technology, Paises Bajos  dp449@cornell.edu  d.palin@tudelft.nl

Sam Russell National College of Art and Design, Dublín, Irlanda  russells@staff.ncad.ie

Ferdinand F. E. Kohle Cornell University, Estados Unidos  ffk6@cornell.edu

Enda O’Dowd National College of Art and Design, Dublín, Irlanda  odowde@staff.ncad.ie

S. Yeşim Tunali Flynn 

Introduction Nature, through billions of years of trial and error, has created organisms that are highly fit for their place in the world. Outstanding examples of such organisms include, Darwin’s bark spider, which spins silk tougher than steel, the Golden-fronted woodpecker with its shock absorbing tongue that wraps around its skull, and octopuses, which are capable of changing their skin colour to create perfect camouflage and communicate with potential mates. Organisms such as these have long inspired scientific and technological discovery (Bar-Cohen 2005). More recently, there has been growing recognition among the design community that nature can inspire innovative and more sustainable product design (Myers 2012). Perhaps the most famous example of biologically inspired (bio-inspired) design is the hook-andloop fastener Velcro, invented by Swiss engineer George de Mestral in the 1940s. The story goes that de Maestral discovered the mechanism behind Velcro after noticing some burdock plant seeds attached to the hair of his dog. Close inspection of the seeds revealed that they were comprised of small hooks, which had latched to the loops formed by the dog’s hair. Since Velcro, a growing number of bio-inspired designs have been commercialized such as ultra-quiet and efficient wind turbine blades inspired by the bumpy protrusions on humpback whale fins (Howle 2009), shape-optimized automobile components

yesimtunali@gmail.com

inspired by the growth and structure of trees and bone (Mattheck 1990) and extreme winged suits inspired by flying squirrels (Higgins 2015). Despite growing interest in bio-inspired design, design departments still focus by on Human Centred Design (HCD) to uncover unmet opportunities. By working with scientists to develop and deliver engaging bio-inspired course content, design educators can empower students to integrate bio-inspiration in their practice to support the design of innovative and more sustainable products and systems. In this paper, we present BioForm, a bio-inspired design module run as part of the Product Design curricula at the National College of Art and Design (NCAD), Dublin, Ireland. Herein, we present an overview of the module’s pedagogical approach and consider its impact on the student’s design practice.

Module overview BioForm is a two-week bio-inspired design module that exposes second-year students to biological principles and recent advances in bio-inspired design practice. The modules’ content is delivered through a series of lectures, workshops and site visits aimed at igniting the student’s recognition, wonderment and respect of biology; and ultimately encourages bio-inspiration to be included in their design practice.

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The modules main theoretical content is delivered through a series of lectures. In ‘What is bioinspired Design?’ and ‘Learning from Nature: How biology can inspire innovative design and engineering solutions’, Damian Palin, a bio-inspired material scientist, introduces bio-inspired design theory, and presents examples of inspiring organisms and cutting-edge design practice. This includes his own work on the development of casting (Myers 2012), bacteria-based self-healing concrete (Palin et al. 2016; Palin et al. 2017) and bio-inspired material synthesis (Figure 1a). In ‘Bio-ideation’ and ‘bio-inspired materials and processes’, Enda O’Dowd, a material scientist and lecturer at the NCAD, presents strategies for how nature can be used as a creative tool for idea generation. Students are introduced to AskNa-

ture: an online database of biological design and system strategies created by the Biomimicry Institute (2019). They are then asked to explore the database to find examples of how nature solves particular design challenges. Students are also introduced to biological materials, including chitin, cellulose and calcite and are shown how to compare their properties with more conventional materials using the CES Edupack (Figure 1b; Granta Design 2019). In the lecture From Architectural Design to Molecular Scale: A Collaboration Between the Arts and the Sciences, Ferdinand Kohle, a materials scientist, shared how a team of artists, designers and scientists developed iridescent window panes for the sculptural installation titled A Needle Woman:

Figure 1. Module content. Images of: a. The lecture ‘Learning from Nature: How biology can inspire innovative design and engineering solutions’; b. A screenshot from the CES EduPack presented in the lecture ‘Bio-inspired materials and processes’ (Granta Design 2019); c. ‘A Needle Woman: Galaxy was a Memory, Earth is a Souvenir’ (Chong 2015) from the lecture ‘From Architectural Design to Molecular Scale: A Collaboration Between the Arts and the Sciences’; and visits to d. The Botanical Garden; e. The Natural History Museum, Dublin, Ireland; and f. The Mindful Nature workshop.

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Figure 2. An example of a student groups design process and output. The group’s chair was inspired by sprouting insect wings, which they abstracted to vacuum forming. Images of the groups: a. Research; b. Ideation; c. Prototyping, process; and d. Final chair.

Galaxy was a Memory, Earth is a Souvenir (Figure 1c; Chong 2015). The panes were produced by applying a novel iridescent polymer coating — inspired by the structural colour found in bird feathers and butterfly scales — to clear a plastic film via a simple screen printing-like process. The project highlighted how conversations between the arts and the sciences can vastly extend the creative space of artists and designers, while, at the same time, provide scientists with new perspectives for their own research. The module also seeks to encourage the student’s wonderment and appreciation of nature beyond the studio. This is achieved by taking the students on curated visits of the National Botanic Gardens (Figures 1d) and the Natural History Museum (Figure 1e), Dublin, Ireland, which allow the students to experience nature first hand. To connect this experience to bio-inspiration, while on the visits, plants, animals and insects that have encouraged bio-inspired products and technologies are pointed out. As part of the visit to the National Botanic Gardens, the students took part in the workshop Mindful Nature given by Yeşim Tunali: an ecologist and outdoor learning facilitator. Yeşim invited the students to do a series of mindfulness exercises

including breath awareness, a short body scan, and five senses meditation, during which, they were asked to focus on different sensory inputs from their surroundings, such as hearing different bird songs and using touch to explore different textures on the ground (Figure 1f). Students were then asked to find an interesting natural artefact in the gardens and then to make a list of open questions about their artefact, without any expectation of providing answers. Afterwards, the students were invited to use senses other than vision, such as touch and smell, to explore the same artefact. Again, they were asked to generate a set of questions, to expand their sensory perception and “naturalist intelligence” (Gardner 1999). This exercise, inspired by the inquiry-based learning approach, aims to encourage child-like curiosity, creativity and big-picture thinking. Students are then tasked to design, develop and test a chair influenced by their growing understanding of bio-inspired design (Figure 2a-d). During this process they are challenged to consider the influence that their bio-inspired approach has on the form, function, performance, production process and environmental impact of their designs. The final chairs were exhibited in the NCAD to be able to engage with colleges in the broader design community.

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Pedagogical approach This section provides an overview of common teaching and learning models associated with Product Design education and reflects on the novel aspects of BioFormâ&#x20AC;&#x2122;s pedagogical approach. Product Design education generally takes a practice-based teaching approach. It emphasises the hands-on application of knowledge in the context of authentic tasks: a pedagogy that is rooted in a long tradition of project-based, experiential learning (Dewey 1938; Papert 1993). Learning is often focused on problem-solving and an exploration of a particular line of inquiry (Cross 1990). Design education is centred on learning through doing and usually through the simulation of a professional situation by means of a project brief (Tovey 2015). Project briefs are generally openended and designed to support a wide range of outcomes. The combination of a defined starting point with open outcomes supports a balance of goal-oriented problem-solving and blue-sky thinking. Learning generally takes place in an open studio environment supported by a workshop space. This environment fosters shared and peer-to-peer learning and the development of a common body of knowledge across the student group. There is a continued focus on learning from the teachers and the group. This form of teaching aims to provoke students to generate new and innovative content through practice that values risk-taking, questioning the status-quo, empathy with human experience and environment, and informed intuition (Cross 1990). Education at the intersection of science and design The BioForm project assembled an interdisciplinary teaching team that includes product designers, material and biological scientists to deliver a collaborative learning experience that built on the pedagogical approach outlined above and supported learning both in and beyond the studio. The module combines lectures, workshops, group tutorials, site visits and peer-to-peer learning to provide a scaffolded learning experience for the students. In the early stages of the module, the students are exposed to scientific concepts, tools and terminology that are very different to

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learning generally associated with Product Design education. Embedding science education in a design module requires careful consideration in terms of how students familiar with studio-based design learning can engage with scientific phenomena. In this context, it was very important that our science educators use the right language for their audience. Examples of structured play, prototyping and real-world application of material technologies in a scientific context are introduced and linked to contexts that the students are familiar with. An example could be the similarity between the production of the bio-inspired iridescent panes and the perhaps more familiar screen printing process shown by Ferdinand Kohle (vide supra). By delivering the biological and scientific content in a more accessible and design driven way, we help students link this new knowledge to their existing design knowledge base. Complementing a Human Centred Design process Product Design projects often adopt a HCD approach. HCD prioritises a strong engagement with primary research to identify and understand human needs, followed by a prototyping process that is informed by user testing and feedback to develop design outcomes. Whilst this anthropocentric approach is very effective at solving design challenges associated with a human need, it does not always seek to understand and be informed by the complex and highly functional systems, structures and natural functions that already exist in nature. This approach, if overly focused on human needs, may result in a design process that misses out on innovative opportunities or is less in tune with environmental needs. The BioForm module offers a starting point for student investigation that is informed by the patterns found in nature rather than human behaviour patterns. This is not to say that the students did not consider human factors in their furniture design, instead these factors did not dominate the initial research and concept generation phase of the module. It was hoped that by taking this approach students would create designs that are more in tune with an already optimised natural world, resulting in efficient material use and reduced environmental impact.

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Experiential learning beyond the Studio Learning during the module took place both in and beyond the studio space. Whilst much of the module was delivered in a studio-based learning space, we also wanted to make sure that the project would be grounded in real-world engagement with nature. To support this, we developed a series of site visits and associated taught-content designed to help the student groups engage with different natural phenomena and contexts (vide supra). In each of these visits, students were provided with a series of methods and tools that they were required to use to document and reflect on their experiences. For example, the exercises delivered by Yeşim Tunali sought to support an enhanced sensory engagement with natural surroundings. This form of experiential learning positioned students outside a more familiar HCD process and sought to help them better engage with the natural world as a means of informing their concept generation. Reflecting on Practice The BioForm the project culminated in students designing and developing a series of chair prototypes inspired by some element of biology. The students publicly tested their final designs on campus and discussed the functionality, strength to weight ratio and level of bio-inspiration of their designs. They were asked to reflect on their practice, the context within which they worked and their final design outcomes. This informal public testing (in some cases to destruction) and showcasing of successes and failures, facilitated shared learning and knowledge exchange for both the teaching team and student group.

Project feedback and learning This section reflects on a series of interviews with students who have completed the Bioform module. It considers how the module has affected the student’s design practice and how the teaching and learning environment could be improved in future. Impact on the student’s design practice The primary goal of the BioForm project was to empower students to have the confidence to investigate bio-inspiration to help their design. In

order to reflect on this goal from a student perspective, we conducted interviews with two student groups that had completed the module in the past two years. We asked the students about their understanding of bio-inspired design, their perception of the value a bio-inspired approach might have for design and how they might incorporate this approach into their work. When asked about the students understanding of bio-inspired design, they spoke about how this had developed over the course of the module, “We started to evolve from wanting to mimic natural forms, to more about learning from nature and translating this understanding into physical forms” (A. Hennessy, personal communication, May 13, 2019) and “We thought initially that the design had to look bio, look like nature. Then we realised that it could be inspired by principles in nature rather than just look like nature” (A Kelly, personal communication, May 13, 2019). The students had developed a clear sense of the value that a bio-inspired approach could bring to design. “If you have a certain problem to solve in design then you can look at how nature has solved that problem before” (D Keating, personal communication, May 13, 2019) and “Nature works completely as a system, everything has its place, it all feeds into each other. Humans don’t currently fit into that system. We can look at nature and design to fit back in where we should be” (A Conneely, personal communication, May 13, 2019). However, what was less evident was a sense that they had incorporated bio-inspiration into their subsequent design projects. Students spoke of needing more explicit direction towards a bioinspired approach in subsequent briefs, “It would be good to have a checklist before starting a project ‘Why not look into this area…’” (A Conneely, personal communication, May 13, 2019) and also how they found it difficult to engage with nano/ micro scale structures due to their general lack of visibility, “It’s difficult to see because a lot of it happens on a minor level. Maybe the availability of high definition images of structure might help. You can’t see the micro level” (A Coleman, personal communication, May 13, 2019). These interviews suggest that whilst the students gained an understanding of a bio-inspired design approach, the module may benefit from some changes to support a deeper integration of this approach in their design learning and practice.

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Proposed module developments Based on the student’s feedback and our own experience, we feel that the module would benefit from some changes to the teaching approach and learning environment. The learning environments associated with the two-week BioForm module supported a wide range of teaching methods and modes of engagement for the student group. However, in order to better support learning at the intersection of design and science, we feel that a more collaborative approach might be required that supports the design students to engage with students from other disciplines such as biological sciences. Similarly, the students, for the most part, remained within a familiar design-schoollearning-environment and did not have access to scientific analytical equipment. Future BioForm modules should consider linking students to biological disciplines and environments such as the Nano Research Facility in Dublin City University, Ireland (Nano Research Facility, 2019). Further, the increased democratisation of science labs and equipment, as evidenced by Brooklyn’s citizen lab Genspace (Genspace 2018) and the biohacker movement, suggest scope for integrating some of the scientific tools and techniques, previously limited to established scientific labs, in a design workshop setting. This would provide students with a more accessible platform to explore biological systems and structures, and, in doing so, further integrate bio-inspiration into their ongoing design practice.

Conclusion In this paper, we have presented BioForm: a bioinspired design module run as part of the Product Design curricula at the NCAD. The content is delivered by an interdisciplinary team of designers and scientists through a series of lectures, workshops and site visits aimed at inspiring the student’s recognition, wonderment and respect of biology, and ultimately encouraging bio-inspiration in their design practice. We have found that the students gained a meaningful understanding of bio-inspired design and that they see the value of integrating it into their design practice. As we look to evolve and improve the BioForm module,

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we envisage BioForm 2.0 to be a collaboration with a biological science department, which takes the shape of a shared project between product design and biological science students. This type of shared project would provide design students with a platform to explore biology, and, in doing so, further integrate bio-inspiration into their ongoing design practice. We feel that the integration of bio-inspiration in design curricula can enable future designers to become the agents for a more sustainable future. Furthermore, we hope that by sharing this module we can help other design departments incorporate bio-inspiration into their curriculum.

References 1. Bar-Cohen, Y. 2005. Biomimetics: biologically inspired technologies. Boca Raton, London, New York: CRC Press. 2. Chong, J. 2015. “A Needle Woman: Galaxy was a Memory, Earth is a Souvenir.” Space, 114-118. 3. Cross, N. 1990. “The nature and nurture of design ability.” Design studies, 11(3), 127-140. 4. Granta Design. 2019. CES EduPack. https://grantadesign.com/education/ces-edupack/ 5. Dewey, J. 1986. Experience and education. Paper presented at the The Educational Forum. 50:3, 241252, Spring 1986. BBC Earth. 2017. Spider Shoots 25 Meter Web | The Hunt | BBC Earth. https://www. youtube.com/watch?v=nlRkwuAcUd4 6. Gardner, H. E. 2000. Intelligence reframed: Multiple intelligences for the 21st century. New York: Basic Books.. 7. Genspace. 2018. Genspace. Retrieved from https:// www.genspace.org/ 8. Hanlon, R. 2007. “Cephalopod dynamic camouflage.” Current Biology, 17(11), R400-R404. 9. Higgins, M. 2015. Bird Dream: Adventures at the Extremes of Human Flight. New York: Penguin. 10. Howle, L. E. 2009. “Whalepower Wenvor Blade: A report on the efficiency of a whalepower corp. 5 meter prototype wind turbine blade.” BelleQuant Eng. PLLC. Biomimicry Institute (2019). AskNature. https://biomimicry.org/asknature/ 11. Jung, J.-Y., Naleway, S. E., Yaraghi, N. A., Herrera, S., Sherman, V. R., Bushong, E. A., . . . McKittrick, J. 2016. “Structural analysis of the tongue and hyoid apparatus in a woodpecker.” Acta Biomaterialia, 37, 1-13.

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12. Mattheck, C. 1990. “Design and growth rules for biological structures and their application to engineering.” Fatigue & Fracture of Engineering Materials & Structures, 13(5), 535-550. 13. Myers, W. 2012. Bio design: Nature + Science + Creativity. London: Thames and Hudson Ltd. 14. Nano Research Facility (2019). Nano Research Facility Dublin City University. http://www.nanoresearchfacility.org/ 15. Palin, D., Wiktor, V., & Jonkers, H. 2016. “A bacteria-based bead for possible self-healing marine concrete applications.” Smart Materials and Structures, 25(8), 84008-84013. 16. Palin, D., Wiktor, V., & Jonkers, H. M. 2017. “A Bacteria-Based Self-Healing Cementitious Composite for Application in Low-Temperature Marine Environments.” Biomimetics, 2(3), 13. 17. Papert, S. 1993. The children's machine: Rethinking school in the age of the computer. New York: ERIC. 18. Tovey, M. 2015. Developments in Design Pedagogy. Paper presented at the International Conference on Engineering and Product Design Education. September 2015.

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Bio-currencies: an alternative to Payments for Environmental Services (PES) Bio-monedas: una alternativa a los Pagos por Servicios Ambientales (PSA) Recieved: July 15, 2019. Accepted: October 16, 2019 DOI: https://doi.org/10.18389//dearq26.2020.07 Reflection paper

Abstract In Colombia’s Amazon piedmont, the cattle industry is one of the most important productive activities (IGAC 2016) due to a high demand and to the sturdy infrastructure built upon it that satisfies peasants’ economic stability. However, in piedmont ecosystems, which shelter a great number of species and water springs, this industry has caused massive and irreversible environmental losses for community profit. As a result, how can communities’ productive practices be adapted to reduce the environmental impact within their territories? Payments for Environmental Services (PES), for which landowners receive money (or other spurs) in exchange for conservation efforts, have been a way to redirect communities’ activities. Nevertheless, PES has not proven to be a long-term solution. We studied the cattle industry system in depth (production, distribution, commercialization) in a community located in San Vicente del Caguán, and found that stakeholders have used non-traditional currencies that determine and influence several of their productive behaviors. We focus on identifying the (economic and non-economic) interests that foster certain behaviors as they might allow us to re discover and revalue the existing bio-currencies that trigger specific efforts, not only to stop (or reduce) deforestation rates, but to start (or increase) active recovery actions in highly affected areas. Bio-currencies could then be defined as alternative economic instruments that do not involve monetary transactions and do not try to compete with them. Their purpose is to trigger less harmful productive practices for the environment. Keywords: bio-currencies, conservation strategies, participatory design, rural communities, environmental services.

Resumen En el piedemonte amazónico de Colombia, la industria ganadera es una de las actividades productivas más importantes (IGAC, 2016) debido a la alta demanda y a la robusta infraestructura construida sobre ella que satisface la estabilidad económica de los campesinos. Sin embargo, en los ecosistemas del piedemonte, los cuales albergan un gran número de especies y manantiales de agua, esta industria ha causado pérdidas ambientales monumentales e irreversibles para el beneficio de la comunidad. En consecuencia, ¿cómo pueden adaptarse las prácticas productivas de las comunidades para reducir el impacto ambiental en sus territorios? Los Pagos por Servicios Ambientales (PSA) mediante los cuales los propietarios reciben dinero (u otros incentivos) a cambio de esfuerzos de conservación, han sido una manera de redireccionar las actividades de las comunidades. Sin embargo, no han demostrado ser una solución a largo plazo. Estudiamos a profundidad el sistema de la industria ganadera (producción, distribución, comercialización) en una comunidad ubicada en San Vicente del Caguán, y encontramos que los actores han utilizado monedas no tradicionales que determinan e influyen en varios de sus comportamientos productivos. Nos enfocamos en identificar los intereses (económicos y no económicos) que fomentan ciertos comportamientos, ya que nos permiten re-descubrir y revalorizar las bio-monedas existentes que activan esfuerzos específicos, no sólo para detener o reducir las tasas de deforestación, sino para iniciar o incrementar las acciones de recuperación activa en áreas altamente afectadas. Las bio-monedas podrían definirse como instrumentos económicos alternativos que no implican transacciones monetarias y que no intentan competir con ellas. Su objetivo es desencadenar prácticas productivas menos nocivas para el medio ambiente. Palabras clave: Bio-monedas, estrategias de conservación, diseño participativo, comunidades rurales, servicios ambientales.

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Santiago De Francisco Vela Universidad de los Andes. Design Department, Colombia  s.defrancisco@uniandes.edu.co

Miguel Navarro-Sanint Universidad de los Andes. Design Department, Colombia  mi-navar@uniandes.edu.co

María Belén Castellanos Ramírez Universidad de los Andes. Design Department, Colombia  mb.castellanos10@uniandes.edu.co

Leidy Lorena Rodríguez Pinto Universidad de los Andes. Design Department, Colombia  ll.rodriguezp@uniandes.edu.co

Catalina Ramírez Díaz Fondo Patrimonio Natural. Programa Conservación y Gobernanza, Colombia  cramirez@patrimonionatural.org.co

Introduction The conservation-production model, implemented by the Fondo Patrimonio Natural (FPN), a Colombian environmental conservation fund, aims to protect endangered rural areas through responsible productive processes. This approach sustains that productivity can foster environmental awareness by understanding the relationship between natural resources, productivity, and social capital. We understand the latter as the capacity a community has to make beneficial decisions in order to manage their resources, fostering reciprocal and collaborative practices that place them in an advantageous position with regard to the individual approach (Durston 2001; 2002; Flores and Rello 2002). In 2013, the Conservation and Governance (C&G) program in the Amazonian piedmont was launched by the FPN, which aimed to reduce deforestation rates through a scheme of spurs in which the protection of the ecosystem’s biodiversity (e.g. forests, natural resources) and its appropriate management (e.g. use of soil, productive practices) act as conservation incentives. Payments for Ecosystem Services (PES) are voluntary transactions in which a well-defined environmental service (or a land use likely to secure that service) is “bought” from a provider if and only if this provider continuously secures the provision of the service (Wunder 2005). The aim is to persuade farmers and landowners to improve their productive practices to make them more sustainable. Nevertheless, in the long-term, PES have proven

to be economically unstable due to the instability of the resources that support payments (Gobbi, Alpízar, Madrigal, and Otárola 2006). Requiring alternatives to PES, FNP partnered with the Design School of Universidad de los Andes and conceived Proyecto Rocío, a project that attempts to strengthen knowledge in agricultural practices for environmental conservation through the implementation of information and communication technologies applied to rural financial projects. Proyecto Rocío uses a research by design approach that explores the use of design tools to generate communities´ active participation (Buur and Matheus 2008) in which the ecosystem also becomes a player (Bosco 2006; Callon 1986). These tools purport to facilitate conversations with farmers that aim to understand territories, social capital, and relations with natural resources and also to learn from their practices and knowledge. The purpose of these tools is, therefore, to support the research process by creating tangible evidence of the conversations (Mitchell, and Buur 2010). This evidence, understood as information collected, also serves to be able to reflect upon the topics addressed. The success of the process depends on the community´s level of participation, which is, precisely, the core of our approach to social innovation. Our discussion is based on ongoing research on a socio-ecological reciprocity system which contemplates different dimensions of value (Robbins and Sommerschuh 2016) that PES does not. It is inspired by farmers´ local practices, explained by

Bio-currencies: an alternative to Payments for Environmental Services (PES). Santiago De Francisco Vela, Miguel Navarro-Sanint, María Belén Castellanos Ramírez, Leidy Lorena Rodríguez Pinto, Catalina Ramírez Díaz [ 61 ]

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Nardi and O’Day (1999) as information ecologies and perceptions of value besides the exchange of economic resources. We discovered other elements and interactions that are valuable for the community; we specifically focus on those that have a link with the ecosystem by introducing the concept of bio-currencies as an alternative interpretation of money-centered trades. In this way, natural resources are given a “live currency”, and farmers begin to have greater agency and participation according to their existing local resources and practices. With this in mind, this ongoing project believes that “currencies and exchange systems can be designed to connect communities to their own abundance” (Bendell and Greco 2013). This article, hence, explores the use of participatory design tools to set the parameters to develop incentive models for environmental conservation initiatives in Colombia. It understands the role that both information technologies and rural financial strategies have in the creation of a socio-ecological reciprocity system.

Development The key to innovation is to have a thorough understanding of the context (Visser, Stappers, Van der Lugt, and Sanders 2005) by identifying relationships and interactions between human and non-human actors (Bosco 2006; Callon

1986) and manifesting a disposition for learning through their practices (Gunn and Donovan 2012). Following Beckman and Barry´s (2007) innovation model, we went from concrete experiences and abstract conceptualizations of the context to reflective observation and active experimentation related to participants' activities. In this way, we took community needs into consideration to contrast them with individual needs and build scenarios from actual practices to be able to engage in fruitful discussions rather than imposing ideas used to promote solutions (Mulgan, G., Tucker, S., Ali, R., and Sanders 2007). We integrated farmers and landowners from the communities into our processes as well as people from FPN and various other organizations to gather their expertise and to articulate opportunities that create value (Buur and Matheus 2008; Sander 2002; Sanders and Stappers 2008). In order to fulfill FPN’s main interest, we outlined an alternative incentive model that promotes environmental conservation. The research process takes into account communities’ social, cultural, and technological norms (Easterly 2008; Nardi and O’Day 1999) together with stakeholders’ visions and experiences. We used four design tools to connect with the community (Figure 1). First, the use of maps and charts allowed us to put together collective experiences (Moore and Garzón 2010) to understand the flows that shape the community. When this

Figure 1: Approach scheme with the design tools. Source: Adaptation from Beckman and Barry (2007).

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was done, we focused on specific activities and interactions that we found to be more relevant to their practices (McDonald 2005). The use of ludic tangible tools allowed us to trigger interaction and to foster reflections (Mitchell, Caglio, and Buur 2013) around needs and interests related to well-being. Finally, the use of scenarios allowed us to envision alternative realities (Carrol 1999) regarding the role of monetary incentives in the proposed projects. Understanding trade-offs Throughout the first visits, we focused on understanding the territory and the flow of goods and resources that represent the region´s activities and capital. We used Inputs and outputs maps to identify harvests, sales, and self-consumption products. We asked 21 families from seven villages (La Granada, La Argentina, El Caimán, La Música, Filo Largo, El Porvenir, and Guacamayas) to draw a layout of their farms in a modified version of the Inputs and Outputs template (Figure 2) proposed by Van der Hammen, Frieri, Zamora, and Navarrete (2012). Once the farm was drawn, it was suggested that they mention the products it contained in order to schematize which supplies were needed and what processes were used to harvest, transform, or consume these products as well as the resultant products that were taken out of the farm. This not only allowed

us to determine the kind of products that they have, but also the supplies they use, where they buy them from, and how often they buy them. When discussing the inputs, we could also learn about the kind of primary products they acquire from supermarkets, including house and personal cleaning products or nonperishable food and their exchangeable work wages. This kind of bartering, commonly known as ‘minga’, is evidence of non-monetary exchanges among different actors in the community; it allows us to enquire about the level of dependency and autonomy that each family has to obtain and manage their resources. Going with the flow Having a broad understanding of the flows of the products, we then followed a milk truck. This means of transport was analyzed to build a deeper understanding of the system relating to product pickups, payments, deliveries, and how people commuted. The objective of this tool was to identify the different roles that the milk trucks fulfills for the community. Depending on the season, there are between three and four milk trucks that cover the area of Guacamayas. We rode one of the trucks and documented (McDonald 2005; Ylirisku and Buur 2007) the milk collection process from the farms to the dairy factory. When the milkman collects the milk, he leaves a receipt listing the amount collected (Figure 3). These receipts

Figure 2: The inputs and outputs map filled by a participant from Las Guacamayas. Source: De Francisco (2017).

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Figure 3: Recipe system used by the milkman. Source: Castellanos (2018).

represent different forms of credit for farmers that can be traded for other goods (brought back by the same truck from the local markets) or cashed in. The milkman sometimes gives certain farmers whey for free. We identify this as a way of generating value according to certain needs or interests.

Discovering needs and interests To expand understanding of the value identified by the trust networks that have been built by the community (represented by the milk truck),

we developed an activity focused on well-being. Based on the compendium of OECD well-being indicators (2011), we defined eight well-being categories regarding actions that participants could reflect upon (Table 1). In total, there were 42 different situation cards that were distributed according to the number of participants. In small groups (6-8 people), we handed over five cards per person; in mediumsized groups (9-15 people) we handed over four cards; and, for bigger groups, (more than 15 people) only three cards were given. When their turn came, participants could: 1) pick a new card

WELL-BEING CATEGORIES Category

Benefit

Examples (situation cards)

I have

Tangibles

I acquire

Assets

I use

Connectivity

I use roads, I use the internet.

I own

Independency

I own a property, I own savings

I get

Integration

I get primary education, I get market abilities

I receive

Protection

I receive health services

There is

Power of decision

I have a home, I have food supplies. I acquire land, I acquire technical knowledge

There is freedom of choice, there is citizen participation

Table 1. Categories, benefits, and examples of the interpretation of the well-being indicators. Source: Adaptation from Bcompendium of OECD well-being indicators (2011).

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from the remaining pile and discard an old one, 2) lock one of the cards with a wooden block, or 3) do nothing. Once satisfied with their cards and having locked them, they had to use the chosen ones to build a project that targeted a situation they were interested in (Figure 4). The objective was to start a discussion about well-being (beyond monetary resources) and see what they perceived as being beneficial. We tested various iterations while doing the activity and, although we think the tool still needs adjustments, the following discussions gave us a new perspective on the qualities and capacities of the community. Projecting alternative realities Continuing with the exploration of the community’s motivations and interests, we carried out two activities that allowed us to propose future scenarios (“possible futures”). These were used as tools to better understand the present and to discuss the kind of future people want and do not want (Dunne and Raby 2013). The first activity was developed in pairs. Using didactic materials, they had to describe collective project ideas

while making the most important elements and the essential actors they needed to make it work evident (Figure 5). This tool seeks to identify the roles and positions that participants take when facing specific situations in simulated contexts. The second activity consisted in recreating alternative realities that speculate (Dunne and Raby 2013) about the transactional use of the forest. In this case, 15 participants watched five videos that presented different types of conservation incentives: (a) better internet access (speed and data) for each hectare of conserved forest, (b) “unlimited” access to virtual technical assistance in exchange for implementation of a silvopastoral or agroforestry system, (c) discounts on agricultural supplies in exchange for reforestation or land that is looked after, (d) lower interest rates in exchange for conserved forest, and, (e) machinery to transform products in exchange for bringing the community together to reforest. The purpose of this activity was to generate a discussion around each incentive, to validate whether the exchange (incentive-condition) was clear, and to see whether they thought the cost-benefit ratio was reasonable.

Figure 4: The idea of using tangible models aimed to understand the importance of the resources they perceived as beneficial. Source: Ramírez (2017).

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Figure 5: During the construction of projects workshop. Source: RodrĂguez (2018).

Results The tools discussed above had two main purposes: understanding and envisioning. Maps and shadowings (Ylirisku and Buur 2007) served to help understand contexts, practices, and technologies used by the community to learn about the different interactions they have with their environment. We also identified ways in which they spend their economic resources to obtain other goods. Part of this is spent on external products (outside the territory) such as cleaning products, non-perishable products, and products that are not for growing. The remaining resources tend to be cashed in. These villages have Community Action Boards that allow individual producers and rural families to carry out activities and achieve objectives that would otherwise be unattainable. Collective action is a social force that requires organizational and institutional methods to achieve results for the community and acts as an organism in those areas where external cooperation offers advantages (Flores and Rello 2002). For example, collective product commercialization or purchase of supplies reduces transaction costs of small [ 66 ]â&#x20AC;&#x192; Enero de 2020. ISSN 2011-3188. E-ISSN 2215-969X. BogotĂĄ, pp. 60-69. https://revistas.uniandes.edu.co/journal/dearq

producers, making them more competitive and efficient. Collective actions aim to stimulate individual efforts, in terms of community efforts, by generating mutual benefit scenarios: when the community excels, individuals also excel. An example of one of these collective actions is the product-money exchange system that they built with transporters. We detected the use of whey as a social currency that created loyalty among the cattlemen as well as among other people who do the driver favors (e.g. the lady that gives him breakfast receives whey, even though she is not a milk producer). We consider, therefore, methods of transportation as central elements in the community network: not only because of its transportation role but also because of the social aspect relating to exchange mediators. Farmers hand over their products to the transporter, they take them to the local market where they are received and a price is calculated that becomes credit, which can be used, as requested by the producers, to buy other goods. If there is a surplus, the farmer can keep it for a future delivery or withdraw it once s/he arrives back in town. As previously explained, trust chains are the foundations of these systems.

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We also found other, less-sophisticated ways of collaboration including: 1) lending or sharing seeds (i.e. family members keep extra seedlings in case of future need—just like saving deposits), 2) exchanges for work (e.g. most farmers, instead of receiving a payment, exchange the time they spend in someone else's land for time spent on their own land. As Hector Muñoz from El Caimán explains: “We work for each other, one day here and other day there; it depends on who needs help.”), 3) leasing infrastructure (e.g. one person has a "trapiche," which is a sugar cane mill used to produce panela. Those in charge of it do not own it or the crop. Every week, two people mill the cane, extract its juice and cook it until it becomes panela. The production is divided into halves, and each party is free to commercialize it as long as they maintain an established price. This seems to be an excellent way of taking advantage of their resources, but most members prefer to have their own trapiche and production). We, hence, conclude that in these contexts, trust becomes the main currency and money, whey, shipments, and errands become transactional tools. Exploring well-being opened a wider range of value dimensions beyond just poverty indicators or productive capacities. We unveiled parallel concepts of well-being connected to leisure, health, social relations, and relations with the environment: although our objective was to delve more deeply into their perceptions on well-being, we were only able to grasp the importance of social relationships that guarantee support from the community. Nevertheless, this gave us an input that helped explore alternative scenarios to promote reciprocal benefits involving different actors in the territory (i.e. forest, soil, and water). The appreciation they have for their land represents one of these benefits since they feel it is ‘blessed and are grateful’ if any seed flourishes. This leads us to understand that there are different factors from traditional currencies that activate community agency. As Marta Orozco from la Granada expresses: “participation is important and it is what we are doing here, sharing knowledge, it is important because we live more united.” The construction of projects and the use of future scenarios helped to address topics related to alternative systems to promote reciprocal conservation behaviors. When asked about the

practices they use for working the land, most argue that almost nothing is needed: the land is fertile, there is unlimited forest. When it came to proposing ideas for productive projects, it was expected that the community had shared interests, dreams, and goals. However, these initiatives were not always aligned with the interests or needs of everyone in the community. By cocreating projects, participants were able to discuss their expectations and balance them by including everyone’s vision. The difference in interests also happens when more stakeholders are included. We learnt from some of the participants that previous productive programs failed because expectations were not aligned. However, and without including more stakeholders, we experienced the difference when dealing with all participants. Reifying their needs and interests meant a resignification of resources (e.g. water, seeds, soil) by giving back a transactional value. Orlando Gutierrez from la Granada reflects upon the insurance that the forest represents: “We have to take care of the forest if we want to have a backup.” Even though participants were free to propose any project, most involved a natural resources mentioned above as an element that could generate value. While the community was thinking about productive projects, we began to recognize aspects that could generate a relationship involving socio-environmental reciprocity that were alternatives to PES.

Discussion The success of implementing a financial model for rural areas does not depend on the technology available but instead on the social network practices within that territory. We used participatory design to approach this project, not because we wanted to use it to co-design an alternative currency, but because we wanted financial factors to arise by emphasizing the participation of the community to co-create individual or collective projects while taking into account natural resources. More than just co-creating new bio-currencies, our processes were focused on rediscovering local bio-currencies, and reflection was a useful tool to understand the importance of those currencies. We understood that bio-currencies belong to an earlier stage of time. We could say that they are more primitive and that primitiveness can be found in isolated

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rural communities were bio-currencies are still commonly used. The whey that emerged as a social currency is an evidence of this phenomenon in our research. We believe that there must be more elements like this that are used as alternative currencies. Our task was to understand their underlying meaning and perceived value of local practices, especially the ones related to production and conservation. We conclude that local currencies are means of empowering communities, as long as they respond to their practices and not to the political or economic interests of external stakeholders (Bendell and Greco 2013). The process was far from being perfect. During the project, we encountered difficulties that were overcome through the use of design tools. Making the community part of the abstract phases of the design process makes the detailing process more complicated but strengthens the relations between the community and the research team. The variety of contexts and territories in Colombia may also complicate the process. If future research desires scalability and replicability, a similar sensitized approach will be needed to rediscover what we called bio-currencies. At this point, what we have discovered does not yet match an alternative for PES. This is because the model needs to be defined and connected with existing systems. If productive practices cannot be ensured, any incentive to promote PES will fail. The point is not to make farmers richer but to enable activities that can improve their well-being.

Acknowledgement This academic paper was made possible thanks to the support of the United States Agency for International Development (USAID): part of the Conservation and Governance in the Amazon Piedmont Program, which is operated by the Fondo Patrimonio Natural in alliance with the Design School of Universidad de los Andes. The content is the responsibility of the Design School of Universidad de los Andes and does not necessarily reflect the opinion of USAID, the government of the United States of America, or the Fondo Patrimonio Natural.

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References Beckman, Sara, and Michael Barry. 2007. “Innovation as a learning process: Embedding design thinking.” California management review, 50(1), 25-56. Bendell, Jem, and Thomas H. Greco. 2013. “Currencies of transition: transforming money to unleash sustainability.” In The Necessary Transition (pp. 224245). Routledge. Bosco, Fernando J. 2006. “Actor-network theory, networks, and relational approaches in human geography.” Approaches to human geography, vol/ issue no. 136-146. Buur, Jacob, and Ben Matthews. 2008. “Participatory innovation.” International Journal of Innovation Management, 12(03), 255-273. C&G program. 2013. “Programa de Conservación y

Gobernanza para el piedemonte amazónico.” Retrieved from https://www.patrimonionatural.org. co/proyectos/conservacion-y-gobernanza/ Callon, Michel. 1986. “The sociology of an actor-network: The case of the electric vehicle.” In Mapping the dynamics of science and technology, edited by Callon M., Law J., and Rip A., 19-34. London: Palgrave Macmillan. Carrol, John M. 1999. “Five reasons for scenario-based design.” In Proceedings of the 32nd Annual Hawaii International Conference on Systems Sciences. 1999. HICSS-32. Abstracts and CD-ROM of Full Papers 1-11. Place: IEEE. Dunne, Anthony, and Fiona Raby. 2013. “Speculative everything: design, fiction, and social dreaming.” Place: MIT press. Durston, John. 2001. “Evaluando capital social en comunidades campesinas en Chile.” In ponencia presentada en el Vigesimotercer Congreso de LASA (Washington, DC, 6-8 September). Durston, John. 2002. El capital social campesino en la gestión del desarrollo rural: díadas, equipos, puentes y escaleras (Vol. 69). Place: United Nations Publications. Easterly, William. 2008. “Institutions: Top down or bottom up?” American Economic Review, 98(2), 95-99. Flores, Margarita, and Fernando Rello. 2002. Capital social rural. Place: UNAM. Gobbi, Jose, Francisco Alpízar, Róger Madrigal,, and Marco Otárola. 2006. Perfil de sistemas de pagos por servicios ambientales para apoyo de prácticas forestales y agrícolas sostenibles. Place: Inter-American Development Bank.

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Gunn, Wendy, and Jared Donovan. 2012. “Design anthropology: An introduction.” Design and anthropology, vol/ issue no. 1-16. Instituto Geográfico Agustín Codazzi [IGAC]. 2016. “Ganadería y algunos cultivos se abren paso sobre los tesoros ambientales del Caquetá” Noticias IGAC. Retrieved from: https://noticias.igac.gov.co/ es/contenido/ganaderia-y-algunos-cultivos-seabren-paso-sobre-los-tesoros-ambientales-delcaqueta

Visser, Froukje Sleeswijk, Pieter Jan Stappers, Remko Van der Lugt, and Sanders, Elizabeth B-N. 2005. “Contextmapping: experiences from practice.” CoDesign, 1(2), 119-149. Wunder, Sven. 2005. Payments for environmental services: some nuts and bolts. Ylirisku, Salu Pekka, and Jacob Buur. 2007. “Designing with Video: Focusing the user-centred design process.” Springer Science & Business Media.

McDonald, Seonaidh. 2005. “Studying actions in context: a qualitative shadowing method for organizational research.” Qualitative research, 5(4), 455-473. Mitchell, Robb, Agnese Caglio, and Jacob Buur. 2013. “Oops! moments: Kinetic material in participatory workshops.” Nordes, 1(5). Mitchell, Robb, and Jacob Buur. 2010. “Tangible business model sketches to support participatory innovation.” In Proceedings of the 1st DESIRE Network Conference on Creativity and Innovation in Design. 29-33. Place: Desire Network. Moore, Eli, and Catalina Garzón. 2010. “Social cartography: The art of using maps to build community power.” Race, Poverty & the Environment, 17(2), 66-67. Mulgan, Geoff, Simon Tucker, Rushanara Ali, and Ben Sanders. 2007. “Social innovation: what it is, why it matters and how it can be accelerated. Nardi, Bonnie A., and Vicky O'Day. 1999. Information ecologies: Using technology with heart. Place: MIT Press. OECD Better Life Initiative. 2011. Compendium of OECD

well-being indicators. Robbins, Joel. and Julian Sommerschuh. 2016. “Values.” In The Cambridge Encyclopedia of Anthropology, edited by F. Stein, S. Lazar, M. Candea, H. Diemberger, J. Robbins, A. Sanchez, and R. Stasch. Available at http://doi.org/10.29164/16values Sanders, Elizabeth B-N, and Pieter Jan Stappers. 2008. “Co-creation and the new landscapes of design.” Co-design, 4(1), 5-18. Sanders, Elizabeth B-N. 2002. “From user-centered to participatory design approaches.” In Design and the social sciences. 18-25. Place: CRC Press. Van der Hammen, María Clara, Sandra Frieri, Norma Constanza Zamora, and María Patricia Navarrete. 2012. “Herramientas para la formación en contextos interculturales.” II. Autodiagnóstico: Reflexionar para conocer el territorio. Servicio Nacional de Aprendizaje, Tropenbos Internacional Colombia. Bogotá: NUFFIC-NPT..

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Insights from a design-led inquiry about rural communities in Brazil Perspectivas de una investigación basada en el diseño de comunidades rurales en Brasil Recieved: July 14, 2019. Accepted: September 24, 2019 DOI: https://doi.org/10.18389//dearq26.2020.08 Reflection paper

Abstract This paper describes the trajectory of an inquiry about rural communities in Brazil that was simultaneously an inquiry about the “research-practice gap”. The journey begins in 2014, when the authors carried out an experimental qualitative research project about sustainability in rural communities. Within the field of public policy research, an interdisciplinary team visited six ecovillages and six settlements created by Brazilian agrarian reform (assentamentos) and gathered multimedia data through interviews, pictures, observations and documents. These were then analyzed using a constructivist approach. As outputs, besides the usual PDF, the project produced artifacts focused on reaching audiences outside academia. It also resulted in the creation of OndaPolitica, a start-up centered on experience design that translated some of the insights into experiments. In this paper, we narrate the first long phase of our journey (from 2014 to 2015) and explore how an academic research project designed to go “beyond a PDF” opened up possibilities to further understand connections between rural and urban spaces. Keywords: research communication, sustainability, ecovillages, Brazil, constructivism

Resumen Este artículo describe el recorrido de una investigación sobre comunidades rurales en Brasil la cual fue, simultáneamente, una investigación sobre la "brecha entre investigación-práctica". La travesía comienza en 2014, cuando los autores llevaron a cabo un proyecto de investigación cualitativa experimental sobre la sostenibilidad en comunidades rurales. En el campo de la investigación de políticas públicas, un equipo interdisciplinario visitó seis ecoaldeas y seis asentamientos creados por la reforma agraria brasileña (assentamentos) y reunió datos multimedia a través de entrevistas, fotografías, observaciones y documentos. Luego estos fueron analizados utilizando un enfoque constructivista. Como resultado, además del habitual PDF, el proyecto produjo artefactos enfocados en llegar a audiencias externas al ámbito académico. También propició la creación de OndaPolitica, una start-up centrado en el diseño de experiencias que tradujo algunas de las percepciones en experimentos. En este trabajo, narramos la extensa primera fase de nuestro viaje (de 2014 a 2015) y exploramos cómo un proyecto de investigación académico diseñado para ir "más allá de un PDF" abrió posibilidades para entender mejor las conexiones entre los espacios rurales y los urbanos. Palabras claves: comunicación investigativa, sostenibilidad, ecoaldeas, Brasil, constructivismo

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Caio Werneck Secretaria Municipal de Inovação e Tecnologia de São Paulo, Brasil  caio.werneck@gmail.com

Javier Guillot 

srguillot@gmail.com

Bruno Paschoal Fazenda Santa Esther, Brasil  b.paschoal@gmail.com

Introduction We wish to begin by answering the sort of question that first-time listeners ask travelers—what brought you here? Our starting point was a shared concern: how could the gap between the world of research and the world of practice be bridged? We had separately witnessed an apparent disconnect between social contexts focused on research, where the polished PDF reigns supreme, and another kind of social context, focused on practice, where resources are allocated and spent, tradeoffs faced, lives changed. In practice, the three of us had felt the lost potential implied by this gap. We had experienced and discussed it in diverse work scenarios, within academia, the public sector, and civil society organizations. The “researchpractice gap”, as we soon started calling it, became an intellectual and practical obsession for our team when we started working together as public policy postgraduate students at the Hertie School in Berlin. Our journey began with a shared consciousness of this gap and of the need to demonstrate its urgency, and act upon it (Figure 1).

In 2014, when this journey began, we felt—and still do—that the actual audience of academic research seems quite limited compared to the potential audience that could find such research useful or relevant. Research findings reach much less people than those that could benefit from them in practice. The difference between actual and potential audiences of research seems particularly pressing in the so-called “Global South”, where, in our experience, people immersed in worlds of practice beyond academia—notably, public managers and officials, CSO/NGO members, and diverse business folk—seldom engage with researchers or directly learn from their work. Academic knowledge seems to remain constrained to academic circles, even though research findings could permanently support practitioners for better decision-making, and in designing, implementing, or advocating for a given action or policy. When we started working on this gap, a parallel interest, rooted in and emphasized by our shared Latin American experiences, became the centerpiece of the content space that we wished

Figure 1. The ‘research-practice’ gap that exists between researchers and practitioners is illustrated here as individuals with stereotyped elements (note, e.g., the PDF and the “action box”). Source: authors and Bárbara Marra.

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to explore together first in our efforts to bridge the research-practice gap: the (dis)connections between urbanity and rurality, between the worlds of the city and the worlds of the land, the field, and the forest. This common interest, still present in our professional lives, ties closely with an interrogation of the relations between humans and nature, and of the possibility of justly and sustainably inhabiting this planet. Design —or more precisely, design principles, approaches, and tools—became the most important means for our collective exploration. Elements of design allowed us to link both interests —research/practice, urban/rural— together, in ways that fundamentally questioned ourselves and our initial assumptions and that led us to both successes and failures. Initially, we realized that researchers together with intermediaries between them and practitioners, constitute the human nodes of a complex system representing an indeterminate situation, in Dewey’s sense (1938). In other words, and following Dewey, we found it to be a situation worth inquiring into— by “inquiring” we mean engaging in an ongoing, observation and test-based process to better understand how and why the situation occurs and to experiment with ways of acting upon it. Dewey’s suggestion that such an inquiry should become the basis for human intentional action became an inspiration for an influential strand in the field of design (Buchanan 1992): one from which we seek to learn and in which we wish to act. In this paper, we describe the main elements of the first long phase of this design-led inquiry, which revolved around a research project on sustainability in agrarian reform communities in Brazil (2014 - 2015), and reflected upon the key insights that we gathered in the journey. We interpreted this project as the first prototype for OndaPolitica, an organization that extended in time, with several turns and pivots, until 2018. We decided to focus here on this first phase, given its direct connection with a relevant question from The Design, After (Cumulus Bogotá 2019): how can information extracted from rural and urban spaces be used? The paper is organized into the following sections: (2.) a presentation of the research project in

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which we inquired into the research-practice gap (our meta-space) and focused on understanding sustainability challenges in rural Brazilian communities (assentamentos) and generating insights in response (our content-space). We (2.1.) describe the methods we followed, emphasizing the importance of design principles and approaches, and (2.2.) present a summary of the results. We then (3.) propose a series of afterthoughts on the failures and contributions of this journey, discussing how design played a role in “going beyond the PDF”, what went wrong, and some of the unexpected spillovers that came about.

Going beyond a PDF about sustainability in rural communities Methods The roots of Brazil’s extremely unequal structure of rural landholding trace back to colonial times, when the Portuguese authorities divided the vast territory into large stretches of land and granted control and exploitation rights over them to a relatively small number of wealthy members of the nobility on a hereditary basis (Faoro 1958). Since that period, the Brazilian agrarian model has been deeply marked by inequality, environmental degradation, and orientated towards commodity production (Furtado and Iglésias 1959). In this context, agrarian reform has been presented as a key strategy to deal with land inequality and promote economic and social development in rural Brazil. Assentamentos are rural settlements resulting from the particular Brazilian process of agrarian reform (for more details, see Paschoal et al. 2015). Given our research purposes, we decided to adopt a broad understanding of sustainability not just as the “capacity to endure”, but also to “meet the needs of the present generation without compromising the ability of future generations to meet their own needs” (WCED 1987). This is a “malleable” definition that signals the many disagreements that may arise in the practical implementation of the concept (Kates, Parris, and Leiserowitz 2005). How to foster sustainability in assentamentos? This was our guiding question. We chose to

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follow a qualitative field methodological approach. We believed that our question required us to “lay our hands on the institutions” (Mead 2005) and have direct contact with elements of agrarian reform policy. In order to gather data, we opted for a collective instrumental case study. Although embedded in different contexts and having different characteristics, the communities we chose to investigate had two elements in common: they were rural and evidenced an interest to translate the concept of ‘sustainability’ into practice. Also, we believed that researching ecovillages—as a “contrast case” to assentamentos—could lead to a better understanding of our research question. Our research was experimental as the state of prior theory and research in the field (sustainability in rural agrarian communities) is still limited or nascent. “Identifying patterns” became our main goal, suggesting ties with theory and outlining recommendations as “an invitation for further work on the issue or set of issues opened up by the study” (Edmondson and McManus 2007). Furthermore, our research was inspired by a strong constructivist approach. Although some preconceived ideas were present in our research project design, we tried to go into the field without preconceptions, frameworks or even theories to understand our data. Inspired by the Gioia Method and grounded theory, we designed our research to allow “revelation, richness, and trustworthiness”. As Gioia suggests, we tried to “pick people’s brains” and “figure out how they make sense of their organizational experience” to elaborate descriptive narratives that could capture what we think they know and explore salient themes based on their experience (Langley and Abdallah 2011).

We felt that in order to collect data and insights on selected cases and to later present them to our readers in novel ways, multimedia material would have to be collected. Following an increasing interest in incorporating a visual dimension to policy research (Meyer et al 2013), we collected videos, photos, and sketches, and incorporated these into our research description and analysis. In total, we visited six assentamentos and six ecovillages (two of these in Germany) (Figure 2). We visited each community for different periods of time during May-October 2014. In each case, we collected data through in-depth interviews, situated interviews, and direct observations. Interviews were semi-directive: although we had general points of interest, there was no fixed list of questions. In each community, we conducted at least one “situated interview” (Jones, Bunce, Evans, Gibbs, and Hein 2008), which occurred in spaces linked to the context of the interview. Table 1 below presents an overview of the data. We prioritized in-depth video interviews as our main source of information. After transcription, we used QDA (Qualitative Data Analysis) software (Atlas.ti). Inspired by Corbin and Strauss (1990) and Mair, Marti, and Ventresca (2012), we pursued an analytical process consisting in successively “coding” our data in order to make sense of patterns and identify salient topics and questions. Using insights from theory and our interactions with the data, we realized that sustainability challenges could be clustered and that they were deeply connected with each other.

Figure 2. Scenes in an assentamento in Brazil (left) and a German ecovillage (right). Source: authors’ photographs.

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IN-DEPTH INTERVIEWS TYPE OF SETTLEMENT

SITUATED INTERVIEWS

COMMUNITY

Interviews

Length (min)

Interviews

Length (min)

1349

379

Aldeia

112

IPEC

175

Piracanga

195

ECOVILLAGES

Sieben Linden (Germany

455

Sta. Margarida e S. Luís

118

Zegg (Germany)

294

106

748

104

COAPRI & COPAVA

156

Dom Tomás Balduíno

150

Escola Nacional FF

105

Milton Santos

134

ASSENTAMENTOS

Pequeno William

Terra Vista

105

2307

483

TOTAL

Table 1. Overview of collected data (by community and method) (2014). Source: authors.

Figure 3. Poster presented at the #FORCE2015 conference at Oxford University. Source: authors.

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As part of the inquiry into bridging the researchpractice gap, we produced a poster depicting the visual story of our journey to bring multimedia and interactivity into research production and communication (Figure 3). The poster uses the metaphor of a “research map” as a device for the user to navigate the journey. It can be explored and read in detail in a dynamic online presentation that uses Prezi (see Werneck et al 2015).

assentamento will have. Given their particular contexts, how could assentados move towards sustainable agrarian production? 2. Building infrastructure for sustainability

Results Challenges for sustainability We defined ‘sustainability challenges’ as situations that need to be addressed in order for an assentamento to meet its present needs and endure in ways that can support future generations’ ability to do the same. After applying the methods described in the previous section, we found that sustainability challenges could be categorized into five clusters: 1. Moving towards sustainable production

Figure 4. Terra Vista, an assentamento in Bahia, Brazil. Source: authors and Lucas Rached.

The production of agrarian goods can be recognized as an essential component of life in the assentamentos for two different reasons. The production of food for self-consumption constitutes a key element to support subsistence under conditions of scarcity—it upholds food safety. But the production of agrarian goods is also the chief economic activity of the vast majority of assentados. The decision on what goods to produce and how to organize production is first discussed collectively by assentados when they establish the settlement. This decision depends on the particular setting (climate, environment, etc.) and influences the spatial distribution that the

Figure 5. Sieben Linden, an ecovillage in Beetzendorf, Germany. Source: authors and Rodrigo Levy.

Infrastructure matters for assentamentos because it provides the basic physical resources to support the livelihoods and activities of their inhabitants. This is as true in assentamentos as it is in any other human settlement; however, the salience of infrastructure-related challenges for assentados is remarkably intense, and the repercussions of lacking or having inadequate infrastructure are particularly important for the prospects of fostering their sustainability. As expressed by one assentado, “without infrastructure, what occurs is what has happened in Brazil until today […] people without infrastructure end up leaving the land and moving to the city, to try to find a job for themselves and for their kids. This is the story of my family.” [11:68]. 3. Creating attractive conditions for youth

Figure 6. Aldeia, an ecovillage in Itacaré, Bahia, Brazil. Source: authors and Lucas Rached.

Several interviewees stressed that “keeping the youth on the land” is a prominent shared

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concern among assentados. The problem was usually framed in terms of life in an assentamento being perceived by youth as “less attractive” than life in urban centers—a description consistent with the strong pattern of rural-urban migration that has characterized Brazil and other LatinAmerican countries during the past five decades (Dufour and Piperata 2004). The presence of youth in these communities is important because it can influence the social dynamics in ways that are potentially conducive to enhanced sustainability. Young individuals function as vectors of new knowledge for the community. An assentado explained that, in order to convince neighbors to stop the “inertial practice” of using “agrotoxics”, they had learnt from experience that it was better to approach their neighbors’ children [17:76]. 4. Accessing, using, and disseminating sustainability know-how

Figure 8. Aldeia, an ecovillage in Itacaré, Bahia, Brazil. Source: authors and Lucas Rached.

conflicts emerge. Sustained interaction with others in daily life requires disagreements to be settled and actions coordinated, especially when spaces are shared, resources are scarce, and future livelihoods depend strongly on what neighbors can do together. A more cooperative system of social dynamics allowed some of the communities to provide services —restaurants, laundries, and supermarkets— which not only diversified jobs, but also brought income stability. Some ecovillages, such as ZEGG and Sieben Linden, master techniques to resolve interpersonal friction in living and working together.

Insights Figure 7. IPEC, an ecovillage in Pirenópolis, Brazil. Source: authors and Lucas Rached.

Accessing, using and disseminating sustainability know-how became an even more salient topic after our interaction with ecovillages. In every ecovillage we visited, we discovered an explicit intention to create practices to disseminate know-how. Two big strands of this know-how were: ecological sustainability—such as bioconstruction, compost/ dry toilets, agroforesting, permaculture—and knowledge for community-building. Such knowhow can be applied in different ways: as sources of income (through courses and workshops); as enablers for more sustainable infrastructure; and as drivers to create a stronger community. 5. Enabling cooperative collective dynamics through conflict resolution Throughout their different phases of existence, communities face various situations in which

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Besides the five clusters of challenges, which may guide policy designers through thinking, discussing, and planning how to foster sustainability in agrarian communities; we provided insights, highlighted below, that are explained in more detail in previous work (Paschoal et al. 2015): (i) The power of example can be an effective means for the transition to more sustainable practices. (ii) Building a common vision among people can support the maintenance of cooperative collective dynamics. (iii) More room for experimentation can strengthen sustainability know-how. (iv) Collective initiatives can prevent isolation in rural communities by acting as touchpoints with the external world and bringing exchange opportunities.

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When facing these sorts of contexts, “the lack of certainty and the prevalence of ill-defined problems, set against the absence of concrete datasets to back up decision-making, calls for different, more creative, and collaborative approaches” (Siodmok 2015).

narrative primarily built by interviewees more than academic references. Second, we used visual elements not only to illustrate the communities studied but also to present our findings. Graphic designers helped to craft visual narratives such as the poster and a visual research map (Figure 9):

Afterthoughts: how did design help us to move beyond the PDF?

#Data-objects. In order to produce more than purely textual narratives, we integrated videos, photographs, and illustrations into the analysis, which was made easier through the use of QDA software (Atlas.ti). Coding and classifying these types of data objects—usually not included in the final paper or report—enabled a different kind of output to be produced, which opened up possibilities to craft a multimedia narrative.

Inspired by the four orders of design (Buchanan 1992), we highlight contributions derived from reflecting on and acting upon the main hypothesis of this inquiry: namely, that if elements configuring the “research-practice gap” are (re)designed, non-academic readers can better engage with research outputs. Besides producing the classical, formally adequate PDF as a “masters thesis publication” (Paschoal et al. 2015), we tested different strategies combining these orders to guide our exploration. #Language. We were inspired by analogous communication practices, such as long-form journalism or film documentaries, which tell complex stories to broad audiences. First, we sought more clarity by using plain language that was in line with our empirical methods. The result was a

#Interaction. First, with different outputs, we created potentially more engaging experiences for people likely to be interested in the content. Instead of only linear stories, our prototypes provided a broader range of options to access the stories of the interviewees, the contexts of the rural communities, and the methods used. Second, we designed and facilitated several workshops in research institutions, public agencies, and conferences to discuss our inquiry and to encourage other researchers to reflect on their audiences

Figure 9. Visual research map produced in 2015. Source: authors and Flatland.

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Figure 10. Workshop at the Hertie School in Berlin, Germany. Source: authors’ photograph.

and on how their research outputs could enhance user experiences (Figure 10): #Practice-research system. Looking at the fourth order, where the gap most clearly resides, we could not perceive effective change without developing a strategy embedded in specific institutional contexts. Although we formally created an organization (called OndaPolitica) to develop such projects, for personal and professional reasons it was not created de facto. It remained an idea and a foundation statute that was never implemented. Some of us worked professionally in research institutions and developed projects to change the situation from within. However, after having subsequently participated in other projects, we can at least state that in order to change the inquired situation, we need much more than workshops and the disperse application of methods in singular disjointed projects. We need a combination of collective action and genuine parallel experimentation and learning to bring about lasting institutional change.

References 1. Buchanan, Richard. 1992. “Wicked problems in design thinking.” Design Issues, Vol. 8, No. 2, 5–21. 2. Corbin, Juliet, and Anselm Strauss. 1990. “Grounded theory research: Procedures, canons, and evaluative criteria.” Qualitative Sociology, 13(1), 3–21. 3. Dewey, John. 1938. “Logic: The theory of inquiry.” The Later Works, 1953, 1–549. 4. Dufour, Darna, and Barbara Piperata,. 2004. “Rural-to-urban migration in Latin America: An update and thoughts on the model.” American Jour-

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nal of Human Biology, 16(4), 395–404. http://doi. org/10.1002/ajhb.20043 5. Edmondson, Amy, and McManus, Stacy. 2007. “Methodological fit in management field research.” Academy of Management Review, 32(4), 1246–1264. 6. Faoro, Raymundo. 1958. Os donos do poder. Porto Alegre: Editora Globo. 7. Furtado, Celso, and Francisco Iglésias. 1959. Formação econômica do Brasil. São Paulo: Editora Companhia das Letras. 8. Jones, Phil., Griff Bunce, James Evans, Hannah Gibbs, and Jane Ricketts Hein. 2008. “Exploring Space and Place With Walking Interviews.” Journal of Research Practice, 4(2), Article D2. 9. Kates, Robert, Thomas Parris, and Anthony Leiserowitz. 2005. “What is sustainable development? Goals, indicators, values, and practice.” Environment: Science and Policy for Sustainable Development, 47(3), 8–21. 10. Langley, Ann, and Chahrazad Abdallah. 2011. “Templates and turns in qualitative studies of strategy and management.” Research Methodology in Strategy and Management, 6, 201–235. 11. Mair, Johanna, Ignasi Marti, and Marc Ventresca. 2012. “Building inclusive markets in rural Bangladesh: How intermediaries work institutional voids.” Academy of Management Journal, 55(4), 819–850. http://doi.org/10.5465/amj.2010.0627 12. Mead, Lawrence. 2005. “Policy research: The field dimension.” Policy Studies Journal, 33(4), 535–557. 13. Meyer, Renate E., Markus A. Höllerer, Dennis Jancsary and Theo van Leeuwen. 2013. “The visual dimension in organizing, organization, and organization research: Core ideas, current developments,

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and promising avenues.” The Academy of Management Annals, 7(1), 489–555. 14. Paschoal, Bruno, Caio Werneck, and Javier Guillot. 2015. “Fostering sustainability in Brazilian agrarian reform: Insights from assentamentos and ecovillages.” Hertie School Student Paper Series (HSSPS) 04. Advisor: Mair, J. Last accessed: June 13, 2019 from https://www.hertie-school.org/en/ publications/studentpaperseries/ 15. Siodmok, Andrea. 2015. “Tools for Insight: Design Research for Policy Making.” In Design for Policy, edited by Christian Bason, 189-198. Farnham, UK: Gower Publishing Ltd. 16. WCED. 1987. “Report of the World Commission on

Environment and Development: Our Common Future” (Transmitted to the General Assembly as an Annex to document A/42/427). UN Documents. Retrieved from http://www.un-documents.net/wcedocf.htm 17. Werneck, Caio, Bruno Paschoal, and Javier Guillot. 2015. “Making the whole research map available: bringing multimedia and interactivity to policy research”. Poster presented in the FORCE2015 conference at Oxford University and available online at: http://bit.ly/ondaresearchmap.

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Artisans and Designers: Seeking Fairness within Capitalism and the Gig Economy Artesanos y diseñadores: en búsqueda de justicia en el capitalismo y la “Gig Economy” Recieved: July 15, 2019. Accepted: September 24, 2019 DOI: https://doi.org/10.18389//dearq26.2020.09 Reflection paper

Abstract The artisan sector is the second largest employer in the developing world and an estimated 34to-526 billion-dollar industry (Nest 2018). Why then are the majority of the world’s artisans living in poverty? And what role have designers played in extracting money and value from these marginalized communities? Co-authored by an economist and a design educator, this paper posits that a critical and productive way to get to the bottom of these questions is to analyze the artisan sector as a member of the gig / on-demand economy. Most importantly, it proposes a fairer economic and design architecture for this sector that achieves a better alignment of compensation and value creation, particularly for those with the least economic resources (the artisans). Using several designer-founded-and-run artisan enterprises as case studies, the paper questions the key variables that determine the success of such a venture vis-a-vis artisan livelihoods. These include scale, ownership models (cooperatives vs. outsourced labor), and various social justice issues including power and privilege. A further concern is that, as they are submitted to the logic of rational economic exchange rooted in a market economy, some artisan practices that were traditionally embedded in social and cultural institutions were transformed in ways that jeopardize patrimony, traditions, and social fabric. The paper concludes by outlining economic principles for a proposed collaboration methodology through which designer/founders can frame their future work with an understanding of how they can strive to reach ventures that emphasize poverty alleviation, artisan empowerment, and the celebration/preservation of cultural heritage. Keywords: artisan, capitalism, gig economy, inequality, design

Resumen El sector artesanal es el segundo empleador más grande del mundo en los países en desarrollo y cuenta con una industria estimada entre los 34.000 y los 526.000 millones de dólares (Nest, 2018). ¿Por qué entonces la mayoría de los artesanos del mundo viven en la pobreza? ¿Y qué papel han jugado los diseñadores en la explotación de dinero y valor de estas comunidades marginadas? En coautoría con un economista y un educador de diseño, este artículo plantea que una manera crítica y productiva de llegar al fondo de estas preguntas es analizar al sector artesanal como miembro de la “gig economy” / economía on-demand. Más importante aún, esto propone una arquitectura económica y de diseño mucho más justa para este sector, logrando un mejor alineamiento de la compensación y la creación de valor, particularmente para aquellos con menos recursos económicos (los artesanos). Utilizando como estudios de caso varias empresas artesanales fundadas y dirigidas por diseñadores, el artículo cuestiona las variables clave que determinan el éxito de un emprendimiento de este tipo en relación con los medios de vida de los artesanos. Estos incluyen escala, tipologías de propiedad (cooperativas vs. mano de obra subcontratada) y varios temas de justicia social, incluyendo el poder y los privilegios. Otra preocupación es que, al estar sometidas a la lógica del intercambio económico racional arraigado en una economía de mercado, algunas prácticas artesanales que tradicionalmente estaban enraizadas en las instituciones sociales y culturales se transformaron de tal forma que pusieron en peligro el patrimonio, las tradiciones y el tejido social. El documento concluye esbozando los principios económicos para una metodología de colaboración a través de la cual los diseñadores/fundadores pueden enmarcar su trabajo futuro con una comprensión de cómo pueden esforzarse por alcanzar emprendimientos que enfaticen el alivio de la pobreza, el empoderamiento de los artesanos y la celebración/preservación del patrimonio cultural. Palabras claves: artesano, capitalismo, “gig economy”, desigualdad, diseño

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Raphaële Chappe Fellow, Open Society Foundation  raphaele@thebrooklyninstitute.com

Cynthia Lawson Jaramillo Integrated Design, Parsons School of Design, Estados Unidos.  cynthia@newschool.edu

Introduction “Artisan”, “craftperson”, “handworker”: the terms evolve, yet they each point to people who are now involved in producing up to 60% of the worldwide garment industry’s supply chain (Siegle 2011). For the purposes of this paper, our interest lies in artisans from emerging economies. The majority are women (Nest 2018), and they work with a range of hand crafts including weaving, ceramics, and beading using techniques most often learned from their elders. As defined by the Colombian government organization Artesanías de Colombia, the artisan sector can be classified into three areas: “indigenous,” the craft produced by ethnic groups that is learned and passed on generation after generation; “traditional” including local cultural groups and early colonizers, the trades of which have also been passed on through generations; and “contemporary,” distinguished as work that incorporates new technologies and/or new aesthetic approaches (Artesanías de Colombia S.A. 2014). What is key to our argument is not necessarily about which of these three groups we are discussing but the common and critical characteristics regarding the artisans’ labor and

Figure 1. Source: Adapted from DEED Lab’s “Fair Craft” survey of 120 companies (2012).

livelihoods: most often paid for by each piece sold rather than by the hour (meaning they are essentially as freelancers) (Bohrer and Lawson 2012). They live either in rural/ marginalized areas or have been displaced to major urban areas, and more often than not are lacking at least one basic need (Strawn and Littrell 2006).

The Role of Designers The critical role design can play in the artisan sector has to do with the “the production of goods that provide income and generate wealth for poor producers” (Thomas 2006). Based on the research that one of the authors carried out for more than ten years, this income-generating goal seems to be aspirational and may instead need to be more clearly framed as a “hope” or “desire” and not fact. This is because it is just the top artisan elite (who participate in visible partnerships and can afford the big gift/trade shows), who are generating a sustainable income. Thomas points out that the role of the external designer is to bring knowledge of potential markets to the artisans. These designers understand the [capitalist!] systems within which the artisanproduced goods will be sold, which include trends, trade shows, and import/export regulations. The challenge, however, is how to create and sustain models between artisans and designers that do not just reduce the former to cheap labor. Many designers who have collaborated with, or sourced from, artisans, are presented with consistent challenges. They struggle to obtain the quality they need for the particular market they are reaching; find it difficult to maintain open and fast communication channels with artisan

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Figure 2. Source: DEED Lab’s “Designers, artisans, and global markets” (2018).

groups; and experience great difficulty in meeting the timing demands of their buyers (Wrigley 2019). On the other hand, artisans know and understand that the “industrialized framework” from which designers come does not necessarily match their [often-indigenous] culture in terms of their life, labor, and craft. In fact, Wayuu artisan Maria Cristina Gomez asserts, “Asking us to adapt and conform to those frameworks is like asking us to jump into the void.” (Gomez 2019) These challenges are, precisely, the backdrop for the mission of organizations such as New York-based Global Goods Partners (GGP). GGP has a unique application process through which artisan organizations are assessed to then become “partners”. In addition to producing, marketing, and selling their own products, GGP is a resource for large retailers or designers looking for artisans to create products. GGP invests much of their time in ensuring artisans are actually ready to deliver on large orders. They acknowledge the challenges of starting up such collaborations, and, therefore, maintain a valuable roster of experienced artisan groups that can enter into additional partnerships without the burden of repeating the challenges outlined above. [ 82 ] Enero de 2020. ISSN 2011-3188. E-ISSN 2215-969X. Bogotá, pp. 80-87. https://revistas.uniandes.edu.co/journal/dearq

Figure 3. Embroidered Mini Crossbody Bag in Pink, Orange (2019). Source: ABURY.

Another model is Abury, a Berlin-based company, which works with artisans in Morocco and Ecuador. Their signature products “Berber Mini Bags”, can be recognized as traditional Moroccan bags that are imbued with design details (color, scale, finishings, etc.) with which the Abury team provides the artisans. They are very committed to ethics and sustainability, so much so, that they will only work with brands who share their commitment. “In the spirit of our Manifesto, we have partnered only with Brands that can sign our Code of Conduct to ensure transparency and the upholding of our values.” Something else that is

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Figure 4. Source: Mercado Global 2017-2018 Annual Report (2018).

very positive is that they continually work with the same artisan group. The downside is that all of this is only possible thanks to their Foundation arm. Though they are a for-profit, they acknowledge that centering the artisan within a more just model requires additional fundraising. Duka is a fairly new brand, with co-founders based in New York and Kenya, where they work with artisans. Having two full-time staff and one artisan community works quite effectively. What distinguishes their model is their commitment to employing a group of artisans week after week. What remains to be seen is how sustainable this model is, both in terms of time as well as scale. It is known that the artisan sector is replete with founders’ burnout because of the small financial margins, the emotional labor required, and the cross-cultural nature of the work. Brooklyn and Guatemala-based nonprofit Mercado Global has excelled in their long-term commitment to specific groups of Mayan artisan women in Guatemala. Founder and Executive Director Ruth DeGolia is extremely critical of one-off projects (DeGolia 2018), intentionally does not take on these kinds of collaborations, and instead, like

Duka and Abury, establishes an ongoing commitment to specific artisan women (currently over two hundred and with plans to scale up to eight hundred) (Mercado Global 2018). Their mission is poverty alleviation, and their 990 tax filing clearly shows how much they have to fundraise to be able to support their community development initiatives (Department of the Treasury 2016).

Market and Gig Economies Many artisans in the developing world work from home and view themselves as perpetuating ancestral skills and practices; they are trained by their community (peers and elders) and, therefore, are embedded in a social and cultural fabric. The organizational structure of production in the artisan sector is, in many ways, similar to that of pre-industrial European societies. In that guild system, the master would work directly alongside apprentices, and hierarchy was linear (from apprentice to journeyman and eventually master) rather than pyramidal. Everyone in the hierarchy was a producer (rather than a wage worker) who generally retained full control of the production process and the sale of the finished product. Many artisans in the developing world are also Artisans and Designers: Seeking Fairness within Capitalism and the Gig Economy. Raphaële Chappe, Cynthia Lawson Jaramillo [ 83 ]

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independent producers (or freelancers) in that they are, as mentioned before, paid by the piece, and are not necessarily guaranteed a fixed number of paid weekly hours at a given hourly rate. A significant difference is that in the guild system there were no intermediaries between the workman and the market. Today many artisans in the developing world are completely disconnected from the markets for their finished product to the extent that these are located in other countries or because it is unclear to the artisan if a market even exists short of a product re-design specifically targeting potential customers. As Karl Polanyi argues in The Great Transformation (1944), central to the emergence of a capitalist market economy was that the use of the factors of production (land and labor) would no longer be governed by existing pre-modern allocation mechanisms (such as tradition, redistribution, or reciprocity). Instead, labor (and land) would be sold at market-determined prices. During the Industrial Revolution, the increase in wealth was achieved at the cost of complete reorganization of labor and production—from the guild system of pre-industrial European societies to the mid-nineteenth century English factory. In the transformation process of independent producers into wage workers, workers became the “proletariat” and lost their control over production. The linear hierarchy of the guild system was eventually replaced by the more centralized hierarchical pyramid structure of the factory.

Tasks became so minute, repetitive, and specialized that workers no longer had a product to sell. The capitalist would be the one aggregating all separate components of production into a final marketable product. Wage advances came to provide workers some income stability but also maintained them in a state of dependence. It was arguably not until the beginning of the twentieth century (through decades of labor activism) that workers achieved significant improvements in labor conditions and wage increases with benefits (e.g. paid vacation). In most cases, artisans in the developing world are unable to make a living (earn a “living wage”) through the sale of their craft. This raises two issues. First, the issue of whether the current compensation of artisans fairly remunerates their contribution to the productive enterprise. In economics, the traditional approach to “human capital” is that labor should be compensated for on the basis of “marginal productivity”: a worker’s individual contribution to output (see Piketty 2014, Ch. 9 for an overview). Productivity is, in turn, determined by a worker’s skills and the supply and demand for those skills in the marketplace. The question remains: What is the proper value split between those who help bring the product to market and the artisans who are making the products? Is economic rent (namely unwarranted profit) being extracted from the supply chain at the expense of artisans? A second issue relates to the economic viability of the business model to

Figure 5. “Organization Chart of Tabulating Machine Co., 1917.” Tabulating Machine Co., December 1917. Source: Picture by Marcin Wichary used under a Creative Commons Attribution 2.5 Generic license.

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begin with. It is possible that even if no economic rent is being extracted, artisans will be unable to earn a living. This could be because customers are unwilling to pay a price which is commensurate with the labor required to make the product or because other costs associated with bringing products to market (e.g. shipping and marketing) are too high. In short, this could be because the profit margins associated with the current model are insufficient or cannot be scaled to include more artisans in it. Interestingly, it is the lack of access to the marketplace rather than the minute specialization and division of labor that has effectively stripped artisans in the developing world of some degree of control over the production process. The question is how to achieve a living wage without creating a proletarianization of artisans, which was what happened at the beginning of the Industrial Revolution. Can we use wage advances without creating dependency? Does the adoption of mechanized processes and the re-design of pieces significantly alter work processes and products so as artisans are alienated from their product? And if artisans are able to make a decent living through their craft, do we care that it may be at the cost (down the line) of massive social dislocation and uprooting of their cultural fabric? As “independent contractors” without a steady predictable income, artisans are somewhat similarly situated as those working under alternative work arrangements in the United States (U.S.). There has been a shift in the nature of U.S. employment relationships in the past decade, with an increase in the percentage of workers working as temporary help agency workers, on-call workers, contract company workers, and independent contractors or freelancers. This is the so-called “on demand” or “gig” economy. A recent paper by Katz and Krueger (2018) says that the percentage of such workers rose from 10.7% in February 2005 to up to 15.8% of workers in late 2015: a significant increase. A neoliberal economic narrative praises the gig economy as creating more opportunities and flexibility for workers, customers, and companies (such as Uber, Airbnb, TaskRabbit, Rappi, etc.), for instance by reducing transaction costs and promoting labor competition. However, as highlighted by Frank Pasquale (2017), there is an alternative economic narrative that sheds light

Figure 6. Source: DEED Lab’s “Rise in freelancers in the United States” (2018).

on deep issues such as whether the classification of workers as “independent contractors” can be used to reduce wages, avoid labor laws (such as minimum wage and benefits), and overall maintain workers in a precarious economic (and even psychological) state (Gullo 2018). There is now more intense scrutiny on the potential of this gig economy to exploit workers, as illustrated by a recently settled six-year-long case with Uber (Hawkins 2019). The recent survey by Katz and Krueger showed that there is mixed evidence in the U.S. as to whether workers are benefiting from the gig economy. Independent contractors typically do earn a wage premium (presumably to compensate for lower benefits and the need to pay selfemployment taxes) but also tend to earn less than employees with similar characteristics because of lower weekly hours. Though more than 80% of independent contractors and freelancers preferred their work arrangement to working for someone else, temporary help agency workers, on-call workers, and contract company workers expressed that they would prefer more income stability and work hours. Similar issues arise for artisans in the developing world. Are the current business models that rely on artisan labor an economic opportunity for artisans, or do they result in economic exploitation doing little-to-nothing to alleviate economic precarity and poverty? As with the gig economy, these issues can be framed with two conflicting economic narratives: one that emphasizes the income generating economic opportunity for under-employed artisans to be drawn into the labor market (and the flexibility for artisans to produce Artisans and Designers: Seeking Fairness within Capitalism and the Gig Economy. Raphaële Chappe, Cynthia Lawson Jaramillo [ 85 ]

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and sell at their own pace); the other emphasizes the low-paid nature of the work and the fact that artisans would prefer stable long-term relationships with designers and marketers as well as more income stability and work hours. Ultimately, the persistence of poverty is evidence that this business model has not delivered significant economic benefits to artisans.

Towards Fairness How, then, can the artisan sector be fair for all stakeholders? May the solution be adhering to “Fair Trade” requirements? This now-globallyknown label has various organizations that supervise its certification process including the World Fair Trade Organization, which has designed a system for “Fair Trade Enterprises.” Their website describes these as enterprises that “exist to put people and planet first…they pioneer solutions to broader issues like overuse of natural resources, women’s empowerment, refugee livelihoods, human rights, inequality and sustainable farming” (World Fair Trade Organization 2019). And, specifically, on the matter of wages, the fourth (of ten) fair trade principle requires “Fair Payment” (World Fair Trade Organization 2017), which is described as being made up of “Fair Prices, Fair Wages and Local Living Wages.” They continue, “Fair Wage is an equitable, freely negotiated and mutually agreed wage, and presumes the payment of at least a Local Living Wage.” Also, “Local Living Wage is remuneration received for a standard working week (no more than 48 hours) by a Worker in a particular place, sufficient to afford a decent standard of living for the Worker and her or his family. Elements of a decent standard of living include food, water, housing, education, health care, transport, cloth-

ing, and other essential needs, including provision for unexpected events.” The stated solutions point to “fair trade enterprises” that serve as aspirations for those committed to fairness. However, the definition of “Fair Payment” is most likely not applicable to the artisan sector. First, the suggestion that a fair wage would be “freely negotiated and mutually agreed” puts artisans, who often have little-tono math literacy, at a disadvantage as they may not be well-versed in issues of wages and pricing. Second, as has been discussed, artisans are, for the most part, not wage workers. They are being paid by each piece produced, and, due to the inconsistencies relating to time and skill across craftspeople, it is almost impossible to reach an agreement about hours worked per week and related compensation. Finally, it is also critical to look at the literature that, in fact, debunks the myth that workers are better off working for fair trade organizations. The 2014 “Fairtrade, Employment and Poverty Reduction in Ethiopia and Uganda” report asserts, “unambiguously ... Fairtrade has made no positive difference – relative to other forms of employment in the production of the same crops – to wage workers.”

Conclusion Regardless of trendy labels, achieving a sustainable living wage will require business models that both properly value artisan labor (i.e. eliminate economic rent) and are economically viable (and sustainable). Is it possible to imagine compensation models that account for the centuries of time invested in learning and carrying forward a craft technique? The challenges to eliminating

Figure 7. World Fair Trade Organization’s Ten Principles (2017). Source: DEED Lab.

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economic rent are the poor bargaining power of artisans, their disconnection from the end markets for their product, and the fact that, short of labor laws that ensure a minimum wage, wage advances can be used to maintain workers in a state of dependency as a source of cheap labor (i.e. the proletarianization of the workforce). As discussed, we do not see that the “Fair Trade” requirements have made any significant dent in tackling these issues. The current challenges posed by the gig economy in developed economies illustrate that the logic of capital accumulation continues to put pressure on workers in new ways (the innovative technologies of the digital economy) and suggest that that these are very much ongoing concerns associated with capitalist development. Creating viable economic models for the artisan sector will ultimately depend on whether the market for produced goods generates profit margins that can support proper valorization of artisan labor and is large enough to achieve any significant systemic positive impact on poverty. One historical lesson that should be drawn from the Industrial Revolution is that, ultimately, poverty alleviation was achieved through a complete reorganization of labor and production; the longterm cost was social and cultural dislocation. Is a different path possible for artisan communities in the developing world? And, if not, is this the price to pay for lifting communities out of poverty?

References 1. Artesanías de Colombia S.A. 2014. “La Artesanía y Su Clasificación.” Retrieved from http://www. artesaniasdecolombia.com.co/PortalAC/C_sector/ la-artesania-y-su-clasificacion_82 2. Bohrer, Nicole, and Lawson, Cynthia. 2012. “#FairCraft paper.” Retrieved from https://thenewschoolcollaboratory.org/2018/07/05/fair-craft-study/ 3. Department of the Treasury, Internal Revenue Service. 2016. “Form 990.” Retrieved from https:// pdf.guidestar.org/PDF_Images/2017/201/348/2017201348926-0ec2265b-9.pdf 4. Freelancers Union & Upwork 2018. “Freelancing in America.” Retrieved from https://www.upwork. com/i/freelancing-in-america/2018/ 5. Gullo, Emiliano. 2018. “Fenómeno Rappi: Capitalismo Con Tracción a Sangre.” Revista Anfibia.

Retrieved from http://revistaanfibia.com/cronica/ capitalismo-traccion-sangre/ 6. Hawkins, Andrew. 2019. “Uber settles driver classification lawsuit for $20 million.” The Verge. Retrieved from https://www.theverge. com/2019/3/12/18261755/uber-driver-classification-lawsuit-settlement-20-million 7. Katz, Lawrence F. and Krueger, Alan B. 2018. “The Rise and Nature of Alternative Work Arrangements in the United States, 1995–2015.” ILR Review, 72 (2): 382–416. https://doi. org/10.1177/0019793918820008 8. Marglin, Stephen A. 1974. “What Do Bosses Do? The Origins and Functions of Hierarchy in Capitalist Production, Part I.” The Review of Radical Political Economics, 6(2): 60-112. 9. Mercado Global. 2018. “2017-2018 Mercado Global Annual Report.” Retrieved from https://www.mercadoglobal.org/pages/annual-reports 10. Nest. 2018. “The State of the Handworker Economy 2018.” Retrieved from https://www.buildanest. org/shereport/ 11. Pasquale, Frank. 2017. “Two Narratives of Platform Capitalism.” Yale Law & Policy Review, 35(1), 309-319. 12. Piketty, Thomas. 2014. Capital in the 21st Century. Belknap Press: An Imprint of Harvard University Press. 13. Polanyi, Karl. 2001. The Great Transformation: The Political and Economic Origins of Our Time. Boston, MA: Beacon Press. 14. Siegle, Lucy. 2011. To Die For: Is Fashion Wearing Out the World? Place: Fourth Estate. 15. Strawn, Susan and Littrell, Mary A. 2006. “Beyond Capabilities: A Case Study of Three Artisan Enterprises in India.” International Textile and Apparel Association, 24(3), 207-213. 16. Tabulating Machine Co. 1917. “Organization Chart of Tabulating Machine Co.” Retrieved from https:// commons.wikimedia.org/wiki/File:Tabulating_Machine_Co_Organization_Chart.jpg 17. Thomas, Angharad. 2006. “Design, Poverty, and Sustainable Development.” Design Issues, 22(4), 54-65. 18. World Fair Trade Organization. 2019. “What We Do.” Retrieved from https://wfto.com/what-we-do 19. World Fair Trade Organization. 2017. “10 Principles of Fair Trade.” Retrieved from https://wfto.com/ who-we-are#10-principles-of-fair-trade

Artisans and Designers: Seeking Fairness within Capitalism and the Gig Economy. Raphaële Chappe, Cynthia Lawson Jaramillo [ 87 ]

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Finding a New Commons: Architecture’s Role in Cultural Sustainability for Japan’s Shrinking Regions Buscando nuevos bienes comunes: El papel de la arquitectura en la sostenibilidad cultural de las regiones decadentes de Japón Recieved: July 22, 2019. Accepted: September 24, 2019 DOI: https://doi.org/10.18389//dearq26.2020.10 Reflection paper

Abstract Media representations of Japan’s dynamic cities belie a growing national phenomenon. Urban migration, a declining birthrate and an aging population have transformed Japan’s countryside over the past thirty years. These demographic changes have resulted in socio-economic decline, abandoned buildings and loss of regional culture. This paper explores architecture’s role in facilitating cultural sustainability, education, and community connections to landscape. Despite the impacts of depopulation, some rural communities are embracing shrinkage and attempting to preserve their regional cultures. This poses a challenge for architecture, a profession dependent on urban and economic growth. In the unfamiliar context of degrowth, architects need to leverage existing buildings and resources. Among the leftover buildings in Japan’s depopulated areas, the public school is becoming increasingly prevalent. These structures are imbued with collective memory, and this history creates interesting opportunities for reuse. Additionally, the architectural flexibility of these schools makes them compelling sites for interventions, often central places in their communities. My research studies how the re-use of the buildings could generate new micro-economies and lifestyles. The research studies the potential outcomes of re-using a building type influenced by its country’s social, political, and economic forces. The research presents emerging methodologies for designers working in depopulated communities, including ethnographic and participatory strategies. Ultimately, the research questions how architecture can reassemble communities on the verge of cultural decay. Keywords: Depopulation, Shrinkage, Rural Landscapes, Material Culture, Adaptive Reuse, Culture, Social Design

Resumen Las representaciones mediáticas de las ciudades dinámicas de Japón ocultan un fenómeno nacional creciente. La migración urbana, la disminución de la tasa de natalidad y el envejecimiento de la población han transformado el campo japonés en los últimos treinta años. Estos cambios demográficos han provocado un declive socioeconómico, el abandono de edificios y la pérdida de la cultura regional. Este artículo explora el papel de la arquitectura para facilitar la sostenibilidad cultural, la educación y las conexiones de la comunidad con el paisaje. A pesar de los impactos de la despoblación, algunas comunidades rurales están aceptando este declive y están tratando de preservar sus culturas regionales. Esto supone un reto para la arquitectura, una profesión dependiente del crecimiento urbano y económico. En el contexto desconocido del decrecimiento, los arquitectos necesitan aprovechar los edificios y recursos existentes. Del excedente de edificios de las zonas despobladas de Japón, la escuela pública es cada vez más común. Estas estructuras están impregnadas de memoria colectiva y esta historia crea interesantes oportunidades de reutilización. Además, la flexibilidad arquitectónica de estas escuelas las hace atractivas para las intervenciones que a menudo ocupan lugares centrales en sus comunidades. Mi investigación estudia cómo la reutilización de los edificios podría generar nuevas microeconomías y estilos de vida. La investigación analiza los resultados potenciales de la reutilización de un tipo de edificio influenciado por las fuerzas sociales, políticas y económicas de su país. La investigación presenta metodologías emergentes para diseñadores que trabajan en comunidades despobladas, incluyendo estrategias etnográficas y participativas. En última instancia, la investigación cuestiona cómo la arquitectura puede reagrupar comunidades al borde de la decadencia cultural. Palabras clave: Despoblación, Reducción, Paisajes rurales, Cultura material, Reutilización adaptativa, Cultura, Diseño social

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Julia Nakanishi University of Waterloo, Ontario, Canadá  jnakanishi@uwaterloo.ca

Lola Sheppard (Thesis Supervisor) University of Waterloo, Ontario, Canadá  lsheppar@uwaterloo.ca

Jane Hutton (Thesis Committee) University of Waterloo, Ontario, Canadá  jane.hutton@uwaterloo.ca

Introduction Shrinking Villages Japan’s dynamic, sprawling, ever-evolving metropolises captivate public attention as centres of culture, economy and contemporary lifestyles. Images such as the one of Shibuya Crossing continue to dominate international media. Contemporary architecture practice has primarily focused on studying and innovating in urban contexts where capital investment drives growth. As a result of the focus on cities, the fragmented states of rural regions only a hundred kilometers outside of centres such as Tokyo are often overlooked, yet many are on the verge of collapse. This research references and builds upon the discussion around shrinking cities, which commonly refers to the effects of aging populations, vacancy, and economic decline in urban areas. Here we focus on how these demographic changes have affected marginal rural areas.

Rural depopulation is a problem that has evolved over the past thirty years, and it is primarily attributed to a rapidly decreasing birth rate and urban migration. The emptying of rural areas has resulted in socio-economic decline and a lack of management of local resources (Kobayashi 2011). Towns and villages dispersed throughout Japan are advancing towards an erosion of traditions, cuisines, and crafts that embody their local contexts. This ongoing deterioration of local cultural activities has resulted in a sense of national distress as Japan’s remaining rural settlements become increasingly isolated and forgotten (Coulmas 2007). This research examines the potentials of regional cultures in Japan’s countryside and asks, “what role can architecture play in preserving them?” Through design explorations on three different sites, the research proposes that architecture can facilitate material processes that will generate unique opportunities for cultural, social, and

Figure 1: Shibuya Crossing, Tokyo, 2019. Source: Julia Nakanishi. Figure 2: Abandoned buildings in Sado Island, Niigata Prefecture. Source: Julia Nakanishi.

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economic activity. The research assumes that Japan’s many rural cultures come together to establish Japan’s identity, and that the maintenance of their unique characteristics is critical. Nevertheless, the goal of this research is not to look backwards, but to imagine how architecture can leverage existing knowledge and imagine local, smaller-scale, and contemporary economies. Due to the broad nature of the term “culture” and its many historical meanings, this thesis will use the definition of culture as explained in Galen Cranz’s book, Ethnography for Designers (YEAR 2016). Semantic ethnography uses the word “culture” to describe a certain type of knowledge that is shared among people; in the context of this thesis, some examples include saké brewing, fishing, woodcraft, and rice cultivation. Culture in this case does not refer to the products that result from each activity, such as the saké itself or a piece of furniture; but rather, the knowledge and skills required to produce material objects, or “the knowledge that must be shared for communication to occur” (Cranz 2016). Cranz states that culture is learned, shared, and encoded in the language of a particular group of people, and, that by engaging with it, designers can understand the forces that organize people’s behavior in space. By understanding this shared knowledge, designers can interpret the social settings in which they are designing and improve their design interventions. The questions raised in this research are influenced by a number of forces at play in Japanese society; the national birth rate is rapidly declining, economies are shrinking, the ratio of retired

citizens to working-age adults is growing, the presence of cultural heritage is diminishing, and cities are continuously expanding. These demographic changes are influencing other societal evolutions, such as Prime Minister Shinzo Abe’s “Womenomics” initiative, which advocates for a greater support of working women with families in response to an increasingly reduced workforce (Nelson and Chanlett-Avery 2014). Among all these factors, exploring a new, sustainable lifestyle in Japan’s marginal rural areas is becoming increasingly important. While the research is focused on the specificities of the Japanese context, these demographic changes reflect emerging trends in other countries in the Global North (Oswalt et al. 2006). In a time when productivity and development are prioritized, the shift in thinking towards communities with slower economies and smaller populations poses a challenge. The work of this thesis imagines what “design after” shrinkage in Japan might look like, contributing to an increasingly acute discourse for architects. In the face of the negative effects of depopulation in Japan, there are some hopeful prospects. Sado Island, Japan’s sixth largest island, located fifty kilometers off the coast of Niigata City, is a region embracing its shrinkage. Often referred to as a “microcosm of Japan” due to its variety of landscapes and cultures, Sado is most well-known for its saké production as well as agricultural practices, fisheries, and forestry (Matanle 2011). Sado Island’s number of towns and villages decreased from 26 to ten over fifty years, and in 2004, all remaining municipalities amalgamated into

Figure 3: Empty storefronts, Ryōtsu Port. Source: Julia Nakanishi.

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Figure 4: Abandoned elementary school in Niigata Prefecture. Source: Julia Nakanishi.

Sado City. Currently, many rice fields stand abandoned along with lengths of shotengai (shopping streets) that served local residents and sold local goods to tourists in Ryōtsu Port (Figure 3). The lack of demand for local goods has led to a decline in island-specific production techniques. The deterioration of local processes can be described as a collective loss of regional knowledge. Residents of the island expect that, despite various efforts, the island’s population will not experience regrowth (Matanle 2011). Instead of planning for an unlikely future, islanders are learning how to mediate shrinkage through the restructuring of their local industries and lifestyles. The efforts made towards achieving stability aim at making a link with Sado’s character. In addressing shrinkage, Sado Islanders are expressing a need for more educational spaces for saké brewing and farming as well as more public and tourist spaces. The opportunity to design spaces that facilitate these traditional practices in a more public way creates a unique context for architecture. In “Towards a Critical Regionalism”, Kenneth Frampton outlines that architecture can highlight the unique characteristics of a region in order to reinforce the identities of the community that lives there (Foster 1983). In addition to the materials and tectonics of a building, these guidelines for critical regionalism can be applied to the design of local industry (Banai, Nuit, and Beck 2017). Lewis Mumford states that regionalist architecture is not only about locally available building material or the recycling of historic ver-

nacular techniques, but a design that closely responds to the conditions of life in a particular area (Banai, Nuit, and Beck 2017). Saké brewers of Sado are currently developing a new “regionalism” through production and export techniques. Brewers are in the process of identifying new global clients to maintain a demand for their products and share the island’s culture while improving the sustainability of the local brewing process. This includes new opportunities for education, working with new waste disposal technologies and rice farming practices (Matanle, Peter, and Sato 2010). The rehabilitation of the traditional, terraced rice paddy system that fosters endangered animal species is gradually becoming part of Sado’s agricultural narrative. The thesis will focus on three geographically distinct sites where depopulation has been documented—Sado Island in Niigata Prefecture Kamocho in Okayama Prefecture and Kamiyama Village in Tokushima Prefecture—and will propose design interventions that serve their primarily elderly populations by integrating them in new economic and educational activities. Although the elderly population is a major stakeholder of each proposal, the main focus will be to develop programmatic scenarios for the surrounding community which might encourage urbanites to return to or move to the countryside. The fieldwork for this research, which involved in-person interviews with local citizens as well as various methods of site documentation, inform the future design proposals Finding a New Commons: Architecture’s Role in Cultural Sustainability for Japan’s Shrinking Regions. Julia Nakanishi [ 91 ]

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The Abandoned Public School and Theoretical Frameworks The current state of socio-economic decline in Japan’s countryside is possibly most evident in the stark abandonment of buildings. Travelling through these rural locations this past summer, the emptiness was apparent in the vast number of akiya (a term meaning ‘abandoned house’), shuttered storefronts, and public institutions. A recurring and recognizable type of abandoned building was the public school, which become obsolete after the decrease in child population (Gordenker 2003). In Japanese, the term haikō was developed to describe this building phenomenon. The Japanese school building type evokes an architectural monumentality that is connected to the political motives of the curriculum as well as its function as environmental relief infrastructure. When natural disasters damage homes and public infrastructure, the local public school auditorium is converted into temporary accommodation and a hospital. Schools are typically fortified, constructed on top of artificial topography that positions the school above flood lines. The school’s high ground and structure provide a resiliency for the natural disasters that Japan faces. In the context of these disasters, the school building is adapted to house displaced members of the community. The typical haikō is a compelling site for architectural intervention due to the national consistency of its architecture and the curriculum it houses. The public school is a collective experience and memory shared by all Japanese citizens. Some depopulating communities have proposed and implemented strategies for re-inhabitations of haikō with the goal of improving social and economic conditions. The modular construction and immutable structures of the schools have demonstrated flexibility by accommodating a variety of programs. The proposed research will document examples of school reuse and build upon these initiatives. The Japanese school curriculum is a response to what the Ministry of Education, Culture, Sports, Science, and Technology (MEXT) describes as a “spread of undesirable ‘individualism’ or ‘me-ism” that “leads individuals in this society to lose their

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Figure 5: Abandoned elementary school in Niigata Prefecture. Source: Julia Nakanishi. Figure 6: Abandoned middle school in Sado Island, Niigata Prefecture (Drone site documentation) Source: Julia Nakanishi. Figure 7: Abandoned middle school in Kamiyama, Tokushima (Drone site documentation) Source: Julia Nakanishi.

sense of responsibility, sense of justice or ambition” (Current status of education in japan and the challenges of the future 2012). The goal of this education system is not just to provide academic learning but also a sense of public responsibility. This overarching framework was developed after World War II, an era in which Japan was rebuilding itself as a nation and undergoing economic and social reform. These government motives are depicted in the consistent opportunities provided to Japanese children in their schools: from facilities

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to learning materials to activities aimed towards educating productive citizens. All proceedings within the school are executed in a highly organized and arguably disciplinary (Foucault 1995) fashion that reflects the rigidity of the building’s architecture. I have analyzed these behaviors with reference to Atelier Bow-Wow’s research on Behaviorology and Commonalities and have proposed new occupations using Hannah Arendt’s theory of plurality. Behaviorology looks at a building as a network of relationships between humans, the natural environment, and the structure itself. Stemming from Bruno Latour’s Actor Network Theory (ANT), Behaviorology challenges designers to understand and visualize how architecture can be positioned as a network of “actors”, which includes objects, landscapes, processes, ideas as well as humans (Kaijima, Momoyo, and Tsukamoto 2010). In the case of Sado Island’s agricultural practices, the influence of animals and other physical and geographical factors are distinctly integrated with the actions of humans in the community. ANT can be applied to architecture through its inclusion of non-living objects, placing an equal value on their contribution to the making of a building or landscape (Fallan 2011). These contributions, exchanges and relationships between actors constitute a network. Additionally, ANT states that as much as humans construct their artifacts, “artifacts construct and configure us” (Latour 2005). In the context of Japanese public schools, the political influence on the design of schools is evident in its uniform construction and modularity; students are configured by their school building and move in a highly controlled manner. The Behaviorology theory addresses elements of ANT to further discuss the emotional relationships between users and architecture while including non-human actors in the discussion. Commonalities, also developed by Atelier Bow-Wow, is a theory that states that specific relationships between actors repeat themselves in various situations and can be called “common” behaviors of people and objects. In The Human Condition, Arendt writes about the need for plurality and a space of appearance by arguing that healthy communities require a vibrant public life that allows for citizens to disclose

their uniqueness (Arendt 1998). This public life is supported by a distinct place of appearance, which relies on community members coming together to act on public matters and, in the context of this research, local concern (Arendt 1998). Using the writing by Atelier Bow-Wow, Arendt, and Latour as analytical tools, the Japanese public school in its original state can be considered, despite government motives, directed towards social responsibility and communal concern, an extreme example of anti-plural space that houses controlled behavior. The school is part of a greater network of societal ideals propagated by MEXT: ideas which this research seeks to challenge as these spaces are adapted for new users and new norms such as enabling women and the elderly to work more consistently, and places where Japan’s rural communities can celebrate their “uniqueness”. This research examines the possibility of architectural interventions in Japan’s haikō that aim to expand on the fading knowledge (processes and traditions) of its surrounding region. This will be achieved through implementing local production bound to the unique characteristics of the physical landscape and designing spaces for public interaction in selected sites. Some potential programs include educational saké brewing facilities, wood processing and manufacturing, and, as outlined in the case of Sado Island, efficient waste disposal and agricultural practices. The fieldwork in each site will inform the selection and design of these programmatic opportunities. Inevitably, the designs will propose a change of meaning for these buildings: schools that previously represented a national approach to education and identity will be re-appropriated to accommodate highly specific programs bound to their local community. This will change the current anti-plural structure of the building in order to imagine new collective futures and subtle new social infrastructures that empower historically under-represented groups, such as working mothers and the elderly. It will also establish a new network of relationships between a region’s natural resources, production facilities, distributors, consumers, farmers, manufacturers, and architects.

Finding a New Commons: Architecture’s Role in Cultural Sustainability for Japan’s Shrinking Regions. Julia Nakanishi [ 93 ]

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Figure 8: Typological diagram of a typical Japanese public school with overlays of past, abandoned and future states with zoom-in of the auditorium (2018). Source: Julia Nakanishi.

Figure 9: School re-use project in Kyonan, Chiba (2019). Source: Julia Nakanishi.

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Architecture’s Role in Shrinking Regions A large portion of architectural discourse and practice responds to urban growth and technological advances associated with the city. This research interrogates how architects can adapt their skill sets and use design thinking to support rural lifestyles. Can architecture facilitate a “slower” daily life instead of a rapidly productive future? Additionally, how can urban dwellers adapted to the characteristics of city life be inspired to move to rural villages? While some published interviews with residents of villages describe scenarios where people moved back to their hometowns after attending university or working in cities for a number of years, predictive demographics indicate that more urbanites will need to move to the countryside to avoid the complete disappearance of most communities (Matanle and Sato 2010). In a country where so many of its cultural activities are directly tied to rural regions, solutions for restoring them are becoming increasingly urgent. Kenneth Frampton suggests that critical regionalism can be achieved by redirecting the attention from visual stimulus, propagated by the metropolis, back to the physicality and materiality of our environments. Life in cities is framed by similar built environments that serve as products of globalism, while rural life is characterized by the unique relationships a community has with local conditions (Bowring and Swaffield 2004). The productive programming implemented in these schools will aim to highlight these relationships through new forms of agriculture, tourism and other cultural activities. The abandoned public school buildings provide a potential site for this remediation, due to the existing, environmentally resilient infrastructure and their place in the local imaginary. In addition to addressing programs that could be implemented in the school buildings to stimulate local economies, culture, and knowledge, it is important to address the significance of the embedded meanings of these schools when designing for adaptive re-use. The schools in their existing condition evoke a national narrative of school culture common to every Japanese citizen. In understanding the initial intentions, it is critical that

Figure 10: Fieldwork sketch depicting the unique agricultural landscape of Kamiyama Village, Tokushima: vegetables, fruits and teas are produced on steep slopes through the use of terraces supported by stone retaining walls (2019). Source: Julia Nakanishi.

we address the need for a more local approach of sharing knowledge in a way that can sustain cultural processes and production. Through specific educational and productive programs, communities can re-establish relationships with their surrounding landscape, and in doing so, reinforce personal identities. The design research will seek out untapped opportunities for micro-economies, education, and community interaction and the potential for programmatic overlaps. The buildings will be microcosms of different community elements and demonstrate alternate futures for each region. With different emphases on social interaction, culture, and economy in each, the intention of each “demonstration” is to promote the movement of urban families and young adults to rural areas to the point where shrinkage can be stabilized. These demonstrations will also harness the cultural developments in Japanese society triggered by shrinking populations, such as the growing efforts to support working mothers. The re-use of each school will, through the design of spaces such as community kitchens, daycares, shared professional duties, and other social infrastructure, promote a new daily life for women with families and leverage their previously overlooked resources.

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Methods, Results, and Further Design Work The background research on Japan’s depopulation crisis, regional identities, and political history of public schools was conducted through a mixed-methods approach that incorporates the qualitative methods of cultural studies and semantic ethnography. The cultural studies approach incorporates both theoretical and empirical analyses (Pickering 2008) and will be applied to understanding rural depopulation through data as well as theories relating to urbanization and critical regionalism in a Japanese context. This will support the analysis of cultural meanings of public schools using Arendt’s theory of plurality and Latour’s ANT. These analyses are illustrated through mapping the existing social and physical relationships, networks, and stakeholders at the scale of the building, its surrounding landscape, and Japan, (as shown in Figures 7-9). Demographic data and theoretical narratives that emerge through the cultural studies methods have led to the selection of three sites, each with a distinct context. The sites exemplify the diversity of Japanese landscape as well as regional cultures. The fieldwork was conducted using a semantic ethnographic approach. This included conducting in-person documentation and semantic ethnographic interviews with members of town councils, farmers, craftspeople, and individuals working in tourist industries. Semantic ethnography involves active listening techniques to obtain knowledge provided by people about their own culture (Cranz 2016); these techniques help to uncover underlying spatial patterns that emerge in an individual’s way of speaking that will allow for creative interpretation. These patterns, which consist of routes, particular rooms, objects, and characteristic places illustrated specific relationships that each community has with their rural landscape as well as their abandoned public schools. These findings will inform the design proposals in each site, which are in-progress. One such finding was the way in which participants from all three towns described the idea of “gathering”. When prompted to provide observations and opinions on the impacts that depopulation has had on their community, interviewees frequently mentioned the lack of spaces that provided opportunities for “gathering”. However, [ 96 ] Enero de 2020. ISSN 2011-3188. E-ISSN 2215-969X. Bogotá, pp. 88-99. https://revistas.uniandes.edu.co/journal/dearq

participants from each village described unique forms of conviviality. For example, participants from Kamocho discusses the “irori”, fireplaces in traditional rural dwellings. The irori is a sunken hearth which functions as a stove and is designed in a way that people can sit around it on all sides while meals are prepared. Learning from these traditional forms could help in designing community-relevant public spaces that attract people of all generations, such as one that incorporates eating, cooking, and sitting by a fire together. Conversations with local residents in each site also included the experiences of young parents and other individuals who had moved back home or move to rural locations for the first time after living in urban contexts. The popular opinion was that the countryside provided a healthier and more relaxed setting for children along with a distinct relationship to the surrounding physical environment that felt nonexistent to most people in Japanese cities. One participant, a textile maker in Kamocho, stated: “It was important for me to be able to teach my daughter about how the food and items of our daily lives are made. The rice that we eat is cultivated for a long time, watered for a long time, and then it is harvested and processed. Those transitions and relationships are so visually present where we live”. This more integrated relationship with nature also coincides with the common practice of subsistence farming in rural areas. Subsistence farming in this case refers to households that satisfy most of their individual consumption needs through producing their own food, usually while pursuing other forms of employment or work. In conversation with a rice farmer, they stated “life in the countryside provides enough time for self-sufficiency [producing your own food], as well as opportunities for many other creative projects and types of work. I am a farmer, a musician, and a horticulturist.” The abundance of natural spaces and resources also provide a platform for projects and experimentation that are less available in the city. A resident of Kamiyama stated, “We were able to reuse an abandoned electronics factory as a fabrication space and maker lab, and there is lots of space for us to work. As a community we are continuously finding new things to make and do, and perhaps the next step is to have a space that is flexible and responds to these different experiments and changing needs”.

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Shrine

Terraced rice paddies

Rocky shoreline

Oceanside villages

Utashironosoto Nursing Home Minami Junior High School Channeled terraced rice paddies

Endangered toki

Oysters

Rice Ryotsu Port Shopping Steets Tenjo Shuzyo Brewery

Sado Island History Museum

Bird-friendly rice ecosystem

Ferry

Tourism

Beef + dairy

Fish

History museum Minami Junior High School

Channeled terraced rice paddies

Fermentation: Koji

Port shopping streets

Taiko drummers Ryotsu Port Shopping Steets Tenjo Shuzyo Brewery

Sake brewing process

Sake

Farmers

Figure 11: Cultural, economic, and social stakeholders of Sado Island (2019). Source: Julia Nakanishi. Figure 12: Mapping the stakeholders in the area surrounding Ryotsu Port, then isolating those factors that will contribute directly to the new program and design of the school re-use project. (2019). Source: Julia Nakanishi.

Building Inputs: Material/Knowledge-Based Resources

Material Resources:

Locally grown rice, vegetables, other agricultural products, byproducts of saké

Knowledge-Based Resources:

Craft saké brewing process, brew masters, elderly population with knowledge of local landscapes, tourist

Abandoned Junior High School School Re-use:

The program that will define the architectural adaptations of the school will be determined post-site documentation and field work. Some potential programs that could translate the proposed inputs to the proposed outputs include: - extension of the Vocational School - demonstration agricultural land/ processing - demonstration saké brewing facility - skills exchange centre

Social/Cultural/Economic Outputs Potential outputs:

- Increased production and demand of local saké and other consumable products, resulting in re-activated storefronts - Increased cultivation + preservation of heritage agricultural land - Inter-generational learning - Byproducts of saké processed into other goods, such as other food products, household items, fertilizer, cattle feed, etc

Figure 13: Proposing how the school will take the cultural/economic/social stakeholders as “inputs” and then create outputs that fit and are beneficial to the island network. (2019). Source: Julia Nakanishi.

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One of the questions when moving forward with the research is how to incorporate this qualitative data into each school re-use proposal. This is where an interdisciplinary architectural approach becomes important. The interview method proved to be highly informative about the daily lives and needs of the people who would be the users of the proposed building. The gathering of the data, which involved weeks of long conversations with community members, as well as interpreting it to design future programs as well as space, is outside of an architect’s typical design repertoire. Developing and exercising skills in interviewing and connecting with strangers, forming parallels within the personal stories of participants as well as spatial interpretations, and proposing social events, functions, and economic activities from the data are all interdisciplinary skills required when designing architecture that addresses the needs of a particular community.

Conclusion Using a program designed with fieldwork results and an understanding of the existing regional networks as well as schools and their communities, the research explores the potential to support industrial and material processes as well as educational and community activities through adaptive reuse, program design, and economic proposals in each site. These proposals will demonstrate strategies that could be applied to other depopulating regions as well as an interdisciplinary approach to design. Despite its focus on the Japanese context, the analysis of the embedded meanings of schools as well as their potential as sites for economic and cultural stimulation fits into a growing international discourse for architects. As contemporary lifestyles change, architects are being asked to adjust, restore, and repurpose existing buildings while operating in new economic and demographic contexts where cultural sensitivity and interdisciplinary skills become essential tools.

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References 1. Arendt, Hannah. 1998. The human condition (2nd ed.). Chicago: University of Chicago Press. 2. Banai, Nuit, and Beck, Alisa. 2017. Critical regionalism: Between local and global. Retrieved from https://www.guggenheim.org/blogs/map/criticalregionalism-self-maintenance-between-local-andglobal?fbclid=IwAR2gO0nEdKwQ3V-oAVkdrOVYy46USdFO82-uEeWNvB_cPcnX76pglboJLhE 3. Bowring, J, and Swaffield, Simon. 2004. “Think global, think local: Critical regionalism and landscape architecture.” Landscape Review, 9(2), 1-12. Retrieved from http://search.proquest.com.proxy. lib.uwaterloo.ca/docview/1609296684?account id=14906 4. Coulmas, Florian. 2007. Population decline and ageing in Japan: The social consequences. London; New York: Routledge. 5. Cranz, Galen, 2016. Ethnography for designers. Abingdon, Oxon: Routledge, Taylor & Francis Group. 6. Current status of education in japan and the challenges of the future. 2012. Retrieved from http:// www.mext.go.jp/en/policy/education/lawandplan/ title01/detail01/sdetail01/1373814.htm 7. Fallan, Kjetil. 2011. “Architecture in action: Traveling with actor- network theory in the land of architectural research.” Architectural Theory Review, 16(2), 184-200. doi:10.1080/13264826.2011.601545 8. Feldhoff, Thomas. 2012. “Shrinking communities in japan: Community ownership of assets as a development potential for rural Japan?” Urban Design International, (18), 99-109. 9. Frampton, Kenneth. 1983. The anti-aesthetic: Essays on postmodern culture (1st ed.). Port Townsend, Wash.: Bay Press. 10. Foucault, Michel. 1995. Discipline and punish: the birth of the prison (2nd Vintage Books ed.). New York: Vintage Books. 11. Gordenker, Alice. 2003. Empty school buildings: Reuse or recycle? Retrieved from https://www.japantimes.co.jp/life/2003/11/20/lifestyle/empty-schoolbuildings-reuse-or-recycle/#.W-nv0HpKgn0

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12. Kaijima, Momoyo, and Yoshiharu Tsukamoto. 2010. Behaviorology. New York: Rizzoli. 13. Kobayashi, Hiroto. 2011. “Ongoing research, MIT.” Retrieved from http://web.mit.edu/tane/home. html 14. Latour, Bruno. 2005. Reassembling the social: An introduction to actor-network-theory. Oxford, UK: Oxford University Press. 15. Matanle, Peter. C. D. 2011. Japan's shrinking regions in the 21st century. Amherst, N.Y.: Cambria Press. 16. Matanle, Peter, and Sato, Yasuyuki. 2010. “Coming soon to a city near you! learning to live ‘Beyond growth’ in Japan`s shrinking regions.” Social Science Japan Journal, 13(2), 187-210. doi:10.1093/ssjj/ jyq013 17. Nelson, Rebecca, and Chanlett-Avery, Emma. 2014. ““Womenomics” in Japan: In brief.” Current Politics and Economics of Northern and Western Asia, 23(4), 49-58. 18. Ohno, Hidetoshi. (Ed.) 2006. Fiber city, Tokyo." Germany: Hatje Cantz. 19. Oswalt, Phillip, Amin, Ash, Bittner, Regina, Detmar, Jörg, Ohno, Hidetoshi, and Engler, Wolfgang. 2006. Shrinking cities volume 2: Interventions. Germany: Hatje Canz. 20. Pickering, M. 2008. Research methods for cultural studies. Edinburgh: Edinburgh University Press.

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Photo-ethnography and Political Engagement: Studying performative subversions of public space Foto-etnografía y compromiso político: Estudio de las subversiones performativas del espacio público Recieved: July 20, 2019. Accepted: September 24, 2019 DOI: https://doi.org/10.18389//dearq26.2020.11 Reflection paper

Abstract As a result of the development of digital technologies, the production, editing and publication of photographs is fully incorporated into our daily lives. We routinely use images as language to describe, comment on, interpret, laugh with, captivate, or ironize others. However, scant attention has been paid to how these technologies have been incorporated into research methods. The word continues to be the hegemonic source of the codes and categories used to analyze and engage in discussions in the academic community. During our research on performative practices at the Santiago Gay Pride Parade, we discovered a visual phenomenon that is impossible to describe using words alone. This led us to engage methodologically to approach our field of study using design, digital media and photographs. We believe that an eminently visual phenomenon such as the performative appropriation of public spaces must be studied using a method that preserves the richness of the spectacle and allows for narrative consistency. Keywords: Performative protests, visual research, public space, gay pride parade, political visibility

Resumen Como resultado del desarrollo de tecnologías digitales, la producción, edición y publicación de fotografías está plenamente incorporada a nuestra vida diaria. Cotidianamente, usamos las imágenes como lenguaje para describir, comentar, interpretar, reír, cautivar o ridiculizar a otros. Sin embargo, se ha prestado poca atención a la forma en que estas tecnologías se han incorporado a los métodos de investigación. La palabra sigue siendo la fuente hegemónica de los códigos y de las categorías usadas para analizar y debatir en la comunidad académica. Durante nuestra investigación sobre prácticas performativas descubrimos en el Desfile del Orgullo Gay de Santiago un fenómeno visual que es imposible de describir sólo con palabras. Esto nos llevó a abordar metodológicamente nuestro campo de estudio utilizando el diseño, los medios digitales y fotografías. Creemos que un fenómeno eminentemente visual, como la apropiación performativa de los espacios públicos, debe ser estudiado con un método que preserve la riqueza del espectáculo y que permita la coherencia narrativa. Palabras clave: Protestas performativas, investigación visual, espacio público, desfile del orgullo gay, visibilidad política.

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Pablo Hermansen Escuela de Diseño, Pontificia Universidad Católica de Chile  phermans@uc.cl

Roberto Fernández Departamento de Psicología Social, Universidad de Chile  rfd2003@gmail.com

Introduction In 2018, a social movement known as Feminist May burst onto the scene in Chile. It first developed in university communities in response to a number of unresolved sexual harassment complaints filed by students against professors. The movement then expanded beyond the original trigger of the protests to include calls for the elimination of sexist practices from the labor market, education, and public spaces; it then became a general call to end the patriarchy and its diverse incarnations (Grau 2018; Richard 2018). The protesters' bodies played a key role in their visibilization strategies. As Butler (2015) notes, when street protesters place their “bodies on the line,” they performatively exercise the right to temporarily reconfigure the public space, its

uses, and, in general, their political relationships with hegemonic powers. Authors such as Borja (2003), Voirol (2005), and Tassin (2013) point out that citizenship is only effective when the subject constitutes itself as a citizen through public political actions. The “agencing” (Ingold 2017, 20) of public space is recognized as an act exercised by a citizen who belongs to a specific group with a political presence (Cruces 1998). However, as Butler (2015) points out, the protesters' political power depends on the dissemination of their message through the media. As a result, images and digital networks are key resources for contemporary social movements (Castells 2012; Hermansen and Chilet 2010). As Butler puts it, “The street scenes become politically potent only when and if we

Figure 1: The main column of the Gay Pride Parade (2014) several blocks from La Moneda Presidential Palace in the heart of the civic center of Santiago de Chile. Source: By authors.

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Figures 2 and 3: A protestor at the Santiago Gay Pride Parade (October 2014) uses the La Moneda Presidential Palace as a backdrop and poses for other protestors’ cameras. Source: By authors.

have a visual and audible version of the scene communicated in live or proximate time, so that the media does not merely report the scene, but is part of the scene and the action.” (2015, 91) At the same time, because of its strategic importance in making subaltern subjects politically visible, many of the practices deployed by protesters are developed in terms of their visual coverage and dissemination. “What bodies are doing on the street when they are demonstrating is linked fundamentally to what communication devices and technologies are doing when they ‘report’ on what is happening in the street.” (Butler 2015, 9394) Therefore, the visual aspect of the phenomenon becomes central. Long before the Feminist May movement of 2018, the 2006 and 2011 student protests and social movements linked to feminism, ethnic identities, and sexual minorities (Figure 1) appropriated and re-signified the public space in Chile through the performative unfolding of protestors’ bodies. (Paredes, Ortiz, and Araya 2018; Urzúa Martínez 2015) Protesters demonstrate an increasingly sophisticated level of awareness of this visual dimension, which they use strategically to compensate for the silence of the mainstream media when it comes to counterhegemonic demonstrations (Taylor 2016). As the images from the 2014 Santiago Gay Pride Parade presented in Figures 2 and 3 indicate, it is increasingly common for protesters and members of the public to generate and disseminate their own images. Our photoethnographic work on protests allows us to iden-

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tify certain recurring practices related to the ways in which protestors change or leverage their appearance. As one protestor pointed out, they believe that their “body is the canvas” for slogans and political statements. In this paper, we will analyze some political uses of the body in public spaces during the Santiago Gay Pride Parade.

The general context of the Santiago Gay Pride Parade The end of the dictatorship in Chile allowed various marginalized groups to fight for visibility and their rights. In this context, LGBTI groups such as Movilh, ACCIÓNGAY, and Fundación Iguales organized and sought recognition from the rest of society, calling attention to conservative political and religious powers’ prejudices, and worked to change legislation. This movement’s achievements include the decriminalization of sodomy, the inclusion of principles of non-discrimination and respect for diversity in the education program through the General Education Law, the Anti-Discrimination Law that includes sexual orientation and gender identity as a protected category, and the Civil Union Law, which was passed in 2015 after 11 years in Congress. In Chile, Gay Pride was originally celebrated at the end of September to commemorate the murder of scores of people in a fire in the gay nightclub Divine in early 1990s. However, for the past five years, Santiago's Gay Pride Parade has been held on June 28, which is when other cities hold their celebrations. The march starts in Plaza

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Italia, where most political demonstrations begin, and ends in front of the La Moneda Presidential Palace. Although other protests also include music, theater, and dance, Gay Pride is organized as a carnival that publicly focuses the visibility of excluded bodies. Its intention is to transgress bourgeois normality, defy patriarchal powers, revalorize marginalized bodies, and encourage participants to be proud of who they are. The overall dynamic is as follows: protestors gather in Plaza Italia and then march down the Alameda, Santiago’s main avenue, until they reach the front of La Moneda Presidential Palace. Participants use traditional devices such as posters, banners, flags, slogans and songs as well as innovative performances and artistic actions to make their points. It is the latter aspect of the event that distinguishes it from other political activities. The protestors’ bodies are used as canvases that bear slogans, symbols, and images.

A brief history of the role of photography in social research During the last third of the 20th century, the deictic behavior of the photographic image was placed at the center of reflections on photography by intellectuals such as Barthes (1981), Berger and Mohr (2009), and Sontag (2001).1 They question the objectivity of photographic indexicality, viewing it as essentially subjective: its reading depends on the observer, from where they observe, and the memories it triggers. For Roland Barthes (1981), there is an insurmountable space between the photographed phenomenon and the subject who observes the image. For Barthes (1981), the moment at which a part of the photograph punctures the memory of its observer, making the indexical link between the photograph and what was once photographed disappear, is called punctum. John Berger states that this experience is the moment when “their ambiguity at last becomes true.” (Berger and Mohr 2009, 288) The correlate of this idea in the social sciences is the use of photographs to elicit meaning from research subjects (Clark-Ibañez 2004; Collier 1957;

Collier and Collier 1986; Harper 2002). Taking this one step further, photo-elicitation has been used to amplify the voices of research subjects in order to place them on the same level as the researcher (Parker 2009; Schrat, Warren, and Höpfl 2012; Warren 2002) The elicitation of photographs produced by the subjects themselves represents a dialogical encounter that exorcises the ghosts of colonialist photo-ethnography. As Pink (2008) points out, ethnography is characterized by paying special attention to the material and visual culture of the contexts it investigates, which assumes that visual data, like any other data, is not an objective representation of reality but rather a situated gaze that allows the viewer to develop relevant knowledge about the practices and meanings of a particular social field. Following Haraway (1988, 1995), all scientific research involves a positioning of the researcher. As a producer of situated knowledge, the researcher must assume a dialogic articulation and correspondence (Ingold 2017) with the positioning of the investigated subjects. As Holm (2014, 383) points out, taking a photograph always implies intentionality, and it follows that there is necessarily an ethical/political position. Beyond the recognition of the diversity of subjects and their particular performative intentions, our political engagement with their demands and claims allows us, as researchers, using the pronoun "we" to narrate the situation.. But nevertheless, Jay Ruby (1991) alerts us to an important paradox: even if photo-ethnographers use a form of research that critically analyzes the positioning of researchers and subjects, they often impose their subjectivity on the interpretation of the data by means of technical and analytical devices. One way to mitigate this is through critical and selfreflective analysis of the research experience, which seeks to focus on and make sense of the political-aesthetical dimensions of the record of the subjects' actions. Although the use of photographs for social research is almost as old as the photograph itself, and Franz Boas—one of the pioneers of modern anthropology—naturalized the production of

The work of those who rethink photography was strongly influenced by Walter Benjamin´s reflections in his 1931 book On Photography. See Benjamin, Walter. 2015. On Photography (Translated and Edited by E. Leslie. London: Reaktion Books

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photographs in fieldwork, photography still plays a secondary role in most research corpuses. Words continue to be the main source used in any report or study. Although images are used extensively to create knowledge on social life, in practical terms the institutions that fund research do not count a photo as a thousand words. In a nutshell, while words have "use value" as well as "exchange value" within the academia, social scientists only recognize the "use value" of photographic data. (Hermansen 2013). As such, our study has three complementary aims: to conduct original research on performative protests, to amplify the political claims of the protestors, and to contribute to the discussion of photo-ethnography.

Photo-ethnographic analysis Our photo-ethnographic method of analysis is qualitative. We hold an elicitation session to select the photographs that are to be analyzed. During this session, the field research experience is recovered and narrated using the photographic corpus. Throughout the photo elicitation we—as researchers and protestors—are able to recognize key moments relating to our participation in the event and can produce codes and categories to analyze the protest as a whole. Finally, we select images based on analytical categories that allow us to deepen the analysis on an empirical basis. As Figures 4, 5, and 6 show, we identify, highlight, and carefully describe key sections of each photo (Atkinson and Delamont 2008) to obtain original knowledge, which modifies the analytical category used to select the image. As a result, the photograph goes beyond being a mere illustration of a text (Harper 2008; Holm 2014) and becomes an irreplaceable source of knowledge. Unusual bodies defy the Public Figure 4 shows four young women standing in front La Moneda with painted torsos and covered faces. They are holding up a banner that bears the slogan “sexual revolution for those whose bodies have been a battleground.” There are several symbolic references in this image. All of the subjects are hooded, which is a symbol of political radicalism. One of them is wearing a ski mask, which evokes the Zapatistas in Mexico or the armed groups that resisted the dictatorship in Chile. Another is wearing a kufiyya or Arab scarf, [ 104 ] Enero de 2020. ISSN 2011-3188. E-ISSN 2215-969X. Bogotá, pp. 100-109. https://revistas.uniandes.edu.co/journal/dearq

which often represents the struggles of the Palestinian people. The other two partially cover their faces with t-shirts, which is often spontaneously done by protestors to keep the police from using video recording techniques to identify them. This symbolic hybridization, which refers to different social and political struggles, is part of a feminist framework that is referenced by the use of the slogan “sexual revolution for those whose bodies have been a battlefield.” Based on this logic of symbolic and political hybridization, we can identify the Mapuche Meli Witran Mapu symbol and the symbolism of women who have applied paint to their bodies. Indigenous symbolism is frequently used in political protests because various social movements and organizations support the struggles of the Mapuche people, including members of the feminist movement. As we observed in previous works (Fernández and Hermansen 2009, Hermansen and Fernández 2016), the demonstrators’ attitude and position standing on the open grass, bare-chested with their faces covered stands in contrast to the neoclassical orthogonality and symmetry of the government building façade and the symmetrical formation of police officers on the esplanade grid, the concrete cylinders joined by chains, and the white fence that prevents pedestrians from circulating freely in the area. The four women and their banner stand out as a whole, imposing themselves on the landscape of power through a visual game of heterogeneously constituted cohesion. Figure 4 shows a hybrid approach to defying the hegemonic public space and problematizing the idea that political protests point to the recognition of a single ideology. This eclectic performativity challenges conventional strategies of visibilization while seeking to transgress and ephemerally transform the symbolic landscape of the city rather than enrich it. The protestors’ bodies are the narrative culmination of the Gay Pride Parade in front of the government palace: the emblem of protesters’ antagonists. Thus, the backdrop stands in contrast to and amplifies their final visibility. As a result of this move by diverse anti-hegemonic groups, La Moneda triggers a “chain of equivalences” (Laclau and Mouffe 1985; Mouffe 2006), which relate and articulate a wide range of political subjectivities in opposition to the hegemonic powers.

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Figure 4. “Sexual revolution for those whose bodies have been a battleground.” Source: By authors.

In many protests, semi-nude bodies are adorned to make the public tense: breaking up the—politically constructed—normal Republican landscape. This strategy includes posing in front of the city’s monuments and emblematic buildings so that their image can be captured and disseminated. From a photo-ethnographic recording and analysis perspective, posing with La Moneda as the backdrop represents a symbolic transgression of the political and republican normality. These images are in stark contrast to selfies or tourist photographs taken in those same places. The portraits of protestors' bodies depict excluded subjects who reappropriate these spaces in a double temporality: during their performance and when the photos are published.

Just before the beginning of the Gay Pride parade, a subject posed in front of the statue of General Baquedano near Plaza Italia (Figure 5). This 19th century military figure played several key roles including his leadership in two wars against Peru and Bolivia and the occupation of Mapuche territory. The performer poses semi-nude with a banner inscribed with the slogan “Free your mind, free yourself” in front of this historical figure. We will now highlight the performative antagonism between the subject and the statue. The carefully adorned, white powdered body of the protestor has an inorganic feel, as if he were supposed to serve as a sort of human statue. However, he is re-humanized by his high-heeled shoes and

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Conclusions

Figure 5. “Free your mind, free yourself.” Source: By authors.

the banner that covers his chest: a nod to the legalsocial pressure to which women are subjected. Half-naked, powdered white, holding a banner but refusing to follow Baquedano's gaze, he performatively defines the general as his counterpart. His performance, which evokes the tension between self-objectification as a statue and re-subjectification as a woman, clashes with the static institutionalism that provides the context for his action. The performer’s position visually connects his banner to both the statue and his own self-representation as a statue; this gives him a double presence in the public realm—the performance and the published images—which invite the spectator to challenge the militarization of the Republic represented by Baquedano through the imperative “Free your mind, free yourself.” As Mitchell points out, “coming from a different direction (though certainly interwoven with trends that have been outlined), the increased presence of women, gays, and minorities in public space (…) raised in new ways questions of who public space is for and what violence in public space was meant to contain. Women's, gays', and minorities' insistence on being present and visible in public space forced dominant society to confront its exclusions.” (2016, 8) [ 106 ] Enero de 2020. ISSN 2011-3188. E-ISSN 2215-969X. Bogotá, pp. 100-109. https://revistas.uniandes.edu.co/journal/dearq

By definition, commemorative events operate on a temporal horizon that brings the past into the present, evoking important moments for protestors (Delgado 2007; Fernández 2013, 2017). However, temporality also creates dialogues and symbolic tensions between performances and the historical places in which they are inscribed. As we saw in this analysis, buildings and statues serve as the backdrops for visual and symbolic interrogations of republican values that exclude gender, sexual, and ethnic diversities. Symbols of Mapuche culture and the Palestinian people, female bodies with bare torsos, and bodies adorned to evoke subjects that have been historically excluded—including a nursery school teacher and a policewoman—or that have high historical significance such as Salvador Allende (Figure 6) refer to the past but are evoked in the present to imagine a different future that is constituted by divergent modes of political relationships. For Butler, this “event is emphatically local.” (2012, 138) However, the bodies examined here transcend the place and time of their protest because of the photographic records of the event. This interplay occurs on several levels. First, given the scant media coverage of this type of event, most of the records are produced by other protestors: by subjects committed to the same claims. As such, the images are recorded in “correspondence” (Ingold 2017) with those who are performing. These performances tend to be developed by subjects who are fully aware that the record is being made. Their modes of presentation, the structure of their messages and the rhythm with which they operate favor being photographed. Finally, with the publication and circulation of the images, the protestors themselves are corroborated as being part of the protest. Once installed in the public domain, these photographs acquire a new type of power given that “if those bodies on the line are not registered elsewhere, there is no global response, and also, no global form of ethical recognition and connection, and so something of the reality of the event is lost.” (Butler 2012, 138) Conversely, “the receptivity (of the unexpected contained in the images) is a constituent feature of (ethical and political) action.” (Butler 2012, 136) The protestors go beyond the immediacy of being at the event through the photographic record and

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Figure 6. “Free sex education.” Source: By authors.

its circulation. These records provide an account of what happened, and in a certain sense they make it permanent on two levels. Once published, the images are available to be seen and shared, to be, as Berger and Mohr put it, “restored to a living context: not of course to the original temporal context from which they were taken—that is impossible—but to a context of experience. (…) It allows what they show to be appropriated by reflection. The world they reveal, frozen, becomes tractable” (2009, 288). In addition to pointing to the protest and verifying its authenticity, these images introduce the certainty that what happened is also a possible future. In demonstrating that the hegemonic order was effectively subverted in the city, the photographs of bodies that appropriate the public space broaden the spectrum of the politically feasible. Ways of life that are habitually excluded dominate the urban landscape for a moment in the public space and forever in the photographs. In other words, what is normally “exceeded” (de la Cadena 2015) is described as real in the photographs and, therefore, as a real possibility of reorganizing our social relationships. In the words of Dominique Lestel, “We must alter profoundly what it means to engage in politics. The time of reforms has failed, and we need to

become more radical. Doing so requires a break in our usual ways of thinking. To conceptualize the forms that policy can take in the future, we need to mobilize an excessive kind of thinking—we need to adopt a posture that is a priori extravagant and put its plausibility to the test.” (2016, 96) In this sense, the struggles for visibility and the records that are created of those struggles exceed the specific moments in which they are deployed. By participating in the construction of urban and political imaginaries, these images cease to represent exceptional situations of the past. Instead, they foreshadow a potential new society that is not utopian, but tangible and within reach.

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4. Berger, John., and Mohr, Jean. 2009. Otra manera de contar. Barcelona: Gustavo Gili. 5. Borja, Jordi. 2003. La ciudad conquistada. Madrid: Alianza. 6. Butler, Judith. 2012. “Precarious Life, Vulnerability, and the Ethics of Cohabitation.” The Journal of Speculative Philosophy, 26(2), 134-151. doi:10.5325/ jspecphil.26.2.0134 7. Butler, Judith. 2015. Notes Towards a Performative Theory of Assembly. Cambridge, MA: Harvard University Press. 8. de la Cadena, Marisol. 2015. Earth beings: ecologies of practice across Andean worlds. Durham/London: Duke University Press. 9. Castells, Manuel. 2012. Networks of Outrage and Hope. Social Movements in the Internet Age. Cambridge, MA: Polity Press. 10. Clark-Ibáñez, Marisol. 2004. “Framing the Social World With Photo-Elicitation Interviews.” American Behavioral Scientist, 47(12), 1507–1527. https:// doi.org/10.1177/0002764204266236 11. Collier, John. 1957. Photography in Anthropology: A Report on Two Experiments. American Anthropologist, 59: 843-859. doi:10.1525/ aa.1957.59.5.02a00100 12. Collier, John, and Malcolm Collier. 1986. Visual anthropology: photography as a research method. Albuquerque: University of New Mexico Press. 13. Cruces, Francisco. 1998. “El ritual de la protesta en las marchas urbanas.” In Cultura y comunicación en la Ciudad de México, segunda parte: la ciudad y los ciudadanos imaginados por los medios edited by N. García Canclini, 27-83. México DF: Grijalbo - Universidad Autónoma Metropolitana Iztapalapa. 14. Delgado, Manuel. 2007. Sociedades movedizas. Pasos hacia una antropología de las calles. Barcelona: Anagrama. 15. Fernández, Roberto. 2013. “El espacio público en disputa: Manifestaciones políticas, ciudad y ciudadanía en el Chile actual.” Psicoperspectivas, 12, 28-37. 16. Fernández, Roberto. 2017. “La producción social del espacio público en manifestaciones conmemorativas, Santiago de Chile, 1990-2010.” EURE - Revista De Estudios Urbano Regionales, 43(130), 97-114. 17. Fernández, Roberto, and Hermansen, Pablo. 2009. “Aproximaciones metodológicas para una sociología visual a partir del estudio de prácticas de memoria colectiva en el espacio público de la ciudad de Santiago de Chile.” Espacio Abierto, 18, 445-460.

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18. Grau, Olga. 2018. “Un cardo en la mano.” In Mayo feminista, la rebelión contra el patriarcado, edited by F. Zerán, 91-97. Santiago: LOM. 19. Haraway, Donna. 1988. “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective.” Feminist Studies, 14(3), 575-599. 20. Haraway, Donna. 1995. Ciencia, cyborgs y mujeres. La reinvención de la naturaleza. Translated by M. Talens. Valencia: Ediciones S.A. 21. Harper, Douglas. 2002. “Talking about pictures: A case for photo elicitation.” Visual Studies, 17(1), 1326. doi:10.1080/14725860220137345 22. Harper, Douglas. 2008. “What´s new visually.” In Collecting and Interpreting Qualitative Materials (3rd ed), edited by N. K. Denzin, and Y.S. Lincoln, Y. S. Thousand Oaks, CA: SAGE. 23. Hermansen, Pablo. 2013. “Fotoetnografía: Emergencia, Uso Silencioso y Tres Irrupciones en la Tradición Estadounidense”. PhD Thesis. PhD program in Architecture and Urban Studies, Pontificia Universidad Católica de Chile. 24. Hermansen, Pablo, and Chilet, Marcos. (2010). “Ciudad Virtual, Ciudad Real: conflicto y emergencia de un nuevo entorno urbano.” Diseña, 2, 40-49. 25. Hermansen, Pablo, and Fernández, Roberto. 2016. “Performatividad y Disputa digitalmente aumentada en el Espacio Público de Santiago de Chile: Fotoetnografía y análisis de la Marcha del Orgullo Gay.” International Journal of Marketing, Communication and New Media, Special Number QRMCNM(1), 79-96. 26. Holm, Gunilla. 2014. “Photography as a Research Method.” In The Oxford Handbook of Qualitative Research, edited by P. Leavy, 380-402. New York: Oxford University Press. 27. Ingold, Tim. 2017. “On human correspondence.” Journal of the Royal Anthropological Institute, 23, 9-27. doi:10.1111/1467-9655.12541 28. Laclau, Ernesto, and Mouffe, Chantal. 1985. Hegemony and socialist strategy: Towards a radical democratic politics. London: Verso. 29. Lestel, Dominique. 2016. Eat This Book: A Carnivore's Manifesto. New York: Columbia University Press. 30. Mitchell, Don. 2016. “People's Park again: on the end and ends of public space.” Environment and Planning A, 0(0), 1-16. https// doi.10.1177/0308518X15611557 31. Mouffe, Chantal. 2006. The Democratic Paradox. London: Verso.

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32. Paredes, Juan Pablo, Ortiz, Nicolás, and Araya, Camila. 2018. “Conflicto social y subjetivación política: performance, militancias y memoria en la movilización estudiantil post 2011.” Persona y sociedad, 32(2), 122-149. 33. Parker, Lee D. 2009. “Photo‐elicitation: an ethno‐historical accounting and management research prospect,” Accounting, Auditing & Accountability Journal, 22(7), 1111-1129. https://doi. org/10.1108/09513570910987439. 34. Pink, Sarah. 2008. Re-thinking Contemporary Activism: From Community to Emplaced Sociality. Ethnos, 73:2, 163-188, doi: 10.1080/00141840802180355 35. Richard, Nelly. 2018. “La insurgencia feminista de mayo 2018.” In Mayo feminista, la rebelión contra el patriarcado, edited by F. Zerán, 115-125. Santiago: LOM. 36. Ruby, Jay. 1991. “Speaking For, Speaking About, Speaking With, or Speaking Alongside — An Anthropological and Documentary Dilemma.” Visual Anthropology Review, 7(2), 50-67. doi: 10.1525/ var.1991.7.2.50 37. Schrat, Henrik, Warren, Samantha, and Höpfl, Heather. 2012. “Guest editorial: visual narratives of organization.” Visual Studies, 27(1), 1-3, doi: 10.1080/1472586X.2012.642953 38. Sontag, Susan. 1977. On Photography. New York: Farrar, Straus and Giroux. 39. Tassin, Etienne. 2013. Les gloires ordinaires. Actualité du concept arendtien d’espace public. Montreal: Sens Public. 40. Taylor, Diana. 2016. “El archivo y el repertorio: La memoria cultural performática en las Américas.” Santiago de Chile: Ediciones Universidad Alberto Hurtado. 41. Voirol, Olivier. (2005). Les luttes pour la visibilité: Esquisse d'une problématique. Réseaux, 129130(1), 89-121. https://www.cairn.info/revue-reseaux1-2005-1-page-89.htm. 42. Urzúa Martínez, Sergio. (2015). “¿Cómo marchan los jóvenes en el Chile de postdictadura? Algunas notas acerca de la apropiación del espacio público y el uso político del cuerpo.” Última década, 23(42), 39-64. 43. Warren, Samantha. 2002. “Show me how it feels to work here”: Using photography to research organizational aesthetics. Ephemera, 2, 224-245.

Photo-ethnography and Political Engagement: Studying performative subversions of public space. Pablo Hermansen, Roberto Fernández [ 109 ]

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Prototype of a self-sufficient biofabrication protocol for remote territories Prototipo de un protocolo de bio-fabricación autosuficiente para territorios remotos Recieved: July 15, 2019. Accepted: September 24, 2019 DOI: https://doi.org/10.18389//dearq26.2020.12 Investigation paper

Abstract The exploration of materiality is of fundamental importance for the processes of architecture and design. Due to the rapid development of digital manufacturing, prototyping processes today have made customized systems accessible to all audiences. However, not all parts of the planet have access to these technologies and standardized materials that are required by today's industrial machinery and standards. Therefore, creating bio-manufacturing practices, for which local self-sufficiency and the use of local materials, is essential to create circular models. This fact underlines the importance of experimental materials research that connects exploring territories of all kinds of environments with self-understanding and responsible use of technologies in sensitive territories. In turn, this allows the self-sufficient emerging manufacturers to develop in extreme territories. This work highlights some important points in the bio & eco-manufacturing approach by investigating the use of materials in one of the most southern place on the planet, Puerto Willams, Chile. The planning procedure was developed as a first approach to the territory as was the development of the samples of biocomposites and potential materials to work with in this area. As a result of our experience, this paper discusses both the technological aspects of bio-manufacturing and the social and ecological considerations involved. It also integrates cooperation within an interdisciplinary group of networked laboratories interested in disseminating and contributing to the bio-fabrication design movement in Chile. Keywords: Bio-fabrication, biomaterials, self-sufficiency, remote territories, open source

Resumen La exploración de la materialidad es fundamental para los procesos de arquitectura y diseño. Debido al rápido desarrollo de la fabricación digital, los procesos de creación de prototipos actuales han hecho que los sistemas personalizados sean accesibles a todos los públicos. Sin embargo, no todas las partes del planeta tienen acceso a estas tecnologías y a materiales estandarizados que son requeridos por la maquinaria y los estándares industriales actuales. Por lo tanto, la creación de prácticas de bio-fabricación para la autosuficiencia local y el uso de materiales locales es esencial para crear modelos circulares. Este hecho subraya la importancia de la investigación en materiales experimentales que conecten la exploración de territorios de múltiples entornos con la auto-comprensión y el uso responsable de tecnologías en territorios sensibles. A su vez, esto permite que los fabricantes autosuficientes emergentes se desarrollen en territorios extremos. Este trabajo destaca algunos puntos importantes en el enfoque de bio y eco-fabricación al investigar el uso de materiales en uno de los lugares más australes del planeta, Puerto Willams, Chile. El procedimiento de planificación se desarrolló como una primera aproximación al territorio, así como el desarrollo de las muestras de bio-compuestos y materiales potenciales para trabajar en esta área. Como resultado de nuestra experiencia, este artículo discute tanto los aspectos tecnológicos de la bio-fabricación como las consideraciones sociales y ecológicas involucradas. También integra la cooperación dentro de un grupo interdisciplinario de laboratorios en red interesados en difundir y contribuir al movimiento de diseño de bio-fabricación en Chile. Palabras clave: Bio-fabricación, biomateriales, autosuficiencia, territorios remotos, código abierto

Acknowledgements: Thanks to Fab Lab Austral, Pontificia Universidad Católica de Chile, and the support of Computational Design Group MIT organized by Paloma Gonzales for their support in carrying out this exploratory work. Also, thanks to the Rhine-Waal University of Applied Sciences and the Commission of Equal Opportunities for Women for allowing the exchange of knowledge on this expedition. We extend our deep gratitude.

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Aníbal Fuentes Palacios Laboratorio de Biofabricación FADEU, Pontificia Universidad Católica de Chile  agfuente@uc.cl

Carolina Pacheco Glen Laboratorio de Biofabricación FADEU, Pontificia Universidad Católica de Chile  cpacheco1@uc.cl

Adriana Cabrera Galindez Matrix GmbH & Co. KG / Rhine-Waal University of Applied Sciences  cabrera@matrix-gmbh.de

Alejandro Weiss Munchmeyer Laboratorio de Biomateriales de Valdivia, Chile  alejandroweissm@gmail.com

María José Besoain Narvaez Laboratorio de Biomateriales de Valdivia. Chile  info@labva.org

Introduction The materials industry is the human activity that has the second greatest impact on climate change (IPCC UN 2013). In this context, the development of circular economies has aimed to integrate the material production with the ecosystem cycles. As part of the strategies that have been developed, producing materials from living organisms (biomaterials) has been positioned as a feasible alternative to face these problems (Ziegler et al. 2016). This strategy, based on the use of natural polymers highly available in the biosphere (Garmulewicz 2015), enables emerging manufacturing perspectives and practices. Traditionally, the concept ‘biofabrication’ has been used in medicine and biotechnology referring to the production of complex biological products such as organs or tissues (Mironov et al. 2009). The reference to ‘bio’ implies the use of raw materials or process inspired by biology, while the term ‘fabrication’ means to make or build something from a raw or semi-finished material (Mironov et al. 2009). Nevertheless, in the last decade, artists, designers, and architects have adopted this term to refer to the use of biological organisms for the creation of new materials (Camere and Karana 2017);(Myers 2012). Additionally, in the present framework the term ‘biofabrication’ will be also used to refer to the cultural practices that surround these emergent technologies. Developing these technologies becomes particularly relevant in isolated and remote territories

where natural resources abound but technological resources are scarce due to the topographic and climatic conditions. In these territories researching biological resources from a biomaterials production perspective becomes necessary in order to establish local and self-sufficient production chains that provide tools for material sovereignty. In this regard, developing open source protocols for biofabrication is crucial to be able to democratize these technologies. The present research focuses on developing a proposal for a small-scale self-sufficient biofabrication chain of production in remote territories. The case study in which the proposed protocol was applied took place in Puerto Williams, the southernmost town in the planet. This territory is strategic to being able to understand the sub-Antarctic region as it presents enormous restrictions in terms of transporting and in acquiring goods.

Methodological procedure for biofabrication in remote territories General considerations Biofabrication practices—understood as the use of biological resources as materials—have always been developed by humans, being wood and wool typical examples. Cultural practices (such as the development of tools, techniques, etc.) have been built around their use; thus, a technological domain has been consolidated that allows matter to be modified in order to be useful for humans. For this reason, it is necessary to declare that the present protocol has been developed from the

Prototype of a self-sufficient biofabrication protocol for remote territories. Aníbal Fuentes Palacios, Carolina Pacheco Glen, Adriana Cabrera Galindez, Alejandro Weiss Munchmeyer, María José Besoain Narvaez [ 111 ]

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perspective of foreign researchers temporarily inserted in a previously inhabited territory. Thus, in the present study anthropological tools have been incorporated into how the territory has been approached to understand the preexisting relation between natural resources and local culture. Moreover, the present protocol focuses on the development of biomaterials composed by a structural filler and a binder agent, which we refer to as ‘biocomposites’. Consequently, developing self-generating materials by growing conditions will not be addressed in this research. Finally, to correctly approach biofabrication practice, five stages have been developed, but only four could be used in this particular research in Puerto Williams. The steps are: a. Approach the territory: General planning of the visit, considering ecological, biological, geographical, technological, social, and anthropological variables. This includes carrying out previous research of the existing biomes and ecosystems, topography, species, possible anthropogenic resources, native communities and cultures, tools, practices, industries, and relevant actors in the territory, as well as anticipating all the equipment that may be required in the different parts of the fabrication process. In this step, the consequent stages are planned, including the work with the communities or the collection of samples. Once in the territory, it is necessary to corroborate in situ the previously researched information,

and, if necessary, to adapt the methodologies, procedures, and goals. b. Collection of samples: Definition of the biomes relevant to the fabrication process, planning and carrying out the expeditions and collecting raw materials (natural or anthropogenic). c. Samples processing: Extraction of the relevant compounds or preparation of the ingredients from natural or anthropogenic resources collected. d. Material experimentation: Development and experimentation of the different mixes of fillers and binders. Design and testing of materials. e. Objects production: Prototyping of possible uses for a material by developing molding systems and determined fabrication procedures. Approach to the territory Puerto Williams is the capital of the Chilean Antarctic province. This town has a population of approximately 2,200 citizens. Because of its geographic location, it is an entry platform for studies developed in Antarctica, and its extensive territory contains a diversity of landscapes and biological resources (Arenas et al. 2005). The Magellan ecoregion hosts, within its shorelines, a diversity of macroalgae and mollusks (Ojeda et al. 2018). This allows an active productive system of artisanal shellfish fishing such as Lithodes santolla, Paralomis granulosa, Loxechinus albus, and algae collection such as Gigartina skottsbergii. c.

Figure 1. Recording the stages developed for the biofabrication protocol: a. Approach to the territory; b. Collection of samples; c. Samples processing; d. Material Experimentation. Source: Compiled by authors.

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Figure 2. First visit to the Ukika community. Source: By authors.

Aware of this diversity, indigenous Yaghan communities are also relevant actors as they grant important values to mollusks, specifically Mytilus edulis, not only as a source of food, but they are also used as tools, ornaments, decorations, and for building shelters (Emperaire 2002). Another species of interest for Yaghan people is the Macrocystis pyrifera algae. This was crucial for survival in the austral region as it was used as a fishing line due to its strength, elasticity, and easy winding (Gusinde 1986; Ojeda et al. 2018). Nowadays, despite the lack of communication and the imposition of a new culture, a few members of the Yaghan community inhabit a small settlement called Ukika. This community has integrated with the Puerto Williams community at large and takes part in local activities. Unfortunately, over the years, their work with local materials has been lost, even though, there is also a desire to conserve their roots and also promote their traditions. That is the case with algae: when we asked about how they use it, the answer was that nobody has come to teach them how to work with it. Considering this and seeing the opportunities for design intervention, the possibility of using this abundant raw material not only means that new techniques will be implemented but also that ancient traditions will be reactivated in the territory. All this information provides us with the

possibility of working mainly with marine organisms such as algae and mollusks for biocomposite fabrication. Nevertheless, materials and equipment are also required for the evaluation of other ecosystems such as the forest, mountain, and peat bog areas. Biomaterials design is considered to be a DIY (Do it yourself) practice, mainly because it is developed under a self-sustained system by an individual or a group of people (Rognoli et al. 2015). It relies on accessible manufacturing tools and machinery in domestic or fabrication facilities were there is a convenient workspace and gear instruments to work with handcrafted or local materials. When working in remote territories, access to these types of instruments may be restricted by local and available resources. Therefore, the evaluation process involves determining specific tools and devices that need to be taken into the research area. These are classified under two main categories and are mostly based on their purpose regarding the bio-manufacturing process: (1) instruments needed to collect samples, and (2) tools for the biocomposite fabrication. Consequently, supplies must be considered for the field work and for the laboratory or workspace. In the first scenario, all types of tools that allow the extraction of biological matter must be

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considered: from cutting tools to tweezers. Different types of storage elements are also needed. Recording and documentation devices are essential to keep track of identified organisms and describe areas as well as climate conditions. Measuring instruments, processing tools, or molds for shaping materials are required for the material or biocomposite manufacturing. Furthermore, cooking utensils are also required such as heating or grinding instruments. Finally, some chemical compounds could be needed as ingredients for the biocomposite production. Collection of samples The characterization of relevant matter for biofabrication relies on how the territory is approached in two categories: the valuable natural resources that can be found in situ and the anthropic organic products of the area. As such, the field trips took a sea level to mountain approach while discussions with the community allowed flows of industrial, domestic and landfill wastes in the area to be recognized. Regarding the short length of the investigation and the limited utensils and workspace, no organisms were collected to grow materials. Instead, the biofabrication approach was directed towards finding natural polymers and local compostable fillers by including organic and inorganic ingredients to be incorporated in biomaterials. Field researches were undertaken mainly to look for marine residual matter on the shoreline. Seashells and algae biomass were the two main elements used for biofabrication in the marine

MATERIALS

CATEGORY

context. Seaweed contains polysaccharides in its structure, which can be used as a polymeric matrix for binding, while mollusc shells are primarily composed of the mineral calcium carbonate and can be recycled as a filler for creating biomaterials. The biological materials recognized in this context were mainly seashells from mussels (Mytilus edulis and Choromytilus chorus), clams (Venus antiqua and Chlamys vitrea), barnacles (Austromegabalanus psittacus), and also brown seaweeds such as giant kelp (Macrocystis pyrifera). In other ecosystems relevant resources were found, such as abundant lignin in decomposing trunks in forests or Sphagnum magellanicum in peat bogs. However, the use of these resources was discarded for either technical or ecological reasons. Regarding the materials available for making things from anthropic waste, abundant wood ashes were found because firewood is the main source of heating in the area. Samples processing The understanding of biological materials and their compositions is a source of inspiration for designing with natural resources. In this way, is important to consider three critical factors such as their chemical composition, microstructure, and architecture (Wegst, Bai, Saiz, Tomsia, and Ritchie 2014). Many of the materials that exist in nature have mechanical properties that overcome those that are synthetic and man-made (VIncent 1982). This is relevant if we consider that their structural consolidation involves low energetic use and no environmental impact. Also,

CONDITION OF THE SAMPLE

AFTER PROCESSING

Carbon

Filler

Chunks

Sieved Ø 1Mm - Ø 3Mm

Mussel Seashell

Filler

Fragmented / Intact

Sieved Ø 1Mm - Ø 3Mm

Lignin

Binder

Dry - Powder

Sieved Ø 1Mm - Ø 3Mm

Lignin

Binder

Moist - Plaster Like

Dried

Wood Ashes

Filler

Dry - Powder

Sieved Ø 1Mm - Ø 3Mm

Wood Cellulose

Filler

Tree Fibers

Sieved Ø 1Mm - Ø 3Mm

Calafate Husk + Seed

Filler

Humid Paste

Dried

Sphagnum Moss

Filler

Humid

Dried

Green Algae

Binder

Humid

Dried - Agar Extracted

Brown Algae

Binder

Humid

Dried

Table 1. Characterization of samples collected in Puerto Williams. Source: Compiled by authors.

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Figure 3. Sample E-04, Agar Bioplástic. (LABVA). Source: Elaborated by authors.

the chemical reactions in which they are consolidated are aqueous solutions, under atmospheric pressure and ambient temperature (Marc André Meyers et al. 2008) (Marc A Meyers et al. 2006); Wegst et al. 2014). In addition, most materials found in nature are composites, which means that there are two principal components in their structure: an organic part (polymeric and proteic composed by polysaccharides or polypeptides) and an inorganic part (ceramic minerals like calcium salts or silica) ((Marc A Meyers et al. 2006); Meyers 2008; (Sanchez, Arribart, and Guille 2005) (U. G K Wegst and Ashby 2004);(Ulrike G.K. Wegst et al. 2014). The correct balance and distribution between these components is what gives biomaterials their specific properties. Consequently, a key stage in the biocomposites production process is the extraction of the required components. Due to the diversity of the collected samples, it is necessary to foresee all the equipment necessary to: 1) avoid the decomposition of the organic matter and determine the procedures to stabilize the ingredients (cleaning, washing, cooling, cooking, dehydrating, grinding and / or sieving); and 2) adequately store each of the samples for the preservation and reserve the new ingredients to be used in biomaterial recipes. Access to water and a proper sink is essential to clean the samples. To process the samples, a kitchen-like laboratory was mounted in the FabLab Austral facilities; it includes a kitchen, pots, blender, grinders, and strainers.

In our case, anthropic waste, marine resources as well as biological materials collected from the forest were selected (Table 1). Because of timing, not all the materials were able to be fabricated into biomaterials samples. Material experimentation For the experimental approach, materials are classified using biomimicry principles regarding how biological composites perform. This involved the division of those that behave as binding agents because of gelifying properties under certain conditions while others are sorted for their structural performance and filler behavior. The material experimentation involved two case studies in simultaneous conditions. The first one is related to the viability of self-autonomy biofabrication in extreme conditions while the other explores the creation of a biocomposite based on collected samples. For the first scenario, experiments have been developed in order to obtain agar or alginate from Puerto Williams algae using low-cost extraction methods. Both are polysaccharides used as binders in the fabrication of biofilms, bioplastics, and biocomposites. For these purposes, we collected samples of Macrocystis pyrifera, the most abundant seaweed on the Puerto Williams coastline. To validate the methodology and to compare the

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CODE

E-01

E-02

E-03

E-04

SCIENTIFIC NAME

Gracilaria chilensis

Macrocystis pyrifera

Ulva Lactuca

Ulva rigida

TYPE OF SEAWEED

Red Algae

Brown Algae

Green Algae

COLLECTION SITE

Chiloé

Puerto Williams

Chiloé

Valdivia

WEIGHT (gr)

PROCESS

TIME (PRESSURE COOKER)

50 gr.

1.Washing Samples (clear water) 2.Pressure Cooker 3. Sieve

2 Hours (80 ml H2O)

No separation between cellulose and water

1.Washing Samples (clear water) 2.Pressure Cooker 3. Sieve

2 Hours (25 ml H2O)

Water and cellulose are separated Presents sediment stratification

20 gr

1.Washing Samples (clear water) 2.Pressure Cooker 3. Sieve

2 Hours (80 ml H2O)

No separation between cellulose and water

120 gr.

1.Washing Samples (clear water) 2.Pressure Cooker 3. Sieve

3 Hours (80 ml H2O)

Water and cellulose are separated. The liquid presents viscosity like agar

400 gr. (Wet)

RESULT / OBSERVATIONS

Table 2. Agar Extraction Comparison Chart. Source: Compiled by authors.

EXPERIMENTAL MATRIX - FIRST DAY

EXPERIMENTAL MATRIX - FOURTH DAY

Figure 4. Comparison of experimental matrixes (RECIPE CODES: A-MSAl2, B-MSAl1, C-BC-CEN-04, D-MSSU1, by Materiom and LABVA) Source: Elaborated by authors.

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gelling properties, we also had to also incorporate other types of seaweed from south of Chile such as: Gracilaria chilensis, Ulva Lactuca and Ulva rigida (Table 2). The first step to be able to obtain agar from the cellular wall and cellulose fibers of algae was through temperature variations. The output of the experiments showed that procedure E-04 is useful for a correct agar domestic extraction. The second material experimentation involved developing a biomaterial composed mainly of calcium carbonate from mussel shells that were collected on the Puerto Williams seaside. The purpose of the exercise is to characterize open source biocomposites recipes based on CaCO3 and organic binders in a remote territory. The objective of the experiment was to determine whether open source recipes can be used for these types of environments and using local matter. The research also explores the relationship between compounds, binders, their granulometry, their volumetric reduction, and their behavior as biocomposite. The mussel shells were cleaned, dried, grounded, and sieved. For this experimental matrix the binding and plasticizers agents were obtained from an industrial chemical facility. These include agar, alginate, glycerol, sugar, and calcium propionate for antifungal purposes.

Results The experience of Puerto Williams, as a case study for the protocol implementation, allowed for an approach to biofabrication that was supported by territorial cultural aspects. The execution of this protocol highlighted the opportunities that arise—for the biofabrication process and development—when we grasp the availability and abundance of resources concealed in natural structures. Correspondingly this also proves that an adequate equipment and infrastructure is determinant for the production of specific biomaterials. Whilst analyzing the resources for the ingredient extraction, it became clear that despite the abundance of a given resource—whether it comes from a natural or anthropic source—sometimes, because of the timeframe, infrastructure or seasonality, we would not be able to use that resource for biocomposite elaboration.

The development of the last stage is still pending for this protocol, that is to say, the production of objects, wherein the stability and behavior of materials are put to the test.

Conclusion and Future Work Implementing a self-sufficient protocol for biofabrication in Puerto Williams, revealed certain requirements and possibilities in terms of using these technologies in the near future. The first point relates to the access to knowledge and information resources for the natural environment to be correctly evaluated from a design biofabrication perspective. For creative disciplines, the understanding of biopolymers and bioelements seems to require more in depth knowledge (chemistry for example) than the necessary tools to understand traditional biomaterials such as vegetable or animal fibers. In second place, there are still many fabrication processes that are not accessible for domestic or local procedures without depending on industrial production (eg. alginate). Regarding this type of proceedings, a minimum requirement of a kitchen-like infrastructure must be considered to develop this protocol in a remote location. Although the protocol is developed for isolated areas, it always involves a relative anthropization of the territory. Finally, one of the most relevant points, that this investigation did not address, relates to the performance and usability of developed biomateriales in this context. This aspect is fundamental to be able to think about an eventual massification of these technologies. All of these questions have allowed us to recognize the opportunities to establish self-sufficient biofabrication systems. Indeed, they are still in need of more development and are a long way from becoming a feasible reality. For this reason, we understand the present proposal as a first approach to the systematization of open source protocols for the implementation of sustainable and self-sustaining production systems to be distributed throughout the territory. A future protocol methodology should include, in addition to the stages described in this research, more recipes to develop biomaterials, tools for transferring knowledge, design

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fabrication tools, and anthropological methodologies in order to aspire to its universal application in any location. For now, work in remote territories, allows methodological approaches to be developed on a local scale and with efficient use of resources for biofabrication practices.

References 1. Arenas, Federico, Gastón Aliaga, Carla Marchant, and Rafael Sanchez. 2005. El Espacio Geográfico Magallanico: Antecedentes Acerca de Su Estructura y Funcionamiento. http://www.ubiobio.cl/miweb/ webfile/media/222/Espacio/2005/Articulo Arenas_ et_al Tiempoyespacio.pdf. 2. Camere, Serena, and Elvin Karana. 2017. Growing Materials for Product Design. EKSIG 2017: Alive. Active. Adaptive, no. 1: 101–15. https://static1.squarespace.com/static/576953f3bebafb5359bfb528/t/ 5975e891cd39c316492d0e9c/1500899550482/ EKSIG2017_Alive+Active+Adaptive_Proceedings_ low+resolution2.pdf. 3. Emperaire, Joseph. 2002. Los Nómades del Mar. Santiago: LOM. 4. Garmulewicz, Alysia. 2015. 3D printing in the commons: knowledge and the nature of digital and physical resources. University of Oxford, UK. 5. Gusinde, Martín. 1986. Los indios de Tierra del Fuego. (Vol 2). Buenos Aires: CAEA 6. IPCC. 2013. Climate Change 2013: The Physical Sci-

ence Basis. Contribution of Working Group I to the Fifth Assessment Report of the Intergovernmental Panel on Climate Change. Cambridge University Press: Cambridge, United Kingdom and New York, NY, USA.

7. Meyers, Marc A, Albert Y M Lin, Yasuaki Seki, Po-yu Chen, Bimal K Kad, and Sara Bodde. 2006. Structural Biological Composites, 35–41. 8. Meyers, Marc André, Po Yu Chen, Albert Yu Min Lin, and Yasuaki Seki. 2008. Biological Materials: Structure and Mechanical Properties. Progress in Materials Science 53 (1): 1–206. https://doi.org/10.1016/j. pmatsci.2007.05.002. 9. Mironov, V., T. Trusk, V. Kasyanov, S. Little, R. Swaja, and R. Markwald. 2009. Biofabrication: A 21st Century Manufacturing Paradigm. Biofabrication 1 (2). https://doi.org/10.1088/1758-5082/1/2/022001. 10. Myers, William. 2012. BIO DESIGN, Nature, Science, Creativity. https://www.moma.org/momaorg/shared//pdfs/docs/publication_pdf/3167/ BioDesign_PREVIEW.pdf?1349967238.

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11. Ojeda, Jaime, Ricardo Rozzi, Sebastián Rosenfeld, Tamara Contadora, Francisca Massardo, Javiera Malebrán, Julia González-Calderón, and Andrés Mansilla. 2018. Interacciones Bioculturales Del Pueblo Yagán Con Las Macroalgas y Moluscos: Una Aproximación Desde La Filosofía Ambiental de Campo. Magallania (Punta Arenas) 46 (1): 155–81. https:// doi.org/10.4067/S0718-22442018000100155. 12. Rognoli, Valentina, Massimo Bianchini, Stefano Maffei, and Elvin Karana. 2015. DIY Materials. Materials & Design 86 (December): 692–702. https:// doi.org/10.1016/j.matdes.2015.07.020. 13. Sanchez, Clément, Hervé Arribart, and Marie Madeleine Giraud Guille. 2005. Biomimetism and Bioinspiration as Tools for the Design of Innovative Materials and Systems. Nature Materials 4 (4): 277–88. https://doi.org/10.1038/nmat1339. 14. Vincent, Julian F.V. 1982. Structural Biomaterials. Mathematical Biosciences. Vol. 68. https://doi. org/10.1016/0025-5564(84)90080-4. 15. Wegst, U. G K, and M. F. Ashby. 2004. The Mechanical Efficiency of Natural Materials. Philosophical Magazine 84 (21): 2167–81. https://doi.org/10.1080/ 14786430410001680935. 16. Wegst, Ulrike G.K., Hao Bai, Eduardo Saiz, Antoni P. Tomsia, and Robert O. Ritchie. 2014. Bioinspired Structural Materials. Nature Materials 14 (1): 23–36. https://doi.org/10.1038/nmat4089. 17. Ziegler, A. R., S. G. Bajwa, G. A. Holt, G. McIntyre, and D. S. Bajwa. 2016. Evaluation of Physico-Mechanical Properties of Mycelium Reinforced Green Biocomposites Made from Cellulosic Fibers. Applied Engineering in Agriculture 32 (6): 931–38. https:// doi.org/10.13031/aea.32.11830.

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The Project After / / El proyecto despuÃ©s

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The Project After Daniel H Nadal Departamento de Arquitectura, Facultad de Arquitectura y Diseño, Universidad de los Andes, Colombia. 

d.huertas@uniandes.edu.co

Editor invitado

The vanguards of design and architecture are undergoing a profound change, displacing classic production strategies and moving towards other disciplines. The design processes are expanding, mutating, and integrating; they are transcending the field of object production to prioritize their strategic character in order to convert each project into an opportunity to create thought and provoke new participation and debate scenarios. From this perspective, contemporary architectural systems are proposing another vision of man, of culture, of the ecosystems that support each decision to intervene into land and cities. The development of sustainable processes, new resiliencies, and adaptation possibilities is allowing emerging topics to be debated; vocabularies to be renewed; and critical, collaborative, and speculative systems to be experimented with that reveal projects characterized by being transdisciplinary and diverse. Architecture insists on searching for the results of this transition of process, on identifying contradictory and essential places and interventions with the capacity of interaction that question the original logic of projects and that allow spaces to be opened for diversity. The initiatives shown in this paper are not only projects, they are dialogical architectures because, by expanding the conversational limits of the discipline, they define new contexts for discussion that architecture can activate. These initiatives offer perspectives that transcend their own processes, question what architecture and design means, and propose strategies for extended scenarios: scenarios in which the project always comes after.

After Sharing One of the narratives that has dominated the design process since the middle of the twentieth century is related to the development of consumerism. However, since the second half of the century, the social research began to contemplate alternatives to market economies. Discussions emerged about the character of the new cultural, economic, and social ecologies that are concerned today with developing different ways of establishing a more responsible long-term relationship with the environment and its circumstance. Architecture as an object of consumption has transcended itself to promote a strong conscience about the lack of resources and the importance of local communities for challenges that require a sustainability that not only focuses on the environmental. Could architecture provide methodologies and ways of thinking to empower communities instead of focusing on the discourse of projects as completed objects? Could design systems go beyond market [ 120 ] Enero de 2020. ISSN 2011-3188. E-ISSN 2215-969X. Bogotá, pp 16-27. https://revistas.uniandes.edu.co/journal/dearq

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demands, develop new strategies, and help to address decentralized design problems? The Louisiana Hamlets Pavilion designed by Selgas Cano Studio eloquently answers these questions. Constructed in Copenhagen during the summer of 2016 to house the Louisiana Museum of Modern Art, the pavilion was dismantled to become a school for six hundred orphan students in Kibera, which is an informal settlement on the outskirts of Nairobi. The project was initially designed as an ephemeral structure, but it caught the attention of photographer Iwan Baan who was also working with the Kibera Hamlets school: a metalrooved shelter with no water, light, or plumbing that was formed in 2004 by young people from a poor neighbourhood to protect children and keep them off the streets. The Dutch photographer’s initiative was echoed by Spanish architects José Luis Selgas and Lucía Cano who got together the London based social enterprise Second Home with New York studio Helloeverything as well as local architect Abdul Fatah Adam. The project was structured around a new proposal to recover the pavilion and adapt it to a new setting in Kenya, proposing a program that was also renewed with a strong social element. In this process, it was essential to draw up the design strategy that, from the beginning, would allow the pavilion to be exhibited in a garden in Denmark and then for the spatial structure to be recovered and adapted in Kenya through working with a group of Kiberans. The pavilion cost £ 25,000 (COP 115 million), which is a ludicrous sum of money if you think about the cost of constructing a school for six hundred people. Built with scaffolding, plywood internal divisions, transparent polycarbonate enclosures, and corrugated iron, the pavilion houses a two-level structure that has been adapted to include classrooms, offices, toilets, a kitchen area, and stairs that can be used as an auditorium. The scaffolding is anchored using plastic containers located on the perimeter filled with water, which allows the structure to be easily modified and the containers to be used as benches. The New Urban Agenda, established at the United Nations conference Habitat III defines key topics including sustainability, inclusion/ accessibility, and social justice in public spaces. Kibera Hamlets has turned into a landmark for Kibera: a social venue, a meeting place, and a space to construct and reconstruct dreams. Understanding the strength of architectural intervention in this project means re-evaluating design strategies and the design team’s projections. These work together from a non-judgemental, collaborative perspective in search of

a role for the active transformation of spatial realities and the social conditions of communities and collectives who support the future for our societies envisioned by the New Agenda.

After Imagining The articulation between project processes and design methods can simultaneously reformulate the identity of disciplines such as architecture and design. This has created new spaces that include speculative designs, new narratives, and critical projects. These methods and practices trigger architectural and creative design practices that are disruptive and aware of the overlap between technological developments, ideation systems, and open projects. The result generates spontaneous architectures that are simultaneously efficient and imaginative. These are interferences produced by each discipline that provoke new provocative and speculative rhetoric that is far from an outdated innovation system. The fantastic universe of Coronel Aureliano Buendía, created by Gabriel García Márquez in One Hundred Years of Solitude’s Macondo was the pretext to build a magical pavilion for the 28th Bogota Book Fair. The designers and artists Laura Villegas, Santiago Caicedo, and Andrés Burbano met with Colombian architects Manuel Villa and Antonio Yemail to create a space for experiences where Macondo finds its way into your memory through the senses. Unsuspectingly, the journey recreates Melquíades’ laboratory and portrays landscapes as well as a new cockpit full of voices and aromas. The imagination connects with each one of these experiences by straddling conversations, dreams, and smells, blurring or perhaps drawing the sense of relocated spatial reality. Discourses, tricks, and language weave through lighting engineering, scenography, production, design, and architecture. This constructs an experience that permanently adjusts its way of questioning the visitor. The poetics of everyday life is echoed in a recursive installation, which is full of nuances and codes that tie spatial narratives to fictional narratives. In One Hundred Years of Solitude, “the world was so recent that many things had no name, and to name them you had to point at them”. The Macondo pavilion tries to discover emotions that have no names and spaces that have to be entered: just like when reading One Hundred Years of Solitude, without trying to control the journey, the discovery, or the narrative structure. The pavilion is structured using three stages: The entrance, where a staircase viewpoint introduces the approach to an The Proyect After. Daniel H Nadal

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imagined Macondo. The exhibition, a type of magic box or treasure chest, that is closed and isolated from any interference from the real environment. And the space for the bookshop and food stalls where the daily discourse of noise, talking, and coffee shops return to everyday temporalities. Every one of these stages, thanks to the installation of black perimeter fabrics that isolate the visitor and hide the references to the large container space, chain together scenographic spaces as a sequence of events that open up García Márquez’s universe of magical realism: entrance, hallway, landscape, illusion, exhibition, inventions, sounds, cockpit, bookshop, food stalls. These are experiences that trigger the imagination—in the words of Andrés Burbano—so that each reader discovers their own Macondo. Saskia Sassen explains that deigning is, in some way, not just about identifying characteristics or common ground. When it comes to architecture, the project has to consider some key characteristics: incompleteness, complexity, and the possibility of doing. Architecture should open strategic spaces such as the ones in this pavilion, which are opportunities for things to be renamed. It should do this while discovering new disciplines from other viewpoints, such as when space once again becomes something recent and meeting places that can be reached from integrative structures as well as from the details, from imaginary and spatial proposals and recovered contexts. Ultimately, these are proposals and architectures which discover that there is a reality you did not know was waiting for you that comes from these possible encounters.

After Reclaiming Aligned with these processes, some twentieth and twenty-first century projects have adopted a fascinating counter-culture position. The term countercultural historically refers to different moments at which cultural values and institutions were challenged by generally-alternative emerging subcultures. However, in recent years, companies counterculturally linked to design have demonstrated a great capacity to adapt to hostile productive places. Non-conventional architecture has been especially valuable when finding cracks in the system and exploring these gaps to benefit small communities and collectives, which turn into alternative forms of understanding and proposing social processes. This architecture is decisive when it comes to creating new models of production, which challenge the performance of traditional design processes to present alternatives through resolving relationships between communities, their land, and their resources. These are strategies

that could renew the alternatives to development, inequality, exclusion, and social justice. The Nederlandsche Dok en Scheepsbouw Maatschappij (NDSM) recovery project in Amsterdam retrieves the prominence of other possible scenarios for the development of society and a renewed idea of progress. NDSM is projected as a space for creative practices: approximately three hundred artists have a studio or a workshop in this space, which also hosts exhibitions, events, and shoots. The experience of the NDSM project is an example of how to make a city from below, of how to create fascinating spaces that are economically viable, and of how to recover degraded architectures from the meeting between and mobilization of different social actors, companies, and institutional mechanisms. The dismantling of NDSM in the mid 1980s led to the abandonment of shipyards, premises, and ships, which were then only used by informal markets and spontaneous installations. However, the evocative capacity of the space brought together craftsman, designers, artists, and creatives that ended up establishing themselves in the warehouses following the wave of squatter movements in Europe that increased after the fall of the Berlin wall in 1989. The subsequent official evictions were followed by a strategic review stage in which the Amsterdam Town Hall opened up a tender to present temporary projects that made urban revitalization and regeneration possible. This shows how measures were adopted by the city to promote these projects, developing river communication projects, implementing an agenda of cultural activities, modifying normativity to allow the construction of housing using industrial containers, and providing basic infrastructure as a starting point. After being evicted and abandoning her workshop, Eva de Klerk won the Masterplan competition to be able to temporarily use the eastern part of the shipyards. The collective— known as Kinetic North (Kinetisch Noord)—untied activists, thinkers, sociologists, designers, architects, and artists. This work structure allowed an innovative concept to be developed in both the approach to functionality and programmatic development as well as in financing and space management strategies. The empowerment of design variables as well as financial viability and usage forecasting criteria amplified the possibilities of the project being developed; it was seen how quickly this moved from being a reservoir of ideas and proposals to the construction and administration phases of projects such as the Art City (Kunststad) Skatepark Amsterdam or the Noorderlicht restaurant.

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The ability to propose alternative models as part of design strategies and in the development and management strategies—shown by the NSDM project—have been recognized on different occasions and commended, including testimonies from the Dutch Ministry of Planning, Ministry of the Environment, and Ministry of Economic Affairs, such as the “Exemplary urban renewal project in the Netherlands”. Eva de Klerk recently insisted that “the problem is not resources, not the design or innovation, the problem is always a question of strategy and dialogue”. Activate, reactivate, recover, reopen the discussion on our discipline’s true ability to recognize and act within systems of rules that are different from the institutionalized ones, which, as Jorge Fiori says, should not be ignored for that reason.

The project’s steel structure is covered with a vegetable façade that uses nectariferous plants and butterfly host plants that, on one side, satisfy climatic comfort criteria and energy consumption, and, on the other, construct a domestic garden that works as a bioindicator. The project could have only been an interesting design exercise or a poetic suggestion linked to the architectural narratives that it proposes, but the social processes it has generated have turned the approach into a social laboratory that brings architecture closer to the debate on the new dynamics of urban sustainability. The Cali Project, which is associated with the Garden Building, emerged as a small collective conformed by Husos, Taller Croquis, and biologists from Madrid and Cali, established a research group as well as a management and knowledge dissemination group on local biodiversity.

After Re-porducing

The geographer Doren Massey speaks of the collective construction of a global sense of place and of a way of imagining globalization based on the fact that social space is a product of actions, relations, and multiple and variable social practices. In the Host and Nectar Garden Building project, the design and architecture multiply their tactical and design resources to achieve increased proposals for which the actions aimed at housing a local biodiverse space are as important as the actions focused on the creation of a network of collective actions, either through ecological corridors that are supported by private gardens or by activating collectives that are linked by the development of a certain social sense that are global in nature.

There are also unique and unexplored ecosystems that offer an opportunity to awaken architects and designers’ imagination and encourage new practices to look for solutions to daily problems. The quick exploitation of natural resources has accelerated climate change, which makes us ask ourselves how we can redesign the relation between our projects and the environment without endangering biodiversity. This perspective proposes incorporating different scientific processes to design systems to broaden their scope and diversity the impacts of their projects. Husos introduces the Host and Nectar Garden Building by discussing “actions to encourage non-anthropocentric garden initiatives”. Colombian architects Diego Barajas and Camilo García partnered with biologist Felipe Amaro in an experimental exercise that allowed the possibilities and limits of architecture to be explored as a tool to strengthen the preservation and coexistence of different forms of life, both social and biological, from a local context for a globalized wold. This starting point was fundamental when designing a complex ecosystem that allowed Taller Croquis’s needs to be accommodated. This is a small textiles company with a focus on urban ecology. The project is presented as a bioclimatic building that contributes to citizens’ environmental culture through fostering an exercise in sustainable responsibility for those who live in and visit the building. As well as promoting institutional strategies that propose everyday ecological corridors, over a decade, the building has adapted its functionality and been used for different reasons. It currently hosts workspaces, workshops, design studios, and spaces for alternative living.

The Project, After As Pallasmaa said, architecture is an impure discipline; it could not be anything else. It is practical and metaphysical, utilitarian and poetic, technological and artistic, economic and existential, collective and individual. It answers and inquires. Architecture is always a question of expectations. It is an exercise in complexity that permanently projects us in different directions that are divergent in their spatial expectations and convergent, possibly, in their tactical foundations. The four projects presented differ in their concerns, in their methods, in their methodological approaches, and in their architectural responses. However, they share a fundamental choice…that the project does not lead the way; it arrives after. This after is man’s partner, long and expansive, where life wants to grow.

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El proyecto después Las vanguardias del diseño y la arquitectura están experimentando un profundo cambio, desplazando las estrategias clásicas de producción hacia otras disciplinas. Los procesos de diseño se están expandiendo, mutando e integrando, trascendiendo el ámbito de producción del objeto para priorizar su carácter estratégico, para convertir cada proyecto en una oportunidad desde la que crear pensamiento y provocar nuevos escenarios de participación y debate. Desde esta perspectiva, los sistemas arquitectónicos contemporáneos están proponiendo otra visión del hombre, de sus culturas, de los ecosistemas que soportan cada decisión de intervenir el territorio y las ciudades. La puesta en valor de procesos sostenibles, de nuevas resiliencias y posibilidades de adaptación, está permitiendo debatir temas emergentes, renovar vocabularios y experimentar con sistemas críticos, colaborativos o especulativos, mostrando proyectos que se caracterizan por ser transdisciplinares y plurales. La arquitectura insiste en buscar los resultados de esta transición de procesos, en identificar lugares contradictorios y vitales, intervenciones con capacidad de interacción que cuestionan la lógica original de los proyectos y que permiten abrir espacios a la diversidad. Las propuestas que se muestran a continuación no son tan sólo proyectos, son arquitecturas dialogantes, porque al ampliar los límites convencionales de la disciplina definen los nuevos entornos de discusión que la arquitectura puede activar. Estas propuestas ofrecen perspectivas que trascienden sus propios procesos, cuestionan lo que significan la arquitectura y el diseño, y proponen estrategias para escenarios ampliados. Escenarios donde el proyecto, siempre, llega después.

Después de compartir Una de las narrativas que ha dominado los procesos de diseño desde mediados del siglo XIX tiene que ver con el fomento del consumismo. Sin embargo, desde la segunda mitad del mismo siglo, la investigación social comenzó a pensar en alternativas a las economías de mercado. Aparecieron discusiones acerca del carácter de las nuevas ecologías culturales, económicas y sociales que hoy día mantienen la inquietud por desarrollar formas diferentes de establecer una relación más responsable a largo plazo con el medio ambiente y su contexto. La arquitectura como objeto de consumo ha ido trascendiendo para promover una fuerte conciencia sobre la escasez de recursos y la importancia de las comunidades locales en retos que hablan de una sostenibilidad no sólo ambiental. ¿Podría la arquitectura proporcionar metodologías y formas de pensar para empoderar a las comunidades en lugar de centrarse en el discurso de los proyectos como objetos terminados? ¿Pueden los sistemas proyectuales ir más allá de las exigencias del mercado, desarrollar nuevas metodologías, ayudar a abordar problemas de diseño descentrado? El pabellón Luisiana Hamlets del estudio Selgas Cano responde de manera elocuente a estas cuestiones. Inicialmente construido en el verano de 2016 en Copenhague para el Museo de Arte Moderno de

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Louisiana, el pabellón se desmontó para albergar un colegio que hoy día atiende seiscientos estudiantes huérfanos en Kibera, asentamiento informal ubicado en la periferia de Nairobi. El proyecto, inicialmente destinado a ser una estructura efímera, llamó la atención del fotógrafo Iwan Baan, quien trabajaba simultáneamente con el colegio Kibera Hamlets, un refugio de techos metálicos, privado de agua, luz y saneamiento, fundado en 2004 por jóvenes del barrio con escasos recursos, con el objetivo principal de proteger a los niños y mantenerlos fuera de las calles. La iniciativa del fotógrafo holandés encontró eco los arquitectos españoles José Luis Selgas y Lucía Cano, quienes reunieron a la empresa de emprendimiento social Second Home radicada en Londres con el estudio neoyorquino Helloeverything y el arquitecto local Abdul Fatah Adam. El proyecto se estructuró alrededor de una nueva propuesta para recuperar el pabellón y adecuarlo a un nuevo escenario en Kenia, proponiendo un programa también renovado, con una fuerte carga social. En este proceso, fue esencial trazar la estrategia proyectual que, desde un principio, permitiría exponer el pabellón en un jardín de Dianmarca para después recuperar la estructura espacial y adaptarla en Kenia trabajando con un grupo de residentes de Kibera. El pabellón cuesta 25.000 libras (unos 115 millones de pesos colombianos) una cantidad ridícula si se piensa en el costo de construcción de un colegio para 600 personas. Construido con andamios, divisiones internas de madera contrachapada y cerramientos de policarbonato translúcido y chapa ondulada metálica, el pabellón ha permitido adaptar dos niveles que recogen aulas, oficinas, baños, una zona de cocina y unas escaleras que pueden ser utilizadas como auditorio. Los andamios se anclan mediante contenedores plásticos que se ubican en el perímetro y que se rellenan con agua, lo que permite estabilizar y modificar la estructura con facilidad y utilizar los contenedores como bancas. La Nueva Agenda Urbana establecida por Hábitat III de las Naciones Unidas define, entre otros temas clave: sostenibilidad, inclusión/accesibilidad y justicia social en espacios públicos. Kibera Hamlets se ha convertido en un hito para Kibera, una sede social, un espacio de encuentro, un lugar para construir y reconstruir sueños. Entender la fuerza de intervención de la arquitectura en este proyecto significa volver a evaluar las estrategias proyectuales y las proyecciones de los equipos de diseño, que trabajan desde una perspectiva de colaboración sin prejuicios, en busca de un papel de transformación activa de las realidades espaciales y las condiciones sociales de comunidades y colectivos, que son quienes soportan el futuro que prevé esta Nueva Agenda para nuestras sociedades.

Después de imaginar La articulación entre procesos de proyecto y métodos de diseño que pueden reformular de manera simultánea la identidad de disciplinas como la arquitectura y el diseño han hecho surgir nuevos espacios que incluyen diseños especulativos, nuevas narrativas, proyectos críticos.

Estos métodos y prácticas desencadenan prácticas arquitectónicas y de diseño creativas, disruptivas y conscientes en la superposición de desarrollos tecnológicos, sistemas de ideación y proyectos abiertos. El resultado genera arquitecturas espontáneas que son a la vez eficientes e imaginativas. Interferencias que producen cada disciplina y que provocan nuevas retóricas provocadoras y especulativas, alejadas de sistemas de innovación caducos. El universo fantástico del Coronel Aureliano Buendía creado por Gabriel García Márquez en el Macondo de Cien Años de Soledad fue la excusa para construir un pabellón mágico con ocasión de la 28 Feria Internacional del Libro en Bogotá. Laura Villegas, Santiago Caicedo y Andrés Burbano, diseñadores y artistas, se reunieron con los arquitectos colombianos Manuel Villa y Antonio Yemail para ofrecer un espacio de experiencias, donde Macondo recupera un lugar en la memoria a través de los sentidos. De manera desprevenida, el recorrido proyecta paisajes, recrea el laboratorio de Melquíades, propone una nueva gallera repleta de voces y aromas. La imaginación se reúne con cada una de estas experiencias, cruzando conversaciones, sueños, olores, desdibujando, o quizá dibujando, el sentido de una realidad espacial deslocalizada. Luminotecnia, escenografía, producción, diseño y arquitectura entrelazan discursos, tácticas, lenguajes, construyendo una experiencia que ajusta permanentemente su modo de interpelar al visitante. La poética de lo cotidiano encuentra eco en una instalación recursiva, llena de matices y de códigos que anudan las narrativas espaciales a las narrativas de la ficción. En cien años de soledad “el mundo era tan reciente que muchas cosas carecían de nombre, y para nombrarlas había que señalarlas con el dedo”. El pabellón Macondo trata de descubrir emociones sin nombre, espacios en los que hay que adentrarse, como al leer Cien Años de Soledad, sin tratar de controlar el camino, el descubrimiento, o la línea de la narración. El pabellón se estructura en tres momentos: Ingreso, donde una escalera mirador introduce la aproximación a un Macondo imaginado. Exposición, una suerte de caja mágica o caja de los tesoros, cerrada, aislada de cualquier interferencia del entorno real. Y el espacio de Librería y Comidas, donde el discurso cotidiano del ruido, las charlas, los cafés, regresan a las temporalidades cotidianas. Cada uno de estos momentos, gracias a la instalación de telas negras perimetrales que aíslan al visitante y ocultan las referencias al gran espacio contenedor, van encadenando espacios escenográficos como una secuencia de eventos que entreabren el universo del realismo mágico de García Márquez: Ingreso, Vestíbulo, Paisaje, Interacción, Espejismo, Exposición, Inventos, Sonidos, Gallera, Librería, Comidas. Son experiencias que operan como detonantes de la imaginación, como expresaba Andrés Burbano, para que cada lector encuentre su propio Macondo. Explica Saskia Sassen que de algún modo proyectar no radica sólo en identificar características o lugares comunes. Si se trata de arquitectura,

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el proyecto tiene que lidiar con algunas características clave: in-completitud, complejidad y posibilidad de hacer. La arquitectura debiera abrir espacios estratégicos como los de este pabellón, oportunidades para volver a nombrar las cosas, descubriendo desde otras miradas, nuevas disciplinas, como el espacio se vuelve de nuevo algo reciente. Lugares de encuentro a los que se llega desde estructuras integradoras, pero también desde detalles, desde imaginarios y propuestas espaciales, pero también desde contextos recuperados. Propuestas y arquitecturas, en definitiva, que descubren que desde esos encuentros posibles se llega a una realidad que no se sabía estar esperando.

Después de reclamar Alineados con estos procesos, algunos proyectos del siglo XX y XXI han adoptado una postura contra cultural fascinante. El término contracultura se refiere históricamente a diferentes momentos en que los valores e instituciones culturales dominantes fueron desafiados por subculturas emergentes generalmente alternativas. En los últimos años, sin embargo, las empresas vinculadas al diseño desde la contracultura han demostrado una gran capacidad de adaptación a lugares productivos hostiles. La arquitectura no convencional ha sido especialmente valiosa a la hora de encontrar grietas en el sistema y explorar esas brechas en beneficio de pequeñas comunidades y colectivos, convirtiéndose en formas alternativas de comprender y proponer procesos sociales. Esta arquitectura se muestra decisiva a la hora de crear nuevos modelos de producción, desafiando el desempeño de los procesos tradicionales de proyecto para presentar alternativas en la forma de resolver las relaciones entre las comunidades, sus territorios y sus recursos. Estrategias que podrían renovar las alternativas de desarrollo, desigualdad, exclusión y justicia social. El proyecto de recuperación de los astilleros NDSM (Nederlandse Scheepsbouw en Droogdok Maatschappij) en Amsterdam recupera el protagonismo de otros escenarios posibles para el desarrollo de una sociedad y una idea renovada de progreso. NDSM se proyecta como un espacio de prácticas creativas. Aproximadamente trescientos artistas tienen estudio o taller en este espacio, que alberga simultáneamente exposiciones, eventos y rodajes. La experiencia del proyecto NDSM es un ejemplo de cómo hacer ciudad desde abajo, de cómo crear espacios fascinantes, viables económicamente, y recuperar arquitecturas degradadas a partir del encuentro y activación de diferentes actores sociales, empresas, e instancias institucionales. El desmantelamiento de la empresa NDSM a mediados de los años ochenta supuso el abandono de astilleros, terrenos y naves, cuyo uso quedó restringido a mercados informales e instalaciones espontáneas. Sin embargo, la capacidad de evocación del espacio convocó artesanos, diseñadores, artistas y creativos que terminaron por establecerse en los almacenes, siguiendo la ola de movimientos okupa en Europa que se reforzó después de la caída del muro de Berlín en 1989. A los consecuentes desalojos oficiales que acontecieron después, siguió

una etapa de revisión estratégica, en la que la Alcaldía de Amsterdam abrió una convocatoria para presentar proyectos temporales que posibilitaran la revitalización y regeneración urbana. Destaca la importancia de las medidas que adoptó la ciudad para impulsar estos proyectos, desarrollando proyectos de comunicación fluvial, implementando una agenda de actividades culturales, modificando la normatividad para permitir la construcción de viviendas con contenedores industriales, y previendo una infraestructura básica como punto de partida. Después de ser desalojada y abandonar su taller, Eva de Klerk ganó el concurso para el Masterplan de uso temporal de la parte oriental de los astilleros. El colectivo denominado Norte Cinético (Kinetisch Noord) reunía activistas, pensadores, sociólogos, diseñadores, arquitectos y artistas. Esta estructura de trabajo permitió desarrollar un concepto innovador tanto en la propuesta de funcionalidad y desarrollo programático como en las estrategias de financiación y gestión del espacio. El empoderamiento tanto de las variables de diseño como de los criterios de viabilidad financiera y proyección de uso amplificó las posibilidades de desarrollo del proyecto, que vio cómo se pasaba rápidamente de un semillero de ideas y propuestas a la construcción y administración de proyectos como la Ciudad de Arte (Kunststad) Skatepark Amsterdam o el restaurante Noorderlicht. La capacidad de proponer modelos alternativos tanto en las estrategias de proyecto como en las de desarrollo y gestión que muestra el proyecto de NDSM ha sido reconocida en diversas ocasiones, recibiendo diferentes distinciones como la declaración desde los Ministerios de Planificación, Medio Ambiente y Asuntos Económicos de Holanda como “Proyecto ejemplar de renovación urbana en los Países Bajos”. Eva de Klerk insistía hace poco en que “el problema no son los recursos, ni siquiera el diseño o la innovación, el problema es siempre una cuestión de estrategia y de interlocución”. Activar, reactivar, recuperar, reabrir la discusión sobre la verdadera capacidad de nuestra disciplina para reconocer y actuar en sistemas de normas diferentes a las institucionalizadas, que como dice Jorge Fiori, no por eso son inexistentes.

Después de re-producir Hay también ecosistemas únicos e inexplorados que ofrecen una oportunidad para despertar la imaginación de arquitectos y diseñadores e impulsar nuevas prácticas para buscar soluciones a necesidades cotidianas. La rápida explotación de los recursos naturales ha acelerado el cambio climático, lo que nos hace cuestionar como se puede rediseñar la relación de nuestros proyectos con el medio ambiente sin poner en riesgo su biodiversidad. Esta perspectiva propone incorporar diferentes procesos científicos a los sistemas de diseño para ampliar su alcance y diversificar el impacto de sus proyectos. El equipo Husos introduce el Edificio de Jardín Hospedero y Nectarífero hablando de “acciones para incentivar iniciativas no antropocéntricas de jardinería”. Los arquitectos colombianos Diego Barajas y

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Camilo García se asociaron con el biólogo español Felipe Amaro en un ejercicio experimental que permitiera explorar las posibilidades y límites de la arquitectura como herramienta para fomentar la preservación y la coexistencia de diversas formas de vida, tanto sociales como biológicas, desde un contexto local para un mundo globalizado. Este punto de partida fue fundamental a la hora de diseñar un ecosistema complejo que permitiese conciliar las necesidades de Taller Croquis, una pequeña empresa de tejidos, con una propuesta ecológica urbana. El proyecto, en este sentido, se presenta como un edificio bioclimático que incide sobre una cultura medioambiental ciudadana, alentando un ejercicio de responsabilidad sostenible de quienes habitan y visitan el edificio. Además de impulsar estrategias institucionales para proponer corredores ecológicos de carácter cotidiano, en el curso de una década, el edificio ha ido adaptando su funcionalidad y recibiendo nuevos usos. Actualmente es un espacio de trabajo, talleres, estudios de diseño y espacios de vivienda alternativa. La estructura de acero del proyecto se recubre con una fachada vegetal en la que se utilizan plantas nectaríferas y hospederas de mariposas, atendiendo a criterios de confort climático y consumo energético, por un lado, y construyendo un jardín doméstico que funciona como un bioindicador por otro. En realidad, el proyecto podría haber sido sólo un ejercicio de diseño interesante, o una propuesta poética vinculada a las narrativas de la arquitectura que propone, pero los procesos sociales que ha ido generando han convertido la propuesta en un laboratorio social que permite aproximar la arquitectura al debate sobre las nuevas dinámicas de sostenibilidad urbana. El Proyecto Cali, asociado al Edificio Jardín, surge como como un pequeño colectivo conformado por Husos, Taller Croquis y biólogos de Madrid y Cali, desarrollando un grupo de investigación, gestión y divulgación de conocimientos sobre la biodiversidad local. La geógrafa Doren Massey habla de la construcción colectiva de un sentido global del lugar, de un modo de imaginar la globalización partiendo del hecho de que el espacio social es producto de acciones, relaciones y prácticas sociales múltiples y variables. En el proyecto de Edificio de Jardín Hospedero y Nectarífero, el diseño y la arquitectura multiplican sus recursos tácticos y proyectuales para alcanzar propuestas ampliadas, donde son tan importantes las acciones destinadas a albergar un espacio biodiverso de carácter local como las acciones enfocadas en la creación de una red de acciones colectivas, ya sea mediante corredores ecológicos que se apoyan en jardines privados, ya sea activando colectivos vinculados por el desarrollo de cierta sensibilidad social de carácter global.

pectativas. Un ejercicio de complicidad que nos proyecta permanentemente en diferentes direcciones. Queremos leer en cada proyecto de los que presentamos algunas de esas direcciones, divergentes en sus expectativas espaciales y convergentes, posiblemente, en sus fundamentos tácticos. Efectivamente, los cuatro proyectos presentados difieren en sus inquietudes, en sus métodos, en sus apuestas metodológicas y en sus respuestas arquitectónicas. Comparten, sin embargo, una decisión básica… que el proyecto no vaya por delante, que el proyecto llegue después. Un después cómplice del hombre, largo y dilatado, donde a la vida le apetezca germinar.

References / Referencias 1. AAVV. 2017. Radical 50, Arquitecturas de América Latina “Pabellón Macondo”. Editorial Arquine: México DF. 2. Barajas, Diego, and Camilo García. 2016. Urbanismos de remesas. Viviendas (Re) Productivas de la dispersión. Editorial Caniche: Madrid. 3. De Klerk, Eva. 2018. Make Your City: The City as a Shell: Ndsm Shipyard, Amsterdam. Editorial Valiz: Amsterdam. 4. Habitat III. 2016. “The United Nations Conference of Housing and Sustainable Development.” October 17-20, 2016. Quito, Ecuador. 5. Fiori, Jorge, Riley, Elizabeth, and Ramírez, Ronaldo. 2001. “Physical Upgrading and Social Integration in Rio de Janeiro: the Case of Favela Bairro”, DISP 147, no.4, pp. 48-60. 6. Massey, Doreen. 2004. “The Conceptualization of Space.” A Place in the World? Places, Cultures, and Globalization. Oxford University Press: Oxford, pp. 45-79 7. Pallasmaa, Juhani. 2010. Una arquitectura de la humildad. Fundación Caja de Arquitectos: Madrid, pp. 112-114. 8. Sassen, Saskia. 2016. “A Massive Loss of Habitat: New Drivers for Migration.“ Columbia University 2, no. 2, pp. 204-233. http://socdev.ucpress.edu/content/2/2/204 SOCIOLOGY OF DEVELOPMENT 9. Selgas, José, and Cano, Lucía. 2014. “Selgascano 2003-2013 Vacilante Naturaleza.” El Croquis 147. Madrid.

El proyecto, después Como dice Pallasmaa, la arquitectura es una disciplina impura. No podría ser de otro modo. Es práctica y metafísica, utilitaria y poética, tecnológica y artística, económica y existencial, colectiva e individual. Responde e inquiere. La arquitectura es siempre una cuestión de ex-

The Proyect After. Daniel H Nadal

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NDSM Shipyard Oficina: Fundación Kinetisch Noord/ Administradora: Eva de Klerk Amsterdam, Holanda. 2000-2008 Fotografías: Werf Museum, Dynamo Architecten, Casper Oorthuys, Rob Rouleaux, Ronald Tilleman, Jan Willem Groen, Rutger de Vries

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Indoor circulation / Circulaciรณn interior. Photo/ Foto: Ronald Tilleman

NDSM Shipyard. Fundaciรณn Kinetisch Noord / Administradora: Eva de Klerk.

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Aerial view 1967 / Vista aérea 1967 Courtesy of / Cortesia de NDSM-werf Museum

polluted ground

midden hal 6 richting hal 5

casco blokken L52 - H13

polluted ground roof renovation midden hal 6 richting hal 5

Sections / Secciones

casco blokken L52 - H13

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Exterior view / Vista exterior

polluted ground

midden hal 6 richting hal 5

roof renovation walls

casco blokken L52 - H13

polluted ground

midden hal 6 richting hal 5

casco blokken L52 - H13

roof renovation walls indoor building projects

NDSM Shipyard. Fundaciรณn Kinetisch Noord / Administradora: Eva de Klerk.

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Facade / Fachadas

Image by / Imagen de : Rutger de Vries

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Ground floor / Planta

dearq 26. PROYECTOS

NDSM Shipyard. Fundaciรณn Kinetisch Noord / Administradora: Eva de Klerk.

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[ 134 ] Art Enero/ Actividad de 2020. ISSN en 2011-3188. E-ISSN 2215-969X. Bogotá, Jan pp 16-27. https://revistas.uniandes.edu.co/journal/dearq Make exteriores. Photo/ Foto: Willem Groen

dearq 26. PROYECTOS

NDSM Shipyard. Fundaciรณn Kinetisch Noord / Administradora: Eva de Klerk.

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Indoor spaces / Espacios interiores. Photos / Fotos: Ronald Tilleman

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Skatepark. Photo / Foto: Rob Rouleaux

NDSM Shipyard. Fundaciรณn Kinetisch Noord / Administradora: Eva de Klerk.

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NDSM Shipyard. Fundaciรณn Kinetisch Noord / Administradora: Eva de Klerk.

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Kibera Hamlets School Oficina: Selgas Cano / helloeverything Kibera, Nairobi, Kenia. 2015-2016 Fotografía: Iwan Baan / helloeverything

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Aerial view / Vista aĂŠrea. Photo / Foto: Iwan Baan

Kibera Hamlets School. Selgas Cano.

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Night aerial view / Vista aérea nocturna. Photo / Foto: Iwan Baan Plantas [ 142 ] Enero de 2020. ISSN 2011-3188. E-ISSN 2215-969X. Bogotá, pp 16-27. https://revistas.uniandes.edu.co/journal/dearq

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Floor plans / Plantas

Kibera Hamlets School. Selgas Cano.

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Structural diagrams / Diagramas estructurales

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Kibera Hamlets School. Selgas Cano.

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The Proyect under construction / Proyecto en construcción. Photos / Fotos: helloeverything

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Kibera Hamlets School. Selgas Cano.

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Structure / Estructura. Photos / Fotos: helloeverything

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Kibera Hamlets School. Selgas Cano.

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Active inside / Interior activo. Photos / Fotos: Iwan Baan

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Views from the surroundings / Vistas desde el entorno. Photos / Fotos: Iwan Baan

Kibera Hamlets School. Selgas Cano.

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Kibera Hamlets School. Selgas Cano.

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Edificio jardín hospedero y nectarífero para mariposas de Cali Oficina: HUSOS / Camilo García y Diego Barajas + Francisco Amaro (Biólogo) + Comunidad de habitantes del edificio Cali, Colombia. Etapa 1: 2005 / Etapa 2: 2010 Fotografía: Manuel Salinas, Javier García y Pedro Ruiz

Elevation / Alzado

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Main facade / Fachada principal. Photo / Foto: Pedro Ruiz

Pie de foto

Edificio jardín hospedero y nectarífero para mariposas de Cali. HUSOS / Camilo García y Diego Barajas + Francisco Amaro (Biólogo) + Comunidad de habitantes del edificio.

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First floor / Planta primera

Second floor / Planta segunda Interior towards the patio / Interior hacia patio. Photo / Foto: Manuel Salinas

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Third floor / Planta tercera

Fourth floor / Planta cuarta Interior towards the facade / Interior hacia fachada. Photo / Foto: Manuel Salinas

Edificio jardín hospedero y nectarífero para mariposas de Cali. HUSOS / Camilo García y Diego Barajas + Francisco Amaro (Biólogo) + Comunidad de habitantes del edificio.

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Facade detail / Detalle de fachada. Photo / Foto: Manuel Salinas

Edificio jardín hospedero y nectarífero para mariposas de Cali. HUSOS / Camilo García y Diego Barajas + Francisco Amaro (Biólogo) + Comunidad de habitantes del edificio.

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Photo / Foto: Husos

dearq 26. CUMULUS: THE DESIGN AFTER

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Irrigation system diagram / Diagrama sistema de riego

Interior facade and longitudinal section / Fachada interior y sección longitudinal

Edificio jardín hospedero y nectarífero para mariposas de Cali. HUSOS / Camilo García y Diego Barajas + Francisco Amaro (Biólogo) + Comunidad de habitantes del edificio.

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Trepadoras

Arbustivas

Growth model / Modelo de crecimiento

Species and butterflies diagram / Diagrama especies y mariposas

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Arbustivas

Trepadoras

Edificio jardín hospedero y nectarífero para mariposas de Cali. HUSOS / Camilo García y Diego Barajas + Francisco Amaro (Biólogo) + Comunidad de habitantes del edificio.

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Pabellón Macondo Oficina: Manuel Villa Arquitectos + Oficina Informal (Antonio Yemail) Dirección de proyecto: Laura Villegas, Santiago Caicedo y Andrés Burbano Bogotá, Colombia. 2015 Fotografía: Santiago Pinyol, Beto Durán, Juan Antonio Monsalve.

EQUIPO DE TRABAJO

Comité Curatorial: Piedad Bonnett, Jaime Abello, Ariel Castillo. Artistas invitados: George Legrady, Angus Forbes, Camilo Sanabria. Diseño Gráfico: La Silueta. Exposición: Andrés Fresneda y Nicolas Pernett. Producción General: 10 Music. Librería: Asociación de Libreros Independientes. Restaurante: Mínimal. Constructor: 10 Music, HyG Studios, Manuel Villa Arquitectos, Oficina Informal.

The Macondo’s landscape / Paisaje Macondo

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Pabellón Macondo. Manuel Villa Arquitectos + Oficina Informal (Antonio Yemail). Dirección de proyecto: Laura Villegas, Santiago Caicedo y Andrés Burbano.

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Ground floor / Planta general Entrance module, model / Módulo de ingreso, maqueta

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Entrance module. Floor plan, elevations and facade / Módulo de ingreso. Planta, alzados y fachada

Pabellón Macondo. Manuel Villa Arquitectos + Oficina Informal (Antonio Yemail). Dirección de proyecto: Laura Villegas, Santiago Caicedo y Andrés Burbano.

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Main Hall / Vestíbulo Projected Frames / Fotogramas proyectados

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Macondo’s landscape / Paisaje Macondo

Pabellón Macondo. Manuel Villa Arquitectos + Oficina Informal (Antonio Yemail). Dirección de proyecto: Laura Villegas, Santiago Caicedo y Andrés Burbano.

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Interactive installation / Instalación interactiva Mirage / Espejismo

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Exposition / Exposición

Exhibition’s furniture / Mobiliario exposición

Pabellón Macondo. Manuel Villa Arquitectos + Oficina Informal (Antonio Yemail). Dirección de proyecto: Laura Villegas, Santiago Caicedo y Andrés Burbano.

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Inventions / Inventos

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Gallera Sound exhibition / Exposición sonora

Pabellón Macondo. Manuel Villa Arquitectos + Oficina Informal (Antonio Yemail). Dirección de proyecto: Laura Villegas, Santiago Caicedo y Andrés Burbano.

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Bookshop and furniture / Librería y mobiliario

Pabellón Macondo. Manuel Villa Arquitectos + Oficina Informal (Antonio Yemail). Dirección de proyecto: Laura Villegas, Santiago Caicedo y Andrés Burbano.

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NDSM Shipyard. Photo / Foto: Ronald Tilleman

Aviario Una mirada a la ilustración científica tradicional a partir de la puesta en escena de la muerte Carolina Rojas Artista, investigadora y docente. Departamento de Diseño Universidad de los Andes, Bogotá, Colombia.  c.rojas209@uniandes.edu.co Fotografías cortesía de Galería Sketch

La ilustración cumple un papel fundamental en el área de las ciencias, ya que mantiene una conexión directa e inseparable con estas por ser un medio de representación y comunicación preciso. Esta importancia y evolución de los medios de comunicación, que utilizan la expresión gráfica y herramientas artísticas como soporte, impulsó la exploración del dibujo científico en un ejercicio académico que utilizó enfoques pedagógicos para poner en evidencia el trabajo de expresión visual mediante su aplicación, dada su relevancia en la ornitología, y para resaltar especies de colecciones de museos de historia natural de Colombia. La representación, en términos científicos, es el reto de observar, replicar y crear en un ensamblaje cuidadoso de especímenes, conocimientos y herramientas análogas y digitales que, mediante la producción artística, traduce importante información que merece ser estudiada y divulgada por su valor científico, histórico y estético. Es un proceso donde cada disciplina expresa su lenguaje en un enlace entre información ornitológica, ilustración científica y elementos creativos y didácticos que generan una investigación decisiva para la práctica académica y el material artístico, del cual se derivan resultados y conclusiones contundentes que se divulgan en el contenido de esta investigación.

En cada uno de los objetos incluidos en esta muestra reside un gesto al mismo tiempo sutil y dramático. Aviario. Volucris Curiositas es el resultado de plantear un giro a la ilustración científica tradicional a partir de la puesta en escena de la muerte. Vemos aquí pieles de aves como se conservan en las colecciones ornitológicas para el estudio científico, algunas incluso con sus etiquetas. Son literalmente pieles, rellenas de algodón, que en conjunto permiten el tipo de ejercicio comparativo necesario para identificar la vida en términos taxonómicos. El giro al que me refiero consiste precisamente en mostrar al espectador el carácter de una práctica que consiste en colectar animales, sacrificarlos y llevarlos a la colección, donde otras relaciones tienen lugar, de tal modo que lo que antes era un ave se convierte en un espécimen que la ciencia ha sacado del anonimato para el mundo humano. Usualmente la ilustración ornitológica procede con una recreación del ave como si estuviera viva. Este procedimiento, fundamental para la producción de guías de campo en el que los colores y posturas puede ayudar al observador entrenado, es también un recurso retórico potente mediante el cual se borra la práctica de la colecta. De esta manera, la ilustración científica produce también objetividad, en la medida en que elimina la intermediación humana sin la cual no existirían aves como ejemplares de especie. Cuando se deshace este

recurso y se mira de frente la ilustración de la piel o el espécimen preparado, estamos no sólo reconociendo el trabajo de colectores y colecciones, sino también nos estamos asomando a la íntima, compleja e inexorable relación entre la muerte y las ciencias de la vida. Sutil y dramático. Un gesto. Carolina Rojas nos hace sentir en cada uno de sus dibujos, taxidermias e instalaciones el fenecer del animal, el trabajo del científico y la delgada línea permeable entre la vida y la muerte. Nos hace abrir cajones para asomarnos en un mundo perceptual ligado a la producción del conocimiento del que depende, en gran parte, la supervivencia física de cientos de especies de aves en la era de extinciones masivas en la que vivimos. Todo eso plegado con delicadeza en la forma en la que las plumas están despelucadas, en cómo los alfileres atraviesan la piel o en las etiquetas que se tornan amarillentas por el paso del tiempo. Poder del proceso artístico que al mismo tiempo que nos inunda de emoción, nos exige que pensemos sin los usuales recursos simplistas que no entienden que alrededor de la colecta péndula, no solo el saber científico del biólogo, sino también la posibilidad misma de todo ejercicio de conservación. Carolina Rojas, MFA Digital Art Santiago Martínez, PhD en Antropología

AVIARIO: VOLUCRIS CURIOSITAS FICHAS TÉCNICAS Página 178

Pieles Detalle papel de colgadura: Impresión Inkjet, tintas latex sobre vinilo blanco wallgraphic texturado 2017-2019 Página 180-181

Aviario Detalle de instalación 2019 Páginas 182-183

Gabinetes Detalle diseño mobiliario Dibujos mixtos en gabinetes madera y vidrio 2018-2019 Páginas 184-185

Vultur gryphus | Cóndor Andino Museo de Historia Natural de la Pontificia Universidad Javeriana Dibujo mixto 2018 Páginas 186-187

Aulacorhynchus prasinus | Tucán Esmeralda Museo Universitario de la Universidad de Antioquia Dibujo mixto 2019 Páginas 188-189

Setophaga striata | Reinita estriada Museo de Historia Natural Universidad de los Andes Dibujo mixto 2017 Páginas 190-191

Huevos | Especies varias Instituto Alexander Von Humboldt Dibujo mixto 2018 Páginas 192-193

Eutoxeres condamini | Picohoz colicanela Museo de Historia Natural de la Universidad del Cauca Dibujo mixto 2019 Lophornis dellatrei | Coqueta crestirrojiza Museo de Ciencias Naturales de La Salle Dibujo mixto 2017 Calonectris diomedea borealis | Pardela Atlántica Instituto de Ciencias Naturales Universidad Nacional Dibujo mixto 2017-2019 Rupicola rupícola | Gallito de las rocas Museo Universitario de la Universidad de Antioquia Dibujo mixto 2019 Semnornis ramphastinus | Compás Museo de Historia Natural de la Universidad del Cauca Dibujo mixto 2019 Thryophilus sernai | Cucarachero paisa Museo de Historia Natural Universidad de los Andes Dibujo mixto 2017

Campephilus pollens | Picamaderos poderoso Colección Ornitológica de la Universidad del Valle Dibujo mixto 2019 Dacnis hartlaubi | Dacnis turquesa Instituto Alexander Von Humboldt Dibujo mixto 2019 Xipholena Punicea | Cotinga Pompadour Instituto Alexander Von Humboldt Dibujo mixto 2017 Páginas 194-195

Anas platyrhynchos domesticus | Pato Doméstico Taxidermia 2017 Colibri coruscans | Colibrí Rutilante Taxidermia 2018 Campylopterus falcatus | Colibrí Lazulita Taxidermia 2017 Struthio camelus | Huevo Avestruz 2017 Zonotrichia capensis | Chingolo Taxidermia 2018 Páginas 196-197

ESPECIAL AGRADECIMIENTO A: El Departamento de Diseño y la Vicerrectoría de Investigaciones de la Universidad de los Andes. Galería SKETCH Bogotá. Cristina Rueda. Bióloga (Ornitología). Francisco Gamarra. Biólogo (Taxidermia). Santiago Martínez Medina. PhD en Antropología. Estudiantes de mi clase de ilustración (2016-2019) por su ayuda en el componente gráfico (pieza colaborativa papel de colgadura): Natalia Narváez (2016-2) Daniel Salazar (2016-2) María José Guzmán (2016-2) Catalina Zabala (2016-2) Juan Camilo Estévez (2017-1) Laura Trujillo (2017-1) Mariana Rios (2017-1) Camila Duran (2017-19) Lidia Parra (2017-19) Luis Eduardo Parrado (2017-19) María Alejandra Puerto Roldán (2017-19) Mario Balcazar (2017-19)

Turdus merula | Mirlo Taxidermia 2019

Nathalia Neira Mateus (2017-19)

Coccyzus americanus | Cuclillo Piquigualdo Taxidermia 2019

María Angélica Guerrero (2017-2)

Melopsittacus undulatus | Periquito Común Taxidermia 2019

Angélica Vidal (2018-1)

Passer domesticus | Gorrión común Taxidermia 2017 Sturnus vulgaris | Estornino pinto Taxidermia 2017 Página 198-199

Angie Gonzalez (2017-2) Laura Niño (2017-2) María Cristina Huertas (2017-2) Susana Hernández (2017-2) Alejandra Ahumada (2018-2) Andrea Yañez (2018-2) Camila Polanía (2018-2) Carlos Londoño (2018-2) Daniela Amaya (2018-2) DianaRodríguez (2018-2) Camila Giraldo (2018-2) Elisa Schonwald (2018-2)

Aviario Detalle de instalación 2019

Gabriela López (2018-2)

Página 200

Sara Prada (2018-2)

Aves Colaboración estudiantes ilustración Universidad de los Andes Detalle papel de colgadura: Impresión Inkjet, tintas latex sobre vinilo blanco wallgraphic texturado 2017-2019

Silvana Cottrino (2018-2)

* Resultado del proyecto de investigación “Aviario: Volucris Curiositas” financiado gracias al Fondo de Apoyo de Profesores Asistentes (FAPA) de la Vicerrectoría de Investigaciones y el Departamento de Diseño de la Universidad de los Andes, Bogotá, Colombia (2019).

Juan Camilo Garzón (2018-2) Lorenza González (2018-2)

Valentina Guzmán (2018-2)

Políticas editoriales Objetivo, fechas y modalidades de recepción Dearq (Dearquitectura) es una revista seriada de acceso abierto y publicación semestral con contenidos arbitrados e indexados, y financiada por el Departamento de Arquitectura de la Universidad de los Andes (Colombia). Tiene como objetivo contribuir a la difusión de las investigaciones, los análisis, las opiniones y críticas que sobre la arquitectura y la ciudad elabore una comunidad académica internacional. La revista publica artículos inéditos en español, inglés y portugués, que presentan resultados de investigación en arquitectura y ciudad. En casos excepcionales se incluyen artículos que ya han sido publicados, siempre y cuando se reconozca su pertinencia dentro de las discusiones y problemáticas abordadas por la revista, y su contribución a la consolidación del diálogo y el intercambio de ideas en los debates vigentes de la academia. Todos los artículos publicados cuentan con un número de identificación DOI que, de acuerdo con las políticas editoriales internacionales, debe ser citado por los autores que utilizan los contenidos, al igual que el título abreviado de la revista: Dearq. La revista no cobra a los autores los costos de los procesos editoriales. Todos los contenidos digitales de la revista son de acceso abierto a través de su página web. La versión impresa de la revista tiene un costo y puede adquirirse en puntos seleccionados. Todos los artículos serán sometidos activamente a un proceso de control de plagio a través del uso de herramientas: SafeAssign, Plagscan o Scigen detection. Cuando se detecta total o parcialmente plagio (sin la citación correspondiente), el texto no se envía a evaluación y se notifica a los autores el motivo del rechazo.

ejecutado. El texto se apoya en el material gráfico enviado por los proyectistas, responsables y/o autorizados de publicar el diseño arquitectónico. Extensión máxima: 2000 palabras. 4. Opinión, crítica o entrevista: Se caracteriza por presentar la postura del (los) autor(es) o entrevistado(s) frente a un tema relevante para la publicación, sustentando esta postura con argumentos sólidos y apoyándose en bibliografía pertinente. Extensión máxima: 4000 palabras. 5. Reseña bibliográfica*: Texto que abarca críticamente libros, exposiciones, eventos, documentales u otros medios de interés. La reseña puede ser sobre uno o sobre dos o más productos de temática similar, permitiendo esto la construcción de un estado del arte sobre el tema. La reseña de un solo trabajo tendrá una extensión máxima de 1.500 palabas, la reseña en la que se entrelacen varios productos podría ser de hasta 3.000 palabras. Nota: Las tipologías 3 y 4 únicamente se pueden presentar para la sección temática de la revista (según convocatoria vigente).

Proceso editorial En el momento de someter un artículo, se le pedirá al autor diligenciar un formato con información personal y académica, además de declarar que el artículo es un texto original que no se ha publicado en otros medios ni está en proceso de revisión en otras revistas. Después de una revisión para verificar el cumplimiento de las normas de publicación, se le confirmará al autor que el artículo entró a la fase de evaluación.

Estructura La estructura editorial de la revista Dearq se divide en siete secciones:

Evaluación

• La Presentación contextualiza y da forma al respectivo número, además de destacar aspectos particulares que merecen la atención de los lectores.

Todo artículo que entre a la fase de evaluación, con excepción de las tipologías 4 y 5, será enviado primeramente a la evaluación anónima de pares evaluadores, nacionales y/o internacionales y posteriormente a la evaluación anónima por parte de un miembro del Consejo Editorial. Finalmente, será el Equipo Dearq quien se reserve la última palabra de los contenidos a publicar. Todas las decisiones son tomadas autónomamente por el Equipo Dearq con base en los informes presentados por los evaluadores y miembros del Comité Editorial y/o Científico. La revista no asume el compromiso de mantener correspondencia con los autores sobre las decisiones adoptadas.

• La Editorial está a cargo de los editores invitados que introducen la temática del número. •

La sección Investigación Temática reúne un conjunto de documentos que abordan el tema específico del número mediante la exposición de avances o resultados de investigaciones con una perspectiva crítica y analítica.

•

La sección Proyectos presenta una selección de obras arquitectónicas recientes y significativas, que ejemplifican y complementan el tema específico de cada número.

• •

•

La sección Investigación Abierta incluye documentos sobre investigaciones, reflexiones o perspectivas diferentes al tema central de cada número. La sección Deuniandes presenta artículos, reseñas asociados a las actividades académicas y de investigación del Departamento de Arquitectura de la Universidad de los Andes. La sección Creación expone trabajos creativos que desde disciplinas distintas a la arquitectura abordan temas de naturaleza espacial o urbana.

Tipología Dentro de la estructura editorial mencionada, se aceptan las siguientes tipologías de artículos definidas y avaladas por Colciencias*[1]: 1. Artículo de investigación*: Documento que presenta, de manera detallada, los resultados originales de proyectos terminados de investigación. La estructura generalmente utilizada contiene cuatro apartes importantes: introducción, metodología, resultados y conclusiones. Extensión máxima: 4000 palabras. 2. Artículo de reflexión*: Documento que presenta resultados de investigación terminada desde una perspectiva analítica, interpretativa o crítica del autor, sobre un tema específico, recurriendo a fuentes originales. Extensión máxima: 4000 palabras. 3. Análisis de proyecto: Texto que describe, analiza y/o interpreta desde una posición independiente y crítica una obra específica arquitectónica, urbanística o de disciplinas afines. El objeto del análisis puede o no estar construido /

El autor será notificado sobre esta decisión, siendo las siguientes, las posibles determinaciones: •

El artículo es aceptado sin condiciones.

•

El artículo es aceptado con la condición de que se realicen ligeras modificaciones según las sugerencias del par académico y del comité editorial.

•

El artículo necesita de importantes modificaciones; se invita al autor a realizarlas según las sugerencias del par académico y del comité editorial. Cuando se hayan realizado las modificaciones, el documento será evaluado de nuevo.

•

El artículo no es aceptado. Con esta notificación, se le enviará al autor también el informe del árbitro con comentarios específicos sobre el artículo.

Nota: Las contribuciones de los tipos 4 y 5 serán leídos por el Equipo Dearq únicamente, y sus autores recibirán una notificación de aceptación o rechazo.

Autorización Los autores de los textos aceptados deben hacer explícito que el texto es de su autoría y que en el mismo se respetan los derechos de propiedad intelectual de terceros. Si se utiliza material que no sea propiedad de los autores, es responsabilidad de los mismos asegurarse de tener las autorizaciones para el uso, reproducción y publicación de cuadros, gráficas, mapas, diagramas, fotografías, etc. Si el autor de un artículo quisiera incluirlo posteriormente en otra publicación, la revista donde se publique el artículo deberá señalar claramente los datos de la publicación original, y con previa autorización del Editor de la revista Dearq.

Definiciones de las tipologías de documentos aceptados por Colciencias, referenciadas del Documento Guía Servicio Permanente de Indexación de Revistas de Ciencia 2014.

Normas de Publicación

(B): Shepsle, Kenneth y Mark Bonchek. 2005. Las fórmulas de la política: instituciones, racionalidad y comportamiento. México: Taurus/Centro de Investigación y Docencia Económicas.

El material debe redactarse según las siguientes indicaciones. El material que no cumpla con estas condiciones será devuelto al autor y no podrá participar en el proceso de evaluación. Los artículos se deben presentar en documento Word sin formatear, en fuente Times New Roman, 12 puntos e interlineado doble, con márgenes de 2,5 x 2,5 x 2,5 x 2,5 cm.

Nota: Cuando se trate de libros con más de tres autores, las notas al pie de página deben incluir el nombre del primer autor seguido por "et al." o "y otros". Ambas opciones son válidas. Capítulo en libro con un autor (NP): Montoya Arango, “El gobierno del sol”, 196. (B): Montoya Arango, Nathalie. “El gobierno del sol. Naturaleza y programa en el hospital moderno”. En Arquitectura Moderna en Medellín 1947-1970, editado por Cristina Vélez Ortiz, et al., 193-99. Medellín: Universidad Nacional de Colombia, 2010.

El documento se debe estructurar de la siguiente manera: •

Título: Toda aclaración con respecto al trabajo se consignará en la primera página, en nota al pie, mediante un asterisco remitido desde el título del trabajo.

•

Nombre del (los) autor (es): La revista Dearq maneja un máximo de seis autores. El orden de los autores debe ser definido por ellos previo al envío del material; la Revista dearq seguirá el orden dado en el documento sometido. Es fundamental incluir los datos de los autores: títulos académicos, afiliación institucional, grupo o líneas de investigación (si aplica), últimas dos publicaciones y correo electrónico.

•

Información adicional: En caso de que el artículo sea resultado de una investigación, debe incluir la información del proyecto del que hace parte y el nombre de la institución financiadora.

•

Resumen analítico: Texto analítico de máximo 100 palabras, que describa el contenido del artículo incluyendo sus conclusiones.

•

Palabras claves: Entre tres y siete palabras clave. Las palabras clave deben reflejar el contenido del documento, y por ello es necesario que señalen las temáticas precisas del artículo, rescatando las áreas de conocimiento en las que se inscribe y los principales conceptos.

•

Texto del artículo: Se debe indicar el lugar de inserción del material gráfico y sus respectivos pies de figura.

•

Bibliografía: Consiste en la información bibliográfica completa de únicamente aquellas fuentes referenciadas en el texto. Cuando los contenidos utilizados tengan un número de identificación DOI, debe incluirse en el listado de referencias.

Capítulo de un libro con varios autores (NP): Ciro Murayama Rendón, “Financiamiento a los partidos políticos: el nuevo modelo mexicano,” en Estudios sobre la reforma electoral 2007: hacia un nuevo modelo, coords. Lorenzo Córdova Vianello y Pedro Salazar Ugarte (México:Tribunal Electoral del Poder Judicial de la Federación, 2008), 261-87. (B): Murayama Rendón, Ciro. 2008. Financiamiento a los partidos políticos: el nuevo modelo mexicano. En Estudios sobre la reforma electoral 2007: hacia un nuevo modelo, coords. Lorenzo Córdova Vianello y Pedro Salazar Ugarte, 26187. México: Tribunal Electoral del Poder Judicial de la Federación. Artículo en revista (NP): Sanín Santamaría, “Configuraciones del hábitat informal”, 112. (B): Sanín Santamaría, Juan Diego. “Configuraciones del hábitat informal en el sector El Morro del barrio Moravia.” Bitácora Urbano Territorial 15 (2009): 109-26. Conferencia, ensayo o artículo presentado en un evento académico (NP): Leonardo Valdés Zurita. “La reforma electoral federal desde la perspectiva del IFE” (conferencia presentada en el seminario “Implicaciones de la Reforma Electoral Federal 2007 en el estado de Michoacán”, Morelia, Michoacán, 23 de mayo al 20 de agosto, 2008). (B): Valdés Zurita, Leonardo. 2008. La reforma electoral federal desde la perspectiva del IFE. Conferencia presentada en el seminario “Implicaciones de la Reforma Electoral Federal 2007 en el estado de Michoacán”, 23 de mayo al 20 de agosto, en Morelia, Michoacán.

Nota: La extensión total del documento, incluyendo bibliografía y pies de figura, no debe exceder las palabras requeridas por cada tipología.

Tablas y figuras

Tesis (NP): Gabriel Calderón Sánchez, "La Segunda Guerra Mundial en México: política gubernamental, opinión pública y nacionales del Eje"(tesis de licenciatura, Centro de Investigación y Docencia Económicas, 2004), 74-76. (B): Calderón Sánchez, Gabriel. 2004. La Segunda Guerra Mundial en México: política gubernamental, opinión pública y nacionales del Eje. Tesis de Licenciatura., Centro de Investigación y Docencia Económicas.

Las tablas deben ir incluidas en el texto, de tal manera que la información sea editable en el proceso de diagramación. Deberán tener un título, precedido por la palabra Tabla y el número consecutivo que le corresponda. Debajo de la tabla se debe indicar la fuente de la información presentada. Las figuras deberán tener una resolución mínima de 300 dpi en formato de 9x13 cm. El número máximo de figuras será 20, de las cuales se publicará una selección. En el caso de los análisis de proyectos se deben enviar fotografías de muy alta calidad gráfica de tamaño mínimo 18x24 cm.

Recursos electrónicos Cuando se consulten páginas en Internet, las referencias deben incluir tanta de la siguiente información como sea posible determinar: autor del contenido, título de la página, título o propietario del sitio y URL: (NP): Fiscalía Especializada para la Atención de Delitos Electorales, “¿Qué es la FEPADE?,” Procuraduría General de la República, http://www.pgr.gob.mx/fepade/que es la fepade/que es la fepade.asp (consultada el 22 de mayo de 2009). (B): FEPADE. Ver Fiscalía Especializada para la Atención de Delitos Electorales. Fiscalía Especializada para la Atención de Delitos Electorales. ¿Qué es la FEPADE? Procuraduría General de la República. http://www.pgr.gob.mx/fepade/que es la fepade/que es la fepade.asp (consultada el 22 de mayo de 2009).

Todas las figuras deberán tener una descripción incluida en el texto del artículo, precedida por la palabra “Figura” y el número consecutivo que le corresponda. En este pie de figura se debe indicar la fuente y/o autoría de la imagen. Las tablas y figuras del artículo deberán enviarse en una carpeta adicional e independiente del texto, en formato .jpg o .tif, siendo los nombres de los archivos: FIG1FIG2- FIG3, etc. o TAB1-TAB2-TAB3, etc. Los gráficos y mapas se deberán presentar el mismo formato de las tablas y listos para su reproducción directa.

Nota: Cuando se cita la misma obra varias veces con notas al pie de página, a partir de la segunda vez puede incluirse sólo una referencia concisa a la obra, pues el lector ya cuenta con la información completa. De esta manera, se evita utilizar expresiones como op.cit., ibid. o ibídem.

Referencias bibliográficas Las referencias bibliográficas deben seguir el manual de estilo Chicago. En el texto, se debe usar referencias en nota al pie, usando la forma corta de citación, y al final del texto, se debe incluir una bibliografía que reúna la información bibliográfica completa de las fuentes referenciadas en el texto. A continuación se presentan los ejemplos que muestran las diferencias entre la forma de citar dentro del texto con notas al pie (NP) y la forma de citar en la lista bibliográfica (B): Libro de un autor (NP): Martí Aris, Variaciones de la identidad, 67. (B): Martí Aris, Carlos. Las variaciones de la identidad: ensayos sobre el tipo en arquitectura. Barcelona: Serbal, 1993. Libro con dos o más autores (NP): Kenneth Shepsle y Mark Bonchek, Las fórmulas de la política: instituciones, racionalidad y comportamiento (México: Taurus/Centro de Investigación y Docencia Económicas, 2005), 45.

Envío de material y correspondencia El paquete de envío debe contener la siguiente información y documentación: •

El documento que contiene el texto del artículo.

•

Paquete de imágenes en formato .zip

•

Certificación de originalidad y no presentación simultánea.

•

Autorizaciones de uso de imágenes, en caso de que los derechos de las mismas sean propiedad de terceros.

El correo de correspondencia es:

dearq@uniandes.edu.co

Editorial policies Type of articles, dates and forms of reception Dearq (Dearquitectura) journal is a serial open access journal. It is a semianual publication with peer reviewed and indexed content, and it is financed by the School of Architecture of Universidad de los Andes (Colombia). It contributes to the dissemination of researches, analysis and opinions of both national and international academic community that elaborates on architecture and city themes. Dearq publishes unpublished articles in Spanish, English and Portuguese that present research results in topics regarding Architecture and the city. In exceptional cases, it includes articles that have already been published as long as they are relevant to the discussions and issues presented by the journal, and if they can contribute to the consolidation of a dialogue and to the exchange of ideas in current academic debates. All the articles published have a DOI identification number that, in accordance with international editorial policies, must be cited by authors who use the contents, along with the abbreviated title of the journal: Dearq. Dearq journal does not charge authors for the costs of the editorial processes. All the digital contents of the journal are of open access through its website. The journal’s printed version has a cost and can be purchased at selected stores. All articles will actively go through a plagiarism control process, in which one of the following tools will be used: SafeAssign, Plagscan or Scigen detection. When plagiarism is detected, either total or partial (i.e., lacking the corresponding citation), the text won’t be sent for evaluation and the author or authors will be notified of the reason for its rejection.

Structure The Journal is divided in seven sections, more specifically: • The Introduction gives context and form to the respective Issue, as well as it highlights particular aspects for the reader’s attention. • The Editorial section is in charge of the invited editors who introduce the thematic of the Issue. • The Thematic Research section meets a series of documents that addresses the issue’s main topic through the coverage of insights or results based on critical and/or analytical researches and perspectives.

3. Review paper: A paper (no longer than 4000 words) based on both published and unpublished research, with the aim of reporting advances and development trends within a field. The paper should present a judicious bibliographical review of no less than fifty sources. 4. Project analysis: This paper should detail, analyze and/or independently elucidate and review a specific work, related to architecture, town planning, or a similar subject. Whatever is being analyzed does not have to be necessarily built. The text should be accompanied by graphics of the highest quality. Paper no longer than 500 words. 5. Opinion, critique or interview*: This should detail an opinion on a subject that is pertinent to the journal. The opinion should be supported with conclusive arguments and be based on a conclusive bibliography. 6. Book review*: Text that critically covers books, exhibitions, events, documentaries or other means of interest. The review can be about one or about two or more similar themed products, allowing this to build a state of the art on the subject. The review of a single work will have a maximum extension of 1,500 words, the review in which are interlaced several products could be up to 3,000 words. Note: Types 3 and 4 are acceptable for the theme section only.

Editorial process For submitting an article for its publication, the author must complete a form, which includes personal information, academic qualifications, and a declaration of the originality of the material. The work must be original, unpublished and must not be in process of revision in other magazines. When the paper has been reviewed, to check that it complies with the rules of publication, the author will be informed regarding its evaluation.

i. Peer reviews Every article that is submitted for evaluation (except for typologies 4 and 5), will be double-blind peer-reviewed by, primarily, national and/or international peer reviewers. Secondly, it will be reviewed by a member of the Executive Board. The Dearq Team reserves the last word of all published content.

• The Projects section presents a recent and meaningful selection of architectural works that illustrates and complements the issue’s theme.

The author will be duly notified of one of the following decisions: •

The article is accepted without any changes required.

• The Open Research section includes documents that present and develops researches or reflections addressing different themes from the Issue’s main one.

•

The article is accepted under the condition that slight changes are made based on suggestions from the peer reviewers and editorial committee.

•

Deuniandes section presents articles, reviews associated with academic activities, and research that are developed by the Department of Architecture at Universidad de los Andes.

•

Creation section exhibits creative works which address spatial or urban topics through different disciplines from architecture.

The article needs substantial modification. The author is invited to redraft the article, taking into account the suggestions made by the peer reviewers and editorial committee. The improved document will be reviewed again, following the same procedure.

•

The article is not to be accepted.

Note: From Issue No.20 "Women in Architecture", the section’s names were reformulated with the purpose of facilitating the readers understanding of the editorial structure and contents. The “Articles section” was renamed as “Thematic Research section”; “The Dossier section” was redefined as “Open Research section”. The Journal will start declaring the “Creation section”.

The Dearq Team will review contributions of typologies 4 and 5. The author will receive a letter of acceptance or rejection. The Dearq Team, based on the reviews by the peer reviewers and Editorial and Scientific Boards, makes all decisions autonomously. The Dearq Board will not be under any obligation to give any further information to the authors regarding the aforementioned decisions.

Articles’ Typology Within the editorial structure mentioned before, the following typologies, defined and endorsed by Colciencias*[1] are accepted:

ii. Authorizations

1. Research paper*: Text (no longer than 4000 words) must include detailed, original results from a completed research project. The structure should generally follow the standard format: introduction, method, results and conclusion.

Authors must specifically make clear that the text submitted is original and respects the intellectual property rights of third parties. If they use extra material that is not of their property, it will be their responsibility to obtain permission for its publication- illustrations, maps, diagrams, photographs, etc.

2. Discussion paper*: An article (no longer than 4000 words) that analytically presents the results of a piece of a completed research. It should be written in an interpretive or critical style about a specific topic, using original sources.

If an author desires to include the article in another publication or journal, it must clearly indicate the data regarding its original publication, and obtain previous authorization from dearq’s Editor.

Document’s typology accepted and considered by Colciencias, referenced from (Documento Guía Servicio Permanente de Indexación de Revistas de Ciencia 2014).

Manuscript preparation guidelines

(B): Shepsle, Kenneth y Mark Bonchek. 2005. Las fórmulas de la política: instituciones, racionalidad y comportamiento. México: Taurus/Centro de Investigación y Docencia Económicas.

Articles must be sent in Word, in Times New Roman font size 12, with double line spacing and margin sizes: 2.5 × 2.5 × 2.5 × 2.5 cm. The following must be included: •

Title: It should include a footnote on the first page, explaining the work undertaken.

•

Author(s’) name(s): For each article, dearq accepts a maximum of six authors. The order of authors must be established before submitting the paper for publication. Dearq will name the authors in accordance with the order submitted. The author’s data should be included in a separate file: academic degrees, institutional affiliation, research group or lines of research (if applicable), two latest publications, and email address.

•

Additional information: If the article is based on the results of a research, please indicate the project that it belongs to and the name of the financing institution, if applicable.

•

Abstract: It is an analytical or descriptive text of the article (no longer than 100 words) describing its content and including conclusions.

•

Key words: Three to seven keywords. The keywords should reflect the content of the document, and that is why it is necessary that they indicate the exact topics of the article, showing the areas of knowledge in which they arise and the main concepts involved.

•

Article body: The text should include captions and indications of where they will be included.

•

Bibliography: Complete bibliographical information of the referenced sources. When the contents used have a DOI identification number, it should be included in the list of references.

Book chapter (NP): Montoya Arango, “El gobierno del sol”, 196. (B): Montoya Arango, Nathalie. “El gobierno del sol. Naturaleza y programa en el hospital moderno”. En Arquitectura Moderna en Medellín 1947-1970, editado por Cristina Vélez Ortiz, et al., 193-99. Medellín: Universidad Nacional de Colombia, 2010. Book chapter with more than one author (NP): Ciro Murayama Rendón, “Financiamiento a los partidos políticos: el nuevo modelo mexicano,” en Estudios sobre la reforma electoral 2007: hacia un nuevo modelo, coords. Lorenzo Córdova Vianello y Pedro Salazar Ugarte (México:Tribunal Electoral del Poder Judicial de la Federación, 2008), 261-87. (B): Murayama Rendón, Ciro. 2008. Financiamiento a los partidos políticos: el nuevo modelo mexicano. En Estudios sobre la reforma electoral 2007: hacia un nuevo modelo, coords. Lorenzo Córdova Vianello y Pedro Salazar Ugarte, 26187. México: Tribunal Electoral del Poder Judicial de la Federación. Magazine article (print or online) (NP): Sanín Santamaría, “Configuraciones del hábitat informal”, 112. (B): Sanín Santamaría, Juan Diego. “Configuraciones del hábitat informal en el sector El Morro del barrio Moravia.” Bitácora Urbano Territorial 15 (2009): 109-26. Conference, essay or article presented in a academic event (NP): Leonardo Valdés Zurita. “La reforma electoral federal desde la perspectiva del IFE” (conferencia presentada en el seminario “Implicaciones de la Reforma Electoral Federal 2007 en el estado de Michoacán”, Morelia, Michoacán, 23 de mayo al 20 de agosto, 2008). (B): Valdés Zurita, Leonardo. 2008. La reforma electoral federal desde la perspectiva del IFE. Conferencia presentada en el seminario “Implicaciones de la Reforma Electoral Federal 2007 en el estado de Michoacán”, 23 de mayo al 20 de agosto, en Morelia, Michoacán.

Note: The entire document, including bibliography and captions should not exceed more words than it is specified for each document’s typology.

Tables and figures Tables should be included in the text in a way that allows data editing during the layout process. They should be titled (preceded by the word Table) and must be numbered consecutively. Below each table, the source(s) of data used should be included.

Thesis (NP): Gabriel Calderón Sánchez, "La Segunda Guerra Mundial en México: política gubernamental, opinión pública y nacionales del Eje" (tesis de licenciatura, Centro de Investigación y Docencia Económicas, 2004), 74-76. (B): Calderón Sánchez, Gabriel. 2004. La Segunda Guerra Mundial en México: política gubernamental, opinión pública y nacional del Eje. Tesis de Licenciatura., Centro de Investigación y Docencia Económicas.

Figures should have a minimum resolution of 300 dpi and a minimum size of 9 × 13 cm. The maximum number of photographs for submission is 20. In the case of project analysis, a high-resolution portrait photograph (minimum size 18 × 24 cm) must be submitted. Captions should include the source or authorship of the image.

Online resources (NP): Fiscalía Especializada para la Atención de Delitos Electorales, “¿Qué es la FEPADE?,” Procuraduría General de la República, http://www.pgr.gob.mx/fepade/que%20es%20la%20fepade/que%20es%20la%20fepade.asp (consulted el 22 de mayo de 2009). (B): FEPADE. Ver Fiscalía Especializada para la Atención de Delitos Electorales. Fiscalía Especializada para la Atención de Delitos Electorales. ¿Qué es la FEPADE? Procuraduría General de la República. http://www.pgr.gob.mx/fepade/ que%20es%20la%20fepade/que%20es%20la%20fepade.asp (consulted el 22 de mayo de 2009).

Figures and tables need to be sent separately in either .jpg or .tiff format, labelled FIG1-FIG2-FIG3, etc. and TABL1-TABL2-TABL3, etc. Any graphic material and maps should be submitted ready as it would be published.

Bibliographical references Bibliographical references must be in accordance with The Chicago Manual of Style. Footnotes should be used and its citations should follow the shortened form. At the end of the text, a bibliography should be included to summarize all the bibliographical information that had been referenced through the article. The following examples are presented to show the differences between the brief parenthetical form of citation to be used within the text (NP), and the full form of citation to be used in the bibliography (B).

Note: Ibid, ibidem or op. cit. should not be used in these cases.

Submit material and Contact

Book by a single author (NP): Martí Aris, Variaciones de la identidad, 67. (B): Martí Aris, Carlos. Las variaciones de la identidad: ensayos sobre el tipo en arquitectura. Barcelona: Serbal, 1993.

The material to be sent should consist of:

Book by two or three authors (NP): Kenneth Shepsle y Mark Bonchek, Las fórmulas de la política: instituciones, racionalidad y comportamiento (México: Taurus/Centro de Investigación y Docencia Económicas, 2005), 45.

•

The document containing the article.

•

A folder that contains the images.

•

Certification of originality and exclusivity

•

The right to use images, if the images are property of third parties

To contact the editorial team, please use the following email address:

dearq@uniandes.edu.co

Políticas éticas Publicación y auditoría La revista Dearq hace parte del Departamento de Arquitectura de la Facultad de Arquitectura y Diseño de la Universidad de los Andes, encargada del soporte financiero de la publicación. Se encuentra ubicada en el edificio K 2° piso o en la oficina T-213 de la Universidad. La dirección electrónica de la Revista es https://dearq.uniandes.edu.co; su correo es dearq@uniandes.edu.co; el teléfono de contacto es (+571) 3394999, extensión 2485. Cuenta con la siguiente estructura: Equipo Editorial -compuesto por un Director, un Editor, Gestor(es) Editorial(es), Monitor(es)-, Consejo Editorial, Equipo de Diseño, Diagramación y Soporte, Corrección de Estilo y Traducción. Los miembros del Consejo Editorial son evaluados cada dos años en función de su reconocimiento en el área y de su producción académica visible en otras revistas nacionales e internacionales indexadas. Los artículos presentados a la revista Dearq deben ser originales e inéditos y no deben estar simultáneamente en proceso de evaluación ni tener compromisos editoriales con ninguna otra publicación. Si el manuscrito es aceptado, los editores esperan que su aparición anteceda a cualquier otra publicación total o parcial del artículo. Si el autor de un artículo quisiera incluirlo posteriormente en otra publicación, la revista donde se publique el artículo deberá señalar claramente los datos de la publicación original, y con previa autorización del Editor de la revista Dearq. Así mismo, cuando la revista tenga interés en traducir y publicar un artículo que ya ha sido previamente publicado se compromete a pedir la autorización correspondiente a la editorial que realizó la primera publicación.

Responsabilidades del autor

ser consultados por el Equipo Dearq para resolver las inquietudes existentes. Tanto en el proceso de evaluación como en el proceso de edición, el correo electrónico constituye el medio de comunicación privilegiado con los autores. El Consejo Editorial se reserva la última palabra sobre la publicación de los artículos y el número en el cual se publicarán. Esto se cumplirá siempre y cuando el autor haga llegar toda la documentación que le es solicitada en el plazo indicado. La revista Dearq se reserva el derecho de hacer correcciones menores de estilo.

Revisión por pares/responsabilidad de los evaluadores A la recepción de un artículo, el Equipo Dearq establece el primer filtro teniendo en cuenta formato, calidad y pertinencia. Después de esta primera revisión, se definen los artículos que iniciarán el proceso de evaluación por pares. En esta instancia, los textos son sometidos primeramente a la evaluación de pares evaluadores, nacionales e internacionales (al menos 50% con afiliación externa a la Universidad de los Andes), posteriormente a la evaluación del Comité Editorial y al concepto del Equipo Dearq, quien se reserva la última palabra de los contenidos a publicar. La revista Dearq cuenta con un formato que contiene preguntas con criterios definidos, que el evaluador debe responder sobre el artículo objeto de evaluación. A su vez, tiene la responsabilidad de aceptar, rechazar o aprobar con modificaciones el artículo arbitrado y declarar si existe conflicto de intereses. Durante la evaluación, tanto los nombres de los autores como de los evaluadores serán mantenidos en completo anonimato.

Responsabilidades editoriales

Los autores deben remitir sus artículos a través del enlace habilitado en la página web de la revista Dearq o enviarlo al siguiente correo electrónico: dearq@ uniandes.edu.co en las fechas establecidas para la recepción de artículos. La revista Dearq ofrece indicaciones para los autores con las pautas para la presentación de los artículos y reseñas, así como las reglas de edición. Esta información se puede consultar en español, inglés y portugués en la página web: Indicaciones para autores y en la versión impresa de la revista. Si bien el Equipo Dearq aprueba los artículos con base en criterios de calidad, rigurosidad investigativa y la evaluación realizada por los pares evaluadores y el Comité Editorial, los autores son los responsables de las ideas allí expresadas, así como de la idoneidad ética del artículo. Los autores deben hacer explícito que el texto es de su autoría y que en el mismo se respetan los derechos de propiedad intelectual de terceros. Si se utiliza material que no sea propiedad de los autores, es responsabilidad de los mismos asegurarse de tener las autorizaciones para el uso, reproducción y publicación de planos, cuadros, gráficas, mapas, diagramas, fotografías, etc. También aceptan someter sus textos a las evaluaciones de pares externos y se comprometen a tener en cuenta las observaciones de los evaluadores, así como las del Equipo Editorial para la realización de los ajustes solicitados. Estas modificaciones y correcciones al manuscrito deberán ser realizadas por el autor en el plazo que le sea indicado por el Editor. Una vez que la revista Dearq reciba el artículo modificado, se le informará al autor acerca de su completa aprobación. Cuando los textos sometidos a consideración de la revista Dearq no sean aceptados para publicación, el Editor enviará una notificación escrita al autor explicándole los motivos. Durante el proceso de edición, los autores podrán

El Equipo Dearq con la participación del Comité Editorial, son responsables de definir las políticas editoriales para que la revista cumpla con los estándares que permiten su posicionamiento como una reconocida publicación académica. La revisión continua de estos parámetros asegura que la revista Dearq mejore y cumpla las expectativas de la comunidad académica. La revista Dearq publica normas editoriales que espera que sean cumplidas en su totalidad. También deberá publicar correcciones, aclaraciones, rectificaciones y dar justificaciones cuando la situación lo amerite. El Equipo Editorial es responsable de la escogencia de los mejores artículos para ser publicados. Esta selección estará siempre basada en la calidad y relevancia del artículo, en su originalidad y contribución al conocimiento de los campos de la arquitectura y la ciudad. En este mismo sentido, cuando un artículo es rechazado la justificación brindada al autor deberá orientarse hacia estos aspectos. El Editor es responsable del proceso editorial de todos los artículos que se postulan a la revista. Debe desarrollar mecanismos de confidencialidad mientras dura el proceso de evaluación por pares hasta su publicación o rechazo. Cuando la revista Dearq recibe quejas de cualquier tipo, el Equipo Dearq debe responder prontamente, y en caso de que el reclamo lo amerite, debe asegurarse de que se lleve a cabo la adecuada investigación tendiente a la resolución del problema y publicar las correcciones y/o aclaraciones. Tan pronto un número de la revista Dearq salga publicado, el Editor tiene la responsabilidad de su difusión y distribución a los colaboradores, evaluadores y a las entidades con las que se hayan establecido acuerdos de intercambio, así como a los repositorios y sistemas de indexación nacionales e internacionales. Igualmente, el editor se ocupará del envío de la revista a los suscriptores activos.

https://revistas.uniandes.edu.co/journal/dearq

Ethic Guidelines Publication and authorship Dearq journal is a made by of the School of Architecture at Universidad de los Andes, which finances the publication. It is located in the K building, at the second floor. The web page of the journal is http://Dearq.uniandes.edu. co; its e-mail address is Dearq@uniandes.edu.co, and contact phone is (0571) 3394999, extension 2485. The structure of its organization is as follows Executive Board: Dearq Staff (Director, Editor, Editorial Manager(s), Assistant(s)), Editorial and Scientific Board- supported by a Staff Team. The Editorial and Scientific Board members are evaluated annually in relation to their academic production in other national and international journals. The articles submitted to Dearq journal must be original and unpublished and must not be in an evaluation process or have an editorial commitment to any other publication. If the manuscript is accepted, the editors expect that its appearance will precede republication of the essay, or any significant part thereof, in another work. If the author of an article wants to include it in another publication, the details of the original publication must be clearly stated by the journal where it will be published and should be authorized by Dearq’s Editor. In the same way, when the Journal is interested in publishing an article that has been previously published, it will ask for permission from the editorial charged of the first publication.

usage of the author’s patrimonial rights (reproduction, public communication, transformation and distribution) to the Universidad de los Andes, in order to include the text in the journal (both printed and electronic versions). In this same document, the authors confirm own the text and the intellectual property rights of third parties are respected in the text.

Responsibility for the reviewers Once an article is received, the Editor evaluates if it fulfils with the basic requirements of the Journal, as well as its relevance to the publication theme. Dearq Staff establishes a first filter; taking into account format, quality and relevance, and, after this initial revision, the articles that will start the process or arbitration will be defined. At this instance, texts are submitted, primarily, to peer reviewers, national and international, subsequently to the Editorial Board evaluation and the Dearq Staff concept, who reserves the last word of the publication content. The journal uses a format that contains questions with carefully defined criteria that should be answered by the peer reviewer. Therefore, the peer has the responsibility of accepting or rejecting the article or approving modifications to it. During this process, both the names of the authors as those of the reviewers will not be disclosed.

Editorial responsibilities Author responsibilities Authors must submit their articles through the following link and send them to the following addresses: Dearq@uniandes.edu.co within the deadlines set by the “Call for Papers” bases. The journal has public access policies for the authors in Spanish, English and Portuguese that instructs authors for the correct submission of the articles and reviews, as well as editorial procedures, which should be checked in “Editorial Policies” or at the printed version. Even though the peers and Editorial Board approve articles taking into account criteria of quality and research rigor, the responsibility for the ideas expressed within the article rest upon the authors, as well as its ethical level, authors must specifically make clear that the submitted texts respect the intellectual property rights of third parties. If they use material that is not their property, it will be the author’s responsibility to obtain permission for its publication- be it plans, illustrations, diagrams, photographs, etc.- and authorize the use of graphic material by signing the 'Right to use images' document. When a submitted article is not accepted for publication, the Editor will notify the author explaining the reasons. During the editing process, the Executive Board may consult the authors for clarifying any doubts. Both, evaluation process as edition one, the communication canal will and should be done through mail, preferably. The Executive Board will reserve rights regarding the publication of the articles and the issue in which they will be published. The publication date will be observed once the author submits the required documentation within the period previously indicated. The journal reserves the right to make minor corrections of style. The authors of approved manuscripts authorize the use of intellectual property rights by signing the ‘Certification of originality and exclusivity’ and the

Dearq Staff and the Editorial's Board participation are the responsible for defining the editorial policies that sustains the journal’s standards of a renowned academic publication. These guidelines are constantly reviewed to improve the Journal and fulfill the expectations of the academic, databases and indexations community. Just as the journal expects editorial norms be to be pragmatic, it must also publish corrections, clarifications, retractions and apologies when needed. The Executive Board is responsible for the choice of the best articles to be published. This selection will always be founded on the quality and relevance of the article, as well as its originality and contributions to the field of Architecture. In the same way, when an article is refused, the justification given to the author should be oriented through this aspects and conservations of relevance. The Editor is responsible for the procedure of all the articles submitted to the journal, and must develop confidential mechanisms during the evaluation process that leads to its publication or refusal. When Dearq receives complaints of any kind, the team must answer promptly according to the norms established for publication, and in case the complaint is justified, it must make sure the necessary investigation is carried out to solve the problem; and publish the resolved rectifications and/or remarks on the journal’s printed version and website. As soon as a volume of the journal is published the Editor has the responsibility of its diffusion and distribution to contributors, reviewers and institutions with whom exchange agreements have been established, as well as national and international repositories and indexation systems. In the same way, the Editor will be in charge of sending the journal to active subscribers.

https://revistas.uniandes.edu.co/journal/dearq

Sección de Investigación Abierta Recibimos su manuscrito durante todo el año Envíe su artículo de investigación sin esperar a que se ajuste a una convocatoria temática Para más información consulte nuestra página web:

https://revistas.uniandes.edu.co/journal/dearq

Suscripción

CUMULUS: THE DESIGN AFTER

3 Años ( 6 Ejemplares)

$200.000

dearq (Dearquitectura). Revista de Arquitectura / Journal of Architecture Universidad de los Andes. Colombia. Enero de 2020. pp. 1-208. ISSN 2011-3188 E-ISSN 2215-969X

dearq (Dearquitectura) Revista de Arquitectura / Journal of Architecture Universidad de los Andes ISSN 2011-3188. E-ISSN 2215-969X

dearq 26: THE DESING AFTER Enero de 2020 Alejandro Gaviria Uribe

Rector Universidad de los Andes

Rafael Hernando Barragán Romero Decano Facultad de Arquitectura y Diseño

Claudia Mejía Ortiz

Directora Departamento de Arquitectura

Este valor es en pesos colombianos, no incluye gastos de envio.

CUMULUS THE DESING AFTER

CUMULUS: THE DESIGN AFTER

dearq 26. CUMULUS: THE DESIGN AFTER Ilustración: Carolina Rojas

  

COP $40.000 ISSN 2011-3188 E-ISSN 2215-969X Departamento de Arquitectura, Universidad de los Andes http://arquitectura.uniandes.edu.co

dearq@uniandes.edu.co

Enviando un correo electrónico a con los datos personales, Revista dearq se pondrá en contacto. O si le interesa la suscripción en línea, puede consultar nuestra pagina web:

dearq 26. CUMULUS: THE DESIGN AFTER Ilustración: Carolina Rojas

https://revistas.uniandes.edu.co/journal/dearq

Research Video: Audiovisual Ethnography and beyond

Director

Lucas Ariza Parrado Editor

Juliana Pinto Omaña Melissa Ferro Beltrán Gestoras Editoriales

Cesar Peña Iguavita Daniel Huertas Nadal Editores invitados

Juan Camilo Giraldo Morales

Monitor

Adriana Páramo Urrea Diseño y diagramación

Jaimie Brzezinski

Corrección y traducción

Carolina Rojas Céspedes Imágenes de carátula y postales

Javegraf Impresión

Creation Aviario. Una mirada a la ilustración científica tradicional a partir de la puesta en escena de la muerte Carolina Rojas

N.o 26. Enero de 2020

https://revistas.uniandes.edu.co/journal/dearq

Revista de Arquitectura / Journal of Architecture. Universidad de los Andes

Presentation: Design and Utopia in the Age of Dystopias César Peña

Finding a New Commons: Architecture’s Role in Cultural Sustainability for Japan’s Shrinking Regions

dearq

Thematic Research

Camilo Salazar Ferro

dearq - Revista dearquitectura

Suscripción 3 Años ( 6 Ejemplares)

$200.000 Este valor es en pesos colombianos, no incluye gastos de envio.

https://revistas.uniandes.edu.co/journal/dearq dearq 26. CUMULUS: THE DESIGN AFTER Ilustración: Carolina Rojas

dearq@uniandes.edu.co

Enviando un correo electrónico a con los datos personales, Revista dearq se pondrá en contacto. O si le interesa la suscripción en línea, puede consultar nuestra pagina web:

https://revistas.uniandes.edu.co/journal/dearq

dearq 26. CUMULUS: THE DESIGN AFTER Ilustración: Carolina Rojas

https://revistas.uniandes.edu.co/journal/dearq

Dearq 26: Cumulus - The Design After

Articles inside

Dearq 26: Cumulus - The Design After