EDUARDO
PÉREZ
PORTFOLIO
SANTIAGO DE CHILE
Eduardo Pérez Infante Bustamante 612 Apt 4, Providencia, Santiago de Chile. eduardoperez@gmail.com / +56.9.92503486
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PROFESSIONAL EXPERIENCE Grupo TOMA, Professional Architecture Collective 2012 - Current Founder, Partner: Tasks include conceptualization, design, building, teaching, research, communication, editorial, management, etc. TOMA is a professional collective that has operates in Santiago de Chile, currently composed of 5 architects. The office develops territorial actions and research to generate alternative social ecosystems. Its production is self-managed, hands-on, and constructed with scarce resources. TOMA was selected for the Young Architects Program (YAP) Santiago 2014, and in 2015 participated in the first Chicago Architecture Biennial. DÆ DESIGN STUDIO 2014 - Current Founder, Partner: Design, building and management. Design studio, in collaboration with the designer Angelo Santa-Cruz. Active since 2014. The work of DÆ integrates craft and design for the development of interior design projects. CASA DE LA MUSICA 2014-2015 Founder, Partner: Conceptualization, sound and space design, building. Casa de la Música is a Do-Tank that experiments on social space through music as an active communicational tool. LCDLM reclaims and resignifies spaces by creating collective experiences through physical intervention and sonic programming. VVAA ARCHITECTS 2012 –2014 Founder, Partner, Architect: Conceptualization, design and supervision of architectural projects. Architecture studio, in collaboration with Mathias Klenner and Ignacio Saavedra. VVAA participated in commissioned projects, as well as open competitions and collaborations. The office designed and built projects of different scales and types, both for private and public clients.
ADDITIONAL PROJECTS SONIC AND MUSICAL EXPLORATION: Workshops for Children.
2014
DOMEYKO ARQUITECTOS Assistant Architect. PRES Curicó_ Design for the Plan de Reconstrucción Sustentable (Sustainable Reconstruction Plan) of the city of Curicó, after the 27/10, the earthquake that shook Chile in 2010.
2011
A+F ARQUITECTOS Assistant Designer for commercial architecture projects. Architectural Drawing; constructive solutions for retail furniture. Rendering and representation of architectural projects.
2011
CO-OP Arquitectura - 3D Modeling for inphography. Architectural drawing.
2009
EDUCATION ARCHITECT DEGREE. PONTIFICIA UNIVERSIDAD CATÓLICA DE CHILE, Faculty of Architecture, Design and Urban Studies (FADEU) FACOLTÁ DI ARCHITETTURA UNIVERSITÁ DI ROMA TRE, Italy. Semester Abroad. VERBO DIVINO HIGHSCHOOL, Santiago de Chile.
2003 – 2009
2008 1989 – 2002
INTERNSHIPS UN-HABITAT, Mozambique. Assistant Architect. Prevention and mitigation of natural disasters and assessment of human settlements. PROJECTS ABROAD – Ghana Volunteer on Vernacular building. RELATED ACTIVITIES • Musician • Dj SKILLS • Computer Programs: Sketchup + V-Ray, AutoCAD, Adobe Creative Suite, Microsoft Office, WordPress. • Languages: Native Spanish, fluent English and Italian, conversational Portuguese.
Dec 2008 – Feb 2009 Sep – Dec 2008
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CONTENTS DÆ FURNITURE FOR CRAFT WORKSHOPS
TOMA ESPECULOPOLIS INFANTE_1415 I INFANTE_1415 II ...AND NAKED (YAP2014) THE OCCUPATION HEADQUARTERS THE LABYRINTH COMEDOR NOMAD DINNING ROOM
VVAA ARCHITECTS PUQUEN LODGE V V A A
A R Q U I T E C T U R A
VALDIVIA RIVERSIDE CASA ELIANA
CASA DE LA MUSICA LCDLM I: LA OCUPACION LCDLM II: MESANA
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SANTIAGO DE CHILE Architecture Studies PUC Stgo Work
CHICAGO, USA 2015 Architecture Biennial ESPECULOPOLIS, w/ TOMA
KWAMOSO, GHANA 2008 Architectural Practice Projects Abroad NGO
ROME, ITALIA 2008 Architecture Studies Roma Tre University
MAPUTO, MOZAMBIQUE 2008 Architectural Internship UNO-Habitat
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daedaedae.com
6 S FURNITURE
FURNITURE FOR THE PUBLIC CRAFT WORKSHOPS AT THE CHILEAN FOUNDATION OF HANDCRAFTS Period: April - July 2015
The Fundacion Artesanías de Chile (Chilean Foundation for Handcrafts) commissioned the design development and construction of furniture for the educational program which is held in La Moneda Cultural Center, Santiago. Here, artisans and craftsmen share their knowledge through hands-on public workshops. Tables, chairs and storage systems were crafted from steel, pine board and native wood. The artisanal spirit of the building process is reflected in the finished pieces, while they also fulfill the various needs of each workshop’s differing techniques and materials. The tables and the cabinets are movable, and the chairs are stackable, allowing a rearrangabled workspace.
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#grupotoma Grupo Toma www.grupotoma.org grupotoma.wordpress.com
8 EXHIBITION / RESEARCH
ESPECULOPOLIS PROJECT FOR THE CHICAGO ARCHITECTURE BIENNIAL Period: Oct 2015 - Dec 2015
The case study for ESPECULOPOLIS is Santiago de Chile, the neoliberal city par excellence, shaped by the thoughts of the “Chicago Boys”, a group of Chilean economists indoctrinated by Milton Friedman and Arnold Harberger at the University of Chicago, whose ideas became prominently influential during Pinochet’s dictatorship and still resonate deeply within Chilean society today. In contemporary society, we see the results of the neoliberal model in our urban environment: segregation of the poor to the periphery of the city, deregulated urban growth of the city by the hands of private interests, privatization of all public services, rich uptown ghettos, trendy renovations of old buildings and the displacement of communities due to changes in land value. We believe that the unique history of Santiago has much to communicate about the possible futures of other cities that have developed similarly. ESPECULOPOLIS exposes this historical process and offers an opportunity for open discussion and reflection.
SEARCHING FOR THE TRACES OF URBAN NEOLIBERALISM. SPECULATING ABOUT POSSIBLE POST-NEOLIBERAL URBAN SCENARIOS.
9 EXHIBITION / RESEARCH
ESPECULOPOLIS brought and exposed four specific territories from Santiago de Chile Utopia Remix The old socialist housing project “Villa San Luis”, demolished and turned into the business center “Nueva Las Condes” The White Elephant Storage The dream of the largest public medical facilities in Latin America, “Ochagavía Hospital”, is today being reinterpreted as a business and logistics center, “Núcleo Ochagavía” The Plaque Of History First known as UNCTAD III, then “Gabriela Mistral Cultural Center”, a former popular hub that after the coup became the headquarters of Pinochet’s dictatorship. Today called “GAM”, a fashionable cultural facility with exclusive shops. The Gentrification Factory The “Girardi hat factory,” partially demolished and converted into a chic innovation center, “Factoría Italia”.
REPLICA
LETTER
do doesn’t work. Never is enough. We think that we should start all over again, from zero, but it looks impossible. We need to “develop alternatives to existing policies”. Collective alternatives.
But today we are in crisis. Our territories are in conflict and our communities are suffering. They have to leave their lands. They have to constantly move from one place to another. In their retreat they have to see others change the names of their neighbors and erase their territorial identities. They are the losers of this story of concentrated power and concentrated decisions. It looks like anything can be done. It looks like we are not free to choose. We are confused, it´s not easy to know what to do and what we
DECEMBER
But if these 37 curatorial teams were right—and each of their proposals would really be a groundbreaking position—they would be changing the debate 37 times in two years; that is, a new point of view each 2.59 weeks. Considering this pace I was wondering, how can we really know that the actual state of the art of architecture won’t change in three weeks? What if what actually defines the state of art of architecture is precisely this anxiety to change the debate? Thanks in advance for your response. And all the best from Santiago, Francisco Díaz
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1969
This newspaper is an invitation to debate ideas, to exchange experiences, to support actions, to make visible the conflicts. This is an opportunity to create together an alternative common agenda.
T H E
O R
H O W
T O
B U I L D
A
C O M M O N
Wherever, and with whatever there’s available. 1 of the local. Without frontiers there are no immigrants, only passers. 2
THE
managed by the State, with private participation on public tenders to promote efficiency and innovation. 5
SPECULATIVE TRIBUNE #1
4
1973
Augusto Pinochet The Coup D´Etat marked the end of the cultural life of the building. The military government uses this place as headquarter, after the bombing to La Moneda, the government palace.
FREEDOM TO CHOOSE
ARCHITECTURE
In 2008, the boss decided to close our windows factory on Goose Island and fire everyone. In 2012, we decided to buy the factory for ourselves and fire the boss. We now own the plant together and run it democratically. This is our story.
In 2008, after many decades of operation, Republic Windows and Doors went bankrupt and was shut down. This seemed odd as the windows business appeared profitable. Meanwhile, members of the family business opened new windows factories in Chicago, hiring workers through temp agencies. They were also investigated by authorities over irregularities in their bankruptcy and were sued by banks over outstanding debts. It seemed the reason workers were losing their jobs might not be because they weren’t doing profitable work.
The workers and the community won enough of this struggle to get the money that was owed to them. A new green construction company, Serious Energy, took control of the factory and partially reopened it. Things seemed to have turned around.
Mayor Rahm Emanuel, Sarah Herda and Joseph Grima in one of the Chicago Architectural Biennial openings.
RESIGNIFYING
“Here by TOMA to reclaim its original cultural function, so they decide to cover its history with a thick layer of “corten steel”, and the building is reborn as GAM, the biggest cultural center in Chile, with exhibitions and plays from around the globe. Different political wills may share places, changing their use and significance: the skin can be transformed but in its structure the history remains. How long can a work of architecture remain? How many political wills can be sustained under the same infrastructure? Where does memory reside on a building, the skin or the core? We want to take a look at the possible articulation between the architectonic discipline and the political agenda when the very moment of the opening and reopening of a building arrives. The CAB opening could be a good occasion to do it.
is wHat we Have to offer you in its most elaborate form -- confusion guided by a clear sense of purpose .”
gordon matta -c lark
CAB-OUT
The Crown Hall was one of the selected places to the Fridays parties. Architecture parties are not something really funny... and in a Mies building...
SPECULATIVE TRIBUNE #2 We d n e s d a y, O c t o b e r 7 , 2 0 1 5
72 E. Randolph Street, Chicago IL
“ M y n e i g h b o r s h a v e t u rn e d a g a i n s t me because I did not want to sell, b u t I a m a w o m a n o f w a r, I f i g h t . I have never asked a anything for free, but I did ask for a chance t o h a v e a n o p p o r t u n i t y, a n d when Allende came he said that here they would build housing for workers, because here we all lived in camps: nannies, gardeners, workers, then Allende thought that we needed to stay close to our work because that allowed us to take care of our
children. That was a social policy of improvement that I respect” Ana, San Luis Housing complex’ last inhabitant in 2014. CABRINI GREEN “ O n e e a r l y m o rn i n g w i t h m y husband watching over me, I ventured into the demolition site. We w a l k e d i n t o a n i n n e r c o u r t y a r d surrounded by two buildings in process of being demolished and one that was still inhabited. Once we were in the courtyard, all of
my perceptions about Cabrini Green changed. It was too early for the crews to have started the bulldozers parked around the site. It was quiet. I saw a child come out of the active building, cross a playground and head for the school located in the courtyard. I looked up and saw his mother watching him from her window ensuring his safe arrival to school. Being inside of the courtyard I could see what I had not been able to all the times I had driven past it. This was s o m e o n e ’s c o n c e p t o f a u t o p i a .
Michelle Bachelet After a mysterious fire occurs in the building, the night before the opening an earthquake occurs. Bachelet’s opening was canceled.
In a different time, someone had thought that this design would p r o m o t e a s e n s e o f c o m m u n i t y. That it would cause its residents to rely on each other to exist and to strive for a better life. This is not what happened, but standing there, in a place only 4 blocks from where I had lived my entire life but as alien to me as the surface of the moon, I could finally see the sense behind these failed plans.” Extracted from a letter written by Jennifer Greenburg in 2011.
DEMOLISHED UTOPIAS
6
2010
Sebastián Piñera A powerful earthquake makes suspend the original inauguration. Finally, the first democratic right-wing government inaugurates the building like an exclusive cultural center.
ELUSIVE MODERNITY: UNCTAD III
Unfortunately, Serious Energy’s business plan, which only involved the windows factory in a tertiary role, never functioned, and the company had to severely cut back on its operations, including closing the factory. Once again, the workers, despite their profitable work, found themselves being sacrificed in a financial game they did not control. Everyone decided enough was enough. If we want to keep quality manufacturing jobs in our communities, perhaps we should put in charge those who have the most at stake in keeping those jobs — the workers. The plan to start a new worker owned cooperative business began.
The building’s history is driven by a number of social and political “facts” that go across the singular and the collective. The dialectic relation between functionalism and modernism became reflected through the role of the CORMU (Urban Enhancement Corporation) and the policies of the CORVI (Housing Corporation), in the design of a new conception of urban space, strongly influenced by the Bauhaus and the CIAM principles. This also happened from the ideological aspect – development and modernization – by the CEPAL (Public Studies Center for Latin America) and CORFO (Production Development Corporation). The material history of UNCTAD III splits reality, which is to say that the political, economic and symbolic events superimposes over it. By understanding events as an historic singularity – in relation to memory of site and building – it is then possible to break into present, redefining a genealogic dimension as a platform from where our paths can be traced. Activating and naming the experience of inhabiting and going through the memory of the UNCTAD III proposes an expression of resistance to oblivion for the construction of a new present, a way to reside out of an objectified language. This is why interrogating this singularity and bringing up matters of belonging on an “us” or “formulating the problem of the community we are part of ”, would allow us to understand and take up a critic ontology on spaces of discourse – of memory - , and discourses of space – produced and conceived – que would differentiate and introduce a “current us”. SEND YOUR REPLICA TO GRUPOTOMA@GMAIL.COM OR COME TO 72 E. RANDOLPH STREET, CHICAGO IL
Today, we are putting that new cooperative business together, and we have decided to call it New Era, as we hope it will be an inspiration for how future jobs can be created in America. Everyone can participate in building the economy we all want, and no one should be treated as temporary or just raw material for someone else’s business.
WHEN SUPERMAN CAME TO POWER, THE SOVIET UNION ALLIANCES WERE FRAGILE. TWO DECADES AFTER, THE WHOLE WORLD IS OUR ALLY. ONLY THE UNITED STATES AND CHILE REMAIN INDEPENDENT. THE LAST TWO ECONOMIES OF THE EARTH, BOTH ON THE VERGE OF FISCAL AND SOCIAL COLLAPSE.
We have built the highest quality windows ever made in Chicago, ones that are soundproof and extremely energy efficient, meaning they are both green and save money. Our windows will be the best on the market at prices no one can beat.
The party was, actually, boring, until a bag of pretzel fell onto the granite floor. The particular combination between both materials generated the perfect conditions to dance in circle and demonstrate that architecture is not so boring. The party is over, but the pretzel continues there... thank you Mies for the party.
D I D Y O U K N O W T H AT. . . t r a f f i c l i g h t s a n d z e b r a c r o s s i n g s a r e a n t i n e o l i b e r a l
VILLA SAN LUIS
2010
Between June 1971 and April 1972, during the government of the socialist president Salvador Allende, a building was erected in Santiago de Chile to hold the United Nations Congress on Trade and Development (UNCTAD III).
NEW ERA WINDOWS COOPERATIVE
When the announcement to close the plant was made, the workers were told that their jobs would be terminated immediately, and that they would not be given their contractually obligated back pay or severance. While workers were being fired, banks were being bailed out for having taken on too much risk in the pursuit of profits. The workers decided to occupy the factory in protest, and the community came out in extraordinary numbers to support them.
E D I T O R I A L
#speculativetribune
C RAC Valparaí so Pauli na Varas – Jo sé Llano Lo yo la
S a t u r d a y, O c t o b e r 3 , 2 0 1 5
REOPENING
5
NO-OPENING
Salvador Allende The UNCTAD III building becomes a cultural center for popular culture. People of different social classes use together this enormous building.
This publication is distributed for free. Printed editions are available and will be distributed in different locations of Chicago. At the time, the issues will be freely available online through various media.
- Throw them all out! We want new politicians. No more economists. Make the inheritance and business generated on dictatorship stop. 7 contradictions and self destruction are hosted. 3 THE MANIFESTO WAS PRODUCED THROUGH THE CONTRIBUTION OF 7 COLLABORATORS: LUIS FELIPE MAUREIRA (1), RODRIGO TORO (2), FRANCISCO VERGARA (3), BERNARDO VALDÉS (4), NICOLÁS VALENZUELA (5), PLAN COMÚN(6) AND JAVIER RÍOSECO (7)
- Today’s cities are the supreme capitalist manifestation, on them, it’s
Diego Portales, Military Government Headquarters
1973
environmental equilibrium, distributed GDP. No more patriarchy, let’s de colonize. 7
D I D Y O U K N O W T H A T. . . c a p i t a l i s m i s f r e e d o m a s l o n g a s y o u c a n p a y f o r i t .
Gabriela Mistral Metropolitan Cultural Center
Salvador Allende The United Nation Congress of Trade and Development arrives to Chile. Salvador Allende must show an alternative way to undeveloped countries. The building is build especially for this occasion.
3
RE-OPENING
1972
UNCTAD III, United Nation Congress
OPENING
UNCTAD III, Structural works
PRE-OPENING
2
72 E. Randolph Street, Chicago IL
Architecture that reopens, changes its use and appearance, endures the passage of time and generations. Despite this, its structure remains. The UNCTAD III building in Santiago de Chile, built in 275 days during the socialist government of Salvador Allende was made to receive a United Nations conference on trade, commerce and development. After housing the conference it was transformed into a popular cultural center, with the largest dining room in the city, open and affordable to everyone. 1973: The coup strikes Chile and the building turns into the headquarters of the dictatorship. Democracy returns 17 years later, but the government constitution designed by the military remains, and the building keeps its aura of terror until a fire almost destroyed the entire structure: people in the streets celebrate its agony. The state decides
- We want mixed culture,
understand the city as a creative collage, heterogeneous, spontaneous. 2
CLOSING
MIDDLE EAST
Russia Carries Out Airstrikes in Syria for 2nd Day
Each section of the newspaper is open to be produced by any interested person. These contributions can be made in person in Expo 72, 72 E. Randolph St. or through our email to grupotoma@gmail.com
regarding to the search of a new future social utopia. 3
power resides in the people and not in politicians or the elites. 7
- We only trust in beauty of chaos and the authentic. We
T H E P L A Q U E O F H I S T O R Y, T H E S C H I Z O P H R E N I C L I F E O F T H E U N C T A D B U I L D I N G
Wo r ke r s
- We trust in education on Architecture, geography and design
- We need more and new institutions. Constituent
Among the huge number of people involved in installation work, a wedding takes half of the Chicago Cultural Center. Love and architecture live, for a while, under the same roof.
The editorial process is cumulative and collective. It works independently, as a critical instrument to the context in which it is inserted. The newspaper is a platform of collective reflection.
- We will put an end to private interests on social housing. Land and projects must be
- The mastery of complexity
will be necessary to break the capitalist cultural construction.
REPORTING FROM THE LAKEFRONT
This publication, as every action that takes place in ESPECULOPOLIS, is “Searching for the traces of the urban neoliberalism” and “Speculating about possible post neoliberal urban scenarios”.
housing projects. 3
- We will take back the totality of military urban
properties, for the production of integrated social housing. 5
- We give priority to the ecosystemic value of land
The SEARCH FOR MILTON FRIEDMAN begins. Where is he? What is he doing? Is he free to choose?
This periodic newspaper is part of the project ESPECULOPOLIS, developed by TOMA within the context of the Chicago Architecture Biennial between October 3, 2015 and 3 January 2016.
- We shall consolidate real estate cooperatives for collective
- We consider the global ecosystem as the base of
political participation, conscious of biological and cultural scales. over social collective value. In an even lower priority level there is familiar and individual value. 4
The first stage of the construction is ready. The workers, architects, engineers, artists, signers and politicians involved in the project are having a big lunch in the street in front of the building.
DA
A B O U T S P E C U L ATI VE T R IB U N E
A G E N D A
- We need to de merchandize
architecture. Social transformation is urgent, and it compels us to concentrate on the revolutionary potential as antidote for neoliberalism crumbs. 6 - We will fight to bring public services back to the State. 5
- We desire a human scale development. 3
ARCHIVE
1972
AGEN
a collective manifesto
- Inhabitate is create.
- We see the world as one single platform. As the universe
1
HERDA
FOR A
C A B - O U T
A group of young Colombians are building their structure, while some Australian enthusiasts try to decipher the neoliberal code along the indopacific coast.
SARAH
Not only each one of these cities aims to promote itself as a place for innovation/[insert-your-cliché-here]/creativity—as if Biennials were the new way of putting cities in the map without hiring Gehry, Zaha or Calatrava—but also the curators of these biennials may surely want to propose an original/groundbreaking/novel point of view towards architecture/ art/design—which is of course very refreshing for the discourse of our disciplines.
The opportunity to use the Chicago Architecture Biennial as a instance to explore and discuss the actual situation of the relation between territory and communities, let us redirect the collective confusion to an open discussion about how architecture can be an active tool in the actual scene of disputes.
Y S O B OC O M M O N G A C N P L A C H I
The successful “neoliberal” model was exported, first to Argentina and then to others non-
AND
Gabriela Mistral Cultural Center
In 1973 Augusto Pinochet and his army interrupted the Chilean democratic and socialist government of Salvador Allende, a group of young Chileans trained in free market policies in Chicago -the “Chicago Boys”- had the occasion to try out their lessons. El Ladrillo -The Brick- was the plan which guided a national economic experiment, with the support of the military dictatorship and the US government.
by TOMA
democratic countries in South America, even to strong democracies with Margaret Thatcher and Ronald Reagan as local partners. The success of the model was so great, that democracy returned to Chile and to the other countries in South America, and neoliberalism became a global political and social system.
GRIMA
RE-OPENING
In 1949 Harry Truman was elected President of the US. In his inaugural speech he said: “We have to make the benefits of our technical knowledge and industrial advances for the improvement and growth of undeveloped areas”. The “Project Chile” began, and so did it the Milton Friedman training program for South American young economists at the University of Chicago.
JOSEPH
As you may know, between 2015-2016 there will be at least 37 Biennials related to the fields of architecture, design and arts in different cities across the world (Berlin, Boston, Bristol, Brno, Bucharest, Buenos Aires, Chicago, Detroit, Dubai, Gwangju, Houston, Ireland, Istanbul, Kochi, Kortrijk, Krakow, Lisbon, Liverpool, Łódź, London, Los Angeles, Ljubljana, Marrakech, Oslo, Portland, Prague, Rotterdam, Saint-Ettienne, Sao Paulo, Shenzhen, Skopje, St. Petersburg, Sydney, Tallinn, Valparaíso, Venice, Vienna).
Sales aim to begin early 2013. We are striving to support our community, to keep quality jobs in America, and make our economy stronger. Please support us and check out our windows. We know you’ll love them, and please recommend them to a friend if you do. Extracted from “Our Story” of New Era Cooperative
SEARCHING FOR MILTON FRIEDMAN Day #1: Today we continue the research a little later than we expected. In an exhausting night, the brigade visited the Crown Hall following the track of a student that informed having seen Milton eating pretzels in Mies building. We found the bag of pretzels but nothing inside.
L E T T E R F R O M M I G U E L L AW N E R Excerpt from the letter written in 2008 by the architect Miguel Lawner to Chilean newspaper El Mercurio, denying the information about the housing project of the Villa San Luis.
pastures away from the city. The eviction ended in 1978. Only 100 families were able to avoid the military eviction and continued living in their apartments.
THE SAD STORY OF THE VILLA SAN LUIS
In 1997 the Army sold the land and homes of the Villa San Luis to a real state company, publicly announcing that the transaction amounted to the sum of 80 million dollars. Inexplicably, the Ministry of National Assets has not challenged the sale: the Army was not authorized to use the land for purpose other than institutional.
The Villa San Luis was built by the CORMU -Urban Improvement Corporationduring the government of the President Salvador Allende to meet the housing needs of homeless in the area. 1038 apartments in blocks of 4 or 5 stories were handed from April to March 1973. All beneficiary families comply with the requirements requested by the government. After the military coup, the families began to be evicted by the army without a good reason. About five thousand compatriots were deprived from one of the most essential human rights: the right of housing. Some were transferred to old institutional housing of the army, and others simply thrown into
GAM
FREE TO CHOOSE
TO
Dear Joseph and Sarah,
F r i d a y, O c t o b e r 2 , 2 0 1 5
“...is our basic function: to develop alternatives to existing policies, to keep them alive and available until the politically impossible becomes the Milton Friedman politically inevitable.”
Day #0: the research for Milton Friedman have began. The brigade google his name and aware that, in fact, Milton has died. The research begins with a false step. Others clues should be the guide for this adventure. But is enough for today, we have to rest now, it has been a difficult day.
SPECULATIVE TRIBUNE #0 E D I T O R I A L
SEARCHING FOR MILTON FRIEDMAN
10 EXHIBITION / RESEARCH
REPORTING FROM THE LAKEFRONT
NEGOTIATIONS ON TRANSPA C I F I C T R A D E PA C T A R E EXTENDED
Atlanta - Groups of protesters continued trying to interrupt the closed-door meetings.
ABOUT SPECULAT IV E TRIBUNE
This periodic newspaper is part of the project ESPECULOPOLIS, developed by TOMA within the context of the Chicago Architecture Biennial between October 3, 2015 and 3 January 2016. This publication, as every action that takes place in ESPECULOPOLIS, is “Searching for the traces of the urban neoliberalism” and “Speculating about possible post neoliberal urban scenarios”. The editorial process is cumulative and collective. It works independently, as a critical instrument to the context in which it is inserted. The newspaper is a platform of collective reflection. Each section of the newspaper is open to be produced by any interested person. These contributions can be made in person in Expo 72, 72 E. Randolph St. or through our email to grupotoma@gmail.com This publication is distributed for free. Printed editions are available and will be distributed in different locations of Chicago. At the time, the issues will be freely available online through various media. #speculativetribune
T H E D R I F T
CABRINI GREEN OCTOBER 4,2015
Consequently, the source of the current conflict resides in the unjustified and cruel dispossession of which a thousand of Chileans have been victims during the military dictatorship, and the complacency of the democratic governments, who allowed the Army to sell the land. Miguel Lawner, ex Executive Director, CORMU (1970-1973)
VILLA SAN LUIS
Pruitt-Igoe (Architect: Minoru Yamasaki). First occupied 1954. Demolished March 16, 1972.
E D I T O R I A L
U N R E A L I Z AT I O N Utopia is a pristine and radical idea, an idealized idea. The term itself stands in direct opposition to realization, to material existence. The actual construction of a utopia is effectively its destruction. It is a result of this interaction that those whom we know as utopian architects (from Piranesi to Ledoux, from Boullée to the 60s avant-garde groups) could not establish their oeuvre very far from its theoretical form. However, actual cities are made of fragments of utopias, of partial truths. Within the urban framework, conflicts and consensus of individuals nest up, and many zeitgeists coincide. In their territories, the battle of thoughts and beliefs clash in combat: their physical manifestations and the shapes of their organizations witness and express this divergence, opposition, overlaying, juxtaposition and/ or coexistence. In some cases, these exchanges evolve and find resolution in an organic manner, often accompanied by a tacit social agreement and by the grace of time. In other scenarios, the encounter is abrupt, violent, annihilating and traumatic. Perhaps because the city accommodates this convergence of such a great number of ideas, a utopia
by TOMA
is not able to exist in it. The utopia is exclusionary, and ultimately it can either ignore what already exists or destroy it. Let´s not deceive ourselves: the utopian vision of Cabrini Green and racial inclusion in Chicago, or of Villa San Luis and social class mixture in Santiago have both experienced rather disappointing outcomes and the patterns of exclusion were far from reversed. Instead, these housing complexes consolidated as ghettos, crystalizing a grievous paradigm. Then, we could say that only through their demolition, on their material disappearance from reality that these projects would finally afford the opportunity to consolidate as utopias. They could not find their place in this world nor fit into its reality. By their demolition, they can return their ideal state: that of the immaterial. The long agony of Villa San Luis and Cabrini Green is about to come to an end, to become again unobjectual: what was previously as an idea will later become as a memory. In this non-physical state, prior to birth and after death, the utopia cannot be demolished.
Lack of respect, though less aggressive than an outright insult, can take an equally wounding form. No insult is offered another person, but neither is recognition extended; he or she is not see as a full human being whose presence matters. When a society treats the mass of people in this way, singling out only a few for recognition, it creates a scarcity of respect, as though there were not enough of this precious substance to go round. Like many famines, this scarcity is man-made: unlinke food, respect cost nothing. Why the should it be in short supply?
ABOUT SPECULAT IVE TRIBUNE
Sennet, respect in a world of inequality, 2003
This periodic newspaper is part of the project ESPECULOPOLIS, developed by TOMA within the context of the Chicago Architecture Biennial between October 3, 2015 and 3 January 2016.
CABRINI GREEN REDEVELOPMENT
RADICAL INSTITUTIONS D e m o c r a c y a n d g o v e rn m e n t as the practice of construction of new social realities – expressed by the Unidad P o p u l a r, t h e C h i l e a n s o c i a l i s t g o v e rn m e n t back in the early seventies- marks the apparition and transformation of professional print media, which give an account of the objectives and projects made b y g o v e rn m e n t a l i n s t i t u t i o n s that held a radical program. Among these experiences, of great importance are: the prefabrication as housing solution, the integration of design with processes of development focused on industrialization, and the reorganization of the
state apparatus based on nationalization and focused on urban and housing programs. It could be said that, unlike other contexts where a climate o f s o c i a l o p p r e s s i o n c o rn e r e d the forces of transformation only in the space of utopia, in Chile, this transformation was put in practice, which led to the radicalization of the institutions and the institutionalization of the radical.
SEARCHING FOR M I LT O N F R I E D M A N Day #5: the brigade followed a trail to Cabrini Green. Among abandoned buildings, empty blocks and new buildings under construction, Milton Friedman didn’t appear. Robert Taylor Homes, said a neighbor, could be a better place to continue the pursue. The brigade ends a new day, without further findings.
Extracted from “Introduction.” In “Editar Para Transformar“ edited by Fernando Portal and Pablo Brugnoli. 1st ed. Santiago: Capital Books, 2015.
SEND YOUR REPLICA TO GRUPOTOMA@GMAIL.COM OR COME TO 72 E. RANDOLPH STREET, CHICAGO IL
D I D Y O U K N O W T H A T. . . a r c h i t e c t s h i t i n t o p a r t i e s a n d t h e n r u n h o m e
This publication, as every action that takes place in ESPECULOPOLIS, is “Searching for the traces of the urban neoliberalism” and “Speculating about possible post neoliberal urban scenarios”. The editorial process is cumulative and collective. It works independently, as a critical instrument to the context in which it is inserted. The newspaper is a platform of collective reflection. Each section of the newspaper is open to be produced by any interested person. These contributions can be made in person in Expo 72, 72 E. Randolph St. or through our email to grupotoma@gmail.com This publication is distributed for free. Printed editions are available and will be distributed in different locations of Chicago. At the time, the issues will be freely available online through various media. #speculativetribune
While TOMA stayed in Chicago, three collective actions were developed. Cases Parliament A discussion scene that relates the four case studies through historical facts and relevant actors, building up a territorial cosmogony over the last 50 years. Speculative Tribune A collective newspaper, generated by the Especulópolis community. It contains reflections on the contemporary city, declassified documents, comments about the biennial, speculations about possible post-neoliberal cities, photo reportages, etc. The newspaper will be launched on several occasions. The Evidence Board And Archive The archive gathers information detailing the history of neoliberalism in Santiago de Chile, and its foundations around the world. The Evidence Board organizes this history and its manifestations in the urban environment.
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INFANTE 1415 _ #1 THE MONSTERS OF THE THREAD FACTORY Period: Jul 2015 - Sep 2015
In 2014, the local government of Providencia, Santiago de Chile, acquired a central plot of land which included two buildings formerly part of a Thread factory that were of historical value. After years of underuse, the facilities would be rehabilitated to preserve their original productive purpose, but the program would take a new direction; Infante 1415 would become the first public Creation Factory in Chile, a government sponsored cultural center to encourage the creative activities of the local community. Within this framework, TOMA was commissioned to develop the furniture as part of the refurbishment of Infante 1415. It was necessary that the proposal addressed both functional and symbolic issues, as it was a basic requirement to provide space for a wide range of activities and uses which could integrate the new space into the community.
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The MONSTRUITOS DE LA HILANDERIA furniture series developed for this project explores two basic principles: the reclamation of found materials from the factory and the application of simple construction techniques. Through these two approaches, a series of objects were created, each piece formed as a unique individual, an inhabitant of the space.
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INFANTE 1415 _ #2 THE PATIO
Period: Nov 2015 - Jan 2015
A few months after the opening, the local government of Providencia commissioned Toma to participate in a second phase of the rehabilitation of the Infante 1415 Creation Factory. This time we were tasked with transforming the exterior space of the factory into a patio. The central approach for the Patio phase was the inclusion of the members of the local community into the design and construction process. As in the first phase, the scope of the project transcended the structural requirements. The most essential part of the project was the development and strengthening of the local community, a group of empowered neighbors who would be able to organize, appropriate and make decisions over the territory.
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For these means, a first task consists on rendering the process open and visible. A series of expositive devices were developed to expose decisions, resources and reflections of the group. Is in this point where the project expresses its political dimension, as an active condition of the citizens able to democratize public resources and processes. In the same manner, the design and building processes are open and inclusive, allowing an active participation of all interested individuals. In that sense, the materialization of the project is understood as a tool whose scope is handing the abilities to boost selforganization and self-management of the community.
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17 ARCHITECTURAL COMPETITION
PLANTA 1 ESCALA 1:100
PLANTA 2 ESCALA 1:100
...AND NAKED SELECTED PROJECT FOR THE YOUNG ARCHITECTS PROGRAM (YAP) SANTIAGO 2014, MoMA/PS1 and CONSTRUCTO. Period: 2014
Assignment: Develop of an outdoor installation in the Araucano Park in Santiago de Chile. The project develops as a continuos research in our work: How to build cities in another ways? The proposal is a story, a tale about a place, between the real and the utopic, between the pain and the game which tries to unmask hidden histories and set free the imagination. Activate a place is not only make it habitable is also make it speak. And this place the Araucano Park, in front of the remains of the utopic socialist housing project Villa San Luis of the Allende’s goverment, beneath the towers of the new economic district of Nueva Las Condes and near from Kidzania, has a lot of histories to tell.
www.moma.org/interactives/exhibitions/yap/2014santiago_TOMA.html
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REVESTIMIENTO pino cepillado 1x4”
ESTRUCTURA pino seco cepillado 2x4” PISO pino seco cepillado 1x4” BARANDA pino seco cepillado 2x4”
PILARES COMPUESTOS pino seco cepillado 4x4” VIGAS pino seco cepillado 1x4”
PIEZAS adobe compactado con moldaje de madera POZOS DE AGUA impermializados con polietileno
AXONOMETRICA DESPLEGADA ESCALA 1:200
The project recovers traces from the history of the context, from its future, present and past. The facade of the Villa San Luis housing project is used as a support of the project in the ground, above this broken and reconstructed facade appears eight wooden characters, between bridges and plataforms, who builds observation points and places for discussion about our future cities. An observatory that rises above the theater of the city, to look from another perspective.
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The Wooden Characters.
21 COLLECTIVE SOCIAL EXPERIMENT
The Identitorium
The Dinning Room
The Global Code
LA OCUPACIร N THE OCCUPATION: AN OCCASIONAL CITY Period: January 2014
La Ocupaciรณn (The Occupation) was a project developed by TOMA and MilM2, which ocurred in january 2014 in the Cultural Center MilM2 in the Italia neighborhood of Santiago. It was an exercise of temporary occupation which pretended to figure out different ways of collaboration, building an occasional city with the objective of producing new forms of collectiveness. It functioned day and night from 5-11 of january 2014, with a continous program. It was a collective space of action and reflection, which researched about new possibilities on the common action. The figure of the occasional city was constructed by the occupation of two warehouses, an exhibition room and a backyard, occupied by eight institutions developed by different collectives.
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The House of Music
The Press
The Nocturnal University
The Institutions were: 1. The Press Room: Developed by Pablo Brugnoli, Francisco Díaz and Rayna Razmilic. It produced five numbers of an independent newspaper inside the occupation. Interviewing different experts about problems of collectiveness and cooperativeness. 2. The Nocturnal University: Developed by CAPA. It produced several chats about architecture, urbanism and participation. 3. The World: Developed by José Abasolo y Juan Pablo Corvalán. Functioned as an art Installation with luminic and sound interventions during the night meetings. 4. The Sanatorium: Developed by Andrea Moro y Eduardo Saubidet. It produced different workshops about alternative methods of healing. 5. The Music House: Developed by Do-Ce-Na, Cristóbal Martínez and Macarena Ovalle. It produced a continuos music improvisation, with different workshops and guests. 6. The Bakery: Developed by Rodrigo Tisi. Functioned as a participative project, linking the neighbors with the project. 7. The Identitorium: Developed by Pedro Sepúlveda and Elias Santis. Functioned as a recopilation of the identity and image of the project. 8. The Dining Room: Developed by TOMA and MilM2.
The Sanatorium.
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THE HEADQUARTERS EXPERIMENTAL WORKSHOP Period: Oct 2015 - Dec 2015
The school of Architecture of UDLA (Universidad de las Americas) commissioned TOMA to lead a new infrastructural intervention at the rooftop of its campus in the district of Providencia, Santiago de Chile. The project scope was to develop a space for creation, recreation and experimentation for the students from all disciplines. The intervention is intended to house various programs and uses and also to foster further cultural development; generating a community gathering space or a prototype laboratory are two such possible outcomes of the project.
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Toma developed a workshop consisting of two stages: Imaginary and Community Linkage, and Design and Construction. During the first stage, the students approached the project through different perspectives: The Utopy, the Matter and the Community. The group got to a definition of the program and a first design through a number of activities and products; surveys, models, a theater play, a public event, a Manifesto, etc.
As the first stage finished, the program was defined: The Students Headquarters, a place made by and for them, an infrastructure that aims to trigger a new empowered organization. In the second phase, the students designed and built the Headquarters, stablished the protocols of its functioning and presented the project to the community.
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EL LABERINTO LABYRINTH FOR THE HECHO EN CASA FESTIVAL OF URBAN INTERVENTIONS. Period: December 2013
The Hecho en Casa Festival of urban interventions launches an open competition every year. We developed one of the selected projects. We choosed an specific site, a residual place from the urban transportation projects, a place with no use, abandoned in the center of the city. A few blocks from one of the biggest open markets of Santiago La Vega and a few steps from one of the largest Cultural Centers in the city Estacion Mapocho. The project proposes a labyrinth, made of modular wooden frame panels covered by a red translucid plastic. The labyrinth is the only architecture without a function, a place to get lost, and works as an irony for the city and its complex configuration which leaves residual places all over the town. One of those places which is transformed into a place of mistery, game, trap, desorientation, loneliness and reunion along side a regular crosswalk.
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COMEDOR DINING ROOM URBAN INTERVENTION AND MEMORY RECOVERY PROJECT. Period: September 2014
Associated Collaborators: Denise Elphick (cultural manager), Patricio GarcĂŠs (chef), Sergio Benavente (administrator) and GAM (Gabriela Mistral Cultural Center) Dining room is a project of temporary occupation of the central plaza of the Gabriela Mistral Cultural Center (GAM), the largest public cultural center in Santiago de Chile. This urban intervention proposes the appropiation of this space as a citizen, communitary and festive place. Dining room is proposed as a recovery action of the memory of the building -current GAM, originally the UNCTAD III (United Nations Conference of Trade and Development 1972) then Gabriela Mistral Metropolitan Cultural Center 1972-73 and then Diego Portales (Pinochet dictatorship headquarters 1973-90)- specifically of the dining room which functioned in the original cultural center from august 1972 to september 1973 when the socialist democratic government of Salvador Allende was terminated by the dictatorship of Augusto Pinochet. This cultural center represented the ideals and hopes of the first socialist government in Chile, and the dining room was the hearth of this space where artists, thinkers and workers who believed in this project met together.
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Dinner Table x12, Large Bench x16, Short Bench x16.
The Ticket Office
The Kitchen, made of 12 modular wooden panels.
The Kiosk
The mobile Table
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The project links the food and the culture as ritual practices associated to meeting, conversation and exchange. So the memory recovery appears as a link between a temporary community and a public space. Dining room opened its door for the first time in September 2014, and remained in operation for five weeks. More than 7.000 of traditional chilean food dishes were served and more than 35.000 people used its infrastructure. The Dining Room also received music concerts, lectures about the building and an art installation. At the end of the project was agreed with GAM that the infrastructure will remain in the central plaza for resting, meeting and assembly of the regular users of the center. This project is based in the original Dining Room project developed by TOMA in Factoria Italia and in the communitary meals occurred in The Rooftop project in Diana Santiago cultural center.
Photograph of the original public Dining Room in the GAM, 1972.
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EL COMEDOR NOMADE TEMPORARY PUBLIC DINING ROOM Period: 2013-14
The second headquarter of the collective: TOMA, was in the Communitary Cultural Center Milm2 inside the cultural factory: FactorĂa Italia, this project responds to the necessity of a reunion place inside the cultural factory. The project proposes a temporary dinning room which can be used in different contexts. It was composed by a textil cover, modular furniture and an aerial garden.
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El Comedor, functioned as a reunion place and dining room, during september 2013 to february 2014, for the people who worked inside FactorĂa Italia. It also was used as a backup infrastructure for fairs, music concerts, political meetings and art exhibitions inside the Cultural Center. Because of its adaptability, the project was also used for a fair in a public park in the center of Santiago as a pic-nic cover. And finally its structure was replicated for covering a playground inside the Museo Interactivo Mirador (MIM) located at the south of Santiago.
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35 S TEMPORARY INFRASTRUCTURE
CASA DE LA MUSICA I LA OCUPACIĂ“N Period: January 2014
During 5 days, the patio of the old Girardi Hat Factory in Santiago was transformed into an open space for horizontal and collective musical creation, for musicians and no- musicians. The event put together an infrastructural installation and an activities program for the creation of a social exploration through sounds. The physical space was conceived as a large percussion instrument, made out of hanging metal molds formerly used for shaping the hats. This soundscape could (only) be played simultaneously by those who assisted.
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CASA DE LA MUSICA II MESANA: AFTER THE FIRE Period: May 2014
In the context of the fire that affected Valparaiso in2014, CDLM worked with the community of Mesana, an informal settlement in Cerro Mariposas. The purpose was to build a public space with recycled materials, and bring music to a new platform for participation and co-creation from the fundamental idea that “music is a game and we are all in the center�. This modest square made out of reclaimed materials housed the activities developed by CDLM, but most importantly, it became a new place for the organization of the local community. A second stage of the project included resources that made possible the construction of a more definitive public space. Adults and children got involved both in building and musical tasks. Again, infrastructure and program are put together in order to explore the possibilities of music as a social trigger. http://www.sentidoscomunes.cl/mesana/
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CASA DE LA MUSICA II MESANA: AFTER THE FIRE Period: May 2014
In the context of the fire that affected Valparaiso in2014, CDLM worked with the community of Mesana, an informal settlement in Cerro Mariposas. The purpose was to build a public space with recycled materials, and bring music to a new platform for participation and co-creation from the fundamental idea that “music is a game and we are all in the center�.
This modest square made out of reclaimed materials housed the activities developed by CDLM, but most importantly, it became a new place for the organization of the local community. A second stage of the project included resources that made possible the construction of a more definitive public space. Adults and children got involved both in building and musical tasks. Again, infrastructure and program are put together in order to explore the possibilities of music as a social trigger. http://www.sentidoscomunes.cl/mesana/
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V V A A
A R Q U I T E C T U R A
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QUINCHO NALCA Period: 2013
CORTE CONSTRUCTIVO X-X' - 1:25
CORTE CONSTRUCTIVO Y-Y' - 1:25
ISOMÉTRICAS SISTEMA CONSTRUCTIVO - S/E
Quincho is a word used in Chile and Argentina to name a place where the social activities develop around the fire. The quincho is san extension of the client’s house in Licanray,in the south of Chile. The weather conditions such as sunlight, wind and rain were main considerations, which combined with the views to the lake, informed the main feature of the project: the roof. The structure of the roof resembles the leaves of Nalca, a vegetable specie typical of the zone.
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PUQUEN LODGE Period: 2012-2013 The comission was to create a tourist complex in Quintay, in the central coasts of Chile. The challenge was to optimize the use of the land, while preserving the intimacy and the views of each unit. The steep gradient determined the emplacement in four different levels. The administrative facilities were at the highest line of volumes, where the site is accessed. The lower three lines are cabins of different sizes and heights. The volumes are founded over stilts, to optimize the visual relation with the ocean. The materials are native timber and SIP technology.
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VALDIVIA RIVERFRONT Period:2012 The Project was presented a competition launched by the city government of Valdivia for the urban design of the riverfront. Through the restauration of the fluvial border, the project aims to reform the existing rigidity of the relation of the City and the Calle-calle river. The riverside is conceived as as a lineal park conformed of nodes than combine landscape, transportation, sports, contemplation and conservation of species, and the social and economical exchange. The design is inspired on the geography that sorrounds the city. The main operation is the formal transference of the meander, which goes from the basic tile to the geographical formations that link the human transit and the flow of the river.
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ESTUARIO LODGE Period: 2012 The project is located in a stretch of land were the Rapel river meets the sea, in the south-center of Chile. For it’s strong winds, the zone has become a notorious spot for enthusiasts of sports such as windsurfing and kitesurfing. In every scale, this eolic condition would be decesive for the developement of the project. The masterplan would include 12 bungalofts, a restaurant/ belvedere, a terrace/sun deck, management facilities, service area, and nautic equipment storage. The material chosen were local wood and SIP technology.
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ELIANA HOUSE Period: 2012 This small hut was designed to house an old lady and her nurse. With few resources, the house would have integrate two prexisting wooden volumes: a 3x6mt parallelepiped and 3x3mt pyramid. Together with these conditions, the projects concentrates on the ease of autonomy and accesibility, and the relation with the landscape.
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Santiago de Chile 2016 eduardoperezinfante@gmail.com