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Building Bogota An investigation of how Public Buildings have shaped the Past, Present and Future of the city within a Socioeconomic and Cultural Context over the last
half century.
Juan Felipe Lopez Arbelaez
Abstract This investigation aims to understand how and in what way has architecture contributed to the overall betterment of Bogota over the last fifty years. This will aid in filling a gap in current literature regarding the relationship and processes between architecture and socioeconomic and cultural environments in this specific location. Since 1966, Colombia has experienced key political and economic shifts that have altered the situation of the aforementioned contexts in both positive and negative ways in such a manner that it justified dividing the work into two parts. The first representing ‘the past’ from 1966-1993 and the second representing the ‘the present’ from 1994-2016. In order to understand what kind of impact architecture had in these periods; research into the political, historical, social and economic landscapes surrounding four specific buildings was undertaken. The Gold Museum and The Simon Bolivar Park are explored in the first part, while The Virgilio Barco Library and The Julio Mario Santo Domino Cultural Centre during the second. The research consisted of thorough reading, visits to the case-study buildings and interviews. Through subsequent analysis it became evident that civic architecture did in fact provide a positive contribution towards the betterment of Bogota as these buildings helped to bring back the enjoyment of public space and actively educated the citizens through their careful design. This work goes to exemplify the inherent power that architecture has in order to be able to alter not just its immediate context but on a city-wide scale; and even goes so far as to highlight architecture’s purpose as a socioeconomic and cultural re-calibrator. The success and level of progress shown in Bogota implies that this process is one that can and should be repeated not only in other Colombian cities but provides an example that can be adopted internationally where socioeconomic and cultural re-calibration would prove beneficial for the greater population.
Introduction
Part One: Public Architecture as a Facilitator for Change (1966-1993) Chapter 1: Museo del Oro Chapter 2: Parque Metropolitano Simón Bolívar de Bogotá Part 1: Summary
Part Two: Public Architecture as a Vehicle for Opportunity (1994-2016) Chapter 3: Biblioteca Virgilio Barco Chapter 4: Centro Cultural Biblioteca Pública Julio Mario Santo Domingo Part 2: Summary
Part Three: An Analysis of the Last Fifty Years
Final Remark: Exposing Public Architecture’s Purpose
Bibliography / List of Illustrations
Appendix
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Introduction
The purpose of this dissertation is to understand how and in what way did public architecture contribute to the overall betterment of Bogota; in an effort to establish a relationship or process between architecture and socioeconomic and cultural environments during the last fifty years. The work will allow the reader to gain a deeper understanding of the culture, people and society of Bogota, and therefore Colombia, through an architectural perspective. Themes such as how these buildings have forced a specific social interaction and the impact that this has had over the city throughout time (with a particular focus on how and why these interactions were necessary and how they came to be so); whether the country’s national identity shaped its architecture; as well as how the architecture informed the sociological development of the country, or otherwise, using appropriate and certified data. This will propel the understanding as the driving force of the dissertation. Over the last fifty years Colombia has survived a series of defining moments that have set in motion various periods which have radically altered the socioeconomic and cultural environments1. Since the mid-1960s a low intensity asymmetric war has been fought by the Colombian government, paramilitary groups, crime syndicates, and left wing guerrillas such as the Revolutionary Armed Forces of Colombia (FARC), and the National Liberation Army (ELN)2. With the rise of the drugs trade in the 1980s3 up until the death of Pablo Escobar in 1993 and the subsequent fall of the Medellin Cartel, the country took a downhill turn4. However, after this point the country had a ‘rebirth’ which saw drastic improvements in all aspects at a much greater rate than before5. Nowhere except the capital city have any of these changes been more evident6 as well as being the key city for the understanding of Colombia7 -- these were the crucial factors to ground the work in Bogota. Another reason behind setting the work in Bogota is because during my extensive research into the area, no other writing seemed to explicitly attempt to either link or understand the connection between Colombian architecture and its socioeconomic and political environments. As such, I believe that there is a need to create an architectural chronology which is related to the political and cultural struggles of the nation at both national and international levels and then for this to be assessed in a manner that enables a greater understanding of how this can impact the development of a city and its people. -7-
Living in the United Kingdom for over a decade has meant that although my family and myself hail from Colombia, I consider myself to be British. This sense of detachment has enabled me to approach this topic with the needed objectivity to carry out the investigation into the involvement of architecture during these periods. Written at a time in which Colombia was at the forefront of international current affairs due to the ongoing peace negotiations that could have a profound impact on the future of the nation; the work will aim to arrive at an informed argument that will suggest how the interaction between architecture and the Colombian people will play out looking beyond Bogota in 2016 by examining the past and present in terms of their architecture and the socioeconomic and cultural elements. Furthermore, this discussion will ideally serve a wider purpose that can be applied to not just individual Colombian cities but perhaps Colombia as a whole on an international scale. In essence, what could this proposed future mean for Colombia and could this be a model or process that can be replicated or applied elsewhere.
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The work is divided into three parts, one which is focused on the past (1966-1993) and one on the present (1994-2016) before reaching a final section in which the previous eras are analysed in an effort to reach an understanding of the relationship between architecture and its various contexts as well as how and why this has impacted the development of the city. The transition between the past and the present coincides with the fall of the Medellin Cartel, which as explained earlier was a pivotal point in the history of not only Bogota but Colombia in its entirety. Parts 1 and 2, past and present respectively, are divided into two chapters per part; each looking at a particular case study completed towards the beginning and end of each era to create a balanced and chronological narrative of the last fifty years. Each chapter will begin by setting the political, historical, social and economic context of the building and how this could possibly influence the architecture of the time. Only then is the studied building introduced, at which point the discoveries made in terms of its design and how this could possibly affect the various environments of the time are presented to the reader derived from existing evidence and the conducted research. Each part will have its own summary which will evaluate all the various contexts prior to and post completion of the buildings in an effort to move towards an answer to the main argument that was outlined at the start. Part 3 evaluates the case-studies and their respective impacts on the social dynamic forces through the last half century. The last section will continue the established narrative in a speculative yet informed manner so as to accomplish what is stated in the previous paragraph while simultaneously responding to the statement of aim.
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The methodology undertaken for the work was the primary tool for narrowing the scope of the investigation. Considering that the dissertation deals with obtaining a deeper understanding of a particular place in terms of its culture and social aspects, the buildings studied should therefore be works designed by people native to Colombia. This is because these architects will have lived through the critical moments outlined earlier and will have been immersed in the culture and society; forming an integral part of them thus producing architecture which is truly representative of the environment at the time. By focusing solely on Colombian architects, this inherently narrowed the time periods of the work. The first architectural degree programme was first introduced in 19368 which then discounted any key historical events prior to that date. Furthermore, a historical gap too large would not allow for the depth of analysis and investigation required taking into account the word limit on this piece. Consequently, the most appropriate choice was to analyse a half century as this corresponded with the start of the Colombian Conflict in 1966 to the present year. Following this, research into which architects would be used as case studies was carried out by narrowing down the most notable and prolific ones to a final four by two factors: the first being the periods of activity (two architects per part) and the second being on the availability of texts related to them and their works. Finally, by selecting the type of buildings enabled me to have a common thread linking all of the works extending beyond their location. Public buildings are the only ones which anyone, could familiarise themselves with as they are places by the people, for the people9; as such I felt this was most appropriate for the investigation. Civic architecture came into existence as the outcome of the complex political, cultural and social parameters of the time and is one who’s true purpose and impact is continuously changing. In this sense it establishes its own personal narrative which when examined collectively presents a nation’s ideologies, aspirations and status.
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Gold Museum / Esguerra SĂĄenz Samper (1968)
Simon Bolivar Park / Arturo Robledo Ocampo (1992)
Virgilo Barco Library/ Rogelio Salmona (2002)
Julio Mario Santo Domingo Cultural Centre/ Daniel BermĂşdez (2010)
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Whilst in Bogota the four selected buildings were visited in order to experience them and their environments. Texts dealing with the architects and buildings as well as what had previously been said on the topic (architectural theory, historical, social, political and cultural writings) were read. Finally, interviews were conducted to further support or challenge the texts in an attempt to obtain first-hand opinions and a wider breadth of resources to draw arguments from.
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Endnotes
1. Breve Historia de Bogotá (2016) Pg.146 2. Colombian conflict 3. Bogotá: de la construcción al deterioro 1995-2007 (2009) Pg.23 4. Bogotá: de la construcción al deterioro 1995-2007 (2009) Pg.21 5. Colombia: Human Development Report 2013 6. La Calidad de Vida en la Ciudad de Bogotá (2015) Pg.18 7. La Calidad de Vida en la Ciudad de Bogotá (2015) Pg.18 8. La Escuela de Arquitectura y Urbanismo de la Universidad Nacional de Colombia 9. Bogotá y lo público (2003) Pg.10
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Part One:
Public Architecture as a Facilitator for Change (1966-1993)
Chapter 1: Museo del Oro
Bogota, has been Colombia’s political, economic and cultural centre of the country since it was designated this position in 153810. In the 1960s, Colombia was suffering the consequences of “La Violencia”, a ten-year civil war between 1948 and 1958 which was fought mainly in the countryside11. This could be seen as a precursor to the aforementioned ongoing low intensity asymmetric war that first began in 1966. Both of these wars forced thousands of people to migrate from the countryside into major cities – namely, Bogota. This resulted in rapid, uncontrolled migration of people and lead to unplanned expansion of peripheral areas of the city which were unsuitable for inhabiting. This lead to a concentration of poverty which caused a significant increase in violence within the city12. This change shifted the social environment of Bogota to one that has since been ingrained in Colombian Culture: the lack of trust and security amongst fellow Colombians; something which anthropologists have linked to higher preoccupations with crime, corruptions and higher murder rates13.
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Amongst all of the public buildings, it is the museum which most accurately reflects the society to which it belongs to14. Originally, the collection was going to be housed in just one floor of the new offices for the Banco de la Republica15, however, the firm Esguerra Sáenz Samper used their power for the advantage of social benefit and convinced the client to devote the site to a bespoke museum to house all of the artefacts for the public. This social benefit was linked to the cultural policy that the museum was built upon; it was there to promote and celebrate Colombian culture16. This was in response to the social and political unrest of the current climate – to hark back to an era where Colombian society was at its peak in an effort to reconcile the population with regards to their actions. This begins to ring true when taken into consideration that Germán Samper was described as an architect with an immense social sensibility17 and one that believed that above all, architecture was an instrument for social change18. Completed in 196819, Gold Museum is located in the cultural and historical centre of the capital. Its form was designed in such a way to resemble a coffer20 with a white marble-clad, reinforced concrete cube and a singular horizontal window facing the Santander Park. Samper stated that his intention was to create a large case that doesn’t outshine the treasures inside21. Though the design of the building is certainly understated; one must wonder if perhaps there wasn’t an ulterior reason behind this considering the ongoing issues with security in the city – perhaps the form’s true purpose wasn’t to be respectful to the artefacts but to protect them from the very public whom they were for. This is substantiated by the fact that the collection has endured centuries of looting and theft and as such, the exterior marks an initial attempt at creating a safe and tranquil environment22; one which is more out of necessity as opposed to want.
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From the outset, the building was designed to be a museum to specifically house the golden historical pieces and this is clearly reflected in the architecture. Often typecast as the ubiquitous ‘white cube’23 within Colombia; here this has enabled the architects to control the environments between exhibition and circulation spaces. Most of the natural daylight that is fed into the building is managed by a central roof light; which, unsurprisingly is located in the only space devoid of any elements of the collection, the main circulation space. Notwithstanding the fact that the roof light doesn’t lead directly into any of the exhibition space, there are still metal bars on the underside to prevent anyone from entering the space without permission. In contrast, in spaces devoted to the collection the atmosphere is a lot more intimate with no views out, dim artificial lighting and subtle materials throughout the space that leave the sole focus to be the gold artefacts. As a result of the ‘white cube’, it shields external spectators from understanding the spatial arrangement of where the collection lies or even what it looks like which makes any potential break-ins less likely to be successful. Thankfully this never feels oppressive because to get from one collection to the next the viewer either has to cross a window to the outside or the central void which offers a sufficient change of atmosphere between the two areas.
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Above - Not to Scale
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The museum houses one of the most important collection in the world regarding pre-Hispanic cultures24 while meeting the international standard of museums in order to become a fundamental aspect of tourism in the city as it receives over 500,000 visitors a year; making it one of the most visited attractions in all of Colombia25. As stated previously, the building was destined to be a museum from the start therefore, by establishing the appropriate architectural programme in order to ensure the museum functions properly, the image and identity of the museum can be managed so as to communicate a certain dialogue with the public and urban context26. It is precisely the relationship between the museum and its dialogue with the public that holds much sway on that will be discussed in the conclusion of the dissertation (with a particular focus on its effect on tourism in the city) to understand what effect it had on the social dynamic forces after its completion.
Above - (from top to bottom): public zone w/collection / public zone w/out collection / private zone w/out collection / private zone w/collection
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Endnotes
10. Bogotรก 11. La Violencia 12. Breve Historia de Bogotรก (2016) Pg.183 13. Colombia: a comedy of errors (2014) Pg.78 14. La arquitectura de museos en Colombia, un caso de estudio (2013) Pg.2 15. La arquitectura de museos en Colombia, un caso de estudio (2013) Pg.16 16. La arquitectura de museos en Colombia, un caso de estudio (2013) Pg.4 17. German Samper Pg.244 18. German Samper Pg.14 19. El Tiempo Article, German Samper 20. German Samper (2011) Pg.76 21. German Samper (2011) Pg.53 22. La arquitectura de museos en Colombia, un caso de estudio (2013) Pg.18 23. La arquitectura de museos en Colombia, un caso de estudio (2013) Pg.4 24. El Museo del Oro. Un caso de gestiรณn de patrimonio cultural (2012) Pg.29 25. Gold Museum, Bogotรก -24-
26. La arquitectura de museos en Colombia, un caso de estudio (2013) Pg.1
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Chapter 2: Parque Metropolitano Simón Bolívar de Bogotá
Historically, there had been disorganisation in the country and the way in which it was run as well as there being a lack of legislation and this was reflected by the condition of public spaces27. In the early 1990s, Bogota was characterised by its lack of and precariousness of public space28 as shown by a remark made in regards to Bogota at the time, “Bogota’s deterioration is progressive and apparently unmodifiable”29. Despite government efforts, public spaces were not being created at the necessary rate nor frequency30 which could explain to a certain extent the lack of social progress up until this point. Furthermore, the city was receiving a similar proportion of public expenditure as it did in the 1960s31; this is partially down to the increased levels of corruption in the government32 as a result of the drugs trade33 that lead to the ongoing unfavourable social landscape which reached a peak by the mid-1990s34. This undoubtedly contributed to the lack of public space in the city; however, it should be noted that “each city has the amount and quality of public space that its citizens are prepared to finance”35, and in the 1980s and 1990s this certainly was not a top priority.
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This decade is known as the “Collapse of Bogota”36 which is characterised by the increase in construction of fences, security checkpoints and watch-towers which subsequently became part of the design language for the Colombian architect37. This clearly demonstrated the fall of public space by the early 1990s where everything was closed off and security controlled – the only way to feel safe at the height of insecurity in the city. As it can be seen, at the time of the park’s construction, there was very little focus on green public space and very few laws assuring its upkeep. This makes the parks completion all the more impressive considering that the site is approximately 110 hectares38 and now the most important sporting and cultural space for Bogotanos which was once an unkempt wasteland, home to rats and thieves39. Initially, the project faced some political resistance regarding whether or not it should be built; it was then that Arturo Robledo Ocampo (the architect in charge of its master planning) justified it: by creating a place where citizenship could be learnt from infancy. He saw the park as being essential for the development of the country and society40. As someone who viewed the architect as having a “social responsibility”41, this is something that has translated into his own work and the larger purpose it has and as such his master plan took into account the urban characteristics of the neighbourhood and the necessity for recreational green areas for the city42.
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A principal feature of the design of the park is the importance placed on geometry. This is best appreciated when observing his plans and drawings for the park. It then becomes quite obvious how all the various zones relate and respond to one another to ensure an element of cohesion within such a large expanse of land. It should come as no surprise that Ocampo believed that geometry represented precision, harmony and order43; which by having visited the park itself, is something I believe he has managed to do successfully. However, one must wonder why he had such a strong desire to communicate this particular message. It is quite possibly a response to the ongoing social crisis that was reaching its climax at the time of the parks completion – Ocampo was trying to establish the fundamentals of citizenship through geometry in hopes of a better future. In a similar vein, there is an abundance of curves in the park be it in the shape of the paths, the lake or the very structures found within. One must think of the connotations associated with curves; they are often seen as soft and caring elements with embracing and protective characteristics. I see this as Ocampo’s way of offering the park as a place of escapism for the citizens of Bogota from whichever turmoil they may be facing, be it personal or public.
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Ocampo designed spaces that would house cultural, civic and recreational events in such a way that would educate the city44 regardless of their economic background45. One of these spaces is the Ceremonial Plaza where many free of charge concerts, shows and events have taken place, most notably the ‘Rock al Parque’ festival which has become one of the most important in Latin America46. The Plaza is located near one of the main entrances to the park and its curved design is meant to hug and protect the public47. An interesting feature of the space is that it is sunken from the rest of the topography so that the urban landscape disappears and only the immediate vegetation of the park, the mountains and the sky remain48.
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A dominant element of the park is the lake and its accompanying fountain. Not only does it help to regenerate and improve the quality of the water of the lake49, but its design invites people to interact with it by allowing people to travel underneath it or climb it to gain a panoramic view of the park. If one is to see the fountain’s function as a subliminal message Ocampo is attempting to transmit it would probably be one that relates to the suggestions associated with water such as renewal, purity and religion. In a highly religious culture50 like that of Colombia, in which places of worship are respected and held to a high importance, this is perhaps his way of telling Bogotanos to respect and appreciate not just his park but public space as a whole for generations to come.
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Endnotes
27. Bogotá y lo público (2003) Pg.103 28. Bogotá: las polítcas públicas y la ciudad (2013) Pg.171 29. Bogotá: de la construcción al deterioro 1995-2007 (2009) Pg.18 30. Bogotá y lo público (2003) Pg.51 31. Bogotá y lo público (2003) Pg.52 32. Bogotá: las polítcas públicas y la ciudad (2013) Pg.172 33. Illegal drug trade in Colombia 34. Breve Historia de Bogotá (2016) Pg.156 35. Bogotá y lo público (2003) Pg.52 36. Bogotá: de la construcción al deterioro 1995-2007 (2009) Pg.27 37. Bogotá: de la construcción al deterioro 1995-2007 (2009) Pg.28 38. Arturo Robledo: La arquitectura como modo de vida (2010) Pg.167 39. El hombre que revivió la vida en el parque S. Bolívar (2009) 40. Arturo Robledo: La arquitectura como modo de vida (2010) Pg.166 41. Arturo Robledo: La arquitectura como modo de vida (2010) Pg.12 42. Arturo Robledo: La arquitectura como modo de vida (2010) Pg.167 43. Arturo Robledo: La arquitectura como modo de vida (2010) Pg.81 44. Arturo Robledo: La arquitectura como modo de vida (2010) Pg.168 45. La Calidad de Vida en la Ciudad de Bogotá (2015) Pg.190 -36-
46. Rock al Parque 47. Arturo Robledo: La arquitectura como modo de vida (2010) Pg.169 48. Arturo Robledo: La arquitectura como modo de vida (2010) Pg.169 49. Arturo Robledo: La arquitectura como modo de vida (2010) Pg.174 50. Colombia: a comedy of errors (2014) Pg.80
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Part 1: Summary
Throughout this time period the socioeconomic and political landscape of Colombia, and therefore Bogota, had reached an all-time low. Since the end of the 1960s, Bogota began to suffer an unprecedented increase in its crime rates51. Crucially this was also the time period, between the late 1960s and early 1990s, in which Bogota began to slowly place more importance on the construction of public buildings, in what I believe was the initial step taken towards the overall betterment of Bogota. If architecture is a consequence of the aforementioned landscapes: socioeconomic and political, it is therefore their physical manifestation. But the question then arises, could architecture have the power to alter them by building towards a desired environment?
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Some impacts were seen shortly after their constructions, mainly focusing around improving the quality of public spaces; this is perhaps because it’s in “public spaces that the crisis of the city manifests itself in its greatest strength”52. This is why in 1995, the city began a positive transformation53 which slowly ushered out corruption within politics, coinciding with the fall of the Medellin Cartel, allowing the new Mayor Antanas Mockus to promote the campaign of ‘Cultura Ciudadana’54 which also helped the recuperation of parks55 as one of the initiatives saw public spaces as where laws should be respected56 - a view that was a key ideology first seen in the Simon Bolivar Park. Here, the citizens were encouraged via public spaces and programmes deployed within them to connect with one another, practice new behaviours and simply relax and enjoy. The result was the desired blossoming of “Bogotantud’ – positively identifying with the city and with other citizens”57. Despite the steps in the positive direction, newspapers were still affirming that at the start of 1997 there were still some security issues in Bogota58. These changes in the perception of the public had made the Simon Bolivar Park very popular within a short space of time. The director of the Insituto Distrital Recreacion y Deporte, the IDRD (District Insitute of Recreation and Sport) saw the park, amongst other newly sprouting metropolitan parks, as testaments to the process of transformation of the city in the ability of these parks to “create urban structure, help articulate the social, help make the economy more dynamic, and [be] recreational refuges for all of Bogota’s inhabitants”59. This enabled the government to teach citizens that public spaces should be used more regularly by hosting events in them60; such as corporate BBQs61 that then promotes workers to go there in their spare time. The increase in use has meant that the atmosphere of the parks and public spaces is more inclusive. This could potentially incentivise national tourism and eventually global tourism which would bring money to the country that could then be invested in the improvement of the quality of life so that it changes the outlook of how Colombia is viewed on a national and international level.
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Despite the successes, there was still a long way to go if public architecture were to lead to an overall improvement of Bogota – the Gold Museum during this period is an example of this. Shortly after its completion, it somewhat failed to reach the attention of the general Colombian public as they felt that this was more of an international attraction62. Even though the museum was intended to be a national treasure and a celebration of Colombian culture and heritage (the various exhibitions manage to accurately celebrate all of the cultural values of the various indigenous tribes) perhaps they didn’t feel much affinity with the museum because it served as a reminder of all that was lost during the Spanish conquest but also because the project itself doesn’t give something back to the local community like the Simon Bolivar Park does. These case-studies represent the two sides of the situation in Bogota by the mid-1990s, the Gold Museum being an emblem of all the remaining pre-existing issues – security, national identity, national pride and culturally enhancing and educating the citizens – while the Simon Bolivar Park represents the hope and the initial steps taken for betterment of the city as reflected by their initial failures and successes up to this point in time.
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Endnotes
51. Bogotá: de la construcción al deterioro 1995-2007 (2009) Pg.20 52. Pg.8
La Arquitectura: Observaciones Desde El Análisis Cultural (2005)
53. Bogotá: de la construcción al deterioro 1995-2007 (2009) Pg.12 54. Breve Historia de Bogotá (2016) Pg.147 55. Bogotá: de la construcción al deterioro 1995-2007 (2009) Pg.79 56. Bogotá: de la construcción al deterioro 1995-2007 (2009) Pg.78 57. Learning from Bogotá: How Municipal Experts Transformed Public Space (2010) Pg.551 58. Bogotá: de la construcción al deterioro 1995-2007 (2009) Pg.59 59. Learning from Bogotá: How Municipal Experts Transformed Public Space (2010) Pg.550 60. Bogotá y lo público (2003) Pg.88 61. Interview 1 62. La arquitectura de museos en Colombia, un caso de estudio (2013) Pg.13
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Part Two:
Public Architecture as a Vehicle for Opportunity (1994-2016)
Chapter 3: Biblioteca Virgilio Barco
By the start of 1998 there was an air of positivity as there was statistical proof of improvements63 through the improved security in public spaces, unfortunately this still was not sufficient to dissuade architects and city planners from removing gates and walls to public spaces64. A national project of (re)making public space began in Colombia in the early 1990s with a renewed focus on the public interest – however this change in outlook was solidified when the city’s comprehensive plan, the Plan de Ordenamiento Territorial de Bogota, the POT (Territorial Legislative Plan) was passed in 200065. There were three administrations preceding the completion of the Virgilio Barco Library which really fronted the transformation of the city due to their dedication to public space as the mayors – Antanas Mockus (1995-1997 and 2001-2003) and Enrique Penalosa (1998-2000) – “hoped Bogota’s residents would engage in the process of community building and learn how to be a more unified and mutually respectful citizenry”66.
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Therein lay the key to the next step to the improvement of the city, learning, more importantly how and where the population learned – the city had to rethink the spaces where this occurred, this is because public space has an ingrained importance in Latin American cities; but particularly in Bogota as here it is thought of as “classless space”67. This is particularly important as at this point 80% were classified by the government as extremely poor to lower-middle class; this signified for Penalosa, in particular, “that a majority of residents lacked sufficient income to provide many of the recreational and [educational] opportunities appropriate for human development and enjoyment”68. In 1996 the noted Colombian architect Rogelio Salmona stated that the Colombian city had been “mistreated”69 with particular respect to public space which served as the primordial reason inspiring him to design the Virgilio Barco Library. This is not an unfounded statement as it was well documented that he always had the development of the city in mind70 because it was his belief that “architecture transforms the city and nature, and thus, transforms the entire world”71. The project was supported by Penalosa’s government initiative72 and it takes over a previously underused site which had become a waste-dumping ground73 adjacent to the Simon Bolivar Park. Salmona used this to his advantage by directing all of the views from the library towards vegetation74 to make it seem as if weren’t located in the city by building over the overaccumulation of rubbish left over in the site. While this has the immediate effect of creating a much more peaceful and tranquil experience for the people using the library as a sanctuary from the hustle and bustle of the city to enable greater concentration and appreciation of the books; one could interpret this in a metaphorical manner. It could be taken as Salmona building over the rubbish of the past, a reference to Colombia’s troubled history. The selected parts of the site which have been deliberately kept sunken below the entrances to the building forces people to literally rise to a more elevated position to complete their journey. A perfect example of this is the sunken court that precedes the stepped fountain adjacent to the main entrance which has been described as “la plaza deprimida”75 which in Spanish has a double meaning: both depressed (metaphorical purpose) and sunken (physical purpose). Therefore, this reinforces the idea that the building is also acting as a metaphor and inspiration for the citizens of the Bogota to aid them overcoming their unfortunate background. -46-
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The entrance to the building itself reveals yet another intrinsic theme of the project, transparency76 – something that I believe Salmona meant to be interpreted literally and metaphorically. The literal sense due to the materiality of the library - Salmona emphasised the extensive use of glass which inevitably helps strengthen the notion of being separated from the city by allowing for as many opportunities for a visual link to the landscaped exteriors to be established. More interesting is the metaphorical reason; its transparency not in terms of its construction but in terms of its nature. The building allows itself to be completely exposed be it from the bare materials which subtly ground it to its location such as the roof-tile that evokes the Quimbaya native culture77. It is perhaps its tectonic honesty and ease of views into and out of the library that transcends to an overall atmosphere of honesty. This claim can be supported as this was one of the first major projects to be completed after a pivotal change in the Colombian lifestyle that moved away from a culture of lies and deceit, especially within the corrupt political system. As such, the architect wanted to educate potential future leaders of the country in an environment that completely encompassed one of the many desirable qualities within a building that not only becomes but promotes transparency.
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Lastly, the spaces within and how one reaches those spaces reveal the final qualities of the project that I believe have had an impact on the overall betterment of Bogota. There are multiple paths that one could take to various locations within the library, so much so that various activities can be happening and coexist perfectly without interrupting each other. The various paths also allow for spontaneous opportunities for fun or learning. This creates doubt and uncertainty as one experiences his works – doubt always generates discoveries78. He is subtly altering how people use his space and encourages them to educate themselves inside. Unsurprisingly, the spaces inside are tailored to promote this as for example; the library has space for 12,000 books and a reading room with 440 spaces – this tailored made space enabled for the concentration of people using other libraries to be reduced79 which improved the access that Bogotanos had to gaining knowledge. Facing north and northwest80 so that illumination was even and constant, provided optimum conditions for its purpose. Furthermore, the ‘Bogota Lounge’ enables people to further educate themselves on the development of civic culture to continue promoting the government’s initiative of ‘cultura ciudadana’. The children’s lounge promotes reading and investigation within the younger ages81; an important aspect as this is meant to steer the future citizens away from the same characteristics that lead the city and country to an unwanted history. As all the internal spaces have been meticulously designed it made the environment much more intimate and an individualised experience; this is because Salmona’s spaces have the capacity to make people emotional by implementing elements that capture people’s senses like natural light, water and vegetation – it is an architecture that is a deep bodily experience82. People are encouraged to find their own reading space83 which helps them be more efficient and creative in their learning so that they always return to the same place to further their education. The Virgilio Barco Library completely revolutionised how the average Bogotano learnt and could further their own standard of life providing the possibility that if a sufficient amount of people were to take this approach, in time, it could have a profound impact in the betterment of the city.
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Endnotes
63. Bogotá: de la construcción al deterioro 1995-2007 (2009) Pg.60 64.Bogotá: de la construcción al deterioro 1995-2007 (2009) Pg.107 65. Learning from Bogotá: How Municipal Experts Transformed Public Space (2010) Pg.540 66. Learning from Bogotá: How Municipal Experts Transformed Public Space (2010) Pg.541 67. Learning from Bogotá: How Municipal Experts Transformed Public Space (2010) Pg.540 68. Learning from Bogotá: How Municipal Experts Transformed Public Space (2010) Pg.542 69. Rogelio Salmona: Tributo (2008) Pg.9 70. Rogelio Salmona: Tributo (2008) Pg.9 71. Rogelio Salmona: Tributo (2008) Pg.9 72. Rogelio Salmona: Tributo (2008) Pg.90 73. Biblioteca al Parque (2001) 74. Biblioteca: Virgilio Barco: desaparición de la ciudad, invocación de la Sabana (2006) Pg.28 75. Biblioteca: Virgilio Barco: desaparición de la ciudad, invocación de la Sabana (2006) Pg.35 76.fundación Rogelio Salmona 77. Biblioteca Virgilio Barco 78. Rogelio Salmona: Tributo (2008) Pg.185 -54-
79. Biblioteca al Parque (2001) 80. fundaciรณn Rogelio Salmona 81. Biblioteca Virgilio Barco 82. fundaciรณn Rogelio Salmona 83. Rogelio Salmona: Tributo (2008) Pg.29
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Chapter 4: C.C. Biblioteca Pública Julio Mario Santo Domingo
In the years running up towards the completion of the Cultural Centre Julio Mario Santo Domingo there was a recorded improvement in the death rate per 100,000 inhabitants in Bogota as well as the life expectancy84. Even though at this point the city was by far the best performing city in Colombia it was below the world average85. Great promise towards improving the quality of life in the city was evident, something which I believe had been a long term process aided by the introduction of the key public buildings that have been explored so far. However, during the administration of Mayor Luis Eduardo Garzon (2004-2007) public space as a topic was ignored, which in turn had a retroactive impact on the progress made in these areas86. More importantly, it is this newfound ignorance towards the importance and power of public space which meant that an aspect which had been so deeply ingrained into Colombian culture and society87 wasn’t properly challenged: traditionally the more affluent citizens don’t ‘mix’ with the economically challenged people as a result of socioeconomic division, ‘estratos’.
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The belief that “public space has no estratos and any investment that is made in it is for the benefit of the entire city”88 ideologically struck a chord with Daniel Bermudez, the building’s architect; as upon visiting the site, it was clear to Bermudez just how much of an impact that this building could potentially have on the future development of the location89. This is because the locality of the site is one of three in the city in which all the different levels of ‘estrato’ are represented, an estimated 1.3million people benefit from the centre90. Prior to the completion of the project, the local residents couldn’t wait to make the most of the spaces91; highlighting the newly established positive connotations associated with public buildings in Bogota as set by the precedents of previously presented examples. The first way in which Bermudez played to the strengths of the site’s characteristics is evident before one enters the building. Here, the viewer is made aware of two things. The first is how the entrance has been set back92 and raised from street level, the architect explains how this was done to give the building a sense of permanence and importance within its vicinity93. I believe that this is highly valuable to ensure its success as it encourages an element of respect for the structure from the citizens due to the commanding position it has acquired in the landscape – something which is undoubtedly paramount in a borough that caters to an extremely wide spectrum of education and affluence. The second is the predominant use of concrete. Bermudez favours the use of concrete in his work because it is one of his many tried and tested techniques that ensures both low maintenance costs94 and longevity of the building95. This is appropriate for public use, considering the fact that Colombia is an emerging country, thus showing the architect’s social conscience as he believes that Colombian society is no position to “foster ephemeral architecture”96. The particular type of concrete he uses also reflects light which is an intentional move away from the typical brick used in Colombian construction as he felt that i t was too dark for some days in the city97. The addition of a particular aggregate in sections gives the concrete a pale pink colour98; all of which give the building a certain warmth in order to make it more appealing and welcoming to the public in an effort to give them a positive outlook to their experiences when visiting the site which hopefully has a desired knock-on effect in the city.
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The Cultural Centre aims to find social equality99 and this is perhaps achieved through its key architectural strategy, the foyer. It could be argued that the building would have benefitted from being a series of smaller buildings considering that the programme incorporates two theatres and a series of libraries amongst other services into one compound building. It is the foyer, however, that unifies all of these uses by being a nodal point which forces the affluent opera goers to share the building democratically100 with the often economically challenged public library users. As mentioned, this unifies not only the building but also the people within by forcing social interaction in a subtle way so that it promotes inclusivity amongst everyone instead of the current segregation of the ‘estrato’ system. Sure, it would have been easier to follow the norm but Bermudez here is setting up a demonstration of where Colombian culture should be headed by demonstrating a new building model that actively involves opposing uses and users of space interacting with each other.
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Internally, Bermudez focused on creating the ideal environment for concentration and appreciation of the events that were to take place once finished. Here he implemented various techniques to mitigate the various associated kinds of pollution within large cities such as Bogota: light, visual, sound and air101. The use of natural light is one of the most recurring themes in his work102; however, it is the way in which Bermudez handles it which is of particular interest. Beyond having connotations of guidance, clarity and safety (appropriate for the building’s use), the architect works with the path of the sun in order to gain as much natural light without the excessive heat103 – Bogota is known for having large fluctuations in temperature – while also never having direct sunlight hit the reading tables in the library. This is achieved by the layout of the space which captures all available sunlight by having skylights and ‘light pockets’104 hitting a “reflective disseminating surface”105 that then channels the light evenly in a desired direction. This kind of lighting is highly conducive to focusing the reader which makes them more efficient in their education and so that the benefits of having such a building at their disposal are reaped quicker, in turn improving their standard of living. Sound pollution is reduced through standard practice but is furthered by removing echoes and low resonance. The use of bush hammer-finished concrete in the theatre, whose uneven surface provides a “broken plane which disseminates sound waves”106, means that any performances or lectures held in the theatres are better communicated to enrich the lives of the public be it in a recreational or educational form.
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Above Visual and air pollution are issues that Bogota struggles with. Bermudez always tries to incorporate nature into his designsA, so that as one moves through the building views to nature (internally + externally) are always present. The centre dedicates part of its site to a new park which offers recreational elements to people of all agesB. This improves the overall environment in the vicinity of the centre to promote a healthier lifestyle.
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Endnotes
84. La Calidad de Vida en la Ciudad de Bogotá (2015) Pg.97 85. La Calidad de Vida en la Ciudad de Bogotá (2015); Bogotá: de la construcción al deterioro 1995-2007 (2009) Pg.21 86. Bogotá: de la construcción al deterioro 1995-2007 (2009) Pg.157 87. Colombia: a comedy of errors (2014) Pg.85 88. Learning from Bogotá: How Municipal Experts Transformed Public Space (2010) Pg.540 89. Daniel Bermúdez: Arquitectura (2010) Pg.61 90. Megacentro cultural del norte de Bogotá estará listo en septiembre de 2009 (2008) 91. Megacentro cultural del norte de Bogotá estará listo en septiembre de 2009 (2008) 92. Daniel Bermudez Arquitecto: Centro Cultural Biblioteca Pública Julio Mario Santo Doming 93. Daniel Bermúdez: Arquitectura (2010) Pg.61 94. Poesía concreta (2010) 95. Daniel Bermúdez: Arquitectura (2010) Pg.66 96. Daniel Bermúdez: Arquitectura (2010) Pg.230 97. Daniel Bermúdez: Arquitectura (2010) Pg.232 98. Daniel Bermúdez: Arquitectura (2010) Pg.69 99. Daniel Bermúdez: Arquitectura (2010) Pg.227
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100. Daniel Bermúdez: Arquitectura (2010) Pg.65 101. Bogotá: las polítcas públicas y la ciudad (2013) Pg.365 102. Daniel Bermúdez: Arquitectura (2010) Pg.227 103. Daniel Bermúdez: Arquitectura (2010) Pg.230 104. Daniel Bermúdez: Arquitectura (2010) Pg.234 105. Daniel Bermúdez: Arquitectura (2010) Pg.234 106. Daniel Bermúdez: Arquitectura (2010) Pg.232
A. Daniel Bermúdez: Arquitectura (2010) Pg.231 B. Biblioteca Julio Mario Santo Domingo: Nuevo Orgullo de Bogotá (2010)
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Part 2: Summary
The ‘design’ of a city cannot limit itself to merely implementing exotic materials and technologies into its buildings as seen in some Arabic countries107; they must bring something, innate to their being, something which allows for change to happen because of their design considerations. Admittedly, the entire responsibility doesn’t just lie within architecture but also the context in which it finds itself, this can either make it easier or harder for this to happen. Fortunately, between 2012 and 2016, the city began to spend more money on reducing economic, social and cultural inequality108 which I believe was only truly considered following the completion of the Cultural Centre two years’ prior which tackled this very issue by providing a solution in an architectural manner. This perfectly demonstrates how careful design considerations can have a profound effect as architecture is a “cultural product” and is “the preferred place for socialisation and coexistence”109. Since the Cultural Centre’s inauguration, the project has had many successes one of which is the fact that the acoustics of the theatre have been regarded as world leading by renowned musicians110. I believe that its success is down to Bermudez’s philosophy where he sees time as a “purifying agent” so he “eliminates all that is superfluous, leaving only what is necessary”111. By giving people the essential blocks of a building at this moment in time has enabled them to gain the essential lessons so that they can then improve upon this and build upon for the future.
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The Virgilio Barco Library has also become a great success since its completion as it regarded as a cultural and recreational icon for the city112 as the citizens have acknowledged that the services it provides have enriched the public spaces of the city113. One of these is the selection of programmes that provide literary services to the community, an aspect which begins to rectify the shortage of literary facilities available to citizens, in particular children114 – the generation that would become the future of the country. This brings us to the present moment, I believe that in this second era there has been a radical leap in terms of the progress that the city has made which is sometimes represented and others initiated by these two buildings. One of the reasons that this has happened, is because Bogota has finally begun to acknowledge and treat public space as the essence of the city115, which enabled the city to become one for the citizen where the aesthetic, harmonious and democratic values become clear once again regardless of the social conflicts.
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Endnotes
107. Bogotá: las polítcas públicas y la ciudad (2013) Pg.368 108. Bogotá: las polítcas públicas y la ciudad (2013) Pg.206 109. La Arquitectura: Observaciones Desde El Análisis Cultural (2005) Pg.6 110. Daniel Bermúdez: Arquitectura (2010) Pg.231 111. Daniel Bermúdez: Arquitectura (2010) Pg.228 112. Rogelio Salmona: Triubto (2008) Pg.90 113. Interview 2 114. Parques Para Leer (2001) 115. fundación Rogelio Salmona
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Part Three:
An Analysis of the Last Fifty Years
Having investigated four key architectural projects in Bogota over the last half century, it is now possible to begin to establish a clear dialogue between them and their respective epochs in such a manner that it will become clear how and in what way did public architecture contribute to the overall betterment of Bogota in an effort to establish a relationship or process between architecture and socioeconomic and cultural environments. I believe that a building’s success can only be truly appreciated or even justified once it has been subject to time and people’s prolonged experience with it as “architecture is the way in which history appears”116. This is why it is vital to firstly ‘revisit’ these case studies and examine not the immediate impact they have had in the various landscapes but instead the extended effect117.
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As previously stated, the Gold Museum alienated most of the general Colombian public. This is most likely down to the building’s International Style of architecture which attempted to remove itself completely from its cultural context – which we know at the time was rife with insecurity and disunions – in order to establish itself as a haven for tourists so that the government could capitalise on cultural tourism. Cultural tourism is defined as where tourists consume or experience a culture118 and as such this cannot occur without the appropriate infrastructure which is where the construction of the museum begins to become justified. This kind of tourism has been linked to having a profound impact on the economy of a country119 and considering that the Gold Museum is the touristic centre of Bogota and is a place which, due to its radical design, attracted a higher influx of international visitors; it could then be argued that it was the work that later enabled other kinds of architectures to be built to then provide a more direct service towards Bogota and its people. Studies have shown how tourism levels in recent years have steadily increased120 while simultaneously representing an increasingly larger percentage of Colombia’s GDP121. Furthermore, cultural tourism helps in the recuperation of national identity both on a national and international level122. To summarise, yes, the museum took a bold approach in terms of its architecture; consequently, somewhat excluding the locals so that it could become a catalyst for future reinvestment with the vision that its native perception of it would later change. This shift did come about and I would argue that it was down to a number of factors; the most important of which being its continued protection of the cultural patrimony and that its later declaration as a place of cultural interest on a national level123 is because the people have been educated and cultured through the very buildings of the other case studies which has enabled a newfound appreciation and acceptance of this building.
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In its 24 years, the Simon Bolivar Park has had a positive effect in the quality of life due to the vast number of trees planted as part of the project124 because this has helped to improve the air quality in the city reducing the occurrence of health issues and complications associated with air pollution; meaning that there is a quantifiable and measurable positive impact on the environment of the city. As a result of its immediate success125, the park has been used as inspiration for subsequent parks built across the country126. Its rapid success was perhaps down to the fact that there had been a shift in the method of how significant projects were presented to Bogotanos; by making it more recreationally and intellectually accessible than the Gold Museum it was far easier for the park to be appropriated by its citizens, thus being more rapidly accepted into the urban and social fabric.
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Up until 1998, Bogota only had two main libraries127 however with the creation of Bibliored128 and the later construction of the Virgilio Barco Library and the Cultural Centre, they helped to secure its success by providing free access to books and resources. This was targeted towards the younger demographics so they could benefit from an equal access to information129 to supplement their education and knowledge in an attempt to improve their future standard of living130. The construction of these new major libraries has increased development in both the city’s infrastructure131 and educational habits as architecture involves an ethical commitment to society132 and in the case of Colombia it is to hope for a better future. Bermudez’s architecture in particular is therefore seen as a tool for progress. These buildings (museums, libraries and theatres) can be seen as cultural centres in the general sense where they contribute to social cohesion; they promote participation and they offer spaces of creation and formation133. A common impact that all these case studies have had on the city is the creation of new jobs through either the construction or the running and upkeep of them. The creation of new opportunities has helped to reduce poverty134 ; which has been a long-running social issue in Bogota135. This helps to break the vicious cycle of poverty leading to a life of crime which results in giving the people and its city a bad image where social decomposition and violence are the only results136.
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It has become evident that over the last fifty years, public architecture has had an overwhelmingly positive effect towards the overall betterment of Bogota as recently it has been heralded as one of the top Latin American cities in terms of intelligence and quality of life137 due to the investment in civic architecture. If one is to examine the two eras presented here small but crucial steps in the right direction occurred at the precise moments to enable the following stage of progress. Through time it has amounted to the vast recorded improvements in social security, economy and education. The changes implemented between 1966-1993 helped to bring back the enjoyment of public space138 while also highlighting the current issues encouraging them to be rectified139 as exemplified by the Simon Bolivar Park and the Gold Museum respectively. This era did not necessarily cater for the national sphere but instead capitalised on the potential in the foreign attraction that then enabled for the kick-start of change to occur on a national level. Throughout 1994-2016 initial improvements were built upon while taking advantage of the increase of citizens using public space so that they could be effectively educated in the ‘cultura ciudadana’140 promoted through high quality architectural design as the government began to plan for the long-term success in construction of civic spaces. Effectively, it turned the potential that the first period set up as a prototype and then turned it into an effective model that has since proven successful by changing change the citizen’s ideology from an ‘individualised shortcut’ to a ‘collective harmonious one’141.
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Endnotes
116. The role of cultural (architecture) factors in forging identity (2008) Pg.389 117. Bogotá y lo público (2003) Pg.83 118. El Museo del Oro. Un caso de gestión de patrimonio cultural (2012) Pg.9 119. El Museo del Oro. Un caso de gestión de patrimonio cultural (2012) Pg.10 120. Colombia Reports: Colombia tourism statistics 121. Economy of Colombia 122. El Museo del Oro. Un caso de gestión de patrimonio cultural (2012) Pg.15 123. La arquitectura de museos en Colombia, un caso de estudio (2013) Pg.13 124. Arturo Robledo: La arquitectura como modo de vida (2010) Pg.169 125. Arturo Robledo: La arquitectura como modo de vida (2010) Pg.174 126. Arturo Robledo: La arquitectura como modo de vida (2010) Pg.166 127. Daniel Bermúdez: Arquitectura (2010) Pg.47 128. Los centros culturales como motor de desarrollo para las culturas locales 129. Parques Para Leer (2001) 130. Los centros culturales como motor de desarrollo para las culturas locales
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131. Daniel Bermúdez: Arquitectura (2010) Pg.47 132. Daniel Bermúdez: Arquitectura (2010) Pg.232 133. Los centros culturales como motor de desarrollo para las culturas locales 134. La Calidad de Vida en la Ciudad de Bogotá (2015) Pg.109 135. Bogotá y lo público (2003) Pg.108 136. Bogotá: las polítcas públicas y la ciudad (2013) Pg.180 137. Breve Historia de Bogotá (2016) Pg.186 138. Learning from Bogotá: How Municipal Experts Transformed Public Space (2010) Pg.551 139. Architecture and Public Space between Reassurance and Threat (2008) Pg.11 140. Learning from Bogotá: How Municipal Experts Transformed Public Space (2010) Pg.553 141. Bogotá: de la construcción al deterioro 1995-2007 (2009) Pg.46
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Final Remark: Exposing Public Architecture’s Purpose
From the investigation one can realise that the evolution of culture finds within architecture a kind of expression of human development as the manifestations of the relations between cultural identity and the physical form become apparent142. This shows how architecture and the socioeconomic and cultural environments are linked and are largely dependent on each other; alluding to a symbiotic relationship between the two sides. This can be further supported by the fact that by the mid-1990s it was claimed that during the recuperation of public space each experience formed the basis for the next143. As with any interdependent relationship, it is crucial to establish the initiator of the process; and that is undoubtedly the socioeconomic and cultural factors. This is because they provided the opportunity for change144 motivated by the shifts in architectural design and environments145 during 1966-1993.
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During this time, the various ‘recuperation’ projects undertaken in the public space sector were brought about through necessity as opposed to want; but it was their immediate success146 that allowed architecture to become a vehicle for opportunity147 and pride148 since 1994 as opposed to predominantly being a facilitator for change during the first era. This is because as soon as public spaces begin to be designed as defined spaces, as opposed to a result of other spaces, then they can soon bring about cultural benefits149. The buildings presented in this dissertation provided educational, cultural and recreational benefits that help to reduce the notoriety of congestion, criminality and contamination that draw people away from the city150 by incentivising them to stay or even return in order to prevent the further uncontrolled expansion and urbanisation of the city which has historically been an issue due to their illegality151. In essence, public space is that element that structures the city and helps to determine its quality of life152. The socioeconomic and cultural landscapes have shifted from instability necessitating new architectures to be introduced and justified to ones that actively funds153 and promotes the continuation of the civic architectures established by the previous epoch154. Two things have become clear now: the first being that as a result of the symbiotic relationship between the architecture and the social dynamic forces their roles have changed in the last half century so that both could create small but crucial positive impacts in the city; the second being that all of these have not been planned155 but have been a result of the opportunistic approach and hopes of the Colombian people and recent governments.
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All of this begins to reveal aspects about architecture in a wider sense. The first is that architecture is something that should be protected by governments and their people as it forms part of a nation’s cultural patrimony and national identity – it is therefore of great significance156. The preservation of architecture is vital as it could be argued that it is buildings like these that have taken on the task of improving Bogota away from the governing bodies and politics that failed in the first place157. This gives citizens the opportunity to educate themselves in order to begin a change of mentality and culture that will later on filter into the future politics and governments that will actually promote the change. More importantly revealed is architecture’s power as a socioeconomic and cultural re-calibrator, particularly when power shifts – as in the case of Bogota – due to its entanglement in political, economic, social and cultural power structures158. This effectively proves that architecture can be an instigator for change and has a profound impact on both people and cities, due to the fact that whatever the structure is representing or promoting, because it manifests itself in a spatial and physical way that humans interact with it, making its nature undeniable159. The changes in a city, promoted by buildings, can, to a very large degree, change the culture of a place and become a reflection of its own culture and people160. Architecture is able to do this because though through good design instability, disorder, threat and violence may not have been solved161; they have been severely reduced162 to the point where there has been a noticeable change.
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We can use these findings to speculate a very plausible future for Bogota, and therefore to a large extent, Colombia. If Bogota is to continue improving, then it most overcome the issues that it faces looking ahead; in particular: social exclusion, poverty, uncontrolled urbanisation, contamination and insecurity; most of which can be traced back to the internal conflict and political instabilities163. It is paramount that there continues to be a construction of high quality public architecture which helps to combat the socioeconomic and cultural segregation164 in particular, in the peripheral areas of the city which currently lack of such spaces165. This betterment has been possible as public buildings have encouraged social class integration; they have taught the citizens to be respectful of one another and the spaces they encounter daily by being stages where revitalised government policies can be carried out effectively. This has improved the economic and environmental situation by instilling national pride through the protection of important cultural heritage. With the ongoing peace agreements, there exists the potential to either unite or divide Colombia. If one is to follow the pattern that Colombian architecture has historically acted as a response to the socioeconomic and cultural environments, then we can expect to either see an architecture of ‘celebration’ or ‘resistance’ respectively. However, we can also assume that neither will strive to undo the progress of the last fifty years, architecture will either build upon the progress or it will work to protect it as historically, at no point has architecture worked towards the detriment of the Colombian people. This encompasses the power and influence found within architecture as both outcomes are equally justifiable and also helps to reveal public architecture’s purpose: a socio-economic and cultural re-calibrator yes, but one which always (at least when Bogota is concerned) calibrates in the interest of progress, never hindering it. It is equally adequate to propose that the cycle of positive improvements will remain unchanged so that in time it will not only be Bogota that reaps these benefits but also the nation. As more and more cities continue adopting similar attitudes and changes towards their civic architectures it places Bogota on the brink of becoming a higher powered ‘global city’166. This is a position of higher international reverence which succinctly shows just how far Bogota has come in the last half century; something which would not have been possible without the input and influence of civic architecture.
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Finally, the work illustrates how this is a process that can be replicated elsewhere. I believe so as Bogota shares many characteristics with other Latin American cities, facing similar issues167 linked to public space168 like the ones that Bogota has overcome by being strategic about architecture’s purpose at its time of construction, by placing high importance on the quality of its design and by planning for longevity. In short, this dissertation suggests a process exists and should be replicated on an international level where socioeconomic and cultural re-calibration activated by civic architecture would provide a proven benefit for the greater population in an efficient manner.
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Endnotes
142. La Arquitectura: Observaciones Desde El Análisis Cultural (2005) Pg.6 143. Bogotá y lo público (2003) Pg.79 144. Bogotá y lo público (2003) Pg.88 145. Bogotá y lo público (2003) Pg.82 146. Bogotá y lo público (2003) Pg.71 147. Learning from Bogotá: How Municipal Experts Transformed Public Space (2010) Pg.548 148. Arquitectura e Identidad (2014) Pg.23 149. Bogotá y lo público (2003) Pg.70 150. La Calidad de Vida en la Ciudad de Bogotá (2015) Pg.107 151. La Calidad de Vida en la Ciudad de Bogotá (2015) Pg.103 152. Bogotá y lo público (2003) Pg.77 153. Biblioteca al Parque (2001) 154. La Calidad de Vida en la Ciudad de Bogotá (2015) Pg.156 155. The role of cultural (architecture) factors in forging identity (2008) Pg.389 156. Estudios Socio-Jurídicos: Patrimonio cultural natural. Efectos jurídicos de su declaración 157. Bogotá: las polítcas públicas y la ciudad (2013) Pg.266-267
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158. Building Change: Architecture, Politics and Cultural Agency (2005) Pg.xii 159. Building Change: Architecture, Politics and Cultural Agency (2005) Pg.xiii 160. Bogotá: las polítcas públicas y la ciudad (2013) Pg.370 161. Architecture and Public Space between Reassurance and Threat (2008) Pg.11 162.La Calidad de Vida en la Ciudad de Bogotá (2015) Pg.85 163. Bogotá: las polítcas públicas y la ciudad (2013) Pg.191 164. Bogotá: las polítcas públicas y la ciudad (2013) Pg.189 165. La Calidad de Vida en la Ciudad de Bogotá (2015) Pg.190 166. Global city 167. La Calidad de Vida en la Ciudad de Bogotá (2015) Pg.46 168. La Calidad de Vida en la Ciudad de Bogotá (2015) Pg.187
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Bibliography List of Illustrations
Note Due to extensive amount of contributed authors in certain texts; the ‘Title’ will be used to identify source in ‘Endnotes’. Thus, the texts here are presented alphabetically by ‘Title’.
Title Author(s)/Website URL Year of Publication/Date Last Accessed Place of Publication Publisher Books: 1. Arturo Robledo: La arquitectura como modo de vida - Moreno, B. G. - (2010) - Colombia - Instituto Distrital de Patrimonio Cultural Universidad Nacional de Colombia 2. Bogotá: de la construcción al deterioro 1995-2007 - Silva, A.E. - (2009) - Bogota, Colombia - Editorial Universidad del Rosario 3. Bogotá: las polítcas públicas y la ciudad - Bonilla, R.; Giraldo, F; Gonzáles, J. I.; Moncayo, E.; Revéis, É.; Utria, R.D. - (2013) - Bogota, Colombia - Academia Colombiana de Ciencias Económicas 4. Bogotá y lo público - Aragón, O. P.; Arias, J. N.; Castro, M. D.; Daza, J. C. D. C.; Ferro, C. S.; Ferro, J. S.; Ferro, M. S.; Gómez, D. M. B.; Jaramillo, L. C.; López, J. R. O.; Osorio, M. I. P.; Pantoja, F. Z.; Pulecio, D. D.; Thérrien, M.; Zilberstein, P. B. - (2003) - Bogota, Colombia - Departamento de Arquitectura, Universidad de los Andes -93-
5. Breve Historia de Bogotá - Forero, M. P. - (2016) - Bogota, Colombia - Ariel; Editorial Planeta Colombiana S. A. 6. Building Change: Architecture, Politics and Cultural Agency - Findley, L. - (2005) - New York City, New York, USA and Canada - Routledge 7. Colombia: a comedy of errors - Kellaway, V. and Lievano, S. J. - (2014) - Bogota, Colombia - Kauf Books SAS 8. Daniel Bermúdez: Arquitectura - Aschner, J. P.; Escovar, A.; Villazón, R. - (2010) - Bogota, Colombia - Lunwerg, S.L. 9. La Calidad de Vida en la Ciudad de Bogotá - Barbosa, W. G. J. - (2015) - Bogota, Colombia - Fundación Universidad de Bogotá Jorge Tadeo Lozano 10. Rogelio Salmona: Tributo - Castro, R. L. - (2008) - Bogota, Colombia - Villegas Asociados S.A. 11. German Samper - Samper, C. - (2011) - Colombia - Diego Samper Ediciones -94-
Essays: 12. Architecture and Public Space between Reassurance and Threat - Picon, A. - (2008) - USA - Harvard University, Journal of Architectural Education 13. Arquitectura e Identidad - Guzmรกn, M. S. - (2014) - Xalapa, Veracruz, Mexico - Colectivo CASA 14. Biblioteca: Virgilio Barco: desapariciรณn de la ciudad, invocaciรณn de la Sabana - Rosselli, J. P. A. - (2006) - N/A - Bitacora 15. El Museo del Oro. Un caso de gestiรณn de patrimonio cultural - Bautista, M. M. - (2012) - Bogota, Colombia - Ediciones EAN 16. La arquitectura de museos en Colombia, un caso de estudio - Torres, G. T. - (2013) - Bogota, Colombia - Universidad Nacional de Colombia 17. La Arquitectura: Observaciones Desde El Anรกlisis Cultural - La Rotta, A. F. - (2005) - Bogota, Colombia - Facultad de Arquitectura, Universidad Catolica de Colombia
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18. Learning from Bogotá: How Municipal Experts Transformed Public Space - Berney, R. - (2010) - Los Angeles, California, USA - University of Southern California, School of Architecture 19. The role of cultural (architecture) factors in forging identity - Lahoud, A. L. - (2008) - Byblos, Lebanon - Lebanese American University Articles 20. Biblioteca al Parque - El Tiempo Newspaper Archive - (2001) - Colombia - EL TIEMPO Casa Editorial 21. Biblioteca Julio Mario Santo Domingo: Nuevo Orgullo de Bogotá - Revista Don Juan Archive - (2010) - Colombia - N/A 22. El hombre que revivió la vida en el parque S. Bolívar - El Tiempo Newspaper Archive - (2009) - Colombia - EL TIEMPO Casa Editorial 23. Megacentro cultural del norte de Bogotá estará listo en septiembre de 2009 - El Tiempo Newspaper Archive - (2008) - Colombia - EL TIEMPO Casa Editorial
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24. Museo del Oro, 75 años - Bautista, M. - (2014) - Colombia - EL TIEMPO Casa Editorial 25. Parques Para Leer - El Tiempo Newspaper Archive - (2001) - Colombia - EL TIEMPO Casa Editorial 26. Poesía concreta - Abad, H. - (2010) - Colombia - El Espectador Newspaper 27. Primera Megabiblioteca - El Tiempo Newspaper Archive - (2000) - Colombia - EL TIEMPO Casa Editorial Websites: 28. Biblioteca Virgilio Barco - https://es.wikipedia.org/wiki/Biblioteca_Virgilio_Barco - 24/01/2017 29. Bogotá - https://en.wikipedia.org/wiki/Bogot%C3%A1 - 24/01/2017 30. Colombian conflict - https://en.wikipedia.org/wiki/Colombian_conflict - 24/01/2017 31. Colombia: Human Development Report 2013 - http://hdr.undp.org/sites/default/files/Country-Profiles/COL.pdf - 24/01/2017 -97-
32. Colombia Reports: Colombia tourism statistics - http://colombiareports.com/colombia-tourism-statistics/ - 24/01/2017 33. Daniel Bermudez Arquitecto: Centro Cultural Biblioteca Pública Julio Mario Santo Domingo -http://danielbermudezarquitecto.com/es/proyectos/ construidos/item/65-centro-cultural-biblioteca-publica-julio-mariosanto-domingo#ProMemorias - 24/01/2017 34. Economy of Colombia - https://en.wikipedia.org/wiki/Economy_of_Colombia - 24/01/2017 35. Estudios Socio-Jurídicos: Patrimonio cultural natural. Efectos jurídicos de su declaración -http://www.scielo.org.co/scielo.php?pid=S012405792003000200004&script=sci_arttext&tlng=es - 24/01/2017 36. fundación Rogelio Salmona - http://obra.fundacionrogeliosalmona.org/ - 24/01/2017 37. Global city - https://en.wikipedia.org/wiki/Global_city - 24/01/2017 38. Gold Museum, Bogotá - https://en.wikipedia.org/wiki/Gold_Museum,_Bogot%C3%A1 - 24/01/2017 39. Illegal drug trade in Colombia - https://en.wikipedia.org/wiki/Illegal_drug_trade_in_Colombia - 24/01/2017 40. La Escuela de Arquitectura y Urbanismo de la Universidad Nacional de Colombia - https://www.youtube.com/watch?v=83wCYmnobp4 - 24/01/2017 -98-
41. La Violencia - https://en.wikipedia.org/wiki/La_Violencia - 24/01/2017 42. Los centros culturales como motor de desarrollo para las culturas locales - http://slideplayer.es/slide/10180988/ - 24/01/2017 43. Rock al Parque - https://en.wikipedia.org/wiki/Rock_al_Parque - 24/01/2017 List of Illustrations: Front Cover: Own Image Pg.11 + Pg.17: Gold Museum Exterior - GarcĂa, E. G. - 24/01/2017 -http://www.banrepcultural.org/gold-museum/exhibition-inbogota Pg.11 + Pg.26: Simon Bolivar Park Areal - N/A - 24/01/2017 -http://bogotaplaces.blogspot.co.uk/2010/09/simon-bolivarpark.html Pg.11 + Pg.45: Virgilio Barco Library Exterior 1 - N/A - 24/01/2017 -http://obra.fundacionrogeliosalmona.org/obra/proyecto/ biblioteca-virgilio-barco/ Pg.11 + Pg.56: Cultural Centre Julio Mario Santo Domingo Exterior 1 - N/A - 24/01/2017 -http://danielbermudezarquitecto.com/es/proyectos/ construidos/item/65-centro-cultural-biblioteca-publica-julio-mariosanto-domingo -99-
Pg.19: Gold Museum Internal Long Window - Own Image Pg.20: Gold Museum Central Void - Own Image Pg.21: Gold Museum Internal Internal Exhibition - Own Image Pg.22: Gold Museum Plans - Samper, C. / German Samper - (2011) - Colombia - Diego Samper Ediciones Pg.23: Gold Museum Section - Torres, G. T. / La arquitectura de museos en Colombia, un caso de estudio - (2013) - Bogota, Colombia - Universidad Nacional de Colombia Pg.28-29: Simon Bolivar Park Ceremonial Plaza Plan - Moreno, B. G. / Arturo Robledo: La arquitectura como modo de vida - (2010) - Colombia - Instituto Distrital de Patrimonio Cultural Universidad Nacional de Colombia Pg.31: Simon Bolivar Park Geometric Plan - Moreno, B. G. / Arturo Robledo: La arquitectura como modo de vida - (2010) - Colombia - Instituto Distrital de Patrimonio Cultural Universidad Nacional de Colombia Pg.31: Simon Bolivar Park Curved Kiosk - Own Image
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Pg.33: Simon Bolivar Park Ceremonial Plaza Areal - Moreno, B. G. / Arturo Robledo: La arquitectura como modo de vida - (2010) - Colombia - Instituto Distrital de Patrimonio Cultural Universidad Nacional de Colombia Pg.34: Simon Bolivar Park Fountain - Own Image Pg.34: Simon Bolivar Park Lake - Own Image Pg.47: Virgilio Barco Library External Views - Own Image Pg.48: Virgilio Barco Library Fountain - Own Image Pg.49: Virgilio Barco Library Plaza Deprimida - Own Image Pg.51: Virgilio Barco Library Extensive Use of Glass - Own Image Pg.51: Virgilio Barco Library Quimbaya Style Roof Tile Pattern - Own Image Pg.52: Virgilio Barco Library Reading Space - N/A - 24/01/2017 -http://obra.fundacionrogeliosalmona.org/obra/proyecto/ biblioteca-virgilio-barco/ Pg.59: Cultural Centre Julio Mario Santo Domingo Foyer - Own Image
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Pg.61: Cultural Centre Julio Mario Santo Domingo Skylight - N/A - 24/01/2017 -http://danielbermudezarquitecto.com/es/proyectos/ construidos/item/65-centro-cultural-biblioteca-publica-julio-mariosanto-domingo Pg.61: Cultural Centre Julio Mario Santo Domingo Reading Space and Light Pockets - N/A - 24/01/2017 -http://danielbermudezarquitecto.com/es/proyectos/ construidos/item/65-centro-cultural-biblioteca-publica-julio-mariosanto-domingo Pg.62: Cultural Centre Julio Mario Santo Domingo On-Site Vegetation - Own Image Pg.73: Gold Museum Exhibition Piece - Own Image Pg.74: Simon Bolivar Park Underneath Fountain with Trees in Distance - Own Image Pg.77: Virgilio Barco Library Exterior 2 - Own Image Pg.77: Cultural Centre Julio Mario Santo Domingo Exterior 2 - Own Image Pg.79: Bogota Skyline - N/A - 24/01/2017 -http://www.colombia-politics.com/category/bogota-2/ Pg.86: Timeline of Events - Own Image Pg.89: South American International Application of Process - Own Image
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Appendix Interviews
Note Due to several interviews having been conducted, only the ones which have been referenced in the dissertation have been included. They have been translated from Spanish to English so transcripts have been slightly modified from original.
Interview 1
Interviewer: Author - JL Interviewee: Martha Lúz Toro (48), Systems Engineer - MLT JL - What do you think is the public opinion of these places – are they appreciated, are they something that the people are proud of? MLT - Yes, I do think that we as Bogotanos are proud of them. JL - What is your own opinion of them? MLT - Personally, I feel very proud and thankful that places like these exist for the entertainment of Bogotanos. Furthermore, they are well known internationally so they attract tourism to the city. JL - What are the negative and positive effects that you feel these public spaces bring to the city? MLT - I only see positive effects that only improve what the city has to offer to its citizens regarding the diffusion of tourism and culture. JL - In your opinion, what do these places represent the culture and society of Colombia? MLT - I think to a large extent they offer a solid foundation on which a society’s culture can grow from.
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JL - If you’ve visited any of these places, how did you feel visiting them? MLT - I’ve visited most of them, but the one which surprised me the most was the Simon Bolivar Park. I was there for an event hosted by the company I work for and I was amazing how I felt in a little bubble away from the city. For once you couldn’t hear the sound of traffic or smell all the fumes surround you, not to mention the scenery of the part is lovely. I really had a great day that day! JL - I can tell you really like the park, I’m guessing you have returned often since? MLT - Many times! I try and take anyone who I know hasn’t been. JL - Just to finish off, what is your perception of the purpose, role and impact of architecture in Bogota? MLT - I think Bogota has a very diverse range of architectures which has been influenced by other countries. As I visit places like these, I felt very proud of their architecture seeing as all of them made the most of the space while giving nature a large importance in the site. I also very much enjoyed seeing all the geometric shapes and modern approach to design that the architects have chosen to use. JL - Thank you very much for your time, it’s been very helpful! MLT - Of course, it was my pleasure!
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Interview 2
Interviewer: Author - JL Interviewee: Sebastian Copete (24), University Student - SC JL - What do you think is the public opinion of these places – are they appreciated, are they something that the people are proud of? SC - Public opinion of the places is very good because they are places which completely represent our culture as Colombians in a very good light. JL - What is your own opinion of them? SC - They are like unique in the city. Beyond them having their own identity and history they have given students like myself access to a wider range of resources that has made my studies a lot easier and of a higher standard. For anyone who isn’t a student, I would still highly recommend that they visit these places. JL - Do you spend a lot of time in one of the libraries in that case? SC - It varies, sometimes it’s a quick visit to check if they have something; sometimes I spend most of the day working because I find them great places to concentrate; but sometimes I meet up with friends for a coffee and a wander around the parks. That’s the great thing about these new kinds of libraries they are very welcoming and you are able to use them in a variety of ways.
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JL - What are the negative and positive effects that you feel these public spaces bring to the city? SC - I think if I could sum up the positive effects I would have to say: access to knowledge for all, tourism or recreation and employment. As for negatives? I can’t say that I see any! JL - In your opinion, what do these places represent the culture and society of Colombia? SC - They form a huge part of national identity and pride for Colombians. JL - If you’ve visited any of these places, how did you feel visiting them? SC - I’ve been to the Gold Museum, the Simon Bolivar Park and the Virgilio Barco Library. The cultural experience as well as the recreational one is incredible, not to mention that they are very symbolic places in the city, they provided me with a deeper understanding and appreciation for my city and my national history. JL - Last question, what is your perception of the purpose, role and impact of architecture in Bogota? SC - I feel like the quality of architecture in Bogota has been rapidly improving in the last few years thanks to the diversity that globalisation has facilitated. I think that in a few years’ time we will see a very rich country in terms of its architecture. JL - Perfect, all done. Thank you very much! SC - Glad I could help!
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A dissertation submitted in partial fulfilment of the degree of BA in Architecture, 2017
B4016558 ARC3060 Dissertation Stage 3 BA Architecture Newcastle University 2017