Community Design in Latin America

Building Optimism: Community Design in Latin America

By Daniela Pardo

Introduction Due to the post-war crises and the subsequent emigration from war-torn cities, Latin America saw an era of rapid population growth in the 20th century. It was a period where the population of Latin American cities doubled and tripled. This rapid growth created multiple urban and architectural problems such as the formation and concentration of poor neighborhoods otherwise called favelas, barrios, comunas, tugurios, asentamientos, slums – often located in the peripheries of large urban centers. These created a stronger presence in the cities, which led the urban population to divide into layers: A distinction between regular or legal residents and the marginal ones. Interestingly enough this happened during a time when most Latin American countries were thriving economically, but the gap in personal income per capita was increasing too. There was a higher need for large social housing projects, but it was also a time when postmodern culture was confined to criticism.

Famous architects such as, Oscar Niemeyer and Luis Barragan believed social architecture was a limitation of creating ‘good’ architecture, they viewed it with distrust or disinterest. These views came during a time when modernist architecture praised the Western Europe aesthetic, which wanted to change the population itself to become sophisticated. Acculturation was seen as a positive sign – the loss of the subaltern culture into a more Euro-American culture was seen as the way to evolve as a nation1. However, Latin American countries were slowly falling behind economically and socially, which led the ideas to be unsustainable and unreasonable.

Architects such as Rogelio Salmona viewed the new era of postmodernism as an evolution to new architecture from reality. He believed it was a new perspective of seeing the world with the opportunity to transform its cultural act and stimulate the civilization. Nonetheless, both Barragan and Salmona grew their career designing private houses and large institutional buildings that did not correspond with conditions of poverty, unemployment or the lack of education. This is important to note because of their international acknowledgement – They were the face of their era in Latin American architecture.

During the mid 20th century there was a lack of scholarship, literature and precedent in regard to the architectures produced by minority groups in the settlements that began to develop. It did not mean architects had not already began discussing ways to improve the cities, Hernández, Felipe. Transculturation: Cities, Spaces and Architectures in Latin America.

Amsterdam: Rodopi, 2008.

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they were simply not recognized. These designs went against the construction of a coherent and homogeneous narrative which was the modernist movement. Instead, the new era allowed for numerous sociocultural differences to coexist in the same urban space; it created a condition full of opportunities for architectural exploration. This meant the promotion of acculturation had to come to an end – It now required the exploration of transculturation: The interactive reality of cultural relations and how they become mutually affected as a result1. At first, programs began within specific areas such as: (1) access to housing, (2) transportation interventions, and (3) the upgrade of housing, to be implemented in countries such as Colombia, Brazil, Venezuela, among others. However, a lot of these programs did not address poverty, they got rid of the poor by relocating them in and along the outskirts of the cities. For a long time, it was a matter of hiding poverty rather than addressing it2. It did not mean poverty increased dramatically but its presence was felt more strongly due to its concentration.

Today, Latin America is one of the most urban regions in the world. It is a region that requires compact building forms, mix uses, pedestrian streets and a great deal of public spaces. It is a place where social interaction is bound to happen in the narrow neighborhood streets, or soccer fields3. However, it is also a region where a large population of lower-class communities are still forced to concentrate in certain locations and construct their own roofs. In 2014 the richest 10% of people in Latin America had amassed 71% of the region’s wealth4. This wealth gap is the result of initial plans that consisted of eliminating poor settlements by relocating their inhabitants instead of addressing the issue itself.

Nearly a century later, contemporary architects have developed alternative strategies such as, the facilitation of community assembly and local resources to address the existence of cultural difference, along with the effects they have on the fabric of cities and buildings. They are all at a time of change that stops them from seeing themselves in opposition of each other and instead come together as a community to collaborate. This new architectural agenda tackles the problem directly and improves the profession’s way of thinking. The buildings provide a more flexible

1

Ibid.

Hernández, Felipe. Beyond Modernist Masters: Contemporary Architecture in Latin America.

Basel: Birkhäuser, 2010.

3 "The Role of Urbanism in Latin America - #1." Gehl. February 07, 2018. Accessed March 27, 2019. https://gehlpeople.com/blog/the-role-of-urbanism-in-latin-america-1/.

4 "Introduction." Has Latin America Always Been Unequal? Has Latin America Always Been Unequal? A Comparative Study of Asset and Income Inequality in the Long Twentieth Century: 1-18. doi:10.1163/ej.9789004175914.i-294.8.

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program that allow its users and neighbors to utilize the space to their advantage.

Now, some of these more widely known post-modern Latin American architects are recognized world-wide for their socially conscious design philosophy. These architects include: Alejandro Aravena, a Chilean architect who won the Pritzker Architecture Prize in 2016 for his socially conscious designs; Lina Bo Bardi, a female icon from Brazil who promoted the social and cultural potential of architecture and design; and Giancarlo Mazzanti, a Colombian architect working on developing high quality design as a catalyst for social change. These are some among many emerging architects who now work towards the betterment of their countries as a whole. They use their designs to stimulate social interaction and become the hubs of social activity. They’ve created a way of thinking for the future, for the wealthy and marginalized alike.

In recent years, there has been a big interest for communitybased design across the world – this involves social architecture, public interest design, community development and more, all slightly different from one another but very much connected by their missions.

Community design is the umbrella term that covers all, it emphasizes the involvement of locals, professionals, community groups and government officials in the social and physical development of the environment. It covers everything from community planning and participation, to development and construction. It is a movement that discovers how to make it possible for people to be involved in shaping their own environment.

Community design is now an alternative style of practice that requires an open mind, an interest for tackling issues of poverty through innovative ways, and a commitment of bringing in moral and political content into the design practice1. It often deals with issues of social and environment justices, in addition to the apprehension of the citizens and their culture. Through community design projects and initiatives, Latin American countries have seen a reduction in poverty levels and the young middle class has recently gained the confidence and tools to demand more from their politicians2.

1

Awan, Nishat, Tatjana Schneider, and Jeremy Till. Spatial Agency: Other Ways of Doing Architecture. Abingdon, Oxon: Routledge, 2011.

2 Intern, Education. "Latin America Since 1980: Political & Economic Changes." The Dialogue.

April 27, 2016. Accessed April 02, 2019. https://www.thedialogue.org/blogs/2016/04/latin-americasince-1980-political-economic-changes/.

The reliance on the self-built, leads to alternative strategies contemporary architects have studied in order to include the poor within the cities. The main challenges arise from the existence of cultural differences and the effects that such differences create between communities. As mentioned before, transculturation is a dynamic theoretical model that studies the reality of such encounters1. These explorations of different cultures and their interaction with one another are necessary for Latin America as a whole to evolve. If designed properly with research, they will allow communities to have proper common spaces to share, where both contact zones and public buildings come into play. Mary Louise Pratt defines ‘contact zones’ as: spaces where cultures meet, clash, and grapple with each other, often in contexts of highly asymmetrical relations of power. These sites can then become a place of irresolution where differences are acted out.

The new era of exploration and change will bring people together and encourage the appropriation of spaces. Its success derives from the evolution of the structure through the use of the people, not its ‘beauty’ or popularity. It can be argued that such projects result in more affordable and inclusive opportunities that can have a larger impact in the context of the city.

Designing for Equality Inequality raises the question of the relationship between the well-off and the poor, instead of focusing on poverty alone. Pro-bono work, disaster relief, or low-cost projects should all celebrate the people through the acceptance that all communities are part of the population and the image of the cities. In this case, it is not a discussion of politics or limitation of wealth for the rich but on understanding that both sides deserve to have quality spaces disregarding price. They must be thoroughly thought out to be spaces that satisfy all economic classes and provide the best quality structures possible. This requires research, time and patience, but it will lead to a result of pride and change.

In this approach, architects back away from conceiving buildings as finalized but, on the contrary, as incomplete spaces that will continue to be recreated by its users. The projects’ may not be monumental in size but may be considered monumental in the way they respond to the needs of its neighbors. For this, communication is key. It is important to be in contact with the community members during every design process and Hernández, Felipe. Transculturation: Cities, Spaces and Architectures in Latin America.

Amsterdam: Rodopi, 2008.

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work in collaboration once construction begins. In the same way they learn from the architect, the architect must learn from them. This includes understanding: their context, culture, abilities, resources, taboos and more. During this process, the community leaders become the point of contact that voice the concerns of the citizens and can answer the questions that may arise.

Communities in poverty are groups that rely heavily on their neighbors and cultural values over their educational backgrounds.

Architects must include the community in the design process and use the construction process as an educational tool. This will provide them with the basic knowledge of construction and the ability to renovate or reconstruct a space in the future. Teaching the community basic construction methods, treatment of materials and more, gives them the opportunity to improve the present and future generations.

Each building must satisfy the needs of its neighbors, while using low-cost materials that provide specific spatial qualities such as, thermal heating, natural ventilation, natural light and air quality flow.

These allow the structure to be sustainable, flexible and aesthetically pleasing, while reducing long-term costs of bills and maintenance. In terms of equality among classes, these steps provide low income communities with quality low-cost structures that will be used for years to come. It ensures that no space will diminish the poor or put them in worse situations, instead it will improve the lifestyles by providing sustainable systems that can replace expensive equipment.

If the designer was the user, would they be pleased? Despite the limited budgets associated with the type of design, every project should be thoroughly thought out to create spaces where any one would be happy to use.

Education Education is critical in the link of equality and opportunity.

There are roughly 66.5 births to teenage mothers out of every thousand in Latin America, which is considerably higher than the global average of 46 births. More Latin Americans are living in poverty as teen pregnancies continue to rise, and children have limited opportunities to learn1. Moreover, they have fewer chances to move out of poverty even

1

"Latin America Region with Second-highest Rate of Teenage Pregnancy." Argentina Reports.

January 17, 2019. Accessed March 31, 2019. https://argentinareports.com/latin-america-region-withsecond-highest-rate-of-teenage-pregnancy/2308/.

when acquiring skills and knowledge due to, location, health, education, nutrition, and economic needs – thus, poverty perpetuates poverty.

Quality educational opportunities are essential in Latin America to provide equity among its citizens. Often, most funding for educational purposes go to Latin American universities which serve a majority of the rich population – less than 10% of the population – leaving little to no funding for primary and secondary schools1. Due to the lack of accessibility, money, and quality education from the beginning, the dropout rate continues to grow. There are multiple factors that come into play in the betterment of a place, in this case education is essential and architecture can have a big impact2.

Architectural principles advocate for flexible, collaborative, sustainable and light filled spaces. These can create healthier and more inspiring spaces to occupy, while proving to the kids they matter. New schools’ architecture support collaboration among groups of students and educators, in addition to hands-on learning. Although all of the expectations can be met anywhere in the world, it does not mean it is a one-size-fits-all solution. Every neighborhood has their own challenges and goals that may differ from one another. This means every design must be customized to create a variety of spaces that cater to different learning needs and cultures to provide a space every child wants to be part of.

Similarly to the most celebrated starchitects mentioned before, some of the most celebrated Latin American firms are those that work with community design and study the way communities interact.

Through Architecture, Aleph Zero, Resenbaum, El Equipo Mazzanti, Al Borde, among many others, have been able to empower places by addressing the lower income communities. These Architects work in various places of Latin America helping different types of communities jointly helping to create a better Latin America. More than simply serving a specific function, this class of architects and designers work to create places for socio-cultural negotiation for the poor in various Latin American cities. This attitude emphasizes the social dimension of architecture where the people assume a central role in the production of its significance.

1

"Education Gap in Latin America." Educando. Accessed March 27, 2019. https://worldfund.org/site/why-worldfund/.

2 "Education and Poverty in Latin America." ReVista. Accessed March 27, 2019. https://revista.drclas.harvard.edu/book/education-and-poverty-latin-america.

Each one of the three schools examined here are sited in crucial locations of or near informal settlements. Although all modest in scale, they differ from one another in form, materiality and context. These buildings are a few examples of the new and future Contemporary, Avant-Garde, Latin American attitude towards design as a means to improve conditions of life for the poor through the use of a structure.

Mapping the Case Studies

Children Village in Brazilian Rainforest l Tocantins, Brazil l 2017 Aleph Zero and Rosenbaum

Figure 1. First Floor Plan. Image by Author.

Figure 2. Second Floor Plan. Image by Author.

The building is designed into two identical structures – one for girls and another for boys – set on opposite sides of the school campus.

Each structure is arranged around three courtyards planted with local trees and vegetation, with dormitories on the ground floors and gathering spaces on the second floors. The rooms accommodate up to six crafted wooden bunk beds, with a wooden patterned wall panel. Within each dorm, there are toilets, shower rooms and laundry machines. Aside from the basic necessities, play areas are implemented under ventilated timber screens to keep safe tv rooms, hammocks, furniture, and more.

The complex took 14 months to build, fusing local culture and hyper-modernity. Aside from a prefabricated timber frame that was transported to the site, the structure is constructed with local resources and techniques. The walls are formed with handmade earth blocks and latticework, which improve the building’s thermal, technical and aesthetic properties, in addition to being cost effective and environmentally friendly. The sloped white metal roof is supported by a

grid of detailed timber beams, which are unusual for Brazil, and slim eucalyptus columns that appear to float above ground1. The rainwater from the large roof is collected in a pool populated with local fish in the central courtyard. Altogether, diagonal views are created through the landscape, uniting the building and its rural location. These details allow for a better connection between buildings to its context and community2.

In spite of its simplicity, the Children’s Village has become a symbolic structure for the country due to the international recognition its gained, the sustainable expectation it has met and the dialogue it has opened. For these reasons, it has become an incentive for research of renewable sources in the country and an inspiration for architects across the world. Since its inauguration, the rate of students that pass onto universities is now higher than before3. The building has provided them with a sense of home and community that has given them the support system necessary to succeed.

This project raised the expectations of students and teachers as surely as it raised the cultural sights of a town and province where a visitor would have never come to otherwise. The design process of the school strengthens the field’s understanding of architecture as a tool for social transformation and construction of better education for future generations. It has established a connection between students, teachers and the architects by providing a balance of expectations, while providing a platform for growth and deeper understanding of the children’s abilities through their continuing education. Overall, it was able to increase the community’s confidence, pride and responsibility for the environment of their new home.

1

Wainwright, Oliver. "The World's Best Building? A Remote Brazilian School Made out of Wood."

The Guardian. November 21, 2018. Accessed March 27, 2019. https://www.theguardian.com/artanddesign/2018/nov/21/children-village-brazilian-school-ribainternational-prize-best-building-in-the-world.

2 "RIBA International Prize: Rural Brazilian School Wins Prize for World's Best Building." CNN. November 21, 2018. Accessed March 27, 2019. https://www.cnn.com/style/article/riba-internationalbest-new-building-2018/index.html.

3 "The Rural Brazilian School That Enraptured the Architecture World." CNN. October 30, 2018.

Accessed March 31, 2019. https://www.cnn.com/style/article/riba-children-village-alephzero/index.html.

New Hope School l Puerto Cabuyal, Manabí, Ecuador l 2009 Al Borde “For all of us, who belong to this Community, it's been a cause of pride to have our new school. Our community is located on the beach, on the field, in a faraway site, [where] fishing and agriculture [are] the basis of our daily meals. Until four years ago there was no school in the community and because of that, most of its inhabitants were illiterate.1” – Felipe Gangotena, The Teacher Escuela Nueva Esperanza was prototyped by architects David Barragán and Pascual Gangotena from Al Borde. The structure is now located in El Cabuyal de Manabí, Ecuador, a beach far away from the city. Before the architects intervened, the school occupied a small cottage with nine children that were led by the only teacher in the village, Felipe Gangotena. Soon, the space became too small for the number of students that attended, so the need for a proper school structure became critical.

Unlike the Children Village in Brazil, this project represented a much poorer region where children did not have outside support or a chance to be literate. It was a project funded by the community, the teacher, and the team of Al Borde. It became a reason to come together as people and create something out of love and passion for the future.

Felipe Gangotena used to be a music teacher that came upon the community during a backpacking travel he embarked on. Parents begged him to stay to help them provide their children with an opportunity to learn. Although he was never trained as a primary school teacher, he used the resources and knowledge he gained through his life experiences and music school to provide the best education he could for the kids.

Through Felipe, Al Borde was contacted to get involved in the design of the first official school for the village.

The Architects’ involvement began by learning from the kids and their everyday lives. How do they play? What do they do with their free time? What helps them learn? These were a few of the many questions that were answered throughout the process. The region is largely characterized by the ocean and agriculture. For this site, it was essential to design a place that was inspired by and interacted with its surroundings. This space needed to inspire the kids to learn, dream big and be creative. Based on these conversations, the architects were able to 1

Basulto, David. "Escuela Nueva Esperanza / Al BordE." Plataforma Arquitectura. January 06, 2010. Accessed March 27, 2019. https://www.plataformaarquitectura.cl/cl/626337/escuela-nuevaesperanza-al-borde.

construct a design that fulfilled the village’s needs and used the resources available.

A place where the students could, “travel and explore the world,” was the playful concept that was conceived1. For this, a structure shaped like a boat with an entrance like a rocket ship was formed. A wooden base on stilts was put in place to mitigate the water that lives right in front of the school and local resources such as cane, wood, and thatch were used to construct the overall structure. This project was split into three stages: The New Hope School (2009), Hope Two (2009) and the Last Hope (2014)2. Each module is identical to the other, with slight changes in the interior to fit different programs.

This village is a great example of marginalized people with limited resources, but a lot of heart. This was a direct example of community design as it was done by the community with the help of the architects for guidance.3A big part of the design process involved educating the village with the basic knowledge they needed to succeed in the future and build the multiple structures. From now on, they have the tools necessary to improve their future and provide their children with a better life in the village.

Now, the community is proud of their school as a symbol of unity, self-esteem and a better future. Education has been able to transform the community, from opening the rocket ship-like door of the school and learning about its structure to creating reachable goals for the kids to succeed. It became a place of discovery of a better future.

1

Basulto, David. "Escuela Nueva Esperanza / Al BordE." Plataforma Arquitectura. January 06, 2010. Accessed March 27, 2019. https://www.plataformaarquitectura.cl/cl/626337/escuela-nuevaesperanza-al-borde.

2 "Ultima Esperanza_Last Hope." Al Borde. Accessed March 27, 2019. http://www.albordearq.com/ultima-esperanza-last-hope.

3 "Ama La Vida Buen Vivir "Comunidad De Los Sueños" 2da Temporada Programa 3." YouTube.

January 20, 2014. Accessed March 27, 2019. https://youtu.be/qlzDxpWQ8_U.

Pies Descalzos School l Cartagena, Colombia l 2014 El Equipo Mazzanti

Figure 3. Image by Author.

The Pies Descalzos School was designed by Giancarlo Mazzanti and his team. El Equipo Mazzanti is a Colombian studio that specializes in socially drive architecture, design and research; Mazzanti himself has received several national and international awards and honors for his work. The school was funded by the Pies Descalzos Foundation, which was founded by internationally known Colombian singer, Shakira. The school is located at the top of Loma del Peye Mountain within the city of Cartagena, Colombia. A city that symbolizes a new, vibrant and prosperous Colombia yet it is populated by slums so miserable that public-health officials have compared it to life in sub-Saharan Africa1.

Unfortunately, Colombia continues to be one of the most unequal societies of the world2.

The school was initiated with the goal of creating an urban project to promote a new sector centrality with facilities open to the neighborhood. The 11,200 square meter structure provides an educational space for one of the poorest communities of the city. The project transforms its environment by designing the building as a city landmark and a symbol of pride for the inhabitants – It seeks to be an architectural and urban project with great social impact. It’s geometry and position differentiate it from the context and places it as an easily 1

Forero, Juan. "Cartagena's Hidden Shame: Slums." The Seattle Times. February 07, 2009.

Accessed April 19, 2019. https://www.seattletimes.com/nation-world/cartagenas-hidden-shameslums/.

2 Ibid.

recognizable building that allows the community to come together1. This has brought attention to the site and acknowledgement by the tourists.

Its geometry and level sequence adapt to the geography and allow for a full use of the sloping topography. In addition, the implementation of a bioclimatic and sustainable building system was essential to the architects’ goals. The design was based on a sequence of intersecting hexagons, each with a central courtyard with plants that attract the native animals to encourage the development of an ecological education2. In addition, it incorporates fundamental concepts such as spatial integration, social inclusion and the implementation of a bioclimatic and environmentally sustainable architecture.

The program takes advantage of the modules in sequence to allow overlapping spaces to define areas of dialogue between two groups. It is composed of one multi-purpose hall, soccer field and play areas opened to an access plaza for the public. The pre-school and library located within the isolated hexagon on the ground floor are independent from the rest of the building for easier access from the street for the public during off-school hours. This is done to reinforce the connection to the community, and the multi-purpose use of the space that can change according to the time of day. On the other hand, the elementary school is located in the larger hexagon and the high school classrooms are located in the lower topographic level within the smaller hexagons. Certain building elements are cantilevered to create maker spaces and science labs that include large windows for air flow and a visual connection to the city.

Contrary to the Children’s Village and the New Hope School, the Pies Descalzos School is located in an urban space with more access to transportation, materials and services. Although it is the project with the most advantage, it’s part of a community that faces a lot of inequity in comparison to its neighbors. The other two began with a strong community of love and help, while this one needed a place that would bring the community together and give them a safe space away from the streets. Here, the architects were able to do so through the form of a monumental roof that created a link to the city and promoted the acceptance of the barrios within the larger context of a very touristic location.

1

"1.0 PROJECT INFORMATION." 131_PIES DESCALZOS SCHOOL | El Equipo Mazzanti.

Accessed March 27, 2019. http://www.elequipomazzanti.com/en/proyecto/colegio-pies-descalzos-2/.

2 "Pies Descalzos School." Architizer. Accessed March 27, 2019. https://architizer.com/projects/pies-descalzos-school/.

Conclusion Architecture and design play a significant role in the evolution of the world. It sets up various opportunities for people to relate to one another and be empowered. The creation of environments that foster the integration of diverse cultures and high-quality design, is a challenge that many in the field understand now and will address. Whether it is for the rich or the poor, sustainable community design ideals should be practiced by all. These bring us the opportunity for development that will aid longterm survival of the human race and enhance everyone’s quality of life.

The development of Latin America as a whole relies on the continuation of projects like the ones discussed. The case studies give evidence of the significance the architects, the community and collaboration play in the improvement of each city. The balance between the architect and the people provides quality spaces that live on to generations to come. It is essential for architects to familiarize themselves with the local crafts, materials, activities, culture and resources in order to successfully design a space they are initially unfamiliar with. The architect must understand they are equal to the community, and their knowledge is not greater than the others. Instead, they must know they have a lot to learn from the abilities that were learned through circumstance.

This form of the sustainable design process inspires the community and lets the people know they matter. This lets them know they are heard, and their concerns are taken into consideration when designing within their home. The afterlife of each space must be examined during the design to solve later issues of maintenance, management and program. This process questions how the space gets used and adapted after its conception. Often, projects fail due to the abandonment or disinterest in the upkeep of the space. However, the projects that were discussed are all examples of community backed or foundation sustained spaces that successfully provided each group with the necessary tools to support the afterlife of the buildings.

In regard to education, architecture provides hands-on educational opportunities. The need for sustainable, low-cost structures encourages on-site renewable energy generation, water conservation and other green technologies that provide valuable opportunities to increase performance within the community and the schools. These qualities empower children and successfully place the structure to improve the existing fabric of their cities.