Rhyming Architecture with Poetry by Rebecca Calder

Rhyming Architecture with Poetry the ValparaĂso School and the Open City by Rebecca Calder, Chile 2011

Rhyming Architecture with Poetry Written by Rebecca Calder rebecc@gmail.com Oslo School of Architecture and Design Supervisor Mari Hvattum, Professor of architectural history and theory Cover photography from the Historic Archive José Vial Armstrong e[ad] PUCV Layout by Rebecca Calder Program Indesign Typografy: geneva, georgia Paper: bond ahuesado, 80g Printed in Valparaíso, Chile 2011 Book bound by Adolfo Espinoza B. Chile 2011 © All rights reserved Rebecca Calder, 2011

Rhyming Architecture with Poetry the ValparaĂso School and the Open City by Rebecca Calder, Chile 2011

Contents

Introduction p. 3 Method p. 3 Meeting Alberto Cruz p. 4-7

Result s p. 8-27 Making the transition p. The Phalène p. Relations between word and action p. Amereida p. Travesía p. The Open City p.

9 10-11 12-13 14-18 18-19 20-27

Projects in the Open City p. 28-73 Hospedería Colgante p. Las Celdas p. Sala de Música p. Hospedería de la Entrada p. La Cubícula p. Vestál del Jardin p. Anfiteatro al Aire Libre p.

30-35 36-45 46-51 52-57 58-63 64-67 68-73

The Open City today and a future perspective

p. 75-84 p. 76-77 p. 77-78 p. 79 p. 80-81 p. 82

Bibliography and list of illustrations

p. 83-86

A poetic way of living Development within the Open City A look at the Freetown Christiania, Denmark Interaction with the surroundings Evaluating the Open City

Appendix: Log book p. 87-104 Acknowledgements

p. 105

In the academic year 2010-11, I have had the privilege of being an exchange student studying architecture at the Faculty of Architecture, Pointificia Universidad Catolica de Valparaíso, Chile. This project is written for my school in Norway, the Oslo School of Architecture and Design, as part of my fourth year studying architecture.

Introduction The Faculty of Architecture and Design at PUCV, often referred to as the Valparaíso school, is known for having a poetic approach to the subject and to work experimentally with architecture. It can be regarded as an alternative to conventional academic practice and teaching. The purpose of this project was to investigate and discuss the philosophy behind the school and to explore one of its most radical and ongoing projects, the Open City in Ritoque. The Open City is an area of 275 hectares, 30km north of Valparaíso. It is a special city, “a constructed utopia”1, that plays a visionary role in the teaching at the school.

Method I chose 7 projects from the Open City to study and document. I lived there for nearly a month experiencing it first hand. Throughout my stay I discussed with the community members and documented my observations taking photos, recording interviews, and keeping a log book. The interviews provided background information that supplemented and enriched the research from articles and literature previously published about the school and the Open City. I have included my log book in the appendix to complement this research.

1 . Conversation with Alberto Cruz, one of the founders of the Open City. 12th of January 2011

Carlos Covarrubias writing in concrete together with Alberto Cruz on his 94th birthday. Photo: R.Calder

Meeting Alberto Cruz It is Wednesday, and time for the weekly meeting when all members and everyone in the city get together over lunch. Today is extra special, we are celebrating Alberto Cruz’s 94th birthday! He is the last surviving founding member of the Open City. In his honour some of the members have prepared a wet, red concrete surface for him to sign. Similar to what is done for the stars in Hollywood. Alberto is a gracious elderly man, accompanied by close friends and family. An intimate group gathers around him. Carlos Covarrubias, a respected poet and lecturer at the school, holds a welcome speech. Then they create a poem, as a gift to Alberto. Carlos carefully writes the poem in soft, wavy letters across the side of the wet concrete. “Con gracia de aguas al cielo”, -With grace of water towards the sky.

All eyes turn to Alberto as he is given the drawing stick. It seems he does not mind that everyone is staring at him. We are all eager to see him sign the wet concrete and there is a complete hush as he starts stroking the stick. It is neither letters nor any recognizable shape he is drawing. I look around me to see the others reaction. What is the old man doing? They still look confused... Alberto looks up, contentedly, and says; - I drew the outline of the tree! The sound of a delighted ahh... as people understand. - Can you see? It’s already changing. Then he writes his observation: “los limites de lo que va en variación.” - The limits of a thing that is changing. Alberto spent much of his career teaching others to observe. Without writing his name he made a perfect signature, for observation is his work. It is the very essence of his teaching.

Alberto Cruz drawing his observation in concrete. Photo: R.Calder

Results To understand the school today, one needs to first look at the way it was restructured in the 1950’s. During this time there was a change in view on the education system. The Universities were criticized for giving a conservative traditional training, and for not adjusting to new needs. The Universities in Chile began to focus more on research as a fundamental component of their work.2 The Catholic University of Valparaíso, had also stagnated, it was lacking a modern perspective. They asked the charismatic professor and architect Alberto Cruz to come and help modernize the school’s architectural education. Alberto Cruz, who at the time was lecturing in Santiago, agreed to come on the condition he could take a group of people with him. His idea was that a true change could only be achieved with the influence of a substantial group. His proposal was approved, and together with the poet Godofredo Iommi, he started to assemble a group of various professionals to accompany them. Amongst the group that made the transition to Valparaíso were the architects Arthuro Baeza, Jaime Bellalta, Fabio Cruz, Miguel Eyquem, José Vial, the sculptor Claudio Girola and the painter Francisco Méndez. 3 Godofredo explained their approach as “No cambiar la vida sino cambiar de vida” , meaning that the group did not want to make small changes in the established way of life. They wanted to change the parameters and values of life itself. They found it necessary to change their way of life and forget the general propositions of society, in order to innovate architecture.3

2. Pérez de Arche, Rodrigo, Fernando Pérez Oyarzún, Escuela de valparaíso / grupo ciudad abierta. Tanais ediciones, Spain 2003. page 9 3. Pérez Oyarzún, Fernando. “The Valparaíso School.” The Harvard Architecture Review, n° 9, 1993. page 84

The first Travesía of Amereida, 1965. Photo: Historic Archive JVA e[ad]

Making the transition The whole group settled down in a small area at Cerro Castillo, in Viña del Mar, enabling them to live, work and study in close proximity and at all times of day and night. They built strong bonds between their professions, establishing an interdisciplinary basis from which they would later radically change the school’s pedagogic system.4 Cruz, Iommi and their circle created an ideology that unlike functionalism or mainstream modernism, was inspired by people like the young French poet Arthur Rimbaud.3 This connection to poetry was very important and is still very much in evidence in the school’s teaching today. In the original sense of the word, poiesis, is a concept of the most basic form of producing. Fabio Cruz, who was one of the founders stated that: “The human condition is poetic, and for this, man lives freely with the awareness of creating a world. Man is inevitably called and compelled to make and remake the world. This is to re-invent it again and again. One can fulfill this urgent obligation, because one always has the possibility of perceiving the world, ones world, again, as if seeing it for the first time.” 5

4. Interview with Yanes, Ana Paz, one of the first residents in the Open City. 12th of January 2011. 5. Cruz, Fabio. “Sobre la Observación” Biblioteca Con§tel Colección Oficio, e[ad], 1993.

Phalène Reñaca 1972, Photo: Historic Archive JVA e[ad]

The Phalène The group, largely made up of architects, was intent on uniting architecture with poetry. They regarded poetry as the search to create something that does not exist, rather than looking for a conclusion. In this sentiment poetry would be something new or an evolution of something. Students were encouraged to read poetry aloud in public and incorporate it as a method of opening the mind. One of the ways of performing poetry that they developed, was called Phalène. The Phalène is a kind of act or poetic play, with many participants. They say “La poesia es hecha por todos, no por uno.” -meaning that the poetry is made by everyone, not by one. The poetic act could take place in the city or out in the countryside, where local people or just passers-by could take part in the creation of something in that moment. There would be a poet who made connections between the words chosen by the participating people. The resulting poem is plastically formed as a subconscious relation specific to that situation, for a moment that passes. This impulsive and sensitive form of abstraction is very characteristic for the school.

Relations between word and action Another of the unorthodox methods developed by the school is observations. Cities and public spaces are defined by characteristics, beliefs and customs of the people who inhabit and transform them in a given time. Arguably, there is knowledge that is neither intellectual knowledge or conscious, but corresponds to an emotional non-sentimental understanding of the environment. It is important not to confuse sentimental with emotional, because feelings are personal whereas perception corresponds directly to what one sees. It is a sensation that can be questioned. However, this is difficult to conceptualize or verbalize.6 The teachers of the school worked to develop a way of documenting a place that would supplement information from maps and statistics. Such documentation could provide useful understanding and a base in the initiation of a project to develop a suitable program. The technique took the form of croquis, quick sketches made in situ. These would be accompanied by notes on the side, explaining the observation. The visual and verbal communication would together create a record of what the observers experience. An observation seeks to be more than the mere verification of what exists in a place. It seeks to look further and explore. One could relate this exercise to the words of Fabio Cruz ;“(...) as if seeing it for the first time.”5 For it is what draws the persons attention that would be of interest. Questioning why something catches attention, can throw light on aspects that would normally go unnoticed. This recording could be an exploration of spacial relationships, boundaries, things that are missing, light conditions or activity that takes place. This would lead to a better understanding of the situation and the inherent possibilities, enabling a proposal to be given. The proposal would be called a “poetic act”, that could be explained as words and actions proposed to the place. 6. Patricio Cáceres, Juan “Participación ciudadana en proyectos de infraestructura – estado actual y proyecciones” CA, n° 146, 1982. p.76 7. Cruz, Alberto “Estudio acerca de la observacion el la arquiteectura”. Universidad Catholica de Valparaíso, 1981. p. 27

The handbook of architectural observations by Alberto Cruz.

The idea being that there exists a relation between a word and an action. Words like recreation, wakefulness and wander, immediately give associations. Thus giving names to a project can communicate and help to keep focused on the desired use of a place and what action it is intended for. 13

The first Travesia of Amereida, 1965. Photo: Historic Archive JVA e[ad]

Amereida One of the group’s primary concerns was looking for the real America.8 Due to South American colonization, much of the original culture and religion had been swamped by the French, Spanish and Portuguese. An example is the Inca Empire, the largest empire in pre-Columbian America, that was conquered by the Spanish in 1529. Churches were built and Catholicism replaced the traditional Inca religion. In the opinion of the group, South America had still not discovered itself. They needed to explore what America is. Thus they began planning a voyage of discovery. The trip was announced in The Times; “International Expedition of Poets and Others -” and invited interested individuals to join. A large group of artists, poets, philosophers and architects travelled from Patagonia, in the south of Chile to Bolivia. During the voyage they collectively wrote poems that were published on the 15th of May, 1967. The 200-page long voyage-poem created on this trip was given the name Amereida, thus drawing a parallel to the founding poems of Europe, Aeneid, because it was thought of as the founding poems of America.9 On the following page is an example from the book, Amereida page 3, the very first poem that can be interpreted as a question about America;

8. Interview with Iván Ivelic, profesor at the school and resident in the Open City. 22th of January2011 9. Pérez de Arche, Rodrigo, Fernando Pérez Oyarzún, Escuela de valparaíso / grupo ciudad abierta. Tanais ediciones, Spain 2003. page 9

Wasnâ&#x20AC;&#x2122;t the finding unaware of the discoveries

â&#x20AC;&#x2022; oh sailors

their wild female birds the uncertain sea the people naked among their gods! â&#x20AC;&#x2022; because the gift to show itself mistakes hope?

Original poem from Amereida on right side, collective work, 1967. p.3 English translation by R.Calder and Carlos Cuvarruvias, 2011

Amereida can be understood as a complex phenomenon: a voyage of discovery and an original form of historical and cultural research that created a new foundation for the school.11 The group was questioning the Latin American identity. This first poetic journey was the first of many explorations to be made by the school, known as Travesías.

Travesía The word travesía, literally means voyage or crossing. A Travesía should not be confused with study trips practiced at many universities. For it has a deeper meaning than to go and study buildings. The travesías conducted by the school are poetic research journeys with the aim of investigating the American geographical conditions. It is an annual trek of students and teachers across the South American continent.12 A group can travel together for days without stop. The time and distance to cross a continent being part of the experience. At one stop the travellers erect a work as a gesture of gratitude. Usually a light-weight, short term work. It could be an agora (an open public space used for gatherings), a recreational room, or even a palace in a poetic interpretation. The preparation is part of the trip; planning appropriate shelter, food, tools and building materials. Yet no predetermined plans should be made of what the project will be. This has been a topic of discussion, as some have suggested bringing prefabricated modules while others have found this contradictory to the very idea of the Travesia. They argue that the art of the project should be inspired by the place of travel, and the participants awareness of the situation and surroundings.

11. Pérez Oyarzún, Fernando. “The Valparaíso School.” The Harvard Architecture Review, n° 9, 1993. p.90.

12. Séguret, François “Ritoque ou l’utopie construite” L’ arquitecture d’aujourd’hui, n° 336, 2001. p.112.

Travesía Villa Mercedes, 1991. Photo: Historical archive JVA e[ad]

One can read books to understand theories, but will only truly know something by experiencing it first hand. The School´s experiments, are closer to exploration rather than scientific experiments based on trial and error. The poetic acts, or performances as one might call them, are a way of reflecting over impressions by creating. The travesías are experiences of South America, and there are experiments and poetic acts spread all over the continent, re-discovering South America. One of the fundamental ideas of the initial group, was creating a new way of life. A life liberated from the conventional parameters of society, they contemplated on how to live more openly. They looked for a poetic way of living, and the idea of founding an open city began to emerge within the group. A place where they could create freely without the constrictions of a conventional city.

The Open City The area stretches between the Pacific ocean and a vast area of rural terrain, from sand dunes to forest. The group worked for years to be able to buy it and the Corporación Cultural Amereida was established to secure the formal rights and legal ownership. Corporation was chosen as the Chilean alternative that would best legally represent the group. It is important to note that it differs from other corporations because it is non profit. i.e. none of the members will have any personal gain, and there is a collaboration with the Pointificia Universidad Catolica de Valparaíso.13 One could easily imagine that the Chilean history of political unrest during the military dictatorship headed by Augusto Pinochet during the 1980’s inspired the Open City as a counteraction to the situation, with ideas of freedom being very much in the time with the hippie generation. In fact, the group planned and founded the Open City before Agusto Pinochet´s dictatorship, and carried out their plans in spite of the political unrest that followed. Nevertheless, the development of the city was somewhat restrained as they were watched closely and not allowed to work completely freely.14 The Open City, was founded 20th of march 1970, through a series of poetical acts. As part of the opening ceremony, the group walked around the whole area to “open the terrains”.15

13. Interview with David Luza, President of the Amareida corporation, Ritoque 24th of January 2011 14. Conversation with Carlos Covarrubias, Poet and member of the group. Ritoque 16th of March 2011 15. Pérez de Arche, Rodrigo, Fernando Pérez Oyarzún, Escuela de valparaíso / grupo ciudad abierta. Tanais ediciones, Spain 2003. p.12

Opening ceremony of the Open City land in Ritoque, 1970. Photo: Historical Archive JVA e[ad]

The harsh coastal climate and poor soil conditions, made any construction work a challenge. In the beginning the conditions for living there were very difficult. Water was installed in 1971 and electricity not until 1978. One of the reasons for the late installation of electricity was a discussion that it would spoil the night’s virginity.16 It is clear that the ideas behind this city are quite different from what one would normally associate with a city. For instance, they made no roads, only paths. Another important characteristic of the Open City is that all the unique projects were and still are created as “trabajo en ronda” (literally “work in circle”), meaning a collective work by many, searching to unite poetry and architecture together. The city was given the name Open because they wished to live freely, to live a poetic life, liberated from the conventional parameters of society. They see hospitality as a way to live openly. Therefore, visitors are always welcome. What is unusual, is that everyone living there also regard themselves as guests, without claiming the land as their own. Even though the Open City has been built entirely with funds contributed by individual members.17 All the inhabitable buildings are called hospederías, “guesthouses” and combined with a public space that gives its name. F.ex. Hospedería de la Entrada, which is the guesthouse of the entrance, that stands as a greeting and guardian at the entrance of the Open City. This is their way of approaching living openly.

16. Interview with Ana Paz Yanes, one of the first residents in the Open City. Ritoque 12th of January 2011 17. Pérez Oyarzún, Fernando. “The Valparaíso School.” The Harvard Architecture Review, n° 9, 1993. p.92

Whether it can be defined as a city or not, is debatable. For still today, there are less than 30 inhabitable projects spread over a very large area. What is the definition of a city? There are no streets, only paths, neither are there conventional houses apart from the HospederĂas. None of the areas are defined with fences and it clearly lacks the scale and infrastructure of a conventional city. Jaime Reyes, a poet that lives there, says that because it has its own cemetery, it is a city. However, as Mauricio Puentes, a teacher at the school, argues, there are mining industries far away from the society that also have graveyards; â&#x20AC;&#x153;Could one call them cities too, in spite of them not having any of the other public services one would expect in a city?â&#x20AC;? I think of the Open City as a city for several reasons; Firstly, it was founded as a city, created by many, with agoras for an assembly to discuss and make decisions in plenum. Secondly, it is a society with a strong community spirit that shares the same geographical territory. Also, it offers a range of facilities for the public, such as a hall for music, an outdoors amphitheatre, a sculpture park, a cemetery and plazas.

Opening ceremony of the terrain 1971. Photo Historical Archive JVA e[ad]

The connection between the Open City and the school is still and has been since its foundation very strong. The school uses the city as a laboratory to experiment with the connections between poetry and space. The Amereida classes are held there regularly, and there is always a group of students that contribute to the development of projects there in a class called taller de Obra - â&#x20AC;&#x153;project workshopâ&#x20AC;?. The Open City and the school have a symbiotic relationship. In all probability, the Open City would not exist today without the continuous energy from the school, and the school would certainly not be what it is today without the enrichment that the Open City offers.

Workshop of games, Ritoque. Photo Historical Archive JVA e[ad]

Projects in the Open City

There are many projects in the Open City, ranging from practical details such as watertanks to sculptures and buildings. All of them have an individual story and character. I have selected 7 projects to document through photos, drawing, observations and short analysis. The projects were created as group projects, without crediting particular individuals in the groups.

HospederĂa Colgante Construction year: 2000 Internal area: 90m2 Foundation area: 120m2 Foundation: Piles supported from all sides Walls: Steel structure covered in sheet metal Floor: Wood

Diagram of foundation section

Hospedería Colgante facade facing east. Photo: R. Calder

The project is situated in sand next to an open green field on one side and facing sand dunes on the other. This project literally hangs from the main structure, thereby its name Colgante, meaning “hanging”. The beams run straight through the body of the house, and the outer shell is supported by arched wooden and metal frames. The foundation piles were driven 3m into the sand to secure stability. The strong earthquake last year tested this construction, it functioned incredibly well, and was left unscathed. Only the first part, a family home, has been built. Yet to come is a gallery for the OpenCity and a workshop for students.

Detail of construction. Photo R. Calder

The construction that continues in front of the house shows the main structure that will later be covered. The strikingly robust structure is very dramatic, like a naked skeleton. If all goes as planned they will continue building later this year. The dynamic facade is built up of sections of circles expanding from a core. The interior is shielded by thin arched sheets of steel, like fragile shells, supported by a framework of metal rods, that are visible from the sides.

The HospederĂaÂ´s construction extends towards the south. Photo: R. Calder

Observation: The elevated house, hanging from its structure, creates a space underneath used for drying clothes, and playing, like an open ground floor. The structure continues, as a naked skeleton for two more projects to come. This incomplete phase has an air of great expectancy that is perhaps even more interesting than the end result will be.

The visible construction in the livingroom. Photo: R. Calder

The outside is unique, but the best is actually inside. It has an overall rough appearance. The structure cuts across the living room and kitchen. Without interrupting the flow of the interior space, the white painted beams give the rooms character. The plan elegantly circles around the construction. Visible wires connect the floor that hangs from the beams. Different floor levels distinguish different areas of the big open space in the house. Because of the inner structure one could easily imagine a fragmented volume with a chaotic interior. However, with the sides curving out, the inner space is both comfortable and spacious. Also, the light coming in from the windows is spread efficiently throughout the volume.

Las Celdas Construction year: 1997 Interior area: 70m2 Foundation area: 120m2 Foundation: Beam supported by poles Walls: Foam isolation between metal frames and concrete Floor: Wood

Diagram of foundation section

The Celdasâ&#x20AC;&#x2122;s open entrance, facing north. Photo: R. Calder

The project can be thought of as deconstructionism. It is a constellation of 6 volumes, all in white concrete and organized around an open entrance. There is a plasticity in the geometric arches that reach high up to dominate the silhouette of the roofs against flat geometric surfaces. It is a very dynamic composition. The open space between them is sheltered, at the same time there is a tension between the volumes where they are barely touching.

The spacious common room that extends from the kitchen. Photo: R. Calder

Las Celdas is an atelier house for students connected to the school. It consists of four small units to live and study in. Each unit is approximately 12m2 and furnished with a bed, a desk and excellent daylight for working in. All the units have doors opening into the open entrance area that connects to the other facilities The open entrance is covered by a light weight roof. The bathroom is a separate unit as well as the large kitchen that extends to a long bar table in the spacious common room. There are seemingly no straight walls and the windows and inner constructions create an illusion of a futuristic organic structure. This modern expression is beautifully accompanied by uniquely handcrafted furniture in robust concrete, solid wood and steel chairs. Even the door is crooked, designed to fit the angles of the room perfectly. The white dynamic walls dissolve into windows with a view out to the garden area.

The sculpture park in front of las Celdas. Photo: R. Calder

The large adjacent field is frequently used by the school for a range of sports and recreational activities like football, yoga, rugby, capoeira and acrobatics. In front of las Celdas extends a sculptural brick patio, creatively composed in different levels to create seating areas and drinking fountains to compliment the recreational field.

Sketch of wind turbulance around las Celdas, Historic Archive JVA e[ad]

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Las Celdas illuminating the patio at night. Photo: R.Calder

This is a social place with frequent social gatherings. Amongst the traditions is Martes del Reyes, â&#x20AC;&#x153;Kings Tuesdayâ&#x20AC;?, which is when the students invite the next door poet, Jaime Reyes, for drinks. On Wednesdays the workday starts later.

Observation above: An orchestra of volumes. Soft arches against hard geometric surfaces. The open space between them and the tension where they are barely touching. There is a sequence of light passing through the interior.

Observation right side: Two of the workshop units, facing different directions. They look alike, but they are not the same. The light enters differently throughout the day, giving them each a different atmosphere with shadow and transparency.

Photo of la Sala de MĂşsica facing north east. Photo: R. Calder

Sala de MĂşsica Construction year: 1972 Interior area: 161m2 Foundation area: 167m2 Foundation: Wood frame and sheet aluminum Walls: Wooden slats. The facade of wooden slats, painted white, aligned diagonally to stabilize the structure of the vertical wooden framework Floor: Parquet

Observation direction south west: The shape of the house is simple and elegant. It appears subtle in comparison to many of the other projects, and more formal.

Ground floor of la Sala de MĂşsica, Historic Archive JVA e[ad], not in scale

Section of la Sala de MĂşsica, Historic Archive JVA e[ad], not in scale.

It is situated in sand and shielded from the sound of the ocean by the surrounding terrain and trees. This was the first and most public work that was created by the group. One could say that the project is created for hospitality, as it was constructed as a gesture of invitation. At the time it was built the group consisted of architects, sculptors, poets and painters, there were no musicians. Therefore the project was dedicated to music, an invitation to musicians. In addition to concerts, it is frequently used for holding dinners and the weekly lunch gathering of the group members. La Sala de MĂşsica was constructed on sand, which is a metaphor of innocence because it is constantly changing, erasing all traces. The shape is a white, square wooden box without direction, which is to say, all the sides appear the same. Even the roof is the same on all sides. It has three entrances, sticking out from each their corner, a welcoming gesture that signals that it is open. The entrances have concrete floor that act as a transition, between the sand and the wood inside.

In this project, they worked with the relation between space and music using light as a medium. The large room is lit by one magnificent column of light in the centre. This vertical construction bathes the whole room in sunlight. Maintaining at all times a connection with the outside solely through this column, relating to the time of the day and weather conditions. So when it rains, it would rain through it. Apart from the column of sky light, there are no windows, and therefore no view to distract attention. The focus of attention is concentrated on whatever is the experience offered inside, added to by the changes of light and weather through the central sky light. The plan is very structured with thin columns evenly spaced in a square around the opening. The entire construction is wooden, including the floor to the ceiling. Because wood has a natural good sound absorbing capacity, the building has excellent acoustics. There are also panels along the walls with one side having a more sound absorbing material, and another a more reflective surface. These can be turned to model the sound as required by different musicians. Kitchen and bathroom are a unit separated from the main building, situated 12m from the entrance. The distance between this unit and la sala de MĂşsica creates a shielded outdoor space that is used as a reception area.

Lunch meeting in la Sala de MĂşsica. The bright light from the open cube illuminates the whole room. Photo: R.Calder

HospederĂa de la Entrada Construction year: 1985 Foundation: Concrete poles and impregnated pine wood Floor: Pine wood Walls: Pantiles Diagram of foundation section

HospederĂa de la Entrada, facing north east. Photo: R. Calder

The HospederĂa de la Entrada houses one family and is, as its name suggests, situated at the entrance to the Open City. Overlooking the entrance, it acts as a gate house. It is built over soil hills restrained by brick walls. The upper dwelling is a skeletal structure of light timber and the expansive terraces made of handmade bricks. The size is modest and the materials inexpensive, yet the broad front and silhouette crowned by the skylights have a monumental character.

Plan of HospederĂa de la Entrada, Historical Archive JVA e[ad], not to scale

Passage to the reception area and the framework of timber stilts. Photo: R. Calder

The project is based on a repetition of skewed modular cubes. The dark painted dwelling is raised three meters above the ground on a framework of timber stilts, giving the inhabitants some privacy. The distance from the ground also improves the humidity, and the turbulence caused by occasional high winds. The terraces and platforms at ground level serve as a reception area for visitors. In the continuation of this project, one of the open terraces, will become an outdoor cinema. The project is based on a repetition of skewed modular cubes. The dark painted dwelling is raised three meters above the ground on a framework of timber stilts, giving the inhabitants some privacy. The distance from the ground also improves the humidity, and the turbulence caused by occasional high winds. Another reason for having lifted the building is the possibility to enjoy a panorama of the ocean horizon.

The reception area for visitors and the framework of timber stilts under construction, 1985, Historic Archive JVA e[ad]

An open corridor connects the spacial modular cubes by twining and overlapping the rooms. The interior is wooden and numerous storage spaces are discreetly hidden away behind sliding doors and closets. The terraces and platforms at ground level serve as a reception area for visitors. In the continuation of this project, one of the open terraces, will become an outdoor cinema.

Observation: The evening light filtered between the web of the timber construction, illuminating the staircase to the patio.

La Cubícula del Poeta facing west. Photo: R. Calder

La Cubícula del Poeta Interior area: 15m2 Foundation area: 40m2 Foundation: handmade bricks Floor: Parquet. Walls: wood and glass

La CubĂcula del Poeta facing north west. Photo: R. Calder

La Cubicula del Poeta is also in the lower part of the Open City, in the vicinity of several other projects. This small unit used to be the residence and work place of Godofredo Iommi, one of the members of the group that founded the Open City. Today it is used as a guest house for visitors staying in the Open City.

Light coming through the entrance. Photo: R. Calder

Direct light crossing window. Photo: R. Calder

It stands on a brick floor that extends to an aluminum sculpture which welcomes guests. The expression is a cube, with a roof that is lifted and angled in separate parts, resulting in the inner spaces. The facade is covered in white and grey plates nailed in place. The nails are evenly spaced creating a rhythmic pattern. The tall rectangular window in the front stretches all the way to the roof. The cube has a light and open expression. At night the light flows through this tall window to illuminate the brickwork patio in front of the guesthouse. The interior is compact, but due to the use of natural lighting feels remarkably spacious. A narrow entrance with the bathroom to the right. The bathroom can be accessed from both sides. The kitchen is small but practical. The roof is lifted, lowered and angled in different sections of the construction to provide the required light to different areas, at all times of the day. For example the sleeping area has a lower roof and no direct sunlight in the morning, whilst the big table for working, is under higher roof with windows on both sides, giving light morning and evening. The sunlight dances across the white walls throughout the day. The only window with a view is towards the sea.

Observation above: The light dances slowly across the white walls as the day go by. Sleeping space shielded from morning light, the working space getting the evening light.

Observation to the right: View from the enterance. The windows let through warm yellow sunlight on the white walls in the afternoon. Lifting the roof to let in light and lowering it for comfort. Every space is used in a practical circulation.

El Vestál del Jardín Construction year: 1998 Interior area: 108m2 Foundation area: 178m2 Foundation: Concrete Floor: Ceramic and concrete, parquet Walls: wood partitions, pantiles

Panorama of the Vestรกl with an overview over the garden. Photo: R. Calder

The project is situated in the upper part of the Open City, facing a small garden valley. The name Vestal, comes from the tradition of Roman Vestals that were in charge of maintaining the sacred fire and guarding sacred objects. The family who live in the Vestal of the Garden are watchful guardians that help to maintain the garden valley. The house has straight white walls with windows facing the garden valley. The living room and kitchen are the centre pieces of the house, with a large opening up to the second floor above the entrance. On the outside it has a challenging climbing wall as an outdoor activity, and in the garden there is a sitting area with a fireplace. 65

A challenging climbing wall on the outside of the Vestรกl. Photo: R. Calder

Observation: The landscape of trees in the Garden Valley stretches to the horizon.

Previously the valley was arid and barren, nothing grew because every winter rain would scour the soil down the steep terrain. Strategically planted trees effectively hindered this erosion and the terrain was modified with several terraces, where plants would grow. A vital part of looking after the garden, is watering it. An important contribution from the family that lives there, is that all water drained from the house is distributed in a series of watering pipes down the hill. In this way the family living there becomes a part of the symbiosis as their waste water irrigates the hillside.

Anfiteatro al Aire Libre Construction year: 2001 Foundation area: 340m2 Foundation: Gently graded open air plaza in handmade bricks, concrete and rocks.

Concert ceremony at the end of the school year 2010. Photo: R. Calder

El Anfiteatro al Aire Libre, â&#x20AC;&#x153;the outdoor amphitheatreâ&#x20AC;?, is located within the creek that runs through the upper part of the Open City. It follows after a sequence of spaces in the valley creek dedicated for ceremonies. The cemetery is the highest up. This is connected to an outdoor chapel and next in line a group of threes integrated in a plaza. Below this follows the amphitheatre that was shaped by the flow of running water down the ravine. Illustration follows on the following pages. 69

Illustration of the sequence of public spaces situated in the upper part of the Open City

Cementery

Outdoor chapel

There is an orchestra of levels that contribute to distinguishing each place for its use, whilst the closeness of them make it easy for a celebration to combine the use of more than one of the places.

Plaza circling a group of trees

Amfitheatre. Photos and illustration: R. Calder

The geometry of the amphitheatreÂ´s handmade paving stones. Photo: Historic Archive JVA

The amphitheatre extends in both transverse and longitudinal directions. Projected onto the hillside, curving slightly. In addition to the angular edges defining the scene, its main feature is the broad drainage channel that crosses along the middle, which divides the amphitheatre in two symmetrical parts, two opposing wings. The outdoor amphitheatre was created for leisure and cultural recreation. It is always open and can be used for celebrations, special occasions and for holding concerts.

Observation: Soft yet angular, a broad channel dividing the amfi in two symmerical parts, two opposing wings.

The Open City today and a future perspective

During my nearly one month stay in Ritoque I had many conversations about the Open City. It was apparent that explaining what the Open City is about, is challenging even in its original language as everyone has their own individual interpretation. In addition, the group’s motto: ”siempre en el mismo, pero nuca igual”, - “always the same, but never identical”, means that the Open City is continuously developing and re-inventing itself. Therefore there will always be new dimensions to be explored.

A poetic way of living The original idea behind the Open City, which was created in 1970, was for it to be a utopia for free thinking, a way of living. Not only from an architectural point of view, but in all aspects of life. The definition of utopia is an imaginary place with a perfect social and political system. However, the Open City was developed under very restricted circumstances, following the military coup of 1973. Iván Ivelic who grew up in the city says “They limited the freedom to express ourselves for 20 years. The city was in its beginning, and these restrictions had a profound effect on its development. The Open City survives however, and we are still trying to open it to this day” The next step in opening the city was to attract more people to settle there. The principal idea of the Open City was to unite life, study and work in a poetic way of living, regardless of the profession a person might have. The vision of a relationship between poetry and architecture came early, because the relation between poetry and space is very seductive. However, as David Luza, the president of the Cultural Corporation Amareida, comments; “Ideally there would be poetic Amareidas for doctors of medicine, shoemakers and all the different professions, and hopefully there will be. It may be hard to connect poetry and medicine. but itshould be done.” Inviting geographers, environmentalists and people with other professions to live in the Open City will bring new perspectives to its community. In their vision of living poetic, a key is “purely present”. The aim is to create and live in the moment. Which might be one of the reasons why the Open City has not based itself on a detailed regulation plan. On the contrary it was planned to not have a plan, and for example does not have a city centre. However, they might have to introduce planning when deciding on how to deal with the changes from their surroundings, as David Luza explains “We may have to incorporate some degree of planning. Before we had more freedom because the Open City was far away, outside the city walls. Now the city is surrounding us.”

Developments within the Open City The circumstances for living in the Open City have improved. The political situation is stable, the standard of living became more comfortable after water and electricity was installed and the economical situation for financing new building projects has improved. However, there is a significant generation gap in the Open City. After an influx of former students moving there 20 years ago, there have been few new settlers, which is a threat to its progression. This decrease may be due to a change in society. Society has changed since the hippie generation of 40 years ago built their houses on the beach. Before, living far away from the city in primitive conditions was perceived as being radical. Jaime Reyes one of the settlers from the 1990`s says â&#x20AC;&#x153;Today it is much more radical to live without owning your land! The most radical with this way of living is that when I go, I canâ&#x20AC;&#x2122;t pass the house onto my two children. I have no property to give them, only some savings, and of course a way of thinking. A different way of thinking.â&#x20AC;? The Open City is founded on values that are difficult to measure and that are not generally recognized in mainstream society. This could be one reason why fewer people have been prepared to dedicate themselves to living long-term in the Open City. In addition the Open City is based on communal participation, shared experiences and group creation. Whereas the outside society is becoming more individualistic, and focused on personal gain. According to the poet Carlos Covarrubias, one of the early settlers in the Open City, they had originally envisaged a community of up to 10.000 people in the Open City. The number of settlers has not increased significantly and todays population of approximately 60 people is surprisingly low in view of the size of its terrain and the original ideas. Why has the population of the Open City not grown as one would have expected a successful society to do?

The initial group was driven by the energy of their tight collaboration. Since then, they have continued to be a very engaged core, organizing themselves in a structure in which everyone is collaborating and the communication is personal. They have continued working in this way because it has functioned well, maintaining an exceptionally strong community spirit and protecting their original concept of a poetic way of living. Although this form of administration with all the settlers representing themselves has functioned extremely well in the micro society of todays Open City, it is possible that it restricts the expansion of the Open Citys population. For example, when a prospective settler would like to make the transition, their case is discussed by the members in plenum before they are accepted. This procedure makes it easy to control that new settlers have a suitable commitment to the Open City. The majority that live there today have had a previous connection to the group or the Valparaiso School. This method of vetting new members has functioned well for a group of around 60 people but would prove extremely unwieldy for a group of several hundred people. The groupÂ´s philosophy of development and re-inventing themselves, has become more difficult to live up to as the Open City has over the years become firmly established. For the Open City to increase significantly in population, it might be necessary to carry out such fundamental restructuring that one would risk changing some of the core principles that the Open City was founded on. It can be argued that the Open City in becoming well established, hinders its philosophy of developing and re-inventing itself. Even though the Open City has not grown much in scale, its existence has created interest all over the world. David Luza comments that â&#x20AC;?today there are more publications [regarding the Open City] than ever before, and it has transformed into a studied object.â&#x20AC;? International publications have spread information about the Open City. Earlier their approach was very personal, often with a written letter to someone inviting them to visit. Now there are many people taking contact that have read about the Open City and wanting to experience it. In this way the Open City is gaining greater recognition.

A look at the Freetown Christiania, Denmark There are interesting contrasts between the Open City and Christiania, a Freetown established only a year later in 1971, in Copenhagen Denmark. In opposite ends of the world, they were both created in an era of radical social change and the search for a new freedom. Both cities have some similarities in their ethos, but there is much more that sets them apart. Christiania is a self-proclaimed autonomous neighborhood covering 34 hectares, with about 850 residents. It was created by a group of hippies squatting in 1971. They renounced materialism and cannabis has been sold openly there as part of the liberated lifestyle. Unlike the Open City, Christiania was founded in a built up urban area without purchasing the land or buildings. Christinia does share the idea of hospitality with the Open City. The city has many visitors and is a popular tourist destination. It has welcomed everyone, including those who no longer fit in Danish society, as well as attracting drug-addicts. This degree of openness is generous at the risk of people simply taking advantage of the extra liberty, rather than contributing to the community. Problems have arisen in Christiania largely due to the use and trafficking of drugs. Critics argued that the area had become a haven for criminals. The situation had gradually become more tense and the Government gave an ultimatum resulting in Christiania being divided up and parts of the land sold off. Recently it was announced that the inhabitants of Christiania have closed the city until further notice, while discussing what to do for the future, whether they will buy it or not.18 It is likely that this is the end of Christiania. This is in contrast with the strong commitment that the Open City group demonstrated when organizing the Cultural Corporation and working for years to buy their land. Their approach and continued investment will undoubtedly be of huge importance for the future existence of the Open City.

18. Eriksen, Lars. Alexandra Topping. â&#x20AC;&#x153;Christiania, one of Europeâ&#x20AC;&#x2122;s most famous communes,

faces last stand.â&#x20AC;? The Guardian. 29th April 2011. p. 26

Interaction with the surroundings During the last 30 years the city outside the Open City has gradually grown closer and closer to the extent that one could now say that the aggressive conventional town planners are becoming a threat to the Open City way of life. Whereas the

group has always had a vertical perspective, drawing maps relating themselves to the continent by the Pacific ocean and the stars, David Luza says the time has come to also have a horizontal view. Taking a sideways look to be aware of what is happening in the surrounding proximity. An intervention that would affect the area to a great extent, is the planned construction of a new highway passing through Ritoque. In November 2009 there was an article in El Mercurio de Valparaíso, describing the situation: “(..) the project of building the highway F30E, developed by a private company, aims to unite the communities of Concón and Quintero, which would result in irreparable territorial disintegration of the 290 hectares of the Open City.”19 The F30E route could have devastating consequences, not only for the Open City, but also for the region. One of the important features available along the road linking Quintero and Concón is the varied and abundant nature that is flush with beautiful places such as dunes, forests, marshes, wetlands and home to a large amount of flora and fauna. The fear is that the construction will interrupt the waterways that feed the marsh and wetland, that the planned earth movements will alter the ecosystem and that water will become contaminated. A change in natural ecology could cause many animal species, especially birds, to migrate and not return because of the environmental change.19

19. García, Fernanda “Amereida: En qué está la Ciudad Abierta?” El Mercurio de Valparaíso. 28th November 2009.

The Amareida Corporation has joined forces with other

organizations interested in the natural heritage, to help protect the area. Another concern, is how entrepreneurs will develop the surrounding areas. A free market, driven purely by what is most profitable, has little consideration for what would be ethically or even aesthetically better for the area. Unlike Norway that has long had strict laws for how close and in what manner one can build along the coastline, Chile has a history of large scale selling of land to private investors. Although this is now becoming more regulated, the government has not reclaimed the previously sold coastline. Therefore, luxurious beach resorts and shopping malls could be built close to the natural terrain of the Open City. This would create a challenging contrast to the non-materialistic philosophy. Some changes are inevitable, however being in dialogue and contributing in the planning process could prevent some friction and improve the outcome.

Evaluating the Open City When I asked Alberto Cruz if the Open City is what he once imagined it would be, he answered â&#x20AC;&#x153;Yes. What we imagined was a real utopia. Something to exist, not only the idea! And that is what this is!â&#x20AC;? The world of architecture has long followed the Open City with interest. Created in collaboration and with strong commitment, there continues to be an engaged community administrated by the Cultural Corporation Amereida and with the contribution of the ValparaĂso School. The projects in the Open City are built with a poetic approach, liberated from the conventional society or effects of commercialism. The Open City is undoubtedly a unique city, something that almost seems out of this world, - though it is not. The openness of the Open City has boundaries, despite the very inviting atmosphere within the Open City, there are large metal gates that physically and symbolically separates it from the outside. Perhaps this is not uncalled for, because the area outside the Open City is gradually becoming urbanized. With time its existence will become increasingly evident and important, not at least as a protector of the natural terrain and to communicate the values of a non-materialistic way of living with nature.

Bibliography Collective work, Amereida, Chile, 1967. Cruz, Alberto, Estudio acerca de la observacion el la arquiteectura. Universidad Catholica de Valparaíso, 1981. Cruz, Fabio. “Sobre la Observación” Biblioteca Con§tel Colección Oficio, e[ad], 1993. Eriksen, Lars. Alexandra Topping. “Christiania, one of Europe’s most famous communes, faces last stand.” The Guardian. 29th April 2011. García, Fernanda “Amereida: En qué está la Ciudad Abierta?” El Mercurio de Valparaíso. 28th November 2009. Patricio Cáceres, Juan “Participación ciudadana en proyectos de infraestructura – estado actual y proyecciones” CA, n° 146, 1982. Pérez de Arche, Rodrigo, Fernando Pérez Oyarzún, Escuela de valparaíso / grupo ciudad abierta. Tanais ediciones, Spain 2003. Pérez Oyarzún, Fernando. “The Valparaíso School.” The Harvard Architecture Review, n° 9, 1993. Séguret, François “Ritoque ou l’utopie construite” L’ arquitecture d’aujourd’hui, n° 336, 2001.

Interviews and important conversations Covarrubias, Carlos: poet and member of the group, Conversation 16th of March 2011. Cruz Covarrubias, Alberto, one of the founders of the Open City. Conversation 12th of January 2011. Ivelic, Iván: Architect and professor at the school and resident in the Open City. Interview 22th of January 2011. Jaime Reyes: poet, graphic designer and resident in the Open City. Conversation 12th of January 2011. Luza, David: president of the Corporación Amareida. Interview 24th of January 2011. Puentes, Mauricio: Architect and professor at the Valparaíso School. Conversations 3rd of February and 14th of April 2011. Yanes, Ana Paz, one of the first residents in the Open City. Interview 12th of January 2011

List of illustrations Calder, Rebecca (R. Calder):

Pages: 4, 7, 30-31, 32, 33, 34, 35, 36-37, 38, 40, 42-43, 44, 45, 46, 47, 51, 52-53, 55, 57, 58, 59, 60, 61, 62, 63, 64-65, 66, 67, 68-69, 70-71, 72, 73, 95, 98, 101, 103

Cruz, Alberto: page 13 Ivelic, IvĂĄn: page 91 Presterud, Sigrid: page 100 The Historic Archive JosĂŠ Vial Armstrong e[ad] PUCV: (Historic Archive JVA e[ad])

Cover photography. Pages: 9, 10, 14, 19, 21, 24, 26-27, 41, 48, 49, 54, 56

Experiencing the Open City To be able to truly describe the Open City, I wanted to live there for a while, to get to know it from the inside. After applying to stay there, I had the opportunity to study and experience the Open City for nearly a month. Every day I talked to someone about the place or explored it on my own, slowly answering the question â&#x20AC;&#x153;what is the Open City?â&#x20AC;?, both in terms of the geographical aspect and the ideology behind it. The project is a personal interpretation, based on my impressions and experiences in the Open City. When I approached the Open City, I allowed my experiences in the city to influence the direction of my project. The log book was a recording of what I was doing, keeping track of the progression.

Log book Contact my school in Oslo 31/10/10 Make a draft of what I want to do 10/11/10 Get the plan approved and signed 30/11/10 Research in advance: Finding relevant literature 12/12/10 Reading published articles and literature 4-9/01/11

Day 1, Day of Departure

Monday 10th of January

9.30: I go to the school to meet with David Luza, President of the Cultural Corporation Amereida. We talk about my intentions with the stay and he gives me some practical information about the accommodation. Where to pick up the keys, gas, and so on... 14.30: I leave my house with all my gear and go by the store to buy food for a week. The only bus from Valparaíso that passes the Open City is “Sol de Pacifico”, and “Punta de Piedra” is close to the gates of the Open City. Señora Olivia and her niece meet me by La Sala de Música and they show me where I’m going to stay. La cubícula, is a small white cube, with windows carefully placed to let in daylight all day. I meet the neighbours, Victoria and Sebastián, and their friend Federico that is visiting from Santiago. Ana Paz Yanes also walks by, she lives in La Hospedería de la Entrada, the project closest to the entry. She was one of the first people to move here.

Day 2

Tuesday 11th of January

I wander about, wanting to get an overview of the area. I go to see el Taller, (the workshop), which is a massive place where all the tools and equipment for working are kept. Enrique, one of the maestros that work there, explain me how some of the tools work. He also shows me The Sculptors house. I go to talk with Ana Paz who invites me in for a cup of tea and in a little while I’m playing guitar with two of her grandchildren. Among the songs we play is Todos Juntos by Los Jaivas. Maria José Salas Salinas, another student from school comes by to say hi, and we all eat supper together. Maria José and the poet Jaime Reyes invite me to come for a traditional welcome drink, so we go with to Las Celdas, where she lives. Las Celdas is a workshop for 4 students to stay while working. The open and airy common room is the centre part and is the place to get together and party. The two others living here now are Nicolas Ibaceta and Luis Romanque. Jaime asks me to read an english poem from a bilingual poetry book, which he follows up by reading the spanish version. The language really does have a dimension of music to it. However good a translation is, it will always sound different from the original, like a different melody to the same song.

Day 3

Wednesday 12th of January

Today is a special day, we’re celebrating the 97th birthday of Alberto Cruz,One of the founders of the Open City. When he arrives I quickly realize that my plan to interview him is a little too ambitious. He is very old and there are so many that want to meet him today. Instead I document the ceremony which I find fascinating. Every wednesday is the day when the citizens get together over lunch to keep updated and talk about important issues. Today some of my classmates and my professors from the previous trimester have also come. I enjoy eating lunch with everyone, and eventually I do get to speak a little with Alberto; I ask him if this place is what he once imagined it would be, and he looks at me and says with a delighted certainty: “Yes. What we imagined, was a real utopia. But something to exist, not only the idea! And that is what this is.”

Alberto Cruz and I at his 94th birthday celebration. Photo: IvĂĄn Ivelic

After lunch I talk with Ana Paz. She tells me her story of how everything started, About the difficulties and the excitements. I spend the evening hanging out with Luis and Nicholas at the workshop of the poet Jaime. I ask him too about the difficulties of the past and how it is today: â&#x20AC;&#x153;Before it was very hard living here. There was no electrisity or water, and the economy was poor. Nowadays all of that is working. But still there is little progression in the city. But times have changed since the hippiegeneraton 30 years ago made their house on the beach. Today it is a lot more radical living without a property!

Day 4

Thursday 13th of January

I explore the whole of the lower area, from the sandy dunes to the green field, and along the river to the pacific ocean. I start my analysis of one of earliest projects here, Hospedería de la Entrada. Drawing and observing it. In the evening I go to listen to a jazz concert where Maria José and her group is performing in la Piedra Feliz, Valparaíso.

Day 5

Friday 14th of January

I have a study group-session with Maria José, who is also working these days to wrap up her diploma. We have a long conversation about the school, the city and her project. It’s very interesting to hear about her project and process. History will always be reinterpreted. And how I see it, the Open City is very open for personal interpretations. Because it’s influenced by the way I’m searching for information, the people I meet and the questions I ask. I soon realize that one week here is far too short, and Nicholas has already offered me his room in Las Celdas while he’s away for two weeks with his family. I am very happy to have a chance to spend more time here.

Day 5

Saturday 15th of January

I wake up and start writing. I go to Las Celdas and have lunch with Maria José and Nicholas and continue working there. Nicholas is leaving today so we go to drop him off at the roundabout in Concon. We buy empanadas on the way back and work a little more. I spend the evening in las Celdas with María José, Luis and their friends. Thinking about la ronda, the manner that they create projects here, it occurs to me that in many ways it resembles Jazz... : characterized by improvising. They all play together, everyone contributing, it’s a composition in Situ. Something specific for that time and that place with the people contributing their ideas in connection with each other. Even if the same people play together again, another time it would be another sound...

Day 6

Sunday 16th of January

I have a terrible stomachache. I stay in bed reading a book and only make a few drawings and observations of la Cubícula.

Day 7

Monday 17th of January

I move out of la Cubícula and go back to Valparaíso because I need to do some errands, use the internet, wash clothes, buy food etc...

Day 8

Tuesday 18th of January Valparaíso

I call my supervisor, Mari Hvattum, to talk about my progress with the project and ask advice about how to analyze the projects, which I am finding difficult. My plan is to go back on thursday morning to continue my interviews and analysis. In the evening I meet Juan Carlos Brito, who was my art teacher at Einar Granum Kunstfagskole in Oslo 4 years ago. He is actually from Valparaíso, and is here now to renovate a house. We drive around Valpo to see more from the car. The architecture here in Valparaíso is really crazy and most of it is very illogical! Juan Carlos shows me lots of amazing houses, driving through dodgy areas that I wouldn’t go on my own. It is interesting to see a cross section of this city. El Plan in downtown Valparaíso, is where all the offices and banks are organized neatly. The streets are straight with tall buildings. We look at the harbor industrial area. Only two years ago a tunnel was constructed to lead all the heavy traffic from the dock directly out of the city centre. I can’t imagine what a change it must have made! The centre is surrounded by hillsides called cerros, which is where everyone lives, in the steep terrain. These are mazes of colorful streets and daring constructions. Houses on top of each other and hanging out of the cliff giving giving fantastic views. It’s truly amazing that most of the houses survived the earthquake last year!

A postcard I made, enjoying the colorful view from my garden.

Most cerros started as Tomas, which are areas taken over without permission by poor people. They would build their homes in light materials and refuse to leave. Having failed to evict them, the government then ignores them, and eventually permits water and electricity connections to be made. In this way the city gradually grows larger and larger and still today there are taken areas in the outskirts of the city, and so this haphazard form for development continues.

Day 9

Wednesday 19th of January Valparaíso

I’m planning a trip together with some classmates. We’re talking about going from Calama in the north of Chile, and bussing to Bolivia. I watch “The Motorcycle Diaries” with my housemates. The film tracking Ernesto Guevara’s adventure through Latin America with his friend Alberto Granado. I love this film! Traveling can really open ones eyes...

Day 10

Thursday 20th of January Valparaíso

Inspired by the film last night, I dream of traveling the length of Chile, all 4350 km...even though everyone says its impossible to do it all in one trip. I would really love to go both north and south before school starts. I go out with some friends. The place we thought would have salsa music is having cueca-night instead. Cueca, is the national dance of Chile, it’s a folk dance. The lady waves a tissue, flirting with the man, and as they dance together, they’re skipping and turning in circles, while keeping eye-contact. They make it look a lot easier than it is!

Friday 21st of January Returning to the Open City, Ritoque Day 11 I finally buy the tickets to go to Calama 9th February! After packing my gear I go by the store to buy food and head for the Open City again. This time I’m staying in one of the four rooms in Las Celdas, the place where the students can live while working. I make a plan for what I want to do for the next days.

Day 12

Saturday 22nd of January Ritoque

After a quick morning run and breakfast I go with Luis to the hopedería next to la cubícula, where there is an extraordinary meeting today. The family that lived there recently moved out. Carlos Covarrubias talks about how this place has had different uses before, and opens to the discussion of what it can be today. The younger poet, Manuel Fuentes aka Floro, comes with a proposal: He would like to live here if he can combine it with a library. An open house of books. At first there is a slight murmur, all the present members of the cooperation are thinking it over. The city has a lot of books, but the plan of having a library here has never been accomplished, and the books are just stored in boxes.

At the meeting discussing the proposal of Manuel Fuentes. Photo: R.Calder

One by one the members all give their opinions. They’re all very positive to Floro`s proposal. Floro living there, looking after the books, will mean the house will be much more “open” than if a family were to live there. We celebrate at the Celdas and I talk more with Ivan Ivélic who was one of my teachers in the previous trimester. We talk about the different types of projects that there are in the Open City. We walk to the upper part of the Open City, Where he introduces me to his family and shows me around the house. It is “Guardian of the Garden”, overlooking a large area that was previously dry and empty. Now, after changing the terrain and nurturing it with water from the house, it flourishes with trees of damascus, almonds and lots of herbs. The family invite me to come along to have lunch with some of their friends, Richardo and Uma, who have recently returned from India. They cook a wonderful Indian meal, delicious!

Day 13

Sunday 23rd of January Ritoque

I start translating the talk I had with Ivan yesterday. And edit some of the texts I have so far.

Day 14

Monday 24th of January

I start the day by drawing las Celdas, where I’m staying. Then I have a meeting with David Luza, who is the president of the cultural corporation Ciudad Abierta. I interview him about the formalities of the corporation and we talk about how the city might be in the future. Luis Romanque takes a look at my drawing and says it lacks light. So I make a new one, focusing on adding light, and it turns out better. I spend most of the day scripting the interview that I recorded this morning and I still need to translate it to english... When I’m finished I hope to use it for my article. I’m really frustrated that I’m progressing so slowly, I have so much more on my agenda that I haven’t even started!

Day 15

Tuesday 25th of January

I edit my log book and send an e-mail to my supervisor Mari Hvattum with what I’ve got so far...

Hand stand on the sandy beach of the Open City. Photo: Sigrid Presterud

Day 16

Wednesday 26th of January

I observe la Hospedería Colgante, a project which is a hanging guesthouse, and start writing my analysis about it. In the evening I get a chance to come in and see the project from the inside. It’s absolutely amazing! I continue writing my analysis and select photos for illustrations.

Day 17

Thursday 27th of January

I spend the morning organizing the part of my project with the analysis. I’ve now chosen in total 7 projects that I will document and take a closer look at. They’re all interesting and different. Sigrid Presterud, my classmate from Norway, comes to visit in the afternoon. We go for a long walk along on the beach and discuss our self programmed projects. She will be writing about Valparaíso the city, and doing a transformation project at a chosen site. 100

An aquarell postcard I painted in the upper part of the Open City

Day 18

Friday 28th of January

We eat breakfast in the garden and decide to go exploring the upper part of the Open City. At the top we find an outlook point with a great view, where I paint a watercolour postcard. We walk to the cemetery where previous members of the Open City that have died are buried. It is constructed of handmade bricks and stone, following the natural curves of the valley, and building around the trees. We continue walking downwards to the open air chapel, and to the open air amphitheatre, which is used for occasions such as concerts. Tonight weâ&#x20AC;&#x2122;re celebrating Ivanâ&#x20AC;&#x2122;s birthday in the garden patio above the Garden Valley. His wife is an expert at making paella over an open fire, which we enjoy sitting around the bonfire. 101

Day 19

Saturday 29th of January

I go to Concon to buy El Mercurio de Valparaíso, because I’ve heard there will be an article about the Open City today. I find the article. It is short and quite general, but there are some interesting interview quotations. For instance, they asked David Luza what is left of the original dream of the founders, and he replied “en lo mismo, pero nunca igual.”, >”in the same, but never identical”. Which I interpret as the same idea but things are always developing. Which reminds me of something we spoke about; that times are changing and that the next step would perhaps be to invite people with other disciplines and expertise such as geographers that have an interest in the area to live here.

Day 20

Sunday 30th of January

Writing, writing, and more writing.

Day 21

Monday 31st of January

I get some unexpected norwegian visitors, Tora Uhrn, who studied art in Viña del Mar previous semester, and Marie Ødegaar Voraa, an architecture student from NTNU in Trondheim. Marie is combining her holiday here with writing an essay on the Hospedería del Errante in the Open City and came to see it herself. We go for a long walk on the beach and talk about the Open City. It was nice to talk with them, sharing impressions. It somehow helps to say your thoughts aloud in Norwegian.

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Barbeque at the Celdas. Photo: R. Calder

Day 22

Tuesday 1st of February

Alejandro Lang Ruz is my age and grew up in the Open City. We’re invited for breakfast in the Hospedería where he lives, to greet the Italian interchange students that have come to visit. We plan to have a barbecue tonight, to celebrate because some of us are coming and some of us leaving. We start barbecuing late at night. The typical Chilean way “asado” is very relaxed and the food tasty!

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Day 23

Wednesday 2nd of February

The days here have gone so fast! I continue writing, but there are so many things I would like to do. Torn between them, I decide to go to the open air Amphitheatre and make some last observations.

Day 24

Thursday 3rd of February

I say good bye to the Open City and its friendly inhabitants, that have made me feel so welcome and return to ValpoparaĂso. It is strange to come back. Although it is no more than 40 minutes by bus, everything is so different. The noise of the traffic in busy streets. The smell of food and garbage as I pass the market, and dogs and people walking over each other.

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Acknowledgements

Thank you

To the Open City, for their generous hospitality, making me feel included and for all the meaningful conversations we have had To the teachers and staff at the ValparaĂso School for the support and assistance in making information accessible To my supervisor Mari Hvattum, for encouraging and critical feedback And to my family for backing me up

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