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Everyday Matters in Popular Architecture
Cartagena de Indias
Paseo Bolivar #39-25
Everyday, Popular, Matters
“We know how to provide a ‘thin description’ of an entity’s idealized material aspects, yet we are finally starting to learn how to give a post hoc narrative thick description of what should have been visible in the gathering that brings a thing together.”
Bruno Latour, Can We Get Our Materialism Back, Please?
Architects are responding to a world that suffers from overbuilding, yet millions remain homeless and lack rudimentary infrastructure. Contemporary practices are looking at the built environment as the site for material exchange, recognizing the material and ecological limits of growth. As a way of reevaluating material practices, they particularly focus on methods for cataloguing and redistributing end-of-life salvage building components. Though they present a transformation, they negate the histories of material objects by placing them into a unitized system, and therefore remain only tangential to architecture. Can we think of material reuse in more expansive ways that integrate heritage, people, labor, memories, knowledge, economies of production, and domestic acts?
This thesis looks at popular architecture as subject matter, analyzing a type of architecture that is built from conditions of austerity. Through individual and collective actions, popular architecture has created an alternative response to housing needs, connecting urban realities through the self-management of territorial, cultural, and material resources. In constant flux, these practices are inherently political and sustainable. The project of this thesis begins at cataloguing and building a collection of fragments, memories, and forms of knowledge of the house on Paseo Bolivar #39-25, Cartagena, Colombia. Creating a historical account of all the ‘architectural’ material of the house to expand the record of contributors, geographies, and socio-political contexts.
To imagine the proposal for the next life cycle of the house, the thesis Everyday, Popular, Matters is interested in valuing all its past lives with an equivalent gaze, where no one version prevails over the others, a work of metamorphosis that modifies what is found based on the intrinsic strength of the existing. Showing the presence of the past on the material of the present results in a building as a palimpsest that occupies more than just its physical space.
In the search of an expanded definition for material reuse, this thesis considers four conditions: construction techniques, extractive processes, cultural practices, and craft technologies. Adaptable concrete, wood, and steel structures define the construction techniques, allowing for both permanent and temporary inhabitations of the house. Cast concrete blocks and hollow clay bricks manifest extractive processes, conforming the enclosures and boundaries of the house to encapsulate memories and preserve the passage of time. Encaustic cement tiles represent cultural practices, revealing domestic acts and unearthing the layered stories and contested meanings embedded in their design and fabrication. Meanwhile, textile canopies and woven patterned rugs express craft technologies, anchoring the house to its cultural context by representing the permanence of artisanal practices. The collection of these techniques evidences material resources beyond their generic qualities.
This thesis assembles all the material entities involved in the making of a house, integrating vastness into itself without spatial reproduction. Embedded in the neoliberal economic model of vapid late consumerist emptiness, architecture can develop a strategy towards material reuse that considers the histories and memories of material objects. Accepting the accumulation of histories found in an existing building is a discipline, it enables a profound transformation for their meaning and performance to occur.
Man at the Crossroads
“If man had to acquire the conditions of survival in order to live now he must acquire the condition of life in order to survive.”
Murray Bookchin, Post-Scarcity
Anarchy
The progressive and accelerationist reality that we have lived in for the past centuries, has enabled the separation of man and nature, setting the ground for a critical historical moment of no return. As Aaron Bastani manifests, “A world where nothing really changes, is giving way to a historic moment defined by crisis. One where, unless we transform our understanding of the future once more, the very worst demons of centuries past will prevail.”1 There have been three major transformations in regards to the means for productive capacity of human society– foraging, agriculture, and carbon-intensive fossil fuels.2 Increased energy has led to increased productivity, which then leads to more goods and services, and in turn, an expropriation, depletion and over-extraction and exploitation of resources.
Industry introduced in the mid 18th century, has brought new technologies at a fast pace to which society cannot seem to keep up with, but still embraces it as the solution and gateway for the future of human life on Earth. “Society has become an increasingly complex network of interlocking carbon forms, each of which replicates the myth of a limitless supply of energy and resources that is characteristic of a carbon-fueled culture of abundance.”2 We have become accustomed, and even fascinated, by the high-levels of productivity and shortened timeline for fabrication enabled by emergent technological systems. Cultural practices and material ecologies have become secondary in architecture and contemporary building practices.
Just as it did almost a century ago when Diego Rivera was commissioned to do a mural under the theme Man at the Crossroads Looking with Hope and High Vision to the Choosing of a New and Better Future, we find ourselves in a ruptured time. 01 A rupture “between the biophysical processes of nature and those of human society.”3
The mural depicts a world coming to grips with complex social networks and politically turbulent times. Intersected by two ellipses that depict the biological and the cosmological forces, the workman placed at the center holds a machine that controls the universe in every regard, attempting to come to terms with the effects of the industrial revolution, asking what the future holds for humanity.
2 Andreas Malm. Fossil Capital: The Rise of Steam Power and the Roots of Global Warming. 2016.
3 Elisa Iturbe. Architecture and the Death of Carbon Modernity, Log 47. Fall 2019. pg. 13
It has become evident that the anthropos mode of surviving acts as a catalyst for climate crisis. Faced by what could be classified as ‘abstract phenomena’– sea level rise, forest fires, the greenhouse effect– we are collectively attempting to grapple with our reality. Some turn to the machines, others regress to a primitive-like mode of living. Aware of the challenges we are imposing on the environment, necessary solutions must take place.
Mural. Man Controller of the Universe. Diego Rivera, 1933
Photograph. Cambio. Formafantasma, 2021.
Photograph. Aerial Image, Construction Site. Alexander Gold, 2022
4 Open for Maintenance. German Pavilion, Venice Biennale, 2023
5 Institute Of Constructive Design, IKE Institut, Zhaw School, Gestaltung und Bauingenieurwesen ZHAW Departement Architektur, Eva Stricker, Guido Brandi, Andreas Sonderegger, et al. 2022. Re-Use in Construction. Park Publishing (WI).
6 Rotor. “Exhibition.” Life under a cherry tree, 2019. https://rotordb.org/ en/projects/life-under-cherry-tree.
In the construction of buildings and houses, we have extracted massive quantities of natural materials from the earth. 02, 03 There has been a shift in our material consumption, from organic and renewable resources to mineral and finite ones. We have created never-ending waste streams that rely on extractive processes. The Anthropogenic Ecological Crisis reflects the logical outcomes of capital accumulation, using things up as though there are no limits or costs.
Architects are responding to a world that suffers from overbuilding, after all, “the construction industry consumes large amounts of resources and contributes more than 40% to global CO2 emissions. It’s not only one of the major drivers of the planetary climate crisis but also creates a social crisis by exploiting human labor and financializing the urban fabric necessary for everyday life.” 4 It becomes essential to address, the extractive qualities of architecture beyond the built world, not just in the realm of the material practice.
Projects like Rotor DC and D.E.P.O.T look at the built environment as the site for material exchange, a potential urban mine, recognizing the material and ecological limits of growth. 04, 05, 06, 07 In these projects, there is a shift from GDP (Gross Domestic Product) to gdp (gross domestic practices). “After all, many issues and responsibilities that have been sorted out and delegated at an early stage in conventional construction processes remain unresolved in situations of reuse.”5 An active practice that recognizes the material limits of growth. They set the scene for a post-extraction world, where product is not the key economic driver, but rather, local processes that support the continual unmaking and remaking of the built environment.
“Salvage requires no immediate revolutions. It is intuitive and gentle enough to be accepted by most as simple common sense. It is not to be mistaken for a ‘solution’. It is a way of going forward that allows us to start building arguments and know-how. It offers the space and the means - however fraught and uncomfortable - to start imagining futures.”6
These projects reevaluate material practices, particularly focusing on methods for cataloguing and redistributing end-of-life salvage building components. Though they present a profound transformation, they negate the histories of material objects by placing them into a unitized system, and therefore remain only tangential to architecture. Materials are not neutral; they have memory markings which are indices of life.
Can we think of material reuse in more expansive ways that integrate heritage, people, labor, memories, knowledge, economies of production, and acts of living?
Photographs. Reuse of building materials made easy. Rotor Deconstruction, 2013.
Website. D.E.P.O.T. Amelyn Ng and Gabriel Vergara, 2023.
Photograph. J&S Scrap Metal & Reclycling Johnston, RI. D.E.P.O.T. 2022-23.
Man at the Crossroads
Drawing. Old Wood Workshop Pomfret Center, CT. D.E.P.O.T. 2022.
Institute Of Constructive Design, IKE Institut, Zhaw School, Gestaltung und Bauingenieurwesen ZHAW Departement Architektur, Eva Stricker, Guido Brandi, Andreas Sonderegger, et al. 2022. ReUse in Construction. Park Publishing (WI).
Iturbe, Elisa. Architecture and the Death of Carbon Modernity, Log 47. Fall 2019. pg. 13
Malm, Andreas. Fossil Capital: The Rise of Steam Power and the Roots of Global Warming. 2016.
Norell, Daniel. “Daniel Norell - Staedelschule Architecture Class (SAC) Lecture Series - June, 2018.” YouTube, July 4, 2019. https://www.youtube.com/watchv=WQsBWPnasys&ab_ channel=StaedelschuleArchitectureClass%28SAC%29.
Open for Maintenance, German Pavilion, Venice Biennale, 2023.
Rotor. “Exhibition.” Life under a cherry tree, 2019. https://rotordb.org/en/projects/life-under-cherrytree.
Everyday Matters in Popular Architecture
“Only well-established classes can opt for slowness. The praise for slowness and other postmodern attempts to challenge late-capitalist velocity have not only been useless, but have perpetuated existing forces of power and rendered visible their priviledged status.”
Guillermo
López and Anna Puigjaner (MAIO), Everyday Life in the Diffuse House
Architecture plays a significant role in shaping and reflecting the linked metabolisms and articulations of economies and ecologies; therefore, it must embrace an adaptive approach that recognizes the interdependence of all elements of the built environment with broader ecological and social systems.
It has become essential to address the extractive qualities of architecture beyond the built world, not just in the realm of material practice. In the words of Beatriz Colomina and Mark Wigley: “Nothing could be more urgent than to permanently reconsider the architecture of the everyday, the everyday in architecture, the architecture in the everyday and the everyday architecture –these being vastly different things that interact in complex ways.”
7
In Mouraria 53, one of the projects in Everyday Matters: Contemporary Approaches to Architecture, a network of people with different backgrounds and knowledge come together with materials from demolished sites and interact to make a construction. 08 They all converge at the ruin of in Mouraria 53, El Salvador, Brazil, to revitalize a 100-year-old building in Salvador, Brazil. Formal and informal construction, result in different ways of living that share common material dreams. “Everything we have becomes everything we need (…) There’s no real separation between materials, people, and knowledge.” 8 09, 10, 11, 12
The project has to do more with the memory of Mouraria 53, than with the productions of contemporary real estate. It presents a critique of current models of environmentalism while designing for changing public means and necessities.
“Our engagement with reuse was pragmmatic –we had no money–yet it gradually became conceptual. (...) In a city that does not recycle, building cheap meant using noble materials from various demolition sites. Building the house from the city made the latter an index of the former–in terms of its culture (the materials that were becoming unfashionable or unusable), its economy, and its memories.” 9
7 Beatriz Colomina & Mark Wigley. Everyday Matters, Contemporary Approaches to Architecture. Ruby Press, 2022. pg. 8
To address how the everyday has influenced contemporary approaches to architecture and triggered the rise of new ethics and aesthetics, this project looks at the overlooked Popular Architecture.
Common story: Three partners buy a ruined house at auction, with the intention of renovating and activating it, but, in the subsequent years, lose the money for such. The owners failure of the owners is multiplied by a real state crisis, and the house— without resale value and no possibility for investment—is abandoned in a kind of limbo. After ten years, the homeowners had lost all hope in the progressively ruining property.
How to create hope in the bankrupt spaces, both financially and subjectively, that commonly define the historic downtown of brazilian cities?
Drawing. Sketch for artist installation Mouraria 53, 2022.
Photographs. Back patio for fabrication, Mouraria 53 Fernando Gomes, 2019
Text.
Prologue for XII Bienal Internacional de Arquitetura Centro Cultural São Paulo Exihibition. Vanessa Grossman, Charlotte MalterreBarthes, Ciro Miguel, 2019.
Everyday Matters in Popular Architecture
“Assim que fiz a visita com você e ouvi sua fala, fiquei pensando que em vez de discutir a produção das artes visuais no espaço a partir de uma interpretação que é formalizada e sintetizada em um objeto (mais ou menos como acontece na exposição que vi), podemos pensar a partir do regime de relações que são travadas no espaço, seja por meio do atendimento psicológico, da moradia, dos usos do espaço para outros fazeres. Determinados suportes como a pintura, o desenho e até a própria exposição podem participar desses processos, mas não encerram em si a experiência da arte.”
Photograph. Stairway collectively assembled from parts of different sraircases. Mouraria 53, 2022.
Story. Ideating of different activities that could occur in one of the rooms at Mouraria 53. Uriel Bezerra, 2021.
Photograph. Mouraria 53: um experimento em arquitetura e habitação. Fernando Gomes, 2019.
10
More than 40% of the built environment is unregulated and does not follow the rules of construction. The cities of Latin America have witnessed the existence of a type of city that is built day by day, completely detached from public policies and real estate projects produced by private initiatives. 14
Another city in constant flux, driven by popular action. Popular effort, through individual or collective actions has created an alternative to housing needs, connecting urban realities through the self-management of territorial, cultural, and material resources. A demand that the housing builders of the planned city have not effectively met. 15 It is in this way, shrouded in a collective imaginative of marginalization, that the informal city has taken shape.
“The spontaneous and unfinished city, which has emerged and grown progressively and, even in the face of the most conservative forecasts, will continue to grow under these conditions” 10
The proposals generated by professional disciplines have failed to provide a viable response to the conditions of the informal city, largely due to the complex origins of this form of living. The community’s production of self-built spaces has proven to be a much more cohesive solution to the housing and urban needs of the societies that inhabit them. It is crucial to highlight the challenges faced by Latin American cities due to their rapid demographic growth, which has led to uncontrolled urban expansion. Social segregation has been a key factor, serving as a primary catalyst for the formation of informal cities.
These realities have prompted the need to establish theoretical and practical positions on how to proceed in these urban environments, starting with the recognition of the informal self-builder as the primary agent in the construction of such habitats. These perspectives emerge from a holistic view of the informal city, interpreted as a living organism in constant flux, driven by the need for residential space that integrates urban realities through the self-management of territorial and cultural resources. 16 This vision underscores the necessity of aligning public housing policies with this foundational factor.
Popular Architecture, though it does not care for urban propriety and official culture, is worth our interest as a source of innovation and resourceful way of building. It is within popular architecture that we find the everyday reflected in the built environment. Exterior and interior spaces are flexible, they accommodate and adapt to changes in domestic life; they are intrinsically intertwined with a family’s necessities and resources.
Serving continuous transformations, they showcase other ways of building by embodying elements that are both temporary and permanent. In a ‘makingdo’ culture, adaptability to sporadic growth of families, changes in program to accommodate income generative activities, and resource consciousness become second nature. The research of this project concerns itself primarily within the architecture of Cartagena, Colombia.
CYTED. La Participación en el Diseño Urbano y Arquitectónico en la Producción Social del Hábitat. pg 7.
“Housing is created by its users over time, it is not a finished and standardized object, but an open and progressive process in which priorly organized residents creatively shape their homes and neighborhoods.”
Text.
Housing by People: Towards Autonomy in Building Environment. urner, John FC. Marion Boyars Publishers, 1976.
Photograph. Los últimos campesinos de Santa Fe. Luis Antonio Rojas. The New York Times, 2018.
Photograph. Los últimos campesinos de Santa Fe. Luis Antonio Rojas. The New York Times, 2018.
Colomina, Beatriz, and Mark Wigley. Everyday Matters, Contemporary Approaches to Architecture. Ruby Press, 2022.
CYTED. La Participación en el Diseño Urbano y Arquitectónico en la Producción Social del Hábitat.
“In the deep recesses of the Basurto market, a man is shaving the face of a pig. A razor in his hand, he glides across its face to remove the fuzz. The pig will soon be dinner. Not far away, cow hearts are on sale, and beside them cow eyes, staring out ominously, bound for a hearty potage. A shopping cart full of limes whizzes past. Alcatraz birds loom on the corrugated-tin roofs. “My Sweet Lord” is playing in one corner; in another, Caribbean songs pour from a bar lined with drinkers. It is not yet noon..”
Anand Giridharadas, Love and Cartagena
Cartagena de Indias, Colombia, was founded in 1552 by Spain and later declared a UNESCO World Heritage site. 20, 23 It stands as a symbol of the country’s rich history and a major tourist destination. 18, 19 However, beneath its image as a thriving city, Cartagena conceals a reality of exclusion from real state and tourist areas. This exclusion is marked by socio-economic and racial divides, leading to the rise of informal, self-built settlements, which have become a dominant feature of the city’s urban development. Like many Latin American cities, Cartagena’s growth has been closely tied to urban informality. Yet, its unique historical context and environmental setting set it apart from other urban processes in the region.
The city’s development has resulted in a segregated landscape, where speculative urbanization within the tourist areas contrasts sharply with the grassroots urbanization efforts of the local, popular, population. This has led to the creation of self-built settlements on the outskirts, disconnected from the city’s walled city. 17
Moreover, the city’s misunderstood development has caused a disconnection from the region’s traditional practices, leading to challenges not only in the establishment of these settlements but also in environmental management.
“Between 1905 and 1918, Cartagena’s population grew from 24,520 to 51,382,”11 marking the beginning of a pattern of urban expansion that continues today, characterized by the search for new residential spaces outside the historic center.
Between 1840 and 1940, ‘republican architecture’ begins to be embraced by the upper class of Cartagena, as well as the more disadvantaged social classes. The architectural style was present in all areas, developing a language of its own as a response to the demands of the environment and the socio-cultural, economic and political scenes in which the country lived.
In Cartagena de Indias, an expansion of the historic center towards the outskirts emerges, driven by the unavoidable need to leave behind a past of wars and confinement, leading to the formation of new settlements or neighborhoods outside the walls, that is, beyond the walled enclosure. 21, 22
Thus, in the continental area, “neighborhoods such as El Cabrero, Torices, El Espinal, Pie de Cerro, Pie de la Popa, and Manga emerged, where domesticity and urbanism became true examples of adaptation to the environment.”
12 These
DANE census, 1905 y 1918.
Ricardo A. Zabaleta Puello. Arquitectura Moderna en Cartagena de Indias, Colombia. Universidad de Granada, Universidad de Cartagena, Universidad Simon Bolivar, 2017. pg. 210.
Cartography.
A Prospect of Carthagena, Taken from Madre La Popa. Engraved copper plate print. William Henry Toms, 1743.
La arquitectura colonial de iglesias y viejas casonas con sus balcones decorados con buganvillas y otras plantas de flores vivas, tejadillos de cerámica y, también, sus desconchones, dan la bienvenida y transportan a las aventuras de los amores secretos de Florentino Ariza y Fermina Daza, los dos protagonistas de El amor en los tiempos del cólera.
Story.
Cartagena de Indias con Gabriel García Márquez José Alejandro Adamuz. National Geographic, 2023.
Hay lugares que quedan mejor fijados en la literatura que en las postales. Cartagena de Indias (Colombia) es uno de ellos. La prueba está en que cualquier lector de Gabriel García Márquez que llegue por primera vez tendrá la sensación de que, en realidad, lo que está haciendo es volver. Las brújulas no sirven de mucho para los viajes literarios. El tiempo siempre es otro en Cartagena de Indias, donde todo sucede casi sin querer, en medio del dulce bullicio caribeño de su casco histórico.
Story.
Cartagena de Indias con Gabriel García Márquez José Alejandro Adamuz. National Geographic, 2023.
City Center
Caribbean Sea
Bocagrande
Shipping ports
Barrio Torices
Cienega Las Quintas
Cartagena de Indias
Photograph. Aerial view of Cartagena, towards the bay with the Pueblo Nuevo, Pekin and Boquetillo neighborhoods in the foreground. 1925.
Photograph. Aerial view from the Ciénaga de la Virgen with the El Pozon neighborhood in the foreground with the flood pipes and the city center in the background. Cartagena de Indias. 2018.
Photograph.
Historical photograph taken from San Felipe de Barajas Fort in the walled City of Cartagena de Indias. 1960.
Cartography. Plano de Cartagena de las Indias, Lamina IV. Engraved copper plate print. Antonio Marín, 1748.
areas featured the development of wide streets and avenues that connected the new urban complexes with the walled city, as well as large lots that allowed for the development of diverse typologies.
With the emergence of the first neighborhoods outside the city walls, new arrangements for the development of land structure, the placement of buildings on plots, and the distinction between public and private spaces began to take shape from an urban planning perspective. In the late 19th century and the first three decades of the 20th century, the concept of a front yard emerged as an urban element that defines the boundary between public and private space, physically marked by a wall or fence that establishes the property’s boundary line. In terms of placing the building on the plot, it is set apart from the boundaries of the property, creating spacious open areas around it that are adapted into gardens, which harmonize with the building in a landscaped manner.
During the Republican architecture period in Cartagena de Indias, houses were developed on large plots, centered within the property and surrounded by beautiful gardens. “There were three types of villas: V1, V2, and V3. V1 villas were single-story and primarily designed for single-family homes. V2 villas had higher ceilings, while V3 villas were two stories tall and sometimes accommodated two families.” 13 24
In popular culture, architecture mimicked some characteristics of these larger villas, which were intended for higher-income classes. On smaller plots and with fewer resources, these homes still reflected the villa typologies, including passages on both sides between the house and the neighboring wall. Gardens became orchards and occasionally included chicken coops. These homes could house one or two families and featured a front porch for gatherings with friends and neighbors. 25-42
13 Ricardo A. Zabaleta Puello. Arquitectura Moderna en Cartagena de Indias, Colombia. Universidad de Granada, Universidad de Cartagena, Universidad Simon Bolivar, 2017. pg. 195.
Cartagena de Indias
Drawings. Ficha Tipológica Casas Villa: V1, V2, V3. POT de Cartagena de IndiasDecreto 0977. Plan de Ordenamiento Territorial – POT Cartagena de Indias, 2001.
25
26
Photograph. Popular Architecture on Paseo Bolivar #35A-18, Cartagena de Indias, Colombia Google Maps, 2014.
Photograph. Popular Architecture on Paseo Bolivar #35A-18, Cartagena de Indias, Colombia Google Maps, 2013. 27
Photograph. Popular Architecture on Paseo Bolivar #35A-18, Cartagena de Indias, Colombia Google Maps, 2022.
Cartagena de Indias
28
Photograph.
Popular Architecture on Paseo Bolivar #44, Cartagena de Indias, Colombia Google Maps, 2012.
29
Photograph.
Popular Architecture on Paseo Bolivar #44, Cartagena de Indias, Colombia Google Maps, 2016.
30
Photograph.
Popular Architecture on Paseo Bolivar #44, Cartagena de Indias, Colombia Google Maps, 2019.
Photograph. Popular Architecture on Paseo Bolivar #44-14, Cartagena de Indias, Colombia Google Maps, 2019.
Photograph. Popular Architecture on Paseo Bolivar #44-14, Cartagena de Indias, Colombia Google Maps, 2012. 33
Photograph. Popular Architecture on Paseo Bolivar #44-14, Cartagena de Indias, Colombia Google Maps, 2022.
Cartagena de Indias
Photograph.
Photograph.
Popular Architecture on Paseo Bolivar #44, Cartagena de Indias, Colombia Google Maps, 2015.
Popular Architecture on Paseo Bolivar #44, Cartagena de Indias, Colombia Google Maps, 2013. 36
Photograph.
Popular Architecture on Paseo Bolivar #44, Cartagena de Indias, Colombia Google Maps, 2022.
Photograph. Popular Architecture on Paseo Bolivar #32-100, Cartagena de Indias, Colombia Google Maps, 2013.
Photograph. Popular Architecture on Paseo Bolivar #32-100, Cartagena de Indias, Colombia Google Maps, 2019.
Photograph. Popular Architecture on Paseo Bolivar # 32-100, Cartagena de Indias, Colombia Google Maps, 2022.
Cartagena de Indias
40
Photograph.
Popular Architecture on Paseo Bolivar #321, Cartagena de Indias, Colombia Google Maps, 2012.
41
Photograph. Popular Architecture on Paseo Bolivar #321, Cartagena de Indias, Colombia Google Maps, 2017.
42
Photograph.
Popular Architecture on Paseo Bolivar #321, Cartagena de Indias, Colombia Google Maps, 2022.
DANE census, 1905 y 1918. Giridharadas, Anand. “Love and Cartagena.” The New York Times, April 29, 2010. https://www. nytimes.com/2010/05/02/travel/02cartagena.html.
Zabaleta Puello, Ricardo A. Arquitectura Moderna en Cartagena de Indias, Colombia. Universidad de Granada, Universidad de Cartagena, Universidad Simon Bolivar, 2017
Paseo Bolivar #39-25
“Balance of fragment and whole, raw and refined, new and old(...) Be curious about what’s going on around you and respond to it. Losen up and follow whats happening.”
Frank Ghery, FAIA Talks about His House, Neighbors & Leaks
When you come from a country with limited resources, you are used to not wasting them. Recycling, reusing, upcycling, and saving energy comes automatically, there is a responsible behavior that surges from necessity and lack of room to be wasteful. A house is not a static house, a house is a container of architectural surfaces that serve as backdrops for life, they allow for domestic activities and scenes to occur, they accommodate change and financial distress. Analyzing the modes of expression and construction in an architecture that is built from austerity and how these practices are both inherently political and sustainable serves as reference to respond to a world that suffers from overbuilding.
To set the scene for the project of Everyday, Popular, Matters, it becomes relevant to share a short story of this one specific house. Though the house holds a form as general, ordinary and familiar to any other one of its typology—in reality, it’s a very particular building, whose color, whose smell, whose ugly neighbors, whose plastered facade, and material details are not overlooked.
José and Juana lived with their seven children on the outskirts, only a mile-away, from the Walled City center of Cartagena, Colombia. Due to limited resources, the house was a constant construction site, and yet, the family moved in as soon as the walls and roofs were built with the help of local construction workers. Every day after work, José would go to the local materials store and purchase the imperfect cement tiles that the store could no longer hold, the leftovers. He would gather them until he had enough to lay an entire room. On the weekends, he would spend his time in the backyard, casting blocks made from cement and local gray sand.
In seventy-four years since the initial construction, the house has undergone various program modifications. It went from being a single-family home for a large family, to being a smaller house that could accommodate the family and generative income programs. The house has been a restaurant, a hairdresser’s salon, a game store, a rotisserie, a convenience store, a gym, and so on. It is in this house that formal and informal construction result in different ways of living.
This thesis begins at cataloguing and building a collection of fragments, memories, and forms of knowledge, creating a historical account of all the ‘architectural’ aspects and modifications that the house on Paseo Bolivar #39-25 has undergone, expanding the record of contributors, geographies, and sociopolitical contexts.
To imagine the proposal for the next life cycle of the house, the thesis Everyday, Popular, Matters is interested in valuing all its past lives with an equivalent gaze,
where no one version prevails over the others, a work of metamorphosis that modifies what is found based on the intrinsic strength of the existing. Showing the presence of the past on the material of the present results in a building as a palimpsest that occupies more than just its physical space.
In the search of an expanded definition for material reuse, this thesis considers four conditions: construction techniques, extractive processes, cultural practices, and craft technologies. Adaptable concrete, wood, and steel structures define the construction techniques, allowing for both permanent and temporary inhabitations of the house. Cast concrete blocks and hollow clay bricks manifest extractive processes, conforming the enclosures and boundaries of the house to encapsulate memories and preserve the passage of time. Encaustic cement tiles represent cultural practices, revealing domestic acts and unearthing the layered stories and contested meanings embedded in their design and fabrication. Meanwhile, textile canopies and woven patterned rugs express craft technologies, anchoring the house to its cultural context by representing the permanence of artisanal practices. The collection of these techniques evidences material resources beyond their generic qualities.
This thesis assembles all the material entities involved in the making of a house, integrating vastness into itself without spatial reproduction. Embedded in the neoliberal economic model of vapid late consumerist emptiness, architecture can develop a strategy towards material reuse that considers the histories and memories of material objects. Accepting the accumulation of histories found in an existing building is a discipline, it enables a profound transformation for their meaning and performance to occur.
Everyday Matters in Popular Architecture
43
Last photograph before second floor addition, house still resembled qualities from the 1943 house.
44
Photograph. Popular Architecture on Paseo Bolivar #39-25, Cartagena de Indias, Colombia Google Maps, 2014.
Ground floor house replaced with generative income programs, in use while the second floor is in construction.
Photograph. Popular Architecture on Paseo Bolivar #39-25, Cartagena de Indias, Colombia Google Maps, 2012. 45
Photograph. Popular Architecture on Paseo Bolivar #39-25, Cartagena de Indias, Colombia Google Maps, 2022.
Second floor occupied with generative income program, left ground floor renovated, re-expansion of house program.
Drawing. Mind Map, Casa Paseo Bolivar #39-25
Every day after work, José walked to El Tendal, the local materials store, to purchase imperfect cement tiles. The store’s owner, allowed him to take these misfit tiles, knowing they would find a new life. In his ancestral home, where bare concrete slabs once served as floors, José arranged the tiles into intricate patterns, creating mosaic rugs that celebrated their flaws.
Each room became a sanctuary of memories, with the tiles quietly embodying the persistence of life. The townspeople, passing by without a second glance, never noticed the intricate designs beneath Alfonso’s feet. To Alfonso, these tiles were more than discarded remnants; they replaced the cold concrete with warmth and history, a testament to love, memory, and the art of finding beauty in the imperfect. With the passing of time, José felt a deep connection to something eternal, content in his ritual of transforming the imperfect into something beautiful.
Text. John Dix Ponnefz Anecdote
Dix Sánchez Archive, 1972.
Short Story. El Tendal. 2024
Photograph. Proceso de autoconstruccion para mejoramiento de vivienda barrio Moravia. Gilberto Arango, 1988.
Photograph. Atlas de arquitectura anónima. Andres Souto Vilaros, 2016.
Document. El rol de la arquitectura en: autoconstrucción, autoproducción y producción social asistida de vivienda. Black ink on paper. Mariana Ordoñez y Jesica Amescua, 2020.
Photograph. Apuntalamiento de cimbra hasta el fraguado de los elementos vertcales. Lúcio Ventania, 2017.
Photograph. Molds for concrete beams and columns. Everyday, Popular, Matters, 2024.
Photograph. Cast molds for concrete beams and columns. Everyday, Popular, Matters, 2024.
Photograph. Assembly of concrete beams and columns. Everyday, Popular, Matters, 2024.
Photograph. Assembly of roof wood beams. Everyday, Popular, Matters, 2024.
Photograph. Patio trasero, cement-sand calados fabrication in the background Dix Sánchez Archive, 1945.
Photograph. Patio trasero, cement-sand calados fabrication in the background Dix Sánchez Archive, 1945.
Photograph. Sala de estar, calados in the background Dix Sánchez Archive, 1986.
Photograph. House, ‘MerKaMas’, Rotisserie, ‘Muscle Gym Factory’. Google Maps, 2017.10.
Signage. MerKaMas, Fruit and Vegetable Market
Signage. MerKaMas, Fruit and Vegetable Market
Photograph.
Front Porch. Material samples for mosaic rugs assembled with encaustic cement tiles.
Dix Sánchez Archive, 1998.
Photograph.
Front Porch. Material samples for mosaic rugs assembled with encaustic cement tiles.
Dix Sánchez Archive, 1952.
Photograph.
Front Porch. Material samples for mosaic rugs assembled with encaustic cement tiles.
Dix Sánchez Archive, 1980.
Photograph.
Front Porch Material samples for mosaic rugs assembled with encaustic cement tiles. Dix Sánchez Archive, 1980.
Photograph. Encaustic Cement Tile No.1
Flores & Prats, Arhcs, 2021.
Photograph. Encaustic Cement Tile No.2
Flores & Prats, Arhcs, 2021.
Photograph. Encaustic Cement Tile No.3
Flores & Prats, Arhcs, 2021.
Diagram. Front Porch. Material samples for mosaic rugs assembled with encaustic cement tiles. 2024.
Encaustic cement tiles, celebrated for their intricate patterns and durability, became popular in Spain during the late 19th century and soon spread to Colombia. Introduced through Spanish trade, these tiles quickly became a favored flooring material in Colombia’s colonial and early Republican architecture. Made by pressing pigmented cement into a mold, they offered a more affordable and colorful alternative to traditional ceramic tiles. Their intricate designs, often featuring Moorish, geometric, and floral motifs, reflect Spain’s rich cultural heritage.
Colombian cities like Cartagena and Bogotá embraced these tiles. Today, encaustic cement tiles are appreciated for their historical value and their role in preserving the country’s architectural heritage.
“The whole apartment has these beautiful tiles, they change from room to room. It’s a very nice sequence when you walk through the corridor and you find these tiles. Each tile has different edges, some of them move and make noise, so we know which ones not to step on. All the different colors and patterns make each one unique, which we really appreciate.”
Text.
History of Encaustic Cement Tiles
Lecture.
Second Hand: A Virtual Lecture by Eva Prats and Ricardo Flores. The Design School at ASU, 2021.
Photograph. Reclaimed Spanish Cement Tiles East End Salvage, 19th century.
Photograph. Reclaimed Spanish Cement Tiles East End Salvage, 19th century.
Qty.
Manufactured. Weight. Dimensions. Material.
Color.
Finish. Properties. Preparation. 12 1950 1.2 kg
200 x 200 mm white marble powder, white portland cement, sand, pigments yellow oxide, ultra blue, cool grey, brick matte handmade geometric pattern extracted from original
Qty.
Manufactured. Weight. Dimensions. Material.
Color.
Finish. Properties. Preparation. 60 1950 1.2 kg 200 x 200 mm white marble powder, white portland cement, sand, pigments yellow oxide, ultra blue, cool grey, brick matte handmade geometric pattern extracted from original
Cement Encaustic Tile No.1
Cement Encaustic Tile No.2
Qty.
Manufactured. Weight. Dimensions. Material.
Color.
Properties. Preparation.
Qty.
Manufactured. Weight. Dimensions. Material.
Color.
Finish. Properties. Preparation. 36
portland
Cement Encaustic Tile No.3
Cement Encaustic Tile No.4
Qty. Manufactured. Weight. Dimensions. Material.
Color. Finish.
Properties. Preparation. 12 1950 1.2 kg
200 x 200 mm white marble powder, white portland cement, sand, pigments yellow oxide, cool grey, brick matte handmade geometric pattern extracted from original
Qty. Manufactured. Weight.
Dimensions. Material.
Color. Finish.
Properties. Preparation. 6 1950 1.2 kg
200 x 200 mm white marble powder, white portland cement, sand, pigments yellow oxide, brick matte handmade geometric pattern extracted from original
Cement Encaustic Tile No.5
Cement Encaustic Tile No.6
Qty.
Manufactured. Weight.
Dimensions. Material.
Color.
Finish. Properties. Preparation.
Qty. Manufactured. Weight.
Dimensions. Material.
Color. Finish. Properties. Preparation.
x 200 mm white marble powder, white portland cement, sand, pigments yellow oxide, ultra blue, cool grey, brick matte handmade geometric pattern extracted from original
portland
Cement Encaustic Tile No.7
Cement Encaustic Tile No.8
Qty.
Manufactured. Weight.
Dimensions. Material.
Color. Finish.
Properties. Preparation.
Qty. Manufactured. Weight.
Dimensions. Material.
Color. Finish. Properties. Preparation.
x 200 mm
marble powder, white portland cement, sand, pigments yellow oxide, ultra blue, cool grey, brick matte handmade geometric pattern extracted from original
portland
Cement Encaustic Tile No.9
Cement Encaustic Tile No.10
Photographs. Traditional Encaustic Cement Tiles Fabrication How are Encaustic Cement Tiles Made? Mold Design and hand bending. White Hub, 2023.
Photographs. Traditional Encaustic Cement Tiles Fabrication How are Encaustic Cement Tiles Made? Welding and polishing. White Hub, 2023.
99 Photographs. Traditional Encaustic Cement Tiles Fabrication How are Encaustic Cement Tiles Made? Color Mixing, vibrant color pastes and pigments. White Hub, 2023.
Photographs. Traditional Encaustic Cement Tiles Fabrication How are Encaustic Cement Tiles Made? Slip casting cement slurry. White Hub, 2023.
Photograph. Traditional Encaustic Cement Tiles Fabrication How are Encaustic Cement Tiles Made? Powdering with cement base material. White Hub, 2023.
Photograph. Traditional Encaustic Cement Tiles Fabrication How are Encaustic Cement Tiles Made? Hydraulic mold pressing. White Hub, 2023.
Photograph. Traditional Encaustic Cement Tiles Fabrication How are Encaustic Cement Tiles Made? Demolding. White Hub, 2023.
Photograph. Traditional Encaustic Cement Tiles Fabrication How are Encaustic Cement Tiles Made? Curing, 24 hr. ‘nature curing’, soaked in water. White Hub, 2023.
Photograph. Traditional Encaustic Cement Tiles Fabrication How are Encaustic Cement Tiles Made? Drying, 7 days until completely dry. White Hub, 2023.
Qty. Manufactured.
Weight.
Dimensions.
Material.
Color. Finish.
Properties. Preparation.
1 of each, 6 total 2024
.4 kg
203 x 206 x 24 mm cast acrylic, Hatchbox PLA clear, matte white matte (pattern), glossy (box) 3D modeled laser cut and 3D print
Cement Encaustic Mold Tile No.2
Qty.
Manufactured.
Weight.
Dimensions.
Material.
Color.
Finish.
Properties.
Preparation.
1 of each, 6 total 2024 .4 kg
203 x 206 x 24 mm
cast acrylic, Hatchbox PLA clear, matte white matte (pattern), glossy (box) 3D modeled laser cut and 3D print
Cement Encaustic Mold Tile No.3
Qty. Manufactured.
Weight.
Dimensions.
Material.
Color. Finish.
Properties. Preparation.
1 of each, 6 total 2024
.4 kg
203 x 206 x 24 mm cast acrylic, Hatchbox PLA clear, matte white matte (pattern), glossy (box) 3D modeled laser cut and 3D print
Cement Encaustic Mold Tile No.4
Qty.
Manufactured.
Weight.
Dimensions.
Material.
Color.
Finish.
Properties.
Preparation.
1 of each, 6 total 2024 .4 kg
203 x 206 x 24 mm
cast acrylic, Hatchbox PLA clear, matte white matte (pattern), glossy (box) 3D modeled laser cut and 3D print
Cement Encaustic Mold Tile No.5
Qty. Manufactured.
Weight.
Dimensions.
Material.
Color. Finish.
Properties. Preparation.
1 of each, 6 total 2024
.4 kg
203 x 206 x 24 mm cast acrylic, Hatchbox PLA clear, matte white matte (pattern), glossy (box) 3D modeled laser cut and 3D print
Cement Encaustic Mold Tile No.6
Qty.
Manufactured.
Weight.
Dimensions.
Material.
Color.
Finish.
Properties.
Preparation.
1 of each, 6 total 2024 .4 kg
203 x 206 x 24 mm
cast acrylic, Hatchbox PLA clear, matte white matte (pattern), glossy (box) 3D modeled laser cut and 3D print
Cement Encaustic Mold Tile No.7
tile photo
Qty. Manufactured.
Weight.
Dimensions.
Material.
Color.
Finish.
Properties.
Preparation.
1 2024
1.2 kg
200 x 200 mm white marble powder, white portland cement, sand, pigments yellow oxide, ultra blue, cool grey, brick matte
handmade
geometric pattern extracted from original
Cement Encaustic Tile No.2
tile photo
Qty.
Manufactured.
Weight.
Dimensions.
Material.
Color.
Finish.
Properties.
Preparation. 2 2024 1.2 kg
200 x 200 mm white marble powder, white portland cement, sand, pigments yellow oxide, cool grey, brick matte
handmade
geometric pattern extracted from original
Cement Encaustic Tile No.3
tile photo
Qty. Manufactured.
Weight.
Dimensions.
Material.
Color.
Finish.
Properties.
Preparation. 1 2024
1.2 kg
200 x 200 mm white marble powder, white portland cement, sand, pigments yellow oxide, cool grey, brick matte
handmade geometric pattern extracted from original
Cement Encaustic Tile No.4
tile photo
Qty.
Manufactured.
Weight.
Dimensions.
Material.
Color.
Finish.
Properties.
Preparation. 1 2024
1.2 kg
200 x 200 mm white marble powder, white portland cement, sand, pigments yellow oxide, cool grey, brick matte
handmade
geometric pattern extracted from original
Cement Encaustic Tile No.5
tile photo
Qty. Manufactured.
Weight.
Dimensions.
Material.
Color.
Finish.
Properties.
Preparation. 1 2024 1.2 kg 200 x 200 mm white marble powder, white portland cement, sand, pigments yellow oxide, brick matte
handmade geometric pattern extracted from original
Cement Encaustic Tile No.6
tile photo
Qty.
Manufactured.
Weight.
Dimensions.
Material.
Color.
Finish.
Properties.
Preparation.
1 2024
1.2 kg
200 x 200 mm
white marble powder, white portland cement, sand, pigments yellow oxide, ultra blue, cool grey, brick matte
handmade geometric pattern extracted from original
Photograph. Forest Green and white woven rug fabrication, floor loom Everyday, Popular, Matters, 2024.
Photograph. Forest Green and white woven rug Everyday, Popular, Matters, 2024.
Hand Woven Rug No.1
Qty.
Manufactured.
Weight. Dimensions. Material. Color.
Finish. Type.
Properties. 1 2024
500 g 1,420 x 860 mm
cotton green white ‘matizado’ raw
Rug hand woven in Mexico, table loom
Pattern extracted from Cement Encaustic Tile No.5
Hand Woven Rug No.2
Qty. Manufactured.
Weight.
Dimensions.
Material.
Color.
Finish.
Type.
Properties.
1 2024
300 g 1,420 x 860 mm
cotton deep mustard
raw
Rug hand woven in Mexico, table loom
Pattern extracted from Cement Encaustic Tile No.6
Pattern extracted from Cement Encaustic Tile No.5 rug photo
Hand Woven Rug No.1
Qty.
Manufactured.
Weight.
Dimensions.
Material.
Color.
Finish.
Type.
Properties. 1 2024
500 g 1,420 x 860 mm
cotton green white ‘matizado’ raw
Rug hand woven in Mexico, table loom
Hand Woven Rug No.2
Qty. Manufactured.
Weight.
Dimensions.
Material.
Color.
Finish.
Type.
Properties.
1 2024
300 g 1,420 x 860 mm
cotton deep mustard
raw
Rug hand woven in Mexico, table loom
Pattern extracted from Cement Encaustic Tile No.6
Gehry, Frank. “Frank Gehry, FAIA Talks about His House, Neighbors & Leaks.” YouTube, December 12, 2014. https://www.youtube.com/watch?v=Gisj_G5DZTA&ab_channel=AIANational.
work in progress
The Discipline of the Existing
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Drawing. House on Paseo Bolivar #39-25, 19432017. Everyday, Popular, Matters, 2024.
