MASTER THESIS PROGRAM MALGORZATA GRZESIKOWSKA 180121 AAE 2020
It is an architectural project of a cultural center situated in the world’s capital of copper mining, the city of Antofagasta, in Chile. This research is an exploration of how architecture can embrace the culture, safeguard the heritage, and strengthen the relationship between the inhabitants and their environment. An architecture that can create space of critical reflection and dialogue in place where there is no institution that can provide it.
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Embodied Absence
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I s t m f m C i N a i h h r n ti a m d C o y s o s t t w s n b h t a e t l t I e m e d a y y t y s w t s O c a w y t k ti s c
If you forget me “I want you to know one thing. You know how this is: if I look at the crystal moon, at the red branch of the slow autumn at my window, if I touch near the fire the impalpable ash or the wrinkled body of the log, everything carries me to you, as if everything that exists, aromas, light, metals, were little boats that sail toward those isles of yours that wait for me. Well, now, if little by little you stop loving me I shall stop loving you little by little. If suddenly you forget me do not look for me, for I shall already have forgotten you.” In “If you forget me,” Neruda emphasizes the need for reciprocity in his romance, though the subject of the poem isn’t completely clear. Some analysts say the poet is speaking of his home country Chile – as the poem was written during Neruda’s exile at the time of Pinochet’s coup – though he could easily be referencing his lover and third wife, Matilde Urrutia. Capturing the emotional intensity of love along with its insecurities, perhaps Neruda is commenting on both. His roots in Chile and his relationship with Urrutia impacted him greatly and had a profound affect on his identity. One thing is for sure, Neruda’s words will never be forgotten. A dog has died “My dog has died. I buried him in the garden next to a rusted old machine. Some day I’ll join him right there, but now he’s gone with his shaggy coat, his bad manners and his cold nose, and I, the materialist, who never believed in any promised heaven in the sky for any human being, I believe in a heaven I’ll never enter. Yes, I believe in a heaven for all dogdom where my dog waits for my arrival waving his fan-like tail in friendship. Ai, I’ll not speak of sadness here on Earth, of having lost a companion who was never servile.”Anyone who has lost a beloved pet can relate to this classic Neruda poem. Here the poet explores the authenticity and dignity of his relationship with his dog, who has died. Though the poem starts out expressing a distance or removal from the dog, the intimacy and love Neruda feels for the pet is revealed as the poem continues. Neruda explores his own mortality in the poem as well, discussing his own views and doubts about the afterlife. I want to do with you what the spring does with the cherry trees. Every day you play “You are here. Oh, you do not run away. You will answer me to the last cry. Curl round me as though you were frightened. Even so, a strange shadow once ran through your eyes. Now, now too, little one, you bring me honeysuckle, and even your breasts smell of it. While the sad wind goes slaughtering butterflies I love you, and my happiness bites the plum of your mouth. How you must have suffered getting accustomed to me, my savage, solitary soul, my name that sends them all running. So many times we have seen the morning star burn, kissing our eyes, and over our heads the gray light unwinds in turning fans. My words rained over you, stroking you. A long time I have loved the sunned mother-of-pearl of your body. Until I even believe that you own the universe. I will bring you happy flowers from the mountains, bluebells, dark hazels, and rustic baskets of kisses. I want to do with you what spring does with the cherry trees.” The poem “Every day you play” includes one of Neruda’s most iconic lines, “I want to do with you what spring does with the cherry trees.” It’s a very romantic poem, like many of Neruda’s most famous works. His words imply an intense sensuality and fertility, as the poem includes several references to the season of spring; flowers, butterflies and fruits. Tonight I can write the saddest lines “Tonight I can write the saddest lines. Write, for example, ‘The night is shattered and the blue stars shiver in the distance.’ The night wind revolves in the sky and sings. Tonight I can write the saddest lines. I loved her, and sometimes she loved me too. Through nights like this one I held her in my arms I kissed her again and again under the endless sky. She loved me sometimes, and I loved her too. How could one not have loved her great still eyes.” Haunting and tragic, Neruda’s poem reveals the pangs of heartbreak through the solitude of night, a night once filled with the presence of a lover. Another iconic line of Neruda’s is present in this poem, “Love is so short, forgetting is so long.” Along with the night imagery throughout, this poem sticks with the reader thanks to the repeated line, “Tonight I can write the saddest lines,” which feels very immediate, final and strongly connected to Neruda’s inner life at the time he wrote the work. Ode to tomatoes “The street filled with tomatoes, midday, summer, light is halved like a tomato, its juice runs through the streets. In December, unabated, the tomato invades the kitchen, it enters at lunchtime, takes its ease on countertops, among glasses, butter dishes, blue saltcellars. It sheds its own light, benign majesty.” Besides his epic romantic poetry, Neruda was famous for writing many different odes to foods and objects. Through great detail and imagery, Neruda makes the ordinary extraordinary in his various odes, like the above “Ode to tomatoes.” By placing so much emphasis and glory into the minute details of life, by reading his odes, the audience can share in Neruda’s passion for the world’s simplest wonders – wonders as simple as tomatoes, onions or a large tuna. When I die I want your hands on my eyes: I want the light and the wheat of your beloved hands to pass their freshness over me one more time to feel the smoothness that changed my destiny. I want you to live while I wait for you, asleep, I want for your ears to go on hearing the wind, for you to smell the sea that we loved together and for you to go on walking the sand where we walked. I want for what I love to go on living and as for you I loved you and sang you above everything, for that, go on flowering, flowery one, so that you reach all that my love orders for you, so that my shadow passes through your hair, so that they know by this the reason for my song. Canto General is an epic work by Pablo Neruda consisting of 15 sections and 231 poems. Considered one of his most influential books, it focuses on the entire history of the New World from the perspective of a Hispanic American. This poem begins with the narrator describing his exhaustion with modern life, both his and that of his fellow human beings, while climbing up to Machu Picchu. On viewing the magnificent city of the Incas, he is captivated by it and thinks about the life of the ancient who built it. He concludes that their lives were as noble and also as meaningless as that of people today. Inspired by his 1943 visit to the ancient Inca city of Machu Picchu in Peru, The Heights of Macchu Picchu is considered by many people as Neruda’s greatest work; and it is the most famous canto of his critically acclaimed epic Canto General. am coming to speak for and through your dead mouths. Throughout the earth, join together all the scattered silent lips, and out of the depths speak to me during this long night as if I were anchored to you. Tell me everything, chain by chain, link by link, and step by step. Sharpen the knives you’d locked away, put them on my breast and into my hands, like a river of yellow lightening, like a river of buried tigers, and let me cry, hours, days, years, blind ages, stellar centuries. The poems in Neruda’s Veinte poemas follows a love story from initial infatuation to the passionate relationship and finally the separation. Poem 20, the penultimate poem of the collection, expresses the pain of the speaker due to the absence of his lover in his life as their relationship has fallen apart.
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THESIS PROGRAM SPRING 2020 The Royal Danish Academy of Fine Arts Schools of Architecture, Design and Conservation
Master Program: AEE, Architecture and Extreme Environments Institute: IBT, Institute for Building and Technology Student: Malgorzata Grzesikowska Stud180121 grzesikowska@gmail.com +45 50336715 Tutor: Runa Johannessen
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I N T RO D U C T I O N
index Embodied Absence The Cultural Center in the City of Antofagasta Academic Framework Course Introduction Expedition Scale: Chile Scale: Atacama Desert Scale: Antofagasta
IN V E S T I GAT I O N
Investigation: ART Street Art /the political role of art Protests / Natural and Cultural Landscapes in Atacama Desert: Between Tradition and Innovation
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Chilean Culture and Contemporary Art
“Modern geoglyphs” in Antofagasta Mountainside Messages SACO / The Contemporary Art Festival in Antofagasta
Investigation: EQUALITY
P RO G RA M
Investigation: SUSTAINABILITY Initial investigation / Device Program Scale References Collaborators
P ROJ EC T: MA LG O R ZATA G R ZES I KOWS KA
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introduction
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Project Introduction
Embodied Absence The Cultural Center in the City of Antofagasta
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Embodied Absence is an architectural project of a cultural center situated in the world’s capital of copper mining, the city of Antofagasta, in Chile. It is the territory of the Atacama Desert, the driest place of the planet that contains a vast mineral wealth, spectacular landscapes and rich history. The mining industry is the most significant job provider and one of the pillars of the Chilean economy. However, it is as well one of the main reasons for inequality in the country, cultural heritage loss, and has a negative environmental impact. Moreover, it creates a homogenous environment that focuses only on one sector of the economy. One of the consequences that it brings is the lack of artistic institutions in the entire northern part of Chile. For the healthy development of the cities, there is a need for diversity and multifunctionality. It is especially crucial for Antofagasta due to its strong economic position, future prosperity, and predicted growth. Like in Nature, diversity is essential for a stronger and more adaptable ecosystem; the variety and ability to comprehend complexity is a high value in terms of innovation and critical thinking. SACO, an annual contemporary art festival held in Antofagasta, reveals the necessity of the places for critical reflection, dialogue, and creativity, and a lack of institutions that can provide it in the city. If Antofagasta is genuinely the future of Chile, what kind of future can we imagine for the next generations? This research is an exploration of how architecture can embrace the culture, safeguard the heritage, and strengthen the relationship between the inhabitants and their environment. An architecture that can create space of critical reflection and dialogue. The project proposes a mix-use space that will provide a place for exhibitions, art and music academies, and research center. Additionaly the project provides places for artists to stay temporarly during their visits in the city.
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To read this project correctly is necessary to understand the scales and dimensions of its specificity. To make it easier, a set of icons and a legend was created. The usage of symbols throughout the project is a direct reference to the pre-Columbian art of Native Americans. “The Indian created art by sensations, by synthesis, by idealization. He never learned to tell the truth in the sense of accuracy, copy, repetition: his truth is symbolic, it follows and condensates fixed symbols, but which vary in composition to offer a mixture of legend and the state of the soul.”²
The colors used in the project: blue, white, and red, represent the colors of Chile. The project compares and searches for similarities and differences in several aspects (art, education, equality, and sustainability) in three scales: Chile as a country, the Atacama Desert, and the city of Antofagasta. In the corner of the page, you can find a symbol of what scale it concerns:
The scale of an entire Chile
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Chile Atacama
The scale of the Atacama Desert territory
Antofagasta
The scale of the city Antofagasta
The project moves between time; intertwines the past, presence and the future.
Past
Present
Future
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academic framework
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Course Introduction
Architecture and Extreme Environments This project is a part of the Architecture and Extreme Environments master program at the Royal Danish Academy of Fine Arts in Copenhagen. This master programme has a strong focus on site-specific design, achieving this through direct engagement and expeditions to environments which are out of balance. This year’s expedition was to Atacama Desert, Chile which took place between 18th of November and 14th of December 2019. The programme aims to develop a site-specific and technologyfocused understanding of architecture, as a response to present and future global challenges, including those defined as UN Global Goals. The first semester will centre on the understanding of the context/theme/site and its relevant challenges in habitation and the built environment. The semester’s work is divided into the phases; Information gathering, Prototype, Fieldwork, Formalization and Communication. The fieldwork revolves around the testing of prototypes that are designed to explore a certain theme and/or survey a chosen site. Emphasis is given to an understanding of the formal and artistic implications of the designs in the given contexts and how the design can instigate a dialogue with its surroundings. These exercises will culminate in the formulation of a preliminary architectural program. The main formats of engagement during this semester will be investigation, literature search, sketching, manufacturing, written work, on-site field exploration, collaborations with practices and manufacturers both at home and abroad and group work. A theoretical positioning is a pivotal part of this program, which translates into a continuous series of reading and writing activities focused on critical thinking.
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Expedition At the end of 2019, the onemonth expedition took place in Antofagasta, Chile, as a part of the Architecture and Extreme Environments Program. Antofagasta is an arid, coastal city located in the Atacama Desert in the North part of Chile. The trip was preceded by profound cultural, climatic, and economic research resulted in a device prototype that was later on transported, assembled, and tested on the chosen sites.
Copen
Denm
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Chile, South American country occupying a long, narrow strip of land between the Andes to the east and the Pacific Ocean to the west. Because of the country’s extreme length it has a wide variety of climates, from the coastal desert beginning in the tropical north to the cold subantarctic southern tip. Chile is also a land of extreme natural events: volcanic eruptions, violent earthquakes, and tsunamis.³
Atacama
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Atacama Desert
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Chile
Chile The Atacama desert is one of the driest places in the world, as well as the only true desert to receive less precipitation than the polar deserts. Most of the desert is composed of stony terrain, salt lakes (salares), sand, and felsic lava that flows towards the Andes. The arid Atacama Desert contains great mineral wealth, principally copper and lithium.â ´
Chile
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mark
Denmark
Antofagasta Antofagasta is a port city in northern Chile, about 1,100 kilometres north of Santiago. It is the capital of Antofagasta Province and Antofagasta Region.⠾ Population (2017 Census) • Urban 352,638
Antofagasta
Antofagasta
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North Chile
Is the North Chile the future of the country? Central Chile
Chile
The relatively small central area dominates in terms of population and agricultural resources, and is the cultural and political center from which Chile expanded in the late 19th century when it incorporated its northern and southern regions.
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Southern Chile Southern Chile is rich in forests and grazing lands, and features a string of volcanoes and lakes. The southern coast is a labyrinth of fjords, inlets, canals, twisting peninsulas, and islands.
Peru
No art institutions
Mining industry
Norte Grande
Atacama Desert
Bolivia
Antofagasta
Norte Chico Argentina
Santiago Zona Central
Cultural Center
Lauca National Park
Lirima Salar de Huasco
Iquique
Zona Sur
Alto Patache Salar Grande
Salar de Llamara Calama San Pedro de Atacama
Lomas Bayas Laguna Picular Cerro Aguas Blancas Yungay
Nature
Zona Extremo Sur
Antofagasta
Salar de Atacama
Cerro Paranal Paposo National Reserve
El Tatio Volcan Sairecabur Cerro Chajnantor Salar de Tara Valle de la Luna Laguna Chaxa Salar de Imilac Volcan Socompa Volcan Llullaillaco
Salar de Gorbea
Atacama Desert
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“The Atacama Desert is recognized as the most arid region of the planet; however, faced against this dry, inhospitable and hostile climate, the desert has revealed itself as a favorable environment to life under conditions of austerity and scarcity, where unpublished proposals for environmental conditioning have been implemented.”
Atacama
The dimensions of Atacama Desert
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Atacama Desert, Spanish Desierto de Atacama, cool, arid region in northern Chile, 1,000 to 1,100 km long from north to south. Its limits are not exactly determined, but it lies mainly between the south bend of the Loa River and the mountains separating the Salado-Copiapó drainage basins. To the north the desert continues to the border of Peru. The original inhabitants of the region were Atacameño, an extinct Indian culture, different from the Aymara to the north and the Diaguita to the south. For much of the 19th century, the desert was the object of conflicts among Chile, Bolivia, and Peru because of its mineral resources, particularly sodium nitrate deposits located northeast of Antofagasta and inland from Iquique. Much of the area originally belonged to Bolivia and Peru, but the mining industry was controlled by Chilean and British interests, which were strongly supported by the Chilean government.
To understand Atacama Desert we have to consider different dimensions of its specificity. It’s a place where we can observe the meeting point of different worlds. The dramatic landscapes tells the story of ancient times and like almost anywhere in the world you can feel presence.
Driest Desert in the World Studies conducted by NASA have concluded that this desert located in northern Chile is in fact the driest desert in the world. Some weather stations in the Atacama have never received rain. Periods of up to four years have been registered with no rainfall in the central sector, delimited by the cities of Antofagasta, Calama and Copiapรณ, in Chile. Evidence suggests that the Atacama Desert may not have had any significant rainfall from 1570 to 1971. Sterile Ground Both the Andes Mountains and the Chilean Costal Range, which surround this desert, create a blockage of moisture, making the Atacama Desert a kind of death zone for vegetation, depriving the land of water and nutrients. Largest Supply of Sodium Nitrate in the World This region is the largest natural supply of Sodium Nitrate, which can be used for producing fertilizers and explosives amongst other things. Mining of this mineral, also called Chile saltpeter, was at a boom in the 1940s and many abandoned mining towns may be spotted and visited in the desert. Extra Terrestrial Soil Soil samples from this region are very similar to samples from Mars; for this reason, NASA uses this desert for testing instruments for missions to the red planet. The Atacama is also a testing site for the NASA-funded Earth-Mars Cave Detection Program. The Atacama has also been used as a location for filming Mars scenes, most notably in the television series Space Odyssey: Voyage to the Planets. Extreme Temperatures During the day, temperatures in the desert can reach around 40ยบ C (104ยบ F), and in the night these temperatures can fall to 5ยบ C (41ยบ F). The climate is magnificent throughout the year, with more than 90% of the days being radiant. For 10 to 12 nights each month there is an astonishing moon and you can enjoy the darkness of the night with its fresh air and lack of clouds, which makes the stars shine as in no other place on earth. Chinchorro Mummies The oldest artificially mummified human remains have been found in the Atacama Desert. These mummies predate the Egyptian mummies by thousands of years, and the extreme lack of moisture helps in the preservation of these samples. To put this into perspective, the earliest mummy that has been found in Egypt dated around 3000 BC, while the oldest mummy recovered from the Atacama Desert is dated around 7020 BC. Astronomy The Atacama Desert is one of few locations on the globe with 300+ days with clear skies in a year, along with no light pollution and its high altitude, making it perhaps the best place in the world for observatories. In more recent years, the desert has become the home of the largest ground telescope in the world, ALMA, where studies of the formation of stars are conducted with the help of the images captured by the 66 radio telescopes. * Information from: https://www.quasarex.com/blog/10-facts-atacama-desert
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Antofagasta
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In Chile, Antofagasta is known as La Perla del Norte (“The Pearl of the North”), for its historical and economic importance. Antofagasta is a port city in northern Chile, about 1,100 kilometres north of Santiago. It is the capital of Antofagasta Province and Antofagasta Region. It was previously part of Bolivia. The city of Antofagasta is closely linked to mining activity, being a major mining area of the country. The last decade has seen a steady growth in the areas of construction, retail, hotel accommodations, population growth, and skyline development. Antofagasta has the highest GDP per capita of Chile, US$47,000 and the 3rd place for Human Development Index just after Metropolitana de Santiago Region and Magallanes and Antártica Chilena Region. Antofagasta is grounded on rocky ground, hard and tough. The city has an irregular geomorphology by the presence of steep hills (400–500 m) that are part of Chilean Coast Range, in its eastern edge, and the Pacific Ocean to the west.*
* https://pl.wikipedia.org/wiki/Antofagasta
50,000 will be the total number of homes we will need by 2035
50% of the services are located in the Central Sector
37% of trips are made in private cars
of the total housing we need, 14,000 will be social housing
Only 1% of trips are made by bicycle
High deficit of affordable housing for people
There are more cars in the city than we need
60% of the trade is located in the Central Sector
High segregation and poor connectivity between high and low zones
Concentration of commerce and services
What do antofagastinos believe about their neighborhood only 27% think their neighborhood is nice
The challenges of
Antofagasta*
230000 new inhabitants will have Antofagasta in the next 20 years
Improve the city center Improving its urban furniture and the management of public space, promoting the renovation of buildings in poor condition and preservation of assets of heritage value
New service or commerce centers
The city will continue to grow in the next 20 years 36 km of extension Merida antofagasta. The growth in extension affects neighborhoods life and keeps Antofagastians away from
low standard public transport 50% of Public Transportation trips are made today from the NORTH HIGH sector to the CENTER
Grow inward using the available space 1900 hectares we need to grow to meet the future demand for housing and commerce 1050 hestareas unused within the city equivalent to the surface of a city like Iqhique
A network of public spaces for the entire city 50 new places 275 new platforms 40 linear parks 74km of neighborhood streets
90 min can take a trip to downtown 5 subcenters distributed throughout the city 28 neighborhood centers that allow neighborhood life
* CreoAntofagastacreoantofagasta.cl Proyectos e iniciativas apuntan al reĂşso del agua en Antofagasta.
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equality
sustainability
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versus
mining industry
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Investigation
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art
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There is ART OR MINING
ART MINING Art in Chile works as a reflection that safeguards the cultural heritage of the country. It creates a space for debate. It challenges the identity of the country. It is an exploration into the past, and a platform to envision the future. Chile has a remarkable record of artistic and literary achievement, considering its relatively small population. Social and political circumstances have had a substantial impact on Chilean society and culture, inspiring groups of artists to protest against policies of the regime and strong rousing emotions, which translated into works of art and cultural achievement in different fields.
Chile is a global mining power. It is the largest copper producer, supplying 32% of worldwide production. Mining has been a pillar of national progress for a long time. The mining sector in Chile is one of the components of the Chilean economy, and copper exports alone stand for more than one-third of government income. Most mining in Chile is concentrated on the Norte Grande region spanning most of the Atacama Desert.
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ART MINING
Antofagasta as the capital of mining industry caused the most significant loss of cultural heritage in Chile’s recent history, according to the Chilean Archaeological Society, when it excavated more than 500 boulders bearing 2,000 petroglyphs and buried a pre-Columbian cemetery and archeological sites from two vanished cultures, to make way for the El Mauro tailings dam. (London Mining Network, 6/14/13)* The mining industry took over the northern part of Chile, creating a homogeneous environment focused on the production and excavation of natural resources. The lack of art institutions is a risk for further disappearance of cultural heritage.
*https://www.savetheboundarywaters.org/updates/antofagasta-chilean-mining-giant-rushing-ruin-boundary-waters
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Chilean Culture and Contemporary Art 20th Century Chilean Culture and Art
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Given that the Chile is young in geopolitical terms, it comes as no surprise that it was slightly underdeveloped at a time when the modern art era was blossoming in Europe and the United States of America. Its first official painter collective was called Generacion del 13, and it was named after the year of its inauguration (1913). The subjects that concerned these painters were close to those of American realists’, however the style itself is often described as post-romanticism, as a category similar to realism but still enveloped
Living In Chile – Art Inspiration When you’re living in a country with a landscape as dramatic as Chile, there is no doubt that it will become one of the most inspiring subjects. The way of dealing with landscape, on the other hand, is what changed and evolved as time passed by. Rectangulo group dared to treat the landscape differently and to reinvent its momentous character through abstract shapes. The legacy was further embraced by younger creatives, especially the muralists who dominated the art scene during the 60’s and the early 70’s, among them Roberto Matta who became one of the most prominent figures of Chilean painting.
by a touch of the personal, and ignorant of the leading trends in the rest of the world. As much as this collective was significant as a pioneering example of what a unified artistic group might be about, it could be said that one of the biggest break-throughs was made in the 1950s, when the Rectángulo group abandoned naturalism and started experimenting with geometric shapes. This was the first direct take on abstraction in Chilean art. Since then, Chile went through a series of political and societal changes, that further shaped the interests and the subject matter that became central to their artists.
tions of human rights, some of which resulted in brutal murders and tortures. Chileans were deprived of their rights to speak and act freely, at a time when humanity was, ironically, progressing toward a significant social liberation and tolerance (marked by the aftermath of the 1968 protests and the steady rise of feminism, all of which were supposed to lead toward a more equal and righteous world). Pinochet censorship naturally became the second most important impression that affected Chilean art, but the freedom to express discontent or fear was restricted.
In the mid 70’s, Chile faced the beginning of the most dreadful period in its history, marked by a military dictatorship led by Pinochet, which lasted from 1973 to 1990. Although he was never officially proclaimed a fascist, the Chilean leader was known for severe viola-
https://www.widewalls.ch/chilean-culture-chile-art/
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This is a point when Chilean art actually became a tool for realizing the life that could not be directly lived. It is not a coincidence that it was the period in which artists massively rejected painting and traditional artistic forms and embraced other genres that helped them live the art they made, even if tacitly. In an equally unexpected and brilliant turn of events, the period of great crisis in Chile gave birth to some of the most avant-guarde art forms, such as performance art and installation. A secret language was developed in Chile, in order to evade the censorship and to mystify the explicit notion, which created perfect conditions for the evolution of conceptual art. Art had to be smarter than direct language and less obvious than a metaphor. In a way, Chilean art went through a painstaking training, which produced some of the most remarkable shifts in the way of looking at art in Chile. The most notable group from
Chile Music and Documentary Film Beside performance art and action, the 70’s and the 80’s became important precursors in the development of documentary film and the alternative Chilean music scene. One of Patricio Guzman’s most notable documentary movies, The Battle of Chile, was filmed in 3 parts in 1975, 1976 and 1979. The film was referenced in a documentary made 2 decades later, in 1996, when the Pinochet era was over and the director came back to his home country. It was used as a way of exploring and challenging the genuine Chilean identity in years after the oppressive regime, involving some of the people who participated in the first documentary. However, its streaming was not welcome at some places (schools, for example), as the people were led by a com-
the 70’s was CADA – Colectivo Acciones de Arte, which consisted of thinkers and artists alike. Lotty Rosenfeld and Raul Zurita might have been the two most inspiring members of the group, and the ones who introduced the power and significance of public art and action. They were the ones who touched upon the concept of documenting art as a way of signifying that art happens, just like life does. Another type of hidden language was used by Eugenio Dittborn, who tackled the subject of isolation in Chile (also inspired by the political situation). The actual subject matter of his drawings and other types of visual artwork were not as relevant as the act that followed, which was to send his works in packages, all across the globe.
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Turning Point in the Progress of Chile Culture
mon belief that it was better not to traumatize younger generations. Music, which plays an important role in Chile culture and tradition, was hit by the oppression as well, but during the 80’s it became greatly inspired by it. It was a time when several alternative rock bands dominated the scene in Chile, but the guitar was soon replaced by hip hop songs and rap music, which became a very influential genre in Chile. Today, Chile seems to have slightly abandoned the traditional use of musical instruments and is best known for their electronic music, represented on an international level by such DJs and producers as Nicholas Jaar and Jorge Gonzales.
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Protests
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Street Art
/the political role of art Street art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues. Other terms for this type of art include "independent public art", "post-graffiti", and "neo-graffiti", and is closely related to guerrilla art.* Street art is a form of artwork that is displayed in a community on its surrounding buildings, streets, trains, and other publicly viewed surfaces. Many instances come in the form of guerrilla art, which is composed to make a public statement about the society that the artist lives within. The work has moved from the beginnings of graffiti and vandalism to new modes where artists work to bring messages, or just simple beauty, to an audience.
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Chile has long been a centre for radical propaganda painting. As early as 1940 leading Mexican and Chilean artists, including David Alfaro Siqueiros, Fernando Marcos and Gregorio de la Fuente, were painting murals in Chile. Today, Latin American street art is as innovative as any in the world, and Chile plays a leading part.**
The Writings on the City’s Walls: Street Art and Graffiti in Santiago, Chile in a Time of Social Revolution FEBRUARY 17, 2020
“There is less trust in art institutions, because change is happening outdoors. The art that people want to see is now happening outside of museums. There are a lot of social issues in Chile. There is no affordable healthcare or education. This moment is political, but also cultural. People are trying to appropriate cultural powers. With new generations and new ideas, Chile has woken up. And artists are now playing a political role. Sources like television and newspapers are no longer trusted, because they represent the state’s agenda. The agenda of the streets, the public’s agenda, is written on the city’s walls, and on Instagram. I believe that the ideas that appear in the graffiti of Chile’s streets should be considered in the writing of the constitution. Values are created in the streets, and graffiti is a participatory process that reflects these values. One of the most important values that came out of these protests is dignity.”***
*https://en.wikipedia.org/wiki/Street_art ** https://www.8books.co.uk/street-art-chile ***https://streetartnyc.org/blog/2020/02/17/the-writings-on-the-citys-walls-street-art-andgraffiti-in-santiago-chile-in-a-time-of-social-revolution/
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Protests
From Dance & Song to Film & Art: How Chilean Protesters Uplift Their Struggles
Civil protests are taking place throughout Chile in response to a raise in the Santiago Metro’s subway fare, the increased cost of living, privatisation and inequality prevalent in the country.
What used to be an art system organized around state institutions, conservative media, private galleries and markets has now found a new site of legitimacy: the streets. Many new forms of art have appeared, and many artists that were in the underground have surfaced as the creators of new metaphors in line with the temperature of the Chilean spring: enraged, hopeful, playful, celebratory and revolutionary.*
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Among the masses gathering on the streets to take down colonial and patriarchal monuments and people congregating in asambleas and cabildos all over the country and in communities abroad are artists who are using culture to push their vision of justice forward.
*4 Feminist Performances, Film Collectives, Public Art, Digital Art, Dance & Song
*https://remezcla.com/lists/culture/chileans-use-art-culture-uplift-struggle/
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Atacama
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Natural and Cultural Landscapes in Atacama Desert: Between Tradition and Innovation
Geoglyphs ‘The story of the earth,’ writes Robin Wall Kimmerer in Braiding Sweetgrass (2013), ‘is written more truthfully on the land than on the page; the land remembers what we said and what we did.’ If this is true, Chile’s northern desert is blessed with a near-perfect memory, among the finest in the world. With some of the lowest rates of erosion, its landscapes are among the oldest on the planet(...)”* Geoglyphs are a type of rock art that involves the use of the earth’s surface as a support for the construction of large and long-distance images.
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The Giant The Atacama Giant is an anthropomorphic geoglyph on Cerro Unitas in the Atacama Desert, Chile. It is the largest prehistoric anthropomorphic figure in the world with a length of 119 metres, and represented a deity for the local inhabitants from AD 1000 to 1400. The figure was an early astronomical calendar for knowing where the moon would set; by knowing this the day, crop cycle, and season could be determined. The points on the top and side of the head would say what season it would be depending on their alignment with the moon, which was important in determining when the rainy season would come in the barren Atacama.*
*https://en.wikipedia.org/wiki/Atacama_Giant
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“Modern geoglyphs” Mountainside Messages in Antofagasta
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*8 In Antofagasta, we can find “modern” geoglyphs - messages that similarly are drawn on the mountains that surround the city. “Messages are a medley of inscriptions. Some are religious, the words of people using the giant texts to express their devotion. Others are much more practical, such as a massive phone number with the word for “taxi” scrawled beneath it. A man also even expressed his love by writing a message to his beloved on the mountain.” In 1987, what may be the largest message was erected. It was a drawing of the pope, created to celebrate his visit to the city. These texts are a staple of the city. Because old ones fade and new ones are frequently added, the assortment of messages to read is always changing.* *https://www.atlasobscura.com/places/antofagasta-mountainside-messages
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https://municipalidaddeantofagasta.cl/index.php/noticias/445-municipio-limpiara-rayados-realizados-en-cerros-de-antofagasta
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SACO
The Contemporary Art Festival in Antofagasta
Each edition of SACO has a particular focus and unique characteristics. In this way, the land to be excavated is renewed annually, preventing the depletion of resources in the deposits.
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SACO8 DESTINY SACO7 ORIGIN AND MYTH SACO6 LOVE: Decay and resistance SACO5 ONE WAY TICKET SACO4 BETWEEN FORM AND MOLD SACO3 MY NEIGHBOR. THE OTHER SACO2 SACO1 ART + POLITICS + ENVIRONMENT
The Contemporary Art Festival SACO is held annually since 2012 in the region of Antofagasta, in northern Chile, immersed in the Atacama Desert, the driest place in the world. Its aim is to establish a permanent hub of critical reflection and dialogue through works of art, in a territory marked by the inexistence of institutions dedicated to pursuing these goals.
MUSEUM WITHOUT MUSEUM To build imaginary exhibition spaces where contemporary art is presented as utopia in the middle of the world's driest desert. More than 40 artists from 15 different countries participate in SACO8, 2019, transforming schools, universities, anthropological sites and museums into contemporary art rooms.
In the world capital of copper mining, SACO is proposed as an alternative to deepen in excavations no less valuable, but more urgent and of a renewable wealth: creativity and dialogue. At the same time, the region in which it is framed has extensive beaches, salt mines, and a privileged sky, which allows the study of the universe and the development of astronomy. One of the most important observatories in the world, ALMA, belongs to this region.
SCHOOL WITHOUT SCHOOL Development of educational projects inside and outside the classroom in a territory where formal pedagogical education in arts is almost non existent. The school without school is based on these ideas that work from the absence to generate a proposal of activities and projects that brings art to the community.
After its first nine versions, the Contemporary Art Festival will be transformed in 2021 into the Biennial of Visual Arts of Chile 1.0, without losing its status as an international event located in the dry but privileged periphery, far from the capital of the country, which allows it to dialogue with the rest of the world. SACO has three pillars that frame all its activities.
Text from: http://proyectosaco.cl/
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TERRITORY / RESIDENCIES The Pacific Ocean coast, the world's driest desert and the continent's most pristine skies make up a unique landscape that contextualizes the Festival's work. Artists and curators from different countries and continents face for the first time the landscapes of the Atacama Desert, discovering in the apparent absence a whole range of concepts, ideas and proposals unique on the planet.
SPACE - ISLA
Artist Residencies center
Concept
Space ISLA has a living room with a projector and audio system for workshops or meetings for max. 25 people, also has an open front space with countertops and chairs intended for different activities.
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Artist Residencies center island is a place designed by Collective SE VENDE Mobile Platform Contemporary Art for its guests - curators, artists, teachers, researchers, directors and related. Thought the world of culture - both in the economic context and in their environment and operation, we hope to be a contribution to their creative work and facilitate their involvement and generation of networks in northern Chile. The residence is located in the city Antofagasta
We created ISLA to bring together, consolidate and deepen various activities in the area of ​​training and professionalization of Colectivo SE VENDE, carried out since 2012 to date, with the aim of promoting and promoting artistic development in the region, contributing to the rise of the scene local creative Art education is an essential pillar of our functioning; We have carried out a number of workshops, workshops, conferences, colloquia, bringing professionals and artists from many parts of the region. Each exhibition project is accompanied by a mediation and training program, specially designed for this occasion. We form self-taught artists, teachers, guides, audiences widely understood and we have high fidelity of our recipients and with interest that grows year by year.
Text from: http://proyectosaco.cl/
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equality
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MINING and EQUALITY?
(The countries with the biggest inequalities are the ones where a small group obtains most of the national income, it means that the higher position on the scale, the biggest the gap between a small elite and the remaining part of the population. The mother of Latin America – Spain – occupies the 103rd position, while Sweden can boast of the smallest inequalities, with her last place in the ranking).*
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In the ranking of states with the greatest social inequalities ( according to Gini coefficient – the income inequality scale) Chile occupies the fifteenth place, the situation is worse in Colombia, Bolivia, Brazil, Guatemala and Paraguay, however there are smaller inequalities in Peru and Mexico, while Uruguay and Ecuador occupy the thirty-third and thirty-fourth position respectively.*
Historically determined model of a Chilean family is based on machismo, i.e. on man’s dominance and results from imbalance in sex structure – there were more men than women. Because of distant working places (Atacama mines) and difficult living conditions mainly men were employed.*
*Dorota Bochniak-Piasecka “Cultural determinants in Chile – the land of great ambitions”
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Protests
The Contemporary Art Festival in Antofagasta Civil protests has been taking place throughout Chile in response to a raise in the Santiago Metro’s subway fare, the increased cost of living, privatisation and inequality prevalent in the country.
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The protests have been considered the “worst civil unrest” having occurred in Chile since the end of Augusto Pinochet’s military dictatorship due to the scale of damage to public infrastructure, the number of protesters, and the measures taken by the government. On 25 October, over a million people took to the streets throughout Chile to protest against President Piñera, demanding his resignation.As of December 28, 29 people have died,nearly 2,500 have been injured, and 2,840 have been arrested.Human rights organisations have received several reports of violations conducted against protesters by security forces, including torture, sexual abuse and sexual assault. Poverty, inequality and cost of living According to Jose Miguel Ahumada, a political economist and associate professor at the University of Chile, the country is “one of the most unequal countries in Latin America”. As described by The Washington Post, while the last three decades of neoliberal policies made Chile “one of South America’s wealthiest countries, with inflation under control and easy access to credit”, they also “created stark economic disparities and strapped many Chileans into debt”. The Economic Commission for Latin America and the Caribbean (ECLAC) states, that 1% of the population in Chile controls 26.5% of the country’s wealth, while 50% of low-income households access 2.1%. Additionally, according to National Statistics Institute of Chile, while the minimum wage in Chile is 301,000 pesos, half of the workers in that country receive a salary equal to or less than 400,000 pesos. https://en.wikipedia.org/wiki/2019%E2%80%9320_Chilean_protests
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sustainability
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“In our mission to shape a better world we must shape better cities. It is increasingly cities, rather than national governments, that have the power to tackle climate change, drive the global economy, deliver prosperity and alleviate poverty.� Jerome Frost OBE, Arup Global Planning & Cities Leader
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Climate-Informed design Technological innovation + traditional knowledge
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It is necessary to start designing cities especially those in arid zones accordingly to its specific climate and surrounding environment. The climate should always be the starting point for the successful planning and design of architecture and external public spaces. Designing comfortable thermal environments in arid cities is becoming more of a challenge as we move away from the standard concept of closed air-conditioned ‘boxes’ and towards more sustainable low-energy design. Increasing city populations are creating an increasing need to incorporate pleasant outdoor spaces that can be used throughout the year and this increases the climatic challenge.
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In addition to based climate conditions and climate change itself modern cities are facing a new problem which is Urban Heat Island Effect (UHI). It is a phenomenon that appears when cities exhibit higher temperatures than the rural areas that surround them, particularly at night. Is the result of a combination of factors, primarily it’s caused by dark surfaces like asphalt and concrete used in the city that absorb and store heat during a day and release it during the night time. Urban Heat Island is aggravate by the way cities are planned. Heat islands are known to increase water use and energy consumption through increased demand on air conditioning, increasing air pollution and impacting public health and quality of life. Heat related illnesses and mortality are of particular concern for vulnerable groups such as children and the elderly and developed. There is a direct correlation between UHI and population densities.
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Arabic architecture As references
Climatic analysis in Muslim cities shows clearly that houses were designed to deal with extreme conditions. Houses included sophisticated systems and were adapted to cope with heat in quite a revolutionary way, and many of these principles are valid today and can be incorporated into the thinking for modern arid cities.
Orientation is normally a response to views or site restrictions, but can also be a response to climatic conditions. In general, the sun which is the principal source of discomfort in the Middle East tends to be the defining factor in climatic orientation but orientation perpendicular to the predominant wind is better for cooling as it increases win turbulence. The preferred organization of buildings is perpendicular to the wind.
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Orientation
Wind Catchers A Wind Tower is a structure seen on ancient buildings of the Middle East. It acted like a natural air conditioner creating a comforting effect in the severe conditions of the desert. Windcatchers come in various designs, such as the unidirectional, bi-directional, and multi-directional.
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Program
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Device
Initial Investigations
Channeling the wind Project
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This study was an exploration of natural phenomena of wind in the city and its relation to the human condition in urban scale with a focus on Antofagasta city in Chile. It aims to physically visualize and materialize the movement of air in the city to inform the design and give a complete insight into the environmental condition of the site during the architectural design process. By using a physical prototype that responds to the movement of the wind it aims to be an alternative solution for CFD and wind tunnels - common methods used by designers to visualize wind flow.
Images: author
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Images: author
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Program
Specifications and Scale
Functions and areas Culture, art and recreation Outdoor Performing art venues Music school and art academy Temporary and co-housing for artists (RESIDENCIES) Exhibion space • • • • • • •
Workshops :art and music Concert Hall Exibition Space Place for conferences, debates and discussions Residencies for artists Recreation and rest area Social gardens
Scope of submission Scope
Scale One Site Plan Drawing 1:1000 Plan Drawing 1:200 2 Sections Drawings 1:200 Scale Two - Details, Structure, Materiality and Performance 3 Elevations / Section Drawings 1:50 5 Detail Elevation Drawings 1:10 Model Study 1:50 / 1:20 Computation or Model Based Performance Simulations Concerning • Light and Heat Radiation • Airflow and Ventilation • Water Accumulation
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Cultural Center Scope
Hub Art Space
A New City Center
Pavilion
Outdoor Performing Art Venues
Music School and Art Academy
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Research Center
Covered Square
Temporary & Co-housing for Artis Fair Center
Residencies Exhibition Space
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UN Goals
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The Sustainable Development Goals are a call for action by all countries – poor, rich and middle-income – to promote prosperity while protecting the planet. Architects can provide basic ideas and proposals for regulations that make it possible for us to have sustainable cities and communities in the future. Architects can facilitate the open di logue and work in partnerships to give us good solutions and can encourage authorities to make the regulations necessary to move forward. Mogens Lykketoft Former Danish Minister of Finance and of Foreign Affairs, President of the United Nation's General Assembly from September 2015 to September 2016. November, 2018
GOOD HEALTH AND WELL-BEING Ensure healthy lives and promote well-being for all at all ages Ensuring healthy lives and promoting well-being for all at all ages is important to building prosperous societies. Yet, despite great strides in improving people’s health and well-being in recent years, inequalities in health care access still persist.¹ Many more efforts are needed to fully eradicate a wide range of diseases and address many different persistent and emerging health issues. By focusing on providing more efficient funding of health systems, improved sanitation and hygiene, increased access to physicians and more tips on ways to reduce ambient pollution, significant progress can be made in helping to save the lives of millions
QUALITY EDUCATION Ensure inclusive and equitable quality education and promote lifelong learning opportunities for all Obtaining quality education is the foundation to creating sustainable development. In a dition to improving quality of life, access to inclusive education can help equip locals with the tools required to develop innovative solutions to the world’s greatest problems. The reasons for lack of quality education are due to lack of adequately trained teachers, poor conditions of schools and equity issues related to opportunities provided to rural children. For quality education to be provided to the children of impoverished families, investment is needed in educational scholarships, teacher training workshops, school building and improvement of water and electricity access in schools.¹
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SUSTAINABLE CITIES AND COMMUNITIES Make cities and human settlements inclusive, safe, resilient and sustainable
Gender equality is not only a fundamental human right, but a necessary foundation for a peaceful, prosperous and sustainable world.¹ Yet, gender inequality persists worldwide, depriving women and girls of their basic rights and opportunities. Achieving gender equality and the empowerment of women and girls will require more vigorous efforts, including legal frameworks, to counter deeply rooted gender-based discrimination that often results from patriarchal attitudes and related social norms.²
REDUCED INEQUALITIES Reduce inequality within and among countries
Half of humanity — 3.5 bilion people — live in cities today, and this number will continue to grow. Because the future will be urban for a majority of people, the solutions to some of the greatest issues facing humanity like poverty, climate change, healthcare, education must be found in city life.¹ Cities are hubs for ideas, commerce, culture, science, productivity, social development and much more. At their best, cities have enabled people to advance socially and economically. With the number of people living within cities projected to rise to 5 billion people by 2030, it is important that efficient urban planning and management practices are in place to deal with the challenges brought by urbanization²
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GENDER EQUALITY Achieve gender equality and empower all women and girls
PEACE, JUSTICE AND STRONG INSTITUTIONS Promote peaceful and inclusive societies for sustainable development, provide access to justice for all and build effective, accountable and inclusive institutions at all levels
Inequalities based on income, sex, age, disability, sexual orientation, race, class, ethnic ty, religion and opportunity continue to persist across the world, within and among countries. Inequality threatens long-term social and economic development, harms poverty reduction and destroys people’s sense of fulfilment and self-worth. This, in turn, can breed crime, disease and environmental degradation. Most importantly, we cannot achieve sustainable development and make the planet better for all if people are excluded fromopportunities, services, and the chance of having a better life. To reduce inequality within and among countries is therefore a key issue.
Peaceful, just and inclusive societies are necessary to achieve the Sustainable Development Goals (SDGs). People everywhere need to be free of fear of all forms of violence and feel safe as they go about their lives whatever their ethnicity, faith or sexual orientation. In order to advance the SDGs we need effective and inclusive public institutions that can deliver quality education and healthcare, fair economic policies and inclusive environmental protection.¹
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References *1 *2 3 4 5
Poems by Pablo Neruda https://learnodo-newtonic.com/pablo-neruda-famous-poems https://www.goodreads.com/author/quotes/4026.Pablo_Neruda http://socks-studio.com/2020/02/06/symbolic-truth/ https://en.wikipedia.org/wiki/Atacama_Desert https://en.wikipedia.org/wiki/Antofagasta
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Photos
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1-2-3 https://streetartnyc.org/blog/2020/02/17/the-writings-on-thecitys-walls-street-art-and- graffiti-in-santiago-chile-in-a-time-of-social-revolution/ 4 https://www.aljazeera.com/news/2019/11/month-protests-chilepersist-gov-concessions-191118231609475.html 5 http://proyectosaco.cl/fotgaleria-el-despertar-social-de-antofagasta-a-traves-del-lente-de-sebastian-rojas/ 6 http://www.hows.org.uk/personal/hillfigs/foreign/chile/atacama. htm 7 https://www.visitchile.com/en/pintados-geoglyphs/ 8-9-10 *https://www.atlasobscura.com/places/antofagasta-mountainside-messages 11 https://theconversation.com/collage-art-and-activism-in-chile-instagram-posts-building-on-the-legacy-of-latin-american-mail-art-127948
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Collaborators We are an autonomous and non-profit institution that works in an interdisciplinary way in research, conservation, education and enhancement of material and intangible heritage in northern Chile, integrating and associating professionals, institutions, local organizations, communities and indigenous peoples.
Dagmara Wyskiel Director direccion@proyectosaco.cl Polish, Doctor of Arts from the University of Fine Arts in Krakow. President and co-founder of the Collective SALE Mobile Platform Contemporary Art, director of the Festival of Contemporary Art, SACO. Dagmara is an artist of connoted international career that has become an important cultural manager in northern Chile.
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Our vision We want a country that protects its natural and cultural heritage and preserves it for future generations.
www.dagamara.cl
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