Ruin.| I’ve shared before my interest and curiosity for ruins. This blog, amongst my network channels, is my ruin. Abandoned and intermittent, waiting to be “entered” and explored. I never found the proper tenor, neither the improper one, to do so. This blog makes me feel still in construction (or better say, destruction). I promised myself to take a further step soon, and, for once and for all, slow my pace and abdicate. But…one must have a reason to “exit”.
A traveler. | My apologia came to my door in a yellow package , full of stamps. The stationary damaged container was crowned by a big sign: “International Priority”. It was a package from Chile. The content was a mobile device, a nomad archive. Edited in Santiago de Chile, Spam_arq is a cartographic archive about art, architecture, city and contemporary thinking. This exploratory-tool maps the new conditions that configure our cities nowadays. Two paths allow the exploration: Essays and Portfolios.Some coordinates.| Spam_arq´s cartography Vol. 7 departs from the problems that the future generation of chilean architects will face in the discipline. Francisco Diaz expresses the imminent need for the next generation of (chilean) architects to create new forms of practice in the profession, in order to make it sustainable. The canonization of the Architectural built projects (and their authors) and the competition that exists today ” to build” are some of the “diseases” of chilean cities , and I venture to add, to most of the cities where the “Architecture Justin Biebers” have settled , and seeded their works. Other territorial discomfort that goes beyond the borders of South America, is neglecting the city. Agreeing with Diaz, there is a recurring attitude of placing formally interesting totems in unpopulated territories and , even though this is a poetic exercise, the social impact that this entails is null. Architecture is still studied and executed, by many, as an isolated element. The author shares the difficulty that implies “kinitting” a project in the city, but it is also in this urban and “unmanageable” perimeter , where greater social impact can be harvest. In this contemporary territory of diffuse borders, Francisco Diaz, traces a topography of issues not only faced in chilean territory but many others. The challenge today: that “our products positively affect as many people as possible.” Entering the archive from another perspective, there is a very appealing (and addictive) subject within our profession: originality. While attending the university one of the aspects to grade was originality. It seemed to me absurd. I always wondered : Why create new “forms” if there are already so many? Why not re-adapt what already exists to a contemporary context ? Well, that never impressed my teachers. Fortunately, five years later, and while wandering the virtual landscape my cyber-curiosity encountered Fake Industries Architectural Agonism also cartographers of this volume . Appropriating the words ofDouglas Huebler, largely responding to “that” originality fever, FIAA presents the copy as useful and even necessary exercise in the architectural practice. Cristina and Urtzi take us to an uncharted territory: from Flarf poetry to Zuloark`s work, highlighting its value in the creative disciplines, developing the concept from various angles of Creative Commons in the field of Architecture. Since this is a discipline where originality reigned, for FIAA this is a fascinating and paradoxical scenario.
The topic “city” is derived in 4 essays and from my point of view, they represent the core of this cartographic volume. José Abásolo (URBZ) explains #Mashupcity: concept which seeks to understand the contemporary city from the “lectures of the city.” This path begins withCedric Price, passing by the utopian cities of Archigram, and ending with an interesting question: “Can we understand the city as a result of random genetic combination and all that genealogy?” Combining a theoretical-critical and spatial angle, Abásolo bets to the production and construction of the contemporary city where the essence lies in self-organization and the natural organization of the territory. Francesco Careri and Azzura Muzzonigro (LAC) show us the “other Rome”: the migrants, the homeless and the right to the city. The entire essay revolves around the inhabitants ofMetropoliz: a “city” or urban organization consisting of 200 people: those who can not afford the price of the property market. More than a city,Metropoliz is a “symbol of the struggle for mixed and inclusive habitat for the Gypsies”. While this exciting project is a response to the economic situation afflicting various Italian cities, is also an urban example to follow: recycling, recovery of abandoned buildings and the implementation of networking and the use of art as a way of communication are some of the reasons. LAC’s work in Metropoliz tries to give a new meaning to the Civic Art: as builder of bridges that can transform these residual spaces of the city in new mixed spaces where new life forms can be experienced : A world within a world: a new city, inclusive , plural. SPAM_arq´s cartography Vol. 7 continues its mapping with essays by Pío Torroja ( M7RED) , Amarí Peliowski and Léopold Lambert (editor of the blog The Funambulist) . Portfolios , the second path of exploration, share: Ejercicios Para Distraer la Mirada by Andrés Durán, making an observation of the backtsage of the ads ( used for residential purposes) in a particular hill in the city of Santiago (Chile). Playground (Tatlin in Mexico) , a project by Doménec: a replica of Vladimir Tatlin´s Monument to the Third International , transformed in a simple urban furniture: A kids playground. You can also find the work of Filipe Branquinho, the project Temporal Gallery, and New Cartography of America.Awakening and inspiring is how I can construe the discourse assembled through these essays and portfolios of this itinerant archive, mapping precisely some different aspects of the architectural thinking from a critical dialogue. I look forward to Volume No. 8 and the following numbers. A new Atlas is born. Francisco Diaz in reference to Fredy Massad´s words. Source: Read the interview here.