The pavilion of Chile to the 13. International sample of Architecture of the Biennale gave Venezia, invites to reflexionar on floor, in terms of resources, heritage and landscape, and the importance of the vision discipline on his exploitation and/or preservation, considering variable but there of the economic factors pure contingents.

The word quechua FIELD pre-colombino of origin incaico into use valid in all South America, designates a territory of game that preserves the sacralidad, and defines in his origin the main contours in the urban organisation, the measurement and just distribution of the harvests and the understanding of the existence of spaces of collective use that prioritises the social order on the individual interest, and whose concepts associated present  the second inflection and the main problem, How show a reflection discipline around the architecture?

The Isolotto of l’Arsenale builds  between 1170 and 1300 and stars the singing XXI of the Hell of The Divine Comedy of Dante, and later mentions  by Galileo in his “Had to lezioni all’Accademia Fiorentina” around “The Figure, sito and Grandezza dell’Inferno gave Dante”, both revised texts more than 500 years afterwards by the died Argentinian poet Godofredo Iommi, one of the founders of the School of Architecture of the Catholic University of Valparaíso. Chile in his text “A digression about Galileo” and in which the salt goes back us to the own origin of the city of Venecia, that went an exploitation saltworks during the roman period and later the place of the commercial control of the Salt of the Adriatic, in a curious traslación cultural and political, unavoidable reflection of the temporary movements, economic, politicians, social and of course cultural.

This space further of the time conceives  like a chiaroscuro baroque of big intensity, where all the elements are neutral except the light of seven expositores each one devoted to an architect that direct his light to a floor of 12,9m3 of salt brought by ship from the Salar of Tarapacá in Chile, on which the differences between the seven architects selected do not leave to exist, but they leave to matter inviting to comprise the complexity of a practically empty territory, expressing the two opposite space of the field in relation to our territory: the need to limit and close in the north desert, and open and clear in our south forests.

The Atlas
The curaduría derives of the role awarded to the naturalistic French Claude Gay, the one who in 1830 realised by commission of the government of Chile a first territorial lifting, ethnographic, biological and of resources of the new republic post colonial: Until where it arrived Chile?What could find  in him? How they managed  his inhabitants on the territory?. Gay tackled the company gathering to diverse specialists for a collective construction of a first Atlas (Picturesque) of Chile, in flora, fauna, cartography, history and illustration.

Being representative of the deslocalización made possible by the technology (the half of the team lives in Chile, the another half in Spain, a lot of collaborators in distinct countries and the work realises  in Italy), invite to 7 architects: Alejandro Aravena (Elementary), Pedro Alonso, Juan Pablo Corvalán (beside Susuka and José Abasolo), Genaro Pictures, Germán of Sol, Iván Ivelic and Rodrigo Tisi, like relatores and ilustradores of our current territory, from his own language and approach, summoned to think, describe and test the current state floor of Chile developing an unpublished material for the Biennale, that complemented  with a short documentary realised by Cristóbal Palm, building our Field, that that colonises , delivers ,  tranza and is part of an all that includes to the animal, the tree and the person such as they saw it the ancient Mapuches, the men of the floor that inhabit the south of Chile.

Credits Pavilion of Chile:
Curadores and architects of the setting: María Pilar Pinchart Saavedra (Pinchart Architects) and Bernardo Valdés Echenique (Map Consultores).
Commissioner: Cristóbal Molina Baeza (National Council of the Culture and the Arts).
Direction of Art: Isaac Gimeno Pujabet – Loreto Varela Morey.
Direction of Art in phase of contest: Esteban Churches Francheteau (Mimético).
Photography and documentary: Cristóbal Palm Domínguez.
Sculpture of Neon: Iván Navarro Carvacho – Pedro Polishing Anker.
Architect and local producer: Luigi D’Gold.
Consulting of illumination: Interdesign (Chile).
Developers web: DID.
Collaborators: Sofía Quiroga Fernández (Pinchart Architects), Map Consultores, Alfonso Díaz Manríquez (Office of Cultural Subjects, DIRAC), Santiago Elordi Ore and Ana of Pari (Embassy of Chile in Italy), María Aparicio Bridges, Mariana Sanfuentes Astaburuaga and Francisco Adriasola Expensive (CNCA).
Translations: Ana María Sanhueza Jardel.
Average Partners: Platform Architecture, Edgar González.
Organiser: National Council of the Culture and the Arts.
Auspiciadores: Direction of Cultural Subjects (DIRAC) and ProChile of the Ministry of External Relations, Foundation Image of Chile, SPL (Go out Tip Wolves) and Interdesign.

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