{"id":27776,"date":"2012-11-29T06:42:47","date_gmt":"2012-11-29T06:42:47","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=27776"},"modified":"2015-02-07T17:28:17","modified_gmt":"2015-02-07T17:28:17","slug":"cancha","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/cancha\/","title":{"rendered":"<!--:es-->Cancha<!--:--><!--:gl-->Cancha<!--:--><!--:en-->Cancha<!--:-->"},"content":{"rendered":"<p><!--:es--><\/p>\n<p style=\"text-align: justify;\">El pabell\u00f3n de Chile a la 13. Muestra Internacional de Arquitectura de la Biennale di Venezia, invita a\u00a0 reflexionar sobre suelo, en t\u00e9rminos de recursos, patrimonio y paisaje, y la importancia de la visi\u00f3n disciplinar sobre su explotaci\u00f3n y\/o preservaci\u00f3n, considerando variables mas all\u00e1 de los factores econ\u00f3micos contingentes puros.<\/p>\n<p style=\"text-align: justify;\"><a href=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2012\/11\/Cancha-Pdfbook.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-27778\" title=\"Cancha-Pdfbook\" src=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2012\/11\/Cancha-Pdfbook.jpg\" alt=\"\" width=\"620\" height=\"763\" srcset=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2012\/11\/Cancha-Pdfbook.jpg 620w, https:\/\/veredes.es\/blog\/wp-content\/uploads\/2012\/11\/Cancha-Pdfbook-243x300.jpg 243w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><\/p>\n<p style=\"text-align: justify;\">La palabra quechua <em>CANCHA<\/em> pre-colombino de origen incaico en uso vigente en toda Sur Am\u00e9rica, designa un territorio de juego que preserva la sacralidad, y define en su origen los lineamientos principales en la organizaci\u00f3n urbana, la medici\u00f3n y justa distribuci\u00f3n de las cosechas y la comprensi\u00f3n de la existencia de espacios de uso colectivo que prioriza el orden social sobre el inter\u00e9s individual, y cuyos\u00a0 conceptos asociados se presentan la segunda inflexi\u00f3n y el principal problema, <em>\u00bfC\u00f3mo mostrar una reflexi\u00f3n disciplinar en torno a la arquitectura?<\/em><\/p>\n<p style=\"text-align: justify;\">El Isolotto de l\u2019Arsenale se construye entre 1170 y 1300 y protagoniza el canto XXI del Infierno de La Divina Comedia de Dante, y posteriormente se menciona por Galileo en su \u201c<em>Debido lezioni all\u2019Accademia Fiorentina\u201d<\/em> alrededor de \u201c<em>La Figura, sito e Grandezza dell\u2019Inferno di Dante\u201d, <\/em>ambos textos revisados m\u00e1s de 500 a\u00f1os despu\u00e9s por el fallecido poeta argentino Godofredo Iommi, uno de los fundadores de la Escuela de Arquitectura de la Universidad Cat\u00f3lica de Valpara\u00edso. Chile en su texto \u201c<em>Una digresi\u00f3n acerca de Galileo\u201d<\/em> y en el que la sal nos vuelve al propio origen de la ciudad de Venecia, que fuera una explotaci\u00f3n salina durante la \u00e9poca romana y posteriormente el lugar del control comercial de la Sal del Adri\u00e1tico, en una curiosa traslaci\u00f3n cultural y pol\u00edtica, reflejo inevitable de los movimientos temporales, econ\u00f3micos, pol\u00edticos, sociales y por supuesto culturales.<\/p>\n<p style=\"text-align: justify;\">Este espacio m\u00e1s all\u00e1 del tiempo\u00a0 se concibe como un <em>chiaroscuro<\/em> barroco de gran intensidad, donde todos los elementos son neutros salvo la luz de siete expositores cada uno dedicado a un arquitecto que dirigen su luz hacia un suelo de 12,9m3 de sal tra\u00edda por barco desde el Salar de Tarapac\u00e1 en Chile, sobre el cual las diferencias entre los siete arquitectos seleccionados no dejan de existir, sino que dejan de importar invitando a comprender la complejidad de un territorio pr\u00e1cticamente vac\u00edo, expresando los dos opuestos espaciales de la cancha en relaci\u00f3n a nuestro territorio: la necesidad de acotar y cerrar en el desierto del norte, y abrir y despejar en nuestros bosques del sur.<\/p>\n<p style=\"text-align: justify;\"><strong>El Atlas <\/strong><\/p>\n<p style=\"text-align: justify;\">La curadur\u00eda deriva del rol otorgado al naturalista franc\u00e9s Claude Gay, quien en 1830 realizara por encargo del \u00a0gobierno de Chile un primer levantamiento territorial, etnogr\u00e1fico, biol\u00f3gico y de recursos de la nueva rep\u00fablica post colonial: \u00bfHasta d\u00f3nde llegaba Chile?\u00bfQu\u00e9 se pod\u00eda encontrar en \u00e9l? \u00bfC\u00f3mo se desenvolv\u00edan sus habitantes sobre el territorio?. Gay acometi\u00f3 la empresa reuniendo a diversos especialistas para una construcci\u00f3n colectiva de un primer Atlas (Pintoresco) de Chile, en flora, fauna, cartograf\u00eda, historia e ilustraci\u00f3n.<\/p>\n<p style=\"text-align: justify;\">Siendo \u00a0representante de la deslocalizaci\u00f3n posibilitada por la tecnolog\u00eda (la mitad del equipo vive en Chile, la otra mitad en Espa\u00f1a, muchos colaboradores en distintos pa\u00edses y la obra se realiza en Italia), invitamos\u00a0 a\u00a0<strong>7 arquitectos: Alejandro Aravena (Elemental), Pedro Alonso, Juan Pablo Corval\u00e1n (junto a Susuka y Jos\u00e9 Abasolo), Genaro Cuadros, Germ\u00e1n del Sol, Iv\u00e1n Ivelic y Rodrigo Tisi, <\/strong>como relatores e ilustradores de nuestro actual territorio, desde su propio lenguaje y enfoque, convocados a pensar, describir y ensayar el estado actual suelo de Chile desarrollando un material in\u00e9dito para la <em>Biennale<\/em>, que \u00a0se complement\u00f3 con un corto documental realizado por Crist\u00f3bal Palma, construyendo nuestra Cancha, esa que se coloniza, se reparte, se tranza y es parte de un todo que incluye al animal, el \u00e1rbol y la persona tal como lo ve\u00edan los antiguos Mapuches, los hombres del suelo que habitan el sur de Chile.<\/p>\n<p><iframe loading=\"lazy\" id=\"doc_45046\" src=\"http:\/\/www.scribd.com\/embeds\/114194901\/content?start_page=1&amp;view_mode=book&amp;access_key=key-77v8pqja3d4l5waw26l\" frameborder=\"0\" scrolling=\"no\" width=\"600\" height=\"600\" data-auto-height=\"true\" data-aspect-ratio=\"0.802356020942408\"><\/iframe><\/p>\n<p style=\"text-align: justify;\">Cr\u00e9ditos Pabell\u00f3n de Chile:<br \/>\nCuradores y arquitectos del montaje: Mar\u00eda Pilar Pinchart Saavedra (Pinchart Arquitectos) y Bernardo Vald\u00e9s Echenique (Mapa Consultores).<br \/>\nComisario: Crist\u00f3bal Molina Baeza (Consejo Nacional de la Cultura y las Artes).<br \/>\nDirecci\u00f3n de Arte: Isaac Gimeno Pujabet &#8211; Loreto Varela Morey.<br \/>\nDirecci\u00f3n de Arte en fase de concurso: Esteban Iglesias Francheteau (Mim\u00e9tico).<br \/>\nFotograf\u00eda y documentales: Crist\u00f3bal Palma Dom\u00ednguez.<br \/>\nEscultura de Ne\u00f3n: Iv\u00e1n Navarro Carvacho &#8211; Pedro Pulido Anker.<br \/>\nArquitecto y productor local: Luigi D&#8217;Oro.<br \/>\nConsultor\u00eda de iluminaci\u00f3n: Interdesign (Chile).<br \/>\nDesarrolladores web: DID.<br \/>\nColaboradores: Sof\u00eda Quiroga Fern\u00e1ndez (Pinchart Architects), Mapa Consultores,\u00a0 Alfonso D\u00edaz Manr\u00edquez (Oficina de Asuntos Culturales, DIRAC), Santiago Elordi Mena y Ana de Pari (Embajada de Chile en Italia), Mar\u00eda Aparicio Puentes, Mariana Sanfuentes Astaburuaga y Francisco Adriasola Caro (CNCA).<br \/>\nTraducciones: Ana Mar\u00eda Sanhueza Jardel.<br \/>\nMedia Partners: Plataforma Arquitectura, Edgar Gonz\u00e1lez.<br \/>\nOrganizador: Consejo Nacional de la Cultura y las Artes.<br \/>\nAuspiciadores: Direcci\u00f3n de Asuntos Culturales (DIRAC) y ProChile del Ministerio de Relaciones Exteriores, Fundaci\u00f3n Imagen de Chile, SPL (Sal Punta Lobos) e Interdesign.<\/p>\n<p><!--:--><!--:gl--><\/p>\n<p style=\"text-align: justify;\">O pabell\u00f3n de Chile \u00e1 13. Mostra Internacional de Arquitectura da Biennale dei Venezia, invita a reflexionar sobre chan, en t\u00e9rminos de recursos, patrimonio e paisaxe, e a importancia da visi\u00f3n disciplinar sobre a s\u00faa explotaci\u00f3n e\/ou preservaci\u00f3n, considerando variables mais al\u00e1 dos factores econ\u00f3micos contingentes puros.<\/p>\n<p style=\"text-align: justify;\"><a href=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2012\/11\/Cancha-Pdfbook.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-27778\" title=\"Cancha-Pdfbook\" src=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2012\/11\/Cancha-Pdfbook.jpg\" alt=\"\" width=\"620\" height=\"763\" srcset=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2012\/11\/Cancha-Pdfbook.jpg 620w, https:\/\/veredes.es\/blog\/wp-content\/uploads\/2012\/11\/Cancha-Pdfbook-243x300.jpg 243w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><\/p>\n<p style=\"text-align: justify;\">A palabra quechua CANCHA pre-colombino de orixe incaico en uso vigente en toda Sur Am\u00e9rica, designa un territorio de xogo que preserva a sacralidad, e define na s\u00faa orixe os lineamientos principais na organizaci\u00f3n urbana, a medici\u00f3n e xusta distribuci\u00f3n das colleitas e a comprensi\u00f3n da existencia de espazos de uso colectivo que prioriza a orde social sobre o interese individual, e cuxos conceptos asociados pres\u00e9ntanse a segunda inflexi\u00f3n e o principal problema, Como mostrar unha reflexi\u00f3n disciplinar en torno \u00e1 arquitectura?<\/p>\n<p style=\"text-align: justify;\">O Isolotto de l\u2019Arsenale constr\u00faese entre 1170 e 1300 e protagoniza o canto XXI do Inferno da Divina Comedia de Dante, e posteriormente menci\u00f3nase por Galileo no seu \u201cDebido lezioni all\u2019Accademia Fiorentina\u201d ao redor de \u201cA Figura, sito e Grandezza dell\u2019Inferno dei Dante\u201d, ambos textos revisados m\u00e1is de 500 anos despois polo falecido poeta arxentino Godofredo Iommi, un dos fundadores da Escola de Arquitectura da Universidade Cat\u00f3lica de Valpara\u00edso. Chile no seu texto \u201cUnha digresi\u00f3n achega de Galileo\u201d e no que o sal v\u00f3lvenos \u00e1 propia orixe da cidade de Venecia, que fose unha explotaci\u00f3n salina durante a \u00e9poca romana e posteriormente o lugar do control comercial do Sal do Adri\u00e1tico, nunha curiosa traslaci\u00f3n cultural e pol\u00edtica, reflexo inevitable dos movementos temporais, econ\u00f3micos, pol\u00edticos, sociais e por suposto culturais.<\/p>\n<p style=\"text-align: justify;\">Este espazo m\u00e1is al\u00f3 do tempo conc\u00edbese como un chiaroscuro barroco de gran intensidade, onde todos os elementos son neutros salvo a luz de sete expositores cada un dedicado a un arquitecto que dirixen a s\u00faa luz cara a un chan de 12,9m3 de sal tra\u00eddo por barco desde o Salar de Tarapac\u00e1 en Chile, sobre o cal as diferenzas entre os sete arquitectos seleccionados non deixan de existir, sen\u00f3n que deixan de importar invitando a comprender a complejidad dun territorio pr\u00e1cticamente baleiro, expresando os dous opostos espaciais da cancha en relaci\u00f3n ao noso territorio: a necesidade de acoutar e pechar no deserto do norte, e abrir e despexar nos nosos bosques do sur.<\/p>\n<p style=\"text-align: justify;\"><strong>O Atlas<\/strong><br \/>\nA curadur\u00eda deriva do rol outorgado ao naturalista franc\u00e9s Claude Gay, quen en 1830 realizase por encargo do goberno de Chile un primeiro levantamiento territorial, etnogr\u00e1fico, biol\u00f3xico e de recursos da nova rep\u00fablica post colonial: Ata onde chegaba Chile?Que se pod\u00eda atopar nel? Como se desenvolv\u00edan os seus habitantes sobre o territorio?. Gay acometi\u00f3 a empresa reunindo a diversos especialistas para unha construci\u00f3n colectiva dun primeiro Atlas (Pintoresco) de Chile, en flora, fauna, cartograf\u00eda, historia e ilustraci\u00f3n.<\/p>\n<p style=\"text-align: justify;\">Sendo representante da deslocalizaci\u00f3n posibilitada pola tecnolox\u00eda (a metade do equipo vive en Chile, a outra metade en Espa\u00f1a, moitos colaboradores en distintos pa\u00edses e a obra real\u00edzase en Italia), invitamos a 7 arquitectos: Alejandro Aravena (Elemental), Pedro Alonso, Juan Pablo Corval\u00e1n (xunto a Susuka e Jos\u00e9 Abasolo), Genaro Cadros, Germ\u00e1n do Sol, Iv\u00e1n Ivelic e Rodrigo Tisi, como relatores e ilustradores do noso actual territorio, desde a s\u00faa propia linguaxe e enfoque, convocados a pensar, describir e ensaiar o estado actual chan de Chile desenvolvendo un material in\u00e9dito para a Biennale, que se complement\u00f3 cun curto documental realizado por Crist\u00f3bal Palma, constru\u00edndo a nosa Cancha, esa que se coloniza, rep\u00e1rtese, se tranza e \u00e9 parte dun todo que incl\u00fae ao animal, a \u00e1rbore e a persoa tal como v\u00edano os antigos Mapuches, os homes do chan que habitan o sur de Chile.<\/p>\n<p style=\"text-align: justify;\"><iframe loading=\"lazy\" id=\"doc_45046\" src=\"http:\/\/www.scribd.com\/embeds\/114194901\/content?start_page=1&#038;view_mode=book&#038;access_key=key-77v8pqja3d4l5waw26l\" frameborder=\"0\" scrolling=\"no\" width=\"600\" height=\"600\" data-auto-height=\"true\" data-aspect-ratio=\"0.802356020942408\"><\/iframe><\/p>\n<p style=\"text-align: justify;\">Cr\u00e9ditos Pabell\u00f3n de Chile:<br \/>\nCuradores e arquitectos da montaxe: Mar\u00eda Alicerce Pinchart Saavedra (Pinchart Arquitectos) e Bernardo Vald\u00e9s Echenique (Mapa Consultores).<br \/>\nComisario: Crist\u00f3bal Molina Baeza (Consello Nacional da Cultura e as Artes).<br \/>\nDirecci\u00f3n de Arte: Isaac Gimeno Pujabet &#8211; Loreto Varela Morey.<br \/>\nDirecci\u00f3n de Arte en fase de concurso: Esteban Igrexas Francheteau (Mim\u00e9tico).<br \/>\nFotograf\u00eda e documentales: Crist\u00f3bal Palma Dom\u00ednguez.<br \/>\nEscultura de Ne\u00f3n: Iv\u00e1n Navarro Carvacho &#8211; Pedro Pulido Anker.<br \/>\nArquitecto e productor local: Luigi D&#8217;Ouro.<br \/>\nConsultor\u00eda de iluminaci\u00f3n: Interdesign (Chile).<br \/>\nDesarrolladores web: DID.<br \/>\nColaboradores: Sof\u00eda Quiroga Fern\u00e1ndez (Pinchart Architects), Mapa Consultores, Alfonso D\u00edaz Manr\u00edquez (Oficina de Asuntos Culturais, DIRAC), Santiago Elordi Mena e Ana de Pari (Embaixada de Chile en Italia), Mar\u00eda Aparicio Pontes, Mariana Sanfuentes Astaburuaga e Francisco Adriasola Caro (CNCA).<br \/>\nTraduci\u00f3ns: Ana Mar\u00eda Sanhueza Jardel.<br \/>\nMedia Partners: Plataforma Arquitectura, Edgar Gonz\u00e1lez.<br \/>\nOrganizador: Consello Nacional da Cultura e as Artes.<br \/>\nAuspiciadores: Direcci\u00f3n de Asuntos Culturais (DIRAC) e ProChile do Ministerio de Relaci\u00f3ns Exteriores, Fundaci\u00f3n Imaxe de Chile, SPL (Sae Punta Lobos) e Interdesign.<\/p>\n<p><!--:--><!--:en--><\/p>\n<p style=\"text-align: justify;\">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.<\/p>\n<p style=\"text-align: justify;\"><a href=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2012\/11\/Cancha-Pdfbook.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-27778\" title=\"Cancha-Pdfbook\" src=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2012\/11\/Cancha-Pdfbook.jpg\" alt=\"\" width=\"620\" height=\"763\" srcset=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2012\/11\/Cancha-Pdfbook.jpg 620w, https:\/\/veredes.es\/blog\/wp-content\/uploads\/2012\/11\/Cancha-Pdfbook-243x300.jpg 243w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><\/p>\n<p style=\"text-align: justify;\">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\u00a0 the second inflection and the main problem, How show a reflection discipline around the architecture?<\/p>\n<p style=\"text-align: justify;\">The Isolotto of l&#8217;Arsenale builds\u00a0 between 1170 and 1300 and stars the singing XXI of the Hell of The Divine Comedy of Dante, and later mentions\u00a0 by Galileo in his \u201cHad to lezioni all&#8217;Accademia Fiorentina\u201d around \u201cThe Figure, sito and Grandezza dell&#8217;Inferno gave Dante\u201d, 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 Valpara\u00edso. Chile in his text \u201cA digression about Galileo\u201d 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 traslaci\u00f3n cultural and political, unavoidable reflection of the temporary movements, economic, politicians, social and of course cultural.<\/p>\n<p style=\"text-align: justify;\">This space further of the time conceives\u00a0 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 Tarapac\u00e1 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.<\/p>\n<p style=\"text-align: justify;\"><strong>The Atlas<\/strong><br \/>\nThe curadur\u00eda 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\u00a0 in him? How they managed\u00a0 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.<\/p>\n<p style=\"text-align: justify;\">Being representative of the deslocalizaci\u00f3n 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\u00a0 in Italy), invite to 7 architects: Alejandro Aravena (Elementary), Pedro Alonso, Juan Pablo Corval\u00e1n (beside Susuka and Jos\u00e9 Abasolo), Genaro Pictures, Germ\u00e1n of Sol, Iv\u00e1n 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\u00a0 with a short documentary realised by Crist\u00f3bal Palm, building our Field, that that colonises , delivers ,\u00a0 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.<\/p>\n<p style=\"text-align: justify;\"><iframe loading=\"lazy\" id=\"doc_45046\" src=\"http:\/\/www.scribd.com\/embeds\/114194901\/content?start_page=1&#038;view_mode=book&#038;access_key=key-77v8pqja3d4l5waw26l\" frameborder=\"0\" scrolling=\"no\" width=\"600\" height=\"600\" data-auto-height=\"true\" data-aspect-ratio=\"0.802356020942408\"><\/iframe><\/p>\n<p style=\"text-align: justify;\">Credits Pavilion of Chile:<br \/>\nCuradores and architects of the setting: Mar\u00eda Pilar Pinchart Saavedra (Pinchart Architects) and Bernardo Vald\u00e9s Echenique (Map Consultores).<br \/>\nCommissioner: Crist\u00f3bal Molina Baeza (National Council of the Culture and the Arts).<br \/>\nDirection of Art: Isaac Gimeno Pujabet &#8211; Loreto Varela Morey.<br \/>\nDirection of Art in phase of contest: Esteban Churches Francheteau (Mim\u00e9tico).<br \/>\nPhotography and documentary: Crist\u00f3bal Palm Dom\u00ednguez.<br \/>\nSculpture of Neon: Iv\u00e1n Navarro Carvacho &#8211; Pedro Polishing Anker.<br \/>\nArchitect and local producer: Luigi D&#8217;Gold.<br \/>\nConsulting of illumination: Interdesign (Chile).<br \/>\nDevelopers web: DID.<br \/>\nCollaborators: Sof\u00eda Quiroga Fern\u00e1ndez (Pinchart Architects), Map Consultores, Alfonso D\u00edaz Manr\u00edquez (Office of Cultural Subjects, DIRAC), Santiago Elordi Ore and Ana of Pari (Embassy of Chile in Italy), Mar\u00eda Aparicio Bridges, Mariana Sanfuentes Astaburuaga and Francisco Adriasola Expensive (CNCA).<br \/>\nTranslations: Ana Mar\u00eda Sanhueza Jardel.<br \/>\nAverage Partners: Platform Architecture, Edgar Gonz\u00e1lez.<br \/>\nOrganiser: National Council of the Culture and the Arts.<br \/>\nAuspiciadores: Direction of Cultural Subjects (DIRAC) and ProChile of the Ministry of External Relations, Foundation Image of Chile, SPL (Go out Tip Wolves) and Interdesign.<\/p>\n<p><!--:--><\/p>\n","protected":false},"excerpt":{"rendered":"<p>El pabell\u00f3n de Chile a la 13. Muestra Internacional de Arquitectura de la Biennale di Venezia, invita a\u00a0 reflexionar sobre suelo, en t\u00e9rminos de recursos, patrimonio y paisaje, y la importancia de la visi\u00f3n disciplinar sobre su explotaci\u00f3n y\/o preservaci\u00f3n, considerando variables mas all\u00e1 de los factores econ\u00f3micos contingentes puros. La palabra quechua CANCHA pre-colombino [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":27778,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[794,26,5951],"tags":[6549,211,309,972,2787,5715],"class_list":["post-27776","post","type-post","status-publish","format-standard","has-post-thumbnail","category-libros","category-publicaciones","category-slider-principal","tag-bernardo-valdes","tag-bienal-de-venecia","tag-chile","tag-pabellon","tag-patrimonio-cultural","tag-pilar-pinchart"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>CanchaCanchaCancha - veredes<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: CanchaCanchaCancha\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/veredes.es\/blog\/cancha\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"CanchaCanchaCancha - 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