Archive for the ‘Sketches’ Category

A collection of tutorials
23 June, 2010

The time is coming for the final minutes of diploma work. Now, I take a moment to review some of the most important reviews I’ve had in the past months, trying to extract some useful ideas for what will be my final presentation.

La hora se acerca para el final de la tesis. Ahora me tomo un momento para repasar algunos de los comentarios más útiles que he recibido en los últimos meses, tratando de extraer ideas para mi presentación final.

—–

The following was commented on a personalized tutorial with Gisle Løkken on April 30th:

Allowed vs Not Allowed

–          What is legally allowed, from the architectural point of view, in Rosengård?

–          When people consciously know that they are acting in a legal context, there is no need for things such as police intervention.

–          Allowing is a way to connect.

–          Think an approach to public space that includes opening up, itinerancy and independence.

My experience

–          Fantoft Pizza: study further in detail.

–          The tale of the two afghans of Tromsø by Gisle: they offered a service no one else in town could offer.

–          Study the typical markets in Guatemala.

–          Land use in Greenland: public or private? The importance of a neighborhood council.

The importance of work

–          To make money = to achieve independence

–          Allow people to make an honest living!

Reaction

–          The project not as an answer, but as a method.

–          Work in ALL of Rosengård, but select sites to show.

–          Enclaves of activity: exploiting the comparative advantages and existing conditions.

–          Inclusion: people have got to be part of the solution.

Jean Paul Sartre: I am what I do.

—–

The following was commented on a tutorial headed by Gisle Løkken, and with the participation of other students on May 25th:

–          To propose Rosengård as a kind of temporary tax-haven, with site-specific trade laws to allow commerce to flourish more easily.

–          How would economic development affect the community? What would change in the face of the neighborhood in relation to this development? And how would these changes relate to the people who live there? Think of this project’s evolution in time: (un)projected growth.

–          Gardening vs Farming: what is more realistic and productive for a place like Rosengård? Show this in the project, make plant-growing a VISIBLE activity.

–          “I wanna see the goats” – Can Rosengård have space for activities like shepharding, and other seemingly out-of-place trades?

–          The meaning of work as a tool, socially and ethically, in human development, applied to the people who live in Rosengård.

—–

On Thursday 27th and Friday 28th of May, the Third Confrontation for the diploma took place in the school. Working under Trudi Jaeger (DAV) and Sverre Sondresen (APP), the following are points that were mentioned in relation to my project:

– The project as a reason for people to stay in Rosengård. So far, people have very few reasons to stay in the community. Could this project be a start for change?

– Joint solutions coming from both the authorities and the people.

– A bazaar proposal that makes use of the public AND the private space. Not only as a “new” activity built in space, but also making use of existing spaces: firs t floors, corner shops, etc.

– The project as a multicultural quilt, where every patch is equally valuable and yet as unique and “on display” as the rest.

– The bazaar: a nice place to be, a nice place to visit. Visiting Rosengård has the great potential of acting as a reality check: people coming here to a bazaar will find a community eager to work and earn a better life, opposed to the riots that Rosengård is known for.

– Simplify my registration drawings, keeping the energy and feelings found in them while incorporating colour to represent the variety found in Rosengård.

– The pic-nic blanket: a place to display, make evident and share.

– Build more models of the actual projects, in different scales. Explore materiality (remember the differences between shopping mall and bazaar when it comes to the sensorial experience), use and scale for design purposes. Very important now.

– If you are too realist, you end up becoming a pessimist. Therefore, it is important to remember the poetry of dreaming.

– Graffiti as a way to deal with frustration and establish an identity. Rosengård is notoriously devoid of graffiti, is this the sign of a population that does not want to be associated with their neighborhood? Additionally, could architecture offer a chance to reterritorialize the neighborhood and make it “valid” to display your pride to live in Rosengård?

– “Graffiti is like when dogs pee. They are not vandalizing a wall. They are defining their territory.”

– Define a strategy / timeline: how does the project grow and evolve? Who does it affect? What will the actions cause? Can it be a kind of chain reaction, where small actions end up causing full blown effects? This is already suggested in the yellow Post Its (see previous entries).

– Use drawings as a design and exploration tool: draw in big sizes (scale up); incorporate to exhibition space; work on the same drawings throughout a span of time – evolution; print on transparent paper for further exploration; use drawings to re-structure the spatial reality of the neighborhood and the project.

– Check several influences: Le Corbusier’s drawings for Le Petit Cabineau, Cy Twombly (pay special attention at how he activates space), others.

-Mental note: don’t assume people know about the context of the project. Explain very clearly what is The Million Programme and other relevant concepts in the context of this project.

– The project as a “happy bomb”? After all, these boxes (namely, the apartment blocks) hold a lot of frustration.

– Find out as soon as possible where will my exhibition space be, and start thinking my presentation accordingly.

– The use of scale in Rosengård’s existing condition: brutal. Bring it back to human.

– Think about 1:1 sketch. A possibility is to explore how people appropriate a public space.

_____

El jueves 27 y viernes 28 de mayo tuvo lugar la tercera confrontación en el proceso del diploma. Bajo la guía de Trudi Jaeger y Sverre Sondresen, estos son los puntos mencionados en relación a mi proyecto:

– El proyecto como razón para quedarse en Rosengård. Hasta la fecha, la gente tiene pocas razones para quedarse en el barrio. ¿Podría este proyecto cambiar tal realidad?

– Soluciones conjuntas involucrando tanto la comunidad como las autoridades.

– Una propuesta de bazaar que use tanto el espacio público como el privado, de tal manera que no sólo se genere actividades nuevas, sino que también se use espacios existentes: primeros pisos, pulperías, etc.

– El proyecto como un tejido multicultural, donde cada parte es igualmente valiosa, única y puesta en exhibición como las demás.

– El bazaar: un buen lugar donde estar, un buen lugar para visitar. Una visita a Rosengård tiene el potencial de actuar como un vistazo a la realidad: la gente viniendo a la comunidad encontrará residentes trabajando y ganándose la vida honradamente, muy distinto a los disturbios por los que Rosengård es conocido.

– Simplificar mis bocetos, manteniendo la energía y emociones en ellos a la vez que se incorpora color para mostrar la variedad encontrada en Rosengård.

– La sábana del día de campo: un lugar para mostrar, hacer evidente y compartir.

– Hacer más modelos del proyecto como tal, en distintas escalas. Explorar materiales (y recordar las diferencias entre un centro comercial y un bazaar en cuanto a la experiencia sensorial), el uso y la escala para propósitos de diseño. Punto muy importante.

– Si se es muy realista, uno termina siendo un pesimista. Por ende, es importante recordar la poesía de soñar.

– El grafiti como una manera de lidiar con la frustración y establecer una identidad. Notablemente, las paredes de Rosengård carecen de grafiti. ¿Es esto la señal de una población que no quiere ser asociada con su barrio? La arquitectura puede ofrecer una oportunidad para reterritorializar el barrio y convertirlo en un lugar donde es válido mostrar orgullo de vivir en Rosengård.

– “El grafiti es como cuando un perro orina. No es un acto de vandalismo, sino uno de territorialidad.”

– Definir una estrategia o línea de tiempo: ¿cómo crece y evoluciona el proyecto? ¿a quiénes involucra? ¿qué consecuencias habrá? ¿puede ser como una reacción en cadena, donde pequeñas acciones terminan causando grandes efectos? Esto ya se sugiere en los Post Its amarillos mostrados anteriormente en este blog.

– Usar el dibujo como una herramienta de exploración y diseño: dibujar en gran formato; incorporar el dibujo al espacio de exhibición; trabajar en un mismo dibujo a través de un cierto lapso de tiempo – evolución; imprimir en papel transparente para posterior exploración; usar dibujos para re-estructurar la realidad espacial del barrio y el proyecto.

– Influencias: los dibujos de Le Corbusier para Le Petit Cabineau, el arte de Cy Twombly y su activación del espacio, otras.

– Nota mental: no asumir que la gente conoce el contexto del proyecto. Explicar claramente qué es el Proyecto del Millón y otros conceptos relevantes para el contexto de este proyecto.

– El proyecto como una “bomba feliz”. Después de todo, estos cajones (los edificios de apartamentos) contienen mucha frustración.

– Hallar cuanto antes dónde voy a exponer y conceptualizar mi presentación final de manera acorde.

– El uso de la escala en la realidad actual de Rosengård: brutal. Devolver al ser humano.

– Pensar en el boceto 1:1. Una posibilidad es explorer cómo la gente se apropia de espacios públicos.

—–

The following was written by Trudi Jeager:

Report after 3rd confrontation 28.mai 2010.

Sverre and Trudi.

City in a specially challenging condition (liminal situation).

We asked all the students in the group to present their projects concisely with a short synopsis. Sverre and I didn’t know anything. They were given 20 minutes each before lunch. The group were already collaborating with each other and were much more familiar with each others projects than either Sverre or I so we consigned everyone with a specific student. They were asked to give their person specific advice about what to concentrate on according to where they were in the process: i.e. to reflect upon a core issue. We others could then either disagree or elaborate on these observations.

Roberto:

Flying kites in the ghetto.

Malmø is one of the fastest-growing migrant areas in Scandinavia.

Bazaar – place where people can utilize and share their skills.

Roberto has vibrant drawing skills! This talent should be used! Make Graffiti idea much larger. Test it out in public space with participants.

A strategy on timeline – what it generates – a new structure.

Add something – open up.

Should focus his project on public space(s).

Discussion about graffiti, about conquering and taking space. The energy this sort of people-participation project would create, if, for example, people from different cultures were encouraged to ‘take’ their space.  

Roberto should get locals to make their own marks in the area.

He should start concentrating by building a working model in i.e. 1-25 in order to develop the inter-relationships of the different cultural spaces and their interfaces.

——

On June 9th, I had a tutorial with Vibeke Jensen. We discussed the following (I add my own thoughts in this text):

0. General comments

– Explore the conceptual models more and more.

– Integrate gardening into activities like the skate park, and other functions as well. Why should this activity be confined to the colonial gardens?

– Work quickly with conceptual models, and move on to design.

– What I show does not necessarily need to be a finished product in itself, but it should enough detail and information to be understandable.

– Consider other activities and forms of expression, such as hand ad-painting, gossiping, etc.

1. The bazaar – Herrgården

– Make a model that shows inside space, not just the outside. Think of negative, carved space.

– The management of scale is good for the neighborhood’s inhuman conditions.

– An “exploded block” is a good concept. It shows the potential of a single block, the basic construction unit of Rosengård. Explore further consequences of this idea.

2. The promenade – Kryddgården

– The use of lines as a landscape-intervention concept is OK, but they should be soft, adding some contrast to the existing geometry.

– I should define the situations to happen between the buildings: the urban stages, sheltered spaces, community meeting points, etc.

– Integrate this intervention to the landscape, make it a part of the context and not just something that “landed there”.

– How much of a line do I need to show, in order to make a line? What does a line have to offer?

– Think of softer materials.

3. The skate park – Örtagården

– Keep in mind that it can be an activity that includes many people, not just young skateboarders. It can be a meeting point for people interested in urban culture, photography, curious neighbors… even grandmas. I don’t skate myself, I’m almost 30 and yet I am more interested than I ever was, in these activities.

– It can be a kind of agora, a meeting point where things happen. A change in Rosengård’s monofunctionality.

4. 1:1 Sketch

– Make architecture, create space!

– Construct situations, think of the situationist movement?

– Documentate, and get people included.

—–

Extracts from a June 9th conversation with Camilla Ryhl, KTF:

–          Accesible architecture should not only be functional, but also available and open.

–          When a person lacks one sense, the other senses sharpen. Think of how these other senses can be stimulated through architecture.

–          Ground surfaces and materials can give a good amount of information.

–          Be careful when it comes to overstimulation.

The bazaar

–          Check out Gjellerup Parken in Aarhus.

–          Shopping centres can be a difficult environment for the visually impaird. They offer no visual nagivational clues. They are the same in every direction. They are usually disconnected from their context.

–          Take the characteristics of a shopping centre and create a contrast.

–          Different-sized units and activity-enclaves in Rosengård are good ideas. They provide a sensorial spatial configuration.

–          When it comes to the bazaar, take a couple of units and develop: how do they relate? What happens in between the units?

The skate park

–          How do disabled people interact with it?

–          A generational meeting place.

–          Give more reasons for people to come here.

—–

Tutorial with Erling Olsen, TTA. June 15th, 2010. I intend to use different materials according to the needs of my sites. These are general comments from this conversation:

–          Wood is slippery, but can be transformed and manipulated by people, as opposed to concrete, which offers little chance for interaction.

–          Create friction in the surfaces. Winters and water can be dangerous.

–          If I use wood, think that it won’t last forever, it will probably have to be replaced every 5 to 10 years. Additionally, wood expands and contracts and is vulnerable to fungus, so it must be isolated from moisture (rubber is a good option for this), both on roof and ground. If this wood is dry, it will last a long time.

–          Think of detailing. Show how this will be built.

—–

Tutorial with Ivo Barros, Sivilarkitekt BAS. June 16th, 2010.

–          How do I come to this place? Go from Zoom Out to Zoom In.

–          Put my maps in order and try to read a coherent story there. From Scandinavia to Rosengård.

–          Show Rosengård in relation to the city of Malmö and its context.

–          Work as a masterplan, but show some areas more in detail -à Explain why I chose the sites I work with. Start working in a larger scale and then show how things meet.

–          The relation of the intervention with the rest of the city: why would people from Malmö come to Rosengård? -à Think of the comparative advantages of my project and show them.

–          Expand my interventions all the way to the main roads that limit Rosengård, and create invitations.

–          Use my experience as a foreigner to my own advantage. I have some first-hand knowledge and different takes on issues like urban life, fear, etc.

DAV: the under-used tool

–          Use DAV as an exploratory tool. Work with photos and drawings. Explore the 5 small conceptual models and work with them as ways to understand space.

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The new keywords and the new models
2 June, 2010

Spatial intentions for my project.

_____

Intenciones espaciales para mi proyecto.

Third Confrontation
1 June, 2010

Landscape of Production

On Thursday 27th and Friday 28th of May, the Third Confrontation for the diploma took place in the school. Working under Trudi Jaeger (DAV) and Sverre Sondresen (APP), the following are points that were mentioned in relation to my project:

– The project as a reason for people to stay in Rosengård. So far, people have very few reasons to stay in the community. Could this project be a start for change?

– Joint solutions coming from both the authorities and the people.

– A bazaar proposal that makes use of the public AND the private space. Not only as a “new” activity built in space, but also making use of existing spaces: firs t floors, corner shops, etc.

– The project as a multicultural quilt, where every patch is equally valuable and yet as unique and “on display” as the rest.

– The bazaar: a nice place to be, a nice place to visit. Visiting Rosengård has the great potential of acting as a reality check: people coming here to a bazaar will find a community eager to work and earn a better life, opposed to the riots that Rosengård is known for.

– Simplify my registration drawings, keeping the energy and feelings found in them while incorporating colour to represent the variety found in Rosengård.

– The pic-nic blanket: a place to display, make evident and share.

– Build more models of the actual projects, in different scales. Explore materiality (remember the differences between shopping mall and bazaar when it comes to the sensorial experience), use and scale for design purposes. Very important now.

– If you are too realist, you end up becoming a pessimist. Therefore, it is important to remember the poetry of dreaming.

– Graffiti as a way to deal with frustration and establish an identity. Rosengård is notoriously devoid of graffiti, is this the sign of a population that does not want to be associated with their neighborhood? Additionally, could architecture offer a chance to reterritorialize the neighborhood and make it “valid” to display your pride to live in Rosengård?

– “Graffiti is like when dogs pee. They are not vandalizing a wall. They are defining their territory.”

– Define a strategy / timeline: how does the project grow and evolve? Who does it affect? What will the actions cause? Can it be a kind of chain reaction, where small actions end up causing full blown effects? This is already suggested in the yellow Post Its (see previous entries).

– Use drawings as a design and exploration tool: draw in big sizes (scale up); incorporate to exhibition space; work on the same drawings throughout a span of time – evolution; print on transparent paper for further exploration; use drawings to re-structure the spatial reality of the neighborhood and the project.

– Check several influences: Le Corbusier’s drawings for Le Petit Cabineau, Cy Twombly (pay special attention at how he activates space), others.

-Mental note: don’t assume people know about the context of the project. Explain very clearly what is The Million Programme and other relevant concepts in the context of this project.

– The project as a “happy bomb”? After all, these boxes (namely, the apartment blocks) hold a lot of frustration.

– Find out as soon as possible where will my exhibition space be, and start thinking my presentation accordingly.

– The use of scale in Rosengård’s existing condition: brutal. Bring it back to human.

– Think about 1:1 sketch. A possibility is to explore how people appropriate a public space.

_____

El jueves 27 y viernes 28 de mayo tuvo lugar la tercera confrontación en el proceso del diploma. Bajo la guía de Trudi Jaeger y Sverre Sondresen, estos son los puntos mencionados en relación a mi proyecto:

– El proyecto como razón para quedarse en Rosengård. Hasta la fecha, la gente tiene pocas razones para quedarse en el barrio. ¿Podría este proyecto cambiar tal realidad?

– Soluciones conjuntas involucrando tanto la comunidad como las autoridades.

– Una propuesta de bazaar que use tanto el espacio público como el privado, de tal manera que no sólo se genere actividades nuevas, sino que también se use espacios existentes: primeros pisos, pulperías, etc.

– El proyecto como un tejido multicultural, donde cada parte es igualmente valiosa, única y puesta en exhibición como las demás.

– El bazaar: un buen lugar donde estar, un buen lugar para visitar. Una visita a Rosengård tiene el potencial de actuar como un vistazo a la realidad: la gente viniendo a la comunidad encontrará residentes trabajando y ganándose la vida honradamente, muy distinto a los disturbios por los que Rosengård es conocido.

– Simplificar mis bocetos, manteniendo la energía y emociones en ellos a la vez que se incorpora color para mostrar la variedad encontrada en Rosengård.

– La sábana del día de campo: un lugar para mostrar, hacer evidente y compartir.

– Hacer más modelos del proyecto como tal, en distintas escalas. Explorar materiales (y recordar las diferencias entre un centro comercial y un bazaar en cuanto a la experiencia sensorial), el uso y la escala para propósitos de diseño. Punto muy importante.

– Si se es muy realista, uno termina siendo un pesimista. Por ende, es importante recordar la poesía de soñar.

– El grafiti como una manera de lidiar con la frustración y establecer una identidad. Notablemente, las paredes de Rosengård carecen de grafiti. ¿Es esto la señal de una población que no quiere ser asociada con su barrio? La arquitectura puede ofrecer una oportunidad para reterritorializar el barrio y convertirlo en un lugar donde es válido mostrar orgullo de vivir en Rosengård.

– “El grafiti es como cuando un perro orina. No es un acto de vandalismo, sino uno de territorialidad.”

– Definir una estrategia o línea de tiempo: ¿cómo crece y evoluciona el proyecto? ¿a quiénes involucra? ¿qué consecuencias habrá? ¿puede ser como una reacción en cadena, donde pequeñas acciones terminan causando grandes efectos? Esto ya se sugiere en los Post Its amarillos mostrados anteriormente en este blog.

– Usar el dibujo como una herramienta de exploración y diseño: dibujar en gran formato; incorporar el dibujo al espacio de exhibición; trabajar en un mismo dibujo a través de un cierto lapso de tiempo – evolución; imprimir en papel transparente para posterior exploración; usar dibujos para re-estructurar la realidad espacial del barrio y el proyecto.

– Influencias: los dibujos de Le Corbusier para Le Petit Cabineau, el arte de Cy Twombly y su activación del espacio, otras.

– Nota mental: no asumir que la gente conoce el contexto del proyecto. Explicar claramente qué es el Proyecto del Millón y otros conceptos relevantes para el contexto de este proyecto.

– El proyecto como una “bomba feliz”. Después de todo, estos cajones (los edificios de apartamentos) contienen mucha frustración.

– Hallar cuanto antes dónde voy a exponer y conceptualizar mi presentación final de manera acorde.

– El uso de la escala en la realidad actual de Rosengård: brutal. Devolver al ser humano.

– Pensar en el boceto 1:1. Una posibilidad es explorer cómo la gente se apropia de espacios públicos.

Registration
12 May, 2010

Kryddgården

Örtagården

Herrgården

Patchwork in Space
29 April, 2010

This is an overview of my architectural programme intentions. The different “pixels” show some intentions in organization and distribution of functions in space. I believe in multi-functional spaces, so for example a skate park can also be used by in-line skaters, BMX riders, graffiti artists and others. The density of the pixels aims at providing a transitional space between in and out: to create a defined functions outside of the dwelling units. A deeper look into the consequences of these ideas is to come…

Esta es una vista general de mis intenciones en cuanto a un programa arquitectónico. Los distintos “píxeles” muestran un intento en cuanto a organización y distribución de funciones en el espacio. Se propone espacios multifuncionales, donde por ejemplo un parque de patinaje puede servir a patinadores en línea, practicantes de BMX, artistas de graffiti y otros. La densidad de los píxeles intenta proveer un espacio transicional entre el afuera y el adentro, creando funciones definidas afuera de las unidades habitacionales. Una mirada más profunda a las consecuencias de estas ideas vendrá pronto…

Synthetizing the synthesis
18 April, 2010

A game of 5.

Un juego de 5.

Transgressing the borders

2. Confrontation
11 April, 2010

The goal: to identify the main issue I’m dealing with; to explore the architectural and spatial consequences of the project.

If you’ve been following this blog, you can already identify the main issue I’m dealing with. That is, the role of public space in a liminal community (Rosengård in this case, though as has been proposed on several occasions, the methodology could hold true for other similar cases). We worked in groups. Mine was called

City in a special challenging condition (liminal situation)

As a group, we set our minds on finding some common grounds. We are all working with projects on different countries and circumstances (Sweden -me-, Norway, Russia, Iceland and the United Arab Emirates), yet our projects have a few terms in common. What are these words and how do they apply specifically to my project?

SECLUSION – Namely, the feeling of not being inside a building in Rosengård. It is funny because intuition would say the opposite: seclusion is a drink best taken indoors, alone. But the management of scales in Rosengård is at times so unfriendly to the human scale, that open spaces here enhance seclusion: there is no transition between in and out a building (it is a binary system: you’re either completely inside or completely outside), so human life ends up dilluting in this sea of nothing.

VOID – Understood as both “emtpy” and “previously valid, currently invalid”, Rosengård is a kind of mental void in the map of Malmö: it is there, but few people know what it really is about. A space that was formerly thought of as futuristic and promising is now void and stagnated. In this sense, void is an authoritarian term: it comes from above (few people would actually drive their own communities to being perceived as voids, if they had the tools and political momentum to do otherwise), and I regard democracy as the opposite idea: through inclusion and direct participation, the void starts acquiring a face and a voice.

TRANSITION – The reality of Rosengård. It is a place of transition between “abroad” and Sweden, and between the culture of the newcomers and the culture of those who grew up or were born in Sweden. The problem is that, even though many come to Rosengård, very few stay: most people will leave as soon as their economy or life situation allows for it. This situation has a direct effect on the perception of “home”: if you know you’re somewhere for just a few months or years, you won’t become as attached to this place as you would if, say, it really was YOUR home. Therefore, developping a sense of ownership and adding aggregate value become relevant ideas for a new configuration of public space in Rosengård: to give people a reason to actually want to live here.

IDENTITY, “one-ness” – Now, as an architect and as a person I don’t believe in identity as a finished product. Identities change over time affected by countless events and it may very well be the case that after enough time and transformations, a former identity might have changed beyond recognition. However, in the word “identity” there is an implication of difference from others: my identity is what makes ME be ME and not someone or something else, even if I am constantly reconstructing and redefining who I am. Therefore, public space in Rosengård should act as place for self-definition, but not be the defining element in itself. An architectural programme for the public space can foresee the occurrence of different events over time, and the pursue of an identity is full of these test-and-error situations.

EXTREME CULTURAL SITUATION – an umbrella term for “all of the above”.

La meta: identificar el problema, y explorar las consecuencias arquitectónicas y espaciales de mi proyecto.

Si usted ha estado siguiendo este blog, a estas alturas ya podría identificar el problema: el papel del espacio público en una comunidad liminal (Rosengård en este caso, aunque como ha sido propuesto en varias ocasiones, la metodología podría -y debería- funcionar en casos similares). Yo fui parte de un grupo llamado

Ciudad en una condición especialmente retadora (situación liminal)

Como grupo, nos propusimos encontrar terreno común. Nuestros proyectos están en distintas partes del mundo (Suecia, Noruega, Rusia, Islandia y los Emiratos Árabes Unidos). ¿Cuáles son estos puntos en común y cómo aplican en mi caso?

SECLUSIÓN – Lo que se siente al estar afuera de un edificio en Rosengård. Es un término contraintuitivo, uno pensaría que es más fácil ser secluído adentro, en soledad. Sin embargo, el manejo de las escalas en la arquitectura modernista de Rosengård es tan poco amigable con la escala humana que el espacio abierto enfatiza la seclusión: no hay transición entre afuera y adentro de un edificio, así que la vida pública se diluye en este mar de nada.

VACÍO – Mucha gente en Malmö (¿todos?) saben que Rosengård existe, pero pocos conocen el lugar en persona. Esto hace que sobre la comunidad caiga un velo de oscuridad, y la arquitectura democrática se convierte en un método para contrarrestar esta aparente negación social: a través de la inclusión y participación directa, ese vacío adquiere una cara y una voz.

TRANSICIÓN – La realidad de Rosengård. Es un escalón entre afuera y adentro de Suecia. El problema es que, aunque mucha gente llega al barrio, poca se queda y no hay un verdadero sentimiento de pertenencia y hogar. Y claro, si uno sabe que no se va a quedar mucho tiempo, desarrollará menos lazos emocionales con el lugar que si fuera SU hogar. Desarrollar un sentido de propiedad y valor agregado se vuelve relevante al intervenir el espacio público de una comunidad liminal, pues se busca dar razones a la gente para que de verdad quieran vivir aquí.

IDENTIDAD – Como arquitecto, creo que la identidad es un flujo más que un punto, y está en eterno cambio. Sin embargo, el concepto identidad se relaciona con la diferenciación: es lo que me hace diferente de los demás. Un programa arquitectónico adecuado para el espacio público prevé la posibilidad de que sucedan diferentes eventos durante un lapso de tiempo… eventos que son parte de la formación de una identidad comunal.

SITUACIÓN CULTURAL EXTREMA – otra forma de decir “todas las anteriores”.

Un trasfondo que revela las líneas de vuelo

The Pedestrian Diaries
7 April, 2010

What do you see?

What happens where? What do we do when?

¿Qué sucede, y dónde? ¿Qué hacemos, y cuándo?

A place defined by lines
3 April, 2010

The shortest way from A to B, or “The Pedestrian Highway”.

La ruta más corta de A a B, o “La autopista peatonal”.

Starter dish
15 March, 2010

Hello. I am a Costa Rican architecture student at Bergen Arkitekt Skole in Norway, currently working on his master project. My main area of interest is the public space in Rosengård, which is located in Malmö, Sweden’s third largest city. Now, you may ask: why is this important?

The public space is where many of us take our first steps in society, where we make friends, walk the dog, smoke a cigarette, skateboard or look at random people. Rosengård is a community with some 22.000 people living in late-60’s, overcrowded apartment blocks and a public space with little adaptability and possibilities. About 90% of the residents are of foreign extraction, and almost half of the twenty-two-thousand are under 24 years of age. That’s a lot of friends to make, dogs to walk… well, you get the point.

My project aims to be not an oasis in the desert (because we all know how that story ends), but a bedouin tent, where the people go to.

Hola. Soy un costarricense que estudia arquitectura en la Escuela de Arquitectura de Bergen en Noruega, y actualmente me encuentro trabajando en mi proyecto de maestría. Mi área de estudio es el espacio público en Rosengård, comunidad localizada en Malmö, la tercera ciudad más grande de Suecia. Pero ¿por qué es importante esto?

El espacio público es donde muchos de nosotros damos nuestros primeros pasos en sociedad, hacemos amigos, sacamos al perro, fumamos un cigarro, patinamos o vemos gente. Rosengård es una zona con aproximadamente 22.000 habitantes viviendo en mayor o menor grado de hacinamiento en multifamiliares de los años 60’s, rodeados de un espacio público con poca adaptabilidad funcional, y que ofrece poco a quienes viven cerca de él. Casi el 90% de los veintidós-mil son de origen foráneo, y la mitad  no pasa de 24 años de edad. Eso nos deja muchos amigos por conocer, perros por pasear, etc.

Mi proyecto no pretende ser un oasis en el desierto, sino la tienda del beduino, donde la gente va.