What Happens There
Developed in collaboration with 'Queiro Mi Barrio' program in Lebu, as part of the seminar 'Cultivando Nuestras Raices' | Lebu, Region del Bio-bio| 2016
Being part of daily life is a way to find ourselves, from here we can begin to define our identity. This daily work turns into an artisan reflection of what we are as an entity of our own location, linked to others in the daily encounter and the interaction that gives validity to all forms of task.
From this idea, the pavilion is not born but appears one more time in front of us; that place protected from the wind ad the rain that allows us to keep on doing, next to others that know what's best to do.
Understanding human heritage is to be one more time part of this pile of local atmospheres that allows us to understand that there's always something building inside.
Who influences you graphically?
Regardless of whether the final images look similar to a particular style, I feel like someone who opens many influential envelopes, but does not keep all the wrappers. In this particular project I remembered the drawings and photo collages of Mies van der Rohe, Gordon Matta Clark and Richard McGuire ("Here" comic), in addition to the figures in the plans inspired by the sculptures of Lynn Chadwick. Beyond that, I recognize a strong interest in most of the graphic novels, astronomical and botanical drawings.
What is the effect and purpose of the staged images with booklet and project?
I think it's a way to express my defense of the essence over the photorealistic image. Collage work is linked to possible scenes or atmospheres, and makes obsolete the need for accuracy in virtual representation. In this logic, each collage is accompanied by an image or historical engraving of the place, something that in my opinion allows to visualize the context in varied dimensions, making it more valuable for “what happens there” rather than the project itself.
We seem to live in the age of skalgubbar cut outs, what is your take on this?
The development of images and fanzine in this project were almost at the same time as the construction of the project, therefore, the need to quickly access material for its development was fundamental. Today, free access to digital material becomes an essential component of images created and shared, and skarglubbar became a particular source of those who were architecture students in recent years. From there comes the repeated use of a free and familiar resource for all.
How do the silhouettes inform and influence the image?
In these drawings the silhouettes are only ideas of what the interaction between inhabitant and constructed object could become, but have no greater background than that; strongly believe in not underestimate the inhabitant of each project, therefore, I find more interesting get to see people actually interacting with architecture. In plans and axonometrics the silhouettes work in a similar way, but in this case the forms of the heads come from a basal idea regarding my position of who we are, the humans, in the world.
What defined the use of the booklet?
I developed this booklet considering it a part of the project. I believe in the fanzine as a way of constructing information, an element that expresses texts and images that feed and inform the process of a doing, which becomes both a tool and a project in itself. Conceived and developed at the same time as the original project, it can not be classified as mere documentation; Something underlies the content and that's where I think the fanzine becomes a fundamental part of every project.