Identidades: territorio, cultura, patrimonio
The journal "Identidades: Territorio, Cultura, Patrimonio" was born with the intention of becoming a vehicle for the dissemination of studies and intervention initiatives on cultural landscapes, which play an increasingly important role in territorial development. They are communicative spaces that store and transmit information. In the same way that cities have gained prominence in the information age, these spaces assume an increasingly relevant role as communicative places, places where stories and messages are linked to spaces and forms. ISSN: 1886-6840
Universitat Politècnica de Catalunya, Grup de Recerca en Urbanisme
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Editorial. Los Paisajes Culturales de Colombia
Este monográfico de la revista Identidades se concibió, como sus antecesores, dedicados a Uruguay, Brasil y Chile, con la voluntad de ofrecer una mirada intencionada sobre los paisajes culturales de Colombia, que recuperara la definición que en su momento concibió Carl Sauer, y que explicamos como esa intensa relación entre hábitat y hábitos, esa huella del trabajo sobre el territorio. Para ello invitamos a algunas personas, varias entrañables amigas y amigos, y todas buenas conocedoras de diversos y ricos encuentros de paisajes y paisanaje, a explorar la enorme complejidad de ese territorio inmerso entre océanos y selvas y atravesado por tres cordilleras que dan lugar a los valles de los ríos Cauca y Magdalena. Desde estos valles nos invitaron a una excursión, que persigue recuperar identidades patrimoniales, a reconocer el camino entre los Andes y los ríos, que siembra culturas a lo largo de su curso. Explorar el conjunto de paisajes culturales de Colombia hubiera sido un desafío muy ambicioso para un número de nuestra revista. Por ello la aventura a lo largo de ríos, valles, lagunas, crestas y montañas, a veces a pie, en vehículo o tren, o guiados imaginariamente por mapas, tuvo que acotar un paisaje cultural complejo y exuberante de humedales y páramos. Aún sobrecogidos por la lectura de un texto tan sensible y hermoso, como impactante en su denuncia (Del agua al desierto), nos atrevimos a solicitar a su autor unas reflexiones introductorias. Conocedor del objetivo que nos marcamos, accedió generosamente a ello. Y ahora tenemos el privilegio de arrancar el conjunto de contribuciones con la explicación por parte de Azriel Bibliovicz, a partir de una cita de Fray Pedro Simón y de la historia del encuentro de las diez tribus perdidas de Israel, de la génesis de su novela. Su invitación a diversos viajes, a las culturas muisca y judía, a la cultura del agua y de los humedales, la prolongan otros textos que nos acompañan entre océanos, bosques y selvas, entre órdenes urbanos y territoriales cargados también de culturas que merecen ser visitadas y valoradas.
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DEL AGUA Y EL DESIERTO: ENTRETEJIENDO MITOS E HISTORIAS
Quisiera empezar agradeciéndole a Gloria Carolina Fiallo Cardona, una de las editoras de la revista Identidades de la Universidad Politécnica de Cataluña su interés por mi obra Del Agua al Desierto y que me haya invitado a esta prestigiosa revista, para contar brevemente como llegué a los diversos temas que se entreveran en las páginas de esta novela. Es sorprendente, pero las novelas en muchas ocasiones nacen en una especie de nebulosa, donde una simple imagen o una pregunta comienza a despejar la bruma que la envuelve. En el caso Del Agua al Desierto, fue una pregunta de corte arqueológico la que inicio el proceso: ¿Cuál sería el gran desaparecido de la ciudad de Bogotá? Cuando me formulé la pregunta, para mi sorpresa encontré que eran sus aguas. Tanto Bogotá como ciudad de México tuvieron sus inicios en un lago. En México-Tenochtitlan sobre el lago Texcoco y en Bogotá, alrededor de los humedales que se extendían a lo largo de su extensa sabana, que hoy se encuentran en su mínima expresión ante el descuido y continúan despareciendo. Quizás debido a esta coincidencia, el que sus capitales hubiesen nacido entre las aguas, la novela también se publicó tanto en Bogotá como en México. Bogotá contaba con cincuenta mil hectáreas de humedales y en la actualidad sólo le quedan un poco más de setecientas. Gracias a sus cordilleras y a su posición tropical, Colombia, ha sido un país rico en aguas, pero la abundancia también puede generar larguezas y descuidos donde la desidia prolifera.
Transformaciones en el paisaje del Valle del Río de la Magdalena
This article analyzes the changes in the cultural landscape of the Magdalena Valley, specifically in the municipalities of Girardot and Apulo, from pre-Columbian times to modernity. The transformation of the landscape is explored throughout three key moments: the historical and geographical context of the Magdalena Valley and the pre-Hispanic era, the colonial era and the urban development of Girardot and Apulo, and during the period of arrival and departure. rise of modernity, analyzing how it transforms and shapes the landscape. From the analysis of different periods and scales, it seeks to understand how the arrival of modernity left its mark on the landscape, transforming it into a cultural landscape bordering on modernity, a modernity that reached through the rivers to the interior of the mountain range of the Andes and shaped an industrial cultural landscape.
El Territorio ancestral de la cultura Mhuysqa en Colombia abarca una gran parte de lo que hoy son los departamentos de Cundinamarca, Boyacá y el sur de Santander (Mapa 1). Un extenso territorio sobre la cordillera oriental (Mapa 2), equivalente al área de Portugal (aproximadamente 90.000 km2.), en el cual se han identificado más de 500 antiguos poblados (Mapa 3) en conexión con más de 450 pequeñas y grandes lagunas, páramos -entre ellos SUNAPA (Sumapáz), el más grande a nivel mundial-, montañas nevadas, ríos y quebradas de las cuencas hidrográficas de los ríos Magdalena, al noreste y Orinoco, al suroeste. Una orografía propicia para el desarrollo de la cultura Mhuysqa, con un legado que ha perdurado hasta nuestros días en la toponimia y en la forma armónica cómo se relacionaron con el territorio.
EL EJE PATRIMONIAL DE LA SABANA DE BOGOTÁ
RESUMEN La urbanización del altiplano cundiboyacense, fuertemente influenciada por la hegemonía funcional de Bogotá, está transformando aceleradamente el territorio mediante la reproducción sistémica de procesos de carácter global que influyen en los imaginarios de sus habitantes y en la forma de habitarlo e interpretarlo. La atención exclusiva al desarrollo económico, trae consigo un cambio en los patrones de urbanización, afectando el paisaje con nuevas áreas logísticas y de servicios, que, en cierta forma, invisibilizan y amenazan a los numerosos recursos patrimoniales que son testimonio de la identidad de dicho territorio. Este artículo busca poner en valor esos recursos y demostrar que a pesar de los cambios actuales en la estructura funcional aún persiste (por ahora) una riqueza patrimonial que puede ser muy útil para las dinámicas territoriales si es gestionada alrededor de un concepto integrador que denominamos Eje Patrimonial de la Sabana. Palabras Clave: Territorio, Territorialidad, Paisajes Culturales, Patrimonio Cultural, Sabana de Bogotá
CASA, CUERPO Y TERRITORIO DE LA GUADUA EN EL PAISAJE CULTURAL CAFETERO
Junto a las vertientes del río Cauca, entre las cordilleras de los Andes, existe una región colombiana cuyo paisaje es único, exótico y seductor. En esta región se produjo una migración a finales del siglo XIX que devino a la transformación territorial del Eje Cafetero y con esta, la consolidación de una cultura particular donde uno de los principales protagonistas es la guadua. Cuando se recorre el territorio y se trabaja con esta especie de bambú no solo se genera una relación con un material, sino también con un tejido comunitario, con el ecosistema de donde proviene y con el legado cultural que heredamos. Considerando los conceptos de La Poética del Espacio de Gastón Bachelard (Bachelard, 2000) se plantea transitar entre las escalas y fractales que componen esta planta: desde el cuerpo, la casa y el territorio. Este artículo aborda una mirada que integra lo sensible, la cultura, y diversas ópticas que surgen del encuentro durante el Taller de Domocaña (Ospina & Garzón, 2017), una experiencia de construcción con guadua y tierra, en el icónico Paraíso del Bambú y la Guadua, en Montenegro, Quindío.
Artisanal saltworks on Central Chile coasts are a relevant example of a high natural-cul- tural value, the result of the work footprint of the salt workers on the territory over the centuries and, therefore, decisive in the construction of the salt culture and identity of the territories where they are located. These saltworks are made up of components of tangible and intangible heritage value, which cannot be considered as isolated events, but within a network-structure that forms a complex framework of links between geography, economy, culture and history. They are productive systems with unique characteristics, both for their natural and environmental values, as well as for their cultural, heritage, historical, social and identity values. However, in recent decades this valuable heritage has evidenced an important process of abandonment and deterioration, due to various natural and anthropic factors that threaten its existence. That is why its study, understanding and dissemination as a cultural land- scape is key to articulate approaches and knowledge from various fields that allow, in turn, to generate effective policies and instruments for its conservation and promotion. Key words: cultural landscape, saltworks, heritage, identity, Chile
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ABSTRACT These ten appraisals attempt to introduce so many complementary topics in an attempt to outline Valparaiso’s cultural landscape, each one of them fusing text and drawings. The essay outlines the area of Valparaiso where the cliff meets the coastal plain. This area that coincides with the oldest urban development’s reveals the dynamics of urban transfor- mation -improvements as well as decay- as well as the repercussions of a topographical chasm that defies the urban connectivity’s, the infrastructural prospects, and the consolida- tion of the urban soil. It argues that because of these challenges this area exhibits Valparai- so´s inventiveness at its best. The essay´s structure begins exposing some thoughts about the issue of identity and also an update about the extensive informal areas that characterize the cities upper reaches, to follow with topics specifically related to the urban chasm. Terracing, hanging gardens, funiculars, public stairs, promenades collective dwellings and typologies thus describe significant topics drawn from this particular topographical fabric. The text finalizes with an overview of the urban chasm as an accident of profound consequences in the making of the city. Key words: Topography, technical inventiveness, strategies for urbanization
LA OCASIÓN DE IMAGINAR UN NUEVO PAISAJE CULTURAL PARA LA MODERNIZACIÓN DE UNA CIUDAD CAPITAL
Acting on the existing city -with a goal of structural transformation- requires clear ideas, a consistent strategy of operation and a strong-willed author, plus the consensus of other participants and institutions. The experience of a Chilean politician over Santiago de Chile in the second half of the 19th Century is a result of such an extraordinary confluence, and it has marked the city’s fate to our days. With the order of the colonial city as a starting point, Vicuña Mackenna visualized a new urban matrix that resulted in a watershed moment for the urban form. A system of annular and radial promenade avenues is laid over the territory and the layers of history, thus shaping a new cultural landscape in the Mapocho valley. Over a period of three years the mayor was able to change the scale and appearance of the capital city and its residential outskirts with a pragmatic set of works (although some of them were not executed) and equally effective management skills. This urban structure was consolidated around the date of the centennial of the independence in 1910. Many other actions were to accompany this effort with contributions added and materialized over this new order, all of them in debt to the original operation. Key words: Santiago de Chile, urban modernization, cultural landscape, road structure
EL VALLE CENTRAL DE CHILE A LA CUADRA DE TALCA
The writing is about a walk, first real and then hodological, through the Central Valley of Chile, first real and then intertextual. Thus, images of diverse origin and format are collected and recorded in order to, once at the end of the journey, glimpse a landscape that shows the complexity of a mainly rural territory and therefore apparently simple. Key words: Chile, Valle central, Talca, paisaje.
TRAZOS SOBRE EL SUELO, CONSTRUCCIONES E INTANGIBLES
The present article aims to approach the territory inhabited by Mapuche communities on the west of the city of Temuco from an architectural perspective. We reflect on two questions: the first, the traces derived from land division processes experienced by the Mapuche in the nineteenth century during the establishment of the State of Chile, and afterwards, in the eighties, when the divisions within the already existing settlements were legally recognized. The second refers to some recent registers, constructions that have been built within Mapuche communities and some landscape intangibles. The sum of all this leads us understanding the complexity of these territories and the importance of transformations that were made, despite being modest in terms of size and shape. In the same way, we will approach to an idea of Mapuche cultural landscape. The present work also suggests that the current image of this territory is a mixture of interventions by the State and the Mapuche communities. Key words: Mapuche, territory, rural settlement, Araucania
LA SINGULARIDAD 46° 30’ LATITUD SUR HIPÓTESIS DE UN PAISAJE CULTURAL ENTRE DOS HORIZONTES1
Time and space are explored in a cultural landscape in Patagonia. The approach has a dissection sense, to explore a thickness, some accommodations of matter, flows, intensities, and values. To do so, the transect is used, with the help of some of its main thinkers. Transect that allows us a geological, geographical, physiographic, relational, singular, cultural look, in a single sketch, in a synthetic image, that speaks to us of performative and affective times and spaces. Keywords: Cultural landscape, transect, patagonia, geology, mineralization.
TIERRA DE FUEGO. UN PAISAJE CULTURAL EXTREMO
Tierra del Fuego is surely one of the most unique cultural landscapes in Chile and in the world, because it constitutes an extreme landscape. This article argues this qualification, which requires an equally unique recognition. Within the panorama that this issue of Identities dedicated to Chile shows, this article also explores in this area a design interpretation, a territorial project of enhancement at the service of its countrymen, beyond from the claim to encourage the amount of tourist visits. This proposal requires a careful analysis of the territory based on its formal structure, its physical image and its historical construction; reading the inherited landscape as an historical compendium of successive cultures. Keywords: Tierra del Fuego, extreme cultural landscape, territorial project
ABSTRACT The category of cultural landscapes, that highlights the natural and cultural heritage of Chile and its history, have an exceptional importance, since they contribute to foster the national pride for the cultural assets located throughout the peculiar Chilean geography, and propose a correspondence between society and environment, as well as a reciprocal interaction with the cultures that formalize and determine them in their transforming action. Some of the cultural landscapes presented in this publication, arise together with other territorial and economic heritage, reached by Chile during the second half of the nineteenth century. In this period Chile was consolidated as a country, strengthened the expansion of the national state and set forth the boundaries and contents of its social and territorial structure. In addition, it incorporated new human groups with their cultural traditions, while at the same time increasing the trade of commodities with the British and American economies. Likewise, the cultural landscapes highlight other cosmovisions, cultures and ways of life of indigenous peoples who, according to their ancient traditions, are part of nature and its various ecosystems, immersed in interrelated territories which are part of an environment with its particular biological and cultural manifestations. For the most part, these cultural landscapes evolve, as is the case of Cape Horn, Tierra del Fuego, Chiloe, the Mapuche people, the Central Valley, Santiago, Rapa Nui, Valparaiso and the Ruta de la Sierra. Meanwhile, the coal mining landscape in Lota, the copper company town in Sewell and the nitrate operations in northern Chile are relicts’ cultural landscapes, in which the progression of its main industrial function came to an end, with the exception of the María Elena company, the last of the nitrate cities. Keywords: Evolutional and relict cultural landscapes, territorial and economic heritage, social and geographic consolidation, environments.
Las tres etapas en la obra del profesor Garcés
Hace un par de semanas escuchaba a un conocido musicólogo, Jaime Altozano, sintetizar las diferencias fundamentales entre tres etapas básicas de la música europea a lo largo de un siglo y medio, desde el Barroco al Clasicismo y posteriormente al Romanticismo. Lo hacía centrándose en tres grandes compositores, Bach, Mozart y Beethoven. Y utilizaba una metáfora ocurrente, identificando en su peinado, las características de cada periodo. A Bach lo mostraba con una peluca recargada, como su música, con complejidad, muchas capas, muchas voces respondiendo unas a otras. Del clasicismo destacaba el rechazo a tanta complejidad y retrataba a Mozart con apenas dos rizos, sencillo, elegante, con todos los pelos en su sitio. En el romanticismo Beethoven aparecía sin peluca, despeinado, con música que expresa pasión, emociones fuertes, un cierto desenfreno. Los trabajos del profesor Eugenio Garcés acerca de los paisajes culturales chilenos me remiten a dicha metáfora. Empezó a ocuparse de ellos cuando aún siquiera utilizábamos dicha denominación, que aún no era popular. Y lo ha seguido haciendo hasta ahora, cuando emprende un reto titánico, explicar la rica diversidad cultural de su país a través de un viaje en doce etapas. Entre medio ha desarrollado una extensa actividad, analizando rigurosamente territorios mineros, impulsando cursos sobre patrimonio cultural, difundiendo el aprecio por estos recursos a lo largo del país, o acercándose a la recuperación de paisajes extremos. Y algunos compañeros de viaje le estamos muy agradecidos por habernos involucrado apasionadamente en estas aventuras intelectuales.
Tengo el honor de prologar un libro que pone de relieve el interés creciente que está des- pertando el paisaje en los últimos años entre instituciones académicas y gubernamentales, entidades culturales y actores sociales en América Latina. En la última década he tenido la oportunidad de conocer en este continente una amplia y apasionante galería de organi- zaciones, grupos de investigación, asociaciones, redes, iniciativas y profesionales con una nueva manera de acercarse, de entender, de pensar, y de interactuar con el paisaje, y que están desarrollando una tarea tenaz y encomiable en sus respectivos países, a veces inclu- so nadando a contracorriente en los contextos que les rodean. Hoy el paisaje, en su sentido más amplio, es percibido cada vez más como un bien común, como un activo patrimonial, como un motor para el desarrollo de los territorios, y como una vía para incrementar la cal- idad de vida de las personas. Coordinada y editada de manera excelente por los arquitectos y urbanistas Carolina Fiallo y Joaquim Sabaté, la presente obra hace emerger doce paisajes culturales chilenos de gran interés. Paisajes donde la singular y excepcional combinación de elementos naturales y culturales -materiales o intangibles- se traduce en una riqueza de valores patrimoniales, estéticos, productivos, simbólicos e identitarios que merecen ser preservados y destacados mediante una gestión y ordenación adaptadas a la contemporaneidad, evitando su fosil- ización y que contribuyan a la concienciación colectiva y al desarrollo local, sin caer en la creación de parques temáticos o de paisajes escaparate. Para referirme a los paisajes culturales seleccionados en el libro he añadido muy conscien- temente en el párrafo anterior el calificativo “de gran interés”, utilizado muy oportunamente por Eugenio Garcés en su introducción, ya que si solo calificamos algunos paisajes cultura- les como “de interés” -y esto pasa a menudo- existe el riesgo de inducir a pensar que el resto de los paisajes no lo son. El matiz me parece relevante, ya que partimos de la idea de que todo es paisaje, y de que todos los paisajes son culturales, en tanto que son el resultado de una actuación humana milenaria y de la traducción directa sobre el territorio de una determi- nada cultura. Con todo, si bien esto es cierto, también lo es que algunos paisajes muestran con más intensidad que otros los valores que emanan de la relación histórica entre una sociedad y el territorio que construyen. Los paisajes culturales que nos descubre detalladamente el libro son los de Cabo de Hor- nos, Tierra del Fuego, Chilloé, Mapuche, del carbón en Lota, del Valle Central, del cobre en Sewell, de Santiago, de Rapa Nui, de Valparaíso, de las oficinas salitreras y de la Ruta de la Sierra, y de cada uno ellos se resalta su carácter, es decir, sus rasgos propios y distintivos, que les dan identidad y personalidad. Todos estos paisajes, heredados de la ocupación indígena, la colonización española, los asentamientos históricos, las condiciones de insular- idad, la agricultura, la pesca, la minería, o las actividades extractivas tradicionales, reclaman y reivindican una gran variedad de valores que se van desgranando en cada capítulo y que las políticas públicas deberían tener cada vez más presentes.
Al explicitar el interés que le genera cómo la “nueva interpretación de la historia se traslada desde el museo o la colección privada al paisaje rural más extenso y al paisaje urbano,” John Brinckerhoff Jackson recuerda que tan pronto como terminó la Guerra Civil en los EEUU “hubo un deseo generalizado de declarar el campo de batalla de Gettysburg como monumento. Esto fue algo inédito: un enorme paisaje poblado de miles de acres de campo, caminos y granjas convirtiéndose en monumento de un evento que había ocurrido allí.”1 Se refiere al sitio histórico de Gettysburg, donde en 1863 se libró la mayor batalla de la Guerra Civil de EEUU y donde Lincoln pronunció un famoso discurso conocido como el Gettysburg Address.
Desde Cataluña, donde nace, veinte años atrás, el Laboratorio Internacional de Paisajes Culturales, miramos en esta ocasión hacia Chile, un país al que nos unen estrechos lazos históricos, culturales y afectivos. Cataluña es un país pequeño en sus dimensiones (32.000 km2 y 7,66 millones de habitan- tes), pero con una larga historia acumulada, que se hace evidente en rica variedad de sus paisajes culturales. No atesora fuentes de energía, ni recursos naturales destacables, y sin embargo fue una de las locomotoras del proceso de industrialización en España. Conserva por ello vestigios de bien diversas actividades, la mayor parte de ellos humildes, repartidos a lo largo de todo el territorio. Esta tan notable, como modesta entropía, socio- y tecno-di- versa, ha dado pie a iniciativas de salvaguarda y puesta en valor, desde la elaboración de Cartas y Catálogos de paisaje, que cubren todo el país, hasta planes directores urbanísti- cos para salvaguardar episodios tan destacados, como las colonias textiles a lo largo de pequeños ríos, o planes urbanos de puesta en valor de vapores, fábricas y oros elementos del paisaje industrial. Pero por su especial singularidad nos gustaría hacer referencia al sistema territorial del Museo Nacional de la Ciencia y la Técnica de Cataluña. Se trata de un conjunto inter-re- lacionado de centros de interpretación de una treintena de actividades productivas (elabo- ración de lana, algodón, seda, harina, papel, corcho, cerámica, curtido de la piel, minería de sal, carbón o plomo, aserradora, fragua, tornería, estampación, hidroeléctrica, colonias textiles), que en su conjunto explican aquella modesta diversidad. Se persigue con ello un modelo flexible y adaptable a un cambio acelerado e incierto, un sistema descentralizado, para preservar y poner en valor material técnico, patrimonio construido y paisaje, en el lugar en que cada uno de aquellos paisajes del trabajo se ha enraizado. El conjunto define el relato de la industrialización catalana y de la historia de la técnica.
El Laboratorio Internacional de Paisajes Culturales dedica este décimo número de la revista IDENTIDADES a los paisajes del desecho, una categoría particular de paisajes cotidianos y degradados, incluso contaminados, que suelen ser objeto de rechazo por sus connotaciones negativas en el territorio. Desde los años 60 se detecta un creciente interés por estos paisajes del desecho, conocidos en la terminología internacional como waste landscapes, ya sean industriales, escombreras, minas a cielo abierto, vertederos u otros lugares profundamente alterados por la actividad humana. Durante mucho tiempo fueron rechazados, como símbolo de declive, pero recientemente empezamos a percibirlos con una mirada renovada y positiva, que reconoce en ellos valores singulares y de marcada identidad. Este aprecio crece de manera lenta y progresiva desde diferentes disciplinas, ya sea desde el arte, la arquitectura, el paisaje, el urbanismo, la geología, o la geografía. En contraste con perspectivas que ponen el énfasis en la capacidad destructiva de la intervención humana y reclaman corregir las alteraciones ocasionadas, esta nueva tendencia defiende la puesta en valor de estos espacios como testimonios de la interacción del hombre con su medio.
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THE VISION OF THE BIGGEST SALT PAN IN THE WORLD: GUERRERO NEGRO
Probably this population is the most successful case of a company town dedicate to salt, since the last decades it has consolidated as the world's number one salt extraction and processing industry strategically located in Mexico. At the end of the 19th century, salt extractions and exports were recorded to the United States, but it was not until the middle of the 20th century that the industrial colony was formally established through a concession to foreign capital. This text intends to review the emergence of the mining community, seeing its urban structure and its industrial vestiges that could be industrial heritage of Baja California Sur region. Keywords: salt industry, company town, industrial heritage
THE WASTE LANDSCAPE ON THE BORDER OF BEAUTY.
The landscape project is the management of its morpho-holistic identity, which contains the tangible and the intangible that have shaped a landscape through a process of successive artealizations. Starting from this premise, this article reflects on the capacity of waste, its projectability in the construction of landscapes: the waste landscapes are established as a new category in landscape design, which is constantly evolving according to social and cultural changes. A new approach towards waste is introduced through representative examples, with the intention to demonstrate that waste has diverse morpho-holistic identities, linked to different intangible aspects: their origin and other stories. Keywords: waste landscape, Suria salt dump, artealization, waste
THE RUINS OF THE BOLEO COMPANY IN BAJA CALIFORNIA SUR
A territorial concession granted at the end of the 19th century to a French mining company led to the founding of a new city: Santa Rosalía, in Baja California Sur. In the first half of the 20th century, the city was the pioneer company town in copper extraction in Mexico is at its economic peak, but from the second half of the 20th century, mineral depletions began in the population system and in the most productive copper mines. The entry into the post-industrial period, the bankruptcy of the French company and the abandonment has left industrial traces in the landscape and throughout the population. The 21st century presents us with the challenge of correctly identifying these elements that leads us to preserve the identity of a territory rich in heritage resources. Despite the economic decline, Santa Rosalía has a valuable industrial heritage that still exists and is currently in deterioration. The objective of the work is to recognize the industrial footprints in the territory through an analysis methodology based on the compilation of maps, plans and the creation of drawings to answer and interpret the legacy of its ruins, making a reading of its most significant episodes.
REACTOR CIUDAD VIEJA. FROM ABANDONED PROPERTIES TO URBAN COMMON GOODS
In this article the research group Reactor Historic Centre Urban Laboratory (FADU- UDELAR), analyzes the planning process taken ahead in the last two years with the Urban Development Department of Montevideo’s city hall, around the renewal of empty buildings. The process demonstrated the sustainability of interventions based on associated management of the renewal processes with civil society groups and local government. The projects were organized around four main issues; Transformative Economies; Arts, culture and care; Ecology and Collaborative Housing. The results reached until now show how appropriate could be a pilot public programme as a way of renewing the urban strategies of intervention in central areas, as well as participatory models in urban management and the growing urban commons role into Right to the city challenges. Keywords: common goods, collaborative urban planning, co-design, right to the city
Transnational Coal Mining and Territorial Dynamics in Colombia
Cities consume over two-thirds of the world’s energy; this demand tends to increase due to the urbanization process. Despite alternative sources, coal generates about 40 percent of total electricity. The supply of this fuel to thermal power plants is supported by transnational coal mining, a global activity that, due to its characteristics, transforms territories causing various impacts. In this paper, regional and urban dynamics related to the extractivist model are analyzed in the department of Cesar, Colombia, where a mining complex of international relevance is located. The research identifies the effects of the development of the coal sector and contradictions between economic policies and territorial planning. It was found that in the studied area, mining affects the quality of life and a territorial conversion is required.
AGUA DE DIOS, URBAN PLANNING AND ARCHITECTURE AS A HYGIENIC HERITAGE
The research around the Lazaretto in Agua de Dios, was the subject of analysis and graphic documentation in agreement between the National University of Colombia and the Ministry of Culture, began as a process of academic contribution about a place declared heritage and significance of water as a healing element, however, from the mandatory isolation decreed around the world, the research also becomes an opportunity to understand how urban planning and heritage architecture in Agua de Dios contribute to health and disease mitigation processes, by investigating the background, the political decision to create lazaretos. The development of a "hygienist urbanism" as a legacy of knowledge in times of pandemic, has a fundamental role in the valuation and conservation of this heritage, in search of better living conditions of a community and its territory.
This article deals with the experience developed in the Sierra Menera open-cast iron mines in Ojos Negros (Teruel), where a programme of artistic interventions opened the way to a new identity for the territory and a change of function after the end of the mining activity. Under the slogan Art, Industry and Territory, several meetings were called, bringing together artists who displayed their works in the mining scenario and specialists in architecture, philosophy, mining, art history, sociology and other disciplines who, together with the participation of the neighbours, debated the future of the exploitation. The repercussion of the activity generated served to guide the future of the installations of the mining area, which led to the Government of Aragon declaring as a Cultural Park, the highest figure of heritage protection in Aragon.
VIDA, MUERTE Y RESURRECCIÓN DE LAS CIUDADES MINERAS
In this research we will analyze the cities development by and for mining explotation, their economic dynamism, their evolution, their decline, or their regeneration in certain cases. We will try to reveal the common patterns that mining cities present in the world, the problems and the potential they have to generate a new development, through the study of a couple of cases: the city of Trbovlje, in Slovenia.and and the city of Andacollo in Chile. This work seeks to show the importance of implementing territorial strategies and taking measures in those cities before mining closes, in order to plan its continuation when mining production comes to an end. European examples will be analyzed seeing how the decline of the activity can mean the crisis of a settlement, due to the difficulty of transforming the economic activity of these places, since it is difficult to replace the level of prosperity that mining provides with other activities. Being condemned many times to death and abandonment. We will see how the implementation of certain territorial planning strategies can mean the resurrection of these cities. It is intended to parallel the European case with that of Chile, the main copper producer in the world, where Andacollo is a fully active mining city, in which implementing certain territorial strategies could contribute to directing its future to a sustainable development for their habitants. Keywords: city, mining, sustainable development, industry, environment.
In Old Havana, the remastering of the urban past conditions the present time. As a tourist spotlight, Havana city, Cuba, has been the target of cameras on countless occasions. On Instagram, a social network based on the idea of sharing digital images, you can find a ludicrous number of pictures of Havana's old town. These pictures, or post-photography’s take us back to another time, portraying worn down buildings and places and iconic symbols as the "almendrones", classic cars from the 50s and 60s, and "guaguas", vehicles for local transportation. In this article, a series of Instagram post-photographic images of Havana's old town are analysed. The visual analysis is structured in the following sections: 1) Taking photographs of current day Havana 2) Worn out aesthetics 3) Among “almendrones” and “guaguas”. The complex relationship between imagery and technology, reframe, and add complexity to discussions on the representations of historical urban centre’s. Past and present coexist in the production of post-photographic images. On one side, some features of urban ruins are exaggerated to focus on worn out materiality, on the other, these same traits are digitally edited on visual journeys of this virtual space. The "vintage" and "ruined" exerts an attraction that drives the production of discordant aesthetics and discourses in deteriorated urban landscapes.
Landscapes of desire: Between the land and Sea
Landscapes of desire explores the necessity and the desire to reimagine and valorize the discredited landscapes, between the land and water, along the Portuguese coast: from Cova do Vapor to Cabo Espichel. Vulnerable urban landscapes in the face of contemporary climate challenges. In the landscapes, which circumscribe the sea, there are different fragments of discourse that due to abandonment by the destruction caused by extreme climatic events, such as flooding and coastal erosion, need a new history.This period of increasing segregation between the city and the sea, urges us to rethink a new way of connecting human beings and the sea. The decoding of the morphological characteristics of the space between land and sea, of the architectural elements that compose it, is possible through the reading of the forms that resist over Time. The abstraction of forms allows us to interpret the contemporary coastal territory and to define new urban and architectural paradigms for desired landscapes between land and sea. We consider it is important to explore new approaches and methods to enhance and transform these landscapes because of their architectural value. A possible path for the physical and emotional repair of the ruined landscapes along the coastline.
SÃO LUIZ DO PARAITINGA E SEU TOMBAMENTO: de conjunto à paisagem [SÃO LUIZ DO PARAITINGA AND ITS LISTING: from heritage to landscape]
Nos tombamentos da cidade paulista de São Luiz do Paraitinga foram incluídas áreas envoltórias na preservação. Porém, efetivamente, a preservação destas áreas se manteve apenas no discurso e foi utilizada, entre outros, como atrativo turístico, reduzida à compreensão de uma paisagem que não inclui os processos sociais relacionados. O incentivo que certas políticas públicas têm aplicado aos bens patrimoniais para serem utilizados na atividade turística deveria, em teoria, intensificar o papel das comunidades como agentes da definição do que elas consideram seu patrimônio, para significá-lo frente aos outros usuários, assim como contribuir para sua valorização e manutenção. Esse artigo procura evidenciar que as ações do turismo refletem as decisões dos órgãos de patrimônio e estão concentradas, em sua maioria, no Centro Histórico da cidade. Como resultado, discute-se a importância do uso adequado e da valorização da paisagem cultural nas políticas de preservação urbana. Palavras-chave: paisagem, São Luiz do Paraitinga, patrimônio cultural, tombamento ABSTRACT In the official formalization of listed building and historical heritage of São Luiz do Paraitinga, a city in the state of São Paulo, the surrounding areas were included in the preservation. However, effectively, the preservation of these areas remained only in the discourse and was used, among others, as a tourist attraction, reduced to the understanding of a physical landscape, which does not include its related social processes. The incentive that certain public policies have applied to heritage goods to be used in the tourism activities should, in theory, intensify the role of communities as agents in defining what they consider their heritage, to signify it in front of other users, as well as contributing for its appreciation and maintenance. Tourism activities reflect the decisions of the heritage bodies and are mostly concentrated in the Historic Centre of this city. As a result, he proper use and valuation of the cultural landscape in urban preservation policies is discussed. Keywords: Landscape, São Luiz do Paraitinga, Cultural heritage, Listed building.