ChileThe city of Santiago de Chile stretches out at the foot of the Andes and is crossed by a canalized river from east to west. The city has evolved along the banks of the Mapocho River, a local landmark with a major historical significance. In 2012, after decades of increasing pollution, a rehabilitation program called “Mapocho Urbano Limpio” (“Clean Urban Mapocho”) was initiated. The program, managed by Aguas Andinas (the largest water supply company in Chile), successfully managed thorough decontamination and clean-up of the river.
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In this context and in line with the tradition of public parks being situated along riverbanks in Santiago, the new Fluvial Park emerges as a unique project situated by the Mapocho River. Originally, this park was supposed to form part of a much larger urban project within the scope of the Bicentennial Projects to “make the river navigable”. It however proved to be more feasible and realistic to start the river transformation by focusing on a single area, in a district with very few public green spaces.
Bring the river closer to the people
The vacant area, located in western Santiago in a district mostly devoted to industrial developments, extends along one kilometer and borders on a very well established park in the city, providing a clear continuity of green spaces in front of the river. Nonetheless, the project incorporates two new urban situations: firstly, the creation of a large adjacent water surface for recreational use and “to bring the river closer to the people”, secondly the construction of artificial architectural green slopes to define the borders and areas of the park. The contrast between the geometrical design of the slopes and the natural organic lines of the traditional parks in Santiago gives this topography an innovative appearance.
Dirt and debris that had accumulated on the site over the years were utilized for the construction of the slopes.
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The flow of the river
The highest point of this series of slopes corresponds to that of the city cycling route, Mapocho 42K. In the park, the elevated bike trail overlooks the river and the mountains to the north and at the opposite side, the lagoon as well as the park’s pathway and vegetation. The pathway is an elaborate network, which allows visitors to walk along the banks, up and down the different slopes and across bridges that have been constructed to keep all of the spaces easily connected.
The landscape plan was predominantly laid out with groundcovers and succulents, while large trees were utilized to outline larger areas, borders and a pedestrian avenue connecting the access plaza. Composed mostly of native species with low water consumption, the planting list also provides a wide range of seasonal colors.
The central lagoon, a large on-site water reservoir, serves as a water supply for the site’s irrigation. Part of the river was diverted by integration of an inflatable rubber diversion dam directing the water into the reservoir after a sedimentation process using an underground filter system. The water can be returned depending on the flow of the river and the water levels of the reservoir.
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Various uses both during the day and at night
The agencies and governmental areas involved in the project carried out environmental impact assessments. Furthermore, in collaboration with the designers, the Ministry of Public Works emphasized the paramount importance of the site’s social aspect. The program includes soccer fields, administration offices, service areas, water facilities and an affordable paddleboat rental. A large access plaza provides room for public events and fairs and one of the slopes can accommodate a large audience for free concerts and performance art. Custom-designed concrete benches, placed into the terrain, border seating areas as well as play areas for children.
The lighting plan was carefully designed for each of the spaces on the site and their various possible uses both during the day and at night.
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Fluvial Park, which was recently renamed Family Park, is definitely unique in Santiago de Chile because of its new physical, visual and conceptual relationship with the riverbanks and, especially, with the river water. With regard to urban adaptation and renovation processes, this could be considered as a pioneering and positive sign; however, innovative ideas always come with strong commitment. Profoundly responsible decisions, procedures and monitoring actions are the actual signs, which would make any urban intervention of this kind highly positive. Time will tell.
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Location: Santiago de Chile, Chile
Designers: BOZA ARQUITECTOS (Cristián Boza D., Cristián Boza W., Diego Labbé, Eduardo Ruiz-Risueño, Michel Carles Tapia)
Landscape designers: Pamela Olate, Pilar Lozano, Cecilia Vergara
Lighting plan: Paulina Villalobos, Pamela Padruno
Client: Ministry of Public Works, Government of Chile
Area: 20 hectares
Date of completion (last stage, lighting): 2017
Photography: Felipe Díaz Contardo / Guy Werbourne / María Cirano
The first week of July 2018 a design-build workshop took place in Belmonte Calabro to explore migratory phenomena in the Mediterranean area. Italy that aimed at responding to one of the greatest European challenges in a small town that, abandoned by its local residents, is becoming home to a new wave of migrants who travel across the Mediterranean to Italy. Promoted by the cultural association Le Seppie and made in collaboration with Orizzontale and London Metropolitan University, it contributed to redesigning the Italian border between migration and abandonment.
An interview with Rita Adamo, one of the co-founder of Le Seppie:
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How has the workshop become an attempt at the collective rewriting of space?
We chose the Municipal Library of Belmonte Calabro as the object of our investigation. We turned it from a forgotten space into a Wonder Living Room, an exhibition space created to display sentimental and historical objects. A place of connection between one migration and another. We aimed to deliver to new and old inhabitants a greater awareness of the territory and its cultural heritage, designing a device that, by celebrating cultural differences, actually encourages exchanges between different communities.
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Who were the guests in this year’s edition?
The workshop was made in collaboration with London Metropolitan University and with the architects at Orizzontale, together with refugees from the neighboring villages of Amantea, San Pietro d’Amantea and Longobardi and the inhabitants of Belmonte.
What was your intention in redesigning the city library?
Our intention to redesign the city’s library is based on the objective of stimulating conversation and dialogue between the local inhabitants, the perceptions of recent migrants and refugees in Calabria and other visitors such as the group of international participants of Crossings 2018. The ambition is to imagine a new cultural identity for Belmonte that could contribute to a more active use of the municipal library and the repopulation of the village by more diverse demographies. Located beneath the municipal library, the chosen space is currently underused, despite its excellent location and the many possibilities that its large opening on the city’s main square offers. By opening this library/museum room onto the square, we hope to expand the possibilities of using this central part of the city, allowing it to host more specific activities such as cooking and serving food, screenings, music, debates and so on.
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What added value does this workshop bring to volunteers, students and migrants?
Involving participants from the local Italian context, refugees and international participants, our common goal is to challenge the decline of those places. The program offers a very rich experience that includes individual growth, social and cultural awareness, with an exposure to the arts and crafts as well. This experience creates a very different kind of bond with the village, where both visitors and locals feel committed to the village’s situation, along with the incentive that implies to return to see the evolution, take part in its development, or launch new initiatives!
Someone who is looking for wisdom needs time to process and reflect on their experience and the matter of their studies. This works best in the quietness of nature. The Smithsonian in Washington D.C. seems to offer perfect conditions for that. With its 19 museums and galleries, it is the world’s biggest museum complex and provides natural places of retreat in gardens and the National Zoo.
But not everything runs smoothly there: The National Museum of African Art and the Sackler Gallery complain about scant attention paid to them which results in declining visitor numbers. They claim the lack of coherence on campus to be the cause. Redesigning the entire South Mall Campus by the Bjarke Ingels Group (BIG) is supposed to help the place gain momentum again. The 42 acre area comprises the “Castle”, the Arts and Industries Building, the Freer Gallery, the Hirshhorn Museum, and the sculpture garden.
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In 2014 already, BIG released first drafts. They included the redesign of Haupt Garden in front of the Castle. The Victorian style garden was designed by Jean Paul Carlhian in 1987. By “redesign” BIG meant complete demolition which immediately sparked an outcry from monument conservationists who consider the garden a cultural landscape and “place holy to many people”, as the National Capital Planning Commission is quoted, a committee for the protection of historical and cultural architecture history in Washington D.C. This perspective is backed by Richard Wilson, professor for architecture history at the University of Virginia, who told the Washington Post in an interview that the redesign project completely ignored the historic and contemporary importance of the garden.
A New Plan Must Come Up
Subsequently, Norwegian architect Bjarke Ingels backpedaled on the plans. In a press release from January he said: “Since our last proposal, we’ve been listening very closely to the public. We wanted the general feeling and fondness for the Haupt Garden to remain the same while also increasing its enjoyment and use.“ BIG recently released a new, revised draft, confidently calling it the “Masterplan”: One of its propositions is to make the paths between the museums and gardens more visible and intuitive while preserving the atmospheric, secluded character of the Haupt Garden. A fine balance – since the redesign is meant to draw more people at the same time.
As of today, a loading ramp at the west side of the Haupt Garden separates it from the Freer Gallery of Art. Rickety delivery trucks using this ramp make the garden look more like a busy crossroads than an oasis of well-being. Moving the ramp would connect the Freer Gallery of Art with the garden, says Aran Coakley, project manager at BIG.
With the Masterplan, the Bjarke Ingels Group wants to perform a balancing act. On one hand there is the overall objective of the Smithsonian Institution: being a place of learning and discussing. On the other hand, visitors shall be able to find a quiet and inspiring natural retreat where they can take a break from the museums’ bustle.
Despite initial setbacks, renovations are to begin in 2021.
