Dossier a77 english

8/3/2019 Dossier a77 english

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a77Gus ta vo D ie gu ez a nd L uc as G ila rd i, a re tu te ctswww.p~l:uan ldl ivesY$ temJb 'IQg spot corn

Both w ere b orn in Buenos A ires (1968)lin 2006 Gustavo D ie gu ez a nd Lucas Gilalrdi beqan to d ev elo p p ro je cts u nd er tine pseudonym ofa77, though they had been assoclatsd with numerous experiments well before then.The a77' architects are' very hands-on w;ith their construction projects. Their work involves creatinqa variety ofeveryday objects that reach architectural s~zeproportions. The'y combine art,architecture, sociology and urban plarming in their projectsand have a particular interest in reusinqlndustsial debris, r ,ecyc ling for experimental housinq, creating tempo rary in s titu tions , a ctivatiin gsocial dynam ics in p ub lic sp aces and m e selt m anagem ent of cultural sp aces.They teach urbanismand project desiqn at lfniversidad de Palermo and Universidad de BuenosAires, respectively

tDesi'9ln as social toolan architectural lexicon(t~ xt a nd in te rv iew b y F ra nc o R .a g.g i, p ub lis he d in Abi~::HeN"506)

a77 are Argenlinean architects who explore spal]a~ and functlonalccneepts of nemadlsm.ephemeral ltv and trarnsi~iClnus Ing the rough -S I lO ready yet s ymbo l ic ally -c ha rged la ngua.ge o flin te humb l e p a ck !ln g crate to bu il d open -endedstructures that can be assembled and dismantled accordtng to need and the desire to brimg dtlfferent groups of peopletogether. When fi lted into left-over places as 'temporary cccupiers of time and space, their autonomous, ILInsty!eds tr ucnnes advoca te the need for ~nburdened, non-rhetorlcal, "auernanve" ~andscapes.The ir in t: en lo rs a nd I bu ild ln gs a re m a d e by hand usillg sim p le thoug h not unsop hisU cated m a terials. T hey see sp ace as apoternUfa'1rganism to '!Iihidh, tor example, 8 plywood prosthesis lTIay be hung or attached "if needed" to create achtldren's play space, Or Ihey might bmlaHy recycle o~dtrailers to emphasize theJr I:la.sicfunction, repaint and fix them inplace above a slop~ng man-made vegetabl,e plot, To t im is d ive rs ity is cO: l! J !p ledi le social and eolteetlve use of these objectsredeemed by g raph ic d 'es lg ll and n ew u se s; a d lv ers lt ylih al m a y s erv e asa c a~ al:y st a nd c on de ns er o f sm a ll a ct s of socialcommunicatlon .. In 'fhei li own words: "SeU-build means pr,ovi ingto yourself that you can do certain 'things in a way I~:atamounts to a real altemative, that you don't need outside help, that if yo u want to do something, tne poweI 10 do it lies[[temlly in your own hands ... " F.R.Self&bui ld. Self-build means provingl to yomse~f that you can do certan thing.s in a way that amounts to a reala lte rn ativ e, ttn atyo u d on 't n ee d o utsid e h elp , th at if you want to do som ething, the p oweJ to do it l ies, l : ite l ia ' l ly,in your ownknow.~e.dgeand hands, The need to do this can be f or e conom i c reasons as well as personel .This way is cheaper, but even more importantly; it's a way of getting involved in Ihe physical constructien, not just i tsdesi'gn. This personal involvement helps Yo!!!ldiscover not only the pleas me of buil:ding things, but also something thatd es ig n c on ce rn s, w hio h a r' o fte n re m ote , c all n ev e~ o ,ffe ~.w hic h is d lre ct c on ta ct w ith tih e m a te ria ls a nd sh ap es lh atbel.onglto specific places.end the gradual discovery o'iwhat each lndlvldual rnaterial or shape ha,ve to offer,Getiting u,pclose l ike this means that building acquires a special kind of subjeot:ivi ty that br ings it closer 'to forms of art andcraftworik. We aj~li~.eindustrial objects, both aesthetically and physically, but t l' it is attachment becomes gre'ateli when weca n tra ns fo rm th em in to p ers cn el o~j'ecl:s,Consuructirn.gt.hings with what you have a t h an d is a wonk phHosophy that not only activates t.he imag;ination, b u t a ls omakes the fulfil lmenl of dreams possible, It is nat about defending realism, but quite the opposite.Recycling' . We thfnk recycHng creetes a double Challeng.e. Ethically, i f i means l1.e' tp ing to conserve precious majerlats orobjects, and fhis gives usan enormous satisfaction of doi'ng thil ii lgs is as much aestlnetic as ethical. This also meensthatethics can be seen as one way of utii liz[ng the resources and opportonltles avai '~ableto us, Aesthetical ly, i t lmplles thetraastormatlon of somethin.g no longer conse le red use fu l intosomell"1:ilitg imaginative. The r es ult o f all th~scan have bothpractical and phHosophical value.Fu nctiolil~Emotion. The quest~on of form versus fun.ctior1lprovides one of archlteeture's g reat d il emm as, Form islIn ke d to a es th etic e m otio ns ; fu nc tio n ls c on ne cte d to m e ch a.n ica 'i and soci a~ emoUons> Our [o b is to find t he emo tio n andits most suited context In this sense. physical involvement in bui:lding somethinq can be seen as one way of activatingsenses and memory. \I\lhel1.something we' have done satisfies both aestnefic andfuncfionatneeds, we' feel genlLl:inelymoved.


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Pantheon of eoxes. an workpface and oommunily hall. Piedrabuena Neighborhood, GCPBA. Buenos' Aires ', 2009

Liv[ng-Learningl., Q ~ 'a lity o f life ca n ro e im p ro ve d lin a ny co nte xt \N lm a tc ou nts is th e c re ativity a nd im a girn atio n e achi.l'ld iv id ua ,iin ila b ila nt p u is in to a p pr op ria tin q a g iv en p h ys ic alc cn te xt a nd title e xte nt to w hic h th e c on te xt makes thisp e ss lb le , W e a pp re cia te , th at p eo p le , th ro ug h o ur p ro je cts , le arn m h a tth ey c an dea lo t w ith s ca rc e re so urc es a nd v eryI ttlle h elp , a nd a ls o' d o it w ith p a ss io n, lik e it's ju s~ fo r th em ,Nomadism. Many of our projects are nomadic, because t!h ey 'v e lo ure d Imany d iffe re nt e xh ib itio ns , liv in g in th em asnon-spec ia li st s. Th is nomad s ta tus lin certain contexts enabtes us t o wo rli; lin a va rie ty o f sU l!1a tio l' lsand disciplines.Other projects were in tended 1 .0 b e nom a dic in p ub lic city spaces , i: 1iiih e h op e o f re awa~e rn irn gpeople's pa rtic ip a tion ina nd in te ra ctio n w ith tim e specesarcund them, and boost ing ll ite irappropr ia , li o l1 o f a nd s en se o f I be lo ng in g to th os e spacesth rough socia l aC !i' J ity .W e d id th is in M ata ro . in 20009IWe C an Xalantjand we now mtend to lake t he exper im en t a stepfurther in B uenos A ire sw ith the IN om a dic C ultu ra l C en ter a nd o th er in stitu tio ns in th e so uth o Hh e d ly .Mentall l p:rocesses allild 'form. C reating form can b e 'the o utc om e o f several p ro ce ss es - ra tio na l" in tu itiv e o r ra nd om- and there are p eo ple w ho adapt b e tte r to one r athe r t han another.Of course, the a rtis tic c omponent c an someHmesca rry m o re w eig h.t. H ow eve r, o ur cre atio ns co m b in e a ll thre e p rec esse s, W e a m m om ra ~io na l whe n w e, h ave to th inkabou t costs" schedu les and f unc~[ons, f or examp le , a nd m o re in tu rUve when we phys tc at ly cr ie a fe t he r non taqss we'v,eim a gin ed o rr se en in v ario us p ub l:ic a.tio ilis , us in g m o de ls a nd im a ge s. A nd w ea re s om e tim e s m o ra ra nd om in o urapproach when we com e across an unexpected material or accidel1i ta~~ydiscover a new combination. Form g:raduaUys ta rts to d efin e its elf a s s tm c !u re s p ro gre ss a nd , to v ary in ge xte irlts a nd in v ary in g p ro po rtio ns , w ~e n ra tio na l a nd im , tu itiv ep r ocesses s~ar t i nt er ac1 tng wUheach o the r,Poverty, simplicity, G lris !s . P ov erty , a sa I laok o f re so urc es , e noou ra ge s ~mag in alio n a nd a .d ap ta b ility a nd enric he sexp erience. T he creation of ob jects from found! o r very cheap m a terials doesn't necessarily im p ly any shortca m ing s ontheaeslhetic front. Aest he tic s is ' fi" eeand available to everyone. It 's,a v ery p owe rfu l to ol that ca n provide a llo t o fsafisfaenon and should I)e util ' ized more often.F ow th is re as on , w e s ee e co nom ic c ris is a s a n o p po rtu lllity to m a ke tllilllg s,Urbani ecology. We re alie e th at e co lo gis ts ' p ro cla m e tto ns re fle ct re al c on ce rn s a nd d es e:N "e a tte ntio n, a s, m u d h [nte rm s o f w as te re du ctlo n a s w eH a s fo :r s m a ll- sc ale e ne r'g y s av in g. W e ca n s ee th is c l:e arly w he n w e' re cy cl:e so m eth in glwe've b l i 1 1 t weeensum e less ,ener gy and f ewe r r esou rces when we make u se o fw :h at a lr,e ad :y e xis ts , B ut we 're mo ti nt erested i IT ' lI kind ofteohnocracy th aI d ic ta te s what d oe s and doe sn 'tq uaM y a s, s u sta in ab le a rc hi!e ct~ re " or i IT'l l fhei. l ldustry't!hat has ,g rown u p a ro und "g re en " lssces,We liv e a nd a ct in a rlifi:c ia l u lib a n contexts tha~ are-also p art a ,fou r na tu re , W e think there should b e a kind o f real "urbaneoo k)gY , s ome v ita l c on ne ctio n b e tween in ha b ita nts a ndeemex t. We n ee d to , be a wa re . o fw ll,a t IS a rou nd u s an d ho w 1 0ta ke ,c ar of it.Techno:logy. We ada pt te dh nQ ~ (lg y to th e e co nom ic re so urc es a va ila b ~e fOi l e ac h in div id ua l p ro je ct W e c re atear ch it ec tu re ' fo r t he ern, vi ronnrnen lwe I i' v, ein and the t eehno log ica l p osslb l lh ie s it o ffe rs . T he c haHe ng e w e s et o urs elv es isto achieve what we want u sin gllh e m e a ns a t o ur d is po sa l. W e a re n't lo w-~ ec h a ctiv is ts , b ut w ,e lik e u sin gllo w-te ch fo rm s .W as~e and crate, Ge l'T I.e raH yp e .a .k .in g,u sin g tn du stln ia l.w a sle is fh e c heap e st wa y to d evelo p a p oetic al fo rm o fexpression.Nomadi,c~Ephemeral-Temporary. T o u sfh es eth re e w ord s a rle n'. a lte m a !~ ve s, h ut c om p lem e nta ry m o d es o fa cfia nta ilo re d to th e n ee ds o f ln div id ua l p ro ie cts ,These are ul ibanand arch itec tlWlra l ,ca tegor ies that outl ine use-f 'ulway s o f th in kin g a u th e p re se nt tim e .


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2006Plug in FesttvartIN lomad i c i nsNtut ionCollective ,e)(lIibilion.1st, lnternatlonal FesVival of Desiigll.Me tropo li ta n Cen te r ,o f Des ig n. CMD .Goll: lierno de I iaCiudad de Buenos Aireslsi prize. competition c omene ao re e d ed is eflo ' p ara e l m un do .A. set of three m odules to set up a,c ultu ra l c en te r in sid e a p or tcontainer ..Plug and live systemca.1alog.A'iransfo,~ma'ble system off 18,wooden boxes.

2006Posta IIBoxIEphem eral inst itu tionColective 'exhibitionEstudi,o,AiDierto Gantm.Guralo,~:Ana Ba ti st ozz iPostal P


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For til poUUcal1of temporary ecnstettatlonsWe Can Xalant is a hypo,thesis about the dimens~ons of visibi lj ty.l~ consists of puttingl into evidence a constenanon ofresources ana people belong~ng tDlilm same envlronment on the suspicion that their proximity hides relationalcGU"dfigurations,lalent: affinities an d ob je ctiv e p rojectio:m s . T he p ro po se d Q b J cU v o f the Ipm je ct fe quir-e d an i:n t:erns ~vaskof communication to produce the lnterectlon oHhe various players all in p:roximUy and a blog was creeted as a tool forcommunication as well as a col lective, work platform in a transformetlcn effort.A imongo lllg e ffo rt , th e I p ro je ct's work . o on~in ue s to deve'lop a lo ng th ,e e lln es:1. In terms of materials, the first objective was '1'hereoovery of materials salvaged from the lire that destroyed TadashiKawamata's instal lation as weil l as Iloading and recovering discarded supplies for V N O simple reasons: physical proximity1:0th e s ite a nd in ex pe ns iv e c os ts . A lo cal w aste m s na qe m en t com p an y gave rls s~ppor t to t he r p ru je c t by g iv in g th eproject team access to salvaged suppl:ies and materials at i ts recycl ing centre. Nearby cempsltes were contacted aboutcampers in disuse and three units were acquired.Then a laboratory of nomadic and self-bui ltercbitecture was convened.Over a week period,tine col l,edive construction was undertaken. The underly,tng structure of Kawamala's piece wasre co ve re da nd c on ditio ne d; w hile tw o of the cam p ers w ere re rn od elte d, u sin g p artsfrom a th ird < O ne o f the cam ;p ers wa sintegrated into ~he exisUng structure at its highest point, creating a multipurpose room, ov,erloo:king the Mediterranean.The second one was l\!!lsedto create a mobile module for artistic and social activi ties f l 1 l public spaces. The ramp, built toraise one of the campersimo the structure, was ~herlt ransrormed into a si 'o;ping garden a1iler i t served its initial purpose.2 . In te rm s o f the social ,element of the ccnstructlon, it is based on ~heidentificati.on, a ssessm e nt o f efforts and definitionof ways to proceed Ibythe players most closely involved in the project. Tbis process has resulted in the construction of anetwork of indiv,i :duals and grou;pslo define Ilines of action and put them into effect. NlJ[mmous meetings with a localassociation of n eig hb o ur s a ls o made iU poss ib~ 'e for rnembersefjhe commu!1\ i ty to b ecom e invo lve d in futur-e ac,tiviUesinvolving the nomadic modu!~X"R The unit was inaugurated in a pubHc space during an event during which theneighlbors brought their cultural activi tie,sand merg;ed them with the proposals of ~he resident artists of Can Xalant, TheroHowing day, the ,enlire inatailstion was ina;lJ[guratediin the garden as the stage fo r Can Xalant's annual concerto rg an iz ed b y th e m : fir ne r C tu b w iU hmu s ic b a nd s fr om d :iffe re n~ c o un tr ie s.3. In the middle of these '!vIm l ines exists a th[rd; a temporary element It is a,wage:~ on the collective construction o,f t ime:an attempt 1 0 capture the ephemeral D r fleetingl pol:i1icsD f the moment. The list of acliv;[Ues prog:ramm.ed fo~ We CanX ala nfs fixe d an d m o bile structures ha s b eg~ n 1 .0 f ee d o n d iffe re nt p ro p os als p re se nte d by a rtis ts fo r f utu re e ve nts ;Different social and anlstic projects are reseN[ng th.e CX~Rfo~ upcomilitg events ..The typical instilutuona,1constraints mark,shape and establish identities, however a physical place, room or the creation of a habitat is a statute of time. Brut howlong can we withs~and the ephemeral?T he q ue stio n ha s b ee n a d:rM ng fo rce b eh ind th e p ro ject's w onk, 1 1 1 1 the face of a m un certa in re sp onse , i~ m ay b epreferable to focus on the tdea associated with the name from wh~ch the proiect originaled. 'We can" has been awidespr,eadl pofif ical campaign s'logan in recent times. Can means 'house' and Xalant 'fun' In Catalan. We Can Xalantfuses the pmjeot's name and ,eo:mceptiIT1:ton implicit response. Il1ldeed, everyone enj:oyed themselves and had fun, andth at in its elf is e no ug h,


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Chilo'rel l l"S works,hop dlreetad by lLes Sa~onn: ieres

F tirs t tr ip 'o f th e c ara va n CX -R

Zona tinJ!rusapvojecl. 20~O

Workshop! laboratory 01nomadic arenneeture ane self-eo,",structi011

Can. Xa.lan! cou,rtyaro. Winter aM .snow, 2.010

f "e sNvsl i n Malar6 p u blic s pa ce


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2 0 1 1 0"faller de , J 1 u e g o sWo rkshop / l? re je ctCo-aut~ofS: an'! Paul F aus J t .e s Sa lO l il rn1EkesCollaboration,: Unlvefsfi:i.ad ,!l 'e ,P ,a l'e rm c , P rim a ry S eI l,o ol s W2 0, N '2 1 Y W2.2. f o!EC ID I Ag en cia , E sp a lio ra , d e C o op e ra ol6 n I ntem 8 cio na jpa ra e l , [j esa f l' o l, lo ) , Ga ' lpo l ii Ou l tlu ra ] P iedrabue ,na r teWo rk stn ,o p p a ntic ip a nlts : F ed er ic o S a lV a do r, S o lla Me ir elle s, Ma ria C e cilia A rr up a , E sle '0 8r nX a vie r A lv ar ez , Ma ile n R ome ro ,D ie go D om i ng os Bm g,a , Y az :ie l J ua rb e, ,G ab rie la G on za le sA ~c al'd e, M artin F lu :g erm a ll, R os ario T a'le vi" M artfn C ab re ra , I gll,a do N alie z,F~ano is co P rovedo , A l ej al ld .r a l ib a nez, Ma r ia d .e ll lMa rAbo !' )"A !n a Ma r ia 8e tan cu r , Ma rce la S i nc la ir , Pao la Sa~abe r ri " Pau la Va ]e l1 'l in :i .P lace: Ga lp 6n Cu lt ur ra l P ied rab uer nan te . IBar fr o !.UlS P1ed:rabUJerna ,uenos ,A i res (Augen l IHn la, jUn l< : h tl ipa~ lJegos.p iea raouena rne .l b rog ,spo t co,ml

Taller de Juegos (1IPIaygrm.mdWorkshop} was done next to the col lective 'Les Sa'lonll ieres' (Barcelona) and Pau Faus( l~ ar ce IQ ! 'n 'a ).l1 hew o: rik sh .o pw as a o omm un[ly w o ~k fo r th e c on ce p tio n a nd c on st ru et to n o ra c hHd re n's p la yg ro un d !" te xt t oth e G alp 6n C ultum :d P ied ra Bu en Arte (G C PB A) of B ue no s A lres, T he G C PB .A lsa s e~ J ,m a n ag ed lo ca l c en te r m a d e f o:~t heneighbors o,f the luis Piedrabuena district Tl I 'TIrougl 'TIts cu.lturaj and artistic 'Work"the GCPBA aims to strenqthen sociallinks within the ne~g'hbmhood of Ihisurban environment w,ilh significant socioeconomic problems.F oH ow in g thls ide as, th e w orksh op w as se en as a grea t o pp ortu nity, 0 1 1 1 one hand to create a! new m eeting p oint forand by th e n e,ig h'b om o od " a nd o n th e o th er h an d to lin k th e G C !P BA to d iffe re nt e du ca tio na l ln sd tu tlo ns , A fte r s ev era lmeetiaqs, t.he project couldcount on the pa.rticipation of all the publ ic elementary schools in the neighborhood a:l'ldof theUniversi~y of Palermo in Buenos Aires.T he w or~ sh op w as dlvide d in tw o p an s of a w ee k ea ch, T he first p art, 'I .m a ginill.g th e G am e ' e eo rcln ated b y th 'ec o[le ctiv e L es S ~:d on nh ~re s,w as a bo ut w ork in g w ith d iffe re nt g ro up s o f p rim a ry s ch oo l s tu de nts a bo ut th e c en ce pt o ,f'Game'. Many recreational acl ivi ttes were held around the GCPBA. Some design ideas started to appear , During thatweek, the kid's begun to tmagine the new pl'aygroundfihro:LJ[ghthe:ir giames, dreams and designs.T he se co nd p an" '1 ~'U ild irn ghe G am e ; o oo rd illla ted b y the a rchlte cts a '77 a nd P au fa us, w as m a in ly atten de d b yun iv ,e rsHy s tudents, p r im a r il y from a rc hite ctu re . T he a im w as h ere to in le rp re t th e id ea s e xp re ss ed d urin g! u he f irs ~ w ee k o ,fwork by Ihe kids, andliry to build them. To do so" we had to meet with our 'clients' ,(the p:rimary school ol1ildrell) to find outthe way ~oformsnze IheiI demands, Their common demand was to imagine the game as a c!rcuit where many activitieswe re p u t t0 ge ,th e~ ; cHm b in g, s lld in .g , s cr eam 'in g, swin gil1 lg ; jum p in g, e tc , We s ta rte d te stin g s ome p o ss ib ilitie s w ~ th lih e fewm a te ria l w e h ad . tate r e n, w e p urcha sed (o r b orrow ed fro m th e n e~ gh bo rs) th e n ec essa ry m a terial to sta rt In ti!d in g. O ncetheconsteuction beqan, the constant presence of curious and anxious children around us, al lowed us to 'test' continuall iythe differlnt parts of the playgml.lnd. The whole worlk was completed only in five days ..A fte r th e c on stru ctio n w as 'fln 'is he d, w e o rg an iz ed a n o pe nln g d ay fo r th e [n ew P la yg ro un d, D urin g th at day, studentsfrom the three schools of the d lstrlct vis ited the gam e and checked out if a ny o f w ha u th ey h ad .im a .g ln e wa s b uilt th ere .Nowadays" the game, is stil l work~rng.We've been told that many charnges Ihad been done in order to adapt theplayground totaa local context. Ho;petuHy those adJ!!!Istmentsmeant that we achieved our main goa~, that is to create an ew mee tin g poj! ' ! t 'f or th e n eig hb o rs o f tn e d :is llric t.


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Meeting with tnea!l tl loril ies 'of the three schools

Dest ,gn lng 01r cu i ts o~ ' game w it h s tuden ts o f a rc n it e ct ur e

Worksllo,~ imagining the game direct.ed b y l.es Salonnieres

Workshop of constructlon.The skyline' of Plecrabuena ne:ig'hbmurhood

[lay 1w ith th e schools


9/10

20111-12Centro Cultural NI6madeCultural lab iii the pubncspaceConcep t , des !gn < l indcon:s truc 'l ioo :a77(G:uslavc ' D iegu. .ez and Lucas G i il ar dl i)Insl. itu. l lonall letwonk: a77. rmaFounda ti on , cheLA (centroHipemm ed i .i ti co E:xpe rimen ta lL alin oam e ric an o) . eM I){MetropolitanCenter o~Design)P l ac es : S o u th o f B ue no s A ire s: L aB oc a, P ar (ll !le P atM io s. B ar ra ea sLink: htlp:llcentrowlilJralnanlooe ..blogspot.oomI

T he N om a d C ultura l C enter is. ap ro je ct o f u rb a n p e da go gy whoseg lo al is 1 00generate bonds with thec(Jmmuni~ alnd [0 find in it ,a fertileground for l leam ing, with activep a rt ld p an on c ha nn els th ro ug hexperimentation, workshops,laboratories and other actions alike.Th e p r oje ct was desiglned withlrepurposed Imater ia ' ls , .bu i l t wilh arecy'cled shippilTllg container andfurilillituIe made fromr ec ov er ed w o od .Its, first slop was la Boca, aneighborhood that l ives in thedich,otomy of beinq a majm touristtrap and the hom e of 1many peopleiln n ee d, a nd th at siilts n ex t to one otthe: mos tpolluted rivers 011he world: theMatan~ar I ' l : l iedhuello.The nomad cu lt ur all c en te r a ls o,toured Parque lPatrioios andBarracas neighlborhoods, bmh illthe soul.hem part of Iheci ty, wher,eit were i nco rpo ra tedaeiivities related to techrn.o' logy anddesiqn.The nomad cu l~u fa ll c e n~e r willcontinue li n operation d u r i l l 1 l g 2 .012 .


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2011-12Nlecochea Pavi l l ionWorkshOp/projectConcep t and cons tr uc ti on : an(8:uslav.o' Dieg!le,z & : Lucas GilMdilI ns liM ion : M[n is lt rry,o f I n f ras l ruc tu r re .Secret ar y o f P la nr rl in g andHOUSing.Government , of li le Pro'vil1O!'! ofBuenos A ir esP f' oj ec l: PNUD ARG/OS/027. UniledNations Deve~opmelit Prog ramme.Wo rk shop o f co ll ec ti ve cons tr uc ti onPa rt io ip a ll ll $ ; L uca Am ighe tt j, C a rl osAQlu ino" L i i! le r tad Ba ld iviezo " FacundoBen ce P ie re s, J U la nPa b lo B er b er y,Martin Cabrera, Gimerrlil De Franco,T om as d ella V e ec hi.a , J u lia n D ur an ,M artin F lu ge lm a n, M atia s G arc ia S om l 'o ,Matias Gomes IF,mlasfa, Daniel I I 'nJilnle,Fi la ncesco Milam 0 " . Ag lU stin M os q u sr a,A lb e rt o Nan cla re s, ~ gn ac io Nunez,Mar,oo Panizzi, Rodlf ig 'o Per'ez deP ed ro , J os e S ala m , S im o na S olo rz an ,o "a uth oritie s o f th e C I'u b E ug en io N ec o-che aan d p are nts of the kkls , th at p layfootbali l l i in the dlub.P la ce : C lu b E ug en io N ec oc he a, V illaH li da 'I 'g o.P il rt id o de Sa ll l Ma rt in . P ro v in -ce of Bm m os A j [as.Linik:htIIp:IIIwro.~OLJtube.wm~~~HYM~QX9RGc

Devel~opmen t and cons trucnon ofarchitectural device-s, communi tyfaci li lies and urban projects forneighborhoods in a n eme rg en cys ltua tl ons . .RecCl rlqu is ta l R iv,er Basin . .AlP(Priori i ty inteavenfion Area)a77 w ill c on tin ue 1 .0 imp lements ec ia l a et ie ns [ or p a l1 lic ip a lo rydesiqn and ocnstructlnn dmi l rng2 { )1 .2. .pNUD p rog lf .amm e)

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