PABELLÓN CONCÉNTRICO by Cássio Sauer, Elisa T. Martins [sauermartins] + Mauricio Méndez

Project description:

In line with the theme of the festival, the pavilion proposes a reflection on the place, the urban, the city and the specific and challenging moment we live in.

The pavilion, as a landmark of the festival, recognises the square, the public facilities, the sculpture and proposes an intervention related to this specific context.

Its geometric forms are two pieces that complement each other: a bar and a circle.

The circle appears as the meeting point par excellence, in this case, configuring a new space of centrality – with the tree in the middle -, the circular element does not touch the ground, it rises and floats above the square.

The bar, in turn, intercepts and supports the circle generating an opening, and serves as a large vertical surface for exhibitions and festival signage.

At the same time, the linear plan of the bar creates a backdrop for the sculpture of the marchers.

The scale of the pavilion makes it possible to shelter and welcome the public as a starting point for the festival’s routes and activities and can serve as a support for presentations, meetings or talks. It can also be used as an atrium for access to the various buildings in the surrounding area.

By involving the square, it provokes the rediscovery of urban relations, an invitation to walk through the square and the installation.

A narration of paths, of a historical memory and of new perspectives.

The fragile and at the same time monumental expression of the proposal finds in a simple design the possibility of demarcating the space, a sign of transformation and powerful and ephemeral movement.

The proposal is also a manifestation of duality expressed by the constant proposition of contrasts: instability and equilibrium, the contemporary and the historical, the wall that limits and the circle that receives, the space that is both interior and exterior, the open and the closed.

A site-specific installation which, through two very simple gestures, completely transforms the experimentation of this urban space.

Wood as the only material in the intervention appears in a study of its versatility and structural quality.

The circle formed by veneers with angular cuts pressed by ribbons is supported on one side by the bar and on the other by a stone. They identify the weight and lightness of modern times.

The black paint treatment unifies the intervention and minimises the texture of the wood, focusing on the clarity of the shapes and spaces of the pavilion.

LA CONTEMPLACIÓN DE UN LÍMITE by Chávarri Estudio (Pedro Chávarri, Esteban Gigoux, Tomás Sherwin)

Project description:

A boundary is defined in particular as a border, the end of something and the beginning of something else. An imaginary line separating two elements.

A border can also be understood as a limit or boundary of something in relation to something else, which in the case of a river, is determined by the width of the waterway it separates. Therefore, something that in the mind is an abstract border, in reality acquires a thickness and a distance between both banks.

This thickness of the river in its length invites us to ask ourselves what happens in between and how the other bank is composed. From this questioning and, in turn, from the understanding of the “other”, contemplation arises.

It is precisely the empty space between the façade of the Casa de las Ciencias and the river bank, 55 metres long and 6 metres wide, that is the ideal place for contemplation.

Considering the interaction between person and river (contemplation), the relationship between the available space and the person (inhabiting) and the discipline of Design seen from the development of made-to-measure furniture, the following questions arise:

1. What can we do to make this abstract limit thicker? By giving meaning, by providing the space with equipment that allows us to take into account the environment and its conditions.

2. How can something stripped of everything be inhabited? By constructing a landmark that invites people to stop and providing it with an attraction that attracts attention both near and far.

3. What should the landmark look like in order to approach the river from this location? The landmark, from now on called a device, should invite the user to change the perception of the surroundings and make him aware of his position in the urban space.

4. How is this device conceived? It is conceived from the experience of the trade and the analysis of the available space. From the observation it is concluded that the intervention must be of a reduced size, which can be achieved through the construction of a repetitive module which can be designed as a made-to-measure piece of furniture, defining its dimensions by the spatial use and the use of the material.

Modules of the device

The device is composed of a metal structure of 40x40mm profile and rectangular profile of 40x20m profile, covered with Garnica Efficiency Poplar board painted red (Hex. #FF0013), to take care of the relationship it has with the Science House. It will have a 1” electro-metal tube railing painted red to match the cladding and a commercial beach umbrella of choice depending on availability and supply.

In relation to the 33 Efficiency Poplar boards provided for the installation, the material is sufficient to cover 6 modules.

The piece of furniture/object will be presented as an approachable landmark, which, like a chair, will invite passers-by to stop, gain height and change their perception of their surroundings, opening the way to contemplate this “abstract boundary between the shores” as a thickness composed of edge and river.

SUPPORT YOUR LOCAL LANDSCAPE by Vivian Rotie and Pablo Saiz del Río

Project description:

David Nash studied sculpture.

David Nash built a landscape with Wooden Boulder and Wooder Boulder built a whole imaginary through its journey. Where did that great wooden stone carved by himself end up? A great archaeological piece described in the rhythm of Georges Perec, recording the ordinary. From the spectacle generated by his journey to the Californian Hollywood spectacle. The revolution in Havana and its naïve communication campaigns and graphic escapism. A hundred flags to blind the anti-Castro messages of the USA. Every piece by Carlos Garaicoa that teaches you Marcos. Denise Scott Brown and Robert Venturi. The sad death of Alberto Corazón. Chillida Leku and Piet Oudolf. Louise Bourgeois. Olafur Eliasson transporting blocks of ice from Greenland to the outside of the Tate. If only a museum would melt. Melted heritage, intangible heritage. Allan Kaprow. Agnes Denes. Petit a Petit, a fable with an investigative air by Jean Rouch. Jeanne-Claude and Christo. A brief history of John Baldessari. What have we learned from Las Vegas? Back to Primavera Sound.

A poster, an advert, a warning.

CRADLE TO CRADLE

A large carved stone as an active part during the installation, and as an archaeological piece after the intervention. A symbol that anchors the structure to the site, while at the same time giving it extreme stability against any kind of overturning.

Two precision cuts will be made into which the structure will fit. Once the intervention has been dismantled, the stone will remain in place, it will become another characteristic element of the landscape, giving a new life and a new image to the intervention. The carved holes where the structure used to fit in will be completed with two wooden elements that will return the stone to its original shape, but leaving the scars of its modification visible.

STRUCTURE

In order to optimise the use of materials, a modular construction system is used, facilitating assembly and guaranteeing the subsequent reuse of the elements. The structure is made up of 6 modular elements that grow vertically as they reduce their slenderness and 7 diagonal pieces that provide stability to the whole by anchoring themselves to the ground, together with the stone. Oh, the stone! The vertical elements, double and orange in colour, will be joined by 6x10mm maroon connectors, thus highlighting the structural composition. The 1 metre axis spacing between each of the modules facilitates the passage and adaptation to the linear composition of the vineyards. The structure is divided into 3 heights of 2.50m each to make the most of the panels, giving a total of 7.50m in height. The level below 0.50m will be painted white to give a greater sense of lightness.

POSTER

Composed of two planes; a foreground that highlights the typography and an offset in the rear plane that provides volume. The letters on the back plane, white in colour, will be painted with photo-luminescent paint, so that they will accumulate energy throughout the day and will make the intervention visible and locatable from any point and scale of the landscape.