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a77
GustavoDieguezandLucasGilardi,aretutects
www.p~l:u
anldlivesY$temJb'IQgspotcorn
BothwereborninBuenosAires(1968)lin
2006Gustavo
Dieguezand
Lucas
Gilalrdi
beqan
to
developprojectsunder
tine
pseudonym
ofa77,thoughtheyhadbeenassoclatsdwithnumerousexperimentswellbeforethen.Thea77'architectsare'veryhands-onw;iththeirconstructionprojects.Theirworkinvolvescreatinqavarietyofeverydayobjectsthatreacharchitecturals~zeproportions.The'ycombineart,architecture,sociologyandurbanplarmingintheirprojectsandhaveaparticularinterestinreusinqlndustsialdebris,
r,ecyclingfor
experimentalhousinq,creating
temporaryinstitutions,activatiingsocialdynamicsinpublicspacesandmeseltmanagementofculturalspaces.
TheyteachurbanismandprojectdesiqnatlfniversidaddePalermoandUniversidaddeBuenosAires,respectivelytDesi'9lnassocial
tool
an
architecturallexicon
(t~xtandinterviewbyFrancoR.ag.gi,published
in
Abi~::HeN"506)
a77areArgenlineanarchitectswhoexplorespal]a~andfunctlonalccneeptsofnemadlsm.ephemeralltvandtrarnsi~iCln
usIngtherough-SIlO·ready
yet
symbolically-chargedlangua.geoflintehumblepack!lng
crateto
buildopen-ended
structuresthatcanbeassembledanddismantledaccordtngtoneedandthedesiretobrimgdtlfferentgroupsofpeopletogether.Whenfiltedintoleft-overplacesas'temporarycccupiersoftimeandspace,theirautonomous,ILInsty!ed
strucnnesadvocate
theneedfor~nburdened,
non-rhetorlcal,
"auernanve"~andscapes.
Theirint:enlorsandIbuildlngsaremade
by
handusillgsimplethoughnotunsophisUcatedmaterials.Theyseespaceasa
poternUfa'1rganism
to
'!Iihidh,torexample,
8
plywoodprosthesislTIaybehungor
attached
"ifneeded"tocreateachtldren'splayspace,OrIheymightbmlaHyrecycleo~dtrailerstoemphasizetheJrI:la.sicfunction,repaintandfixtheminplace
above
a
slop~ng
man-madevegetabl,e
plot,
To
timisdiversityiscO:l!J!pledile
socialandeolteetlveuseoftheseobjects
redeemed
by
graphicd'eslgll
and
newuses;
a
dlversltylihalmayserve
asa
ca~al:ystandcondenserofsmallacts
of
social
communicatlon..In'fheiliownwords:"SeU-buildmeanspr,oviingtoyourselfthatyoucandocertain'thingsinawayI~:atamountstoarealaltemative,thatyoudon'tneedoutsidehelp,thatif
you
wanttodosomething,tnepoweI
10
doitlies[[temlly
in
yourownhands..."
F.R.
Self&build.
Self-buildmeansprovingltoyomse~fthatyoucandocertanthing.sinawaythatamountstoareal
alternative,ttnatyoudon'tneedoutsidehelp,that
if
youwanttodosomething,thepoweJtodo
it
lies,l:itelia'lly,
in
your
ownknow.~e.dgeandhands,The
need
todothiscanbe
foreconomic
reasonsas
well
as
personel.
Thiswayischeaper,butevenmoreimportantly;it'saway
of
gettinginvolvedinIhephysicalconstructien,notjustitsdesi'gn.ThispersonalinvolvementhelpsYo!!!ldiscovernotonlythepleasmeofbuil:dingthings,butalsosomethingthat
designconcerns,whiohar'€oftenremote,callneve~o,ffe~.whichisdlrectcontactwithtihematerialsandshapeslhat
bel.ongltospecificplaces.endthegradualdiscoveryo'iwhateachlndlvldualrnaterialorshapeha,vetooffer,Getitingu,pcloselikethismeansthatbuildingacquiresaspecialkindofsubjeot:ivitythatbringsitcloser'toformsofartandcraftworik.Weaj~li~.eindustrialobjects,bothaestheticallyandphysically,buttl'itisattachmentbecomesgre'ateliwhenwe
can
transformthemintoperscnel
o~j'ecl:s,Consuructirn.gt.hingswithwhatyouhave
athand
isawonkphHosophythatnotonly
activates
t.heimag;ination,
butalso
makesthefulfillmenlofdreamspossible,Itisnataboutdefendingrealism,butquitetheopposite.Recycling'•.WethfnkrecycHngcreetesadouble
Challeng.e.
Ethically,
ifi
meansl1.e'tping
toconservepreciousmajerlatsorobjects,andfhisgivesusanenormoussatisfactionofdoi'ngthiliilgsisasmuchaestlneticasethical.Thisalsomeensthatethicscanbeseenasonewayofutiiliz[ngtheresourcesandopportonltlesavai'~abletous,Aesthetically,itlmpllesthe
traastormatlon
ofsomethin.g
no
longer
conselereduseful
intosomell"1:ilitgimaginative.The
resultof
allth~scanhavebothpractical
and
phHosophicalvalue.
Fu
nctiolil~Emotion.
Thequest~onofformversusfun.ctior1lprovidesoneofarchlteeture's
greatdilemmas,
Formis
lInkedtoaestheticemotions;functionlsconnectedtomecha.nica'i
and
socia~emoUons>
Our
[ob
is
to
find
theemotion
anditsmostsuitedcontextInthissense.physicalinvolvementinbui:ldingsomethinqcanbeseenasonewayofactivatingsensesandmemory.\I\lhel1.somethingwe'havedonesatisfiesbothaestneficandfuncfionatneeds,we'feelgenlLl:inely
moved.
 
Pantheonof
eoxes.anworkpface
andoommunily
hall.
PiedrabuenaNeighborhood,GCPBA.Buenos'Aires',2009
Liv[ng-Learning
l.,Q~'alityoflifecanroeimprovedlinanycontext\Nlmatcountsisthecreativityandimagirnationeach
i.l'ldividua,iinilabilantpuisintoappropriatinqagivenphysicalccntextand
title
extenttowhichthecontext
makes
this
pesslble,Weappreciate,thatpeople,throughourprojects,learnmhattheycan
dea
lotwithscarceresourcesandveryIttllehelp,andalso'do
it
withpassion,likeit'sjus~forthem,
Nomadism.
Manyof
our
projects
are
nomadic,
because
t!hey'velouredImanydifferentexhibitions,livinginthemasnon-specialists.This
nomad
statuslin
certain
contexts
enabtes
ustoworli;linavarietyofsUl!1atiol'lsand
disciplines.
Other
projects
wereintended
1.0
benomadicinpublic
city
spaces,i:1iiihehopeofreawa~ernirng
people's
participationin
andinteractionwithtime
specesarcund
them,andboostinglliteirappropria,liol1
of
andsenseofIbelonging
tothose
spaces
throughsocialaC!i'Jity.WedidthisinMataro.in
20009
IWe
Can
Xalantjand
wenow
mtend
to
lake
theexperiment
astepfurther
inBuenosAireswiththeINomadicCulturalCenterandotherinstitutionsinthesouthoHhedly.Mentalll
p:rocesses
allild
'form.
Creatingformcanbe
'the
outcomeof
several
processes-rational"intuitiveorrandom
-and
there
are
peoplewho
adapt
betterto
one
ratherthan
another.Of
course,
the
artisticcomponentcansomeHmescarrymoreweigh.t.However,ourcreationscombineallthreeprecesses,Weammomra~ionalwhenwe,havetothinkabout
costs"schedules
andfunc~[ons,for
example,
andmore
inturUvewhenwephystcatlycrieafe
thernontaqss
we'v,e
imaginedorrseeninvariouspubl:ica.tioilis,usingmodelsandimages.Andwearesometimesmorarandominour
approach
whenwecome
across
anunexpected
material
oraccidel1ita~~ydiscover
anewcombination.
Form
g:raduaUy
startstodefineitselfasstmc!uresprogressand,tovaryingexteirltsandinvaryingproportions,w~enrationalandim,tuitiveprocessess~artinterac1tngwUheachother,
Poverty,simplicity,
Glris!s.Poverty,asa
Ilaok
ofresources,enoourages~maginalionanda.daptabilityandenriches
experience.Thecreationofobjectsfromfound!orverycheapmaterialsdoesn'tnecessarilyimplyanyshortcamingson
theaeslheticfront.
Aestheticsis'fi"ee
andavailabletoeveryone.
It's,
a
verypowerfultool
that
can
provide
allotof
safisfaenon
andshould
I)e
util'ized
more
often.Fowthisreason,weseeeconomiccrisisasanopportulllitytomaketllilllgs,
Urbaniecology.
Werealieethatecologists'proclamettonsreflectrealconcernsanddese:N"eattention,as,mudh[n
termsofwastereductlonasweHasfo:rsmall-scaleener'gysaving.Wecanseethiscl:earlywhenwe'recycl:esomethinglwe've
bli11t
weeensumeless
,energyand
fewerresources
whenwe
make
useofw:hatalr,ead:yexists,Butwe'remotinterestediIT'lI
kindofteohnocracy
thaIdictateswhatdoesanddoesn'tquaMyas,sustainablearchi!ect~re"
or
iIT'llfhei.lldustry't!hat
has
,grownuparound"green"
lssces,
We
liveandactinarlifi:cialuliban
contexts
tha~
are-also
parta,f
ournature,
Wethinkthereshouldbeakind
of
real
"urban
eook)gY·,somevitalconnectionbetweeninhabitantsandeemext.
We
needto,beaware.ofwll,atISaroundusandhow10
take,car€
of
it.
Techno:logy.
WeadapttedhnQ~(lgytotheeconomicresourcesavailab~e
fOil
eachindividualprojectWecreatearchitecture'fortheern,vironnrnenlweIi'v,einandtheteehnologicalposslbllhies
it
offers.ThechaHengewesetourselvesistoachieve
what
we
want
usingllhemeansatourdisposal.Wearen'tlow-~echactivists,butw,elikeusingllow-techforms.Was~eand
crate,
Gel'TI.eraHype.a.k.ing,usingtndustlnial.wasleisfhecheapestwaytodevelopapoeticalformofexpression.
Nomadi,c~Ephemeral-Temporary.
Tousfhesethreewordsarlen'.altema!~ves,hutcomplementarymodesofacfiantailoredtotheneedsoflndividualproiects,
These
are
ulibanandarchitectlWlral,categories
that
outline
use-f'ul
waysofthinking
au
the
presenttime.
 
2006
Plugin
Festtvart
INlomadicinsNtution
Collective,e)(lIibilion.1
st,
lnternatlonalFesVivalofDesiigll.
MetropolitanCenter
,of
Design.CMD.
Goll:liernodeIiaCiudaddeBuenosAires
lsi
prize.competition
comeneaoreede
diseflo'paraelmundo.
A.
setofthreemodulestosetupa,culturalcenterinsideaport
container..Plugandlivesystem
ca.1alog.
A'iransfo,~ma'ble
system
off18,woodenboxes.
2006
PostaII
Box
IEphemeralinstitution
Colective'exhibitionEstudi,o,AiDierto
Gantm.
Guralo,~:
AnaBatistozziPostal
P<llace
offB'~enosArres.
Ministerfo
d'e
Cullura.Gobierno
de'la
Giudaci
deBuenosAires
Pos'lal
80,)(
wasaniliistituliolilirels'led
1,0
communication,insidethe
Palacio
de
ccrreos
(PostalllPalace)in
Buenos
Aires.MultidisciplinaryintellVent.ions
about
corrmunicafion
forms,
2007-2008
PlugOut
Uniit
Brasil
Collective,exilibi!ionMoradias
transilOIisiS:
Novas
espaees
dacomemporanetoace.
Curalor::Nicola
Goretti.
GI'upo,AGComplexoCulturaleaRepulblica:
MuseuHonesnnoGUlimaraes.
Brasilia
SESCSPVilaMani,ana,.Sao!Paulo
Ani
explorationabou~formsoftransltoryhabitats.A
dwellingmodlular
system
madeofthesame18
ecxes,
A18woodenboxesstol)'
A.
cireufar
story
in
t1i1reechapters,"rnoseboxescameout
from
Brazilassome'lhingwithollt
vallue.Now
they'recoming
Iback
tothatcountryturnedinto
artTh.eywerilfrom
low
to,upperclass."
Link:
ht1p:lfes.Sctlibd.""",/dod!i00952OO1a77·18-<:aJas
of 00

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