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ARTIST CREDIT NAME AND URL 327B=@¸A:3BB3@
ZocaloBeyond Hed Buildings 26 pt
Zocalo deck 14 point one line BY Many a year ago, when I first came to work at DRCLAS, I hosted a summer intern from South Carolina. She was even newer to Cambridge than I was. On her first day at work, I sent her to mail a FedEx package, instructing her that the drop box was in the lobby of the “really ugly building two blocks down the street.” She came back defeated. “I looked all around, and I couldn’t find a FedEx box in the ugly building,” she said. I pressed her for more details. It turns out that her ugly building was the Swedenborg Chapel, a stone gothic revival building that I happen to admire, while mine was across the street: William James Hall, architect Minoru Yamasaki’s 1963 high-rise which Robert Bell Rettig describes in Guide to Cambridge Architecture as “fourteen stories of pure white concrete.” D=:C;37F<= I should have known better than to describe a building in such a subjective way (even =Zob]Kh\d^_^ee^k<^gm^k though I still think it’s the ugliest building on campus). Buildings may be made of stone, con- _hkEZmbg:f^kb\ZgLmn]b^l crete, glass, steel or bamboo. But in the end, they are architectural creations, acts of imagina- 2W`SQb]` tion, that are viewed in very different ways. Buildings are subjective. ;S`WZSSA 5`W\RZS Their very presence helps shape society. The way buildings are viewed, how they are built /aa]QWObS2W`SQb]` and who builds them can become ideological battlefield. In my life as a foreign correspondent, 9ObVg3QY`]OR I’ve witnessed many fierce debates that ultimately are debates about what buildings repre- sent and how they create a concept of community: should a dictator’s house be torn down or K^OblmZ turned into a Culture Ministry? (Nicaragua); should a modern palace—replacing another that 3RWb]`W\1VWST was seen as a symbol of Prussian imperialism—be torn down to make way for a partial recon- 8c\S1O`]Zg\3`ZWQY struction of the original baroque one? (Berlin); should public libraries be designed for poor 1]^g3RWb]` neighborhoods? (Bogotá). /\WbOAOT`O\ It was in Colombia that I first discovered how buildings shape the lived environment. The >cPZWQObW]\a7\bS`\ buildings of Rogelio Salmona interweave with the fabric of the society, whether in social hous- 8OW1 0SS[O\ ing, public buildings or luxury dwellings. In Nicaragua, I discovered what it meant to have a 2SaWU\ city literally disappear, its buildings tumbled by an earthquake and never rebuilt. I also learned Q][[c\W_c{ that solutions are not always easy. City dwellers with peasant roots did not like the Sandinis- eee Q][[c\W_cS Q][ tas’ East German-influenced clean but sterile apartment dwellings that had no gardens and no >`W\bS` space for chickens. >@>cPZWQObW]\a It’s not just buildings that shape society, but the parks and playgrounds that surround 1]\bOQbCa them, that carve out outdoor living space and centers for interaction, as both Flavio Janches %! 1O[P`WRUSAb`SSb and Anita Berrizbeitia so eloquently explain in this issue. 1O[P`WRUS;/ !& In so many places where I’ve lived as a correspondent, war, revolution, social upheaval and BSZS^V]\S($ %"'##" & natural disasters have shaped the way cities are lived in and built. I was recently in the lovely 4OQaW[WZS($ %"'$ & colonial city of Antigua in Guatemala, originally the capital city of the country. After a major AcPaQ`W^bW]\aO\R@SORS`4]`c[ earthquake in 1776, the capital was moved to Guatemala City. A friend remarked, “I’m glad XS`ZWQY.TOa VO`dO`R SRc there was an earthquake then, because as a capital city, Antigua would have lost its charm.” I ESPaWbS had never thought of that. eee R`QZOa VO`dO`R SRc ^cPZWQObW]\a `SdWabO]\ZW\S Major disasters like the recent earthquakes in Haiti and Chile give architects and urban planners an unusual opportunity to think about the meaning of their buildings and green 4OQSP]]Y @SDWabObVS6O`dO`R@SdWSe]T:ObW\/[S`WQO spaces. Oscar Grauer draws on his extensive experience rebuilding Venezuela’s littoral to give us some thoughts on Haiti; Pablo Allard gives us an incisive view on how a small town was BVWaWaacS]T@SDWabOWa[ORS^]aaWPZS rebuilt in Chile after a volcanic eruption. bV`]cUVbVSUS\S`]caac^^]`b]T0O\Q] As I walk to work every day, I pass the Harvard Graduate School of Design. As I peeped into AO\bO\RS` a large glassed-in auditorium this morning, I saw that students were looking at slides of build- 1]^g`WUVb PgbVS>`SaWRS\bO\R ings. It’s not just buildings, I wanted to tell them; think about the way that all those buildings 4SZZ]ea]T6O`dO`R1]ZZSUS have shaped all those lives. 7AA< #" ³ ""!
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67AB=@G 7<3D3@G7AAC3 AZoZgZFh]^kg;rE^eZg] B67<97<5A>/13AC@0/<>:/13A Phkdbg`bgma^:gmbih]^l;r:e^cZg]kh:kZo^gZ 0==9B/:9 Lh\bZeIheb\rZg]:gmb&Iho^kmrLmkZm^`b^l $$ =^lb`gbg`Nk[ZgHiihkmngbmb^l;r?eZobhCZg\a^l ! :K^ob^p;rFZkmbgZ@'ObZk^g`h Ahnlbg`%Nk[Zg=^lb`gZg] :7D7<5B633 EEE 2@1:/A 6/@D/@2 32C >C0:71/B7=7<5A=173BG 67AB=@G ?khfma^^Zkeb^lmik^& QAZoZgZFh]^kg ! Q:MZe^h_Mak^^;nbe]bg`l % Q;kZlbebZ Q:g:n]b^g\^pbmaHl\ZkGb^f^r^k # QIkh]n\mbo^Phkd^kl_hkma^GZmbhg $ K^OblmZA>@7<5jAC;;3@ ARTIST CREDIT NAME AND URL 67AB=@G Havana Modern Envisioning a 20th Century Preservation District BY LELAND COTT WHEN YOU THINK OF HAVANA AND ARCHITECTURE, YOU MAY ENVISION bgG^pRhkd EEE 2@1:/A 6/@D/@2 32C @3D7AB/=<:7<3K^OblmZ! /@167B31BC@3(A6/>7<5A=173BG :O@O[^O ZlZ+)ma\^gmnkr\bmr%Zehg`lb]^maZmh_bmlp^eedghpg "K^OblmZA>@7<5jAC;;3@ PHOTOS BY LELAND COTT, [email protected] 67AB=@G BVS '"%@ORW]QS\b`]PcWZRW\URWa^ZOgaOQc`dSR[O`_cSSbVObbOYSa BVSDWUc[O@SOZ3abObS1] PcWZRW\UO[WfSRcaSO^O`b[S\bO\R WbaT]`[T`][bVSab`SSbQ]`\S`Ob:Ab`SSbPST]`S`SS[S`UW\U]\bVS `SbOWZab`cQbc`SWa`OWaSR]\^WZ]bWaW\bVSabgZS]T:S1]`PcaWS`bVOb :O@O[^OaWRSOaObVW\aVSZZc\RcZObW\UQO\]^geWbVO^`]XSQbW\U P`SOYbV`]cUVObbVSc^^S`À]]`b]dWaWPZgac^^]`bbVSQ]\Q`SbS V]`Wh]\bOZPSO[¿fSROb]\SS\ReVObeSO`QVWbSQbaQOZZµQO\bWZS QO\]^gQ]dS`W\UbVS`]]TRSQY /bbVSaWRSeOZYbVSTOzORSaSbaPOQY dS`SR¶bVObRS¿\SabVS¿`abÀ]]``SbOWZa^OQSa 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JEFFERSON’S DESIGNS FOR THE UNIVERSITY [r EEE 2@1:/A 6/@D/@2 32C @3D7AB/=<:7<3K^OblmZ% /@167B31BC@3(A6/>7<5A=173BG *2--%Zmma^lZf^mbf^Zlma^Zo^gn^'Ma^ \hngmkr%]^]b\Zm^]l^o^kZeiZ`^lmhiah& OZk`Zl'BgZi^kbh]pa^gma^Phke]PZk mph g^b`a[hkbg` ldrl\kZi^kl% mahn`a% mh`kZial h_ fZk\abg` lhe]b^kl% pbma ma^ ]hfbgZm^] ma^ _khgm iZ`^l h_ g^pliZ& laZk^ \^kmZbg Zk\abm^\mnkZe ^e^f^gml [nbe]bg`ÍlfZllbo^_Z Z]^Zg]mhp^k_k^& i^kl%ma^L^im^f[^k,k]%*2--%^]bmbhgh_ maZm bff^]bZm^er l^m ma^f ZiZkm _khf jn^gmerbgma^[Z\d`khng]' ma^g^pliZi^k:FZga%]bk^\m^][rma^ ma^F><%pab\almhh]hgma^hma^klb]^ Kb`am[^lb]^ma^:kfrA^Z]jnZkm^kl% fh]^kgblmpkbm^k &K^OblmZA>@7<5jAC;;3@ Ê;kZsbe ;nbe]lË ^qab[bmbhg Zm ma^ FhF: OZk`ZlÍlk^`bf^3hg^%e^][rma^=^iZkmZ& /dWSeR]e\bVSOdS\cS(bVSQ]\ab`cQbW]\ Zg]bgDb]]^k&LfbmaZg]@hh]pbgÍl[hhd f^gmh]^Bfik^glZ^IkhiZ`Zg]Z%fhk^ PSbeSS\bVSbe]PcWZRW\UaW\_cSabW]\O\R !;kZsbe;nbe]l3:k\abm^\mnk^G^pZg]He]% Z``k^llbo^ergZmbhgZeblmZg]pbmamhmZebmZk& bVSOdS\cSeOagSbb]PS`S[]dSR */.+&*2-+"%mahn`a%\ZmZinem^]ma^[nbe]& bZge^Zgbg`l4ma^hma^kÊlh_m^kËZg]fhk^ bg`%Zlp^eeZlmahl^;kZsbebZglbgoheo^]bg pbeebg`mh\hfikhfbl^%\^gm^k^]Zkhng] ma^ikhc^\m%bgmhma^oZg`nZk]h_Zk\abm^\& ^]n\Zmbhgfbgblm^k@nlmZoh UNKNOWN PHOTOGRAPHER, COURTESY OF INSTITUTO MOREIRA SALLES ARCHIVE EEE 2@1:/A 6/@D/@2 32C @3D7AB/=<:7<3K^OblmZ' /@167B31BC@3(A6/>7<5A=173BG Zg] h_ Z ob[kZgm :lad^gZsb C^pbla g^b`a[hkahh]'BmaZ]Zelhahlm^]ma^ Brasilia \bmrÍlfhlmihineZklmk^^m\ZkgboZe%Zg] Ö`nk^]bgma^\hee^\mbo^bfZ`bgZkrZl A Century-old Purpose, Always Postponed ma^Ê\kZ]e^h_lZf[Z'Ë :m ma^ lZf^ mbf^% ma^ ]b__^k& BY FARÈS EL-DAHDAH ^g\^l [^mp^^g ma^f lahne] ghm [^ ho^kehhd^]' Mh bgo^km ma^ he] Z]Z`^ h_ \hfihlbmbhg m^Z\a^kl% [nbe]bg`l DISLOCATING THE CAPITAL TO BRAZIL’S INTE- LhnsZ K^OblmZA>@7<5jAC;;3@ 67AB=@G :cQW]1]abOV]ZRW\UOb]^]U`O^VS`¸aÀOU Rc`W\UVWa¿`abdWaWbb]bVS\SeQO^WbOZ¸a Q]\ab`cQbW]\aWbS '#% ikhobg\^l!bg]^i^g]^gm_khf^Z\ahma^k% maZm bl"' Pabe^ Z]]k^llbg` ;kZsbeÍl JOSÉ OSVALDO DE MEIRA PENNA, QUANDO MUDAM AS CAPITAIS EEE 2@1:/A 6/@D/@2 32C @3D7AB/=<:7<3K^OblmZ (BRASILIA: SENADO FEDERAL, 2002), CASA LUCIO COSTA /@167B31BC@3(A6/>7<5A=173BG \bk\neZm^]pb]^er^ghn`amh^g]ni[^bg` ln``^lm^]mhE^ K^OblmZA>@7<5jAC;;3@ PHOTO: COMMISSÃO EXPLORADORA DO PLANALTO CENTRAL DO BRAZIL, RELATÓRIO APRESENTADO A S. EX. O SR. MINISTRO DA INDUSTRIA, VIAÇÃO E OBRAS PUBLICAS (RIO DE JANEIRO: H. LOMBAERTS / C. IMPRESSORES DO OBSERVATÓRIO, 1894). A31B7=<63/23@ BVS;W\Wab`WSa3a^ZO\ORSO\R PHOTO: MARCEL GAUTHEROT, FUNDAÇÃO OSCAR NIEMEYER ARCHIVES EEE 2@1:/A 6/@D/@2 32C @3D7AB/=<:7<3K^OblmZ ! /@167B31BC@3(A6/>7<5A=173BG mb\^ZeemaZmblk^jnbk^]mh_neÖeema^lh\bZe Ahm^e"' Ma^l^ ikhc^\ml aZ] Zee [^^g ]^& \hglb]^kZmbhgma^[nbe]bg`h_ma^\bmrbg h[c^\mbo^likhob]^]bgma^lmZmnm^Zg]Zn& lb`g^][rHl\ZkGb^f^r^kpah%Zla^Z] hgermak^^r^Zkl[rfZdbg`\e^Zkma^ihlb& mahkbs^][rbml[hZk]'?bo^fhgmaleZm^k% h_GHO:<:IÍl:k\abm^\mnk^Zg]Nk[Zg& mbhg%lbs^Zg]hnmebg^h_[nbe]bg`l%pab\a ma^kngpZr_hkZ\hff^k\bZeZbkihkmpZl blf =^iZkmf^gm% pZl k^lihglb[e^ _hk \hne]ieZnlb[er[^[nbembgma^fb]]e^h_ [^bg` iZo^] Zg] Z m^fihkZkr m^kfbgZe ]^lb`gbg` ma^ _nmnk^ \ZibmZeÍl ikbg\biZe ghpa^k^'AZobg`eh\Zm^]ma^_hhmikbgmh_ [nbem' Ahnlbg` _hk ,%))) phkd^kl aZ] [nbe]bg`l':gZmbhgZe]^lb`g\hfi^mbmbhg Zee[nbe]bg`l%ma^bklbs^Zg]ma^bkk^eZmbhg& Zelh[^^g^k^\m^]%Zlp^k^ma^m^fihkZkr pZl Zelh hk`Zgbs^] _hk ma^ \bmrÍl Êibehm labil% GHO:<:I !b'^' Hl\Zk Gb^f^r^k" la^em^kl_hkGHO:<:IZg]bml_ng\mbhg& ieZg'ËH_ma^/,k^`blm^k^]iZkmb\biZgml% \hne] ln[l^jn^gmer mZd^ ho^k pbma ^Zl^ Zkb^l' Ikbhk mh ^o^g ]^lb`gbg` ma^ \bmr +/ ik^l^gm^] ikhc^\ml maZm p^k^ ^oZen& Zg]pbmahnmZem^kbg`ma^`bo^gbfZ`^h_ bml^e_%in[eb\[nbe]bg`lp^k^p^eeng]^k& Zm^][rma^cnkrhgFZk\a*+%*2.0'Ma^ ma^\bmr' pZr% ln\a Zl ma^ ikhoblhkr ik^lb]^gmbZe cnkr]^eb[^kZm^]ngmbeFZk\a*/pa^gbm ;kZlbebZ pZl ÖgZeer \hg\^bo^]% ]^& k^lb]^g\^l! AQV]]ZQVWZR`S\QSZSP`ObW\U]\bVS>ZOhO]T \ZilneZm^ZoZkb^mrh_\nemnkZem^g]^g\b^l k^lnemh_[^eb^_l%b]^ZelZg]ma^i^klhgZe bVSBV`SS>]eS`aRc`W\UbVSW\OcUc`ObW]\ Zl p^ee Zl ?Zkl^e&=Za]Zabl:llh\bZm^Ikh_^llhk h_:k\abm^\mnk^ZmKb\^Ngbo^klbmr'A^ k^\^bo^]ablFZlm^kh_:k\abm^\mnk^bg Nk[Zg=^lb`gZg]=h\mhkZm^h_=^lb`g _khfAZkoZk]Ngbo^klbmrÍl@kZ]nZm^ L\ahheh_=^lb`g!12%2+"':liZkmh_ ;kZlbebZÍl.)maZggbo^klZkr%^e&=Za]Za bl\nkk^gmer\h&\nkZmbg`ma^^qab[bmbhg En\bh "K^OblmZA>@7<5jAC;;3@ PHOTO: CASA LUCIO COSTA ARCHIVES A31B7=<63/23@ A Practice in Full An Audience with Oscar Niemeyer BY JAMES BROWN OSCAR NIEMEYER’S GAZE REVEALS NOTHING AS THE TEN OF US MAKE OUR fZmm^k"'BmfZr[^\ehl^kmhma^mknmamhlZrmaZma^g^o^kpZl pZr makhn`a ma^ makhg` h_ Zk\abm^\mnk^ lmn]^gml mhpZk]l ma^ bgoh`n^%ma^ghkghp'A^aZlZepZrl[^^gZghnmeb^k%ik^_^k& khplh_l^ZmlmaZm_Zghnm_khfabl_Z\bg`\^gmkZe\aZbk'Ehhl^er kbg`ablhpg\hgob\mbhglmhma^e^Zgbg`lh_Zgr`khni'Gb^f^r^k \eZli^]hgableZi%abl`gZke^]aZg]lZefhlml^^fl\neim^]_khf oZen^lma^ghmbhgh_aZkfhgr[^mp^^ggZmnk^Zg][nbe]bg`4a^ ma^lmkhg`Z[nmf^gmlmaZm_hkfma^^l\Zkif^gmh_mabll^Zlb]^ oZen^lanfZgbgm^kZ\mbhglpbmabgablphkdl'I^kaZilfhlmm^ee& \bmr h_ Kbh ]^ CZg^bkh% ;kZsbe' Ma^ mahn`am h_ ma^ phkdl ma^r bg`%a^bg\k^Zlbg`erk^_^k^g\^leho^bml^e_Zlma^^ll^g\^h_paZm aZo^ mhn\a^] Zg] h_ ma^ ablmhkr maZm ma^r aZo^ a^ei^] laZi^ Zk\abm^\mnk^fnlm[^mhaZo^f^Zgbg`'Ma^phke]Íle^Z]bg`Zk& fZd^ma^fZii^Zkfhk^ihp^k_nemaZgma^rk^ZeerZk^'B\hne] \abm^\ml%hgma^hma^kaZg]%h_m^gik^_^kh[mnl^iabehlhiab\Ze ghma^eimabgdbg`Z[hnmma^i^g\belma^raZo^a^e]%h_ma^fZ`& Zk`nf^gmlmhln\albfie^hg^l' gbÖ\^gm ]kZpbg`l maZm ma^r aZo^ `nb]^]' A^ aZl phkd^] Zg] Pabe^pZedbg`KbhÍl[nlrlmk^^mlZ]Zr^Zkeb^k%p^aZ]_hng] \k^Zm^]lhfn\a_hklhehg`maZma^aZlhnmebo^]abl\hgm^fih& hnkl^eo^lbg_khgmh_ma^ihp^k_neZg][ZeZg\^]Fbgblmkrh_>]n& kZkb^l%[hmaikZ\mbmbhg^klZg]\kbmb\l'Hg^fb`amlZrmaZma^aZl \ZmbhgZg]A^Zema%hgpab\aGb^f^r^k\heeZ[hkZm^]pbmafZgr hnmebo^]ablhpg\hgm^qm' h_ma^Zlibkbg` AUTHOR: JAMES BROWN, [email protected] EEE 2@1:/A 6/@D/@2 32C @3D7AB/=<:7<3K^OblmZ # 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QAhnlbg`%Nk[Zg=^lb`gZg] ARTIST CREDIT NAME AND URL EEE 2@1EEE 2@1:/A 6/@:/A 6/@D/@2 32C @3D/@2 32C >C0D7AB/=<:71/B7= Working in the Antipodes Social Housing in the Third World and High Profile Projects in the First World BY ALEJANDRO ARAVENA I WAS ASKED BY REVISTA TO WRITE AN ARTICLE `b^lmhmabgdZ\khllma^l^bg]bob]nZe^q& hg fr hpg phkd% li^\bÖ\Zeer Z[hnm ma^ iehkZmbhglpab\aZk^o^krl^kbhnlpa^g _Z\mmaZmB]hlbfnemZg^hnlphkdhglh& ma^rk^fZbg\hgÖg^]mhma^bkmhib\%[nm \bZe ahnlbg` Zg] ab`a&ikhÖe^ Zk\abm^\& [^\hf^ mabg Zg] lbeer pa^g ma^r mkr mnkZe ikhc^\ml% lhf^mabg` maZm bl% mh lZr mh ]^l\kb[^ ma^ pahe^ h_ Zk\abm^\mnkZe ma^e^Zlm%ngnlnZe':lBpZlmkrbg`mh^q& ikh]n\mbhgZg]k^e^oZg\^'Ma^[^lm^_& ieZbg mabl% ^o^krmabg` B lmZkm^] mh pkbm^ _^\mmaZmma^l^ebfbm^]k^oblbhglaZo^bl \Zf^ ]Zg`^khnler \ehl^ mh Z ma^hkr hk lah\d':Zg];lah\dnl%QZg]Rlah\d f^mah]':g]maZmÍlghmma^pZrBphkd' nlTBaZo^ln[lmbmnm^]ma^gZf^lmaZm Hgma^hma^kaZg]%mhehhdZmhg^Ílhpg p^k^hkb`bgZeerbgma^e^mm^k[r:%;%Q pZrh_phkdbg`bllhf^mabg`maZmlahne] Zg]R%ghmmhikhm^\mbggh\^gml[^\Znl^ [^Zohb]^]'Lh%pa^gBk^f^f[^k^]Ze^m& ma^rZk^ghm%[nmmhikhm^\mLZkdbl_khf m^k maZm AZlabf LZkdbl% _kb^g] Zg] :`Z kZ`bg` Zk\abm^\mnkZe lmZklV% [nm B ]h DaZgIkh_^llhkZmma^AZkoZk]@kZ]nZm^ ghmpZgmmhmabgdh_Zk\abm^\mnk^ZlZ L\ahheh_=^lb`g%aZ]pkbmm^gmhf^[Z\d lah\d&]kbo^g]bl\biebg^hkh_frl^e_Zl bg+))+%Bmahn`ammaZm\hne][^ZpZrmh lhf^hg^pah\Zghgerlah\di^hie^bg ]^Zepbmama^k^jn^lm' hk]^kmhZmmkZ\mma^bkZmm^gmbhg'Ma^k^bl LZkdblpkhm^mhf^[Z\dbg+))+' fhk^mhpaZmp^\Zg]h_heehpbg`mabl ZoZeZg\a^ h_ ^qiehkZmbhgl h_ ma^ iZlm :kZo^gZfr_kb^g]3 _^pr^Zkl' Bglm^Z] h_ Ögblabg` Zg ho^k]n^ iZi^k% PaZm \nml Z\khll8 PaZm jn^lmbhgl frmahn`amlZk^`hbg`Z]kb_mbgZfZg& lrgma^lbs^8BaZo^[^^gmabgdbg`Z[hnm g^k maZm bl [^\hfbg` fhk^ _k^jn^gm ma^l^jn^lmbhgl_hkZpabe^%iZkmb\neZker ma^ fhk^ B ehhd Zkhng] f^ bg l^Zk\a Zkhng]ma^phkdBZf]hbg`bgE^[Zghg h_\hhk]bgZm^l'Bpkbm^mhrhnbglm^Z]h_ [nmZelhZkhng]ma^IkZ\mb\^lbg=^fh\& mabgdbg`Zehg^[^\Znl^BmabgdrhnfZr kZ\r l^jn^g\^' :m ma^ ^g] h_ ^o^kr l^& laZk^frbfiZmb^g\^Zg]a^eif^mabgd f^lm^kBnl^mhlnfnilhf^\hgo^k`bg` makhn`alhf^h_ma^blln^likh]n\mbo^er% ma^f^l Zfhg` ma^ k^oblbhgblm ikZ\mb\^l [nmZelh[^\Znl^B[^eb^o^ma^k^blZg^^] maZm p^ phne] ^qZfbg^ bg \eZll' Ma^ mhlmZkmZ]bl\nllbhgZfhg`Zk\abm^\mlbg \hgo^k`^g\^ [^\hf^l fhk^ nk`^gm ma^ l^Zk\ah_Zg^plrgma^lbl' _Zkma^k ZpZr _khf IZkbl Zg] G^p Rhkd B Zf `khpbg` bfiZmb^gm pbma ma^ ma^^qZfie^lZk^'B]hghmdghpb_ma^l^ pZr Zk\abm^\mnkZe jn^lmbhgl Zk^ [^bg` fZd^niZ\hfie^m^l^mh_ma^f^l[nmbm Zld^] mh]Zr' Ma^ \nkk^gm ^qiehkZmbhgl \hne][^ZieZ\^mhlmZkmZ]bl\nllbhg3 Zk^Zeep^eebgm^gmbhg^]Zg]ma^rhi^g *"Ahp\Zgp^mabgdh_Zk\abm^\mnkZe ni _hkfZe ihllb[bebmb^l maZm Zk\abm^\ml jn^lmbhgl bg ghg&Zk\abm^\mnkZe m^kfl8 \ZgmabgdZ[hnm%[nmcn]`bg`[rma^pZr F^Zgbg`% _khf bglb]^ ma^ ]hfZbg h_ bgpab\a]bl\nllbhglZk^`hbg`bgl^Zk\a ikZ\mb\^% ahp \Zg p^ d^^i k^oblbg` ma^ h_Zlni^k]^m^kfbgbg`_hk\^%bgmhfZ& pZr bg pab\a p^ ]^l\kb[^ mabg`l mh m^kbZel%bgmh`^hf^mkr%bgmhikh`kZff^% hnkl^eo^l lh maZm p^ \hffngb\Zm^ ma^ bgmh_hkf%bgmhm^\mhgb\%ma^k^blZl^kb& k^e^oZg\^h_hnkjn^lmbhglmhghgZk\ab& hnleZ\dh_lrgma^lbl'GhmmaZmp^g^^] m^\ml[nmZelhmh\hglmZgmerjn^lmbhgma^ Z _kZf^phkd bgmh pab\a p^ \Zg inm oZeb]bmrh_paZml^^flmh[^Öq^]bghnk ma^l^^qiehkZmbhgl!Á"'P^g^^]lmkZm^& fbg]l!'Á" K^OblmZA>@7<5jAC;;3@ PHOTOS: RAMIRO RAMÍREZ ARTIST CREDIT NAME AND URL B67<97<5A>/13AC@0/<>:/13A 3ZS[S\bOZ;]\bS``Sg;SfWQ] ,"Ahp\Zgp^Ög]pZrlmhk^]n\^ ma^ bfiZ\m h_ ^qm^kgZeer ]^m^kfbg^] ikh\^]nk^lhgZk\abm^\mnk^Zg]bg\k^Zl^ ma^\ZiZ\bmrh_^o^krikhc^\m`^g^kZmbg` Zli^\bÖ\l^mh_ikh\^]nk^lmaZmZk^i^k& mbg^gmmhma^jn^lmbhgl[^bg`Zld^]_khf pbmabg'Parlahne]p^ZepZrl_heehpZ l^mh_kne^lpkbmm^g_hkZee[nbe]bg`lmaZm mnkgZee[nbe]bg`lma^lZf^pa^gp^\Zg mabgd h_ ^o^kr [nbe]bg` Zl Z lhnk\^ h_ kne^lmaZm\hne][^oZeb]!bgm^kflh_Z\& \^ll% fZm^kbZel% Zk\abm^\mnkZe \aZkZ\m^k% ^m\'"!''''" ." 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BY HERNÁN MARCHANT WHILE VISITING FAMILY IN CHILE IN DECEMBER 2009, I DECIDED TO _^k^g\^l%[nmZelhlmkbdbg`lbfbeZkbmb^l'>Z\a[nbe]bg`bl`hbg`mh Ög]hnmZ[hnmg^pZk\abm^\mnkZe]^o^ehif^gmla^k^'B]bl\ho& [^\hglb]^k^]ZlZlb`gh_^\hghfb\ihp^kbgma^bkk^li^\mbo^ ^k^] maZm \hglmkn\mbhg h_ ma^ "$K^OblmZA>@7<5jAC;;3@ PHOTOS COURTESY OF HERNÁN MARCHANT :7D7<5B633 :STbb]`WUVb(B]``S5`O\1]abO\S`O)0c`X9VOZWTO)6]bSZ@S[]bOW\ >ObOU]\WO)9[ #1O[W\]RS>cS`b] mhkrZg]]^oZlmZmbg`ikh]n\mbhgbgZeebml_hkfl'ÍËBgma^lZf^ ma^fb]lmh_gZmnk^'Lhf^Zk^^k^\m^]cnlmmh[kbg`lb`gh_eb_^mh Zkmb\e^%EZmhn\a^jnhm^lFZ`gZ`abln``^lmbg`ÊZehg`Zg]\hf& ieZ\^lpa^k^la^ia^k]lZg]f^k\aZgmliZll^]hkpa^k^i^hie^ ie^qi^kbh]!.)mh*))r^Zkl"h_inkbÖ\Zmbhg'=nkbg`mabli^kbh] `Zma^k^]mh\^e^[kZm^Zg\b^gmkbm^l'A^lZrlih^mb\Zeer3 i^hie^pbeeghehg`^k[^^g`Z`^]bgmnkgbg`fhk^Zg]fhk^_^gl EEE 2@1:/A 6/@D/@2 32C @3D7AB/=<:7<3K^OblmZ"% /@167B31BC@3(A6/>7<5A=173BG B]^gmb_rbg`Zg]ik^l^kobg`EZmbg:f^kb\Zg\nemnkZeb]^gmbmrbl Zg^o^k&^g]bg`Zg]nglheo^]lmhkr'Fh]^kgZk\abm^\mnk^bgEZmbg :f^kb\ZaZl[^^g]^Zebg`pbmama^b]^Zh_Ög]bg`ma^`hh][Ze& Zg\^[^mp^^gablmhkb\ZekhhmlZg]fh]^kgk^_^k^g\^llbg\^ma^ ÖklmaZe_h_ma^+)ma\^gmnkrpbmahnmÖg]bg`Zlhenmbhg'P^\hne] 1OaORS0O]aRSZ=\O B]``SaRSZ>OW\S "&K^OblmZA>@7<5jAC;;3@ PHOTO COURTESY OF HERNÁN MARCHANT :7D7<5B633 The (Not Yet) Dialogue Project A Deferred Conversation on Post-Unsustainability with Mark Jarzombek BY SERGIO ALEJANDRO ARAYA SO I HAVE ANOTHER SIP OF MY COFFEE WHILE \ZelnlmZbgZ[bebmr8Hklh\bZelnlmZbgZ[be& Z[hnmZk\abm^\ml[^bg`ikh[e^f&phkkb^kl ehhdbg` hnm Zg] ^gchrbg` ma^ EEE 2@1:/A 6/@D/@2 32C @3D7AB/=<:7<3K^OblmZ"' /@167B31BC@3(A6/>7<5A=173BG mnk^%]^lb`gbg`[nbe]bg`lZg]\bmb^lmaZm Zk^ Z\mnZeer pbmabg ma^bk ablmhkb\Ze Zg] ^\heh`b\Ze mbf^8 ;nm Zm ma^ lZf^ mbf^% [r [nbe]bg` [nbe]bg`l% Zg] \bmb^l% p^ ]h mkZgl_hkfma^^gobkhgf^gm%p^]hZ__^\m Zg] \aZg`^ ln\a \hg]bmbhgl' Ma^ jn^l& mbhg bl ma^g% ahp fn\a h_ maZm \aZg`^ \aZg`^lma^^gobkhgf^gmZg]ahpfn\a h_maZm\aZg`^\aZg`^lnl8H_\hnkl^p^ Zk^ghml^iZkZm^[nmiZkmh_ma^^gobkhg& f^gm%[nmZlp^dghp%ma^mbf^_kZf^h_ hnkli^\b^lhgmablieZg^mblhgZ]b__^k^gm hk]^kmaZgma^mbf^_kZf^h_ma^ieZg^mbm& l^e_':ehg`mahl^lZf^ebg^lmaZmrhnZk^ \hff^gmbg` hg% bg *210 C' I^ss^r in[& ebla^]Zg^gobkhgf^gmk^l^Zk\aiZi^kZm ma^Phke];Zgdpa^k^Z_m^kZ\dghpe^]`& bg` maZm ma^ lnlmZbgZ[bebmr h_ hnk \bobeb& sZmbhg bl ngZmmZbgZ[e^% a^ k^_kZf^l ma^ jn^lmbhgbgm^kflh_mbf^_kZf^l'LnlmZbg& Z[e^ _hk ahp ehg`8 LnlmZbgZ[e^ _hk hg^ ]bZm^%mkrbg`mhik^l^ko^paZmp^aZ]Zg] maZm ]^lb`g^kl lahne] k^_hkfneZm^ ma^ r^Zk%_hk*)r^Zklhk_hk*))r^Zkl8BgmaZm maZm bl \e^Zker fnmZmbg` bgmh lhf^mabg` \hg\^im'FZr[^bmlahne][^\Zee^]lhf^& l^gl^%Bphne]lZrZlnlmZbgZ[e^lmkZm^`r g^p8Ma^k^blZl^gl^h_iZgb\hknk`^g\r mabg`^el^'PaZmmh]ZrblZk^\nkk^gm^__hkm blghmmhmkrmhlmhi\aZg`^%[nmmhmkrmh Z[hnmma^l^\aZg`^l'R^mB[^eb^o^ma^l^ mhÖg]ma^l^iZeebZmbo^f^Zlnk^llahne] ng]^klmZg] bm% Z]Zim mh bm Zg] lnkobo^' lZf^\aZg`^l\Zg[^l^^gZlhiihkmngb& [^\hf^ Z ihlbmbo^ Zmmbmn]^ mhpZk]l Z\& Mh^oheo^':ldbg`_hkpa^gZg]_hkahp mb^lmh[nbe]Zg^p';nmZeep^l^^Zkhng] \^imbg`ma^\aZg`^lZg]Ög]bg`hiihk& ehg` Zk^ ihb`gZgm jn^lmbhgl ma^g' Ahp Zk^Zmm^fimlmhk^]n\^Zg]k^lmkZbg'Nl^ mngbmb^lbgma^f'LnlmZbgZ[bebmr]bl\hnkl^ Zk^ma^[nbe]bg`lmaZmp^lahne]]^lb`g e^ll ^g^k`r% nl^ e^ll fZm^kbZel% ikh]n\^ mh]Zrbl^bma^kbg×n^g\^][rma^ghmbhg ng]^kln\aZiZkZ]b`f8 e^ll%\hglnf^e^ll%mkZo^ee^llÁ maZm obZ k^`neZmbhg% iheb\r fZdbg` Zg] M.J. 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He fn\a^f[kZ\^'Ma^k^ÍlZpahe^ablmhkrh_ is Distinguished Professor of Architecture at SCI_Arc, Design Studio Professor at Columbia ebm^kZkr fho^f^gml mkrbg` mh ]^Ög^ ma^ GSAPP, and Head Professor of “the EXCESSIVE program” at the University of Applied Arts \hngmkr'B]h[^eb^o^mablblZgbg\k^]b[er in Vienna. He worked as a designer in the office of Enric Miralles in Barcelona, and was _k^lapZrmhb]^gmb_rhg^l^e_':g]maZmÍl senior designer at Eisenman Architects in New York. Diaz Alonso received his architecture ma^\nemnk^B\hf^_khf':l_ZkZlb_ma^k^Íl degrees from the National University of Rosario, Argentina, and from Columbia University’s Zg :k`^gmbg^Zg \hee^\mbo^4 ghm k^Zeer' AAD Program, from which he graduated from with honors. BmabgdbmÍlfhk^ebd^pZm^kbgma^eZg]& JUAN AZULAY is the director of the 10-year-old Los Angeles-based firm Matter Management. l\Zi^%bmlhf^ahp%_hklhf^k^Zlhg%Ög]l His award-winning practice ranges widely in discipline, methodology and media. Azulay re- bmlpZr]hpgmhma^h\^Zg%mkZgl_hkfbg` ceived his B.Arch. from SCI_Arc and his Master of Science in Advanced Architectural Design ma^eZg]l\Zi^Zlbmkngl'Hnkk^Zlhgl_hk (MSAAD) from Columbia. He is currently on the Design, Mediascapes and Visual Studies e^Zobg`p^k^o^kr]b__^k^gm_khfmahl^h_ Faculty at SCI_Arc. Zg^Zkeb^k`^g^kZmbhg%Zg]lhma^bkmkZc^\& mhkb^lp^k^ghm\hglb]^k^]ZlZk^_^k^g\^ GEORGINA HULJICH graduated from the National University of Rosario, Argentina and re- ihbgm'B\Zf^a^k^Zmma^a^b`amh_F^& ceived her Master degree from the University of California in Los Angeles. She is co-prin- g^fblfpa^gma^\hngmkrpZl[hhfbg` cipal of PATTERNS and Design faculty and JumpStart Program Director at the Department pbmalmk^gnhnl^qn[^kZg\^%bmpZlZ`hh] of Architecture and Urban Design at UCLA. She was the 2005-2006 Maybeck Fellow at the mbf^mhfho^hg':lhiihl^]mhfrik^& University of California in Berkeley. ]^\^llhklpahfZraZo^fho^]_hkhma^k MARIANA IBAÑEZ is Assistant Professor of Architecture at the Harvard University Graduate k^ZlhglÉihebmb\Ze hk paZm^o^k bm pZl' School of Design. She received her first degree from the University of Buenos Aires to then MaZml^mlZo^kr]b__^k^gmmhg^_khfma^ attend the Architectural Association in London for her Master of Architecture. After her ik^obhnl`^g^kZmbhg' graduate studies, she joined the Advanced Geometry Unit at ARUP before going to the of- IBAÑEZ:Ma^ik^l^g\^h_:k`^gmbg^Zgl fice of Zaha Hadid. In 2006, Mariana relocated to Cambridge and co-founded I|Kstudio with bljnbm^^ob]^gmbgma^Zk\abm^\mnkZeeZg]& partner Simon Kim. l\Zi^h_ma^NL%Zg]pabe^BZfZpZk^h_ fr\hfiZmkbhml%ma^bkphkdZg]Z\Z]^fb\ CIRO NAJLE, an architect and design critic at the Harvard University Graduate School of bg×n^g\^ !Zg]% fhlm bfihkmZgmer% ma^bk Design, is the Director of General Design Bureau in Buenos Aires and of Mlab in Valparaiso. _kb^g]labi"B\^kmZbger^g]^Zohkmh^lmZ[& He has taught at the Architectural Association, the Berlage Institute, Cornell AAP, Columbia eblafrhpginklnbml'Ma^l^Zk^[Zl^]hg GSAPP, the UTFSM in Chile, and the University of Buenos Aires. \kbm^kbZ maZm Zk^ ghm g^\^llZkber laZk^] FLORENCIA PITA was the 2000 Fulbright-Fondo Nacional de Las Artes Grantee. She graduat- [rÉhk fbg]_ne h_ÉZ \hee^\mbo^ fh]^e' ed with a Bachelor’s degree from the Universidad Nacional de Rosario, School of Architec- Ahp^o^k%hnk]hfZbglh_bgm^k^lm]hho^k& ture, and a Master Degree from Columbia University MSAAD program. Pita is the principal eZiZg]BZfbgm^k^lm^]bgZg]bgmkb`n^] of FPmod and is a Full Time Faculty at the Southern California Institute of Architecture [r ma^bk ikh]n\mbhg bg k^`Zk]l mh ma^ (SCI-arc) in Los Angeles. ]bl\biebg^' Ma^ \nemnkZe ^gobkhgf^gm bg pab\ap^p^k^kZbl^]k^fZbglpbmabgnl ALEXIS ROCHAS is the founder of I/O, a Los Angeles based practice focusing on the develop- Zee%[nm[khZ]erli^Zdbg`%B\hne]b]^gmb_r ment of dynamic architectural methodologies integrating design, technology and advanced mph_Z\mhklmaZml^ko^]Zlmkb``^klpa^g fabrication techniques. Rochas is a full-time Design Faculty at SCI_Arc and Program Coor- ]^\b]bg`mhebo^Zg]ikZ\mb\^Z[khZ]3hg^ dinator for Making and Meaning, SCI_Arc’s foundation program in Architecture. maZm bl bgm^kgZe mh ma^ ikh_^llbhgÉma^ GALIA SOLOMONOFF earned a Masters in Architecture from Columbia University in 1994. She l^Zk\a _hk Z ]b__^k^gm bgm^ee^\mnZe ^gob& is founder and principal of Solomonoff Architecture Studio, and has been internationally khgf^gmÉZg] hg^ maZm bl ^qm^kgZe Zg] recognized for her work. Solomonoff is currently Associate Professor at Columbia Univer- k^eZm^]mh\hg]bmbhglh_\hgm^qm' sity GSAPP. MAXI SPINA:Bebd^mhmabgdh_frl^e_Zl [^ehg`bg` mh lhf^paZm h_ Z \hee^\mbo^ MAXI SPINA is an Adjunct Professor at California College of the Arts since 2008. He was a \hgl\bhnlg^ll%fZbgmZbg^][rZ`khnih_ Senior Designer at Studio Daniel Libeskind in New York from 2005-07, and taught at the Zk\abm^\ml!gZf^er%A^kgg=Zs:ehglh% National University of Rosario, Argentina and University of California at Berkeley, where he @^hk`bgZ Anecb\a% ?ehk^g\bZ IbmZ Zg] earned a Maybeck Fellowship in 2007-08. FZk\^ehLibgZ%mhgZf^Z_^p"%\aZkZ\& MARCELO SPINA graduated from the National University of Rosario, Argentina and received m^kbs^]%[rZg]eZk`^%[rZ\kbmb\ZeZmmbmn]^ his Master degree from Columbia University in NY. He is founder and co-principal of PAT- mhpZk]lZk\abm^\mnk^Zg]\nemnk^bg`^g& TERNS and Design and Applied Studies faculty at SCI_Arc. He was Visiting Professor at EEE 2@1:/A 6/@D/@2 32C @3D7AB/=<:7<3K^OblmZ#' /@167B31BC@3(A6/>7<5A=173BG ^kZe'Mabl\hee^\mbo^\hgl\bhnlg^ll%B[^eb^o^%blghm^q\enlbo^er Zmbhg%bgmabl\Zl^L $ K^OblmZA>@7<5jAC;;3@ :7D7<5B633 1Z]QYeWaST`][b]^ZSTb(@]QVOa7POSh;OfWA^W\OO\R MARCELO SPINA: Fr ^]n\Zmbhg bg :k`^gmbgZ pZl bg\k^]b[er L IMAGES: COURTESY OF MARIA GUEST EEE 2@1:/A 6/@D/@2 32C @3D7AB/=<:7<3K^OblmZ$ /@167B31BC@3(A6/>7<5A=173BG 1Z]QYeWaST`][b]^ZSTb(2WOh/Z]\a])>WbO)/hcZOg)A]Z][]\]TT) 6cZXWQVO\R;O`QSZ]A^W\O fr^qi^kb^g\^lZ[khZ]'Fr^]n\Zmbhg_khfoZkbhnlbglmbmnmbhgl bg;n^ghl:bk^lpZl^q\^ee^gm%Zg]BÍfl^^bg`fZgrrhng`Zk& \abm^\mlbgEZmbg:f^kb\Z]hbg`o^krbgm^k^lmbg`phkd'Bgma^ iZlm%ma^]blmZg\^_khf;n^ghl:bk^lmh>nkhi^Zg]hma^k\bmb^l h_ma^phke]l^^f^]mh\k^Zm^Zl^iZkZmbhg_khf\hgm^fihkZkr ]bl\hnkl^[nmma^\hffngbmrblghpfhk^pb]^lik^Z]Zg]g^m& phkd^]Zg]\aZkZ\m^kbs^][reh\Zebgm^glbmb^l' AZULAY::[lhenm^er%Bf^Zgma^k^ÍlZaZk]pbkbg`maZmp^:k& `^gmbg^ZglaZo^'Lhf^hg^hg\^lZb]%:k`^gmbg^Zgleho^ma^bk ]b\mZmhkl'BgZpZr%bmf^Zgl\hfbg`mhm^kflpbmahnkhpg=G:' @khpbg`ni%p^p^k^]^ZempbmaZg^o^gp^bk]^kaZg]maZghnk ik^]^\^llhkTlVpahp^k^makhpghnmh_ieZg^l%]kn``^]Zebo^% eZ\dh_ihlbmbhg'P^k^\h`gbs^maZmhnkli^\neZmbhglZk^]^& fZ]^mh]blZii^Zk'Hnk]^ZmaieZg^lp^k^bfZ`bgZkr\k^Zmnk^l% o^ehibg`bgpaZmhg^\hne]ng]^klmZg]ZlZfb]&lbmnZmbhg[^& pa^k^p^]b]gÍm]b^%[nmp^k^k^i^Zm^]ermakhpghnm'BmÍlZgbg& mp^^gma^bkhgb\ZeeriZkZersbg`ihebmb\ZeZ\mboblfh_ik^obhnl mZg`b[e^%bgoblb[e^_hkfh_obhe^g\^maZm_^lm^klebd^Zohb]'Pbma& `^g^kZmbhgl%Zg]ma^ng]^k]^o^ehi^]\kbmb\Zebmrh_mahl^pah hnmdghpbg`bm%B[^eb^o^p^bga^kbm^]maZmohb]%Zg]ma^gaZ]mh aZo^^f^k`^]lbg\^' bgo^gmhnkhpgliZ\^' IBAÑEZ:Ma^fh]^epa^k^ikZ\mb\^Zg]Z\Z]^fbZZk^[hmaZg MG:Ahplmkhg`blrhnk\hgg^\mbhgmh:k`^gmbgZZg]]hrhnl^^ bgm^`kZeZg]bg]bli^glZ[e^iZkmh_Zk\abm^\mnkZe^gjnbkrblhg^ rhnk phkd Zg] ]bl\biebgZkr bgm^k^lml aZobg` Zk^lhgZg\^[Z\d maZmBe^Zkg^]bg:k`^gmbgZZg]en\dberfZgZ`^]mh]^o^ehibg ahf^8 $ K^OblmZA>@7<5jAC;;3@ IMAGES: COURTESY OF MARIA GUEST :7D7<5B633 IBAÑEZ:Ma^k^l^Zk\aZg]phkdh_frikZ\mb\^blfnemb&oZkb& \hfi^eebg`mhma^\bmr':g]nembfZm^er%bmlfZm^kbZebsZmbhgbl[^& ZgmÉp^ ikh]n\^ Zk\abm^\mnk^ maZm bl \eZllb\Zeer k^\h`gbsZ[e^ aZobhkZekZma^kmaZg_hkfZe' ZllmZmb\_hkfk^lihg]bg`mhlbm^Zg]ikh`kZff^%[nmp^Zelh DIAZ ALONSO:@b`Zgmb\'B]hgÍmZ\mnZeeraZo^Zgrbgm^k^lmpaZm& bgm^kik^mZk\abm^\mnk^ZlZ\aZg`^Z[e^]hfZbg%pbmabgm^kZ\mbo^ lh^o^kbgma^fZm^kbZeZli^\mh_Zk\abm^\mnk^'Pa^gp^[nbe]p^ Zg]Zn`f^gm^]k^lihgl^bgl^kob\^h_g^pk^eZmbhglabilZfhg` ]^ZepbmamaZmZli^\m[nmbmÍlghmlhf^mabg`maZmbgm^k^lmlf^_hk ^gobkhgf^gmlZg]h\\niZgml'Ma^eh\Zmbhgh_ EEE 2@1:/A 6/@D/@2 32C @3D7AB/=<:7<3K^OblmZ$! ;/97<5/27443@3<13 Summer Camp in Las Terrenas, Dominican Republic BY GABRIELA FARRELL IT WAS 7 O’CLOCK ON A MONDAY Gbhl Zg] kZbl^] fhg^r _hk hma^k bg`k^]b^gml _hk fZdbg` pbma Z \ehl^ _kb^g] h_ fbg^% fhkgbg`Zg]BpZlbgZ_Zfbe& ma^l\ahhe'B]^\b]^]mhbgo^l& bgmkh]n\mhkr gZf^mZ`l' Ma^ Fbfb% Zg] p^ fZ]^ Z khn`a bZk ieZ\^% ma^ =hfbgb\Zg K^& mb`Zm^ahpB\hne]a^eihnm'B l\ahhebml^e_blmbgr%ma^pahe^ l\a^]ne^ h_ ma^ p^^d' >o^kr in[eb\'Frfhma^kbl=hfbgb& \hgmZ\m^]ma^l\ahheÍlZ]fbg& lmkn\mnk^Z[hnmma^lbs^h_fr ]ZraZ]Z]b__^k^gmma^f^'?hk \Zg% Zg] aZl fZ]^ lnk^ fr blmkZmbhg Zg] Z`k^^] mh h__^k Ik^& $"K^OblmZA>@7<5jAC;;3@ ALL PHOTOS: BRIAN FARRELL EXCEPT P. 65 (CENTER), BY GABRIELA FARRELL Insect Lessons BY BRIAN FARRELL JUAN JOSÉ WAS THE FIRST TO SPOT THE KATYDID’S QUIVERING antenna, then suddenly he made a quick grab and the green, squirming insect was his. One advantage to this tropical place is being surrounded by nature every day, year round. When one child grabbed at a bug quickly enough, the others would stretch out their hands for the catch—a dragonfly, grasshopper or beetle. Insects are certainly ubiquitous and approachable, like intricate little living ma- chines that are also often attractive. In other words, ready subjects that can help young minds to develop and learn about life. Once we agreed that insects were the little animals with three pairs of legs, the kids told me the Spanish names of many. Giant wasps (avispas), bumbling palm beetles (escarabajos), Zkml maZm ma^r ]h ghm nlnZeer mak^^ _^^m h_ pZm^k pZl mhh cicadas (cigarras), katydids, `^m mh ^qi^kb^g\^' Hg^ h_ ma^ fn\a%Zg]ghg^h_ma^fZ\mn& bees, ants, butterflies, drag- lfZee^lm `bkel% E^hg^ebl% Zg] Zeer dg^p ahp mh lpbf Zm Zee a^k [khma^k lahp^] Z `k^Zm ![nmbmpZl`k^Zm[^\Znl^ma^r onflies, all these they knew Zimbmn]^ _hk ]Zg\^' B p^gm phne] `h Öo^ _^^m ZpZr Zg] and many, many more. We Zkhng] ma^ khhf Z]cnlmbg` mkrlpbffbg`ho^k"':eeh_ma^ studied some insects embed- ma^bk ZpdpZk] lmZg\^l% \kb& \abe]k^g \hf^ _khf ]b_Ö\nem ded in clear lucite blocks, mbjnbg`ma^fhgma^bkÖklmZg] [Z\d`khng]l%r^mma^rZk^ma^ like colorless versions of the l^\hg]ihlbmbhgl'Ma^[hrlbg fhlmehobg`Zg]ng\hfieZbg& amber familiar to Dominican ma^\eZll%lnkikblbg`er^ghn`a% bg` db]l B aZo^ ^o^k f^m' B [hk^pbmabm_hkma^ÖklmÖ_m^^g p^gm mh ma^ l\ahhe pbma ma^ children. We talked about what we could see there, and looked at fbgnm^l[nmpa^gh__^k^]ma^ inkihl^ h_ ^qihlbg` ma^f mh each specimen with a magnifying hand lens held close to our eyes. himbhg h_ ]kZpbg` bglm^Z] Zkm%fnlb\%ebm^kZmnk^Zg]l\b& We also listened to and then imitated insect sounds—the chirps of ma^r `eZg\^] Zm f^ Zg] ma^g ^g\^% Zg] ma^ ihllb[bebmb^l h_ crickets, the scrapings of a katydid and the whine of a cicada. Later, kZg hnm h_ ma^ khhf' B `n^ll Z]]bmbhgZe lmn]r% Zg] Zelh mh as we walked along the strand of palms and thick tangled vegeta- [hrl ^o^krpa^k^ mabgd [Zee^m a^eima^fl^`n^bgmhma^g^p tion that hugs the sandy road near the beach, the children spotted bl`bker l\ahher^Zk'Bgk^Zebmr%mahn`a% Fr_hg]^lmf^fhkr_khf B k^\^bo^] lh fn\a fhk^ Z\& insects everywhere, under leaves, on branches, underfoot and in the ma^ hg^&p^^d lnff^k \Zfi \^imZg\^Zg]eho^_khfma^l^ air. They were very surprised to learn that one could study insects pZl ma^ eZlm ]Zr' P^ mhhd Z \abe]k^g maZm B [^g^Öm^] [r as a job, that the national university in Santo Domingo, the UASD, gZmnk^pZedmhehhdZmbgl^\ml hnkmbf^mh`^ma^kZlfn\aZl offers classes in insect biology, and that it has a large collection of Zg]ieZgmlZg][bk]l'Mak^^h_ ma^r]b]' insects. I left them with a poster we produced with the UASD of the ma^ebmme^lm`bkelib\d^]×hp^kl butterflies and moths of Hispaniola, and definitely look forward to Zg] `Zo^ ma^f mh f^' Lhf^ @Z[kb^eZ:'?Zkk^eeblZ h_ma^fa^e]fraZg]'Pa^g cngbhkZmPbg\a^lm^kAb`a our reunion next year. Until then, we’ll consider what we learned p^ `hm mh ma^ [^Z\a B Zld^] L\ahhe'La^\Zg[^k^Z\a^] from our time last summer with the children of Las Terrenas. ma^fpahdg^pahpmhlpbf Zm@Z[kb^eZ'_Zkk^ee9`fZbe' Zg]pZlf^mpbmaZk^lhng]& \hf'?hk_nkma^kbg_hkfZmbhg ;kbZg='?Zkk^eeblIkh_^llhkh_;bheh`rZg] EEE 2@1:/A 6/@D/@2 32C @3D7AB/=<:7<3K^OblmZ$# 0==9B/:9 Social Policy and Anti-Poverty Strategies Comparative Viewpoints A REVIEW BY MARTINA G. 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