Latin American Social Workshop - Wawa Pukllay (Children Playing)

WAWA PUKLLAY means “children playing” in quechua

LATIN AMERICAN SOCIAL WORKSHOP

Editorial Committee: Ricardo Becerra Stock Lucia Alexandra Muñoz Valdivia Hernán Enrique Perochena Angulo Graphic Concept and Design: Provincia www.provincia.pe Text and Style Correction: Juliana Zegarra-Ballón Quintanilla Translation to English: Irene Zegarra-Ballón Quintanilla Gabriela Paola Beltrán Butrón Printing: Cuzzi y Cia S.A. Published in Arequipa, Peru, 2017.

"... You do not realize that architecture is fundamental for humanity to make sense! An architect is someone who wakes up in the morning to improve the world and no one asks him to do so. That is a miracle! Each one of you has a small miracle inside without even knowing so! ... "

Transcript of the speech of Architect Enrique Ciriani in the closing of the National Congress of Architecture Students CONEA 2010, held in the city of Huancayo, Peru.

Utopian project The utopian project, as Gabo used to say, has two basic ingredients: space and time, this is “a territory where to be founded and a history with a past to recover or a future where to be projected”(1). The Latin American Social Workshop (TSL, by its Spanish acronym) Peru 2013 WAWA PUKLLAY is exactly that, a utopia; a utopia of those that are urgent nowadays. A utopia that concludes with this publication that I am honored to preface.

I remember with some nostalgia and much tenderness, how a handful of young architecture students enthusiastically prepared a video as part of their argument to get the TSL 2013 to be hosted in Arequipa, Peru. I also remember their joy when that first step was achieved; now they had a year to organize the event.

They immediately organized commissions, the logistics committee, the academic committee, finances, infrastructure, sponsorship, etc. They were able to call a good number of collaborators, mostly young students, and also some young professionals and some not so much.

They had their utopia –public facilities for children in the Andes- and they were able to spread this dream to many others. They had the space, the Colca Valley, a wonderful valley that cradles ancient cultures: Collaguas and Cabanas lived together, shared and carved the landscape with their wonderful Andean platforms, which not only redraw the topography, but paint it in a multiplicity of colors, as a tapestry that changes according to the season of the year, an explosion of all green shades in the rainy season, a generous gift from mother earth, and all cuttlefish, gold and brown in summer season, in the nostalgic waiting of the surfaces greening, a succession of planes that deviate in the perspective and the fog of the valley... in the background the imposing volcano Walka Walka, Apu of the Cabanas, who as a big brother accompanies the Sabancaya and the Ampato, forming a snowy trio that completes this wonderful landscape.

They knew the place and discovered its history, an ancient but alive history, alive in every shy smile of its children, alive in the purity of its inhabitants, alive in the simplicity and respect for the insertion of villages in such a strong landscape, alive in the respect for nature and its perfect adaptation to the environment, characteristic of every cosmocentric culture. And as Adine Gavazzi says, “The ability to create constructive forms and long-lived aesthetic systems, depends on the depth and insight with which forms and natural phenomena are interpreted: the deeper and vaster the reading, the more valid and lasting the script.”

(1) Gabriel García Márquez, Elogio de la Utopía, an interview of Nahuel Maciel. The controversial journalist, accused of falsifying the foreword to the book and its interventions. It was later demonstrated that Eduardo Galeano did not preface the book and that the prefaces that opened each chapter (wikipedia.org/wiki/Nahuel_Maciel) were copied from a book of the priest Mamerto Menapache Benedictine. Despite that it was never shown if the interview with Gabo was real or not, the text message that I consider, has value and validity for this purpose.

(2) GAVAZZI, Adine, Arquitectura Andina formas e historia de los espacios sagrados. Ed. Apus Graph Ediciones. Lima 2010 (pp. 34).

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These guys knew the place and recognized its value, the value of this powerful cultural landscape. They also recognized a need, immediately, “a future where to project�.

They worked for several days on their projects, with the direct participation of the people and mainly of children. Then, they built parks in Coporaque, Yanque and Ichupampa, an experience that I am certain will not only remain engraved in their souls but after this, many will have seen their lives change, perhaps even the idea they had of architecture.

The texts and pictures presented here reflect the social sensitivity and sensitivity to the built landscape of the participants, both Latin American students and their mentors. The environment of solidarity, brotherhood and camaraderie is also transparent in what is presented.

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This experience has earned many publications and awards, but that is not what is most valuable about it, not even the impact the TSL had on other intervention projects by groups of the same students. What is most valuable is to discover that there is hope in the world today, that young people are capable of looking at one another and recognize each other as neighbors; that no matter where they come from, when talking about solidarity they are one; and this is the purpose of architecture; service to the other, and this is the dignity of real architecture, to project into a future with hope, without thought of personal recognition.

On the other hand, it is true that these projects are quite ephemeral in their physical response, but what is not changing nor ephemeral in today's culture, what remains, the intangible, is the certainty of having proven once again that things can be changed in a positive way if we propose so.

Let us read carefully the experiences of each one who writes here, let us see carefully what pictures tell us.

Let us catch and nourish a little more our sense of solidarity and commitment to the transcendental.

Marcello Berolatti Architect

"They knew the place and discovered its history, an ancient but alive history, alive in every shy smile of its children..."

WAY TO READ

The actions narrated in the book follow the chronological order of the activities that were part of the TSL 2013 (see index for dates)

By project or by stage

wawa pukllay Projects GUĂ?A DE USUARIO

ichupampa

yanque

Stages

coporaque

Imaginary workshop Design stage Construction stage Results - Testimonies

Projects The three different projects can be read simultaneously. + PAGE OF REFERENCE

ichupampa

yanque

coporaque

The dotted lines separate the projects so that the reading of each one is independent; if you feel like playing, you can cut the pages.

Stages The three different projects go through the same stages, each one represented by a different color.

COLORS The colors set the start and the end of each stage.

END OF IMAGINARY WORKSHOP

START OF DESIGN STAGE

END OF DESIGN STAGE

START OF CONSTRUCTION STAGE

END OF CONSTRUCTION STAGE

START OF RESULTS - TESTIMONIES

END OF RESULTS - TESTIMONIES

+ PÁGINA DE REFERENCIA

WAWA PUKLLAY

START OF IMAGINARY WORKSHOP

BUILDING THE DREAM

ACHIEVING GOALS

COLCA

CLEA & TSL

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013

030

026

024

018

016

MAP

The projects

ACHOMA

ARRIVAL TO CHIVAY

AREQUIPA THE WHITE CITY

WAITING IS OVER

031

027

025

017

WAWA pukllay

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012

March 27

March 25

March 24

TSL 2013

067

081

DESIGN STAGE CONSTRUCTION STAGE

048

068

154

152

150

148

146

132

118

096

094

FINAL REFLECTION

RETURN TO AREQUIPA

ICHUPAMPA YANQUE COPORAQUE

GROUP PICTURES

ICHUPAMPA YANQUE COPORAQUE

TESTIMONIES

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153

151

149

147

095

047

IMAGINARY WORKSHOP

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RESULTS

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PROJECTS MAP

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coporaque

ACKNOWLEDGEMENTS AND PUBLICATIONS

yanque

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ichupampa

April 06

April 05

March 31

March 28

March 28

March 2011

CLEA & TSL The Latin American Coordinator of Architecture Students (CLEA, by its Spanish acronym), an international non-profit organization, is responsible for promoting activities and events that encourage cultural exchange and social support between different Latin American countries. One of these events is the Latin American Social Workshop (TSL), which is held annually in different countries with the aim of solving a specific problem in Latin American cities. Before the event; nine Social Workshops were executed in the cities of Barranquilla (Colombia), CuliacĂĄn (Mexico), Huancayo (Peru), CĂşcuta (Colombia), Managua (Nicaragua), Aguas Calientes (Mexico), Santa Ana (El Salvador), Quito (Ecuador), and Panama (Panama).

Architecture students, committed to the future of the country, seek to solve some problems through their profession. The Latin American Social Workshop was presented as the best opportunity to execute said feeling.

The representatives of CLEA Peru, as part of their responsibilities, attended the CLEA Advisory Meeting held in El Salvador, where they proposed the city of Arequipa as candidate for host of the X Latin American Social Workshop to the representatives of the other member countries.

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We chose the Colca Valley as the setting, located at the northeast corner of the region of Arequipa, in the province of Caylloma. It has great touristic attraction and is the second most visited destination in Peru, after Machu Picchu. The villages located along the Valley do not receive direct benefits from tourism; these usually go directly to the big travel agencies and hotels, but not to the inhabitants of the area. That is why in the most remote villages of its capital, Chivay, we find that people live in poverty and, of course, children who live there do not have the same conditions of social and intellectual development as children growing up in cities.

In Peru, the levels of macroeconomic growth and development are not reflected in the quality of public education. This is one of the most serious problems affecting our country; yet the State does not propose efficient solutions to address it.

Thus the X Latin American Social Workshop decides to focus the event's theme on the children of the Peruvian Andes, to contribute to the development of their capabilities.

March 2012

ACHIEVING GOALS A group of students from the Universidad CatĂłlica de Santa MarĂ­a was preparing the last details of the organization with great enthusiasm, to reach the city of Santa Cruz in Bolivia and present the request to host the TSL to the CLEA 2013.

On the day, there were two countries that submitted a request for host; Peru and Honduras. One week later, they were pleasantly surprised to find out that they had been the winners.

With the host in their hands and a year to organize an event that would convene more than 200 people, 21 students without much experience in organization undertook this challenge with a strong enthusiasm to achieve great goals.

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March 2012 - March 2013

BUILDING THE DREAM Forming working committees, a hard work year began, over which goals would be achieved in order to define the event.

With the Colca Valley as a workspace and the imperative that early education is the basis of human development, the X Latin American Social Workshop was called Wawa Pukllay, Quechua term that means "children playing".

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The idea was to create public facilities aimed to complement the traditional educational programs and to foster the creativity of children through recreation and games as a means of learning; to let it be a first contribution and example in pursuit of improving the development of early education in Peru.

The children of the villages of Ichupampa, Yanque and Coporaque were identified as direct users of the public facilities. However, the aim was to also benefit the rest of the population; young and adult people who may use the facilities, promoting social meeting to strengthen relations between them.

The aim was to develop facilities for recreation and alternative learning for children and adolescents aged 0-15 years. With that, an intervention model of easy and fast implementation in the Andean areas of Peru would be generated, which would create centralities that would stimulate, value and encourage the development of certain abilities in children through game.

24th March 2013

WAITING IS OVER On the day, with almost everything ready to start the event, and with the hearts full of enthusiasm and excitement, the organizers waited at the gathering place for the buses that picked up the delegates and mentors, who came from 12 different Latin American countries, from the airport.

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Ichupampa

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Yanque

Coporaque

25th March 2013

AREQUIPA THE WHITE CITY The next day, with enthusiasm for a new adventure, the planned activities began; the first destinations were the Monastery of Santa Catalina and the Mill of SabandĂ­a.

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+ ALBERTO CASSAP

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+ ALBERTO CASSAP

+ ALBERTO CASSAP

The Monastery of Santa Catalina, founded in 1579, is one of the most emblematic touristic centers of the city for its culture and architecture. Its architectural style is mainly colonial but of a mixed nature; a sequence of cloisters, cells and patios built in ashlar shape and honor a cloistered life.

Mill of Sabandía It is an iconic space of the city of Arequipa that, through the application of wit, has been operating since 1621, which has established it as a key piece of the city's architecture. + PABLO HERRERA

+ ALBERTO CASSAP

+ ALBERTO CASSAP

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Back to the city, the next destination was Universidad CatĂłlica de Santa MarĂ­a, one of the most important educational institutions in the city. At the campus, we had an afternoon of sharing among partners as well as conferences that would show the reality of the true destination: the Colca Valley.

26th March 2013

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The aim of the theoretical basis was to provide the necessary basic information that would allow the architecture students to propose projects that would be relevant for the reality of the Colca Valley. To achieve this objective, the following lectures were given: “History and present in the Colca Valley”. Mauricio de Romaña. Historian.

“Andean worldview”. Carlos Milla. Architect and Arch-Astronomer.

“Early childhood education in the Colca Valley”. Gloria Huerta. Educator.

“Architectural languages of the Colca Valley”. Marcello Berolatti. Architect.

“Humanization one on one”. Entre Nos Atelier. Architectural collective.

“New paradigms in the current architectural production and their processes of social legitimation”. Mariano Ferretti. Architect.

Visit to the Añashuayco quarries, a natural place where the volcanic stone called ashlar is extracted, with wich the traditional architecture of Arequipa was built. + ALBERTO CASSAP

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+ GABRIELA PEÑAFIEL

+ ALBERTO CASSAP

27th March 2013

+ MIGUEL CHALITA

At dawn, feeling cold, sleepy and tired, delegates, mentors and organizers were taking their way to the true destination: the Colca Valley.

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+ CARLOS PÉREZ + CARLOS PÉREZ

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ARRIVAL IN CHIVAY After climbing among mountains and beautiful landscapes, up to nearly 5,000 m.a.s.l., we descended to 3,633 m.a.s.l. to reach the village of Chivay, capital of the province of Caylloma, where a group of local people welcomed the participants at the main square with open arms.

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+ CARLOS PÉREZ

ACHOMA After strolling through the village of Chivay, the participants moved to the accommodation in Achoma, where the theme, bases and characteristics of the social workshop were presented.

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South America PERU AREQUIPA

COLCA VALLEY The Colca Valley is one of the major touristic destinations in Peru, located in the northeast end of Arequipa, in the province of Caylloma.

"Colca" comes from Collaguas and Cabanas words, two ethnic groups that lived along the Colca River. The Colca Canyon is the second deepest canyon in the world, with 4,150 meters, after the Cotahuasi Canyon. It is in this valley where we can find Coporaque, Ichupampa and Yanque, the villages where the X Latin American Social Workshop was developed.

Geographical map - social projects

Chivay 3,635 Colca Canyon Colca Canyon Coporaque 3,575 m.a.s.l.

Ichupampa 3,330 m.a.s.l.

Yanque 3,499 m.a.s.l.

Staff Achoma 3,635 Colca Canyon

Colca River Paved Road Dirt Track

ICHUPAMPA Project name: Kusikuy Prizes: I Latin American Biennial of Landscape Architecture (1) (2) - Built Work Category Award, Urban Scale - Rain Bird Great Award XVI Biennial of Peruvian Architecture (3) - Student Projects Category Award

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YANQUE Project name: Social Weave Prizes: XVI Biennial of Peruvian Architecture (3) - Student Projects Category Award

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COPORAQUE Project name: Forest of learning Prizes: XVI Biennial of Peruvian Architecture (3) - Student Projects Category Award

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Reviews: Architecture platform (13) Universidad de la Salle Bajío - Mexico Website (14) arqa - Argentinean website (15) Blog DA8 + pai, Architect José Angel Rodriguez - UNITEC, San Pedro de Sula campus (16) Bitácora Arquitectura Peruana (17) Autocolca Peru - 250 students from 17 countries of Latin America arrived in Colca (18) Autocolca Peru - Colca ambassadors (19)

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Reviews: Architecture platform (20) Architecture platform – videos (21) Biennacles (22) Universidad de la Salle Bajío – Mexico Website (23) arqa - Argentinean website (24-25) Arquine (26) Vimeo (27) Design catalog, creative visibility website (28) Blog da8 – pai, architect José Ángel Rodríguez – UNITEC, San Pedro de Sula campus (29) Bitácora Arquitectura Peruana (30) Autocolca Peru - 250 students from 17 countries in Latin America arrived to Colca (31) Autocolca Peru - Colca ambassadors (32)

Acknowledgements & Publications

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Reviews: Architecture platform - Latin American Biennial of Landscape Architecture (4) Architecture platform (5) Universidad de la Salle Bajío - Mexico Website (6) arqa - Argentinean website (7) Blog DA8 + pai, Architect José Angel Rodriguez - UNITEC, San Pedro de Sula campus (8) Bitácora Arquitectura Peruana (9) Autocolca Peru - 250 students from 17 countries of Latin America arrived in Colca (10) Autocolca Peru - Colca ambassadors (11) Youtube (12)

ICHUPAMPA

Height: 3330 M.A.S.L.

m2 Area: 224 sq m

Population: 757 people Materials: mats, eucalyptus, rope, paint, stone boulder, plants.

Budget: $ 600.00

YANQUE

Height: 3449 M.A.S.L.

m2 AREA: 283 sq m

Population: 2319 people Materials: cement, bricks, sand and gravel, wooden posts, rope of different colors, recycled plastic containers, wooden frames, radial and tractor tires, metal barrels.

Budget: $ 600.00

COPORAQUE

Height: 3575 M.A.S.L.

m2 AREA: 208 sq m

Population: 1393 people Materials: logs, reused land from the place, repotted grass of nearby areas and reuse of existent games and artifacts.

Budget: $ 600.00

Kusikuy

Social Weave

Forest of Learning

28th March 2013

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Make the child to actively participate in the creative process. To achieve this, brainstorming games, discussions and more are proposed among the students and a group of local people with their children.

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0 4 0 * Imagine Dive Take refuge Climbing and learning

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* I am a strand of time, nature, culture and imagination. I am weave, I am a child.

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* I play I wander I explore A forest of learning

+ GABRIELA PEÑAFIEL

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0 4 1 * At the beginning, we were all very anxious, we didn’t know each other.

0 4 1 * Hand brothers... each found the child with the hands more like theirs.

ICHUPAMPA

0 4 2 * It was an interstellar journey, we departed in our galactic locomotive.

YANQUE

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COPORAQUE

+ LUCCĂ?A BEROLATTI

* But it was their dances that made us friends

0 4 2 * Using our bodies, we represented elements of nature, such as water and wind.

+ OMAR URDAY

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+ CARLOS PEREZ

* Train wagons, awesome!

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+ ANTHONY MOSQUERO ALVAREZ

* Almost siblings!

0 4 3 * We are a team!!! we made bonnets with newspaper.

+ HERNĂ N PEROCHENA

ICHUPAMPA

0 4 4 * Are they mad?

YANQUE

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* We played, we danced and we exchanged some gifts.

COPORAQUE

0 4 4 * Sharing with the children, we become big and also little ones...

+ OMAR URDAY

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+ CARLOS PEREZ

* Never mind, how nice it is to play!

0 4 5 * Also hugs!

0 4 5 * We used our imagination to represent different things!!

+ HERNĂ N PEROCHENA

ICHUPAMPA

0 4 6 * And learn!!!

YANQUE

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COPORAQUE

+ VALERIA BARRIOS

* Together, we learned new things.

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* With them, we learned how they imagine their ideal place.

+ OMAR URDAY

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Some shots during the morning the imaginary workshop took place.

+ OMAR URDAY

+ GABRIELA PEÑAFIEL

+ OMAR URDAY

28th-30th March 2013

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Generate an approach that, besides giving a playful solution, complies with the available materials.

Hence, design work groups and a contest were planned, in order to choose and strengthen a proposal for the people.

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+ OMAR URDAY

ICHUPAMPA

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* The exchange of ideas and proposals were beginning.

+ GABRIELA PEÑAFIEL

YANQUE

0 5 0 * The challenge had started.

Time to design!

COPORAQUE

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* Our terrain had an amazing relation with nature!!!

+ OMAR URDAY

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* Culture and belonging, a world of imagination for children.

0 5 1 * The clothing, tradition, nature and smiles of the kids are present in the place.

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* Almost without thinking, a concept of respect and integration into the landscape was born.

+ OMAR URDAY

ICHUPAMPA

0 5 2 * Our motto: let go of symbolisms of the westernized world.

YANQUE

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COPORAQUE

+ AGA

* We identified, debated and reinterpreted them.

0 5 2 * We used logs from the place, evoking the verticality of the trees and mountains.

+ OMAR URDAY

0 5 3 * Three proposals of great virtues.

Let’s integrate them!!

0 5 3 * And the weave emerged!

0 5 3 * The relationship with the land is deep... we modeled the topography so it could be explored.

+ OMAR URDAY

ICHUPAMPA

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* The topographic profile.

An upper and a lower world..

YANQUE

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COPORAQUE

+ AGA

* Finally the idea was ready, a playful weave between culture, nature and the children.

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* Thus a forest of lights and shadows was born, which transforms and makes sense by wandering through it.

28th May 2013

+ GABRIELA PEÑAFIEL

+ OMAR URDAY

+ OMAR URDAY

The stay of the participants in the Colca Valley coincided with easter; for one night, they were able to be part of the local traditions and share with the community.

ICHUPAMPA

KUSIKUY To intervene in places that carry a strong cultural and patrimonial load is, without doubt, a delicate task.

Even more so if the people, over time and as a result of discrimination, become dissociated from their cultural patterns, considering, perhaps, the foreign as something to strive for.

Faced with the need to create artifacts that allow children to learn by playing, the problem of how we were going to intervene arose, establishing a first essential objective.

Any element to be designed should break any symbolic relation with the usual children's playgrounds we are used to seeing in our cities. It was important that children and local people in general wouldn't see these artifacts as a gesture that shows the foreign as something desirable. If there was something to relate to, it was simply the ground and the landscape.

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Thus was born the idea of manipulating the topography with shapes that emerge from the ground to create said artifacts. A linear pattern of elements that, after emerging, fold into different sizes and inclinations to form a new landscape within the enclosure was chosen.

SOCIAL WEAVE YANQUE

Yanque, let's play! That was our team's motto. The priorities were based on the community and listening before doing, absorbing like sponges an environment conformed of almost conservative people and at the core, the main actors, the child and his vivacity interacting with the place.

In a splendid greeting, the children showed the team a memorial of their traditional costumes and dances, and their games, creating an atmosphere full of smiles and intercativity. That created a strong emotional tie. Yanque wanted to play.

The challenge in the development phase began by selecting, as a team, through models and drawings, a guiding concept aimed at the "weave" in terms of "weft" and "embroidery" with an elaborate speech that emerges from the costume records, but even more from the geomorphology of the Colca Valley; the horizon marked by the mountains, the children as a social weave, and the sense of place, gradually overcoming the initial analysis.

Teams of surveyors, builders and painters were created in order to build two modules and other work.

In the main interactive module, the spiral and the sinuous module stand out. The first comprised a floor inscribed with bricks forming a spiral course with jumps and obstacles made with painted metal industrial barrels and intertwined ropes.

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COPORAQUE

FOREST OF LEARNING Wawa Pukllay, meaning Children Playing in Quechua, was the invitation of the 2013 Latin American Social Workshop, consisting in using specific places from different locations in the Colca Valley, for the creation of conditions that enabled the empowering of a special user: children.

During a two-week period in April 2013, Architecture students of Latin America, along with a group of tutors, gathered to design and build equipment permanently. The work team located in he village of Coporaque agreed on a double objective: The first, the reproduction of conditions that strengthened and amplified social relations and opportunities of identification with the space, being attractive to the greatest amount of people, and offering incentives for its use. This implied absorbing and integrating existing social and geographical relations, in order to generate new areas of recognition and aproximation, striving to transmit the local information in a transparent way.

The second, to incorporate the student in manufacturing practices and, therefore, in recognition of individual instrumental potential.

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This created landscape, made-up of folds, enables two types of experience over and below them. These experiences were metaphorically named like the worlds Uku Pacha (underworld or world of the dead) and Hanan pacha (upperworld, celestial or unearthly).

In reality, it was simply intended that children could hide, take shelter, dive, crawl or climb, as a metaphor of their games.

The need to encourage children's imagination to promote learning was also established. Being in front of an object lacking meanings, the child would be in the position to grant them, according to his imagination, and even modify them at any time.

The implementation process entailed a new and gratifying experience, besides a horizontal work and the knowledge that you are doing something for someone who is looking forward to it with hope, and the growing and unexpected relationship with the children. Day after day they came to the enclosure to share their free time with the participants, working together in the elaboration of simple and colorful murals, drawing and painting. A true social work, learning and teaching in similar proportions in an anonymous place where, for a few days, we had the honor of living.

Hernán Perochena

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Colorful recycled containers became visual screens. The sinuous module was based on the analogy of the forces of the Valley; tire barriers and intertwined ropes between wooden poles bended in subsequent angles to the next pole. Murals of the children and the park were painted in the garden, and the existing playgrounds were repainted.

A great TSL for the joy of enthusiastically cooperating and getting more than you expected; the intrinsic effect of the children is invaluable.

"I am the seed that is born from the earth I am the strand that forms the weave I am past, future, present I am the mountain, the sun, the wind I am all, I am Peru I am a child".

José Ángel Rodríguez

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The experience developed through specific exercises in real scale and limited in terms of instruments and materials, promoting horizontal partnership and management with a collaborative approach. The former, as an instance of action and learning, by doing.

The key to activate the space where the future equipment would take place was blurring the criterion of "circuit" as a rigid regulator plan for the proposal, and identify and incorporate opportunities for each local cultural manifestation in any corner, that would incite us to use notions such as spontaneous, playful, everyday, symbolic, subversive, pedagogy, accidental and ordinary in a different way, as the basis for a new program capable of generating encounter and even invent new practices.

The team worked the object-surface relation through the materiality of the space (ground and grass), own materials of the place (chaclas) and the recovery of existing artifacts with which users were already familiar. The intention; that the starting object passed to a material state that induces a dialogue fully updated to its original and/or vernacular logic, thus almost spontaneously creating new interaction systems between them, giving way to a different medium.

The result is a sort of penetrable forest, a natural-artificial landscape as well as a mixed equipment for relaxation and appropriation.

AGA estudio creativo + Maximillian Nowotka

ICHUPAMPA

YANQUE

COPORAQUE

ICHUPAMPA

".... manipulating the topography with shapes that emerge from the ground to create said artifacts. A linear pattern of elements that, after emerging, fold into different sizes and inclinations to form a new landscape within the enclosure..."

Ditch

Community space

GAMES SEQUENCE above and below (Manan and Uku)

MANAN PACHA

UKU PACHA

YANQUE

"... a floor inscribed with bricks forming a spiral course with jumps and obstacles made with painted metal industrial barrels and intertwined ropes. Colorful recycled containers became visual screens. The sinuous module was based on the analogy of the forces of the Valley; tire barriers and intertwined ropes between wooden poles bended in subsequent angles to the next pole..."

Swing

Climbing game

Observatory

Obstacle course

COPORAQUE

"... the object-surface relation through the materiality of the space (ground and grass), own materials of the place (chaclas) and the recovery of existing artifacts with which users were already familiar. (...) a sort of penetrable forest, a natural-artificial landscape as well as a mixed equipment for relaxation and appropriation..."

Seesaw on the knoll

Log forest Grass knoll Log playground Stone-paved clearing with logs and bells Slide

29th March 2013

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+ GABRIELA PEÑAFIEL

+ GABRIELA PEĂ‘AFIEL

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In Yanque, the unnailing of the Lord ceremony was witnessed; an Easter tradition, which begins with a Mass and then proceeds to unnail an impressive articulated image of Christ.

C o n s t r 31st March - 4th April 2013

Generate a tangible result, for which local construction techniques were proposed and the labor of the participants was used.

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ICHUPAMPA

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YANQUE

+ GABRIELA PEÑAFIEL

* We traced and reset a world of possibilities.

0 7 0 * Let’s get up early to build!

COPORAQUE

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* We started by preparing the ground: 100% teamwork.

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+ GABRIELA PEÑAFIEL

* Under the burning sun for them.

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* We work in teams to optimize results.

* We carefully chose the eucalyptus logs for our forest.

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ICHUPAMPA + CARLOS PÉREZ

YANQUE

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* With the children in mind, we carefully sanded the logs so they could climb them.

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* While they waited impatiently for us, we had to rise to the challenge.

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* The wood, the user and the ropes were weaving.

0 7 3 * We buried them and used stones and earth to stabilize them.

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* We tensed ropes that would be part of the game.

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0 7 4 * We could share and get to know each other more!

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* ... and our world was taking shape.

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* With bright designs and colors we fixed the existing games as well.

0 7 5 * We created pits and knolls so that children could play and explore.

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* We shaped the access.

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* Bottles and ropes formed an interactive and colorful cover, generating a dialogue between the sun, the stars and the children.

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* Little by little the park was taking shape.

* With sledgehammers and lots of strenght, we reinforced the foundations of our forest.

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* The enthusiasm grew!

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* Together we complemented the environment with murals, further strengthening our union.

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* The pit had a special melody: bells hung from the logs.

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The following are photos of the work context, taken during this stage.

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5th April 2013

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Make sure that the user, in this case the children, take possession of the place.

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* A place for encounter.

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* Seeing the finished park was amazing; we witnessed its effect on people.

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* We finished and started playing!

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* The kids lost no time going to play when they just arrived!!.

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YANQUE

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* Young and old enjoying together!!!

0 8 6 * The most beautiful part was that everyone had a smile on their face.

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* We reaffirmed the greatness of their culture.

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* We managed to weave the new games with the old ones.

0 8 7 * More than one dared to climb the logs and reach for the sky.

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ICHUPAMPA

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YANQUE

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* Friends to never forget!

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* Hanan Pacha... above!

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* And the smile of every child too!!

0 8 9 * It was awesome how such a simple intervention generated such a big change.

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* Uku Pacha... below!

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* The desire to explore was endless.

0 9 0 * The children’s parents also came to know the place. :)

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* We all enjoyed the park: a park built with our very own hands.

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* Yanque’s sun shone like never before!

The observatory was ready. :)

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* Welcome!

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* A new landscape had been born; a relationship between the mountains and our forest.

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DANIELA FROGHERI 0 9 7

She is a graduate from Universita’ degli studi di Cagliari (Italy). Focused on communication and knowledge, going from pure theories and its application to creative processes, up to the materialization of these continuously crossing with the art world, the exact and human sciences, with the new technologies and digital world. She participated in Workshops such as “Second skin”, “Trans-Digital Architecture” and “Cinema Master of Dams Bagheria”, among others. She has a Master’s degree in Genetic Architectures (UIC), Digital Tectonics (IaaC) and is currently developing her doctoral thesis in the program “Comunicación Visual en Arquitectura y Diseño” (“Visual Communication in Architecture and Design”) (ETSAB-UPC).

She is a Teacher in the Roberto Garza Sada Center, in the Art Architecture, design Department (UDEM) and is Co-founder of “Nodolab”.

“…you cannot easily kill a tankayllu, since it flies high, looking for the bushes flowers (…) the kids that drink its honey feel their heart for their whole life as the touch of a warm breath that protects them from bitterness and melancholy.”

José María Arguedas

It’s like all the other towns where we stopped: the church, the square with the fountain in the middle, the trees, the buildings around, the town hall, the school, the little houses, the doors that hide little stores; it’s the same but this time it’s smaller, quieter, more empty… There are no cars nor motorcycles, no buses nor taxis, there is not that noisy traffic from Arequipa nor those little vehicles disguised as birds from Chivay… there is no people, no market, there are no ladies with eagles or little llamas, there are no chullos nor scarfs made of baby alpaca… there are no traditional flutes nor antaras or animals made of wool; there are no public restrooms where you have to pay fifty cents to use them, with a lady on the door giving you a piece of toilet paper before you go in… there is no one to sell you anything. May be it is because of the time, or the day, or the size or the position… it seems static in its little hole after all the heights, and it’s as if time stopped in Ichupampa.

They said they were eagerly waiting for us, but it looks like no one is there to receive us, we don’t seem to disturb, however the black smoke from our old bus does, that silent and empty world, or that’s how it seems… Suddenly from the little houses, a girl, jumping… runs towards us, but she was hiding behind every tree for every jump she did and from each tree she was spying on us… now there are two, that look at us hiding under their little hats; one red and the other one black as a little fez: they knew we were arriving and this was their way to receive us, quick and indirect, little illas, with their quick gaze.

ICHUPAMPA

Little by little, people started coming in; women with their small children and then the game begins. Kids are having fun, they run, take us by the hand… some of them are very little and hostile, others, sweeter; little wise men that know about the plants, land, animals… they jump, climb, sing and show us their houses, their dog, pig, donkey, the cherry tree, the small stream, the ichu, their lands. They tell us stories, some of them reject our gifts, but some of them go to their homes enjoying their new toys… some of them have brothers in the farm and others that study in Arequipa or Lima… they run together but without leaving their wilderness.

Their little faces are filled with stories, tales, freedoms… their elastic bodies fearlessly climb the trees and big walls up to the church’s roof, but they don’t use the rusty slides nor the hostile swings, made for bigger kids maybe or for another climate or place; since the sun warms up the metals and burns the kid’s hands and when it’s cold, they just freeze.

This are the games we want to replace with some more adequate, since this are no good and we have to think about other suitable games; so they can develop, so they don’t fall behind the national average, so they don’t grow up with shortages, so their development doesn’t fall behind, so they can be up to the expectations. Before getting to know them, we pictured them, studied them… we want to save them. One of them broke his head when he fell from the swing… his school performance is underneath the national average…and now they are here, to tell us that the nettle leafs burn the hands and that the tuna fruits are cleaned with “herbs”.

YANQUE

We got together at their school, Tupac Amaru School, whose walls have plastic plates with behavior rules soaked of religion, of penitence, of divine love and fear of God… I also see math and trigonometry formulas, I see Esquilo, Virgilio, Shakespeare, the Cid… even Dante with a very daring Beatrice. However, I do not see Tupac Amaru.

We got together and we got our first conclusions: what do we pretend that we are going to do here… do they really need us? In just a couple of hours they have taught us a lot of things, took our hands to show us their houses, took us to their world; where games are not just a playground with a swing and slide but the whole town; the mountain, the clouds, sun and snow, the stream that comes in their houses, the trees, the animals. Then we tell all that we saw, compare experiences, come to conclusions, sketches, we think, and write words in their blackboard… all reunited in the Tupac Amaru School.

Suddenly a little red hat opens the door and comes in, sits down, takes a notebook, a pencil and paints; writes down all she has learned at school, from words to numbers, in Spanish and English. I teach her how to do origami and, while her little dirty hands fold the white paper, we, the architects, keep arguing, comparing, thinking…

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- And you, what are you going to teach us? The little red hat asks me. She then stands up from her chair, and with a dazzling nonchalance, she erases our words from the blackboard and paints a river, a tree, a goat…

The door opens again and a little black hat appears, the fez; and he sits down, and he also wants a pencil, draws, writes…

This little wise guys do not need us, we all agreed, they do not…

Let’s go!

Are we leaving then?

ICHUPAMPA

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Sandra and Malcom (or was it Maicol?) are brother and sister; she has 8 years old and he seems 5 or 6… they are little, curious, smart and adventurous, they run like elves and stare like illas. They are the first kids to show up when we arrive, they are the ones that join us everywhere, even when everybody is going home.

Sandra, with her little red hat and her dirty nails, writes words in Spanish and English, and draws baby Jesus in my notebook. She participates in our meetings as well as Malcolm wearing his black fez, and I’m sure he listens to our concerns because he then starts playing in a little sand hill simulating a stream with his hands, acting for us, giving us perhaps some indirect suggestion regarding what he would like us to do or just what he is expecting… It is clear then: we cannot leave.

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We cannot, because Malcom is expecting something and Sandra too: they showed up as illapus when we arrived…

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- Bird! – He told me with a confident voice when I, pretending not to see them and without saying a word, started doing some origami stork to see their reactions, because while they were pretending not to see us, with their little silent faces they would spy on us…

- And what are you going to teach us?

Sandra asked, waiting, after putting on my notebook all her wisdom…

This two kids, expecting something, tell us we can’t leave, because while the rest of the people are home already with their presents, with their moms, brothers, taken by the hand, Sandra keeps following us, looks at us, and listens…

We can’t leave because I see that, when I try teaching her how to do an origami stork, she finds it hard to understand the symmetry and imitate my hand movements, but not because she is a quechua girl from Ichupampa, but because she is a kid like all the kids in the world, who has her own times, concerns and talents. I realize that even though she loves the mountains and cherry trees, her eyes sparkle an intense light when I lend her my camcorder for an instant and she sees her world through that small lens, just like tankayllu Jose Luis' eyes sparkled when I lent him the camcorder after I convinced him to get off a tree…

We are staying for them; because like all the kids in the world, even though they have their stuff, games, costumes, traditions, their wonderful universe kept in that little hole, these are also curious kids who love the unknown, they love what they think is magic, they love learning new things, they want to know more and more every time and they have the right to play with games thought for them…games so they can play whatever they want, but also push them to imagine what they didn’t know how to imagine before.

We are not leaving. This is what I learned in Ichupampa, in Arequipa, in the 2013 TSL Perú: when we think we cannot do anything, it is then that the difference between doing nothing and being certain that something has to be done is born.

Thank you, Daniela Frogheri Monterrey, 13.05.2013

ICHUPAMPA

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Hernán Perochena He is an independent architect, winner and finalist in many architecture competitions; he has been a teacher in the Professional School of Architecture in Alas Peruanas University and guest professor of the Professional program of Architecture in Universidad Católica de Santa María in Arequipa, Peru. He is member of the Project Research Workshop.

YANQUE

“Miraculous you call it babe You ain’t seen nothing yet They’ve got Pepsi in the Andes McDonalds in Tibet Yosemite’s been turned into A golf course for the Japs The Dead Sea is alive with rap Between the Tigris and Euphrates There’s a leisure centre now They’ve got all kinds of sports They’ve got Bermuda shorts (...)

It’s a miracle Another Miracle By the grace of God Almighty And the pressures of the marketplace The human race has civilized itself...”(1) (1) It’s A Miracle. Música y letra por Roger Waters.

Amused to Death. Columbia Records, 1992.

During the first days of the workshop, being in the design stage and noticing the serious and progressive loss of the cultural local values, I remembered this fragment from a wonderful music composition by Roger Waters. I was always an enthusiastic listener of rock music and progressive rock in particular and to remember this musical piece in this context evidenced that my own culture was the result of a very strong foreign influence that had me distanced from the great and very valuable culture from my locality.

And it is that the loss of local identities in favor of the installation of a “global” culture is without a doubt a very serious problem and we clearly perceived it during the days that we got to spend in this little town. The embarrassment towards their language that the very villagers told us they felt and their desire for their kids not to learn it, so they will not be discriminated when they move to the cities; it was a clear example of the little appreciation of this great heritage that little by little we lose.

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In this context, we had to act, proposing a system of elements that did not only allow kids to play, but specially disengage them from the occidental meanings of games such as “shopping mall”.

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In addition, it was very important to disengage from other meanings associated to any important element from their surroundings. Lacking these elements, the kid could create, according to their mood and imagination, their own world, shaping it how and when they want to.

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Furthermore, this system kept changing its shape and scale until a covered space was created so people, from children to seniors, could get together, encouraging socialization, an essential factor to generate greater community bonds and, maybe, new awareness and pride for what is theirs.

HernĂĄn Perochena, April 2013

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Architect graduated from Facultad del Hábitat (México) with specialization in Landscape Architecture (UPC-Barcelona). Professor of Architecture and Urban and Landscape Design in UASLP (Mexico). Winner of different awards such as the Architectural Record Magazine Award as one of the ten worldwide emerging studies, the AJAC Young Architects award, the 2013 Cemex project Award, and he has been acknowledged in the Landscape International Award from Torsanlorenzo (Italy), the Landscape Biennial Architecture (Mexico) and the AR-AWARDS for Emerging Architecture, among others. He has been lecturer in Mexico, Brazil and Taiwan, and one of his projects has been presented to the Royal Institute for British Architects of London, the Fine Arts Circle from Madrid and the Denmark Architects Association, among others. He is founder of x-studio.

Ichupampa, Yanque and Coporaque, earth colored towns that are now part of my memory. Places that always dialogue with the presence of the Apu and the Colca River. Collaguas, Cabanas, Incas. Inca Platforms, valleys, canyons, channels, paths, bridges. Natural and cultural patrimony. But most of all, little kids’ smiles that taught us to keep playing, to keep being kids.

They taught us to recognize ourselves as part of their own landscape and to understand that with imagination and sense of permanence, playing can happen anywhere and in any situation: play on mud walls, on parks, in the fountain, trees, in the land, play with the wind. That playing integrates the sense of collectivity as part of our culture and tradition. Through their smiles, they taught us huge values of the rural community, such as trust, hospitality and the true meaning of sustainability.

“Wawa Pukllay” shows us other ways to understand and do architecture. It teaches us to listen to ourselves, know how to organize, to forget about higher profiles when it comes to design and work in a collective way as part of our own community; it teaches us that in the meaning of “Architect” the meaning of "Social" must always be implied. It shows us that Latin-American students, when they put ideas and efforts together, they are capable of rethinking our discipline and redirecting the path in a positive way through their own initiative and action.

Arq. Iván Juárez

ICHUPAMPA

RODOLFO GUZMÁN Architect and Teacher in Architecture Design in Universidad De La Salle Bajío. He has a Certificate in Philosophy given by Universidad Autónoma de Baja California. He has done presentations and tutoring in Mexico, Peru and Argentina. He received the “fomix from conciteg” financing for the implementation of handcrafted echo-technologies to properties, and has published in the “Carlos Chanfon Olmos” Chair. He is teacher and investigator in the Architecture Faculty in Universidad de la Salle, has performed the curricular design of the Architecture Design Masters. Panelist in different international workshops; has published articles related to intellectual production of the processes’ design, and is co-author of "Filosofía y arquitectura: articulaciones del contenido y lo contenido" (“Philosophy and Architecture: joints of the content and the content”). Founder of the “Moyomo” Collective.

Being part of a Latin-American social workshop was, to me, since I read the invitation, a compromise. To interpret the needs of these peculiar communities, immersed in an extraordinary surrounding, and try to configure an architectural intervention strategy represented a challenge and an award at the same time.

YANQUE

The availability of the delegates from all these countries, the distances they travelled and the bond they built with the habitants of the local community turned out to be vital towards the challenge that this intervention represented.

Personally, I was surprised with the communication between the tutors and the organizing committee that in such a few days turned out to be an interesting and fun team that joint efforts so everything could go better.

I think the connection of architecture schools with social labor activities is fundamental; and it is a pride that in Latin America we organize ourselves to achieve this kind of approach towards fomenting our identity, through reflection and joint work.

Rodolfo Guzmán

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mariano a. ferretti Architect graduated from UNC (Argentina) and Master in Theory, Critics and Project for the UPC (Spain). He is professor in the Architecture degree in Universidad de la Salle Bajío and the Tecnológico de Monterrey (León, Mexico), and from the Architectural Design and Construction Technologies Master’s Degree; investigator in subjects related to urbanism and public space in the mentioned University. Guest Lecturer in the Architecture School from Guadalajara. Has published and presented different articles in subjects related to urban morphology and public space. Member of the redIALA-Architectural Investigations for Latin America-, “architects collective” from Argentina, Germany, Brazil, Spain, Mexico and Venezuela. In 2012 he founded NApal – Architecture needed for Latin America- in collaboration with Architect Bernardo Blázquez, developing performances and projects in the local field.

The Latin American Social Workshop (TSL) as a regional action platform is positioned as a space from which we can answer efficiently to the requirements that from Latin America are being asked regarding the collective subjects, new and needed subjects based on caring and compromised organizational structures with social problems in areas commonly invisible.

YANQUE

It is an enriching experience, whose main reason for existence lies in being not only a field of reflection but horizontal participation that involves all the regional diversity around a challenge: the search for specific solutions to real demands in contexts with a strong social and cultural implication.

The TSL in Arequipa (Peru, 2013) has been a faithful example of that job, which, based on territorial recognition fueled by the universe of unknowns and generalizing questions, recognizes the identitary and particularized character that leads to the definition of the micro-scales of intervention to build small universes that the professional practice of Architecture demands us every day.

It is our challenge to keep strengthening the right to inclusion of some minorities in the management procedures and materialization of the livable surroundings.

Mariano A. Ferretti

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Architect, graduated with public recognition from Universidad Nacional de San Agustin in Arequipa, has post-graduate studies in Architecture in the same University. University professor of the Architecture Workshop in Universidad Alas Peruanas and Universidad Católica de Santa María. Member of the Projects Investigation Workshop –TIP- and editor of MAS magazine.

Usually publishes in the blog “Tip(o)s inurbanos”.

Maybe we had to go somewhere far to rediscover values that should always be with us but the world makes us forget.

Get rid of the accessory and focus on what is essential. An experience that has proven the power of the communal, the strength of collaboration.

Architecture, the one that accompanies us every day, wore its real suit: Community Service. I think, without fear of being mistaken, that the projects and all that surrounds us as Architecture were immersed in a new scenery, where the small Colca Towns reality was confronted with our own reality, where the kids of those towns taught us to look again.

The shortages, the vulnerabilities we would work on became solidary actions, horizontal structures, individual and group challenges. That is how I can tell it as an experience, as a new beginning.

It was not an instruction by us but the opposite; it was a huge and generous learning.

Omar Urday

ICHUPAMPA

FERNANDO MENESES Architect graduated from UNAM and Philosopher graduated from UACH (Mexico). Has participated in more than 80 investigation projects, expositions and labs, intervening in 16 countries. In addition, he has collaborated with firms such as Gayosso Arquitectos, Techtum, GGA, Dicreark, Guallart Architects, Gijón Arquitectura, BR, Bimetica, Ayuntamiento de Barcelona, Tecno Progetti, and MLutyens; and with Universities such as UNAM, IAAC, and IBERO among others. Has a Master’s degree in “Genetic and Bio-Digital Architecture” (ESARQ, UIC), in Digital Tectonics & Self-Sufficient (IAAC), and in Cultural Anthropology (FES).

He us currently developing his Doctoral thesis (ETSAB-UPC). Is Director of the Graduate School of Art, Architecture and Design (CRGS, University of Monterrey) and co-founder of nodolab and FabLab Monterrey.

YANQUE

Speaking about the Latin American Social Workshop “Wawa Pukllay”, or, for the ones who don't speak Quechua, "Children Playing" or "The Children's Games", is to speak of a “self-transcendence” exercise; it’s a moment of pause, it’s a call to the non-idealization and above all it’s a radical “no” to our way of perceiving things. The TSL Peru – 2013 overcame the limits of the “Workshop” concept, reaching not only an “exercise” but “reality itself”, it also overcame the “social” limits since it wasn’t about the intervention of a planner or an educator, politician, social entertainer, etc., it wasn’t limited to help as charity or to feed the social superheroes egos. We could say that the “social” when we arrived to the Colca Valley turned into a collective question: do they really need my help?

I also believe that the general answer was that “we are the ones who really need this help”. The idea of “identity” in our contemporary world induces us to think that the absolute equality is a way to freedom; however, in the Colca Valley the individual’s reality is very different, and nowadays, I would challenge anyone to demonstrate that it is inferior to ours. Actually, I would say that is easier to demonstrate that our reality is much more precarious than the one that exists in the little and magical towns of the Colca Valley Finally, I would say that the concept of "Latin American" was also surpassed; Quechua for example is not a derivate from Latin and therefore the Peru-2013 TSL went much further and much more within the purely "Latin American" set. Thus, I would end by saying that the Latin American Social Workshop "Wawa Pukllay" 2013 was neither "workshop" nor "social" nor "Latin American" ... it was much more than that.

Yusulpayki! / Thank you

COPORAQUE

Fernando Meneses México, 13.04.2013

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FABIÁN AGUILERA Architect graduated from Universidad Católica de Colombia. Has a Master’s degree in Projects for Sustainable Urban Development (IBERO). Investigation Teacher in Mexico and Colombia in urbanism, housing and emerging habitat in the framework of sustainability. Leads the investigation group: Culture, Space and Urban Environment (Universidad Católica de Colombia); as an investigator he has formulated and developed the Territorial Planning Project of the first model of sustainable city in Latin America. He shared the award Deutsche Bank Urban Age Award 2010. He is director of Design Workshop – PROTOTYPE 1:1

The necessary becomes social welfare...

Proper and interesting strategies are concluded from the Latin American Social Workshop 2013, “Kids Playing” (“Niños jugando”); common participation processes where the goal is to build a decent and useful space for kids’ recreation and, through collective exercises, recognize the population’s behavior in appropriation processes towards the space they inhabit and that they should enjoy as part of their surroundings.

It is essential that this kind of exercises are more continuous and that there is an evaluation of results.

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Continuity understanding that in Latin America these same cases of intervention are demanded, and must be made possible because the need to adopt new places that provide quality of life is still inherent in the population. And more if there is a network of professional actors in the construction of the "sustainable habitat".

Valuing results and overestimating the opportunities that allow to continue with community building through the construction of the public space was the excuse to find in the Colca Valley inspiration for the construction of communities worthy of welfare.

The TSL Peru 2013 was a challenge and looked for an optimum result to build social surroundings. The criteria variety regarding the construction of a “social habitat” allows developing social responsibility strategies; furthermore, it becomes an excellent excuse for the “urban utopia” development regarding the needs of the vulnerable and involved population.

These cases of social architecture, collective urbanism or citizen participation exercises allow us to rethink what the procedure for Architectural teaching is and whether social laboratories become an alternative for the development of the discipline in the territory and its participatory intervention.

“You only have to see a kid’s smile, to understand that happiness is in every space he imagines”…

Fabián Aguilera

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JOSÉ ANGEL RODRÍGUEZ Architect graduated from Universidad de San Pedro Sula, Honduras, has a Master’s degree in Advanced Architectural Design given by Universidad de Buenos Aires, Argentina. Architectural Design and Landscaping Professor in Universidad Tecnológica Centroamericana and elaborated the biography of the Architect Hector Bustillo Oliva.

Has participated as lecturer and tutor in the following workshops: “High Density (ENEA Honduras 2012)”, “Alternative Analysis of the Project (2012)” and in the XI TSL Nicaragua (2014). Works in the prestigious firm “Saybe y Asociados” where he collaborated in the design of the New Central Bank of Honduras (2011). Got first place in the National Contest for the Design of the New Building of the CNBS (2013). Is collaborator of the Naranjito foundation.

The TSL Peru was without a doubt an important trigger of ideas and projects with a high sense of social sensibility, creativity and a constructive challenge.

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The workshops’ dynamic moved the inter-group competitiveness subject and they were more focused on solving big ideas and components of the theme. For that matter, this workshop meant a lecture and learning of proposals in which students faced solutions towards the playful space, taking over the proposed designs‘ qualities in the drawing and model stage. This idea take over was done with tenacity; involved everyone with ambition of work, accurately aiming the ideas for the final project, still for some, with a reduced availability of tools and materials being this an important challenge.

The project relied on an exceptional natural landscape and motivation on field of the numerous group of kids rejoicing on the parks, curious to see the built proposals…validating the team’s proposals.

This is a TSL: assimilate the reality and its context in a very personal way, far from approximating from the outside with a theoretical framework; it is the intimate experience, serving and getting closer to the project; being these the triggers to transcend and contribute to Architecture, and this TSL did it.

José Angel Rodríguez

ICHUPAMPA

YANQUE

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COPORAQUE

michael smith Costa Rican Architect graduated with honors from Architecture School from Universidad Veritas. Has a Master degree in Sustainable Environmental Design given by the Architectural Association from London, England (2008). Winner of several awards and international acknowledgments, such as the CFIA, ALBAN Scholarship (E.U.) and the Archiprix International (2007). Is co-founder of the Sustainable Architectural Advisors International (2009 http://www.saa-i.com) and founding partner of “Entre Nos Atelier” (2010). In 2011, he joined as partner and architect the SHINE Architecture. Is Professor and investigator in the Monterrey Institute of Technology, Universidad Veritas and Universidad de Costa Rica. Manages the integrated workshop of Universidad Veritas since 2013.

It is important that from Latin America, similar spaces to the TSL are strengthened. There are a number of similar initiatives in our region that focus on and make clear that there is a great change on the small scale.

Where inclusive, participative and supportive exercises addressed to the most vulnerable communities of our continent show a much more sensitive, useful and relevant Architecture and design.

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We should not forget that beyond a project, Architecture could be an excuse, an agent of change that enables a much-needed social cohesion, where the design is a tool of transformation. Those spaces of work and action strengthen a collective effort more than specific authors do; the authorship disappears once the project is concluded… The set of actions is strengthened as a generating force of a reality that Latin America lives.

It is the voices of change that sound harder and say with facts and not just words, that there are alternatives to project. They are manifestations of change where the true protagonists at the end of the day are the users.

Design is not luxury and it should be accessible for everyone; we provide a service, and it is here where a critical thought, design processes, experimentation and initiatives development and interventions in the limits of urban development of our Latin American cities potentiate a real impact…the previous section starts to be a world reference.

Michael Smith-Masis

ICHUPAMPA

alejandro vallejo Architect graduated from Universidad Veritas (Costa Rica). Has distinctions in national and international competitions, such as ICOMADRA, FID, BIAU 2010, BIACR 2014, among others.

Has been panelist in social and emergency housing subjects, and his professional work has been published nationally and internationally. Guest lecturer in workshops and conferences in Universities such as Gran Colombia-Bogotá, La Salle from México, Bajío, and Maryland (Washington D.C.). Professor in Universidad Latina de Costa Rica, Technologic Institute from Costa Rica and Universidad Veritas. Co-founder of “Entre Nos Atelier” and “Construyendo Taller - Laboratorio Social.” (Building workshop – Social Lab)

Latin America is developing in an environment where architecture becomes a source of interaction to generate collectivity and see a potential mixture with which a community and participative design is developed as a tool of change; a collaborative space to give solutions to problems that are in our Latin-American context.

YANQUE

The Latin American Social Workshop opens doors to many students of the area to manage the concepts and interactions of spaces that need progress. As part of the workshop initiative rules encouragement is given; in this case a project for kids, where we give the opportunity to feed and do small interventions that generate a change: become small solution managers to problems in our environment.

The workshop opens the experience to a communal knowledge, where the student can relate to different points of view and understand how Architecture is working in our environment, to find initiatives that make more sensitive professionals, willing to get their hands dirty for progress' sake.

Alejandro Vallejo

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COPORAQUE

+ CARLOS PÉREZ

+ GABRIELA PEÑAFIEL

ICHUPAMPA

javier maradiaga Architect graduated from Universidad José Cecilio del Valle from Tegucigalpa. Has a master’s degree in Urban Social Management (UNAH), in Education (Universidad de Jaén) and has specializations in Land Management and Urbanism (UIM), Planning and Local Development (CELADEL), Urban, Mobility (CELADEL) and Landscape Architecture and Garden Designs (Universidad Del Bahaus). In the work field, he has performed works with the local community, such as touristic infrastructure, municipal strengthening, and technical studies for restoration, public spaces investigation, protection plans, urban environmental control, urban risk and strategic urban planning.

Winner of the urbanism award Santiago de Compostela. Professor in Universidad Católica and Universidad Nacional Autónoma from Honduras.

The “WawaPukllay” Latin American Social Workshop experience is unique in performing exercises of appreciation and perception of the spaces and the communities, especially because beyond the knowledge transfer, is receiving: knowledge and experiences from different cultures: Latin American and European and, what is more important, the local experiences, especially those related with kids.

YANQUE

“WawaPukllay”, meaning “Kids playing”, is just a phrase given by the workshop, from there and once involved in this Project, we realise that it’s not only to watch the kids play, but the kids, living, designing, helping, smiling and teaching us to be kids so we can understand the true meaning of the workshop. We are architects, architecture students in different stages of our career. We all wanted to make a difference that marked our passage through the Colca Valley and I think the opposite happened; the imprint was left in us by that context, those experiences and those eyes that day by day watched us thinking about what would be done in different places, and at the end of the project were smiles grateful for the moment and space.

Nowadays I think that this kind of workshops opens doors and horizons that show that architecture is much more than a majestic construction or a plastic set-up through impressive structures; it teaches us that it is also the social, living together, experimenting, doing, benefit from our contexts, roots and our people. Of the conclusions we can mention about the TSL is to narrow, strengthen, create connections and bonds between the different Latin American realities that in Peru were seen as one, and, most importantly, that the TSL reminded us that we are still children.

Javier Maradiaga

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COPORAQUE

wilson annicchiarico

+ GABRIELA PEÑAFIEL

Architect graduated from Universidad del Atlántico (Barranquilla), specialized in Construction Projects Management (UIS), Child Development (INCCA), Teaching for Self-Directed Training Development (UNAD), and Masters in Sciences de I’Educatión (UN) and Social Development Projects (UN). Besides being an architect, writer and plastic artist, he is currently dean and professor of the Architecture Faculty in Universidad del Atlántico. He has also taught in Universities such as UJTL and UNIMAG, being Postgraduates coordinator in this last University.

In his professional performance, he has managed and assessed urban projects for institutions such as the UN and the Ministry of Education. He has also participated in national and international conferences and has performed investigations in subjects related to city, education, home and society.

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I C H U P A M P A

Y A N Q U E

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c o p o r a q u e

LARA PLACIDO Born in Portugal, she is an architect since 2003. Her work is multidisciplinary; she collaborates with Alcino Soutinho in ACXT (Spain), with EZZO, with Guilherme Machado Vaz, and with the association “A Capucha”. Her work has been published in magazines and exposed in the Architecture Biennial in London and in Quito (2006) and Landscape Architecture in Barcelona (2010 and 2014), including expositions “Tanto Mar” and CCB in Lisbon (2014).

Finished Cinema postgraduate studies co-producing the short film “CASALATA” (2011), shown in international festivals. Since then, she is coordinator of the project/investigation “CASALATA - Habitación Social, Educación Urbana y Ambiental” (“CASALATA” – Social housing, urban and environmental Education) for Cabo Verde. Is co-founder of “Marca Roskopf” (2009)

Approach of different cultures in a place filled with identity.

Approach of work group and the user.

Approach to the problem turns it into a solution.

The TSL 2013 is synonym of a gradual approach in different times and scales, with the common objective of intervening in a singular reality, respecting its identity.

WAWA PUKLLAY was the pattern for all the process.

We found kids with an unusual freedom, with a capacity to create and successively and without limits recreate where they live.

Intervene without imposing a solution, but to emphasize the genuine creativity was the biggest challenge we proposed to achieve.

We conquered that goal daily with the kids’ presence; as if it was usual; they created and recreated the new built space, renewing the solutions of their game place.

In the TSL, it is interiorized that a lot can be done with very little and that the approach of the architect towards societies, regardless of their geographic coordinates, is crucial to promote a better life, accessible for everyone.

Lara Plácido

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ICHUPAMPA

Enrique Villacis Architect, musician, photographer, DJ and artist. Has a master’s degree in Arts Management (Drexel). Has been guest lecturer in conferences and workshops in England, Germany, Czech Republic, Netherlands, China, Perú, Colombia and Nicaragua, among others. Arts and architecture professor in Pontificia Universidad Católica (PUCE). Leads “Runká” and the workshop “Con lo que hay” (PUCE), collaborator in AlBorde, CKG Architects, performatic arts collective “Fresh Meat Experience” and “Futuro Sí Escuela de Danza Contemporánea”. He is also part of the team “En su Sitio Arquitectura”, focused to community and social projects (www.ensusitioarq.com).

Zero heart and full passion.

The architect's profession is one of service; this service and this conceptualization system, design and construction has to be the same for all kinds of users and situations. Sometimes the payment is money and sometimes it is a smile. We work with that vision in this TSL, not giving it a charity perspective but to meet needs by providing a service.

YANQUE

It was gratifying to meet all with this same approach and with the idea of a community architecture, not from the romantic, but authentically communitarian; where decisions are made in consensus, sharing criteria beyond egos. Eliminating that way an unnecessary author’s architecture.

In this way, the interventions were developed within a scheme where we all win: the students, new knowledge that possibly in some years will be fully assimilated; the tutors, by putting the ideas in crisis and arriving at new systems of thought; and, of course, the communities, with interventions for their children.

However, the communities will have, further on, the last word regarding our real contribution.

This experience leaves me a profound lesson about the social role of Architecture and its true need or purpose. When leaving Coporaque and saying goodbye to the place, a kid tells us: “…when will you remove those sticks?”

Enrique Villacis Tapia

COPORAQUE

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+ LARA PLÁCIDO

+ LARA PLÁCIDO

5:00 p.m. + LARA PLÁCIDO

ICHUPAMPA

8:00 a.m.

+ AGA

YANQUE COPORAQUE

5:30 p.m.

6:00 p.m.

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Cesar Acurio He has been an Architect for 12 years. Member of the Design Investigation Workshop since 2012. Professor. Partner in AiD

We arrived after travelling for a few hours. We did not know much. We just received some information from the people of the organization and nothing more. I think no one likes the idea of helping, possibly because of the low esteem that everyone has of this concept. All those arguments that gives it a shallow connotation came to mind and questions such as “what can I give to these people?”

Until it started and I realized it was real…but really real…there was not improvisation. Everyone in the organization was really focused on doing it right. The concepts clear and the goals very real. I really appreciated the agreement and negotiation. For the "tutors" who were not used to working as a team it took us a while, but for the ones that already had that rhythm, it was very easy and they accepted us without a doubt.

I never start a text without telling what I felt. I do it every time I can, and this time was not going to be an exception because I honestly thought that all of these help without government support was useless, but I left Colca thinking the opposite. There is work to do and there is a lot of it. Specially doing it right, as the TSL proved. They were really nice days, where despite the characteristical groupings of events like this, we were all one and at the same time we were part of a wonderful work. I hope to stay in touch with the people I met.

Thank you, and see you in another TSL. César Acurio López

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ICHUPAMPA

Gabriel Visconti He is an Architect and studies Design and Social Innovation in UCAB-ProDiseño. Advisor of the Studies Center of Bicycle Use; he is well known in the 1st Venezuelan Industrial Design Salon with mention in Sustainable Design. Stands out the Editorial Assistance; collaborates in national and international articles such as Entrerayas (Venezuela) and Arquine (Mexico).

Orlando Vasquez Architect graduated from Universidad Santa María (Venezuela) and has a master’s degree in Design given by ETSEIB-ETSAB UPC (Barcelona). Stands out the pro organization activity of the student’s community at national level, becoming part of activities in Central America and the Southern Cone. He represents the IMTC before the Bogotá’s Municipality for STPB-Caracas.

YANQUE

Together they run AGA creative studio

SOMEONE SAID PARTICIPATE We didn’t have firsthand knowledge about the Latin American Social Workshops; something had reached us...

In our case, it was an opportune experience so we could connect, in other contexts, with alternative activities that seek and encourages management exercises and horizontal partnership with collaborative approach and that are not like patterns and dynamics of limited participation. This, as action and learning instances, by performing.

COPORAQUE

The invitation consisted in using specific “places”, to create conditions that enabled empowerment for a special user; kids from the Colca Valley. This implied to absorb and integrate social and natural existing relations, in specific life-size exercises,to generate new areas of recognition and approach to space, trying to convey local information transparently.

Simultaneously interest concepts were incorporated such as day-to-day life, the ludic, symbolic, subversive, pedagogic, accidental and the identifying of the ordinary as foundation of a new type of activism capable of generating an encounter and, even, inventing new users.

The Colca Valley may be far from the participant’s daily life. However, someone said participate, and their commitment and hard work proved that everyone was looking for the same thing: spaces to live and play with dignity.

AGA creative studio Orlando Vásquez + Gabriel Visconti

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+ LUCCÍA BEROLATTI

+ CARLOS PÉREZ

+ JONA VILCA

ICHUPAMPA

YANQUE

COPORAQUE

Maximillian Nowotka Architect graduated from Universidad del Zulia – LUZ (Venezuela) with Masters studies in Architecture / Major in Complex Project in UC-Chile. Has been guest professor, jury and lecturer in LUZ, Universidad Rafael Urdaneta, Universidad Central de Venezuela and Universidad Politécnico Santiago Mariño, among others. Invited by “Paisajes Emergentes” (“Emergent landscapes”) (Colombia) as assistant professor in the Workshop Sudakamerican Architecture (2010) in UC-Chile.

Assistant professor and academic advisor in the LUZ architecture school, and Research Assistant in the Investigations Institute of the Architecture faculty. In 2008, he starts Distopíalab alongside Cristina Ramírez, and in 2012, they start a space for debate LA SALA.

Rocio Cayllahua Architect graduated with honors from the Architecture and Urbanism School in Universidad Nacional San Agustín. She currently works for a Spaniard Cooperation in a project of the Program P>D Heritage for the AECID Development in Perú, project in charge of the restoration of the Colca Valley temples, giving support to the municipalities by implementing an alternative model of development based on the preservation, development and responsible and sustainable management of their cultural and natural resources. She has also been part of the winning team in several national and international awards and acknowledgments such as The Golden Hexagon – National and Silver Hexagon – Southern Macro Region with the project: restoration and development of the Monumental Area of Coporaque, Colca Valler, Caylloma, Arequipa – 2012.

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+ NATHALY ZEBALLOS

ICHUPAMPA

YANQUE

+ CARLOS PÉREZ

COPORAQUE

6th April 2013

BACK to AREQUIPA After a week full of learning and experiences, April 6th arrived and with it, the return to Arequipa city. We made a stop at the Condor's Cross on our way.

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+ MIGUEL CHALITA

FINAL REFLECTION wawa pukllay + CARLOS PÉREZ

JIMENA MARTIGNONI Architect specialized in landscape planning and since 2004, she dedicates to preserve and diffuse city and landscape projects in Latin America. She regularly writes for specialized magazines from USA, China and Europe; and has published books with editorials from Spain, Mexico and Chile. Is professor of the Landscape Postgrad in Universidad Di Tella in Buenos Aires. Has been invited to teach and give conferences in Universities in Argentina, Colombia and Mexico and as jury in the First Latin American Landscape Biennial. She visits every project that she writes about and in this process; she has been in remote places and has met important Latin American designers.

I knew the Latin American Social Workshop Project when I was part of the jury in the First Latin American Landscape Biennial in Mexico, and since the first moment, there was something that got my attention about the project called Wawa Pukllay. While studying it, I knew exactly what were the reasons from my personal vision, to classify it as a finalist; but intuition, the first impression we get about something, that, is something else.

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Maybe it was the weird name, the unknown but familiar language, known of lands and people of which gave identity to the continent; or maybe it was the remarkable difference this project had regarding the other ones, when looking at pictures, I repeat, in a first impression. The simple and vulnerable constructions, with fragile materials and products from the landscape, pictures of kids smiling; and at the same time an evident design work behind it, a situation probably studied at length.

The reasons why, finally, all the jury decided to give the award, are translated in words already written.

Today, however, I have a deeper and more compromised vision, since I was in charge of writing a final reflection about the work done not only in Ichupampa but also in Yanque and Coporaque, the three towns where the TSL 2013 took part, in the Colca Valley, PerĂş.

FINAL REFLECTION

A unique work that shall not be forgotten.

There are three dimensions, or scales, or meaningful experiences, which this job – this social workshop – made evident. Or at least subtly leaves presented, before the necessarily deep look that is required to understand and give value to certain processes that announces a higher underlying sense.

The first dimension is the global one, the significance that this job has once put in perspective and in relation to other jobs done in the architecture field and the landscape architecture: in this case, the project establishes clear differences with the current architecture trends and at the same time with current dynamics of the system, and the world we all live in. It exposes the forgotten needs, traditions and remote cultures, and its distance – something sad but also valuable- with the cities' lives and their rules, their exaggerations and their flaws.

wawa pukllay

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+ OMAR URDAY

The second dimension is the personal and group experience, in this case with an academic and professional goal. It can’t be ignored –because it is detailed in this publication with the sequence of texts that testifies and narrates the experiences in the three towns- that every team member has found with this experience some high motivation; a spiritual bond with a world external to their own, that somehow awakens and enlightens, and a different way of creativity, it’s based on the real need of someone else, in community service, and the essential question of “what do they need us for?”

The third and last dimension is the reality that is left, after the process and the work. However, I will save this dimension for later.

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At this point, the “starchitect” figure, or star architect, as a celebrity in a world where the visual is prevailing and crucial, clearly shows how the need of exposing (ideas, success, power) is condensed in the architecture world. Frank Gehry, one of the most outstanding examples of this trend denominated “starchitecture” stated in a press conference in Spain, in 2014, “In this world we are living in, 98% of everything that is built and designed today is pure sh*t…”1. This statement originated, of course, a big amount of answers and notes in the architecture world, and the further analysis of an idea that’s been there for a while: that architecture is in crisis, that it doesn’t answer to the man’s needs but to narcissistic needs of a profession and of a global position of exhibitionism.

What is important, about this text, is to mark what is the international framework in what this workshop is materialized, with architecture students from different Latin American countries.

1. The exact quote is: "Let me tell you one thing . In this world we are living in, 98 % of Everything That is built and designed today is pure sh * t .

There's no sense of design , no respect for humanity or for anything else . They are damn buildings and that's it . " Referenced in a note Forbes March 2014 , entitled " Frank Gehry Is Right : 98 % Of Architecture Today ' Has No Respect For Humanity ' "

FINAL REFLECTION

To talk about the global dimension leads us to the situation of, for one side, the architecture, as a society’s way of expression and its current political-economic situation and, in addition, of the system that today rules the interaction between countries and their development. Of course these –architecture and the system- in continuous relation of reciprocity. Thereon and without making a deep analysis but just a look in human essence, honest and simple, we can say that in both cases there is a loss, which is being constant and somehow progressive, of innocence. Innocence as a sign of purity and candor, in opposition to the need of exhibition, power, abundance and unlimited knowledge.

In this sense, and with regard to the other state of situation mentioned, we all live in a world, if not obsessed, at least conditioned by wealth. The young French economist Thomas Piketty, in his internationally known book “Capital in the Twenty-First Century”1, studies and shows through official statistics and historic analysis, how the wealth of the richest people in the world has a higher growth rate than the global wealth (that gap is growing in the last decades), so then, inequity grows. At the same time, in a conference he gave in Buenos Aires, in January 2015, regarding the subject, he stated: “for half of the world’s population, wealth is just an abstract notion”.

This is the abstract notion of wealth that the inhabitants of the 3 towns where the workshop took place have, in quite an evident way based on the compiled texts of the TSL 2013 participants. In these marginal communities we can still testify the innocence we dream about at global scale – the possibility to have it allis remote, however, it is where this concept is understood from a spiritual perspective. The purpose is not to see them as angelic beings or communities where there is no resentments nor questionings; the point is to cherish an exceptional action in a place characterized by exceptionality, compared to today’s common societies.

wawa pukllay

This is important because the daily living, what we see and hear every day, in principle leads to look for the same things, to travel the same ways, to try the exhaustive use of the forms without the basic function of sheltering and showing man's attributes as a social being; in the TSL 2013, it is precisely this last that has been sought.

This leads us directly to the second dimension’s idea, the one of the personal and group experience. It is interesting to rescue this experience because, although the goal is to answer to a concrete need of a concrete group, the job has a strong impact on each of the participants. First, in their way to reconsider their role as architects, as sites makers and creators of dreams that can be built, and in the service vocation that should accompany and guide these actions. Second, in the possibility to translate this role and compliment it, with a realistic view, in a remote place where general rules and needs seem different. Here is where the job that has been systematically carried out for some years, with the successive Latin American Social Workshops, comes into the picture. A job that would be nice to register each year to set patterns, possibilities and short and long-term lessons.

Lastly, thier role and learning as individuals, which of course is a constant process for every human being who wants to do good. The reading of each experience in this publication allows perceiving the importance of this experience and the mobilization it has caused inside of each of the participants.

2 Le Capital au XXIe siècle, Editions du Seuil, París, 2013

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FINAL REFLECTION

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+ HERNÁN PEROCHENA

To conclude, I have to mention the concrete results of the job done in each of the three towns. To begin with, the pictures of this publication show the steps of the process, the analysis made by the teams, the participatory meetings and the subsequent construction stage, to finalize with the usage of the games and recreation places, by the kids. That is when the smiles appear as the clearest sign of the job's success.

It is also good to highlight the design quality of the game elements, with basic materials and possibilities.

Creativity plays an essential role, demonstrating once again that we, as men, are capable of materializing any idea.

Unfortunately, after a not so long time, it has been known that the constructions have not been able to remain as they were originally built, in some cases with nothing being left. Here is where we talk about the third and last dimension: "... the reality that is lefts, after the process and the job".

This does not take away the value of what was done, but it’s fair to keep it in mind, following the innocence valuation line, in opposition to the unique objective of the professional exposition.

wawa pukllay

It is not new that in social projects, the jobs performed are not tracked, due to lack of budget and permanent volunteers; it is also not new that the governments’ compromises are not fulfilled as promised; and it is also not new that the exceptional, remote and forgotten places, are still forgotten.

The quality of exceptional, previously stated, is striking and it’s a reason of enthusiasm for this kind of social workshops jobs; this quality is not modifiable to begin with, because it refers to this kind of rare societies in our times. The standard of remote location, in connection with the exceptionality, is also unmodifiable, for obvious reasons.

The standard of “forgotten place”, however, should be modifiable in all its meaning, literal and metaphorical.

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Governments should not forget these remote but real places.

Those who were there, should not forget these places.

We should not forget, neither of us in these societies – visuals, frenetic, and well connected –, those communities that somehow make us deal with different life conditions and, during a brief moment of our existence, locate us in a different angle from the one we’ve always had regarding ourselves.

That brief moment, that awakening, is the one that gives a new sense to our lives, to our profession and our behavior.

Today, one year later, the inhabitants of those far-away towns keep on with their lives. They know that nothing is permanent; but, surely, they neither forget the days of joy, astonishment and hope brought to them by a group of architecture students that was enthusiast, generous and, like them, exceptional.

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“Even if the years of your life were three thousand or ten times three thousand, remember that no one loses another life than the one currently living nor lives another life than the one he loses. The longest and the briefest term are, therefore, equal. The present belongs to all; dying is losing the present, which is the briefest lapse of time. Nobody loses the past or the future, since no one can be deprived of what he does not have. Remember that all things turn around time and again by the same orbits, and that for the viewer it does not matter to see them a century or two or infinitely."

Marco Aurelio, Meditatations.

Quoted in Historia de la Eternidad, Jorge Luis Borges, Editorial Viau y Zona, Buenos Aires, 1936.

FINAL REFLECTION

Jimena Martignoni

Acknowledgements We want to express our most sincere gratitude to everyone who made the X Latin American Social Workshop 2013 Wawa Pukllay possible.

First of all, we want to thank the Latin American Coordinator of Architecture Students and Universidad Católica de Santa María, for trusting us to perform this project.

Special thanks to the members of the Architecture Professional Program of the UCSM and independent architects for their support and orientation to perform this project: Arq. Gonzalo Ríos Vizcarra Arq. Marcello Berolatti De La Cuba Arq. Álvaro Pastor Cavagneri Arq. Giuliano Valdivia Zegarra Arq. Hernán Perochena Angulo Arq. Omar Urday Luque Arq. César Acurio López Arq. Rafael Zeballos Lozada Sra. Gladys Castro Mardiaga Architect Ivan Juárez, tutor of this TSL, deserves special mention because without him this publication would not have been possible.

We also thank our representatives before the CLEA, the Organizing Committee, and the members of the Latin American delegations, who demonstrated having the ability to do great things in benefit of their community.

CLEAS PERÚ 2012

Ximena Lizeth Álvarez Barreda

Gabriela Peñafiel Rodríguez Alejandra Campos Corso

Jesús John Miranda Mansilla

ORGANIZING COMMITTEE

Socio-cultural Coordinator

Lucía Alexandra Muñoz Valdivia General Coordinator

Ricardo Germán Becerra Stock Logistics Coordinator

Rosario Mariam Cabrera Jáuregui Finances Coordinator

Andrea Luccía Berolatti Gonzáles Academic Coordinator

María Teresa Díaz Valdivia Academic Coordinator

Jessica Lorena Pastor Prado Academic Coordinator

Yofan Iudin Tamayo Peralta Academic Coordinator

Juan Carlos Sebastián Frisancho Yépez Academic Coordinator

Luis Alfredo Vizcarra Alpaca Academic Coordinator

Mateo Lira Pacheco Academic Coordinator

Gabriela María Peñafiel Rodríguez Infrastructure Coordinator

Claudia Lucia Gallegos Valdivia Infrastructure Coordinator

Jimena Alejandra Cárdenas Castro Infrastructure Coordinator

Alejandra Campos Corso Sponsorships Coordinator

Ingrih Nieto Farfán Sponsorships Coordinator

Daniela Karen Paredes Malma Feeding Coordinator

Magdeline Fiorella Salomón Torres Feeding Coordinator

Claudia del Carmen Acharte Aréstegui Transportation Coordinator

Transportation Coordinator Transportation Coordinator

Mauricio Ampuero Tapia Mariana Pía Morales Cuba Socio-cultural Coordinator

Gino Lezano Álvarez Socio-cultural Coordinator

Luis Alonso Chávez Rendón Socio-cultural Coordinator

Ximena Zenteno Ladrón de Guevara Protocols Coordinator

PROTOCOLS Adriana Del Carpio Bellido Peralta Alejandra Guzmán Quiroz Aldo Mendoza Yau Li Andrea Cristina Manrique Díaz Ana Isabel Hilario Barrios Alejandra Borgoño Lozada César Chocano Maquera César Augusto Andía Barrios Claudia Carolina De Rivero Manrique Diego Eduardo Abarca Rubianes Diego Barreda Fuentes Dayahn Patricia Rodríguez Carazas Diana Carolina Guillén Berrocal Freddy Joseph Leiva Castelo Gianmarco Paolo Arias Núñez Melgar Juan José Chire Ticona José Gabriel Olivares Santisteban Luis Enrique Portilla Córdova María Victoria Coloqui Bernedo María Teresa Muguerza Porcella Mariel Muñoz Quiroz Nataly Zeballos Rojas Paul Kevin Pillaca Dávila Sthephanie Paola Pino Delgado Sheida Paola Apesteguia Pinazo Vanessa Diana Huanqui Manrique Ximena Vega Valencia

DOMINICAN REPUBLIC

MÉXICO HONDURAS EL SALVADOR

NICARAGUA VENEZUELA PANAMÁ

COSTA RICA PANAMÁ COLOMBIA

ECUADOR

PERÚ

BOLIVIA

DELEGATIONS EL SALVADOR

MÉXICO Clea: José Alfonso Juarez Díaz Ana Karen Atondo Esparza Ana Cecilia Candil Sánchez Arantxa Ketzalzikiatt Horta Arévalo Carlos Rogelio Rodríguez Orozco Frida Roxana Santiesteban Araujo Jesús Enrique Bastidas Velázquez Marco Antonio Alonso Hernández Manlio Fabio Herrera Ley Sergio Antonio Espinosa Trejo

DOMINICAN REPUBLIC Betsi Mecedes Quiñones Santana Donaldo Bergeron Alcequiez José Lisauri Ventura Prado Naslha Michelle Espinal Rodríguez Oskarina Domke Ronniel Mercado Dorrejo

HONDURAS CLEA: Gloria Alejandra López Díaz CLEA: Óscar O. Cartagena Valladares Mónica Abigail Reyes Flores

CLEA: Astrid Alexia García Yanes Alejandra Marcela Membreño Martínez Dora María Pérez Sánchez Diana Carolina Ramírez Rossi José Ulises Castro Salina María Beatriz Quinteros Rivas Manuel Heriberto Serrano Mercado Reynaldo Daniel Pino Alfar Victoria Noemi Domínguez Morales

NICARAGUA CLEA: Claudia Daniela Berrios Lawrence Enock Mendoza Sandigo

COSTA RICA CLEA: Carlos Pérez Díaz CLEA: Anthony Mosquera Álvarez CLEA: César Guzmán Montero Ana Patricia Carmona Li Gearyela Viquez Otarola José Andrey Vásquez Bucknor John Harold Penagos Hurtado José Andrés Jiménez Losilla María José León Quiroz Marianela Porras Gamboa Mauricio Penagos Pablo Herrera Rojas Robertha Rodríguez García Rommel Porras Brenes Víctor Chaverri Alfaro Xochilt Cojal González

PANAMÁ CLEA: Victoria Chan CLEA: José Gabriel Reyes Arlayne N. Lee Chang Katherine Caicedo Almanza

VENEZUELA CLEA: Adrian Emilio Gómez CLEA: Ramón Páez De La Bastia Alberto José Tovar Durán Daniela Pérez Calderón Dreiser Joseph González Álvarez Eddy Gabriel Amaya Vargas Fredy Laverde Rugeles Genesis Marchan Villamizar Johana Andreina Ramírez Garmendia José Antonio Ramos Aguilera Juan Carlos Ávila Flores Juan Sebastián Berrio Nicolielli Lemond David Morales Cadenasi Lilia Marcela Manrique Longas Luisanny Valero Castillo María Betania Rojas Torres María Gabriela Molina María José Hernández Urribarri María José Rangel Montilla María Nathaly Lacruz Vega Marianny Liliana Márquez Rivas Miguel Chalita Balza Osmer Jesús Carpio Velásquez Orianna Aponte Chacón Paola Del C. Acosta Ojeda Rebeca Fabiola Calderón Duarte Ricardo Escóbar Escalona Ricardo Pagone L. Roger Alexander Contreras Riveiro Rosángela María Jiménez Rojas Valeria Barrios Wilimar Pineda

COLOMBIA Clea: Diego Alejandro Ramírez Ana Paula Tafur Socarras Brayan Enrique Torres Rodriguez Dairo Alejandro Trujillo Vargas Gisela Sandoval Alvear Jairo Raul Pulido Borda Luisa Fernanda Guzman Henao Mayi Olmos Coley Maria Fernanda Murcia Pinilla Mario Nelson Pino Salgado Miguel Roberto Muñoz Torres Odalys Dayana Soto Vega

ecuador CLEA: Alejandra Chiriboga Vela Andrea Victoria Castillo Valarezo Andrea Valeria Intriago Landazuri Deyanira Alexandra Valencia Torres Diana Marcela Méndez Villavicencio Diana Elizabeht Saavedra Peñafiel Diego Armando Bueno Tenezaca Erika Vanessa Olmedo Quezada Edwin Daniel Peñafiel Ochoa Fabricio Alexander Ormaza Gacia Franco Alexander Hidalgo Macias Frank Lenin Saca Ludeña Galo Sebastián Mantilla Rosero José Andrés Mendoza Castro José Napoleon Rosales Salcedo Leidy Nataly Guevara Guevara Luis Eduardo Roby Falconi Luisa Katherine Ríos Rey María Emilia Andrade Bailón Mayra Paola Narváez Román María Fernanda Paredes Zapata Patricia Katherine Flores Beltrán Sonia Verónica Palacios Hurtado Silvana Gisela Ramos Shuguli Valeria Cecibel Tuárez Vergara Vanessa Carolina Bravo Espinoza

BOLIVIA PERÚ CLEA: Alejandra Campos Corso CLEA: Jesús Jhon Miranda Mansilla Amador Carpio Bruna Anita Stephanie Moller Cutire Blanca Paredes Rodríguez Carolina Fernández Hernani Paredes Claudia Carolina Martínez Malaga David Escalante Vásquez Diego Barrientos De La Cruz Diego Oliver Valderrama Loza Diana Rodríguez Corrales Eduardo Bustinza Bellido Enma Zúñiga Bustamante Edward Jesús Espinoza Coila Fany Raquel Bedregal Viza Gabriela Estefanía Cornejo Medrano Ivan Paz Del Castillo Illary Yolanda Vasquéz Bullón Jennifer Rodnina Fernández Lártiga Johanna Sonco Márquez Jonathan Junior Vilca Quispe Jonatan Cayo Riveros Juliana Zegarra Ballón Quintanilla Julisa Manrique García Miguel Enrique Portugal Monroy Miluska Zegarra Amézquita Néstor Aparicio Meza Villar Stevie Arenas Guillén Susan Patricia Díaz Blanco Thirsa Karim Herrera La Rosa Xavier Antonio Vela Salas

CLEA: Antonio Alberto Cassap CLEA: Rodolfo Saucedo Riveros Ana Paola Pers Giacoman Carlos Hugo Gómez Solíz Estefanie Ledezma Martínez Isaac Samir Torres Oliva Katia Isabel Lucuy Sanz Lizbeth Ibana Marlos Choque Nelly Maritza Nava López Walter Mario Saucedo Riveros

In addition, we want to thank our sponsors: Autoridad Autónoma del Valle del Colca Municipalidad Provincial de Caylloma Municipalidad Distrital de Yanque Municipalidad Distrital de Coporaque Municipalidad Distrital de Ichupampa Gobierno Regional de Arequipa Universidad Nacional San Agustín Sociedad Minera Cerro Verde Laive Finally, we want to acknowledge in a special way the people that donated part of their time to make this publication possible: Marcello Berolatti de La Cuba, who was kind enough to preface this work; those who contributed with the accounts of what happened in each village: Hernán Perochena Angulo (Ichupampa), María Teresa Díaz Valdivia and Ricardo Germán Becerra Stock (Yanque), and Juliana Zegarra Ballón Quintanilla (Coporaque); and Jimena Martignoni, who sent us the final reflection.

Thank you very much!

REFERENCES ICHUPAMPA 1.- http://www.sapm.com.mx/index.php?option=com_content&view=category&layout=blog&id=12&Itemid=36 (Junio 2014) 2.- http://arqa.com/actualidad/colaboraciones/primera-bienal-latinoamericana-de-arquitectura-del-paisaje-ciudad-de -mexico-manifiesto-y-justificacion-de-la-seleccion-de-proyectos-ganadores.html 3.- http://www.cap.org.pe/cap/index.php/publicaciones/publicaciones-anteriores/1090-resultados-xvi-bienal-de-arquitectura-peruana.html 4.- http://www.plataformaarquitectura.cl/cl/02-370859/resultados-de-la-primera-bienal-latinoamericana-y-tercera-bienal-mexicana-de-arquitectura-de-paisaje-2014?fb_action_ids=10152253846723458&fb_action_types=og.likes.

5.- http://www.plataformaarquitectura.cl/cl/02-245897/workshop-despoblamiento-infantil-de-las-urbes-del-valle-del-colca-arequipa-peru 6.- http://bajio.delasalle.edu.mx/noticias/noticia.php?n=1095 7.- http://arqa.com/arquitectura/internacional/wawapuklay-ninos-jugando-en-quechua.html 8.- http://da8-pai.blogspot.com/2013/09/blog-post.html 9.- http://www.arquitecturaperuana.pe/2013/01/tsl-peru-2013-x-taller-social.html 10.- https://www.youtube.com/watch?v=xoMDnA4vdXI 11.- https://www.youtube.com/watch?v=oyVhZAHJLRQ 12.- https://www.youtube.com/watch?v=JSpu-k3r9QA YANQUE 13.- http://www.plataformaarquitectura.cl/cl/02-245897/workshop-despoblamiento-infantil-de-las-urbes-del-valle-del-colca-arequipa-peru 14.- http://bajio.delasalle.edu.mx/noticias/noticia.php?n=1095 15.- http://arqa.com/arquitectura/internacional/wawapuklay-ninos-jugando-en-quechua.html 16.- http://da8-pai.blogspot.com/2013/09/blog-post.html 17.- http://www.arquitecturaperuana.pe/2013/01/tsl-peru-2013-x-taller-social.html 18.- https://www.youtube.com/watch?v=xoMDnA4vdXI 19.- https://www.youtube.com/watch?v=oyVhZAHJLRQ COPORAQUE 20.- http://www.plataformaarquitectura.cl/cl/02-245897/workshop-despoblamiento-infantil-de-las-urbes-del-valle-del-colca-arequipa-peru 21.- http://www.plataformaarquitectura.cl/cl/02-291553/video-wawa-pukllay-ninos-jugando-aga-estudio-creativo 22.- http://bitacoras.com/anotaciones/video-wawa-pukllay-ninos-jugando-aga-estudio-creativo/34819401/ 23.- http://bajio.delasalle.edu.mx/noticias/noticia.php?n=1095 24.- http://arqa.com/en/architecture/wawa-pullkay-coporaque-workshop.html 25.- http://arqa.com/arquitectura/internacional/wawapuklay-ninos-jugando-en-quechua.html 26.- http://www.arquine.com/blog/wawa-pukllay/ 27.- http://vimeo.com/64540218 28.- http://www.catalogodiseno.com/2013/10/14/wawa-pukllay-taller-social-latinoamericano-2013/ 29.- http://da8-pai.blogspot.com/2013/09/blog-post.html 30.- http://www.arquitecturaperuana.pe/2013/01/tsl-peru-2013-x-taller-social.html 31.- https://www.youtube.com/watch?v=xoMDnA4vdXI 32.- https://www.youtube.com/watch?v=oyVhZAHJLRQ