Translations is the sum of two projects in the same place, two opposing strategies that open the range of how to intervene the urban void. These strategies are applied in the Sabana Station from Bogotá, as it is a vacant lot with all the possible potential to change the course of the city, but also with the risk of being wasted and being another space without transcendence beyond its time.
In detail, The first strategy it´s called The Utopy. It consist of composing from objects and actors. For this, Koolhaas, Tschumi and Hejduk are used as theoretical inputs. The second strategy it´s called the performative void. It consist of compose from the same void. For this, Clement, Miralles, Latz&Partner are used as theoretical references.
Both visions, with their respective and particular representation, are put to the test in a 100-year timeline to see how they progress, decline and/or evolve.
1. THE UTOPY: "compose from the objects".This is an architecture whose purpose is not to be built, It´s based on the failed ambitions of master plans. This Utopy shows a universe contained within a forest of skyscrapers. Its intention is to protect those who have not been heard. They, forgotten in reality, become the protagonists of this manifesto. Each actor has its own "confetti", and these interact with each other over time.
TIME-LINE VIDEO: https://vimeo.com/643307754
2. THE PERFORMATIVE VOID: "compose from the same void".
The “urban voids” has the potential to become the opposite: a climax of life. However, in order to not be another generic public space. We must understand the different actors, activities and their time line. That´s why there are three diferent scenarios: natural, urban and productive. Each scenario has it´s own time-line and diferent actors.
TIME-LINE VIDEO: https://vimeo.com/563006448
DIGITAL BOOKLET: https://issuu.com/uniandes310/docs/libro_vacio_performativo_-_traducciones_1_reducido
1. THE UTOPY:
Each actor of the Sabana Station personifies a "confetti" and interact with the other in order to develop the project. The project is inspired in the OMA representation of the Parc The la Villette contest.
2. PERFORMATIVE VOID:
The time of the biological actors was the technique. It was necessary to investigate each species of tree, fruit, animal, etc. including their life cycles and their environment to see how their evolution was possible in the scenarios and in time.
The 3d models of the two visions were made in Rhinoceros.