El arquitecto no es un creador solitario El País del 25/04/2009
por ANDRÉS JAQUE
Agrupaciones y colectivos de jóvenes arquitectos se hacen un lugar en la escena profesional. Los principiantes se unen entre sí para adquirir experiencia y compartir su banco de ideas en concursos de obras
Cuando hace cinco años se difundió el resultado del concurso para estudiantes que la revista Quaderns convocó para el diseño de 400.000 viviendas en tres localizaciones de Cataluña, muchos se hicieron la misma pregunta: ¿quiénes son esos Zuloark que han ganado dos de los tres solares? “Zuloark es el que se siente Zuloark”. Ésta es la explicación que un grupo de jóvenes arquitectos daba entonces de sí mismos. Todos los que han llegado a verse y han sido vistos como zuloarkables tienen acceso a las zulo-cuentas de correo electrónico. En estos momentos son más de cuarenta los arquitectos o estudiantes de arquitectura que llegan a enterarse de los nuevos encargos y tienen la opción de participar, como socios de pleno derecho, en su desarrollo. Algunos colaboran en la distancia, en zulos conectados desde París o Berlín. Los honorarios se reparten de manera proporcional al tiempo que cada uno dedicó, pero un 10% se reserva para pagar los gastos de la antigua academia, en el madrileño Barrio de las Letras, que cumple las funciones de sede social. Sólo hay dos condiciones para mantenerse en el grupo. La primera: comprometerse a ser generoso con los conocimientos y las habilidades que cada uno atesora. La segunda: asegurarse de acreditar la producción del grupo únicamente a la marca corporativa Zuloark (www.zuloark.com). Metidos en faena, cada uno hace lo que sabe hacer bien, al tiempo que enseña y aprende de los otros. El principal motor del grupo es la hambruna de habilidades propia de profesionales de la era 2.0. Muchos de ellos reconocen Zuloark “como el máster que nunca habrían podido pagar”. Con cada proyecto, pactan estrategias de diseño generales, pero, en cuanto llega el momento de la resolución en detalle, la decisión la toma el que en ese momento está haciendo el trabajo. “Si algo no te convence, ¡añádele algo más!”. No se trata de consensuar, y aquí está la diferencia con otros colectivos, sino de encontrar fórmulas para que producciones singulares, y casi siempre individuales, puedan enlazarse con otras y proporcionar un producto que compita con proyectos de voz única. Cuando tienen tiempo libre, acumulan en sus discos duros para después tener material que remezclar. Sus proyectos contienenremakes, sampleados, versiones y suecadas de los últimos veinte años de la arquitectura contemporánea. Rara vez hay un paso atrás, cada entrega es el registro actualizado de lo que ocurrió desde que alguien comenzó a trabajar. Si hay una constante en su trabajo es la de utilizar los soportes disponibles como oportunidad para redefinir espacios sociales. Catálogos de arquitectura que aprovechan las técnicas de interacción desarrolladas para los álbumes de cromos, un jardín en un patio de manzanas que reconfigura las relaciones de una comunidad de vecinos, webs para generar relaciones interpersonales o el espacio expositivo-chill-out-reciclable COAM en la Escuela de Arquitectura de Madrid.
A pesar de su visibilidad, por el momento sus ingresos no superan a los de un estudiante empleado en una oficina asentada. A base de echar horas sin echar cuentas y explotar su posición privilegiada ante la brecha digital, pueden producir para un concurso de propuestas arquitectónicas una densidad de píxeles por centímetro cuadrado de panel, que la oficina asentada jamás podría encajar en una contabilidad normalizada.
En estos momentos son noticia, además, por haber sido invitados por los arquitectos Luis Moreno Mansilla y Emilio Tuñón a convertirse en directores adjuntos de la X Bienal Española de Arquitectura y Urbanismo.
En la era de las retóricas copyleft y de los relatos idealizados del desarrollo cooperativo de Linux, su experiencia se ha convertido en referencia para una parte de los jóvenes arquitectos españoles. Sus dibujos, los colores que utilizan, las composiciones de sus paneles de concurso o los iconos con que hacen comprensibles sus propuestas son imitados por muchos que ni siquiera conocen su nombre. La fórmula encaja con los planes de muchos arquitectos debutantes que prefieren aprender por su cuenta lo que otros esperan conocer trabajando en un estudio de prestigio. Hay muchos más grupos de arquitectos que trabajan como colectivos en Madrid de los que pueden incluirse aquí. Por ejemplo, PKMN (www.pkmn.es), que se consolidó como grupo estable cuando su propuesta ganó el primer premio del Concurso para la Reactivación de Azca de la Fundación Asprima. Desde entonces, entre otros muchos proyectos, desarrollan un programa de acciones urbanas, en colaboración con diferentes ayuntamientos, para promover eventos que celebren la singularidad de sus ciudadanías: “Ciudad crea ciudad”. O los colectivos Zira 02 (www.zira02.com) y Leon 11 (www.leon11.com) que, además de contar con un expediente extenso de propuestas de concurso premiadas, han generado ya un brillante catálogo de herramientas gráficas que muchos estudios de referencia se disputan en la actualidad. Todos ellos forman parte de la plataforma Zoohaus (www.zoohaus.es), que pretende convertirse en un marco para el intercambio instrumental y la cooperación en la producción de propuestas arquitectónicas. Unos grupos y una plataforma que ganaron visibilidad gracias a la apuesta de Ariadna Cantis por incluirles en la segunda y tercera edición de la plataforma Fresh de arquitectura emergente madrileña.
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Clusters and groups of young architects are making a place in the professional scene. Beginners are joined together to share their experience and ideas bank works in competitions.
Where five years ago spread the results of the student magazine called Quaderns 400,000 for the design of housing in three locations in Catalonia, many were the same question: Who are these Zuloark who have won two of the three sites? “Zuloark is Zuloark it feels.” This is the explanation that a group of young architects were then themselves. Everyone who has come to be and have been seen as zuloarkables hideout have access to e-mail accounts. At present more than forty architects or architecture students who come to learn of new assignments and have the option to participate as full partners in their development. Some are working in remote, connected zulos from Paris or Berlin.
The fees are divided in proportion to the time devoted to each, but 10% is set aside to pay for the old academy in Madrid Barrio de las Letras, which serves as the headquarters. There are only two conditions for remaining in the group. The first commit to be generous with the knowledge and skills that each one holds. Second, make sure to credit the group’s production only to the corporate brand Zuloark Engaged in fishing, everybody does what it does well, while who teaches and learns from others. The main engine of the group is famine own professional skills of the 2.0 era. Many of them recognize Zuloark “as the master who could never pay.” With each project, general design strategies agree, but as it comes to the resolution in detail, making the decision at that time was doing the job. “If something does not convince you, add some more!”. This is not a consensus, and here lies the difference with other groups, but to find ways to produce unique, individual and almost always, you can link with others and provide a product that competes with projects voice. When you have free time, accumulate in your hard disks and then have that remix material. Contain remakes their projects, samples, and Swedish versions of the last twenty years of contemporary architecture. Rarely is a retrograde step, each record is the date of what happened from someone who began working. If there is one constant in his work is to use the available media as an opportunity to redefine social spaces. Catalogs architecture taking advantage of interaction techniques developed for the albums of stickers, a garden in a courtyard of apples reconfigure the relations of a community of neighbors to generate interpersonal webs or exhibition space, chill-out-in recyclable COAM School of Architecture of Madrid.
Despite their visibility, by the time your income does not exceed those of a student employee in an office established. A cast of hours without laying accounts and exploit their privileged position in the digital divide can produce for an architectural competition for a proposed density of pixels per square inch panel, which established the office could never fit into an accounting standard.
At this time news are also having been invited by the architects Luis Moreno Mansilla and Emilio Tuñón to become assistant director of the X Biennial of Spanish Architecture and Urbanism.
In the era of rhetoric and the copyleft idealized stories of cooperative development of Linux, his experience has become a reference for part of the young Spanish architects. His drawings, the colors used, the compositions of their boards of contest or the icons with which to understand their proposals are imitated by many who do not even know his name. The formula fits with the plans of many architects prefer that beginners learn on their own to know what others expect working on a study of prestige. There are many more groups of architects working in Madrid as a collective of which may be included here. For example, PKMN (www.pkmn.es), which was consolidated as a group stable if its proposal won first prize in the Reactivation of the Foundation of Azca Asprima. Since then, among many other projects, develop a program of urban, working with various municipalities, to promote events that celebrate the uniqueness of its citizens: “City city creates.” O groups Zira 02 (www.zira02.com) and Leon 11 (www.leon11.com) that, in addition to an extensive dossier of proposals for Award have already generated a catalog of brilliant graphical tools that many studies Reference is now in dispute. They are part of the platform Zoohaus (www.zoohaus.es), which aims to become an instrumental framework for the exchange and cooperation in the production of architectural proposals. Some groups and a platform that gained visibility thanks to the bet of Ariadne Cantis be included in the second and third edition of the emerging architectural platform Fresh madrileña.
These groups are important precedents, such as Casa Leganitos, which not only spin-offs have emerged as the group-Motocross included in the Fresh-second call, has also been the social center that gradually, a party and party proposal has proposed to install in small niches of the architecture of Madrid, until recently marginal sensitivities. As the geometries of composition and syntax textile work, interest in the “outdated technology” or the claim of architectural spaces and commercial catering to Asian communities from the city center. MMMM O group, a partnership of two architects, a journalist and a marine engineer and cyberempresario, which in 2002 became popular with the social network Telemadrid. The two architects, who combine their participation in the group with more conventional architectural practice, is encouraged to work as architects ambushed in the development of artistic projects, looking for ideas and tools of work that could arise from observing the outcome of the novel social situations that led to their statements.
And there are still many more. As the collective Basurama (www.basurama.org), which since 2001 works with the creative materials such as garbage. And that has made the exploitation of the controversies in the management of waste generated by the subject of a continuing program of experiments, workshops and public documents that have found a happy snaps with eco-programs of international networks of cultural institutions. Or the project to provide representation for children in the construction of the city group Ludoteka (www.ludotek.net), which has come to be included in the 2007 Documenta.
Few have paid attention to how the histories of architecture built by the architect desired image as a creator of his own. Do not forget that the good momentum of modern historians such as Kenneth Frampton gave the masters of the School of Madrid protagonism downplayed the role that interactive spaces such as publications such as New-Form-, laboratory-for example the Center Computer-or working-formed as that of Saenz Oiza for the design of the then-Banco de Bilbao have had on the social institutionalization of the city’s architecture. Appropriation of trans MMMM, incorporating logical and organizations until recently operated by the marginal Leganitos House, the use of graphical tools and protocols for the productive interaction of the groups that cooperate in Zoohaus or emergency in the professional context committed to an agent of public concern and Basurama Ludoteka left open new fields to give diversity to the practice of architecture. It is not clear that all of them will find opportunity in a niche market that calls for projects as well as a trouser soap: a one-man incarnation, heroic and no trace of doubt or contradiction. It is not even easy to find a suitable outfit or a tax formula to ensure its liability. But what is certain is that their websites, now have more visits than those of most major studies. And that, in these times, must mean something.
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