Ley 1854 - Ley de Basura Cero
``The street emerges as a site in which architecture´s wastes disappear into non-urban space. Gutters, sewers and the upper atmosphere convey urban pollution elsewhere´´.
La Ley de Basura Cero (2006), mediante la cual la Legislatura de la Ciudad de Buenos Aires articuló el nuevo esquema de separación y manejo de los residuos domésticos y urbanos, es un claro ejemplo de la distancia entre ley y aplicación.
En su nombre la ley pondera un escenario utópico en el que la basura se asocia al Cero, sugiriendo que en algún momento podemos dejar de producirla.
El título, en formato propaganda, simplifica y hasta invisibiliza el problema, en lugar de trabajar en pos de un entendimiento responsable sobre aquello que generamos a diario y su inevitable repercusión en el entorno urbano y el medio ambiente.
La basura es la principal producción doméstica y uno de los aportes más críticos que hace la esfera privada a la pública. Como dice Gissen, la vereda, como primer registro público, tiene la fuerza suficiente para enajenar aquello que en ella depositamos, haciendo parecer que todo lo que se encuentra fuera de casa, pasa a ser un problema ajeno, distante e impersonal. Lo público es de todos y a su vez no es de nadie.
Sin embargo, la basura siempre está, ya sea en bolsas asépticas, en volquetes de obra, en contenedores desbordados, o bien en un futuro cercano en el aire de la ciudad, diseminada en cenizas contaminantes producto de su combustión.
En el 2018 la Legislatura modificó la ley, al ver que los objetivos planteados originalmente quedaban truncos y que el sistema iba camino a una inevitable saturación. La reforma permite la ?termo-valorización? de la basura, un eufemismo político para enunciar la incineración de residuos sólidos como método final de descarte. Lejos de legislar en pos de la reducción de la producción de basura y proyectar hacia un ecosistema menos contaminante, la Ley hoy pondera como solución la generación de energía basada en la combustión de la basura, una fuente que no es considerada limpia, ni renovable.
Es fundamental que la práctica abogue en el diseño de una agenda que establezca una nueva estética de la basura, generando el estado de conciencia necesario para evidenciar la responsabilidad que tiene nuestra vida doméstica sobre los problemas ambientales que nos aquejan. Es en la visibilización y reconstrucción de nuestro entorno doméstico en los cuales nuestros desechos son parte, que esta muestra da un paso hacia romper el vínculo innegable del diseño con el círculo vicioso en el que la basura que producimos nos vuelve en contaminación, para experimentar en nuevas formas de enfocar la profesión hacia escenarios virtuosos como el de la economía circular.
HUESO. Santiago Moncalvo, Gianluca Fallone
Vereda, 2017-2019. Ilustración digital en aerosol, esmalte al agua y fibrones de pintura acrílica © Edu Loogia. Realizaciones por Leonor García Vercillo y Diego Cinalli
Fernando Schapochnik
6m3, 2019. Fotografía digital color, serie de 8 fotografías; 104 x 80 cm c/u.
Colaboración: Juan Bernardo Ramírez
Nacho Unrrein, Hernán Pedrós
Todo lo que no sirve, proyecto, 2019. Video digital; 5 en loop.
Colaboradora: Sofía Zappacosta
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NUMEROS PRIMOS. Miguel Echevarria, Francisco Mira
Colección Ego-Lógica, 2019. Compostera doméstica.
Estructura de acero fabricada mediante corte láser, contenedores de acero
inoxidable y detalles en plástico; h43 x 45 x 34 cm.
Colaboradores: Pedro Percivaldi, Camila Sugameli.
NUMEROS PRIMOS. Miguel Echevarria, Francisco Mira
Colección Ego-Lógica, 2019. Vela y soporte
Vela a base de aceite de cocina reciclado y estearina, soporte en chapa de acero con corte láser; 8 x Ø8 / 10 x Ø6 / 6 x Ø8 cm.
Colaboradores: Pedro Percivaldi, Camila Sugameli
NUMEROS PRIMOS. Miguel Echevarria, Francisco Mira
Colección Ego-Lógica, 2019. Tacho de basura
Papel reciclado con aglutinante vinílico; 36 x Ø31 cm.
Colaboradores: Pedro Percivaldi, Camila Sugameli
Law 6,100 - 18 - New Building Regulation for the City of Buenos Aires
In the realm of public policy (?) the implicit or explicit assumption has been, or continues or for the most part continues to be, that architecture and design are for those who can afford it; that architecture and design exist in the realm of desire rather tan need.
Linda Pollak
Architecture as Infraestructure for Interactivity: The Need for Desire
Towards the end of 2018, the Legislature of the City of Buenos Aires approved the new Urban Planning and Building Codes. Both present new strategies for growth and densification which, among other things, look to double the city?s population in the near future. One of the most striking points of the new law is that it authorizes a new minimum size dwelling: the 21 m2studio apartment. This new type significantly reduces the minimum surface area for dwellings, which previously could be anywhere from 27 m2 to 32 m2.
This contraction towards micro-households is a drastic turn in the already tense relationship between domestic and urban spaces. The formalization of private space within the realm of what is minimal and sufficient, where the only viable activities are sleeping, bathing and eating, means that public space will become overcrowded with all our remaining daily necessities. The city will have to absorb a big part of our domestic needs, which comprise all non-basic activities such as study, leisure, entertainment, recreation, among others.
While the Law promises to expand access to housing for first-time renters and buyers, it disregards the responsibilities and consequences entailed by this transition from the studio apartment to the environment. The law has no plan or legislation for new domestic scenarios affected by this special setting, making it clear that it is driven by an economic, real estate and fiscal agenda rather than a social one that can offer better living conditions.
The works in this first section of the room reveal the interstice between the dictates of the law and the actual development of a new domesticity. Illegal windows, party walls that become building facades, metaphors that serve as selling strategies and even language itself as a spatial abstraction are just some of the relational systems that make up this new living environment. We must study, emphasize and reconstruct them in order to construct a professional agenda and thus regain a say in the process of decision-making that builds up our city from inside out.
Ambiente único, 2019. Instalación gráfica-audiovisual Site-specific; video 6 en loop
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FRAM arquitectos. Franco Riccheri, Agustín Mendiondo
Nueva Unidad Mínima, 2019.
Perfiles de chapa galvanizada, placas de roca de yeso, pintura acrílica, selección de objetos domésticos pintados.
Instalación Site-specific; 312 x 760 x 260 cm
Javier Agustín Rojas
Aire y luz, 2018, de la serie homónima. Fotografía digital, toma directa impreso sobre papel fotográfico mate 40 x 60 cm c/u / 405 x 60 cm (serie)
Instalación audiovisual Site-specific; video 410 en loop. Producción audiovisual: Romina Fontana alias Romiko Tchan. Animación: Germán Katz / Registro: Martín Flugelman. Colaboración: Candelaria Gomez Smurra
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Politics of Fashion
By María Laura Carrascal
Through their creations and in multiple ways, the designers in this exhibition offer an overview of the concerns of contemporary Argentine design. Freedom to pursue our desires, possibilities for technological and scientific innovation, concerns about the environment and decent working conditions are the main issues that have been here translated into fashion design.
In recent years, there has been a growing interest in the concept of responsible consumption, which calls for a reflextion on the social and environmental impact of the fashion production process, from the initial idea to the final production of garments. The goal is to reinstate a bond between creators and consumers who share the same social values and who support and strengthen a national and sustainable fashion industry. Furthermore, the incorporation of new technologies holds a promise for the industrial development for the country, a promise that will be evaluated by the success or failure of such development. Likewise, the discussions about the many ways in which we can experience our bodies, our sexuality and our gender offer a wide range of possiblities to concieve ourselves as legal persons who can exercise the freedom to live according to our personal desires.
The designers in this collective exhibition take on some of the issues of contemporary design and revisit the notion of luxury through various conceptual angles. Sustainability, new technologies and confrontation of the gender binary are not fixed, isolated topics: the designers tackle them simultaneously. It takes a considerable effort to produce these types of creations, and fashion—as well as other industries—is inevitable linked to the convolutions of Argentine political history, which has oscillated between the promotion and the erosion of our national industry.
The aim of this section is to demonstrate that the configuration of a personal style challenges the notion of “trend”, unveiling its true objetive: irrational and excessive consumption. In responde to it, the participating creators structure their work around the seasonal calendar, utilizing seasonal materials and persisting on their personal approach. The goal of their working methods is citizen empowerment, the postulation of a socially responsible individual who has a personal relationship with the world and whose clothing implies yet another way of doing politics.