HIGH MEMORIES FIRST PART A casual day in “Candelaria” or “Chapinero” is usually crowded by foreigners, students of nearby universities, and local people who gather in these kinds of places because there is a vast variety of malls, museums, theaters or famous restaurants. These places are usually recognized and preserved by heritage policies, but why does tourism limit its vision to these two localities if we have twenty of them that can contribute to our history and culture? The majority of us could number an endless list of reasons in terms of history or artistic activities, but if we turn our look to the periphery, we can find other perspective of what our history and culture also represents. So, here it comes “High Memories” to wide our horizons. However, before introducing what, our project is, we would like to tell you about the three kind of people that we have found throughout our project who share the fact of not having the possibility of mobilizing by all the city: temporal foreigners, resident foreigners, and surprisingly, local people. We could say that the first group of people does not have enough time to go all over the city, but here it goes the second question, why could not resident foreigners and local people recognize suburbs as a part of the city in which they can enjoy a weekend? It is not a lie that the reputation of violence in these areas are disheartening, but what if I tell you that the forth locality of Bogotá, which is located in the South-East, has historical houses of more than four hundred years old, the biggest mural painting of Colombia, an ecological heritage park, a fascinating lookout that shows the rest of the South of Bogotá that cannot be seen since Monserrate, and a community with tons of stories, myths and chronicles that show an important role in the history and culture of Bogotá and why not, Colombia. High Memories wants to give an opportunity not only to foreigners, but also to local people to be part of a new kind of tourism, which mission is to rescue the strong cultural, historical and ecological heritage, of what it has been considered as marginalized. In these terms, we aim to: rescue our role in the city, an identity, a consciousness among people to take care of our streets and heritage, and a consciousness of the importance of learning a second language.

Work Water URBAN RELATIONS: The proposal urban piece locates historically surrounded and affected by the peculiar activities of the traditional centers of the Latin-American cities. Particularly the destined place in Bogotá for the artistic piece is a traffic circle road that has been the result of the mobility solutions due to demands of the self-propelled of the city in the latest decades. The traffic road is located in one of the principal accesses by the environmental axis to the historic and cultural center of the city. The hydrological phenomenon and its transformation throughout the time in the place are taken as a starting point to conceive a work that strengthens the collective and historical memory of Bogotá. Making its spectators be conscious of these changes in the natural and urban scenery through the past knowledge. In addition, it adds the name of the neighborhood ‘’Las Aguas’’ due to the church of Our Lady of ‘’Las Aguas’’ located in t opposite side of our work on the environmental axis. So, the work is titled ‘’AGUA’’ (water) because it comes back this element of the natural and original scenery over the urban built scenery that has been superimposed over on it. STRUCTURAL APPROACH: According to the morphology, the work divides structurally 3 zones that work independently over a reinforced concrete plate. The distinction is made by the place and heights; the first zone owns the lowest elements that have to be reinforced individually to resist the bending moment with buttresses in a perpendicular direction to the profiles, the second zone has the highest elements which work together by a metal truss of the same material that unite them, and the third zone combine the both mentioned systems, the individual reinforcements for the lowest elements and a reinforcement truss to the couple of high profiles that it has. TRANSFORMATION OF THE SCENERY THROUGH THE TIME 1.Natural and original scenery 2.First urbanizations 3.Superimposing on hydrological bodies 4.The resurgence of the water. VIBRATION OF THE WATER FOR SOUND WAVES •Urban noise, natural scenery •Urban noise, low population density •Urban noise, high population density TRANSPARENCIES AND BINDING PERSPECTIVES Visually the project works as a translucent element that permits the correlation of the urban and natural scenery through the formal permeability.

TENDER, AUDITORIUM AND CAFETERIA IN CAJICÁ, First part URBAN RELATIONS The district education institution Pompilio Martínez is in Cajicá, in a block composed of educational and sporting equipment. These are affected for two principal road axis and two others in a block scale. It’s identified two dynamics that figure and form the project, the urban dynamic that represents that block inside the city as a support of supplementary service equipment and the educational dynamics that the school introduces. The dynamics of block scale are bounded together in the proposal with the expansion and continuity of the tours that occur in the Carrera 6th, changing that ‘’barrier’’ of the edge between the property and the city through a façade that provides environmental and active conditions in the urban life. The site of the uses is made according to this logic, using the auditorium and the lobby as elements of transition between the outside and inside of the block. Speaking of the school’s dynamics, they are inserted emphasizing the relations according to the current uses of the institution through thematic focus and inner circulations set up for recreational, sports, cultural and playful uses THE PROJECT It’s used the idea of a container in the packaging as a promoter between the public space and the common space of the school, generating connections between the existing elements and the proposed uses. It’s a flexible and adaptable cover to the activities that under it can be given, it functions as a pergola in the circulation spaces and becomes close in the stay or activity spaces as the lobby of the auditorium. Furthermore, it’s anticipated the use of different types of ‘’skin’’, including the glass for the protection of the rain. The program is fragmented and inserted in the project in an independently way, giving to each volume a peculiar character on its cover, that with skylights permit the entrance of nature illumination to the inner spaces. Note: I use the term ''packaging'' and ''cover'' because as far as I understood the building is not fragmented as other buildings (the roof, the wall, the window...). It's an unity, like the skin of the body, despite the parts of your body are ''divided'', your skin is the cover of the unity. Sorry if I wasn't clear.

MACONDO! Is in that way that we get to another important point in Cien años de soledad, and it’s the topic of the dualities and how the time accompanies all this human development that can be called Historical, is waved with a mythical time together, that we can find in Genesis and Apocalypse’s notions, previously said, and that we could associate in the same way with the duality between the heaven and the earth presented in the novel. Alonso Aristizábal talk us about this aerial and terrestrial scenery in a speech given in the Jardín Botánico about the scenery in Macondo: ‘’Each latest writers found his/her own scenery as the world that wants to talk about, and his/her lens constitute another way to make discover the reader other possibilities of the life. Painters and sculptors of the 20th century forge what they define as their expression beyond objectivity and many elements of what can be denominated their way to feel and live. The art of the latest century is a way to see that involves a way of an only one subject and object’s destiny. It also applies the aerial scenery of the mentioned novel, and that have to do with the imagination and poetry of a lot of wings and butterflies that propose this saga. It’s the reason because it has a lot of importance the air of flight that is in it, and that gives to others beings the character of the announcement of new realities. In this sense, they are as visible as the places and legends that are waved together in its setting.’’[…]’’It’s also necessary to talk about the terrestrial scenery that is built on a concrete air, to form the duality between the heaven and the earth in García Márquez. Both own the same life and the same path, and its deafening airs are founded together although there are clear differences in its essence.’’ It’s for this reason that our intervention wanted to raise the spectator since the terrestrial level to the aerial scenery, providing a free circulation between both spaces and permitting that ascend through its structure and keeps virtually suspended in the wire net that forms it, and concentrating all the ethereal fragments of the book, as the flying rush mats of the gypsy, the Nicanor Father's levitation, the Remedios la Bellas's ascent, the yellow butterflies that accompanied to Mauricio Babilonia, in the death of José Arcadio Buendía and the raining of yellow flowers that we objectify in drops and making allusion to the last and following passage of100años de soledad

Architecture work to Macondo BEGINNING'S SKYLINE OF MACONDO 1. ‘’At that time, Macondo was a village of twenty adobe houses built on the bank of a river of clear water that ran along a bed of polished stones which were white and enormous, like prehistoric eggs’’ ‘’The place of foundation was that place where in a night, after wandering for 26th months, José Arcadio Buendía dreamed with a noisy city with houses which had walls of mirror, which name was Macondo.’’ YELLOW FLOWERS DRIZZLE 2. ‘’Soon after, when the carpenter was taking the measurements to the coffin, they see through the window that was falling a light rain of little yellow flowers. They fell all night above the village in a silent storm, and covered the roofs and blocked the doors, and leaved animals out of breathe that slept outdoors. A lot of flowers fell from the sky that the street woke up covered by a compact cushion, and had to clear them away with shovels and rakes so that the funeral procession could pass by.’’ HURRICANE 3. Then the wind began, warm, incipient, full of voices from the past of ancient geraniums’ whispering, of earlier disappointments’ sights that preceded the most tenacious nostalgia’’ ‘’He was so absorbed that didn’t feel either the second assault of the wind, which cyclonic power dragged the doors and windows’ hinges, pulled off the roof of the east wing, and aprooted the foundations.’’ ‘’Macondo was already a horrific whirlwind of dust and rubble centrifuged by the anger of the biblical hurricane’’

CALLE DE LA FUNDACIÓN, PLAN BEFORE BUILDING PLAN ORGANIZATION SYSTEM: The road axis of the 19th street is characterized by having along its tour multiple activities and urban elements that are randomly located according to its necessities. The formal strategy of bands, organized all the elements of the street with a strong character of unity, reinforcing the street’s axial direction. When the bands took place to open spaces, like the square, as well as organize urban elements these assumed the topographical difference between the sunken level of the square that coincides with the shading area of the existing trees to generate the largest amount of places for a comfortable stay to the people who lives there. MOBILITY: Previously, the 19th street was characterized by prioritizes the vehicle crossing, for the absence of bike paths and above everything for a deficient quality of the pedestrian traffic due to the invasion of its space. To summarize, this design allowed an approachable integration among all users, visitors and area’s residents, this intervention proposed a recovery for the no–engine means for the evidential consequences and positive impacts on people and environment. SCENERY: We considered that the proper scenery of the region and the existing above the Otún River is one of the variables more important of the place, it made us think on: • Jut out the natural elements as a comprehensive part of the heritage and history of the city. • Emphasize the presence of the river and use it to generate activities along its brook. • Preserve the 100% of the existing trees and join new endemic species, as in the roads, in the new small squares and in the Plaza de Bolivar. • Project and articulate the buildings of heritage value in one only project, stimulating in meeting places continuity and recreation that could promote ludic and touristic activities. I appreciate your corrections!!

NICHE'S SCULPTURE, CALI-COLOMBIA/FINAL PART 2 Niche is an interactive work that involves the spectator with the nature of composition using the opposite concept of fragmentation since the huge sea of thoughts regrouping phrases without a beginning or end. The word Niche, discoverable in the abstraction of the shapes of the trumpets and trombones in its structure is not revealed at first sight, but as a surprise for the people passing by. As an intervention of the public space, the vehicles that move by the way one of the Cali’s principal avenues that welcomes the pedestrians to the small Jairo Varela square, taking place at the end of a pedestrian path that goes between the city’s council building. It’s a work to see, hear and absorb. Easily the shapes of the sculpture have transformed into urban furniture, permitting to the user to sit, to lean back and even to dance under the bells. This liveliness most accurately depicts the meaning of music in worldwide Capital of Salsa. NICHE es una obra interactiva que involucra al espectador con el oficio de componer desde el concepto opuesto de la fragmentación, desde el mar de pensamientos reagrupando frases sin un principio ni un fin, y desde el descubrimiento de la legibilidad de la palabra Niche en la abstracción de las formas de trompetas y trombones de su estructura, que no se revela a primera vista. Es una intervención en el Espacio público para ver desde los vehículos que transitan por una de las avenidas principales de Cali, y que da la bienvenida al transeúnte a la Plazoleta Jairo Varela situándose en el remate de un eje de circulación peatonal que atraviesa la Alcaldía de la ciudad. Es una obra para ver, escuchar, y penetrar, que en sus formas se convierte en mobiliario urbano permitiendo al usuario sentarse y recostarse, y que en su concepción no fue pensada para una reacción tan obvia como lo es el baile, retratando y reflejando la esencia de la Capital mundial de la Salsa.

NICHE'S SCULPTURE, CALI-COLOMBIA/ PART 1 Pantoja Arquitectos unveiled on December 25th, 2015 the work ‘’NICHE’’, a monument as a tribute to the ‘’chocoano’’ Jairo Varela. The famous musician from Cali has been the driving force behind the group Niche, and gave an identity to the Salsa of Cali. His band easily could meet with international orchestras within the genre. The sculpture at the small square Jairo Varela, in the center of Cali, portrays the identity and talent of Jairo Varela, it objectified as a sign that is 10 meters high displaying the word ‘’Niche’’ in galvanized steel, painted with gold synthetic enamel. The wind, trumpets, and trombones were the inspiration for the typography, as they are considered essential musical elements in the style of Grupo Niche, summit work of Varela. A line of lights surrounds each letter resembling the aesthetic of the signs of concert, bars and night clubs. Inside of each ‘’bell’’ at the feet of the letters, audio-recordings are played. The compositions of the group that is displayed, are divided into three sections: rhythm, harmony and melody, and the these three are played in the bell of the letter N. All people, music lovers and scholars or casual pedestrians, are invited to move closer to the musical legacy of Jairo Varela and the group, as the sculpture is celebrating the songs that have been part of the sonorous scenery of the city of Cali since the beginning of the 80’s. The audio design of the songs played in the sculpture required the participation and collaboration of the members of the current Grupo Niche, and of its musical director, José Aguirre. The musicians recorded songs like ‘’Cali Pachanguero’’ exclusively for the art-work, to create the single musical tracks. The aural relationship between the public and the compositions is realized by an endless amount of phrases played from the internal surface of the bells, fragments that, as a whole, represent Jairo Varela’s art and the idiosyncrasy of the Colombia southwest.

CALLE FUNDACIÓN, BOGOTÁ-COLOMBIA This Project consisted in the restructuring of the 19th street in Pereira, called ‘’Calle de la Fundación’’, it intervened a stretch of seven blocks, comprised among 6th and 13th street (South-North). All this began with the abstracted bands that will be observed in the region’s coffee-growing scenery to introduce an organized system of programmatic bands that solved problems that affected the ‘’pereirana’’ principal street which has a huge history and cultural value in the capital, department of Risaralda. This public construction uses by duration, under maintenance and low-budget. Dyed sidewalks and roads with iron oxide, in red, black and natural gray tones in broom-finished concrete, so that to organize in those bands all the elements of the urban space favoring a healthy environment for all users who cohabit in the Calle Fundación. The self-propelled, street vendors who invaded the public space and bad quality of the pedestrian’s circulation were the main factors to solve in an influential and participatory project. As the first step to placing the pedestrian as a principal element, the road and the sidewalk equalized at the same level with the goal of civilizing the public space and in that way to take self-propelled secondly without affecting mobility. It was also made to prevent in the future the total possession of the road section by the pedestrians. Street vendors’ modules took place along one of the bands of the organized system, on the west side to bio-climatically not to let the sun affects the comfort of the merchants; It’s also seeded native arboreal species on both sides of the road that will give shade to the users of the common space. As it’s organized the sale-modules, is also organized the lights, garbage cans, bollards, traffic lights and trees in its corresponding urban furniture bands releasing and recovering an exclusive space for pedestrians mobility, and an easy circulation for people of limited mobility because of being at a unique level. It was also implemented a tactile band to let users with visibility problems circulate. Along the east furniture band, were implemented stations with texts in bronze cast into the concrete which give testimony throughout a timeline the most significant incidents of the history of the city since the pre-Hispanic epoch till our today, to seed belonging consciousness on people from Pereira and a pedagogy element to the city visitors.