Architect from Lima, Peru. He has presented conferences and exhibitions in America and Europe where he works with Digital Art, Sequential Art, Music and Mechanical Installations based on Interactive Architecture. He explores different ways to create space, this is what he calls: Hybrid Architectures Constantly Changing (H.A.C.C)
He has been acknowledge and awarded by academic institution and award shows in the UK, Germany, Italy, Spain and in the US for Alternative Architecture projects, Virtual Space and realization of Mutable Architecture. These proposals ans constantly changing according to human interaction and their adaptation to the territory.
He is also a Professor at the Faculty of Architecture, Ricardo Palma University. He has been working as a teacher for fifteen years in the areas of Architectural Design and Structural Design, working with architecture projects with ancient references and doing research on Polymer materials with Parametric Software.
In the arid deserts of South America, populations grow uncontrollably and life multiplies facing the permanent scarcity of resources and adverse conditions of a dystopian environment.
In the past, local communities traveled long distances trough sand dunes drawing giant two-dimensional maps to manage their resources, geographical patterns and identification symbols to locate underground rivers and other water resources. They also celebrated rituals and seasonal representations. The city of now and always is a conglomeration of spaces with multiple purposes, and it is originally nomadic. Traveling, idealizing, drawing, building and erasing, that is how the history of their habitants is described. Residents resist their inevitable extinction and celebrate, alternating this with their everyday activities. Rolling architecture adaptable in time. Cities from the future redefine their spaces and organization towards ancient ways of spacial appropriation. It is modeled in the absent nature of impermanence.
ELONGATED SKULLS / PARACAS – PERU
One century ago Julio C. Tello, Peruvian anthropologist, explored elongated skulls in Cerro Colorado, near the main cemetery or Paracas Necropolis on the South Coast of Peru. These skulls have a much larger cranial volume than a modern and conventional human skull. Deformation of skulls used by other cultures in the world can alter the shape but not the volume of bone material nor the brain mass.
The origin of Paracas skulls is still unknown. Saying that natural elongation was the result of a certain clinical condition is debatable, because it should not grow long but evenly rounded.
PRESENT, PAST OR FUTURE
Paracas culture was absorbed into Nazca culture. Elongated skulls could be 3.000 years old.
Transhumanist suggest that in the future humans will be able to improve themselves trough nanotechnology and genetic manipulation. The processing capacity of neurons will help us transcend the natural capacity of our brain known as it is today. Past, present and future. Elongated skulls are a symbolic icon that remains us that we always have to adapt and change is constant. It is inevitable to think about the past when we think about the future.
Ages ago, life was represented trough the interaction of our habitants, the wild and dry territory, and the dramatic absence of rainfall. Mythological and divine characters come from a particular cosmological view, they are present in every interaction and they are immersed in all the daily activities of different civilizations.
All the nature in the communities, mental and symbolic, found in the giant two-dimensional representations of Nasca, Ocucaje, Palpa and Paracas deserts, a real virtual alternative of making that interaction possible trough performances, seasonal events, dances and festive intangible rituals
The mental space set off in this hectic scenario, which trace lies in geometrical drawings, zoomorphic representations, anthropomorphic indescribable drawings that are 100 meters tall and that have survived thousands of years, made it possible to live in this region. This also lead to the adaption of cultures that evolved for centuries, imposing all desire, anguish and devotion when food and water were scarce, there were few farming areas and people lived in a violent social environment.
CAHUACHI: is the theological center of our region and it is the only original example of what this germinal space came to be. It combined and incorporated architectural processes that create spaces and particular land technology for building every stage. Cahuachi is far from any formal preconception. By working and studying it, we can came closer to its evasive history. Materialization of this scenario is our own particular view and meaning of life.
CLOSED CEREMONIAL ARCHITECTURE
This building process is seen as a series of rituals or ceremonial events where every stage built is alternated with some offerings and events.
The ceremonial center of Cahuachi has no precedent in the region. Its building process is different in all interior spaces.
The theocratic capital of Cahuachi was discovered in 1905 by Max Uhle. It begins as an archaic occupation around 400 B.C. This is an architectonic landscape with platforms, routes, landings, slopes, staircases, open spaces, enclosed spaces, filter spaces and public areas. It is impossible to look at it as a unit, because its occupation was progressive and had different stages.
Once you enter the space, you can see where they celebrated rituals simultaneously and then you can go out. Construction systems are adapted to the simultaneity concept.
First stage.- Spaces for a small group of people around the ritual area for ancient offerings.
Second stage.- Dominant social class lived in that place Ancient rituals and alternate building process.
Third stage.- Internal meander geometry. Participants could not see surrounding spaces. Priestly class could observe the hole place.
Fourth stage.- A catastrophic event interrupted all routes. Frenetic activity, reduced spaces and too many people. More ceremonial spaces.
Fifth.- Apocalypses. Sealing, burning and abandonment.
OPEN CEREMONIAL ARCHITECTURE
Ceremonial space in the desert. Pampas are like open temples where they drew lines representing rituals. Performances for ceremonial times: Nasca lines, Ocucaje, Palpa and Paracas.
Its main purpose was to adapt people from different communities to the open space of the South American desert. It allows to have ritual tours, which is a great stratification of two-dimensional architectures that work as a open virtual theater. It is in sync with underground waters. Balance between nature and society.
It is not about representations, it is about putting in action an animated ritual tour trough music made with archaic instruments.
Underground hydrographic networks.
Administration of the desert.
Administration of areas near rivers. Population in valleys.
From Cosmocentrism to Anthropocentrism.
Huacas Paracas: Alvarado, Soto, Dos Palmas, Alto del Molino
Nasca Settlements: in Ingenio, Rio Grande, Ica river, Acari and Cañete.
The SpaceLab 2015 is the education component of The SharedSpace Project consisting of Workshop Series, Student Performances, Installations, and International Collaborations taking place 2013 – 2016 in several European countries. The main goal of the project is to initiate the international experiential interaction and personal exchange between theatre and visual academies, and to create the specific educational platform as a part of The Prague Quadrennial which will be held June 18 – 28, 2015.
SpaceLab 2015 will be organized in cooperation with students from YORK University in Toronto (YORKU), Theatre School at DePaul University in Chicago (DePaul) and Theatre Faculty of Academy of Preforming Arts in Prague (DAMU).
Director of Education for SpaceLab: James McKernan from YORKU.
SpaceLab Technical Director: Jan Bubal.
All Digital Arts, Virtual, Physical Models are owned by Laurin Leon