![]() As an architect, time gives you permission to really see what is happening there, to understand the place and react in a deeper way.Īnd even so, we still don't understand it fully, I can assure you that someone from Culiacán sees it differently than I. But I think with public space specifically, it benefits from being developed during a broad period of time. On one hand there's the subject of the ephemeral, and of how technology has enabled us to build quickly, and for some programs it's a positive thing to strip them of the weight of permanence. One thing that we as a profession seem to no longer understand is the time that architecture requires, and that's very harmful. And now, after so much time has passed, I think back and it's been incredible. So I wanted to see it all built and ready to use. Back in 2005 it was one of my first projects and it was so exciting it still is. As an architect, what do you gain by developing a project over such a long span of time? KZ: The Culiacán Botanical Garden is a project you've worked on for over a decade. We designed a program and began building in phases. finally, the educational and art programs: an auditorium, a classroom, exhibition space, and a library. For the botanical aspect: seed collection, a herbarium, a greenhouse. On the other hand, I was trying to find a way to integrate everything spatially: the existent garden, the art collection, and the future construction of some buildings and pavilions that would enable the program to function.įirst we analyzed, in terms of built space, what the Garden required: storage and office space, maintenance areas and areas for employees. At that moment, Patrick asked the artists to travel to the site in order to sensitize themselves to the space and the social context that surrounds it. The local Environmental Operations agency began to work on a classification of all the species present in the Garden. For that, we had to invest strongly in the art collection and how it would be experienced spatially. That's when I was invited I arrived and said "why don't we do a more integrated project?"įirst we decided our main objective was to design a space that would take the Botanical Garden to a new level, making it one of the best in the world. ![]() Patrick proposed a more ambitious project: commissioning each artist to make a site-specific piece for the Garden. That was when it all really began to take shape, between 20. ![]() Then Agustín got involved and began donating a couple of pieces from his art collection, and eventually, he invited Patrick Charpenel to help curate the site. At first, there was Carlos Murillo, who focused on the amazing task of building a botanical collection. The Botanical Garden has undergone many evolutions. I can tell you I started working on it in June of 2005. ![]() Tatiana Bilbao: There's really not an exact date for when this project began. Karina Zatarain: When and how did you get involved in this project? In the following interview, Bilbao speaks on the completed phases of the project, the phases yet to come, the social responsibility of an architect when working with unfamiliar communities, and the advantages of presenting contemporary art outside of the "white box" offered by traditional museums. Save this picture! Cortesía de Jardín Botánico de Culiacán Somewhat incredibly, this small city in northern Mexico is now home to a public space where one can visit pieces by internationally renowned artists such as James Turrell, Olafur Eliasson, Dan Graham, Richard Long, Gabriel Orozco, Teresa Margolles, and more. A slew of artists were commissioned to visit the site and create installations that added an artistic dimension to the space, inspiring varied reactions in its users and functioning as an aesthetic, sensorial, and intellectual experience. The Jardín Botánico Culiacán (Culiacán Botanical Garden) is a public space that undertook an ambitious project in 2002 directed by a local businessman with an extensive private contemporary art collection. For over ten years now, Mexican architect Tatiana Bilbao has been participating in the development of a multidisciplinary project in the city of Culiacán, the capital of the state of Sinaloa and widely recognized for the drug-related violence it harbors. In Mexico, the wave of violence that has arisen in recent decades is more palpable in certain regions of the country, resulting in entire communities who have been made vulnerable by a fluctuating state of insecurity. What becomes of public space once violence is normalized in a city? Though it is naive to believe that architecture by itself can present absolute solutions to complex social and political issues, it is also important to explore and understand its possibilities as an agent of social change, however small. Sustainability and Performance in Architecture The Future of Architectural Visualization ![]()
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