문화와 역사의 편린들을 장소에 기록하다.
멕시코 차풀테펙 공원에 위치한 멕시코 메모리얼 파크는 자연생태환경 복원을 위한
물리적 환경 개선사업과 멕시코 폭력사태의 희생자를 추모하는 공간으로
제안된다. 시간의 기억, 장소에 투영된 시간의 기록들은 희상자들을
추모하는 70개의 코르텐스틸 기둥으로 반영된다.
이러한 공간적 특징은 숲 속에 식재된 나무처럼
-숲은 나무가 모여서 형성되고, 나무는 숲의 자연의 일부분이다.-
시간의 기억을 장소에 심어 우리 삶의 일부분으로
편입, 삽입한다. 시간의 흔적, 공간의 흔적은 그렇게
코르텐 스틸의 재료적 특징과
-산화과정, 철은 시간이 지남에 따라 공기와 물과 접축하며 자신의
성질을 변화시킨다. 물리적 환경에 반응하며 우리처럼 나이를 먹어간다.-
같이 산화되고 장소화된다.
결국 메모리얼 파크는 지역주민, 이곳을 찾는 방문객들에게 퍼블릭 스페이스로
다양한 커뮤니티를 발생시키는 앵커 스페이스로
랜드마크화 된다.
reviewed by SJ
“For a long time this place was a place of impossibility. The unfathomable was to be fathomed; the unimaginable, imagined.”
Peter Eisenman about the Holocaust Memorial in Berlin
The site is in Chapultepec, the most important park of Mexico City.
This part of the forest belongs to the Federal Government and was under
the custodyof the Ministery of Defense of Mexicofor many deacades; so
first of all, the Memorial´s Project means the recuperation of
15,000sqm in terms of public space.
A memorial is the architectural piece in which we can find the
remembrance and the memory of the culture and history; in the particular
case of the Memorial of the Victims of the Violence in Mexico, we
materialize, in terms of architecture, one of the most important and
current issues of Mexican society: violence. This is the big and open
wound; in response to this, we propose an open project in the site, open
to the city and open to the apropiationby the citizens; a project with a
strong relationship with the city and her actors. The recuperation of
the public space as well as the remembrance of the victims of violence
are the essence of the project.
Our project plays thedouble condition of public space and memorial.
The first premise was to recognize the vocation of the site as a
forest; with a very strong presence of nature; the trees are there and
they characterize the site.
The violence is suggested in two dimensions: the void and the built.
The void proposed in the project is the space created between the
steel walls and the trees. This void or empty spacecould remind us the
concept of the no–presences and absenses of the people to remember,
andthe surfaces of the steel walls, rusty or mirroring, show thatwe can
lose ourselves, add ourselves, or mutiplyourselves.
Besides that, if we think of violence as destruction, the
construction of seventy steel walls plays as the great antidote against
the violence .
The big projectual action consists on building seventy metalic walls
in corten steelrising between the trees; it is a dual play between
nature and architecture: the forest of trees and the forest of walls.
The society of the trees and the visitors play the living beings;
the society of the walls playthe unmateriality of the memories of the
victims.
The list of materials is reduced: steel and concrete, added to the
natural elements of the forest. We are using the corten steel in three
ways: natural, rusty or stainless mirroring, each of them with different
meanings. The rusty steel means the marks and scars that time makes in
our lifetime. The stainless mirroring steel is used to reflect and
multiply the living: persons, trees, and the water of the central space;
and the natural steel is used as an unperturbed element that remind us
the main and essential values that societies must keep tolive in peace.
Concrete is used for the lanes and the benches; for walking and
reflection.
In the central space, which is the main space of the Memorial, there
is a 1,200 spmfountain with an undetermined form and open geometry, to
remind us that the violence issue is still opened. The fountain is
covered with a grid so that the visitor can walk over the water. Water
means life; water cleans, and water heals.
In this area the steel walls rise stronger and taller, creatingthe
strongest drama in the whole place. The reflection in the water of trees
and walls make our eyes go up and down. When they go up, they see the
sky, the light, the sun…the hope.
Finally, one of the most important parts of the project is the
humanization and appropriation of the steel walls. Society is
responsible for making the Memorial. The seventy metallic walls are
spaces for people to write the name of their victim, and express their
pain, anger, and longings. These steel walls play as mirrors and
blackboards, and by the writings, being transformed into witnesses of
the pain and destruction provoked by the violence of the organized
crime.
from archello