Learning from the Cuencas Artefacts from the future
Models zon-e + Cómo crear historias; Axonometric: Cómo crear historias
Learning from the Cuencas Mutating Artefacts
Image: José Francisco Arias
Learning from the Cuencas Artefacts from the Past
Coal-washing plant, Figaredo. Archivo Histórico Asturiana de Zinc S.A., Castrillón
Learning from the Cuencas Artefacts from the Present
Juan Carlos Beiro Sports & Leisure Centre La Felguera, Langreo ACXT / Javier Pérez Uribarri / Image: Kike LLamas
Learning from the Cuencas Sound Heritage. Testimony
Locomotive Matilde, Sotón, 1900. Archivo Histórico de Hunosa, Pozo Fondón, Langreo. rchivo Histórico de Hunosa, Pozo Fondón, Langreo
Learning from the Cuencas Ángel Borrego
Ángel Borrego has a PhD in Architecture from the ETSAM (School of Architecture of Madrid) and a M.Arch from Princeton University, where he studied with a Fulbright grant.
Learning from the Cuencas Edu Comelles
Musician and sound artist
Learning from the Cuencas Mind Revolution
Mind Revolution is a project formed in 2010 by Angel Gonzalez and Eugenia Badger in order to seek new forms of expression from the relationship between music and other arts.
Learning from the Cuencas Las señales de las Cuencas, 2013
Resignification Processes. Architectures / Prototype for a community action project. Customised traffic signage, photography, print on paper
Learning from the Cuencas CicloS, 2013
Composition by Óscar de Ávila for the project The Mine and its sound. A project by LABoral, coordinated by José Manuel Costa in collaboration with Juanjo Palacios, in coincidence with Aprendiendo de las Cuencas, project curated by Nacho Ruiz Allén and Sara López Arraiza, de Zon-e Arquitectos y coproduced by LABoral Centro de Arte y Creación Industrial and SabadellHerrero.
Learning from the Cuencas San Fernando, 2013
Composition by Daniel Romero for the project The Mine and its sound. A project by LABoral, coordinated by José Manuel Costa in collaboration with Juanjo Palacios, in coincidence with Aprendiendo de las Cuencas, project curated by Nacho Ruiz Allén and Sara López Arraiza, de Zon-e Arquitectos y coproduced by LABoral Centro de Arte y Creación Industrial and SabadellHerrero.
Image: José Francisco Arias
Learning from the Cuencas Paisaje minado
Installation. Single-channel video projection on wall with original soundtrack, cabinet with six laser drawings and a digital copy on wood board and iron structure, 2013
Learning from the Cuencas Réquiem, 2013
Composition by Edu Comelles for the project The Mine and its sound. A project by LABoral, coordinated by José Manuel Costa in collaboration with Juanjo Palacios, in coincidence with Aprendiendo de las Cuencas, project curated by Nacho Ruiz Allén and Sara López Arraiza, de Zon-e Arquitectos y coproduced by LABoral Centro de Arte y Creación Industrial and SabadellHerrero.
Image: Edu Comelles
Learning from the Cuencas Pozu Candín, 2013
Composition by Óscar de Ávila for the project The Mine and its sound. A project by LABoral, coordinated by José Manuel Costa in collaboration with Juanjo Palacios, in coincidence with Aprendiendo de las Cuencas, project curated by Nacho Ruiz Allén and Sara López Arraiza, de Zon-e Arquitectos y coproduced by LABoral Centro de Arte y Creación Industrial and SabadellHerrero.
Image: CicloS
Learning from the Cuencas Los que atraviesan el tiempo
Installation. Steel, cement, wood, printed material, audio and speakers
Learning from the Cuencas
27
Sep
2013
23
Feb
2014
A research project on the cultural landscape of the Asturian mining area

Learning from the Cuencas

A research project on the cultural landscape of the Asturian mining area

27
Sep
2013
23
Feb
2014

The purpose of the research project Aprendiendo de las Cuencas [Learning from the Cuencas] is to offer a new gaze on the cultural landscape of the Cuencas or coal mining areas of central Asturias. To this end, the project aligns itself with some of the key architectural manifestos of recent decades, arising as a result of seminal analyses of places which had once been overlooked. The interpretations made by Reyner Banham, Robert Venturi and Denise Scott Brown, Rem Koolhaas and Atelier Bow-Wow about Los Angeles, Las Vegas, New York and Tokyo, respectively, are now considered key turning points in their subsequent evolution.

As happened with these cities, the Cuencas or mining areas have changed considerably over a brief period of time. After undergoing an intense process of industrialisation, in just a few decades what were once natural valleys with basically rural economic and social structures came to host busy urban agglomerations of unexpected density in their very heart. While it obviously cannot rival the reputation of the above-mentioned examples, this heretical urban configuration is equally the result of the impact of economic interests in a specific space and in a relatively short lapse of time. Consequently, the co-existence of natural, rural, industrial and urban landscapes came about in a totally uncontrolled and unplanned fashion. The fuzzy limits between the different landscapes foreclose the possibility of identifying their areas of influence. The Cuencas are perceived as a mesh of opposing yet interconnected identities. This has given rise to incredibly heterodox building patterns that contain the conflict on which they are erected embedded in their genetic code. These are hybrid architectures, mutating artefacts which, despite the invisibility of their inevitable marginality, can offer really interesting lessons in architecture today.

In analysing them we endeavour to rehearse new windows of opportunity in contemporary architectural thought and to transform the conventional image of the Cuencas, a place which has been systematically overlooked yet which, when analysed from an unprejudiced point of view, represents a unique environment within Europe’s urban structure.

The show Los artefactos de la memoria [Artefacts of Memory] at the SabadellHerrero exhibition hall showcases a cross-section of the documentation and cataloguing carried out during the research process. The exhibition content is based on a study of 40 of the most outstanding artefacts identified in this territory. The reflection is expanded at LABoral Centro de Arte y Creación Industrial in a dreamlike speculation based on the contents of the research process divided into three categories: spectres, projections and fantasies.

During the opening Fasenuova will perform a concert for the audience

 

Curators: Nacho Ruiz Allén & Sara López Arraiza (zon-e arquitectos)
Artists: Óscar de Ávila, Basurama, Edu Comelles, Cómo crear historias, Antonio Corral Fernández, Bárbara Fluxá, Fran Meana, Marcos Martínez Merino, Mind Revolution, OSS Office for Strategic Spaces, Recetas Urbanas, Daniel Romero
Design: Bisdixit
Coproduced by: LABoral Centro de Arte & Creación Industrial y SabadellHerrero

Laboral 2 lineas Gobierno del Principado sabadellherrero


Opening event sponsored by:

Ron Zacapa

Commited to promoting responsible drinking

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