The rapid growth of our cities has created a fully legislated landscape and to which some are beginning to propose new strategies for use and occupancy.
Throughout history, the nature of cities has been forged in an intuitive way for its citizens. The recent demand for their growth has resulted, however, the expansion of avenues and the creation of visual perspectives that facilitate access by the authorities for increased surveillance and urban control. The question that remains open is whether there remains any possibility of incorporating those as old difficulties individual freedom that created our cities, if they can work within the framework urban regulations istics alive for a solution reflect contemporary social diversity.
As a way to protect historical sites, many cities have decided to close their streets to traffic and only allow free access to residents. On the other hand, to preserve the image of these areas, those same residents are required to keep the colors on the walls, determ use inados materials and constructive solutions, and rebuild in accordance with this order imposed. In a historic setting, therefore, the interio r of the city is subject to severe restrictions on people with a completely heterogeneous attitude toward to own body image, about how you see tir, their hairstyles, ta tuajes, coch is or mobile phones in div iduos that have become resigned ar even their intellectual and cultural beliefs. The freedom that citizens once had to modify its properties, and thus, the immediate environment, is now severely limited, and his attempt d and make a reform, building permits are denied automatically if the parameters are not met or regulations given. Under these circumstances of contemporary life in some places you can Egar ll be a pastiche of history stagnant. Lost
Street
face of this rigidity, the architect Santiago Cirugeda is reading between the lines of our cities urban planning to offer, without breaking the rules, some new possibilities of use by citizens damage. A scene of his work is historic center or Seville, where he lives, and q is c ue aracteriza by the extreme saturation of the soil and make a regulations to keep the environment as visualment and intact. Therefore, if the neighborhood would require a new urban element, such as a playground or an information center could be practically impossible to find a vacancy.
After studying urban policy, C irugeda projected a temporary olution s which he called "reclaim the streets" and that is the use of a dumpster redesigned as a play area, information point, reading room, exhibition space, flamenco or cantilever platform giant authorized an urban element which can be moved with easy ity. The architect studied the total cost of the operation and provided customers with a manual d and how to obtain permission from the Planning Department to install a Cuba. Once you have the permit, the dumpster can be placed and take the function required by customers. This action causes a funny reflection on urban rigidity should certainly be more accessible to citizen participation.
This requires follow the simple procedure of asking the Planning Department a construction permit or men to paint the facade of the building to expand. Depending on the degree of heritage protection, the only requirement being ed respect the existing color. At this point, Cirugeda advised that if the facade does not need a hand d and paint, you can always paint some graffiti to justify the work. After taking leave, which can also be obtained without filling the box that defines the length of the work and thus make it last indefinitely, one can then build on the scaffold their urban retreat using shapes and materials according to your taste.
Another project is also held in Seville in solar eciclar r disused through removable prefabricated structures, which has allowed Cirugeda enjoy an office in different city locations. Heritage can do nothing against these architectures, objects because they are not regulated by those ordinances stylistic as Cirugeda complaint, "rig floor at the theme park which has become the old city." A contract for electrical connection made to an individual close to the site and operating a sanitary cabins are portable chemical some options that help make living these buildings urban nomads. The placement of a prefabricated module conforms to the course of Art 3.40.1.c spreading with removable, temporary facilities, the General Plan of Seville, who oversees the task of Specific Conservation and Solar Temporary Occupation. On the other hand, since our structure is an object capable of "transporting from one point to another without affecting the property to which he is himself something together" (Art. 335 of the Civil Code) and not being attached to the site "in a fixed but it can not be separated without breaking antamiento of matter or damage or URPOSE "(Art. 334.3 CC), plus it is not attached permanently or for the purpose of coming to be part of the estate, it is understood that we are clearly at a chattel. Therefore, the placement sequenced in the various sites chosen would be completely free and not be subject to any regulatory restriction that obliges us to seek permission.
Insect House / strategy
Tick Cirugeda When James was invited by the Alameda Viva platform to help prevent the cutting of The Alameda in Seville, he built the house-insect. Beyond being a haven of urban guerrilla situated on a tree and a housing protection against possible attacks with rubber bullets or water jet, the project helps "to remember that in the development of the city, individuals and groups still have a capacity, but diminished considerably, to act and decide on use and how to act on it. " Like previous projects, this is a solution that is not intended pr ovoce local authorities but to raise awareness among citizens with greater commitment to their habitat.
Cirugeda Santiago's work is an architecture that provides citizens with opportunities to use and participation in the construction of their environments, and thus of gaining freedom.
Captions:
A. Santiago Cirugeda, architect (b. 1971).
B. Children playing in his new playground of San Luis de la Calle Sevilla (1997).
C. The neighborhood got a meeting place for parties in the spring.
D. Manual how to obtain permission from the Planning Department for the installation of a container.
E. Through a scaffold room could temporarily extend the old orphanage of Calle Divina Pastora in Seville (1998).
F. "La Casa Insec or strategy to Tick" (Sevilla 2001) was a project of occupation trees that had wide circulation among media.
G. Interest architectural interior space occupying unused plots (Sevilla 2002).
Street
face of this rigidity, the architect Santiago Cirugeda is reading between the lines of our cities urban planning to offer, without breaking the rules, some new possibilities of use by citizens damage. A scene of his work is historic center or Seville, where he lives, and q is c ue aracteriza by the extreme saturation of the soil and make a regulations to keep the environment as visualment and intact. Therefore, if the neighborhood would require a new urban element, such as a playground or an information center could be practically impossible to find a vacancy.
After studying urban policy, C irugeda projected a temporary olution s which he called "reclaim the streets" and that is the use of a dumpster redesigned as a play area, information point, reading room, exhibition space, flamenco or cantilever platform giant authorized an urban element which can be moved with easy ity. The architect studied the total cost of the operation and provided customers with a manual d and how to obtain permission from the Planning Department to install a Cuba. Once you have the permit, the dumpster can be placed and take the function required by customers. This action causes a funny reflection on urban rigidity should certainly be more accessible to citizen participation.
Build Shelters Urban
What happens when these same clients wish to expand their properties in the historic center of Seville? This implies that the citizen would have to do the work illegally. The expansion of one of these homes to make it habitable, a very common and widespread in ancient cities, would not get a license today works. A course of action suggested by Santiago Cirugeda is the use of scaffolding pa ra build on it a room. 
This requires follow the simple procedure of asking the Planning Department a construction permit or men to paint the facade of the building to expand. Depending on the degree of heritage protection, the only requirement being ed respect the existing color. At this point, Cirugeda advised that if the facade does not need a hand d and paint, you can always paint some graffiti to justify the work. After taking leave, which can also be obtained without filling the box that defines the length of the work and thus make it last indefinitely, one can then build on the scaffold their urban retreat using shapes and materials according to your taste.
Another project is also held in Seville in solar eciclar r disused through removable prefabricated structures, which has allowed Cirugeda enjoy an office in different city locations. Heritage can do nothing against these architectures, objects because they are not regulated by those ordinances stylistic as Cirugeda complaint, "rig floor at the theme park which has become the old city." A contract for electrical connection made to an individual close to the site and operating a sanitary cabins are portable chemical some options that help make living these buildings urban nomads. The placement of a prefabricated module conforms to the course of Art 3.40.1.c spreading with removable, temporary facilities, the General Plan of Seville, who oversees the task of Specific Conservation and Solar Temporary Occupation. On the other hand, since our structure is an object capable of "transporting from one point to another without affecting the property to which he is himself something together" (Art. 335 of the Civil Code) and not being attached to the site "in a fixed but it can not be separated without breaking antamiento of matter or damage or URPOSE "(Art. 334.3 CC), plus it is not attached permanently or for the purpose of coming to be part of the estate, it is understood that we are clearly at a chattel. Therefore, the placement sequenced in the various sites chosen would be completely free and not be subject to any regulatory restriction that obliges us to seek permission.
Tick Cirugeda When James was invited by the Alameda Viva platform to help prevent the cutting of The Alameda in Seville, he built the house-insect. Beyond being a haven of urban guerrilla situated on a tree and a housing protection against possible attacks with rubber bullets or water jet, the project helps "to remember that in the development of the city, individuals and groups still have a capacity, but diminished considerably, to act and decide on use and how to act on it. " Like previous projects, this is a solution that is not intended pr ovoce local authorities but to raise awareness among citizens with greater commitment to their habitat.
Cirugeda Santiago's work is an architecture that provides citizens with opportunities to use and participation in the construction of their environments, and thus of gaining freedom.
Captions:
A. Santiago Cirugeda, architect (b. 1971).
B. Children playing in his new playground of San Luis de la Calle Sevilla (1997).
C. The neighborhood got a meeting place for parties in the spring.
D. Manual how to obtain permission from the Planning Department for the installation of a container.
E. Through a scaffold room could temporarily extend the old orphanage of Calle Divina Pastora in Seville (1998).
F. "La Casa Insec or strategy to Tick" (Sevilla 2001) was a project of occupation trees that had wide circulation among media.
G. Interest architectural interior space occupying unused plots (Sevilla 2002).
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