THE FUTURE OF

CREATIVE CITIES
Bogotá // Hannover
creative cities in exchange. workshop report

Universitätsprofessur für Regionales Bauen und Siedlungsplanung I Institut für Entwerfen und Städtebau I Leibniz Universität Hannover
The Future of Creative Cities explores the potentials of creative cities. In a
collaborative workshop the Faculty of Creative Studies of Universidad del Rosario,
Bogotá and the Chair of Territorial Design and Urbanism of Leibniz University
Hannover created an encounter to explore connections between urban design and
art. By providing a virtual space of sharing and exchanging, the workshop invited
to imagine, re-imagine and activate in a prospective way the idea of creative
cities based on artistic methodologies. Invited international workshop leaders of
the fields of arts, architecture and urban design generated interactive, blended
virtual-onsite platforms to discuss and promote culture and art as a driving forces
for new pathways in understanding and creating the urban space.
THE FUTURE OF CREATIVE CITIES
Bogotá // Hannover
Creative Cities in Exchange. Workshop Report

Edited by Alissa Diesch and Alma Sarmiento

Regionales Bauen und Siedlungsplanung

Leibniz Universität Hannover

and

Faculty of Creative Studies

Universidad del Rosario Bogotá
 TABLE OF CONTENT

Introduction 5

Methodology 7

Itinerary 10

Workshops and Workshop Leaders 12

IMAGINING FUTURES OF INFINITE, 19

CREATIVE, POSSIBLE CITIES
Alma Sarmiento

CREATIVITY AND THE CITIES 25

Alissa Diesch
2 3
THE CREATIVE CITY AS A LABEL: 33
REFLECTIONS ON ITS USE IN THE
GLOBAL SOUTH
Juan Pablo Aschner

PLACES AND PRACTICES IN-BETWEEN 37

THE CREATIVE CITIES
Martina Massari

WILD ARCHAEOLOGIES 45
Roberto Uribe

EXPERIMENTAL CARTOGRAPHIES 57
Maria Carrizosa

A WORLD WITHOUT FUNDING 69

Alex de las Heras & Santiago Reyes Villaveces

Participants 77

Imprint 78
 INTRODUCTION
Alissa Diesch & Alma Sarmiento

In this collaborative Workshop FaCrea, the new two faculties of Creative Studies (URosario) and
Faculty of Creative Studies of Universidad del Urban and Territorial Design (LUH) as well as the
Rosario, and the Chair of Territorial Design and invited workshop leaders – María Carrizosa, PhD
Urbanism of Leibniz University Hannover created in public and urban policies and lecturer at the
a space to explore connections between urban New School in New York, Roberto Uribe Castro
design and art. By providing a virtual space of artist, curator and cultural manager based in
sharing and exchanging, the Workshop invited to Berlin, Martina Massari, PhD in urban planning,
imagine, re-imagine and activate in a prospective lecturer at the University of Bologna and artist
and critical way the idea of a creative city based and consultant duo Santiago Reyes Villaveces and

INTRODUCTION
on artistic methodologies. It offered a platform Alex de las Heras, based in Bogotá – represented
to discuss and promote culture as a driving force an inspiring working framework for the 56
for new pathways in understanding and creating students and practitioners of the urban and
the urban space. The interdisciplinary approach creative realm. The presentation of local creative
proposed a stimulating meeting of crossroads and initiatives by Hannover’s UNESCO City of Music
4 relationships to generate new perspectives on coordinator Alice Moser and the insights into 5
how to understand, create and transform the city. the processes around Bogotá’s Bronx Creative
The workshop brought together students and District by Gabriel Ortiz of Gilberto Alzate
professionals of diverse artistic disciplines and Avendaño Foundation (FUGA) showed ongoing
creative industries to develop analytical and examples of the tight relationships of making
prospective skills and competencies to rethink the city and creative dynamics in the respective
and co-create the offers, dynamics, possibilities, cities. Furthermore, the diverse cultural and
spatialities and logics that characterise and geographical backgrounds of the organisers,
facilitate a creative environment in urban, rural trainers and participants themselves created
and even virtual environments of current and a cosmopolitan background for exchange of
future cities. Professional experts in different areas knowledge and experiences and the raising of
and disciplines supported the endeavour. Virtual new questions and curiosities, supporting the
interactive workshops created a dynamic network explorative character of artistic research. The
where different perspectives and disciplines combined virtual and simultaneously locally
engendered a dialogue. The workshops facilitated based workshops made use and extended the
an exchange of experiences and personal stories possibilities of online workshops that had become
where a common ground could be found for so ubiquitous during the Covid19 pandemic. The
various cultural and creative manifestations of methodology, combing online teaching and co-
post-pandemic cities. Participants learnt about learning sessions with locally rooted and place-
a wide range of artistic methods to analyse and based activities, opened up new possibilities for
represent of urban phenomena that shaped the international research and teaching schemes.
bases for creative and integrated proposals.
The interdisciplinary approach represented by the Alissa Diesch Assistent Professor, LUH
Alma Sarmiento Tenured Professor, Director Arts Program, UR
Introduction Screenshot
 METHODOLOGY
Alissa Diesch & Alma Sarmiento

Objectives Aschner (Dean Faculty of Creation, URosario),

The virtually connected multi-site workshop Jörg Schröder (Dean for Research of the Faculty
offered new interdisciplinary linkages between of Architecture and Landscape, LUH) and the
academic and artistic methods, promoting a coordinators Alma Sarmiento and Alissa Diesch,
space to create and imagine the future of creative invited cultural coordinators presented local
cities by generating the exchange of experiences creative projects: Gabriel Ortiz, advisor of Gilberto
of actors in the field. By analysing, studying, and Alzate Avendaño Foundation (FUGA) gave an
collecting experiences and challenges associated overview of the process of renovation, revitalization
with the cultural sector and creative industries in and transformation of the Bronx Creative District,

METHODOLOGY
different Latin American and European cities, a a central area of Bogotá marked by a painful
platform for the exchange of experiences around and violent past, where the reconstruction of
the possibilities of an urbanism based on art, the social tissue is combined with the activation
culture, and creative industries was established. of cultural and creative enterprises. Alice Moser,
Moreover, identified potentials and dynamics coordinator of the cultural office in Hannover of
6 were mapped creatively and experimentally that the UNESCO Creative Cities of Music network, 7
enabled the discovery of new possible relations of explained the role music and its related industries
Introduction Screenshot different cultural manifestations that are likely to have played for Hannover’s cultural life and the
contribute to and to enrich the creative cities of city’s role in the Cities of Music network with its
the future. These outcomes form a set of places, heterogeneous music scenes and undertakings in
networks and dynamics that are understood as the cultural industries, educational and sustainable
potentials to strengthen the development of a development fields.
creative city. In the process of the workshop, the The further agenda of the seminar was organised
needs and expectations underlying the creation in four workshops, each with their individual
of a virtual atlas were characterized and tools objectives and methodologies, lead by invited
to inhabit and appropriate the territory in its experts in the fields of architecture, urban studies,
creative and cultural expressions were discussed. philosophy, arts and history. The 56 students and
All of this generated links and exchanges between professional of artistic and creative disciplines from
stakeholders committed to the identification and Hannover, Barranquilla, New York, Bogota, Pasto,
revitalization of diverse cultural centres related Monterrey, Adelaide, Vancouver, Santiago de Chile,
to the concept of creative cities on local and Valledupar and Puebla previously had chosen one
global level. of the four workshops. The workshop leaders from
Bologna, Berlin, Bogota, New York and Madrid
Process represented different approaches and views on
The workshop was organised in two two-day cities in Europe and Latin America, proposing
sessions between June 24 and July 2, 2022 with a creative tools and perspectives on different urban
duration of four hours each. After an introductory spaces, encouraging the participants to make use
session with welcoming inputs by Juan Pablo of their own perceptions and experiences:
Preparatory Meeting Screenshot
 - Experimental Cartographies
- Cultural Management in Public Space.
Wild Archeologies
- Places in the Creative City
- A World Without Arts Funding

On the first day, the workshop leaders gave an

introduction to their program, methodologies
and itinerary and organised the internal working

METHODOLOGY
groups, forming diverse intercultural and
interdisciplinary teams.
On the second day, the working groups defined
and discussed the topic and concrete project they
would work on independently during the following
8 week. During this period the participants developed 9
their project working on site and connected on
virtual platforms, with feedback from the external
workshop leaders and academic staff from the
two organising universities, Riccarda Cappeller
and Federica Scaffidi from Hanover and Antonio
Sánchez from Bogotá.
On the second week the groups discussed their
findings and projects they had developed for
analysing, studying and collecting experiences
and challenges first within their workshop groups
in order to prepare then final presentations for
the group presentations with all participants and
contributors on the last day. During this final
session everybody could get to know the processes,
resumes and results of the internally developed
work in each workshop. Following questions,
feedbacks and discussions engendered further
exchange on the possibilities of artistic research
for urban design, the exchange of contrasting
urban experiences around the globe and common
topics and challenges.

Introduction Screenshots and Photos (Riccarda Cappeller, Alissa Diesch, Alma Sarmiento)
 ITINERARY ITINERARY

DAY 1 June 24th INTRODUCTION & CONTEXTUALISATION TEAMWORK & TUTORING WORKSHOPS DAY 2 June 25th

8-10 a.m. (BOG) - Welcome by Alma Sarmiento and Alissa Diesch - Creation of working groups 8-12 a.m. (BOG)
3-5 p.m. (HAN) - Introduction by Juan Pablo Aschner. Dean FaCrea, Universidad del - Ideas and discussion of projects 3-7 p.m. (HAN)
online Rosario, Bogotá online
- Introduction by Jörg Schröder. Dean for Research Faculty of
Architecture and Landscape at Leibniz University Hanover
- Welcome by Luisa Fernanda Godoy, at that time Chancellor of INDEPENDENT DEVELOPMENT OF PROJECTS June 27th-30th
Universidad del Rosario, Bogotá
- Lecture by Gabriel Ortiz. Advisor of Gilberto Alzate Avendaño Self-organised team work on the projects on-site

ITINERARY
Foundation (FUGA), Bogotá. The Bronx Creative District online
- Lecture by Alice Moser. Coordinator Cultural Office City of
Hanover. UNESCO Creative City of Music
- Discussion. Creative Cities: possibilities, needs, challenges, TEAMWORK & TUTORING WORKSHOPS DAY 3 July 1st
10 potentials. Perspectives and prospectives: rethinking, co-building 11
the creative cities of the future; construction and creation of Feedback by workshop leaders and academic staff from the 8-12 a.m. (BOG)
space (real and virtual), community building organising universities 3-7 p.m. (HAN)
online

DAY 1 June 24th KICK-OFF IN THE FOUR WORKSHOPS CONCLUSIONS & FINAL REMARKS DAY 4 July 2nd

10:30-12:30 a.m. (BOG) - Welcome and presentation in each of the individual workshops - Presentation of the outputs of each workshop 10:30-12:30 a.m. (BOG)
5:30-7:30 p.m. (HAN) - Introduction to topic, approaches and methodology - Feedback by invited workshop leaders 5:30-7:30 p.m. (HAN)
online - General discussion online
- Conclusions and closing remarks
 PLACES IN THE CREATIVE CITY WILD ARCHAEOLOGIES
Martina Massari Roberto Uribe Castro

Contents and practical activities Contents and practical activities

This workshop proposes to create a tale of two The continuous, linear and uni-directional narra-

WORKSHOPS AND WORKSHOP LEADERS

cities from the understanding and interpretation tive that has dominated what we identify as west-
of the shared strategic framework and spatial dy- ern cultures, is only one of multiple ways of un-
namics of the UNESCO City of Music in Bogota derstanding the time and space we are immerse in.
and Hannover. The group will work as in an atel- Disciplines such as ethnography and archaeology
Architect and PhD in Urban Planning. Currently ier, where different expertise will be put into work allow us to perceive the diversity of realities and Artist with MA in Fine Arts (Space Strategies)
Research Fellow, Adjunct Professor of Urban and shared. The aim is to achieve a narration of temporal dimensions that coexist simultaneously from the school of art of Weißensee in Berlin.
Planning and academic tutor at the architecture the two cities in a unique constellation of prac- in our time-space . In this workshop we will use Member and co-founder of CC_Berlin a non profit
Department of the University of Bologna and tices, made of relationship between places, new the public space as the field of research and as the organisation that works together with rural and
freelance architect/planner, engaged in cycling connectors, new connections, linked to cultural source of materials collection. Streets, sidewalks, indigenous communities in Colombia to develop
mobility planning and design. She was a Research practices. The workshop will be structured in sev- parks, urban furniture and bodies of water can be- sustainable and self-managed projects. Uribe‘s
Fellow at the Chair for Regional Building and eral mixed-method activities, among which (but come the laboratory to produce collections, series work has been shortlisted in competition in public
12 Urban Planning at the Leibniz University of not limited to): 1) Shared glossary galaxy: group of videos and sound of a landscape that might not space in Germany and Europe. Curator of project 13
Hannover. She is part of the “CPCL Agency” and collection of grasped concepts and hints to deepen be there CALLE22 in Bogotá.
the “Collaborative and Adaptive Cities” research in the two cities. 2) Collective patterns detection: in the future. The goal is to create a narrative and
groups of the University of Bologna. She was what are the cultural alliances that can be creat- leave the traces for future generations to under-
engaged in the H2020 project ROCK - Regeneration ed in-between the cities. 3) Practices and places stand our moment in history.
and Optimisation of Cultural Heritage in Creative mapping: case study selection of creative practic- For this workshop the idea of ‘creative city’ will
and Knowledge Cities and is currently involved es to analyse and reflect upon collectively. Virtual be approached from the perspective of the city as
the H2020 project GRETA-Green Energy Transition navigation towards a place detection for the crea- a historical document framed within a political,
Actions. tive transformation to kick-off. 4) Creative practice social and cultural discourse that is possible to
fictioning: drawing from the technique of “design modify and intervene.
fictioning”, the activity foresees the sketching of a
scenario (in 50 years) that allows the participants Support: Antonio Sánchez (UR)
to reason how to act now to reach it. It is a moon-
shot for participants to work towards with the
help of existing case studies of creative practices
in the public space. 5) Postcards from a memorable
place: one of the results of the workshop will be a
graphical representation of the fiction created. A
message to convey to the inhabitants, researchers,
activists, creative practitioners, youngsters of the
present to achieve the future vision.
 EXPERIMENTAL CARTOGRAPHIES A WORLD WITHOUT ARTS FUNDING
María Carrizosa Santiago Reyes Villaveces & Alex de las Heras

Contents and practical activities Contents and practical activities

Maps are tools to make visible the invisible. As ‘A World without Funding’ is set out in the year

WORKSHOPS AND WORKSHOP LEADERS

such, they are both creative and political instru- 2032. The climate change emergency has desper-
ments. This workshop uses cartography as a meth- ately driven all the nations, states and economies
odological instrument to craft research-grounded of the world to a consensus and coordinated ef-
creative maps. This workshop introduces a reper- fort to curb global warming. In an unprecedent-
Architect and philosopher with an MA in toire of four methodologies: 1) Psychogeographic ed avalanche of action, all available public and Visual artist. In 2015 he won the Abraaj Royal
Geography, MS in International Affairs, and a PhD maps of the Situationists that locate and connect private resources for the next decade have been College of Art Innovation Scholarship 2015/2017.
in Public and Urban Policy. Maria teaches courses moods from purposeless derives. 2) Transect walks earmarked for this purpose, eliminating all schol- Santiago holds an MA in Sculpture from the Royal
on urban studies, urban history, international of ecology studies that record the distribution of arships, grants and competitions for creation. College of Art in London (2015/2017) and a degree
development, and housing at The New School features across a landscape. 3) Space-use diagrams In the fifth year (2037) the AI is autonomous, cre- in Visual Arts and History and Theory of Art from
and at the City University of New York (CUNY). of house interviews that micro-map land and time ative and creates unique experiences, sensations, the Universidad de Los Andes in Bogota (2009),
She is also Assistant Director of the Observatory use. 4) Cartographic collage that juxtaposes city objects and concepts. Artists, creators, designers, between 2006-2007. Foresight career consultant,
14 on Latin America at The New School, a research paper maps from distant cities to propose fictional architects, urbanists and communicators, etc., are co-director and co-founder of 121 Consultancy. 15
center that collaborates with different universities solutions based on the creative potentials of dif- forced to resist and create different tactics and
and partners across Latin America. As a consultant ferent places. Our catalogue of experimental car- strategies to live with dignity, continue creating
for international organizations, Maria has led tographies will present a counter-narrative to the and sharing their creations and ideas.
research and policy advice in climate change global discourses on the “creative cities” spurred This workshop is an invitation to individually im-
adaptation and sustainable development. With a by the commodification of the “creative class” and agine and project strategies and tactics from an
feminist economics lens, her research uses visual urban hipsterization. art, design, cultural management, architecture, ur-
methods to analyze space-use intensity within ban planning and or research perspective to navi-
houses in informal settlements. Support: Riccarda Cappeller (LUH) gate a future scenario in a world without funding
in the year 2032. Relational artist and engaged scholar. He is a Ph.D
Candidate in Social Sciences and Humanities at
Support: Federica Scaffidi (LUH) the National University of Colombia and holds a
MA in Fine Arts and Experimental Design from
the University of Art and Industrial Design of Linz,
Austria. His fields of research and creation deal
with Participatory Action Research, Future Studies
and Politics, with a focus on living heritage,
happening and performance, time perception
and immersive future scenarios. He is a Foresight
Career Consultant, co-director and co-funder of
121 Consultancy.
16 17

Screenshot during Workshop Places in the Creative City (Martina Massari) Screenshot during Presentation Experimental Cartographies. (Maria Carrizosa)

Screenshot during Workshop A World without Funding (Alex de las Heras and Santiago Reyes Villaveces) Screenshot during Workshop Cultural Management in Public Space. Wild Archeologies. (Roberto Uribe Castro)
 IMAGINING FUTURES OF INFINITE, CREATIVE, POSSIBLE CITIES
Alma Sarmiento

Art, urbanism, and architecture share deep the walking and the conquest of urban space
ontological connections that are rooted in by some avant-garde expressions, such as
the human experience. Together, they form Dadaism, Surrealism, Situationism, Land Art,
an authentic expression of human freedom by the performance expressions, the happenings,
allowing individuals to imagine possible worlds, etc. Through these movements, new ways of
propose how they should be, and intervene on experiencing and navigating urban spaces
the world as it exists. Artists, architects, and were revealed through innovative and playful
urban planners are all visionaries who envision strategies. For instance, Careri recounts the

ALMA SARMIENTO
unique ways of inhabiting time and space, story of four Surrealists who randomly selected
inventing their own temporary architectures and a city on a map of France in 1924 and embarked
multiform spaces. They all share a common set of on an expedition with no clear purpose, plan, or
gestures that involve configuring a territory on schedule. Their goal was to engage in “a form
both a symbolic and physical scale. This includes of automatic writing in real space, a literary/
transforming and intervening in matter and space, rural roaming imprinted directly on the map of a
18 carving, assembling, sculpting, experimenting, mental territory” (Careri, 2002, 80). 19
retracing, walking, and drawing paths and lines, Another key example that Careri analyzes is the
among other actions. Situationists, who, led by Guy Debord, coined
In this context, the book Walkscapes. Walking the term “psychogeography” 30 years after
as an aesthetic practice by Francesco Careri is the Surrealists. This concept proposes new
particularly interesting for this Workshop. For methodologies that transform the city into a
Careri, walking, in the twentieth century “assume field of play and concrete actions, marked by
the status of a pure aesthetic act. Today it is passionate and poetic behaviors. Through map
possible to construct a history of walking as a form collages, the Situationists created new visions
of urban intervention that inherently contains of Paris, disrupting the classic cartographic unity
the symbolic meanings of the primal creative and redefining the function of the map as an
act: roaming as architecture of the landscape, objective and orienting device. These imaginary
where the term landscape indicates the action maps propose a visualization of the sensory and
as symbolic as well as physical transformation of psychic experiences that we encounter in cities.
anthropic space” (Careri, 2002, 20). As Careri notes, “The city is a psychic landscape
Careri’s perspective is reminiscent of Deleuze constructed by means of holes, entire parts are
and Guattari’s definition of the beginning of art, forgotten or intentionally suppressed to construct
where they propose that “perhaps art begins with an infinity of possible cities in the void” (Careri,
the animal, at least with the animal that carves 2002, 104).
out a territory and constructs a house” (Deleuze, From the “void” that Careri describes, we can
Guattari, 1994, 183). leap to the shared virtual space-time where we
Careri’s book takes us on a journey through gather to conduct The Future of Creative Cities
the history of 20th-century art, starting from workshops. These workshops aim to imagine
Cuentacuentos I (The Storyteller I) Alma Sarmiento, 2020
 infinite, creative, and possible futures for cities, designing and thinking about transportation and
connecting art, urbanism, and architecture in time in cities. These exercises raised reflections on
unique and exciting ways. Each workshop is how bodies interact in each city and underscored
informed by the paths outlined above, and seeks the importance of interventions and actions in
to explore and expand upon the rich history of space that awaken the attention and senses of
creative interventions in the urban landscape. citizens.
The “Experimental Cartographies” workshop, During the “Places in the Creative City” workshop,
led by María Carrizosa, PhD in public and urban Martina Massari, an architect and PhD in urban
policies and professor at the New School in New planning, professor at the University of Bologna,
York, aimed to explore cartography and maps as led participants to imagine a large collage and
tools to unveil the invisible and make it visible, collective fictional narrative based on a mapping
opening the possibility of using them as creative of places, practices, and experiences in Bogota
and political devices. Four working methodologies and Hannover, both named as Cities of Music

ALMA SARMIENTO
were used, evoking artistic currents, techniques, by UNESCO. The workshop aimed to generate
and approaches to understanding space and stories that emerged from the understanding
time, such as situationism, ecology, collage, and and interpretation of the strategic framework
Afrofuturism. The students proposed methods and spatial dynamics of the cities, allowing for
to reimagine ways of reading and mapping the the composition of a narrative that represents a
city, connecting cities, and activating graphic unique constellation of practices, relationships,
20 and cartographic analyses and visualizations of and connectors between places. By linking 21
their cultural urban spaces. They also created these narratives to specific cultural practices,
kaleidoscopic collages that brought together projections of possible futures common to both
their intimate spaces and their ways of living and cities were generated. The workshop envisioned
feeling their respective city. a common horizon of ecological and social
The workshop “Cultural Management in Public innovations in sustainability, taking inspiration
Space. Wild Archeologies”, was proposed and from creative markets and streets as accessible
led by artist, curator, and cultural manager stages for cultural expressions. Through
Roberto Uribe Castro. The workshop explored this collaborative approach, the workshop
the possibility of activating archaeological facilitated the creation of a new narrative that
processes related to the present and time integrates the voices and perspectives of diverse
in public space. Participants were invited to participants and offers fresh perspectives on the
“excavate” information about their cities in the cities’ futures.
manner of archaeologists, but with the added The workshop “A World Without Arts Funding”,
methodology of “urban drift,” which involved led by artist and consultant duo Santiago Reyes
walking, experimenting with their own bodies, Villaveces and Alex de las Heras, explored
and recording their observations and perceptions the theme of the future and its potential to
using basic elements such as paper and pencil for offer multiple temporal routes. The premise of
drawing and writing, that is, in a very analogous the workshop was to devise interdisciplinary
way, an aspect that differentiated this workshop strategies and tactics to navigate a future
from the others. Using their “urban drifts” as a scenario in the year 2027, where grants and
starting point, the students set out to propose funding for projects in the humanities and the
and invent ways of walking as a starting point for arts disappear due to the emergence of climate
Cuentacuentos II (The Storyteller II) Alma Sarmiento, 2020
 change. Participants were challenged to create Bibliography
Careri, F. (2002). Walkscapes. Walking as an aesthetic practice.
solutions to major problems, such as “the death
[English and Spanish Edition]. Barcelona: Gustavo Gili.
of globalization and the need to invent a new Deleuze, G.; Guattari, F. (1994). What Is Philosophy? Translated
world order”, “the need for a sustainable and by Hugh Tomlinson and Graham Burchill. London; New York:
Verso.
responsible use of water for all”, and “The Great
Pacific garbage patch”. One of the proposals
involved the creative appropriation of tools such
as Google Earth to visualize territories where
garbage becomes a desirable input for artistic
creations. Other proposals included the creation
of subway cities that function as massive water
collectors and filters; cities that aim to reduce
their footprint on the surface, leaving it free for

ALMA SARMIENTO
energy production through the sun and wind.
All of the proposals aimed to use the future as
a tool for collective action, where creativity
plays a fundamental role in responding to the
challenges facing cities in the years to come.
Reality can be transformed depending on how
22 we tell and narrate it, and thus, by imagining 23
the future, we can begin to change it. Thanks to
the virtual device and the conditions proposed
by this Workshop, bringing together students
and professors who barely knew each other and
working in a short amount of time, we were able
to approach a model of collective action full of
possibilities for opening dialogues between cities.
As Professor Maria Carrizosa noted, this allows
the cities of the north to look at themselves
through the eyes of the cities of the south and
vice versa, experiencing constellations that were
not easily conceivable before the pandemic.

Rien n’aura eu lieu que le lieu (Mallarmé) (Nothing will have taken place but the place) Alma Sarmiento, 2020
 CREATIVITY AND THE CITIES
Alissa Diesch

Hanover and Bogotá - two distant cities analyse the urban and propose new concepts,
of dissimilar character, history and recent promised creative work.
development - are linked by the UNESCO Culture based urbanism understands places of
*Berlin
Creative Cities Network as “Cities of Music”. The cultural and creative production and expression as
*Vancouver
*NYC *Bologna international workshop “Future of Creative Cities already active indicators of urban transformation.
- Creative cities in Exchange” aimed to uncover Furthermore, these sites can be strategic knots
*Monterrey
*Puebla inherent and emerging creative potentials for for new projects, when entered on the assets
Barranquilla* *Valledupar
*Bucaramanga urban transformation the two cities possess. The side for urban design proposals. Concrete places
Pasto*
diverse cultural backgrounds and urban every day of creation and encounter, connected through

ALISSA DIESCH
experiences of the participants and workshop networks reacting to emerging challenges and
*Adelaide leaders were seen as a valuable resource to needs can actively shape new spaces, services
*Santiago
develop and test new concepts for urban and products.
intervention. The encounter provoked a change of Creative industries comprising traditional and
UNESCO Cities of Music, cities of workshop leaders and participants perspective within the respective alleged familiar new disciplines are a growing economic sector -
24 urban context. Needless to say, for the numerous in Bogotá as well as in Hanover. This field is an 25
participants the workshop above all generated a emerging sector of employment; also, the spill
low threshold experience of exchange with like- over effects of cultural and creative industries
minded people around the globe. play an important role for societal cohesion and
Understanding the common affiliation in the can be a fruitful trigger for urban regeneration
“UNESCO Creative Cities Network” as a starting and development. The shifting, reciprocal linkages
point, the workshop opened up explorations to between cultural and creative industries and
discover and engender cultural resources for the cities, creating complex and powerful dynamics,
future of and as a paradigm for innovative and are the common denominator that the UNESCO
cosmopolitan urban environments. The cultural creative city network founded in 2004 aims to
lens of the workshop’s framework and the four explore (UNESCO, IBRD 2021).
working groups provided a platform to exchange Beyond the obvious economic outputs of the
concepts and ideas about creativity and artistic growing creative industries for local development,
relations to the urban space, using them as further ideas how to employ the potential for
possible access points for urban transformation. urban design are explored in different cities
Different aspects of creativity and the urban (Matovic et al. 2018). To understand local policies
were tackled in the workshop: On the one hand, in each of the cities, Alice Moser (Hanover) and
the recognition of the value, the growing sector Gabriel Ortiz (Bogotá) presented projects and
of cultural and creative industries and places on-going debates. Additionally, cultural heat
of social innovation have for urban change maps (on the following pages), based on previous
constituted the thematic framework. On the other research, show the (recognized) cultural and
hand, the methodologies themselves, applying creative places and activities in Hanover and
a broad range of artistic research methods to Bogotá. It becomes clear that the central areas in
Mapas Bogotá // Hannover Alma Sarmiento, Alissa Diesch
 CULTURAL HEAT MAP BOGOTÁ * Biblioteca + Teatro Julio Santo Domingo

*
San Felipe

ALISSA DIESCH
* Galeria Casas Riegner
* Biblioteca Virgilio Barco
* Biblioteca el Tintal
* UNAL Chapinero
26 * 27

* NC-arte
* Museo Nacional
MAMBO Teatro J. E. Gaitan /
* Cinematéca Distrital
**
* Odeon Universidad el Rosario
Bronx Distrito Creativo
* * MAMU / Museo de Bogotá
** Casa B
BLAA / CCGM / Teatro Colón
* Teatro el Ensueño

* * * Biblioteca Tunal
Potocine

* Museo de la ciudad
autoconstruida

* Biblioteca Marichuela

1 km
Map by Alissa Diesch
 CULTURAL HEAT MAP HANOVER

ALISSA DIESCH
* LUH Fakultät für Architektur und Landschaft

* MusikZentrum

* Hafven
28
* Leibniz Universität Hannover 29

* Hochschule für Musik, Theater und Medien

* Kulturdreieck FAUST
** * Music College
* Capitol / Hafven
* Landesmuseum PLATZProjekt
* Sprengelmuseum
* Kre|H|tiv
*

1 km
Map by Alissa Diesch
 both cities are well equipped with multi-layered hidden potentials and new perspectives on the
cultural and creative spaces. However, potentials supposedly familiar urban space (Wildner 2015)
in the peripheral territories are not (yet) fully was a central goal.
identified, activated and linked to the dynamics Eventually, the wide array of methods and
of the centre. The separate working groups approaches enabled fresh discussions and
challenged this situation, digging deeper into the showed and promoted culture and creativity as a
possible resources and exploring new fields of driving force for new pathways in understanding
action. and creating urban space. Recognizing creative
Roberto Uribe in Wild Archaeologies deployed places and people as assets for new urban
concepts of archaeology and the Situationists’ transformation strategies by integrating them
dérive to uncover and extract existing into new networks can also help to activate the
information of the participants’ cities. Overlooked potential of underestimated productive traditions
threats and treasures were brought to light when and generate new value creation loops (Diesch
the participants started using their bodies as 2022).

ALISSA DIESCH
instruments of detection and analysis. Furthermore, encounters like this workshop can
By expanding the use of map-making beyond foster concepts such as planetary relations,
the most common applications, Maria Carrizosa bottom-up globalisation processes, a local-
in Experimental Cartographies developed with global-dialogue (Carta 2007), and support a
the participants unexpected visions, hidden decolonial cosmopolitanism (Mignolo 2011).
30 narratives and new relations between different Digitalisation and the proven application after 31
places all over the world. the years of online teaching/learning helped to
In Places in the Creative City, Martina Massari connect remote places and differing every day
used the frictions of comparing Hanover and experiences. As a result, the workshop engendered
Bogotá to unleash a creative design exercise. manifold and unique “glocal” constellations,
Teams comprising participants of the two cities experiences and exchanges, creating sometimes
were asked to work about common typologies challenging but above all inspiring situations for
in both cities and make use of the differing and all participants in projects connecting through
similar perceptions. time (zones) and space.
Bibliography
Alex de las Heras and Santiago Reyes in A World
Carta M. (2007) Creative City. Dynamics. Innovations. Actions.
without Arts Funding created a set scenario where Barcelona, List.
new roles for art academies and creatives were Diesch A. (2022) Culture and Creativity as Drivers for Circular
to be explored. The participants became part of Territories. In: Schröder J., Cappeller R., Diesch A., Scaffidi
F. Circular Design. Towards Regenerative Territories. Berlin,
a game to find answers for pressing questions Jovis. 54-59.
regarding climate change. Matovic M., Madariaga A., San Salvador del Valle R. (2018)
Creative Cities: Mapping creativity driven cities.12 good
Working about different, seemingly unrelated practices from UNESCO Creative Cities Network. Bilbao,
cities, applying artistic, explorative methods in University of Deusto.

international and interdisciplinary teams was Mignolo W. (2011) The Darker Side of Western Modernity. Global
Futures, Decolonial Options. Durham, Duke University Press.
the aim of the workshop. The collaborative, open
UNESCO, IBRD (2021) Cities. Culture. Creativity. Leveraging culture
platform of mutual learning by exchange became and creativity for sus- tainable urban development and
inclusive growth (https://unesdoc.unesco.org/ark:/48223/
a common project of research and design. The pf0000377427)
intrigued search and re-search for new ways Wildner K. (2015). Inventive Methods: künstlerische Ansätze in der
ethnographischen Stadtforschung. EthnoScripts: Zeitschrift
of knowledge production, representation, für aktuelle ethnologische Studien, 17(1), 168-185. https://
Mapas Bogotá // Hannover Alma Sarmiento nbn-resolving.org/urn:nbn:de:gbv:18-8-8107
 THE CREATIVE CITY AS A LABEL: REFLECTIONS ON ITS USE IN THE GLOBAL
SOUTH
Juan Pablo Aschner

The concept of the Creative City emerged in their population or on everyday popular creative
response to the generic and technocratic model of practices (Ferru et al. 2022). Creativity remains
urban transformation in the West. Bianchini and a subjective perception, and therefore, a creative
Landry proposed a more holistic conception of the place is one that is perceived as such by the people
Creative City in their 1995 book, emphasizing the who occupy or visit it. To measure creativity,
intelligent use of local resources (O’Connor 2020). Yum (2017) proposes an index that considers
However, few cities have fully implemented a the creative class, creative infrastructure,

JUAN PABLO ASCHNER

transformation of urban governance with a and culture, where infrastructure refers to
Workshop creative perspective as originally conceived. the materials and organizational structures
In the early 21st century, the term “creative” necessary for the realization of creative ideas,
The Future of Creative Cities
became popularized thanks to the emergence and culture is manifested in places, buildings, and
of “creative industries” and the “creative class,” people (Alsayel et al. 2022).
a concept coined by Richard Florida. A new Place is a key factor in creativity, it concerns
conceptualization of the Creative City emerged as creative infrastructure, local dynamism and
32 one where citizens use innovation and creativity creative climate. The “soft” cultural capacities 33
to solve social problems (O’Connor 2020; Alsayel that characterize many cities in the Global South
et al. 2022). The Creative City as a concept and have driven a new sense of habitability and
a place attracts a new young middle class that post-industrial economic dynamism (Ferru et al.
values educational and cultural capital and 2022). However, the notion of the Creative City
June 24 & 25 resonates with radical political interventions has become ambiguous due to its dependence on
and global protests of recent decades (O’Connor, both the competitiveness associated with these
July 1 & 2 2020). industries and proximity to marginal social issues
2022 The discourse of Creative Cities has expanded or those linked to local development (Alsayel et
from Europe and the United Kingdom to the al. 2022).
***
Global South, as an attractive concept with great It is important to recognize the complex and
Language potential to generate social value. However, in ambiguous nature of the Creative City to be
English - B2 this transfer from the North of the imaginary able to investigate and mobilize its approach,
of the Creative City, problems of adaptation recognizing its limitations (Segovia and Hervé
Length
and translation have arisen (O’Connor 2020). 2022). Despite its problems of adaptation and
16 hours of direct accompaniment Local authorities in the Global South have used translation, the Creative City remains a valuable
of teachers and lecturers
the Creative City label as a rhetorical device to concept in the Global South, where it has the
Online mobilize conventional economic development potential to generate social value and contribute
Organized by
strategies, mainly for territorial marketing to post-industrial economic dynamism.
Microsoft Teams
purposes (Ferru et al. 2022). Academic literature has pointed out certain
The definition of a Creative City may vary. Some shortcomings in the approach to the creative city,
authors focus on the presence of “creative highlighting the prioritization of economic goals
industries,” while others focus on the talents of and the lack of attention to redistribution and
Cover of the Brochur Workshop The Future of Creative Cities (Design by Julian Carvajal, Universidad del Rosario)
 equality (Segovia and Hervé 2022). To achieve a Bibliography
Alsayel, A.; Jong, M.; Fransen, J. (2022). Can creative cities be
socially inclusive creative city, it is necessary to
inclusive too? How do Dubai, Amsterdam and Toronto
leverage the creative and cultural sectors at the navigate the tensions between creativity and inclusiveness
in their adoption of city brands and policy initiatives?. Cities.
grassroots level in the urban fabric. Likewise, it is 128. Article 103786.
crucial to bring together the creative industries Bianchini, F.; Landry, C. (1995) The Creative City. Demos, London.
and informal, popular, or non-mainstream agents Cerisola, S.; Panzera, E. (2022). Cultural participation in Cultural
and Creative Cities: Positive regional outcomes and potential
who operate in creative fields but face threats congestion concerns. Papers in Regional Science. 101. pp.
of precariousness and gentrification. To this 1245-61.

end, it is important to foster the emergence of Ferru, M.; Rallet, A.; Cariou, C. (2022) A topological approach to
the creative city: artists’ perceptions of cultural places in
intermediary places where actors can gather and Paris, Journal of Economic Geography, 22(6). pp. 1125–48.
interact, promoting the development of urban Florida, R. (2012). The rise of the creative class, revisited. New
York, Basic Books
creativity (Ferru et al. 2022).
O’Connor, J. (2020). Creative Cities, Creative Classes and the Global
These temporary and alternative places, which Modern. In: Gu, X., Lim, M.K., O’Connor, J. (eds) Re-Imagining
could be called “local artistic small worlds” or Creative Cities in Twenty-First Century Asia. Palgrave
Macmillan, Cham.
creative districts, can foster social inclusion
Segovia, C.; Hervé, J. (2022). The creative city approach: origins,
and maintain a diverse and sustainable creative construction and prospects in a scenario of transition. City,
Territory and Architecture. 9. Article 29.
environment (Ferru et al. 2022). On the other
Yum, S. (2017). The Spatial Patterns of Creativity in the U.S.
hand, implementing strategies focused on Metropolitan Areas. Business Creativity and the Creative
“place quality” is essential to promote new Economy. 3. pp. 99-109.

34 ideas, strengthen and diversify the creative 35

class that needs to think “outside the box” and
Instagram Post confront entrenched beliefs. This includes not
only local facilities but also an open and tolerant
environment (Alsayel et al. 2022).
In addition to these measures, cities can promote
cultural participation as a means of generating
stronger public support for cultural spending and
policies, which in turn would support the financial
sustainability of creative districts and ensure the
future of cultural industries (Cerisola & Panzera
2022). In summary, achieving a socially inclusive
creative city requires the consideration and
inclusion of diverse factors and actors to ensure
a sustainable and diverse dynamic in the urban
fabric.

Juan Pablo Aschner Dean, Full Professor Faculty of Creative

Studies, UR
Bronx Distrito Creativo
 PLACES AND PRACTICES IN-BETWEEN THE CREATIVE CITIES
Martina Massari

Workshop description Methodology

Places and Practices in-between the Creative The workshop was structured with several
Cities proposed to create “a tale of two cities” mixed-method activities, oriented toward three
from the understanding and interpretation of the objectives:
shared strategic framework and spatial dynamics
of the UNESCO Cities of Music in Bogotá and 1) The LEARNING COMMUNITY CREATION. The
Hanover. The collective narrative was realised by aim was to visually define who we are as a group,
a group of multidisciplinary members who worked our expectation as participants to the workshop

MARTINA MASSARI
as in an atelier, where different skills were put to and our preliminary knowledge of the two cities.
work and shared. The aim was to realise a narrative Adopting inclusive and accessible visualizations
of the two cities in a unique constellation of two activities formed the basis for the learning
practices, made of relations between places, community.
new connectors and new connections related to
cultural practices.
36 37

Postcard Creative Streets Hannover 2072 Learning Community Creation Screenshot during Workshop
 a. A shared glossary galaxy was defined, based 2) The KNOWLEDGE CREATION and ROOTING.
on a group collection of grasped concepts (from Starting from the pattern of concepts and words
the workshop lectures) and hints emerging from created and organized, the Atelier defined a
personal participants’ experiences to deepen in practices and places’ mapping. A preliminary
the two cities’ environments. brainstorming of personal and professional
b. From the shared glossary word cloud, the experiences concerning creative and cultural
following step entailed a collective patterns places allowed to portray a case study selection
detection. Alliances were formed between of creative practices to analyse and reflect upon
concepts, clusters were created, and patterns collectively. A virtual navigation towards specific
established. places determined a grounded detection of drivers
The goal of the Learning Community has been to and barriers for the creative transformation to
transform and catalyse participant’s knowledge kick-off.
and expertise into tangible, operative value to be

MARTINA MASSARI
transferred into the project proposal.

Collective Patterns // Concepts // Clusters Screenshot during Workshop

38 39

Knowledge Creation and Rooting Screenshot during Workshop Shared Glossary Galaxy Screenshot during Workshop
 3) The VOICING of THE VISION FOR THE FUTURE. The creative market, communities in exchange
As a final step in the creative process towards the This proposal stemmed from an initial work to
actual narration of the two cities, two activities get to know the two UNESCO Cities of Music, and
were held: from an in-depth study of common needs and
a. Creative practice fictionalising, drawing from opportunities. Food, music, art, dance, integration
the technique of “design fictionalising”, the emerged as key aspects from which to build a
activity foresaw the sketching of a scenario (in network of connections between Hanover and
50 years) that allowed the participants to reason Bogotá. These premises inspired a proposal for a
how to act now to reach it. It was a moonshot method, oriented towards place-making, everyday
for participants to work towards with the help of art, tactical urbanism and co-design. But above all,
existing case studies of creative practices in the they identify a type of place where the reflections
public space. landed and from which the two cities could be
b. Postcards from a memorable place: one of brought together: the markets.

MARTINA MASSARI
the results of the workshop was a graphical For Bogotá, the market of Plaza La Concordia was
representation of the fiction created. A message chosen, a redeveloped place in danger of losing its
to convey to the inhabitants, researchers, traditional identity to respond to global market
activists, creative practitioners, youngsters of the logics at risk of succumbing to gentrification.
present to achieve the vision for the future. For Hanover, the group proposed to work in the
Market Hall area, a central zone to be activated
40 in a creative way. The proposed vision answered 41
Summary of results three questions: How does the market react to
The Creative Market - Communities in Exchange Plaza La Concordia, Bogotá The workshop was carried out from the beginning climate change? How does the market and the
in a collective manner. The group worked in food process integrate technology? What does
Atelier mode, with participants first familiarising the market offer for the community and how can
themselves with the group and then constructing Bogotá and Hanover be connected?
an initial self-descriptive narrative. The result The results of the proposal can be read as pictures
of the learning community phase saw the of a desired future, the markets will become
production of a galaxy of words that formed adaptable to future urban conditions and even
a shared glossary, a vocabulary of project safe places where to anticipate creative answers to
intentions, values, premises and design postures. urgent challenges. For instance, as climate change
These were clustered into recurring patterns requires a rethinking of the way we manage energy,
and oriented towards bringing oneself into the resources and waste, the future food market
project and sharing knowledge of the places and will be modified and optimised by new technical
practices of the two cities and beyond. Two teams achievements and will be waste-free. The local
then set up and worked on the realisation of a community will find its place in the future creative
couple of distinct projects: “The creative market, market, which will be identity-based and rich in
communities in exchange” and “Creative Streets”. culture, history, art and music. From the markets
the two Cities will create alliances, dialogues and
new hope for the local communities to pursue a
more sustainable urban future, by leveraging their
cultural strength.

The Creative Market - Communities in Exchange Markthalle, Hannover

 Creative Streets of culture acquires solid foundations, comes to
With an influx of population and rising climate life through everyday practices, and emerges
temperatures, it becomes crucial to speculate how in multiple forms out of the ordinary. The street
we can bring together the community and design becomes a stage for public and social life. No
for the social, political, and economic needs of longer a ribbon to be crossed, but a permanently
the future. Creative Streets is a proposal that animated public space. The communities that
envisions a dynamic special framework to unite are proposed to inhabit the Creative Street are
the city of Hanover and Bogotá through music and built around common, impermanent, but strongly
art. It emphasizes the importance of how the city globally connected challenges.
thrives on the togetherness of its community and The same can be said of the market, rethought
thus the group chose to develop a street/highway as an ideal place of exchange for practices,
into a hybrid space of gathering, performance, productions, and services that germinate from the
and art hub. The year is 2072, there is great places themselves and are distributed in a known

MARTINA MASSARI
migration of people from city to city to experience environment, a place in which to feel recognised
both the familiar and the unknown. An outburst and in which to reconstruct those bodily ties that
of colourful songs and aroma of international distance, disconnection risks impoverishing.
delicacies fill the air as residents enjoy the fusion Ultimately, the street and the market represent an
of beautiful cultures and traditions. The cities of attempt to recall the need to return to the need
Hanover and Bogotá become bridged through the to discuss relationships, the only antidote to the
42 social innovation of sustainability, culture, and consequences of an unsustainable evolution of 43
community. urban societies. Such relationships, if born from
Creative Streets Hannover 2072 place-based practices, are capable of uniting and
Conclusions discussing the cities of the future: connected,
Places and Practices in-between the Creative dynamic and open to change.
Cities was first and foremost a collective
experimentation, a creative design exercise built
by an international learning community. The
starting point for telling a new collective story
for Bogotá and Hanover were the places, which
tell the most about these two cities: places dense
with culture, art, aggregating spaces of sociability,
creative environments, strongly linked to the
context but also widely connected in the global
world, located in the middle of the processes
of social transformation. It was an exercise in
knowledge-creation that, by necessity of time, was
fast and intense. For this reason, the places of the
two cities became privileged vantage points from
Participants
which to create inter-cultural and international
Creative Streets: Gabriela Acuna (URosario), Angelica García
links and dialogues. (UGC), Alisha Khan (CCNY)
The two places chosen as archetypes are: the street Creative Markets: Daniel Buitrago (UNAL), Manuela Jaramillo
and the market. Original places where the concept (UR), Maria Hernandez (UR), Mafe Sanchez (UC),
Rebecca Wehling (LUH)
Creative Streets Bogotá 2072
 WILD ARCHAEOLOGIES
Roberto Uribe Castro

The germination of the 21st century through the virtuality seems to detach us from the symbolic
rubble load that makes meaningful our living in an
The new generations have received a world that analogue and tangible dimension, it is important
begins this millennium with a mountain of rubble. to reconnect with a closer reality.
The attack and subsequent collapse of the Twin
Towers in New York on the 11th of September 2001 Wild Archeologies (Ebeling 2012)
marks the end of an era where powers seem to The proposal of this workshop was to make a
be contained and represented on those towers break with the linear and chronological way of
moved in real time and infant of a globalised thinking that has dominated Western thought

ROBERTO URIBE
audience to digitalised realm (Baudrillard 2003). and logic for centuries. The postcolonial
Relocation of power and symbolism found echoes political order provides a way to make a break
at Documenta 11 in 2002. Okwui Enwezor, the with normative and hegemony, and bridges us
first non-European curator of this important towards a more inclusive universal order. The
world art event, proposed a concept of platforms idea of using tools and methodologies borrowed
44 with events extended in time (5 years) and in four from a discipline such as archaeology has its 45
continents1 framed in a powerful postcolonial reason in that archaeology contrasts with
discourse where spatiality and temporality play history as a discipline that draws its knowledge
an important critical role2. from stone ‘monuments’, while history draws its
The objective of the Wild Archaeologies workshop knowledge from documents and archives whose
is to provide participants with a methodology to materiality is usually linked to paper (documents).
critically understand our urban environment and Paradoxically, it is archaeology as a discipline of
to extract existing information in the public space the 19th century that lays the foundations for
of urban territories using the body as a tool close neo-colonialist practices in the 20th century in
and accessible to all, in order to produce projects, both Africa and the Americas.
interventions and reflections that contribute These archaeologists break with the traditional
to the knowledge of stories and circumstances discipline of archaeology anchored in the 19th
less visible and yet of crucial importance for the century, for although they share ties such as
development of more inclusive and just urban their constant solidarity with the unexpected,
environments. Now our globalised and hyper- wild archaeologies draw from diverse sources:
connected world through a virtual technology texts, archives, photographic documents or
that seems to occupy everything, and where information gathered from fieldwork as well as
1 the four previous years to the exhibition the
personal impressions to show and highlight that
Documenta 11 had debates, workshops and conferences in the world of material things and objects seen as
Europa (Vienna and Berlin), Asia (New Delhi), the Americas (St.
Lucia), and Africa (Lagos) debris often enclose a cultural past very different
2 Postcoloniality, in its demand for full inclusion from that which appears in academic texts that is
within the global system and by contesting existing episte-
mological structures, shatters the narrow focus of Western important to include. The terminology ‘wild’ does
global optics and fixes its gaze on the wider sphere of the new
political, social, and cultural relations that emerged after World
reference in an ironic way to the fact that these
Las Torres Roberto Uribe War II. (Documenta 11 2002)
 ROBERTO URIBE
46 47

The emblematic Café Pasaje located on Plazoleta del Rosario in Bogotá has inside on a large wall located on the South side a series of
photographs of New York and the unforgettable Twin Towers. Some of these photos recall the horrors of 9/11. Some of these pictures are the

ones taken by Richard Drew. This wall reminds us that this event not only dislocated the memory of the place itself at the down of the 21st
century, paradoxically this wall also reminds of how the urban memory of a city can, in the era of hyperconnectivity, be anywhere. Photos and captions by Roberto Uribe
 approaches do break with a tradition anchored in the construction of the towers in 1973. The
Europe and by having a long-established tradition Situationist International was a movement (1958)
that is in these new ways re-shaped, re-arranged around the figure of Guy Debord whose aim
and re-established from a point of view from the was to transform daily life in the modern world
Global South. through the creation of “situations” defined
Knut Ebeling in his book “Wilde Archäologien”, as a moment in the life of the city ”Concretely
from which this workshop borrows its title, and deliberated constructed by the collective
describes five different types of archaeologies; organization of a unitary”, in other words for
The archaeology of metaphysics (Kant), that of the Situationist international the city was seem
the soul (Freud), that of Modernity (Benjamin), more than as a physical container, an assemblage
that of knowledge (Foucault) and finally an of structures and routes, of functions and their
archaeology of the media (Kittler). All of them interrelations, a place of potential reciprocity and
form the wild archaeologies that form the basis of community rather than a location of work and
this workshop. As Ebeling himself explains, while passive consumption (Mcdonough 2009).

ROBERTO URIBE
this in the case of archaeologists and archives This workshop took three basic aspects in the
allows a glimpse into our past, they are if you tours, relating these aspects to some of the Wild
look closely this glimpse into the past orients us Archaeologies (Ebeling 2012), adapting them
towards the future. at the time of the fieldwork: the archaeology
In this workshop we use the public space as the of metaphysics (what lies beyond the physical
48 field of research and as the source of materials aspect of a place) , the archaeology of the soul 49
collection. Streets, sidewalks, parks, urban (what background in us personally and culturally
furniture and bodies of water are welcome to make us perceive a place or a space the way we
become a laboratory where students produce do) and the archaeology of knowledge (which
and collect, drawings, videos and sounds of a information can be traced in the place from
landscape that might not be there in the future. related to other sources). Using our body as a
The goal is to create a narrative and leave the vehicle to capture information that would later
traces for future generations to understand our be processed in groups, they were asked to focus
actual standing point in history. For this workshop on physical elements of their environment and
the idea of ‘The Future of Creative Cities’’ was be their meanings:
approached from the perspective of the city as
a historical document framed within a political, - Objects, buildings, marks, traces and in general
social and cultural discourse that is possible to the physical elements present in the public space
modify and intervene. on a personal and social level (metaphysics),
- Reflect on their emotions, fears, memories,
The Situationist, the city and the drift and the impressions in their journeys (soul).
production of ‘Mental maps’ - Link these experiences and impressions and give
The symbolic load contained in the image of the them a context from texts (knowledge).
Twin Towers collapsing embodies the end of an
era for the construction and understanding of The Wild Archaeologies workshop is presented as
the cities. There is, however, a genealogy that a strategy to approach the city from the body.
shows us an alternative to this way of city and To this end, we take as a basis some of the work
economy that was in the making even before methodologies practiced by the International
One Path - Four Cities
 Situationists. The first of them is the organisation and later explore common points.
and realisation of dérives or drifts that consists of Bucaramanga: Inequality to the accessibility of
making tours around the city to find that ‘other’ transport that lead to informal options (moto-
that usually escapes our perception in the day taxis).
to day. Information that is usually embedded in Medellin: The daily route was analysed from the
these ‘historical landscapes’, buried or hidden but perspective of perceptions specially aspects such
not disappeared (Ebeling 2012). as personal safety.
To this end, each group of students established Bogotá: This drift was made thinking about the
rules that would guide during the drifts. The dérives pedestrian experience with respect to other
are made to sharpen the senses and thus unlock transportation systems such as private vehicles
the secrets held within the urban landscapes 3. To and Transmilenio system. Again, safety appears as
document these tours, participants were asked to a determining factor.
think of more analogous options such as pencil Hanover: Conflict on crossing point between
and paper to take notes and make drawings, or if pedestrian and bicycle. It is efficient and well

ROBERTO URIBE
decided to use digital media, prioritise voice notes implemented from the pedestrian perspective.
and recording ambient sounds over photos. Public transport and bicycles seem to be used by
The students were located in their home towns different groups of population.
of Bogotá, Bucaramanga, Hanover, Medellín and
Pasto and we manage to get together thanks to The group worked through an outline of words
50 digital media (chat rooms and emails). In this way, noted during the tours and with the help of 51
the idea of spatial and temporal equity, mentioned graphs and drawings made by each member came
One Path - Four Cities above when referring to post-coloniality, was to the following conclusions:
sought to be present. As a product, groups - The pedestrian and commuter experience
were encouraged to produce mental maps or on public transport is a cultural one, reflected
visual interpretations similar to the ‘psycho- in perceptions such as safety. It is therefore
geographic’ Situationists, videos documenting important to think about alternative transport
their drifts. More than an accurate descriptions systems that can include informal and formal
of urban realities, the aim was to find ways to ways.
describe graphically their interpretations and the - The complex relations in transport understood
impressions of the routes in a critical way. Below as urban infrastructure leads to the question:
are the results obtained by each of the groups. Who makes the decisions and what political,
social and economic interests are behind them?
One Path One Path - Four Cities - The factors that make transport efficient are
Four Cities varied in nature. Economic, social or a technical
The group worked concentrated the drifts made design that responds to social phenomena and
around the topic of public transport. Starting characteristics as well as to the particular needs
from a pedestrian perspective along their usual of a population are important variables.
daily walks. The group made different attempts to - Thinking of cities in a decentralised way and
understand particular issues to each of the cities with flexible and expanded schedules during the
3 “However, for the Situationist these plans cannot day can contribute to decompressed areas and
be reduced to a purely individual response to the urban terrain;
cities were for them profoundly historical landscapes, whose routes of transportation.
current appearances were shaped - as geological strata underlay
physical landscapes - by the successive events that time has
One Path - Four Cities buried, though never completely effaced (Mcdonough 11)
 Different Bodies, Different Cities What happens if you walk without looking? what
The set framework by this group was to explore happens if you eat with your hands? what happens
the city by exploring their own bodies, so, they if you walk differently than normal? what happens
activating consciously some of their senses if you lie down in a chair? The goal was to change
while inhibiting others. Another exercise they the perception of the city.
did consisted in changing willingly their bodies
(becoming big or small) or the way they moved Walking through a Sustainable City
through the public space (walking with only one The group set for themselves a focused on the 11th
foot). As a last exercise, they stayed for long periods goal of United Nations that focuses on Sustainable
of time in the public space, inhibiting one of their Cities and Communities, paying attention specially
senses (e.g. closing their eyes) what leads them to to issues related to gender inclusion and social
be more aware of their immediate surroundings. inequality4. The group set some questions for their
With this they sought to acknowledge aspects drifts:
that determine the way in which we inhabit public

ROBERTO URIBE
places based on physical differences that may be - What aspects determine inequality in public
represented by gender, age, temporary or chronic space?
illnesses, physical disabilities, etc. - Who is welcome in a public space?
In their drifts the group made video recordings - Who’s is allowed only to transit?
where they managed to transmit through images - Is there people that can change the feeling of
52 that jump unexpectedly and whose focus easily security? 53
loses the horizon and shows the difficulty of
Different Bodies - Different Cities Screenshot inhabiting many of the places visited when the The group came to the following conclusions:
urban space presents difficulties for bodies that
don’t fit the norm. - Preconceived ideas about graffiti, for example,
The group was able to reach the following can lead to the stigmatisation of areas of the city.
conclusions through these exercises: A good example of that is the presence of graffiti.
- Some areas can be perceived as dangerous
- Changing your body shape has an impact on the depending on age and gender. Construction sites
way public space is transit or inhabit. It also has an are often seen as areas where women could be
impact on the perceptions on safety and comfort sexual harassed. That shouldn’t be the case.
by making the the person fell more vulnerable. - Security cameras and the presence of police does
- It reveals contrasting experiences, perceptions change the perception of welcoming or danger can
and sensations from the ones made on an everyday be determined by ethnicity and socio-economical
experience. backgrounds.
- It can also reveal privilege and discrimination. - The permanence and use of the public space can
- We can think and build cities prioritising diverse be determined also by socio-cultural background:
bodies and senses. Design must reflect this on the In some cities the permanence in public areas is
public space. consider hostile while in other is a sign of security.
This can also change according to economics: a
As a final action the group decided to do a traffic light can be an area of permanence and
public action that consist in Post-its written 4 United Nations has set an agenda for 2030 that
consist in reaching 17 goals in order to face the climate crisis
with suggestive/triggering question such as: the growing economic inequality and hunger in the world.
Different Bodies - Different Cities Videostill (https://www.globalgoals.org/)
 income place for some population while just a Even the most documented event in the history of
transit one for other. mankind also has a blind spot. ‘The Falling Man’
- Design can be an element of inclusion. One a photograph by Richard Drew occupied many of
example is embossed tiles that help blind people the world’s newspapers on September 12th 2001.
to recognise crossings or those in wheelchairs to Today the image is taboo, an example of how
control their speed when descending a ramp. sometimes history isn’t a compilation of what has
been, but rather a selection on what we choose
The City as a never-ending Archaeological Field to see it it (Junod 2016). And here is when the
The possibilities of such a workshop opens up Wild Archaeologies, come into play, to give us
the possibility for exchange of knowledge and the necessary tools to bring to light those fears
experiences about similar topics having the and prejudices that have been covered in order
chance to compare situations that might be to expand the world we inhabit, making it more
radically different while experiencing similarities diverse and fascinating even if sometimes we
or crossing points of research. The students have through the rubble of glass and steel.

ROBERTO URIBE
were able to approach their cities from a close
perspective something their bodies interacting in
the public space allowed them to do. At the same
time their senses became a powerful tool to come
to conclusions and to open new possibilities for
54 future works in their creative fields. 55
The way we approach a city determines our
Walking through a Sustainable City Screenshot Presentation communication with it, what we will be able to
extract and what we will be allowed to leave in
its urban fabric. In Quaderns magazine (2002)
dedicated to New York City right after the attack
on the Twin Towers the editorial says: “The leap
to a smaller scale, the search for specifics and
an instance on the minimum intervention are
Bibliography
paradoxically determinant in articulating this look
Baudrillard, J. (2003) Requiem for the Twin Towers. Verso
at a city which operates in a global territory and
Documenta11. (2011) Exhibition Catalogue. Black Box
projects a powerful, saturated image worldwide”
Ebeling, K. (2012) Wilde Archäologen. Kulturverlag Kadmos
Creating more inclusive and equitable cities isn’t
Junod, T. (2016) The Falling Man. An Unforgettable Story. Esquire
a task that can be summarised in a workshop, 09/2016
nevertheless it is important to develop tools that Mcdonough, T. (2009) The Situationist and the City. Verso
allow us to identify how these inequalities and Quaderns 232 (2002) New York Notebook
injustices may have their origin in the difficulty
Participants
of developing sensibilities that seek empathy with
One Path - Four Cities: Héctor Palacios (USTB), Alba María
the ‘other’ with those around us. Sometimes we Perez (LUH), Daniela Pineda García (UNAL), Andrés
Felipe Pinzón (UR)
choose to ignore or simply have not been able
Different Bodies, Different Cities: Angel Baron (UN), Manuela
to include in our radar of priorities therefore it Bonilla (UNAL), Paula Alejandra Tibocha Ruiz (UR)
is important to keep in eye on the human scale Walking through a Sustainable City: María José Lema (UR),
where finally all converged. Sara Moncada (LUH), Juan Pablo Salas (UR), María
Camila Sánchez (UR)
Walking through a Sustainable City Screenshot Presentation
 EXPERIMENTAL CARTOGRAPHIES
Maria Carrizosa

Description at three different cities: New York, Hannover,

Maps are tools to make visible the invisible. They and Bogota. Maria Carrizosa, who teaches at
are instruments that help the unseen be seen. The New School and at the City College of New
Maps endow the cartographer with a mighty York, Riccarda Cappeller who teaches at Leibniz
power: the power to create and to erase. As such, Universität Hannover, and Ana Prada who is a
they are both creative and political instruments. digital community cartographer at Humanitarian
Cartography reminds us that there is no creative Open Street Maps based in Bogota.
endeavor that is not political, and that all political

MARIA CARRIZOSA
actions are at the same time aesthetic. Methodology
When adding the malleable adjective Day 0
“experimental” to the seemingly technical The Workshop begun before meeting everyone
“cartography” noun, we invited participants to for the first time. Instructors asked participants
map as an excuse to design, as a launching pad to share three images. They were told: “one map
for creativity, and also as a channel to collaborate you like, one image from your city, and third
56 easily with participants across geographies and image from another city that you care about. 57
time-zones. The map was the way to collectively Each person will have two min to present yourself
store research and creative data, the map was the and these images. This will speed up the process
venue to engage. of getting to know each other”. This canvasing
This workshop distanced itself from the proved powerful. People brought up all sorts of
“creative class” narrative (Florida 2002) that has examples, from a 12th century world map with
successfully travelled around the world, seeding rotated north (Fig 1), to the fantastic alternative
urban interventions that are appreciative of the future of Bogota’s extensive subway network (Fig
entrepreneurial energy of creative industries and 2). We also shared two short readings to warm
that invariably commodify and gentrify local up the sessions. One was a section of Species of
energies. Instead, out approach was modest and Spaces by George Perec (1974), where he says:
pragmatic. We centered the efforts on mapping If “Nothing strikes you. You don’t know how to
methodologies (note the plural). It introduced see. You must set about it more slowly, almost
participants to a repertoire of interesting maps stupidly. Force yourself to write down what is of
throughout history and made emphasis on four no interest, what is most obvious, most common,
ways of mapping methodologies that the students most colorless... This undertaking, [is] not so
could use and adapt as they created their own. dissimilar in principle from a ‘time capsule’” (17).
The Experimental Cartographies workshop had 15 Indeed, perhaps the maps of this workshop can be
multidisciplinary cartographers both North and thought of as time capsules.
South of the Equator. Students were pursuing
undergraduate and graduate degrees from Day 1
eight universities in six cities spread through Our first session was planned to the minute, and
four countries. We had three instructors based every participant got to speak. The welcome
América Invertida Joaquín Torres García 1943
 MARIA CARRIZOSA
58 59

Fig. 1 . World Map (Al-Idrisi, 1154) Fig. 2 Mapa Férreo de Bogotá (Suarez 2018) Fig. 4 Phytogeographical Regions Quito to Loja (Caldas 1802)

Fig. 3 Fragment of Carta Marina (Olaus Magnus 1539) Fig. 5 Space-use intensity diagrams (Carrizosa 2021)
 statement made three points clear. First, maps are people in seven categories from wealthy to poor
never perfect replicas of reality, instead, they are and labels poor classes as “vicious” and “criminal”,
always creative pieces. Second, maps make visible disregarding the sins of the rich! We also
the invisible so in that sense, the cartographer commented on a recent crowdsourced online map
has the power to make real the unseen. Third, the of the globe showing our world is firm not made
mapping exercise we would do is collaborative. of countries with firm administrative boundaries
Following, as a way to introduce ourselves, we all but rather of intersecting and fuzzy indigenous
shared where we were, the maps we like, an image territories, treaties, and native languages1.
of the city we belong to, and another one from a We also referenced Afrofuturistic mappings
different city we wish to be connected to. Then that create utopian worlds and soundscapes
it was time to answer the elephant-in-the-room to vindicate Black power through speculative
question: “What are maps?”. To do this we begun fiction. We explained the power of mapping to
defining (and right after questioning) the basic parse out extremely large datasets like Twitter’s

MARIA CARRIZOSA
cartographic elements: title, author, north, scale, opensource API data.
projections, legends, insert, and source. Two examples resonated the most with the
Questioning the basic cartographic elements participants. Sensory maps that “organize
is crucial. For instance, what happens if the wonder”, as Peter Steinhart asserts. They trace
north is not up high, but down below? Even the sounds, textures, and smells of cities, to open
mental pictures we have of country sizes differ up new ways of exploring. Over 650 smells were
60 from the “real” ones. Just shifting away from the detected by 44 people undertaking 10 smell 61
traditional Mercator projection to alternative walks over a period of 4 days in April 20132. We
Connections: Music Venues ones like the Peter-Gall’s, reveals that when also showed 16th century nautical maps where
our three- dimensional globe flattens onto medieval cartographers could not bear empty
the two dimensions of the map it distorts land open spaces in the seas (horror vacui), so they
masses, affecting the shapes and sizes of whole populated the ocean with fantastic creatures (Fig
hemispheres. The truth is, simply put, that the 3). The sea monster maps embody fears of the
Global North is smaller than what our mind eyes unknown, they dress up and color horror. These
have been trained to believe. Questioning the examples and others sparked ideas and curiosities
given “technical” attributes of a map renders proved fertile later.
visible its political or poetical statements After this explorative tour, the workshop moved
(América Invertida p. xx). In fact, cartography on to reflect on how to do experimental maps.
has historically been an instrument of coloniality, The suggested strategy was to record individual
and in the same fashion, it can also be a powerful observations of a place and then adapt one
decolonization tool. of four methodologies to create a collective
Following, the instructors made a quick overview speculative piece. It was important to remind the
of a dozen awesome maps throughout history, cartographers that methodologies are not rigid
an opportunity to share the results of years technicalities, but ways to do things. We warned
of treasure-hunting for eye-and-brain candy the mapmakers that methodologies are tools, not
and show the breath and scope of what maps rules, so they should feel free to use them, abuse
can do. We touched upon Charles Booth’s 1889 them, and bend them.
Descriptive Map of London Poverty. The legend 1 http://native-land.ca
of these large- scale hand-drawn maps, classify 2 https://sensorymaps.com/product/flower-explosi-
Connections: Music Venues on-spring-scents-smells-of-the-city-of-amsterdam-2013/
 The first methodology described was the Catalytic Communities in Rio de Janeiro5.
psychogeographic derive developed by The third methodology was the space-use
the Situationists, a movement of social diagrams. Inspired by time-use surveys that
revolutionaries, artists, and theorists, inspired by document multitasking, these simple drawings
surrealism and anarchism, who operated between record mixed-use within buildings. They use the
PARQUE LLERAS 1952 and 1972. According to their 1958 (anti) same colors of traditional land-use maps (yellow
LATIN LOVER manifesto, psychogeography is defined as: “the for residential, red for commercial, blue for
Character of daily life
in Latin America. He is
study of the specific effects of the geographical services, purple for industrial, and green for green
PAPI JUANCHO
dressed as a gala, patent
AKA Saint Maluma. The
white shoes and has a gold environment (whether consciously organized or spaces), and use letters to record different types
tooth that glows in the dark
patron of “reggaetoneros
gomelos“, he is said to be
similar to Pedro Navaja not) on the emotions and behavior of individuals.” of users. The space-use diagrams summarize the
vigilant about those who go
out during the full moon’s
nights
Derive is defined as: “A mode of experimental information gathered via “house interviews”,
INVISIBLE behavior linked to the condition of urban society: where the cartographer interviews the space
VALLENATERO
One can hear him close when he
a technique of transient passage itself via conversations with residents and a

MARIA CARRIZOSA
is far away, and far away when he
is close. He tends to play vallenato through varied ambiances.” The purpose of the forensic reading of impromptu photographs
music, angry at Papi Juancho
because he displaced him. psychogeography cartographer is not to have a of each room of the house. This way of looking
ODALISQUES
purpose, but instead let herself be drawn through at houses, especially in informal settlements,
A race of beautiful women
that only appear at night,
offering a good time
the city by the city, hence discovering unities of reveals that houses are used less for residential
to unfaithful men, who LA CHIVA
disappear to not come ambiance across the city3. than for economic purposes (Fig 5).
again. Those who jump in it, appear
again after a week of incesant The second methodology we studied was the The fourth and last methodology explored were
party, at the verge of exhaustion
62 transect. A transect is a cross-section drawing the cartographic collages. Because, as Steven 63
that shows differences across a landscape. These Holl explains: “Unlike painting or sculpture from
Monstruous Medellín drawings use a mix of drawing and text, making which one can turn away, unlike music or film
the result data-rich, technically informative, that one can turn off, architecture surrounds
MONSTER BINGO BOOK THE KINDRED SPIRITS and also beautiful. The most famous transect us. It promises intimate contact with shifting,
Temperamental spirits, but give hope and happiness to
Medellín... sometimes they seem to be very whimsical.
is Alexander von Humboldt’s drawing of the changing, merging materials, textures, colors, and
THE NARCO-BEASTS THE NIGHT-MONSTERS
Chimborazo peak (1805), which details in its wide light in an intertwining of flat and deep three-
Dreaded by everyone, no one even dares to speak out They only appear at night, the perfect moment to commit
loud of them due to the fear of giving them strength their misdeeds margins the location of different species of plants dimensional parallatic [meaning shifted from
Ruins of España Library Botero Flying Scultures at different altitudes. Much less prominent, its apparent position] space and time.” Collage
though more technically sophisticated and done is a queen among the methods and remains an
earlier, are Francisco Jose de Caldas’ transects accessible, fertile, playful, and potent means of
He-Who-Shall-Not-Be-Named Narcotic Park Papi Juancho J Balvin Hugerflfliies Saint Benito of the phytogeographical regions Quito to Loja creating fictional realities. Participants found it
(1802) (Fig 4). Ecology and rural studies also use particularly useful for their digital and remote
transects to capture indigenous knowledge of working-from-home, pandemic realities.
their landscapes 4 . Community participation can Before closing the first day, the 16 participants
The Arc-Plane Vanishing Monaco The Latin Lover The Invisible Vallenatero Cable-Elevator Orquideorama
be facilitated by the use of transect walk maps were split into four groups of four, guaranteeing
in slum upgrading processes, like this example by both similarity and difference: there were at
least two people sharing a city and at least two
The Slums Giantppotamus Odalisques The River Ink The Wormhole La Chiva
3 See: https://www.frac-centre.fr/_en/art-
people from different countries on each group.
and-architecture-collection/debord-guy/guide-psychogeo- Group were sent home with the task of bringing
graphique-paris-discours-sur-les-passions-l-amour-317.
html?authID=53&ensembleID=135
a rough idea about what map they wanted to do
4 https://www.nzdl.org/cgi-bin/library?e=d-00000- in the workshop. They were to clarify an interest
00---off-0cdl--00-0----0-10-0---0---0direct-10---4-------0-0l-
-11-en-50---20-about---00-0-1-00-0--4----0-0-11-10-0utfZz-
or topic, decide how to split the work and how
Monstruous Medellín 8-10&cl=CL2.18&d=HASH4e8d719444cc22d4187522.2.5.10&gt=1 5 https://catcomm.org/transect-walk/
 to merge it, discuss the scale, and the type of even beautiful dead ends. Let these snapshots
visual representation they felt comfortable be invitations to follow their creative practices,
developing. They were reminded to “make a map, and inspiration to conduct more workshops
not a tracing” (Deleuze & Guattari 1987). And also of experimental cartographies every time and

Physical scenarios that the real should only be the excuse to begin everywhere.

Cafè Glocksee
experimentation, not the final goal. An effective

Kulturzentrum Faust
experimental map enables new realities: it digs, Connections: Music Venues

Amira De La Rosa Theatre

Municipal School of Arts

Caribbean Film Venue

finds, exposes, related, connects, re-structures. This group analyzed three very different music

Apollokino

Capitol
venues scattered throughout the world: the

Zukunftwerkstatt (Ihme-Zentrum)
Day 2 Staatsoper in Hannover (characterized by

Kulturpalast Linden e.V.

Carnival Museum

Prado Hotel
José Consuegra Higgins Theatre
The second day was already a day at the sandbox. urban movement); the Orpheum in Vancouver
44 Avenue

Thrills, synchronicity, anxiety, communication (characterized by urban density), and Plaza

Dornröschenbrücke
TAK - Die Kabarett Bühne
Peace Square

Romelio Martínez Stadium

hiccups, and also a lot of magic; all of it happened. Alfonso Lopez in Valledupar (characterized by

MARIA CARRIZOSA
7 bocas Boulevard

Each group had enough time to show their early urban versatility). The team designed a refined
Old Aduana Building
La Cueva Restaurant

ideas and drafts in front of everyone and received cartographic axonometric apparatus to map

Feinkost Lampe
kreHtiv Network
PLATZprojekt

extensive feedback from peers, instructors, linkages between these urban spaces in terms
and other collaborators. References circulated, of culture, shopping, gastronomy, workplaces,
Caribbean Cultural Park
Sacred Heart Park

techniques discussed, more collections of and hotels. Comparing and contrasting their
awesome maps were shared, like David Rumsey’s local potential using geolocation, photographs,
64 INDOOR
GSEducationalVersion
Digital Map Collection. The four groups parted and comic-style word balloons, was only a 65
OUTDOOR with a lot of work ahead, and with the option of steppingstone towards their final product: a
Artcourse scheduling one-on-one appointments to discuss speculative combination of the local assets of
their maps. each place: versatility, density, and movement.

Conclusions GSEducationalVersion

HANNOVER
Germany

Day 3 and Day 4 Monstruous Medellín: An Imaginary Map and a

Cafè Glocksee
_Imitation of Life - R.E.M.
Presentation time. Day 3 was the day for each Critical Repository of Monsters and Fantastical
group to take all the time needed to tell their Beasts
PLATZprojekt

mapmaking stories, comment on their process, Finding Medellin as a common unknown city of
Kulturpalast Linden e.V.
LIVE MUSIC JAZZ
COCKTAIL
BAR/CAFÉ
Dornröschenbrücke
READINGS and show their cartographic pieces as best their desires and imagination, this group decided
developed as possible. The feedback was at this to fuel the overheard stereotypes of Medellin,
Kulturpalast Linden e.V.
_Taking It Easy - Jazz
Apollo kino
Lounge
CINEMA

point focused on recommending strategies to and let these pre-conceptions - good, bad, scary,
School of
Arts kreHtiv Network

deliver compelling messages with their maps for and exciting- lead the way. Their cartographic
De música ligera
Soda Stereo
the following day, when they would have less adventure was inspired in Magnus’ 1539 Carta
ConBarranquilla
CARIBBEAN
FILM VENUE
Avenue 44 Con poco coco
Chucho Valdes, Arturo O’Farrill
time to talk but an audience of about a hundred Marina, a medieval naval map where the most
PERFORMANCE
people! important elements are the monsters residing
OUTDOOR in unknown waters. But theirs was a parody to
Sacred Heart Park
La Cueva INDOOR
LIVE MUSIC
LIVE MUSIC
JAZZ
Discover the
rhythms
Results the taboo topics and blasé attitudes. A catalogue
COCKTAIL/BAR Jazz

BARRANQUILLA
Colombia
READINGS Rock
It is unfair to butcher into pieces the work of exaggerations of “so-called monsters” which
done by these cartographers and show just de- they aptly called a Monster Bingo Book. Their
Join the experience!
Open your Spotify App Tap on the Search icon Tap on the Camera icon in the Search bar Scan the SpotifyCode
contextualized fractions of it. Each map was a taxonomy included 20 specimens of three
GSEducationalVersion rich creative process with a consistent narrative monster types: Narco Beasts (like He-Who-
arc, refined details, conceptual nuance, and Shall-Not-Be-Named, the patron Pablo Escobar,
Artcourse
 and the Hippos that are taking over the region); in Puebla, New York, Monterrey, and Bogota
the Night-monsters (like Saint Maluma, patron into an intimate kaleidoscope. Three concentric
of “reggaetoneros gomelos” who is said to be spatial circles: body, room, and neighborhood
Juan Camilo in Elena's vigilant about those who go out during the full (of the likes of Hundertwasser’s five skins) were
rey
nter Room in Monterrey moon’s nights, or J Balvin the patron of colors assembled together using their bedroom
o
M and hotdogs); and the Kindred Spirits (like the window orientations as a guide. Then, they
gorgeous Orquioderama, or La Chiva “those who pictured each locale, connecting their borders
jump in it reappear after a week of incessant with common objects. Finally, their map is
party, at the verge of exhaustion”). These not supposed to be read as is, but instead, by
whimsical monsters were located in six parts of displacing the wheels. Shifting these spatial
Camilo would start his weekend
in Elena's room but will be able
the city: Plaza Botero, Parque Lleras, El Poblado, realms, their map-collage becomes out-of-body,
to admire the mountains of
Monterrey.
Hacienda Napoles, the Botanical Garden, and the space-time shifting game, a sort of space-travel.
Very early in the morning, he
would go on a hike to Cerro de slums; for each site they created an explanatory As if they were playing roulette, their game

MARIA CARRIZOSA
Ele n

La Silla to see the sunrise. Then

he would have breakfast at a iconic diorama. transported each body to another person’s room,
il o
cafe.
a´s

and transposed that room to another country’s

Cam
At midday, he would go to have
fun at Parque Fundidora and have
ro

a walk at Paseo Santa Lucía.

Artcourse: Transect for Tracking Urban Cultural neighborhood. New topographies become
om

Camilo is very curious about the

Metro so he will go on a
spontaneous trip and return to Spaces accessible to the quotidian, new coffee places
have a picnic at Rufino Tamayo
Park.
In the afternoon he would go to
This group scaffolded their comparative research appear, otherworldly sunset-watching corners,
watch the beautiful sunset at
Chipinque Hill. Then would have
on Barranquilla and Hannover using extruded unusual swimming spots, morning hikes for flat
dinner at Café Laurel in Arboleda
66 before partying at Centrito Valle. axonometric maps, and colorful data-rich cities, and the Central Park can be shared. What 67
transects to map urban cultural spaces, both if we switch places? Their map not only asks but
Mi casa es tu casa official and unofficial, indoor and outdoor. Their vividly shows.
map was at the same time a detailed heritage
Bibliography
331º NW Mi casa visual guide revealing creative places to listen,
Debord G., Constant A. G., Sturm H., & Wyckaert M. (1960).
es tu casa play, dance, perform, sing, imagine, and sculpt. Situationist Manifesto. Internationale Situationniste, 4.
o
éx
ic But their cartography went even deeper into Deleuze G. & Guattari F. (2004). A Thousand Plateaus: Capitalism
M
55º NE and Schizophrenia (2nd ed.). Translated by Brian Massumi.
the fourth dimension. The group also mapped
y,
rre

London: Bloomsbury Publishing Plc.

te
on

invisible experiences along the route of two

-M

Florida R. (2005). Cities and the creative class. London: Routledge.

ina

transects, one in each city. Their final piece was a Holl S. (2017). The architectonics of music. PAJ: A Journal of
Car
Mar

los -

sonic cartography that invites a musical walking Performance and Art, 39(2), 50-64.
Puebla, México
Ele n a - N w Y o rk, U S A

tour where the map user can discover a wealth Perec G. (1974). Species of Spaces and Other Pieces. Translated by
John Sturrock. London: Penguin Books.
of rhythms and styles. One is invited to scan a
Steinhart P. (2005). Undressed Art: Why We Draw. New York:
e

Spotify code and venture into a Barranquilla’s Vintage.

salsa, merecumbé, bullarengue, porro, champeta, Participants
bia

This kaleidoscope
vallenato... or mix up cities and distort music
lo m

represents the Connections: Music Venues: Vincent Jeske (LUH), Nicolas

Co

relationship between genre giving a try new wave, anarchist punk, Toro Arismendy (UR), Martin Trujillo (UR), Károly Zubek
á,

Window
ot

the intimacy and the orientation (LUH)

og

interactions with the classical symphonies, and operas from Hannover

-B

il Monstruous Medellín: Anabella Acevedo (CCNY), Maria

o

surroundings. m
Ca too! José Lara (UGC), Chandler Louden (NewSchool), María
It shows the way we Paula Prieto (UNorte),
hood
y
od

conceive ourselves and B

oo

206º SW Artcourse: Martha Castilla (UNorte), Alessandra Meza

or

R
how we live in a unique
Mi casa es tu casa [My House Is Your House]
hb

g
197º SW Nie (UNorte), Francisco Portilla (UN), Aysil Sahin (LUH)
way in our cities.
This group embarked in a phenomenological trip. Mi casa es tu casa: Elena Dieci (CCNY), Juan Camilo
The four of them folded their most personal spaces Morales (UR), Carlos Enrique Palomeque (TecM),
Marina Ramírez (TecM)
Mi casa es tu casa
 A WORLD WITHOUT FUNDING
Alex de las Heras & Santiago Reyes Villaveces

The Game as their creative proposals, which may engage

‘A World Without Funding’ invites us to relate with speculative design in its broadest possible
to the future (the possible, the plausible and the sense. From this perspective, outcomes are open

ALEX DE LAS HERAS & SANTIAGO REYES

desirable) and ask ourselves about the changes to personal or collective choice, as far as they
that are happening or could happen around us in represent an image of the future in the proposed
the years ahead. scenario: ranging from maps to renders, graphic
In a very introductory and practical way, we to audiovisual images, text or even a banner to be
invite you to think of the future as a tool for social carried on your next demonstration.
and collective action. We will play to conjecture, Participants are asked to address the following
envision and anticipate the occurrence of questions: How do we design alternative futures?
different events, we will discuss different What do design responses to climate change look
contingency possibilities and we will play with like when they are grounded in the aspirations
different contemporary events and trends capable and struggles of those most affected? How does
of affecting ways of life. By doing so, we will learn design grapple with radical ecological challenge
68 how to use the future, generating new meanings, in conditions of enduring injustice, everyday 69
imaginaries, interpretations and sensitivities, as uncertainty, and rapid urban change?
well as other underlying and alternative scenarios. Thursday 30th of June will be dedicated to reflect
Although there are other perceptions of time and constellate what has been proposed and
(for example multi-temporality or cyclical created by the participants; state the questions
perception), this game considers future from a that have arisen, define the images of futures
Western perspective - which is common to all that have been projected or simply finish
- considering it as the part of the time line that your proposals. At the end of the game, each
has not yet happened, and time as something participant will articulate a narrative about their
predictable, regular and evolutionary (past, “personal and professional fictional experience”,
present, future). relating how they navigated the scenario and how
they affected the different events and proposed
How to Play trends. This narrative or journal will be shared as
Collectively or individually imagine and project a story at the end of the workshop.
solutions, tools, strategies and tactics to navigate Places, communities or images of future
a future scenario in ‘A World Without Funding’ set resistance are welcomed.
in the year 2027.
On a daily basis, you will receive a newsletter
in your email containing an event, a trend
and a call to action within the future scenario
presented. Each participant should reflect in their
narrative the effects of these events and trends
on their survival tactics and strategies, as well
The World Needs to Get Water Smart The Haven beneath our Feet
 Instructions more slowly over land, and dropping so much
1) Saturday 25th of June: Scenario presentation more rain that flooding will often cause more
and discussion. In order to play, please fill in the damage than the wind. Wildfires will break out
form ‘Personal Survey Against Climate Change’. in areas suffering from heat waves and drought.
2) On Monday 27th, Tuesday 28th and Wednesday Under a relentless confluence of drought, flood,
29th of June you will receive a newsletter on bankruptcy, starvation and political chaos, many
the email address provided containing an event, will be forced to migrate and flee. By 2040, more
a trend and a call to action within the future than twenty million people will have moved

ALEX DE LAS HERAS & SANTIAGO REYES

scenario presented. toward the Middle East, Europe and North
3) Thursday 30th of June will be dedicated to America, streaming toward the coast and the
finishing all proposals. cities, remapping the world’s population.
4) Tutors are asked to accompany and guide the ‘A World Without Funding’ is set in the year
workshop by sharing their background, their 2027, when the climate change emergency
experiences and their visions of possible cross- will desperately drive most of the world’s
impacts of the different events and trends. Focus states and their economies to a consensus and
is always between the personal and professional coordinated effort to curb global warming.
daily life. In an unprecedented avalanche of action,
drastic measures will be put into effect, such
Scenario as vastly eliminating the consumption of coal,
70 Global temperatures continue to rise, according to oil, and natural gas in most countries, as well 71
a sobering new report on the state of the world’s as earmarking all available public and private
climate by the UN’s Intergovernmental Panel on resources for the next decade. As a consequence,
Climate Change (IPCC), having the world warmed 2 all public and private funding, scholarships, aid
degrees Fahrenheit (1.1 degrees Celsius) since the and competitions for artistic creation, urban
industrial age. Based on current trends in global planning and humanities have been eliminated.
energy use and recent climate policy, by the year Following these efforts, Academies of Art and
2032 the world will be hotter and the weather Art Faculties have drifted into creative hubs to
will be more dangerous, but the worst climate help policymakers and the public understand the
impacts will be averted and most societies will be choices in front of us —and what’s at stake if we
able to adapt. In others, global cooperation will don’t choose wisely; giving back to society new
be fractured by nationalism, increasing poverty, knowledge, tools, methods and tactics to help
soaring emissions, and unimaginably hot weather. it dive into the present and build the future. For
In this sense, adaptation will depend heavily on the time being, Art is still valuable but only in
a world cooperative narrative, in which wealthy its capacity to help limit climate change, reduce
countries help less wealthy countries. poverty and improve quality of life for everyone.
In this scenario, all regions of the world will
be affected by some extremes whereas some
parts of the world will not be liveable anymore.
Nearly every country on the planet will be hit
by intensifying heat waves, more rainfall, or
worsening drought. Tropical cyclones will change
character: becoming more powerful, moving
Word Clouds Screenshots by Rama Al Aisami and Carolina Monroy
 Email // Event 1 community and economic opportunity including
Globalization is dead and we need to invent a new jobs and new products from raw materials.
world order. As nations look toward building a new Project a variety of action plans and measures
future, globalization is in the rear-view mirror in that significantly reduce your personal and
favour of a multi-polar world where there are professional waste and pollution to this scale.
seven large regions (North America, Caribbean Reflect how preventing waste, reducing and
Region, Latin America, European Union, Africa, reusing first, and recycling and composting would
Asia with China at the apex and possibly India) affect your practice and daily life.

ALEX DE LAS HERAS & SANTIAGO REYES

that have distinct economies, security networks,
cultures, and laws. These poles might operate Email // Event 2
from a similar position regarding data privacy, Around 76 per cent of natural disasters between
standards, trade agreements, and more. 2001 and 2025 were water-related, including
Some of the biggest societal systems and modern droughts and floods. The frequency and intensity
industries such as education, transportation, of such events are only expected to increase with
energy, food, and healthcare are in the midst climate change. Rising temperatures are leading
of enormous changes. Spurned in part by the to deadly pathogens in freshwater sources,
measurable climate change that can no longer making the water dangerous for people to
be defended as a myth, these industries are drink. Likewise, climate change has exacerbated
working to reinvent themselves in this new water stress (in areas of extremely limited water
72 reality. Since livestock production has been cited resources) leading to increasing competition for 73
as being responsible for 14.5% of greenhouse- water, even conflict. Rising sea levels are causing
The End of Globalization Screenshot gas emissions, there’s been a groundswell of fresh water to become salty, compromising the
support for going vegan or vegetarian, as well water resources millions of people rely on.
as the food industry working to develop “fake” As the heat waves exacerbate and climate
meat. From e-cars to autonomous vehicles, the migrants and refugees stream out of South
transportation industry is in transition as well to America into the United States and from North
develop the next generation of transportation Africa and South Europe into Central Europe, an
that is safe, reliable as well as good for the earth. anti-immigrant backlash has propelled nationalist
Likewise, your Government boosts to maximize governments into power, sealing themselves off
recycling, minimize waste, reduce consumption and trapping tens of millions of people in places
and ensure that products are made to be reused, that are increasingly un-liveable, such as the
repaired or recycled back into nature or the Caribbean region and the Southern Hemisphere.
marketplace, aiming for no trash to be sent to The United Nations and others warn that in the
landfills, incinerators or the ocean. worst case, the governments of the nations most
affected by climate change could topple as whole
A Call to Action regions devolve into war.
Your city or community, your university and Air conditioners have been cited to have many
workplace, etc., seeks a Zero Waste approach, negative impacts on the environment itself. They
aiming to eliminate rather than to manage waste. require lots of energy to function properly. It
Instead of viewing used materials as garbage consumes so much electricity and releases carbon
in need of disposal, materials are recognized as dioxide into the air, more commonly known as
valuable resources. A pile of ‘trash’ represents greenhouse gas, which is a major contribution to
The End of Globalization Videostill
 ozone depletion. Air conditioners can sometimes by the UN Environment Programme (UNEP), is to
be vital for mere survival, yet it is so hot in some set off in 2029 from San Francisco (EEUU), Puerto
cities that air-conditioning isn’t able anymore to Vallarta (Mexico), Limones (Panamá) and Nuquí
maintain comfortable temperatures. On the other (Colombia), in a bid to begin the removal of the
hand, extreme weather events and changes in so-called Great Pacific Garbage Patch.
water cycle patterns are making it more difficult In this context, the UNEP calls for speculative
to access safe drinking water. proposals, creative research, experimental
projects, pragmatic design inquiry, and narrative

ALEX DE LAS HERAS & SANTIAGO REYES

A Call to Action interventions. Proposals may engage with
The world needs to get water smart. Everyone has design in its broadest possible sense, including
a role to play, and we cannot afford to wait. architecture, landscape design, spatial planning,
How can you drastically reduce your carbon environmental management, product design, bio-
footprint? What climate-friendly choices engineering, digital technology, media and the
and changes can you make? How does your creative arts.
professional practice adapt to this new What do design responses to climate change look
environment? What tools, programs, designs like when they are grounded in the aspirations
and plans can you develop to help those and struggles of those most affected? How
climate migrants in your own country, city or does design grapple with radical ecological
in your immediate context, trying to improve interdependence in conditions of enduring
74 the situation and quality of life of the city, the injustice, everyday uncertainty, and rapid urban 75
community and its new inhabitants. change?
Globalization is Dead Videostill
Email // Event 3
The Great Pacific garbage patch (also known as
the Pacific trash vortex) located 10 years ago in
the North Pacific has reached the West Coast of
the United States of America, Mexico’s Pacific
Coast, the coastline of Central America, and the
coastline of Colombia. The estimated size of the
garbage patch is 1,600,000 square kilometres
(620,000 sq mi) (about twice the size of Texas
or three times the size of France), containing
more than 3 million short tons (2.7 million metric
tons) of plastic; including items (and fragments
of items) such as plastic lighters, toothbrushes,
water bottles, pens, baby bottles, cell phones,
Participants
plastic bags, and nurdles. Where did this trash
The World Needs to Get Water Smart: Rama Al Aisami (LUH),
come from? Carolina Monroy (LUH)
The End of Globalization: Damien Simmons (UniSA)
A Call to Action Globalization is Dead: Vanessa Lébolo (UNorte), Daniela
A trial run of an innovative system designed to Manjarrés (UNorte)

clean up the world’s seas and oceans, founded The Great Pacific Garbage Patch: Edward Zambrano (USalle),
Silvana Zambrano (USalle)
The Great Pacific Garbage Patch Videostill
 PARTICIPANTS

TEACHING

LEIBNIZ UNIVERSITÄT HANNOVER UNIVERSIDAD DEL ROSARIO BOGOTA

Dipl.-Ing. Alissa Diesch - coordinator Dr. Alma Sarmiento - coordinator

Prof. Dipl.-Ing. Jörg Schröder Dr. Juan Pablo Aschner
Riccarda Cappeller M.Sc. M.A. Dr. Antonio Sánchez
Dr. Arch. Federica Scaffidi

PARTICIPANTS
STUDENTS
76 77
Gabriela Acuña, Universidad del Rosario Carolina Monroy, Leibniz Universität Hannover
Rama Al Aisami, Leibniz Universität Hannover Juan Camilo Morales, Universidad del Rosario
Angel Baron, Univesidad de Nariño Carlos Enrique Palomeque, TEC Monterrey
Manuela Bonilla, U. Nacional de Colombia Daniela Pineda, U. Nacional de Colombia
Daniel Buitrago, U. Nacional de Colombia Andrés Pinzón, Universidad del Rosario
Martha Castilla, Universidad del Norte María Paula Prieto, Universidad del Norte
Elena Dieci, City College of New York Marina Ramirez, TEC Monterrey
María Angélica García, U. la Gran Colombia Aysil Sahin, Leibniz Universität Hannover
María Hernández, Universidad del Rosario Juan Pablo Salas, Universidad del Rosario
Manuela Jaramillo, Universidad del Rosario Maria Fernanda Sanchez, Pontificia U. Católica
Vincent Jeske, Leibniz Universität Hannover de Chile
Alishah Khan, City College of New York María Camila Sánchez, Universidad del Rosario
Maria Jose Lara, U. la Gran Colombia Damien Simmons, University of South Australia
Vanessa Lébolo, Universidad del Norte Paula Alejandra Tibocha, Universidad del Rosario
María José Lema, Universidad del Rosario Nicolas Toro, Universidad del Rosario
Chandler Louden, New School Martin Trujillo, Universidad del Rosario
Diego Maldonado, U. Piloto de Colombia Jesus Valencia, U. Industrial de Santander
Daniela Manjarres, Universidad del Norte Rebecca Wehling, Leibniz Universität Hannover
Alba Marín, Leibniz Universität Hannover Edward Zambrano, Universidad de La Salle
Christina Mauersberg, Leibniz U. Hannover Silvana Zambrano, Universidad de La Salle
Alessandra Meza, Universidad del Norte Károly Zubek, Leibniz Universität Hannover
Sara Moncada, Leibniz Universität Hannover
 IMPRINT

THE FUTURE OF CREATIVE CITIES

Hannover and Bogotá. Creative Cities in Exchange

Edited by Alissa Diesch and Alma Sarmiento

Based on study projects

at the Faculty of Architecture and Landscape
Leibniz Universität Hannover

and

Faculty of Creative Studies

Universidad del Rosario, Bogotá

78 ISBN 978-3-946296-48-5

Published by:
Regionales Bauen und Siedlungsplanung
Leibniz Universität Hannover
Herrenhäuser Straße 8, D-30419 Hannover
www.staedtebau.uni-hannover.de

Design and Layout:

Alissa Diesch

Colourscheme:
Julian Carvajal

Cover:
Artwork by Alma Sarmiento

©2023
Regionales Bauen und Siedlungsplanung LUH
Text by kind permission of the authors
Pictures by kind permission of the
photographers/ holders of the picture rights
All rights reserved