Gustavo Dieguez and Lucas Gilardi, aretutects


www.p~l:u nldlivesY$temJb'IQg spot corn ga

Both were born in Buenos Aires (1968) lin 2006 Gustavo Dieguez and Lucas Gilalrdi beqan to develop projects under tine pseudonym of
a77, though they had been assoclatsd with numerous experiments well before then. The a77' architects are' very hands-on w;ith their construction projects. Their work involves creatinq a variety ofeveryday objects that reach architectural s~ze proportions. The'y combine art, architecture, sociology and urban plarming in their projectsand have a particular interest in reusinq lndustsial debris, r,ecycling for experimental housinq, creating temporary institutions, activatiing

social dynamics in public spaces and me selt management of cultural spaces.
They teach urbanismand Aires, respectively project desiqn at lfniversidad de Palermo and Universidad de Buenos

tDesi'9ln as social

lexicon (t~xt and interview by Franco,published in Abi~::HeN"506)
a77 are Argenlinean architects who explore spal]a~ and functlonalccneepts of nemadlsm.ephemeralltv and trarnsi~iCln

an architectural


usIng the rough-SIlO·ready yet symbolically-charged oflinte humble pack!lng crate to build open-ended

structures that can be assembled and dismantled accordtng to need and the desire to brimg dtlfferent groups of people together. When filted into left-over places as 'temporary cccupiers of time and space, their autonomous, ILInsty!ed strucnnes advocate the need for ~nburdened, non-rhetorlcal, "auernanve" ~andscapes. Their int:enlors and Ibuildlngs are made by hand usillg simple though not unsophisUcated materials. They see space as a poternUfa'1rganism to '!Iihidh, tor example, 8 plywood prosthesis lTIay be hung or attached "if needed" to create a o chtldren's play space, Or Ihey might bmlaHy recycle o~d trailers to emphasize theJr I:la.sicfunction, repaint and fix them in place above a slop~ng man-made vegetabl,e plot, To timis diversity is cO:l!J!pled tile social and eolteetlve use of these objects

redeemed by graphic d'eslgll and new uses; a dlversltylihal may serve asa ca~al:ystand condenser of small acts of social
communicatlon .. In 'fheili own words: "SeU-build means pr,oviing to yourself that you can do certain 'things in a way I~:at amounts to a real altemative, that you don't need outside help, that if you want to do something, tne poweI 10 do it lies [[temlly in your own hands ... " F.R.


Self-build means provingl to yomse~f that you can do certan thing.s in a way that amounts to a real

alternative, ttnatyou don't need outside help, that if you want to do something, the poweJ to do it lies, l:itelia'lly,in your own know.~e.dgeand hands, The need to do this can be for economic reasons as well as personel. This way is cheaper, but even more importantly; it's a way of getting involved in Ihe physical constructien, not just its
desi'gn. This personal involvement helps Yo!!!ldiscover not only the pleas me of buil:ding things, but also something that

design concerns, whioh ar'€ often remote, call neve~ o,ffe~.which is dlrect contact with tihe materials and shapes lhat
bel.onglto specific places.end the gradual discovery o'iwhat each lndlvldual rnaterial or shape ha,ve to offer, Getiting u,p close like this means that building acquires a special kind of subjeot:ivity that brings it closer 'to forms of art and craftworik. We aj~ li~.eindustrial objects, both aesthetically and physically, but tl'itis attachment becomes gre'ateli when we can transform them into perscnel o~j'ecl:s, Consuructirn.g t.hings with what you have at hand is a wonk phHosophy that not only activates t.he imag;ination, but also makes the fulfillmenl of dreams possible, It is nat about defending realism, but quite the opposite. Recycling' •. We thfnk recycHng creetes a double Challeng.e. Ethically, ifi means l1.e'tpingto conserve precious majerlats or objects, and fhis gives usan enormous satisfaction of doi'ng thiliilgs is as much aestlnetic as ethical. This also meensthat ethics can be seen as one way of utiiliz[ng the resources and opportonltles avai'~able to us, Aesthetically, it lmplles the traastormatlon of somethin.g no longer conselered useful intosomell"1:ilitg imaginative. The result of all th~s can have both practical and phHosophical value.

Fu nctiolil~Emotion.

The quest~on of form versus fun.ctior1lprovides one of archlteeture's great dilemmas, Form is lInked to aesthetic emotions; function ls connected to mecha.nica'i and socia~ emoUons> Our [ob is to find the emotion and

its most suited context In this sense. physical involvement in bui:lding somethinq can be seen as one way of activating senses and memory. \I\lhel1.something we' have done satisfies both aestnefic andfuncfionatneeds, we' feel genlLl:inely


Pantheon of eoxes. an workpface and oommunily




GCPBA. Buenos' Aires', 2009

Liv[ng-Learningl., Q~'ality of life can roeimproved lin any context \Nlmatcounts is the creativity and imagirnation each i.l'ldividua,iinilabilant puis into appropriatinq a given physicalccntext and title extent to which the context makes this pesslble, We appreciate, that people, through our projects, learn mhatthey can dea lot with scarce resources and very Ittlle help, and also' do it with passion, like it's jus~ for them, Nomadism. Many of our projects are nomadic, because t!hey've loured Imany different exhibitions, living in them as non-specialists. This nomad status lin certain contexts enabtes us to worli; lin a variety of sUl!1atiol'lsand disciplines. Other projects were intended 1.0 be nomadic in public city spaces, i:1iii hope of reawa~ernirng people's participation in the and interaction with time specesarcund them, and boostinglliteirappropria,liol1 of and sense of Ibelonging to those spaces through social aC!i'Jity. We did this in Mataro. in 20009 IWe Can Xalantjand we now mtend to lake the experiment a stepfurther in Buenos Aires with the INomadic Cultural Center and other institutions in the south oHhe dly. Mentalll p:rocesses allild 'form. Creating form can be 'the outcome of several processes - rational" intuitive or random course, the artistic component cansomeHmes carry more weigh.t. However, our creations combine all three precesses, We am mom ra~ional when we, have to think about costs" schedules and func~[ons, for example, and more inturUve when we phystcatlycrieafe the rnontaqss we'v,e imagined orr seen in various publ:ica.tioilis, using models and images. And weare sometimes mora random in our approach when we come across an unexpected material or accidel1ita~~y iscover a new combination. Form g:raduaUy d starts to define itself as stmc!ures progress and, to varyingexteirlts and in varying proportions, w~en rational and im,tuitive processes s~art interac1tng wUheach other,

- and there are people who adapt better to one rather than another.Of

Poverty, simplicity, Glris!s. Poverty, asa Ilaok of resources, enoourages ~maginalion and a.daptability and enriches experience. The creation of objects from found! or very cheap materials doesn't necessarily imply any shortcamings on theaeslhetic front. Aesthetics is 'fi"ee and available to everyone. It's, a very powerful tool that can provide allot of safisfaenon and should I)e util'ized more often. Fowthis reason, we see economic crisis as an opportulllity to make tllilllgs, Urbani ecology. We realiee that ecologists' proclamettons reflect real concerns and dese:N"eattention, as, mudh [n terms of waste reductlon as weH as fo:r small- scale ener'gy saving. We can see this cl:early when we' recycl:e somethingl we've bli11t weeensume less ,energy and fewer resources when we make use ofw:hat alr,ead:yexists, But we're mot interested iIT'lI kind ofteohnocracy thaI dictates what does and doesn'tquaMy as, sustainable archi!ect~re" or iIT'llfhe a i.lldustry't!hat has ,grown up around "green" lssces, We live and act in arlifi:cial uliban contexts tha~ are-also part a,f our nature, We think there should be a kind of real "urban eook)gY·, some vital connection between inhabitants andeemext. We need to, be aware. ofwll,at IS around us and how 10 take ,car€ of it. Techno:logy. We adapt tedhnQ~(lgyto the economic resources availab~e fOil each individual project We create architecture 'for the ern,vironnrnenl Ii'v,ein and the teehnological posslbllhies it offers. The chaHenge we set ourselves is we to achieve what we want usingllhe means at our disposal. We aren't low-~ech activists, but w,e like usingllow-tech forms. Was~e and crate, Gel'TI.eraHy,using tndustlnial.wasle isfhe cheapest way to develop a poetical form of expression. Nomadi,c~Ephemeral-Temporary. To usfhesethree words arlen'. altema!~ves, hut complementary modes ofacfian tailored to the needs of lndividual proiects, These are ulibanand architectlWlral,categories that outline use-f'ulways of thinking au the present time.


Plug in Festtvart
INlomadic insNtution
Collective ,e)(lIibilion. 1 st, lnternatlonal FesVival of Desiigll.

Metropolitan Center ,of Design. CMD.
Goll:lierno de Iia Ciudad de Buenos Aires lsi prize. competition comeneaoree de

diseflo' para el mundo. A. set of three modules to set up a, cultural center inside a port
container ..Plug and live system ca.1alog. A'iransfo,~ma'ble system off 18, wooden boxes.

IEphemeral institution
Colective 'exhibition Estudi,o,AiDierto Gantm. Guralo,~: Ana Batistozzi Postal P<llace off B'~enos Arres. Ministerfo d'e Cullura. Gobierno de' la Giudaci de Buenos Aires Pos'lal 80,)( was an iliistituliolilirels'led 1,0 communication, inside the Palacio de ccrreos (Postalll Palace) in Buenos Aires. Multidisciplinary intellVent.ions about corrmunicafion forms,

Posta II Box


Plug Out Uniit Brasil
Collective ,exilibi!ion Moradias transilOIisiS: Novas


da comemporanetoace. Curalor:: Nicola Goretti. GI'upo,AG
Complexo Cultural ea Repulblica:

Museu Honesnno GUlimaraes. Brasilia SESCSP Vila Mani,ana,.Sao !Paulo
Ani exploration abou~ forms of transltory habitats. A dwelling modlular system made of the same 18


A 18 wooden boxesstol)'
A. cireufar story in t1i1ree chapters, "rnose boxes came out from Brazil as some'lhing withollt vallue. Now they're coming Iback to that country turned into art Th.ey weril from low to, upper class."


We Can Xalanf
Works hop/P reject


constructions forephemeral


in pulblic


Concept: a77 IGustavo Dh~g:uez& Lucas Gilardi) Proi:ect and CQns~ruction; 0177+ POl FOIus u Orgarnfsed and produced by: Trail sit (HOTi) J ,Can Xalant Centr,e de Creacio ~IPensam.en,l CO:l1lemporalli de Malam. Project developed within tihe con~ext:or: DisonanciasActiva (Catatonia). b<l'i;loratory of NOrinOld'icar,chiiecllUfe and self-conslrlUctJQn_ Worksh,op_ Partk:ipal"lts: RQser Carninal, Ang:el EisC<l!lerQi, Ol!HOOiovQinnirrli, M Ori,ol Gr,an, Merce Jara, Man'iian:a. opez,Esler Meci,as, Joan ~avarro', Celia Prats" lvan IRuba,Xavi.err'Rod rllg uez" Merilxell Roma,nos, Ram L Roncel"o, Sernat S<lIncho, SSJndn., Sanias, Patricia ward, iM<lIrta XiblJle. PI;;Ice: Mata~6, IB¥ce,lonOl 2009 Lint: ht~p':Iiw'eca nxala nl, b~ogspotcoml

lin 2006 Can Xalant ~Cent~e for the CreaUon of Visual Arts and Contemporary Though~ in lM8Iiar6} [m.rnted -the Japanese artist Tadashi Kawamala to place iin its conrtyard one of his well known installation pieces Xiringuito Malar6. In

no time the centre's com:munlty ~denlified deeply with the piece and ifi became an ~conof the lnstlnnlon .After.a fire destroyed the piece in mJd 2008. Cam Xalan~ coatscted a77,about buildlng a ~ew structure ~nits p~ace.The centre's courtyard is the stage, for an important number of actlvfies throuqhoul the year. as well as the, seWng 'for the annual [Efi,mer Club-Pones Obertes event herd in J'uly to commemorate the, ,closing of each cycle with differ,enfi musical and mli.ltimedIa performances. Can Xafal1itchose a77 af;te~learning about the firm's work with creating nomad structures. The centre wanted to I.a~e itsartis~ic projects and soclo-culturel initiatives into pubHc spaces to reach a greater public beyond
the physical setting oHhe"oultural centre. an's response included, not only ~he proposed r,eoonli:gunalio:nof the centrepieoe of Can Xalant's CO Ll,rtyardi., ul ajso the construction o~ addhicnal, mobile ul1;i1s.a77'5 mobile units would allow Can b

Xalanfs to move into a public space, formula,ting a new cornpflmentary concept to its pmj:eotopen doors (partes oberies), Team members of I+O+m, [part of Transit IPr,ojectes, svgge'sted incorporating I:he program Adiva Dlsonanclasin
Catalo:l'TIia;and after an open selection process through an international catl for applications, Pau Faus, a Catalan

architect, was im/ited to participate in creating the new strucmre for CainlXa'~anrscourtyard. And so a collaborative effort was bon! betweell A7Ts team from Arge!'nlilnaand Pau faus" a member of the collective movement osservatorle
Nomads Baroelo,na The construction-understood in this project as an exercise in social visibility-ca.n be defined as a. mullifaceted task.

On OM hand,~her€l waslhe phys~ca~ma,terial manifestation of the IProject Oinlthe other, a social network was defined for both the task of producingl the il'ruct~re and tor carryi~g out future app,lIcations of the structure and mobile units, In this
sprit, a serlssot programs for 'I'he community of Malara was designed, specifically wj~h themes relating to chIldhood with a focus on chitdren lin Ul,e local community Salonnieres, ,a group of [local artists, lied a three-week worlkshop wilih ch,ildr,en

from the Obert Cernter, located inlhe same neighbo:rthood, to disoov,erand imagine with the panlcipams the uses of the objects an and Pau [FaLlswere to build.
The project team would face the cha.lleng;e of exp'lorirng mew strategies in aaalysls and intervention; appl:Ying dynamics of collaborative efforts; develop, new thoughts on mobile and flexible architec!ural structures for cu.ltural uses"



poUUcal1of temporary


We Can Xalant is a hypo,thesis about the dimens~ons of visibiljty.l~ consists of puttingl into evidence a constenanon of resources ana people belong~ng tDlilm same envlronment on the suspicion that their proximity hides relational

cGU"dfigurations,lalent: affinities and objective projectio:ms. The proposed QbJ€cUv€ of the Ipmject fequir-ed an i:nt:erns~v€ task of communication to produce the lnterectlon oHhe various players all in p:roximUy and a blog was creeted as a tool for
communication as well as a collective, work platform in a transformetlcn effort.

Aimongolllg effort, the Iproject's work. oon~inues to deve'lop along th,ee llnes:
1. In terms of materials, the first objective was '1'hereoovery of materials salvaged from the lire that destroyed Tadashi Kawamata's installation as weill as Iloading and recovering discarded supplies for VNO simple reasons: physical proximity

1:0the site and inexpensive costs. A local waste msnaqement company gave rls s~pport to the rpruject by giving the
project team access to salvaged suppl:ies and materials at its recycling centre. Nearby cempsltes were contacted about campers in disuse and three units were acquired.Then a laboratory of nomadic and self-builtercbitecture was convened. Over a week period,tine coll,edive construction was undertaken. The underly,tng structure of Kawamala's piece was


conditioned; while two of the campers were rernodelted, using partsfrom a third< One of thecam;pers was

integrated into ~he exisUng structure at its highest point, creating a multipurpose room, ov,erloo:king the Mediterranean. The second one was l\!!lsedto create a mobile module for artistic and social activities fl1l public spaces. The ramp, built to raise one of the campersimo the structure, was ~herl transrormed into a si'o;ping garden a1iler it served its initial purpose.

2. In terms of the social ,element of the ccnstructlon, it is based on ~heidentificati.on, assessment of efforts and definition of ways to proceed Iby the players most closely involved in the project. Tbis process has resulted in the construction of a network of indiv,i:duals and grou;pslo define Ilines of action and put them into effect. NlJ[mmous meetings with a local association of neighbours also made iU possib~'efor rnembersefjhe commu!1\ity to become involved in futur-e ac,tiviUes involving the nomadic modu!~X"R The unit was inaugurated in a pubHc space during an event during which the neighlbors brought their cultural activitie,sand merg;ed them with the proposals of ~he resident artists of Can Xalant, The roHowing day, the ,enlire inatailstion was ina;lJ[guratediin the garden as the stage for Can Xalant's annual concert organized by the m:firner Ctub wiUhmusic bands from d:ifferen~countries.
3. In the middle of these '!vIm lines exists a th[rd; a temporary element It is a,wage:~ on the collective construction o,f time: an attempt 10 capture the ephemeral Dr fleetingl pol:i1ics Df the moment. The list of acliv;[Ues prog:ramm.ed fo~ We Can Xalanfs fixed and mobile structures has beg~n 1.0 feed on different proposals presented by artists for future events; Different social and anlstic projects are reseN[ng th.e CX~Rfo~ upcomilitg events .. he typical instilutuona,1constraints mark, T shape and establish identities, however a physical place, room or the creation of a habitat is a statute of time. Brut how long can we withs~and the ephemeral?

The question has been a d:rMng force behind the project's wonk,


the face of am uncertain response, i~may be

preferable to focus on the tdea associated with the name from wh~ch the proiect originaled. 'We can" has been a widespr,eadl pofifical campaign s'logan in recent times. Can means 'house' and Xalant 'fun' In Catalan. We Can Xalant fuses the pmjeot's name and ,eo:mceptiIT1:to implicit response. Il1ldeed, everyone enj:oyed themselves and had fun, and an

that in itself is enough,

Chilo'relll"S works,hop dlreetad by lLes Sa~onn:ieres

Workshop! laboratory

01nomadic arenneeture ane self-eo,",structi011

Can. Xa.lan! cou,rtyaro. Winter aM .snow, 2.010

Ftirst trip 'of the caravan CX-R

f"esNvsl in Malar6 public space

Zona tinJ!rusa pvojecl. 20~O


"faller de ,J1uegos
Wo rkshop/l? reject
Co-aut~ofS: an'! Paul FausJ SalOlilrn1Ekes Collaboration,: ,!l'e,P,al'ermc, Primary SeIl,ools W20, N'21 Y W2.2. fo!ECID IAgencia, Espaliora, de Cooperaol6n Intem8cionaj para el ,[jesafl'ol,lo), Ga'lpolii Oultlura] Piedrabue,narte Workstn,op panticipanlts: Federico SalVador, Solla Meirelles, Maria Cecilia Arrupa, Esle'08rn Xavier Alvarez, Mailen Romero, Diego Domingos Bmg,a, Yaz:iel Juarbe, ,Gabriela GonzalesA~cal'de, Martin Flu:germall, Rosario Ta'levi" Martfn Cabrera, Igll,ado Naliez, F~anoisco Provedo, Alejalld.ra libanez, Maria d.elllMarAbo!')"A!na Maria 8etancur, Marcela Sinclair, Paola Sa~aberri" Paula Va]el1'lin:i. Place: Galp6n Culturral Piedrabuernante. IBarfro !.UlS P1ed:rabUJerna, Buenos,Aires (AugenlIHnla,j Unl<: htlipa~lJegos.piea raouena rne.lbrog,spot co,ml

Taller de Juegos (1IPIaygrm.mdWorkshop} was done next to the collective 'Les Sa'lonllieres' (Barcelona) and Pau Faus

(l~arceIQ!'n'a).l1hewo:riksh.opwas a oommun[ly wo~kfor the conception and construetton ora chHdren's playground !"text to the Galp6n Cultum:d PiedraBuenArte (GCPBA) of Buenos Alres, The GCPB.A lsa se~J,managed local center made fo:~the neighbors o,f the luis Piedrabuena district TlI'TIrougl'TI cu.lturaj and artistic 'Work" the GCPBA aims to strenqthen social its
links within the ne~g'hbmhood of Ihisurban environment w,ilh significant socioeconomic problems.

FoHowing thls ideas, the workshop was seen as a great opportunity, 0111 one hand to create a!new meeting point for and by the ne,igh'bomood" and on the other hand to link the GC!PBA to different educational lnsdtutlons, After several
meetiaqs, t.he project couldcount on the pa.rticipation of all the public elementary schools in the neighborhood Universi~y of Palermo in Buenos Aires. a:l'ld of the

The wor~shop was dlvided in two pans of a week each, The first part, 'I.maginill.g the Game' eeorclnated by th'e co[lective Les S~:donnh~res, as about working with different groups of primary school students about the cencept o,f w 'Game'. Many recreational aclivittes were held around the GCPBA. Some design ideas started to appear, During that
week, the kid's begun to tmagine the new pl'aygroundfihro:LJ[gh the:ir giames, dreams and designs.

The second pan" '1~'Uildirng Game; ooordilllated by the archltects a'77 and Pau faus, was mainly attended by the univ,ersHy students, primarily from architecture. The aim was here to inlerpret the ideas expressed during! uhe firs~ week o,f
work by Ihe kids, andliry to build them. To do so" we had to meet with our 'clients' ,(the p:rimary school ol1ildrell) to find out the way ~oformsnze IheiI demands, Their common demand was to imagine the game as a c!rcuit where many activities

were put t0ge,the~; cHmbing, slldin.g, scream'ing, swingil1lg; jumping, etc, We started testing some possibilities w~thlihe few material we had. tater en, we purchased (or borrowed from the ne~ghbors) the necessary material to start Inti!ding. Once
theconsteuction beqan, the constant presence of curious and anxious children around us, allowed us to 'test' continualliy the differ€lnt parts of the playgml.lnd. The whole worlk was completed only in five days .. After the construction was 'fln'ished, we organized an openlng day for the [new Playground, During that day, students

from the three schools of the dlstrlct visited the game and checked out if any of whau they had .ima.glnewas built there.
Nowadays" the game, is still work~rng.We've been told that many charnges Ihad been done in order to adapt the playground totaa local context. Ho;petuHy those adJ!!!Istments meant that we achieved our main goa~, that is to create a new meeting poj!'!t 'for the neighbors of tne d:isllrict.

Meeting with tnea!ltllorilies

'of the three schools

Worksllo,~ imagining

the game direct.ed by Salonnieres

Dest,gnlng 01rcu its o~'game with students of arcnite·cture


of constructlon.The skyline' of Plecrabuena


[lay 1 with the schools


Centro Cultural NI6made
Cultural lab iii the pubnc space
Concept, des!gn <lindcon:struc'lioo:a77 (G:uslavc' Diegu.. and Lucas Giilardli) iez Insl.itu.llonallletwonk: a77. rma Foundation, cheLA (centro Hipemmedi.itico E:xperimental Lalinoamericano). eM I) {Metropolitan
Center o~ Design)

P laces: So uth of Buenos Aires: La Boca, Par(ll!le PatMios. Barraeas Link: htlp:llcentrowlilJralnanlooe ..blogspot.oomI

The Nomad Cultural Center is. a project of urban pedagogy whose gloal is 100 generate bonds with the c(Jmmuni~ alnd [0 find in it ,a fertile ground for lleaming, with active partldpanon channels through experimentation, workshops,
laboratories and other actions alike.

The project was desiglned withl repurposed Imateria'ls,. built wilh a recy'cled shippilTllg container and
furilillituIe made from

recovered wood.
Its, first slop was la Boca, a neighborhood that lives in the dich,otomy of beinq a majm tourist trap and the home of 1many people iln need, and thatsiilts next to one ot the: most polluted rivers 011 world: the the Matan~ar I'l:liedhuello.

The nomad culturall center also, toured Parque lPatrioios and Barracas neighlborhoods, bmh ill the soul.hem part of Ihecity, wher,e it were incorporated aeiivities related to techrn.o'logy and
desiqn. The nomad cul~ufall cen~er will

continue lin operation durill1lg 2.012.

Nlecochea Pavillion
Concept and construction: (8:uslav.o' Dieg!le,z &: Lucas GilMdil InsliMion: M[nisltrry,of Infraslructurre. Secretary of Planrrling and HOUSing. Government ,oflile Pro'vil1O!'! of Buenos Aires Pf'ojecl: PNUD ARG/OS/027. Uniled Nations Deve~opmelit Programme. Workshop of collective construction Partioipallll$; Luca Amighettj, Carlos AQluino" Lii!lertad Baldiviezo" Facundo Bence Pieres, JUlan Pablo Berbery, Martin Cabrera, Gimerrlil De Franco, Tomas della Veechi.a, Julian Duran, Martin Flugelman, Matias Garcia Soml'o, Matias Gomes IF,mlasfa, Daniel II'nJilnle, Fila ncesco Milam 0" .AglUstin Mosq usra, Alberto Nanclares, ~gnacio Nunez, Mar,oo Panizzi, Rodlfig'o Per'ez de Pedro, Jose Salam, Simona Solo rzan,o" authorities of the CI'ub Eugenio Necocheaand parents of the kkls, that play footbalill iin the dlub. Place: Club Eugenio Necochea, Villa Hlida'I'go.Pilrtido de Salll Martin. Province of Bmmos Aj [·as.




Devel~opment and construcnon of architectural device-s, community
facililies and urban projects for neighborhoods in an emergency

sltuatlons .. RecClrlquistal Riv,er Basin ..AlP (Prioriity inteavenfion Area) a77 will continue 1.0 implement secial aetiens [or pal1licipalory desiqn and ocnstructlnn dmilrng 2{)1.2 ..«pNUD proglf.amme)

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