How to Cite: Yemail Cortés, Antonio. "Life After the Cultural Pavilions in Colombia: Circular Approach Strategies for Extending Useful Life Cycles and The Social Potential of Re-use". Dearq no. 39 (2024): 57-69. DOI: https://doi.org/10.18389/dearq39.2024.06
Antonio Yemail Cortés
Universidad de los Andes, Colombia
Received: March 14, 2024 | Accepted: April 17, 2024
Pavilions are temporary structures designed for large events and experimentation spaces, which have seen technical developments and shown cultural representations on a global scale. However, given their life cycles and the lineal production model in which they are made, their dismantling tends to mean wasted materials and wasted re-use potential. In Colombia, pavilions are recognized as an accessible and adaptable opportunity for expanding cultural presence in different contexts. Based on this premise, this investigation uses design strategies developed in the 2018-2023 Yemail Arquitectura study aimed at extending the life cycle of temporary projects, from conception to re-use.
Keywords: Cultural pavilions, temporary architecture, circular economy, strategies of re-use.
Pavilions are temporary, autonomous constructions, built for the celebration of large events such as commercial, industrial, or cultural fairs. They are characterized by their defined expiry date. They are self-supporting structures which form their own plot, either below a roof or outside. In this way they operate with a certain freedom from the host space while remaining rooted in the meaning of what they exhibit and evoke. More than as expository spaces, they are used as devices for transmitting information through space (González de Canales 2011). Their ephemeral state gives them the role of an experimentation space which is why they have historically been open to the exploration of formal languages and light, collapsible structures. As a creative process, traditional knowledge can converge with advanced technological representations through these constructions. They are authentic laboratories of interdisciplinary creation; the result of the confluence of diverse disciplines that weave together around architecture. These disciplines cover specific knowledge of furniture design, communication, museography, performing arts, and multimedia, configuring a synthesis which defines a spatial experience.
Since the beginning of the 21st century, pavilions have experienced a resurgence founded in their flexibility, relative investment, convening power, and wide media coverage. Through their presence at large-scale events, pavilions encourage coming-together exercises where diverse audiences and generations interact on an even plain, creating an environment of dialogue and communication. This convening power leads to high-intensity use, bearing in mind, for example, that a pavilion could see the same amount of people pass through in 15 days as a conventional building could see in 15 years. In this vein, promoters have adopted these structures to serve a wide range of events, public sector entities, charities, commercial brands, museums, and art galleries all around the world.
In the case of Colombia, the inherent flexibility and low cost of these proposals are even more relevant, and pavilions become especially appropriate options for applying diverse formats. Since the middle of the 20th century, the construction of pavilions has been consolidated in the country for large-scale cultural fairs, commemorating celebrated figures or important dates. This has highlighted the pavilions' ability to build alternative narratives, strengthen historical retellings, or interpret fiction. They have therefore been used to take on themes that transverse Colombian society like historical memory and national identity. On the other hand, the political agenda has highlighted the importance of serving remote regions or marginalized territories, where pavilions could offer the opportunity to transfer content to contexts that require a more accessible and adaptable architectural solution. However, some problems inherent to the development model of pavilions persist. Producing these temporary structures means a brief gestation period, short existence, and a quick end (Jerez Abajo 2019), but also generates considerable amounts of waste. Contrary to the temporary character of pavilions, their parts are not made with temporary materials. The elements used in the construction of ephemeral architecture are the same as those used for a conventional building. Although the lifespan of the elements is longer than the pavilion itself, their use in future projects is still low.
Residue production figures for cultural events held in exhibition grounds like Corferias in Bogotá clearly show that the anticipated disposal of materials, construction elements, and structures of temporary pavilions responds to a lineal production model that does not consider the possibilities of reusing different components. Taking the current climate emergency and the growing perception of the environmental crisis as a point of reference, adopting alternative resource management models that promote sustainable production and consumption becomes essential. This is particularly urgent in the construction industry, which represents almost 33% of emissions and 40% of material consumption and residue production; unsustainable figures that continue to rise (Ness & Xing 2022; Lotopolsky 2011).
In 2018, the Pabellón Museo de Memoria Histórica de Colombia (Colombian Historical Memory Museum Pavilion), built for the Bogotá International Book Fair, or FILBO (figs. 1 and 2), established a series of requirements that meant looking at the project's useful lifespan from another perspective. The whole structure had to be collapsible and reusable; the components would be used for at least three of the roaming exhibition's stops in different Colombian cities. For this reason, they needed to be adaptable to open air locations and smaller spaces. This led to a modular design which allowed for reconfigurations, alternative assembly options with piece deductions (without losing the general feeling of the exhibition), and component dimensioning to ensure pieces could be stacked and transported by truck. The elements were premade in workshops four months before opening, during which time the spaces were independently preassembled, so that the 1450m2 assembly could be completed in four days (this is the equivalent of constructing 15 m2, the equivalent of an average bedroom, every hour). To streamline assembly, operators had to be able to directly handle as many elements as possible without the need for machinery.
Figure 1_ Pabellón Museo de Memoria Histórica de Colombia, FILBO 2018, Bogotá, 2018. Photographic credit: Alejandro Arango.
Figure 2_ Pabellón Museo de Memoria Histórica de Colombia, FILBO 2018, Axonometry. Bogotá, 2018. Source: The author.
The project's first stop was in Medellín (fig. 3) in the Parque de los Pies Descalzos (bare-foot park), for which it had to adapt to the available exterior structure. Despite using a standardized system, the team created a version that adjusted to the journey and the script, amplifying the pavilion's capacity for use with an outer limit that maximized functionality. Later, at the following stop, the contents were adapted for an exhibition in the Museo La Tertulia in Cali (fig. 4).
Figure 3_ Pabellón Museo de Memoria Histórica de Colombia, First Stop, Medellín, 2018. Photographic credit: Alejandro Arango.
Figure 4_ Voces para Transformar a Colombia exhibition, Cali, 2018. Photographic credit: Alejandro Arango.
Although the lifespan of some of the pavilion's components was extended by integrating them into permanent private projects like the OpenSpace offices in Medellín (fig. 5), a significant part of the structure was wasted, stored, or thrown away. This type of 'unhappy ending', commonly seen in similar projects, underlines a critical problem related to managing the lifespan of these structures. Understanding the causes that lead to such an outcome serves as a catalyst for researching re-use possibilities for cultural pavilions in Colombia. It also facilitates research into the social benefits of the components.
Figure 5_ OpenSpace Offices, Medellín, 2018. Photographic credit: Alejandro Arango.
A historical revision of 74 nationally produced collapsible architecture projects was carried out to deepen understanding of material, logistic, and contractual conditions for producing cultural pavilions in Colombia. The synthetized results are shown in figure 5. From a material and technical perspective, Colombia is distinguished by its traditional use of biomaterials, especially wood, used in 54% of the studied projects. More specifically, guadua, a member of the bamboo family, has made a significant contribution due to its sustainability, lightweight, and low cost. Equally, these nationally produced projects favored traditional methods, local employment, and artisan construction systems, foregoing machinery and automated methods.
Figure 6_ Results of historical revision of pavilions in Colombia. Source: The author.
Most of the revised projects (69%) were led by public institutions which were contracted through vacancy announcements and direct invitations. Looking at the geographical distribution, there is a clear imbalance. 72% of the cases were constructed in Bogotá. On the other hand, conservation and re-use was only registered in 12% of the revised projects, either because they remain in their original position and state, they have been moved to other spaces, or their elements have been put to different uses.
In general, the topic of pavilions has been shown to arise in political agendas regarding industrialization, environmental issues or, in the particular case of Colombia, the signing of the peace accords in 2016.1 This meant a resurgence in themes of reconciliation, conflict, and historical memory.
Project calls for proposals from different national and international entities were analyzed, including public, such as the Ministry of Culture and the Secretary of Culture, Sport and Recreation, and private, like the Concentric Festival and the ARTBO Fair. This analysis identified important differences between national and international contracting processes. These mainly referred to the lack of specific requirements and restrictions aimed at improving sustainability and reducing environmental impact in the case of national projects. On the contrary, international pavilion calls for proposals established specific restrictions for different phases of production. These included the origin of materials and how they are obtained, process speed and efficiency, energy saving strategies, inclusivity and social impact, and even proposals for the re-use and repurposing of materials.
Given that the circularity of materials should be considered from the beginning of any process, the responsibility for where materials end up also lies with event promoters, who have the authority to define selection standards. For this reason, we see the incorporation of circularity criteria in the bidding and contracting processes as a fundamental step to reduce the production of waste associated with ephemeral architecture. There are many unique elements to pavilions and there is an absence of uniform criteria for their definition, components, and characteristics. In light of this, we recognize the need to establish a pedagogical research approach, aimed at constructing a common conceptual base, backed by guides and methodological proposals.
In accordance with the above, we propose a methodological foundation for analyzing projects which is divided into two complementary sections. Firstly, we establish a guide for reading pavilions, a tool developed with the aim of establishing unified criteria for pavilion components. This tool is also for systematizing case studies and comparing their characteristics. As a research method, we propose breaking down each project and classifying its elements into 9 main categories. These are implantation, program, structure, roof, envelope, horizontal plate, networks, accessibility, furniture, and museography. Furthermore, the method associates each of the roles involved in constructing a pavilion with the stages at which they intervene, as shown in figure 7. This classification aims to encapsulate the key components of a pavilion and allow each one to be studied independently. In addition, each category includes illustrative diagrams (fig. 8) based on the diagrams and descriptions in the books Sistemas de estructuras (Engel 2001) and Grandes lecciones. Pequeñas edificaciones (Rossi et al. 2021).
Figure 7_ Diagram of analysis of components, roles and processes involved in the production of cultural pavilions, 2023. Source: The author.
Figure 8_ Diagrams of pavilion reading, 2023. Source: The author.
Secondly, we offer a guide detailing the contractual, conceptual, constructive, and logistical procedures necessary for the production of a pavilion. These include some of the most relevant management strategies. These processes are divided into 4 main stages: preproduction, production, operation, and re-use. These are described in the form of a graphic novel to facilitate understanding and sharing (fig. 9). The aim is to contribute a general view of the different processes and use this as a point of departure for analyzing ephemeral architecture projects from a circular economy approach. This involves exploring ways to extend the lifespan of a pavilion, providing a comprehensive and holistic panorama of the complexities inherent in designing and producing cultural pavilions. There is a clear need for multidisciplinary collaboration in each stage, evidencing the diverse professional profiles involved. The coming together of different specialized knowledge bases and approaches from architecture, design, art, and other disciplines allows for aesthetic aspects to be approached from different angles. This encourages innovation and the exploration of new creative possibilities.
Figure 9_ Scenes from the production processes guide for cultural pavilions, 2023. Source: The author.
One of the international events analyzed, whose terms of reference explicitly addressed criteria and strategies to minimize environmental impact and promote the reuse of projects, was the Concentric Festival 2022. The Teatro Popular, Yemail Arquitectura's proposal for the festival, occupied the San Bartolomé Plaza in Logroño (Spain) for five days. It consisted of constructing festive and playful lightweight scaffolding. The installation was devised to house moments of rest and act as a playground. A space for conversation, and even a way of turning the plaza into a stage, celebrating each occurrence offered by the street as a performance of the ordinary (fig. 10). The project responded to the material restrictions established by the festival, using laminated wooden boards as the main material for elements such as the covering and the grandstand. These were complemented by the use of re-used pine strips from the previous year's installation for the trusses. They also used reversible methods to ease re-use and collapse.
Figure 10_ Teatro Popular, Concentric Festival, Logroño, Spain, 2022. Photographic credit: Josema Cutillas.
In principle the idea was to construct each component using just one material to make fastenings easier, or to use specialist carpentry. However, due to the burden of each component it was necessary to use a metallic mast to tighten the extremes of the structure. In conclusion, the size of the component means it has limited reuse potential, as do the short pieces of pine used for the trusses. As a result, only an estimated 50% of the material, mainly the boards, was available for future installations.
This case study offered the opportunity to explore methodologies for the analysis of the environmental burden linked to obtaining and transporting materials and components for constructing pavilions, as shown in figure 11. In this context, there was a considerable variability in the impact of the projects' different life cycle stages. The significant difference between the low operative burden and the very elevated residual carbon footprint resulting from the disposal of the pavilions, is particularly noteworthy. We can attribute this to the carbon embedded in materials during production and transportation, which become polluting elements. Wasting these results in a considerable loss of resources.
Figure 11_ Analysis of transporting the components for the Teatro Popular, 2022. Source: The author.
These methodological tools are used in case studies and for defining strategies aimed at effectively reusing pavilion components. The identified strategies were applied and validated in the production of temporary architecture projects. This verification focused on the traceability of materials and components used throughout different projects, their transformation possibilities, and the identification of technical and logistical limitations for their effective re-use.
The application of the analytic tools described in the previous section, along with national and international case studies, has assisted in identifying and proposing material management strategies aligned with circular economy principles. These strategies have the potential to extend pavilions' useful lifespan, and that of their components. Similarly, they serve as a guide for the development of adaptable and reusable projects.
Material Selection. This criterion plays a crucial role in the control of pavilions' environmental and economic costs. The adequate selection of materials precedes the design stage and is based on local availability. As Nieman (2014) states, "design follows material, material follows location". This promotes energetic efficiency, durability, and functional adequacy, starting from the beginning stages of the design process, to optimize environmental and economic performance. The Pabellón Leer para la Vida, built for the FILBO 2022, addresses this strategy by using accessible, lightweight materials and minimal finishes, like rounded eucalyptus wood and upholstery with graphic interventions done on site (fig. 12).
A deep understanding of the materials and their physical properties allows the designer to anticipate their capacity to adapt once their initial purpose has been carried out. Synchronizing processes, planning re-use, and guaranteeing the adaptability of fittings to diverse needs are essential aspects. On the other hand, incorporating rented components could reduce costs and optimize resources.
Figure 12_ Pabellón Leer para la Vida, FILBO 2022. Photographic credit: Mateo Pérez.
Figure 13_ Selection of materials, Pabellón Leer para la Vida, FILBO 2022, Axonometry. Source: The author.
Discontinued materials. Reference is made to critically incorporating industrial catalogue products, selecting those that are already in circulation and come from different industries such as textiles, agriculture, and automotive. These materials may appear anonymous and generic, however their great resistance and mass production stand out. These features guarantee competitive price and availability. Their potential comes from the ability to transform such apparently common materials, giving them new uses and meanings while preserving their original characteristics and ability to be repurposed. For example, the Relatos del Patrimonio Cultural exhibition which took place in the Virgilio Barco library in 2018. Museographic elements were constructed with materials normally used in the foundations of concrete structures including corrugated rods, electro welded mesh, and laminated wooden beams (fig. 14). However, using these components requires specific considerations to guarantee they adapt to the project. These include rigorous drawings of all the components during the design stage, especially if they are repurposed items, in order to precisely register their dimensions and specific characteristics.
Figure 14_ Use of discontinued materials, Relatos del Patrimonio Cultural exhibition, Biblioteca Virgilio Barco, 2018. Photographic credit: Sebastián Cruz.
Creative management. Establishing material acquisition models based on rental, loans, or sponsorship figures is an innovative strategy for optimizing resources on temporary projects. For example, conventional construction materials can be used in fitting out the pavilion, assigning them specific use that does not require transformation or wastage. This facilitates their return or resale later, therefore reducing costs and residue generation. Figure 15 presents the 2021 proposal for La Vuelta (National Fair of Independent Editors) which used construction materials that did not require intervention to set up temporary exhibition fittings. Later the same year, the material was used in the reform of the Instituto Goethe, which also reused MDF sheets to construct the ceiling, as shown in figure 16.
Figure 15_ La Vuelta uses materials from the Instituto Goethe intervention to construct temporary exhibition fittings, 2021. Photographic credit: Mateo Pérez.
Figure 16_ Instituto Goethe, finished, 2021. Photographic credit: Alejandro Arango.
Donation to participants. Directly donating pavilion materials and components to participating exhibitors or institutions associated to the contracting entity, particularly in the case of the public sector, is also a viable alternative. This helps streamline legal donation procedures and makes the most of an event's own logistics and transport. In the same way, visitors can gradually appropriate the available components which significantly contributes to the impact on collective memory. It also promotes the participatory collapse of the project. An illustrative case is the Acciones de E-cosecha installation developed in the Museo de Arte Moderno in Medellín in 2009 which was composed of bags of seed and substrate for diverse species of plants. These defined spaces and circulations and could be used as pieces of furniture. Throughout the event, visitors progressively appropriated the elements, taking them away with them (figs. 17 and 18).
Figure 17_ Acciones de E-cosechas, MAMM 2009. Photographic credit: Federico Ruiz.
Figure 18_ Component donation, Acciones de E-cosechas, MAMM 2009. Photographic credit: Federico Ruiz.
The social potential of re-use. It is essential to plan the re-use of materials from the beginning, addressing these aspects in calls for proposals and budgets. Effective strategies include establishing relationships with the design team early, considering the progression of the pavilion's itinerary, and consolidating alliances for promoting re-use. Best practice comes from interconnected actions which prioritize the transparency of information between producers, users, and communities from the start of the process.
In the case of the Colombia Pavilion for the FILVenezuela 2023 (fig. 19), a significant percentage of components were recuperated and reused once the event had finished. They then became part of the provision and commission of a school playroom in one of Caracas' most vulnerable sectors. The constructive system and component modularity performed an important role in adapting the parts to a different space and use, as presented in figure 20. However, the joint management between the design team, the Ministry of Cultures, Arts and Knowledge (contracting entity), and the school was the determining factor for guaranteeing the re-use of materials and generating a social and community impact. Contact was made from the beginning of the process allowing for logistical coordination and overcoming contractual restrictions.
Alternative pavilion contraction models, like those based on rentals, and the use of creative teams from the initial stages, favor conscious decisions about management and re-use. This allows entities to access high quality structures without incurring the costs associated with construction, maintenance, and later storage.
Figure 19_ Colombia Pavilion FILVenezuela. Photography and axonometric diagram, Caracas, 2023. Source: The author.
Figure 20_ Adaptation of pavilion components in a school classroom, Caracas, 2023. Source: The author.
Reusing components. On the other hand, implementing reversible constructive systems which simplify deconstruction and re-use of materials stands out as efficient in terms of costs and processes. Modular structures and standardized components make building transportation and storage and adapting to the changing needs of users and surroundings, easier. The durability and reuse of components especially furniture and museographic elements, effectively extended useful life in 70% of the case studies. Their reintegration offers considerable benefits although effectiveness depends on adequate management of logistical processes.
The design of mass use furniture for the ARTBO Fair 2022 using modular, reversible constructive systems with minimal material transformation, such as MDF boards, promoted the reintegration of elements into various projects. The materials used to construct the rest area for ARTBO 2022 also became part of La Vuelta 2022 and of Salvando Primates (2023), used in the same way but with variations of size and color. Finally, it became a permanent part of a conventional project as a ceiling in the remodel of the Instituto Goethe (figs. 21 and 16).
Figure 21_ Tracking of MDF boards, transformation processes through different pavilions and incorporation in permanent projects, 2023. Source: The author.
The ARTBO Fair 2022 employed different polyfunctional elements such as benches, pyramids, and ramps. The fittings included an information point with stands dressed with recycled cardboard tubes as well as lamps and interior divisions. The use of floor lamps and half-circle divisions created private areas with recuperated fittings from previous editions. The proposal for La Vuelta 2022 centered on reusing materials from the previous project. Six types of structures for the stands were designed with cardboard tubes, MDF, pine boards, galvanized tubing cardboard containers, and upholstered surfaces.
Differentiated and creative re-use. Using materials recuperated from previous projects that have gone through repairs, restoration, and adaptation in order to be reusable represents a circular strategy for reducing the demand for new resources and minimizing waste. However, this practice requires creativity and adaptability given that incorporating recovered materials presents challenges. These include reduced structural properties and unconventional dimensions. To order to complete the necessary structural calculations, it is important to check the dimensions and properties so as not to misunderstand their performance. This means creating prototypes but planning with structural redundance, considering that components can fail in the process.
For ARTBO 2022 the use of recuperated cardboard tubes represents a smaller impact from production and acquisition. Finishes and interventions are minimal, with dry and reversible fixings. They were constantly re-used in different ways until the coming part of a permanent intervention (fig. 22).
Figure 22_ Tracking of carboard tubes, transformation processes through different pavilions and incorporation in permanent projects, 2023. Source: The author.
Forward planning. Establishing a detailed plan for the deconstruction phase is fundamental to easing the process and reducing risks and costs. The case studies have allowed us to identify deficiencies in the planning of logistical processes, including packing, storing, and material and structure transportation. Including these considerations as terms of reference and budgeting ahead of time helps guarantee effective re-use. Furthermore, it is important to foresee dismantling procedures, make detailed plans, define intervention zones, and designate working teams for specific tasks. For example, the Salvando Primates project (fig. 23), which employed textile components as the main material, was focused on guaranteeing its stops in different cities across the country. It used rigorous protocols in the post operation stages which meant they could use different assembly personnel for each location. To support this process, they developed a dismantling guide and component inventory (fig. 24). This was a highly effective tool which guaranteed material traceability and control, as well as speeding up the processes.
Figure 23_ Salvando Primates, Bogotá Planetarium, 2023. Photographic credit: Mateo Pérez.
Figure 24_ Dismantling and stocking guide, 2023. Source: Salvando Primates.
The material characteristics of the textile pieces facilitated packaging, transport, and storage, allowing for their re-use in the Municipal Pavilion at the FILBO in 2024, where they covered the auditorium. In the same way, the soft furnishings designed for Salvando Primates were used in the pavilion to compliment the reading and contemplation zone.
These observations allow us to establish that the resurgence of pavilions as high social and cultural relevance positions them as opportunities for establishing community models of production and operation, with the capacity to respond to diverse situations and needs. Despite representing a smaller carbon footprint in comparison with conventional methods, the residual carbon emissions of pavilions, related to wasted resources, represent up to 35% of total emissions. The results of this investigation suggest that strategies for reusing temporary architecture are a way to mitigate environmental impact and widen access to cultural infrastructure in unexpected contexts, vulnerable groups, and remote territories. However, there are obstacles to guaranteeing the re-use of pavilions and extending their social reach. These obstacles go beyond material and technical considerations and involve logistical protocols and coordination between different creative profiles, public and private institutions, and specific communities.
The importance of incorporating alternative management systems for this type of project is evident. These include systems based upon the use and hiring of structures, which would present the pavilion as a service. This approach means more careful planning of the processes involved, especially in terms of transport and storage. It also requires greater attention to the quality and performance of the building, recognizing its constant transformation to avoid obsolescence and maximize the usefulness of the project during its lifespan. This integral vision of the pavilion as a grouping of constantly evolving systems means benefiting from projects to the maximum, in line with the principles of circular economy. As we know, these value the extended use of products and minimizes the generation of residues.
We must understand that circular economy is not limited to individual practices but is rather a holistic approach for transforming production and consumption systems. Its components are interconnected and depend on each other to achieve effective transition towards sustainability. For this reason, the responsibility for extending the pavilions' useful lifespan does not fall solely on architecture. The process involves diverse factors that should be appropriately coordinated. Design is essential, but it is only one cog in a much bigger machine which involves institutional regulations, procurement policies and interdisciplinary processes for effective management that considers economic, social and environmental aspects simultaneously.
* This article is the result of the thesis entitled "The Ecology of Cultural Pavilions in Colombia: Case Studies and Recommendations for the Design of Collapsible Structures with a Circular Approach" for the Master's in Construction at Universidad Nacional de Colombia, 2023. Director; Arq. PhD Juanita Montoya Galvis; research assistant: Arq. Santiago Baquero Lozano.
1 The Acuerdo final para la terminación del conflicto y la construcción de una paz estable y duradera (Final Agreement to End the Armed Conflict and Build a Stable and Lasting Peace) was signed in 2016 after 4 years of dialogue between the National Government and representatives of the FARC-EP (Colombian armed revolutionary forces - the people's army). https://www.comisiondelaverdad.co/acuerdo-final-para-la-terminacion-del-conflicto-y-la-construccion-de-una-paz-estable-y-duradera.