Search Keyword: Total 16 results found.

2005. Colectivo Tercerunquinto. S/T (technical data)


Being in our case of works which are supported by conceptual architecture and urbanism, look in your own material realization of the construction and use the same systems it occupies, which is why there is a special need, in these projects, extra assembly or technical requirements that are not listed in the list of the next point.


The Enlargement of a green area project consists of extending one of these areas towards the street and the sidewalk, creating, thus, a space between two of the basic order systems in the urban plan.


Technical team for construction:• horizontal cement cutter with disk• pick• spade• wheelbarrow• tape measure• level• construction wood (if necessary)

Gardening material:• rake• instrument to sift the earth• bucket• hose• pick• spade

Construction material:• concrete (if necessary)• block or brick (if necessary)• paint (if necessary)• decorative material • steel for urban elements • rod

Gardening materials:• grass and/or flowers (depending on the ornamental design)• earth for plants• fertilizers

Work force:• operator to cut cement• gardener• bricklayer


Connecting two boxes project: two boxes are connected to the extension from one interrupt urban order system, the street. This interruption is committed by a site bounded and considerate of ornament.


Technical equipment for construction:• horizontal concrete cutter with disc• peak• shovel• truck• tape measure• level• timber (if necessary)

Technical equipment for kindergarten:• rake• ground mesh screen• bucket• hose• peak• Shovel

Building materials:• concrete• block or brick (if necessary)• paint (if necessary)• decorative material (if it exists in the context)• iron street furniture (if it exists in the context)• rod (if necessary)

Landscaping materials:• sod rolls and / or flowers (depending ornamental design features)• potting soil• fertilizer

Labor:• concrete cutter operator• gardener• Bricklayer


In another case, the sidewalks belong to a distribution system and pedestrian traffic, assume an order in delineating routes within urban planning but through the obstruction and other system interrupts extension of the same nature, this system streets are almost exclusive use of vehicles.


Technical equipment for construction:• peak• Shovel• truck• tape measure• level• timber• horizontal concrete cutter disk (if necessary)• Mixer for reinforced concrete

Building materials:• reinforced concrete• block or brick• paint (if necessary)• decorative material (if it exists in the context)• iron street furniture (if it exists in the context)• rod

Labor:• concrete cutter operator• mason













Compañía de Caracas    Espacio Móvil

Colectivo Tercerunquinto

Fernando Baena Familias encontradas

Henry Eric Hernández García    Zona vigilada

José Dávila    Mirador Nómada

María Alos + Nicolás Dumit    El museo peatonal   

Óscar Lloveras Sin título

Raimond Chaves    El río, las cosas que pasan Rebekka Reich + Anne Lorenz    Taxi Madrid Simon Greenan + Christopher Sperandio    Soy Madrid






2005. Colectivo Tercerunquinto. S/T (project rectification / 2004.12 / visual + technical data)

2005. Colectivo Tercerunquinto. S/T (project rectification / 2004.12 / visual + technical data)



Sin tìtulo"Concreto" and metalVariable dimensions

(December 2004)








05inib0491, 05intb0489

2005. Colectivo Tercerunquinto. S/T (location)

 Pº de la Castellana - Eduardo Dato, uneven sidewalk boulevard








2005. Colectivo Tercerunquinto. S/T (theoretical data)

Each of the three projects here proposed seeks to modify urban experience. We have based this case on traffic systems and places that coexist between these systems, such as gardens and green areas. These projects consider analytical arguments that underline the order and approach of the urban system and design. We integrate our projects in this realm, by showing the true nature of a city that is under the constant pressure of social practices that permeate and undermine space, and by trying to modify the urban plan.








2005. Colectivo Tercerunquinto. S/T (visual data)

2005. Colectivo Tercerunquinto. S/T (visual data)




















05pric0390, 05prid0428

2005. Compañía de Caracas. ESPACIO MÓVIL (published text)

 … When I think about something, I´m really thinking of something else. When I look at a landscape, I am not actually thinking about it. I am comparing it to other landscapes I have seen before.”Jean-Luc Godard

Referring to Godard´s quote that opens this project, its aim is to create a link between the city involved, Madrid, and the South American city of Caracas through a series of colour photos placed at bus stops and on buses covering the routes on the Madrid Abierto axis.

Espacio móvil plays with the meanings of “circulation” and “mobility” in an urban sense, i.e. transport, and a media orientated meaning, i.e. the circulation of information, to create a visual paradox, a disguise, and to think about “the city” through the movement and presence of both.

A modern South American city par excellence, Caracas was a promise for the “future” based on large urban projects and building in the 50´s which reflected times of economic boom. Fifty years later, today, Caracas is a city which is permanently on the move, suffering daily losses, both in its spatial memory and in its urban and technical concepts which sustain its habitability.

The opening of Madrid enables a visual spatial exploration through photographs of the centre of Caracas (current images of its streets, buildings and transport systems) and at the same time to take a more in-depth look at the public character and the critical possibilities of its urban objects (in this case, bus stops and buses), away from the official institutions and the conventional mediums of art. Likewise, it uses the pictorial intervention on buses by the Venezuelan artist, Carlos Cruz-Diez, during the Visual Arts Biennial in Porto Alegre in 1997 as a conceptual precedent.

La Compañía de Caracas was born from the interest in all that is urban and the need to record old and new phenomena which define “the city”, and from a special interest in our city of origin which is suffering an essential contradiction and is defined between archaisms and the new, between that which is traditional and that which is technological, between a state of permanent mutation and unchanging characteristics.


When we decided to intervene in Madrid at bus stops and buses our idea was to do so as a game that does not mean to compare both cities but allow one city to travel inside the other, make a symbolic reconquest of the space and subtly raise awareness on the idea of difference. Our intention was to disorient, not orient, to establish the bases of chaos: small bases as small as the intervention in Madrid. Austere, as the idea itself, illegitimate, roguish, an occupation that is dismantled in twenty days. A strategy that is not recognisable in publicity but on its reverse side; that does not mean to be just visual but to capture an image of otherness by transdressing mobile and fixed units of Madrid with photographs of Caracas.

In Venezuela, interest in the urban reality operates, on the one hand, as a way of seizing tradition, memory, before it disappears, transforms itself or dilutes in an urban organism that does not cease to recycle and change the biography of things. On the other hand, it is a symptom in search of a diagnosis that will enable us to assimilate a constantly changing urban territory.

In the interval between the first images we took for the project Espacio móvil, in April 2004, and the last, in December 2004, Caracas experienced big changes, not just in the visibility and mobility of part of the social fabric, such as the proliferation of buhoneros (street sellers) and soldiers, but also in its urban infrastructure, which is evident in the disappearance of public sculptures (for ideological, economic and maintenance reasons), the increase in popular-political mural paintings and the deterioration of architectural icons like the Centro Simón Bolívar or the towers of Parque Central.

In Caracas, the space mobilises itself: the private space to the public territory, the public space closes its doors to the stroller under the roofed corridors. Change and movement become a tradition: a tradition which forms the backdrop to a modernity that drifts between precociousness and premature ageing.








2005. Colectivo Tercerunquinto. S/T (published text)

This project involves taking an urban element which in this case are the metal boxes placed in certain areas of the city and which are generally used by the telephone companies.

The intention is to take this element and create a series of them, comprising 15 of these objects on the same scale and following the same design. They are then placed next to where a pair of these boxes are generally located.

Invading the pedestrian system of the Paseo de la Castellana to enhance the presence of an anonymous element of urban furnishing, this project aims to measure the sculptural possibilities of these objects by placing them within the same design that contains them but provoking an interruption to the system of urban order.










2005. Colectivo Tercerunquinto (Cv)


SOLO EXHIBITIONS 2003Proyecto para la Unidad Belén de la Universidad de Guanajuato, Festival Internacional Cervantino, Unidad Belén (Facultad de Arquitectura y Facultad de Ingeniería), Guanajuato, México.

2000Dibujos, registro de obra y textos del Colectivo 3er 1/5. Ciclo de artistas emergentes, Alianza Francesa de Monterrey, Monterrey, México.

1999La Bf15+Pared. Galería Bf15, Monterrey, México.

1998Pared. Primera Muestra de Creación Contemporánea, Espacio Cultural Voladero, Monterrey, México.

GROUP EXHIBITIONS2004White Noise, REDCAT, Los Angeles, USA.BlueOrange Prize, Martin Gropius Bau, Berlin, Deutschland.Solo los personajes cambian, Museo de Arte Contemporáneo de Monterrey, Monterrey, México.Radicales Libres, Central de arte, Guadalajara, México.Proyectos para MUCA-Roma, Museo Universitario de Ciencias y Arte-Roma, Ciudad de México, México.

20034ª. Bienal do Mercosul, Arqueologías Contemporáneas, Pabellón de México, Porto Alegre, Brasil.In the Abscense of Recombination, Bronx River Art Center and Instituto de México, New York, USA.Instant City, Centre Culturel du Mexique, París, France.Espectacular, Centro Cultural de España, Ciudad de México, México.

2002México: Sensitive Negotiations, Instituto Cultural de México y Consulado General de México en Miami, Miami, USA.Zebra Crossing, Haus der Kulturen der Welt, Berlin, Deutschland.Intangible, Exposición Homenaje a Luis Barragán, Casa ITESO- Clavijero, Guadalajara, México.Architectures Consanguines, Galerie Roger Tator, Lyon, France.Ici Alleurs, Centre Culturel du Mexique, Paris, France.Sala de Recuperación, Museo de Arte Carrillo Gil, Ciudad de México, México.

2001Metropoli Mexique, Musée de Picardie, Amiens, France.Cómo es que los autos no vuelan aún, Centro de las Artes de Nuevo León, Monterrey, México.XXI Reseña de la Plástica Neoleonesa, Casa de la Cultura de Nuevo León, Monterrey, México.

20001er Festival de Arte Público, Festival Cultural Barrio Antiguo, Monterrey, México.Transiciones, Centro de las Artes de Nuevo León, Monterrey, México.XX Reseña de la Plástica Neoleonesa, Casa de la Cultura de Nuevo León, Monterrey, México.

1999Desplazamiento, X Teresa Arte Actual, Ciudad de México, México. Intervenciones-Instalaciones en sitio, Casona Blanca, Montemorelos, México.

19983era Bienal Regional de la Plástica Joven, Casa de la Cultura de Nuevo León, Monterrey, México.2do campamento por la diversidad, la tolerancia y la no violencia, Tepoztlan, México.Homeless, casa particular, Monterrey, México.







2005. Colectivo Tercerunquinto. CALADO DE TERRENO, 1998

2005. Colectivo Tercerunquinto. CALADO DE TERRENO, 1998