After the military junta seized power in 1974, Chile
became the first country subjected to “shock treatment,”starting with drastic reductions in social spending, privatization of industry and financial control on concessionary credit terms. After pinochet was installed living standards dropped and income inequality became the worst in Latin
America. After the dictatorship was lifted, one restriction I am discussing that was freed was artistic expression within the streets of Santiago. This expression includes body performance, graffiti, craft that is sold on sidewalks, and so on. All of this is found in the most public spaces in the city nowadays, such as public transit stops, trafflic
lights, intersections, and parks. One of the few times that different social classes interact in the city takes place between the performers and the passers by, the vendors and the buyers, the graffitti artist’s work on the walls and those who stop to look at it.
House with one wall by Christian Perez
The overlapping of 2 programs taking place in the block called the 'urban theatre'. The performances are synergetic with the informal market.
The section depicts spatial moments that are experienced in the block in terms of the space narrowness and the rough terracotta texture used in the block. The texture responds to the form and creates a sense of intimacy.
This view shows the underground floor as an urban theatre, exposed to the elevated pathways that are on street level. The unique street moments of interaction between the public and the street performers experienced in Santiago are amplified in the block as one goes through.