Durant aquest any Nusos Coop, Arquitectura de Contacte i el Departament d’Umbrologia (un projecte del grup de recerca CareNet de la UOC) hem estat analitzant i reflexionant la importància de les ombres i l’impacte de la calor en la vida social a l’espai públic, com a part del projecte FEM COMUNITAT A L’OMBRA, amb el suport de l’Ajuntament de Barcelona.
El proper dilluns dia 15 de desembre a les 16h a la Fàbrica del Sol (Pg. de Salvat Papasseit, 1 – Barcelona) us convidem a la presentació de la Guia: La ciutat de les ombres, resultat d’aquest projecte. Una guia com a recurs per analitzar, comprendre, imaginar, intervenir i recordar les ombres urbanes.
Participo de l’Episodi 2: perifèria, amb Eliane Brum de Els visitants: idees que venen i van, un nou pòdcast d’assaig que amplifica el pensament a partir de lesidees dels participants del programa de residències internacionals del CCCB i la UOC, explorant la sonoritat com un llenguatge més del pensament i connectant les seves idees amb veus i experiències locals. La iniciativa és una coproducció del CCCB i la UOC, amb el suport de la Fundació Privada Mir-Puig.
Com sona la terra de ningú? Què hi ha rere les perifèries que sostenen el planeta? Quin és el centre de gravetat al voltant del qual orbita la nostra societat? Aquest episodi explora universos i territoris perifèrics a partir de les reflexions de l’escriptora i periodista brasilera Eliane Brum. Amb la participació de Tomás Criado, Reyes Gallegos, Eduardo Neves i Patricia Gualinga.
Compta amb la veu i el guió de la periodista Noelia Ramírez i l’ambientació sonora de la realitzadora Laura Romero.
Participo del Episodio 2: periferia, con Eliane Brum de Els visitants: idees que venen i van, un nuevo pódcast de ensayo que amplifica el pensamiento a partir de las ideas de los participantes del programa de residencias internacionales del CCCB y la UOC, explorando la sonoridad como un lenguaje más del pensamiento y conectando sus ideas con voces y experiencias locales. La iniciativa es una coproducción del CCCB y la UOC, con el apoyo de la Fundación Privada Mir-Puig.
¿Cómo suena la tierra de nadie? ¿Qué hay detrás de las periferias que sostienen el planeta? ¿Cuál es el centro de gravedad alrededor del cual orbita nuestra sociedad? Este episodio explora universos y territorios periféricos a partir de las reflexiones de la escritora y periodista brasileña Eliane Brum. Con la participación de Tomás Criado, Reyes Gallegos, Eduardo Neves y Patricia Gualinga.
Cuenta con voz y guion de la periodista cultural Noelia Ramírez y la ambientación sonora de la realizadora Laura Romero.
En el proyecto CIUDEN participamos de la Setmana de l’Antropologia 2025 organizada por el Institut Català d’Antropologia (ICA) con una activación del juego de mesa «Ciudades que envejecen», una dinámica de juego especulativo creada específicamente para este proyecto como metodología etnográfica. El dispositivo se jugó por primera vez en junio de 2025 durante unos talleres con agentes que intervienen directamente en las transformaciones urbanas vinculadas al envejecimiento. En esta ocasión, llevamos el juego a un entorno disciplinar abierto al público como propuesta de herramienta metodológica especulativa para la investigación antropológica.
Este taller es una invitación a imaginar posibles futuros del envejecimiento en las ciudades litorales mediterráneas a través de un juego de mesa. A partir de esta propuesta buscamos fomentar el diálogo transdisciplinar e intersectorial para pensar horizontes posibles de los retos urbanos demográficos, ambientales, de vivienda, de movilidad y de equipaciones y servicios.
El equipo del proyecto CIUDEN participamos en el ciclo HABITARES II, organizado por el Equipo de Investigación Sociedades en Movimiento en el marco del Maestrado en Políticas Sociais e Intervención Sociocomunitaria de la Universidade da Coruña con la sesión «Cidades que envellecen: reensamblar os futuros urbanos das persoas maiores».
[ES] El urbanismo de la modernidad puso al Sol en el centro. Pero los peligros de su exposición excesiva, agravados por la crisis climática, exigen repensar la arquitectura y el espacio público desde la sombra.
[CAT] L’urbanisme de la modernitat va posar el Sol al centre. Però els perills d’exposar-s’hi excessivament, agreujats per la crisi climàtica, imposen repensar l’arquitectura i l’espai públic des de l’ombra.
[EN] The urban architecture of modernity placed the Sun centre stage. But the dangers of over-exposure to the Sun’s rays, aggravated by the climate crisis, are forcing us to rethink public spaces and architecture from the perspective of shade.
Miruna Ioana Voiculescu and the team of the Romanian platform of public anthropology Antropedia have gifted me with this wonderful summary in Romanian of the attempts at prototyping a Department of Umbrology – a presentation given in the most recent EASA – as part of their Anthropologie cu impact series.
Thank you all for this wonderful initiative and the beautiful rendition of our work!
Peisaje umbroase: prototipuri pentru un departament de umbrologie
This article is part of Antropedia’s project “Local Knowledge, Global Trends – 100 Perspectives from Antropology”, co-financed by the Administration of the National Cultural Fund (Romania). Narrative poster illustrated by Teodora Predescu, ArtiVistory Collective.
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Vorbim despre antropologie aplicată atunci când o cercetare are, pe lângă obiectivul înțelegerii și explicării unui context social, și misiunea de a găsi soluții pentru problemele cu care se confruntă grupurile studiate. Din Barcelona vine exemplul unui antropolog implicat într-un proiect de urbanism, care sprijină primăria în dezvoltarea unor prototipuri de umbrare. La Berlin, într-o cercetare doctorală despre afect și reprezentare a migrației/migranților a fost integrat un atelier în care migranții queer au realizat fanzine și au descoperit astfel o arenă pentru exersarea activismului. Proiectele de antropologie aplicată capătă amploare pe măsură din ce tot mai mulți cercetători încep să-și pună întrebarea: cum pot antropologii să aibă un impact în „lumea reală”, din afara mediului academic?
Peisaje umbroase: prototipuri pentru un departament de umbrologie
Fără soare nu ar exista viață pe pământ, dar ce se întâmplă când soarele ne face rău sau chiar ne pune viața în pericol în condiții de caniculă extremă? Aceasta este întrebarea de la care pornește cercetătorul Tomás Criado, afiliat la OUC (Universitat Oberta de Catalunya), în prezentarea sa „Peisaje umbroase: prototipuri pentru un departament de umbrologie”, concentrându-se pe lecțiile învățate din experiența sa cu primăria din Barcelona. În ultima perioadă, accelerarea schimbărilor climatice a scos în evidență vulnerabilitatea deosebită a orașelor cu populațiile lor foarte mari și infrastructurile complexe dificil de adaptat la noile condiții și, prin urmare, nevoia urgentă de a găsi soluții. Unul dintre primele lucruri pe care am fost obligați să le reconsiderăm este relația cu mișcarea soarelui pe cer și, implicit, să redescoperim umbra în forme și practici mai vechi sau mai noi. Și odată cu noi, administrațiile locale și proiectanții de toate felurile au fost obligați să facă loc umbrei și umbririi în discursurile și acțiunile lor. Tot mai mult calitatea de a fi locuibil a unui oraș depinde de protecția pe care o oferă de efectele nocive ale soarelui, astfel că modesta umbră devine o resursă publică.
În Barcelona, verile excesiv de toride ale ultimilor ani, în combinație cu umezeala, au contribuit la disconfortul tot mai accentuat al locuitorilor, iar, din perspectiva grijii pentru cetățenii lor, combaterea caniculei extreme a devenit o prioritate pentru autorități. Astfel, primăria Barcelonei a produs un ambițios „plan al umbrei”, parte din Planul climatic 2018-2030 care cuprinde o gamă foarte diversă de măsuri de la intervenții în spațiile publice, refugii climatice, infrastructuri verzi, infrastructuri pentru umbră, itinerarii bioclimatice, până la încercări de decarbonizare a răcirii clădirilor, finanțarea soluțiilor bazate pe pompe de căldură, având în vedere mai ales sărăcia energetică.
Sub umbrela generoasă a acestui plan, Departamentul pentru schimbare climatică și sustenabilitate din cadrul primăriei Barcelonei, în colaborare cu BIT Habitat Foundation, a inițiat un proiect de ecologie urbană pentru a identifica soluții de umbrire adaptate orașului catalan. Trei consorții alcătuite din birouri de arhitectură, dar și cooperative ale arhitecților, cooperative sociale, lucrători în lemn și furnizori de sere agricole au primit 100.000 de euro pentru a produce un prototip de „umbrar” care să fie instalat într-un spațiu public unde plantarea copacilor nu e posibilă și a cărui eficiență să fie monitorizată. Deocamdată există trei prototipuri (În umbra mozaicului (trencadís); Marea de umbre; Oază. Umbră pentru toți) care, începând cu 29 septembrie 2024, vor fi testate timp de patru luni în oraș (se pot vedea aici: https://www.barcelona.cat/infobarcelona/en/tema/urban-planning-and-infrastructures/the-bit-habitat-challenge-prototypes-are-now-starting-to-provide-shade-2_1424415.html).
Autorul prezentării a ajuns să fie implicat în proiectul de urbanism al municipalității după ce inițial și-a propus să facă o etnografie a acestei etape a „planului umbrei”, asistând doar la întâlnirile tehnice dintre realizatorii prototipurilor și diverșii specialiști urbaniști ai primăriei. Pe măsură ce ședințele se apropiau de final însă, cercetătorul a oferit gratuit consultanță privind „monitorizarea socială” a prototipurilor, uitându-se în special la felul în care oamenii le folosesc efectiv, dar și la cum cei implicați în realizarea lor înțeleg dimensiunea socială și climatică a proiectului și urmărind procedura internă prin care, pe baza prototipurilor, municipalitatea planifică licitații viitoare.
Din această postură, autorul s-a confruntat cu limitările sancțiunilor și ale soluționismului (ideea că tehnologia poate rezolva toate problemele) și, mai ales, cu neajunsurile evaluării impactului social după implementare. Inspirați de o povestire de Tim Horvath („The Discipline of Shadows”), împreună cu etnograful urban columbian Santiago Orrego, care lucrează în Berlin, au avut ideea creării unui departament de umbrologie, o disciplină dedicată studiului vieții urbane a umbrelor, dar și al intervențiilor în spațiul urban după modelul Los Angeles Urban Rangers (http://www.laurbanrangers.org/site/). Acesta este un grup de activiști urbani care oferă drumeții și plimbări cu ghid dintr-o perspectivă critică, cercetând și încurajând explorări alternative ale relației cu mediul urban din Los Angeles. Cei doi cercetători și-au imaginat și organigrama unui astfel de departament de umbrologie din cadrul unei primării: un topograf al umbrelor, un cercetător-creator de umbre, un cartograf al luminii soarelui și un analist al rezilienței umbrei comunitare.
Mai departe, în cadrul proiectului său etnografic, s-a conturat ideea unui prim atelier de cinci zile, The City of Shades (Orașul umbrelor) ținut în iunie 2024, la Barcelona, la care au participat 15 specialiști, dar și studenți din științe sociale, arhitectură etc. și care și-a propus să testeze soluțiile birocratice printr-o serie de plimbări cu ghid, inclusiv vizite în locurile în care urmau să fie construite prototipurile de umbrare ale primăriei. În timpul unei astfel de vizite, când grupul încerca să descrie diferența dintre umbra privată oferită de copertinele barurilor sau cafenelelor și spațiile publice însorite, un participant și-a exprimat intuiția că „umbra nu e un spațiu, e o regiune”. Astfel, explică autorul prezentării, umbra nu mai este un spațiu măsurabil, un ansamblu de module și forme, ci un teritoriu traversat de relații de putere, fluxuri de circulație și de cunoaștere, care poate fi și este disputat de diferiții actori. Toate aceste concluzii au fost transformate într-o fanzină.
În încheiere, un potențial departament de umbrologie și umbrologii săi ar putea constitui, din perspectiva autorului, o ecologie a sprijinului* care să însoțească implementarea prototipurilor de umbrare ale municipalității din Barcelona, atrăgând atenția asupra existenței diferitelor teritorii din oraș și a inegalităților dintre ele și deschizând discuția despre cum putem trăi cu toții în ecologii urbane mai umbroase – cu alte cuvinte, să ajute la integrarea dimensiunii sociale din faza de proiect, ori nu tratarea ei ca încă o problemă tehnică, de rezolvat după realizare. ____________
* Ecologii ale grijii (ecologies of care) și ecologii ale sprijinului (ecologies of support) sunt noțiuni folosite de autorii care au prezentat în acest panel (Către o grijă atmosferică: anularea violenței ecologice, experimentarea cu ecologii ale sprijinului) pentru a descrie multitudinea de reacții și soluții individuale sau colective (inclusiv alături de alte specii) la schimbările atmosferice determinate de încălzirea globală și alte fenomene asociate schimbărilor climatice tocmai pentru a sublinia interdependența și practicile care apar sau sunt redescoperite pentru a ne recalibra relația cu mediul înconjurător.
Gracias a la amable invitación de Rubén Gómez Soriano estaré el próximo 27 de febrero presentando en el seminario del Institut d’Història de la Ciència de la UAB, donde hablaré de uno de los capítulos de mi proyecto de libro An Uncommon City.
Técnicos sensibles: La construcción de la accesibilidad como infraestructura pública en Barcelona
Tomás Criado (investigador RyC, CareNet-IN3, UOC) Presentat per Rubén Gómez (professor lector UAB i membre iHC)
En esta presentación quisiera presentar un relato genealógico, a caballo entre la antropología y la historia de la ciencia, de las luchas y la inventiva epistémica y política que emergieron del encuentro entre activistas y técnicos de la administración que tuvo lugar en un singular entorno institucional: el Instituto Municipal de Personas con Discapacidad (IMPD) del Ajuntament de Barcelona, principal institución municipal dedicada a la participación de las personas con discapacidad desde los años 1980 en la elaboración de versiones de leyes, normativas e infraestructuras de accesibilidad urbana y cultural. Quisiera poner el foco en las prácticas de los profesionales resultantes de ese encuentro, a los que denomino “técnicos sensibles”, por la centralidad que tiene en sus tareas diversas formas de “sensibilizar” a ciudadanos y otros profesionales, privados y de la administración en diferentes procesos en los que se construye la accesibilidad como una forma de infraestructura pública. Una tarea crucial para activar – en el lenguaje de la filósofa de la ciencia Isabelle Stengers – otras formas urbanismo posible desde la diversidad corporal. Una actividad frágil y falible, no exenta de trabas y dificultades en un entorno altamente tecnocrático.
Editorial note: Prototypes for a Department of Umbrology is the third issue in a series of urban explorations that are part of an ongoing collaboration between Tarde and xcol.org.
How could we transition from a dangerous modernist ‘solar urbanism’ [1] to the renewed hope in the urban powers of shade? This transformation is far from just material or technical one; it also requires culturally symbolic and everyday practical undertakings. However, to achieve this, perhaps there is no other way around experimenting with speculative political practices and collective formations, where ethnography might still play a relevant role: not just as a documentary practice but an interventive one. A possible avenue to try out new forms of ethnographic relevance could be to draw inspiration from artistic practices searching to probe new ways into the contemporary climatic mutation in its complex local expressions.
As suggested in Tarde’s number 6, The City of Shades – the first in a trilogy on urban shades – we could follow the trail of the guided walks proposed by Los Angeles Urban Rangers or the immersive protocols of experimental politics of the Crisis Cabinet of Political Fictions[2]. Their works could be of great relevance to go beyond an attempt at undermining the practices of existing institutions. In fact, at a time when reclaiming the social state as a crucial infrastructure accompanying and sustaining experimentation with the forms of personal and collective protection might be needed, the task might be more akin to what legal activist Radha D’Souza and artist Jonas Staal stated when proposing their Court for Intergenerational Climate Crimes (CICC):
“For art to have emancipatory significance, it must go beyond mere questioning and deconstruction, and learn to retool statecraft’s arsenal to construct alternative popular institutions” [3].
Poster of The City of Shades workshop
Taking this thread, perhaps what is needed in times of a deep climatic mutation and growing extreme urban heat is to propose an alternative popular institution of that kind, as a parasitic companion to the work of existing civic actors and administrations. As put forward in Tarde’s issue #6 we could unfold a Department of Umbrology (DoU) in our urban territories: a space where to equip a new kind of professional of this strange discipline imagined by writer Tim Horvath, as well as a crossroads of knowledges and practices, bundling together those interested in the inquiry on and politics of urban shades.
But what would be the relevant knowledges and the concrete practices that this department, however fictional or speculative, might need to foster? First of all, it would need to gather people devoted to understanding things like: the social and material complexity of shades, the multiplicity of actors and assemblages constituting them; the practices of generating shade, by and for whom; or the forms of sociality that they allow as regions or territories of care, attending to their temporalities, their rhythms, and their spatial dramaturgies. Come what may, its first mandate would be to create the conditions for all this to happen.
Even if we imagined it to be a flexible collective of sorts – perhaps even summoned anew for every issue, articulated around yet-to-be-defined requests or mandates, and devoted to exploring the wide gamut of mediational possibilities ranging from civic or artivist protest to para-institutional endeavors – to grant it some reality we needed a setting, as well as a series of practicable ways for people to imagine this. Our current issue seeks to document a first attempt at doing this.
Testing the DoU hypothesis in a sheltered environment, I: Background
The concrete setting to materialize this speculative scenario took us around six months of on-and-off preparatory work. It happened in and around an open 5-day workshop, The City of Shades, in Barcelona on June 17-21, 2024 [4]. Organized in collaboration with Santiago Orrego, the workshop was backed by my own Ramón y Cajal research funds and a small amount of funding and promotion for the Architectural Weeks of Barcelona. The workshop was put together in collaboration with the City of Barcelona’s Climate Change and Sustainability Office and BIT Habitat, a foundation from the municipality whose mandate concerns deploying internal innovation mechanisms within the city hall and fostering the city’s innovative ecosystem to face municipal challenges.
I have been formally collaborating with both areas of the city council of Barcelona since July 2023, when they launched an architectural contest to prototype temporary public space shade solutions for the hot season. The contest wished to make emerging solutions unavailable in the market, responding to a main need detected by the municipality’s public officers: although, in their view, tree shade should be the main way to go, even in the midst of the worst drought of a century, certain urban configurations and regulations make it impossible to plant trees or other forms of greenery. Particularly (1) big open places with underground heavy infrastructure, such as transportation pathways or car parks, (2) small streets where fire regulations would not allow tree planting, and (3) playgrounds due to safety regulations concerning their pavements and zonification. The focus on these three spatial problems, as well as a desire to have re-usable, scalable and modular solutions, became the main prerequisites of the contest.
Heat measurements of uncovered urban soils
The ‘temporary public space shade’ challenge serves to develop one aspect of the ‘shade plan’ conceived in the City Council’s Climate Plan 2018-2030, an ambitious series of adaptation and mitigation interventions, amongst them a wide portfolio of measures to tackle urban heat [5]: ranging from public space interventions (climate shelters, shade infrastructures, bioclimatic itineraries) to attempts at decarbonising building cooling, incentivising aerothermal solutions centring energy poverty. All of this is part of a crucial agenda of the municipality for environmental justice, foregrounding its concern for ‘vulnerable populations’, like children, older and disabled people. Indeed, after increasingly scorching years, with every summer bringing sky-rocketing temperatures, Barcelona’s humid heat is one of the city’s main public concerns.
For the challenge, three consortia were selected by a committee of technical experts who valued how well the initial ideas might develop over a year into good-enough technical projects to respond to the contest’s challenges [6]. The consortia are of a rather mixed nature, comprising companies and architectural studios, cooperatives of architects and woodsmiths, or agricultural greenhouse providers, and a network of cooperative architects and social cooperatives. They were awarded 100 000€ to produce an idea that would be implemented with the advice of the relevant urban planning areas of the municipality, installed in given public spaces, and monitored in the next hot season. The incentive for this prototyping endeavor is that later, they could define the municipality’s calls for tenders for future urban shade products and establish a business model selling them to the public sector.
Render of one of the prototypes, as discussed on site in The City of Shades workshop
Since July 2023 I have joined as a peculiar fly-on-the-wall ethnographer the technical mentoring meetings, where the projects’ makers met with different public officers from relevant municipal areas – usually, engineers and architects by training – in charge of monitoring any new addition to Barcelona’s already packed public space. Interestingly, as the installation phase approached, I was asked for advice.
Although our formal collaboration agreement doesn’t include any payment for services, all parties became interested in having my views on how to approach the ‘social monitoring’ of the projects, a requirement from the municipality. It accompanies a more technically-developed ‘climatic monitoring’ (measuring temperature, humidity, shade coverage, etc.). Each project will need to study their own prototype and produce accounts of societal acceptance and use, as well as of thermal comfort [7]. Ever since, I have been informally suggesting and advising how to engage in the design of their surveys (sampling, data-gathering techniques, etc.) or discussing more or less experimental cartographic approaches to study spatial use: flow movements and permanence.
Render of one of the prototypes, as discussed on site in The City of Shades workshop
Even if thinking on the relations between shades, architecture, and heat practices has proven an extremely creative conceptual exploration from the onset, my ethnographic work remained confidential and tied to an activity of minute-taking: filling up pages and pages of a notepad to remember rather dense technical details. This is where the idea of a collective and public-oriented Department of Umbrology, where to inquire and discuss intuitions on the urban life of shade with others, became an interesting hypothesis to explore and experiment with forms of ethnographic relevance in the vicinity of all the other technical actors I have been collaborating with: not treating ‘the social’ as a closed category in advance (what the material or the climatic is not, the human factor), nor invoking it after the fact (providing sanctioning takes about technology acceptance) but rather evoking its emergent, everyday and ongoing creative process. To do this, we needed to imagine ways in which ethnography could come to matter: hopefully opening up what the social might mean in different shady locations, enabling more nuanced takes on the complex social and material life of shades and their forms of urban care.
Graphic storytelling of the inaugural presentation of The City of Shades workshop by Carla Boserman
i. Testing the DoU hypothesis in a sheltered environment, II: Producing a collaborative workshop
Testing ‘what a DoU might be’ was the inspiring idea behind The City of Shades workshop. A 5-day event, open to like-minded interdisciplinary people coming from the arts and humanities, the social sciences, and the design and architectural disciplines, with mandatory prior registration to screen who was interested and be able to create relevant synergies when attempting to articulate an exploratory collective research space like this. Sensing the organizational burden would be too much for us to carry the conceptual weight of the workshop, and in a spirit of collective speculation where many more views are needed, we additionally invited as mentors six colleagues from the arts and the social sciences working on experimental ethnographic approaches and with an artistic sensitivity to inquiry, who would push us to take it seriously or contribute to expand it beyond what we had imagined.
Cap with the DoU corporate logo
To render this practicable, we imagined umbrologists would require a series of roles, such as: (1) Shadow topologist, (2) Shade research-creator, (3) Sunlight cartographer, and (4) Community Shade Resilience Analyst. For each of these roles, we provided a small description and designed a series of specific forms, enabling the DoU to be imagined as a department of sorts: working ‘in the shadows’ of real ones, re-signifying what ‘shadowing’ tends to mean in common ethnographic parlance [8]. We also created a logo, a website, and baseball caps each of the participants could wear to protect from the scorching sun in our urban explorations as a way to enforce an idea of corporate identity and to become noticeable when moving around. The materials gathered in Tarde’s issue 6 and its zine were the main outcome of this preparatory effort. Indeed, the long essay was the discursive opening of the workshop, and the zine contained some of the forms we conceived and tried out.
We didn’t imagine this kit to be more than a first workable version, something enabling us to plunge into the problem and its conundrums more quickly, helping people have something to work with when thinking on shades for the first time. Our aim, thus, was to put to a test these bureaucratic forms undertaking a series of guided walks (around the Poblenou district of Barcelona, where the workshop venue was located; and monographic visits to the future sites where the municipal shade prototypes were going to be implemented, meeting the projects). We wanted to do so with the objective of later engaging in the hands-on redesign of the roles and forms of what a DoU could be, inspired by lectures, presentations and hands-on activities.
With the help of the mentors and a core group of 15 people who had registered – mostly from social sciences and architectural backgrounds – and the fluctuating assistance of people from the architectural contest, we had the immense luck to explore the possible research devices and mandates for the DoU. Our learnings were summarised on-site: the workshop ended with the production in less than 8 hoursof a fanzine, with the help of the open source collective PliegOS (our thanks again to Enric Senabre and Ricard Espelt for their work on this!), specialized in alternative forms of public documentation of events [9]. This raw and wonderful collective zine formed the backbone of the ethnographic kit for the study of urban shades you can now download in this issue. The only upgrade has been slightly polishing the language and developing aesthetic continuity between the different parts.
Collective work on a quick zine in The City of Shades workshop
ii. Learning to become umbrologists under the scorching sun: Documenting the workshop
Sweating over our cards, on different walks we learned to think about the urban inclinations of the sun, to relate to trees and plant coverage, to draw shadows with solarized spinach paper, to distinguish shade’s private contours (in the form of bars and terraces) from shady public infrastructures, to understand the relevance of broadening our view beyond the human (exploring an ethology of shades!), and to find ways to gather experiences of urban shades.
Our workshop took place mostly in the Sant Martí district of Barcelona, where the Poblenou neighbourhood is located. This is where I live and work, and my previous experience walking around with my daughters informed the selection of the places. But we also ventured beyond it when visiting the places where the municipality’s shade prototypes were to be emplaced and installed. This experimental journey also took us to the seafront of Barceloneta, then to the immense gap between large buildings of the Maresme-Forum over one of Barcelona’s main ring roads, or to the highline of the Sants district, created over the transportation box that the underground and commuter trains use to traverse the city.
As novice umbrologists, these endeavors enabled us to probe into the true power of urban shades, which also swallowed a measuring briefcase from the municipality without leaving a trace in one of our visits. In the final session, prior to working on the closing zine, I attempted to summarise our learnings as follows.
First lesson. To work as an umbrologist, it is advisable not to lose sight of one’s own body, as well as pay attention to the corporeality of our recording materials. Climates are mutating, and so should our recording devices! We learned this together with artist Carla Boserman, who pushed us to try out the complex task of following moving shades with blank pieces of paper, forcing us to go beyond reifying and representational takes. Carla also introduced us to the art of drawing through the climate-prone technique she has been recently exploring: anthotypeson emulsified papers, the predecessor of photographic printing, using the sun as a recording device.
Catching shades on paperA kit to work on anthotypes
Following shades and their shaky silhouettes, we realized that shades are anything but static. They move, and they move us with them. Also, they are not a single thing but a strange singular amalgamation of contours in between opacity and luminosity. As Carla told us, she became passionate about anthotypes when inquiring on affective forms of inscription that might also be attentive to atmospheric changes [10]: that is, not thought of from pens or pencils that always work, irrespective of the weather they are used in, but from the unstable environmental relationship of the sun imprinting its radiating force on fragile papers.
Shade on white notebook
Second lesson. On our walk through Poblenou, largely inspired by Carla’s work, we realised that it did not make much sense to think of shades as atmospheric occurrences, even though there are many useless, ephemeral or evanescent shadows. Rather, as we discussed at length that same Monday morning, the urban shades that interest us, those that allow us to shelter and cool off, should be thought of more as existential or lived regions.
Umbrologist at work
This was the main result of a collective conversation after spending some time, amazed as well as surprised, debating at length about an intersection. In it, shades were in some way ‘privatized’ by a terrace for the greater part of the day, leaving the nearby playground untouched, turned into an accidental grill for risk-prone parents and children. This ‘regional gaze’ at shades, as someone aptly called it in our discussion, also meant understanding them not from their metric spatial dimensions or climatological indicators but as interwoven topologies of atmospheric care for a plurality of bodies: territories plotted by power relations, flows of movement and knowledge, and divisions enacting sometimes profoundly unequal conditions of access, or as locales of possible multispecies inhabiting [11].
Playground under the sun
Visiting the locations of the municipality’s shade prototypes, we realized that, in addition to thinking about their patterns or modularity, we always needed to pay attention to: their surroundings, the habitual and possible uses of space, and the modes of circulation, the symbolism and the affordances of given places; and to actors both human and other than human (doves, seagulls, dogs and parakeets being regular companions in our walks). That is, to the different ways in which different actors make these spaces existential territories of life, both in the open and in hideouts, in different moments of the day as well as in the dark hours of the night. This regional, domain-specific look, attentive to the places and their shady life, felt to us of the utmost importance given that the prototypes could redefine and alter urban care: both opening up conflicts that didn’t exist before, hardening others that were hidden, as well as enabling newer ones to emerge.
Parakeet sheltered from the sun
Third lesson. This corporal approach and the importance of a regional perspective had as a result a full revamping of the kit we had proposed, developing new sheets and protocols of analysis of and intervention in the shades. Also, thanks to the fabulous interventions of Isaac Marrero-Guillamón [12] and Fernando Domínguez Rubio [13], we started imagining different mediational mandates for what a DoU might wish to respond to, drawing from the work of different artistic and activist forms of research they suggested us to resonate with.
As a result of all of these intense 5 days, the zine we worked on materialized a handful of activities to activate a possible DoU, enabling a bunch of research modalities that could be mobilized in different contexts of use.
Reworking our previous kit
iii. Prototypes for a DoU: Imagining a future practice
All in all, what these learnings prompted us to reflect on is the poetic and political potential of shades, which transcends the idea of simple technical solutions to thorny problems. In our workshop, shades appeared as a popular and well-spread figure of everyday climatisation (who can’t create shades, even with their own hands?), whose mundanity might precisely allow re-politicizing climate and weather not as things out there, observed and pinned down by meteorologists or climatologists, but as an urban collective concern, eliciting a broader conversation on how we could learn to live in more protective urban ecologies.
In other words, urban shades could also have the power to renew political ecology, the practice of creating and inhabiting them, unfolding a desire for exploration, play, and doing things with others that might not be so obvious when thinking of conventional forms of climatization grounded on air conditioning or ventilation [14]. Precisely because of its mundane nature, shading – a manual activity [15], a hands-on practice of learning to collectively condition and make a space inhabitable under the sun [16] –subtly but unavoidably challenges the problem of modernist solar urbanism and helps qualify mechanical air conditioning acting as a technology for forgetting the deadly fossil fuel substrate of our ways of living and its role in the formation of our atmospheric conundrums [17].
As a result, this issue of Tarde offers prototypes for a Department of Umbrology: a more grounded tentative proposal, slightly upgrading what we learned in the workshop. The accompanying zine, hence, is a small kit with a series of practical exercises and research devices: on the one hand, there are devices enabling a sensitization to what thinking with shades does to understanding the urban, as a matter of sun inclinations and exposure, or a first attempt at their inventory, documenting their changing features, their uses, and uselessness; on the other hand, we have devices for a more collective analysis of shades as regions with their spatial divisions, a proto-ethology of their human and other than human actors, and a series of prompts to elicit individual and group experiences.
The shade as an intergenerational and multispecies region?
Taken as a whole, these six devices enable us to imagine a future practice for the DoU to continue existing. This might also mean mutating in each place and around particular places and topics [18], for the DoU should not just be a collaborative space to study the urban life of shades but an urban space to enter into generative and fruitful shady relations! [19]
References
[1] With this expression, rather than discussing the use of solar power in urban settings, I refer to the signature modernist hygienist drive to design urban settings for clean air circulation and insolation, as a heliocentric approach to city-making. For more context, see Tarde’s issue #6: https://tarde.info/the-city-of-shades/
[2] The latter define their work as “an exercise in political speculation that different experts make to bring possible futures to the present through fictional scenarios that must be addressed within a limited period of time.”
[3] D’Souza, R., & Staal, J. (Eds.). (2024: 10). CICC – Court for Intergenerational Climate Crimes. Rotterdam: Framer Framed.
[11] Something for which I’ve found both Vinciane Despret and Bruno Latour’s territorial musings of great food for thought. See Despret, V. (2021). Living as a Bird. Wiley; Latour, B. (2021). After Lockdown: A Metamorphosis. Polity. For an interesting companion for this kind of territorial thinking, see Aït-Touati, F., Arènes, A., & Grégoire, A. (2022). Terra Forma: A Book of Speculative Maps. MIT Press.
[12] Isaac took us on a tour de force revisiting the inspiring works of a dozen artists exploring modes of representation and collaboration to render practicable different ‘mediational’ possibilities of what the DoU might be or, in his words, “I would wish that a Department of Umbrology could think in recursive cycles of research, relationship, and public interfacing”. To name but a few of the many examples he discussed at length to substantiate this, allow me to select just three, because of the impact they left on some of our conversations: Silvia Zayas’s magnificent collaborative artistic speculation ruido ê, working – by means of a documentary and other media – with oceanographers to expand their sensory registers of subaquatic perception when studying manta rays and sharks; Stephen Gill’s Buried photographic series, a work of photographic remediation of the future transformation of the contaminated soil of the Olympic site in London (a moment where many informal uses of the space were lost) recording scenes of the life of these ‘post-industrial marshes’ with a cheap camera, then burying them images on the ground of the conflict, letting them impact it, thus being a double record of the chemicals in the camera and on the ground; Jessie Brennan’s The Cut, a juxtaposed drawing exploring fragments of the oral history of a neighbourhood from London traversed by a canal, using the canal as the storytelling device.
[13] Fernando discussed the speculative work around fiction that the Crisis Cabinet of Political Fictions and cognate works have sought to render practicable. Discussing at length the relevance of fiction to mould reality, he expounded the different scenarios they had been working on. In his presentation, he advocated for a use of fiction that discloses its own shadows (absences, problems, strange effects), rather than hiding its own productive and speculative engine.
[14] With the wonderful exception of the very inspiring hands-on artistic take to ‘air conditioning’ explored years ago by Iñaki Álvarez and Carme Torrent, inventing a wide variety of exercises whereby the air we breathe and sweat is rendered collectively articulate in given situations by means of “actions and choreographic and climatic situations in which the air can be the main character and a performer”, see https://mercatflors.cat/en/espectacle/salmon-air-condition-2/ (the materials of these sessions, graciously donated by Blanca Callén were of great food for thought when imagining the workshop; my appreciation goes to Iñaki, Carme and Blanca for the long conversation we had on this experience).
[15] For a very graphic exploration of this, see Fernández, M. (2021). Tejiendo la calle. Rua ediciones. This book recounts the story of a community-driven architectural project in the village of Valverde de la Vera (Spain), where villagers have engaged in a process of creating parasols out of recycled plastic, later on deciding collectively where and how to hang them in the hot season. This project beautifully shows how these parasols are not just ways of sheltering from the sun, but the changing fabric of a shady community in the making.
[16] In that sense, shading practices could very well be thought of as the next of kin the embodied approaches to ‘weathering’ proposed by Neimanis, A., & Walker, R. L. (2014). Weathering: Climate Change and the “Thick Time” of Transcorporeality. Hypatia, 29(3), 558-575.
[17] An argument developed at length by Barak, O. (2024). Heat, a History: Lessons from the Middle East for a Warming Planet. University of California Press.
[18] In his intervention, Adolfo Estalella ventured beyond his work on ‘ethnographic invention’ (c.f. Criado, T. S., & Estalella, A. (Eds.) (2023). An Ethnographic Inventory: Field Devices for Anthropological Inquiry. Routledge) to offer ‘diffraction’, an optical concept taken from the work Donna Haraway, as an interesting new way to discuss the different attempts, trials and tribulations of a ‘shady’ ethnographic practice beyond the totalising idea of ‘method.’
[19] What Francisco Martínez referred to, in another of the presentations of the workshop, as a practice of opacity. See Martínez, F. (2024). “Lights out: practicing opacity in Estonian basements.” Etnográfica, 28 (1), 285-297.
Together with my long-time friend and associate Ignacio Farías, we are contributing to the brand new edition of the Elgar Encyclopedia of Science and Technology Studies, edited by Ulrike Felt and Alan Irwin (our thanks for their curatorship and initiative!).
Our contribution seeks to re-tell what STS does as a particular form of urban storytelling, from the classic stories around the Brooklyn bridge to attempts at doing a city otherwise!
Cities: stories of urban STS
This chapter explores stories STS scholars tell about cities: a tale of field formation and transformation, as well as how the urban has de-centred the object of STS. We retell stories about cities as socio-technical infrastructures. Then we focus on stories about urban natures, activist ecologists, the city as a geological intervention, and untameable nonhuman atmospheric elements. Finally, we engage with stories about how participation and do-it-yourself activism in the infrastructuring of urban worlds re-shape what we take the city to be. Each section retells iconic stories and rehearses some key STS insights attached to them.
Las Becas Leonardo de la Fundación BBVA están destinadas a apoyar el trabajo de investigadores y creadores culturales que, encontrándose en estadios intermedios de su carrera, se caractericen por una trayectoria científica, tecnológica o cultural altamente innovadora.
Al dotar a estas becas con el nombre propio de Leonardo da Vinci se quiere enfatizar los atributos característicos de esa figura universal de la cultura, destacadamente la pasión por el conocimiento, la apertura y exploración de nuevos campos y problemas, la interacción entre trabajo teórico y observacional o experimental, así como el diálogo y realimentación entre los dominios de las ciencias de la naturaleza y de la vida, la tecnología, las humanidades y las artes.
En correspondencia con su nombre, las «Becas Leonardo» se dirigen a facilitar el desarrollo de proyectos individuales que aborden facetas significativas y novedosas de objetos y cuestiones científicas, tecnológicas y culturales del presente, elegidas libremente por sus autores.
[ES] Ciudades que envejecen: Los futuros del urbanismo de la edad avanzada en el litoral español desea estudiar el litoral mediterráneo español como un laboratorio presente y futuro de distintas versiones de la ‘buena vida’ bajo el sol, en un momento peculiar en el que las crisis demográficas, de vivienda y medioambientales confluyen en una tormenta perfecta. En los últimos cincuenta años, la costa mediterránea española –uno de los mayores enclaves para la ‘migración de retiro’ en el continente europeo– se ha enfocado en el urbanismo de la edad avanzada (‘late life urbanism’) a través de una enorme inversión en infraestructuras urbanas de cuidado y en la transformación de la accesibilidad en viviendas, así como en equipamientos urbanos (transporte público, parques, playas).
En este contexto crítico de formas urbanas de envejecimiento, el proyecto tiene dos objetivos principales: (i) estudiar la genealogía del urbanismo de la edad avanzada (trabajo de campo y de archivo) en uno de los siguientes enclaves: la Costa Blanca (Alicante), la Costa del Sol (Málaga), el Maresme (Barcelona) o Mallorca; y (ii) elicitar la imaginación de futuros para la vida urbana de las ciudades que envejecen dentro de los límites planetarios (a través de talleres especulativos e inmersivos).
El proyecto tiene lugar entre octubre de 2024 y marzo de 2026.
[EN] Ageing Cities: The Futures of Late Life Urbanism on the Spanish coast wishes to study the Spanish Mediterranean coast as a present and future laboratory of versions of the ‘good life’ under the sun, at a peculiar moment when housing, demographic and environmental crises are coalescing into the perfect storm. For more than fifty years, the Spanish Mediterranean coast, one of the main hotspots of ‘retirement migration’ in the continent, has developed a signature approach to late life urbanism: with a great investment in urban infrastructures of care and urban accessibility transforming dwellings, as well as urban equipment, such as public transports, parks and beaches. In this critical context of urban forms of aging the project has two main objectives: (i) studying the genealogy of late life urbanism (undertaking fieldwork and archival research) in one of the following enclaves: Costa Blanca (Alicante), Costa del Sol (Málaga), Maresme (Barcelona) or Mallorca; and (ii) eliciting the imagination around the futures of late life urbanism (by means of immersive speculative workshops) within planetary boundaries.
The project will run from October 2024 to March 2026.
[CAT]Ciutats que envelleixen: Els futurs de l’urbanisme de l’edat avançada al litoral espanyolvol estudiar el litoral mediterrani espanyol com un laboratori present i futur de diferents versions de la ‘bona vida’ sota el sol, en un moment peculiar en què les crisis demogràfiques, habitacionals i mediambientals conflueixen en la tempesta perfecta. En els darrers cinquanta anys, la costa mediterrània espanyola – un dels principals enclavaments per a la ‘migració de retir’ al continent europeu – s’ha enfocat a l’urbanisme de l’edat avançada (‘late life urbanism’) a través d’una enorme inversió en infraestructures urbanes de cura i en la transformació de l’accessibilitat a vivendes, així com en equipaments urbans (transport públic, parcs, platges).
En aquest context crític de formes urbanes d’envelliment, el projecte té dos objectius principals: (i) estudiar la genealogia de l’urbanisme de l’edat avançada (treball de camp i d’arxiu) en un dels enclavaments següents: la Costa Blanca (Alacant) , la Costa del Sol (Màlaga), el Maresme (Barcelona) o Mallorca; i (ii) elicitar la imaginació de futurs per a la vida urbana de les ciutats que envelleixen dins dels límits planetaris (a través de tallers especulatius i immersius).
El projecte tindrà lloc entre l’octubre del 2024 i el març del 2026.
