Valparaíso, a kind and safe port

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The port of Valparaiso is one of the main ports of Chile, located in the central area that covers almost the 60% of the national product. The city of Valparaiso is the Cultural Capital of the country, UNESCO World Heritage Site, and is known worldwide for its port activity, one of the main engines of growth and employment.
The limited land available in the coastal for port use and the considerable increase of cargo transfer, after 80 years without maritime constructions, demand an urgent growth of the port. For this reason, Puerto Valparaíso is promoting emblematic infrastructure projects for the short and medium term, which have required a high interaction with the city and demand the urgent strengthening of this relationship.
Defined solutions include the ongoing development of a new waterfront called Puerto Baron and the sustainable design of new port constructions and logistics operation. However, there is nothing more valuable to strengthen this synergistic link, than the contact between the citizen and the port, encouraging the accomplishment of social, cultural, sport and entertainment activities within port areas. These uses must be compatible with the preservation of environmental security, the prevention of illegal acts and the lives of the people. To that effect we have acted with creativity and innovation in the sharing use of our port areas, through the examples described in the presentation.

Harald Jaeger, casado con 5 hijos, es desde 1998 el Gerente General de Empresa Portuaria Valparaíso (EPV). Se tituló de Ingeniero Naval Eléctrico en la Escuela de Ingeniería Naval de la Armada y, posteriormente, recibió el grado de Magíster en Ingeniería Industrial de la Universidad de Chile.
Ha estado ligado a la actividad marítima, tanto por sus 18 años de servicio en la Armada, como por su desempeño en cargos ejecutivos ocupados en un astillero y en empresas del rubro naviero.
En otros ámbitos, destaca su participación en el desarrollo de proyectos del área inmobiliaria, eléctrica e industrial, para la reconversión de la zona del carbón en la VIII Región, durante 1997.
Actualmente es Director de la Liga Marítima de Chile.
Desde su actual cargo, le ha correspondido ejecutar la modernización de Puerto Valparaíso, proceso que contempla entre sus principales resultados la incorporación de inversión privada a través de la concesión del Terminal Nº 1 de Valparaíso y recientemente del Terminal Nº 2, el reposicionamiento comercial en el mercado de carga y de cruceros, y la reformulación del  desarrollo del puerto en el ámbito de la seguridad para el comercio y la logística, mediante la construcción y concesión de la Zona Externa de Apoyo Logístico, consistente en un innovador sistema de infraestructura, procesos y tecnología de información para administrar eficientemente el alto flujo de acceso y salida de camiones al Puerto.
En el ámbito de la Responsabilidad Social Empresarial le cupo impulsar la apertura urbana y turística del puerto, a través del Proyecto Puerto Barón, un Puerto Deportivo y otras iniciativas que han acercado el Puerto a la comunidad.

The remains of the port: port memories in the new architectures on the waterfront

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In fluvial and maritime cities, the presence of the port leaves an indelible mark even when the port is disposed of or abandoned. Not only are appearances in existing infrastructures to convert to other uses, but it is also the perception of the genius loci that survives any transformation. It is a cultural memory even before functional, the result of a sedimentation of customs and habits, languages and traditions, struggles and hopes, which impregnate the atmosphere and which remain in sensitivity and mode of feeling of the inhabitants and visitors. So it is from this material but also immaterial heritage that the designer, who approaches the transformation of port for other uses, it begins to re-think in creative terms the waterfront. And this happens either knowingly or unknowingly, as a source of inspiration and recovery of memories and traditions that have marked the places for centuries. When writing a new page of these places, as a result of technological changes that occurred in freight transport and port activities in general, emerges strongly that the issue of identity, even reinvented, it remains a fundamental element for the recognition of a city that knows how to read his own past in the light of changes in society and its needs. A path through a number of these new architectures – from Marseilles to Copenhagen, from Lisbon to Hamburg – in European port will highlight the theme of building a new identity through the signs of the past.

Marta Moretti is born in Venice in 1961. Graduated in Contemporary History at the University of Venice (Ca’ Foscari) in 1986.
Founder and Board Member of the River//Cities Platform Foundation (www.river-cities.net), set up in Warsaw in 2010. She is jury member of the ESPO Awards for the editions 2011, 2012 and 2013.
Till April 30th 2013, she was Deputy Director of the International Centre Cities on Water, in Venice.  During her 24 years long collaboration with the Centre, she was involved mostly in editorial issues being Editor in Chief of the Centre’s magazine: Aquapolis (1992; 1996-2001) and Portus (2001-underway).
She was also Editor of the monthly digital newsletter of the Centre, Città d’Acqua News. She participates in conferences and seminars of the Centre’s issues at national and international level, and she partecipates to publications.
Since 1988, she writes for several local and national newspapers and magazines on cultural, urban and tourisms issues. Since 2005 she is regularly registered at the List of Journalist (Albo di Venezia).

Building a Maritime Innovation Platform in the Oresund Region: Restoring Maritime Culture and Esprit for Our Maritime Future

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The Oresund* strait joins the the southern Swedish provinces of Skåne and Blekinge with Denmark’s largest island, Sjælland. This hybrid geography, half land, half sea, is known as the Oresund Region. It is the EC’s only bi-national region, and also the only region characterized by the sea that it borders. Five hundred years ago, the Oresund was home to two great, competing Hanseatic capitals, Copenhagen (now Danish) and Malmö (now Swedish). Maritime spirit was strong, and the region exceptionally prosperous.

Maritime’s significance has since waned, more in Sweden than in Denmark. The collapse of the Kockums shipyard in the 1980s was traumatic throughout the Oresund. Malmö and most of the Swedish region turned its back on the sea.  Malmö became a post-industrial city.  Copenhagen, linked to Malmö since 2000 by the Oresund Bridge, largely followed suit, although Denmark remains a shipping power thanks to Maersk and determined policymakers.

Burgeoning east-west routes to the BRIC nations and other developing markets run right through the Oresund. Overall, however, the Oresund is unprepared for this coming tsunami of trade, mostly maritime, that will dominate the rest of this century. Infrastructure is inadequate, recruiting talent difficult, and planning for a maritime future almost nonexistent.

This presentation describes an effort underway to restore the Oresund’s maritime culture and esprit so that the Region is open to and can benefit by these new conditions. For lack of a maritime-development vernacular, we must employ the language of terrestrial development – innovation platforms, smart specialization, and business ecosystems – to characterize our work. But nothing about this is really the same. In the future, we expect to try this elsewhere, eventually creating a global maritime network of regions competent to address maritime issues on a real-time basis.

Robert Jacobson, Atelier Tomorrow AB : “I grew up on the archetypal Southern California beach, with the sea a constant companion. I became an avid bodysurfer and planned to become an oceanographer before my interest in communications, media, and human experience intervened. In the 1980s, as the California Legislature’s principal consultant (senior analyst) with responsibility for commerce policy, I commissioned and supervised the first report in the state’s history describing and dealing with California’s 13 ports. The next step was to rationalize and coordinate the ports’ individual and collective activities.
My company, Atelier Tomorrow AB, is now leading the charge to establish the “World Maritime Center,” a maritime-oriented regional innovation platform – an innovation-producing network of diverse parties with common interests – in the binational Oresund Region. To guide development of the World Maritime Center, we are preparing a report based on meetings with all maritime stakeholders in the Region, planning sessions, and our own research and expertise. Support is provided by Tillväxtverket, the Swedish Development Agency, employing EU Structural Development Funds; and by Malmö stad, the City of Malmö”.

Ashdod: Community Relations Strategy and the Establishment of the Visitors Center

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The Ashdod Port was founded in the 1960s as an artificial, deep-water and modern port, alongside of which developed the city of Ashdod. In 2005, the reform of the Israeli ports involved comprehensive restructuring, and the port became an independent government company.

Since its inception, the Ashdod Port has suffered from stormy labor relations and a harsh image among the Israeli public. The troubled labor relations at the port were attributed to the general port industry structure around the world but also to social processes of national and ethnic stratification that began with the evolution of Israeli society over these decades.

As part of the port company’s business vision, and as a reflection of one of its core values that is derived from its vision, a general philosophy was developed regarding community relations. This philosophy evolved not only from the instrumental perspective of steady improvement and public relations at the port but also in a belief that view community involvement in its main institutions, regulatory bodies and third sector entities as a value in and of itself.

Thus was formed a strategic philosophy of community relations, which relies on several principles including the perspective of the city of Ashdod as a main target, alongside actions with general Israeli society; emphasis on long-term and continuous infrastructure activity; establishment of cooperation for goals and content; selection of leading strategic partners in their field; and selection of activities pertaining to the port’s core businesses, while granting clear preference to involvement in the sustainability world and environment. The lecture will briefly cover several examples of such cooperation.

The second part of the lecture will cover the establishment of the Ashdod Port’s Visitors Center, which was built in 2010 and designed to operate on three levels: business – with customers and suppliers; public – with the general public and organizational – with employees. The lecture will cover the main phases in the construction of the center, its goals, content, mode of operation and impact.

Ben Zikry Yigal is Vice President of Corporate Communication at the Port of Ashdod where he is responsible of market management with the media, government relations and business and community organizations. He is also in charge of the formation of the company’s communication strategy and internal organizational processes.  In 2002, he initiated the establishment of a visitors center and reinforced business and community ties. Finally he worked for several years as a formal and informal education teacher.

From the transatlantic maritime station of Le Havre to “the Volcan Maritime”, national scene of Le Havre

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The city of Le Havre benefits from the presence on its territory of one of the most important and older national stages of the country. Indeed, Le Volcan, created in 1961, has a budget of about 5 million euros and will propose to the public 67 shows for more than 200 representations throughout the season 2013/2014.
The theaters used by Le Volcan since 1981 are the work of the famous Brazilian architect Oscar Niemeyer. In works of modernization since 2011, their temporary closure created the opportunity for Le Volcan of the construction of a project “except walls” of duration from 3 to 5 years. This opportunity ended in the writing of a new artistic and cultural project drawing from the roots of the City Le Havre, which become confused, since 1517, with those of its seaport.
Welcomed in the transatlantic maritime former station, within the Big Seaport of Le Havre, the national stage invested the place to make its “base camp”, appropriate to allow the organization of adventurous expeditions.
Extremely symbolic place in Le Havre, this station closed down since 1981, is situated on a quay for a long time used by the inhabitants as the place of walk and meetings.
After a respectful arrangement of the history and entirely reversible, the shows follow one another and recreate a regular link between the City and the Port while proposing a concrete approach of the concept of “harbour imagination” declined around the ideas of exoticism and of “new worlds”.

With a double program, Academy of music and University (DEA in political History and regional planning), Jean-François Driant begins his career in the years 1980 as musician and organizer of concerts. Since 1992, he is named to adviser for the music and the dance to the French Ministry of Culture. He leaves these functions in 1998 to become managing director of the Atlantic Ballet Régine Chopinot, National Dance Studio of La Rochelle. In 1999, he is named director of the Aéronef, concert hall in Lille and is joined the team which prepares “Lille 2004, European capital of the Culture”, as an artistic and technical adviser. Then, he joined the Manège, national scene of Reims before being named director of “Le Volcan”, national scene of Le Havre in April 2006.

Designing a new Museum at the entrance of Piraeus Port: a cultural intervention in a heavy-duty commercial and passenger harbor

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In the middle of one of the harsher economic crisis ever met by Greece and Europe in general, the port of Piraeus decides to make a decisive step forward. Within the terms of a general master plan of 18 hectares’ area, the Piraeus Port Authority organized an international competition, inviting architects to redesign the coastal zone and to transform an existing industrial building into a Museum for Underwater Antiquities.
The first award proposal aims to restore the broken relationship between the city and the sea and redefine the public activity in the area of the harbor. Acknowledging the hovering position of the coast between land and water, urban and marine landscape, local and supralocal character, the study suggests recreational and cultural uses of various qualities and references, in order to change the harbors’ image.
The new Museum, part of a broader cultural neighborhood foreseen, will offer a complete tour through the history of the relation of man with the sea in Greece and the Mediterranean, accommodated in facilities of total 15.000 sq. meters. Hosted in an emblematic huge cereals’ stock house situated at the very entrance of the harbor, the museum is called to enhance the existing buildings’ role as an important landmark and to invite the locals as well as the tourists. Modern architectural forms converse with the industrial typology of the ‘30s and reflect outwards the new function. The stern introvert “machine-building” of the past, reclaims the contact with the public space, while the human scale and social activity gets restored.

Evangelos Antonopoulos is an architect, born and raised in Athens, Greece. He has studied in “Academie Royale des Beaux Arts, Institute d’architecture Victor Horta” in Brussels and gratuated from the National Technical University of Athens (NTUA).Since 1985 he collaborated with several architectural firms, as well as private practicing as industrial & art designer and architectural models’ constructor.
Thalia Vetta is an architect, also born and raised in Athens. She graduated from the National Technical University of Athens and has been practicing architecture since 1990.
Since 2006 they are both founding members of the architectural office “ARK2” and also members and shareholders of the architectural department of the “OTM SA” engineering consultants’ firm. They undertake small and large scale architectural and urban development projects, from private as well as public clients. The offices’ activity is mainly in Greece and has specialized in designing special industrial facilities, landscape and building design for road and tunnel constructions, as long as designing Metro stations.
In October 2012 they participated with a team of fellow architects, in the international architectural competition for the design of underwater antiquities’ Museum and the regeneration of the coastal zone of Piraeus Port and won the first prize. The project is to be concluded by 2017.

The culture industry, a strategic value for the urban development of the port area of the city of Buenos Aires

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photo_converti_webThe urban geography of Buenos Aires and its front on the Rio de la Plata river, has, in recent years, witnessed the emergence of a remarkable change, starting with the presence of the district called Puerto Madero, which over the last few decades has wrought a fundamental change, a change in civic awareness, helping the city’s citizens to recognize that an area traditionally occupied solely for its logistical port-related use may also be a place in which to have sites and activities for residences, offices, commerce, culture, education, tourism, and recreation.
In this sense, the introduction of the cultural projects in the port area of Buenos Aires has managed to interconnect the natural shore environment of the Plata River with the city’s urban fabric, thanks to an event that surpasses, through the influence of its activity, the specific space in which it is unfolding.

Roberto Converti, Arquitecto argentino. Su actual trabajo profesional resume una serie continua de experiencias intelectuales en universidades e instituciones académicas, en la actividad de la planificación urbana en la gestión pública y en su permanente dedicación en su estudio profesional a la investigación y generación de ideas en el ámbito del urbanismo y la arquitectura,  circunstancias que le han permitido delinear un proceso de vida, comprometido con la complejidad social y política y con el impulso de proyectos innovadores y transformadores para cada lugar donde es convocada su intervención.
En los años 1996/2000 fue Subsecretario de Planeamiento Urbano de la ciudad de Buenos Aires, período significativo donde se analizan, debaten y producen los primeros lineamientos del orden urbano de la autonomía de la Ciudad, en el marco de un nuevo mandato constitucional.
En ese contexto participó de uno de los más importantes períodos de la historia de la planificación de Buenos Aires, coordinando las acciones del Plan Urbano Ambiental y creando los lineamientos estratégicos de un proyecto urbano innovador, el Programa Buenos Aires y el Río, dedicado a regenerar las condiciones de calidad funcional y formal del frente costero al Río de la Plata.
A partir del año 2000 y hasta el año 2002 ejerció fue Presidente y Director de la Corporación Puerto Madero, el más trascendente proyecto urbano contemporáneo de Buenos Aires.
Actualmente dirige conjuntamente con el Arquitecto Fabio De Marco, OFICINA URBANA, estudio profesional dedicado al desarrollo de propuestas estratégicas en ciudades, a través del diseño y gestión de proyectos urbanos y de arquitectura de importante escala.

How establishing cultural facilities has strengthened the ties between harbour and city life by the old Reykjavík harbour?

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The year 2013 marks the 100th anniversary of harbour construction in Reykjavík. Harbour construction began in March 1913 after lengthy preparations, considerable debate and disputes among the members of the Reykjavík city council and the national authorities. The harbour construction was the largest single project embarked on in Iceland and was a milestone in the history of the city, which had suffered from the lack of adequate port facilities since its establishment.
The port quickly grew and developed in tune with the times and formed the basis for the city’s growth in transport, retail sales, services and vessel operation. The port and the city were always highly integrated, and one could say that the growth of the city and that of the port have gone hand in hand from the very beginning.
The area within the port was intended for port-related operations only, i.e. companies whose livelihood depended on vessel operation, fish processing, importation and exportation.
It could be said that, for a while, the connection between the port and the city was broken with an excessively narrow interpretation of what could be considered port-related operations and strict restrictions on citizens’ access to the port environs. After 1990, the debate on the relationship between the port and the city grew ever louder, and there were greater demands for improved access and more open areas. When the idea for locating the new concert and conference centre at the east part of the harbour came up in the years between 1997 and 1999, there were wildly opposing opinions on the issue.
There were many who thought that the location of a concert hall, museums and other culture-related organisations did not belong in the harbour area. Despite strong objections, the concert and conference hall HARPA was built in the east part of the old harbour in central Reykjavík. Moreover, the Reykjavík Art Museum, the Maritime Museum and the Reykjavík City Library are now based in and near the area. With the addition of these entities in the neighbourhood, one could say that a new era has begun in the history of the Old Port of Reykjavík, with positive developments where there is a blend of culture, vessel operation, fish processing, various services to the ships and marine-related tourist services.

Vignir Albertsson holds a Degree of Civil Engineer from the Byggeteknisk Höjskole in Copenhagen (1976). After one year as Deputy Managing Director of Steiniðjan ehf. in Ísafjörður (1977-1978), he has been General Manager of Real Property for the Port of Reykjavík and assistant to the Port Director in planning issues from 1978 to 1993. Since 1993 he is Director of Planning for the Port of Reykjavík and subsequently for Faxaflóahafnir sf. (Associated Icelandic Ports). He is also responsible for the management of building site issues and plot registration together with design management of significant alterations to buildings. Vignir Albertsson is the contact person for Faxaflóahafnir sf. with respect to the planning and construction departments of the municipalities that own Faxaflóahafnir. He is married to Sigríður Jónsdóttir, physiotherapist; they have 3 children and 4 grandchildren.