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Trabajar el Adentro
This redesign of the Cementerio de Flores, one of Buenos Aires’ three major public cemeteries, draws conceptual inspiration from Andean cosmology—specifically the four pachas that structure the worlds of above, here, below, and return. Guided by the cultural practices of the region’s Bolivian migrant community, including their Day of the Dead traditions, the project reimagines the necropolis as a space where heritage, spirituality, and everyday public life intersect. By structuring the cemetery around four “centralidades” aligned with Hanan Pacha (preserve), Kay Pacha (dignify), Uku Pacha (enjoy), and Kuteq Pacha (coexist), the design introduces a cohesive spatial system that restores dignity to worker areas, protects historic burial zones, enhances ecological infrastructure, and strengthens communication between the living city and the world of the dead.
Skills
Cross-cultural research and integration of Indigenous cosmologies into spatial design
Development of multi-scalar design strategies rooted in heritage, ecology, and public life
Programmatic reorganization to dignify worker spaces and improve landscape performance
Typological design of nichos inspired by Andean textile geometry
Systems thinking linking preservation, public space, and intercultural coexistence
Borrowing from Andean material culture—specifically textile patterns used to carry offerings during Day of the Dead celebrations—the project develops a new catalog of nichos arranged in modular “tela” patterns. These forms, combined with interventions such as shaded paths, ecological plazas, water-based rituals, and public gathering areas, seek to ease cultural tensions between Catholic Argentine mourning traditions and the vibrant, celebratory practices of the Bolivian community. By spatializing coexistence, the cemetery becomes a landscape where social, ecological, and cultural narratives overlap: a place that honors the dead, values the labor of those who maintain it, and invites the city to recognize the life that continues within its walls.
