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Faces of Bagan, 
a community center for Myanmar people

Bagan is an important place of living traditions, veneration, and of outstanding vernacular architecture. Capital city of the first Burmese Kingdom, the site is characterized by more than 2500 Buddhist monuments (temples, pagodas, stupas, monasteries, etc.). Thousands of pilgrims come here to venerate these monuments and participate in shaping significant religious and cultural assets with the Myanmar people. Local societies, here, conserve unaltered ancient habits. During the dictatorship that hit the country for over years until the 1990s, Myanmar remained isolated. Since then, with the vagaries of political life, the country slowly opened up to foreign tourism and investment. It is only from 2010, that the military junta gradually decreased the political pressure and thus the population has been discovering the right to speak freely, as well as the contact with foreign televisions, cell phones, Internet and social networks, not to mention the boom in car fleet and the arrival of consumer goods previously unknown. The overwhelming victory of Aung San Suu Kyi's party in the elections of 2015 opened, eventually, the doors of democracy to the country. Nevertheless, the situation of health and education systems must urgently press ahead. Surprisingly, all these disruptions have never tarnished the magic of Myanmar and particularly Bagan. People, here, remain tremendously friendly. Not to mention its natural beauty with an unusual history, which offer exceptional sites such as Bagan, Myanmar, nowadays, host uncontrolled crowds of tourists. 

Here, heritage has arrived to various states of conservation and maintenance, most of them, unfortunately, in a deteriorated situation due to numerous development, and environmental threats, as well as visits of tourists. Despite their role as keepers of the heritage tradition, the locals have no position to be heard: they need a place to express themselves. They are the faces of Bagan, who have been constructing the collective imaginary of the former Kingdom of Bagan for centuries. Bagan, a place where sunrises and sunsets need stand second to no other place in the world. Through this intervention, the purpose is to help local people in facing tourism and conservation issues. Bagan does not consist only of monuments or outstanding architecture. 
To extend the view of the city to a wider and global one, it is significant, to take into consideration the entire culture and, thus the local community. To address the current issues of conservation and tourism pressure that the site of Bagan faces today, it is important to offer a place where not only the people of Bagan but also the visitors could share their skills and knowledge in order to improve their behavior towards heritage and conservation practices on the site. This project intends to build places, rather than new buildings. In this perspective, the construction of the project relies on building infinite places that explore and experiment with collective processes for dwelling and for creating communities.

The project relies on shaping “in-between” spaces, difficult to define because it is open to the unexpected. Building open spaces for local communities to understand their own culture, learn from each other and embrace other ones. Spaces emerging from random encounters are meant not to serve as models but as sources of variable and subversive perspectives in this proposal. This project tends to offer spaces for dwelling in the world and experimenting in the unknown from an abandoned building or a neglected site, here, the Viewing Tower of Bagan. Based on models of ten infinite spaces from the French pavilion at the 16th International Exhibition of La Biennale di Venezia, the building finds its means of expression through the confrontation of pre-existing spatial qualities with an organic process of transformation whose meanings depend on common needs and the aspirations of those who commit themselves to it with courage and determination.[1] The Bagan Viewing Tower is the tower of the people of Bagan. By their appropriation and with the interaction of different agents, such as tourists, the tower would meet another meaning and, thus, fit into the heritage landscape and our collective memory.
 

[1] INFINITE PLACES, French Pavilion in Bienale of Architecture in Venice, may-september 2017, in http://lieuxinfinis.com/en/project/ [Website visited on 02/10/2019]

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