The story of an island in the Cape Verde archipelago that converted capitalist energy into sustainable vitality

"This is a story of endless comings and goings. Of men and women who have arrived by obligation or by adventure on a rock sculpted by the very strong Saharan winds and ocean waves that change the direction of the journey: the landing is worth more than the journey because it is equivalent to life itself."

Edwin is an old retired fisherman who spends his days on a clearing full of nets in Cruzinha da Garça, a small village of fishermen and colorful boats.

It is the historical memory of Santo Antão, a volcanic and mountainous island, the northern outpost of the Cape Verde archipelago, 500 kilometers from the Senegalese coast.

A land of exile and slavery since the 16th century, this place lived mainly on fishing and traditional agriculture for the production of Grogue, a renowned Cape Verdean rum, until the arrival of the new white colonialism, tourism.

“Water surrounds us but does not penetrate the basalt rocks, while the relentless winds dry the little rain on the arid land. The large European fishing multinationals are buying up all our sea and starving our small fishermen. It is a hard life, and the boys leave in search of fortune. Tourism is a good thing, it is our only hope”.

Eloisa and Moreno had suspected it when in 2015 a German tourist agency contacted them for the design of a hotel structure on 5 hectares of land overlooking the sea. What is the key to defusing tourist neocolonialism that lands, flattens and brings home with solutions in which cooperation, mutual benefits, harmony between man and nature conceive sustainable life for all?

From the small studio Ramos Castellano Arquitectos in Mindelo, on the nearby island of São Vicente, Moreno took his old pick-up to go and see the site, on the northern coast of Santo Antão, along the deep canyon of the sugar cane-growing Ribeira da Garça River, beyond the small village of Chã de Igreja.

“I remember, it was May 10, the very strong wind along the vertical cliff from which you could hear the whales singing. It was evening and the starry sky lit up my tent like day. I stayed a week, without drinking water, or electricity, right there, where the restaurant is now, in front of the cemetery. I wanted to understand how we could contribute to such harmony of creation, between the grandeur of the mountains and the blue splendor of Vega reflected on the ocean”.

Neither from the sea nor from the sky, the water came from the bud of an ideal, which became a pencil, a sketch and a project. Thus Eloisa designed three hectares of cultivable surface, fourteen double homes, four villas, a restaurant with a bar, a space for services, a panoramic multifunctional volume, three water tanks for irrigation, a well, a swimming pool.

During the first two years, twenty workers from the adjacent village worked five hectares of abandoned land, transforming them into lush terraces of flowering plants, vegetables and fruit trees.

Carrots, potatoes, tomatoes, onions, greens, mangoes, papayas began to fill the local market, lowering prices and changing the perception of the inhabitants towards the white man who buys their land. “We have converted capitalist energy into sustainable vitality for the social ecosystem.

Ribeira Grande was inexorably depopulating. The use of exclusively local labor, the processing of native raw materials, the acquisition of new skills have trained a new generation of artisans, reversing migratory flows”.

Eloisa was born on this rugged land, she walked for thousands of kilometers on the edges of the riverbeds and experienced their denuding due to water scarcity. For this reason the Biological Settlement in Chã de Igreja has a heart throbbing with water: a well downstream connected to a desalination plant and a hydraulic pump pulsating thanks to the solar energy provided by terraced fan-shaped photovoltaic panels.

Each building is equipped with mechanical systems for filtering and reusing gray water which, through a drip system, irrigate the surrounding nature. The study of the currents and the conformation of the earth has given birth to multisensory paths in which vegetation covers roofs, walls and terraces.

The scent of flowers spreads between descents and ascents where, between the contour lines of volcanic stones raised by arms, between a palm tree and an avocado tree, the white rooms and villas with lime skin appear to rest. Moreno and Eloisa have challenged the concept of a total work of art, in which the creative ideal, the constructive path, the aesthetic landing, the functional agility and the social reference all coexist within a simple sustainable harmonic scale.

“We studied the composition of the volumes after having identified the points protected from the strong prevailing winds, sheltered from falling rocks and with a view of the valley and the ocean.

Camping here during many periods of the year has helped us to predict the possible climatic variables during the twelve months and to integrate the project with the mountain, as if it were a great work of land art”.

The walls of the villas were built with basalt stone, gravel and sand recovered from the riverbed below and renewed every rainy season. The thermal inertia of the basalt and the cross ventilation guarantee climate comfort, avoiding the use of air conditioning.

The roots of the vegetation planted on the roofs become the perfect insulator against overheating and humidity.

The semi-elliptical multifunctional room is anchored on the most daring slope and absorbs the westerly gusts like an ocean weed, while the curved perforated back of the restaurant bends the gusts of wind that rage from the valley.

In the interiors and furnishings, designed by the architects themselves and made by local artisans, the imprints of that coming and going of men and women who did not make it but who nevertheless live on inexorably in our human capital resurface.

On the cover, Panoramic view from inside the Temple, a multifunctional space for meetings, yoga, meditation, towards the western side
of Santo Antão. From behind, architects Eloisa Ramos and Moreno Castellano listening to the sound of whales bouncing off the impressive volcanic coast.