Portfolio | Adrián González del Campo | 2017 | English Version by Adrián González

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ADRIAN GONZALEZ DEL CAMPO

architect

portfolio

PORTFOLIO

ADRIAN GONZALEZ DEL CAMPO ETSAC-FAUP 2015

PO R T F OL I

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PORTFOLIO

ADRIAN GONZALEZ DEL CAMPO ETSAC-FAUP

PO R T OL I

INDEX

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

About 08

3 Estratexias para a xeración dunha Eira O proxecto baséase en pequenas actuacións materiais que xeran unha rede de puntos que conectan experiencias, sensacións e o goceXesus do viñoHouse a través das vistas e do descanso. Un proxecto único cun fin concreto, facer da Adega unha experiencia única. 13 ***

Le vent, la pierre et un reflet

Ou la chaise du vent Un séjour, un voile qui te sépare du monde en effaçant ses limites, en se mouvant avec le vent, et produit ce frisson de l’existence en faisant douter de sa forme. Tu oublies ce qui t’entoure. Un siège fait de miroirs est au centre de cette installation. Une pierre, à titre d’observateur immobile, représente le passage du temps, qui a modelé sa forme et effacé ses arêtes. Le sol, recouvert de sable, remémore une plage lointaine. Le lourd prend place dans le léger de la structure, et fait face au sous-monde composé par le cube de miroirs, un centre, un siège. Ecoute simplement, c’est la chaise du vent. La pièce tremble. Elle danse avec le vent, reflète la dualité du calme et de la tempête. C’est un reflet de sa volonté, de la nature, de l’aléatoire, de la transition entre la méditation et la colère. Un peu plus loin, l’horizon avale la mer. Construcción dunha entidade

e recepción

Sous-monde dans le miroir

Terra de Asorei “La terre que nous habitons, est Na rehabilitación de fachada e para posteriores construcións, bebendo da imaxe e logo que xera a

s texturas que se superponen na parcela de Adegas entro construído que xerará un punto de partida ue se desenvolverá na parcela.

une erreur, une incompétente pairmandade de seis casas que conforman a Adega de Asorei, realízase unha rehabilitación nave et la paternité rodie. Les da miroirs sont abominables, existente en diversos puntos da fachada cunha celosía que xorde do logo e que xerará no futuro car ils la mul18 tiplient et l’affirment.”. Le dégoût unha fachada vegetal que compartirá o cromatismo vexetal da zona. Para construcións posteriores estconstructivo la vertu fondamentale”. como o alpendre que enmarcará a Eira de Asorei, tamén se utilizará este recurso que Les miroirs abominables. Jorge xerará unha imaxe global de marca. Luís Borges. 1935

ción para a explicación de todo o proceso de xeramo a historia da Adega.

***

Robert Smithson explique qu’un dessin est une “analogie ou métaphore dans deux dimensions”. Sur la base de ce principe, il développe les non - sites, une métaphore, un voyage artificiel qui représente un lieu existant à travers des éléments extraits et trouvés d’une forme artificielle, encadrés à travers des plans composé par des miroirs. Le miroir cesse d’être une limite pour se convertir en générateur à travers du reflet.

Aparcamiento de bicicletas

La dualit

La mer présente Comprendendo a Eira de Asorei como un entramado de percorridos mixtos onde o usua dichotomie d’o do coñecemento e descanso que ofrece a súa produción, a presencia de visitantes ten que et la tempête, todas as posibilidades para a súa chegada. l’agitation, la br

“Sous les pavés, Debido a todo o anterior, no marco anexo á entrada que ofrece a parcela, situarase un aparcamiento de bicicletas para aqueles usuarios que desexen achegarse á Adega desta G

***

La singulari

J’ai pris une laquelle, et je l’ mes mains. Ell comme cercle d Son périmètre e tubante, matéri est possible d’ex

“Peut-être la p pour ça elle est i William O

*** Pierre maudite, qu’est-ce que tu regardes ? Tu me fais me rappeler :

Le vent, la pierre et un reflet “Dans le silence, lance l’air“ Calligrame. 35 André Breton.

La matérialisation du vent

Concentrico Fest 03 vexetais

onexión visual coa contorna, xa sexa pola presenza ADRIAN GONZALEZ CAMPO construcións existentes naDEL zona, realizarase unha de tonalidad acorde ás da zona.

A Eira como espazo de reunión O punto neurálgico da Adega, sería a Eira de Asorei. Neste espazo en principio diáfano, realizáranse concertos, catas, postos de comida, etc. Un espazo multidisciplinar adherido á Adega. Este espazo en principio diáfano, crebrase para marcar unha dirección e zonas de repouso. A

Une cabine de 1,5 x 1,5 x 4m est enveloppée par un tissu. À l’intérieur : un tabouret fait avec des miroirs, une pierre aux arêtes arrondies et du sable sur le sol. Les poteaux seront construits avec 4 tiges circulaires de bambou, de 18mm de diamètre, reliées entre elles de telle manière qu’elles permettent d’accrocher le tissu entre ses sections. Le voile qui enveloppe laLímites construction sera un tissu construidos type moustiquaire, dont les ouvertures permettent une résistance au vent graduée. Cette enveloppe permet à l’installation de vibrer, de bouger sans que la poussée soit déterminante. La stabilité de l’ensemble assurée avec des réalisées des cordes,dodeproceso. Quizais serí O propiosera límite da parcela podecroix constituír parteavec da explicación la base à l’extrémité supérieure,quepour mouvement deixar pasar a oportunidade dá apermettre pechadura un conformando un límite homoxéneo unitaire deconta l’ensemble. Tout cela sera encré dans une base de avec le teña en a zonificación da propia experiencia. A través materiais existentes na p poids suffisant, en utilisant du sable et du gravier, matériaux qui

WORKS

Chito House

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

Muga 26

The Human Furniture 22

Experimental Beer Garden 36

The “Estaribel”

Pavilion in Movement

42 2015-2016

INDEX

The vacuum and the bench

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

Hyperworld 56

The Dying o

Plugin Childhood 72

120 Hours 76 ADRIAN GONZALEZ DEL CAMPO

WORKS

PFC Micronations 68

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

The possibilities Factory 46

The Slight Chapel

of the Night

O Bairro dos Artesaos 78

Others Infection

80 2015-2016

CURRÍCULUM VITAE

about 200 8 - 2 0 1 7

Aca d e m i c a n d p r o f e s s i o n a l r es u m e 2017 | Architect in OutedayTáboas

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

2017 | Collaboration with Graiño-Nieto Architects

p ers o n a l d ata 1990/ Adrián González del Campo / ETSAC / FAUP / adrian.gdelcampo@gmail.com / +34650757753 A Coruña / Spain

o t h e rs Article published in Engawa 21 | 2017 Article published in “Las Virtudes“, Barthlebooth Mag, | 2015 Cultural organizer in FETSAC | 2012-2013 Rugby player in CRAT DHB | 2009-2014

2014 | Go!Architecture V Contest 2014 | Erasmus in Architecture Facuilty of Porto 2013 | Accésit Roca Project Contest 2013 | COAG Scholarship in Graiño-Nieto Architects 2012 | International participation at Isover 2012: Infection as Urban regenerator_Trent Basin_Nottingham UK Multicomfort-House Isover Students Competition 2012 (Bratislava) 2012 | Winner of Nacional Isover Contest Infection as Urban regenerator_Trent Basin_Nottingham UK Multicomfort-House Isover Students Competition 2012 (Spanish 1st Prize) 2008 | Beginning of Architecture Studies in Architecture Facuilty of Coruña

ADRIAN GONZALEZ DEL CAMPO

p ro g r a m s Autocad

Illustrator

SketchUp

Cype

VRay

Architrave

Photoshop

Revit

Indesign

3ds Max

idioms Español

Inglés

Gallego

Portugués

PROFESSIONAL RESUME

p ro fess i o n a l r es u m e 2015 - 2017

c o ag s c h o l a rs h i p g r a i n o - n i e to a r c h i t e cts

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

Development of basic and execution project of Seafood Classification Warehouse for the brotherhood of Cariño: Basic project: plans, elevations, interior elevations and urbanization Execution project: development of facilities, constructive plans elaboration, definition of luminaires, specific detalis of skylights and design of entrance door for concrete elaboration with carpenter. n u rs e ry c o m p e t i t i o n n ao s a rc h i t e c t u r e Elaboration of public competition for a nursery in Bogota with Naos Architecture: Development of idea, plans and images for the contest with the endorsement of Naos Architecture Feu g a S c h o l a rs h i p m m asa a rc h i t ects Development of IGVS social building contest in Cambeses, Vigo: Plans bearing for Cambeses social building contest, summoned by the Galician Institute of Urbanism and Housing. Development of the idea from the begining, prject basic elaboration: Urbanization, plans, elevatioins, renders and basic documentation to submit. Development of IGVS social housing contest in Vigo: Plans bearing for Vigo social building contest, summoned by the Galician Institute of Urbanism and Housing. Development of the idea from the begining, prject basic elaboration: Urbanization, plans, elevatioins, renders and basic documentation to submit. Basic and execution rehabilitation project for CEIP school Ramón de la Sagra, A Coruña: Realization of measurements in building and correction of errors in base plans. Development of basic project plans: plans views, elevations, and current state urbanization. Realization of basic project plans of reformed state, including the rehabilitation of facade, correcting dimensions caused by the insulation and the change of carpentry. Realization of constructive plans views, finishes plans and replacement plans of carpentry. Contest Projects with jury intervention for improvements from French Way to Santiago de Compostela: Development of Visitor Center of Castromaior, Portomarín, Lugo: Realization of idea and elaboration of plans, renders, images views and panels presented to the contest. Development of square and enviroment improvementin Paradela, Lugo: Realization of idea and elaboration of plans, renders, images views and panels presented to the contest. Single Family Houses Basic Projects: Development of plans, elevations and images for Cambre, Curuxa and Barral houses. Energy certifications Measurement of rooms, heights, windows and drawing plans for energy certificates production. 2015-2016

PROFESSIONAL RESUME

colective est u d i o p e p i n o Brand generation. Elaboration of an identity Estudio Pepino. The creation of the architecture study includes the elaboration of graphical elements that generates an identity, a kind of self-belonging images identificable with the study, also includes the need to orchestrate and articulate the different plataforms by which Estudio Pepino will be made known.

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

Other skills developed in the colective includes: -Organization and group coordination. Decision making. -Elaboration of images and marketing. -Development of projects and competitions. Project development for Benimaclet conFusion call, basic-execution project and construction direction of “Pavilion in Movement“, Valencia: Proposal for Festival conFusion in the neighborhood of Benimaclet, Valencia. The proposal included the possibility of building a space that would serve to the festival and to the artists as a traveling, mobile and adaptable scenario. Implementation of the project from the outset, basic project plans and stakeout planimetry elaboration, as well as the develope specific plans for the pavilion construction process. Also responsible for the developing the negotiations with the local architect, in charged of the space where the project will be located. Search for materials and contact with distribution companies. In the construction, as the festival organization seeks the integration of the neighborhood in the project, there is a three days workshop led by ourselves that includes different kind of people that helps to develop the idea. Lecturer: “Timeless Folk Architecture“. Cultural Architecture Week of Seville. ETSAS. Elaboration of images and theoretical discourse about the architecture in destruction and its causes, in front of a permanent and folk architecture generated through tradition and repetition. Lecture given joined to: Antonio Antequera Reviriego, Ander Bados Sesma and Miguel Ramón López. Elaboration and direction of workshop: “El Estaribel”. Cultural Architecture Week of Seville. ETSAS. Generation of proposal and project dossier submitted to the call. Also generation and ideation of the idea, elaboration of arcitecture plans, constructive plans and explanatory images of the construction to facilitate the understanding of the object. Explanation of the proposal, direction and coordination of equipment. Fetsac 2017. ETSACrociere workshop. Culture Architecture Week of Coruña. ETSAC. Generation of proposal and project dossier submitted to the call. Also generation and ideation of the idea, elaboration of arcitecture plans, constructive plans and explanatory images of the construction to facilitate the understanding of the object.

ADRIAN GONZALEZ DEL CAMPO

PROFESSIONAL RESUME

Architect in o u t e day ta b o as Terra de Asorei. General customer images. Preparation and design of the idea project. Basic project realization. Implementation project. Measurements.

In this project is carried out: -Development of images for the project, these images are key to the decision of the idea of the client. -Development of plans, basic project and execution project. -Elaboration of project presentation panels, which are collected in the Diario de Pontevedra, where the setup of the company and the project is analyzed.

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

Terra de Asorei is a young wine cellar that emerges from the twinning of six master winemakers in 2006 with the idea of expanding the product worldwide. After a long period of work, they decide to invest in the rehabilitation of the winery cellar where they produce the wine. To do this, the company logo is used as a starting point, this logo generates a rehabilitating mesh supporting a vegetal wall that will evolve over time, allowing the building to be related to the environment. Later they decided to expand this intervention to the winery surrounding, this part of the project is thinked through small gestures and specifics architectures, interweaving a route through which the visitor can enjoy all that the environment offers.

Chito Freire House. Images development for the client. Basic project realization: The house is a rehabilitation of an old stone house from the end of the XIX. With all that this entails, it is decided to focus the rehabilitation on the connection of the ground and high floor through a small volume that frames the old external stone staircase. In the process of the project, through the elaborated images, different proposals of generation of facade and accesses are made. Are performed: -Project images. - Plans, sections and elevation for basic project. Xesus House. Images development for the client. Basic project realization: The house of XesĂşs in Caldas de Reis is a small housing of new construction in the parcel where the house of the mother is located. Due to the importance of not interrupting the normal life of the users and paying attention to some updates of the General Plan of the city, it is decided to re-lock the house, creating a small front yard which helps to vertebrate the hause and generates the dwelling with the footprint of the old facade. For this project are made: -Project images. - Plans, sections and elevation for pre-project. Other works: In addition to specific projects, various specific works are carried out: - Measures of projects for the budget project. -Development of work purposes. -Pictures for ideation. -3D rendering. -Measures on site and control of construction process. 2015-2016

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

IMAGES

2017

O U T EDAYTA B OAS FEBRERO-JUNIO In this small stage from February to June, are made works of different characteristics: technical projects, representation work in the design process to strengthen the idea transmitted by / to the client and directly project development from the beginning. Regardless of the projects carried out, I would like to highlight the pleasant and familiar environment in which the work have been developed, thanking Teresa and JosĂŠ for made me part of the study. Of this phase, a few images are attached like summary, leaving aside those architectural plans more technical of the work realized.

OUTEDAYTABOAS

For this project are perfomed interior images in the design process and basic project plans. Casa XesĂşs is a small house for a mother and her son, whose construction is foreseen united to the old house, allowing the extension and demolition of this one without problems.

O UTEDAYTABOA S

Xesus House. Caldas de Reis. On going

xesus house

Xesus House Interior image

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

OUTEDAYTABOAS

2017

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

IMAGES

Xesus House Exterior image

OUTEDAYTABOAS

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

XESUS HOUSE

Xesus House Main view facade

2017

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

IMAGES

C H I TO h o u s e OUTEDAYTABOAS Loira Beach, MarÃn On going Preparation of basic plans and images of project development.

OUTEDAYTABOAS

The project consists of rehabilitating a small house located near Loira Beach, MarĂn. In the process of realization, multiple plans and images were elaborated whith different facade and acccess ramps options were developed to determine the one that most satisfies the client. These images helped to delimit the final option and to choose the one that suited the ownerâ&#x20AC;&#x2122;s desire.

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

CHITO HOUSE

2017

MEMORY

t er r a d e as o r ei OUTEDAYTABOAS PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

Meis, Pontevedra On going

OUTEDAYTABOAS

Execution of plans, basic project, execution project and panels development for public exhibition.

Terra de Asorei project is about the rehabilitation of a industrial warehouse that emerges from the twinning of six master winemakers with the idea of expanding the product worldwide. After a long period of work, they decide to invest in the rehabilitation of the winery cellar where they produce the wine. To do this, a rehabilitating mesh was created to support a vegetal wall that will evolve over time, allowing the building to be related to the environment. Later they decided to expand this intervention to the winery surrounding, this part of the project is thinked through small gestures and specifics architectures, interweaving a route through which the visitor can enjoy all that the environment offers.

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

TERRA DE ASOREI

2017

PANELS

1 A rehabilitación da Adega Adegas Terra de Asorei é un proxecto colaborativo pioneiro na Denominación de Orixe Rías Baixas. Xurdiu en 2007 como resultado da unión de seis pequenas empresas familiares da comarca do Salnés, de longa tradición e experiencia adegueira e vinícola, en forma de Agrupación de Interese Económico, para a comercialización e exportación conxunta de viño de calidade 100% albariño. En setembro de 2015 dan un novo paso e transfórmanse en Adegas Terra de Asorei.

Estado previo Este novo paso esixe á súa vez unha transformación material que reflicta o espírito de todo o que hai detrás da marca. O logo como entidade

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

O logo de Terra de Asorei xorde como imaxe da imandade de seis familias. Este carácter tan identitario fai del un símbolo o suficientemente importante como para ser parte do edificio. Por iso utilízase como punto de partida para toda a sintaxis construída que se desenvolverá posteriormente.

A través da geometrización desta forma, xorde a idea dun emparrillado que conforme a fachada do edificio e que a través da súa construción, xérese o inicio dunha transformación gradual que converterá o edificio orixinal en parte da contorna a través dunha fachada vegetal, que crecerá co paso do tempo.

A fachada e o tempo

Fase 1

Fase 2

Fase 3

Fase 4

A rehabilitación da Adega Esta malla soporte desenvólvese nas catro fachadas. Decídese conservar aqueles partes de pedra, e cubrir puntos estratéxicos, xa sexa para habilitar zonas exteriores de almacenamiento ou pechaduras da maquinaria existente.

A fachada e o tempo

Rehabilitación puntual

Estado final

Fase 1

Fase 2

Fase 3

Alzado este

Entrada *

Alzado oeste

Terra de Asorei

*** OUTEDAYTABOAS

TERRA DE ASOREI

3 3

Estratexias para a xeración dunha Eira Estratexias paraunha a xeración O proxecto baséase en pequenas actuacións materiais que xeran rede de dunha puntosEira que conectan experiencias, sensacións e o goce do viño a través das vistas e do descanso. Un proxecto único cun fin concreto, facer da Adega unha experiencia única. O proxecto baséase en pequenas actuacións materiais que xeran unha***rede de puntos que conectan experiencias, sensacións e o goce do viño a través das vistas e do descanso. Un proxecto único cun fin concreto, facer da Adega unha experiencia única. *** Estratexias para a xeración dunha Eira

O proxecto baséase en pequenas actuacións materiais que xeran unha rede de puntos que conectan experiencias, sensacións e o goce do viño a través das vistas e do descanso. Un proxecto único cun fin concreto, facer da Adega unha experiencia única. ***

Estratexias para a xeración dunha Eira O proxecto baséase en pequenas actuacións materiais que xeran unha rede de puntos que conectan experiencias, sensacións e o goce do viño a través das vistas e do descanso. Un proxecto único cun fin concreto, facer da Adega unha experiencia única. ***

Estratexias para a xeración dunha Eira

Círculo de recepción

Construcción dunha entidade

Aparcamiento de bicicletas

Para a recepción dos visitantes, tránsito entre as que se superponen na parcela de Adegas Círculo detexturas recepción de Asorei, disponse un elemento pétreo, un epicentro construído que xerará un punto de partida toda atránsito experiencia se desenvolverá na parcela.na parcela de Adegas Para a recepción dos para visitantes, entreque as texturas que se superponen

Construcción entidade Na rehabilitación de fachada e para posteriores dunha construcións, bebendo da imaxe e logo que xera a irmandade de seis casas que conforman a Adega de Asorei, realízase unha rehabilitación da nave existente en diversos puntos da fachada cunha construcións, celosía que xorde do logo que xerará Na rehabilitación de fachada e para posteriores bebendo da eimaxe e logo no quefuturo xera a unha fachada queque compartirá o cromatismo vexetal realízase da zona. unha Para construcións irmandade de vegetal seis casas conforman a Adega de Asorei, rehabilitaciónposteriores da nave como o alpendre que enmarcará a Eira decunha Asorei, taménque se xorde utilizará este recurso constructivo que existente en diversos puntos da fachada celosía do logo e que xerará no futuro xerará unha imaxe global de marca. unha fachada vegetal que compartirá o cromatismo vexetal da zona. Para construcións posteriores

Aparcamiento de bicicletas Comprendendo a Eira de Asorei como un entramado de percorridos mixtos onde o usuario gozará do coñecemento e descanso que ofrece a súa produción, a presencia de visitantes ten que albergar todascomo as posibilidades paradea percorridos súa chegada. Comprendendo a Eira de Asorei un entramado mixtos onde o usuario gozará

Comprendendo a Eira de Asorei como un entramado de percorridos mixtos onde o usuario gozará *** do coñecemento e descanso que ofrece a súa produción, a presencia de visitantes ten que albergar todas as posibilidades para a súa chegada.

Este centro, será punto de iniciación e introdución para a explicación de todo o proceso de xeración de viño, así como a historia da Adega.

Na rehabilitación de fachada e para posteriores construcións, bebendo da imaxe e logo que xera a ***de Asorei, realízase unha rehabilitación da nave irmandade de seis casas que conforman a Adega existente en diversos puntos da fachada cunha celosía que xorde do logo e que xerará no futuro unha fachada vegetal que compartirá o cromatismo vexetal da zona. Para construcións posteriores como o alpendre que enmarcará a Eira de Asorei, tamén se utilizará este recurso constructivo que xerará unha imaxe global de marca.

Círculo de recepción

Construcción dunha entidade

Na rehabilitación de fachada e para posteriores construcións, bebendo da imaxe e logo que xera a irmandade de seis casas que conforman a Adega de Asorei, realízase unha rehabilitación da nave existente en diversos puntos da fachada cunha celosía que xorde do logo e que xerará no futuro unha fachada vegetal que compartirá o cromatismo vexetal da zona. Para construcións posteriores como o alpendre que enmarcará a Eira de Asorei, tamén se utilizará este recurso constructivo que xerará unha imaxe global de marca. Construcción dunha entidade

de Asorei, disponse un elemento pétreo, un epicentro construído que xerará un punto de partida Este centro, será punto detoda iniciación e introdución a explicación de todo o proceso de xerapara a experiencia que se para desenvolverá na parcela. ción de viño, así como a historia da Adega. Este centro, será punto de iniciación eCírculo introdución para a explicación de todo o proceso de xerade recepción ción de viño, así como ***a historia da Adega.

Para a recepción dos visitantes, tránsito entre as texturas que se superponen na parcela de Adegas *** construído que xerará un punto de partida de Asorei, disponse un elemento pétreo, un epicentro para toda a experiencia que se desenvolverá na parcela.

***

Este centro, será punto de iniciación e introdución para a explicación de todo o proceso de xeración de viño, así como a historia da Adega. Círculo de recepción

***

Para a recepción dos visitantes, tránsito entre as texturas que se superponen na parcela de Adegas de Asorei, disponse un elemento pétreo, un epicentro construído que xerará un punto de partida para toda a experiencia que se desenvolverá na parcela. Este centro, será punto de iniciación e introdución para a explicación de todo o proceso de xeración de viño, así como a historia da Adega.

***

como o alpendre que enmarcará aConstrucción Eira de Asorei, tamén se utilizará este recurso constructivo que dunha entidade xerará unha imaxe *** global de marca.

***

do coñecemento e descanso que ofrece a súa produción, a presencia de visitantes ten que albergar Debido a todo o anterior, no marco anexo á entrada ofrece a parcela, situarase un espazo de todas as posibilidades paraque a súa chegada. aparcamiento de bicicletas para aqueles usuarios que desexen achegarse á Adega desta forma. Aparcamiento de bicicletas Debido a todo o anterior, no marco anexo á entrada que ofrece a parcela, situarase un espazo de aparcamiento de bicicletas para aqueles usuarios *** que desexen achegarse á Adega desta forma.

Debido a todo o anterior, no marco anexo á entrada que ofrece a parcela, situarase un espazo de aparcamiento de bicicletas para aqueles usuarios que desexen achegarse á Adega desta forma. Aparcamiento de bicicletas

***

Comprendendo a Eira de Asorei como un entramado de percorridos mixtos onde o usuario gozará do coñecemento e descanso que ofrece a súa produción, a presencia de visitantes ten que albergar todas as posibilidades para a súa chegada. Debido a todo o anterior, no marco anexo á entrada que ofrece a parcela, situarase un espazo de aparcamiento de bicicletas para aqueles usuarios que desexen achegarse á Adega desta forma. Aparcamiento de bicicletas

***

Límites vexetais

A Eira como espazo de reunión

Límites construidos

vexetais Para aquelas zonas na que non interese Límites unha conexión visual coa contorna, xa sexa pola presenza da estrada ou en certos puntos de conflito con construcións existentes na zona, realizarase unha pechadura vexetal con unha plantas de tonalidad ás da zona. Para aquelas zonas na que non interese conexión visual acorde coa contorna, xa sexa pola presenza

A Eira como reunión O punto neurálgico da Adega, sería a Eira de espazo Asorei.de Neste espazo en principio diáfano, realizáranse concertos, catas, postos de comida, etc. Un espazo multidisciplinar adherido á Adega.

Límites construidos O propio límite da parcela pode constituír parte da explicación do proceso. Quizais sería un erro deixar pasar a oportunidade que dá a pechadura conformando un límite homoxéneo que non teña en conta a zonificación da propia experiencia. través de materiais existentes plantación O propio límite da parcela pode constituír parte da Aexplicación do proceso. Quizaisna sería un erro da uva, pasar como apostes de granitoque ou cables para o crecemento da vide, pódese homoxéneo xerar un límite intedeixar oportunidade dá a pechadura conformando un límite que non queachegue a explicar a propia plantaciónAmarcando as liñas deexistentes crecemento uva. teñaractivo en conta zonificación da propia experiencia. través de materiais na da plantación

da estrada ou en certos puntos de conflito con construcións existentes na zona, realizarase unha Esta pechadura permitirá parcela sen xerar un conflito ou asonancia pechaduralimitar vexetala con plantas de tonalidad acorde ás da zona.física que devalúe a experiencia da Adega. Límites vexetais Esta pechadura permitirá limitar a parcela sen xerar un conflito ou asonancia física que devalúe *** da Adega. a experiencia

Para aquelas zonas na que non interese unha conexión visual coa contorna, xa sexa pola presenza da estrada ou en certos puntos de conflito con *** construcións existentes na zona, realizarase unha pechadura vexetal con plantas de tonalidad acorde ás da zona. Esta pechadura permitirá limitar a parcela sen xerar un conflito ou asonancia física que devalúe a experiencia da Adega. Límites vexetais

***

Para aquelas zonas na que non interese unha conexión visual coa contorna, xa sexa pola presenza da estrada ou en certos puntos de conflito con construcións existentes na zona, realizarase unha pechadura vexetal con plantas de tonalidad acorde ás da zona. Esta pechadura permitirá limitar a parcela sen xerar un conflito ou asonancia física que devalúe a experiencia da Adega. Límites vexetais

***

O punto neurálgico da Adega, sería a Eira de Asorei. Neste espazo en principio diáfano, realizáEste en principio diáfano, crebraseetc. para dirección e zonas de repouso. ranseespazo concertos, catas, postos de comida, Unmarcar espazounha multidisciplinar adherido á Adega.A través dunha cuberta lixeira, se protexerá do sol ou da choiva en caso de ser necesario, para que o seudiáfano, uso noncrebrase dependepara das condicións do dirección exterior. e zonas de repouso. A Este espazo en principio marcar unha A Eira como espazo reunión través dunha cuberta lixeira, se protexerá do sol ou dadechoiva en caso de ser necesario, para que o ***condicións do exterior. seu uso non depende das O punto neurálgico da Adega, sería a Eira de Asorei. Neste espazo en principio diáfano, realizáranse concertos, catas, postos de comida, etc.*** Un espazo multidisciplinar adherido á Adega. Este espazo en principio diáfano, crebrase para marcar unha dirección e zonas de repouso. A través dunha cuberta lixeira, se protexerá do sol ou da choiva en caso de ser necesario, para que o seu uso non depende das condicións do exterior. A Eira como espazo de reunión

***

O punto neurálgico da Adega, sería a Eira de Asorei. Neste espazo en principio diáfano, realizáranse concertos, catas, postos de comida, etc. Un espazo multidisciplinar adherido á Adega. Este espazo en principio diáfano, crebrase para marcar unha dirección e zonas de repouso. A través dunha cuberta lixeira, se protexerá do sol ou da choiva en caso de ser necesario, para que o seu uso non depende das condicións do exterior. A Eira como espazo de reunión

Textur material O chan a través da súa construción, pode marcar unha historia material. Con trazas marcadas Textur material na súa composición, a textura pode xerar un mapa dos materiais que envolven toda a produción do viño. O chan a través da súa construción, pode marcar unha historia material. Con trazas marcadas

***

Tralo percorrido interior pola bodega, o usuario poderá gozar dunha pequena zona de descanso na parte posterior, alí poderá realizarse unha cata relaxada ao aire libre das distintas variedades que se realizan na bodega. Este punto é zona de tránsito entre o que existe e o que se construirá posteriormente, punto de inflexión entre aZona produción e o goce do produto. de descanso

*** Tralo percorrido interior pola bodega, o usuario poderá gozar dunha pequena zona de descanso na parte posterior, alí poderá realizarse unha cata relaxada ao aire libre das distintas variedades que se realizan na bodega.

***

O propio límite da parcela pode constituír parte da explicación do proceso. Quizais sería un erro deixar pasar a oportunidade que dá a pechadura conformando un límite homoxéneo que non teña en conta a zonificación da propia experiencia. A través de materiais existentes na plantación da uva, como postes de granito ou cables para o crecemento da vide, pódese xerar un límite interactivo que chegue a explicar a propia plantación marcando as liñas de crecemento da uva. Límites construidos

Este espazo en principio diáfano, crebrase para marcar unha dirección e zonas de repouso. A través dunha cuberta lixeira, se protexerá do sol ou da choiva en caso de ser necesario, para que o seu uso non depende das condicións do exterior.

***

Este punto é zona de tránsito entre o que existe e o que se construirá posteriormente, punto de inflexión entre a produción e o goce do produto. Zona de descanso

Límites construidos

***

Zona de descanso Tralo percorrido interior pola bodega, o usuario poderá gozar dunha pequena zona de descanso na parte posterior, alí poderá realizarse unha cata relaxada ao aire libre das distintas variedades que oseusuario realizanpoderá na bodega. Tralo percorrido interior pola bodega, gozar dunha pequena zona de descanso

Tralo percorrido interior pola bodega, o usuario*** poderá gozar dunha pequena zona de descanso na parte posterior, alí poderá realizarse unha cata relaxada ao aire libre das distintas variedades que se realizan na bodega.

O propio límite da parcela pode constituír parte*** da explicación do proceso. Quizais sería un erro deixar pasar a oportunidade que dá a pechadura conformando un límite homoxéneo que non teña en conta a zonificación da propia experiencia. A través de materiais existentes na plantación da uva, como postes de granito ou cables para o crecemento da vide, pódese xerar un límite interactivo que chegue a explicar a propia plantación marcando as liñas de crecemento da uva.

Zona de descanso

na parte posterior, alí poderá realizarse unha cata relaxada ao aire libre das distintas variedades Este punto é zona de tránsito entreque o que existe e na o que se construirá posteriormente, punto de se realizan bodega. inflexión entre a produción e o goce do produto. Zona de descanso Este punto é zona de tránsito entre o que existe*** e o que se construirá posteriormente, punto de inflexión entre a produción e o goce do produto.

da uva, como postes de granito ou cables para oconstruidos crecemento da vide, pódese xerar un límite inteLímites ractivo que chegue a explicar a propia plantación *** marcando as liñas de crecemento da uva.

***

O punto neurálgico da Adega, sería a Eira de Asorei. Neste espazo en principio diáfano, realizáranse concertos, catas, postos de comida, etc. Un espazo multidisciplinar adherido á Adega.

***

na súa composición, a textura pode xerar un mapa dos materiais que envolven toda a produción Desde o granito orixinal do chan e os postes,doxeraríanse viño. trazas, direccións e marcas relacionadas co percorrido, pasando pola madeira e outros materiais, créase un mosaico material do que supón todaxeraríanse a Adega. trazas, direccións e marcas relacionadas Desde o granito orixinal do chan e os postes, Textur material co percorrido, pasando pola madeira e outros materiais, créase un mosaico material do que supón *** a Adega. O chan a través da súa construción, podetoda marcar unha historia material. Con trazas marcadas

Eira das Esculturas

***

Eira das Esculturas

Como punto final da experiencia que se pode vivir na Adega, e como parte do programa de apoio a talentos artísticos, na última parte do percorrido, n apéndice final da parcela, poderíase xerar un percorrido artístico, albergando obras de arte entre as súas plantaciones. Como punto final da experiencia que se pode vivir na Adega, e como parte do programa de apoio a talentos artísticos, onaprograma última parte do percorrido, da eparcela, un percorrido artístico,unha albergando Así, da Eira complétase na apéndice través da final cultura da arte,poderíase un espazoxerar de goce e de aprendizaxe, chamaobras arte entre súas plantaciones. da para calquera quedequeira gozarasdo viño e da cultura que o rodea. Así, o programa da Eira complétase a través daEira cultura da arte, un espazo de goce e de aprendizaxe, unha chamadase Esculturas da para calquera que queira gozar do viño e da cultura que o rodea.

***

na súa composición, a textura pode xerar un mapa *** dos materiais que envolven toda a produción do viño.

Como punto final da experiencia que se pode vivir na Adega, e como parte do programa de apoio a talentos artísti*** cos, na última parte do percorrido, n apéndice final da parcela, poderíase xerar un percorrido artístico, albergando obras de arte entre as súas plantaciones.

Desde o granito orixinal do chan e os postes, xeraríanse trazas, direccións e marcas relacionadas co percorrido, pasando pola madeira e outros materiais, créase un mosaico material do que supón toda a Adega. Textur material

Así, o programa da Eira complétase a través da cultura e da arte, un espazo de goce e de aprendizaxe, unha chamada para calquera que queira gozar do viño e da cultura que o rodea.

***

O chan a través da súa construción, pode marcar unha historia material. Con trazas marcadas na súa composición, a textura pode xerar un mapa dos materiais que envolven toda a produción do viño. Desde o granito orixinal do chan e os postes, xeraríanse trazas, direccións e marcas relacionadas co percorrido, pasando pola madeira e outros materiais, créase un mosaico material do que supón Textur toda a material Adega.

***

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

Eira das Esculturas

***

Eira das Esculturas

*** Como punto final da experiencia que se pode vivir na Adega, e como parte do programa de apoio a talentos artísticos, na última parte do percorrido, n apéndice final da parcela, poderíase xerar un percorrido artístico, albergando obras de arte entre as súas plantaciones.

Este punto é zona de tránsito entre o que existe e o que se construirá posteriormente, punto de inflexión entre a produción e o goce do produto.

Así, o programa da Eira complétase a través da cultura e da arte, un espazo de goce e de aprendizaxe, unha chamada para calquera que queira gozar do viño e da cultura que o rodea.

***

Terra de Asorei Terra*** de Asorei

***

Terra de Asorei

***

2017

MEMORY

the human furniture based on JACK VETTRIANO Contest Madrid. Casa Encendida.

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

This contest is worked thinking of the furniture construction for the exhibition made by Libros Mutantes in Madrid.

The project is based on metastability principle, a set of elements in apparent equilibrium for a certain time. The furniture is based on Jack Vettriano's paintings, bodies moving, in tension, that inspire through their tensegrity the furniture. Also stones are used as counterweight reminding the weight of life. The project is a catalog of furniture in balance, a set of apparently static human bodies. LIBROS MUTANTES 17 CONTEST

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

THE HUMAN FURNITURE 23

2017

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

LIBROS MUTANTES 17 CONTEST

IMAGES

Composition 01

Composition 02

Composition 03

Composition 04

Composition 05

Composition 06

Composition 07

Composition 08

Composition 09

THE HUMAN FURNITURE

“The embrace of the spider”

Table 02 ~

“The drifter”

Table 03 ~

Table 04 ~

Table 05 ~ “Mad dogs

Table 06 ~

“Elegy for the dead”

Table 07 ~

Shelve 01 ~

Chair 01 ~

“Youngs hearts”

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

Table 01 ~

“Billy boys”

“The Picnic Party”

“A very dangerous beach”

Artefact 01 ~

Artefact 02 ~

“Model in black”

“Yesterday’s dreams”

“Right time, right place”

Light 01 ~

“The man in the mirror” 2017

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

MEMORY

Muga ♦

Muga is defined as a term with a strong Zen Buddhist association meaning of non-self, selfness, non-ego or ecstasy in the locus of absolut nothingness; Muga is perceiving the moment, to be fully focused in a present act, too. Architecturally, Muga would be the nothingness built with the least, an ephemeral construction, a veil that makes a place to be present in a defined moment, wind and lightness show the passage of time, and four stones delimit a momentary non-place.

m u ga

Muga is all you need to build a present moment.

FOLLY: FUNCTIONMaterials DESIGN COMPETITION ♦ Contest Socrates Sculpture Park New York Helium Balloon PVC balloon Ø 150cm | 4' 11'' 5'17 m³ | 136577 gl

Translucent Fabric

Tying Ropes

The Architectural League invite designers and Batista or mousseline Nylon rope architects to help shape thePolyester physicalor setting in fabric, with cotton or linen which the park fulfills its mission as a venue Ø 6mm | 0.23'' for 35 m | 114' 9.95'' and 40 m² | 131 ft² art, creative expression, public programming, education. Process

Metamorphic Rocks Spilites, gneiss or migmatites rocks 6 Kg 13.22 lb

♦

Muga ♦

Materials The ephemeral and slight nature of the project makes the construction and the uninstallation extremly simply. ♦ The only technical complexity of "Muga" is know the necessary helium. The PVC ballon has a 5'17 m³ volume, the optimum thrust of the upward force is of 4 days, after which the ballon must be inflate, the total hellium consumption is 1'76 m³ each 3 days. With a single helium tank (a common big hellium tank has 9'10 m³) "muga" could be installated 10 days. Helium Balloon PVC balloon ARCHITECTURAL LEAGUE CONTEST Ø 150cm | 4' 11'' 5'17 m³ | 136577 gl

Muga is deigned project. Translucent Fabricto die, is not a permanent Tying Ropes Batista or mousseline Adaptability Polyester or Nylon rope fabric, with cotton or linen ♦ Ø 6mm | 0.23'' 35 m | 114' 9.95'' 40 m² | 131 ft²

Metamorphic Rocks Spilites, gneiss or migmatites rocks 6 Kg 13.22 lb

MUGA

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

Feel the moment, the lightness, the wind moving the pattern, the veil, four stones in a non-place.

Muga is non-self, non-ego, ectasy in the locus abolut nothingness. Muga is perceive the moment, focus on a present act.

Muga is all you need to build a present moment.

2017

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

IMAGES

Image 1 Based on David Hockney

Image 2 Based on RenÃ© Magritte

Image 3 Based on Etel Adnan ARCHITECTURAL LEAGUE CONTEST

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

MUGA

Texture Based on Jean-Jaques Rousseau

2017

FOUNDATION

est u d i o p ep i n o

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

THE MANIFESTO OF AN IDENTITY â&#x20AC;&#x153;Estudio Pepino is an architecture group focused on building the tension between the stable, the solid, the permanent; Against the futile, anecdotal, banal and slight. Interested in generating a constant movement, attractors, chaotic structures that make doubt their own sustenance and produce a nausea that makes perceive the world of another form. Ephemeral installations, zero-grade architectures, reversible structures. We are not interested in the static and the established, we are not interested in the previously fixed, the canons, redundant and simple; But rather the complex and the irregular, the lack of logic and clarity. Welcome to the era of timeless folk architectureâ&#x20AC;?. ESTUDIO PEPINO

ESTUDIO PEPINO

“Estudio Pepino” emerges as a group or family of architects born and created in the same university and united by the same interests. As a group, we give a journey through the profession in an extra-curricular way, expressing personal concepts and ideas, outside the scope of our work. Thereby, we work step by step our own identity, a joint mentality where we revert all our concerns elaborating: ephemeral architecture, furniture, illustration, conferences, workshops, etc.

Family photo. Estudio Pepino. Benimaclet. Adrián, Antonio, María, Ander, Sara, Bea y Miguel.

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

Currently the study is composed of: Antonio Antequera Reviriego, Ander Bados Sesma, Sara Escudero Rubio, Adrián González del Campo, María Montenegro Vázquez, Miguel Ramón López y Beatriz Sierra Romero.

2016

LogroÃ±o, La Rioja. Finalist. Contest made joned to Fluor Architecture.

ESTUDIO P EPI NO

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

MEMORY

c o n c en t r i c o fest 03 ESTUDIO PEPINO

CONCENTRICO FEST 03

PABELLON_LA TOGUNA In this contest conducted with Flu-or respond to the demand for an information point for the festival Concentrico 03.

Desde esta forma exterior se establece una relación gradual hacia su interior a través de su altura, reduciendo el paso a 1,60 m. Esta altura es consecuencia de la búsqueda de crear una tensión entre el interior y el exterior pero a la vez una continuidad visual de toda la plaza solo interrumpida por cuatro apoyos.

For this, we rely on a clear and forceful way that draws attention to the passerby, a strange element inspired by the”Toguna”, the house of the Dogon people, where people’s issues are discussed and wisdom is transmitted generation after generation.

Atravesar esa línea descubre un espacio recogido, donde la información de la exposición te rodea, a la vez que se mantiene continuo el plano de la plaza. La percepción del objeto establece una dicotomía espacial donde el usuario percibe dos ambientes totalmente opuestos. Frente a la rotundidad del elemento sobre la plaza, se encuentra un espacio interior recogido, prácticamente de meditación.

El ambiente interior es algo nuevo, tranquilo, donde la luz se filtra desde la parte cenital, bañando las caras interiores, donde el ciudadano interacciona con la información necesaria para explicar los distintos lugares de intervención. El elemento se basa en una “toguna”. Una construcción habitual del pueblo dogón en Mali donde es necesario agacharse, al igual que el pabellón, para entrar en una atmósfera de culto, reunión y reflexión de la tribu. La toguna se desarma cada cierto tiempo volviendo a construirse nuevamente cuando es necesario tomar nuevas decisiones para el pueblo. Las premisas exigidas por el pabellón como la durabilidad durante una semana nos hacían recordar a la caducidad temporal característica de la propia toguna. Un periodo limitado de tiempo para reflexionar,evadirse del exterior durante unos minutos y coger fuerzas para empezar el recorrido del festival

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

Buscamos un elemento que con su propia forma final sea un hito dentro de la plaza, que genere la atracción de la gente. Reclama su atención siendo un objeto extraño, rotundo, generando intriga por su forma y su construcción.

2017

06_Vinilo explicativo en HPL

02_ Efficiency poplar HPL Tablero de chopo con recubrimiento de HPL blanco decorativo 15 mm

07_Vinilo explicativo sobre cara exteCONCENTRICO rior pilarFEST

03_Efficiency poplar Tablero de chopo estándar 30 mm grosor (anchos 30, 60 y 120 mm)

08_Proyector LED

PABELLON_LA TOGUNA

04_Tirafondos latonados (50x4 , 100x4)

03 03

05_Corte láser mapa Plano de situación 06_Vinilo explicativo en HPL

CONSTRUCCIÓN 07_Vinilo explicativo sobre cara exterior pilar 01_ G-Brick Deco Tablero Elegance globulus 10 mm / XPS 08_Proyector 30 mm / Tablero LED Elegance globulus 10 mm 02_ Efficiency poplar HPL Tablero de chopo con recubrimiento de HPL blanco decorativo 15 mm Plano de situación

01 03

03_Efficiency poplar Tablero de chopo estándar 30 mm grosor (anchos 30, 60 y 120 mm)

04_Tirafondos latonados (50x4 , 100x4) 05_Corte láser mapa 01 06_Vinilo explicativo en HPL

07_Vinilo explicativo sobre cara exterior pilar 02

08_Proyector LED

01 03

Plano de situación

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

Señaléctica

02 01 Proceso de montaje

05 06

Sección constructiva e 1/15 Señaléctica

Proceso de montaje

Sección constructiva e 1/15 Señaléctica

Proceso de montaje

ESTUDIO PEPINO

LA CHAISE DU VENT

Le vent, la pierre et un reflet

La pièce tremble. Elle danse avec le vent, reflète la dualité du calme et de la tempête. C’est un reflet de sa volonté, de la nature, de l’aléatoire, de la transition entre la méditation et la colère. Un peu plus loin, l’horizon avale la mer. Sous-monde dans le miroir

La dualité de la mer

“La terre que nous habitons, est une erreur, une incompétente parodie. Les miroirs et la paternité sont abominables, car ils la multiplient et l’affirment.”. Le dégoût est la vertu fondamentale”. Les miroirs abominables. Jorge Luís Borges. 1935

La mer présente une dualité, une dichotomie d’opposés, le calme et la tempête, la méditation et l’agitation, la brise et l’orage.

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

Ecoute simplement, c’est la chaise du vent.

“Sous les pavés, la plage”. Grafiti, Paris, 1968

J’ai pris une pierre, n’importe laquelle, et je l’ai soutenue entre mes mains. Elle était si parfaite, comme cercle dessiné à la main. Son périmètre errant, sa ligne titubante, matérialisait tout ce qui est possible d’exister.

***

La singularité de la pierre

“Peut-être la pierre sait tout et pour ça elle est immobile”. William O Pierre maudite, qu’est-ce que tu regardes ? Tu me fais me rappeler : “Dans le silence, lance l’air“ Calligrame. André Breton.

Montpellier, France. La matérialisation du vent Contest

ESTUDIO PEPINO

Une cabine de 1,5 x 1,5 x 4m est enveloppée par un tissu. À l’intérieur : un tabouret fait of avec des miroirs, Proposal for the “Festival des Architectures Vives” 2017. The callune pierre aux arêtes arrondies et du sable sur le sol. Les poteaux seront construits avec demanded proposals related 4with sense, the chair of de the18mm windde restigesthe circulaires de bambou, diamètre, reliées entre elles de telle manière qu’elles permettent d’accrocher le tissu entre ponded to this through the sensations of the movement, the instability ses sections. Le voile qui enveloppe la construction sera un tissu of the structure and with the use elements thatdont brought the constructypeofmoustiquaire, les ouvertures permettent une résistance au vent graduée. permet à l’installation de vibrer, tionCette closerenveloppe to a oneiric world. de bouger sans que la poussée soit déterminante. La stabilité de l’ensemble sera assurée avec des croix réalisées avec des cordes, de la base à l’extrémité supérieure, pour permettre un mouvement unitaire de l’ensemble. Tout cela sera encré dans une base avec le poids suffisant, en utilisant du sable et du gravier, matériaux qui composent le sol de l’ensemble, et qui situent ce « non–site » dans une plage prochaine

FEST I VA L A RC H I T ECT U R ES V I V ES ***

2017

ESTUDIO PEPINO

YOUN G ARC HIT EC T S C OMPET IT ION

MEMORY

EX P E R I M E N TA L B E E R GA R D E N

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

Castel Maggiore, Bologna. Contest. This competition organized by the YAC consists of the rehabilitation of a warehouse annexed to the palace of Villa Zarri, where artisan beer and cultural exhibitions will be held. In the elaboration of the contest, it is decided to expand the route and include the annexed gardens as part of the intervention. Through a ring, a forceful circular form, it is possible to relate the garden and the villa to the warehouse, being this the start ande the end point of the route.

ESTUDIO PEPINO

EXPERIMENTAL BEER GARDEN

fit small stands and furniture during festive events. Ephemeral wooden pillars are placed on the elevations, creating a construction-deconstruction system able to adapt itself to meet the needs and evolution of the garden in every moment.

without beginning or end, in which â&#x20AC;&#x153;walkingâ&#x20AC;? becomes the main character. This geometry aims to transform the whole area and to generate a new, empty and pure garden in its interior, in which only the contemplative experience takes place.

only the lab and the humid spaces, such as kitchens or toilets under the circle. In addition, this element gives us the possibility to observe all the activities that happen in the garden, from the above.

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

The proposal takes time as the leitmotiv of the project.

2017

MEMORY

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

the "ESTA R I B EL" With the call to participants raised for the XV Cultural Week of the ETSAS, Estudio Pepino proposes a conference-workshop in line with the theme of the call “Architecture and Destruction”. The conference is developed through a language of architecture opposites, we argue that in front of the architecture of “destruction”, that unable to adapt is condemned to be permanently expired, there is another type of architecture with a capacity of “mutability” that makes it permanent, but not seeing it in a physical permanence, but repeated through a series of mechanisms over time. We call kind of elements “Timeless Folk Architecture”. In this type of mutable, adaptable, changing and folkloric architecture, the later workshop called “El Estaribel” is developed. “El Estaribel” is the materialized idea of the previous analysis about the capacity of regeneration of architecture over time. How architecture is able to face his outdated character and how it regenerates after natural disasters or failures. One way to confront this initial idea is a ephemeral, folkloric, timeless, lively, mutable, changing and cyclical construction that would compose the true paradigm of permanent architecture, repeated over time. It also seeks to regenerate as a way of acting and to use construction as an element of change.

ESTUDIO PEPINO

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

THE ESTARIBEL

The “Estaribel” Architectural Cultural Week of Seville. ETSAS Built 8/11/2016

2016

CONSTRUCTION

planos

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

***

instrucciones

***

posibilidades

***

ESTUDIO PEPINO

Workshop final result The “Estaribel”

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

Union detail The “Estaribel”

THE ESTARIBEL 41

Workshop process The “Estaribel”

Union detail The “Estaribel”

2016

MEMORY

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

Pav i l i o n in m ov em en t

Pavilion in Movement Benimaclet conFusion Festival Built 15/10/2016 ESTUDIO PEPINO

PAVILION IN MOVEMENT

Benimaclet conFusion festival is an annual festival of culture and free expression developed in the neighborhood of Benimaclet (Valencia). In this III edition has counted on more than 380 artists developed in more than 70 spaces throughout the neighborhood.

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Benimaclet conFusion Fest give us the opportunity to develop one of the spaces where various artist will play at the final closing party. In order to carry out these activities, Benimaclet’s neighbors gives us a space where build the pavilion located in the urban gardens of the neighborhood, in this space the element was built with the help of neighbors and organizers through a workshop that we coordinate.

Understanding the nature of the festival, the duration and the involvement of the neighborhood, as well as the possible later re-use of the element, we proposes a system, an installation that allows its construction quickly and at the same time can be easily adapted for possible uses in the time. This is how the “Pavilion in Motion” emerges, a zero-grade structure, an adaptable ephemeral architecture, an architectural system that would respond to the neighbors’ specific needs, a dynamic installation that would serve as a pavilion or stage or as a place of rest , the pavilion response as a common space and depending on it, can adapt in height and move with some ease. 2016

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CONSTRUCTION

For this purpose, a pillar element is developed with a pivotable base, which through its movement can be tensioned the structure and at the same time gain height, all executed with a simple system of counterweights and triangulation that gives stability to each element. For the construction of all this, understanding the need to involve neighbors and that the festival seeks the generation of a common entity, the whole construction of the element is proposed through a threeday workshop that allows the people of the place identified with the installation helping to build a future for the neighborhood. From Estudio Pepino we thank the involvement of the neighbors as well as the students of architecture of the ETSAV who approached the place to generate a common element, an identity construction that we hope will serve over the years for many other uses, evolving with the neighborhood, and becoming a part of it.

ESTUDIO PEPINO

Roof Pavilion in Movement

Photo made by Miguel Ramón López

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PAVILION IN MOVEMENT

Roof detail Pavilion in Movement

Pillar detail Pavilion in Movement

Photo made by Miguel Ramón López

Pavilion in Movement

Photo made by Miguel Ramón 2016

MEMORY

archive photo Artillery Factory in Seville.

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The Possibilities Factory Otis-FAys, Fábrica Abierta Contest 07/06/2016 Made with: Ander Bados Sesma María Montenegro Vázquez Miguel Ramón López

the Po ss i b i li t i es facto ry FUNDACIÓN ARQUITECTURA Y SOCIEDAD CONTEST

The Architecture and Society Foundation, convenes this contest for the rehabilitation of the Artillery Factory in Seville, under the name of “Open Factory”. The program, which is not initially specified, calls for an intervention with a social focus, where the factory becomes part of the city, so it is decided to develop a program that helps to rehabilitate the object with the citizen participation. It describes first a series of basic urbanization measures that help open the facility to the public. Subsequently introduced into the old Artillery Factory some schools of trades, which together with the teaching to those who want to learn a job that can develop later, can gradually rehabilitate the object, becoming a part of society through of their participation in rehabilitation. Finally, this program is consolidated by turning the whole into a commercial street, combining the different trades with programs that can be generated with the use of the citizen, such as food stores, leisure spaces, etc.

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THE POSSIBILITIES FACTORY 47

2016

PANELS

E l e d i fi c i o y a p o s e e d o s e s c a l e ra s . S e l e s u m a u n a c o n ex i ó n a c u b i e r t a e n busca de accesibilidad, la c u a l i n c l u y e u n a s c e n s o r. D e e s t a m a n e ra s e c o n e c t a y s e c re a u n e s p a c i o d e c o nte m p l a c i ó n d e l a c i u d a d a m a s a l t u ra , c o m o u n at a l ay a .

L a c i u d a d e nt ra e n e l e d i fi c i o a t rav é s d e l a c o nt i nu a c i ó n d e l o s J a rd i n e s d e l a Bu a h i ra . S e re t i ra l a cubierta dejando la e s t r u c t u ra m e t á l i c a a l a v i s t a p a ra g u í a d e l a v e g e t a c i ó n y q u e é s t a s e c o nv i e r t a e n l a nu e v a c o b e r t u ra . S e d a p e r m e a b i l i d a d e n fa c h a d a d e j a n d o l o s hu e c o s l i b re s d e c a r p i nte r í a s

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Debido al mal estado de las c u b i e r t a s , s e p ro p o n e l a re s t au ra c i ó n y l i m p i e z a d e to d a s l a s c u b i e r t a s y u n a nu e v a c u b i e r t a t ra n s p a re nte d e ETF E , b u s c a n d o l a p e rc e p c i o n d e e s t a r aú n f u e ra a l "e nt ra r ".

Es c u e l a te m p o ra l d e c o n s e r v a c i ó n y re s t au ra c i ó n d e h i e r ro y fo r j a a c t u a l m e nte en mal estado.

Re s t au ra c i ó n d e l a s d o s e s t r u c t u ra s d e m a d e ra d e c u b i e r t a s m á s i m p o r t a nte s d e l a fá b r i c a . Re s t au ra c i o n i n s i t u p o r t ra b a j a d o re s d e l a re d d e o fi c i o s .

5. 7.

9. 8.

Es p a c i o s mu l t i d i s c i p l i n a re s d o n d e s e j u nt a n especialistas de d i fe re nte s g re m i o s , c o m o v i d r i o , c e rá m i c a , te j i d o . . .

Es c u e l a te m p o ra l d e Re s t au ra c i ó n d e p av i m e n to s , a z u l e j o s y b a l d o s a s d e to d o e l c o n j u nto

S e re i nte r p re t a n l o s a nt i g u o s c o r ra l e s d e v e c i n o s d e l b a r r i o d e S a n B e r n a rd o y s e l l e v a n a l o s p at i o s d e l a F á b r i c a , d o t a n d o a l c o n j u nto d e l u g a re s d e re u n i ó n v e c i n a l ( q u e s o n p ra c t i c a m e nte i n ex i s te nte s )

FUNDACIÓN ARQUITECTURA Y SOCIEDAD CONTEST

Es c u e l a te m p o ra l d e Re s t au ra c i ó n d e c a r p i nte r í a s y c o nt ra s d e m a d e ra ex i s te nte s e n to d o e l c o n j u nto .

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THE POSSIBILITIES FACTORY 49

2016

PORTFOLIO ADRIAN GONZALEZ DEL CAMPO

MEMORY

the s li g h t c h a p el “I had never believed in anything, but to know that the great suspended rock, like the great rock of Tandil levitating on my conscience, made me doubt about my own existence”. The BECA ARCHIA 2016 Competition is convened under the request of a chapel for atheists, located in a garden in the city of Barcelona. The project is developed in a linear way, showing in the panels the development of the idea, with a very elaborate textual basis. The project could be done without any image evoking the chapel as a new element alien to the generated image. The project is therefore the text, which evokes a chapel composed of an impossible element, a large stone that oscillates and makes doubt about the own existence of the one who is under it. The project emerges through the history of the shifting stone of Tandil, famous for remaining in balance on a hill, until one day its fall. “The Tandil stone, a rock of 300 tons located in the city of Bonar, remained in balance on the edge of a hill. On February 29, 1932, between five and six o’clock in the morning, his collapse occurred.”.

The Tandil Sonte Unknow author BECA ARQUIA CONTEST

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THE SLIGHT CHAPEL

“As at the beginning, there was only one desert of immortal stones”

Roger Caillois

The Slight Chapel Beca Arquia 2016 Competition Barcelona 3/05/2016 2016

PANELS

La capilla leve *** Me adentré en la capilla, sus muros grises eran de bloque y descubrían una curva. Su entrada era retorcida, se accedía desde un sendero oscuro, confuso, que hacía que adentrarse se convirtiese en una sensación extraña, una magia de recuerdo imaginado. La luz entraba y bañaba los muros por unas rendijas que continuas, los dividían del techo, que pesado caía en forma de cuenco irregular hacia el centro. Juro que se movía levemente, oscilaba sin llegar a tocar los muros en ningún momento. Intenté mirar por las rendijas, pero no se veía bien, solo luz, los muros y el techo parecían continuar, y se escuchaba el viento.

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Caminé entre las sillas de madera vieja y húmeda, pero con la gracia de aquello que permanece bien conservado con el tiempo, su disposición era lineal y ordenada, pero habían sido desplazadas, tenía la sensación de que había llegado tarde. Me deslicé entre los huecos que habían dejado entre ellas los pequeños movimientos y atravesé la capilla acariciando la madera fría. El suelo era de hormigón pulido, engrietado por el proceso de fraguado, de aspecto sobrio, pero con la solemnidad que otorgan las cosas sencillas y puras. Fue en el medio de aquella capilla donde recordé aquella historia sobre el pueblo Dogón, donde los sabios se reunen en torno a una construcción precaria elevada sobre unas rocas llamada “Toguna” o Casa de la Palabra, realizada con ocho capas de distintos materiales que representan a las ocho divinidades del pueblo. La acumulación de capas provocaba en aquella construcción una llamativa flecha que se mantenía en equilibrio. En torno a esta construcción los sabios discutían y redactaban las leyes de forma oral, convirtiéndose en el precedente de una nueva sociedad. El techo de la capilla, su pesadez, me hacían recordar la imagen de aquella construcción. Atravesé el recinto repasando sus muros y en ellos descubrí un pequeño grabado, quizás inventado o imaginado por un niño, que me hacía comprender la pesadez de toda aquella construcción. Aquel grabado, a modo de los graffitis fotografiados por Brassaï, revelaba la verdad de la capilla. Yo nunca había creído en nada, pero saber que aquella gran roca suspendida, como la gran piedra movediza de Tandil, levitaba sobre mi conciencia, me hacía dudar de mi propia existencia. El grabado era una sección de aquel lugar, quizá fuese real, o quizás un invento, pero ahora entendía la oscilación, la pesadez, la tensión del ambiente; aquella sección describía el mecanismo que hacía que aquella enorme roca estuviese suspendida sobre mi cabeza.

Grabado encontrado en el muro Quizás aquel dibujo, no era más que aquel huevo dibujado por los Dogón que ilustraban la portada del libro de Deleuze que contenía aquella obsesión sobre el cuerpo sin órganos. Ese cuerpo al que se refería Deleuze, era el huevo dibujado. El huevo es un lugar lleno de potencialidades donde todavía no hay forma estable, donde todo son tensiones, fuerzas, energías y multiplicidades. Al volver la vista lo comprendí: las sillas no apuntaban a ningún lugar, si acaso tenían una dirección impuesta por una innecesaria necesidad de orden; no había llegado tarde, ni habían sido desplazadas por ningún grupo, sino por la llegada y salida puntual, por la superposición de los distintos movimientos en el tiempo, yo mismo había sido partícipe de ese orden desordenado moviendo sillas a mi paso. Y el continuo goteo que resbalaba por la gran roca oscilante, caía en un pequeño estanque, dispuesto en el baricentro de la estancia irregular, descomponiendo los segundos y el tiempo en una composición irregular de tacs: tac, tac, tac, tac... “Su entrada era retorcida, se accedía desde un sendero oscuro, confuso, que hacía que adentrarse se convirtiese en una sensación extraña, una magia de recuerdo imaginado”

1/3 - textos apócrifos BECA ARQUIA CONTEST

Me desperté del sueño desorientado, con recuerdos lejanos compactados, entre-leyéndolos-entre-lagunas. Me puse a escribir y a dibujar para evitar su conquista por el olvido. Deseo volver a ese remanso de paz, algunas noches me duermo pensando en la capilla de mi sueño, pero sólo me acerco con el recuerdo. Lo único que me quedan son dibujos erráticos y textos apócrifos. Parecerá una estupidez, pero si en algún momento existió algo puro, tuvo que ser una gran roca como esa, labrada por el paso del tiempo, oscilante, una capilla leve.

Aquella sección era imposible, tenía que existir algún tipo de mecanismo que posibilitase todo ello

El goteo continuaba por un pequeño canal donde caía el agua que desbordaba y huía fuera de la estancia.

código:

THE SLIGHT CHAPEL

La capilla leve ***

“Todas las cosas pesan hacia arriba”

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Jorge Oteiza

Guardo una piedra en mi bolsillo, cualquier persona pensaría que es una piedra normal, encontrada en la playa o en un río, pero no lo es. Se podría considerar mi única obra, se llama “Piedra Labrada”, es una burda imitación de la abstracción escultórica de muchos autores de los años 50 la verdad, pero también es una reflexión sobre el esfuerzo. Es la reducción de un bloque de 50x 50 cm a una diminuta piedra de río.

t h e m a r b le t h i n g 2/3 - dibujos erráticos

e: 1/200

Es una reflexión sobre el trabajo. Parece recogida en un río, sí, quizás algun día la tire y alguien la coja sin saber nunca el esfuerzo y la reflexión que llevó todo ello, y en la ignorancia de esto estará el culmen de la obra, pero aún le tengo un poco de aprecio y la conservo. El esfuerzo a veces nunca se ve recompensado, es el reumen. “Piedra labrada”

código: 2016

PANELS

La capilla leve *** Axonometría

“El grabado era una sección de aquel lugar, quizá fuese real, o quizás un invento, pero ahora entendía la oscilación, la pesadez, la tensión del ambiente; aquella sección describía el mecanismo que hacía que aquella enorme roca estuviese suspendida sobre mi cabeza”.

“Como al principio, no había más que un desierto de piedras inmortales” Roger Callois

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“Juro que se movía levemente, oscilaba sin llegar a tocar los muros en ningún momento. Intenté mirar por las rendijas, pero no se veía bien, solo luz, los muros y el techo parecían continuar, y se escuchaba el viento”.

“Me adentré en la capilla, sus muros grises eran de bloque y descubrían una curva (...) La luz entraba y bañaba los muros por unas rendijas que continuas, los dividían del techo, que pesado caía en forma de cuenco irregular hacia el centro”.

“La piedra es el estado último de la forma” Henri Focillon

“Su entrada era retorcida, se accedía desde un sendero oscuro, confuso, que hacía que adentrarse se convirtiese en una sensación extraña, una magia de recuerdo imaginado”.

“El continuo goteo que resbalaba por la gran roca oscilante, caía en un pequeño estanque (...) descomponiendo los segundos y el tiempo en una composición irregular de tacs: tac, tac, tac, tac...”

***

“El vacío, la tensión entre superficies, el roce inexistente, la cercanía, el devenir, los sueños y las posibilidades” Jorge Oteiza “Yo nunca había creído en nada, pero saber que aquella gran roca suspendida, como la gran piedra movediza de Tandil levitaba sobre mi conciencia, me hacía dudar de mi propia existencia”. La piedra movediza de Tandil, una roca de 300 toneladas situada en la ciudad bonarense, permanecía en equilibrio al borde de un cerro. El día 29 de febrero de 1932 entre las cinco y las seis de la mañana se produjo su derrumbamiento.

Volver a un lugar donde nunca se ha estado. Aún guardo la piedra en mi bolsillo, algún día la tiraré.

3/3 - sueños lúcidos BECA ARQUIA CONTEST

código:

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THE SLIGHT CHAPEL

“The vacuum, the tension between surfaces, friction nonexistent, closeness, becoming, dreams and the possibilities”

Jorge Oteiza

2016

MEMORY

the h y p erwo r ld

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The Hyperworld 6th Advanced Architecture Contest. IAAC Barcelona. Spain. 16/02/2016

6TH ADVANCED ARCHITECTURE CONTEST. IAAC.

The competition launched by the IAAC seeks solutions for the city of the future. The origin of the project comes from a review of the immediate history of the twentieth century, bathed by wars and conflicts. In reality, it is a problem of scales, where small acts of kindness are perpetuated by acts of violence and war. In conclusion, a question arises, what are we doing? That is why the project emerges as a criticism, a review of the future of the human being. What if we are not prepared to manage our own future? And if they are others, those figures that have arisen over the years, specific elements of exception, which somehow must govern us?

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THE HYPERWORLD

Obviously, this radical and unfeasible point of view is not a real solution to the problems of the world. However, criticism is emphasized as a project, a deep reflection as a real objective of what is sought. A conflict map is drawn up, reflecting current wars, and past conflicts are reviewed, with a count of deaths in 100 years of history. And in front of it some of that figures that have tried to lead the world towards the peace. Faced with the need for us to be governed by these figures, the â&#x20AC;&#x153;hyperworldâ&#x20AC;? emerges, a hyper-structure that would cross the sky. First it would arise in points of conflict, housing peace agents. Later, these structures would unite to form a superior network, a world on another world, an entity of peace and control. This structure would be composed of different cells that would allow the development of life in it, with cells of generation, conservation and filtration of water, hydrogen and helium cells, or individual and collective cells that would house the peace figures.

2016

PANELS

The History ***

Nigeria

Boko Haram

South Sudan Civil War

Lybia

Egypt

Islamist Militancy

Civil War

Israel-Palestina conflict

Iraq

War Islamic State

Syria Civil War

Afghanistan Pakistan

| 2015

Taliban War

Conflict

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DYMAXON MAP OF CONFLICT

China Sea

Territorial Disputes

North Korea Crisis

Images

Statistics

a history about war

Statistics

the death in numbers

the war in numbers In the last year: The economic impact of wars and active conflicts around the world amounted to a total of 14.3 billion dollars, the intensity of armed conflicts around the world has also grown, increasing from 49,000 to 180,000 people killed in wars, 3.5 times more than last year and the number of internally displaced persons and refugees has also grown 267 percent since 2008...

The ones who see things differently. (...) Because they change things. They push the human race forward. And while some may see them as the crazy ones, we see genius. Because the people who are crazy enough to think they can change the world, are the ones who do. They are thinkers, they change the world. * a secule of fights: 1912 Balcans War, 1914-First World War, !915-Armenian Genocide, 1922-Gandhi in jail, 1929-Crack, 1929-Spanish Civil War, 1937-Hideburg disaster, 1938-Jarama-Spanish Civil War, 1940-Second World War, 1945-Hiroshima, 1950-Racist Conflict in NorthAmerica, 1952-HBomb, 1953-Cuba Uprising, 1954-Marshall Little Rock, 1961-Berlin Wall, 1962-Argiels War, 1964-Colombian Conflict, 1966-Argentine revolution, 1968-Sixty-eight may-LeGrandSoir, 1968-the Mexican May, 1970-Vietnam War, 1971-IRA conflict, 1972-Bloody Sunday, 1976-Deveso Disaster, 1978-Afghanistan War, 1979-Irani Revolution, 1986-Chernobil Disaster, 1987-Basque Conflict, 1987-Intifida, 1987-Malvinas Conflict, 1989-Tiamen, 1990-Golfe War, 1992-Balcans War, 1994-”when the dead”, 1994-Ruhanda, 2001-11s, 2001-Afghanistan War,2002-Israel Wall, 2010-Arabic Spring, 2014-Boston, 2014-Ukraine, 2015-Syria

¿What is the hyperworld? 1.Thinkers

2.Emergency structure

The hyperworld will be temporarily habited by figures, thinkers, writers, religious influences,

The project would be an emergency structure, vulnerable, first installed a peaceful and symbolic form in areas at risk of conflict Hyperstructure

War zone

a project of hope

3.Evolution

4.Hyperworld

Thus, depending on the needs, different types of structures are installed along the points of interest of the world.

Finally, a network of hope, a peace network, a network of commitment, inhabited by thinking exemplary figures. An alternative future is formed over the whole world.

1/3 We need something radical to change this planetary emergency.

“And never I felt so deeply at one and the same time so detached from myself and so present in the world” *** 6TH ADVANCED ARCHITECTURE CONTEST. IAAC.

ZTI4ZG

THE HYPERWORLD

What are we doing? We are moving towards an increasingly complex paradigm, international structures are unable to answer to any of the world's problems, and while the number of deaths or armed conflicts continues to rise, while hunger continues to increase, while the food production is increasingly once more aggressive and inhuman, and international tensions are in constant imbalance...people with the â&#x20AC;&#x153;powerâ&#x20AC;?, people who can change the world remain impassive. We need something radical to change this planetary emergency

There are different types of structure, binary, ternary or quaternary combination; and according to the number of aggregations is more complex adding braces. This final exemplary structure is a complex structure consisting of 8318 meters of triangulations of steel, which carries a total weight of 2.515.524'19 Kg. The support system through hydrogen, a density of 1'185 kg / m3, considering the air density and height of the structure, leads us to use 2.122.805'22 m3 H, in this case will be distributed on a sixty diametre hy drogen balloon and trhee 50m diametre hydrogen ballons.

The project is a compromise, the hyperworld is an alternative future. The project would be an emergency structure, vulnerable, first installed a peaceful and symbolic form in areas at risk of conflict and with time around the world. The structureswill be temporarily habited by figures, thinkers, writers, religious influences, etc; peaceful and committed to developing through words and speech, solutions to conflicts and problems of the world. A commitment by the word, a reference, a way forward, a new social structure, a hypercracia.

Deformed structure

The Hyperworld could change your mind, Hyperstructure could change things and Hyperpeople could change people; because words change the world.

Torsion and axial force

In each individual cell is placed each one of the thinkers who will occupy each structure, through portable devices will write and maintain contact with the outside, through structure connections could contact with other hyperpeople.

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Bending moment

In some structures there will be common cells, where thinkers carry out its activities as a group. It will be located only in larger structures, increasing the capacity for dialogue and compromise.

References

Installations structures are placed in separate cells connected according to the needs. Water is placed in these storage cells, through small and large deposits anticipating faults or needs.

The water used in the structure, due to the uncertainty of its use, must be filtered and stored for later use, allowing continued and indeterminate use of the different structures.

The power for the use of the structure must be autonomous. There are various power generation cells, all renewable energy as wind and solar, main power sources of the structure.

The structure will have the capacity to move, its stability is also provided through these devices, governed by a program that will enable the stability of the structure.

The main physical sustenance of the structure will be the hydrogen, which despite being volatile, is possible his generation unlike helium which is becoming increasingly scarce. Although there are se several hydrogen devices placed at a distance security, will exist hydrogen emergency cells with water tanks to prevent damage, to be inflated in case of failure of one of the main balloons

2016

PANELS

The trap People usually think that progress consists in the increase of knowledge, in the improvement of life, but that isn't so. Progress consists only in the greater clarification of answers to the basic questions of life. The truth is always accessible to a man. It can't be otherwise, because a man's soul is a divine spark, the truth itself. It's only a matter of removing from this divine spark (the truth) everything that obscures it. Progress consists, not in the increase of truth, but in freeing it from its wrappings. The truth is obtained like gold, not by letting it grow bigger, but by washing off from it everything that isn't gold. Tolstoy's Diaries (1985) edited and translated by R. F. Christian. London: Athlone Press, Vol 2, p. 512

About love When love has fused and mingled two beings in a sacred and angelic unity, the secret of life has been discovered so far as they are concerned; they are no longer anything more than the two boundaries of the same destiny; they are no longer anything but the two wings of the same spirit. Love, soar. Victor Hugo, Les Misérables

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Passivity “I would prefer not to.” Herman Melville, Bartleby the Scrivener

Divinities The idea which tyrants find most useful is the idea of God. Stendhal, The Red and the Black

The control of the future He who controls the past controls the future. He who controls the present controls the past. George Orwell, 1984

The power of words “Words can be like X-rays if you use them properly -- they’ll go through anything. You read and you’re pierced.” Aldous Huxley, Brave New World

An illogical logic Three liters of water are needed to produce a liter bottle of water. An Inconvenient Truth, Davis Guggenheim, 2006

The power of words 2 But you can't make people listen. They have to come round in their own time, wondering what happened and why the world blew up around them. It can't last.” Ray Bradbury, Fahrenheit 451

An incomprehensible project “Bring something incomprehensible into the world!” Gilles Deleuze, A Thousand Plateaus: Capitalism and Schizophrenia

Technocracy The technocrat is the natural friend of the dictator—computers and dictatorship; but the revolutionary lives in the gap which separates technical progress from social totality, and inscribed there his dream of permanent revolution. This dream, therefore, is itself action, reality, and an effective menace to all established order; it renders possible what it dreams about. Gilles Deleuze

Someday this war's gonna end "Someday this war's gonna end". That'd be just fine with the boys on the boat. They weren't looking for anything more than a way home. Trouble is, I'd been back there, and I knew that it just didn't exist anymore. Apocalypse Now. Francis Ford Coppola. 1979

The Hyperworld What if we have reached our limit? And if we are not able to solve our own problems generated by the course of events? What if those who have the ability to decide have sacrificed their decisions in favor of corporate lobbying or in favor of the sympathy of the electorate? What if all it's a failed system? We need a radical change, a system that through engagement and thoughtful asceticism; of those human commited figures, to put solution to what we are unable to solve. A project of hope, a vulnerable, visible and light structure, a hyperworld. Memory. Personal archive.

6TH ADVANCED ARCHITECTURE CONTEST. IAAC.

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THE HYPERWORLD

“And never have I felt so deeply at one and the same time so detached from myself and so present in the world”

Albert Camus

2016

Bruno Munari Seeking confortable 1944

El vacĂo y el banco #Bancosparacompartir Contest Madrid. Spain. 15/01/2016

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t h e vac u u m a n d t h e b e n c h

MEMORY

Bruce Mclean Pliths I 1972

Didier Fiuza Autosatisfaction 2009

#BANCOSPARACOMPARTIR CONTEST

The origin of the furniture arises from the fragmentation of a model bank of 80x200x45cm that will serve as a constructive and economic limit of all the proposals that will arise with the different fragments of concrete. The object is fragmented, but with a material limit, a finite number of elements that reduce the combinatorial of these and limit the number of possibilities. The materiality is chosen from this simply idea, the concrete composes a simple material, stony, austere, basic, permanent, heavy, hard.

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THE VACUUM AND THE BENCH

1:125

2016

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MEMORY

the Dy i n g o f t h e Li g h t

The Dying of the Light Winter Stations Competition Ontario. Canada. 21/11/2015 WINTER STATION CONTEST

The contest seeks the realization of an installation that will attract tourists during the winter months in Lake Ontario, Canada. This installation will be located on the scaffolding that serves as a monitoring post in the summer months. The main theme of the competition is â&#x20AC;&#x153;freeze an thawâ&#x20AC;?, ice and melt, and should have a maximum budget of 5,000 euros. The project is based on these premises for its realization, it is thought the installation, as a pole of attraction that can be used in this time period of low temperatures and short stay. This ephemeral dimension of the construction forces to propose an installation of a different form, showing the fragility and the temporality of the stations. For this reason, the project materializes with a structure made of helium balloons, pattern and rope bracing. These triangular bracing guarantees the stability of the whole structure that hides under the nylon fabric the surveillance posts. The helium balloons incorporate in their interior devices of light that serve like elements of attraction in the hours previous to the night. This time is when this falls and governs the darkness, when the lights will be turned off to be able to see the starry celestial vault, where the natural light of the stars arise. The project is an attractor, but the real spectacle is the one of the night. Ice and thaw, day and night, are both transitions between states of mind. The movement produced by the wind in the structure shows the lightness that exists between these cyclic states of the soul.

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THE DYING OF THE LIGHT

2015

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PANELS

The Dying of the Light | freeze and thaw |

WINTER STATIONS CONTESTT

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THE DYING OF THE LIGHT

The Dying of the Light | freeze and thaw |

2015

MEMORY

p fc m i c ro n ac i o n es

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torre de v i v i e n d as en a rt e i xo

Micronations PFC. Housing tower in Arteixo. ETSAC. Coruña. 03/07/2015

The bases of this PFC theme specified the realization of a tower of houses of 120 meters in a plot located in the polygon of Sabón of Arteixo. The program included different services that included a restaurant, a soccer field, spa, etc. However, a review of the entire program is done, giving it a realistic approach based on real growth and not on programmatic speculation prevailing in the pre-crisis architecture exercise. Make use of vacuum as a logical way to manage the project. This series of gaps throughout the tower will compose growth cells, allowing the generation of new uses based on requests or needs generated by the tower’s own individuals and not by mere speculation of the object. Long and not short term investment is proposed. Like the spaces of the tower, the houses have been thought of with emptiness as one more function. There is a previous study that includes the logic of growth of housing based on the added vacuum, weighing more than 3500 housing modules. The exercise of the project includes a logic comprised of different references both visual and textual, as well as the excretion of different theories based on all of these that are collected in a support blog: micronaciones.tumblr.com

more info: adriangonzalezdelcampo.com/tagged/pfc PFC FINAL PROJECT

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PFC MICRONATIONS

The work is vertebrate in different points that develop from the theoretical to the technical the whole project.

more info: adriangonzalezdelcampo.tumblr.com/pfc 2015

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PFC FINAL PROJECT

PANELS

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PFC MICRONATIONS 71

2015

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MEMORY

p lu g i n childhood

Plugin childhood Bogotรก, Colombia 27/05/2015 Made with Daniel Vilares Seijo + NAOS

BOGOTA NURSERY CONTEST

Project submitted in competition with the support of the Naos study. The program demands a nursery that is structured around the new teachings established by the Colombian government, this project is part of a contest that seeks to establish a regeneration in degraded areas with the belief that the presence of children is the basis of a community healthy, therefore the external image of the building must keep in mind the intention of regeneration. Due to the need to diversify classes by age ranges, it was decided to build classrooms by families, being the flexibility and the possibility of joining and connecting these, an important part of the project, allowing to create or generate different areas or spaces for multiple functions. These volumetric families project outwards, arti-

culating around common courtyards shared by the classroom families. At the same time, these volumes run around the outer yard of greater dimension, which is the core of the nursery, and will be the outdoor space for children. This patio is the union of the building with the void that exists in the plot, giving the possibility of introducing the annexed external garden into the building, and giving students the possibility of learning about nature in an environment of the city of Bogota Constructed and formalized The project was carried out independently with the support of the NAOS study, in collaboration with a study from Colombia that presented the contest, being the dea and the graphic design of the whole.

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PLUGIN CHILDHOOD

2015

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BOGOTA NURSERY CONTEST

PANELS

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PLUGIN CHILDHOOD 75

2015

MEMORY

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The development of the contest takes place in the subsequent 120 hours of the departure of the theme. This contest focuses on the “Oya Festival” which is held in Oslo, with the realization of a “meeting point” the central theme of elaboration. The project start with a map of possibilities, whith an approximate way of the idea and the possible location of all the elements. Therefore, the project is not a concrete idea, it is a possibility. The map of positions is an approximation to the character of the festival, where the images are framed that somehow conglomerate all of it. On the basis of the possibility of development and the machinery available in the port of Oslo, a project of intentions is made in which the character of the city, the festival and a whole generation are highlighted; all of which is crowded into a musical event in time, being possible and taking into account the possibility of withdrawal of all material for consecutive years.

120 h o u rs

120 hours competition. Oya festival. Toyern Park, Oslo, Noruega. 22/02/2014 Developed with: Pablo Ibañez 120 HOURS CONTEST

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120 HOURS

Participaciรณn Concurso Internacional 120 Horas 2013-2014 Participation Internacional Competition 120 hours 2013-2014

2014

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MEMORY

ba i r ro d e a rt esao s Bairro de Artesãos. Porto. Portugal. 07/05/2014 Made with: Ander Bados Sesma

GO! ARCHITECTURE CONTEST. FAUP.

The project is planned in a neighborhood of Foz district, it is decided to make some facilities for artisans where, in a punctual or continuous way, anyone who needs it, can access the facilities in order to make use of the space. Taking into account the mercantile culture that exists in Porto, and the different markets that arise in the weekend as well as the programmatic flexibility and variety of locations, it is decided to focus the project including the possibility of market in it. Therefore, next to the workshops it is decided to project a market space so that the craftsman can sell those products that it creates, being the project a cult to the craftsmanship. Finally, taking into account the intermittent nature of the different uses, and with the intention of trying to affect the minimum to the low-rise urban environment of the place, it is decided that the intervention will have a retractable personality, that is, that the market can be “deconstructed” when it is not in use and the area can accommodate different workshops without the market being in operation.

BAIRRO DE ARTESAOS

Crecemento do bairro

BAIRRO DE ARTESAOS GO 052

Evolução do espaço público

Origem da proposta

Percurso final

Processo

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CULTO AO ARTESANATO

O projecto como peça fundamental de um itinerário cultural e social.

Módulo estrutural Regeneração do bairro

Diferentes materiáis para diferentes ofícios

Corte horizontal cota 56,00

Corte horizontal cota 52,00

Geração da proposta

Vários tipos de módulos

Montagem do módulo estrutural extensível Corte

* Mercado de Artesanato

Regeneraçao do Bairro de Artesanato

* Percurso Possibilidade de união dos módulos para feiras e exposições Vizinhos cedem ou alugam espaços sem aproveitar

Alçado

2014

MEMORY

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The project arose from the need to develop in a plot located in a disused industrial environment a housing development with a program that included a commercial space and others. By doing a local analysis of the project, the rehabilitation of this industrial plot would not entail the complete rehabilitation of the area. The project needed a more ambitious vision, with a long-term projection that could incorporate the possibility of further growth. For all this it is decided to focus the project as an infection which could be extended to other neighborhoods from the initial action. Thus, the project would not be linked to the urban center of Nothingham, but would be a new urban epicenter. This infection could first affect locally and spread to affect the entire world. A high technological bridge or “tech-line” allows on the one hand, to separate the elements of the installations and to unify them in a line that agglutinates all that the urbanization of a parcel supposes and on the other, to extend the infection outside the supports and normal infrastructure of the city. Thus, the infection would extend to the adjoining neighborhoods and the rest of the vacuums of the city in a punctual and direct way.

i n fect i o n as u r ba n r eg en er at i o n Infection as Urban Regeneration Notingham. United Kingdom 21/05/2012 Developed with: Antonio Giráldez López

ISOVER. MULTICOMFORT-HOUSE STUDENT COMPETITION

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INFECTION 81

2014

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ISOVER. MULTICOMFORT-HOUSE STUDENT COMPETITION

PANELS

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INFECTION 83

2014

[ot h ers] C O L LAG E

a rc h i t ec t u r a l fi ct i o n s

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These collages, like others that remain in the archive of memories, are images that have helped to start an idea or to materialize it in the course of a work process. Through fragments of images and texts, a theoretical and imaginative basis is built that will lead to the project. The collage serves as a working tool and as a habitual resource in it.

OTHERS

Fiction 6 Greg Louganis and the superseconds

Fiction 2 Emmanuelle and Le Corbusierâ&#x20AC;&#x2122;s hands

Fiction 1 Brigite Bardott and the slight movement

COLLAGES

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ARCHITECTURAL FICTIONS

Ficción 3 Birds, stones and the Movement Pavilion

Ficción 4 Brigite and the Cortazar’s pursuer

Fiction 5 The grumpy accordionist and the same old song

2016

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COLLAGES

[ot h ers] C O LLAG E

t h e m a r b le t h i n g OTHERS

Collage 1 The Marble Thing

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THE MARBEL THING 87

2016

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COLLAGES

Collage 2 Set of elements 1 Mixture of sediments and gravities

OTHERS

THE MARBLE THING

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Collage 3 Erik Petersen photography 1944

Collage 5 Christina’s World by Andrew Wyeth 2002

Collage 4 Las meninas. Velázquez. 1656

2016

MOC.RLBMUT.OPMACLEDZELAZNOGNAIRDA

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