MANIFESTO Espiritual retreat Emilio Ambasz
Jose Alejo Rodriguez Cabrera Re-reading stories of houses In Spain University of Alicante
PROJECTS 4
Work with architecture is not only work with buildings. Work with architecture is work with the people that use those spaces, those buildings. People with stories. Work with architecture is work with stories.
INTRODUCTION To the reader: Welcome to my portfolio of the 4th projectual subject of the architecture degree of the University of Alicante (Spain). Across this pages you’ll can discover what was the objective of this subject, guided whit the hand of the teacher and architect Javier Merina, who give us the challenge of remodel a sapnish house of 20th century and transport it to the 21th century. Of course, this no consists only in modernize the forniture or change the distribution of the house to get a more modern space. We have to work with a house already builded and redisaing it for the usage of a person with a neurologial disease. With this in mind, the first proposal in wich you could think is in adapt the house acording the disease. But that is not the challenge of the redisaing action in the house. Our premise is that you have to work with your house and with your affected client focusing in the positive aspects that the illnes could give to us and improving those aspects inside or outside of house. In the other hand, this house, at the end, have to be a therapeutic way to interact whit our client, herinafter, whit our patient. Please, follow me and let me show you all the work of this course. Since my presentation and choice of the house to the final proposal action in it. I hope you enjoy this trip. Alejo
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CHAPTER 1
STORIES OF HOUSES
Presentation, chosing and first steps
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VIDEO PRESENTATION
“My choice beetwen nine houses that there are in this sub feliz in mallorca de Jørn Utzon and The house of the rain of
Let´s start whit the first one, Blas house. im interested in nation of a concrete box crowned by a glassed and “open” behind of this house.
The second choice is composed for two houses, can liz and house and the other to be a kind of refuge. However, both a according to the moment of the day
I have chosen the last one, the house of the rain for its int for the nigth and a body that conects these two parts.
At the end, one thing that its to ineresting for me is the fac blas house uses the silence and quiet that offer the sorrou the rhythm of the sun are the same thingThe house of the r and have a lot of importance whit wich the architech works Full video
bject is: Blas House in Sevilla la nueva de Alberto Campo Baeza, Can lis and Can f Juan Navarro Baldeweg.
this house for its simplicity in the fact that is built on a steep slope. The combi� room on the top, close to be transparent is the result of the story that there is
can feliz. Theses houses are completely diferents. one is looking to be a holidays are built following the same conceptual method: pavilions. Pavilions that are used
ternal distribution. Compossed by two arms, one for the life ofday and the other
ct that these houses are totally connected whit the envioramentThe architecth of unding forest. Can liz is built so that the rhythm of the life inside of the house and rain is composed with materials that the rain can change ( zinc glasss and stone) s with the horizon.�w
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Blas House (Madrid) Alberto Campo Baeza
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ORIGINAL STORY
A house for emotions; to forget and remember The first day that the client, Francisco de Blas, visited the architect he gave him a book of poetry from 1950 with the complete work of the Spanish poet Luis Cernuda (1902- 1963) who had been a member of the group of poets, Generation 27, with Federico García Lorca among others. Cernuda’s poetry was dense with intense emotions, describing sensitivity and love, pain and solitary, and the contrasts between the realisation of his personal desires (the wish) and the limits imposed by the world around him (reality). His most famous poem Donde habite el olvido (1932-33) describes a world where one forgets all one’s problems and in that way manages to achieve the freedom that one longs so much. This was the reading material that the professor of literature transmitted to his architect. It seemed as if Francisco de Blas wanted something more than a house, that he wanted place where emotions and reflections were part of the building material. For Campo Baeza, this was a welcoming challenge. In fact, he intended his architecture to speak poetry and in order to transmit that to his architectural students he started every lecture for his classes at the University with an opening of the poem, Auguries of Innocence by William Blake:
To see a World in a grain of sand. And a Heaven in a Wild Flower, Hold Infinity in the Palm of your hand. And Eternity in an Hour. Tpiece “4 minutes and 33 seconds” (1952) where the pianist sits in silence in front of the piano while the audience listen to the sounds of the surroundings. No two people listen to the silence in the same way. In fact, people are generally not educated in listening to the silence. In de Blas house one finds peace within oneself and gains freedom. The experience is deeply personal, based on reflections; forgetting and remembering and relating oneself with the environment. Francisco de Blas and Alberto Campo Baeza have made a house where its poetry helps to build another more subjective poetry of the one who perceives the place.
The house in the mountain for listening to silence With these provisions, Campo Baeza went to visit the site with the client. It was to the southwest of Madrid with a wonderful view to the north towards the mountains and 3000 squares metres with a difference of 15 metres in height from bottom to the top. Despite that the client thought it very uncomfortable, the architect realised immediately that the place was perfect for the brief that the client had given him. Being so high, the surrounding houses would disappear and would leave the horizontal landscape in the distance to be enjoyed. Studying the slope, Campo Baeza decided to make a platform for the house to sit on and to divide the house into two conceptual elements: a solid concrete box sitting firmly on the ground emphasising its sense of gravity and another transparent glass box placed on the concrete box with a light and simple steel structure that almost disappears into the landscape. The perfectly carved out box contrasts with the structural qualities of the second, the viewpoint situated at the highest point of the house. They are two opposing states or qualities of how light transmit through the material; one completely opaque and the other completely open. Inside the concrete box is the programme of the house dividing the spaces so as the living areas - the four bedrooms and the living room - have a view of the framed landscape through square gaps that open out to the horizon. The effect is as if the landscape is far away from our reach in the distance. The opposite is felt in the totally transparent box on its roof where one is literally absorbed by the power of the surroundings. It is here that the inhabitant can loose all sense for the time, to listen to the sounds of the ambience, of the silence, of the music of the landscape. One recalls the effect of John Cage’s musical
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Can Lis and Can Feliz (Mallorca) Jorn Urtzon
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ORIGINAL STORY
Can Lis Jørn Utzon had been affected, at the beginning of his career, when he learnt that the celebrated Swedish architect, Gunnar Asplund, had died of stress. On his death bed, Asplund asked his son whether all this effort had really been worth while. These words came back to Utzon years later when, after he had been nine years working on the design and building his winning project of the Sidney Opera House, he decided to resign from this job because he had not been shown professional respect by the Ministry of Public Works. Since then, Utzon has never returned to Australia to see his building finished. Looking, in Porto Pietro, for an ideal refuge during his holidays, Utzon built Can Lis in 1972, set among myrtle and pine trees, with an extraordinary view to the sea. Integrating with the colours in the landscape, the main building material is a hard local limestone, called marÊs stone, which varies from gold to pink in colour. The original concept for the house was the same as for the one that Utzon had intended to build in Sidney; a sequence of pavilions linked by a wall, and arranged so as to respond to the various functions within the dwelling. He explained it with a story by Karen Blixen about African farmers where she said: "It was impossible for them to build their houses in a uniform row because they followed an order that was based on the position of the sun, the places of the trees and the natural mutual relationships of the buildings." The orientation of the pavilions in Can Lis selects distinctive views of the Mediterranean, and consequently, the furniture became fixed, built on site and finished with shiny ceramic tiles. Additionally, as the window frames were mounted on the outside surface of the walls, they were made invisible from the interior, which again, stimulates the effect of light, blurring the limits between the dark interior of the house and the blistering Mediterranean sun. For all these reasons, family life follows a route as the day passes which seems to pursue the passage of the sun.
Can Feliz Utzon developed a new typology for housing in Can Lis, the house of the sun, from which we all have a lot to learn. In fact, the architect told us, with a smile, about the numerous visits of buses full of tourists arriving to this house. Twenty-two years had passed from the construction of Can Lis when Jørn Utzon and his wife decided to spend the majority of the year in Mallorca. Due to the high humidity in winters, they handed Can Lis to their children and moved to a new house that they named Can Feliz. It is in the mountains, far away from the humid sea breezes, with big windows overlooking the green pine grove that reaches down to the sea. Although both houses use the same materials, the second is a house in the mountains that belongs more to the traditional houses of the island, even reaching the point of being passed by unnoticed. Can Feliz is built round a terrace, following the pattern of orthogonal axis and is built under one tiled roof. However much Utzon has insisted on his joy at receiving visitors, the fact that the house is so difficult to locate has contributed to the creation of the myth of the badly treated architect who has retreated into his refuge. Can Feliz has appeared in publication as it were a magical place and, includes, of course, the indispensable requirement of any utopia, apart from it marvellous qualities, be an insuperable gap from the rest of the world. In the same way as any novel on magic lands starts - with the loss of memory of the shipwrecked person who does not know how he arrived on the island, or the predicable cough made by the servant right in the moment when the narrator reveals the secret coordinates - the published articles on Can Feliz are reports by visitors who affirm that they are not able to remember the way that leads to the house.
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House of the rain (Santander)
Juan Navarro Baldeweg
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The materialisation of the investigations
The House of Rain
Juan Navarro Baldeweg's brother wanted to enjoy family vacations in Alto de Hermosa in Liérganes. He had land which opened up to the green valley to the west, from where one could template the sea in the distance to the north. This project description would give the architect an opportunity to materialise his investigations from his broad conceptual education. Before becoming an architect, Juan had studied engraving at the School of Fine Arts of San Fernando in Madrid. This made him consider himself as much a painter as an architect. After finishing his PhD studies at the School of Architecture in Madrid in 1970, he left for MIT in Boston, USA. In 1977, he returned to the same School of Architecture in Madrid as a Professor of Design. During his academic journey, Navarro Baldeweg reflected on and analysed certain essential forces in Nature - light, gravity, horizon, equilibrium, structures and the hand - which were realised in his different installations, paintings and later, architecture. The Slide from the exhibition Light and metals in Sala Vinçon in Barcelona in 1976 was, for instance, a game of equilibrium and instability, suspended in the air and ceasing the notion of time and space. Investigating further the field of perception, the installation boxes, Five Units of Light from 1974, construct and give shape to the trace of light in a natural environment. Applying this research, Baldeweg moved between sculpture, painting and architecture and aspired to experiencing space and the environment through relationships with human feeling and thinking.
The House of Rain (1978-1982) draws its name from the climatic conditions that surround it. The stratification of building materials - stone, glass and zink - creates the impression that the rain transforms the house; dressing it, changing its textures and colours, resounding in it. This idea was already present in an installation in 1979, which formed part of the project. It was a small model made in copper of a house with a pitched roof and big gutters over which a coil sprayed fine rain. Appearing as if the water “combed” the house, the eye of the spectator sensed a relationship between the form, space and the different textures of the water left behind. The design of the house acquired a U- shape with its two arms gently open as a gesture to embrace the valley. The link with the landscape was reinforced by separating the structure that holds the house from its enclosing walls, thus allowing a line of windows to run along the facades with the vision uninterrupted towards the horizon. Using architectural references, like interior perspectives by architect Baillie Scott (1865-1945) where windows were placed at eye level, Navarro Baldeweg also showed a commitment to functionalism and the poetics of space. Tracing the road that surrounds the house, the visitor finds an entrance characterised by two blind and slightly curved walls. Instantly, the absence of a reference drawing out the horizon produces a certain feeling of oppression and makes the eye move and look for limits. At this point, the project anticipated that one would see three glass boxes, which were intended to organise and display overcoats, books and tableware, respectively. The glass boxes acted as mediators between the inhabitant and nature. Their slightly fan-shape layout composed the space and guided the visitor in his study of time to reach the infinite space by the horizon that was framed by a pergola situated in the garden. It was here that the eye could finally rest and contemplate the line of the horizon. But at moment of rain, this line would dissolve again and give way to a soft sound from the roof. Through enlarging the scale of the first house in copper to make it into full scale architecture, Baldeweg introduced the notion of the client; his perception of entering a space and organising his belongings and memories within the landscape. Although the glass boxes were never built, the architect offered the possibility to fuse the daily life with the furniture, architecture and landscape. He imagined a house which acted as a resonant box. As he himself explained to us; "the instrument and the music are not the same thing. Nobody makes a musical instrument with the object itself. The experience of the architecture is like listening to music." When resounding, architecture encourages us to establish an agreement between the physical and the sensual. As such, the House of Rain is only fully perceived when inhabited.
ORIGINAL STORY
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FINAL DE
At this moment, i met my workgroup partners, Manpreet Kaur and David Martinez Torrado. After discussing wich would be the best option between all our top houses, we reached a final decision. ESPIRITUAL RETREAT in Sevilla of the architect Emilio Ambasz will be the base of our work in this semester.
ECISION
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ESPIRITUAL RETREAT Emilio Ambasz Sevilla
This house was choosen becouse it had a lot of architectural elements in it which were very technical but are done in a enganing pattern. The house is located 40 km from Sevilla in a beautiful, peaceful and open sorroundings near a lake, sorrounded of an extensive vegetation and wild fauna. Builded in the underground you only can see from afar an amazing first aproach of the house composed for two walls of 13 meters forming a 90 degrees angle crowned by a balcony of arabic tradition completly integrated in the enviroment. As you aproach to the house you can see the reality of it. A magnificent architecture work that join the sensation of be aoutside and inside at same time. When you cross the entrance, composed for an arabic wood door in the corner of the two exterior walls, you are entering in a building that is continuosly making you aware of yourself. Since the long and intimidating stair going up to the lookout with the water, running down the handrails, to the enigmatic and unespected travel across the house where almost all the rooms are interconected. The idea of the architect for this building is provide a way to conect with yourself through the use of it.
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Exterior space Living space Vestibule Private space Mirador
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CHAPTER 2
Huntignton disease Symtoms. Reality behind the illlnes
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HUNTINGTON DISEASE Huntington’s disease (HD) is a fatal genetic disorder that causes the progressive breakdown of nerve cells in the brain. It deteriorates a person’s physical and mental abilities during their prime working years and has no cure. HD is known as the quintessential family disease because every child of a parent with HD has a 50/50 chance of carrying the faulty gene. Today, there are approximately 30,000 symptomatic Americans and more than 200,000 at-risk of inheriting the disease. Hundreds of partially smoked cigarettes, piles of trash & food were strewn about. It appeared that an emaciated stranger was lying on the couch, seemingly half-dead. After searching the house he discovered the person who was on the couch was in fact his mother.
HUNTINGTON DANCE
Early stage HD usually includes subtle changes in coordination, perhaps some involuntary movements (chorea), difficulty thinking through problems and often a depressed or irritable mood. Medications are often effective in treating depression or other emotional problems. The effects of the disease may make the person less able to work at their customary level and less functional in their regular activities at home.
Symptoms usually appear between the ages of 30 to 50, and worsen over a 10 to 25 year period. Ultimately, the weakened individual succumbs to pneumonia, heart failure or other complications. Everyone has the gene that causes HD, but only those that inherit the expansion of the gene will develop HD and perhaps pass it on to each of their children. Every person who inherits the expanded HD gene will eventually develop the disease. Over time, HD affects the individual’s ability to reason, walk and speak. Symptoms Include: Personality changes, mood swings & depression Forgetfulness & impaired judgment Unsteady gait & involuntary movements (chorea) Slurred speech, difficulty in swallowing & significant weight loss Although symptoms of HD vary from person to person, even within the same family, the progression of the disease can be roughly divided into three stages.
In the middle stage, the movement disorder may become more of a problem. Medication for chorea may be considered to provide relief from involuntary movements. Occupational and physical therapists may be needed to help maintain control of voluntary movements and to deal with changes in thinking and reasoning abilities. Diminished speech and difficulty swallowing may require help from a speech language pathologist. Ordinary activities will become harder to do. In the late stage, the person with HD is totally dependent on others for their care. Choking becomes a major concern. Chorea may be severe or it may cease. At this stage, the person with HD can no longer walk and will be unable to speak. However, he or she is generally still able to comprehend language and retains an awareness of family and friends. When a person with HD dies, it is typically from complications of the disease, such as choking or infection and not from the disease itself. In all stages of HD, weight loss can be an important complication that can correspond with worsening symptoms and should be countered by adjusting the diet and maintaining appetite. 33
Huntington patient
The patient was in her mid 50s and was no suffering form the sympotoms of HD since th problems. She ussually forge to turn off the gas stove or some electrical appliances a
Cesar Martinez (clinical researcher)
As an overview to the disease, the doctor said that the Huntington disease is a combina suffers form different symptoms and most of the patients loose the hope from life and nosed with Huntington and she want to quit her life thinking that she has nothing left day to dayactivities eventually and going to suffer form a slow death. When asked that comfortable and easier he told that the patients loose the ability to start an action, s them to start an action would be really valuable for them.
INTERVIEWS
he day she was deanosed. She was having some uncontrolable movements and memory and needs somebody’s support who coul remind her of these things.
ation of parkinson, alzheimer and shizoprenia. Every patient d want to quit. He also told about a young girl who was diat now and she is going to looese all her abilites to perform t how can architecture help leading and making their lifes so if architecture could help them in a way that can push
“Realmente no es una suerte tener Huntington, no lo será nunca, pero a veces hacemos la analogía, medio en broma, de dcirles, hostia, tienes mucha suerte, de todas las cosas malas que nos vana a pasar, tú puedes organizar tu vida completamente en torno a esto”.
Full interviews
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NEW HISTORY
Journal of an architect: ´ -Today one of the most complex projects of my career has been proposed to me. One day through the door a couple of middle age came into. The first thing that caught my attention was the exhaustion in her eyes. Next to her, an apparently healthy man, but later I realized that he wasn’t what he pretended to be. With this premise, the project begins. She wanted to move to another house because, the house was increasingly small and devoid of elements that would make life easier for a husband who had a disease that produced a progressive degeneration of mental and motor. The couple looked for a quiet and spacious place. They found it in 40 kilometers north of Seville (37 ° 40'33.4 "N 6 ° 11'15.7" W) with views to the reservoir Minilla A detached house built by architect Emilio Ambasz that met all the requirements they were looking for, but it needed an overhaul that would allow them to face the challenges ahead. From the current 40 to 48, the husband has undergone an evolution of disease that reaches its final stage passing about 15 years approximately after the first symptoms begin. During their first visit Sandra started to tell me the story of her husband’s disease. John, the husband, began to have trouble at work. He was increasingly distracted and distant from both his family and his workmates. With the pass of time this situation leads Juan to a depression and this fact made the familiar situation worse. This is compounded by memory loss and a series of involuntary grimaces that were virtually undetectable at first but gradually intensified. At this point and after several medical tests doctors said that it was unusual Huntington's disease. Moreover they told them that the disease would continue degenerating and it would be a difficult situation for the whole family, including children. From then until now, John has become worse up to the point that he would suffer frequent and prolonged spasms, cognitive failures and a series of problems. Every day Sandra had to help Juan in everything, that means, she had to dress him and so on. His speech was getting worse and it had non-sense. He was not able to communicate, watch TV, read or whatever… he couldn’t practice judo, his favorite sport. This terrible situation and the stressful life that we find in a city like sevilla, lead the family to come to a decision: change the style of life they have had so far. This ambitious project, is not only about remodeling the house itself for an individual with a particular disease, we have also the intention of rebuild a home that allows the family to have a better life. Thinking not only in the self-reliance of Juan, also is important to take into account his happiness and the health of the rest of the family.
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INTERLUDE Workshop
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WORKSHOP HOUSE3K is a workshop to explore concepts applicable to the production, operation, use and evolution of human habitats into the future. The ecology of `home` is being systematically reconsidered at this point in history within a framework of sociological, technological and scientific discourse that is generating new expectations about our relationships with each other, our political and economic systems and the environment at a variety of scales. The workshop is an ambitious and fast paced opportunity to conceptualise `home` in a way that may be applicable to the next millennium of human history on planet earth – our home in space. The residence as an archetype or laboratory/testing ground has historically generated visions of the future. Does the residence as a building type still hold a similar position in the development of civilisation? Through this workshop we aim to envision the evolution of the ‘house’ through the depth of time (a thousand years from now). This might take the form of a time line that is assembled by all groups working on different themes ( lifestyles, construction methods, key historical events relating to technologies, societies, scientific understanding, critical models from history etc).
There are essentially two outputs: •The timeline of `a thousand years of home` (the rear view mirror section ) •The timeline of a thousand years forward; the proposition, the conceptual axis for projecting the “home” into the future; concepts for living systems with a future
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CHAPTER 3
Microarchitecture From micro to macro
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IMPROVING YOUR SENSES
In this first attempt, after get the exercise statment, we designed a little space where a person could interact with. This space with regular aspect outside and organic inside, would allow the person that is in the interior to enjoy and improve the senses of view, touch, smell and ear. At the same time this structure represents or show how people see externally HD patients and how we see those patients at this moment internally.
FIRST STEP
To start with the project and to propose something that can help our client we produced a microarchitecture taking in account the knowledge of disease we gathered so far. In case of Huntington the patient losses post of his senses withh the passing of the time, so we thought of making something that can enhance his senses. At first we thought of making a structure that can enchance the senses. But working with all senses together was not coming out with an output that really intensified them, so we decide to focus on the vision sense. Due to the house is underground and does not provides any opportunity to see the breathtaking landscape from interior so we choosed the sense of vision to continue our microarchitecture which we could incorporate in the house later. The aim was to make a structure that allows the user to use your sense of vision little beyond than the normal eyes can see. The design and function of our microarchitecture is inspired by periscope. Periscope is an instrument, by wich an observer can see things that are out of sight. But we resolved it and made an helmet that gives you an opportunity to see the ant eye’s view.
MICROARCHITECTURE Stages 1 Consttructing a wooden frame which can be weared on our heads combined with a helmet which is making the structure self-supported on our heads. 2 Composition of the main functionable part of the microarchitecture: the periscopic pipe. The normal periscope is made with flat mirrors which allows you to see the normal eye view, but we want to see the ant eye view so instead of use a plain mirror, we used a concave mirror at the botton which gives a different vision. The tube we made for placing the mirror is of flexible lenght which can be adjusted according to the height of the person wearing it. The tube is connected to the wooden frame in such a way that when we wear the helmet the top mirror of the tube is in front of our eyes and an ant eye view can be seen through it.
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CHAPTER 4 Proposal
Redesign like a therapy.
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DAVID’S PROPOSAL
Relaxation path
Kitchen path
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ALEJO’S PROPOSAL
STAIRWAY TO HEAVEN A PATH TO GO TO THE HEAVEN FROM INSIDE OF THE HOUSE
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ASCEND AND MEDITATE TRAVELING OUTSIDE OF THE BUILDING BUT INSIDE OF YOURSELF
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FINAL IMAGES
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The main aim is to evolve a project that can help our patient in his lifestyle and make the house peculiar which can gicve an opportunity to feel beyond usual human experiences. Also recalling the manifestation of the disease we as a group decide to work on boosting the senses of the patient as he is going to loose his senses with passing time.
MANPREET’S PROPOSAL
Incorporating microarchitecture in the house and focusing on the vision, the proposal was to give a moment of perceiving the breath-taking landscape from the interior of the house which is not possible at present. So the periscop window installed in the 2 bedrooms giving one the leisure to behold the surroundings. To make it more influential, at the top of the window concave mirrors is used to see a larger view and at the bottom of the window enlarging mirror is used to multiply the captured view
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MANIFESTO Time to thanks
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Manifesto
of a student
Fourth months pass faster than the time that takes read this book. A book that collects the trip made by astudent trough a subject that requires an evolution in your way to think and work During this weeks we were working with a spanish house and the story that is hiden under its foundations. A story and a house that, thanks our professor Javier Merina, we can know today. That’s not all, this teacher gave us a challenge which we had ner faced before: redesign this house for an imaginary client who had a neurodegenerative disease, but no in the sense of adapt the house to the person. The point is that the house had to achieve two objectives. The house have to improve the positive things or aspects of the disease (whit this professor and this subject we realized that a so serious and grave illnes can be an opportunity for live complettly different and much better, enjoying aspects that in otherwhise would not do) and ahve to be a therapeutical tool for our client, our pacient. The microarchitecturae taught us how to think in the concept it’s most important than think in the building. We learned a different and amazing way to focus in the proces of create architecture. All this help me to improve myself like a student. In other hand, the fact of make diferents short and intensive trips around Spain with all the class (thanks to the organitation and contagious entusiasm of the students and the teacher) has created the oportunity of stablish truly relationships beetwen all of us. A lots of thanks to my group partners, Manpreet and David, for all the work and all the good moments lived. Without you this would not be possible. Thank to my classmates, to enjoy with me all those incredibles and intesive adventures. And finally, thank you very much Javier, for make grow my illusion for this career and make me believe that work with “the fantasy” is work with architecture. Thanks to rewrite my story. Alejo
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Index Introduction
5
Chapter 1 Video presentation Original stories Final Choice
10-11 12-23 24-29
Chapter 2 Huntington disease Interviews New history
32-33 34-35 36-37
Interlude Workshop
40-41
Chapter 3 Microarchitecture
44-45
Chapter 4 David’s proposal Alejo’s proposal Manpreet proposal
48-55 56-61 62-67
Manifesto
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