Portfolio PFG - AnaGonzalezGranja by anaggranja

Escenarios Prohibidos Ana Gonzรกlez Granja

IBERIA TOTAL 1.0 Architecture & Tourism for the ACTAL Undergraduate Thesis Project Undergraduate Degree in Architecture IE University 2013

PFG Professors Pablo Oriol Fernando Rodríguez Lina Toro Technical Practices Manuel Pérez Romero Rafael Iñiguez de Onzoño Workshop Instructors Linna Choi Tarik Oualalou Laura Martínez de Guereñu José María García del Monte Design Critics Izaskun Chinchilla Juan Elvira Mónica García Pedro Iglesias Andrew Varela Director David Goodman 3

Tourism, again Are we facing a return to the economic model of “sun and beach”? Are we prepared to re-think a productive model, already successful in past decades, to adapt it to a ecologically and culturally sensitive context? According to the current economic difficulties and analyzing the benefits of Tourism in Spain, we think not only this condition is necessary to consolidate the country as the first European tourist destination, but geographically restructured to achieve a more diverse offer, ensuring a greater international projection. The architectural thought and research have been absent from the shaping-processes of the economic landscapes related to tourism models. It is now time to use architecture to propose an update of the operating strategies for the exploitation of cultural and natural resources, seeking an economic and ecological balance that will allow achieving a high sustainable growth. We will explore other landscapes and territories to propose diversity. We will define a more consistent and extensive network, one in order to create new models for progress in some forgotten environments, absolutely susceptible to have a second chance. Our actions and architectural proposals will be narrated through a new lexical where words like diversity, sustainability or energy, will match concepts such as profitability, economy, benefit, autonomy, identity, without forgetting other known languages as the exchange, the event, the time offer, heritage, human and natural landscape. The presented projects make strong emphasis in the combination ‘tourist-resident’, extending the range of the tourism in daily life and vice versa. We are putting forward a kind of investment that doesn’t become the environment in a mere appeal of consumption. The

proposals look for a great capacity of transformation in aesthetic, social, cultural terms and in the economy of the villages. We attempt to build identity environments with high capacity of transformation, capable of coexisting with the natural landscape, architectural and existing urban conditions.

Framework The starting point of the final project research is Iberia Total: the Iberian Peninsula understood as a strong touristic destination, the theoretical frame or support where the specific proposal (the architecture project) takes place. It seems important to implement a geographic and territorial reorganization for the Iberian Peninsula to become a global touristic destination, targeted not only to those tourists interested in the “sun and beach” offer, but also appealing to what Asian and American tourists demand. Visitors are not only attracted by sun and beach holidays, but also by the vast variety of holidays tailored to the interests of each visitor. In recent years, Spain has been confronted with the challenge of sustainable and diversified growth. The objective of such challenge is to complement the sun and sea supply with new forms of tourism, in order to create a new demand for quality that moreover contributes to increase the tourist expenditure. Thus, we propose to redefine that touristic map to transform the whole peninsula as a complete and complex tourist network. We propose a specific frame within Iberia Total that comprises the northern segment of the Ruta de la Plata, which originally runs from Gijón to Seville. We will then focus on the AP66 Higway area, between León and the coast of Asturias. This new territory of opportunities hosts a number of existing and abandoned coalfields along some valleys: the Valle del Nalón and the Valle del Caudal. Some other incredible geographical locations such as “Los Barrios de la Luna” reservoir or the “Picos de Europa” National Park and natural reserve, are there, and of course, several interesting cities as León, Oviedo, Gijon and Aviles; besides, it features a strong connection with the airport and seaport of Aviles and Gijón. This region, which we call ACTAL (Área de Centralidad Turística Astur Leonesa), will be a laboratory to explore tourism options, as it is strongly linked to a landscape of great industrial potential, and also to the main road infrastructure system of the Iberian Peninsula. The great potential of ACTAL, as we have known through rigorous research, is embodied in the wide range of projects presented in this book: new production landscapes, intensification of urban cultural programs, activation of natural spots, colonization of the mining heritage These proposals, unlike other programs and architectures already known, allow us to imagine a future scenario in which a different tourism is possible, thanks to the thoughtful and measured action of the architect. Fernando Rodríguez, Pablo Oriol y Lina Toro Professors of Undergraduate Thesis Project Unit

BIOGRAPHY. How does your environment influence your choices?

You grow up in a family with certain values and traditions. Then the space and place where you spend your childhood creates different and new perceptions in your personality, the culture of a place shapes people giving them some inherent inputs. I believe that each individual creates his own environment and individuality. As long as you grow up you start determining yourself throughout those perceptions you might get from your external environment. Our understanding of reality differs, because is consciousness what determines our behaviour.

I am the result of my environment, I am a series of biographical data, matter has shaped me in a certain way, to be the product of my interrelationships. “I am this”: My name is Ana González Granja, I was born in Galicia (Spain) within a small village called Vilagarcía de Arousa, the 31st of December, 1990. I have been educated by my parents, ballet dance and public schools, and I took different qualities, emotions, feelings, thoughts and perceptions of those educators. I have developed both divisions of my mind, I am rational and technical but I also have inherited emotional and sensitive skills, which has driven me to this point. I always had freedom of choice, I could decide which inquisitiveness I want to learn and develop, and it was at this point when I started knowing my interests. I was three years old when I started dancing, I could not even differentiate right side from left but I knew I want to learn that discipline. I was practicing ballet every day because I wanted to become a professional dancer. Simultaneously I was learning artistic and technological drawing, because since the very beginning of my life I used to spend evenings drawing and painting, sat down on my sister’s desk. Those two subjects where not a mystery for me, I felt them as a complement to something that I already knew. I think they were on my consciousness even before I could realize. Facts are just going to happen in an unexpected moment, and I realize that those elements were components of that “I am me”, of my identity, because its development and learning process make me feel complete. This was an enrichment to the person I want to become. For those reasons I was struggling myself to find that bridge between myself, to merge in one element two inquisitiveness that walked next to me all these years. To find, if there is so, the breaking point between dance and architecture.

CV. 1. architecture & design

PERSONAL INFORMATION DNI. 35482056 W Telephone. +34 617 114 078 E-mail. ana.gonzalez.granja@gmail.com

ACADEMIC EDUCATION -BA&MA of Architecture, IE University. 2008-2013 (average score 8,09. PFG score 9,20) -Minor in Business, IE University. 2012-2013 TRAINING -internship in Segovia, IE University plans of the old prision 30/06 to10/07, 2009 -internship in Chicago, Ross Barney Architects 01/08 to 30/08, 2009 -internship in Madrid, Juan Navarro Baldeweg 01/04 to 30/06, 2010 -internship in London, Zaha Hadid Architects 01/04 to 30/06, 2011 -internship in Madrid, Gilbartolomé arquitectos 4/07 to 10/08, 2011 -internship in Lisbon, Francisco Aires-Mateus atelier 01/04 to 30/06, 2012 COURSES -Cycle of lectures, “El papel del dibujo” , Esteban Vicente Museum, Segovia 2009 -Summer course in Santiago de Compostela, CA Institute 19/07 to 16/08, 2010

2. dance & music ACADEMIC EDUCATION -Degree of Ballet by the Royal Academy of Dancing, London. 1994 to 2008 (Level 1: Iniciation 5 grades; Intermediate 2 grades; Advanced 3 grades. Level 2: 2 professional grades) -Elemental grades in Musical Language, Piano, Bagpipe by the Local Scool of Music. 1998 to 2006

3. personal skills & competence PROGRAMS Autocad - Adobe Photoshop - Adobe Illustrator - Adobe Indesign - Adobe Premiere - Rhinoceros - Microsoft Office LANGUAGES -mother tongue: Spanish & Galician -other language: English COURSES -Rutland School of English, in Margate, UK July 2005. -Clinton Center English, in Enniskillen, Ireland July 2006. -Pace Language Institute of English, in Bray Ireland July 2007. -Pueblo Inglés in La Alberca, Linguistic immersion program, 100 hours of English. September 2008.

CONTENT 1-9

10-21

INTRODUCTION

WORKSHOP 1 tourism

2-5 6 7 9 10-11 12-13

IBERIA TOTAL 1.0

Tourism and Framework

BIOGRAPHY CV STATEMENT

GROWTH-LIMIT-IDENTIY GENERIC limit Precedents

SPECIFIC limit 14-15 16-17 18-19 20-21 22-33

territory

22-23

28-29 30-31

Non-Physical factors 1.Timeless people 2.People Image

Physical factors 1.Architecture 2.Landscape

DETECTING THE UNSEEN

34-35

SENSORIAL URBAN PERFORMANCE ATMOSPHERICAL SPACES

PROJECT escenarios prohibidos

38-39 40-41 42-43 44-47 48-51 52-55

TRACING LIFES AWAKING MEMORY

32-33

36-37

PROCESS

1.Geography 2.Desire 3.Duration 4.Identity

WORKSHOP 2

24-25 26-27

34-71

Identity vs. Growth

56-57 58-61 62-63 64-69 70-71

references-factors

TOURISM

1.General Strategy 2.Site Strategy

PROGRAM

1.Longitudinal section 2.Floor plan -5.00 + image 3.Floor plan +0.00 + image 4.Floor plan +5.00 + image

IDENTITY

South Elevation Space 1. Lullaby Space 2. Lillies of the valley Space 3. Zoom in Look out Image

Where is the limit between prohibition and desire? A space should offer identity and be desirable, be limited in time and conditioned in context, to attract tourism. Escenarios Prohibidos seeks for a unique encounter, and a particular identity for Oviedo. It wants to make visible the invisible. We are going to taste through emotion living a gastronomic experience associated with dance. Where is the limit, if there is so, between the physical and non-physical components of a city? Footprints are left in the urban fabric, sometimes as a network of thoughts, others as gaps full of memory. The pre-existences, understood as potential spaces, allow us to create architecture inside architecture. An engagement is produced between the visitor, the interior-exterior, the context and the experience. Architecture creates a new sensorial urban performance.

WORKSHOP 1. Tourism Where is the point in which Seaside, Florida is understood as a fantasy inside an imagigrowth in a city can no longer nary bubble, a “perfect” space that should keep its dimensions. maintain identity? If we stretch the fantasy we can break it. As city it is successful due to it evokes a fake memory and nostalgia for a past time that never existed, a temporary experience attracts thousands of visitors each year. It is not possible to take over a territory until you find its limits, therefore Seaside’s proposal is an imaginary belt as boundary. Without losing identity and stopping its growth it would maintain the previous desirability. A space should offer identity and desire, be limited in time and conditioned in context, to attract tourism.

Seaside . Florida live the dream

“Yous feel you are in a Perfect Town with wholesome people” 10

STO P

GRO

WTH

SU C CES

IMA G

SFU L

STO CIT

Y du

ROW

e to

FAK E

INA RY BEL T

MEM O

RY NOS TAL GIA

AS LIM IT

identifiying a generic LIMIT

PRECEDENTS

growth trend

western lake

mexican gulf

2012

1985 original development 0.3 m2

Seaside 1:750000

GROWTH vs. IDENTITY URBAN COMPOSITION Brasilia 1:750000

Seaside 1:100000

GROWTH vs. IDENTITY LANDMARKS Vegas 1:750000

identifiying a specific LIMIT

IDENTITY vs. GROWTH

urban landmarks natural landmarks

DESIRE

urban nucleus

time distances

natural borders

visual limits

GEOGRAPHY

FACTOR 4

FACTOR 3

FACTOR 2

FACTOR 1

DURATION

IDENTITY

water urban forest natural forest

DESIRE

urban nucleus

time distances

natural borders

visual limits

GEOGRAPHY

FACTOR 4

FACTOR 3

FACTOR 2

FACTOR 1

DURATION

IDENTITY

urban nucleus

time distances

natural borders

visual limits

GEOGRAPHY

DESIRE

DURATION

600m

95% tend to take public transport

400m

people are generally willing to walk up to 400m in USA

200m

100m

>15´walking 10-15´walking 5-10´walking 5´walking

FACTOR 4

FACTOR 3

FACTOR 2

FACTOR 1

IDENTITY

urban centrality urban perimeter

DESIRE

urban nucleus

time distances

natural borders

visual limits

GEOGRAPHY

FACTOR 4

FACTOR 3

FACTOR 2

FACTOR 1

DURATION

IDENTITY

WORKSHOP 2. Territory How powerful is the human mind? Tracing Lifes.

What creates identity and desire is not always what we can see, the physical components of a city, that is, architecture. There is another factor even more important which is who has inhabited and inhabits those places, is a non-physical element that creates a network of thoughts in time. Tracing and linking life help us to awake the memory of a place, what is forgotten is going to be alive, that footprint is going to be visible. And that gap that is left in the reminiscence is visible in the urban fabric throughout architecture, sometimes reflected with the skeleton of that space, its ruin. The physical and non-physical factors work together to activate those voids full of memories. Metaphorically we could say that a new concept is generated, spaces of thought are born when time is accumulated. The way of awaking all these footprints is through tourism, activating those gaps memory left in the urban fabric. Voids are left here as potential spaces.

awaking MEMORY

non-physical FACTOR. tracing lifes. 1. TIMELESS PEOPLE as footprint

AVILÉS

GIJÓN

AVILÉS

OVIEDO

MIERES DEL CAMINO

POLA DE LENA

POLITICS CONFLICT ECONOMY

PAINTING + SCULPTURE

“Los MUSICpueblos son lo que FILM hacen sus Hombres” PHOTOGRAPHY Victoriano LITERATURE

Crémer

GIJÓ

MIERES

POLA DE L

MUSIC FILM PHOTOGRAPHY LITERATURE

LEÓN

1800, Gijón, Gaspar Melchor de Jovellanos 1808, Aviles, Ramon de Llano Ponte 1812, Oviedo, Jose María Queipo de Llano 1817, Leon, Jose Zorrilla 1819, Oviedo, Alejandro Mon y Ménendez 1822, Oviedo, José Canga Argüelles 1829, Mieres, Teodoro Cuesta 1844, Gijón, Anselmo Cifuentes Diaz

1920, Gijón, Eleuterio Quintanilla Prieto 1920, Oviedo, Eduardo Martinez Torner

1925 to 1950

1922, Oviedo, Emilio Alarcos Llorach

1950 to 1975

before XVIII 1800 to 1850

379, Leon, Teodosio 790, Oviedo, Alfonso II 910, Leon, Fernan Gonzalez 1048, Leon, Rodrigo Diaz de Vivar 1182, Aviles, Nuño Perez de Quiñones 1214, Leon, Doña Berenguela 1357, Leon, Diego de Anaya 1420, Oviedo, Alfonso de Quintanilla 1433, Aviles, Alas Family 1440, Leon, Jorge Manrique 1451, Leon, Isabel la Catolica 1503, Leon, Pedro Berruguete 1519, Aviles, Pedro Menendez 1552, Mieres, Diego Braga Suarez 1600, Pola de Lena, Fco Antonio Bernaldo 1630, Leon, Fray Andres de las Navas y Quevedo 1650, Aviles, Juan Carreño de Miranda 1676, Oviedo, Benito Jeronimo Feijoo 1744, Gijón, Gaspar Melchor de Jovellanos 1754, Oviedo, Francisco Martinez Marina 1784 Mieres, Nicolas de Llano Ponte

1844, Gijón, Mariano Suarez Pola

1853, Aviles, Marcos del Torniello 1858, Pola de Lena, Juan Menendez Pidal 1861, Pola de Lena, Luis Menendez Pidal 1866, Pola de Lena, Gonzalo Castañon 1872, Oviedo, Leopoldo Alas Clarín 1874, Mieres, Jose Faes 1878, Gijón, Nicanor Piñole 1880, Aviles, ‘Españolito’ 1880, Aviles, Julian Orbon 1881, Gijón, Magnus Blikstad y Hauff 1887, Pola de Lena, Bernardo Aza

1889, Gijón, Luis Adaro y Magro 1893, Leon, Jorge Guillen

2000 to 2013

1900 to 1925

1897, Mieres, Arturo Sordo

1902, Oviedo, Ramon Perez de Ayala 1906, Leon, Victoriano Creme 1906, Pola de Lena, Jesus Neira Martinez 1912, Gijón, Melquiades Álvarez González 1912, Pola de Lena, Chus Valgrande 1919, Gijón, Rosario de Acuña y Villanueva 1920, Leon, Miguel Delibes

1975, Leon, Santiago Trancón 1975, Pola de Lena, Celso Granda 1978, Gijón, Torcuato Fernández-Miranda 1979, Leon, Mariano Rajoy 1979, Mieres, Iñigo Dominguez 1980, Gijón, Jose Luis Garci, ‘Volver a Empezar’ 1985, Oviedo, Angel Gonzalez 1985, Oviedo, Javier Bauluz 1988, Gijón, Sabino Fernandez Campo 1992, Pola de Lena, Manuel Pilares 1992, Oviedo, Sabino Fernandez Campo 1993, Aviles, Antonio Trevin 1995, Gijón, Sergio Marqués Fernández 1996, Oviedo, Luz Casal

1887, Leon, Victor Macho 1889, Oviedo, Fermin Canella

1899, Pola de Lena, Daniel Glez-Nuevo Zarracina 1900, Aviles, Ana del Valle

1950, Pola de Lena, Miguel G. Lopez 1952, Oviedo, Dolores Medio 1952, Leon, Pedro Ballvé 1953, Gijón, Corín Tellado 1956, Mieres, Pelayo Ortega 1958, Gijón, Aurelio Suarez 1959, Mieres, Justo Braga Suarez 1960, Leon, Jose Antonio Alonso 1960, Gijón, Santiago Carrillo 1964, Oviedo, Gonzalo Suarez 1964, Aviles, Jorge Guerricaechevarria 1965, Mieres, Pedro Civera 1969, Mieres, Jose Andres 1967, Mieres, Jose Luis Piquero 1972, Mieres, Victor Manuel

1851, Pola de Lena, Vital Aza

1975 to 2000

1850 to 1900

1845, Aviles, Octavio Bellmunt y Traver

1924, Oviedo, Gustavo Bueno Martinez 1924, Pola de Lena, Jose Mª Martinez Cachero 1924, Leon, Enrique Fuentes Quintana 1926, Mieres, Inocencio Urbina Villanueva 1928, Oviedo, Gonzalo Torrente Ballester 1929, Gijón, Joaquin Rubio Camín 1929, Gijón, Arturo Fernandez 1930, Oviedo, Ramón Perez de Ayala 1930 Leon, Cristóbal Halffter 1933, Oviedo, Joaquin Vaquero Turcios 1934, Pola de Lena,Mariantonia Salomé 1936, Leon, Amancio Ortega 1942, Gijón, Nicanor Piñole Rodríguez 1946, Pola de Lena, Ramon Menendez Pidal 1948, Leon, Carmen Lomana 1948, Leon, Tomas Alvarez 1948, Leon, Fermin Cabral

2002, Gijón, Fernando Leon, ‘Los Lunes al Sol’ 2003, Gijón, ‘Mortadelo y Filemón’ 2004, Oviedo, Leticia Ortiz’ 2006, Mieres, Miguel Barrero 2007, Aviles, W. Allen, ‘Vicky, Cristina, Barcelona’ 2007, Gijón, Jose Luis Garci, ‘Luz de Domingo’ 2007, Gijón, Hevia, ‘Luz de Domingo’ 2007, Llanes, Sergio S. Sánchez, ‘El Orfanato’ 2010, Aviles, W. Allen, ‘Conoceras al hombre de tus sueños’

non-physical FACTOR. tracing lifes. 2. PEOPLE IMAGE as footprint

AVILÉS

GIJÓN

OVIEDO MIERES DEL CAMINO

POLA DE LENA

1650, Juan Carreño de Miranda 1933, Joaquin Vaquero Turcios 1861, Luis Menendez Pidal 1934, Mariantonia Salomé 1975, Celso Granda 1897, Arturo Sordo 1926, Inocencio Urbina Villanueva 1956, Pelayo Ortega 1929, Joaquin Rubio Camín 1942, Nicanor Piñole Rodríguez 1958, Aurelio Suarez 1878, Nicanor Piñole 1503, Pedro Berruguete

LEÓN

non-physical FACTOR. tracing lifes. 3. MEDIA IMAGE as footprint

AVILÉS

GIJÓN

OVIEDO MIERES DEL CAMINO

POLA DE LENA 2007, W. Allen, ‘Vicky, Cristina, Barcelona’ 2010, W. Allen, ‘Conoceras al hombre de tus sueños’ 2007, W. Allen, ‘Vicky, Cristina, Barcelona’ 2007, Jose Luis Garci, ‘Luz de Domingo’ 1980, Jose Luis Garci, ‘Volver a Empezar’ 1980, Jose Luis Garci, ‘Volver a Empezar’ 2007, Jose Luis Garci, ‘Luz de Domingo’ 2010, José Luis Alemán, ‘La Herencia de Valdemar’ 2010, Emilio Estevez, ‘The Way’ 2010, Manolo González, ‘Propios y Extraños’

LEÓN

A M

Gonzalo Torrente Ballester. Uría street Gonzalo Torrente Ballester _literature

1892

Teatro Campoamor Gabriel de la Torriente _architecture

E TR

N IO AT

1600

1677

Ignacio Velasco

Plaza Toros el Bibio

P M

L BUL

1822

Palacio de los Valdés.IOCapilla N AT de UC Nuestra Señora de Guadalupe

TE F. RET GA ED

C.P. Marcos del Torniello Marcos del Torniello _literature

800

Iglesia de Santa Maria de la Corte Benito Jerónimo 761 Feijoo _literature

1889

ERCIAL MM

1944

1971

EUM US

engineering.1854 Salustio Glez Regueral

1600

“Las letronas” 2011. Juan Jareño _sculpture

1800

1994

NG LI

1797 - Instititute of Navigation&Mineralogy

Mieres Colegio Publico Jesus Neira Jesús Neira Martínez_literature

1899

1700

2011

1907

Museo Nicanor Piñole Nicanor Piñole Rodríguez _painting

131 Viviendas Protegidas David Casino Rubio + Bernardo Angelini Malesta_architecture

1900

1910

1947 - Business hotel, Centro Municipal de Empresas

2008

casa Ladislao Menéndez Plaza Europa Manuel del Busto y Delgado_architecture

2005

Anselmo Cifuentes st Cristasa. Glass Factory _economy

L TE HO

Ateneo Jovellanos Torcuato Fernández-Miranda _politics

Plaza del Parchís Isabel Lerín, Alfonso Moral y Eduardo Salgado _architecture

Gijón 2011

Instituto Jovellanos Juan de Villanueva _literature

Teatro Jovellanos Mariano Marín Corin Tellado_literature

A EM

Casino Octavio Bellmunt y Traver_literature 1995

EUM US M

Monumento a Teodoro Cuesta Arturo Sordo y Álvarez_sculpture

1913

EL OT

Astilleros de Naval_Festival de Literatura “Semana negra” Paco Ignacio Taibo II_literature

1679

Edificio para Manuel Fernandez Manuel del Busto y Delgado_architecture

Ignacio Palacio. Juan de S.Miguel

Agustinas Recoletas

2002

1920

1600- D.Carlos Cienfuegos Jovellanos

1800

Musel. Harbour

fábrica de Loza "La Asturiana" Mariano Suárez Pola_economy

Ayuntamiento Miguel Angel Inocencio Urbina Villanueva_painting

iglesia de Santullano por Victor Hevia Alfonso II_politics

Facultad de Filosofía y Letras. Universidad de Oviedo

Casa natal Jovellanos Gaspar Melchor de Jovellanos_literature

Centro Cultural Internacional Oscar Niemeyer 2011 Oscar Niemeyer _architecture

Templo de los Padres Franciscanos de Avilés XIV jorge Hevia_politics Alas family_politics

Benito Jerónimo Feijoo _literature Francisco Martínez Marina _literature Alejandro Mon y Menéndez_literature Fermín Canella Secades _literature Emilio Alarcos Llorach_literature Gustavo Bueno Martínez_literature Angel González_literature Carlos Bousoño_literature Ramón Pérez de Ayala _literature

2011

1599

1888

La Regenta Statue 1997 Leopoldo Alas “Clarín”_literature Mauro Álvarez Fernández_sculpture

x10

US IO IG

1941 1936 - Civil War. Prisioners

construccion del ferrocarril Julián García San Miguel _economy

"Avilés", paseo de la ria 2005 Benjamín Menéndez_sculpture

Oviedo

1892

1774.Manuel Francisco Hermanos Pumarino

Torres de viviendas en la losa de Renfe Salvador Perez Arroyo _architecture

2003

Uría train station Ramón Pérez de Ayala _literature

1785 F.Llano Ponte

1900 Marta y Mª

Avilés Palacio de Llano Ponte Ramón de Llano Ponte_politics

Eugenia Martínez Vallejo, "La Monstrua" Amado González Hevia_sculpture

1839 1836

Luis Bayón_painting Juan Ochoa y Betancourt_literature

Juan Estrada Marcos Martínez

Ayuntamiento

RE L

Iglesia de Santo Tomás de Canterbory XIII Luis Bellido González_architecture

1900 Santo Ángel school

BULL CA

H NG

1896

IN G

POL IT I TH EA

LIN EL

G LIN EL DW

CIN E

ERCIAL MM

S IOU IG

EDU C

CIN

LIN

TE F. RET GA

RELIGIO US

ALOGY ER IN M

1500

INDUSTR Y DWE LL I

DWE LL I

28 CO DW EL

physical FACTOR. life cycle. 1. ARCHITECTURE as footprint

1999

1382

Cathedral

Zona Fluvial. Urbanism Belen Martin Granizo _architecture

1996

Auditorio Príncipe Felipe Rafael Beca_architecture

2011

Palacio de Exposiciones y Congresos. Santiago Calatrava_architecture

RELIGIO US

1936. Camp

1950. Five start hotel

2005

Av. Ordoño II Ordoño II_politics

Calle el Cid El Cid_politics

TEL HO

Palacio marqueses de Prado

2002

1700

1600

1983

Edificio de Correos Alejandro de la Sota_architecture

1946

2000

Javier Sanz

Teatro Trianón

1980

Conservatorio Danza Cristóbal Halffter_music

León

1800

1860

1972

1891

A PAÑ ES

1188, 1st Cortes León

Casa Botines.Diputación 1891 Antonio Gaudí_architecture Alfonso VII_politics

1000

Centro de salud Mieres Jovino Martinez Sierra_architecture

1966

Crónica+diario de León Victoriano Cremer_literature

Colegio San Juan de la Cruz San Juan de la Cruz_literature

CATHEDRAL Juan Pérez sepulcro Ordoño II_politics Alfonso VI_coronacion_politics priorato Juan del Enzina_literature +economy

1258

Av Ramón y Cajal Juan del Enzina_literature

UNIVERSITY year of construction: 1843 Victoriano Cremer_literatura Jose Luis Rodrihuez Zapatero_politics José Antonio Alonso_politics

FELIPE II ST Felipe II_politics

1843

Instituto Bernaldo de Quirós Miguel Angel Inocencio Urbina Villanueva_painting

Monumento internacional al minero Miguel Angel Lombardia_sculpture Panteon de Reyes de San Isidoro Doña Urraca_politics

IES Claudio Sanchez Albornoz C.Sanchez Albornoz_literature

Biblioteca Publica Ramon Menendez Pidal Ramón Menendez Pidal _literature

Plaza Alfonso X el Sabio Daniel Glez -Nuevo Zarracina_literature

Auditorio Tuñón y Mansilla_architecture

Conservatorio de Música Cristóbal Halffter_music

1600. Prision

1100. Sede de la Orden de Caballeria de Santiago

Tanatorio 1997 J.Badía-BAAS _architecture

1860

1600

Pola

Teatro Vital Aza Vital Aza_literature

Calle de Jorge Manrique Jorge Manrique_literature

veterinary school

Parador de San Marcos Isidoro Juan de Orozco Martín Villareal Juan de BadajozAlfonso VII _politics 1845.

MUSAC Tuñón y Mansilla _architecture

Iglesia de San Isidoro Ramón Pérez de Ayala _literature

1681

1500

Iglesia de San Tirso Alfonso II_politics

convento San Vicente Alonso de Quintanilla _economy

RELIGIO US

Panteon de Reyes + Estatua, Victor Hevia Alfonso II _politics

RELIGIO US

UCATION ED

IN G LL

Aquí estuvo el Carbayón, seiscientos años con vida y cayó sin compasión bajo el hacha fraticida de nuestra corporación. Este pasquín respetad, si sois buenos ovetenses, y en su memoria llorad todos los aquí presentes por el que honró a la ciudad

ION IS

INICIATIVE public private

SPITAL HO

UCATION ED

DWELLIN G

TEXIL / CAJ A

CA EDU TION RELIGIO US

THEATR E

L DWE LING

ACTIVITY dwelling religion economy museum education cinema-theatre

Avil茅s

Gij贸n

physical FACTOR. life cycle. 2. LANDSCAPE as footprint RIVER GEOGAPHY Water flows AIRPORTS Location

Oviedo

Mieres

Pola

Le贸n

San Estaban Santiago de Pravia del Monte

El Pito

CIRCULATION VEHICLES CIRCULATION Primary road Ruta de la Plata VEHICLES National Primary road Ruta de la Plata TRAIN NationalRENFE road people.

TRAIN industry. FEVE people. RENFE WALKER industry. FEVE Camino de Santiago WALKER Camino de Santiago

Salinas Barrio de la Cruz Salinas

San Estaban Santiago Muros de Pravia del Monte El de PitoNalon Soto de BarcoBarrio de la Cruz Muros Soto de Barco de Nalon

Avilés

El Valle Iglesia Santa Eulalia El Valle Alto Monte Tamon Iglesia Santa Areo Trasona Eulalia

Gijón

Trasona

Avilés

Cabuenes

Gijón

Alto Monte Areo

Tamon

Curbiella Cabuenes Peon Alto de la Cruz Nevares Variante de caminos Curbiella Peon Alto de la Cruz Nevares Variante de caminos

Oviedo Oviedo Olloniego

Olloniego

Mieres Mieres Vega Muro

Pola

Vega Muro

Pola

Villamanin Villamanin Vega de Gordón La Pola de Vega de Gordón Gordón La Pola de Gordón La Robla La Robla

Virgen del Camino San Miguel del Camino

Virgen del Camino Valverde de San Miguella Virgen del Camino Valverde de la Virgen

León Archahueja

León

Archahueja

detecting the UNSEEN

DEPARTURE: train

physical / non-physical FACTORS. PERSONAL EXPERIENCE.

Oviedo where to go as a TOURIST

ARRIVAL: car

uría. SHOPPING

gascona. CIDER-FOOD GASCONA ST

URIA ST

PLAZA ESCANDALERA HISTORICAL CENTER

CAMPO DE SAN FRANCISCO CASAS DEL CONDE

MON ST TOWN-HALL

CALATRAVA complex

PRÍNCIPE FELIPE auditorium

SAN ISIDORO CHURCH

SCENES OF THOUGHTS CATHEDRAL

MOUNTAINS. visual limits

IN BETWEEN-PROHIBIT SPACES

Imaginary and real

Spatial perception

ambiguous scenes

water mirror Fog in the mountain

Poisoned for plesure

RAIN ROOM Light as a constant dimension

traveling through a

PHOTOGRAPIC EXPERIENCE

REFLECTIONS and MOVEMENT

Landscape behing a window

architectural memory

“Ruta saludable”

ESCENARIOS PROHIBIDOS. Time, Memory, Cuisine, Dance “It’s a quite small fish, it’s moving very fast, up and down, and there is a common verticality you follow. But what happen is that it looks like I am moving but I am standing on the spot and actually suddenly it’s like I have moved. I go very up, I go very down but I am standing still at this moment. It’s like I am flying or I am in the water.” Pina Bausch

Time, short and limited, needs to be invested in a unique experience. Six inaccessible spaces, whose its limits leave voids full of memory, are invaded in the city of Oviedo. Inside Escenarios Prohibidos pleasure is served. A new gastronomic experience linked to dance, where three scenarios are associated with three places of tasting. The space, understood as a continuous architectural choreography, is anchored to a context full of character and memory. Cabarets had a degree of secrecy where the forbidden, desire and pleasure coexist. One idea that is reflected in my architecture linking the festivity of dance, music and haute cuisine within an experimental promenade. An urban performance reveals the secrecy points of what was hidden.

PROHIBIT VOIDS. sensorial urban performance 34

PALACIO ARZO

GASOMETER. visual element

CATHEDRAL

OBISPAL

CONNECTION

“The autochthonous as a style is a correlation expression with the own geographical and cultural context as well as its culinary tradition. The communion with nature complements and enriches this relation with the environment”. Ferràn Adrià

1. Physical Parameters. Experience without seeing. It is divided into: Material, Objects or elements that surround and determine space, scale, and the spatial and temporal movement of the person in space. 2. Energetic Parameters. Change and climate. Intended to activate contrary reactions. Rooms: sun, rain, fog, wind, and sea. 3. Psychological Parameters. It is subjective and based on what a person can feel, it is link to emotions. The spaces seek for answers: emotional, seductive, and attractive. The space does not direct, it seduces the viewer to drive him in the way.

Preexisting. the RUIN

time - movement

urban landscape

SOU FUJIMOTO

references - factors

MATTA CLARK

ATMOSPHERICAL SPACES

PINA BAUSCH

Thought and Material

CLIMAT factor

Scene of COREOGRAPHY BLURRY BORDERS

“SECRET - PROHIBIT”

WIND . Movement energetic Texture

Sound

Scale

ISOLATE - INTIMATE space

CUTTINGS. new spaces - paths BODY EXPERIENCE with place

PRECIPITATION . Humidity Water energetic BREATHE . Vegetation energetic Sun: Light

MATERIALITY

Sound

MATERIAL . Wood Temperature physical Movement

FOG . energe

FORGOTTEN voids

IN BETWEEN spaces EMPTINESS

movement - geometry - limit

PARQUE DO BONAVAL

AIRES MATEUS

PINA BAUSCH

VITRA HOUSE REFLECTIONS

rest and peace

earthly elements. WATER - SOIL

Archeological Memory cemetery. LIFE GENERATOR

UP level

interior - exterior

LOW level interior

MATERIAL . physical Ambiguity

etic Texture:Fabric-Vapour Reflections-Shadows

SCALE . Movement: physical Spatial-Temporal Distance

Fiberoptic Light: natural - artificial Tangible Attractive response

RESONANT . Sound Trance energetic

Nature

energetic physical psychological

EPING SLE OBSERVATORY

CAMPING

NAPPY

MEETING

AFTER-HOUR

HOSTEL

2 FACADES

experimental programs

RID HYB

TOURISM GENERAL STRATEGY.

21,79

343.8 sqm

f th e

the belt o

E IENC R E P EX

on odifica ti m t n e m pave

9,24

7,8 34,23

462 sqm 16,63

41,78 26,73

CLOISTER

7,58

7,74

TIME

TIVAL FES

HION FAS

CONCERT

GASTRONOMY

CATWALK

DANCE

PHOTOGRAPHY

ART

CINEMA

2,79

27,74

PERFORM

CE AN

CONCERT RESTAURANT

488 sqm

PROHIBI T-

E DESIR

1.400 sqm 29,04 55,46

1.700 sqm

PALACIO ARZOBISPAL

64,05

intima te ex peri en c

ANTIGUA MURALLA

9,07

58,45

34,5

JARDÍN DE PACHU

133,82

22,62

ANTIGUA FÁBRICA DE GAS

22,94

16,83

400 sqm

urban landscape

An intimate enclosure (the belt of the experience), links five programs with a pavement modification.The Performance Space is the one selected to be developed.

TOURISM SITE STRATEGY. urban implantation

the ruin of the cathedral

? 2

archbishop's palace cloister

? 1

archbishop's palace courtyard

Where the Prohibit Voids are

How to sew them.

How to interact with a context full of character and memory ? when Time-Limit coexist MEMORY - FOOTPRINT .PALACIO ARZOBISPAL

Cutting the Limit

1. plan

2. structure

3. foundation + RUIN

Architectural Choreography

PROGRAM DANCE-GASTRONOMY longitudinal section 1.400 Naming spaces. Each of the spaces is named by one of the work of these choreographers.

UTE CUISI HA

REOGRAP HO

R HE

ABSTRACT EXPRESSIONISM Pierre Gagnaire

1.natural colouring 2.special CUT 3.emotional judgement

DECONSTRUCTIVISM Ferran Adrià

change: SHAPE-TEXTURE-Tº keep:FLAVOUR 1. to feel 2. to intellectualize

FREE-MODERN DANCE. EXPRESSIONISM Isadora Dunkan

dynamic: free - flexible=SEA tranparency - naked -Keats: romantic imaginery -Nietzsch: severity-crudity -Whitman: poethic realism

THEATRE DANCE Pina Bausch

chapter - scenography “what moves people” terrenal elements in between : theatre - pure

1 lullaby

2 lilies of the valley

PRE-EXISTENT CONNECTION

TECHNO-COOKING Heston Blumenthal

1. SOUND manipulation 2. molecules for: taste + smell 3. polymer hydrogen

TECHNOLOGY DANCE

change: time -velocity different points of view dance, architecture by which we perceive the performance

Margarita Bali

3 zoom in look out

PROGRAM. DANCE-GASTRONOMY -5.00 plan 1.400

warm-up area

showers

dressing room 2 dressing room 3

dressing room 1

showers

warm-up area

warm-up area 36.50 m2

warm-up area 66.50 m2

DS1

LS 0,92

warm-up area 30.00m2 cold room 17.50m2

cold room 37.50m2

goods circulation

restaurant in the ruin 100 m2 kitchen 170m2

toilets 4

cold room 38m2

service toilets

storage

service entrance

to +0 floor

Lift.service-goods 1.00 m2

who inhabit the space

1,1 1,1

service entrance -5.00m

1. Dancer. concentration knots

2. Visitors. concentration knots

40m2

3. Chef - Waiter. concentration knots

PROGRAM. WARM-UP area -5.00 plan

warm-up area

PROGRAM. DANCE-GASTRONOMY +0.00 plan 1.400

service entrance

service toilets 27.5m2

office 32m2

reception information 60m2

dressing room 3

exhibition room 98.5 m2

main entrance

lobby

sitting-room 36.50 m2

coverred terrace 66.50 m2

DS1

performanec-area 30.00m2

performance-area 17.50m2 sitting room 37.50m2

observatory 18m2

toilets 100m2

covered terrace 250m2 pina coreography

exit +0.5.00m

to +5 floor information

Lift.service-goods 1.00 m2

who inhabit the space

1,1 1,1

1. Dancer. concentration knots

2. Visitors. concentration knots

3. Chef - Waiter. concentration knots

PROGRAM. DANCING in the PALACE +0.00 plan

covered terrace 250m2 pina coreography

PROGRAM. DANCE-GASTRONOMY +5.00 plan 1.400

exhibition space 25m2

performance 98.5 m2

observatory. connection 312m2

kitchen (1. preparation) 36.50 m2

coverred terrace 66.50 m2

DS1

(2.elaboration) 30.00m2

(4.final

presentation) 37.50m2

(3.elaboration) 17.50m2

sitting area performance 100m2

screen facade to +10 floor

Lift.service-goods 1.00 m2

screen facade

who inhabit the space

1,1

1. Dancer. concentration knots

stand restaurant 92.00 m2

entrance. existent connection

2. Visitors. concentration knots

3. Chef - Waiter. concentration knots

PROGRAM. PROJECTION DANCE +5.00 plan

screen facade to +10 floor

Lift.service-goods 1.00 m2 1,1

stand restaurant 92.00 m2

entrance. existent connection

screen facade

IDENTITY VERTICAL DANCE south elevation 1.400

Facade The urban performance is embodied with a slight vertical structure that wraps all around the project, which was intended to contrast with the presence and massiveness of the cathedral.

VERTICALITY

In addition there is reinterpretation of the reminiscent fence reflected in the facade, revealing an ambiguity between its horizontality and verticality.

HORIZONTALITY

FENCE REINTERPRETATION

LULLABY SENSORIAL PRESSURE COOKER constructive section 1.100

This is about what moves people, not about how they move. ambiguous equilibrium SPACE PROTOTYPE 1.150 1

exterior skin

aluminium BELT

TUBULAR ROUND STRUCTURE

diameter 10 cm

diameter 5 cm distance 50 cm

interior skin EFTE thickness 20 cm

interior skin GLASS thickness 3 cm

Materiality The exterior skin, made out of tubular round structure, supports and gives identity.

The interior skin (efte or glass) changes depending on the program developed inside.

structure RADIAL UPN 20 cm x 8 cm

59 D4

LULLABY SENSORIAL PRESSURE COOKER

D2 roof (800mm): 1.galvanized steel metallic sheet 2mm 2.sandwich panel: steel sheet filled by polyurethane foam on top of undulating sheet 60mm 3.steel battens(strutural elements) 4.zinc sheet 5.gutter 6. UPN 300mm 7.steel plate 8. UPN 220mm (support)

detail sections 1.50

1 4 2 53 76 8

9 10 11 12

false ceiling (220mm): 9.continuous anti-vibration hidden metallic framing variable height 10.glass fibre fabric 25mm 11.black veil 12.perforated stainless steel sheet 2mm

D3 facade (300mm): 1.polycarbonate panel 3cells 20mm 2.raised steel lattice 3.steel structure for assembly 4.round metallic structural tube 50mm 5.metal framework+ 2 fixed glass floor (300mm): 6. polished screed concrete 100mm 7.lighting tube 8. reinforced concrete slab 220mm 9.post tensioned cables 3mm 10.UPN 220mm 11.steel plate

1 2 4 6 37 8 9 1110 5

1 2 3

D4 5

4 6

floor facade: 1.polycarbonate panel 3cells 20m 2.articulated steel joint 3.steel structure for assembly 4.round metallic structural tube 50mm 5.steel plate 6.alluminium round structural tube 100cm

D1. plan

floor (800mm): 1.lighting tube 2.polished screed concrete 100mm 3.reinfroced concrete base 200mm 4.compression concrete layer 50mm 5.cavity polypropylene 150mm 6.cleaning concrete 100mm 7.terrain-excavated rock

1 3 4 5 6 7

LILIES OF THE VALLEY DANCE THEATER

“Dance, dance, otherwise we are lost.” Pina Bausch 62

ZOOM IN LOOK OUT MULTIMEDIA BOX Projection It is not possible to take over a territory until you find its limits. In this scenario the limits are preserved and reinterpreted to create spaces that seduce rather than direct. From the interior of this vertical world, light and curious look are filtered to play a role with the projections in the efte facade of dancing and performance. A place where the image of the new blends with the existent. Where the sounds, colours and smells of the cathedral become part of these prohibited spaces.

Spaces that seduce rather than direct. 65

ZOOM IN LOOK OUT MULTIMEDIA BOX

constructive section 1.100

ZOOM IN LOOK OUT MULTIMEDIA BOX constructive details.

Projection equilibrium 1.350 ambiguous element 1 1

exterior skin

aluminium BELT

structure

exterior skin

thickness 20 cm

diameter 5 cm distance 30 cm

element 3 5

structure

CONCRETE ramp

CONCRETE

slab 25 cm radial support 30cm radial cantilever 100 cm

slab 20 cm radial support 20cm radial cantilever 40 cm

interior skin

EFTE

TUBULAR ROUND STRUCTURE

diameter 10 cm

element 2

element 1

GLASS

thickness 3cm

1.50 roof (800mm): 1.tensioned cables 3mm 2.steel plate 3.galvanized steel metallic sheet 2mm 4.sandwich panel: steel sheet filled by polyurethane foam on top of undulating sheet 60mm 5.steel battens(strutural elements) 4.zinc sheet 7.gutter 8. UPN 300mm 9.steel plate 10. UPN 220mm 11.polycarbonate panel 3cells 20mm 12.steel structure for assembly 13.metal framework+ 2 fixed glass

1 2 3 6 4 5 7 8 9 10 11 12

1.50 facade (200mm): 1.polycarbonate panel 3cells 20mm 2.round metallic structural tube 50mm 3.steel structure for assembly floor (300mm): 4.tramex 5.steel plate 6.lighting tube 7. reinforced concrete slab 250mm

1 2

4 5 3 6 7

1.50 wall (400mm): 1.perforated steel sheet 2mm 2.lana roca 40mm- black veil 3.reinforced concrete 300mm 4.waterproofing 2mm 5.peripheral insulation 100mm

1 2 3 4 5 6

floor (800mm): 6.polished screed concrete 100mm 7.reinfroced concrete base 200mm 8.compression concrete layer 50mm 9.cavity polypropylene 150mm 10.cleaning concrete 100mm

8 9

Escenarios Prohibidos seeks a unique experience, an urban performance in the heart of Oviedo. Desire, prohibition and time become the basic ingredients to taste a ciated with dance. Tourism is the perfect excuse to satiate our thirst of discovery through perception.

Where is the limit between prohibition and desire?