APMoriyón Portfolio by Ana Petra Moriyon

ana petra moriyรณn

P O R T F O L I O PORTFOLIO

ap moriyรณn lozano

THESIS / 02

content [04-05]

C.V. Curriculum - Biography

[06-39]

Thesis. Metrovaclesa - An exercise of architectural intrusion

[40-66]

Other Proyects - Academic

[40-45] [46-59] [60-65]

[66-81]

The Ă gora - Edificio EspaĂąa | Spring 2013 The Garden of Earthly Deligts - Wasteground | Fall 2012 Box-in-Box - HVAC Technical code |

Professional - Museum is More, Bureau Spectacular | 2014

[03]

Ana Petra Moriyรณn architect - designer - minimundo ap.moriyon@gmail.com

+34 654 959 258

SKILLS Languages Spanish - mother

Model making

woodworking - workshop experience | concrete! 3D printing - scanning - laser cutting

THESIS / 04

ACADEMIC 2015 - 2016 Madrid, Spain 2013 - 2014 Helsinki, Finland 2008 - 2015 Madrid, Spain 2009 London, U.K.

2007-2015

PFC. Final Architecture Thesis. Metrovaclesa. Universidad San Pablo CEU

General Studies Program

Aalto University

Master in Architecture, M.arch [NAAB- accredited] Universidad San Pablo CEU

Summer School [Mini-City]

Architectural Association RELATED ACTIVITY 2015 Mallorca, Spain 2015 Chicago, USA 2014 R. Janeiro, Brazil 2013 Madrid, Spain 2013 Madrid, Spain 2009 Madrid, Spain

“RE-Formatting Architecture” Workshop Reimagining uses for Gesa building. Exhibition in Esbaluard museum. Published Drawing http://theeconomymagazine.com/ISSUE-14 The Ágora in The Economy Magazine ! Río Smart City Workshop City Rejuvenated, Aalto University Saudi-Spanish Youth Dialogue Forum: Architectural Identitiy, Preservation & Promotion, COAM Jewlery Design Intensive Course Metal Work, LaLaBeYou Speculation through drawing with Dennis Crompton Workshop in Universidad San Pablo CEU

PROFEssional CURRENT Madrid, Spain APR-JUL ‘17 Madrid, Spain

Freelance Architect

Design and construction supervision of two apartment refurbishments.

Mi-5 Architects

Design and construction documents for an office space in Mercamadrid. Quartz lamp design and fabrication. Drawings for publications.

MAY 2017

Polytechnic University CEU

2017, 2014

[¡!] Arquitectos. Idoia Otegui

Madrid, Spain

Professor for the course: FLEXIBLE FORMWORKS. One week hands-on course. Theory and model making experiments. Design and drawings for the refurbishment of a palatzzo in Madrid. Design and drawings for Gunni&Trentino Showroom. Private Competition.

JUN-SEPT ‘14 Chicago, USA

Bureau Spectacular. Jimenez Lai

JUN-AUG `12 Madrid, Spain

L35 Arquitectos

JUN-SEPT `11 London, UK

Binom Architects

2008-2017

COLLABORATIONS:

Museum Studies and design experiments. Design and drawings for Helsinki Guggenheim Competition. Documents for the preliminary plans of Socco Alto Shopping Mall, Tanger. Design of prototype for shopping mall resting areas.

Design and documents for Europan Norway ‘11. Runner-up project. Model making. MARCH ‘17 Madrid, Spain

Banús Arquitectura

Construction design and documents for a food court in Porto.

OCT’13 FEB ‘14 Madrid, Spain

SoftPoint

JUN-AUG `13 Madrid, Spain

OFA Morando

Partner in design for iOS and Android mobile paying system for mexican bank, BANAMEX Help in the daily tasks of this newly born studio Design and graphic design for Self Sustainable office desk.

JUN-SEPT ‘08

Instituto Cervantes

Chicago, USA

Informative study of all the Architecture firms in the city of Chicago.

[05]

metrovaclesa PFC. Masters Thesis Project The project is a consecution between a material and theoretic investigation in various directions. The study of a ruin and its history; one that is woven and dismembered into chapters of caricature, that deserves to belong to a new and promising present. A program of colonization and rehabilitation. The irregular floor on which the old milk factory stands, borders on the north with the crossing of Avenida del Cardenal Herrera Oriay and the M-607 and the RENFE train tracks on the south, that give access to the compound. Space is whipped by its swinging biography, reduced to a silenced space, without content and dry in memories. Humanizing its profile, we could say that it is like an old lady that has been driven crazy. The point is to shoot questions and project in key of inquisition. To know if the state of the ruin can be redirected through a colonization that dialogues in contrast, for investigations sake and as a show of compromise with this space designed by de la Sota. Space that has many lessons to teach and many languages to take advantage from.

THESIS / 06

the tragedy of Clesa

the tragedy of clesa [prince of din-mark] biography int.

who´s not interested in a sumptuous story?

~ the plot ~ who´s not interested in a sumptuous story?

0A. de la sota building * 1964

0B. milk!

0C. parmalat crisis * 1998 - 2003

* 1943 - 1998

0D. ruiz

> the tragedy of clesa

[prince of din-mark] alejandro de la sota building biography int. * innovative structure- one of the first works done in spain where prestressed structure was used. * exponent of industrial modern architecture * brutally brutalist

milk! * Centrales Lecheras Españolas s.a. * family business approach. * as tender as a calf

parmalat crisis * adquired by italian group ´parmalat´ * bankrupt * national business scandal

- state of insolven

~ the plot ~

who´s not interested in a sumptuous story?

an exercise of architectural intrusion

0D. ruiz mateos - nueva rumasa * 2007

1998 - 2003

ruiz mateos * adquired by ´nuev * show business - pe * harmful business

0E. metrovacesa * 2011

2015 is impregnated by a caricature-es 0F. coam! this*ruin

it is a humanized ruined; swamped by its biography... and it

Space is also lashed by its swinged biography, being reduced to a muted architecture, lacking content and apparen the marginalization and discrimination endured by the elder modern ruins appear forgotten and muted when modern life criteria is imposed: that of a productivity (and its The purpose is to raise questions and design within interrogations - a colonization tha

~ the scenarios of seduction~

ruin:complicity & style admiration & legacy

brutalism the modernist architectural movement - de la sota ruiz mateos - nueva rumasa honesty / decorated & exposed structure by ´nueva rumasa´ * adquired show business perverted identity * * harmful business decisions towards the patrimony: - state of insolvency

~ the plot ~

nized ruined; swamped by its biography... and it has gone mad!

* free plan

material experiment innovation and surprise

innovation and surprise

back thethe concern for the building pattern XS - XL - - pilar - dom all-through-ness of material * bringenhance competition Metrovacesa curved and decorative (alternative lectures of aideas well along knownwith material) * architectural

this ruin is impregnated by a caricature-esque story it is a humanized ruined; swamped by its biography... and it has gone mad!

reduced to a muted architecture, lacking content and apparently dry in memories. - the old age in the ´show society´ the marginalization and discrimination endured by the elderly odern life criteria is imposed: that of a productivity (and its show) that overtakes and depresses both young and old uestions and design within interrogations - a colonization that dialogues through contrast.

~ the scenarios of seduction~

material experiment

experiment & material innovation looking for...geometry coam! formfind - bloated form achieve marvelous design through concrete!

clesa open physycal personality metrovacesa freedom & dancing (owner of the plot) * real state giant changes in height * monopoly game * patrimony as an object / merchandise PROFIT! PROFIT!

an exercise of architectural intrusion

n is impregnated by a caricature-esque story

[07]

colonized ruin emotional involvement

baroqueBIG DATA

(

hand by hand in this matrimony we trust

(

colonized ruin

emotional involvement

aesthetic drama To produce tension and grandeur gold & glamour contrast & expression & exuberance new technologies BIG DATA Big Papa

Banquete de Herodes, 1633. Bartlomiej Strobel el joven

Space is also lashed by its swinged biography, being reduced to a muted architecture, lacking content and apparently dry in memories. - the old age in the Â´show societyÂ´ - the marginalization and discrimination endured by the elderly

THESIS / 08

(

textile concreteBLOB

bold att. but...historically common (baroque[esque])

(

material experiment innovation and surprise

experiment & material innovation achieve marvelous design through concrete! enhance the all-through-ness of material (alternative lectures of a well known material) looking for...geometry formfind - bloated form | pattern XS - XL - - pilar - dome curved and decorative

Modern ruins appear forgotten and muted when modern life criteria is imposed: that of a productivity (and its show) that overtakes and depresses both young and old. The purpose is to raise questions and design within interrogations - a colonization that dialogues through contrast.

The rape of Africa, 2009. David LaChapelle

[09]

ruin surgery: demolish and save

EXISTING STRUCTURE

changing the entrance

level - 1,00 Carving out ...

level + 2,50 Introducing the shoring pilars...

NEW STRUCTURE

SHORING OF THE EXISTING

... the skate park

level +2,50 Demolishing part of the existing

... for a compressed entrance

THESIS / 010

... for introducing ramp and pots

ENTRANCE STAIRS to level +1 [+ 2,50 m]

ENT to all

TRANCE RAMP l levels

level +1,20 Introducing new floor slabs

level +4,50 Demolishing part of the existing

level +7,20 Demolishing part of the existing ... for leveling the forest, introducing access and new slab

... for communication, mechanical stairs and ramp

MECHANIC STAIRS to level +2 [+ 4,50 m]

[011]

... for double heights in the offices

ruin:complicity & style admiration and legacy

brutalism the modernist architectural movement - de la sota honesty / decorated & exposed structure

The ramp hangs from the concrete pilars that are introduced as a vertical communication element. The ramp sections are also braced to the existing floor slabs, allowing for thinner pillars than the ones introduced in the rest of the building. The elements that hang the rest of the perimeter of the ramp are attached to a reinforcement rebar that crosses the top of the pillars transversally, to avoid breaking in the thinner part of the horizontal element of the pilar. These elements are situated every 5m, and are attached to the concrete ramp through metal clamping peices dried inside the concrete. These steel rods are a reinterpretation of the cables used by de la Sota in the skylight, which conviniently have a double steel rod, allowing the perimetral rebar cages to be welded on to these elements as well. At the openings of the cage, in order to have an access to the different landings, the rebar cage is cut and bent around the vertical steel rods. 5,30 m

de la Sota Hall exhibits and events

1,20 m -1,00 m

Posh museum[esque] Canteen -1,00 m

-1,00 m

The Forest

THESIS / 012

PROGRAM AND FLOW

Flexible formworked concrete pillars

Flexible formworked concrete landings

rebar reinforcement to support the weight of the ramp x 4 [Ø 25]

pillars radial, vertical and helicoidal rebar [Ø 16]

ramp concrete slab [0.35 m width]

rebar cage around the ramp for safety [Ø 10]

x2 vertical rebars that hang the ramps different flights at every 5m [Ø 25]

[013]

ruin:life injection

repurpose of a sleepy space

It may seem difficult to grasp, but after a torturous journey through alineation, the factory is opening its doors again. Metrovacesa is now solely in charge of what appears to be an experiment unheard of before. Rumors murmur about a â&#x20AC;&#x2DC;cultural factoryâ&#x20AC;&#x2122; ; an apparently volatile paradise where plants embrace virtual reality and skaters bid good day tinder dates. There is also a theatre, inter-active they say, and a bibliotech resembling baroque splendid appearance, a tad kitch even... The price for all this is your data. Apparently your interaction with its activities and architecture is well monitored. In such a way, the building might end up knowing you better than... yourself. lets hope we dont fall in love with that kind of servitude...

THESIS / 014

[015]

bibliotech

pg. 028

[TH]

the inter-active theatre

pg. 022

[BS]

vip metrovacesa box seat

pg. 022

[OR]

office reception

pg. 016

[VC]

viking canteen

pg. 016

[VR]

VR forest

pg. 026

[GB]

gossip BleacherStairs

pg. 026

[CC]

data control spot - cctv

pg. 016

[PM]

posh museum[esque] canteen

pg. 016

[HR]

UHT hall ramp

pg. 026

[DF]

delightful forest

pg. 020

[VR]

+ 1,20 m

[BB]

- 3,40 m

gradients of digitalization

[BB]

(ceiling projection!)

FIRST FLOOR TAPESTRY

GROUND FLOOR TAPESTRY [CH]

chat rooms

[CY]

collective caricature yard

[S8]

sk8 underworld

pg. 012

[ME]

main entrance

pg. 012

[PC]

picnic canteen

[RC]

reception - admin. - filing

pg. 016

[FV]

foyer vault

pg. 024

pg. 026

[HR]

(analogue library)

- 3,40 m

ENCUENTRO DE RAMPAPendiente 9%

[BB]

bibliotech

pg. 028

[HR]

UHT hall ramp

pg. 026

[TH] - 3,40 m

PEND. 18%

THESIS / 016

< FIRST FLOOR TAPESTRY Ruin colonized by new technologies A society shaken and cradled by big data and its socio-technological circuits leads to design a connected and aligned space, ample and concise, modern and archaic in treatment; a perpetual language that is contrasted and tied by new technologies and the uncertain possibilities they offer. A mutable and undefinable architecture.

[CC] + 4,50 m

Social experiment The approach is in the form of an artisanal question. How will this ruin house a ground-breaking architecture and its uncertain dinamics? [PM] [GB]

+ 1,20 m

[DF]

+ 2,50 m

[OR] - 2,50 m

[BS]

[VC]

[017]

[DF]

EXPERIMENT

UNEXPECTED THESIS / 018

SOCIAL

Hieronymus Bosch, The Garden of Earthly Delights, c. 1480-1505

OUTCOME

[019]

[DF]

the pot pilar

process for the shoring of the slab

tin

s exi 1-

0 [P]

[P]

0 [P]

[P]

ter wa & r

reb

p te cre

- co

06 [P]

e ov

0 [P]

rk wo m r - fo

0 [P]

ori

sh 2-

em d. r e r o

t lan

-p

08 [P]

THESIS / 020

section A - Aâ&#x20AC;&#x2122;

section B - Bâ&#x20AC;&#x2122;

b. a. irrigation tubes ringtube is buried trickle irrigation b. topsoil [lightweight soil] c. geo-textile sheets [anti-roots] avoiding fisures in the pilar -interior lost formworkd. drainage cell [H2O passes/ soil stays] high strength polypropylene. e. geomembrane [waterproofing] 2mm thick. 10cm overlapping -interior lost formworkf. exterior clamping piece holds the formwork in place g. distribution piece concrete. drainage elements h. drainage pipe connection i. radial foundation rebar j. morter flattening fill

e. A

Aâ&#x20AC;&#x2122;

j. f. h.

The drainage water free-falls through the interior of the pilar, where the geomembrane textile has been left as lost formwork, serving as a drainage downspout. At the base of the pilar, water continues underground through a drainage pipe that collects it for filtration and irrigation reuse.

[021]

[TH]

the interactive theatre the show must go on...

The interactive Theatre is the space that materializes the theatrical character of the intervention. Throughout the building, there are small terraces, steps, seats and stairs where you dont know if you are the actor or the spectator, if you are watching or being watched. Somehow a physical reality of how social media and BIG DATA work. Entering the foyer, a big massive dome receives the crowd as an anticipated backdrop of the social gathering. After this, some steps elevate them into a small public scenery, framed by a pointed arch threshold; the pre-social theatre of the theatre. Passing the big metalic doors, that will slide shut once the act begins, is the theatre drapery. A soft ondulating tapestry that refrences the acoustic ceilings and the rising curtains of theatres, and also the character of the rest of the building, changing the materials from concrete to polyutherane foam. This ondulating plane decends, framing the stage and the scenic box. Scenic box, where actors and performers also perceive the crowd as a small performance for them, with the drapery as a backdrop. They also have a direct acccess to this space with a descending ramp directly from the exterior to the back of house. The box is reserved for the boss, MetrovaClesa. For the building is theirs to experiment with. They would get tickets anyways, so why not give themselves their own box? Is it fair? Is it too real? Conected directly to the office, VIPs have their own VIP spot,once again observing not only the actual show, but overlooking it all as a double performance.

THESIS / 022

the seating plastic formworked polytherane foam

R AT

E TH

R YE FO

T UL VA

A DR

existing

loading - unloading

VIP theatre box (owners privilage)

existing

turnstiles

interactive screen

GE STA

existing G

T EA

TIN EA

S RE

SE OU

H OF

[023]

F KO

E US

“The walls of the offices were white, the tables glowed with a pale corpse-coloured rubber. The light was frozen, dead, a ghost. Only from the flat, colorful data analyzing diagrams did it borrow a certain rich and live substance. The screens set out in long recession down the work tables. Only one floor above, but much further in influence and power, the setting was much different; pure opulence and lush.”

SECTION A-A’

THESIS / 024

[FV]

the foyer vault

theatrical. concrete vault shores existing The word foyer comes from the French language and means “the place where the fire is kept”. The foyer can be the main place of some events such as vernissage, meetings with the artists, actors’ benefit, but also a place of information, and participation towards the piece that will be showing. The vaulted space intends to be a spectacle in itself, using the inherited material -concrete- but falsified with a golden texture, acheived with tints inserted in the liquid concrete. A great structural effort for the opening up of this orthogonal existing grid takes place by shoring three exiting pilars with this massive concrete vault. These pilars, come straight from the offices. That good ol’ boring orthogonal place where workers are analyzing data, bearing the shackles of the current inherited work mode of factory mass-production. But they have hope! This is only until the experiments full evolution. They know the future lies in bits and bytes, but for now (and maybe forever) they are just going to go with it.

A’

CEILING PLAN

[025]

Fragment of the Allegory of Victory, 1836.

[HR]

the social ramp

communication. interior plaza @ heart of building

Beneath de la Sotas skylights, the only transformation in this space is the introduction of a great ramp. Not only for communication of the different levels, but also to create an interior plaza at the heart of the building, respecting the protected patrimony. Here, everyone collides. At the end of this big social ramp, is the entrance to the biblioTECH [BB] and also the exit of the inter-ACTIVE theatre [TH]. For large-scale sculpture and site specific installation art, elegant concerts in the evenings, awkardly easy bowling, snowless sledding and Jeff Koons.

inter-ACTIVE theatre

biblioTECH

THESIS / 026

[GB]

the gossip bleacher[s]tairs

social artefact Prominently, hovering over the ramp, are the gossip BleacherStairs, making honour to their name; the place to look over the social spectacle below. But this isn’t the only space of overlooking the ramp. The delightful forest slab also ends as a balcony over this ramp, creating, yet again, a dual feeling of watching and being watched all at once. The spectator and the spectacle. [CH]

chat rooms

“we got the room for you!”

the SOCIAL ramp

the GOSSIP bleacher[s]tairs

CHAT rooms

[027]

extructio, instructio, cura, usus ,1635. Claude Clement

Musei, siue bibliothecae tam privatae, quĂ m publicae

Welcome to the new library typology, where the space is no longer a container of books. In a world where knowledge floats through the interwebs, the library becomes an organizational machine that orders the information for you and splurs it out in form of new media. This, added to the world of big data, makes the experience much more personalizable. Not only is the information ordered for you, but you can choose many ways to have it delivered. There is a downside...MetrovaClesa will keep your information. But the upside is..who knows you better than yourself? MetrovaClesas personal big data.

g. g.

i. c. d.

e. 03

e. 02

e. 01 a. e. 00

[BB]

the biblioTech

digital learning. ways of organizing knowledge information THESIS / 028

s of

t dien

gra

tion

dig

iza ital

a. intimate search, or maybe not.

1. scan your phone 2. Bibliotech knows... 3. chose your preference of enjoyment

e. 05

b. technology petting zoo

e. 04

Spur and nurture the next generation of double-deep digital leaders, help illiterates keep up to date.

c. the steps

Storytime/ Workshops - Relaxed Conference

d. digital bookcase E-readers and tablets available by recomendation of the checkpoints. ‘Geolocalization anti-robbers’

e. niches

01. ceiling projections 02. reading [e-book ] 03. media room

04. spy search 05. bathrooms 00. elevator

f. bring your own innovation (BYOI)

Temporary collaborative exhibits for new IT products ‘Open call for gadget gurus!

g. rent a workshop

Summon your web followers and give a conference... ‘Get a room!’

i. the reading rug

Cozy, comfy and open ‘Back to Kindergarden!’

j. computer stations k. conversation pit

nestled between pillars

[029]

Process FINDING GEOMETRY IN CONCRETE FORM. Searching for expresiveness and material curiosity through concrete, the inherited material of the Clesa factory used by de la Sota. Taking advantage of the all-through-ness about it by searching an imagined expresiveness that could work in architecture and in dialogue with the existing structure. These experiments, go from different scales, to different formwork and colours, in a trial-error mode, that helped understand the construction phases of how a repetitive element could articulate the existing space but dialoguing in contrast. The resulting element, works as structure, cover, cladding, floors, walls, hvac conducts...

Material mock-ups * Dome experiments

Trying different sewing patterns with different geometries, trying out fabric patterns and behaviour of the concrete.

THESIS / 030

Digital mock-ups * Virtual tests

Trying different sewing patterns with different geometries, simulating the fabric properties and the weight of the concrete.

[031]

Before | After Rebar separator structure and geometry | The conrete pour, freeform geometry

THESIS / 032

Experiments with structure and materiality

[033]

step 01 _ foundation meets pilar existing slab is perforated for the new foundations pilar caps are inserted in the hollowed slab

a distribution peice + HVAC

b 2

0 [P]

interior skin formwork

0 [P]

c rebar at the base

d exterior skin formwork

ASSEMBLY OF ELEMENTS _ interior clamping

THESIS / 034

mock-up 01 clamping of the base formwork and attaching the rebar with separators for coating thickness

[035]

step 03 _ formwork coronation clamping intersection with existing elements separation of respect and how _ clamping

[P]

The intersection between pilars creates the punctual skylights, in the center of the nave. The shapes of these are referenced to the disposition of the rebar and have the same constructive system as the lateral skylight. The lateral s kylight is longitudinal and is also the form of realtionship with the pre-existance. The new nave is separated from the existing one, the old concrete and the new concrete, kiss with a slither of light, being more confusingly blobby from the ground floor, as the concrete folds into this skylight avoiding straight lines and cuts. B

C D E

G H

THESIS / 036

.SRABER EHT OT TNEMHCATTA .KROWMROF ROIRETNI EHT GNIPMALC

60.0 40.0

40.0

separator 01 _ clamp

screw for clamp Ø 20

Exterior washer Ø ext 50 Ø int 20 30.0

0.04

Interior washer Ø ext 50 Ø int 20 40.0

50.0Ø

Sealing piece [avoids bending]

0.13

10.0 r

0.18

10.0

Peice conformed of extruded plastic. Mass production

40.0

42.0

0.01

0.24

81.0

0.04

10.0

31.0

0.01

Rebar brace x3 [holds in place]

20.0 r

10.0

screw for clamp

Ø 20

Exterior washer Ø ext 50 Ø int 20 OEG

ANS

SNALP

3.1 _elacs

GEOMETRY ASSEMBLY scale_ 1.3 The concrete divider is a crucial element in the construction of this fabric formed concrete. They dont only work as conventional separators, but have various functions in this particular meathod: 1_They avoid the problem of seen rebar, as they maintain the thicknes of the slab at a minimum where they are situated. 2_They work as the clamping meathod for the fabric, and create the geometry od the structure depending on where they are located. 3_ They are lost formwork and stay inside the curated concrete. epat maeS

r reppu llo

.1 tape Seam elzzon taeH

Heat nozzle

rew llor ol

krowmroF dhjskhdjakshh ocitsalP

Formwork Plastico hhskajdhksjhd WITH REBAR

[037]

D_05

MOSELAED FORMWORK POLYCYLINDRIC- GORE MEATHODOctave development.

CLAMPING THE EXTERIOR FORMWORK. HEADS OF THE HVAC TUBES. CONCRETE SEPARATORS

D_04 HVAC DIVIDERS. USE AND GEOMETRY

separator 02 _ hvac dividers use and geometry

R S T

D_05 FORMWORK HOLDERS [suspended frame]

0.27

Ø 0.26

Extraction PVC piece

Screw- tube Ø 18

Impultion PVC piece

0.01

0.07

0.04

Neoprene joint

Screw- tube Ø int 18 Ø ext 25

0.24

ELEVATION

0.24

0.27

Screw- tube Ø int 18 Ø ext 25

0.11

Neoprene joint

0.22

PVC hvac tube

0.17

Wooden frame as flat formwork 0.10

The pieces work as clamps and separators, as they screw into one another.

Ø0.02

Holder

PLAN

IMPULSION

EXTRACTION

IMPULSION

EXTRACTION

The HVAC divider works as the concrete dividers, but also have the function of carying the renovation of air and climatization. Instead of clamping with a screw, these elements clamp with the head of the ventilation device, that consists of a hollow screw. In these particular spots, the formwork must be punctured. The ventilation system requires of the UTA machines to be situated on the neck of the pilars, after the concrete is hardened. Because of this, we must create a planar surface, or a small niche where these machines can rest upon, with the corresponding thermal and acoustic insulation.

THESIS / 038

scale_ 1.15

[039]

the ágora Edificio España | Spring 2013

Conceptual axo _ study of catenary vaults & bubbles

In 1953 Edificio España was a symbol of the dictatorships modernity and power. This new typology never worked, it became obsolete even faster than it was built. The project works with one of the most interesting dinamics of Madrid. - The dinamic of abandonment - because of obsolesence of some noticable buildings. Talking about processes of abandonment and re-reading the qualities of the building in its actual state, the project proposes an occupation of the building through a constant reconstruction from its ashes and where technology plays a big role in the awakening of the community through construction and demolition experiments.

AGORA / 040

[041]

Los Saicos - DemoliciĂłn. 1964.

The Role of History, 1984. Nils-Ole Lund

â&#x20AC;&#x153;Echemos abajo la estacion del tren Echemos abajo la estacion del tren Echemos abajo la estacion del tren Echemos abajo la estacion del tren Demoler demoler demoler demoler echemos abajo la estacion del tren Demoler demoler la estacion del tren Demoler demoler la estacion del tren Tatatatatatatata Ya ya ya yâ&#x20AC;?

constant re-construction Talking about processes of abandonment and re-reading the qualities of the building in its actual state, the project proposes an occupation of the building as a constructive and social experiment. It is a place of reunion, constant reconstruction from its ashes and where technology plays a big role in the awakening of the community. A completely new nature, new typology that is constantly changing, also as an experimental construction laboratory. Architectural references from the past and the future can have a go for it at last! Always new, always participatory and always exploding somewhere. Welcome to the new nature.

AGORA / 042

[043]

Evolving Floor Plan - organic references - construction collage On the sidewalk and the balconies of el Edificio España, encased in spotless plastic bags, are the remains of yesterday’s construction. Not only old window panes, blown-out light bulbs, broken bricks, sharp steel rods, bloated containers, broken glass, but also calculators, encyclopedias, pianos, procelain dinner services... It is not so much by the things that each day are manufactured, melted, constructed, built that you can measure Agora’s opulence, but rather by the things that each day are thrown out or destroyed to make room for the new. So you begin to wonder if Agora and its user’s true passion is really, as they say, the enjoyment of building new and different things, and not, instead, the joy of expelling, discarding, cleansing itself of a recurrent impurity previuos architectures might demonstrate. The fact is that bulldozers are welcomed like angels, and their task of removing amd reusing the residue of yesterday’s existence is surrounded by a respectful silence, like a ritual that inspires devotion, perhaps only because once things are tested, they demonstrate their imperfectness, and who doesnt like a good ol’ demolition? **final soundtrack: “Careful With That Axe, Eugene” by Pink Floyd AGORA / 044

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the garden of earthly delights Coslada Wasteground | Fall 2012 The object of study are a few hectares in an urban-industrial environment in the outskirts of Coslada, a Madrid municipality to the east of the city. The wasteground is seen as a quarry of new urban situations that must be shredded to social, economic and material aspects. Experiences on-site are directly and programatically condensed into an elevated growing complex of untraditional situations creating the â&#x20AC;&#x153;gardenâ&#x20AC;? beneath. The hanging and falling leftovers , give the passerbyer hints on what is happening above.

DELIGHTS / 046

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M A C R O M I C R O

J U X T A P O M A C R O M I C R O DELIGHTS / 048

S C A P E S C A L E

O S I T I O N S C A P E S C A L E [049]

01.

JOY HOUSE

Welcome to the Joy Haus. After entering the inhospitable frontiers of the wasteground, you enter the garden and its spontaneous urbanism. Flanqued on both sides by glowing red cubes, the visitor will be reminded of a certain european city, although multiplied and sprinkled around the wasteground. But the special quality of this cube for the man who arrives there on a September evening, when the days are growing shorter and the multicolored neons are lighted all at once at the doors of the Joy houses and from a terrace a womanâ&#x20AC;&#x2122;s voice cries ooh!, is that he feels envy toward those who now believe they have once before lived an evening identical to this and who think they were happy, that time.

S. 01 rooms & display

DELIGHTS / 050

MIND BEND DEN

02.

S. 02 main entrance

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03.

SQUARES IN A SQUARE

The garden path leads the visitor to a smoke filled area. The visitor will not be sure of what is happening in height, except for the traces from the leftovers of the uses that are happening above. The square in a square is a place for all those people that enjoy a smokey group without shame. The garden, however, with all its cigarette buds, does not tell its past, but contains it like the lines of a hand, written in the corners of the paths, the spots on the pilars , theelevator doors, the antennae of the psicodelic lights, the chimneys, every segment marked in turn with scratches, indentations and elements passerbys decide to leave on the footsteps.

S. 03 bar & convo pit

DELIGHTS / 052

ALL CITY KING

04.

S. 04 walls & funnels

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05.

ZEN DEN

S. 05 sleep, yoga & hammocs

DELIGHTS / 054

[055]

The Gar

M A C R O M I C R O

J U X T A P O M A C R O M I C R O DELIGHTS / 056

S C A P E S C A L E

O S I T I O N S C A P E S C A L E [057]

box - in - box

Technical Code | Spring 2015 The renovation project is located in the center of Madrid, concretely in MalasaĂąa, where the old faĂ§ades of the buildings are all protected. The project consists of making a concert hall and recording studio using the whole building and strictly adressing the spanish technical code regarding urbanism, sanitation, circulations, accesibility... The building is carved out and a big sound double skin box resting on neoprene jointed pilotis is inserted within.

00.

01.

02.

initial stage

empty out

service box

03.

04.

05.

music box

box independance

perimetral vertical

FORMAL STRATEGIES PUNCTURED PROGRAM

0.00

+4,40

+7,35

entrance cafeteria

concert hall

balcony

HVAC BOX / 058

GENERAL BEHAVIOUR The proposal consists a structural cage that will house all the uses inside, while the camunications remain perimetral. This structural cage is given a double skin, not only for acoustics but also for invisibley conducting hvac, the intestines are hidden inside the skin in an integrated manner. On one of the sides, a comunications box is inserted. Not only for transit but also for the communications of the different hvac conduits. There are three different utility ducts in order to connect the different levels and drainage. It works as a huge hvac funnel. This also helps the free plan in the interior of the concert hall and the offices.

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VENTILATION plenums in double skin

Secciรณn Transversal. Sistema de Renovaciรณn de aire

HVAC BOX / 060

SANITATION downspouts in double skin

[061]

3SH

HVAC BOX / 062

[063]

MUSEUM IS MORE Helsinki Guggenheim Competition Bureau Spectacular, 2014

More than a container of archives and exhibitions, museums today perform complex social functions beyond their job description as neutral buildings. Our proposal for the Helsinki Guggenheim is based on these broader questions about what the museum is today, and what more it can be. My involvement in this competition project was very extense, from the germ of the idea to the development and design as well as the final drawings and layout. There was a very revealing part in the development of the project; the whole team got together to impulsively finish the sentance â&#x20AC;&#x153;Museum is...â&#x20AC;? and create an extremely long, versatile list, that later was reviewed and from which came many of the ideas for the concept of this museum.

MUSEUM / 064

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Museum is Fabric

M USEUM IS FABRIC The ground level of the Helsinki Guggenheim functions as a covered outdoorISpublic plaza. At any time the plaza immediately below the MUSEUM EXTENSION OF THE CITY -given The museum is a political building canfrom accommodate 5000 of people. is equipped to host asylum exempt the behavioral norms the city, This but it isspace an extended territory thatinstallations, the city dreams about on sleepy Tuesday site specifi c art musical performances, projected film and afternoons. artworks, and a range of other social activities and events. The ground level of the Helsinki Guggenheim functions as a covered outdoor public plaza. At any given time the plaza immediately below the biulding can accomodate 5000 people. This space is equipped to host site specific art installations, musical performances, projected film and artworks, and a range of other social activities and events.

MUSEUM / 066

outdoor public plaza. At any given time the plaza immediately below the building can accommodate 5000 people. This space is equipped to host site specific art installations, musical performances, projected film and artworks, and a range of other social activities and events.

It is the back-ofthe majority of storage. Glimpse on the ďŹ&#x201A;oor abov

plan A | ground level

1:500

10m

Plan A |Ground Level

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1:500

plan B | archive & offices level

2 2

MUSEUM / 068

Museum is Archive

PLAN A | PUBLIC LANDSCAPE

MUSEUM IS ARCHIVE

The archive floor’s primary function is the administration of the museum. MUSEUM IS # - Museum is a collection of numbers - visit count, financial transactions, floor board members, fund-raisers, appraisal of It is the back-of-house function beneath thedimensions, interior landscape, including market values, size of archive, personnel turnover rate, waves of exhibits the majority of utility space, offi ce and space, per year so forth... restoration shops, and art The archive floor’s from primary function is the administration of thecourt museum. storage. Glimpses of this floor are visible the interior public It is the back-of-house function beneath the interior landscape, including on the floor above, introducing a visual between theandflart oors. the majorityconnectedness of utility space, office space, restoration shops, storage. Glimpses of this floor are visible from the interior public court on the floor above, introducing a vertical connection between the floors.

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ation of the museum. landscape, including ation shops, and art interior public court ss between the ďŹ&#x201A;oors.

plan D | public landscape level

The interior landscape functions as a public court, the largest interior space in the building. The center of this level can be accessed without admission to the museum proper. The surrounding landscape functions as the main sculpture garden of the museum and can be accessed by those admitted to the museum. Here there is a visual connection between casual users of the collateral functions (cafĂŠ, bar, etc) with the museum-goers.

Museum is Social

The interior landscape functions as a public court, the largest interior MUSEUM / 070 space in the building. The center of this level can be accessed without admission to the museum proper. The surrounding landscape functions 3

Th of Th a se

1:50

Plan C|Public Landscape Level

MUSEUM IS SOCIAL

1:500

10m

MUSEUM IS ENTERTAINMENT - The museum is an entertainer. It performs non-vital functions of the immediate day-to-day lif, and serves little value to biological sustenance. its true value is in the production of wonder and pleasure, while offering a window into the ways people ask questions about the world. It is simultaneously an embellishment and an escape from the normal and the familiar. MUSEUM IS ? - It is also a moving target with the changes of time, and it is a hardware that meets the changes of people. Museum is uncertainty - and

[071]

rchives & Office Level

[public court] * [main sculpture garden]

the largest interior be accessed without landscape functions be accessed by those ction between casual he museum-goers.

The gallery level hangs above the interior landscape level and is comprised of 32 separate galleries. This level is the primary space for art display. This level is entered through the main vertical shaft, and exited through a secondary vertical shaft comprised primarily of retail functions. The separate galleries sample from various existing ways of displaying art.

plan D | gallery level

Museum is Museum

The gallery level hangs above the interior landscape level and is comprised MUSEUM / 072 of 32 separate galleries. This level is the primary space for art display. This level is entered through the main vertical shaft, and exited through 4

Th to po

1:50

Plan D|Gallery Level

MUSEUM IS MUSEUM

1:500

10m

[073]

lic Landscape Level

MUSEUM WRITES HISTORY - Through the miracles of hidsight, people write histories to weave disparate episodes of works, philosophies, and people into a sparkling cocktail of cohesive argument. How this work is positioned plays an important role in what history it writes. The museum not only collects works of art, is also collects how poeple collect and display. Perhaps nowhere is this more evident than in the Guggenheim New York, where the outward-facing helix looks at the art, but the inward vision looks across the void.

nd exited through ail functions. The displaying art.

pools, a restaurant, a bar, and views of the city and the harbor.

D|Gallery Level

1:500

10m

plan E | rooftop gardens & saunas

MUSEUM / 074

Plan E|Rooftop Garden

* G H

Museum is Garden

2 1 2 6 9 3 5 6 5 1 N *

The U roofS landscape is a publicI space canA be R accessed M EUM S andG D Ewithout N admission to the museum proper. The roof includes a picturesque landscape, saunas,

MUSEUM PARK- The museum is an idyllic collection of city follies.and Whether intepools, aISrestaurant, a bar, and views of the the harbor. rior or exterior, the museum is a landscape littered with mystery time capsules with hidden messages and histories. If sculptures are three-dimensional representations of abstract characteristics, the museum is an archeological park of many frozen yesterdays and tomorrows. [public space]*[landscape, saunas, pools, a restaurant, a bar & views]

5 [075]

Covered plaza (outdoor)

Peek into offices and archives

MUSEUM / 076

Public interior

Galleries

[077]

Roof garden

MUSEUM / 078

[079]

More than a Museum

Ana Petra Moriyรณn architect - designer - minimundo ap.moriyon@gmail.com

+34 654 959 258

“End of the book– No use to look for any more my dear, cause if you try finding some more in the binding, you may just…disappear.”

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