Portfolio_Camino Lamas_ENG by camino.lamas

P O R T F O L I O Camino Lamas

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June 2018

Chaos theory as urbanism Final Thesis Sada, A CoruĂąa Chaos theory is the result of something that depends on different variables, impossible to reproduce ... Small variations in these initial conditions can imply large differences in future behavior, making longterm prediction impossible ... Within the theory of chaos is the slope that defends a deterministic chaos, which defends that knowing the initial conditions of chaos, its behavior can be totally determined. The river accompanies the sound, merging, two elements that can not exist without each other. The contact between them is created: RIVER SOUND | SOUND - RIVER the background between the two. It is the friction RĂ?O - SOUND that evokes the need to create a changing path, like an own melody. Protect yourself, walk and be aware of yourself.

Compas aka Rhythm When talking about music, the rhythm of the succession and the alternative of a series of sounds that are repeated periodically in a certain space of time. The way to mix, intuit and surprise through intensities, nuances or dynamics is what makes a rhythm recognized and classified.

Pentagram aka Pattern It generates a pattern, a formula to be able to read and give names to the figures that appear in the space. This plot tells us how they have been growing and positioning the rhythms in the territory, attending to external events or temporary agents.

Notes aka Melody A note is a sound, a certain vibration, a constant frequency. In our diagram we use these notes to understand how cities are lived. Each of these notes represents a commercial activity that generates unique notes in each one of them.

Silences aka Melody The rests represent the duration of a certain pause. The relative duration of a silence is a series of symbols whose features are modified.

The sound becomes an air sensor. The wind that enters, that filters, that fills the empty, an empty that is occupied by the sounds of the town, by the touch of people, trees, the river, cars... That air is what enters as a vibration when the sound wave hits the sound, or its silence. It matters the generation of itineraries and soundscapes. They are spaces of sounds, boxes of music, refuge, introspection and creativity. The sound is the pentagram and the different nuances are the melody.

June 2018

Ground floor

market & square Final Thesis Sada, A CoruĂąa Produced with autoCAD 2018 and photoshop.

First floor

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Entre los siglos XVII y XVIII hay una gran actividad industrial. Se instalan fábricas textiles promovidas por exiliados. Incorporan a gran parte de la población de Sada, que va abandonando las tradicionales labores pesqueras. Más tarde, con la llegada de varios empresarios catalanes entre los siglos XVIII y XIX, supone una nueva recuperación de su sector pesquero. Se instalan alrededor de siete fábricas de salazón, fundamentalmente sardina (para elaboración de arenque) y bocarte (para elaboración de anchoa). En las parroquias rurales los cultivos más extendidos son los cereales y las viñas.

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En los años veinte, con las conserveras en plena pujanza, Sada se convierte en lugar de recreo y veraneo de numerosas familias coruñesas. Entre 1919 y 1920 llega a Sada desde A Coruña el quiosco La Terraza, muestra del Modernismo Gallego, allí se celebraban banquetes y bailes. En el año 1922 se inaugura el tranvía eléctrico que une A Coruña con Temporal Permanente Sada y su comarca. Esto supone un gran impulso comercial y turístico. La sublevación militar de julio de 1936 pone fin al proceso de expansión, resintiéndose profundamente su economía. En los años cuarenta, destaca el auge del sector pesquero, la persistencia de las conserveras y la instalación de hasta diez tejeras por el incremento de la construcción, que luego desaparecerían por la escasez de barro. En 1949 Isaac Díaz Pardo funda la fábrica de Cerámicas del Castro, que pronto se convierte en una gran empresa. También había una fábrica de gaseosas, dos cines y tres cafés (El Moderno, La Terraza y El Royalty). En el mercado diario de la Plaza de San Roque se vendían patatas, frutas, verduras, etc. y también pescado.

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950 cm 900 cm 850 cm 700 cm 650 cm 600 cm 550 cm 500 cm 450 cm 400 cm 350 cm 300 cm 250 cm 200 cm 150 cm 100 cm 50 cm 00 cm -50 cm -100 cm -150 cm -200 cm -250 cm -300 cm -350 cm -400 cm -500 cm

La sublevación militar de julio de 1936 pone fin al proceso de expansión, resintiéndose profundamente su economía. En los años cuarenta, destaca el auge del sector pesquero, la persistencia de las conserveras y la instalación de hasta diez tejeras por el incremento de la construcción, que luego desaparecerían por la escasez de barro. En 1949 Isaac Díaz Pardo funda la fábrica de Cerámicas del Castro, que pronto se convierte en una gran empresa. También había una fábrica de gaseosas, dos cines y tres cafés (El Moderno, La Terraza y El Royalty). En el mercado diario de la Plaza de San Roque se vendían patatas, frutas, verduras, etc. y también pescado.

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S. Camino Lamas Monje

T A L L E R 3

2017 | 2018

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May 2017

Social Housing in Melenara, Telde Academic Project Las Palmas de Gran Canaria The origin of public square is in the barter of goods and the need to exchange products through a market. The exchange has been from the oldest societies an activity that has fostered the encounter, dialogue and social relations between people, developing social and economic networks.

From the establishment of markets and networks of distribution of goods itâ&#x20AC;&#x2122;s how the communication systems favored that social contact emerged between distribution points and adjoining places. market = public square

When cities grow in a sense, and the periphery is unattended, the empty, that initially were generated provisionally, appears and acquires a permanent and marginal character.

The intention of this project is that this space, previously empty and lacking in equipment, will be reactivated in a progressive and permanent way. There are areas of Melenara with social housing that need restructuring. Sometimes because buildings are in a state of semi-abandonment, sometimes because there is a bad administration or simply a bad conservation. This last point is that is intended to give a solution through replacement housing that will be building in phases, in order to relocate the current residents. The presented typology is divided into 3 groups:

Inside the buildings, common areas are proposed to be able to live in the neighborhood and reactivate this urban and social space. In resume, create a reference coexistence nucleus in the entire fishing village.

L M S

Three fringes are established in order to articulate the space and, at the same time, different degrees of privacy are generated.

Co-Study room

“L” typology: 3 bedroom Constructed area Useful area Bedroom area (1) Bedroom area (2) Bedroom area (3) Bath area (1) Bath area (2) Kitchen area Dinning room area Living room area

100.21 m² 89.58 m² 12.86 m² 09.20 m² 09.20 m² 04.04 m² 05.56 m² 09.94 m² 09.00 m² 18.32 m²

Rehearsal room

Domestic garden “S” typology: 1 bedroom Constructed area Useful area Bedroom area Bath area Kitchen area Living room area

55.09 m² 48.72 m² 12.86 m² 04.04 m² 13.20 m² 16.77 m² Shared clothesline

“M” typology: 2 bedroom Constructed area Useful area Bedroom area (1) Bedroom area (2) Bath area Kitchen area Dinning room area Living room area

72.18 m² 65.07 m² 12.86 m² 09.20 m² 04.04 m² 12.64 m² 07.22 m² 16.77 m²

Dance hall

M A P P I N G December 2016

Experimental mapping Tamareceite ravine

Academic Project Las Palmas de Gran Canaria After generating the interpretative cartography, there were a series of points that caught our attention both on the footprint left in the territory on the mark that the man had made. With the intention of to reinforce these geographical features, we place the same element in different positions. This element, in addition to â&#x20AC;&#x153;sewingâ&#x20AC;? the ravine, establishes a direct dialogue with the underground gallery.

The configuration of our element it is necessary to understand it as a matrioska, layers that wrap other layers, but at the same time it has to be understood as a box of matches, that is: if I push one end of it, a space of the same dimension at the other extreme but with totally different characteristics.

i+d+iCENTER

exhibition

January 2017

Reserch center Tamareceite ravine Academic Project

workers area

users

Interpretation center private

laboratory depot

meeting room

Las Palmas de Gran Canaria After mapping the ravine, the botanical research center was born, with the clear purpose of combining the concepts of a machine, a box that dissolves and the scalar relationship with the underground gallery. From the beginning it is intended to involve users in a complete experience, so they will play with their senses and their way of perceiving the whole. These sensation occurs by choosing vegetation. This selection, with their sounds, aromas and forms, will transport us to other stages of our life or forgotten memories playing with our senses. Both the exterior and interior vegetation is native of the islands, which allows us to choose a wide variety of plants and, in turn, generate exotic spaces inside the greenhouse. It will be in this element where a system of gray water collection from rainfall is placed and that conform the hydroponic system that will characterize it. One of its walls is of contention, so we have decided the formwork in order to generate the human scale.

Natural elements of the greenhouse:

interaction Greenhouse experimentation

investigation

Tabaiba (euphorbia balsamifera) Drago (dracaena draco) Sabina (juniperus phoenicia) Canarian palm (phoenix canariensis)

In an analogous way we have the underground gallery. Itâ&#x20AC;&#x2122;s a dark space where there are a series of light cubes and the installations. All of this support the project: exhibition space, meetings room, video room, laboratories... All these spaces are formed by a series of mobile panels that allow a wide range of possibilities in terms of space configuration.

And how these uses and elements are related? The method chosen for their relationship is the structure: a viaduct. Is supported by a series of pillars that support a large truss. The truss begins in the gallery, generating a recordable floor where all the installations are placed. It leaves the gallery in the form of a walkway finishing in the greenhouse.

W A R M F L A T December 2015 Visualizing architecture

May 2016

Market contest, La Cruz

Academic Project

Mexico city, Tecnolรณgico de Monterrey (ITESM)

Produced with 3ds MAX and photoshop

GAZA’SPROJECT December 2017

Spanish Pavilion of the Venice Biennale 2018 Workshop A Coruña

The view from the architecture on the Gaza strip, is that of a blocked landscape in which millions of questions cross its image without hardly being answered. It is a habitat in tension, the tension of the responses that hurt it and systematically add it up in a deep and dramatic blockade. It is difficult to refer to Gaza without addressing political or cultural issues in a crude way, but there is a way in which trying to find the original traces on the territory, it is possible to place these most hurtful issues in a latent peripheral position. A latency to take into account, but at the same time, to question from a critical mentality, with diverse tools such as the conceptual urban comparison through terms such as “palimpsest”, the historical and natural perspective, the constant and meditated drawing of the landscape or the reasoned criticism of the ruin / trace as the origin of a locus that gives meaning to the nervous system of the city.

The proposal follows the criteria for restoration that the Romans experimented with during the Baroque period. By recognizing the study area, elements / fundamentals / rudiments and place, the intervention proposes an “insideout sventramento (demolition),” where the ruins are protected by a new structure and assembled together with the new urban fabric. The proposal connects the mosque and the market, creating a shared space. The new construction allows the market to encompass the area around the ruin and futher offers shade to the newly formed courtyard. Around the entirety of this new frame is green, proudctive space.

FETSAC 15

Academic year 2015 FETSAC Organizer Spanish Pavilion of the Venice Biennale 2018

Fetsac

más allá del objeto / alén do obxecto / beyond the object call for papers / Llamada a participantes etsac architecture festival/ Festival de Arquitectura ETSAC / 23rd-27th march 2015 / A Coruña (spain) www.fetsac.tumblr.com / fetsac@gmail.com

A Coruña School of Architecture Festival A Coruña, UDC

7th edition: beyond the object / más allá del objeto [ENG]

[ESP]

Being aware of the current complexity of the architectural panorama, and with the increasingly diffuse horizons in our profession, Fetsac starts again to extract the critical spirit, experimental attitude and willingness of changing that we as students inevitably have . Thus, as every year, we make a call to all the people, individually or as a group, who want to show that there are other ways to work questioning the established models of design, research, communication or teaching.

Siendo conscientes de la complejidad actual del panorama arquitectónico, y con unos horizontes en la profesión cada vez más difusos, la FETSAC arranca un año más para hacer brillar el espíritu crítico, la voluntad experimental y las ganas de cambiar las cosas que como estudiantes llevamos dentro. Para ello, y como cada año, hacemos una llamada a la participación, de manera individual o como colectivo, a todo aquel que quiera mostrar que existen otras formas de trabajar cuestionando los modelos establecidos de proyecto, investigación, comunicación o docencia.

We have lived an economic, social and identity crisis within the profession. The role of architecture in society has been questioned: relationships between architect’s work, citizenship and stewardship. We were told that these changes create new opportunities but, which are those opportunities?, How do participation processes or urban empowerment movements match with an architectural culture based on an object as final result?, Has architect’s discourse been “intellectualized” hindering the communication with society?, Which is the role of exhibitions, shows or awards in the construction of a critical consciousness?, How do the current education system, mass media or social context participate in the construction of the figure of the star architect?, Do magazines or diffusion platforms encourage the decontextualization of architecture and its uptake as an image?

Hemos visto llegar una crisis económica, social y de identidad dentro de la profesión. Se ha cuestionado el papel de la Arquitectura dentro de la sociedad: la relación entre el trabajo del arquitecto, la ciudadanía y la administración. Se nos cuenta que estos cambios generan nuevas oportunidades, pero, ¿cuáles son esas oportunidades?, ¿cómo se relacionan los procesos participativos o los movimientos de empoderamiento urbanos con una cultura arquitectónica basada en un objeto como resultado final?, ¿se ha “intelectualizado” el discurso del arquitecto hasta dificultar la comunicación con la sociedad?, ¿qué papel juegan las muestras, exposiciones o premios en la construcción de una conciencia crítica?, ¿cómo participan el sistema educativo, los medios de comunicación, las políticas empresariales y de gobierno, en la construcción de la figura del “arquitecto estrella”?, ¿fomentan las revistas o las plataformas de difusión la descontextualización de la Arquitectura y su consumo como imagen?

FETSAC’15 is not looking to reinvent the wheel, but to inquire into these matters that have taken and take part in our work as architects, and necessarily should be present and subject of a critical process both in academia and within professional praxis.

La FETSAC’15 no busca reinventar la rueda, sino indagar en estas y otras cuestiones que han formado y forman parte de nuestro ejercicio como arquitectos, y que necesariamente deberían estar presentes y sometidas a un proceso crítico, tanto en el ámbito académico como en la práctica profesional.

fetsac '16 / call for papers

FETSAC 16

Academic year 2016 FETSAC Organizer

M ID - LIF E C R IS IS

Spanish Pavilion of the Venice Biennale 2018 A Coruña School of Architecture Festival A Coruña, UDC

[eng] “Both my wife and daughter think I’m this gigantic loser. And they’re right. I have lost something. I’m not exactly sure what it is, but I know I didn’t always feel this — sedated. But you know what? It’s never too late to get it back!” Kevin Spacey’s character in American Beauty suffers what’s known as a midlife crisis. This year, our school turns forty years old, and, with it, comes consequences with various causes and symptoms: depression, anxiety, due to maintaining the same routine through the years, tedium, lack of goals. It needs a new awakening to feel younger. It has forgotten the youth of its murals, football matches in classrooms, and skate-park in the sofa’s area

Our School is enduring an intriguing metamorphosis moment, but if we broaden the consideration’s radius, so is the profession, or even, in a bigger context, we could be talking about a planetary-scale crisis. How do the past, the present and the future wrestle in those moments in which the fate force us to change? In which cases is resisting the best option? In which cases is cooperating to achieve transformation appealing? Is it possible to turn an unwanted phenomenon of change into a rebirth that improves the starting point? What role does vanity play? And what about integrity? In accordance with the traditional focus of Fetsac, the current edition deals with this “midlife crisis” in a scathing and also edifying tone, trying to laugh and leave a mark of deep reflection about the condition of university, profession and, of course, about life.

> A Coruña School of Architecture Festival ‘FETSAC’ was born due to a group of students who decided to create a cultural week that alter the usual perception that all students had This year, Fetsac takes on the of their own school. The first role of elixir and tries to look for edition of the festival, 2009’s solutions to the scars acquired ‘Circo’ was the result of their over the years. Vials against hair- creation. loss, running shoes in opposition to an increasing belly, a proper The initial effort taken by those frame for a wiser glance. students has been rewarded with the continuity of the event among the years. ‘PsicoFETSAC’ It’s a matter of adapting our‘Re’, ‘This is tomorrow’, ‘Who’s selves to modern times, and ready for FETSAC?’, ‘FETSAC making the greyish concrete of ‘14’ and ‘FETSAC ‘15: Beyond our school become a colourful the Object” have been the circus. A Botox injection so following editions, whose powerful that not even Isabel activities -lectures, debates, Preysler and Raphael together workshops...- have always could match it. been framed in a topic, where Can we extrapolate it to architec- architects and other collectives are invited to participate. ture as a whole in this continuous condition of transformation or metamorphosis? Have we accepted the changes of new contexts or, as Spacey, have we just refused to assume it? There is an eternal fight between going forward and changing, between fighting and resisting, the unavoidable passing of time facing new opportunities. Have we been oblivious in trance, in a cloud, seeing time pass by or instead is this the mechanical and logic effect of time?

FETSAC opens an enrollment period in which lecturers and activity proposals can be introduced from 9th November to 15th December 2015. The festival is taking place in A Coruña (Spain) between 14th and 18th March 2016. > Complete rules and further information: www.fetsac.tumblr.com or fetsac@gmail.com

LA C R IS IS D E LO S C UA R E N TA

[esp] “Both my wife and daughter think I’m this gigantic loser. And they’re right. I have lost something. I’m not exactly sure what it is, but I know I didn’t always feel this — sedated. But you know what? It’s never too late to get it back!” El personaje de Kevin Spacey en American Beauty sufría la conocida como ‘crisis de la mediana edad’. Este año nuestra escuela cumple cuarenta, y con ello sufre sus efectos y síntomas: depresión y ansiedad derivadas de la misma rutina durante años, aburrimiento, falta de objetivos... Necesita un nuevo despertar, sentirse joven. Ha olvidado la juventud de sus murales, partidos de fútbol en las aulas, skate-parks en los sofás... La FETSAC este año asume el papel de elixir e intenta buscar soluciones a las marcas que nos deja el paso de los años. Ampollas ante la caída del cabello, zapatillas de correr frente a un abdomen cada vez más hinchado, una montura apropiada para una mirada cada vez más sabia. Se trata de adaptarse a los nuevos tiempos, hacer del gris hormigón de la escuela una colorida carpa de circo. Una inyección de botox tan potente que ni Isabel Preysler y Raphael juntos podrían superar. ¿Podemos extrapolarlo al conjunto de la arquitectura en su contínua condición de transformación o metamorfosis? ¿Hemos aceptado los cambios de los nuevos contextos o como Spacey nos hemos resistido a asumirlo? Existe una eterna lucha entre seguir o cambiar, luchar o resignarse, el inevitable paso del tiempo frente a nuevas oportunidades. ¿Hemos estado en trance, en una nube, viendo las cosas venir o por el contrario este es el efecto mecánico y lógico del tiempo?

La Escuela se encuentra en un momento de intrigante metamorfosis, pero si ampliamos el radio de consideración, también lo está la profesión, o, incluso, en un contexto aún mayor, podríamos hablar de crisis planetaria. ¿Cómo forcejean el pasado, el presente y el futuro en aquellos momentos en que el destino nos coacciona al cambio? ¿En qué casos la opción es resistir? ¿En cuales lo más recomendable es cooperar con la transformación? ¿Es posible convertir un fenómeno de cambio no deseado en una reinvención que mejore el punto de partida? ¿Qué papel juega la vanidad? ¿Y la integridad? Con arreglo al tradicional enfoque de la FETSAC, en esta edición abordaremos esta “Crisis de los 40” en un tono a la vez mordaz y edificante, tratando de reír y dejar un poso de honda reflexión sobre la situación de la universidad, la profesión, y, por qué no, la vida. > El Festival de Arquitectura ‘FETSAC’ nació gracias a una agrupación de alumnos de la Escuela de Arquitectura de A Coruña que decidió, por iniciativa propia, crear unas jornadas culturales que alterasen la percepción habitual que sus compañeros tenían del centro, dando lugar al ‘Circo’, la primera edición del festival en 2009. El esfuerzo inicial llevado a cabo por estos alumnos, se ha visto recompensado cada año con la continuidad del mismo. ‘PsicoFETSAC’, ‘Re’, ‘This is tomorrow’, ‘Who’s ready for FETSAC?’ , ‘FETSAC’14’ y ‘FETSAC 15: Más allá del objeto’ han sido las siguientes ediciones, cuyas actividades (conferencias, debates, talleres…) se enmarcan siempre dentro de una temática en particular, en la que se invita a participar a arquitectos y otros colectivos. FETSAC abre un período de recepción de propuestas de conferencia y/o actividad puntual del 9 de noviembre al 30 de diciembre de 2015. El festival tendrá lugar en A Coruña (España) del 14 al 18 de marzo de 2016. > Bases completas y más información en: www.fetsac.tumblr.com o fetsac@gmail.com

ELISA’SHOUSE

STEEL,WOOD & FIRE

Private housing

Furniture design

Santander CRUE Internship – CEPYME

October 2017

Abegondo, A Coruña

September 2017

Oleiros, A Coruña

Produced with revit 2016 and photoshop.

Produced with 3DSmax and photoshop.

A woman with important mobility problems arrived at the study. An open and easy ways was proposed from the beginning, without obstacles. All spaces allow the rotation of a wheelchair and there is the transition space necessary between the furniture.

The objetive of this project is to design a staircase and adapted furniture.

Typology: 2 bedroom Constructed area Useful area 01 Entry hall 02 Kitchen&Living 03 Bedroom area (1) 04 Bedroom area (2) 05 Bath area 06 Entry porch 07 Terrace 08 Garage

138.55 m² 103.50 m² 06.30 m² 37.90 m² 17.00 m² 12.25 m² 09.90 m² 07.96 m² 12.67 m² 16.26 m²

APARTAMENT’40

DANIEL’SHOUSE

Private housing

FUAC Internship

January 2018

February 2018

Abegondo, A Coruña

Sada, A Coruña

Produced with revit 2016. Minimal space to live. Study about the meters (m²) necessary to develop daily life, with reasonable measures for transportation to any place.

Produced with revit 2016. The client was looking for a house where he could develop his hobby without having to be abroad. One bedroom apartament with a huge garage shared with his office ir proposed, in order to fix cars and motocycles, his passion.

Typology: 1 bedroom 01 Entry hall 02 Kitchen&Living 03 Distribution area 04 Bedroom 05 Badroom 06 Garage Several versions are made in which only roof changes so that the client decides the option for him.

STONE&LAUGH July 2016

Sharing over the pavement Volunteer project Esprels, France

P O R T F O L I O Camino Lamas