Library Of Babel “It serves for the study and meditation of intelectuals, who in a spot closer to the sky and the stars feel more inspired.” Librar I have traveled in my youth; I “ Like all men of the Library, have wandered in search of a book, perhaps the catalogue of catalogues; now that my eyes can hardly decipher what I write, I am preparing to die just a few leagues from the hexagon in which I was born. The Library is a sphere whose exact center is any one of its hexagons and whose circumference is inaccessible.” Jose Luis Borjes, Library of Babel, Fictions
PORTFOLIO architectural projects by Caterina Miralles Tagliabue
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2013 . 2019 Architectural Association School of architecutre
N A M E
Caterina Miralles Tagliabue
B I R T H
24 May 1995
C O N T A C T
caterina.mirallestagliabue@gmail.com +44 7507 790779 (UK) +34 608 762 795 (ES)
272 A Upper St. N1 2UQ London, United Kingdom c/Mercaders 24 pral. 08003 Barcelona, Spain.
. EDUC ATION
Escola Frederic Mistral-Tècnic Eulàlia . 2011 – 2013 (Curs de Baxillerat) Pere II de Montcada, 8 - 08034 BARCELONA Tel. 93 203 12 80 Fontbonne Academy . 2011 930 Brook Rd, Milton, MA 02186, USA Architectural Association FOUNDATION course . 2013 – 2014 36 Bedford Square, Bloomsbury, London WC1B 3ES Architectural Association INTERMEDIATE course . 2014 – 2017 36 Bedford Square, Bloomsbury, London WC1B 3ES
. WORK EXPERIENCE
April 2018 . Cook Robotham Architectural Bureau February 2018 . Fletcher Priest Architects August 2017 . Smiljan Radić Summer 2016 . Enric Miralles foundation . EMBT architects August 2014 . José Antonio Mmartínez Lapeña & Elías Torres Architects
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EXTRA CURRICULAR ACTIVITIES
October 2017 entry for competition Architectural Project MNHN, Santiago, Chile July 2017 nomination for RIBA bronze medal 2017. London, UK 2017 Performing at AAschool event Round and round the old ken toad, Mark Fisher Scholarship. London UK 2013 – 2016 Life drawing course at Candid cafe London, UK. 2015 Lugo Land photography workshop, Lugo, Italy
. LANGUAGES
Spanish Catalan Italian English
. SOFT WARES AND PROGRAMS
Rhinoceros . 2D, 3D modeling, Rendering Vray Aoutocad . 2D drawing Ilustrator . 2D drawing Cinema 4d . Modeling animation, Rendering Photoshop . Drawing, animation Indesign . Book binding Adobe Premier pro . Video editing.
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02
Building with the hands;
Re-purposing the residues of stone quarry in the UK 2019 . Architectural Association Since before the Middle Ages, there has been a tradition, which its origin could have come from the Neo-Platonic and masonic philosophies, and then followed by the Cistercian monks, of subjecting stone-cutting to perfect geometries. Stone masons used stone cutting as an analogy of seeking perfection, they considered the course stone goes trough; from rough to smooth, as a metaphor of the mind itself. With every cut the mason would seek for the inner perfection trough the material, by executing and experiencing the transformation of natural stone into straight form. Taking this into consideration we can state that the notion of formal architecture, has become the assemblage of pure geometries only achievable by cutting from the natural forms. Today, architecture and its style has progressively evolved, but in a way, it remains as the element which shapes materials into its desired form as a reminiscence of this ancient mason tradition. This projects aims to formalize and explore the “informal� stone assemblages which have remained aside from this long history of building with straight lines. By designing from irregular and uncatalogued shapes such as this offcuts, or stone leftovers from renovations, this project attempts to formalize the informal or rural methods of construction. At the same time, it also materializes the statement that design is the main tool which dictates which materials are useful and which ones aren’t. The idea is to re-frame the offcuts, by removing their previous tag of waste to celebrate them as a potential building material. In an environmental but also pragmatic view, efforts to reduce waste quarrying should be facilitated during the design of its process.
Kellaways clay formation Purbeck group
Limestone
Wealden group
Inferior Oorlite g.
Kellaways clay formation Thames group
Thames group
Great Oorlite g.
Purbeck Limestone group
Corallian group Portland group
JURASSIC COAST WEYMOUTH AND DORSET
Lorem ipsum bla#dfsdfdsds f543 Tirassic
Devonian
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WEYMOUTH AND DORSET DIFFERENT STONE QUARRIES
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Great Oorlite g.
Linsen shale
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Great Oorlite g. Great Oorlite g.
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Cypris freedstones
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Hard cockle Limestone
Cypris freedstones
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Basal Purbeck caps
Hard cockle Limestone
Linsen shale
Hard cockle Limestone Cypris freedstones
Hard cocle Limestone
Hard cocle Limestone
Hard cockle Limestone Hard cocle Limestone
Kellaways clay formation
Kellaways clay formation
Kellaways clay formation Cypris freedstones
Portland stone (oosparite)
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Kellaways clay formation Portland stone (oosparite)
Portland stone (oosparite)
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Geological survey. LIMESTONE in the Isle of Portland qurries and Purbeck quarries in Dorset Isle of Portland . Coast od Dorset . ENGLAND
ASTON WEBB SCREEN
EXPLODED AXONOMETRIC
STONES STILL ON SITE
STONES BROKEN DURING PROCESS
N 37 N 36 N 33 N 32
N 38
N 29 N 28
N 34
N 26 N 25
PRESERVED STONES
N 30
N 22
B 57
N 24
B 43
B 36
B 38
B 40
B 45
N 10
N 11
B 22
B 15
B 08 B 03
B 01
B 05
B 29
N 08
N 08
N 04 B 10
B 37
N 11
N 09
N 07
N 16
N 15
B 12
B 17
B 19
B 24
B 26
B 31
B 33
B 35
B 60
HR 67 HR 65
B 41 HR 08 HF 36
HF 34 HF 33 HF 32 HR 36
HF 31 HF 30
B 21
B 25
B 23 B 18
HF 29
B 34
HR 37
HF 18
HR 60
HF 28 HR 50
HF 27 HF 26
HR 35
B 27
HR 54
HF 25 HR 35
HR 47
HR 33
B 13
GR 46
HR 48
HF 23
HR 34
HR 32
HR 53
HF 24
B 20
GR 42
HR 42 HR 41 GR 38
B 02
B 04
HR 66
B 48
HR 38
B 32
HF 37
B 62
HF 21
HF 19
B 30
B 69
B 55
HF 20
B 28
B 14
B 16 B 11
HR 68 B 67
HF 35
B 07
B 09
B 39
B 53
B 70
HF 38
B 65
B 58
B 46
B 61
B 68
B 56
N 12
N 06 N 05
B 44
B 59
B 66
B 63
B 49
B 51
N 19
N 09 N 10
B 47
B 54
B 42
N 14 N 13
B 52
B 50
N 20
N 18
B 64
N 27
N 23
N 17
N 31
N 28
N 21
N 35
B 06
FR 60
HR 08 GR 34
HF 17
FR 54
HF 16 FR 48
HF 15
HF 02 HR 04
HF 01
ER 46
HF 14 HF 13
FR 42 ER 42
HF 12
HR 02 HF 11 HF 10
ER 38
HF 09 HF 08 HR 26
HF 06
ER 34 DR 55
HR 21
HF 05
HR 01
DR 61
HR 27
HF 07
HR 03
HR 20
HF 04
GR 20
HR 15
DR 49
HR 14
00
GR 16
HR 09
DR 43 GF 27
HR 08 GR 12
FR 26 GF 26 FR 20
GR 08
GF 25
FF 33
GF 24
FF 32
FR 14 ER 20
GF 23 FF 31
GF 22
FR 08
ER 16
FF 30 GF 21
ER 12
FF 29
EF 31
FF 28
GF 20
DR 26
EF 30
GF 19 FF 27
GF 18
ER 08
EF 29
FF 26
EF 28
DR 20 FF 25
GF 17
GF 16
EF 25
FF 22
EF 23 FF 19
DF 29
EF 22 DF 28
EF 21 GF 13
DF 27
EF 20 FF 18
DF 26
EF 19
FF 17
GF 11
DF 30
FF 20
GF 15
GF 12
DF 32 DF 31
EF 24
FF 21
GF 14
DF 33
EF 26
FF 23
DR 08
DF 34
EF 27
FF 24
DR 14
DF 25 DF 24
EF 18 FF 16
GF 10
DF 23 FF 15
GF 09
DF 22
FF 14 FF 13
GF 08 GF 07
DF 21
EF 17 EF 16
DF 20
EF 15
FF 12 FF 11
GF 06
EF 14 FF 10
EF 13
FF 09
GF 05
DF 19 DF 18
EF 12
FF 08 GF 04
DF 17
EF 11 FF 07
DF 16 EF 10
DF 15
FF 06 EF 09
DF 14
EF 08
FF 05
DF 13
FF 04
DF 12
EF 07
GF
DF 11
EF 06 EF 05
DF 10
FF
EF 04
DF 09
EF
DF 08 DF 07
DF DF 06 DF 05
HF HR
N B
HF / HR
ASTON WEBB SCREEN STONES CATALOGUE OF THE LEFTOVER STONES
PAVEMENT INTEGRATING VARIOUS ELEMENTS
STRUCTURAL PLAN
Building stones
Corner stones
Anchor stones Anchor stones
Troughstones
Anchor
Foundation stone
N 17
1-2
Foundation stone FA 13
Anchor B 08
Foundation stone 3-4
Foundation stone 3-4
Foundation stone
Drainage gap (10 - 30 mm)
Aston Webb Hand rail
Aston Webb Fondation stone
Solid soil
Exterior stones
STRUCTURAL PLAN
PAVEMENT QUARRY STONES TWO LAYERS
Straight stones
Stragiht stones
Anchor stones Main stones
Anchor stones
Main stones
Straight stone 1-2
Straight stone 1-2
Anchor stone FA 13
Main
Anchor stone
B 08
FA 13
Anchor stone FA 13
Main B 08
Foundation stone
Drainage gap (10 - 30 mm)
Anchor stone
Structural soil
Solid soil
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02
Disfunctional Beauty 2017 . Architectural Association RIBA bronze medal nomination
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“The human brain is the most complicated organisation of matter that we know. If this, then is suffering from any mental disease it becomes a universe by itself” - Isaac Asimov For this projects architecture aims to erode the boundaries that surround the existing site with the city where its sitting; Genova. Not only those physical between the site and the city itself yet those of a stigmatic nature which exist between the staff, public and patients themselves. To achieve this, borrowing from Asimov’s notion of the complex mind I conceived the project as a set of mechanical components, instrumental in altering and defining how the space in inhabited. This sets of machinery become alive according to the use the people give to it. This composition, then, becomes a metaphor of what it is to live inside a world that, in the same way as the dysfunctional brain, works following its own rules. In this case, architecture wants to trigger the agent of discovery towards its users, it wants to be explored to then analyzed and understood. Users have to play and experiment with it. Playing, in this case, becomes a form of language, rather than “something fun”, it exists within our primordial human nature.
Foor plan garden
“It is play that is universal and that belongs to health. Playing facilitates growth and therefore health; playing can be a form of communication (...) Psychotherapy and psychoanalysis had been developed as a highly specialized form of playing in the service of communication with oneself and others” - Playing with reality Donald Winnicott By playing this series of artefacts come together performing inside the heart of the asylum. Lending from the beauty in the dysfunctional machine.
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Cross section . Project in site
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Study of the site; pictures and models
02 This project is composed mainly for this series of mechanical rooms, structures and objects; Acting in different ways according to its usage. The reason behind the language of their design is the fact that its mechanical nature already transmits very clearly its function. They are designed to talk, to be very clear to its users. As well I think it’s worth to mention that the aesthetics of the machinery (probably because of the strong impact on the Russian industrial revolution), has always been linked to the symbol of unification.
View of the gallery and the garden, with the cafe closed
Floor plan garden
The Reading Room
Partial magic i
“It serves for the study and meditation of intelectuals, who in a spot closer to the sky and the stars feel more inspired.” - Fictions, Jose Luis Borges
“ The place, a dream or the form of a dream Cervantes...” - Partial magic in the Quixot
Library Of Babel “It serves for the study and meditation of intelectuals, who in a spot closer to the sky and the stars feel more inspired.” “ Like all men of the Library, Librar I have traveled in my youth; I have wandered in search of a book, perhaps the catalogue of catalogues; now that my eyes can hardly decipher what I write, I am preparing to die just a few leagues from the hexagon in which I was born. The idealists argue that the hexagonal rooms are a necessary a form of absolute space or, at least, of our intuition of space. They reason that a triangular or pentagonal room is inconceivable. (The mystics claim that their 59 ecstasy reveals to them a circular chamber containing a great circular book, whose spine is continuous and which follows the complete circle of the walls; but their testimony is suspect; their words, obscure. This cyclical book is God.) Let it suffice now for me to repeat the classic dictum: The Library is a sphere whose exact center is any one of its hexagons and whose circumference is inaccessible.” Jose Luis Borjes, Library of Babel, Fictions
Partial magic in the Quixot “ The place, a dream or the form of a dream of Cervantes, passes judgment on Cervantes. . . In his intimate being, Cervantes loved the supernatural. Paul Groussac observed in 1924: "With a deleble coloring of Latin and Italian, Cervantes' literary production derived mostly from the pastoral novel and the novel of chivalry, soothing fables of captivity." The Quixote is less an antidote for those fictions than it is a secret, nostalgic farewell. Every novel is an ideal plane inserted into the realm of reality; Cervantes takes pleasure in confusing the objective and the subjective. The world of the reader and the world of the book” Jose Luis Borjes, Partial magic in the Quixot, Fictions
Therefore the project is conceived by this series of mechanical moments; all of them inspired on the imaginative texts of Luis Borjes. Inside this Library, architecture and literature want to be as close as possible, collaborating to create a little world conceived by a series of kinetic objects that don’t follow schedules but their function is directly linked to the human usage.
and library
View of the gallery and the garden, with the cafe opened
in the gallery
Garden of forking paths Elements in the garden.
m of Cervantes, passes judgment on t, Jose Luis Borges
“I recognized the name of one of our consuls and I replied, disconcerted, "The garden?" ,"The garden of forking paths." she replied” - Garden of forking paths, Fictions
Garden of forking paths “From the rear of the house within a lantern approached: a lantern that the trees sometimes striped and sometimes eclipsed, a paper lantern that had the form of a drum and the color of the moon. A tall man bore it. I didn't see his face for the light blinded me. He opened the door and said slowly, in my own language: "I see that the pious Hsi P'êng persists in correcting my solitude. You no doubt wish to see the garden?" I recognized the name of one of our consuls and I replied, disconcerted, "The garden?" "The garden of forking paths.She replied” Jose Luis Borjes, Garden of forking paths, Fictions
03
Artificial gardens of Khulna 2016 . Architectural Association
03 This project is a speculative solution, projected for 2022, regarding the issue of cyclones and catastrophic floods in the villages at the border of the Mangrove forest (the Sundarbans) south of Bangladesh.
Changes In the surface of the landscape, non permanent elements
The situation there is that every 5 to 7 years the swampy land gets devastated by a cyclone, demolishing all the small villages in the area. The problem is that due of the increasing effects of climate change this will keep on happening more and more often. The inhabitants of the land, the Mongla people are Hindu tribes who live from what the land offers. Every time there is a cyclone they have to hide for 3 days inside the cyclone shelters provided; spread and positioned ever 1.5 km radius along the land. When the storm has passed they reconstruct their homes, agriculture and rice fields from the traces and landmarks of what was left after the catastrophe. In order give a solution to this problem, to avoid this constant lost and reconstruction of the villages, the ONU provided a village made of elevated concrete houses, strong enough to resist strong storms and cyclones. Now days this village is abandoned. The tribes of the Sundarbans refused to live there giving more importance to the relation and the proximity they have with their land. Observing and learning Country of Bangladeshfrom this fact I designed my project. The aim of this project is to provide a solution that can be beneficial for both the land and its inhabitants. The artificial gardens are this series of structures, where the tribes will be able to use as agriculture fields that won’t get flooded due that they are slightly elevated. At the same time the structures provide little spaces to place some of the seeds that grow in the structures. Like the mythological animal of the Fenix, when there is a cyclone, the seeds inside the structures will spread through the territory allowing some rebirth of the land.
District of Khulna
Diagram on how the shelter and the topography stay. Everything ese on top of the surfasce of the land changes over the years.
Mongla village
Cyclone Shelter
Population diagram, people, farm animals and shelters Cyclone Alia 2008
Sundarban Mangroocve forest
Land after the cyclone
Conditions of the village after the cyclone 0
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Year 2025
Year 2015
Year 2035
Spread of the seeds speculation Spread of the seeds speculation
Cyclone Map on how the seeds spread Spread ofsimulation; the seeds speculation
Overall view of the gardens sorrounding the shelter
Common owers that will be spread
Due that the only two things that stay after a cyclone are; as the manmade the strong concrete shelter and as the natural the topography, this architecture wants to be a blend between this two. A clearly manmade steel structure inspired from the abstraction of topographical lines of the surrounding terrain. The structure, as well starts from the direct surrounding of the shelter, but as it expands trough the lad it penetrates to the closest villages. Acting like a path, this structures want to becomes lines of reference, in order that when the moment to reconstruct the town comes, this axes could be used as guidelines to preserve their collective territories.
Spread of the seeds speculation
Common owers that will be spread
Common Common owers that owers will that be spread will be spread
Spread of the seeds speculation
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in structure sorrounding the shelter
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ESQUEMA INTERVENCION Puentes - Conexión Peatonal - Reubicación Quonset Hut
Competition Entry MNHN Santiago Chile Área de Ingreso y Descripción de Colecciones - Cercana a Áreas de Deposito
Edificio Nuevo - Area Administracion Parque - Espacio Publico
Subterráneo para Depositos - Independiente a Estructura de Hangares
SIMULACION ESTRUCTURAL
32
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21
ESQUEMAS CLIMATICOS
Ju
nio
This project is a competition where I and a team of 2 architects, Gabriela Medrano and Hanes Osvald proposed this project for the construction of the new storage space for the MNHN, the Museum of Natural History of Santiago. The space where the competition was proposed was 3 warehouses and the area around it that used to be the city airport in the 80’s. What the museum wanted was a storage space for its taxidermy collection as well as a series of office and research lab spaces. ESQUEMA BIOCLIMATICO INVIERNO
85° -
ESQUEMA DE EMERGENCIA
iembre 21 Dic
Escalera de Escape Edificio Nuevo
Recorrido de Escape desde Segundo Salidas de Escape en Primer Piso
Sistema de Extinción de Pre Acción Sistema de Extinción de Sprinkler
Sistema de Extinción de Gas FM 200
ESQUEMA BIOCLIMATICO VERANO
IMAGENES DE REFERENCIA Renzo Piano Maison Hermes 2001 Tokio
ESQUEMA DE FUNCIONES
We started the idea of recycling this abandoned space only when we visited the site and discovered an unexplored treasure in it. From here the project became an exploration on how to bring this old desolated structures and spaces back to life without removing the strong aesthetic of its essence. This 3 warehouses become the place where the museum will keep its most precious treasures; the collection of taxidermy. Inside this old beast of steel a mechanical transparent vitrina elevates keeping all the props in it. Area de Ingreso y Descripcion de Colecciones Area de Laboratorios y Oficinas Deposito Colección Seca
Deposito Colección Humeda Depositos Tipo
Oficinas de Administracion Auditorio - Biblioteca
Control de Acceso - Extension - Cafeteria
Lina Bo Bardi Ladeira da Misericordia 1987
ESQUEMA DE CIRCULACION
Control de Acceso a Todos los Edificios
Circulacion vertical - Edificio Administracion Conexion Peatonal Todos los Hangares
Conexion entre Laboratorios y Depositos
Desembarco de un cobertizo Quonset en Japón, años 40
Conexion Anden de Carga y Depositos Anden de Carga y Descarga Circulacion vehicular
This project highlights the aesthetics of the Hangars keeping them as autonomous pieces, one next to the other and connecting them trough the old Quonset Hut, whom where scattered along the area and whom we didn’t want to throw. The hangars are also connected by an underground basement that trough this small round openings, inspired on the landing track for an airplane. Our proposal was to keep this 3 spaces and recycle as much as possible of all the warehouse structures in order to construct our space, as well as trying to convey all the office spaces the competition required in a small translucent tower. Keeping the maximum space unbuilt, this way it could be transformed in a green park. The park becomes the element that links all the interventions at the same time it can be used by the community who live around it and the workers itself. Area de Estacionamientos
Concebimos el hecho de re utilizar algo abandonado solamente cuando detectamos en el un tesoro inexplorado y del cual queremos ser dueños.
ESQUEMA DE MATERIAL
Volumenes Nuevos - Hormigon con moldaje ondulado
Cerramientos Nuevos - Estructura metalica + Aislacion + Revestimiento Metalico Cubierta Nueva - Panel con Aislacion - Terminacion Plancha Metalica Estructura Original Quonset Hut + Revestimiento Ondulado
Cerramiento Vidrio - Luz Natural Area Laboratorios y Oficinas
Donde guardamos nuestros tesoros mas preciados parece ser la pregunta a responder en esta oportunidad, en una cárcel de acero o en una vitrina frágil pero a la vez majestuosa y orgullosa de todo lo conseguido.
Nuevo Edificio - Estructura Hormigon + Revestimiento Ladrillos de VIdrio
Proponemos solucionar problemáticas especificas con estrategias mínimas y claras, un parque, dos puentes y una torre. El proyecto propone potenciar la estética e identidad de los hangares, eliminando todas las intervenciones posteriores a su origen puro, manteniéndolas como piezas autónomas, a los que se incorporan nuevas piezas, una a cada uno de sus lados, de menor altura y nuevos materiales que permiten generar un lenguaje unitario y a la vez contemporáneo, necesario para una renovada identidad. Conectados para los nuevos usuarios mediante dos puentes Quonset Hut en segundo nivel y en subterráneo para el desplazamiento de la carga a almacenar en los depósitos. El acceso al proyecto será desde una nueva pieza que responde a su emplazamiento y a su futuro entorno, una pequeña torre de vidrio que brilla en la noche convirtiéndose en un nuevo hito del lugar. Todas estas nuevas piezas se unen con los hangares originales a nivel de suelo mediante un nuevo parque.
ESTRATEGIA DE PROYECTO
Conectar los hangares originales en segundo nivel mediante dos puentes en los que se reutilizaran los tres Quonset Hut.
Conectarlos los nuevos subterráneos de los depósitos, mediante un recorrido directo separándolo de la estructura original de los hangares para no modificar su estructura.
Nueva pieza. Responde a la velocidad de la autopista con la que limita. Recoge la altura de los nuevos edificios de vivienda vecinos. Espacio publico unificador del proyecto, con identidades particulares –Área de simulación de excavaciones arqueológicas y paleontológicas, patio de Cedros del Líbano, arenal de juegos infantiles y patio de especies nativasMODELO DE ESTUDIO
PLANTA DE EMPLAZAMIENTO Y TECHOS ESC 1.750
Mandante
Thank you