PORTFOLIO_ELENA BALAGUER GERMÁN_2021
ELENA BALAGUER GERMÁN
architecture intern
+34 664329129 elen.bg98@gmail.com Madrid (Spain) I am keen on looking for innovative solutions to contemporary problems while learning from other disciplines, people and cultures. I am a creative and hard-working student willing to expand my experience in architecture studying different points of view, hence I enjoy working in multicultural teams, as well as on my own. Besides being resourceful and adaptable, I am very committed to every project I embark on and I consider myself to be responsible, sensitive and passionate about my work.
sep 2016 - now
Universidad Politécnica Madrid Architecture student at ETSAM
jul 2021
Reuse Italy Reuse the Ruin summer workshop HarvardX GSD1x | edX The Architecture Imagination course
apr - jun 2021
feb - mar 2021
offmiauacademics BIM and Grasshopper courses
sep 2019 - jul 2020
Technische Universität Graz Erasmus + scholarship
sep 2017
FamaLab Workshop with Emilio Tuñón
Technische Universität Graz mar - jun 2020
Student Assistant at Institute of Architecture and Landscape
Smooth Hot Jazz
mar - apr 2019
PR for art event
OpenHouse Madrid
oct 2018
sep 2016 - jun 2018
Collaboration with Agencia Tattica for soon XV Bienal Española de Arquitectura y Urbanismo Exhibition “Save the Ruin: Castelvecchio” San Gimignano Town Hall, Italy
soon
“Energy Design. Learning from Hotels. Vol. VI” Institute of Buildings and Energy, TU Graz
jul 2020
Open Exhibition Masterstudio ”The Fantástico: a Pavillion for Mexico City. Acclimatizing the Public Domain” Institute of Architecture and Landscape, TU Graz
jan 2020
Exhibition with Grupo 4 in ETSA, Seville
jan 2018
Spanish
Native
English
Profficiency C2 (210/230) CPE by Cambridge Assesment English
German
Intermediate B1 currently studying
French
Preintermediate A2 self learnt
Volunteer
Freelance Teacher
for high-school students
Rhinoceros
Grasshopper
V-ray
Adobe Suite
Office package
Model making
Analog film photography
Communication
AutoCAD
BIM Revit
Blender
GIS
Pottery
Sketching
Digital photography
Time management
issuu
linked-in
WORK
Madrid 2021
Index
1
Tesselate
2021
in colaboration with Caroline Scheck, Nicole Edwards, Sílvia Prujà and Raquel González Proffesors: Davide Lucia, Andrea Crudelli, Emanuele Carrai
9
2
(Re)activa Lavapiés 2021
13
3
B-Leap Berlin 2020
17
4
Duna 2020
23
5
Area d’esplai del Pantá de Sau 2019
31
6
Climatic analysis of Seville’s Alcázar 2019
37
Sika Competition 2017
41
Further interests
45
7 8
Proffesors: Jesús Aparicio, Héctor Fernández, Carlos García, Jesús Donaire
Proffesors: Carina Kurz, Roger Riewe, Eva Kuss, Jörg Schröder
Proffesors: Silvia Benedito, Christoph Solstreif-Pirker, Biljana Nikolic
Proffesors: Paula Montoya, Victoria Acebo, Luis Diaz-Mauriño
in colaboration with Belén Barrionuevo and Celia Chacón Proffesors: Silvia Benedito, Christoph Solstreif-Pirker, Biljana Nikolic
in colaboration with Carmen Ortiz-Cañavate, Celia Urbano and Fernando Medina Proffesor: Atxu Amann
TESSELATE 2021
1
in colaboration with Caroline Scheck, Nicole Edwards, Sílvia Prujà Maya and Raquel González de la Arada Proffesors: Davide Lucia, Andrea Crudelli, Emanuele Carrai
The mystery of the ghost-town of Castelvecchio, near San Gimignano, Italy, arises the question of reusing heritage and resignifying it. In this case, we aim to bring life back to the town with an art center, which is a nurturing and safe space for both artists and visitors. This is achieved by connecting and enhancing the site and the natural environment through the inherent signs of secrecy imbedded in the ruins and its previous inhabitants, in protecting land, community and spirit. We created a strategy to inhabit the town in which facilities are designed for artist residencies, so they become the main character of the village, while an alternative route is directed for visitors, which respects the heritage as well as their privacy, thanks to an elevated pathway that never touches the ground floor, in which artists live. There are several landmarks that work as meeting places for both, some public spaces in which the two worlds meet.
9
1 entrance tower 4 cafés
2 auditorium
1
2
3
4 cafés
6 dwellings
5 ateliers
3 common working space
2 auditorium
1 entrance tower 4 café
7 exhibition hall
8 viewpoint
Castelvecchio for artists 5 private ateliers
3 open atelier
2 auditorium
1 entrance tower 7 exhibition hall
8 viewpoint
Castelvecchio for visitors
5 atelier
8 viewpoint
6 dwellings 8
4
7
(RE)CONECTA LAVAPIÉS 2021
2
Proffesors: Jesús Aparicio, Héctor Fernández, Carlos García, Jesús Donaire, César Jiménez de Tejada
Madrid’s Lavapiés neighbourhood has suffered from unplanned growth for centuries, resulting in a hyper-dense area with questionable housing and little public space, which has a negative influence on the lives of its inhabitants, most of whom are migrants. This is why the project aims to create a healthy urban habitat that is inserted into the existing and reinterprets it. To this end, in its first phase, the currently empty dwellings will be converted into public spaces and facilities for the residents. In the second phase, structuring elements are inserted that reorganise the communication nuclei and interior circulations, as well as adding green and quality areas for the development of the community. With this, a process of opening and permeabilisation is achieved on the ground floor and in all heights to improve the neighbourhood without causing any nuisance to its inhabitants.
13
El objetivo es conseguir manzanas mixtas de viviendas, espacios productivos, comerciales y dotacionales. Misma densidad, mayor intensidad y mejor calidad.
local <20 m 2 local >20 m 2 exterior interior pasadizo entre calles
público prolongación de plazas
planta alta
planta baja
(RE)CONECTA LAVAPIÉS es un proyecto de cirujía arquitectónica en el que tras un intensivo análisis, se detectan las necesidades de cada zona y se insertan en lo preexistente con mínimas intervenciones. Esto se complementa con los nuevos núcleos cuyo impacto es de mayor escala. última planta número de ventanas balcón terraza exterior número de habitaciones interior número de baños dotación para el barrio
invernadero
privado
semi comercio
oferta de viviendas en venta
vivienda pública
coworking
planta general del ámbito de actuación
axonometría nuevo núcleo
B-LEAP BERLIN
3
2020
Proffesors: Carina Kurz, Roger Riewe, Eva Kuss, Jörg Schröder The aim of B-Leap is to generate an innovative and creative enviroment in the Technishe Universität Berlin campus, where students, entrepreneurs, proffesors, workers and berliners share the public space and build a community. For so, the main principles of the design are to attract people to catalyze social interactions while maintaining urban permeability. This provides continuity between the inside and the outside, and links inhabitants to nature through green areas, which are heavily implemented in the design. Another crutial point is laberintic and maze-like appearence, where one feels almost lost and disoriented, which developes the intention of wanting to discover what is behind. This creates a liquid space, where open spaces and atriums produce a city within itself, which holds a hybrid programme with research, development, fabrication, meet-up and co-living spaces.
17
light plays a very important role, not only because of the different courtyards that configure the whole project, but also with the use of the shadow. Shaded areas are utilized for comunicaction cores and specific functions. visual connections public-public gradient of privacy as one climbs up concrete+vegetation+glass although the interior distribution may seem complex and maze-like, there is a clear circulation path, held by a hidden structure. in between spaces are not dead!!
28.35 27.70
1
2
3
5 6
4
7 8 9
10
12 11
26.90 13
constructive detail 1 1- crowning plate 2- concrete plate 3- soft insulation 4- prefabricated concrete parapet 5gravel 6- waterproof layer 7- vapor barrier 8insulation 9- concrete sloping 10- floor slab reinforcement 11- main beam 12- drop ceiling for instalations 13- glass façade
25.50 25.20
1 2
4 5 3
6
7
17.20 8
16.00 15.70
constructive detail 2 1- pillar 2- pillar reinforcements 3- main beam 4- lightweight concrete floating floor 5- floor rebar lapping 6- beam 7- floor slab reinforcements 8- drop ceiling for instalations
1
2
1
2
13.20
4
3
9
11
10
5 6 7 8 7 12
12.00 11.70
13
constructive detail 3 1- glass façade 2- pillar 3- outdoor lightweight concrete floating floor 4- lightweight concrete floating floor 5- waterproof layer 6- insulation 7- floor rebar lapping 8- floor slab 9- dimpled sheet 10- insulation 11- crowning beam 12cavity slab 13- concrete footing
1 2 4
6
4.00
7
3.70
5
3
8
14 13
9
10
11
12
constructive detail 4 1- pillar 2- glass façade 3- crowning beam 4- lightweight concrete floating floor 5- floor slab 6- floor rebar lapping 7- cavity slab 8- concreting joint 9- concrete footing reinforcement 10concrete footing 11- rebar lapping 12- sill 13waterproof layer 14- insulation
-1.50 -2.15
coworking
lounge and sitting
kitchen
lights booth
logistics
café
manufacture coworking
lounge and sitting
coworking coworking
lights booth café
coworking
3D printing and laser cut workshop
level 1
coworking material labs
kitchen
terrace
terrace coworking prototype trials
space for events
terrace
terrace
coworking
bar
coworking
space for events bar
terrace terrace
coworking
workshops
ground level ground level
ground level
level 2
packaging
coworking
terrace
terrace
lounge area terrace terrace packaging
coworking coworking
coworking terrace
terrace
lounge area terrace
lounge area
ea
terrace
level 3 coworking
lounge area terrace
level 3 coliving common room
on coliving common room common room
flexible eting rooms
common room coliving
flexible meeting rooms
lounge area
common room coliving
common room
lounge area
common room
level 5 level 5
level 4 4 level
DUNA
4
2020
Proffesors: Silvia Benedito, Christoph Solstreif-Pirker, Biljana Nikolic Through an extensive research about Mexican history, culture, art, architecture and landscape, the beggining stages of the project were developed writing a narration of how the space must be perceived. There were three main principles extracted from this process, which were rainbow as a spatial element, the passage of time and the desertification problem given in the North of the country. These ideas are materialized in Duna, a pavillion proposal for the Mextrópoli competition. It consists in a quartz-sand dune, which changes its shape with the wind and its use, throughout the month of exhibition. On it, rainbows are projected, which also vary depending on the day and time. This is possible thanks to a quartz sculpture with different prisms that are placed so they are aligned with the sun possition, comprehensively studied. Sand is a cheap and abundant material in the coastalregions of Mexico, while the quartz prisms will be used as a ‘precious stone’.
23
zona Pabellón MEXTRÓPOLI / MEXTRÓPOLI Pavilion area
Duna
Duna pone de manifiesto las acciones de la naturaleza y trata de disolver la barrera entre esta y lo urbano, como recordatorio de que el ser humano siempre está expuesto a los cambios atmosféricos y del paisaje. Para ello se emplea una montaña de arena de sílica, el resultado de la erosión del cuarzo, que lleva de una manera muy visual la problemática de la desertización, especialmente del norte de México, al centro de la capital. A lo largo del mes de exposición, la arena se iría expandiendo de norte a sur, la dirección predominante del viento en ese período, mostrando el paso del tiempo con las dimensiones cambiantes de la duna. Se crea a su vez un atractor de espectadores, un candelabro formado por prismas de cuarzo de diferentes inclinaciones que refractan la luz solar, produciendo distintos arco iris a lo largo del día.
Esta estructura está elevada 4 metros del nivel del suelo gracias a un pilar inclinado empotrado en una base de hormigón, que la separa del dominio público. De esta forma, se obtiene un reloj de sol que refleja el paso del día. Se consigue una continuidad matérica ya que el mismo elemento, el cuarzo, estaría expuesto de dos diferentes formas. Duna está contenida en una estructura de madera, que la rodea y que proporciona espacios de sombra y asientos que favorezcan la contemplación, al tiempo que enmarca el proyecto. También protege el pavimento de la calle y evita en cierto modo que la arena se salga de la zona de actuación, aunque el hecho de no poder controlarla hace que no se quede en una mera representación sino que llegue a la cotidianidad de los viandantes.
Norte
Dirección predominante del viento
7
6
Atardecer
Amanecer
20 abril
20 abril 6
18 7
17
1 abril
16
20 marzo
8 15
14
13
12
11
10
9
1 abril 20 marzo
Sequence Sequenceofofplans_ plans_2020April April
Composición del candelabro
mediodía
9:00 9:00
10:30 10:30
12:0 12
5 10
4
130 10
3
65
2 1
12 45 6 75 10 15
Constructive detail 3_South wall section
Sur
Constructive detail 2_North
1_wooden beams of 10x20cm, 2_reinforcement of the structure for the chandelier, 3_wooden panels, 4_bench, 5_base of the chandelier, 6_cylindrical pillars with 4cm diameter, 7_roof of 70cm width
1_wooden beams of 10x20cm, 3_woode
Sequence Sequenceof ofplans_ plans_20 20March March
9:00 9:00 9:00_20 de marzo
10:30 10:30_20 de marzo
12:00 12:00 _20 de marzo
13:30 13:30_20 de abril
15:00_20 15:00 de abril
16: 16
0,7
1 6
5,8
8,8
0,1 0,9
2,45
0,8
1,15
1 12:00
0,4
0,4
0,2
0,4
3 1
3,55 3,75
section
els
1,7
0,2
16:30_20 de abril
10
10
Norte
2
0,45
AREA D’ESPLAI DEL PANTÁ DE SAU
2019
Proffesors: Paula Montoya, Victoria Acebo, Luis Diaz-Mauriño The ‘Area d’esplai del Pantá de Sau’ project does not seek to rehabilitate the church, which is underwater for half of the year. The project does not seek to reactivate the area or to inhabit the surroundings. The project is about the drowned memory, about the forgotten villages under the great reservoirs built during Franco’s regime. The main idea is to enhance the value of what once had it and yet was destroyed and forgotten. The ruin.
5
The spectator arrives at a recreational area known for the kayaking and paddle-surfing in the river Ter. It is night-time. Something is happening in the swamp. There seems to be light underneath, as if the streetlights of a submerged village. And amidst, the imposing bell tower of a 9th century Romanesque church. The tour begins in the morning. One arrives by water, of course, and access a floating platform, which is anchored to the tower and varies its height with the water’s. One enters through one of the eight upper windows, goes down the stairs and arrives in a ruinous space, with dim light, and stone-cold walls. There are holes in the wall from which the black water of the swamp can be seen, only illuminated by luminous buoys. There is nothing there. The purpose of creating this space is to represent what was left of more than 500 villages in Spain by the imperious need to develop infrastructures for city supplies, while altering the natural course of a river. It is a memorial. The memorial of Sant Romá de Sau. It is the memorial of submerged Spain.
31
CASA DEL RAMADER
CAL SABATER
CAMPANAR
CASES DELS OBRERS
CASA DEL SASTRE
carrer mareja plaça major ESGLÉSIA
carrer seient
carrer ferrer RECTORIA DEL CURA
LA MAREA
camí del pont
ESCOLA
RECORDAR REHABILITAR REVIURE
L'ESGLÉSIA A L'HIVERN
L'ESGLÉSIA A L'ESTIU
RESTITUCIÓ DE L'ESGLÉSIA
COM SONEN LES CAMPANES SOTA L'AIGUA
VISTA INTERIOR
NAU
FALS CEMENTIRI
RAVE CLANDESTINA
PASSADÍS SECRET
També baixa el nivell de l'aigua de l'Pantà de Sau uns 15 metres, i deixa a l'descobert les ruïnes del que va ser el poble de Sant Romà de Sau. El que sota la presa eren llums difuminades i misterioses, ara es perceben gairebé com els fanals de la vila, com si sempre haguessin estat ancorades a terra. S'obren les finestres que aïllen l'església i el campanar perquè es doni la ventilació i es recuperi la condició de ruïna no tocada.
CONTENCIÓ DE TERRENY TERRA ARMADA
En la mateixa línia de mínima intervenció aparent, es dissenya un sistema de contenión de terreny, basat en la terra armada. És a dir, primer es buida el terreny i després es col·loca per tongades que es compacten i s'armen amb geotèxtils a manera de malles ja que deixen passa l'aigua però no les arrels de la vegetació. Ja es poden celebrar les revetlles al poble, ja es pot passejar entre ruïnes i fang ... Però les nits de lluna plena, segueixen sortint llums estranyes i sorolls que fan retrunyir tota la vall ... Surten de l'cementiri ... on segueixen enterrats els morts de la vila ... ningú sap res
SISTEMA CONSTRUCTIU
PLANTA D'ACCÉS
PLANTA BAIXA
PLANTA SOTERRANI
SEVILLE’S ALCAZAR CLIMATIC ANALYSIS
6
2019 37
in colaboration with Belén Barrionuevo and Celia Chacón Proffesors: Silvia Benedito, Christoph Solstreif-Pirker, Biljana Nikolic
Islamic Architecture is characterized by maze-like paths, even inside the buildings. Several screens are superimposed with light architectures with the aim of creating a fragmentated and separated space, as well as hiding limits. Privacy as the idea of seeing without being seen, and mystery are seeked through a stratified and abstract spatial condition. It is very common to find conexions that are not direct, but require a zigzagging movement. This is to emphasise these effects and for defensive purposes too. The thick and ceramic walls are shaded for most of the day and its thermal mass stays cool, even in the hours of most heat, in which the space stays with a fresh temperature. This process is called radiation cooling and forces the air conversion to keep a constant atmosphere. Adiabatic cooling happens in the water tank and in the soil of the trees, as they are the most humid surfaces and are all exposed to the most direct sunlight. The water is heated and evaporated. This vapor makes the surrounding air move, so the warmest air goes up and only the cooler stays near to the ground, due to the process of air bouyancy. The crossed ventilation of the courtyard is favoured by said movement.
warm seasons from march to september 20ºC / 9ºC spring 34ºC / 19ºC summer 45% humidity
days / per month
cold seasons from october to february 26ºC / 14ºC autumn 17ºC / 7ºC winter 65% humidity
days / per month
ISLAMIC COURTYARDS El patio de las Doncellas, Real Alcázar de Sevilla
20 0,
Islamic Courtyards’ main principle is to represent the paradise described in the Koran as an oasis in the middle of the desert. To achieve this, the focus is to please the five senses. There needs to be geometrical shapes made with vegetation or architecture to please the eyes. There needs to be water running and birds chirping to please the ears. There needs to be aromatic plants such as jasmine and rosemary to please the nose and fruit trees for the mouth. Lastly, a comfortable atmosphere should be created to please the touch. An enclosed micro-climate with a domestic scale utilizes all the elements mentioned before to create a space with constant and fresh temperature and humidity. This typology is repeated in mosques, palaces -charbaghs- and suburban villas -riads- throughout Arabia, the Southern Mediterranean Sea and Spain.
1 .2
0λ
cer
am ic t
ile
Elena Balaguer, Belén Barrionuevo and Celia Chacón Integral Design Studio_LandLab: CASE_ The Fantastico
of ro
The white plaster finish in light colors, white mainly, is commonly used in the Mediterranean region to increase the albedo as it prevents radiation from entering indoor spaces.
The courtyard is rectangular and the shortest side is the one oriented east-west in order to avoid the direct light in the hottest hours.
4h
60º
4h 30º
De
cem
1 ber
une 1
22
Al-Andalus was a province of the Islamic empire, located where today are Spain and Portugal, that went on from 727 until 1492. The Royal Alcazar of Seville was initially built around 914 in the Omeya period, and was refurbished in the Almohade period, even though nowadays it is a later contruction of the Christian kings in the site of the fortress. El Patio de las Doncellas -the Courtyard of the Maidens- preserves its original state in spite of the Renaissance arches and columns on the first floor. For more than 400 years, the original pavement was covered with marble tiles, until 2002 when the tree pits were rediscovered. On the ground level, the guest rooms were located, whereas the top floor was for private use of the caliph and his family.
22 J
The plaster ornaments in the shape of arches and domes create air cycles in order to keep a constant room temperature.
The minimal shadow offered by the orange trees allows that the cold air bag stays in the courtyard.
0.85 λ adobe brick wall 0.80 λ white plaster finish
Water is always used to make a humid atmosphere as well as a soothing sound.
ra
e
c mi
bl
3.50 λ thermal conductivity
es
ce
r ma
d re
ite Marble has a higher albedo but it is placed in the gallery floor which is shaded most of the day.
tre
25
wh
0,
5
15
0,
0,
The trees do not interrupt the view of the architecture while being a covering element.
The materials utilized show low albedos and bright colors surfaces as they absorb lower rates of radiation and are less likely to preserve the day temperature.
1.30 λ thermal conductivity
The orange trees very common in Seville, are located in the lowest symmetrical ditches, so they are not only used as a shadow element but as a temperature and humidity regulator.
1 λ thermal conductivity
The solid brickwork walls create the thermal mass needed for the radiation cooling as the section width and material properties release the cold air kept for being shaded throughout the day.
SIKA COMPETITION
7
2017 41
in colaboration with Carmen Ortiz-Cañavate, Celia Urbano and Fernando Medina Proffesor: Atxu Amann
FURTHER INTERESTS
45
8
Photos of pottery pieces made with red and white clay on a pottery wheel and modelling in 2021 in Madrid
Analog film photos taken in CanonEXEE QL, Kodak Color ISO 200 film in 2020 and 2021 in Spain, Portugal, Italy and Austria
Elena Balaguer Germán +34 664329129 elen.bg98@gmail.com Madrid 2021