F ESCOBAR
Architectural Portfolio 2016
To the ones who have belived in me
During the time that I have traveled this road I have noticed a transformation in the way I experience life. My understanding of people and their relationship with space has changed. I see myself as an apprentice of architecture.
Curriculum Vitae 2016
01
The basics
What do I want?
Name Birth Date Telephone Number Cell Phone Number E-mail address
Felipe Andrés Escobar Ramos May 21 1988 52 81 83 399 808 52 81 1 (818) 253 7310 felipe.escobar.ramos@gmail.com, felipe@cafedearquitectura.com
City
Monterrey, Nuevo León, México.
Its been a while, right? University: High School:
2006-on course 2003-2006
ITESM Campus Monterrey ITESM Campus Cumbres
Architecture related activities October 2014 Host.
Habitar y Transformar la Realidad book presentation. Monterrey International Book Fair 2014
August 2014 Speaker.
Architects income: duties and fees. General Assambly from the Architects College.
July 2014 Moderator.
Conversations about compact city. Design Market organized by Stilo Magazine
June 2013 Organizer.
Ciudadanomia. Urban conversations to improve city understanding.
ITESM 2011 Participant.
Workshop with architect Paulo Durao. Exploration of the house qualities.
ITESM 2010 Participant.
Workshop with architect Solano Benitez. Excersise about the relationship between the university and the city.
I am looking to solve problems, specially the ones related to the processes involved in architecture. Since conceptual design to construction drawings, from project management to business operation strategies.
What might interest you Spanish English Goal oriented Easy going Patient Committed Determined Willing to learn Autocad 2D, 3D Autodesk Viz (rusty) 3D MAX (rusty) Photoshop Ilustrator InDesign Sketshup Revit (rusty) Rhinoceros Grasshopper Wooden models
GET SHIT DONE
Sí Good enough
100%
Architecture Experience
Architecture competitions
July 2015 - December 2015 Assistant Architect
CEBRA ARCHITECTURE Leading architect: Mikkel Frost, Flemming Sven
July 2014 Collaborator.
ARKRAFT Callejón VV project
December 2013-September 2014 Collabotator.
OFICINA DE ARQUITECTURA Baseball museum project.
March 2013 Collaborator.
IMPLANc DE MONTERREY + THINK THANK LAB. C Parque en el Barrio tachtical urbanism project.
Established 2013 Founder and partner.
CAFÉ DE ARQUITECTURA Research Oriented Studio
April 2011 - April 2012 Designer.
SAUTHIER-LEAL ARCHITECTS Head manager: Architect Valerie Sauthier
Agust 2009 - April 2011
FREELANCER ARCHITECT
August 2008 - 2009 Designer.
TIERRA URBANA General Manager: Architect Alejandra Herrera.
September 2007 - January 2008 Projects Department.
INMOBILIARIA GRUPO ESTRELLAS DE ORO General Manager: Lic. Rogelio Arrambide.
August 2006 – June 2007 Projects Deparment.
GRUPO PROTEXA General Manager: Architect Marco Antonio Jiménez Verduzco.
Sharing some knowledge
2013 2012 2011 2010
2009 2009
Publications October 2014 Archdaily Mexico, Codigo Web Magazine: Memorial 25A Project. February 2014 Residente Magazine: Potenciales de fundidora project.
Exhibitions August 2010 Forum Revive San Gilberto Intervention.
Professor at ESADI University (Escuela Superior de Arquitectura y Diseño)
Cool stuff
Class 2016
2012
Anthropometry, ergonomy and biomecanis.
Professor at CEDIM University (Centro de Estudios Superiores de Diseño de Monterrey) Atelier 2015 Class 2015
History and Theory of Architecture IV. Architecture 101.
2012 2012 2011
Not all about architecture 2012
Vice-president Latidos Student Association.
2011-2012
Design, development and general manager of the program for child support “Uniendo Latidos”.
2009-2011
Coordinator at the community social service program for child support Cuidando sus pasos at Ministerios de Amor foster home.
SFFDH San Francisco Strip Mall Competition, McMurray, Alberta, Canada. Final stage. Architecture Forum “Arquitectura Ambulante”. 2nd prize. Congreso de Arquitectura 1:100 “Condominios Constitución” Final Stage. Cátedra Luis Barragán “Plaza Bicentenario” Arquine “Las Torres de Satélite”
High Performance Talent Diploma. Youth Service Award. Tu servicio con sentido best social service nominee for Uniendo Latidos Program. Latidos group volunteer of the year.
References at request
WORK INDEX 00 01
Statment Curriculum Vitae
Projects
Essays
02
Memorial 25A Citizen Inititive / Cultural
08
Towards a New School of Architecture
03
Colective Thought Architecture Forum / Tacthical Urbanisim
09
Architectural Criticisim in Monterrey: Situation and Possibilities
04
Museo Itinera Traveling Pavillion Human Rights NGO / Cultural
10
Towards a New Architecture College in Nuevo Le贸n
05
Hacienda Dolores Private Client / Restoration Proejct
11
Architecture Crisis: A Matter of Communication
06
Sustainable Housing Project Private Client / Living-Investment
07
CoCo-Condominios Constituci贸n Architecture Competition / Urban
--
Other Projects
Projects In my work there is not a specific investigation of form or language, there is just an exploration in different topics of what I think architecutre can do in a given situation.
Memorial August 25 Design Team: Felipe Escobar, Carlos Diosdado, Caterina Russildi
02
TO OPEN THE DOORS Casino Royale
Dark Memory
Closed Doors
People
Background The attack on Casino Royale took place August 25, 2011, where a total of 52 people lost their lives. For the city of Monterrey and the victims’ families this was a tragic episode which represented the presence of corruption and organized crime in our society. The Human Rights Commission declared the construction of a memorial to honor the victims of the event; more than a year later (May 24, 2013), government officials presented two very disappointing proposals for the project which resulted from a public invitation to local architects and artists to pre sent their designs for the memorial. Nobody participated. A few weeks after that Café de Arquitectura was contacted to talk about the project and proposals. While debating, the idea of a public contest comes up but due to the closeness of the second anniversary the families decided to make a direct request to the studio, who accepted and delivered a proposal 1 and a half months later, at no cost.
52 Dark Memory
Open Doors = People
Architectural elements:
a) Memorial (monolith+52 doors) b) Base c) Pedestrian walk d) Central reserve Av. San Jerónimo e) Road surface-Texture
a)
Proposal The project’s core idea was to envision a space worth of remembrance that would invite people to reflect upon it and emphasize the importance of citizenship in our social development. The project is formed by two main elements: the monolith with a volume of 5m wide x 25 m long x 21 m tall. The dark memory of the attack is referenced with the material, color (black), and illumination of the monolith. The second element is what ties together the proposal with the main problem of the event: the emergency doors. (Due to a lack of equipped emergency doors, the people inside were unable to all get out safely in time.) In the project, 52 moving doors pierce the monolith letting light in during the day and illuminating the outside at night. This is how the victims are now a symbol of light in our dark days, of freedom and cooperation with which we are constantly reminded of the work we still need to do both as individual citizens and as a community.
d) b) c) e)
c) 12
The site
DR. JESÚS MA . GONZ ÁLEZ
The best place to build a memorial is in the site of the event. Casino Royale, being private property was not a viable alternative, with legal and political matters getting in the way. Local authorities presented different sites across the city, the majority which were the strips of highly transited highways. One of them was chosen for its location, in front of Casino Royale, even though accessing it would prove difficult to resolve. The proposed project intended for pedestrian traffic to increase and possibly make the area more walkable, thus further developing into an active commercial corridor at a human scale.
G rou n d floor 0
C ASIN O ROYAL E
A V.
Loc ation map N
13
0
5
10
25
50 m
SAN
JERÓ
N IM
O
1
5
10 m
Drawings
Long Sec tion
Nor th elevation
South Elevation
15
Cross Sec tion
West Elevation
East Elevation
Outcome On August 14, 2014, Café de Arquitectura was still looking to promote the project when they received a call about a newspaper article. The note explained how the victims’ families had approved the construction of another project in the same site as Café’s proposal. This new project had some very obvious similarities in its representation with the August 25 Memorial, however, the main problem was the lack of detailing and wasted potential in a project that could have become an emblematic icon in the city.
16
03
Collective
Thought Tactical Urbanisim / Architecture forum Design Team:
Felipe Escobar, Laura Rojas, Rodrigo Elizaga
La azada de la voluntad abre surcos a la tierra reseca, a los desérticos días de lo cotidiano esfera cubierta de aridez con capas de represión infinitos anillos de cordura entrelazados a lo prohibitivo es el tiempo quien prensa la esfera, el tiempo de los días que moldea los pensamientos... ajustan las ansias y atan el vuelo de las mañanas... abro surcos a la tierra sedienta con la azada dentada por el camino recorrido… Maria Varu
Main idea
+ Individual
= Isolated Thought
+
= Group of Isolated Thoughts
Group of Individuals
+ Group of Individuals
Isolated Individual
Isolated Society
= Meeting place (Public space)
Integrated Society
Are we participants or are we spectators? This approach comes to analyze the existing problems of the city, focuses on society and aims to create reflection that takes its starting point the citizen participation. By arranging several Spheres in the Macro Plaza and culminating on an interactive zone, the project aims to generate a roust in which individuals can experience acoustic and physical isolations symbolizing todays culture, people can be immersed in their “bubbles” generated by different facts such as marketing, technology ( mobiles, iPods, etc), television, internet, etc; in which they are taken away from reality and turn them into apathetic persons towards the problems around them. The user, by entering in one of the Spheres, he can watch and be watched by people around them, but the physical barrier in between them would not allowed them to have an interactions, reinforcing the fact about loss of human touch and coexistence in todays society. Conversely, the interactive zone, stands out to give an integrated perspective about the place where one is standing, at the same time, inviting to interactions. Users in this zone can share and debate ideas, problems and objectives, in the pursuit to create a more responsible, integrated and competitive society Macro plaza and sphere’s location
18
Architectural Elements Sphere
Wooden pallets
Pallet 1.00x1.00 19
Pallets 1.00x1.00 (2)
Pallets Stair Arrangment
Pallets Block Arrangement
Pallets Group of Blocks
Meeting place specifications Drawings
Perspective
Meeting spot
Top view Scale: 1:75
Elevation Scale: 1:75
04
Museo Itinera Traveling Pavillion
Design Team: Felipe Escobar, Arq. Carlos Diosdado, Arq. Caterina Russildi
Background information The Travelling Pavilion is a project designed for Museo Itinera, a civil organization that promotes human rights in underdeveloped areas where economic, social, and educational inequalities are present. The decision to build a structure was to provide the organization with a multifunctional space where conferences, art expositions, and different cultural events could take place in an effort to promote their message to society. The entire process was challenging from the beginning, since time to design and develop the architectural project was next to none. The Pavilion was due for completion and exposition at an international congress in just a few weeks’ time. This left the design phase to run for about a week, taking into account the option of sponsorships and a $30,000 MXN as the project’s budget. Unfortunately sponsors were not available and the final budget was reduced in half, leaving it at $15,000 MXN. As a requirement, the pavilion was to be dismountable, the pieces transported in a pick-up truck and capable of being put together by a group of six people in no more than half an hour. It also needed to be made weather-resistant.
PROJECT REQUIREMENTS
Museo Itinera: NGO in charge to promote human rights.
Limited time: Project design and fabrication in less than two weeks.
Easily assemblage: Six volunteers in 30 minutes or less.
Limited budget: $15,000 mexican pesos or $1080 USD.
Project The final proposal was directed into two main ideas: first, the fabrication of a modular element which could be easy to assemble and coordinate into different configuration depending on the spatial needs. The design process was based on the experimentation of materials and forms, thus models, both digital and physical as well as a prototype on a 1:1 scale were being developed almost simultaneously. The need of a prototype was clear as the materials’ behavior needed to be determined based in a real context, the wooden frames, joints and systems were tested and the final product was perfected with the help of these explorations. The second notion was to utilize commercial materials with little to no alterations so as to make the fabrication process quick and cheap. Suppliers were found in a 1 km radius, where prices had a 400% disparity. Thanks to this research, the project’s actual cost was reduced and the budget alteration had no significant impact. In the end, six out of the twelve proposed modules were built as an initial investment, with the possible expansion of the structure as the organization’s funds grew.
Weather resistant.
Easily transportable: Using a pick up truck with not a specific dimension.
ARCHITECTURAL ELEMENTS
Possible configurations D A B
D
D
F
E
C A
Item A. No. 1 MSD Structural Wood B. Triply Board Treated for Exterior C. Oriented Standard Board (OSB) D. Plastic Board (Trovicel) E. Steel Framing Square F. Steel Tube Solid Plastic Wheel Bolt + Screw + Washer 23
A
Dimension 2” x 8” x 16 “ 4’ x 8’ x 1/4” 4’ x 8’ x 1/2” 4’ x 8’ x 1/8” 10“ x 10” 1” x 8’ 2” x 2” --
Quantity Per Module 2 1/2 1/2 2 1/2 4 2 5 --
Final Quantity (x6) 8 3 3 15 24 12 30 --
Idea to object
24
Hacienda Dolores
Restoration project Design Team: Felipe Escobar, Arq. Elisa Rubalcava
05
Background Hacienda Dolores is located southeast of Monterrey, about 20 miles of Cadereyta in the state of Nuevo León, Mexico. It is surrounded by a rich context with orange plantations, small communities and the San Juan River. The original construction is a rectangle of 5.50 m by 32.50 m and is dated to the year 1827. The architectural language is a reflection of vernacular northeastern values during the Spanish Occupation. Upon approach, the building’s severe state of deterioration is evident in different ways: the bearing walls made of 0.60 by 0.60 m blocks were broken off in several sections, the woodwork was weathered and the also wooden deck had collapsed on itself. Nevertheless, the design solution was particular to the region’s specific conditions: wide walls, double heights to control the heat, a wide rock foundation that served as the skirting of the walls, wood lintels on doors, small windows and a chimney in the common area, amongst other things. Building Location Building Situation 26
From the beginning, the project’s main objective was to restore and recuperate the architectural values present in the building. A long conducted historical investigation lead to the conclusion that without any registered documentation of the house the starting point of the project would be the available teachings of northeastern architecture. The owner of the hacienda wanted to turn the main construction into a summer home, so the real challenge was to equip it with the basic necessities and services of a modern day home. Electrical wiring, and hydraulic and sanitary pipes were laid out and integrated wholly to the existing building and the bearing walls were reinforced with a traditional footing and column system in order to give them rigidness and support the new deck. The walls’ blocks were smoothed down and submitted to a water-resistant treatment and gaps were sealed with a mix of lime and siliceous sand.
Project guideline 1234-
1 2
Insulation layer Concrete layer Wooden board cover Wooden beam 0.20 m x 0.25 x 4.00 m located every 0.75 m
3 4 5
567-
89101112-
13141516-
17181920212223-
Wooden deck Wooden board cover + adhesive material Wooden beam 0.20 m x 0.25 x 4.00 m located every 0.75 m
6 7
Clay flooring 0.20 m x 0.20 m Sand + Cement for tile adhesive Insulation + concrete layer Wooden board cover Wooden beam 0.20 m x 0.25 x 4.00 m located every 0.75 m
8 9 10 11 12
13
19
14
Rainwater drain Restored wooden bars Silice Sand + Cement frame Restored Woodwork (doors, windows, lintels)
16
15
17-18 15
16
20 21 22
Facade water-repellent treatment Facade masonry (sand plaster) Reinforcement wall Clay flooring 0.20 m x 0.20 m Sand + Cement for tile adhesive Insulation layer + concrete surface
23
Concrete surface covered by river stone
Servant
Servant
Served
Served
Served
28
Drawings
8
Ground floor: 1-Main Entrance 2-Living 3-Dinning 4-Kitchen 5-Bedroom I 6-Bedroom II 7-Bathroom 8-Deck
7
2
A
3 6
5
4
7
A
N
1
Ground floor plan Scale 1:200
Upper floor: 1-Tv room 2-Main bedroom 3-Terrace 4-Bathroom
4
1
A
N
A
3
2
29
Upper floor plan Scale 1:200
Drawings
Southwest Elevation Scale 1:200
Northeast Elevation Scale 1:200
A-A Section Scale 1:200
30
The Cartel War The project was to be developed in several stages. The first step was to restore the existing property in order to give way to the next phase: landscape design and further construction of new spaces for guests and gatherings. Unfortunately it was around that time when the war against drug cartels reached the city, turning the area where the hacienda was into a highly dangerous point. With this, the rest of the project was suspended indefinitely.
32
Sustainable
Housing Project
Poza Rica, Veracruz Design: Felipe Escobar, Arq. Carlos Diosdado
06 Rainwater collection system
Chimney Effect Central Garden / Native vegetation Proper insulation Natural Cross Ventilation
continuous space
Sustainable Housing The project in Veracruz was commissioned by a private investor and consisted of the design, construction, and sale of a model house unit in three continuous lots. The proposal explores the potential of mass-produced homes and particularly the unit’s adaptability to local conditions in the city of Poza Rica, making it more valuable for the assigned zone. The model house has different characteristics such as rain water recollection, since precipitation occurs an average of once every fortnight. The local government has not provided this much needed infrastructure, meaning the incorporated system in the house would dramatically reduce water consumption costs for its inhabitants. The design differs from other projects due largely to its central patio: instead of having a front or back yard, this space generates a microclimate within the house and connects the lower level open floor plan to create a large public area.
Drawings
Ground floor
Upper floor
N 1 0
Terrace
5
Drawings
North Facade
South Facade 1 0
5
Construction Documents The program was designed to optimize and distribute the areas according to the physical structure, generating an interesting sense of space and flowing paths around the house, defining service areas and making the construction process quicker. In this proposal, an integral work philosophy was followed and once the architectural design was authorized, technical instruction followed. During the elaboration of the construction plans, revising led to the reduction of almost 300,000 MXN since the first budget estimation for a single unit was presented.
Interior Perspective: doublue height
Interior Perspective: public area 37
Construction Documents
38
07
COCO
Competition: Urban project
Design Team: Felipe Escobar, Arq. Carlos Diosdado, Arq. Eduardo Pe単a
Background Condominios Constituci贸n is a developement located at the centre of Monterrey City and designed almost 60 years ago by the architect Guillermo Cortez Melo. It is the first of it kind in the city, sadly, after a long period of time the people who used to organize its mainteance leave the place causing its decay. The contest called to explore the opportunity to redefine its purpose and relationship with the city. Project The proposal breaks up the choked corbusian scheme to open clearly defined open spaces, at the same time integrating the old city grid into its internal circulations to provide a continuity of urban experience, thus vinculating the Santa Lucia riverwalk to the north with the Santa Catarina linear park to the south. 42
Urban Criteria 1.Complex, labirinthine, suffocated space 2.Remove and add strategically to create order and amplitude.
1.
2.
3.Public space is dispersed, anonymous and undefined. Almost entirely residential use stifles life. 4.A gradation of Large to Small, Public to Private spaces is created. Mixed uses are introduced.
3.
4.
5.
6.
5.High-Transit roads to the south disconnect the complex from the river, bringing undesirable noise and pollution. Lack of adequate parking space has caused the gradual transformation of grassland into asphalt 6.A plaza is created to connect the complex to the river, displacing the high-transit roads to its underside. Spacious underground parking levels provide space for both residents and visitors. To the east, a bus station is strategically located on this natural urban node.
10
1- Public Library 2- Museum 3- Offices + Residential 4- Main Plaza 5- Commercial + Residential 6- Open Air Theater 7- Art Plaza 8- Multi-Use Bridge 9 - School 10 - Bus Station 11 - Residential
9
6 5
4
7
2
1
3 8
11
30 0
150 120
Units The new units projected are placed according to the structure of the existing buildings. Total density is increased and mixed uses allow the redeveloped space to become lively all day long, attracting people from all over the city. In this way, a previously downtrodden area becomes a landmark of civic life, a once odd intrusion on the city’s grid becomes an essential node connecting the formerly separate Old Neighborhood, the Santa Catarina river and linear park, and the Santa Lucia canal.
Roof Garden New floors Solar Protection New Structure Overlay Original Building Double Skin The facade skins provide deployable terraces and solar control strategies on the pre-existing buildings as well as on the new. Shallow plans and new circulations on the ground floor allow more natural flows of light, wind and people. Parks and green roofs add much needed nature back into the city, collecting water for later use.
Long Section
Essays I found in writing the opportunity to express myself about what I think about architecture. Specilally in my city where there is a strange relation between design, culture and politics.
08 Text Writing: Felipe Escobar Content Review: Felipe Escobar, Arq. Carlos Diosdado Grammar Review: Arq. Caterina Russildi, Arq. Carlos Diosdado Translation to English: Arq. Javier Carrera
Towards a New School of Architecture in Monterrey
Towards a New School of Architecture The Classroom Performance Feedback System for teachers, courses and results should be modified for a more transparent and public approach. Before the beginning of school term, the course’s past projects and outcomes should be made available for students prior to enrolling to the class, in order to have a more assertive choice of professors and courses. The Architecture Library should be near the workshops to grant direct access to the books. Besides promoting literature, the school should promote critical thinking and the review of theories. Also, the library should have review texts, published research papers and books from students and faculty to make more accessible this information to beginners and the general public. All student projects from the school and architectural theory research should be compiled in the School Archives and disseminated in architectural magazines, online publications and books, and expositions. The academic projects should be exposed in a yearly congress where the students are the speakers, and are evaluated by a panel of experts from outside the school. Enhance the integration of the architectural school of the regions, by promoting shared architectural contests, workshops, classes, expositions, etc. All this through the Student Societies of each school. Create a permanent Exhibition Center to showcase cases of study and student projects. Should be in a busy area and work as a public space. Promote in the school, positive critical view of the development of the city. Study terms should be divided between theory classes and practice. In other words, instead of having a term with mixed courses (practical and theory), it should be a period of three months exclusively for the profound
study of theory and history, and another term on hands-on experience with workshops, design and construction in the curricula. Construction workshop and structural courses should be practical, where the students comprehend by direct exposure of concepts, processes and constructive systems. Design workshops should emphasize the need to design according to materials and constructive systems or by researching new systems. To merge this constructive considerations and a more extense theory course, projects should be extended to the duration of the course. With the proposed full-time trimonthly scheme, we believe a workshops has the appropriate time to develop a projects and approaches reality in times. All faculty should give theory courses, to keep congruency and continuity in the practical aspects. Be more selective in the enrollment or architectural students, as Medical Schools does. Nowadays, there are a lot of architect who don’t practice architecture, and having large number of students depletes the school from crucial funding and human resources (teachers). Other fields or architectures, besides planning, should be promoted as urbanism, public planning, administration, research and dissemination, landscaping, business, research and developments, education, conservancy, etc. Each student should have their individual space for the duration of the course, close to the workshop area, where the student can interact with others. Projects should compete before applying to local, national and international contests. Voting should be divided by faculty and student body. Selected works 50
would go to a second round, where direct vote will choose the winner. The school should create courses and workshops to train students in the technical aspects involved in the construction process. Eliminate “class attendance” from the grade. Knowledge is proved by evaluations and the quality of the projects. If students don’t attend class, its evident the students doesn’t want to be an architect, or if there is a lot of absenteeism, there is something wrong in the other side of the coin (syllabus or the professor) 19 - Los sorteos de casas realizados por la universidad deberán de desarrollarse mediante concursos de estudiantes próximos a graduarse y despachos locales emergentes. El estado actual de estos sorteos es inaceptable para una escuela de arquitectura seria. Se debe de priorizar en la experimentación, la optimización de recursos y la dignidad del espacio, utilizando el sorteo como una posibilidad de investigar soluciones a los problemas de la vivienda en el país, no la opulencia y los modelos caducos.
51
09 Text Writing: Felipe Escobar Content Review: Felipe Escobar, Arq. Carlos Diosdado Grammar Review: Arq. Caterina Russildi, Arq. Carlos Diosdado Translation to english: Arq. Javier Carrera
Architectural Criticisim in Monterrey:
Situation and Possibilities
Architectural Criticisim in Monterrey:
Situation and possibilities It would be worth to take a moment to reflect about what is happening to our city regarding criticism. In countries like Spain, United Kingdom and the United States; which many of us have for reference education, emphasizes the importance of architectural criticism. Periodically, they organize debates, discussion boards to comment the ongoing city projects, and the concerns taking place into architect, both in theory as in practice; they are of general interest among students, faculty and architects. In Monterrey, outdated unions, bureaucracies and cronyism limit architectural institutions. Although, there are good examples of architecture; we don’t have to look far to realize that criticism has no relevance whatsoever. Otherwise, it is easy to find an egocentric and absorbed attitude in many firms and individuals; which is worrisome if this situation is compounded by the growing media that selects few as experts and distorts the public opinion about the appreciation of architecture. Unfortunately and, what is even worse is that tolerance to different opinions and dialogue are almost nonexistent. It is not difficult to justify these statements; frequently we observed evasive behavior in Q&A sessions in institutions or conferences where attendees congratulate the lecturer without questioning, being that the theme lends itself to a more comprehensive and critical debate. On the other hand, we have known architects comments that make comments on the work of others and these are unwelcome; sometimes not only by the colleague in question, but also by his close circle. Even in schools of architecture criticism is seen as an intrusion between teachers and students or a disqualification to different modes of thought. 53
It is curious to find this situation today, it should be clear that we don’t become great architects for having built a lot of buildings, occupy a position of importance in the institutions that represent the people, or that have large client base. It would be more productive in a city like ours, which is recently falling into account on its mistakes, we ask ouraelves: Why the refusal to speak or hear? Why do we have this hypersensitive behavior to external observations? Is it a 'local cultural issue? Could it be that our ego is abused, or who are very comfortable ignoring the things that everybody knows and nobody talks? Given the trend, we know that some, in an attempt to distance themselves from these questions, may argue that people who give criticism lack communication skills, do not understand about the business or have a predisposition to be placed under the canons of a specific architectural language. However, the root of the problem seems to go farther; and it is, that we still don’t understood that architecture takes certain responsibilities, inherent ranging from the technical development of trade, to theoretical considerations, language, urban, political and social. Why or what would be the reason to accept these responsibilities? Manfredo Tafuri, an Italian architect, questions the measure at issue in that architecture, as an institution, shapes the environment in which we live. He calls that criticism should transgress and go beyond the scope of architecture to the system that gives the object its meaning. Why we do not question ourselves the same? To what extent our institutions challenge the status quo?
How government decisions are influenced? Is it social housing problem solved? Does the public space? Do we have joint challenges? Are we building the necessary arguments? How else, if not through criticism? If we argue that architecture itself is a language of symbols, this implies that also functions as a means of communication. What are we transmitting? In this case, we could say that not only is giving or receiving criticism of a project, if not to be part of building a collective judgment. One for our city. That said, we believe it is a good time to draw lines of action to serve as a counterweight to the current situation. Firstly it is essential that we begin by supporting people who are working to strengthen our institutions and encourage a more open mind to those already immersed in it. This must be done in order to generate basic common criteria to join us as a guild without suppressing the diversity of thought and give rise to opportunities for discussion and dialogue that allow criticism to be generated spontaneously.
Arguably, the rationale of the criticism is to boost the scope of our work, both in discipline and in the cityscape and society. As architects, we have set high standards for us in the road and that means we believe again that making architecture is equal to changing the world. We must accept the challenges that it entails. The exchange of ideas, plus a good dose of tenacity and curiosity, allows us to channel the reflections made the construction of new experiences and best arguments for proposals that we arise in the future. Along will trace the ways to make visible the important qualities of architecture and what it has to contribute; if we do this, we can encourage people of our city are asked about it and demand a better environment and better living conditions based on the spatial quality. Similarly, we can help develop critical judgment and the production of a bolder move thought the conditions in which we operate.
Secondly, we must ask ourselves a fundamental question: what is the attitude that we must have towards criticism? We should know that in a discipline like architecture, much of what we do will inevitably be exposed to revision, sometimes massively. Obviously, there will be conflicting opinions and should be taken for granted, which we are immersed in a lifelong learning process. Now, if we have the opportunity to deal with various projects and shape them, it would be most important to give them feedback. In this process, we must be aware of who or who exercise the criticism, what has been their trajectory and way of thinking; but even more important, to pay attention to basics with the criticism is constructed. Intentions, theory, spatial assessment, political, technological and personal interpretations, among other things that influence the project will eventually come to light, so you should develop a skill that is called objective receptivity.
54
10
Text Writing: Felipe Escobar Content Review: Felipe Escobar, Arq. Carlos Diosdado Grammar Review: Arq. Caterina Russildi, Arq. Carlos Diosdado Translation to english: Arq. Javier Carrera
Towards a New Architecture College in Nuevo Le贸n
Paul Rudolph. Yale University Art and Architecture building
Towards a New Architecture College in Nuevo León There is a more deep urban crisis in this country: all cities all growing disorderly and dysfunctional; and buildings are designed with just the ROI in mind, creating inhospitable spaces; which people are forced to live in those places without quality or dignity. We lack direction. Nobody knows what architecture is, and why is so necessary. We believe the Architecture College (CANL, for is acronym in Spanish) needs to restructure itself, its activities and its contributions to play the role of leadership between architects and society, for which this profession serves. We believe this steps should be take, towards a new CANL 1. The ideals of the College of Architects should be the standard by which the profession is moving. These ideals must be clear and thoroughly grounded as they will become the engine of collegiate work. It should give priority to pressing issues and work accurately and strategically about them. 2. Participation of all architects and students is essential. There is little or no use for isolated efforts or self promotion, when we don’t work together to batlle the problems and achieve the goals they have in common. Architects must know and be eligible to share in the College since the beginning of their studies. 3. The opening of attractive, clear and convincing means of communication is necessary. The College should be a tool to report on the city and architecture. Currently few know about its existence and services; only some architects are involved, just a
few students, let alone the general public. It is essential to create books and specialized publications and scientific research to generate a culture that knowns and appreciate architecture and design. Other means of communications that need strengthening are social media, website, monthly newsletters, radio programs, television shows, documentary screenings, conferences, etc. 4. The College of Architects must establish an active and critical stand towards government agencies. It is necessary to be closely involved in the creation of public policies that fall within the architecture, urbanism, public space, social housing, protection and enhancement of the landscape, etc. Its posture should be widely disseminated by the aforementioned communication channels. 5. The College must exhibit real state developers that speculate markets or distort the values of architecture. Just as it must act on government decisions, it must also take a stance on projects carried out by the private sector. This would boost competition among real estate based on quality, not price, encouraging the development of projects that generate tangible and lasting improvements to the city and allow a decent quality of life for citizens. 6. The College should disseminate, support and protect architects before society. Questions like, “what is an architect?” And, “what is architecture?” are issues that hardly answer by architects, much less the general public. Then, we will have to make clear what we do, and point out what is wrong and promote good practice. 7. It is essential that the College raises the academic standards in schools in the city. There is a great 56
disparity between the quality of work and the strengths of each school and the College should be a regulatory body to establish a baseline of quality. We cannot have a developed city if one can be titled as an architect lacking the fundamental knowledge for the development of the profession. It is unacceptable that teachers and curricula are not up to date; the College must act. 8. The College shall conceive and disseminate architectural competitions. The quality of our spaces will draw on more ideas if there is more participation in both local and national government or private competitions. It shall promote them among institutions and architects and provide support for proper organization and promotion. It is unacceptable that the last to know of projects relating to public space are the architects. It is essential to continue the development of contests related to topics of interest for architecture and the city and promote local talent and from different generations. 9. The College of Architects has to promote the professionalization of trades related to architecture. For this purpose, it must conduct workshop that allows to develop a network of certified workers, promoting the transition from informal labor unions with appropriate training and updated techniques and standards necessary to realize quality projects and elevate the dignity, security, and salaries of construction-related trades. This network must be documented in a database maintained by the College and published in a system easy to use and access for the convenience of its members. 10. The College must play its role as guarantor of architects. The institution should be able to streamline procedures in government agencies and avoid bureaucratic inefficiency and corrupt practices. It should be able to review and approve construction projects. 11. It is necessary to develop a culture of dialogue and constructive criticism. For the College to promote the highest standards of quality, both human and architectural, it have to create a code of ethics based on inclusion and diversity of 57
thought. Democracy and transparency will allow it to have the openness needed to serve as a platform for participation and collaboration between members, partners, students and stakeholders.
12. The board should have a broader management period. Four years minimum, in order to give continuity to the projects to get established. To promote the effectiveness of the board it would be ideally have a half period assessment. 13. The board must receive a fair wage. This is to gratify the time spent and raise the level of commitment towards the job. It is clear that such salary is subject to certain requirements and responsibilities ranging from a work schedule, commitment and results. 14. The Board of Honor and the Board must be renewed and include prominent and committed architecture students. Communication with younger members will let it know about the concerns and knowledge of the younger generation, and establish key partnerships to strengthen the College’s in the future. 15. A distinction between branches of the profession and its priorities. Dividing the College in different departments like architecture, building department, a department of construction management, building to urban culture, landscape, innovation etc. It would bee indispensable assess each topic with the appropriate aspects of its concern. 16. It is important to look for diverse funding mechanisms. The College should not rely on donations only, but rely on a membership base, and a variety of activities that may be of benefit to society. It could hold conferences and congresses, publications, courses and certifications, rental spaces for cultural even 17. The headquarters of the College of Architects must be located at a point of encounter with the people, and being emblematic of its ideals. It must be a space of high architectural quality. Must be an educational building: an example of materials,
construction systems, economic and energy efficiency, passive strategies and technological innovation that demonstrates how you can be an appropriate architecture to the region and the time. It is essential to provide a public space on the outside and inside and be located in an accessible position by various means of transportation. In these spaces, it must build experimental pavillions following contests that promote the research and development of new systems, technologies and approaches to architecture and serve as a means communications to show their interests and potential.ts, etc. The buildings layout has a great potential, besides being a office building: -Architecture and Design Museum, with permanent and temporal exhibitions -Public Library -Multipurpose auditorium to host a different range of events -Commercial spaces for rent, to give service to the College and general public. This would help the College’s finances -Book Store and local design market, to foster the design culture -Residence Halls for foreign guest speakers and students Towars a new Architectural College and a better city.
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Text Writing: Felipe Escobar Content Review: Felipe Escobar, Arq. Carlos Diosdado Grammar Review: Arq. Caterina Russildi, Arq. Carlos Diosdado Translation to english: Arq. Javier Carrera
The Crisis of Architecture: A Matter of Communication
The Treachery of Images. RenĂŠ Magritte
The Crisis of Architecture: A matter of communication The crisis of architecture: a matter of communication. There are countless stories that were true martyrdom for many architects. Who hasn’t been a victim of the phrase "the architects make little drawings"? Who has not been required to help choose the floor tiles of a house or a kitchen or see where some paintings look better? Asked to design house but "to not put it much architecture"? In order to know the perception of what we de, we have asked proposed questions to various people, questions like: What is architecture? What does an architect do? Anyone doing this exercise may account for the seriousness of the matter: no one seems to have a clear answer… Is evident that the crisis of architecture is a matter of communication In Monterrey, the majority of the people knows “Architect Benavides” before someone who has been professionally practicing architecture. People are more inclined to called for a “maístro” (uneducated construction worker), a contractor, before an architect. Why? Why, we haven’t achieved the goal to transmit the essence of our work? We have allowed the undervalue of architecture. What communicates that our "green areas" now are carpets? Does a "saving" light bulb make a building sustainable? High walls and controlled access? What tells clients that some people manufacture architectural projects for a measly couple of pesos? What communicates a House Raffle, and multiple "chic" journals that allude to architectural issues such as advertising slogans without worrying about having substance? Why a building is wrapped in
golden, why is still un use glass façade in this weather? Have we given any thought about the cities and its inhabitants in a coherent way? Is alarming that many of todays problems have been created by ourselves, on our incapacity to communicate in a clear way. Its comprehensible that an architecture student cant explain its reasons on its design decisions with clarity; but is unacceptable that this situation persists on professionally practicing architects that cant explain before their clients their projects or the fair price of their work. During this research, few come close to accept criticism or look for insight on other fields. Almost never the use or relevant data support the designed projects; so is more common to give higher priority to a well designed presentation, than well thought construction details. Is expected that architects are only required for vain marketing design. Once graduated, this vices are strengthen and communication is superficial. Between architects, we are incapable to share strategies or information, much less make deals or accords on benefit for all. We have dedicated ourselves to speak a complicated vague language without giving society tangible proof for the real value of what we do. Is even worse that we are participants in a cycle of contradictory messages that alter the understanding of or context. Lets imagine that a citizen listens what we are capable of doing to society thru architecture and urbanism, nonetheless, he suffers design deficiencies and pathetic construction standards in place today. Evidently, we are defrauding the ideals, we ourselves, are promoting. Its common that a hired architect is considered an 60
inconvenience, a hindrance, a waste, and speak of “architectural styles” instead of the space’s qualities. We have relegated ourselves to accept this environment of distortion of architectural practice, in which people take guidance from construction workers and marketing specialists, who are only looking for immediate profit, without worrying about the impact their decisions have on the user, the city and the environment. The critical point in this situation is that there is data that points out the used city models, building and work techniques that are still in used have failed. We know that in other countries, highways are tear down in favor to human beings, meanwhile in Monterrey, more transit bridges are being built, setting aside the necessity of a strong public transportation system. We see that in other places, there are serious programs for social housing; public space; and the environment; but here, there is little attention if a reserve ecologic park is turn to a stadium or a development, being now, the most air polluted city in the country. WE are witnesses of height and density of buildings without ordinance, rules or treatment of the human scale, knowing beforehand the harmful effects this provokes. Can we learn from others experiences? We don’t ignore tha there is a complex public politics agenda, for which we have to wait, but we don’t have to wait for legal changes for architecture to start caring to the point to study, transmit clearly and execute it correctly, fighting for its ideals in all fields. Communicate its reaches should be a priority. Firstly, is necessary to reflect about architecture and what can be achieved throughout it. If anyone asks us what we do, we should be able to answer, in a clear and precise language, what we do and how it can be helpful; not only the ideals that define us and what we hope to achieve. It would be indispensable that the institutions that represent us modernize and establish and take clear stance about actual road of architecture, projects developing in the city in the public sector as in private sector. The stance must had had an exhaustive analysis from all parties on the matter of norma61
tivity, social impact and environment; at the time, is critical that it can be understood by the average citizen and show priority to common interest topics. For this to work out; we would have to do a constant evaluation to contrast the performance of our colleagues. It must be between us to e first to give feedback and demand ourselves the highest standards of quality. We need to establish sound strategies to form data and communication networks. Its fundamental to lead or best arguments in two different fronts of action: first, to the specialized people o in authority positions to give them tools to let them take the best decisions for the city, and to open the doors to collaborate with the right people. Secondly, to the general public, to keep them inform so they can demand better city practices and housing, and eventually, turn out better urban projects. Last, we should make a call for coherence. It is useless to keep education architects, and develop arguments, if we keep working in favor for immediate individual benefit, in detriment for the long-term greater good. Is our responsibility to communicate the essence of our work and true values or architecture, to reclaim the lost territory.
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Other Projects I have had the opportunity to been involve in different projects that respond to specific situations. The following pages show some of them.
Mixollin House Renovation Project. El Jonuco. Santa Catarina, Nuevo Le贸n, M茅xico.
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San Pedro Fire Station New building project. San Pedro Garza García, Nuevo León, México.
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Franklin Plaza Mixed use development. Alberta, Canada.
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JJ Memorial Project to remember Jorge and Javier, killed students during drug war. Monterrey, Nuevo Le贸n, M茅xico.
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Callej贸n VV. From the alley to the passage. Monterrey, Nuevo Le贸n, M茅xico.
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T. 52 81 83 399 808 C. 52 81 1 (818) 253 7310 E. felipe.escobar.ramos@gmail.com, felipe@cafedearquitectura.com Monterrey, Nuevo Le贸n, M茅xico.