PORTFOLIO
GERMÁN POBLACIÓN
ARCHITECTURE & DESIGN PROJECT SELECTION – MMXVII
PORTFOLIO
GERMÁN POBLACIÓN
ARCHITECTURE & DESIGN PROJECT SELECTION – MMXVII
Contact www.germanpoblacion.com contact@germanpoblacion.com Spain: +34 645 936 958 UK: +44 7751 692513
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Final degree project
Architectural projects and composition
01 Cenizas
19 La Riviera 24 Vertical Fragments 28 Cinetik
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Heritage and conservation
Installation design and interior architecture
Landscape and territory
35 Sculpted Ruin 42 Mountain Retreat
47 Architecture in a Bottle
51 Blind Spot 56 DeligorĂa
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Urbanism and town planning
Construction and architectural technologies
Other related works
65 Sewing Canillas 68 Las Crottes Masterplan
73 Green Pixels 76 BioGestor
79 Architectural Modelling 82 Furniture Design 86 Graphic Ideation
Before getting started This portfolio summarises the most relevant projects and design work developed throughout my academic career, as well as my technical and creative evolution. Each piece of work exemplifies my specialised skills as well as demonstrating the variety of tools that I am able to use. The projects are categorised by theme, organised by the most relevant feature in each.
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Final degree project
Cenizas Dystopic landscape The project consists of the rehabilitation of the coal processing complex of Vegamediana, located in the town of Sabero, within the biosphere reserve of Picos de Europa, in the north of Spain. The intention is to revive a place that has been transcendental for the development of the region. Its function will be to recover the life and economy of this region through a synergy consisting of the protection and recovery of natural spaces, as well as historical and industrial heritage.
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It is the longest narrow railway in Europe, with 335 km that link the mining town of La Robla with Bilbao, epicentre of industry in the late nineteenth. Originally it linked the Robla with Valmaseda, and began operating in 1894 with the aim of linking the mining basins of Leon and Palencia with the great steel industry of Biscay. The abundance of iron in the Basque Country propitiated the development of an iron and steel industry as important as that of the British in its time of maximum splendor. Coal was the raw material that would make its operation possible, and El Hullero became one of
the most important convoys in Spain. The landscape of the valleys through which it passed was substantially altered, due to the appearance of industry around it, in contrast with the surrounding nature. After a period of decline that began in 1971, with the Spanish coal crisis and the gradual transition to other more profitable energy sources, its activity ceased in 1991. It remained in disuse for 12 years until 2003, when it came to be used by the Transcantรกbrico railway provider being a tourist train, the number of convoys that transit by these routes is very reduced and limited in frequency.
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The Route of the Hullero generated the rapid development of adjacent municipalities, thus stimulating industry, livestock farming and agriculture. Many natural spaces were anthropised and damaged, in contrast with places of high ecological value. After the decline in the 1970s, only the major industries survived increasing the carbon footprint which has not yet disappeared. In addition, this industry continues to emit pollutants with CO2, NOX and SO4 causing acid rain. All these chemicals end up concentrating in the air above Picos de Europa, due to the front created by hot and cold air masses and the attraction of the forest tree clusters.
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The extraction of coal in the Sabero basin began after the founding of the Sociedad Palentina de Minas in 1841. It was in 1945 when the San Blas FerrerĂa marked the beginning of an era. The abundant coal in the area, together with the iron extracted from the old Imponderable mine, made the Sabero valley a pioneer in the steel industry. The rural and agricultural landscape was quickly altered, resulting in a heterogeneous environment characterized by the natural ‘scarring’ arising from mineral extraction and new industries. It was in 1892 when the company Hulleras de Sabero and Anexas created the Vegamediana factory complex, with the main intention of processing the coal mineral of the zone, which is particularly rich in sulfur, to obtain different products and byproducts demanded
by other industries. The main recipient of these derivatives would be the Biscay steel industry, making the Sabero basin a century of splendor, characterized by a rapid transformation of its landscape, both physiographically, natural and anthropic, as well as economically and socially. In 1991, after a long period of downturn that lasted approximately a decade, activity in the valley ceased completely, leaving behind the traces of a glorious, though controversial past, giving way to a non activity point that characterizes the place nowadays.
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The coal processing complex is divided into two clearly differentiated areas: north and south. The northern area was the heart of this industry, known as Vegamediana, where the coal-washing process took place. In the south is located the Vegabarrio area, for the accumulation of waste, fundamentally ‘sterile’ and sludge from the washing. It emphasizes the contrast between both zones, the north being a factory complex decontextualized within the rural environment, whereas the south is composed of an anthropised landscape made up of a huge artificial mountain generated from the accumulation of the sterile and some decantation ponds in which the residual sludges of the washing of the coal were poured. From a patrimonial and architectural point of view, the most relevant area for an intervention is that of Vegamediana. Its construction dates from 1894, although it has been mutating and evolving throughout its life, adapting to the new industrial processes of each era, as well as to the needs of each one of them. The different elements of the coal processing complex were adapted to each other thanks
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to the simplicity of its morphology, resulting in a set of superimposed and concatenated elements differentiated by their materiality. To this day there stands the skeleton of concrete and some large metallic elements that could not be dismantled and resold as scrap. Even so, the solidity of these remains stands out, still interacting with each other, generating an interesting combination between the tectonic and stereotomic. The atmosphere in Vegamediana exudes nostalgia, making it inevitable to think of a not so distant past in which this complex was full of life, being the epicentre around which 500 workers lived.
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The intervention combines the conservation and rehabilitation of the historic industrial heritage of the Valley of Sabero, created in line with contemporary design, giving the new factory a new lease of life. It aims to revive a dead industry, taking as a pretext the development of a new activity consistent with the past, present and future of the region. deciding which devices and buildings are to be remembered and which can be forgotten, between which must be preserved and those that can disappear, is a complex and frought challenge, although essential for the successful reconversion of the old coal washing plant. Therefore, in accordance with previous analysis of the pre-existing buildings, taking into account the historic-industrial value as well as the state of conservation, location and
relevance in the whole. The programmatic duality adapts to this pre-existing environment in a linear yet layered way, so that they are intertwined at the same time as they adapt to the different machinery and constructions, both above and below ground. The open and closed systems interact with each other, allowing you to experience the place in very different ways.
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The programme is subdivided into two important parts, called ‘systems’, these being the Open and the Closed. The former refers to the extramural intervention, focused on the landscape and environment. On the contrary, the Closed system makes reference to interventions developed into the existing and new buildings. Both systems revolve around the same precepts of conservation of the landscape and heritage. Similarly, the two systems are divided into different parts, according to their functions. The former is divided into the ‘ash garden’ - this being the one of the old factory complex, and the most immediate - and the ‘regenerated park’, transforming the environment previously devastated by human activity (specifically the mining industry). At the same time, the Closed system is divided into the ‘productive’ and the ‘divulgative’ areas. The former is responsible
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for processing biological remains in order to recover its damaged parts - making barren land fertile again - while the latter focuses on experimentation, with the intention of sharing knowledge and education on respecting nature.
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The intervention fuses the buildings both existing and new plant - with the environment, to generate experimental architecture that is developed by the visitors themselves, as it is perceived through the movement of the people themselves, as well as space, time and even the different environmental situations. The two systems, the Open and the Closed, interact with each other transforming the whole area into an architectural garden focused on the visitor’s experience. The pre-existing buildings are arranged in a longitudinal way, allowing the new annexes to be placed embedded or perched on them, following the traces of the missing pieces, and claiming their memory at the same time as responding to the new uses of the place. In the same way, the new buildings generate a series of vertical tensions that have a dialogue with the horizontality and rigidity of the existing ones. The different pieces will
be arranged in a stratified way, generating a series of vertical elements, both up and down, sewing together the whole set. Therefore, the new buildings will be connected at different levels, taking advantage of what already exists - from chambers and buried warehouses to elevated walkways, used to transport the coal - following the linear paths of industrial processes that took place here.
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Architectural projects and composition
In the location currently occupied by the obsolete club of La Riviera. The proposal is to create a new structure that works as a transition element between the new green walkway on the banks of the Manzanares river and the cityscape that surrounds it, while housing a brand new acting school and performance hall.
La Riviera Performance and circus school in Madrid RĂo
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The building houses an acting school, two auditoriums, a cafeteria, and an area for administration, storage and security. The two theatres, one larger than the other, stand out for their central stages, which allow shows to be enjoyed from both sides, at the same time as making it possible for part of the room to be closed in case the seating capacity or the type of show requires it. Additionally, the new building stems from the union of multiple pieces of trapezoidal floor plan, which vary in scale and size, following a strict geometric pattern. The complex blends in well with the city, adapting itself to the adjacent buildings and streets through the arrangement in plan and the scale of its different volumes. In the same
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way, the building opens itself to the public areas, while it is totally closed to the north and protected in its southern face, the more deprived area where the school and private entrance is located. The opaque facades are covered with raw granite pieces, as this is the main material used for Madrid Rio, this facilitates its integration and mimesis with the environment. Meanwhile, permeable faรงades are protected by translucent glass and vertical profiles of copper, which offer privacy while allowing the light to be projected to the outside, communicating to the exterior what happens inside, in an elegant and subtle way.
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Vertical Fragments Serpentine pavilion design Every year since 2000 the Serpentine Gallery offers a prominent architect the opportunity to create his first work in the UK, functioning as an ephemeral addition to the gallery, but with more of a dynamic character, fully open to the public during the summer months of the year.
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This pavilion design was conceived as an extension of the art gallery itself, creating a journey in which the public becomes private and the private opens to the environment, where all the spaces are merged into a single, fluid and integrated form. The shape itself is the structure of the pavilion, which emerges as the ‘anti-park’, constituted of a set of vertical bottles of light which are the result of the abstraction of the current gallery’s morphology. These pieces are organised according to a system of relevant points –according to the existing building axes, main paths and tree masses– in a
quiet atmosphere, thus breaking with the prevailing horizontality in the park. Its shape is an abstraction of the permanent gallery roofs that are redefined to capture the necessary light and thus create perceptively interesting and changing spaces that look up. Outwardly, the formal relationship between the permanent gallery and the pavilion, with the surroundings, and the dialogue between the polished aluminium tiles of the enclosure and the cloudy sky, can be seen, merging with each other and acting as large reflective lanterns at night.
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As a construction it sits on a continuous slab of concrete, which supports the main structure. The skeleton is made up of tubular metal frames joined together by ball joints. On this structure, plywood panels are placed in the interior meanwhile the outer face is covered with brushed aluminium pieces. The hollows, concave as well as convex, are closed with pieces of glass.
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In summary, this means that its manufacture can be done almost entirely in a factory, later to be transported and mounted quickly in the park. Similarly, once its period of use has expired, the structure can be disassembled in a fairly simple way to be rebuilt in a different location. Otherwise, the materials can be recycled or reused for alternative purposes.
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Located on a small island of the Tiergarten park in central Berlin, the proposal is to rehabilitate the remains of a hydrographic study centre built in the 1960s. The new function focuses on the creation of a experimental film space. This emphasises its dual character, where cinematographic production and exhibition are the raison d’être.
Cinetik Experimental cinema studios on a river island
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The project can be defined as a roofing strategy: East-West walls are maintained to emphasize the longitudinal character of the project. The roof is an element introduced between the walls and by means of a vertical piece which grows generating changing spaces inside. Its ‘two-way’ form utilises the shape of the old pre-existing roofs as well as provides to a suitable geometry in terms of acoustics and lighting. In certain parts of the building the height varies in such a way that the interior space is enlarged. That is, this morphology is the result of the internal spaces. The roofing is subdivided into different covers that are interlocked longitudinally inside, marking the boundaries between the different uses they harbour and generating continuous and fluid spaces in which the elements of the programme complement each other. The covers comprises a series of metallic ribs of variable geometry arranged every 1.5 m, covered with translucent cellular polypropylene layer. The ribs are made of galvanized steel both for constructive reasons –ease of prefabrication– and structural.
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Projective steel also contrasts with the brick of the pre-existing walls, and reflects the light of the environment merging with it. The enclosure is cellular polypropylene as it is a light solution, good thermal and acoustic insulation. In addition it is also easily placed between the steel ribs and is easy to maintain in cold and wet climates. Its translucent appearance is ideal for diffused coloured lights to be seen from outside fusing with the surroundings and with the metal ribs, as well as allowing the passage of more homogeneous light inside. The interior spaces are subdivided according to usages, some opaque inside translucent and others translucent inside opaque, depending on the program and its requirements.
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The outer appearance is altered as little as possible, maintaining its unique and distinctive character. The new intervention stands out for its subtlety and harmonious integration with existing elements. Meanwhile, from the inside it is perceived
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in a radically different way, hosting a series of usages, some closed and others open according to their respective function, that are inserted along the longitudinal aisles in a concatenated way.
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Heritage and conservation
Sculpted Ruin Artist refuge and workshop In order to maintain its rural architectural heritage, this structure is designed within the ruins of a house built at the end of the 19th century, located in a small mountain village in the north of Spain.
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The purpose of this project is to foster a unique space for an artist, drawing on the ruin of his property, located in a village of the eastern mountains of Leรณn, and respecting as much as possible the character of the former home. The objective is to create a home in which to welcome friends and family, as well as a multidisciplinary work space, where the artist can carry out the creation and design of his works, as well as receive clients. These spaces must be clearly differentiated but connected, both physically and perceptively. Therefore, these spaces will face each other, at different heights, sharing their characteristics. It also offers an exhibition space to display his lifetime of work to the public, integrated within the same enclosure but separated from the work and private areas. This will be located under the garden. Light will play be determining in the project: the house will open on all sides (except the north), allowing natural light to enter throughout the day in different areas, directly and indirectly.
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Compositionally, the new building is located within the limits of the old stone facade, adapting to it as well as respecting the large oak tree that has grown into its interior over the years. The volumes that are generated in its interior are centred around a central communications core, arranged in a spiral, so that all these spaces are concatenated and interact with each other. In this way, the most public areas are located on the ground floor, while the private areas are reserved for the upper part of the house. The new design exceeds the height of the pre-existing facades, therefore it tries
to maintain the original proportions and shapes, in a more abstract way. The intention is to identify itself as unique and record the passage of time, differentiating the new intervention from the old. Light plays a decisive role as previously mentioned, which is why the original holes in the old stone faรงade have been respected, while new ones have been opened. The new design expands outwards through these holes, looking for as much light as possible. In this way we see the large vertical windows, which allow the illumination of the different areas of the house, with differing height and depth.
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The ideal place for the exhibition space is the garden, as the artist creates work for both, exterior and interior display, with varying sizes. Therefore, the gallery is located beneath the garden, with an independent street access. The space created is broad and continuous, although it is subdivided into specific areas due to the insertion of small courtyards. This prevents the space from being too dark, while giving it an dynamic atmosphere that emphasises the character of the works exhibited. These differentiated areas also separate collections of sculpture and painting respectively depending on style and theme. The gallery is covered by a small pond, located in the centre of the garden, from
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which the volumes corresponding to the patios emerge, looking for light. This thin layer of water reflects the colours and elements of its environment, further enhancing the artistic character of this building.
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Mountain Retreat Winter lodge in the woods Located in the middle of Sierra de Gredos, in the province of Ă vila, Spain, the proposal is to create a winter lodge and settlement of buildings, converting the ruins of several former stables and barns, in order to promote the enjoyment and awareness of an exceptional natural space.
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The settlement is divided into two distinct areas: the old ruins where the private spaces are located, and the new building, for public and social usages. The old part is located above ground level, maintaining the old stone walls and covering them with a copper roofing system. Meanwhile, the new intervention, made of reinforced concrete, is semi-buried, and divided into two areas. The northern one houses public spaces, such as the cinema, dining room, and the living room.
This design follows a longitudinal axis marked by the unevenness of the terrain, opening a lateral corridor that allows easy access to the enclosure as well as the direct integration of the latter with the natural environment. The southern area houses the bedrooms and toilets, hidden underground but illuminated by light-wells. The existing difference in height makes it possible to create a large central courtyard, where various group activities can be carried out.
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Installation design and interior architecture
The Palacio de Cristal was designed by VelĂĄzquez Bosco at the end of the 19th century, and is located in Retiro Park, in the heart of Madrid. It is currently used by the Reina SofĂa Museum to host exhibitions of all kinds, mainly for contemporary art.
Architecture in a Bottle Exhibition installation at the Palacio de Cristal
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The exhibitions that take place in its interior stand out for being transgressive, while the installation is a piece of art in itself. In this case, the brief is the creation of an installation in which to show the audio visual art of a contemporary artist. Therefore, the proposed design is an architectural element enclosed within the Palacio de Cristal itself. A multitude of videos and images will be projected on this architecture, turning it into a fundamental feature of the work of art. The
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new structure is unique in its stereotomic and irregular character, generating a series of subspaces within it, to enjoy the art. These spaces will be placed at different heights, adapting to the internal morphology of the pavilion. The perceptions and experimentation of the projections and sounds will become so immersive that the spectators themselves will be able to ‘abstract’ from the environment, becoming part of the exhibition.
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Landscape and territory
Blind Spot Rethinking degraded landscapes A set of lookouts located within the urban forest of the Casa de Campo in Madrid, with the function of observing the city from varied points of view, as well as improving the run-down areas in which they are located, generating a renewed appeal for visiting them.
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Lookouts permit visitors to admire the most attractive and important aspects of the city of Madrid, as well as relax in a peaceful environment. The viewpoints consist of a unique space in their respective lower parts, where different usages are located, such as bars, bicycle rental centres and tourist information points. These structures are built following the same system and design, which is economical and easy to build, allowing them to be moved, modified and even removed if necessary.
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The lookouts are formed from a series of prefabricated trapezoidal modules that join each other, both in plan and overlapping, so that height and uses can vary or be modified in the future. Along the interior runs a simple metal staircase that makes it possible to reach the highest part of the observatory. The structure is based on top of a continuous slab of reinforced concrete, which protects it from the ground and anchors it. This structure is made of galvanized steel and is
prefabricated, so that only the modules have to be varied and attached with bolts in their final location. The exterior is covered with thin steel sheets, which over time, will result in different shades of colour and textures, depending on the climate as well as the effect of light and the damage caused by human use. This finish will allow the viewpoints to integrate perceptively with the environment, while emphasising its urban character even if it is a typology very related to nature at first glance.
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DeligorĂa Reconnecting forgotten cityscapes This project sets out to rehabilitate the area in and around the former Delicias train station, which was left disused in the 1970s. The design links the two urban fabrics on either side of the station – the one built a century and a half ago with that built just three decades ago.
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The name ‘Deligoría’ comes from the Spanish for allegory (alegoría), paired with the location of Delicias. The allegory here is the development being the growth of a living, breathing organism, revived after decades of dormancy. The brief is the result of research into the use of abandoned railway infrastructure in the Community of Madrid. The project reflects the passage of time through the materials used mimicking the original construction, and also through the use of the ruins surrounding the station building. The design is a large open space subdivided
into clearly differentiated but concatenated areas, focused on perceptions and sensations. It is a haptic space, that is, a place that each person can ‘touch’. Here the tactile, olfactory and visual sensations are so evident that they make each person perceive the place in an intense and unique way. The concept of memory and time are the crux of the intervention, so the location does not have to be rebuilt but must be conditioned, rehabilitating the different elements individually and according to their particular history.
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The project proposes an adaptation in a resounding and transgressive way, utilising its marked industrial character as an urban resource and an emblem of history. The footprint of the past will be evident, although it will be the inhabitants of the place who decide how it will evolve, in how they interact with the design and new spaces. The organization of the project will be based on marked longitudinal and transverse axes that define a clear orthogonal frame, which begins towards the south and curves into into fluid elements. All of them will be linked together, so that the intervention is continuous. The concept of line and curve
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has a dialogue with the natural and industrial materiality that occurs in the area, as well as with the contraposition of existing scales, human and machine. The materials used will create a very stark atmosphere, playing on the colours, textures and smells of the railway infrastructure. These include water and oil sheets alternating with different layers of vegetation, charcoal, granite, gravel, tree bark, corten steel and wooden slats. It will also highlight the use of concrete and brick, already present in the original structure. In certain places the intervention will utilise the stone from the ruins of previously demolished building to help keep
the memory of the original station intact. The original dirt and damage will also be maintained as much as possible to reflect the past. The vegetation will remain essentially unchanged, organising the intervention around it, but treating it at the same level as all the other elements of it. The intention is for it to evolve freely, creating a living and self-sufficient ecosystem that does not need the hand of man for its development. The landscape is integrated with no borders between architecture and vegetation, and completely suitanable.
Water and vegetation The existing vegetation is maintained, adapting it to the new morphology. It rescues the underground stream that runs through the scope
Transversal Elements_Marked the rhythm of the present and past preexistences
Longitudinal elements_composed by rectilinear and curved elements, as they evolve
Adapted buildings__all the pre-existing structures remains, both abandoned and in use.
Intervention set and context
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The project consists of two allegories, one referring to time and the other to perceptions. The first is based on the railway past, showing the old railways, buildings and other elements, using the existing vegetation and materials. In the same way, vegetation plays a fundamental role, maintaining plants and incorporating new trees that are characteristic of the location and its climate,
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which will change during the seasons and over the years. The second focuses on perceptions, fusing the tangible and intangible elements of the project, such as the skeletons of old buildings, vegetation, sounds like those produced when treading on the stones of the tracks, or even the smell of the place, such as that of oil and coal which filled the atmosphere many years ago.
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Urbanism and town planning
Sewing Canillas Creating new collective living spaces The proposition is to regenerate the urban area of Canillas in Madrid, maintaining some of the existing buildings and creating new residential areas in the unused parts of the district. The creation of new facilities: parks and relevant public spaces such as squares and pedestrianised streets, will be the crux of the intervention.
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The intervention is based on the regeneration of abandoned spaces and the creation of a new road hierarchy, both for pedestrians and road traffic. Therefore, it involves a new urban network, generating new green spaces, public living areas, pedestrian walkways, a commercial area at the foot of the street, a new sports complex, as well as two different housing typologies.
A cycle route is to connect the busiest points of the district, running along the new northsouth boulevard. In the centre, the living area is located between the new buildings, expanding to the east, west and south, in order to connect the whole neighbourhood. In the north zone, there are five residential towers, located above an underground commercial arcade.
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The rehabilitation of the neighbourhood of Les Crottes is a necessity owing to its state of degradation, in order to integrate it into the urban context of the city, regenerating commerce and creating a new residential sector. The appearance of a large green area will be the axis of the construction of the new neighbourhood, slowing the expansion towards the north.
Les Crottes Masterplan Redefining the mediterranean coastline
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Nowadays, Les Crottes is deteriorated, which has meant that it has become an urban ghetto. The problems are numerous, among them the scarcity of housing, the disorganisation of usages and the scarcity of equipment, deteriorated roads and the non-existence of an urban hierarchy. In the same way, the neighbourhood is closed to the outside, to the north, and south by motorways, to the east by railway tracks, and to the west by the old industrial facilities of the port of Marseille. The masterplan proposes the creation and expansion of the main axes according to the urban planning, as well as the rehabilitation and restoration of the river that runs through the centre of the neighbourhood, from north to south. Around this river there would be a new green axis, which will divide the neighbourhood into different zones helping to structure the different equipment, as well as functioning as a vast filter to renew the city’s air, thanks to the planting of 4,500 new trees and shrubbery.
The establishment of new housing is essential, given the dense population of the city. However, different types of housing will be built, differentiating between private and social housing. This new urban pattern will favour the creation of new avenues that connect the neighbourhood with its surroundings, as well as providing new pedestrian and bicycle axes. The motorway in the southeast will be moved underground into tunnels, allowing the continuation of the great green axis above, while the railways will be reduced and buried in the central zone, allowing the creation of new public spaces including a market, three squares, one train and bus station, a school and a health centre.
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Current plan
Director plan Green axis Zoning Road redistribution
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Future expansion
Proposal plan
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Construction and architectural technologies
Green Pixels Ventilated garden faรงade solution This is a prefabricated green facade system, easy to install and maintain, which allows for ventilation while protecting the interior of the building from inclement weather and solar radiation.
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The façade solution consists in the use of prefabricated modules, called ‘pixels’, divided into four different types. Green ones stand out, although there are also transparent, translucent and opaque pixels, depending on the needs of the interior usages. All of them are anchored to the façade through the same system, which facilitates maintenance, repair and even modification. The façade consists of a prefabricated galvanized steel frame, on which the pixels are placed by a clipping system, after placing the frame sector in its final place, anchored to the concrete deck edges. This frame is secured by an anchor of galvanized steel using pins and bolts. This system allows the movement of the 3 axes, guaranteeing the correct placement with respect to the slabs. The frames are joined vertically by a tongue-and-groove process, leaving the upper section embedded in the lower one. They are laterally joined by vulcanised rubber joints. Depending on the type of pixel, a layer of 50 mm of thermal isolation is included, meanwhile they are closed on the inside with a panel of 40mm Trespa OSB Meteon. The space between panel and edge of the floor is filled with 25mm of polystyrene isolation.
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The dimensions of the frame are 3,400x2,040 mm, which saves the height between two slabs and allows this prefabricated module to be transported easily. It will also be divided into 15 parts into which the pixels will be inserted. These will be 680x680 mm leaving a joint of one cm between both. The pixels will be attached to the rack before being assembled in the building, thus streamlining the construction process.
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The aim of this building is to become an icon within the university campus of the Universidad Europea in Madrid, shaping the modern and current perception of the university, as well as showcasing its commitment to the environment and the societies of the present and the future. The function of the building is to treat the water and organic waste of the campus, processing it in order to obtain electrical energy. The residue of the process is fertilizer, used for the maintenance of areas of vegetation. Outwardly, its stable and unitary shape as well as its translucent polypropylene ‘skin’, hide this industrial process while integrating the building into the campus environment.
BioGestor Organic waste treatment plant
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Other related works
Architectural Modelling Conceptual and process prototypes The value of prototypes and models is of great importance for the exercise of architecture, helping to develop an idea during the design process, whilst demonstrating the final state of a project.
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Household objects and furniture are closely related to Architecture, completing a project and becoming part of it. Therefore, their design and understanding must be relevant, simple and honest.
Furniture Design Selection of furnishing ideations
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Graphic Ideation Artistic drawing exploration and sketches Drawing is how architecture is born, when the generative ideas of a project are expressed, with the particularity of expressing what is relevant through passion.
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© 2017 edition, projects and images Germán Población