Hugo Malvar Architect Portfolio 2016.01
Index About
3
Education and skills
4
Professional experience and merits
5
Selected works
7
Contest Europan 13
8
Academic Works
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Nursery school
14
The city shelter
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On-site experience
26
Contact
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About me My name is Hugo Malvar Álvarez and I am an architect born in March 1989 in Bueu, a small fisher’s village in the north-west of Spain. After deciding to pursue architecture studies I was admitted to A Coruña University (ETSAC) in 2007. I joined the Erasmus programme during the academic year 2011-2012 in Cracow University of Technology (CUT), Poland, where I attended my 5th and last year of studies. Very interested by the phenomenologic movement in architecture, I focused most of my work in creating different architectonic atmospheres, analyzing the human perception and exploring how material and space can define and improve the visitors’ sensorial experience. I love to spend my spare time fixing classic motorbikes, travelling, taking pictures in the nature, listening to live music or doing sports. I’m also an amateur skateboarder for over fifteen years now.
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Education
Workshops
Languages
Software
2007 - 2014
E.T.S. Arquitectura A Coruña - ETSAC
2011 - 2012
Cracow University of Technology - CUT
2014
Workshop ‘The adventures of small practice’ by Jan de Vylder (Architecten de Vylder Vinck Taillieu). FAUP, Porto, Portugal.
2014
Workshop ‘Remake your city’ by Matthias LeCoq (La Fabric de l’Espace). ETSAC, A Coruña, Spain.
Mother tongue C2
Spanish
Mother tongue C2
Galician
Fluent C1
English
Fluent B2
French
Empiric knowledge B1
Portugese
Modeling
AutoCAD Rhinoceros Sketch Up Revit Architecture (Obtaining Autodesk Professional Certification) V-Ray Rendering
Other
Structures
CYPE Structures
Design
Adobe CC (Ps, Ai, Id)
Driver’s license
B A
Professional experience
February 2016 - Current
Spanish Venice Biennale Pavilion 2016. A Coruña, Galicia, Spain. écheocai co. architect, assisting the curator team formed by Iñaqui Carnicero & Carlos Quintáns. (Exhibition scenography, exhibition layout, publications).
March 2015 - March 2016
Centro Botín construction. Santander, Cantabria, Spain. OHL Ascan Technical Office architect in collaboration with Renzo Piano Building Workshop and Luis Vidal + Arquitectos (Design of construction details, building surveying, coordination).
Jan. 2015 - March 2015
E.T.S Arquitectura A Coruña, ETSAC. A Coruña, Galicia, Spain. ETSAC Department of Composition research assistant. (Research, layout design).
May 2013 - May 2014
Habitat Consultores. Pontevedra, Galicia, Spain. Technician, draftsman. (Energy efficiency certifications, as-built plans).
Achievements
Conferences
Recommendations
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March 2016
International contest ‘Sequoia Climbing Space’ Giant Forest, California, EE.UU. Finalist. Publication in contest catalogue, 2016.
December 2015
EUROPAN13 ‘Embroidering the edge’ As Xubias, A Coruña. Second prize. Publication in EUROPAN13 catalogue, 2016.
October 2015
‘Nursery School in Arteixo’ selected and published in ‘Project strategies in the urban environment’ A Coruña University.
December 2015
‘EUROPAN13 1+3’ COAG headquarters, A Coruña.
March 2016
‘EUROPAN13’ ETSAC -E.T.S. Arquitectura A Coruña-, A Coruña.
March 2016
Pablo Bezanilla. Architect. Centro Botín OHL Ascan Technical Office manager.
December 2015
Enrique M. Blanco Lorenzo. Phd Architect. Professor. Sabín + Blanco Architects. Final Thesis tutor.
Selected works This portfolio shows a few examples of my recent work. The selection tries to condense my whole point of view in architecture and urbanism, wandering through both big and small tasks that I have faced as a student but also as a graduated architect. ‘Embroidering the edge’ is a territorial range intervention structured by human scale and sensations. It was a collaborative work that brought us new professional experiences such as national conferences and expositions. ‘Nursery school’ is an investigation about how the educational system works and how the building must be adapted to each user’s reality. As a final thesis, it was developed from scratch to construction plans, achieving the highest mark of the promotion. ‘The urban shelter’ is a research about the popular construction methods in Cracow and also an experiment about conciling private and public life in a small scale project.
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EUROPAN13 ‘Embroidering the edge’ Location A Coruña, Spain Year 2015 Contest Europan13 Teammates Nuria Prieto Diego Lucio Ángel Montero Omar Curros Published in Plataforma Arquitectura Divisare A|G
Canning and fishing industry has shaped A Coruña’s shorefront since the early 1900’s. In mid 80’s the big companies broke and left many industrial corpses all over the coast. As Xubias is one of them. A small rural settlement survives among ruins, disconnected from the city and asphyxiated by a six-lane artery, key in metropolitan mobility.
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At this point, weaknesses become opportunities: the old fish farms, the factory ruins, the wrecked oleoduct, the railroad in disuse may come alive again changing their way to be lived. This local changes complete the disrupted metropolitan mobility scheme. Local structures global. The intervention is structured in four steps:
WINNERS ANNOUNCEMENT SECOND PRIZE AWARD ‘Embroidering the edge’ ‘Bordando el borde’
(Territorial) REstructuration The abandoned railway becomes a real connection. A slow tram line, a bike lane and a promenade share its almost zero slope course.
(Seafront) REactivation Old fish farms’ structures are used to create wave-protected pools, blurring the sea-land relationship and creating a promenade surrounded by water.
(Mobility) REorganization Revived ruins and new buildings link different heights, breaking physical barriers, connecting As Xubias with Juan Canalejo Hospital.
(Urban fabric) REarrangement Long lasting changes need new people. Collective housing looking for a critic number of inhabitants to stabilize the settlement.
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(Territorial) REstructuration
A.
1.
2.
3.
B.
a. Bike lane
b. Tram net
The main connection is moved to the sea border (blue). Three activity nodes structure the whole site: La Cetรกrea (1), La Celta (2) and the housing (3).
The school ruins (A) solves the main territorial gap and links As Xubias with Juan Canalejo Hospital. A small platform (B) splits the original train and new tram lines.
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(Mobility) REorganization
c. Green path
d. Urban mobility
The visitor’s presence was always a fast and non-interactive experience. It was necessary to decelerate their pass and to create a connection line.
A connection made by a sequence of dots instead of a vector from one point to another. The abandoned railway (light green) becomes a slow speed line: tram, bike or walk.
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(Seafront) REactivation
I. La Cetรกrea Old fish farms structures create calm salt-water pools and promenades surrounded by water.
II. La Celta Scars generated by the factory ruins reborn as tide-changing pools, redefining the relation between land and sea.
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(Urban fabric) REarrangement
III. La vivienda High density residential typology to create a critic mass of inhabitants to complement As Xubias rural housing.
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Nursery School (Final Thesis) Location Arteixo, A Coruña, Spain Year 2014 Oriended by Enrique Blanco Lorenzo University E.T.S. Arquitectura de A Coruña - ETSAC Published in ‘Estrategias de proyecto en el medio construído.’ A Coruña University, 2015.
‘Simplicity is not an end in art, but we usually arrive at it as we approach the true sense of things’ Constantin Brancusi, 1930
It’s the information era. The population suffers an overdose of stimulus that overwhelms its capacity to analyze and react. The project became an experiment of how a nursery school should work in an aggressive environment.
ns
The building should conform a kid’s habitat between the sobreprotection of home and the sobreexposition of the adult society. A place where kids can explore and play freely. A place for spontaneity, creativity and imagination.
Evolution
Decomposition
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Adults perception
A.
A’.
Adults’ plan (≥1’10m)
Classroom s. AA’
Avoiding fences or walls, the building itself acts like an implicit limit. The playground is brought to the inside creating a domesticated exterior space. The concrete part offers filtering and protection preventing feelings of captivity.
ns
In contrast with this regular exterior part, the wooden interior appears lighter and more diffuse. Brighter and bigger spaces configure the activity core of the building allowing at the same time social relationships and intimacy.
Kids perception
B.
B’.
Kids’ plan (<1’10m)
Multidisciplinary space s. BB’
Responding to the users anthropometric characteristics the interior works in two different scales. There’s a superposition of two perceptions: the complex and transparent adult’s world and the domestic scale children’s habitat.
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The touch action range is set to 1’10m. Below that, the kids micro-society inhabits a space for opportunity. The polyvalent classrooms share the center of the building, working separately or together as a circulation-free space.
Materialization
The construction details and mounting process was also designed according to the project nature. The materials are used to maximize the expressiveness of each space. Concrete structure with raw concrete walls for the massive protection element. Timber structure with wood and glass surfaces for the light, bright and warm childrenâ&#x20AC;&#x2122;s world.
Concrete structure
ns
Timber structure
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The urban shelter Location Cracow, Poland Year 2012 Subject Design for conservation University Cracow University of Technology - CUT
‘The house shelters day-dreaming, the house protects the dreamer, the house allows one to dream in peace’ Gaston Bachelard, The Poetics of Space, 1957
The task was to restore a 18th century ruined townhouse in Kazimierz, Krakow’s Jewish neighborhood. After WWII the area suffered a rebirth based in the growing tourism. The original townhouses became businesses and the old inhabitants were displaced to other districts due to the gentrification process.
us
The project respects the existing ruins proposing a mixed-use building restoring the neighborhood’s original scheme: owner’s home and business share the volume. Family life, bookshop visitors and writer’s creation process should cohabite in harmony.
Decomposition
Evolution
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Bookshop and showroom
Bookshop elevation
B.
Bâ&#x20AC;&#x2122;.
Front facade faces Szeroka st. , one of the most visited places in the neighborhood. In the ground floor, the access serves the bookshop, inviting the pedestrians to visit the inside.
us
Long section s. AAâ&#x20AC;&#x2122;
Through the patio, which connects and isolates public and private life, a staircase guides the guests to the cellar multipurpose gallery. The original brick walls define the space.
A.
A’.
Third floor
A.
A’.
Home elevation Second floor
A.
A’.
First floor
2. 4.
A.
1.
3.
A’.
Ground floor
9. 8.
7.
6.
5.
A.
A’.
Patio s. BB’
Cellar
1. Bookshop access 2. Bookshop 3. Staircase
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4. Patio 5. Foyer 6. Installations machinery
7. Toilet 8. Storage 9. Multipurpose gallery
Home and studio
Home elevation
D.
D’.
Back facade faces a narrow street without almost any traffic, avoiding noise and crowds. Writer’s studio is situated on this side of the house, isolated from the bustle of daily routine.
us
Long section s. CC’
The ruins become a home by installing a new timber structure following the original configuration of Polish townhouses. Main facade is preserved respecting the neighborhood image.
10.
11.
12.
C.
C’.
Third floor
3. 7.
8.
9.
C.
C’.
Bookshop elevation Second floor
4.
5.
2. 6.
C.
C’.
First floor
1.
C.
C’.
Ground floor
C.
C’.
Patio s. DD’
1. Garage 2. Studio 3. Mezzanine
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Cellar
4. Kitchen 5. Toilet 6. Living room
7. Bedroom 8. Bathroom 9. Bedroom
10. Bedroom 11. Bathroom 12.Dressing room
On-site experience Name Centro de Arte y Cultura Botín Client Fundación Botín Project manager Bovis Architects Renzo Piano Building Workshop Luis Vidal + Arquitectos Consultants ARUP, Dynamis, Typsa Müller-BBM, F. Caruncho, Artec 3
‘The idea of suspension is crucial. Making the building float as if it was on the water. And what makes water magical is the reflection. That is why we chose ceramics, because this surface will play with light, with the reflection of the waves.’ Renzo Piano, interview about Botín Centre, June 2012
Conceived as an international referent in the exhibiton of art and culture, the Botín Centre heals and redefines the relation between the city of Santander and the bay.
oe
Transforming the Albareda harbor and extending the existing Pereda gardens, the project is the first building by the Italian Pritzker Renzo Piano in Spain.
(1)
(2)
(3)
(1) (2) (3) West building exterior. (4) Ceramic cladding. (5) Main art gallery. (5)
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(4)
Contact E-mail
contact@hugomalvar.com
Website
http://hugomalvar.com
Adress
Hugo Malvar Ă lvarez 23 Hilton House Parkhurst Road London, N7 0NN
Phone
+44 07482084892 (U.K.) +34 616 724 635 (Spain)