EXP1

Page 1

EXP1 ea!

LUCASGARCĂ?ATORRALBO

Ademås de los ingredientes habituales, TORRALBO contiene distintas cantidades en difLYLU[LZ JVSVYLZ KL OL_mWVKVZ LZ[YLSSHZ JSHYVZ LU LS IVZX\L H\[VI\ZLZ WHZHYLSHZ ZL[HZ KL [VKV [PWV KL [HTH|VZ ` N\Z[VZ VQVZ NYHUKLZ ZHX\L KL [V\JOL [HWPJLZ TL[mMVYHZ KL LZWVUQH \U VYKLUHKVY -VYTHZ ` JVU[LUPKVZ LZWLJxÄJVZ LU JHKH JHZV 3HZ WYVWPLKHKLZ HYX\P[LJ[}UPJHZ KL ;699(3)6 ZL H[YPI\`LU H \UH KLZPUOPIPJP}U ZPU WYLQ\PJPVZ LU el planteamiento de los ejercicios, con un cierto control sobre el resultado de los mismos. ;699(3)6 VMYLJL ZVS\JPVULZ HY[LYUH[P]HZ LZWLJxÄJHZ HKHW[HISLZ K\YHU[L SVZ WYVJLZVZ Instrucciones de uso. Disfrute. No utilizar de forma inadecuada. AbstÊnganse especuladores y constructoras desinteresadas y torpes. Evitar el contacto con los personajes contraindicados. El papeleo administrativo (actas, informes, etc.) favorece la aparición de reacciones adversas. Clientes ni-ni (ni JPU[\YH UP ZLU[PKV KLS O\TVY ! HU[LZ KL \[PSPaHY LZ[L SPIYV JVUZ\S[HY H \U HYX\P[LJ[P UP UP ,S HYX\P[LJ[V se administra con dosis imprevisibles. Un cuatrimestre, varios aprobados; otros, demasiado pocos. Se construye despuÊs de un tiempo considerable. La situación actual imposibilita la aparición de una ZVIYLKVZPZ KLS HYX\P[LJ[V LZ LZ[\KPHU[L H‚U :\ HWSPJHJP}U KL MVYTH LX\P]VJHKH W\LKL WYVK\JPY PYYP[HJPVULZ ` HS[LYHJPVULZ *VUZLY]HY LU J\HSX\PLY IHY MYLZJV ` ZLJV V JOPYPUN\P[V KL WHYX\L 5V [PLUL caducidad. Mantener fuera del alcance de políticos y ciclistas.

In addition to the usual ingredients, Luke contains varying amounts in different colors of hexapods, stars, clearings, buses, bridges, mushrooms of all sizes and tastes, large eyes, RPJR [V\JOL [HWLZ[YPLZ TL[HWOVYZ VM ZWVUNL JVTW\[LY :WLJPĂ„J MVYTZ HUK JVU[LU[Z PU each case. The architectural properties are attributed to Lucas disinhibition minded in the approach to the exercises, with some control over the outcome of the matter. Arternativas 3\JHZ VMMLYZ ZVS\[PVUZ ZWLJPĂ„J MVY HKHW[P]L WYVJLZZLZ Instructions. Enjoy. Do not use improperly. Refrain speculators and disinterested and awkward construction. Avoid contact with the characters contraindicated. The paperwork (minutes, reports, etc..) Favors the occurrence of adverse reactions. Customers ni-ni (or waist, no sense of humor): Before \ZPUN [OPZ IVVR [V JVUZ\S[ H HYX\P[LJ[P UP UP ;OL HYJOP[LJ[ PZ NP]LU H KVZL \UWYLKPJ[HISL 6UL ZLTLZ[LY several approved, others too few. It is built after a considerable time. The current situation precludes the appearance of an overdose of the architect (a student yet). Its application in the wrong way can cause irritation and alterations. Store in cool, dry place any bar or bar on the park. It has no expiration. Keep out of reach of politicians and cyclists.

Foto: Miki Ávila. Lucas García Torralbo 1993 Nace en Madrid 1996-2005 Aprende en el colegio 2005-11 Descubre en el instituto 2011-... Da sus primeros pasos en la ETSAM 3\JHZ .HYJxH ;VYYHSIV LZ \U ZLY X\L OHIP[H LU LS *+* 6 LU LS QHYKxU =H HOx ZPLTWYL X\L W\LKL +PJL X\L LZ WVY LS HTIPLU[L KL [YHIHQV ]L[L [ H ZHILY 7VY SV ]PZ[V SL N\Z[H SH MV[VNYHMxH SH T ZPJH SHZ ZVUYPZHZ 3VZ YH[VZ LU LS QHYKxU ` SHZ [HYKLZ LU SH IPISPV[LJH @ TmZ S[PTHTLU[L SH HYX\P[LJ[\YH 7PLUZH X\L [VKV LZV LZ[m xU[PTHTLU[L YLSHJPVUHKV X\L H U UV ZHIL J}TV ` X\L SV JHTIPHYm [VKV HSN U KxH )\LUH :\LY[L ,S WYLZLU[L ]VS\TLU WYL[LUKL YLZ\TPY Z\ [YHIHQV LU SH LZJ\LSH K\YHU[L Z\ WYPTLY H|V KL proyectos.

Lucas García Torrablo 1993 He is born in Madrid 1996-2005 He learns in Elementary School 2005-2011 He discovers in High School /L [HRLZ OPZ ÄYZ[ Z[LWZ PU [OL ,;:(4 Lucas García Torrablo is a being who inhabits the CDC. Or the garden. He goes there whenever he can. He says it is because of the work environment, who knows? Apparently, he’s into photography, music and smiles. Times at the garden and in the library. And lately, architecture. He thinks it´s all closely related, though he doesn´t know how yet, and that he will change everything one day. Good luck. ;OPZ ]VS\TL PU[LUKZ [V Z\T \W OPZ ^VYR PU [OL ZJOVVS K\YPUN OPZ ÄYZ[ `LHY VM 7YVQLJ[Z

LUCAS G TORRALBO Escala y miedo

excepto 42. Mayo / May 2012 Lucas G Torralbo. Escala y miedo L_JLW[V LZ \UH W\ISPJHJP}U TVUVNYmร JH ZVIYL SH VIYH KL LZ[\KPHU[LZ KL HYX\P[LJ[\YH LU 4HKYPK / excepto is a monographic publication about the work of Madrid students of architecture Edita / Publisher LH LKPJPVULZ KL HYX\P[LJ[\YH c/Piamonte, 23. 28004 Madrid ,ZJ\LSH (YX\P[LJ[\YH ,;:(4

LUCAS GARCร A TORRALBO 5V[H IPVNYmร JH )PVNYHWOPJHS UV[L PRAXIS 04

+PHNYHTH J\YYPJ\SHY *\YYPJ\SHY +PHNYHT

06

Matadero es una excusa Ejercicio 01

08

Ejercicio 02

Patrocinador / Sponsor Unidad docente Lapuerta Victoria Acebo y Eva Gil

12

Depรณsito legal

16

ISBN Todos los derechos reservados. Ninguna parte de esta publicaciรณn puede ZLY YLWYVK\JPKH V [YHUZTP[PKH WVY UPUNย U TLKPV ZPU LS WLYTPZV LZJYP[V del editor / All rights reserved. No contents of this publication may be reproduced or transmitted by any means without prior written consent of the editor ย KL SH LKPJP}U VM [OL LKP[PVU! LH LKPJPVULZ KL HYX\P[LJ[\YH ยฉ de las imรกgenes, textos y traducciones: sus autores / of images, texts and translations: their authors Buena suerte, 2012

5VJOL KL LZ[YLSSHZ Escenario para la celebraciรณn de espectรกculos al aire libre Sentirse bien en un lugar Residencia colectiva para jรณvenes artistas Ejercicio 03 *}TV JYLHY OPZ[VYPHZ Nuevo acceso al recinto del Matadero CONTEXTO

20

9LMLYLUJPHZ 9LMLYLUJLZ

22

*\HUKV SV JPYJ\UZ[HUJPHS HJ[ย L JVTV [HS V J}TV YLZ\TPY \U WLYxVKV KL [PLTWV relativamente corto) Lucas Garcรญa Torralbo

6feb presentación del curso

13feb CDC en Plaza Matadero

5mar entrega01

12mar referencias02

12mar nueva libreta

7feb vídeo Matadero venta enunciado

6mar jury01

7feb Havalina

22feb muerte de LMMansilla

15feb Churtichaga

8feb Virseda-Vila

7mar Langarita Navarro 14mar Ábalos Galliano 1HX\L 4VULV 7mar visita Matadero

8feb visita Matadero

23feb LKPÄJPV Barbarín

17feb The New Cossacks

11feb grabación vídeo

18feb Manos de Topo

9mar Luces de Neón

3mar construcción NYHU THX\L[H

30mar Somos La Herencia

10mar M83

11feb TP J\TWSLH|VZ

25mar vídeo residencia

LUCAS GARCÍA TORRALBO PRAXIS

2012

7may entrega03

16abr rotonda Legazpi

24abr presentación en clase

10abr entrega02

28may entrega01

21may hagan exceptos

22may ROOOM

8may acto Mansilla

29may JHSPÄJHJPVULZ

11abr jury02

25abr Q\Y` JVT U 18abr Taller de *HZX\LYxH

9may HUB Madrid 16may 9HZJHPUÄLYUVZ

12abr

18mar Somos La Herencia

Acontecimientos Clases puntuales Conferencias

15abr aniversario

22abr autobuses

Entrega

Tiempo libre

Visitas

Matadero Madrid 4H[HKLYV LYH \U ZP[PV KVUKL ZL [YP[\YHIHU [YPWHZ KL ]HJHZ JLYKVZ ` [VKV [PWV KL HUPTHSLZ KL SVZ J\HSLZ ZL W\KPLYH HWYV]LJOHY HSN U [YVaV WHYH JVTPKH WPLSLZ L[J Era. (OVYH LZ \U *LU[YV KL *YLHJP}U *VU[LTWVYmULH ,Z KLJPY ZL [YP[\YHU PKLHZ JVUJLW[VZ YLÅL_PVULZ ` ZVUYPZHZ ;VKV ZL TLaJSH LU LZ[L NYHU LZWHJPV ` ZL ZPY]L WHYH X\L W\LKH ZLY]PYZL [VKV HX\tS X\L X\PLYH HJLYJHYZL 5V [LUNH TPLKV LZ LS TVTLU[V 4H[HKLYV LZ \UH L_J\ZH (WYLUKH JVTV LU J\HSX\PLY V[YV ZP[PV :}SV X\L HX\x UV [LUKYm X\L esconderse. Sea usted mismo. Todo se mide en metros cúbicos de creatividad.

01

5VJOL KL LZ[YLSSHZ

,U\UJPHKV VÄJPHS 6MÄJPHS Z[H[LTLU[

,ZJLUHYPV WHYH SH JLSLIYHJP}U KL LZWLJ[mJ\SVZ HS HPYL SPIYL

:[HNL MVY [OL JLSLIYH[PVU VM V\[KVVY L]LU[Z

Pudimos elegir de entre varios enunciados dentro de un TPZTV LU\UJPHKV ,ZJVNx ¸\U LZJLUHYPV ÅV[HU[L WHYH SH NASA”. Me pareció el más curioso, sin duda.

We could choose among several wordings within one exLYJPZL 0 JOVZL ¸H ÅVH[PUN Z[HNL MVY [OL 5(:(¹ 0 [OV\NO[ P[ was the most peculiar, undoubtedly.

La NASA es capaz de enviar un hombre en una cápsula JSH\Z[YVM}IPJH HS LZWHJPV PUÄUP[V ` HNVYHM}IPJV ZPU [LTLY por su vida, con tal de explorar y descubrir hasta el más TxUPTV KL[HSSL KL SV X\L VJ\YYL HOx HYYPIH ZVIYL UVZV[YVZ 4P WYV`LJ[V [VTH MVYTH KL \UH JVUZ[LSHJP}U H U WVY explorar, donde la institución norteamericana nos brinda el YLNHSV KL \UH UVJOL LU 4HKYPK JVU LZ[YLSSHZ H\UX\L UV sea a la altura habitual, y se pueda caminar entre ellas.

The NASA is capable of sending a man inside a claus[YVWOVIPJ JHWZ\SL [V [OL PUÄUP[L HUK HNVYHWOVIPJ ZWHJL without fearing for his life, as long as it gets to explore and discover the tiniest details of what goes on up there, about us. My project takes the form of a constellation yet to explore, where the American institution awards us with a starry night in Madrid, even if it’s not at the usual height, and you can walk through the stars.

<UH ZLYPL KL LZ[YLSSHZ JVULJ[HKHZ WVY WHZHYLSHZ X\L ZL enganchan a las fachadas de las naves del Matadero, proporcionan la oportunidad de explorar los distintos espacios de las (altas) esferas. El trazado de éstas se ha hecho siguiendo la disposición real de ciertas constelaciones en el cielo. Dentro de cada estrella pueden ocurrir cosas. Puede haber un hombre tocando la guitarra, puede haber asientos y una taza de café. Un programa cerrado destruPYxH LS JVU[L_[V H U OH` JVZHZ X\L KLILTVZ L_WSVYHY

A series of stars connected through runways, hooked to the facades of the buildings of the Matadero, give us the opportunity to explore the different spaces of the (tall) spheres. Their layout was made following the real distribution of certain constellations up in the sky. Inside each star many things can happen. There can be a man playing the guitar, there can be seats and a cup of coffee. A closed program would destroy the context, there are still many things we must explore.

08

Ejercicio 01 / First exercise ,S WYPTLY LQLYJPJPV WYVWVUL LS WYV`LJ[V KL \UH LZ[Y\J[\YH JHWHa KL ZLY]PY JVTV LZJLUH WHYH SH JLSLIYHJP}U KL LZWLJ[mJ\SVZ ` [HTIPtU JVTV umbráculo asociado a la cafetería del ;LH[YV ,ZWH|VS LU LS LZWHJPV JLU[YHS KL 4H[HKLYV (KLTmZ KLS KPZL|V KLS HY[LMHJ[V X\L [LUKYm \U LTWSHaHTPLU[V ÄQV LS HS\TUV WVKYm WYVWVULY WLX\L|VZ ZH[tSP[LZ T}]PSLZ JHWHJLZ KL JVSVUPaHY SH NYHU Z\WLYÄJPL KPZWVUPISL ZLN U KPZ[PU[HZ JVUÄN\YHJPVULZ Instrumentos / Tools )VJL[VZ ` THX\L[H Entrega / End )VJL[VZ KLS WYV`LJ[V ` THX\L[H H escala 1:20 Fecha de entrega / End date 05 de marzo de 2012

09

10

11

02

Sentirse bien en un lugar

,U\UJPHKV VÄJPHS 6MÄJPHS Z[H[LTLU[

9LZPKLUJPH JVSLJ[P]H WHYH Q}]LULZ HY[PZ[HZ

Collective residence for young artists

Estamos hablando de 24 artistas. Son 24 personas, como todos los demás, como nosotros. Pero ellos ven el mundo de otra manera, simplemente. Consiguen ZHJHYSL WHY[PKV H J\HSX\PLY ZP[\HJP}U ` LUJVU[YHY SH ILSSLaH KVUKL WHYLJL X\L UV OH`H

We’re talking about 24 artists. There are 24 people, like everyone else, like us. But they see the world differently, simply. They get to take advantage of any ZP[\H[PVU HUK ÄUK ILH\[` ^OLYL P[ ZLLTZ [OH[ [OLYL PZ

Se plantea una residencia de artistas jóvenes en el Matadero, cerca del invernadero. Pues bien, decidí crear una habitación-módulo individual para cada uno KL LSSVZ ,Z[V LZ HZx WVYX\L JVUZPKLYV X\L LS WYVJLZV de creación consta de tres etapas: la primera, la de inÅ\LUJPH LU SH X\L ZL HWYLUKLU ` HKX\PLYLU PKLHZ WHYH los proyectos. Segundo, la de trabajo y aislamiento, en SH X\L LS HY[PZ[H OH KL LUJLYYHYZL H KLZHYVSSHY LZH PKLH 7VY S[PTV ` H\UX\L H ]LJLZ WHYLaJH X\L UV LZL HY[L OH KL ZLY L_W\LZ[V H V[YVZ WVY SV X\L SH [LYJLYH MHZL (a mi parecer) corresponde al de muestra. Sólo así un artista alcanza a serlo. =LPU[PJ\H[YV JHZP[HZ JVU [HSSLY H KVISL HS[\YH WLX\L|V KVYTP[VYPV LSL]HKV X\L HZLN\YH WYP]HJPKHK J\HY[V KL IH|V ` [LYYHaH LU SV HS[V KVUKL WVKYm YL\UPYZL JVU Z\Z JVTWH|LYVZ (KLTmZ LZ[HZ [LYYHaHZ LZ[HYmU JVULJ[HKHZ LU[YL Zx WVY \U ZPZ[LTH KL WHZHYLSHZ SV X\L JYLHYm un curioso efecto de red artística.

12

It raises a young artists’ residence in the slaughterhouse, near the greenhouse. Well, I decided to create a room-individual module for each of them. This is because I believe that the creation process has three Z[HNLZ! ÄYZ[ [OL PUÅ\LUJL PU ^OPJO [OL` SLHYU HUK HJX\PYL PKLHZ MVY WYVQLJ[Z :LJVUK SHIVY HUK PZVSH[PVU in which the artist has to be enclosed to develop that idea. Finally, although sometimes it seems like no, that art must be exposed to others, so that the third phase (in my opinion) is the sample. Only in this way amounts to be an artist. Twenty-four houses, with double height workshop, small bedroom high, which ensures privacy, bathroom and terrace on the top where you can meet with their peers. Furthermore, these terraces are connected by a system of walkways, creating a curious artistic network effect.

Ejercicio 02 / Second exercise :L WYV`LJ[HYm \UH YLZPKLUJPH WHYH HY[PZ[HZ ZP[\HKH LU LS LZWHJPV SPIYL KPZWVUPISL LU[YL LS 0U]LYUHKLYV WLY[eneciente a Matadero y el Paseo de la *OVWLYH ,S JVUQ\U[V YLZ\S[HYm KL SH HNY\WHJP}U KL \U U TLYV WYLKL[LYTPUHKV KL ]P]PLUKHZ [HSSLY LU SHZ X\L SVZ artistas residirían durante uno o dos semestres. Deberá incluirse además una sala colectiva de descanso con un WLX\L|V VÄJPV WHYH JHMt ` ILIPKHZ Instrumentos / Tools )VJL[VZ THX\L[H ` WSHUVZ Entrega / End )VJL[VZ KLS WYV`LJ[V THX\L[H WSHUVZ KL WSHU[HZ HSaHKVZ ` ZLJJPVULZ KLS LKPÄJV LU Z\ LU[VYUV Fecha de entrega / End date 10 de abril de 2012

13

AVUH L_[LYPVY AVUH KL YLWVZV AVUH KL [YHIHQV

14

15

03

*}TV JYLHY OPZ[VYPHZ

,U\UJPHKV VĂ„JPHS 6MĂ„JPHS Z[H[LTLU[

Nuevo acceso al recinto del Matadero

New access to Matadero

Me interesaba comenzar el ejercicio trabajando desde SH W\ISPJPKHK =LY OHZ[H K}UKL ` H X\PtU WVKxH SSLNHY LS Matadero, mĂĄs allĂĄ de sus densos muros. Como se pidiĂł X\L HJ[\mYHTVZ LU SH WSHaH KL 3LNHaWP VIZLY]t X\t HI\UKHIH HOx X\L W\KPLZL \[PSPaHY (\[VI\ZLZ (\[VI\ZLZ WVY [VKVZ SHKVZ @ WHYHKHZ KL H\[VI‚Z ` WLYZVUHZ HI\YYPKHZ LZWLYHUKV LU LSSHZ \U H\[VI‚Z X\L SL SSL]HYxH H V[YV LU \UH LZWLYH ZPU Ă„U CreĂŠ un mapa del radio de acciĂłn de esos buses, y al ver [VKH SH L_[LUZP}U X\L [LUxH ` LU SHZ J\H[YV KPYLJJPVULZ KLJPKx X\L LS 4H[HKLYV LTWPLaH KVUKL JVTPLUaHZ H pensar en ĂŠl. De igual modo, tenĂ­a intenciĂłn de conectar el Matadero con el “eje de los Museosâ€?, compesto por el Prado, ThysZLU 9LPUH :VMxH ` X\Pam 3H *HZH ,UJLUKPKH [HTIPtU 7VY SV X\L KLIxH HJ[\HY ZVIYL [VKV Z\IPLUKV WVY LZHZ calles de Delicias y Paseo del Prado.

I thought it would be interesting to begin the exercise working from the perspective of publicity. To see where and who could Matadero reach, beyond its dense walls. Since we were asked to work on the Plaza de Legazpi, I saw what was in abundance there that could be useful. Buses. Buses everywhere. And bus stops, and bored people waiting in them for a bus that would take them to another, in an endless wait. 0 JYLH[LK H THW VM [OL Ă„LSK VM HJ[PVU VM [OVZL I\ZLZ HUK when I saw its expanse in the four directions, I decided Matadero began where you begin to think of it. In the same way, I intended to connect Matadero with the ‘museums axis’, includind the Museo del Prado, the Thyssen and the Reina SofĂ­a (and maybe La Casa Encendida too). That’s why I had to focus mostly on the streest of Delicias and the Paseo del Prado. Matadero spreads to the bus stops, invading them and taking its activities to the vast network of the EMT. Library- Bus stops. Stage- Bus stops. Music- Bus stops. A series of proposals that accompany you in your wait. @V\ÂťK IL OVWPUN [V TPZZ [OL I\Z

El Matadero se extiende por las paradas de autobuses, invadiÊndolas y propulsando sus actividades a lo largo de la extensa red de la EMT. Paradas-biblioteca. Parada-esJLUHYPV 7HYHKH T‚ZPJH <UH ZLYPL KL WYVW\LZ[HZ X\L [L HJVTWH|HU LU [\ LZWLYH *VTV WHYH WLYKLY LS H\[VI‚Z

16

Ejercicio 03 / Third exercise ,S LQLYJPJPV JVUZPZ[PYm LU LS KPZL|V KL un nuevo acceso al recinto de MataKLYV KLZKL SH NSVYPL[H KL 3LNHaWP ,S WYV`LJ[V WVKYm TVKPĂ„JHY LS [YHaHKV V LS JHYmJ[LY KL SH [HWPH HJ[\HS ` KLILYm HZVJPHY H SH U\L]H W\LY[H KL LU[YHKH \U WHILSS}U KL JVU[YVS PUMVYTHJP}U ` venta de localidades. Asimismo deberĂĄ idearse el sistema y la ubicaciĂłn WHYH SH W\ISPJPKHK KL SVZ L]LU[VZ WYVNYHTHKVZ Instrumentos / Tools )VJL[VZ THX\L[H WSHUVZ ` MV[VTVUtaje Entrega / End )VJL[VZ KLS WYV`LJ[V THX\L[H WSHUVZ KL WSHU[HZ HSaHKVZ ` ZLJJPVULZ KLS LKPĂ„JV LU Z\ LU[VYUV HZx JVTV \U WSHUV KL PTWSHU[HJP}U ` \U fotomontaje Fecha de entrega / End date 07 de mayo de 2012

17

18

MATADERO

4(7(

NAVE 16 CREACIÓN

EL RANCHITO

NAVE DE MÚSICA CONCIERTOS

COLECTIVO GRABACIONES EXPOSICIONES CONFERENCIAS

SESIONES DJ

INTERACCIÓN

CULTURA

CULTURA

NAVES DEL ESPAÑOL TEATRO

IMPROVISA

ACTORES

9,79,:,5;(*0Ô5

CULTURA

CAFÉ TEATRO CERVEZA TEATRO

5(=,: ) @ )

EN

CAFETERÍA

CONS-­

CAFÉ

TRUC-­

COMIDA

CIÓN

U

USTED ESTÁ AQUÍ

CASA DEL LECTOR

PLAZA MATADERO

LITERATURA LIBROS

FANTASÍA FICCIÓN

BIBLIOTECA

CULTURA

INTERMEDIAE EXPERIMENTA ORGANIZACIÓN

TRABAJO

JUEGOS

DESARROLLO

CULTURA

CINETECA CINE

NO FICCIÓN

DOCUMENTAL

CANTINA COMIDA MENÚ

FILM

CULTURA

RF

Referencias / References Top 50 @lucbreath

20

La mĂşsica me acompaĂąa permanentemente. Vivo en una banda sonora de mĂşsicas que cargan de atmĂłsferas aquellos lugares donde desarrollo mis actividades habituales. La TFMFDDJĂ˜O FTUĂˆ MJHBEB B EJGFSFOUFT DVFTUJPOFT FM OPNCSF EFM HSVQP FM UĂ“UVMP FM TJHOJmDBEP del ĂĄlbum, el ambiente instantĂĄneo que genera en el espacio, y mĂĄs. Como buen SFGFSFOUF TJHOJmDB DPTBT EJTUJOUBT QBSB DBEB VOP Z QFSNJUF JOmOJEBE EF QSPZFDDJPOFT personarles. 50 discos, 50 artistas, 50 ideas. Bienvenidos a mi cabeza.

The music is always with me. I live in a soundtrack of music that atmospheres charged places where I usually operate. The selection is linked to different issues: the group’s name, title, the meaning of the album, which creates instant atmosphere in space, and more. As a good reference, means different things MVY LHJO WYVQLJ[PVU HUK HSSV^Z PUÄUP[` WLYZVUHYSLZ HSI\TZ HY[PZ[Z ideas. Welcome to the deepest place inside of me.

1.Adelante, Bonaparte. Standstill. / 2.(II). Toundra. / 3.Una semana en el motor de un autobús. Los Planetas. / 4.Disintegration. The Cure. / 5.Take care, take care, take care. Explosions in the Sky. / 6.Mira. Vetusta Morla. 7.Imperfección. Havalina. / 8.In rainbows. Radiohead. / 9.Tara motor hembra. Nudozurdo. / 10.Peores cosas pasan en el mar. The Secret Society. / 11.Wintersleep. Wintersleep. / 12.El lejano oyente. Atención Tsunami! / 13.Así pasen cinco aùos. Modelo de respuesta polar. / 14.Wolfganf Amadeus Phoenix. Phoenix. / 15.Station. Russian Circles. / 16.1999. Love of Lesbian. / 17.A propósito de Garfúnkel. The New Raemon. / 18.Viva la vida. Coldplay. / 19.Juego entrópico. Nueva Vulcano. / 20.Para entonces habrås muerto. Tahnnhauser. / 21.Triångulo de amor bizarro. Triångulo de amor bizarro. / 22.Young mountain. This will destroy you. / 23.A la hora del sol. Maga. / 24.Mr.Beast. Mogwai. / 25.Neon bible. Arcade Fire. / 26.Glassworks. Philip Glass. 27.Með suð í eyrum við spilum endalaust. Sigur Rós. 28.La increíble aventura. Migala. / 29.Hurry up, we’re dreaming. M83. / 30.Forthcoming science theory. The Baltic sea. / 31.Another sound is dying. Dub Trio. / 32.In a forest without trees. Goonies never say die. / 33.VS Las trompetas de la muerte. %FMBG� Z MBT nPSFT B[VMFT / 34.Balmorhea. Balmorhea. / 35.Escapar con el anticiclón. Manos de Topo. / 36.I could live in hope. Low. 37.Reservoir. Fanfarlo. / 38.La transición de fase. Igloo. / 39.Egon soda. Egon soda. / 40.No wow. The Kills. / 41.Distant street lights. Codes in the Clouds. / 42.Exposición universal. Templeton. / 43.Geometría. La muùeca de Sal. 5IF NJEOJHIU PSHBO mHIU Fightened Rabbit. / 45.La fabulosa historia de... Zahara. / 46.Look at that old grizzly bear. Last Lungs. 5IF mSTU EBZT PG TQSJOH Noah and the Whale. / 48.High violet. The National. / 49.Canciones para el amor y la distancia. Ivån Ferreiro. / 50.Autobahn. Kraftwerk. / 51.Aparece y desaparece, aparece y desaparece, aparece y desaparece, aparece y desaparece, aparece y desap. Somos La Herencia.

16

EV ,U[YL]PZ[H 0U[LY]PL^

Cuando lo circunstancial actúe como tal (o cómo resumir un WLYxVKV KL [PLTWV YLSH[P]HTLU[L JVY[V *HKH ]La X\L SV WPLUZV UV JVUZPNV PTHNPUHY J}TV OH WHZHKV [HU YmWPKV LS J\H[YPTLZ[YL 7HYLJL X\L M\L HU[LZKLH`LY J\HUKV LS WYPTLY KxH KL JSHZL LZtábamos todos nerviosos, rodeando una mesa vacía y blanca, y hablando de SV X\L OHYxHTVZ K\YHU[L LZL J\YZV ,ZH TLZH M\L SSLUmUKVZL KL THX\L[HZ planos e ideas a lo largo de los días.Unos mejores, otros peores, pero, en general, la mayoría contenían el mismo nivel de energía e ilusión: estábamos aprendiendo. ,S [YHIHQV JVU =PJ[VYPH (JLIV ` ,]H .PS X\LK} JSHYV KLZKL LS WYPJPWPV 7HYH LS WYPTLY LQLYJPJPV UVZ THUKHYVU LSLNPY \U LU\UJPHKV X\L HJV[HYH TmZ SH L_tensión del enunciado. Puede parecer contraproducente, pero bien mirado, YLZ\S[H X\L WLUZHY X\L HJV[HY LZ SPTP[HY LZ \U LYYVY (S YLZ[YPUNPY LS LU\UJPHKV LU HSNV TmZ WLX\L|V ZL SL W\LKL KHY YPLUKH Z\LS[H H SH PTHNPUHJP}U ZPU [LULY X\L ÄQHYZL LU HIZVS\[HTLU[L [VKVZ SVZ KL[HSSLZ :\YNPLYVU LU\UJPHKVZ [HU KPZWHYLZ JVTV JPYJVZ JHQHZ KL THNVZ LZJ\LSHZ *+* WHYX\LZ WHYH UP|VZ LZWLJ[mJ\SVZ WHYH LS LZWHJPV 9LHSTLU[L WHYLJxH PUJYLxISL X\L [VKV eso pudiera haber sido sacado de una frase tan simple como “umbráculo en SH WSHaH KLS 4H[HKLYV¹ ;YHIHQHTVZ JVU THX\L[HZ WSHUVZ L PKLHZ :PLTWYL PKLHZ SH SPIYL[H ZL HJHI} YmWPKHTLU[L ` O\IV X\L LTWLaHY V[YH *VU LS ZLN\UKV LQLYJPJPV LU TP JHZV HJ[\t MYHUJHTLU[L THS 4L ÄQt LU WYVISLTHZ [tJUPJVZ JVTV K}UKL KVYTPYxH LS HY[PZ[H V X\t OHYxH LU Z\Z YH[VZ SPIYLZ 7VKYxH OHILYTL PTHNPUHKV X\t WPLUZH HS JYLHY 8\t ULJLZP[H WHYH LSSV +LIx OHILY HWYLUKPKV X\L ZP H \UV ZL SL HJV[H SH TPYHKH W\LKL HWYV]LJOHY SH ZP[\HJP}U ` TPYHY T\JOV TmZ SLQVZ ZPLTWYL KP]PY[PtUKVZL 3V X\L `V KPNV LZ[m WHYH X\L UV SV OHNmPZ 0UJS\ZV OHIPLUKV OLJOV \U ]xKLV JVU 5PJV [YH[HUKV KL HUHSPaHY LZ[V LU LZL TVTLU[V UV ]LxH LS SxTP[L *VTWYLUKPKV LZ[V X\Pam un poco tarde, comenzó el tercer ejercicio. ¦+}UKL LTWPLaH YLHSTLU[L 4H[HKLYV& 5V [PLUL WVY X\t OHJLYSV Q\Z[V LU sus muros. Puede ir más allá, extenderse por Madrid, llegar hasta tu casa. El LQLYJPJPV ZL KPYPNPYxH LU[VUJLZ OHJPH SH W\ISPJPKHK TmZ X\L H JYLHY \U LZWHJPV 8\Pam HYX\P[LJ[\YH HIHYX\L [VKV ,U \UH NYmÄJH KLS [PLTWV YLZWLJ[V HS LZWHJPV KVUKL ZL JY\aHU SHZ SxULHZ LZV LZ HYX\P[LJ[\YH 7VY LZV TL MHZJPUH [HU[V SH T ZPJH 3H T ZPJH JHTIPH SH H[T}ZMLYH W\LKL JHTIPHY LS LZWHJPV la forma de verlo. Ha sido un cuatrimestre realmente intenso, tanto en Proyectos 0 como con 7YV`LJ[VZ JVU WYVMLZVYLZ [HU YLSL]HU[LZ JVTV 3HW\LY[H 6JH|H ` (JLIV 9LHSTLU[L SSLNH \U W\U[V LU LS X\L YLZ\S[H KPMxJPS JYLLY X\L OH`H HSNV TmZ X\L HWYLUKLY ` LU JHKH JSHZL ZL KLYYPIH \U T\YV [YHZ V[YV T\YV ,Z[V` KLZLHUKV X\L WHZL LS [PLTWV TPLU[YHZ SV KPZMY\[V ,ZMVYamUKVTL W\LKV ZLY MLSPa 7\LKL N\Z[HYTL SV X\L OHNV =V` H WHZmYTLSV T\` IPLU LZ[VZ H|VZ )\LUH :\LY[L 22

Every time I think, I can not imagine how it happened so fast the semester. :LLTZ SPRL P[ ^HZ ILMVYL `LZ[LYKH` ^OLU [OL ÄYZ[ KH` ^L ^LYL HSS ULY]V\Z surrounding an empty table and white, and talking about what we would KV K\YPUN [OL JV\YZL ;OLU [HISL ^HZ ÄSSLK ^P[O TVKLSZ WSHUZ HUK PKLHZ throughout the day. Some better, some worse, but in general, all contained the same level of energy and enthusiasm: we were learning. >VYRPUN ^P[O =PJ[VYPH (JLIV ` ,]H .PS ^HZ JSLHY MYVT [OL WYPJPWPV -VY [OL ÄYZ[ exercise, we were sent to choose a statement that will narrow over the length of sentence. It may seem counterproductive, but all things considered, is to think that limit is to limit a mistake. By restricting the statement into something smaller, you can give free rein to the imagination, without having to look at absolutely every detail. Statements arose as diverse as circuses, magicians box, schools, CDC, parks for children ... It really seemed incredible that all this JV\SK OH]L ILLU [HRLU MYVT H WOYHZL HZ ZPTWSL HZ ¸\TIYHJSL PU [OL ZX\HYLVM Matadero.” We worked with models, plans and ideas. Whenever ideas, the IVVR PZ V]LY X\PJRS` HUK OHK [V Z[HY[ V]LY In the second exercise, in my case I played really bad. I noticed technical problems such as sleep where the artist, or what he would do in his spare time. I could have imagined what you think to create. What you need to do so. I should have learned that if one narrows the look you can take advantage of the situation and look much further, always having fun. What I say is to not do it. Understood this, perhaps a little later, began the third period. Where does really Matadero starts? Does not have to do it right in its walls. @V\ JHU NV M\Y[OLY L_[LUK 4HKYPK [V YLHJO `V\Y OVTL ;OL L_LYJPZL [OLU IL directed towards advertising rather than to create a space. Perhaps-wide architecture. In a graph of time with respect to space, where the lines cross, that’s architecture. That’s why I love music so much. The music changes the atmosphere can change the space, how to see it. 0[»Z ILLU H YLHSS` Z[YVUN X\HY[LY IV[O 7YVQLJ[Z 7YVQLJ[Z HZ ^P[O [LHJOLYZ HZ YLSL]HU[ HZ 3HW\LY[H 6JH|H HUK /VSS` 0[ YLHSS` JVTLZ H WVPU[ ^OLYL P[ PZ KPMÄJ\S[ [V ILSPL]L [OH[ [OLYL PZ ZVTL[OPUN TVYL [V SLHYU HUK LHJO JSHZZ PZ demolished wall after wall. I’m hoping that over time, while I enjoy it. Trying hard, I can be happy. I could like what I do. I will enjoy myself very well over the years. Good Luck.

Foto: Nico Barrena.

TORRALBO EXP1 Escala y miedo. Excepto es una publicación de JHYmJ[LY TVUVNYmÄJV ` WLYPVKPJPKHK HU\HS X\L muestra argumentos de trabajo de estudiantes de HYX\P[LJ[\YH THKYPSL|VZ

Scale and fear. Excepto is a monographic & anual publication that shows work arguments of architectural students of Madrid. Con la colaboración de Victoria Acebo y Eva Gil. With the collaboration of Victoria Acebo and Eva Gil.

de ea!ediciones HYX\P[LJ[\YH

LUCAS G.

Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.