Marina Lerici Architect Designer Portfolio by Arq. Marina Belen Lerici

PORTFOLIO A R C H I T EC T U R E + D E S I G N MARINA BELEN LERICI 2012.2021

TA B L E O F C O N T E N T S

S I

profile

intentions

III

projects

acknowledgments

contact

Architect & Designer.

Educated in Argentina and in the United States of Ameri ca wi th many culture shifts which have contributed to develop a more dynamic approach of understanding the built environment. Architecture means no constraints and yet is the synthesis of a mind fueled by fragments and diverse sequences of events. My passion for my profession has taken me to projects i n C o sta R i c a , t h e U n i t e d S t a t e s o f A m e r i c a , M e x i c o, B r a z i l , C o l o m b i a a n d Arge n ti n a , re s p o n d i n g to t h e c o mp l e x i t y o f e a c h c ulture. E x p e r i e n c e d i n t h e f i e l d s o f R e t a i l D e s i g n , Wo r k p l a c e , R e l i g i o u s Buildings, Hospitality and Residential Architecture through all stages of Architecture & Interior Design projects. Skilled in team coordination, collaboration and communicating with Clients, Contractors and Manufacturers. Strong computer skills and always seeking new ways to communicate the essence of projects. M y a i m h a s a l w ay s b e e n to b ro a d e n a n d s h a re m y k n ow l e d ge . Create a positive environment. I can define myself as an opt i m i s t i c p r o b l e m - s o l v e r, p a s s i o n a t e a b o u t D e s i g n a n d a h i g h l y motivated professional who seeks to provide creative s o luti o ns exceeding Clients’ needs and expectations. I am proactive and a l w a y s o p e n t o p e r f o r m a s a t e a m - p l a y e r a n d / o r i n d i v i d u a l l y.

profile. D AT E O F B I R T H . a u g u s t 2 7 th, 1 9 9 3

N A T I O N A L I T Y. a r gen t i n a

LANGUAGES. highly fluent in Spanish & English b a s i c G e r m a n , I ta l i a n & Fre n c h

e d u c at i o n

2012-2017 Architecture Graduate U n i ve r s i t y o f B u e n o s A i re s , Ar ge n t i n a Honor student. 2007-2011 High school Education: St. Margaret’s School Instit u te , A r ge n t i n a . 2004-2007 E l e m e n t a r y a n d M i d d l e E d u c a t i o n a t O . C . Ta y l o r E l e mentary School & Colleyville Middle School, Dallas, Te x a s , U S A .

achievements

2018 Clarin Newspaper Mention: H e l l oWo o d A r c h i t e c t u r e F e s t i v a l 2018 Clarin Architecture Magazine Film School Project Publication 2019 Flag bearer during Graduation Ceremony due to high overall score U n i ve r s i t y o f B u e n o s A i re s , A r ge n t i n a

2012

2013-2014

2015

2016

2017

2020

Autocad 2D

Wo r k p l a c e

Revit+

Interior

Landscape

Classical

Beginner and

Wo r k s h o p s

Lumion

Design

Architecture

Advanced Au-

Global

Beginner &

Acoustic

Greenroof

Classical

tocad

C o n fe re n c e

Advanced

S o l u t i o n s fo r

Design & Con-

Moldings

Central Associ-

stimulating

Autodesk

Wo r k s p a c e

struction

(Institute of

ation of Archi-

design

Revit

Ceilings

Methods

Classical Ar-

tects

thinking &

ArqDigital

(Costa Rica)

School of

chitecture &

( A r ge n t i n a )

responding to

( A r ge n t i n a )

Design

Art)

( A r ge n t i n a )

Brand &

new

Interior

Rhino

Design

Ergonometric

Grasshopper

Science & De-

Course

( A r ge n t i n a )

sign Solutions

Bluebeam

( A r ge n t i n a )

Adobe

fo r Fu r n i s h-

Revu

I l l u s t r a t o r,

ings

Course

Sketch up & Vr a y

normality ( A r ge n t i n a )

InDesign & Photoshop ( A r ge n t i n a )

(Costa Rica)

Interior Design Lighting Design (Costa Rica)

Interior Design Antisismic Design (Costa Rica)

Identity

skills development.

N o m a t ter w h a t s ta ge you a re in, how ma ny a chieve me nts you’ve accomplished, learning is a never ending process r e s p o n s i b l e f o r s t i m u l a t i n g c r e a t i v i t y, p r o b l e m s o l v i n g & innovation. Empathy when teaching and interaction is essential for quick unconscious neuroscience learning. Only those who learn to use this unconscious brain can develop faster creativity responses and intuitition, adapting faster to new normalities. Architects need to stay fast-paced, to respond as quickly as p o s s i b l e to l i fe ’ s c h a n ge s . Architecture is the reflection of society & culture.

2016 Architecture Intern at Gensler (San Jose, Costa Rica) S t r a t e g y, I n t e g r a l D e s i g n a n d D o c u m e n t a t i o n o f l o c a l & international firms. 2016-2017 A r c h i te c t u re I n te r n a t EG P A r c h i te c t s ( A r ge n t i n a ) Documentation of San Martin De Los Andes 2016-2018 Fre e l a n c e D e s i g n D eve lopm e n t a n d C ons tr uc ti on Do c u men t s fo r di ve r s e proj e c ts & loc a ti on s 2017-2018 A r c h i t e c t u r e T h e o r y A s s i s t a n t Te a c h e r ( U n i v e r s i t y o f Buenos Aires, Argentina) A r c h i t e c t u r e & D e s i g n l e v e l 3 A s s i s t a n t Te a c h e r ( U n i ve r s i t y o f B u e n o s A i re s , A r ge n t i n a ) A r c h i t e c t u r a l H i s t o r y Te a c h e r (University of Buenos Aires, Argentina) 2017 Urban Project Award. Presence in Argentina Biennale 2018-2019 Architect at Despegar Ch il e & A rgen t i n a O ffi c e Re fu r b i s h m e nt R e b r a n d i n g i n P a n a m a , C o l o m b i a , M e x i c o, C h i l e 2019 Member of University Commision Association of Architects Participation in Conversations & Congresses (S CA , A rgen t ina ) 2019 A r c h i te c t u re Na ti on a l C om p e ti ti on for Fiscal Court Building, of the Ministry of Finance (Central Society of Architects, Argentina) 2019 Architect at Bodas Miani Anger & Associates Architec t s, A rgen t in a

ofessional experience. 2019 B I M C o o rd i n a to r for Re s i de nti a l C om p le x i n Sa n M a r tí n de los Andes, Argentina 2019 Rebranding

Design

and

Remodeling

Project

for

Desp ega r fo r La ta m ( Re g i ona l) 2019 Re ta i l D e s i g n A r c h i te c tu re Fa c a de Re m ode li n g for M c Donald’s Gutierrez, Argentina 2019-2020 Loft Remodeling Architecture and Interior Design P r o j e c t i n S a o P a u l o, B r a z i l 2019-2020 Re b ra n d i n g Re ta i l D e s i g n & C on s tr u c ti on P roj e c t for Gelateria El Piave (Argentina) 2020 Pacheco de Melo Apartment Remodeling Project and Construction, (Argentina) 2019-2021 Interior Design Coordinator at Bodas Miani Anger & Associates Architects, Argentina 2021 250m2 Residence in San Francisco Club, Argentina Architecture, Landscape & Interiorism. 2021 60m2 Apartment restauration, Argentina Architecture & Interiorism.

2021 7 0 m 2 P a s ta Fa c to r y a n d S h o p i n M a d r i d , S p a i n Space renovation and Rebranding

“Our obligation as architects is to contribute to the happiness of men” TOYO I TO

I seek to evoke and surprise; create phenomenological experiences where the man relates to its environment & surrounding. Create Architecture & spaces inviting users to live, without certaint y, w i t h o u t t h e e x p e c t e d . Architecture generates own personal experience s . W h e n t h i s i s m e t , c r e a t i v i t y, m i n d f u l n e s s & innovation arise through each person living the space. Creating a harmonious dialogue between the human being and the space, an interaction between enjoyment and desire; a problem & its resolution; the idea and its construction. I want to improve experiences, wellbeing & happiness. Inspire through the built environment provoke innovatition flows through a of each human being.

intentions. I

INTENTION. i n t e r a c t i o n w i t h f u t u r e u s e r s . e m p a t h y, b e c o m e a p s y chologist to understand needs and spirit seeked.

E X P E C TAT I O N . visionings human experience. ideas in the details. what emotions do we want to provoke? look. feel. mood. how can I amuse you? impact. effect of surprise.

III

FUNCTION. symbiosis. behave along with nature. embrace change. seasons. analysis, quick sketches, illustrating needs, section diagrams, flowcharts, prototype. concept.

DESIGN. architecture as the reflection of ideas, expectations and function to be achieved.

I M PA C T. interactions. space use, effect of surprise, created emotions provoked, user experience

III

INDEX.

architecture + landscape + interior design projects

IIIa

residential

14-31

IIIb

retail

32-47

IIIc

civic

48-53

IIId

religious architecture+interior design

54-57

IIIe

urbanism

58-59

IIIf

educational

60-65

We a r e i m m e r s e d i n t h e Wo r l d o f t h e m i n d ’ s c r e a t i v e e x p r e s s i o n . Architecture is the constant search to create surprises. It is the opportunity to improve the experience of the human being. T h e re fo re I l ike to t h in k t h a t it i s the ge nui ne m a te ri a l i z a ti o n o f l i fe , the d re a m o f t h e A r c h i t e c t . We s h o u l d e n c o u r a g e o u r s e l v e s t o h a v e t h e g o a l t o i n s p i r e t h e user in their environment:

a constellation of Architectural works on Earth E a c h o n e o f u s i s a n a s s e m b l y o f m e m o r i e s , c o n ta m i n a te d by t h e e x p e r i e n c e s of others and our own, conscious and unconscious. Architecture behaves the s a m e w a y. I t i s t h e s y n t h e s i s o f t h e complexity of fields gathered in a single map, in other words, the construction of an idea. Each project has a 40% of the project dedicated on investigating the site and ge t t i n g to k n ow t h e C l ie n t . It is almost certain that most of the Clients aren’t so sure of what they want. T h e re fo re t h e Vis s io n in g Se s s io n a nd S c he m a ti c D e s i g n a re the two m o s t powerful instances for developing innovative, unique & efficient Architecture.

projects.

1 | Banamex, Mexico City 1

2 | Pfizer Offices, Gensler Office, Tigo Office 2

3 | S a l t a Te m p l e & A n c i l l i a r y B u i l d i n g s 4 | M e n d o z a Te m p l e & A n c i l l i a r y B u i l d i n g s 5 | San Martin De los Andes Complex 6 | Sao Paulo Loft

3 4 5

7 | Others

III architecture + interior design The Client’s pursuit is to have a home where

throughout seasons.

a mixture of the avant-garde and cozyness

Corrugated black metal clad with wood open-

could meet.

ings are the two single elements composing

The site is a crucial point in the design. The

the facade.

house is implanted in the middle of the Pa-

T h e c l a d d i n g a c c e n t u a te s a n d e xa gge ra te s

tagonian woods, South of Argentina, isolated

the changes of light and season.

from tourism and highways.

The interior

Challenging the Client’s idea of a home with

out the floors and customed built-in furni-

the needed sensitivity to its natural envi-

ture. Accents of designed

ronment, the idea is to create a dialogue

te r ra z zo s to n e s a n d c a r ra ra m a r b l e are fo u n d

between the trees and its shadows with the

in the

users.

dining area and living room.

The house behaves like a tree branch, fold -

Tw o e n t r a n c e s a r e c r e a t e d i n t h e e x t r e m i t i e s

i n g i t s e l f, g e n e r a t i n g d i f f e r e n t a n g l e v i e w s .

of the “branch” generating

All spaces can dialogue internally and exter-

es; one going to the private rooms and an-

n a l l y.

other one to the couple’s studio.

T h e i n w a rd v i ew e x c h a ge s s i g h t s w i t h t h e other rooms having an oak tree in the middle, mediating the family house and changing

is natural stained oak through-

separate access-

RESIDENTIAL.

INTO TH E WO O DS

The house behaves like a t re e b ra n c h , fo l d i n g i t s e l f, g e n e r a t i n g d i f f e r ent angle views. All spaces can dialogue internally and e x t e r n a l l y.

I n w a rd v i ew s ex c h age sights with the other rooms having an oak tree in the middle, mediating the family house and changing throughout seasons.

RESIDENTIAL.

III apartment renovation + interior design

The project consists in the Renova- ceilings which were part of a Ratiotion of a 75 square meter one-bed- nalistic Movement, past our time. room loft. The main idea was to exhibit the architectural elements of the building. A kitchen, toilet, dining and living a r e a a r e l o c a t e d o n t h e l o w e r f l o o r, S t e e l b e a m s , b r i c k , c o n c r e t e c e i l i n g s while a bathroom, bedroom and dress - and exposed tubing conform the aes ing room are on the level above, which thetic of the loft. i s a c c e s s e d by a b l a c k s te e l s ta i r c a s e . Black, white and woods recalling the T h e C l i e n t w a n te d to g i ve t h i s a p a r t- o r i g i n s o f t h e c o u p l e , a re a c c e n te d by ment a new and contemporary identi- nature. t y. The first step was denuding the gypsum boards covering the walls and

RESIDENTIAL.

S A O PA U LO LO F T

“the main idea was to exhibit the architectural elements of the building. Steel beams, brick, concrete ceilings & exposed tubing c o n fo r m t h e a e s t h e t i c o f t h e l o f t . ”

The creation of an open space with exposed architectural fixtures reveals the contemporary culture of a millenial couple living abroad.

Tr a n s m i t y o u t h , truth and warmness by t h e e l ec t i o n o f woods exposing veneers and natural stain.

RESIDENTIAL.

III b i m m a n a ge m e n t + d e s i g n c o n c e p t + c o o rd i n a t i o n + c o l l a b o ra t i o n

Alamos Al Rio Housing Complex is locat-

quility of this Andean city is retained by

ed in San Martin De los Andes, Argenti-

its mountains’ spirit.

na. The main pursue of the project was

The materials applied continue with the

to satisfy an active and dynamic public.

essence of the village.

To a p p r o a c h t h i s i d e a , t h e p r o g r a m i n -

EGP ARQS studio (EZEQUIEL G. POGGI /

cluded not only amenities such as gym,

Arquitectos) is the author of the archi-

l a u n d r y, b a r b e q u e , s o l a r i u m , b u t a l s o a

tectural design for the construction of

coffee shop and coworking close to the

the project. My roll in this project was to

street.

coordinate the design tasks, collaborate

The location of the building is in the

with the team, and be the BIM manager

center of San Martin, making it accesible,

all along the process.

without the need of a car to rent, but at the same time, in a spot where the tran-

HOUSING

ALAMOS HOUSING COMPLEX

The accesses of the complex, integrate the private with the public without architectural barriers b u t t h r o u g h t h e A l a m o Tr e e .

The entrances, the garden and t h e e x te r i o r d e c k a re m i xe d i n t h e p u b l i c a r e a o f t h e d e v e l o p m e n t next to the linear park.

9.46

Chapa acanalada Prepintada negra

Chapa acanalada Prepintada negra 7.88

9.46

Revestimiento Exterior Siding

verticalPrepintada Chapa acanalada negra Baranda metálica

Revestimiento exterior Chapa Chapa acanalada Prepintada prepintada negra negra

Baranda metálica

7.88 5.20

5.20 Revestimiento Exterior Siding vertical

Revestimiento exterior Chapa prepintada negra

Revestimiento Exterior Siding vertical metálica Baranda

Baranda metálica

Vidrio laminado

Revestimiento exterior Chapa prepintada negra

5.20

Revestimiento exterior Chapa prepintada negra

2.60

2.27

Vidrio laminado Revestimiento Exterior Siding vertical

Vidrio laminado

Baranda metálica Pinus Echinata Techo Bauleras Baranda metálica Cerramiento bauleras

Revestimiento Exterior Siding vertical

2.60

2.27 0.00

Vidrio laminado

Pinus Echinata Rejilla de ventilación Acero inoxidable 18/8 Techo Bauleras

Revestimiento Exterior Siding vertical

Cerramiento bauleras

Vista 1 Norte

0.00

1 : 50

Vista 1 Norte

1 : 50

Revestimiento plenos ? ?

Chapa acanalada Prepintada negra

Revestimiento plenos ? ?

Chapa acanalada Prepintada negra

Vista 2 Sur

0.00

Rejilla de ventilación Acero inoxidable 18/8

1 : 50

Vista 2 Sur 1 : 50

Chapa acanalada Prepintada negra Chapa acanalada Prepintada negra

Cerramiento vertical Madera

9.46

Revestimiento Exterior Siding vertical Chapa acanalada Prepintada negra Chapa acanalada Prepintada negra

Cerramiento vertical Madera

9.46

Revestimiento Exterior Siding vertical

5.26

Baranda metálica

Parrilla Cemento Baranda metálica 5.26 2.66

Baranda metálica

Parrilla Cemento Baranda metálica

2.66 0.00 -0.30

Baranda metálica Revestimiento plenos

Vista 3 Este 1 : 50

1 : 50

Revestimiento plenos

Revestimiento Exterior Siding vertical

0.00 -0.30

Baranda metálica Revestimiento plenos

Vista 3 Este

Hierro fundido dúctil

Revestimiento Exterior Siding vertical

Hierro fundido dúctil

Revestimiento plenos

HOUSING 9.46

Chapa acanalada Prepintada negra

Chapa acanalada Prepintada negra 7.88

Revestimiento Exterior Siding vertical

Revestimiento exterior Chapa prepintada negra

The size of the openings and the exterior views generate Baranda metálica

Baranda metálica

5.20

Revestimiento exterior Chapa prepintada negra

a dialogue with the landscape.

Revestimiento Exterior Siding vertical

Vidrio laminado

Baranda metálica 2.60

Diffused limits & no constraints. 2.60

2.27

Vidrio laminado

Pinus Echinata

2.27

Techo Bauleras

Revestimiento Exterior Siding vertical

Cerramiento bauleras 0.00

Vista 1 Norte

1 : 50

Revestimiento plenos ? ?

Chapa acanalada Prepintada negra

Rejilla de ventilación Acero inoxidable 18/8

0.00

Vista 2 Sur 1 : 50

Chapa acanalada Prepintada negra Chapa acanalada Prepintada negra

Cerramiento vertical Madera

9.46

Revestimiento Exterior Siding vertical

5.26

Baranda metálica

Parrilla Cemento Baranda metálica

2.66

0.00 -0.30

Baranda metálica Revestimiento plenos

Hierro fundido dúctil

Revestimiento plenos

Revestimiento Exterior Siding vertical

Vista 3 Este 1 : 50

Chapa acanalada Prepintada negra

9.46

Chapa acanalada Prepintada negra

Revestimiento exterior Chapa prepintada negra

? ?

Baranda metálica 5.20

Baranda metálica

Steel, mill finish Parrilla Cemento

Techo Bauleras Cerramiento bauleras Baranda metálica

2.60

0.00 -0.30

Vista 4 Oeste

Vidrio laminado

Pinus Echinata Pinus Echinata

1 : 50

EGP / ARQS Juan F. Seguí 4545, PB CABA

Jefe de proyecto

1 : 50

EGP

ALAMOS DEL RIO

Vistas 1/2/3/4 05 AR2.1

III apartment renovation + interior design + construction

apartment renovation + interior design The convertion and refurbishment of a

First of all, designing millwork with light

70 square meter apartment in the city

accents

of Buenos Aires was a one-month proj-

friends around the table or just enjoy

ect for a 28 year old Client, fond of

the music.

music and in extreme need to renovate

In addition, the idea of highlighting the

his 60 year-old apartment.

art pieces with a grey satin wallpaint

The main objective was to generate a

has definitely changed the atmosphere.

sense of young and contemporary style with a limited budget. To a c c o m p l i s h a c h a n g e i n t h e e x p e r i e n c e o f t h e O w n e r, t h e p r o j e c t w a s faced through two striking shifts.

invites

him

sit

along

with

RESIDENTIAL.

PA C H EC O D E M E LO

T h e f i n i s h e s c h o s e n fo r t h i s a p a r t m e n t we re H i c ko r y wo o d a n d b l a c k m a t te a l u m i n u m fo r m i l l wo r k a n d

all openings’ frames and details.

G rey p a i n te d w a l l s , t h e i d e a l b a c k ro u n d fo r t h e s c e n e c o n t ra s t w h i te l i g h t fixtures and balances the colors of the overall apartment.

III architecture + landscape + interior design Facing the highly complex terrain, given

and finishes, is recurrent in the project,

its irregular form, the project extends

always seeking for meaning to each area.

from side to side and towards the lake,

Upon the access, the user meets the

generating patios from volumetric sub-

main patio. A green oasis that projects

traction.

lights and shadows at the entrance of

The house is organized in two main axes:

the house.

The entire public area extends from East

Throughout the project, a large glazed

t o We s t , r u n s t h ro u g h t h e k i t c h e n , l i v i n g

surface appears running through all the

room, dining room, office-workshop and

house spaces and, due to its transparen-

service rooms; while in the north-south

c y, a l l o w s t h e e n t i re p a r k to b e v i e w e d

axis the private rooms are located, end-

from a diversity of angles and spots.

ing in the suite. The search for the best

Parallel to the horizontal mass, a gallery

orientation, the dialogue with its con-

is designed to offer alternative uses en-

text, the expressiveness in the materials

hanced by the views of the lake.

RESIDENTIAL.

S A N F R A N C I S C O P AT I O S

Facing the highly complex terrain, given its irregular form, the project extends from side to side and towards the lake, generating patios from volumetric mass subtraction, creating landscape addition.

RESIDENTIAL. A green oasis that projects lights & shadows at the entrance of the house.

III rebranding + interior design New visual identity for a Pasta Fac-

Generating Visual Identity has been

tory and Shop in the neighborhood

part of a deep study in customers,

of Salamanca in Madrid, Spain.

The

products, the place itself and prices.

objective is to respond to what cus-

As the brand’s name is “Pasta Lab”

tomers are nowadays seeking: dynam-

it is essential to be faithfull to its

ic spaces, amusement and all-senses

message. Nowadays people enter the

experiences throughout the space.

s h o p w i t h o u t f i n d i n g t h e La b i t s e l f. I t

Redesigning

vivid,

is important to make this relationship

young finishes and colors, presence

happen. Due to this, the lab was de-

o f l i g h t i n g e l e m e n t s te l l i n g a s to r y,

signed to be at the front of the shop

communicating

so people can enjoy the show from

the

store

the

with

culture

the

brand are some of the strategies used for this shop.

the street.

R E TA I L D S G N

P A S TA L A B

Retail Design has changed its rol and will continuously do so. Shops were thought as static spaces.

As people have become more dynamic, spaces are forced to

ch an ge toget h e r w it h p e o p l e ’ s n ew be hav i o rs . I t i s i m po rta nt to re s po nd thro ug h i nteractive and amusing spots throughout the shop.

R E TA I L D S G N

III rebranding + architecture + interior design

New visual identity for the brand of

The Brand was invented in 1950.

the

Eve r

gelateria

label

“El

Piave”

rede-

since then, the brand has never

signing all stores with vivid, young

experienced any design interventions.

material colors and presence of tex-

So there’s an extreme necessity for

tures

ge n e r a t i n g a n e w i d e n t i t y, c h a n g i n g

revealed

concrete

ceilings

and tiled counters.

the

customer perception and an ove-

all experience. The presence of wood giving a sense of warmth, invites customers to stay working, socializing or simply enjoying their selection of pastries and ice creams.

R E TA I L D S G N

G E L AT E R I A E L P I A V E

R e t a i l D e s i g n n e e d s t o e v o l v e t o g e t h e r w i t h s o c i e t y. The creation of a new identity will shift customer perception. As renovation occurs, so does the public, bringing new Clients to all stores and generating new experiences to existing customers.

The variety of spaces and furnishing systems offers a diversity of possible experiences.

Community tables, f a m i l y t a b l e s , b a r, f a s t bench seating and private space under the canopy are the means to make diversity a reality amongst people and their rituals.

R E TA I L D S G N

III expansion and renovation architecture project

The redesign and expansion for restau-

area as

rants are being rolled out across the

cative

world including this particular project

the people letting them know at long

located south of the City of Buenos

distance, there’s a McDonald’s on the

Aires. It’s location is crucial for all

w ay.

people

White tapes around the siluette and

who

travel

the

beach.

well as assembling communielements that almost speak to

behaves as a landmark, alerting all

Highlighting

passanger (specially kids tired of the

red clips and a vertical red blade in-

long roadtrip).

tentionally located to maximize the

With this in mind, the project consists

effectiveness of

in designing a second floor as dining

the

access

points

with

building signage.

R E TA I L D S G N

McDONALD’S GUTIERREZ

The access points tell you everything about the restaurant. I t n a r r a t e s t h e e x p e r i e n c e y o u w i l l h a v e t h r o u g h o u t t h e s t a y. E x h i b i t i n g t h r o u g h c l e a r g l a s s w i t h o u t t h e p r e s e n c e o f m u l l i o n s o n t h e w a y, t h e playground is displayed.

The white ribbon highlights the views into the restaurant. It unifies the design of the building as a whole.

N O R T H E L E V AT I O N

S O U T H E L E V AT I O N

EXISTING BUILDING FUTURE BUILDING

Wo o d s t r i p s intentionally l o c a ted by t h e e n t r y, o f f e r a warm welcome to W E S T E L E V AT I O N

E A S T E L E V AT I O N

customers.

R E TA I L D S G N

III McDonald’s Vicente Lopez is located in a neigh-

giving them a unique playground and dining area

bourhood in Buenos Aires which has recently be-

for birthdays. While the interior or skeleton of

come a highly demanded area for living, work-

the building can be perceived as a very well-orga-

ing and specially for creating commercial spots

nized rational space, the exterior intends to con-

a ro u n d e a c h c o r n e r.

tradict this. The skin or envelope of the building

The main challenge for this restaurant was the

is organic and moving, you can almost feel it. The

location, the irregular shape of the lot and its

idea was to generate an icon, make the building

n e i g h b o r, A x i o n , a n i m p o r t a n t s e r v i c e s t a t i o n c o n -

be seen from any spot of the neighborhood, just

forming a mass competition to the new restaurant.

like monument.

In response to Guidelines and Local codes, the

understand that there are no boundaries between

Design was organized in a very functional 3 floor

the customer and McDonald’s.

building, where the main floor is destined for de-

BMA was contracted to do the Architecture while

liveries, kitchen, service areas and coffee shop.

Landini worked for the interiors. My role in this

The Second floor is the general dining area and

project was to design the stairs, overall mass and

Third but not last, is fully equiped for childreen,

model it in Revit & Lumion.

Its transparency offers people to

R E TA I L D S G N

McDONALD’S ALRIO

The skin or envelope of the building is organic and moving, you can almost feel it. The idea w a s to gen erate an icon, make the building be seen from any spot of the neighborhood, just like monument.

R E TA I L D S G N

III construction documents - BIM Modelling

The

Architectural

project

proposed

Daily

reviews

with

the

Constructor

by Guadagno-Miranda Architects will

are achieved, explaining changes to

be made in order to solve issues.

constructed

with

seven

modular

prefabricated units.

The project is estimated to finish on

My participation on this project is to

April 2022.

develop the BIM model to find interferences, avoid future inconveniences on site and solve details, as a freelance Architect. In addition to that, prepare all documents for each manufacturer’s job.

R E TA I L D S G N

McDONALD’S MENDOZ A

III c o m m u n e m a n a g e m e n t c e n t e r.

The

project

located

the

City

with two silent patios.

of Buenos Aires, in a neighborhood

Interior spaces were organized by dif-

lacking green space and social en-

ferent functions, facilitating citizens

counters.

to manage the needed procedures in

These were the challenges to be ap-

attention to citizens offices in a pre-

proached

dictable promenade.

1000

square

meter

site.

Concrete

Responding to the duality of creating

speakable materials of the building.

a social spot and a green site at the same

time,

the

project

consists

meeting both targets under one same green

walkable

ro o f,

interspersed

and

glass

are

the

main

CIVIC.

COMMUNIT Y ANCHOR

The diversity of angles conform the shape of the building while it e n h a n c e s i n t e r a c t i o n p o i n t s b e t w e e n t h e u s e r, a n d i t ’ s a c c e n t u a t e d b y perimeter lineal light fixtures.

The diversity of angles conform the shape of the building. It benefits the interaction points b e t w e e n t h e u s e r, and it’s a c c e n t u a te d by p e rimeter lineal light fixtures.

CIVIC.

tax court building restauration

III

The project was developed based on three

manifests movements and conveys a defiant

axes :

attitude to the

c i t y, l a n d s c a p e a n d t h e u s e r.

Its strategic location behaves as a mentor of

t r a d i t i o n a l w ay o f w o r k i n g i n m a s o n r y.

c o n t e x t u a l d a t a . We a r e s t a n d i n g o n a s i t e o f

Under the domain of the same material

maximum urban tension , where thousands of

investigated how to solve the multiplicity

people walk by with their minds apart from

of problems that its environment presents.

re a l i t y.

Likewise, we counterpose the massiveness

The extreme need for generating a dialogue

that transmits the material, with

between

m o ve m e n t o f t h e b r i c k to g i ve p e r m e a b i l i t y.

the

people

and

their

surround-

the gradual

ing converge in the creation of a dynamic,

The facade’s gradient varies

strong, and vivid building Facade.

the tension of the detected points with

The meaning of the word fortis arises from

m a x i m u m u s e a n d n e e d fo r p r i v a c y.

the concern to protect the archives of the

The facade is linked to whoever

Ta x C o u r t .

it, speaking to them.

The project seeks to behave like a skin that

according to

approaches

CIVIC.

URBAN FORTIS

C h u r c h o f J e s u s C h r i s t o f L a t t e r D a y S a i n t s v

III

S A LTA

T h e Te m p l e s a r e l o ca M e n d o z a a n d B a h i a s h a r e f i n i s h e d o r c o m p l e t e i m a g e s o f t h e p r o j e c t . t e d i n S a l t a , v

B l a n c a ( A r g e n t i n a ) . Te m p l e s e m b o d y r e g i o n a l a r c h i t e c -

BMA was contracted to not only for the Architecture

ture and landscape in a highly traditional design. In

but also to design the interiors, landscape, acoustics,

response to the Local and Owner’s guidelines, and with

l i g h t i n g , a m o n g o t h e r.

respect to the surrounding, the concept, scale, materials

My role throughout these projects was the Coordination

a n d e l e g a n c e h a v e g r e a t l y i n f l u e n c e d t h e Te m p l e d e s i g n .

o f t h e I n t e r i o r D e s i g n a n d A r c h i t e c t u r e o f Te m p l e s a n d

The building is not meant to appear heavy; carvings

Housings, through tasks such as Classical Moldings’ de-

g i ve w ay to t h e s p i re , l e a d i n g t h e eye to w a rd s t h e S k y.

signs, space hierarchies, layouts, decorative paint, art-

Attention was given to every detail in order to respond

glass, carpets and each room’s finishes which respond

to Owner’s request of Architectural and Interiorism ex-

to the local colors and textures of the site. Communi-

p r e s s i o n . E a c h Te m p l e h a s a s p e c i a l m o t i f b a s e d o n t h e

cating and validating with the Owner each design was

location. The flower of Salta along with other region-

part of my main role.

al motifs are used in artglass, mirrors, carpets, doors,

All tasks were BIM coordinated in a shared collaborative

millwork, & furnishings ornaments, sensitively making

project. Absolutely all the elements that make up the

patrons throughout the buildings, reminding the users

set integrate our Revit Model. Throughout design and

where they are. From the interior decorative paint to the

construction development we have generated over 2000

lush landscape, the meticulous various design elements

documents approved in the US by the Owner for each

e n s u re s a n a l l - e m b r a c i n g s e re n i t y.

Location (Salta, Mendoza and Bahia Blanca).

The site, together with the building of the temple, is

Throughout the process, we worked together with NWL

surrounded by a series of buildings designed to receive

A r c h i te c t s ( S a l t L a k e C i t y, U S A ) .

those who approach it. By Owner’s request, we do not

RELIGIOUS.

O B R A : S A L TO A B -R A M :ESNADL O TZ A A-

MENDOZA

A, MEN DP LOO SZ A &T E MBP LAO SH I A B L A N C A TEM

TEMPLES

I G L E S I A D E J E S U C RIIG S LT E OS D I AE D LE O SJ ESSAUNCTROI S S TDOE DL E O SL OUSL TSIA MNOTSOD S ID AE S LOS ULTIMOS DIAS

H o y c o m p a r t i m o s u n aH ooyb rcao m d ipf earret inmt eo.s Uunn ad eosbarfaí o dsi fi en rgeunl taer . pUanr a d e ls aef sí ot u d s iinog u s il na r p a r a e l e s t u d i o s i n dudas.

dudas.

H a c e y a u n t i e m p o f u iH maocse syeal eucnc itoi enm a dpoo pf ua irm a ot rsa sbealjea cr ceino neal ddoi s pe añroa dt real bt ae jm a rp e l on deel d i s e ñ o d e l t e m p l o d e l a I g l e s i a d e J e s u c r i s tl oa d I gel el soisa Sdaen Jt oess udcer i lsot so Ud let i m l oos sSD an i atso se nd el al ocsi uUdlat idmdoes S Dai al tsa ,e n l a c i u d a d d e S a l t a , l u e g o e l c o r r e s p o n d i elnuteegpoaer al cMoer rnedsopzoan. d i e n t e p a r a M e n d o z a . V a l e q u i z a s u n a b r e v eVsaí nl et eqsui si zpa as r ua ncao bmr pe rveensdí en rt ems ei sj opraer al tceommap. r e n d e r m e j o r e l t e m a . L o s t e m p l o s n o s o n l uLgoasr et se m c opm l ousnneos sdoen al udgoar ar ecsi ócno dmoumn iensi ca d el paadr ao rlaocsi ómni edmo bmr ionsi ca l p a r a l o s m i e m b r o s

SALTA TEMPLE BAPTI LADOS // PINTURA / MUEBLES // TAPIZADOS / LUMINARIAS // HERRAJES / REJAS DECORATIVAS LADOS PINTURA d e l a //I gMUEBLES l e s i a d e J e/sTAPIZADOS ucd r i es t loa dI ge l el ossi//aLUMINARIAS Sdaen tJoess du ec rlios tsoÚ dHERRAJES l tei ml ooss SDaí n a st o. s//SdREJAS oen l m o su yÚ DECORATIVAS ldt iim f eor es nDt eí ass . S o n m u y d i f e r e n t e s Witnes LADOS / PINTURA MUEBLES TAPIZADOS LUMINARIAS / HERRAJES REJAS DECORATIVAS LADOS // PINTURA // MUEBLES // TAPIZADOS // LUMINARIAS // HERRAJES // REJAS DECORATIVAS LADOS MUEBLES TAPIZADOS LUMINARIAS REJAS DECORATIVAS LADOS // PINTURA PINTURA // euHERRAJES HERRAJES a l a s //cMUEBLES a p i l l a s r e g u//l aTAPIZADOS r eas loa sc ecna tpr iol l//saLUMINARIAS sd er ergeuulnairoens eos cq net rhoasy dpeo r etuo//ndREJAS ioo neel smquDECORATIVAS uned oh ayy qpuoer t o d o e l m u n d o y q u e LADOS PINTURA MUEBLES TAPIZADOS LUMINARIAS HERRAJES REJAS DECORATIVAS LADOS / PINTURA / MUEBLES / TAPIZADOS / LUMINARIAS / HERRAJES / REJAS DECORATIVAS LADOS / PINTURA / MUEBLES / TAPIZADOS / LUMINARIAS / HERRAJES / REJAS DECORATIVAS s e u t i l i z a n p a r a l o s s e rsvei cui o t i sl i zdaonmpi n a ri ca al loess .s e r v i c i o s d o m i n i c a l e s . C u a l q u i e r p e r s o n a , sCi nu a il m q upi oe r t apr e rssuo nrae,l i gsiiónn , i mppuoerdt aer esnut r ar e r l i ag i óunn, p ce un e tdr eo ednet r a r a u n c e n t r o d e r e u n i o n e s d e l a I g l e s irae uyn ipoanr et i sc i d pe a r l ad eI gl loess i sae yr v p i cai o r tsi c. i pSai rn deemlboas r gs o e ,r vdi ceiboisd. o Sai nl ae m b a r g o , d e b i d o a l a S e ñcoorm ” , os ó“ C l oa saa sl o ds em l iSeemñborro” ,s sdóel o l aa l o s m i e m b r o s d e l a s a n t i d a d d e l o s t e m psl aosn t icdoam d od e“ C laossa st edmepl l os I g l e s i a q u e c a l i f i c a n pIagrlae seilal oqsuee l ceas l ipf iecramni tpeaer an ter al l ro esne l loess tpeemr m p l iot es . e n t r a r e n l o s t e m p l o s . Un miembro tiene qu U en emsiteam r bor o b s et irevnaen dqo u el o se spt ar irn coi b p si oesr v abnáds o i c ol so s d ep r ilnac i fpei o sy b á s i c o s d e l a f e y a t e s t i g u a r l o a n t e s u s a tl e í dset irgeus a rl ol oc aal en st e csaudsa l dí doesr easñ ol osc aplaersa cpaoddae rd oesn t raañro se np aerl a p o d e r e n t r a r e n e l templo.

templo.

LD8 LD8 CHANDELIER LD8 CHANDELIER LD8 CHANDELIER LD8 CHANDELIER LD8 CHANDELIER LD8 CHANDELIER LD8 LD8 CHANDELIER CHANDELIER CHANDELIER

hanges: (3) High Stools with no arms Recorder Desk Height is now 99.2cm (39”) Witness Desk height is the same as the Recorder Desk

La Iglesia de

de los santos

de los últimos días

La Iglesia de

Jesucristo

NOTA: Estructura de soporte y anclajes de la piedra exterior según planos de subcontratista. NOTE: Support structure and anchors of the exterior stone according to subcontractor drawings.

Templo de Mendoza de los santos Argentina de los últimos días

Templo de Mendoza CONSTRUCTION Argentina DOCUMENTS

CONSTRUCTION DOCUMENTS

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III

urban design project

“The paths, the network of habitual or potential lines of movement through the urban complex, are the most potent m e a n s by w h i c h t h e whole can be ordered.”

Located in Barracas, City of Buenos

with

Aires, Argentina. Its location borders

course.

t h e r i ve r.

Throughout

Ta p e o r p a t h , a n e l e m e n t l i n k i n g d i f -

stroke

ferent spaces throughout the Neigh-

narrates

bourhood.

if it were film, a series of events that

The idea of a tape contrasting the ur-

take

ban structure intends to re-organize

p l a c e a l o n g t h e w ay.

the

system,

providing

reference

different

landmarks

the

journey

along

the

its

brush-

a s to r y, s c e n e by s c e n e , a s

journey which citizens experience

frame along the

a wide diversity of situations along

promenade.

the path. Entertaining and surprising

It allows people recognizing the area

everyone’s eyes.

URBANISM.

BRUSHSTROKE PROMENADE

“Architecture can't force people to connect, it can only plan the crossing points, remove barriers, and make the meeting places useful and attractive.”

III The Film School is located in the neighborhood

dinated to identify existing schools’ main issues.

o f P a l e r m o, C i t y o f B u e n o s A i re s i n f ro n t o f L a s

Attending international conferences based on the

Heras Park.

new ways of learning and how educational spaces

The main objective of the project was to approach

should adapt to the current situation were part of

it through 3 axes which also conform the main

the Research stage.

characteristics

Throughout the process, the main

film

production

according

Film Producers. These are : The situation where

objective was to “inspire the user in the nature of

it is located, also known as “scenography”; the

their profession” through an innovative and enter-

“actors” and contemporary culture society situa-

taining building that stimulates student creativi-

tion; and third, the versatile architecture, adapt-

t y. We n e e d t o b o o s t i n s p i r a t i o n a n d h a p p i n e s s

ing itself to the flexibility of today ‘s students’

t h ro u g h o u t s t u d e n t s . We n e e d t o l e a r n a g a i n h o w

behaviors.

to design a school but let’s base the design on

Several interviews with film students were coor-

what the students actually need.

E D U C AT I O N A L .

A MOVIE ABOUT A SCHOOL

Dynamic

+4.00

built-in furnishings were designed in the central public space

+7.00

w i t h p l at fo r m s that offer multiple possibilities of use SALGUERO, JERONIMO

and tend to make students socialize. There’s no right way to use it,

we need

students to find their

+10.00

o w n w a y. ALV

Its neutral color

NCA L

, JU

palette highlights the

vibrant colors of the SALGUERO, JERONIMO

furniture that impact the student’s mood.

+12.00

+15.00

+18.00

+31.00

E D U C AT I O N A L .

Throughout the process, the main objective was to “inspire the user in the nature of their profession” through an inn o v a t i v e & e n t e r t a i n i n g b u i l d i n g t h a t s t i m u l a t e s s t u d e n t c r e a t i v i t y.

functions were designed according to t h e t h re e s ta ge s o f cinematographic production: 1| Preproduction spaces oriented to

E D U C AT I O N A L .

The spaces and their

t he c re at i ve stage with group collaboration areas and library 2| Production stage of e lab orat i o n given in classrooms and workshops 3 | Po s t p r o d u c t i o n stage w h e re you ca n enjoy what has been done in theaters and the central space.

ACKNOWLEDGEMENT

TS I t ’s a n h o n o r t o h a v e b e e n s e l e c te d f o r M a g a zine Publications from Argentina. T h e f i r s t re c o g n i t i o n w a s p u b l i c a te d o n 2018, f o r t h e F i l m A c a d e m y P r o j e c t i n P a l e r m o, B u e n o s A i re s . T h e p r o j e c t re c e i v e d a n h o n o r m e n tion. T h e s e c o n d p u b l i c a t i o n w a s o n 2018, f o r a projec t built in a one -week per iod w ith the coll a b o r a t i o n o f a 10 m e m b e r A rc h i te c t s t u d e n t s Te a m . T h e p r o j e c t ’s i d e a w a s t o m a te r i a l i ze t h e l a n d scape and have the possibilit y to build, accen t u a te w i t h l i n e a l l i g h t f i x t u re s f o r n i g h t e x p e r iences and then demolish it in just 6 hours. T h i r d a n d l a s t w a s o n 2019, d u r i n g a p e r i o d i n w h i c h I w a s d e d i c a te d o n w o r k p l a c e s . I w a s o f fe re d t o w r i te a n e s s a y o n m y t h e n c u r re n t work exper ience.

A F E S T I VA L T H AT I N V I T E S YO U TO L E A R N W I T H YO U R H A N DS A f i e l d i n E n t re R í o s w a s t h e s e t t i n g w h e re u n u s u a l i n s t a l l a t i o n s m a d e o n l y w i t h w o o d w e re d i s p l a y e d . I t i s n o t o f te n t h a t y o u h a v e t o c o v e r s u c h u n u s u a l e x p e r i e n c e s . A f a r m h o u s e a b o u t 150 k m f r o m B u e n o s A i re s , i n t h e p r o v i n c e o f E n t re R í o s . St a c k s a n d s t a c k s o f p i n e w o o d s l a t s 2 i n c h e s o n a s i d e b y 3 m e te r s l o n g (1 l i n e a r k i l o m e te r ! ) ; n u m b e r o f “c h i p b o a r d ” p l a te s ( te c h n i c a l l y c a l l e d O S B ) s t a c k e d ; a n d a b o u t 150 b o y s a n d g i r l s b e t w e e n 20 a n d n o m o re t h a n 30 y e a r s o l d , i n re m e r i t a a n d b e r m u d a s h o r t s , w i l l i n g t o s p e n d a w e e k b u i l d i n g i n s t a l l a t i o n s , s c u l p t u re s , s t r u c t u re s , i n f r a s t r u ct u re s , s c a l e m o d e l s? a n d s l e e p i n g i n s l e e p i n g b a g s i n t h o s e t y p i c a l c o u n t r y s h e d s . I t h a p p e n e d l a s t w e e k a t E s t a n c i a L o s A z o te s i n t h e t o w n o f C e i b a s . T h e s t o r y i s the follow ing. H e l l o Wo o d . W h a t d o e s i t c o n s i s t o f ? I n s o m e t h i n g v e r y s i m i l a r t o w h a t h a p p e n e d h e re . T h e y s u m m o n a rc h i te c t s , d e s i g n e r s a n d a r t i s t s t h r o u g h t h e n e t w o r k s t o p re s e n t w o r k s t o b e b u i l t w i t h i n a w e e k i n t h e f i e l d a n d w i t h t h e m a te r i a l s p r o v i d e d b y the organization. They al so ask for a por t folio w ith their background and, then, w i t h t h a t m a te r i a l t h e y c h o o s e t h o s e w h o w i l l b e p r o j e c t l e a d e r s . O n t h e o t h e r h a n d , t h e y i n v i te s t u d e n t s , w h o i n a n a p p r ox i m a te n u m b e r o f te n , j o i n t h e l e a d e r s a n d t o g e t h e r, a t t h e e n d o f t h e w e e k , t h e y r a i s e t h e p r o p o s a l t h a t t h e y p l a c e s o m e w h e re i n t h e c e n te r o f t h e r o o m . N OA te a m l e d b y O l i v e r i o N a j m í a s , M a r t i n a H u e r g o a n d M a r i n a L e r i c i c re a te d “ C o n v e r g e n c i a s ”, a p i e c e m a d e u p o f f o u r w a r p e d , s y m m e t r i c a l p l a n e s , w i t h t r a n s l u c e n t f r a m e s a n d o t h e r b l i n d o n e s t h a t i n v i te y o u t o e n te r a n d m e e t .

ACKNOWLEDGEMENTS.

S PAC E D E SI G N FO C US E D O N T H E E XPERIENCE OF THE HUMAN BEING W h e n w e s p e a k o f t r a n s f o r m a t i o n w e m u s t t h i n k o f a n a p p r o a c h t o t h e re a l i t y t h a t s u r r o u n d s u s . To t r a n s f o r m i s t o a d a p t t o t h e n e w re a l i t y. To t a l k a b o u t A r c h i t e c t u r e , w e m u s t i n v e s t i g a t e t h e h y p e r c o n n e c t i v i t y a n d o p t i m i z a t i o n o f t i m e t o d a y. T h e h u m a n b e i n g f a c e s c o n s t a n t c h a n g e e v e r y d a y. T h e u n c e r t a i n f u t u r e c a u s e s t h a t t h e p r i m a r y c o n c e r n i s t o a c h i e v e p e r s o n a l well-being. K e n R o b i n s o n , s p e c i a l i s t i n c r e a t i v i t y a n d i n n o v a t i o n , d e l v e s i n t o h i s T E D Ta l k o n t h e n e e d t o c r e a t e e n v i r o n m e n t s t h a t f a v o r t h e i m a g i n a t i o n o f 21 s t c e n t u r y s o c i e t y, t h i s b e i n g o u r s u b s t a n t i a l t o o l f o r a d a p t i n g t o t h e n e w s c e n a r i o . To d a y c r e a t i v i t y i s a s i m p o r t a n t a s l i t e r a c y. S o , w h a t v a l u e c a n w e d e s i g n e r s c o n t r i b u t e t o g e n e r a t e i n n o v a t i o n? A s an Architec t, I have the oppor tunit y to improve people's exper ience. I specialize in the cons tant search to create surpr ises. My focus is on the users, on how to inspire in an env ironment. A f e w y e a r s a g o , I d i d a n i n t e r n s h i p a t G e n s l e r, a D e s i g n a n d A r c h i t e c t u r e f i r m w h e r e I l e a r n e d t o l o o k a t a r c h i t e c t u r e w ith dif ferent eyes. I par t icipated in several training courses or iented to the ps ychological ef fec t of space and I was luck y enough to me et Ge orge Miller in the s tudio, w ho gave a TED tal k de epening the hy br idizat ion of space s, sugges t ing "If we s tar t br inging in biologis t s or sociologis t s, they are people who they are going to put a new dimension i n t h e n e w f o r m s o f A r c h i t e c t u r e ". In order to innovate we mus t go beyond Architec ture. Architec ture s tudies need to be made up of specialis t s from ex ternal f ields that favor innovation. A n example of a mult idis c iplinar y s tud y is 3G O FFICE, made up of dif ferent branche s invo lve d in spat ial develo pment. H i s p r o j e c t s a r e c h a r a c t e r i z e d b y t h e s e a r c h f o r s t r a t e g i c s o l u t i o n s t h a t a d a p t t h e s p a c e t o t o d a y. The s tudy holds an annual internat ional conference w ith speakers broadcas t ing the changes that we mus t apply to our work as professional s. The talk s abs trac t us and make us reflec t on the future to f ill us w ith energ y and begin to transform. B u t h o w d o w e a c h i e v e t r a n s f o r m a t i o n? F o r a s p a c e t o b e e x p e r i m e n t a l , t h e d e s i g n m u s t s t a r t f r o m k e y c o n c e p t s : Through a tool called Design Thinking we can interpret the env ironment to be inter vened and trans form it by creat ing innovative designs that improve mood and cognition. A key element to improve the exper ience is the sensation that evokes the spatial height. A room w ith a higher ceiling has been found to lead people to produce more creat ive solut ions than people in a place w ith a lower ceiling. In turn, light ing , vent ilat ion and acous t ic s af fec t env ironmental comfor t, so that the mind can res t. A n o t h e r f a c t o r i s t h e s e n s e o f t o u c h . To d e v e l o p i t , m a t e r i a l p a l e t t e s o f d i f f e r e n t t e x t u r e s c a n b e i n c l u d e d a s w e l l a s interac t ive tac t ile objec t s that cause amazement. A s for colors, we managed to create at trac t ive color palet tes that surpr ise. It is ver if ied that create palet tes of dif ferent colors s t imulate the creat iv it y of the mind. For this reason, the spat ial design mus t be created from the cognitive ef fec t it causes. My exper ience in the corporate f ield allows me to have fun obser v ing the ways of working of employees to improve t h e i r r o u t i n e . I t i s t h e n r e f l e c t e d b y c r e a t i n g s p a c e s o f d i f f e r e n t s c a l e s , u s e s a n d p r i v a c y, w h i c h s t i m u l a t e i n n o v a t i o n a n d i m p r o v e l a b o r r e s u l t s . S t r e s s l e v e l s d e c r e a s e a n d w o r k m o t i v a t e d . A d d i t i o n a l l y, b y i n c o r p o r a t i n g a r e a s t h a t d r i v e fun, employe e s are able to creat ively solve work problems. It is excit ing to se e their excited face s at the opening of a n e w o f f i c e . I m p a c t t h r o u g h s u r p r i s e g e n e r a t e s h a p p i n e s s . B u t w h y? B e h i n d e v e r y d e c i s i o n , t h e r e i s a n i n v e s t i g a t i o n . The EME A Human Spaces repor t conf irms that biophilic design in the workplace s at is f ies the need to connec t w ith na ture. The s tud y reveal s that i t pro m ote s co ncentrat io n and wellbeing through the s ens e s. Therefo re, inn ov at ive of f ice d e s i g n i s e s s e n t i a l f o r p e o p l e ’ s j o b d e v e l o p m e n t . We s p e n d a l a r g e p a r t o f o u r l i v e s i n a w o r k e n v i r o n m e n t , t h e r e f o r e it is impor tant to comply w ith elements that improve the exper ience. I n t h e r e a l m o f c o m m e r c i a l d e s i g n , I e n j o y b e i n g a p s y c h o l o g i s t . To g e t h e r w i t h m y d a d F e r n a n d o L e r i c i , M c D o n a l d ’ s p r o j e c t m a n a g e r, w e u s u a l l y g o t o g a s t r o n o m i c s i t e s t o a n a l y z e t h e s i t e a n d i t s u s e r s . We a s k f o r a n a p k i n a n d b e g i n t o d r a w w h a t w e s e e : To d a y w e s e e k t o t a k e a d v a n t a g e o f t h e b r e v i t y o f l u n c h t i m e , c h o o s i n g i n a p l e a s a n t e n v i r o n m e n t w here one c an rel a x . For the trans for mat ion of the Mc Donalds premis e s into Micro centro, w ar m wo o ds and light ing were chosen reflec t ing the new requirement s. The design of a cafe responds to the present when it reflec t s the four realit ies that occur simultaneously: there are those who have minutes to sit down, those who are looking for a place to work, and those who seek to relax w ith a qualit y cof fee. The design of “ Hola Cof fee” in Madr id innovates by generat ing furniture w ith opt ions for each t ype of u s e r. I t r a n g e s f r o m a b a r f o r t h o s e i n a h u r r y t o b l e a c h e r s f o r t h o s e w h o s o c i a l i z e . I n a d d i t i o n , w e m u s t n o t f o r g e t t h e new slo gan of v ir tuali t y and s o c ial net wo r k s. By creat ing an inn ov at ive sp ace, i t improve s the ex per ience and leads t o p h o t o s u p l o a d e d t o n e t w o r k s . A n e x a m p l e i s “ C a r n a v a l ”, a b a r i n L i m a t h a t s e e k s t o e v o k e t h e f i v e s e n s e s t h r o u g h e x p e r i e n c e . T h e s h o w b e g i n s w i t h t h e l i g h t s u n d e r t h e b a r g i v i n g c u r i o s i t y, i t s a n t i q u e s a n d t h e e x p e r i e n c e o f t h e c o c k t a i l w i t h a s t o r y r e l a t e d b y t h e s t a f f. I t s g o a l i s t o a c h i e v e a c l i m a t e i n a “ p r o l o g u e ” w a y. T h e v i s i t o r e n t e r t a i n e d by the ex per ience d o e s n ot take s e co nds to re g is ter the m o ment to uplo ad i t to the net wo r k s. Therefo re, sur pr is ing a n d a m u s i n g i s o u r n e w s e a r c h i n t h e n e w r e a l i t y. L e t ’ s i m p r o v e t h e u s e r e x p e r i e n c e b y c r e a t i n g a n e n v i r o n m e n t t h a t favors their needs. Only then does a company achieve bet ter result s. Only in this way can a business be ef f icient and i n c r e a s e i t s v i s i t s . We m u s t b e e n c o u r a g e d t o i n s p i r e p e o p l e i n t h e s p a c e a r o u n d t h e m .

ACKNOWLEDGEMENTS.

A F I L M AC A D E M Y P R OJ EC T E D L I K E A S C R I PT Clarin A rc h i te c t u re N e w s p a p e r M a rc h 6t h, 2018 T h e A rc h i te c t u re St u d e n t d e s i g n e d a F i l m A c a d e m y i n P a r q u e L a s H e r a s t h r o u g h c o m p l e x a n d te n s e v o l u m e c o n f i g u r a t i o n , p a r t i c i p a t i n g w i t h t h e P a r k a s a n e x te n s i o n , w h i c h d i a l o g u e s w i t h t h e c o m m u n i t y. C o l l a b o r a t i v e s p a c e s , p r o d u c t i o n r o o m s a n d m u l t i p u r p o s e a re a s a re j u s t t h e b e ginning of this Film. St u d e n t M e m o i re H o w d o y o u b e g i n d e s i g n i n g? W h a t d o y o u w a n t t o c o n v e y? T h e s e a re q u e s t i o n s t h a t a r i s e u p o n t h e c h a l l e n g e o f c re a t i n g l i fe e x p e r i e n c e s o n s i te . T h e o b j e c t i v e w a s t o a p p r o a c h t h e p r o j e c t t h r o u g h 3 a xe s , b a s e d o n t h e t h re e f i l m p r o d u c t i o n p h a s e s : 1. T h e s c e n a r i o, w h i c h i s t h e u r b a n s i t u a t i o n i n w h i c h i t i s l o c a te d , 2. T h e c a s t , o r i n o t h e r w o r d s , t h e u s e r o f t h e b u i l d i n g ; a n d 3. T h e c u l t u re, a n d h o w t h e v e r s a t i l e A rc h i te c t u re re s p o n d s , g i v e n t o d a y ' s f l e x i b i l i t y n e e d . D u r i n g t h e re s e a rc h s t a g e, s e v e r a l f i l m s t u d e n t s w e re i n te r v i e w e d a n d i n te r v e n e d a s a m u l t i d i s c i p l i n a r y g r o u p, t o d e te c t t h e m a i n p r o b l e m s a n d p o te n t i a l s e d u c a t i o n building s have at this t ime. T h e s p a c e s a n d t h e i r f u n c t i o n s w e re o r g a n i ze d a n d a s s i g n e d a c c o r d i n g t o a l l t h re e s t a g e s o f f i l m p r o d u c t i o n : p re - p r o d u c t i o n a re a s f o r t h e c re a t i v e s t a g e w i t h collaborat ive spaces and a librar y w ith diversit y of furnishings for brains torming ; produc tion spaces, or in other words, s tudios and work shops for projec t s; and p o s t- p r o d u c t i o n r o o m s t o e n j o y a n d a n a l y ze t h e a l re a d y p r o d u c e d f i l m . T h r o u g h o u t t h e p r o c e s s , t h e g o a l w a s t o i n s p i re t h e u s e r i n t h e n a t u re o f t h e i r p r o fe s s i o n . T h i s w a s a c h i e v e d b y t h e c re a t i o n o f i n n o v a t i v e s p a c e s t h a t s t i m u l a te c re a t i v i t y. U B A P r o fe s s o r C o m m e n t T h i s p r o j e c t a r i s e s f r o m t h e a n a l y s i s , a l l t h e s e i s s u e s , e v e n s u r p a s s i n g t h e m , m o re a s a p r o fe s s i o n a l re s p o n s e t h a n a s a s t u d e n t p r o j e c t . A d e e p re f l e c t i o n o n t h e s u b j e c t , a n e x h a u s t i v e d e s c r i p t i v e m e m o r y a n d a v e r y c o m p l e te p re s e n t a t i o n w i t h g re a t e x p re s s i v e v i g o r, m a k e u p a re s u l t t h a t t r a n s c e n d s , b y f a r, t h e re s o l u t i o n o f a p e d a g o g i c a l e xe rc i s e .

ACKNOWLEDGEMENTS.

T H E A RG E N T I N E T R AG I CO M E DY T h e e c h o e s o f t h e S e c o n d Wo r l d Wa r i n A r g e n t i n a M i d 20 t h c e n t u r y

The human being , a v ic t im of the Modern Movement, f inds himself w ithin an e cos ys tem i n w h i c h h e c a n h a v e a p a s s i v e, p e s s i m i s t i c , r e s i g n a t i o n a n d a c c e p t a n c e a t t i t u d e t o the situation and to what is es tablished by modern norms. By this I mean impersonal u t o p i a n n o r m s , w h e r e t h e i n d i v i d u a l i s t h e v i c t i m o f a P a n o p t i c p h i l o s o p h y. H i s f e e l i n g o f b e i n g c o n t r o l l e d a n d o b s e r v e d b y a n o m n i p r e s e n t g a z e a f f e c t s p e o p l e ’s a c t i o n s , b e coming per fe c t and ef f icient, w ithou t any feeling. The pas sive modern being ac t s in a machinic and ef f icient way: t wo charac ter is t ic s that are manife s te d in the space in w hich it inhabit s: it s d welling machine. O n t h e o t h e r h a n d w e f i n d t h e o n e w h o t r i e s t o s u r v i v e, r e s i s t a n d o p p o s e w h a t p r e d o m i n a t e s i n t h e s y s t e m . T h a t p a r a s i t e o f s o c i e t y w h o l i v e s u n c o m f o r t a b l e, s i n c e h e c a n n o t e x p r e s s h i m s e l f f r e e l y ; o n e w h o f e e l s d i s c o m f o r t i n t h e f a c e o f o b s e s s i v e r a t i o n a l i t y. I n t h e s e c o n d h a l f o f t h e c e n t u r y, e x p e r i e n c i n g t h e p o s t- w o r l d w a r s i t u a t i o n a n d h o w i t a f f e c t s t h e m i n d s o f s o c i e t y, p h i l o s o p h e r s , a r t i s t s a n d m u s i c i a n s , A r g e n t i n a i s s t r o n g l y inf luence d by the s e ex is tent ial ex pre s s ionis t ideas and human being s tend to join force s to f re e thems elve s f rom the s ys tem. m o der n as the only choice. The re s tle s sne s s is born in the human being , in the societ y that suf fer s and suf fer s from the e s tablished w o r l d m o v e m e n t o f f u t u r i s t i c o p t i m i s m t h a t t h e M o d e r n M o v e m e n t p r o p o s e s u n d e r f u n ctional, machinic and rational concepts. Jus t as there are dif ferent thought s of archite c t s and philo s opher s fac ing the contem p o r a r y s i t u a t i o n , e a c h p e r s o n c h o o s e s t o l i v e r a t i o n a l l y o r p h e n o m e n o l o g i c a l l y. W h a t s ome f ind as archite c ture in it s pure e s s ence other s cons ider a l ack of re spe c t for the His tor y of A rchite c ture. “ W hat l ack of re spe c t, that I r un over reas on” The ex per ience o f s p a c e w i l l b e d i s t u r b i n g a n d u n c o m f o r t a b l e f o r t h a t “ Fa m á s ” a s C o r t á z a r w o u l d s a y, s i n c e i t i s a s p a c e w i t h o u t o r d e r t h a t l a c k s d e s i g n g o v e r n e d b y r e a s o n “ To t h i s M r. Te s t a H e s h o u l d b e s e n t t o r e d e s i g n a n u r s i n g h o m e f r o m w i t h i n a n d f u l l t i m e ”; o r i t c a n b e enter taining and inspir ing for that per son w ho live s of unique exper ience s, of feeling s “ t o t h e s u r f a c e ”, a C r o n o p i o o r M o n s i e u r H u l o t . T h e t a k i n g o f B r u t a l i s m a s a n a l t e r n a t i v e to the Modern Movement. A n A rchite c tural re s ource c an be the phenomenolog ic al w al k of acce s s e s and par k s, cur ve d, natural path that refer s us to the l ands c ape s and paths de s cr ibe d in the b o ok “A l i c e i n Wo n d e r l a n d ”, a c o u n t e r c u l t u r a l i c o n t h r o u g h o u t t h e 20 t h c e n t u r y. We c o u l d c o m p a r e i t w i t h a c c e s s t o t h e N a t i o n a l L i b r a r y, b o t h e x p e r i m e n t a l p h e n o m e n o l o g i c a l walk s that seek to surpr ise the user and at the same time “wake him up” since he is numbe d by the M o der n M ovement, one that s e ek s ex treme and peacef ul comfor t, the repre s s ion of being a through ex treme f unc t ionalism unt il the us er c an think ab ou t how t o f u l f i l l t h e f u n c t i o n s i n a s p a c e, s i n c e e v e r y t h i n g i s t h o u g h t o u t a n d r e s o l v e d . T h e h u m a n b e i n g s t o p s e xe r c i s i n g h i s c r e a t i v e m i n d . I t b e c o m e s v a g u e .

ACKNOWLEDGEMENTS.

T h e e n d o f t h e S e c o n d Wo r l d Wa r g i v e s r i s e t o a c l i m a t e o f d i s c o u r a g e m e n t a n d h o p e le s sne s s in world societ y that af fe c t s all disciplinar y f ields. That conf idence and opt im i s m i n t h e a d v a n c e s o f s c i e n c e, f a d e s a n d c r e a t e s a n u n c e r t a i n t y t h a t o n l y g i v e s r i s e t o o n e r e a l i t y : t h e p r e s e n t . Fa c e d w i t h t h i s s i t u a t i o n a r i s e t h o s e p e o p l e w h o s e e k t o re s is t as a countercur rent. The revolu t ionize d, pe s s imis t ic and paranoid human being in the face of the threat s of e x t e r m i n a t i o n o f t h e h u m a n r a c e, t a k e s r e f u g e i n e x i s t e n t i a l i s m . Fr e e f r o m p r e j u d i c e a n d rebellious agains t that abus ive m o der n control, he amus e s hims elf w ith his ex is tence a n d u n f o l d s f r e e l y. Fr o m t h e e v e n t s , A r c h i t e c t u r e s e e k s t o s a t i s f y t h e t r a n s f o r m e d , f r e e a n d e x i s t e n t i a l man. Thus ar is e dif ferent line s of thought s. Under trag ic cur rent s that ke ep man ma c h i n e d a n d s e d a t e d , w i t h o u t g i v i n g a n y r o o m t o h i s a u t o n o m o u s f r e e c r e a t i v i t y, r a t i o n a l m a n t h i n k s o f a r c h i t e c t u r e a s a “ r e f o r m ” o f e x t r e m e f u n c t i o n a l i s m . T h i s A r c h i t e c t u r e, wor thy of the Modern Movement, bases its ideal s on the anonymous man who develops his needs w ithou t any feeling s. We c o u l d r e l a t e i t t o t h e f i e l d o f m e d i c i n e . O n t h e o n e h a n d , t h e d o c t o r o b s e r v e s s y m p t o m s c o m m o n t o a l l h i s p a t i e n t s a n d b a s e d o n t h i s s t u d y, h e p r e s c r i b e s a l l t h o s e w h o s u f f e r f r o m t h e s a m e, e x a c t l y t h e s a m e m e d i c a t i o n . A t t h e s a m e t i m e, t h e r e i s t h e h o m e o p a t h i c d o c t o r w h o l o o k s f o r t h e o r i g i n o f e v i l , i n t h e e m o t i o n a l i n t e l l i g e n c e o f b e i n g . To d o t h i s , h e s t u d i e s t h e e v e n t s t h a t o c c u r t o t h e p e r s o n i n p a r a l l e l w i t h h i s c l i n i c a l s t u d i e s . Yo u r m e d i c a t i o n w i l l b e d i f f e r e n t f r o m t h a t of other pat ient s since your emot ional charge is not the s ame. The s ame go e s for archite c ture. It c an be develope d as a for mul a under m o der n inf lu ence s, such as the archite c t Jus to Sol sona in his Housing Complex, or it can be s tudied and rethinke d the human being w ho is in a s ituat ion of ex is tent ial cr is is g iven the con tex tual per io d in w hich he live s. Happine s s, sur pr is e and em ot ions are charac ter is t ic s of l i f e t h a t a r e s o u g h t i n e x p r e s s i o n i s t a r c h i t e c t s l i k e C l o r i n d o Te s t a . The rel at ionship bet we en the oppo s ing charac ter s g ive s r is e to har m onic nuance s such a s t h e A u s t r a l G r o u p, t h e o n e t h a t b r i n g s t o g e t h e r t h e m o d e r n p r i n c i p l e s o f L e C o r b u s i e r i n i t s f i r s t p h a s e, t o g e t h e r w i t h t h e s u b s e q u e n t e x i s t e n t i a l i s t a n d s u r r e a l i s t h u m a n i z a t i o n . We s e e t h e r e s u l t e x t e n d e d i n L o s E u c a l i p t o s , a w o r k w i t h o b s e s s i v e f u n c t i o n a l detail that does not neglect the exper ience of the user when crossing its landscape access and the cur ved formalism of its f inish. The tens ion bet we en the t wo oppo s ing cur rent s f ind their po et ic channel in the har m ony o f o r g a n i c i s m a n d a b s t r a c t i o n . T h e r e s u l t o f t h e t h r e e w a y s o f c o n c e i v i n g a r c h i t e c t u r e, give r ise to an image of a cit y that is heterogene ously r ich, authent ic and diver se in it s her itage.

C O N TA C T

+54 (11) 6506-0634 marina.lerici@gmail.com h t t p s : / / w w w. l i n k e d i n . c o m / i n / a r c h i te c t m a r i n a l e r i c i

thank you. marinalerici