Architecture Portfolio Marina Durรกn Sancho Architect and Designer
Marina Durán Sancho Architect and Designer
About me The writer Carlos Ruiz Zafón, in his novel “Marina”, defines Architecture as a science rooted in art, words that hooked me and comfirmed myself that I wanted to be an architect. During the past years I have seen myself immersed in this fast-paced world that is architecture learning to see and understand it from both academic and professional points of view. I have had the chance of receiving a training which has made me develop critical thinking and my own point of view on this science as a conciliatory field of the different sciences that surround us as well as counting on great professionals who have guided me along this learning process. I understand that todays architecture goes far beyond a nice and functional design and as architects we have an important role on today’s society as we are the ones materializing the space. However, we must understand that the crisis we are in has changed our role and we must find new ways of understanding space.
I am hard worker, stubborn and persistent. I never give up and I always try to be the best person that I can. I am passionate about music and literature, science and history and I am eager to learn as much as my brain can hold. I believe I could have study almost any degree because I want to know everything that happens around me. Yet I decided to become an architect as it was a discipline in which I could combine all my passions.
Marina Durán Sancho
CV
Nationality: Spanish
Date of Birth: 10 / 01 / 1991
Email: mduransancho@gmail.com
Mobile Number: +34 675483203
Adress: C/ Vallehermoso, nº 15, 5º-20. 28015, Madrid.
Education & Academic activities / Educación y Actividades académicas 2014 - 2015
Faculty of Architecture (ETSAM). Technical University of Madrid / Facultad de arquitectura de Madrid (ETSAM). Universidad Politécnica de Madrid. Master in Conservation and Rehabilitation of Architectural Heritage / Máster en Conservación y Rehabilitación del Patrimonio Arquitectónico (MUCRPA)
2014
Final Thesis Project: Olfactory creation and Interpretation Center in Irun, Spain / PFC: Centro de Creación en interpretación olfativa en Irún, España Final Grade: 9.0 / Nota final: 9.0
2009 - 2014
IE School of Architecture. IE Business School / Escuela de Arquitectura, Universidad IE. Bachelor in Architecture (English degree) / Grado en Arquitectura (Grado en Inglés)
2009 - 2014
IE Business School / Instituto de Empresa (IE). Minor in Business / Minor in Business
2009
University Acess exams / Pruebas de Aceso a la Universidad (Selectividad) Final Grade: 9.3 / Nota Media: 9.3
2009 - 2007
Senior Technological Education at “ Las Josefinas” School. Caceres, Spain / Bachillerato Tecnológico en el Colegio de las H.H. Josefinas Trinitarias. Cáceres, Spain Final Grade: 9.8 / Nota Media: 9.8
2007
Educational Exchange: Czech Republic / Intercambio de estudios con la República Checa
2005 - 2008
Educational Exchange: Preston, Lancashire (UK) / Intercambio de estudios en Preston, Lancashire (Reino Unido)
Languages / Idiomas Spanish / Español : Native / Nativo English / Inglés : C1 Written - C2 Spoken / Competencia Profesional 2015
Advance English Level - C1 (currently taking the exams) / Nivel C1 (Realizando los exámenes en la actualidad)
French / Francés : A2 Written - A1 Spoken / Competencia Básica 2015
A1 - A2 Levels (currently taking the exams) / Niveles A1 y A2 (Realizando los exámenes en la actualidad)
Scholarships & Awards / Becas y Reconocimientos 2009 - 2014
Full Academic Excellence Scholarship. IE School of Architecture, IE University / Beca a la Excelencia Académica. Escuela de Arquitectura IE, IE Universidad.
2011
Photography Competition: The Venice Biennale / Concurso de Fotografía: La Bienal de Venecia First Price and Honorable Mention / Primer Premio y Mención de Honor
Exhibitions & Publications / Exposiciones y publicaciones 2013 - 2014
Alternative Practices: The City, Landscape & SDW / Prácticas Alternativas
2013
Sackler Gallery Pavilion. Zaha Hadid / Pabellón para la Serpentine Gallery. Zaha Hadid
2012 - 2013
Culture and Theory Vol. I & II : The Question of... / Cultura y Teoría Vol. I y II: The Question of...
2012 - 2013
IE School of Architecture Exhibition: Design Studio V + Construction Systems III / Exposición de la Escuela de Arquitectura, IE
2011 - 2012
IE School of Architecture Exhibition: Construction Systems II / Exposición de la Escuela de Arquitectura, IE
2011
Photography Exhibition: The Venice Biennale / Exposición de Fotografía: La Bienal de Venecia
Work Experience / Experiencia Laboral 2014
Invited Jury at IE School of Architecture for Alternative Practices Workshop: The City Jurado invitado en la IE School of Architecture para el Taller de Prácticas Alternativas: The City
2013
Internship at ARTEK (Helsinki, Finland). March 2013 - July 2013 : Furniture design, Interior Space design for: Furniture Fairs, Retail, Hotel ... Prácticas en Artek : Diseño de mobiliario, Diseño de stands para ferias del mueble internacionales, Diseño interior para áreas comerciales, hoteles, restaurantes...
2012
Internship at Cruz y Ortiz (Seville, Spain). March 2012 - July 2012 : Graphic design for “TC Cuadernos” publication + Architectural Design Prácticas en Cruz y Ortiz : Diseño Gráfico para la publicación “TC Cuadernos” + Diseño Arquitectónico
2011
Internship at Eva Jiricna - Ejal (London, UK). March 2011 - July 2011 : Architectural Design + Interior and Graphic Design Prácticas en Eva Jiricna: Diseño Arquitectónico + Diseño Interior y Diseño Gráfico
2010
Internship at Zaha Hadid (London, UK). March 2010 - July 2010 : Architectural Design + Model Making Prácticas en Zaha Hadid: Sackler Gallery Pavilion design team
Skills / Habilidades Software : AutoCad / Rhinoceros V.5 + Basic V-Ray / Adobe Photoshop CC / Adobe InDesign CC / Adobe Illustrator CC / Basic Grasshopper / Basic Microstation v.8 2D + 3D / Microsoft Office Package / Photomodeler Design: Architectural Photography / Design / Landscape / Urbanism / Rehabilitation / Interior Design / Sustainable Design / Model Making / 3D modeling / Panel Layout / Laser Cutting / Topography (Estación Total)
Olfactory Creation and Interpretation Center
Design Studio VI UP _ Rethinking the space of the Windsor Tower
Design Studio V The Filter _ New Cebada Market Alternative Practices The Architecture of Gaming The Lost Civilization Segovia Design Week Design in transformation Alternative Practices: Urbanism - Landscape & The City Understandign and revitalizing the territory Collaborations The Sackler Pavilion _ The Serpentine Gallery Model Making + Design Drawing TC Cuadernos Book and drawings layout
Scale: Medium - Big
Scale: Small
Exhibition
Research
Urbanism
Landscape
Construction
Sustainability
Desig Final Thesis Project
Olfactory Creation and Interpretation Center A project held in between gardens
“Smells like architecture, are experience associated”
“Los olores, como la arquitectura, se asocian a experiencias”
The tourist is understood as an ephemeral inhabitant who greedily devours the memory of what visited without questioning it.
El turista se entiende como un habitante efímero del lugar que devora con avidez la memoria de lo visitado sin cuestionárselo.
The proposal seeks to comprehend the past realities and future perspectives in order to construct a new layer in the memory of the place understood as an evolution of the existing through the reinterpretation of the industrial character of the place. The trace of the past is interpreted by means of the tangible, architecture, and the intangible, the sense of smell, as enhencers of the new urban landscape. Both elements compose a constellation of sensorial maps that erased the line of city and landscape, the artificial and the natural.
La propuesta busca comprender las realidades pasadas y las perspectivas futuras para así crear una nueva capa en la memoria del lugar entendiéndola como la evolución de lo existente a través de la reinterpretación de carácter industrial de la zona. La traza del pasado se interpreta mediante lo tangible, la arquitectura, y lo intangible, los olores, se entienden como potenciadores del nuevo paisaje urbano. Ambos componen una constelación de mapas sensoriales que diluyen la línea entre ciudad y paisaje, entre lo artificial y lo natural.
For more info: http://issuu.com/marinaduransancho1/docs/marina-duran-sancho_pfg-ieuniversit/1
Smells Library PUBLIC PLAZA GARDENS
LONGITUDINAL SECTION Section through Touristic Corridor
Peonies and Peppermint fields
Hotel Gardens
Smells Library
Smells Cocoon
Holistic Therapies Space
Scent Cabins Distilling Area
Workers resting Area
Green House
scale : 1: 500
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General Strategy The main characteristic of the proposal is that it is a project held in between gardens and not gardens appearing as the consequence of the program. The main element in the composition of the plan is the vegetation and from that common base it start to appear different layers that allow the project to grow and colonize the preexisting structure. Yet there are programs which needs the structures to be adjusted to their needs appearing another layer of complexity which is the new structures. The intersection between new and preexisting, gardens and enclosed spaces, allows intermediate spaces to appear. This in-between spaces held ephemeral programs which complement the most important. This ephemeral programs are shaped as devices which work for the enclosed program but they also provide services to the overall proposal. Still, how do we move around? Beyond the longitudinal and transversal connectors and the main platform, it appears a series of routes that invites the visitor to tour, discovering new experiences around each corner. The project aims to be a place where tourist and locals can enjoy and take advantage of. It seeks to be a place to stay and enjoy a catalyst of the region.
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Interior View + Detailed Plans - Modules B+C
Vista Interior + Plantas detalladas - M贸dulos B+C
Structural Schemes - The preexistence and the new
Esquemas estructurales - La Preexistencia y lo nuevo
+ 6.00 m
CASE A CASE B Structural Diagram diagram Structural + 6.00 m
Water Collector
CASE B Atmosphericdiagram Diagram Atmospheric Water Collector
+ 6.00 m
SP A
SP B
SP C
SP D SP E
SP F
Constructive Plan:First Firstfloor Floor Constructive PLan:
CASE C (A+B)
CASE A + B
Structural StructuralDiagram diagram Urban Connector
CASE C (A+B) CASE A+B
Atmospheric AtmosphericDiagram diagram Urban Connector
The preexistence
+ 6.00 m
La Preexistencia
+ 6.00 m
+ 6.00 m
SP A (STEEL PORTICO A)
SP B
SP C
SP D SP E
SP F
Constructive Plan: Ground Floor
Constructive Plan: Ground floor
The new Structures Las nuevas estructuras
Balsa Wood = New Structure
String = Tension Cables
White Board = Pre-existing structures
SOLID - STRUCTURAL
Solid = Structural
EPHEMERAL= = ATMOSPHERIC Ephemeral Atmospheric
Translucent Plastic = Secondary structure
Colored Acetate = Vegetation
Detailed Setion - Modules B+C / Sección detallada - Módulos B+C
Water Collector
+ 15.00 m
“ The really interesting thing about perfumes is not actually the scent itself but rather the memory that is stored with the scent. Smells and scents can evoke experiences and images of the past, almost like photographs. For us certain smells always produce architectural images and spatial memories, almost like an inner film.” Jacques Herzog & Pierre De Meuron
Urban Connector
+ 15.00 m
+ 13.80 m
+ 12.00 m
+ 8.50 m
+ 6.00 m
+ 8.80 m + 8.30 m
+ 6.00 m
+ 3.50 m
+ 0.00 m
UP Rethinking the space of the Windsor Tower
Life in buildings do not only happen inbetween floor, but also above them. Above the city.
La vida en los edificios no solo aparece entre plantas, pero tmabién sobre ellas. Sobre la ciudad.
I believe it is necesary to rethink the use of what we often consider as a residual space for instalations. Rooftops offer much more than the end of the building but the possibility of inhabiting the cities from another point of view.
Es necesario replantearse lo que normalmente consideramos como un espacio residual para las instalaciones. Las azoteas ofrecen mucho más que el mero fin de un edificio, sino la posibilidad de habitar la ciudad desde orto punto de vista
The proposal seeks to rethink how we colonize urban voids in spaces where height is the key element of this new object. In this cases we do not only colonize the floor but also the skyline of the city.
La propuesta busca replantearse como se colonizan aquellos vacios urbanos en los que la altura es el elemento definitorio de ese nuevo objeto. En estos casos no solo colonizamos el suelo sino también el perfil de la ciudad.
The project is based on the layering of different spaces considered as independent rooftops that adapt to the skyline of the city. These pieces seeks to blur the edge between exterior an interior projecting the image of the schkeleton of the architectural object.
El proyecto se basa en la superposición de capas con distintos espacios considerados como azoteas independientes que se adaptan al perfil de la ciudad. Las piezas buscan difuminar la línea entre interior y exterior proyectando la imagen del esqueleto del objeto arquitectónico.
Exploded Axonometric - Materiality and Space _ The box, the filter and the Screen of Movement
Façades Elevation - Light filters
Axonometría explotada - Materialidad y Espacio_ El volumen, el filtro y la Pantalla de Movimiento
Alzados - Filtros de luz
North Elevation
WHITE COATED STEEL STRUCTURE
BUBBLE SYSTEM BIDIRECTIONAL CONCRETE SLAB (SLAB STRUCTURE)
West Elevation
MESH ALLOWING VEGETATION TO GROW UP COVERING SEMI-PRIVATE SPACES
POLISHED CONCRETE SLABS (FINNISHING COLOR DEPENDING ON THE PROGRAM)
DEPLOYE MESH WITH DIFFERENT DENSITIES
WHITE COATED STEEL CABLES + STEEL BEAMS (FINK BEAM)
CLIMALIT GLAZING
South Elevation
AROMATIC GARDEN OVER CONCRETE SLAB AND A TRUSS STRUCTURE
TRANSLUCENT FABRIC COVERING THE OPENING FOR THE RAMP AS HAND RAIL
TIMBER FOR EXTERIORS FOR PATH 02
HARD CONCRETE FOR PATH 01
STEEL STRUCTURE
East Elevation Movement Screen
159 m
General Section - The Cantilever and the Movement Screen Secci贸n General - Los voladizos y la Pantalla de Movimiento 151 m
145 m
141 m
137 m
133 m
129 m 125 m
118 m
111 m 109 m
101 m 99 m
89 m
84 m
80 m
72 m
62 m
57 m 54 m
49 m
41 m
37 m
33 m
23 m
0m
-16 m
Interior Images Imágenes interiores
Main floor - Reception
Main semi-open garden
Top Garden Terrace
Example of diferent Floor Plans
Plug-In Structure
Ejemplos de algunas de las Plantas Principales
Esquema de la estructura de los volúmenes
INTERMEDIATE GARDEN TERRACE - Terraza ajardinada
Tension Compression
Solar Diagram Incidence Diagrama de incidencia solar
GROUND FLOOR - Planta baja
ACTIVITIES INTERSECTOR
OFFICE LOOBY
DESIGN OFFICE
READING + NAP ROOM
BOARD OFFICE
MANAGEMENT
INSTALLATIONS
LOBBY
APARTMENTS
RELAXATION AREA
SKY GARDEN
APARTMENTS
BRAINSTORM LAB
INSTALLATIONS
APARTMENTS
INSTALLATIONS
AUDITORIUM
SENSES SPA
RESTAURANT CINEMA +MEETINGROOMS
RESTAURANT
REHERSAL AND RECORDING ROOMS
VIEW POINT + READING AREA
100% LIGHT 80% LIGHT 60% LIGHT 40% LIGHT
The Filter Proposal for a new Cebada Market
“Smells like architecture, are experience associated” Site, density, scale and community.
West Elevation
Catálogo de estructuras
“Los olores, como la arquitectura, se asocian a experiencias” El Lugar, la densidad, escala y comunidad.
The project propose a new way of understanding the public space by connecting the most active and congested points within the assigned plot, with the surrounding residential area.
El proyecto propoe una nueva forma de comprender el espacio público por medio de la conexión de los puntos de mayor actividad y congestión del solar asignado con las zonas residenciales adyacentes.
The connection of both points works diagonally within the plot by means of a building that is acting as a smooth transition creating interior spaces in which the assigned program would be develop, but also gardens and relaxation points for the community to enjoy.
La conexión entre los distintos puntos trabaja de forma diagonal por medio de un edificio que actua como una sutil transición creando espacios cubiertos en los que se desarrolla el proyecto al mismo tiempo que genera jardines que la comunidad pueda disfrutar.
The filter, the building, could be better considered as a roof which is the true skin of the proposal which adapts not only to the different uses but also to the scale of the surroundings.
El filtro, el edificio, podría considerarse como una cubierta que es en realidad la verdadera piel de la propuesta. Una piel que se adapta no solo a los diferentes usos, sino también a la escala de las zonas cercanas.
Roof Plan _ A urban wooden carpet
Planta de cubiertas _ Una alfombra urbana de madera
Structures catalogue Cat谩logo de estructuras
Project composition diagram
Diagramas de composici贸n del proyecto
Roof structure - timber finnishing
The Filter
Open Spaces - Courtyards
Natural light sources
Section CC’ _ Market + Restaurant Sección CC’ _ Mercado + Restaurante
Line Perspective: Roof and structures Perspectiva : cubiertas y estructura
Line Perspective: Roof and structures Perspectiva : cubiertas y estructura
A'
B'
C'
C'
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Alternative Practices Visualization, Design and Landscape
There are more fields for architecture students to open their minds.
Hay muchas otras disciplinas gracias a las que los estudiantes pueden ampliar sus horizontes.
Within this set of workshop the main idea idea is to broaden the horizons of the students in order to make them feel there are more fields in where they can contribute with tehir knowledge.
En tanto a estos talleres, la idea principal es ampliar los horizontes de los alumnos para así, hacerles comprenderque hay otras disciplinas a las que pueden contribuir con sus conocimientos.
Architecture is not only about constructing or designing a building or spaces. The hability for doing those things possible can be used in other directions, contributing to construct other fields of interest.
La arquitectura no es solo construir y diseñar edificios o espacios. La habilidad para realizar estas tareas puede ser redirigida constribuyendo a construir nuevos campos de interés.
In this case we were encourage to focuse our knowledge and efforts to fields such as: Video game industry, exhibitions and Design Fairs and modeling the territory.
En este caso fuimos animados a enfocar nuestro conocimiento y esfuerzos a campos tan dispares como: la industria de los videojuegos, exposiciones y ferias de diseño y el modelado del territorio.
The Lost Civilization The Architecture of Gaming Working on different ways on how to show and experience architecture The Lost Civilization is an interactive interface which gives the user the opportunity to experiment architecture thought the world of videogames. It is a visual simulation that allows to interact with a new and fictional world based on the idea of a future civilization that would appear after a natural dissaster in our own planet. The way in which the user interacts with the environment allows him/ her to experience not only the built spaces and how to move around them but also the natural enclave in which the civilization has been developed. https://www.youtube.com/watch?v=sJp2RlPxA9U
Packaging: The Lost Civilization
Enrique Agudo, Sara Alonso y Marina Durรกn
Design in transformation Design Redefining the question of design. We usually understand design as a final result. However, the process behind that finnished prototype is as important or even more that the final design in itself. We understand the design process as design in itself. SDW offers the visitor a voyeuristic vision of the intricacies of the design world. The event claims for an understanding and critic of processes and systems behind iconic design pieces. Authors: Class of 2014
Segovia Design Week Logo Contest Jaime Pagés y Marina Durán
SDW: Exhibition Billboard Light: The Power of Nothing Jaime Pagés y Marina Durán
The work expands from Logo design to billboard design as well as graphic design and the layout of the different books for the Design Week as well as the Official Guide of the Exhibition.
SDW Exhibition _ Light: The Power of Nothing
Jaime Pagés y Marina Durán
FLOATABILITY CLOUDSCAPE
Segovia Design Week
20 CUBIC METERS
DISORIENTATION FEELINGS ARE FACTS
SPEED VIRGIN MEDIA
Olafur Eliasson
Olafur Eliasson + Ma Yansong
UVA
Can light compress you? Can something immaterial be so strong that makes you feel uncorfatble within a space? We have all dreamed about wall that become bigger, rooms that become smaller and ceilings that scratch our heads. Compression as a tool has been used in different disciplines but we still have not explored the power of light as a compression element. With this topic we want the user to "sweat" to feel the weight and the pressure of light, we want them to question if they could live with such strong light control.
Out of place, unable to see or recognize the elements, the environment that surrounds you. Produce a certain agony due to the impossibility of understanding where you are, how close to a boundary or how close to a person. We want the visitor to feel the power and the nothingness of light at the same time, understanding that a slight change on this element can lead to a complete distortion of the space we live in.
Speed is the reflection of a constant change, of an element or a space in motion. Within the exhibition we wanted to show one installation directly related with the perception of speed through light. We wanted to make the visitor move while standing, perceiving while moving nothing and feeling completely changed and without having changed his position in the exhibition space. How can we achieve this? We want to provoke these feelings through the projection of a series of lights in motion along a structure in perspective so that the speed is even more thrilling.
For this sensation we decided to call Tetsuo Kondo and to create a new path in the Alhondiga building. A path walking through the clouds of the interior space. A path that rememorizes the work of "Cloudscape" presented in the Venice Biennale three years ago. Cloudscape is a n installation in where the user is invited to go up and " feel himself floating", feel in the clouds, feel how the light through the clouds creates a different environment. A cloud that makes us perceive the space in a more heterogeneous way, vanishing from the frame where it happens. The Cloud requires a special space both in order of thermodynamics and in size. This installation is placed in the Alhondiga, an old market-grain cellar of the XIVth century that today houses the Municipal archive, in the center of Segovia.
WHEN LIGHT BECOMES MATERIAL
CLAUSTROPHOBIA
Tetsuo Kondo
Have you ever felt like you where light so light and mild that you can fly with no effort while your senses start questioning where and how are you moving in space? To float is to set free your mind and to set yourself in a space that has oscillating and uncertain boundaries.
Tetsuo Kondo. Born in Ehime Prefecture, Japan (1975) and graduated from Nagoya Institute of Technology in 1999. From this year on until 2006 Tetsuo Condo works at Kazuyo Sejima & Associates, SANAA, after which he establishes his own office Tetsuo Kondo Architects where he has been developing his work in parallel with lectures and teaching at the Japan Women's University.
The selected work for this case will be 1m3 which the artist will adapt to the selected space creating a grid space of 20sqm, tracing the useful geometry of the room, inviting the user to think on how much space does he use, how he uses it, and how when the lights go on if experiences the space. The space thought for it will be one of the rooms of the Carcel, old jail in where the inner environment will give stronger feeling once you are in. Olafur Eliasson ( 1967) is a Danish-Icelandic artist- Performer creator, known for sculptures and large-scale installation art employing elemental materials such as light, water, and air temperature to enhance and foster the viewer’s experience and perception of art. In 1995 he established Studio Olafur Eliasson in Berlin, a laboratory for spatial research. Eliasson has worked and designed some of the most groundbreaking installations of the las years.
For this sensation we decided to call and trust once more a feeling to Olafur Eliason with his work "Feeling are Facts", designed together with the Chinese architect Ma Yansong. The installation will be placed in the interior of the Esteban Vicente museum enclosing one of the exhibition room and creating the specific atmosphere necessary for the display of this installations for the feelings to work. Olafur Eliasson ( 1967) is a Danish-Icelandic artist- Performer creator, known for sculptures and large-scale installation art employing elemental materials such as light, water, and air temperature to enhance and foster the viewer’s experience and perception of art. In 1995 he established Studio Olafur Eliasson in Berlin, a laboratory for spatial research. Ma Yansong is a Beijing-born architect graduated from the Beijing Institute of Civil Engineering and Architecture, and went to Yale where he received his masters degree in Architecture in 2001. After working at Zaha Hadid’s office he started MAD in 2004.
The selected work for this feeling is an installation created by United Visual Artists for Virgin Media in where we see the exhilarating movement projected through these long structures along a deep room. The visitor can experience them and realize about the power of light in two speeds. One while moving around and through the motion lights, and the second way, while standing but still perceiving movement through light. Speed installation is placed in an a sacred space; a darken Old chapel in the outer walls of Segovia, where speed marks the main directionality of the space. United Visual Artists (UVA) is an art practice that use design processes to combine a wide range of disciplines including sculpture, installation, live performance, and architecture.
TEMPERATURE FADE IV Erwin Redl
Cold and warm at the same time with the same temperature. For this installation we looked for a set of light characteristics that would be able to transform the same space from cold to hot within few second and without a real temperature change in the room. The room would have to make the visitor react to both situation with opposite actions and at the same time create a certain discomfort to the person, almost making the user leave the room. With this theme we want to make the visitor realize that what he feels on his everyday life in terms of temperature is not something directly related to the way we perceive light. This installation has been partially adapted in order to fit one of the most beautiful spaces in the city of Segovia, the Alcazar. It is exhibited in the main throne room. This room although presented as a warm space is particularly cold in terms of decoration and environment. Temperature proposes to research both extremes within this historical frame. Austrian-born artist Erwin Redl uses LEDs as an artistic medium. Working in both two and three dimensions, his works redefine interior and exterior spaces. Born in 1963, Redl began his studies as a musician, receiving a BA in Composition and Diploma in Electronic Music at the Music Academy in Vienna, Austria. In 1995, he received an MFA in Computer Art at the School of Visual Arts in New York.
HUMIDITY WHITE RAIN
EDGING REAMAR PINK WHITE
INFINITY SA MI 75 DZ NY 12
Takahiro Matsuo
James Turrell
Doug Wheeler
The original world, where reality and unreality unite, is made up of an installation of delicate lights using various colors to highlight contrasts and shadows. The emotional interaction that appeals to the body and senses is pursued through natural physical in the participant's space though the technique and technology of a wide area are used. Moreover, this interaction design knows, by intuition, how to allow participants easily experience the interaction process, regardless of generation or nationality.
One room, clear angles, clear boundaries, lines lit. These are the characteristics of the space that goes under the name of edging. We wanted to propose the contraposition of an infinite space a space in where light establishes a strong control over the visitor. In where there is no room for speculation or doubt regarding its boundaries. But a space in where in between the boundaries the visitor finds a margin of freedom, a space that is a "gap" that allows you to think "outside the box" that gives you openness of mind towards the future. Light in this installations plays a key role since it illuminates strictly the necessary to set up a feeling of control through simple lines "painted" with this matter.
With infinity we wanted to propose a lost space within the exhibition. A space where the boundaries are erased and in where the user does not dare to move forward, only backwards doe to the fear of the unknown. A space where once you are inside you barely move ad you feel the outstanding size not because of the scale but because of the lack of edges, lines, volumes that conform this installation. It aims to make each user wonder how much does he know about everything he sees, and about everything we don't see but we feel. This questioning may provoque small crisis on the visitor as he understands that in life often he may not see the boundaries, because the boundaries are not fixed but ethereal, not marked but erased in some areas.
This installation shares the location with the one of distortion, the Esteban Vicente Museum. In this case we the work is placed in a mezzanine space from where work is installed in different heights, lit by itself and in a darkened environment. Japanese-born artist Takahiro Matsuo was born in 1979, graduated from The Art and Information Design Department of Kyushu Institute of Design, he is the founder and CEO of its own Art Studio Monoscape, based in Tokyo, Japan. Matsuo created many installations for exhibitions and performances. Combining the physical movements of participants with computer graphics, sound and light in interactive creations, the work of Matsuo is a fantastical experience. It reminds viewers of their imagination and memories and the light installation which are produced between reality and unreality, arouse in them a sense of humanity that transcends nationality and age.
This installation is in the casa de los picos, establishing a link between the outer city and the old town. The building that currently houses the Arts School of the UVa used to be an old manor house of a local family. James Turrell was born in Los Angeles in 1943. His undergraduate studies at Pomona College focused on psychology and mathematics; only later, in graduate school, did he pursue art, receiving an MFA from the Claremont Graduate School in Claremont, California. Turrell’s work involves explorations in light and space that speak to viewers without words, impacting the eye, body, and mind with the force of a spiritual awakening. “I want to create an atmosphere that can be consciously plumbed with seeing,” says the artist, “like the wordless thought that comes from looking in a fire.”
For this installation we selected an old factory between the carcel and the Aqueduct. Providing a post industrial look that contrasts to the whiteness of the installation, the lost of perspective and space, with the raw treatment of the place where its held. As a pioneer of the so-called “Light and Space” movement that flourished in Southern California in the 1960s and 1970s, Doug Wheeler’s prolific and ground-breaking body of work encompasses drawing, painting, and installations that are characterized by a singular experimentation with the perception and experience of space, volume, and light. Raised in the high desert of Arizona, Wheeler began his career as a painter in the early 1960s while studying at the Chouinard Art Institute in Los Angeles.
DESIGN IN TRANSFORMATION
Rehabilitating Nature in Olmedo Landscape Working on different ways on how to show and experience architecture This new green development is not only part of a bigger idea such as the design and diffusion of the green lane but it also helps rehabilitating the environment and the water from the aquifers beow the city. The garden works as a pollution filter, not only in the case of the water but also in the case of the air that comes from the road that cuts the city. The garden works with water in four different levels: from the most urban garden, to a healing garden and two types of reforestation. Authors: Jaime PagĂŠs and Marina DurĂĄn
Collaborations Zaha Hadid / Eva Jiricna / Cruz y Ortiz / ARTEK
The Sackler Pavilion _ The Serpentine Gallery Zaha Hadid Architects The Serpentine Sackler Gallery consists of two distinct parts, namely the conversion of a classical 19th century brick structure – The Magazine – and a 21st century tensile structure. The Serpentine Sackler Gallery is thus – after MAXXI in Rome – the second art space where Zaha Hadid Architects have created a synthesis of old and new. The Magazine was designed as a Gunpowder Store in 1805. It comprises two raw brick barrel vaulted spaces (where the gunpowder was stored) and a lower square-shaped surrounding structure with a frontal colonnade. The building continued to be in military use until 1963. Since then Royal Parks used the building for storage. The Magazine thus remained underutilised until now. Over time, much amendment and alteration has occurred inside the historic building and its surroundings. http://www.zaha-hadid.com/architecture/serpentine-sackler-gallery/ The Sackler Pavilion
Main Floor
The Sackler Pavilion Images from the project
Collaborations Zaha Hadid / Eva Jiricna / Cruz y Ortiz / ARTEK
TC Cuadernos Cruz y Ortiz As Rafael Moneo explained at the end of his acceptance speech for the Academic Medal at the “Real Academia de Bellas Artes de San Fernando”, that “opossed to the concept of arbitrariness we could speak of formativity as a concept that aims to give an account of the way from its done, seeking the coincidence between the result, between the physical and tangible object that has been reached and the logical and formal principles that were present at the source “. These words could have been used to hold one of the principles which defines Antonio Cruz and Antonio Ortiz’s work since their beginning. This principle is the generator of form which gives their work the maximum degree of freedom without compromising the complexity of each project; without simplifying or eliminating the outcome variables to achieve the roundness or clarity of their proposals, understanding that freedom is not a denial or personal statement, but an informed choice. http://www.cruzyortiz.com/
Doña María Coronel St. Seville
Perspective + Sketched plans
Train Station in Basilea
Longitudinal Section