SMArchS Portfolio//Ladron

ARCHITECTURE PORTFOLIO///// MANUEL RODRÍGUEZ LADRÓN DE GUEVARA ///// S M A r c h S c a n d i d a t e /////

ACADEMIC + PROFESSIONAL SAMPLES /// LADRON ARCHITECTURE

CONTENTS CV ACADEMIC WORK BARCELONA SCHOOL OF ARCHITECTURE // THE VENUE FOR SKY GAMES IN BOI’S VALLEY RAILWAY COVERING IN SANTS, BARCELONA MIXED MIXER OVER EL BESOS RIVER IN BARCELONA COMPETITIONS HOUSES FOR CHANGE EUROPAN 13 // THE ADAPTABLE CITY 2 PROFESSIONAL WORK CLOUD 9 // ENRIC RUIZ GELI PROFESSIONAL WORK PART 2 LADRON // MY OWN PROFESSIONAL WORK

Not too far, not even close. There, right there, in the limit. -In the limit? -Yes, indeed, in the limit. -Why here? -Don't you think that the limit is something extreme, where things that happen here couldn't appear anywhere else? Effects, elements, reactions that are the outcome of an explosion, and this said outcome defines the `nowhere...now-here'. At the same time, space - the idea of not being anywhere and being here right now - can be overlapped. -I don't enterely understand it. -Yes, listen, it's easy. The no-place is conformed and confined directly by other places. Other places which function themselves and could be anything. But their infusion causes a deformed stage of reality. Inside the complexity exists the grandiosity, the complex and the extremely limited, which evokes the union of the tangible and untangible. -Can you get to the point with what it is I am meant to understand? Where exactly are we going with all of this? -By obtaining this kind of atmosphere, where there is space for new dimensions and tools, as well as technologies to apply them to, it is the perfect environment to find the architectonic climax. The chemistry which allows the parts to work with total mutuality, which catalyses emotions, feelings, thoughts and reactions. It is a product of pure synergy, and at the same time, anti-synergy. This is where I base my thoughts to judge and to be judged, where I see the starting point to move ahead. Here I find the beginning of the arduous, yet extremely satisfactory, path to happiness. Satisfactory, as a result of the process, and not neccessarily the end result. -Ah...Architecture. From the maternal and primitive perspective of the limit. -Just that. And from now on, it shall provide to it's ancestors a meaning that they didn't have before. This invaded space which once lacked meaning, now can work with itself, and itself works with everything else. -I must say, I find luck is a key element in this process. No? -It plays an important role, just as the luck that one can have in one's life. It's all about being in the accurate moment, place, and time.

And from then... Architecture.

ACADEMIC WORK This book outlines my many life lessons and experiences since I started architecture in Barcelona in 2007. My life as a student rotated 180 degrees in my fifth year. Prior to this, I was establishing my basis, getting my feet on the ground. And then, quite suddenly, on going into my fifth and penultimate year of study, I realised that I had something inside that I never knew before. This is the moment when everything changed.

You know when, suddenly, something makes you realise that you have a part of your brain that you are revealing and starting to develop in a completely different way, and of course, in a much better manner? This intense feeling of release, in which you feel so relaxed and in turn everything works by itself from deep within. And the further you develop this moment, the more you realise that you have potential skills stored somewhere inside. It is at this point where my portfolio begins (...)

THE VENUE FOR SKY GAMES IN BOI'S VALLEY

feelings

analysis

(...) That moment in which you feel overwhelmed by the surroundings, by the enviroment, by the situation. Which shrinks you until zero and makes you think you are another small particle in the world whithout any added value. Suddenly, the ground swallows me up, in order to domine the hostile enviroment from another position, from the strategy, from the one in which you win through assertiviness.

STAGE1_EPISODE The famous George Perec’s book, “La vie, mode d’emploi” is the origin of the project. Specifically in chapter LXXII called “Basements 3”place, and time.

And from then, architecture.

DIAGRAM The translation of the text into a realizable architecture begins by analizing and mapping the episode, losing as little information as possible, performing a diagram, and building it.

MODEL The construction of the text is based on the diagram, as any construction of a project is based on its plans. The spacetime binomial becomes fundamental for the construction of the physical model, wich it will be the mother of the project.

STAGE2_PROGRAM Once the first stage is finished, we introduce the program, formed by a Sport Center, a Press and Media Center, and a Logistic Center. All of them toh Headquarters of he gether are tthe the Skygames.

Skkyg yga am mes ess.

analysys VARIABLE The variable is the factor that relates the parts of the program.

It is the program’s relation. The variable is a test which looks for the optimal organization of the program. A tripartite program requires a physical position based in something. This “something” is indeed, the variable. This avoids any “free formality” on the project.

The variable is the relation between space and time, that is, how a person is going to perform through the facilities in the city. The journey through them, in relation with the time.

By calculating the average distance of a person walking (1.4m/s) and the total time walking on the whole surface of the project, we establish percentages of optimal time, based on the route from one place to another.

The process starts with digging the project underneth the surface of the valley, following literally the name of the episode `basements3’. The main program of the project is displayed into three large pools. Also, the general disposition is based in three parts because the section of the project has three levels.

The surface level, place of people confluence, is totally public.

The main floor is situated on the lowest level, a complete diaphanous space divided with furniture. Lastly, the intermediate level is built with a seethrough pavement, that allows visual and physical permeability that optimizes the teamwork efficiency. Part of the whole

project must be ephemeral and part of it permanent was a prior requirement for the project.

The permanent part is the footprint in the valley (the big three holes), ergo the whole construction that forms the buildings is ephemeral. In order to make the assembly and disassembly of the parts, everything is made with dry-construction materials.

analysys The

draywall construction is made with metalic trusses that suport the weight of the at roof and work spaces set on the middle oor. Water evacuation is the most important thing in this project, because of the digging and because there are at surfaces. The Water piping systems are hidden between the layers of the roof, under the tramex and a drainage system that accompanies the perimeter concrete walls that enclose the space

The project process leads to create a set of connected underground spaces, leaving the surface to the public. This leads to rethink what life is like inside these large excavated pools.

Light and drainage are two objectives to be met comprehensively. The size of the excavation can be below the surface and have enough space to meet the needs to go outside and get the maximum possible light.

The shell is made from polycarbonate sheets that allow light to enter but without complete transparency, which preserves a professional within the building intimacy.

The intention carried out both in the design process and in achieving this is to establish a single set consisting of what is (nature) and what is added (architecture), and they are integrated to form an inseparable pair. The architecture does not rest in nature like an addition,

but it gets inside it, leaving the valley embracing and becoming a single unit. Now they are inseparable, holding hands and architecture can not be elsewhere. It belongs to it. Like architecture and nature are intended to be the same thing, ie, blurring the boundaries between them, the continent and the contents are mixed formally.

Containers within containers, boxes that open or closed workspaces forming common or individual within each other ...

TRAIN’S BOX COVERING IN BARCELONA

feelings

analysis

(...) It is such an interesting outcome that results from giving sense to a broken urbanism - war wounded and therefore, disconnecting itself, through a new element which catalyses and heals.

And which, with time, forms part of the city wihtout seeming added. And it enhances the skin. And enhances its function. This is an exercise that has more value in the process itself than in the result. It's the continuation of the prior project, and the requirement is to design this project continuing the process models of the one before. It's really interesting designing something by crossing processes from different projects as a main instruction.

The rough existency of the train railway and tube, in between Sants Station and Riera Blanca street. It is the limit with Hospitalet, and it separates the city into two parts, where they obviously are disconnected and isolated from the city. An all way long concrete box through the railway is built, commanding its presence ce in the city, with a future connexion onnexion in its longitudinal axis, but practically

disconnected in its cross one.

The strategy follows these rules: choice of four variables (study of elements sorrounding the site), in this case, ground oors comercials, hard and soft limits, the study of the sun, and the study of the noise. Each one of them forms an element for allowing a new strategy to follow, ie, the most shaded areas could assign the position of the vertical communications.

The chosen program to solve the problems is based into three packages. A market, which reacts to the city by the continuos human transport as well as vehicles. A gastronomic school, which gives an opportunity to the feed-sector and it could supply the market. Finally, a student residence for this school.

The three of them are disposed to solve the problem of the disconnection of the city.

MARKET The old fabric factory is used by a new use. The market. A structural grid of 6 meters span pilars of the old factory are mantained.

The market is the main vertical access to up to over the top of the concrete box, an open space. It is a sloped building, in which the little kiosks are placed following this said slope which is a 5.9% ramp. The intention of the building is to be a

place to enjoy, where meetings and other leasure activities are completely allowed. The public-private duality is the concept the project is based in. Public areas feed the private ones and vice-versa. Public communication spaces sew the scar of the city. Private ones are the program for one type of users. Both of them constitute a complex of feelings, tour and experiences with relation to the city.

A double spring envolves all the route. The bridge which crosses through the concrete box over 5 meters high above, is structure and skin at the same time.

The double helicoide then, applies its function of envolving a persons walking throughway. The residece is formed by

two parts. The administrative is placed in the plot in front of the market, where an old building is.

A four store building allows the administration, direction, bar, kitchen and study rooms.

It is used for the acces to the rooms inside the double helicoide.

MIXED MIXER OVER EL BESOS RIVER IN BARCELONA feelings

analysis

(...) The phenomenom which invades my brain is the intangible limit existing in between consciousness of the reality and the abstraction of it, based on a real subconscious. What kind of connection exists between material and ethereal worlds? Has it anything to do with our surroundings when we jump into the abstraction? It is, sincerely, impressive that the power could be fitted into this im-material limbo between the tangible and intangible. It deserves all my attention. When everything starts from dreams...

VARIABLE OF INTUITION (from the physical to the abstract) The intention of discovering a new cartography “hidden” implies quantifying the physical and existing, making a classification of the elements, and studying how a subject moves in the area through intuition stimulated by the visual elements.

Three parts are established: “PHYSICAL”, “THE JOURNEY” and “ABSTRACT” 1. “PHYSICAL” GAME RULES: -BOARD: from Trinity Knot to Potosi Bridge.

-PLAYERS: 3 players in 3 metro stations.

-MOVEMENT: each turn is a movement of 75m.

EXPLANATION: PLAYERS Each player has a colour.

Player 1 is red. Out: Baró of Viver.

Player 2 is green. Out: Santa Coloma.

Player 3 is blue. Out: Can Peixauet.

The starting point are the three metro stations surrounding the site.

MOVEMENTS Circumferences of 75m around the starting point shall be established. At first, walkable areas, non walkable areas, areas of visual interest will appear. Inside OtQthe the circle, HD individual -$,0 XQLinterferyQ 3of ( & ence zone, poles /B0 DOLFa series2/of $1(/ $ V L % D Kappear, FXUVranked DBFPA attraction ULVWwill X R $,/2 LQD JXHW

IXOOrepresented

by importance and D Q D XH] O D S O G by colors. First inUimportance yQ G DQR YDULPA H JimporXHYDDEOH is magenta. Second in UD tance is blue, and third importance is yellow.

MIXED MIXER OVER EL BESOS RIVER IN BARCELONA

feelings

analysis

(...) When it's all about activating, from scratch. When it's all about making something which is dead function, then is the moment in which there are loads of different factors playing an important role. The important ones come from the limit situations and the extreme outcome that if we put it together, can form something extraordinary - extra-ordinary as something uncommon-, where a big scope of inputs is opened, prior, without any relation among themselves. It's there when the stratedgy called synergy can up to value different fields as a whole, such as psychology, physics, and the material surrounding. It's here where I decide the anthropology plays a very important role in relation to architecture. Architecture is anthropology, anthropology is architecture. Synergy is both of them. The mixture which comes from the physical and psychological limits. It is here where I feel more than comfortable making architecture.

Players will move 75 meters by 75 meters, choosing the direction as the poles of attraction and if the area is accesible. Each PA contains information about itself: Basic definition and area occupied. Each action circumference contains information about what happens within the circumference itself: which player, which shift and the amount of PAs containing.

The other information that is not considered as a PA shall be drawn in the player colour, showing how far your knowledge is aware of the city. The goal is the largest collection of information as possible, which metro has more PAs, and which we can access to the river from.

The roads are approximate, possible bifurcations may appear because there are closely related PAs that may generate confusion or doubt.

2. “THE JOURNEY” Transportation of “physical” to “abstract” is the union of the real and the abstract world.

The process of converting 6 PA to an RPI. The tour of the position of the PA will dictate the shape of the journey, a journey that starts in the position of the subject, and will end in the area of the river.

When the trip contains a MEMO-

as a double continuous line containing thin solid lines, these will be the components of the memory.

When the trip contains a THOUGHT, it shall be graphed with a dashed line and a continuous, followed by a thinner (the components). When the trip contains an IMAGINATION, it shall be graphed with a double dashed line containing thin lines

RY, it shall be graphed

(components).

analysis

3. ‘ABSTRACT’ The abstract includes MTI, Memories, Thoughts and Imaginations. Main rule: everything abstract must be within the river. The abstract spaces create new ‘imaginary’ spaces that give information of new areas, in differents heights. It is always based on the Physical attraction poles, in order to have a solid existing base. The relation establishes EVERY 6PA = 1MTI. When is it Memory, Thought or Imagination? Thought is given by the monoty, homes or places that say nothing.

Memory is given by facilities, such a schools, sports, etc.

Imagination is given by singular points or spaces.

A relationship is established between physical importance and abstract importance.

As it occurred with the PA, there were 3 degrees of importance, 1, 2 and 3, the RPI will be as crucial as: PA imp 1 = positive RPI PA imp 2 = neutral RPI PA imp 3 = negative RPI This means that good and bad memories, imaginations or thoughts will appear.

Their position is established as follows: Imagination goes up and rises, establishing a new dimension in the air. Thoughts, however, will stay on street level. Memories will go down and immerse falling into the river, standing on that dimension. This generates a new area, joining together memories, thoughts and imaginations. What does it mean to be positive, negative or neutral RPI? The area is given through a Z, setting up 15 meters. If the RPI is positive,

the 15 meters high will be covered. If the RPI is neutral, two thirds of these 15 meters will be covered. Nevertheless, a RPI negative means that it will be covered only a third part of these 15 meters, ie, 5 meters.

To return to reality and unify the abstract with the physical, some views shall be assigned to each RPI, namingly, at each position that are aware of a part of the city. The city varies depending on where you are.

Imagination is in the air,

which means you have a broader view of city.

Thoughts at level street, have a point of view of a citizen walking at that level, which means you have references to the city, but you do not see much beyond the first buildings.

The memories absorb you into an “underworld”, the walls grow, vegetation surrounds you ...

There are some points in which you completely lose the notion of “city”. In others, just keep some height references, as steeples or towers.

SYNERGY BETWEEN PROFESSIONALS AND CITIZENS. The mixer creates a gathering place between professionals and citizens to foster interaction between different people.

The main floor encourages a cross-pollination where professionals from distinct areas and citizens bump into each other as a consecuence of the building’s usage.

BETWEEN SECTORS. The mixer is formed through sectors which are mixed in the center of the building, heart of the project and the most leissureable area. It makes its function easier, following demand and uses. It can be controlled with opening and closing the gates of the exchangers. It means that the building can be privatised when it’s needed.

BETWEEN WORK AND LEISSURE Mixer’s atmosphere is generated between work and leissure, looking for the faithfulness of both areas. They complement each other to get the maximum efficiency of the building, ergo, they both solve problems through a coworking made by different people who work and enjoy.

3$ QGRV 3$ VHJX V XQGRV HJ SDVR RV V DV S

B VR 3$B, FD EUH PS B EH FD ]D UU B HW

HU P D

B

3$

BL

PS

B DO 3$BL WD PS B B FD P UU

HW

B

5,

BF UL B R 3$

BH

[W

12 53,B FR 50$/ ,0 WD 3 F B3(1 53 DO OH 6$0,, (1

2B

OH

MD

QR

53 HU %8(1 ,B DVX 2B ,0 HO EH ,0 3 HY VH $* 53 D ,1 , $& ,2

B3

$B

,P

S

BF

HV

SH

1B

GB

UH

PR

72

6B

P

3$ GRV $ HJXQ V 3 V HJXQGR DVRV V S DVRV S

SD

BR UH ULJH VL GX QMXJ DO HV DGRU

B

3

$B

]R

VRV

QD

V

VH

RB

B3

JXQG

LY

,P

S

BF

RV

R B

B VR 3$B, FD EUH PS B EH FD ]D UU B HW

HU P

$B

RB ]S

B

3$

B,

PS

S

B3

DV

B,

,P

S

RV

BU

RB

LR

B

XQ

HJ

V

P

GR UH

UD

3$

V

DU

B

SDVRV

P

VHJXQ

GRV 3$

VHJ

S

BD

FF

HV

R

UD

B3

$B

,P

S

LR

B

SDVRV

UH

UD

P

GRV 3$

P

B3 BR $B ,P YL S VW BU DV B 3 LR U B LR $BED

UU P HU

D SD VD UH OD S pU JR OD

%8 53,B %D (12B ,0 WR MDQ 5( 3 UL FDQ \ &8(553, R HO '2 6

B

B3

$B

,P

B3

S

$B

BU

LP

BS

HU

JR

OD

SDVRV

S

SU B3$B OL LPHU LP S QH BY DB D LY

LH P QG

LR

B3

B

$B

,P

P

S

B

BU

53 LH 1250 ,B QG $/ ,0 VH DV B3 3 FR P WD DQWL (1 53 F HQ 6$ , DO HQ 0, OH H (1 HQ 726B O

D B3 R BGHO $BLP LY ULR S BS UH

B

LY

DV

B3 R BGHO $B LP LY UL S R

BS

UH

VH

QF

LD

VHJXQ

3$

BR

BY

LY

SDVRV VHJ

3$

QG

BY

DV

LY

LH

QG

DV

B3 R BGHO $B LY ULRLPS BS

VH

QF

LD

GRV 3$

B

LH

UH

VH

QF

SDVRV VHJ

LD

XQGRV 3$

SDVRV VHJ

XQGRV 3$

SDVRV

R

VHJXQ

B

$B

GH

SR

UW

LY

RB

FX

OG

GRV 3$

HV

DF

UL B3$B RB ,PS P B

ED B3$B VH ,P KR S UP B LJ yQ

B3

$B

,P

S

BU

LR

B

P

B3

B

S

BU

LR

B

B3

DVRV

$B

LP

S

BU

RQ

HV

OL

WR

UD

OB

HJXQ

ED

UU

HU

DB

B

3$

BM

X]

JD

GR

V

FR B3$B PH LP UF S LD BS OB DV HR P

0X B3$B FR B3$B PH 9H QLFL LPS UF LPS Kt LD FX SDO BGHS OB BSDV OR GH RV

HR VB LW P R

P

BF

B

3$

BM

X]

JD

GR

V

BF

B

3$

BM

X]

0X B3$B 9H QLFL LPS Kt FX SDO BGHS OR VB GH RVLW

R

P

JD

GR

V

V

FR B3$B PH UF LPS LD OB BSDV

P HR

$ S

BU B3$B LR ,P B S BF HV P SH

G

DVRV

GRV

HJXQ

V

5 12 3, VX 50$/ B,03 EH \ B,0$ 53 V H *,1$ , HO HY &,Ï1 D B

3$

FR B3$B PH LP UF S LD BS OB DV HR

P

SDVRV

BU B3$B LR ,P B S BF HV P SH

G

VHJXQGRV 3$

BR HO B U LR 3$BW

SDVRV VHJXQG

BU B3$B LR ,P B S BF HV P SH

G

FR B3$B PH LP UF S LD BS OB DV HR

P

BR ULR B

3$B

B3

S

$B

BU

,P

RQ

S

GD

BF

OL

UD

SH

GB

UL

RB

RV

O

DV

WR

S

HV

DQ

GR

V

P

GR

FR B3$B PH LP UF S LD BS

OB DV 5 HR %8 3, P \ (12B B,03

VH H ,0$* 53 OH BR YD ,1$& , HO B ,Ï U 1B LR 3$BW VX RF EH

LP

DQ

HO

RV 3$

$B

RF

HQ

B3

RORP

D

0HWU

R 6D

QWD &

RORP

D

RBLY

B2 QX UL FR HYDVJHQ RU GH QD GD

GRV 3

P

QWD &

RB]S

BF

DF

V

GD

R 6D

D

S

0HWU

RORP

P

BR B

PL B 3 QX WR $BGH VB SRUW P HW LYRB UR V FXOG

LD

QWD &

P

,P

QF

R 6D

$B

VH

0HWU

S S DVRV V DVRV V HJXQGR V 3 HJXQ GRV 3 $ $

GH B3$B SR LP UW S LY BS DV LV B WD V P

UH

V 3$

SDVRV VHJXQG RV 3$ SDVRV VHJX QGRV 3$

3

GH B3$B O LP UL S R BS

SD

XQGR

GRV 3$

VHJ

P

VHJXQ

VRV

BR

DV

BY

QG

HV

B

P

GH B3$B SR LP UW S LY BS DV LV B WD V P

SU B3$B OL LPHU LP S QH BY DB D LY

LH P QG

BR

3$

LH

LR

DV

B

LY

XQGRV 3$

SDVRV VHJXQGRV 3$ SDVRV VHJXQGRV 3$

VHJXQ

Sp B3$B UJ LP RO S DB B

BY

12 53,B VX 50$/ ,0 3 EH \ B,0$ 53 V H *,1$, HO HY &,21 D B

BU

DU

BR

3$

UL B3$B RB LP S BD P FF

BE

B

]S

UH

SDVRV SDVRV VHJXQGRV 3$ SDVRV VHJXQGRV 3$

DU

UR B3$B QG LP DO S LW B RU DO

LD

3$

0$ 53,B VX /2B, ,0 EH 3 0$*, 53 BR VH H 1$&,, LQ B OH WX YD 21B LF 3$B LR QH SRVL VB F EOHV DP LQ RV

BR

QF

XQGRV

UL B3$B R LP

BE

V

RB

SDVRV VHJXQGRV 3$ LY B

R

]S

B

R

UR B3$B QG LP DO S LW B RU DO

GR

BR LQ B BR YL WHUp 3$ FR VX V BF RP DO MX Q B 3$ SO JD BF

HW GR UX R DF B3$B U FH BR UL FHVR LP

RB S B

B 3$

BY P LY LH

QG P UL B3 DV RB $BLP

S B3

GH $B P BDFF

O LP B3 UL S HV $B R R BS ,P UH

S VH BF UL B3$B

QF HV RB LP B3 LD SH S R BGHO $BLP GB BD LY ULR S P FF

BS HV SDV P UH R RV VH

$B

PS

UL

BE

JD

P

B

DO

X]

3$

P

BM

B

3$

GB

UL

RB

B

SDVRV VHJXQGRV 3$ SDVRV VHJXQGRV 3$

B

SH

BR FD B PL QR 3$BH VB ED OHFF UU HU LyQ DV

LY

3$

D

B DO 3$BL WD PS B B FD P UU B HW B DO 3$BL HUD 3$ WD PS BL B B PS FD B P UU UR QG HW DO HU LW D RU

HV

BF

6W B3$B D& RO LPS RP

DB BMX] 6W B3$B JD GR D& VB RO LPS P RP DB BMX]

JDGR P VB

HJ

B3

XQ

$B

,P

S

GR

BF

HV

V

SH

GB

3$

UL

YL B3$B YL LP HQ S GD B

VB FR B3$B

PH LP

UF S P LD BS OB DV

HR

P P

RB

DVRV

S

'( ,1 %$-2 81 '$ '(/ &, 21 $*8 (6 $

GRV

HJXQ

V BR DO B U LR 3$BD

B3

$B

LP

FF

HV

3$

S

R

B,

(6

B]

RQ

DY

HU

B3

,P

S

BF

HV

B3

$B

DVRV

SH

GB

UL

RB

V

P

GH B

P

LP 53 S 0$ ,B BS DU BR \ /2B, ,03 TX VH HB DO U B H 0$*, 53

OH , LR 3$BO YD 1$&, P OH Ï1 JD

BV GD SD B3$B XE UT LP H XH S B B

P

S

$B

GRV

HJXQ

B3

3$

$B

,P

S

BF

HV

GB

UL

RB

P

%8 53,B \ (12B ,0 3 WR FD 5(&8 53 H O (5'2, UL R 6B

BR

B

3$ B, GH B3$B (6 SR LP UW S LY B] DB RQ D P

BF B3$B DQ LP SH S L[ B, DX (6 HW B

P B3

$B BR BF B3$B LP DQ LP S HV ULJH SH S B, DP SDFL QM L[ B, (6 SO XJ DX (6 BF LR RV DG HW DQ V RU B SH B

L[ 3 P DX $B

HW ]R B SD QD

P V

SD B3$B UT LP XH S B B

P

SH

S

DV

RV

V

HJ

XQ

GR

V

3$

ED

MD

RV

VH

JX

QG

HV B3$B WD ,P GL S RB B

P

RV

B& B3$B DQ LP SH S L[ B%

0$ 53,B DXHW LEOL B RW \ /2B5 ,0 HF HO WRFD (& 3 U 8( 53, P D tR 5' 26 BE DM D

3

$

HV B3$B WD ,P GL S RB B

P

B3

$B

,P

S

BH

VW

DG

LR

B

P

OL B3$B EU H LPS

BH

VS

DF

LR

YH B3$B UG LP H S DS B] DU RQ FD D PL HQ

B3

$B

LP

S

BG

HS

RU

WL

WR

YR

B

P

HOUSES FOR CHANGE feelings

analysis

(...) The reality of the architecture is sometimes sad and heartbreaking. There is no deeper tool than antropology in extreme situations as slums. The fact of using architecture to actually enhance one hundred percent the condition of the human being is one of the best satisfactions that I find when I project.

When the extreme situations make you view the architecture from another angle.

The proposal is based on improving the quality of living conditions, set by the strategy of inserting small interventions that promote self-managed improvement of the built heritage.

With a subtantial amount of higher density than many of the largest cities, we seek specific strategies that keep as many homes as possible and

preserve the current conďŹ guration.

We suggest a minimal and customizable habitable module for each type of dwelling and owner due to the variety of dwellings evolutionated by their own without following any prior planning. They are born, grow up and are destroyed.

analysis

ADAPTATION TO THE OWNER Our space gives the choice to fulfill whatever request. A space where we can store everything we acquire and maintain over time, beyond the fact whether we use it or not. Our idea of home, shelter and storage.

This is achieved by an elevated storage element, ie, the

roof itself actuates as a package of storage and supplies all the needs to live. Beneath this element there is an adjustable shelter space. The roof is is a modulated wooden frame of 60cm thick that allows the cache.

This solution releases the interior space and it serves as organizator of the space due its spaces for installations

for the house. Around the perimeter the substructure for the provision of a new surrounding that improves green and sustainable features of the original house is located.

LANDSCAPE ADAPTATION AND URBANISING POSSIBILITIES With the first intention to

preserve the maximum of the morphological configuration, modular aggregation allows a new make-up to the favela. By favela, it’s meant lots of stacked houses without any space around it for circulation. For this circumstance and without pretending to be so, they have become a magnet for tourists and professionals who take time to

try to understand and admire the chaos that they represent.

Therefore, it’s not believed that the solution lies in eliminating them to impose a new urban order, but keeping its essence with all its peculiarities. It’s suggested a more sustainable and respectable presence with the environment and landscape surrounding.

analysis

THE CITY ADAPTABLE 2

feelings

the silhouette city

(...) That moment in which you feel overwhelmed by the surroundings, by the enviroment, by the situation. Which shrinks you until zero and makes you think that you are another small particle in the world without any added value. Then, the ground swallows you up, in order to domine the hostile enviroment from another position, from the strategy, from the one in which you win through assertiviness.

28m 25m 22m 19m 16m 13m 10m 7m 4m 0m

analysis

PROLOGUE The site project location is placed in a residual area. The city is growing towards the west and it is here where we find the factory areas. Clearly we are in front of a disconnected situation. Firstly, the railways create a massive breach, which separates the city into two different hatches. Secondly, is the post-city. The outskirts, the disliked city, the residual city.

But now that the city is growing, the needs and opinions change.

Now we like and need this part of the city. We look towards it and, as architects, we love this difficult and extreme situation.

We see it as as an opportunity for conversion. Because it is through extreme situations where extreme solutions are made. It is only here where the mix between the city and the residual creates an explosive and beautiful outcome.

In what precise moment does the city leave it’s meaning and became a factory area that people dislike? And what do we have to do in order to change this? To solve this problem an analysis needs to be undertaken. And the aim of this detailed study is to find matches between both parts of the city.

Let’s talk first about time.

ANTROPOLOGY The site is a time-out of the city.

It’s a transition period, a decanting recipient for the city.

This no-time situation is to do with the third silhouette of the inhabitants, and therefore, a studio of how they make relations within themselves and with the site taken. At least one silhouette of each industry is partaking in this relation. The third silhouette has new skills, produced by the mixture between A and B. Skills and professional fields are linked, conforming three types of relations - The professional, the personality and the strong connections.

This studio helps me to understand the city through its base-cells (people), related to the time. Now, I am prepared to understand the city through the rest of its organism (architecture, urbanism, roads, pavements…).

ZEITGEIST AND STADTGEIST When we talk about the context, which is the strategic site, we discuss the meaning of the city from an architectural point of view. Again, time and city are related, sharing a space within two souls. The Stadt is studied under 5 critic points. THE TIME, already studied, being one of them.

THE GREEN The western side of Graz has a lack of public and recreational spaces. It means that a reconstructive surgery is needed to provide new lungs to allow the city to breath. Empty plots are located surrounding the railway breach that can be exploited

analysis

into a new cluster of green areas connected by green veins that give the city a better flow of health.

To make it possible, the ground floor of the project site is almost 80% free of buildings, which means that the coverage of green area succeeds here as a gift to the city. The plot is understood as a vast green square divided into three areas.

The first one is the biggest one, “under the roof”, taking place

underneath the building. The natural light is achieved due to the configuration of the building, established by separated parts, and the internal patios of these parts.

The second and the third squares are joined by open spaces. They form the most public area in the project site, surrounded by the market and the shopping area.

Opened directly to the Waagner-Biro-Strasse, it will be one of the most important green axis.

They are the welcoming part of the new area into the city. So then, the core area will be converted into a fully green area, becoming one of the most important green core areas in the city, and the main lung of the green cluster.

It’s proposed as well for a subtle green pavement for the spaces in-between the railways. The northern square joins the square of the water tower to make it bigger and more meaningful.

THE BIG SPACE The need, the cheap, the functionality, the efficiency. The big space or, said in other words, the factory. That strange part of the city, with a weird soul. The ugly-duckling of the city. But nature is not wrong when in occasions, the genius is the odd.

It is proven that factories hold efficiency and technology. It is not a coincidence that we can say that while THE HOUSE is the home of A (humans), THE BIG SPACE is the home of B (workers).

Normally, the structure of a factory is a grid of pillars covering long spans that allow to house machines, robots, materials and make true the conversion of the prime material to the final result.

The large amount of qualities that this space offers, however, is bred in quite different shapes within the industrial areas in Graz. It is more than probable that the soul resides, during this time, in its qualities rather than in its shape. And special quality is the size. A big size. A gigantic size. A factory is what it is because of its size, and it is big.

Never small. Size matters. In the south part of the strategic site, a whole area of factories is placed nearby the core area.

TIME The residual part of a city is always related to time. It’s only residual during a specific period of time. So the equation is clear. Residual is equal to time.

Residual is time. Residual time.

Cities evolve and get bigger and with it, the residual lines of a city grow, as if they were just a precedent of the city.

It leaves its presence inside the city. In its cells. The organism of the city is contaminated by residual time.

I don’t have to say that the organism of the city is composed by its inhabitants and everything that they involve. So we arrive to an interesting point. The city is alive, it’s active, and therefore, it’s dynamic and it suffers a continuous movement. Movement is a combination of time and space. If we zoom in on a case of a random day of a random worker we will see various “situations-limit”.

The worker has to commute from A to B - A being ‘home’ and B being the ‘work place’. During this commute, either on public transport or privately, we generate a “residual time”.

Now it’s about how we can get from A to B in a different way.

A; as the identity of a person behind its working character the personality of this person in a non-working situation. B; as the worker identity of the same person. With another working skill that makes A to be B. For instance, Peter (A), the policeman (B).

We are in a case of another space-time situation. We are travelling from A to B, from Peter to the Policeman. Both, clearly, have his own silhouette. You can draw the Peter silhouette and the policeman silhouette. But what happens during the period of transition? In the residual time between the two? What can we see at the exact moment (time) of the conversion between A and B? Do we lose our identity?

We share a space, but anything else. Can we draw the AB silhouette at that precise moment of conversion? A new character?

What does he demand? What does he need?

analysis What about the city itself at this moment, this limit-moment? Where/what is the city when we are the AB silhouette? Does the city become blurry? It is a blur because it is residual and a case of a wasted city. We go back to the outskirts, to the disliked city. To the transition city.

d1//.. restaurants and bars

d1//.. food trade market

d1//.. food trade market

d1//.. food trade market

d1//.. food trade market

d1//.. bars and pubs

d2//.. way out tunnel

d2//.. cultural uses

d2//.. bike parking

d2//.. medical healthcare

d2//.. cultural uses

d2//.. kindergarten

d2//.. offices pop ups

d2//.. bike parking

THE HOUSE Building of houses. The essence of the architecture. Its spirit. The house is the immediate form of architecture. We would say that the silhouette of the city is given by this chapter. It conforms the most repetitive figure of the city. If the city was a rainforest, it would be the palm tree. Its shape is as well known as a gabled or hipped roof.

The urban context of the city embraces a vast number of houses with this type of roof.

Subtracting the essence of the house, we would say that the soul resides in the roof. The identity is in here, and it cannot be debated when it comes to the heritage of the city. And we do need to maintain the respect for the city as architects.

Architecture has to inform, it has to melt with the context, and architects should avoid ‘plonking’ buildings over the city without any concern.

Now the challenge is doubled.

Because if we were in front of a plot site in an extreme difficult situation, we now need to respect the city and play with it.

How can we adapt the spirit of the city with an old purpose into mavericks uses and demands?

Here, a beautiful crash appears.

This limited situation between the old and the new, but having found the spirit or the silhouette of the soul of the city.

THE WASTED ENERGY A striving proposal is taken to combat the residues at this point. We can achieve less contamination by taking advantage of the wasted energy that the sound of the trains cause. This annoying screech that we have to stop in the site by a barrier, can be a powerful tool. The proposal is not only going to stop the sound noise in the limit of the plot but we are going to convert this sound into electric energy to supply a minimum of electric energy to the site.

The vibration of the waves of the sound that the train causes will impact into a smart façade. This façade is composed by layers.

One of the layers is the energy layer. Made by multiple chips, piezoelectric devices that when the vibrations impact on it, generates through a diaphragm and a coil electric impulses, that all together generate electricity.

The façade will not only absorb the sound and stop it, but will convert the problem into a smart solution. The facade along the railways is facing the station. It is probably the most visible façade of the project. It has to inform the city. It will inform through multiple LEDs that will draw a mapping on it.

This system is not only on the façade, but on the floor too. The footsteps will generate energy also, taking advantage of the generous public ground floor the proposal has.

THE PROPOSAL By working through all of the points mentioned and joining together in a logical way, we obtain a synergy that is going to be explained through its elements and usages.

secondary square

shopping

main square where celebrations are taken

c4//.. old people residence

c4//.. microhousing

cs3//.. 60m2 cs2//.. 40m2

cs3//.. 60m2 cs2//.. 40m2

cs3//.. 60m2

c4//.. research energy lab

cs3//.. 60m2 cs2//.. 40m2

cs1//.. 28m2

c4//.. common areas

cs1//.. 28m2

cs3//.. 60m2

cs1//.. 28m2

cs1//.. 28m2

cs3//.. 60m2

c3//.. 90m2

c3//.. 90m2

c3//.. 90m2

c3//.. 90m2

c4//.. playground + kindergarten

c1//.. 50m2

c3//.. 90m2

c1//.. 50m2 c3//.. 90m2

c1//.. 50m2

c3//.. 90m2 c1//.. 50m2

c2//.. 70m2

c1//.. 50m2 c1//.. 50m2 c3//.. 90m2

c3//.. 90m2

c3//.. 90m2

c2//.. 70m2 c3//.. 90m2 c2//.. 70m2

Third, the market and festival, located on the north area of the project, between the two tunnels. Its ground floor is dedicated to a grand food trade market (borough market, London, as a reference). The empty identity building shows that the soul of the city can be represented by many ways. Here, will be the centre of festivals, shows and public events, and it can house a pavilion designed by people from the city (Serpentine Gallery, Hyde Park, London, as a reference). The spaces are configured as Pop-up spaces, that brands, traders and different business can take part in the market, sharing the space by periods of time, being adaptable and sharing within the context.

The proposal needs to rethink about the roof meaning and usage.

It’s clear that the roof is the most important item in the proposal, but so is the usage. Snatching and dividing the roof into two layers, and giving a Z distance, we create 2 roofs within the same building, one for the cover space (building itself), and the second for the public space, acting as a porch.

c4//.. research energy lab

c4//.. shopping area

c4//.. research energy lab

c4//.. shopping area

analysis

THE CONFIGURATION OF THE USAGES The project distinguishes three areas.

First, the housing area, which is in the middle-south part of the plot. It is the biggest cluster of buildings. Also, the first floor is occupied by offices and rentable co-working spaces, encouraging the young entrepreneurs with a modest budget.

Second, the research lab area, placed on the east side of the project. It acts as a sound barrier and as a capturer of residual sound to convert into electricity, fostering the innovation and technology, encouraging the innovation labs and offices to work in a sharing and technology environment.

THE PROJECTGEIST The soul of the proposal cannot be other than the mixture of the souls of the factories and houses in Graz. Combining the gabled roof with a big space, we obtain a powerful area, full of meaning and efficient enough to house a huge scope of usages that can be adaptable for them now and in future if required.

This, plus the green public space on the ground floor and the energy as a technical and innovative point, generates a project that works really well with the context, respecting it through the soul but envisaging a future through design, technology and configuration. The silhouette of the building depicts the soul of the skyline of Graz mixed by new tech.

THE GROUND FLOOR The aim of the ground floor is to create a non-interrupted public space for the city. It creates big green spaces, connected among them and permitting the flow and activity of the current residual areas.

The light flows through to the ground floor, under the housing area, due to the disposition of the pieces of the building and the patios, which make sure the light goes all the way through.

c4//.. hotel

c4//.. old people residence

c4//.. microhousing

c4//.. research energy lab

EPILOGUE The proposal summarises the anthropological studio and the exhaustive analysis of the conďŹ guration of the city. Using a unique gesture we have created the whole project. The gabled roof. Splitting it into two and distancing it in a vertical

component, we obtain the housing area. Splitting it into multiple layers, and distancing it in a horizontal component, we obtain the structure-pavilion as a container of whatever use. Not splitting it into anything, we obtain the market area.

PROFESSIONAL WORK (...) The moment of contacting the professional world arrives. This moment took place at the end of the fourth year, when I went to London and I worked as an intern at Studio Idealyc. It was my first touch with the real world. A firm which inspired me, and began to introduce me to the elegancy of architecture. It is where I was able to learn from another work culture and in another language. I was still too young to understand it, I think. My professional experience came again at the end of my fifth year, which I finished with honours. Upon completing this final project I imidiately joined the prestigious Cloud9 / Enric Ruiz Geli. It was here that I started to mature as an architect, participating in many projects, and net working with other like-minded creatives. A firm full of experiences...Managing, travelling, making, manufacturing, and fully getting my teeth into the proccess of a paper project and then into its reality. Words fail me when I attempt to describe my feelings surrounding that marvellous year. But those who don't risk don't succeed, and it was October 2014 that marked my new chapter in London. Coming there once again, but this time with a position at Studio Idealyc. Here I face a different manner of architecture from Cloud9, but with the same worth. After a year, I came back to Spain to lead my first building as an architect. A single-family house in Granada.

Here are some samples of the work I have been developing, and those which have been helping me to develop myself as an architect.

CLOUD9 WORKSAMPLES _#2/aMT

_#3/eBF

feelings

analysis

(...) Cloud9: The place to be. The office to pass through. It's this office, on recently graduating, coming straight from university, that opens up a new architectural world. A place where you can share and learn continuosly. You join the Cloud9 community as soon as you enter through the doors of Mediatic. Those doors open up innovation. An unique oportunity to immerse yourself into a green and advanced technology. A real contact with the third industrial revolution. To sum it up, a place where, once you are inside, you will never be the same as you used to. Cloud9 is the architectural know-how.

0_Media-ITC 1_AMPO Casa de la Creatividad 2_AMPO Masterplan 3_elBulli Foundation 4_Spanish Pavillion for Milan Expo 2015 5_PortOle 6_Aiguablava//Pasadena Pavillion 7_Zoo of Barcelona 8_Biodome Montreal

_#6/pPC

_#7/zBC

“It’s all about particles” Particle Architecture Thesis 1. The architecture of Cloud 9 is articulated transversally by particle theory, from the visualisation of landscape —as a global concept, the sum of space plus social relationships— to the design and construction of the architectural project.

2. This theory interprets reality at the level of the particles which provide it with information, designing strategies over time for the interpretation both of the tectonic or material (territory, buildings, people) and of the climatic or incorporeal (light, temperature, relative humidity, rain, wind, salt, CO2, photosynthesis).

3. Using 3D laser scanning technologies, capable of recording 120,000 points per second

Projects & Buildings

_#0/mTC

at a distance of 75m, point cloud files that can be managed by 3D software, and sensors installed in the location (Tecnalia), together with those that gather information about climatic characteristics, the landscape is recorded as particles, and not as geometric locations or simply as numerical data.

4. These particles reproduce, in an abstract manner over time, a given condition of a given landscape. So this reproduction, even though abstract —an indispensable condition for the architectural project— maintains a direct link with the territory which in turn enables the project to be understood not as a graft from outside, but, rather, as an internal emergency.

_#1/aCC _#9/aIF _#4/pME

_#2/aMT

_#6/aCC

_#5/pLE

5. The natural environment for working with particles surpasses proprietary software, and introduces environments that are more generic. They are managed by the use of free programming environments (Processing) through intelligent behaviour over time, thus progressing from the exterior morphology of the project to the performance of its parts or internal composition.

6. Work with particles, being connected with the technological development of manufacturing methods (Materialise) through techniques of rapid prototyping and numerical control, allows not only formal development but also direct transposition from the plan to the construction.

7. In this way, Cloud 9’s Particles Architecture becomes part of a

discourse that makes no distinction between objects and products, buildings and landscape, sea and mountain, but which understands reality, and therefore the architectural project, as performing particles. Thus entering into an empathetic understanding of a society in which human beings and Nature speak a common language, of a Particles Architecture.

Cloud 9 philosophy Enric Ruiz-Geli founded Cloud 9 in 1997. The study is defined as: “Enric Ruiz-Geli and his interdisciplinary architectural team Cloud 9, located in Barcelona, working at the interface between architecture and art, digital processes and the development of technological materials.

His multifaceted projects include scenarios and buildings, and industrial facilities, and are made with various partners. Cloud 9 is committed to the use of new technological developments and the performative dimension of architecture, creating smart structures mimicking nature. “

AMPO CREATIVITY HOUSE

feelings

analysis

(...) When a new concept becomes real. When the project requires such dimensions that attract people from every place in the world. Jeremy Rifkin is one of them. We are celebrating.

We are categorised as the first industrial retroffiting company in the world. And we enjoy this in the Basque Country...

The new mixed with the old. Conservation of the history as an added value. Its fusion with new materials such as fiberglass.

The change of usage, from a residence to a Creativity House.

Many months managing the building made for an unforgettable experience, which will mark me for the rest of my life.

Ampo Creativity House _#1/aCC The Creativity House for Ampo is the solution to a problem. The absolescence of a 20th century’s house, heritage, that had acquired the cooperative Ampo S. Coop.

The intervention is a retroffiting project, ie, applying new technologies, materials and know how to an old building non ruled by any valid regulation.

Ampo start the project of Masterplan and Retrofitting with the Creativity House.

The main reasons for the climate change are movility

and construction. Ampo Creativity House is a pilot project in self-sufficient energetic into a refurbishment of heritage and industrial edification. Cloud9 learns from the coperative and territory through retrofitting.

The Creativity House harbours the expression of cooperativism from the point of view of architecture and sustainability. It is part of the philosophy of Ampo and Ner group, fostering creative spaces for workers, betting on nature and enviroment, betting on innovation and technology.

WELCOME PAVILLION The first high-tech item that is implanted in the whole retroffiting masterplan. This item is based on the 3d-points-scan of the terrain which look for the optimal slope to operate. The concept is to cut off the terrain as a thin fissure, and lift the terrain to create a covered space with the own nature.

It’s made with fiberglass of 50mm thick, covered with the terrain. Because of its shape, the item gets a self-supporting structure capacity.

General eral concepts Knowledge elevator. The house is designed as a route of knowledge and raises awareness of visitors. It articulates experiences series.

Home-Creativity-History-Culture-Territory-Innovation.

Each floor evokes one of these sensations which means that visitors can know Ampo from these points of view. Clients, suppliers, and members can realise

the value of the history, of the people who have formed part of the company, of the view of future, of the region and of the landscape.

Ampo is a leading company, commited with society and enviroment. Energy, efficiency, A certificate of green energy. New green technologies such a geothermia, wind turbines, photovoltaic, solar energy.

feelings

(...) As the Project Leader of Ampo Masterplan, I developed both my project skills and management levels. The concept of industrial retprofitting rises until its maximum splendour when we speak about Ampo's Masterplan. Creativity House is the star element inside this Masterplan.

However, many actions complete this industrial complex in the middle of the explosive nature of Guipuzcoa. When architecture is nature. When steel and vegetation acquire the same meaning, when they are balanced.

This is when a 'win-win' between technology and sustainablity is produced. Where everything achieves an added value, which attracts glances. Ampo looks towards the world, but the world is watching us too.

This means we are important. That we are doing just as much as well.

FIBBERGLASS BRIDGE Second high-tech element. A bridge which structure is made by ďŹ bberglass. Heavyless, its skin outweighs the bridge itself. As a cloud is lighter than the rain that produces, the concept is the same. A lighter element connecting two roofs. Meanwhile, a 360 degrees view due to its glass skin.

General Concepts Ampo’s Masterplan is a sample of green energy project with new technologies and the respect of the existency at the same time. It is one of the more important projects of the year.

It generates a grid of elements that form an vital ensemble to enhance the company.

This combination is formed by changing roofs into a green ones, transforming the energy system into a green energy system. It fosters the electric vehicles.

Petrol age has just ended. We propose reforestation when it needs. Vegetable patches and agriculture areas as self management for neighbours. Smart grid which relates vegetation and buildings. New ephimeral architectures. Recovering the river to use it and not only see it in a passive manner. The river is a gift we should use. Re-industrializate current factories, improving the layout in order to be more efficience.

DOUBLE CURVED GLASS As high as possible. This is what the factory allowed it to be. The double curved glasses raised to 4m tall.

4.00m 3.50m R1141.3

3847.0422 ext skin development

1,75m

R2660.0

EMPATHIC TREE RetroďŹ tting the nature. This steel tree contains multiple vegetation inside, thanks to a hydroponic system. The idea is to materialise synergy between the steel factory and the sorrounding nature in one element. It respects the environment and establishes a dialogue with the visitors.

AMPO CREATIVITY HOUSE feelings

analysis

EL BULLI

(...) When a new concept becomes real. When the project requires such dimensions that attract people from every place in the world. Jeremy Rifkin is one of them. We are celebrating. We are categorised as the first industrial retproffiting company in the world. And we enjoy this in the Basque Country... The new mixed with the old. Conservation of the history as an added value. Its fusion with new materials such as fiberglass. The change of usage, from a residence to a Creativity House. Many months managing the building made for an unforgettable experience, which will mark me for the rest of my life.

Ampo Masterplan _#2/aMT AMPO Masterplan is a long project. Jeremy Rifkin said, ‘Ampo Masterplan is the first project of industrial retroffiting of the world’.

It consists in regenerate the territory through two premises.

Green energies and New technologies.

To establish a Smart grid in order to join both, building and nature. Buildings must behave climaticaly as nature. Inteligence and green energies will help to win to the climate change. We are starting the third Industrial Revolution, and we must continue investigating new techs.

feelings

(...) Participating in El Bulli Foundation was such a proud moment and a great opportunity. It was probably one of the most important projects to come out of Catalonia in this century. Taking part in a team that was responsible for renovating the fivetime award winning restaurant, with Ferrán Adriá, the best chef in the world, as manager. It was undoubtedly one of the most exciting projects I have been involved in. Fine cuisine demands fine architecture, The similarities between dining and architecture - the construction of a course and the construction of a building. g To have a vision, go about creating it, and finally, fina allllly, y being able to enjoy it. The way to make El Bulli.

analysys

elBulli _#3/eBF elBulliFoundation is placed in a protected coast in Catalonia.

Due to the proximity of the sea and a natural area as a surrounding. The strict relation between the nature and the building is required. But not only in terms of shape or materials, the behaviour of the building impersonate the natural elements. Reefs, seaweeds and trees, for instance, determinate humidity, temperature levels inside the building. Arduinos on trees detect the humidity and the building automatically responds to this feature making it environmentally comfortable. It is a self-sufficient building. Green energy to be according to the protected area.

PORTOLE!

feelings

analysis

(...) The project of projects. The largest and most ambitious.

The project in which its plans, images, videos, tables, meetings are multiplied by a thousand. A paradise for the young. Portolé.

The Youth Recreation Center masterplan. A spanish and russian mix. The same target for both. To gather together young people in an enormous amusement park with beach and residences.

Similar climate to Spain. Mixed architectures. Theatrical production everywhere. A great gift for eyes, a great show for enjoying.

A great team to make it possible.

It is a good time, it is a historical moment: the concept is ready for the new “PORT OLE!” Architecture by Cloud9.

Danat leadership was about creativity. He asked Cloud9 to design this project because of Barcelona´s design, because of Barcelona´s creativity, because of the Mediterranean style of life. So, we are going to present the new key concepts for the project of “PORT OLE!”.

We are creating a new concept on each of the buildings, of the pavilions.

So first of all, let me change from being a professional serious architect to a visitor of “PORT OLE!”.

“PORT OLE!” is all about fun.

Fun, creativity, young, fresh design so it’s all about this: design, being at night, being with friends and having fun.

Ready? So we go, we start.

parts

BACKGROUND Taking inspiration from the natural occurrences of the desert, the Dune Museum re-creates a form defined by sand and wind, ultimately transforming a natural sculptured element into a source for an architectural design. The Dune Museum takes part of the masterplan composition together with the two minor dunes next to the central sports grounds.

USE AND DESIGN The Dune Museum is to be used as an exhibition hall and a multipurpose site, including sport activities. Its environment comprehends a sculptured architectural form to expose artistic creations in.

Its floor area of 1.040 m2 mainly dedicated to the exposure of art at summer period is able to hold 300 people at full capacity. In winter season this space is assigned as a secondary source for the storage of outdoor equipment.

Located between the Dune Museum and the Bridge Experience is a green lawn which will be used to expose larger sculptural works.

Neighboring the Dune Museum from the side next to the Amusement Park is a Skate Park. A key design feature which has been implemented is the incorporation of Climbing Walls amounting to 300 m2, on the exterior of the museum façade which is closest to the Skate Park. The Climbing Walls act as a unifying feature between the two differing programs and incorporate a similar extreme sports quality to this particular zoning area.

STRUCTURE The main structural element of the Dune Museum is reinforced concrete (with rebars) and fiber glass.

A sandwich of layers occurs on the external walls which consist of: fiberglass, waterproof polyurethane, polystyrene thermal insulation, re-bars and sprayed concrete.

Fiber glass is used on the inner surface to achieve the unusual form and also acts as a structural element. The re-bar mesh found on the outer surface serves as a secondary structural element when coupled with the sprayed cement.

TREE & CLOUD SCULPTURE BACKGROUND The Tree is inspired on nature, it is a natural sculpture, with plants and information.

Located in the center of ‘PORTOLE!’, at the concert venue, an open area with green carpets for dancing, having a picnic and enjoying the landscape of

Marbella and Volcano, the Tree and the Cloud Sculpture unlike the stage setting would remain forever at this site.

USE, DESIGN, STRUCTURE AND MATERIALS Tree The Tree is 30 m high and its treetop diameter is 30 m.

Its structure is composed of fiber

glass for branches and steel for the trunk pipes that includes the sustrat capsules for plants with irrigation and interactive system.

There are 300 plants of different species installed inside the branches at textile capsules.

The sustrat capsules are made with coir and peat.

An irrigation system inside the Tree brings water to each capsule. Humidity sensors are installed at the capsules to control and save water at the irrigation process.

The Tree has an interactive system, to know everything about ‘PORTOLE!’ activities and about the climatic conditions, and

displays the information at the screens below.

Cloud Sculpture Nine steel cables about 100 m long are going from the branches of the Tree to the posts at Marbella avenue forming a conic mesh. together with five crossing cables. 300 lightings GEM are hanging on this mesh.

AMPHITHEATER IN THE VALLEY USE AND DESIGN The term is steamed from ancient Greek words meaning “on both sides” or “around” and a “place for viewing”.

Ancient Greek theatres were built in a semicircle shape, with tiered seating above a performance area. Ancient Roman amphitheaters were oval or circular in plan, with seating tiers that surrounded the central performance area.

The amphitheater designed for ‘PORTOLE!’ respects the initial concept defined by the Greeks, but applies a new dynamic which incorporates nature.

Thus, the natural topography of the valley then defines the seating area to allow for a new unique and one-of-a-kind seating and auditorium arrangement.

ENTRANCE GROUP ‘Design in the park is about agriculture, it is about landscape. It is not ‘PORTOLE!’, yet.

The first thing people will see about ‘PORTOLE!’ is a Gate.

Gate in Mediterranean culture is welcoming. The first design is welcoming.

So once we are out, and this is our car, and we have cars here in the middle of the landscape, the first thing we are going to see is a Gate. Gate is a welcoming, it is a gate and it is a building, we have program, but on top of everything it is a Gate.

People get out of the car, they look and ‘BOOM!’ it’s what I saw on the internet, it’s what I know

STRUCTURE AND MATERIALS Steaming from lightness, the structure is formed of a minimal steel frame. in marketing. I understand that this is the place. The gate is branding. It is very Las Vegas, it is very Strip in Las Vegas, it is very Times Square, it is very icon, it is unique, it is a big logo, big brand and it has to work together with you.

‘PORTOLE!’ is not a theme park, ‘PORTOLE!’ is meaningful, it has meaning. Reason to be, reason to exist, reason to communicate.

Another important thing, is that when I get here, the sun is moving out from the sea in this location. It’s very dramatic to see the arriving of ‘PORTOLE!’ and this sun rising, fantastic. Enjoy it.‘

The enclosing envelope is made of a new polymer material called E.T.F.E (Ethylene tetrafluoroethylene). E.T.F.E is used to enclose the steel structure. Encompassed within the thin layers of E.T.F.E is pressurized air allowing for an enclosing system made from minimal materials including the natural abundant material of air.

Where extra support is needed for stability and grounding, steel is used within “V”- shaped supports allowing for the necessary load and distribution support. This is accompanied with tense wire supports, ensuring all necessary grounding supports are achieved.

- the structural support system is made from steel and lateral wooden supports; - the enclosing envelope is made from 4.000 m2 of E.T.F.E (Ethylene tetrafluoroethylene); - the exposed decking material is locally sourced wood paneling amounting to 825m2.

DIGITAL VILLA // AIGUABLAVA feelings

analysis

(...) Experiences such as this sum up why I want to have a career in architecture. The beauty of the irregular. The passion for the strange. The eagerness for the new. The happiness for knowing that something rare is being built. Innovation. The Digital Villa. New ways to create. The 'Know-How'. The team-working in connection with another culture. Collaboration with the University of Pasadena, California. Images speak for themself. The organic shapes that evoke peace, balance, and rythym and imitate their surroundings. Welcome to the new tech epoque, the third industrial revolution is setting down its basis.

CONCEPTS / AMBIENCE This pavilion is a place to be relaxed, a place to work, and a place to play in harmony with the landscape. It is an interior space, enclosed, protected from the weather changes.

Lanscape integration – How can we feel the exterior inside the pavilion?

Climatized- How is the temperature maintained? What is the right temperature to maintain?

Can the material cool the interior passively?

Tranquil – How is the interior space organized to achieve harmony?

Interior landscape - How is the

interior landscape designed?

Lighting – How is the pavilion lit? Is sunlight maximized? Are LED´s taken advantage of? Is it possible to create a new lighting system which uses minimal, if any, electricity?

PROTOTYPING This multi-purpose pavilion should be designed with feasibility, functionality, and presence.

This new pavilion will combine media integration, environmental design, and digital fabrication, to create a unique structure which utilizes the latest technology and architectural research in its construction.

analysis

INNOVATE Consider these processes and constraints in your design process.

Large Scale 3D Printing - How can additive manufacturing techniques be applied to this multi-purpose pavilion?

New applications for CNC –Can CNC fabrication be used to minimize waste, ease fabrication, and simplify complexity? Can CNC fabrication lead to lighter, stronger, and more versatile architecture?

Biomimetic design – How can Nature´s design principles be applied to the design of this multi-purpose pavilion? Explore the thermal regulation of plants and animals. Discover the underlying principles and apply them in a new way.

Sustainability- Where does the material come from? How much water and energy is consumed in the manufacturing and construction process? Can it be reduced?

Material – What is it made out of?

How are the materials chosen?

Can a new composite material be invented?

Can local materials be utilized?

Can we use the vegetation as a construction material?

The seven principles of Universal Design Equitable Use: The design is useful and marketable to people with diverse abilities.

Flexibility in Use: The design accommodates a wide range of individual preferences and abilities.

Simple and Intuitive Use: Use of the design is easy to understand, regardless of the user’s experience, knowledge, language skills, or current concentration level.

Perceptible Information: The design communicates necessary information effectively to the user, regardless of ambient conditions or the user’s sensory abilities.

Tolerance for Error: The design minimizes hazards and the adverse consequences of accidental or unintended actions.

Low Physical Effort: The design can be used efficiently and comfortably and with a minimum of fatigue.

BIODOME // ESPACE POUR LA VIE - MONTREAL

feelings

analysis

(...) The sensory acquires faculty. It is transformed and it developes into different stages. Climatic stages. Seasons that provoke reactions in defined spaces within a common space.

The Biodome. Biodiversity. It is a place for different animal species of different habitats to live together. The common space has a common object. The cloud. Feedback to each ecosystem, to each person. Total scenography which fits with an amusment animal park like this. Interaction, we do not conform with observation. We experiment.

GENERAL CONCEPTS Le biodome, is a multi-habitat space which houses the most important ecosystems in the world. The project is a contest which looks to renovate the existing biodome in Canada.

The main objective is to introduce the 5th element. An organic cloud which replicates the weather for animals and converts it into an attraction for visitors.

This cloud, through a realistic performance, makes people

be concient about the climate change and the consequences of not caring for the planet.

Alongside the cloud, a full refurbishment of green techonlogies throughout the biodome is taken as a prime objective. A whole ring of experiences for visitors distributes the building. It organise the ows into a circular corridor in which the visitor experience many different high technology areas.

PROFESSIONAL WORK LADRON // MY OWN

K HOUSE // LADRON

feelings

analysis

(...) My very own project. The first full project in my life as the main architect. A single family residence in Granada, Spain.

The difficulty of being enclosed among three party walls and the obstacle of not having any interesting views, despite the fact you are in Granada, one of the most beautiful cities in Spain. A low cost house for a working-class neighbourhood. I opt for a patio house as a solution to the lack of natural light of the land. Exchange glances. Party walls which I split up into layers, conforming a new geometry of the house and creating a gap between the house and the surrounding walls, to conform the patios. The facade is a gift to the city. It is formed by the parametric extrapolation of the main squares and parks of Granada relating to the built mass. The facade has to inform the people. Buildings must give information, they need to comunicate constantly with people.

The design process is based in the inside ‘look-out’. To create an air cushion between the neighboors and the house. A split-layers process is taken to create a new geometry which allows the house to have better visuals and make the patios bigger due to the diagonals.

The entrance patio is widened at the end of it following a line which separtes the house in two areas. Parallel to this line, the stairs are disposed, being the axe and principal element of the house. With this gesture, the

house is divided and organised around it. Due to the continuous earthquakes in Granada, and the self-condition of being succesfully well-structured, I chose a steel structure with a composite steel deck. It reinforces the tolerance against the earthquakes.

Three floors and a terrace on the top complete the house.

Made to enjoy as maximum of the natural weather during the warmer months, and to be really comfortable during cold time. A low cost house which has efficience as the main aim.

Salón vivienda

doble altura

cocina

cocina/comedor

GENERAL CONCEPTS In general, the house embraces elegant concepts. White, grey tones, with a brush of yellow.

Minimal design to achive maximum efficience and elegance.

Continuous grey floorings with white ceilings and walls. Cantilevered stairs in yellow that goes with the rest of the house and matches with the countertop.

GROUND FLOOR As it can be seen, the client enters through the facade to the first patio. It is used when required as a car parking (exterior).

Partially covered by the column of bathrooms on the first and second floor. Inside the house, a double-high space embraces us as a welcome, placing the living room here. As we turn left, the only partition on this floor is the core of stairs+service bathroom.

The rest, is a huge kitchen, requested by the client, as it will be the most used space. Now, having the kitchen as the most important part of the house, let’s analyse it. The kitchen is L-shaped because of some reasons.

Firstly, the client can achieve a panoramic view with the two patios in each side. Secondly, it’s really lit due to its location, having three focuses of light. Lastly, an island will be on one of the

sides, while the other will house all the cabinets and the electrical appliances. So it’s divided into a living part (the island side), and a functional side.

FIRST FLOOR As the client arrives to the second floor, she has the main bedroom on her right hand side.

It is, alongside the kitchen, the biggest spaces of the house.

The main bedroom is lit through the two facades and has a

cloakroom and an ensuite bathroom.

The bathroom plays a special role in the house. It’s hung from the bathroom on the second floor, so it doesn’t lay on the pillars. It’s structurally held by braces. This gesture is made to have a permeability of the main facade which faces the patio. The double height is covered with a net which allows the client to lay down and relax.

corte real más pequeño que la ventana para esconder el marco

analysis

SECOND FLOOR The second floor has a total of three bedrooms and a bathroom. It belongs to the future children of the client. This floor is destined for them because it’s the most controlled floor in the house.

TERRACE The rooftop will be essential for the house. Granada, in the south of Spain, has a really warm weather, making the outside life joyful. Apart from the patios sited on ground floor, the terrace will be a space ready to be used mainly in summer, with a pool and a relaxing area.

FACADE The facade is a parametric design which informs the city about its properties. It’s a conceptual map of the green areas and parks and squares of Granada. Thanks to the parametric design, I could accomplish the function of a ventilate facade while it adopts the shape of the map. It should be a must to design informing, acquiring sense when it comes to free shapes.

Digital fabrication will allow the construction of the facade. Steel sheets of 3 by 1.5 meters cut by numeric control. Assembled on site.

A building that is drawing a line in the neighborhood. Surrounded by old and small dwellings, a regenerating plan is in process to make the city look nicer. This building particularly meets the required points to participate in the innovation and urbanism of the city.

o HOUSE // LADRON

feelings

HABITACIÓN PRINCIPAL CON VESTIDOR 22.5m2

(...) Another house is in the pipe-line. Again in Granada, now is the turn for a bigger plot. The same common denominator, the low budget to develop the house and similar characteristics in terms of urbanism and surroundings. As a respect for the tradition and the evolution of the area, I wanted to transform the design maintaining the concept. A gable roof, in the XXI century.

Gable roof with minimum complication and partitions inside the house. Two store house that yields to be different. Simple but convincing.

BAÑO EN SUITE 7.5m2

ESPACIO PARA VIVIR 48m2

ASEO 3m2

GARAGE 27m2

COCINA 21m2

GENERAL CONCEPT The conditions of the plot are similar to the K house. Three party walls and only one facade to the main road.

The design is adapted to new concepts. Curved corners, without so many walls. With this, the house occupies the whole width of the plot, creating two patios, one as a welcoming area at the entrance and a bigger and private one on the rear. The main objective is to fuse the whole exterior skin, so there is no difference between walls and roof.

BAÑO 8.8m2

GROUND FLOOR The ground floor is organised around a core of bathroom-staircase-storage. The requirements are a kitchen, garage, living room and a service bathroom.

The house achieves the maximum space as possible thanks to the minimal design. It is lit through the windows on the long facades. The rear patio contains a swimming pool and a garden, that provides a private open space to enjoy in a great part of the year.

HABITACIÓN 2 13m2

HABITACIÓN 3 14.7m2

LOFT FLOOR Because of the gable roof, the first floor loses space in relation to the ground floor. The requirement is to have three bedrooms with two bathrooms. The skin, which on this second floor turn into the roof, makes available the four sides of the house to put windows on them. With all, the main bedroom is disposed on the right hand side, housing a cloakroom and an ensuite bathroom, while the rest of the dependencies are on the left part of the loft.

BREWERY PUB // LADRON + ASSOCIATES

feelings

(...) The challenge of facing a bigger project in comparison with the single-family houses. Now it's time for a semi-public building. Situated in the Basque Country, north of Spain, the brewery needs a place to make it real. The clients, a pair of young spanish men, produce their own craft beer, and they are ready to set it up in a establishment to sell it and to have their own bussiness. An old public building is chosen to house the new brewery.

The council had a urban plan for this area, and I'm under differents ways to develop the brewery. First option is to conserve the building and make it bigger through digging and preserve the equipment underneath. Knocking down the building and designing a brand new one is the other option that the council is studying.

GENERAL CONCEPT In order to accomplish the regulations, the most interesting option to enlarge the space, is to dig down and set up another floor. The basement floor becomes the main floor and the building adapts into it. As if it was a museum, all the equipment for the craft beer is laid here. People can be on the street level seeing how the beer is being produced underneath them. The idea is to make the excavation as if it was some ruins, appearing to not be perfectly executed.

THANK YOU This is the end of the present. All these documents and samples construct me eveyday as a person, having more sense of critic work upon work. This is a tool that I hope to professionally use in the best of my capability. I have to thank all of the participants and collaborators in my projects, and especially Cloud9, where we all grew together under difficult environments. I learnt to think and design in new ways, and I came to understand all of the fails that one must face before reaching a success in researching. I have learnt to not give up, be consistent and work hard.

The future is to look towards an SMArchS. I strongly feel it is the route to contribute to architecture in a much more efficient way. Barcelona, a city I consider to have the best architectural background in Spain, has a solid inuence over my work. A fusion between Barcelona and USA would be a forceful synergy, already demonstrated by many existing successes.