design
06.2023 Architecture & Design nmgarq.com
Portfolio
Maria Nelly Morales
MARÍA NELLY MORALES GARCÍA
ARCHITECT & DESIGNER
+(52 1) 81 16 84 81 92
nellymoralesarq@gmail.com
www.nmgarq.com
Languages: Spanish and English
Education
Universidad de Monterrey | S.P.G.G. N.L. Mexico.
Bachelor of Architecture | Cum Laude | 2017 - 2022
Universidad de San Antonio de Murcia | Murcia, Spain. International Exchange Program | Spring 2020
Experience
NMG | Monterrey, N.L. Mexico.
Self-Employed Architectural & Graphic Designer | 2015 - Ongoing
Design, management and consultancy of 4 residential projects and a public space in Nuevo Leon, Mexico. Additionally, developed branding projects for small businesses, specializing in architectural illustrations and graphic art.
Madre Studio | Monterrey, N.L. Mexico.
Creative Director | May 2020 - January 2021 | June 2022 - April 2023
Completed design projects for +20 Mexican businesses; including architecture, branding, illustration, community management, content creation and photography.
Arquitectos Inc. | S.P.G.G. N.L. Mexico.
Architectural Design Intern | Spring 2021
Developed technical drawings for residential houses, worked on residential neighborhood masterplans and produced presentations with digital models, plans and diagrams.
Cero Pobreza | Saltillo, Coah. Mexico.
Graphic Design & Advertisement | 2019
Collaborated developing visual identity for organization. Created different types of illustrations and graphic art, managed their social media content and increased engagement with volunteers and donors.
Awards
Formal Flexibility Thesis | June 2022
Citation of Excellence in Thesis Design.
Generation Representative | June 2022
Architecture and Environmental Sciences School’s selected representative graduate.
Pentagram’s Abbott Miller Seminar | 2020 - 2021
Projects Selected for CRGS Jury presentation.
Affiliation
Ceropobreza Board Member | UDEM | October 2022 - December 2023
Director of design and marketing for non-profit organization Ceropobreza year 2023.
AIAS Mentor | UDEM | Spring 2022
Mentor in AIAS (CRGS Chapter) Mentorship Program.
Cero Pobreza | 2019
House construction volunteer program in Puebla and Coahuila, México.
Sustenta | Tecnologico de Monterrey | 2019
Image & Community Management Coordination for sustainability congress.
UDEMUN | UDEM | 2016-2017
Image Coordination for United Nations Model.
Cadena Bagrash | Catholic Group | 2013 - 2018
Leader of group.
Skills Digital Revit, Rhinoceros 3D, Grasshopper, AutoCAD, V-Ray, Enscape, Lumion, Adobe Suite (Illustrator, Photoshop, InDesign, Premiere Pro, After Effects), Microsoft Office *Certified.
Fabrication
Hand drawing, Modeling, Laser Cutting, 3D Printing, Woodworking, Construction.
*Pentagram’sAbbottMillerSeminar|CátedradeAbbottMiller
nmgarq.com CONTENT
Flexibility Thesis FlexibilidadFormal:Tesis 04-15 The Sketchbook Elcuadernodebocetos 28-31 Lauro Aguirre Library BibliotecaLauroAguirre 16-21 Solid Malleability* MaleabilidadSólida 22-27
Formal
Formal Flexibility
FlexibilidadFormal:Estrategiaparaunaarquitecturaadaptable
This investigation stems from the rigidity and inflexibility that hinders adaptation in the architecture models upon the inherent nature of change of the human being, a condition that leads to an accelerated aging of the building. The aim of this research is to look for an alternative to the traditional architectural model, for one where flexible systems are taken into account from the early design stages, in order to allow a versatile morphology. With this, it will be able to accommodate different changing programs along its life cycle, in an effort to extend its useful life and that users can inhabit their space in the best way possible. The project focuses on the creation of an adaptable building that draws upon the use of various flexible strategies applied across its different elements or ‘layers of change’.
La problemática espacial que deriva esta investigación es la rigidez y dificultad de adaptación que presentan los modelos de diseño arquitectónico ante la intrínseca naturaleza de cambio del ser humano, condición que tiende a resultar en un acelerado envejecimiento de las edificaciones. El objetivo de esta investigación es encontrar una alternativa al modelo arquitectónico actual en donde desde el diseño se consideren sistemasflexiblesquepermitanunamorfologíaversátilyalbergar programas cambiantes, para así ampliar el ciclo de vida de las edificaciones y que los usuarios puedan habitar su espacio de unamejormaneraposible.Esporelloqueelproyectoseenfoca en la creación de un proyecto arquitectónico adaptable que se logrará por medio del uso de diversas estrategias aplicadas en sus diferentes elementos o ‘capas de cambio’.
4
5
GERRIT RIETVELD
LA CASA RIETVELD SCHRÖDER
Flexible
JOHN HABRAKEN
“The architecture requires a new set of design principles that support the probability of change.”
1961
ALDO VAN EYCK HERMAN
1954
WALTER GROPIUS
enough to create a suitable background to absorb the dynamic features of modern life.
JÜRGEN JOEDICKE
LOUIS SULLIVAN ANTONI GAUDÍ
“Form follows function”
1896
“Form does not necessarily follow function”
1890s
1953
FRANK LLOYD WRIGHT
1897
AUGUST ENDELL
"Only the art of form opens the way to a new architecture"
1948
PHILIP JOHNSON
"Where the form comes from, don't know, but it has nothing to do with the functional or sociological aspects of our architecture"
1949
MATTHEW NOWICKI
“Form follows form, not function”
“La forma y la función son una” does not dictate the form”
"Buildings and new cities must be able to adapt easily (...) they must allow any transformation without implying total demolition."
architecture as a global network of sectors supported by pillars, open spaces in which life would be subject to constant change.
Flexible time-limited entity permanent form.
HERTZBERGER
leads to a false neutrality like a glove "Flexibility can only represent the set of all inadequate solutions to a problem"
possibility of modifying the function without modifying the built parts.”
1979
FREI OTTO
1962
1994 STEWART BRAND
“All the buildings except the monuments adapt. However, in a bad way because the uses in and around us are constantly changing.”
2014 NORMAN FOSTER
"Current architecture must serve man and not the other way around, readapting is one of the most important tasks of current architecture."
ROBERT VENTURI
"Although we no longer argue about the primacy of form or function (which follows which?), we cannot ignore their interdependence.
1966
ALDO ROSSI
“We reject the conception of functionalism that maintains that the functions join the form”
1982
1995
REM KOOLHAAS
"Flexibility is not the exhaustive anticipation of all possible changes, but opposite interpretations and uses"
“Flexibility is a key consideration. We design with the awareness that circumstances will change, that the contex of a building will evolve; it can be used in incorporate new technologies that we cannot yet predict”
1974
ALLISON SMITHSON
“A new and jumbled order, based on interconnectedness, highly interlocking patterns of association, and possibilities for growth, decline, and change.” (Mat building)
1987
BERNARD TSCHUMI
“The requirements of modern life are so complex that any attempt on the part of the designer to anticipate them results in a building inadequate for its function representing a 'false consciousness of its society.”
"Persistence provides a framework for engaging history addressing short-term needs, and allowing for the possibility of change in unknown futures.
Architecture of Persistence: Designing for future use
“A transformable building is, therefore, one that changes shape, volume, shape or appearance by physical alteration of the structure, skin or internal surface.
Flexible: Architecture that responds to change.
"The laws of space and continuous functional transformation are the future for society and culture."
Movimiento Metabolista Archigram
“Modular futuristic architecture with the ability to move and adapt to the changing needs of people.
“Resistance to dominated space of freedom of use.
"Form must adapt to change FORMAL FLEXIBILIT Y
6 International Style Modernism Chicago School Arts and Crafts Art Nouveau De Stijl High-Tech Desconstructivism Bauhaus Art Deco Brutalism Postmodernism 1957 YONA FRIEDMAN
1959 NEW BABYLON CEDRIC PRICE CONSTANT NIEUWENHUYS
FUN PALACE
1975 HENRI LEFEBVRE
ALAN COLOQUHOUN
ROBERT KRONENBURG DAVID FANNON
WIEDERSPAHN MICHELLE LABOY
1959
1964
1966
1977
2007 2021
PETER
Gropius Rietveld Friedman Nieuwenhuys Price efebvre Coloquhoun Otto Joedicke Habraken Va Eyck Hertzberger Smithson Koolhaas Kronenburg Wiederspahn Fannon Laboy Brand Foster
1924
house that would be able to evolve over time in tandem with the changing needs of the family.
1956 EERO SAARINEN
Tschum Sullivan Endell Gaudí Rossi Venturi Saarinen Nowicki Johnson Lloyd Wrigh 189019101920 1930 19401950 1960 1970 1980 1990 2000 2010 2020 1900
2021-2022
MECHANICAL COMPONENTS
STUFF SPAC E PLAN S ERVI C E S S IT E S TRUCTUR E SKIN
ANTICI PATO RY DESIG N
LAYERS OF CHANGE INDETERMINATE DESIG N
MODULAR SYST EM
INTERIOR
S UBDIVISION
7 Dynamic House (2011) The DHous Company Prada Trans ormer 2009 OMA Lake Stage Lunz (2004 Hans Kupelwieser Casa Latapie 1991-1993 Lacaton & Vassa Substrate Factory Ayase 2017) Aki Hamada A chitects The Shed (2019) Diller Iris Dome (1994) Chuck Hoberman Teatro Bengt Sjostrom Starlight (2003) Studio Gang Architects Casa Sharif-Ha (2014) Next New Bauhaus Museum (2015) Penda Kiefer Technic Showroom (2007) Giselbrecht + Partner ZT GmbH Quadrant House (2018) Robert Konieczny KWK Promes Centro Pompidou (1971-1977) Renzo Piano + Richard Rogers Jussieu Library (1992) Rem Koolhaas Rolex Cente 2010) SANAA Amazon Spheres (2018) NBBJ Google Charleston East 2017-2019 BIG & Thomas Heatherwick Studio Biblioteca Central de Seattle (2004) OMA Matsumoto Performing Arts Center 2004 Toyo Ito The Broad (2015) Diller Solomon R. Guggenheim (1959) Frank Lloyd Wrigh Nakagin Capsule Tower (1970) Kisho Kurokawa Casa Rietveld Schröder 1924 Gerrit Rietveld y Truus Schröder-Schrade Teatro Dee y Charles Wyly (2019) OMA+REX Sendai Mediateque (2001) Toyo Ito Multipurpose Housing Auditorium/ Stadium Museum Library H u ibrary (19 H 9 rm gt S ec 2 h b G ha u e u pido iano
ra olh diate o Ce 04) 20 ugg yd Wr ph NB okaw M T
OPEN PLAN
Capas de cambio Objetos Espacio Servicios Estructura Envolvente Sitio Multiusos Habitacional Auditorio Estadio Museo Biblioteca Componentes mecánicos Planta libre Diseño anticipatorio Diseño indeterminado Sistema modular Subdivisión interior
Analog / Análogo
Digital / Digital
Skin mechanism / Mecanismo de envolvente
Structure mechanism / Mecanismo de estructura
8
/ Prototipos
Prototypes
No hierarchy Ramp system Sliding platforms Retractable structure and expandable envelope
Elements interdependence Nojerarquía Sistemaderampas Plataformasmóviles
Estructuraretráctilyenvolventeexpandible
Shearing Layers of Change / Capas de Cambio
Surroundings |Alrededores
Soul |Usuario
Stuff |Objetos
Interdependenciadeelementos
Surroundings |Alrededores
Soul |Usuario
Stuff |Objetos
Space Plan |Espacio Space Plan |Espacio Services |Servicios Services |Servicios
Structure |Estructura
Skin |Envolvente
Site |Sitio
Structure |Estructura
Skin |Envolvente
Site |Sitio
9
Flexiblity
/ Conceptos de Flexibilidad
Concepts
Detail by layer of change / Detalle por capa de cambio
SKIN Envolvente
STRUCTURE Structure
FIXED
FLEXIBLE
Bisagras
10
‘Poste telescópico’ retraible
Mecanismo de paraguas invertido
Ancla giratoria a módulo
Cabezal giratorio
11 SERVICES Servicios SPACE PLAN Espacio
Skin modules / Módulos en cubierta
1 - Cubierta de fibra de carbono, paneles rigidizados con resina.
2 - Cojín de ETFE de dos capas.
3 - Perfil tipo U de PVC.
Top mechanism / Mecanismo Superior
4 - Cabezal giratorio esférico 360° .
5 - Poste telescópico de bloqueo de aluminio.
6 - Sistema de paraguas invertido de acero galvanizado.
7 - Par giratorio de aluminio con ensamble a módulo.
Inverted Umbrella Mechanism / Mecanismodeparaguasinvertido
8 - Ensamble de 4 perfiles tubulares de acero galvanizado
9 - Anillo de acero deslizable de Ø .50 m
Column / Columna
10 - Columna de 20 cm de espesor con Ø 1m de acero estructural ASTM A500 retraible hasta 20 metros de altura con 6 rieles laterales
Platform / Plataforma
11 - Paneles montados sobre un perfil de soporte de aluminio, con protección antisonora
12 - 6 armaduras medio arco de acero estructural,
4.45 metros de largo y .60 m de peralte
Foundation / Cimentación
13 - Pila de cimentación colada en sitio de Ø 1m. Profundidad mínima de 10 mts
14 - Textil Atex Mesh estático de vidrio de alta resistencia.
15 - Textil Atex Mesh desenrollable a tensión, recubierto con elastómeros de silicona translúcidos.
16 - Láminas de vidrio doble laminado de 1/2 pulgada de espesor. Acristalamiento extra claro de bajo contenido de hierro.
Sliding mechanism / Mecanismo deslizable
17 - Compuesto de 6 mecanismos laterales de 5.80 de alto con 4 ruedas cada uno.
Modular ramp / Rampas modulares
18 - Hormigón de espuma ligera imprimible en 3D (3DP-LWFC).
Glass / Estructura de acero retraible
19 - Columa de perfil circular de 0.30m de diámetro de acero estructural ASTM A500 retraíble.
Glass / Estructura a tensión
20 - Cable de acero negro tipo cobraalma de fibra, serie 6x19, preformado. 21 - Bisagra de acero empotrada al firme.
12 0 5 1 2 4 8 9 10 11 12 5 6 7 3 13 14 15 18 19 20 21 15 16 17
Fabric / Tela
Glass / Vidrio
Construction
Detail: Facade Section / Detalle constructivo: Corte por Fachada
Construction Detail: ‘Growth’ structural behaviour / Detalle Constructivo: Comportamiento estructural de crecimiento
13 variable variable 15 m 8 m 7 m .45 m 11 m 20% 40% 30% 65% 11 m 8 m 3 m Modular skin expantion Expansióndemódulosdecubierta Column growth Crecimiento de columna
First Program: Entertainment Center / PrimerPrograma:CentrodeEntretenimiento
Second Program: Design School / SegundoPrograma:EscueladeDiseño
14
15
Second program section / Seccióndelsegundoprograma
First program section with change sketches / Seccióndelprimerprogramaconbocetosdecambio.
Lauro Aguirre Library
BibliotecaLauroAguirre
Located in the Revolution neighborhood, San Pedro Garza García, N.L., the Lauro Aguirre Library arises as a proposal for the intervention on an area of 12,860 m2. Taking advantage of its descending topography of 22 meters from north to south, the existing buildings are “embraced” by permeability, thus generating spatial possibilities for encounters, both on the roofs and on the ground floor.
An integral design of the project was carried out, from a concept to constructive plans of the complex.
Ubicado en la colonia Revolución, San Pedro Garza García, N.L., La Biblioteca Lauro Aguirre surge en propuesta de la intervención sobre un área de 12,860.024 m2. Aprovechando su topografíadescendentede22metrosdenorteasur,losedificios existentes son “abrazados” por la permeabilidad, generando así posibilidadesespacialesdeencuentro,tantoencubiertascomo enplantabaja.
Se realizó un diseño integral del proyecto, desde un concepto hastaplanosejecutivosdelcomplejo.
16
18
Longitudinal Section / CorteLongitudinal
Transverse Section / CorteLongitudinal
Cubierta Cubierta 3.20 Nivel Sótano -5.60 Nivel Intermedio -2.10 Corte Perspectivado Longitudinal Corte Perspectivado Transversal 4.47 27.68 32.16 AB H NPT +3.20 NPT -6.10 5.30 3.50 8.80 NPT -5.60 NPT -2.10 NPT +3.20 Cubierta 3.20 Nivel Sótano -5.60 Cubierta 3.20 Nivel Sótano -5.60 Nivel Intermedio -2.10 1 Corte Perspectivado Longitudinal 2 Corte Perspectivado Transversal 4.47 27.68 32.16 AB H 8.23 11.70 19.93 6 2 4 NPT +3.20 8.80 NPT -6.10 NPT -3.10 5.30 3.50 8.80 NPT -5.60 NPT -2.10 NPT +3.20
21 CO-00-02 CO-00-02 CO-00-01 CO-00-01 A A E E F F 2 6 H H 4 B B C C D D G G 3 1 4.47 4.47 4.50 5.33 5.30 4.30 3.78 4.00 36.16 5 7.14 4.56 4.07 4.15 19.93 4.47 4.47 5.33 5.30 4.30 3.78 32.16 4 1 5 4 0 7 4 5 6 7 1 4 3 8 2 2 3 7 5 CO-00-01 CO-00-01 CO-00-02 CO-00-02 CF-01-01 CF-01-01 LOCKERS BAÑOS HOMBRES BAÑOS MUJERES TALLERES ÁREA CONSULTA VESTÍBULO N.P.T -1.20 SALA AUDIOVISUAL N.P.T -5.90 CENTRO COPIADO N.P.T -1.20 ADMINISTRACIÓN N.P.T -0.50 N.P.T -1.80 N.P.T -1.80 SALA INFANTIL N.P.T -4.10 4.50 N.S.L -1.80 N.S.L -1.80 ESC Número de proyecto Fecha Dibujado por Revisado por REFERENCIA NOMENCLATURA N.I.P.NIVEL INFERIOR DE PLAFÓN. N.I.E.NIVEL INFERIOR DE ESTRUCTURA. NOTAS GENERALES ACOTACIONES NIVELES METROS. ESTE PLANO EXCLUSIVO PARA LO QUE INDIQUE CONTRATISTA RECTIFICARÁ LUGAR EN EL DIMENSIONES SOMETER DIRECCIÓN LA OBRA CUALQUIER DIFERENCIA QUE HUBIERA, COMO LA CAMBIO DE ACABADO EN CIELO CAMBIO DE ACABADO NIVEL CIELO CAMBIO DE ACABADO EN ZOCLO ARRANQUE RAMPA ACABADO EN MURO, VER CLAVE EN TABLA DE ACABADOS 2.2 2.1 1.2 1.1 ACABADO FINAL PISO SIMBOLOGÍA REVISIONES CLIENTE PROYECTO DATOS DE PLANO Colaboradores: Escala gráfica: Ubicación: Nombre de plano: UBICACIÓN PAA x NMG metros 100 AA-01-02 00001 Biblioteca Lauro Aguirre Municipio de San Pedro Garza García, N.L. 11/12/2020 Author Checker Arquitectónico Planta Baja Col. Revolución, San Pedro Garza García, N.L. Arquitectónica 100 Nivel Acceso No.DescriptionDate CO-00-02 CO-00-02 CO-00-01 CO-00-01 A A F F 2 2 6 6 H H 32.16 4 4 4 1 5 1 9 9 3 19.93 1 1 7 0 B B C C D D G G 3 3 5 5 2 CO-00-01 2 CO-00-01 CO-00-02 CO-00-02 14% HEMEROTECA CUARTO DE MÁQUINAS ÁREA DE ESTUDIO CUBÍCULOS SALA DE CÓMPUTO N.P.T -6.10 N.P.T -5.90 N.P.T -5.90 N.P.T -5.90 7.14 4.56 4.07 4.15 4.50 10.63 4 0 7 4.47 4.30 3.78 4.47 4.47 4.47 4.50 10.63 4.30 3.78 32.16 N.S.L -4.20 Número de proyecto Fecha Dibujado por REFERENCIA NOMENCLATURA N.I.L.NIVEL INFERIOR N.S.L.NIVEL SUPERIOR N.I.P.NIVEL INFERIOR N.S.E.NIVEL SUPERIOR N.I.E.NIVEL INFERIOR NOTAS 1. ACOTACIONES NIVELES 2. ESTE PLANO EXCLUSIVO ESPECIFICACIONES QUE DEBERÁ NOTIFICARSE LUGAR DE LA OBRA, ANTES DIMENSIONES SOMETER CUALQUIER DIFERENCIA DIBUJO. 5. TODOS LOS ACABADOS DEBERÁN EJECUTARSE CAMBIO DE ACABADO CAMBIO DE ACABADO CAMBIO DE ACABADO ARRANQUE DE ACABADO EN MURO, TABLA ACABADOS 2.2 2.1 C SIMBOLOGÍA REVISIONES CLIENTE PROYECTO DATOS Colaboradores: Escala gráfica: Ubicación: Nombre de plano: UBICACIÓN PAA metros Biblioteca Municipio de San Arquitectónico Col. Revolución, San Arquitectónica 100 Nivel Sótano No.DescriptionDate
Level 1 / Nivel 1 Level 0 / Nivel 0
Planta Baja
Solid Malleability
MaleabilidadSólida
The objective of this ornament is to generate a reinterpretation based on modules inspired by Mexican architectural elements that emphasize a malleable system, adaptable to any surface, sustainable in its materials and easy to assemble.
Ornamentation is not limited to a surface, so it has the potential of creating different experiences within one. Solid Malleability works this way, giving the user the freedom to generate a custom pattern of a completely new surface that they can bend and make their own.
Elobjetivodeesteornamentoesgenerarunareinterpretacióna base de módulos con inspiración en elementos arquitectónicos mexicanos que hagan hincapié a un sistema maleable, sencillo deconstruir,sustentableyadaptableacualquiersuperficie.
La ornamentación no se limita a una superficie, su potencial permite crear diferentes experiencias dentro de uno. MaleabilidadSólidaactúadeestamanera,otorgandoalusuario lalibertaddegenerarunpatrónpersonalizadodeunasuperficie completamente nueva que puede doblar y hacer suyo.
22
Pentagram’sAbbottMillerSeminar|CátedradeAbbottMiller
24 6cm
1.5cm
Mexican’s lattice structures shape analysis / Análisis formal de celosías mexicanas
25
Plain horizontal (closed ends)
Curved up Curved “sine” Formal possibilities / Posibilidades
Curved side
formales
26 3D Printed Module / Modulo impreso 3D
27 40 cm 40cm 28cm 56.5 cm 56.5cm 40cm 2.8m 2.5m 40 cm 40cm 28cm 56.5 cm 56.5cm 40cm 2.8m 2.5m 56.5 cm 56.5cm 40cm 2.5m 28cm 56.5 cm 56.5cm 40cm 2.5m
The Sketchbook
Architecture is not just about its structure, but about the stories behind it. The stories we don’t always learn but we begin to study in architecture school. After graduating, I traveled to different countries soaking up the unique styles and designs each city had to offer. I captured the essence of architectural icons in quick 15-50 minute in-site sketches and learned to portrait details and understand motives of each building’s configuration.
You learn something every day if you pay attention, that’s why this project is a personal practice towards gaining architecture knowledge and growing from it. As an architect, it is my duty to share these stories with the world and I hope to inspire others to appreciate and learn the beauty of architecture and encourage them to explore the world and its many wonders.
La arquitectura no se trata solo de su estructura, sino de la historia detrás de ella. Las historias no siempre las aprendemos por completo pero sí las empezamos a estudiar en la escuela de arquitectura. Tras graduarme, viajé a diferentes países absorbiendo los estilos y diseños únicos que cada ciudad tenía paraofrecer.Capturélaesenciadelosíconosarquitectónicosen bocetosrápidosenelsitiode15a50minutosyaprendíaretratar los detalles y comprender los motivos de la configuración de cada edificio.
Se aprende algo todos los días si se presta atención, es por eso que este proyecto es una práctica personal para obtener conocimientos de arquitectura y crecer a partir de ellos. Como arquitecto, es mi deber compartir estas historias con el mundo y espero inspirar a otros a apreciar y aprender de la belleza de la arquitectura y alentarlos a explorar el mundo y sus muchas maravillas.
28
Elcuadernodebocetos
29
Process: Philharmonie de Paris.
Process: Casino Monte-Carlo
Philharmonie de Paris. France.
Casino Monte-Carlo. Monaco.
30
Centre Pompidou. Paris, France.
Manarola.CinqueTerre,Italy.
SagradaFamilia.Barcelona,Spain.
Basilique Notre-Dame de L’Assomption. Nice, France.
Museo de las Ciencias. Valencia, Spain.
GalleriaVittorioEmanueleII.Milan,Italy.
Plaza de España. Sevilla, Spain.
LaMalaguetaBullring.Malaga,Spain.
31
Setas de Sevilla. Sevilla, Spain.
Barcelona Pavilion. Barcelona, Spain.
Oslo Opera House. Oslo, Norway. Museo de las Ciencias. Valencia, Spain.
BasílicadiSanPetronio.Bologna,Italy.
Colosseo. Rome, Italy.
Plaza de España. Sevilla, Spain. Casa Battló. Barcelona, Spain.
32 www.nmgarq.com María Nelly Morales nellymoralesarq@gmail.com