PEDRO ESCORIZA 2016-2022
PORTFOLIO
PEDRO ESCORIZA pescorizat@gmail.com ES +34 600083376 IT + 39 3272448718 Paseo de los Melancolicos 22 Madrid, Spain
2
1
PARAÍSO CERRADO...........................................................................................................4
2
LINHA DE SOMBRA...........................................................................................................18
3
THE HORSE AND THE ARTIST......................................................................24
4
THE ENDLESS SCHOOL...........................................................................................30
5
LA CHIESA DIRUTA.........................................................................................................36
Museo della Letteratura a Granada
Monte d’Oiro wine hotel
Omuli horse museum
Ethiopian Satellite Preschool
Il teatro in chiesa. Grottole
3
MENZIONE SPECIALE PREMIO NEOLAUREATI 2020
1
Paraíso cerrado. Museo diffusso della letterattura a Granada
Progetto accademico, tesi.
Granada, Spagna, 2019 Docenti: Massimo Ferrari, Claudia Tinazzi
4
“Paraíso cerrado para muchos, jardines abiertos para pocos”, così intitola Soto de Rojas, la sua opera che percorre sette carmenes, sette giardini a Granada. Trecento anni dopo Lorca riprenderà l’opera di Soto de Rojas dicendo che il questa è la più esatta definizione di Granada, “Paraíso cerrado”, paradiso chiuso. Un museo della letteratura a Granada, la città di Lorca, “Granada, su Granada”, la città della poesia sefardì e nazarì, quella che accoglie la generazione del 27, quella che ospita a Borges, Ruben Dario, la Granada di Angel Ganivet. Granada nel 2014 viene nominata città della letteratura per la Unesco; l’archivio lorquiano si trasferisce alla città del poeta e il municipio comincia a pensare alla costruzione del Museo della Letteratura.
La proposta museale si allontana dal museo ottocentesco, il Museo, maiuscolo, totalizzante che dopo la rivoluzione borghese sembrerebbe l’unica opzione per la tipologia museale; si cercano, invece, esperienze protomuseali, esperienze del museo prima del museo, i tesori greci, i sacri monti italiani, il Sacromonte granadino, via crucis e vie di pellegrinaggio, esperienze di condivisione culturale, diffuse che permettono la conoscenza del territorio e una maggiore vicinanza rispetto al museo contenitore. Il museo sarà museo diffuso, l’idea espositiva sarà dividere la letteratura in elementi in cui è composta. Parola scritta, tecniche letterarie, generi, archivio (la memoria, il libro) e recitare (la messa in scena, il teatro); cinque tappe, cinque stazioni 5
o “cappelle” in cui il museo è diviso. Queste si allocano in punti notevoli per la letteratura granadina, Albaicín, il cerro de San Miguel o il bosco dell’Alhambra sono i luoghi in cui si dispongono gli interventi. Si riprende un modo costruttivo proprio delle architetture di Granada, un modo costruttivo estereotomico che condividono le porte di Granad, gli Aljibes, le casas-cuevas, i passaggi della Alhambra, architetture di una Granada ipogea, una Granada nascosta, quella Granada di legende, quella di Alhambra e Albaicín.
I caratteri culturali di Granada.
6
Impianto urbano. Il museo diffuso.
7
L’archivio. Vista esterna sud-ovest.
8
L’archivio. Piano terra.
L’archivio. Sezione prospettica.
9
L’archivio. Prospetto Nord-Est
10
L’archivio. La memoria . Assonometria
11
Le tecniche. Prospetto sud.
12
Le tecniche letterarie. Piano terra.
Le tecniche letterarie. Assonometria
13
I generi, la porta. Prospetto sud-est
14
I generi, la porta. Piano terra.
I generi, la porta. Assonometria
15
La messa in scena, il teatro. Sezione.
16
La messa in scena, il teatro. Piano terra.
La messa in scena, il teatro. Assonometria
17
SHORTLISTED PROJECT
2
Linha de Sombra Wine hotel, restaurant and hall.
Architecture competition Lisbon, Portugal, 2021 con: Renato Righi
18
This project borrows the title of the famous book by Joseph Conrad (“Shadow Line”) for different reasons, the most important of which is certainly the investigation it seeks to carry out on the subject of the limit. Limit that is not always physical and tangible. To facilitate the reading of the project, it may be convenient to divide the arguments in few points: . Architecture as limit: in this case, the crucial theme of the project was to design a compact, clear and defined front-vineyard, the intention was to make clear a previously indefinite border, to make a limit that had previously been crossed in a unique way
accessible in different ways. The new extension therefore becomes the door that leads from the cellar to the cultivated fields and vice versa. . The construction of an extension: the expansion is interpreted by us as a “relative increase”, as a reasoned and, above all, measured extension of an original element. The expansion cannot itself become by definition the main element, but it depends on a founding nucleus. Since the competition program is very full-bodied, in order to cope with this necessary construction forecast, we thought that the reuse of an existing building, duly restored, could be a way of interpreting the 19
theme of expansion without denying the heart of the cellar in terms of size. .The basement: the solution of a basement seemed natural to us because of the place, the basement, today and historically, is rooted in the ground, contains within it the services use-
ful for human life and elevates other functions above itself which in our opinion must be collective: first of all an open place, a square with a privileged point of view on the fields, a small tower, a restaurant and a hall. The basement is a privileged place and belongs to everyone.
The patio
20
Axonometric view. The limit
21
View from the terrace
22
Plan
23
SHORTLISTED PROJECT
3
The horse and the artist Omuli horse museum
Architecture competition. Omuli, Latvia 2021 with: Renato Righi
24
The work on the former school in Omuli is interpreted as a constellation of small architectures with the task of connecting the building, pre-existing and isolated, with the territory of which it is part, an intervention which attempts to distribute itself over the entire available area, adopting layouts and alignments capable of highlighting the lines of the school, those of the fields, the differences in level and all the other components of the surroundings. Everything tends to take strength from the different atmospheres proposed by the Latvian countryside and so
in order, arriving from the road, one can encounter a collective place that stands on it and houses the new horse museum, reinterpreting a building typology close to the stable; Omuli's historic school, unaltered in its image and adapted internally to the required uses, a block of saunas hidden from the road and facing the fields which, an atelier in the middle of the forest to receive the artists and their work on days when nature permits it. We tried to recognise the territory, which at first appears to us as harsh and homogeneous, but after careful observation shows itself to be a complex made up of many elements, 25
some of which are very different from each other, each with a definite character. All these figures that characterise the project find in the local materials a unique and expressive way of building themselves. They are made up of a brick base that moulds itself according to what it has to support, strongly rooted in the ground, which supports a lighter and more expressive wooden element. We think it is important that the brick physically supports its own roof, partly renouncing the technology of concrete in favour of an authenticity that is proper to this territory.
Traditional sauna. External view
26
Museum of the horse
Guest house
Traditional sauna
Atelier
Omuli horse museum, the complex
27
Museum of the horse. External view
28
The museum. Axonometric
The museum. Perspective section
29
4
Endless school
Ethiopian Satellite Preschool Architecture competition.
Hiddi and Dillu, Ethiopia, 2021 with: Massimo Ferrari e Renato Righi
30
.Free walls We have imagined an archeological situation where the walls that sustained past architecture, today could host flexible spaces adapted to a preschool and places for the community.
.Expansion The flexibility of this grid allows to interpretate in the better way its own growth. In case of necessity, spaces like kitchen, dinning room or multifunctional spaces could help spontaneous growth.
.Intersticial spaces Those walls build a non-regular grid that speaks about constructive methods of the place.
Rainwater is collected in a large tank thanks to the slope of the larger roof and walls with channels on their top part. The walls carry the water in height until its storage and later reuse in the latrines or the corral.
.Aggregation The aggregation of the classrooms allows to obtain larger covered spaces related also to possible public uses.
The school is made by different local techniques and materials, all of 31
these are easy to implement for local manufacturing. Reinforced Concrete is used for the foundation and to hold the reinforcement in the walls made of rammed earth. The roofs are built with a local wooden reticular structure. Each roof is composed by a top cover that protect from the sun made by a metal sheet and a countertop covered with caning. This double layer roof allows protection from sunlight and air recirculation.
View from the courtyard.
32
Endless building. Axonometric of construction process.
33
The wall growth. External view
34
Ground plan
Perspective section
35
5
La Chiesa Diruta, Il teatro e la chiesa
Concorso di architettura, Re-use Italy Grottole, Italia, 2021 Con Valerio Poltrini e Giacomo Santunione
36
Chiesa Diruta is an architecture that, despite appearing as a ruin, exudes a deeply human character. Its strength, which allowed it to stand the test of time, can be the starting point to envision a new life. We believe the church can aspire to become a reference for the artistic and social life of its own territory. The main goal of the design is to preserve the identity of the monument while connecting it to the surrounding cultural landscape, as a place for music, art, cinema and theatre to thrive. Our project draws inspiration from
medieval theatre. A small world contained in a pageant wagon, which travelled from city to city to tell people a story. Its value was temporality, the fact that it could interact with dierent audiences and adapt to different spaces. Theatre could even enter in church: in 1429, in Florence, Brunelleschi designed a scenography to evoke the Annunciation in San Felice in Piazza. Eight angels hung from a large rotating machine, while another ew across the entire nave above the assembly. The project addresses the issue of transformability. With an architectural 37
addition, composed of few elements, we want to adapt the church to dierent functions: a concert hall , a theatre, a cinema and an exhibition hall. A single architecture, many opportunities. All of this is made possible by a solid roof from which balconies and a bridge crane are hanging. Its versatility allows the fallen church to be part of a broader system, in which even a small town like Grottole can become a hub for social and cultural exchange.
Sezione Prospettica. La macchina teatrale
38
Pageant wagon
Palcoscenico
Ingenio di Brunelleschi
La macchina teatrale
Pianta,. Piano Terra
39
Il teatro. Vista interna
40
Assonometria
41
PEDRO ESCORIZA pescorizat@gmail.com ES +34 600083376 IT + 39 3272448718 Paseo de los Melancolicos 22 Madrid Spain