SILVIA VALERO CV + PORTFOLIO 2010-2015
“The experience in architecture is the key to include subjectivity, perception, sensory and corporal, whilst the contemporary architectural phenomenon is reinforced as a social construction” Josep María Montaner,
Del diagrama a las experiencias, hacia una arquitectura de la acción.
/// cv
/// educational background 2014-2015
Masters Degree in Advanced Architecture, Landscape, Urbanism and Design. (Post-graduate full-time course) ETSAV. Escuela Técnica Superior de Arquitectura de Valencia
Scholarship due to Academic Ecellence Award // Post-graduate full-time course extending the knowledge base in architecture, landscape, urbanism and design. Jan 2014
Silvia
Valero Rodríguez slv.valero@gmail.com | +34 673 63 18 02 30.04.1989 | Ciudad Real (SPAIN)
2007-2013
Academic Excellence Award Architect. (Masters Degree in Architecture and Urban Planning) Polytechnic School of the University of Alicante
First Class Honours 2012/2013
Scholarship the first year at University due to High School First Class Honours. Architecture Studies:
2010-2011
École Superieure d’Architecture de Strasbourg (France)
///languages ///professional development
English | c1 French | b2 Spanish | native
Sep-Dec 2015
///skills
Autocad Rhinoceros Revit V-Ray GIS Grasshopper 3DMax Cinema 4D Archicad Adobe Photoshop Adobe After Effects Adobe Premiere Pro Adobe InDesign Adobe Illustrator Office ///additional training
PMP. Project Management and construction.
Jan 2013
Researcher at
University of Alicante + University Institute of Water and Environmental Sciences Academic coordinator
Nov-Jan 2014
“Landscape I&II: experience, comprehension and transformation” IES Navarro Santafé + University of Alicante, Villena (Alicante)
May-Oct 2013
Ricardo Miñana Arquitectos (Internship)
Jul 2012 2011-2012
Esculpir el Aire s.l.p. (Internship) Collaboration with the
Vice Principal of Architecture of the University of Alicante event management and poster design. ///awards
Jan 2014
Academic Excellence Award
Best Academic Record 2012/2013 Nov 2013
National Education Award
May 2013
1st Prize (Local) 23º Concurso Ibérico de Soluciones Constructivas Pladur (Special Mention (National)) 1st Prize
“Landscape: experience, comprehension and transformation“
May 2011
P(ré)oh pour Märkischen Grundschule (Berlín)
ETSAV Master.
SHOOT ARCHITECTURE.
Workshop: Production, editing and postproduction of architectural video. ADVANCED RHINOCEROS + GRASSHOPPER BASIC RHINOCEROS.
3D modeling and architectural rendering.
///exhibitions Jul 2013 May 2013 Jun 2012
///more
Principal Clarinetist in Agrupación Musical Concentus Driver’s license
Jun 2010
Landscape: experience, comprehension and transformation Casa de la Cultura, Villena In&Out Concurso Ibérico Pladur Hotel Silken Puerta América, Madrid Lightness 4 Singular Structure Project Directed by Antonio Maciá COAM + COAMU + Las Cigarreras, Alicante. Close City 4891 The project was directed by Andrés Jaque + Iván Capdevila Palacio de la Diputación, Alicante
/// portfolio
/// projects selection
08
La-Mancha en la calle
final degree project. urban acupuncture. micro urban planning.
24
EPIC project. gallery of contemporary art.
36
IN & OUT
competition. architectures for the reencounter.
42
from humanism to animalism competition. Oslo Triennale 2016.
46
1894 project. court city.
54
Music school construction. project in estrasbourg.
60
Las torres de la huerta urban planning. urban project in alicante.
62
YES project and review. architecture as a process.
63
In the cloud
ephemeral. cradle to cradle.
62
BRANDING
EPIC+Ilusiones en cart贸n.
“For centuries, the street pro with usable public space righ houses. Now, in a number of the modern city has made str are for “going through”, not “staying in”” Christopher Alexander
PFC La-Mancha en la calle. September 2013
Bringing experience back to the streets.
ovided city dwellers ht outside their subtle ways, reets which for
r
PFC La-Mancha en la calle. September 2013
A ALHAM BRA
A RU
IDER A
Bringing experience back to the streets.
CARRIZOSA la vega
los toriles
la carrasca
ERMOSA
A VILLAH
la alameda
A INAF
NTES
la umbria
el salido
la ermita
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My Final Project Degree is a multiscalar place in Carrizosa, a little village from the center of Spain. It comprises three scales, from urban scale to device’s and, finally, to people’s. The aim of this project is recovering the street as a public space, bringing back the intangible pro-Common values. Through five recreational and educational atmospheres, it is wanted to become part of a new everyday practice thinking about common instead of “public” or “private”. This urban transformation proposal also intends to promote local economy and rescue values associated with intangibles, such as urban memory; to strengthen links between Carrizosa inhabitants not only themselves, but also those which people have with their own village.
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#01 talleres en el rĂo.
Taking out of context the collective festivity imagination.
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“Urban domestication is a process from which we understand domesticity and everyday practice as something individual and private, to develop it as a collective and common situation which takes places in the existing city.� La ciudad viva.
“The space is built, especially with intangible components: elect landscape in whi
José Pérez d
#02 DEPORTE
Use of local and ready-ma educational and te
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tronic flows, interfaces, audio, projections, words, bodies, the ich we are ...�
de Lama
ORTE en el rĂo.
ade technologies to build an echnological space.
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#03 MERIENDA en LA ALAMEDA.
Use of local and ready-made technologies to recover the use of the fields as a leisure place.
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“Identity, self-esteem, sense of belonging, everything has to do with the benchmarks that we all have about our city” ”Smell, noise ... [...] there are things that are never forgotten, what is it done when they do not exist? Are they re-made? No. They have to be found. Something is needed to rescue some moments and to encourage others” Jaime Lerner
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#04 cross monument
Collective kitchen space, management of renewable technologies for electricity production. Generation of new controversies that make visible the occupation of the public space in Carrizosa by religious symbols.
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“With cities, it is as with dreams: everything imaginable can be dreamed, but even the most unexpected dream is a rebus that conceals a desire or, its reverse, a fear. Cities, like dreams, are made of desires and fears, even if the thread of their discourse is secret, their rules are absurd, their perspectives deceitful, and everything conceals something else.� Italo Calvino, Invisible cities.
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#05 Exhibition at the promenade.
Proposal to recover the promenade of the village as a relationship space. The objects used to build the installation are manufactured in the workshops which take place in Carrizosa. They are shown as scenery, building a home environment that, somehow, takes the Manchegan house to the street.
SÓL
O 1. BANCA €18,00 Casa de la abuela. Taller restauración UP/ banca: 0€. decapante: 4€. tapa poros: 2€. lijado: 0€. barniz nogal: 12€. mano de obra: 0€. Curso: 20€/trimestre 2. BALEO €0,00 Taller de esparto UP/ esparto: 0€. coser esparto: 0€. Curso: 20€/ trimestre 3. ESPEJO €6,00 Casa de la abuela. Taller de restauración UP/ marco y espejo: 0€. decapante: 0´50€. tapa poros: 0´50€. lijado: 0€. laca: 2€. betún de judea: 3€. mano de obra: 0€. Curso: 20€/trimestre 4. CUADROS MANCHEGOS €7,00 Taller pintura UP. lienzo en bastidor: 3€. óleos: 4€. Curso: 20€/trimestre 5. FICUS €0,00 Casa de la vecina. Regado por los vecinos
€ 31 0 , 0 ¡CONSIGUE TU PORTAL MANCHEGO!
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¡SIÉNTETE COMO € 6 9, 0 CUANDO ERAS desde 0 UN NIÑO!
1. PERCHERO €2,50 Casa de la abuela. Taller restauración UP/ perchero: 0€. decapante: 0´50€. tapa poros: 0´50€. lijado: 0€. barniz nogal: 1´50€. mano de obra: 0€. Curso: 20€/ trimestre 2. ABANICO €4,50 Taller de Bolillos y restauración UP/ estructura abanico: 0€. hilo: 2´50€. cuadro: 0€. decapante:0´50€. tapa poros: 0´50€. lijado: 0€. barniz: 1€. mano de obra: 0€. Curso: 20€/trimestre 3. RADIO €20,00 Casa de la abuela. Taller de restauración UP/ radio: 0€. limpieza: 0€. Reparación Juan Navarro: 20€. Curso: 20€/trimestre 4. BANCA €18,00 Casa de la abuela. Taller restauración UP/ banca: 0€. enea: 0€. decapante: 4€. tapa poros: 2€. lijado: 0€. barniz nogal: 12€. mano de obra: 0€. Curso: 20€/trimestre 5. MESA CAMILLA
CON FALDAS Y TAPETE €16,00 Casa de la abuela. Taller restauración UP/ mesa: 0€. decapante: 0´50€. tapa poros: 0´50€. cola: 2€.lijado: 0€. barniz: 2€. mano de obra: 0€. Taller corte y confección UP/ retal tela: 3€. Curso: 20€/trimestre Tapete: Taller de ganchillo. hilo 8€. 6. SILLA DE ENEA €6,50 Casa de la abuela. Sentarse para descansar. Taller restauración UP/ silla: 0€. enea: 0€. decapante: 1€. tapa poros: 0´50€. lijado: 0€. laca marrón: 5€. mano de obra: 0€. Curso: 20€/trimestre 7. BRASERO CON PROTECTOR €2,00 Casa de la abuela. Taller restauración UP/ brasero: 0€. limpieza y lijado: 0€. pintura anticalórica: 2€. Curso: 20€/trimestre 8. FICUS €0,00 Casa de la vecina. Regado por los vecinos
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Experience is th the reason’s des of looking; think project t
EPIC ESPAI PER A LA PERFORMANCE i LA CREACIÓ June 2015
Gallery of Contemporary Art in Valencia. With Laura Forés and Marjorie Aranibar
hought “as a counterpoint to spotism and to the single way king about a type of inclusive that incorporates the others’ perspective” Josep María Montaner, Del diagrama
a las experiencias, hacia una arquitectura de la acción
EPIC ESPAI PER A LA PERFORMANCE i LA CREACIÓ June 2015
Gallery of Contemporary Art in Valencia. With Laura Forés and Marjorie Aranibar
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EPiC - Espai per a la performance i la creació - is a contemporary art gallery that seeks not only the sale of art works but a cultural node in the city. The main concept that runs the gallery is the user interaction with the piece of art to generate an inclusive project that incorporates the perspective of the other. In addition, the art work is exhibited in panels that allow a permanent reconfiguration of the gallery, benefiting the birth of new partnerships that promote the evolution of art. Thus, the building is divided into three floors in a very flexible manner. Space for workshops or offices are transformed, almost instantaneously, in places to perform from a digital projection to an exhibition of painting and sculpture. In this way, the proposal is capable of holding and storing varied pieces of art. One of the main objectives of the project is to avoid generating a directional path. The exhibition is arranged so that people are encouraged to move in a free way.
“When we got to think about edgesless architecture, without the opposition between both sides, the front and the back, the inside and the outside, an architecture is born with an universal scale vision” Toyo Ito, Cambiemos el concepto de límite y abramos los edificios públicos
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- Planta S贸tano. Opci贸n 1 de n -
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- Planta Baja. Opci贸n 1 de n -
- Planta Primera. Opci贸n 1 de n -
- Planta S贸tano. Opci贸n 2 de n -
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- Planta Baja. Opci贸n 2 de n -
- Planta Primera. Opci贸n 2 de n -
- Vista recepción, tienda, cafetería. Planta Baja -
The pieces of art are disposed so that people are encourage to move in a free way
“freely, not in a conducting atmosphere but in a seductive one” Peter Zumthor, Atmospheres
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- Vista exposición. Planta Primera -
It’s not Architecture which oblied the user, but their own interests which does.
“The look was dependent on the walking, and the walking was dependent on the look, so much so it seemed that only the feet could see” Robert Smithson, A Tour of the Monuments of Passaic
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- Sección transversal. Opción 1 de n -
- Sección longitudinal. Opción 1 de n -
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- Vista A Programa hall-recepci贸n -
“The concept of static and clearly delimited space becomes something unsustainable and undersirable” Olafur Eliasson, Los modelos son reales
The gallery’s space becomes mutant, depending not only on the exhibition, but according to the user. The project allows the adjustment of the programme. So that the hall, next day, can turn into a new exhibition space.
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- Vista A. Programa exposición -
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ELEMENTOS ESTRUCTURALES Y PARTICIONES 01.TRASMISIÓN DE CARGAS AL TERRENO. Cimentación existente. 02. TRANSMISIÓN CARGAS VERTICALES. Muro de hormigón armado. Espesor 30cm. 03. TRANSMISIÓN CARGAS HORIZONTALES. Forjado unidireccional de hormigón armado, canto 30cm. 04. CERRAMIENTO. Preexistencia. 05. ACABADO CERRAMIENTO EXTERIOR. Acabado pétreo existente, en jambas y frente de forjado. 06. TRASDOSADO. Placa de yeso laminado PLADUR®, espesor 15mm. 07. SUBESTRUCTURA TRASDOSADO. Elemento portante en trasdosado, perfil en forma de C de chapa de acero galvanizado. 08. AISLANTE TÉRMICO – ACÚSTICO. Panel semi-rígido de lana de roca mineral, espesor 50mm. 09. CAPA DE COMPRESIÓN. Banda elástica, neopreno, espesor 10m. 10. PANELES MÓVILES. Panel con bastidor de madera y acabado a los dos lados con chapa de acero lacada en blanco (espesor 5mm.) 11. PANELES MÓVILES. Panel metálico de 50mm de espesor sin bastidor, de doble malla plegada y soldada. Malla de metal desplegado; R 35x19mm. HxE=4x4mm. Acero inoxidable. Transparencia frontal 57%. 12. SUJECIÓN. Tubo de acero galvanizado para sujeción de panel de malla de metal desplegado. ACABADOS 13. PAVIMENTO EXTERIOR. Baldosas 30cmx150cm. 14. CERRAMIENTO ACRISTALAMIENTO. Vidrio laminado 8+8+8mm. 15. ACABADO ALFÉIZAR EXTERIOR. Cajeado de chapa de acero, espesor 10mm, color negro. 16. ACABADO ALFÉIZAR EXTERIOR. Separadores de madera 50mm. 17. SISTEMA OSCURECIMIENTO. Estor modelo GINEVRA de MARINELLO. 18. ACABADO FALSO TECHO. Malla de metal desplegado. R 10x7,5mm. HxE=2x2.5mm. Acero inoxidable. Transparencia frontal 35%. 19. SUBESTRUCTURA. Perfilería oculta especial clip-in. 20. AISLANTE TÉRMICO – ACÚSTICO. Poliestireno expandido, espesor 50mm. 21. GUÍAS. Carril Multidireccional REITER integrado en falso techo. 22. instalaciones. Conducto de climatización colgado. 23. Bandeja metálica para cableado 24. ACABADO PAVIMENTO INTERIOR. Mortero de cemento M-5 de espesor 2 cm, fratasada 25. CAPA DE COMPRESIÓN. Mortero de cemento autonivelante mejorado con resinas sintéticas, espesor 5cm. 26. Protección. Barandilla de vidrio laminado10+10mm de vidrio templado. 27. Fijación. Conector de barandilla de acero inoxidable. aisi 316 sujeto a forjado mediante tornillo expansivo de 4 pulgadas. 28. Sistema estructural. Subestructura barandilla. Pletina de acero galvanizado 15mm. 29. PROTECCIÓN ESCALERA. Plano de malla de metal desplegado con despiece vertical. Malla laminada romboidal. R 35x19mm. HxE=4x4mm. Acero inoxidable. Transparencia frontal 57%. 30. ESCALERA. Peldaños de chapa de acero de espesor 10mm, color negro. 31. RIGIDIZADORES. Chapa de acero de espesor 5mm soldados a peldaños y perfil. 32. ZANCA ESCALERA. Perfil UPN200. 33. PASAMANOS. Perfil en L, acero lacado en color negro. LUMINARIAS 37. LUMINARIAS. Luminaria LED modelo KNICK de Edendesign. Diseñada por Bart Lens. Aluminio pintado en negro. 38. LUMINARIAS. Foco puntual orientable. Luminaria LED modelo DOT de Edendesign. Diseñada por Bart Lens. Aluminio pintado en negro.
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“Real individuals are their lives in meanin unique individuals; The all. When they are torn f disappear as effective so w IN & OUT PLADUR competition. April 2013
Architectures for the meeting: Urban Activities Centre in Coimbra. With Ana Adeva and Ana Melgarejo
e unique, they spend years of ngful relationships with other ey are not interchangeable at from their relationships, they ocial beings, sometimes for a while and sometimes forever � Jane Jacobs, The Death and Life of Great American Cities.
IN & OUT PLADUR competition.
April 2013
Architectures for the meeting: Urban Activities Centre in Coimbra. With Ana Adeva and Ana Melgarejo
ación actu la de Parce
*
za !! Una nueva pla
*
A D DE IN U ID IC O CO N T O PÚ BL
* ESPACI
Relación entre espacios públicos a distintos niveles
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Walking, meeting, sitting, talking ... In a time when individualism is becoming increasingly present and the streets are only used to get from one place to another, to go through, we believe that the city has to provide places for staying in. Beyond a building, we propose a meeting point; a node which connects some public spaces at different levels. An ad lib stage is generated at the bottom of the building when few people start playing their instruments. People who pass by there, get a stool from the building facade and ... the show must begin!
The facade can be disassembled to provide the street with street furniture so that an area to sit, talk, see a show... is created. Inside the building, the same concept is repeated. There is a free space in each level. Furniture, PLADUR made, are removed from the side walls so that the space can accommodate endless activities. Drawings on walls reveal what is hidden inside them, chairs, tables, mattresses, cushions...
*Planta cubierta PROGRAMA: En esta planta las actividades principales son las de TERRAZA y CINE SUPERFICIE: 45m2
*Planta 1 PROGRAMA: Esta planta tiene como uso predominante el de COCINA + COMEDOR SOCIAL, pero en ella pueden desarrollarse otras actividades como la lectura, el estudio... SUPERFICIE: 61m2
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*Planta baja PROGRAMA: Esta planta funciona como un espacio multiusos en que se pueden desarrollar actividades vinculadas a la: MÚSICA, GIMNASIA, LECTURA, CLASES... Además consta de un espacio para la recepción y un espacio sanitario. SUPERFICIE: 40m2 (sala multiusos) + 13m2(acceso y recepción)
- Programa y actividades -
angular
1 2
canal superior
canal inferior
carril
mobiliario montante
- Definici贸n constructiva de paramentos -
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The fact that the furniture is integrated into the design of the wall and can be outside or inside, makes the space able to host multiple activities, since it can be reconfigured according to different needs. A completely empty space can be left to celebrate festivals, concerts.... without worrying about what to do with the elements used for other activities.
3
Thanks to the furniture made with PLADUR, it is seamlessly integrated into the design, creating a visual continuity along the walls. The possibility of changing colors or modulations make the possibilities as endless as the spaces or environments that want to create.
canal superior montante
placa PLADUR N
canal inferior 1
placa PLADUR TEC
placa PLADUR TEC
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2
3
- Desarrollo de una pieza de mobiliario -
- Secci贸n Transversal -
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- Planta Baja -
- Planta Primera -
- Planta Segunda -
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“Anim a tota of aware
Paul B. Pre
malism is not Naturalism. It is al ritual system. A production eness by means of a material counter-technology”
eciado, El feminismo no es un humanismo
FROM HUMANISM TO ANIMALISM coMPETITION November 2015
Project about Kirkenes (Norway). Trienal de Arquitectura de Oslo 2016. With Javier Martínez, Ana Melgarejo, Martín Noguerol and Rafa Zarza
Throughout History progress has been, in short, a low resolution insignia; which has given voice to a few in the name of all for the common good. As such, it has excluded from the mediation process –consciously or maybe not–, other realities and agencies which operate with different narratives that slow down and distort the ideal of progress as we know to date.
“From Humanism to Animalism” pursues the construction as fiction of 5 altars in which 5 dissident narratives, turned into banners of progress, question the ideal of development in the region.
- Technoindigenous productions -
- Transparentening Kirkenes -
- Arctic Beyond Belonging -
- Transparentening Kirkenes -
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- Marrying for a leaving -
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- General view -
4891 City court. April 2010
Project of a city court for 40.000 inhabitants. With Martín Noguerol.
“All animals are equal, but s are more equal than others” George Orwell, Animal farm.
some animals
4891 City court. April 2010
Project of a city court for 40.000 inhabitants. With MartĂn Noguerol.
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4891 is a city of cities. A city where different groups of people live together but whose paths rarely cross. 4891 is born from the study of an existing “city�, the Palace of Justice in Murcia. Extracting a thesis from the every day routine in this court, a city for 40,000 inhabitants is created, following the same rules than the first one, but being optimized. From the outside, we see a false appearance of homogeneity. If we look at it form a certain distance, everything seems a single nucleus, a joint way of life. However, as we get closer, we discover that those roads that seemed to be closely linked, are nothing but a tissue of multiple lives that only come together from once in a while.
“To know and not to know, to be conscious of complete truthfulness while telling carefully constructed lies, to hold simultaneously two opinions which cancelled out, knowing them to be contradictory and believing in both of them” George Orwell, 1984.
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- Ciudad Juzgado. Primera aproximación -
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- Vista general -
- Ciudad de los abogados -
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- Ciudad de los jueces -
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- 4891. Ciudad de ciud
dades. Jueces, abogados, iguales, informaci贸n -
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“And sudden exterior. O Brillian the tin
nly there’s an interior and an One can be inside or outside. nt! (...) Thresholds, crossings, ny loop-hole door, the almost imperceptible transition between the inside and the outside.” Peter Zumthor, Atmospheres.
MUSIC SCHOOL Construction documents.
June 2012
Detailed project. Strasgourg Music School. With Míriam Pastor and Encarnación Algarra
- Planta Baja -
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- Planta Primera -
- Planta Segunda -
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- Secci贸n constructiva AA-
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- Secci贸n constructiva BB-
- Secci贸n constructiva CC-
- Secci贸n constructiva DD-
- Detalles constructivos -
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LAS TORRES DE LA HUERTA A city is not a tree* June 2012
Urban planning project in Las Torres de la Huerta (Alicante). With Laura Mora and MartĂn Noguerol *Christopher Alexander
“The city is not, cannot and must not be a tree. The city is a receptacle for life”
Christopher Alexander, A city is not a tree “The tree of my title is not a green tree with leaves. It is the name of an abstract structure. I shall contrast it with another, more complex abstract structure called a semilattice. ”
LAS TORRES DE LA HUERTA A city is not a tree* June 2012
Urban planning project in Las Torres de la Huerta (Alicante). With Laura Mora and Martín Noguerol *Christopher Alexander
The Torres de la Huerta’s territory is an area where cultural experience has made citizens feel connected to the site in a special way. Some very strong subjective links related to the environmental and cultural value of the area have appeared, so they have become the main criteria for the development of the project. Thus, linked to these values, towers and orchards that still could be grown, along with the recovery of the ravine, are the common thread in the structuring of the new territory; setting an intervention matrix. Therefore, to understand the proposal, the starting point must be known, otherwise it seems a chaotic geometry. In this way, instead of a tree, a semi-lattice is proposed.
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- Plano general de la intervención -
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- Secciones por distintos ejes -
YES yOUR ENGAGEMENT SEQUENCE* February 2015
Reflections and project for a Contemporary Art Gallery. *Olafur Eliasson. Leer es respirar, es devenir.
Rather than a quantitative space, it is created a qualitative one. A place where people become aware of being part of a community. In this project shape design is replaced by the hunt of experiences, making people conscious about what times we are living through.
“Shapes are temporary, they are trapped in the exchange tissue, constantly stained by negotiations and renegotiations occurring in their environments” Olafur Eliasson, Leer es respirar, es devenir
“Instead of the understanding of Architecture as a shape maker, today it is thought as a result of a process or speech that has value in itself.” Federico Soriano, Sin tesis
“ - But what does it mean “ephemeral”? repeated the little prince. - It means “who is in danger of speedy disappearance”.” Antoine de Saint-Exupéry, The Little Prince.
January 2015
Ephemeral pavilion UPV. With Laura Forés
Tara Donovan
IN THE CLOUD Ephemeral
BRANDING EPIC May 2015
Branding for a Contemporary Art Gallery With Marjorie Aranibar and Laura ForĂŠs.
The branding of this Contemporary Art Gallery promotes the same concept as the space itself. The goal is to encourage performativity, making possible the adaptation of the logo to different events while maintaining its own identity.
BRANDING ILUSIONES EN CARTÓN November 2013
Branding + Cardboard furniture design. With Martín Noguerol, Salva Serrano, Javier Martínez and Alejandro Sánchez
/// Thank you
Silvia
Valero RodrĂguez slv.valero@gmail.com +34 673 63 18 02